Following in the footsteps of Thomas Cole and the Morans

Fiona Salvesen’s Churchill Fellowship Report

Detail of Thomas Cole’s The Oxbow, with the artist in the foreground

Metropolitan Museum of Art, New York

Detail of Thomas Moran’s The Tetons, Metropolitan Museum of Art, New York

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Fiona Salvesen’s Fellowship Report

Following in the footsteps of Thomas Cole and the Morans Contents page Introduction 3 Report 5 Conclusions and Acknowledgements 15 Annexe 1 – Itinerary 16 Annexe 2 – Encounters with Churchill 18 Annexe 3 – Maps 19 Annexe 4 – Research archive on the Morans and Cole at Bolton Museum and Art Gallery 22 Annexe 5 - Press Coverage (plus attached material) 29

Note: All photographs included in this report were taken by Fiona Salvesen during her Fellowship, except for the following: Page 3: Thomas Moran, Nearing Camp… © Bolton Museum & Art Gallery Page 7: Thomas Cole, Kaaterskill Falls, copyright holder unknown Page 13: Thomas Moran, Tower Falls © Smithsonian American Art Museum (website image) Pages19-20 Maps scanned from the National Park Service handout as you enter the park Page 21 Detail from Historic East Hampton map © Streetwise Maps

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Fiona Salvesen’s Fellowship Report

Thomas Moran, Nearing Camp, Evening on the Upper Colorado River, Wyoming, 1882

Oil on canvas, Bolton Museum & Art Gallery Introduction: The aim of my Fellowship was to research the Moran family of artists: (Edward (1829-1901), Thomas (1837-1926), John (1831-1902), Peter (1841-1914) and Mary Nimmo (1842-99), and Thomas Cole (1801-1848), known as “the father of American landscape painting”. All these artists were born in Bolton, except for Mary who was born in Strathaven, Scotland; she married Thomas Moran in 1863. They all immigrated to the USA becoming renowned artists in their own right. The research was prompted by my post as Keeper of Art at Bolton Museum and Art Gallery, where I have been working since June 2004. As part of my responsibilities, I care for the largest public collection of work by Thomas Moran and Mary Nimmo Moran outside the United States. When I arrived I was asked to develop my expertise on the Morans, and Thomas Cole with a view to holding the first international loan exhibition on their work in the UK. I organised a small exhibition on Thomas and Mary Nimmo Moran in 2004, which included 14 works from our own collection and in 2006 completed a refurbishment of the Art Gallery which features three Thomas Moran oil paintings as a central highlight of the permanent display.

Part of the new Art Gallery with Thomas Moran’s Coast of Florida,

Nearing Camp… and Pueblo Del Walpe, Arizona oil paintings The award of the Fellowship was crucial to both building support for the exhibition from the main public collections in the USA (as potential lenders to our exhibition) and to substantially increase my expertise in order to select works for the exhibition and to research our own Moran collection. Whilst we had little material on Thomas Cole and do not currently own any work by him, I aimed to see as much as possible

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and to build up our reference material on him. When organising my trip I aimed to visit the main public collections and the current related temporary exhibitions in New York, Boston, Washington and Tulsa, Oklahoma. The latter has the world’s largest collection of Thomas Moran art housed in the Gilcrease Museum. I planned to visit the former home of Thomas and Mary Moran in Easthampton on Long Island and research the Moran Biographical Art Collection in Easthampton Library. I also planned to visit the former home of Thomas Cole. I aimed to see places associated with the artists – especially Yellowstone which Thomas Moran is credited with helping become the world’s first National park, through his stunning images of the region created in 1871. Seeing this would give me a much greater understanding of how their artistic practice varied or otherwise with the scenery before them and I hoped would help me clearly convey to exhibition visitors the sense of drama, excitement and discovery that these artists experienced. The Fellowship gave me a unique chance to go to the USA to greatly enhance what I already knew and to meet other curators and experts in the field. It was an opportunity that was not available in any other way, as the museum funds certainly don’t stretch to cover this development cost. My background to this project is eleven years experience of working in museums and galleries as an art curator and I have two degrees - one in History of Art and the other in Art Gallery and Museum Studies.

