FRIENDS OF Spring 2004

Board of Trustees Friends of Florham Winterthur and Florham — A History Together Carol Bere Many of us are perhaps familiar with the name the property including cattle, poultry, sheep, pigs Linda Carrington Winterthur as the Museum of American Decor- and greenhouses. Florham served as the spring Phyllis Conway ative Arts. Winterthur has a long history with the and fall residence of Florence and Hamilton Emma Joy Dana du Pont family as well as social ties to the Twombly. It was where Hamilton Twombly Shannie Doremus Twombly family and Florham. raised a world-famous Dawn Dupak herd of Guernsey dairy Elaine Earlywine The Twombly and du Pont fam- cattle. Gary Jaworski ilies were friendly. Florence Barbara Keefauver Twombly visited Winterthur Linda Meister on four separate occasions and Style and Changes Henry F. and his wife, the for - Suzy Moran Florham was designed mer Ruth Wales, are shown in Audrey Parker in a Georgian Revival the gardens at Florham during Walter Savage style by renowned archi- one of their visits (see photo). Richard Simon tects McKim, Mead The 1920s brought a more and White. It has not Honorary Trustees casual feel and appearance to changed over the years. Winterthur. It is interesting to Susan Adams Winterthur has under - note that while Ruth du Pont Kim Dougherty gone many changes of thought that Florham was love- style in both the house ly she found it “too studied.” Advisory Trustees and the gardens. As John H. Fritz Located in the beautiful tastes and fashions Frances Mantone Brandywine Valley in Dela- changed, so did Win - Stacy Rooke ware, Winterthur was estab - terthur. The present lished in 1837 by Jacques look of the main house University Liaisons Antoine Bidemann, who origi - at Winterthur is an over - J. Michael Adams Henry F. and Ruth Wales du Pont are shown in nally arrived in Delaware in the gardens at Florham during one of their visits. scaled Georgian Revival Ted Ambrosiano 1813. He came from Europe style of architecture Gretchen Johnson to assess his family’s invest - Photo: Courtesy, The Winterthur Library: Winterthur Archives based on American Susan McConville ments in a gunpowder factory examples from ap- Marilyn Rye originally known as E.I. du Pont de Nemours & proximately 1929. Florham was inspired by the Co. Bidermann remained in Delaware, became a Christopher Wren wing at Hampton Court in partner in the company and, in 1816, married England and is one of our finest examples of Evelina Gabrielle du Pont, second daughter of America’s homes. Winterthur em- founder Eluthere Irenee du Pont. The name bodies the ideal of a Jazz Age American country “Winterthur” was given to the property in honor house, and changes continued to be made through- of Bidermann’s ancestral hometown in Switzer - out the 20th century. land. Florham was at its height during the Gilded Age While there are similarities between Florham and and entertaining was an important part of life at Winterthur, it is interesting to note some of the the estate. A staff of 125 was employed by the differences between the two estates. The first Twomblys. Guests were greeted by footmen, notable difference is time — Winterthur was coachmen and chauffers attired in maroon livery, established in 1837 and Florham in 1897. which was the signature color of the . A domestic staff was in place to ensure Winterthur was originally a 2,400-acre working farm with approximately 20 individual farms on continued on page 5 President’s Letter Hooray! Spring is almost here! After a cold and The committee is working hard for our forthcom - snowy winter, hopefully we will be able to move ing Gala on May 22. Many of us look forward to forward with some of our pending projects. Al- this, our principal fund-raising event. though the campus looked very beautiful in the Finally, we’re thrilled that once again our good snow, we were unable to complete our three friend, Sam White, returned to talk to us about small stone walls designating the “Frederick Law the Venetian influence on the architecture of the Olmsted Cutleaf Maple Garden.” The walls are many buildings in and through- across from the new residence hall, Rutherford out the country that were designed by his great Hall, and before the library entrance on the East grandfather, , and his firm, Entrance road to the campus (from Danforth McKim, Mead and White. Sam is a fascinating Road). It is our particular aim to protect this speaker, as many of you have undoubtedly dis - remaining Olmsted area, as it is spectacularly covered. His wife, Elizabeth, who co-authored beautiful in the autumn. There is an explanatory the recently published book, McKim, Mead & plaque on the recently completed center wall. White: The Masterworks, accompanied him, and Another of our projects is to replace the white- they happily signed copies of this beautiful book and-red bars at the crossroads blocking the which were available. So we’re glad that many entrance to the Mansion Drive. We’re looking of you were able to join us on Sunday afternoon, for something more appropriate for the Olmsted March 21, and could be with us to enjoy his talk and our reception afterward. grounds and the McKim, Mead and White build - ings. We also have other projects in the planning Won’t you become a member of the Friends of stage, which we will report on at a later date. Florham at this time and participate with us in our restoration and preservation projects? Just fill The upstairs hall in the Mansion was repainted out the form on the last page of this newsletter in a lighter and brighter color, and there is com - and send it in. We’ll welcome your joining us in fortable seating and lighting, making it a more these very gratifying accomplishments. inviting place for the students to study or wait between classes. Emma Joy Dana

