Directory of Americ A n n - home - Winterthur Museum ...Early American Life celebrates the 30th anniversary of the Directory ... Directory of Americ A n of n . August 2015 | EARLY

22 EARLY AMERICAN LIFE | August 2015

Many of the objects shown on the following pages are displayed at Winterthur Museum, Garden & Library, the du Pont family estate in Delaware. In the early 20th Century, owner Henry Francis du Pont collected outstanding

specimens of American furniture, decorative arts, and architectural elements that today fill 175 rooms on eight floors. He and his family moved to smaller quarters and opened the mansion as a museum in 1951.

Early American Life celebrates the 30th anniversary of the Directory of Traditional American Crafts, which this year found more artisans than ever ranking as the best of the best in the eyes of the judges. Since 1986, the Directory has recognized artisans who preserve America’s heritage of handcraftsmanship by replicating or drawing inspiration from yesterday’s masterpieces for today’s period settings.

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Directory of AmericAn

August 2015 | EARLY AMERICAN LIFE 23

The museum houses nearly 90,000 objects made or used in America between about 1630 and 1860 as well as permanent and changing exhibition galleries. Du Pont, a horticulturalist with a keen sense of color, designed period rooms to compliment the views of the 60-acre naturalistic garden that surrounds the mansion.

In addition to its unparalleled collection, graduate programs and a pre-eminent research library make Winterthur an important center for the study of American art and culture.

The artisans’ work pictured in these pages earned its place amidst the furnishings at

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Winterthur by garnering top marks from our panel of museum curators, collectors, and historians in their respective categories based on their mastery of traditional techniques and the scholarship that informs them.

Together with the antiques displayed in the museum’s period rooms, these newly made objects extend the tradition of fine craftsmanship, distinguished only by age and the maker’s hallmark.

Parts of the vast complex that is Winterthur Museum can be seen through a profusion of trees and flowering shrubs on the grounds.Photo bY bob LEItCh


Welcome to

Winterthur museum, Garden & library preserves and displays one of the nation’s Greatest collections of americana, but the story behind it is of one man With a unique vision and the means to attain it.

Photos CouRtEsY oF WINtERthuR MusEuM

the conservatory on the north end of the house is often filled with flowers.


enry frAncis du Pont was a farmer, although he preferred the term “agriculturalist.” that’s what he went to Harvard to learn

as the 20th century opened, and he planned to continue graduate stud-ies there. But the unexpected death of his mother, mary Pauline foster, when he was twenty-two altered the course of his future because his father passed to him the responsibility of running the household.

the house sat on the family estate called “Winterthur,” named by Henry’s great uncle Jacques Antoine Bidermann, who built a twelve-room Greek revival home there and named it after the town in switzerland where he had been born. After Bidermann’s death, his son sold the house and property to Henry francis’s grandfather, keeping it in the du Pont family, which turned a black powder mill on the Brandywine river into one of America’s great family fortunes.

Because of the fortune, Henry francis du Pont could undertake the expansion of the family home into what eventually became a 175-room museum filled with some 90,000 dec-orative arts—a chronicle of American design from the mid-17th to the mid-19th century. He could also create the 60-acre naturalistic garden that surrounded the house within the larger setting of rolling meadows and woodlands. everything he did, he did well—meticulously and with passion.

“What my father did was not at all apparent,” remembered his daughter ruth lord in her biography of her father, Henry F. du Pont and Winterthur. What he ended up doing was saving some of America’s most important heritage.

Henry’s fondest memory of his mother was working with her in the estate’s gardens tending vegetables and flowers, and when in 1909 his father gave him control of the estate in addition to the home, “Henry could feel close to his mother as he redesigned her beloved rose garden and added flower-bordered ter-raced lawns,” remembered lord. He

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the sundial garden was transformed from the site of henry Francis du Pont’s tennis and croquet courts into a bountiful April and May garden with beds arranged in geometric patterns, which create a sense of enclosure and symmetry. Crabapples, viburnum, silver bell, Ipheion, and spirea create fountains of whites, pinks, and lavenders.

As Winterthur’s most celebrated bloom beginning in 1917 as a small nursery, Azalea Woods illuminates 8 acres with subtle shades of white and pink as well as unusual color combinations, such as lavender and cherry red. these waves of color are soon joined by deep velvety broadleaf genus Rhododendrons. “No other plant,” said henry Francis du Pont, “will give four months of bloom in Delaware.”

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to the old World to feed their desires for beauty and bringing back statues, paintings, and even furniture to adorn their mansions. every summer before the Great War, du Pont visited europe and returned with antiques. He pre-ferred the french.

some time around the second decade of the 20th century, du Pont’s tastes changed, helped by the influ-ential women in his life. After he married ruth Wales in 1917, he vis-ited her friends at shelburne farms in Vermont—the Webb family, who collected Americana. (in 1946 elec-tra Havemeyer Webb would found shelburne museum to house her col-lection of American folk art.) later, du Pont’s sister, louise, introduced him to antiquarian and designer Henry Davis sleeper and his home, Beauport in Gloucester, massachu-setts, which sleeper had decorated with salvaged woodwork and furnish-ings from early homes.

Du Pont had joined the small circle that had begun collecting and preserving the work of America’s artists and artisans. it was a critical time—they saw much of the coun-try’s early history would otherwise be lost. Du Pont stands out among the others because he not only had the vision of preservation but he had the means and desire to acquire the best. for instance, acting under a pseud-onym, mr. Winthrop, he outbid William randolph Hearst for a Philadelphia rococo high chest, pay-ing $44,000.

Du Pont had caught the bug for collecting American furnishings by the time he decided to build a home for his family at southampton on long island. He hired sleeper to decorate using interiors salvaged from homes in chestertown, maryland. He called his estate “chestertown,” and in the late 1930s he drew up papers

thought large-scale, in 1909 planting his native garden—now called the march Bank—with 29,000 bulbs.

