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Touring Northern Ireland in Grand Style By Cindy Casey, (Newport 2015, Chicago 2016) VSA Board Member, Alumni Association Member

and the Republic of Ireland, always times completed with Contemporary “I have the simplest tastes. confused as to whether we were Architecture, as we saw in Ormiston I am always satisfied with spending euros or pounds sterling. House. A guided tour of this Scottish the best!” — Oscar Wilde To date, there are no borders between Baronial home by the owner was a the Republic and the soon to be glimpse into the complete restoration exiting Great Britain, thus John of an 1860s home complemented Redmill sometimes parenthesized our by a collection of Modern and his seems the perfect quip tour as North(ern). Contemporary art and furniture. to open what was a trip to TNorthern Ireland, exquisitely It is rather difficult to study Victorian At Ballywalter Park, Lord and Lady planned and executed by Alumni Architecture in Ireland without a Dunleath treated us to not only a Association board member John hat tip to Georgian Architecture, champagne-accompanied tour, but Martine and Dublin-based architect as the Victorian is built upon the John Redmill. It was John’s personal shoulders of the Georgian, and many IRELAND Continued on page 3 contacts that opened the doors of so many of the houses, many of which are not open to the public.

We began in Dublin for a peek into some of the more interesting and offbeat buildings, including the Architectural Archives and the Freemasons’ Hall, topped by a welcoming dinner. In the morning we boarded a bus to Belfast.

Belfast, the capitol of Northern Ireland, is the home of Titanic Belfast, a glorious recreation of the nautical tragedy, but, oh, so much more.

On our trip we would flawlessly travel between Northern Ireland Clandeboye. Photo by Cindy Casey

 Letter from the President

elcome to the first issue of the Alumni Chapter Officers Association’s (AA) Journal, a new David Lamdin Wname for the annual newsletter that President was changed to reflect the high quality of essays by Arlington VA our contributors. Carrie Taylor Vice President The new AA Board, which will take office on Providence RI January 1, was elected at the AA annual meeting in David Lamdin May in Madison WI. Many thanks to those who Acting Treasurer Arlington VA are currently serving on our Board and to those who will begin their service in January. Jeanne Solensky Corresponding Secretary The AA provided $24,250 in scholarships for this year. Thanks to all our Wilmington DE members and generous donors. Your contributions continue to support the Sara Durkacs Membership Secretary Summer Schools and provide a means for alumni to keep in touch. Brooklyn NY After ten years at the same dues level, the Board decided to modestly increase the membership dues effective January. Please consider renewing Board of Directors now to take advantage of the 2018 rate. William Cullum New York NY The AA launched the Heritage Society for those who include the Alumni Carl Klein Association in their estate plans. Please contact me with any questions about Evanston IL or interest in joining the Heritage Society. Elizabeth Ann Milnarik Washington DC On behalf of the AA, many thanks to our Membership Secretary Sara John A. Martine Durkacs for her tireless efforts processing our renewals and managing Pittsburgh PA our membership database; our Corresponding Secretary Jeanne Solensky Christopher Pollock for keeping us informed; and to Bob Chapman for his wise guidance. San Francisco CA And special thanks to Nancy Golden and Elizabeth Leckie, who worked James Russiello diligently to put this issue of the Journal together. Without the volunteer Chair, Committee contributions of all these very dedicated folks and others, the AA would not Social Media Operations New York NY be able to continue its valuable work.

Alumni Association Journal I strongly urge you to become a friend of the Alumni Association on Copy Editor: Elizabeth Leckie Facebook and share your news at https://www.facebook.com/vsaalumni/. Production Editor: Nancy Golden Design: Harriet Eckstein Cheers!

Please send news and articles to: David Lamdin [email protected] David Lamdin (Newport 2015, London 2017, Chicago 2018)

 IRELAND Continued from page 1 We were entertained uproariously different architect in the 1830s. in the museum-like home of the After being served cocktails and Marchioness of Dufferin and nibbles, Mr. Lauritzen gave us a Ava; she is the last in line on the tour of one of the more spectacular property originally built in 1801 follies of Ireland, the Temple of the for Sir James Blackwood, the 2nd Winds, found in the demesne and Baron of Dufferin. It has been said considered one of the finest small of the house, “There is no other buildings in all of Ireland. house in Britain like Clandeboye —a monument to a man whose Food and drink were always at life was like a Victorian fairy tale of hand. We were served champagne adventure, and a monument to the at the house of one of the golden age of the largest and most more important people in Irish far-flung empire the world has ever preservation and the founder of the seen…but, unlike the empire, it Follies Trust, Primrose Williams, endures still, a vignette of an almost- along with her husband Edward, forgotten age and little altered since but we also ate and drank royally at Temple of the Winds. Photo by Fred the death of its creator.” both the Victorian Crown Liquor Golden Saloon and Castle Coole, while on We were shown around Mount our own we found wonderful Irish a lovely lunch in the dining room Stewart by the elegant Lady Rose meals around town while sharing of their 1820s Italianate Palazzo Lauritzen, a member of the Stewart tales, listening to music, and Style home. They then gave us a family, and her American-born rehashing our very, very full days. brisk walk around their famous husband Peter Lauritzen, an art We were treated to a tour of walled garden, and explained historian, expert on Venice, and Lissadell by the grandchild of their plans for ecologically sound tour guide for trips several of our household help; his knowledge development to yield more fruits group had previously taken. This knew no bounds, making the tour and vegetables to help the estate National Trust property was started become self-sustaining. in the1820s and completed by a IRELAND Continued on page 6

Victorian Travelers at Clandeboye, the home of the Marchioness of Dufferin and Alva, fourth from the left in the first row. Photo by Fred Golden  The London Summer School: Viewing Sites Old and New By Elizabeth B. Leckie, Assistant Director, London Summer School

The London Summer more delightful for him than to 2017, she suggested certain changes School always springs be introduced to Gavin’s widow to the itinerary. New sites in Tsurprises on its participants. Rosemary Hill? He told her he had London included 2 Temple Place, Consider the case of one of this already read and enjoyed Gavin’s the opulent home and office of year’s 14 students: András Jeney, monograph on Gothic Revival William Backhouse Astor, designed who came from Budapest as the architect George Gilbert Scott. in Elizabethan Renaissance style, first recipient of the Gavin Stamp Rosemary was pleased and surprised, and the Gothic Revival Church Memorial Scholarship. As a and said that the new scholarship in of St. James the Less in Pimlico. licensed cultural tour guide in his Gavin’s name was the most fitting This year, we spent an extra night hometown and a Ph.D. candidate tribute to him. out of London on the coach trip in Architectural History at Peter to allow a day in the Cotswolds Pazmany Catholic University When Jo Banham became the there, what could have been summer school’s course director in OLD AND NEW Continued on page 5

London School 2018 at William Morris’s Red House: (front row) Jo Banham, Marlieke Damstra, Daniela Addamo, Hannah Winiker, Christine Speare, William Aultman, Elizabeth Leckie, Sharon Twickler, Liz Rybka, Kate Fisher; (back row) Chris Mathias, Laura Roscam Abbing, Estée O’Connor, Kim Sels, Ted Sawruk, András Jeney. Photo © Elizabeth Rybka.  OLD AND NEW Continued from page 4 and an expanded focus on William Morris and the Arts & Crafts Movement. Last year’s new sites included Kelmscott Manor and Rodmarton Manor. This year we added Buscot Park, where Burne- Jones’ famous series of paintings The Legend of the Briar Rose is hung in the dining room. We also added the Higgins Gallery in Bedford, the Wilson Gallery in Cheltenham, and the Whitworth Gallery in Manchester to explore Arts and Crafts furniture, decorative arts, and wallpaper. Since Manchester Town Hall is closed for renovation, we visited the splendid Rochdale Town Hall instead. Birmingham has been eliminated Scholars (left to right): ? for the time being, because of the reconstruction of Chamberlain Square in the heart of the city.

In Liverpool, we were met by Joseph Sharples, our city guide and an old friend of the Summer School. He added a visit to the Stanley Dock, a vast complex on the Mersey in the area north of the city. Restoration Rochdale Town Hall. Photo by Elizabeth Leckie. and development there have stirred up controversy with UNESCO over thunderstorm in two weeks began as for the reception, the Alumni Liverpool’s World Heritage Site we set out on our walk under large Association again made a donation designation. We explored partially- cemetery umbrellas. The rain did in his name to the restoration restored buildings and docks and not dampen our spirits and added to appeal at Kelmscott Manor. The saw the newly-opened Titanic Hotel the atmosphere of our visit. Alumni also sponsored after-dinner in one of the large warehouses. drinks at The Philharmonic Dining The Alumni reception was Rooms in Liverpool, a magnificent Ian Dungavell led the trip north graciously hosted once again by Edwardian pub with Art Nouveau again this year. He is a former Martin Levy and his wife Patricia interiors. Joseph Sharples led us Director of the Summer School, at their home and gallery in Mount afterward on a twilight walk around and was coaxed back by Jo after Street, Mayfair. Martin is the the exterior of the Roman Catholic Gavin Stamp retired in 2016. Ian owner of H. Blairman & Son, a Liverpool Metropolitan Cathedral, is the chief executive at Friends fourth-generation firm specializing built in the 1960s on foundations of Highgate Cemetery in north in Aesthetic and Arts & Crafts begun by Edwin Lutyens before London, and invited us for an furniture and decorative objects. World War II. optional visit to the cemetery on About 20 people attended. We Friday evening, July 13, where had fewer local alumni than usual, It has become a tradition to spend we had a fascinating look at but hot weather may have drawn the final day of the Summer School headstones, monuments, even the people out of London. Since Mr. inside of mausoleums. The only Levy will not accept anything OLD AND NEW Continued on page 6

 IRELAND Continued from page 2 extremely special. He greeted us at the bus and announced forthwith that we were about to see the ugliest house in Ireland. The reason for this was a dispute between the owner of the house and noted English architect Francis Goodwin. The owner insisted on a budget lower than the architect created, so materials and ornamentation were minimized, leaving a stark Grecian Revival house.

There were more houses and far more memories, including uproariously funny tales by our guide John Redmill, as he attempted to explain Irish aristocracy and how you properly greet each and everyone with a title, and there were jokes from our extremely competent bus driver Niles.

We learned so much about the “Troubles” and how they effected the architecture and overall “feel” of Belfast, and we were given a small glimpse of Ireland’s difficult history through the churches that we visited.

In the end, everyone walked away with a pearl of wisdom, a photo of indescribable beauty, new friends, and a desire to go back as soon as possible. v (Top) Lady Rose Lauritzen, Stephen Haigh, Janie Petkus, Peter Lauritzen at Mount Stewart House; (Center) Lunch at Markee Castle, Ormiston House; (Bottom) Lissadell, Ballywater House. Photos by Cindy Casey

OLD AND NEW Continued from page 5 Jekyll’s test garden), and tea and and celebration as we could have presentation of certificates and wished. We were back in London in Surrey, visiting the Watts Gallery quiz prizes in the garden of Norney that evening for a delightful farewell and Chapel, having a picnic Grange after a tour of the house dinner at The Black Friar, the Arts lunch in Gail Naughton’s garden with owner Russell Clapshaw. We & Crafts-inspired pub at Blackfriars The Quadrangle (once Gertrude had as lovely a day for the visits Bridge. v

