Join the Ward Melville Heritage Organization (WMHO) in a new walking tour experience, Unwind & Uncork History: The Story of Wine & the Stony Brook Grist Mill on Friday, September 30 at 11 a.m. (3 p.m. tour is sold out!)
The Stony Brook Grist Mill. Photo from WMHO
In this walking tour experience, tour-goers will “uncork” the stories of the Stony Brook Grist Mill (c. 1751), the sight of Long Island’s very first vineyard. This will include a tour of the Stony Brook Grist Mill, the scandalous story of Edward Kane, his Lakeside Wine Company, and a brief lesson on wine.
The tour will begin at Tranquility Park (also known as T. Bayles Minuse Mill Pond Park) across from the Stony Brook Grist Mill, and will end at Lake Side Emotions Wine Boutique at the Stony Brook Village Center, which gained its name from Kane’s Lakeside Wine Company.
Fee for the touris $25 per person and includes a bottle of authentic Catawba wine from Lake Side Emotions Wine Boutique. All participants must be 21 or older. Advance registration is required by calling 631-751-2244. For more information, visit www.wmho.org.
Idyllic, intimate scenes of small town life and sublimely serene landscapes. Warmly illuminated faces, too often absent in American fine art, immortalized for generations. William Sidney Mount’s art both embraced and defied the standards of the 19th century.
Through this prism, the Ward Melville Heritage Organization (WMHO) will present a special program titled “William Sidney Mount and Long Island’s Free People of Color” at the Brewster House (c. 1665) in Setauket on Saturday, Sept. 24.
The cover of Katherine Kirkpatrick and Vivian Nicholson-Mueller’s new book.
The talk by Katherine Kirkpatrick and Vivian Nicholson-Mueller, co-authors of The Art of William Sidney Mount: Long Island People of Color on Canvas, will explore the identities and lives of the 19th century Black, Native-Black and Black-White people who Mount portrayed in many of his works as well as their ties to the Three Village community.
During the presentation’s two sessions, from 1 to 2:30 p.m. and 2:30 to 4 p.m., Kirkpatrick and Nicholson-Mueller will discuss researching and writing their book, which delves into some identities of Mount’s most notable subjects: people who are largely missing, erased, otherized, or caricatured in American art of the 1800s.
Each session will be followed by a Q&A segment, book signing, artwork presentation, and tour of the Brewster house.
“[Kirkpatrick and Nicholson-Mueller] put forward research that makes you want to ask more questions and think about who these people were…What were their lives like? Who were the other people that lived here? What were their relationships like?” said WMHO’s President Gloria Rocchio.
The event will be held at the historic Brewster House in Setauket, which Mount painted in ‘Long Island Farmhouses’ (see cover photo)
Among the individuals that the book and presentations will highlight are Henry Brazier, the left-handed fiddler in Right and Left (a portrait that is a stark departure from the racist caricatures of Black fiddlers typical of the time); George Freeman, the lively musician in The Banjo Player; Robbin Mills, the attentive outside audience in The Power of Music; and, Rachel (who’s last name will be discussed at the presentation), the poised fisherwoman in Eel Spearing in Setauket.
Mount’s portrayal of these people is noteworthy in its normalcy. Rather than racist caricatures, at the time a prevalent American representation of any nonwhite person, he painted people as they were: members of the local community.
So it is arguably a bit jarring to learn that, despite what much of his art might imply, Mount was not a abolitionist, an incongruous revelation that Kirkpatrick and Nicholson-Mueller address in the book and will acknowledge in the talks.
“Mount was a complex man,” Kirkpatrick said. Despite the multitudes he contained, Mount’s artistic aims appear simpler: inspired by historical paintings he admired, Mount painted what he knew.
‘Long Island Farmhouses’ by William Sidney Mount (1862-63)
And, Mount knew Long Island, particularly the Brewster house, which is now owned by WMHO and was restored in 1968 to appear as it did in his painting Long Island Farmhouses which is now hanging in the Metropolitan Museum of Art. Mount even parked his mobile studio on the Brewster property while painting other farmhouses.
Beyond his appreciation for the landscape, Mount was also acquainted with the Brewster house’s inhabitants. George Freeman of The Banjo Player and Rachel, of Eel Spearing in Setauket, who may have been a Brewster, were just two residents that Mount painted, according to Kirkpatrick and Nicholson-Mueller.
While some structures featured in his landscapes, like the Brewster House, have had both their facades and histories preserved, not much has been cohesively published about the people who populated his paintings, many of whom were friends, neighbors, and townspeople.
