But closing for the season is not just switching the lights off and walking away.  To winterize Beauport takes several weeks and involves many different steps both on the interior as well as the exterior.   

The interior of the Museum is thoroughly cleaned.  This means dusting and wiping down all surfaces; light vacuuming of the floors, hooked rugs, and drapes (over a screen to avoid pulling of the fabric); and washing windows and ultra violet acrylic panels.  Rugs are stacked, covered, and pulled out of general paths– this eliminates walking over them during the winter walk throughs.  Furniture with fabrics are covered with dust protection and every object is examined for any signs of damage or stress.  With over 50 rooms and 10,000 objects, this task can take over a week to complete.

As was mentioned, the house can get pretty cold during the winter months, therefore it is imperative to turn the water off to the facility each year.  With seven full baths, one half bath, and eleven sinks in the house, this is challenging and time-consuming– not to mention the public facilities near the Gate House, the Office bath in the Garage, and the six outdoor spigots! 

Turning off the water is not a simple task–the valve to the main line in the street has to be shut off; water meters are removed; water heaters are drained; faucets that are prone to freezing are disconnected; caps to drains are unblocked; all faucets are opened; and environmentally friendly anti-freeze is poured in the traps.  On the exterior, spigots are opened and drained then blown out with compressed air to eliminate any water sitting in a low spot underground.

And then there is the landscape.  This past summer, Beauport’s landscape was restored to the period of interpretation.  In order to allow the new plantings to establish and survive in this harsh New England environment, the birch trees have been braced and the lower portion of the trunks have been wrapped with a mesh material to discourage chewing or clawing from squirrels and other small animals.  In addition, all the new arbor vitae have been wrapped in burlap to minimize the damage from the driving winter storms. 

All this to make sure that the house continues to stand for generations to come– we hope you come and visit us next year!

 Originally, the first floor of the house was clad in stucco.  In 1913, Sleeper decided to change the stucco to brick, which was more fashionable at the time.  The 1913 specifications detail complete removal of the stucco and a brick wall construction of a double wythe with headers tying the wall together.  This created an interesting detail change at the house.  The double wythe thickness of the brick wall would be constructed further out than the upper floor side wall shingles, making severe building changes. 

House trim disappears into brick walls and concrete parging is used to connect the brick wall to the upper side wall shingles.  All was done to accommodate the thicker lower wall.  Upon further investigations, however, what was supposed to be a double thickness wall is actually only one wyth thick–or a simple brick veneer.  

The headers that were supposed to tie into both walls are actually cut in the middle only to create the look of an English bond brick pattern.  It is not clear why the change was made, it may be that this type of construction proved either too difficult or possibly too expensive.  Curiously, the South Gallery wall is the only wall that was constructed to the specifications.

One of the issues with any masonry wall is that they tend to absorb water.  In a double thickness wall, the moisture would be absorbed by the first layer and allowed to dry due to the interstitial space between the two layers.  On a simple brick veneer, however, the bricks would absorb the moisture and transfer it to the wall sheathing and framing behind.  This detail caused severe deterioration at the house framing and sheathing.

  Repairs are underway…

The front gardens

The restoration of the landscape has been many years in the making.  Working from reports commissioned in the 1990s–which outlined character zones and color palettes– staff developed an overall plan for the landscape.  In 2009 Historic New England started working with the landscape architecture firm of Reed Hilderbrand to turn all of the planning into a reality.  The first phase of the project was to restore the waterside terraces – a series of sharply defined formal spaces.  This project redefined the use of space and the use of material to more closely match the original owner’s intent- Henry Davis Sleeper.  This project was completed in 2009. 

 The second phase of the project was to create and implement a plan for the front gardens.  This space, similar to the terraces, had lost its clear definition.  The interpretive period for the landscape at Beauport focuses on the late Sleeper period / early McCann period (late 1920’s through the early 1930’s).  This period was selected because it best represents the integrity of Sleeper’s original intentions, while presenting the landscape at the time Helena Woolworth McCann (second owner of the property) was first attracted to Beauport.  In essence, the spatial relationships and structure of the landscape were well established by this time.  With the exception of the McCann era brick wall along the road, any changes to the landscape composition were implemented by SPNEA / Historic New England. 

