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RETROSPECTIVE BOOK REVIEWS by Esley Hamilton, NAOP Board Trustee
Field Notes - Spring 2016 Issue RETROSPECTIVE BOOK REVIEWS By Esley Hamilton, NAOP Board Trustee We have been reviewing new books about the Olmsteds and the art of landscape architecture for so long that the book section of our website is beginning to resemble a bibliography. To make this resource more useful for researchers and interested readers, we’re beginning a series of articles about older publications that remain useful and enjoyable. We hope to focus on the landmarks of the Olmsted literature that appeared before the creation of our website as well as shorter writings that were not intended to be scholarly works or best sellers but that add to our understanding of Olmsted projects and themes. THE OLMSTEDS AND THE VANDERBILTS The Vanderbilts and the Gilded Age: Architectural Aspirations 1879-1901. by John Foreman and Robbe Pierce Stimson, Introduction by Louis Auchincloss. New York: St. Martin’s Press, 1991, 341 pages. At his death, William Henry Vanderbilt (1821-1885) was the richest man in America. In the last eight years of his life, he had more than doubled the fortune he had inherited from his father, Commodore Cornelius Vanderbilt (1794-1877), who had created an empire from shipping and then done the same thing with the New York Central Railroad. William Henry left the bulk of his estate to his two eldest sons, but each of his two other sons and four daughters received five million dollars in cash and another five million in trust. This money supported a Vanderbilt building boom that remains unrivaled, including palaces along Fifth Avenue in New York, aristocratic complexes in the surrounding countryside, and palatial “cottages” at the fashionable country resorts. -
A Mechanism of American Museum-Building Philanthropy
A MECHANISM OF AMERICAN MUSEUM-BUILDING PHILANTHROPY, 1925-1970 Brittany L. Miller Submitted to the faculty of the University Graduate School in partial fulfillment of the requirements for the degree Master of Arts in the Departments of History and Philanthropic Studies, Indiana University August 2010 Accepted by the Faculty of Indiana University, in partial fulfillment of the requirements for the degree of Master of Arts. ____________________________________ Elizabeth Brand Monroe, Ph.D., J.D., Chair ____________________________________ Dwight F. Burlingame, Ph.D. Master’s Thesis Committee ____________________________________ Philip V. Scarpino, Ph.D. ii ACKNOWLEDGEMENTS In the same way that the philanthropists discussed in my paper depended upon a community of experienced agents to help them create their museums, I would not have been able to produce this work without the assistance of many individuals and institutions. First, I would like to express my thanks to my thesis committee: Dr. Elizabeth Monroe (chair), Dr. Dwight Burlingame, and Dr. Philip Scarpino. After writing and editing for months, I no longer have the necessary words to describe my appreciation for their support and flexibility, which has been vital to the success of this project. To Historic Deerfield, Inc. of Deerfield, Massachusetts, and its Summer Fellowship Program in Early American History and Material Culture, under the direction of Joshua Lane. My Summer Fellowship during 2007 encapsulated many of my early encounters with the institutional histories and sources necessary to produce this thesis. I am grateful to the staff of Historic Deerfield and the thirty other museums included during the fellowship trips for their willingness to discuss their institutional histories and philanthropic challenges. -
Carlquist Lloyd Hyde Thesis 2010.Pdf
