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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

Juneteenth celebration will inspire visitors June 15

WINTERTHUR, DE (June 11, 2024) – Storytellers, musicians, and dancers will help visitors celebrate Juneteenth at Winterthur Museum, Garden & Library on Saturday, June 15, 11:00 am–3:00 pm.

Most activities are included with admission and are free for members.

The Wilmington Ballet and the Whitney Project will fill Winterthur’s Enchanted Woods and Copeland Lecture Hall with performances enriched by and deeply rooted in African American arts and culture.

The day will also include a World Marketplace in Enchanted Woods featuring A Flicker of Daisy, Created by LA, CreationsbyT, and Soleil Dancewear.

Register for the event at https://www.winterthur.org/calendar/juneteenth-freedom-day/

The festivities begin at 11:00 am with a “Celebration of Black Joy” performance in Copeland.

The World Marketplace will be open 11:00 am–3:00 pm in Enchanted Woods, with:

  • African dance demonstrations, 11:30 am and 12:15 pm.
  • Lift Every Voice at 12:45 pm.
  • Drum circle at 12:50 pm.
  • Storytelling at 1:15 pm.
  • Community dance jam at 2:00 pm.
On June 15, 2024, the Wilmington Ballet and the Whitney Project will fill Winterthur’s Enchanted Woods (pictured here) and Copeland Lecture Hall with performances enriched by and deeply rooted in African American arts and culture.

ABOUT WINTERTHUR MUSEUM, GARDEN & LIBRARY

Winterthur—known worldwide for its preeminent collection of American decorative arts, naturalistic garden, and research library for the study of American art and material culture— offers a variety of tours, exhibitions, programs, and activities throughout the year.

Winterthur is located on Route 52, six miles northwest of Wilmington, Delaware, and five miles south of U.S. Route 1. Winterthur is committed to accessible programming for all. For information, including special services, call 800.448.3883 or visit winterthur.org.

Old Gatehouse to Be Restored

Winterthur recently received a grant to preserve its historic Old Gatehouse. Located on Kennett Pike, south of the main entrance, the building is one of the more prominent and recognizable parts of the estate.

The gatehouse stands by the drive that was the main entrance onto the estate from 1839 to 1961. Ruth du Pont Lord, a daughter of Winterthur founder Henry Francis du Pont, wrote: “Driving from the railroad station, we would soon reach real country on the other side of the Gatehouse—owl country, fox country—and would speed down the winding mile-long driveway through the enormous woods and up the hill to the house.”

Designed in 1902 by Robeson Lea Perot, a Philadelphia-based architect, the two-story colonial/neoclassical revival building was also the residence for the gatekeeper and his family. Today, the building serves as offices for some of Winterthur’s development staff.

Winterthur requested and received $125,000 for the project and is contributing a matching $125,000. The award was part of $25.7 million in Save America’s Treasures grants from the National Park Service, in partnership with the National Endowment for the Arts, the National Endowment for the Humanities, and the Institute for Museum and Library Services. The funding supports 58 projects in 26 states, the Virgin Islands, and the District of Columbia. Save America’s Treasures requires applicants to match the grant money dollar-for-dollar with nonfederal funding.

The project includes restoring the gatehouse’s iron railing and gate; conserving the historic shutters; painting the exterior of the gatehouse, and more. All work will be completed by the summer of 2025.

At its peak, the Winterthur estate had 12 temperature-controlled greenhouses, a 23-acre orchard, a 5.5-acre vegetable garden, and a 4-acre cutting garden. It also had a butcher shop, sawmill, tannery, post office, train station, and a dairy barn where du Pont bred and raised award-winning Holstein cattle. Ninety-nine cottages housed 250 members of Winterthur’s staff and their families.

Restoring the Old Gatehouse honors its historic heritage and will ensure its stately beauty for years to come, and we are grateful for this grant, which has made it possible. 

Transformations exhibition brings more than 30 contemporary artists to Winterthur

WINTERTHUR, DE – A hat made of wood veneer. A boldly colored quilt from rural Alabama. A meticulously researched project to rediscover and recreate the lost methods of producing Indian chintz, resulting in a modern take on the textile that originated in the 1500s.

These are just a few of the remarkable pieces featured in the new exhibition at Winterthur Museum, Garden & Library, created by more than 30 nationally recognized contemporary artists. Their works draw inspiration from Winterthur’s historic collections, seamlessly blending the past with the present.