In the Henry Luce Study Centre at the Smithsonian Cooper-Hewitt National Design Museum, studying the

watercolours and drawings by Thomas Moran

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My Fellowship experiences New York, New York In New York I spent two days studying at the Frick Art Reference Library. They have hundreds of images of paintings and drawings by the artists I was studying (seven boxes of images by Thomas Cole paintings, 7 of Thomas Moran and boxes and files on the rest of the Moran family). Working at the Frick was very useful, as I got to familiarise myself with many works by the artists and identify where many paintings are, or were last known to be, which is often several decades ago. I found that their oeuvre in some cases was much greater than I had previously known about, and I could identify collections for future study and research. Whilst I was there I also visited the Frick collection. I met Floramae McCarron-Cates, Associate Curator from the Department of Drawings, Prints and Graphic Design at the Cooper-Hewitt National Design Museum who showed me around the Frederick Church, Winslow Homer & Thomas Moran, Tourism and the American Landscape exhibition and then generously allowed me to examine their Moran collection of around 70 watercolours, drawings and prints in the Henry Luce Study Centre. Amongst this group are a pencil sketch of Moran Point in Yellowstone Canyon (1895) which I was later to see in the “flesh” and Green River, a little sketch made on the spot on Thomas Moran’s first trip West on the Geological Survey of 1871, which relates closely to the masterpiece Nearing Camp, Evening on the Upper Colorado River (1882) in Bolton Museum & Art Gallery. I also saw several works by Mary Nimmo Moran including her large etching of Home Sweet Home, the home of John Howard Payne in East Hampton. I visited the Metropolitan Museum of Art several times and concentrated on the paintings in the American wing, which include stunning Hudson River School paintings by Cole and the stars of the American Landscape painting: Church, Bierstadt and of course Thomas Moran. I studied the Hudson River School exhibition from the permanent collection at the New York Historical Society, which has a fabulous group of works by Thomas Cole – including his famous Course of Empire series, and many works by Cole’s contemporaries and followers. I visited Brooklyn Museum of Art seeing their new re-hang of the permanent collection and spent a very intense afternoon examining all the holdings of prints by members of the Moran family (several hundred) at New York Public Library. In addition to visiting museum and library collections I also went to an exhibition opening at the UBS Gallery which was hosting an exhibition from the Parrish Art Museum (Southampton, Long Island) and which featured over 30 works by various members of the Moran family and their peers. I went to three commercial galleries and saw their holdings of Cole and Moran paintings which was very useful from the point of view of future acquisitions and met a dealer at the UBS opening. I also saw In Pointed Style which had two important works by Thomas Cole – The Past and The Present, on loan from Amherst College, Massachusetts. What also interested me during my travels was seeing the current developments and best practice in museums and galleries, such as the Chinese artist Cai Guo-Qiang Transparent Monument installation on the roof of the Metropolitan Museum of Art and the stunning costume exhibition Anglomania. Long Island, New York State I travelled out to East Hampton and visited the Hecksher Museum on the way - seeing saw three late oils by Thomas Moran and two by Edward Moran. Two of the Thomas Moran works had his thumbprint signature as well which he used from around 1911 to prevent forgeries of his work. I spent two days studying the Moran Biographical Archive at East Hampton Library and saw all the original works of art plus some of the archival material. One could spend many weeks there examining their reference material.

