The Introductory House tour will be unavailable from November 12-22 as we prepare for Yuletide at Winterthur. Take one of our speciality house tours and enjoy seldom seen rooms in the mansion! Explore Tours »
Landscape Designer Marian Coffin and H.F. du Pont in the Iris Garden, ca. 1930 (left); Portrait, Marian Coffin (right).
Marian Cruger Coffin (1876–1957) was one of the first American women landscape architects and a lifelong friend of Henry Francis du Pont. When H. F. was studying horticulture at Harvard’s Bussey Institution, he reconnected with Coffin, who was pursuing a degree in landscape architecture as a special student at the Massachusetts Institute of Technology, the only professional program open to women at the time. After inheriting Winterthur on his father’s death in late 1926, du Pont planned an expansion of the house, and he commissioned Coffin to design a formal garden adjacent to the house. Drawing inspiration from the great Italian gardens of the Renaissance, with their axial symmetry, classical proportions, and refined architectural features, Coffin created an impressive yet intimate garden that has been called a serene oasis. The triumph of the project was the grand staircase leading down to a swimming pool, now called the Reflecting Pool. The nearby Glade Garden was also designed by Coffin. With its naturalistic pools and waterfalls, this area offers a shady summer refuge.
Coffin’s most prominent project at Winterthur is the Sundial Garden. Du Pont asked for her help with its design in 1955, and it was created expressly for the public. He wanted an April garden, “all pink and white,” as appealing as the azaleas in May. Coffin’s plan featured fragrant trees and shrubs, including magnolias, cherries, quince, crab apples, viburnums, spireas, fothergillas, lilacs, pearlbushes, and roses, which are arranged in concentric circles around an antique armillary sundial. The result is a room made of flowers, known as a “room garden.”
Although their approaches were different—du Pont leaned more to a natural landscape inspired by the writings of William Robinson, whereas Coffin’s approach was more formal—together they created the beautiful garden that visitors still enjoy today.
Coffin’s papers, architectural plans, and photographs of her other garden designs are in the Winterthur Archives, including this Depression-era letter:
May 4, 1933.
My dear Harry,
Every moment spent at Winterthur was a pleasure as always, but this spring to see so much beauty was balm to the spirit. . . . You have been such an extraordinarily understanding client and have given me such a marvelous opportunity to help in creating the new development of the grounds that I can never be grateful enough, so at this time when we are all economizing please accept the suggestions I made as love-taps to Winterthur. . . .
The beauty of Winterthur’s naturalistic garden and landscape welcomes your guests through the glass walls of the Pavilion. This versatile interior utilizes movable elements to provide a more intimate gathering for smaller groups or expands to include the adjacent outdoor patio to accommodate larger parties. Ample free parking is just up the hill in our Visitor Center Parking Lot.
Nestled in the museum core, in between the spectacular House and Galleries, this spacious interior is the perfect spot for social gatherings, cocktails, dinners, and dancing. With access to museum exhibitions and guided tours available options (fees assessed per event), Galleries Reception Atrium provides the perfect spot to entertain your guests with all that Winterthur has to offer.
Reflecting Pool
Capacity 325 for cocktail reception | Rates: $2,500 -$5,000
Reflecting the grandeur of the Winterthur Garden, this elegant poolside setting is a favorite for cocktail parties and wedding ceremonies. Once Mr. & Mrs. du Pont’s swimming pool, the Reflecting Pool today conjures up a bygone era of entertaining with graceful garden statuary and terraces, grand stone staircase and abundant container plantings.
Copeland Lecture Hall
Capacity 340 seated, with row for accessible seating | Rates: $1,000 (for 3 hours), $1500 (for 6 hours)
An ideal place for corporate meetings, performing arts presentations and lectures, Copeland Lecture Hall is located in the Visitor Center. It is convenient for all-day conferences with cafeteria style and catered lunch options next door in the Café. AV equipment and WIFI included. AV support staff available with additional fee.
