NOTES FROM THE FARMS THE JOURNAL OF THE STICKLEY MUSEUM AT CRAFTSMAN FARMS October 15-16, 2016 is The Stickley Weekend From the Director’s Chair e’re making preparations Wfor our biggest event of —Vonda K. Givens the year, The Stickley Weekend on October 15-16. Though this n the privileged position afforded weekend will feature several Iby my job, I have access to infor- programs, including a Saturday mation on just about any aspect of Symposium, a can’t-miss fund- the Arts and Crafts movement. I’m raising event—the 2016 Head, certainly not an authority on the Hand & Heart Gala—and a movement that inspired Gustav Sunday Open House, we will also Stickley’s vision for Craftsman make sure attendees have time for Farms, but through my work, I friends, both old and new, to con- have access to ample reference nect, catch up and enjoy all things materials and books, with answers Stickley and Arts and Crafts. We to just about any question I could hope you’ll be part of it! imagine, at my fingertips. The Stickley Weekend will begin with the Stickley Museum’s Early Newcomb I’ve been fortunate to hear count- the 6th Annual Scholars Symposium Pottery exhibition. less Arts and Crafts lectures over on Saturday, from 9 a.m. to 12:30 p.m. the years, and now and then I’ve This year’s Symposium will take its Featured speaker: Adrienne Spinozzi been known to pester scholars thematic focus from our ongoing exhi- Of her lecture, entitled “The Profes- directly for information (they have bition Early Newcomb Pottery from the sional Woman: Making a Living as a all been helpful and patient!), but Barbara and Henry Fuldner Collection. Pottery Decorator,” Spinozzi writes: even with all of this access, I came Presentations will focus broadly on to understand one of the most topics related to American Art Pottery “Women played an important role in important aspects of the Arts and and will specifically highlight the rich the development of art pottery at the Crafts movement without the aid history of Newcomb pottery. turn of the 20th century. Many potter- of scholars or scholarship. ies employed a large number of women Symposium Spotlight and these trained artists sought work as The movement is many things. It Two distinguished scholars, Adrienne decorators and designers to fulfill their can be described as both an aes- Spinozzi and Ellen Paul Denker, will professional aspirations. This talk will thetic and an ideology. I first came be our featured speakers and special look at a number of art potteries of the to understand it through its relat- guests at the 2016 Symposium. Both period and examine and explore the ed objects—furniture and pottery contributors to the catalogue accom- challenges faced by women pursuing and textiles and metals and prints. panying the exhibition Women, Art, employment in the decorating studio.” It is all of those things, of course, and Social Change: The Newcomb Pot- but equally important, it’s also tery Enterprise, now on view at Princ- For Spinozzi’s essay related to our people. People are a key aspect of eton University Art Museum through current exhibition and a brief bio, see the Arts and Crafts movement, July 9, Spinozzi was also co-curator of pages 4-5. Continued on page 2 Continued on page 2 Summer 2016 Vol. 25, No. 2 Notes From The Farms

Director’s Chair continued from page 1 Stickley Weekend continued from page 1

and I learned that, not from a book and Featured Speaker: Ellen Paul Denker not from a lecture, but from being at the Denker’s presentation, “New Women in the New South: The Founding Stickley Museum at Craftsman Farms. of Newcomb College,” will focus on the establishment of Newcomb College, in 1886, the first women’s coordinate college in the United People—starting with the fascinating States. On her topic, she writes: Gustav Stickley himself—have always been the lifeblood of Craftsman Farms. “The College is also distinguished as being among the first colleges to Gustav Stickley’s vision for the property develop a crafts program as a way to prepare young women for eco- was powerful, and though I believe that nomically viable employment. After the Civil War, women of all ages Craftsman Farms’ vivid design “speaks” sought their own emancipation, challenging old-fashioned attitudes for itself, the property has been preserved about female nature and woman’s place in society…. Women who took today through the passion of people, initiative in changing their lot were identified as ‘New Women’”…. both individuals and a community, who have shared their energy, time, and In the early 1880s, the women of New Orleans did not think of them- resources to ensure that the property will selves as “New Women.”… But a singular event—the World’s Indus- be enjoyed for generations to come. trial and Cotton Centennial Exposition of 1884-85—and the arrival of northern reformer Julia Ward Howe…helped the ladies of New I have been inspired by many beautiful Orleans see their futures differently. Historical forces stimulated New Arts and Crafts objects over the years, Orleans women to reject the comfort of their familiar lives and consid- but I’m equally inspired by Arts and er radical ideas….The founding of Newcomb College became part of Crafts enthusiasts—people who are their plan.” dedicated to developing their skills as artisans; people who spend countless Ellen Paul Denker is a museum consultant and independent scholar based hours doing research; people who devote in western North Carolina. She holds a BA in Cultural Anthropology from their free time to making pilgrimages Grinnell College, Iowa, and a MA from the University of Delaware, to the movement’s landmarks; people where she was a Fellow in the Winterthur Program in American Mate- who share their passion with friends and rial Culture. She has written extensively on American ceramics, the Arts recruit new enthusiasts. and Crafts movement, and American home furnishings. Ellen’s list of publications, as author or co-author, is extensive. Recent titles include The Arts and Crafts movement—both Faces & Flowers: Painting on Lenox China, From Tabletop to TV Tray: during Stickley’s era and the more recent China and Glass in America, 1880-1980 and Byrdcliffe: An American Revival—depends on people. It grows Arts & Crafts Colony. Her article on designers of American parian por- and evolves with people and it expands celain statuary, published in Ceramics in America, received the Robert with people. People are what makes Arts C. Smith Award from the Decorative Arts Society for best decorative and Crafts a movement. arts article of 2002.

