The White House: Its Historic Furnishings and First Families

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For 200 years the White House has served as the residence of our nation's president and his family. John and Abigail Adams were the first residents, and each family ever since has been able to make the White House a comfortable home and to acquire the necessities for handsomely carrying out its additional functions as nexus for state ceremony and entertaining. In captivating detail, this volume--produced in association with the White House Historical Association--reveals how the decoration of the White House has...
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Overview


For 200 years the White House has served as the residence of our nation's president and his family. John and Abigail Adams were the first residents, and each family ever since has been able to make the White House a comfortable home and to acquire the necessities for handsomely carrying out its additional functions as nexus for state ceremony and entertaining. In captivating detail, this volume--produced in association with the White House Historical Association--reveals how the decoration of the White House has reflected the personal style of our first families and their countless forays into redecorating.
Illustrated largely with photographs especially commissioned for this book, as well as historic pictures, The White House focuses on some of our nation's most important heirlooms, including furniture, silver, glass, porcelain, and textiles. Enlivened with stories about the first families and how their furnishings often clashed with the politics of the time, this book is an ideal gift for those interested in the decorative arts, biography, and history.
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Editorial Reviews

Library Journal
Publication of this well-written, beautifully photographed book coincides with the 200th anniversary of White House occupancy. Monkman, the White House curator, documents the furnishings and decorative objects as well as the metamorphoses of White House interiors. The impact of the presidents and first ladies is particularly intriguing. Monkman traces the house's history from its humble beginnings--John and Abigail Adams moved in to a partially finished building in November 1800--through its sacking during the Madison administration to Jacqueline Kennedy's impressive efforts to keep the history of the house alive. Her work led to the institutionalization of the White House as a museum, which the American Museum Association accredited in 1988. The back of the book features a catalog of the illustrated objects. This important work is highly recommended for any collection.--Jennifer Mayer, Univ. of Wyoming Libs., Laramie Copyright 2001 Cahners Business Information.
Booknews
Written by White House curator Monkman, this volume provides an exhaustive survey of the furnishings acquired by the occupants of the White House, from John and Abigail Adams to Bill and Hillary Clinton. Extensively illustrated with specially commissioned color and b&w photographs and select period graphics, it focuses on some of the nation's most important heirlooms including historically significant furniture, silver, glass, porcelain, and textiles. Oversize: 10x12.25<">. Annotation c. Book News, Inc., Portland, OR (booknews.com)
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Product Details

  • ISBN-13: 9780789206244
  • Publisher: Abbeville Press, Incorporated
  • Publication date: 11/28/2000
  • Pages: 320
  • Product dimensions: 10.12 (w) x 12.30 (h) x 1.22 (d)

Read an Excerpt

The American capital in the early nineteenth century was an anomaly. Other towns and cities of the United States grew up on a commercial foundation; even the frontier settlements laid out in advance of the arrival of permanent householders usually had some assured prospects of trade by river or rail. But the well-informed founders of this nation-statesmen familiar either through travel or study with the great cities of Europe-envisaged even more for the national capital than a meeting place for Congress and a seat of the executive branch of government. Their carefully prepared plan for the city of Washington in itself proclaimed their dream of embodying in the stones of her buildings, in her parks and fountains, and in the broad sweep of her avenues a dignity and beauty that would symbolize the ideals of the new republic. With the federal city a reality, architectural competitions were held in 1792 for the new nation's two most important buildings, the Capitol and the President's House.

President George Washington, Secretary of State Thomas Jefferson, and the commissioners of the Federal City gave William Thornton the prize for the Capitol and James Hoban the commission for the residence of the president. Hoban apparently drew inspiration for his somewhat conservative design from Leinster House, Dublin, and from other English and Irish country houses shown in James Gibb's Book of Architecture (1728). His original plans called for a structure three stories high, but as funds were meager, two stories would suffice. Construction had begun in the fall of 1792, but when, in November 1800, President and Mrs. John Adams took up residence, the building set within Virginia sandstone walls wasstill unfinished. Abigail Adams wrote her daughter, complaining: "There is not a single apartment finished. . . . We had not the least fence, yard, or other convenience, without, and the great unfinished audience-room [the East Room] I make a drying room of, to hang up the clothes in." Though conditions were drafty and unpleasant, John Adams nonetheless bestowed a lasting benediction on the house, following his first night there: "May none but honest and wise men ever rule under this roof."

