Alice News

The Marquis is at The Alice

2011-12-29T10:37:00.011-05:00

When Alice Miner planned her Chazy museum, the initial architectural sketches revealed an environment resembling a gallery with skylights and a very open floor plan. The design she finally chose, however, was akin to the layout of a wealthy Colonial home. That decision was likely significantly influenced by the nationalistic ideas flourishing in the early 20th century. Her collecting was also a product of her era. She acquired many of the hallmark items of what is now referred to as the Colonial Revival Movement; objects and documents associated with our founding fathers and notable citizens, American-made decorative arts, engraved representations of the American Revolution and its keys players, needlework, textiles, memorabilia and more.

There were a few individuals who were particular favorites of Alice and her husband William, including George Washington, Thomas Jefferson, Abraham Lincoln, and Ulysses S. Grant. Along with fascinating letters and other assorted pieces associated with those luminaries, Alice gathered a collection of objects associated with Gilbert du Motier, better known as the Marquis de Lafayette. Our second floor hallway holds portraits, miniature portraits, a bust, transfer-printed pottery, and even a pair of French polychrome bisque figures representing Lafayette and his wife Adrienne.

Lafayette Memorial Ribbon, 19th Century

It seems obvious that Lafayette was a hero to Alice and William, and books about his life are abundant in their personal collection. In all there are over 30 objects or documents in this Lafayette collection, not including books. They range from a lovely pair of ladies kid-skin gloves transfer-decorated with an image of Lafayette and the words "Welcome Lafayette", to a fragment of hand embroidered French fabric from a dress worn by a Mrs. Prescott of Boston at a ball given for the Marquis de Lafayette in 1824. In The Alice archives we have a letter that General Lafayette wrote in his later years from La Grange, his mother-in-law's estate. He wrote to a Citizen Armand, or perhaps Arnaud, in Paris, attempting to gain restitution for some property or paintings lost from his father-in-law's estate. The letter is undated but was probably written in the early 1800s.

Clews Pitcher, Landing of General Lafayette, Blue Transfer Print, Circa 1825 (front)

Framed Tinted Lithograph, Published by Villian, Early 19th Century (back)

One of my favorite Lafayette objects in the collection is small, in very worn condition, and easy to overlook. Like the letter written by him, Lafayette may even have held this object in his hands at one time. It is a very well-used silver watchcase delicately engraved on the inside and back. The object is also interesting for it's association with another hero of the American Revolution and later Secretary of War, General Henry Knox. The engraving says, "Presented to General Knox by DeLafayette 177..." with the last number obscured. There is also engraving on the inside front that is partially obscured. All that can be read is "DeLaFa... A Paris", engraved below a diamond and some numbers that may be a maker's mark.

On the second floor of The Alice, one can also find five miniature portraits of Lafayette at various stages of his life. Some show him as a young man with a powdered wig, and two are more life-like images with dark hair. One of the two is a very small and delicate engraving depicting the Marquis in his later years - as he probably looked when he visited the United States in 1824, at the age of 67.

When he returned from France in 1824 to visit the land he felt great love for, the Marquis de Lafayette strongly stirred American sentiment, finding his way into the hearts of the citizens of a fledgling United States. Many of the objects in The Alice collection would never have been created if it weren't for the sentimental journey Lafayette made through the young states. We have some beautiful blue and white transferware commemorating his visit, including a large Clews pitcher showing the "Landing of General Lafayette at Castle Garden, New York, 16 August, 1824". The handle is decorated with the fleur-de-lis, in honor of Lafayette. Another pattern is a blue transferware image of Lafayette standing before the tomb of Washington, and yet a third shows him at the tomb of Franklin, a true hero of many French citizens.

Miniature Engraved Portrait of Lafayette, 19th Century

The majority of these Lafayette pieces are on display in the second floor hall of the museum, where the letter written by the Marquis is also occasionally exhibited. In order to view this wonderful collection within a collection you will need to wait until our museum tours start again. We will be closed for tours for the months of January, February and March, with tours in April by appointment only. Keep an eye out for upcoming event announcements though, including an astronomy lecture this January 19th at 7:00pm.

Happy New Year!

A Sampling of Platters

2011-11-19T11:29:00.016-05:00

As Thanksgiving and other holidays fast approach many of us are well into planning our holiday meals - either by purchasing the myriad ingredients or by deciding which dinner invitations to accept. Whether cook or guest, our holidays often seem to be centered around the feasts we are all so fortunate to partake in. I am one who loves to cook, especially the elaborate preparation of a full turkey dinner with all the trimmings! I enjoy all aspects of the meal, from going out to purchase the ingredients, to the preparation and coordination of the meal itself, mulling over how each element will be prepared, and finally, how to serve it all in a pleasing way.

Since I prefer to let the food speak for itself, my style of hosting does not require a lot of fancy presentation, but it is really helpful to have access to the proper tools! Occasionally I look around The Alice ballroom and think how fun it might be to utilize a few of the objects exhibited there to assist in serving a fabulous meal... Now that is the sort of collecting I could sink my teeth into!

Recently I was studying a Staffordshire blue and white platter with a very clever gravy-well design. There are a few platters at the museum with this smart design - clearly created with the chef in mind. When I did a search for "platters" in our catalog I found that The Alice holds more than 20 ceramic platters! When I study the age and history of the pieces I can't help but wonder if they were ever actually used, and if so, how did they survive the meals they held over the many years before coming to reside at The Alice? Now that they're here, they are all safe from the wear and tear of use in a kitchen like mine! I'll tell you about a few of my favorites.

Most of our pieces are transferware - made by transferring an engraving onto the pottery from a printed sheet of tissue paper... one of Alice's platters, however, is a fine example of sponge ware - created, as you may have guessed, by applying the pigment design directly to the pottery with a sponge. This particular sponge ware platter was created in England circa 1840, and it also has a transferred design in the center depicting a spread eagle and colonial shield. The sponged border is blue while the transferred design is a grey pigment. The simple decoration of this platter contrasts with the rest of the pieces, which are usually covered in bucolic scenes with floral borders. These ornate designs are clearly meant to be displayed (when not covered by a sumptuous turkey or roast!)

One such fancy design was made by Enoch Wood & Sons between 1829-1846 and printed with a scene familiar to most of us. Our early catalog of the porcelain collection, written by Emma Hodge in 1917, describes the piece: "Platter. Medium size. Decoration, central medallion in blue transfer of 'Niagara Falls, on the American side'. Heavy woods to the left of the falls. Figures in the foreground viewing the landscape. Shell border around rim."

Another transferware scene is on the piece I referred to previously with its handy gravy-well shaped into the porcelain. It is a Staffordshire blue and white chamfered rectangular well and tree platter, also decorated with a bucolic view. This octagonal Stubbs piece was made circa 1825 and has a romantic landscape with ruins, cattle and sheep in blue transfer print.

Along with the sponge ware platter, another piece stands out from the many blue and white transferware objects. It is a lovely Swansea or Cambrian Pottery platter of heavy porcelain with scroll motifs and isolated transfer decorated flowers in enamel colors. Emma Hodge described it: "Swansea porcelain 5th period 1825. Platter. White porcelain. Medallions in low relief, in which are bunches of flowers in polychrome. Irregular edge finished off in gold, circa 1815."

There are hundreds of wonderful pieces of pottery in The Alice collection for you to experience. If platters per se don't exactly float your boat, we do have gravy boats! ~ along with creamers, tea cups and saucers, plates and pitchers, as well as many other forms of decorative arts collected by Alice Miner in the early 20th century. The Alice is open through the end of December - Tuesday through Saturday - with the exception of Thanksgiving Day and Christmas Eve. Come in for a tour and gather ideas for your holiday entertaining!

Lena's Crazy Quilt

2011-10-07T10:16:00.013-04:00

Over the 87 years The Alice has operated as a museum there have been times when interesting objects and letters came into the collection as donations or bequests. In fact, a few weeks ago we happily accepted the personal correspondence and photographs from Dr. George W. Clark's estate here in Chazy. The museum has become a repository for genealogy and local history information as well as for some objects and textiles donated by local families. It is a wonderful textile I will focus on in this article.

In 1983 the Blow family lost their matriarch, Lena. Lena M. (O'Lena) Blow was born in Chazy, NY on November 12, 1896 - the daughter of Napoleon and Eliza O'Lena. She went to school in the little red school house that William Miner attended, and lived in the area her entire life. Around 1916 (the year her wedding dress was made) she married Edward Blow and started a family. She was an accomplished seamstress and made her and her six children's clothing as well as many beautiful quilts, employing sewing and needle craft skills she learned early in life.

On November 21, 1983 Lena passed away and soon after her children donated a few of her possessions to The Alice to be kept and enjoyed by future generations of visitors. The two objects donated in 1983 are Lena's wedding dress and slip. The garments joined two other textiles previously donated to the museum, both are blankets made by Lena Blow. One of these she started making when she was just nine years old, a diamond popcorn stitch bedspread. The other is a colorful crazy quilt with voluminous embroidery stitching and writing.

The crazy quilt is signed "LO" and "Apr. 10, 1908 Sciota, NY". Like most crazy quilts it consists of a quilt top mounted directly to backing with no batting in between. The backing in this case also serves as a ruffle on three sides of the quilt and is a solid rose colored cotton. The pieces consist of a wide variety of colors, shapes, sizes and patterns - and appear to be made up of mostly silk scraps. The scraps were pieced together into nine blocks of similar size and then sewn together along with a long narrow block running the width of the blanket at the bottom. This quilt top was then backed with the rose colored cotton.

Lena's crazy quilt is a striking piece and draws the eye as soon as you walk into the Sheraton Room where it is exhibited. But it's the detail in stitching that brings you in for a closer look. Lena used a large number of different embroidery stitches joining every piece. She also wrote a few messages, including "May You Be Happy" and embroidered flowers and birds. Perhaps her mother saved pieces from various sewing projects over the years and finally handed the scraps over to Lena to create something for her bed. My grandmother made quilts consisting of pieces that I could recognize from clothing she sewed for me and my siblings over the years. It's fun to look closely and see a familiar color and pattern that reminds you of the past. I imagine Lena lying in bed and tracing her family history through these bits of fabric.

This weekend is the Champlain Valley Quilter's Guild Show with hundreds of hand made quilts and wonderful craft items to enjoy. To experience a wide range of amazing fabric art made by local people, this is the show to see... Who knows, there may even be a few crazy quilts there! It's at Bailey Avenue School in Plattsburgh this Saturday and Sunday 10am - 4pm. If you want to see the true details in Lena Blow's quilt, come to The Alice for a tour soon.

And may you be happy!

A Legend in the Collection

2011-08-20T13:27:00.013-04:00

There were many distinguished visitors who came to enjoy the tranquil setting Alice and William Miner created during the heyday of Heart's Delight Farm in Chazy. Many of these visitors signed guest books with eloquent messages. One such visitor was James Buchanan Brady. Perhaps you will know him better by his nickname, Diamond Jim.

Diamond Jim Brady was a salesman extraordinaire. He started out as a poor Irish boy in New York City working as a bellboy. Perhaps utilizing his charm and tenacity he secured a job in the railroad business, eventually selling railroad equipment, including Miner equipment. Fortune Magazine called him the "greatest capital goods salesman in American history" fifty years after his 1917 death. Clearly he was a great salesman, and a savvy investor in the stock market, relatively rapidly becoming a very wealthy man, estimated at one time to be worth at least twelve million dollars!

His penchant for jewels is what gained him the nickname Diamond Jim. One of his signature pieces of jewelry was a large ring with the image of a horse surrounded by diamonds. He also prided himself in dressing well and believed that one need look good to be successful, "If you're going to make money, you've got to look like money..." was an oft-quoted Brady axiom.

He was literally a larger-than-life figure in the Gilded Age. There are so many legends surrounding Diamond Jim that it is clear he really caught the public's imagination. He was called a gourmand for his incredible appetite. The legends about the volume of food he would eat at a sitting are truly amazing, and perhaps not totally accurate. Another story about Diamond Jim illustrates how he whole-heartedly embraced the new "safety" bicycles popular in New York City by ordering a dozen gold plated bicycles with diamond-encrusted handlebars for himself, his friends, and his longtime confidant, actress and singer Lillian Russell.

Diamond Jim loved to bet on the horses, and was a regular at Saratoga, New York raceways. Perhaps it was his trips to Saratoga that eventually brought him north to visit his friend William Miner at Heart's Delight Farm in Chazy. Legend has it that William played a little trick on Diamond Jim by hiding a canteen of orange juice (Jim's favorite drink), along with a few fancy glasses in the crook of a tree, which they "found" as Will led Jim on a hike about the farm on a very warm day. Will lured Jim into a chat about how nice it might be to have something cold to drink... when Diamond Jim concurred, Will reached around the tree and poured him a glass of orange juice!

William Miner and Diamond Jim both traveled the railroads for endless days selling railroad gear. William sold his own inventions, and Jim sold for others as well as for William. They became good friends along the way. Perhaps they crossed paths at the World's Colombian Exposition in 1893, where Diamond Jim and Lillian Russell turned heads with the sheer amount of corn they consumed! Diamond Jim was a very generous man, showering gifts on friends and donating a large sum to Johns Hopkins Hospital in Baltimore, Maryland, where he had once been treated. There are even a few wonderful objects in the collection at The Alice that Jim gave to his friend Will.

In the Miner Room on the third floor are displayed two matching American silver-overlay green glass decanters with stoppers. Made by the Gorham Manufacturing Company around 1895, the silver overlay is a scrolled Art Nouveau design with a monogrammed "WHM". With matching monograms, the other pieces consist of a four-piece set of men's hairbrushes made of silver. They are not the overly ornate gifts of legend, just handsome pieces suitable for a less showy person like William Miner. Wouldn't you have loved to be a fly on the wall during Diamond Jim's visit to Heart's Delight Farm? Oh, the meals they served, and the enjoyment they squeezed out of life!

Help us plan the future for The Alice

2011-08-18T09:52:00.005-04:00

Go to our online survey http://www.zoomerang.com/Survey/WEB22CWSNTP6FX

Or you copy the text below & send an email with your replies to info@minermuseum.org:

Alice T. Miner Museum
Attitude Survey

The Alice T. Miner Museum, a Colonial Revival Museum in Chazy, NY, is preparing a new Strategic plan to serve you and our North Country Community even better. Your replies to the questions below will help us respond to your special interests.

Be assured your responses to this brief survey will remain confidential.

How often have you visited the Miner Museum? never__; once __; seldom __: often __

Type of Visit(s): museum tour __ lecture¬__ exhibit__concert__ other__________

Your assessment of your museum experience(s):

Favorable, __ neutral __ unfavorable__ Comment______________________

Preferred type of visit: tour __; exhibit__; lecture __; concert___ other________

Topical Interests: history__; furniture__; china__; textiles__; painting__; other_________

Other suggestions_______________________________________________________

Do you possess original documents from or about the Museum’s founder Alice T. Miner and would you share copies with us ___ if yes email info@minermuseum.org

Would you participate in a group discussion about future priorities, possibilities, and programs for The Alice? yes__ no__
If yes email info@minermuseum.org

Your residence (town, city, county) _____________________

Thank you for responding. We need your advice to make The Alice even better.

