Catalog entry

The Cut is the local name given to the canal that connects the outer Gloucester harbor to the navigable Annisquam River and thence on to the waters north of Cape Ann, so that vessels can in safety avoid circling the entire exposed eastern shoreline. It provided a vantage point for Lane's drawing Gloucester Beach from the Cut, 1850s (inv. 103)  It was dug through the strip of beach separating the two bodies of water, first in the 1640s by the Reverend Richard Blynman, and is officially the Blynman Canal. This is purportedly the first canal dug in North America. For much of its history, however, the Cut has been filled in and the beach in its original state with a road laid over it, instead of cut through with a bridge over the canal (until 1950 and Route 128, the only vehicular access from the mainland to the Gloucester and Rockport peninsula). For a brief time around 1704 the canal was filled in by a storm but was soon dredged and re-opened.  Then in 1723 it was again filled in by storms and did not get dug out until after 1822. 

At this time, a consortium of Gloucester's leading men, most of them connected then and later with Lane, formed the company "Proprietors of the Gloucester Canal." They included Benjamin K. Hough, Jr.; James Mansfield; William Pearce, Jr.; John Mason; William Saville; Samuel Gilbert; and Winthrop Sargent. They managed to get the canal re-dug and a bridge in place, but the opening was too narrow to allow vessels of useful size to pass through. The bridge was also deemed unsafe. The company lost money and by 1843, the Cut was being refilled by the Town. During all the rest of Lane's life, the Cut as a canal did not exist. One could travel on a road, over sand, from the Pavilion, past the Ropewalk and the houses along the shore, to the western shores of the Harbor, Brookbank, Fresh Water Cove, and many other scenes and sites from which Lane painted. However, Lane and others continued to designate that section of their town as "The Cut."

After Lane's death, the quarrying interests on Wolf Hill (near the eastern end of the A. Piatt Andrew Bridge) were sufficiently motivated to reopen the canal in 1867.

– Sarah Dunlap (December, 2014)

Gloucester Outer Harbor served as a staging area for deep draft or heavily laden vessels waiting to come into the wharves in the shallow Old Harbor at high tide, or waiting to discharge cargo into smaller vessels. While Lane's paintings typically show one or two vessels in the harbor, works by other artists from the period, as well as contemporary descriptions, demonstrate that the harbor was usually crowded with vessels, especially in bad weather. The Outer Harbor could accommodate as many as three hundred vessels when they needed to shelter during a storm. 

There were two deep spots where they could wait, the "Deep Hole" between Ten Pound Island and the Fort; and the "Pancake Grounds" between Ten Pound Island and Eastern Point. The "Pancake Grounds" also served as a quarantine area for ships arriving from foreign ports. "Deep Hole" was named for the (relatively) deep water between Rocky Neck and Fort Point to the Outer Harbor. Deeply loaded vessels had to anchor there for “lightering” (partial unloading by boats called “lighters”) prior to final unloading at wharfside. "Deep Hole" was 20–25 feet deep at low tide, when Harbor Cove was only 1–6 feet deep with bare ground around some wharves. "Deep Hole" is where you see ships anchored in Gloucester Harbor from Rocky Neck, 1844 (inv. 14), The Old Fort and Ten Pound Island, Gloucester, 1850s (inv. 30), View of Gloucester, Mass., 1859 (not published), Gloucester Inner Harbor, 1850 (inv. 240), The Fort and Ten Pound Island, Gloucester, Massachusetts, 1847 (inv. 271), and Gloucester Harbor, 1848 (inv. 335) (which is coming to anchor).

The term "Deep Hole" is apparently a post-Bellum term. Prior to that, it was known as "The Stream" and, as later, served as anchorage where deeply loaded vessels could be lightered prior to docking in Harbor Cove. Alfred Mansfield Brooks in his book Gloucester Recollected uses this term on page 53. After the Civil War, merchant shipping in Gloucester was dominated by salt ships and later coal carriers, bringing a whole new culture to the harbor, and with it new names for old places.

The Stage, as it was known in Lane’s time, now Stage Fort Park, rises from the western shore of the Outer Harbor, just south and west of the Cut and the Blynman Bridge as you leave Gloucester. This was the first settlement of the Massachusetts Bay Colony in 1623 where fourteen men of the Dorchester Company landed and tried in vain to settle and survive through a combination of fishing and farming. They were successful at neither, and in 1626 they moved on and founded Salem. 

During the Revolution the Gloucester patriots built a fort on the north side of Half Moon Beach to defend against British invaders which was never needed. The fort was restored for the War of 1812 and again for the Civil War, but again saw no action. 

During Lane’s lifetime this area was the Hough farm. Townspeople were generally given free run of the place for strolling and picnics overlooking the harbor. The enormous rounded boulders and ledge outcroppings rose dramatically from the fields above the harbor without the tree cover that partially obscures them today.

