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 »
Damon G. Smith works in Aberdeen, Maryland, and is an accomplished quilter and gardener. His quilts have been featured on the Ricky Tim’s LIVE Men’s Quilt Exhibit and he participates in Quilts for Heroes, a nonprofit group who donates quilts to Wounded Warriors and other service members. Damon is a board member of the North American Clivia Society, and he presents about raising Clivia and the process of creating his custom greenhouse. In addition to raising his own flowers, Damon judges flower shows, including the esteemed Philadelphia Flower Show.
Quilts blend tradition and innovation. The intricate patterning and colorful palette of Stream Float echoes the detailed piecing of Gee’s Bend quilts. Damon Smith saw the Gee’s Bend quilt at Winterthur in March and created his own quilt demonstrating his eye for color and unique style. “In this work, the colors that make up the pineapple blocks appear to float above the shimmering leaves of gold, bronze, and green . . . giving the illusion of leaves floating atop a shallow pool of water,” explains Smith.
“Every leaf speaks bliss to me, fluttering from the autumn tree.”
Emily Brontë
This sentiment by Emily Brontë perfectly expresses our fascination with fall, surely among the best times to visit Winterthur. Along with the beautiful colors in the garden, equally stunning are Winterthur’s magnificent 175-room house and collection of American decorative arts.
As always, we’re excited to welcome you to experience the beauty and hospitality of this great American country estate.
Come one, come all—and come often this fall.
From Our Blog
From a carefully curated list of autumn blooms to spooky stories from the estate, learn more and enjoy Winterthur your way this season!
How to Photograph Fall at Winterthur
Winterthur is enchanting in every season…and truly magnificent in autumn.
Fall Color in the Garden
Foliage color starts in mid to late September with such notable plants as dogwood, maple ...
Ghost Stories of Winterthur
With a place as historically rich as Winterthur, it is no surprise that there are ...
Fly through Fall at Winterthur
Find respite outdoors and revel in autumn's colors this season at Winterthur.
The Art of Tablescaping
When planning a table setting, I like to think about the feeling I want my ...
Special Programs & Events
From the Truck & Tractor Day and Tram & Treat to birding walks and Discover Winterthur (with free admission all day!), there’s something for everyone this season. Explore all fall events.
Truck & Tractor Day
October 5, 2024
Get up close to big equipment, suit up in firefighter gear, take a hayride, and more on this day of farm-style fun.
A recent feature by The Washington Post on the Poison Book Project has been picked up by news outlets around the world. The Poison Book Project is an interdisciplinary research initiative at Winterthur Museum, Garden & Library and the University of Delaware.
This ongoing investigation explores the materiality of Victorian-era publishers’ bindings. Research focuses on identifying potentially toxic pigments used in bookbinding components and how to handle and store potentially toxic collections more safely.
Melissa Tedone, former head of the library conservation lab at Winterthur, now Assistant Professor of Library/Archives Conservation and Associate Director of the Winterthur/University of Delaware Program in Art Conservation, examines the toxic covers of books in the library at Winterthur.
An excerpt from the article:
The Poison Book Project began after Melissa Tedone’s own chance encounter with a curious emerald tome.
At the time, Tedone was the head of the library conservation lab at Winterthur, a historical estate and museum affiliated with the University of Delaware, where she assessed and restored objects in the institution’s collection. In 2019, for an exhibition on Victorian aquariums, she was tasked with repairing a book called “Rustic Adornments for Homes of Taste.” “It was a bright green book, and the covers had fallen off,” Tedone said. It was her job to put them back on, but she noticed something strange while working.
“There was something about the way the pigment was behaving. I could see it flaking off under the microscope,” she said. At the time, she was reading a book about arsenical wallpaper common in the 19th century. “It was a serendipity moment. I thought that maybe we should test this pigment and make sure it’s not full of arsenic.”
It turned out the book was full of arsenic. “Really quite a lot of arsenic,” she said…
About 50% of the books that have been analyzed have tested positive for lead, which is present in multiple pigments as well as pigment enhancers. Chromium has shown up in Victorian yellows, and mercury in the era’s intense reds. Arsenic, the most toxic of these chemicals, has been found in 300 books, including those with benign titles such as The Grammar School Boys and Friendship’s Golden Altar.
“Arsenic is in its own category,” Tedone said. “Not only is it more toxic than the other heavy metal pigments, but we are finding that measurable levels of arsenic are coming off on your hands.”
