Featured post

Visit Hill-Stead!

Daily Tours

  • The 1901 Pope Riddle house and its period rooms are open for guided tours only.
  • Guided tours of the Pope Riddle House are offered Wednesday through Sunday, every hour on the hour from 10 am to 4 pm with the last tour at 3 pm;  closed major holidays (Easter Sunday, Fourth of July, Labor Day, Thanksgiving Day, and Christmas Day).
  • Tickets may be purchased at the museum on a first-come, first-serve basis; no more than 16 people per tour.
  • Hill-Stead also offers Exclusive Private Tours on select Saturdays.
  • Hill-Stead’s grounds are open to the public daily from 7:30 am to 5:30 pm. Dogs are welcome at Hill-Stead. Please note: They must wear a leash and stay under their owner’s control at all times.
  • To keep our Museum accessible to all, Hill-Stead Museum offers  AAA, Blue Star Museums, Museums for All, and Connecticut Art Trail Benefits.
  • Museum members are always free Not a member? Join now.
  • Hill-Stead welcomes groups of 10 or more with advance reservations. For more information, see Group Tours.
  • Hill-Stead now offers both in-person and online field trips.  BOOK NOW
  • Please review our reopening plan

Admission

To keep our museum accessible to all, Hill-Stead participates in the Blue Star Museums, Museums for All, AAA and Connecticut Art Trail programs.

Museum Members are always free.  Not a Member?  JOIN NOW

Members  | FREE
Adults | $18
AAA & Seniors (62+) | $16
Students | $12
Children 6-12 | $10
Children under 6 | FREE

Museum Members are always FREE!
Not a Member?  JOIN NOW

Special Admission Programs

As a Blue Star Museum, Hill-Stead offers active-duty military families FREE admission from Memorial Day through Labor Day.  Blue Star Museums is a collaboration among the National Endowment for the Arts, Blue Star Families, the Department of Defense and museums across America.

Hill-Stead is a part of the Museums for All program and offers FREE admission for up to four people to with the presentation of a SNAP Electronic Benefits Transfer (EBT) card. Museums for All is a cooperative initiative between Association of Children’s Museums and Institute of Museum and Library Services to offer a program that encourages families of all backgrounds to visit museums regularly and build lifelong museum habits.

Hill-Stead is a member of the Connecticut Art Trail.  Discover Connecticut’s artistic treasures with the Connecticut Art Trail Art Passport. The $25 Art Passport includes one admission to each of the 20 member museums per year. Explore diverse, quality collections rich in history and heritage, including European masterpieces, American Impressionism, ancient art and contemporary culture.

 

The safety of staff and visitors is our highest priority.

To ensure a safe, inspiring experience for all, we’ve adopted new health and safety protocols. You’ll find everything you need to know about your next visit below.

Social distancing best practices are in place. All persons entering the building will be required to wear a face mask covering at all times.

  • Always wear a facemask and make sure it fits over your nose and mouth
  • Practice safe social distancing. Please keep six feet between yourself and others (outside your party)
  • Please wash/sanitize your hands at our sanitizing stations
  • A limited number of visitors will be permitted at one time
  • A one-way flow of traffic will be required in the House
  • Contactless payment is available and encouraged
  • Please let us know if you or another member of your party have traveled outside of Connecticut in the past 14 days or​ experiencing fever, chills, cough, or any other symptoms

Alfred Pope: An Evolution of Ingenuity

Exhibition
November 17, 2022 – May 30, 2023

Alfred Pope: An Evolution of Ingenuity illuminates a long-overlooked figure in the history of Hill-Stead and of American art collecting. Through this exhibition and accompanying catalog, we present Alfred Atmore Pope (1842–1913) as a bold and leading collector of European modernism and position him rightfully among his peers. Further, the endeavors position Pope as a multifaceted figure and elucidate his devoted and generous service to others, indelibly influencing his only child, Theodate Pope Riddle (1867–1946), in her pioneering life of creative and philanthropic work.