Washington Portrait Restored

This past year, a handsome, came quite sympathetic to the cause of the Ameri - large portrait of Gen. George can Revolution and came from England to live in Washington was restored by America in 1784. He took up residence in Phila- the Friends of Florham. It was delphia, where he opened an art museum (the first the property of Fairleigh Dick - in the new nation). During his four years there (he inson University for many died in 1788), he painted 90 works of art. years, but due to its poor con - dition was kept in storage. Pine visited Washington at Mt. Vernon in April Now, after restoration, it is and May of 1785. He had obtained various letters hanging in the Great Hall of of introduction to Washington — in England, the Mansion. from George William Fairfax, a close friend and former neighbor of the Washingtons in Virginia, The oil painting (approximate - and from various noted Philadelphians such as ly 50 inches by 40 inches) has Morris, Dickenson, Hopkinson, etc. He painted an old hand-written paper label the general, as well as portraits of the four Custis on the rear of the antique gold children, during his 22 days at Mt. Vernon. Wash - frame stating: ington sat again for Pine the next year, 1786, in “From a drawing . . . from sit - Philadelphia. There were four portraits of Wash - Gen. George Washing - ting . . . by the painter Robert Edge Pine . . . ed ington listed in the inventory of Pine’s estate. ton’s portrait hangs in to Laurence Newell-by Daniel Bowen, .” the Great Hall, the Based on the old label referencing Pine, we de- Mansion. Robert Edge Pine, (c. 1720–1788), an English cided to research the provenance of the painting. artist who painted portraits and historical scenes, We sent a digital photograph to the National was, in his time, favorably compared with the Portrait Gallery in Washington, D.C., which had outstanding artist Sir Joshua Reynolds. Pine be- published an extensive study of Robert Edge 2 continued on page 4 McKim, Mead & White Revisited Lest we take our architectural heritage for grant - such as the World’s Col- ed, McKim, Mead & White: The Masterworks, umbian Exposition in written by Samuel G. White, architect and great- Chicago, several commis - grandson of Stanford White, and Elizabeth White, sions for work at Colum - writer and editor, reminds us of the importance bia University and the and enduring influence of the firm’s public build - Boston Symphony Hall ings on our urban landscape. From about l879 to and concluding with the 1914, McKim, Mead & White, the leading archi - American Academy in tectural firm in the United States at the time, (1911–14), “the completed approximately 1,000 commissions firm’s most enduring including representative major works such as legacy.” the , the Pierpont Morgan The firm’s early work Library, , the Rhode reflected influences of Island State House, expansion of the Metropoli - the Arts and Crafts and tan Museum of Art, stately residences such as Beaux-Arts movements, Florham, and, in the early stages, large, wood while the mature work shingle-style houses. represented a shift toward McKim, Mead & White capitalized on major more classical architec - shifts in the economy in the latter part of the 19th ture or classical prece - century — the growth of industry, the creation of dents, particularly ancient substantial wealth in industry and the financial Rome and the Italian Re- sectors and a related rise in social and cultural naissance. Critics general - ambitions. The Masterworks focuses on the non - ly agree that the achievements of McKim, Mead residential works of the firm and is an effective & White were the direct result of the fruitful col - complement to Samuel White’s earlier book, The laboration of McKim, William Houses of McKim, Mead & White (l998). Orga - Rutherford Mead and Stanford White, three part - nized chronologically, this elegant study includes ners with different personalities, talents and artis - comprehensive discussions of the 24 “master - tic temperaments. Additional collaborations with works,” accompanied by beautifully detailed well-known artists and landscape designers such photographs by Jonathan Wallen, beginning with as the sculptor, Augustus Saint-Gaudens, John La early commissions such as the Farge and John Singer Sargent, among others, in Rhode Island (l879-80), later commissions were a significant aspect of the firm’s strategy. Yet according to the Whites, there were specific constants that characterized the firm’s architec - ture: “urbanism, artistic collaboration, empathy and an equal commitment to the traditions of classicism and the opportunities of modern life.” The Masterworks essentially demonstrates how these values were applied or worked out in the buildings selected for inclusion in the book. “Empathy,” a particularly interesting expression or quality of the work of McKim, Mead & White, is defined by the Whites as “a metaphori - cal voice that enabled those structures to engage in conversations with their surroundings and their observers.” This essentially translates into the quality that makes “the Boston Library public,” suggests particular bonds uniting club members (exemplified in discussions of the Harvard, Met - ropolitan and University clubs) and “proclaims the spirit of a church congregation,” persuasively demonstrated