Dogwood Lane

The Quarterly Journal of the Mary May Binney Wakefield Arboretum ___________________________________

Volume Six Issue 1 - Fall 2023

Preservation in Action at the Mary May Binney Wakefield Arboretum

The Mary May Binney Wakefield Arboretum is part of the Davenport Estate Historic District which is listed on the National Register of Historic Places. Three historic homes, a carriage barn, multiple outbuildings, and a designed landscape all contribute to the historic significance of this property. Mary (Polly) Wakefield specified in her will the importance of the preservation of her family’s legacy. This edition of Dogwood Lane focuses on just a few of the many preservation projects that have been the focus of the Trust's work over the past ten years.

The photo shows the fully restored great deer hunt scene in the mural.

Les Vues d’Écosse: Preserving a rare panoramic wallpaper

In the dining room of the Davenport Mansion, the walls are graced with wallpaper of a panoramic landscape mural depicting illustrations from Sir Walter Scott’s epic poem “The Lady of the Lake,” which was published in 1810. After earlier structural and external renovations of the mansion were completed, interior projects could be addressed, including conservator work to extend the life and restore some of the grandeur of the 32 panoramic panels of this rare, historic work.

While the panoramic wallpaper is a work of art to be appreciated on its own, it is also important to consider in the context of, and as a representation of, the evolution of this agricultural farmland to the Davenport Estate, a family's country retreat. The Georgian mansion, which houses the wallpaper, was commissioned by Isaac Davenport, 4^th generation of the family, in 1794 when he inherited the lands farmed by his father Samuel. Branching out from the family’s agricultural heritage, Isaac had established himself as a merchant in the city of Boston, selling steel, barrel iron, gun powder, window glass and cattle. Isaac’s two stores on Long Wharf in Boston enabled profitable business and financial growth in this era of expanding international trade. These successful commercial endeavors elevated Isaac to a higher social, financial and occupational position than preceding generations of Davenports. Befitting his new social and financial status, Isaac commissioned the mansion house to be built and adapted the family’s use of the property to that of a gentleman’s country residence.

After the death of Isaac and subsequently his wife, the estate passed to the sole Davenport survivor, his youngest daughter Louisa. In 1862 Isaac Davenport Hayward (hereafter I.D Hayward), grandson of Isaac Davenport, acquired the mansion from his aunt Louisa. In this era, I.D. Hayward, with a declared profession of gentleman, focused his efforts on the estate to remodel the mansion house to remain fashionable and serve as a source of leisure. The first significant renovation, in the 1860’s, was most likely when the wallpaper with the panoramic mural “Les Vues d’Écosse” was installed in the dining room.

“During I.D. Hayward’s ownership of the family estate, he undertook a major renovation of the mansion house and the construction of a new carriage barn under the direction of architect, Alexander W. Longfellow. During the renovation, beginning in 1862, the house was given a distinctly Victorian aesthetic, which included the addition of a large wraparound porch and a dark polychrome paint scheme.” “Leisure was certainly an objective in these renovations, as well as a desire to show social and financial standing though architectural display. The renovations on the mansion house in total cost over $6,600 and in addition to the aforementioned changes, included reconstruction of the house’s rear ell, roof reconstruction, and a remodeling of the front kitchen to transform it into a dining room.” (1) 

Before restoration efforts, flaking paint and a yellowing finish marred the details of the mural as shown in this image of a woman and man with the lake in the background.

“The panoramic wallpaper, Les Vues d’Écosse, also known as La Dame du Lac, remains mounted on three walls of the dining room with an additional narrow fragment mounted in the adjacent front door entryway. The date of the installation is unknown. Unfortunately, there is no mention of the scenic wallpaper purchase or installation in the family archives. However, historical data and installation attributes such as the extension of the wallpaper behind the mantel indicate that the wallpaper dates to the 1860s renovation (2).”

North wall with panels 8-12 (the great deer hunt) installed on the east side of the door and panels 28-30 on the west side of the door.

