Historic New England envisions the Haverhill Center for Preservation and Collections as a catalyst for a global-national-regional-local arts and culture district in downtown Haverhill, Massachusetts.
A BOLD NEW VISION
Explore living archives, state-of-the-art storytelling, and pioneering exhibitions. Experience dynamic installations and performances by world-class artists breaking new creative ground. Expand your knowledge with hands-on learning opportunities from top innovators and makers. Get excited.
Historic New England will evolve its downtown Haverhill location to unprecedented visitor and exhibition spaces and partner to develop residential, innovation, hospitality, and dining facilities. The Haverhill Center will support an improved streetscape, including expanded public art, lighting, signage, and green space.
This cultural district will serve as community catalyst, strengthening local and regional businesses, arts, environmental, and social institutions and significantly drawing new visitors and revenue to the area.
“We envision collaborating with the community to develop sustainable, more livable, resilient, and dramatically improved amenities, anticipating that the impact of the downtown cultural district will reverberate internationally.”
—Vin Cipolla, president and CEO, Historic New England
CEO and President Vin Cipolla Named One of Top 25 North Shore Influencers of 2024
“Historic Future” with Vin Cipolla, Traditional Building Magazine
Panel: Inclusive Design: Disability, Culture, and Preservation (Historic New England Summit 2023)
Panel: Embodied Carbon: The Sustainability Imperative of Preserving Places (Historic New England Summit 2023)
Historic New England Lays Plans To Transform Haverhill into a Cultural Destination (Northshore Magazine)
Historic New England plans major expansion (Boston Globe, June 29, 2023)
The Haverhill Center: Leading Architecture Firms Respond to a Design Provocation
Historic New England: Recovering New England’s Voices
upcoming events
You can help shape the vision for the Haverhill Center. Join us at community events around the city that showcase exciting stories, creative activities, and compelling traditions. Please come see us to learn more about our vision for the Haverhill Center and become part of the story.
Virtual Program: Collecting Perspectives, October 17, 2024, 6:00 p.m.
FIND YOUR STORY
EXPLORE THE COLLECTIONS
Historic New England’s collection includes more than 125,000 objects and over 1.5 million archival documents. From teddy bears to tattoo flash, there’s something for everyone! To understand the breadth of the collection and the many stories it contains, you can explore a small sample below.
1735-1745 Eastern white pine, red oak, red maple A gold and dark brown landscape of birds, Chinese architecture, bridges, human figures, large fantastical animals, and an abundance of flowering plants plays across the drawer surfaces on the façade of this Boston high chest. The decoration is known as “japanning” and was done in imitation of Asian lacquer furniture. The craftsperson, or japanner first decorated the surface with vermillion streaked with lampblack to imitate the appearance of tortoiseshell. The craftsperson then created raised figures with gesso and coated them with gold and black paint. The japan work is thought to be that of Robert Davis, an English-born japanner who worked in Boston until his death in 1739. Josiah Quincy (1710-1784), a wealthy merchant originally owned the piece. It was rescued from house fires, not once, but twice, before 1770. In 1769, after the second fire, Quincy wrote in his account book "the greatest part of my furniture [was] by the timely assistance of our friends and neighbors, secured from the devouring flames." Decades later, Josiah's great-granddaughter, family historian Eliza Susan Quincy, wrote the story of this high chest's survival on a small paper label which she pasted inside a drawer. Today the chest is valued not only for its rare japanning decoration, but for its well-documented history. It is on display at the Quincy House in Quincy, Massachusetts.Secured from the Devouring Flames
Silk brocade shoes 1770, London Jonathan Hose and Son, maker In eighteenth-century Boston, Massachusetts, the latest London fashions were readily available to those who could afford them. These brocade shoes were made in the section of London called Cheapside, known for its textile merchants and shoemakers. Like most shoes of the period, they have no right or left but were made to be interchangeable. The long tabs were intended to be fastened by buckles, which were worn like jewelry and could be transferred from one pair of shoes to another. Buckles could be set with diamonds for the wealthiest wearers, or, like these, made of paste. The original owner of these buckles, Prudence Jenkins, wore them at her wedding in 1778.
