The Muse Newsletter of the Slater Memorial Museum Fall 2007 Norwich, City of Inspiration: Part I The Nineteenth Century By Vivian F. Zoë When we think of cities as inspirational muses, we might readily imagine Paris, Venice, London, even New York and . Rarely would Norwich, Connecticut, spring to mind. But relatively cursory research reveals that Norwich has often and long served as grist for the artists’ mill. Deeper inquiry and the inclusion of photography would no doubt produce a nearly endless roster of artists Bridge at Norwich and images, but the limitations of space and readers’ time William Henry Bartlett, pencil on paper, 1836 demand circumspection. A review of museums, private Connecticut Historical Society collections, and libraries both in Connecticut and around , Asher Durand and Albert Bierstadt have the country reveals artists in many eras have employed a attained the status of popular icons, but may have lost diversity of style and media to portray the Rose City. their connection to a home locale. In contrast, Crocker’s deep sense of place is evident in virtually every one of his The Slater Memorial Museum’s collection includes several canvases. His dramatic and romantic scenes of the city’s paintings by John Denison Crocker (1822-1907) that harbor, mills and farmers’ fields, are well known to Slater clearly reflect his passion for Norwich. Born in Salem, Museum members and regular visitors. Crocker captured Connecticut, as a toddler Crocker was brought to Norwich Norwich and its agricultural environs in the second half of by his family. Many artists of Crocker’s era, talent and the nineteenth century with both accuracy and affection. productivity traveled well beyond their origins, and in so doing, gained financially and critically. A number, like In addition to works owned by the Slater Museum, artwork in other collections document and celebrate Norwich’s golden era that closely matches the “Long Nineteenth Century” of about 1798 to 1914. Before Crocker, William Henry Bartlett (1809-1854), an Englishman who made four visits to the United States between 1836 and 1852, created a series of views that were published around 1840. They were titled “American Scenery,” with a text by Nathaniel P. Willis. Bartlett was a prolific illustrator Norwich Harbor from the South who made sepia wash drawings the exact size to be used in John Denison Crocker, oil on canvas engravings. Other artists often copied his engraved views, Collection of the Slater Museum (continued on page 3) A Message from the Director It’s unbelievable that only a few short months ago, my office windows were obscured by scaffolding and all I listened to the crunching and clanging of the workers restoring the brick of the Slater building. The brick now literally sparkles with clean surfaces and bright black mortar as its original state. Stained glass windows gleam with new lead came, decades of soot and dirt removed. After what is certainly a longer wait for Slater members than for me, the elevator project is finally slated for a Fall 2008 start. The museum’s attendance was up more than 17% percent in the fiscal year ended June 30, 2007 over the previous period and comments from visitors remain glowing. I hope you’ll join in promoting the museum’s successes and its future at the “Centennial of Art” dinner and auction on October 27 … there’s plenty to celebrate!

Upcoming Exhibitions, Programs and Events Saturday, October 27, 2007; 5:00 to 9:00 p.m. Slater Memorial Museum Dinner & Auction - Featuring a gustatory grand tour of the Slater Museum. Please call 860-425-5545 for more details. Saturday, December 15, 2007 Wrapped in Pride: Ghanaian Kente and African American Identity opens in the Converse Art Gallery.

The Muse is published up to four times yearly for the members of The Friends of the Slater Memorial Museum. The museum is located at 108 Crescent Street, Norwich, CT 06360. It is part of The Norwich Free Academy, 305 Broadway, Norwich, CT 06360. Museum main telephone number: (860) 887-2506. The museum’s Website is linked to that of NFA: www.norwichfreeacademy.com Museum Director – Vivian F. Zoë Newsletter editor – Geoff Serra Contributing authors: Vivian Zoë, Leigh Smead and Patricia Flahive Photographers: Leigh Smead, Alexandra van den Berg, Vivian Zoë

The president of the Friends of the Slater Memorial Museum: Patricia Flahive

The Norwich Free Academy Board of Trustees: Robert A. Staley ’68, Chair * Steven L. Bokoff ’72, Vice Chair Jeremy D. Booty ‘74 Richard DesRoches * Abby I. Dolliver ‘71 Lee-Ann Gomes ‘82, Treasurer Thomas M. Griffin ‘70 Joseph A. Perry ’60 Dr. Mark E. Tramontozzi ’76 Theodore N. Phillips ’74 (ex officio) David A. Whitehead ’78, Secretary *Museum sub-committee

