https://omekaclassic4.nhlibraries.org/files/original/f99f9bac39c1fc2718a90f80d5ed7e21.pdf 37e1d126209ba1790ec498bd5ddc7bc9 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The New Hampshire Troubadour Subject The topic of the resource Troubadour Description An account of the resource The New Hampshire Troubadour was a publication of the State of New Hampshire's State Planning and Development Commission in Concord, NH from 1931-1950s. Creator An entity primarily responsible for making the resource The State of New Hampshire Publisher An entity responsible for making the resource available The State of New Hampshire Date A point or period of time associated with an event in the lifecycle of the resource 1930s-1950s Contributor An entity responsible for making contributions to the resource NHSL Rights Information about rights held in and over the resource State of New Hampshire Troubadour PDF files of the Troubadour OCR OCR of the Troubadour IFThe New Hampshire Troubadour Comes to you every month, singing the praises of New Hampshire, a state whose beauty and opportunities should tempt you to come and share those good things that make life here so delightful. State Planning and Development Commission, Concord, New Hampshire. One dollar a year. Entered as second-class matter. May 31, 1949, at the Post Office at Concord, New Hampshire, under the Act of March 3, 1879. ANDREW M. HEATH, Editor Volume XX SEPTEMBER, 1 950 Number 6 Reunion I shall come back to walk these fields again And smell warm earth fresh-furrowed by the plow, Unseen by those who’ll say they own them then, Just as I say I am the owner now. I shall come back to see if walls still stand And how' the little, seedling pines have grown, What care is taken of the mowing land, How full the well beneath its cap of stone. I shall come back with others who have tilled These same old fields and watched the corn grow tall. Who know the fragrance of dim mows well filled And wood smoke on a morning in the Fall. I can be sure that, on some future day, I shall come back, because, no matter where My worn-out body may be laid away. The rest of me will be too homesick there. From “Land of the Yankees" by Frederick W. BranchNEW HAMPSHIRE CRAFTS, 1950 Lj SUUL W. Nf.w Hampshire people are quite justly proud of the crafts that flourish throughout the state. Even the smallest villages, tucked away in spots that are well-nigh inaccessible, have their craftsmen, working diligently to supplement an income derived primarily from farming or some other occupation, entirely divorced from the crafts, or less often supporting themselves entirely by their handiwork; and there are many others with whom craftwork is a pleasant avocation, to lx1 followed in their spare time; and still others, blind or disabled, for whom the crafts have a very definite therapeutic value. This extremely active craft movement has been nurtured by the slate itself, the first in the country to provide a commission for the arts and crafts, “to develop in New Hampshire substantial hand crafts as home industries that will reflect the highest standards of craftsmanship,” and one of only three states in the country with a well organized program to assist resident craftsmen. Since 1931, the year in which the League of New Hampshire Arts and Crafts was founded, the craft movement has gained by leaps and bounds, and today there is scarcely a community in the stale that has not felt the impact of its enthusiastic leaders. Craftsmen in the state have for a good many years been able to show their work in the League shops, and at the annual League fairs, and individual craftsmen have often been included in large national shows, but up to now there has been no opportunity for them as a group to present their work to a qualified jury from outside the state. The Currier Gallery of Art in Manchester has organized this year, for the first time, with the cooperation of the League, an exhibition of fine examples of New Hampshire craft- work, in the hope of encouraging the craftsmen of the state to putforth their best efforts toward objects of high quality and good design, possibly not as salable as their usual work, but indicative of wrhat they can do, given the incentive to do it. The three-man jury, chosen because of their familiarity with craftwork throughout the nation, consisted of William M. Friedman, assistant director of the Walker Art Center in Minneapolis, one of the country’s most progressive museums, which has a well- earned reputation for its devotion to the cause of “everyday art'1; Humphrey J. Emery, director of the Society of Arts and Grafts, Boston, one of the most famous craft organizations in the country, and one of the first to stress the encouragement of “higher standards in the handicrafts”; and James C. Hosken of Boston, designer- craftsman. After patiently culling over 461 entries, the Jury selected 150 objects, representing the work of 55 craftsmen, all either permanent residents of New Hampshire, summer residents for at least two months of the year, or teachers in the League classes. In making their selections, which included ceramics, enamels, jewelry, metalwork, weaving, decorating, woodcarving and wood- Kncking Horse by George It innibury. Hertford. Hun by Rebeeea kiulliifihrr U