Catalogue Entry

Brookbank was an early eighteenth-century white gambrel-roofed house on Fresh Water Cove which was owned and occupied by Samuel Sawyer and his ancestors. It is possible to trace apparent renovations to the house through Lane's pictures; at first it is depicted as a white house without dormers and a simple brown barn Fresh Water Cove, Gloucester, c.1864 (inv. 112); then dormers appear on the house and the barn is white with a cupola Fresh Water Cove, etc., from Dolliver's Neck, 1850s (inv. 113). In Gloucester from Brookbank, 1848 (inv. 42) a cobb wharf (log cabin-like structure) and boardwalk are visible. By Fresh Water Cove from Dolliver's Neck, Gloucester, Early 1850s (inv. 45) the house seems to have additions. 

Lane did a remarkable series of paintings from Brookbank, the Sawyer homestead, which overlooks Fresh Water Cove. They show Dolliver’s Neck and how it protects the cove from the harbor. It is also visible in Dolliver's Neck and the Western Shore from Field Beach, 1857 (inv. 3), though somewhat disguised by the rest of the western shore in that view. He did a drawing and painting from Dolliver’s Neck looking west in Fresh Water Cove from Dolliver's Neck, Gloucester, Early 1850s (inv. 45).

Dolliver’s Neck is a small arm of land pointing north off the western shore of the Gloucester’s Outer Harbor. It is the cradling arm that creates Fresh Water Cove, a small cove where Samuel de Champlain found fresh water on his first visit to Gloucester Harbor in 1606. It was named for Samuel Dolliver who came from Marblehead in 1652 and bought a farm there.

In Lane’s time there were a few fishing shacks visible in some of his paintings where onshore fishermen could put their boats in from the pebble beach and salt marsh and be out in the center of the harbor without the long row or sail from the Inner Harbor. Fresh Water Cove itself is not deep enough at low tide for larger vessels to moor there so it has retained its small scale and intimate feel down through the years.

In 1900 a Coast Guard lifesaving station was built and manned on Dolliver’s Neck and many lives were saved along that rocky and treacherous coast between Gloucester and Magnolia.

Eastern Point is the long promontory that defines the eastern limit of Gloucester Harbor. In Lane's day it was wild and uninhabited but was also a strategic landmark. A Civil War fort was built there in 1863. Lane painted his seminal series of Brace's Cove and Brace's Rock from a vantage point on the eastern side.

The area was made safer for navigation by the construction of a new lighthouse in 1831 and the breakwater known as the Dog Bar. First proposed in 1866 in order to reduce turbulence in the waters of the outer harbor during heavy weather, it was not until 1894 that work on its construction began. Progress was slow, and although an extraordinary number of shipwrecks and groundings in 1898 sped it up somewhat, the breakwater was not completed until 1905.

Fresh Water Cove is located on the west side of Gloucester’s Outer Harbor. It is protected from the harbor waters and the south-easterly seas by the arm of Dolliver’s Neck reaching north from the western shore. It’s a small, very still cove, only a few hundred yards from its mouth to the innermost shore.

The cove was visited by Samuel de Champlain in 1606. He was the first known European to enter Gloucester Harbor, which he named Le Beauport. He named Fresh Water Cove for the fresh water springs he found there, one a bit up from the shore, the other flowing below the high tide line and only accessible at half tide.

The cove, while very well protected from the weather, is small and very shallow at low tide and was never suitable for any large vessels, though there were fishing shacks along the shores edge and small boats were easily pulled up on the sand and salt marsh in its inner recesses. There was a wharf built in the early 1800s to service a granite quarry just up the hill from the cove, which could apparently handle larger vessels at high tide.

In Lane’s time, the most significant landmark from the cove was Brookbank, the Sawyer homestead where Samuel E. Sawyer was born in 1818. Sawyer made a fortune in Boston and returned to Brookbank every summer for fifty years. He became one of Gloucester’s first philanthropists. Lane did a series of paintings from the fields in front of Brookbank looking to the east from the house over Fresh Water Cove, the arm of Dolliver’s Neck and the harbor beyond. He also painted the opposite view in Fresh Water Cove from Dolliver's Neck, Gloucester, Early 1850s (inv. 45) looking west from Dolliver’s Neck over the cove to the Sawyer homestead and surrounding shoreline. Each of these paintings captures the perfect serenity of a high summer day in this secluded cove just off the busy harbor.

