bricolage in Austin NV

My fascination with cemeteries continues, each locale presenting novel styles and unprecedented content, enlarging my sense of cultural and temporal variety.

Each image fits somewhere in an emerging construction, the outlines of which are pretty clear (having to do with the Memorial and the Marmorial: with both the impulse to Remember and the [seeming] compulsion to make the Remembering as permanent as materials permit), but the details of linkage and explanation unfold bit by bit, as more images join the corpus. I’m not sure what the ultimate destination will turn out to be for this project, and it’s possible that it is in fact bottomless, but it proceeds site by site, and insight by insight.

As with so many others in my stable of enthusiasms, this project asks the question: How shall we account for what we see, what we encounter? Each bit [image, text fragment, etc.] is a holographic fragment of a grand edifice, and each fragment is productively considered as fundamentally linked to every other. We may explore the bonds, the implications, the entanglements, but grasping the whole seems to be beyond our meagre and measly powers.

The cemetery (actually cemeteries: the Catholic Calvary cemetery and the Shoshone graveyard are adjacent but separate) at Austin NV (a 19th century mining boom town) includes these elements [click on an image to embiggen]:

Basque surnames:

AustinNV20

AustinNV6


Native American surnames:
AustinNV34 AustinNV33

AustinNV47

AustinNV45


people who came from far away (Cornwall, Scotland, named counties in Ireland):

AustinNV11 AustinNV14

AustinNV18 AustinNV48

the ever-present deaths of children:

AustinNV16a AustinNV10

AustinNV12 AustinNV3

AustinNV17

evidence of active grave tending, next to the forgotten:

AustinNV28

opulent displays imported from afar side-by-side with the most basic and temporary of materials:

AustinNV43

AustinNV40 AustinNV41

novel iconography:
AustinNV44 AustinNV46

and sometimes bits of stories of the decedents’ lives. Google tells me that one young man died in a SCUBA accident in Monterey Bay, but was brought to Austin for burial:

AustinNV1
that another man survived a gunshot wound to his throat when his cousin’s husband tried to shoot her:
AustinNV53

And of course there’s lots more that I may eventually distill from the photographs I took during the visit to Austin cemeteries.

Onomastical exegesis

Some of the profounder truths/more ineffable mysteries lurk in how things are named. Why ‘toothless’ for this image, asks Bryan:


toothless 2xadj

Part of the explanation has to do with the momentary flash of inspiration to which I’ve learned to attend as I’m processing images, and which I am happy to identify as macchia (“the total compositional and coloristic effect of an image in the split second before the eye begins to parse it for meaning,” more fully adumbrated in a posting from four years agone, and thanks to Teju Cole for the word). “Toothless” was the macchia that breezed through my mind on first glance at the original image (the right-hand side of the composite mirror image above):

toothless
I see, or fancy I see, or saw and then couldn’t un-see an empty eye socket in upper center, and a jagged toothless black mouth on the left side about 2/3 of the way from the top… but as always YMMV. The symmetrical expansion of the original image reveals a very different face: the toothless mouth unfolds into a pair of black eyeholes, surmounted by a crown of vertical elements (feathers?), and susmounted by what seems to be a filigreed snout (which, John points out, isn’t showing any teeth, so still technically toothless).

John also suggested that the image might be flipped:


toothless 2x flipped
An altogether more vulpine visage emerges, not toothless at all, and the former feathery crown transmuted into a rather elegant broad-shouldered cloak.

It’s an essential component of the Homo narrans toolkit that things be given names to celebrate their essence, and perhaps to summon them (or protect against them) at need. But we must always heed Max Nigh’s Dictum: Just because we’ve named it doesn’t mean we know anything about it.

Peri-urban domesticity in infrared

We chanced to spend the night in a motel in Vaudreuil-Dorion, at the confluence of the St. Lawrence and Ottawa rivers, a half-hour commute to downtown Montréal.


St Lawrence1

Along the rivers are houses that enjoy docks on the water, and that give full scope to Quebecois architectural styles. Consider this magnificent faux-château Trianon, and imagine the pride of its owners:

StLawrence11

StLawrence10

StLawrence9

StLawrence8


This house’s dock is middling-modest:

StLawrence4

And other nearby neighbo[u]rs express themselves variously:


StLawrence3

StLawrence5

StLawrence2

StLawrence6

Two remarkable photographs

Accidents happen. Sometimes old negatives go awry, the emulsion reticulating because of heat or moisture or the passage of mysterious subatomic particles…or just because.