The Alice T. Miner Board

Transferware in The Alice Collection

2011-07-16T09:55:00.003-04:00

The story written by past Director/Curator Nell Sullivan suggests Alice T. Miner may not have become a collector but for the urging of her dear friend Emma B. Hodge. Nell Sullivan was the last of the Directors hand-picked by Alice to lead her museum. According to Mrs. Sullivan, Emma gave Alice a box holding a variety of china, with the intent of interesting her friend in the lovely things she could be collecting. Eventually this trick worked and Alice began collecting porcelain and glass, eventually expanding her interests well beyond what I will cover in this article. (Scroll down to previous blog posts to learn more!)

Alice Miner did not merely gather beautiful objects, she was also very interested in the history and background of the objects she acquired. Because of her voracious reading and self-education about the decorative arts, the museum's reference library relating to the collection is extensive. Many of the books the staff refers to regularly have the Miner bookplate in the front, and many have notes written in Alice's own handwriting. She also looked to her friend Emma Hodge for guidance and assistance, and in the summer of 1917, before the museum was even a drawing on paper, Emma B. Hodge came to Heart's Delight Farm to catalog Alice T. Miner's growing collection of pottery and porcelain!

Many of the pieces Emma catalogued that summer are referred to as transferware. This is a method of decorating on pottery, perfected as early as the 175os in England, in which copper plates are engraved with designs and printed on tissue paper. While the print is still wet the paper print is then transferred onto pottery which is in turn fired at low temperature to permanently affix the design. The most durable method was to transfer the design on to the pottery before glazing. Once the glaze was applied and fired it then served to further set the transferred image on the plate, cup, tea pot, etc. Before the development of this method of design, pottery had been laboriously painted by hand and thus was much more expensive to produce.

The early pieces of transferware were printed with black ink on white porcelain. It was soon found, however, that the color blue was both more attractive and less expensive to produce. Around 1835, as the popularity of blue transfer designs waned, other colors such as light blue, pink, green and purple became more prevalent.

One such blue and white transferware plate in The Alice T. Miner Museum collection is decorated in what is called the "States" design. In her 1917 inventory for Alice, Emma describes the plate - "Tea plate. This is what is known as the "States" plate design. Decoration, central medallion in blue transfer, of three story building in the distance and sheep in the foreground. To the left is the figure of "Justice" blindfolded, holding a portrait of Washington. On the right is the kneeling figure of "Independence". Festoon border containing the names of the fifteen states in the Union, with the stars above. Irregular lace border around edge. Mark "Clews warranted Staffordshire" in circle with crown impressed."

The figure Emma Hodge refers to as Justice is actually Liberty holding a staff with the liberty cap on top. The two figures stand or kneel on a short pedestal. Under Justice the pedestal says "AMERICA AND" and the pedestal on which Liberty kneels says "INDEPENDENCE", hence the confusion about what the figure represents. Included in the plate design is the Masonic symbol of the square and compass pictured on an apron worn by Justice, perhaps in honor of Washington, who was a Freemason. The plate was made circa 1820 in Staffordshire, England by Clews Brothers. James Clews was one of the best known of the Staffordshire potters here in the United States because he actually attempted to make his pottery in Indiana for a short time in 1836, but was not successful, ultimately returning to England.

In the Ballroom of the museum, Alice's collection of glass and porcelain is beautifully exhibited in cases built into the walls. The blue and white transferware pieces catch one's eye upon entering the room. Along with the "States" design one can see another popular Clews design of the Landing of Lafayette. This pattern depicts Lafayette's ship landing with great ceremony in Castle Garden, New York on his second and final visit to America, in 1824. Other makers' designs are represented, including views of Niagara Falls, unknown buildings, and various bucolic scenes. Alice Miner also collected red, black, light blue, green, purple, and brown transferware of all shapes from various manufacturers. Do come to The Alice for a tour of the museum, and examine and enjoy the Ballroom pottery!

Seville to Chazy in 400 Years

2011-06-10T09:13:00.036-04:00

In 1918, before plans for a museum in Chazy had been drawn, Alice T. Miner purchased what would become one of the most extraordinary pieces in her collection. It is double-sided page, or leaf, from a gradual, (a liturgical book containing chants for the Christian Mass), created on vellum, framed with one side showing. This gradual leaf measures approximately 24" x 35". The book within which it was once contained was made large enough for the entire choir to read. The front of the leaf has four lines of text and line staves with musical notations. There is a wide illuminated panel border on all four sides, and the first letter of the first word is an historiated, or enlarged, initial letter "D", with a miniature of Saint Paul seated with pen and scroll. The "D" begins Psalm 69:1, "Deus in adiutorium meum intende" God, come to my aid...

Detail of Saint Paul seated with pen and scroll, The Alice gradual leaf

Alice Miner purchased the gradual leaf through her friend, Frank Gunsaulus, a 20th century collector of rare books, manuscripts, and decorative arts. The manuscript has resided at The Alice since the first years of the museum, and many visitors have marveled at its vibrant colors, showcasing the skill of the illuminator, and how the rich colors have survived all of these years. It was created in Spain between 1430-1490. Alice's gradual leaf was the work of the Master of the Cypresses, so named for the characteristic cypress trees that he created which appear in a series of more than 80 miniatures in twenty-two choir books in the Cathedral of Seville, Spain. Dr. Gunsaulus, a Presbyterian Minister and educator, donated another gradual leaf attributed to the Master of the Cypresses to the Art Institute in Chicago in 1916. Gunsaulus acted as an agent in buying two manuscripts for Alice T. Miner, the gradual leaf and a breviary. You may remember two previous blogs-posts about the breviary in The Alice collection.

http://minermuseum.blogspot.com/2009/03/manuscript-reborn.html & http://minermuseum.blogspot.com/2008/08/le-breviaire-dhenri-de-lorraine.html

Both manuscripts in The Alice collection were created on a type of parchment - actually on the highest quality of all parchment, vellum. Vellum is made from calf, sheep or goatskin that has been laboriously prepared by stretching, scraping and alternately wetting and drying the skin while stretched. A final stage of prepping the vellum with pumice and talc was often employed. This intense preparation was done to bring the vellum to the right thickness for book pages and to prepare the skin to properly receive ink.

Our Spanish gradual leaf is a stunning piece of art. The historiated initial is 6 1/2 inches tall, exhibiting the captivating detail achieved by the illuminator. The wonderful detail of illumination, the colors used, the very precise lines - all catch the eye as soon as one enters the Spiritual Exhibit. One cannot help but be drawn into the sumptuous initial and the soft expression on Saint Paul's face, his gesturing hand, and the lush colors and folds of fabric of his garb. The illuminated border is comprised of numerous swirling and multi-colored leaf forms.

If you visit the J. Paul Getty Museum in California, The Art Institute in Chicago, Princeton University, or even the Eastman School of Music at The University of Rochester you might view manuscripts created by the Master of the Cypresses. Closer yet, visit The Alice right here in Chazy, New York and enjoy the Spiritual Exhibit where you can study our Master of the Cypresses gradual leaf, or our other spectacular 15th century manuscript, Le Breviaire d'Henri de Lorraine.

The gradual leaf in the Spiritual Exhibit at The Alice

A Civil War Medal of Honor

2011-05-13T13:01:00.015-04:00

On May 24, 1861 Charles Moore wrote a brief note to his father, Colonel A.C. Moore (retired), in it he stated, "I received my appointment of Quartermaster Sergeant of the 16th last evening and was sworn in this morning and am now on duty. I got my appointment through General Wool and Major Palmer. I have not time to write more, but when you write to me direct to CFM Quartermaster Sergeant of the 16th Regiment NY State, Albany, New York. Your son, C.F. Moore" Charles must have been very proud and relieved to have finally secured himself a role in the Union Army after trying all means of procuring a position - first with the Navy, then the Army - until his appointment as Quartermaster Sergeant.

The Medal of Honor

To commemorate the sesquicentennial of the American Civil War there is a new exhibit in the Lincoln Library at The Alice. Included in the exhibit are a few of Charles Moore's letters home to his parents, along with those written by three of William Miner's uncles, all of whom served for the Union during the war. The Lincoln Library usually holds many objects associated with our President, such as photographs and engravings of Lincoln and artifacts that once belonged to him. Also found in the Lincoln Library is a framed document signed by Abraham Lincoln conferring upon Captain George E. Gouraud of the United States Volunteers the rank of Major, "by brevet... for Gallant conduct on the field of battle in the engagement at Honey Hill, South Carolina, 31st December, 1864." Despite what the certificate reads, the date of the battle was actually November 30, 1864.

Through research of this document I have found an exciting bit of information we were not previously aware of here at The Alice - that we hold the military rank certificate for a man who was later awarded the highest military decoration awarded by the United States government, the Medal of Honor! Captain Gouraud eventually became Colonel Gouraud, and his rise can be traced back to the Battle at Honey Hill, South Carolina. Gouraud's Medal of Honor citation reads, "While under severe fire of the enemy, which drove back command, rendered valuable assistance in rallying the men." And the men on the Union side needed all the assistance they could get that day as they were severely defeated by the Confederate troops. When the chaos finally subsided, the Union has lost 89 men, 629 were wounded, and 28 went missing. George Gouraud was born in New York, New York in 1840. Following his military service he worked as an agent for Thomas Edison in London, where he introduced the new Edison Phonograph cylinder recording technology to England in 1888.

George E. Gouraud

We often point out Col. Gouraud's certificate to our tour participants primarily, until our research shed new light on its significance, because it was an original document signed by Abraham Lincoln. Now, however, we can include a little more information about the interesting man who earned it! Should you visit The Alice in the next few months you will have a chance to see the Civil War exhibit in the Lincoln Library - including Charles Moore's letters, the certificate of rank for our Medal of Honor recipient George Gouraud, carte-de-visite photographs of soldiers, Abraham Lincoln's inkwell and foot bath, and even a few objects related to the Confederate United States!

Lincoln Presidential China at The Alice T. Miner Museum

2011-04-22T15:05:00.022-04:00

Written by Tricia Davies

When being introduced to the collection of American decorative arts at the Alice T. Miner Museum it is hard not to be impressed by the imposing piece of porcelain that looms large on one of the top shelves of the Ballroom. The stately punch bowl-like object, embellished with a purple and gilt border and the United States Coat of Arms, is striking on a purely aesthetic basis and yet it is the story of its provenance that suggests it could be a true American treasure.

Object XXXX.0907 in The Alice T. Miner Museum Collection

The porcelain piece in question was included in a 1917 inventory of Alice T. Miner's ceramics and glass. Conducting the inventory was noted scholar and collector Emma Hodge who called the piece a "Paris porcelain Wine Cistern" or "wine cooler" interchangeably, and described it as being part of President Abraham Lincoln's State dinner service. The wine cooler had been donated by Emma to her friend Alice for the Alice T. Miner Colonial Collection Museum which opened to the public in 1924.

It was with difficulty that subsequent staff at the museum sought out more information on the wine cooler. Emma Hodge may have inadvertently confused the situation by connecting the authenticity of the wine cooler to pieces from the Lincoln service reportedly in the collection of the Art Institute of Chicago and the Historical Society Rooms in Chicago. Evidence of the other pieces, which Emma suggested "have the proper documents attesting these facts" and could authenticate a link to the Lincoln White House, has not been found.

What has been found, following the publication of a catalogue of American Presidential China in The Robert L. McNeil, Jr. Collection at the Philadelphia Museum of Art (PMA), are similarities between the so-called wine cooler at The Alice and a chamberstick pictured in the new book and a slop bowl pictured on the PMA website. All three pieces feature decorations which not only echo the design of the Lincoln state dinner service, but feature extra flourishes. According to the catalogue, bedroom pieces ordered by Mary Lincoln as a "toilet set" were "differentiated by quatrefoil and tassel motifs." These are the same four-lobed flower-like forms painted on the wine cooler's purple border, and the same tassels which hang delicately down from the border decoration into the whiteness of the wine cooler's porcelain body.

Chamberstick from the Lincoln White House Toilet Set

Slop Bowl from the Lincoln White House Toilet Set

In an attempt to understand if and how a wine cooler might fit into a toilet set and in hopes of authenticating the collection object as a Lincoln White House piece, Tricia Davies contacted David Barquist who is the H. Richard Dietrich, Jr. Curator of American Decorative Arts at the Philadelphia Museum of Art, and who wrote the introduction for the American Presidential China catalogue. Mr. Barquist responded immediately after receiving images and a description of the wine cooler. He related that the July 1861 invoice for Mary Lincoln's toilet set included a ewer, basin, chamber pot, soap dish, brush tray, jug, foot bath, slop jar, pair of chambersticks, powder box, and sponge bowl. He also asserted his belief that "the object in your museum's collection is in fact the foot bath from this set."

We still don't know exactly how Emma Hodge came to own Mary Lincoln's foot bath. A letter at The Alice indicates that a White House usher acquired the Lincoln piece while serving the Hayes through McKinley administrations. Further research needs to be done on this White House connection and efforts are being made to secure a copy of the invoice that lists the foot bath as part of the Lincoln set. David Barquist mentioned the possibility that the other porcelain Hodge references as being in Chicago may have been some of the numerous reproductions of Lincoln China made in the nineteenth century "and thus not retained by those institutions." Indeed, our research supports this theory.

The assertion that the object in the Alice T. Miner Museum is a foot bath has the power to change the way we look at the piece and how we share it with visitors. Previously imagined on a sideboard bearing wine, now the porcelain piece can be envisioned filled with water and, well, feet. The foot bath can be taken out of the formal context of the public state rooms and placed more privately in the family quarters of the Lincoln White House. The foot bath can also be reinterpreted as one of a set of twelve bedroom pieces, rather than one of a set of 658 pieces ordered by Mary Lincoln to complete the initial dinner and dessert service. No wonder one can't help but be impressed.

To commemorate the sesquicentennial of the Civil War this object is currently on exhibit in the Lincoln Library along with other images and objects representing or formerly belonging to Abraham Lincoln. Included in this exhibit are letters home written by local men during the Civil War. The Alice collection includes letters written by Charles Moore, and three of Will Miner's uncles who served during the war.

The Rattle Connection

2011-03-26T12:51:00.014-04:00

One of my favorite rooms here at The Alice just happens to be one of the smallest exhibit spaces. The American Indian Room on the third floor holds a widely varied collection of objects that include WWI gas masks, Babylonian tablets, small lap desks, shells & fossils, along side a lovely collection of American Indian artifacts including baskets, beadwork and stone implements. Prominently displayed on the west wall among baskets and pottery is a Northwest Coast Tsimshian or Tlinget Chief's rattle. Our records say Tlingit, but it could also have been made by Tsimshian artisans, who are said to have invented the raven rattle.