‘The Power of Music’ by William Sidney Mount, 1847
Rocchio sees “Color and Canvas…” as a way of correcting the apparent information vacuum. “I am looking forward to seeing people’s reactions to learning more about who lived and worked in the Brewster House…Any time we can bring out new information about the properties that we own, we are incredibly interested in the projects,” Rocchio said.
It was such a search for knowledge that first drew educator and genealogist Nicholson-Mueller to the project. While on a quest for genealogical discovery, she learned that she is probably a descendant of Mount, the Brewsters, and many of the people he captured on canvas, including Mills, of The Power of Music.
Having already bonded over a shared loved of history after meeting at the home of a mutual friend, she teamed up with Kirkpatrick, a historical fiction and nonfiction author, who grew up in Stony Brook.
‘The Banjo Player’ by William Sidney Mount (1856)
“The research was a gift to myself; and it is Vivian’s and my gift to the people of the Three Villages, St. James and Smithtown. The details we put together will broaden people’s perspectives and knowledge of familiar places,” Kirkpatrick said.
Each woman already had connections to the WMHO and were looking to work on a project together. Kirkpatrick is the author of Redcoats and Petticoats, a children’s book told through a young boy’s perspective about the British occupation of Long Island during the American Revolution and the Culper Spy Ring. Research and other projects have put her in contact with the WMHO over the years.
Nicholson-Mueller has worked as a volunteer docent for the WMHO at the Thompson House, another historic property it owns. She has also conducted research on the Brewsters and Thompsons.
So, history is both a personal interest and professional passion for Kirkpatrick and Nicholson-Mueller. “Color on Canvas…” is a continuation of their efforts to make the past come alive for modern audiences by broadening the palette of people’s understanding.
“I am hoping that people learn about Mount as an individual; about the lives and history of the people of color who lived in Brookhaven during this period and have heretofore been neglected or ignored,” Nicholson-Mueller said.
Tickets to “William Sidney Mount and Long Island’s Free People of Color” at the Brewster House are $8 per person; space is limited and anyone interested in attending must register in advance by calling 631-751-2244.
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There will two additional local events to celebrate the book launch of The Art of William Sidney Mount: Long Island People of Color on Canvas:
On Sunday, October 2nd, the Long Island Museum, 1200 Route 25A; Stony Brook, will host an Author’s Talk on Oct. 2 at 2 p.m. It will include a presentation by Kirkpatrick and Nicholson-Mueller as well as a book signing, banjo and fiddle music, refreshments and a gallery tour, where The Banjo Player and Right and Left will be on display. Fee is price of admission. Visit wwwl.longislandmuseum.org.
On Monday, Nov. 14, at 7 p.m., the Three Village Historical Society will host a Zoom lecture with the authors. The event is free for TVHS members, with a $5 suggested donation for nonmembers. Registration is through www.tvhs.org/lecture-series. For more information, call 631-751-3730.
Trophies from previous Port Jefferson Hill Climbs. Photo from Robert Laravie
By Robert Laravie
One always wonders if it a good idea to open an email from a name you do not recognize. In early April of this year one came in from Caroline Carless. I almost thought it was an email version of the robocalls I receive about extended auto service coverage —you know something like “Don’t be left carless…extend your car warranty.” In a weak moment I decided to open it.
It turned out Caroline was from SW England in Dorset and she must have found my contact information from the promotion of the 2021 Port Jefferson Hill Climb. She stated that her companion, Colin Burnett, collected three handled cups and she had two trophy cups from the 1911 Port Jefferson Hill Climb. They were acquired over 20 years ago at a Lawrences auction in England. She felt it would be best if they were returned to Port Jefferson.
A photo of W. J. Fallon driving in the 1911 Hill Climb from a 1911 trade journal The Horseless Age. Photo from Robert Laravie
Together with Chris Ryon, the Port Jefferson Village Historian, we researched the event numbers on the cups. One was No. 14. It appears event No. 14 was won by W.J. Fallon. Fallon was in real estate and one of the organizers of the hill climb and drove in a few events. He posted fastest times in the two amateur classes he entered, one for cars from $1200 to $2000 he won in a Corbin, in 34.56 seconds. The other for cars $2001 and over he won in a National in 25.30 seconds. Don Herr, in a National was overall fasted of the day in an event called the Free- For- All at 21.31 seconds, just beating out a Knox driven by F. W. Belcher at 21.57.
The event number 15 trophy has engraved on it “Presented by Mrs. C. B. Zabriskie.” A little more research in the Port Jefferson archives and on line revealed that Mr. C. B. Zabriskie was an executive with the Borax Company. He lived, when not managing the mining operation in Death Valley, in New York City and in his summer house in Belle Terre on Woodland Road. Zabriskie Point in Death Valley is named after him as well as a Michelangelo Antonioni movie of the same name, but that’s another story.