1 Introduction As the Colonial Revival reached its zenith in the 1920s, collecting American antiques evolved from nineteenth-century relic hunting into an emerging field with its own scholarship, trade practices, and social circles. The term “Americana” came to refer to fine and decorative arts created or consumed in early America. A new type of Americana connoisseurs collected such objects to furnish idealized versions of America’s past in museums and private homes. One such Americana connoisseur was Maxim Karolik, a Russian-born tenor who donated to the Museum of Fine Arts, Boston one of the most celebrated collections of American paintings, prints, and decorative arts. A report about the collection’s 1941 museum opening described how “connoisseurs looked approvingly” at the silver, “clucked with admiration” over the Gilbert Stuart portraits, and turned “green-eyed at the six-shell Newport desk-and-bookcase.”1 Karolik began collecting antiques in the 1920s, adding to those that had been inherited by Martha Codman Karolik, his “Boston Brahmin” wife. His appetite for Americana grew until he became one of the 1930s’ principal patrons, considered second only to Henry Francis du Pont. He scoured auction houses, galleries, showrooms, and small shops. Karolik loved the chase and consorting with dealers. He enjoyed haggling over prices despite his wife’s substantial fortune.2 1 “Art: Boston’s Golden Maxim,” Time (December 22, 1941). 2 Frieda Schmutzler (of Katrina Kipper’s Queen Anne Cottage), Oral History, May 26, 1978, Winterthur Archives. See also Carol Troyen, “The Incomparable Max: Maxim Karolik and the Taste for American Art,” American Art 7, n 3 (Summer 1993): 65-87. -
Massachusetts Massachusetts Office of Travel and Tourism, 10 Park Plaza, Suite 4510, Boston, MA 02116
dventure Guide to the Champlain & Hudson River Valleys Robert & Patricia Foulke HUNTER PUBLISHING, INC. 130 Campus Drive Edison, NJ 08818-7816 % 732-225-1900 / 800-255-0343 / fax 732-417-1744 E-mail [email protected] IN CANADA: Ulysses Travel Publications 4176 Saint-Denis, Montréal, Québec Canada H2W 2M5 % 514-843-9882 ext. 2232 / fax 514-843-9448 IN THE UNITED KINGDOM: Windsor Books International The Boundary, Wheatley Road, Garsington Oxford, OX44 9EJ England % 01865-361122 / fax 01865-361133 ISBN 1-58843-345-5 © 2003 Patricia and Robert Foulke This and other Hunter travel guides are also available as e-books in a variety of digital formats through our online partners, including Amazon.com, netLibrary.com, BarnesandNoble.com, and eBooks.com. For complete information about the hundreds of other travel guides offered by Hunter Publishing, visit us at: www.hunterpublishing.com All rights reserved. No part of this publication may be reproduced, stored in a re- trieval system, or transmitted in any form, or by any means, electronic, mechani- cal, photocopying, recording, or otherwise, without the written permission of the publisher. Brief extracts to be included in reviews or articles are permitted. This guide focuses on recreational activities. As all such activities contain ele- ments of risk, the publisher, author, affiliated individuals and companies disclaim any responsibility for any injury, harm, or illness that may occur to anyone through, or by use of, the information in this book. Every effort was made to in- sure the accuracy of information in this book, but the publisher and author do not assume, and hereby disclaim, any liability for loss or damage caused by errors, omissions, misleading information or potential travel problems caused by this guide, even if such errors or omissions result from negligence, accident or any other cause. -
MAJOR COLLECTION of 19TH-CENTURY AMERICAN ART OPENS May 9, 2004, at the NATIONAL GALLERY of ART
Office of Press and Public Information Fourth Street and Constitution Av enue NW Washington, DC Phone: 202-842-6353 Fax: 202-789-3044 www.nga.gov/press Release Date: February 4, 2004 MAJOR COLLECTION OF 19TH-CENTURY AMERICAN ART OPENS May 9, 2004, AT THE NATIONAL GALLERY OF ART Martin Johnson Heade Sunlight and Shadow: The Newbury Marshes, c. 1871-1875 oil on canv as, 30.5 x 67.3 cm (12 x 26 1/2) John Wilmerding Collection Washington, DC-- American Masters from Bingham to Eakins: The John Wilmerding Collection will showcase one of the most important private collections of 19th-century American art. The exhibition of 51 paintings by 26 American artists will be on view at the National Gallery of Art's East Building, May 9, 2004 through February 6, 2005. Works by such masters as George Caleb Bingham, Frederic Edwin Church, Thomas Eakins, William Stanley Haseltine, Martin Johnson Heade, Fitz Hugh Lane, John Marin, John F. Peto, and William Trost Richards represent four decades of collecting in an area of particular scholarly interest to Wilmerding. "Over the course of his career John Wilmerding has become one of the most respected and widely known authorities on American art. His many books and articles have helped define the scholarly nature of the field as a whole and have also documented the works of key figures. John has organized many exhibitions on American art and through his teaching and lectures he has introduced literally thousands to the wonders and complexities of our national art," said Earl A. Powell III, director of the National Gallery of Art. -
