DOCSLIB.ORG

Beauport's Lively Creative Spirit

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Beauport's Lively Creative Spirit EXPLORATIONS Beauport’s Lively Creative Spirit An historic Gloucester mansion highlights decorative arts and Henry Davis Sleeper. by nell porter Brown eauport, perched on Gloucester’s country’s first Eastern Point, is much more than a professional interior designers. “Beauport Sleeper’s summer home sprawls across beautiful house. Touring its maze of feels as though he just walked out the door, Eastern Point with views of Gloucester rooms offers a romantic exploration even though he died in 1934,” says Martha Harbor (above left and opposite). Interior B rooms (above) are inspired by the China of literary and historical themes through Van Koevering, site manager with Histor- trade, the octagon, and Colonial kitchens. decorative arts. It’s also a trip into the art- ic New England, which owns the prop- (Opposite) A portrait of the pioneering istry of Henry Davis Sleeper, one of the erty (also known as the Sleeper-McCann interior designer 12J May - June 2018 All photographs by Eric Roth/Courtesy of Historic New England Reprinted from Harvard Magazine. For more information, contact Harvard Magazine, Inc. at 617-495-5746 HARVARD SQUARED 4 HOMES EXCLUSIVELY OFFERED BY CURRIER House). “It’s a very personal place, his own creation. The whole composition is a work of art.” Beauport’s charm begins with lush gardens of perennial flowers and coastal grass- SOMERVILLE SOMERVILLE $849,000 es, and a rear brick $885,000 terrace overlooking Gloucester Harbor. The home’s fairy- COMING COURTESY OF HISTORIC NEW ENGLAND tale exterior— SOON pitched rooflines, tower, belfry, diamond- paned leaded-glass windows, and chimneys are an amalgam of Arts and Crafts, Gothic, medieval, and early Colonial architecture. The interior is just as eclectic. Sleeper originally built a modest Arts and Crafts- style cottage, but expanded it slowly dur- ing the years he summered there. The re- sulting 40 rooms (26 of which are shown on daily guided tours) are mostly packed together like a warren, with alcoves, odd- angled rafters, and linking stairways. And everywhere, exquisitely displayed, are the more than 10,000 objects and furnishings CAMBRIDGE SOMERVILLE that Sleeper acquired, with special fondness $1,195,000 $719,000 for salvaged architectural artifacts. Each space is a meticulous stage set with a specific theme. A two-story book tower, with a balcony and arched windows, was [email protected] designed around antique carved wooden (617) 593-3120 curtains that Sleeper had found. Three ear- ly bedrooms pay homage to English figures: MaggieCurrier.com Lord Byron, naval hero Horatio Nelson, and the Gothic novelist Horace Walpole. The “China Trade” room, with its soaring ceil- ing, features a pagoda-inspired gold-cur- tained balcony, a marble fireplace, and bold Harvard Magazine 12K Reprinted from Harvard Magazine. For more information, contact Harvard Magazine, Inc. at 617-495-5746 HARVARD SQUARED antique 1780s wallpaper (originally ordered CURIOSITIES: Learning from Dolls by Robert Morris, a signer of the Declara- tion of Independence) depicting the rice In 2004, Debra Britt and her sisters, Felicia Walker and Tamara Mattison, began to and porcelain industries of China. There’s collect and make dolls, doll clothes, and accessories. By 2012, the serious hobby had also a Jacobean-style dining room with a overrun their homes and “our husbands were, wood-beamed and white- like, you got to get this stuff out of here,” Walker plaster ceiling and heavy says. So they rented a storefront space in down- oak furnishings that feels town Mansfield, Massachusetts, where they lived, like an old English pub. “Yet and transformed it into the National Black Doll he wasn’t a stickler for pure Museum of History and Culture. authenticity,” Van Koever- The nonprofit now features about 2,000 of ing says. “The ‘Pine Kitch- their figures, Britt says, roughly a quarter of their en,’ one of the later rooms, is still-growing collection. Their mission is to “nur- Sleeper’s romanticized view ture self-esteem,” especially among children, and of a Colonial-era kitchen.” to preserve the legacy of black dolls. The toys It has a wide brick hearth also pointedly reflect aspects of the centuries- hung with antique cast-iron long African-American experience. One room is pots and utensils, but he had packed with 780 African- a local furniture-maker cre- style rag dolls (most ate the simple wooden chairs, crafted by the sisters), to which are “a little different recreate the inhumane from what the Colonials conditions of a slave ship. MAGAZINE/NPB HARVARD would have had, and a little “The Ugly Truth” display Debra Britt (below) in the more comfortable. So he would break the represents demeaning glamorous “Fashion Doll” room; rules sometimes.” “Ugly Truth” figures (above); and characterizations of black musicians, including