Search Site
Featured

Family at Heart of Winterthur

Family has been at the heart of Winterthur’s story since the du Ponts settled here more than 200 years ago.

Today, Winterthur is still about family, with the Enchanted Woods play area enthralling young children for hours and upcoming programs that will entertain and educate family members, young and not-as-young alike. In fact, this fall we’re expanding our family programming on Saturdays, so stay tuned for more on that.

But summer is here, and there is much to do. We have Story Time scheduled for July 6 and 20, and our popular Terrific Tuesdays begin July 4 and continue weekly in July and August from 10 am to 3 pm.

Terrific Tuesdays this year will tell the story of the families who lived, worked, and played at Winterthur for decades before it became the museum, garden, and library that it is today.

Crafts, games, and demonstrations— all inspired by families who called this place home— will introduce history, art, conservation, and storytelling to kids ages 3 to 10 and the adults they bring along.

Winterthur has been home to three generations of the du Pont family, and it was a self-sufficient community where more than 250 people ran a thriving farming operation that included beef and dairy cattle, sheep, pigs, poultry, horses, fruit, and vegetables.

Today we’re going to tell you some stories that were collected in 1973 from Maurice Gilliand, who began in 1944 to serve as a footman to Winterthur Museum founder Henry Francis du Pont (1880–1969). As Gilliand would quickly learn, du Pont was a renowned horticulturist with specific tastes, a love of food, an eye for décor, and a complicated disposition that could be prickly and kind, oftentimes at once.

Gilliand came from France to America in 1930 and he worked in houses on Long Island before coming to Winterthur. Gilliand’s wife, Doris, was hired as a chambermaid, and the couple lived in a small house on the estate.

There were about five footmen and a butler among a staff of 20. After two years, Gilliand was promoted to butler. Gilliand was flattered when du Pont made the offer, although he noted that du Pont warned him at the time that he was demanding and expected perfection. Gilliand nonetheless accepted and went on to learn a lot from du Pont.

“My duties were to set the table, of course, serve the meals, serve the teas, and serve cocktails and all that, and I was the man responsible to Mr. du Pont for the rest of the staff,” Gilliand recalled during an interview that is part of ongoing initiatives to preserve the history of the estate.

Maurice Gilliand prepares for guests

“And you directed the rest of the staff?” the interviewer inquired.

“I must say Mr. du Pont was the head butler,” Gilliand replied.

“Just as he was head gardener,” the interviewer observed. “Was the operation here different in any way from the other houses you had worked in? Was Mr. du Pont special in his approach?”

“Well, yes, much more so because any other house where I worked, the lady was in charge, but here Mr. du Pont was in complete charge of the house and planned everything, planned all the menus, and planned all the table settings,” Gilliand said.

On the weekends, the house would be filled with 16 to 18 house guests, with other visitors present only for meals, making two dozen people for a formal dinner.

On Wednesdays, a gardener would bring flower samples into the house for du Pont and Gilliand to match with china, table mats, and glassware for the dinner.

“Sometimes Mr. du Pont would ask me my opinion and then would say, ‘Maurice, Maurice, you must be color blind!’,” Gilliand remembered. “Now and again, Mr. du Pont would give me a free hand to make a selection. On one occasion when guests entered the dining room, they exclaimed, ‘Oh, Harry, Harry what a beautiful combination,’ and Mr. du Pont replied, ‘Oh yes, I have had this set of china for a long time, and this is the first that I was able to match it successfully.’ As I was standing nearby, he looked at me with the corner of his eye and winked, but he said, ‘I must admit to you it was Maurice who achieved this masterpiece.’ After dinner, Mr. du Pont put his hand on my shoulder and said, ‘Maurice, you have learned your lessons well, you are not color blind any longer.” This shows you that when you knew Mr. du Pont’s likes and dislikes, it did not take much to make him happy.”

The weekend guests arrived on Friday afternoons and were received in Port Royal Hall.

In the hall, it was mandatory for guests to sign the guestbook. Then tea was served in Port Royal Parlor, after which guests were taken to their rooms, Gilliand said.

Port Royal Hall
Port Royal Parlor

The footmen served cocktails at 8 pm in the Chinese Parlor and dinner at 8:30 in the Du Pont Dining Room.

Chinese Parlor
Du Pont Dining Room

“The food was plain, but the best, as it was nearly all produced on Winterthur Farms,” Gilliand recalled.

While the guests were dining, footmen and chambermaids took turns scrambling upstairs to tidy the guests’ bedrooms and put away all their clothes and belongings. They also removed the “good bedspreads” so no one would lie on them. Those bedspreads were just for decoration.

