Vernacular art at Winterthur - Winterthur - folk art collection at Henry Francis du Pont Winterthur Museum

Magazine Antiques, Jan, 2002 by Betty Fiske, Anne A. Verplanck

(9.) H. F. do Pont, 1940 (box 406, ibid.). Although them may have been some objects that he wished to have at hand, the lack of movement of objects to the du Ponts' New York apartment and their Florida house suggests that refining the presentation of objects at Winterthur was of central interest to him at this time.

(10.) Swank, Arts of the Pennsylvania Germans, pp. 75-76. Alice Cooney Frelinghuysen, "Emily Johnston de Forest," The Magazine ANTIQUES, vol. 157, no. 1 (January 2000), pp. 195-196.

(11.) It Pennypacker Hall file, Winterthur archives.

(12.) Swank, Arts of the Pennsylvania Germans, p. 84. See, for example, purchases from the Sittigs (box AD4, Winterthur archives, and Winterthur accession logs, Registration Office). Other relatively early installations of rooms with Pennsylvania German materials include the Dresser Room, Pottery Room, and Spatterware Hall.

(13.) Swank, Arts of tire Pennsylvania Germans, p. 79.

(14.) This analysis of fraktur pigments, begun in 1978, is ongoing and has produced a valuable database about the colors used in making fraktur.

(15.) Many of these objects are illustrated in Ames, Beyond Necessity. Du Pont shared his interest in folk art with his sister, Louise du Pont Crowninshield (1877-1958).

(16.) During the tenure of Edgar P. Richardson (1902-1985) as director of Winterthur (1962-1966), and in the years immediately following, he guided du Pont's acquisitions of many significant paintings.

(17.) Other paintings in this group are noted in American Folk Portraits: Paintings and Drawings from the Abby Aldrich Rockefeller Folk Art Center, ed. Beatrix T. Rumford (Little, Brown, Boston, and Colonial Williamsburg Foundation. Williamsburg, Virginia, 1981), pp. 243-245. The portraits of known sitters in the group primarily represent people from New York State. One sitter resided in Leominster, Massachusetts. The authors thank Barbara Luck, Helen Kellogg, Stacy Hollander, James Kilvington, Richard Miller, Charlotte Emans Moore, Patrick Bell, and Edward Hind for sharing their files and knowledge, and Mark Bockrath at Winterthur for his conservation treatment and help in identifying and understanding the portraits.

(18.) We thank Cathy Coho and Linda Eaton for their thoughts on the dates of the costumes.