Schooners in Lane’s time were, with few exceptions, two-masted vessels carrying a fore-and-aft rig having one or two jibs, a fore staysail, gaff-rigged fore- and main sails, and often fore- and main topsails. One variant was the topsail schooner, which set a square topsail on the fore topmast. The hulls of both types were basically similar, their rigs having been chosen for sailing close to the wind. This was an advantage in the coastal trade, where entering confined ports required sailing into the wind and frequent tacking. The square topsail proved useful on longer coastwise voyages, the topsail providing a steadier motion in offshore swells, reducing wear and tear on canvas from the slatting of the fore-and-aft sails. (1)

Schooners of the types portrayed by Lane varied in size from 70 to 100 feet on deck. Their weight was never determined, and the term “tonnage” was a figure derived from a formula which assigned an approximation of hull volume for purposes of imposing duties (port taxes) oncargoes and other official levies. (2)

Crews of smaller schooners numbered three or four men. Larger schooners might carry four to six if a lengthy voyage was planned. The relative simplicity of the rig made sail handling much easier than on a square-rigged vessel. Schooner captains often owned shares in their vessels, but most schooners were majority-owned by land-based firms or by individuals who had the time and business connections to manage the tasks of acquiring and distributing the goods to be carried. (3)

Many schooners were informally “classified” by the nature of their work or the cargoes they carried, the terminology coined by their owners, agents, and crews—even sometimes by casual bystanders. In Lane’s lifetime, the following terms were commonly used for the schooner types he portrayed:

Fishing Schooners: While the port of Gloucester is synonymous with fishing and the schooner rig, Lane depicted only a few examples of fishing schooners in a Gloucester setting. Lane’s early years coincided with the preeminence of Gloucester’s foreign trade, which dominated the harbor while fishing was carried on from other Cape Ann communities under far less prosperous conditions than later. Only by the early 1850s was there a re-ascendency of the fishing industry in Gloucester Harbor, documented in a few of Lane’s paintings and lithographs. Depictions of fishing schooners at sea and at work are likewise few. Only A Smart Blow, c.1856 (inv. 9), showing cod fishing on Georges Bank (4), and At the Fishing Grounds, 1851 (inv. 276), showing mackerel jigging on Georges Bank, are known examples. (5)

– Erik Ronnberg 

References:

1. Howard I. Chapelle, The History of American Sailing Ships (New York: W.W. Norton & Co., 1935), 258. While three-masted schooners were in use in Lane’s time, none have appeared in his surviving work; and Charles S. Morgan, “New England Coasting Schooners”, The American Neptune 23, no. 1 (DATE): 5–9, from an article which deals mostly with later and larger schooner types.

2. John Lyman, “Register Tonnage and its Measurement”, The American Neptune V, nos. 3–4 (DATE). American tonnage laws in force in Lane’s lifetime are discussed in no. 3, pp. 226–27 and no. 4, p. 322.

3. Ship Registers of the District of Gloucester, Massachusetts, 1789–1875 (Salem, MA: The Essex Institute, 1944). Vessels whose shipping or fishing voyages included visits to foreign ports were required to register with the Federal Customs agent at their home port. While the vessel’s trade or work was unrecorded, their owners and master were listed, in addition to registry dimensions and place where built. Records kept by the National Archives can be consulted for information on specific voyages and ports visited.