The du Ponts and their guests played bridge after dinner (Mr. du Pont was an expert) in the Chinese Parlor and the Marlboro Room.

Marlboro Room

Footmen served refreshments and sandwiches at 11 pm, and the game would resume until the wee hours of the morning.

Other nearby rooms—the Baltimore Room, Chestertown Room, and Empire Parlor–were never used for entertaining.

Baltimore Room
Empire Parlor

“These rooms were only for show,” Gilliand said. “Guests were never allowed to sit. Mr. du Pont was very strict about that. If he caught any sitting or leaning— No those were not used.”

Chestertown Room

Though the Chestertown Room was referred to as the “breakfast room,” the du Ponts and guests never ate there. They were instead always served breakfast in their bedrooms.

Gilliand said he believed he had only ever made one serious mistake for Mr. du Pont, and it wasn’t leaning on the furniture.

“I’ll never forget it the rest of my life,” Gilliand said.

Du Pont had told Gilliand to telephone a woman and include her on the guest list for an upcoming occasion. Unfortunately, Gilliand misunderstood the name.

“I came back to Mr. du Pont, and I said, ‘Mr. du Pont, Mrs. So-and-So accepts with pleasure,’” Gilliand said. “He said, ‘What lady?’ I said, “Mrs. So-and-So you invited.’ He said, ‘Maurice, damnation, damnation, how could you do such a thing, how could you? I didn’t want that lady for this dinner.’”

At that point, it was up to Gilliand to find a gentleman who could accompany the woman to the dinner. Or, at least, those were Mr. du Pont’s orders.

But Gilliand chose to solve the problem in a more straightforward way: He called her back and admitted his mistake.

He asked the woman if he could tell Mr. du Pont that she had overlooked a scheduling conflict and could not attend. He also asked whether she would keep the matter between herself and Gilliand.

She said, “Oh, don’t worry, Maurice, it won’t go any further.”

Gilliand returned to the study where Mr. du Pont was speaking with someone. Du Pont immediately told Gilliand to enter, as he always did, and the butler explained, “Mrs. So-and-So didn’t realize she had a previous engagement and she will not be able to keep your dinner date.”

Du Pont replied, “Maurice, too bad, too bad, sorry to hear about that.”

Gilliand said he did not know du Pont’s wife, Ruth, very well because she dealt exclusively with the female servants.

But Gilliand did know that she liked to tease her husband by pretending she could not hear him.

“So, he would repeat it and she would say, ‘What did you say, Harry?’ and he would blow his top,” Gilliand said. His wife would laugh and smile.

One time, du Pont yelled at Gilliand for something similar.

Gilliand legitimately did not understand something du Pont was saying, partly because he was speaking while holding a cigarette in his mouth.

After Gilliand twice asked du Pont to repeat himself, du Pont began to yell.

“So, I just walked out very quietly into the pantry and stayed there for a couple of seconds and I walked back and said, ‘Now, sir, what is it you are trying to tell me?’ Very nicely he came and told me what he wanted. After that, he never shouted at me, never.”

Du Pont treated his staff well and worked alongside them, Gilliand said.

During the week, Mr. du Pont would be up at 6 am and have a simple breakfast of “a glass of milk and a glass of orange juice.” He would then receive all the supervisors of the estate in his study to get an update on operations.

On the occasion of a large wedding with several hundred guests at the estate, du Pont threw a party for the staff when the wedding and reception were over.

“He left me enough wine, champagne, and whiskey to share with the staff,” Gilliand said.

Maurice Gilliand

“Mr. du Pont was a very good employer, kept many of his people for a lifetime,” Gilliand said. “He never was too busy to chat, or discuss problems, if any, and help you if he could. To me, he was a friend. I am still grateful for all the knowledge he gave me of American art, and he is missed by many of us.”

You can learn more about life at Winterthur during the upcoming Terrific Tuesdays.

The family that will be featured on the first Terrific Tuesday had roles running Winterthur’s post office, with the father also serving as a chauffeur to Mrs. du Pont.

One of the girls in the family recalls being on the farm with the du Ponts’ daughter, Ruth, and going with her to drink milk “straight from a cow.”

Bottoms up, and see you at Terrific Tuesday!

Cows on Winterthur farm
Featured

Millions of Bulbs?