Beauport landscape- 1930s

The landscape during the interpretation period exhibited several key features that follow a progression from a “naturalistic” style to a formal style as one traverses from the land entrance to the sea entrance at the terraces. Landscape materials used to create walls and define the ground plane change from rough stone to a more formal brick.  Plant palettes change from native plant communities- like sumac, bayberry, and summersweet- to individual specimens and hybridized plant species.  Geometries change from flowing lines to rigid rectilinear lines.  Landscape spaces transition from amorphous volumes to defined garden rooms.  This progression is indicative of the arts and crafts movement in landscape and it is the defining characteristic of Beauport. 

 Much like the house, the landscape can be divided into several distinct units or rooms.  Each unit is comprised of specific materials and plants that define unique characters, such as the Old Field Succession, the Sun Dial Garden, and the Entry Courtyard.  In order to move forward with the project, the character zones were clearly defined and a set of design principles were established that were followed throughout the planning and implementation process.  The design principles included general rules, such as “Defining circulation through the configuration of planting beds and lawns” to more specific rules, such as “Entry Courtyard Garden: Simple palette of shade plants with contrasting textures and hollyhocks in sunny pockets.”

 Construction began in April and the final shrub was planted at the end of June.   The results are pretty amazing and worth a visit!  Now we are off to water…

This project is partially funded by Save America’s Treasures program and draws additional support from the Preservation Maintenance Fund. Please consider a gift to help support work the ongoing work at Beauport and the 35 other sites in the collection.

Open
Open Tuesday – Saturday, June 1 – October 15
10:00 a.m. – 5:00 p.m.
Tours on the hour.  Last tour at 4:00 p.m.
Closed July 4

Admission
$10 adults
$9 seniors
$5 students
Free for Historic New England members and Gloucester residents

Location and directions
Beauport, Sleeper–McCann House
75 Eastern Point Boulevard
Gloucester, Mass. 01930

And as an extra treat: Saturday, June 4th is Historic New England’s Open House where many of our historic house museums will be open and free of charge!  We hope to see you this weekend.  

No, actually that’s just the primer.  But the house will be a different color… or at least a different color than the present one.  The side wall repainting is one of the last pieces to the large, three year restoration project at Beauport.

Historical research indicated that the house was stained a much darker color.  Originally oil stains would have been used but over time the oil stains would bleach out and fade from ultra violet light.  When touch up painting was required, the faded color would be matched instead of the original color– leaving the shingles a much lighter and pinkish color over the years.

Paint analysis has been very important throughout the restoration project at the house–windows that are completely removed for conservation have paint analysis performed on the interior paint colors and the exterior trim was analyzed several years ago indicating a much darker brown than the purple color the house trim was routinely painted.  Knowing that the side wall was coated with a different color, the team removed shingles for analysis.

Two side wall shingles were removed– one located in an exposed area of the house and one hidden behind a roof line that was altered in 1954.  Paint analysis was done by Brian Powell from Building Conservation Associates.  Underneath several layers of stain was a much darker brown, which is considered to be the original color.

 So here you go- the new-or really the original color of Beauport!  Repainting is scheduled to be complete in August.

Here is just a sampling of what’s happening at the site:

Before work and during the landscape restoration

During landscape restoration work

Repainting the side wall shingles to the historic color

More windows!

Scaffolding installation for repainting and window work

The repairs are underway at the windows located on the harbor side of the building.  Recently, Heartwood Window Restoration removed five windows on the harbor for full conservation.  Most importantly, the Master Mariner’s window–a beautiful Moorish-inspired window on the second floor.

Beauport has a vast number of rooms, mostly based on literary and historical themes.  The Master Mariner’s Room is predominated by a nautical theme shown with objects including sextants, telescopes, compasses, charts and ship’s logs, scrimshaw and other items associated with voyages to faraway ports.  The room’s name alludes to the master mariners of the past, as well as to a professional association of fishing captains, the Gloucester Master Mariners Association, whose members were often entertained there.  

