Summary: 24 sand sculptures are located throughout the Yarmouth area
Cape Cod, specifically Yarmouth, is known for its sand. But, the sand isn’t just located on the beach or your clothes when you get you back from the beach. Instead, this sand is found all over Yarmouth.
Each year, Fitzysnowman sculpts 23 sand sculptures in various locations in Yarmouth, MA. There were 24 this year. But, more on that later. The themes of the sand sculptures ranged from movie characters to patriotic themes celebrating America’s 250th anniversary of independence. I have noticed that each year I see them, many of the sculptures at certain locations have the same themes each year.
I am posting the sculptures in the order I saw them, mostly in reverse order of how they are listed on the web site for the trail map. But, you can see them in any order! The sand sculptures were made in June and, after all of the rain and other New England conditions, some of them were a little worse for wear.
The first sand sculpture was at the Cape Cod Welcome Center on Rte 6 East, a short distance from the Sagamore Bridge. This sculpture celebrates our anniversary of independence as well as the hatching of some turtles that inhabit the Cape Cod area.
This sculpture is located at Ifaw (290 Summer St, Yarmouth Port)
This sculpture at Wharf Yarmouthport (13 Willow St, Yarmouth) is a tribute to a store that is no longer in business but used to be a staple for many malls in the New England area and beyond New England. In fact, at its peak Christmas Tree Shops operated 82 stores in 20 states.
This tribute to the Boston Party is located on Strawberry Lane in Yarmouthport.
This sculpture at Coast and Cape Bank shows some manta rays or sting rays. People have spotted both manta rays and sting rays in New England, usually during the summer.
This sculpture, located on the grounds of the Winslow Crocker House, was another tribute to the fighters of the American Revolution, presumably the privateer John Paul Jones.
This sculpture at Taylor Bray Farms was one of my favorites on the trail.
A few of the sand sculptures paid tribute to the Toy Story franchise which was timely since there is a new Toy Story movie being released soon. This sculpture at Bayberry Hills Golf Course shows Woody with a golf ball.
Of course, what sand sculpture trail in New England would be complete without a Dunkin Donuts sculpture!
This sculpture at Today Real Estate is another sculpture celebrating the country’s independence.
New England is known for its lobsters. So, this sand sculpture at Cape Cod 5 seems appropriate.
This sculpture at Bass River Golf Course is another tribute to the Toy Story movie series. Buzz seems to be admiring one of his drives!
Cape Cod Creamery always has some very cute and interesting sculptures each year. This dog or dog-like creature seems to be enjoying a cone.
This sculpture at Yarmouth Town Hall is a tribute to Parker’s River Landing, one of the many parks in the area.
This sculpture, located at The Pancake Man, was a little damaged during my visit, unfortunately.
This sculpture at the Cape Cod Motor Inn shows a classic car in front of the hotel. What better way to take in all of the attractions!
Shark sightings have become more prevalent in the Cape Cod area over the years. And this shark at the Riviera Beach Resorts has the right idea! I can’t think of a better way to relax and maybe scare off a few tourists!
The Hole In One donut shop shows what looks like a police officer driving a very happy surfer somewhere while he inspects a donut.
This sand sculpture, located at John G. Sears & Sons Landscaping, wasn’t on the sand sculpture trail map. And I only came across by chance on the way to a different sand sculpture.
The Yarmouth Chamber Visitor Center always has a grand sculpture on their property. And this year was no different! I was lucky to get this eagle in the photo. Kidding. It’s one of the decorations along with a fisherman and a deer and a tree that must look very festive during the holidays!
The LAER Realty Partners always uses an image of a lion, the company mascot, for their sculpture. It’s interesting to see the little details of these sculptures. For instance, this sculpture for the real estate agency has a home on the key and houses at the bottom of the sculpture with the years of the country on them.
This very patriotic sculpture, which held up surprisingly well especially given the intricate details, is located at the Bellew Tile and Marble Company.
The Cove celebrated their 40th anniversary with this sand sculpture.
The sculpture at the Cape Sands Inn was the last sculpture on the tour (or the first if you see them in the order of the map).
I found afew other fun things along the sand sculpture trail such as this cute land marker. It’s an awfully long way to Tokyo, Japan!
This Gull located at the Cape Cod Welcome Center is called Clionda (pronounced “Clean-ah). It is a Herring Gull with a message: “We need to take care of our beautiful landscape and keep it cleaner”
The sculpture is meant to inspire all who see it to become better stewards of our planet and to create a responsible environment for the Cape and Islands. The makers of the sculpture encourage people to take simple steps to keep the environment clean such as using reusable instead of single-use plastic, taking trash with you if a trash can is full or not available (“carry in, carry out”) and recycle or repurpose what you can.
Clionda is made with marina-debris cleaned off local beaches as well as post-consumer waste. She was cared for by accomplished activist Sarah J Thornington.
It should only take an hour or so to see all of these amazing sand sculptures by vehicle. It took me closer to 2 or 2.5 hours because I took breaks and explored the area while I took some of the photos. Definitely take some time to enjoy the Taylor Bray farm if you do visit these sculptures. They will be on display until the weekend of Oct 12.
Parking” there is free on street parking available on Asylum St
Universally Accessible: Yes
Dog Friendly: Yes
Summary: Elizabeth Park Conservancy in West Hartford, CT, offers over 100 acres of beautiful greenery and flowers as well as lots of greenery for people to picnic, relax and take a few photos!
Boasting over one hundred acres of formal gardens, green space, recreational facilities, walking loops, and the Pond House Café, Elizabeth Park Conservancy has something for everyone to enjoy. But, the highlight of the conservancy are the flowers.
I visited this park earlier in May. But, I was told the roses were in full bloom in later June and July. So, I made a special visit the first weekend of July. Unfortunately, we were experiencing a dry and hot spell during that time So, the roses and some of the other flowers looked a little worse for wear. And, as you will see later, there were some other environmental factors that affected the roses and other flowers.
Elizabeth Park has a wide array of flowers and plants at the conservancy.
Elizabeth park also has a lot of structures and trails which makes it a popular place for people taking portraits and engagement photos.
