Imes Tudor Place

Transcript

TUDOR PLACE Times SPRING 2012 2 The Rambler Returns to Tudor Placce 3 Letter from the Executive Director 4 The Peters’ Pianoforte Brought to Life 7 Calendar of Events Secrets Revealed Before A New Temple Portico Roof Was Installed W hile the house’s main entrance anchors the north side, the south facade’s Temple Portico is possibly its most memorable feature. This spring, a project was undertaken to address a nagging question and a vexing problem of longstanding. What type of roof material was first used on the Temple Portico dome? Wood or metal? How do we resolve a moisture infiltration problem into the southeast bedroom wall? After many attempts to fix the problem, it was determined that a replacement of the tin roof and metal flashing was in order. Architect William Thornton made the Temple Portico the centerpiece of Tudor Place but left construction details to be worked out by the craftsmen who built it. Because the craftsmen left no records, this conservation project was a chance to see how they made the sketched dome a physical reality. Any project removing historic fabric requires detailed notes on all that came before — materials, design and construction — for future reference and interpretation. Measured drawings were made and photographs taken of the old tin roof ’s seams and other construction particulars. As the project progressed, material samples were gathered for the architectural fragment collection. When the metal roof was 1 removed in February by Wagner Roofing, the wood sheathing below appeared relatively intact and displayed clear evidence of nail patterns from a still earlier roof. Through the patterns of nail holes, the roof ’s story emerged. The nail pattern creates eight-inch-high rectangles of widths between six and 12 inches; half the size of the metal pans removed in 2012. The exposed wood sheathing was found to have some wood that crumbled at the touch while other sections were sound. Most exciting from a historical standpoint, almost all of the wood appeared to date to 1814-1816, the construction period of the house’s center block. There is a high level of craftsmanship employed in the dome’s construction, including hand-cut, curved wood sheathing and massive rafters that taper in depth as they near the dome’s top. When it came to further narrowing dates, nails provided the best clues. Oneinch machine-cut nails were used to secure the tin plates. Three-inch machinecut nails were used to attach later replacement sheathing near the top of the dome. The most exciting discovery was the abundance of double-struck nails which are of a style employed for approximately three decades starting in the 1790s. This period marks the transition from fully hand-wrought nails made by blacksmiths to the introduction of completely factorymade nails, in the first half of the 19th century. This match of materials and craftsmanship to the main roof of the house confirmed that the existing Temple Portico roof structure was constructed concurrently with the center block of the main house circa 1814-1816. The machine cut nails used for the second roof suggested a date of mid-late 19th century. TUDOR PLACE TIMES • SPRING 2012 Examination of late 19th-century photographs and the years of the Civil War date the second roof to 1865-1873. Struck by the richness of this and other new information in the roof ’s lower layers, the project was stopped to enable additional investigation and documentation. Capitals on the north Orlando façade, front door Ridout V, renowned architectural historian and head of the Maryland Historical Trust’s Office of Research, Survey & Registration, confirmed that it was circa 1814 building fabric. Until this point, staff and researchers had been unable to say for sure what material covered the dome during the earliest period. Ridout’s inspection of the tightly spaced nail pattern (black holes) indicated that metal was the material of choice in 1814. A crew from Direct Dimensions, a laser-scanning firm, documented the roof with state-of-the-art laser cameras. The data they gathered will be used for historic documentation and future research. It will help with identifying and sorting out the nail hole pattern associated with the circa 1814 roof. Most exciting of all, it enables the creation of three-dimensional virtual models to use in future interpretation on the evolution of the house. Once the roof was scanned, repairs to the wood sheathing