Directory of AmericAn Directory of AmericAn

Transcription

Directory of
American
Early American Life celebrates the 30th anniversary of the Directory
of Traditional American Crafts, which this year found more artisans
than ever ranking as the best of the best in the eyes of the judges.
Since 1986, the Directory has recognized artisans who preserve
America’s heritage of handcraftsmanship by replicating or drawing
inspiration from yesterday’s masterpieces for today’s period settings.
Many of the objects shown on the following
pages are displayed at Winterthur Museum,
Garden & Library, the du Pont family estate
in Delaware. In the early 20th Century, owner
Henry Francis du Pont collected outstanding
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specimens of American furniture, decorative
arts, and architectural elements that today fill
175 rooms on eight floors. He and his family
moved to smaller quarters and opened the
mansion as a museum in 1951.
Traditional
Crafts
at Winterthur
The museum houses nearly 90,000
objects made or used in America between
about 1630 and 1860 as well as permanent
and changing exhibition galleries. Du Pont,
a horticulturalist with a keen sense of color,
designed period rooms to compliment the
views of the 60-acre naturalistic garden that
surrounds the mansion.
In addition to its unparalleled collection,
graduate programs and a pre-eminent research
library make Winterthur an important center
for the study of American art and culture.
The artisans’ work pictured in these pages
earned its place amidst the furnishings at
Winterthur by garnering top marks from our
panel of museum curators, collectors, and
historians in their respective categories based
on their mastery of traditional techniques and
the scholarship that informs them.
Together with the antiques displayed in
the museum’s period rooms, these newly
made objects extend the tradition of fine
craftsmanship, distinguished only by age and
the maker’s hallmark.
Parts of the vast complex that is Winterthur Museum can
be seen through a profusion of trees and flowering shrubs
on the grounds.
Photo by Bob Leitch
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Welcome to
Photos courtesy oF Winterthur Museum
Winterthur Museum, Garden & Library preserves and displays one of the
nation’s greatest collections of A mericana, but the story behind it is of
one man with a unique vision and the means to attain it.
The conservatory on the north end of
the house is often filled with flowers.
H
Photo by Jim Schneck
As Winterthur’s most celebrated bloom beginning in 1917 as a small nursery,
Azalea Woods illuminates 8 acres with subtle shades of white and pink as well as
unusual color combinations, such as lavender and cherry red. These waves of color
are soon joined by deep velvety broadleaf Genus Rhododendrons. “No other
plant,” said Henry Francis du Pont, “will give four months of bloom in Delaware.”
The Sundial Garden was transformed from the site of Henry Francis du Pont’s
tennis and croquet courts into a bountiful April and May garden with beds
arranged in geometric patterns, which create a sense of enclosure and symmetry.
Crabapples, viburnum, silver bell, Ipheion, and spirea create fountains of whites,
pinks, and lavenders.
Photo by W. G. Smith
enry Francis
du Pont was a
farmer, although he
preferred the term
“agriculturalist.”
That’s what he went
to Harvard to learn
as the 20th Century opened, and he
planned to continue graduate studies there. But the unexpected death
of his mother, Mary Pauline Foster,
when he was twenty-two altered the
course of his future because his father
passed to him the responsibility of
running the household.
The house sat on the family
estate called “Winterthur,” named by
Henry’s great uncle Jacques Antoine
Bidermann, who built a twelve-room
Greek revival home there and named
it after the town in Switzerland
where he had been born. After
Bidermann’s death, his son sold the
house and property to Henry Francis’s
grandfather, keeping it in the du Pont
family, which turned a black powder
mill on the Brandywine River into one
of America’s great family fortunes.
Because of the fortune, Henry
Francis du Pont could undertake the
expansion of the family home into
what eventually became a 175-room
museum filled with some 90,000 decorative arts—a chronicle of American
design from the mid-17th to the mid19th Century. He could also create
the 60-acre naturalistic garden that
surrounded the house within the
larger setting of rolling meadows and
woodlands. Everything he did, he did
well—meticulously and with passion.
“What my father did was not
at all apparent,” remembered his
daughter Ruth Lord in her biography
of her father, Henry F. du Pont and
Winterthur. What he ended up doing
was saving some of America’s most
important heritage.
Henry’s fondest memory of his
mother was working with her in the
estate’s gardens tending vegetables
and flowers, and when in 1909 his
father gave him control of the estate
in addition to the home, “Henry
could feel close to his mother as he
redesigned her beloved rose garden
and added flower-bordered terraced lawns,” remembered Lord. He
thought large-scale, in 1909 planting
his native garden—now called the
March Bank—with 29,000 bulbs.
When du Pont’s father gave him
control of Winterthur’s farm operations in 1914, it spanned 2,400 acres
tended by 250 staff. “Besides the herd
of 450 pure-bred Holsteins there were
Hereford cattle, sheep and pigs, 45
horses including some Percherons and
more than 2,000 chickens, turkeys,
guinea hens, ducks, and pigeons,”
noted Lord. Du Pont was most proud
of his Holstein-Friesian cattle and
won the top award from the breeders’
association two years running.
Like other wealthy men of his age,
du Pont was a collector. “I have always
collected. When I was young I collected birds’ eggs, stamps, minerals,
etc.,” du Pont told Harlan Phillips in
1962. It was a time before America had
self-confidence and pride, and men of
wealth took the Grand Tour, looking
Henry Francis and Ruth Wales du Pont are shown with their daughters, Pauline
Louise and Ruth Ellen, in 1922.
to the Old World to feed their desires
for beauty and bringing back statues,
paintings, and even furniture to adorn
their mansions. Every summer before
the Great War, du Pont visited Europe
and returned with antiques. He preferred the French.
Some time around the second
decade of the 20th Century, du Pont’s
tastes changed, helped by the influential women in his life. After he
married Ruth Wales in 1917, he visited her friends at Shelburne Farms
in Vermont—the Webb family, who
collected Americana. (In 1946 Electra Havemeyer Webb would found
Shelburne Museum to house her collection of American folk art.) Later,
du Pont’s sister, Louise, introduced
him to antiquarian and designer
Henry Davis Sleeper and his home,
Beauport in Gloucester, Massachusetts, which Sleeper had decorated
with salvaged woodwork and furnishings from early homes.