The findings have led large institutions, including the National Library of France and the University of Southern Denmark, to remove books from circulation and place them in quarantine.
Many visitors to Winterthur are surprised to learn that our collection is continually expanding with new acquisitions. Contrary to the perception of museum pieces as merely “old and dusty,” our collection encompasses a dynamic range of items, including contemporary and historically significant pieces.
“Winterthur’s collection is far more expansive than many people realize,” says Alexandra Deutsch, director of collections at Winterthur Museum. “While the museum is the home of some of the finest 18th- and 19th-century decorative arts made and used in America, Henry Francis du Pont’s visionary collecting created a foundation that has allowed Winterthur’s curators to expand the collection in innovative and inspiring ways.
“Today, guided by a collections policy that acknowledges the global nature of the collection, acquisitions that significantly expand Winterthur’s ability to share complete histories with our visitors, students, and scholars are a top priority. This selection of objects provides a glimpse of recent acquisitions, which document histories previously untold in Winterthur’s galleries and museum rooms.”
A Glimpse into Baltimore’s Free Black Community
One of the museum’s recent acquisitions is an 1857 oil painting in remarkable condition depicting an identifiable free Black member of the regional Baltimore community. This painting is on display now in the Galleries at Winterthur. We wrote extensively about the painting earlier this year.
Researching a Captain
Another fascinating addition is the oil painting titled Don Juan de Dios de Parreno y Pardo, likely created between 1800 and 1830. The painting’s title is inscribed in the lower left corner of the portrait.
“An arresting portrayal of a dark-haired naval captain, Don Juan de Dios de Parreno y Pardo intimates the history of maritime politics of Europe and the Americas in the early part of the 1800s,” says Kedra Kearis, Winterthur’s associate curator of art and visual culture. “Seated at a table with navigational tools spread over an indeterminate map, the confident Pardo gestures to his offshore frigate that bears the pre-Republic flag of Spain.
“We look forward to interpreting this painting beginning with conservation efforts,” Kearis says. “Visible under black light, the background of the portrait has coats of arms just below the surface layer.”
These images may unlock the painting’s secrets or lead Kearis to further insights about the man in the painting. She poses several questions: “Who is this captain? Is his vessel heading out to sea or returning? What does this portrait tell us about Spain’s presence in the Americas?”
Currently housed in our Research Building, the painting is under scholarly examination to uncover its secrets. For now, this blog is the only place you can view it. Once enough research is completed, it could be displayed in the Galleries.
“Sure to intrigue visitors, this picture joins Winterthur’s strong holdings of early 19th-century portraits painted in the U.S.,” Kearis adds. “It allows for important conversations about the exchange of art traditions across the Atlantic and contact between Spain and indigenous people of the Americas.”
Oil painting of Don Juan de Dios de Parreno y Pardo.
A Quilting Legacy
Winterthur has also acquired a quilt by mother and daughter artists Sharon and Jemica Williams from Gee’s Bend, Alabama. Sharon learned to quilt from her mother and grandmother, passing the tradition to her daughter, Jemica.
Gee’s Bend quilters are renowned for their innovative use of available materials, such as sacks and clothing, to create quilts that provided comfort to their families. They trace their roots to enslaved ancestors forcibly relocated from a plantation in Halifax County, North Carolina.
The Montmorenci plantation in a neighboring county was once the home of the staircase and architecture that can now be found in Montmorenci Stair Hall at Winterthur Museum, Garden & Library. Enslaved and free individuals at Montmorenci played an active role in the design, construction, and everyday use of this staircase.
The Gee’s Bend quilt made by Sharon and Jemica is juxtaposed with the staircase, cementing a connection between these three separate regions. The quilt is part of the Winterthur’s current exhibition, Transformations: Contemporary Artists at Winterthur.
“This quilt by Sharon and Jemica Williams is the first quilt by a known Black designer and maker to enter Winterthur’s collection,” says Alexnadra Deutsch. “The design is a fresh interpretation of the ‘My Way’ style of freeform piecing and quilting, for which the quilters of Gee’s Bend, Alabama, descendants of enslavement, are famous. Sharon Williams, the designer and maker, says she ‘puts her colors together, puts the quilt together just how it goes.’ She ‘wants people to see these colors and admire them’ and that would bring her joy.”
Quilt by Sharon and Jemica Williams.The Williams quilt in Montmorenci Stair Hall at Winterthur.
