Nonpartisan Education-based News for Talbot County Community
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This Queen Anne and Victorian-inspired home, with its wrap-around porch, blends historic charm and modern functionality alongside the garage and guest apartment.
Several of my friends who wanted to purchase historic houses and found Easton’s Historic District too costly have discovered Trappe. Being a history buff, I am always curious to know the origin of a town’s name. I learned Trappe was incorporated in 1827 and its name may have been inspired by either wolf traps or a Trappist Monastery. This charming house caught my eye several years ago when I featured another House of the Week that was located across the street and I am so pleased to feature this house today. The long and deep lot is located in the heart of Trappe’s residential district and the house and landscaped grounds have been lovingly maintained by its current owner who purchased it from the original owner. As I walked up the driveway for my tour, I admired the original lap siding that has been meticulously sanded down and repainted so it looks like new. The two-bay, two room wide, four rooms deep house’s multiple gables, wrap-around porch, 2/2 windows and bay windows identify its blend of Queen Anne and Victorian styles.
The updated gray palette with textured scalloped shakes and mulberry shutters enhances curb appeal while maintaining the home’s historic elegance.
When the current owner bought the house, the exterior color palette was tan siding with green shutters. She chose an exterior color palette of light gray, white trim and deep mulberry shutters was spot on and gives the house a much better curb appeal. The darker gray of the third floor’s scalloped shakes is a great accent of both color and texture. The landscaping along the brick sidewalk is a prelude to the manicured landscaping of the grounds; even in the beginning of winter, there is still color in the plantings.
Generous proportions and classic fluted columns create a welcoming outdoor space with a nod to timeless architectural detail.
The deep wrap-around porch easily accommodates rocking chairs and circulation space. The light blue-gray ceiling and darker blue-gray flooring contrasts with the white fluted columns.
The porch seamlessly connects to the family room, framed by sculptural crape myrtles for privacy and seasonal color.
The porch ends at the door to the family room for great outdoor-indoor flow. The crape myrtles are sculptural elements and await their next season of color that will provide even more privacy.
Layered gables, screened porch transparency, and thoughtful massing elevate the architectural appeal of the home’s rear and side views.
All of the elevations of this charming house are architecturally interesting. The rear elevation’s overlapping gables and the side elevation’s gable enliven the facades. The screened porch is another delightful outdoor room that also adds transparency to the house’s very appealing massing.
This pre-fabricated gazebo, crafted with care by the owner and her children, creates a serene space surrounded by gardens and complemented by wind chimes.
Walking through the gardens along hardscaped paths that varied from gravel to brick to stone pavers led me to this delightful gazebo next to the garage with an apartment above. I especially liked the pendant light fixture so one could dim the light after sunset and savor being surrounded by the sounds of nature to the tune of the wind chimes.
I later learned from the owner that the gazebo was a pre-fab kit that she and her children assembled! It was tempting to linger and listen to the sounds of the wind chimes but I was eager to explore the full extent of the grounds
Formal landscaping breaks into lush greenery, leading to the brick terrace with views of the expansive grounds and discreet garage-apartment.
My walk ended at this brick terrace surrounded by boxwoods. I paused on the bench to appreciate the full depth of this unique property and its landscaping. From the bench, the garage-apartment was visible but the house was totally obscured.
Original oak balustrades and curved stair detailing highlight craftsmanship from the home’s early 20th-century origins.
Having explored the grounds, I was quite eager to begin my tour of the house. The front door opens into a spacious foyer with daylight from two windows above the stair. I admired the stair’s detailing with its stained winders and treads, painted risers that accentuates beauty of the wood and tall oak newel posts whose recessed panels are lined with egg and dart molding . I especially liked how the bottom two treads have curved ends that gracefully spill into the foyer.
The house was built in 1900 and I was so thankful that the beautiful stained oak balustrade had not been painted over the years! I also admired the trim at the stair wall that adds texture and how both the doors and windows are trimmed with fluted jambs and headers with rosette trim at the corners-details from the era of gracious living.
Corner windows frame the wrap-around porch, while the open layout welcomes natural light into this versatile space.
A stained wood French door leads from the foyer into the living room that was probably the formal parlor of the house when it was built. The windows at the corner look out onto the wrap-around porch. The spacious room easily accommodates seating for a gathering of family or friends.
Angled bay windows and built-in cabinetry enhance this central gathering space, featuring vistas to the lush gardens beyond.
My fave room was the large dining room that was probably the family room when the house was built. Currently furnished as a dining room, it is connected to both the foyer and the living room. The subtle bay angled wall of windows, the recessed cabinet with an arched top and glass doors and the fireplace create a wonderful setting for cocktails by the fire and dinner by the windows overlooking the grounds. The light wall and historic trim green color continues throughout the house.
Stained wood accents, corner windows, and access to the wrap-around porch connect this cozy space to the home’s exterior.
Off the dining room is the family room that also has an exterior door to the wrap-around porch. I admired the stained wood of the exterior door and again was thankful that the house’s doors had not been painted over the original wood. Windows at the corner walls offer views of the gardens.
Sunlit windows and a clever mirrored backsplash reflect thoughtful design in this bright, well-planned kitchen.
A short hall off the dining room leads to a powder room, the screened porch, a secondary stair to the second floor and a doorway to the kitchen. The window overlooks the driveway so the distance from this house to the neighbor’s house allows full sunlight into the kitchen. Since the sink is located on an interior wall, the owner cleverly added a mirror detailed like a window. As I stood at the sink, I could see the reflection of the glass in the door at the rear wall of the house overlooking the gardens.
Framed panels maximize sightlines, while hedges create outdoor privacy within this delightful, enclosed retreat.
The cozy screened porch is a perfect Snug for relaxing at the end of the day or for warm weather meals. Hedges provide seated privacy and the framing of the screened panels maximizes one’s view of the landscape and the garden shed beyond. Behind the screened porch at the rear of the house is a full bath and laundry and a mud room with an exterior door to the driveway and gardens.
The landing’s angled walls and full newel post offer elegant detailing, while creating opportunity for functional desk space.
Instead of climbing the secondary stair from the kitchen, I went back to the foyer and climbed the main stair. The stair landing blends into the large hall connecting three spacious bedrooms and the hall bath.
I especially liked how the balustrade detailing included a full newel post against the wall. I also liked how the wall opposite the stair has an angled edge which gives room for a desk on the wall opposite this window. Mounting a mirror above the desk would provide a view of the window for a respite from computer work.
Three large windows illuminate this spacious corner room, showcasing its handsome trim and functional original radiator heating.