began. Between the original wood sheathing and the new metal roof Wagner Roofing installed 1/4 inch-thick plywood to provide a solid surface for the new metal roof. The metal crew installed new lead-coated copper pans on the dome and lined the water table and gutter. The height of each course of metal matches the tin roof just removed. This preserves the second roof ’s visual character and the new metal will fade to a weathered gray. ELIZABETH PEEBLES, DIRECTOR OF PRESERVATION The Rambler Returns to Tudor Place D ue to the generosity of an anonymous donor, The Rambler, a book originally owned by Thomas Peter, was secured at auction. The Rambler began as a series of essays that first appeared on two-penny sheets Tuesdays and Saturdays on the streets of London from 1750-1752. Eventually these essays were published in four volumes. This printing proved so popular that the series was reprinted nine times! The volume purchased is No. IV of the seventh edition, published in 1767.1 It includes essays Number 160 of September 28, 1751 through Number 208 of March 14, 1752 and an index. The author, Samuel Johnson (1709-1784), wrote anonymously and described himself as a great procrastinator or rambler, a trait he acknowledged was unattractive and at odds with his profession as an author whose mission he believed was to improve mankind and the world around him. This eternal conflict within him was the inspiration for these essays. The format of the essay was popular at the time and echoes the success of a previous series published by Joseph Addison (1672-1719) and Richard Steele (16721729), the Tatler (1709-1711) and The Spectator (1711-1781). Johnson’s essays, however, are of a more serious note. He wrote between 1750-1798, when the neoclassic style still reigned but was beginning to be undermined by romanticism. Johnson’s biography in 1791 by his friend and travelling companion James Boswell (1740-1795), Life of Samuel Johnson, secured him the title of “Dr. John- 2 son.” His most famous works include The Rambler (1750-1752), Dictionary of the English Language (1755), The Plays of William Shakespeare (1765), A Journey to the Western Islands of Scotland (1775), and Lives of the Poets (17791781). In between these classics he wrote political tracts, essays, reviews, poetry, a play, and a novella. Is it any wonder that his lifespan is remembered as The Age of Johnson? And despite his prodigious output Johnson founded a social group that met weekly to exchange ideas. “The Club”, founded in 1763, included such luminaries as Edmund Burke, Sir Joshua Reynolds, David Garrick, Oliver Goldsmith, and eventually Adam Smith and Edward Gibbon. This volume bears the signature of Thomas Peter inscribed on the title page. How or why it left the protection of the Peter family has not been and may never be determined. The book does hold one clue, however, as to its whereabouts over the years. The inside front cover sports a bookplate bearing the name William J. Terkenton. A casual perusal of the Washington Telephone Directory Winter Issue 1930-1931 reveals that a William J. Terkenton lived nearby in Georgetown at 1513 33 Street N.W.2 WENDY KAIL, ARCHIVIST 1. [Samuel Johnson]. The Rambler. In Four Volumes. Volume IV. London: A. Millar, W. Strahan, J. Rivington, J. Newbery, R. Baldwin, S. Crowder, and Co.; T. Caslon, B. Law, M. Richardson, and B. Collins, 1767. 2. Tudor Place Archive, Papers of Armistead Peter, Jr., MS 14, Box 175. Washington Telephone Directory Winter Issue 1930-1931. Washington, D.C.: The Chesapeake & Potomac Telephone Company, 1930, page 405. TUDOR PLACE TIMES • SPRING 2012 From the Executive Director Dear Member: Save the Date: May 9, 1902 Among the holdings in the Tudor Place Archive are the diaries of Armistead Peter, Jr. These volumes illuminate the everyday life of the third owner and the history of his home. They serve to illustrate that despite the passage of time common threads connect us all, and that as the years go by oftentimes the smallest events loom largest. This excerpt from Armistead Peter, Jr.’s, diary highlights a happy moment in the life of the Peter family. It includes Armistead Peter, Jr., his wife Anna Peter [Nannie], his grandmother Britannia Peter Kennon, his brother George Freeland, his sister Agnes Peter, and his five year old son Armistead Peter 3rd [the boy]. Armistead Peter, Jr. did not become the owner of Tudor Place until 1911; at the time of this entry, he, his wife, and son lived on N Street, but were invited to lunch on May 9 at Tudor Place: Spent the day at Tudor. –Nannie and the boy came over to lunch and I dont (sic) know which was the most delighted –he or Grandmother. G[eorge] F[reeland] and Agnes were also there. Grandmother sat at the head of the table, of course, and placed him at the foot–the guest of honor!