The research for this exhibition identified artworks previously unknown to Hill-Stead, such as Alfred Sisley’s La Serpentine à Londres, and revealed significant archival information about those already documented. In particular, we focused on the rapidly growing body of evidence about the ways in which Theodate’s previously unknown activities impacted our understanding of her father’s original, and by extension, Hill-Stead’s current collection. These exciting findings present a more comprehensive and nuanced picture to explore and interpret Pope as a collector.

During his active collecting years (1889–1907), Pope acquired over 40 important works of art and thoughtfully pruned his collection through sales and exchanges, retaining only those works that elicited a profound emotional response. Since Theodate, too, sold several paintings, in order to finance her own projects, only a small fraction of the original Pope collection remains intact today. Arguably, the finest examples of Pope’s turn-of-the-century connoisseurship still grace the rooms at Hill-Stead.

Alfred Pope: An Evolution of Ingenuity also examines and challenges long-held beliefs about his collecting strategies, practices, and motivations. Pope, who hailed from modest means and had no formal background in the arts, has long been revered as self-taught and ruggedly independent in the building and refining aspects of collecting. It was believed that he acted without relying on an advisor in any official capacity. American artists Mary Cassatt and James McNeill Whistler were both close friends and represented in Pope’s collection, and both tried to exert influence. To date, scholarship has shown that Cassatt indeed did.

Together, the show and catalog offer the first-ever comprehensive study and presentation on Alfred Pope, complete with a biography and a holistic assessment of his collecting pursuits and accomplishments. Through examination of his correspondence, together with consideration of the entirety of his collection, both the works in this exhibition that were divested for myriad reasons and those that were retained and now comprise the museum’s permanent collection, we elucidate an unprecedented understanding of this important historic figure.

This project was launched in autumn 2020 with preliminary research that yielded fascinating insights into Alfred, Theodate, and her decisions after his death to sell his art. Ultimately, Theodate single-handedly shaped Hill-Stead and distorted Alfred’s legacy. We are proud to share these story-altering discoveries and finally celebrate both with greater understanding and knowledge.

This exhibition is made possible by the generous support of the Edward C. and Ann T. Roberts Foundation.

 

 

Free Museum Admission for Kids!

CT Summer at the Museum is back!

From July 1 to September 5, Connecticut children ages 18 and younger, plus one accompanying adult, can visit Hill-Stead Museum for free as part of the Connecticut Summer at the Museum program.*

No advance registration is required. Please check-in at the Museum Shop when you arrive.

*Does not apply to ticketed events such as From the PorchVisual & Performing Arts STEAM Academy, or the Sunken Garden Poetry Festival.

RADICAL SPIRITS: Tarot and Automatism in the Works of Hilma’s Ghost

Exhibition
June 25 to November 1, 2022

Hilma’s Ghost/Carrie Secrist Gallery

Seeking freedom within oppressive societies, women throughout history have gravitated toward alternative creative and spiritual practices. One such practice is mediumship or communication with the spirit world through a human intermediary. There have been mediums among artists, and since most mediums are women, the history of mediumship in art dovetails neatly with stories of overlooked women artists. Hilma af Klint (1862–1944) is one such figure. A Swedish artist and mystic, she was virtually unknown until 2018, when a revelatory exhibition of her work at the Solomon R. Guggenheim Museum in New York secured her a place in art history alongside male counterparts such as Vasily Kandinsky and Piet Mondrian. Af Klint was inspired to create The Ten Largest—a group of ten massive abstract paintings created in 1907—through a series of séances she held with four other women who shared her beliefs. Known as The Five, they contacted spiritual beings they called The High Ones, who instructed af Klint in her groundbreaking work.

“Have you noticed that what you are looking for is already right in front of you?” 2022, Gouache, watercolor, ink, and colored pencil on Fabriano Murillo paper, 39 x 27 in.