On display June 8, 2024–January 5, 2025, Transformations: Contemporary Artists at Winterthur invites visitors to explore how historical influences shape contemporary art. This exhibition highlights the connections between different communities, offering fresh perspectives on history and its relevance to our lives today.

“These artistic expressions reflect each artist’s connection to the fine craftsmanship and design in Winterthur’s collection of decorative arts and archival materials as well as its naturalistic garden and landscape,” said exhibition curator Catharine Dann Roeber. Roeber, Winterthur’s director of Academic Affairs, the Brock W. Jobe Associate Professor of Decorative Arts and Material Culture, director of Winterthur’s Research Fellowship Program, and executive editor of Winterthur Portfolio, emphasizes the deep ties between the artists and Winterthur’s heritage.

Daily guided gallery walks of the Transformations exhibition will be free with admission. No reservations are required. Walks begin in the Galleries Reception Area daily at 2 pm.

Visitors can learn more about the diverse group of artists, ranging from furniture makers and painters to composers and an embroiderer whose work glows in the dark, at Winterthur’s Transformations page: https://www.winterthur.org/transformations-contemporary-artists-at-winterthur/.

Most of the artists in Transformations participated in Winterthur’s Maker-Creator Research Fellowship program, which invites artists, writers, filmmakers, horticulturists, craftspeople, and other creative professionals to immerse themselves in the Winterthur collection.

One of these artists, Elaine K. Ng of Hope, Maine, described her fellowship experience:

“Through a serendipitous encounter at Winterthur with economic historian Alka Raman (also a Winterthur Fellow), a 1966 translation of 18th-century French manuscripts from the library, and an 18th-century Indian palampore on exhibit from the museum collection, my fellowship evolved into a collaborative exploration of traditional chintz techniques and the links between material knowledge, culture, and place,” Elaine explains.

Winterthur museum founder Henry Francis du Pont (1880–1969) had a particular fondness for chintz, which he prominently featured as palampores in his bedroom at Winterthur.

“He loved these Indian textiles because they were part of this whole world of goods that were flowing into the Colonies,” said Alexandra Deutsch, Winterthur’s John L. and Marjorie P. McGraw Director of Collections.

Ng and Raman delved into the texts at Winterthur and identified 25 steps involved in dyeing chintz.

Chintz made with centuries-old techniques by artist Elaine Ng.

“This is the English translation of a Frenchman’s observation of a process, so some of these steps don’t make much sense until you do them,” Ng said, citing an obscure step involving buffalo milk to prevent dye bleeding.

“A lot of knowledge has been lost, but it’s possible to recover tactile knowledge by doing the processes described,” Ng said. “This is about how artists learn and have knowledge in their hands.”

Sharon and Jemica Williams are artists who use their hands to make prized quilts in Gee’s Bend (also known as Boykin), Alabama. Sharon learned to quilt from her mother and grandmother and passed on the tradition to her daughter, Jemica.

The quilters from Gee’s Bend used sacks, clothing, and whatever textiles they had on hand to create quilts that offered comfort to their families. The Gee’s Bend community of quilters trace their roots to enslaved ancestors forcibly relocated from a plantation in Halifax County, North Carolina. The Montmorenci plantation in a neighboring county was once the home of the staircase and architecture that can now be found in Montmorenci Stair Hall at Winterthur Museum, Garden & Library.

Enslaved and free individuals at Montmorenci played an active role in the design, construction, and everyday use of this staircase.

And the Gee’s Bend quilt made by Sharon and Jemica Williams, and recently acquired by Winterthur, is juxtaposed with the staircase, cementing a connection between these three separate regions. The quilt is part of the Transformations exhibition.

A Gee’s Bend quilt on display in Montmorenci Stair Hall at Winterthur.

Artist Judith Solodkin contributed handmade hats as part of the Hatbox/Bandbox Collective in the exhibition.

While Solodkin does not sell her hats, she crafts them to wear to art exhibition openings. She teaches lithography, digital embroidery, and soft sculpture at the School of Visual Arts and Pratt Institute, Brooklyn, NY.

“I make the hats for myself, and it takes about two weeks per hat,” she shared.

A wood veneer hat by artist Judith Solodkin will be displayed as part of Transformations.