4. Howard I. Chapelle, The National Watercraft Collection (Washington, DC: Smithsonian Institution, 1960), 74–76.

5. Howard I. Chapelle, The American Fishing Schooners (New York: W.W. Norton & Co., 1973), 58–75, 76–101.

The term "ship," as used by nineteenth-century merchants and seamen, referred to a large three-masted sailing vessel which was square-rigged on all three masts. (1) In that same period, sailing warships of the largest classes were also called ships, or more formally, ships of the line, their size qualifying them to engage the enemy in a line of battle. (2) In the second half of the nineteenth century, as sailing vessels were replaced by engine-powered vessels, the term ship was applied to any large vessel, regardless of propulsion or use. (3)

Ships were often further defined by their specialized uses or modifications, clipper ships and packet ships being the most noted examples. Built for speed, clipper ships were employed in carrying high-value or perishable goods over long distances. (4) Lane painted formal portraits of clipper ships for their owners, as well as generic examples for his port paintings. (5)

Packet ships were designed for carrying capacity which required some sacrifice in speed while still being able to make scheduled passages within a reasonable time frame between regular destinations. In the packet trade with European ports, mail, passengers, and bulk cargos such as cotton, textiles, and farm produce made the eastward passages. Mail, passengers (usually in much larger numbers), and finished wares were the usual cargos for return trips. (6) Lane depicted these vessels in portraits for their owners, and in his port scenes of Boston and New York Harbors.

Ships in specific trades were often identified by their cargos: salt ships which brought salt to Gloucester for curing dried fish; tea clippers in the China Trade; coffee ships in the West Indies and South American trades, and  cotton ships bringing cotton to mills in New England or to European ports.  Some trades were identified by the special destination of a ship’s regular voyages; hence Gloucester vessels in the trade with Surinam were identified as Surinam ships (or barks, or brigs, depending on their rigs). In Lane’s Gloucester Harbor scenes, there are likely (though not identifiable) examples of Surinam ships, but only the ship "California" in his depiction of the Burnham marine railway in Gloucester (see Three Master on the Gloucester Railways, 1857 (inv. 29)) is so identified. (7)

– Erik Ronnberg

References:

1. R[ichard)] H[enry] Dana, Jr., The Seaman’s Friend, 13th ed. (Boston: Thomas Groom & Co., 1873), p. 121 and Plate IV with captions.

2. A Naval Encyclopaedia (Philadelphia: L. R. Hamersly & Co., 1884), 739, 741.

3.  M.H. Parry, et al., Aak to Zumbra: A Dictionary of the World’s Watercraft (Newport News, VA: The Mariners’ Museum, 2000), 536.

4. Howard I. Chapelle, The History of American Sailing Ships (New York: W.W. Norton & Co., 1935), 281–87.

5. Ibid.

6. Howard I. Chapelle, The National Watercraft Collection (Washington, DC: Smithsonian Institution, 1960), 26–30.

7. Alfred Mansfield Brooks, Gloucester Recollected: A Familiar History (Gloucester, MA: Peter Smith, 1974), 67–69.

Yachts and yachting in ninteenth-century America were the preserve of the wealthy, and in Lane's early career were just beginning to organize as yacht clubs with scheduled regattas. The New York Yacht Club, founded in 1844, was the first such organization and had few rival clubs for racing or cruising until after the Civil War. (1) In Boston, by contrast, yachts of any size were few. Instead of regattas, competition was in the form of match races, between two vessels, with cash prizes as a substitute for trophies. Often, the only serious competition for a Boston-owned yacht was one of the crack pilot schooners, and it was not uncommon for a yacht to be sold for pilot service or vice-versa. (2)

If Lane had opportunity to portray any yachts in Boston, only his depiction of schooner "Northern Light" (see The Yacht "Northern Light" in Boston Harbor, 1845 (inv. 268)) has been found to date, and that was based on a drawing by Robert Salmon. (3) It seems likely that he would have depicted more Boston yachts, some of which images might still exist in private collections not currently accessible. For more depictions of yachts by Lane, we must look to New York.