A Golden Addition
Ann Wagner, Winterthur’s curator of decorative arts, highlights a 1915 gilded silver hot chocolate set by Gorham Manufacturing Company, Providence, R.I., and retailed by Shreve, Treat & Eacret, San Francisco, Calif., as a notable recent acquisition.
“California’s state flower, the golden poppy (the ‘cup of gold’ or ‘copa de oro’ in Spanish) is the dominant inspiration for each vessel of this gilded beverage bouquet,” Wagner says. “It was a special commission created for a prominent, patriotic Californian, Anita May Baldwin (1876–1939). Baldwin lived in Arcadia on the vast Anoakia Ranch that she inherited from her father Elias J. “Lucky” Baldwin, but she also socialized and shopped in San Francisco. This luxurious set was likely designed with Anita Baldwin’s input and created in Rhode Island by Gorham, whose connection with the Lenox Ceramic Art Company provided the fitted white porcelain liners for the dainty silver poppy cup frames.”
The chocolate set’s history is actively being researched. In the meantime, the set is now on view in the museum’s Galleries.
Winterthur’s ongoing commitment to expanding and diversifying its collection ensures that visitors, students, and scholars can engage with a broad and inclusive array of historical narratives.
Celebrate one of America’s first celebrities with Winterthur Museum’s latest exhibition, On Tour: Lafayette, America’s Revolutionary Rock Star. Commemorating the 200th anniversary of the Marquis de Lafayette’s 1824–25 “Farewell Tour” of the United States, the exhibition explores Lafayette’s incredible impact on the young nation through a fascinating selection of Winterthur memorabilia and objects honoring the Revolutionary War hero.
This small exhibition officially opens September 24, 2024, with a special event on September 29 in collaboration with People to People of Delaware, an organization dedicated to enhancing international understanding and friendship through educational, cultural, and humanitarian activities. The day will feature interactive activities that celebrate Lafayette’s enduring legacy and the deep bonds of friendship he forged between the U.S. and France.
Lafayette: A Revolutionary Icon
At just 19 years old, Marie-Joseph Paul Yves Roch Gilbert du Motier—known to history as the Marquis de Lafayette—left his home in France to fight for American independence. He played a pivotal role in key battles, such as the Battle of Brandywine (1777) and the decisive Battle of Yorktown (1781), where his leadership helped secure victory for the colonies. A close confidant of George Washington, Lafayette came to be seen not just as a military hero but as a symbol of the revolutionary spirit.
The Farewell Tour: A National Sensation
By the time Lafayette returned to the United States in 1824, he was hailed as a national treasure. His “Farewell Tour” took him across the country, where he was celebrated by people of every background, class, and community. To commemorate his visit, Americans produced an array of souvenir items, from buttons and medallions to handkerchiefs and ceramics. These and other objects are featured in Winterthur’s exhibition.
A Legacy Preserved at Winterthur
Winterthur founder Henry Francis du Pont, a passionate collector of Americana, amassed an extensive collection of objects related to Lafayette. Winterthur’s items related to Lafayette are surpassed only by the number of items related to George Washington and Benjamin Franklin. Visitors to On Tour: Lafayette, America’s Revolutionary Rock Star will have the rare opportunity to see these cherished pieces up close and explore the fascinating intersection of history, patriotism, and popular 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.
Nowadays, a purchase at many stores concludes with the question, “Would you like your receipt emailed or printed?” But in 18th- and 19th-century America, the customer would often handwrite their purchases in blank books which would then be signed by the vendor to certify the transaction.
The Winterthur Library recently acquired an unexpectedly personal example of how receipts were recorded before every shop had a small printer on the counter. This Delaware manuscript receipt book is a pocket-sized, leather-bound volume used as a daybook from 1768 to 1853 by several generations of the Kendalls, a Quaker family from New Castle County, Delaware, and holds records for purchases and other financial matters.
Jesse Kendall (1741–1769) was the first to use the book. Jesse was born in Wilmington, Delaware, the son of a cordwainer (a shoemaker specializing in working with new leather). According to Quaker wedding records held by the Winterthur Library, Jesse was also a cordwainer when he married Mary Marshall in 1763. However, the 23 receipts he recorded between 1768 and his death in 1769 suggest he may have changed vocations at some point, since most of the receipts are for the purchase of molasses, rum, imported goods from Jamaica, and copious barrels of flour. Jesse’s final entry listed a payment of his taxes for 1768.
Detail of a page recording payment for a winding sheet, medicines, and a grave for Jesse Kendall.