Du Pont had joined the small
circle that had begun collecting and
preserving the work of America’s
artists and artisans. It was a critical
time—they saw much of the country’s early history would otherwise be
lost. Du Pont stands out among the
others because he not only had the
vision of preservation but he had the
means and desire to acquire the best.
For instance, acting under a pseudonym, Mr. Winthrop, he outbid
William Randolph Hearst for a
Philadelphia rococo high chest, paying $44,000.
Du Pont had caught the bug for
collecting American furnishings by
the time he decided to build a home
for his family at Southampton on
Long Island. He hired Sleeper to
decorate using interiors salvaged from
homes in Chestertown, Maryland. He
called his estate “Chestertown,” and
in the late 1930s he drew up papers
The famous Montmorenci staircase
was removed from a c. 1822 house near
Warrenton, North Carolina, where it
rose in a single circular flight. Du Pont
worked with an architect to alter it as
an elliptical and added a second flight.
Installed while the du Pont family was
on a world cruise, it replaced a heavy
marble Victorian-style staircase.
Photo by Gavin Ashworth
The architectural elements of the Port Royal Parlor came out of a house of the same name situated just north of
Philadelphia. It contains some of Winterthur’s important collection of Philadelphia rococo furniture, including a pair of sofas
that belonged to patriot John Dickenson, author of Letters from a Farmer in Pennsylvania (1768), a high chest from the Gratz
family, and nearly two dozen Chippendale chairs.
to turn the mansion into a museum.
But at the death of du Pont’s father,
he inherited Winterthur and began
installing his best antiques there.
He expanded the family home,
more than doubling its size, to hold
his growing collections of American
architecture, woodwork, and decorative arts—his version of “an American wing” like that recently opened at
the Metropolitan Museum of Art. In
1930, Winterthur rather than Chestertown became his museum, and he
created Winterthur Corporation as a
nonprofit, educational organization.
He focused on placing objects
in context, engineering the assembly
and installation of his collections in
rooms with period woodwork from
each of the original thirteen colonies
to show regional styles. He referred
to the objects he collected as “evidences of early life in America.”
He also designed garden spaces
to compliment the colors of the
rooms from which they were viewed.
During the blooming seasons, the
garden found its way indoors—the
public rooms might display as many
as ten arrangements of the same
flower and color.
He didn’t do things by half measure. When a friend offered to let
him collect bluebells for his garden,
“Harry sent an oversized Winterthur
truck and numerous gardeners armed
with shovels who dug up hundreds of
plants,” recounted Lord.
The only factor moderating his
passion may have been his wife, from
whom he tried to hide some of his
more expensive purchases, daughter
Lord remembered. He was far less
open when spending larger sums,
she explained, “Perhaps fearing that
his wife would find his purchases of
antiques extravagant.”
Du Pont brought both organization and drive to collecting and kept
meticulous records. Lord said he had “a
drive for perfection.” It became his passion—or one of them. He never gave
up his farm, but he did yield his house.
In 1941 he brought to life his
decade-earlier plan to make Winterthur a museum and began allowing
tours—some he conducted himself.
Eventually, in January 1951, the collection pushed the family out of the
house and into a cottage on his farm
The Kershner Parlor, with its rare
molded plaster ceiling, came from a
stone farmhouse in Berks County,
Pennsylvania, originally built in the
mid-18th Century by George Hehn
and later owned by Conrad Kershner.
The sparse furnishings follow
German precedent but show the
stylistic influences of Philadelphia.
In the du Pont Dining Room, a set of
New York chairs purchased in about
1800 by Victor Marie du Pont, uncle
of Henry Francis, surround a threepart, 12-foot table inlaid with eagles
at the tops of the legs. It is set with
English transferware. The
gentleman’s secretary, made by
Edmund Johnson in Salem,
Massachusetts, between 1793 and
1805, holds yellow and silver
lustreware. Gilbert Stuart painted the
portrait of George Washington that
hangs over the fireplace. The curtains
are reproductions based on Thomas
Sheraton's design for “The Prince of
Wales’s Chinese Drawing Room.”
Photo by Gavin Ashworth
Photo by Jim Schneck
The Flock Room is named for the early-18th-Century flocked wall covering (visible in the narrow panel in the corner of the
window wall). Du Pont purchased the paneling from a house built c. 1715 called Morattico Hall. It stood on the banks of the
Rappahannock River in Richmond County, Virginia, until it was demolished in 1927. The paintings over the fireplace and the
two closets on either side are also from Morattico Hall. The central painting has prompted recent scholarly debate about
whether the house shown in it can be identified.
(although at 23,000 square feet, the
cottage was hardly small.)
In 1951 du Pont officially incorporated Winterthur as a museum and
his legacy. He wasn’t just a donor.
He was the initiator and guided it
through its early years, yielding leadership to professionals.
As a result Winterthur, unlike
many museums, is built on a solid
foundation that gives it stability in
tumultuous times. Although it hosts
nearly 100,000 visitors a year (setting a record last year with 230,000),
spreading them through the year and
22,000 square feet of display space
makes a visit almost a private affair.
Most of the museum is devoted to
support—research, conservation, and
education. The museum maintains a
library in its Louise du Pont Crowninshield Research Building, devoted to
American decorative arts and open to
staff, students, and the general public
without appointment or charge.
The great stucco palace of the
main mansion, now totaling nearly
100,000 square feet, bears little resemblance to that first twelve-room house
or even when du Pont began managing
it, but the gardens still show his touch.
Separate garden areas emerge
from the 962 rolling acres of the
estate, arising seamlessly from the
forest in a naturalistic setting. (Du
Pont advised that Winterthur’s fire
department—indeed, the estate had
its own—should be first concerned
with saving the trees on the estate.)
He was most proud of the color he
gave the gardens, color that lit the
landscape and earned him the Garden Club of America’s highest award,
its Medal of Honor. A new addition to
Winterthur is its Enchanted Garden,
a fairyland aimed at children to help
them learn to appreciate Nature.
There is no one perfect season to
visit Winterthur. Du Pont designed
his gardens for all seasons, each revealing another side of the landscape. To
protect the views he worked so hard to
develop, the entire estate is now protected by a conservation easement.
For du Pont, the most important
part of Winterthur was education.
The museum now has collaborative
programs with the University of
Delaware in American arts and cultural history as well as conservation.
He noted, “Years after all the books
on the Museum have been written I
feel that the training and education
of these young people at Winterthur
will make the Museum a living force
through the ages.”