Thanks to the generosity of Caroline Carless and the collecting passion of Colin Burnett, the Port Jefferson Conservancy will have the trophies back in Port Jefferson and will have them on display at the Port Jefferson Village Center at 101-A East Broadway during the annual 1910 Hill Climb on Saturday, Sept. 24 from 10 a.m. to 2 p.m.
A resident of Port Jefferson, Robert Laravie has been a member of the Port Jefferson Harbor Education & Arts Conservancy for the last seven years.
Above, the Vanderbilt Marine Museum. Vanderbilt Museum Archives photo
Why should we care about historic houses that have been turned into museums? How can these inert structures speak to us and how, a century or two later, might their histories and the lives of their famous inhabitants be relevant to contemporary life, and to museum visitors?
These are a few of the questions raised by Preserving Eagle’s Nest: Labor and the Aesthetics of Stasis, the newest exhibition at the Suffolk County Vanderbilt Museum, which opens to the public on Sunday, September 18, in the Lancaster Gallery. The presentation explores the preservation of Eagle’s Nest, the summer estate of William K. Vanderbilt II (1878-1944) one of the heirs to a powerful railroad and shipping empire.
Paul Rubery, the Vanderbilt Museum’s Director of Curatorial Affairs, created the exhibition after considering the purpose and future of historic house museums and examining hundreds of artifacts and documents, as well as the century-old buildings under his care.
Vanderbilt curator Santo Vitale, circa 1980. Vanderbilt Museum Archives photo
Preserving Eagle’s Nest explores the architectural significance of the estate and considers the skill, labor, expertise, and care invested in maintaining the appearance of the property and emphasizes the processes and outcomes of preservation initiatives.
“If historic house museums hope to communicate their value to contemporary society,” Rubery said, “they must develop a new language to describe their activities.
“Specifically, these institutions must articulate how, in remaining static, the buildings under their stewardship convey something essential about the historical process. To do so, they must direct their attention to the basic unit of historical experience and understanding: time.”
Questions about temporality present conceptual issues for the interpretation of house museums. In the mid-twentieth century, many private estates were converted into museums when social historians popularized a historiographic method centered on the role places played in forming the biographies of “great individuals,” Rubery said.
These scholars believed that, if the public was presented with the life of a person at a specific moment in time, they would form an intimate connection with the past in a way that supports the development of character and virtue. Today, our fondness for explaining historic events through biography has largely waned — and with that, the school of social history — leaving behind countless mummified homes, farmsteads, and other structures that no longer serve their intended purpose.
Preserving Eagle’s Nest explores this theme through artifacts and documents. It examines the historic house museum’s language of time by concentrating on the broken, damaged, and decayed aspects of the Vanderbilt Museum’s collections and grounds. The exhibit also examines the time and labor invested in preserving the historic appearance of the Museum and finds value in the multigenerational care and expertise given to the project.
By focusing on the tension that develops between degradation and preservation, Preserving Eagle’s Nest directs our collective interest toward questions of temporality, effort, and historical stasis, Rubery said.
This exhibition is made possible by the generosity of Eric and Laura Gerde, Milcon Construction Corporation, Farrell Fritz, P.C.; People’s United Bank; PFM Asset Management; and H2M Architects + Engineers.
The Suffolk Cound Vanderbilt Museum, 180 Little Neck Road, Centerport presents Preserving Eagle’s Nestthrough Dec. 4.
Viewing hours for the fall are Thursday, Friday, Saturday, and Sunday from 11 a.m. to 5 p.m. For more information, call 631-854-5579 or visit www.vanderbiltmuseum.org.
The Whaling Museum in Cold Spring Harbor welcomed special guest and Huntington resident Robert Archer to its museum last week. Bob’s great-great grandfather, Benjamin Archer (1825-1868), sailed as a greenhand, or an inexperienced crew member on Cold Spring Harbor’s whaleship, the Monmouth. According to FindAGrave, Benjamin was an immigrant from England, and he married Phebe Wall (1827-1898) from Ireland. At the young age of 17, he signed on as a greenhand on the bark Monmouth, as shown in the Museum’s archives.
The Monmouth was Cold Spring Harbor’s first and smallest vessel, built in Massachusetts at 100 feet long. John H. Jones, agent for the Cold Spring Whaling Company, purchased the Monmouth in 1836. The bark had a relatively long career with multiple whaling voyages for the Long Island village.
