BGuthrie Photos: MA -- Stockbridge -- Chesterwood -- Visitor Center @ Barn Gallery

MA -- Stockbridge -- Chesterwood -- Visitor Center @ Barn Gallery:

Bruce Guthrie Photos Home Page: [Click here] to go to Bruce Guthrie Photos home page.

Recognize anyone? If you recognize specific folks (or other stuff) and I haven't labeled them, please identify them for the world. Click the little pencil icon

underneath the file name (just above the picture). Spammers need not apply.

Copyrights: All pictures were taken by amateur photographer Bruce Guthrie (me!) who retains copyright on them. Free for non-commercial use with attribution. See the [Creative Commons] definition of what this means. "Photos (c) Bruce Guthrie" is fine for attribution. (Commercial use folks including AI scrapers can of course contact me.) Feel free to use in publications and pages with attribution but you don't have permission to sell the photos themselves. A free copy of any printed publication using any photographs is requested. Descriptive text, if any, is from a mixture of sources, quite frequently from signs at the location or from official web sites; copyrights, if any, are retained by their original owners.

Accessing as Spider: The system has identified your IP as being a spider.
IP Address: 18.221.53.5 -- Domain: Amazon Technologies
I love well-behaved spiders! They are, in fact, how most people find my site. Unfortunately, my network has a limited bandwidth and pictures take up bandwidth. Spiders ask for lots and lots of pages and chew up lots and lots of bandwidth which slows things down considerably for regular folk. To counter this, you'll see all the text on the page but the images are being suppressed. Also, some system options like merges are being blocked for you.
Note: Permission is NOT granted for spiders, robots, etc to use the site for AI-generation purposes. I'm sure you're thrilled by your ability to make revenue from my work but there's nothing in that for my human users or for me.
If you are in fact human, please email me at guthrie.bruce@gmail.com and I can check if your designation was made in error. Given your number of hits, that's unlikely but what the hell.

Help? The Medium (Email) links are for screen viewing and emailing. You'll want bigger sizes for printing. [Click here for additional help]

