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Family at Heart of Winterthur

Family has been at the heart of Winterthur’s story since the du Ponts settled here more than 200 years ago.

Today, Winterthur is still about family, with the Enchanted Woods play area enthralling young children for hours and upcoming programs that will entertain and educate family members, young and not-as-young alike. In fact, this fall we’re expanding our family programming on Saturdays, so stay tuned for more on that.

But summer is here, and there is much to do. We have Story Time scheduled for July 6 and 20, and our popular Terrific Tuesdays begin July 4 and continue weekly in July and August from 10 am to 3 pm.

Terrific Tuesdays this year will tell the story of the families who lived, worked, and played at Winterthur for decades before it became the museum, garden, and library that it is today.

Crafts, games, and demonstrations— all inspired by families who called this place home— will introduce history, art, conservation, and storytelling to kids ages 3 to 10 and the adults they bring along.

Winterthur has been home to three generations of the du Pont family, and it was a self-sufficient community where more than 250 people ran a thriving farming operation that included beef and dairy cattle, sheep, pigs, poultry, horses, fruit, and vegetables.

Today we’re going to tell you some stories that were collected in 1973 from Maurice Gilliand, who began in 1944 to serve as a footman to Winterthur Museum founder Henry Francis du Pont (1880–1969). As Gilliand would quickly learn, du Pont was a renowned horticulturist with specific tastes, a love of food, an eye for décor, and a complicated disposition that could be prickly and kind, oftentimes at once.

Gilliand came from France to America in 1930 and he worked in houses on Long Island before coming to Winterthur. Gilliand’s wife, Doris, was hired as a chambermaid, and the couple lived in a small house on the estate.

There were about five footmen and a butler among a staff of 20. After two years, Gilliand was promoted to butler. Gilliand was flattered when du Pont made the offer, although he noted that du Pont warned him at the time that he was demanding and expected perfection. Gilliand nonetheless accepted and went on to learn a lot from du Pont.

“My duties were to set the table, of course, serve the meals, serve the teas, and serve cocktails and all that, and I was the man responsible to Mr. du Pont for the rest of the staff,” Gilliand recalled during an interview that is part of ongoing initiatives to preserve the history of the estate.

Maurice Gilliand prepares for guests

“And you directed the rest of the staff?” the interviewer inquired.

“I must say Mr. du Pont was the head butler,” Gilliand replied.

“Just as he was head gardener,” the interviewer observed. “Was the operation here different in any way from the other houses you had worked in? Was Mr. du Pont special in his approach?”

“Well, yes, much more so because any other house where I worked, the lady was in charge, but here Mr. du Pont was in complete charge of the house and planned everything, planned all the menus, and planned all the table settings,” Gilliand said.

On the weekends, the house would be filled with 16 to 18 house guests, with other visitors present only for meals, making two dozen people for a formal dinner.

On Wednesdays, a gardener would bring flower samples into the house for du Pont and Gilliand to match with china, table mats, and glassware for the dinner.

“Sometimes Mr. du Pont would ask me my opinion and then would say, ‘Maurice, Maurice, you must be color blind!’,” Gilliand remembered. “Now and again, Mr. du Pont would give me a free hand to make a selection. On one occasion when guests entered the dining room, they exclaimed, ‘Oh, Harry, Harry what a beautiful combination,’ and Mr. du Pont replied, ‘Oh yes, I have had this set of china for a long time, and this is the first that I was able to match it successfully.’ As I was standing nearby, he looked at me with the corner of his eye and winked, but he said, ‘I must admit to you it was Maurice who achieved this masterpiece.’ After dinner, Mr. du Pont put his hand on my shoulder and said, ‘Maurice, you have learned your lessons well, you are not color blind any longer.” This shows you that when you knew Mr. du Pont’s likes and dislikes, it did not take much to make him happy.”

The weekend guests arrived on Friday afternoons and were received in Port Royal Hall.

