2019 Annual Report

WINTERTHUR MUSEUM, GARDEN & LIBRARY 2019 A N N U A L R E P O R T

The Vision Winterthur inspires exploration of American culture and landscapes through compelling stories and experiences.

The Mission Winterthur builds upon the vision of Henry Francis du Pont to inspire and educate through its collections, estate, and academic programs by engaging diverse audiences in the study, preservation, and interpretation of American material culture, art, design, and history.

From the Chair

The ever-changing beauty of Winterthur’s landscape in the rolling hills of the Brandywine Valley reminds us of the evolving nature of the estate, museum, and academic initiatives thoughtfully established by founder Henry Francis du Pont. Winterthur has welcomed museum, garden, and library visitors for 68 years and during that time has endured amid gas crises, recessions, other economic flux, and even wartime unrest. Today’s bright future would not be possible without the dedication of our staff and the steady financial management of the museum’s leadership. Since the last publication of this Annual Report in 2008, Director and Trustee Emeritus David Roselle steered Winterthur through one of the worst recessions our country has faced. He retired in 2018, shortly before the retirements of Robert Necarsulmer and Robert Davis, Winterthur’s long-serving CFO and Director of Development respectively. Together, Dave, Rob, and Bob left Winterthur in a prime position for growth by establishing funds such as the Louise and David Roselle Exhibition Endowment, which enabled us to bring the sensational exhibition Costuming THE CROWN to Winterthur in 2019. The Board of Trustees and I are grateful for these gentlemen and for their vision, which secured the museum’s future through challenging financial times globally. In searching for David Roselle’s successor, the committee and I sought a bright, experienced, energetic, collaborative, and talented leader. We were aided by the generosity of an anonymous donor to endow the position, and, in May 2018, we enthusiastically appointed Carol B. Cadou the Charles F. Montgomery Director and CEO of Winterthur. Like Charles Montgomery, the museum’s first director, Carol entered the field as an avid student of early American decorative arts. After graduating from the Winterthur/University of Delaware Program in American Material Culture, she held curatorial positions at Historic Charleston Foundation and the Maryland State Archives before a 19-year stint at George Washington’s Mount Vernon, where she most recently served as Senior Vice President for Historic Preservation and Collections. In 2019, Carol led the Trustees, staff, and volunteers in crafting a new vision and strategic direction for Winterthur. The conversations returned consistently to H. F. du Pont’s directive that Winterthur should be “a source of inspiration and education for all time.” The new vision—to inspire exploration of American culture and landscapes— focuses attention on our visitors at the same time as it provides for the preservation of the unparalleled collections and landscapes for which Winterthur is known.

As we look to the exciting path ahead and draw inspiration from our new vision statement, I welcome you to come explore Winterthur.

Katharine P. Booth Chair, Board of Trustees Winterthur Museum, Garden & Library

INSIDE

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1 From the Chair

4 From the Director

6 The Year in Pictures 10 Costuming THE CROWN: Form Follows Function 14 Special Collaborations

10

A Primetime Hit: Winterthur & Antiques Roadshow H. F. and Jackie: The White House Connection East Meets West through Winterthur

20 New Links with the Past A Stunning Find

From Washington to Winterthur: Mystery Abounds Rare & Beautiful

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14

26

28

26 Circling the Globe

Scholarship, Travel & Community

28 Steadfast Support

Expanding Our Educational Reach Ecological Engagement

31 The Generosity of Friends Honor Roll of Donors 50 Years of Service

31

Gardener Extraordinaire Things Left to Do at 102

46 Financial Statement

48 The Printed Word

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Cover: Hippocampus in the Reflecting Pool. Photo by Bob Leitch

In October, the U.S. Postal Service announced the release of a series of stamps that celebrates 10 classic American gardens, including the beautiful gardens of Winterthur Museum, Garden & Library. Now people across the country can get a glimpse of founder Henry Francis du Pont’s stunning landscape designs. The stamp features a photograph by Allen Rokach of azaleas blooming around the reflecting pool in the formal garden designed by Mr. du Pont’s close friend, the pioneering woman landscape architect Marian Coffin.

From the Director

The marking of time by a calendar or fiscal year is rather artificial, but it provides a moment to reflect on the generosity and accomplishments of Winterthur’s remarkable supporters, staff, and volunteers; they daily inspire and propel us forward with their dedication to our mission. This 2019 report includes a sampling of highlights from the calendar year and a snapshot of our financial health in the fiscal year, which ran from July 1, 2018, to June 30, 2019. Within these pages you will see the people, initiatives, and contributions that made the past year such a success. At a time when the country’s cultural institutions are struggling with low attendance, Winterthur addressed the challenge head-on in 2019 with the exhibition of 40 costumes from the fan-favorite Netflix series The Crown . The exhibition Costuming THE CROWN and its related programs drew record crowds from a broad array of visitors, thanks to quick action and collaboration across the estate. We also took a calculated risk to close the estate in June to host Antiques Roadshow , which brought cameras, lights, and more than 3,000 visitors in one day. The effort resulted in three hour-long episodes promoting Winterthur, its collections, and history—as well as a wide range of objects assembled for appraisal—to an estimated 28 million viewers (nearly 1 million in the Philadelphia media market alone) thanks to PBS and our local affiliate, WHYY. These initiatives, combined with new marketing strategies and the 40th anniversary of our Yuletide installation, brought more than 116,000 visitors to Winterthur in 2019—an increase of 36 percent over 2018. Amid this flurry of activity, Winterthur Trustees, staff, and volunteers paused to collaborate on a strategic vision and path for the next decade. I am particularly grateful to the more than 200 staff and volunteers who participated in focus groups and to the Trustees who served on the Strategic Planning Task Force, chaired by James Hawkes and Désirée Caldwell, including Katharine Booth, Morrison Heckscher, John Herdeg, Cynthia Hewitt, Ann Jones, and Forbes Maner. Their decades of service and dedication to Winterthur’s advancement, as well as their collective wisdom, produced a strategic framework that will enable Winterthur to build upon its many strengths, expand audiences, and boost relevance in a rapidly changing 21st century. Guided by our strategic vision, values, and key priorities, Winterthur staff, volunteers, and Trustees will develop and implement a comprehensive plan to preserve and utilize the breadth of the estate’s buildings, collections, and landscape features; grow Winterthur’s audience through compelling programs, events, and