I’ve been scanning negatives from Sarawak 1965-1967, uncovering events and locations I’d forgotten, and two of the frames on one roll had developed spontaneous reticulation that could be felt as ridges in the emulsion. I scanned them anyway, and when I opened them in Lightroom and tweaked them a bit, marvelous images emerged. These were taken by Broot at a ceremony for the raising of the first house post in the New Village that we were involved in building (a story in itself, and not a very happy one for the people who were being resettled).


a happy accident

another happy accident


Somewhere I think I have 50-year-old prints of these photos, without the added grace of reticulation. Don’t know where to start looking, but if and when they show up I’ll scan and blog them too. Meanwhile, enjoy the early work of a marvelously gifted and subtle photographer.

Another new project: Abandoned Ancestors

staring

Over the years I have collected lots of pictures of unknown folks, the most coherent subset of which is arrayed in Nova Scotia Faces and also configured as a book, Bluenose Physiognomy. The images that have no direct relation to Nova Scotia need their own site, so that I can begin the process of organizing them into a book. The springboard is a separate suite of web pages, which I expect will sprawl and interdigitate in the by-now-familiar mode. The beginnings are available at Abandoned Ancestors. Stop by for a look.

On the Bancroft-Tyszkiewicz Account

I was first drawn to this family saga by seeing Clara Peabody Bancroft’s over-the-top memorial at Pere Lachaise:


PereLachaise9

We can interpret the memorial variously: it’s an opulent sculpture of an elegant lady, modishly dressed and replete with possibly allegorical rose-strewing; or perhaps it’s the opening paragraph of a story, the sort that Somerset Maugham or Saki might have turned into something eternal. Or a puzzle of parvenus and arrivistes, of money and society. Or it can be read as a series of family calamities, or medical missteps. The elements of each of these scenarios seem to be gloriously present.

Clara Peabody was born in New Hampshire in 1826, and married Edward Bancroft in 1845. Edward was from Worcester, and became a Boston banker and broker (perhaps specializing in cotton), but the details of his occupation are pretty sketchy so far. Their sole surviving child Clara Elizabeth was born in 1857, and Edward died in Naples in 1865.

Here is Edward’s rather modest headstone in Mount Auburn Cemetery:

Bancroft2

Edward Bancroft

Departed this life at
Naples Italy
in the morning of Sunday
February 19 1865 Aged 42
By his own request his body
reposes here

I have not been able to discover how Edward came to die in Naples, or what took Clara to Europe (her own passport was issued in 1866, and includes her daughter and a servant), or when Clara returned to her residence in Newton Center (where the 1870 census records her as having a Personal Estate of $200,000).

Clara Elizabeth married Count Benoit Tyszkiewicz in Newton MA in 1874 (she was 18, he 22). Just how he came to be in Boston is a mystery, but in 1875 he and his bride had returned to Europe, and he commissioned a schooner at Havre:

In 1875, the Polish Count Tyszkiewicz Benoit, then
aged 23, would have a sea vessel for his travels. He has
spent two years in Boston, where he was impressed
by the big American schooners . Back in France, he
ordered Jacques Augustin Normand, Director of Augustin
Normand shipyards in Le Havre, the Zemajteij
which will become known as Velox. From the specifications
drawn up by the count, Mr. Normand will
design a schooner quite innovative that will mark his
time and influence the plans of the future construction
of yachts, both American and English.
The design of its hull, in particular, is revolutionary :
the Velox is the first ship to combine the breadth of
American yachts with the depth of the English shells.
This gives it great rigidity to the fabric and allows it to
carry more sail area than the competition.
The hull construction is also original: Jacques Augustin
Normand will use the method of triple-lined (2 longitudinal
and diagonal) which brings lightness and rigidity.
This is a first for a vessel of this size. The stability
is provided by a ballast 87 tons.


(Wikipedia, translated from the French)

It’s not clear when Clara Bancroft relocated to Europe, but her grandsons Benoit and Edouard were born in 1875 and 1880, and she herself died in Switzerland in 1883. She was first buried in Passy, but was moved to Père Lachaise the next year. A plaque on the magnificent tomb says

Son gendre et ses petits enfants pour accomplir les dernières volontés de sa fille la comtesse Tyszkiewicz ont élevé ce monument témoignage d’un vieux souvenir.