Hilma’s Ghost, named after af Klint, is a feminist artist collective consisting of Brooklyn-based artists and educators Dannielle Tegeder and Sharmistha Ray. The duo makes art collaboratively, conducts free workshops and programs, and engages in research that uplifts ancient and premodern knowledge systems that have been a source of personal strength and aesthetic innovation for women artists. Tegeder and Ray, both independent artists, first collaborated in 2021 on a series of seventy-eight drawings, five paintings, and an original tarot deck titled ABSTRACT FUTURES TAROT. That project—inspired by another overlooked woman artist, Pamela Colman Smith—motivated the duo to imagine new ways of expanding on the tarot’s hidden meanings and to deepen their investigation of the relationship between ritual, magic, and art through abstraction.

In RADICAL SPIRITS: Tarot, Automatism, and Feminist Histories, Tegeder and Ray will explore the creative, spiritual, and narrative potential of tarot, mediumship, and automatism in art-making. In this, they tap into the long-established but overlooked history of these practices at Hill-Stead. The museum’s founder and architect, Theodate Pope Riddle, was a contemporary of af Klint. She passionately supported exploration of the spirit world, participating in séances with notable mediums and funding psychical research. Automatic writing from those séances (and now housed in Hill-Stead’s library), is a core element of the exhibition, which entwines the history of Spiritualism in the Americas and Europe with automatic processes in art. As part of their research, Tegeder and Ray participated in channeling and drawing sessions at the historic house, facilitated by Sarah Potter, a professional witch, and engaged in other ritual and divinatory practices to create five new paintings for the show. These new works recover the lost art of theorem painting, a popular stenciling technique that was taught in girls’ academies throughout New England in the nineteenth century.

Hilma’s Ghost/Carrie Secrist Gallery

A selection from CHROMAGICK, a recent suite of drawings based on the tarot, will also be on view. Tegeder and Ray pulled cards from their tarot deck for compositional inspiration while also tapping their considerable knowledge of color and pigment to imbue the works with magic. Likening the drawings to “hidden gems,” they harnessed the innate vibrational energy of specific colors and crystals to imagine the works as talismans, each with their own special power. Through ritual processes that accompanied their art-making—including the burning of herbs, sigil making, and crystal, candle, and spirit invocations—the duo mined the potential of divination for their creative process.

RADICAL SPIRITS takes its title from a foundational 1989 book by Ann Braude that considers the importance of Spiritualism to the political liberation of American women in the nineteenth century. Hilma’s Ghost, initiated at the height of the COVID-19 pandemic, reimagines the relationship between the spiritual and the political for a new era of liberation for women, nonbinary, and trans artists. In this way, the collective builds on the ancestral legacies of the powerful women artists who bravely drew on the occult in their work, including af Klint, Smith, Emma Kunz, and Leonora Carrington, but also those, like Ana Mendieta and Lygia Clark, who channeled the shamanic healing power of art for themselves.

ABSTRACT FUTURES TAROT, the tarot deck by Hilma’s Ghost, will be available at the museum’s shop during the exhibition.

This exhibition is made possible by the generous support of DesignSourceCT.


Admission

Entry to the exhibition is included in the general admission ticket to the historic house. Purchase tickets in the Museum Shop.

Members  | FREE
Adults
 | $18
AAA & Seniors (62+) | $16
Students | $12
Children 6-12 | $10
Children under 6 | FREE

Not a Member?  JOIN NOW


Related Events

To accompany our current exhibition of works by Hilma’s Ghost, Radical Spirits: Tarot Automatism, and Feminist Histories, we are presenting a variety of programs centered around the Tarot deck, a key element of the artists’ creative process.

Intermediate Tarot Reading Class

Intermediate Tarot Reading Class

Delve deeper into the mysteries of the Tarot in our six-week Intermediate Tarot class with Melinda

Find out more »
28 September 2022 6:30 PM
Tarot Readings at Hill-Stead

Tarot Readings at Hill-Stead

Tarot cards can give you a glimpse into your life’s journey and what the future may hold. Tarot can offer insight into all aspects of life and provide a sense of clarity.