The Path Forward

The Vision: Winterthur inspires exploration of American culture and landscapes through compelling stories and experiences.

new initiatives; and strengthen our educational reach through the museum, garden, library, and estate collections as well as academic programs. We will also secure Winterthur’s financial future and long-term sustainability through new earned and contributed revenue models at the same time as we develop and implement a digital strategy that provides innovative ways to expand our reach. We are united by our enthusiasm for Winterthur’s future as we work to achieve this shared vision. As we celebrate Winterthur’s successes, please join me in recognizing and saluting the individuals, sponsors, and initiatives that have made a clear difference this past year. We hope you will add your name to theirs and join our mission “to inspire and educate” national and international audiences with the rich stories of American culture and history provided by Winterthur’s remarkable collections and landscape. On behalf of us all, I invite you to explore these stories and all Winterthur has to offer.

Our Values: Agility

Excellence Innovation Integrity Inclusion Transparency

Our Priorities: Preserve and Promote the Entire Winterthur Estate Engage Our Visitors Expand Our Educational Impact Secure Winterthur’s Future

Carol B. Cadou Charles F. Montgomery Director and CEO Winterthur Museum, Garden & Library

Build a Dynamic and Cohesive Team Transform Winterthur’s Digital Approach

Photo by Maria DeForrest

Highlights of the Year IN PICTURES

january I february

march

Members benefit from the exclusive opportunity to enjoy the winter landscape and witness nature’s earliest awakening in the form of snowdrops, witch hazel, and more. A peaceful walk through the winter garden can restore the soul.

The opening party for Costuming THE CROWN on March 29 kicked off what would become the third best-attended exhibition in Winterthur history. Director and CEO Carol B. Cadou hosted Members and esteemed guests, including Emmy ® -winning costume designers Jane Petrie and Michele Clapton.

A Beekeeping Basics workshop held on Saturdays in February is just one of the ways Winterthur demonstrates its role as a conscientious steward of the land. Attendees returned in April to see a package of honeybees installed at the Winterthur Apiary.

Famed White House historian William Seale chose Winterthur to house his papers due to its reputation and reach. In March, Winterthur Library received almost 50 years of Seale’s notes , including those for his book, The President’s House, one of the most popular books about the iconic building.

april I may

june

Winterthur’s newly acquired 1927 Rolls-Royce Phantom I Pall Mall epitomizes the kind of vehicle that guests of the du Ponts arrived in for grand weekend parties decades ago. A recent gift from David Lunger, it was proudly displayed at the Winterthur Invitational show of classic British automobiles on June 5.

Winterthur asserted its international influence as Gregory Landrey, director of Academic Affairs, served eight weeks as conservator-in-residence for the Conservation Resources for Architectural Interiors, Furniture, and Training (CRAFT) program, which he helped establish at Tsinghua University and the Palace Museum in Beijing. CRAFT is jointly sponsored by the university, the museum, and the World Monuments Fund.

H. F. du Pont’s masterful garden delighted visitors with its carefully orchestrated symphony of blooming color rolling across the estate from spring through fall.

About 3,000 guests descended on Winterthur when the Antiques Roadshow production crew rolled in for a full day of appraisals and fun on June 18. The number and quality of objects, along with fabulous stories, earned us the season premiere spot in January 2020.

Winterthur’s Point-to-Point steeplechase race remains one of the most anticipated springtime events in the Brandywine Valley, drawing up to 20,000 visitors, rain or shine. The 41st race on May 5 provided all the usual fun and excitement for horse-racing aficionados, stylish dressers, and young and old alike.

Highlights of the Year IN PICTURES

july I august

june

Enchanted Summer Day, the height of family fun, drew more than 1,100 visitors to Enchanted Woods on June 15 for a brilliant summer day filled with crafting, music, storytellers, face painting, and more.

Over the summer, more than 2,100 families flocked to Terrific Tuesdays for 54 hands-on activities inspired by Winterthur, indoors and out, and featuring an array of fascinating guests, from physicists to miniaturists.

Winterthur’s meadows are an ideal habitat for American kestrels, which are endangered in Delaware. In an effort to boost the local population, Brandywine Zoo installed two nesting boxes on the estate. The boxes produced two out of only three hatchlings from more than 60 boxes placed statewide! U.S. Senator Tom Carper of Delaware visited on June 28 to see the birds and learn more about Winterthur’s environmental partnerships .

Through a partnership with the Historically Black Colleges and Universities Art Alliance , the Winterthur/University of Delaware Art Conservation Program continued a national effort to diversify the conservation field, hosting several students from HBCUs for a two- week introduction to practical conservation.