The largest bedroom is the primary bedroom located at the front corner of the house with three windows on the two exterior walls for abundant daylight. I noted the radiators for heating which to me is the best source of heat when combined with high velocity AC for thermal comfort.
Windows on three walls provide sun-filled views of the gardens throughout the day, creating a bright and welcoming retreat.
The middle bedroom has windows on each of its three exterior walls for sunlight throughout the day and bird’s eye views of the side and rear gardens.
Dual access via the secondary stair and hall makes this rear corner bedroom a versatile and sunlit space.
The third bedroom is located at the rear of the house and has the secondary stair leading to the first floor hall. The bedroom has windows on all three exterior walls for sunlight throughout the day.
Natural daylight flows in through high windows, and its central layout offers convenient access to all second-floor bedrooms.
The hall bath has doors to both the rear bedroom and to the stair hall. My architect’s imagination kicked in and I believe a second bath could be created next to this one so the new one could be dedicated to the primary bedroom.
Unfinished yet full of potential, this attic’s skylights and gable windows create a foundation for a future office or recreation space.
The house’s bonus room is the unfinished attic space, accessed by stairs off the landing at the second floor. With windows at each gable end and skylights, this space could be renovated into myriad uses; office, recreation room, studio, etc., or simply storage.
The apartment’s entry balances functionality with proximity to the gazebo, offering an inviting connection to its own outdoor room.
I reluctantly ended my tour of this exquisite house to explore the apartment above the garage. Opposite the building’s entry door is the large gazebo which is a wonderful outdoor room for the apartment.
Sloped ceilings and dual gable windows create dynamic architecture within this bright apartment, perfect for extended stays.
The apartment’s front gable wall with the two windows and the mix of flat and sloped ceilings creates delightful interior architecture. With a full bath, stack W/D and mini-kitchen, this bonus room with multiple windows would be hard to beat for extended stays.
This historic gem in the heart of Trappe’s residential district have been meticulously maintained and offers the charm of two appealing architectural styles with modern conveniences. The compact floor plans on both floors maximizes the room sizes and multiple windows provide abundant sunlight. Details including the wood floors, trim and built-ins offer character from an era of gracious living. Garden enthusiasts would enjoy the spacious grounds and add their own finishing touches. The outdoor rooms of the front wrap-around porch, screened porch, terraces in the gardens and the gazebo keep one close to the sights and sounds of nature. The double garage and the apartment above are both a bonus as well as the full third floor attic of the main house. Wonderful property!
For more information about this property contact Judy Moore with Benson and Mangold at 410-822-0415 (o), 410-463-1730 (c) or [email protected]. For more photographs and pricing visit www.TheMarylandShore.com, “Equal Housing Opportunity”.
Photography by Janelle Stroop, 845-744-2758, [email protected]. ‘
Contributor Jennifer Martella has pursued dual careers in architecture and real estate since she moved to the Eastern Shore in 2004. She has reestablished her architectural practice for residential and commercial projects and is a real estate agent for Meredith Fine Properties. She especially enjoys using her architectural expertise to help buyers envision how they could modify a potential property. Her Italian heritage led her to Piazza Italian Market, where she hosts wine tastings every Friday and Saturday afternoons.
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Our Lady of Guadalupe is the Patroness of the Americas. The celebration of her feast day on December 12 dates back to the 16th century. Her story can be found in several chronicles of the time. She is particularly important in Mexico, where her story originated.
Cape with image of “Virgin of Guadalupe” (1531)
On Saturday morning December 9, 1531, on Tepeyac Hill, 28 miles from Mexico City, the Virgin Mary appeared to Juan Diego, a 57-year-old widower of Aztec ancestry. She spoke in Nahuatl, his native tongue. She told Diago to ask the bishop of Mexico, Juan de Zumarraga, to build a chapel in her honor on the place where they stood. He told the bishop of his vision, and the bishop asked for a sign from the Virgin. She appeared again to Diego and told him to gather roses, even though it was winter. He gathered the roses in his cloak (tilma) and returned with them to the bishop. When the roses tumbled from his cloak, the image of the Virgin miraculously appeared on the garment. The ‘’Image of Virgin of Guadalupe” (1531) on the cloak hangs today above the high altar of the new Basilica of Guadalupe on Tepeyac Hill. The cloak was a catalyst for the conversion of many indigenous people to Catholicism. She is the patroness of the Americas and a symbol of Mexican identity. The Basilica is one of the most visited Marian sites in the world, and the most visited Catholic church except for St Peter’s in Rome.
The crown above the cloak was placed there on October 12, 1895, during the Canonical Coronation of the Virgin of Guadalupe. The Mexican flag hangs below the cloak.
“Virgin of Guadalupe” (1691)
“Virgin of Guadalupe” (1691) (72”x49’’) (Los Angeles County Museum) was painted by Manuel de Arellano (1662-1722), a well-known artist in 17th Century Mexico. The many paintings of the Virgin of Guadalupe were intentional copies of the painting on the cloak. As a result, the image was not altered from the original, but in almost all, four scenes of Juan’s interaction with the Virgin were added to the four corners. Later artists also added elaborate borders of flowers, particularly roses, and birds. Arellano painted in the Spanish Baroque style of chiaroscuro, using a rich color palette in the border.
“Virgin of Guadalupe” (1691) (detail)
In the fourth and final part of the story, Diego holds his cloak with the roses, and kneels in the presence of the Virgin. Mexico City can be seen beneath her image, and the image of the Virgin can be seen on the edge of the cloak.
“Virgin of Guadalupe” (1698)
“Virgin of Guadalupe” (1698) (84”x37’’) was created by Miguel Gonzales. The medium is mother-of-pearl on wood, called enconchado, popular at the time. A variety of shells are placed on the painting like mosaic tiles and then covered with a glaze. Gonzales’s work repeats the traditional images, but the medium makes the work glow.
Angels hold the four corner scenes, a dove flies above Mary’s head, a unique shield sits at the Virgin’s feet, all surrounded by an elaborate floral border that includes red and gold flowers and small scenes of a ladder, palm tree, ship, lily, and fountain from Bible references. For example, Mary was believed to be the ship of salvation, as was Noah’s ark. The white lily is a symbol of Mary’s virginity. Marion iconography was abundant in Baroque paintings.
“Virgin of Guadelupe” (1698) (detail)
At the top left corner, angels guide Diego to the Virgin. At the top right, Mary appears to Diego. At the lower left, Diego goes away with a cloak full of roses. At the lower right, Diego shows the roses and the image on his cloak to the bishop.