So, as I first came to understand it, Arts Make plans now to attend the 2016 Scholars Symposium and stay and Crafts is furniture and pottery and tuned for more details about scheduled speakers and presenta- textiles and metals and prints. It’s all of tions. that, but now I include people in that list too. I’ve been thinking about this idea Saturday, October 15, 9:00 a.m.-12:30 p.m. quite a bit lately, and I try to keep it in Scholars Symposium mind in my daily work. When it comes $25 Member; $30 Non Member to preserving Craftsman Farms for future generations, it’s easy to get caught up in Scholars Symposium + Lunch restoration projects or collections care, $50 Member; $55 Non Member but people are an important part of this work too. The movement is us. Arts and For information or to register, visit StickleyMuseum.org or call us at Crafts is you and me. 973.540.0311.

Page 2 Summer 2016 Notes From The Farms

Celebrate Fall Harvest at Fall Family Day! n an October 1913 article in The Craftsman, Stickley wrote that ICraftsman Farms “stands for the rights of the children to health and happiness through an education that will develop hands as well as heads.” Fall Family Day, our biggest family program of the year, is an afternoon of screen-free, hands-on, family-friendly activities, demon- strations, and fun! Hayrides, pumpkin-painting, old-fashioned games and races, and indoor and outdoor scavenger hunts encourage children to explore the landscape that was once Stickley’s home and farm. Craft activities and handicraft demonstrations joyfully exercise young minds and hands. Mark your calendar now for this fun-filled and memory-making afternoon of family fun at Craftsman Farms.

Fall Family Day Saturday, September 17 Noon to 4:00 p.m. $5 Member Children and $7 Non Member Children; $7 Adults or Free to Adults accompanying children

Girl Scouts Events Calendar iscover the D All events at the Stickley Museum at Craftsman Farms, unless otherwise noted. Women of Newcomb Please visit StickleyMuseum.org for further information or to register. his fall we’re hosting a Special Saturday, July 9 at 11:30 a.m. Saturday, September 24 at 11:30 a.m. TEdition of our popular “Time Special Interest Tour: Early Newcomb Special Interest Tour: Early Newcomb Travel” Workshop for Junior Girl Pottery Exhibition Pottery Exhibition Scouts. “Time Travel: Newcomb Pottery” looks at the lives and work Saturday, July 23 at 11:30 Saturday, October 8 at 11:30 a.m. of the women of the Newcomb Special Interest Tour: Early Newcomb Special Interest Tour: Early Newcomb Pottery enterprise, an educational Pottery Exhibition Pottery Exhibition endeavor that blossomed into an industry driven largely by its wom- Wednesday to Saturday, July 27-30 —THE STICKLEY WEEKEND— en. This workshop completes the Farms Afield: Boston October 15, 9 a.m. – 12:30 p.m. requirements for the “Playing the Scholars Symposium at the Stickley Past” Badge, which sets out to teach Saturday, August 13 at 11:30 a.m. Museum at Craftsman Farms (See young girls of today about how girls Special Interest Tour: Early Newcomb page 1.) of the past lived, worked and played. Pottery Exhibition Symposium Lunch, 1 – 2:30 p.m., The women of Newcomb have location TBD fascinating stories to tell. Scouts will Saturday, August 20 at 11:30 a.m. tour Early Newcomb Pottery from the Special Interest Tour: Early Newcomb October 15, beginning at 6:00 p.m. Barbara and Henry Fuldner Collec- Pottery Exhibition Head, Heart & Hand Gala at the tion and learn about the new cre- Knoll East Country Club, Parsippany, NJ ative opportunities afforded young Saturday, September 10 at 11:30 a.m. women during the era of the Arts Special Interest Tour: Early Newcomb October 16, 11 a.m. – 12 p.m. and Crafts movement. They’ll learn Pottery Exhibition Members Only Sale in the Museum Shop how to cross-stitch and make their own unique piece of pottery—a Saturday, September 17, 12 – 4 p.m. October 16, 12 – 4 p.m. pinch pot—and play the part of a Fall Family Day (See above.) Early Newcomb Pottery Exhibition Newcomb designer at the turn of FREE Open House the 20th century. Summer 2016 Page 3 Notes From The Farms Marie de Hoa LeBlanc and Early Designs