Find out more »
01 October 2022 10:00 AM - 1:30 PM
Tarot Readings at Hill-Stead

Tarot Readings at Hill-Stead

Tarot cards can give you a glimpse into your life’s journey and what the future may hold. Tarot can offer insight into all aspects of life and provide a sense of clarity.

Find out more »
08 October 2022 10:00 AM - 1:30 PM
Tarot Readings at Hill-Stead

Tarot Readings at Hill-Stead

Tarot cards can give you a glimpse into your life’s journey and what the future may hold. Tarot can offer insight into all aspects of life and provide a sense of clarity.

Find out more »
15 October 2022 10:00 AM - 1:30 PM
Tarot Readings at Hill-Stead

Tarot Readings at Hill-Stead

Tarot cards can give you a glimpse into your life’s journey and what the future may hold. Tarot can offer insight into all aspects of life and provide a sense of clarity.

Find out more »
16 October 2022 10:00 AM - 1:30 PM
Tarot Readings at Hill-Stead

Tarot Readings at Hill-Stead

Tarot cards can give you a glimpse into your life’s journey and what the future may hold. Tarot can offer insight into all aspects of life and provide a sense of clarity.

Find out more »
22 October 2022 10:00 AM - 1:30 PM
Tarot Readings at Hill-Stead

Tarot Readings at Hill-Stead

Tarot cards can give you a glimpse into your life’s journey and what the future may hold. Tarot can offer insight into all aspects of life and provide a sense of clarity.

Find out more »
23 October 2022 10:00 AM - 1:30 PM
Tarot Readings at Hill-Stead

Tarot Readings at Hill-Stead

Tarot cards can give you a glimpse into your life’s journey and what the future may hold. Tarot can offer insight into all aspects of life and provide a sense of clarity.

Find out more »
29 October 2022 10:00 AM - 1:30 PM

Theodate Pope Riddle – Hill-Stead’s Designer of Record

For a little more than half of its 75 years as a museum, Hill-Stead was misattributed as having been designed by Stanford White, as indicated by the credit on the reverse of this ca. 1980 postcard. By the mid-1980s processes and thoughts were beginning to evolve. In 1985 the first museum professional was hired to serve as Director; in 1986 the Pope-Riddle letters, documents and photographs began to be formally organized and catalogued; and in quick succession, a flurry of research ensued to broaden and deepen the story that had been shared with the public for forty years.

Still, the question of who really was responsible for the design of Hill-Stead dogged researchers for much of the 1980s.

There are just a small number of original letters between father and daughter referencing the plans for the new home in Farmington—eight letters from Alfred Pope to Theodate in the fall of 1898 and two letters from Theodate to her father in summer 1899. One such letter from Alfred to his daughter, dated Sept 5, 1898, notes his gladness that the property has been secured and that he and Theodate’s mother are “happy in your happiness.” He then advises Theodate to contact McKim, Mead and White and give to them “your plan” to get them to “assist” in deciding on location. Elsewhere in the letter Alfred wrote, “I think you should have the pick of your house place.” The tone and language of many of the other letters in this small group convey the sense that Theodate’s involvement in the project was more that of an agent for her father while he was abroad. Without the present-day hindsight of evidence that would come to light in later years, it is understandable why researchers back then were wary of how an untrained beginning architect could have pulled off this feat.

One phrase in one single letter, written by Theodate to her mother’s secretary while settling Ada Pope’s estate following her death in 1920 offers a definitive statement of Theodate’s involvement, in her own words: “I designed and superintended the building of the house…” Historians, however, look for corroborating evidence.