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Janine Dyner kindly gave me a tour of the Moran house now owned by the Guildhall Museum, East Hampton. It was fascinating to see Thomas Moran’s studio and where the family lived. The house is in desperate need of refurbishment and fund-raising for this is now underway. Just across the street is Goose Pond, now known as Town Pond which the Moran’s depicted, and beyond is the cemetery where Thomas, Mary and their three children are buried. Home Sweet Home and other historic buildings which the Moran’s depicted are all close-by. It gave me a real understanding of the life they lived in this area seeing these places and I was also lucky enough to be taken to many places associated as sites of pictures by the Moran’s on Long Island by Phyllis Braff, including Three Mile Harbour, Montauk, Hook Pond, Georgica Pond and Amagansett. The sunsets out there are often orange, pink and red and clearly influenced Thomas Moran in his wonderful skies. I and also visited the Parrish Art Museum in Southampton and saw a loan exhibition from the Corcoran Gallery in Washington, which included masterpieces by Cole (The Departure and The Return), Church and Bierstadt, some of the other great names of 19th century American art.

Montauk Point from Montauk Lighthouse, Long Island, a view depicted by Edward and Thomas Moran

Catskill Mountains, New York State I travelled back to New York and then up the Hudson River by train to meet curators at Hudson. We stayed in the Catskill Mountains and visited Cedar Grove, Thomas Cole’s house, now a National Historic Site and Olana, the home of Frederick Church, who was taught by Cole. It was very interesting to see

The home of Thomas and Mary Nimmo Moran, built in 1884 with the proceeds of the sale of their work at the exhibition held in Bolton in 1882.

The Moran Family monument in East Hampton, with Gardiner Mill (etched by both Mary and Thomas) in the background.

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Cole’s house – and the views around it which he painted from 1825. Having seen the exhibition at the Cooper-Hewitt in New York it was also great to see the actual view which Church painted from his home – though not at sunset which is when his work is perhaps at its most beautiful, capturing the fleeting effects of evening light.

Thomas Cole’s home Cedar Grove, Catskill, New York state

Later on we climbed up to the Kaaterskill Falls which Cole had painted in 1826. These are the highest falls in New York state – 260 feet, and the site seemed just the same as when Cole painted it nearly 200 years ago, although he seems to have sat at a distance and viewed it through binoculars, or perhaps used artistic licence to depict the scene. During our travels around there we also saw Catskill Clove, which features in several Cole paintings and a lot of the scenery depicted by the Hudson River School painters who followed in Cole’s footsteps, forging a national school of art.

The Kaaterskill Falls, Catskill Mountains, New York State, and as painted by Thomas Cole in 1826 Boston, Massachusetts I spent several days studying the collections on display and in stores and the print room at the Museum of Fine Arts in Boston. Some of the highlights of this were turning the pages of Thomas Cole’s 1834 sketchbook and seeing his incredible passport covered in stamps and authorisations from his travels in Europe. Examining Thomas Moran’s studies of Green River and sites in Yellowstone and Montana was great. The Museum of Fine Arts holds around 240 works by the Moran family, including rare etchings by Emily Kelly Moran (c.1850-1900) who married Peter Moran (1841-1914), Thomas’s younger brother.

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Whilst I was there I saw the Americans in Paris exhibition and many of the new displays which integrate decorative art collections with the paintings. By complete coincidence I met a French lady from Paris who is working on the translation of a book about Humphrey Jennings, who worked in Bolton in the 1930s on a project called Mass Observation (see Bolton Museum’s website for more details).

Thomas Cole, Near Conway, New Hampshire, Pen and ink, 1828, Museum of Fine Arts, Boston

At Harvard University Art Museums I studied the works by Cole and Thomas Moran in the Fogg Art Museum in the stores and galleries. I also visited the Arthur M Sackler Museum and Busch-Reisinger Museum and the Peabody Museum of Natural History. One of the smaller treasures of Boston is the Isabella Stewart Gardener Museum, which is a perfectly preserved showcase for her amazing collection. I also visited the Harrison Otis House and Boston Public Library, as well as having a fantastic afternoon whale-watching at sea! Washington DC I had a total of seven days in Washington. During this time I visited the Hishhorn Museum and the National Gallery of Art sculpture gardens, which was very useful in relation to Bolton’s collection of 20th century sculpture. I wanted to see the Smithsonian Museum of the American Indian which opened two years ago and has been a partnership project with the communities it represents through the collection and interpretation. I actually visited it twice because Washington had had huge floods just before I flew in and as a result many of the museums on the Mall were closed for a while until they were repaired. I loved this museum and they have a wonderful café!

