The Royal Visit: “Two burning, boiling, sweltering, humid furnace-like days in Washington”

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United Kingdom king george VI and his wife queen elizabeth standing at top of stone steps with dignitaries
The King and Queen’s arrival at the British Embassy garden party, June 8, 1939. Press photograph now part of the Tudor Place Collection.

As Great Britain prepared for World War II, King George VI and Queen Elizabeth made an historic visit to the United States. A 1939 party invitation in the Tudor Place Archive led to research by Curator Grant Quertermous; here is his article with the story of the royal visit to Washington, DC and how that involved members of the Peter family.

Read the essay.

Pigeons in the Smoke House (Film Footage)

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Pigeons in a smoke house? By the 1930s, the Peter family had converted the 1794 Smoke House, seen here, into a pigeon coop. It was most likely Armistead Peter 3rd, whose father owned the estate at the time, who shot these 1940s “home movies” of their brood in flight and perching. (The footage also shows an unidentified man, waving as he passes through the shot.) The film proved a useful reference for the recent restoration of the Smoke House arbor and fly pen, completed October 2017. It provided clues to otherwise elusive details of the pen’s structure, including how the mesh sides were attached to the frame and where the perches sat.

Lives Measured in the Garden: “As Time Goes By”

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· Family and Friends ·

Armistead Peter Jr., the third owner of Tudor Place, cherished the labors and traditions of the estate’s landscape. His grandmother, Britannia Wellington Peter Kennon, inherited the property from its founders, her parents. She taught her grandchildren to honor these forebears and in many ways Armistead Peter Jr. measured out his own life by following the garden’s rhythms and answering its demands. This essay by Archivist Wendy Kail traces intergenerational change within the Peter family through diaries, notes, and the natural history of Tudor Place.

A mid 20th-century view of the Box Knot rose garden, where time’s passing registers on the face of a sun dial from Crossbasket Castle.


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Pencils, Paperclips, and Mystery Objects: Sorting the 20th-Century Desk

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By Becky Bacheller, Tudor Place Collections Management Intern
The first-floor office is one of the rare rooms at Tudor Place whose furnishings point to a single era rather than a span of time and use. The mansion’s fourth and final owner, Armistead Peter 3rd (1896-1983), worked here into the 1980s, but maintained the room and its furnishings much as his father had set them up in the 1920s. With its natural artifacts and memorabilia, book-lined décor, and veridian walls, the room by design continued to reflect the tastes and interests of Armistead Peter, Jr., (1870-1960), who worked here throughout his adult life.

Armistead Peter, Jr.’s, partner desk: Made by W. K. Cowan Company (Chicago, 1894 to 1916), ca. 1900.

In fall 2012, my internship in collections management focused entirely on the Office — focused, in fact, on a single piece of its furniture, the ca.-1900 Colonial Revival partner desk that anchors the room. The cataloging project required inventorying the contents of the desk, manufactured by W. K. Cowan & Company of Chicago as a replica of George Washington’s presidential desk in New York City. It came to Armistead, Jr., on November 3, 1912, as a gift from his wife, Anna “Nannie” Peter (1872 – 1961).

Sorting through its accumulation of office supplies proved to be a way of sorting through the past century. Like virtually everything in the museum, the desk – down to the interiors of its drawers: pens, pencils, stamps, and stationary supplies – had transferred intact to the Tudor Place Foundation after Armistead 3rd‘s death. Its contents were catalogued then and left undisturbed. For preservation reasons, it recently became necessary to re-house them, and that is where I came in. My internship project was to sort, label, and rehouse the drawers’ contents, photographing, measuring, and cataloguing them in the museum’s PastPerfect digital collections database as I progressed.

  
Working drawer by drawer, beginning with the wide central one (open in top photo), I first carefully removed each object from a drawer and placed it for transport in a blue board tray lined with archival tissue paper. I next determined its accession number. Many, like the pencils pictured above-right, were already tagged; these I matched it to physical (printed) accession files as I removed them.

I next photographed each item or group of items to document them and their condition. An abundance of loose tags from the last cataloguing exercise persuaded us that each object this time should be physically numbered. I practiced labeling my own pencils first with the collection labeling kit before venturing (carefully!) to number each of the Peter family’s writing utensils, as shown below:

I hand printed each accession number on a clear base of B-72. Based on the objects’ color, I selected  contrasting inks for maximum visibility. The numbering process is reversible, and I took care to mark the numbers in the least noticeable place on each object. While handling them, I wore nitrile or cotton gloves.
To re-house the collection, I created a cradle of archival tissue paper for each object and then placed the artifacts in customized dividers. Six trays could be stacked in one box. These were temporarily stored under my worktable but are destined for eventual on-site storage with the rest of the collection.

