This bright and bold pattern featuring birds, butterflies, and blossoms is on the fabric covering the recently reupholstered chaise lounge in Doris Duke’s bedroom.
As part of the conservation process for the chaise, the Griswold Textile Mill reproduced the pattern from the fabric that had naturally deteriorated. The Griswold Textile Mill in Westerly, RI. was established in 1937 and is one of the only fully operational, hand printed fabric mills in the United States. The hand printed fabric now has UV protection to help with the longevity of the upholstery. Doris Duke chose the pattern—along with others—from the Thai Silk Co. sometime after 1983.
Established in 1951, the Thai Silk Co. produced fabrics made with Thai silk by skilled Thai weavers. The brand became known internationally, especially after Queen Sirikit became a patron and wore Thai silk during her tour of 15 Western nations in 1960.
You can see this striking chaise the next time you visit Rough Point Museum—and you can learn more about Thai silk in our upcoming special exhibition, Inspired by Asia: Highlights from the Duke Family Collection.
To celebrate Black History Month, we are featuring the stories of African-heritage and African Americans who are an integral part of our story and our communities’ stories—along with resources so you can discover more!
The Gilded Age has left its mark on the American popular imagination—and one of the largest legacies of the Gilded Age are the buildings designed during the era. One man responsible for many of these buildings was Julian Abele (1881-1950), a chief architect for the firm of Horace Trumbauer.
Abele was born in Philadelphia and graduated with a degree in architecture from the University of Pennsylvania in 1902. He was one of the first African American professional architects, at a time when the field of architecture was being shaped into the profession it is today.
He began working for the Horace Trumbauer firm in 1906—advancing to become chief architect in 1909 and assuming leadership of the firm after Trumbauer’s death in 1938.
Abele was arguably the creative force behind the majority of Trumbauer projects in this period, including many for the Duke family (as Abele said, “The lines are all Mr. Trumbauer’s, but the shadows are all mine”). While he did not have a direct hand in the renovation of Rough Point in the early-1920s, (our understanding is that this type of project would not have been undertaken by Abele and it would have been the responsibility of a separate renovation department), you can see the evidence of his influence on the design of the grand staircase at Rough Point—which closely resembles the one designed by Abele for Ronaele Manor (Dixon home in Elkins, PA) in 1923.
His accomplishments and his prolific body of work are even more impressive considering he also contended with discrimination and racism. He was not admitted as a member of the American Institute of Architects until 1942—40 years after his professional career began. He designed buildings for Duke University for two decades, but rarely visited—and was not able to oversee the work—because of segregation Jim Crow laws.
Today, you can visit Abele’s work across the eastern United States—including the former Duke residence at East 78th Street and 5th Avenue (1909), Harvard’s Widener Memorial Library (1915), the Philadelphia Free Library (1917), and several Duke University campus buildings.
Let us help you celebrate the season! We’ve made holiday shopping easy by putting together some great gift ideas from the NRF Museum Store.
Thank you for supporting the Newport Restoration Foundation and for shopping local. All proceeds benefit NRF and help promote our mission.
Enjoy free standard shipping—as well as free local delivery and free local pickup.
Take the stress out of gift-giving! Your gifts will be beautifully wrapped in paper featuring hand-drawn illustrations and patterning. Select “gift wrapping” during checkout.
*New for 2021*
Limited Edition Tiger Lily Print collection: Featuring the tropical tiger lily print of Doris Duke’s 1938 Jantzen swimming suit, these limited-edition products are perfect for holiday gifting (or as a treat for yourself)!
Gift Sets: Perfectly curated gift sets for a special someone—or yourself! Each set includes a natural homemade soap bar, a hand-poured wood wick candle that crackles when lit, and a natural balm that nourishes and protects lips.
Get Holiday Ready
Holiday Collection: Celebrate the holidays with featured ornaments, exclusive products inspired by the museum collections, and special gifts (for you, or to share!)