Removal of the yellowing resin on the wallpaper surface restored the contrast of the various grisaille tones.

In 2021, expert examination of this wallpaper resulted in a detailed explanation of its condition and how the condition had likely changed from its original installation over 150 years ago. The sky of the mural exhibited severe cracks and was over-painted with an off-white matte paint, probably applied to hide water stains. Over the years multiple applications of a coating resin on the wallpaper’s surface, likely to consolidate flaking paint, had yellowed with age and diminished the contrast of the various grisaille (a method of painting in grey monotone) tones. Further damage was caused by expansion and contraction of the paper due to fluctuations in temperature, relative humidity and uneven heating and cooling effects caused by direct exposure to sunlight. Abrasion from contact and general wear and tear contributed to isolated areas of active flaking and loss of paint, especially in the thicker dark areas as well as mid-tones. Water leaks and infiltration resulted in staining the image, and caused long diagonal splits in the paper. Visual and raking light examination revealed that moisture exposure also resulted in mold growth, extensive in some places and less severe in others. Surface grime was moderate. Also cobwebs and flyspecks were visible at the corners and on the wallpaper surface. In summary, the wallpaper remained generally well adhered to the wall; however, the appearance of the wallpaper was significantly compromised by plaster settling cracks, active flaking and loss, remnants of previous intervention, water staining, mold growth and overpainting of the sky. (3)

Based on that evaluation, the conservation treatment procedures included stabilization of flaking color and lifting paper, reduction of yellowed varnish, filling and patching of plaster cracks, filling of paper losses along the chair rail and mantel, touching up of losses within the printed image and improving the appearance of old repairs, cleaning and toning of the overpainted sky. 

• Remediation of Mold Growth & Gentle Surface Cleaning - Superficial mold was removed by gently brushing with a soft bristle brush. All wallpaper was surface cleaned with extruded rubber sponges.
• Set Down Lifting Paper - Lifting or tenting seams and other de-lamination were set down with wheat starch paste.
• Stabilization of Flaking Color - Areas of flaking media were stabilized using a wetting agent, ethyl alcohol, to break the surface tension of the media layer. A dilute adhesive that penetrated the cracked paint layer and improved its adhesion to the paper substrate was used to improve adherence of paint to the wallpaper.
• Reduction of Discolored, Aged Varnish – Conservationists applied acetone using hand-rolled cotton swabs to reduce the yellowed and unevenly applied natural resin varnish.
• Cleaning of the Overpainted Sky - Dry surface cleaning was performed using extruded rubber sponges to remove accumulated grime and staining. Large hand-rolled cotton swabs were used to apply a wet cleaning with 2% diammonium citrate solution pH 7.5 which was then cleared from the surface with filtered water.
• Repair of Plaster Cracks - Crack repair was carried out with vinyl spackle applied with a small metal spatula and smoothed with small hand tools and moist swabs.
• Filling of Paper Losses - Paper losses primarily along the chair rail and mantel were filled with a wove paper of similar weight adhered in place with wheat starch paste.
• Cosmetic Improvement of the Scenic Image - Small areas of image loss caused by flaking were reintegrated with watercolor applied under low magnification with a small spotting brush in order to blend with the surrounding wallpaper.

After two years of work, Les Vues d’Écosse wallpaper is now completely restored and may be viewed when the Davenport Mansion is open for events.

Front Garden Restoration

The Front Garden is the only garden at the Mary May Binney Wakefield Arboretum that was not designed by Mary (Polly) Wakefield. According to historical records, it was most likely designed by Mary Cunningham, Polly's aunt. The garden was created to provide the family with a quiet place of beauty and respite. It is a feature of the landscape that has received the most attention and research due to its location on the property and it's historic significance.

At the time of the establishment of the Trust in 2007, the garden was in severe decline due to deer browsing and deferred maintenance. In 2012 a Cultural Landscape Report of the Front Garden (CLR) was completed by Wakefield Trust research fellow, Maureen O'Brien. A CLR is an in-depth research project that delves into the history of the garden, the materials used to build it, and how it evolved through time.