In the hall, it was mandatory for guests to sign the guestbook. Then tea was served in Port Royal Parlor, after which guests were taken to their rooms, Gilliand said.

Port Royal Hall
Port Royal Parlor

The footmen served cocktails at 8 pm in the Chinese Parlor and dinner at 8:30 in the Du Pont Dining Room.

Chinese Parlor
Du Pont Dining Room

“The food was plain, but the best, as it was nearly all produced on Winterthur Farms,” Gilliand recalled.

While the guests were dining, footmen and chambermaids took turns scrambling upstairs to tidy the guests’ bedrooms and put away all their clothes and belongings. They also removed the “good bedspreads” so no one would lie on them. Those bedspreads were just for decoration.

The du Ponts and their guests played bridge after dinner (Mr. du Pont was an expert) in the Chinese Parlor and the Marlboro Room.

Marlboro Room

Footmen served refreshments and sandwiches at 11 pm, and the game would resume until the wee hours of the morning.

Other nearby rooms—the Baltimore Room, Chestertown Room, and Empire Parlor–were never used for entertaining.

Baltimore Room
Empire Parlor

“These rooms were only for show,” Gilliand said. “Guests were never allowed to sit. Mr. du Pont was very strict about that. If he caught any sitting or leaning— No those were not used.”

Chestertown Room

Though the Chestertown Room was referred to as the “breakfast room,” the du Ponts and guests never ate there. They were instead always served breakfast in their bedrooms.

Gilliand said he believed he had only ever made one serious mistake for Mr. du Pont, and it wasn’t leaning on the furniture.

“I’ll never forget it the rest of my life,” Gilliand said.

Du Pont had told Gilliand to telephone a woman and include her on the guest list for an upcoming occasion. Unfortunately, Gilliand misunderstood the name.

“I came back to Mr. du Pont, and I said, ‘Mr. du Pont, Mrs. So-and-So accepts with pleasure,’” Gilliand said. “He said, ‘What lady?’ I said, “Mrs. So-and-So you invited.’ He said, ‘Maurice, damnation, damnation, how could you do such a thing, how could you? I didn’t want that lady for this dinner.’”

At that point, it was up to Gilliand to find a gentleman who could accompany the woman to the dinner. Or, at least, those were Mr. du Pont’s orders.

But Gilliand chose to solve the problem in a more straightforward way: He called her back and admitted his mistake.

He asked the woman if he could tell Mr. du Pont that she had overlooked a scheduling conflict and could not attend. He also asked whether she would keep the matter between herself and Gilliand.

She said, “Oh, don’t worry, Maurice, it won’t go any further.”

Gilliand returned to the study where Mr. du Pont was speaking with someone. Du Pont immediately told Gilliand to enter, as he always did, and the butler explained, “Mrs. So-and-So didn’t realize she had a previous engagement and she will not be able to keep your dinner date.”

Du Pont replied, “Maurice, too bad, too bad, sorry to hear about that.”

Gilliand said he did not know du Pont’s wife, Ruth, very well because she dealt exclusively with the female servants.

But Gilliand did know that she liked to tease her husband by pretending she could not hear him.

“So, he would repeat it and she would say, ‘What did you say, Harry?’ and he would blow his top,” Gilliand said. His wife would laugh and smile.

One time, du Pont yelled at Gilliand for something similar.

Gilliand legitimately did not understand something du Pont was saying, partly because he was speaking while holding a cigarette in his mouth.

After Gilliand twice asked du Pont to repeat himself, du Pont began to yell.

“So, I just walked out very quietly into the pantry and stayed there for a couple of seconds and I walked back and said, ‘Now, sir, what is it you are trying to tell me?’ Very nicely he came and told me what he wanted. After that, he never shouted at me, never.”

Du Pont treated his staff well and worked alongside them, Gilliand said.

During the week, Mr. du Pont would be up at 6 am and have a simple breakfast of “a glass of milk and a glass of orange juice.” He would then receive all the supervisors of the estate in his study to get an update on operations.