One thing I noticed, and you may also notice, is I should have used a flash for some of the photos. I know what you might be thinking; a flash on a sunny day? Yes, the flash or artificial light can help “fill in” some of the shadows and dark areas which helps to bring out the colors and highlight the features of what you’re photographing. Unfortunately, these Japanese beetles, who were in great abundance at the park, were feeding and mating on some of the flowers. These invasive insects, which are native to Japan, are highly destructive. The damage they cause is particularly evident in the third photo.
Despite the heat, drought-like conditions and the havoc the Japanese beetles had on some of the flowers, Elizabeth Park was a delight that I am glad I was able to share with everyone!
There have been incredible celebrations and memorials throughout this year all of New England in celebration of the country’s 250th anniversary. And the sidewalk art in Greenfield, MA, is another example of how art can be used to be celebrate our country’s independence.
The ten murals, which are painted on the sidewalk rather than walls, celebrated a different aspect of our independence.
While all of the murals are located in or near Greenfield Center, you will have to drive to a few of them. I am listing them as they appear on the website. But, I didn’t photograph them in this order. Some of the addresses are approximations since some of the locations, like a cemetery, don’t have an actual address. Also, some of the locations are near certain areas, like the intersection of Meridien and Deerfield St. So, it’s important for you, or preferably a passenger, to look at the sidewalk while driving to some of these locations.
Since most of the descriptions use the artist’s own descriptions of the works of art, I copy and pasted the descriptions from the website as I wanted to represent the artists’ descriptions in their own words. Plus, it made it easier for me. So, it was a win-win!
“Liberty is Unfinished Work” – City Hall, 14 Court Square by Danielle Lucier
Sometimes photography can seem simple. Just point, adjust settings, sometimes repeatedly, and click. However, sometimes it’s not so easy or straightforward. Since this mural was painted vertically on a sidewalk and it was difficult to read all the lettering, I actually photographed this mural on a step stool. By photographing it from a higher angle and looking down, I was able to photograph it with all of the worlds visible and legible. I did have to duck a little so my shadow didn’t appear though.
Created for the 250th anniversary of the American Revolution, “Liberty is Unfinished Work” reflects on the ideals that inspired our nation’s founding, while also acknowledging that liberty is an ongoing project that we work towards every day. My piece depicts a Revolutionary War drummer boy leading a group of present-day marchers with modern signs, connecting the spirit of civic action that shaped the American Revolution with the ways people continue to advocate for their rights, communities, and futures. By putting the drummer with modern day marchers, I also wanted to give viewers a way to relate their work back to history- and to feel like a participant in an ongoing story rather than a distant observer of a historical event.
When designing this piece, I thought about the Revolution not only as a defining historical event, but also as the beginning of a conversation about liberty, representation, and self government. The American Revolution was driven by ordinary people who believed they had the right to make their voices heard. So instead of portraying a moment in the past, I wanted to explore things like who had a voice, who was included, and how those people worked together to create change- and create a piece that felt relatable as a person existing 250 years later.
As an artist reflecting on the 250th, I felt both contemplative and celebratory. It gave me this beautiful opportunity to honor courage, aspirations, and sacrifices that shaped our nation- while also recognizing that liberty isn’t a finished achievement. This anniversary serves as a reminder that each generation inherits the responsibility to expand, protect, and redefine freedom in its own time. This mural was made to celebrate the continuing work and the people who carry it forward.
Visual description: a tall rectangular sidewalk square with banners at the top and bottom. The banners say “Liberty is Unfinished work. Celebrating 250 years of raising our voices”. In between the banners is a green hilly landscape with Poet’s Seat Tower at the top. A revolutionary drummer boy leads a crowd of modern-day protesters with bright, colorful signs standing up for what they believe in.
“What Holds Us Together” – Transit Station, 11 Olive St by Cameron Schmitz
Painted in honor of the 250th anniversary of the American Revolution, my mural, “What Holds Us Together”, celebrates the diverse people whose contributions, sacrifices, and shared efforts have been essential in shaping our nation from its founding to present day.
Suspended in the center of the mural, the original thirteen-star American flag appears to emerge from a web of intersecting threads, its fibers extending outward, held together by the hands of many different individuals. Like a woven tapestry, overlapping strands of red, white, and blue extend outwards, interweaving and converging into an intricate network of connection. The diverse hands which collectively hold the flag’s fibers together, represent people of different backgrounds, cultures, ethnicities, and generations, each contributing to the ongoing work of strengthening the fabric of our nation.
My inspiration for this mural is rooted in an often-overlooked truth about the American Revolution itself. Traditional depictions of the Revolutionary era have frequently centered on white colonial figures, leaving many other contributing members largely absent. Yet the struggle for independence was shaped by people from a wide range of backgrounds. African American men, both free and enslaved, served as soldiers, sailors, laborers, messengers, spies, and support personnel throughout the war. African American women contributed as caregivers, laborers, messengers, camp followers, and community builders whose efforts helped sustain both military and civilian life during the Revolution.
Indigenous nations also played significant and complex roles throughout the Revolution. Native soldiers, scouts, diplomats, guides, and leaders influenced military campaigns, intelligence networks, and political alliances, while Indigenous women often held important roles in diplomacy, decision-making, and sustaining their communities through a time of profound upheaval. The choices made by Native nations shaped both the course of the war and the future of the continent.
The story of American independence is far more diverse, interconnected, and nuanced than it has often been portrayed. By depicting hands of different skin tones collaboratively supporting the flag, this mural recognizes the countless individuals whose labor, sacrifice, and participation have been vital in weaving our nation into being. It serves as a reminder that diversity is not a recent addition to the American story, but is in fact, an essential part of it. The strength of our nation has never rested in a single people, culture, or perspective, but rather, is the result of contributions of many individuals whose lives and efforts have become interwoven across generations.
The hands of this mural do not simply hold the flag together—but are also being held together in unison as its maker. Some hands overlap, some press intimately against one another, and others work side-by-side, symbolizing the trust, collaboration, and shared responsibility that is necessary in sustaining our democracy.