– At his plate was a glass with daily rose buds, which she picked herself from the bushes planted by her Mother, on either side of the temple. Later, Agnes and I took him up to her room to see the Potomac, and then we had a romp. A red letter day for him for it was the first time that he ever sat at the table. Tudor Place Archive Papers of Armistead Peter, Jr. Diary entry May 9, 1902 WENDY KAIL, ARCHIVIST The future of Tudor Place as a public museum has taken a big step forward. In the last newsletter I wrote of the need for a new heating-and-cooling system and electrical upgrades in the main house. These needs, along with the very poor storage conditions for the collections, have been the driving forces behind the Master Preservation Plan. Many review bodies — the Advisory Neighborhood Commission, Old Georgetown Board, Commission of Fine Arts, Historic Preservation Office, and National Park Service — must approve the plan. I am pleased to report that all have given a green light to move to the development of the Concept Design. It is a huge project for this small museum but one which must be undertaken if we are to survive. Please stay tuned as our work progresses! In April, a concert was held in the Saloon. Kenneth Slowik played period pieces on the 1804 John Broadwood & Son square piano that was tuned for the occasion. Jennifer Waters, a Domingo-Cafritz Young Artist graduate, sang period pieces to the piano’s accompaniment. In addition, Archivist Wendy Kail displayed period music from our collection. It was a glorious evening for all who attended. You’ll read more about the piano in the article by Curator Erin Kuykendall. Spring came early and with great brilliance to the Tudor Place gardens. The newly restored Box Knot Garden is thriving and the roses are already blooming. I hope you’ll stop by to see this wonderful restoration managed by Suzanne Bouchard, Director of Gardens and Grounds. Our 20th Spring Garden Party is almost here and there is much anticipation. It will be a grand occasion, led by co-chairs Marcia Mayo and Lucy Rhame. Please join us for the gala evening at which we will honor Mr. Austin Kiplinger! Sincerely, Executive Director A TRIBUTE TO THOSE LOST Witin the last six months, Tudor Place lost three friends and valued volunteers. IRENE NAVARRO With a quiet diligence, Irene researched, wrote about, and advocated for the museum’s extraordinary jewelry collection since February 1993. A jewelry specialist, she spent countless hours examining archival records for the provenance of each piece, studying decorative arts sources to understand it within the field of antique jewelry. CHERYL BRYCE From November 1999 to 2008, Cheryl Brice dedicated herself as a knowledgeable docent, leading tours several days per week. She had a strong interest in American history and spent many weekends visiting historic sites and reading. PATRICIA (KAY ) DAVIES Kay was an enthusiastic and dedicated docent from September 2003 – 2008. Keenly interested in American history and an experienced docent, Kay engrossed visitors on tours of Tudor Place. 3 TUDOR PLACE TIMES • SPRING 2012 The Peter’s Pianoforte, A rare John Broadwood & Son 6-octave piano brought to life I Figure 2 Figure 1 oval cartouche in the center of the satinwood nameboard—guaranteed the highest standards in sound quality, design, and fashion. Since 1794, John Broadwood & Son had labeled their instruments in this way, thus proudly proclaiming their royal patronage for all who sat before their ivory and ebony keys (Fig. 2). Other internal signatures, including the initials “JB” written in pencil on key 61, the instruments serial number “8348” inked on the treble end of the action’s rail, and the punched letter “H” on the treble action (Fig. 3, 4, 5) are testaments to the numerous craftsmen, who contributed to the assembly of the instruments produced by Broadwood. John Broadwood (1732–1812) began to work with the Swiss émigré harpsichord maker Burkat Shudi in 1761. After marrying Shudi’s youngest daughter, Broadwood opened his own shop on Great Pulteney Street in 1771, and inherited Shudi’s business once