(Her son-in-law and grandchildren, to fulfill the last wishes of her daughter the countess Tyszkiewicz, have raised this monument in witness of an old memory)

The old memory may be of Clara strewing rose petals, and clearly it was the count who commissioned Henri Chapu’s sculpture.

But the story continues. Clara’s will specified that her daughter should be the beneficiary of a $100,000 trust, which would pass to her children if she should die. Clara Elizabeth did in fact die (of pneumonia) less than a year after her mother, just a few months after the birth of her third child.

The Bancroft plot at Mount Auburn Cemetery has a memorial


Bancroft1
upon which are inscribed the names of the various Bancrofts, but only Edward is actually in residence, and all of them enjoyed post-mortem travels (Edward’s wife Clara died in Switzerland but is interred at Pere Lachaise; their daughter Clara died in Switzerland but reposes in Czerwony Dwor, the seat of the Tyszkiewicz family).

Bancroft3

Just who had the monument erected is another mystery.

There was a court case in Boston in 1904, the Tyszkiewicz children seeking distribution of the principal of the trust, and their maternal kin desiring that the original terms of the trust continue. The children lost the judgement, and I can find no further information on their lives. (See the text of the judgement).

Count Benoit Tyszkiewicz lived until 1935. According to the Almanach de Gotha, he married the princess Marie Lubomirski in 1885. He seems to have been active in the development of sugar beet cultivation on his Polish estate, and his avocations included photography (membre de la Société française de photographie [1884] et du Photo-club de Paris [1898]).

Further detail, translated from Polish Wikipedia:

Benedict Henryk Tyszkiewicz
Date and place of birth December 11, 1852
Date and place of death May 13, 1935, Menton
Father Michał Tyszkiewicz
Mother Maria Wanda Tyszkiewicz
Wife Klara Elżbieta Bancroft
Children Benedict John, Edward, Elisabeth Maria

Benedict Henryk Tyszkiewicz, Leliwa (born December 11, 1852 in Diam , May 13, 1935 in Menton , France) is a Polish photographer .

Son of Michał Tyszkiewicz (died 1854) and Maria Wanda of Tyszkiewicz (died 1860). After premature death of parents (both died of tuberculosis) from the age of 8 brought up by Benedykta Tyszkiewicz , grandfather from the mother, patron and collector, owner of the Red Court , marshal of the Kaunas gubernian .

Tyszkiewicz’s sports interest in the early years of his life made him travel to the Seine on a ship belonging to Grandfather Benedict, as well as a trip to the United States, where he was in contact with the family of the wealthy owners of the Peabody ships. Benedict developed not only sailing passions, but also (in 1874) married a representative of the family, young Elzbieta-Klara Bankroft.

In 1875, a naval architect, Żak Augustyn Normand, designed the costume of the Count “his yacht of dreams” (42.2 meters long and 7.2 meters wide), in honor of Benedict’s property in Lithuania and Żmudzi was named “Żemajtej” . The Count was planning to take a trip around the world on his award-winning world exhibition in Paris (1878). Due to the outbreak of the Russo-Turkish War, however, it reached only Gibraltar and Algeria . Until 1881, the Count was a member of the Nice Regiment Committee .

During his stay in Lithuania he remained a patron of Polish sports organizations, and also contributed to the establishment of Sokol gymnastics company.

Tyszkiewicz debuted in 1876 at an exhibition in Philadelphia, where he presented a reportage from a trip to Algeria . In Poland his works were presented in 1894. His works consist of photographs from foreign trips and works made in the atelier, mainly portraits. His work has enjoyed international recognition, which was reflected in the achievement of the 1899 gold medal at the Berlin exhibition. He was a member of the Paris Photo Club. The artist’s work and most of his work were destroyed during the First World War.

The surviving photographs are held by the Musée Nicéphore Niepce in Chalon-sur-Saône , France, and have been exhibited in Lithuania in 1999.

Benedict Tyszkiewicz, like other members of his family, including his grandfather Benedict, remained a collector and patron of the arts. The Tyszkiewicz Collection from the Red Court, owned by Tyszkiewicz, was one of the richest family archives in Lithuania. It counted 20,000 documents, 12,000 letters, over 10,000 books. The collection at Red Castle in Kaunas included a rich gallery of paintings by Polish and foreign painters Canaletto , Bacciarelli , Czechowicz , Wańkowicz , Rust , a collection of slippers (destroyed in the Warsaw Uprising), tapestries and makat . Benedict Henryk Tyszkiewicz was also known as the painting buyer Stefan Batory at Pskov’s Jan Matejko for 60 000 francs, which decorated one of the rooms in a residence in Red Dwor.

