January 24 – February 7, 2010
Cover: Chiswick House, Lord Burlington with
the assistance of William Kent, architects,
The idea for the course, English Design Museum and expand the number of
History, originated during a dinner students in the course. In addition to
conversation at the home of John and the eight Culture Fellows, four graduate
Marjorie McGraw. Their offer to fund students representing the Departments of
some of the start-up costs for the course Art Conservation, Art History, English,
set the stage for this important innovation and History joined the group. That trip
in graduate education. included visits to new collections and sites,
furthered relationships with colleagues
Winterthur Program faculty have used and scholars in English institutions, and
field-based study throughout the history expanded the students’ knowledge of
of the Program, but organizing two weeks design history between 1530 and 1930.
of study in London represented a major
commitment of time and resources. Brock Jobe, Professor of American
We soon realized that a trip to England Decorative Arts, Linda Eaton, Director
would profoundly alter the Winterthur of Collections and Curator of Textiles,
Fellows’ understanding of American and Ann Wagner, Associate Curator, led
decorative arts, and decided to organize the 2010 trip—Linda accompanying the
a course that was integrated into the students during the first week and Ann
Program’s curriculum. This course would during the second. Each student selected
include a week of preparatory study in the a day and wrote a summary of what he or
Winterthur Museum’s library and object she saw and did. Every day, they e-mailed
collections after which the students would their reports to the Program office back
travel to London for field study. at the University of Delaware, providing
a written diary of their reactions and
Reasoning that the students would learn experiences.
more after a semester of connoisseurship
training, faculty pioneered the concept Two of the Culture Fellows, Hannah
with the first group of Fellows in January Freece and Erin Kuykendall, subsequently
of 2008. That first trip was a magical merged these entries and the photographs
experience. Many of the sites that the students took while on the trip into this
students visited in 2008 are still on the document. I am grateful to them for their
course itinerary. The trip altered the ways in hard work.
which the Fellows thought about American
decorative arts and material culture. We hope you will enjoy this collective
record of the groups’ experiences.
In 2009, a two-year Graduate Development
Grant from the Provost’s Office at the J. Ritchie Garrison
University of Delaware enabled course Director, Winterthur Program in
instructors to match funding from the American Material Culture
January 25, 2010
The highlight of our first day in London
was a walking tour of historic architecture
in the City. Peter Guillery, of English
Heritage, led us in exploring numerous
amazing churches with equally impressive
exterior architecture and interior fixtures.
Many of the churches were restored after
the Great Fire of 1666, but some retained
interesting aspects of their Gothic origins.
Peter connected the various buildings
to the trends that swept London in the
seventeenth and eighteenth centuries,
and to the architectural influence of Inigo
Jones and Christopher Wren. Beginning
our visit to London with this walking tour
allowed us to place ourselves within the
greater context of the historic city and
examine how the built landscape crafted
London’s past and present identity.
The Navy Staircase in the Somerset House,
designed by Sir William Chambers (opposite
Peter Guillery addresses the group at Lincoln’s
Inn Fields (opposite below).
An early vaulted arcade below the seventeenth-
century Lincoln’s Inn Chapel (upper right).
Interior and altar of St. Mary-le-bow in Cheapside
Exterior elevation of St. Paul’s Cathedral,
designed by Sir Christopher Wren (below right).
January 26, 2010
We started our day at the Wallace furniture. They jokingly acted deflated,
Collection, which is housed in a late but then leaped on the opportunity to get
eighteenth-century brick mansion. The in touch with Winterthur staff to explore
recently renovated rooms are stunning the issue further. This exchange is a great
examples of Rococo style. Eleanor Tollfree, example of why it is important to travel to
Curator of Furniture, gave us a tour of the other countries and meet with others in
collection highlighting French furniture. your field.
We saw works by French cabinetmaker
André-Charles Boulle, from whom we get In the afternoon we got our first taste of
the term boulle marquetry. the Victoria and Albert Museum (V&A).