the latter retired from active work. According to the historian Martha Novak Clinkscale, Broadwood’s earliest known square piano dates from 1774.3 Broadwood’s eldest son, James Shudi Broadwood, joined the firm in 1794, and the company changed its name to John Broadwood & Son. With the business acumen of James and the technical expertise of his father, the company experienced tremendous growth at the turn of the century, experimenting with new models and new arrangements.4 When the piano arrived in n 1804, a clerk from the well-established musical instrument makers John Broadwood & Son added another customer’s particulars into his heavy, leather-bound folio. It was the clerk’s responsibility to track all orders and deliveries leaving the piano manufactory’s London warehouse and showroom located on 33 Great Pulteney Street.1 By the turn of the century, the company was one of the most prolific in London, producing about 400 square pianos and 100 grand pianos annually for clients in England and around the world.2 This unique square piano, serial number 8348, was eventually destined to reach an American client, Major George Peter (1779–1861), who resided in Georgetown, then within the newly established capital city of Washington D.C. (Fig. 1). With the lid locked and the oak keybed and single-throw action safely secured for shipment across the Atlantic, the square piano appeared similar to other instruments leaving the factory; darkwood stringing accentuated satinwood panels that stretched horizontally across the 50.2 in. x 26 in. (127.4 cm x 66.1 cm) case. Imported mahogany, rosewood, and satinwood veneered the surface of the mahogany frame, which rested delicately on four tapered satinwood legs supported by iron casters. The company’s name—positioned prominently within an inked and inlayed 4 America and the proud new owner lifted the hinged mahogany lid, a symmetrical composition of crisp ivory natural and ebony accidental or sharp keys stretched out in seamless perfection along the keyboard, beginning with the first note DD and finishing 73 notes later with d4. This arrangement distinguishes the piano from all other surviving Broadwood square pianos made in the early 19th-century; it is the only known example of its kind ever made. Most pianos—both square and grand—made by the factory in the early 19th-century featured the standard 5½octave range, and thus were slightly shorter in their length. Furthermore, the key arrangement was also one-of-a-kind; the first note, DD, replaced FF, and in the treble section, the last note was d4. According to Michael Cole, author of Broadwood Square Pianos and The Pianoforte in the Classical Era, this piano is completely unique, a “bespoke piano with a keyboard compass without precedent.”5 To accommodate the unusual request of the client, John Broadwood & Son craftsmen intentionally altered the Figure 3 Figure 4 TUDOR PLACE TIMES • SPRING 2012 Figure 5 arrangement of two essential mechanical elements—the curving wood bridge and the metal strings. It was impossible for Broadwood to laterally shift these elements to a new location on the spruce soundboard. Instead, the lengths of the strings, the arrangement and location of their hitch pins and tuning pins, the shape and position of the bridge, the shape of the keybed, and numerous other internal parts were all intentionally modified to accommodate the additional half-octave. What prompted a client to specifically request this instrument? In the 18th and early 19th-centuries composers intentionally wrote music for 5½-octave arrangements; thus, the compass did not provide the pianist with an acoustical advantage over other performers. Family tradition maintains that Major George Peter purchased the piano for the educational and social advantage of his family, however the pristine condition of the keys and nameboard suggest the piano was played very infrequently.6 It is possible Major George Peter’s first wife played the Broadwood & Son piano at their elegant townhouse in Georgetown since the couple married in 1809. That same year, Major George Peter purchased land in Montgomery County on which he built an impressive summer estate called Montanverde, completed ca. 1816. Montanverde served as Major George Peter’s residence until his death in 1861, and his grandson Armistead Peter, Jr., remembered the piano originally at Montanverde.7 Peter’s second marriage to Agnes Buchanan Freeland on July 27, 1815, bore the couple