Lane is known to have made two paintings of the schooner yacht "America." The more familiar one The Yacht "America" Winning the International Race, 1851 (inv. 255) was based on a lithograph derived from a painting by Oswald Brierly who witnessed and sketched "America" as she raced for the trophy that now bears her name. (4)

The other painting Yacht "America" from Three Views, c.1851 (inv. 395) was very possibly based on sketches of the designer's half-model, or even the actual vessel under construction. In either case, Lane's drawings and any notes would have been made before the hull and deck details were finalized. (5)

It would not be until August 8, 1856 that Lane would see and sketch a major yacht regatta—held by the New York Yacht Club at New Bedford, Massachusetts. From this event, he painted four known views, each depicting a different moment in the race. The earliest New York Yacht Club Regatta (3), After 1856 (inv. 396) shows the yachts under way to the starting line, with the smallest yachts (third class) starting at 10:50 a.m. The second class would start at 10:55 a.m. and the first (largest yachts) at 11:00 a.m. The second view New York Yacht Club Regatta (2), 1856 (inv. 270) shows the start of the first class; the third New York Yacht Club Regatta (4), 1857 (inv. 397), the race after the start with the large sloops and schooners taking the lead. The fourth New York Yacht Club Regatta (1), 1856 (inv. 66), depicting the finish, shows the winning sloop "Julia" over the line, lowering her racing sails, while the rest of the fleet follows her to the finish line. (6 and 7)

As interest in yachting increased, so did leisure pursuits in smaller craft, using rowing and sailing boats for rowing, fishing, and day-sailing. These activities had a commercial side which is covered in the Party Boats descriptive essay, but this essay will deal with boats used for non-commercial recreation.

Hull types and rigs for small pleasure craft were varied, some being traditional work boat designs with a few added amenities for comfort. Others were designed and built for leisure boating, often in the styles of yachts, but smaller and simpler. Among rowing boats, the dory was a logical choice, the version in View of Gloucester, (From Rocky Neck), 1846 (inv. 57) (right foreground) being smaller, with a wider bottom for greater stability. New England boats (see Norman's Woe, Gloucester Harbor, 1862 (inv. 1), View of Gloucester, 1859 (inv. 91), and Castine Harbor and Town, 1851 (inv. 272)) are also to be found in settings more akin to leisure than to work. (8)

Sailing craft custom-built for pleasure were also depicted by Lane. Examples with sloop rigs are found in The Old Fort and Ten Pound Island, Gloucester, 1850s (inv. 30) (left foreground), Fresh Water Cove from Dolliver's Neck, Gloucester, Early 1850s (inv. 45) (center left), and Coming Ashore near Brace's Rock, Gloucester, Massachusetts, c.1860 (inv. 60) (right foreground). The yawl rig is seen in View of Coffin's Beach, 1862 (inv. 41) (right middle ground), and schooners in Fresh Water Cove from Dolliver's Neck, Gloucester, Early 1850s (inv. 45) (right middle ground) and (foreground). These rigs differ only moderately from today's versions; their hull designs remain popular among admirers and owners of "traditional boats."

– Erik Ronnberg

References:

1. William P. Stephens, Traditions and Memories of American Yachting (Camden, ME: International Marine Publishing Co., 1981), 157–59.

2. Ibid., 159–61, 164–66.

3. John Wilmerding, Fitz Hugh Lane, 1804–1865: American Marine Painter (Salem, MA: Essex Institute,1964), 29–30.

4. Erik A.R. Ronnberg, Jr., "Fitz Henry Lane's Yacht America from Three Views: Vessel Portrait or Artist's Concept?," Antiques & Fine Art (Summer/Autumn 2010): 175.

5. Ibid., 174–79.

6. U.S. Nautical Magazine and Naval Journal V (October 1956–March 1857): 16–18.

7. The American Neptune X, no. 3 (July 1950): 231–34. Reprint of an unidentified newspaper account of the 1856 New Bedford Regatta by Robert Bennet Forbes.

8. See the descriptive essay on "New England Boat."

The Ten Pound Island light was built on a three-and-a-half acre island at the eastern end of Gloucester Harbor. Built as a conical stone tower, the original 20-foot-tall Ten Pound Island Light was first lit in October, 1821 after the Commonwealth of Massachusetts and the Town of Gloucester ceded 1.7 acres to the U.S. Government for the construction of an inner harbor lighthouse to help mariners navigate the harbor. Ten Pound Island light was a popular subject with artists, including Winslow Homer, who boarded with the lighthouse keeper at Ten Pound Island in the summer of 1880. It is frequently featured in Lane's paintings of Gloucester Harbor.