Benedict Tyszkiewicz was a very wealthy man, not only the numerous travels, but also the residence of Wiala (Wiała) in the Minsk district. Not only was it decorated with a magnificent garden, but also enormous game and hunting pavilions. The cost of their maintenance greatly affected the state of Benedict Tyszkiewicz’s finances, which eventually decided to liquidate them.

Family

Benedykt Tyszkiewicz from a short-lived (9-year) marriage with Klara Bancroft (died 1883 in Chur , Switzerland ) had three children: the heir of the Red Court of Benedictine John , married to ???, Edward Branicki, married to Adel Dembowska, and Elżbieta Maria, wife of Stanisław Witold Plater Zyberk.

Literature [ edit ]

L. Narkowicz, Tyszkiewicz’s Ordinance in Zatrocz , Warsaw 2007, p. 30, 87-88.
A. Snitkuviene, Benedict Henryk Tyszkiewicz (1852-1935) from the Red House – a forgotten photographer , “Dagerotyp” 6 (1997).
A. Snitkuviene, Exhibition of Benedicts Henryk Tyszkiewicz and John Batho in Lithuania , “Dagerotyp” 9 (2000).
T. Zielińska, Polish Aristocratic Family Order , Warsaw 1997.
Flea Market Treasure. Photography by Benedict Tyshkevich
Benedykt Tyszkiewicz (fotografiakolekcjonerska.pl)
W. Chomański, Kovno “Sokol” , “Our Time” 11/2005 (661)
Glossary of the Kingdom of Poland and other Slavic countries, Volume XIII
Tyszkiewicz Palace and Park complex

and more on the Red Court (translated froma Polish site):

Attractions of the Red Court near Kaunas

In the recently renovated Tyszkiewicz Palace in Red Dwor near Kaunas, every day, up to the Three Kings, trips, entertainment for children and adults, and tasting of Tyszkiewicz dishes are organized. Raudondvaris castle and chapel is a monument of Renaissance architecture from the beginning of the 17th century. The palace rises on the upper terrace of the Niewiazy River, 9 km from Kaunas in the direction of Jurboks. The main building of the palace complex in Czerwony Dwor is a castle from the second half of the 17th century with a tower. The manor house consists of a palace, a 3.8 ha park with two outbuildings, an orangery, stables and a glacier.

The construction of the castle in Czerwony Dwor in the second half of the 16th century began by Wojciech Dziewałtowski, the Kaunas subcommittee. Later the castle-palace complex was successively owned by the most famous Lithuanian magnates: Jan Eustachy Kossakowski, Janusz Radziwiłł, Jan Karol Worlowski, Antoni, Józef, Henryk, Kazimierz Zabiello, Michał, Benedict Emanuel and Benedict Henryk Tyszkiewicz. The architecture of the castle-palace complex in Czerwony Dwor is the most visible traces of the activities of the Tyszkiewicz, the last owners of the palace. After a fire in 1831, in which wooden court buildings burned down, Count Benedict Emanuel Tyszkiewicz built a new palace, brick. The castle became then a magnificent residence, where rich collections of paintings, works of art, rare books, exotic plants and animals were collected.

The palace and court buildings in Czerwon Dwór have been restored in the last few years. The Kaunas Tourist Information Center is currently operating in the former ice rink. In the palace they found headquarters: Juozasa Naujalis, Museum of Culture and Court Painting, Office of Civil Status. There are conference rooms, a hotel and – in basements – ballrooms. In the stables and coaching room the Art Incubator has opened with a theater and concert hall for 500 seats, there is a gallery of photography and art, studios and apartments for temporary artists staying.

During the Christmas holidays there are many interesting projects in Red Dwor. In the Art Incubator there are concerts. For children and adults, trips are organized on the grounds of the former Tyszkiewicz estate, during which the Old Keyman talks about the castle and its inhabitants, the tasting of the Tyszkiewicz cuisine is taking place in the cellars of the palace. Santa Claus is waiting for the children in Red Court. The cycle of Christmas attractions will last until 5 January inclusive.

Remembering David Hutchinson, 1943-2016

I’m in Glastonbury CT for a memorial service for a dear friend.

David Hutchinson and I were friends for 60 years, ever since meeting in Grade 8 at Chadwick School in 1956. Our lives have many parallels, and we’ve shared quite a few enthusiasms over the years. Thinking back over our friendship has been a voyage of gratitude and deepening admiration for a cherished and unique person.