The upcoming Bank to Bend event on March 9 celebrates the snowdrops on the March Bank, which also features winter aconites, snowflakes, and crocuses—and this year, because of the mild weather we are already seeing daffodils, scilla, and squill popping through the leaf litter. One of the questions that comes up often but that I am always a little hesitant to answer is, “How many bulbs are there in the March Bank?” I always say millions, with my fingers crossed behind my back because, after all, I have not counted them.

I finally decided to resolve this nagging doubt. Using Google Earth, I plotted the area of the March Bank, following the general boundaries of the area that we used for its restoration, but decreased them slightly. I drew a line from the Scroll Garden to the 1750 House, then over to Magnolia Bend, but I excluded the Glade. The area enclosed by this measurement is 6.9 acres, or 300,564 square feet.

Looking at one square foot of the March Bank, I chose an estimate of 10 bulbs per square foot. This number is very conservative—some areas have as many as 40–50 bulbs in a square foot, whereas others have only a few or no bulbs, including the paths and watercourses. So, 10 is probably a fair guess.

Next, I multiplied 300,564 (the number of square feet) by 10 (the average number of bulbs per square foot) and got 3,005,640 bulbs. Even if my assumptions are off by half, it would still be more than a million bulbs. I propose that saying the March Bank has “millions of bulbs” is well within the margin of error.

Please join us on March 9 to see these beautiful bulbs for yourself on a guided or self-guided walk.

Post by Chris Strand, Charles F. Montgomery Director and CEO of Winterthur

Bancroft Woodcock and the Delaware Antiques Show

For more than sixty years, the Delaware Antiques Show’s recognizable trademark has been the image of a dove with an olive branch in its beak. This stylized motif derives from the design on the underside of a spoon in the Winterthur collection made by Bancroft Woodcock (1732–1817), a Quaker silversmith who worked in Wilmington, Delaware, from 1754 to the early 1790s. 

But why decorate the underside of a spoon? According to Donald L. Fennimore, Winterthur curator emeritus in Flights of Fancy: American Silver Bird-Decorated Spoons, the reason stems from a technical issue. On silver spoons, the juncture of the bowl and handle is a potential point of weakness because of the softness of the metal. Silversmiths therefore thickened that juncture to provide increased rigidity. They then made the area more attractive by ornamenting it with a variety of decorative motifs, including scrolls, shells, and images of birds. 

As Fennimore wrote, “In a brief but intriguing period between 1750 and 1830, imagery on the backs of English and American silver teaspoon and tablespoon bowls soared on the wings of birds.” Although numerous varieties of birds appear on English spoons, silversmiths in America invariably chose the dove with olive branch—a symbol of renewal and regeneration that has been used for millennia in both a religious and secular context. 

The Bancroft Woodcock dove with olive branch design was registered as the official trademark of the Delaware Antiques Show in 1964, the first year of the show. Since that time, the familiar insignia has continued to symbolize the quality and professionalism exhibited at this annual event.

Shop for Unique, Artisan-Made Crafts and Gifts at Winterthur’s Holiday Market, November 23

Winterthur, DE November 1, 2024—Kick off the season at the Holiday Market at Winterthur on Saturday, November 23, and shop the wares of more than 30 artisans offering a variety of handmade crafts, including home décor, jewelry, artisanal and small-batch gourmet goods, original art in a variety of media, garden items, and much more.

November 23 is also the first day of the annual Yuletide at Winterthur tour. Seven contemporary artists whose works are inspired by the collections in the museum, garden, and library are featured amid the traditional festive splendor seen on tours of the historic mansion. Other highlights of Yuletide at Winterthur are a large-scale gingerbread “house” that recreates a historic dairy barn on the estate, a magical 18-room dollhouse, and a twinkling holiday light display outside inspired by the woodlands at Winterthur. Visitors will be welcomed with a complimentary seasonal sparkling toast from Penns Woods Winery (non-alcoholic option available). All are included in the Holiday Market ticket.

Ballet Performance

Admission also includes Holiday Joy! presented by guest artists and cast members of the Wilmington Ballet’s The Nutcracker. A holiday treat for the whole family, this musical and dance performance takes place at 1:00 pm. Advanced reservations are required.

Wine Tasting

Davide Creato, winemaker and vineyard manager at Penns Woods Winery, will present a tasting of a curated selection of Penns Woods’ wines. He will discuss the unique terroir of Pennsylvania’s vineyards, the innovative techniques he uses, and the stories behind each. The wine tasting costs an additional $30 per person and takes place at 1:00 pm.


Musical performers include Matt Richards, Ashley Sweetman, Nicole Zell, and the Rainbow Chorale. A variety of food and beverages will be available for purchase.