This information has been shared with the Lane project by Jeremy D'Entremont. More information can be found at his website, www.newenglandlighthouses.net or in The Lighthouse Handbook New England. This information has also been summarized from Paul St. Germain's book, Lighthouses and Lifesaving Stations on Cape Ann.

The harvesting of granite from quarries dug deep into the earth was an important industry on Cape Ann from the 1830s through the early 20th century. Second only to fishing in economic output, for 100 years the granite business played a pivotal role in the local economy providing jobs for many, turning profits for some and generating tons and tons of cut granite that was used here on Cape Ann and shipped to ports all along the Atlantic seaboard.

Granite quarrying started slowly in this area in the late eighteenth century with small operations peppered across the rocky terrain. Construction of a fort at Castle Island in Boston Harbor in 1798 followed by a jail in nearby Salem in 1813, jump-started the granite industry here on Cape Ann. During the 1830s and 1840s, the trade grew steadily. By the 1850s, the stone business was firmly established and Cape Ann granite was known throughout the region. So extensive and so awe-inspiring were operations during the second half of the nineteenth century some observers feared that the business might actually run out of stone.

While granite was taken from the earth in all different sizes and shapes, Cape Ann specialized in the conversion of that granite into paving blocks which were used to finish roads and streets. Millions of paving stones were shipped out of Cape Ann annually, destined for construction projects in New York, Philadelphia and all along the Atlantic seaboard. While paving blocks were basically uniform in size, there were subtle differences leading some to be referred to as Philadelphia blocks while others were identified as Boston blocks or Washington blocks.

– Martha Oaks (April, 2015)

Samuel Elwell Sawyer of Gloucester was a patron of the arts. He visited F. H. Lane’s studio, purchased paintings by him and hired him “to make a sketch of old Homestead for Haughton." (1) Sawyer and Joseph L. Stevens also supported Gloucester artist D. Jerome Elwell in his European studies. We know that in August, 1864, Sawyer ordered two paintings from Lane "to be done [when] he is at leisure," and that he also purchased a painting by Lane for $50 in 1864 at a "Sailors Fare."

Samuel E. Sawyer was born in Gloucester on November 25, 1815 and died at the ancestral homestead in Gloucester on December 15, 1899. He was the fifth generation of Sawyers to occupy Brookbank, an early eighteenth-century gambrel-roofed house located at Freshwater Cove. The Sawyer family history goes back to William Sawyer, who came to New England about 1640.

Samuel's wife was Abigail (Abbie) Ingersoll Meads - they married in Boston on October 30, 1845. They had no children but lived an idyllic life, spending November through March in Boston, and April through October at the family homestead in Gloucester. They spent many years enjoying an accumulated wealth which was generously shared with others. However, life was not always easy for Samuel Sawyer, as he started at the bottom and suffered several financial reversals along the way before becoming financially secure.

Sawyer began his business career as a clerk in Samuel Stevens' dry goods store on Main Street in Gloucester. (2) He soon went to Boston, where he secured a job as a salesman with the firm Kimball and Jewett. He then entered the field of shipping and commerce, and became a partner in the firm of Haughton, Sawyer and Adams. This position took him to all parts of the world, and from it he amassed a fortune as a merchant.

Although a good deal of Sawyer's earlier life was spent in Boston and in travel, nothing could entice him away from the scenes of his childhood. At their Freshwater Cove home, he and Mrs. Sawyer enjoyed their middle age and later years. It was during this period of his life that Samuel Sawyer became one of Gloucester's leading philanthropists. His many gifts and bequests ranged from schoolhouse fences to the present clock in the City Hall tower, and from substantial contributions to the Female Charitable Association to a fund that made it possible to introduce music into the public schools. His most memorable gifts were funds for medals to be given annually to students for scholastic excellence, provision of the building and endowment fund for the Sawyer Free Library, and the land now known as Ravenswood Park.

Mr. Sawyer died from pneumonia at the homestead in Gloucester on December 15, 1889 at the age of seventy-four. Mrs. Sawyer had passed away the preceding year, also from pneumonia.

– Mary Rhinelander McCarl and Stephanie Buck