Q: There should be more descriptive tags downstairs for some of the unidentified pieces. (more of a statement, I know.)

A: You are absolutely right. I am working on close to 200 labels that we will be able to switch in and out downstairs to give a little more clarification to what it is you are looking at.

Q: What was this house made of?

A: Wood. More specifically oak, cedar, teak and walnut. Throw in some nuts, bolts, screws and nails and you’ve got yourself a Hermitage.

Q: How did you get your ideas for this wall talking thing?

A: Lauren Northup who remains smarter and more savvy than I.

Q: You need more on the Sloane family, kids and pets!

A: While family history is interesting Mrs. Sloane did not want her personal life to be the focal point of the museum. She was more interested in you coming in and looking at the art she purchased. Of course some background is necessary to explain where things came from and why, but you wont be hearing about their daily lives anytime soon. (Also, this is an excuse to plug the book that will be coming out later this year…and another to follow in 2014.)

Q: How much is this house?

A: Interesting question. If a buttload equals 126 gallons then I would have to say it is at least five elephants and a blue whale.

Q:Why does it cost money to visit?

A: We are not funded by the state or federal government. This is a private institution. We need money to stay open (alive?). $5.50 is incredibly cheap considering you also get to walk around our gardens and let your pets wreak havoc on our shrubs.

Q: What was Mrs. Sloane’s favorite breakfast food?

A: Scotch eggs. Just Kidding, that’s mine. 

Q:What was her (Mrs. Sloane) favorite painting?

A: Brilliant question for which I don’t have an answer. You could argue that the portraits of her sons by Douglas Volk might rank high, or perhaps her good friend Helen Turner’s pieces. Stephen Reid is all around the house as well…

Likely, each work brought something unique to her collection and heart so picking just one would probably have been hard for her as well.

Surprisingly, or maybe not, there were only a few carpenters nails keeping this attached to the substrate. This is why there was substantial bowing in the veneer.

I immediately followed that sigh with a chuckle as I read the note that followed,

 It appears that I am not the only one who has the ability to be inappropriate at the wrong time. 

Did you know that Bill Paxton is one of two actors who has fought an Alien, Predator and a Terminator? He was also great in Twister.

Did you know that Edmund Kean is regarded by most to have been a better actor than Bill Paxton? I know, doubtful…

Just because you have a Derby figure made of you portraying Richard III in the early 19th century doesn’t mean you are better than this….

Apparently Mrs. Sloane disagrees with me and decided to purchase a set of these objects from Christie Manson & Woods in London, England. Then again she did not have Bill in 1929, so I guess we can’t fault her.

Kean, by the way, is one of the greatest Shakespearean actors of the 19th century. How do  I know this? I don’t…but I do trust books and old reviews of his plays.

Back to the title…

In January this museum lost its director of eight years to another institution. I won’t lie, I was shocked. Not a bad, “why are you leaving us” cry for help, but rather a heavy, “Huh?”  There was (and still is) a level of camaraderie that will be difficult to replace and I think that is what bothered me the most; that and she left me to deal with the insurance company *shakes fists*

But seriously, she was a great director, friend and mentor. Since she has been gone we (the staff) have resorted to a tribal like atmosphere similar to Lord of the Flies and can be found sacrificing Canadian Geese in the rose garden to appease the museum gods.

I kid, again.

Actually we have been very productive and look forward to what a new director can offer this institution. Hopefully they do not bring a filter to this most uncouth of social outlets otherwise I will be moderately devastated.

In conclusion…. if you are ever in Middleburg, VA stop in the National Sporting Library and Museum, ask for Melanie Mathewes and see if you can’t get a free tour.

The Board of Trustees donated to have a painting restored in her honor. This will be the plaque beside it once it is back on the wall. Also note reigning Super Bowl MVP Joe Flacco who inspires me to curate at a less than elite, but better than average level.

What makes art better? sweater vests (drops the mic and walks away)

After blacking out to word documents sometime around 1 pm I arose to the sound of, “Colin, you got real mail.” Ummm…what? Pretty sure I usually get junk mail and the occasional cool auction house letter (wish I still got Highlights Magazine) . What is this “real” mail you speak of? Turns out it was a fresh smelling copy of the show catalog for Edwardian Opulence, which our Poynter painting is in:

http://yalebooks.co.uk/display.asp?K=9780300190250

….And according to the New York Times the show is not a waste of time:

http://www.nytimes.com/2013/03/17/nyregion/a-review-of-edwardian-opulence-at-the-yale-center-for-british-art.html?_r=0

I would show you pictures of my copy, but I’ve got a feeling there are legal boundaries which would restrict me from sharing the pages I want. My suggestion to you is to buy the book, support the arts and learn something in the process. Win, win, win.

Also, enjoy the Karl von Rydingsvard carvings.

Well my friends you are in luck because it just so happens that I have some early plans for the museum sitting right here in front of me. Keep in mind things were changed when it came to the final layout, but nonetheless this is some pretty cool stuff. 

This dates to December 1930.

It is hard to put an exact thumb on it, but somewhere in the last eighty years we have managed to lose the ability to compose a charming letter about coal rationing in our Oxford dorm room. You might blame the computer, cell phone or internet.. I am going to say it was the typewriter ( I am looking at you Remington Portable #1). Either way I find myself appreciating more and more the letters that are at this museum. 

Some of the letters and notes that reside in our archives are extremely personal and will never be shared with the public, sorry. There are clear boundaries that even I won’t overstep to draw attention. Lucky for you though there are hundreds that are just as interesting and will manage to offend nobody!

So I am happy to introduce a new series called, “Everything was more interesting before 1953: Because people took their time when putting thoughts on paper.”

This one comes from Douglas Volk whose paintings you can find around the Hermitage. Note the discussion on a future painting of one of the sons and connecting Mrs. Sloane with Samuel Yellin who also has work in this museum.

Letterhead: The National Arts Club New York, GramercyPark, Manhattan

In script:

October 2th, 1916

 dear Mrs. Sloane,

There is no use in dwelling on the good intentions I have had in the matter of writing, they would fill a lengthy letter, I am rather tempted to tell you what a thoroughly interesting and delightful time I had with you all during my stay in Norfolk. In fact so much of my time there seemed to be devoted to pleasure, that I wonder when I look at the portrait of Jr., how I managed to do so much to it. I can only hope to get into the picture as I go on with it, something of the charming spirit I carried away from your home, or at least the impression of it.

            I presume you have been waiting to get the name of that iron worker, please realize that I feel very guilty for not having sent it before this.

            Samuel Yellin is the artists name, 5520 Arch St.Philadelphia. He stands at the very head of his craft. There is another man almost as good. Mr. Park Edwards, a pupil of his I believe, address Brynathen  Penn. But I understand his prices are not much lower than Yellin’s, and he is doing all the iron work for a very wonderful Gothic cathedral at Brynathen, of which Mr. Crane is the other architect. The only thing to do of course is to write them if you follow up the trail.

             I had a very enjoyable stay of three days at Baltimore, putting up at the Country Club overlooking the beautiful golf links. I am glad to say that the Spring ? were delighted with the portrait, so there was little to do on it.

            I know the lovely weather we are having must have its origin at Norfolk, the Sunny day, reminded me of that glorious trip up the James, piloted by our good friend Capt. Carter.

            Mr. Sloane has not made his presence known to me here in New York, but I know that his time must have been taken up to