Page 36 - Antiques and Collectibles September 2019 Historic Hudson Valley
P. 36
The Fabric of Their Lives:
The Albany Institute of History and Art
T he Albany Institute of History and Art is home
to collections that span our country’s formation,
including fine art, decorative art, and historic
objects gathered from its founding in 1791. Each item has
been carefully selected to support the Museum’s overall
vision: collecting and interpreting the art, history, and
culture of New York State’s upper Hudson River Valley
through four centuries by offering a global perspective and
creating physical and virtual experiences for the education,
entertainment, and inspiration of people of all ages.
Highlights from the Collection
Diane Shewchuk, curator at the Albany Institute of
History & Art, has put together highlights of the clothing Red Riding Shoes, Unknown maker, 1856
Beeckman Print-Work Memorial and accessories collection at the Museum and invites
Unidentified artist; design drawn by readers to come and explore the history of the Hudson Wool, linen, leather Gift of Margaret Boom, 1941.45
On September 25, 1856, eight-year-old Catherine
Henry Snyder (1784-1864), circa 1803 River by viewing these items that reflect the beauty of the Fitch of New Scotland, NY won these red riding shoes and
Silk, paint, and ink area and its residents over time. $5 at the Albany Agricultural Society’s fourth annual fair at
Albany Institute of History & Art, Gift of J. Townsend Lansing, 1909.11.1 To give you an idea of the vast collections housed at Albany, NY, for her display as best equestrian rider.
the Institute, their website lists the following: “The cura-
torial collections number more than 35,000 objects and
Below: Coral Pink Ball Gown, include paintings (1,600); drawings (1,600); prints Below: Celestial Blue Ball Gown, Marie
Emile Pingat (active 1860-1896), circa 1867 (4,000); sculpture (600); furniture (500); silver (2,000); and Josephine Virfolet, New York City, 1867.
Label: E. Pingat / No. 30 / Rue Louis Le Grand pewter, copper, cast iron, and other metals (500); ceramics Silk satin (tulle was replaced c.1980)
(Paris), Silk faille, silk tulle, and seed pearls (1,200); glass (300); clothing and accessories (4,000); Gift of the estate of Maurice Moore, in memory of his wife,
Gift of the estate of Maurice Moore, in memory of his wife, Mary DeCamp textiles (500); and historical artifacts (5,450). Mary DeCamp Banks Moore, 1972.95.83A-E
Banks Moore, 1972.95.2A-B
“The Albany Institute’s library collections offer Mary Augusta Green DeCamp Corning (1843-1935)
documentation of the social, economic, and cultural
This one piece silk ball gown was made for Mary made a grand entrance and exit when she wore this dress at
Augusta Green DeCamp Corning (1843-1935) by Emile history of Albany and the surrounding region and include: “the Ball Father & Mother gave me in February 1867.” Her
Pingat, one of the Parisian couturiers favored by American photographs (85,000); manuscript collections (1,000 gown was made by sisters Marie and Josephine Virfolet,
women. Dresses made by his establishment were known for linear feet); maps (300); broadsides and posters (300); and French dressmakers working in New York City. The
their detail and skilled workmanship. ephemera, rare books, architectural plans, and the archives rich, shimmering, silk satin glows from within, giving an
A row of ruched pink tulle and satin trimmed tulle tabs of the Albany Institute.” (albanyinstitute.org) impression that was magical, romantic and festive.
border the hemline adding detail and dimension to the The white taffeta underskirt was once covered in rows
otherwise plain, voluminous skirt. During the 1860s, as the of ruched maline, a delicate net resembling tulle that has
shape of the crinoline changed and expanded toward the Textiles in the Hudson Valley since been replaced. The bands of blue and white satin on
back, more emphasis was put on that area. The back of the At the very start of the Industrial Revolution in the the shaped overskirt and shaped panel create unusual,
dress is accented by a broad bow whose streamers are graceful sweeping lines.
Northeast, textile machinery in the early 1800s mainly
decorated with swags consisted of spinning and weaving machines. The building
of beads and of large factories throughout the area created high demand
pearl accents.
for cotton from the deep south. Investors in textile
manufacturing located them where transporting raw and
finished goods could be done efficiently, and where the
power to run the factories was easily available.
The Hudson River cities of Troy and Cohoes had the
water power to support a large number of textile mills.
While New England was known for textiles early on, the
largest cotton mill complex in the world was created in the
city of Cohoes, New York in the 1870s. Peter Harmony
started his company in 1836 along the Erie Canal, using
water diverted from Cohoes Falls to power the factories.