Artisans in the Museum
Walls in the Vauxhall Parlor display a flocked and painted canvas wall covering that
dates to the early 18th Century. An elaborate looking glass made between 1705 and 1710
in England, gilt over gesso, hangs above a cabriole-leg table. Philadelphia Queen Anne
walnut chairs surround a walnut table, made in Virginia c. 1730-60. The drape-molded
faience plates from Bristol, England, date to 1770-95. The table also holds John Shelton’s
early-18th-Century-style blown-glass bottle with tapered sides and an applied ring and
seal, based on shards excavated in Gloucester, Virginia. To the right is a pewter beaker by
Jonathan Gibson, based on vessels crafted by Boston artisan Robert Bonnynge (Bonning)
prior to 1753. Kyle Willyard’s lion-head knife is a copy of an 18th-Century original found in
Ohio with a history of Indian use. The hand-forged blade has a chased brass handle.
Lauren Dabbs carved her small Tundra swan decoy from Atlantic white
cedar. Swan decoys were used to hunt swans or as a confidence decoy
when hunting ducks.
Hanging on a rusty fence is a cow strap
by Diane Louise Paul, who used an
antique head knife to cut the piece from
English bridle leather. The antique bell
came from Switzerland, the antique
buckle from England. In the background
is one of the estate’s barns.
O P P OS I T E The fireplace is from the
same house as the Kershner Parlor,
used by the museum to display
kitchen implements, mainly from
southeastern Pennsylvania. Hanging
from the right corner of the mantel
is James Dell’s goat-skin shot snake
(bandoleer) with a cow hide strap,
antler nozzle, and hand-forged iron
buckle. Dell’s interpretation of an
18th-Century axe case is made from
hand-sewn cow hide with a handmade
buckle, rings, and horn button.
The hunting powder flask hanging at
right is Carl Dumke’s interpretation
of those made in late 1600s and early
1700s. He sandwiched a band of cow
horn between two pieces of turned
tiger maple with a spout of turned
horn. The flattened round of white
cow horn has a scrimshawed profile of
a stag and wreath. 
Sandy Levins crafted the freshly
caught sardines in an oak bucket,
creating a latex mold from real fish,
casting them in inert polyurethane
resin, and painting them with acrylics.
Bonnie Gale wove her nut gathering
basket using finely peeled willow
over a wooden mold. It has sets of
French randing, a rod border, and a
wrapped handle.
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Basket by Bonnie Gale
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Faux fish by Sandy Levins
Leather axe cover by James Dell
Lion-head knife by Kyle Willyard
Hunting powder flask by Carl Dumke
The desk-on-frame in the Vauxhall
Parlor was made between 1730 and
1750 in Virginia. On the desk’s writing
surface is a leather pocketbook
by Greg Hudson based on various
originals. Hudson used vegetabletanned cow hide, which he hand dyed,
hand tooled, and stitched, giving the
piece an oil and beeswax finish.
The Pennsylvania Folk Art Room displays some of Winterthur’s extraordinary collection of furniture, ceramics, and pewter
from southeastern Pennsylvania, including a blanket chest topped by a spice chest. The scalloped hanging corner cupboard
holds an assortment of earthenware birds. Atop the spice box stands a purple martin house crafted in redware by Robert and
Sally Hughes, with a wheel-thrown and assembled pedestal base, body, and roof, coleslaw decoration on the roof, coggled
decoration on the banded tiers, and 12 hand-molded birds applied in the pierced openings. A bird whistle forms the lid’s finial.
Courtesy of Dennis Stephan
I N S E T Dennis Stephan
reproduced the writing exercise
booklet title page for Anna
Mayer, done in 1808 by an
unknown artist of the school of
Johann Adam Eyer, Plumbstead
Township, Bucks County,
Pennsylvania. Stephan used iron
gall ink, powdered pigments,
and gum arabic on laid paper,
framing it in curly maple.
The Fraktur Room displays
architectural elements taken
from a stone farmhouse built
in 1783 by David Hottenstein
near Kutztown, Berks County,
Pennsylvania. Its blue-painted
paneled walls form the backdrop
for a colorful collection of
painted blanket chests and
fraktur. Above the fireplace are
two modern interpretations
of fraktur by Susan Daul. She
used fibrous rice paper and a
special medium to suggest the
butterflies’ iridecent wings, cut
them out, and distressed the
edges to produce the illusion
of specimens. For the “I Pray”
house blessing she chose the
words written by John Adams to
Abigail inviting her to join him
in the newly constructed White
House on November 1, 1800. The
work is done on aged parchment
in pen and ink and watercolor.
She also grained both frames.
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Painted Shaker boxes by Robert LeHay
Woven towel by Jewell Tumas
Winterthur displays objects related to
textile production in the Ulster County
Room. The skein of yellow wool was
dyed with quercitron from the Eastern
black oak (Quercus velutina), which
was much used in the calico printing
industry. The dye, patented by Edward
Bancroft, was first exported through
the port of Wilmington, Delaware.
Hanging among the skeins is Peggy
Taylor’s wool blanket, woven in a fourharness goose-eye (twill) pattern. She
hand dyed the yarns in two shades of
indigo blue, faded cochineal red, and
walnut brown.
Tiger maple Shaker box by Sam
Richardson
Shaker spit box by Pete Baxter
Woven towel by Anita Heist
The Shaker Dwelling Room, with woodwork taken from a c. 1840 stone
building at Enfield Shaker Village, New Hampshire, showcases some of
the museum’s extraordinary collection of Shaker material, much of it
originally found by important early Shaker collectors Edward Deming
and Faith Young Andrews. An antique rocking chair holds a tiger maple
Shaker box crafted by Sam Richardson, who cut the box bands from the
same piece of wood to ensure the best grain and color match. The box
rests on a linen lace towel woven on a floor loom by Jewel Tumas. Dark
blue linen outlines window-pane blocks with alternating huck lace and
double-tuck weave.
Robert LeHay crafted the stack of Shaker boxes using maple bands and quarter-sawn pine tops and bottoms. He
finished them with milk paint, dyes, tung oil, and carnauba wax. Pete Baxter based his Shaker spit box on one
attributed to Elder Daniel Crosman (1810-70) of Mount Lebanon, New York. The chrome yellow color is based on a
paint formula from South Union Shaker Village in Auburn, Kentucky. Atop the cast-iron stove are hand towels woven
by Anita Heist. She drafts her own patterns, weaves on hand and barn looms using linen, wool, and cotton, and
finishes the details with hand stitching. The towels are all washable.
