Hartford, Ct War Memorials
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Tudor Place Manuscript Collection Paul Wayland Bartlett Papers MS-19 Introduction Paul Wayland Bartlett (1865-1925) was the third husband of Suzanne (Earle) Ogden-Jones Emmons Bartlett (1862-1954), the mother of Caroline (Ogden-Jones) Peter (1894-1965), wife of Armistead Peter 3rd (1896-1983) of Tudor Place. Suzanne (Earle) Ogden-Jones Emmons Bartlett retained all of her third husband’s papers and acted as his artistic executrix, organizing exhibitions of his work and casting some of his pieces to raise money for a memorial studio. Suzanne (Earle) Ogden-Jones Emmons Bartlett gave the bulk of her husband’s papers to the Library of Congress, but correspondence from Paul Wayland Bartlett’s father Truman Howe Bartlett (1835-1922), fellow artists, and business correspondence regarding various commissions, bills and receipts, news clippings, and printed material remained in her possession. This material spans the years 1887-1925, primarily between 1899 and 1920. Caroline (Ogden-Jones) Peter gave numerous pieces of her stepfather’s sculpture to museums around the country; the remaining papers and works of art were left at her death to her husband Armistead Peter 3rd. These papers were a part of the estate Armistead Peter placed under the auspices of the Carostead Foundation, Incorporated, in 1966; the name of the foundation was changed to Tudor Place Foundation, Incorporated, in 1987. Use and rights of the papers are controlled by the Foundation. The collection was processed by Anne Webb, the Foundation's archivist, and James Kaser, a project archivist hired through a National Historical Publications and Records Commission grant in 1992. -
Cheney Brothers, the New York Connection
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Textile Society of America Symposium Proceedings Textile Society of America 1998 Cheney Brothers, the New York Connection Carol Dean Krute Wadsworth Atheneum Follow this and additional works at: https://digitalcommons.unl.edu/tsaconf Part of the Art and Design Commons Dean Krute, Carol, "Cheney Brothers, the New York Connection" (1998). Textile Society of America Symposium Proceedings. 183. https://digitalcommons.unl.edu/tsaconf/183 This Article is brought to you for free and open access by the Textile Society of America at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Textile Society of America Symposium Proceedings by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. Cheney Brothers, the New York Connection Carol Dean Krute Wadsworth Atheneum The Cheney Brothers turned a failed venture in seri-culture into a multi-million dollar silk empire only to see it and the American textile industry decline into near oblivion one hundred years later. Because of time and space limitations this paper is limited to Cheney Brothers' activities in New York City which are, but a fraction, of a much larger story. Brothers and beginnings Like many other enterprising Americans in the 1830s, brothers Charles (1803-1874), Ward (1813-1876), Rush (1815-1882), and Frank (1817-1904), Cheney became engaged in the time consuming, difficul t business of raising silk worms until they discovered that speculation on the morus morticaulis, the white mulberry tree upon which the worms fed, might be far more profitable. As with all high profit operations the tree business was a high-risk venture, throwing many investors including the Cheney brothers, into bankruptcy. -
When Visitors to the Wadsworth Atheneum Museum of Art Read A
1 “For Paintings of Fine Quality” The Origins of the Sumner Fund at the Wadsworth Atheneum Museum of Art On August 16, 1927, Frank B. Gay, Director of the Wadsworth Atheneum, wrote to Edward W. Forbes, Director of the Fogg Art Museum at Harvard, that by the death last week of Mrs. Frank Sumner the Frank Sumner estate now comes to us. I learn from the Trust Company, his trustees and executor that the amount will be upwards of $2,000,000 ‘the income to be used in buying choice paintings.’ Of course we are quite excited here over the prospect for our future.1 The actual amount of the gift was closer to $1.1 million, making the Sumner bequest quite possibly the largest paintings purchase fund ever given to an American museum. Yet few know the curious details of its origins. Today, when visitors to the Wadsworth Atheneum Museum of Art read a label alongside a work of art, they will often see “The Ella Gallup Sumner and Mary Catlin Sumner Collection Fund.” These visitors may well visualize two women—perhaps sisters, perhaps mother and daughter—strolling arm in arm through the galleries of the museum in times past, admiring the art and wondering what they might do for the benefit of such a worthy institution. They would be incorrect. The two women were, in fact, sisters-in-law who died fifty-two years apart and never knew each other. Since 1927 the Sumner Fund has provided the Atheneum with the means to acquire an extraordinary number of “choice paintings.” As of July 2012, approximately 1,300 works of art have been purchased using this fund that binds the names of Ella Gallup Sumner and Mary Catlin Sumner together forever. -