Hawkes Center
Capacity 36 meeting/conference | Rates: $1000 3 hours, $2,000 a day
Get down to business with your leadership team in the newly renovated Hawkes Conference Center. This private executive meeting room is fully equipped for your AV needs and perfectly appointed for smaller scale meetings. Adjacent Parking for meeting attendees in our Green House Lot. Pairs nicely with Brown Center next door for a mid-sized retreat with catered lunch and snack options.
Brown Center
Capacity 125 theater style seating or seated dinner, 60 meeting/conference | Rates: $750 3 hours, $1500 a day
A modern informal meeting spot for community groups and corporate teambuilding, the Brown Center is multipurpose in nature and filled with natural light. Next-door and attached to Hawkes Center, the pair are perfect to rent to together for your next retreat. Parking available in Green House Lot. AV included.
The ultimate in entertaining in the English country estate tradition, a marquee on Clenny Run Lawn becomes a dreamlike destination for your most special occasions. Located next to a stream, this expansive lawn can accommodate all of your guests in style and pairs perfectly with rental of the adjacent Cottage for indoor/outdoor event flow. Tenting is optional and an additional cost to client.
Event rental rates and availability are subject to change. Rates vary based upon peak vs. non-peak season. A Friends of Winterthur or Benefactor Level Membership is required for site rental for all private events with the exception of Visitor Center. Security and transportation related fees assessed by Winterthur per event rental specifications and will vary depending on venues included in rental contract. Winterthur Floral Design services available for events upon request. All catering provided by Restaurant Associates (CxRA).
I hope my wife doesn’t read this blog post because it might give away a gift idea that I acquired when one of our curators was interviewed by a reporter for the New York Times.
But that can’t be helped.
I recently learned that when a reporter asks to speak to our Curator of Decorative Arts for an article about silver, I tend to get excited.
I was even more delighted when Ann Wagner, the curator in question, responded with both humor and expertise to the reporter’s questions.
As often happens, the reporter couldn’t use all the quotes that were provided.
Some of my favorite parts of Ann’s interview were left on the cutting room floor, so I’m going to scoop them up here.
Part of Ann’s response to a question about silver tea services and candlesticks going out of style: Oh dear, have candlesticks truly gone out of style?
Some good advice on starting a silver collection: I would not recommend starting at the higher end; don’t make your first purchase a Paul Revere spoon unless you really know how to evaluate it.
And my very favorite quote (and so, my dear wife, if you’re reading this, skip the rest of this paragraph): You haven’t lived through a hot Mid-Atlantic summer unless you’ve tasted ice cream from your own cool silver spoon. Spend $25 on a pretty sterling tablespoon and test my theory. Just don’t put it in the dishwasher afterward—give it a gentle cleaning by hand.
Here now is the full interview we provided to Ginanne Brownell, the reporter to whom we are grateful for being included, and the portions that Ginanne quoted are in italics:
GB: Tell me about why silver tea services, candlesticks, etc., went out of style in terms of registering for them for weddings, giving them as gifts/graduations, etc. I assume partly we have just become a more casual society, in general.
AW: Oh dear, have candlesticks truly gone out of style? Silver on the dining table is wonderfully reflective and luminous under candlelight, so candle holders are always on my list. Silver and high-end porcelain historically were great companions for wedding and special occasion gifts. One thing I’ve noticed is that finding a retailer isn’t as hard as finding a manufacturer — silver designers and talented makers have dwindled and several firms moved offshore. I think that may be why buying antique silver is on the uptick.
GB: If someone happens to inherit silver (that would seem from their amateur eyes to maybe be of value), what would be the logical first steps in terms of if they want to see if it has value on the market? Do museums like Winterthur take donations or buy special pieces?
AW: Often a little market research or antiques dealer exploration on your own can help if you are seeking general information. Silver is a global commodity with practices that vary in time and place, but you can jump-start your research by looking closely for stamped marks that indicate a manufacturer, place, or purity level.