On the occasion of a large wedding with several hundred guests at the estate, du Pont threw a party for the staff when the wedding and reception were over.

“He left me enough wine, champagne, and whiskey to share with the staff,” Gilliand said.

Maurice Gilliand

“Mr. du Pont was a very good employer, kept many of his people for a lifetime,” Gilliand said. “He never was too busy to chat, or discuss problems, if any, and help you if he could. To me, he was a friend. I am still grateful for all the knowledge he gave me of American art, and he is missed by many of us.”

You can learn more about life at Winterthur during the upcoming Terrific Tuesdays.

The family that will be featured on the first Terrific Tuesday had roles running Winterthur’s post office, with the father also serving as a chauffeur to Mrs. du Pont.

One of the girls in the family recalls being on the farm with the du Ponts’ daughter, Ruth, and going with her to drink milk “straight from a cow.”

Bottoms up, and see you at Terrific Tuesday!

Cows on Winterthur farm
Featured

Millions of Bulbs?

The upcoming Bank to Bend event on March 9 celebrates the snowdrops on the March Bank, which also features winter aconites, snowflakes, and crocuses—and this year, because of the mild weather we are already seeing daffodils, scilla, and squill popping through the leaf litter. One of the questions that comes up often but that I am always a little hesitant to answer is, “How many bulbs are there in the March Bank?” I always say millions, with my fingers crossed behind my back because, after all, I have not counted them.

I finally decided to resolve this nagging doubt. Using Google Earth, I plotted the area of the March Bank, following the general boundaries of the area that we used for its restoration, but decreased them slightly. I drew a line from the Scroll Garden to the 1750 House, then over to Magnolia Bend, but I excluded the Glade. The area enclosed by this measurement is 6.9 acres, or 300,564 square feet.

Looking at one square foot of the March Bank, I chose an estimate of 10 bulbs per square foot. This number is very conservative—some areas have as many as 40–50 bulbs in a square foot, whereas others have only a few or no bulbs, including the paths and watercourses. So, 10 is probably a fair guess.

Next, I multiplied 300,564 (the number of square feet) by 10 (the average number of bulbs per square foot) and got 3,005,640 bulbs. Even if my assumptions are off by half, it would still be more than a million bulbs. I propose that saying the March Bank has “millions of bulbs” is well within the margin of error.

Please join us on March 9 to see these beautiful bulbs for yourself on a guided or self-guided walk.

Post by Chris Strand, Charles F. Montgomery Director and CEO of Winterthur

Kirin Joya Makker

Geneva, New York
Website: WombChairSpeaks.net
Social Media: @KirinMakker

About the Artist

Kirin Joya Makker is professor of American Studies at Hobart William Smith Colleges. An artist trained as an architect, and a scholar in critical space theory, Makker works to bridge disciplines and their methods of producing knowledge. At her institution, she teaches courses which investigate social power and architectural spaces. She combines traditional scholarship with creative practice in hand drawing, sewing, and installation art. Her research on these topics takes several forms, including designing and leading participatory art projects, exhibiting solo artworks, and producing scholarly writing on women’s history and black history in design and urban planning.  

Artist Statement

Dubbed the “Womb” chair at a 1948 press event after a journalist spotted a pregnant woman sitting in it, the Knoll Womb Chair was gendered, racialized, and sexualized from its public debut. In the decades that followed, it appeared regularly in corporate office and bachelor pad plans and was uniquely promoted by Playboy magazine as a signature prop in objectifying women, emphasizing male fantasies of compliance, titillation, and repose. The Womb Chair Speaks project works to resist this context of constraint, its cultural history, and characterization of the womb by placing a manufactured Womb Chair into community sewing circles for regular stitching sessions. By (re)establishing a connection to women’s domestic labor history, this project repositions the Womb Chair away from conventional male space and into a subjective and shared learning space, where folks engage in kinetic dialogue, personal narrative, and collaborative labor. The project politicizes the medium of upholstery, the act of stitching, and the traditional forum of the sewing bee in feminist community work. In this form, the Womb Chair (and womb) may resist patriarchal constraint and speak. 