The twelve inch long polychrome wooden Chief's rattle is made in the form of a flying raven with two carved sections joined by two wooden pegs. The upper section is comprised of flattened and backswept wings, along with an upturned head. In his narrowly parted beak the raven is holding a small object said to represent either the sun or a box holding the light of day - perhaps the dawning of human consciousness? The bird's flattened wings support a reclining human figure with bent arms and legs. The human's mouth is slightly open and his long tongue is protruding into the mouth of a turtle or frog creature, which in turn is held in the beak of another bird (perhaps a kingfisher) that is formed from the raven's raised tail feathers. The bottom section forms the underbelly of the raven, and is carved with a highly stylized avian-like face with a small hooked beak. The face also depicts elements of fish, whale and bird which mirror the richness of life supported by the sea and might also suggest the regional sources of human wealth. The face itself is a hollow cavity that at one time held pebbles, which when shaken caused the rattling sound. Estimated at circa 1850-1875, the rattle is expertly carved, and is colored with touches of rich black and red pigments.

While studying the carving, one might feel the concept of the interconnectedness of nature. Each creature is connected to and somehow depends on the others. The creatures are connected by tongues, or resting on each other, a part of one another's bodies. Chiefs used these rattles in ceremonies, including rites-of-passage celebrations, often holding on in each hand. Imagine the strong message this object sent to the young initiate: your life depends on all creatures... humans do not stand alone. The sounds of the paired rattles enhanced the stories or songs of the Chiefs, and are also said to have evoked the sounds of the fins of salmon breaking the surface of the water.

Here at The Alice the rattle rests quietly, its pebbles long since lost. Over eighty years ago Alice Miner was drawn to the rattle's beauty and artistic quality. A wooden stand was made for it, and it was carefully displayed for visitors to enjoy... But the rattle was also used by someone long ago! One can see that it surely had a life before The Alice - and that it had purpose in that former life. The wood is worn, the paint scratched in places, but this object has been lovingly cared for, surviving the decades. It is waiting to speak to you should you visit and take the time to look... You might be reminded how we are all inter-connected - bird, man, frog, fish!

Jefferson & the Gloucester Hickory

2011-02-23T09:48:00.027-05:00

Ah, the treasures hidden right beneath our noses! It was announced on President's Day that 74 books once belonging to our third President, Thomas Jefferson, were discovered in the rare books collection at Washington University Library in St. Louis, MO. These books have been held by the library for over 130 years and were originally donated by Jefferson's granddaughter, Ellen Coolidge, who actually bought them at auction. Jefferson apparently marked his books in a unique way, and the provenance from his estate to Ms. Coolidge, then eventually to the library, is quite clear. The library merely searched the pages of the books from the Coolidge donation and found that 74 of them had Jefferson's mark. Some of the books even had his handwritten notes in the margins!

Not planning a trip to Missouri any time soon? Might you nevertheless wish to see Thomas Jefferson's handwriting in person? Well it just so happens that right under your noses, here at The Alice T. Miner Museum, are housed a few letters written by Jefferson that are possible for you to read!

I'll be happy to tell you about two of the letters, one written by Jefferson, and the other the reply from a Mr. Philip Tabb, Esq. The Alice holds two other letters written by Mr. Jefferson, one of which was penned in 1816, and the other in November 1801 while serving in his first year as President. The latter I have previously written about in the blog, and you can read it here, http://minermuseum.blogspot.com/2009/06/thomas-jefferson-barbary-pirates.html.

The Jefferson letter is dated January 8, 1809, from Washington,

"Sir

Being desirous of planting some of the famous large Gloucester hiccory nut, now I believe nearly extinct, I take the liberty of solliciting your friendly aid in procuring them. a dozen or two, or even a smaller number, if quilted in a wrapper of linen, or covered between two bits of paste board, will come handily in the mail, and in time to be planted this season. retiring shortly to these occupations, you may judge of my enthusiasm in them, when at the age of 65 I am proposing to plant hiccory nuts. I pray you excuse the trouble I propose to you, and to accept my salutations & assurances of esteem & respect.

Thomas Jefferson"

The reply from Philip Tabb was written January 21 from Toddsbury, his family estate. Here is an excerpt,

"I am sorry it is not in my power to send you as many of the large hickory nuts of this country as you wished to plant ~ a few trees of the best kind are now left, the small quantity obtained from those were soon consumed in the family, four only were left by accident which I now forward by post...

I beg you Sir to accept my best wishes for your health & happiness & believe me to be respectfully yours

Philip Tabb"

It appears from my research that Philip Tabb suspected his letter, as well as the hickory nuts, had been stolen while en route to Jefferson. He writes another letter to the President qouting his previous note. This letter has been digitally archived by The Papers of Thomas Jefferson - Digital Edition, The University of Virginia Press. They have the reply from Jefferson to the Tabb letter and both can be read at the bottom of this blog posting.

To read more about Philip Tabb and the Gloucester Hickory trees Thomas Jefferson coveted, check out this article, http://www.southerngardenhistory.org/PDF/Magnolia-Spring%2003.pdf. Scroll down to page 12 for the article "The Elusive and Enigmatic Gloucester Hickory" written by Wesley Greene, Garden Historian, Colonial Williamsburg Foundation. Our Tabb letter to Jefferson is qouted in that article. Apparently the nuts Tabb sent to Jefferson were then forwarded on to Philadelphia, and just a few years later Thomas Jefferson planted a few more Shellbark Hickory (also commonly referred to as Gloucester Hickory) trees at Monticello.

If you would like to see the Jefferson and Tabb letters in person, come visit The Alice starting in May!

Below are the texts of two related letters found on The Papers of Thomas Jefferson - Digital Edition, The University of Virginia Press:

"Sir Toddsbury 7th April 1809

Having just learnt from Captn Decatur who delivered a moleboard I did myself the pleasure to send you at Washington, that you had not received my letter post which left Gloster Ct House about the 2oth of Jany last - & which I expect was destroyed by a villainous rider who we now know was in the habit of robing the mail about that time, I trouble you with the copy, not willing that the appearance of neglect sould pertain to one who will always feel himself honored by an oppy (opportunity) of rendering you any services in his power -

I am Sir mo. Respecfy Yours

Philip Tabb"

The Papers of Thomas Jefferson - Digital Edition, ed. Barbara B. Oberg and J. Jefferson Looney, Charlottesville: University of Virginia Press, Rotunda, 2008. Original source: Retirement Series, Volume 1 (4 March 1809 to 15 November 1809)

Dear Sir Monticello June 1. 09

Your favor of Apr. 7. has been duly recieved, with the copy of that of January. on reading the first paragraph of it respecting the nuts, I was confident I had recieved it, as I had forwarded the nuts on to a friend in Philadelphia. on searching my letter bundles, I accordingly found that of January recieved on the 27th of that month. yet when Capt Decatur sent me the Mould board, the part of your letter respecting that had as entirely escaped me as if I had never seen it. indeed I had found on other occasions that for1 the immense mass of matter which I was in the way of recieving, the memory was quite an insufficient storehouse. I thank you for the mould board. it’s form promises well, & I have no doubt of it’s good performance. it resembles extremely one which I made about 20. years ago, which has been much approved by the agricultural societies of England and France, the latter of which sent me a gold medal as a premium. the form as I observed is very much that of yours, with the advantage of being made by so easy a rule, that the coarsest negro workman can do it, & cannot possibly make it a hair’s breadth different from the true form. if I can find a conveyance, I will send you a small model, with it’s block which will shew you at once how to make it. a description of it may be found in Mease’s2 edition of Reese’s domestic encyclopedia. in agriculture I am only an amateur, having only that knolege which may be got from books. in the field I am entirely ignorant, & am now too old to learn. still it amuses my hours of exercise, & tempts to the taking due exercise. I salute you with great esteem & respect.

Th: Jefferson

Good Luck in the N(ewe) Y(ear)'s L(otter)y

2010-12-17T13:33:00.013-05:00

Hieroglyphs, cuneiform, Latin words in gothic script, a rebus lottery ticket, hand written letters of Thomas Jefferson - all of these can be found at The Alice. Only one, however, relates directly to the New Year... It is a wonderful little lottery ticket - or ad for the lottery - hanging on our third floor.

This special ticket - a rebus - was printed in London in 1816-1817 utilizing a puzzle language that combined words, parts of words, and illustrations. In some cases the picture represents the sound of another word, such as a drawing of a female sheep (ewe) to mean 'you'... at other times it represents the actual word, as in the picture of a man for the word 'man'. The word Rebus is Latin meaning "by things" and it can refer to the symbols that represent words or phrases, or it may be used to refer to the entire document on which a rebus is employed.

Alice's lottery ticket is a framed rebus, bought in England in 1939, that has become more difficult to comprehend as society has changed. Symbols that would have been more universal in 1817 are now more challenging to decipher. For example, the author frequently uses a small image of a square brick building for the word or sound 'in'. Without the translation at the bottom of the page, I would not have known that this little building was an Inn!

It was popular in the 18th and early 19th century to write letters in rebus form. The most well known user of the rebus may be Lewis Carroll who wrote rebus puzzle letters to young friends, as well as looking glass letters that had to be held up to a mirror to be read. Another common use of the rebus was for heraldic coats of arms, or a family crest, in which pictures represent the family name or history.

Many ancient languages employed pictures to convey more complex ideas when a hieroglyph could not directly represent the word or concept. Our lottery ticket (or ad) is not a very complex document, just a lot of fun to look at and try to decipher without the help of the tiny translation printed at the bottom of the page. The lottery office would surely have wanted to make this document eye-catching and fun, yet including the solution to the puzzle was necessary to ensure they got the word out and sold more tickets!

After this week our lottery ticket, and the entire collection, will be somewhat inaccessible until we open again for tours in the spring of 2011. In the meantime, come and visit and see for yourself if you are able to decipher this wonderful document - Oh! - and do have a Happy New Year!

Emma and the Wedgwood Collection

2010-11-06T13:46:00.013-04:00

In 1917 Alice and William were visited at their Heart's Delight Farm in Chazy by a dear friend from Chicago, Emma Blanxius Hodge. Emma had come that long way not just to relax, visit with her friends, and enjoy the fresh country air. She had also planned to catalog Alice's burgeoning collection of china. It was appropriate that Mrs. Hodge should offer her extensive knowledge of decorative arts to her friend in this way since she was responsible for getting Mrs. Miner started with the collection in the first place.

If one were to mention they collect Wedgwood, their statement might merely conjure some vague notion that they were interested in pottery. What the majority of us likely would not realize is the breadth of pottery designs such a collection might include. This is what I hope to illustrate with the newest exhibit at The Alice. My intent was to display some of the Wedgwood pottery Alice collected in the early 1900s, and in the process found a wide variety of the types of objects Wedgwood Manufactory sold starting in 1758.

Of the thirteen pieces I have chosen for our Wedgwood exhibit, ten are described in the 1917 inventory Hodge penned. Emma wrote descriptions, and labeled and numbered more than 350 objects for Alice that summer. Along the way she included information about each pottery type, and its style and manufacturer. The catalog consists of 116 typewritten pages of very detailed information about a collection now housed in the Ballroom of The Alice T. Miner Museum.

Emma wrote, "This compiled catalog is dedicated to my dear friends of Heart's Delight Farm, who, while they were laboring with the knitting needle for our soldiers at the front, permitted me to assemble these facts concerning the collection of pottery and porcelain in the Matilda Trainer collection, and furnished for me a summer of fragrant and unforgettable associations.

Emma B. Hodge.

Heart's Delight Farm,

Chazy, New York.

August, 28, 1917"

Alice Miner named her collection of British and American porcelain and earthenware in memory of her recently departed oldest sister Matilda, who passed away on February 14, 1917 - just weeks before her 65th birthday. Emma's visit probably helped to ease the acute loss Alice must have felt that summer. Twelve years older than Alice, Matilda was much more than a sister - she had stepped in to help raise the younger children after their mother died in 1870, followed too soon by their father in 1876.

The objects currently exhibited in the Dining Room of The Alice range widely in style, glaze and intended use, as well as in taste! Included is a handsome black basalt bust portrait of George Washington, circa 1790. It is the largest and most striking Wedgwood object in the collection. When you come for a tour you will also see an ironstone china teapot made by Wedgwood that once belonged to William Miner's grandmother Lydia that was given to Alice for her collection by his aunt Huldah Miner in 1917. One of the more whimsical objects is a small teapot shaped like a cauliflower, realistic enough that it made a docent who is allergic to cauliflower sneeze while helping to install the exhibit!

Another Chicago collector represented in this Wedgwood exhibit, Frank Wakely Gunsaulus, was a mutual friend of the Miners and Emma B. Hodge. Gunsaulus was a major collector of illuminated manuscripts, ancient texts, decorative arts, as well as Wedgwood, and his influence on Alice's collection can be seen in numerous extraordinary objects in The Alice's collection. Many of the objects he had gathered, including an Old Wedgwood collection, were donated to The Art Institute of Chicago. The Alice and The Art Institute each own one of a pair of matching flower vases once owned by Mr. Gunsaulus. He had originally donated both to The Art Institute, yet then removed one from their collection to give to Alice. They are Wedgwood jasperware vases described by Mrs. Hodge as; "Flower Holder. Light blue jasper with white figures in low relief of children playing blind man's buff. Classic borders and octagonal base with geometric border in white low relief. Circa 1785. From the Frank W. Gunsaulus Collection of 'Old Wedgwood' in The Art Institute of Chicago."

The Wedgwood jasperware flower holder at The Art Institute of Chicago,

photo used with permission.

The jasperware flower vase in The Alice collection.

There is truly something for everyone in this Wedgwood exhibit: from teapots to sculptures, plates to flower vases - with a variety of glazes - from wonderful green glaze, to black basalt, or merely "plain" white glaze. There are Queen's ware, jasperware, Flo Blue, daisies, cucumber leaves, cauliflower and crocus... I can see Emma Hodge, Frank Gunsaulus and Alice Miner gathered around the dining table admiring these beautifully made and lovingly collected objects. Come to The Alice, squint your eyes a bit, and find out if you can see those folks too... Or just come to enjoy the collection!

Do You Want Your Receipt?

2010-10-13T14:51:00.028-04:00

How old are the oldest objects in the Alice collection? Approximately 4,000 years! What are they? fossils?... a saber toothed tiger tooth? No, and no... there are fossils in the collection, no teeth though - and saber toothed tigers were long gone by the time these objects were created. These are human-made objects inscribed with the earliest known writing system in the world - cuneiform.

Cuneiform evolved from a more pictographic type of writing using stylized representations of real objects. The lines employed to represent each object evolved as they were pared down and simplified, gradually becoming words that no longer looked like the objects they described. The writing was incised in moist clay with a stylus made of a sharpened reed, and the clay tablets were in turn baked to preserve the writing. Cuneiform writing was developed in southern Mesopotamia by the Sumerians over 5,000 years ago, and was later adopted in the same region by the Babylonians and others.

