Widener had created his vast wealth via a history as a robber baron - originally from trams and trains and later from US Steel, the American Tobacco Company and Standard Oil. By the end of the century, he needed to polish up his image. And Lynnewood Hall was the place to do that polishing.
Lynnewood Hall, near Philadelphia
Roadside Americana and Modern Ruins has great information. Built from Indiana limestone, Lynnewood Hall was huge. In addition to a large and very special art gallery, the 110-room estate also included a ballroom that replicated Louis XIV’s taste in 1700. So elaborate and grand was Lynnewood Hall, PAB Widener’s other son and heir Joseph called it The Last of the American Versailles.
Lynnewood Hall, library and art space
Rembrandt, The Mill, c1647
With the rock solid advice of Joseph Duveen and Bernard Berenson in the next eight years of life remaining to him, Widener assembled one of the finest collections in the world. M. Knoedler & Co. sold him A Genoese Noblewoman and Her Son c1626 in 1909. In 1911 he acquired a genuine and absolutely beautiful Vermeer, Woman Holding a Balance c1663, also from M Knoedler.
Lord Lansdowne sold Rembrandt’s stunning landscape The Mill c1647 to the Wideners in 1911. The Small Cowper Madonna by Raphael was trumpeted in the New York Times of Feb 1914, as “the most valuable picture ever brought to this country which has been sold by Duveen Brothers of this city to PAB Widener of Philadelphia for a price said to exceed $700,000”. The paintings were classical, refined, full of learning. Presumably they made Lynnewood Hall and its family classical and refined as well.
Vermeer, Woman With a Balance c1663
Time Magazine (24/10/1932) described a Widener party, specifically mentioning the art treasures on the walls, floors and shelves. “There were 300 guests at Lynnewood Hall one day last week, more than could be seated in the dining room with its dark red French tapestries and the majestic bust of the great Prince de Conde. The ballroom, with its Louis XV and XVI furniture, Chinese vases and 4 crystal chandeliers, was filled with tables. Joseph Early Widener, master of the Hall, was having a large party.” And “the guests at Lynnewood Hall last week included not just a dozen or so millionaires, but at least 100 of the country's richest men.” Display, it would seem, was all-important.
So what happened to the Widener treasure trove? PAB Widener died too early to see the National Gallery which was being planned for Washington DC in 1938, but he certainly knew that his collections should eventually end up in a centre of national importance. In 1939 Joseph, himself a patron of the National Gallery, did agree to donate most of his family’s collection to the Washington gallery at the request of President Roosevelt. The Widener gift consisted of 600 objects: paintings dating to the Italian Renaissance, drawings, sculpture, furniture and a great deal of specialist porcelain. The President announced the Widener gift at a dinner in 1941 in front of thousands of special guests, including Joseph Widener.
Of course Lynnewood Hall wasn’t the only source of art objects that eventually ended up in the National Gallery of Art. Andrew Mellon donated his art collection to the nation. The Mellon pieces were all beautiful, but most beautiful of all were 21 masterpieces from the Hermitage Museum in St Petersburg. Samuel H Kress donated 375 Italian paintings and 18 works of sculpture, all of world class.
Van Dyck, Genoese Noblewoman and Son, 1626
13 comments:
Hello:
One can only marvel at the enormous wealth required not only to build such a huge mansion, but then to furnish it in such an extravagant manner and with such works of art. It is not at all dissimilar to the purchase of Upton House by the 2nd. Lord Bearsted in the late 1920s who, as you are probably aware, established an extraordinary collection of paintings, ceramics and furniture there in the period up until the Second World War.
We suspect that the very rich of today choose to spend their money in different ways.
Jane and Lance
you are so right! The collecting patterns of very wealthy families on both sides of the Atlantic were similar. The only difference was that in the USA, federal income tax didn't really come in until 1913 when the 16th amendment to the constitution made it permanent.
*sigh* I wish I would have had the surplus income of a Widener and the art advice of Joseph Duveen and Bernard Berenson.
Widener's taste looked to be quite traditional and conservative. Did he buy any art that was modern at the turn of the century?
Joseph,
the newspapers of the day raved about Widener's collection of works by Raphael, Rembrandt, Van Dyck, Vermeer and El Greco. He did have some lovely French Impressionist works but they were not the paintings on which Widener based his repuation as a serious collector.
So did he collect Old Masters because he loved them and he thought they would reflect well on his scholarliness and gravitas? Or did his expert advisors suggest Old Masters because they were a fine investment, artistically and financially?
Hope it is preserved. Its such a dilemma when a fabulous collector is not the sort of person you would really like to meet. But he had good advice if a little conservative - but then the newly rich tend to prefer that.
Hermes
I am normally very unhappy when galleries, museums, theatres and concert halls are largely privately funded (as in the USA), as opposed to funded by tax payers (as in much of Europe and the British Commonwealth).
But the upside of donating precious collections to American galleries was the enormous tax rebate that the family received. Ill gotten gains for the family perhaps, but those art treasures (paintings, porcelain, furniture etc) are now safe.
What Berenson and Duveen was part of is incredible, think of having such an international business so long ago. A remarkable place! Thank you for the introduction.
Kristin
I am so glad you picked up on the connection between PAB Widener on one hand and Berenson and Duveen on the other. They got Widener back on the right track, after his crisis with Nardus.
There is so much to say about those two experts. Have a look at Joseph Duveen: Art Dealer Extraordinaire http://melbourneblogger.blogspot.com/2009/05/joseph-duveen-art-dealer-extraordinaire.html
For a very nice examination of Widener's home at Lynnewood Hall, read Nooks, Towers and Turrets. The floor plan is impressive.
http://nookstowersandturrets.blogspot.com.au/2012/04/homes-of-titanic-lynnewood-hall.html
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Tom
Lynnewood Hall was pretty impressive wasn't it? In fact the Gilded Age was a very fine era altogether. Do you have a favourite artist?
The Widener collection did contain some outstanding Impressionists. The Wideners anticipated the collection of Impressionists by half a century - so they were not behind in collecting modern works.As early as 1894 Manet's "The Dead Toreador" - a spectacular work - entered the collection,to be followed by important works by Degas ("The Races" and "Before the Ballet") and Renoir (The Dancer") and this at a time when these artists were still not fully appreciated even in their own country,let alone in the United States (or the UK for that matter). He also had some excellent Corots - a favourite artist of more conventional American collectors.
Charles
many thanks for your detailed response. The Manet, Degas, Renoir and Corot paintings would have stood out to modern art historians as well worth commenting on, but I suppose the collecting institutions of the day were blown away by Raphael, Rembrandt etc.
Once Joseph Duveen and Bernard Berenson took over the responsibility of professional art advice to Peter Widener, I can see why his collection was considered one of the most amazing collections of its time. But how important was Widener's own taste in buying his art, before Duveen and Berenson?
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