Two hundred and fifty years after the Revolution, the ideals of liberty, self-determination, and democracy remain unfinished work. Like the threads of the flag itself, these ideals must be continually strengthened and held with care by each generation.
“What Holds Us Together” invites viewers to recognize the many people who have been—and continue to be—an essential part of the fabric of our nation, and to reflect on the relationships, care, and collective effort that binds us together.
The strength of our nation lies in the spirit of cooperation that made the American Revolution possible, and in the many hands that continue to work together to hold, weave, and sustain our democracy and our shared future.
“The Pen and the Press” – Justice Center, 43 Hope St by Althea Keaton
“In establishing American independence, the pen and the press had a merit equal to that of the sword.” – Dr. David Ramsay
Dr. David Ramsay was one of the earliest major historians of the American Revolution, as well as a politician and author. He served as a field surgeon during the American Revolutionary War until he was captured by the British army and imprisoned for a year. He wrote many well-respected volumes on American history, both more broadly and specifically about the Revolution. This quote of his reflects his direct experience of the Revolution, both as a writer and as someone who served on the battlefield.
During the U.S. Revolution, newspapers played an essential part in shaping public opinion. At that time, newspapers were the most effective means of mass communication. They spread not only the news, but political ideas, propaganda, foreign dispatches, official documents, and more. Massachusetts in particular was a hotbed for newspapers, with Boston establishing the United States’ first regular newspaper, the Boston News-Letter. By the time of the Revolution, there were numerous Massachusetts papers vying to influence public opinion, the majority of them Patriot papers advocating for independence.
A revolution is not won only with weapons, but with words and ideas. Although the quote this mural is structured around specifically references the American Revolution, it is relevant beyond that corner of history. Freedom of speech and freedom of the press – two of our First Amendment rights – are essential to maintaining a functioning democracy. We may no longer typically exercise these rights via quill or letterpress, but they are still vital.
The barred turkey quill pictured in this mural is a literal depiction of the kind of writing implement commonly used in the 1700s, but it is also a symbol of ‘the pen’ as a concept. Today’s ‘pen’ may be a stylus, a smartphone, or any number of devices. The specific implements may have changed, but they are still potent tools, and they can reach farther than anyone could have possibly imagined in 1776.
Visual description: A barred turkey quill is set at a diagonal, as though writing. A yellow ribbon winds around it bearing the quote, “In establishing American independence, the pen and the press had a merit equal to that of the sword.” – Dr. David Ramsay. At the tip of the quill, there is a firework-like burst. Thirteen stars sparkle around the quill in red, orange, yellow, green, blue, and purple.
“Let Virtue Reign” – Greenfield Library, 412 Main St by Youme Nguyen Ly
Let Virtue Reign is painted in front of the Greenfield Library. A dark blue hand holds a stack of papers, the topmost of which reads, “Let Virtue Reign 1773 Phillis Wheatley”.
The hand represents Elizabeth Freeman, the first African American woman to successfully file a lawsuit for freedom in the state of Massachusetts, less than a year after the adoption of the Massachusetts State Constitution. Her case would ultimately lead Massachusetts to outlaw slavery.
Phillis Wheatley was one of the best-known poets in pre-19th century America. Born in West Africa in 1753, enslaved as a child in Massachusetts. She learned to read and write and was emancipated in 1773, the year her collection “Poems on Various Subjects, Religious and Moral”, was published. She wrote in support of anti-slavery movements. “Ode to Dartmouth”, the quoted poem, was written to encourage Dartmouth’s abolitionist work.
This painting celebrates two Black women who were actively working in Massachusetts and beyond, 250 years ago to make the future better for everyone.
“Free Press” – Main St & Sears Ave by Althea Harris
“There is nothing so fretting and vexatious, nothing so justly TERRIBLE to tyrants, and their tools and abettors, as a FREE PRESS.” – Samuel Adams (from his statement on freedom of the press in the Boston Gazette, March 14, 1768)
Founding Father, signatory of the Declaration of Independence, and colonial Massachusetts politician Samuel Adams was, as you may have guessed from this quote, a strong proponent of the role of a free press in ensuring freedom from tyranny. Adams actively used the press as a tool to advocate for colonial rights and independence, criticizing British rule and promoting his political ideals through essays and letters in colonial newspapers, especially the Boston Gazette. With its weekly publication and its circulation of approximately 2,000, this paper had a significant reach for the time period. By the 1770s, Massachusetts had numerous newspapers – most of them Patriot-led – and Adams was far from the only person to take advantage of this medium of mass-communication and its ability to push the tide of public opinion in favor of revolution.
The appearance of the press has changed significantly over the past 250 years, but the importance of a free press has not declined. A newspaper with a circulation of 2,000 has much less clout in the U.S. of 2026 than it did in the pre-revolution colonies, but the dissemination of news, political thoughts, and opinions is still an essential (and Constitutionally protected) right. This mural is a celebration of a free and active press as it has evolved over the years, and it is also a call for the viewer to support freedom of the press in its many forms.
For this mural, I felt it important to celebrate not only a revolutionary past but also the revolutionary present and future. Independence is not something that was won once in 1776 and need never be fought for again, but something we as a country continue to strive for and evolve towards. Rights have been hard-won, some only recently won, and some even more recently revoked. Freedom of the press is encoded in our Bill of Rights, and true freedom of the press cannot belong in only the hands of a few. It needs to come in many forms and from many people.
Free press is still a potent tool for shaping public opinion as well as for spreading journalistic news. Think pieces still come in newspapers and magazines, but they are also found in social media feeds, pinned on bulletin boards, spoken or sung aloud at open mic events. In times when rights are being infringed upon, find people who are impacted and listen to their voices, read their words. Seek out multiple journalistic sources. Fact check and dig deep rather than trusting AI summaries. Use your own voice to speak out against the silencing of journalists. And don’t be afraid to pick up a pen, paintbrush, or microphone and speak your own truth.
We need all hands on deck to keep this ship moving forward.
