A recent feature by The Washington Post on the Poison Book Project has been picked up by news outlets around the world. The Poison Book Project is an interdisciplinary research initiative at Winterthur Museum, Garden & Library and the University of Delaware.
This ongoing investigation explores the materiality of Victorian-era publishers’ bindings. Research focuses on identifying potentially toxic pigments used in bookbinding components and how to handle and store potentially toxic collections more safely.
Melissa Tedone, former head of the library conservation lab at Winterthur, now Assistant Professor of Library/Archives Conservation and Associate Director of the Winterthur/University of Delaware Program in Art Conservation, examines the toxic covers of books in the library at Winterthur.
An excerpt from the article:
The Poison Book Project began after Melissa Tedone’s own chance encounter with a curious emerald tome.
At the time, Tedone was the head of the library conservation lab at Winterthur, a historical estate and museum affiliated with the University of Delaware, where she assessed and restored objects in the institution’s collection. In 2019, for an exhibition on Victorian aquariums, she was tasked with repairing a book called “Rustic Adornments for Homes of Taste.” “It was a bright green book, and the covers had fallen off,” Tedone said. It was her job to put them back on, but she noticed something strange while working.
“There was something about the way the pigment was behaving. I could see it flaking off under the microscope,” she said. At the time, she was reading a book about arsenical wallpaper common in the 19th century. “It was a serendipity moment. I thought that maybe we should test this pigment and make sure it’s not full of arsenic.”
It turned out the book was full of arsenic. “Really quite a lot of arsenic,” she said…
About 50% of the books that have been analyzed have tested positive for lead, which is present in multiple pigments as well as pigment enhancers. Chromium has shown up in Victorian yellows, and mercury in the era’s intense reds. Arsenic, the most toxic of these chemicals, has been found in 300 books, including those with benign titles such as The Grammar School Boys and Friendship’s Golden Altar.
“Arsenic is in its own category,” Tedone said. “Not only is it more toxic than the other heavy metal pigments, but we are finding that measurable levels of arsenic are coming off on your hands.”
The findings have led large institutions, including the National Library of France and the University of Southern Denmark, to remove books from circulation and place them in quarantine.
Many visitors to Winterthur are surprised to learn that our collection is continually expanding with new acquisitions. Contrary to the perception of museum pieces as merely “old and dusty,” our collection encompasses a dynamic range of items, including contemporary and historically significant pieces.
“Winterthur’s collection is far more expansive than many people realize,” says Alexandra Deutsch, director of collections at Winterthur Museum. “While the museum is the home of some of the finest 18th- and 19th-century decorative arts made and used in America, Henry Francis du Pont’s visionary collecting created a foundation that has allowed Winterthur’s curators to expand the collection in innovative and inspiring ways.
“Today, guided by a collections policy that acknowledges the global nature of the collection, acquisitions that significantly expand Winterthur’s ability to share complete histories with our visitors, students, and scholars are a top priority. This selection of objects provides a glimpse of recent acquisitions, which document histories previously untold in Winterthur’s galleries and museum rooms.”
A Glimpse into Baltimore’s Free Black Community
One of the museum’s recent acquisitions is an 1857 oil painting in remarkable condition depicting an identifiable free Black member of the regional Baltimore community. This painting is on display now in the Galleries at Winterthur. We wrote extensively about the painting earlier this year.
Researching a Captain
Another fascinating addition is the oil painting titled Don Juan de Dios de Parreno y Pardo, likely created between 1800 and 1830. The painting’s title is inscribed in the lower left corner of the portrait.
“An arresting portrayal of a dark-haired naval captain, Don Juan de Dios de Parreno y Pardo intimates the history of maritime politics of Europe and the Americas in the early part of the 1800s,” says Kedra Kearis, Winterthur’s associate curator of art and visual culture. “Seated at a table with navigational tools spread over an indeterminate map, the confident Pardo gestures to his offshore frigate that bears the pre-Republic flag of Spain.
“We look forward to interpreting this painting beginning with conservation efforts,” Kearis says. “Visible under black light, the background of the portrait has coats of arms just below the surface layer.”