in the meticulous photography and text accompanying consideration of St. Paul’s Episcopal Church in Stockbridge, Mass. (1891–1994), The firm’s commissions extended well beyond 1 East 60th Street, New York City. the design of signature libraries, office buildings, continued on page 4 3 McKim, Mead & White Revisited , continued from page 3 The (1889–1991), 7 West universities and clubs. One of the firm’s more by W. Louis Sontag) was demolished in l925. A 43rd Street, New York significant commissions was the design of 16 more recent loss was Charles McKim’s Pennsyl - City. gates and memorials at vania Station, also in New York, in l963. between 1888–1906. Other Reputations of architects often wax and wane. public monuments included Within 20 years after the partners’ deaths, McKim, the Washington Memorial Mead & White was regarded with some “dis - Arch at the beginning of Fifth dain,” and by the conclusion of World War II, Avenue in Greenwich Village, their reputation was somewhat nonexistent. designed by Stanford White Ironically, it was the demolition of Pennsylvania (1889– 1995), and the well- Station, the Whites note, that galvanized the known Civil War monument, preservation movement, and promoted critical the Robert Gould Shaw reappraisal of McKim, Mead & White’s mature memorial in the Boston Com - designs. Criticism of the eccentricities of the mon (l891–98). But design firm’s early work, the sharp versatility of their and implementation did not designs, considered a “liability,” seems to have necessarily guarantee perma - dissipated. In fact, if there is a subtext to the nence, and some McKim, Whites’ engaging study, it is to ensure that Mead & White buildings have McKim, Mead & White’s current well-regarded not survived. The original position in American architectural history is Madison Square Garden, maintained. designed by Stanford White, Carol Bere one of the more well-known build ings in New York City, Samuel G. White and Elizabeth White, McKim, Mead & White: The Masterworks, Rizzoli: New York, 2003. with its defining cream and Photographs by Jonathan Wallen. The Friends of Florham masonry walls (depicted in a thank Sam White, a partner in the New York-based archi - marvelous full-page watercolor tectural firm of Platt Byard Dovell White.

Washington Portrait, continued from page 2 Pine’s art works in 1979. They circulated the another artist had finished an oil painting much picture among their gallery staff members and later. reported back that they did not believe the artist Our restorer recommended that we not remove was Pine. the existing outer layer of the Washington portrait Because the old label referred to a “Daniel but suggested we have the painting inspected via Bowen - Boston,” who turned out to be the per - X-ray or infrared analysis to confirm what was son who bought Pine’s collection of paintings on the lowest layer. This we did, by taking the from his widow in 1792 and then opened a muse - work to the Williamstown Art Conservation Cen - um in Boston, we decided to pursue the paint - ter in Massachusetts. Unfortunately, they could ing’s provenance in Massachusetts. Bowen had not detect anything significant in the underlayer. advertised 100 works by Pine for sale at his We thus directed our restorer, Ota, to complete Boston museum in 1795. We requested the Mass - the restoration and have ended up with a hand - achusetts Historical Society to research the “Lau - some portrait of Washington, but with the artist rence Newell” referenced with “Daniel Bowen” unknown. With respect to any level of attribu- on the label, thinking that the former might have tion to Robert Edge Pine, our various experts acquired the painting from the latter. Unfortu - feel there should be none. Some of us still think nately, no information on Newell turned up. it is possible, however, that the oil painting was We then proceeded with the restoration of the done by a competent artist who painted over a painting, engaging Minako Ota, a highly quali - sketch made by, or copied from, Pine. We find fied restorer located in Princeton, N.J. During the it hard to completely dismiss the implications of restoration, there were eight layers of paint and that antique label. varnish detected. (It was noted that the work had Richard C. Simon been previously restored.) Ota also detected that there was an extremely thin layer of either paint Pine Background Source: Robert Edge Pine: A British or drawing on top of the original canvas. She Portrait Painter in America, 1784–1788, by Robert G. Stewart, curator of painting and sculptor, National Portrait suspected that this quite inaccessible layer, based Gallery, the Smithsonian Institution Press: City of Wash - on the vague text of the label, could have been a ington, 1979. 4 layer of a drawing by the artist Pine on which Winterthur and Florham, continued from page 1 the smooth daily running of the household and a evoked at Florham with its pastoral views from most pleasant stay for guests for whom nothing the back of the mansion stretching out over the was thought too expensive or extravagant. 