Visual description: Thirteen hands reach in from the edges of the sidewalk panel holding various implements of communication from the 1800s to today, including: a quill, a paintbrush, a letterpress block, a zine, a microphone, a smartphone, and more. They are set against a bright yellow background, which fades into an off-white glow in the middle to emphasize the quote the hands surround. “There is nothing so fretting and vexatious, nothing so justly terrible to tyrants, and their tools and abettors, as a free press.” – Samuel Adams
“Old Friends” – Fiske Ave Pocket Park by Youme Nguyen Ly
Old Friends depicts two dolls with a shared sun radiating behind them and a bright outline of sky. On the left a traditional corn husk amsute’kan made in New England.
A traditional story tells that Corn Spirit created the cornhusk amsute’kan for children to enjoy and to watch over them. Originally, she had a face, when she became distracted by her own beauty, her face was taken away to remind us not to focus on our own looks so much that we forget to care for others. On the right side, one of the oldest surviving ragdolls in this country, named Bangwell Putt. She belonged to Clarissa Field of Northfield, Massachusetts. Clarissa was born blind in 1765. The doll’s carefully constructed fingers suggest the importance of touch. In my depiction, the dolls have been friends for over 250 years and carry the respect and gratitude for Indigenous and Non-Indigenous friendships, past, present and future. This piece further serves as a tribute to the importance of children and the essential role of childcare.
“Essential Pieces on the Tapestry of a Revolution” – Historical Society, 43 Church St by Danielle Lucier
This piece, created within the shape of an American traditional quilt square, is a celebration of the diversity of the American Revolution that often gets overlooked throughout historical representations of the war. This quilt square is built of pieces of the original thirteen-star American Flag, pieced together with imagery representing BIPOC roles in the Revolution- all coming together to form one solid piece of our historical tapestry.
In doing research for this piece, everything I found online was vastly misrepresentative of the actual people who worked together in the American Revolution. Most information available showed Colonial white figures- and mostly men at that. Yet upon deeper research at the Historical Society of Greenfield, I found many books and references referring to BIPOC soldiers, spies, messengers, and laborers (free and enslaved) – all in the same positions as these colonial white men. This sparked something in me that felt like a piece of this historical quilt was missing – and inspired my quilt block design. I wanted to pay honor to these hardworking BIPOC people who fell through the cracks in the history books, who didn’t get the credit and honor they deserved.
I found out that roughly 1700-2100 BIPOC men from Massachusetts served as soldiers and sailors throughout the war- and BIPOCwomen worked to build communities, sew soldiers clothing, serve as caregivers, and when not traveling with the camp – they also helped to hold up life at home taking on their duties and the duties of the men who were off fighting.
“Essential Pieces of the Tapestry of the Revolution” is a piece dedicated to African American and Indigenous soldiers and war contributors. Our history is so much more diverse than representation has ever shown – and having this chance to create a piece that tells more of the real story was a true honor. Work and decisions made by BIPOC war contributors played such a large role in the history of our independence- a history that is so much more multicultural and diverse than history texts have led us to believe. It takes hands from all backgrounds coming together to work for a common cause – to create a successful revolution.
Visual description: this square sidewalk tile is broken up into 9 smaller squares to represent an american traditional quilt block. Pieces of the original 13-star flag, and red and white stripes come together to form a pointed star-like pattern, and imagery of Indigenous and African American soldiers are in opposing corners. The center says “250 years 1776-2026” and has hands of all skin colors reaching towards the center of the piece. A banner in the bottom corner says “roughly 1700-2100 BIPOC soldiers from MA fought in the American Revolution”.
“Roles of Children During the American Revolution” – Federal Street School, 125 Federal St by Jill Strait
This mural depicts the various roles children played during the Revolutionary War, a time when the absence of child labor laws meant young people often set aside their education to assist with adult duties. I especially wanted to highlight musicians, who were often in their teens or younger, so they are featured in the center of the piece playing the bugle, drum and fife. Clockwise from left is a young girl hand-sewing a garment, as children worked on uniforms and helped with mending. They often brought essential supplies where needed, on the top right there is a folded blanket, powder horn and a canteen of water. Below that is a teen on a horse, serving the role as messenger. And lastly, farming was a role that kept children occupied, represented by the “three sisters”—squash, corn, and beans—in the lower left corner.
“Caregivers” – Federal Street Cemetery, 175 Federal St by Joe Pye and Ginseng by Youme Nguyen Ly
Caregivers, Joe Pye and Ginseng, shows a black and white tent with abstract pink flowers, red stems and green leaves of Joe Pye weed growing from within. A woman arrives to the tent with a healing bowl of soup. In the abstract black and white background, a tiny black and white revolutionary soldier holds the green living stem of a full color red and green ginseng plant instead of a weapon. Two large ginseng roots are depicted in full color golden yellow, at the base of the illustration.
American ginseng is a medicinal plant native to North America. Income generated from gathering and selling wild ginseng influenced the early history of this country. Local ginseng use and trade stretches back much further than the Declaration of Independence. Long before North America was colonized, various Indigenous peoples used ginseng in medicine.
The story of how this plant came to be called “Joe Pye Weed” has evolved over time. Stories tell of Zhopai, an Abenaki medicine man who treated typhus with this plant. Some researchers believe “Joe Pye” was what white settlers called Joseph Shauquethqueat, a Mohican. Shauquethqueat was a sachem and selectman. It’s believed that white colonists saw Shauquethqueat healing with the plant Pkuwiimakw and named the plant after him.
I painted this with healing in mind, healing that nature offers everyone if we can listen for it. I am also honored that it was chosen for the cemetery location, as those that came before us are part of who we are now and who we will become.
“Crossing the Dela-Western Mass” – Riverworks Park, 250 Deerfield St, just past Meridien & Deerfield St by Youme Nguyen Ly
The Crossing of Dela-Western Massachusetts, references a famous painting of Washington Crossing the Delaware by Emanuel Leutze. In the original painting, George Washington stands at the front of a small boat crowded with thirteen individuals, mostly soldiers, but also a farmer, and a merchant. In my painting, the diverse figures are farming land instead of rowing, what was once an oar is now a shovel. The people are transporting giant sacks of potatoes, corn, one bag simply labeled food.