Clare Browne, Curator of Textiles and
Later, Wallace Collection furniture Fashion, dazzled us with a presentation
conservators showed us how marquetry is on eighteenth-century English silks and
created. The conservators also showed us Sonia Solicari, curator in the Ceramics
what they considered to be an extremely and Glass Collection, toured us through
rare style of wedging on dovetail joints the newly opened Ceramics Galleries.
from a German piece of furniture, but
Brock told them we have hundreds of
similar examples in Pennsylvania German
This elaborate cast iron and gilt stairwell is inside Clare Brown showing a fully dressed doll in
Hertford House. textile storage at the V&A.
The Wallace Collection is housed in Hertford The ceramics galleries organize the collection
House, located on the north side of Manchester into five parts, including an artist-in-residence
Square in Marylebone (opposite). studio shown beyond the teapot display (below).
January 27, 2010
Although we studied the Royal Pavilion in Chinese inspirations and the way George
class, nothing could have prepared us for IV entertained guests at his “pleasure
the sight of this elaborate building in the palace.” Especially in the Banqueting Hall,
middle of regular city streets. Our guide at I could see similarities between Henry
the Pavilion, David Beevers, was one of the Francis duPont’s work at Winterthur
best museum interpreters any of us had and George IV’s determination to have
ever met. David’s knowledgeable, pithy, a unique style that revived the past, and
and enthusiastic narrative kept us at rapt his aesthetic approach to the interior’s
attention while he explained the building’s coordinated, repeating fretwork motifs.
design and varied past. When discussing
his own curatorial decisions about the site, After lunch, we visited the neighboring
he highlighted the challenges of restoring Brighton Museum and Art Gallery,
scattered furnishings and interpreting the housed in the exotic building that was
many phases of the Pavilion’s life. once George IV’s horse stables. Our
meeting with Curator of Textiles Martin
The elaborate furniture, chandeliers, Pel allowed us to see a collection very
wallpapers, carpets, stained-glass windows, different from Winterthur’s. The Brighton
and murals were more impressive than Museum’s strength is twentieth-century
John Nash’s illustrations of the interior. clothing, featuring local labels such as
David’s explanations gave us a better Barbara Hulanicki’s Biba. For most of
appreciation for the interior’s anglicized us, twentieth-century couture is not a
connoisseurship strength, but we could
all appreciate how racks of colorful 1960s
shifts or 1900s evening gowns would only
become more valuable to future material
Lastly, we met Senior Keeper and Keeper
of Decorative Arts Stella Beddoe for a
look at the impressive ceramics collection
of Henry Willett, a Brighton Museum
founder. Willett also inspired some
comparisons to duPont, with a collecting
scheme that suited his own interests
rather than Victorian convention. Willett
did not necessarily seek out the finest or
most famous ceramics, collecting instead
populist and commemorative pieces that
chronicled British history. Many of these
pieces were relevant to student research
projects. After our time in the gallery,
Stella took us down to ceramics storage
where we enjoyed seeing more unusual
and interesting pieces.
Prince Regent George IV’s fascination with
Indian architecture influenced the designs of
architect John Nash (opposite).
Martin Pel showed the group an embroidered
eighteenth-century groom’s waistcoat in textile
storage (upper right).
Mr. Willett’s Pottery is organized around the 1899
catalogue written by Willett, which grouped
ceramics according to themes (center right).