 Behind the Book By Karen Zukowski, Philadelphia Summer School (1986), London Summer School (1989)

hen I chanced to the New World. Perspectives on Rosenbaum, Director of Collections meet the indomitable the preservation, restoration, and Research for TOP, and I were WNancy Golden a and interpretation of Olana and recruited as editors. Budgets and few weeks ago, she insisted that I Church’s art are provided by essays outlines were drawn up, and scholars explain how Frederic Church’s Olana by Hudson River historian David and writers were approached. A on the Hudson – Art, Landscape, Schuyler, Central Park expert contract was signed. Then followed Architecture came to be. I co-edited Elizabeth Barlow Rogers, landscape an intense nine months: arranging and contributed an essay to this architect and restorer Thomas drone and still photography book, recently published by Rizzoli. Woltz, contemporary painter at Olana, requisitioning high- Many of you might know that I Stephen Hannock, and Larry resolution images of Church’s was the curator at Olana, and now Lederman. artwork, writing, editing, designing, serve on the board of The Olana more editing, proof-reading, and Partnership (TOP). Olana, the The seeds for this book were sown finally, with a click of a button, home and studio of the Hudson many years ago. Prior directors sending a huge digital file off to be River School painter Frederic Edwin of Olana had dreamed of a large- printed. The resulting volume is, Church, is an abiding interest of all format book showcasing Olana, we believe, beautiful and thought- Victorianists. but the monumental work of provoking. We hope it will make restoring and maintaining the Olana (more) famous, be a welcome Frederic Church’s Olana on the property and opening it to crowds tool in fundraising for the never- Hudson is a beautiful coffee table took precedence. A few years ago, ending work of restoration, and book, with some serious content. David Redden, then chair of the bring new visitors to Church’s great The modern photography of TOP board, and Sean Sawyer, the showcase on the Hudson. v Olana was a labor of love by Larry new director of TOP, both realized Lederman, who has spent years that a book would help fulfill one following in Church’s footsteps, plank of TOP’s strategic plan “Make camera in hand. The landscape Olana Famous.” The book could at Olana, and the Persian-style highlight new scholarship on Olana mansion at its summit, have never as Church’s greatest work of art, and been shown in such breadth and could foreground the innovative loveliness. Amid these images strategic restoration plan for the are three scholarly essays. Julia landscape. These were reasons to Rosenbaum discusses Church’s revive conversations with Rizzoli shift from two-dimensional oils that had occurred a few years prior. to his work in three-dimensional: the landscape and architecture Larry Lederman stepped forward of Olana. Eleanor Jones Harvey with a contribution of his images. compares Church and Alexander New York State and its Office of von Humboldt; both used reams Parks, Restoration and Historic of empirical data to portray the Preservation, which owns and underlying patterns of the cosmos. operates Olana, agreed to contribute And I explain that the house at images of items from the Olana Frederic Church’s Olana on the Olana, packed with references collection, including dozens of Hudson – Art, Landscape, to ancient cultures and biblical rarely-published oil sketches Architecture, published by Rizzoli. themes, is a New Jerusalem in and architectural drawings. Julia  The Chamber of Horrors By Jo Banham, Director, London Summer School

he 2018 London Summer terms of the artistry and quality of in Marlborough House, Piccadilly School’s visit to the British its manufactured goods. Indeed, in 1852, this was the brainchild TGalleries at the Victoria to many people, the advent of of Henry Cole, an energetic and and Albert Museum included an mass production merely seemed to versatile campaigner for design exploration of a fascinating display have encouraged the proliferation reform who had turned his hand that reveals much about mid-19th- of cheap, poorly made work and to a wide range of enterprises—the century attitudes toward design. a taste for decorative excess, and Penny Post, the first Christmas the 1830s and 1840s witnessed Card, and the introduction of a Early Victorian Britain was one of the a growing urgency in debates uniform national railway gauge— wealthiest and most technologically about standards of British design. before tackling the Great Exhibition. advanced nations in the world, Mounting calls for improvements Cole’s ability to get the job done in but, increasingly, it appeared to led first to the establishment of difficult circumstances earned him lag behind its Continental rivals in Parliamentary Select Committees the reputation of a universal fixer, on Arts and Manufactures (1835 leading Prince Albert to declare: “If and 1836), and then to the creation you want steam, get Cole!” of Government Schools of Design (1837 onwards). They culminated Cole was awarded a grant of £5,000 in the Great Exhibition of 1851 that to purchase British and foreign was intended to show once and for goods for the new Museum that all the global supremacy of British exemplified high standards of manufacturing and goods. Housed production and design. But in a in Joseph Paxton’s Crystal Palace, the corridor close to the entrance, he success of this venture in terms of the also created a display, popularly number of visitors —6 million; the known as the “Chamber of Horrors” profits—£186,000 (worth roughly after the original in Madame £17 million today), and the sheer Tussaud’s Waxwork Museum, extravagance of the spectacle which that was an ambitious attempt included full-size locomotives and to teach visitors about good steam-powered machines as well and bad design. It contained 87 as smaller novelties, jewelry and examples of contemporary textiles, furnishings, seemed incontrovertible. wallpapers, ceramics, fancy goods But, with most of the prizes going to and metalwork, all readily available France and Germany, the majority from commercial manufacturers, of goods on show also served to some of which illustrated “Correct,” underline the country’s continuing and others “False” principles of deficiencies in design. design. By displaying these goods alongside one another, accompanied A direct outcome of the Great by explanatory texts, Cole hoped Exhibition was the creation of the that the public would learn to Museum of Ornamental Art, the distinguish between good and forerunner of the South Kensington bad work and develop a taste for Museum, later the V&A. Opened products that incorporated Correct Principles. Gas Lamp, R. W. Wingfield, 1848 Victoria and Albert Museum CHAMBER Continued on page 9  materials and use; illusionistic and pictorial effects were forbidden and decoration on flat surfaces should be strictly two-dimensional. Natural forms should be abstracted and formalized and never direct imitations of nature.

Examples of False Principles in the Chamber of Horrors were condemned for being inappropriately naturalistic, incorporating trompe l’oeil decoration, using extravagant ornament, or masking their function. The wallpapers, for instance, included perspective views of a railway station, views of the Crystal Palace, and realistic depictions of Gothic architecture—all of which used illusionistic, three- dimensional effects that were deemed unacceptable in the decoration of a flat and solid surface like a wall. Chintzes and carpets were likewise Perspective Views of a Railway Station, Wallpaper printed by Potters of Darwen, castigated for their garish colors and c.1853, Victoria and Albert Museum overly naturalistic motifs that tried to compete with nature. An earthenware The idea that decoration and design of ‘every one to his taste’, would be bread plate, which incorporated a should be subject to rules was not as mischievous as ‘every one to his picture of Christ and the Pharisees without precedent. A.W.N. Pugin’s morals’; and I think there are certain at its center, was considered True Principles of Pointed Architecture principles of taste which all eminent incorrect because the image would (1841) had already declared that artists are agreed upon in all parts of be obscured when the plate was the way that objects were made the world.” Moreover, Cole’s personal in use, while the choice of subject should not be disguised, and belief in the rational nature of design itself was clearly “objectionable” in that decoration should always be encouraged true and false principles CHAMBER Continued on page 10 subservient to an object’s function that were dictated by fact and logic. and construction. Owen Jones’s influentialGrammar of Ornament Cole and his associates particularly (1856) went even further in stating objected to the way in which many that although all ornament should domestic goods were dressed up derive from nature, the forms of to look like something else—pine nature should be conventionalized was grained to resemble mahogany, or abstracted and arranged in cotton was dyed to look like silk, regular, symmetrical repeats. and carpets were ornamented to imitate elaborate flowers and vines, Henry Cole not only endorsed these and so on. Key to their definition views but was also deeply committed of Correct Principles, therefore, to the probity of Correct Principles were the decrees that objects in art and design: “Taste,” he wrote, should not disguise their function “has its principles as well as morals, or the materials with which they which people understand and know were made. Ornament should Bread Plate, F & R Platt & Co., 1851 … I think to act upon the principle also be appropriate to the object’s Victoria and Albert Museum  Chamber Continued from page 9 by Cole and his fellow curators. tirelessly to get the display closed, Richard Redgrave’s Wellspring glass although not before it had gained water carafe exemplified Correct considerable publicity. Principles in its simple form and the stylised decoration based on A novel instance of an eye-catching, reeds. Two wallpapers and a design didactic museum display, the for encaustic tiles by Pugin used long-term effectiveness of Cole’s similarly suitable, two-dimensional Chamber of Horrors, and indeed of ornament based on Gothic and the whole mid-century movement heraldic motifs. To many observers, for design reform, was nevertheless however, these objects were far open to question. Both were clearly less appealing than their False significant expressions of a move alternatives and visitors to the away from elaborate, naturalistic exhibition were frequently torn styles of ornament towards a more between their preference for ornate restrained and “honest” approach decoration and their newly acquired to decoration and form that knowledge of good design. Dickens’ dominated progressive architecture Household Words included a satirical and design in the later Victorian article featuring the fictional Mr. period. Yet, progressive taste is Crumpet of Lump Lodge Brixton always in the minority, and an whose visit to Marlborough House examination of the catalogues of Well-Spring Carafe, Richard Redgrave, revealed the shocking errors in his commercial manufacturers suggests 1847, Victoria and Albert Museum taste. “When I come home,” he that naturalistic and revival styles wailed, “a dozen hideous forms glare remained popular at the top end taste. And particular outrage was at me in my hall. My snug parlour of the market as well as for mass- reserved for a gilt, brass and glass gas maddens me; the walls and floor produced goods, the differences burner in the shape of a flowering are densely covered with the most often being simply those of the convolvulus. “Gas flaming from the frightful objects; a detestable thing quality of materials, finish, and cost. petal of a convolvulus!” shrieked lies spread out at full length before Henry Cole would no doubt have the catalogue; it was derided as my fire; … I was ashamed of the been Horrified! “entirely indefensible in principle” pattern of my own trowsers, for I and another example of the “ignorant saw a piece of them hung up there as All quotations from Henry Cole and search after the merely novel.” a horror.” Predictably, manufacturers the Chamber of Horrors: The Curious were even more outraged to see Origins of the Victoria and Albert The examples of good design examples of their work exhibited as Museum, by Christopher Frayling, included several items designed examples of bad design and lobbied London, 2010 v

10 London Summer School: A Dutch Take on Heritage Conservation By Marlieke Damstra, Cultural Heritage Consultant in the Netherlands

In addition, we do a lot of project inspired lots of discussions among work commissioned by the local the participants over coffee and in government or private individuals. the pub. For me, one of the most Projects vary from the creation of exciting excursions was our visit local heritage lists to viability studies to Stanley Dock in Liverpool. Our for re-development of abandoned guide, World Heritage officer and buildings and its relation to independent heritage professional sustainability. John Hinchliffe, gave an in-depth tour of the redevelopment of the The VSA London Summer School complex. He told us about the provided the perfect opportunity difficulties and opportunities that for me to not only immerse myself arose from the conversion of this in beautiful Victorian art and complex into its new use as an architecture, but also learn about the apartment building, for example, the cultural-heritage field of the country problem of limited floor height and itself. I was looking forward to the light exposure and the interesting lectures and excursions given by the solutions that they came up with. View of Stanley Dock from the Titanic professionals from the field. One of Hotel terrace. Photo © Elizabeth Rybka. my goals was to collect case studies The redevelopment of the tobacco of monuments that were being given warehouses reminded me of a new life in the form of additions or similar project in Gelderland, called attended the Victorian Society complete redevelopments, so that I the DRU, a former iron foundry. London Summer School as could take these examples back to The complex had been unoccupied I a junior cultural heritage the Netherlands as an inspiration for a long time before the local consultant. I work for Het Gelders for future projects. The excursions Genootschap, a Dutch heritage provided some great examples and DUTCH TAKE Continued on page 12 management organization in Gelderland in the eastern part of the Netherlands, with a focus on consultancy. Our main goal is to strengthen the spatial quality of our environment. My colleagues are specialists with various backgrounds in, for example, urban development, landscape architecture, infrastructure, historic estates, and historic farmsteads. The work of the team of cultural heritage consultants can be roughly divided into two categories. We take part in city council heritage advisory committees and independent monuments committees where listed building permits are assessed. Albert Dock, warehouse interior. Photo © Elizabeth Rybka. 11 DUTCH TAKE Continued from page 11 almost all of the window frames intervention when we took a coffee with newly produced ones, nearly break in the café in the Sackler government of Oude IJsselstreek all frames were carefully removed, courtyard of the Victoria & Albert decided to transform it into an cleaned, and restored before being Museum. This new courtyard attractive area to work, live and meet reinstalled. The approach was of showed the struggle of the museum other people. During the process special importance because the iron to find balance between historic of restoration and redevelopment window frames remind us of the values, on the one hand, and rapidly of the DRU similar problems former function (iron foundry) of increasing visitor numbers on came to light. For example, as the complex. Many of the cast-iron the other. In order to meet these with Stanley Dock in Liverpool, parts of the structure had to be changing needs, sometimes risks the cast-iron window frames were preserved. must be taken, which in this case in extremely poor condition. Yet, meant the removal of the listed at the DRU a different approach We were able to experience another stone screen, designed by Aston was used. Instead of replacing surprising example of a radical Webb in 1909, to open up the closed side entrance into a new one. The result is a refreshingly light and welcoming courtyard and café that are tiled with handmade porcelain tiles produced by the Dutch ceramics factory Royal Tichelaar.

The summer course was a dream come true. The opportunity to explore a wide variety of 19th- century applied arts and building types together with professionals is unique. Such intensive courses, in which participants can immerse themselves in the cultural, social, and economic developments of that time, are unfortunately not yet offered in the Netherlands. I had the chance to deepen my knowledge of Victorian architecture, and received a thorough introduction to topics I was less familiar with, such as Victorian dress and Pre-Raphaelite art.