illinnix, Hanover. EKIC M. SANFORDworking, the jury constantly stressed the fact that good craftsmanship is not enough, and in every case they selected the work of the “creative craftsman,” whose work is predominantly original, rather than the “skilled mechanic,” who follows patterns, made to order; copies old pieces or motifs. In fact reproductions were ruled out by the jury as being inconsistent with today’s design requirements, and in comments written to the rejected entrants, the jury emphasized the importance of knowing the traditions of the past and building on them, rather than merely copying old designs or commercially circulated ones. The final selection was not limited to the so-called professional craftsmen, but includes a number who are amateurs, as well as gifted students. The resulting exhibition, although it might have been a lit Mister It oolherrono by (rinrfie /,/im/. Troy. Hiinner by Itertho II oters. Camp- ton. Pottery hotel by Hath Tobey. Coneonl. II iMilen dress mo ter in I by 11 ire I orney Jones. I nion. Smoking Set by I iriko I lei no. Ilopkintmi. ERIC M. SANFOKI) great deal larger, stands as a showing of the highest quality, which could probably compare with any state show in the country. In pottery, one of New Hampshire's most popular crafts, and one which has brought forth the craftsman’s best efforts, there are 43 items, from bowls and vases so unusual and remarkable in texture, design and color, that one would hesitate to use them around the house, to such utilitarian pieces as egg cups, ash trays, coffee cups, salad bowls, lamp bases and cider jugs, both practical and functional, as well as good-looking. To mention only a few of the potters, there are the Scheirs of Durham; Otto The September 1950and Vivika Heino of Hopkinton; Charles E. Abbott, teacher in tin* League’s Concord classes; Richard Moll of Loudon; and Charles and Floy Tilton of Tilton. Karl Drerup’s beautifully designed enamels, which are marvels of fine craftsmanship, and which have entered the collections of some of America’s leading museums, are included. In metalwork, there are pieces in silver, bronze and pewter, including a handsome silver tea and coffee service in the best modern tradition by George Howland of Nashua; silver bowls of fine shape and workmanship by Sally Flaccus of Tarmvorth; creamers, sugars, ladles, pewter plates and mugs; as well as George Salo’s interesting “free form” pewter vases, and modern jewelry. The small group of jewelry, notable for its simplicity and feeling for design, also includes interesting pins and a ring by Beatrice Alden, summer resident of Center Barnstead. The weavings run from linen luncheon sets and place mats, and gay materials designed especially for square dancing skirts, to materials for draperies, utilitarian tweeds and bright woven rugs. In this field, there is outstanding work by Lilly Hoffmann of Hopkinton; Alice Varney Jones of Union; Rebecca Gallagher Williams of Hanover; and many others. In the woodcarving and woodturning category, items of unusual interest are George Lloyd’s rooster weathervane, and George Woodbury’s rocking horse. There are also carved and painted birds done in the most meticulous detail by Jess Blackstone of Concord, and carved animals of all varieties by Octave Dufresne, also of Concord; as well as wooden plates and salad bowls and even a darning ball and a shoe horn. John G. May of Jackson has an interesting group of bowls and a handsome pepper-mill, in which he has used unusual tropical woods. The exhibition, which is open daily to the public, is on view through September 24.Is September Trout Fishing Worth While? Itf Jjohn Trout fishing in New Hampshire during the month of September is limited to the use of artificial flies only in all ponds of the state (where fishing is not otherwise restricted by law) and in a handful of designated streams. Beaver dams and wide “pond-pools” in streams are closed, but as New Hampshire is liberally supplied with named trout ponds, this leaves a lot of water available to the fly rod enthusiast. For years we wondered if this September fly fishing period was really worth a trip. Actual results of trout fishing trips in September were sometimes good and sometimes bad in terms of fish caught, although we always enjoyed ourselves. Hearer Pond in Kinsman Notch is one of Note Hampshire's September fly Ji shin ft attractions. A. N. HOt'ClIAKIi - -Wc sought the libraries for advice, but in the dozens of fishing books we found there was little or nothing to guide a September fly fisherman. YVe looked in the national sporting magazines but found little to enlighten us. Because there has been so little written on the subject of September trout fishing in New Hampshire, we offer the following conclusions. which are based on personal experience and discussion with other September fishermen: Trout do not rise to flies in September until the surface water of the pond has cooled substantially. Ponds in northern New Hampshire and in the mountains usually cool sufficiently by the middle of the month to offer good fishing, but if you wish to be certain, have an on-the-spot observer (perhaps a sporting camp operator) send a card when the trout “come up” or keep careful record of the weather, especially frosty