Thomas Moran, The Cliffs at Green River, 1872, watercolour, Museum of Fine Arts, Boston This is the same place as where Bolton’s Nearing Camp… painting is situated

Mary Nimmo Moran, Twilight, East Hampton, 1880, etching, Museum of Fine Arts, Boston

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Thomas Moran’s Chasm of the Colorado and Grand Canyon of the Yellowstone in the Smithsonian’s

Renwick Gallery, surrounded by Catlin’s pictures of native Americans The Renwick Gallery has a huge room filled with hundreds of paintings of American Indians by George Catlin and three of Thomas Moran’s masterpieces. These are all seven feet high by 12 feet long. Two are of the Grand Canyon of the Yellowstone (1872) and (1893-1901) and the third is the Chasm of the Colorado (1873-4). The two earlier ones were purchased by Congress for $10,000 each. Although the pictures look wonderful, the only quibble I have is that they are hung too high – around nine feet off floor level and the artist did not design them to be seen that way. They are meant to be displayed about 3 feet off the floor, as that then gives the viewer the impression that you are physically inside the landscape and can walk down the stone slabs to view the deep chasms and see the torrent of crystal blue–green water! The Smithson Museum of American Art and National Portrait Gallery opened its doors on 1 July, and my, have they done a splendid job! I visited the galleries several times during my stay and saw seven paintings by Thomas Moran and two by Edward Moran and several by Cole, Bierstadt, Church and many of their contemporaries, plus the exhibitions they had on at that time – American ABC and President. The facilities in this museum are fantastic, probably the best in the world. They have a great study centre for many of the works they haven’t room for in the main galleries, wonderful conservation labs, where the public can watch through the glass walls to see what is happening and very good interpretation alongside. I made an appointment to see the rest of their Moran (many of these date from Thomas Moran’s 1892 trip West with his son Paul) and Cole collections and had a great afternoon with two of their collection managers. We shared our experiences of workings on large new build projects and it was lovely to see the beautiful watercolours and drawings up close. I spent two days at the National Gallery of Art studying their permanent collection and had a very fruitful meeting with Nancy Anderson, the Associate Curator of American Art, who organised the huge exhibition on Thomas Moran held in 1997 in three US venues. Through her I was put in touch with a private collector who has a similar version of one of Bolton’s paintings by Thomas Moran, called The Coast of Florida, which was very interesting. Whilst in Washington I also saw the American Gothic Grant Wood Studio exhibition at the Renwick Gallery, the Corcoran Gallery’s 20th century and contemporary collections, the Charles Sheeler exhibition at the National Gallery of Art, the Museum of Natural History, the Freer and Sackler Galleries. I also visited the Smithsonian Folk life Festival and went to the 4th July parade and concert. Pennsylvania One of the main contacts I had for two years before I travelled to the USA was Dr Nancy Siegel, Director and Professor of Art of Juniata College Museum of Art in Huntingdon, Pennsylvania. Nancy had visited Bolton in 2005 and we had discussed borrowing the Juniata’s collection of paintings, drawings and prints

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by several members of the Moran family. On my visit to Pennsylvania I got to see these in the gallery and stores and I also visited the Trout Gallery, seeing their Moran’s in store with the Director Dr Phillip J Earenfight, at Dickinson College, Carlisle. Oklahoma The Gilcrease Museum in Tulsa has the world’s largest collection of work by Thomas Moran, as its founder, Thomas Gilcrease acquired the 2000 works of art remaining in the artist’s studio from the estate of his daughter Ruth Moran. I spent three days studying their collections in the stores, archives with Carole Klein and Kimberly Roblin helping me.