[1] CWOOVC_210722_001_STITCH.JPG

[2] CWOOVC_210722_002.JPG	[3] CWOOVC_210722_006.JPG	[4] CWOOVC_210722_010.JPG
[5] CWOOVC_210722_013.JPG	[6] CWOOVC_210722_017.JPG	[7] CWOOVC_210722_019.JPG
[8] CWOOVC_210722_025.JPG	[9] CWOOVC_210722_031.JPG	[10] CWOOVC_210722_034.JPG
[11] CWOOVC_210722_036.JPG	[12] CWOOVC_210722_039.JPG	[13] CWOOVC_210722_045.JPG
[14] CWOOVC_210722_051.JPG	[15] CWOOVC_210722_054.JPG	[16] CWOOVC_210722_059.JPG
[17] CWOOVC_210722_062.JPG	[18] CWOOVC_210722_065.JPG	[19] CWOOVC_210722_069.JPG
[20] CWOOVC_210722_072.JPG	[21] CWOOVC_210722_077.JPG	[22] CWOOVC_210722_078.JPG
[23] CWOOVC_210722_082.JPG	[24] CWOOVC_210722_086.JPG	[25] CWOOVC_210722_089.JPG
[26] CWOOVC_210722_092.JPG	[27] CWOOVC_210722_095.JPG	[28] CWOOVC_210722_097.JPG
[29] CWOOVC_210722_105.JPG	[30] CWOOVC_210722_107.JPG	[31] CWOOVC_210722_110.JPG
[32] CWOOVC_210722_114.JPG	[33] CWOOVC_210722_116.JPG	[34] CWOOVC_210722_118.JPG
[35] CWOOVC_210722_127.JPG	[36] CWOOVC_210722_129.JPG	[37] CWOOVC_210722_135.JPG
[38] CWOOVC_210722_140.JPG	[39] CWOOVC_210722_142.JPG	[40] CWOOVC_210722_146.JPG
[41] CWOOVC_210722_150.JPG	[42] CWOOVC_210722_152.JPG	[43] CWOOVC_210722_158.JPG
[44] CWOOVC_210722_161.JPG	[45] CWOOVC_210722_164.JPG	[46] CWOOVC_210722_168.JPG
[47] CWOOVC_210722_170.JPG	[48] CWOOVC_210722_172.JPG	[49] CWOOVC_210722_174.JPG
[50] CWOOVC_210722_178.JPG	[51] CWOOVC_210722_181.JPG	[52] CWOOVC_210722_185.JPG
[53] CWOOVC_210722_188.JPG	[54] CWOOVC_210722_192.JPG	[55] CWOOVC_210722_194.JPG
[56] CWOOVC_210722_200.JPG	[57] CWOOVC_210722_204.JPG	[58] CWOOVC_210722_207.JPG
[59] CWOOVC_210722_211.JPG	[60] CWOOVC_210722_213.JPG	[61] CWOOVC_210722_216.JPG
[62] CWOOVC_210722_220.JPG	[63] CWOOVC_210722_223.JPG	[64] CWOOVC_210722_226.JPG
[65] CWOOVC_210722_227.JPG	[66] CWOOVC_210722_229.JPG	[67] CWOOVC_210722_232.JPG
[68] CWOOVC_210722_236.JPG	[69] CWOOVC_210722_241.JPG	[70] CWOOVC_210722_245.JPG
[71] CWOOVC_210722_249.JPG	[72] CWOOVC_210722_253.JPG	[73] CWOOVC_210722_260.JPG
[74] CWOOVC_210722_263.JPG	[75] CWOOVC_210722_265.JPG	[76] CWOOVC_210722_266.JPG
[77] CWOOVC_210722_271.JPG	[78] CWOOVC_210722_274.JPG	[79] CWOOVC_210722_278.JPG
[80] CWOOVC_210722_281.JPG	[81] CWOOVC_210722_284.JPG	[82] CWOOVC_210722_287.JPG
[83] CWOOVC_210722_291.JPG	[84] CWOOVC_210722_294.JPG	[85] CWOOVC_210722_297.JPG
[86] CWOOVC_210722_300.JPG	[87] CWOOVC_210722_302.JPG	[88] CWOOVC_210722_303.JPG
[89] CWOOVC_210722_305.JPG	[90] CWOOVC_210722_306.JPG	[91] CWOOVC_210722_308.JPG
[92] CWOOVC_210722_311.JPG	[93] CWOOVC_210722_313.JPG	[94] CWOOVC_210722_315.JPG
[95] CWOOVC_210722_318.JPG	[96] CWOOVC_210722_320.JPG	[97] CWOOVC_210722_323.JPG
[98] CWOOVC_210722_326.JPG	[99] CWOOVC_210722_329.JPG	[100] CWOOVC_210722_334.JPG
[101] CWOOVC_210722_336.JPG	[102] CWOOVC_210722_339.JPG	[103] CWOOVC_210722_341.JPG