These images may unlock the painting’s secrets or lead Kearis to further insights about the man in the painting. She poses several questions: “Who is this captain? Is his vessel heading out to sea or returning? What does this portrait tell us about Spain’s presence in the Americas?”
Currently housed in our Research Building, the painting is under scholarly examination to uncover its secrets. For now, this blog is the only place you can view it. Once enough research is completed, it could be displayed in the Galleries.
“Sure to intrigue visitors, this picture joins Winterthur’s strong holdings of early 19th-century portraits painted in the U.S.,” Kearis adds. “It allows for important conversations about the exchange of art traditions across the Atlantic and contact between Spain and indigenous people of the Americas.”
Oil painting of Don Juan de Dios de Parreno y Pardo.
A Quilting Legacy
Winterthur has also acquired a quilt by mother and daughter artists Sharon and Jemica Williams from Gee’s Bend, Alabama. Sharon learned to quilt from her mother and grandmother, passing the tradition to her daughter, Jemica.
Gee’s Bend quilters are renowned for their innovative use of available materials, such as sacks and clothing, to create quilts that provided comfort to their families. They trace their roots to enslaved ancestors forcibly relocated from a plantation in Halifax County, North Carolina.
The Montmorenci plantation in a neighboring county was once the home of the staircase and architecture that can now be found in Montmorenci Stair Hall at Winterthur Museum, Garden & Library. Enslaved and free individuals at Montmorenci played an active role in the design, construction, and everyday use of this staircase.
The Gee’s Bend quilt made by Sharon and Jemica is juxtaposed with the staircase, cementing a connection between these three separate regions. The quilt is part of the Winterthur’s current exhibition, Transformations: Contemporary Artists at Winterthur.
“This quilt by Sharon and Jemica Williams is the first quilt by a known Black designer and maker to enter Winterthur’s collection,” says Alexnadra Deutsch. “The design is a fresh interpretation of the ‘My Way’ style of freeform piecing and quilting, for which the quilters of Gee’s Bend, Alabama, descendants of enslavement, are famous. Sharon Williams, the designer and maker, says she ‘puts her colors together, puts the quilt together just how it goes.’ She ‘wants people to see these colors and admire them’ and that would bring her joy.”
Quilt by Sharon and Jemica Williams.The Williams quilt in Montmorenci Stair Hall at Winterthur.
A Golden Addition
Ann Wagner, Winterthur’s curator of decorative arts, highlights a 1915 gilded silver hot chocolate set by Gorham Manufacturing Company, Providence, R.I., and retailed by Shreve, Treat & Eacret, San Francisco, Calif., as a notable recent acquisition.
“California’s state flower, the golden poppy (the ‘cup of gold’ or ‘copa de oro’ in Spanish) is the dominant inspiration for each vessel of this gilded beverage bouquet,” Wagner says. “It was a special commission created for a prominent, patriotic Californian, Anita May Baldwin (1876–1939). Baldwin lived in Arcadia on the vast Anoakia Ranch that she inherited from her father Elias J. “Lucky” Baldwin, but she also socialized and shopped in San Francisco. This luxurious set was likely designed with Anita Baldwin’s input and created in Rhode Island by Gorham, whose connection with the Lenox Ceramic Art Company provided the fitted white porcelain liners for the dainty silver poppy cup frames.”
The chocolate set’s history is actively being researched. In the meantime, the set is now on view in the museum’s Galleries.
Winterthur’s ongoing commitment to expanding and diversifying its collection ensures that visitors, students, and scholars can engage with a broad and inclusive array of historical narratives.
Explore recent acquisitions that feature works from different craft practices— painting, metalwork, ceramic, furniture, and literary arts—all engaging with the arts and crafts movement’s goal of harmonizing beauty with functionality. These objects highlight women artists, designs exploring non-Western influences, and items made specifically for children. Plus, enjoy an installation that highlights toxic pigments used in bookbinding and other potentially toxic objects in the collection, and learn how to spot potential hazards in your own collections.
Beginning in childhood, Henry Francis du Pont was a collector, gathering birds’ eggs, plants, and other natural objects in the gardens and woods of Winterthur and beyond. In later years, that same drive to gather and create beauty with objects was translated on a grand scale into his remarkable collections of decorative arts.
