A revealing tour of the lush gardens and enchanting homes of New England's Cape Cod, in more than 400 lavish color photographs and inviting text. Well known for its glorious coastline, fabulous sailing, world-renowned beaches, and delectable shellfish, Cape Cod has a long history connected to the sea. Commercial fishermen from the Old World sought shelter on its shores even before the "Mayflower" Pilgrims made their first landing at Provincetown in 1620 before going on to settle at Plymouth. In contrast to the tales of merchant seamen, whaling ships and the China trade, pirates and commercial fishermen, the Cape was settled by farmers. By 1639 the towns of Sandwich, Yarmouth, and Barnstable were already incorporated, and livestock grazed on the plentiful salt marshes nearby. Now, more than three-and-a-half centuries later, Cape Cod is home to artists and writers, fishermen and farmers, and the summer destination of generations of city dwellers-- all of whom enjoy the soft summer nights, endless beaches, and sheltered estuaries and bays abounding with succulent clams and oysters. "Cape Cod: Gardens and Houses" reveals the Cape's natural beauty, its rich architecture, and its magical gardens. Taylor Lewis's stunning color photographs and Catherine Fallin's evocative words take you on a tour inside the rooms of the Cape's most alluring houses, behind stone walls and high hedges protecting private formal gardens from the sea or from the busy street, into cottage gardens tucked away behind rambling houses, and to wildflower meadows stretching out to the marshes. We travel along the Cape's back roads and visit the Upper Cape towns of Sandwich, Falmouth, and Waquoit; the Mid-Cape from Barnstable and Yarmouthport to Brewster on the north, and from Osterville to Harwich Port on the south; Chatham and Orleans at the crook of the elbow; and the legendary Wellfleet, Truro, and Provincetown on the Lower or Outer Cape. This journey captures the wealth of the Cape's legacy and the distinct personalities of its diverse communities. Seen in elegant detail are some of the earliest houses, dating to 1678; exemplary Cape Cod-style homes; large summer "cottages" by the sea; and turn-of-the-century and contemporary pond-side residences. The Cape's New England climate, softened by the surrounding sea, is similar in many ways to that of Great Britain and Japan, and like them has lush gardens from early spring, when the crocuses and snowdrops poke up through the late winter snows, to late spring when profusely flowering fruit trees, rhododendrons, and azaleas fill the air with their color and delicate scent. Glorious roses and other flowers rich in the shades of summer flourish until late-blooming asters, dahlias, and chrysanthemums give way to the brilliant colors of fall foliage and cranberry bogs. Cape Cod gardens range from those sheltered by tall privet to those that grow nearly wild along the sea. These pages depict arched gateways heavy with the weight of climbing roses and clematis, homes bordered with bushes of blue hydrangeas or purple and white lilacs, hillsides textured with soft subtle heaths and heathers, and native Rosa rugosas, sea lavenders, and Scotch broom.
A brick in the great-room fireplace bears the date of 1740, and it is likely that this Georgian-style Colonial house was constructed in that year, probably as a modest one-sided house, which was added on to throughout its life. The house was reportedly built by one of the Bourne family, whose ancestors were founders of Sandwich, the first settlement on the Cape, incorporated in 1639. The first settlers were farmers, and their stated purpose in settling the town was "to worship God and make money." They chose Sandwich for its proximity to an established trading post and to the salt marshes, which provided fodder for cattle without having to clear any forests.
Built about a hundred years after the town of Sandwich was incorporated, Uplands is set unusually far back from the road. Paul and Diane Madden bought the house in 1984 and began restoring and renovating. They added the large master bedroom wing on the left and doubled the size of the kitchen by adding a corner fireplace and a comfortable sitting-dining area. Inside, the floors and woodwork are hand-painted in patterns and traditional colors. Many of the furnishings were chosen for their reflection of the great eighteenth- and nineteenth-century relationship among Nantucket, Martha's Vineyard, and Sandwich. Being antiquarians and collectors of art and antiques, folk art, handmade crafts, cookware, and serving pieces, the Maddens have changed the dark old house into a warm and gentle mix of traditional and colorful details.
In the front parlor, an eighteenth-century mahogany spider-leg table holds a pair of eighteenth-century Italian silver candlesticks. An early-nineteenth-century gilded French wall barometer hangs between the front windows with window treatments designed by Diane in the style of the period. In the corner is a French abattant owned by the American portrait painter John Alexander, who was from Boston. In the foreground, the English gaming table is set up with a late-eighteenth-century Dutch chestnut urn, a nineteenth-century ivory-inlaid chess set with oriental export chessmen, and a mid-nineteenth-century ivory-inlaid cribbage board. To the right is a portrait of Eleanor Young painted by Charles Wilson Peale, c. 1770. The floors here and throughout the house were painted by John Canning of Connecticut.