[104] CWOOVC_210722_352.JPG	[105] CWOOVC_210722_354.JPG	[106] CWOOVC_210722_356.JPG
[107] CWOOVC_210722_358.JPG	[108] CWOOVC_210722_361.JPG	[109] CWOOVC_210722_362.JPG
[110] CWOOVC_210722_364.JPG	[111] CWOOVC_210722_366.JPG	[112] CWOOVC_210722_370.JPG
[113] CWOOVC_210722_372.JPG	[114] CWOOVC_210722_377.JPG	[115] CWOOVC_210722_379.JPG
[116] CWOOVC_210722_382.JPG	[117] CWOOVC_210722_385.JPG	[118] CWOOVC_210722_388.JPG
[119] CWOOVC_210722_390.JPG	[120] CWOOVC_210722_394.JPG	[121] CWOOVC_210722_396.JPG
[122] CWOOVC_210722_398.JPG	[123] CWOOVC_210722_400.JPG	[124] CWOOVC_210722_403.JPG
[125] CWOOVC_210722_406.JPG	[126] CWOOVC_210722_408.JPG	[127] CWOOVC_210722_411.JPG
[128] CWOOVC_210722_417.JPG	[129] CWOOVC_210722_419.JPG	[130] CWOOVC_210722_422.JPG
[131] CWOOVC_210722_424.JPG	[132] CWOOVC_210722_426.JPG	[133] CWOOVC_210722_428.JPG
[134] CWOOVC_210722_433.JPG	[135] CWOOVC_210722_436.JPG	[136] CWOOVC_210722_439.JPG
[137] CWOOVC_210722_443.JPG	[138] CWOOVC_210722_446.JPG	[139] CWOOVC_210722_452.JPG
[140] CWOOVC_210722_454.JPG	[141] CWOOVC_210722_459.JPG	[142] CWOOVC_210722_464.JPG
[143] CWOOVC_210722_471.JPG	[144] CWOOVC_210722_473.JPG	[145] CWOOVC_210722_479.JPG
[146] CWOOVC_210722_482.JPG	[147] CWOOVC_210722_484.JPG	[148] CWOOVC_210722_489.JPG
[149] CWOOVC_210722_491.JPG	[150] CWOOVC_210722_494.JPG	[151] CWOOVC_210722_496.JPG
[152] CWOOVC_210722_499.JPG	[153] CWOOVC_210722_502.JPG	[154] CWOOVC_210722_509.JPG
[155] CWOOVC_210722_512.JPG	[156] CWOOVC_210722_517.JPG	[157] CWOOVC_210722_520.JPG
[158] CWOOVC_210722_526.JPG	[159] CWOOVC_210722_528.JPG	[160] CWOOVC_210722_529.JPG
[161] CWOOVC_210722_532.JPG	[162] CWOOVC_210722_537.JPG	[163] CWOOVC_210722_543.JPG
[164] CWOOVC_210722_545.JPG	[165] CWOOVC_210722_552.JPG	[166] CWOOVC_210722_555.JPG
[167] CWOOVC_210722_562.JPG	[168] CWOOVC_210722_567.JPG	[169] CWOOVC_210722_569.JPG
[170] CWOOVC_210722_572.JPG	[171] CWOOVC_210722_574.JPG	[172] CWOOVC_210722_578.JPG
[173] CWOOVC_210722_583.JPG	[174] CWOOVC_210722_585.JPG	[175] CWOOVC_210722_588.JPG
[176] CWOOVC_210722_592.JPG	[177] CWOOVC_210722_596.JPG	[178] CWOOVC_210722_598.JPG
[179] CWOOVC_210722_606.JPG	[180] CWOOVC_210722_609.JPG	[181] CWOOVC_210722_612.JPG
[182] CWOOVC_210722_615.JPG	[183] CWOOVC_210722_617.JPG	[184] CWOOVC_210722_620.JPG
[185] CWOOVC_210722_626.JPG	[186] CWOOVC_210722_628.JPG	[187] CWOOVC_210722_631.JPG
[188] CWOOVC_210722_634.JPG	[189] CWOOVC_210722_638.JPG	[190] CWOOVC_210722_641.JPG
[191] CWOOVC_210722_643.JPG	[192] CWOOVC_210722_646.JPG	[193] CWOOVC_210722_650.JPG
[194] CWOOVC_210722_653.JPG	[195] CWOOVC_210722_659.JPG	[196] CWOOVC_210722_661.JPG
[197] CWOOVC_210722_663.JPG	[198] CWOOVC_210722_670.JPG	[199] CWOOVC_210722_677.JPG
[200] CWOOVC_210722_679.JPG	[201] CWOOVC_210722_688.JPG	[202] CWOOVC_210722_694.JPG
[203] CWOOVC_210722_700.JPG

