Bellwether Trees version 2

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Astronomical Autumn began on Sept 22 this year. These photos were taken around that time to document the progress of this year's fall foliage. 

The color began creeping in slowly around mid-September. It can start with a single leaf or a handful of leaves on an otherwise green tree. It seems to start in the swamps and stressed trees along the road. 

Here you can see what I call a "bellwether" tree. 

While this tree has almost entirely cloaked itself in its autumn attire, the rest of the trees in the photo have not even begun the process. 

A wether is a castrated male sheep. The term "bellwether" refers to the dominant sheep fitted with a bell around its neck that leads the flock. The bell tells the shepherd where the flock is heading. The term then refers to something that helps predict where things are going.

Notice that the tree above already has a good start on a fluffy bed of leaf drop to help facilitate our annual Snoopy and Charlie Brown ritual. 

You rake, I jump. 

I chose to post this blog this afternoon to correspond to the sketch below by Thomas Cole below that I believe was done 197 years ago today. 

It captures the spirit of our early foliage season and hints at the profuse and brilliant reds, oranges and yellows of the peak season to come, so these are bellwether trees.  

Entitled View Near Tamworth, New Hampshire; In The White Mountains, the sketch now resides in the collection of the Detroit Institute of Arts. FMI follow this link here. 

You can download a high resolution TIFF from that website, enlarge the image and check my observations. The website describes the medium as watercolor, graphite pencil, pen and black ink on off-white wove paper

The image is not dated, but using evidence in the artwork itself, combined with Cole's record of his trip, I conclude it was probably drawn on Oct 2, 1828, the day before he and a fellow artist Henry Cheever Pratt climbed Mount Chocorua. 

At the top of the page Cole wrote "View near Tamworth NH." In the middle of the page he continued "In the W. Mountains" 

Looking at the top half of the sketch, one might assume that is a view of Chocorua...

...but it is not. 

Chocorua was a very popular subject for artists. They painted it from many directions. To see some of their many artworks see this White Mountain Art website here. 

The actual mountain peaks depicted in the sketch are well known to those of us who live in and love the White Mountains. For those of you "from away," the answer can be found if you start with the most famous view of Chocorua and visit this pull over along rt 16 known as the Chocorua Basin View. To get directions go and information about the view go to this website here.  

To learn about the mountain peaks you can see from here you can use this handy interpretive sign... 

... showing the profile of the mountains in front of you. Click on images to enlarge them for easy reading and study.  

Notice in the photo above that the pyramid shaped peak of Chocorua is only at its top, that its shoulders are relatively level and that it has three knobs along the ridge to the right known at the Three Sisters. The mountain seen in the sketch is a larger, deeper pyramid that has no knobs on either side. This helps confirm that the sketch is not of Chocorua. 

 

Another sign with this same profile of mountain peaks in the sketch can be seen from nearby White Lake State Park. 

Again with an interpretive sign. Here is a detail of the view and the sign below. 

 

 

You can see here the mountain peaks identified as Paugus, Passaconaway and Whiteface have the profile outline that matches the signs, the photos and the sketch. Again, the major difference between Chocorua and Passaconaway is that the mountain seen in the sketch is a larger, deeper pyramid that has no knobs on either side so that identifies it as Passaconaway.

While the general view of these mountains are known, the exact location from which this sketch was made could be from any number of places. Unlike Chocorua, this part of the Sandwich Range was not as popular a vista for artists, so it takes a bit more sleuthing. For this we will turn to maps.  

Part of problem to id the specific location it that the area is now 80-90% forested. We can't just drive around and find the exact spot. During Cole's time the area would be 80-90% clear due to farming, so one may not even be able to find a place to get an exact match. 

However to get a rough idea we will start with an 1816 map to identify roads Cole and Pratt could have traveled on twelve years later. You can view the map online here. This website has an excellent zoom feature to study the map closely. 

 

We will combine our study of the map with  clues in the artwork and Cole's journal of his 2nd trip to the White Mountains which leads me to conclude it was probably painting on Oct 2, 1828. Follow along with me to see if you agree. 

To read Cole's manuscript original manuscript follow this link here. 

You can also read a typescript of the account through the Jstor website here. You can register for a free account to read the essay. 

While we will try to follow their trip using the map and the journal, we must realize that some of the roads shown on this 1816 map have been abandoned and current roads don't necessarily follow the path of the older roads. However, we will get as close as we can to follow in their footsteps. 
 

From Cole's journal
"We left Concord (New Hampshire) at 4 o'clock in the morning of the 2 Oct. 1828 it was very dark and the rain fell in torrents..."
 

From the journal and other sketches we know that they traveled through Center Harbor, and passed Red Hill and Squam Lake, most likely following the roads identified on the map as dotted lines. Rivers are depicted as solid lines.  