Students outside of the Royal Pavilion (lower
January 28, 2010
On the third day, we visited two museums, After a quick lunch, we arrived at the
giving us the opportunity to become Museum of London. There we spent
deeply immersed in a specific collection of the afternoon with Hilary Davidson, the
each institution. We began the day at the Curator of Fashion and Decorative Arts,
V&A, where Glenn Adamson, Deputy who gave a fantastic presentation on the
Head of Research and Head of Graduate museum’s costume collection. Hilary
Studies, introduced the expansive British discussed dress from the early eighteenth
Galleries. These spaces display objects to late nineteenth centuries, displaying
of art, architecture, and material culture garments including women’s dresses,
dating from 1500 to 1760, and are a men’s suits, shoes, hats, undergarments,
fascinating presentation of the museum’s and even a realistic, androgynous wax-work
holdings. As a Winterthur fellow, one of doll with full male and female wardrobes.
the most pertinent aspects of the galleries’
interpretation was its use of the “period
room” model, which focused more on
displaying objects and architecture in their
own right than creating “impressions” of
Students listened to Hilary Davidson explain stylistic changes observed in ladies’ dressing gowns at the
turn of the nineteenth century.
Overwhelmingly, the themes of the day
focused on hybridity and transfer of ideas.
From familiar English furniture forms
that influenced styles adopted in America,
to the fashion of men’s clothing borrowed
directly from France, the many objects we
viewed today helped to illuminate ideas of
local and global design exchange.
Glenn Adamson referenced the complicated
installation of the Music Room from Norfolk
House (upper right).
The tour concluded in the post-modern gallery
with You can’t lay down your memories, by Droog
Design (lower right).
The Cromwell Road entrance to the V&A was
designed by Sir Aston Webb and constructed
between 1899–1909 (left).
January 29, 2010
We began our day at the Queen’s Gallery,
Buckingham Palace, with a tour from
Desmond Shawe-Taylor, Surveyor of the
Queen’s Pictures. Shawe-Taylor spoke
about highlights from the paintings
exhibition, The Conversation Piece: Scenes
of Fashionable Life, touching on trends
in painting and portraiture, political
symbolism, and the history of the
monarchy. It was a treat to see works
like Johann Zoffany’s The Tribuna of the
Uffizi that are rarely on display, and to
soak up tidbits from Shawe-Taylor’s deep
knowledge of the artists, patrons, and
society of the period.
At our second stop, the Society of
Antiquaries of London, General Secretary
and CEO David Gaimster introduced us
to the background of the organization and Sir John Soane’s Museum, 13 Lincoln’s Inn Field.
led a tour of the library and reading rooms.
The Society’s location adjacent to the museum endeavors to replicate exactly
Royal Academy of Arts speaks to the long the experience of the owner and his
history and tradition of intellectual clubs contemporaries, installing candles and
like these in England. The library houses live plants where other administrators
a wealth of sources from the eighteenth would bow to more modern conceptions
and nineteenth centuries that was great to of best practices. The effect was striking,
know about for future research. and the museum was a wonderful place to
visit for its insight into both nineteenth-
Representing another intellectual century ideas about pedagogy and
tradition, our third stop, Sir John twenty-first-century ideas about museum
Soane’s Museum, blew us away with management.
objects from the classical world tucked in
every nook and cranny of Soane’s home Our final stop took us to the Frederick
and offices. Soane’s innovative use of Parker Chair Collection at London
skylights and mirrors was impressively Metropolitan University, where Senior
effective in illuminating the displays in Lecturer John Cross spoke about the
the late afternoon twilight. More than history of the collection, first envisioned
most historic sites I have visited, this as a source of inspiration for workers at
a furniture company. The collection holds
fine examples of English chairs from the
seventeenth, eighteenth, and nineteenth
centuries (including some with their
original upholstery), as well as more recent
copies and amalgams made by Frederick
Parker’s employees. Overall, it was a full
day, but a rewarding one!
A walk past Buckingham Palace (below). The Lounge at the Society of Antiquaries (above).