Mildred Lane Kemper Art Museum Washington University in St. Louis Sam Fox School of Design & Visual Arts
Mildred Lane Kemper Art Museum Washington University in St. Louis Sam Fox School of Design & Visual Arts Spotlight Essay: Thomas Cole, Aqueduct near Rome, 1832 February 2016 William L. Coleman Postdoctoral Fellow in American Art, Washington University in St. Louis When the Anglo-American landscape painter Thomas Cole made his first visit to Italy in the summer of 1831, he embarked on intensive study not only of paintings and sculptures, as so many visiting artists had before him, but also of ancient and modern Italian architecture. In so doing he launched a new phase of his career in which he entered into dialogue with a transatlantic lineage of “painter-architects” that includes Michelangelo, Raphael, and Rubens— artists whose ambitions were not confined to canvas and who were involved extensively with the design and construction of villas and churches, among other projects. Cole was similarly engaged with building projects in the latter decades of his short career, but a substantial body of surviving writings, drawings, and, indeed, buildings testifying to this fact has been largely overlooked by scholars, Thomas Cole, Aqueduct near Rome, 1832. Oil on canvas, 44 1/2 x 67 5/16". Mildred Lane Kemper Art Museum, Washington University in St. Louis. presumably because it does not fit neatly with University purchase, Bixby Fund, by exchange, 1987. the myth of Cole as “the father of the Hudson River School” of American landscape painting.1 For an artist whose chief contribution, we have been told, is the argument his work offers for landscape painting as an art of the intellect rather than of mere mechanical transcription of outward appearances, his abiding commitment to the science of building and his professional aspirations in that direction are hard to explain. -
Chief Executive Officer's Report
FISCAL YEAR 2018–19 THIRD QUARTER (JAN–MAR 2019) Chief Executive Officer’s Report June 2019 PAGE NO. Overview 2 Finance 3 Grant Management 5 Public Services 6 The American Place 12 Hartford History Center 14 Communications 17 Development 19 Statistics 20 Staff Updates 25 1 OCTOBEROCTOBER - DECEMBER- DECEMBER 2018 2018 atat a glancea glance JANUARY–MARCH 2019 at a glance 202,659202,659215,512 2,3468042,346 totaltotalTOTAL visits VISITS visits teenTEENteen programPROGRAM program participantsPARTICPANTSparticipants 72,01272,01277,491 189179189 totaltotalTOTAL circulation CIRCULATION circulation citizenshipCITIZENSHIPcitizenship screeningsSCREENINGSscreenings 16,80716,80711,380 2,4962,496 YOUTH PROGRAM 972 youthyouth program program artwalkartwalk visits visits PARTICIPANTS ARTWALK VISITS participantsparticipants 7,7257,72567 2,9011,1812,901 immigrationINDIVIDUALS ACHIEVED intergenerational immigration intergenerationalINTERGENERATIONAL legalCITIZENSHIP consultations legal consultations programsprograms PROGRAMS 2 2 2 finance Fiscal Year 2019—Operating Budget Summary As of March 31, 2018—75% through Fiscal Year For the period ending 3/31/19, Hartford Public Library has expended an estimated total of $6,665,250 which represents 70% of the revised operating budget of $9,526,574. The Library has also collected an estimated $7,749,886 in operating funds, or 81.4% of the Fiscal Year 2019 budget. Budget Actual/Committed Variance % Revenue & Expenditure Revenue $9,562,574 $7,749,886 $1,776,688 81.4% Expense $9,526,574 $6,665,250 $2,861,324 70.0% -
FOR IMMEDIATE RELEASE the Thomas Cole National Historic Site Announces the Inaugural Art Exhibition in Its “New Studio” Buil
FOR IMMEDIATE RELEASE The Thomas Cole National Historic Site Announces the Inaugural Art Exhibition in its “New Studio” Building: Thomas Cole: The Artist as Architect The New Studio, Designed by Cole in the 1840s, has been Reconstructed and Now Offers State-of-the-Art, Museum-Quality, Exhibition Space for the First Time Curated by Noted Scholar Annette Blaugrund, the Exhibition Focuses on Cole’s Little- Known Architectural Endeavors and Includes Paintings from The Metropolitan Museum of Art, The Columbus Museum of Art, and Toledo Museum of Art, among Others Catskill, NY – January 21, 2016 – The Thomas Cole National Historic Site announced today the inaugural art exhibition to be held in its “New Studio” building. The reconstruction of this majestic Italianate building significantly enhances the Historic Site, home of Thomas Cole (1801-1848), founder of the first distinctly American art movement. The New Studio, built in 1846, was designed by Cole, and demolished in 1973 before the historic site became a museum. The reconstruction, to be officially unveiled with the opening of the exhibition on May 1, provides the Site with museum-quality climate-controlled space for displaying art. The upcoming show will be the first to take advantage of that new capacity. “Thomas Cole: The Artist as Architect” will be the first exhibition to focus on a little-known but highly significant aspect of Cole’s contribution to American art, his architectural achievements, including the design for a significant public building: the Ohio State Capitol. This is particularly notable because of Cole’s role as founder of the Hudson River School of art, which dominated American visual arts between 1825 and about 1870 and still influences contemporary artists today. -