Museum staff regularly receive questions from heirs facing the unknown in decorative arts. Since wonderful donations have come through this channel, we do pay attention. Accredited museums cannot respond to value questions due to our industry’s ethics code, but there are accredited appraiser organizations that can be helpful.
GB: If people are interested in collecting silver, where would they start? I would think reading and talking to experts but how does one start a collection? What pieces are coveted? Of more value (I guess I mean in terms of age, provenance, etc.)?
AW: I love this question. And silver is so affordable of late that starting a collection is possible. If you are well-informed and have a more experienced mentor handy, you can have a field day at estate sales and smaller auctions. Some super silver objects like vases or flatware are actually selling for less than their melt value. My husband and I have been giving small items like 20th-century silver mugs and trays as presents to the younger generation as a way to pass on that message of artistry and affordability. But you don’t have to buy it only to look at it.
You haven’t lived through a hot Mid-Atlantic summer unless you’ve tasted ice cream from your own cool silver spoon. Spend $25 on a pretty sterling tablespoon and test my theory. Just don’t put it in the dishwasher afterward—give it a gentle cleaning by hand.
For the more serious collector and researcher, there is helpful knowledge at your fingertips in printed resources and probably from your local antiques dealer. Winterthur’s library has collecting references even on micro subjects like tea caddy spoons or napkin rings, and most public libraries can supply broader subject resources on 19th- or 20th-century silver. If you find a form you love, for example, silver water pitchers, go to museums, start reading, and visit sales in person to educate your eye about your taste. You also might appreciate learning with others from an online forum or a collectors group. Antique silver can be an investment, so you should also be on guard for imposters or fakes. I would not recommend starting at the higher end; don’t make your first purchase a Paul Revere spoon unless you really know how to evaluate it.
GB: As a museum, what do you look for in terms of adding to your silver collection? (Do you even still add to the collection?)
AW: We absolutely do! As a curator, I actively seek metalwork that brings design, handwork, and cultural significance to Winterthur’s collection, which includes objects made in this century. My wish list is shaped by sensitivity to today’s (and tomorrow’s) audiences as well as sensitivity to the museum founder’s standards. When I acquire silver, it supports our goal to inspire and broaden understanding that makers who are active during our lifetimes also participate in artistic conversations that are never-ending. And, if your readers can visit Winterthur in May, I’ll have an exciting 20th-century silver acquisition to show them.
And, so, that was Ann’s interview.
After we had submitted her answers to the reporter, I told Ann how much I appreciated her knowledge. I added that she had also given me an excellent idea for a gift for my wife, who eats a small scoop of ice cream almost every night.
Ann replied to me: “You really should own at least one sterling spoon. Cereal can be more exciting too…”
My wife also eats a small bowl of Honey Nut Cheerios almost every morning. It looks like a silver spoon is on her horizon.
Jason Brudereck is the Communications Manager at Winterthur.
Henry Francis du Pont is one of the great collectors of American decorative arts and among the country’s early interior designers. His canvas was Winterthur, and his vision began with the acquisition of woodwork, ceilings, and floors from historic houses threatened with destruction. Within that framework, du Pont furnished his rooms with antiques, primarily American. His passion for detail in all aspects of decoration extended to the design and execution of his curtain collection. He spent an infinite number of hours looking at paintings, engravings, and books to find the correct representation of each room and was actively involved in selecting the antique textiles, braids, tassels, and fringe.
Du Pont took great care with the placement of furniture and objects in his rooms, striving for symmetry and balance and introducing color and pattern through textiles. He loved the color palettes of printed cottons made fashionable in the early 20th century. As he often noted, “Color is the thing that really counts more than any other.”
Although du Pont’s window treatments evoked the period of the architectural elements in a particular room, the fabrics bore little relation to what was actually used in America from the 1700s to the early 1900s. The dealers that he patronized obtained most of their stock in Europe, where vast quantities of antique fabrics were readily available from the late 19th century onward. Many, if not most, of the textiles used to furnish Winterthur were not seen on this side of the Atlantic until the early 20th century.
