Whether they are tracking pests, finding poison books, fixing a broken porcelain teacup, or preserving historic wallpaper, the conservators at Winterthur combine their knowledge of art, science, and history to preserve our cultural heritage.

Tucked away in a separate building and often unseen by the thousands of visitors to the museum and garden, our team of eighteen specialists includes conservators, scientists, technicians, and other experts who focus on conserving a wide array of objects, including furniture, paper, textiles, paintings, library materials, architectural elements, garden furniture and ornaments, and more. They care for more than 90,000 objects and more than one million library holdings, all while consulting with other institutions and educating the next generation of conservators.

The preventive conservation team also manages all collections storage and display spaces across the estate. Known worldwide for its expertise in conservation, the department, with its on-site state-of-the-art Scientific Research and Analysis Laboratory, uses its expertise to advance scholarship, scientific education, and conservation research  within and beyond the Winterthur collection.

Graduate programs, lab tours, public events, school programs, and community conservation clinics are all part of the team’s commitment to education and outreach. In Caring for Your Cherished Objects: The Winterthur Guide, a recently published book, our conservators offer practical advice on how to protect your belongings, including tips on proper storage and display. The guide helps readers understand which items are most fragile and how to avoid damaging them.

This blog series shares the best ways to care for objects, drawn from the book. You’ll find advice for handling and storing books, artwork, textiles, and photographs, and additional tips on topics like the opening blog about identifying harmful materials in collections. We want you to get a behind-the-scenes look at the fascinating world of conservation and inspire you to care for your own cherished items. 

Hazardous Objects

Why would someone collect things that are hazardous, you might be wondering. Most don’t do it intentionally. During the 19th century, advances in manufacturing led to the use of more hazardous substances. So, some objects are dangerous on their own because of the materials that they are made from. Others become risky over time as their materials degrade.

Common objects that could be hazardous include:

• Firearms: These may still contain explosives and be dangerous.
• Tin and mercury amalgam mirrors: Over time, these can release liquid mercury.
• Lead objects: Handling lead items can leave behind harmful residues.
• Arsenic green: This colorant, often found in book cloth and historical papers, can turn into a powder that’s hazardous when touched.
• Uranium glass: This glass releases small amounts of radiation.
• Dyed or printed textiles: These may contain harmful chemicals like arsenic, lead, and chromium from their production process.
• Wool and other animal-based fibers: If they were treated with pesticides, harmful residues can remain on the material, which can be transferred to your hands and skin.

In addition, organic materials like textiles, feathers, fur, and plants are sometimes treated with pesticides that contain heavy metals or solvents, adding another layer of risk. Even objects that seem safe might be dangerous due to contamination, such as leather bags that may contain lead shot from use.

How to determine if an object is hazardous:

To determine if an object is hazardous, there are several signs to look for, even if you don’t have access to special equipment.

• Condition of Organic Objects: If objects like textiles, wool, feathers, or botanical items are in perfect condition with no signs of pest damage, they may have been treated with  pesticides. The presence of a strong smell could mean that the object has been treated to keep pests away.
• Mirrors: If you have a mirror from the 19th century or earlier, check for a blue-gray hue and signs of fading reflection. This could mean it was made with a tin/mercury amalgam, which can release mercury droplets over time. Mirrors made after 1850 typically do not contain mercury.
• Vibrant Dyes: Some older textiles, especially those in bright colors or certain shades of green, might contain arsenic, lead, or chromium. These substances are usually bound to the fabric, so they are generally safe to touch, but it’s recommended to wear gloves as a precaution. Books made with arsenic-based dyes can sometimes be identified visually.

What to do if you suspect a hazardous object:

If you think you have a hazardous object in your home, don’t worry! Most objects can be handled safely with a few precautions:

• Keep it out of reach of children or pets: If the object is accessible to children or animals, move it to a safer place, such as a locked cabinet or box, and label it as hazardous.
• Protect yourself: Wear gloves when handling any potentially hazardous organic objects, as they may have been treated with chemicals. If you don’t have gloves, wash your hands thoroughly before and after handling.
• Firearms: If you have a historic firearm, have it checked by your local police or a firearms expert to make sure it is not loaded or dangerous.
• Repurposing: If you plan to reuse these materials for something else, think about how they will be handled and whether they could pose a risk.
• Consult a conservator: You can bring your objects to Winterthur’s Conservation Clinic, which is held in September, October, November, December, March, and April, for a professional assessment of their safety. 