Artist Andrew Raftery, professor of printmaking at Rhode Island School of Design, conceived this project after drawing inspiration from Winterthur’s bandbox collection.

Bandboxes were used, primarily by women, to store and transport hats, clothing, and other personal items in the 1700s and 1800s. Fashioned out of pasteboard or thin wooden boards, they were typically decorated on the outside with block-printed papers and often lined on the interior with contemporary newspapers and journals, creating three-dimensional scrapbooks that merged pattern design and current events.

Raftery invited other artists, including former students and colleagues, to create prints that cover the bandboxes.

“Then he thought, we should also get Judith to lend some hats, both because they are cool and also because they help show visitors one of the uses for bandboxes,” said Roeber, the exhibition curator.

Bandboxes by artist Andrew Raftery.

For a high-res graphic of artists involved in Transformations, and for other images from the exhibition, visit: https://www.winterthur.org/transformationsphotos

ABOUT WINTERTHUR MUSEUM, GARDEN & LIBRARY

Winterthur—known worldwide for its preeminent collection of American decorative arts, naturalistic garden, and research library for the study of American art and material culture— offers a variety of tours, exhibitions, programs, and activities throughout the year.

Winterthur is located on Route 52, six miles northwest of Wilmington, Delaware, and five miles south of U.S. Route 1. Winterthur is committed to accessible programming for all. For information, including special services, call 800.448.3883 or visit winterthur.org.

Furniture Makers to Create Magic Wands for Winterthur Guests

On Enchanted Summer Day, a group of volunteers will use their hands and tools to turn wooden dowel rods into fantastical magic wands for children. These volunteers hail from the Society of American Period Furniture Makers (SAPFM), a group that is quickly turning into a valued partner for Winterthur.

This will be one of many activities for children during Enchanted Summer Day on June 8.

Charlie Driggs, a board member of SAPFM and co-leader of the Chesapeake Chapter, said of making magic wands: “It’s not hard.” What might be more difficult, Charlie said, is keeping children patient if there is a wait for wands.

Charlie has had a long relationship with Winterthur. This partnership with SAPFM is more of a relaunch, he said, adding, “I didn’t think we’d be at this point for a few years.”

But SAPFM volunteers quickly stepped up and Winterthur staff enthusiastically embraced the partnership.

“This particular program, if it successfully brings people the understanding needed to appreciate how things are made, satisfies… SAPFM’s commitment to providing education,” Charlie wrote in a recent article for SAPFM’s member magazine Pins & Tales.

Charlie is in awe of the furniture-making literature in the Winterthur Library that’s available to anyone from the public.

“Your collection on how to perform techniques from the18th century, 19th century, and some17th century is one of the best in the world,” Charlie said.

SAPFM members can be found in the library poring over works such as With All the Precision Possible, the first English translation of the 18th-century woodworking masterpiece L’Art du Menuisier by André-Jacob Roubo (1739-1791).

So, what does Charlie think about Winterthur’s famed and extensive collection of period furniture?

“I like at least half of it,” he said in all seriousness. “And that’s OK because that’s why there are different styles.”

SAPFM volunteers will also be at several upcoming events, such as Terrific Tuesdays, in July and August, and at  Handcrafted on August 31. Handcrafted is a way to celebrate Labor Day weekend with demonstrations by craftspeople who practice traditional handcrafts dating to preindustrial America.

“This particular event has been supported by SAPFM members several times, and the SAPFM attendees tend to dazzle kids and make adults curious,” Charlie wrote in Pins & Tales.

Charlie Driggs of the Society of American Period Furniture Makers speaks with visitors to Winterthur at a recent event.

Artist-in-Residence: Wonders of Nature through Art in Winterthur’s Greenhouses

Sarah Rafferty walks a lot.

“When I walk, I am deep in concentration, looking at plant silhouettes, their form, and how they might render as a future cyanotype,” she says.

Cyanotype photography is a unique, cameraless technique. The process was first used in 1842 by Sir John Herschel, mainly to reproduce documents, Sarah explains. About a year later, Anna Atkins famously used the cyanotype process to document physical algae specimens and became the first person to illustrate a book using photographic images.

Cyanotypes are created using a 1:1 ratio of ferric ammonium citrate and potassium ferricyanide. Once combined, they become reactive to the sun.

“Using hand-coated and light sensitive paper, I expose my work to the UV rays of the sun in order to produce the botanical composition of each piece,” Sarah says.