When du Pont’s father gave him control of Winterthur’s farm opera-tions in 1914, it spanned 2,400 acres tended by 250 staff. “Besides the herd of 450 pure-bred Holsteins there were Hereford cattle, sheep and pigs, 45 horses including some Percherons and more than 2,000 chickens, turkeys, guinea hens, ducks, and pigeons,”

noted lord. Du Pont was most proud of his Holstein-friesian cattle and won the top award from the breeders’ association two years running.

like other wealthy men of his age, du Pont was a collector. “i have always collected. When i was young i col-lected birds’ eggs, stamps, minerals, etc.,” du Pont told Harlan Phillips in 1962. it was a time before America had self-confidence and pride, and men of wealth took the Grand tour, looking

henry Francis and Ruth Wales du Pont are shown with their daughters, Pauline Louise and Ruth Ellen, in 1922.

the famous Montmorenci staircase was removed from a c. 1822 house near Warrenton, North Carolina, where it rose in a single circular flight. Du Pont worked with an architect to alter it as an elliptical and added a second flight. Installed while the du Pont family was on a world cruise, it replaced a heavy marble Victorian-style staircase.


to turn the mansion into a museum. But at the death of du Pont’s father, he inherited Winterthur and began installing his best antiques there.

He expanded the family home, more than doubling its size, to hold his growing collections of American architecture, woodwork, and decora-tive arts—his version of “an Ameri-can wing” like that recently opened at the metropolitan museum of Art. in 1930, Winterthur rather than ches-tertown became his museum, and he created Winterthur corporation as a nonprofit, educational organization.

He focused on placing objects in context, engineering the assembly and installation of his collections in rooms with period woodwork from each of the original thirteen colonies

to show regional styles. He referred to the objects he collected as “evi-dences of early life in America.”

He also designed garden spaces to compliment the colors of the rooms from which they were viewed. During the blooming seasons, the garden found its way indoors—the public rooms might display as many as ten arrangements of the same flower and color.

He didn’t do things by half mea-sure. When a friend offered to let him collect bluebells for his garden, “Harry sent an oversized Winterthur truck and numerous gardeners armed with shovels who dug up hundreds of plants,” recounted lord.

the only factor moderating his passion may have been his wife, from

whom he tried to hide some of his more expensive purchases, daughter lord remembered. He was far less open when spending larger sums, she explained, “Perhaps fearing that his wife would find his purchases of antiques extravagant.”

Du Pont brought both organiza-tion and drive to collecting and kept meticulous records. lord said he had “a drive for perfection.” it became his pas-sion—or one of them. He never gave up his farm, but he did yield his house.

in 1941 he brought to life his decade-earlier plan to make Winter-thur a museum and began allowing tours—some he conducted himself. eventually, in January 1951, the col-lection pushed the family out of the house and into a cottage on his farm

the architectural elements of the Port Royal Parlor came out of a house of the same name situated just north of Philadelphia. It contains some of Winterthur’s important collection of Philadelphia rococo furniture, including a pair of sofas that belonged to patriot John Dickenson, author of Letters from a Farmer in Pennsylvania (1768), a high chest from the gratz family, and nearly two dozen Chippendale chairs.

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the Kershner Parlor, with its rare molded plaster ceiling, came from a stone farmhouse in berks County, Pennsylvania, originally built in the mid-18th Century by george hehn and later owned by Conrad Kershner. the sparse furnishings follow german precedent but show the stylistic influences of Philadelphia.

In the du Pont Dining Room, a set of New York chairs purchased in about 1800 by Victor Marie du Pont, uncle of henry Francis, surround a three-part, 12-foot table inlaid with eagles at the tops of the legs. It is set with English transferware. the gentleman’s secretary, made by Edmund Johnson in salem, Massachusetts, between 1793 and 1805, holds yellow and silver lustreware. gilbert stuart painted the portrait of george Washington that hangs over the fireplace. the curtains are reproductions based on thomas sheraton's design for “the Prince of Wales’s Chinese Drawing Room.”

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(although at 23,000 square feet, the cottage was hardly small.)

in 1951 du Pont officially incor-porated Winterthur as a museum and his legacy. He wasn’t just a donor. He was the initiator and guided it through its early years, yielding lead-ership to professionals.

As a result Winterthur, unlike many museums, is built on a solid foundation that gives it stability in tumultuous times. Although it hosts nearly 100,000 visitors a year (set-ting a record last year with 230,000), spreading them through the year and 22,000 square feet of display space makes a visit almost a private affair.

most of the museum is devoted to support—research, conservation, and education. the museum maintains a library in its louise du Pont crown-inshield research Building, devoted to

American decorative arts and open to staff, students, and the general public without appointment or charge.

the great stucco palace of the main mansion, now totaling nearly 100,000 square feet, bears little resem-blance to that first twelve-room house or even when du Pont began managing it, but the gardens still show his touch.

separate garden areas emerge from the 962 rolling acres of the estate, arising seamlessly from the forest in a naturalistic setting. (Du Pont advised that Winterthur’s fire department—indeed, the estate had its own—should be first concerned with saving the trees on the estate.) He was most proud of the color he gave the gardens, color that lit the landscape and earned him the Gar-den club of America’s highest award, its medal of Honor. A new addition to

Winterthur is its enchanted Garden, a fairyland aimed at children to help them learn to appreciate nature.

there is no one perfect season to visit Winterthur. Du Pont designed his gardens for all seasons, each reveal-ing another side of the landscape. to protect the views he worked so hard to develop, the entire estate is now pro-tected by a conservation easement.

for du Pont, the most important part of Winterthur was education. the museum now has collaborative programs with the University of Delaware in American arts and cul-tural history as well as conservation. He noted, “years after all the books on the museum have been written i feel that the training and education of these young people at Winterthur will make the museum a living force through the ages.”

the Flock Room is named for the early-18th-Century flocked wall covering (visible in the narrow panel in the corner of the window wall). Du Pont purchased the paneling from a house built c. 1715 called Morattico hall. It stood on the banks of the Rappahannock River in Richmond County, Virginia, until it was demolished in 1927. the paintings over the fireplace and the two closets on either side are also from Morattico hall. the central painting has prompted recent scholarly debate about whether the house shown in it can be identified.