The artisans who were most closely associated with fabricating the curtains at Winterthur were employed by the interior design firm of Ernest LoNano, based in New York City. Over the course of the 20th century, their client list included numerous historic houses and museums. The firm’s involvement making curtains, bed hangings, and upholstery covers for the Winterthur house was their largest commission.
Seasonal Changes
It was customary in H. F. du Pont’s day to change the look of a room with seasonal curtains and slipcovers. Room changes and reinstallations were also dictated by du Pont’s acquisition of new furniture and fabrics. The importance of color in the Winterthur Garden played an essential part in the choice of the seasonal interior color schemes. Most textiles were marked with sewn-on labels that identified the months each item was to be used, and many carried labels indicating a particular season (1 to 4), with Season 1 being January to March.
By the 1960s, it was clear to curators that some of the textile furnishings at Winterthur had faded and needed to be replaced, but large quantities of antique fabrics were no longer available. The solution was to change out the damaged textiles with reproductions, and the museum worked closely with the firm of Brunschwig & Fils on numerous replacement projects, adding to the enduring beauty of the Winterthur rooms created by H. F. du Pont, an extraordinary collector and decorator.
Interior designer Sandy Brown is the author of The Well-Dressed Window: Curtains at Winterthur (The Monacelli Press, 2017). Available at the Winterthur Bookstore or by calling 800.448.3883. $50.
In 1964, The Saturday Evening Post referred to fashion designer Ann Lowe as “Society’s Best-Kept Secret.” Although Lowe had been designing couture-quality gowns for America’s most prominent debutantes, heiresses, actresses, and society brides—including Jacqueline Kennedy, Olivia de Havilland, and Marjorie Merriweather Post—for decades, she remained virtually unknown to the wider public. Since then, too little recognition has been given to her influence on American fashion.
Ann Lowe’s recently emerging visibility as a designer stands in contrast to much of her career and the countless unrecognized Black dressmakers and designers who have contributed to American fashion for generations, including her own grandmother and mother. She blazed a path for others to follow and her legacy is still felt in fashion culture.
This is the largest exhibition of Ann Lowe’s work to date, featuring 40 iconic gowns, many that have never been on public display, and it will illuminate her evolution as a designer from the 1920s to the 1960s. The exhibition will also feature the work of contemporary couturiers and fashion designers whose current design practices, perspectives, and career paths reflect the trajectory of American fashion emanating from Lowe’s foundation. These include B Michael, Tracy Reese, Amsale Aberra, and Bishme Cromartie. Elizabeth Way, associate curator at The Museum at the Fashion Institute of Technology, is guest curator of the exhibition.
Born in Clayton, Alabama, into a family of African American dressmakers, Ann Lowe (ca. 1898–1981) learned the skill of dressmaking from her mother and grandmother. She developed not only expert technical skills by the time she was a teenager but also her distinctive style—feminine, elegant, and often incorporating her signature hand-made floral elements. Her extraordinary career took her through the Jim Crow South, from Montgomery, Alabama, to Tampa, Florida, and in 1928 to New York City. Lowe’s work made her an asset to wealthy society women around the country, yet she also experienced the tumultuous hardships of the fashion business and segregated America in a period of dramatic change.
Ann Lowe’s work places her among America’s significant fashion designers, and her life illustrates a legacy of Black women’s knowledge and skills that began as enslaved labor. Lowe modernized this legacy and expanded it to international visibility, positioning herself as a creative designer, a fashion insider, and a vital contributor to American culture.
Ann Lowe: American Couturier
Vivid new photography of Lowe’s couture gowns—including lush details of her exquisite handwork and signature floral embellishments—accompany essays that explore the trials and achievements of Lowe’s life, contextualize her work within fashion history, profile Black designers whose work reflects her influence, and offer a behind-the-scenes look at the extraordinary efforts to preserve Lowe’s gowns.