Winterthur’s diverse habitats and location on major migratory routes make it a prime spot for birders. A new program of monthly birding walks attracted dozens of visitors, who experienced the wetlands, woods, and meadows in entirely new ways.

september I october

november I december

The Delaware Antiques Show attracted almost 2,000 dealers and attendees to the Chase Center on the Riverfront, November 8–10. The show’s reputation as the premiere show of Americana continues to grow among participants and the antiques press.

Winterthur’s Collectors Circle not only funded important additions to the collection in 2019 but also enjoyed a rich program of scholarship, community, and travel, such as their trip to Mallorca in the fall.

Winterthur contributed to an international effort to preserve important paintings by hosting a group of conservators and curators in December as part of the Conserving Canvas grant from the Getty Foundation . The grant will allow conservators to address ways in which treatments can be used to prepare paintings for a future exhibition.

The 40th anniversary of Yuletide at Winterthur featured the greatest hits of our annual holiday tour from over four decades. The Chinese Parlor, adorned with the du Pont’s Christmas tree and gift baskets for each member of the family, remains a perennial favorite.

On October 4, Truck and Tractor Day, our annual welcome-fall event honoring the estate history and benefiting Winterthur’s fire department, hosted nearly 2,000 visitors, who enjoyed tree climbing, ice cream, fire trucks, and scores of tractors and other equipment.

Photos by Ben Fournier, Bob Leitch, Suchat Pederson, J. Paul Simeone, and Wendy Hitchens Perry

Costuming THE CROWN

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Form Follows Function When designing Costuming THE CROWN, finding the right kind of mannequins was key. In polite society, we appreciate nothing so much as good form. At Winterthur, those behind the exhibition Costuming THE CROWN appreciated nothing so much as good forms . Among the many considerations in designing the display of 40 costumes from the Netflix television series, finding the most appropriate mannequins was among the most vexing, according to exhibitions manager Kim Collison. “It took a lot of time to determine what was appropriate, find them, then transport them,” notes textiles conservator Laura Mina, who led the team that prepared the costumes for display. “It was a challenge.” Because the exhibition would celebrate costume design as well the role it plays in telling history and creating drama, Collison and her team knew from the start that the making of the costumes would be the focus. The exhibition aesthetic was driven by the idea of a workroom—light colors with fabric incorporated as a design element. The mannequins themselves would need to evoke the idea of making costumes. This aesthetic also informed the incorporation of photos and videos in the exhibition space in a way that would keep the costumes at the fore.

But what kind of mannequins could work? They would need to beautifully display and support the costumes safely for almost 10 months. They required a perfect fit in every case. Standard department-store- style models wouldn’t suit, nor would inexpensive polyurethane mannequins or expensive papier-mâché ones from Paris. Some would need to look beautiful under revealing sleeveless gowns, so those with metal plates at the attachment points would have been unsightly. Most would not needs heads, except to support pieces such as wedding veils. Clear plastic mannequins could support a sash floating over a shoulder-less gown, but Mina and the curators felt they weren’t “quite right.”

“We didn’t want the mannequins to look too human or distract from the costumes,” says textiles conservator Laura Mina. “ They needed to honor the designers’ research but not deceive the viewer.”

Costuming THE CROWN 11

Hours the team spent preparing each costume 35

“We didn’t want the mannequins to look too human or distract from the costumes,” Mina says. They needed to honor the designers’ thoughtful research but not deceive the viewer.

a deck would be needed to support a large and heavy costume such as Queen Elizabeth II’s coronation ensemble? Other design considerations included where to use curved decks as opposed to straight to convey the difference between the royal family’s private and public moments.

In the end, a dressmaker’s form was the preferred choice. Most of the female forms were loaned by the Costume Institute at the Metropolitan Museum of Art, and male and select female mannequins were made to order by a gentleman in New York. After sourcing all necessary materials, Mina and a team of 12 conservators and student interns spent weeks building hoop frames of steel boning and Nylon netting to support large skirts; fashioning arms of thermo-active polyesters; overseeing the modification of dress forms with standard pipe fittings so that they could support ensembles that include shoes; and sewing polyester batting onto the forms in order to precisely re-create the shapes of specific actors. Each form required, on average, 35 hours to prepare.

Challenges included incorporating 11 audio-video components without creating “a cacophony,” Collison says. Conservators grappled with issues such as securing a scabbard to the sword belt on King George VI’s military uniform and preventing damage to delicate painted decorations on the Queen’s coronation gown. Though the demands of television production are not kind to costumes, Mina and her team treated them as if they were works of art. The camera doesn’t linger, Mina notes, but Winterthur visitors would have all the time they liked to study the details. The results were a success, and the exhibition was one of the most popular in Winterthur’s history. In 2019, 81,584 visitors toured Costuming THE CROWN, one of the best attended exhibitions ever.