D.M.C. He also freely repurposed historic materi- people: Buck wheat, Lit tle als: Beauport’s central hall is lined with pine Black Sambo, Aunt Jemima, and golliwogs, among them. paneling (rescued from the dilapidated eigh- Yet there are also hundreds of more contemporary figures teenth-century William Cogswell estate in symbolizing triumphs, artistry, and power: pint-sized Obamas; nearby Essex); from the hall one can also see comic-book superheroes, including Black Panther; plenty of the bulk of one wall filled with a graceful HARVARD MAGAZINE/NPB HARVARD athletes, like Michael Jordan and Serena and Venus Williams; double-wide, leaded-glass door, obtained and leaders Martin Luther King Jr., Condoleezza Rice, and Jesse Jackson—along with from a home in Connecticut, that Sleep- scientists, legal scholars, businesspeople, and other color-barrier-breakers. er altered to hold his perfectly arranged “If we can’t find a doll, we make it,” Walker notes: those collaged “Stand-Ins” include 130-piece collection of amber-glass objects. boxing hall of famer Jack Johnson, Thurgood Marshall, and Angela Davis. “Record- He cleverly installed a skylight in the pan- Makers” highlights musical artists, from Josephine Baker and Louis Armstrong to Tupac try behind the door “so that the amber is Shakur and Beyoncé—and the sisters’ father, a teacher whose record store was an always naturally back-lit,” Van Koevering offshoot of his own 5,000-album reserve. “My other siblings are collectors, too,” notes. Nothing was collected in the name of Walker adds of the family habit. “I say ‘collecting’ is just a fancy word for hoarding.” investment. “He deliberately selected only Both parents were also members of the Black Panthers, and patrolled their Dorches- objects that personally appealed to him, in ter neighborhood. Pride in black culture was paramount; the kids played with any as much as he didn’t have the deep pockets black-focused toys and games of other collectors in Boston at that time,” available; commercial black dolls she says. “And he had this fabulous ability were, and still can be, hard to to showcase things.” find. One display explains how Sleeper’s light-filled “Golden Step” room, their grandmother, a maid, disas- holding a bank of diamond-paned windows sembled white dolls, “then dyed overlooking Gloucester Harbor, is a nod to them all brown, and put them New England’s maritime history. Wood- VIA GETTY IMAGES GETTY VIA IMAGES back together for us,” reports work, the trestle tables and chairs, and a Walker. “Everyone wants to see cabinet painted a sea-foam green set off ma- something that represents jolica and Wedgwood dishware. Prow orna- them,” Britt has concluded. “It ments of bare-chested mermen hang on the THE BOSTON GLOBE BOSTON THE immortalizes you.” vN.P.B. wall amid models of a China trading vessel and whaling and fishing ships. National Black Doll Museum of Adjacent is the “Octagon Room.” Auber- History and Culture JOHN TLUMACKI/ JOHN nbdmhc.org gine walls dramatize Sleeper’s amethyst and ruby-red glassware and red antique 12n May - June 2018 Reprinted from Harvard Magazine. For more information, contact Harvard Magazine, Inc. at 617-495-5746 HARVARD SQUARED toleware (tin objects, typically kitchen- Explore Garden in the Woods ware) that he brought home from France. Visitors can hunt for the groups of “eights”: hooked rugs, chairs, sides of the table, scores in the ceiling, and even facets on the door knobs, Van Koevering points out. So excited was Sleeper about creating this space that in 1921 he wrote of his plans to his friend, the art patron Isabella Stewart Gardner (of the eponymous Boston museum), “Of course, I have all the details visualized and am enjoy- ing it accordingly.” Gardner visited Beauport many times, as did other prominent members of Boston and New York society and art circles; East- ern Point itself was developed at the turn of the twentieth century as a wealthy sum- mer enclave (which it still is). Yet the resi- dents, at least those Sleeper socialized with, tended to be the less conventional members Beautiful native of the elite, more “bohemian-minded” and intellectual. plants in a dramatic Sleeper himself came from a Boston family wooded landscape of comfortable means: his father, Jacob Hen- ry Sleeper, was a revered Civil War veteran, Open Daily • 10 am-5 pm 180 Hemenway Rd. • Framingham, MA and his grandfather, Jacob Sleeper, a founder 508-877-7630 • newenglandwild.org of Boston University. Reportedly frail, the young Sleeper was presumably tutored at home, Van Koevering says, but no record of any formal education exists. In 1906, as a 28-year-old bachelor, he was introduced to Eastern Point by Abram Piatt Andrew, Ph.D. 1900. An economics professor Just how healthy at Harvard, Andrew served as director of the U.S. Mint in 1909 is your brain? and 1910 and played a role in the creation of the Federal Reserve Join our 6-week course on healthy brain aging.