The Norwich Free Academy does not discriminate in its educational programs, services or employment on the basis of race, religion, gender, national origin, color, handicapping condition, age, marital status or sexual orientation. This is in accordance with Title VI, Title VII, Title IX and other civil rights or discrimination issues; Section 504 of the Rehabilitation Act of 1973 as amended and the Americans with Disabilities Act of 1991.  but no signed oil painting by his hand is documented. It original pencil drawing. The view shows, nestled into the is likely that his Bridge at Norwich was made during his treetops, City Hall Trinity Episcopal Church. The latter, visit of 1836. Engravings based on Bartlett’s views were built in 1829, was eventually left by the congregation and later used in his posthumous History of the United States became a coffee house, a use that unfortunately may have of North America, continued by B. B. Woodward and led to its destruction by burning. The drawing reveals the published c. 1856. influence of the in many aspects including the detailed but romantic rendering of the leaves Born in Norwich, Daniel Wadsworth Coit (1787-1876) on the trees, each seeming to have its own personality. left for California with the Gold Rush of 1849. Coit was The use of trees as framing devices for the picture plane elected to the National Academy and created some of the is another clue that the work is Coit’s. Coit is purported earliest known drawings of San Francisco. According to a to have been named after Daniel Wadsworth, a friend of Coit’s father. Wadsworth was an amateur artist known for encouraging and supporting the romantic compositional approach of the Hudson River School. He, is significant for his support of Thomas Cole and, especially, for establishing the Wadsworth Atheneum Museum of Art.

Fitz Henry Lane’s (1804 - 1865) View of Norwich (1849) was created from the opposite side of the harbor from Coit’s. It clearly shows Trinity Episcopal, Second Congregational, Broadway (now United Congregational Church and the one over which Reverend John Putnam Gulliver, founder of NFA, presided), and East Main Street Methodist Churches. These structures, most still standing, appear in numerous paintings and drawings of Norwich, View of Norwich of many eras and from both sides of the harbor, as distinct Daniel Wadsworth Coit, pencil on paper and useful icons in establishing the subject location as Collection of the Slater Museum Norwich. Fitz Henry Lane (born Nathaniel Rogers Lane) was a born in Gloucester, Massachusetts. An article by “memoir” “retold” by Daniel Coit Gilman, Coit’s brother Kathy McCabe, which appeared in the Boston, Globe Joshua wrote in a letter to family “’You have all witnessed July 1, 2006, deciphers the mystery of Lane’s name. [his] passion for sketching from nature which was one McCabe writes, “Fitz Hugh Lane is really Fitz Henry of the most enduring of his favorite pursuits.’” Gilman Lane. The goof was discovered about 18 months ago writes that on travels through Europe, Coit’s friends saw by city archivists in Gloucester, where his bronze statue him taking off “sketch book and pencil in hand for an overlooks Gloucester Harbor, the inspiration for some artistic point of view and seldom failed to bring away a of his most famous marine scenes…. the mistake…had more or less finished sketch and memento of figure or been perpetuated by scholars, art dealers, and private landscape.’ … [He] bought his own carriage that he might move about at his convenience, stopping when and where he pleased to make sketches or to walk across country and climb mountains in search of picturesque effects. Rising with the sun to secure a view before continuing his journey, or leaving the dinner table to make a sketch from the window of an inn… he succeeded not infrequently in making at least two or three finished sketches in a day.” His pencil drawing of a View of Norwich (nd) from Bean Hill, looking south, was later engraved by Milo Osborne and broadly distributed. Copies of the engraving are held in View of Norwich the collections of the Slater Museum and the Connecticut Fitz Henry Lane, oil on canvas, 1849 Historical Society, and the Slater is fortunate to own the private collection  collectors. … John Wilmerding, a top Lane scholar, gave of Norwich of the era and embraces the classic Hudson a lecture celebrating Lane’s 200th birthday…. He… River style of foreground as frame, with well-defined rocks asked people to solve the original mystery about Lane’s and foliage close to the viewer, with the city’s skyline and name: Why did the artist… decide to legally change his harbor shoreline sketched more impressionistically in the name at age 27 and become, or so historians had believed, background. Here one can again clearly see the four spires Fitz Hugh Lane? The Gloucester Archives Committee, of Trinity Episcopal Church, the tall steeple of Broadway Congregational Church, and the Court House imposing on the hill. Sadly, virtually nothing can be found about Bakewell in either contemporary or early literature other than that he lived in Connecticut. He appears to have been the son of an English farmer famous for his scientific breeding of sheep.