 

He goes on to write "...Leaving Centre harbour, the magnificent range of the Sandwich Mountains opened upon us - ... This range without exception - (in forms & colour) is the most picturesque in the United states."
 

Cole repeats this sentiment in his Essay on American Scenery, that the Sandwich Range is the best. This is high praise indeed for a man who knew New England 's landscape so well from the Catskills to Acadia in Maine.    
 

To follow in their footsteps today, the closest option is to drive north from Center Harbor along Bean Road which then changes to Squam Lake Road into Sandwich Village. This seems to follow the 1816 map pretty well. 

 

This 1816 map does not show Paugus or Passaconaway. They would be on that ill defined hatch marked ridge line seen below labeled Sandwich Mountains between Chocorua (spelled Corway) Peak in the town of Burton (now Albany) and Whiteface Mt. in then ungranted land (now Waterville Valley). 

Continuing on, they probably went through Center Sandwich village, where 5 points converge just above the "h" in Sandwich on the map above. 

Then they probably took what is now Church Street to what is now Route 113. 

 

The shape of that early road on the 1816 map nearly matches current route 113 to 113A. This road is depicted as leading slightly northeast out of Sandwich village then it takes a sharp turn east and crosses the town line into Tamworth. 

 

The road then heads north again and then east around Great Hill Pond, then southeast down to Tamworth Village identified on the 1861 map as Gilman M (for Gilman Mill) where they wrote that they stayed the night.  

 

All this of course but only conjecture and there are other viable options. 

 

To find out more precisely where it could have been you can use a map and a yardstick to line up a bend in a river with the conjunction of the mountain peaks 

where the river bends the way it does in the sketch 

the 1816 map not clearly show rivers 

so we turn to USGS maps 

insert pic deb take of me doing that 

use USGS maps 

Now to field work. Again, as the area is now heavily forested, we have to find areas that have a clear view of the mountain range, known in New England as intervales. As a result, there are only a few view spots along this route that you can see a view similar to the one in the sketch. Options include Ferncroft, Wonalancet, Whiteface, Beede Flats, and Fellows Hill Road.  

 

After checking out all these spots, I feel the best match is on Fellows Hill Road, where thanks to local residents mowing their fields, we can get a glimpse of an approximate location that was likely near here 

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thanks to local residents mowing 

we can get a glimpse of an approximate location 

likely near here 

best photo I could get to match 

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the best option, Fellows Hill Road, in Sandwich NH, the adjacent town just west of Tamworth, 

so near not in Tamworth 

 

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 get the lines darker

 

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the sketch above matches up pretty well with the photo below

 

The peak on the right is Paugus (3,198 ft) and the one in the center Passaconaway (4,043 ft) in the Sandwich Range Wilderness of the White Mountain National Forest. 

stonewalls here or elsewhere?

a clue to this 

farms, 

lidar 

for the most part did not build stone walls in the forest, 

yet here they are

previous blog stone walls and shepherd songs

When he published his book November Rowen in 1941, author and historian Cornelius Weygandt lived 

near this field in a house built by Stephen Fellow in 1806

 

there in 1941 (in p. 23)

113 years after Cole passed by 

when his chapter 

7 Miles to Tamworth Vill. pp. 20-27.

published in his book November Rowen, 1941,  

explain what rowen is 

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Fellows Hill Road leads a short distance to Durgin Bridge over the Cold River. 

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The original bridge was built here in 1820, so Cole may have passed through here or forded the brook/stream like he often did 

the current bridge built in 1869 is being restored after an accident.  

add pic of green hwy durgin bridge sign

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notations on the left he wrote "bank" and "stream" 

to the right on the other side of the stream he wrote "meadow" 

throughout the scene he depicts standing dead trees or snags as we know them. 

in the band of trees, row of trees along the far side of the stream he wrote "? forest" 

beyond the forest, he uses a single simple line to depict the familiar outline or profile of mountain peaks 

contour 

ridgeline

ridge 

ledge

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on Passaconaway with its distinctive pyramid shape he wrote "10 m" 

indicating he estimated the peak to be ten miles away 

google maps tells us ... 

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he very accurately indicates ledges on Passaconaway

and a knob on the left 

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to the right he outlines the profile of Paugus

with its several knobs 

on its face, just below the peak he sketched what we recognize as the "Kilroy" feature on Paugus. 

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compare with photo

Paugus trails from www 

Chocorua Lake Conservancy, Chocorua Mountain Club here. 

old shag

toad back 

FMI on name toad back see here. 

see wodc old and new maps under bed

also tamworth maps old, 1816, 1840, etc. 