“Virgin of Guadalupe” (1698) (detail)
The shield beneath the figure of the Virgin had both religious and political significance. The creoles of Mexico sought a symbol that would distinguish them from old Spain. The eagle and cactus became popular. Mexican myths told about the founding of the ancient Aztec capital city Tenochtitlan, now Mexico City. The solar god Huitzilopochtli told the people they would find the destination of their new home when they found an eagle on a cactus. The current Mexican flag design was adopted on September 16, 1968, but the central image is a version of the original 1821 design, and it also is found in Gonzales’s shell inlay work. Famous explorer and conquistador Hernando Cortez (1485-1547) carried a banner with the image of the Virgin when he brought down the Aztec empire in 1521.
“Virgin of Guadalupe” (1824)
“Virgin of Guadalupe” (1824) (23’’x15’’) was painted by Isidro Escamilla after the 1821 Act of Independence that formally ended Spanish reign in America. Always a popular image, the Virgin of Guadalupe became even more important as a figure whose divine help was a factor in freeing the people from Spanish rule. The part in Mary’s hair is a symbol of her virginity. She wears a cross, her hands are folded in prayer, and she wears a dark ribbon around her waist, over her womb. She is expecting a child. The Spanish word for pregnancy, encinta, means adorned with a ribbon. Her blue-green cloak represents Heaven; the reddish robe represents Earth. The stars on her robe are arranged in their position in the sky on December 12, 1531.
Her reddish gown is decorated with four-petaled jasmine flowers, a sign of the divine to the Aztecs and a symbol that the age of peace has come. A jasmine flower is placed over Mary’s womb. Mary is surrounded by the rays of the Sun. The crescent Moon under her feet is a Christian symbol of her perpetual virginity as well as of the Aztec god Quetzalcoatl, the feathered serpent of the Moon. An angel supports both the Moon and the Virgin. At the bottom, the two angels hold a rose and a palm branch, and at the top, one plays a violin while the other plays a guitar. Red and blue roses adorn the sides. Escamilla used gold paint to depict the rays of the sun, to cover Mary’s gown with jasmine flowers, and to accent the roses. Her crown also is gold.
The Virgin of Guadalupe who appeared to Diego was Aztec; therefore, her complexion was traditionally painted with a greyish tint. Her connection with Aztec culture and Roman Catholicism continues to be strong. Twenty-five popes have honored her, and Pope John Paul II visited her shrine four times. On his third visit in 1999, he declared December 12 the Liturgical Holy Day for the whole continent. Juan Diego was canonized by John Paul II on July 31, 2002.
Beverly Hall Smith was a professor of art history for 40 years. Since retiring to Chestertown with her husband Kurt in 2014, she has taught art history classes at WC-ALL and the Institute of Adult Learning, Centreville. An artist, she sometimes exhibits work at River Arts. She also paints sets for the Garfield Theater in Chestertown.
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Editor’s Note: The poet paints a cozy farmyard scene. We’re lulled into a sense of calm with amusing descriptions of the sheep. The allusion to the Christian religion makes us think of another night in a barn, long ago. What are the sheep listening for in the dark? Their wooly backs are full of light, their breath suspended. There’s a building sense of anticipation. We think, like he animals, it is for snow, but in the last two lines, we learn it’s something else.
Sheep in the Winter Night
Inside the barn the sheep were standing, pushed close to one
another. Some were dozing, some had eyes wide open listening
in the dark. Some had no doubt heard of wolves. They looked
weary with all the burdens they had to carry, like being thought
of as stupid and cowardly, disliked by cowboys for the way they
eat grass about an inch into the dirt, the silly look they have
just after shearing, of being one of the symbols of the Christian
religion. In the darkness of the barn their woolly backs were
full of light gathered on summer pastures. Above them their
white breath was suspended, while far off in the pine woods,
night was deep in silence. The owl and rabbit were wondering,
along with the trees, if the air would soon fill with snowflakes,
but the power that moves through the world and makes our
hair stand on end was keeping the answer to itself.
Born into a big Dutch-Irish family in 1942 in Morris, Minnesota, Tom Hennen grew up on farms. After abandoning college, he married and began work as a letterpress and offset printer in 1965. In 1972 he helped found the Minnesota Writers’ Publishing House, printing work with a press stashed in his garage—work that included his first chapbook, The Heron with No Business Sense. He worked for the Department of Natural Resources Wildlife Division in the 1970s and later worked as a wildlife technician at the Sand Lake National Wildlife Refuge in South Dakota. Now retired, he lives in St. Paul near his children and grandchildren. This poem, is from Darkness Sticks to Everything: Collected and New Poems. It is reprinted with permission of Copper Canyon Press.
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Burl Lewis and Jamie Fisher tend their pound nets in the pre-dawn light carrying on a time-honored fishing tradition. “Tradition” by Michale Dreese.
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Design with Jenn Martella: Contemporary on the Chesapeake Bay
4.4-acre waterfront retreat in Neavitt features decks designed to take full advantage of Chesapeake Bay views.
When I began my home search after moving to Talbot County twenty one years ago, I fell under the spell of the charming village of Neavitt. I liked both its location near St. Michaels’ amenities but also its privacy from being a peninsula surrounded by various creeks and the Chesapeake Bay. The picturesque houses, the former Post Office building that has been restored by architect Mark McInturff, the Community Park and Neavitt Landing give Neavitt its unique charm. This contemporary house was built in 1986 and is sited on a 4.4 acre lot with both mature trees and also its long driveway for privacy. Decks at both floors of the house offer panoramic views of the Chesapeake Bay.
Compact yet striking, the layered rooflines and large windows add architectural interest while maintaining a minimal site footprint.
The house’s compact footprint minimized disturbance of the site and its simple sloped roof is enlivened by a layer of shed roofs infilled with windows at both the front and the rear of the house. At the front of the house, one shed roof provides headroom for the second floor primary suite.
The elevated first-floor deck and expansive windows create seamless indoor-outdoor living with stunning Bay vistas.
The rear elevation opens up the house to unobstructed vistas of the Chesapeake Bay and the offsets of the second floor rooflines enliven the façade. The first floor deck is elevated to maximize the water views and is connected to the stone terrace by a paved walkway.
A prow-shaped upper deck with sleek cable railings offers uninterrupted panoramic views of the Chesapeake Bay.
The second floor deck is shaped like the prow of a ship above the bay wall projections of the living room below. The railing of horizontal cables and thin cap offers clear bird’s eye views of the Chesapeake Bay.
Multi-level outdoor spaces, including a deck, terrace, and screened gazebo, provide versatile areas for relaxation.