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ARtIsANs IN thE MusEuM

August 2015 | EARLY AMERICAN LIFE 3 1

Walls in the Vauxhall Parlor display a flocked and painted canvas wall covering that dates to the early 18th Century. An elaborate looking glass made between 1705 and 1710 in England, gilt over gesso, hangs above a cabriole-leg table. Philadelphia Queen Anne walnut chairs surround a walnut table, made in Virginia c. 1730-60. the drape-molded faience plates from bristol, England, date to 1770-95. the table also holds John shelton’s early-18th-Century-style blown-glass bottle with tapered sides and an applied ring and seal, based on shards excavated in gloucester, Virginia. to the right is a pewter beaker by Jonathan gibson, based on vessels crafted by boston artisan Robert bonnynge (bonning) prior to 1753. Kyle Willyard’s lion-head knife is a copy of an 18th-Century original found in ohio with a history of Indian use. the hand-forged blade has a chased brass handle.


hanging on a rusty fence is a cow strap by Diane Louise Paul, who used an antique head knife to cut the piece from English bridle leather. the antique bell came from switzerland, the antique buckle from England. In the background is one of the estate’s barns.

oPPosItE the fireplace is from the same house as the Kershner Parlor, used by the museum to display kitchen implements, mainly from southeastern Pennsylvania. hanging from the right corner of the mantel is James Dell’s goat-skin shot snake (bandoleer) with a cow hide strap, antler nozzle, and hand-forged iron buckle. Dell’s interpretation of an 18th-Century axe case is made from hand-sewn cow hide with a handmade buckle, rings, and horn button.

the hunting powder flask hanging at right is Carl Dumke’s interpretation of those made in late 1600s and early 1700s. he sandwiched a band of cow horn between two pieces of turned tiger maple with a spout of turned horn. the flattened round of white cow horn has a scrimshawed profile of a stag and wreath.

sandy Levins crafted the freshly caught sardines in an oak bucket, creating a latex mold from real fish, casting them in inert polyurethane resin, and painting them with acrylics.

bonnie gale wove her nut gathering basket using finely peeled willow over a wooden mold. It has sets of French randing, a rod border, and a wrapped handle.

Lauren Dabbs carved her small tundra swan decoy from Atlantic white cedar. swan decoys were used to hunt swans or as a confidence decoy when hunting ducks.



the desk-on-frame in the Vauxhall Parlor was made between 1730 and 1750 in Virginia. on the desk’s writing surface is a leather pocketbook by greg hudson based on various originals. hudson used vegetable-tanned cow hide, which he hand dyed, hand tooled, and stitched, giving the piece an oil and beeswax finish.

toP to bottoM basket by bonnie gale

Leather axe cover by James Dell

toP to bottoM Faux fish by sandy Levins

Lion-head knife by Kyle Willyard

hunting powder flask by Carl Dumke


the Pennsylvania Folk Art Room displays some of Winterthur’s extraordinary collection of furniture, ceramics, and pewter from southeastern Pennsylvania, including a blanket chest topped by a spice chest. the scalloped hanging corner cupboard holds an assortment of earthenware birds. Atop the spice box stands a purple martin house crafted in redware by Robert and sally hughes, with a wheel-thrown and assembled pedestal base, body, and roof, coleslaw decoration on the roof, coggled decoration on the banded tiers, and 12 hand-molded birds applied in the pierced openings. A bird whistle forms the lid’s finial.


INsEt Dennis stephan reproduced the writing exercise booklet title page for Anna Mayer, done in 1808 by an unknown artist of the school of Johann Adam Eyer, Plumbstead township, bucks County, Pennsylvania. stephan used iron gall ink, powdered pigments, and gum arabic on laid paper, framing it in curly maple.

the Fraktur Room displays architectural elements taken from a stone farmhouse built in 1783 by David hottenstein near Kutztown, berks County, Pennsylvania. Its blue-painted paneled walls form the backdrop for a colorful collection of painted blanket chests and fraktur. Above the fireplace are two modern interpretations of fraktur by susan Daul. she used fibrous rice paper and a special medium to suggest the butterflies’ iridecent wings, cut them out, and distressed the edges to produce the illusion of specimens. For the “I Pray” house blessing she chose the words written by John Adams to Abigail inviting her to join him in the newly constructed White house on November 1, 1800. the work is done on aged parchment in pen and ink and watercolor. she also grained both frames.

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Winterthur displays objects related to textile production in the ulster County Room. the skein of yellow wool was dyed with quercitron from the Eastern black oak (Quercus velutina), which was much used in the calico printing industry. the dye, patented by Edward bancroft, was first exported through the port of Wilmington, Delaware. hanging among the skeins is Peggy taylor’s wool blanket, woven in a four-harness goose-eye (twill) pattern. she hand dyed the yarns in two shades of indigo blue, faded cochineal red, and walnut brown.

toP to bottoM Painted shaker boxes by Robert Lehay

Woven towel by Jewell tumas


tiger maple shaker box by sam Richardson

shaker spit box by Pete baxter Woven towel by Anita heist

Robert Lehay crafted the stack of shaker boxes using maple bands and quarter-sawn pine tops and bottoms. he finished them with milk paint, dyes, tung oil, and carnauba wax. Pete baxter based his shaker spit box on one attributed to Elder Daniel Crosman (1810-70) of Mount Lebanon, New York. the chrome yellow color is based on a paint formula from south union shaker Village in Auburn, Kentucky. Atop the cast-iron stove are hand towels woven by Anita heist. she drafts her own patterns, weaves on hand and barn looms using linen, wool, and cotton, and finishes the details with hand stitching. the towels are all washable.

the shaker Dwelling Room, with woodwork taken from a c. 1840 stone building at Enfield shaker Village, New hampshire, showcases some of the museum’s extraordinary collection of shaker material, much of it originally found by important early shaker collectors Edward Deming and Faith Young Andrews. An antique rocking chair holds a tiger maple shaker box crafted by sam Richardson, who cut the box bands from the same piece of wood to ensure the best grain and color match. the box rests on a linen lace towel woven on a floor loom by Jewel tumas. Dark blue linen outlines window-pane blocks with alternating huck lace and double-tuck weave.