two daughters, Ann (1818–26) and Agnes (1822–26). Both of these young girls died before reaching the age of 10, and thus had little time to enjoy the piano. Major George Peter remarried for a third time in June 1825 to Sarah Norwood Freeland; three of his daughters— Sarah Agnes Peter (1827–65), Margaret Dick Peter (1835–84), and Elizabeth Peter (1838–1914)—lived into adulthood. By the time these young women reached their teens, the instrument was already nearly half a century old. Stylistically, the thin tapered lines and contrasting inlays of the case had fallen out of fashion, especially compared to other square and grand pianos by Broadwood & Sons in the 1840s and 50s. By the early 20th century, the piano had fallen silent, and the once-expensive and fashionable instrument now resided in an outbuilding on the former rural estate of Dr. Armistead Peter (1840– 1902), one of Major George Peter’s sons, in Bethesda, Maryland. A leading physician in Georgetown during the mid-19th century, Dr. Peter built a brick mansion, known as Winona, in 1873 although he and his children continued to live at Tudor Place until 1881. After his death in 1902, the Maryland farm and the contents of his Georgetown residence were divided amongst his five children at which time Dr. Peter’s third son, Beverly Kennon Peter (1872–1922), inherited the piano.8 Beverly Kennon’s tragic death transferred ownership of the piano to his older brother, Armistead Peter, Jr. (1870–1960) and on April 25, 1925 a trunk carried the damaged piano from Winona to Tudor Place. In his diary that day, Armistead Peter, Jr. bemoaned the condition of the instrument, noting the piano was “badly damaged” and pledged to “put them in order again someday.” 9 His son and daughter-in-law, Armistead Peter 3rd and Caroline Ogden-Jones, fulfilled this promise five years later. The Peters hired a favorite local cabinetmaker, Maximilian F. Rosinski (1869– 1962), to repair the damaged case. As a teenager, Rosinski emigrated from Danzig in 1882 and later established a successful furniture making and retail business on 1216 K Street.10 In his privately published monograph Tudor Place, Armistead Peter 3rd described Rosinski’s repairs to the piano, noting “the reason you see the diagonal inlay underneath the top [i.e. lock board], because the top had warped to such an extent that [Rosinski] had to 5 BOARD OF TRUSTEES PRESIDENTS EMERITI: Mr. S. Allen Chambers, Jr. Mrs. Ellen MacNeille Charles Mr. John D. Firestone Mr. Austin H. Kiplinger Mr. Phillips S. Peter PRESIDENT: Mr. Timothy B. Matz VICE PRESIDENT: Mr. Geoffrey B. Baker TREASURER: Mr. J. Bruce Whelihan SECRETARY: Ms. Marcia V. Mayo TRUSTEES: Mr. Thomas E. Crocker Mr. Daniel V. Dowd Mr. David E. Dunn Ms. Pamela Jenkinson Mrs. Beverly Jost Mrs. Ginger Laytham Ms. Bobbie Greene McCarthy Ms. Betty C. Monkman Mrs. Elizabeth Powell Mrs. Lucy S. Rhame Mr. C. Jackson Ritchie Mrs. Lynn Springer Roberts Mrs. Jean Hall Rutherfoord Mrs. Margaret Jones Steuart Mr. D. Anderson Williams HONORARY TRUSTEES: Mr. Max N. Berry, Esq. Ms. Janis Buchanan Mrs. Jane Lipton Cafritz Mrs. Elizabeth E. Cantacuzene Mrs. Robert H. Charles Mrs. Diana Clagett Mrs. Elizabeth W. Edgeworth Mrs. Elinor K. Farquhar Mrs. Donna Gerstenfeld The Hon. C. Boyden Gray Mr. John Osborne Hedden Mrs. Barbara Langhorne Mrs. Frederick H. Prince Mr. Roger Sant Mr. Charles H. Seilheimer, Jr Mr. Albert H. Small Mr. W. Reid Thompson Mr. William T. Torgerson TUDOR PLACE TIMES • SPRING 2012 Figure 6 gradually bring it back to a flat condition and then put those diagonals in to hold it.” 11 Other repairs to the case included the installation of a new base, refinishing the soundboard, replaced missing veneers, and reattaching the soundboard rails with modern hardware. Significant alterations and repairs were also made to the musical components.12 The repairman added a stifle board below the soundboard, a common technique employed by technicians throughout the twentieth century to regulate an instrument’s sound. Wide 20th-century tuning pins with machine-drilled holes secure two different types of strings: the notes DD to D are strung with bronze closewrapped around steel, while D# to d4 are steel (Fig. 6). According to Mark Adler, these 20th-century strings, particularly their terminals at the hitch pins, are representative of Germanic traditions. Overall, the repairs to the instrument are consistent with other early 20th-century modifications made to antique instruments. On