Photographs of the Front Garden circa 1950-1960

The Front Garden underwent many changes over its almost one-hundred-year existence. According to the CLR, "what remained constant was its location, footprint, and present configuration of garden rooms: the flower garden on the east, the pattern garden in the center and the so-called wildflower garden on the west. Features were subtracted and added. Vegetation was changed due to preferences of the owners, horticulture conditions, and periods of use by the owners. During the Cunningham period, the Garden was a summer garden, during the Binney period it was a year-round garden, and finally during the Wakefield period, it was a spring garden. Originally, the Garden paths were all turf, but later the paths were converted to stone dust. Throughout its one hundred years, it typified what is commonly known as an "old-fashioned garden," a highly personalized space created for leisure and recreation, exhibiting accomplished amateur design and horticultural skills." (4)

Drawings developed for the restoration of the Front Garden.

Restoration of the garden included replacement of the brickwork and much of the plant material.

When the restoration of the garden began in 2015, the CLR became an important reference for the process. There is also an excellent photographic record of the garden beginning in the early fifties that served as a useful reference. Before the restoration could be undertaken a deer fence was added to encompass 6 acres that included many of Polly’s designed gardens. The construction of the deer fence allowed staff to add a great variety of plant material. The restoration of the garden was extensive, however the original pattern and design elements were intact. The bricks lining all the paths and creating the patterned garden were replaced, hedges and trees were replanted, and a variety of perennials were added. The restoration process included the addition of irrigation and lighting and restoring the old summer house, which had been built with wood from the 1938 hurricane. Today the garden is in excellent condition and remains a quiet place of beauty and respite through spring, summer and fall with new plant material that is added continually and with unique garden hardscape features that have graced the garden over the years.

The Front Garden with new plant material.

Stone Walls of the M. M.B. Wakefield Arboretum

The arboretum is home to a wonderful collection of stone walls that date back to the Revolutionary War. These stone walls were built when land was cleared for timber, crops, and livestock. According to Erin Dougherty’s in-depth research paper on land use at the Davenport farm “the growth and development of the Estate largely mirrors that of the town of Milton. Documentary evidence suggests that the landscape served as a family farm in a relatively sparsely populated landscape under the first three generations of Davenports. The Estate began with the acquisition of a small collection of contiguous land parcels under John Davenport. Under the succeeding two generations throughout the century the property and its agricultural operations grew as the family gained more acreage and more wealth. Study of the family and its early ownership, divisions, and use of the property during the eighteenth century exposes settlement patterns of the region in Colonial-era New England, as succeeding generations sought to sustain their families and livelihoods both in Milton and elsewhere. At the turn of the nineteenth century, ownership of the Davenport Estate transitioned to a new generation with stronger ties to the city of Boston and a more elevated social and financial standing.” (5)

Stone walls are extensive near the 1710 Farmhouse.

Many people make the assumption that the stone walls of New England are associated with the Colonial era. However, according to the writings of Swedish botanist Peter Kalm, who toured New England in the mid-1700s. In his “Travels in North America,” Kalm observed of its forest soils, “The Europeans coming to America found a rich, fine soil before them, lying loose between the trees as the best in a garden. They had nothing to do but to cut down the wood, put it up in heaps, and to clear the dead leaves away.” (6) The majority of fences at this time were made of wood to pen animals and stone clearing was not necessary. However, as clear-cutting forests continued at a rapid rate this exposed New England soils to winter cold, causing the soil to freeze deeper than it had in the past, thus causing accelerated forest heaving which gradually lifted a plethora of stones to the surface. The supply of stone seemed endless. A field would be cleared in the autumn, and there would be a whole new crop of stones in the spring. This is due to a process known as “frost heave.” As deforested soils freeze and thaw, stones shift and migrate to the surface. (7)

A formal stone wall near the farmhouse.