By the 1870s, Harmony had eighteen knitting mills and
six cotton mills running 203,000 spindles. It was Mill
No. 3 (locally known as the “Mastodon Mill”)—
... continued on bottom
of page 36
Journal of Antiques and Collectibles
34
The Albany Institute of History and Art
T he Albany Institute of History and Art is home
to collections that span our country’s formation,
including fine art, decorative art, and historic
objects gathered from its founding in 1791. Each item has
been carefully selected to support the Museum’s overall
vision: collecting and interpreting the art, history, and
culture of New York State’s upper Hudson River Valley
through four centuries by offering a global perspective and
creating physical and virtual experiences for the education,
entertainment, and inspiration of people of all ages.
Highlights from the Collection
Diane Shewchuk, curator at the Albany Institute of
History & Art, has put together highlights of the clothing Red Riding Shoes, Unknown maker, 1856
Beeckman Print-Work Memorial and accessories collection at the Museum and invites
Unidentified artist; design drawn by readers to come and explore the history of the Hudson Wool, linen, leather Gift of Margaret Boom, 1941.45
On September 25, 1856, eight-year-old Catherine
Henry Snyder (1784-1864), circa 1803 River by viewing these items that reflect the beauty of the Fitch of New Scotland, NY won these red riding shoes and
Silk, paint, and ink area and its residents over time. $5 at the Albany Agricultural Society’s fourth annual fair at
Albany Institute of History & Art, Gift of J. Townsend Lansing, 1909.11.1 To give you an idea of the vast collections housed at Albany, NY, for her display as best equestrian rider.
the Institute, their website lists the following: “The cura-
torial collections number more than 35,000 objects and
Below: Coral Pink Ball Gown, include paintings (1,600); drawings (1,600); prints Below: Celestial Blue Ball Gown, Marie
Emile Pingat (active 1860-1896), circa 1867 (4,000); sculpture (600); furniture (500); silver (2,000); and Josephine Virfolet, New York City, 1867.
Label: E. Pingat / No. 30 / Rue Louis Le Grand pewter, copper, cast iron, and other metals (500); ceramics Silk satin (tulle was replaced c.1980)
(Paris), Silk faille, silk tulle, and seed pearls (1,200); glass (300); clothing and accessories (4,000); Gift of the estate of Maurice Moore, in memory of his wife,
Gift of the estate of Maurice Moore, in memory of his wife, Mary DeCamp textiles (500); and historical artifacts (5,450). Mary DeCamp Banks Moore, 1972.95.83A-E
Banks Moore, 1972.95.2A-B
“The Albany Institute’s library collections offer Mary Augusta Green DeCamp Corning (1843-1935)
documentation of the social, economic, and cultural
This one piece silk ball gown was made for Mary made a grand entrance and exit when she wore this dress at
Augusta Green DeCamp Corning (1843-1935) by Emile history of Albany and the surrounding region and include: “the Ball Father & Mother gave me in February 1867.” Her
Pingat, one of the Parisian couturiers favored by American photographs (85,000); manuscript collections (1,000 gown was made by sisters Marie and Josephine Virfolet,
women. Dresses made by his establishment were known for linear feet); maps (300); broadsides and posters (300); and French dressmakers working in New York City. The
their detail and skilled workmanship. ephemera, rare books, architectural plans, and the archives rich, shimmering, silk satin glows from within, giving an
A row of ruched pink tulle and satin trimmed tulle tabs of the Albany Institute.” (albanyinstitute.org) impression that was magical, romantic and festive.
border the hemline adding detail and dimension to the The white taffeta underskirt was once covered in rows
otherwise plain, voluminous skirt. During the 1860s, as the of ruched maline, a delicate net resembling tulle that has
shape of the crinoline changed and expanded toward the Textiles in the Hudson Valley since been replaced. The bands of blue and white satin on
back, more emphasis was put on that area. The back of the At the very start of the Industrial Revolution in the the shaped overskirt and shaped panel create unusual,
dress is accented by a broad bow whose streamers are graceful sweeping lines.
Northeast, textile machinery in the early 1800s mainly
decorated with swags consisted of spinning and weaving machines. The building
of beads and of large factories throughout the area created high demand
pearl accents.
for cotton from the deep south. Investors in textile
manufacturing located them where transporting raw and
finished goods could be done efficiently, and where the
power to run the factories was easily available.
The Hudson River cities of Troy and Cohoes had the
water power to support a large number of textile mills.
While New England was known for textiles early on, the
largest cotton mill complex in the world was created in the
city of Cohoes, New York in the 1870s. Peter Harmony
started his company in 1836 along the Erie Canal, using
water diverted from Cohoes Falls to power the factories.
By the 1870s, Harmony had eighteen knitting mills and
six cotton mills running 203,000 spindles. It was Mill
No. 3 (locally known as the “Mastodon Mill”)—
... continued on bottom
of page 36
Journal of Antiques and Collectibles
34