The placement of the main level outdoor spaces, from the large deck with a wide railing for extra seating to the stone terrace below and the screened gazebo offer a variety of options for relaxing outdoors. The blue cushions and the green umbrella are colorful accents to the house’s and deck’s exterior palette of light gray.
The red roof, bold door, and accents create a vibrant entry, warmly welcoming visitors into the home.
A welcoming front entry is crucial for a house that is for sale. As I walked up the steps to the front entry deck, I admired the deep aqua pot with red flowers and the bench accented by a striped, multicolored pillow. The other red accents, that symbolize welcome, of the door and the red roof created an entry that beckoned me inside.
Natural light pours into the foyer through sidelights and a central window, complementing the wood floors and pale yellow walls.
I opened the front door into a foyer with daylight from both the sidelights on either side of the front door and a window on axis with the interior French door that creates a vestibule and airlock. Opposite the front door is a long closet for family coats and another closet under the stair to the second floor. The wood floors and trim accentuated the pale yellow walls. As I walked down the hall, I glimpsed a view of the water through both an arched opening of the adjacent office and also the living room’s exterior wall of windows.
Sloped ceilings and tiered windows add character and light to the cozy guest spaces.
At the end of the hall a short hall leads to the guest suite at the front of the house. The bedrooms are compact but their sloped ceilings give them a pleasing spatial volume and the soothing neutral wall color is accented by the colorful striped bed linens. The side window has both a low operable window as well as a picture window above.
Thoughtful design, such as L-shaped cabinetry and glass shower walls, maximizes the functionality and openness of this shared space.
Between the two guest bedrooms is a large bath with “L” shaped cabinetry that wraps around one corner. Placing the lavatory in the corner provides separate space for each guest’s toiletries. The transparent glass shower maintains the spatial volume.
Visible roof beams and partial-height walls maintain an open, airy flow throughout the hall and living spaces.
The entry hall ends at the open plan kitchen-office-living room. The hall table is strategically placed for entertaining and the kitchen’s breakfast bar has a vista down the stair hall. I admired the lightly stained wood framing that frames the partial height wall between the adjacent office and dining room so the expanse of the exposed stained roof beams and decking is uninterrupted.
The U-shaped design features granite countertops, airy shelving, and uninterrupted views.
The large “U” shaped kitchen has everything a cook would want-plenty of counter space, an easy care floor finish, white cabinets, dark granite countertops, and stainless steel appliances. I appreciated the lack of cabinets at the rear wall so windows could instead offer views of the landscape and water.
Stained sloped ceilings anchor this light-filled dining room surrounded by wrap-around windows and custom millwork.
The large dining room’s wrap-around windows and the sloped ceiling with stained exposed beams and decking create a stylish space for family dinners or celebrations. The bespoke millwork with glass fronted upper cabinets tucked into a recess in the room and the rattan backing of the dining room chairs maintain the transparency of the space. Windows on both exterior walls provide panoramic views of the landscape and water.
Arched shelves and open sightlines connect the office with the entry hall while framing views of the landscape.
The office ‘s interior wall’s rhythm of recessed arched openings infilled with open shelves has a full center opening that creates a “peek-a -boo” space to the entry hall. Cabinets below the arches provide ample storage for office supplies. Next to the desk at the rear corner of the space is a wall opening to the living room. Seated at the desk, one can enjoy views through the living room’s wrap-around windows.
A bay window wall creates a focal point, framing water views while complementing the warm tones of the living room addition.
The living room addition with a rear bay-shaped wall infilled with long windows of picture planes above operable units for ventilation maximizes the vistas to the landscape and water. The room’s other angled side contains the fireplace and TV with shorter windows above more bespoke millwork.
The sloped ceilings and trio of large windows fill the serene primary suite with light and views of the landscape.
The stair to the second floor ends in a hall that contains to the primary bedroom, bath, laundry and a family room. The primary bedroom is tucked under the sloped roof with high knee walls that can easily accommodate a bed’s high headboard. A door in the knee wall painted to match the wall leads to eave storage. At the side wall, a vertical window containing a picture unit, ventilated unit and transom with a sloped top stretches from the baseboard to just below the underside of the ceiling.
Expansive windows ensure waking up to tranquil Bay views in the light and airy main bedroom.
Opposite the bed is a trio of windows that offer views of the landscape and water. The light blue walls and white furnishings create a serene setting for sleep.
A trio of high-set windows provides ample light while maintaining privacy and adding symmetry to the bright, spacious bath.
The bath for the primary bedroom is located off the hall. The trio of windows provides ample daylight and their high sill height accommodates towel racks below and also eliminates the need for window treatments. The primary bedroom’s blue and white scheme extends into the bath.
Wrap-around windows and deck access offer a seamless indoor-outdoor connection in the second-floor family room.
The house’s bonus room is this delightful family room, reached by additional steps from the second floor’s stair hall. The long pitched ceiling begins at the corner windows and extends past the dropped stained beam and ends at the rear wall of windows. The large closet is convenient for extended stay guests.
Built-in millwork blends seamlessly with wrap-around windows and sliding doors that frame breathtaking water views and lead to the angled deck beyond.
The notch in the family room’s side wall accommodates bespoke millwork without compromising the water view from the sitting area. This delightful room has wrap-around windows of both picture and ventilated window units for panoramic views of the landscape and water beyond. The neutral colors of the upholstered furnishings and blue accents create a great space for relaxing with family and friends. Sliding doors lead to the large deck with angled sides for panoramic water views.
The ship-inspired angled deck and low-profile railings maximize water views, creating an outdoor oasis for relaxing.
My fave room was this deck off the family room with Adirondack chairs facing the tip of the angled deck that reminded me of the prow of a ship. The slender cap rail and horizontal cable lines disappear into the lawn beyond. With the south facing orientation, this outdoor room must be quite popular during the warm months.
This waterfront retreat combines its close proximity to St. Michaels with its location in the picturesque village of Neavitt. Carefully designed to maximize the expansive views of the Chesapeake Bay, the house’s compact footprint is seamlessly integrated into its natural surroundings. The contemporary architecture of sloped ceilings and wrap-around windows enliven the spaces with daylight, maximize the spatial volume and offer panoramic views of the landscape and the Chesapeake Bay.