Load more

Recommended publications
  • A Theme Study of Lesbian, Gay, Bisexual, Transgender, and Queer History Is a Publication of the National Park Foundation and the National Park Service
    Published online 2016 www.nps.gov/subjects/tellingallamericansstories/lgbtqthemestudy.htm LGBTQ America: A Theme Study of Lesbian, Gay, Bisexual, Transgender, and Queer History is a publication of the National Park Foundation and the National Park Service. We are very grateful for the generous support of the Gill Foundation, which has made this publication possible. The views and conclusions contained in the essays are those of the authors and should not be interpreted as representing the opinions or policies of the U.S. Government. Mention of trade names or commercial products does not constitute their endorsement by the U.S. Government. © 2016 National Park Foundation Washington, DC All rights reserved. No part of this publication may be reprinted or reproduced without permission from the publishers. Links (URLs) to websites referenced in this document were accurate at the time of publication. PRESERVING LGBTQ HISTORY The chapters in this section provide a history of archival and architectural preservation of LGBTQ history in the United States. An archeological context for LGBTQ sites looks forward, providing a new avenue for preservation and interpretation. This LGBTQ history may remain hidden just under the ground surface, even when buildings and structures have been demolished. THE PRESERVATION05 OF LGBTQ HERITAGE Gail Dubrow Introduction The LGBTQ Theme Study released by the National Park Service in October 2016 is the fruit of three decades of effort by activists and their allies to make historic preservation a more equitable and inclusive sphere of activity. The LGBTQ movement for civil rights has given rise to related activity in the cultural sphere aimed at recovering the long history of same- sex relationships, understanding the social construction of gender and sexual norms, and documenting the rise of movements for LGBTQ rights in American history.
    [Show full text]
  • City of Gloucester Community Preservation Committee
    CITY OF GLOUCESTER COMMUNITY PRESERVATION COMMITTEE BUDGET FORM Project Name: Masonry and Palladian Window Preservation at Beauport, the Sleeper-McCann House Applicant: Historic New England SOURCES OF FUNDING Source Amount Community Preservation Act Fund $10,000 (List other sources of funding) Private donations $4,000 Historic New England Contribution $4,000 Total Project Funding $18,000 PROJECT EXPENSES* Expense Amount Please indicate which expenses will be funded by CPA Funds: Masonry Preservation $13,000 CPA and Private donations Window Preservation $2,200 Historic New England Project Subtotal $15,200 Contingency @10% $1,520 Private donations and Historic New England Project Management $1,280 Historic New England Total Project Expenses $18,000 *Expenses Note: Masonry figure is based on a quote provided by a professional masonry company. Window figure is based on previous window preservation work done at Beauport by Historic New England’s Carpentry Crew. Historic New England Beauport, The Sleeper-McCann House CPA Narrative, Page 1 Masonry Wall and Palladian Window Repair Historic New England respectfully requests a $10,000 grant from the City of Gloucester Community Preservation Act to aid with an $18,000 project to conserve a portion of a masonry wall and a Palladian window at Beauport, the Sleeper-McCann House, a National Historic Landmark. Project Narrative Beauport, the Sleeper-McCann House Beauport, the Sleeper-McCann House, was the summer home of one of America’s first professional interior designers, Henry Davis Sleeper (1878-1934). Sleeper began constructing Beauport in 1907 and expanded it repeatedly over the next twenty-seven years, working with Gloucester architect Halfdan M.
    [Show full text]
  • 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.