Born in Needham, Massachusetts, Alvan Fisher (1792- 1863) painted Tory Hill Seen Across the Yantic from a great distance, literally across two rivers and a significant hill, most likely Bean Hill. Nevertheless, the four distinctive spires of Trinity Episcopal Church are unmistakable, and what appears to be the Courthouse peeks from behind the trees in the left View of Chelsea Landing Norwich mid ground. Tory Robert Bakewell, pencil, ink & wash on paper Connecticut Historical Society Hill is known by some Norwichians a volunteer group, went to the state archives in Boston as the site granted to look at the original name-change petitions for 1831, to the Edwards a stack several inches thick…. And that’s when the real family by the King story stared them in the face. In Lane’s own handwriting of England and was a request to change his name to Fitz Henry Lane.” where “Lanman’s chair” became an Lane was a contemporary of the Hudson River School icon of Slavery in and John Denison Crocker most likely was familiar the North. So little Tory Hill Seen Across the Yantic with Crocker’s work. His best-known paintings depict is written about Alvan Fisher, oil on canvas maritime and nautical subjects, especially harbors and these that one can private collection seaports. He had a good reputation in Gloucester and only assume their Boston during his lifetime, but fell into obscurity after histories have been buried out of shame. his death. His reputation was rehabilitated in the mid- 20th century, when he was identified as one of the earliest Alvan Fisher studied with ornamental painter John pioneers of Luminism. Lane’s View of Norwich, however, Ritto Penniman and established a studio in Boston in is a crisp, illustrative rendering of the subject matter. Its 1814. Fisher’s work included portraiture, landscape, nearly scientific perspective of the streets, architecture, and genre. His early landscape compositions often and ships in the harbor provide a document of life along included genre elements and were imaginary scenes the Thames River in the 19th century. The Slater Museum that followed an English model rather than the more owns a color lithograph made by a 19th century New York scientific observation of nature. Fisher soon abandoned publisher from the painting by Lane, but alas, no original the formulaic characteristics of his initial work for a more view of Norwich. representational style. The Slater’s landscape by Fisher On the River currently on display in the Gualtieri Gallery A contemporary of Coit and Lane, Robert Bakewell, is most likely from his early period and Tory Hill is clearly Jr. (1790 [England]-1875) created an image of Norwich from the latter. seen from the south, entitled View of Chelsea Landing Norwich. It is perhaps one of the most elegant drawings Fisher’s work is much like Crocker’s. Like many of  (continued on page 7) Friends of Slater Activities Notes from the President by Patricia Reardon Flahive As the crisp Fall air transforms the Academy campus into brilliant hues of red and gold, we Friends of Slater set our sights on another transformation - that of transforming Slater Museum’s accessibility from the many to all. The incorporation of an elevator, while satisfying federal mandates, will certainly be in keeping with William A. Slater’s wish that his gift benefit the whole community.

For us, this represents a tremendous opportunity to reacquaint the greater Norwich community with the museum’s treasures and invite our families, friends and neighbors to become members. In our efforts to do this, let’s be especially aware of young people who, surrounded by all the advances of technology, need to be aware of and inspired by the genius of past civilizations.

Since we care about that which we cherish, this awareness will lead, hopefully, to a desire to maintain the integrity of the Slater and its diverse collections. We have a great opportunity to begin this with “A Centennial of Art”, the October 27 dinner and auction event whose proceeds will benefit the elevator and accessibility project. Please join me and all of the Friends Board members on that night. It’s sure to be loads of fun and it’s a good thing to do.

The Classicist: Remembering John Zito Opens at the Slater Museum On September 16 the Slater Museum celebrated the opening of its newest exhibition in Converse Art Gallery featuring the life’s work of Connecticut native, John Zito, Jr. The Classicist: Remembering John Zito is a retrospective that offers a sampling of a remarkable 45 years of painting, drawing and sculpture.

John Zito began his career as a student of sculpture at the Hartford Art School. As his artistic talents matured, Zito developed a passion for painting in oil on canvas. His work reveals a love for the paintings of the old masters, such as Titian, Rembrandt, and Michelangelo. Zito continued to draw inspiration from classic tales of mythology and operatic narratives throughout his long career, and his highly personal imagery demonstrates a deep respect for antiquity.

Although creatively Zito never flagged in his ability to produce stunning works of art, he eventually became physically challenged as his vision dramatically deteriorated. Despite facing imminent blindness, Zito exhibited Visitors at the opening of The Classicist: Remembering John Zito extraordinary dedication and fortitude as he continued to pursue his craft. The Slater Museum is proud to exhibit the work of John Zito, and welcomes its visitors to discover this fine artist through the exemplary work he left behind.