Archival tissue in stacking trays
served to hold the desk contents.

Here is my Collections office work station,  
located in a former bedroom.

After three weeks of cataloging, the first drawer was complete. A total of 41 objects, including pencils, dip pens, mechanical pencils, and fountain pens, all  made during the first half of the 20th century, had been photographed, catalogued and re-housed, filling four sub-divided trays.

One of the things I love about projects like this is the exposure to historical objects and the knowledge gained in figuring out what each one is and how best to describe it. A fat blue pencil became one of my favorite finds in the collection, because of its resonance from an earlier project I had worked on.

As a curatorial assistant researching WWII-era pencils for an exhibition at the Smithsonian Museum of American History, I discovered Bob Truby’s Name Brand Pencils, an entire website devoted to the subject. I learned then that pencils from the Second World War period have distinctive cardboard or plastic ferrules as a wartime adaptation: Metals were needed for the war effort, so hard cardboard or plastic had to substitute for the nickel or brass usually wrapped around the eraser’s base. Although interested to know of this distinction, I was unable to find an example during my Smithsonian tenure.

One year later, in the Armisteads’ desk, I came upon a pencil with a plastic ferrule:

Not everything I found looked familiar, however. The center object in the picture below stumped me at first. On either side are colored pencils “sharpened” by peeling off the wrapped paper. Asking around, I learned from Tudor Place Artist-in-Residence Peter Waddell that the non-writing utensil among them was a tortillon, used by artists to smudge or blend marks.

Peeling pencils (top and bottom), I recognized. But what was the middle object from the pencil drawer, whose ends peeled away without exposing a writing mechanism?

One drawer contained hundreds of unused pen nibs, cloth pen wipes, and
eyedroppers for ink and feather quill pens.

During my fifth week, I found a metal tray full of paper clips. That presented an interesting numbering challenge, as they differ in type and also did not match previous catalogue records. I sorted each type into a separate archival bag to forestall further corrosion and researched the correct name for the contents of each bag. For example, one style, designated a “square clip,” is actually an “ideal” or “triumph” clip according to Early Office Museum, another specialty web site I consulted.

Paper clips: How to sort and number?

By type, of course, and name.

By the end of my sixth week, I had catalogued more than 100 objects. Below you can see the entire contents of the Cowan partner desk, catalogued and re-housed:

What’s in your desk? Armistead Peter 3rd’s contained everything from writing implements and 
sealing wax to drafting tools, photographs, and even a pocket watch.. 

It included a box of unused book plates in excellent condition. 

Ephemera and manuscript material from the desk, including these plates, were transferred to the Archive.

This assortment of rubber stamps also was stored in the desk. Some had deteriorated: For example, the rubber face of one had melted off the wooden handle and adhered to the bottom of the drawer. Others had unidentified surface crystallization.

The stamp collection numbered over 38 items. During my fourteenth week, I finished cataloguing it. While most of the stamps bore predictable labels like “paid”, “received”, and other terms associated with business transactions, one read simply “pigeons.”  Armistead Peter, Jr., raised pigeons at Tudor Place, selling them to friends and family. He presumably used this stamp to help organize files pertaining to this hobby.

Manicure set.

The unique manicure set at right was another unusual find. I initially took it for a pocket knife, but the delicate spoon and pointed blades — for cleaning ears and getting beneath fingernails — ultimately revealed its true function
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At the conclusion of my project, I had digitally catalogued over 330 objects and re-housed them in four archival-quality boxes. I feel confident these fragile and tiny objects will be preserved for future visitors and scholars, now that they are safeguarded in improved storage condition. The internship was a fantastic opportunity to experience many facets of historic house collections management, while peering through the “drawers” of the 20th century.

What Lies Beneath: A Peek Behind the Physical Fabric of Tudor Place

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By Elizabeth Peebles, Preservation Manager

While Tudor Place is closed to the public in January, the entire property buzzes with activity to ensure the long-term preservation of collections and buildings. As an added bonus, what’s good for maintenance and preservation is good for scholarship and inquiry.