January 30, 2010
One word sums up our first Saturday almost all the other materials, like fine
in England: ceramics. Clay, pottery, clay, were imported from other parts of
porcelain, bottle ovens—anything and England.
everything ceramic followed us around
Stoke-on-Trent, the capital of the English Our ceramics tour continued at the
pottery industry since the seventeenth Gladstone Pottery Museum. Gladstone
century. Our morning started early as was a company whose buildings have
we caught the train from London to been preserved and restored to show how
Staffordshire to meet Deborah Skinner, an actual Staffordshire factory produced
our guide for the day. We first visited bone china. As the pottery industry
the Potteries Museum, which has an largely moved out of the region during
amazing collection of ceramics made in the mid to late twentieth century, so has
Staffordshire over the last four centuries. the incredible knowledge and skill base
Our hands-on workshop with the ceramics of the once-numerous employees. Two
curator, Miranda Goodby, gave us a more interpreters demonstrated the dying arts
thorough technical understanding of how of making ceramic flowers and painting
and what Staffordshire potteries produced. enamel decoration by hand. The woman
I had not realized that the primary reason making flowers was expected to make 400
the area thrived in pottery manufacturing a day when she worked in the factory—
was because of the massive amounts of unbelievable how fast her hands could
coal under the ground that fired the kilns; move! But perhaps the most fascinating
part of the Gladstone Museum was not
its demonstrations or displays of turning
and throwing, or even its incredible bottle
oven, but a more modern exhibit on the
history of an everyday ceramic object—the
toilet. The rise of the modern toilet forced
me to reevaluate how people in the past
and today think about sanitation and the
This jug was discovered on BBC’s Antiques
Roadshow and is now at the Potteries Museum.
Bottle ovens in Staffordshire once filled the skies Interior of a bottle oven filled with saggars
with plumes of smoke. containing wares ready to be fired.
Our final stop was the Wedgwood
Museum, where we met Director Gaye
Blake Roberts. This impressive and well-
received museum, which opened just
last year, provides a case study for what
is happening to too many museums
today—a tremendous loss of funding, in
this case, from the Wedgwood Company.
The director was inspirational in her
perseverance and demand that the visiting
public still must come first. We were
treated to a special visit to the museum’s
archives, where we saw some of Josiah
Wedgwood’s account and pattern books— The new museum and visitor center at the
truly a rare opportunity. It was rewarding Wedgwood Company site.
to see how many times he drew a design
until he got it right, or how many times
he tested different glazes until he achieved
the perfect color. As Wedgwood said,
“Everything gives way to experiment.”
Indeed, his experiments, and those of all
the Staffordshire pottery manufacturers,
have paid off in the exceptional ceramics
to emerge from this region over the past
February 1, 2010
After a day off, on Monday we had the surviving, medieval Guildhall buildings
good fortune to visit the Guildhall Art and the stone demarcations for the
Gallery. The gallery’s current exhibitions massive Roman amphitheatre provided a
included several formal court portraits clear visual illustration of the evolution of
and pre-Raphaelite paintings. During the London.
construction of the current Guildhall
building in the 1990s, excavators Nearby, we visited The Clockmakers’
discovered remains of London’s Roman Museum, which chronicles the inventions,
amphitheatre on the Guildhall site. The library collection, and personalities
gallery provided us with an interesting of the London Clockmakers’ Guild.
example of how several different historical Keeper of The Clockmakers’ Museum
periods can be simultaneously interpreted George White stressed the importance of
and preserved within one cultural heritage contextualizing the history of clocks. For
site. Archaeological remains of the east example, the development of pendulum
entrance of the amphitheatre and Roman clocks in parts of seventeenth-century
artifacts continue to be displayed within London reflects the technological prowess
the Gallery, while the circumference of the of some clockmakers, but also correlates
gladiatorial grounds are outlined within with areas unaffected by the Great Fire of
the stones in the square in front of the 1666, meaning those shops were better
Guildhall. The juxtaposition between the equipped to experiment.