Passaconaway here. and history here. 

lower section 

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in the foreground on the left he wrote "Rock bank with yellow trees"

on the large rock on the right he wrote "grey" 

in the middle band left to right he wrote "green," "rich brown," "earth bank," "yellow, "

continuing across the stream he wrote " evergreens?" and another word I can't make out. 

beyond above the forest row, above the dead tree on the left he wrote "? with ? foliage"

While some notations are indecipherable to me what I can read on the mountains from left to right he wrote the following descriptive terms:

ledges 

yellow and brown

insert detail pics of these sections? 

to the right he sketched a few vertical lines that indicate a ravine down which flows Whitin Brook on the mountainside 

that matches the photo

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lawrence trail? 

over the "valley" he wrote 

gray 

whitish 

gray ? dark

yellowish 

indicating a scar, 

coulwar? 

patches 

exposed ledge 

slab

ravine

near the top of the peak he wrote "white patches"

and above the peak he wrote "5 miles" 

To me, this seems to be just further along the stream, north and east? 

you see the road along the stream on the left

now to the watercolor section 

in the center of this section, watercolor to depict the "tints" 

a grouping of about eleven trees 

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Cole's journal continues "The forests in the valley below the Sandwich Mountains are of a rich and varied. and as we passed them in many places we could not help they called forth our admiration - The rich tints of autumn were upon them Not Every variety of tints and form and fine(?) light and shadow was upon them Not Every variety of tints and form and fine (?) light and shadow was upon them and the sun which now in his decline shone upon them with full splendour and lighted The foliage of the American forest exceeds is wonderfully beautiful in colour in the early part of Autumn - Every tint is on them from the lightest to the darkest green - from the straw colour to bright yellow from orange to scarlet, from crimson to purple. with all the browns olives &c and these more brilliant than the artist can place on his pallet and yet often so blended and harmonized together as to make a delightful whole."

copy cut the beautiful bit?
or keep because of cole notations on that image?
problem is it is dated Sept 30 before they left Concord NH, but were perhaps on their way from Boston?


Cole used similar language in notations he made on this sketch a few days earlier dated September 30, 1828,

however, his thoughts of that day were not recorded in his journal of the trip

assume this location was north of Boston, south of Concord NH. 

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Titled "Beautiful Groups of Pines; Tints from Maples, New Hampshire" this artwork is dated sept 30, 1828

The date is just below the splotches of color. 

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Tints from maples sept 30, 1828

there is nothing in the sketch that helps to identify the location

according to the travel journal this would have been before he and his companion were in Concord NH  

FMI follow this link here.

The website describes the medium as watercolor and graphite pencil on off-white wove paper. 


The image is divided into two sections separated by a horizontal line. 

The notations describe and compare the pines and the maples

The top panel 

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You can see the number 1 to the right of the tall pine in the right hand corner of the page. 

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he keyed the text with numbers that correspond on the sketch

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text 

below the trees he wrote (copy/ck with gdoc)

Beautiful group of pines

1 tall pine very dark

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on the left are five splotches of color 

to the right of the green splotch he wrote the number 1. 

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to the right of the top splotch he wrote the number 2. 

also seen below the tall tree on the right, in the empty space below 

#2 text 

2 Chestnut tawny colour 

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see the #3 to the lower left 

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The number 3 in the text corresponds to the number 3 in the sketch 

3 rich pine full and in some parts tawny and generally light warm for a pine

This time of year, the White Pines do show a bit of "tawny" color. 

particularly like the drought conditions we have had recently 

some of the leaves show browning 

pine barrens around Concord NH, 

Karner Blue, Nabakov 

Below the horizontal line he wrote "The White pine is a tall stately and often picturesque tree particularly when seen in groups its trunk is generally straight, though often bending suddenly towards the top - " 

You can see what he is describing, writing about in this detail of the artwork. 

the tall tree on the right 

tied to its history and nature ... 

"trunk is generally straight, "

"trunk is generally straight, "

"though often bending suddenly towards the top - " 

straight mast tree 

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he continues his description of the form, shape of White Pine 

"trunk is generally straight, "

"though often bending suddenly towards the top - " 

Cole continues "? forms of the trunk is often so much hidden by its foliage that it is far from disagreeable" 

"the branches ? ? trunk horizontally generally turning up at the ends - but then higher branches often ? up ? often there are dead branches ? in young trees is a cool dark green - but when older ? in some parts tawny - when the sun shines on the pines in the evening it takes on an extremely warm rich green" 

writes with skill of naturalist if not scientist 

one of the trees in the left group shows a split trunk 

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while he does not describe this feature of the White Pine, there is a reason behind it...

white pine weevil 

splitting trunk in two 

tender shoots of the terminal bud 

insert pics 

tree responds 

see here. 