The sizes of the costumes were a major factor in the design of the exhibition space, Collison says. How large

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EXHIBITIONS July 1, 2018—June 30, 2019

T H O M A S C H I P P E N D A L E

April 1, 2018–January 5, 2020

at 300

Trea sure s f rom the Wi nt e r thur Co l l ec t i on

July 20, 2018–May 27, 2019

March 30, 2019–January 5, 2020

May 4, 2019–July 28, 2019

July 11, 2019–January 5, 2020

September 10, 2019–January 5, 2020

Exhibitions 13

SPECIAL Collaborations A Primetime Hit: Winterthur & Antiques Roadshow In more than one way, Winterthur set the tone for the popular program’s season. Event planner Jill Abbott was almost in a state of disbelief when she heard the news. Antiques Roadshow, the most enduring and popular program in the PBS television portfolio, wanted to tape three episodes at Winterthur. “ Antiques Roadshow is shown around the world,” Abbott says. “There are few opportunities that are that large and that fun.” Before the fun could begin, however, there were things to figure out. Could 3,000 people plus objects large and small be moved efficiently across the property? How could the collection be protected from harm, especially from an infestation of hitchhiking pests? Were the risks worth the opportunity to show an American treasure to viewers across the nation? It all happened relatively quickly. After the initial call in August 2018, the Antiques Roadshow production crew rolled onto the estate June 16, 2019, with a 54-foot equipment tuck and a generator that could power a small city. Forty-eight hours later, 20 large tents and the crew had disappeared without a trace, with enough recorded appraisals of high-quality items to make Winterthur the premier episode of its 2019 tour of five historic sites from across the United States. “Not only was Winterthur a fabulous venue, it was very welcoming,” says Marsha Bemko, executive producer of Antiques Roadshow. “Some places fear the crowds. Winterthur said, ‘No big deal. We can do this.’” Never had Winterthur hosted so many for so long. Planning and logistics were key. The estate closed to non-essential staff, members, and the public for taping day. Organizers from Antiques Roadshow and Winterthur determined that 325 ticket-holders could be admitted each hour. They would be shuttled by tram through the garden from the Visitor Center to the East Circle outside the Dorrance Gallery, where they queued at the so-called triage tent to have their packages

Number of Visitors 3,000+

inspected. Winterthur staff provided another layer of protection, eyeing for pests and other threats to the collection before guests were directed to the appropriate appraisal stations. Antiques Roadshow production crews spent Monday recording several of the most iconic rooms in the house as well as interviews between star appraisers and past guests about some of the most amazing finds over the past 25 years. Those interviews were assembled into a separate, special documentary to celebrate the show’s 500th episode. The special aired in November 2019.

Over everything loomed a serious threat of rain, which posed the possibility of a stampede to the indoors.

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A team of 24 conservators, curators, and registration staff remained on high alert, ready to move the operation in a safe and orderly manner while safeguarding the house and vulnerable items in the galleries. Says Joy Gardiner, head of conservation at Winterthur, “We needed a plan to deal with things from people’s attics and basements,” places that are often damp, dirty, and home to all sorts of insects that would ultimately find their way into the packing materials used by the guests. “Silverfish especially love corrugated cardboard,” Gardiner added. Show producers therefore restricted acceptable packing materials to help Winterthur protect its collection. In the end, the rain never came. Well over 3,000 guests visited, and everything flowed perfectly. “If we could have made a video there for other venues, we’d show it and say, ‘This is how it works when it works really well,’”

Bemko says. “And for those of us who plan these shows for the millions of viewers who will get to see them, Winterthur really helped us make a great impression.” Winterthur premiered the Antiques Roadshow season on January 6, 2020, to local and national acclaim. Two more Winterthur episodes followed on January 13, 2020, and January 20, 2020.

Special Collaborations 15

H. F. and Jackie: The White House Connection Some 58 years after First Lady Jacqueline Kennedy requested Henry Francis du Pont’s assistance with the restoration of the White House, Winterthur is celebrating a new collaboration with the White House Historical Association (WHHA) that brings together two institutions with a dedication to scholarship and the preservation of America’s material past. The WHHA is a private, nonprofit educational organization whose mission is to enhance the understanding and appreciation of the nation’s executive mansion. Jacqueline Kennedy founded the association in 1961 to assist the White House with collecting and exhibiting the very best artifacts of American history and culture. WHHA worked closely with Mrs. Kennedy’s Fine Arts Committee for the White House, also created in 1961 to bring together American decorative arts experts and preservation specialists. Hand-selected by Mrs. Kennedy, Committee Chair Henry Francis du Pont vetted and oversaw the rapid expansion of the White House collection. At Mr. du Pont’s suggestion, Lorraine Waxman Pearce, a graduate of the Winterthur Program,

Since the 1960s, Winterthur staff and alumni from its graduate programs have contributed to the scholarship and preservation of White House objects and history through a variety of advisory and staff roles.

was appointed the first White House curator. Since the 1960s, Winterthur staff as well as alums from both graduate programs have contributed to the scholarship and preservation of White House objects and history through a variety of advisory and staff roles, notably with the Committee for the Preservation of the White House, which was founded in 1964. On June 13, 2019, Winterthur celebrated a new partnership with the WHHA as Trustees, leadership, and supporters of both organizations convened for an evening featuring keynote speaker Margaret Leslie Davis,

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Far left: Designing Camelot is being updated for publication by Winterthur and the White House Historical Association. Left: First Lady Jacqueline Kennedy during a visit to Winterthur on May 8, 1961, with Henry Francis du Pont (middle) Above: The Winterthur Archives hold correspondence between Henry Francis du Pont and First Lady Jacqueline Kennedy that explains the making of several White House rooms.

the author of Mona Lisa in Camelot: How Jacqueline Kennedy and da Vinci’s Masterpiece Charmed and Captivated a Nation. The following day, scholars participated in a colloquium that explored the history of decorative arts in the White House. Wide-ranging discussions included the role of White House interior designers and advisors, especially Henry Francis du Pont, as arbiters of a national taste; the role of enslaved workers in protecting and preserving White House treasures; and specific objects such as ormolu clocks, porcelain oyster plates, and upholstered mahogany seating furniture created by Georgetown’s William King, Jr. These and other topics will be addressed when Winterthur and the WHHA reconvene at the WHHA’s Symposium in Washington, D.C., on October 1, 2020. The collaboration of the two institutions is further cemented with the creation of a White House Historical Association Fellowship, which is open to graduates of the Winterthur Program in American Material Culture.

