Part 2. “NOTABLE”. “EXEMPLIFICATION”. “ARBITRATION”.
Three test patches are visible on the commemorative bronze plaque set into Tablet Rock. Along with surface patina aesthetic choices, test patches are left to cure or age to see their impact. When considering care and protection for public art, there is no singular approach. There is no other American commemorative tablet that’s so colossal, set into a glacial outcropping in this precise angle and manner, and susceptible to its surroundings and climate over this length of time. Hence the test patches.
Daedalus is a renowned sculpture conservation firm and will approach this work with respect.
Money was raised to address the plaque and patination (some had preference for a brown finish) Gloucester Daily Times, 2016, and then that project was paused. As far as I know, funds were not returned nor redirected for restoration of the city’s art deemed in distress. At the time William Taylor addressed the verdigris:
“As an antique dealer for decades who dealt many times with bronzes and patinas I completely agree that the tablet should not be restored. While I applaud…well-meaning and generous inclinations not only does natural oxidization form a protective surface it looks appropriate and should not be fiddled with. Restoration is too expensive and absolutely not necessary. Cleaning it would remove many decades of well acquired history.
The enormous 20th Century plaque on Tablet Rock in Stage Fort Park commemorating the first permanent European settlement, the “Founding of the Massachusetts Bay Colony in 1623”, was dedicated in August 1907. James R. Pringle was designated to write the inscription. The execution of the design and bas relief border was by Eric Pape.
“The nautical scheme of decorative framework and embellishment was the composite suggestion” of various committees dating as far back as the 1880s.
Founders plaque – tablet rock photo C. Ryan 2016
Image block documenting how Tablet Rock looked pre bronze tablet through today: before the plaque, 1901 (branded Battery K still visible); 1907 dedication, Library of Congress (Hammond with his daughter Natalie Hammond); 1970s; 1974 (graffiti beneath); 2016; 2019. Note the rectangular area beneath the plaque was lightened at the time of installation. The border carving degraded. The dark streaks accelerated after 2020 (note the verdigris patina 2016, 2019, etc)
The Gloucester Daily Times published this image in 1923 with the photo caption: “Now Under Construction on the Southern Side of Western Avenue, this Project When Completed Will Give Gloucester one of the Finest Approaches of Any City on the Atlantic Seaboard.” The meticulously hand drawn credit within the drawing itself caught my eye as much as the drawing: “Proposed Treatment of Waterfront, Gloucester, Mass. Thomas W. Sears Landscape Architect, Providence RI”. Thomas W. Sears was a remarkable 20th Century landscape designer. The modern Boulevard work completed in 2014-17 gracefully carries out and returns to the original dreams for the Western Avenue highway and park that are more than a century in the making.
Thomas Warren Sears (1880-1966) preliminary designs for Gloucester’s future Boulevard
Thomas Warren Sears was born in 1880 in Brookline, Massachusetts, and grew up in this elegant abode at the corner of Beacon and Charles Street. This black and white house portrait was shot in 1897.
Here’s a Google street view photo for comparison today.
After being ousted from the New York City parks department, the ‘father of American landscape design’, Frederick Law Olmsted (1822-1903), launched his business a ten minute walk from the Sears family home. The headquarters at 99 Warren Street was named “Fairsted” and was in operation until 1979 when it was declared a National Historic Site and transferred to the National Parks.
If there was no neighbor connection early on, a professional one came soon: Sears worked for the Olmsted Brothers immediately after receiving two degrees from Harvard– his BA in 1903 and his BS in 1906. (There may have been an earlier Brookline connection.) Rather quickly Sears left to set up his own firm: first in Providence, RI, when he did work for Gloucester’s Boulevard, and not long after in Philadelphia. In 1911 he gave a talk for the Proceedings of the Engineers’ Club of Philadelphia 28 (April 1911):147-158., “The Functions of the Landscape Architect in Connection with the Improvement of a City”available online as part of an urban planning anthology compiled by John W. Reps, Professor Emeritus, Cornell University. I wonder if he shared his Gloucester photographs as part of his talk?
“There are two main approaches to cities: (1) On water by boat, and (2) on land by railroad. Along both of these lines of approach land should be taken for public use, and for very different reasons. Take first the use of water fronts: Unless some provision is made for the public, the whole water front, whether it be river or harbor, may be usurped by commercial enterprise and the public deprived of ever seeing the water except when aboard a boat. In certain cases, as in New York, where the water front must of necessity be utilised for dockage, a combination of commercial and public use may be successfully employed. There the docks are owned by the city and leased by the steamship companies; in this way their appearance can be controlled. At present it is planned to build on the tops of these docks huge recreation parks which may be used by the public.”- 1911 Thomas W. Sears
Mike Hale’s contemporary perspective shares a similar philosophy with Sears:
“An effort has been made in this paper to show clearly that landscape architecture is utilitarian quite as much as esthetic; that whatever one is designing, whether it be a city plan or any of the elements in a city, the design should be governed by use as much as beauty.” – 1911 Thomas W. Sears
By 1917 Sears was commissioned regularly and had a long, full career including notable designs for the Reynolda estate now part of Wake Forest University, Winston-Salem, North Carolina, and the wildly influential outdoor amphitheater for Swarthmore College, the Scott Outdoor Auditorium. His work in Gloucester is rarely mentioned.
Since the Gloucester drawing was marked ‘Providence’, I knew the drawing was done long before the 1923 construction. I tentatively dated the schematic ca.1910. Thankfully Thomas Warren Sears was a photographer, too. Turns out that this image is a Sears’ photograph of a lovely Sears’ design. The glass negative is dated 1908 which squares with his professional career timeline.
ALL NEW LED LIGHTS
One of the modern design elements is the welcome ornamentation of lights. They feel like they were always here because line is such an essential part of design and they add the vertical visual interest. When I saw the new light bases I thought of the line of trees in the Sears drawing. I love the mix of natural and formal design in his rendering, but am equally gobsmacked by the sweeping open vista. Both are sensitive approaches and part of the context of the Boulevard’s build.
Thomas Warren Sears photographed Western Avenue for his preparatory work. See the homes along the beach that were later removed for the construction of the Boulevard; distant vistas to the Surfside Hotel (built after Pavilion burned) and Stage Fort park; and Western Avenue street scenes looking east and west before the road was widened.
Good Morning Gloucester 