During the major expansion of the family's land holdings, the 1790 tax records show that the estate was home to cows, goats, horses and sheep and produced hay, grain, cider, corn and rye. Like many New England farms, land was cleared and stones were removed, forming miles and miles of stone walls. These stone walls stand as relics of past use of the land and are an important part of the landscape. As farmers began moving westward in search of more fertile land and industrialization occurred, many of these pasture-lands slowly reverted to woodlands. 

A deteriorating wall behind the farmhouse required a major renovation.

 The entire wall was pulled down and the reassembled in 2020.

Today the wall is in pristine condition.

Mary May Binney Wakefield Arboretum's Willy's Jeep, completely restored.

Willy's Jeep Restoration

In 1944, Willys-Overland, the primary manufacturer of the World War ll military jeep, built the prototypes for a commercial version to be sold in the U.S. This version was called the CJ, short for "civilian Jeep". The design was very similar to the jeep used by hundreds of thousands of soldiers during WWll. The biggest change was adding a tailgate, and relocating the spare wheel to the side. The CJ also required a sturdier drive-train than the war jeep, because the targeted rural buyers would work the vehicles hard and expect years of durability. Unique features on this model included manual windshield wipers and a gas tank directly under the drivers seat!

Jeep before being sent off for restoration in 2009.

Jeep stripped down to the frame.

Jeep progressing toward completion.

Students notes about repairs to the dashboard panel of the Jeep.

The war version of this jeep became known as the iconic vehicle of WWll and was adopted by countries all over the world. Dwight Eisenhower wrote in his memoirs that most senior officers regarded it as one of the five pieces of equipment most vital to success in Africa and Europe. Many of these jeeps were acquired by civilians after the war and adapted for use on the farm because farm equipment was in short supply.(8)

According to Polly’s niece, Nathalie Binney, the Willys Jeep at the arboretum was originally owned by Polly's Uncle Roy and used at their rural home in New Hampshire. The jeep was eventually moved to the arboretum, most likely for storage. Upon the establishment of the Trust, there were several antique vehicles on the property. The Willys Jeep required restoration and was sent to Blue Hills Regional Vocational Technical High School as an educational opportunity for student auto mechanics in 2009. The students worked on the jeep for over five years to restore it to its original splendor. Today the Jeep is operational and is driven around the arboretum.

The Woodland Shelter

Tucked away with the sugar maple and white pine trees in the native woodland area behind the farmhouse there is a small cottage that was reportedly used by staff and is now referred to as “The Woodland Shelter.” Unlike other structures on this historical property, the purpose of this small building and its era of construction are not well known or documented. A report produced by Dayl Cohen in 2007, on the existing conditions of the estate's outbuildings, described the condition of the small building and was the starting point for planning out the restoration effort. Renovations of the building started in summer of 2023 and are still underway.

“The staff cottage is located on a steep slope in a wooded area close to the southwest border of the property. According to the groundskeeper, it is one of the buildings moved from Binney's farm in Canton. It has a footprint of 12 feet 4 inches by 10 feet four inches, a hipped roof, and gray-painted shingle siding. The roof is covered in shingles and has millwork molding directly under the eaves all around the cottage. Its foundation is fieldstone piers with Portland concrete mortar, one at each corner and one in the middle of each side, varying in height according to the requirements of the slope. On the northeast elevation, three fieldstone steps lead up to a front door of bead-board. A six-pane square hopper window is located about one foot below the eave on the right side. The other three elevations have equal-sized, rectangular, six-paned windows, each centered and about a foot below the eave. All of the windows have unadorned post-and-lintel architraves and square wire screens. The interior walls and ceiling are of a soft fiber board material with two metal vents in the ceiling, most likely to allow air to circulate between the roof and the ceiling. The floors are made of 3-inch wooden boards, and the baseboard is a 3 ½ inch plain wooden board. The interior is one room with a wooden floor and fiber board walls and ceiling.” (9)

The woodland shelter is in very good condition for a historic outbuilding, as evidenced by the intact fieldstone entrance, sturdy padstone foundations on each corner, durable cedar shingles and the original rough-hewn entrance board.