    [Show full text]
  • Crafting New Citizens: Art and Handicraft in New York and Boston Settlement Houses, 1900-1945 by Diana Jocelyn Greenwold A
    Crafting New Citizens: Art and Handicraft in New York and Boston Settlement Houses, 1900-1945 By Diana Jocelyn Greenwold A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in History of Art In the Graduate Division Of the University of California, Berkeley Committee in Charge: Professor Margaretta Lovell, Chair Professor Lauren Kroiz Professor David Henkin Professor Edward S. Cooke Summer, 2016 Abstract Crafting New Citizens: Art and Handicraft in New York and Boston Settlement Houses, 1900-1945 by Diana Jocelyn Greenwold Doctor of Philosophy in History of Art University of California, Berkeley Professor Margaretta Lovell, Chair This dissertation explores the creation and exhibition of immigrant-made art in American settlement houses in New York and Boston from 1900 to 1945. The lace, embroidery, and ceramics Southern and Eastern European immigrant artists created provide an important avenue to illustrate how European traditions survived, changed, or disappeared, and how Jewish and Italian communities in New York and Boston adapted to new circumstances while maintaining distinct identities. This dissertation proposes that art can help reveal what is gained and what is lost when communities uproot and settle far from their homelands: an issue as relevant for turn-of-the-century immigrants as it is for emigrant groups arriving in the United States and countries across the world today. The two object sets that are examined closely—ceramics from Boston’s Paul Revere Pottery and textiles from New York’s Scuola d’Industrie Italiane—reveal the working and living patterns of first and second-generation Jewish and Italian women as they interacted with middle and upper class settlement house reformers, collectors, and museum professionals to negotiate their place in American social and political life.
    [Show full text]
  • Information to Users
    INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright materiai had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. Bell & Howell Information and Learning 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA 800-521-0600 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. "IN THEMSELVES A TEXTILE MUSEUM": THE FORMATION OF THE TEXTILE COLLECTION AT THE H.F.
    [Show full text]
  • Cape Ann Museum's Design/Build Exhibition Explores The
    Cape Ann Museum’s Design/Build exhibition explores the contributions of one local architectural firm on the character of a city. Design/Build: The Drawings of Phillips & Holloran, Architects Public reception: June 4 On view: June 4 through October 9, 2016 Ezra Phillips (1870–1937), Block for Howard Blackburn, c. 1900. Scale ¼ inch = 1 foot. Phillips & Holloran Architectural Plans. Collection of the Cape Ann Museum [Acc. #2011.1]. GLOUCESTER, MASS. –– Making use of what in 2011 was heralded as an extraordinary gift to its collection, this summer the Cape Ann Museum will present a special exhibition exploring the history and achievements of the architectural firm Phillips & Holloran. Design/Build: The Drawings of Phillips & Holloran, Architects will delve into the 300-plus sets of drawings produced by one of the area’s most prolific and important architectural firms of the late 19th and early 20th centuries. Offered for educational enrichment and visual enjoyment, the exhibition and related programming will pique visitor’s interest in architecture on Cape Ann and deepen their understanding of what it takes to move from an idea to a finished product. Individual projects, representing structures that were built and some that were not, will be explored along with the development of selected neighborhoods in Gloucester, Rockport and Manchester-by-the-Sea. By focusing on this one architectural firm working in one location, Design/Build will broaden our understanding of how architecture has contributed to our sense of place. The exhibition will open on Saturday, June 4th and remain on display through Sunday, October 9th. An opening reception will be held on June 4th from 3:00 PM to 5:00 PM.
    [Show full text]
  • Historic New England Requests a $25000 Grant from the City of Gloucester Community
    Historic New England City of Gloucester Community Preservation Project Application Narrative, page 1 Historic New England requests a $25,000 grant from the City of Gloucester Community Preservation Act to complete one of the last phases of historic window conservation work at Beauport, the Sleeper-McCann House—a $50,000 project to conserve the severely weather- deteriorated windows of the harbor side of the building. Project Narrative Beauport, Sleeper-McCann House Beauport, Historic New England’s most-visited house museum, is a premiere travel destination in the City of Gloucester, a nationally important historic property and a unique educational and cultural resource. Designated as a National Historic Landmark (NHL), Beauport is described in the NHL nomination as “significant in American material culture as an important early collection of American antiques in distinctive arrangements housed within a unique architectural setting that influenced the appreciation, collection, and interpretation of American material culture, as well as the practice of interior design. This collection and arrangement by nationally-noted antiquarian, collector, and interior decorator, Henry Davis Sleeper, was influential in the development of Henry Francis du Pont’s Winterthur and other museum programs.” Henry Davis Sleeper (1878-1934) began Beauport in 1907 and expanded it repeatedly over the next twenty-seven years with Gloucester architect Halfdan M. Hanson (1884-1952). A late- Victorian, shingle-style residence, perched on a natural rock ledge overlooking the Atlantic Ocean, Beauport comprises fifty-six rooms in a combination of French, English, colonial American, and oriental motifs. In addition to a sense of mystery, wonder, beauty and spectacular location that appeals to a broad public, part of Beauport’s special architectural significance is as a unified work of architecture made of seemingly disparate parts.