nights. Trout in ponds are apt to be fussy in September. They have been educated by fishermen all during the season. Fine leaders and well tied flies are usually a “must,” and you should use all your casting skill. Dry flies often work best, but some anglers say that to get the big trout you should use a small bucktail or streamer and let it sink to where the “big 'uns” are resting. Wc have tried both methods and find that they both work at times. September fly fishing is apt to be “spotty,” but on the other hand, trout are usually in excellent shape and are of larger average size than in the spring. Thus, your reward per fish is greater. In some northern ponds the biggest trout of the year are caught in September, when the big squaretails move into shallow water prior to spawning. Principal trout streams open to September fly fishing include the Androscoggin, lower Ammonoosuc, and most of the upper Connecticut. Rainbows often get very hungry in these streams after the middle of the month.For instance, last fall we spent three days of the last week in September at Errol and fished the Androscoggin. On two days we averaged about one fish per hour of constant hard casting. From daybreak until noon on the second day we could catch trout almost anywhere, so we changed to large flies and fished especially for big rainbows. It was the big trout fishing event of the year. In southern New Hampshire ponds at low altitude we have been unsuccessful more often than we have been successful in September. Still, this does not keep us from trying year after year, and sometimes we are rewarded with a few fine trout. So we would say that September trout fishing is decidedly worth while if you are a dyed-in-the-wool fly fisherman who likes to fish when the air is invigorating, when scenery is colorful, and when insect pests are missing. But, if you don't enjoy a little gamble with fisherman's luck and feel that two or three prime, fat, colorful trout is not reward enough for a day of fishing, stay home. Then, you'll never know whether or not you might have caught some of the finest trout of your career. P.S. I'm planning to take part of my vacation late in September this year. Picnickers enjovinn an autumn out inn at Miller Stair Park nrar Peterborough. I hard surface rmid leads to the summit, nbieh provides panoramic viru s of colorful foliage ia late September and the first half of Octal* r.HINT OF AUTUMN L JJaJnS. P. ear ion September steps over the threshold and a new feeling comes to the land. There’s a tangy zip in the air these mornings and when night shadows march down from the hills they bring a faint but certain cool hint of the changing season. The ninth month, the Green Corn Moon of the Indians, is one of the heart-lifting periods of the year. Blue asters by old rail fences reflect the blue of the sky; goldenrod’s glow matches the gold of the sun that daily drops nearer the time of the equinox. Nature is beginning to burnish her autumn spangles. Down in the swamp one sees occasional branches of red maples lifting scarlet pennants to the on-coming time of glory. Cattails stand in clans in the slough spots, reminding one of inverted exclamation points. The massed steeple-spires of purple-red hardhack make beauty on the hillsides. Orchard limbs Ixmd low with coloring fruits and one of these days there will be the musky, pungent fragrance of frosted wild fox grapes in the air. Proud cock pheasants stalk over stubble fields and crows meet in political raucous caucus. In the warmth of midday there is a sense of last-minute urgency even as the year’s clock begins to slow its tempo. Men hasten to get the autumn harvest underway and the staccato song of tractors tells that fall plowing has started. No doubt the scientists can explain the peaceful beauty of the month in terms of sinking sun and approaching equinox. But lie who is sensitive to the wonder and beauty of the shifting seasons is content to take these 30 days as they come. There’s the last touch of Summer on the countryside and the first exploratory fingers of Fall. Change creeps slowly across fields, meadows and upland ridges. You can smell it from farm kitchens where spicy pickles are brewing; you can see it in the red leaves of poison ivy and wood-WILLIAM R1TTASK Art classes Jim! plenty of material Jar autdaar sketching in \eu Hampshire. Here Colby Junior College girls are sketching the New London Baptisi Church. Hart oj the Colby campus is in the background. bine. And come night, when a man stops in the dooryard to look up at the gold and red flickering coins in the sky, he can feel it in the cool edge of the wind. Autumn is waiting — waiting just over the ridge. But for a peaceful interlude September broods over the countryside. 