Collecting Addiction

Jascin N. Leonardo Finger • March 18, 2013

I must confess, I have an addiction.


I like to...


...collect.


Not so surprising for a historic house museum curator. My “addiction” encompasses several specific areas. I am not a hoarder, I do not collect junk in my backyard and the basement is not filled with “things.” Some people might find what I collect useless, but sometimes the simple everyday item, from a nail to an old railroad spike, intrigues me for its simplicity and its beauty.


If you know me, or if you have read the “Portrait of the Curator as Darth Vader” entry for this blog, then you realize that I don’t preen in front of the mirror. Given the fact that mostly just the books and archives see me all winter, my hair typically looks like it needs a good combing (since I am pulling goggles and respirator on and off all day) unless I have a meeting or I am out in public.

But I do have a thing for a good “kitchen” mirror. Typically a mirror of the mid to late 19th century, it is rectangular in shape with rounded corners and hopefully some nice grain painting on the wood frame. Oftentimes, you will find crazing in the glass and black marks or missing “mirrored” areas caused by the loss of the silver painted onto the back of the glass. I like these mirrors for the simpler time they speak of and for the simplicity of their style, but also for their patina of time. In the Mitchell House, we have a mirror of a similar age and shape used by Peleg Mitchell Jr. for shaving.

 

Enamel is another fascination of mine. Enamelware could be found throughout kitchens in many parts of the world. Enamelware took off in popularity in the United States in the latter half of the nineteenth century – all shapes and sizes, all sorts of domestic uses from slotted spoons to cups, pitchers, strainers, plates, or basins. Think of it as 19th century Tupperware and the child of tinware. You might even be familiar with the enamel numbers for homes or streets. Enamelware can be plain, mottled, or marbled – the marbled being much harder to find and thus more prized. In my collection, I have one cup that was once part of a four piece set that belonged to my grandmother’s family. They used it when they went camping. I guess when family camping stopped, the cups got used for other purposes until only one was left. This one had become a birdseed scoop until it was given to me by my Mother who knows of my enamelware fetish. But even as a scoop, it was still being used and thus memories of family camping persisted and memories of those who used it were an everyday thought. Now on the top of an old jelly cupboard, it is still a daily memory of my grandmother, her parents, and her brother as I see it each day in the kitchen.


Depression-era glass (Depression Glass), 18th and 19th century pottery shards – yes, I have been known to dig in dirt piles – old bottles that I have unearthed in same named piles or at the ̓Sconset dump, seaglass, and historic postcards specifically of the Mitchell House are also some things I collect. (When my husband found out the price I paid for a vintage postcard of Mitchell House on eBay, I thought he would faint.) I also collect other images of Mitchell House, such as paintings and old photographs – I myself am a photographer of historic architecture with a focus on forgotten buildings especially those facing demolition by neglect – and McCoy wear. Since I am also a gardener, one can never have too many pots for plants and McCoy made many styles of pots including those with attached saucers! And then, I also love a good mid to late 19th century simple wood chair...



All of these items are used in a myriad of ways and continue to function as they were meant to be used or in new ways. Each item has some personal memory for me or my family depending on whether it was something I found while on a walk along the beach, digging in the dump, or a shop in New Orleans or something that belonged to my grandmother, great-grandmother, or a great-great aunt. These pieces connect us to the past and connect us to family members who may not be with us any more – but they are with us each time you use that cup or look into that mirror, they are there and you think of them. The past and the people of the past continue to live on.