I would like to thank my fellow participants and the wonderful hosts Jo, Liz, and Ian for our exciting time. The two weeks flew by, and for me the course could have lasted at least another week. I especially appreciated the open and welcoming character of our class. The enthusiasm of the group was infectious. I loved all the discussions, sparked by the different perspectives that the participants brought. I hope to Albert Dock; warehouses with bridges; doorways. Photos © Elizabeth Rybka meet you all again! v 12 A View of George Gilbert Scott’s London By András Jeney, Art Historian, Ph.D. candidate, Budapest, Hungary

was very flattered to be the first his major buildings. Scott was also 1861 of Prince Albert, the popular recipient of the Gavin Stamp criticized for his church restorations, husband of Queen Victoria. Scott’s I Memorial Scholarship to the but these medieval structures were entry in the competition was the London Summer School, established in serious disrepair and restorations only Neo-Gothic design, influenced after his death in December, 2017. were inevitable. In retrospect, by medieval Eleanor crosses, and Stamp’s significance as a British it’s acknowledged that his work it was chosen by Victoria. It is a architectural historian was already was respectful to the original. In vast, resplendent monument with well-known to me. His monograph the first half of the 20th century, adornments inspired by medieval on the Victorian architect, George Victorian revival styles were out of jewelry traditions. Gold, mosaic, Gilbert Scott, has influenced my favor, another reason Scott was not enamel, marble, and polished study of Scott’s works. He was a appreciated. Now as my summer granite were used. When Scott was prolific architect, with 879 buildings school experiences have convinced urged to include his own portrait to his credit. me, these attitudes deserve revision. in the sculptural reliefs around the base, he hesitated out of modesty. Scott was accused of being more Scott submitted Neo-Gothic plans He solved the problem in the end by interested in success than in creating to the design competition for adding simply his profile behind the original works of art. Stamp agreed the Royal Courts of Justice. The figures of his eminent predecessors, that he delegated much of his winning applicant was G.E. Street. Pugin and Cockerell. Initially, Scott design work to assistants, but he In my opinion, Scott’s plan for hoped for the commission for the always checked their progress, and the front facade (with accentuated neighboring Royal Albert Hall, too. he devoted himself to the plans of middle block, two tall towers and large windows) has character more The construction of the Foreign appropriate for a public building Office has an exciting history, due than the executed Street elevation. to changes in government and the public controversy called the Battle The first of his buildings we visited of the Styles (Gothic vs. Classical). was the St. Pancreas Station and Scott and Matthew Digby Wyatt Hotel (modern building type in were chosen to build the complex medieval style), his most popular in Neo-Gothic style. However, work. It has elements of a German Palmerston unexpectedly became the fairy tale castle, and the roof gables PM, and he was a strong opponent are Flemish style. The clock tower of Gothic. After a heated public shows the influence of Pugin’s debate, Scott agreed to an Italian Big Ben tower on the Houses Neo-Renaissance design. He then of Parliament. Glass and iron tried to trick Palmerston with plans construction were used on the roof for an early Renaissance-Venetian- of the train sheds. The entrance to Byzantine palace. Palmerston was the main staircase hall completely not fooled, so Scott was resigned amazed me. to designing the present Neo- Renaissance building. Many feel the Another major work we visited interior is more impressive than the was the Albert Memorial, which exterior. A contemporary opinion brought Scott a knighthood. It Albert Memorial. Photo by András Jeney commemorates the sudden death in SCOTT’S LONDON Continued on page 14 13 SCOTT’S LONDON Cont’d. from page 13 Scott. In Oxford we visited Exeter London, I saw the unrivaled and College Chapel by Scott, which beautiful St Giles’s, considered by was that although Scott’s heart was influenced by Sainte-Chapelle Scott to be his best church. After nearly broke over this project, it was in Paris. I loved it, partly because that, I looked at the facade of the finest building he ever did. In a chapel of the Matthias Church Fishmongers’ Hall. Although its my view, the picturesque exterior in my own city, Budapest, was also architect was Henry Roberts, his on the St James’s Park side gives influenced by Sainte-Chapelle. assistant was the young Scott, at the this magnificent palace a unique start of his career. character known throughout the After the Summer School, I world. continued my study of George During the Summer School, we Gilbert Scott sites. I went to West visited a great number of Victorian We also visited the handsome city Yorkshire to see the Leeds General buildings, in the Arts & Crafts, as of Lichfield to see the cathedral Infirmary, one of the first hospitals well as in historicist revival styles, all restored by James Wyatt and later, in Britain using the American of which provided an unforgettable much more sympathetically, by low pavilion system. Returning to experience for me. v

Exeter College Chapel, Oxford. Photo by András Jeney

14 The Chicago Summer School: Reflections on the First Four Years By Tina Strauss, Co-Director of the Chicago Summer School

setting thunderstorms forcing the group to remain on the bus at several sites. This was particularly difficult in the drenching rain at Graceland Cemetery, where buses are not allowed. We managed to convince security to allow us to do it anyway. Several brave souls in the group walked to various grave sites, including those of Louis Sullivan, Daniel Burnham, George Pullman, and the Getty Tomb. It required wading through six inches of standing water. Conversely, there were lovely early morning walks through Jackson Park to Wooded Isle to see the site of the World’s Columbian Exposition. We enjoyed the cool shade on the expansive lawn of the William Clow house designed by David Adler in Lake Forest, Tina Strauss and John Waters, Co-Directors of VSA Chicago Summer School. and got to know each other at an Photo by Tina Strauss outdoor reception on the deck of the Cliff Dwellers Club, overlooking Michigan Avenue, Millennium Park, he Chicago program did in the first couple of years) Grant Park, and Lake Michigan. recently completed its or validation that the program is Tfourth year. It was an working well. Regarding course options, John amazing experience, as William Waters and I begrudgingly admit Canup describes in his essay Of course, we have to acknowledge that even though we find a topic (page 19). For the Co-Directors, that there are things that are out fascinating, it may not resonate it is the culmination of a year of of our control. In Chicago, this with the group. Sometimes we will preparation. It all miraculously includes traffic, construction, try again the following year or we comes together for the incoming concerts and festivals, baseball may drop it, providing us with the students, one hopes, with a schedules, hordes of tourists, and, opportunity to plan something new. minimum of unpleasant surprises. inevitably, the weather. That will In our first year, we attempted to Our first step following the dictate whether the group walks or show the incredible scope of the program, beyond breathing a sigh shuttles to sites, and how much time Chicago Park District. It proved of relief and catching up on sleep, is can be spent outdoors. This year to be poor timing (the hump day to conduct a serious “postmortem.” there were several days that topped in the middle of the program) It is a useful, cathartic, sometimes 100° F. Our intrepid summer and too enormous for the group painful, and, ultimately, a very school class rallied each day and to grasp. The next year, instead of productive process. It can lead dealt with the heat. In our first year, to fundamental revisions (as we rather than heat, we had record- REFLECTIONS Continued on page 16 15 REFLECTIONS Continued from page 15 touring parks, we used the afternoon to explore the town of Pullman. Subsequently, we have scheduled a day in the far northern suburbs of Lake Forest and Lake Bluff. The trip features an entire morning at Crab Tree Farm that has become a highlight for the class.

Going forward, as as we’ve done from the beginning of the program, our criteria include a must-see list of what Chicago has to offer, that falls (mostly) into the time frame of 1837-1914, and that we can navigate on foot or by bus. That’s a challenge to schedule, but great fun. Our hosts and lecturers seem to enjoy it as much as we do. The students have been very receptive to everything we can show them in our six action-packed days. We’re already looking forward to next year. v

Above: Chicago class in the Library of The Rookery: (front row) David Vespa, Phyllis Quinn, Richard Guy Wilson, Tina Strauss, John Waters, Gunny Harboe, Julie Cantwell; (back row) Tom Larsen, Meg Starr, David Lamdin, Carla St. Romain, David Desimone, Kerri Rubman, Mary Ellen Rigby, William Canup, Raven Hudson. Photo by John H. Waters

Right: St. Andrew’s Chapel (Bertram Goodhue), St. James Episcopal Cathedral. Altar designed by Phoebe Traquair. Photo by John H. Waters 16 Chicago’s Fine Arts Nexus By John Waters, Chicago Summer School Co-Director

mong the new sites Tina architect best known for industrialist renovate the structure. By the end Strauss and I added to the George Pullman’s company town of 1898 he had added two theaters A2018 Chicago Summer south of the city. Opened in April on the first floor, and two additional School itinerary was the Fine 1887, the building originally stories at the top. The skylighted Arts Building on South Michigan rose eight stories above Michigan tenth story was particularly Avenue, in the Loop, Chicago’s Avenue. It has a hybrid structure, important to the building’s new use, downtown business area. Because we with both its interior metal framing as it was specifically intended to were concerned about overloading and exterior walls carrying portions house artists’ studios. the class, we made this an optional of its weight. This makes the large visit. We need not have worried; windows of the first five floors of Interspersed among the studios, this class was a game group and its load-bearing Michigan Avenue classrooms, and offices were eagerly joined in the walk down façade particularly impressive. The numerous shops and galleries. Michigan from our classroom. What lower floors were used as showrooms These included three designed by greeted them was a time capsule. Frank Lloyd Wright, who had a A building largely preserved rather studio on the tenth floor himself than restored, the Fine Arts Building for a period of time. The first of allows its history to be read and Wright’s spaces, designed in 1908 experienced, while it continues to for bookseller Francis Browne, was carry on the same business as it has on the building’s fifth floor. The for the last 120 years. shop overlooked Lake Michigan on one end, and the building’s central That business is sheltering activities light well, known as the “Venetian connected with the fine arts: artists’ Court,” on the other. The long studios, designers’ and architects’ space, divided into bookshelf- offices. There is an excellent lined alcoves, was decorated with bookstore, but it’s on the second Wright’s characteristic dark, linear floor, so you have to look for it. woodwork. Wright likely met Enterprises related to music abound, Browne as a fellow member of the including one of the last sheet music Caxton Club, a meeting place for stores in the Loop. There are shops Fine Arts Building, Solon Beman, bibliophiles. The club’s headquarters for the fabrication of instruments, 1885-87 and 1897-98, east elevation. was also on the building’s tenth and endless music classrooms. At Photo by John H. Waters floor. It may have been on the the right time, being in the building strength of the Browne shop that is not just a treat for the eyes, but a for Studebaker’s equipment, while Wright secured the design of two joy for the ears, as one moves from a the upper floors, with their smaller other spaces in the building, the piano lesson, to a voice lesson, to an but more numerous windows, were Thurber Art Gallery in 1909 and ensemble rehearsal. used for equipment repair. the Mori Oriental Art Studio around 1914 or 1915. The Thurber The Fine Arts began its life as the By 1897 Studebaker’s needs changed gallery was located on the top Studebaker Building, the Midwest and, working with music publisher floor of a five-story annex to the sales and repair center for carriages and real estate developer Charles north of the main portion of the and wagons of the Studebaker Curtiss, it redeveloped the building Fine Arts. It therefore not only Corporation. It was designed in and changed its name to the Fine 1885 by Solon Beman, the Chicago Arts. Beman was again hired to NEXUS Continued on page 18

17 was a time when artists’ studios were not just work places, but showplaces. Clarkson’s studio at the north end of the tenth-floor lobby was a perfect example of this. Its fine carpets and books, as well as a prominently-displayed copy of Velasquez’s Las Meninas, all marked the artist’s knowledge of the finer things. They were carefully displayed to appeal to his potential portrait clients. Clarkson’s success at the time becomes evident as soon as one starts looking at the name plates on portraits hung in universities, clubs, and other Fine Arts Building, tenth-floor lobby, looking north.Photos by John H. Waters institutions throughout Chicago.

NEXUS Continued from page 17 reminder of when the building was While the Fine Arts Building may home base to many of Chicago’s not be the cultural center it once had windows out to the lake on most prominent artists, including was, it is still a vibrant hive of the east, but skylighted galleries to Charles Francis Browne, Ralph activity. Along with the expected the west. The Mori Gallery was on Clarkson, Berthe Menzler Peyton, stops of the Chicago Summer the eighth floor. Wright’s designs Frederick Clay Bartlett, Oliver School like Unity Temple, the for these spaces survive only in Grover, Martha Susan Baker, and Auditorium, and Glessner House, drawings and photographs, but this Frank X. Leyendecker. They are the Fine Arts is a wonderful example evidence shows environments that largely forgotten today, even in of sites that are often among the have much in common with the Chicago, but in the early 20th most exciting of the VSA summer work of his Prairie period. After century they were part of a thriving schools, where the unexpected the Browne shop moved in 1911 community—much of it centered brings to life the past in a whole and the Thurber gallery in 1917, in the Fine Arts Building. This new way. v it is assumed that those interiors were dismantled shortly thereafter. Mori is known to have stayed in the building much longer, selling items to Wright from the Fine Arts as late as 1944, but by that time Mori had moved to the sixth floor. Some of the furniture Wright designed for Mori has survived and is now in the collection of the University of Illinois in Chicago.

Taking the elevator (still run by a real live operator!) to the tenth floor gives access to one of the unanticipated pleasures in the Loop. The operator opens the elevator’s gate with a clang to reveal a series of murals that wrap the tenth-floor lobby walls. These Fine Arts Building, tenth-floor lobby, looking northwest (from left) murals (1900- murals are a striking, tangible 1906) by Frederick Clay Bartlett, Oliver Dennett Grover, Martha Susan Baker.