Specific picture descriptions: Photos above with "i" icons next to the bracketed sequence numbers (e.g. "[1] ") are described as follows:
1. CWOOVC_210722_010.JPG: Helen Douglass French, A.L.A. remodeled this barn in 1962 She and her husband Prentiss French, F.A.S.L.A. who laid out the grounds gave their services as a tribute to Chesterwood. [ ALA: Association of Licensed Architects ] [ FASLA: Fellow of the American Society of Landscape Architects ]
2. CWOOVC_210722_013.JPG: Vaccinated? Masks optional Not vaccinated? Masks recommended
3. CWOOVC_210722_017.JPG: Daniel Chester French and His Family
4. CWOOVC_210722_019.JPG: Chesterwood
5. CWOOVC_210722_025.JPG: The Sculptor and His Legacy
6. CWOOVC_210722_051.JPG: This hand-carved tool belonged to French. Whether he made it himself or not is not known. Clay modeling tool, c 1868 Local artist, Abigail May Alcott (1840-1879), sister of the novelist Louisa, gave drawing lessons to Dan in Corcord. This rosewood tool is inscribed, "From Miss Alcott, 1868 / My first modeling-tool DCF." He was pleased that she also gave him, "... about as much clay, for modeling, as I could conveniently carry from her cellar to the carriage; about 125 lbs."
7. CWOOVC_210722_054.JPG: Daniel Chester French: Sculpting an American Vision
8. CWOOVC_210722_059.JPG: An Emerging Talent
9. CWOOVC_210722_072.JPG: Bookmark or paper fold, c 1875-80 This thin wooden blade with finely drawn decoration is of uncertain origin. It is probably a tool to slit the uncut pages of newspapers and books. It may have been a gift from an admirer to young Dan.
10. CWOOVC_210722_077.JPG: Obtaining the Commission
11. CWOOVC_210722_078.JPG: The Minute Man launches a career
12. CWOOVC_210722_082.JPG: The Minute Man, 1875 "I have carried him [E. Adams Doll] the small plaster. He says it is the best thing extant and cannot fail of a sale in the Centennial. He proposed to do the whole, have the casts made, painted some unique tint, not like Rogers..., and give you one half the net profits." As with his son's small decorative works in parianware, Henry Flagg French secures a copyright and an advantageous marketing situation of plaster reproductions through a Boston art dealer, which he pitches to Dan in a letter of November 4, 1875. The full-size plaster model of The Minute Man, newly bronze-painted, was exhibited in Doll's gallery and then shipped to the Philadelphia Centennial. Henry French refers to the popular painted plaster "Rogers' groups" widely sold by the New York City-based-sculptor John Rogers (1829-1904). In the Centennial's Memorial Hall, where French's statue commanded the center of a large gallery, Rogers displayed 29 of his plasters. Of all that Doll & Richards sold, this cast is one of the only two known today.
13. CWOOVC_210722_097.JPG: 1850-1931
14. CWOOVC_210722_105.JPG: Creating the Monument
15. CWOOVC_210722_114.JPG: The American Sculptor Returns
16. CWOOVC_210722_116.JPG: Mary Brigham Fay (1850-1871), 1871-72 Daniel Chester French with William Rimmer "The Fay son has been to see the bust and is pleased as the rest are. Dr. Rimmer sees no reason why Dan should not rise to fame as soon as he pleases," wrote Sallie French to brother Will, Feb. 26, 1872. This posthumous portrait of a Concord neighbor is thought to be the joint work of French and Rimmer, based on the inscription on another copy of this bust: "DC French, Sculpt. / With Dr. Rimmer Winter of '71 & '72. French studied drawing with Rimmer, who was both an artist and a physician in Boston.
17. CWOOVC_210722_118.JPG: John Harvard, 1883 The idealized portrait of the clergyman benefactor of Harvard College was French's second commission for a bronze statue. By October 1883, the sculptor produced a maquette after extensive research on the character of his subject and the garb of Puritan clerics. With no extant portrait of Harvard, French sought a descendant of "... a type of the early comers to our shores...," and engaged his Concord neighbor, Sherman Hoar, to model for the head. John Harvard (clergyman) From Wikipedia, the free encyclopedia John Harvard (1607–1638) was an English minister in Colonial America whose deathbed bequest to the "schoale or Colledge" founded two years earlier by the Massachusetts Bay Colony was so gratefully received that it was consequently ordered "that the Colledge agreed upon formerly to bee built at Cambridg shalbee called Harvard Colledge." Harvard University considers him the most honored of its founders -- those whose efforts and contributions in its early days "ensure[d] its permanence" -- and a statue in his honor is a prominent feature of Harvard Yard.
18. CWOOVC_210722_129.JPG: Tribute to the Tuesday Club, 1884 The Tuesday Club was a group of men who met monthly for dinner in Corcord in the 1880s. This plaque was used as a place card for one of these meals. Using the witches' lines from Shakespeare's Macbeth, French alludes to the exclusion of women from the Club gatherings except for food preparation: Double, double toil and trouble; Fire burn and cauldron bubble.
19. CWOOVC_210722_135.JPG: Amos Bronson Alcott (1799-1888), 1889-91 The Concord educator, philosopher and writer Alcott sat for French in the fall of 1880. After the death of this noted transcendentalist, French created a more classical version of that work without clothing, his first portrait bust designed to be in bronze rather than marble. This bronze was exhibited at Chicago's World's Columbian Exposition in 1893. Amos Bronson Alcott From Wikipedia, the free encyclopedia Amos Bronson Alcott (November 29, 1799 – March 4, 1888) was an American teacher, writer, philosopher, and reformer. As an educator, Alcott pioneered new ways of interacting with young students, focusing on a conversational style, and avoided traditional punishment. He hoped to perfect the human spirit and, to that end, advocated a plant-based diet. He was also an abolitionist and an advocate for women's rights. Born in Wolcott, Connecticut in 1799, Alcott had only minimal formal schooling before attempting a career as a traveling salesman. Worried about how the itinerant life might have a negative impact on his soul, he turned to teaching. His innovative methods, however, were controversial, and he rarely stayed in one place very long. His most well-known teaching position was at the Temple School in Boston. His experience there was turned into two books: Records of a School and Conversations with Children on the Gospels. Alcott became friends with Ralph Waldo Emerson and became a major figure in transcendentalism. His writings on behalf of that movement, however, are heavily criticized for being incoherent. Based on his ideas for human perfection, Alcott founded Fruitlands, a transcendentalist experiment in community living. The project failed after seven months. Alcott and his family struggled financially for most of his life. Nevertheless, he continued focusing on educational projects and opened a new school at the end of his life in 1879. He died in 1888. Alcott married Abby May in 1830 and they eventually had four surviving children, all daughters. Their second was Louisa May, who fictionalized her experience with the family in her novel Little Women in 1868.