Two major “finds” began to solidify Theodate’s more than casual involvement. One was the return, in the mid-80s of Theodate’s long-lost dairies—except Hill-Stead did not know they were lost because no one knew they had ever existed in the first place! Following Theodate’s death and the immediate transition to a museum as her Will instructed, her secretary, who was uncertain about this plan, spirited away for safekeeping her diaries which had been kept intermittently from 1886-1905. The estate’s shepherd was deemed the best caretaker. During his last days while in a nursing facility, he casually asked one of his nurses what she thought he ought to do with them. Her reply, “I think the museum might like them back!” After painstaking transcription by one of Theodate’s cousins, this lengthy passage shed light on the depth of feeling Theodate gave to her chosen field of endeavor:

O’Rourkery September 14, 1900
For years I have been keen on architecture and felt that the ugliness of our buildings actually menaced my happiness and felt breathlessly that I must help in the cause of good architecture. But I have wrung my soul dry in that direction over fathers house, in my great fatigue last summer when I had so much to decide I felt at the end–when my sickness came, that all power of decision was forever dead in me. And now I find that my material world is losing its power to please or harm me–it is not vital to me any more. I am turning in on myself and am finding my pleasure in the inner world which was my constant retreat when I was a child. That world then was meagerly furnished from my own imaginings but now I bring maturer thoughts and eager fancies and it promises to be a goodly habitation. I used to feel a frantic anxiety to uphold the best expressions in material art and felt that that was in itself enough to occupy ones life with. I might have known where I was tending–pictures have been dead long ago to me–the ones that please me, please only at first sight–after that they are paint and nothing more; to use a vulgar expression they are “sucked lemons.” My interest in architecture had always been more intense than my interest in any other art manifestation, and on my word I think it is not dead yet–not quite. If I only knew how to help the cause of good architecture! But I am tired of seeing these fluted flimsy highly colored hen houses going up–and am tired gnashing my teeth over them. I am just tired and sick of this work a day world which we see with our eyes and am turning to the world that I can be gate keeper of and admit what I choose. And nothing is too fine the dread question I ask myself now is anything fine enough, is the best thought of the best ages satisfying. Does Shakespeare, after fifty years of studying[,] pall on his students or can one find in him all ones days that restful unfathomableness that we crave?

The next “find” was in the McKim, Mead and White Papers—selected groupings at the New-York Historical Society and The Avery Architectural and Fine Arts Library at Columbia University, New York City. There is much correspondence between Theodate and the firm: 50 some documents comprising letters, sketches, and notes. Among them one showing Theodate, a novice, every bit in control of the massive undertaking of building a 33,000+ square foot estate:

I am writing for and in the interests of my father. We have now decided instead of having you submit sketches to us, to send you the plans that I have been working over at intervals for some years to draw to your scale and make an elevation in the event of our coming to a mutual agreement. Consequently, as it is my plan, I expect to decide in all the details as well as all the more important questions of plan that may arise. That must be clearly understood at the outset, so as to save unnecessary friction in the future. In other words, it will be a Pope house instead of a McKim, Mead and White.Theodate Pope to William Rutherford Mead. Sept 17, 1898; original letter at Avery Library, Columbia University; copy, HSM archives #2193

Theodate’s initial letters included the salutation, “Dear Sirs,” addressing the firm collectively; eventually, she wrote directly to just one partner, William Rutherford Mead, and later as the project progressed, she switched to corresponding with associate architect in charge of the Hill-Stead job, Edgerton Swartwout. Never did she write solely to Stanford White, and in fact there is little to no evidence of White’s direct involvement in the Hill-Stead project. For many years, before research proved otherwise, it was simply an assumption based on White being the most notable member of the firm and having a larger-than-life persona that he was a major player in Hill-Stead’s formation.