12 The September 1950WHEN IT’S AUTUMN IN NEW HAMPSHIRE When it’s Autumn in New Hampshire, Ah! that’s the time for me, When early frost and ripening sun I lave colored every tree. I like to walk down country roads. And leave behind all care. And get the scent of burning leaves That fills the bracing air. I like to munch on apples When their skins are firm and red. And hear the wild geese honking. As they fly above my head. I like the rustle of the leaves That fall from flaming trees, And the fading plumes of golden rod That are nodding in the breeze. There’s a flash of scarlet sumac By the fence along the hill. And the crickets chirp their doleful song As the Autumn air grows chill. The piles of golden pumpkins gleam In the late October sun, And the corn shocks cast their shadows long. When the day is nearly done. For always at this time of year My heart is gay and free. When it’s Autumn in New Hampshire, That’s where I long to be.Front Cover: View from hilltop in North Sandwich, Mt. Chocorua in the background. Color photo by S. Alton Ralph (whose wife is author of the poem on page 13). Back Cover: Autumn scene near Berlin. Photo by Herbert banks. Frontispiece: Stewartstown Hollow in northern New' Hampshire, gateway to the Connecticut bakes country. Photo by Fisk Audio Visual Service. Y' New Hampshire Books and Authors Col. John Coffe, a book about one of New England's early stalwarts settler, Indian fighter, patriot, and about 18th century New' Hampshire, by William Howard Brown, published by the author at Glens Falls, New York, illustrated, S3.50. In the September 1948 issue of the New Hampshire Troubadour you published our reluctant goodbye to New Hampshire. Somew hat shamefacedly we now send you the sequel to that story. The closing day for our sale arrived and in a matter of minutes we were without our little Red House in the Dell. After the closure the agent suggested that we go with him to look at a small Cape Cod house that had just come on the market. We were curious and went along for the ride, we supposed, and soon we were looking through a nice clean little white house with a fireplace — Dutch oven, maple shaded, and a large brook was in sight of the house. Next morning without another look we decided that we must have this little house. So after all we were without a house in New Hampshire less than twenty-four hours. We like our new' place as well as our first in many ways and have become interested in minerals which arc plentiful around Wilmot which is in the heart of the mineral country. We have visited most of the old local mines and picked up beryl, tourmaline, rose quartz, quartz crystals and garnets. Gem quality stones have been found in this vicinity and can be seen in local collections. The abandoned Ford garnet mine in North Wilmot is particularly interesting. Garnets abound here literally by the millions. They are the hard opaque ones, prized for making abrasive paper of high quality for polishing steel. — Mrs. Irene Batchelor Upper Stepney, ConnecticutThe Facets had built themselves a home amid the New Hampshire woods and hills. In the distance blue Monadnock lifted its smooth dome against the sky. Near by we had a choice of lakes to sail on and bathe in. A little distant lay the wider grandeur of the Connecticut River valley, and all around were dotted alluring little villages and townships centered about their Wren-inspired churches, for all that Wren achieved in stone is duplicated here in white, painted wood. The Pagets had called their home “Regency House.” It was on the hillside, with terraces com manding beautiful views. The days were sunny and hot, the nights so pleasantly cool that we dined in the loggia of my hostess's mother's house across the lane, where an enormous barn had been converted into a studio playroom. Here various members of the family painted, carved, sculptured, bound books, and wove on a miniature loom. In the evening we gathered, complete with six dachshunds, before an enormous log fire. . . . — From A ndSo To A merica, by Cecil Roberts. Copyright 1047 by Cecil Roberts. Reprinted by permission of Doubleday and Company, Inc. A horse show scene nt Deerfield Fair. ERIC M. SANFORDVineyard Harvest !>J Burl ura D.Q r runes The cask of fall spills days of wine — Some sherry, some sauterne; And sunsets rich as Burgundy or claret Blaze and burn. RUMFORO PRESS CONCORD. N H 1 £ ia50 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context 4677Troubadour195009 Title A name given to the resource The New Hampshire Troubadour September 1950 Creator An entity primarily responsible for making the resource New Hampshire State Planning and Development Commission Date A point or period of time associated with an event in the lifecycle of the resource 1950-09 Description An account of the resource The New Hampshrie Troubadour was a monthly publication of the New Hampshire State Planning and Development Commission. The magazine was printed between 1931 and 1951. Format The file format, physical medium, or dimensions of the resource 16-page booklet Language A language of the resource eng Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant New Hampshire, Stewartstown, New London Provenance A statement of any changes in ownership and custody of the resource since its creation that are significant for its authenticity, integrity, and interpretation. The statement may include a description of any changes successive custodians made to the resource. New Hampshire State Library Rights Information about rights held in and over the resource No Copyright - United States Subject The topic of the resource crafts, fishing, Miller State Park, churches, state parks Type The nature or genre of the resource Text churches crafts fishing Miller State Park New Hampshire New London state parks Stewartstown