August 17, 1929, Rosinski received a $1,024 check, the majority of which accounted for his restoration of the piano.13 It is possible Rosinski contracted the mechanical repairs described above to a craftsman or company who specialized in piano repairs such as E. F. Droop & Company, a warehouse and retail establishment on G Street, NW.14 As a result of the cabinetmaker’s careful attention, nearly all of the original elements of the piano survived, and the piano was once again able to be enjoyed by the Peter family and the guests. This square piano is truly unique for its unusual 6-octave DD to d4 compass among all other documented pianos made in the early 19th century. It is a rare historic artifact in excellent condition with many original features including the oneof-a-kind action, the bridge and soundboard, each individually numbered goatskin hinge and corresponding mahogany hammer. All the brass underdampers—an arrangement Broadwood abandoned after 1806—every key lever, and most of the original exterior woodwork and hardware on the case survive. These details capture the ingenuity of London’s largest and most successful instruments maker John Broadwood and Sons. The piano’s transatlantic journey, from Broadwood’s elegant showroom on Great Pulteney Street via a ship to the port of Georgetown, Maryland thousands of miles across the ocean, speaks to the economic networks that connected England to America after the Revolution. For example, newspaper advertisements from the early 1800s reveal the popularity and prestige Georgetown consumers bestowed on English-made pianos. Musical performances in intimate familial spaces gave ambitious young ladies, like the Peter family women, a strong, clear voice in the emerging political culture of the Federal City. ERIN KUYKENDALL, CURATOR OF COLLECTIONS 1. Archival records from the company survive at the Surrey Historical Center, in Woking, England. Documentation pertaining to pianos made prior to 1817 is difficult to ascertain, however both the porters books mentioned above (dating 1798 – 1958) and a series of customers’ ledgers (dating 1794–1972) contain information about the company’s merchandies. Miss Ann Valentine, a piano dealer, purchased this square piano, serial number 8348, on behalf of a Mr. Orton, surgeon, of Welford, Northamptonshire on Monday, November 19, 1804. Courtesy Surrey History Centre, Woking, England, ref. 2185/JB/42/3a. How the piano traveled from Mr. Orton to Georgetown remains a mystery. 2. Laurence Lisbin, “Keyboard Instruments” Metropolitan Museum of Art Bulletin (Summer 1989), 40. See also Michael Cole, Broadwood Square Pianos (2005), 69. According to Cole, in 1796, Broadwood & Son sold 160 grand pianos total, a “prodigious increase compared to the two dozen harpsichords per annum ten years earlier.” (69) 3. Martha Novak Clinkscale, Makers of the Piano 6 1700 – 1820 (Oxford, 1993), 30. Clinkscale notes “the first six octave grand (CC-c4) was no. 607, which appeared in 1794.” 4 Michael Cole, “Broadwood & Son, 1794–1810” in Broadwood Square Pianos (Cheltenham, England: Tatchely Books, 2005), p. 69. 5. Email to Mark Adler from Michael Cole, March 3, 2012. Several other English and American square piano authorities confirmed this rarity, including David Hackett, John Watson, Conservator and Curator of Instruments at Colonial Williamsburg, and Kenneth Slowik, Artistic Director and Curator of Musical Instruments, Smithsonian Chamber Music Society, at the Smithsonian Museum of American History. 6. Armistead Peter 3rd, Tudor Place (Washington, D.C.: Privately published, 1969), 34. According to Mark Adler, the instrument has probably been played approximately 50 hours since its creation. The ivory keys show no signs of the expected wear patterns (i.e. dishing from a repetitive touch). 7. Armistead Peter, Jr. Diary. April 25, 1925. Ms. 14, Box 73, F. 11. According to the entry, “The little spinet [i.e. square piano] came from “Montaverd” [sic] and was here when I was a child. In 1880, it was taken to the farm and eventually fell to Kennon in the division. It is dated 1804. I am glad that it is at Tudor once again.” 8. Estate Inventory and Division of Dr. Armistead Peter, Jr.’s residence at 3044 O Street, ca. 1902, p. 1. Courtesy, Tudor Place Historic House & Garden Archives, Ms. 14, Box 69, F. 24. Typed list entitled “Furniture from 3044” notes Group 1, Lot 4 “Piano from Robt. Dicks” as assigned to Beverly Kennon. 