In 1988, Leland M. Roth, architectural historian and Associate Professor and Head, Department of Art History (University of Oregon), visited Hill-Stead to meet with the director, Katherine Warwick. Roth had written a definitive book about McKim, Mead and White’s work in 1983, in it referencing Hill-Stead and the Pope family. In a letter to Warwick, Roth wrote that determining Hill-Stead’s rightful designer was a “knotty question” and one not easily “untangled.” He continued, Hill-Stead is a unique truly in the work of MMW not only for the architectural design but also because the client was so deeply involved in decision-making, a dynamic that had not occurred before or after. Hill-Stead, in Roth’s opinion, was a mingling of contributions. Roth believed that Stanford White very likely exercised general control over the project and may have been intrigued at designing a house for an impressive modern art collection but noted that it does not seem he participated in any direct way in design decisions.

By 1990, with the publication of Mark Allen Hewitt’s The Architect and the American Country House (Yale University Press), Theodate was beginning to be given the credit she so rightly deserved, but with a few caveats. Hewitt notes “There are several rather uncharacteristic aspects to the design of this house which point directly to Miss Pope’s ideas rather than to those of her architects.”

In 2010, James O’Gorman, in “Hill-Stead and Its Architect,” Hill-Stead the Country Place of Theodate Pope Riddle definitively positioned Theodate as designer of record.

[B]ecause she was a woman, untried, not an exceptionally skilled drafter in a period when architectural draftsmanship had reached the status of high art, and guided by her father to engage the help of the distinguished New York firm of McKim, Mead and White in the execution of the drawings for Hill-Stead, the idea that she was the architect of the house has on occasion been belittled. Nonetheless, study of the preserved information about the progress of the design affirms that the schema of Hill-Stead was hers and hers alone, in the same sense that buildings by celebrity architects like Daniel Burnham, H. H. Richardson, or Frank Gehry are theirs even though they have had the support of large office staffs and may not have made drawings themselves. James O’Gorman, in “Hill-Stead and Its Architect,” Hill-Stead the Country Place of Theodate Pope Riddle (Princeton Architectural Press)

This diary passage is Theodate’s reflection on her undertaking, upon completion of the project shortly after her parents moved into their new home:

Thursday June 20, 1901
This home seems strangely unreal to me. I feel as if I were walking in a dream and not in Farmington. It all seems so unlike the Farmington I have always known, everything up here, but it is all so very restful and beautiful I feel so at peace with the accomplishment of it.

 

 

Tupelo Press Announces Sunken Garden Chapbook Poetry Award

Tupelo Press is especially delighted to announce that our judge, Kimiko Hahn, has selected Why Misread a Cloud by Emily Carlson of Pittsburgh, Pennsylvania as winner of the 2022 Sunken Garden Chapbook Poetry Award.  

Emily Carlson is a mother, a teacher, and the director of Art in the Garden, a liberatory, anti-racist, LGBTQA+ welcoming, and joy-centered program that addresses the impacts of childhood adversity and trauma. She’s the author of two chapbooks, Symphony No. 2 (Argos Books, 2015) and I Have a Teacher (The Center for Book Arts, 2016). Her poems have appeared in Aufgabe, Bloom, Denver Quarterly, Fence, jubilat, and other journals. With friends, she runs the Bonfire Reading Series. Emily lives with her partner and their three children in an intentional community centered around an urban garden in Pittsburgh, Pennsylvania.

Here’s what our contest judge, Kimiko Hahn, had to say about the winning chapbook:

In brief paragraphs that are neither prose nor prose poems, we meet a witness. A speaker who is not in her country of origin. A woman living in the air of violence. Militarization. And very occasionally, a mundane gesture–adding sugar to tea. The spareness creates a poetics that is, at once, elegantly stark and akin to journalism. We read between the lines because what is unsaid, makes this a poetry of image and association. What was once a broom for sweeping a kitchen, is used by a woman to sweep propaganda leaflets off the street. I find myself engaged in a place–to a place, really–where there are ballistic helmets. Yes, strange and strangely familiar. This is how art and dreams work: with the familiarity of knowing and the dissassociation that can allow insight.

Our sincere congratulations to Emily Carlson, whose book will be out in time for her debut reading this summer at the Sunken Garden Poetry Festival.