in the lower panel he did splotches of color 

swab of paint 

sprays of color 

patchwork quilt 

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Beneath the color splotches he wrote "Tints from maples sept 30, 1828"

delicate 

translucent kaleidoscopic 

quality of light this time of year 

watercolor particularly appropriate, to capture these ephemeral ... moments 

properties of 

watercolor techniques here or later? 

link to ARTIC Homer techniques and tools 

complex color tones

free brushwork 

light, thin wash, adding more pigment 

dry brush 

wet on wet paper 

overlaying colors or keeping them separate 

adjacent harmony, colors on the color wheel

sponging, scratching

In the maple beautiful gradations sometimes in one tree is seen red on the extremities of the

below the date he wrote, "The gradation of colour was extremely beautiful

More brilliant that I have represented"

He continues "The maple is one of the most beautiful trees of the American Forest" 

"Its stem rises gracefully with branches leaning obliquely upwards and bending at the ends as beneath the weight of its foliage. The foliage is luxuriant in the extreme." 

"? and in ? projecting masses. Scarcely a stem is to be seen - Its colours are the most brilliant imaginable - in spring a light warm tender transparent green - in Summer darker, in  Autumn yellow, orange, vermillion, crimson, tawny green, rich green, purple, and its higher branches orange or yellow on the lower parts and on the extremities of lower branches Then comes the green in the interior parts - the bark is a delicate gray"


insert here about watercolor t&e? 

During the 19th century watercolor paint sets were available 

watercolor popular as a hobby for the wealthy and well traveled. 

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American Made watercolor paint box by George C. Osborne1830- 1840

Osborne was was one of the few 19th century American makers of artists paint. Many artists of the time believed the especially clear paint colors by Osborne to be equal or better to any made in Europe. The paints for an Osborne paint box were made by Smith & Hodgson which later became the Bullock & Crenshaw's Drug and chemical store, in Philadelphia from 1820 to around the 1840'sLewis Haehnlen took over manufacturing the watercolor paints around the 1850's to possibly 1860's This large box is earlier from 1830's to 1840's

smaller set 

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American Made: George C. Osborne watercolor boxed set Manufactured by George C Osborne in Philadelphia around 1827-30 The lid of this box slides out to reveal a wonderful of 10 different watercolors. The colors won them an award for being as good as the best British made paints of the time; as noted on the label not for sale The re-wettable paint cakes have a embossed Eagle on one side and the name on the color on the back side. Photo below showing the front and the back sides beneath.



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FMI here. 

smaller even, 

traveling set

pencil, quill pen, ink 

no color

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insert example of cole b&w ink wash 

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FMI here. 

while not know of a documented surviving Cole watercolor set, we do know of watercolor sets from 

.... 

John Constable, Turner, 

Winslow Homer

loose, spontaneous

During Cole's life watercolor was used primarily as a study to help later studio oil painting. 

As a .. comparison, we do have Thomas Cole's oil paint box 

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FMI on this paint box follow  here. 

note the oil paints stored in pig bladders at the bottom left. 

FMI on the role of farmers in art, art of farming, see blog here 

taste for the fine arts 

While I have not found any Cole oil paintings to match these sketches, in 1839 after his third and final trip to New Hampshire, Thomas Cole applied his careful observation and analysis of autumn colors and his research into color theory later when he took a sketch he did in summer into a portrait of full autumn foliage. 

applied Autumn colors to a sketch he did in Summer 

FMI see our previous blog here. 

insert cole sketch and notch oil 

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painting NGA 

study the color of fall and pines in cole notch 

FMI on Cole's view of the notch see previous blog here. 

During the later part of the 19th century, watercolor started becoming more acceptable as a finished work of art, 

J.M.W. Turner, 

John Singer Sargent 

Winslow Homer watercolors at MFA Boston from November 2, 2025 to January 19, 2026. FMI follow this link here. 

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Societies devoted to elevating watercolor's status were established to promote its diversity and encourage popularity among professional artists and amateurs.




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The peak period for Fall foliage (and tourists) is usually around Oct 12 or so.

It is also around that time that the weather turns crisp, tart and dry like the taste of Northern Spy apple. I had my first one this year on September 27.  hollow hill orchard in Tamworth 

insert pic northern spy apple 

perhaps my cell phone photo? it seems i did not take pictures there?

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FMI follow this link here. 

and our previous blogs here. 

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According to tradition, that apple was named for its reputation as a "spy" apple because its late bloom helped farmers "detect" frost in their orchards. 

So it is in fact, a bellwether apple tree. 

 

temps, cool, morning and night more frequent fires in the fireplace. 

humidity 

comfortable during the day

on Sept 28 noticed beginning of that phase where the leaves drop like rain, shower down like rain

twisty tornado created by car ahead

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