This exhibition continues through November 25, 2007. Some of the work is for sale though the family. Please contact the gallery with inquiries.  The Slater Memorial Under Restoration The Slater Memorial building is undergoing the initial phase of a multi-phase restoration to span several years. The initial phase which took place largely over the this past summer, included cleaning, and replacing where needed, exterior brick. Workers are removing old, deteriorating mortar and inappropriate earlier repairs. This is a dirty, noisy and tedious job, requiring patience on the part of the workmen, the museum staff and our visitors. Over the years, broken and fallen mortar was replaced in a rather haphazard way, diminishing the elegant look of the new building. The nearly black, original mortar outlined the warm red bricks, making them stand out against the carved brownstone and granite trims. The museum is fortunate in that the original specifications outlined by architect Stephen C. Earle are extant in the archives. When the work is complete, however, the inconvenience surely will have been worthwhile. Remarkable progress has been made and by mid-September, the crew was nearing completion.

In addition to the brick work, a crew of highly skilled carpenters has been removing the colorful, ornate, demi-lunette, rectangular and three large double hung stained glass windows for restoration, repairing and re-finishing the wooden window frames. Expert craftsmen of Rohlf’s Stained & Leaded Glass Studio of Mount Vernon, New York have been re-leading the fretwork. Some of the windows have already been re-installed. The largest of them will be completed by spring.

The second phase of exterior restoration will include brownstone restoration. Brownstone is a form of sandstone, very soft and susceptible to weather and wear. The brownstone in the Slater Memorial originated in Longmeadow, Massachusetts, and after 120 years of constant traffic, shows its weaknesses through crumbling ornament. European craftsmen carved the original stone ornament. It is likely that the same approach will be required today.

Replacement stone will be exactly matched where details have been worn away. Craftsmen will create new carvings and apply them in the form of a “Dutchman”- type patch by cutting away the damaged portions and replacing only those with new, carved elements. The second phase will include restoration and securing of carved terra cotta ornament and re-creation of copper finished on chimneys and roof peaks.

Perhaps most exciting is the planned installation of a re-created copper-clad cupola on the chimney of the north façade which had been lost, most likely, in the hurricane of 1938 which took down many steeples, chimneys and cupolas in Connecticut.

And most remarkable of all is that this work will precede the ground breaking and start of construction for the much-anticipated new structure and elevator project. As is so often the case, the project has grown to include access for the gyms and Cranston buildings. But it will also include, in this first phase, a specifically outfitted space for much-needed, climate and security controlled museum and archives storage.

 their contemporaries, the two glorified the new Republic more detailed pen and ink with wash drawings, and and especially its productive natural resources. Both then transferred them to wood blocks. Investigating portrayed them as agriculturally fecund and industrially history by talking to townsfolk as he drew led him to rich, seeming to opine that New England’s countryside produce the book now known as Connecticut Historical was impossible to sully, and, rather, that the injection of Collections which has been called the first popular local mills and industrial structures only contributed visual interest.

