Historic Wakeman House faces the end

The Wakeman House, one of the oldest houses in Millerton, is believed to be the site of a community meeting in 1851 where the decision was made to call the settlement “Millerton.”
John Coston

The Wakeman House, one of the oldest houses in Millerton, is believed to be the site of a community meeting in 1851 where the decision was made to call the settlement “Millerton.”
MILLERTON — In 1851, Millard Fillmore was president of the United States. Isaac Singer patented a sewing machine under his own name. Des Moines, Iowa, was washed away in the Great Flood of 1851 that went on to hold rainfall records for a century and a half.
And Millerton didn’t yet have a name.
The New York and Harlem Railroad, which launched in 1832, was just reaching northern locales as far as Chatham, New York — and that included Millerton.
According to notes from North East’s long time historian, the late Chet Eisenhuth, a meeting was held in 1851 at the home of Walter Wakeman, a local farmer, shortly after the railroad came to town. The decision to name the new settlement Millerton is believed to have been made at Wakeman’s house.
The name Millerton was a nod to Sidney Miller, one of the contractors and builders of the railroad expansion to the town.
An 1858 map of North East carries a notation “W. Wakeman” in a shaded area known as Millerton.
Wakeman is listed in the 1850 census as a 61-year old farmer.
According to historical family notes written by Walter’s son Orrin, Walter Wakeman came to North East in 1810 “on foot” and worked for the Winchells. He married Almira Winchell, died 50 years later in 1868 and is buried in Irondale Cemetery, according to cemetery records.
What has become known as the Wakeman House is located at 5953 N. Elm Ave., opposite the Four Brothers Pizza Inn on Route 22.
The faded yellow structure has been obscured by an overgrowth of trees and vines, but recently was exposed by clearing work and last week was boarded up.
As if its 19th century signficiance isn’t enough — ranking as one of the oldest houses in town — the house holds another special rank. Since 1964, it has been owned by Amy Olatunji, wife of Michael Babatunde Olatunji, the famous Nigerian-born drummer whose 1960 “Drums of Passion” album is credited with popularizing African music in the West.
The album sold more than five million copies. Olatunji and his wife spent time in Millerton up to the 1970s, and he died in 2003.
What’s next for this historic house? According to Ken McLaughlin, building inspector and code enforcement officer, the process has begun to take the house down. The Village has been working with the owner, but no date is set for that work.
Dutchess County Parcel Access puts a market value on this village home at $159,800. It sits on a 1.7 acre lot and is considered a two-family residence.
Irondale Cemetery lists 10 Wakemans in its records. The razing of the house will mark a milestone closure in Millerton’s history. The very homestead — dilapidated as it is — where the community got its name, no longer will bear witness to day to day life along Route 22.
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In Amenia this fall, three artists came together to experiment with an ancient process — extracting blue pigment from freshly harvested Japanese indigo. What began as a simple offer from a Massachusetts farmer to share her surplus crop became a collaborative exploration of chemistry, ecology and the art of making by hand.
“Collaboration is part of our DNA as people who work with textiles,” said Amenia-based artist Christy Gast as she welcomed me into her vast studio. “The whole history of every part of textile production has to do with cooperation and collaboration,” she continued.
That sense of shared purpose is at the heart of the invitation Gast extended to artists Natalie Baxter and Janis Stemmermann to process a bumper crop of Japanese indigo (Persicaria tinctoria) at her studio this fall. All three artists’ practices intersect through material, process and an interest in the handmade. Gast and Stemmermann have collaborated on a series of hand-knit vests dyed with black walnut, available through Stemmermann’s store, Russell Janis. Baxter is a Wassaic Project residency and fellowship alum, who is leading a community quilting workshop there on Nov. 15. She also co-directs “Cottage Courses” with artist Polly Shindler, a series of hands-on artmaking workshops throughout the region.
“Lisa Dachinger of Hilltop Farm & Fiber Arts north of Pittsfield, Massachusetts had an abundance of indigo this year,” said Gast of her learning about the crop’s availability.In two trips to the farm, Gast harvested the plants and began experimenting with the ancient art and science of extracting pigment from the plants and transforming it into rich, layered blues.

“There are a lot of steps,” Gast noted with a laugh, as vats of aerated indigo bubbled in the corner of the studio. The process is slow and physical, dependent on timing, temperature and a kind of faith in chemistry. The freshly harvested Japanese indigo leaves are first soaked in warm water and left to ferment for several days. The plant matter is then removed, the solution is strained and the pH is raised with the addition of calcium hydroxide, and then the mixture is aerated, poured back and forth between containers until it oxidizes and the pigment turns dark blue. After the indigo settles to the bottom, the resulting paste is filtered, dried and ground into powder. Only then is it ready for dyeing.
But as Stemmermann pointed out, “It’s not a dye. It’s a coating and reaction.” Indigo’s elusive chemistry means each piece is unpredictable, shaped as much by chance as by control. To achieve a deep, saturated blue, “you have to layer it and dip it up to eight times,” she explained.
Each artist uses dye in their work, albeit quite differently, yet all share a deep sensitivity to material and process. “There is a seasonality to textile work,” said Baxter, referring to dye plants.“First, there’s the planting. And then you wait for them to grow, you harvest them, you dye the fabric and then it’s wintertime.” During quilt season when our attention turns inward, the patient, hands-on process becomes a meditation on slowness for Baxter, mirroring the rhythm of the earth and a quiet longing to move with it.

For Gast, working with plant dyes is a way to align artistic practice with ecology and activism. “I’m working on a project that will be showing at Mass MoCA in 2027,” she explained. “It’s a collaborative opera about peatlands for which I’m producing a textile installation that functions as the curtains. I’m using as many natural and regional processes as possible because our work has to do with local-to-global activism and conservation. There is a chemical alchemy in peatlands, which despite covering just 3% of the Earth’s surface, capture more than twice the carbon of all the planet’s forests combined. There’s a direct poetic alignment between plant dye processes and peatlands, which preserved some of the earliest textiles we know of. And the color palette is ancient, both familiar and uncanny.”
There’s a certain chaos in balancing experimentation with intent. For Gast, Baxter, and Stemmermann, this first attempt at pigment extraction has been as much about curiosity as outcome, a communal act of making, rooted in patience, experimentation and discovery.
To find out more about these artists, visit: christygast.com, nataliebaxter.com and janisstemmermann.com