Included in the eclectic collection in the American Indian Room at The Alice are five small clay tablets, each less than two inches square, all created in 2100 - 2400 B.C. in ancient Mesopotamia, (which roughly corresponds geographically with modern Iraq). Two of our cuneiform tablets were found at Drehem, and three at Tell Jokha. Drehem is the modern name for the ancient city of Pazurish-Dagan, which was known as a distribution area for ancient Mesopotamia. Livestock was brought to Pazurish-Dagan to be redistributed to temples, officials and palaces in nearby Nippur. The two tablets in our collection found in Drehem are both receipts for sheep; one to be brought to market, with the others to be offered to the temple in honor of the gods Bel and Belit.

Tell Jokha is the modern name for the Sumerian city of Umma. Two of the tablets from this area are receipts for temple offerings or supplies, but the third is a bit more interesting because it is a list of supplies given to a temple messenger for a journey, and the items include oil, dates and bread. This particular piece is made from clay that is darker than the other four, and it has many more words contained in a tighter, more concisely written script.

Object X.2909 in The Alice collection.

This tablet lists supplies given to a temple messenger needed for a journey. Dated ca. 2350 B.C.

Another of the tablets found at Tell Jokha is described in the accompanying card... "A typical receipt of the temple offerings. After the tablet was written, and while the clay was still soft, the Temple Scribe rolled over the entire tablet his cylindrical stone seal, and the seal impression made it impossible to change the record. Seal impression bears name of scribe in raised characters, the seated figure of the Moon-god Sin of Ur, and the standing figures of priests. Dated about 2350 B.C."

Object X.2911 in The Alice collection. Dated ca. 2350 B.C.

If the date given these tablets is correct, they would have been produced during the Early Bronze Age in the area between the Tigris and Euphrates Rivers... an area many scholars have referred to as the cradle of civilization. Year-round farming was first started in this area. By fostering a less migratory civilization with a large population base and a specialized work force, this method of farming contributed to the development of a written language. We can see that livestock, for example, was often moved to centralized locations near big cities to be distributed to temples, officials and palaces. This soon required development of a method to keep records of the myriad transactions.

It's exciting for me to closely inspect these small square pieces of clay and muse about the busy ancient civilization that created them. Cuneiform was in use and continued to evolve for approximately another 3,000 years. The eventual extinction of cuneiform, however, was so complete that the meaning of the writing was completely lost until around 1850 A.D. The clay tablets are so old, and were used by people with lives so different from our own, but they served a currently common purpose - receipts! They were not created as works of art, but instead as necessary objects of daily life. These little tablets would not fit in your wallet, but they will last much longer than your grocery receipt!

An illustration of the ancient cities of Sumer, a civilization and historical region centered during the Early Bronze Age around the Tigris and Euphrates Rivers.

Likeness in Profile

2010-08-21T11:28:00.024-04:00

Art and history can often be found in the most surprising places. For example, while driving along the interstate recently, I spotted a silhouette... we've all seen her - she may be the most commonly reproduced silhouette of our time - mud flap girl! Although this may seem to some a modern and novel way to depict a beautiful woman, this type of illustration has a long history and was once a very popular form of low-cost portraiture.

The Alice's collection holds a lovely group of thirty slightly more sophisticated silhouettes of men, women and children, collected by Alice in the early 20th century. The silhouettes are displayed together in the Sheraton Room on the second floor. They are wonderful little gems, exhibited in a wide variety of metal and wooden frames. Most are portraits of unnamed persons, but we know who a few of the people are - Benjamin Franklin, Martha Washington, John Ruskin, Aaron Burr, you may not recognize other names; Oscar Dinsmore-Davis (age 10 months and four days,) Margaret Davidson (her daughter was a poetic prodigy who died quite young,) Lucretia Platt, Alexander Potter, Eugenie (which may be the likeness of Empress Eugenie - wife of Napoleon III, and the last Empress of the French.)

Eugenie, 1870

The silhouette collection runs the gamut of the ways people were pictured - from the view of only the head, to full body profiles. One of the latter method depicts Alexander Potter and his dog. The Potter silhouette was created in 1829 by Auguste Amant Constant Fidéle Edouart (1789-1861.) Mr. Potter's and his dog's silhouettes were cut out of black paper and mounted on white paper, on which a split rail fence was lightly painted. The riding crop he holds is partly of cut paper and partly painted.

Alexander Potter by Aug. Edouart 1829 photo: PHOTOPIA/Shaun Heffernan

On the back of our Edouart silhouette is the following printed label,

"LIKENESS IN PROFILE
Executed by Mons. Edouart,

Who begs to observe, that his Likenesses are produced by the Scissors alone, and are preferable to any taken by Machines, inasmuch as by the above method, the expression of the Passions, and peculiarities of Character, are brought into action, in a style which has not hitherto been attempted by any other Artist..."

The methods used to create these images also varied widely, some were cut black silhouettes, mounted on white paper (which may be blank, or painted, or lithographed with a background scene) - some had the white paper as the cut silhouette which was then mounted on black - still others were produced by painting directly on glass, wax, plaster, or even ivory.

Auguste Edouart began cutting silhouettes in 1825 to prove an argument - he tells a story of "bustling the old father into a proper position, seizing a pair of scissors from a work basket, blacking a quickly torn piece of paper with the candle snuffers, and snipping a silhouette infinitely superior to the mechanical shade the family had been commending. It was at once approved of and found so like, that the ladies changed their teasing and ironical tone to praises, and begged me to take their mother's likeness, which I did with the same facility and exactness." Clearly Edouart was somewhat arrogant, but many others admired his work.

Auguste Edouart self portrait

Edouart was born in Dunkirk, France, fought valiantly in Napoleon's army and was decorated. He later moved to England where he traveled the country cutting portraits of British and French nobility. He came to the U.S. in 1839, just a few months before the daguerreotype made it to America, and stayed for ten years cutting silhouettes of Presidents and well-known Americans. On the return journey his ship sank and most of the folios full of copies of his thousands of silhouettes were lost. It is said that he never produced another after that ill-fated day.

Tracing the shadow of a figure thrown onto the wall was a means of portraiture employed as early as the Greek culture. This method did not receive the name "silhouette" until the 18th century, when it was named for a French finance minister who enjoyed creating likenesses made of cut paper... an inexpensive and fun method of portraiture. Other terms include; shade, scissor writing, paper profiles, paper cuts, black shades (a term Edouart hated!,) shadows, and profiles. The most famous English silhouette artist was John Miers (1756-1821.) Alice Miner also acquired a Miers silhouette of the head of a young woman created with black ink on gessoed plaster.

Head of a young woman by Miers, 19th century

Silhouettes became less prominent with the invention of the camera, rapidly losing popularity in the United States after 1840. They continued to be a type of artwork found at fairs and tourist sites for much of the 20th century, and silhouette artists can still be found today, selling their unique brand of portraiture as a more specialized and nostalgic niche item. If you might be thinking of becoming a silhouette artist, you would do well to visit The Alice and study our collection!

Tours are at 10:00, noon, and 2:00 Tuesday - Saturday.

Manual Cooling...

2010-07-14T14:16:00.029-04:00

There are no less than twenty-four meanings listed for the word "fan" on Dictionary.com. We click a button on Facebook to become a "fan"... we fan out the cards to do a magic trick... but the only kind of fans I can think about these HOT and humid days are the ones that can produce a lovely breeze!

This is a serious fan... to provide maximum cooling, or at least adornment for the photographic subject.

The Alice collection holds eighteen beautiful fans of ivory, lithographed paper, feathers, mother-of-pearl, lace, voile, ebonized wood, lacquered wood, and even black satin. No, you wouldn't plug these particular fans into the wall socket to produce a breeze. Instead you would gracefully and languidly twitter the fan with your hand to cool your blushing cheeks!

Francisco de Goya "Woman with Fan" Louvre Museum

Left: Mother-of-pearl and lace fan. Right: Fan of printed and hand-tinted paper showing a pastoral scene, pierced ivory staves, silvered and gilded. The fan on the right has the added bonus of a tiny mirror on the outer stave.

Fans were so commonly used in the 18th and 19th century that they were even occasionally designed as a part of a woman's ensemble. These accoutrements served to cool an overheated lady while also adorning her in the ways she might wear jewelry today. The fan complimented one's attire, and even helped a young woman communicate with the men around her. Look up "The Language of the Fan" on the web and you will discover a language lost (and unnecessary?) to the modern woman.

French hand-colored lithographic fan with ebonized wood staves, mid 19th century.

Painted black satin fan with ebonized staves, showing a bullfight and Spanish dancers, circa 1885.

French painted paper fan with pierced ivory staves, painted with scenes after Watteau.

Detail of the ornate, florid decorations after Watteau.

(Photo: PHOTOPIA/Shaun Heffernan) Chinese intricately carved ivory fan, circa 1900, inside a Victorian Tunbridge Ware wood fan box showing a romantic landscape inlaid design on the cover and lined with silk, 19th century... being admired (?) by a bronze and ivory sculpture of Napoleon.

On these eighty-something degree days here at The Alice I find myself peering around my desk for something to fan myself as I type. Of course, I can't go up to the Lincoln Library, open the chest of drawers and borrow a lady's fan with French hand-tinted lithograph held by ebonized wood staves... for one thing, it wouldn't match my outfit!

Gazing into the Future... and Other Rites of Passage

2010-05-28T11:46:00.024-04:00

High school graduation is often the first significant secular ritual in the lives of young Americans. There are other rituals in which we may participate earlier in life - we celebrate birthdays, observe family traditions, we participate in religious ceremonies and rites... but walking across the stage, reaching out to shake the Principal's hand while claiming one's diploma is a distinctly individual accomplishment... It's a moment we have earned - and an important rite of passage.

The term "Rite of Passage" was coined by anthropologist Arnold van Gennep, and was the title of his 1909 book. He stated that passage rituals consist of three stages: Separation (from society), then Transformation, and finally - Return to society with New Status.

As I learn more about Chazy Central Rural School and it's traditions I have admired how they have managed to retain many of their traditions from the very early days of the school. There are numerous rituals CCRS students experience, either directly or as observers, over the course of their years at Chazy. In just a few weeks I hope to attend Class Day, which is a Rite of Passage for Juniors, and a very powerful ritual and Rite of Passage for graduating Seniors.

At The Alice we have a wonderful mercury glass gazing ball that has been in the collection since the 1920s. I think of rites of passage when I see the gazing ball in the first floor hall. For a number of years this object was used on Class Day to predict the future of graduating Seniors.

The story goes that William and Alice Miner's employee, John M. Maslowski, and another worker from Heart's Delight Farm would drive to The Alice T. Miner Museum, collect the gazing ball from the Director/Curator, drive around to CCRS (as Mr. Maslowski held the gazing ball gently in the back seat,) and deliver it to the auditorium stage - returning the object to the museum in the same careful way after the ceremony. For those of you who have not been to The Alice - walking with the object over to our neighboring school would have taken about the same amount of time - but was not considered a safe enough mode of delivery, I presume!

Mercury glass is not actually made with mercury, but is clear glass blown with a double wall and coated inside with a silvering formula inserted through the hole left by the punty rod (the rod attached to the glass while it is being blown.) The hole is then plugged and the object is complete!

This method of producing mercury glass was developed in Germany in the early 19th century and was used as an inexpensive type of silver substitute - one that would not tarnish. Many candlesticks, doorknobs, vases, sugar bowls, goblets, and gazing balls were produced using this method. One method of production did incorporate the use of mercury, but it was found to be too toxic and more expensive than the more popular lining.

Critics of mercury glass felt it looked too much like a mirror and not enough like silver - but proponents liked it for this very reason. And, any thief could tell when they were looking at inexpensive mercury glass, and not at silver!

These days Alice's mercury glass gazing ball tells no tales at CCRS of future conquests. It merely sits in a quiet corner of the hall until Christmas decorating time, when it often comes out to be graced by a garland and placed on a windowsill for maximum effect. Yet if one were to visit our museum and pause to gaze into it, oh the tales it might yield of both the past, and one's bright future!

Alice on Ivory

2010-04-05T22:07:00.003-04:00

When you visit our museum website (www.minermuseum.org) the first image you see is a lovely painted portrait of Alice T. Miner welcoming you to the site. The original, on loan from Miner Institute, sits on a table in the Parlor here at the museum, and it is truly a lovely image. The portrait was done on ivory by Mira Edgerly Korzybski, a well-known woman artist in her day. Miniature painted portraiture had fallen off in popularity with the rise of photography, but the genre was making a come-back with artists who appreciated the works they were still seeing in Europe.

Alice T. Miner painted portrait by Mira Edgerly, ca. 1915

A largely self-taught artist, Mira Edgerly was born in Illinois in 1879, but grew up in Michigan where her father was an inventor and the director of the Michigan Central Railroad. Her fascination with drawing started when she was quite young, and as a teen she was sent to Europe to study art in England and Paris. Mira later studied at the Art Institute in San Francisco where she met and posed for her friend, photographer Arnold Genthe. John Singer Sargent urged her to pursue her love of portraiture by painting on ivory.

Mira Edgerly Burt (Mr. Burt was her first husband) portrait by Arnold Genthe

Mira Edgerly eventually took the medium one step further by painting on larger pieces of ivory, such as the 4.5"x 10" portrait of our founder, Alice T. Miner. Mira chose more translucent pieces of ivory to give greater luminescence to her colors, ordering the large pieces from London. Her skills were in demand around the world and she painted portraits of socialites, statesman and the upper echelons of American and European society in New York, London, Paris, San Francisco, Chicago, and Latin America.

In 1919 Mira Edgerly married her second husband Alfred Korzybski, a Polish-American philosopher and scientist best known for developing the theory of General Semantics. She led an extremely interesting life! She worked to forward the career of Gertrude Stein, and painted a portrait of Princess Patricia, a grand daughter of Queen Victoria, while in Ottawa. Mira Edgerly is mentioned in the autobiography of Alice B. Toklas in 1933, "Mildred Aldrich once brought a very extraordinary person Myra Edgerly. I remembered very well that when I was quite young and went to a fancy-dress ball, a Mardi Gras ball in San Francisco, I saw a very tall and very beautiful and very brilliant woman there. This was Myra Edgerly young. Genthe, the well known photographer did endless photographs of her, mostly with a cat. She had come to London as a miniaturist and she had one of those phenomenal successes that Americans do have in Europe. She had miniatured everybody, and the royal family, and she had maintained her earnest gay careless outspoken San Francisco way through it all."

An independent and strong character seemed to sustain her and help further her career as well as those of her friends. Today, however, there is not much known about Ms. Korzybski. Her work can be found at The Art Institute in Chicago, and there is a large collection of her personal papers, letters, journals and photographs, along with forty of her ivory portraits at Columbia University in New York City. But if you are in northern New York, you need only travel to The Alice to see an amazing example of her work!

Charles F. Moore Civil War Letters

2010-02-04T09:37:00.009-05:00

The Alice has a very diverse and deep collection. The most obvious elements of the collection are those one would see on a tour of the museum: decorative arts, furniture, samplers, pewter settings, lovely paintings, engravings, and prints... What most visitors do not explore are the archives.

Among the many letters, photographs, and papers in the archives relating to Alice and William Miner are; postcards from Europe, volumes full of holiday cards from the 1900s, letters written by famous Americans such as Thomas Jefferson and George Washington, journals written by William Miner's relatives, and a wonderful collection of over 100 Japanese woodblock prints.

I have written about a few of these precious documents before, and exhibited may of those mentioned. A few years ago the museum transposed a very interesting collection of letters written by a north country lad named Charles Moore. These letters are on our website, www.minermuseum.org, as a permanent "floating" exhibit. We have placed images of the letters along with a typed version for easy reading.

If you would like to read about young Mr. Moore's experiences serving as Quartermaster with the 16th NY Infantry and later with 16th NY Sprague Light Cavalry defending Washington, DC, in his own words, simply go to the website, click the "Enter" button on the front page, and then click the link next to President Lincoln's photograph on the top right of every page.

An Ode to the Farmer and the Harvest

2010-01-07T09:07:00.013-05:00

We have often seen a bumper sticker that says, "No Farms No Food." This may be interpreted in a few different ways, but - as have other professions - the farming community has been advertising its contributions to society for hundreds of years. As tools used on the farm have evolved, so have the methods of keeping the farmers' perspective fresh in the minds of the consuming public.

"Arms" Jug ca. 1800

We have just a few objects in the museum collection that would be used on the farm - a scythe or two, a beautiful hay rake, and milk collecting jugs. The museum also houses some interesting farm propaganda tools. The most charming is a two-handled mug (or jug as it would have been referred to) made around 1800. As mugs go, this one is large - holding approximately 32 ounces. The white exterior is decorated in polychrome colors and illustrated on one side with a farmer and his wife, various farm implements, animals and crops. On the opposite side is a twelve-line poem surrounded by a border of farm tools and products. The inside rim of our mug is decorated in a simple stylized design of wheat stalks and green leaves.

Book label pasted on the inside front cover of the above book. Alice and
William often had labels on the books kept at Heart's Delight Farm.

This style of jug was originally made by Richard Abbey (1720-1801) in Liverpool, England. Our copy of "The Old China Book" by N. Hudson Moore, published in 1903, mentions this was one of a series of "Arms" jugs created by Abbey. The museum copy of this book is well worn and has the Heart's Delight Farm library label pasted inside the front cover. This indicates it was one of Alice's personal reference books. Many of her tomes in the museum collection are reference books about decorative arts. Alice clearly wanted to know as much as she could about the objects she was collecting.

According to Moore there are Arms jugs for many professions; including the Blacksmith, with the motto "By Hammer and Hand All Arts Do Stand," the Baker, the Butcher, and even the Hatter. The motto on the Farmer's jug is "The Husbandman's Diligence Provides Bread." The lines on the back of the jug read;

"Let the wealthy and great
Roll in splendour and state.
I envy them not I declare it.
I eat my own lamb
My own chickens and ham.
I shear my own fleece and I wear it.
I have lawns I have bowers
I have fruits I have flowers.
The lark is my morning alarmer:
So my jolly boys now
Heres God speed the plough.
Long life and success to the farmer."

This poem has been used for many years in songs and odes under various titles: "The Farmer's Toast," "God Speed the Plough," and "The Farmer's Creed" being a few we have identified. It may have been borrowed from a popular song of the day, however, it's unclear to us which came first. The originator of the Arms mugs was a talented engraver who may have drawn on popular sayings or songs for the poem to support his design.

According to museum records this jug has been in Alice's collection since before 1917. That is the year Alice's dear friend and fellow collector, Emma Hodge, wrote a catalog of her porcelain collection. Undoubtedly, being the advocate he was for farmers and their hard working ways, William Miner also appreciated the sentiment this jug bears!

And so, in honor of the harvest which feeds us through the winter months, "Long life and success to the farmer!"

Deck the Halls

2009-11-27T12:25:00.004-05:00

On Thursday, December 10 The Alice will start the holiday season off in high style with a visit from Martha Gallagher, The Adirondack Harper. Martha is calling the show Deck the Halls and will play holiday favorites to help you get into the spirit of the season!

Because seating is limited and Martha is such a popular performer, reservations are required. Make sure you have a seat at this event - reserve by calling 518-846-7336, or send an email to director@minermuseum.org.

Martha Gallagher has been sharing her spirited, distinctive, and richly varied music with audiences for over 30 years. Known in the northeastern region of New York, where she makes her home, as The Adirondack Harper, she has performed with such luminaries as six-time Grammy winners, The Chieftains. Her extensive solo tours have taken her around the U.S. and into Canada, with several tours sponsored by The National Endowment for the Arts. She has been featured on numerous television and radio programs; most recent appearances include BBC Television, Northeast Public Radio, and Good Morning America.

Laborare est Orare

2009-11-13T09:17:00.006-05:00

I wanted to share an article I recently read from our archives about William H. Miner from the "Bell Telephone News" April, 1921:

Work is Worship

"Laborare est orare,"
Sang a monk of olden time,
Sang it at the early matins,
Sang it at the vesper chime.
"Work is worship," toil is holy,
Let this thought our zeal inspire.
Every deed done well and nobly,
Burns with sacrificial fire.

"Laborare est orare,"
Watch-word of the olden time,
Let us take it for our motto,
Serving in this later time.
"Work is worship," God, my brothers,
Takes our toil as homage sweet,
And accepts as signs of worship,
Well worn hands and weary feet.

~ Thomas Handford

The poem reproduced here hangs in the office of William H. Miner, who has for eleven years been a director in the Illinois Bell Telephone Company.

When told that we intended to print the poem in The Bell Telephone News, Mr. Miner asked us to say that anyone who would take the thought expressed in these verses as the motive power of his life, would make himself a good citizen and solve the secret of true happiness.

You want to know more about Mr. Miner? We thought so, and we asked him to tell us, but he just smiled - he is a big man with a whole souled smile - and said, "Tell them I am just a farmer."

But what a farmer!

Many years ago he went into the field of invention and planted some good ideas which grew into a fine crop of appliances for increasing the security of and efficiency in railway operation and which are in use on almost all freight cars. The harvest was golden and plenteous.

Then he bought the farm on which he was born (This is not quite accurate - his father was born on the Chazy farm, but William was born in Wisconsin.) and the next one to that and then the next, and so on until he had more than 11,000 acres.

Then he proceeded to smash all records agriculturally. Not satisfied to make two blades of grass grow where one grew before, he put the minimum at six blades. His was the tallest and finest stand of corn; of wheat; of barley.

He bewildered the vegetable world by growing peas as big as onions and onions as big as melons.

Then he sowed a line of boulders across a valley and they grew into a great dam which caught the cool and glistening waters from a thousand springs in the hills, for the use of all of the people for miles about.

Then he broke into another field where children lived and where there were briers and weeds and poison ivy, and he ploughed them out and he made to grow a great schoolhouse next to the corn and wheat and barley.

Now every autumn there is a rich harvest of hundreds of the coming fathers, mother, citizens, statesmen, merchants, farmers, etc. - red-cheeked, bright-eyed youngsters, made sure and strong for the tasks and burdens that they must soon take on, by the helping hand of this great-hearted farmer.

Bountiful Lord - send us a few more farmers like this one!

This "Bell Telephone News" article was written before William and Alice Miner built Physicians' Hospital in Plattsburgh and The Alice T. Miner Museum in Chazy... I would love to read the farming analogies this author would have come up with to describe those two wonderful contributions to the North Country!

Engineer as Artist - 1588

2009-10-13T14:56:00.001-04:00

When it comes to books we all have our preferences... I appreciate a story that draws me in so fully that I forget to eat dinner. And, as a visual artist, I am naturally enticed by drawings and prints. Since my first summer on the job, one of my favorite books here at The Alice has been Agostino Ramelli's, "Dell' Artificiose Machine". This tome first caught my eye because of it's strong cream-colored leather binding. It has simple, elegant, gold foliate designs on the spine framing the author, title, and "Parigi 1588." Bindings like this are relatively rare due to the skill and attention it takes to create them.

As soon as I opened the cover and looked at some of the illustrations within, my curiosity was piqued - I had to know more. The book is comprised primarily of images, with the text serving mainly to explain the objects that occupy well over a third of the pages. The illustrations, intricate in their detail and precision, are comprised of very detailed drawings of machines - among them are whimsical designs for water pumps, derricks, mills, bridges, and even looms!

The above image illustrates a very specialized library table Ramelli imagined. This revolving table is designed for someone who, suffering from gout, could not get around easily. In each compartment one would place a different book to study or enjoy!

Agostino Ramelli was a military engineer who obviously had an eye for artful detail. In his youth he studied mathematics and architecture. He was a product of the Renaissance, with its emphasis on education through classical sources combined with a search for realism and human emotion in art. The beautiful details Ramelli included in his works illuminate his desire to include a human element in each diagram. They often include whimsical spouts on illustrations of wells, generally in the shape of a mythical creature or animal head, with the water pouring out of the mouth. Many of the etchings involve humans - sometimes powering the machines by walking on huge wheels to turn the cogs and gears, or at other times collecting the water as it pours from the spout.

In the above illustration the creature's head that forms the spout even has flowers in its hair! Presumably, these would have been conceived of by Ramelli as carved stone sculptural elements serving to enhance the beauty of his machines.

Ramelli's work was one of the first of its kind to have drawings so finely and accurately detailed that you could actually construct the machines by using his images as a reference. He wrote this volume for the French royal court, thus the text is in French and Italian.

I encourage all engineers and aficionados of beautiful art alike to come to The Alice to see "Dell' Artificiose Machine" while it is currently on exhibit!

@ The Alice - Friday, November 6

2009-09-30T10:35:00.000-04:00

We have a fun evening in store for visitors and friends of The Alice coming up on the first Friday in November... Tim Hartnett will be joining us at 7:00 pm for an evening of song!

Tim was raised in a family that loved to sing songs together. At age 11 he was inspired by his sister Seana to learn guitar, along with the popular melodies of the day. Many a good time was had at the family home enjoying rousing sing-alongs with the friends who would frequently drop by.

I've enjoyed listening to Tim sing and play guitar many times over the years. Tim has an amazing memory and appreciation for music, lyrics, and songs - and he exudes a joy that flows through every performance. Perhaps you can think of a popular tune Tim won't know? That is a real challenge!

Tim’s musical resume is lengthy and varied. He has appeared as a solo performer, in several duets with women (including his sister Seana), and in numerous bands whose music ranges from country, blues, jazz, pop, and rock. Presently he performs with singer/songwriter Julie Canepa, the jazz/blues/pop combo PureBlue, and occasionally with the Zip City Blues Band.

Seating in the ballroom of The Alice is limited, it's a good idea to reserve your space by calling 846-7336, or sending an email to director@minermuseum.org. The show is $5 at the door, we hope you'll come to the museum on November 6 to relax and enjoy a true minstrel!

Carved in Stone... Cast in Bronze

2009-08-28T12:48:00.071-04:00

I recently visited the cemetery in Chazy where Alice and William Miner are interred. Also buried at Riverview are William Miner's grandparents, Lydia and Clement Miner, and his Aunt Huldah and Uncle John Miner, who raised him after his parents died (Will's mother and father are buried in Wisconsin and Ohio respectively.) Entombed in the mausoleum with Alice and William is their infant child, William Miner, Jr., and Alice's three sisters Matilda, Bertha and Louise Trainer.

A note, written by William Miner in 1925, served to secure

the area for the Miner/Trainer mausoleum.

Riverview Cemetery was incorporated in 1920 but has been continually in use since 1811, possibly earlier. The land, and a few of the homes around the old cemetery, were purchased by William H. Miner in 1916, and he deeded the cemetery and one house to Riverview Cemetery, Inc. in 1920. In 1926 Alice and William built the stone chapel and in 1927 the mausoleum. The plans were drawn up by Frederick Townsend, the architect who designed The Alice T. Miner Museum, Chazy Central Rural School, Physicians' Hospital and many of the buildings on Heart's Delight Farm.

The earliest plans, drawn up by Townsend in 1918,
depict a rather stately structure.

Frederick Townsend's final drawing shows a more rustic building...
The Alice holds the sketches for the mausoleum, the
stone chapel and the museum in its archives.

For the first time I had the opportunity to see the inside of the mausoleum, a solidly built stone structure... I found the workmanship on the interior absolutely breath-taking, which was a surprise after studying the somewhat plain exterior of the building. The mausoleum is entered through a bronze gate with the initials "T M" which is repeated along with a bronze wreath inlaid in the marble floor.

As with all of the Miner structures,
the mausoleum was clearly built to last.

The plaque placed above the door to the mausoleum is inscribed with the
names of the members of the Trainer and Miner families interred within.

The interior of the mausoleum is beautifully decorated with mosaic tiles carefully handset in artistic designs, and seven colors of polished marble are arranged for the floor. The walls feature inlaid glass tile borders which are repeated throughout the space. The back wall is decorated with marble that was cut and then laid out as though unfolding a piece of paper, creating interesting rorschach images. The most interesting, yet subtle, image is just above a pink marble urn in the rear of the chamber. The urn may have been filled with fresh cut flowers from Heart's Delight Farm.

In the rear of the chamber, above a stained glass window, an
intertwined 'T' and 'M' are framed with a mosaic border.

The tiles used in the borders appear to be hand cut and are quite small - none larger than one inch. The room has a lovely domed ceiling with a glass and bronze light fixture. Clearly the best artisans available at the time were hired to create the lovely detail and lasting workmanship displayed is this final resting place for Alice T. Miner (1863-1950), William H. Miner (1862-1930), William Jr. (March 16, 1902 - March 30, 1902), Matilda Trainer (1851-1916), Bertha Trainer (1857-1928), and Louise Trainer (1861-1932).

The Khrabroff Collection

2009-07-31T11:40:00.001-04:00

There is a wonderful variety of characters and historical figures to learn about at The Alice, with research frequently focusing on one General or another. On the second floor of the museum, in a little space that houses cases of dolls, is a photo of a Russian General - General Nicholas Khrabroff, who originally came to the United States from Russia as President of the Artillery Commission. From 1915-1917 the Russian Artillery Commission was based in New York, its mission to negotiate purchase of munitions and other artillery supplies for the Imperial Russian government.

The arms shortage in Russia was so acute during WWI, that by 1916 Russian soldiers were being sent to the front lines without arms, hoping they would equip themselves with weapons recovered from fallen soldiers from either side. Efforts at weapons production in Russia were greatly stepped-up and attempts to procure weapons overseas were intensified. Then came great turmoil in Russia, spurred on partly by the poor treatment of soldiers and massive loss of life in WWI.

Mrs. Khrabroff looks on as Nicholas Khrabroff puts the
finishing touches to the base of a pair of dolls.

By December, 1917 General Khrabroff was still acting in his role to procure arms, despite the changes in Government occurring in his country precipitated by the Russian Revolution. There is still question whether he could have actually been representing his government in agreements he signed during this time, having been sent as a representative of the Imperial Government, which had been overthrown in early 1917. Eventually, it became obvious that he could not return to Russia and he settled in Thetford, Vermont with his wife and daughter, having lost his son in WWI.

A Mongolian Couple and the sketches
from which Mrs. Khrabroff worked...

In their new life in Vermont it is Nicholas Khrabroff’s wife who emerges to us through her Christmas gifts to Alice. The Alice T. Miner Museum holds, among other wonderful collections, an assemblage of hand made dolls representing various historical and cultural groups of Russia. The 30 dolls, usually in male/female pairs, were lovingly made and clothed in their traditional dress by Mrs. M.V. Khrabroff, who even included accessories and jewels for the fascinating figures. Among them are: Peasant twins sent to Alice in 1929; a Polish Noble couple sent in 1928; a newly engaged Ukrainian couple; Finnish twins; a Shaman or “Mongolian Priest” holding his drum; a “bridal couple” from the Volga River region that Mrs. Khrabroff refers to as “Mordvah”, sent in 1935. The Mordvins (also Mordva, Mordvinians) are among the larger indigenous peoples of Russia.

The sketches were done by a friend in Petrograd.

Accompanying these wonderfully made dolls, some of whom have hand painted faces, are affectionate and romantic letters written to Alice by Mrs. Khrabroff about her creations. Some of the letters include sketches of costumes, and separate notes written to Alice by the dolls themselves! These letters are usually safely stored in our archives and therefore out of the public eye. Right now, however, you can see a few of the sketches and postcard images that inspired Mrs. Khrabroff, paired with the figures she created, on exhibit at The Alice.

For this pair Mrs. Khrabroff worked from postcard images...

She recreated every wonderful detail, including costume colors.

Mrs. Khrabroff once wrote to Alice, "I want you, dear Friend, to be sure that I understand very well that the only thing which makes my rag-dolls a little bit interesting and a little bit worthy (oh! very little!) to occupy a very, very small place in your beautiful and rich museum - is the truth of the costumes. Next year I am going to send you the sketches which Oksana made of the Tartars from the ethnographic figures in our best museum in Petrograd... I want that the whole Russia in the great variety of her numerous nationalities, tribes and races would stand up before you as a token of love and gratitude for what Mr. Miner and you, our endlessly kind Friend, made for one of her unfortunate families." The costumes and details of these figures are magnificent! Mrs. Khrabroff was justifiably proud of her work, and would be thrilled, we feel sure, if she knew your curiosity about these little works of art would lead you to visit The Alice!

ADK Family Time blog about visiting The Alice

2009-07-17T12:00:00.002-04:00

Diane M. Chase writes about her tour of The Alice with her children in her blog:

ADK Family Time: Alice T Miner Museum

Thomas Jefferson & The Barbary Pirates

2009-06-10T09:00:00.002-04:00

You may be surprised to learn this! Right here in this Colonial Revival influenced museum, first opened in 1924, resides a hand-written letter containing information that may help the United States Navy tackle the current problems presented by pirates on the high seas. In this letter, a very prominent man in our Nation's history offered his advice. He was the President of these United States and he held very strong opinions about dealing with the terror wrought by pirates! This, however, is no recent missive. It was written in November 1801, by Thomas Jefferson.

Thomas Jefferson Bronzed Metal Plaque, early 19th century

Jefferson was writing to Thomas Newton. He wanted to thank him for the casks of "Hughes's crab cyder" (sic) Newton had sent to Jefferson. But the pirate issue weighed heavily on his mind. Jefferson had just become President in March of that year and he had made a bold decision regarding the Barbary pirates. Since 1784 Congress had been paying as much as $1,000,000 each year in tribute to the North African states of Tripoli, Tunis, Morocco, and Algiers (the Barbary Coast) to protect it's ships from piracy. Jefferson had argued that simply continuing to pay the tribute would never solve the problem. He felt the only way to effectively deal with the issue of piracy was instead to protect our shipping interests with a strong Navy.

When Jefferson refused to pay the tribute, war was immediately declared on the U.S. by the pasha of Tripoli. U.S. Navy frigates were dispatched from the Mediterranean to defend U.S. interests. Thus began the Barbary Wars. Jefferson's refusal to submit to the extortion so surprised the North Africans that Tunis and Algiers broke their alliance with Tripoli. Jefferson's plan seemed to be working. The first Barbary War lasted from 1801 to 1805.

In The Alice's letter, Jefferson wrote Newton (then a member of the U.S. House of Representatives from Virginia's 11th congressional district) referring to Navy Lieutenant Sterritt's "having captured the Tripolitan... I wish it true the rather as it may encourage the legislature to throw off the whole of that Barbary yoke."

Letter written by Thomas Jefferson to Thomas Newton, Nov. 1801

I'll not reveal more in hopes you will come read this letter yourself. It is currently on exhibit in The Lincoln Library, along with another letter written by Jefferson, as well as the first English edition of his book, Notes on the State of Virginia, published in 1787. This is the only book written by Jefferson that was published in his lifetime.

Also, while visiting The Alice ask your guide to explain how one U.S. Navy Lieutenant finally got his revenge on the Barbary pirates over 200 years after being held captive by them!

Notes on the State of Virginia by Thomas Jefferson,
First English Edition 1787

Dr. Franklin's Maxims (and other bits of wisdom... or decorative art...)

2009-05-21T14:35:00.002-04:00

Recently I created an exhibit of objects from the collection related to Benjamin Franklin - it is quite varied in subject and materials; including plates and cups with "Franklin's Proverbs;" a lovely framed silhouette of Ben; and "A Treaty... With The Indians Of The Six Nations..." printed and sold by Benjamin Franklin.

He was a man of many talents and interests, as noted in this entry from Wikipedia, "Benjamin Franklin (January 17, 1706 – April 17, 1790) was one of the Founding Fathers of the United States of America. A noted polymath, Franklin was a leading author and printer, satirist, political theorist, politician, scientist, inventor, civic activist, statesman, and diplomat. As a scientist, he was a major figure in the Enlightenment and the history of physics for his discoveries and theories regarding electricity. He invented the lightning rod, bifocals, the Franklin stove, a carriage odometer, and the glass 'armonica'. He formed both the first public lending library in America and the first fire department in Pennsylvania. He was an early proponent of colonial unity, and as a political writer and activist he supported the idea of an American nation. As a diplomat during the American Revolution he secured the French alliance that helped to make independence of the United States possible."

In these lean times I can't help but be struck by some of the words of our wise and inventive statesman. His original maxims appeared in Poor Richard's Almanac between the years 1732 - 1758. We are all familiar with the saying, "Early to bed, and early to rise, makes a man healthy, wealthy and wise." But some of the sayings on our transfer-ware plates and cups will be less familiar. Staffordshire ceramics factories began producing smaller china for children around 1790 (coincidentally the same year Franklin died.) Designs and sayings from books and magazines were freely "borrowed" (despite copyright laws forbidding this) and Ben Franklin's proverbs were printed on plates and cups made for children and containing "Lessons for Youth on Industry, Temperance & Frugality..."

On the cup: "If you would know the value of money try to borrow some. When the well is dry thy know the worth of water..."

Alice T. Miner purchased these cups and plates some time before 1924. They are usually housed with other transfer-ware pieces in one of the cases lining the walls of the ballroom. I've selected a few to include in this exhibit to allow visitors a closer look at this collection within a collection.

"Keep Thy Shop and Thy Shop Will Keep Thee..."

"Women and wine, game and deceit, make the wealth small and the want great. What maintains one vice, would bring up two children."

There are two images in the exhibit representing Benjamin Franklin. One is a framed steel engraving and the other a simple silhouette or "shade." The silhouette of Franklin in The Alice's collection shows the familiar and oft reproduced profile. Held in a lovely gold frame, this image dates to circa 1800.

The most extraordinary item in this exhibit is a 1744 treaty printed by Benjamin Franklin and is his account of a meeting between representatives of the Provinces of Pennsylvania, Virginia and Maryland with "The Indians of the Six Nations" held in Lancaster, Pennsylvania in June 1744.

The last image I'll reveal of this exhibit is a J.F.E. Prud'homme framed steel engraving after John Trumbull's "The Declaration of Independence." This image may be familiar to you from the back of the $2 bill. Ben Franklin is among the five statesman standing in front of the table - he is the gentleman on our right holding his spectacles. To see this image larger simply click on the photo... or, better yet, come to The Alice for a tour and see the exhibit for yourself!

Intimate Objects

2009-04-10T13:15:00.001-04:00

With birds nesting and spring cleaning in full swing, I have been preparing the museum for our spring and summer visitors. Recently I put together a new exhibit in the Dining Room, and another in the first floor hall at The Alice. The museum collection holds a wide variety of wonderful treasured objects - pieces to interest a range of visitors and tastes; from Japanese prints and Sheraton furniture to engravings of famous statesman & poets, and silhouettes, ceramics, glassware, pottery, 18th century firearms, and rare books and manuscripts. Also within these walls that Alice and William Miner built remain some of their own intimate possessions.

the display with a photo of Will and my current
favorite photograph of Alice in the center

The museum also holds a large archive with many of the boxes filled with papers, letters and photographs belonging to Alice & William. Along with these records of their lives we have some of their personal belongings, including a few of the lovely gifts Will gave to Alice; a colorful Venetian brocade table cover, beaded purses and belts... oh, and some very sweet letters!

a few of Will's books and his fez complete with box!

Many of these objects are tucked away in what we call "The Miner Room" or "The Memento Room." I have brought some of my favorites together, converted the dining room table to a display space, covered it with the lovely Venetian brocade, and placed their intimate objects around the table for you to experience. In the center of the display I have placed a very handsome pair of silver-resist, green glass scent bottles with stoppers which were given to William Miner by Diamond Jim Brady, a friend and business associate.

letters from Will to Alice

Alice along with a cup and saucer from a set given
to Alice and William as a wedding gift in 1895

The new displays will only be on exhibit for a month, so come experience them for yourself. The Alice is open by appointment only for the month of April. On May 1 we will resume our regular hours: Tuesday - Saturday by guided tour, with tours starting at 10:00 am, noon, and 2:00 pm. For reservations please call 846-7336, or email me at director@minermuseum.org

A Manuscript Reborn!

2009-03-20T10:14:00.006-04:00

To followers of this blog this will come as no surprise, but 2008 was a significant year for a 15th century illuminated manuscript in The Alice T. Miner Museum's collection. 'The Lorraine Breviary' was carefully packed up and driven many miles away to receive some much needed loving care from an expert in book conservation, Deborah Evetts. For some details about the work Deborah completed to restore the Breviary you can refer back to my August 28, 2008 blog entitled Le Breviaire d’Henri de Lorraine (If clicking on the link does not take you to the older blog - you can find it by going to the "Blog Archive" on the right side of this page, opening the year '2008' and then opening the month of 'August', there you will see a link for the previous blog.)

On Thursday, April 2, at 7:00 pm Deborah Evetts will illustrate the tradition of manuscript repair through examples such as the Beatus Apocalypse and other manuscripts from her many years of conservation work. Ms. Evetts will then discuss the stages in the restoration of the Museum’s Breviary, the reasons behind each step, and how they effect the final result, accompanied by many photographs. A Manuscript Reborn: Restoration of the Lorraine Breviary will take you inside the world of book conservation, a journey through time. The ancient and exciting techniques employed to bind manuscripts – herringbone stitch and linked sewing, metal work, leather work, wood work and rare textiles – will transport you into an age where technical gadgets were not only unknown, they could not even be imagined... And where craftsmen making everything with their own hands made beautiful works of art.

Deborah Evetts: An internationally recognized book conservator she advises librarians and collectors on topics ranging from the best restoration/preservation methods, housing and climate control, and is entrusted by major libraries, museums and private clients with the restoration of their priceless books. Trained as a designer bookbinder by several of the greatest exponents of the classical English School of bookbinding she exhibits worldwide and her work is represented in numerous collections both institutional and private. Deborah is a lecturer on book conservation, fine binding, decorated papers, etc., to professional organizations, book clubs, publishers and educational institutions. As Drue Heinz Book Conservator at the Pierpont Morgan Library, New York, she cared for a magnificent and varied collection of Coptic manuscripts and bindings, medieval illuminated manuscripts, early printed books, music manuscripts, autograph manuscripts and documents and children's books. She combined this work with fine binding, designing, teaching, lecturing and consulting for major institutions and prominent private collectors. The latter included binding copies of President Kennedy's notebook for Jackie Kennedy to give to her children, and the rebinding of the 9th century De re culinaria manuscript of Marcus Apicius for the New York Academy of Medicine.

Tickets are $8 and seating is limited, for reservations please call 518-846-7336, or email me at director@minermuseum.org!

Alice & Her Family

2009-02-26T11:59:00.005-05:00

Alice T. Miner was from a very large family by today's standards. I have found conflicting reports on how many children her parents, Bernard Trainer and Louisa Saunders Trainer had, but there were ten or twelve children born from 1850 - 1868 (Alice in 1863.) One would expect that such a large brood would carry on to this day, perhaps contracting slightly with the changing times. And wouldn't it be interesting to have visits from the grandchildren and great grandchildren of Alice's siblings?

As far as I know, there have been no such visits since Alice passed away in 1950, that is, until 2007. That summer The Alice had a surprise visit from Helen Highley Matel and her family. Mrs. Matel visited with me long enough to tour the museum, a place she remembers visiting as a girl, but she does not live nearby and had not been to Chazy since the year Mrs. Miner passed away. The family connection is through Helen's grandfather, James Saunders Trainer, who was Alice Trainer Miner's older brother. James and his wife, Hannah, had one child, Helen Trainer Highley, Helen Highley Matel's mother.

James Saunders Trainer

It has been very interesting to continue a correspondence with Helen Highley Matel via email. Knowing that Helen was descended from Alice's brother I asked if she could send information about who he was, when he was born, what he looked like... The museum has photographs of Alice and a few of her sisters; Matilda, Bertha, and Louisa, but not one photo of her brothers; Bernard, James and William.

Helen Trainer Highley, Helen H. Matel's mother

What I received from Helen in return really surpassed all of my expectations! In late January I picked up a heavy padded envelope from the Post Office sent from Helen Highley Matel. I eagerly opened the parcel and was delighted to find a note from Helen and nearly thirty portraits of Saunders and Trainer family members, most of which I had never before seen! The following photo is the least formal of the collection, the rest seem to be studio portraits taken in Canada and the U.S.