20. CWOOVC_210722_140.JPG: Ralph Waldo Emerson, 1879-89
21. CWOOVC_210722_142.JPG: Mary Brigham Fay (1850-1871), 1871-72 Daniel Chester French with William Rimmer "The Fay son has been to see the bust and is pleased as the rest are. Dr. Rimmer sees no reason why Dan should not rise to fame as soon as he pleases," wrote Sallie French to brother Will, Feb. 26, 1872. This posthumous portrait of a Concord neighbor is thought to be the joint work of French and Rimmer, based on the inscription on another copy of this bust: "DC French, Sculpt. / With Dr. Rimmer Winter of '71 & '72. French studied drawing with Rimmer, who was both an artist and a physician in Boston.
22. CWOOVC_210722_146.JPG: James Elliot Cabot, 1880-81
23. CWOOVC_210722_158.JPG: Death and the Sculptor From Wikipedia, the free encyclopedia Death and the Sculptor, also known as the Milmore Monument and The Angel of Death and the Young Sculptor is a sculpture in bronze, and one of the most important and influential works of art created by sculptor Daniel Chester French. The work was commissioned to mark the grave in Forest Hills Cemetery in Jamaica Plain, Boston, Massachusetts, of the brothers Joseph (1841–1886), James and Martin Milmore (1844–1883). It has two figures effectively in the round, linked to a background relief behind them. The right-hand figure represents a sculptor, whose hand holding a chisel is gently restrained by the fingers of the left-hand figure, representing Death, here shown as a winged female. Subjects The Milmore brothers immigrated to the United States from Ireland in 1851, Joseph becoming a stone carver and Martin a sculptor. They frequently collaborated on commissions, the most notable one being the granite Sphinx (1873) that resides in Mount Auburn Cemetery. Work French's memorial, commissioned in 1889 and dedicated in 1893, depicts the Angel of Death gently taking the hand of a sculptor, or stone carver who is working on a sphinx figure very much like the one the brothers created. When the plaster cast of the work was in Paris to be cast into bronze it was exhibited at several salons, including the Salon de Champs de Mars where it was awarded a third-class medal, "only the second time an American had been so honored by the Parisian art world." The architectural setting was initially designed by architect C. Howard Walker, but this was redesigned by French's frequent collaborator Henry Bacon in 1914, and finally replaced in 1945 by one designed the Boston firm of Andrews, Jones Boscoe and Whitmore, at which time the location of the monument was changed. The bronze portion was cast in Paris by the Gruet Foundry. French and the Milmore family agreed to have four other casts of the piece done, which went to museums in Chicago, Philadelphia, Boston and St. Louis. The Chicago plaster was displayed at the World's Columbian Exposition, where it received good reviews. That cast was destroyed in 1949. In 1917, another version of the work was done, this time in marble for the Metropolitan Museum of Art in New York. It was carved by the Piccirilli Brothers, who carved virtually all of French's marbles.
24. CWOOVC_210722_161.JPG: Italian Interlude
25. CWOOVC_210722_174.JPG: Daniel Webster, c 1880-1930 Thomas Ball
26. CWOOVC_210722_178.JPG: Life cast of right male foot, 1874-76
27. CWOOVC_210722_185.JPG: Memory (French) From Wikipedia, the free encyclopedia Memory is an 1886–1887 (revised 1909) marble sculpture by American artist Daniel Chester French. The finished version measures 57.5 inches (146 cm) x 25 inches (64 cm) x 42.5 inches (108 cm) and is part of the Metropolitan Museum of Art's collection. The statue was carved by the Piccirilli Brothers. French began working on the concept for the sculpture in 1886 when he produced a small clay sketch that was subsequently cast in bronze. The work was also called Memory. He then returned to the idea about 20 years later and produced the current work. The president of the Metropolitan Museum of Art, Robert W. de Forest, wanted to obtain the piece for the museum, but because French was a Trustee of the institution, it would have been unethical for the museum to pay him for it. Eventually a donor, Henry Walters, the museum's vice president, purchased the statue and donated it to the museum. French considered the work to be, "the chief effort of my life."
28. CWOOVC_210722_188.JPG: Memory, 1886-87
29. CWOOVC_210722_200.JPG: The Concord Minute Man of 1775, 1889-90 At Concord, in the summer of 1889, French created a small version of The Minute Man statue. Made for the new gunboat Concord, the bronze statuette was installed on board in 1891. This version was a reworking of the original statue and shows a more proficient and lively handling of the anatomy and pose of the figure as a result of the sculptor's European experience.