The Windsor Hotel Fire

On St Patrick’s Day 1899, while people were gathered below to watch the parade, a fire destroyed the Windsor Hotel located in the Midtown area of Manhattan in New York City. The Pope family was one of the many families affected by this tragedy.

The photo on the right shows Claude Money’s Fishing Boats at Sea (1868) being rescued from the Popes’ rooms.

 

The Popes maintained a residence at the hotel, where they spent a considerable amount of time, as they frequently traveled to New York from Cleveland where they were living at the time, since Hill-Stead was not yet completed. Mrs. Pope was an opera fan and part of the reason for the March 1899 trip was so that she could attend various performances.

Mr. Pope acquired many of the Impressionist pieces in his collection through art dealers in New York City, such as Durand-Ruel. For this reason, on the day of the fire, three paintings Mr. Pope had considered selling back to Durand-Ruel, but his wife had convinced him to keep were at the hotel. As soon as he heard of the fire, Mr. Pope, who was out for lunch with friend and fellow art collector Harris Whittemore, rushed back to the hotel. As soon as police allowed him through, he paid hotel workers to go save the paintings from his room.

If you want to learn more about the Pope’s experience in the fire, Click to read the letter that Mrs. Pope wrote to her sister two days after the fire.

 

A Perfect Perch: The Architect’s Chair

An exhibition focusing on the art of chair design!

On view April 22 – May 22, 2022

Photos: Derek Hayn/Centerbrook

 

Hill-Stead embodies a passion for all manner of design—architecture, interior appointments, artistic vision painted on a canvas or etched into a plate and transferred to paper, horticultural…the list goes on. At design’s most basic level, Hill-Stead is a microcosm for life.

On the occasion of its 75th birthday, Hill-Stead takes this opportune moment in its history to reflect on the past as well as looking ahead to the future. We have partnered with Centerbrook Architects and Planners, the firm that designed our award-winning renovation and state-of-the-art new galleries, to present A Perfect Perch: The Architect’s Chair. The exhibition focuses on an item that is critical to our daily lives: the chair.

A chair meets dynamic forces with relatively slender parts. It also has to be comfortable and beautiful from all vantage points, like a sculpture. While many architects have designed a chair, it should be noted that after the experience the renowned architect Mies van der Rohe quipped, “A chair is a very difficult object. A skyscraper is almost easier. That is why Chippendale is famous.”

The chairs on view – those by Theodate Pope Riddle and the 20+ gorgeous examples by participants of The Centerbrook Chairshop – will serve as a connection between the past and the present, engendering appreciation, and curiosity. The Chairshop began in 2012 and reflects the firm’s devotion to craft, beauty, economy, and humanism. In designing her chairs, for her two landmark halls of education (Avon Old Farms and Westover schools), Theodate was equally concerned with how the buildings would be lived in by generations of students and faculty as by the physical attributes of the structures themselves. While she may not have put pencil to paper to sketch the actual design concepts for desks and chairs and tables and beds, she mentally designed the furnishings by selecting, or directing the manufacture of, pieces simple in design but of the utmost quality in materials and workmanship to fit within her overarching vision.

This exhibition is therefore timely and meaningful as we mark our 75th anniversary, honor our architect-founder as well as our collaboration with Centerbrook, and celebrate the power of inspired design.


Admission

Entry to the exhibition is included in the general admission ticket to the historic house. Exhibition-only tickets are also available. Purchase tickets in the Museum Shop.

Exhibition Only

Entry to the special exhibition A Perfect Perch only

Members  | FREE
Adults | $8
AAA & Seniors (62+) | $8
Students | $4
Children 6-12 | $4
Children under 6 | FREEGeneral Admission Tickets

Not a Member?  JOIN NOW

General Admission

Entry to the special exhibition A Perfect Perch and one-hour tour of the historic house

Members  | FREE
Adults
 | $18
AAA & Seniors (62+) | $16
Students | $12
Children 6-12 | $10
Children under 6 | FREE

Not a Member?  JOIN NOW