Vaughan Woods and Historic Homestead
June-August 2023
Vaughan Woods and Historic Homestead (VWHH)
Hallowell, Maine
Hallowell, Maine, is a charming little town on the Kennebeck River, located just a few minutes' drive from the state capital, Augusta. It's also been the town where Benjamin Vaughan's descendants spent much of the last 250 years. And in the Summer of 2022, I had the opportunity to work at the Homestead, experiencing first-hand how they blend the natural world with seven generations of history.
The Vaughan Woods and Historic Homestead might be one of my favorite hidden gems in the American Northeast. It's definitely worth the visit. Check out their website for information on hours, programming, and hiking in the Woods.
Benjamin Vaughan. Public domain image courtesy of Wikimedia Commons.
Benjamin Vaughan's descendants lived in this house from 1794 to 2003. Photo by Chris Loos.
The Homestead's Colonial Revival-era garden, designed and planted by Ellen Twiselton Vaughan (daughter of Benjamin Vaughan's great-grandson). The Homestead staff keep the garden alive today, using Ellen Twiselton's notes and sketches to arrange native plants and flowers. Photo by Chris Loos.
Benjamin Vaughan (1751-1835) and the Vaughan-Marvin-Gibson Family
Benjamin Vaughan was a bundle of contradictions. On one hand, he considered himself an educated man of the British Enlightenment, having studied medicine in Edinburgh and chemistry under Antoine Lavoisier. Through his father Samuel, he established friendships with figures like Benjamin Franklin and George Washington, even serving as a go-between during negotiations of treaty that ended the American Revolutionary War.
But he played an active role in enslavement as the heir to vast sugarcane plantations in Jamaica, wealth that enabled him to attain an education and build connections with Anglo-American elites. Vaughan's ties with enslavement led him to loudly defend the Atlantic Slave Trade in his first speech as a Member of Parliament. Several years later, after Black-led revolutions spread across French-controlled colonies, he called for a ban on the trade in a self-interested attempt to prevent enslaved Jamaicans from doing the same.
Vaughan nevertheless somehow reconciled his support of enslavement with more radical politics, and his sympathies for the French Revolution led him to flee Britain, ending up on his brother's land in Hallowell in 1797. He lived as a gentleman farmer for the next forty years, growing potatoes and apples while conducting science experiments and serving as the town's doctor. But even then, he could not completely separate himself from his Jamaican holdings. Although he never returned, enslaved labor provided some income, and Vaughan's son William used Maine's timber to craft barrels that held rum made with Jamaican sugarcane. The Sam Sharp Rebellion of 1831 saw tens of thousands of enslaved Jamaicans rise up against their oppressors. And while the British suppressed the revolt with brutal efficiency, the Jamaicans still burned over one hundred properties--including Vaughan's. He died intestate just a few years later, leaving his family nearly destitute.
But the Vaughans remained on the site, alternating between Hallowell and Boston. Vaughan's great-grandson, William Warren Vaughan, expanded the house to include a music room and established trails and stonework bridges in the woods surrounding the homestead. He and his wife, the artist Ellen Twiselton, embodied the nostalgia of the late-nineteenth-century Colonial Revival. They crafted an imagined version of Benjamin Vaughan's study--including a wall of famous figures who knew their ancestor--and a colorful garden that remains to this day. The house passed through their daughter, Mary Vaughan Marvin, and then through her daughter, Diana Vaughan Marvin Gibson. Diana and her husband established the Homestead as a historic house museum in their wills, and their children have helped transition the space into a public non-profit over the last twenty years.
The Vaughan Family Music Collection
My work at the Vaughan Homestead focused primarily on the family's history with music. The task came at an opportune moment, for the staff had spent the last two years renovating the house's Music Room, and all of the items within had sat in limbo since then. I waded into stacks of boxes in the Dining Room, poring over Tin Pan Alley-era sheet music, manuscript scores, and instruments both old and new.
Part of the challenge lay in actually tracking down all of the music--two-and-a-half centuries of life in the house meant that objects had a tendency to move around. So I spent some time going through the nooks and crannies and the attic spaces to bring all of the music-related objects together.
With the Music Room undergoing renovations, Homestead staff relocated its items to the Dining Room. Photo by Chris Loos.