9. Armistead Peter, Jr. Diary. April 25, 1925. Ms. 14, Box 73, F. 11. 10. See Oral History recorded with Melinda Linder, Curator, Wendy Kail, Archivist, and two Rosinski grandchildren, Tudor Place Historic House & Garden Archives. See also obituary “Max F. Rosinski, 93, D.C. Cabinetmaker” Star April 15, 1962, and “Local Man to Vote for First Time In Coming Election at Age of 88,” The Brooklyn News, September 12, 1956. 11. Armistead Peter 3rd, Tudor Place (Washington, D.C.: Privately published, 1969), 34. 12. Armistead Peter 3rd included the following musing in Tudor Place, “The interior, of course, was also in very bad condition, and I sent that over to, I think, the Knabe factory in Baltimore, for reconditioning and restringing.” Armistead Peter 3rd, Tudor Place, 34. No documentation has been found to support the attribution of restoration or repairs to the William Knabe & Co. factory. Furthermore, by 1911 Ernest J. Knabe, Jr. and his brother William Knabe were manufacturing upright and grand pianos from a new Ohio manufactory, and soon declared bankruptcy in 1916. The company’s older Baltimore factory closed in 1930. 13. Check No. 2537 from Armistead Peter 3rd to M. F. Rosinski for the amount of $1,024.00. Dated August 17, 1929. Cashed August 29, 1929 by Riggs National Bank, Washington, D.C. Courtesy, Tudor Place Historic House & Garden Archives, American Securities & Trust, Box 2. 14. There are several invoices, dated ca. 1925 to 1932, from E. F. Droop written to Armistead Peter 3rd or his wife Caroline for tuning sessions, and this large company would have been able to execute the repairs to the piano in 1929. For example, on December 29, 1928 Droop charged Armistead Peter 3rd $3.50 for work to tune the piano three days prior. Courtesy, Tudor Place Historic House & Garden Archive, Ms. 21, Bills and Receipts 1928 – 29, Folder Miscellaneous 1928. TUDOR PLACE TIMES • SPRING 2012 Education Programs Advanced reservations and payment required for all programs. Register at www.tudorplace.org. A Fast Flowing Stream: Rock Creek and its Mills in the late 18th and early 19th Centuries THURSDAY, APRIL 26, 7:00 P.M. Walking Tour of the Mills of Rock Creek SATURDAY, APRIL 28, 9:30 A.M. Journalist and author Steve Dryden reveals a Rock Creek that is far different from the Park we see today. From its productive mills to its botanical specimens, the fertile land and pleasurable vistas were much a part of the life of early Georgetown and Washington. Politics (2001) and numerous other book and articles. His talk will explore the sources and significance of Tudor Place’s “Temple Portico” in the context of Federal period architecture. Reception follows lecture LANDMARK SOCIETY MEMBER: $10 TUDOR PLACE MEMBER: $15 NONMEMBER: $20 Fairy Tea and Treats SATURDAY, JUNE 2, 1:30 P.M.-3:30 P.M. FOR LECTURE AND WALKING TOUR: LANDMARK SOCIETY MEMBER: FREE TUDOR PLACE MEMBER: $5 PER EVENT NONMEMBER: $10 PER EVENT Bring your favorite Tinkerbell, as children dress up in magical fairy costumes complete with tutus, wands, and wings. Dressed for tea, costumed interpreters explain the favored drink of early America. After the tea, children tour Tudor Place’s enchanting fairy gardens and make a special period craft to take home. Tudor Place and the Civil War Home Front House and Walking Tours MEMBER CHILDREN: $20 NONMEMBER CHILDREN: $25 ADULTS: $10 SECOND SATURDAYS, MAY – NOVEMBER HOUSE TOUR: 10:30 A.M.-11:30 A.M. WALKING TOUR: 1:00 P.M.-2:00 P.M. LOCATION: BOTH TOURS MEET AT THE VISITOR CENTER With the outbreak of war in 1861, Tudor Place fell on uncertain times. Learn in a special house tour about how owner Britannia Kennon moved into the old stable loft with her daughter and took in Union boarders to save the family home. After breaking for lunch, your guide will take you into historic Georgetown to see in person relics of the war’s turmoil, including a Union hospital, the gravesite of Confederate spies, and a onetime community of African American freedmen and former slaves. Developed to commemorate the 150th anniversary of the Civil War. MEMBERS: $8; NONMEMBERS: $10 (HOUSE OR WALKING TOUR ONLY ) MEMBERS: $12; NONMEMBERS: $15 (HOUSE AND WALKING TOUR) The Tudor Place Temple Portico: A Re-evaluation WEDNESDAY, MAY 2, 7:00 P.M. William C. Allen is currently the Architect of the Capitol’s Historian Emeritus. For nearly three decades he was the agency’s architectural historian and preservation officer. Allen is also the author of History of the U.S. Capitol: A Chronicle of Design, Construction and A Golden Father’s Day SATURDAY, JUNE 16, 10:30 A.M.