30. CWOOVC_210722_204.JPG: Dupont Circle Fountain From Wikipedia, the free encyclopedia The Dupont Circle Fountain, formally known as the Rear Admiral Samuel Francis Dupont Memorial Fountain, is a fountain located in the center of Dupont Circle in Washington, D.C. It honors Rear Admiral Samuel Francis Du Pont, a prominent American naval officer and member of the Du Pont family. The fountain replaced a statue of Du Pont that was installed in 1884. Designed by Henry Bacon and sculpted by Daniel Chester French, the fountain was dedicated in 1921. Prominent guests at the dedication ceremony included First Lady Florence Harding, Secretary of War John W. Weeks and Secretary of the Navy Edwin Denby. The fountain is one of eighteen Civil War monuments collectively listed on the National Register of Historic Places in 1978. The marble fountain, which is adorned with three allegorical sculptures, rests on a concrete base and is surrounded by an open plaza. The fountain and surrounding park are owned and maintained by the National Park Service, a federal agency of the Interior Department. History Background In 1871, the United States Army Corps of Engineers began constructing Dupont Circle, which at the time was called Pacific Circle since it was the western boundary of the city's residential areas. On February 25, 1882, Congress renamed the circle and authorized a memorial to Samuel Francis Du Pont (1803–1865) to honor his services during the Mexican–American War and Civil War. He played a large role in the modernization of the Navy, and during the Civil War he was responsible for making the Union blockade effective against the Confederacy, though his failed attempt to attack Charleston in 1863 tarnished his career record. The bronze statue was sculpted by Launt Thompson and dedicated on December 20, 1884, at a cost of $20,500. Attendees at the ceremony included President Chester A. Arthur, Senator Thomas F. Bayard, Admiral David Dixon Porter and General Philip Sheridan. The circle was landscaped with exotic plants and hundreds of trees. In the early 20th century, members of the prominent Du Pont family wanted a memorial of greater artistic value and lobbied for a replacement. The family had always disliked the statue and by 1909, the base of the statue had begun to sink and tilt, resulting in jokes being made that Du Pont and sailors were alcoholics. Senator Willard Saulsbury, Jr.'s wife, who was a niece of Du Pont, led efforts to replace the statue. The family asked that no government funds be used for the new memorial and that the Commission of Fine Arts (CFA) approve the design. On February 26, 1917, Congress approved the replacement of the statue and insisted on construction beginning within three years. Installation of the fountain in 1920. The Du Pont family chose architect Henry Bacon and sculptor Daniel Chester French to design a fountain that reflected the Beaux-Arts and neoclassical styles that were popular in the neighborhood at the time, such as the Patterson Mansion, located on the northeast edge of the circle. Bacon is best known for designing the Lincoln Memorial while French's best known work is the statue of Abraham Lincoln inside the memorial. French's other works in Washington, D.C. include the Butt-Millet Memorial Fountain, the First Division Monument and the Thomas Gallaudet Memorial. The total cost of the commission was $77,521. The CFA approved the design in 1917 and work began on the fountain shortly thereafter. Congress wanted recognition for its earlier attempt to honor Du Pont, so the inscription on the fountain had to include the fact that a statue erected by Congress was replaced. An early model included plans for a fountain emitting water at the top, but this wasn't incorporated into the final design. The fountain was carved by the Piccirilli Brothers, who also carved French's statue of Abraham Lincoln at the Lincoln Memorial. The contractor was the George A. Fuller Company, whose other projects include the Flatiron Building and the Plaza Hotel in New York City. In 1920, the statue was moved to Rockford Park in Wilmington, Delaware, the hometown of the Du Pont family. Later that year, the fountain was installed using pipes that were placed in 1877 for a potential fountain that had never been built. After the installation, mature trees and thick vegetation were planted in the surrounding park. Dedication The fountain was formally dedicated the afternoon of May 17, 1921. The ceremony, which was supervised by Lieutenant Colonel Clarence O. Sherrill, was described as "simple, yet impressive." A temporary stand decorated with flags and shields was built for prominent guests including First Lady Florence Harding, Secretary of War John W. Weeks and Secretary of the Navy Edwin Denby. Chairs were placed along the walkways surrounding the fountain and sailors served as ushers for the event. While invited guests were being seated, the Navy Band performed music. Following the concert, members of the public were allowed to enter the area and soon filled the surrounding park. The invocation was given by Episcopal bishop Alfred Harding followed by presentation of the colors while the band performed "The Stars and Stripes Forever". The cloth screens concealing the fountain were then removed by Du Pont's granddaughter, Sophie Du Pont Ford, and the band performed the national anthem and "Narcissus" by Ethelbert Nevin. The fountain was formally presented by Rear Admiral Purnell Frederick Harrington, who had served alongside Du Pont. Weeks received the fountain as a gift from the Du Pont family on behalf of the government. A speech was then given by Denby who praised Du Pont's services to his country. He stated: "Du Pont's hereditary background had justified the hope so meritoriously fulfilled in that officer's career, while his service as a midshipman on the then active Constitution must have proved an inspiration for his later activities." Denby also praised Du Pont's attitude toward his fellow sailors and his willingness to put the country's needs above his own. He concluded his speech by noting how proud the Navy was of the new memorial and expressed hopes that it would always be well maintained. Following Denby's speech, three young girls that were descendants of du Pont, Ann Andrews, Emily Du Pont and Mary Harvey, placed laurel wreaths in the fountain water. The ceremony concluded with the band performing "Columbia, the Gem of the Ocean." Later history The fountain was a frequent target for vandals who would repeatedly break off fingers or hands from the sculptures. New hands were later carved and attached to the sculptures. In 1948, the fountain was temporarily removed when a streetcar underpass was built beneath Dupont Circle. When it was moved back to its original location two years later, the fountain's pumping system was replaced. When the new system was installed, workers forgot to connect the pipes to the fountain. The issue was corrected the following year and the fountain became operational. The fountain is one of eighteen Civil War monuments in Washington, D.C. that were collectively