The compact floor plan is zoned very well with the first floor’s living-dining-kitchen spaces and guest rooms and the second floor’s primary bedroom, bath, laundry and family room. The outdoor rooms of the terrace and gazebo, the first floor’s elevated deck and the second floor’ deck with its prow shape facing the water keeps one connected to the landscape and water. Nature enthusiasts would enjoy sightings of deer, eagles, foxes, geese, osprey and other shorebirds and water enthusiasts would enjoy the private pier to launch a boat for an afternoon on the water. The property also has a detached shed for storage or a workspace. Great property for weekend or full time living!
For more information about this property contact Wink Cowee with Benson and Mangold at 410-745-0415 (o), 410-310-0208 (c) or [email protected]. For more photographs and pricing visit www.buythechesapeake.com, “Equal Housing Opportunity”.
Photography by Janelle Stroop, 845-744-2758, [email protected]
Architecture for the addition by Atelier 11, www.atelier11architecture.com ,(410) 310-1385
Contributor Jennifer Martella has pursued dual careers in architecture and real estate since she moved to the Eastern Shore in 2004. She has reestablished her architectural practice for residential and commercial projects and is a real estate agent for Meredith Fine Properties. She especially enjoys using her architectural expertise to help buyers envision how they could modify a potential property. Her Italian heritage led her to Piazza Italian Market, where she hosts wine tastings every Friday and Saturday afternoons.
The Spy Newspapers may periodically employ the assistance of artificial intelligence (AI) to enhance the clarity and accuracy of our content.
Editor’s Note: Many of us will remember these halcyon days of our 1950’s youth. Yes, there was the Cold War, your better-off neighbors were building bomb shelters and we practiced hiding under our desks during nuclear bomb drills. But after-school afternoons spread out ahead of us like lazy Sundays. We’d ride our bikes to buy penny candy at the local market, play baseball and dodge ball. And in the evening, after dinner, we’d run outdoors again to catch fireflies beneath the weightless, unthreatening immensity of the night sky.
From Our House to Your House
It is 1959. It is the cusp of the coming revolution.
We still like Ike. We are still afraid of Sputnik.
We read Life magazine and Sports Illustrated
where the athletes grow up shooting hoops
in the driveway, playing catch in the backyard.
We sit on our sectional sofa. My mother loves
Danish modern. Our pants have cuffs. Our hair
is short. We are smiling and we mean it. I am
a guard. My father is my coach. I am sitting
next to him on the bench. I am ready to go in.
My sister will cheer. My mother will make
the pre-game meal from The Joy of Cooking.
Buster is a good dog. We are all at an angle.
We are a family at an angle. Our clothes are
pressed. We look into the eye of the camera.
“Look ’em in the eye,” my father teaches us.
All we see ahead are wins, good grades,
Christmas. We believe in being happy. We
believe in mowing the lawn, a two-car garage,
a freezer, and what the teacher says. There is
nothing on the wall. We are facing away
from the wall. The jungle is far from home.
Hoses are for cleaning the car, watering
the gardens. My sister walks to school. My
father and I lean into the camera. My mother
and sister sit up straight. Ike has kept us
safe. In the spring, we will have a new car,
a Plymouth Fury with whitewalls and a vinyl top.
Jack Ridl, Poet Laureate of Douglas, Michigan (Population 1,100), is the author of All at Once, (CavanKerry Press, 2024), Saint Peter and the Goldfinch (Wayne State University Press, 2019), and Jack’s Practicing to Walk Like a Heron (Wayne State University Press, 2013) was awarded the National Gold Medal for poetry by ForeWord Reviews. His collection Broken Symmetry (WSUPress) was co-recipient of The Society of Midland Authors “Best Book of Poetry” award for 2006. His Losing Season (CavanKerry Press) was named the best sports book of the year for 2009 by The Institute for International Sport, and The Boston Globe named it one of the five best books about sports. In 2017 it was developed into a Readers’ Theater work. This poem is from Practicing to Walk Like a Heron.
The Spy Newspapers may periodically employ the assistance of artificial intelligence (AI) to enhance the clarity and accuracy of our content.
The Spy Newspapers may periodically employ the assistance of artificial intelligence (AI) to enhance the clarity and accuracy of our content.
Originally the back of the home, the north façade of “Friendship House,” showcases pristine 18th-century Quaker vernacular architecture.
“Friendship House” is aptly named, for its original owners were members of the Society of Friends, or Quakers. In the mid-17th century, Quakers were encouraged to leave Pennsylvania and claim this part of Maryland for William Penn. in 1695, Pearce Lamb answered the call and built his house, “Lambs Meadow” in the Georgian Colonial style of that time.
Native Americans sold him their finest farmland because Quakers had a reputation of religious tolerance and were also abolitionists. In 1858, one of Pearce Lamb’s descendants, James Lamb Bowers, paid a heavy price for his anti-slavery stance. He and the Free Black Preacher Harriet Tillison had been helping enslaved people escape via a network of other Quakers’ stations along the Underground Railroad. A pro slavery mob tricked James out of his house and tar and feathered him. Then they went to Chestertown and Harriet Tillison suffered the same treatment. The mob ordered the Lambs to leave Maryland and they relocated to Camden, DE, until the end of the Civil War. James’ and Harriet’s valor is illustrated on a tile mural at the Harriet Tubman Museum and Education Center in Cambridge, MD.
The Lamb Family also co-founded and constructed the Cecil Meeting House that was built next door to “Friendship House”. At that time, this area was part of Cecil County. The Pearce Lamb family later subdivided their farmland and several homes were built by their descendants, including this house that was built in 1782 by Daniel Lamb and his wife Harriet Bowers. Historians consider “Friendship House” to be one of the finest example of 18th century Quaker vernacular architecture on the Eastern shore, if not all of Maryland. This north façade was originally the back of the house; the south façade faced a colonial road and that was the main access to the house.
The stoop reflects 1792 expansions, marked by artifacts left by Harriet and Daniel Lamb, blending history with timeless colonial charm.
“Friendship House” began its life as a two story, one-bay kitchen with a dirt floor next to a two-story, one bay living room; each room had a fireplace on the west facing walls. The vertical line on this north side marks the 1792 expansion of the house that added a foyer and living room to create a four-bay, center hall floor plan. The bricks for the house were probably fabricated by brick makers who traveled the countryside seeking work during the time this house was built.
Daniel and Harriet Bowers Lamb left clues about their house’s timeline. The initials “DL” on a date brick was salvaged when the original chimney in the kitchen was reconstructed in 1985. Between two windows in the attic, another brick inscribed with “H DL 1792” for Harriet Bowers and Daniel Lamb was discovered. The last clue was the discovery of “Harriet” signed on one of the ceiling beams of the second floor middle bedroom, by a young daughter named for her ancestor.