18 Chicago Summer School: Modernism on Lake Michigan By William Canup, Façade Restoration Specialist

s an alumnus of both the when I found out that the Victorian Society’s Newport program’s housing accommodations Aand London Summer were downtown right in the Loop, Schools, I had high expectations just two blocks away from Grant coming into the 2018 Chicago Park. This proved an excellent program. I am pleased to say that home base, not only for our tours the Chicago program did not of nearby historic landmarks, but disappoint. Our gifted guides, also for going out in the evenings Richard Guy Wilson, Tina Strauss, and getting to know the current and John Waters, led us on a well- character of the city. We hit the crafted and highly enjoyable odyssey ground running on the first day covering the Windy City’s most with a walking tour of the Loop historic and influential works of and a visit to the Art Institute architecture and design. As in the of Chicago. Our introduction Newport and London programs, to the city was capped off with the underlying academic rigor of a welcome reception at the Cliff the Chicago Summer School made Dwellers, a private club founded the program as informative as it was in 1907 for artists, architects, and Staircase of the Glasner Studio entertaining. other creative professionals. While (1928-32) by Edgar Miller. Photo by sipping chardonnay on the rooftop William Canup I hadn’t spent much time in terrace, I didn’t know whether to Chicago before, so I was delighted be more impressed by the view of Lake Michigan or the names of notable members on the walls that included Daniel Burnham and Louis Sullivan.

The rest of the program flowed in similar fashion with an agenda full of exceptional sites, several of which are not open to the general public. One of my personal favorites was the Glasner Studio, with its intimate jewel box interior designed by Edgar Miller. Perhaps the 20th century’s most under-celebrated Renaissance man, Miller embellished almost every surface of the studio with carved or applied detail in a variety of media with inspired originality. I was also blown away by our trip out to Crab Tree Farm, a private estate designed by Chicago architect Solon Beman, View from hotel dormitory at University Center in the Loop. Photo by William Canup MODERNISM Continued on page 20 19 MODERNISM Continued from page 19 early skyscrapers in New York and exploring the interior volumes of enriched my understanding of the Frank Lloyd Wright’s Unity Temple where we had the privilege of touring evolution of 19th-century building are experiences that are difficult to an exceptional collection of Arts & technology. adequately capture in words. My Crafts ceramics and furniture. feelings of excitement and wonder Apart from professional while visiting these exceptional The Chicago Summer School had development, one of the greatest spaces are the some of my best a multidisciplinary approach to takeaways I have from the trip is the memories from Chicago Summer learning about each of the historic inspiration gained from seeing such School. They are memories to last sites we visited, and the tours and an array of extraordinary landmarks. a lifetime, which is exactly how lectures touched on everything from Sitting down in front of the fireplace long I plan to continue studying decorative arts, to 19th-century in Burnham & Root’s studio or architecture. v engineering, to the history of retail. Apart from the diversity of sites and subject matter, one of the program’s strengths was the variety of participants it drew. Everyone on the trip had wide-ranging backgrounds and interests. It was wonderful to learn from the other attendees and gain new insights because of their unique perspectives.

As a battle-hardened veteran of the two other summer schools, I knew firsthand that the Victorian Society programs offer invaluable educational opportunities for preservation professionals. So much of what I have learned during past summer schools has been directly Professor Richard Guy Wilson and William Canup play acting Burnham & Root applicable to my work. The theme (Left) in their studio in the Rookery Building. of the 2018 Chicago Summer School, the American roots of Modernism, dovetailed perfectly with my professional interests. I work as a façade inspector for an architecture firm in New York City that specializes in restoring the exteriors of historic buildings. For this job, I often examine the sides of tall buildings from a suspended window-washing scaffold. It was terrific to visit the birthplace of the skyscraper and learn about its development by seeing many early incarnations in person. Studying the Chicago School of Architecture and touring works like the Rookery and the Monadnock Building by Burnham & Root have provided Lobby of the Rookery Building (1888), redesigned by Frank Lloyd Wright in me a point of comparison for 1905. Photos by William Canup 20 Newport: The Center of Modern Architecture in the 19th Century Richard Guy Wilson, Director, Newport Summer School

usage until the 1920s and reflects which was innovative for the day in the new designs emerging in Paris, its open space. Berlin, Dessau, and Weimar. This usage of Modern was picked up in Today, we interpret architects whose the United States with institutions buildings appeared in Newport, such such as the Museum of Modern Art as Richard Morris Hunt, McKim, in New York, founded in 1929, and Mead & White, Peabody and Sterns has become the ruling interpretation. as bound by tradition, tied to the But as noted, lower case “modern” historical past. But their work could meant new ideas, not a style, and be very innovative such as that of much of the architecture produced in Richard Morris Hunt (1827-95), Newport was innovative. whose work was constantly praised and appeared with great regularity Richard Upjohn’s Kingscote, in the most influential architectural originally built 1839-41 for George publications. Hunt’s Breakers (1892- Richard Guy Wilson. Photo by Noble Jones, a planter and cotton 95), frequently seen as the crown Merrily Gumpel merchant from Savannah, is one jewel of excess, was historical in of the first Gothic Revival cottages the sense that its outer form was ilson, you have derived from Italian palazzi. But to be kidding! underneath the Hunt palazzo were “WNewport as “Wilson, you have to be very progressive elements, such as a Modern? Why, it was the center kidding! Newport as Modern? steel frame, which was very new for of Gilded Age excess!” This is a the time, Guastavino vaulting, which paraphrase of what several individuals Why, it was the center of was both fireproof and created large have yelled at me when I assert that Gilded Age excess!” spans, electricity (very new), multiple some of the architecture built in water systems, and fire suppression. Newport during the 19th century Technologically, it was one of the was very innovative and might be in the United States. He took the most advanced buildings in the considered “modern.” One must be idea from English sources (Upjohn United States, if not the world. careful with the term since in the emigrated from England) and 19th century, “modern” without a converted it into the standard Richard Morris Hunt, who capital M meant design that was new, American building material, wood. frequently receives the label “the up to date. It also meant buildings Upjohn’s design for Jones caught King of Excess” with the Breakers, that employed new technology. the attention of Andrew Jackson Marble House, and Ochre Court, Today of course, it is “Modern” (with Downing, who adopted it and had a very experimentalist earlier a capital M) and means a style (or published numerous iterations career. Hunt, the first American to styles) that rejects history and usually in his books: Cottage Residences study at the École des Beaux–Arts in rejects ornament. Depending on the (1842), and The Architecture of Paris, 1848-1853, came under the Modern style one is discussing, it can Country Houses (1850). Jones’s influence of the leading architectural be minimalist, has flat or low roofs, Newport house passed into the theorist, Eugene-Emmanuel Viollet- and lots of glass. There are many hands of the King family, who le-Duc. Viollet-le-Duc, who was a Modern styles. However, the capital in 1880 hired McKim, Mead & letter “Modern” doesn’t come into White to make a major addition WILSON Continued on page 22 21 wILSON Continued from page 21 and others, from the later 1870s and 1880s that were covered in medievalist, argued in his various shingles and also contained open treatises that buildings should directly floor plans. Of McKim, Mead & express their structure, it should not White’s various Newport houses, be hidden. Hunt’s Griswold House, the Isaac Bell,1882-83, is perhaps 1861-1864 (now the Newport the best example of the free-flowing Art Museum), was his first major space that connects the hall, the work in town and demonstrates its parlor, the dining room, and then structure with the heavy exposed windows from floor to ceiling that timbers on the exterior. This was open on the porch. On the exterior, the first of a totally new design in the shingled gables and forms were America. The Griswold House was derived from 18th-century houses also revolutionary with the vast that McKim had closely studied and tall interior staircase hall and and commissioned photos of the different levels and balconies. them. In the 1880s, the Bell House The Breakers, loggia with Guastavino Hunt designed several other similar was described in a publication as vaulting; Richard Morris Hunt, 1882-95. houses in Newport (a few of which “modernized Colonial.” The impact Photo by Richard Guy Wilson still exist) before he fell into his of the Bell’s open space can easily “mansion” or Breakers mode. be seen in the Chicago suburban houses that Frank Lloyd Wright Georgian Revival.” His Blossom Many years ago, the great American began to design in the late 1880s House (1892), located in the south architectural historian Vincent and would continue for the rest of side of Chicago, is a direct copy of Scully put Newport back on the his life. And to be noted, Wright McKim, Mead & White’s H.A.C. map with his book, The Shingle copied many of the forms of the Taylor House,1882-84, in Newport. Style (1955), with the sub-title: Newport shingled houses in his McKim, Mead & White had very Architectural Theory and Design own work, such as his “Home and carefully studied the grand American from Downing to the Origins of Studio” (1889), in Oak Park. houses of the so-called Georgian Wright. Scully also coined the period, c.1700-1800, and created term “Stick Style,” and both While Wright deserves the title one of the most magnificent, with were the outcome of his Ph.D. of “Father of American Modern” Palladian windows on the first floor. dissertation at Yale, titled “The (spelled with a capital M), he was For its time the Taylor House was Cottage Style.” Scully argued that eclectic in his early days. In addition one of the most radical and modern a new architecture appeared in the to cribbing on the Shingle Style, in the United States. Unfortunately, houses by McKim, Mead & White, he also did full-fledged “Colonial/ it was destroyed in the 1950s, but with the VSA’s Summer School, we can drive by and bow.

Newport contains many other buildings by those that have been mentioned, and others such as the leading San Diego architect, Irving Gill, who is sometimes credited with creating the International Style before the Europeans. The point is, Newport is a treasure trove of great designs and buildings that date across the spectrum. It represents many different approaches and styles, and they need to be understood as very innovative and Blossom House; Frank Lloyd Wright. 1892. Photo by Richard Guy Wilson modern for their time. v 22 Newport Summer School: Follow the Leader! By Nancy Carlisle, Senior Curator of Collections, Historic New England

aving lived in New my oversimplified outline? Perhaps Generally, each day included both England for most of my not. Certainly, the first full day tours and lectures. While Richard H adult life, I believed I had when a lecture, walking tour, lunch provided the lion’s share of the a pretty good sense of what Newport with classmates, more walking, lectures, there were also some terrific was all about—interesting colonial and going in and out of buildings ones by other experts. We learned history, followed by a long sleepy not normally open to the public about Newport’s lesser known period, followed by the Vanderbilts made it clear that we’d be learning, architects from Ronald Onorato, and the Gilded Age. As well, I exploring, sharing, and seeing far about servants from John Tschirch, had already attended a number of more than I had expected. And by about the French interior design lectures by Richard Guy Wilson, the morning of day two, when we firm Allard and Sons from Paul and thought that, there too, I knew walked a few hundred yards from Miller, and about women designers what to expect. Depth and insight, our dorm at Salve Regina University from Pauline Metcalf. Richard’s of course. And plenty of context for to see H. H. Richardson’s 1874-76 lectures (accompanied by exhaustive whatever the topic was. Watts Sherman House with Stanford bibliographies) focused on the White’s later addition and exquisite major architects and designers I’m not certain how quickly I Peacock Room-esque library, I whose work we would see—Richard realized that the program was realized just what a privilege this was Morris Hunt; McKim, Meade & going to eclipse my expectations. going to be. It was to be an elaborate White; Edith Wharton and Ogden Was it that first evening when treasure hunt, with the master sleuth Codman, among others, and then Richard presented an overview of RGW showing us where all the best off we’d go to visit their buildings. Newport’s history, adding flesh to goodies were hidden. I’d be hard pressed to comment on the high point of the program. There are too many. I’m a sucker for all things Richardson, so of course I loved North Easton. But also, the1880-82 McKim, Mead & White Tilton House with its glistening glass fragments on the exterior and extraordinary carved woodwork inside; the stained-glass windows by La Farge, Tiffany, and McPherson; the amazing Japanese style house in Fall River designed in 1894 by Ralph Adams Cram, of all people. And Richard’s insider view of the characters behind these buildings—the dipsomania of one, the twerpiness of another.