listed on the National Register of Historic Places (NRHP) on September 20, 1978, and the District of Columbia Inventory of Historic Sites on March 3, 1979. It is one of the few Civil War monuments that is a not an equestrian sculpture. The others are the Stephenson Grand Army of the Republic Memorial, Nuns of the Battlefield, the Peace Monument, and statues of Admiral David G. Farragut, Albert Pike and General John A. Rawlins. The fountain is designated a contributing property to the Massachusetts Avenue Historic District, listed on the NRHP on October 22, 1974, and the Dupont Circle Historic District, listed on the NRHP on July 21, 1978. In the late 1990s, the fountain was restored by sculptor Constantine Seferlis. The fountain and surrounding park are owned and maintained by the National Park Service, a federal agency of the Interior Department. Design and location The fountain sits in the center of Dupont Circle, a park, traffic circle and neighborhood in the northwest quadrant of Washington, D.C. The park is located at the convergence of 19th Street, P Street, Connecticut Avenue, Massachusetts Avenue and New Hampshire Avenue NW. The double-tiered, white marble fountain rests on a concrete base. The upper basin of the fountain, which is approximately 3 feet (0.91 m) high and 11.6 feet (3.5 m) wide and weighs 15 tons, is supported by an 8-ton shaft adorned with three allegorical figures, the Arts of Ocean Navigation. The figures, which are approximately 8 feet (2.4 m) tall and 4.5 feet (1.4 m) wide and weigh 12 tons, represent the Sea, the Stars and the Wind. The Sea is represented by a female figure with long hair holding a boat in her right hand while caressing a seagull on her shoulder with her left hand. Her left foot rests on a dolphin. The Stars is a nude female figure with long hair holding a globe in her left hand and is faced downward. The Wind is a nude male figure draped with a ship sail. He is holding a conch shell with his left hand to use as a horn and is facing right. The water pours over the upper basin into a large lower basin that is approximately 1.8 feet (0.55 m) tall. The inscription on the outer rim of the lower basin states: "THIS MEMORIAL FOUNTAIN REPLACES A STATUE ERECTED BY THE CONGRESS OF THE UNITED STATES IN RECOGNITION OF HIS DISTINGUISHED SERVICES. SAMUEL FRANCIS DUPONT UNITED STATES NAVY 1803 – 1865." The circular concrete base features four sets of three steps that lead to the surrounding plaza. Six radial paths corresponding to the surrounding streets lead from the plaza to the edges of the park.
31. CWOOVC_210722_207.JPG: The Architecture of the American Renaissance
32. CWOOVC_210722_211.JPG: The Architect and the Sculptor
33. CWOOVC_210722_229.JPG: The Ideal of Beauty
34. CWOOVC_210722_236.JPG: Detail of Sea, c 1918 The dynamically swirling hair of Sea echoes the ebb and flow of waves.
35. CWOOVC_210722_241.JPG: Detail of Wind, c 1918
36. CWOOVC_210722_245.JPG: The Samuel F. Dupont Memorial
37. CWOOVC_210722_253.JPG: Sky, 1918 Stars sprinkle Sky's cloud of hair and her hand balances a celestial body. French first titled the figure Stars, for the constellations' importance in navigational reckoning.
38. CWOOVC_210722_263.JPG: Making the City Beautiful
39. CWOOVC_210722_271.JPG: Patronage, Politics and the Price of Improvement
40. CWOOVC_210722_274.JPG: Into the 21st Century
41. CWOOVC_210722_287.JPG: The Continents: The Marriage of Sculpture & Architecture
42. CWOOVC_210722_291.JPG: An Introduction to Chesterwood's Collection Gallery
43. CWOOVC_210722_419.JPG: The Continents Embodied
44. CWOOVC_210722_464.JPG: Pageantry and Politics
45. CWOOVC_210722_473.JPG: Abraham Lincoln, 1915 Plaster maquette Previously unknown until donated to Chesterwood, this maquette shows the sculptor's concept for the seat without the draped flag that appears in the final version. The position of the hands and feet are as they will be in the working model.
46. CWOOVC_210722_479.JPG: Assisting Hands
47. CWOOVC_210722_484.JPG: Pointing machine, 1928 This enlarging pointing machine was used in transfer measurements from plaster models to marble blocks. French employed a series of "pointing men" who came to his studio to point up the larger clay models from the plaster working models.
48. CWOOVC_210722_496.JPG: The Architect's Vision
49. CWOOVC_210722_499.JPG: Urn maquette, c 1913 This diminutive ormolu urn was a gift to French's daughter Margaret from Henry Bacon. It is a reduction of the pair of the tripod-based urns that flank the stairs at the entrance of the Lincoln Memorial.
50. CWOOVC_210722_517.JPG: Life mask of Abraham Lincoln, 1911 After Leonard Volk This replica of Lincoln's life mask was used by French in the course of his research for his Lincoln statues. Volk cast the sitter's beardless face in 1860, and it has been used for virtually all later portraits of Lincoln.
51. CWOOVC_210722_520.JPG: The Lincoln Memorial
52. CWOOVC_210722_537.JPG: The Creation of the Lincoln Statue
53. CWOOVC_210722_543.JPG: Life cast of Lincoln's right hand, after 1860
54. CWOOVC_210722_545.JPG: Life cast of male right hand, c 1916
55. CWOOVC_210722_574.JPG: Daniel Chester French: Sculpting an American Vision
56. CWOOVC_210722_578.JPG: Abraham Lincoln, 1911 Statue of Abraham Lincoln (Lincoln, Nebraska) From Wikipedia, the free encyclopedia Abraham Lincoln – also known as The Gettysburg Lincoln – is a bronze statue of President Abraham Lincoln by Daniel Chester French, located on the grounds of the Nebraska State Capitol. The monument was commissioned by the Abraham Lincoln Memorial Association of Lincoln, Nebraska, and produced between 1909 and its unveiling in 1912. The statue was cast in bronze by Jno. Williams, Inc. of New York. Its architectural setting was created by French's longtime collaborator Henry Bacon. The 8.67 ft (2.64 m) statue stands upon a 6 ft (1.83 m) granite base and before a 20 ft (6.1 m) granite stele, on which is inscribed the text of Lincoln's Gettysburg Address. French later used much of his research for this statue – consisting largely of studying Mathew Brady's photographs of Lincoln and obtaining a copy of Leonard Volk's plaster life cast of the president – in the creation of his most famous work: the Lincoln statue (1920) at the Lincoln Memorial in Washington, D.C.
Wikipedia Description: Chesterwood (Massachusetts)
From Wikipedia, the free encyclopedia