I wanted to honor the farmers, female, male and non-binary, of all who lived in Greenfield 250 years ago, and grew food which fed the revolution.
What I loved most of these uniquely artistic works of art is how they each showed a different creative display of our fight for freedom and liberty and how that fight continues.
There were many other interesting and fun things to see and do in Greenfield. From industrial sized popcorn bags made to look like Minions to bees (which has a story that deserves their very own post), parking meters painted to look like cultural icons and other murals as well as a nod to dinosaurs, Greenfield has so many more interesting things to see! It’s definitely worth another visit.
Location: Park Hill Orchard, 50 Payson Ave, Easthampton, MA
Cost: Free
Universally Accessible: Yes. The staff at Park Hill Orchard offer a Accessible Art Cart for those who need assistance.
Dog Friendly: Yes
Summary: Art In The Orchard featured dozens of works of art from local artists.
Raise you hand if you’re sick of this cold and wintry weather. Since I still have lots of photos from events and places I have visited last year, I thought it would be a good time for a change of pace and post some photos from a milder, more colorful time.
Nature and art go hand in hand. Hence, the Art In The Orchard exhibit. The aim of Art In The Orchard is to blend art with horticulture. Two of my favorite things!
Created in 2011, Art in the Orchard is a juried outdoor sculpture and installation exhibit showcasing the work of local and regional artists. Set on the grounds of Park Hill Orchard, the Art In The Orchard event is nestled among apple trees, small fruit gardens and landscaped farmland.
Because there were so many art installations (well over 30) and in some cases lengthy descriptions of each exhibit, I am posting this event in parts. In fact, I have photographed this event in years past. But, it was too overwhelming and time consuming to post all of the photos from the exhibit. Maybe, in the future, if I can find those photos I took I can post photos from those other years. Also, since this was a “meet and greet” event, you may notice artists posing next to some of their works. As an added note, some of the names of the artists were very familiar as I have photographed some of their works in the past. For instance, Harold Grinspoon, the artist of the first work of art has many works of art installed throughout western MA, namely at the Big E Fair at the Eastern Exposition Center in West Springfield, MA, and at Mittineague Park, also in West Springfield, MA.
One of the things that stood out to me was how all of New England was represented in the art. From Vermont to Connecticut, people came from all over New England to show their art.
The first work of art at the event was “Big Bang” by Harold Grinspoon of Agawam, MA. “Big Bang” is made of charred wood center and acrylic rods. It is meant to be a celebration of special occasions and to remind us to be joyful of life. The rods individually capture light and reflect it back. But, together with others it creates an impact and good feelings in us.
“Baroque Composition, Standing Figure” by David Skora of New Hartford, CT, made of welded polychromed steel, is the next exhibit. Created in the modernist tradition, “Baroque Composition, Standing Figure” was a welded fabricated metal sculpture of abstracted forms. The sculpture attempts to appropriate the energy and exhilaration of David’s interpretation of the Baroque style of art and architecture he observed while visiting Spain.
The next piece is not really a work of art. The red frame is often used for people to take selfies or photos with friends and loved ones. The hills and trees make for a beautiful backdrop, especially during foliage. It is installed at every Art In The Orchard event.
“Acknowledgement” “by Diane Travis of Northampton, MA, is a nod to “land acknowledgement.” You may have seen some signs or markers on the ground acknowledging “native land” or other forms of land acknowledgement (I’ve seen several of them in Boston and Salem, MA). This installation, made of a found table, brass copper, aluminum, paint and wood letters, is meant to be a tangible. interactive sculpture situated on the land people to refer to during “land acknowledgements” at meetings and gatherings. It also pays tribute to the original people of the land.
A compass rose set upon the table orients the viewer in the landscape of Mt. Tom, short for “Tomhoganompekut.” Say that three times fast. I dare you. This name roughly translates to “Tomahawk Stone Place.” For millennia, Indigenous people used the unique stone there to make tomahawks.
Stools set at North, South, East and West invite people to sit and contemplate the land in all directions. Visitors are encouraged to sit and contemplate the land and history in all directions. The compass has an inner and outer circle of names; the inner circle refers to the Ancestral names of original people in the area. The outer circle names and acknowledges the continuous and current presence of Native people in the wider region of Dawn Land now called New England. “Acknowledgement” is meant to confront tropes of the “Disappeared Indian”, asserting, “We are here.”
“Big Mama With Glass ” by Robert Osborne of Athol, MA is the next art installation. I was fortunate enough to meet the artist of this work of art during the event. Robert told me the “Big Mama With Glass”, which is made of solid aluminum bar and solid glass rods, was the largest of his “Mama” sculptures. He said the “Dia generation” which is Michael Kimmelman’s label for minimalists and conceptualists many of which are on view at the Dia in Beacon, NY, to be the most relevant today. Their work, according to Robert, is about optics, light, architecture and a unique philosophical approach to seeing and thinking. Robert is also intrigued by the string constructions of Fred Sandback because of his exploration of volume and space. Robert hopes to make people question and really look closely and think about the images and their interactions with his art.
“Coming Home To Roost” by Easthampton resident Christopher Woodman was inspired by some unsavory looking guests in his backyard. The art installation, which is made of a factory fan hub, multiple hand saws and other found metals and wooden beams, was inspired by turkey vultures. The previous Fall, the trees in Christopher’s yard were the chosen home for dozens of turkey vultures. Christopher was taken by the calamity in their process. He observed that for masters of the wind, they don’t always stick their landings. At one point, Christopher counted 60 buzzards, which was close to 400 ft of wingspan.
When choosing a focal point for his piece, the vulture idea hit a lot of themes for Christopher. He especially liked using discarded parts and appreciated the balance of nature and renewal. He also wanted to show the ominous and foreboding specter of the future.
Gints Grinbergs of Dedham, MA created “Queen Anne’s Lace” with stainless steel tubing found metal rods, bent landscape spikes and cast off stainless steel washers. It strives to depict forms and structures found in nature as it reaches for the sky, turning it’s head towards the sun. The backdrop of foliage and pumpkins made the installation look prettier.