Admission to the Holiday Market is $29, adults; $27, seniors (62+) and students; and $8 for children ages 3–12.

# # #

ABOUT WINTERTHUR MUSEUM, GARDEN & LIBRARY

Winterthur—known worldwide for its preeminent collection of American decorative arts, naturalistic garden, and research library for the study of American art and material culture— offers a variety of tours, exhibitions, programs, and activities throughout the year.

Winterthur is located on Route 52, six miles northwest of Wilmington, Delaware, and five miles south of U.S. Route 1. Winterthur is committed to accessible programming for all. For information, including special services, call 800.448.3883 or visit winterthur.org.

Celebrate the Holiday Season with a Visit to Yuletide at Winterthur

Winterthur, DE October 7, 2024—Yuletide charm meets contemporary creativity during Yuletide at Winterthur, on view November 23–January 5. Seven contemporary artists whose works are inspired by the collections in the museum, garden, and library are featured amid the traditional festive splendor seen on tours of the historic mansion. Yuletide at Winterthur also includes a large-scale gingerbread “house,” a magical 18-room dollhouse, jazz and cocktails on Wednesday evenings, and enchanting decorations and outdoor lighting inspired by the woodlands on the estate.

Contemporary Artists

The featured artists on the Yuletide tour are part of Transformations: Contemporary Artists at Winterthur.The exhibition, on view through January 5, welcomes visitors to discover how the old influences the new—forging connections across communities, transforming our perspectives about history, and commenting on our lives today. Most of the artists in Transformations took part in the Maker–Creator Research Fellowship program, which invites artists, writers, filmmakers, horticulturists, craftspeople, and other creative professionals to immerse themselves in Winterthur’s collections.

Decorated Trees and Outdoor Whimsy

The Yuletide tour includes several lavishly decorated trees, including the traditional Dried-Flower Tree as well as trees inspired by pop art of the 1960s, a Japanese maple in the garden, and the 48 shades of green paint in the historic mansion. Outside, enjoy a twinkling holiday light display inspired by the woodlands at Winterthur.

Holiday Market and Special Events

The season starts with an outdoor Holiday Market on November 23, with more than 30 artisans offering a variety of handmade crafts, including home décor, jewelry, artisanal and small-batch gourmet goods, original art in a variety of media, garden items, and much more. Other Yuletide events include Wonderful Wednesdays on December 4, 11, and 18, featuring some of the area’s best jazz, seasonal cocktails, and special workshops; one-man performances of “A Christmas Carol” by the great-great-grandson of literary master Charles Dickens; a candlelight concert by OperaDelaware; Brunch with Santa; and more.

Gingerbread “House” and Dollhouse          

A large-scale gingerbread recreation of the enormous dairy barn on the estate will be on display, created by Bredenbeck’s Bakery of Germantown, Penn. An 18-room dollhouse, exquisitely furnished with more than 1,000 miniatures, will also be on view.

During Yuletide, Winterthur is open seven days a week with extended hours on select Wednesday evenings. Winterthur is closed on Thanksgiving and Christmas Day. Tickets can be purchased on-site or online at Winterthur.org.

The Museum Store is open daily for holiday shopping, featuring unique home décor, gifts, jewelry, and more that celebrate Winterthur’s beauty, indoors and out.

Beyond the Holidays

Winterthur offers a year-round destination for art and culture enthusiasts and scholars. Explore the museum’s unparalleled collection of nearly 90,000 American decorative arts objects displayed in the magnificent 175-room house. The 1,000 acres of protected meadows, woodlands, ponds, and waterways provide stunning views throughout the year. Winterthur is also home to a vibrant array of programs, including lectures, concerts, and live performances, making it a hub for the study of American art and culture.

# # #

ABOUT WINTERTHUR MUSEUM, GARDEN & LIBRARY

Winterthur—known worldwide for its preeminent collection of American decorative arts, naturalistic garden, and research library for the study of American art and material culture— offers a variety of tours, exhibitions, programs, and activities throughout the year.

Winterthur is located on Route 52, six miles northwest of Wilmington, Delaware, and five miles south of U.S. Route 1. Winterthur is committed to accessible programming for all. For information, including special services, call 800.448.3883 or visit winterthur.org.

Delaware Antiques Show: Meet the Dealers

Dan and Karen Olson Antiques

What drew you to the Delaware Antiques Show?

The Delaware show is considered the premier show for fine Americana, and our past attendance at this show affirms its stellar reputation. 