Ornaments: From the iconic exterior of Rough Point, to an homage to Doris’s passion for jazz, to brightly-colored handcrafted designs, these ornaments are perfect to display at home all year-round.
For Entertaining: Entertain in style (or dress up a cozy night at home) with these beautiful, collection-inspired, eco-friendly napkins, plates, coasters, and guest towels.
Unique gifts for all:
For the book-lover: From Doris Duke’s closets & collections, to historic Newport buildings, inside looks at Rough Point, colonial life & Newport furniture, garden-related stories for gardeners & enthusiasts, and kid-friendly new favorites & classics—discover a book for everyone!
For the decisive decision-maker: Featuring a saying from a pillow gifted to Doris Duke, these items showcase Doris’s sense of humor (and your own!)
For the furniture fan: These items are inspired by Whitehorne House Museum’s collection of exquisitely crafted furniture and the stories of the people who designed, made, and purchased furniture and related crafts.
Newport Restoration Foundation R.P. Foley Photograph
Project # P-12 Proof # 10 Date ’68
4 Elm St. Before [Robert Foley’s notes on photo]
Developed: 1968
For your furry friends: Our pets deserve some TLC this winter season (*all products are rated two paws up!)
For the gardener: Stylish & sturdy gardening gloves, beautiful books, hand salve, & more. NRF Estate Gardener approved!
For hardworking hands: Soaps, hand butter, hand salve & more! Everything you need to pamper your hard-working hands. From relaxing to invigorating scents—go ahead and indulge. Locally made with organic and sustainably sourced ingredients.
For kids: Fun, educational, and whimsical products for the littlest explorers, artists, and gardeners.
For restoration buffs: Founded in 1968 by Doris Duke, NRF works to study climate change resilience in Newport, develop new community-oriented programs, preserve our museums and historic buildings, and steward centuries-old properties. You too can join us in supporting this work.
For the yogi: These custom yoga pants are relaxing, comfy, & stylish. Limited quantities!
6 Cross Street
Before
NRF Museum Store gift cards are also available for use online or in store.
Follow us on social media @nptrestoration or sign up to receive newsletters to stay in the know about new products and sales.
Our special holiday pop-up is located at Rough Point Museum, 680 Bellevue Ave. Open weekends during the holiday season, including November 26th.
By Peter Raposa, Mill Supervisor at Newport Restoration Foundation
The Samuel Whitehorne House (1811), located at 416 Thames Street in Newport, RI, was in dire need of repair when Doris Duke acquired the building in 1970. A story emerged from the massive efforts of that restoration project, a legend of sorts, which was shared with me some 30 years ago. The legend says there are three window sashes original to the house – the round sash on the third floor and the six foot tall arched sash on the second floor, located on the west side of the building (front façade), and the arched window in the stairwell landing on the east side of the building (rear façade). Through the decades, these sashes have been removed to be worked on individually, but never all at the same time since 1970. I recently had the opportunity to work on all three sashes thanks to a generous grant the NRF received.
The approach I took to preserve them was to take one out at a time, repair it, put it back and take the next one, etc. To start, I removed the arched window from the east side. The first thing I noticed was that it was in very good shape and needed minor repairs, such as replacing some loose glazing, sanding the exterior and interior sides, applying some primer and two coats of paint on each side. There was no peeling of paint to speak of so there was no heavy scraping involved. Piece of cake – the sash was completed and reinstalled.
I then removed the six-foot arched sash from the west side, located on the second floor. Compared to the first sash, this one was in rough shape, and the 34″ panel frame work that the sash sits on was rotted beyond repair. A new one had to be made.
The last time this house was painted was back in 2005 – 16 years ago. When I brought the sash back to the mill, I really had the opportunity to take a closer look at it. Most of the glazing was missing, except for some of the areas around the arch. Most of the glass was just floating, and the only thing holding the glass in place were the points. All the lites had to be removed and labeled so each one would go back in exactly the same opening and in the same orientation. The photo below shows how I did this. The interior and exterior paint was flaking off due to the heat from the afternoon sun beating down on it for so many years. I had no choice but to remove the paint on both sides to the bare wood. This did not take long because the condition of the paint was so poor.
