Accession Labels As Memory

Jascin N. Leonardo Finger • October 19, 2020

This summer has obviously been a lot different at the Mitchell House.  The House is closed.  I am all alone inside.  It is incredibly quiet – just the voices of occasional passersby, children on bikes, a car.  I’m alone with my thoughts as I quietly work on projects that need to be done every year.  And I am working on projects that need to be done periodically – though not every year –  and this summer allowed me to focus on those projects in particular.


As I sit and work on various small cleaning and conservation projects, memories come back.  Handling a large piece of crockery to do a more in-depth cleaning, I gently turn it over to find its accession label.  I know the person’s handwriting for most of these labels and sometimes I catch my breath – many of these people are now gone.  And while they were very much a part of the Mitchell House and the MMA, they were also a part of my world, my growing up, and they are still a part of me.  They were my mentors, my friends.  When I started volunteering at age twelve, I would be regaled with stories of the Mitchells by women who had been friends with Maria Mitchell’s cousins.  Those stories not only continue in me – I pass them on to whomever comes in contact with the Mitchell House – interns, volunteers, visitors, MMA staff.  In that way, Maria and her family – and those women who told me the stories – live on and their stories are made even more real.


So, my time at the Mitchell House is a little different, and at times, a bit more personal.  But, I think that is another layer that makes the MMA the special place that it is.  That personal touch; that almost direct reach back to Maria and her cousins.  The MMA has a heart and soul that lives on even though all of those people are no longer with us – not just our namesake but the people who built the Association in her honor and to promote and preserve her legacy and home.


JNLF

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June 1851 My Dear Sister . . . . Mrs. Dassel has painted me kneeling at my telescope. It looks like Adeline Coffin and is of course not handsome. If thee was here thee would have Mitchell’s {William Mitchell Barney, son of Sally and Matthew Barney} painted at once. She has a head of a child N. P. Willis that is very lovely. She has taken a room at the Atheneum and put up about a dozen pictures – very beautiful – Isabel is lovely. She has not tried to make a portrait, but a very pretty picture . . . . She is now engaged on Abra’m Quary – he is much flattered by it and it will be a fine portrait. I think we shall buy it or a copy for the Atheneum . . . . She will paint father also for herself – having made a pencil sketch . . . .We like her very much . . . . The above is from a letter sent by Maria Mitchell to her eldest sister, Sally Mitchell Barney. In it, Maria details what everyone in the Mitchell family is up to. She includes some details about Herminia B. Dassel, an artist who came to Nantucket to paint the last Native Americans and also took an interest in the famous Mitchell family. This was of course four years after Maria’s discovery of the comet. At the time of this letter, Maria was still the librarian for the Atheneum and the portrait of Quary that she mentions possibly buying for the Atheneum, she did buy as it hangs in the Atheneum by the front door today. Another Dassel portrait of Quary is in the collection of the Nantucket Historical Association and the portrait of Isabel Draper is currently on display at the NHA’s Whaling Museum – on loan from a museum in Rhode Island. The portrait Maria states she posed for at the start of the letter is in the collection of the MMA. It was given to us in the early 1990s by Sally’s great granddaughter – the granddaughter of Mitchell whom she mentions above as well. Maria and Dassel would become good friends – Maria was named the godmother of Dassel’s daughter. And the sketch of William made by Dassel that Maria states would become a portrait? It likely did come to fruition. It made its way down a side of the family but was unfortunately lost, likely sold as part of a family estate though we do have a photograph of it and one can tell it is the brush work of Dassel. JNLF
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