In front of Thomas Moran’s Shoshone Falls, oil on canvas, Gilcrease Museum, Tulsa

I was really pleased not only to see many of Thomas Moran’s early works but I also focused on his images of places in Europe. I saw his watercolours and drawings of Liverpool and Bolton which he made on his first trip over here in 1862, and his later drawings of Italy in 1866-7. Some of the most gorgeous works are his watercolour sketches of Yellowstone and other western subjects, the colours are so fresh and beautiful and he had full mastery of the medium. It was great to see the huge permanent collection displays of Western art at the Gilcrease and it was also felt very special to hold Thomas Moran’s notebooks and see his hand-written lists of paintings – including a page which had our Evening, Nearing Camp on the Upper Colorado River. This was particularly useful as it proved what had been suspected by conservators when our painting was cleaned in 1998, that Moran had actually painted it earlier than 1882 and had re-touched it before sending it over the Royal Academy in London to be exhibited. The notebook dates the painting to 1879 and Moran wrote that he spent it to the RA in 1882, however it was actually also shown in Bolton first, and then purchased by a private collector. Also in Tulsa is the Philbrook Museum of Art, housed in an Italianate mansion with beautiful grounds which have just had $7 million spent on restoring them. The Philbrook have quite a number of works by Moran, and I did get to see four of these at the exhibition in Oklahoma City Museum of Art on Tempests and Romantic Visionaries: Images of Storms in European and American Art. I also saw Moran’s watercolour of Tower Falls and had a chance to examine their archives, though I was running out of time and would have liked longer there. The National Cowboy Museum and Western Heritage Centre in Oklahoma City has a large collection of Western art and it was really helpful to learn more about the culture of the West. I also visited Woolaroc, an extraordinary place, which was founded by Frank Phillips, the brother of Waite Phillips who founded the Philbrook. Woolaroc is the estate he established, stocked with more wild animals that exist now, but it is still home to buffalo, ostrich, elk, and other species. The museum was originally founded to house the Woolaroc plane, now displays in around 10 cavernous rooms, a vast collection of Western art and associated paraphernalia, including three oil paintings by Thomas Moran – one of Green River, one of the Grand Canyon, and the other of Cuernavaca, New Mexico. Rather bizarrely the Moran pictures are displayed alongside buffalo hides and beer barrels, and huge displays of colt guns, china birds, Indian headdresses etc are not far away!

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Wyoming This was my last full week of travelling and the culmination of my trip. I flew from Oklahoma via Salt Lake City to Jackson Hole, a small airport in Grand Teton National Park in Wyoming. It’s a rather hairy flight in over the mountains but the scenery is breathtaking. My intention was to see as much as I could of the areas named after Thomas Moran and to visit the places he drew and painted so that I could understand his techniques and approach to the subjects in front of him.

As Yellowstone National Park accommodation was fully booked by Easter, I stayed in Grand Teton National Park which adjoins Yellowstone on the southern edge. In Grand Teton I saw the Teton Mountains, the second highest of which is named Mount Moran (12,605 feet), as well as Moran Junction and Moran Canyon. It was too dangerous (because of wild animals) to explore the Canyon on foot on my own, and it is rather difficult to get to without your own boat (the boat hire company would not allow you to go much beyond a mile from its base) – across the huge Jackson Lake, but I did get reasonably close on a guided tour. At the National Museum of Wildlife Art close to the town of Jackson I studied the works in the exhibition Painting the Parks, which had nearly all the works by Thomas Moran in Yellowstone National Park’s collection on loan plus a number of private loans. I also met the curator Adam Harris who gave me a short tour and saw some related works in the store. I had two 16 hour days travelling up to and around Yellowstone National Park. On the first trip I drove north through Grand Teton to Yellowstone, past several lakes and then through a long stretch of forest - across the continental divide twice, till eventually (2 hours later) arriving at Old Faithful. This famous geyser erupted about 10 minutes after I arrived, but more spectacularly Beehive Geyser went off shortly afterwards and it was amazing - a very strong jet which goes at least 100 feet high. It was quite noisy, and I was fortunate to see it, as it only erupts once a day. I explored the Upper Geyser Basin for a few hours. It is a huge site and it was fascinating to see the incredible colours of the mineral deposits, the pools and all the geysers which Moran drew and painted, making the place so famous. Castle Geyser erupted for about 20 minutes and it only erupts once every thirteen hours, so again I was lucky! There is a famous photograph that William Henry Jackson; the 1871 expedition photographer, took of Thomas Moran investigating this geyser, so I loved seeing it and the strange formations of Grotto Geyser.