When scraping the paint on the curved muntins on the interior side, I discovered something amazing. I noticed how the craftsman achieved the curved shape of the muntins – something that has been covered by layers of paint for quite some time, and remained hidden for possibly decades. The muntins had relief cuts cut three quarters of the way through and spaced 1/2″ apart from each other, all cut with a very thin blade from a hand saw. This method would allow a straight piece of wood to be manipulated into a curve (see photo below). It made me think. Could this sash be original? Further probing needed to happen. Since there were multiple curves on this sash, I needed to confirm how many other curves were made in this manner. To my surprise, I found that they were all crafted in the same way.
At this point, I started to ask a looming question about the first arched sash that I just completed. Since I did not scrape any paint from the interior side, were the curved muntins crafted with relief cuts? If so, this could establish a common timeline for them and if not, expose a different one.
I completed the repair work of that tall sash and installed it back in its home. I was eager to start the last sash – the round one on the third floor. Once getting it back to the shop, the very first thing I did was to remove the paint to expose how the craftsman made the curved muntins. I was hoping to discover relief cuts to give credence to the legend, but what I had actually discovered was that they did not match. Not one curved muntin was made in the same fashion as the other one.
It was very disappointing to confirm this. That very first arched sash from the east side – the one that I did not scrape any paint off – was at the forefront of my mind. I needed to go back and remove the sash even though it was completely done, bring it back to the shop, and confirm whether or not it is of the same timeline. When I had it back at the shop, I removed a small section of paint on just the inside portion of the curved muntins. This is where I would find the relief cuts. To rule out the possibility that I unveiled a repair made from a solid piece of wood, I removed a small section of paint on all the curved muntins, but found that not one muntin had relief cuts.
So it was determined that the two sashes without relief cuts were made from a different time period, much later, and machine made. They were one solid piece compared to three individual pieces – the bead portion with relief cuts, the middle section that was cut to the curve, and then the thin vertical back piece, where the glazing would rest against, that was bent and nailed to follow the curve (see photo below).
Before I could give my final evaluation of whether or not the six-foot arched window was original, I needed more proof to lead me to believe it was indeed original – and I found it.
I went back to the museum to look more closely at the interior trim and it was staring at me all the while. The interior trim around the arched openings were obviously curved as well and I needed to see how it was made. We know with certainty through old photo documentation that the trim around those three window frames are original, as well as many other trim pieces in the house, for that matter.
You can see by the photos below that the method of creating the curve is an exact match to the way the curve of the arched sash was created, all done with relief cuts and possibly with the same saw. The house joiners in 1811 not only made and installed the interior trim pieces but also made the sashes as well. Furthermore, that tall sash had old wooden shutters on the exterior side protecting it for many decades. In many ways, that building was sustained for decades because of preservation by poverty.
Examples of original relief cuts
With of all the evidence falling into place and fitting perfectly, I believe the six foot arched sash is indeed original and that a part of the legendary story is true. The other two sashes are unfortunately not original, but are still beautifully crafted and historic.
As always, it is a complete honor and privilege to have had the opportunity to dive into these historic sashes and exam them carefully. Thank you for your time reading about the sashes of the Samuel Whitehorne House Museum. The museum is open to the public seasonally, and worth your while to pay a visit, not only to see the fine furniture and artifacts, but also to see these sashes in person for they, too, are made of the highest craftsmanship and integrity.
Thank you to The 1772 Foundation, in cooperation with Preserve Rhode Island, for providing partial grant funding to support this project.
I say, “was,” because after you sort through someone’s clothing (including underwear), you get to know them fairly well.
