Tapply Lumber

 

Charlie and Bob Tapply outside Tapply Lumber

Over the years, there have been a few pictures posted to the family Facebook group of the Tapply Lumber Building on Culley Street.  By the way, these wonderful pictures are thanks to Buzz and Tina Tapply. I'm thinking they were taken in the forties, just based on clothing, but the tail end of the car in the top photo may place this more into the fifties. Everyone assumes I think, that this is where the story begins. However, Charles Tapply Senior, or Charlie (as I knew him) began in lumber a bit earlier.

Going through the Fitchburg Sentinel, I found an ad for the original Tapply Lumber location.

Tapply Lumber at 245 Lunenburg St.

The location on Lunenburg Street, or Route 2a has a modern building on it. It's located near the crossing of 2a and the John Fitch Highway. With a little more searching I found the notice of the purchase of Culley Street and the fate of the old building.

October 1940-The purchase of Culley Street

This places the establishment of the Tapply Lumber as most of the family knew it in October of 1940. He and his son Robert Nathan or "Bob" took over the established business at that location.  Buzz, Chuck, and Launa all have memories of the inside of that building. Both Buzz and Chuck describe the basement, where the custom cabinetry was built and lumber was stored. The upper floor had offices and 17 semiautomatic lathes. They all describe the elaborate belt and pulley system suspended from the ceiling that ran across the whole shop and powered the machines. Chuck described barrels in the basement the size of a 55-gallon drum. You would put in the wooden turned pieces with scraps of sandpaper and it would tumble them smooth similar to a rock tumbler. Launa has a particular memory of the loading dock which you can see more clearing in the contemporary pictures below.

She said, "The area down on the right was a loading dock, inside on the left of it was a huge ancient scale about waist high. Behind that was bedrock graduating up to the ceiling(main shop floor and about 15-20ft beyond the spectacular elevator run with an ancient amazing big chain and wheels." The back of the building had been built right into the granite ledge!

So what did Tapply lumber produce? Anything turned; handles, spindles, decorative work for houses, cabinets... I found some ads that give you some idea of what came from their shop.

A few of the regular ads that ran in the Sentinel

The ad for the knotty pine confirmed what I had heard; Charlie Tapply built my grandmother's last home on Rogers Avenue. Brainard's bedroom was completely paneled in that knotty pine. When it became a guest room, sleeping surrounded by all that paneling was a real trip.

Buzz said that they also took part in a fifties craze. The tubing for the original Hula Hoop was made in Leominster. Tapply Lumber made the wooden plugs that joined the two ends and made the hoop. Chuck confirmed this and adds that the kids from the fraternities at Fitchburg State came to Tapply Lumber for the "paddles" used in initiations. 

And where did all the lumber come from? Well, Bill Tapply had a lumber operation in Brookline, New Hampshire. All in the family.

Bill and company hauling lumber

It wasn't all smooth sailing, however. There was a large fire in March 1951.

19 March 1951

It was a large enough fire to make the front page of the Sentinel. Here is a bit of their coverage.

“Although officials theorize that a spark from the basement boiler ignited shavings in a nearby waste bin, the cause was still being probed today…”

“The bulk of the loss was in the cellar where lumber was stacked. The office on the street floor of the one-story  brick and wooden plant was untouched as was the shipping room, storage room and the major part of the plant…”

“Flames lurked at the west end of the Mohawk Express Garage also owned by Mr. Tapply”

“Mr Tapply said that his full crew of 25 workers would work as scheduled today, despite the fact that heat destroyed some of the lathe belts. The lumberman also stated that the plant was engaged in ‘some government work’ including turnings for airplane emergency life rafts.”

Launa said the ceiling downstairs was never the same after the fire. Leave it to Charlie and Bob, they were open and running the next day.

Members of the younger generation also have fond memories of visits to the building.

Kevin Tapply said, "I have a few memories of visiting Grampa and Uncle Bob... I was enchanted with this overhead belt system that drove all the machinery. I can still remember the smell of the fresh-cut wood"

And Mark added  "I'll always remember all the sawdust. It's not that much different from my shop where I build cabinets today."

Charlie left the business eventually and Bob bought him out. Bob continued, according to Launa, until his death in 1977.

Here are a couple of more contemporary pictures of the building. In the first, you can see the loading dock. The second is from the opposite side of the building.

 Woodworking has definitely been in the blood of this particular branch of the Tapplyy family. My thanks to Buzz, Tina, Chuck, Launa and Mark for their help gathering information for this post.