JNLF

Recent Posts

By Jascin N. Leonardo Finger May 18, 2026
A repost from long ago – because I still like a good chair. Quite awhile ago, I wrote about some of my collection addictions, including pottery shards, 19 th century kitchen mirrors, and of course, enamelware. Well, here is another one for you. I love chairs. Yes, this is another collection addiction of mine. But not all chairs – chairs from the eighteenth and nineteenth centuries. Typically, I like plain, simple wood chairs with a horizontal piece or two of wood for the back and a plain, thick wood seat. Simple, not a lot of turns to the wood, and not a lot of decorative features or paint. Several years ago, I had a meeting at the home of the leader of a group I was working with. She owned the Obed Macy house, very much untouched and quite a remarkable house. Yes, Obed was the Nantucket historian (among other things), as well as the son of island entrepreneur Judith Macy, and the nephew of the island “she-pirate” Kezia Coffin. We met outside on the side porch which was a late 19 th century addition to the house and one that certainly reflected what life was like in the period it was added to the house. The owner had brought out every chair in her home. I was on a chair high (not a highchair!) – here I had my choice of nineteenth chairs to sit on. Since I was one of the first to arrive, I took my time picking out which chair I was going to sit on – I kid you not. I was like Goldilocks − though I was grown-up enough not to sit on every chair to decide which one I was going to claim for the meeting! I went on and on and likely on and on about all these lovely chairs to her. Unfortunately, the day came several years later when she was faced with having to sell her beloved home to move off-island. She called me. She wanted to know if I wanted any of her chairs since she remembered how much I went on and on about them. It was a mixture of emotion because losing this island resident was a loss for the island and for its history and historic architecture. I went to her home a few days before she was going to have her sale and helped her move items from the house out onto the lovely 19 th century side porch where I first reveled in her chair collection and also out into the large, simple backyard that looked like it too had not been touched since the 19 th century. She told me to take whichever chairs I wanted as she wanted me to have them. Depressing. I told her I would not take but that I would buy. We had a little back and forth but she finally relented. Then, I had to choose and it was quite agonizing. Not wanting to be a chair hog, I limited myself. I now have two matching and two others sitting around my dining room table made from salvaged Nantucket pine floorboards. We refer to them as “Helen’s chairs” – their previous owner. She likely found them here on Nantucket; one or more may have even come with the house when she bought it. We eat every meal sitting in them, spend time with our family in long discussions and laughter sitting in them, and each time I sit, touch, dust, or move them, I think of Helen and the house these chairs once sat in and the conversations and people they must have witnessed over the many years. A simple wood chair – a witness to history and time. JNLF
By Jascin N. Leonardo Finger May 11, 2026
A repost – with my apologies – from last year. It started budding the week of April 30 this year. This is what our landscaper for the MMA calls it. “The ancient vine.” He tells the people who work for him not to touch the “ancient vine.” I have probably made him – and all of them – terrified of it. I am even terrified of it to some degree. I refer to the grape vine behind the Mitchell House that is supposed to be Peleg Mitchell Junior’s grape vine – Maria Mitchell’s uncle who inhabited the house from about 1836 to his death in 1882. It has two trunks but one died several years ago. Because of that, each year I try to root shoots. It’s fairly easy to do – when you cut back the vine in late fall/early winter. I have had success but not success protecting the shoots I baby all winter from bunnies and other critters once I plant them – try as I might. I started doing this when the one trunk died – I was PANICKED! The landscaper stays away because I have told him if anyone is going to accidentally harm or worse yet, kill, this grape vine it would be me so I only have myself to blame. So each November/December – once ALL the leaves have fallen off – I climb my ladder and quietly, carefully, and fearfully cut back the stems typically to two buds. I have been somewhat successful in spurring grape production – and these grapes attract some amazing birds in the fall. It takes me some time – and I pretty much hyperventilate the entire time – and then, I stare at it all winter. Passing under it multiple times a day to reach my office. Hoping, and yes, praying, it will come out in the spring. It’s a late budder so just recently the buds started to show themselves – thank goodness! – and I was rewarded today (May 5, 2025) with this wonderful hot pink color on the edges of the leaves as they are uncurling. JNLF
By Jascin N. Leonardo Finger May 4, 2026
May 6, 1878 Between the clouds, Miss Spalding obtained 7 photographs of Mercury on the Sun. It is comfort to me to be able to plan and do a new kind of work. The large telescope worked better than usual, Clark having just been to the Observatory. Clark, as in Alvan Clark, a man who would become the premier telescope maker in America and who built Maria Mitchell’s 5-inch Alvan Clark refractor that she purchased from him (after working with him to build it per her specifications) with money gifted to her from “The Women of America” led by Elizabeth Peabody. More than likely, it is this telescope she is referring to as she did use it in the Vassar College Observatory with her students – and it is also taking center stage in photographs, along with her (first her father’s) Dolland telescope.  Maria had decided she would photograph the Sun on every clear day, and this was one of those results. She would use these images, with her students, to study sun spots and their changes. With her students, Maria would photograph the transit of Mercury as noted above. She would also photograph the transit of Venus a few years later with her students. JNLF
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