Order your copy today for $55.00 by calling 302.888.4822. Pick up at the Winterthur Store or have it shipped to your door!
Behind the Seams
Follow us @WinterthurMuse as we share exciting behind-the-scenes features of the making of the exhibition.
One of the Most Recognizable Wedding Dresses in America
On what would have been Jacqueline Kennedy and John F. Kennedy’s 69th wedding anniversary, ...
Behind the Seams
When Jacqueline Bouvier married John F. Kennedy in 1953, it was the social wedding of the ...
Honoring a Legacy by Design
Replica of famous gown pays tribute to couturier Ann Lowe’s talent.
Listen in Style
“Ann Lowe was an exemplary creator in American fashion who happened to be Black. While this was, no doubt, an important part of her identity, it was only one part. Lowe was a spectacular and multidimensional American fashion designer, and I wanted the exhibition music to reflect other amazing Black artists like her who excelled in their genre. Her work was classical and generally structured, while also embracing organic elements, especially flowers. She was highly technical but prioritized beauty and elegance. I wanted the music to convey these elements of her work.” -Elizabeth Way, guest curator of Ann Lowe: American Couturier
Inspired by Ann Lowe: American Couturier, this playlist celebrates Black creative excellence in fields that are traditionally homogenous with barriers to people of color.
Relive the In the Legacy of Ann Lowe: Contemporary American Fashion symposium and join guest curator Elizabeth Way, associate curator at The Museum at the Fashion Institute of Technology, Winterthur staff, visiting scholars, contemporary designers, and students for a series of talks and demonstrations that explore Lowe’s legacy and how it continues to impact fashion culture today.
Envisioning Boldness: Ann Lowe, America’s Couture Designer
Listen to the lecture “Envisioning Boldness: Ann Lowe, America’s Couture Designer,” presented by Elaine Nichols, supervisory curator of culture at the Smithsonian National Museum of African American History and Culture.
This exhibition is made possible through support from the Terra Foundation for American Art, the Coby Foundation, Ltd., and the National Endowment for the Humanities.
May 20, 2023 through Jan 7, 2024 Second-floor Galleries
In anticipation of the fall opening of Ann Lowe: American Couturier, peek behind the scenes at the work of fabricating, shaping, and dressing the mannequins in the exhibition. Learn about the special collaboration between the University of Delaware MakerGym and Winterthur’s textile conservation lab to create the custom mannequins for the gowns.
As a champion of the traditional methods of hand-made rug weaving, remaining “radically old-school” in the way fine Tibetan rugs are made is keeping Erika Kurtz on the cutting edge of modern design and interiors.
“In a world of fast fashion, we are finally beginning to see a return to a time where consumers are being more thoughtful in their product choices and have a renewed appreciation for fine, artisanal goods and the impact products can have on communities and the environment,” says Kurtz, Chief Operating Officer and designer for New Moon Rugs, a company founded in 1993 by her father, the artist and renowned rug historian John Kurtz, in Wilmington, Delaware.
“Innovation then really comes in the form of unique design and using materials in new and surprising ways,” Erika continues. “Companies that strive to hold on to these century-old techniques to make something built that stands the test of time, and who push the envelope to create exciting new design trends, are the ones worth watching.”
Starting out as an antique-rug collector and dealer in the living room of his home before moving into a gallery, John enthusiastically searched for and found beautiful antique rugs and shared them with collectors from around the world. Early in his career, he was inspired to bring the wonderful art of rug weaving to an even larger audience. He did so with his popular PBS series Art Underfoot, which ran from 1988 to 1992, and then again on HGTV, introducing millions of viewers to the world of oriental rugs. In 1993, John began fulfilling a desire to have an outlet for his own creative process by taking his more than 20 years of experience as a dealer of antique rugs to create original designs under the New Moon label.
After discovering partners in Nepal with whom he could make this vision a reality, New Moon was founded. Since the inception of New Moon in 1993, John has been uniting his dedication to the highest standards of craftsmanship and design with his commitment to socially responsible business practices.