Grandma Katie's Quilt

Katie Cooke Fitzgerald

 We've heard the story of Katie's birth in Ireland, her immigrant family, and some tales of their life in Boston and Charlestown. This is a much later story. After I was born in 1952, my mother renegotiated a relationship between my father and his mother and I was frequently taken to see her in her apartment in Charlestown. This is where  I think this picture was taken.

In 1957,  in another picture taken at Thanksgiving or Christmas, we see Katie on a visit to our house in Burlington. This is when I think the quilts might have come into the family. This is not the story of a master quilter, far from it. I was not aware that Katie even sewed. I only know that in the late 1950s two tied quilts came to Lee and me; hers was in pink binding and mine in blue. They were on our beds in our childhood every winter and were much loved. They saw hard service. Lee's eventually fell apart or disappeared. Mine came to me when my mom made her last move. I set it aside up in a closet thinking I would do something with it "someday".

Someday came during a pandemic. I was cleaning out that closet for donations and found the quilt. It was in rough shape: stained, dirty, and falling apart in places. I decided it would make a good project.

It was a higgledy-piggledy arrangement of 2-inch charm squares set in a binding and backing of turquoise and tied, rather than quilted, with pink floss. Some places had orderly square corners and even seams, but sometimes things went off the cliff and small pieces were set in to make up the difference. The old fabrics were quite charming indeed.

There were whole sections of split or missing fabric, terrible stains, and other places where seam allowances dangled by a thread. And it smelled.

The first thing was to take it apart, wash the top, and see what was salvageable. So I began gently cutting the knotted floss, sliding out the ties, ripping the seams along the border, and easing the layers apart as kindly as I could. I put the top in a special quilt washing soap in the bathtub. Then I laid it gently over several lines of the clothesline so as not to stress the fabric. Immediately I began to see brighter color and things didn't seem quite so hopeless.

Now, this is a project that quilt conservators would run from. It's not a historic pattern, made by a master quilter. It's not actually quilted and its condition was poor. They would most likely say, 

"Pick out the best squares, make a pillow for remembrance and move on". But I'm stubborn. This is one of a very few things I have that came from that side of the family. It came from Katie as her gift to me. She may not have even made it; maybe she commissioned it from a friend. Who knows? As I examined it, I saw lots of 40's and 50's fabrics, but I also saw some rougher weave fabrics that may have come from old sugar or flour sacks. I also began to see a method in the madness. She actually used the 2-inch squares to make blocks of 16. Some of these were in pretty good shape. It might still have life as a wall-hanging. The turquoise border and backing were obviously new fabric at the time and in the best shape. So I decided to separate out blocks of 16, add the turquoise as a lattice for strength, and create a wall-hanging.

I began to pick out blocks of 16 and make repairs. Where the seams were shaky, or there were holes or splits, I used a light-weight fusible called Misty Fuse and pieces of muslin on the back. I replaced missing squares from elsewhere in the quilt. It started out with over 1, 000 small squares.

I was able to save about 500;  twenty-five blocks of sixteen and enough left over to create a running border. I didn't fuss too much with making every block the same size or perfectly square.

After I had the blocks assembled I laid them all out and arranged and rearranged until the rows measured more closely the same length and the arrangement was pleasing. Then I began joining the blocks and rows with the turquoise lattice. I tried to make things as even as possible, but I didn't fuss. The center would be an homage to the original, warts and all.

I took a picture of the back to show the extent of the repairs. It's a lot, I know, but I wanted to preserve whatever I could. The border squares were in the worst shape, but I think the border in the finished work is charming.

 I added plain muslin on all four sides to make up the difference in the size of the quilt.

I thought a long time about what should go in the "sandwich" that makes up a quilt. I was cautioned that traditional batting would put stress on the old fabric when I tied the quilt. I decided that a length of flannel would be the best choice. I joined two lengths, added a muslin backing, and basted the whole thing together. Now it was time to tie the quilt. I used the same shade of pink as the original on the old work and a shade that matched the muslin on the new work. This also took a bit of time and patience. It was a good project for pandemic movie-streaming.

Last, I cut a muslin bias-binding and bound all the edges. I added a pocket to the back of the quilt which will contain as much as I know about it and instructions for its care.

My nephew is the only child to come from my generation. He may not want a quilt on his wall. He may not appreciate its charms. But I hope he will put it away along with its story. Someday he may have a daughter, a granddaughter, or a daughter-in-law who will love it as I do. Maybe someday, someone will be curious about Katie and the Irish side of the family. At least if it doesn't hang on a wall, it can live in a chest of family memories. Someone will enjoy Katie's story.

The quilt enjoys a place of pride in my livingroom