Zachary Dillinger crafted this replica of a c. 1720 chest in the Metropolitan Museum of Art based solely on sketches, as furniture makers would have done in the period. In copying one of the most decorated pieces of American furniture extant, he used vibrant colors to show it as it might have looked newly made. It stands 40 inches tall.courteSy of Zachary DillinGer

David Diaman built this c. 1750 desk-on-frame, reproduced from the Danner Collection of Pennsylvania furniture in the hershey Museum of American history, for an exhibition at the Valley Forge historical society Museum. he used walnut and crotch walnut, aged with pigments and given a shellac and wax finish, for the 41-inch piece.courteSy of DaviD Diaman


Rudy McKinney reproduced this british campaign chair from a photograph of an 18th-Century original, designing his own plans. With 14 hinges, the walnut chair folds flat, concertina style. he used a linseed oil/beeswax finish and caned the seat using traditional techniques. It stands 30 inches high.courteSy of ruDy mckinney

Roger Mason crafted this 1/6-scale Albemarle chair believed to have been made in the joinery at thomas Jefferson’s Monticello between 1790 and 1815. Mason built the miniature of cherry with a traditional shellac finish like the original. Canvas webbing supports hair-like padding underneath the black leather seat covering.courteSy of roGer maSon

Dennis bork’s reproduction Philadelphia high chest of drawers stands 97 inches tall. he crafted it in walnut with tiger stripe walnut drawer fronts, cutting dovetails for the case and drawer construction and carving the knees and ball-and-claw feet.courteSy of DenniS bork

Vincent Chicone reproduced the Rising sun Chair originally built by John Folwell, c. 1779, and used as george Washington’s seat during the Constitutional Convention held at the Pennsylvania state house, now Independence hall. Chicone crafted the chair in mahogany with such hand-carved details as a rising sun and liberty pole topped with a Phrygian cap, symbols of freedom during the Revolution. Reproduction brass tacks outline the leather seat.courteSy of vincent chicone


LEFt Donna Weaver created her own formula for hard wax using four kinds of wax, talc, and pigment to mimic ivory. she applied the molded figure to reverse-painted glass. she crafted this rendering of temple Franklin from a portrait by John Flaxman. Franklin was born in London in 1760, the grandson of benjamin Franklin, who later raised him. he served as his grandfather’s secretary and later as secretary to the American delegation at the treaty of Paris negotiations.courteSy of Donna Weaver

bELoW sharan Mason custom made this 4-by-6-foot heavy canvas floorcloth in the traditional “Mariner’s Compass” design on a field of diamonds, with marbled field blocks and a border. the design was inspired by geometric patterns in the 1739 Carwitham book of floorcloth patterns “in Piano & Perspective.”courteSy of Sharan maSon

oPPosItE the top shelf of an antique corner cupboard holds a 14-inch-tall redware jar with a bird finial on the lid, the work of greg shooner and Mary spellmire-shooner. Joe Jostes crafted the mochaware soup tureen with plate, handled bowl, and lid. scott summerville’s folding knife is based on 18th-Century examples. he fashions all of the pieces from carbon steel, bone, or cow horn. the knife by Mark thomas is hand-forged file steel with brass, antique piano key ivory, and mahogany scales with a riveted sterling silver overlay on the blade.


toP to bottoM obverse of knife by Mark thomas

Pen knife by scott summerville

Painted salt box by Adam Mathews

toP to bottoM horn pocket powder flasks by Erwin tschanz

turned wooden ware and burl bowl by Erwin tschanz

toP to bottoM blown-glass bottle by John shelton

Pewter beaker by Jonathan gibson


Winterthur’s Queen Anne Dining Room contains architectural elements from a mid-1700s house in East Derry, New hampshire. the museum uses the room to display the extraordinary collection of tin-glazed earthenware decorated with underglaze blue and manganese amassed by henry Francis du Pont as well as rare purple-manganese delft tiles around the fireplace.

INsEt A pewter sauce boat crafted by thomas and Patricia hooper sits on the table in front of a delft tribute bowl. they spun the body and foot on a lathe and cut the spout from a piece of metal. they cast the handle and ladle in molds based on original pieces.

Jonathan gibson based this drum-shaped teapot on an 18th-Century original by William Will, now in the Metropolitan Museum of Art. gibson spun rather than cast the body, adding four rows of beaded edgework like those found on the original piece.


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shantia Anderheggen National Trust for Historic Preservation

Pamela Apkarian-Russell Castle Halloween

Johanna brown Museum of Early Southern Decorative Arts

Linda brubaker Historical Society of Early American Decoration

Michael Canadas and David Robinson Carmel Doll Shop

barbara Carroll Woolley Fox

Lee Davis Southern Highland Craft Guild

Michael Dunbar The Windsor Institute

Linda Eaton Winterthur Museum

Craig Farrow Furniture maker / museum consultant

Darlene gengelbach National Museum of Play

Michael graham Sabbathday Lake Shaker Village

suzanne Findlen hood Colonial Williamsburg Foundation

thomas Kelleher Old Sturbridge Village

Mark Ledenbach Collector/curator, www.halloweencollector.com

Lisa Minardi Winterthur Museum

Roddy Moore Blue Ridge Institute at Ferrum College

Rob and Lynn Morin Americana and Folk Art Online

Jim Morrison National Christmas Center Family Attraction & Museum

Aimee Newell National Heritage Museum

Candace Perry Schwenkfelder Library & Heritage Center

tara Vose Raiselis Saco Museum

betsy Krieg salm Author, Women’s Painted Furniture, 1790-1830

Kristin Rohrs-schmitt Contributing writer, Love of Quilting magazine

stuart schneider Author, Halloween in America

Peter seibert Millicent Rogers Museum

William steely Golden Glow of Christmas Past

Ann Wagner Winterthur Museum

Carolyn Weekley Juli Grainger Curator Emerita, Colonial Williamsburg Foundation

Richard and Jan Wilks Keystone Antiques

2015 DIRECTORY JUDGES

Eve Marschark used milk-based paints and inks to paint the top and four sides of a 26-inch porringer table with a floral design taken from The Ladies Amusement, published c. 1760. the designs are sealed with lacquer or shellac. her work is based on schoolgirl art taught in finishing schools c. 1790-1830.