“Each cyanotype is a representation of a moment in time, like a visual poem marking the sun, the wind, and the clouds of a given day,” she continues. “No two are ever the same. These moments get to live on your wall and bring the reminder of the natural world into your home.”

Winterthur is delighted to welcome Sarah Bourne Rafferty of Atwater Designs as our summer Artist-in-Residence. While she is here, Sarah will showcase and teach the fascinating process of cyanotype.

A prolific local artist trained at Warren Wilson College in Asheville, NC, and the University of the Arts in Philadelphia, Sarah has extensive experience in both darkroom and digital photography. She launched Atwater Designs after many years of teaching and has since showcased her work globally. Her art has been featured in Town & Country magazine, Ralph Lauren collaborations, and other prominent projects. Sarah, who resides locally, draws inspiration from the beauty of the Brandywine Valley.

Artist in Residence Sarah Rafferty

Engage with Sarah throughout the Summer

Artist-in-Residence Program, June 8–16: Working in Winterthur’s historic greenhouses, Sarah will create her cyanotypes using elements from the nearby cutting garden and the greenhouse metalwork. Her works on both paper and fabric will be displayed around the greenhouses throughout the week, inviting guests to stop by and learn. As visitors pass, Sarah will demonstrate the cyanotype process and discuss its historical significance and connection to Winterthur and early horticultural specimen collection and recording. This is a drop-in event. No reservations are necessary; just come and watch. Sarah’s work will be available for purchase.

Midsummer, June 22: Celebrate the summer solstice, reconnect with nature, and enjoy bonfires, dancing, food inspired by the garden, and a cyanotype demonstration and display.

Artisan Market, July 19–21: Some of the region’s most talented craftspeople, including Sarah, will present their outstanding wares as tent vendors.

Sun, Cyanotype, and Sundial, August 18: Join us to celebrate the sun! Sarah Bourne Rafferty of Atwater Designs will demonstrate the process of cyanotype against the backdrop of the Sundial Garden, and a gallery of her work will be on display and available for purchase.

Kate Sekules

About the Artist 

New York, New York

Kate Sekules is a mending advocate, activist, educator, and researcher. She is assistant professor of fashion history at Pratt Institute, Brooklyn, and of “Mending Fashion” at Parsons School of Design, and she lectures frequently for institutions and organizations including the Textile Society of America, American Studies Association, Association of Dress Historians, Fashion Institute of Technology, Rhode Island School of Design, and the British Museum. She hosts #MendMarch on Instagram, as well as regular mending groups, and runs MAWG (Mending Archives Working Group) and visiblemending.org a crowdsourced world map. Sekules is the author of MEND! A Refashioning Manual and Manifesto (Penguin, 2020), and her doctoral dissertation is titled “A History and Theory of Mending” (Bard Graduate Center, 2025). Her work in Transformations includes visible mends and an example of her recent work with “punk smocking,” a way to cover stains or tears, or to just mend out the boring!  

Website: VisibleMending.com
Social Media: @VisibleMend

Artist Statement

This sweater is obviously a statemend, but all my mends, or co-designs, are meant to stand out. To me, mending is an artistic intervention, a structural, methodological, even metaphysical interference in the life path of a textile object; its application more choice than chore, since it consumes the luxury of time. This counters the history of the mend. For centuries, or millennia, stitchers, usually women, strove for minimal transformation when addressing—relentlessly, inescapably, thanklessly—the effects of time and wear on personal and household textiles. Patches and darns signaled inaccessibility of replacement goods and announced poverty, causing shame. Today, mass-produced faux-patches and industrially ripped denims signal not poverty but fashion. Textile is disvalued. Hyperproduction in insulting conditions, planned obsolescence, trend-based dressing, brand hegemony, discarding disguised as donation or decluttering—I mend in relationship to all of that, gleefully customizing and conserving—in this case punk smocking—what was made for landfill.  

Socksisters Project

Estella Lawall Doerr Haase (1896–1994) kept a collection of her late husband Louis Theodore George Haase’s (1892–1945) worn socks intact for forty-nine years. Kate Sekules acquired this group for her own collection. Many had holes in the left big toe and rear right ankle. Only some had partial repairs…so Kate Sekules contacted an international network of menders through Instagram and asked them, “Who wants to mend a pair?” What started as a joke became a serious project with The Socksisters, twenty-five women in eight countries* who were given free rein to extemporize and repair Louis’s socks in a unique fashion. 