The end of Jesse’s life at age 27 is poignantly recorded in this same receipt book. His widow, Mary (1743–1802) used the volume briefly to record receipts related to the settlement of Jesse’s estate, funeral, and medical bills. Through Mary’s payment records of 23 shillings for a winding sheet for her husband’s body, 7 shillings for digging and “turfing” his grave, and medical expenses of more than £2 paid to Dr. Nicholas Way, we are given a glimpse into a difficult time for the Kendall family. Though the receipts lack any overt emotion, they invite us to reflect on the events behind the words. These records also situate the Kendall family in American history—less than two decades later, Dr. Way was a signatory on documents providing Delaware’s ratification of the U.S. Constitution.
Jesse and Mary’s son, John Kendall (1766–1845), was the third family member to use the volume. His period of use was the longest (1789–1837) and the most diverse. Receipts include those for foodstuffs (e.g., oats, beef, and flour); goods (e.g., cow, watch, wagon, and staves); services (e.g., shoemaking, hauling, and carpentry); and financial matters (e.g., tax payments, interest payments, and estate payments).
The final member of the Kendall family to use the receipt book was Jesse’s grandson, Gibbons Kendall (1801–1864). He used the volume from mid-1852 to late 1853, over 80 years after his grandfather’s first entry. Instead of recording personal transactions as his predecessors did, Gibbons used the volume to detail financial transactions in the estate of his sister, Rebecca G. Kendall, who died on July 13, 1852.
Though it is impossible to know the day-to-day details of the Kendall family’s lives, this receipt book provides interesting examples of the macroworld of early American financial recordkeeping practices, and the microworld of one Delaware Quaker family.
Research into the volume is ongoing as part of the cataloguing process that new library acquisitions go through before being added to the library’s online catalogue, Wintercat.
Two-year-old Miles toddled into the Story Stones area in Enchanted Woods at Winterthur and immediately spotted something intriguing. He grabbed a scoop from a bucket of potting soil and began to dig. The adults around him laughed and gently reminded him that he would have to wait until after story time to start the activity related to the book of the day.
He sat on a stone with his grandmother, Pat Caplan, and patiently waited as other children began to find their way to the clearing from different parts of the three-acre children’s garden. Caplan, a Winterthur Member, explained that she was babysitting for the day and checked Winterthur’s website to find an activity to entertain Miles.
Story time, included with admission to Winterthur, fit the bill perfectly.
Miles, center, and his grandmother, Pat Caplan, left, enjoy the seed-planting activity after a recent story time in Enchanted Woods.
Story Time in Enchanted Woods is designed for children aged 3‒6 and takes place every Thursday at 11:00 am from April through October among the Story Stones, one of many magical features of the garden.
After each nature-centered story, children enjoy a sensory station with objects and activities that match the day’s story. On the day Miles and his grandmother visited, the activity involved planting seeds in a biodegradable paper cup for the children to take home.
Michele Weiner, center, captivates the children with her engaging story telling.
Even without story time, Enchanted Woods is the perfect place to bring young children to let their imaginations run free. Designed to appear as though it was crafted by fairies, Enchanted Woods weaves its own tale, free of references to popular children’s stories, making the garden feel timeless and like a blank slate that children can fill with their imaginations. Its creation myth speaks of the fairies and sprites—missing the laughter of children who once played there—gathering artifacts from the Winterthur estate to build a spellbinding haven.
Recently, the Atlas Obscura podcast devoted an episode to Enchanted Woods, highlighting its unique charm.
Story time enhances this wonderful experience, often led by volunteers like Michele Weiner, a Winterthur Member and teacher who has worked with students struggling to read. As a story time volunteer, Weiner emphasizes the pictures in the books she reads and stays animated to keep the children’s attention. She is one of more than 250 volunteers who give their time to Winterthur.
On this day in Enchanted Woods, Weiner captivated the children, especially Miles, whom she addressed by name several times during the reading, having met him only moments earlier. For Miles, this personal touch made the day with his grandmother even more special.
Families gather at the shady Story Stones to enjoy the week’s story.
The word “ledger” calls to mind neat columns of numbers and meticulous recordkeeping. But what happens when a ledger stops being used for its intended purpose? Winterthur Library recently acquired a William Appleton and Company ledger, which gives insights into the global reach of a 19th-century Boston-based merchant shipping company and the life and times of the man whose name was at the top of the company’s masthead. It’s interesting enough as a record, but this volume is also exciting because it illustrates what can happen when a ledger that’s no longer used by the company falls, decades later, into the hands of a child who needed a scrapbook and sketchpad.