In partnership with the Delaware Museum of Nature & Science, the exhibition brings selections from their collection of natural specimens together with collections drawn from Winterthur’s museum and library holdings, demonstrating the powerful connection between nature and the decorative arts.
Outside In considers how du Pont’s interiors looked to the outside and brought it inside in an aesthetic that has inspired designers ever since. The enduring theme of nature in design is captured through objects featuring naturalistic elements and, in some instances, objects such as shells and feathers found in nature. Organic objects such as ladles made from coconut shells and busks made from whale bone are included in the exhibition, inspiring visitors to consider current discussions about preservation and conservation of the natural world. This visually eclectic and immersive installation will capture the imagination of visitors of all ages with objects ranging from a hornet’s nest to shells, minerals, and fossils to exquisite inlaid cabinetry and shellwork grottos.
Explore the Exhibition
Outside
In
Curator Kim Collison introduces the Outside In exhibition now open at Winterthur.
Organic Objects
Cathy Perrotto of the Delaware Museum of Natural History shows us two birds’ nests in ...
The
Design
Designer Sally Comport shares how she created the fresh, vibrant look for Outside In.
Nowadays, a purchase at many stores concludes with the question, “Would you like your receipt emailed or printed?” But in 18th- and 19th-century America, the customer would often handwrite their purchases in blank books which would then be signed by the vendor to certify the transaction.
The Winterthur Library recently acquired an unexpectedly personal example of how receipts were recorded before every shop had a small printer on the counter. This Delaware manuscript receipt book is a pocket-sized, leather-bound volume used as a daybook from 1768 to 1853 by several generations of the Kendalls, a Quaker family from New Castle County, Delaware, and holds records for purchases and other financial matters.
Jesse Kendall (1741–1769) was the first to use the book. Jesse was born in Wilmington, Delaware, the son of a cordwainer (a shoemaker specializing in working with new leather). According to Quaker wedding records held by the Winterthur Library, Jesse was also a cordwainer when he married Mary Marshall in 1763. However, the 23 receipts he recorded between 1768 and his death in 1769 suggest he may have changed vocations at some point, since most of the receipts are for the purchase of molasses, rum, imported goods from Jamaica, and copious barrels of flour. Jesse’s final entry listed a payment of his taxes for 1768.
Detail of a page recording payment for a winding sheet, medicines, and a grave for Jesse Kendall.
The end of Jesse’s life at age 27 is poignantly recorded in this same receipt book. His widow, Mary (1743–1802) used the volume briefly to record receipts related to the settlement of Jesse’s estate, funeral, and medical bills. Through Mary’s payment records of 23 shillings for a winding sheet for her husband’s body, 7 shillings for digging and “turfing” his grave, and medical expenses of more than £2 paid to Dr. Nicholas Way, we are given a glimpse into a difficult time for the Kendall family. Though the receipts lack any overt emotion, they invite us to reflect on the events behind the words. These records also situate the Kendall family in American history—less than two decades later, Dr. Way was a signatory on documents providing Delaware’s ratification of the U.S. Constitution.
Jesse and Mary’s son, John Kendall (1766–1845), was the third family member to use the volume. His period of use was the longest (1789–1837) and the most diverse. Receipts include those for foodstuffs (e.g., oats, beef, and flour); goods (e.g., cow, watch, wagon, and staves); services (e.g., shoemaking, hauling, and carpentry); and financial matters (e.g., tax payments, interest payments, and estate payments).
The final member of the Kendall family to use the receipt book was Jesse’s grandson, Gibbons Kendall (1801–1864). He used the volume from mid-1852 to late 1853, over 80 years after his grandfather’s first entry. Instead of recording personal transactions as his predecessors did, Gibbons used the volume to detail financial transactions in the estate of his sister, Rebecca G. Kendall, who died on July 13, 1852.
Though it is impossible to know the day-to-day details of the Kendall family’s lives, this receipt book provides interesting examples of the macroworld of early American financial recordkeeping practices, and the microworld of one Delaware Quaker family.
Research into the volume is ongoing as part of the cataloguing process that new library acquisitions go through before being added to the library’s online catalogue, Wintercat.