Benjamin sailed on the Monmouth from 1842-1843, which journeyed to the Indian, North Atlantic, and South Atlantic oceans. The captain of the voyage was the well-liked Hiram B. Hedges of East Hampton (1820-ca.1861), who himself started as a greenhand and worked his way up to captain. Although just a few years older than Benjamin, Hiram was known as “always kind to his men, and highly respected by them.” He was also “the handsomest captain who made port in the Sandwich Islands in his time.” Benjamin would have had to follow Hiram’s no-liquor regulation on the voyage.
Like all greenhands, Benjamin’s earnings were small – a cut of 1/150. As a whole, the voyage was comparatively short and profitable, yielding 75 barrels of sperm oil, 1,550 barrels of whale oil, and 12,400 pounds of baleen & whalebone. One voyage seems to have been enough for Benjamin, because we do not see record of him returning on a future voyage. However, he kept his connection to working on the waters, sailing as a local captain of several schooners and sloops in the 1850’s-60s in Cold Spring Harbor (you can check out his licenses in the museum’s digital collection).
1855 License for the sloop Dispatch
Benjamin had four children; all but one lived past childhood. Our last record of Benjamin’s maritime career was an 1865 license; he passed away just a few years later in 1868. Benjamin was only in his early 40s.
Interestingly, Capt. Hiram B. Hedges – like Benjamin – also retired from whaling. Although Benjamin and many of his descendants remained local to our area, 37-year old Hiram called it quits and moved to Oregon with his wife and son where he became a farmer before vanishing around 1861, possibly in a boating accident – or by committing suicide while facing onsetting Huntington’s disease, which ran in the Hedges family. He left behind three young children. (See “The Woman Who Walked Into the Sea.”)
Bob Archer noticed some of the museum’s recent Facebook posts, and he came to see the collection for himself in person. As an added connection to the museum, Robert’s wife, Kathleen, was a descendant of Captain James Wright, whose home is used today for the museum offices and collection storage.
Interestingly, Bob shared that years ago, Cold Spring Harbor was not loally regarded as the “well-off” location it is thought as today — Cold Spring Harbor residents were nicknamed humble “clammies”!
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About The Whaling Museum & Education Center
The Whaling Museum & Education Center is the only museum in the world open year-round which explores the whaling history of the Long Island region. The Museum engages the community in exploring the diversity of our whaling heritage and its impacts to enrich and inform our lives. The museum is located at 301 Main Street, Cold Spring Harbor, NY 11724. Visit cshwhalingmuseum.org and follow The Whaling Museum on Facebook, Instagram, and Twitter @cshwhalingmuseum
This Sunday, Sept. 11, marks 21 years since of one of the darkest episodes in U.S. history. Pixabay photo
“You can be sure that the American spirit will prevail over this tragedy.”— Colin Powell
Those were the words of the former U.S. secretary of state who passed away last year. As a prominent military and political figure, Powell understood the terrible impact that the attacks of Sept. 11, 2001, would have on the nation.
Though the 9/11 attacks were 21 years ago, the American public was and remains forever changed. Yet Powell was confident that America could overcome this tragedy.
This year marks the first time that the U.S. has not had a major military force in Afghanistan since the weeks after 9/11. A year ago, President Joe Biden (D) ordered the final withdrawal of soldiers from this war-torn nation. After the withdrawal, Afghanistan was quickly overrun by the Taliban.
The long-term fighting in Afghanistan contributed to the increase in post-traumatic stress disorder among American servicemen with many other soldiers who were severely wounded fighting in this conflict. For almost two decades, Americans tied yellow ribbons around their trees and kept stars in their windows to represent the military service of their loved ones who served in Afghanistan.
On May 1, 2011, Americans learned during a New York Mets game against the Philadelphia Phillies that Osama bin Laden was finally killed. Flying from military bases in Afghanistan, members of SEAL Team 6 were transported by helicopters to Abbottabad, Pakistan, where they cornered bin Laden in his compound. Chants of “USA” were heard throughout Shea Stadium once baseball fans learned of the death of this al-Qaida leader. The demise of the coordinator of the terrorist plot on 9/11 provided a sense of justice to the victims on that day and their families.
Despite ongoing political polarization domestically, many can still recall the moments of national solidarity in the wake of the attacks. After 9/11, citizens put their political differences aside for the good of the nation, just as they had done after the attack on Pearl Harbor in 1941. Americans in 2001 rallied around the importance of helping local rescue workers and first responders who worked around the clock in Lower Manhattan.
New Yorkers lined the streets with American flags and handed out food and water to the police officers, firefighters, demolition workers and medical personnel who heroically sifted through the debris at Ground Zero. A plume of smoke hung in the air, blocking visibility of downtown Manhattan. Yet within this cloud, rescue workers operated 24/7.