William Appleton (1786–1862) was a businessman and politician from Massachusetts, whose business acumen was clear early in life. In 1801 his first foray into business was as a clerk in a store in Temple, N.H., kept by Mr. Artemas Wheeler. Appleton made such a favorable impression on his employer that at the age of 19 he was made a partner.
Between 1807 and the 1820s, Appleton engaged in a variety of business ventures related to his mercantile interests, including the purchase of some of his earliest ships. From 1826 to 1841, he owned a counting house in Boston, Mass. In 1841 he and his son James joined Samuel Hooper to form William Appleton and Company, a merchant shipping firm which engaged in sea trade to ports around the world.
Detail of a page noting expenses on a ship bound for Bengal, India.
Detail of a page noting expenses on a ship bound for Bengal, India.
The Appleton ledger—a large, leather-bound volume detailing transactions between 1836 and 1843—records Appleton’s rise from a small business owner to a titan of Boston commerce. Many of its pages contain balance sheets for company transactions, either with individuals or other companies (for example, an 1838 transaction with the Liverpool Packet Co. in the amount of $54,143.16—the equivalent of almost $2 million in 2024). Some entries record transactions related to shipping logistics, including a payment of $6,560 (over $200,000 in 2024) for insurance on the Eben Preble, a 439-ton Appleton-owned ship bound for China.
Some entries contain balance sheets for domestic and international shipments, including several entries related to shipments made to New Orleans, La., in consignment with Hodge, Oxnard & Co. International destinations with similar entries include Calcutta, Havana, China, and Liverpool.
The last ledger entry in this roughly 200-page volume was made in 1843, with the business records comprising roughly one-third of the pages. Given that William Appleton and Company continued for several years after 1843, it’s unclear why it was abandoned with two-thirds of the book’s pages unused. Whatever happened, the ledger came into use years later by one or more people for an entirely different purpose.
Get outdoors and explore! Wander Winterthur’s 1,000 acres of rolling hills, meadows, woodland paths and trails, and wild garden. Click on either the garden or trail map below to get more information on where you can explore at Winterthur. When you arrive at Winterthur, check in at the Visitor Center.
Winterthur’s 60-acre historic garden has been carefully managed to preserve the unique design created by Henry Francis du Pont and his close friend and landscape architect Marian Coffin. This map highlights the significant garden areas, historic features, and architecture to be found throughout the garden.
Beyond Winterthur’s historic garden is nearly 1,000 acres of preserved woodlands, meadows, and farmscapes for our guests to explore. This map highlights trails, carriageways, natural areas, and farm buildings that we welcome you to discover.
From a curated list of our most picturesque picnic spots to a how-to guide for hiking on the estate, learn more and adventure your way this season at Winterthur!
Top Places to Picnic at Winterthur
With more than 1,000 acres of land, there are so many wonderful places to set up ...
Take a Hike!
Here is a quick list of 5 things to remember when visiting the “wild” areas (meadows ...
Mowing the Meadows
We thought this was a great opportunity to share the story behind our meadows and ...
See highlights of the garden and learn the history of Winterthur on this 30-minute narrated tour. The tour begins at the Visitor Center and ends at the museum. Stops include Azalea Woods, Magnolia Bend, and Enchanted Woods.
Visit the former dairy and farm and enjoy expansive views of the landscape. Hear stories of estate history and learn about repurposed work areas and historic buildings.
Discover the history and stewardship of the Winterthur landscape as you travel to the far corners of the estate to explore aspects of geology and ecology and hear fascinating stories about local history, flora, and fauna.
WINTERTHUR, DE – A hat made of wood veneer. A boldly colored quilt from rural Alabama. A meticulously researched project to rediscover and recreate the lost methods of producing Indian chintz, resulting in a modern take on the textile that originated in the 1500s.
These are just a few of the remarkable pieces featured in the new exhibition at Winterthur Museum, Garden & Library, created by more than 30 nationally recognized contemporary artists. Their works draw inspiration from Winterthur’s historic collections, seamlessly blending the past with the present.
On display June 8, 2024–January 5, 2025, Transformations: Contemporary Artists at Winterthur invites visitors to explore how historical influences shape contemporary art. This exhibition highlights the connections between different communities, offering fresh perspectives on history and its relevance to our lives today.