The Geffrye Museum focuses on how
middle-class Londoners furnished their
homes. Household inventories, surveys,
and studies of surviving furniture
provide inspiration for interiors from the
seventeenth century through the twentieth
century. The ability to compare a series of
period rooms allowed us to analyze stylistic
changes of furniture, wall treatment, and
decoration as well as issues of gendered
space and designation of room usage
within London middle class homes. Few
American museums provide installations
of twentieth-century interiors, so all of The Geffrye Museum is housed in the former
the students found the opportunity to almshouses of the Ironmongers’ Company.
view such period rooms beneficial to
their understanding of twentieth century
One of the highlights of the trip thus far
has been the opportunity to meet Jorge
Welsh, dealer of porcelain and works of
art. Mr. Welsh shared with us some of
his amazing examples of Chinese export
porcelain, allowing us to study several
rare porcelains closely. Welsh stressed
the importance of “training your eye” by
always studying the highest quality objects,
which allows a connoisseur to easily Two seventeenth-century timepieces from the
distinguish fakes and lower quality pieces. Clockmakers’ Museum.
Examining chairs with furniture historian Adam
Bowett at the Geffrye Museum (right).
The new Guildhall Art Gallery opened in 1999,
once excavation was complete (opposite).
February 2, 2010
Our day began with a walk to Gutter Lane sense of standards to which the company
to tour the Assay Office and Goldsmith’s held itself.
Hall. Librarian David Beasley introduced
us to the Company’s long history. Although I enjoyed the session with David
Beginning with a Royal Charter in 1327, Beasley, our tour of the actual working
the Goldsmith’s Company oversaw offices with the Head of Training, David
standards in the precious metals industry. Merry, was probably the most exciting
Because silver and gold have an intrinsic part of the day. We witnessed employees
value, the Royal Charter empowered stamping wares that were sent to the
the Goldsmith’s Company to regulate company for marking. I was initially
the industry by ensuring that customers surprised by the high volume of jewelry
would know the quality of the metals they making its way through the offices and
were buying—an early form of consumer was astounded to hear that they handle
protection! David explained that in the over 20,000 items daily! David was candid
1360s the maker’s mark emerged and the in his commentary about hand-stamped
Assay Office used symbols or initials to marks versus laser-stamped marks which
denote a specific maker’s wares. Walking are faster and cheaper. Although some
through the halls of the Goldsmith’s delicate and small items require the use of
Company and listening to the words of laser marks, Dave lamented that the old
our tour guides, I was struck with the traditions were eroding in Birmingham,
Our day concluded with a visit to Martin
Levy, dealer of nineteenth-century English
antiques. I really appreciated all of the mini
history lessons he was able to provide as he
discussed the various items in his stock. I
came to appreciate the late Victorian
period as not simply a hodge-podge of
style faux pas marked by the mixing of
shoddily-constructed contemporary wares
with the antique, but rather a time of
some sophisticated craftsmanship in the
Gothic revival, Aesthetic, and Arts &
Crafts styles. It was a great way to end a
really interesting day.
for example, where laser machines have
replaced hand marking almost entirely.
In addition to being shown the x-ray
and acid-testing equipment that is used
for assessing the purity of gold, silver,
and platinum, we were also shown the
laboratory where gold scrap is melted to a
purity of 99.999% gold. This was truly an
“aha moment” when the scientist showed
us the process by which the scrap gold and
a bit of pure silver was wrapped in lead
and then chemically treated and heated to
oxidize the base metals and leave gold. It
was sheer magic!
Students reviewing one of the illustrated
catalogues published by Martin Levy (opposite ).
An unusual nineteenth-cenury cast iron chair at
Martin Levy’s gallery (upper right).
The current logo of the Worshipful Company of
Goldsmiths (upper left).
February 3, 2010
On Wednesday, we met Treve Rosoman,
a curator for English Heritage, at
Chiswick. It was interesting to learn how
the surrounding landscape had changed,
resulting in a skewed interpretation of the
site at present. For example, there was once
a sizable Jacobean style house attached to
the side of Chiswick. According to Treve,
eighteenth-century views and drawings
of the property either do not depict the
Jacobean house or portray it grossly out of
scale. Nonetheless, it was a beautiful house
that I am glad we went to see, architectural
oddities and all.