“Three Small Flames” by Antoinette Schultze of Eliot, ME, is the next art installation. The work of art, which was made of granite and glass, was a work of nostalgia. It represented her nostalgia for place, specifically home, with the candles burning. The three small flames can be found at the bottom of the granite installation.
Antoinette began her art career in 1961 when she auditioned for an Impressionist class at Columbia College in New York. Antoinette learned that an artist can express their feelings, not just copy nature. The materials and process of creating her sculptures are a manifestation of herself. Antoinette can carve stone and wood, coupled with glass into a marriage seeking light. Although the work is dirty, time consuming and laborious, Antoinette finds it to be meaningful and rewarding. The work brings order and insight into what she calls a chaotic world. Calling herself the “singing sculptor”, Antoinette said she often sings and speaks to herself as she works.
The next sculpture “River Siren” by Joshua Ruder of Greenfield, MA, is a little unusual. It is interactive. The sculpture made of stone, metal and concrete has a stone attached by a string to the other side of the sculpture. And yes, it does make a “siren song sound.
Joshua found the perfect curved contour in the stone while he was wading in a river. He felt compelled to carve the stone and continue the process of carving that nature had begun.
“Rebirth” by Gregory Didyoung of Wilmington, VT, is a sculptural interpretation of the phoenix myth. Reborn from its own ashes, the phoenix symbolizes renewal, resurrection and immortality. The sculpture was made of found metal and reused and reborn into something new. Cracking the nested egg into two halves the phoenix rises and flaps his wings for the first time.
While the meaning of “Erebus” by Trisha Moody may seem straightforward, it has a deeper meaning. The sculpture which is made of steel, iron and recycled tools is actually a commentary of human beings. The sleepy dragon which looks beautiful and dangerous, is similar to how we are often asleep and how we all react differently when woken. The dragon is playfully being tapped by the fairy to join her in the woods. It shows how two very different creatures can play together. It also shows how we have the ability to act together in a community and how we can choose to be the gentle giant or the fire thrower.
Brendan Stechini of Belchertown, MA, described his sculpture as being like a scientific instrument. He described it as being like a lighthouse with a round mirror that projects and reflects light, turning 360 degrees, oscillating like a weathervane. The mirrors on the outside legs capture the sky and the tops of the trees. The mirrors on the inside reflect the ground and our footprints. At the top of the sculpture, the steel rod points to the heavens. Brendan suggests looking at the sculpture with “new eyes” and “holding a mirror up to it” This sculpture represents how we can look at the same facts from an alternative perspective.
Malcolm White of Leeds. MA made some impressive sculptures all out of grape vine. Perhaps you heard about them through the…well you know.
Malcolm’s installations consisted of Pegasus the hippo, Long Tall Sally the giraffe and Atlas the elephant.
Malcolm has two objectives for his work: making a connection and bringing some joy to those who view his work. Malcolm uses material found in the landscape where he lives and which will decay into the same landscape without harm to the environment. He feels joy and a connection to the environment when he is making his works of art. If viewers feel the same connection and joy, Malcolm feels he has succeeded in his goals.
Malcolm was inspired by Greek mythology when making these sculptures. For instance, Pegasus was a flying horse from Greek mythology and hippos, or as the Greeks proclaimed them “river horses”, fly about in the watery world. So, the hippo is worthy of the name Pegasus. If you have seen a hippo gracefully swimming underwater you can see why he named it Pegasus.
Summary: The Melha Shriners hosted their annual Feztival Of Trees to raise funds for the Shriners. People could bid on special trees with bonus gifts on or near them, purchase products from vendors, get their faces painted or just enjoy the festive at atmosphere.
It’s that time of the year again in New England. The time between the holidays and spring can be a little quiet, cold, dark and did I mention cold? It’s a pretty long timeframe. 60 days, 8 hours and 50 minutes. Not that any of us are counting.
But, fear not! I have lots of content from the holidays, and all of last year, to post until the weather turns for the better! Hopefully, posts like this will help bring back some cheery holiday memories!
Upside down Trees, Halloween trees and ladder trees were just a few of the Christmas trees on display at the annual Feztival of Trees at the “Big E” in West Springfield, MA.
The event, which is held to raise funds for the Chicopee (MA) based Melha Shriners organization. Their main mission is to help raise awareness and funds for the Shriner’s Children New England in Springfield, MA.
The biggest attraction of the event was the wide variety of Christmas trees. People could purchase tickets for any of the 86 trees and use the tickets to enter a raffle for the trees. The trees had everything from games to scratch cards on or under them. Any trees not claimed were donated to the Department of Children and Families.
This tree, and “upside down Christmas Tree” had toy trucks and games under (or above?) it.
There were dozens of trees at the event. Some of the trees like this snowman tree, had lights that blinked!
This tropical tree was popular with the visitors. I’m sure it helped people think of a warmer time and climate!
This ladder tree had everything for the handyman!
As you can see, the trees were very impressive and festive!
I especially liked this “Pizza Tree”! I mean, who doesn’t like pizza!?
And what would a Christmas tree feztival be without Santa and Mrs. Claus!?
Or, for that matter, Tinsel!?
Some people got into the spirit of the event. This Melha Shriner put a little color in his beard to show his Christmas spirit!
Others put on their festive clothing!
But, if people didn’t feel comfortable putting decorative sprinkles or color on their face, there was a face painter at the event.
As is the case with every event I document, it is the people and the happiness they feel that make these events special. This visitor’s smile is proof of the joy people felt!
Location: 21 High St, Salem, MA (about 30 minutes northeast of Boston, MA)
Universally Accessible: No
Cost: $40 per ticket ($50 if you purchase day of tour tickets)
Parking: There are several parking garages in Salem, as well as metered on street parking.
Summary: By showing the architecture and “bones” of the home, the Gedney House serves as a model for what the historic homes of Salem look like on the inside.
While we have seen all of the residential homes on the historic homes tour, there was one more building on the tour. But, it’s not a residential home. At least, not now. The Gedney House, once used for rooming, holding events and other occasions, the Gedney Home is now used to showcase the nuts and bolts, sometimes literally, of the homes of that era.