Mount Moran and Jackson Lake, Grand Teton National Park The island on the right hand side is where I met a black bear, which was only 20 feet from me!

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Beehive Geyser erupting Part of Grotto Geyser

I also briefly saw the Black Sand and Biscuit Basin areas, which have breathtakingly beautiful hot water pools. The Firehole River flows through all this area and it was amusing to recall that Thomas Moran caught plenty of fish to feed the numerous members of the expedition in it! I then travelled north to Madison and east on the Lower Loop towards Canyon Village.

View of the Grand Canyon of the Yellowstone Moran Point, looking towards the Lower Falls I arrived at the North Rim of the Grand Canyon to the Yellowstone in the late afternoon, and whilst I have already said how amazing other sites were, this part of Yellowstone is fabulous. The colours of the canyon, the turquoise torrent of the river and its steep plunging depths are quite incredible. I explored all around the north, the Upper and Lower Falls of the Yellowstone and finally arrived at the far point on the south side, named Moran Point – which is where he selected the view for his enormous painting from. When I saw the view it was just as Thomas painted it and I felt really moved, as though I had come full circle and thought that no other artist could have captured it better.

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Thomas Moran, The Grand Canyon of the Yellowstone, 1872, in the Smithsonian’s Renwick Gallery,

Washington DC On the way back I saw several herds of bison in the Hayden Valley which was wonderful seeing them in their natural setting. At the time Moran visited the bison were nearly all but decimated, so it was good to see a healthy population with lots of calves. During my time in the parks I also saw beaver, yellow-bellied marmot, elk, moose, white-tailed and mule deer, as well as quite a variety of birds including ospreys and bald eagles. I had a far too close encounter with a black bear, which was only 20 feet away from me and I was on my own, but fortunately I survived to tell the tale! I also saw a grizzly bear hunting a herd of elk. On my second trip I drove up to Yellowstone Lake, arriving at West Thumb Geyser Basin while it was still quiet and quite eerie. This was the last spot Moran drew on the 1871 expedition before leaving to go back east. I then drove up north towards Tower-Roosevelt, which took some time with many people stopping to photograph the animals close to the road, or trying to avoid the adult male bison walking in front of their cars – like me!

Thomas Moran, Tower Falls, Yellowstone, Tower Falls in July 2006 1872 (watercolour) Smithsonian American Art Museum Tower Falls was a subject Moran returned to fairly often and the area is quite spectacular with a huge basalt wall around the top of the gorge and massive spikes of rock above the falls. The path down to the base of the falls was washed away this spring with the huge snow melt they had so I couldn’t see the falls from the viewpoint Moran chose.

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Part of Minerva Terrace, Mammoth Hot Springs, Yellowstone

I followed the Upper Loop road across the Blacktail plateau and Lamar Valley, passing over Gardiner’s River and the buttes (cliffs) which Moran drew, and reached Mammoth Hot Springs. The Albright Visitor Centre has a permanent exhibition about the importance of Thomas Moran for the whole of Yellowstone, so it was good to see that. The Springs as their name indicates are huge formations of limestone and mineral deposits. Many of them have dried up, but are still well worth seeing for the unusual shapes and colours, though I think, as Moran did, that the colours have faded in parts. After this I drove back to Grand Teton (which took about 5 hours) and then spent the next two days travelling back to Britain.