There were wonderful receptions. The Newport Preservation Society Embedded Glass on the Tilton House, McKim, Mead & White (1880-82). LEADER Continued on page 24 Photo by Nancy Carlisle 23 Clockwise: Tilton House Exterior, Tilton House Stairway, detail of Tilton House Stairway, McKim, Mead & White (1880-82). Photos by Nancy Carlisle

LEADER Continued from page 23 to us earlier in the week, hosted about the second half of the a reception in their gallery filled 19th century than I could have treated us to beer and wine in with 19th-century paintings imagined, and spent time with the Bell House; Bill and Alison by artists with ties to Newport; wonderful people. But my takeaway Vareika, after opening their house Pauline Metcalf welcomed us to her is something else. Richard Guy family’s wonderful property outside Wilson is a force unto himself. Newport with its refreshingly airy Over the course of the week I lost 1930s house, Philmoney, by George count of how many private homes Locke Howe. These and others were opened for us. At each one made us feel welcome and fed our the owners either knew and cared tired but satisfied souls. for Richard or they didn’t know him but couldn’t wait to. We could And can I mention my classmates? see that he has been cultivating From graduate students to retirees, relationships in Newport for this was a great bunch of people. decades. And not just by glad- When you’re thrown together with handing. We soon learned that a like-minded group who are willing Richard has been in the forefront to spend ten and more hours a of the fight to preserve and protect day looking at and learning about Newport’s architecture for longer buildings, you know you’re going to than anyone can remember. That have fun. dedication made our visits possible and made the program so much Becon Rock, McKim, Mead & White. For nine days I saw fantastic more than I had expected. Thanks Photo by Courtney Long architecture, learned acres more Richard. I’m truly grateful. v

24 Newport 2018: Ten Days to Shake the World By Ted Bosley Director, The Gamble House, Pasadena CA

or the better part of 30 years from the fame and grandeur of hydrants in America appeared here), I have listened to colleagues Newport, I may have been a little it is possible in this highly walkable Frhapsodize about the VSA’s slow to grasp references to New York community to appreciate one of Newport Summer School, famously society doyennes of the 1880s, or the the best immersive experiences in led for more than three decades by maze of Vanderbilts that inhabited American architecture. Professor Richard Guy Wilson. I Newport, and the architectural have routinely exhorted others to allegories that characterized them. Personal highlights from the attend, and I’ve written letters of By about Day 3, however, I found program are simply too numerous recommendation for my own staff myself nodding knowingly (with to list. I’ll note only a few. I and earnest volunteers, all the while our tremendously collegial and learned from Professor Wilson wondering how I could carve out knowledgeable cohort of students) (respectfully “RGW”) how the time to participate myself. For a raft to tales of Marble House Alva’s iconic William Watts Sherman of reasons that probably seemed swipes at her sister-in-law’s exuberant House (H.H. Richardson, 1874-76) excellent at the time, I couldn’t entertainments at the Breakers, and had exuberant flourishes added to join the legendary de rigueur the smug pride of less flush wealth the south elevation—Aesthetic- march through the dense sweep of whose servants were occasionally movement carvings of sunflowers America’s architectural heritage that is hired ad hoc at the more prestigious on the barge boards—potentially Newport, Rhode Island. Until 2018. estates for special occasions. By then, without HHR’s full knowledge, by too, I had gotten the drift of pots young associates Stanford White and With apologies to John Reed and calling the kettles black. Charles Follen McKim. his classic account of the Bolshevik Revolution, ten days in Newport These were not only ten days that The La Farge-decorated Newport with Richard Guy Wilson shook shook my view of this particular Congregational Church—a my world, and entirely for the world, they shook the dust off my comprehensive and important better. Please understand: as an appreciation for the vast sweep conservation work-in-progress—was unreconstructed California-centric of American architectural design. a standout visit for understanding bungalow enthusiast, far removed To my delight, the Victorian how a small congregation could Society’s Newport summer program dedicate itself to such a huge task; an covered the Victorian era and inspiring story unfolding over years. reacquainted us with the rich legacy of Colonial, Revolutionary, and Among the turn-of-the-century post-Revolutionary architecture. “cottages” along the Bellevue This made the anticipated focus corridor I confess that Marble on the late 19th and early 20th House was my favorite, for its centuries all the more meaningful. scholarly approach to historical Newport enjoys one of the densest references and decorative allegory. concentrations of comparative While not as big as the Breakers, its American housing stock of every owner, Alma Vanderbilt, was justly era (Salem has more 17th-century proud of its standing in the day. examples), showing the full range of American design from the 1600s to Who knew that San Diego architect the early 20th century. With its rich Irving Gill designed three houses in William Watts Sherman House. Photo legacy of each era (the city had never by Ted Bosley been burned, and then the first fire SHAKE Continued on page 26 25 ShAKE Continued from page 25 Newport, including the magnificent shingle-style Wildacre (1900-01)? We had the privilege of touring the spectacular house, and waterside site, with its owner, who fully grasped its aesthetic connection to Arts & Crafts architecture in California.

The wonderfully Japonesque Rev. Knapp House in Fall River (Ralph Adams Cram, 1894) was opened to us, bottom to top, by its gracious owners, who also have a finely-tuned understanding of its significance, this time as one of the finest architectural examples of the Japan craze in Victorian America.

It was striking to witness the affection that these homeowners feel for RGW. I’ll just note here that the privileged access we routinely enjoyed at so many private residences, along with lovely evening receptions put on by enthusiastic owners and supporters, is clearly thanks to RGW’s respectful and attentive care shown to all of the property stewards, who have become his friends, over many years. It was therefore a pleasure to write letters of thanks to the owners and caretakers of the properties, especially knowing that it may help pay forward the goodwill.

I cringe to recall the many, many, excellent moments along the Newport program’s path that I have not mentioned here. Suffice to say that I will always cherish the people and places that made up the 2018 Newport Summer School. Thank you, RGW, and thank you to everyone who participated, for ten days that shook my world. v

(Above) Irving Gill; (right) Knapp House. Photo by Ted Bosley

26 Newport Summer School: Understanding a Dichotomy in Taste By Courtney Skipton Long, Ph.D., Postdoctoral Research Associate, Art Collections, Yale Center for British Art

s I drove across the Newport then later purchased by U.S. Senator to Savannah in 1863, the house Bridge and into town, the William Hunter of Rhode Island was sold to William Henry King Aview instantly struck me after the American Revolutionary and became known as Kingscote. as both humble and majestic. In War. The house’s lineage reflects It was under David H. King III some ways those two words describe Newport’s importance as a city (nephew to William) that the house Newport’s changing architecture of financial exchange, political was renovated. Upjohn’s original over time—what was once majestic neutrality, and social mobility. Upon design had become humble in the is now humble, and what was once entering, I was impressed by the Kings’ eyes, and to give the house humble is now majestic. central hall and symmetrical rooms, new majesty George Champlin as well as the beautifully carved Mason and the New York-based Three structures in particular helped woodwork. This specimen of the firm McKim, Mead & White were me to reflect on this changing 18th century stands out as one of enlisted to enlarge the west wing. dichotomy of taste. the key structures from the Summer Already known for The Casino School. As a home, it helped narrate (1879-1881) on Bellevue Avenue, The first building to captivate Newport’s history, capturing the McKim, Mead & White (but mostly me was the mid-18th-century story of its inhabitants’ status White) went to work at Kingscote Nichols-Wanton-Hunter House. and wealth; and as a piece of in 1880 to design a dining room The original home, belonging to architecture, it helped contextualize that would meet the Kings’ Jonathan Nichols, Jr., was expanded the development of Newport’s built entertainment needs.Combining to its current Georgian colonial plan and decorative environment. Colonial American and Japanese- by Colonel Joseph Wanton, Jr., and inspired designs and textures, the Kingscote was the second house to dining room encapsulates many receive my full attention. Designed of the themes associated with late for the wealthy Georgia land- 19th-century Gesamtkunstwerk owner, George Noble Jones, by the architecture—mahogany British cabinetmaker and American wainscoting, ceiling tiles made of immigrant, Richard Upjohn in cork, and opalescent green and blue 1839, this summer “cottage” is glass tiles made by Louis Comfort considered one of the first Gothic Tiffany. As a scholar of 19th-century Revival homes in New England. British art and architectural history, The structure contains many I was mesmerized by this house. features associated with medieval And, I think I may have been one ecclesiastical architecture and takes of the last to leave—which wasn’t its inspiration from 18th-century considered good form as Richard reinterpretations of Gothic designs Guy Wilson’s voice could be heard by the novelist and antiquarian echoing up the staircase, down the Horace Walpole (1717-1797). corridors, and into the dining room, Pitched roofs, square drip molds, “Come on!” decorative crenulations, finials, and chimney pots all work together Besides the countless Queen Anne to make this English-inspired Style houses, the plethora of Shingle country home the epitome of the Style homes, and the multitude of Nichols-Wanton-Hunter House new American cottage orné style. interior. Photo by Courtney Long When the Joneses moved back NEWPORT Continued on page 30 27 Newport Class at Beacon Rock, from left to right (first row): Elsa Catarina Rodrigues, Yorkman Lowe, Janet Self, Nancy Connors, Kelsey Dootson, Sibyl McCormac Groff; (second row): Emily Banas, Alexis Mucha, Susan Robertson, John Ward, Amelia Hughes, Danielle Ulrich; (third row): Emily Fearnbach, Kristen Patzer, Robert Harper, Don Merrill; (back row): Teddy Styles, Pamela Larsen, Sarah Nichols, Edward Bosley, Courtney Long, John McHugh, Richard Guy Wilson, Nancy Carlisle, Merrily Gumpel, Victor Badami. Photo by Richard Guy Wilson

Battle Hymn of Newport class of 2018 By John Ward with a nod to Julia Ward Howe

Mine eyes have seen the glory of the coming of the Guy; Glory! What a lot of churches we are seeing! He is trampling through buildings with a twinkle in his eye; Glory! What a lot of churches we are seeing! He is gazing at the barge boards with his head up to the sky; Glory! What a lot of churches we are seeing! His troops go marching on. His troops go marching on.

Glory! What a lot of houses we are seeing! Bear with us of a moment as we go out on a limb; Glory! What a lot of houses we are seeing! And suggest he’s got a fondness for White, Mead & C. McKim; Glory! What a lot of houses we are seeing! Since his days back in the Navy, he has tried to talk to them. His troops go marching on. His troops go marching on.

We have seen him on the porches as we all go ‘round his picks; Glory! What a lot of walking we are doing! We are squinting in the corners as we look for “Tricky Dicks;” Glory! What a lot of walking we are doing! We are taking in the info and we’ll try to make it stick; Glory! What a lot of walking we are doing! His troops go marching on. We troops go marching on!

28 The Six Cities of Newport By Merrily Gumpel, Retired Museum Advisor

these topics intensely, interestingly, historical periods, the different and indelibly. Sort of like the “Cities styles, the different purposes, the of Newport” mentioned in the different architects…and their novels Theophilus North and The personalities…and the patron’s Maze of Windermere, so let’s imagine personalities. No one should be VSA’s Newport Summer School as fooled into thinking the Summer Six Cities. These “City” categories School is an aggrandized version are the lectures, the itinerary, the of taking a tour of the Bellevue architecture, the administration, the mansions. It is so much more than student body, and the leader. that! And what it did for me was to pull all these architectural details The lectures, City 1, were excellent together and sort them into the and were delivered by lecturers wider category of Victorian, and who are experts in their fields. helped me to understand why they They lectured on interesting and are Victorian. pertinent material to the syllabus. They were enriching. I particularly The administration, City 4, was enjoyed how the lectures mostly better than I expected. Not fair, came in the morning before the but when I showed up the first day Artist studio. Photo by Merrily Gumpel tours in the afternoon, when the and was greeted with a paper folder subject matter was still fresh in in this electronic, app-infested our minds. Delivered in this way, time of ours, I was skeptical ndelible, that is my takeaway they broke up the subject matter about the week to come. I was from VSA’s Newport Summer in digestible pieces, and then wrong. The Summer School was ISchool experience. While applicable visuals followed to form scheduled to perfection. We met all scrolling through Instagram the the indelible impressions I speak of. timelines, places, houses, and buses. other day, slogging through a Summer School Administrator session on the LifeCycle, I suddenly The itinerary, City 2, was chock Anne Mallek did a wonderful job began thinking of shingles, and I full of not just the excellent communicating and organizing immediately recalled the houses lectures and tours of the buildings, and worrying that everyone was we examined and studied with but a pleasant mix of lectures, comfortable and satisfied. So, an shingles such as the enchanting lecturers, tours of buildings, tours A+ on administration! Bell House. While this is just one of landscapes, meet-and-greets at moment, I feel like there have cocktail hour, walking tours, and Our student body, City 5, was been many of these moments bus rides. Nothing was really the diverse, which made for interesting since Summer School ended, and same from day to day, so it was discussions, thoughtful analysis, I also feel like there will continue always fresh and fun, even on the and differing points of view. It is to be more of them in the future. dreaded big walking day—the day really difficult to corral 25 people, Why? Because the subject matter we composed the Class of 2018 all unknown to each other, from all is great in so many ways. Anyone anthem sung to the tune of “The over, in tight quarters, throughout with an eye for design, decoration, Battle Hymn of the Republic.” long days; and, then leave them architecture, history, sociology, and affable, friendly, and polite. I loved urban development would agree As expected, the architecture, City that VSA’s Summer School covered 3, was exceptional. The different SIX CITIES Continued on page 30 29 SIX CITIES Continued from page 29 say I was bored, ever, during my time at Summer School. He knows that there was a mix of ages, the what to say, how quickly to say it, very young—oh, my gosh—to the how deeply to study it, and how retired but energetic. The brew of to keep the mood of the course people was terrific. Maybe a bit of uplifted and his students’ curiousity magic went into the pot? Richard satisfied. Guy Wilson, the leader, City 6, is a Merlin and he is full of spunk! Combined, all six Cities of the VSA If we all came for an immersive Newport Summer School made for program in Victorian architecture, an indelible experience. I cannot say we sure as heck got it. RGW has a enough positive about it, but I can knack to keep things rolling, keep say all of us in the Class of 2018 are things interesting, and convey SO the better for understanding what MUCH information. I cannot we came to learn. v Bell House. Photo by Merrily Gumpel

NEWPORT Continued from page 27 Situated high above the had their new Versailles across Narragansett Bay, the liquid town, the great-grandson of a stately Colonial Revival structures— epicenter of Newport’s shipping New York governor had a veritable not to mention the boastful rivalry wealth, McKim, Mead & White’s “modern Acropolis” overlooking of grand Beaux-Arts mansions—the Beacon Rock emerges from a the harbor. While both structures final building that captures the mountain-like outcrop, morphing took their inspiration from historic majesty of Newport, for me anyway, into a hybrid structure somewhere and mythic figures related to is the Edwin Dennison Morgan III between a Greek temple and an ancient sun gods, the structures home, Beacon Rock. Italian villa. While the Vanderbilts could not be more different. Yet, both homes testify to Newport’s rise as a significant resort town, and contribute to the city’s gleaming second Golden Age.