Explore more!

Visit our Conversations with the Collection exhibition in the Galleries beginning March 1 to learn more about how we deal with hazards at Winterthur!

Interested in visiting the Conservation labs? Join one of our monthly behind-the-scenes tours! 

Sign up for a free consultation with our conservation staff and students to learn about how to take care of your family treasures. 

Useful links:

• Poison Book Project
• Hazards in Collections
• Technical Bulletin on mercury amalgam mirrors

The post Caring for Your Collections appeared first on Winterthur Museum, Garden & Library.

Inspired by Henry Francis du Pont’s love of flowers, Winterthur’s Dried-Flower Tree is a phenomenon of color, texture, and floral artistry. Thousands of brillant spring and summer blooms are perfectly preserved throughout the year, reprising their roles each holiday season to delight spellbound visitors.

To create the “largest bouquet” ever made at Winterthur, we chose a wide variety of flowers and plant material from the Winterthur cutting gardens and fields and used two methods of drying: silica gel and hanging.

Silica Gel

One method for drying flower heads calls for “flower dri” (silica gel). Silica gel is a desiccant, a substance that has a great affinity for water; it rapidly absorbs moisture from flowers. The white powder has small blue crystals and is reusable indefinitely. As the powder absorbs moisture, the blue crystals turn pink, indicating that they can absorb no more moisture. Simply put silica gel in a 350-degree oven for an hour or so and the crystals will turn blue and be ready for another use.

General considerations with this method of drying:

• All flowers should be absolutely fresh.
• Dry flowers in several stages of bloom: buds, partially open, fully open, and some with foliage.
• Before drying, flowers must be wired since they become fragile once dried.
• Put similar types of plant material in the same box.
• Flowers shrink when dried and many also darken.
• Small, fragile flowers will take two or three days to dry.
• Most will take five to seven days.
• If the material feels slightly limp, it is not dry. Bury in the gel for several more days.

Steps to follow:

1. Cut off flower heads.
2. Insert wire through the center of the flower, loop, pull down through the flower head so that the head is secure.
3. Place two inches flower dri in bottom of pan.
4. Place flower head “heads up” in flower dri.
5. Pour flower dri over flower heads and between each layer of petals. Cover completely.
6. For long stems such as snapdragon and delphinium, place horizontally on flower dri. Cover completely.
7. Cover and seal flowers in airtight pan.
8. Mark flower type on pan.
9. Allow ample time for flowers to dry.
10. When flowers are dry, remove carefully. Gently pull flower heads up while dusting off flower dri.
11. Store in covered box.
12. Mark flower type on box.

Hanging Method

A second method of drying is hanging flowers in small bunches until dry.

Experience the beauty of Winterthur’s Dried-Flower Tree during Yuletide, and join us next year for an exciting lineup of floral classes and workshops!

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This year’s gingerbread display is based on the farming operations that once formed a vital component of life at Winterthur when it was a private home. A dairy herd, animal husbandry, and agricultural crops were as integral then to the world of Winterthur as museum operations are today. 

Cows were a part of the Winterthur landscape from its earliest days, grazing contentedly in the shadow of the mansion. In 1917, Henry Francis du Pont purchased four bulls and two cows for the astounding sum of $70,000 (about $1.6 million today). The breed was Holstein-Friesian, considered to be the most prolific milkers. That group became known at Winterthur as the “Foundation Herd.”

To house the herd, du Pont constructed a huge barn complex at the top of Farm Hill. Staff included a farm manager, resident veterinarian, dairy manager, and herdsmen. A creamery across from the dairy barn could process 10,000 pounds of milk a day. An electric cable tramway capable of transferring six milk cans at a time connected the second level of the dairy barn to the top of the creamery, where the milk was sterilized and pasteurized before being sold as “Winterthur Special Holstein Milk” in bottles carrying the motto “Better Milk for Better Babies from Winterthur Farms.” The milk was celebrated throughout the local area for its high quality.

Following H. F. du Pont’s death in 1969, and per his instructions, the Winterthur herd was sold at auction, ending a memorable chapter in Winterthur’s history.