900-acre dairy farm. Winterthur, by contrast is very hilly. It is more rustic, naturalistic and less formal. Winterthur The Twomblys does have a terraced formal garden in the back of maintained an imperial the house, but it does not have the sweeping vis - tas of Florham. Henry F. du Pont’s vision of the lifestyle at Florham. gardens at Winterthur was akin to walking on a journey — not everything should be revealed at once. However, while different, both the land and The Twomblys maintained an imperial lifestyle at farm views at Florham and Winterthur are very Florham. Typically, the mansion would be filled important to both. with massive amounts of fresh flowers supplied Each successive generation of the du Pont family by the estate’s own orangerie and supplemented added to the gardens at Winterthur. The gardens by outside sources. Formal dinners with the din - began as a formal rose garden and greenhouses ing table dazzling with the very finest china, which were tended by hired Scottish gardeners. silver, crystal, massive candelabra and profuse By 1902, architectural terraced gardens were floral decorations were de rigueur for this era. added as well as ponds, fountains, roses, herba - Gilded monogram cards were carefully placed ceous borders and a sunken garden for a more at each setting before the guests arrived and the Gilded Age look. Around 1927, Winterthur’s gar - sideboards and buffets were likewise adorned in dens were again expanded and enhancements highly polished silver. Champagne, claret and the were made to the woodland landscape. A conifer finest wines complemented the chef’s culinary garden was added and the landscape took on a creations. The courses ascended upward from the more rustic feel. Today the focus of Winterthur’s kitchen on the dumbwaiter to the dining room in gardens is the woodland garden. an orderly progression throughout the evening. Dinner was followed by coffee and cordials. More Recently It is interesting to note that the hard times of the Depression were not entirely lost upon Mrs. Henry F. du Pont opened Winterthur as a muse - Twombly. She elected to give up serving cham - um in 1951. He moved from the main house to a pagne and pâté de foie gras during these years, regency-style villa he built just a few hun dred not because the Twomblys themselves were par - yards away. He continued to divide his time ticularly hard up but rather thinking it would set between Winterthur and his other homes until a good example for the younger people. She in- his death in 1969. He was survived by his stead served beer or claret to her guests. daugh ters, Pauline Louise du Pont and Ruth Ellen du Pont. At Winterthur, over the years a nine-story wing was added to the main house to display H.F. du Pont’s immense collection of furnishings made or Each successive generation used in America prior to 1860. The house now of the du Pont family consists of 175 period rooms of American deco - rative arts and furniture. Successive generations added to the gardens. of the du Pont family resided at Winterthur. In 1926, Henry F. du Pont became the fifth owner of the estate following the death of his father, While Winterthur gradually moved with society’s Col. Henry Algernon du Pont. leanings in the 1920s toward a more relaxed and casual style and lifestyle, Florham did not Gardens and Landscape embrace such changes. Florence Twombly firmly maintained her ties to the Gilded Age and con- Another notable difference between the two tinued to live on in a grand and imperial style. estates is landscape. At its original 1,200 acres, She retained her title as the uncrowned dowager Florham was half the size of Winterthur. Of that, queen of American society until her death at age 150 acres were specifically designed as a park by 99 in 1952. with formal lawns, ter - Present-day Winterthur consists of approximately races and gardens. The 100-room mansion was 1,000 acres, and the gardens are seasonal. Fortu - carefully sited to overlook this park and the near - by valley. The ideal of the “gentleman farmer” is continued on page 6 5 FRIENDS OF FLORHAM The Library 285 Madison, New Jersey 07940

Become a Friend Winterthur and Florham, continued from page 5 nately, the furnishings at Winterthur are intact and can be Join the Friends of Florham. Participate directly in our enjoyed by visitors to the museum and gardens. The contents efforts to preserve the architectural history of Florham, of Florham were sold by the Twombly’s last surviving daugh - and support our informative program series. Your support will make a difference. ter at a public auction in 1955. Ironically, H.F. du Pont noted in correspondence to a Mr. Wm. Perry dated January 1955 regarding the Twombly sale that furnishings “from the Name ______Twombly’s house would be of the best quality.” The build - ings were left empty, and the grounds became overgrown. In Address ______1957 the Esso Research and Engineering Company purchased 650 acres of what had been the Twombly farm. In 1958, Fair - City ______leigh Dickinson University purchased 187 acres of the State ______Zip ______estate, including the mansion and other buildings for what is the present-day College at Florham. Telephone ______Today, both of these grand Please check desired category: country estates serve us in Your gift is tax-deductible completely different capacities. K $25 — Friend K $50 — Special Friend K K $100 — Contributor $200 — Supporter Today, both of these grand country estates serve us in com - K K $500 — Patron $1,000 — Sponsor pletely different capacities. Winterthur as a museum, with its Please mail your check to: splendid gardens and nationally-acclaimed research library. Friends of Florham, The Library Florham lives on as a thriving university moving briskly Fairleigh Dickinson University along into the new millennium. As such, much of what has College at Florham been or could be done at each property is directly influenced 285 Madison Avenue by what is practical for use in real life and its present form. Madison, N.J. 07940 Elaine Earlywine