Two-year-old Miles toddled into the Story Stones area in Enchanted Woods at Winterthur and immediately spotted something intriguing. He grabbed a scoop from a bucket of potting soil and began to dig. The adults around him laughed and gently reminded him that he would have to wait until after story time to start the activity related to the book of the day.
He sat on a stone with his grandmother, Pat Caplan, and patiently waited as other children began to find their way to the clearing from different parts of the three-acre children’s garden. Caplan, a Winterthur Member, explained that she was babysitting for the day and checked Winterthur’s website to find an activity to entertain Miles.
Story time, included with admission to Winterthur, fit the bill perfectly.
Miles, center, and his grandmother, Pat Caplan, left, enjoy the seed-planting activity after a recent story time in Enchanted Woods.
Story Time in Enchanted Woods is designed for children aged 3‒6 and takes place every Thursday at 11:00 am from April through October among the Story Stones, one of many magical features of the garden.
After each nature-centered story, children enjoy a sensory station with objects and activities that match the day’s story. On the day Miles and his grandmother visited, the activity involved planting seeds in a biodegradable paper cup for the children to take home.
Michele Weiner, center, captivates the children with her engaging story telling.
Even without story time, Enchanted Woods is the perfect place to bring young children to let their imaginations run free. Designed to appear as though it was crafted by fairies, Enchanted Woods weaves its own tale, free of references to popular children’s stories, making the garden feel timeless and like a blank slate that children can fill with their imaginations. Its creation myth speaks of the fairies and sprites—missing the laughter of children who once played there—gathering artifacts from the Winterthur estate to build a spellbinding haven.
Recently, the Atlas Obscura podcast devoted an episode to Enchanted Woods, highlighting its unique charm.
Story time enhances this wonderful experience, often led by volunteers like Michele Weiner, a Winterthur Member and teacher who has worked with students struggling to read. As a story time volunteer, Weiner emphasizes the pictures in the books she reads and stays animated to keep the children’s attention. She is one of more than 250 volunteers who give their time to Winterthur.
On this day in Enchanted Woods, Weiner captivated the children, especially Miles, whom she addressed by name several times during the reading, having met him only moments earlier. For Miles, this personal touch made the day with his grandmother even more special.
Families gather at the shady Story Stones to enjoy the week’s story.
The word “ledger” calls to mind neat columns of numbers and meticulous recordkeeping. But what happens when a ledger stops being used for its intended purpose? Winterthur Library recently acquired a William Appleton and Company ledger, which gives insights into the global reach of a 19th-century Boston-based merchant shipping company and the life and times of the man whose name was at the top of the company’s masthead. It’s interesting enough as a record, but this volume is also exciting because it illustrates what can happen when a ledger that’s no longer used by the company falls, decades later, into the hands of a child who needed a scrapbook and sketchpad.
William Appleton (1786–1862) was a businessman and politician from Massachusetts, whose business acumen was clear early in life. In 1801 his first foray into business was as a clerk in a store in Temple, N.H., kept by Mr. Artemas Wheeler. Appleton made such a favorable impression on his employer that at the age of 19 he was made a partner.
Between 1807 and the 1820s, Appleton engaged in a variety of business ventures related to his mercantile interests, including the purchase of some of his earliest ships. From 1826 to 1841, he owned a counting house in Boston, Mass. In 1841 he and his son James joined Samuel Hooper to form William Appleton and Company, a merchant shipping firm which engaged in sea trade to ports around the world.
Detail of a page noting expenses on a ship bound for Bengal, India.
Detail of a page noting expenses on a ship bound for Bengal, India.
The Appleton ledger—a large, leather-bound volume detailing transactions between 1836 and 1843—records Appleton’s rise from a small business owner to a titan of Boston commerce. Many of its pages contain balance sheets for company transactions, either with individuals or other companies (for example, an 1838 transaction with the Liverpool Packet Co. in the amount of $54,143.16—the equivalent of almost $2 million in 2024). Some entries record transactions related to shipping logistics, including a payment of $6,560 (over $200,000 in 2024) for insurance on the Eben Preble, a 439-ton Appleton-owned ship bound for China.