NATIONAL HISTORIC LANDMARK NOMINATION NFS Form 10-900 USDI/NPS NRHP Registration Form (Rev
NATIONAL HISTORIC LANDMARK NOMINATION NFS Form 10-900 USDI/NPS NRHP Registration Form (Rev. 8-86) OMBNo. 1024-0018 SHELBURNE FARMS Page 1 United States Department of the Interior, National Park Service National Register of Historic Places Registration Form 1. NAME OF PROPERTY Historic Name: SHELBURNE FARMS Other Name/Site Number: SOUTHERN ACRES FARM (southern portion only) 2. LOCATION Street & Number: 1611 HARBOR ROAD Not for publication: N/A City/Town: SHELBURNE Vicinity: N/A State: VT County: CHITTENDEN Code: 007 Zip Code: 05482 3. CLASSIFICATION Ownership of Property Category of Property Private: X Building(s): ___ Public-Local: X District: X Public-State: ___ Site: ___ Public-Federal: Structure: ___ Object: ___ Number of Resources within Property Contributing Noncontributing 17 43 buildings _2_ sites 7 6 structures 1 3 objects 28 54 Total Number of Contributing Resources Previously Listed in the National Register: 18 Name of Related Multiple Property Listing: N/A NATIONAL HISTORIC LANDMARK NOMINATION NFS Form 10-900 USDI/NPS NRHP Registration Form (Rev. 8-86) OMBNo. 1024-0018 SHELBURNE FARMS Page 2 United States Department of the Interior, National Park Service National Register of Historic Places Registration Form 4. STATE/FEDERAL AGENCY CERTIFICATION As the designated authority under the National Historic Preservation Act of 1966, as amended, I hereby certify that this ___ nomination ___ request for determination of eligibility meets the documentation standards for registering properties in the National Register of Historic Places and meets the procedural and professional requirements set forth in 36 CFR Part 60. In my opinion, the property ___ meets ___ does not meet the National Register Criteria. -
Cultivating the Crafts: Aileen Osborn Webb and the Instituting of American Craft, 1934-1964
CULTIVATING THE CRAFTS: AILEEN OSBORN WEBB AND THE INSTITUTING OF AMERICAN CRAFT, 1934-1964 Stephen Brandon Hintze Submitted in partial fulfillment of the requirements for the degree Master of Arts in the History of Decorative Arts Masters Program in the History of Decorative Arts The Smithsonian Associates and Corcoran College of Art + Design 2008 ©2009 Stephen Brandon Hintze All Rights Reserved Table of Contents List of Illustrations………………………………………………………..…...ii Preface………………………………………………………………………..ix Introduction……………………………………………………….…………...1 Chapter 1: The 1910s-1920s: A Philanthropic Beginning………..….………..4 Chapter 2: The 1930s: Marketing the Crafts………………………….…..….15 Chapter 3: The 1940s: Advocacy and Outreach..……………………………20 Chapter 4: The 1950s: Exhibitions and Conferences………..…………….…32 Chapter 5: The 1960s: Diplomacy through Craft…….……………….……..41 Conclusion……………………………………………………………….…..53 Appendices…………………………………….……………………………..55 Appendix 1: Family Tree of Aileen Osborn Webb………………………..…56 Appendix 2: Amended By-Laws— World Craft Council…...…………....…57 Appendix 3: A Suggested Plan for Rural Development………………..........65 Bibliography…………………………………………………………………75 Illustrations……………………………………………………………….….83 i List of Illustrations Fig.1 Aileen Osborn Webb in her apartment potter’s studio, New York, New York, 1966. From Rita Reif, “A Mover in the Field of Crafts,” New York Times, January 8, 1966. Fig. 2 Osborn Family Photograph, Garrison, New York, c.1900. From Osborn Family Archives, Garrison, NY. Fig. 3 Aileen Osborn Webb as a young debutante, New York, New York, c.1910. From Aileen Osborn Webb Papers, Shelburne Farms Archives, Shelburne, VT. Fig. 4 Aileen Osborn as a young, engaged woman (top); Aileen Osborn and Vanderbilt Webb during their engagement, probably Garrison, New York, c.1912 (bottom). From Aileen Osborn Webb Papers, Shelburne Farms Archives, Shelburne, VT. -