Inaugural Fellow Kathryn Budzyn (WPAMC 2019) is leading workshops for the WHHA Teachers Institute in addition to conducting research on a 1780s–90s printed cotton bed gown on loan to Tudor Place Historic House & Gardens. The gown was likely owned and worn by Martha Dandridge Custis Washington and then by her granddaughter, Martha Custis Peter. Insights into this rare garment will help add to a better understanding of the life of the First Lady. These inaugural initiatives, which rekindle a relationship begun years ago, offer the promise of a fruitful partnership that is certain to prosper in the years ahead. Winterthur is grateful to WHHA President and CEO Stewart McLaurin and the WHHA Trustees for their shared vision and enthusiasm championing American material culture and the decorative arts that continue to define the presidency.

Special Collaborations 17

East Meets West Through Winterthur Exhibitions and education build bridges with China.

In the China of this moment, there exists Beijing—the administrative and cultural capital of the country since the 15th century—and Hong Kong, a special self- governed region for more than 100 years that maintains a long-standing policy of free trade but is never far from Beijing’s reach. As both cities wrestled with each other and the United States over trade policies and other issues in 2019, Winterthur continued important preservation and conservation work there and took part in its first trans-Pacific exhibition—significant cultural exchanges that raise Winterthur’s international profile.

Planning the show began long before there was a hint of the U.S.–China trade war, but the exhibition opened as tensions between the nations began to mount. Over the next four months, 38,000 visitors viewed the show, and the museum hosted a series of talks with high-level government officials and international business leaders to find positive points of discussion about trade with the United States. “This never happens,” said Leslie B. Grigsby, a curator for the exhibition and senior curator of ceramics and glass at Winterthur. “How could a show be more relevant?”

Grigsby specializes in Chinese porcelain made for export. Because most ceramics used in early America were made elsewhere, her research has connected her with scholars, dealers, and collectors around the world. Those relationships have led to presentations at two symposia in China and the invitation to contribute to The Dragon and the Eagle with institutions such as the Philadelphia Museum of Art, the Metropolitan Museum of Art, and the Peabody Essex Museum. “We have been building these relationships for 10 years,” Grigsby says. Logan D. Delany, Jr., a Winterthur Trustee with a special interest in Chinese export porcelain, keeps an office in Hong Kong for his

manufacturing businesses in China and attended the opening of the exhibition. “It recognizes a trend of globalization,” Delany says. “Long before Marco Polo in the Renaissance, trade has been global. But now the world is a smaller place. We should participate, and we should all learn.” In Beijing, Gregory J. Landrey, director of Academic Affairs at Winterthur, has enhanced U.S.–China relations Right: Chinese export porcelain from Winterthur on display in The Dragon and the Eagle: American Traders in China, A Century of Trade from 1784 to 1900 at the Hong Kong Maritime Museum (HKMM); Senior Curator of Ceramics and Glass Leslie B. Grigsby with HKMM curatorial staff: (left to right) Nina Wan, Leslie Grigsby, Libby Chan, and Katherine Chu.

From December 2018 to April 2019, Winterthur contributed about 30 pieces of Chinese export porcelain—from its collection of some 5,000 Chinese objects—to The Dragon and the Eagle: American Traders in China, A Century of Trade from 1784 to 1900 at the Hong Kong Maritime Museum. The exhibition highlighted the history and nature of East–West trade between what was then the oldest empire in the world and the youngest republic.

Above: The Palace Museum in Beijing

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Years of Winterthur’s partnership with Tsinghua University 6

in a unique way for several years. With colleagues from Winterthur, Landrey works with the World Monuments Fund, the Palace Museum, and Tsinghua University as an advisor to CRAFT (Conservation Resources for Architectural Interiors, Furniture, and Training) to train Chinese students and professors in conservation. It is the first such collaborative educational program undertaken at one of the world’s most iconic structures, the Forbidden City. Art and object conservation is a new discipline in China, where priceless objects have been transferred to foreign hands over the centuries or destroyed during the political dynamics of the 20th century. The Palace Museum, which receives 80,000 tourists a day, is China’s most important museum. China’s Ministry of Culture approached the World Monuments Fund in 1999 to create a conservation project in the Forbidden City. In 2008 WMF reached out to Winterthur to help further develop a joint training program in conservation with the Palace Museum. “The World Monuments Fund found us by nature of who we are,” Landrey says. “Winterthur’s profile internationally is greater than we realize sometimes.” Interesting parallels between the Palace Museum and the Winterthur estate created a perfect fit. Both were large properties, with world-class gardens and collections of art and objects amassed by elite families, one royal, one aristocratic. “There are few museums of that size on family sites,” Landrey notes. Partnerships between each property and an esteemed institution of higher learning,