Dormers added in 1830 enhance symmetry and light while remnants of whitewashing preserve the home’s layered architectural history.
“Friendship House” endured an 1830 renovation when the next generations of Lambs preferred the Federal architectural style. Dormers were added in the attic to augment the side windows flanking each chimney; the house was whitewashed; layers of lathe and plaster were applied to the ceilings; doors were upgraded from plank to paneled styles; the windows were made taller and shutters were added; fireplace mantels were also updated to the current style.
I prefer the house’s look as it is today because it is in keeping with the earlier Lamb family members wish for their house to embody simplicity, domestic equality and function. I also like how remnants of the whitewashed period remain as they are both part of the house’s life and the facades are more interesting than a monochrome colored brick facade.
The mid-20th-century additions complement the home’s massing, while restorations bring the historic south façade to life.
In the mid 1950’s, the house acquired modern necessities, including electricity and indoor bathrooms. The kitchen’s fireplace and chimney breast were removed for the kitchen’s redesign and a mud room was added at the south facing exterior door. The house entered a new phase of being a rental property for much of the rest of the century.
In 1985, “Friendship House” was fortunate to have new owners, Reverend David LaMotte and his wife Liz, who oversaw the house’s restoration. They enlisted the knowledge, expertise and workmanship of artisans, architectural historians, and experts in restoration to restore “Friendship House to its 18th century appearance; an effort that lasted for many years and the house’s interiors today are the result of their herculean efforts.
As an architect, I especially admired how the massing of the frame additions of the kitchen and the sunroom respect the existing house and the “Chestertown Buff’ color, chosen by the current owners is simply perfect. Prior to selling “Friendship House” in 2007, the LaMottes renovated the kitchen. Unfortunately, the buyer was unable to keep the house up and the house was shuttered for almost ten years. The current owners came to the rescue of “Friendship House” when it was a short sale due to the sorry state of both the grounds and the house. The current owners slightly modified the kitchen but the majority of their focus was to save and update the house for the next steward of this exceptional house.
Pumpkin pine floors and a black walnut staircase reflect the home’s commitment to beauty and Quaker simplicity.
On the day of my tour with the Listing Agent, one of the Owners graciously joined us; due to his being an architectural historian, I could not have asked for a better guide. I am indebted to his passion about “Friendship House” and for sharing his research material with me. I admired the beautiful wood floors that I learned were yellow pine, sometimes referred to as “pumpkin pine ” because of the lovely color it turns into as it ages. I also discovered he and I share a passion for the Arts & Crafts movement, when I saw the exquisite umbrella stand in the corner of the stair hall.
Both the front and rear doors align with each other for symmetry, ventilation and for vistas to the landscape from each door. Wide doorways lead from the stair hall to both the living and dining rooms. I admired the black walnut stair and its simple design in keeping with the simplicity of Quaker interiors.
Textures of paneled wood walls and ceilings highlight craftsmanship alongside the understated geometry of the stair design.
Before exploring the living and dining rooms, I walked past the wide doorways to both rooms to admire the simple geometry of the stair as it winds its way to the second floor as the Owner pointed out the pegs at the top of the stair’s newel post. I also admired the texture of the wood paneled walls and ceiling that is so much more interesting than an expanse of drywall.
The hand-hewn Linden wood joists and Stickley settee enrich this historic room rooted in Tidewater traditions.
Like other Tidewater houses of the late 18th century, a thin wood wall separates the stair hall from the living room. The Owner pointed out the ceiling/second floor joists that were hand hewn from Linden wood, a species known for its long and clear grain. The Quakers added their signature beaded edge to the side edges of each joist as the joists were never expected to be covered. I coveted the Owner’s Stickley settee, which he discovered at the Crumpton auction near Chestertown.
Exposed ceiling beams complement bespoke millwork around the fireplace, creating a space for quiet evenings and music.
Bespoke millwork flanks the working fireplace and the rhythm of the exposed ceiling’s stained beams creates charming interior architecture for one to read by the fire or listen to someone playing the grand piano.
Wide doorways reflect Quaker egalitarian values, while custom tin sconces and paneled elements honor 18th-century design.
As I passed through the wide doorway into the dining room, the Listing Agent pointed out another historic clue, the patch in the SE corner of the room. This patch covered up the stair to the original second floor. Unlike most houses of this period that had a clear distinction between the dining room and the kitchen, the wide doorway to the kitchen reflected the Quakers’ belief in everyone participating in daily domestic tasks that was key to their integrated and egalitarian lifestyle. The simple interior design of the paneled mantel and adjacent cupboard were installed during the 1985 restoration by the LaMottes, after much research to find the best example for “Friendship House”. Custom tin sconces by John Ramsey’s Deep Landing Workshop in Chestertown are the finishing touches.
Reconstructed fireplace features hand-hewn walnut mantel and brick remnants from the 1782 structure, preserving its historic essence.
Steps leading down from the dining room to the former kitchen give the family room extra ceiling height. The kitchen probably had a dirt floor and the owners did not find any evidence to the contrary in the 1985 renovation/restoration of this room. Its historic focal points are the fireplace, chimney and steep stair that are all conjectured reconstructions. Amazingly, the original bricks that had been discarded during the 1955 renovation were found in the wooded dell at the rear of the property, including the 1782 date brick, which now has a pride of place in the side of the chimney next to the bespoke millwork. A black walnut tree that was removed during the 1985 restoration and the construction of the kitchen and sunroom additions, now lives on as the fireplace’s mantel, proudly showing her hand hewn marks. I could easily be quite content sitting on the simple rocker by the fire in this exquisite room so filled with history!
Craftsman cabinetry, granite countertops, and wide pine flooring anchor this updated kitchen in the home’s colonial history.
The addition of the spacious kitchen was designed for today’s lifestyle with an “L” and island arrangement. The exposed brick and window in the original exterior wall of the house grounds it to the history of “Friendship House”. The flooring of wide pine planks could easily be thought of as original to the house. I am quite partial to the simplicity of Craftsman style cabinets and they are befitting for a Quaker house too. The warmth of the wood cabinetry and the granite countertops that complement the color of the cabinet doors make the kitchen the hub of the house where everyone wants to be.
The repositioned sink and island promote modern flow, while wide counters offer space for casual dining and entertaining.
The current owners modified the kitchen layout slightly and one of their changes was to relocate the sink and dishwasher to the island. Now the cook is in center of the action and the island is a great buffet for entertaining or for perching on the bar stools to catch up on emails.
Bright windows and tapered table legs mirror the simplicity of Quaker design in this cozy breakfast nook.