Some entries contain balance sheets for domestic and international shipments, including several entries related to shipments made to New Orleans, La., in consignment with Hodge, Oxnard & Co. International destinations with similar entries include Calcutta, Havana, China, and Liverpool.
The last ledger entry in this roughly 200-page volume was made in 1843, with the business records comprising roughly one-third of the pages. Given that William Appleton and Company continued for several years after 1843, it’s unclear why it was abandoned with two-thirds of the book’s pages unused. Whatever happened, the ledger came into use years later by one or more people for an entirely different purpose.
Get outdoors and explore! Wander Winterthur’s 1,000 acres of rolling hills, meadows, woodland paths and trails, and wild garden. Click on either the garden or trail map below to get more information on where you can explore at Winterthur. When you arrive at Winterthur, check in at the Visitor Center.
Winterthur’s 60-acre historic garden has been carefully managed to preserve the unique design created by Henry Francis du Pont and his close friend and landscape architect Marian Coffin. This map highlights the significant garden areas, historic features, and architecture to be found throughout the garden.
Beyond Winterthur’s historic garden is nearly 1,000 acres of preserved woodlands, meadows, and farmscapes for our guests to explore. This map highlights trails, carriageways, natural areas, and farm buildings that we welcome you to discover.
From a curated list of our most picturesque picnic spots to a how-to guide for hiking on the estate, learn more and adventure your way this season at Winterthur!
Top Places to Picnic at Winterthur
With more than 1,000 acres of land, there are so many wonderful places to set up ...
Take a Hike!
Here is a quick list of 5 things to remember when visiting the “wild” areas (meadows ...
Mowing the Meadows
We thought this was a great opportunity to share the story behind our meadows and ...
See highlights of the garden from a seat on the garden tram. Learn the history of Winterthur and see what’s in bloom. This 30-minute narrated tram tour begins at the Visitor Center and ends at the museum with a stop in Enchanted Woods.
Visit the former dairy and farm and enjoy expansive views of the landscape. Hear stories of estate history and learn about repurposed work areas and historic buildings.
Discover the history and stewardship of the Winterthur landscape as you travel to the far corners of the estate to explore aspects of geology and ecology and hear fascinating stories about local history, flora, and fauna.
WINTERTHUR, DE (July 11, 2024) – Spend a summer day or an entire weekend exploring Winterthur while shopping for unique, artisan-made crafts and gifts during the fourth annual Artisan Market, taking place July 19-21.
This year’s market will showcase some of the region’s most talented artisans, offering an array of outstanding wares. These include antiques and collectibles, furniture and home décor, architectural salvage, high-quality handmade crafts, vintage clothing and jewelry, artisanal and small-batch gourmet goods, original art in various media, garden items, and more.
“Artisan Market has become a popular and lively event,” said Chris Strand, the Charles F. Montgomery Director and CEO at Winterthur Museum, Garden & Library. “It’s not only a wonderful way to spend a day, but it also supports our mission to educate audiences about American material culture, art, and design. Many of the artisans create high-quality crafts related to art, textiles, ceramics, glass, woodworking, antiques, and gardening. Each of these categories connects to Winterthur’s past.”
Drone footage of a portion of the 2023 Artisan Market at Winterthur as captured by Stephen Ciskanik.
Details about the event and a list of the more than 100 artists, musicians, and food vendors can be found at Winterthur.org.
Please note that all guests are required to purchase an event ticket in advance. This is a rain-or-shine event.
Purchase tickets online here or by calling 800.448.3883.
Many of the artisans have received widespread acclaim:
The vendors will be in several locations throughout the estate. Visitors can walk the garden paths and enjoy the beauty of the summer blooms and lush greenery while shopping.
With your Artisan Market ticket:
visit over 100 local artisans on-site;
enjoy live music at various locations;
sample culinary offerings;
experience the Self-Paced House Tour (on a first-come, first-served basis as capacity is limited).
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.
One of the nation’s most highly acclaimed antiques shows presents a spectacular showcase of art, antiques, and design! Featuring the finest offerings from more than sixty distinguished dealers, the Delaware Antiques Show highlights the best of American antiques and decorative arts. Join us for a full schedule of exciting show features sure to captivate the sophisticated and new collector alike.