Due to the location of the windows, exterior work is extremely difficult.  The rocky ledge does not allow safe placement of a ladder to reach the second floor and the roof is exceptionally steep above.  The only access is through some sort of scaffolding system— so, taking advantage of the scaffolding in place for the roof replacement project, the team sprung into action.  

 The windows were carefully removed and protected for transportation… then happily returned, fully conserved.

Existing Conditions

Conserved and Re-installed

Beauport’s windows consist of wood sash units in varying operation—fixed, casement, and double hung.  The units include wood frames that are joined by a pinned corner mortise and tenon joint and wood muntins separating individual plate glass in diamond and rectangular patterns.  The house includes over 105 window openings with 249 sash units and 10 skylights. Since 2009, approximately 200 sash have been conserved.  The goal for this final phase is to address the remaining windows that include moderate deteriorated glazing and frames and sash that are accessible only by scaffolding on the harbor elevation.

To kick off the final phase, our own Carpentry Crew started the window conservation work late this winter by removing four windows from the Pine Kitchen.  

And Sleeper (the original owner) never disappoints–every time we enter the house, we find something new and exciting.  After years and years of the Pine Kitchen windows being painted shut–and thought to be fixed– the carpentry crew removed the sash and made an interesting discovery.  On either side of the sash and frames were hardware indicating that the windows were once operable.  Tension clips were used on windows that could not accommodate a weight pocket, or were not heavy enough to need one.  The sash would be clipped onto hardware that included a small spring, which would hold the window in place when opened.  The Pine Kitchen windows would have slid into the above wall cavity approximately 6 inches allowing air circulation at the bottom.  

Unfortunately, the hardware is badly rusted and currently not operable–but it is always fun to make a new discovery on how Sleeper used the space.

After years of research, planning, and data collecting, Historic New England is ready for Phase II of the Landscape Restoration project at Beauport.  Information on Phase I of the Landscape work can be accessed here.  Anyone interested in bidding on Phase II of the Landscape Restoration work should contact Jodi Black, Preservation Project Manager at 617.997.5580. 

The interpretive period for the landscape at Beauport focuses on the late 1920s through the early 1930s.  This period was selected because it best represents the original owner’s intentions (Henry Davis Sleeper), while presenting the landscape at the time Charles and Helena McCann, the second owners, were first attracted to Beauport.  With the exception of the McCann era brick wall along the road, most of the changes to the landscape composition were implemented by Historic New England over the last 70 years of ownership. 

 The landscape during the interpretation period exhibited several key features that follow a progression from a “naturalistic” style to a formal style as one traverses from the land entrance to the sea entrance at the terraces. Landscape materials used to create walls and define the ground plane change from rough stone to a more formal brick.  Plant palettes change from native plant communities to individual specimens and hybridized plant species.  Geometries change from flowing lines to rigid rectilinear lines.  Landscape spaces transition from amorphous volumes to defined garden rooms.  This progression is indicative of the arts and crafts movement in landscape and is one of the defining characteristics of Beauport. 

 Much like the house, the landscape can be divided into several distinct rooms or zones.  Each zone is comprised of specific materials and plants that define unique characters.    

Phase II of the Landscape Restoration will focus mainly on the Old Field Succession area–including the Entry Courtyard and the Second Dial Garden. 

The Old Field Succession is defined by un-honed stone walls, natural rock outcroppings, pea-gravel walks and beaten earth pathways.  Historic photographs show the gardens with multiple levels of shrubs, small trees, and clearly defined planting beds.  Included in this area is the Second Sundial Garden, which was created after Sleeper moved the sundial from the harbor side terraces to the Old Field Succession area.  The Sundial Garden creates a center spoke to the Old Field Succession area allowing a visitor to pass through five possible pathways.  Although the sundial is still there, a few of the paths are not as clearly defined as before and include overgrown shrubs and very large yew bushes.

This area will be again planted in a more naturalistic manner using native plant communities.  The restored landscape will include small birch trees, arborvitae, chokeberry shrubs, and Pennsylvania wood sedge for ground covering.  The Sundial Garden will again include a more defined geometric arrangement to sweeping pathways and will be planted with perennials in a garden-esque manner. 

 The work is scheduled for May and June 2011… stay tuned.