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The Love of Researc “THE LOVE OF RESEARCH AND THE GIFT FOR NEW WEAVINGS” THE WORK, COLLECTIONS, AND LEGACY OF MARGUERITE PORTER DAVISON by Sara A. Jatcko A thesis submitted to the Faculty of the University of Delaware in partial fulfillment of the requirements for the degree of Master of Arts in Early American Culture. Spring 2007 Copyright 2007 Sara A. Jatcko All Rights Reserved UMI Number: 1444675 Copyright 2007 by Jatcko, Sara A. All rights reserved. UMI Microform 1444675 Copyright 2007 by ProQuest Information and Learning Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. ProQuest Information and Learning Company 300 North Zeeb Road P.O. Box 1346 Ann Arbor, MI 48106-1346 “THE LOVE OF RESEARCH AND THE GIFT FOR NEW WEAVINGS” THE WORK, COLLECTIONS, AND LEGACY OF MARGUERITE PORTER DAVISON by Sara A. Jatcko Approved: __________________________________________________________ Linda Eaton, B.A. Hon., D.T.C. Professor in charge of thesis on behalf of the Advisory Committee Approved: __________________________________________________________ J. Ritchie Garrison, Ph.D. Director of the Winterthur Program in Early American Culture Approved: __________________________________________________________ Thomas M. Apple, Ph.D. Dean of the College of Arts and Sciences Approved: __________________________________________________________ Carolyn A. Thoroughgood, Ph.D. Vice Provost for Research and Graduate Studies ACKNOWLEDGMENTS The story of Marguerite Porter Davison is, at its basic level, about a woman who loved to weave. However, she is one of a larger group of weavers who found their expression in art, and her legacy is part of a larger continuum of work. I hope that this study will help encourage others to look into the stories of the craft revival though the study of both the careers of its participants and the objects these individuals made and collected. This research project has been a fascinating part of my life since it began in April of 2006. First, I’d like to thank Linda Eaton, Curator of Textiles at the Winterthur Museum and my adviser, for introducing me to Davison’s work. Her guidance, knowledge, and encouragement have been of great help in shaping this paper. I am also indebted to Mrs. Sue Davison Cooley, Marguerite Porter Davison’s daughter, for connecting me with objects and documents in her collection. By inviting me to visit her and allowing me to conduct an oral history interview, Mrs. Cooley has enriched this work and helped me gain another layer of understanding her mother’s life and work. Mrs. Cooley’s assistant, Jeanne Becker, has also been helpful and informative. iii Those who studied Davison and her collections in the past have also greatly contributed to the thesis. Among these individuals is Mrs. Elizabeth Cooley, Sue Davison Cooley’s husband’s sister-in-law, whose interest in Davison has informed my work. I’d also like to thank the handweavers who responded to my call for questionnaire responses for their input. The Handweaving Study Group that catalogued Davison’s Collection of Pennsylvania Linens at Winterthur has also provided me with information to interpret, and deserve thanks for their contributions. Among the other institutions that helped this research are the Millersville University Ganser Library Special Collections Department in Millersville, Pennsylvania and the Handweaving Museum and Arts Center in Clayton, New York. These institutions generously allowed me access and photographic privileges concerning their materials. The faculty, staff, and my fellow fellows at the Winterthur Museum also deserve thanks; these teachers and colleagues have been a constant source of inspiration. Finally, thanks to my spouse, family, and friends for their untiring encouragement. iv DEDICATION This thesis is dedicated to my spouse, Robert Winkeler. His thoughtful feedback and editing assistance throughout this project was invaluable. His support and friendship over the past ten years is a precious gift. v TABLE OF CONTENTS LIST OF FIGURES......................................................................................................vii ABSTRACT ..................................................................................................................ix Chapter 1 INTRODUCTION.............................................................................................. 1 Defining Phases of the Handweaving Revival .......................................... 3 Review of Literature on the Handweaving Revival. ................................. 4 Goals of this Study .................................................................................... 8 Organization of Thesis ............................................................................ 10 2 THE HANDWEAVING REVIVAL IN AMERICA: INFLUENCES, INDIVIDUALS AND PHASES....................................................................... 11 Influence: The Arts and Crafts Movement.............................................. 11 Influence: The Colonial Revival ............................................................. 15 Participants in the Handweaving Revival ............................................... 18 Phases of the Handweaving Revival ........................................... 20 The Traditional Phase.................................................................. 21 The Transitional Phase ................................................................ 28 The Modern Phase....................................................................... 33 Conclusions ............................................................................................. 37 3 THE ROLE OF EDUCATION AND THE ROLE OF FAMILY .................... 38 Family Background ................................................................................. 38 Berea College and the Beginnings of Davison's Design Philosophy...... 41 Changes and Travel................................................................................. 49 Home in America .................................................................................... 54 Conclusions ............................................................................................. 55 4 BUILDING A COLLECTION AND BUILDING A CAREER ...................... 57 The Love of Research.............................................................................. 57 Collecting Historic Woven Objects......................................................... 60 Acquiring the Laura Allen Collection..................................................... 75 Craftsmanship and New Weaves from Old............................................. 76 vi Exhibiting Her Weavings ........................................................................ 81 Conclusions ............................................................................................. 84 5 SHARING HER KNOWLEDGE AND WRITING HER LEGACY............... 86 Teaching Others to Weave ...................................................................... 86 Early Writing........................................................................................... 89 Writing A Handweaver's Pattern Book................................................... 99 Becoming a Publisher and Promoting Her Books................................. 107 Laura Allen and A Handweaver's Source Book .................................... 114 Conclusions ........................................................................................... 116 6 CONCLUSIONS AND DAVISON'S LEGACY TODAY............................. 117 Survey of Weavers ................................................................................ 117 Conclusions ........................................................................................... 127 Appendix A QUESTIONNAIRE FOR HANDWEAERS .................................................. 131 B FIGURES 1-24............................................................................................... 133 BIBLIOGRAPHY ...................................................................................................... 158 PERMISSIONS .......................................................................................................... 167 vii LIST OF FIGURES Figure 1: Page from the Scrapbooks of Laura Allen: Popular Mechanics, Mar.1919: “Reviving Handicrafts in America.” .................................. 134 Figure 2: Swatch from Seven Projects in Rosepath as woven by the Associated Handweavers: project I 4, Twill by M. Lord 1/15/49 .......................... 135 Figure 3: “Kivers” Sold by Berea College’s Fireside Industries, 1912-1913 ............ 136 Figure 4: “Rose in the Wilderness” a design by Anna Ernberg woven by Marguerite Porter Davison, from page 180 of A Handweaver’s Pattern Book......................................................................................... 137 Figure 5: Image of Photo of the Porter Family from Marguerite Porter’s wedding to Waldo Davison.................................................................. 138 Figure 6: Inventory Book 2000.0007.116, written by Marguerite Porter Davison, pages 10-11. .......................................................................... 139 Figure 7: Hand Towel 2000.0007.0021...................................................................... 140 Figure 8: Plain woven linens (left to right: 2000.0007.095; 2000.0007.076; 2000.0007.072; 2000.0007.074) .......................................................... 141 Figure 9: Table Cover 2000.007.046.........................................................................
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