Thomas Jefferson, the mansion's first long-term resident, from 1801 to 1809, was not overly enamored of the building either, grousing that it was "big enough for two emperors, one Pope, and the grand Lama." A diligent amateur architect, he designed low terrace-pavilions for either side of the main building, thinking they would soften the structure's grandiloquent impression. Jefferson appointed architect Benjamin Henry Latrobe to finish the structure, and he had completed numerous projects before it was burned by the British in August 1814 during the War of 1812. To rebuild the gutted mansion, President James Madison (1809-1817) rehired James Hoban.

By 1817 President James Monroe (1817-1825) was able to move into the reconstructed house, and he ordered the elaborate French Empire furnishings that remain at the core of the historic White House collection. Hoban was still on the scene in 1824 when Monroe hired him to add the semicircular South Portico, a Latrobe-Jefferson pastiche. Five years later, Andrew Jackson (1829-1837) engaged Hoban to build the North Portico, again following Latrobe's Jefferson-sanctioned plans. Throughout the nineteenth century, creature comforts brought about by advancing technology were added, including water closets, running water, central heating, gas lights, and electricity by 1891.

The symbol of continuity and stability, the White House in reality has been continually in revision over the past two centuries-as Betty Monkman's engaging narrative so ably demonstrates. Ever since the Adamses moved into the house, first families have furnished and redecorated the White House in the prevailing styles of their times or the exigencies of the moment. Because the house was not only the president's home but his office as well, the structure endured the stress and strain of daily use by numerous visitors.

Chester A. Arthur (1881-1885) undertook a major refurbishing of the mansion in 1882, having wagon-loads of old furniture carted away to public auction, and then calling on the celebrated New York designer Louis C. Tiffany to redecorate the interior. When Theodore Roosevelt (1901-1909) became president, the house underwent another revamping when the prominent architectural firm of McKim, Mead & White was selected to survey the building and make recommendations. Extensive greenhouses that had flanked the building for decades were demolished, and interior facilities were modernized. The Roosevelt renovation began the process of reshaping the White House into what was envisioned as its original appearance-a process extending through succeeding presidencies. By the early 1960s, Mrs. John F. Kennedy, recalling the period when the White House was first occupied, redecorated the state floor rooms in the Federal style. Earlier, during the administration of Harry S. Truman (1945-1953), the White House had been gutted to create more space and to provide structural stability within the original walls. This involved disassembling the rooms, removing the internal fittings of the building, then piecing the interior back together over a steel structural frame.

It is difficult to know whether to be more astonished at the boldness and courage or at the originality and genius of that generation of incomparable leaders who launched this nation. The founding fathers formulated the paradox of democracy and limited government, and they and their successors institutionalized it with such practical devices as written constitutions, bills of rights, a system of checks and balances, and judicial review-all sanctioned by the primacy of law.

That the American cause had opened a new chapter in the history of mankind was reaffirmed by foreign liberal intellectuals throughout the nineteenth century. The French social philosopher Alexis de Tocqueville wrote: "In that land the great experiment of the attempt to construct society upon a new basis was to be made by civilized man; and it was there, for the first time, that theories hitherto unknown, or deemed impracticable, were to exhibit a spectacle for which the world has not been prepared by the history of the past." America was not just one more empire but a transforming presence whose emergence at the center of history had been made possible not only by the providential wealth of a virgin continent, but by the first successful application of a new principle in human affairs. "The present year," Martin Van Buren said in 1838, "closes the first half century of our Federal institutions. . . . It is reserved for the American Union to test the advantages of a government entirely dependent on the continual exercise of popular will." Andrew Jackson's prophecy that America was "manifestly called by the Almighty to a destiny which Greece and Rome, in the days of their pride, might have envied" was coming true.

Between the time of Washington and Lincoln, America was searching for its identity to give meaning to its past, present, and future. One reason Americans tried so compulsively to explain America was that the country kept changing beyond the conception and even the recognition of its people. The belief that America was different, that America was exceptional, evolved into a national mythology of sorts. All expected us to become the most splendid empire since Rome, indeed the first true empire of liberty in the history of mankind. The principal instrument of collective progress was an exceptionally functional elite, a swarm of achievers, largely self-taught, who had earned rather than inherited their places. They were rigorously continental in scope and vigorously capitalist in thrust, this multitude of uncommon men and women whom Lincoln hailed as "the fairest portion of the earth."