As the initial inventory revealed a structurally sound building with a stable foundation and sturdy floor and walls, restoration efforts first focused on removing more modern and damaged building materials to bring the building closer to its original construction materials.

The fiberboard covering the interior walls and ceiling was breaking down and mold was growing due to exposure to moisture and lack of ventilation. This material was carefully removed to reveal the building framework (see photo of interior architecture of hip roof construction.) With the framework visible, the elegant architecture of the rafters and joists underlying the hip roof demonstrates the craftmanship of the builder.

The exposed hip roof architecture displays beauty in the craftmanship.

The newly visible roof decking displayed some areas requiring repair due to exposure to weather. All deteriorated cedar shingles were removed from the rooftop. Repairs to the damaged decking included removing sections and replacing them with matching tongue-and-groove boards.

The rafter tails (the exposed end of the rafter) also exhibited decomposition due to weather exposure. The rotted ends were replicated in form and mirror-joined with the existing rafter tails. This allows for retaining the original construction while ensuring functional durability. The exterior of the shelter is sided with cedar shingles. Other outbuildings on the estate, such as the summer house, are also sided and roofed with cedar shingles. In keeping with this style, the roof shingles were replaced with wooden cedar shingles. The cedar shingle siding, painted gray, is not deemed to be original but is in good condition. Only a few shingles will need repair.

Original rafter tails are functionally supported with new additions.

Cedar shingles replaced the asphalt, consistent with other outbuildings.

Repair and restoration efforts are on-going. Once the roof is fully repaired, the interior and windows will be addressed. Interior renovations will include removal of extra framing boards used to hang the interior siding. The windows are protected by intact wire screens but three of the four windows have broken panes needing repair. The shelter windows are wooden hopper windows, which open inward on simple hinges. This type of window was commonly used to keep dust and debris out while also controlling airflow and ventilation.

Housemoving, as shown by this example of a house being pulled through downtown Keene, NH around 1900, was a common practice in the late 1800s to early 1900s. (Courtesy of the Historical Society of Cheshire County)

Outbuildings on historic farms are typically not as well studied as main houses or other primary structures. Often when they were no longer needed for their original purpose, they would fall into disrepair or be demolished. In the case of this building, the original purpose on the Binney’s farm in Canton remains unknown as does its purpose once moved to this estate. The Binney family started using the estate in the 1930s era, when it was still common to move entire buildings, due to the high cost of labor and construction. Therefore, if the groundskeeper’s anecdote is correct, this building was likely moved in the 1930s with the intent for use in leisurely pursuits and enjoying nature on this country estate. Once fully repaired, the woodland shelter will once again allow visitors to pause in the sun-dappled woodland and reflect on the beauty of the natural surroundings.

Footnotes:

(1) The Davenport Estate, Land Use, Agriculture, and Architectural Display, by Erin Doherty, September 2011

(2) Studio TKM Associates, Isaac Davenport Mansion, Mary May Binney Wakefield Arboretum – FINAL REPORT, 12 July 2023

(3) Studio TKM Associates, Isaac Davenport Mansion, Mary May Binney Wakefield Arboretum – FINAL REPORT, 12 July 2023

(4) Cultural Landscape Report for the Front Garden at the Mary M.B. Wakefield Trust by Maureen T. O'Brien August 2009

(5) The Davenport Estate, Land Use, Agriculture, and Architectural Display, by Erin Doherty, September 2011

(6) https://www.earthmagazine.org/article/history-science-and-poetry-new-englands-stone-walls

(7) Stone by Stone: The Magnificent History of New England’s Stone Walls, Robert Thorson

(8) https://www.kaiserwillys.com/ Accessed November 2023

(9) The Davenport Estate Outbuildings. Milton, Massachusetts, by Daryl Cohen, May 2007.

Mary May Binney Wakefield Arboretum | 617-333-0924

1465 Brush Hill Road, Milton, MA 02186 | www.wakefieldtrust.org