-12:00 P.M. Celebrate Father’s Day at Tudor Place, a home associated with our country’s “founding father.” Enjoy an interactive tour through the historic mansion to uncover treasures from the first President and learn about the history of gilding – the application of gold leaf to mirrors, picture frames, and other decorative objects. After the tour, work together to make a special gift to take home a gold leaf frame! Bring your own cameras to take pictures with Dad in the gardens. Celebrate Independence Day — A Family Tea SUNDAY, JULY 1, 1:00P.M.-3:00 P.M. Where better to celebrate the nation’s birthday than at the home of early patriots? Enjoy hands-on activities, a delicious tea with sweets, and an interactive tour. Children dress up in period costumes, make a special patriotic craft, and take tea from “Martha Washington” herself. After the tea, families tour the historic mansion to learn about our first President. MEMBER CHILDREN: $20 NONMEMBER CHILDREN: $25 ADULTS: $10 Celebrate Independence Day — A Family Ice Cream Social TUESDAY, JULY 3, 1:00 P.M.-3:00 P.M. Enjoy a special tour of the mansion highlighting the collection’s many George and Martha Washington artifacts. Follow the tour with one of George Washington’s favorite treats, ice cream! Create ice cream sundaes in the garden and enjoy children’s games and crafts. All participants will receive copies of George Washington’s touching 1775 letter to his wife from the Tudor Place collection, one of only three such letters known to exist. MEMBER CHILDREN: $5 NONMEMBER CHILDREN: $10 ADULTS: $5 FREE FOR MILITARY FAMILIES MEMBER CHILDREN: $7 NONMEMBER CHILDREN: $10 ADULTS: $3 GEORGETOWN SUMMER HISTORY WEEKS AT TUDOR PLACE AND DUMBARTON HOUSE June (dates TBA) 9:00 a.m.-12:00 p.m. (half day camp) Ages 4-10 Dumbarton House August (dates TBA) 9:00 a.m.-12:00 p.m. (half day camp) Ages 4-10 Tudor Place Children learn by feeling, tasting, touching and seeing history every day at Georgetown’s Summer History Weeks. A variety of indoor and outdoor activities carefully selected by our education staff bring to life 175 years of American history and teach about the natural environment. Participants will cook and sample snacks and drinks of times past, try on period clothing, explore the historic garden, plant their own gardens, play historic games, paint watercolor landscapes, go on an archaeological expedition, and more. The weekends with an early American “parlor party” they will host for parents and friends! FEE: HALF DAY $175 MEMBERS, $190 NONMEMBERS; FULL DAY $300 MEMBERS, $325 NONMEMBERS; $10 DISCOUNT IF REGISTERING FOR 2 WEEKS; $10 DISCOUNT IF REGISTERING MORE THAN 1 CHILD; $10 IF REGISTERING BEFORE MARCH 1, 2012 SNACK PROVIDED. BEFORE AND AFTER CARE AVAILABLE. 7 NONPROFIT ORG US POSTAGE PAID SPRING 2012 SUBURBAN, MD PERMIT #1 Tudor Place Foundation, Inc. 1644 31st Street, NW Washington, DC 20007 202.965.0400 www.tudorplace.org JOIN TUDOR PLACE and Support Our National Heritage! When you join Tudor Place as a member, you help preserve this National Historic Landmark on 5.5 acres in the heart of Georgetown. Won’t you become a member today? INDIVIDUAL MEMBERSHIP ($45) includes a subscription to Tudor Place Times, a 10% discount in the Museum Shop, discounts on educational programs, invitations to exhibition openings, complimentary admission to Tudor Nights, and one annual pass to the house and garden. DUAL/FAMILY MEMBERSHIP ($80) includes all of the above plus two annual passes to the house and garden and four complimentary admissions to the Spooktacular or the Holiday Open House. Name________________________________________________________________________________________________ Street Address _________________________________________________________________________________________ City _______________________________________________________________ State _________ Zip Code____________ Individual membership ($45) _________ Dual/family membership ($80) _________ Boxwood Circle ($100) _________ Rose Circle ($250) _________ For information on the Landmark Society, please visit the website www.tudorplace.org TOTAL: _________ c Enclosed is my check. c Please charge my credit card: c Visa c MasterCard Card No.________________________________Exp. Date _______ Mail to: Tudor Place Historic House and Garden 1644 31st Street, N.W. Washington, D.C. 20007 Attn: Membership