The corner of the kitchen is a delightful dining space for breakfast or informal meals. Daylight steams in from the south and west windows for panoramic views of the landscape and the potted plants look very happy in this charming location. I admired the simple table design with its slightly tapered legs that match the color of the Windsor chairs and the table top that matches the floor color. Opposite the informal dining area, a discrete powder room is tucked against the side wall of the sunroom with a window to allow light to filter into the space from one of the sunroom’s skylights.
The sunroom’s brick floor and skylights harmonize historic materials with abundant daylight and dynamic ceiling geometry.
The open French door in the informal dining area beckoned me into this exquisite sunroom that spans across the stair hall and the dining room. I admired the space’s interior architecture with its sloped ceiling with skylights to augment the daylight/moonlight from the five pairs of sliding doors that embrace the space. The brick floor is the perfect transition from outdoors to indoors. The mix of brick sizes and colors on the wall was fascinating as it told the history of the house’s construction periods.
The low windows whose sills are just above the floor look into the basement below that is accessed by steps from the family room. In the early days, the space was also used for cold storage and for a respite from the warm weather. The bases of the two chimneys end at the basement floor. Arched openings inside the chimneys both distribute the structural load and provide space for shelving to keep items cool since the enclosure of the thick brick walls maintained an even temperature (also worked well for wine storage too!)
Period hardware meets discrete modern closets along the landing’s expanded hall connecting guest bedrooms above.
To begin my tour of the second floor, I went up the second set of steps in the sunroom that led me back to the stair hall. My hand glided over the walnut cap rail of the banister as I went upward to the expanded landing that blended into a short hall connecting the two guest bedrooms. Opposite the hall is a large bathroom serving both guest bedrooms. Closets with period hardware and paneling that replace historic armoires have been carefully inserted into the hall and both bedrooms.
Exposed beams and rustic vertical paneling frame this inviting guest retreat, accented with handcrafted quilted bedding.
If I were a lucky guest, I would choose this charming room over the living room at the corner of the house. The interior architecture of the exposed beams, accent wall of vertical paneling, and the beautiful wood floors and the quilt by Helen Maenner-Clark in the give and take pattern would be hard to resist!
This expansive bedroom highlights a working loom and a fireplace while retaining original architectural clues and charm.
Across the hall from the corner guest bedroom is this spacious guest bedroom with its own fireplace. I was astounded to find this loom that is the size of a canopy bed and I learned it is very much a working loom for one of the owners. This room is accessed from both the stair hall and steps down to the primary bedroom, so it could have myriad uses.
This room was once divided into two bedrooms. Near the door into the adjacent primary bedroom is another historic clue. Past the exposed beam near the door is an early cursive signature “Harriet Lamb” on another beam. The architectural historian owner explained that is was common for children in the 18th and 19th centuries to mischievously add their signatures on walls and furniture; some homes show initials scratched onto the windowpanes!
Exposed masonry walls and thick beams create a tranquil corner overlooking the property’s picturesque landscape.
The sumptuous primary suite is located at the other corner of the house and spans over the family room and the kitchen. During the 1985 restoration, the La Mottes left the exterior masonry walls exposed so the thickness of the wall can be appreciated at its depth creates a ledge when the first floor wall transitions to the reduced wall thickness of the second floor’s wall due to the latter’s lighter structural load.
The room is bathed in sunlight from the rear south facing window and the two small windows flanking the chimney at the east wall. The textures of the exposed wood beams below the ceiling’s wide white decking and the colors of the rug, bedspread and the red enclosure for the stair to the family room below create a restful haven for sleep.
A clever multi-use space with historic details where Reverend LaMotte once crafted sermons at a desk by the window.
Between the primary bedroom and the primary bath is this spacious dressing room that also contains the laundry area and closets and storage under the eaves. The wood chest is located at the spot where Reverend LaMotte would sit at his desk to write his Sunday sermon.
Vaulted ceilings follow the roof’s lines, framing bright gabled views amidst period-inspired cabinetry and warm tones.
Off the dressing room is a large bath with high knee walls and a ceiling plane that follows the outline of the gable roof rafters above to meet the bottom of the collar beam above. The yellow wall accentuates the fixtures and cabinetry.
The 6.8-acre property offers lush paths, boxwood hedges, and a modernized studio barn that blends utility with heritage.
The property’s 6.8 acres offer peace and privacy with mature boxwood hedges, mature evergreen and deciduous trees, perennials that return in the spring and wildflowers that bloom in the summer to add color to fallow pastures. Enjoy a daily stroll on the paths that meander throughout the grounds or sit and relax to savor the quiet, broken only by the songs of birds.
The property also has a studio barn that is accessed by its own gravel drive and parking pad. The barn contains a two-bay garage next to a workshop that has its own access and has been updated with insulation and finished in drywall. It also has its high voltage electric, fiber optic internet lines, its own water system and a pellet stove for heat in the winter.
“Friendship House” mid 1898’s restoration that included installation of handcrafted oak windows and mahogany doors with period hardware has been lovingly maintained with materials and preservation sensitive practices by its current owners. They also installed new HVAC units, preservation sensitive insulation, professionally restored windows and two new wood stoves for a turn-key home that offers low maintenance for the next very lucky steward of this remarkable piece of Maryland’s historic residential architecture. As we celebrate Thanksgiving today, I thought it was fitting to feature a house that was built less than 100 years since the Pilgrims landed at Plymouth Rock that has been so magnificently restored-Bravissimmo!!
For more information about this property, contact Liddy Campbell at TTR Sotheby’s International Realty, 410-673-3344 (o), 410-708-5433 (c) or [email protected]. For more photographs or pricing, visit bit.ly/LiddyCampbellRealtor, “Equal Housing Opportunity”.
Photography by Janelle Stroop, 410-310-6838, [email protected]
The Author is indebted to both the Listing Agent and the Owners for sharing their treasure trove of historic documents and photos of the renovations of this property that certainly shows “Friendship” belongs on the National Register of Historic Places!
Contributor Jennifer Martella has pursued dual careers in architecture and real estate since she moved to the Eastern Shore in 2004. She has reestablished her architectural practice for residential and commercial projects and is a real estate agent for Meredith Fine Properties. She especially enjoys using her architectural expertise to help buyers envision how they could modify a potential property. Her Italian heritage led her to Piazza Italian Market, where she hosts wine tastings every Friday and Saturday afternoons.
The Spy Newspapers may periodically employ the assistance of artificial intelligence (AI) to enhance the clarity and accuracy of our content.