Joey Quiñones

Bloomfield Hills, Michigan/Springfield, Ohio
Website: JoeyQuinones.com
Social Media: @JQuinones_Art

Still Life for Black Peter, Courtesy of John Michael Kohler Arts Center Collection, gift of the artist

About the Artist

Joey Quiñones is a sculptor working primarily with fiber and ceramics. They were selected as an Emerging Artist of 2020 by Ceramics Monthly and a Manifest Gallery Annual Prize Finalist, and they received an Honorable Mention for the James Renwick Alliance Chrysalis Award. Their work has been shown at venues such as the Akron Art Museum, the Contemporary Art Center in Cincinnati, and the Crocker Art Museum in Sacramento. They have a master of fine arts degree in Studio Art from Indiana University, Bloomington, and a Ph.D. in English from the University of Iowa. They are currently the Artist-in-Residence, Head of Fiber at Cranbrook Academy of Art.  

Artist Statement

As an artist, I study decorative domestic items from the era of Enlightenment. I came to Winterthur because of its large collection of ceramics, textiles, paintings, and furniture. The collection of decorative objects tells us as a society who and what we value, and who and what we don’t. When thinking about the United States, we often leave out the history of Spain’s colonization in the New World, and how this presence impacted the African and indigenous populations that all came together in this place. For my project, I created items that would have never existed in the early founding of the U.S. and the Americas (Caribbean included) but more accurately depict the racial and gender dynamics of the period. It influences us still today. With this exhibit, I aim to inspire a dialogue on race, colonization, and the transatlantic slave trade. 

The Chairmaker’s Toolbox

Winterthur’s collection of furniture and tools from noted shops like that of the Dominy family from East Hampton, New York, and Alexander Forbes of Cleveland, Ohio, provides inspiration and an extensive study collection for contemporary furniture and tool makers, like the women and nonbinary makers featured here. This new work also prompts us to ask questions about makers of the past who may have gone unrecognized due to their identity or circumstances. To learn more about the Dominy family and to see their wood and watch shops, visit the Dominy Gallery, also on the second floor of the Galleries.  

The new tools shown here are made by makers associated with The Chairmaker’s Toolbox.  

“Our mission is to address the barriers to education and community to build the future of green woodworking. Following three hundred years of restricted access, we believe that the continued relevance of hand tool woodworking relies on the authentic participation of historically excluded makers. The Chairmaker’s Toolbox provides free tools, education, and mentorship for BIPOC, GNC, and female students hoping to build chairs and established toolmakers seeking to build sustainable businesses. In support of the project, we have partnered with Winterthur, The Furniture Society, and chairmakers across the country. We have offered classes as Lost Art Press, A Workshop of Our Own, The School of Woodwork, Port Townsend School of Woodworking, Austin School of Furniture and Design, and Fireweed Woodshop.”

The Artists

Showing of 4 results
Claire Minihan
started out with a furniture background, graduating from the North Bennett Street…

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Rachel Kedinger and ME Hitt
This froe, a tool used for cleaving wood by splitting it along…

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Eleanor Ingrid Rose
Social Media: @Off_Artisan About the Artist Eleanor Ingrid Rose was born in…

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Kelly Harris
Kelly Harris is a woodworker, furniture maker, designer, and educator. She designs…

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Claire Minihan

Website: CMinihanWoodworks.Blogspot.com
Social Media: @CMinihanTravishers

About the Artist

Claire started out with a furniture background, graduating from the North Bennett Street School’s cabinet and furniture program in 2010, picking up work at a cabinet shop for a few years after that. Over the past nine years, she has grown a small business making travishers, which are specialized woodworking tools used for carving, shaping, and finishing chairs and stool seats. She has demonstrated how they work and how they are made at domestic and international fairs and, occasionally, has sprinkled in a travisher making class. She continues to make travishers and explores different ways to build solid cabinets and community.  