From that vantage, high above the bay, watching military planes dart in formation between distant clouds, and with the wharf in front of the Nichols-Wanton-Hunter House just visible up the coast… that is when I fully appreciated Newport in all of its glory—its humility and its majesty. For me, the greatest part of the Summer School was the sense that I got to know a place in a short amount of time, and that I could see the history of Newport unfold through the experienced, insightful, and knowledgeable eyes of our fearless leader, Richard.… “Come on!” v Kingscote; Richard Upjohn, 1839-41. Photo by Courtney Long 30 William Morris’ Beloved Kelmscott Manor Saved by the Heritage Lottery Fund

By Jo Banham, Director, London Summer School

highlight of recent London utopia, memorably described in to the house, gardens, and a new Summer Schools are visits News from Nowhere, is clearly based education visitor facilities. Martin to Kelmscott Manor, the on Kelmscott, and the house is a Levy, host of the annual Alumni A 16th century Oxfordshire farmhouse mecca for lovers of Arts & Crafts Association reception for the that William Morris leased as his and 19th-century architecture London Summer School students, country retreat from 1871 until his and design. is the chairman of the Kelmscott death in 1896. Described by Morris Campaign Group. In October, the as “heaven on earth,” the beautiful Kelmscott Manor remained in the Society announced a grant of £4.3 stone building is located in an idyllic Morris family until 1962, when it million from the Heritage Lottery English setting close to the source of was taken over by The Society of Fund to carry out this plan. Said the Thames. The house, landscape, Antiquaries of London, which saved Levy, “I am delighted that the and surrounding countryside were a it from dereliction and opened it Heritage Lottery Fund has endorsed rich source of inspiration for some to the public. In 2017 the Society our passion for this project and of Morris’s most important designs launched a major campaign to carry enabled it to proceed for the benefit and ideas. His vision of a socialist out urgent repairs and renovations of future generations.” v

(Left) Jo Banham and students examining Morris wallpapers, Whitworth Gallery, Manchester. Photo by Elizabeth Leckie (Right) Kelmscott Manor. Photo by The Society of Antiquaries of London

31 C. Dudley Brown (London Much in demand, he found 1977), a widely known and himself designing the interiors honored interior designer and of the official residences of In historic preservationist, based in leading officials, including Washington DC, and founder of the Joint Chiefs of Staff as well Memoriam the Victorian Society in America’s as the interiors of many historic Washington chapter, died April buildings, including the West 19 at the home of a relative in Wing of the White House, and Nashville TN following a long the military academies at West battle with lung cancer. He was Point and Colorado Springs. 88 years old. Operating his own interior Known to his many VSA design firm, C. Dudley Brown & friends for his wit and charm, Associates, from 1964 to 2014, not to mention his skill at he traveled widely, overseeing the piano, Dudley was born or advising on the restoration in Cleveland OH, obtained a of many varied historic sites, bachelor’s degree in interior including George Washington’s design at the University of River Farm at Mount Vernon, Cincinnati, and expanded his the Governor’s Mansion in interest in historic preservation Annapolis MD, and the Samuel with graduate studies at Cornell. Roberts House in Key West FL, a traditional “conch cottage” built Moving to the Washington area by sailors, spongers and in 1952, Dudley—he never used fishermen. his first name Clinton—was soon providing much needed During his long association help to the U.S. Navy in with VSA, he was a man for all refurbishing and improving seasons. In addition to founding its dreary residential quarters. the Washington chapter, he By 1962 he had established the chaired a preservation workshop interior design program of the in Philadelphia in 1973, General Service Administration’s served variously as a member federal supply service, which of the Decorative Arts overseas government housing Advisory Committee, VSA across the country. Secretary and Historian, was a vigorous auctioneer often selling auction items from his clients at the VSA annual meetings, and was on the Board of Directors from 1974 until his death.

“Dudley was a key figure in the history of the Victorian Society and historic preservation,” said John Simonelli, VSA Executive Vice President, “and he will be sorely missed by all who knew him.”

32 32 regularly attending the Annual bungalows and Victorian Meetings and Study Tours of the buildings was enhanced by Alumni Association. John’s deft editorial hand and contributions. Carole was such a gentle soul. Her grace and kindness John graduated from the elevated the quality of every University of Oklahoma with a event she attended. Her faithful Bachelor of Fine Arts in 1952 commitment and devotion and a Masters of Fine Arts in to the mission of the Alumni 1957. He received a Letzeiser Association and the VSA will Gold award and was the recipient be dearly missed, as will the of two Fulbright fellowships, friendship she provided. She is which allowed him to continue survived by her husband and ten his graduate studies in Paris. Carole Chapman, a loyal nieces and nephews. A memorial He principally worked in an participant in many VSA service was held on June 17 at St. Abstract Expressionist style. His activities, died in her home Cassian’s Church in Montclair. paintings were widely exhibited in Montclair NJ, on May 17. in the 1950s. John enjoyed a long of complications from a brain v retirement following his career tumor. Carole was born in 1940 at Chevron. Throughout his in Pittsburgh PA. She worked John C. Freed, 87, longtime lifetime, he was an avid reader for Westinghouse in Pittsburgh, Victorian Society member and of literature, biographies, and then moved with the company to friend of the VSA Summer art history. John accompanied Los Angeles, where she met her Schools, died peacefully on May Paul Duchscherer on many husband Robert Chapman. After 30, at his home in San Francisco. Victorian Society alumni trips a couple of years, the Chapmans John was born on December and thoroughly enjoyed each one moved East for business reasons, 29, 1930, in Oklahoma, and of them. settling first in Manhattan and lived in Oklahoma City, Paris, then in Montclair for the past Denver, and San Francisco. He John specified that memorial 40 years. Carole worked for was predeceased by his spouse, contributions be made to the American Scandinavian Bank Paul Duchscherer, another Alumni Association in memory and its successors in Manhattan longtime Victorian Society of Paul Duchscherer. for 15 years. member, author, and historical, architectural, and design – Don Merrill (Newport 2018) With her husband Bob, she consultant. spent many years renovating their historic home in Montclair John assisted his partner as the and in furnishing it through initial editor on all of the books antique shows and sales, yard written by him. These books sales, and lots of hard work. include The Bungalow, Inside the They enjoyed traveling together Bungalow, Outside the Bungalow, around the world. Victorian Glory (two editions), Along Bungalow Lines, Beyond Carole attended the London the Bungalow, Bungalows (a Summer School in 1999 and collection of postcards), and the the Chicago Summer School in Pomegranate series of eight books 2014. She was very active in both on various bungalow rooms and the VSA and the AA. She and elements. Paul Duchscherer’s Bob were fixtures on our trips, work as a popularizer of both

33 33 Alumni News

We like to keep in touch with all our alumni and to share your news with fellow alumni. Do send your news to David Lamdin at [email protected].

Ted Bosley (Newport 2018), in America. Mount Vernon also Gardens (Garrison NY), having Director of The Gamble House launched a website with her research joined the staff as Curator in in Pasadena CA, and Jennifer that crowdsources buildings that look 2015. Ms. Carlquist lectures widely Trotoux (Newport 2017), the like Mount Vernon. Keep an eye out on design history and museum house’s Curator, have co-curated for Mt. Vernon activities at https:// studies, including for the Victorian an exhibition of Japanese joinery www.mountvernon.org/library/ Society Summer Schools, for which with noted Japanese architect and digitalhistory/is-that-mount-vernon/ she served as Administrator from antiquarian Yoshihiro Takishita. 2011-2014. Mr. Takishita has affectionately Melissa Buron (London 2014), interpreted remnants of Director of the Art Division of the Cindy Casey (Newport 2014, architecture and skilled carpentry Fine Arts Museums in San Francisco, Chicago 2016), a VSA board salvaged from Edo-period folk was the curator of a recent exhibition member, will be accompanying 50 houses as contemporary sculpture. at the Legion of Honor, “Truth and Buddhist monks from five countries The timber castoffs are artfully Beauty: The Pre-Raphaelites and on a pilgrimage of piety to holy displayed to resonate with the the Old Masters,” which closed sites in the state of Bihar, India, 1908 Arts & Crafts house by September 30. The show was the and in Nepal, until January 2019. Greene & Greene. first international exhibition to The monks enter monasteries as juxtapose examples by Pre-Raphaelite youngsters and learn the words Lydia Brant’s (Newport 2010) book, Brotherhood artists with works that of Buddha, but they do not learn First in the Homes of His Countrymen: inspired them, including those of Fra about Buddhist history, art, and George Washington’s Mount Vernon Angelico and Jan Van Eyck. architecture. As Cindy travels in the American Imagination about the rural towns, she sets up (UVA Press, 2017), received the Jennifer Carlquist (Newport 2008) a classroom on the bus to teach 2018 Henry-Russell Hitchcock was recently appointed Executive the monks more about Buddhist Award from the Victorian Society Director of Boscobel House and culture and history. The monks, in turn, give her a sense of peace and calmness that she finds nowhere else in the world. Follow her experiences at www.PassportandBaggage.com.

Ian Cox (London 1991), former Director of the London Summer School, has an interesting blog on Facebook of his travels. It’s also available at https://www. coxinthedowns.blogspot.com/

William Cullum (Chicago 2015, London 2014), Senior Designer at Thomas Jayne Studio, was recently honored at a reception at The Century Association in New York

H. A.C. Taylor House; McKim, Mead & White (1882-84), Newport. ALUMNI NEWS Continued on page 35 34 in an article, “Traces of Chinese Porcelain in Cuba,” in the March 3, 2018 issue of China Today.

Sibyl McCormac Groff (London 1982, Newport 2005), “the Spirited New Yorker,” author, lecturer, tour guide, and Rockefeller Center cultural historian was featured in the New York Times: https://www. nytimes.com/2017/12/14/nyregion/ the-christmas-freak-of-fifth-avenue. html Sibyl’s charming book, A New York Christmas: Ho-Ho-Ho at Gothamtide is available at Amazon.