What had you heard about the Delaware Antiques Show?     

Collectors value this show as the place to purchase the finest antiques for their collections. Both collectors and dealers hold it in the highest regard. 

What will visitors see in your booth?     

High-country furniture and accessories, folk art, and paintings, especially portraits of children.

 Family Portrait of Four Children, attributed to John S. Blunt (1798–1835). American School, early 19th century oil on canvas, 48 3/4″ x 55 1/2″ in a molded gilt frame.

Oliver Garland

What drew you to the Delaware Antiques Show?

The quality and eclectic mix of dealers that exhibit, coupled with the excitement of participating in a show that is associated with Winterthur. My great uncle, O.D. Garland, sold many wonderful objects to Henry Francis du Pont over the years, some that are on display in the museum. It is a thrill that a couple of generations on, we are exhibiting and creating another connection to the museum.

What had you heard about the Delaware Antiques Show?     

The reputation of the Delaware show is stellar and unparalleled. Attendees will find a curated, eclectic mix of European and American material culture. 

What will visitors see in your booth?        

We will bring objects ranging in date from the 1580s through to the 19th century, including early paintings, pottery, decorative smalls, and works of art. We look forward to sharing our recent finds and discoveries with a new audience of enthusiastic, knowledgeable collectors and fellow dealers.

 A 19th-century trompe l’oeil painting, “The Fish Is On The Other Side.”
The ingenuity of design in this painting is what drew us to it, along with its excellent execution. You would be hard pressed to find another trompe l’oeil painting similar to this rare piece on the market at the moment.

Aronson of Amsterdam

What drew You to the Delaware Antiques Show this year?

The Delaware Antiques Show has long been on our radar due to its reputation for excellence and its discerning audience. This year, we felt it was the perfect opportunity to showcase our collection to a new and appreciative audience, particularly given the show’s location in a region with a rich historical heritage that aligns with the stories our pieces tell.

What had you heard about the Delaware Antiques Show?     

We had heard that it is one of the premier events in the country, known for its high standards and its ability to attract both knowledgeable collectors and passionate enthusiasts. The show’s emphasis on quality and authenticity resonates deeply with our own values.

What will visitors see in your booth?     

Attendees can expect a curated selection of 17th- and 18th-century Dutch Delftware, each piece meticulously researched and chosen for its historical and aesthetic significance. Our display will include rare examples of chargers, vases, and other decorative objects, showcasing the artistry and craftsmanship that define Delftware.

 A Chinoiserie charger, circa 1680. Inspired by Chinese transitional porcelain, this piece is a testament to the global influences on Dutch pottery during this period. Measuring an impressive 18.3 inches in diameter, it serves as both a decorative masterpiece and a symbol of the cultural exchange between East and West in the 17th century.

The Best of Americana

Explore the full list of exhibitors in our Annual Delaware Antiques Show Program and join us at the Chase Center on the Riverfront from November 15-17 for a full schedule of exciting show features sure to captivate the sophisticated and new collector alike.

“The Peale Painters: Global Perspectives in the Winterthur Collection” Now on View

WINTERTHUR, DE (October 17, 2024)—Works by Charles Willson Peale and members of the Peale family, regarded as America’s first family of artists, are currently on view at Winterthur Museum, Garden & Library.

While best known for its collection of American decorative arts, the seven oil paintings and four smaller case objects bring to light Winterthur’s premier collection of American paintings from the eighteenth and nineteenth centuries.

“The featured works come from various rooms in the house and other locations at Winterthur,” said Kedra Kearis, Ph.D., associate curator of art and visual culture. “Brought into close viewing proximity, these paintings form a conversation with one another. In addition, the artists themselves are placed in conversation with artistic traditions of the past and contemporary trends across the Atlantic.”

A distinguished American inventor, painter, politician, scientist, and soldier in the Revolutionary War, Charles Willson Peale established a painting studio in Philadelphia in 1776 and was a key member of the Sons of Liberty. His portraits of prominent Americans from the late 18th century remain widely recognized today. In 1784, he established one of the first museums in America, located in Philadelphia, which members of the extended family helped to run.

“Charles Willson Peale changed the course of American art through his artistic practice, his museum business, and the mentorship of his family in the arts. He led the Peale painters in fashioning the face of a new nation.” The family’s artistic legacy spans more than a century, from the colonial period through the Victorian era.

“Each artist in this prolific, multigenerational family honed their craft within a collaborative environment, sharing global perspectives,” said Kearis. “It is my hope that, by emphasizing the various pathways for education taken by the Peale artists across the generations, a picture might emerge of how artistic formation differed according to period, race, and gender.”