The Socksisters

Sue BamfordBelfast, Ireland 
Glenda BarnettDevon, England 
Hannah Blair Daly City, California 
Elsa Buijs  Hilversum, Netherlands 
Anna Chapman-Andrews  Kew, London 
Linda Collignon Buffalo, New York 
Annabelle Cooke  Florence, Italy  
Martina Cox New York, New York 
Hanne Dale Bergen, Norway 
Sarika Dopp  Queens, New York 
Charlotte Jenner Wiltshire, England 
Anja Lampert  Vienna, Austria 
Rosie Leech Oxford, England 
Emei Ma  Toronto, Ontario 
Emma Mathews  London, England 
Kate Miller  Vancouver, British Columbia
Torill Josefine NorhagenOslo, Norway 
Jane PimlottLondon, England 
Katie ReimersBuffalo, New York 
Sally Robinson  Lincolnshire, England 
Elysha Schuhbauer Kitchener, Ontario 
Kate Sekules Brooklyn, New York 
Daisy Smith West Hollywood, California 
Bridgett St. MeaveBellingham, Washington 

Bandbox Collective

Bandboxes were used, primarily by women, to store and transport hats, clothing, and other personal items in the 1700s and 1800s. Fashioned out of pasteboard or thin wooden boards, they were typically decorated on the outside with block-printed papers and often lined on the interior with contemporary newspapers and journals, creating three-dimensional scrapbooks that combined pattern design and current events. The group of bandboxes in Transformations are all custom made by historical stationer Benjamin Bartgis to the specifications of the individual artists using historical methods. Coordinated by Andrew Raftery, a former Maker-Creator Fellow and professor at Rhode Island School of Design, each of these artists then covered the boxes and the interiors with prints of their own design. 

The Artists

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Yoonmi Nam
Yoonmi Nam is an artist born in Seoul, South Korea, and has…

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Benjamin Bartgis
Ben Bartgis is a conservation technician and independent artist specializing in reproduction…

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Judith Solodkin
Judith Solodkin received a master of fine arts degree from Columbia University…

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Katie Commodore
Despite years of her insisting that their daughter was going to be…

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Maxime Jean Lefebvre
Maxime Jean Lefebvre is an interdisciplinary artist who works mainly with printmaking…

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Julia Samuels
Julia Samuels was born in Portsmouth, New Hampshire, and she earned her…

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Amber Heaton
Amber Heaton creates colorful, geometric installations, mixed media works, paintings, and works…

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Andrew Raftery
Andrew Raftery is an artist specializing in fictional and autobiographical narratives of…

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Yoonmi Nam

About the Artist 

Lawrence, Kansas

Yoonmi Nam is an artist born in Seoul, South Korea, and has studied in Korea, Canada, the United States, and Japan. Yoonmi is interested in the observation and depiction of everyday objects and occurrences, especially when they subtly suggest contradictions—a perception of time that feels both temporary and lasting and a sense of place that feels both familiar and foreign. Growing up as an only child with working parents, she often engaged in quiet observations of things around her. Experiences of living in disparate cultures with different people and their histories allowed her to notice what often is unobserved in one’s own familiar spaces. She works in traditional printmaking processes such as mokuhanga (Japanese-style water-based woodblock printing) and lithography to make imagery as well as explore other materials such as clay, glass, and paper to make three-dimensional still lifes.

Website: YoonmiNam.com
Social Media: @Yoonmi_Nam

Artist Statement 

Both bandboxes were designed specifically to hold hats that we use for special occasions. A party hat and a stack of origami folded paper hats. So, I’ve also included these two kinds of hats that the bandboxes hold as part of my works. These hats are temporary and disposable. In my work, I am always drawn to objects that suggest a sense of time that seems both fleeting and eternal, so I wanted to make hatboxes for the hats that also speak to that nature. I also designed the pattern on the lithograph that I printed to cover the bandboxes. The flower images and the texts that make the patterns are taken from various plastic bags with flower images on them.

