A Currier newcomer told me they initially thought the museum's first director, Maud Briggs Knowlton, was a man christened with a woman's name. That makes sense, because in 1929 women rarely held the post of museum leader. Cornelia Bentley Sage Quinton of

the Albright-Knox Gallery, Buffalo, N.Y., was the first woman director in the country, serving from 1910 to 1923, and Maud Knowlton was second named in May 1929, serving until 1946.

Maud Briggs Knowlton as a young woman

Appointed when she was 60 years old, the Currier

Gallery of Art's first director steered the museum over some rough ground in her 17-year directorship. The Currier Gallery of Art opened October 9, 1929, several weeks before the stock market crash that caused a dozen years of massive economic trouble worldwide. Locally, the city's most important business -

Amoskeag Manufacturing Company - slumped, then failed. World War II further complicated museum endeavors. The Currier's art collection was small in the beginning. During these years, exhibits were by loan from commercial and private collections, and traveling and invitational exhibitions.

I have great respect for this woman, because through it all, this accomplished artist and educator led the Currier with sureness, creativity and modernism. When you glance at Harriet Whitney Frishmuth's elegant sculpture, Crest of the Wave, thank Maud Knowlton for this earliest purchase. She also secured other treasures during this time, specifically our superb tapestry, The Visit of the Gypsies, and our great collection of early-American furniture and decorative arts.

"One good canvas is worth a whole gallery of undistinguished paintings," she wrote in 1933. To that end, she was involved in acquiring John Singleton Copley's John Greene, Childe Hassam's The Goldfish Window, Winslow Homer's Fishwives, and John Singer Sargent's Grace Elvina, Marchioness Curzon of Kedleston.

Born in Penacook March 17, 1870, she studied with painter and illustrator Rhoda Holmes Nicholls in New York City, and took art classes at Boston's Museum of Fine Arts and in Europe. She taught art in Manchester. Museum docent Florence Merrill remembers going to her home for lessons when she was a child.

Monhegan Island by Maud Briggs Knowlton

Maud and husband, Edward, spent more than 60 summers at their cottage on Monhegan Island, an artist's colony in Maine. The Currier's first director painted many watercolors and oils there, and the Currier collection has 10 paintings by Maud of Monhegan Island.

In 1939 she arranged an exhibit at the Currier Gallery of Art when Andrew Wyeth was 21.  The Currier exhibition included four early tempera paintings and 20 watercolors, including the 1938 watercolor Cat-O'-Nine-Tails, part of the Currier collection, along with 1950's Spindrift, on view in the Modern West gallery, and Study for Spindrift.

We have to thank Maud for starting many of the Currier's educational and community programs we have today. David S. Brooke, Currier director from 1969 to 1977, wrote in the Currier's long-gone, monthly publication, Bulletin, "Acquisition of art is only a small part of the museum's total activity, for it is the intelligent use of its collection through exhibition and education which really matters." Karen R. Singer in "1929-1946: A History of Acquisitions at the Currier Gallery of Art" agreed with this statement when she wrote about the first director: "Her sensitive and keen awareness of the role of the museum in the community helped bring in many new friends."

Currier Director Susan Stickler says the Currier's first director "recognized the educational potential of art museums early on. She was instrumental in establishing studio programs, tours and lectures that would engage people of all backgrounds in art.  She was very much an inspirational pioneer to many of us in the field, and she charted the course for the Currier today."

Maud Briggs Knowlton, who was also a member of the Currier's board of trustees, died at 86 in 1956. She is buried in Manchester's Pine Grove Cemetery.
 

In 2006, Susan made a personal trip to the Knowltons' Maine cottage sharing the experience for a museum calendar piece. "As I look to the museum's future and our efforts to exhibit more of the collection and serve a wider audience," she wrote, "I have a sense that Maud Briggs Knowlton is cheering us on." I have that sense too.

Thank you to Meghan Peterson, the Currier's librarian/archivist, for providing information for this article.

- Pauline Bogaert 

On Monday, October 24, the Guild executive committee was the featured presenter at the Currier Museum of Art Board of Trustees' monthly meeting. Pat Howard, Ted Parrot, Yvonne Dunham and Barbara Shepler explained the function and workings of the Guild, illustrated with a selection of photos in a power point presentation.

Pat's remarks included a brief history of the Guild. She talked about its creation as a self-governing body within the museum with its own by-laws and handbook, and its purpose of assisting museum staff to fulfill their mission. Accompanying photos presented volunteers in every area of involvement. Trustees got a chance to see Guild members in action as more than docents to the public and staff, but as an arm of the Currier that can rightly be called the "friendly face of the museum."

Yvonne shared the volunteers' enthusiasm for their excellent training; the prestige they gain of being associated with the Currier; and the high value and appreciation of Guild members by staff.

Ted explained how he and Pam have become the "glass experts." The Parrots have assisted Director of Collections and Exhibitions Andrew Spahr by attending and representing the Currier at various glass conventions. Kim's work as new membership chair was praised, along with her recent attendance at the National Docent Symposium where she conducted a workshop, "Inspired Words: Art & Poetry at the Currier Museum of Art."

The Trustees were informed about the number of docents and total hours contributed last year, which is the equivalent of 10 full-time employees. Comments by Museum Shop Manager Heidi Norton confirmed the value of volunteer hours to staff, and were reaffirmed by Librarian/Archivist Meghan Peterson, who spoke about Currier library projects following the guild presentation.

Trustees gained an appreciation for the varied talents and contributions of our volunteers, our passion for the museum and our value as a resource within the communities in which we live. Discussion then focused on ways the Currier can expand its visibility within N.H., especially the interest in reviving Currier on the Move.

Susan Leidy was thanked for her tireless efforts and constant encouragement as our staff advisor, recognizing the Guild as one of her legacies at the Currier. We will miss you, Susan.

Barbara Shepler

Executive Vice Chair,

Guild of Volunteers

472-2577

barbara.shepler@yahoo.com 

A few years back, I purchased an oil painting of a Boston street scene at a consignment shop. I loved it, hung it and enjoyed it.

About a year ago, I was watching the television program, "Antique Road Show," and I got to thinking maybe I should learn something about my oil painting. My painting, by John C. Terelak, was signed with the date of 1995 and a copyright sign. I "googled" the artist and found several references to him.

On my way to the theatre in Boston this past March, I went on a hunt to three places where his art might be hung, and struck out on all three. Then the light went on over my head, and I thought about art galleries on Newbury Street.

The first gallery I entered, a very nice young man said they didn't have any of Terelak's work, but The Guild of Boston Artists might. The guild, which was in the next block, has been at 162 Newbury St. since 1914. It was started by Frank Benson and Edmund Tarbell, both of whom were teaching at the School of the Massachusetts Fine Arts at the time. Apparently, there was a "dust up" of some type at the time, so they started their own guild. 

I learned the school was having a Terelak exhibit, and the artist would be at the reception on November 5. I went to the exhibit and met the artist, who is delightful and was very happy that I brought along a picture of the painting.

I thought his painting might be a composite, but it is a true street scene of the Park Street Church and Boston Public Gardens. I asked him about the copyright sign and he said in those days, the copyright sign was required, but this is not the case any longer. I found out he lives and works in Rockport, Mass., where he also has his shop called Terelak Fine Arts at 1 Whale Cove Road.

- Jean McGiffin