“In this sense, the three generations of Peale family artists paints a picture of a changing nation, one full of opportunity and encouragement, but also with its own sets of limitations and challenges.”

Winterthur’s founder, Henry Francis du Pont, collected works by Charles Willson Peale, his brother James Peale, and his son Rembrandt Peale. Over the years, Winterthur has expanded the collection to include works by Sarah Miriam Peale and Mary Jane Peale. Both women remained unmarried to pursue painting professionally.

Among the works on display is The Edward Lloyd Family (1771) by Charles Willson Peale. “About fifty years after Charles painted this portrait of Maryland planter Edward Lloyd, the enslaved Frederick Douglass was brought by his grandmother to live at Wye House, a reminder that the prosperity of the Lloyds was built upon an economy of enslavement,” added Kearis.

Other highlights include two portraits of women of the du Pont family as well as still life paintings. The gallery interpretation features a rich array of graphics, either self-portraits by the artists or portraits completed by another family member, illustrating this remarkable and ongoing conversation among the close-knit generations of Peale artists. The exhibit also includes a silhouette from the early 1800s thought to be produced by profile cutter Moses Williams, a formerly enslaved member of the Peale household.

The installation displays some of the many Peale works in the Winterthur collection which will be part of an upcoming large-scale exhibition in 2027. “The range of works by the Peales and related archival resources on the family here at Winterthur are the subject of new research,” said Kearis.

“The Peale Painters: Global Perspectives in the Winterthur Collection” is part of Conversations with the Collection. In this exhibition, visitors learn how Winterthur staff and students use the museum collection to understand America’s material past, see what’s new in the collection, and look closely at objects to better understand the past and the present.

# # #

ABOUT WINTERTHUR MUSEUM, GARDEN & LIBRARY

Winterthur—known worldwide for its preeminent collection of American decorative arts, naturalistic garden, and research library for the study of American art and material culture— offers a variety of tours, exhibitions, programs, and activities throughout the year.

Winterthur is located on Route 52, six miles northwest of Wilmington, Delaware, and five miles south of U.S. Route 1. Winterthur is committed to accessible programming for all. For information, including special services, call 800.448.3883 or visit winterthur.org.

Winterthur Appoints Merissa Courtright as Chief Development Officer

WINTERTHUR, DE (October 14, 2024)—Winterthur Museum, Garden & Library has appointed Merissa Courtright as its first Chief Development Officer, a newly created position aimed at enhancing the institution’s philanthropic efforts.

Chris Strand, Charles F. Montgomery Director and CEO of Winterthur, shared his excitement about the appointment, stating, “Merissa is a respected and accomplished philanthropic leader with deep experience in donor cultivation and in mentoring development teams to achieve substantial fundraising goals. Her background in capital campaigns, major gifts, planned gifts, corporate gifts and individual donor programs will be instrumental to Winterthur’s growth.”

Courtright brings a wealth of experience from her previous role as Chief Development Officer at Duke University School of Medicine’s Preston Robert Tisch Brain Tumor Center. During her tenure, she successfully raised over $10 million annually and led her team to secure an additional $19 million in philanthropic revenue each year.

In addition to her work at Duke, Courtright has made significant contributions to renowned organizations such as Johns Hopkins University, World Wildlife Fund, the National Law Enforcement Museum, and the National Building Museum.

Courtright holds a Master of Arts in Art History from the University of Delaware and a Bachelor of Arts in History from Tulane University.

# # #

ABOUT WINTERTHUR MUSEUM, GARDEN & LIBRARY

Winterthur—known worldwide for its preeminent collection of American decorative arts, naturalistic garden, and research library for the study of American art and material culture— offers a variety of tours, exhibitions, programs, and activities throughout the year.

Winterthur is located on Route 52, six miles northwest of Wilmington, Delaware, and five miles south of U.S. Route 1. Winterthur is committed to accessible programming for all. For information, including special services, call 800.448.3883 or visit winterthur.org.

Delaware Antiques Show Set for Chase Center on the Riverfront, November 15–17

Set for Chase Center on the Riverfront, November 15-17

WINTERTHUR, DE (October 3, 2024)— More than 60 of the country’s most distinguished dealers in American antiques, furniture, paintings, rugs, porcelain, silver, jewelry, and other decorative arts will showcase their wares at the Delaware Antiques Show. The event takes place from November 15 to November 17 at the Chase Center on the Riverfront in Wilmington, with the Opening Night Party on November 14. The Delaware Antiques Show is presented by Wilmington Trust, a Member of the M&T Family, and proceeds benefit educational programming at Winterthur.