Benjamin Bartgis

About the Artist 

Annapolis, Maryland

Ben Bartgis is a conservation technician and independent artist specializing in reproduction stationery products and bandboxes, based in Annapolis, Maryland. They became interested in historic box making materials and techniques while building custom housings for museum artifacts. Outside of their full-time federal career in conservation, Ben has pursued their study of early American book and paper history through courses at Rare Book School and was a scholar at the 2022 “Revolution in Books” Summer Institute at Florida Atlantic University. Ben’s bandboxes have appeared at historic sites such as the Coggeshall Farm Museum in Bristol, Rhode Island.  

Social Media: @BenjaminBadgers

Artist Statement 

Boxes have been a presence in my conservation career from my first years as a book conservation intern making slipcases and portfolios to my time as a conservation specialist operating a CNC machine to mass produce archival boxes. I find both bookbindings and boxes curious halfway things: sometimes primarily regarded for their ability to store or protect something else, discarded when they wear out; sometimes valued artifacts in and of themselves. I was drawn to researching and reproducing bandboxes because they are made of the same materials as rare books—thread, paper, board, and glue—but as containers, they are collected, curated, and studied completely differently. As the boxmaker for this project whose board forms will be covered up with exquisite papers, my craft as an artisan mirrors my work in conservation: foundational, collaborative, and sometimes hidden in plain sight. 

Judith Solodkin

About the Artist

Bronx, New York

Judith Solodkin received a master of fine arts degree from Columbia University in 1967, has taught art on the college and graduate level, and is teaching lithography, digital embroidery, and soft sculpture at the School of Visual Arts and lithography at Pratt Institute. She also studied millinery at Fashion Institute of Technology and is a member of the Milliners Guild. She was the first woman to graduate from the Tamarind Institute as a Master Lithographer in 1975. Today she is based in Riverdale, Bronx, New York, and operates as a print publisher and contract printer—SOLO Impression, Inc.  Innovative collaborative techniques have been a mainstay of SOLO Impression. Judith continues to collaborate with artists on fine art lithography, embroidery, and fabrication. 

A trailblazing supporter of women in the arts since the mid-1970s, Judith developed an “old girls’ network” with the same rigor and opportunity afforded male artists. In 1996 and 2010, the retrospective The Collaborative Print: Works from SOLO Impression was presented at the National Museum of Women in the Arts in Washington, D.C. In 2013, she received a Printer Emeritus award from the Southern Graphics Council International. Taschen Publishing commissioned three lithographs by Françoise Gilot in 2017, and “Ode à l’oubli,” a collaboration with Louise Bourgeois, was exhibited in An Unfolding Portrait at the Museum of Modern Art in 2018. In November 2020, she was honored by the International Print Center of New York for her printmaking achievements. SOLO Impression exhibits at the International Fine Print Dealers Association Print Fair. Editions by SOLO Impression are in the Museum of Modern Art; The Metropolitan Museum of Art; Whitney Museum of American Art; New York Public Library; Museum of Fine Arts, Boston; Library of Congress, National Gallery of Art; Bibliothèque Nationale de France; and Tate Modern in London.  

Judith is known for her handmade hats, which she proudly wears herself. Hats from SOLO Chapeau were recently shown at the Metropolitan Museum Mezzanine Art Gallery and at the Garment Center’s 38th Street Window during Textile Month, and they have been featured in online exhibitions of the Milliners Guild. 

Website: SoloImpression.com
Social Media: @JudithSolodkin

Artist Statement 

Referencing history has always been a part of my activities, whether at SOLO Impression collaborating with artists in fine art lithography, in digital embroidery, or in creating hats under the SOLO Chapeau label. Teaching at the School of Visual Arts and Pratt Institute is a catalyst to expose students to precedent and to past knowledge and early hand-manipulated techniques. These skills are vital in the collaborative process with artists, directing them forward to the future. For example, in my print “Whitfield Lovell,” I appropriated an early wallpaper design in his twin lithographs, “Barbados and Georgia” (2009) and combined it with stone lithography and inkjet printing. And I embroidered a restoration fabric from an 1860 motif that was used as the upholstery on a chair showing at the Brooklyn Museum as part of Modern Gothic: The Inventive Furniture of Kimbel and Cabus, 1863–82. 

I continue to be fascinated by early tools that when mastered in the present can yield new results. Old presses, rollers, stones for lithography and head blocks and forming tools for millinery can be updated with new technologies for surprising effects. My new fabric inkjet printer allows me to print images on cloth and subsequently to embroider the results, as I did with the banner of Judy Chicago, “What If Women Ruled the World?”