Artist Statement

A wood blank for the body is roughed out and faired, or smoothed. All blades are bent using a cold press technique, where I work the pre-hardened steel at room temperature, clamping it in a vise between a negative and positive jaw shaped to the desired curve. Once the blade is bent, it then gets hardened, tempered, and sharpened. The brass for the sole is then custom bent to each unique blade. Both pieces of hardware get attached to the body. The sole gets beveled and filed down to achieve the desired blade exposure and throat clearance. Once assembled, the travisher then gets its final shape by hand using various shaves, files, and rasps. 

Rachel Kedinger and ME Hitt

About the Artist: Rachel Kedinger

Philadelphia, Pennsylvania
Website: RachelKedinger.com
Social Media: @RKedinger

Rachel Kedinger is an artist currently living in Philadelphia, Pennsylvania, creating her own work. Rachel primarily makes objects out of metal with a focus on utilitarian use. Before moving to Philly in early 2018, she participated in the Core Fellowship Program at Penland School of Craft in North Carolina. She has also lived in Detroit, Michigan, and Rehoboth Beach, Delaware, seeking opportunities to work with various artists and metalsmithing shops. Prior to living and working in Michigan, Rachel grew up in Wisconsin and went to school at the University of Wisconsin–Milwaukee, where she received her bachelor of fine arts degree in jewelry and metalsmithing in 2012.  

About the Artist: ME Hitt

Morill, Maine

ME is a carpenter and woodworker who lives in midcoast Maine. In addition to their shop space in Rockland, where they pursue personal work and commissions, they work full time as a carpenter for a local frame-to-finish builder.

Artists’ Statement

This froe, a tool used for cleaving wood by splitting it along the grain, is the right width and thickness to give power and control when riving, or splitting. The geometry and size of a froe are essential to its function. The subtle curve in the cross section adds to the ability to guide splits. The addition of a cross pin allows the user to disassemble the tool for travel but ensures that the handle stays in place when in use. 

The handle and pin are made of ash, turned on a lathe, and individually fitted to the eye of each blade. The mallets are also made of ash and are finished with shellac and wax. Ornate versions of the froe are available in ash, dyed black, and with a brass pin.

Eleanor Ingrid Rose

Social Media: @Off_Artisan

About the Artist

Eleanor Ingrid Rose was born in Monterey County, California. She is a queer, craft-based sculpture artist, toolmaker, metalsmith, woodworker, and proud cat mom. Eleanor is one half of the collaborative project Ladies Who Wood, alongside Stacy Motte. Eleanor holds a bachelor of fine arts degree from Pratt Institute and a master of fine arts degree from University of Wisconsin–Madison. She currently teaches sculptural woodworking at Indiana University of Pennsylvania and the occasional class at Workshop of Our Own. When she isn’t teaching or making art, she can usually be found trying to make updated versions of antique tools or spending too much time looking at eBay.  

Artist Statement

Reproduction of the iconic H. O. Studley Infill Mallet. All work is done in house including casting, inlay, and woodwork. Metals are a brushed finish to be more historically accurate. The head and handle are designed for quick removal, allowing for easy change out or replacement of the infills. The handle is made of dyed hickory to avoid use of endangered rosewoods. The only alteration is a threaded insert to hold the head together instead of wedged steel and bronze.  

Ellie Richards

Baskerville, North Carolina
Website: Ellie-Richards.com
Social Media: @EllieInTheWoods

About the Artist

Ellie Richards is a furniture designer and sculptor interested in the role furniture and domestic objects play in creating opportunities for a deeper connection between people and their sense of place. Ellie looks to the tradition of both woodworking and the readymade to create eclectic assemblage, installation, and objects exploring intersections of labor, leisure, community, and culture. She has traveled extensively to investigate the roles play and improvisation have on the artistic process. Her work, both furniture and sculpture, has been included in exhibitions at the Mint Museum; Center for Craft, Creativity, and Design; SOFA Chicago; and the Society of Contemporary Craft. 