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AboVE Richard Castrina’s 1/3-scale Albany four-passenger sleigh has a swell body drawn from those made between 1820 and 1920. he steam-formed the ash runners and fir dashboard, hand-forged the iron, and applied five coats of paint, striping, and fine lining. the upholstery is velour. RIght Lori Ann Corelis designed Nicholas after traditional bears made by early german and American toymakers such as steiff and bing. she made the 12-inch figure from german mohair with german wool felt paw pads and ear linings. the eyes are hand-blown glass.


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this grouping features tom Wintczak’s 14-inch wheel-thrown redware bowl, based on a 17th-Century design. he used black and yellow slip to create “the temptation” scene, with the verse from genesis 3:3 wrapping around the rim. Denise Wilz slab-molded her redware plate and added sgraffito decoration found on traditional Pennsylvania german pottery. Lauren Muney cut her 4-inch silhouette portrait freehand of a live sitter, framing it in a 5 x 7 oval. Carl giordano reproduced this tumbler-like cup from hot-dipped tin, basing it on one made by Isaac granger Jefferson, a slave in Monticello’s 18th-Century tin shop. Kevin Clancy’s 18th-Century English-style wire-bow key is forged, turned, and filed from wrought iron.

oPPosItE In a corner of the Child’s Room at Winterthur is a child’s desk-on-frame made in New England about 1800. Atop the desk stands William Cooper, a 19-inch Queen Anne doll designed by Rachael Kinnison. she sculpted the bust and arms from papier-mâché without molds; the body and legs are cloth. she stitched his clothing from scraps of antique fabric and lace, giving him a wig of Icelandic sheepskin and a wool cocked hat.

seated on the child’s bow-back Windsor side chair made in Rhode Island between 1790 and 1810 is an Izannah Walker reproduction cloth doll by Paula Walton. she formed the head in a mold and designed the body and undergarments based on original dolls. the 18-inch doll wears clothing stitched from salvaged antique fabrics and lace and new leather shoes.

on the corner of the dresser is a 10-inch-square “Mathematical star” pieced quilt inspired by one made in Maryland c. 1830-45. Kathie Ratcliffe designed her miniature around a center eight-point star medallion with cutwork appliqué stars in the corners. the “Variable stars” border is framed in a bright blue large-scale fabric in the tradition of early-19th-Century chintz quilts.

CouNtERCLoCKWIsE FRoM toP LEFt Cellaret built by Daniel hrinko based on various 18th-Century originals, with hand-cut dovetails and mortise-and-tenon joinery.

An interpretation of a c. 1750 gentleman’s shaving glass by Paul Rulli, with a block-front base and transitional decorations.

“King of the Coop” carved from basswood by Don Noyes. It has a gesso coating and multiple layers of acrylic paint.

set of 19th-Century Pennsylvania farm chairs with grain painting, stencil work, and freehand landscapes by Dan and Marlene Coble.

Detail from “secret garden” floorcloth by gwenith Jones and Ken Forcier, based on a design derived from a French Aubusson rug.

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bAsKEts Ms. bonnie gale English Basketry Willows 16th- to-21st-century traditional willow basketry www.bonniegale.com

boXEs Pete baxter Pete Baxter Woodworks Handmade shaker oval boxes & carriers 812.580.0002 petebaxterwoodworks.com

Joe Dowden Shaker Shop of Stafford reproduction shaker oval boxes 860.684.5241 www.ovalboxman.com

Daniel D. hrinko Daniel Hrinko, Boxmaker Bespoke 18th-century joined boxes, writing boxes, spice chests, & cellarets 937.390.3608 www.danielhrinkoboxmaker.com

Robert Lehay LeHay’s Shaker Boxes Painted shaker oval boxes & carriers 207.643.2274 www.lehays.com

Adam Mathews ADM Period Furniture 17th- through 19th-century painted boxes & furniture 610.286.9787 www.adammathewsfurniture.com

samuel E. “sam” Richardson 18th- & 19th-century shaker oval boxes & carriers 540.886.6992

CLoCKs Leonard & Eve Marschark 18th Century Clocks 18th-century tall-case clocks & other figured wood clocks 215.795.0375 www.18thcenturyclocks.com

CLothINg Eileen hook Talbott & Co. Heritage Goods 18th- & 19th-century clothing 916.802.4388 www.talbottandco.etsy.com

FLooRCLoths gwenith Jones & Ken Forcier Gracewood Design early American to contemporary painted stenciled canvas floorcloths 503.922.0386 www.gracewooddesign.com

Lisa Curry Mair Canvasworks LLC traditional painted canvas floorcloths 802.263.5410 canvasworksfloorcloths.com

sharan J. Mason Olde Virginea Floorcloth & Trading Co. 18th-century-style painted floor-cloths inspired by folk art portraits 757.484.0872 www.oldeVA.com

FuRNItuRE, FoRMAL AND PAINtED John bachman Bachman Woodworking custom woodworking, specializing in shaker/early American 574.825.9667 www.bachmanwoodworking.com

Jamie becker Jacob’s Reproductions 18th- & 19th-century-style furniture 618.374.2198 [email protected]

Dennis bork Antiquity Period Designs, Ltd. 18th-century formal furniture 262.646.4911 www.AntiquityPeriodDesigns.com