Rudy McKinney reproduced this British
campaign chair from a photograph of an
18th-Century original, designing his own plans.
With 14 hinges, the walnut chair folds flat,
concertina style. He used a linseed oil/beeswax
finish and caned the seat using traditional
techniques. It stands 30 inches high.
Courtesy of Rudy McKinney
David Diaman built this c. 1750 desk-on-frame,
reproduced from the Danner Collection of Pennsylvania
furniture in the Hershey Museum of American History,
for an exhibition at the Valley Forge Historical Society
Museum. He used walnut and crotch walnut, aged with
pigments and given a shellac and wax finish, for the 41inch piece.
Courtesy of David Diaman
Zachary Dillinger crafted this replica of a c. 1720 chest
in the Metropolitan Museum of Art based solely on
sketches, as furniture makers would have done in the
period. In copying one of the most decorated pieces
of American furniture extant, he used vibrant colors to
show it as it might have looked newly made. It stands
40 inches tall.
Courtesy of Zachary Dillinger
Roger Mason crafted this 1/6-scale Albemarle chair believed to have been made in
the joinery at Thomas Jefferson’s Monticello between 1790 and 1815. Mason built
the miniature of cherry with a traditional shellac finish like the original. Canvas
webbing supports hair-like padding underneath the black leather seat covering.
Courtesy of Roger Mason
Dennis Bork’s reproduction Philadelphia high chest of
drawers stands 97 inches tall. He crafted it in walnut with
tiger stripe walnut drawer fronts, cutting dovetails for the
case and drawer construction and carving the knees and
ball-and-claw feet.
Courtesy of Dennis Bork
Vincent Chicone reproduced the Rising Sun Chair
originally built by John Folwell, c. 1779, and used as
George Washington’s seat during the Constitutional
Convention held at the Pennsylvania State House,
now Independence Hall. Chicone crafted the chair
in mahogany with such hand-carved details as a
rising sun and liberty pole topped with a Phrygian
cap, symbols of freedom during the Revolution.
Reproduction brass tacks outline the leather seat.
Courtesy of Vincent Chicone
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O P P OS I T E The top shelf of an antique corner cupboard holds
a 14-inch-tall redware jar with a bird finial on the lid, the work of
Greg Shooner and Mary Spellmire-Shooner. Joe Jostes crafted
the mochaware soup tureen with plate, handled bowl, and lid.
Scott Summerville’s folding knife is based on 18th-Century
examples. He fashions all of the pieces from carbon steel, bone,
or cow horn. The knife by Mark Thomas is hand-forged file steel
with brass, antique piano key ivory, and mahogany scales with
a riveted sterling silver overlay on the blade.
L E F T Donna Weaver created her own formula for hard wax
using four kinds of wax, talc, and pigment to mimic ivory. She
applied the molded figure to reverse-painted glass. She
crafted this rendering of Temple Franklin from a portrait by
John Flaxman. Franklin was born in London in 1760, the
grandson of Benjamin Franklin, who later raised him. He
served as his grandfather’s secretary and later as secretary to
the American delegation at the Treaty of Paris negotiations.
Courtesy of Donna Weaver
B E LOW Sharan Mason custom made this 4-by-6-foot heavy
canvas floorcloth in the traditional “Mariner’s Compass”
design on a field of diamonds, with marbled field blocks 
and a border. The design was inspired by geometric patterns
in the 1739 Carwitham book of floorcloth patterns “in Piano
& Perspective.”
Courtesy of Sharan Mason
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Obverse of knife by Mark Thomas
Pen knife by Scott Summerville
Painted salt box by Adam Mathews
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Horn pocket powder flasks by
Erwin Tschanz
Turned wooden ware and burl bowl
by Erwin Tschanz
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Blown-glass bottle by John Shelton
Pewter beaker by Jonathan Gibson
Winterthur’s Queen Anne Dining Room contains
architectural elements from a mid-1700s house in East
Derry, New Hampshire. The museum uses the room
to display the extraordinary collection of tin-glazed
earthenware decorated with underglaze blue and
manganese amassed by Henry Francis du Pont as well as
rare purple-manganese delft tiles around the fireplace.
Courtesy of Jonathan Gibson
I N S E T A pewter sauce boat crafted by Thomas and
Patricia Hooper sits on the table in front of a delft tribute
bowl. They spun the body and foot on a lathe and cut the
spout from a piece of metal. They cast the handle and
ladle in molds based on original pieces.
Jonathan Gibson based this drum-shaped teapot on
an 18th-Century original by William Will, now in the
Metropolitan Museum of Art. Gibson spun rather than cast
the body, adding four rows of beaded edgework like those
found on the original piece.
Courtesy of Eve Marschark
Eve Marschark used milk-based paints and inks to paint the top and four sides of
a 26-inch porringer table with a floral design taken from The Ladies Amusement,
published c. 1760. The designs are sealed with lacquer or shellac. Her work is
based on schoolgirl art taught in finishing schools c. 1790-1830.
2015 DIRECTORY JUDGES
Shantia Anderheggen
National Trust for Historic Preservation
Pamela Apkarian-Russell
Castle Halloween
Johanna Brown
Museum of Early Southern
Decorative Arts
Linda Brubaker
Roddy Moore
Blue Ridge Institute at Ferrum
College
Rob and Lynn Morin
Americana and Folk Art Online
Jim Morrison
National Christmas Center Family
Attraction & Museum
Historical Society of Early
American Decoration
Aimee Newell
Michael Canadas and
David Robinson
Candace Perry
Carmel Doll Shop
Schwenkfelder Library & Heritage
Center
Barbara Carroll
Tara Vose Raiselis
Woolley Fox
Lee Davis
Southern Highland Craft Guild
Michael Dunbar
The Windsor Institute
National Heritage Museum
Saco Museum
Betsy Krieg Salm
Author, Women’s Painted Furniture,
1790-1830
Kristin Rohrs-Schmitt
Linda Eaton
Winterthur Museum
Contributing writer, Love of Quilting
magazine
Craig Farrow
Stuart Schneider
Furniture maker / museum consultant
Author, Halloween in America
Darlene Gengelbach
Peter Seibert
National Museum of Play
Millicent Rogers Museum
Michael Graham
William Steely
Sabbathday Lake Shaker Village
Golden Glow of Christmas Past
Suzanne Findlen Hood
Ann Wagner
Colonial Williamsburg Foundation
Winterthur Museum
Thomas Kelleher
Carolyn Weekley
Old Sturbridge Village
Mark Ledenbach
Collector/curator,
www.halloweencollector.com
Juli Grainger Curator Emerita,
Colonial Williamsburg Foundation
Richard and Jan Wilks
Keystone Antiques
Lisa Minardi
Winterthur Museum
Courtesy of Lori Ann Corelis
Courtesy of Richard Castrina
A BOV E Richard Castrina’s 1/3-scale Albany four-passenger sleigh has a swell body
drawn from those made between 1820 and 1920. He steam-formed the ash runners
and fir dashboard, hand-forged the iron, and applied five coats of paint, striping,
and fine lining. The upholstery is velour. R I GHT Lori Ann Corelis designed Nicholas
after traditional bears made by early German and American toymakers such as
Steiff and Bing. She made the 12-inch figure from German mohair with German wool
felt paw pads and ear linings. The eyes are hand-blown glass.