2425 Hermon Atkins Macneil, 1866
#2425 Hermon Atkins MacNeil, 1866-1947. Papers, [1896-l947J-1966. These additional papers include a letter from William Henry Fox, Secretary General of the U.S. Commission to the International Exposition of Art and History at Rome, Italy, in 1911, informing MacNeil that the King of Italy, Victor Emmanuel III, is interested in buying his statuette "Ai 'Primitive Chant", letters notifying MacNeil that he has been made an honorary member of the American Institute of Architects (1928) and a fellow of the AmRrican Numismatic Society (1935) and the National Sculpture Society (1946); letters of congratulation upon his marriage to Mrs. Cecelia W. Muench in 1946; an autobiographical sketch (20 pp. typescript carbon, 1943), certificates and citations from the National Academy of Design, the National Institute of Arts and letters, the Architectural League of New York, and the Disabled American Veterans of the World War, forty-eight photographs (1896+) mainly of the artist and his sculpture, newspaper clippings on his career, and miscellaneous printed items. Also, messages of condolence and formal tri butes sent to his widow (1947-1948), obituaries, and press reports (1957, 1966) concerning a memorial established for the artist. Correspondents include A. J. Barnouw, Emile Brunet, Jo Davidson, Carl Paul Jennewein, Leon Kroll, and many associates, relatives, and friends. £. 290 items. Maim! entry: Cross references to main entry: MacNeil, Hermon Atkins, 1866-1947. Barnouw, Adrian Jacob, 1877- Papers, [1896-l947J-1966. Brunet, Emile, 1899- Davidson, Jo, 1883-1951 Fox, William Henry Jennewein, Carl Paul, 1890- Kroll, Leon, 1884- Muench, Cecelia W Victor Emmanuel III, 1869-1947 See also detailed checklists on file in this folder. -
Nscda-Ct Newsletter
NSCDA-CT NEWSLETTER VOLUME 6, NUMBER 2 SEPTEMBER 2011 Message from the President Message from the Director Nancy MacColl Charles T. Lyle Dear Connecticut Dames, The summer has been busy with the exterior th I am privileged and honored to be the 39 President restoration of the Deane House in progress, which of the NSCDA in Connecticut. Torrey Cooke did an we expect to be finished in September. There are outstanding job as President for the last three years. also two or three weddings scheduled almost every She will continue as third Vice-President. weekend, bringing in over 100 people for each event. Katie Sullivan has booked sixty-nine A brief biography weddings and other rentals for this year and over for those of you who thirty are already booked for next year. do not know me. I was born in Boston, Work on the exterior of the Deane house started on MA, educated in June 17. The painters spent the bulk of the summer Washington, D.C. stripping paint and preparing the surfaces. At the (Holton-Arms School) same time, the carpenters have replaced rotted or and New York broken clapboards and made numerous woodwork (Bennett Junior repairs. All of the window sashes have been College). reglazed and broken window panes have been Torrey and Nancy in the Garden of Webb House replaced with old style wavy glass, a painstaking I married N. Alexander job that has taken most of the summer. Soon the MacColl (Alex), whose mother, Mary Kimbark masons will arrive to make repairs to the MacColl was a R.I. -
Housatonic Museum of Art Presents David Hayes: Modern Master of American Abstraction
DAVID HAYES: Modern Master of American Abstraction at the Housatonic Museum of Art Housatonic Museum of Art Presents David Hayes: Modern Master of American Abstraction December 3, 2014 to February 8, 2015 HOUSATONIC MUSEUM OF ART 900 Lafayette Boulevard, Bridgeport, Connecticut www.housatonicmuseum.org Photography by Paul Mutino Exhibition organized by Robbin Zella, Director 1 Housatonic Museum of Art hosts David Hayes: Modern Master of American Abstraction in celebration of this important Connecticut sculptor whose career spanned six decades. The drawings and maquettes on view here are studies for his monumental sculptures and include the biomorphic and geometric forms that comprise his signature style. Born in Hartford, he maintained a home and studio in Coventry, CT where dozens of his sculptures are situated throughout fifty-plus acres of bucolic farm and woodlands. The influence of his mentor David Smith and his friend Alexander Calder are visible in the playful welded steel polychrome works on display in the gallery. Hayes drew his inspiration from nature, translating delicate foliage into lyrical, brightly painted industrial strength sculptures. Robbin Zella 2 3 4 5 6 7 8 10 11 12 DAVID HAYES BIOGRAPHY AND LISTING OF SOLO EXHIBITIONS 1931 Born in Hartford, Connecticut. Lived in Coventry, 1973 Juror, Munson-Williams-Proctor Institute; Utica, New York – Connecticut. Annual Exhibition 1949–1953 University of Notre Dame; Notre Dame, Indiana, A.B. Illustrated Varmint Q by Charles Boer; Chicago: Swallow 1953–1955 Indiana University; -