one established at the University of Delaware and one emerging at Tsinghua University, provided the platforms—human resources, technologies, and outreach—for education and conservation. As the CRAFT program expanded to add a third partner, Tsinghua University, Landrey and his Winterthur colleagues have helped to train Chinese conservators according to international standards. Among his Winterthur colleagues are Catharine Dann Roeber, the Brock W. Jobe Associate Professor of Decorative Arts and Material Culture in the Winterthur Program in American Material Culture, and Winterthur scientist Catherine Matsen. Using state-of-the-art technology in the Scientific Research and Analytical Laboratory at Winterthur, Matsen has conducted a benchmark study of Chinese lacquer to identify precisely where and when Chinese furniture and decorative items were manufactured. Such science puts Winterthur at the fore of international scholarship. Delany, with his deep knowledge of East–West trade, sees such exchange as the continuation of a long, mutually beneficial relationship between two world powers as well as the kind of activity that makes Winterthur more relevant. “In the U.S., most museums are private,” Delany says. “Elsewhere they are not. So if you aren’t a museum that appeals to the philanthropic community, you probably will not survive. These are things you need to do to appeal and to make contacts in foreign philanthropic communities. Things will evolve. The more we get ourselves involved, the more benefit there will be.”

Special Collaborations 19

NEW LINKS with the Past

A Stunning Find Winterthur’s new Robert S. Duncanson painting offers a new view of a unique American artist. It was a rare find—a beautiful, unsigned landscape painting offered for sale by Debra Force, Fine Art, Inc., and almost certainly made by one of the most important painters in American history. Upon seeing the work, Stéphanie Delamaire, associate curator of fine arts at Winterthur, recognized that Landscape in the Smoky Mountains, Tennessee, attributed to African American Robert S. Duncanson, equaled or surpassed many examples from the mid-19th-century American school of landscape painting—and it was in pristine condition. Delamaire knew she had to acquire the painting for Winterthur. “This canvas now constitutes a crucial addition to Winterthur Museum’s collection, which did not include a painting representative of this major movement in American culture,” said Delamaire. Duncanson, the grandson of a freed slave, was widely acclaimed by antebellum critics as the “best landscape painter in the West.” Many of his works are held by institutions such as the Metropolitan Museum of Art, the Smithsonian American Art Museum, the Royal Court of Sweden, the Montreal Museum of Fine Arts, and the Museum of Fine Arts, Boston. Landscape in the Smoky Mountains, Tennessee depicts a panoramic view with a stream, pasture, and mountains inspired by the Southern Appalachians of Tennessee and North Carolina, where Duncanson—at no small risk to his life and freedom—traveled and painted in the early 1850s.

Delamaire and Matthew Cushman, conservator of paintings at Winterthur, authenticated the unsigned Landscape in the Smoky Mountains, Tennessee in part from its technique and style, comparing it to other Duncanson works from the time; in part from records of corresponding exhibitions of his paintings; and in part by a canvas stamp from a dealer in Troy, New York, whose date corresponds to Duncanson’s travels in the region. Landscape in the Smoky Mountains, Tennessee remained in the family of the original owner until 2000, when it was sold to a private collector. For most of its existence, it has remained in its original frame. Examination under magnification aided by ultraviolet light indicates that the painting was expertly cleaned during the only conservation treatment it received since it was made nearly 170 years ago. Overall, it is a perfect representation of Duncanson’s ability as a landscape painter at a turning point in his career. Duncanson was born in 1821 in Fayette, New York, and is most closely associated with Cincinnati, Ohio, an economic and cultural center that produced some of the most important artistic and cultural figures of the time, including Hiram Powers, Lilly Martin Spencer, and Harriet Beecher Stowe. In spite of Ohio’s Black Laws, pervasive racial discrimination, and racial violence, it

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was created during this period, as the stamp on the back of the canvas was used by the manufacturer only between 1850 and 1853. The painting offers a direct encounter with the rising talent of an extraordinary artist, and it offers important opportunities for scholarship and teaching. “If you want to study Duncanson as a painter,” Delamaire says, “you want to see this picture.” Landscape in the Smoky Mountains, Tennessee also contributes to Winterthur’s growing collection of needlework, furniture, and other works of art and material culture created by African Americans, thus constructing a more inclusive view of artistic creation in 19th-century America. “If you want to study Duncanson as a painter, you want to see this picture.” —Stéphanie Delamaire, Associate Curator, Fine Arts

Age of painting 170 years

Left: Stéphanie Delamaire, associate curator of fine arts at Winterthur Robert S. Duncanson (1821–1872), Landscape in the Smoky Mountains, Tennessee, ca. 1851–53. Museum purchase with funds drawn from the Centenary Fund 2018.0037 A

New Links with the Past 21

From Washington to Winterthur: Mystery Abounds A stunning piece of furniture; the story of a young girl’s scandalous marriage to a Russian diplomat; a mysterious connection to Revolutionary War hero General Thaddeus Kosciusko; and a documented line of descent in the Mackall family of Georgetown—all are fascinating components of a recent gift to Winterthur from Elizabeth C. Weld and Elizabeth B. Weld in memory of Louis Mackall Weld, Jr. As described by Lois F. and Henry S. McNeil Curator of Furniture Josh Lane, the mahogany secretary is of “unusual design.” It features an inset gouache landscape painting in the upper center cupboard door

and two pairs of vertical doors faced with red Morocco-leather faux book spines stamped in gilt. They simulate Chief Justice John Marshall’s five- volume biography Life of Washington, published in Philadelphia in 1804–07. Why the reference to the first president, and where was the secretary made? According to Lane, the use of red cedar and tulip- poplar as secondary woods suggests an American origin. The secretary was possibly crafted by a cabinetmaker in Georgetown or Alexandria between 1805–15—a likely product of George Washington’s Federal City, which included land in Maryland and Virginia.