At Shea Stadium, the New York Mets organized supplies that were sent to the rescue workers. Prominent members of the New York Yankees — Derek Jeter, Bernie Williams and Tino Martinez — visited firehouses near the World Trade Center and thanked these public servants for their efforts. Both the New York Giants and Jets invited military and rescue workers to spread flags across their football fields. With tears in their eyes, football fans nationwide watched fighter planes soar through the skies above the stadiums. Rival fans who rooted against New York teams wore “NY” on their hats, showing support for the residents of the City.
Here on Long Island, locals need not look far to see patriotism that stirred from that day of infamy. Countless memorials depict the importance of this date. Pieces of steel that were collected by the NY/NJ Port Authority was given to towns across Brookhaven and Suffolk County that were placed at post offices, schools, libraries, and police and fire stations.
This past spring, the Rocky Point VFW organized the first annual 5K race to support War on Terror veterans as they work to better handle post-traumatic stress disorder.
And so 21 years ago, politics was put aside for the good of the nation. Americans from every corner of this country sent rescue, salvage and fire crews to help the search, and later recovery efforts at Ground Zero.
In a moment of profound despair, our nation came together. Through shared tragedy, people from diverse economic, social and ethnic backgrounds illustrated the meaning of national unity.
America today is a deeply divided nation. In the face of unlikely odds, the American people should never doubt their power to resolve their differences and overcome adversity.
Rich Acritelli is a history teacher at Rocky Point High School and adjunct professor at Suffolk County Community College.
A scenes from the Three Village Historical Society's History Center. Photo by Cayla Rosenhagen
A scenes from the Three Village Historical Society's History Center. Photo by Cayla Rosenhagen
A scenes from the Three Village Historical Society's History Center. Photo by Cayla Rosenhagen
A scenes from the Three Village Historical Society's History Center. Photo by Cayla Rosenhagen
A scenes from the Three Village Historical Society's History Center. Photo by Cayla Rosenhagen
A scenes from the Three Village Historical Society's History Center. Photo by Cayla Rosenhagen
By Cayla Rosenhagen
Cayla Rosenhagen
The past teaches us invaluable lessons about unity, courage, and overcoming challenges. By studying our community’s deep history, we not only celebrate and learn from the tales of historic heroes and heroines, but also form stronger bonds with those we share our community with.
The Three Village Historical Society seeks to strengthen those ties through its work in preservation and education. Their museum at the Bayles-Swezey House in Setauket evokes the passion for history of its curators in an environment that emphasizes the important roles the Three Village area has played throughout the years.
I recently had the honor of interviewing Mari Irizarry, appointed earlier this year as the Director of the TVHS, who has brought a wealth of expertise and passion to the Three Village community. According to Irizarry, the organization was founded by volunteers in 1964 to preserve the stories and artifacts of the community. “Sixty years later, that mission is at the backbone of the Society. We are stronger than ever, and it is because of community members and volunteers who dedicate their time and expertise to preserving and sharing stories with the public,” she said.
Did you know Setauket and its ancestral residents played a pivotal role in the American Revolution? In fact, General George Washington employed the help of several Long Island spies to gather intelligence on the British army’s operations in what is known as the Culper Spy Ring. The TVHS’s exhibit, “SPIES!” features a large, interactive space where you can follow the daring stories of members of the Ring and learn how they conveyed coded and hidden messages without being discovered by the British troops occupying Long Island.
The history center’s other exhibit, “Chicken Hill: A Community Lost to Time” sheds light on a diverse community that used to reside in a small area of Setauket. The bygone village still has lessons to teach us all about neighborliness and unity. Over the course of its existence from the Industrial Revolution to the mid-20th century, the area was a melting pot for several minorities including Eastern European Jews, African Americans, and Indigenous Americans.
Despite the fact that its residents practiced different religions and customs and spoke in many languages, Chicken Hill was a cohesive community. The museum has preserved its legacy by showcasing the stories of former residents in the “I Remember” portion of the exhibit, and what life was like then through its informative displays and artifacts.
The museum grounds are also home to the Three Village Farmer’s Market on Fridays currently from 3 to 7 p.m. and in October from 2 to 6 p.m. Stop by to pick up some groceries and handmade gifts and enjoy the museum’s pay-what-you-can open house and access to all the exhibits.
In addition, celebrate Revolutionary War heroes by attending the TVHS’s 8th annual Culper Spy Day at the museum grounds on Sept. 10. Throughout the day, guests can enjoy an immersive colonial-era experience and participate in interactive activities such as crafts and games.