One of the oldest timber-framed dwellings in the country, the Gedney House was built by Eleazer Gedney, a wealthy shipwright whose family had arrived in Salem in 1637. The original structure was a basic post-Medieval center chimney plan consisting of a hall and parlor on either side of the chimney. The location of the house was near Eleazer’s shipyard on the South River. Gedney was married to Elizabeth Turner, sister of John Turner, who built the house of House of the Seven Gables. Although modest in size, the house had features which showed that it was built by a family of means; a spacious, decorative gable and two impressive summer beams (load-bearing building elements) in the main hall, an unusual feature as homes of this style typically had only one.
In 1733 a new owner expanded the house into a multifamily dwelling used as a rooming house. By the early twentieth century, when Salem was becoming home to successive groups of immigrants, the house was a tenement in the area which became known as Little Italy, reportedly once housing 25 people in four households. So much for building codes.
A local builder purchased the house in 1962 with the intent of turning it into apartments. An observant Salem resident, Elizabeth Reardon, noticed 17th century paneling in the trash as the renovations were beginning and alerted Historic New England, which subsequently acquired the house. Because of the halted 1960s renovations, much of the original framing is exposed for visitors to see today.
The exposed framing mentioned above can be found in the structure.
The house, such as it is a “home” is meant to serve as an architectural model to see the “bones” of these old historical homes. There were examples of the home’s architectural frame and design throughout the house. Some lit up for the holiday season. AS you can see, the paneling and wood covered a lot of the original str The photos at the bottom show the original designs of the building.
The “Great Fire Of 1914” in Salem took out much of the McIntire District. The Gedney House, however, was spared, barely.
The map below shows the area the fire spread (in red). The Gedney House is the x on the map.
Here’s a closer look
This concludes the annual Christmas In Salem historic homes tour!
Location: 9 Cambridge St, Salem, MA (about 30 minutes northeast of Boston, MA)
Universally Accessible: No
Cost: $40 per ticket ($50 if you purchase day of tour tickets)
Parking: There are several parking garages in Salem, as well as metered on street parking.
Summary: The house at 9 Cambridge St, aka the David Coggin home, has some interesting decor, artifacts and is cat friendly!
Like most of the homes in this neighborhood, this late 19th century, this late 19th century house was built on the site of an earlier building that was part of a larger parcel of land belonging to Jonathan Neal in the 1660s. The earlier dwelling remained in the family until the 1880s when tax records describe it as vacant and about to be demolished. Jonathan Neal’s name sound familiar to those of you who have been reading my posts. This home appears to have possibly been part of the parcel of land 10 Broad St currently stands.
Late in 1889 David Coggin, a renowned ophthalmic surgeon at Salem Hospital, had the current house constructed as a two and a half story residence with a gambrel rook in the Dutch Colonial Revival/Shingle Style. Coggin had another on nearby Chestnut St. But, he never resided there, selling the house soon after its completion to Nathaniel Osgood, a leather dealer, and his wife Eliza. Osgood was the son of the Salem portrait painter, Charles Osgood, whose well-known portrait of Nathaniel Hawthorne now resides in the Peabody Essex Museum. By 1900 the Osgoods had purchased a house on Chestnut St and rented out the house at 9 Cambridge St to a series of short-term renters, among them Charles C. Buffum, famed as the old “foxhunter” claiming to have killed more foxes throughout New England than anyone else. Buffum lives there from 192 until his death in 1915.
Like many homes on this tour, this home was deceiving in both size and style. While it may seem “cozy” and “quaint”, neither of which are inherently bad things, the home is bigger (over 1,900 square feet) than it may appear to be from the exterior.
The home had a distinctive charm and holiday appeal.
I adored the kitchen decor!
I thought this was very cool. When the home owners had work done on their home and grounds, the workers found some interesting materials. These pieces of dinnerware and other debris were found when the owners did remodeling and landscaping.
Something I’ve noticed in a few of the houses I toured was doors, holes and other entryways specially made for pets. This home not only had a walkway above the human furniture, it also had a hole for the cat to walk through. They have quite the life!
I liked how this tour guide got into the holiday spirit with his headwear!
This lighting fixture was very pretty! I would have loved to see what it looks like when it is lighted! Maybe I’ll see that next time I tour the home!
I always try to find something unique or different. Not necessarily anything different from the other homes. But, something that I haven’t posted about before. In this case it’s crown molding, or cornice.
Fun fact: While there may be some minor differences, wainscotting and crown molding are basically the same thing. The only big difference is location. The crown molding is located near the ceiling as shown above. Wainscotting is located low on the wall from the baseboard up to a chair rail.
This was an interesting Christmas tree. At least it’s easy to set up and take down!
The decorations continued into the porch and yard.
I hope you’ve been enjoying these tours! Three more left!
Location: 18 Broad St, Salem, MA (about 30 minutes northeast of Boston, MA)
Universally Accessible: No
Cost: $40 per ticket ($50 if you purchase day of tour tickets)
Parking: There are several parking garages in Salem, as well as metered on street parking.
Summary: The Pickering House is both the biggest and perhaps most impressive homes on the tour!
The Pickering House was built in 1660 by John Pickering. From its construction until 1998, ten generations of the Pickering family lived in the home. Since 1998, it has continuously occupied by a caretaker family, making it the oldest continuously inhabited house in the United States. Over the centuries, the home has hosted numerous visitors including George Washington who is said to have dined at the very same table that is still in the house. The original portion of the home – the front living room – retains its exposed beams from 1660. Additional sections were added over time, with the most recent major renovation, the kitchen, completed in 1911. The exterior, a Gothic Revival Influence, was chosen by John Pickering VI to mirror European architectural trends during his time at the residence.
The most impressive building, at least from its exterior, the Pickering House is also the oldest home on the tour.
One of the features of the home that caught my attention was the chimney which is a group of flues from several chimneys.. You can see the chimney in the left of the photo below. The reason for the shape of the chimney was to allow for all of the flues from the various fireplaces in the home. When it was renovated, the home owners wanted to duplicate that look even if the home didn’t have as many fireplaces in it any longer.
There is a lot of history inside the Pickering House. For instance, the home still has the original wallpaper.