Caroline Hannah (London 2002, Marklee Castle, Ireland. Photo by Cindy Casey Newport 2009), Associate Curator at Bard Graduate Center Gallery ALUMNI NEWS Continued from page 34 Michael Diaz-Griffith (London in New York City, was part of the 2015) was recently promoted to exhibition staff that organized the after being listed by the editors Associate Executive Director of The recent acclaimed show at the Gallery. of House Beautiful in their annual Winter Show (formerly The Winter “Agents of Faith: Votive Objects guide to Rising Stars in the design Antiques Show). America’s longest in Time and Place” explored the field. He serves on the board of the continuously operating fair, the Show meanings behind offerings made for VSA Alumni Association and the celebrates its 65th Anniversary Jubilee blessings, cures, or in memoriam, in Summer Schools Committee. from January 18-27, 2019, at New diverse cultures and religions from York City’s Park Avenue Armory. ancient civilizations to the present. Amanda Davis (Newport 2015), In his new role, Michael is focused was named to the National Trust on cultivating diverse audiences Donna Ann Harris (London 1987) for Historic Preservation’s list 40 and making antiques accessible to is preparing the 2nd edition of her Under 40: People Saving Places, a new generation of collectors and 2007 book New Solutions for House for her work as project manager for enthusiasts. Museums: Ensuring the Long-Term New York’s LGBT Historic Sites Preservation of America’s Historic Project. Mimi Findlay (London 1992, Houses for Rowman and Littlefield Newport 1994), trustee of the Publishers. It is an update on her Margaret Denny, Ph.D. (London, Lockwood-Mathews Mansion in thesis that not every historic house 2009) recently co-curated the Norwalk CT, was honored at the saved by local activists needs to exhibition “Margaret Bourke- Mansion’s Travel with the Victorians be turned into a traditional house White’s Different World” at the Gala on October 13, for her years of museum. The new edition will Cornell Fine Arts Museum, Rollins dedicated service. be a discussion of the successes or College, in Winter Park FL, May disappointments of the museums 24-Aug. 26. Two of her essays Yosvanis Fornaris Garcell profiled in the original case studies. appeared in the accompanying (Newport 2013), Curator of Asian Publication is expected in 2020. exhibition catalogue: “Photographs Art at the National Museum from the U.S.S.R: Shifting ‘Eyes on of Decorative Arts of Havana, Stephen Jerome (London Russia’” and “Woman Under Fire: is completing his M.A. in the 1989, Newport 1990 & 2005) Broadcasters and Photo Journalists History of Chinese Porcelain at presented a lecture on September in WWII.” https://360.rollins. the University of Ceramics in 28, on “Victorian Boston” in edu/arts-and-culture/new-quartet- Jingdezhen, China. The Chinese Provincetown MA, that included of-exhibitions-at-cornell-fine-arts- government awarded him a four- museum year scholarship. He was profiled ALUMNI NEWS Continued on page 36 35 ALUMNI NEWS Continued from page 35 Laura Macaluso’s (Newport 2015, London 2017) A Guide to Thomas iconic photographs taken in 1931 Jefferson’s Virginia was published by by Walker Evans who joined with The History Press on July 9, 2018. Lincoln Kirstein, Walker’s early promoter, and architect/poet Debra N. Mancoff (Newport 2015) John Wheelwright to photograph gave a lecture in April, at Ruggles Victorian architecture for a book Hall at the Newberry Independent Wheelwright was writing. Research Library in Chicago on “What to Wear…to the Royal Wedding” of Prince Harry of Wales and Meghan Markle. Debra explores the interconnections of art, fashion, and culture, with a focus on Britain. She is a Scholar-in-Residence at the Newberry Library, where she regularly teaches in the Seminars Program. Her St. Pancreas Station, London. newest book, The Face: Our Human Story, written for the British Museum, new food and beverage products was recently published: https:// from around the world to America’s www.thamesandhudsonusa.com/ tables. She was its founder in 2007, books/the-face-our-human-story- and continues to run the non- hardcover. It is a thematic study of the profit Hope Shines, which aids face on objects and works of art from impoverished children in Rwanda. Photo by Elizabeth Leckie all cultures throughout history. Kerri Rubman (London 2011, With Jo Banham (left above), Catherine Casteel Olasky Chicago 2018) continues to edit Director of the London Summer (London 2007, Newport 2011) and articles for the National Trust for School, András Jeney was the Maximilian P. Sinsteden (London Historic Preservation’s quarterly first recipient of the Gavin Stamp 2011) were featured in an article in Forum Journal and serve as a heritage Memorial Scholarship to the the Wall Street Journal on “Manse consultant for the city of Calgary, London Summer School. of a Lifetime,” a decorating project Canada, producing reports on the they worked on for a home on the history and architecture of buildings Horatio Joyce (London 2012) Channel Island of Guernsey. under consideration for inclusion in chaired the session “Fantasies the city’s heritage inventory. She is of Aristocracy: England and the Christopher Pollock (Newport currently on a team documenting the American Renaissance” at the 2002, London 2010), Historian- social history and key buildings of Society of Architectural Historians’ in-Residence for the San Francisco Calgary’s Chinatown. She volunteers International Conference in Recreation and Parks Department, with the Community Heritage Providence, RI, on April 24-28. will author the upcoming Roundtables, which produces public publication San Francisco’s Golden workshops, and on a committee Keith Letsche (Newport 2016, Gate Park: A Thousand and Seventeen working to establish historic London 2017), co-authored an Acres of Stories by Norfolk Press. districting in Calgary. article, “The Shrewsbury-Windle This is to celebrate the 150th House: A Case Study for Mid- anniversary of the park’s founding in Hannah Sigur (Newport 2008) Nineteenth Century Gaslight 1870. First published in 2001, the started a new position as Affiliate Installation,” which appeared in the book will be radically revised and Researcher at Instituto de História Spring 2018 issue of the Victorian include numerous illustrations. da Arte, Faculdade de Ciências Society magazine, Nineteenth Sociais e Humanas, Universidade Century. It was based upon a project April Riegler (Newport 2009) is Nova de Lisboa in Lisbon, Portugal. he worked on for Historic Madison the Director of Communications (Indiana), Inc. at FoodStories Brand, which brings ALUMNI NEWS Continued on page 37 36 ALUMNI NEWS Continued from page 36 Local History’s museum studies series exhibition at the Walters Art in 2019. Museum in Baltimore. She edited Jaclyn A. Spainhour (Newport 2013) the exhibition catalogue published is one of two museum professionals Sarah E. Thomas (Newport 2010) by Thames & Hudson. chosen to be Virginia Association received a Ph.D. in History from the of Museums’ first Leadership and College of William & Mary in May. Jeanne Solensky (Newport 2007, Advocacy Fellow for 2019. She will She is the administrative and archival London 2012) has recently been be doing research on how museums assistant for the Lemon Project, promoted at the Winterthur can better accommodate people with William & Mary’s multifaceted Library where she has worked for intellectual disabilities, like autism, attempt to rectify wrongs perpetrated 20 years. Her new position is and promote neurodiversity. She against African Americans by the the Andrew W. Mellon Librarian has also published two biographies college through action or inaction. for the Joseph Downs Collection as part of the Library of Virginia’s She also published articles in of Manuscripts and Printed effort to create an encyclopedia American Period Furniture (December Ephemera, in charge of collection commemorating the women’s suffrage 2017) and The Chronicle of the development and digital initiatives movement, which are available online. Early American Industries Association for the department. Her upcoming book, Museums and (September 2017). Millennials: Marketing to the Coveted Sergei Troubetzkoy (London 1978, Patron Generation, will be published Margaret Kelly Trombly (Newport Newport 1994) spoke at the 3rd by Rowman and Littlefield as part of 2011) guest-curated “Faberge and the American Association of State and the Russian Crafts Tradition”—an ALUMNI NEWS Continued on page 38

Call for PaPers

Nineteenth Century magazine is the peer-reviewed journal of The Victorian Society in America. Scholarly submissions are encouraged in the fields of cultural and social history of the United States dating from 1837 to 1917. Nineteenth Century publishes regular features reflecting current research on architecture, fine arts, decorative arts, interior design, landscape architecture, biography and photography.

Guidelines for Submissions Submissions should be from 2,000 to 6,000 words in length, with illustrations and end notes as necessary. Submissions should be in a Microsoft Word document. Illustrations should be formatted as .jpg, .tiff, .eps or .pdf, 300 dpi or greater, and submitted by January 1 for publication in the Spring issue, and July 1 for publication in the Fall issue. Manuscripts shall conform to the latest edition of the Chicago Manual of Style. It shall be the responsibility of the author to secure the rights to publish all images. The Victorian Society in America and the editors assume no responsibility for the loss or damage of any material.

Email submissions to: Warren Ashworth, Editor [email protected]

37 ALUMNI NEWS Continued from page 37 She works as an Architectural History Field Director at Dovetail International Thornton Wilder Cultural Resource Group in Symposium (July 2018) about his Fredericksburg VA. mother’s 40-year friendship, which began as a student, with Thornton Elyse Werling (London 2017) is Wilder. In October, Troubetzkoy now the Editorial and Production participated in a study tour of Manager at the White House Palladian Villas in Italy, organized by Historical Association. Thomas Jefferson’s Poplar Forest. He continues to present lectures dealing Ashley E. Williams (Newport with 19th- and early 20th-century 2017) recently received an M.A. architecture, cemeteries, culture, and in Art History from University of the decorative arts. Massachusetts Amherst with a focus on 19th-century art, architecture, John Waters (Newport 2007, and design. She is now the John RGW atop Moongate, Chateau-sur-Mer. London 2013, Chicago 2015) Wilmerding Intern in American Photo by Nancy Carlisle is now working full-time at the Art at the National Gallery of Art, Frank Lloyd Wright Building Washington, DC Architecture & Design” at UVA Conservancy, which necessitated from January 26 to April 29, his stepping down as Co-Director Richard Guy Wilson (Director, which investigated and illuminated of the Victorian Society in America Newport Summer School) was Jefferson’s many architectural Chicago Summer School. He honored by the University of accomplishments, as well as the will continue to be involved as Virginia with the $5,000 annual classical tradition to which his Associate Director when the school prize given in his name, starting in architecture was aligned. Richard is in session. 2017, for Excellence in the Study was also the first recipient of of Buildings, Landscapes, and what will be an annual award of Katie McCarthy Watts (Newport Places for UVA undergraduate and the Initiatives in Arts & Culture, 2017) was graduated in May with graduate students. Richard also presented September 21 by Lisa an M.A. in Architectural History curated the exhibition “From the Koenigsberg at the National Arts from the University of Virginia. Grounds Up: Thomas Jefferson’s Club in New York. v

Missing Alumni

he Alumni Association is eager to keep in touch with all of our graduates. Unfortunately, we’ve lost contact Twith the following alumni. Please us know if you know their whereabouts by contacting Sara Durkacs, Membership Secretary, at [email protected]

Lynn Alsmeyer-Johnson Barbara Ecker Nina Harkrader Jennifer Markas Gabrielle Schikler Alfred Baucom Trevor Fairbrother Neil Harvey Cheryl Miller Brian Schultes Jeffrey Bostetter Valija Evalds Marcelene Jeffersonn Leah Moebs Heather Smith Alan Brainert Edith Forman Paula Jones Kathy Moses Jan Spak Steve Brisson Lara Garner Denise Laduca Christine O’Malley Christine Spencer Holly Burrow Laura George Barbara Lanctot Lawrence Ray Elizabeth Trach Emily Campbell Connie Going Lori Laqua Annette Reese Eve Waldron Elise Ciregna Nancy Goodman Catherine Lenix-Hooker Judy Richards Amy Weisser Angela Dason Gina Grillo Philip Leonard Tom Rogers Natalie Zumda Jerry & Toby Levine

38 2018 Summer Schools Student Roster

Newport Courtney Long William Canup William Aultman Victor Badami New Haven CT Brooklyn NY Macon GA Providence RI Research Associate Façade Restoration Curator, Hay House Museum Graduate Student, Rhode Yale Center for British Art Specialist Marlieke Damstra Island School of Design Yorkman Lowe David Desimone Nijmegen, The Netherlands Emily Banas Emeryville CA Lake Geneva WI Cultural Heritage Consultant Providence RI Volunteer, San Francisco Director, Wisconsin Kate Fisher Curatorial Assistant, Rhode Victorian Alliance Historical Society New York NY Island School of Design John McHugh Raven Hudson Graduate Student, New York Edward Bosley Cincinnati OH Chesapeake VA University Pasadena CA Retired Executive Docent, Hunter House András Jeney Director, The Gamble House Don Merrill Victorian Museum Pecs, Hungary Nancy Carlisle San Francisco CA David Lamdin PhD Student, Peter Pazmany Haverhill MA Administrator, The Veen Firm Arlington VA University, Budapest Senior Curator, Historic Alexis Mucha President, Alumni Chris Mathias New England New York NY Association of the Nahant MA Manager of Rights and Victorian Society Paper Conservator Nancy Connors Summer Schools Greenwich CT Reproductions, Bard Estée O’Connor Decorative Arts Appraiser Graduate Center Thomas Larsen New York NY Sarah Nichols San Mateo CA Art Historian, 19th-Century Brit- John Cooper Curator, Carolands Estate Deptford NJ London, England ish Art & Architecture Web designer/administrator Retired Chief Curator, Phyllis Quinn Laura Roscam Abbing for VSA Alumni Association Carnegie Museum of Art San Francisco CA Amsterdam, The Netherlands Susan Robertson Event Planner, Historic Cultural & Historical Researcher Kelsey Dootson Houses Springfield MO Chicago IL Elizabeth Rybka Graduate Student, Glessner House & Chicago Mary Ellen Rigby Chicago IL University of Virginia Architectural Foundation Etna NH Photography Student, Docent Retired art book editor Columbia College Chicago Emily Fearnbach London Summer School 2013 Winston-Salem NC Kerri Rubman Theodore Sawruk Interior Designer Elsa Catarina Rodrigues Calgary Alberta Canada West Hartford CT Lisbon, Portugal Heritage Planning Heather Fearnbach Professor of Design, Theory, His- Chair International Carla St. Romain tory and Preservation Winston-Salem NC Committee for Historic Interior Designer Pasadena CA University of Hartford House Museums Docent, Frank Lloyd Wright Merrily Gumpel Kim Sels Janet Self Hollyhock House Baltimore MD Wapiti WY Cincinnati OH Retired Museum Advisor Meg Starr Professor of Art and Design His- Retired Attorney San Francisco CA tory, Towson University Robert Harper Edward Styles Retired Executive Director, Mattituck NY Christine Speare San Diego CA Carolands Foundation New York NY Southold Town Historic Researcher Commissioner David Vespa Masters Student, Fine & Decora- Danielle Ullrich Arlington VA tive Art & Design, Sotheby’s Amelia Hughes Hermitage TN Retired Librarian Institute of Art Charlottesville VA Registrar, Belmont Sharon Twickler Graduate Student, Mansion London University of Virginia New York NY Daniela Addamo Freelance Writer, Web Editor at Chicago Pamela Larsen Fresh Meadows NY La Vieille Russie San Francisco CA Julia Ann Cantwell PhD Student, City College Hannah Winiker Docent, Haas-Lilienthal House Van Nuys CA of New York Oceanside NY Docent, Frank Lloyd Wright Graduate Student, Parsons Hollyhock House School of Design 3939 2018 Alumni Association Scholars

most grateful thank you goes to the many alumni who so generously supported the Alumni Association Scholarship AFund. They made it possible to award a total of $24,250 to the following students: London School Hannah Winiker Elsa Catarina Rodrigues Oceanside NY Lisbon, Portugal Marlieke Damstra Parsons Graduate Student Chair International Committee Nijmegen, The Netherlands for Historic House Museums Cultural Heritage Consultant Newport School Edward Styles András Jeney Kelsey Dootson San Diego CA Pecs, Hungary Springfield MO Researcher PhD Student Graduate Student, University of VA Estée O’Connor Chicago School Amelia Hughes New York NY Charlottesville VA William Canup Art Historian, 19th-Century Graduate Student, University of VA Brooklyn NY British Art & Architecture Façade Restoration Specialist Courtney Long Kim Sels New Haven CT Raven Hudson Baltimore MD Research Associate Chesapeake VA Towson University Professor Yale Center for British Art Docent, Eloise Hunter Museum of Art & Design History