Art Scholar and Collector John Wilmerding to Donate Important Private Collection of 19Th-Century American Art to National Gallery of Art
Office of Press and Public Information Fourth Street and Constitution Av enue NW Washington, DC Phone: 202-842-6353 Fax: 202-789-3044 www.nga.gov/press Release Date: May 6, 2004 ART SCHOLAR AND COLLECTOR JOHN WILMERDING TO DONATE IMPORTANT PRIVATE COLLECTION OF 19TH-CENTURY AMERICAN ART TO NATIONAL GALLERY OF ART George Caleb Bingham Mississippi Boatman, 1850 oil on canv as, 61 x 44.5 cm (24 x 17 1/2) John Wilmerding Collection Washington, DC--John Wilmerding, a respected and widely known authority on American art, is donating one of the most important private collections of 19th-century American art to the National Gallery of Art. The collection will be on view in the exhibition, American Masters from Bingham to Eakins: The John Wilmerding Collection, at the National Gallery of Art, East Building, May 9, 2004 through February 6, 2005. On May 5, Wilmerding, who was the Gallery's deputy director from 1983 to 1988, announced to the Gallery's Trustees' Council that all of the works in the exhibition will remain at the Gallery following the close of the exhibition and that Mississippi Boatman (1850), one of George Caleb Bingham's acclaimed scenes of frontier river life, will become an immediate gift. Previously, Wilmerding donated The Chaperone (c. 1908) by Thomas Eakins on the occasion of the Gallery's 50th anniversary in 1991. The collection of 51 works represents such masters as Bingham, Frederic Edwin Church, Eakins, Winslow Homer, William Stanley Haseltine, Martin Johnson Heade, Fitz Hugh Lane, John Marin, John F. Peto, and William Trost Richards. -
FOLK ART and AMERICAN MODERNISM Organized by the Fenimore Art Museum, Cooperstown, New York
FOLK ART AND AMERICAN MODERNISM Organized by the Fenimore Art Museum, Cooperstown, New York On View at the American Folk Art Museum July 18–September 27, 2015 Checklist Height precedes width precedes depth INTRODUCTION Bernard Karfiol (1886–1952) Making Music Ogunquit, Maine 1938 Oil on canvas 32 x 40" Colonial Williamsburg Foundation Promised gift of Bunty and Tom Armstrong, 2000.TA.1 (L) Ex coll. Robert Laurent, Edith Halpert This scene depicts the sitting room in Robert and Mimi Laurent’s Ogunquit, Maine, farmhouse. Their two sons are shown: John playing the banjo with his back to the viewer and Paul playing the accordion on the loveseat. Behind the boys are three of Robert’s treasured folk portraits, two of which are included in this exhibition. The paintings on the wall exemplify Robert’s taste for the simple, abstract, and sometimes stark lines and masses of folk painting and sculpture, while the loveseat and chair reflect Mimi’s love of curvilinear Victorian forms. The artist of Making Music, Bernard Karfiol, was a close friend of Robert Laurent’s. Brooklyn-born Karfiol had lived in Paris where he became acquainted with collectors Leo and Gertrude Stein, the American painter Samuel Halpert, and even the self-taught artist Henri Rousseau. Back in the United States, though, he did not meet with success until Hamilton Easter Field saw his work in the 1913 Armory Show and became a patron. Karfiol’s specialty was 1 painting; much of it was inspired by the Maine landscape, and he is also known for his figure paintings of children and nudes. -
The Metropolitan Museum of Art Archives the Havemeyer Family Papers Relating to Art Collecting
The Metropolitan Museum of Art Archives The Havemeyer Family Papers relating to Art Collecting Processed by Adrianna Del Collo, Associate Archivist February, 2009 The Metropolitan Museum of Art Archives Office of the Senior Vice President, Secretary and General Counsel 1000 Fifth Avenue New York, NY 10028-0198 212-650-2573 [email protected] Table of Contents Collection Summary.................................................................................................................. 1 Administrative Information ..................................................................................................... 