This photograph (taken by Tom Schaefer in Spring 1961) exemplifies the sort of foolishness we happily collaborated in, and it truly seems like it was just yesterday:

Tisket and Tasket

Mrs. Chadwick taught Advanced Placement English to a small group of Senior Boys, and every day would arrive in the classroom with her Basket, containing whatever materials she’d planned to use that day. More than once David and I made a Thing of carrying the Basket for her.

We were Mrs. Chadwick’s fair-haired boys and Prize Puppies, and both of us went Back East (as they say in California) for college, David to Yale and I to Harvard. David visited Cambridge several times, and this version of his smiling self was in 1965, when he visited Betsy and me after we were married:

Hutch 1964

We both developed interests in Southeast Asia, both joined the Peace Corps (David in Thailand, Betsy and I in Sarawak, Malaysia), and were in Hilo Hawaii at the same time for Peace Corps training.

We met up again in California in 1969, but then went our separate ways for 24 years, starting careers in distant places (David in Connecticut, Thailand, India, Zambia; I in Nova Scotia and then Virginia), and reconnecting in 1993. To the surprise of neither of us, we immediately picked up where we had left off, with lots more stories but still the same fundamental curiosities and engagement with the world. Thereafter we visited back and forth several times a year, and (once it was technologically possible) were in frequent Internet contact. A Skype or Google Video call would come in and continue for at least half an hour, full of rich reportage of doings and thinkings.

Over the years since 1993 there were several Reunions of high school friends, in which we all discovered that those 3-4-5 Chadwick years had been remarkably formative for all of us. It has been endlessly fascinating to unpack the remarkable experiences and relationships of that time and place.


Chadwick 1961 in Maine
(Port Clyde ME 2006)

Chadwick 1961 in Maine
(with Betsy and Kate, 2006)

Chadwick 1961 in Maine, September 2013
(Tenants Harbor ME, 2013)

It should surprise nobody that many of the pictures I have from the last 24 years show David in gleeful conjunction with food, in many different places and across a broad swath of the world’s cuisines. Here are a few:


Pia's pad thai
(Pia’s Pad Thai, 2008)

Hutch, Steve and Jim disgracing themselves with fruit pies
(pie buddies, Tenants Harbor ME, 2009)

Hutch is pleased to be at HK
(Home Kitchen Cafe, Rockland ME 2013)

Hutch shares a stickybun
(Home Kitchen Cafe, Rockland ME 2013)

David contemplates oat muffins
(Tenants Harbor ME 2013)

Kate adds several more from her archive:


091004_KateShannonMakeshiftHutchPia

Hutch and Pia's

080608_KHTBH

070916_KateBetsyShannonHutchHugh.JPG

Snowstorm aside, we made it to Portland in time to meet Hutch, Pia, and our new friend Nok for a delicious brunch.

and one by Shannon Riley:

High School Buds 3
Tenants Harbor, 2014

co incidence

I really admire Andy Ilachinski’s photography, and often enjoy the enlightenments of quotations he pairs with images in his Tao of Digital Photography blog. This morning’s Schopenhauer passage projected me into a 3-way conjunction with a deceased wombat and a decaying stump:

…All the events in a man’s life accordingly stand in two fundamentally different kinds of connection: firstly, in the objective, causal connection of the natural process; secondly, in a subjective connection which exists only in relation to the individual who experiences it, and which is thus as subjective as his own dreams, whose unfolding content is necessarily determined, but in the manner in which the scenes in a play are determined by the poet’s plot….
(http://tao-of-digital-photography.blogspot.ca/2017/04/a-great-dream.html)

This morning I happened to learn that Patrick the Wombat had expired in Ballarat, probably around the time I discovered Patrick’s visage at the dead center of a tessellation of an elm stump at Horton Landing, Nova Scotia:


elm stump5x2

(zoom in to inspect the visage more closely here)

Just sayin’

a ferry remembered

While hunting for historical photos of Boston’s Financial District, I happened upon the work of Herald-Tribune photographer Leslie Jones, archived at the Boston Public Library, and found this image of the Last Trip of the East Boston Ferry (1952), often called “the Penny Ferry” after the fare for passage.

East Boston Ferry on its last trip

another view

Hearing that the ferry would be ending its service, my father made a point of taking me to Boston to put MY penny in the turnstile slot and make the voyage to East Boston and back. I remember the event very clearly, even to the smell of the waterfront.

postcard