This grouping features Tom
Wintczak’s 14-inch wheel-thrown
redware bowl, based on a 17thCentury design. He used black and
yellow slip to create “The Temptation”
scene, with the verse from Genesis
3:3 wrapping around the rim. Denise
Wilz slab-molded her redware plate
and added sgraffito decoration found
on traditional Pennsylvania German
pottery. Lauren Muney cut her 4-inch
silhouette portrait freehand of a live
sitter, framing it in a 5 x 7 oval. Carl
Giordano reproduced this tumbler-like
cup from hot-dipped tin, basing it on
one made by Isaac Granger Jefferson,
a slave in Monticello’s 18th-Century
tin shop. Kevin Clancy’s 18th-Century
English-style wire-bow key is forged,
turned, and filed from wrought iron.
Courtesy of Gwenith Jones
COUNTERCLOCKWISE FROM TOP LEFT
Cellaret built by Daniel Hrinko based on various
18th-Century originals, with hand-cut dovetails
and mortise-and-tenon joinery.
“King of the Coop” carved from basswood by
Don Noyes. It has a gesso coating and multiple
layers of acrylic paint.
Set of 19th-Century Pennsylvania farm chairs
with grain painting, stencil work, and freehand
landscapes by Dan and Marlene Coble.
Detail from “Secret Garden” floorcloth by
Gwenith Jones and Ken Forcier, based on a
design derived from a French Aubusson rug.
Courtesy of Daniel Hrinko
An interpretation of a c. 1750 gentleman’s
shaving glass by Paul Rulli, with a block-front
base and transitional decorations.
Courtesy of Marlene Coble
O P P OS I T E In a corner of the Child’s Room at
Winterthur is a child’s desk-on-frame made in New
England about 1800. Atop the desk stands William
Cooper, a 19-inch Queen Anne doll designed by
Rachael Kinnison. She sculpted the bust and arms
from papier-mâché without molds; the body and legs
are cloth. She stitched his clothing from scraps of
antique fabric and lace, giving him a wig of Icelandic
sheepskin and a wool cocked hat.
Seated on the child’s bow-back Windsor side chair
made in Rhode Island between 1790 and 1810 is an
Izannah Walker reproduction cloth doll by Paula
Walton. She formed the head in a mold and designed
the body and undergarments based on original dolls.
The 18-inch doll wears clothing stitched from salvaged
antique fabrics and lace and new leather shoes.
Courtesy of Paul Rulli
Courtesy of Don Noyes
On the corner of the dresser is a 10-inch-square
“Mathematical Star” pieced quilt inspired by one
made in Maryland c. 1830-45. Kathie Ratcliffe
designed her miniature around a center eight-point
star medallion with cutwork appliqué stars in the
corners. The “Variable Stars” border is framed in
a bright blue large-scale fabric in the tradition of
early-19th-Century chintz quilts.
Au g u s t 2 0 1 5 | E A R LY A M E R I C A N L I F E 47
2015 DIRECTORY LISTING
BASKETS
CLOTHING
16th- to-21st-Century traditional
willow basketry
www.bonniegale.com
18th- & 19th-Century clothing
916.802.4388
www.talbottandco.etsy.com
Ms. Bonnie Gale
English Basketry Willows
Eileen Hook
Talbott & Co. Heritage Goods
BOXES
FLOORCLOTHS
Handmade Shaker oval boxes
& carriers
812.580.0002
petebaxterwoodworks.com
Early American to contemporary
painted stenciled canvas floorcloths
503.922.0386
www.gracewooddesign.com
Pete Baxter
Pete Baxter Woodworks
Joe Dowden
Shaker Shop of Stafford
Reproduction Shaker oval boxes
860.684.5241
www.ovalboxman.com
Gwenith Jones & Ken Forcier
Gracewood Design
Bespoke 18th-Century joined
boxes, writing boxes, spice
chests, & cellarets
937.390.3608
www.danielhrinkoboxmaker.com
Robert LeHay
LeHay’s Shaker Boxes
18th- & 19th-Century Shaker oval
boxes & carriers
540.886.6992
CLOCKS
Leonard & Eve Marschark
18th Century Clocks
18th-Century tall-case clocks
& other figured wood clocks
215.795.0375
www.18thcenturyclocks.com
FURNITURE, WINDSOR
Luke Barnett
Barnett Chairs
Handmade Windsor chairs
514.902.8383
barnettchairs.com
Bench-made Windsor furniture
607.535.6540
www.Chicone.com
Sharan J. Mason
Olde Virginea Floorcloth
& Trading Co.
William D. Jenkins
Locust Farm Windsors
John Bachman
Bachman Woodworking
Custom woodworking, specializing in
Shaker/early American
574.825.9667
www.bachmanwoodworking.com
Jamie Becker
Jacob’s Reproductions
18th- & 19th-Century-style furniture
618.374.2198
jimjen@piasanet.com
Joshua Klein based his
oval-top tavern table on
a New Hampshire
original c. 1725-50.
Early American furniture
207.610.2522
kleinrestoration.com
Alan W. Pease
The Country Bed Shop
17th, 18th-, & 19th-Centurystyle furniture
978.386.7550
www.countrybed.com
Paul Rulli
Paul Rulli Reproductions
17th- & 18th-Century
reproduction furniture
508.612.8742
paulrullireproductions.com
Period furniture
513.494.2598
johnkspicer.com
Jamie Becker hand-carved
the shells, feet, and drawer
fronts on this Newport
mahogany block-front chest.