Irizarry was eager to share some more highly-anticipated events:
“Next up, after Culper Spy Day, we’re excited to bring back the Spirits Tour on October 22 where guests will join guides through the Setauket Presbyterian and Caroline Church graveyards to listen to stories from costumed actors who will portray the unknown spies during the American Revolution. We’ll cap off the year with the time-honored tradition of the Candlelight House Tour that will take place in the historic neighborhood of Old Field on Dec. 2 and 3. Five homes will be expertly decorated for the holiday season and guests will tour each home learning about the historical architecture and design.”
Visit the museum located at 93 North Country Road in Setauket on Thursdays from 1 to 5 p.m., Fridays from 3 to 7 p.m., and Saturdays and Sundays from 1 to 5 p.m. Admission is $10 for adults, $5 for children, and is free for TVHS members. For more information about the TVHS’s events, including tours of the exhibits, visit their website at www.tvhs.org or call 631-751-3730.
Cayla Rosenhagen is a local high school student who enjoys capturing the unique charm of the community through photography and journalism. She serves on the board of directors for the Four Harbors Audubon Society and Brookhaven’s Youth Board, and is the founder and coordinator of Beach Bucket Brigade, a community outreach program dedicated to environmental awareness, engagement, and education. She is also an avid birder, hiker, and artist who is concurrently enrolled in college.
In 1916, Joseph Vandall opened his own meat market on East Broadway at what was previously Lester Davis’ store. Photo from the Kenneth C. Brady Digital Archive
Joseph Vandall was a well-known resident of Port Jefferson and one of the village’s prominent businessmen.
In 1892, he was hired as a butcher at Lester Davis’ Meat Market, which was located on today’s East Broadway. After purchasing Davis’ shop in 1916, Vandall found that he needed more space for his growing business.
Vandall bought land to construct a modern store in 1923 and broke ground the next year. The building was situated on the south side of East Broadway between the Harbor View Hotel and Smith’s Plumbing.
The brick and concrete structure, known locally as the Vandall Building, provided room for three shops on the first floor. A large meeting area, Vandall’s Hall, filled the entire second floor.
The Vandall Building opened in 1925 and was occupied on the ground level by Vandall’s Meats and Groceries, Lerch’s Music Shop and Azenaro’s Fruits and Vegetables.
While these establishments were important to the local economy, Vandall’s Hall quickly gave the building its identity. Soon a landmark in Port Jefferson, the hall became “the” place for a variety of events including dances, fundraisers, recitals, musicals and wedding receptions.
Among the booths and exhibits at Vandall’s Hall during the Second Industrial Show, March 1930. The event promoted local businesses, their products and services. Photo from the Kenneth C. Brady Digital Archive
In February 1929, local businessmen exhibited their products and services at Vandall’s Hall during the village’s first Industrial Show. Sponsored by the Port Jefferson Chamber of Commerce, the event proved so popular that another show was held in March 1930.
In one of the more unusual uses of the Vandall Building, a miniature golf course, requiring all of the space on the second floor, opened at the hall in November 1930 but closed the following year.
In 1932, the Port Jefferson Moose Lodge leased the hall and, in turn, rented the venue to other groups, reducing Vandall’s active involvement in the business.
Following Vandall’s retirement in 1940, the South Bay Consolidated Water Company moved its Port Jefferson office into what had been Vandall’s Meats and Groceries. The Suffolk County Highway Department rented the entire second floor for its quarters, ending the hall’s days as a place for social gatherings.
After Vandall’s death in July 1945, the Vandall Building was sold and rented to various tenants with one redefining the East Broadway property.
Max “Mac” Snyder opened an Army & Navy Store in the Vandall Building on Sept. 3, 1954, days after Hurricane Carol wreaked havoc in Port Jefferson.
Born in Pennsylvania in 1912, Snyder had moved to Brooklyn in 1932 with his wife Florence. The couple and their children later relocated to Valley Stream before being drawn to Port Jefferson.
Snyder saw the village’s downtown near the waterfront as an ideal location for his store, believing that harbor improvements, suburbanization, population growth, road construction and cultural tourism would bring potential buyers to Port Jefferson.
The Vandall Building was located on the south side of East Broadway. (Left to right) Lerch’s Music Shop, Azenaro’s Fruits and Vegetables, and Vandall’s Meats and Groceries. Photo by Arthur S. Greene. Kenneth C. Brady Digital Archive.
These customers found a variety of merchandise in Snyder’s store, which was stocked with clothing, footwear, fishing rods, camping gear, marine supplies and military items.
Snyder also developed a niche market, advertising his store as a skin-diving center where sportsmen could purchase scuba equipment, wet suits, masks, fins and snorkels.