Keynote Lecture
Saturday, November 16, 10:00 am

Included with admission

Barbara Frelinghuysen Israel will present the keynote lecture, Uprooted Elegance: The Surprising Journey of American Garden Ornament. She founded Barbara Israel Garden Antiques in 1985. Nearly 40 years and hundreds of exquisite objects later, she is recognized as an authority on the subject and her book Antique Garden Ornament: Two Centuries of American Taste is the definitive work in the field. She has served as a consultant to The Metropolitan Museum of Art and the Smithsonian Institution for their collections of 19th-century cast iron. Barbara Israel Garden Antiques has been featured in The New York Times, House & Garden, Martha Stewart Living, and Flower magazine, among others. Israel is also one of the dealers at the show.

Young Scholars Lectures
Saturday, November 16, 2:00 pm

Included with admission

Each year the Delaware Antiques Show highlights the research of current and/or recent Lois F. McNeil Fellows from the Winterthur Program in American Material Culture, established in 1952 by Winterthur and the University of Delaware to promote the interdisciplinary study of American decorative arts and material culture. The program’s alumni hold distinguished positions internationally in museums, antiques and auction houses, preservation organizations, historical societies, colleges and universities, and libraries.

Steven Baltsas will presentOf the Earth: Neoclassicism and Natural History in a Philadelphia Center Table, Lanah Swindle will present “To Imitate China”: A Close Reading of a Pair of Eighteenth-Century Hand Screens, and Graham Tituswill speak aboutPerformance and Pleasure at the Early Modern Table. The lectures are sponsored by The Decorative Arts Trust.

Lectures

Sunday, November 17, 2:00 pm

Included with admission

Trevor Brandt will present The Decoupage Fraktur of Friedrich Krebs. Brandt is a Ph.D. candidate in art history at the University of Chicago and managing editor of Americana Insights.

Christopher Malone will speak about A Landscape of Peace, Prosperity, and Despair: Charles C. Hofmann’s Paintings Along the Schuylkill River. Malone is curator, Historic Trappe and Lutheran Archives Center at Philadelphia. A book signing will follow the lectures.

Proceeds from the Delaware Antiques Show help support key educational initiatives such as free school programs, low-priced tickets for families in need through the Museums for All program, and Discover Winterthur, our free day for the community. Through support of these important programs, we are able to share the wonder of Winterthur with thousands of schoolchildren, and our surrounding community is able to enjoy the beauty of American decorative arts and the Brandywine Valley.

The 61st Annual Delaware Antiques Show

Opening Night Party—Thursday, November 14, 5:00–9:00 pm

Celebrate the opening of the show with cocktails and exclusive early shopping.

Show Hours

Friday, November 15,11:00 am–6:00 pm

Saturday, November 16,11:00 am–6:00 pm

Sunday, November 17,11:00 am–5:00 pm

General Admission

$25; $20 for Winterthur Members. Free for children under age 12. Tickets valid for all three days of the show and for admission to Winterthur on show days.

The Chase Center on the Riverfront is located at 815 Justison Street, Wilmington, Delaware, less than one hour south of Philadelphia, midway between New York City and Washington, D.C.

For additional information and updates about this year’s Delaware Antiques Show, please email das@winterthur.org, visit winterthur.org/DAS, or call 800.448.3883.

The Delaware Antiques Show is presented by Wilmington Trust, a Member of the M&T Family.

ABOUT WINTERTHUR MUSEUM, GARDEN & LIBRARY

Winterthur—known worldwide for its preeminent collection of American decorative arts, naturalistic garden, and research library for the study of American art and material culture— offers a variety of tours, exhibitions, programs, and activities throughout the year.

Winterthur, located on Route 52, six miles northwest of Wilmington, Delaware, and five miles south of U.S. Route 1, is closed on Mondays (except during Yuletide), on Thanksgiving and on Christmas Day. Museum hours are 10:00 am–5:00 pm, Tuesday–Sunday. $25, adults; $23, students and seniors; $8, ages 3–12. Winterthur is committed to accessible programming for all. For information, call 800.448.3883 or visit winterthur.org.