Dennis Bork
Antiquity Period Designs, Ltd.
18th-Century formal furniture
262.646.4911
www.AntiquityPeriodDesigns.com
Vincent Chicone
Chicone Cabinetmakers
18th-Century reproduction furniture
607.535.6540
www.Chicone.com
Windsor furniture
804.493.7777
www.locustfarmwindsors.com
Joshua Klein
Klein Furniture Restoration
John K. Spicer
John K. Spicer & Sons
Adam Mathews
ADM Period Furniture
Samuel E. “Sam” Richardson
Handmade 18th-Century furniture
517.231.3374
www.theeatoncountyjoinery.com
Traditional painted canvas floorcloths
802.263.5410
canvasworksfloorcloths.com
Painted Shaker oval boxes & carriers
207.643.2274
www.lehays.com
17th- through 19th-Century painted
boxes & furniture
610.286.9787
www.adammathewsfurniture.com
Zachary Dillinger
The Eaton County Joinery
18th-Century-style furniture
& game tables
302.745.2049
taylorwoodworks.com
Vincent Chicone
Chicone Cabinetmakers
FURNITURE, FORMAL AND
PAINTED
Daniel D. Hrinko
Daniel Hrinko, Boxmaker
18th-Century American furniture
443.417.5319
www.diamanwoodcrafters.com
Jeffrey Taylor & Ronald
Taylor Jr.
Taylor Woodworks
Lisa Curry Mair
Canvasworks LLC
18th-Century-style painted floorcloths inspired by folk art portraits
757.484.0872
www.oldeVA.com
Joe Dowden’s 8-inch tiger
maple Shaker box has a
maple dye finish.
David Diaman
Diaman Woodcrafters
William Jenkins modified a
Philadelphia Windsor settee to
a single low-back chair, using
cherry for the arms and back.
John Schmidt
Johan Schmidt Woodwork
Windsor chairs
614.332.3246
www.johanschmidtwoodwork.com
Jim Van Hoven
Period Windsor chairs & accessories
651.433.2185
periodwindsors.com
GLASS
John W. Shelton
Shelton Glass Works
17th- & 18th-Century blown glass
757.253.1273
www.etsy.com/shop/sheltonglass
John Spicer crafted this William
and Mary highboy in tiger maple,
with teardrop pulls.
LEATHER
James R. Dell
Gen Nis He Yo Trading
Company
18th- & 19th-Century leather goods
585.690.2591
www.gennisheyotrading.com
Greg Hudson
Weeping Heart Trade
Company
18th-Century reproduction
leather bags
859.727.0910
www.revwarsupplier.com
Diane Louise Paul
Diane Louise Paul Handcrafted
Leather and Repair
Carl & Marcia Giordano
Carl Giordano – Tinsmith
18th- & 19th-Century reproduction
tinware & lighting
330.336.7270
www.cg-tinsmith.com
ORNAMENTAL PAINTING
Barbara Bunsey
Calico Goose
Decorative painting on tin
330.467.7402
www.calicogoose.com
Thomas Hooper & Patricia
Hooper
ASL Pewter
Dan Coble
Dan and Marlene Coble, Fine
and Decorative Painting
handcrafted pewter
573.883.2095
aslpewter.com
Fancy painter on antique, used,
& new furniture
260.665.2362
www.drcobleandcompany.com
Jeffrey Lawrence Jobe
Barking Dog Jewelry Design
Studio
Carolyn Fankhauser
Heartwood Collection
Teresa Hicks
Teresa A. Hicks
Ink & watercolor fraktur
& folk art
203.262.6474
teshicks@aol.com
Philip Marc Patragnoni
Philip Marc Sons of Liberty
Hand-painted iconic symbols of
the American Revolution
609.440.8795
philipmarcsonsofliberty.com
Lisa Teller Short
L. T. Short Folk Art & Fraktur
Grain-painted & faux-finish frames
330.533.0376
www.heartwoodcollection.com
Pennsylvania German-style
folk art & fraktur
484.432.1537
ltshort.com
Calvin Tanner
Kandye S. Mahurin &
Dale Mahurin
Sassafras Creek Originals
18th- & 19th-Century-style
leather accoutrements
740.634.3579
tannermc@bright.net
Reproduction antique game boards
& early American folk art
573.788.9206
sassafrascreek.blogspot.com
Donna Selfridge Spangler
Fraktur by Donna Selfridge
Spangler
METALS
Lisa Curry Mair
Canvasworks LLC
Noreen A. Taylor
Noreen’s Paintings and
Decorative Arts
18th-Century handcrafted
leather work
603.964.8821
www.dlpleather.com
Traditional silver & gold jewelry
336.472.4898
www.barkingdogjewelry.com
Kevin P. Clancy
17th- through 19th-Century iron
locks, hardware, & accessories
kevinpclancy@comcast.net
Julie Dawson
Orchard Canyon Heirlooms,
Inc.
Heritage tinware
740.965.3047
www.orchardcanyon.com
Ted Ferringer
Seven Pines Forge
Early American forged items
814.797.1353
www.sevenpinesforge.com
Jonathan Gibson
Gibson Pewter
pewter tableware
603.464.3410
www.gibsonpewter.com
Kateri’s trade silver
earwheel has its design
cut and punched out of a
thin disc.
Kateri
Stomping Squirrel Studio
Handcrafted historical jewelry
231.340.1270
kate@stompingsquirrelstudio.com
Michael K. Walsh
Early American Tin Lighting, LLC
18th-Century tin lighting & tinware
540.867.0009
earlyamericantin.com
MINIATURES
Richard A. Castrina
Sugarloaf Mountain Sleighs
1/3-scale model Albany sleighs
570.788.3413
sugarloafmt.com
Roger Mason
Olde Virginea Floorcloth &
Trading Co.
1/6-scale traditional &
Windsor furniture
757.484.0872
oldeva.com
Jim Van Hoven’s sack-back
Windsor rocking chair was
inspired by those in the
Wallace Nutting collection.