Snyder became so well known in Port Jefferson that the Vandall Building was soon called “Mac Snyder’s,” supplanting the original owner’s name in the local vocabulary.
By 1968, Snyder’s Army & Navy Store was still on the ground level of his building, but the first floor was also occupied by a laundromat. The Mary Beth dress manufacturing company, which specialized in piecework, filled all of the second floor.
While the Vandall/Snyder Building had survived hurricanes, a fire on Jan. 21, 1968, left the property in ruins. What remained was later demolished.
The blaze brought an end to a building but not to one business. Just months after the fire, Snyder opened a new Army & Navy Center in Port Jefferson at 214 Main St., opposite what was then the Brookhaven Town Tax Office.
The approximate site of the former Vandall/Snyder Building is now occupied by what was formerly Ecolin Jewelers, across from Brookhaven Town’s Mary Bayles Park.
Kenneth Brady has served as the Port Jefferson Village historian and president of the Port Jefferson Conservancy, as well as on the boards of the Suffolk County Historical Society, Greater Port Jefferson Arts Council and Port Jefferson Historical Society. He is a longtime resident of Port Jefferson.
Port Jeff village historian Chris Ryon, above, poses with a Revolutionary War era whaleboat. The planned “Resolution“ will be similar in style and scale to the above vessel. Photo courtesy Ryon
American history and local tradition are on a collision course here in the Village of Port Jefferson.
Last month, public officials announced that the village government would partner with the Port Jeff-based Bayles Boat Shop to recreate a whaleboat from the American Revolution era. The boat shop is an offshoot of the Long Island Seaport and Eco Center, also known as LISEC, a nonprofit dedicated to the preservation of maritime history on Long Island.
Mayor Margot Garant said the village government entered into conversations with LISEC because it sought a way to promote the story of Port Jefferson’s role in the Culper Spy Ring.
“We would have never considered it without having LISEC as a partner,” Garant said. “They just absolutely loved the concept. We brought it to them for the historical component and for helping us tell the story about Port Jefferson’s instrumental role — and the Roe family’s role, in particular — in the spy ring.” She added, “We felt the whaleboat would be a unique way of embracing the history, telling the story and engaging the community.”
In an interview, LISEC president Len Carolan indicated that the buildout would last for up to two years or so. “The boat will be a little bit longer than 25 feet, 6 feet wide, and it will weigh up to a ton,” Carolan said. He added that a project of this scale will also require additional steps: “This is the first time we’re going to be using a lofting platform.”
Lofting is a practice in wooden shipbuilding that enables designers to produce full-scale drawings used as templates. These renderings will help the builders to cut wood pieces with precision and to create a vessel that is as true to the source as possible.
The designers even hope to use the same building materials as the original whaleboats. “Typically, the boats then were built with white oak and white cedar,” Carolan said. “We have access to white oak because that grows here on Long Island. The white cedar, though, is no longer available here, so we’ll have to go a little further north to get the kind of wood we need.”
The term “whaleboat” is a misnomer, denoting the style of the vessel rather than its intended function. Carolan stressed that the operators of the original whaleboats did not use them for hunting whales.
“It’s similar to the design of the boats used to hunt whales, but those boats were much bigger — they were like 32 to 36 feet long,” he said. However, the boat’s design likely offered the patriots certain tactical advantages at sea. “It was easy to maneuver and row, and they were able to raid British ships and get away quickly using these whaleboats.”
Local historian Mark Sternberg is among the key figures involved in this project. Sternberg said he cultivated an interest in local history while growing up in the Port Jefferson School District. Back then, the stories of local patriots left an early impression upon him, inspiring him to pursue the subject more deeply.
“I’m from Port Jefferson … and grew up surrounded by the history here,” he said. “There is a lot of stuff here in Port Jeff that hasn’t been well documented. We have barely even started to scratch the surface of what we know about the spy ring.”
Sternberg foresees the whaleboat serving an array of educational purposes. An operational whaleboat makes possible various historical reenactments, such as Valentine Rider’s misguided plundering of the Roes — whom he had falsely believed were loyalists — and scenes of the numerous whaleboat battles fought in the Long Island Sound.
Sternberg added the whaleboat would help to tell the story of Caleb Brewster, a Setauket native who assisted the American war effort through his participation in the spy ring. Brewster also joined in the famous whaleboat fighting on the Sound.
Though the name of Brewster’s whaleboat is lost to history, Sternberg recommends naming it “Resolution.” He said this title could still honor the Brewster legacy.