Tudor Place Foundation exists not just to maintain its historic treasures, but also to learn from and interpret them. Whether we’re replacing a roof, installing new capitals, rebuilding an arbor, restoring an iron gate–most every project we undertake offers insights into the foundations of this noteworthy 1816 estate. Behind every surface, we find clues to how it was built and why it has lasted.

It is humbling to think that only a handful of people (and with this post, you, too!) have ever seen this part of the physical fabric of Tudor Place. Enjoy this peek into three conservation and restoration projects currently underway:

31st Street Entrance
Our iconic entrance gate is showing signs of its age.

Rust is encroaching on the historic iron gates:

So off they went!

Last week, Conservation Solutions hauled the ironwork to their workshop for cleaning and recoating. Conservators will also replicate a few elements, like this missing finial.

The adjacent pedestrian gate will be carted off next for similar treatment and we should be welcoming back the refreshed and renewed gate in four to six weeks. In the meantime, you’ll see this temporary replacement if you visit:

North Entrance Capitals
Tudor Place’s main entrance centers the mansion’s north side and was originally constructed with flanking capitals made from locally quarried Aquia Creek sandstone. During 1914 renovations overseen by Armistead Peter, Jr., the capitals were removed and replaced with pilasters of cast concrete.

At least, we thought they had been removed. When the building’s stucco facade was removed in 2007, we found that much of the original sandstone blocks remained embedded in the thick walls behind the concrete replacements. When the stucco was replaced, these remnants remained hidden behind plaster pilasters temporarily inserted to replace the concrete ones (seen above).

But longer term measures were needed. After considering all the options, our Buildings and Grounds Committee decided to restore Aquia Creek sandstone above the door, after an absence of almost 100 years.

The Virginia-sourced stone appears in some of Washington’s most prominent early buildings, including the White House and U.S. Capitol. George Washington’s Mount Vernon estate, too, has Aquia Creek sandstone features, which proved fortunate for us, as Mount Vernon generously donated an unused piece of the material for use in the new capitals.

First, we removed the temporary plaster-pilaster capitals in place since 2007, revealing the remnants of the beautiful original sandstone. The pieces appear to recede through the full depth of the wall, and you can see the outline of the original molding profile:

As a guide in shaping the new sandstone blocks, the stone carver is referring to molding profile drawings from 1914, as well as traces of the original profiles still seen (as above) in the existing wood trim . It will take him a few weeks of carving before we can install the new pieces.

Temple Portico Roof
While the house’s main entrance anchors the north side, the south facade’s Temple Portico is possibly its most memorable feature. This month, for the first time in at least 100 years, its semi-domed roof is being pulled back, and its frame exposed to the open air.

The project addresses a vexing problem of longstanding. Moisture has been seeping for years into the southeast bedroom on the second floor, opposite the spot where the Temple Portico’s molded-steel gutter meets the exterior outside wall.

 

Earlier, less invasive attempts to repair the damage did not work. (The water damage seen below is usually concealed behind a bureau!)

 

The first option considered was simply relining the gutter. But after further examination, Wagner Roofing recommended completely replacing the Portico’s tin roof and metal flashing, and the Buildings & Grounds Committee approved this approach. The tin pans that comprise the roof are rusting and have grown thin from years of exposure to the elements. As far as we know, the replacement of this roof is the first since the 1800s: 20th-century improvements to the Portico dome appear to have been limited to minor repairs and many, many layers of paint.

Last week we opened a small portion of the roof to investigate existing conditions:

In the photo above right, you can see the pine rafters that shape the dome.

In a few weeks we will have installed the complete scaffolding, documented the existing metal roof, removed the metal, documented the visible wood framing below, and installed new flashing, roof, and gutter liner. Once spring weather arrives, Federal Masonry will return to replace the surrounding stucco removed to install the flashing.

Be sure to check back for pictures of the finished projects. Or better still, visit us soon to see for yourself!

Tudor Place Historic House & Garden, in Georgetown, is one of the District of Columbia’s first National Historic Landmarks. Tours are offered hourly Tuesday through Saturday, 10 a.m. to 3 p.m., and Sundays, 12 p.m. to 3 p.m. (Doors close at 4:00.) The house is closed Mondays and throughout the month of January. For those seeking insights beyond the regular docent’s tour, special tours can be scheduled for groups of 10 or more.