For the Butler Institute of American Art, Edward J. Nygren writes “Although Fisher undertook sublime and nationalistic subjects such as Niagara Falls (1820, National Museum of American Art), he repeatedly turned to the Connecticut River Valley for inspiration and made its varied landscape from the mountains of Vermont and New Hampshire to Hartford one of his special concerns. His views of the Springfield area with their soft undulating lines and crystalline light glorify the beautiful and Mo(n)hegan Chapel picturesque aspects of the countryside, presenting that part John Warner Barber, pencil on paper, c. 1836 of New England as an American Eden. In 1835, Thomas Connecticut Historical Society Cole remarked: ‘Whether we see it [the Connecticut River] at Haverhill, Northampton, or Hartford, it still history published in the U.S. The book was a popular and possesses that gentle aspect; and the imagination can financial success, extending into a second printing. While scarcely conceive Arcadian vales more lovely or more few people, even collectors of Connecticut antiques and peaceful than the valley of the Connecticut-its villages memorabilia would know the rare book today, they might are rural places where trees overspread every dwelling, know the illustrations which have been widely cut from and the fields upon its margin have the richest verdure.’ the books and framed as collectible decorative objects. Cole’s remarks could well be applied to Fisher’s paintings of the area, which so perfectly convey a sense of the According to the Connecticut Historical Society, quietude and fecundity of the valley even at a time when Barber’s South View of Monhegan Chapel, Monhegan, the Connecticut River Valley was ‘bustling with activity’ Connecticut (1836) depicts the Mohegan Chapel in and its bucolic nature ‘was being invaded, altered, and Montville, a relatively new building at the time. It was molded by agents of industrialization and urbanization.’” “constructed in 1831 at the expense of ‘benevolent ladies in Norwich, Hartford and New London’ as a place Fisher’s Tory Hill treats Norwich with the same of worship for the Mohegan and white residents of the romanticized view at the zenith of its industrial age. Its reservation in Montville. Samson Occom’s House, th clear, long view, unobstructed by mature growth trees Monhegan, Connecticut, depicts the modest 18 century or development along the river is distinctively Norwich. Montville house that was home to a Mohegan preacher More than a century of development and, especially, and teacher. Route 2, make the scene impossible today. To modern John Warner Barber (1798 - 1885) was born in East a u d i e n c e s , Windsor, where he learned his craft from the printmaker B a r b e r ’ s Abner Reed. In 1823 he opened a business in New drawings may Haven, where he produced religious and historical books, seem quaint and illustrated with his own wood and steel engravings. reflective of the Traveling around Connecticut, he drew sketches of colonial period. town greens, homes and public buildings like schools, But though courthouses and churches. Barber started each rendering Samson Occum’s House, Mo(n)hegan with a with quick pencil sketch, developed them into John Warner Barber, pencil on paper, c. 1836 Connecticut Historical Society  most of the structures Barber depicted were built in the 18th century, his aesthetic was decidedly 19th century. His work had a tendency to stretch colonial and pilgrim structures upward, elongating them to appear more Gothic and “Victorian,” no doubt a function of his era. His Court House Norwich, is a prime example. Nevertheless, it is an excellent document of the era when unpaved roads still surrounded important downtown buildings.

Alexander Hamilton Emmons (1816 - 1884) painted Henry Gustavus Bill and John Harper Bill, members of a prominent Norwich family. While the picture is a portrait of two young children, the background includes a small but clear portrait of downtown Norwich, seen from the south, with the spires of Trinity Episcopal Church and the steeple of Broadway Cong-regational Church as recognizable as ever. The Court House looms above them as well. Emmons lived most of his life in Norwich, Court House Norwich Connecticut, where for a time, he was viewed as the most John Warner Barber, pencil on paper, c. 1836 important portrait painter. He painted Mayors, doctors, and Connecticut Historical Society industrialists (and their families) at a time when Norwich Thames River. Mr. Johnson commissioned Emmons to had reached the zenith of its manufacturing prowess. paint the portraits for the soon-to-open new Otis Library Artistic in school, Emmons had found employment as a around the middle of the nineteenth century (c. 1848). house painter. He began his artistic career in Hartford in These portraits were later donated to the Slater Memorial 1843, painting miniature portraits on board after drafting Museum where they are preserved today along with the likeness of a fellow house painter. Emmons was the many more that have been donated by descendants of the first established 19th century portrait painter in Norwich, sitters. He traveled briefly in Europe to study, but spent followed soon after by John Denison Crocker, his junior his life in Norwich. He is known for portraits, but painted by six years. landscapes as well, following the Hudson River style and aesthetic. It was a banker named Henry V. Edmond (1838-?) had a “motto and banner C h a r l e s emporium” on Main Street, and resided at 42 Broadway, J o h n s o n Norwich. He illustrated a book called the Norwich who invited Jubilee published by John W. Stedman on the occasion E m m o n s of the city’s sesquicentennial showing the Wauregan and to Norwich Union Square festooned for the occasion with banners both to paint that were no doubt his handiwork. A banner arches the portraits over Union Street with the word “Wauregan” which in of city Mohegan means, roughly translated, “all things good.” “worthies” and to The Slater Memorial Museum received as a gift a unique occupy a new original book [1859] by H. V. Edmond entitled Blue studio space Fishing: Illustrated, which is a charming mid-nineteenth built into century artist’s manuscript of pen & ink the Norwich drawings with original verse. Fifteen pages in length, its Savings Bank Henry Gustavus Bill and John Harper Bill satiric sketches and accompanying narrative describe and Alexander H. Emmons, oil on canvas overlooking depict a (most likely) somewhat fantastical, fishing trip. the Norwich Collection of the Slater Museum The book is hand written and hand illustrated and tells Harbor on the the humorous tale of a couple of young blades on a trip  from Norwich to New London in 1859 for a fishing outing. The manuscript cites and depicts many specific Norwich and New London sites.