part i creative interpretations of nature. Of all the pottery on view in this mong the two dozen examples focused exhibition, the Fuldner Aof Newcomb Pottery in the Collection presents more exam- exhibition Early Newcomb Pottery ples by LeBlanc than any other from the Barbara and Henry Fuldner decorator at Newcomb Pottery. Collection, currently on view at the Stickley Museum at Craftsman Farms Born on November 23, 1874, in (May 7–November 6, 2016), the work New Orleans, Louisiana, to a fam- of decorator, artist, and educator, ily of noted Creole descent, Marie Marie de Hoa LeBlanc (1874–1954) was one of the five children of deserves special attention. Marie de Charles Emile LeBlanc and Eliz- Hoa LeBlanc was one of the most abeth Eulalie de Hoa. Marie was Figure 2. accomplished and prolific decorators very close to her older sister, Emilie, during the early period of production and both girls exhibited early talent in at Newcomb Pottery. Along with her art. Marie was first listed as a student The earliest known works by Marie older sister Emilie de Hoa LeBlanc at the H. Sophie Newcomb College are dated 1897, and, as evident in this (1870–1941), Marie’s work stands during the 1891-92 school year, hav- vase, reveal the artist’s proficiency out for its beautiful execution and ing entered Newcomb at the age of 16. for painting ceramics at a young age She and Emilie were involved with the (Fig. 1). The decoration consists of pottery from its beginning, and their polychrome underglaze painting— work was included in Newcomb’s first here a design of the Spanish dagger public exhibition of china painting plant in the round—under a clear and decorated pottery in June 1896. glaze. This vase is representative of By March 1897, their work attracted one of the earliest styles of decorat- attention: ing practiced at Newcomb, whereby the plant and foliage are depicted in An exhibit that, though small, is their entirety, rendered flat and often of great importance in art cir- stylized, the design delineated by cles—is the collection of pottery strong, dark outlines. from the Newcomb College. Though of barely a year’s growth, LeBlanc graduated from the school’s specimens of this ware are Normal Art Program in 1898, and gradually attracting attention, the following year was listed as a and during the carnival visitors Graduate Art Student, a requirement from other large cities, New York, for anyone interested in pursuing Philadelphia, Chicago, Washing- work as a craftswoman at Newcomb ton and Cincinnati were among Pottery. By the middle of the 1890s, the admiring purchasers….The the curriculum in the Art Depart- vases and placques [sic] at the ment at Newcomb College included Artists’ Association are the ar- lessons in historical styles and con- tistic work of Misses Katherine ventionalized design and she un- Kopman, Selina Bres, [Marie doubtedly received such instruction. Medora] Ross, E. M. H. Le Blanc, The students would have been famil- Marie Le Blanc, A. Roman and iar with the various published man- Figure 1. Mary Sheerer.1 uals offering such designs, including Page 4 Summer 2016 Notes From The Farms for Newcomb Pottery — Adrienne Spinozzi