At Hampton Court Palace, our group met
Marc Meltonville and Sebastian Edwards,
who are part of the Historic Kitchens
Team and Deputy Chief Curator & Head
of Collections, Historic Royal Palaces, The clocktower and interior courtyard of
respectively. Marc led us through the Hampton Court Palace.
Renaissance-period kitchens. The Historic
Kitchens Team is doing truly fascinating
work. Not only have they researched and addition, it is interesting to see how the
interpreted the foodways used during the staff are trying to recreate the history
life of Henry VIII, they also go beyond that gets lost with time. Because they do
a basic “food historian” interpretation cook in a similar style to how it was done
to give their audience a taste of social during the Tudor and Stuart periods,
history. For example, I had never thought every damaged pewter cup and worn out
about the fact that the entire court was spit is recorded for posterity.
basically a mini army, with over 600
people for which three meals a day had to We also toured King William III’s
be provided; because they were so large, private quarters and finished the day
the court had to move around constantly with a reception at the Royal School of
and their mere presence depleted a place Needlework.
of all its resources very quickly. Hampton
Court did not have a dairy because it was
too difficult to provide that much milk or
milk-based recipes for so many people. In
Tapestries from the royal collection exhibited in The interior of Chiswick was designed by
King William III’s apartments. architect William Kent between 1726–1729.
Inside the main hall at Hampton Court Palace.
February 4, 2010
Josh Probert wallpapers. Sheraton, Hepplewhite, and
Chippendale seamlessly mix with Morris,
Webb, and Pugin. The material culture of
Today was topically divided between these houses reveal that both producers
the Aesthetic Movement of the late- and consumers of reform objects were not
nineteenth and early-twentieth centuries iconoclasts of past design but were instead
in the morning and English metalwork engaged in a debate with the design and
in the afternoon. The homes of Emery manufacture of their day.
Walker and Linley Sambourne are
historical treasures, interiors frozen Both houses are more similar to their
in time. One expects their famous Victorian contemporaries in aesthetic
occupants to come through the front than coffee-table books or exhibition
door at any moment, sit down in one of catalogues on design reform lead one to
their now museum-quality chairs, and believe. They were dark (although not as
read the newspaper or a political flyer. dark as they are now), busy, packed with
These houses are valuable examples for objects, and stages of sentimentality. Yet
scholars of museums and design history; both were missing the quintessential
they complicate the idea of style, at least Victorian furnishing—the family parlor
that of unified interior designs seen in Bible. Most of the elite designers and
the period rooms of museums. In both artists of this period in England had
houses, eighteenth and early nineteenth become disenchanted with religion, and
century furniture was interspersed with this is reflected in the images hanging on
Arts and Crafts and Aesthetic furnishings. the walls and the books on the shelves
Old portraits, prints, and drawings are (Nietzsche, for example) and those not on
hung on up-to-date Morris and Company the shelves.
Angus Patterson of the V&A provided an
excellent survey of fine and base metals
through a hands-on workshop in the
curatorial storage space. This was followed
by a tour of the silver galleries, which was
valuable from both a connoisseurship
perspective and a museological one.
Seeing a selection of objects in a gallery
after handling similar ones facilitates
mental connections between names,
dates, styles, materials, skills, and trade
networks. From a museology perspective,
the new LED lights installed in the cases
The exterior of the Edward Linley Sambourne
House, 18 Stafford Terrace.