    [Show full text]
  • UC Berkeley Electronic Theses and Dissertations
    UC Berkeley UC Berkeley Electronic Theses and Dissertations Title Crafting New Citizens: Art and Handicraft in New York and Boston Settlement Houses, 1900- 1945 Permalink https://escholarship.org/uc/item/0889b757 Author Greenwold, Diana Jocelyn Publication Date 2016 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California Crafting New Citizens: Art and Handicraft in New York and Boston Settlement Houses, 1900-1945 By Diana Jocelyn Greenwold A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in History of Art In the Graduate Division Of the University of California, Berkeley Committee in Charge: Professor Margaretta Lovell, Chair Professor Lauren Kroiz Professor David Henkin Professor Edward S. Cooke Summer, 2016 Abstract Crafting New Citizens: Art and Handicraft in New York and Boston Settlement Houses, 1900-1945 by Diana Jocelyn Greenwold Doctor of Philosophy in History of Art University of California, Berkeley Professor Margaretta Lovell, Chair This dissertation explores the creation and exhibition of immigrant-made art in American settlement houses in New York and Boston from 1900 to 1945. The lace, embroidery, and ceramics Southern and Eastern European immigrant artists created provide an important avenue to illustrate how European traditions survived, changed, or disappeared, and how Jewish and Italian communities in New York and Boston adapted to new circumstances while maintaining distinct identities. This dissertation proposes that art can help reveal what is gained and what is lost when communities uproot and settle far from their homelands: an issue as relevant for turn-of-the-century immigrants as it is for emigrant groups arriving in the United States and countries across the world today.
    [Show full text]
  • Fall Symposium
    206 West State Street FIRST Suite 300 CLASS THE DECORATIVE Media, PA 19063 INDICIA ARTS TRUST 610.627.4970 HERE Fall Symposium www.decorativeartstrust.org ON THE WATER: SALEM & THE NORTH SHORE September 15 - 19, 2021 The Decorative Arts Trust Invites You To Attend ON THE WATER: SALEM & THE NORTH SHORE njoy a wonderful coastal New England experience on Massachusetts’s North Shore, a region abounding with historic houses and impressive collections. Founded in 1629, Salem, the “City of Peace,” is of great importance. EThe second oldest settlement in New England (four years before Boston), Salem contains a rich maritime history built on international trade. This vibrant, pedestrian-friendly port town is best known for the infamous Witchcraft Trials of 1692 but features a bevy of beautifully preserved architecture, ranging from the late 17th century onward. Participants registering for the pre- and post-symposium tours will have the opportunity to explore the larger region, from Newburyport to Marblehead. SYMPOSIUM SCHEDULE Thursday, September 16, 6:00 - 9:00 pm Salem Waterfront Hotel Welcoming Remarks and Opening Program Sponsored by: The Jonathan L. Fairbanks Lecture A 40-Year Contribution to the Decorative Arts of Salem A conversation with Dean Lahikainen, The Carolyn and Peter Lynch Curator of American Decorative Art, Peabody Essex Museum (PEM), and Elizabeth Lahikainen, upholstery conservator Hosted by Karina Corigan, Associate Director for Collections and the H.A. Crosby Forbes Curator of Asian Export Art, PEM Opening Reception (Continued) Clockwise from top left: Beauport, Castle Hill, Custom House, Coffin House, Salem from above Friday, September 17, 9:00 am - 5:00 pm Saturday, September 18, 9:00 am - 5:00 pm Out and About in Salem Peabody Essex Museum Following introductory lectures on Salem’s development and architecture, Sneak Preview: The Putnam Galleries of Native and American Art we depart from the Salem Waterfront Hotel for a day exploring an array of Sarah Chasse, Associate Curator for Exhibitions and Research historic houses.