The main objective of my internship at Rough Point over the summer and fall was to accession (or catalogue) a recent collection of her clothes that were shipped from her former Shangri-La property in Hawaii to the museum staff at NRF.
Some things I learned about Doris while doing this were that she loved belts, enjoyed a comfy caftan, and had a penchant for bright colors and modern fashions. A portrait of her, printed to a life-size scale, watched over me diligently in my temporary office as I browsed her clothing collection, which was busting out of the boxes from Hawai’i. The vast swath of styles stretched over decades from the 1930s to the 1980s, and, of course, I had some personal favorites along the way.
I enjoyed seeing the bright prints and short skirts of the 1960s and 1970s, and cooed over the delicate beadwork on bias-cut gowns. However, there was, and still is, an academic barrier that kept me from loving them. As a graduate student who is versed in fashion history, each of these garments turned into a mini-study. These things, to me, were relics to be treated with the utmost delicacy and care. A majority of the clothing I referred to as objects, divided from me by time and space. These objects were cool, but they were not applicable to my life.
What was applicable, and the clothes that I loved, were tourist t-shirts from the mid-to-late 80s. I never grew up wearing crinolines or mod suits, nor did I ever see anyone wearing any in my day-to-day life. But having been born in the late 90s, I did recognize t-shirts.
Doris had t-shirts from trips she took to Hawai’i, Montana, and more– little “touristy” things that might even be considered cheap looking to some people. These shirts made Doris feel real to me, and not just some larger than life figure that watched me from a poster. These are things that she would have acquired late in her life, and very much reminded me of my own grandmothers. It was a very bittersweet moment, looking over these casual clothes and being reminded that Doris was once my grandmothers’ age. The experience left me feeling melancholy, but with a new affinity for an aging woman who had a life well-lived, and probably grew to enjoy the comfort of a t-shirt.
I once again think of my own grandmothers and the stories they tell about their lives. The decades scarcely understood by myself, having never lived them, but still sharing an intimate connection through clothing. They love a good t-shirt, I love a good t-shirt, and so did Doris.
By Paige Bailey
Paige Bailey was the curatorial graduate intern for 2021 summer and fall. Paige is in her second year of the Master of Science degree in Textiles, Fashion Merchandising and Design at the University of Rhode Island.
Newport Restoration Foundation is excited to be able to continue in-person programs and events at our museums this fall. Rough Point Museum, Whitehorne House Museum, and Prescott Farm will offer a variety of free and ticketed programs for all ages and interests. Please mark your calendars for upcoming special events including:
Classic Cocktails
Whitehorne House Museum (416 Thames Street, Newport)
October 2 / 5:00 – 6:30 PM
$30 – Advance registration required
Taste the eclectic mixed drinks of 18th century Newport at this fun and flavorful evening in the garden at the Whitehorne House Museum!
In the intimate Formal Garden at Rough Point, the Salve Regina a capella groups, Mixtapes and Pitches with Attitude, perform a collection of songs from their repertoire. Visitors can lounge on the grass amongst the blooms in the Formal Garden, or bring blankets, chairs, or pillows to relax. Grounds open at 6:00pm, performance begins at 6:30pm.
Second Sundays Prescott Farm (2009 West Main Road, Middletown) September 12 / 12:00 – 3:00 PM Free admission
Each month, NRF joins with a non-profit partner to highlight the expansive history and horticulture of Prescott Farm. In October, join NRF and Sankofa Community Connection to learn about all things Kwanzaa! Climb inside the historic windmill, explore our varied gardens with URI’s Master Gardeners, and enjoy themed activities and crafts.
Roam Around Rough Point Rough Point Museum (680 Bellevue Avenue, Newport) October 30 / 5:00 – 8:00 PM $0-$20; Newport County Residents are free!
Discover strange and eerie objects, go on a Treasure Hunt, enter our Costume Contest, and hear recordings of ghost stories told by the staff who knew Rough Point at its spookiest.