Vincent Chicone Chicone Cabinetmakers 18th-century reproduction furniture 607.535.6540 www.chicone.com

David Diaman Diaman Woodcrafters 18th-century American furniture 443.417.5319 www.diamanwoodcrafters.com

Zachary Dillinger The Eaton County Joinery Handmade 18th-century furniture 517.231.3374 www.theeatoncountyjoinery.com

Joshua Klein Klein Furniture Restoration early American furniture 207.610.2522 kleinrestoration.com

Alan W. Pease The Country Bed Shop 17th, 18th-, & 19th-century- style furniture 978.386.7550 www.countrybed.com

Paul Rulli Paul Rulli Reproductions 17th- & 18th-century reproduction furniture 508.612.8742 paulrullireproductions.com

John K. spicer John K. Spicer & Sons Period furniture 513.494.2598 johnkspicer.com

Jeffrey taylor & Ronald taylor Jr. Taylor Woodworks 18th-century-style furniture & game tables 302.745.2049 taylorwoodworks.com

FuRNItuRE, WINDsoR Luke barnett Barnett Chairs Handmade Windsor chairs 514.902.8383 barnettchairs.com

Vincent Chicone Chicone Cabinetmakers Bench-made Windsor furniture 607.535.6540 www.chicone.com

William D. Jenkins Locust Farm Windsors 18th- & 19th-century Windsor furniture 804.493.7777 www.locustfarmwindsors.com

John schmidt Johan Schmidt Woodwork Windsor chairs 614.332.3246 www.johanschmidtwoodwork.com

Jim Van hoven Period Windsor chairs & accessories 651.433.2185 periodwindsors.com

gLAss John W. shelton Shelton Glass Works 17th- & 18th-century blown glass 757.253.1273 www.etsy.com/shop/sheltonglass


2015 DIRECTORY LISTING

Joe Dowden’s 8-inch tiger maple shaker box has a maple dye finish.

Jamie becker hand-carved the shells, feet, and drawer fronts on this Newport mahogany block-front chest.

John spicer crafted this William and Mary highboy in tiger maple, with teardrop pulls.

Joshua Klein based his oval-top tavern table on a New hampshire original c. 1725-50.

William Jenkins modified a Philadelphia Windsor settee to a single low-back chair, using cherry for the arms and back.

LEAthER James R. Dell Gen Nis He Yo Trading Company 18th- & 19th-century leather goods 585.690.2591 www.gennisheyotrading.com

greg hudson Weeping Heart Trade Company 18th-century reproduction leather bags 859.727.0910 www.revwarsupplier.com

Diane Louise Paul Diane Louise Paul Handcrafted Leather and Repair 18th-century handcrafted leather work 603.964.8821 www.dlpleather.com

Calvin tanner 18th- & 19th-century-style leather accoutrements 740.634.3579 [email protected]

MEtALs Kevin P. Clancy 17th- through 19th-century iron locks, hardware, & accessories [email protected]

Julie Dawson Orchard Canyon Heirlooms, Inc. Heritage tinware 740.965.3047 www.orchardcanyon.com

ted Ferringer Seven Pines Forge early American forged items 814.797.1353 www.sevenpinesforge.com

Jonathan gibson Gibson Pewter 18th- & 19th-century pewter tableware 603.464.3410 www.gibsonpewter.com

Carl & Marcia giordano Carl Giordano – Tinsmith 18th- & 19th-century reproduction tinware & lighting 330.336.7270 www.cg-tinsmith.com

thomas hooper & Patricia hooper ASL Pewter 18th- & 19th-century handcrafted pewter 573.883.2095 aslpewter.com

Jeffrey Lawrence Jobe Barking Dog Jewelry Design Studio traditional silver & gold jewelry 336.472.4898 www.barkingdogjewelry.com

Kateri Stomping Squirrel Studio Handcrafted historical jewelry 231.340.1270 [email protected]

Michael K. Walsh Early American Tin Lighting, LLC 18th-century tin lighting & tinware 540.867.0009 earlyamericantin.com

MINIAtuREs Richard A. Castrina Sugarloaf Mountain Sleighs 1/3-scale model Albany sleighs 570.788.3413 sugarloafmt.com

Roger Mason Olde Virginea Floorcloth & Trading Co. 1/6-scale traditional & Windsor furniture 757.484.0872 oldeva.com

susan Parris Susan Parris Originals 1/12-scale historical miniatures 301.607.8470 facebook.com/susan_Parris_originals

oRNAMENtAL PAINtINg barbara bunsey Calico Goose Decorative painting on tin 330.467.7402 www.calicogoose.com

Dan Coble Dan and Marlene Coble, Fine and Decorative Painting fancy painter on antique, used, & new furniture 260.665.2362 www.drcobleandcompany.com

Carolyn Fankhauser Heartwood Collection Grain-painted & faux-finish frames 330.533.0376 www.heartwoodcollection.com

Kandye s. Mahurin & Dale Mahurin Sassafras Creek Originals reproduction antique game boards & early American folk art 573.788.9206 sassafrascreek.blogspot.com

Lisa Curry Mair Canvasworks LLC canvas murals in rufus Porter & other styles 802.263.5410 canvasworksfloorcloths.com

Eve Marschark American Schoolgirl Art – Eve Marschark American schoolgirl art on boxes & furniture 215.795.2023 [email protected]

PAINtED FRAMED ARt Judith brinckerhoff Judith Brinck Folkart: By My Hand and Pen 18th- & 19th-century-style ink & watercolor fraktur 401.885.1962 judithbrinckfolkart.com

susan Daul Susan Daul Folk Art 18th- & 19th-century-style ink & watercolor fraktur 704.847.6553 www.susandaulfolkart.com

susan Daul Susan Daul Folk Art – From the World of Nature 18th- & 19th-century-style ink & watercolor butterflies

Joanne Evans Evans Collectible Art 17th- to 19th-century-style oil paintings on board 843.884.9483 www.joanneevans.com

teresa hicks Teresa A. Hicks ink & watercolor fraktur & folk art 203.262.6474 [email protected]