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It is thought that Harriet de Bodisco later presented the secretary to her relatives in the Mackall family, as it appeared in their Washington home in the 1899 photo and has descended in that family line. But what of its early provenance? Who made this handsome piece? Was it Gustavus Beall, a relative of Harriett’s who trained as a cabinetmaker in New York but returned to Georgetown around 1810? Lane notes that this is a particularly exciting prospect, as very little case furniture made in metropolitan Washington, D.C., has been identified. And what is the connection to George Washington’s trusted and heralded general, Polish engineer Thaddeus Kosciusko? Did Kosciusko commission the desk as an homage to Washington? Why was it so revered in 1899? Much remains to be discovered. The secretary and its related objects provide an intriguing opportunity for research into Washington, D.C., furniture craftsmen; mid-19th-century Washington social life; and Polish- Russian connections, all of which beg further questions and new interpretations for future audiences at Winterthur.

What is the connection to George Washington’s trusted and heralded general, Polish engineer Thaddeus Kosciusko? Did Kosciusko commission the desk as an homage to Washington? Much remains to be discovered.

Thanks to sleuthing by Lane and Rebecca Duffy, former Robert and Elizabeth Owens Curatorial Fellow, we know that the secretary can be firmly documented to 1899, the year Sarah Somervall Mackall published a photo of it in her book Early Days of Washington with the caption “Kosciusko desk.” It was a treasured heirloom in the Mackall family’s Georgetown home. Circumstantial evidence indicates that, by 1840, it was in the possession of a wealthy Russian aristocrat, Alexander de Bodisco (1786–1854), who served under Czar Nicholas I as ambassador to the United States from 1838 to 1854 and entertained lavishly at his Georgetown mansion. Who it was made for is unclear. When the 54-year-old Bodisco married 16-year-old Harriet Beall Williams in 1840, in a glittering ceremony that understandably drew international attention, he apparently conveyed the secretary to her when he signed over the deed and contents of the mansion as a wedding gift. Preserved in one of the drawers is a sequined fan, a pair of white slippers, and a scrap of white silk, purportedly from the wedding. They are all part of the gift to Winterthur.

Opposite and above: Secretary, possibly Georgetown, Maryland, or Alexandria, Virginia, 1805 – 15. Mahogany, tulip-poplar, red cedar, possibly white pine. Gift of Elizabeth C. Weld and Elizabeth B. Weld, in memory of Louis Mackall Weld, Jr. 2019.0014.001 Above left: Johann Conrad Dorner, Harriet de Bodisco , 1844. Oil on canvas. The State Russian Museum, St. Petersburg

New Links with the Past 23

Rare & Beautiful The Winterthur Library has always played a central role in the institution’s national reach. As a highly respected study center, the library not only houses the world’s most comprehensive sources on American life and culture but also actively acquires new materials through gifts and purchases. Winterthur is particularly grateful to longtime donor and Honorary Trustee Edmond L. Lincoln for his gift of a group of 27 rare books, including a collection of ornament suites for the decoration of firearms entitled Plusieurs Pieces et Ornements d’Arquebuziers (Paris, 1685), by Claude Simonin. The volume is bound with Plusiers Pieces et Autres Ornements pour l’Arquebuziers (Paris, 1693). Mr. Lincoln’s donation also included an album of original drawings of ecclesiastical silver and gold objects, Dessins Anciens Orfèverie d’Église (opposite, top.) The drawings date from the late 1600s to about 1820 but were assembled in Paris in the late 1800s by the firm of Bapst et Falize. Bapst family members were jewelers to the French court for many years. Two additional donations include compilations of scarce suites of ornament from the late 18th century, many of which are printed in red ink: André-Louis Caillouet, Principes d’Ornements, Cahiers I-XI, Petit Cahiers I-III, and Principes d’Ornements, which includes the rare Cahier XII, published during the French Revolution. Among the library’s notable purchases this past year is the complete run of a rare design serial published in Florence between October 1796 and November 1798: Magazzino di mobilia: o sieno modelli di mobili di ogni genere (opposite, middle) . Only one other U.S. institution (Metropolitan Museum of Art) holds a similar set. Funding for the Winterthur purchase was provided by the B. H. Breslauer Foundation and a generous donation from Trustee Forbes Maner, who also enabled the acquisition of the drawing books of Jacob and

One notable purchase is the complete run of a rare design serial published in Florence between October 1796 and November 1798: Magazzino di mobilia. Only one other U.S. institution, the Metropolitan Museum of Art, holds a similar set.

Joseph Schaeffer, silversmiths working in Washington, Pennsylvania. The five small volumes, dating from 1787 to 1825, contain designs for silver hollowware, sword mountings, and border and engraving elements in addition to instructions for Masonic silver. These are the earliest drawings of silver and ornamentation in Winterthur’s Joseph Downs Collection of Manuscripts and Printed Ephemera. Joining them is another intriguing acquisition: a detailed watercolor of London’s B. Woodard furniture factory, from about 1877–90 (opposite, bottom) . The drawing shows a combination street and bird’s-eye view of the urban business. Equally important is the purchase of several rare documents from Mingo Church, who is identified as a “negro” house carpenter in Bristol County, Massachusetts. The documents, dated 1741 to 1744, contain information on Mr. Church’s solvency issues and expand our knowledge of colonial craftspeople of color. We thank our generous donors and Trustees for their continued support of the Winterthur Library, an important resource for the study of art, design, and material culture.