1 Restrictions................................................................................................................................. 1 Biographical Note ...................................................................................................................... 1 Scope and Content..................................................................................................................... 5 Arrangement.............................................................................................................................. 6 Related Materials ...................................................................................................................... 7 Subject Headings ....................................................................................................................... 7 Series Descriptions and Container List .................................................................................. -
Summer Newsletter 2012
ADIRONDACK ARCHITECTURAL HERITAGE NEWSLETTER VOLUME 20 NUMBER 2 SUMMER 2012 AARCH ANNUAL MEETING: AUSABLE CLUB Thursday, June 21 Join us at the Ausable Club in St. Huberts on Thursday, June 21, for our 22nd annual meeting. In addition to conducting AARCH business we will recognize10-year members. Our guest speaker will be Jim Herman, who is a retired management consultant who lives in Keene, NY. His specialty was strategic planning in high-tech companies. He and his partner Dave Mason are responsible for the current series of workshops on The Future of the Adirondack Park. The Adirondack Mountain Reserve was established in 1887 as a stockholder preserve. The AMR did not have its own lodge until it purchased St. Huberts Inn in 1906 to serve as the main hotel for the club. The building remains, decades later, the focal point of the property, centered among individually built cottages, and amenities that include a 9-hole golf course. This is a rare opportunity to visit this spectacular site. The meeting begins at 1 p.m. and ends around 3 p.m. and is free to AARCH members and guests. As with all of our events, unless otherwise noted, reservations are required by contacting AARCH. Shelburne Farms, created in 1886 by William Seward and Lila Vanderbilt Webb, is one of the sites we’ll be visiting on our fascinating Beyond the Blue Line: The Webbs of Shelburne tour. See page 11 for more information. (Photo courtesy of Shelburne Farms) Welcome to another season of exciting and unique events. Though we add several new outings each year, there are many wonderful sites that we have been fortunate enough to have had access to for many years. -
News Release
NEWS RELEASE FOURTH STREET AT CONSTITUTION AVENUE N W WASHINGTON DC CONTACT: Randall Kremer Dena Crosson (202) 842-6353 HOLD FOR RELEASE: Sept. 8. 1987 ** PRESS PREVIEW: Tues., Nov. 10, 11:00 a.m. - 2:00 p.m. FOLK ART FROM THE SHELBURNE MUSEUM ON VIEW AT NATIONAL GALLERY OF ART WASHINGTON - The National Gallery of Art will celebrate America's cultural and artistic heritage this fall with a special exhibition of folk art from the renowned Shelburne Museum, in Vermont. An American Sampler: Folk Art From The Shelburne Museum brings together more than 120 works from the museum's extensive collection of Americana, including quilts and coverlets, hooked rugs, weathervanes and whirligigs, decoys, carousel animals, cigar-store Indians, trade signs and carved figures. The exhibition will be installed on the upper level of the Gallery's East Building, Sun., Nov. 15, 1987 through Thurs., April 14, 1988. It has been made possible through a grant from The New England, the Boston-based insurance and financial services institution. "This year marks the 40th anniversary of the Shelburne Museum, one of the great treasure houses of American arts, architecture and artifacts," said J. Carter Brown, director of the National Gallery of Art. "In this exhibition we have concentrated on textiles and sculpture, two groups that are among Shelburne's greatest strengths. We hope that visitors to the National Gallery find the works as aesthetically pleasing in their own right as they are wonderful reminders of American life and culture." (more) page two ... shelburne The Shelburne Museum is situated on the east coast of Lake Champlain, five miles south of Burlington, Vermont.