The Peale Painters, Conversations in American Art

Figure 1. The Edward Lloyd Family, Charles Willson Peale, Talbot County, Md., 1771. Museum purchase 1964.0124 A

By Kedra Kearis, Ph.D., associate curator of art and visual culture

Not long after his return from the London studio of Benjamin West in 1771, Charles Willson Peale noted that he painted “Mr. Loyd [sic] a conversation,” a reference to the impressive, large-scale figural group, now in Winterthur Museum’s collection. The painting depicts Maryland planter Lloyd, his wife Elizabeth Tayloe, and their daughter Anne. Now recognized as The Edward Lloyd Family (fig. 1), his note “conversation” references a fashionable British portrait style that portrayed wealthy families engaged in conversation or leisure activities. Eager to display their wealth and status, this conversation piece features the Lloyds surrounded by objects that signal their wealth and sophistication, including rich imported textiles, elegant furniture, a handsomely carved cittern, or early English guitar à la mode. Charles referenced their estate—the Wye River estate located in Maryland— with an English garden pavilion based on a drawing in architect Isaac Ware’s well-known book of designs. A Winterthur favorite, this painting is now featured in the first-floor galleries as part of The Peale Painters: Global Perspectives in the Winterthur Collection. Details of the portrait can now be examined closely, revealing the contrasting pale green silk lining Edward’s scarlet and gold embroidered coat, the light reflected from Elizabeth’s jeweled hair comb and necklace, and the Palladian arches of the imagined Wye estate house. 

Beyond the conversation in the painting between these fascinating sitters, another develops around the artist himself, head of the multi-generational clan of painters. Charles was responsible for mentoring his sons and daughters in the art of painting and the business of running the Philadelphian Peale’s Museum. This echoes a hallmark of the Peale family–the practices of teaching and learning, copying and collaboration. Besides the Lloyd portrait, the exhibit features works by his lesser-known brother James Peale, and those of subsequent generations of Peales. Two portraits from the early nineteenth century of du Pont women by Rembrandt Peale invite additional conversations about European art traditions of the past and the contemporary painting trends in Paris embraced by Rembrandt on his many travels abroad. Additionally, a case of small collection objects displays a silhouette from the early 1800s thought to be produced by profile cutter Moses Williams, a formerly enslaved member of the Peale household. 

Figure 2. Still Life with Fruit, Mary Jane Peale, Philadelphia, Pa., 1862. Museum purchase with funds provided by the Henry Francis du Pont Collectors Circle 2017.0025 A

Another conversation arises from the exhibition around two recent acquisitions by the Museum completed by two female members of the Peale family, Sarah Miriam Peale and Mary Jane Peale, who both remained unmarried to pursue painting professionally. Mary Jane Peale’s Still Life with Fruit highlights her engagement with the Peale tradition of still life painting led by her uncles, Raphaelle and James (fig. 2). Mary Jane arrived at her talents under the mentorship of her Uncle Rembrandt and her cousin, Sarah Miriam. The experiences of Sarah and Mary, both in education and art production, mark important differences between the male and female artists of the family. The gallery interpretation includes a rich array of graphics, either self-portraits by the artists or portraits completed by another family member, illustrating this remarkable and ongoing conversation among the close-knit, generations of Peale artists. In addition, the story of their extraordinary artistic output paints a picture of a changing nation, one full of opportunity and encouragement, but also limitations and challenges.

See The Peale Painters: Global Perspectives in the Winterthur Collection on view in the first-floor galleries.

Almost Unknown, The Afric-American Picture Gallery

May 3, 2025 – January 4, 2026

Inspired by an 1859 essay written by a free black journalist and educator named William J. Wilson, this exhibition takes visitors on a tour of Wilson’s imagined gallery of drawings, paintings, sculptures, and objects that represent Black life in the United States and across the Diaspora, as interpreted by curator and historian Dr. Jonathan Michael Square. 

Winterthur will for the first time bring this gallery to fruition, using objects from the collections to represent Wilson’s displays. These include a silhouette attributed to Moses Williams, the portrait of George Washington and his family painted by Edward Savage, and copies of Harriet Beecher Stowe’s Uncle Tom’s Cabin and Phillis Wheatley’s Poems on Various Subjects, among others. 

The exhibition extends beyond the gallery walls and features books that will be displayed in the library and an exclusive tour of selected objects in the house. Through this multifaceted presentation, the exhibition not only resurrects Wilson’s envisioned gallery, but also sheds light on stories that have long been overlooked in American museums and history. 

About the Curator: Jonathan Michael Square

Almost Unknown, The Afric-American Picture Gallery is guest curated by historian Dr. Jonathan Michael Square, assistant professor of Black visual culture at Parsons School of Design. He lectures and writes on Black fashion history and material and visual culture.