Susan Parris
Susan Parris Originals
1/12-scale historical miniatures
301.607.8470
Facebook.com/Susan_Parris_
Originals
Canvas murals in Rufus Porter
& other styles
802.263.5410
canvasworksfloorcloths.com
Eve Marschark
American Schoolgirl
Art – Eve Marschark
Theorem paintings
302.697.0155
noreenspaintings.com
Marta Urban
American schoolgirl art on boxes
& furniture
215.795.2023
evemarschark@verizon.net
PAINTED FRAMED ART
Judith Brinckerhoff
Judith Brinck Folkart:
By My Hand and Pen
18th- & 19th-Century-style ink
& watercolor fraktur
401.885.1962
judithbrinckfolkart.com
Susan Daul
Susan Daul Folk Art
18th- & 19th-Century-style ink
& watercolor fraktur
704.847.6553
www.susandaulfolkart.com
Susan Daul
Susan Daul Folk Art –
From the World of Nature
18th- & 19th-Century-style ink &
watercolor butterflies
Joanne Evans
Evans Collectible Art
18th- & 19th-Century Pennsylvania
German-style ink & watercolor fraktur
570.898.3332
pafraktur.com
Ink & watercolor fraktur
724.424.2380
www.martaurban.com
Nancy Woodrow
Pennsylvania Primitivs
Folk art paintings
717.428.4919
YorkCountyFolkArt.etsy.com
PAPER
Debora A. Ahmed
Line and Letter
Paper filigree ornaments & filigreedecorated trays, boxes, framed work, etc.
513.896.6015
dafiligree@gmail.com
Lauren Muney
Silhouettes by Hand
Freehand-scissored silhouette portraits
301.210.6161
www.silhouettesbyhand.com
Dennis R. Stephan
Stephan Folk Art
18th- & 19th-Century painted fraktur
& folk art drawing reproductions
717.341.1790
www.stephanfolkart.com
17th- to 19th-Century-style oil
paintings on board
843.884.9483
www.joanneevans.com
POTTERY
Sarah Bechler
Old Glory Woolen Company
Gariné Arakelian
Kulina Folk Art
Primitive wool hooked rugs
248.924.2009
oldglorywoolenco@yahoo.com
18th- to 20th-Century redware with
sgraffitto & slip decoration
413.436.7444
www.kulinafolkart.com
Stephen Earp
Stephen Earp Redware
Redware with slip &
sgraffito decoration
413.625.0015
www.stephenearp.com
David Eldreth
Eldreth Pottery
Salt-glazed stoneware & redware pottery
717.529.6241
www.eldrethpottery.com
Ron Geering
R. Geering Pottery
Redware with slip & sgraffito decoration
508.457.0841
geeringpottery.com
Richard L. Hamelin
Pied Potter Hamelin
17th- through 19th-Century
redware & slipware
413.436.7444
www.americanredware.com
Kenneth Henderson
Henderson’s Redware
17th- through 19th-Century reproduction redware & Rockingham ware
866.376.4475
www.hendersonsredware.com
Robert & Sally Hughes
River Rat Pottery
Sue Ann Erlenbusch
Erlenbusch Studio
Sarah Bechler reproduced a
late-1800s hooked rug in handdyed wool on linen backing.
Greg Shooner & Mary
Spellmire-Shooner
Shooner American Redware
Slip-decorated redware with authentic
lead glaze
1772 Jeffery Rd.
Oregonia, OH 45054
Susan Skinner
SJ Pottery LLC
Silk ribbon embroidery
815.842.2268
www.prairiequiltsandmore.com
Annie Hayes
Annie Hayes Rugs
Primitive hooked rugs
607.435.3468
www.anniehayesrugs.com
Anita Heist
Hand-woven, spun, sewn, & dyed coverlets, table runners, aprons, & hot pads
423.744.7612
earlyamericanweaver.com
Denise Wilz
Wilz Pottery
Linda L. Kerlin
Olde Log Cabin Homestead
Pennsylvania redware
215.260.1133
wilzpottery.com
Thomas Wintczak
Bee Tree Pottery
17th- through 19th-Centurystyle redware with sgraffito
& slip-trailed decoration
812.985.9847
beetreepottery.com
Jonathan & Jan Wright
Crocker & Springer Ltd. SaltGlazed Stoneware & Redware
18th- & 19th-Century salt-glazed stoneware; redware with sgraffito, slip-trailed,
quilled, marbled decoration, & lead glaze
618.466.8624
www.elsah.org/crockerandspringer
Joseph Jostes
SJ Pottery LLC
TEXTILES
Lydia P. Allen
Peace Works
Hand-stitched wool penny rugs
502.241.4999
Facebook: PeaceWorksWoolCreations
Tish Bachleda
The Tweed Weasel
717.949.3883
www.thetweedweasel.com
Tony Baker
Baker’s Bundles
Hand-woven & natural-dyed items
765.517.2515
loommaster1750@yahoo.com
Tony Baker’s handwoven, hand-stitched
wool blanket has naturally
dyed indigo stripes.
Cathy Grafton
Traditionally inspired redware
& redware whimsy
870.499.9900
sjpottery.com
Redware with applied, slip-trailed,
& sgraffito decoration
717.872.5551
www.riverratpottery.com
Mochaware
870.499.9900
sjpottery.com
Primitive hooked rugs & patterns
618.476.9481
Maria Barton
Star Rug Company
231.238.6894
www.starrugcompany.com
Kathie Ratcliffe
Nine Patch Studio
19th-Century-style pieced
miniature quilts
540.882.3348
www.ninepatchstudio.com
Rebekah L. Smith
Rebekah L. Smith Folk Artist
19th-Century wool appliqué
rugs & accessories
216.712.5233
www.rebekahlsmith.com
Janice E. Sonnen
Hooked rugs & penny rugs
717.866.5094
sonnen.rbcrafts.org
Susie B. Stephenson
Stephenson Fiber Arts
Primitive hooked rugs & mats
207.633.2907
StephensonFiberArts.com
Primitive wool hooked rugs,
mats, & chair pads
717.367.1812
llklogcabin@gmail.com
Suzette Krummel
White Pine Folk Art
Penny rugs
217.779.1367
whitepinefolkart.com
Laurie Lausen
L. J. Fibers at The Wooly Red Rug
Primitive folk art hand-hooked rugs
612.964.1165
www.woolyredrug.com
Pamela Strousse drew on a
c. 1740 New England scene for
her crewelwork on linen.