Owen Jones’s Grammar of Ornament, and Gertrude Roberts Smith, were ——————— Auguste Racinet’s Polychromatic Or- exploring these flat, convention- 1“The Art Exhibit,” The Daily Pica- nament, A. E. Lilley and W. Midgley’s alized interpretations of natural yune—New Orleans (March 31, 1897). A Book of Studies in Plant Form and motifs, resulting in highly abstract, Design, and Lewis F. Day’s Nature in barely-recognizable designs. This Ornament. Although LeBlanc is not period stands out in the pottery’s formally listed as a Pottery Design- oeuvre, and the works bearing these About the Author: er until the 1901-02 academic year, cross-section designs are among Adrienne Spinozzi is a Research examples of the artist’s work from the most sophisticated and original Associate in the American Wing the period between 1897 and 1901 wares made at Newcomb Pottery. of The Metropolitan Museum of show a growing sophistication and Art. Her current projects include understanding of contemporary Stayed tuned for Part II, to be pub- research for a publication on the design principles (Fig. 2). This won- lished in the Fall Newsletter, where Robert A. Ellison Jr. Collection derful example is decorated with flat, LeBlanc’s tenure at Newcomb Pottery of American Art Pottery. She is stylized cross-sections of a plant in and her later career will be explored. a graduate of Hartwick College shades of blue, the signature hue of and the Bard Graduate Center. the pottery. Interestingly, the under- Figures: side of the vase bears the initials of Fig. 1: Vase with both sisters: EHL is impressed while Spanish dagger, MHL is painted in blue. While it’s 1897. Newcomb not possible to know which sister Pottery, decorated was responsible for the execution of by Marie de Hoa the design, dual-authorship is not LeBlanc, H. 7 ¾ unique to this object (i.e., a 1902 vase in., Collection of in the collection of the MFA Boston the Newcomb Art also bears the initials of both sisters, Gallery. 1980.226). These examples suggest a very close working relationship; Fig. 2: Vase with however, because Marie’s initials are plant cross-sec- painted in blue, it’s plausible that she tions, ca. 1900. decorated the vase. Newcomb Pottery, decorated by Ma- This object, with its inventive design rie de Hoa LeB- of a plant cross-section, belongs to a lanc and Emilie de distinct group of objects decorated Hoa LeBlanc, H. in this mode made at Newcomb just 3 7/8 in. Fuldner before and after the turn of the 20th Collection. century. Another vase by LeBlanc which bears similar treatment is one Fig. 3: Vase with with an exaggerated perspective of fig leaves, 1902. three overlapping fig leaves (Fig. Newcomb Pot- 3). Although it was short-lived, this tery, decorated was a particularly rich moment in by Maria de Hoa the pottery’s approach to design. A LeBlanc, H. 11 number of early decorators, includ- ¼ in. Fuldner ing Roberta Kennon, Ada Lonnegan, Collection. Figure 3. Summer 2016 Page 5 Notes From The Farms Recent Memberships March 1, 2016 to May 19, 2016 We extend a warm thank you to the following members who joined or renewed their membership during the past few months. Sponsor Dual / Family Individual Catherine J. Mathis and Lori J. Ashley and Gary Miller Thomas Bove Robert C. Burchell William D. Barnett and Michael Fister Bernard Simbari Penny Grant-Cohorsky Cynthia and Timothy McGinn Katieanne M. Harrison Suzanne R. Jones Laurie and Michael Byro Susann and James Cadmus Nancy Howley John and Mary Ledyard Donna Jean and Roger Christy Jane W. Katzenberger Laura and Richard Reilly John F. Ciaffone and Joseph Caravella Olga Kravitz Emily Linde Jacqueline Strigl Cynthia Coritz Barbara A. Weiskittel Tom McGreevy Erin Boyle Frase and David L. Frase Anthony Ruffie Janet and Tom Justesen Paul Saporito Patron Karen A. and Gregg C. Kurlander Patricia Vendt Alexandria C. Arnold and Rick Mason John Walcher John R. Haigh Michelle and Norman Menz Susan Wenderoth Jan and Terry Bender Arlene and John Murdoch Susan and Frank Finkenberg Vincent and Jennifer Nocito Students and Seniors Denise and Timothy O’Rourke Sheila and Richard Gottardi Debby Bachand Jan and Robert Price Gwen Cukierski Joseph Jannarone, Jr. Cynthia and Steve Prine Marie Della Pella Martha and Gerald Weinstein Collette Tabeek and Brian Ratkevich Dawn Domans JoAnn and Paul Young Deane A. Keller Toni and Steven Rauschkolb Margaret Kelly Richard Rockwell and Rodolfo Cao Don Knott Friend The Rose Family Bonnie C. Kryszak Dawn Hopkins and Michael Adams Peter Steensma Margaret Lena Gail Stock and Arlene Burkowski Stephen Lowe Julie and Tim Bensley Sally Mikkelsen Vonda and Allen Breed Jean Stufflebeem Jory E. Miller Susan Szczarba and Gary Szczarba Mark W. Davis Ginny Pinkham Jeanne Tanis-Cucci and Robert Cucci Kristine Steensma Anastasia and Frank Glapa Patricia Thornton Medora Van Denburgh Kevin and Lisa Kobus Susie and Andres Traverso Velma Williams-Gates Ann and Seth Leeb Ken Weikal Wendy E. Livingston Wanece N. and Conrad Witte Kathy and John Marinovich Elizabeth Garcia and James Wyse John McCullam Lisa and Stephen Santini