Lane did numerous paintings of this area, including many views looking westward from the vantage point onboard a boat in the harbor. In Stage Rocks and the Western Shore of Gloucester Outer Harbor, 1857 (inv. 8) the Stage Rocks frame the west side of Gloucester Harbor and provided a peaceful and bucolic counterpoint to the intense activity of the city waterfront only a mile away across the harbor. Lane also painted the Stage Rocks from the beach just to the north near the Cut and Field Beach, which is on the southern side of the Stage Rocks facing out the harbor entrance to the sea.

The yawl boat was a ninteenth-century development of earlier ships' boats built for naval and merchant use. Usually twenty feet long or less, they had round bottoms and square sterns; many had raking stem profiles. Yawl boats built for fishing tended to have greater beam than those built for vessels in the coastal trades. In the hand-line fisheries, where the crew fished from the schooner's rails, a single yawl boat was hung from the stern davits as a life boat or for use in port. Their possible use as lifeboats required greater breadth to provide room for the whole crew. In port, they carried crew, provisions, and gear between schooner and shore. (1)

Lane's most dramatic depictions of fishing schooners' yawl-boats are found in his paintings Gloucester Outer Harbor, from the Cut, 1850s (inv. 109) and /entry:311. Their hull forms follow closely that of Chapelle's lines drawing. (2) Similar examples appear in the foregrounds of Gloucester Harbor, 1852 (inv. 38), Ships in Ice off Ten Pound Island, Gloucester, 1850s (inv. 44), and The Fort and Ten Pound Island, Gloucester, Massachusetts, 1847 (inv. 271). A slightly smaller example is having its bottom seams payed with pitch in the foreground of Gloucester Harbor, 1847 (inv. 23). In Gloucester Inner Harbor, 1850 (inv. 240), a grounded yawl boat gives an excellent view of its seating arrangement, while fishing schooners in the left background have yawl boats hung from their stern davits, or floating astern.

One remarkable drawing, Untitled (inv. 219) illustrates both the hull geometry of a yawl boat and Lane's uncanny accuracy in depicting hull form in perspective. No hull construction other than plank seams is shown, leaving pure hull form to be explored, leading in turn to unanswered questions concerning Lane's training to achieve such understanding of naval architecture.

– Erik Ronnberg

References:

1. Howard I. Chapelle, American Small Sailing Craft (New York: W.W. Norton & Co., 1951), 222–23.

2. Ibid., 223.

Mrs. H. E. Davidson was a close friend of Lane's and the wife of his personal physician in Gloucester. Lane made several paintings from drawings for her, including the famous Dream Painting, 1862 (inv. 74).

Mrs. H. E. Davidson was Sarah M. (Bowker) Chamberlain (1827–80), and the wife of Dr. Herman E. Davidson (1815–90).  She was born as Sally Morse Bowker, daughter of James and Izanna Bowker in Hopkinton, MA, April 29, 1827. (1)  She married John Henry Chamberlain, merchant, in 1847 when she was twenty and he was thirty. (2)  He died the following year in the Fiji Islands.  She and Dr. Herman E. Davidson were married in Boston in 1859 by Mary Mellen’s brother-in-law and Gloucester’s Universalist minister, Rev. W. R. G. Mellen. Herman was forty-four and she was thirty-two. (3)

Mrs. Davidson joined her husband in his Gloucester home, the old Sanders house, now the Sawyer Free Library, and had two daughters, Alice Bowker Davidson, born in 1860 and Edith Bowker Davidson, born in 1862. The Davidsons were relatively wealthy, owning shares of gas, steamboat, and railroad companies, a horse, a chaise, a large house with barn, an acre of land, and two-to-three thousand dollars in "cash assets.”(4)

Fitz H. Lane gave Mrs. Davidson the sketch of his Dream Painting that he made during his sojourn at the Davidson’s after his altercation with his brother-in-law, and she and her husband were left equal portions of Lane’s five-hundred-dollar legacy in his will.  

Mrs. Davidson was ill for several years before her death, during which time she and her husband traveled in Europe and around America seeking a more congenial climate for her. She died of consumption in Washington, D.C. on May 16, 1880, and was buried in Oak Grove Cemetery in Gloucester, Massachusetts. (5)

– Stephanie Buck

(1) Massachusetts Vital Records, Births, Hopkinton. US Vital Records.org

(2) Massachusetts Vital Records, Marriages, Hopkinton, Vol. 31, 27.

(3) Massachusetts Vital Records, Marriages, Boston, Vol. 128, 77.

(4) Assessor’s Valuations, Harbor Parish East Ward, 1862-64. Gloucester Archives, CC223.

(5) Gloucester Deaths, Bk. 10, 80.