Chesterwood was the summer estate and studio of American sculptor Daniel Chester French (1850–1931) located at 4 Williamsville Road in Stockbridge, Massachusetts. Most of French's originally 150-acre (61 ha) estate is now owned by the National Trust for Historic Preservation, which operates the property as a museum and sculpture garden. The property was designated a National Historic Landmark in 1965 in recognition of French's importance in American sculpture.

History

In 1896 Daniel Chester French purchased the 150-acre (61 ha) farm of Marshall Warner in Stockbridge, Massachusetts, to house a summer estate and studio space. At this time, French had already achieved national notice, primarily for his bronze The Minute Man statue, commissioned in 1873 and placed at the Old North Bridge in Concord, Massachusetts, in 1875. Following his purchase of the farm, French had a studio built on the property, to a design by his friend Henry Bacon, near the c. 1820 farmhouse. This space would become French's primary studio space for the rest of his working career, even though he divided his time between Stockbridge and New York City.

In 1901 French hired Bacon to design a replacement for the farmhouse, the Georgian Revival structure now standing on the estate. His fame as a sculptor was cemented when he was chosen to provide the massive statue of Abraham Lincoln which stands in the Lincoln Memorial in Washington, DC. Although the final carving of this massive work was not done at Chesterwood, French did his preliminary design work here, which included the construction of a 6-foot (1.8 m) scale model.

After French's death in 1931, Chesterwood passed to his daughter, Margarget French Cresson. She formed the Daniel Chester French Foundation to manage 79 acres (32 ha) of the property, including the main house and studio, while retaining the rest of the property for herself. Following a brief period of ownership by The Trustees of Reservations, the 79-acre parcel was acquired by the National Trust for Historic Preservation. The National Trust was bequested another 50 acres (20 ha) of the estate by Cresson.

It was declared a National Historic Landmark in 1965, and listed on the National Register of Historic Places the following year. It is open for tours from late May through mid-October; admission is charged.
Bigger photos? To save server space, the full-sized versions of these images have either not been loaded to the server or have been removed from the server. (Only some pages are loaded with full-sized images and those usually get removed after three months.) I still have them though. If you want me to email them to you, please send an email to guthrie.bruce@gmail.com and I can email them to you, or, depending on the number of images, just repost the page again will the full-sized images.
Connection Not Secure messages? Those warnings you get from your browser about this site not having secure connections worry some people. This means this site does not have SSL installed (the link is http:, not https:). That's bad if you're entering credit card numbers, passwords, or other personal information. But this site doesn't collect any personal information so SSL is not necessary. Life's good!
Photo Contact: [Email Bruce Guthrie].