Opposite top: Design for ecclesiastical silver from Dessins Anciens Orfèverie d’ Église. France: Bapst et Falize, ca. 1700–1820. Gift of Edmond L. Lincoln, Winterthur Library Opposite middle: Magazzino di mobilia: o sieno modelli di mobili di ogni genere. Firenze: F. Buonaiuti, 1796. Purchased with the generous support of the B. H. Breslauer Foundation and Winterthur Trustee Forbes Maner, Winterthur Library NK2560 M18*, Plate T.XX 24 2019 Annual Report

Opposite bottom: Watercolor of B. Woodard’s London furniture factory, ca. 1877–1890s. Purchased with the generous support of Winterthur Trustee Forbes Maner, Winterthur Library 2019x24 Background: Portfolio of Ornament Suites, Jean Pillement, Paris, 1758 – 74. Gift of Edmond L. Lincoln, Winterthur Library

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CIRCLING the Globe

Scholarship, Travel & Community

important portrait of Mary Ann Jenkins painted by Sarah Peale, strengthening our ability to tell the full story of the Peale family. Collectors Circle donors also enjoy a rich program of travel, scholarship, and community with fellow enthusiasts of American decorative arts throughout the year. Beginning with New York’s Americana Week in January, the 2019 itinerary continued nonstop. Tom Savage, director of External Affairs, organized a fascinating trip to Cuba in March, curated and led by Hermes Mallea, a Cuban-American architect and

The Henry Francis du Pont Collectors Circle enhances Winterthur’s continued commitment to scholarship in the field by funding important additions to the collection and supporting the museum’s work of conservation, exhibition development, and curatorial research. Thanks to the generosity of the group, this year the museum acquired a number of objects that help to tell the broad story of American material culture. Significant additions include a rare 17th-century façon de Venise serpent-stem wineglass; a laminated “Chippendale” chair designed by Robert Venturi and Denise Scott Brown for Knoll International; and an

Left: This Venetian-style wineglass relates to archaeological evidence from Maryland. Non-lead glass, Netherlands or Germany, 1660–1700. Museum purchase with funds provided by Dwight and Lorri Lanmon and the Henry Francis du Pont Collectors Circle 2019.0045 Above: Portrait of Mary Ann Jenkins (Mrs. William Kennedy) by Sarah Miriam Peale. Oil on canvas, ca. 1831. Gift of Stiles Tuttle Colwill 2019.0016 A,B

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the New-York Historical Society; attendance at the Collectors Circle 35th annual meeting, held in conjunction with the 56th Annual Delaware Antiques Show; and a day trip to Salem County, New Jersey, to see 18th-century brick-pattern houses as well as the Abel and Mary Nicholson House of 1722, currently being preserved by a private foundation. The year was, indeed, an exciting one for members of Collectors Circle, and Winterthur greatly appreciates the continued generosity and support of these dedicated decorative arts enthusiasts and scholars.

partner in the award-winning New York City design firm M (Group). One highlight of the trip was a visit to the landmark mansion Xanadu, the former island home of Irénée du Pont. The busy fall season started with a trip to Mallorca that focused on the island’s wealth of architecture and decorative arts collections. In October, the group made its way to Birmingham, Alabama, where it was hosted by Graham Boettcher, director of the Birmingham Museum of Art. The year’s calendar rounded out with a visit to the exhibition Beyond Midnight: Paul Revere at

Members of Collectors Circle visited Xanadú Mansion in Varadero, designed in 1927 for Irénée du Pont, on their tour of Cuba.

Trustee Pierre du Pont Hayward and his family enjoyed historic autos on the Collectors Circle trip to Cuba.

Circling the Globe 27

STEADFAST

Support

Expanding Our Educational Reach

Through the generosity of corporations, foundations, and individual donors, Winterthur has had the good fortune of support for a wide variety of initiatives this past year benefiting our visitors as well as the environment. Educational programming forms the core of much we do at the museum. This year, a grant from the Hearst Foundation, Inc. and ongoing annual support from the Delaware Division of the Arts has allowed us to enhance educational programming, expand our reach in the community, and offer more scholarship assistance to students who otherwise would be unable to benefit from the Winterthur experience. Aside from school groups, children ages 18 and younger accounted for approximately 10 percent of our general admission audience in the past year. On any given day, they could be found making connections with the museum, garden, and conservation labs through Terrific Tuesdays, exploring objects in the galleries with school guides, or enjoying imaginative play at Enchanted Summer Day and other family programs .

For those students who couldn’t come to Winterthur, staff and volunteers took the museum to them. Strong partnerships with area organizations enabled us to reach communities new to the Winterthur audience. We traveled to the Salvation Army in Wilmington throughout the year to provide arts programming for children without ready access to museum learning activities. We also initiated a similar effort with Kids Place, an after-school program operated by Child, Inc. More than 5,000 students participated in programs either in classrooms throughout the Delaware Valley or on-site at Winterthur, with nearly 20 percent receiving scholarship funding to cover admission or transportation costs . Winterthur deeply appreciates the generosity of the Hearst Foundation, Inc. in supporting these initiatives. More than 5,000 students participated in programs either in classrooms throughout the Delaware Valley or on-site at Winterthur, with nearly 20 percent receiving scholarship funding.

Below: Enchanted Summer Day in June attracted more than 400 children and 700 of their family members. Photo by Suchat Pederson Right: Terrific Tuesdays boasted record attendance over nine weeks of summer.

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