Philip Marc Patragnoni Philip Marc Sons of Liberty Hand-painted iconic symbols of the American revolution 609.440.8795 philipmarcsonsofliberty.com

Lisa teller short L. T. Short Folk Art & Fraktur Pennsylvania German-style folk art & fraktur 484.432.1537 ltshort.com

Donna selfridge spangler Fraktur by Donna Selfridge Spangler 18th- & 19th-century Pennsylvania German-style ink & watercolor fraktur 570.898.3332 pafraktur.com

Noreen A. taylor Noreen’s Paintings and Decorative Arts theorem paintings 302.697.0155 noreenspaintings.com

Marta urban ink & watercolor fraktur 724.424.2380 www.martaurban.com

Nancy Woodrow Pennsylvania Primitivs folk art paintings 717.428.4919 yorkcountyfolkArt.etsy.com

PAPER Debora A. Ahmed Line and Letter Paper filigree ornaments & filigree-decorated trays, boxes, framed work, etc. 513.896.6015 [email protected]

Lauren Muney Silhouettes by Hand freehand-scissored silhouette portraits 301.210.6161 www.silhouettesbyhand.com

Dennis R. stephan Stephan Folk Art 18th- & 19th-century painted fraktur & folk art drawing reproductions 717.341.1790 www.stephanfolkart.com


Kateri’s trade silver earwheel has its design cut and punched out of a thin disc.

Jim Van hoven’s sack-back Windsor rocking chair was inspired by those in the Wallace Nutting collection.

PottERY gariné Arakelian Kulina Folk Art 18th- to 20th-century redware with sgraffitto & slip decoration 413.436.7444 www.kulinafolkart.com

stephen Earp Stephen Earp Redware redware with slip & sgraffito decoration 413.625.0015 www.stephenearp.com

David Eldreth Eldreth Pottery salt-glazed stoneware & redware pottery 717.529.6241 www.eldrethpottery.com

Ron geering R. Geering Pottery redware with slip & sgraffito decoration 508.457.0841 geeringpottery.com

Richard L. hamelin Pied Potter Hamelin 17th- through 19th-century redware & slipware 413.436.7444 www.americanredware.com

Kenneth henderson Henderson’s Redware 17th- through 19th-century repro-duction redware & rockingham ware 866.376.4475 www.hendersonsredware.com

Robert & sally hughes River Rat Pottery redware with applied, slip-trailed, & sgraffito decoration 717.872.5551 www.riverratpottery.com

Joseph Jostes SJ Pottery LLC mochaware 870.499.9900 sjpottery.com

greg shooner & Mary spellmire-shooner Shooner American Redware slip-decorated redware with authentic lead glaze 1772 Jeffery rd. oregonia, oH 45054

susan skinner SJ Pottery LLC traditionally inspired redware & redware whimsy 870.499.9900 sjpottery.com

Denise Wilz Wilz Pottery Pennsylvania redware 215.260.1133 wilzpottery.com

thomas Wintczak Bee Tree Pottery 17th- through 19th-century- style redware with sgraffito & slip-trailed decoration 812.985.9847 beetreepottery.com

Jonathan & Jan Wright Crocker & Springer Ltd. Salt-Glazed Stoneware & Redware 18th- & 19th-century salt-glazed stone-ware; redware with sgraffito, slip-trailed, quilled, marbled decoration, & lead glaze 618.466.8624 www.elsah.org/crockerandspringer

tEXtILEs Lydia P. Allen Peace Works Hand-stitched wool penny rugs 502.241.4999 facebook: PeaceWorksWoolcreations

tish bachleda The Tweed Weasel Primitive hooked rugs 717.949.3883 www.thetweedweasel.com

tony baker Baker’s Bundles Hand-woven & natural-dyed items 765.517.2515 [email protected]

Maria barton Star Rug Company Primitive hooked rugs 231.238.6894 www.starrugcompany.com

sarah bechler Old Glory Woolen Company Primitive wool hooked rugs 248.924.2009 [email protected]

sue Ann Erlenbusch Erlenbusch Studio Primitive hooked rugs & patterns 618.476.9481

Cathy grafton silk ribbon embroidery 815.842.2268 www.prairiequiltsandmore.com

Annie hayes Annie Hayes Rugs Primitive hooked rugs 607.435.3468 www.anniehayesrugs.com

Anita heist Hand-woven, spun, sewn, & dyed cover-lets, table runners, aprons, & hot pads 423.744.7612 earlyamericanweaver.com

Linda L. Kerlin Olde Log Cabin Homestead Primitive wool hooked rugs, mats, & chair pads 717.367.1812 [email protected]

suzette Krummel White Pine Folk Art Penny rugs 217.779.1367 whitepinefolkart.com

Laurie Lausen L. J. Fibers at The Wooly Red Rug Primitive folk art hand-hooked rugs 612.964.1165 www.woolyredrug.com

Phyllis A. Leck Maine Village Weaver Hand-woven & dyed wool rugs 207.563.5788 mainevillageweaver.com

sandra Malamed City Folk Handwork by Sandra Malamed miniature appliqué narrative quilts 610.469.1195 smalamed.com

Kris Miller Spruce Ridge Studios LLC Hooked rugs, patterns, & supplies 517.546.7732 www.spruceridgestudios.com

Kathie Ratcliffe Nine Patch Studio 19th-century-style pieced miniature quilts 540.882.3348 www.ninepatchstudio.com

Rebekah L. smith Rebekah L. Smith Folk Artist 19th-century wool appliqué rugs & accessories 216.712.5233 www.rebekahlsmith.com

Janice E. sonnen Hooked rugs & penny rugs 717.866.5094 sonnen.rbcrafts.org

susie b. stephenson Stephenson Fiber Arts Primitive hooked rugs & mats 207.633.2907 stephensonfiberArts.com

Pamela strousse Strousse School of 18th- Century American Crewelwork 18th-century American crewelwork 518.392.4792 [email protected]

Peggy taylor Loom Hall Textiles Hand-woven textiles in the early tradition 812.243.4139 www.loomhall.com

Jewel s. tumas Delectable Hills Farm Hand-woven rugs, table linens, & towels 540.587.6776 delectablehillsfarm.com

Marilyn Willmore Worked in Wool Primitive hooked rugs, wall hangings, & mats 330.494.9592 facebook: Worked in Wool

toYs & DoLLs Cathy Aldrich A Checkered Past Antique reproduction painted game boards 206.367.3611 checkeredpastgameboards.com


tony baker’s hand-woven, hand-stitched wool blanket has naturally dyed indigo stripes.

sarah bechler reproduced a late-1800s hooked rug in hand-dyed wool on linen backing.