A Collector’s Preview
Thursday, November 5 | 6:00–9:00 pm
Please join us for the opening of the show with cocktails, hors d’oeuvres, a wine and art pairing, live music and exclusive early shopping! A Collector’s Preview ticket is valid for admission to all days of the show and to Winterthur during the show dates. All lectures are included with show admission.
Connoisseur Circle: $350 per person, early admission at 5:00 pm Aficionado: $250 per person Young Collector: $175 per person
General Admission
$27; $22 Winterthur Members; $13, student (with ID). Children under 12 free. Ticket valid for admission to all days of the show and to Winterthur during the show dates.All lectures are included with show admission.Ticket sales start in September.
Friday, November 7 | 11:00 am–6:00 pm.
Saturday, November 8 | 11:00 am–6:00 pm.
Sunday, November 9 | 11:00 am–5:00 pm.
Location & Parking
The Chase Center on the Riverfront is located at 815 Justison Street, Wilmington, Delaware, less than one hour south of Philadelphia, and midway between New York City and Washington, D.C.
Ample free parking. Accessible parking for persons with disabilities.
Sponsorship Opportunities
Sponsorship benefits include recognition on printed marketing materials, promotional eblasts, and advertisements, as well as tickets to A Collector’s Preview party and Show admission. Please contact Merissa Courtright at mcourt@winterthur.org or 302.888.4760.
Lectures
Please check back for information on this year’s lectures.
New to Collecting?
The Delaware Antiques Show welcomes all, from the newest collector to the most knowledgeable connoisseur.
Tips for New Collectors
What’s the difference between a collector and a pack rat? Focus, knowledge, enthusiasm, and ...
2025 Annual Delaware Antiques Show Program
The Best of Americana.
Protect Your Collection
Bring your objects to one of Winterthur's free Conservation Clinics, where faculty and students of ...
2025 Delaware Antiques Show Exhibitors
Antique French Fine Arts
Jayne Thompson Antiques
Arader Galleries
Jeff R. Bridgman Antiques
Aronson of Amsterdam
Jeffrey Tillou Antiques
Avery Galleries
Jonathan Trace
Barbara Israel Garden Antiques
Kelly Kinzle
Betty Krulik Fine Art
Levy Galleries
A Bird in Hand Antiques
Lillian Nassau, LLC
Brian Cullity American Antiques
Marcy Burns American Indian Arts, LLC
Christopher H. Jones American Antiques
Martyn Edgell Antiques, Ltd.
Dan and Karen Olson Antiques
Nathan Liverant and Son, LLC
David Brooker Fine Art
The Norwoods’ Spirit of America
David A. Schorsch—Eileen M. Smiles
Olde Hope
Diana H. Bittel
Oliver Garland
Dixon-Hall Fine Art
The Parker Gallery
D. M. DeLaurentis Fine Antique Prints
Peter Pap Rugs
Dolan/Maxwell
Ralph M. Chait Galleries, Inc.
Earle D. Vandekar of Knightsbridge, Inc.
Roger Winter Antiques
Elle Shushan
R. M. Worth Antiques
Elliott & Grace Snyder
Schillay Fine Art, Inc.
Francis J. Purcell, Inc.
Schoonover Studios, Ltd.
Glen Leroux
Schwarz Gallery
G. Sergeant Antiques
Scott Bassoff, Sandy Jacobs Antiques
The Hanebergs Antiques
Sheridan Loyd American Antiques
Hilary & Paulette Nolan
Silver Art by D & R
HL Chalfant American Fine Art & Antiques
S. J. Shrubsole Antique Silver and Jewelry
Hollis Brodrick
Somerville Manning Gallery
Ita J. Howe
Spencer Marks
James L. Price Antiques
Thistlethwaite Americana
James M. Kilvington, Inc.
Walker Decorative Arts
James Robinson, Inc.
William Cook Antiques
Janice Paull
William R. & Teresa F. Kurau
Thank You for Your Support!
Proceeds from this year’s Delaware Antiques Show help support key educational initiatives such as free school programs and Discover Winterthur, our free day for the community. Support for these important programs allows us to share the wonder of Winterthur with thousands of schoolchildren and our surrounding community.