Hairwork, the weaving of hair into mementos and jewelry, like the bracelet seen here, was popularized in the nineteenth century as a way to celebrate love and friendship. The fashion later evolved into memorializing the dearly departed. Once the purview of skilled craftspeople, hairwork became a Victorian pastime, with instruction manuals and patterns published for at-home use.
Memento in Hair
This Navajo rug was purchased in 1906 by a visitor to Wyoming. In the early twentieth century, Indigenous American goods became popular due to both an interest in handcrafts and, ironically, the subjugation of Indigenous American tribes. Indigenous Americans, deprived of their land resources, created successful enterprises with craftwork, including rugmaking and basketry. This rug is on view at Historic New England’s Castle Tucker in Wiscasset, Maine.Adaptive Enterprise
“…Adieu, New-England's smiling meads, Phillis Wheatley (1753-1784) was the first Black, the first enslaved person, and only the second woman in America to publish a book. Poems on Various Subjects, Religious and Moral was first published in London in 1773. It was published twice more in England before the end of the century, and in seven editions in America. It brought its author great fame and her freedom. Through her poetry, Wheatley addressed the terrible wrong imposed on her fellow Africans by their enslavement. This copy belonged to Abigail Quincy (1745-1798) who inscribed her name in it in 1774. It was found in Historic New England’s Quincy House, Quincy, Massachusetts.
Adieu, th' flow'ry plain:
I leave thine op'ning charms, O spring,
And tempt the roaring main..” –Phillis Wheatley, “Farewell to America”
Photograph of the China Trade Gate, colloquially known as the Chinatown Gate, in Boston, Massachusetts. This photograph was taken in 2017 by John D. Woolf as part of a series intended to highlight threats to Chinatown from gentrification and development. Signed by John D. Woolf on verso. John Woolf (b. 1952) has worked as a photographic artist for more than forty years. His photographs of Boston’s Chinatown and diners in the Northeast are part of his effort to document the transformation of the American urban architectural landscape and the fast disappearing twentieth-century roadside architecture of the Northeast industrial corridor. Woolf’s photographs document the Chinatown many are hoping to preserve. The gateway, proposed by noted Boston entrepreneur and longtime community activist “Uncle” Frank Chin, was commissioned by the China Trade Center, designed by architect David Judelson, and gifted from the Taiwanese government to the Chinese community of Boston in 1982. Made of painted steel tubing on a concrete base, the paifang, also known as pailou, archway at the Beach Street entrance to Chinatown was installed in 1988 and rededicated in 1990.Urban Landscape
Vermont-born sculptor Hiram Powers moved to Florence in 1837 to solidify his training. His studio there attracted a loyal clientele of travelers from New England, among them Nathaniel Hawthorne, who rhapsodized when he saw this bust: “A light seems to shine from the interior of the marble and beam forth from the features.” The figure is Psyche, a Greek goddess personifying the human soul. The sculpture is on view at Historic New England’s Codman Estate in Lincoln, Massachusetts.Soul Inspired
Iconic Maine author Sarah Orne Jewett (1849-1909) is best known for two of her major works, The Country of the Pointed Firs (1896) and “A White Heron,” (1886). In her day, Jewett was an internationally celebrated author. She wrote over three hundred works, including fiction, essays, and poetry. By the late twentieth century, Jewett’s fame had declined. Much of the reason for her diminished light is the literary criticism, white-male-centered, that dominated the mid-twentieth century. Dismissed as quaint and regional, Jewett’s contribution to literature was overlooked. Recently, scholars have rediscovered her work and there is renewed interest in the deft depictions of women, the subtleties of relationships, and the feminist undertones in her work, notably her 1884 novel, A Country Doctor. Central themes of Jewett’s work reflect her own life: often, protagonists seek to free of literal or figurative barriers, as Jewett carved out a life of literal and artistic freedom in her life, exchanging a traditional wife role for that of writer; themes of nature play strongly in transcendentalist motifs referencing Jewett’s strong connection to the natural world; themes of community reference the importance of Jewett’s friendships, particularly female friendships in her life and as the inner circle of the private world she shared with partner and the love of her life, Annie Fields. Sense of place—Maine in particular-- is prominent in the work of Sarah Orne Jewett, whose home in South Berwick, Maine, now a Historic New England site, was a beloved constant in her life and she once wrote that she was “made of Berwick dust.” The Country of the Pointed Firs cover, as all Jewett’s books except the first edition of her first novel, was designed by close friend Sarah Wyman Whitman, a celebrated artist at the forefront of the Arts and Crafts Movement in New England. In this work, considered her masterpiece, Jewett writes of an independent writer protagonist who, having transcended a quest for freedom, is drawn into the world of a small Maine village—a community anchored by strong women and flavored with the stories of its people.