Pamela Strousse
Strousse School of 18thCentury American Crewelwork
18th-Century American crewelwork
518.392.4792
pamelastousse@gmail.com
Peggy Taylor
Loom Hall Textiles
Hand-woven textiles in the
early tradition
812.243.4139
www.loomhall.com
Jewel S. Tumas
Phyllis Leck uses hand looms to Delectable Hills Farm
weave strips of wool into rugs. Hand-woven rugs, table linens, & towels
540.587.6776
Phyllis A. Leck
delectablehillsfarm.com
Maine Village Weaver
Hand-woven & dyed wool rugs
207.563.5788
mainevillageweaver.com
Sandra Malamed
City Folk Handwork by
Sandra Malamed
Miniature appliqué narrative quilts
610.469.1195
smalamed.com
Kris Miller
Spruce Ridge Studios LLC
Hooked rugs, patterns, & supplies
517.546.7732
www.spruceridgestudios.com
Marilyn Willmore
Worked in Wool
Primitive hooked rugs, wall hangings,
& mats
330.494.9592
Facebook: Worked in Wool
TOYS & DOLLS
Cathy Aldrich
A Checkered Past
Antique reproduction painted
game boards
206.367.3611
checkeredpastgameboards.com
Lori Ann Corelis
The Spotted Hare
Paula Walton
A Sweet Remembrance
S. Arthur Shoemaker
Shoemaker Woodcarving
Nancy E. Gibbs
Period Pastimes
WEAPONRY
Jack A. Stone
Jack the Cooper
Traditional-style mohair figures
& pincushions
614.865.0977
www.lorianncorelis.com
Handmade cloth Izannah Walker dolls
860.355.5709
asweetremembrance.com
Scott Summerville
Summerville Knives
Painted cloth dolls
215.968.3414
www.periodpastimes.com
18th-Century-style knives
618.547.7142
summerville1757@yahoo.com
Robert & Sally Hughes
River Rat Pottery
Redware bird whistles & banks
with applied, slip-trailed, &
sgraffito decoration
717.872.5551
www.riverratpottery.com
Mark Thomas
Craftsman to the Past
18th- & 19th-Century-style knives
540.867.5829
markthomas-graver.com
Kyle Willyard
Old Dominion Forge
18th-Century cutlery
812.875.8480
www.olddominionforge.com
WOOD CARVING
Laurel Dabbs
Laurel Dabbs Decoys
Rebecca Kerin’s Cora has
a papier-mâché face,
glass eyes, antique flax
hair, and cloth body.
Rebecca Kerin
Hand-sculpted cloth &
papier-mâché folk art dolls
610.366.7556
www.clothnclay.blogspot.com
Rachael Kinnison
Diamond K Folk Art
18th- & 19th-Century-style
dolls & folk art
719.845.8546
www.ladysrepositorymuseum.
blogspot.com
Judy McDonald
Historically inspired dolls
818.991.9303
www.judymcdonaldart.com
Lora Soling
Lora Soling Dolls
19th-Century cedar gunning decoys
330.887.1613
www.laureldabbs.com
Vernon DePauw
Eagles of the 1800’s
Hand-carved eagles, folk art, & signs
618.806.9550
www.vldwoodcarver.com
Kenneth H. Folster
Kenneth Folster
Traditional woodcarving
845.835.8182
kenfolster.com
Don Gaddy
Olde Bittersweet Farm
18th-Century-style turned treenware
918.396.2508
www.picturetrail.com/
oldebittersweetfarm
Hand-carved, polychrome basswood
Santas, people, & animals
717.393.3266
www.shoemakerwoodcarving.com
Erwin A. Tschanz
Gen-Nis-He-Yo Trading
Company
18th-Century reproduction treenware
585.271.5263
gennisheyotrading.com
Colonial American wood items
301.478.5396
gizzard48@verizon.net
Lora Soling crafted her 18-inch doll
from cloth and papier-mâché,
dressing her in 1850s attire.
Michelle “Mike” Ochonicky
Stone Hollow Studio, LLC
Hand-etched scrimshaw
appropriate to 1770–1860
636.938.9570
www.stonehollowstudio.com
Susan Black
Nantucket Sailor’s Valentines
Early-1800s sailor’s valentines
508.292.3502
www.nantucketsailorsvalentines.com
Carl Dumke
Grinning Fox Studios
17th- through 19th-Century
signage, scrimshaw, & hornwork
757.848.3595
cjdumke86@yahoo.com
Holes on Robert Smith’s
walnut mountain dulcimer
allow the sound board to
vibrate more freely.
Ron Fedor
Ron Fedor Masonry Inc.
Robert E. Smith
Cabin Creations
Masonry & hand-carved stone
330.274.3380
www.ronfedormasonry.com
Sandy Levins
Historic Faux Foods by
Sandy Levins
Research, design, & creation of
period-correct faux foods
856.429.4497
HistoricFauxFoods.com
Period handcrafted mountain
dulcimers
717.229.2343
www.resdulcimers.com
Mark Thomas
Craftsman to the Past
Engraved powder horns
540.867.5829
markthomas-graver.com
Erwin A. Tschanz
Gen-Nis-He-Yo
Trading Company
Reproduction Native
American treenware
585.271.5263
gennisheyotrading.com
Erwin A. Tschanz
Gen-Nis-He-Yo
Trading Company
Don Noyes
Don Noyes
Paul E. Parish
By My Hands Enterprises
Rudy McKinney
R. McKinney, 1777
MISCELLANEOUS
19th-Century-style weather vanes,
whirligigs, & trade signs
607.936.3911
www.americanfolkcraft.com
Carved, polychrome painted birds
740.659.2206
donnoyeswhimsicalbirds.com
Traditional chalkware
484.643.3480
long32641@gmail.com
Reproduction 18th-Century
furniture & accessories
270.765.7150
pat-rudy@msn.com
Coopered wood buckets,
churns, & piggins
717.475.1063
www.jackthecooper.com
Steve Hazlett
American Folkcraft
19th-Century-style folk art dolls
323.445.3428
www.lorasoling.com
Daniel Long
Primitive Pony
18th-Century reproduction hornware
Steve Hazlett used old heart
pine, iron, copper sheeting,
and milk paint for his rooster
weather vane.
Donna Weaver
Wax Portraits
Sculptured bas-relief wax portraits on
reverse-painted glass
812.427.9404
www.waxportraits.com
For shows that feature the work of these artisans, see
their pages on our website. For information about the
2016 Directory of Traditional American Crafts, visit
our website at www.EarlyAmericanLife.com

Directory of AmericAn Directory of AmericAn

Transcription

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