Anna Mary Robertson Moses was born on September 7, 1860, in Greenwich, New York. Her family worked on farms, and she described herself as a life-long farm woman. She attended a one- room school where she began to learn to draw. Her father encouraged all his children to draw. When she was 27, she married the “hired man” Thomas Salmon Moses, and they worked on local farms from Virginia to Eagle Bridge, New York. They had ten children; five survived into adulthood. In each location, Moses decorated the family’s home with her embroidery. When Thomas died in 1927, their son Forrest helped her on the farm. In 1936, at the age of 76, Moses developed arthritis, and she turned to painting because it was easier work. She told reporters that she turned to painting to make a Christmas gift for the postman, because it “was easier to make than to bake a cake over a hot stove.” At 92 she wrote, “I was quite small, my father would get me and my brother’s white paper by the sheet. He liked to see us draw pictures. It was a penny a sheet and lasted longer than candy.”
“Catching the Thanksgiving Turkey” (1943)
“Catching the Thanksgiving Turkey” (1943) (15”x19”) is a depiction of a subject Moses returned to several times. Thanksgiving was declared a holiday by Abraham Lincoln in 1863, but the day of celebration was left up to each President. It was not until 1941 that Congress declared the fourth Thursday of November to be Thanksgiving Day.
Moses painted “Catching the Thanksgiving Turkey” with four colors: red, white, black, and blue. The ground is covered with snow, and it is still snowing. Moses did not study perspective or anatomy, but she had a keen eye for details. The two-story white farm house is detailed with a light grey-blue paint. She used red and black blocks of paint to depict the brick chimney. Three figures stand outside the open front door. The one in red seems to be waving. Another with the white hair and wearing the black coat, stands next to the well. In front of the blue barn, others in red jackets and black pants try to catch the turkeys. Some head out in a horse drawn sleigh, and a hunter stands at the center and looks on. A figure stands in front of the open barn door. Beyond the barn, a man drives two horses by the fence. Two other men stand under a tree.
The scene is a panoramic landscape. The fence draws the viewer’s eye from the lower left, past another farm structure and some trees, and beyond the barn into the distance. It is November, but all the leaves have not fallen from the trees. A forested hill stands out against the white snow in the middle distance. Another farm, more fences and houses can be seen in the distance. The blue mountains are covered in snow. The scene is dotted with large, white snowflakes.
“Sugaring Off” (1943)
Moses began by selling paintings for three or five dollars. The Museum of Modern Art in New York included her work in its 1939 exhibit “Contemporary Unknown American Painters.” Her painting caught the attention of several influential people. One was Otto Kallir, founder of Galerie St Etienne in New York. He organized in 1940 an exhibition of Moses paintings that was titled “What a Farm Wife Painted.” The New York Herald nicknamed her Grandma Moses. She spoke at a Gimbels Department store, and she was an instant success.
“Sugaring Off” (1943) (36”x45’’) is a depiction of another November activity and a theme Moses returned to 35 times. She described her process: “First the sky, then the mountain, then the hills, then trees, then the houses, then the cattle and then the people.” Native Americans taught the process of sugaring off to the colonists. The painting includes the entire process of making maple syrup and candy from the sap. The leafless maple trees are tapped and the sap is caught in buckets. The sap is placed in large iron kettles over a fire, and it is boiled down to form a dark syrup that is put into molds and containers. Some of the syrup is poured onto the snow to make sugar candy. Adults work or watch, while the children play. Horse drawn sleighs, groups of cattle, and snow-covered houses and barns are included in the composition, with a church and villages in the distance. The snow in the foreground has been trampled by the people and animals, but in the distance it is pristine. Moses painted hills, trees, and distant mountains to create the panoramic view. She shaded the entire scene with blue to create the impression of a cold November day.
“Sugaring Off” (1943) sold at Christie’s New York for $1.36 million in 2006, setting a record for a Moses painting.
“Turkeys” (1958)
In 1939 the Museum of Modern Art called the paintings by Grandma Moses “modern primitive.” Primitive artists lack formal training, generally use simple shapes, bright colors, and the work often appears childlike. The piece often is a depiction of everyday activities, and it is intended to connect to nature and something that is culturally and spiritually significant. All of these things were true of her work. She avoided modern things like tractors and telephone poles. Contemporary art in the 1940s and after WWII in the 1950s was largely Abstract Expressionism, to many viewers confusing and morbid. Moses said, “I’ll not paint something we know nothing about, might just as well paint something that will happen a thousand years hence.”
Her paintings were and continue to be tremendously popular. Exhibitions of her paintings broke attendance records. President Truman gave her The Women’s National Press Club Trophy Award for outstanding accomplishments in art in 1949. She was on the cover of Time Magazine in 1953. Her autobiography My Life’s History was published in 1952. A documentary about her was nominated for an Oscar in 1950. Exhibitions of her work were held throughout America and Europe. She was awarded two honorary doctoral degrees, in 1949 by Russell Sage College in Troy, New York, and in 1951 by Moore College of Art and Design in Philadelphia. When Moses turned 88 in 1948, Mademoiselle magazine named her “Young Woman of the Year.” Norman Rockwell and Moses lived near each other and were close friends.
When she painted “Turkeys” (1958) (16’’x24’’) (SAAM), Moses said, “The very first Thanksgiving I remember was about the year of 1864,” and she never stopped remembering the holiday and making paintings of it to viewers’ delight. The setting of “Turkeys” is viewed from a different angle. The road and house are closer, the village and church are just down the road, and the landscape is covered with snow. A man runs down the road with an axe, and another figure in the field has caught the turkey by its tail feathers. The turkeys at the lower right are painted in a new variety of feather colors. Moses commented, “Poor turkey. He has but one life to give for his country.”
The writer of her obituary in 1961 in the New York Times noted that the “simple realism, nostalgic atmosphere and luminous color with which Grandma Moses portrayed simple farm life and rural countryside won her wide following.”
President John Kennedy spoke of her: “The death of Grandma Moses removed a beloved figure from American life. The directness and vividness of her paintings restore a primitive freshness to our perception of the American scene…All America mourns her loss.”
“I look back on my life like a good day’s work. It was done and I feel satisfied with it. I was happy and contented. I knew nothing better and made the best out of what life offered. And life is what we make it, always has been, always will be.” (Anna Mary Robertson Moses)
Beverly Hall Smith was a professor of art history for 40 years. Since retiring to Chestertown with her husband Kurt in 2014, she has taught art history classes at WC-ALL and the Institute of Adult Learning, Centreville. An artist, she sometimes exhibits work at River Arts. She also paints sets for the Garfield Theater in Chestertown.
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