Breaking Free
Edward Mitchell Bannister Edward Mitchell Bannister (1828-1901) was born in St. Andrews, New Brunswick, and after the early death of both his parents he moved to Boston and worked as a barber, one of the few careers open to African Americans at that time. He also found work tinting photographs. Eventually he studied painting with Dr. William Rimmer at the Lowell Institute and went on to become one of the most successful black artists of the nineteenth century. A founder of the Providence Art Club, he spent most of his artistic career in Rhode Island. Bannister taught at the Rhode Island School of Design and painted local scenery using techniques of the French Barbizon School, which prioritized nature’s ordinary beauties over iconic views. Here, a woman reads while breezes flutter the leaves and grasses. Arriving to accept a prize at the 1876 Philadelphia Centennial Exposition, Edward Bannister was refused entry, but finally received the medal after fellow exhibitors protested.
Tranquil Beauty
Woman Reading Under a Tre1880-1885e,
Oil on canvas
C.F.A. Voysey Wallpaper A founder of the Arts and Crafts Movement, architect and designer Charles Francis Annesley Voysey created wallpaper patterns of whimsical simplicity incorporating stylized depictions of the natural world. This unused ca. 1893 sample in the Historic New England collection is a good example of Voysey’s stylization, with a large-scale flower surrounded by leaves and flower buds. Printed in olive, two greens and gold on a crimson flocked background. A response in part to the Industrial Age, the Arts and Crafts movement began in late nineteenth century Great Britain and spread to America. The Arts and Crafts movement had varied modes of expression unified by the characteristics of devotion to craftsmanship, marriage of beauty and utility, and inspiration from the natural world.
Devotion to Craft
1893
Walter Gropius, founder of the German design school known as the Bauhaus, was one of the most influential architects of the twentieth century. Escaping Nazi Germany, he designed Gropius House as his family home when he came to teach architecture at Harvard’s Graduate School of Design. Historic New England preserves his home in Lincoln, Massachusetts, and many of the household objects he designed.Icon of Modernism
Historic New England Haverhill Center
Historic New England is the largest cultural real estate presence in Haverhill, Massachusetts. Our campus is conveniently located approximately 35 miles north of Boston in Haverhill’s historic downtown and easily accessible by Amtrak, MBTA Commuter Rail, and three major highways.
SUPPORT THE VISION
To learn more about the Haverhill vision and how your philanthropy can have a transformational impact, please contact Elliot Isen, Haverhill campaign officer, at [email protected]
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ABOUT HISTORIC NEW ENGLAND
Historic New England, founded in 1910 as The Society for the Preservation of New England Antiquities, is the largest and most comprehensive independent preservation organization in the United States, welcoming hundreds of thousands of visitors each year to 38 exceptional museums and landscapes, including several coastal farms.
Historic New England operates the Haverhill Center and has the world’s largest collection of New England artifacts comprising more than 125,000 decorative arts and objects and 1.5 million archival documents, including photographs, architectural drawings, manuscripts, and ephemera. Engaging education programs for youths, adults, and preservation professionals and award-winning exhibitions and publications are offered in person and virtually.
The Historic New England Preservation Easement program is a national leader and protects 121 privately owned historic properties through the region.