“My recommendation is to call the boat Resolution,” he said in an email. “This was the name of Valentine Rider’s whaleboat; [he was] a patriot privateer who launched from Connecticut to harass perceived loyalists on Long Island. It will work for plundering reenactments, as Valentine Rider and his men plundered the families of Nathaniel and Phillips Roe in May 1781 — the Roes were portraying themselves as loyalists as part of their roles in the Culper Spy Ring.” He added, “The name will also work if we ever try to reenact the intense whaleboat fight of 1782, as Valentine Rider fought alongside Caleb Brewster in that battle.”
Port Jeff village historian Chris Ryon also supports the whaleboat project. He sees the whaleboat as a unique opportunity to showcase two previously distinct strands of local history, connecting the village’s shipbuilding roots to its contributions to the Revolutionary cause.
The whaleboat “pulls it all together,” Ryon said. “It’s one of the earliest histories we have and pulls our Revolutionary War history in with our maritime history.”
Carolan expressed similar enthusiasm for the project. He said he hopes for the public to be able to follow the various stages of the buildout, from the construction of the lofting platform to the completion of the whaleboat.
He also holds that the whaleboat could be a precursor to similar projects down the road, generating momentum and boosting confidence among those working on it. “We are hoping that it becomes a visible sign to students and local school districts,” the LISEC president said. “And that the entire build from beginning to end is open for the public to see the progress.”
Carolan added that he hopes the build is the first of many large undertakings for the Bayles Boat Shop and added, “I think it’s going to give us so much more exposure.”
For Garant, sharing the local history of Port Jefferson is essential. By educating locals about their historical origins, she believes residents can better understand who they are, where they come from and their place within that history.
“I think the history is key to who we are,” the mayor said. “I feel one of the responsibilities of local government is to not only embrace that history, but to enrich and save it and work with the community to celebrate it and talk about it.”
The Joseph Lloyd Manor property will serve as a pilot site for the grant project.
Preservation Long Island (PLI) has been awarded an Inspire! Grant for Small Museums from the Institute of Museum and Library Services (IMLS). Collecting since its founding in 1948, Preservation Long Island’s diverse and comprehensive collections comprise approximately 3,000 objects and 185 cubic feet of archival materials.
The grant will enable PLI to undertake an assessment of its inventory practices to improve access and the long-term care and maintenance of the collections displayed and stored at its historic sites and facilities — the PLI Headquarters building in Cold Spring Harbor, Joseph Lloyd Manor and Collections Storage in Lloyd Harbor, Sherwood-Jayne Farm in Setauket, and the Custom House in Sag Harbor. The grant funded project runs from September 1, 2022 through December 31, 2023.
Ranging from artistic and technological masterworks, to documentary imagery and everyday artifacts, PLI’s collections represent the social, cultural, political, and economic history of Long Island over four centuries.
“PLI holds its collection in trust for the public. The IMLS grant represents a strategic investment in the management of its permanent collection,” said Alexandra Wolfe, Preservation Long Island Executive Director.
“Organizationally, the project will enhance how PLI preserves and cares for its important artifacts of Long Island’s history,” said Lauren Brincat, Curator, Preservation Long Island. “Nationally, this project will promote access to and interest in Long Island’s history and cultural heritage.”
“As pillars of our communities, libraries and museums bring people together by providing important programs, services, and collections. These institutions are trusted spaces where people can learn, explore and grow,” said IMLS Director Crosby Kemper. “IMLS is proud to support their initiatives through our grants as they educate and enhance their communities.”
The Joseph Lloyd Manor property will serve as a pilot site for the grant project. The house was the center of the Manor of Queens Village, a 3,000-acre provisioning plantation established in the late 17th century on the ancestral lands of the Matinecock Nation. Jupiter Hammon (1711–before 1806), one of the first published African American writers, was one of the many people of African descent enslaved at the site.
The collections inventory project will help bring to light new stories that can be told with the existing collections at PLI’s historic sites. In addition, with the information gathered through this project, PLI will be able to seek new acquisitions that help make PLI’s collection—and the public programs, exhibitions, interpretations, and digital content the collection supports—more relevant to more people while also enhancing public knowledge of unrepresented stories.
About Institute of Museum and Library Services
The Institute of Museum and Library Services is the primary source of federal support for the nation’s libraries and museums. We advance, support, and empower America’s museums, libraries, and related organizations through grantmaking, research, and policy development. Our vision is a nation where museums and libraries work together to transform the lives of individuals and communities. To learn more, visit www.imls.gov and follow us on Facebook and Twitter.
About Preservation Long Island
Preservation Long Island is a not-for-profit organization that works with Long Islanders to raise awareness, appreciation, and support for the protection of our shared past through advocacy, education, and the stewardship of historic sites and collections.
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