Alumni Association Members & Donors

he officers and board BENEFACTORS ($500 and above) SPONSORS ($250) Tmembers of the Alumni Robert & Carole Chapman William Ayres & Federico Suro Association give special thanks Nancy Golden David Blackburn to those Alumni members at the David Lamdin Hank Dunlop Supporter level and above. Your Gretchen Redden Manya Fox, David Fox Trust generosity is appreciated! Jane and David Villa Thomas Jayne Darrell Lemke & Maryellen Trautman

SUPPORTERS ($100) Lamar Lentz Katherine Seale Marion Banks-Lawless Mary Anne Hunting Jeffery Sholeen Suzi Barbee Sally Kinsey John Simonelli Ian Berke Jan-Paul Malocsay Max Sinsteden Christopher Broadwell John Martine Roger Smith James Buttrick George McNeely Kenneth Snodgrass Sara Durkacs Shelley Miller Marilyn Tuchow William Eldredge Edward Mohylowski Frederic Vidal Steven Erisoty Nancy Naeve Daniel Visnich Robert Furhoff Catherine Olasky James White Sibyl McCormac Groff Samuel Olshin Kristina Wilson Nancy Hays Roger Reid Victoria Young Donald & Elizabeth Roberts

Contributor lists as of October 1, 2018. Every effort is made to ensure the accuracy of our contributor lists, but errors may occur. Please contact Membership Secretary Sara Durkacs at (718) 499-8254 or at [email protected] with any errors or omissions. 40 Scholarship Donors

he Alumni Association officers and board are extremely grateful to those listed below who made additional Tcontributions above and beyond membership dues and in support of the funds indicated. Thank you!

Paul Duchscherer Duane Myers Newport Scholarship Memorial Scholarship Danae Peckler & Michael Spencer Fred Casteel Mary Beddow & Stephen Hahn Marilyn C. Scott Sara Durkacs Michael and Cynthia Casey Trust in memory of Carole Chapman Hank Dunlop Sibyl McCormac Groff Gretchen Redden Nancy Golden Scholarship in honor of Richard Guy Wilson Richard Guy Wilson William Grasse Hank Dunlop Sibyl McCormac Groff William and Patricia Eldredge General Scholarship Carolee Houser Nancy Golden Adam Klafter Phyllis Quinn Christopher Adams & David Lamdin Cynthia Sanford Christy Szczesny-Adams Stephen Lomicka & Bruce Muncil Margaret Starr Warren Ashworth Kyle McGuire Joseph Svehlak William Ayres & Federico Suro Richard Reutlinger Maynett Breithaupt Charles Robertson III Chicago Christopher Broadwell Mark Ryser Scholarship Mary Costabile Jeannie Sack William & Patricia Eldredge Chicago VSA Chapter Roger Scharmer in memory of Carole Chapman Nancy Golden The Victorian Alliance of London in memory of Carole Chapman and San Francisco Scholarship in memory of Sally Wadsworth James Weigand Willie Granston Donald Whitton Jackie Killian Shannon Grayson SPONSORS ($250) in memory of Gavin Stamp Elizabeth B. Leckie William Ayres & Federico Suro Gwen Koch David Lamdin in memory of Carole Chapman in memory of Gavin Stamp David Blackburn Newport Memorial John McHugh & Janet Self Hank Dunlop Scholarship Elizabeth B. Leckie in memory of Gavin Stamp Barnett Shepherd Manya Fox, David Fox Trust Charles and Sheila Donahue Jane and David Villa Jeanne Solensky Thomas Jayne Nancy Golden in memory of Gavin Stamp Kristine Steensma Darrell Lemke & Maryellen Trautman Sibyl McCormac Groff Susan Wagg Samantha Wiley Darrell Lemke & Maryellen Trautman in memory of Gavin Stamp Aaron Wunsch

he Alumni Association thanks those who supported the Alumni Association’s Scholarship Fund through their Tdonations that were included in the Northern Ireland Study Tour fee).

James Baumgardner Mini Findlay Pauline Metcalf Jeannie Bochette Bob Furhoff John Mitchell Mary Boehm Nancy & Fred Golden Frances O’Neill Jim Buttrick Sibyl Groff Janie Petkus Stephan Carlson Stephen Haigh & Christopher Pollock Cindy Casey Shelley Meagher Phyllis Quinn Heidi Cassells & Nancy Kirpatrick Charles Robertson Brett Hammond David Lamdin Jeff Sholeen Bob Chapman John Martine Peter Spang Hank Dunlop Kyle McGuire Frank Vitalli

4141 Victorian Society in America Individual Donors Other Donors Bob Chapman Decorative Arts Trust Summer School Kevin Cooney Felicia Fund Patricia Eldridge Victorian Society Donors Elizabeth Leckie Scholarship Fund (Fidelity) Dick Reutlinger he Alumni Association is extremely Charles Robertson Chapters Tgrateful to the following The Victorian Kevin Rose Alumni Association of Society in America (VSA) donors, Victorian John Simonelli the Victorian Society Society Chapters and others who so Jaclyn Spainhour Summer Schools generously supported the Summer Schools Tina Strauss Victorian Society New York through their donations to The Victorian John Waters Northern New Jersey Chapter Society specifically for the Schools, which the JoAnne Warren Ohio River Chapter VSA asked to be acknowledged. Samantha Wiley Washington DC Metro Chapter

Heritage Society

e are extremely grateful to the following members who so thoughtfully and generously include the Alumni Association in their wills or trusts. Their gifts will make a lasting difference to deserving Wscholars for years to come. The Bob and Carole Chapman Fund very generously awarded a grant of $10,000 to the Alumni Association Chapter in memory of Carole Chapman.

Paul Duchscherer very thoughtfully made provisions in his trust for a $10,000 bequest to the Alumni Association as well as designating the Alumni Association as the beneficiary of all future royalties from his many books and other publications.

Including the Alumni Association in your estate plans is an effortless way to support the Schools. If you are interested in and require further details about including the Alumni Association in your will or trust, please contact President David Lamdin at (703) 243-2350 or at [email protected].

AN INVITATIANO INVITATIONN TO JOIN Since 1966, The Victorian Society in America has fostered an appreciation of this country’s 19th century heritage through its preservation efforts, publications, and its TO JOIN Summer Schools in London, Newport, and Chicago. THE VICTORIAN SOCIETY IN AMERIThereCA are many outstanding benefits of a Victorian Society membership including supporting the Summer Schools, attending symposia, study weekends, and the annual meeting and tour in a location with a distinguished Victorian heritage, helping preserve historic structures, and receiving its AN INVITATIOscholarlyN publication Nineteenth Century and The Victorian Quarterly newsletter. TO JOIN For more information or to join go to www.victoriansociety.org THE VICTORIAN SOCIETY IN AMERICA Photos by James Russiello Benefits of Membership Since 1966, The Victorian Society in America has 42 • Symposia and Study Weekends been a leader in the appreciation and preservation Frequently, members gather for a weekend of special study or of this country’s 19th century heritage. Founded as a symposium on a selected topic such as Victorian houses, a companion organization to The Victorian Society hotels and resorts, as well as collectibles. in Great Britain, The Victorian Society in America • Annual Meeting and Tour The annual meeting is held in a locale distinguished for its brings together lovers of Victoriana–old house Victorian heritage and includes tours, receptions, and visits to owners, professional historians, architects, private collections. collectors, students, museum curators, • Summer Schools preservation organizations, college libraries, art These schools, based in Newport, R.I., and London, England, study facets of 19th / early 20th century architecture and culture. galleries, antique shops, and restoration • Publications specialists. Interests are as varied as the era itself. Nineteenth Century magazine is devoted to the cultural and social history during the Victorian era. The Victorian Quarterly Photos by James Russiello newsletter covers activities and news from our local chapters. Benefits of Membership Since 1966, The Victorian Society in Amer1i6c3a6 h Saasnsom Street • Preservation Philadelphia, PA• 1 S9y1m03posia anTdhe SVticutodryia nW Soeceiektye enndgasges in efforts to ensure the been a leader in the appreciation and preservation th (215) 636-9872 Frequently, mpermesbeervrsa tigoant haenrd f/or are wstoereaktieonnd o of f1 s9pecceianlt usrtyu dbuy ilodrings th of this country’s 19 century heritage. Fouvnicdtoerdia ansociety.orga symposium tohnro au gsheoleuctt tehde tUo.pSi.c such as Victorian houses, a companion organization to The Victorian Society hotels and •re Csohratsp, taesr w Aeffill alisa ctioollencstibles. • Annual MeeMtienmgbe arsn ednj oTyo aunr even greater variety of activities by joining in Great Britain, The Victorian Society in America both the national and a local chapter. The annual meeting is held in a locale distinguished for its brings together lovers of Victoriana–old house Victorian heritage and includes tours, receptions, and visits to owners, professional historians, architects, private collections. collectors, students, museum curators, • Summer Schools preservation organizations, college libraries, art These schools, based in Newport, R.I., and London, England, study facets of 19th / early 20th century architecture and culture. galleries, antique shops, and restoration • Publications specialists. Interests are as varied as the era itself. Nineteenth Century magazine is devoted to the cultural and social history during the Victorian era. The Victorian Quarterly newsletter covers activities and news from our local chapters. 1636 Sansom Street • Preservation Philadelphia, PA 19103 The Victorian Society engages in efforts to ensure the (215) 636-9872 preservation and/or restoration of 19th century buildings victoriansociety.org throughout the U.S. • Chapter Affiliations Members enjoy an even greater variety of activities by joining both the national and a local chapter. Victorian Society in America 2019 Summer Schools Dates & Fees

ummer School alumni are among the best recruiters of applicants. Please encourage your colleagues, friends, students, or fellow classmates to apply. You can also help by posting Summer School brochures at your Sinstitution, speaking about the schools at local universities and at local historical societies or historic house museums, or by hosting a recruitment event for which the Alumni Society will provide $250 toward the expenses and help with emailing the invitations.

Newport May 31-June 9 The renowned architectural historian Richard Guy Wilson explores four centuries of architecture, art, and landscape in a ten-day program based in Newport RI. The course includes lectures by leading scholars and opportunities to get behind the scenes of some of American’s grandest mansions. $2,700 tuition includes nine nights shared accommodation, lectures, entrance fees, some meals.

Chicago June 13-18 Course Director Tina Strauss and Associate Director John Waters focus on the American roots of modernism with expert lectures and tours. After the Chicago Fire of 1871, progressive architects and patrons moved the city to the forefront of technological and aesthetic experimentation. $2,100 tuition includes seven nights accommodation, lectures, entrance fees, some meals.

London June 29-July 14 With an emphasis on the Arts & Crafts Movement as well as on high Victorian design, Course Director Joanna Banham and a distinguished roster of experts explore the architecture and the landscape and industrial arts of London, the Midlands, the Cotswolds, and other key locations. $4,500 tuition includes 15 nights shared accommodation, lectures, entrance fees, some meals.

Applications must be received by March 1, 2019. Full and partial scholarships are available.

For more information, to apply for the schools, request copies of the 2019 brochure or other requests, please contact Anne Mallek, Summer Schools Administrator at 636 771-7190, [email protected] or go to the website www.vsasummerschools.org.

From top: Ochre Court, Newport; The Rookery, Chicago; Please contact David Lamdin if you are willing to host a Wightwick Manor, Wolverhampton, England, Photos by recruitment at [email protected]. John H. Waters 43 Nonprofit Org. U.S. Postage PAID San Francisco CA Permit No. 925

1636 Sansom St. Philadelphia PA 19103-5404

ALUMNI JOURNAL In this Issue W I N T E R 2 0 1 8 Touring Northern Ireland in Grand Style 1 Letter from the President 2 The London Summer School: Viewing Sites Old and New 4 Behind the Book 7 The Chamber of Horrors 8 A Dutch Take on Heritage Conservation 11 A View of George Gilbert Scott’s London 13 Chicago Summer School: Reflections on the First Four Years 15 Chicago’s Fine Art Nexus 17 Chicago Summer School: Modernism on Lake Michigan 19 Newport: The Center of Modern Architecture 21 Newport Summer School: Follow the Leader! 23 Newport 2018: Ten Days to Shake the World 25 Newport: Understanding a Dichotomy in Taste 27 Battle Hymn of Newport 28 The Six Cities of Newport 29 Kelmscott Manor Saved 31 In Memoriam 32 Alumni News 34 Call for Papers 37 2018 Summer Schools Student Roster 39 Alumni Association Scholars and Donors 40 Heritage Society 42 Join the VSA 42 Victoria still reigns in Belfast. Photo by Fred Golden 2019 Summer Schools Dates and Fees 43

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