    [Show full text]
  • Under the Skin: Reconsidering Cecilia Beaux and John Singer Sargent
    Under the Skin: Reconsidering Cecilia Beaux and John Singer Sargent N CONSIDERING THE LIFE AND CAREER of Cecilia Beaux (1855-1942), it seems impossible to ignore or discount the fact, and the effects, of gender. Beaux strove to become a professional painter and achieved notable success when it was still very difficult for women to rise in an art world dominated by men. As Tara Tappert has argued, Beaux's preeminence rested at least in part on her ability to balance hard-edged ambition and single-minded dedication to her work with the public persona of a non-threatening, well-bred, charming lady. As the exceptional figure who proved that professional success need not be won at the expense of femininity, Beaux came to the fore as the quintessential great woman painter, recipient of many honors, always in demand, never in the least degree "masculine" or intimidating. Although most of her many admirers and critics gave full credit to her talent, vision, and technical skill, they almost invariably ranked her a notch below John Singer Sargent (1856-1925), the renowned contemporary with whom she was most often compared. This order of rank boiled down to gender difference. Sargent's manly prowess and uncompromising realism automatically placed him ahead of Beaux, supposedly more feminine in the sympathetic interpretation of her subjects.' 'The essential sources on Cecilia Beaux are Tara Leigh Tappert, "Choices--The Life and Career of Cecilia Beaux: A Professional Biography" (Ph.D. dis., George Washington University, 1990), and Beaux's autobiography, Background with Figures (New York, 1930). Also see Tappert, Cecilia Beaux and the Art of Portraiture,exhibition catalogue, National Portrait Gallery (Washington, D.
    [Show full text]
  • The Incorporation of Sacrifice
    THE INCORPORATION OF SACRIFICE: THE AMERICAN AMBULANCE FIELD SERVICE AND THE AMERICAN VOLUNTEER MOTOR-AMBULANCE CORPS, 1914-1917 AXEL JANSEN University of Oregon Eugene, OR, June 1995 ACKNOWLEDGEMENTS The author expresses sincere appreciation to Professor James Mohr for his help in preparation of this manuscript. I also thank Alan Albright for his advice and insights on a subject which has fascinated him for a long time. Furthermore, special thanks are due to William L. Foley and Joseph Brinton III., who provided feedback on my ideas as they evolved during the last year. Andrew Gray has shared his private collection of papers and manuscripts with me, for which I am thankful. I am obliged to the staff of the Service Historique de l’Armeè de Terre in Vincennes, France, as I was granted permission to ac- cess their archives even though the institution was officially closed during that month. I am very grateful to Tania Jastrzembski, who aided me in my research in France. Thanks are due to Sylvie d’Oncieu of the American Hospital of Paris, as well as Nicole Fouché and the staff of the AFS Archives, all of whom advanced my investigation. Finally, I want to express my sincere appreciation to the many individuals who have hosted me on my research trips in France and the Unites States, including Betsy Hansel and Susan Rizwani, both in New York City, Ward Breeze in Stanford, California, Mr. and Mrs. Bicknell in Lexington, Massachusetts, and Isabelle Henin in Paris. TABLE OF CONTENTS Chapter Page I. INTRODUCTION. .. 1 II. “BETTER THAN PEACE” .
    [Show full text]
  • Beauport / Sleeper-Mccann House
    NATIONAL HISTORIC LANDMARK NOMINATION NFS Form 10-900 USDI/NPS NRHP Registration Form (Rev. 8-8 OMB No. 1024-0018 BEAUFORT (Sleep er-McCann House) Page 1 United States Department of the Interior, National Park Service National Register of Historic Places Registration Form 1. NAME OF PROPERTY Historic Name: Beauport Other Name/Site Number: Sleeper-McCann House; Little Beauport; Sleeper, Henry Davis, House 2. LOCATION Street & Number: 75 Eastern Point Boulevard Not for publication:_ City/Town: Gloucester Vicinity:_ State: MA County: Essex Code: 009 Zip Code: 01930 3. CLASSIFICATION Ownership of Property Category of Property Private: X Building(s): X Public-Local: _ District: _ Public-State: _ Site: _ Public-Federal: Structure: _ Object:_ Number of Resources within Property Contributing Noncontributing 4 2 buildings _ sites _ structures _ objects 2 Total Number of Contributing Resources Previously Listed in the National Register: J_ Name of Related Multiple Property Listing: NFS Form 10-900 USDI/NPS NRHP Registration Form (Rev. 8-86) OMB No. 1024-0018 BEAUFORT (Sleeper-McCann House) 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.
    [Show full text]