The diverse, changing, and in many ways unique White House collection of decorative arts featured here vividly reflects the disparate strands of this emerging American culture. "Democratic nations," De Tocqueville observed, "will therefore cultivate the arts that serve to render life easy in preference to those whose object is to adorn it. They will habitually prefer the useful to the beautiful, and they will require that the beautiful should be useful." Romantic beliefs led artists to seek truth and beauty in the commonplace of daily life, and there is a functional beauty in these peculiarly American household objects of utility and adornment. Ralph Waldo Emerson urged young American writers to find their inspiration and materials in the "meal in the firkin; the milk in the pan; the ballad in the streets; the news of the boat"; and, as for himself: "I embrace the common, I explore and sit at the feet of the familiar, the low." This kind of art would be democratic and practical, moral and optimistic. And in that spirit, over the next several decades, literature was written and arts, both ornamental and useful, were created all across this broad continent. Herman Melville called Americans the advance guard of mankind, "sent on through the wilderness of untried things, to break a path in the New World that is ours."

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Table of Contents

Foreword: The First Ladies

Pg. 8

Introduction: Wendell Garrett

Pg. 10

Preface: Betty C. Monkman

Pg. 13

Acknowledgments

Pg. 17

The President's House in the Early Years, 1789-1814

GEORGE WASHINGTON, JOHN ADAMS, THOMAS JEFFERSON, JAMES MADISON

Pg. 19

The White House: From Design to Destruction, 1793-1814

Pg. 49

French Taste at its White House Zenith, 1817-29

JAMES MONROE, JOHN QUINCY ADAMS

Pg. 53

The Blue Room

Pg. 77

The People's President and the Jacksonian Era, 1830s-40s

ANDREW JACKSON, MARTIN VAN BUREN, WILLIAM HENRY HARRISON, JOHN TYLER, JAMES K. POLK

Pg. 81

The Green Room

Pg. 107

Revivals of the "Antique" at Mid-Century, 1850s-60s

ZACHARY TAYLOR, MILLARD FILLMORE, FRANKLIN PIERCE,

JAMES BUCHANAN, ABRAHAM LINCOLN, ANDREW JOHNSON

Pg. 111

The Red Room

Pg. 139

Renaissance Revivals and the Aesthetic Movement, 1870s-1890s

ULYSSES S. GRANT, RUTHERFORD B. HAYES, JAMES A. GARFIELD,

CHESTER A. ARTHUR, GROVER CLEVELAND, BENJAMIN HARRISON, WILLIAM MCKINLEY

Pg. 143

The East Room

Pg. 181

National Identity and the Colonial Revival, 1900-1950s

THEODORE ROOSEVELT, WILLIAM HOWARD TAFT, WOODROW WILSON, WARREN G. HARDING, CALVIN COOLIDGE, HERBERT HOOVER, FRANKLIN D. ROOSEVELT, HARRY S. TRUMAN, DWIGHT D. EISENHOWER 1

Pg. 185

The State Dining Room

Pg. 229

A Museum Evolves from a Collection

JOHN F. KENNEDY, LYNDON B. JOHNSON, RICHARD M. NIXON, GERALD R. FORD, JIMMY CARTER, RONALD W. REAGAN, GEORGE H. W. BUSH, WILLIAM J. CLINTON

Pg. 233

Important Acquisitions, 1961-2000

Pg. 267

Endnotes

Pg. 273

Catalog of Objects: William G. Allman

Pg. 279

Picture Credits

Pg. 312

Bibliography

Pg. 313

Index

Pg. 315

Author Biography: Betty C. Monkman has worked in the White House curator's office since 1967; in 1997 she was named curator. She has written numerous articles on White House decorative arts. Bruce White, formerly a staff photographer at the Metropolitan Museum of Art, specializes in photographing art and architecture.

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Sort by: Showing all of 2 Customer Reviews
  • Anonymous

    Posted October 4, 2000

    BRAVO! BRAVO!

    Once again Betty Monkman has given us WHITE HOUSE FANS a magnificant chronicle! What a glorious, beautiful absolutely stunning work of art! Betty has included everything in this piece! Bruce White's photography cannot be topped! Looking at the old photos of days gone by and then seeing the 'latest versions' of those historic rooms is truly a treat! The details on the historic furntiure, art pieces, glassware, china and more within those walls is fascinating! During this - the 200th Anniversary year of the White House getting it's first occupants, this book is really a treasure and a great addition to anyone's library to help mark this historic anniversary! I thought I knew a lot about the White House - once again Betty Monkman has taught me more! Thanks Betty! :-)

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  • Anonymous

    Posted April 9, 2010

    No text was provided for this review.

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