The dining room table is set with eighteenth-century Sheffield candlesticks, early-nineteenth-century French porcelain, and coin silver flatware. In the center is a Chinese export tureen with original stand, c. 1760. On the left is a gilt Hepplewhite mirror above a Hepplewhite card table. The inlaid Sheraton sideboard holds Sheffield period wine pails. A pair of early cranberry glass hurricane sconces flank a portrait of the ship Melville Bryant, painted by Elijah Taylor Baker, c. 1870.
Seen through the doorway, at the end of the great room, is a portrait of Judge Benjamin Young of Maryland, who is a direct ancestor of Paul's, painted c. 1754 by the English court painter John Wolleston. The chair to the left of the door is a Jacobean cane-back armchair. Rare Sandwich glass decanters grace the long trestle table.
The great room is furnished with early-eighteenth-century pieces that reflect the Maddens' personal interest in early Queen Anne style. English and Dutch chargers line the mantel over one of the largest fireplaces on Cape Cod. Polished brass accessories, Cromwellian pull-up stools and chairs, the blue resist pattern of the window treatment fabrics, all represent the influence of eighteenth-century China trade. The large rug is a Serapi.
A tall hallway makes the transition from the great room to the new master bedroom suite. Furnished with an eclectic mix of English and American objects -- an English ball-foot William and Mary chest with an English bracket clock on top along with a chinoiserie lamp, a large English delft charger, and examples of mid-nineteenth-century american scrimshaw. Above the chest is a portrait of the Bark Belvedere of Boston, painted by Carolus Weyts in 1867. To the right, a reproduction gimbaled barometer hangs above and over a brass quadrant signed by T.A. Gardner, Nantucket, who was a purveyor of marine instruments of the time. Above all this, the long shelf holds two Nantucket sailor whirligigs, a chart box that belonged to Edward P. Percival, Barnstable, Massachusetts, and a pointing hand weather vane from the old Cent School on Nantucket.
An upstairs guest room features a mid-nineteenth-century tester bed, a late-eighteenth-century Philadelphia rocker, a child's painted and grained rocking chair, an early blanket chest, and a hat box. On the closet door hangs an early jack tar sailor's hat, made of canvas and straw and painted with tar.
The master bedroom is decorated in cream and pink, which accentuate the snug feeling of the fireplace, with its pair of andirons with double lemon tops signed by O. Phillips, a New York maker. On the mantel is a Staffordshire lion. Above it is a portrait of the ship Swordfish, an extreme clipper, painted by Antonio Jacobson. Between the windows is a late Federal mirror with its original lemon gilt.
The barn is a replica of the original one on the property. The pond, formed by a large recessed area on the property, was dug out to supply the fill for the Sandwich town hall. It is now stocked with more than 350 koi fish. In early June, yellow, purple, and white irises are in full bloom while the lotus flowers are still in bud. Some time near the turn of the century, the property was left to the state of Massachusetts for an experimental farm and was known as Uplands Farms. Behind the house the land is terraced and was the site of a vineyard. The remains of an extensive irrigation system and a greenhouse are evident. Wonderful old trees -- beeches, ginkgoes, American and English elms, a tulip tree, chestnuts, maples, cherries, and lotus -- many unusual for the Cape, as well as a variety of fruit trees from the farm's orchards are found all over the property.
Copyright © 1995 by Catherine Fallin and the Estate of Taylor LewisFrom Booklist :
Cape Cod will always be a special place to visitors who frequent its villages' quaint shops, staying over to delight in the lyrical beauty of its beaches and bays. Taylor Lewis' splendid photographs and Fallin's effective text present an insider's tour of the area, enhanced by views of antique-filled interiors and private landscapes the average vacationer can only imagine when driving along the cape's roads. Lewis' lens captures numerous vignettes of lovely homes surrounded by flowering trees and lavish perennial plantings. This book provides unmistakable proof the Cape Cod's houses and gardens equal the beauty of those found on Nantucket or Martha's Vineyard. Alice Joyce
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Description du livre Simon & Schuster, 1995. Hardcover. État : New. N° de réf. du libraire P110671868594
Description du livre Simon & Schuster. Hardcover. État : New. 0671868594 New Condition. N° de réf. du libraire NEW6.0331223