The work is “respectfully dedicated to Andrew Webster, Esq. by a Fellow Sufferer and Fellow Fisherman H. V. Edmond, July 28, 1859.” In the middle of the page is an oval drawing depicts two blue fish with personality, one leaping from the water under a smiling sun, the other submerged except for his head. The execution of the drawing is both engaging and technically proficient, a prelude to the illustrations within that move the story along. Careful reading of the entire tale reveals the deception in which the chaps engage hoping to have their lady friends believe they have caught the fish they bring back for dinner.

In 1880, Vermont born Henry V. Edmond, was listed in the census as residing in Norwich with his eighteen year old son, fifteen and thirteen year old daughters, and his sixty four year old mother. In addition, two unrelated “servant” females, aged twenty-three and thirty-five and born in Ireland, lived in the house. It seems the exuberant youth of Blue Fishing: Illustrated had become a young widower. He is listed, at the age of 42, as employed as a “bookkeeper.”

The above ignores photography, the subject of which Tiger Lily Norwich has virtually been muse since the medium was Henry V. Edmond, pencil on paper, 1859 made available to the general public in 1843. The Slater’s Collection of the Slater Museum collection alone includes daguerreotypes, tintypes, silver gelatin prints and glass plate negatives all of Norwich scenes and sons. Norwich as photographic muse is the perfect subject for further study and reporting.

Sources: Baigell, Matthew. Dictionary of American Art, New York: Harper & Row, 1979. Barber, John Warner. Connecticut Historical Collections. New Haven, CT, 1836 Burke, Doreen Bolger. J. Alden Weir: An American Impressionist. Newark: University of Delaware Press, 1983. Caulkins, Frances M., History of Norwich, Connecticut, Hartford: Self-published, 1866. Eiland, William U., General Editor. Essays by: Janice Simon; Nancy Mathews; Sarah Burns; Kathleen Pyne; Charles C. Eldredge Crosscurrents in American Impressionism at the Turn of the Century, 1996 ______, Ècole des Beaux Arts. [Online] Available http://www.ensba.fr/English/index.asp, 19 May 2006. Gerdts, William. American Impressionism. New York: Abbeville Press, 1994. Gilman, William C. Two Hundred and Fiftieth Anniversary of the Settlement of the Town of Norwich. Hartford: R. S. Peck, Co.,1912. Groce, George C. and David H. Wallace. The New-York Historical Society’s Dictionary of Artists in America, 1564-1860, New Haven: Yale University Press, 1957. Kornhauser, Elizabeth M., American Paintings Before 1945 in the Wadsworth Atheneum. New Haven: Yale University Press, 1996. Lathrop, Arthur Lester. Victorian Norwich, Connecticut. Salem, MA: Higginson Book Company, 1999. Mowatt, Daphne. The Lookout. Holderness, NH: Squam Lakes Conservation Society, Fall 1999, Spring & Summer 2000. Norwich Quarter Millennial Celebration Committee. Norwich, 1912.McCabe, Kathy. Art World Adjusts to Lane Change, The Boston Globe, Boston, MA: Globe Newspaper Company, July 1, 2006. Optiz, Glenn B., ed. Mantle Fielding’s Dictionary of American Painters, Sculptors, and Engravers. Poughkeepsie, NY: Apollo Book, 1983. Prown, Jules David. American Painting from its Beginnings to the Armory Show, New York: Rizzoli, 1987. Stanley, William B., ed. The Faith Jennings Collection. Norwich: Bill Stanley Books, 1997. Stanley, William B., ed. The Nine Mile Square. Norwich, CT: Norwich Historical Society, 2005. Stedman, John W., The Norwich Jubilee. Norwich, CT: Self-published, 1859. Young, Dorothy Weir, The Life and Letters of J. Alden Weir. New York, NY: Kennedy Graphics, 1971. 

On view at the Slater Memorial Museum December 15, 2007 – January 19, 2008

Slater Memorial Museum Hours: Tuesday through Friday, 9 a.m. to 4 p.m. Saturday and Sunday 1 p.m. to 4 p.m. Closed to the public on Mondays and holidays

Visitors may park in designated visitor parking spaces or any empty parking place on campus. Parking is difficult between 1:30 and 2:15 p.m. during school days due to the school buses. The museum’s main telephone number is (860) 887-2506. A recording will provide information on current exhibitions, days of operation, directions, admission fees and access to staff voice mailboxes. Visit our website at: www.slatermuseum.org