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Conclusions My Fellowship experiences were very varied, mainly I think due to the different areas of the United States that I travelled to. Nearly everything was positive and the American people were friendly and very welcoming. The only negative thing I would say is that the travelling was at times quite exhausting, especially when trains and flights did not go according to schedule, but I knew from the outset that I had a busy schedule. Aside from that I think I can safely say the Fellowship has been the best thing I have ever done and I would heartily recommend anyone who has a good project to apply for one! Since my return I have been creating a research archive for the public and specialists to use on what I brought back from the USA and am giving several talks to colleagues in museums and to the public. I hope to be able to publish some new research based on Bolton’s collections and placing them more in context with Moran’s life and the rest of his oeuvre. The international loan exhibition however is unlikely to happen at Bolton due to limited budgets, however we will hold a small show in the summer of 2007 showing our collection alongside photographs of some of those places as they are now which I took during my travels. I hope that the links and contacts I made will eventually enable the large show to be held in the Moran’s hometown. Acknowledgements I would like to thank the following people for their support, generosity and kindness which made such a difference to my Fellowship – I am indebted to you: Nancy Anderson, Steve Boerner, Phyllis Braff, Curt Di Camilo, Louise Connell, Dorothy Davila, Phillip J Earenfight, Adam Duncan Harris, Danielle Kachapis, Carole Klein, Floramae McCarron-Cates, Patrick Murphy, Phil Radcliffe, Kimberly Roblin, Magda Salvesen, Nancy Siegel, Marci Vail, Denise Wamaling, Alec and Vi Watson. I would also like to thanks the staff of the following institutions who were all very kind and freely gave of their time to help me: Boston Museum of Fine Arts, - Print Room and American Painting Curatorial Department, East Hampton Library Special Collections, Gilcrease Museum, Harvard University Art Museums, National Museum of Wildlife Art, New York Public Library Print Room, Philbrook Museum of Art, and the Smithsonian American Art Museum and Smithsonian Cooper-Hewitt, National Design Museum. Lastly, but not least, I would like to thank Bolton Council and my colleagues at Bolton Museum and Art Gallery who supported my Fellowship, in particular Louise Connell, Lisa Gaunt, Sarah Teale and Gary Webster, who undertook some of my duties while I was away – thank you!

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ANNEX 1

Fiona Salvesen’s Fellowship Itinerary I travelled in the USA from 5 June to 28 July 2006 5-13th June Manchester - New York I flew to New York from Manchester and stayed there until the 12th June. In New York I spent two days studying at the Frick Art Reference Library, a day studying both the Frederick Church, Winslow Homer & Thomas Moran exhibition and the Moran watercolours at Cooper Hewitt Museum, one day and two evenings studying American paintings at the Metropolitan Museum of Art, half a day at the New York Historical Society, half a day at Brooklyn Museum of Art. I examined all the holdings of Moran prints (several hundred) at New York Public Library. I also met the Director of the Spanierman Gallery, a commercial gallery and examined their current stock of work by Cole, Thomas Moran and Peter Moran. I also saw the Moran etchings at the Old Print Shop. I visited the Frick Collection and the Museum of Craft and Design. 14 -17th June - Long Island I travelled out to East Hampton on 14th June with Phyllis Braff and we visited the Hecksher Museum on the way - seeing five paintings by the Moran’s. I spent two days studying the Moran biographical archive at East Hampton Library and also visited the Parrish Art Museum in Southampton to see the loan exhibition from the Corcoran Gallery in Washington. Phyllis took me to many places that the Moran’s drew and painted on Long Island, including Three Mile Harbour, Montauk, Goose Pond, Hook Pond, Georgica Pond and Amagansett. I had a tour of the Moran house now owned by the Guildhall Museum, East Hampton. 17th- 18th June - