New-York Historical Society Accepting Applications For 2020–2021 Fellowships

New Fellows Welcomed for the 2019–2020 Academic Year

The New-York Historical Society is now accepting applications for its prestigious fellowship program for the 2020–2021 academic year. Leveraging its rich collections that detail American history through the lens of New York City, New-York Historical’s fellowships are open to scholars at various times during their academic careers and provides them with the resources and community to develop new research and publications that illuminate complex issues of the past. The available fellowships include:

The New-York Historical Society Museum and Library

Andrew W. Mellon Foundation Predoctoral Awards in Women’s History
The two recipients of the Andrew W. Mellon Foundation Predoctoral Awards in Women’s History should have a strong interest in women’s and public history and the applications of these fields outside the academy. Functioning as research associates and providing programmatic support for New-York Historical’s Center for Women’s History, pre-doctoral awardees will assist in the development of content for the Women’s History exhibitions, associated educational curriculum, and on-site experiences for students, scholars, and visitors. They must be currently enrolled students in good standing in a relevant Ph.D. program in the humanities. The Predoctoral Awardees, whose work at New-York Historical may not directly correspond with their dissertation research, will be in residence part time at New-York Historical for one academic year, between September 9, 2020, and August 28, 2021, and will receive a stipend of $20,000 per year. This position is not full time and will not receive full benefits.

Helen and Robert Appel Fellowship in History and Technology
This fellowship will be awarded to a candidate who has earned a Ph.D. no later than 2019. Research projects should be based on New-York Historical’s collections and explore the impact of technology on history. The fellowship will carry a stipend of $60,000, plus benefits. It begins September 9, 2020, and lasts through June 30, 2021.

National Endowment for the Humanities Fellowship
One fellowship for the length of an academic year is supported by the National Endowment for the Humanities for the sake of research at New-York Historical. The fellowship is available to individuals who have completed their formal professional training and have received their final degree or certificate by 2019. They should have a strong record of accomplishment within their field. There is no restriction relating to age or academic status of applicants. Foreign nationals are eligible to apply if they meet visa requirements for working in the U.S. The 10-month residency will carry a stipend of $42,000, plus benefits. This fellowship will begin September 9, 2020 and will end June 30, 2021.

Robert David Lion Gardiner Foundation—Andrew W. Mellon Foundation Fellowship
This fellowship will be awarded to a candidate who has earned a Ph.D. no later than 2019. Research projects should expand public understanding of New York State and City history and include research based on the collections and resources of New-York Historical. This 10-month residency will carry a stipend of $60,000, plus benefits. It begins September 9, 2020, and lasts through June 30, 2021.

Short Term Fellowships
Several short term fellowships will be awarded to scholars at any academic level working in the Library collections of New-York Historical. Research is to be conducted for two to four weeks for a stipend of between $2,000. The fellowship period will begin July 1, 2020 and end June 29, 2021.

Fellowships at the New-York Historical Society are made possible through the generous endowments of the Andrew W. Mellon Foundation, Robert David Lion Gardiner Foundation, and Helen and Robert Appel. Major support for fellowships is provided by Bernard L. Schwartz and the Lehrman Institute. All fellows receive research stipends while in residency. Short term fellowships are made possible by support from Helen Appel, Richard Brown and Mary Jo Otsea, Causeries du Lundi, Patricia Klingenstein, Sid Lapidus, Peck Stacpoole Foundation, Pine Tree Foundation of New York, Pam and Scott Schafler, Society of Colonial Wars, and Society of Daughters of Holland Dames.

Visit nyhistory.org/library/fellowships for instructions and application checklists for each fellowship. The application deadline for all fellowships is January 3, 2020.

2019–2020 Fellows at the New-York Historical Society

New-York Historical is also pleased to announce fellows now in residence during the 2019–2020 academic year. This year’s fellows are:

Schwartz Fellows

Tejasvi Nagaraja comes to New-York Historical from the Charles Warren Center for American History at Harvard University. He is working on a major book project, Soldiers of the American Dream: War Work, Jim Crow and Freedom Movements in the Shadow of U. S. Power. With a Ph.D. from NYU, Nagaraja will continue to work on his project during his tenure at New-York Historical. Based on deep archival research, oral histories, and interviews, Nagaraja’s project documents the racism and discrimination that veterans and others in the war industry faced after WW II. This is Nagaraja’s “greatest generation,” disillusioned and angry black veterans who turned their mounting discontent into the beginnings of the Civil Rights movement of the 1950s. New York is the central node in Nagaraja’s story, a hub of activists and activism, and while he is here he will be using Library materials from the era to finish up his manuscript.

Alexander Manevitz holds a Ph.D. from NYU, where he began work on the project that brings him to New-York Historical: The Rise and Fall of Seneca Village: Remaking Race and Space in 19th-Century New York City. In the centuries old story of the manifold ways in which New York City builds, demolishes, and rebuilds, Seneca Village occupies a unique place. The compelling strength of Manevitz’s project derives from its ability to recast the rise and fall of Seneca Village in terms of gentrification projects today, projects which have the effect of erasing neighborhoods and memories of those neighborhoods. According to Manevitz, Seneca Village was a unique experiment in which African Americans sought to build an experimental community in the face of racism and class tensions. Looking at that community provides a window onto African American attempts to create their own brand of capitalism and urban planning.

National Endowment for the Humanities Fellow

With a Ph.D. from CUNY, Dr. Lauren Santangelo is an accomplished scholar in the field of women’s studies. Her first book, Suffrage and the City: New York Women Battle for the Ballot (Oxford), has been recently published, and some of the research for that book was done at New-York Historical, where Dr. Santangelo was a Schwartz Fellow in 2013-14. Her current project, which will draw on several recently acquired collections, focuses on Ladies Mile and the gendered consumer culture it spawned. Ladies Mile flourished during the Gilded Age, a time of retail innovation, electrification, the introduction of elevators, etc.—all of which inflected the experience of women as an important, new consumer class.

Helen and Robert Appel Fellow in History and Technology Fellow

Devin Kennedy comes out of the Harvard History of Science program, where he worked with Professor Peter Galison. Kennedy’s area of particular interest is the impact of technology on the operations of Wall Street in the 1960s and ’70s. He sees Wall Street as a site of continuous technological innovation and proposes to tell the story of the machines, computer programs, cables, and satellites that rewired Wall Street during that period. In particular, he will be examining the partnership of the NYSE with the American Stock Exchange to rewire lower Manhattan and the development by the National Association of Securities Dealers (NASD) of an automated quotation and dealer communication system called NASDAQ. He will be making extensive use of New-York Historical’s important oral history project, Remembering Wall Street, 1950-1980.

Robert David Lion Gardiner Foundation—Andrew W. Mellon Foundation Fellow

With her Ph.D. from the University of Chicago, Sarah Miller-Davenport is a Permanent Lecturer in 20th century U. S. history at the University of Sheffield in the UK. Her project seeks to address a crucial conundrum in the history of New York City: with city teetering on the brink of financial and social collapse in the 1970s how and why did New York embark on an ambitious globalist agenda symbolized by the building of the Twin Towers in 1973. Moreover, why was it so successful in this most unlikely of undertakings? Professor Miller-Davenport does not see globalization as an inevitable force with its own dynamic. Rather, the pursuit of global capital by the city was the result of conscious decisions made by politicians, business men, bureaucrats, and analysts. Her work will focus on the actors, their motives, their successes, and failures. Finally she will look at the impact of globalization on the fabric of the city, its diverse peoples, and its neighborhoods.

Andrew W. Mellon Postdoctoral Fellow in Women’s History and Public History

Anna K. Danziger Halperin completed her doctorate in history at Columbia University in 2018, focusing on comparative social policy, gender, and childhood. She has previously taught at Columbia University and St. Joseph’s College, Brooklyn. Her dissertation, “Education or Welfare? American and British Child Care Policy, 1965-2004,” analyzed child care policies in the turn to neoliberalism in both the U.S. and Britain. As the Mellon Postdoctoral Fellow, she will be in residence full-time at New-York Historical through 2021, assisting in the programs of the Center for Women’s History.

Andrew W. Mellon Predoctoral Fellows in Women’s History and Public History

Pamela Walker is a doctoral candidate in the Department of History at Rutgers University. She specializes in African American History and Women and Gender History. She received a B.A. in History and Journalism from the University of Tennessee at Knoxville and an M.A. in History from the University of New Orleans. Pamela’s dissertation, “‘Everyone Must Think We Really Need Freedom’: Black and White Mothers, The Mississippi Box Project, and the Civil Rights Movement,” examines the relationship between motherhood, the black freedom struggle, white benevolence, and political consciousness during the long 1960s.

Caitlin Wiesner is a doctoral candidate in the Department of History at Rutgers University, specializing in the history of women, gender, and sexuality in the 20th century United States. She earned her Bachelor of the Arts with Distinguished Honors in History and Women’s & Gender Studies from the College of New Jersey in 2015. Her forthcoming dissertation, “Controlling Rape: Black Women, the Feminist Movement Against Sexual Violence, and the State, 1974-1994,” explores how black women’s anti-rape activity in Philadelphia, Washington, D.C., and Chicago evolved in response to the state’s growing interest in punishing rape during the War on Crime. In addition to the Mellon Fellowship at New-York Historical, her research has been supported by the Graduate School of New Brunswick, the Rutgers Center for Historical Analysis, Rutgers Oral History Archives, Smith College Libraries, and the P.E.O. International.

The New-York Historical Society, one of America’s preeminent cultural institutions, is dedicated to fostering research and presenting history and art exhibitions and public programs that reveal the dynamism of history and its influence on the world of today. Founded in 1804, New-York Historical has a mission to explore the richly layered history of New York City and State and the country, and to serve as a national forum for the discussion of issues surrounding the making and meaning of history. Among the more than 1.6 million works that comprise the museum’s art collections are all 435 preparatory watercolors for John James Audubon’s Birds of America; a preeminent collection of Hudson River School landscapes; and an exceptional collection of decorative and fine arts spanning four centuries.

The Patricia D. Klingenstein Library at the New-York Historical Society is home to over 350,000 books, nearly 20,000 linear feet of manuscripts and archives, and distinctive collections of maps, photographs, and prints, as well as ephemera and family papers documenting the history of the United States from a distinctly New York perspective. The Library’s collections are particularly rich in material pertaining to the American Revolution and the early Republic, the Civil War, and the Gilded Age. Significant holdings relate to Robert Livingston and the Livingston family, Rufus King, Horatio Gates, Albert Gallatin, Cadwallader Colden, Robert Fulton, Richard Varick, and many other notable individuals. Also well documented within the Library’s collections are major social movements in American history, especially abolitionism, temperance, and social welfare. The Library’s visual archives include some of the earliest photographs of New York; a significant collection of Civil War images; and the archives of major architectural firms of the later 19th century.

Rare Depictions Of Early America By Pioneering Woman Artist And French Refugee At New-York Historical Society

Artist in Exile: The Visual Diary of Baroness Hyde de Neuville, November 1, 2019 – January 26, 2020

Artist in Exile: The Visual Diary of Baroness Hyde de Neuville sheds light on this fascinating artist, whose life reads like a compelling historical novel.

This fall, the New-York Historical Society introduces visitors to a little-known artist whose work documented the people and scenes of early America. Artist in Exile: The Visual Diary of Baroness Hyde de Neuville, on view November 1, 2019 – January 26, 2020 in the Joyce B. Cowin Women’s History Gallery of the Center for Women’s History, presents 114 watercolors and drawings by Anne Marguérite Joséphine Henriette Rouillé de Marigny, Baroness Hyde de Neuville (1771–1849). Self-taught and ahead of her time, Neuville’s art celebrates the young country’s history, culture, and diverse population, ranging from Indigenous Americans to political leaders. Curated by Dr. Roberta J.M. Olson, curator of drawings at New-York Historical, this exhibition is the first serious exploration of Neuville’s life and art—showcasing many recently discovered works including rare depictions of European scenes and people at work, a lifelong sociological interest—and is accompanied by a scholarly catalogue.

Baroness Hyde de Neuville’s status as a woman, an outsider, and a refugee shaped her view of America and Americans, making her a particularly keen and sympathetic observer of individuals from a range of socioeconomic and ethnic backgrounds,” said Dr. Louise Mirrer, president and CEO of the New-York Historical Society. “Neuville could never have envisioned that her visual diary—created as a personal record of her travels and observations of early America—would become an invaluable historical document of the early republic. Yet her drawings vividly evoke the national optimism and rapid expansion of the young United States and capture the diversity of its inhabitants.”

Anne Marguérite Joséphine Henriette Rouillé de Marigny, Baroness Hyde de Neuville (1771–1849) Self-Portrait (1771–1849), ca. 1800–10 Black chalk, black ink and wash, graphite, and Conté crayon on paper New-York Historical Society, Purchase, 1953.238
Born in France into an aristocratic family, Neuville received an education that probably included drawing lessons. In 1794, she married royalist Jean Guillaume Hyde de Neuville during the unsure times of the French Revolution. In 1800, the couple was imprisoned and forced into hiding. The future baron was condemned as an outlaw for his alleged participation in a plot to assassinate Napoleon.
Fearing for her husband’s safety, the independent baroness attempted to disprove the charges. In 1805, she took her cause directly to Napoleon, pursuing the French Army across Germany and Austria and finally obtaining an audience with him in Vienna. Impressed with her courage, the Emperor allowed the couple to go into exile. They arrived in New York in 1807 and stayed for seven years. During their second residency (1816–22), when her husband served as Minister Plenipotentiary, they lived primarily in Washington, D.C., where Henriette became a celebrated hostess and cultural figure.

Born to an aristocratic family in Sancerre, France, Henriette married ardent royalist Jean Guillaume Hyde de Neuville, who became involved during the French Revolution in conspiracies to reinstate the Bourbon monarchy and was accused of participating in a plot to assassinate Napoleon. In an effort to disprove the charges against her husband, the baroness took her cause directly to Napoleon, who was impressed with her courage and allowed the couple to go into exile. They arrived in New York in 1807 and stayed for seven years. During their second American residency (1816–22), when her husband served as French Minister Plenipotentiary in Washington, D.C., Henriette became a celebrated hostess. John Quincy Adams described her in his diary as “a woman of excellent temper, amiable disposition… profuse charity, yet judicious economy and sound discretion.” In 1818, she presciently stated that she had but one wish “and that was to see an American lady elected president.”

Anne Marguérite Joséphine Henriette Rouillé de Marigny, Baroness Hyde de Neuville (1771–1849) Peter of Buffalo, Tonawanda, New York, 1807 Watercolor, graphite, black chalk, and brown and black ink with touches of gouache on paper New-York Historical Society, Purchase, 1953.220
Neuville identifies her sitter as “Peter of Buffalo.” The word “tonaventa” refers to nearby Tonawanda, site of the Tonawanda Seneca Reservation. Neuville’s sitter has manipulated ear lobes pierced with one earring, which, like his bare feet, are traditional for Seneca tribesmen. He wears hybrid apparel: an undershirt, a fur piece, and leggings with garters, and carries a trade ax known as a halberd tomahawk, a knife, and a powder horn—as well as a string of wampum.
Anne Marguérite Joséphine Henriette Rouillé de Marigny, Baroness Hyde de Neuville (1771–1849) Pélagie Drawing a Portrait, from the “Economical School Series”, 1808 Black chalk, gray watercolor, graphite, and pink gouache on blue paper New-York Historical Society, Gift of Mark Emanuel, 2018.42.21
Neuville sketched studies of students at the Economical School (École Économique), the couple’s major contribution to cultural life of New York City. Incorporated in 1810, its mission was to educate French émigrés and fugitives from the French West Indie, and to offer affordable education to impoverished children. Its five board members included the future baron, who was secretary, as well as members of the New-York Historical Society. The baron admired American charity schools and wanted to provide the same opportunities to children and adults of both sexes. The baroness’ drawings of its students are the only visual evidence of this significant institution.

Artist in Exile follows Neuville’s life, reconstructing her artistic education and tracing her artistic practice, which included portraiture, landscapes and cityscapes, ethnographic studies, botanical art, and other genres. Highlights of the exhibition include Neuville’s views of the Hudson and Mohawk rivers, street scenes of her neighborhood (now known as Tribeca), a watercolor documenting an “Indian War Dance” performed for President Monroe, and portraits of subjects ranging from Indigenous Americans to immigrant students at a Manhattan school founded by the Neuvilles. The exhibition opens with Neuville’s miniature self-portrait (ca. 1800-1810) that was likely created for her husband to carry on his travels. Pictured wearing a fashionable daytime empire-waist dress over a chemisette, fingerless mitts, and hoop earrings, the baroness looks away, not engaging the viewer as is customary with self-portraits that are drawn using a mirror because she based it on another study.

Anne Marguérite Joséphine Henriette Rouillé de Marigny, Baroness Hyde de Neuville (1771–1849) Martha Church, Cook in “Ordinary” Costume, 1808–10 Watercolor, graphite, black chalk, brown and black ink, and touches of white gouache on paper New-York Historical Society, Purchase, 1953.276
Neuville’s inscription identifies the sitter as a cook named Martha Church, dressed in everyday attire. Neuville endowed the subject with dignity. It is unclear whether Church, a black woman, was a free domestic or a slave, or whether she was of Caribbean or African descent. Many of the artist’s works demonstrate a sociological interest and celebrate work.

Upon first reaching the United States, the Neuvilles journeyed up the Hudson River and to Niagara Falls, where Henriette was one of the first to record many early settlements, buildings, and rustic scenes. In the watercolor Distant View of Albany from the Hudson River, New York (1807), she drew the panoramic view from the sloop Diana as it traveled downriver from Albany, chronicling the river long before artist William Guy Wall’s renowned Hudson River Portfolio (1820–25). The atmospheric vista conveys the majestic sweep of the Hudson and the reflections on its surface. In Break’s Bridge, Palatine, New York (1808), Neuville, who was intrigued by engineering and technology, depicts a newly constructed Mohawk River bridge destroyed by rushing waters. The couple in the foreground of the image is the Neuvilles, with their pet spaniel, Volero.

Anne Marguérite Joséphine Henriette Rouillé de Marigny, Baroness Hyde de Neuville (1771– 1849) Distant View of Albany from the Hudson River, New York, 1807 Watercolor, brown ink, black chalk, and graphite with touches of gouache on paper New-York Historical Society, Purchase, 1953.242
Neuville drew the panoramic view from the sloop Diana, traveling downriver from Albany. Her atmospheric vista conveys the majestic sweep of the Hudson River, together with reflections on its surface. Albany became the state capital in 1796. Her works recording the river importantly predate The Hudson River Portfolio (1820–25).

Neuville also captured vivid views of New York City residents and buildings—many of them long since demolished—bringing to life the burgeoning urban center and its ethnically diverse population. Corner of Greenwich Street (1810) represents a scene at the intersection of Greenwich and Dey streets. Near the cellar hatch of the brick house at the center stands an Asian man, who may be the Chinese merchant Punqua Winchong, making this work one of the earliest visual records of a Chinese person in the United States.

Anne Marguérite Joséphine Henriette Rouillé de Marigny, Baroness Hyde de Neuville (1771– 1849) Indian War Dance for President Monroe, Washington, D.C., 1821 Watercolor, graphite, black and brown ink, and gouache on paper Colonial Williamsburg Foundation, Abby Aldrich Rockefeller Folk Art Museum
Neuville’s scene depicts the “Indian War Dance” performed during the visit of a delegation of 16 leaders of the Plains Indian tribes to President James Monroe at the White House on November 29, 1821. The delegation included representatives of the Pawnee, Omaha, Kansa, Ottoe, and Missouri tribes. Neuville, who was in attendance, recorded the event, portraying at the left Hayne Hudjihini (Eagle of Delight), one of the five wives of halfchief Shaumonekusse (Prairie Wolf), wearing the horned headdress. In the upper background she sketched Monroe with his four companions, including the baron wearing a feathered bicorne hat.

The Neuvilles contributed to the cultural life in New York as co-founders of the École Économique (Economical School), incorporated in 1810 as the Society of the Economical School of the City of New York. Its mission was to educate the children of French émigrés and fugitives from the French West Indies and to offer affordable education to impoverished children. Henriette sketched the students at the school, and many works from the “Economical School Series” are on view in the exhibition, including the recently discovered life size portrait, Pélagie Drawing a Portrait (1808), which demonstrates the school’s emphasis on drawing. Her series is the only visual record of the school’s existence.

Anne Marguérite Joséphine Henriette Rouillé de Marigny, Baroness Hyde de Neuville (1771– 1849) Corner of Greenwich Street, 1810 Watercolor, graphite, and touches of black ink on paper New York Public Library, The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Print Collection, Stokes 1810-E17b
Neuville’s watercolor records Greenwich Street running perpendicular to Dey Street, where the Neuvilles lived. Nothing remains of this neighborhood, which would be occupied by World Trade Center. Near the cellar hatch of the brick house at the center stands an Asian man. He may be the Chinese merchant Punqua Winchong, who was in New York and Washington in 1807–08, and who attended one of the Neuvilles’ famous Saturday parties on March 28, 1818. This work is one of the earliest visual records of a Chinese person in the U.S.

The couple returned to France in 1814 after the fall of Napoleon and the restoration of King Louis XVIII and the Bourbon monarchy. In 1816, Louis XVIII appointed the baron French Minister Plenipotentiary, and the Neuvilles returned to the U.S., settling in Washington, D.C. They became renowned for their lavish Saturday evening parties and their friendships with President James Monroe and James and Dolley Madison. Among the notable events the Neuvilles attended was an “Indian War Dance,” performed by a delegation of 16 leaders of the Plains Indian tribes in front of President Monroe and 6,000 spectators at the White House on November 29, 1821. Neuville’s watercolor documenting the event includes likenesses of half-chief Shaumonekusse (Prairie Wolf) and one of his five wives, Hayne Hudjihini (Eagle of Delight). Later, the “War Dance” was also performed at the Neuvilles’ house.

Neuville’s portraits of individuals celebrate the ethnic and cultural diversity of the early American republic, and her portrayals are notable for their ethnographic integrity and avoidance of stereotypes. In the portrait of Peter of Buffalo, Tonawanda, New York (1807), the sitter has ear lobes pierced with earrings and bare feet, traditional for Seneca tribesmen. Wearing an undershirt, a fur piece, and leggings with garters, he carries a tomahawk, a knife, a powder horn, and a string of wampum. In the portrait Martha Church, Cook in “Ordinary” Costume (1808–10), Neuville depicts a cook in her everyday attire, as part of the artistic tradition of occupational portraits that originated in Europe and appeared in New York in the early 19th century.

Anne Marguérite Joséphine Henriette Rouillé de Marigny, Baroness Hyde de Neuville (1771–1849) Tomb of Washington at Mount Vernon, Virginia, 1818 Watercolor, graphite, black chalk, and brown ink on paper Colonial Williamsburg Foundation, Abby Aldrich Rockefeller Folk Art Museum
After George Washington’s death in 1799, his remains were placed in a family vault at Mount Vernon. During the Neuvilles’ second residency, the national hero’s tomb became an obligatory tourist stop. Unlike many other representations, Neuville included a view of the main house with its veranda overlooking the Potomac River, together with a unique anecdotal incident: a caretaker opens the vault’s wooden door to reveal stacks of coffins belonging to the Washington family. In 1831, a new family tomb was constructed, and the coffins were transferred to its vault.

The exhibition features works from New-York Historical’s collection, the most extensive in the world, as well as important loans from the Metropolitan Museum of Art, the Museum of Fine Arts, Boston, the New York Public Library, the Miriam and Ira D. Wallach Division of Art, Prints and Photographs; the Museum of the City of New York, Colonial Williamsburg Foundation Abby Aldrich Rockefeller Folk Art Museum, Hagley Museum and Library, and Princeton University, Firestone Library, Rare Books and Special Collections, Graphic Arts Collection.

Publication and Programming
Accompanying the exhibition is the scholarly publication Artist in Exile: The Visual Diary of Baroness Hyde de Neuville, published by GILES, an imprint of D Giles Limited. Written by Dr. Roberta J.M. Olson with assistance by Alexandra Mazzitelli, the publication also features an essay by Dr. Charlene M. Boyer Lewis.

A gallery tour of Artist in Exile, led by curator Roberta J.M. Olson, takes place on January 6. In honor of the baroness’ heritage, several French movies will be shown as part of New-York Historical’s Friday night Justice in Film series: 1938’s The Baker’s Wife on November 8 and 1946’s Beauty and the Beast on December 6. On select weekends throughout the exhibition’s run, young visitors can explore the baroness’ life and the art she created with touch objects and Living Historians.

The Robert David Lion Gardiner Foundation provided lead funding for Artist in Exile: The Visual Diary of Baroness Hyde de Neuville, with important support given by the Wyeth Foundation for American Art. Additional support provided by Furthermore, a program of the J.M. Kaplan Fund; the Greater Hudson Heritage Network; Nicole, Nathan, and Brian Wagner; Helen Appel; Pam Schafler; David and Laura Grey; and Myron and Adeline Hofer.

The Truth Behind The Legend Of Patriot Paul Revere Revealed In A New Exhibition At New-York Historical Society

Beyond Midnight: Paul Revere On View Through January 12, 2020

This fall, the New-York Historical Society explores the life and accomplishments of Paul Revere (1735–1818), the Revolutionary War patriot immortalized in Henry Wadsworth Longfellow’s 1861 poem, “Paul Revere’s Ride.” On view now through January 12, 2020, Beyond Midnight: Paul Revere separates fact from fiction, revealing Revere as a complex, multifaceted figure at the intersection of America’s social, economic, artistic, and political life in Revolutionary War-era Boston as it re-examines his life as an artisan, activist, and entrepreneur. The exhibition, featuring more than 140 objects, highlights aspects of Revere’s versatile career as an artisan, including engravings, such as his well-known depiction of the Boston Massacre; glimmering silver tea services made for prominent clients; everyday objects such as thimbles, tankards, and teapots; and important public commissions, such as a bronze courthouse bell.

Organized by the American Antiquarian Society in Worcester, Massachusetts, and curated by Nan Wolverton and Lauren Hewes, Beyond Midnight debuts at New-York Historical before traveling to the Worcester Art Museum and the Concord Museum in Massachusetts for a two-venue display (February 13 – June 7, 2020) and to Crystal Bridges Museum of American Art in Bentonville, Arkansas (July 4 – October 11, 2020). At New-York Historical, Beyond Midnight is coordinated by Debra Schmidt Bach, New-York Historical’s curator of decorative arts.

Paul Revere Jr. (1735−1818), A View of the Obelisk, 1766. Engraving. American Antiquarian Society, Worcester, Massachusetts; Bequest of Mary L. Eliot, 1927
The Stamp Act of 1765 was the first tax levied on the American colonies by England, requiring colonists to pay for a revenue stamp on all paper products. Following repeal of the act in March 1766, a celebration in Boston was planned. Its showpiece was a grand obelisk, painted with scenes, portraits, and text, lit at night by 280 lamps. Sadly, the obelisk was consumed in flames that night. Revere’s engraving of the design is the only remaining visual evidence of the obelisk.
Paul Revere Jr. (1735−1818), A View of Part of the Town of Boston in New-England and Brittish [sic] Ships of War Landing their Troops! 1768, 1770. Hand-colored engraving, first state. American Antiquarian Society, Worcester, Massachusetts
Protests broke out in Boston in 1767 after a series of taxes were levied on the colonies. In response the Massachusetts Royal Governor requested troops to maintain order. The deployment of British Regulars arrived in September 1768. In all 4,500 British troops
Chester Harding (1792−1866), after Gilbert Stuart (1755−1828), Paul Revere (1735−1818), ca. 1823. Oil on canvas. Massachusetts Historical Society, Gift of Paul Revere Jr., 1973.
These portraits of the elderly Reveres were based on likenesses made by Boston artist Gilbert Stuart in 1813. Both pairs of portraits descended through the large Revere family.
Chester Harding (1792−1866) after Gilbert Stuart (1755−1828), Rachel Walker Revere (1744−1813), ca. 1823. Oil on canvas. Massachusetts Historical Society, Gift of Paul Revere Jr., 1973.
Rachel Walker was Revere’s second wife. The couple married in 1773, and had eight children together, four of whom lived to adulthood. Many family members worked in the various businesses begun by Revere, learning trades, keeping books, managing staff, and building the family fortune. Generations of the Revere family, including the former owner of these paintings, preserved family papers, account and ledger books, and artifacts

When many of us think of Paul Revere, we instantly think of Longfellow’s lines ‘One if by land, and two if by sea’, but there is much more to Revere’s story,” said Dr. Louise Mirrer, president and CEO of the New-York Historical Society. “This exhibition looks beyond the myth of Paul Revere to better understand the man as a revolutionary, an artisan, and an entrepreneur, who would go on to become a legend. We are proud to partner with the American Antiquarian Society to debut this exhibition in New York.”

Teapot associated with Crispus Attucks (d. 1770), 1740−60. Pewter, wood. Historic New England, Boston, Massachusetts; Gift of Miss S.E. Kimball through the Bostonian Society, 1918.1655
Five men were killed in the Boston Massacre, including an American sailor Crispus Attucks, a mixed-race former slave. Attucks was the first to fall. All five men became martyrs for the patriotic cause.

On arrival, visitors are welcomed by a nine-foot-tall re-creation of the grand obelisk made for a 1766 Boston Common celebration of the repeal of the Stamp Act, the first tax levied on the American colonies by England. Originally made of wood and oiled paper, and decorated with painted scenes, portraits, and text praising King George while also mocking British legislators, the obelisk was illuminated from inside and eventually consumed by flames at the Boston event. The only remaining visual evidence is Revere’s 1766 engraving of the design, also on view.

Paul Revere Jr. (1735−1818), engraver; attributed to Christian Remick (1726−73). The Bloody Massacre Perpetrated on King-Street, Boston on March 5th 1770 by a Party of ye 29th Reg[imen]t, ca. 1770−74 Hand-colored engraving. Gilder-Lehrman Institute of American History, GLC01868
British soldiers fired upon a crowd of unruly colonists gathered in front of Boston’s Custom House on March 5, 1770. News of the Bloody Massacre traveled quickly through the colonies. Boston artist Henry Pelham made an engraving of the scene, which he apparently shared with Revere while it was in progress. Without permission, Revere copied (with modifications) Pelham’s design and had 200 copies of his version on sale by March 28. Pelham, whose 575 prints were not ready until early April, wrote an angry letter to Revere protesting being scooped.

A Revolutionary activist, Paul Revere was a member of the Sons of Liberty, a secret group opposed to British colonial policy including taxation that kept track of British troop movements and war ships in the harbor. The exhibition displays Revere’s 1770 engraving of the landing of British forces at Boston’s Long Wharf. Four versions of Revere’s provocative engraving of the 1770 Boston Massacre are also reunited in the exhibition. The engravings capture the moment when British soldiers fired upon a crowd of unruly colonists in front of the Custom House. The print inflamed anti-British sentiment, and different versions of it were widely disseminated as Patriot propaganda. Revere also helped plan and execute the Boston Tea Party in 1773, hurling tea into Boston Harbor. When war erupted in 1775, he delivered messages from the Continental Army to New York, Philadelphia, and Connecticut.

Paul Revere Jr. (1735−1818), Tankard, 1760−70. Silver. Worcester Art Museum, Worcester, Massachusetts; Gift of The Paul Revere Life Insurance Company, a subsidiary of UnumProvident Corporation, 1999.502
Revere was a versatile artisan, producing more than 90 different forms in silver over the course of his 40-year career. Silver objects, like this tankard, demonstrate the wide range of objects his shop produced from teaspoons to toy whistles.
Paul Revere Jr. (1735−1818), Coffeepot, tankard, teapot, butter boat, tea tongs, and spoons made for Lois Orne and William Paine, 1773. Silver, wood. Worcester Museum of Art, Worcester, Massachusetts; Gift of Frances Thomas and Eliza Sturgis Paine, in memory of Frederick William Paine; Gift of Dr. and Mrs. George C. Lincoln of Woodstock, CT in memory of Fanny Chandler Lincoln (1959); Gift of Paine Charitable Trust (1965), 1937.55-.59, 1965.336.337
Revere made an elegant 45-piece beverage service, the largest commission of his career, for Dr. William Paine of Worcester, Massachusetts, and his new wife Lois Orne in 1773. Never partisan when it came to profit, Revere completed the set for the Loyalist Paine just two months before the Boston Tea Party, the destructive protest that Revere, as one of the Sons of Liberty, helped plan and execute.
Paul Revere Jr. (1735-1818), Tea service for John and Mehitable Templeman, 1792−93. Silver, wood. Lent by the Minneapolis Institute of Art, Minneapolis, Minnesota; Gift of James F. and Louise H. Bell; Gift of Charlotte Y. Salisbury, wife of Harrison E. Salisbury and great niece of John Templeman Coolidge; and Gift of James Ford Bell and his family, by exchange, and Gift of Mr. and Mrs. Byron Wenger, 1960−2001, 60.22.1-9, 94.88.1-2, 2001.165.1-.7.
The Templeman tea service is one of Revere’s most impressive silver sets. Between 1792 and 1793, John Templeman and his wife Mehitable ordered numerous pieces to fill out their service, including several unusual forms such as a tea shell for scooping tea leaves and a locking caddy for safekeeping of the precious and expensive leaves. This set was purchased 20 years after the Templemans married. Originally from Salem, the couple moved to Maryland in 1794 where they owned 25 slaves. Undoubtedly, it was slave labor that kept this tea service polished to enhance the status of the Templeman name.

Paul Revere was a master craftsman specializing in metalwork, including copperplate engravings and fashionable and functional objects made from silver, gold, brass, bronze, and copper. An innovative businessman, Revere expanded his successful silver shop in the years after the war to produce goods that took advantage of new machinery. His fluted oval teapot, made from machine-rolled sheet silver, became an icon of American Federal silver design. Among the silver objects on view are two rare wine goblets possibly used as Kiddush cups made by Revere for Moses Michael Hays—his only known Jewish client—as well as grand tea services, teapots, tankards, teaspoons, and toy whistles created in Revere’s shop. Also featured is a 1796 cast-bronze courthouse bell made for the Norfolk County Courthouse in Dedham, Massachusetts. The exhibition also explores how Revere’s trade networks reached well beyond Boston. He frequently bought and sold raw and finished copper from New Yorker Harmon Hendricks and supplied copper for Robert Fulton’s famous steamship.

The son of a French Huguenot immigrant artisan, Revere belonged to an economic class called “mechanics,” ranked below merchants, lawyers, and clergymen. However, Revere was a savvy networker, and what he lacked in social status, he made up for by cultivating influential connections. Membership in the Sons of Liberty led to commissions from fellow Patriots, but he also welcomed Loyalist clients, setting aside politics for profit. On view are nine elements from a grand, 45-piece beverage service that Revere created in 1773 for prominent Loyalist Dr. William Paine—the largest commission of his career—just two months before the Boston Tea Party.

John Holt (1721−1784), printer, Broadside, To the Publick, October 5, 1774. Patricia D. Klingenstein Library, New-York Historical Society
Revere often acted as a trusted messenger. In October 1774, he traveled through New York City on his way to Philadelphia and brought news of workers in Boston refusing to build barracks for the occupying British troops. New York printer John Holt, who had ties to the Sons of Liberty (they helped him buy a printing press), likely distributed this broadside to encourage similar resistance among patriotic New Yorkers.
Grant Wood (1892−1942), Midnight Ride of Paul Revere, 1931. Metropolitan Museum of Art, New York. © 2019 Figge Art Museum, successors to the Estate of Nan Wood Graham/ VAGA at ARS, NY
American artist Grant Wood recalled reading Henry Wadsworth Longfellow’s poem about Paul Revere when he was a child. He stated that the poem “made quite an impression.” He had that text in mind when he painted Midnight Ride of Paul Revere in the midst of the Great Depression. Grant strayed from Longfellow’s already romanticized narrative, having Revere ride past a stylized version of Boston’s Old North Church (Revere was on foot until he crossed the Charles River to Cambridge and rode a borrowed a horse from there to Lexington).

Paul Revere died in 1818, but his fame endured, initially for his metalwork and then for his patriotism. In the 1830s, Revere’s engravings were rediscovered as Americans explored their Revolutionary past, and his view of the Boston Massacre appeared in children’s history books. In 1860, poet Henry Wadsworth Longfellow was inspired to write “Paul Revere’s Ride,” romanticizing (and somewhat embellishing) the story of Revere’s journey to Lexington. The poem first appeared in the Atlantic Monthly in January 1861—an original copy of the magazine is on view in the exhibition. Artist Grant Wood’s painting Midnight Ride of Paul Revere (1931), also on display, depicts a dramatic scene of Revere riding past Boston’s Old North Church. This is also an embellishment: In reality, Revere was on foot until he crossed the Charles River to Cambridge and then rode a borrowed horse to Lexington. He was also one of three riders and was stopped briefly by British officers and then released. A map of the actual ride is on display. These works and others enshrined Paul Revere at the heart of the nation’s founding story. By the turn of the 20th century, the tale of Paul Revere and his midnight ride was firmly established in the nation’s psyche as truth, not fiction, and Revere’s contributions as a metalsmith and artisan were overshadowed.

Paul Revere Jr. (1735−1818), Bookplate for Paul Revere, undated, removed from Hugh Latimer’s Sermons, London, 1758. American Antiquarian Society, Worcester, Massachusetts
Revere’s lifelong ambition to better himself is clear from his own bookplate with an adopted coat-of arms.

Publication and Programming

Drawing on the American Antiquarian Society’s unparalleled collection of prints and books, a catalogue accompanies the exhibition, Beyond Midnight: Paul Revere, transforming readers’ understanding of the iconic colonial patriot. Essays examine Revere as a patriot, a manufacturer, a precious metalsmith, a printer, and an engraver. His legacy as a polymath is documented in the book’s complete illustrated checklist of the exhibition’s artifacts. The book is available exclusively from the NYHistory Store.

A robust line-up of engaging programs and family activities take place throughout the exhibition’s run that delve into Revere and his contemporaries. On October 17, historians Annette Gordon-Reed and Philip Bobbitt discuss Thomas Jefferson. On November 13, Nina Zannieri, Robert Shimp, and Carol Berkin explore the truth behind Revere’s famous ride. On December 12, George Washington is the topic of conversation between scholars Denver Brunsman and Carol Berkin. Also in the fall, architectural historian Barry Lewis traces the history of the colonial and federal style on a date to be announced.

On weekends during Beyond Midnight: Paul Revere, Living Historians are stationed at the Museum, bringing Paul Revere’s world to life for young visitors. Kids can interact with skilled tradespeople, like a milliner, apothecary, and bookbinder (October 5-6). Spies from the Continental Army’s intelligence system are on hand to teach their secretive methods (November 2-3) while hands-on explorations into historical tooth extraction, filings, and tooth replacement may give visitors a new appreciation for their dentists (November 23-24). On select Saturdays (October 19, November 16, and December 7), families can discover the history of colonial drinks, the global chocolate trade, and colonial silver-smithing in a multi-sensory program supported by American Heritage Chocolate. On October 20, aspiring young writers ages 12 and up can take part in a narrative poetry workshop with Writopia Lab and develop original narrative poems that reveal inspiring stories of key figures from the recent and distant past.

Major support for Beyond Midnight: Paul Revere was provided by the Richard C. von Hess Foundation and the Henry Luce Foundation. The exhibition at New-York Historical is made possible by the May and Samuel Rudin Family Foundation, Inc. Additional support provided by Richard Brown and Mary Jo Otsea. Exhibitions at New-York Historical are made possible by Dr. Agnes Hsu-Tang and Oscar Tang, the Saunders Trust for American History, the Seymour Neuman Endowed Fund, the New York City Department of Cultural Affairs in partnership with the City Council, and the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature. WNET is the media sponsor.

Founded in 1812 by Revolutionary War patriot and printer Isaiah Thomas, the American Antiquarian Society (AAS) is both a national learned society and a major independent research library located in Worcester, Massachusetts. The AAS library today houses the largest and most accessible collection of books, pamphlets, broadsides, newspapers, periodicals, music, and graphic arts material printed through 1876 in what is now the United States, as well as manuscripts and a substantial collection of secondary texts, bibliographies, and digital resources and reference works related to all aspects of American history and culture before the 20th century. The Society sponsors a broad range of programs—visiting research fellowships, workshops, seminars, conferences, publications, lectures and performances—for constituencies ranging from school children and their teachers, through undergraduate and graduate students, postdoctoral scholars, creative and performing artists and writers and the general public. AAS was presented with the 2013 National Humanities Medal by President Obama in a ceremony at the White House.

The New-York Historical Society, one of America’s preeminent cultural institutions, is dedicated to fostering research and presenting history and art exhibitions and public programs that reveal the dynamism of history and its influence on the world of today. Founded in 1804, New-York Historical has a mission to explore the richly layered history of New York City and State and the country, and to serve as a national forum for the discussion of issues surrounding the making and meaning of history. New-York Historical is also home to the Patricia D. Klingenstein Library, one of the oldest, most distinguished libraries in the nation—and one of only 20 in the United States qualified to be a member of the Independent Research Libraries Association—which contains more than three million books, pamphlets, maps, newspapers, manuscripts, prints, photographs, and architectural drawings.

Perennial favorite “Holiday Express” Returns To New-York Historical Society Celebrating Children’s Author Richard Scarry And Busytown

Holiday Express: All Aboard to Richard Scarry’s Busytown On View November 1, 2019 – February 23, 2020

Celebrating Richard Scarry and Busytown with Special Guest, Huck Scarry, Saturday, December 14 and Sunday, December 15

A holiday favorite returns to the New-York Historical Society 170 Central Park West at Richard Gilder Way (77th Street), New York, NY 10024, Phone (212) 873-3400) this season—reimagined to celebrate the 100th birthday of Busytown series author and illustrator Richard Scarry. Holiday Express: All Aboard to Richard Scarry’s Busytown (November 1, 2019 – February 23, 2020) showcases artwork and graphics of Scarry’s characters like Huckle Cat and Lowly Worm from publisher Random House Children’s Books alongside more than 300 objects from the Jerni Collection’s antique toy trains, stations, and accessories. Using Busytown stories and characters, dynamic displays explore the workings of the railroad, the services it provides, and the jobs required to keep people and goods moving. An assortment of kid-friendly activities, story times, and crafts accompany the exhibition throughout its run, welcoming families into the world of classic toys and trains.

Richard “Huck” Scarry Jr., the son of Richard Scarry, will make a special appearance on December 14 and 15. Holiday Express: All Aboard to Richard Scarry’s Busytown is supported by Bloomberg Philanthropies*. Additional support provided by Random House Children’s Books.

Holiday Express: All Aboard to Richard Scarry’s Busytown roars to life at the New-York Historical Society this holiday season. (1) The Jerni Collection, the New-York Historical Society (2) Lowly Worm and Huckle Cat illustrations © 2019 by the Richard Scarry Corporation

Since its acquisition by the New-York Historical Society in 2014, the Jerni Collection has become a highlight of the Museum’s holdings. Assembled over the course of five decades by U.S. collectors Jerry and Nina Greene, the Jerni Collection is considered one of the world’s leading collections of antique model trains and toys and includes unique, handcrafted, and hand-painted pieces dating from approximately 1850 to 1940, and features prime examples by the leading manufacturers that set the standard for the Golden Age of Toy Trains, including the German firms of Märklin and Bing, as well as the American firms Lionel and Ives. (* Bloomberg Philanthropies has sponsored the annual Holiday Express exhibition at the New-York Historical Society since 2014.)

Ives (1868-1932), Grand Central Station, 1910. The Jerni Collection, New-York Historical Society
Doll et Cie. (1898–1949), Ferris wheel, 1904. The Jerni Collection, New-York Historical Society

Richard Scarry is one of the world’s most beloved children’s authors. In his extraordinary career, Scarry illustrated over 150 books, many of which have never been out of print. His books have sold over 100 million copies around the world and are currently published in over 20 languages.

Busytown author Richard Scarry (19191994.) Photo courtesy of the Scarry Estate

Just like his father, Huck Scarry was always drawing and would often assist his dad in coloring his drawings. After his father’s passing in 1994, Huck took up the mantle of creating new books about Richard Scarry’s charming and funny characters. “My father would be so thrilled with the Holiday Express exhibition at the New-York Historical Society,” said Huck Scarry. “We would often visit New York City, and when we did, we always took the train. So much to see and do! Like our many Busytown friends, we enjoyed our trip because a train ride is always a bit of an adventure!

We’re delighted to celebrate Richard Scarry’s centennial by bringing Busytown to life at the New-York Historical Society this holiday season,” said Dr. Louise Mirrer, president and CEO of New-York Historical. “Pairing iconic characters like Huckle Cat with historic toys and trains from our incomparable Jerni Collection is the perfect way for visitors of all ages to explore the history of transportation in a whimsical way.”

Gebrüder Bing (1863–1933), English market “Charles Dickens” locomotive, 1905. The Jerni Collection, New-York Historical Society
Boucher Manufacturing Company (1922–1943), Blue Comet, 1929. The Jerni Collection, New-York Historical Society

Busytown is the inspiration for a special installation that uses three Scarry stories and objects from the Jerni Collection to illustrate rail travel in 1919, the year of Scarry’s birth. In Waiting at the Station, characters Huckle Cat and Sally Cat eagerly await the arrival of a train, as miniature figures of porters and other workers bustle around the station. In Betsy Bear’s Letter to Grandma, toy trains demonstrate how post offices and railroads worked together to keep people in touch. And in Coal Makes Electricity Work for Us, a miniature underground mine, elevators, and hoppers show how coal was turned into power.

More than two dozen never-before-displayed objects from the Jerni Collection are on view for the first time this year, including Märklin’s rare “Garden Station,” manufactured in 1900. Other highlights include a toy textile factory from 1910 by Ernst Planck and Gebrüder Bing’s English market “Charles Dickens” locomotive with tender and coaches, produced in 1905. Also on view: a Bing Steam Toy Train from 1912, which was once powered by a real, working steam engine, making it an exceedingly risky plaything in its day. To top it all off, eight sets of running trains encircle the displays overhead and are sure to delight children (and adults!) of all ages.

Märklin (founded 1863), Post office toy, 1906. The Jerni Collection, New-York Historical Society
Ernst Planck (1866–1932), Toy textile factory, 1910. The Jerni Collection, New-York Historical Society
Lucien Brianne (active 1900s), Train station, ca. 1905. The Jerni Collection, New-York Historical Society

Large-scale cutouts of Scarry’s iconic characters are displayed throughout the museum, and interactive elements, including a crawl-through space leading to a pop-up observation bubble, allow children to get an up-close view of the displays, harking back to the feel of early 20th century toy departments.

Holiday Express: All Aboard to Richard Scarry’s Busytown Family Programs
Fun, train-related activities for kids of all ages take place through the exhibition’s run―all free with Museum Admission.

Celebrating Richard Scarry and Busytown!
Saturday, December 14 and Sunday, December 15; 1–3 pm

All aboard! Holiday Express returns this year with a special new addition—scenes from Richard Scarry’s Busytown! On this weekend, families will join Huck Scarry in a draw-along of beloved Busytown characters and chat about his father. Children will decorate their own Busytown vehicles, create finger puppets, listen to Busytown tales, and go on a pretend train journey with our favorite Conductor Abe!

December School Vacation Week, Thursday, December 26 – Wednesday, January 1
Stop by New-York Historical during our annual, train-filled Vacation Week. Take part in an “I Spy” scavenger hunt, play at our train table, listen to a classic train story, and make a rail-themed craft to take home!

Holiday Express “I Spy” Scavenger Hunt, All day (Recommended for ages 4 and up)
I SPY, WITH MY LITTLE EYE, A DOG, A SHIP, AND EVEN A FLYING MACHINE! Pick up an “I Spy” scavenger hunt and get the whole family involved on an adventure through Holiday Express. Kids and adults alike will delight in discovering surprises among all the toys and trains.

Train Tales and Crafts, Daily, 2 pm, All Ages
COME FOR THE CLASSIC TRAIN STORY AND STAY FOR THE CRAFTS! Rail-themed books for December School Vacation Week include The Little Engine That Could by Watty Piper; Steam Train, Dream Train written by Sherri Duskey Rinker and illustrated by Tom Lichtenheld; Shark vs. Train written by Chris Barton and illustrated by Tom Lichtenheld; and more.

Holiday Express: All Aboard to Richard Scarry’s Busytown is curated by Mike Thornton, associate curator of material culture at the New-York Historical Society. The original Holiday Express display was designed by Lee H. Skolnick Architecture + Design Partnership (LHSA+DP), an integrated architecture and exhibit design firm that also designed New-York Historical’s DiMenna Children’s History Museum. Other consultants for Holiday Express include T W TrainWorx, a nationally recognized model train specialist and designer of custom toy train layouts; and exhibition media producers Batwin + Robin, renowned “media storytellers” with more than 20 years of experience in the theater, museums, and other venues.

Exhibitions at New-York Historical are made possible by Dr. Agnes Hsu-Tang and Oscar Tang, the Saunders Trust for American History, the Seymour Neuman Endowed Fund, the New York City Department of Cultural Affairs in partnership with the City Council, and the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature. WNET is the media sponsor.

Journey Abroad With An American Legend At The New-York Historical Society

Mark Twain and the Holy Land On View October 25, 2019 – February 2, 2020

New-York Historical Society celebrates the 150th anniversary of one of the best-selling travelogues of all time with Mark Twain and the Holy Land, on view October 25, 2019 – February 2, 2020. This new exhibition traces the legendary American humorist’s 1867 voyage to the Mediterranean and his subsequent 1869 book—The Innocents Abroad, or The New Pilgrims’ Progress—through original documents, photographs, artwork, and costumes, as well as an interactive media experience. Organized by New-York Historical in partnership with the Shapell Manuscript Foundation, it is curated by Michael Ryan, vice president and director of the Patricia D. Klingenstein Library, and Cristian Petru Panaite, associate curator of exhibitions.

Abdullah Brothers Portrait of Mark Twain in Constantinople (autographed), 1867 Carte de visite Shapell Manuscript Collection
Of all the topics that might have engaged young Samuel Langhorne Clemens’ imagination in 1867, none was less likely or less promising than Palestine, the Holy Land. Known for his biting satire and humorous short pieces on California and the West, Clemens (1835–1910) found the subject that would propel him to national acclaim almost by accident.

Setting sail from New York for a great adventure abroad, Mark Twain captured the feelings and reactions of many Americans exploring beyond their borders, inspiring generations of travelers to document their voyages,” said Dr. Louise Mirrer, president and CEO of the New-York Historical Society. “We are pleased to partner with the Shapell Manuscript Foundation to present the history behind this influential book by Twain, a uniquely American writer whose work helped to define American culture in the postbellum era.”

William E. James (1835–1887) Quaker City passengers awaiting a visit from the Emperor of Russia, August 1867 Reproduction Courtesy of Randolph James
This is the only image which shows Twain on board the Quaker City. He is pictured on the floor with his hand on his face to the right of the woman in white.

In 1867, Samuel Langhorne Clemens (1835-1910)—known professionally as Mark Twain—departed New York harbor on the steamship Quaker City for a five-and-a-half-month excursion, with stops in Europe, the Mediterranean, and the Holy Land. Known at that point for his biting satire and humorous short pieces on California and the West, Clemens had serendipitously discovered a “pleasure cruise” to Europe and the Near East, and successfully inveigled his way onto the journey with an assignment from the San Francisco newspaper Alta California. Twain was to supply the paper with weekly columns about the trip and his fellow passengers. When he returned to New York and then to Washington, D.C., he began reshaping those columns and other notes made during the trip into a book, The Innocents Abroad (1869). It was this work that catapulted Twain to national fame, selling more copies during his lifetime than any other book he ever wrote.

Tommaso de Simone (1805–1888) The steamship Quaker City in the Port of Naples, 1867 Oil on canvas Shapell Manuscript Collection
Although the Quaker City cruise was the first instance of organized tourism in American history, it reflected a national surge of interest in travel and tourism. By 1870, more than 25,000 Americans were traveling to Europe each year.
Quaker City passenger list, 1867 Shapell Manuscript Collection
Instead, Twain found himself in the company of respectable, middle-class Protestants, eager to see the Biblical lands of their dreams. The disappointment soured him from the start. Moreover, the average age of the group was 50, and most were male.

Musing about the voyage in a passage later published in Innocents Abroad, Twain so aptly noted: ‘Travel is fatal to prejudice, bigotry, and narrow-mindedness,’” said Benjamin Shapell, President of the Shapell Manuscript Foundation. “That his travelogue espoused such a liberal sentiment while at the very same time also exposing the deep closed-mindedness of his fellow shipmates is the very reason why Twain’s biting perspective comes across as so fresh to us even today. We are pleased that the New-York Historical Society has brought together these rare manuscripts and artifacts, bringing Twain’s lively, influential, and singular experience to life.”

American Protestants approached the Holy Land in awe and reverence, their visions of it having been shaped by romantic travel literature that described Palestine as majestic and grand. Examples of this literature are on display along with contemporary illustrations of the Holy Land, such as Hubert Sattler’s View of Jerusalem from the Mount of Olives (1847), on loan from the Dahesh Museum of Art. In reality, the Holy Land in the 19th century was a remote and neglected outpost of the Ottoman Empire.

Jessie Tarbox Beals (1870–1942) Mark Twain, ca. 1906 Gelatin silver print Patricia D. Klingenstein Library, New-York Historical Society, Jessie Tarbox Beals Collection
Having concluded Innocents Abroad, Twain was “moved to confess that day by day the mass of my memories of the excursion have grown more and more pleasant.” Such memories would only amplify over the years so much so that towards the end of his life Twain called his final residence in Redding, Connecticut “Innocence at Home.”

The Quaker City cruise was the first organized tourism trip in American history; the steamship was opulently outfitted with a library, printing press, piano, and pipe organ. A Quaker City passenger list, receipt for voyage, and an oil painting of the steamship are on display, as well as a journal entry from April 1867, in which Twain announces his plan to embark on the voyage. Photographer William E. James was also on board and documented many of the sights in stereoscopic images; James’ camera and a selection of seemingly three-dimensional stereoscopic images are on view on an interactive touch screen.

William E. James (1835–1887) Panorama of Jerusalem Stereograph New York: G.W. Thorne, 1867 Patricia D. Klingenstein Library, New-York Historical Society
With a portfolio including images of post-war Charleston and President Lincoln’s funeral procession in New York City, William E. James’ greatest project came as a member of the Quaker City expedition. As the only photographer on board, James took dozens of stereoscopic images of “points of interest” for the Plymouth Church. He later sold them and presented the images in illustrated sermons at Sunday Schools.

After stops in Europe, the travelers were greeted in Beirut by a grand caravan of horses and mules for a journey of 155 miles to “Baalbec, Damascus, the Sea of Tiberias, and thence southward by the way of the scene of Jacob’s Dream and other notable Bible localities to Jerusalem.” But the pomp was in glaring contrast to the reality of a small, barren land, which was not the vast and monumental landscape suggested by the Bible. Twain was disappointed that “a fast walker could go outside the walls of Jerusalem and walk entirely around the city in an hour,” and a manuscript leaf on view features Twain’s withering satirical soliloquy about the Tomb of Adam at the Church of the Holy Sepulchre: “The tomb of Adam! How touching it was here in a land of strangers, far away from home, and friends, and all who cared for me, thus to discover the grave of a blood relation.”

Louis Haghe (1806–1885) after David Roberts (1796–1864) Church of the Purification, 1841 Tinted lithograph Dahesh Museum of Art, New York 1995.71
In the 19th century, romanticism gave visual expression to fantasies of a sublime Holy Land. The monumental landscapes of David Roberts portrayed Egypt and Palestine in epic scale.

Twain’s caustic view of the Holy Land, with its nomads, beggars, and ruins was the author’s way of proclaiming the arrival of the new American traveler, someone who saw the world for what it was, without the distorting lenses of tradition and received authority. Twain had sampled the guides and travel volumes and found them all without foundation.

The voyage of the Quaker City was well documented, and the exhibit presents not only the photographs by James, but manuscripts and letters by Twain, a Dragoman costume, and Turkish slippers worn by Twain’s future bride, Olivia Langdon.

Mark Twain (1835–1910) Journal entry: intention to travel abroad, April 1867 New York City Shapell Manuscript Collection
Twain kept 70 journals over the course of his long literary career. This manuscript is believed to be the sole surviving leaf from the missing January through May, 1867 journal. Here he describes a trip to the Sandwich Islands and announces his plan to embark on a voyage to the Holy Land: “Has since been ordered by telegraph across the continent to change this route & accompany the Gen. Sherman Pleasure Excursion to Europe & the Holy Land and will sail on the 8th of June.”

It took Twain and his publisher a good two years to bring Innocents to fruition in 1869, but once in print, its success was immediate. Twain’s scabrous humor found an eager and receptive audience, well documented in contemporary reviews on display in the show. Innocents undoubtedly contributed to the vogue for traveling to the Holy Land, and the exhibit features letters by such notables as President Ulysses Grant, Gen. William T. Sherman, and Theodore Roosevelt, each of whom journeyed to Palestine.

Hubert Sattler (1817–1904) View of Jerusalem from the Mount of Olives, 1847 Oil on panel Dahesh Museum of Art, New York 2012.17
For Christian travelers in the Holy Land, the ultimate destination was Jerusalem. Yet, here too, Twain was disappointed. “A fast walker could go outside the walls of Jerusalem and walk entirely around the city in an hour.” Yet Jerusalem was also a site rich in artifacts from the Biblical era.

Mark Twain and the Holy Land introduces visitors both to a young Mark Twain on the eve of celebrity and to Palestine in the 19th century, captured by artists, writers, and photographers.

The Innocents Abroad prospectus and carrying case used by salesman William Aldrich, ca. 1870 From the collection of Susan Jaffe Tane
Like many books of the day, Innocents was sold by subscription. Traveling salesmen would sign up subscribers, offering them the option of customizing their purchase. While some of the early reviews of Innocents found its irreverence and sarcasm offensive, most reviews were positive, and those positive reviews propelled the book’s sales. During its first 18 months, it sold over 82,000 copies by subscription; by 1879, there were more than 150,000 copies in print. Twain’s career as an author was launched.

On October 24, Jonathan D. Sarna, University Professor and the Joseph H. & Belle R. Braun Professor of American Jewish History at Brandeis University, and Gil Troy, Professor of History at McGill University, will discuss Mark Twain and the Holy Land: A New Look.

Exhibitions at New-York Historical are made possible by Dr. Agnes Hsu-Tang and Oscar Tang, the Saunders Trust for American History, the Seymour Neuman Endowed Fund, the New York City Department of Cultural Affairs in partnership with the City Council, and the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature. WNET is the media sponsor.

New-York Historical Society Accepting Applications For 2019-2020 Fellowships

New Fellows Welcomed for the 2018-2019 Academic Year

The New-York Historical Society is now accepting applications for its prestigious fellowship program for the 2019–2020 academic year. Leveraging its rich collections of documents, artifacts, and works of art detailing American history from the perspective of New York City, New-York Historical’s fellowships—open to scholars at various times during their academic careers—provide scholars with material resources and an intellectual community to develop new research and publications that illuminate complex issues of the past.

New-York Historical Society logo

New-York Historical Society logo

The available fellowships include:

Andrew W. Mellon Foundation Predoctoral Fellowships in Women’s History
The two recipients of the Andrew W. Mellon Foundation Predoctoral Fellowship in Women’s History should have a strong interest in the fields of women’s and public history. This unusual part-time fellowship introduces young scholars to work outside the academy in public history and may not directly correspond with their dissertation research. They must be currently enrolled students in good standing in a relevant Ph.D. program in the humanities. The Predoctoral Fellows will be in residence part-time at the New-York Historical Society for one academic year, between September 5, 2019, and June 29, 2020, with a stipend of $15,000 per year. This position is not full time and will not receive full benefits.

National Endowment for the Humanities Fellowship
One fellowship for the length of a single academic year is supported by the
National Endowment for the Humanities. The fellowship is available to individuals who have completed their formal professional training and have a strong record of accomplishment within their field. There is no restriction relating to age or academic status of applicants. Foreign nationals are eligible to apply if they have lived in the United States for at least three years immediately preceding the application deadline. The ten-month residency will carry a stipend of $42,000, plus benefits. This fellowship will begin September 5, 2019, and will end June 29, 2020.

Bernard and Irene Schwartz Fellowships
Offered jointly with the
Eugene Lang College of Liberal Arts at the New School, two Bernard and Irene Schwartz Fellowships are open to scholars who will have completed their Ph.D. in History or American Studies before the end of the 2017-2018 academic year. Fellows will teach one course per semester at Eugene Lang College in addition to conducting focused research in residence at the New-York Historical Society. These fellows carry a stipend of $60,000, plus benefits. The fellowship will begin September 5, 2019, and will end June 29, 2020.

Helen and Robert Appel Fellowship in History and Technology
The fellowship will be awarded to a candidate who has earned their Ph.D. within the last three to five years. Research projects should be based on the collections of
New-York Historical and explore the impact of technology on history. The fellowship will carry a stipend of $60,000, plus benefits; it begins September 5, 2019, and lasts through June 29, 2020.

Robert David Lion Gardiner Foundation / Andrew W. Mellon Foundation Fellowship
This fellowship will be awarded to a candidate who has earned their Ph.D. within the last three to five years. Research projects should expand public understanding of New York State history and should include research based on the collections and resources of New-York Historical. This ten-month residency will carry a stipend of $60,000, plus benefits; it begins
September 5, 2019, and lasts through June 29, 2020.

Short-Term Fellowships
A variety of Short-Term Fellowships will be awarded to scholars at any academic level. Fellows will conduct research in the library collections of the
New-York Historical Society for two to four weeks at a time and will receive a stipend of $2,000. These fellowships will begin and end between July 1, 2019, and June 29, 2020.

Fellowship positions at the New-York Historical Society are made possible by an endowment established by The Andrew W. Mellon Foundation. Generous support for fellowships is provided by Bernard Schwartz, the National Endowment for the Humanities, Helen and Robert Appel, the Robert David Lion Gardiner Foundation, Sid Lapidus, Michael Weisberg, the Lehrman Institute, and Patricia and John Klingenstein. All fellows receive research stipends while in residency, and the Bernard & Irene Schwartz Fellows each teach two courses at Eugene Lang College at the New School for Liberal Arts during their year as resident scholars. Visit nyhistory.org/library/fellowships for instructions and application checklists for each fellowship. The application deadline for all fellowships is December 31, 2018. Continue reading

Stuart Weitzman To Be Honored At New-York Historical Society’s Strawberry Festival On April 25

Annual Luncheon Benefits Educational Programs for NYC School Children

Iconic designer Stuart Weitzman will be honored at New-York Historical Society’s 2018 Strawberry Festival benefit luncheon, an annual event that dates back to 1856. The luncheon will take place on April 25 at the New-York Historical Society (170 Central Park West at 77th Street) and feature Mr. Weitzman in conversation with Vanessa Friedman, fashion director and chief fashion critic for the New York Times. Event check-in begins at 11:30 am. The Strawberry Festival coincides with Walk This Way: Footwear from the Stuart Weitzman Collection of Historic Shoes, on view at New-York Historical April 20 – October 8, 2018.

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We are delighted to recognize Stuart Weitzman’s outstanding work in fashion and philanthropy with our Distinguished Service Medal at this year’s Strawberry Festival,” said Pam Schafler, chair of the New-York Historical Society’s Board of Trustees. “Mr. Weitzman has devoted his career to designing fashionable footwear that takes into account women’s lifestyles today. His philanthropy covers a broad range of interests including education for young people—a mission of paramount importance at New-York Historical. Mr. Weitzman’s remarkable collection of historic footwear, on view in our Joyce B. Cowin Women’s History Gallery at the time of the celebration, provides the perfect backdrop as we honor him and commemorate the first anniversary of our Center for Women’s History.”

Mr. Weitzman joins a remarkable list of people celebrated at the Strawberry Festival in prior years. Past honorees include Loretta Lynch, Ayaan Hirsi Ali, Mika Brzezinski, Hillary Clinton, Kirsten Gillibrand, Doris Kearns Goodwin, Michelle Obama, Anna Quindlen, Christine Quinn, Cokie Roberts, Lesley Stahl, Pat Klingenstein, and Sue Ann Weinberg.

New-York Historical Society’s Strawberry Festival has long recognized honorees’ contributions to public life since its first gathering in 1856 when guests enjoyed a stimulating lecture and a strawberry feast in Washington Square Park. Funds raised from this event support crucial educational programs for New York City children and youth, as part of New-York Historical’s DiMenna Children’s History Museum and Barbara K. Lipman Children’s History Library. In addition to offering critical initiatives in history education for 200,000 New York City public school students annually, DCHM and Lipman Library have become magnets for underserved children and families, with scholarships offered for weekend and holiday family programs and summertime history camps.

New-York Historical’s Center for Women’s History—the first of its kind in the nation within the walls of a major museum—features the little and often unknown stories of women who have shaped and continue to shape the American experience. As a hub for scholarship and education, the Center demonstrates how women across the spectrum of race, class, and culture have exercised power and effected change long before the ratification of the 19th Amendment in 1920, which made women full American citizens with the right to vote. Guided by a committee of distinguished historians and informed by the latest research, the Center features permanent installations, temporary exhibitions, and a vibrant array of talks and programs, enriching the cultural landscape of New York City and ushering in a new era of historical discovery.

Stuart Weitzman’s passion for designing women’s shoes has been a lifelong pursuit. He began working at his father’s Massachusetts shoe factory while still in college. After graduating from the University of Pennsylvania’s Wharton School, Mr. Weitzman applied himself to the industry with laser-like focus, eventually building the globally renowned company that bears his name. Today, his shoes dominate red carpet events and are worn by loyal celebrity fans such as Angelina Jolie, Taylor Swift, Beyoncé, and Gigi Hadid—and by millions of women from more than 75 countries around the world. Mr. Weitzman approaches his other endeavors with equal commitment: He shares his free time with his wife Jane and their two daughters, aiding a number of philanthropic causes close to their hearts—including mentoring students on their budding entrepreneurial aspirations at his alma mater and other institutions—and participating in sports, including ping-pong.

On view in the Joyce B. Cowin Women’s History Gallery at New-York Historical’s Center for Women’s History, Walk This Way: Footwear from the Stuart Weitzman Collection of Historic Shoes explores how shoes have transcended their utilitarian purpose to become representations of culture—coveted as objects of desire, designed with artistic consideration, and expressing complicated meanings of femininity, power, and aspiration for women and men alike. The exhibition features 130 pairs of shoes from the iconic designer’s extensive private collection, assembled over three decades with his wife Jane Gershon Weitzman, along with examples drawn from New-York Historical’s own collection. The exhibition catalog, Walk this Way: Footwear from the Stuart Weitzman Collection, published by D Giles Limited, is available from the NYHistory Store and other retailers.

Ticket prices for the 2018 Strawberry Festival begin at $500, and table prices begin at $5,000.