And this couch which was a gift from Eleanor Roosevelt.
There were pretty decorations and furniture throughout the home.
To keep the large home warm, this fireplace was said to have been much bigger. The fireplace was originally from doorway to doorway. It was downsized during renovations.
Just like most historic homes in Massachusetts, and New England for that matter, George Washington slept in this home. It’s amazing how this rumor or legend has become a claim to fame for so many homes and inns. Legend has it George Washington slept in one of the second floor bedrooms. It is said that Washington stopped by the Pickering house and tied his horse to an old locust tree in the front yard when he visited Colonel Pickering in 1789. But, whether he slept there is still a bit of a mystery. Everywhere I looked for information to support this claim either didn’t mention anything to support it or used hedge words like “rumored” or “legend has it.” In any event, that’s their story and their sticking to it.
There also musicians playing Christmas music in one of the dining rooms. I could have stayed all day and listened to them.
As if that wasn’t enough, the Pickering House also had a barn that was lit up and decorated for the holiday season. It was a festive way to end the tour of the home.
Location: 10 Broad St, Salem, MA (about 30 minutes northeast of Boston, MA)
Universally Accessible: No
Cost: $40 per ticket ($50 if you purchase day of tour tickets)
Parking: There are several parking garages in Salem, as well as metered on street parking.
Summary: The home at 10 Broad St has a long history of changing ownership, construction (and deconstruction) and a lot of charm!
Like many of the houses on the Christmas In Salem tour, the home at 10 Broad St was part of the 17th century “homestead land” of Jonathan Neal (that name may ring a bell from my previous post) which was partitioned among the children and grandchildren. Hannah Smith, a 43 year old widow and granddaughter of Neal, inherited “Lot #7 and the small old house thereon” in 1799. Hannah razed the old house and built a new one in 1800, occupying the Broad St portion of the house and renting out the portion that front Cambridge St. After her death the property was partitioned again and divided into two parts by her heirs as two separate residences.
The Cambridge St section of the building was continuously occupied for much of the 19th century while the Broad St side was often vacant. One hundred years later, the two entities were united into a single-family residence by another widow, Hope Brown, in 1954.
The entrance to the home is located at the side of the right of the building. There was some Christmas decor attached to a Neoclassical Style Dolphin Door knocker.
This fireplace had a holiday feel to it.
The house had a red and chicken theme. I liked the black and white photo better. But it didn’t illustrate the color theme as well as the color photo. So, I’ll attach the black and white photo below as well.
These chairs were originally Ikea chairs the owner bought and were decorated to represent important times, events and other things of their life.
The tour guide didn’t say specifically what events or things the decor represented. But, I think that adds to the secrecy and mystery of the decorations.
The home had a lot of Christmas cheer (and some extra cheer in the bottles of the last group of photos). I especially liked how they set up the dining room table as though they were expecting dinner guests.
I liked the stars hanging from the lighting fixture and, of course, the bokeh.
While I was walking along the trail to the various homes, I saw a few of these markers.
Since these homes are in the “Mcintire District), named after famous Salem architect, carver, sculpture and crafts worker Samuel Mcintire. A whole post or series of blog posts could be devoted to Samuel Mcintire’s work. But, the fact that an entire section of Salem has been dedicated in his honor says volumes. Even though he may not have had a part in the building or design of some of these homes, his influence can be noticed in all of the homes.
Location: 12 Broad St, Salem, MA (about 30 minutes northeast of Boston, MA)
Universally Accessible: No
Cost: $40 per ticket ($50 if you purchase day of tour tickets)
Parking: There are several parking garages in Salem, as well as metered on street parking.
Summary: The home on 12 Broad St, built by Jonathan Neal, has some impressive decor, an interesting history and a connection to bees and chickens! I bet that got your attention!
In 1767 Johnathan Neal, a yeoman and carter, built this house on land owned owned by the Neal family since the 1600s; The house Jonathan built was described as two stories high and one room deep with a pitched roof which may have been a recycled from a previous house. Certain elements, such as a front-to- back summer beam on the first floor, suggest a possible pre-1730s date while elsewhere there is beaded box molding suggestive of post-1730s construction. The house is said to have had 6 working fireplaces. It was extensively renovated in the 20th making it difficult to determine which elements are original and which have been restored.
The area of Broad St where this house stands was not far from the town almshouse (a charitable residence, often endowed by a benefactor, providing housing of poor, elderly, disabled or otherwise disadvantaged people in a community) where indigent and very sick people were housed in the 18th century. Because of the location of the almshouses, the street was known as Almshouse Lane.
Neal died in 1790 after falling off the wharf near his almshouse after visiting a “house of intemperance.” Neal landed face first in the mud. Hey, we’ve all had bad nights. Unfortunately, Neal’s bad night was fatal. After his death, the house was divided among his children into four units occupied by the Neal family and in-laws. After the Civil War, the dwelling house became a two-family home and in 1925 it was a single-family home for the first time in over 25 years.
In 1885, Leverett Saltonstall, who grew up on nearby Chestnut St, recalled that Jonathan Neal’s sons had run a bakery at 12 Broad St where pigs were often slaughtered in the yard. The process was so grim and viscous screams and squeals from the pigs could be heard around the block. Because of the noises, Jonathan Neal Jr was taunted by the children as “Piggy Neal who makes pigs squeal.”
Instead of the pigs mentioned above, bees and chickens are now the themes of the house. The owners raise chickens and are beekeepers. There were beekeeping supplies outside of the house.
This is the original wallpaper from the 18th century. I know. I had to ask twice to make sure I heard that correctly.
The home was decorated tastefully for the holiday season.
Keeping with the chicken and bee theme, this tree had chicken and beekeeper decorations (zoom in and look about 1/3 of the way from the top on the left)’
This was one of the fireplaces on the first floor.
I was particularly impressed by the artwork above the fireplace.
I particularly appreciated the wainscoting and traditional decor in the dining room.
I know Christmas is over. But, these posts serve as “left overs” from a holiday season I think we all wish lasted longer! Fear not. I have many more tours to take you all on!
New England Nomad 