The gingerbread representation of Farm Hill includes the various barns, as well as some of the workers’ homes. Weighing in at more than 300 pounds, the display includes more than 108 pounds of gingerbread! It is the creation of the skilled hands of artisans from Bredenbeck’s Bakery in Philadelphia.

This is the third year that Bredenbeck’s has dazzled Yuletide visitors with their artistry. In 2022, they presented an impressive gingerbread house of the Winterthur mansion, followed by a model made to replicate Enchanted Woods. We are grateful to Bredenbeck’s head sugar artist Diana Anello and bakery co-owners Jacob Boyd and Irvin Boyd for this wonderful Yuletide display. Don’t miss it!

See the display on view through January 5, 2024 in the Galleries. Plan your visit today!

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The Museum Store is open Monday–Sunday, 10:00 am–5:00 pm with extended evening hours during Wonderful Wednesdays.

Gifts for Her

From elegant jewelry to elevated home accents, these carefully curated gifts are designed to delight the woman who appreciates life’s finer details. Find delicate accessories, heirloom-worthy keepsakes, and graceful décor pieces that blend classic charm with modern luxury. 

Double Opening Pewter Frame, $115 
Red Velvet Silk Infinity Scarf, $85 
GeoCube Iconic Carnelian Necklace, $379 
Limoges Black Purse Porcelain Box, $420 
Swan Ornament, $14 
Glass Cameo Ornament, $16 
Creatures of Curiosity Teacup and Saucer, $34 
Velvet Ribbon Spool, $10 
Beaded Snowflake Ornament, $10 
Winterthur Exclusive 8oz Candle, $35 
Semiprecious Gemstone Bracelets, $53 each 

Gifts for Him

Among our favorite gifts are distinguished treasures for the modern gentleman. From refined sartorial accessories to quality personal items, this collection embodies sophistication and heritage. Each piece tells a story of enduring style and impeccable taste.

Liberty Fabric Cotton Hanky, $30
Goose and Pheasant Feather Bowtie, $120
Embroidered Owl Brooch, $100
Racing Car Cufflinks, $130
Hand-Turned Wood Finial Ornaments, $40 each
Navy Tie Roll, $35
How to Tie a Tie Book, $12.95
Brass Pocket Magnifying Glass, $14
Winterthur Exclusive 8oz Candle, $35
Handmade Wood Birdhouse Ornaments, $30 each
Blue Velvet Silk Infinity Scarf, $85
Winterthur Hand-Turned Walnut & Chrome Pen, $175
Leather Shoe Shine Kit, $50

Gifts for the Host

Elevate every occasion with our distinctive selection of barware and entertaining essentials. From exquisite crystal decanters and glasses to stylish bar cart necessities, these beautifully crafted (and sometimes playful!) pieces are perfect for the aspiring mixologist. Whether they’re hosting intimate gatherings or grand festive soirées, these personal touches will delight the host and their guests alike! 

Wallace Balustrade Bone China Ornament, $65
Crystal Jasmine Magnum Carafe, $250
Crystal Corinne Coupe, $75
Crystal Lally Champagne Flute, $215
Marble & Acacia Wood Cheese/Cutting Board, $25
Stainless Steel & Horn Cocktail Shaker, $23
Hammered Copper Finish Mule Mug, $18
Copper Bottle Tags (Set of 6), $30
Merbau Wood & Stainless Steel Bird Bottle Opener, $13
Cocktail Recipe Playing Cards, $18
Signature Cocktails Book, $39.95

Gifts for the Nature Lover

Cultivate joy with good-natured gifts for the nature lover in your life. Whether they’re an avid gardener, bird-watching aficionado, or simply someone who appreciates the beauty of the outdoors, these items promise practicality while adding a touch of whimsy to any adventure.

Moss Birdhouse, $24
Hand Carved Wood Cardinal Ornament, $23
British Bloom Indoor Watering Can, $33
Gardener’s Handcare Kit, $25
British Bloom Seed Storage Tin, $38
Woodcut Memory Game, $19.95
Beaded Bird Ornament, $10
Bird Trivia, $12
Seed Pops, $8 each
Small Flower Pot, $21
British Bloom Pruner & Holster Set, $36

Gifts for the Kids

Presents that are playful and nurture their growth and creativity? Priceless. Spark imaginations with our enchanting collection of toys and games. From puzzles and interactive playthings to art supplies and storybooks, each gift is crafted to inspire wonder. 