Much of the interior furnishings in the Emery An English wrought iron weathervane, ca. 1758,
Walker House were owned originally by Philip originally from Surrey, and on display in the
Webb and William Morris. metals gallery.
make the gallery look like the interiors
of Cartier or Tiffany’s. Each object is
strategically illuminated with these state-
of-the-art lights that make visible what
might be lost in shadow. What does this
do for interpretation? How does it change
the object? Emery Walker and Linley
Sambourne did not have LED lights on
their etageres or fireplace mantels. Instead
objects blend with the numerous other
objects and the busy designs of fabrics and
wallpapers. The gallery display encourages
focused looking instead on one object,
removed from its societal histories. Both Angus Patterson featured this engraved silver
types of looking have their advantages cow creamer in our workshop.
and disadvantages. Doing both in one day
capitalized on each.
February 5, 2010
On our last day, the group met with John this wing for King Charles II who intended
Bold, author of Greenwich: An Architectural to construct a grand palace. In 1694, the
History of the Royal Hospital for Seamen and the grounds were donated by Queen Mary to
Queen’s House and a Senior Lecturer in the support a Royal Hospital for Seamen. It
architecture department at the University was fascinating to see the original core of
of Westminster. We began our walk on the this seventeenth-century building, and also
north bank of the Thames where Dr. Bold to explore the many layers of history visible
delivered a brief orientation to Greenwich. in subsequent renovations.
The main pedestrian thoroughfare bisects Next, we visited the Queen Mary building,
the four main buildings—the King Charles, designed by Thomas Ripley in the 1730s
the Queen Anne, the King William, and and 1740s. Christopher Wren designed the
the Queen Mary—associated with the overall plan for the Royal Naval Hospital,
Royal Naval College. Dr. Bold spoke of the but much of the actual work is attributed to
magnificence and the benevolence of the Nicholas Hawksmoor. Touring the Queen
state as conveyed through architecture, and Mary building was a special treat since we
elaborated on these themes during the rest saw an original skittles alley.
of the walk.
Later that afternoon, our tour with Dr.
We first toured the King Charles building. Bold resumed at the Queen’s house,
John Webb, a pupil of Inigo Jones, designed one of the first purely classical buildings
constructed in England. Originally
intended as a private retreat for Queen
Anne of Denmark, this building has
also undergone extensive renovations
and alterations since it was first designed
by Inigo Jones in 1616. Later, Queen
Henrietta Maria, wife of Charles I,
initiated further additions, including a
second story. The building is currently
used as a gallery, displaying paintings of
Stuart monarchs and English elites.
The group split apart to explore the
remainder of the site on our own. Some
folks headed up the hill to the Royal
Observatory. Wren designed this building
in 1675-6 on the foundations of Duke
Humphrey’s Tower, an earlier fifteenth-
century structure associated with the
Bellacourt estate. Others explored the
National Maritime Museum, including
exhibitions relating to the trade in the
Atlantic world and the death of Admiral
Exterior southwest corner of the Queen Mary
View of the Royal Observatory, comissioned in
1675 (upper right).
The game of skittles was one activity available to
entertain the hospital residents (center right).
The chapel is decorated with coade stone, an
ornamental ceramic material (lower right).
Back Cover: Reproduction cut velvet wallpaper,
Thanks to a bequest by an alumna of the Program and several generous donors, the
Winterthur Museum, Garden and Library established an endowment for field-based
learning in 2008. These funds continue to grow from additional gifts.
This February, Debra Hess Norris, Vice Provost of Graduate Studies, University of
Delaware, notified us that the Graduate Office will provide funds for four more University
graduate students to take the English Design History course in January 2011.
The students wish to thank all of their hosts for generously sharing their time and
resources and the Winterthur staff for organizing a wonderful trip.
Special thanks to the following individuals:
Mr. and Mrs. Theodore H. Ashford III
Estate of Martha Gandy Fales
J. Ritchie and Carla J. Garrison
The Harkness Trust
Mr. and Mrs. Frank L. Hohmann III
Mr. and Mrs. John L. McGraw
Donald J. Puglisi
The Reef Seekers Chapter of the Questers
The University of Delaware