“These artistic expressions reflect each artist’s connection to the fine craftsmanship and design in Winterthur’s collection of decorative arts and archival materials as well as its naturalistic garden and landscape,” said exhibition curator Catharine Dann Roeber. Roeber, Winterthur’s director of Academic Affairs, the Brock W. Jobe Associate Professor of Decorative Arts and Material Culture, director of Winterthur’s Research Fellowship Program, and executive editor of Winterthur Portfolio, emphasizes the deep ties between the artists and Winterthur’s heritage.
Daily guided gallery walks of the Transformations exhibition will be free with admission. No reservations are required. Walks begin in the Galleries Reception Area daily at 2 pm.
Most of the artists in Transformations participated in Winterthur’s Maker-Creator Research Fellowship program, which invites artists, writers, filmmakers, horticulturists, craftspeople, and other creative professionals to immerse themselves in the Winterthur collection.
One of these artists, Elaine K. Ng of Hope, Maine, described her fellowship experience:
“Through a serendipitous encounter at Winterthur with economic historian Alka Raman (also a Winterthur Fellow), a 1966 translation of 18th-century French manuscripts from the library, and an 18th-century Indian palampore on exhibit from the museum collection, my fellowship evolved into a collaborative exploration of traditional chintz techniques and the links between material knowledge, culture, and place,” Elaine explains.
Winterthur museum founder Henry Francis du Pont (1880–1969) had a particular fondness for chintz, which he prominently featured as palampores in his bedroom at Winterthur.
“He loved these Indian textiles because they were part of this whole world of goods that were flowing into the Colonies,” said Alexandra Deutsch, Winterthur’s John L. and Marjorie P. McGraw Director of Collections.
Ng and Raman delved into the texts at Winterthur and identified 25 steps involved in dyeing chintz.
Chintz made with centuries-old techniques by artist Elaine Ng.
“This is the English translation of a Frenchman’s observation of a process, so some of these steps don’t make much sense until you do them,” Ng said, citing an obscure step involving buffalo milk to prevent dye bleeding.
“A lot of knowledge has been lost, but it’s possible to recover tactile knowledge by doing the processes described,” Ng said. “This is about how artists learn and have knowledge in their hands.”
Sharon and Jemica Williams are artists who use their hands to make prized quilts in Gee’s Bend (also known as Boykin), Alabama. Sharon learned to quilt from her mother and grandmother and passed on the tradition to her daughter, Jemica.
The quilters from Gee’s Bend used sacks, clothing, and whatever textiles they had on hand to create quilts that offered comfort to their families. The Gee’s Bend community of quilters trace their roots to enslaved ancestors forcibly relocated from a plantation in Halifax County, North Carolina. The Montmorenci plantation in a neighboring county was once the home of the staircase and architecture that can now be found in Montmorenci Stair Hall at Winterthur Museum, Garden & Library.
Enslaved and free individuals at Montmorenci played an active role in the design, construction, and everyday use of this staircase.
And the Gee’s Bend quilt made by Sharon and Jemica Williams, and recently acquired by Winterthur, is juxtaposed with the staircase, cementing a connection between these three separate regions. The quilt is part of the Transformations exhibition.
A Gee’s Bend quilt on display in Montmorenci Stair Hall at Winterthur.
Artist Judith Solodkin contributed handmade hats as part of the Hatbox/Bandbox Collective in the exhibition.
While Solodkin does not sell her hats, she crafts them to wear to art exhibition openings. She teaches lithography, digital embroidery, and soft sculpture at the School of Visual Arts and Pratt Institute, Brooklyn, NY.
“I make the hats for myself, and it takes about two weeks per hat,” she shared.
A wood veneer hat by artist Judith Solodkin will be displayed as part of Transformations.
Artist Andrew Raftery, professor of printmaking at Rhode Island School of Design, conceived this project after drawing inspiration from Winterthur’s bandbox collection.
Bandboxes were used, primarily by women, to store and transport hats, clothing, and other personal items in the 1700s and 1800s. Fashioned out of pasteboard or thin wooden boards, they were typically decorated on the outside with block-printed papers and often lined on the interior with contemporary newspapers and journals, creating three-dimensional scrapbooks that merged pattern design and current events.
Raftery invited other artists, including former students and colleagues, to create prints that cover the bandboxes.
“Then he thought, we should also get Judith to lend some hats, both because they are cool and also because they help show visitors one of the uses for bandboxes,” said Roeber, the exhibition curator.
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.