Birdling Blue Tit Plush Toy, $20
Woodland Holiday Mini Colored Pencils, $6
Mini Sketchbook, $5
Beaded Felted Wool House Ornament, $10
Ready to Go Museum Sequencing Activity, $20
Beaded Christmas Tree Ornament, $8
Holiday Wooden Puzzler, $9
Garden Memory & Matching Game, $14
Fairy House 17-Piece Suitcase Set, $63
Santa Push Puppet, $9
Christmas Truck Toy, $10
Round Tower Tumbling Blocks, $33

Gifts for the Decorator

Transform any space into a sanctuary of style with our collection of decorative accents and luxurious home essentials. From statement-making artisanal pieces to plush throw pillows and cozy blankets, we have everything the design enthusiast needs to elevate their home. Our carefully curated selection of interior design books offers inspiration and expert advice for every decorator.

Crystal Corinne Coupe, $75
Plum Finial Beeswax Candle, $33
Slate Partridge Beeswax Candle, $39
Cloved Orange Ornaments, $20
Celebrating Home Book, $50
Decorate Like a Decorator, $65
Alexa Hampton: Design, Style, and Influence Book, $60
S is for Style Book, $75
Small Hand-Carved Mango Wood Finial, $28
Colored Glass Vase, $11
Large Hand-Carved Mango Wood Finial, $52
Cloved Orange Ornament, $20
Zuber: Two Centuries of Panoramic Wallpaper Book, $75
John Derian Picture Book II, $80
Crystal Karen Footed Comport, $395
Alfeo Wood Box (Part of set of 2), $370
Cabinets of Curiosities Book, $35
Ceramics: An Atlas of Forms Book, $65
Outside In: Interiors Born from Nature Book, $45
Home In Bloom Book, $40
Embroidered Cotton Pillow, $38
Cotton Kantha Stitch Pillow, $30
Stonewashed Cotton Floral Throw, $85
Chartreuse Velvet Pillow, $50
Cotton Slub Embroidered Lumbar Pillow, $55
Cotton Ikat Pillow, $18

Gifts for the Tea Lover

Warm the heart and hands of the tea lover in your life. From artisanal tea blends and local honey to charming mugs and accessories, our selection ensures every sip is a moment of comfort and joy.

Magnolia Picks, $14 each
Aged Flower Pitcher, $48
Brass Flower Taper Candle Holder, $25
Green Vibes Artisan Candle Holder, $175
Our Green Heart Book, $25
Ex Libris Bookplates (Set of 5), $13
Brass Hand Clip, $38
Audubon Heron Tray, $185
Winterthur Lemon Curd, $13
Botanical Stoneware Dish, $
Heart Tea Strainer, $10
Colonial Remedies No. 3 Peppermint Tea, $20
Winterthur Raw Honey (1lb), $20
Stuff Every Tea Lover Should Know Book, $10.99
Minty Blue Tea Sachets (2 count), $5
Marble Coaster/Soap Dish, $9
Hand-Painted Abstract Mug, $13
Brass Bee Spoon, $7

Gift of Membership

Give the gift of memories with a Winterthur Membership today! With a variety of programs and events all year round, a Winterthur gift membership is more than just a gift—it’s a year of experiences. With something for everyone, your loved one will enjoy the opportunity to stroll the garden, explore the mansion, or wander in the galleries. A calendar full of opportunities offers something for everyone from fun family programs to hands-on workshops, specialty tours, and more. Make your holiday shopping a little bit easier by sharing the joys of Winterthur with a gift membership today!

Purchase a Winterthur e-gift certificate or Gift of Membership online and let her fancy take flight in our museum, garden, library, and store. 

The post Yuletide Gift Guide appeared first on Winterthur Museum, Garden & Library.

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.

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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.

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.

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.

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.

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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. 

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.

The post The Peale Painters, Conversations in American Art appeared first on Winterthur Museum, Garden & Library.

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.

The Post article is behind a paywall, but you can read the full article in The Seattle Times, The San Diego Union-Tribune, The Spokesman-Review, and elsewhere.

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.

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“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.”

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.”

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.

The post Embracing New Acquisitions with Historical Significance appeared first on Winterthur Museum, Garden & Library.

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. 

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. 

The post New Library Acquisition: The Kendall Family Receipt Book appeared first on Winterthur Museum, Garden & Library.