Artist Statement 

Throne of Laurel incorporates branches collected in the North Carolina woods near my home. Laurel, as a material, connects my work to a specific region, while the twisted design of the wood recalls rustic furniture designs popular in the nineteenth century. Making work within the fields of sculpture and furniture has expanded my perspective on how a person’s interaction with both natural and built spaces can be a potent indicator of societal and cultural identities. Craft can be a powerful vehicle for sharing culture and accessing otherwise tacit values. Absorbing these characteristics allows sculptural objects to extend a common language that paves the way for a shared experience. I believe shared experiences lead to strong connections and greater empathy among us, and I hope to activate inquiry in the individual that leads to a more meaningful relationship with their environment and its extensions. 

Kathryn Sullivan

Dallas, Texas
Website: KathrynSullivanRestoration.com
Social Media: @KSullivanRestoration

About the Artist 

Kathryn is a woodworker focused on restoration and conservation. Informed as a cultural and legal anthropologist, Kathryn treats the trade with a blend of artistic academia and practical woodworking. Their creative focus is to challenge tradition in both word and practice, and they bring intersectional approaches to the study and creation of wooden decorative art. Kathryn is a guest instructor at the American School of French Marquetry, a contributing writer for Fine Woodworking, and an enthusiastic member of the Furniture History Society. 

Walnut Chair © 2024 Kathryn Sullivan 

Artist Statement

To challenge the consumption of fashion, colonization, and material culture in general, these chairs were built of scrap lumber. They re-articulate regularly tossed out “waste” from custom home construction and counter reproductions that further a muddy global supply chain of imported trees and devalued labor.   

Kelly Harris

Brooklyn, New York
Website: StudioHappis.com
Social Media: @KellyHappis

About the Artist 

Kelly Harris is a woodworker, furniture maker, designer, and educator. She designs and builds both collections and custom pieces in her shop located in Brooklyn, New York. When she is not busy in the shop, you can find her teaching woodworking classes and leading workshops to share her love of the craft with others. Kelly’s work is primarily in wood with a focus on solid joinery, simple yet playful design, shape exploration, and hidden splashes of color. 

Observatory Rocking Chair © 2024 Kelly Harris 

Artist Statement

Kelly Harris’s motivation in her personal practice changes over time, and she appreciates how woodworking keeps her moving, both intellectually and creatively, while allowing her to feel connected to herself, the earth, and other people. “I want to make things that are needed and wanted. My first woodworking project was making muddlers for a restaurant where I was a bartender for almost a decade. Now I am a toolmaker. I love tools of the trade.” Kelly is currently working on the production of a tapering plane of her own design in partnership with The Chairmakers Toolbox

Aspen Golann

Newton, Massachusetts
Website: AspenGolann.com
TheChairmakersToolbox.com
Social Media: @Aspen_Golann
@The_Chairmakers_Toolbox

About the Artist

Aspen Golann is a furniture maker, artist and educator whose work explores gender and power through the manipulation of iconic American furniture forms. Trained as seventeenth- to nineteenth-century woodworker, she mines the intersections of sexuality, identity, decorative arts and contemporary craft in a range of works including fine furniture and sculpture. 
 

In 2020 Aspen founded The Chairmakers Toolbox—a project intending to increase access and equity in the field of chairmaking. She is published in The New York Times, Architectural Digest, Fine Woodworking, and American Craft, and exhibits internationally. She teaches at Rhode Island School of Design and holds a degree from The North Bennet Street School. 

In the Garden Settee © 2024 Aspen Golann

Artist Statement

Aspen co-built In the Garden Settee with Greg Pennington at his shop in Hendersonville, Tennessee. Her bench references a style of furniture associated with nineteenth-century Connecticut maker Lambert Hitchcock, who often used interchangeable parts and stenciled gold designs on painted backgrounds. Aspen’s fresh take on this style incorporates personal elements like images of her own hands.