In Memory: Gifts In Kind: Special We are grateful for a gift in memory of: We are grateful for recent gifts from: Patricia Perlett Tecla Pinto; from Susie and Andres Traverso. Thanks Sharon Woodard.

Page 6 Summer 2016 Notes From The Farms

The Power of One Gift inda Sherman Johnston and her husband Ralph were the second Lowners of a Stickley home (built in 1907) in Massachusetts. They furnished their home with Stickley furniture, built a collection of Grueby pottery and embraced the Arts and Crafts philosophy and aesthetic.

But Linda took one important step further in embracing the Arts and Crafts movement. She named the Stickley Museum at Craftsman Farms as a beneficiary of her annuity and upon her recent passing, the Museum received a generous gift. Her bequest will have a major impact as we plan for and secure the future of the Museum. Her thoughtfulness and generosity will resonate for many years to come, and she and her family have our deepest gratitude.

You too can create a legacy for generations to come at the Stickley Museum at Craftsman Farms by joining our Visionary Circle and/ or including the Stickley Museum at Craftsman Farms in your estate plans. To start a conversation about planned giving, contact Executive Director Vonda K. Givens at 973-540-0311.

Thank you, Linda Sherman Johnston, for demonstrating your passion and commitment to the Arts and Crafts movement and the power of one gift.

What do NARM Members have that you don’t have? Reciprocal Privileges! ARM—the North American Reciprocal Museum Association Pro- Ngram—has gained in popularity due to the value it provides for anyone who enjoys visiting museums. As a participating NARM member, you receive free admission, member discounts and discounts on concerts and lectures at other museums. With over 800 participating institutions across the country, these benefits provide additional value to your Stickley Museum membership. Stickley Museum members at the Friend ($150.00) level and above are eligible for NARM benefits.

If you would like to UPGRADE your membership to receive these benefits, please call us at 973-540- 0311. Upgrade to the Friend level or above, and we’ll send you a Chico bag (at left) to use on your visits to other museums around the country this summer.

Summer 2016 Page 7 Visiting Craftsman Farms Museum Tour Schedule The Stickley HOURS: Craftsman Farms is located at Thursday through Sunday, year-round Museum at 2352 Route 10 West Tours depart hourly 12:15 to 3:15 p.m. Morris Plains, New Jersey 07950 Craftsman Group Tours available by reservation. Farms is committed to The entrance is located on Route 10 Call 973.540.0311 West at Manor Lane, about 3 miles assuring that all individuals west of I-287 in Parsippany-Troy Hills, Museum Shop Hours can participate in our New Jersey (mailing address is Morris Thursday through Sunday Noon to 4 p.m. programs. If you require the Plains). Driving directions are available use of assistive listening at StickleyMuseum.org. Contact Us Voice: 973.540.0311 devices or other special Free to members and children under 2 Fax: 973.540.1167 Adults: $10; Seniors & Students $7 assistance please call at least Email: [email protected] two weeks in advance. Closed on Major Holidays. Web: StickleyMuseum.org Craftsman Farms, the former home of noted designer Gustav Stickley, is owned by the Township of Parsippany-Troy Hills and is operated by The Stickley Museum at Craftsman Farms, Inc., (“SMCF”) (formerly known as The Craftsman Farms Foundation, Inc.). SMCF is a 501(c)(3) not-for-profit organization incorporated in the State of New Jersey. Restoration of the National Historic Landmark, Craftsman Farms, is made possible, in part, by a Save America’s Treasures Grant administered by the National Parks Service, Department of the Interior, and by support from Morris County Preservation Trust, The New Jersey Historic Trust, and individual members. SMCF received an operating grant from the New Jersey Historical Commission. SMCF gratefully acknowledges a grant from the New Jersey Cultural Trust. Educational programs are funded, in part, by grants from the Arts & Crafts Research Fund.

The Stickley Weekend, October 15-16 October Weekend, Stickley The

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