Carol, an Iconic Portrait of the Tudor Place Collection One Object That
Carol, an iconic portrait of the Tudor Place collection One object that never fails to attract the attention of visitors is the portrait of a stylishly dressed and attractive woman that hangs prominently in the Tudor Place Dining Room (Figure 1). The woman depicted in the portrait is Caroline Ogden-Jones Peter (1894-1965), the wife of Armistead Peter 3rd, the last private owner of Tudor Place. Visitor are often surprised to learn that Mr. Peter was a skilled artist and was responsible for this portrait of his wife and muse as well as others found throughout the house. Completed late in the summer of 1925, this portrait reflects both Armistead Peter 3rd’s artistic abilities as well as the affection he felt for Caroline, whom he described in his book, Tudor Place, as “the one person in this world whom I loved and trusted completely.”1 He titled this portrait Carol, his preferred nickname for his wife (she in turn called him “Pete”), and the following year submitted it to the National Academy of Design in New York hoping it would be selected for the Winter Exhibition of 1926. The portrait was ultimately accepted for the exhibition and hung in close proximity to works by Childe Hassam and Guy Wiggins. The surviving archive of Peter family papers at Tudor Place provides important details about the creation of this portrait as well as its inclusion in the exhibition. Letters written during the summer of 1925, while Armistead was busily engaged in painting this portrait, provide a glimpse of his approach to portraiture. -
2014 Annual Report
Wadsworth Atheneum Museum of Art Annual Report 2014 REPOR T from the President and Director & CEO Renewing the Wadsworth Atheneum The past twelve months have been one of the most transformative chapters in the long and illustrious history of the Wadsworth Atheneum. From completing the second phase of our $33 million roof-to-basement renovation, bringing our campus of five historic buildings into the 21st century, to maintaining the museum’s standards for excellence in scholarship, acquisitions, and groundbreaking exhibitions, Daniel Wadsworth’s “spirit of genius” has continued to inspire creative collaboration and forward momentum since the museum first opened to the public 170 years ago on July 31, 1844. Increased commitments from generous funders energized the massive renewal project. The year began on a high note with the thrilling news of a $5 million award from the State of Connecticut, bringing the State’s total investment in our building renovation to $25 million and ensuring that we could confidently enter the final phase of work on the Wadsworth and Morgan Memorial Buildings. We extend our utmost gratitude to Governor Malloy and his administration for their trust in our mission, and we are fully committed to our crucial role as a thriving cultural destination with a measurable economic impact for the State of Connecticut. Another transformative moment came with the unexpected announcement of the largest single bequest in the museum’s history — $9.6 million from the estate of former museum member Charles H. Schwartz. This significant gift, designated for the acquisition of European artworks from the 18th century or earlier, was immediately put to good use by our curatorial team’s newest member, Susan Morse Hilles Curator of European Art Oliver Tostmann. -
Wadsworth Atheneum Museum of Art Welcomes Seven New Appointees to Board of Trustees
FOR IMMEDIATE RELEASE Dec. 2, 2014 Media Only: Amanda Young, (860) 838-4082 [email protected] Wadsworth Atheneum Museum of Art Welcomes Seven New Appointees to Board of Trustees The Wadsworth Atheneum Museum of Art inducted seven trustees to the Class of 2018 at its Annual Meeting in November. Marta Bentham, Deanna Fidler, Robert C. Hobbs, David. R. McHale and Barbara G. Ward are first-time trustees of the museum; Jeffrey G. Marsted and Henry M. Zachs are returning trustees. Marta Bentham is the Director of Family Services and Ombudsman for Hartford Public Schools. She created the Hartford Public School Welcome Center as a one-stop office for families and other constituents, and supervises the Family Resource Centers that are housed at five elementary schools in Hartford. She works with the Connecticut System of Personnel Development in making the changes necessary for educators to receive additional training to enable them to have a closer relationship with the families they serve. Bentham is a graduate of the Harvard Law School / Mediation Program and the Strauss Institute at Pepperdine University. Deanna Fidler is the Executive Vice President, Human Resources for Aetna, bringing to the Board more than 20 years of Human Resources leadership experience in the areas of strategic client consulting, enterprise workforce planning and development, talent acquisition, leadership development, succession planning and organization design. A strong advocate for health and wellness, she is also a member of the Board of Trustees for the American Health Policy Institute, and serves as Co-chair of the American Heart Association’s 2015 Go Red for Women Campaign.