Pamela strousse drew on a c. 1740 New England scene for her crewelwork on linen.

Phyllis Leck uses hand looms to weave strips of wool into rugs.

Lori Ann Corelis The Spotted Hare traditional-style mohair figures & pincushions 614.865.0977 www.lorianncorelis.com

Nancy E. gibbs Period Pastimes Painted cloth dolls 215.968.3414 www.periodpastimes.com

Robert & sally hughes River Rat Pottery redware bird whistles & banks with applied, slip-trailed, & sgraffito decoration 717.872.5551 www.riverratpottery.com

Rebecca Kerin Hand-sculpted cloth & papier-mâché folk art dolls 610.366.7556 www.clothnclay.blogspot.com

Rachael Kinnison Diamond K Folk Art 18th- & 19th-century-style dolls & folk art 719.845.8546 www.ladysrepositorymuseum.blogspot.com

Judy McDonald Historically inspired dolls 818.991.9303 www.judymcdonaldart.com

Lora soling Lora Soling Dolls 19th-century-style folk art dolls 323.445.3428 www.lorasoling.com

Paula Walton A Sweet Remembrance Handmade cloth izannah Walker dolls 860.355.5709 asweetremembrance.com

WEAPoNRY scott summerville Summerville Knives 18th-century-style knives 618.547.7142 [email protected]

Mark thomas Craftsman to the Past 18th- & 19th-century-style knives 540.867.5829 markthomas-graver.com

Kyle Willyard Old Dominion Forge 18th-century cutlery 812.875.8480 www.olddominionforge.com

WooD CARVINg Laurel Dabbs Laurel Dabbs Decoys 19th-century cedar gunning decoys 330.887.1613 www.laureldabbs.com

Vernon DePauw Eagles of the 1800’s Hand-carved eagles, folk art, & signs 618.806.9550 www.vldwoodcarver.com

Kenneth h. Folster Kenneth Folster traditional woodcarving 845.835.8182 kenfolster.com

Don gaddy Olde Bittersweet Farm 18th-century-style turned treenware 918.396.2508 www.picturetrail.com/ oldebittersweetfarm

steve hazlett American Folkcraft 19th-century-style weather vanes, whirligigs, & trade signs 607.936.3911 www.americanfolkcraft.com

Don Noyes Don Noyes carved, polychrome painted birds 740.659.2206 donnoyeswhimsicalbirds.com

Paul E. Parish By My Hands Enterprises colonial American wood items 301.478.5396 [email protected]

s. Arthur shoemaker Shoemaker Woodcarving Hand-carved, polychrome basswood santas, people, & animals 717.393.3266 www.shoemakerwoodcarving.com

Jack A. stone Jack the Cooper coopered wood buckets, churns, & piggins 717.475.1063 www.jackthecooper.com

Erwin A. tschanz Gen-Nis-He-Yo Trading Company 18th-century reproduction treenware 585.271.5263 gennisheyotrading.com

MIsCELLANEous susan black Nantucket Sailor’s Valentines early-1800s sailor’s valentines 508.292.3502 www.nantucketsailorsvalentines.com

Carl Dumke Grinning Fox Studios 17th- through 19th-century signage, scrimshaw, & hornwork 757.848.3595 [email protected]

Ron Fedor Ron Fedor Masonry Inc. masonry & hand-carved stone 330.274.3380 www.ronfedormasonry.com

sandy Levins Historic Faux Foods by Sandy Levins research, design, & creation of period-correct faux foods 856.429.4497 Historicfauxfoods.com

Daniel Long Primitive Pony traditional chalkware 484.643.3480 [email protected]

Rudy McKinney R. McKinney, 1777 reproduction 18th-century furniture & accessories 270.765.7150 [email protected]

Michelle “Mike” ochonicky Stone Hollow Studio, LLC Hand-etched scrimshaw appropriate to 1770–1860 636.938.9570 www.stonehollowstudio.com

Robert E. smith Cabin Creations Period handcrafted mountain dulcimers 717.229.2343 www.resdulcimers.com

Mark thomas Craftsman to the Past engraved powder horns 540.867.5829 markthomas-graver.com

Erwin A. tschanz Gen-Nis-He-Yo Trading Company reproduction native American treenware 585.271.5263 gennisheyotrading.com

Erwin A. tschanz Gen-Nis-He-Yo Trading Company 18th-century reproduction hornware

Donna Weaver Wax Portraits sculptured bas-relief wax portraits on reverse-painted glass 812.427.9404 www.waxportraits.com


For shows that feature the work of these artisans, see their pages on our website. For information about the 2016 Directory of traditional American Crafts, visit our website at www.EarlyAmericanLife.com

Rebecca Kerin’s Cora has a papier-mâché face, glass eyes, antique flax hair, and cloth body.

steve hazlett used old heart pine, iron, copper sheeting, and milk paint for his rooster weather vane.

holes on Robert smith’s walnut mountain dulcimer allow the sound board to vibrate more freely.

Lora soling crafted her 18-inch doll from cloth and papier-mâché, dressing her in 1850s attire.

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Directory of Americ A n n - home - Winterthur Museum ...Early American Life celebrates the 30th anniversary of the Directory ... Directory of Americ A n of n . August 2015 | EARLY