Alice Trainer Miner, ca. 1898 near Chicago

At last some faces for a few of Alice's brothers, and some real surprises - three photographs of James Saunders (1792-1879) and a few with his wife, Jane Woolocott Saunders. James was Alice's grandfather who brought his family over from Crediton, England to Goderich, Ontario when Alice's mother was just a child. Goderich is where Alice and her siblings were born.

James and Jane Saunders

I had seen James Saunders face many times, in a painted portrait in the formal dining room of the museum. Now we are trying to determine if Jane's face is the same one looking out at us from a painted portrait in the collection that has previously remained unidentified.

Helen included a few rather romantic photographs of Alice, Bertha, and Matilda that I had never seen. Note the letter in Matilda's lap... She was the oldest child and raised Alice and her siblings after the loss of their parents.

Matilda Trainer, Alice's oldest sibling

Bertha Trainer, also older than Alice

William Trainer who was just a few years younger than Alice

In the accompanying correspondence Helen Highley Matel says she remembers meeting William Trainer once when she was very young. William was a pharmacist, scientist, civil servant, and author in Canada, the one person in Alice T. Miner's immediate family about whom you can find information on the internet.

The last photo I'd like to share is one of Alice at approximately age 15. She has very heavy bangs that make her look as though she has short hair - an unusual style for a girl at the time - but you can see what appears to be a thick braid of hair going behind her back. This is the youngest photo we have of Alice, note those light blue eyes... Many of the Trainer children have the very light eyes we have seen for years in photographs of Alice.

Alice Trainer Miner, ca. 1878

I'll leave you with some of Helen Highley Matel's recollections of her family,

"I do remember visiting Heart's Delight Farm when I was a little girl, probably twice it must have been in the late 30's or 1940. We drove up to Chazy from Medford during spring vacation, my mother, father and sister. Seward (Helen's brother) only remembers going once, he probably was too little the first time we went. We had to be old enough to behave properly in a formal setting. It was very exciting for us, my sister and I (to) be in such luxurious surroundings. I remember Aunt Alice as being a rather portly lady, of whom I was in awe..."

The Blue Wall

2009-01-31T12:53:00.010-05:00

As most of you know, The Alice put on a wonderful Japanese woodblock print show from our permanent collection during the summer and autumn of 2008. In order to display these stunning prints properly we completely transformed the museum’s Weaving Room into a gallery exhibit space, removing all objects that had been historically shown there. Last autumn, at the conclusion of the exhibit, the prints were placed in their archival boxes and put back to sleep in storage... the barn loom was returned, and the gallery was restored back to the Weaving Room, as if no print exhibit had ever taken place!

With big changes come new ideas... we thought, hmmm, why not include some adventurous color in the Weaving Room? A delicious dark cobalt blue was settled on, and we painted one panel of the North wall to add some energy to the room. Interesting how one new idea can lead to another... this new blue really wanted to become a stage to feature an additional item from the collection. Perhaps a wonderful piece of furniture that has always been difficult to fully appreciate in it's usual space in the museum? Aha!

We carefully moved a Queen Anne High Chest down from the Southeast Bedroom on the third floor and placed it in front of the blue. It actually sings in its new space! For once it is properly lit and the color of the chest leaps out!

It will be another few months before our public can come to see this transformation in person, and there will be other new exhibits when we open again for tours in the Spring. I hope this little teaser will get you in the door again... you really must see the blue wall and High Chest!

Volunteer at The Alice!

2009-01-09T09:25:00.003-05:00

At The Alice we are expanding our docent program and hoping to reach out to community members who are looking for an opportunity to be an important part of our team of volunteers.

Volunteers and docents at The Alice fill vital roles, including; interpreting the museum and it’s collection for visitors, researching our archives, assisting at special events, keeping the garden beautiful, caring for the collection, conducting research of the collection, and working with school groups to learn about The Alice T. Miner Museum and about our Nation’s past through study of our collection.

If you, or someone you know, is interested in volunteering at the museum please call Amanda Palmer at 846-7336 to set up an interview!

The Quiet of Winter

2008-12-27T14:55:00.006-05:00

As my commute to work becomes more of an adventure each day... and the views along the way more muted, spare, simple - I have to fight being lulled into a winter sleep. The Alice "sleeps" during the cold months as well. On the first day of the new year we close our doors to the public - except for a few evening events - through the end of March.

In the main museum rooms I lower the steam heaters and keep the lights turned down. It has always been a quiet place in winter, and these days just a few of us wander the collection. We will keep up with our work: cataloging, researching the collection, planning events, organizing archives. But the only times we will see our public are when we invite them in for events or gatherings, there are no tours for the next few months.

The collection breathes a sigh and settles down to a dark, cool quietness. In the meantime, keep an eye on our website www.minermuseum.org, and this blog for news of upcoming events! If you would like to receive email announcements of our events and exhibits please send me a note at director@minermuseum.org!

A Simpler Gift

2008-12-06T09:04:00.001-05:00

There is something about these passing years that can make us forget how much things have changed since we were children... the days really begin to fly by in our early 20’s... life fills with friends and family, and work and play, and eventually careers, and perhaps even children of our own.

When Christmas or Chanukah or Kwanzaa come along we start thinking of gifts to get for the people in our lives. More frequently these days gifts come with batteries, or plug into our televisions or computers; iPods and Wii video games have replaced the record player and Twister. One of the gifts that was most memorable for me as a child was the bike with the banana seat I got for Christmas when I was six!

Here at The Alice, however, none of the toys have batteries or plugs, and few even have moving parts! The toys at the museum hearken back to simpler times. Dolls and ice skates were things children enjoyed for hours, and in ways that did not necessarily isolate them from those nearby.

As a way to celebrate the youthful joy of the holidays we have put together some of our toys for you to see for yourself... sort of a visual "Letter to Santa Claus" from the 18th and 19th Centuries. We hope you will come enjoy this display, and perhaps linger for a last tour for 2008.

Ice Skates, an Adventure Book, Dolls, a simple tin puppet...

@ The Alice - December 19

2008-11-15T15:32:00.004-05:00

On Friday, December 19 at 7:30 pm The Alice will be transformed into a far away Scandinavian garden, monastery, and mysterious forest when Martha Gallagher, The Adirondack Harper, performs The Christmas Rose. With Celtic harp in hand, Gallagher tells this unusual story through original music and spoken word, weaving together song and story, music and legend.

The concert is inspired by The Legend of the Christmas Rose, a story written by Sweden’s Selma Lagerlof. “My imagination was captured by this story the very first time I heard it, read by a Viking descendant by the light of the real candles that burned on his Christmas tree on a snowy winter night many years ago,” says Gallagher. The Scandinavian story takes place in a monastery garden, a poor village, and a deep, dark northern forest. There are thieves, monks, robber women, herbs, wild animals, and wilder children. There are the rich, the poor, the narrow-minded, and the open-hearted. There is danger, faith, mistrust, love and, of course, there are miracles. The tale is unusual, captivating and perfect for the darkest time of the year, when light and miracles abound throughout the many celebrations and traditions of the season. The concert is suitable for adults and older children; it is not intended for the attention span of young children. Gallagher says, “Although it’s basis is in Christian beliefs, the miracles of the heart; the “heart” of the story, transcends any one religion, making it a universal tale of faith, joy, hope and love.”

Gallagher has been sharing her spirited, distinctive, and richly varied music with audiences for over 30 years. Known in the northeastern region of New York, where she makes her home, as The Adirondack Harper, she has performed with such luminaries as six-time Grammy winners, The Chieftains. Her extensive solo tours have taken her around the US and into Canada, with several tours sponsored by The National Endowment for the Arts. She has been featured on numerous television and radio programs; most recent appearances include BBC Television, Northeast Public Radio, and Good Morning Arizona.

For more information on Martha Gallagher, please visit www.adkharper.com.

Tickets are $5

Seating is limited at The Alice so reservations are required for this performance, 518-846-7336

Or reserve a seat by emailing us at director@minermuseum.org!

A Picture (and a few well-placed labels) is Worth...

2008-11-08T12:16:00.013-05:00

When The Alice Board began planning to exhibit our collection of Japanese woodblock prints it became obvious that the room to transform into an exhibit space was the Weaving Room. This space has the best lighting to avoid damage to paper - fiber optic lighting. But first, everything had to be removed, walls needed painting, and windows had to be creatively covered to afford increased display area. With a capable and talented maintenance man like Steve Fessette everything is possible! Even to Steve, removal of the big Four-corner Post loom or "barn loom" from the Weaving Room seemed to be the element of the puzzle that would be the most challenging. The loom is a large piece, well-constructed, with tight mortise and tenon joints held together with wooden dowels, or pins.

The loom before dismantling...

The barn loom was made to be taken apart and moved occasionally. Intellectually, we could see it was possible to dismantle, move the loom, store it safely, and then put it all back together again after the exhibit. But none of us had ever tackled this puzzle before! If we took it apart, would we know how to put it together again... so many months later?

One Saturday in June we took on the project armed with labels, a camera, and four good brains! Stephanie Pfaff, Elizabeth Greeno, Steve Fessette and I carefully labeled every joint, took meticulous photographs, and slowly dismantled the loom.

A joins with A, B with B... and so on...

Since that day in June the thought of putting the barn loom back together again has preyed on my mind every now and again! With the weather quickly changing and the time to transform our exhibit space back into the Weaving Room upon us... well, today was the day! So Stephanie, Steve and I marched out to the loom and carried the pieces of the puzzle into the Weaving Room. The labels had stayed intact, and armed with the photographs of the dismantling process, we began to reassemble.

It's amazing how well equipped we were to complete the task! We had taken so much time in the process of taking the loom apart, that putting it back together was accomplished pretty quickly!

The loom among the Japanese prints... note that the windows are still covered.

The barn loom is back in its traditional home. Currently it is surrounded by Japanese prints, but will soon have its old mates back; spinning wheels, samplers and Federal settees... that is, until the NEXT exhibit transforms the Weaving Room, once again, into the Exhibit Space!

School Days - Boire Family Donation

2008-11-01T10:13:00.007-04:00

In May The Alice received two donations from the Boire family - Julie Duprey, Cecile Miller, Susan Mercier and Gary Boire donated these pieces to the museum in honor of their parents Orel and Theresa Boire. The student desk and 1927 Dictionary are originally from Chazy Central Rural School, where Orel worked as an electrician and Theresa was a reading volunteer. Orel acquired the objects when the old school was being razed in the 1960s. Julie, Cecile and Susan shared memories of having used the desk to play "school" as children.

The student desk is a solidly built piece of furniture - truly made to last! On a metal handle of the desk drawer below the seat is inscribed, ' "MOULTHROP" MADE BY LANGSLOW FOWLER COMPANY, ROSHESTER, NY'. Samuel Parker Moulthrop was a progressive and effective educator, a devoted Mason, Sunday school teacher, public speaker, Boy Scout Troop leader, and outdoorsman in Rochester, NY in the 1890s and 1900s.

'Colonel' Moulthrop, as he was affectionately called, developed the design for a desk with an adjustable top in 1905, to be used in Washington Grammar School where he served as School Principal. This desk offered more flexibility for the classroom over the previous use of benches, and was also a better seat for the student. The design attracted the interest of the Langslow Fowler Furniture Company, a maker of Arts & Crafts furniture, and they began producing this new style of desk a short time later. Our desk is about the size used by a kindergarten student, has a recessed pencil holder on the desktop and in the drawer, and a little metal holder for the student's name on the back of the chair.

The 'Funk & Wagnall New Standard Dictionary of the English Language' from 1927 is a large, heavy volume that was probably referenced by many students at CCRS during its heyday! "Prepared by More Than Three Hundred and Eighty Specialists and Other Scholars Under the Supervision of Isaac K. Funk, D.D., LL.D., Editor-in-Chief" this volume must have been a wonderful resource. With over 2800 pages the dictionary weighs at least 20 pounds (it would have been the perfect book to be placed under your shorter cousin to boost him or her up at the Thanksgiving table!) With small engravings on most pages, the volume also includes numerous full-page illustrations (some in full color) on such subjects as Aeronautics, Bacteria, Coats of Arms, Fire-fighting Appliances, and Wireless Telephony.

The desk is now right at home in the Childrens Room, and the fully illustrated Dictionary sits on the table in the Lincoln Library. The Board, Docents and Staff at The Alice are very grateful to the Boire siblings for their thoughtful donation.

A Family Returns...

2008-09-12T09:07:00.015-04:00

In the first week of August we were visited by a family with a connection to William H. Miner that stretches back to his childhood in the 1870s. Descendants of Carrie Eudora 'Dora' Oliver Simonds came to The Alice to tour the museum and reconnect with their ancestors. The family ties between Dora and Will are a little murky... but Dora was like a sister to Will.

Dora, Aunt Huldah, Will and Uncle John, ca. 1877

William H. Miner was orphaned by the time he was 10 years old. His step-mother wished to return to her native Scotland and take young Will with her, but his family feared losing him forever and he was sent to Chazy to be raised on the family farm. The couple who took him in - Aunt Huldah and Uncle John Miner, had no children of their own but were already raising their niece, Carrie Eudora Oliver. Dora and Will were close in age and kept in contact with each other throughout their lives.

When I began learning the story of Will Miner I heard about Dora and marveled at the kindness of Huldah and John, raising these two orphaned children with a combination of strong love and strong discipline. The only photo of Dora I knew of was the one shown above. I had no idea what she looked like, and did not know what became of her.

Through my work on the archives at Miner Institute I found unusual photos of the Simonds family. They stood out simply because they were portraits, with names written on the negatives. The majority of photos in the archives are of scenery, buildings and animals on Heart's Delight Farm. A very small percentage are photos of people, and even fewer of those actually name the persons pictured. But I did not know who the Simonds family were, or what connection they might have had to the Miner family.

A great-granddaughter of Dora, Diane, sent me three photos after she visited The Alice, along with some writings done by her grandmother, Anna Simonds and Anna's older sister Eva. These writings and photos have connected some seemingly unrelated fragments in the archives and have been very exciting for me! First, of course, is the name Simonds, Dora's married name. I had not known that I was looking at portraits of Dora's children (these two photos are from the Miner Institute archives)...

Diane sent three photos of Dora and a photograph of Huldah as a young woman. Finally I could see what Dora looked like! It was also wonderful to see Huldah when she was in her prime, I had only seen her photos taken after Will started building Heart's Delight Farm, when he was in his forties and Aunt Huldah was a gray haired senior.

Not only was that first photograph the only one I had ever seen (knowingly) of Dora, but also the only one I had seen of Uncle John, until this one sent by Diane:

Dora, Uncle John, and Aunt Huldah, ca. 1867

The photograph of Dora that really connected the dots for me is the one that gave me a first look at Dora's face. Note those pursed lips...

Carrie Eudora 'Dora' Oliver, ca. 1881

There was a portrait in the archives of a handsome family that I had been intrigued by... It did not show William and Alice, Aunt Huldah, or any of the few others I had seen formal portraits of... this was a family, perhaps three generations. But with no name on the negative... how frustrating to not know who they were! Until I looked closely at those pictured, and that is when I noticed Dora!