Since 2004, Erika has guided the operations at New Moon.
Many of the textiles in Winterthur’s collection can serve as inspiration for today’s designers, Erika says.
Erika is a featured speaker in March at the month-long Winterthur House of Style event. A lineup of sought-after design professionals will deliver flair to Delaware with talks, workshops, and demonstrations featuring their expertise in floral elegance, table décor, home fashion, wine, and entertaining throughout March at Winterthur.
Participants in the House of Style event series will dive into the latest design trends and learn how to use them in their living spaces. With different themes on March 4, 11, 18, and 23, every design devotee will find an event—or a day of events—that interests them.
“I will be providing a look into all parts of the living supply chain that creates my family’s line of Tibetan rugs that are made in Nepal,” Erika says. “It will be a crash course on how Tibetan rugs are made, from the raw wool to the finished product. From there we will discuss the evolution of design in the rug trade, from traditional to contemporary, and how the ancient traditions of fine hand-weaving juxtaposed with a contemporary design aesthetic pave a way where styles can evolve constantly without having to sacrifice any of the quality or traditions of this ancient art form.”
Other speakers include such industry leaders as Margot Shaw, Founder and Editor in Chief of Flower magazine, and Scott Kravet, Chief Creative Director of Kravet Fabrics.
Join us for a guided gallery walk of Transformations: Contemporary Artists at Winterthur. Connect the past and present and see how the old influences the present new in the artistic expressions of more than 30 nationally recognized contemporary artists. Included with admission. Members free. Drop-in tour, reservations not required.
When Jacqueline Bouvier married John F. Kennedy in 1953, it was the social wedding of the year. The glamorous couple had a bright future ahead of them. Kennedy was a senator from Massachusetts, World War II war hero, and a rising star in the Democratic Party. The future First Lady’s wedding dress was highly anticipated.
Designed by Ann Lowe, the dress became one of the most famous and iconic wedding dresses of the 20th century. The original wedding dress is in the collection of the John F. Kennedy Presidential Library and Museum and is too fragile to be displayed.
In preparation for the upcoming Winterthur exhibition Ann Lowe: American Couturier, a reproduction was made of the dress by University of Delaware Fashion and Apparel Studies professor Katya Roelse and her students. Making the reproduction was an exacting process. Here are some fascinating facts about it.
The dress weighs at least 12 lbs.
The original wedding gown has a label with Ann Lowe’s name on it. This is incredibly rare; most of her gowns do not have her name on them.
A sweet touch is a six-loop blue bow stitched on the petticoat trim for “something blue.” Jacqueline Kennedy wore her grandmother’s lace veil, presumably as something borrowed or old.
The pleating across the bust took three days to create, drape, and assemble.
The “30-15” sleeves, which refer to the reported 30 hours and 15 minutes it took Lowe to develop the design, required a full day of work to drape and hand sew. The sleeve is a signature detail of Ann Lowe’s designs and is featured in many of her gowns.
The dress is 70% hand sewn.
It took two people approximately 18 hours over 3 days to completely measure the original.
Cutting the fabric for the reproduction took 15 hours. Sewing the dress (hand and machine sewing) took around 250 hours.
There are about 35 yards of fabric in the main part of the dress. Of these, about 20 yards were used to make the swags and rosettes which, trimmed and sewn, are transformed into 154 yards.
There are 10 yards of silk faille between the petticoat, corset, and the petticoat trim.
It took four people six days to gather, pin, and hand sew the swags and rosettes
It took six hours to hand baste the gathered trim, another six to pin and place it, and 20 hours to hand sew.
It took five hours to create, pin, and hand sew the ten layered rows of fabric at the hem of the gown that spiral into seven circular rosettes. Hand sewing them to the dress took at least another 50 hours.
Follow along as we share more exciting behind-the-scenes features of the making of the exhibition Ann Lowe: American Couturier, opening September 9, 2023.