In addition to musical items, the Music Room also included magazines, books, and games that lay outside of my project's scope. Photo by Chris Loos.
Many of the smaller instruments had been piled haphazardly in an antique lacquerware box, and only some bore accession numbers. Photo by Chris Loos.
Once I had gathered all the music-related items I could find, I set about cataloguing and arranging them. Previous archivists had added catalogue numbers to some, but not all of these items. So I opted to respect their prior work while adding new items based on my own processing.
The result was a somewhat complex, but fairly straightforward, system. I processed sheet music and scores--the items with some of the highest research potential--at the item level, both to keep them in-line with earlier work and to assist research. I arranged them roughly chronologically, starting with the items that Benjamin Vaughan, his wife, and their children had produced, and moving forward in time until I reached the Gibson siblings' sheet music by Cat Stevens and Billy Joel. When I reached the audio-visual materials, though, I only catalogued the unique pieces at the item level. For the commercial recordings, I grouped them by genre (or artist in some cases), and stayed at the folder level.
I also had to wrestle with limited supplies--given the time-frame in which I had to work, it wasn't feasible to order new boxes or folders. So when I ran out of archival-grade folders, I had to resort to the normal manila envelopes. My report, however, included a note on replacing these in the future.
Box 6 contained sheet music and books from Generations Five and Six, spanning the Colonial Revival era to the Second World War. Photo by Chris Loos.
Maneuvering around the previous catalogue system created some challenges. For the audio recordings, I ended up prioritizing unique recordings worth digitizing, and processing commercial records at the folder level. Photo by Chris Loos.
Below: The complete collection. The boxes varied in size, shape, and condition, a testament to the creativity and adaptability that small institutions require! Photo by Chris Loos.
The label for the box in the image above highlights the pitfalls of working with multiple numbering systems. I attempted to respect the original archiving work, while laying foundations for better practices in the future. Photo by Chris Loos.
For the instruments, I wanted to catalogue and preserve them without locking them away and leaving them unused. Clear-top trays such as this one offered a solution. Photo by Chris Loos.
Highlights of the Music Collection
My internship at Vaughan Woods and Historic Homestead gave me my first taste of archiving in the field. In some respects, it was a trial by fire. I worked with a huge collection in a short amount of time, while trying to navigate around limited resources and previous archiving methods.
Seeing the finished product made all the struggles worth it. The family's long history with music finally stood together as a single collection that would preserve the items within but keep them accessible to researchers and the general public. And as part of my work, I crafted the Homestead's first finding aid. This document served as a guide to the collection, but it also provides as a template for future processing projects. Upcoming interns will hopefully draw on my example to help the organization gain physical and intellectual control over the items they own.
My supervisor, Executive Director Kate Tremblay, made my success possible with her unwavering support, as did my fellow intern, Lily Stowe-Alekman. And on my last day as an intern, Lily and I presented our projects before the Board of Trustees (including the Gibson siblings!), some of the Homestead's volunteers, and other stakeholders. She examined the Vaughan family's legacy of enslavement, while I discussed the music collection. The experience was a little intimidating, but everyone seemed interested in and supportive of our methods. So I hope that going forward, the Vaughan Homestead will embody b/Best archival practices to make their rich collections accessible to visitor and archivist alike.
I don't think I'll ever forget my time as an intern with Vaughan Homestead. Not only was it my first deep-dive into archiving, but I forged friendships and professional relationships that will last long after Summer 2022.
Other Jobs at the Homestead
Outside of the Music Collection project, plenty of other things helped me keep busy...
Once every week, local schoolchildren visited the Homestead as part of a summer vacation extracurricular program. We planned hikes and scavenger hunts, taught them how to make ice cream manually, and other activities that connected nature and history.
In one of our more memorable activities, we helped third- and fourth-graders gather natural materials like sticks, leaves, and flowers, transform them into boats, and race them down Vaughan Brook. We had a lot of fun (and I only fell once)! Photo by Chris Loos.
On a few occasions, I helped the Grounds staff with invasive species remediation, an almost impossible but vital task. As it turns out, digging up twelve-foot Black Locust roots or man-sized burdock in dress shoes is harder than it looks! Photo by Chris Loos.