Dora is the woman seated on the left... and could that be Aunt Huldah next to her?

The Simonds family lived with Aunt Huldah for a few years and this portrait may have been taken at that time. Diane and I assumed that it was likely captured around 1893, based on the ages of the children. Anna Simonds had not yet been born (she was Diane's grandmother, born in 1902) but Eva is there, and she was born in 1889. Eva is the child sitting on Dora's lap.

One of the photos I shared with Diane was a real treat for her because she had known Eva Simonds, who lived well into her nineties, because Eva shared a home with Anna in their elder years. Diane and her siblings visited with them when they were children.

Eva & Anna Simonds

The last photograph to share is one of Dora Oliver Simonds taken in 1942. The way she held her mouth seems just the same in all three adult photographs. To me, the most important lesson in these discoveries is how necessary it is to write names on photographs, we cannot assume that later generations will know who everyone is by sight!

Dora Oliver Simonds, 1942

The narrative pieces Diane sent to me have also been incredibly valuable. Although some of the memories are faulty, there are a few wonderful insights into peoples lives. Anna Simonds seems to have had very accurate memories of William H. Miner and of the people who worked at Heart's Delight Farm. But it is Eva's recollection of the first time she met Alice T. Miner that I really enjoyed,

"I was about eight years old when I first remember seeing this boy now grown into fine manhood. My family was living with Aunt Huldah and he came to spend his honeymoon.

I think she was the prettiest girl I had ever seen. Light golden hair, beautiful blue eyes the color of the sky and it was June, the year was about 1896. (Alice and William were married in 1895). I remember her blouse; the sleeves were large at the top and tight at the forearm and wrist. Her skirt was long and with wide gores like my mother's. She was the youngest of the four sisters Mathilda, Louisa, Bertha and Alice."

Le Breviaire d’Henri de Lorraine

2008-08-28T09:19:00.031-04:00

Last December Jackie Sabourin and I journeyed hours away to transport a manuscript from the collection to a book conservator for some long awaited TLC. For a 600 year old book the breviary was in excellent condition. Perhaps that's like saying "for a 200 year old human he was in great shape!" Contemplating the age of our breviary really brings into question how it has survived intact these long years and many miles.

details from the breviary

Le Breviaire d'Henri de Lorraine was created ca. 1430 in Rouen, France, for Henri de Lorraine, then Bishop of Therouanne. Alice T. Miner purchased the manuscript from her friend and fellow collector Frank Gunsaulus around 1917. When Alice opened her museum in 1924 the breviary was placed on the third floor for visitors to see. When our collections committee prioritized it for conservation it had been in it's display case on the landing since that time.

the breviary

Deborah Evetts has an unusually broad rare book and manuscript conservation résumé. She was Head of Rare Book Conservation at The Pierpont Morgan Library for many years, and now runs an independent conservation service. Deborah has a talent and passion for book arts which we hope to employ in 2009 with a book binding workshop @ The Alice.

We sought out Deborah to assess the breviary's condition and to formulate a conservation plan for it. Our Collections Committee then approved implementation of the plan. Her work began immediately - the breviary was dis-bound completely and she removed the glue from the spine.

the breviary without it's binding - the process of removing the glue...

The binding had been sewn so tightly that it had caused swelling of the fore-edge. Therefore, the next step in Deborah's work was re-sewing the binding using a herring bone stitch.

sewing the headband...

The book cover also received some much needed repair, including rebuilding of the corners, the addition of a new lining on the spine, and re-backing done with the appropriate calfskin leather, stained nearly identical to the original. Upon first glance it is difficult to see the repairs - one of the marks of an excellent conservator!

the corner before repair...

The vellum paste-downs in the front and back of the cover were removed from the boards supporting the cover and replaced with paper. After many hours of expert work, the cover and pages were reunited and the breviary returned to it's intended state. Finally, Deborah made a new box to house the breviary when it is not on display.

(L) preparing the sewing supports prior to lacing on the board... and (R) the new box to house the breviary during times when it is not displayed...

A short time ago we received the call that Deborah's work was complete. I made the trip to her workshop with Seana Remillard and Stephanie Pfaff to retrieve the breviary. Upon our arrival, Ms. Evetts kindly gave us a tour of her workshop! We then surveyed the conservation work she had done on the breviary before leaving for the long trip back to Chazy. Le Breviaire d’Henri de Lorraine is now back @ The Alice and on display for you to enjoy!

Deborah Evetts in her workshop explaining the work done on the breviary...

Japanese Prints from 'The Alice' Collection

2008-07-23T09:16:00.045-04:00

“Warriors & Entertainers”, an exhibition of Japanese Woodblock Prints @ The Alice T. Miner Museum in Chazy, NY, runs through October 25, 2008. Nearly all of the prints are ukiyo-e, “pictures of the floating world,” dating from about 1700 through the late 1860s, featuring actors, courtesans and warriors. These prints, exhibited for the first time, originated primarily from Edo (Tokyo), with Osaka, Kyoto and Nagoya also represented. The collection was acquired by Alice T. Miner in the 1920s.

Kikugawa Eizan (1787-1867) Teahouse
waitress walking through the snow.

Totoya Hokkei (1780-1850)
Saito Oniwakamaru subduing a giant carp.

On Saturday, July 12 the exhibit opened with great fanfare! The day featured a lecture by David Waterhouse, Emeritus Professor in the Department of East Asia Studies at the University of Toronto entitled, "Momentary Pleasures: Glimpses of Old Japan from The Alice T. Miner Collection." Mr. Waterhouse also wrote an essay for the exhibit catalog and helped to select the prints from our collection of over 100 images.

All Photos: PHOTOPIA/Shaun Heffernan

Docent - Janet Brendler, David Waterhouse and Joseph Burke

Although it was a very warm and humid day, we had a capacity audience for the lecture as well as an enthusiastic turnout for the reception. The opportunity to view prints of this caliber in Northern New York is rare indeed!

The Lecture Audience

The Alice staff and maintenance crew transformed the Weaving Room into a lovely exhibit space to display the prints, hiding four windows and adding lighting for the center of the room to illuminate display cases, which hold two large, stunning prints. The Curators of the exhibit were Board Members Helen Allan and Marguerite Eisinger.

The Exhibit Room

Guests were greeted and guided by a wonderful group of docents stationed throughout the museum. Without our dedicated group of docents these events simply would not be possible. I hope readers will humor me as I thank them by name: Virginia Brady, Janet & George Brendler, Lynda Cote, Tia Duffy, Seana Remillard, Jackie Sabourin, and Jaimie Trautman. Docents assisted by framing and hanging the prints, addressing envelopes, and performing myriad tasks on opening day. Many of The Alice Board Members were also a great help by distributing posters throughout the area and helping at the opening.

Docent Cynthia (Tia) Duffy at her post!

This is the first event of its kind for the museum. The Alice T. Miner Colonial Collection Board and Trustees have been planning the exhibit for over three years. The Board underwrote "Warriors & Entertainers" in order to introduce this collection of prints to the public. We were all quite excited to finally usher in our guests to enjoy these works of art that Alice Miner collected so long ago!

Joseph C. Burke - Board Member & Joan T. Burke - Board Chair
of The Alice T. Miner Colonial Collection

Guests enjoying the food...

...and reading the catalog that accompanies the
"Warriors & Entertainers" exhibit.

If you would like to come to The Alice to experience the prints for yourself, kindly coordinate your arrival to coincide with our tour times: Tuesday - Saturday, 10:00 am, noon and 2:00 pm. (If you arrive in between these times we may be on a tour and might not be free to answer the door.) A beautiful catalog of the exhibit is available for sale at The Alice for $10 including tax. The exhibit will be open until October 25.

Docent - Lynda Cote, Curatorial Assistant - Stephanie Pfaff,
and Director/Curator - Amanda Palmer

Weaving the Threads of an Eclectic Collection

2008-06-06T14:31:00.014-04:00

Visitors often do not know what to expect when they ring the doorbell at The Alice T. Miner Museum. By the time our tours reach the third floor, guests frequently ask how it came to be that Alice built a collection of such variety and depth.

Colonial Revival influenced collectors during Alice’s time were, among other interests, motivated by a wish to preserve the Nation’s early history. They valued quality hand-made objects and tools over machine-made objects, exhibiting a longing to capture the spirit of the past. As these collectors and the Movement itself grew, the ideals embodied in the Colonial Revival Movement became internalized as an emotional, spiritual and intellectual heritage. Collectors no longer limited themselves to decorative arts made in the Colonies, but appreciated quality hand-made decorative and fine art objects from around the world.

While influenced by the Colonial Revival Movement and by other collectors, Alice T. Miner was a sophisticated collector in her own right. She embraced the decorative arts – ceramics, furniture, textiles, and glass. Her collecting did not stop with objects of everyday life, however. The museum also holds smaller collections of beautiful objects and art. Alice acquired her Japanese woodblock prints in the 1920s through her friend Emma B. Hodge. Her friend Frank W. Gunsaulus advised Alice in collecting some wonderful books and manuscripts.

Frank W. Gunsaulus (Left) and Emma B. Hodge (2nd from Right) at Heart's Delight Farm ca. 1917

Over the past few years the connections between Alice and her friends Emma B. Hodge and Frank W. Gunsaulus have become clearer to those of us researching the museum collection. Dr. Gunsaulus, a Presbyterian minister, was a collector of woven coverlets, Japanese prints, rare books and manuscripts. His daughter, Helen C. Gunsaulus, was Curator of the Buckingham collection of Japanese prints at The Art Institute in Chicago. Emma B. Hodge was a collector of pottery, quilts, Valentines, samplers, paintings and Japanese woodblock prints. Their common interests are revealed as we learn more about these Chicago friends. The strongest threads between them lay in their embrace of the Colonial Revival and Arts & Crafts Movements, as well as their many connections to The Chicago Art Institute.

Helen Gunsaulus (Right) and Friends at Heart's Delight Farm, 1917

Here in Chazy, Alice is remembered as she appeared in the 1940s – an elderly woman who stayed close to home. Viewing her entire life and collection from this perspective can limit one’s appreciation of the scope of her experience, however. As evidenced in our archives of travel photos, letters and postcards from around the world, Alice T. Miner traveled far and wide in her lifetime. Yes, she ventured across frozen Lake Champlain on collecting trips with her friends, yet she also journeyed widely across the United States and throughout Europe.

The influence and aesthetic for her collection came primarily from her other home, Chicago, not merely through buying furniture from the neighbor’s old barn. This influence is what you will see when you tour The Alice T. Miner Museum, for within these walls is an eclectic collection of wonderful depth and substance!

Alice T. Miner ca. 1895

A Room Revisited

2008-05-15T09:07:00.009-04:00

I am interested in using this "blog" technology to highlight a few of the ongoing projects here at The Alice. There are many elements here that inherently change: the exhibits come and go, events are presented each month, and our dedication to conservation means that the collection itself undergoes transformation - I'll highlight some recent projects in that realm in another blog. However, our public may not realize that there is also the conservation of the museum building, rooms, structures... our outer shell - and this creates change in the museum appearance, and in the way each visitor experiences the museum.

Yesterday I finished hanging the artwork and placing the objects back into what we call the Sheraton Room. This is the second floor bedroom in the northwest corner, named for the style of chairs that grace the room. The Sheraton Room has been the home of our collection of silhouettes since the museum opened in 1924. If you have been here for a tour you may not have realized this fact. The silhouettes were haphazardly hung and thus gave little indication of their integrity as a wonderful collection.

The silhouette collection as it was displayed in the Sheraton Room before renovation:

In the process of examinging each room in the museum we prioritized the Sheraton Room for repair of a window seat damaged by steam. The window seat was skillfully rebuilt by Roger Bodine and Steve Fessette, afterward Steve painted the woodwork and floor of the room. Of course, everything was removed to allow for this renovation. Moving the objects back afforded the opportunity to hang the silhouette collection with care and planning.

Docent Seana Remillard was a great help during the process of hanging the silhouettes and other artwork. After plotting out where each piece would be hung we tackled the concrete and terracotta tile walls! I hope the results speak for themselves... but you must tour the museum to really experience these wonderful, diminutive works of art!

And here is the silhouette collection today:

Volunteers

2008-05-13T11:49:00.004-04:00

I'd like to take a moment to inform you of our need for volunteers! This summer we have an exciting event at the museum - our first exhibit of some exquisite Japanese woodblock prints first collected by Alice Miner in the 1920s. We expect to have a greater number of visitors because of the show, which can only further strain our small number of volunteers. If you have the time and inclination, please consider volunteering.

The Alice T. Miner Museum is seeking volunteers to help in interpreting the museum and its contents for visitors, researching our collection or archives, and assisting with events. The Alice also has a garden club for the green thumb looking to commit a few hours each week. The museum docent should be able to set aside six hours a week for museum work.

The Alice T. Miner Museum is a Colonial Revival Museum with a widely varied and exciting collection of decorative arts and furniture displayed in period rooms first arranged by Alice in 1924. The museum also houses extensive archives, including local history, genealogical information, and letters from well-known historical figures, as well as photographs and personal letters of Alice T. and William H. Miner.

Docents learn skills relating to the proper handling and care of historic objects and archival materials as well as tour guiding techniques, public relations, and research methods.

Our docents are committed to excellent visitor service and appreciate the importance of the Museum's collection, founders and history.

Docents are outgoing, enthusiastic communicators (for tours lasting up to 1.5 hours) who are interested in learning detailed information about the museum's artifacts and about Alice and William Miner - which will enable them to tell the stories of the Miners and the history of the collection. This job requires the ability to express ideas clearly and concisely, experience working with the public is preferred.

For more information email Amanda Palmer - minermuseum@westelcom.com, or call 518-846-7336

Embracing Change, Using Technology

2008-05-13T08:00:00.005-04:00

This blog represents a change for The Alice. In a few short years the methods we use to reach out to our visitors have changed exponentially! Lucille Czarnetzky, Director/Curator during the 1970's and 80's, would have connected with her public by talking over the garden fence, spreading news by word of mouth. Fred Smith, my immediate predecessor, courted the public by hanging fliers, talking to the press, and good, old-fashioned word of mouth.

I cannot emphasize enough how important the old ways of spreading the news can be... when I hear from a friend that a show is really worth seeing it means much more to me than merely noting an interesting flier, or reading a review written by someone I do not know. But these methods are somewhat fleeting. People move on and fliers get blown away in the breeze.

And now I will get to the point about embracing technology. This blog affords an opportunity that word of mouth and hanging fliers cannot promise - it will be available for our public to read until I am ready to change the message.

I hope to use our new blog site to keep you up to date on our more immediate news. We already produce a quarterly newsletter and post show announcements on our website, but now I can tell you what happened @ The Alice last week, or yesterday, or just an hour ago on a tour.

Stay tuned!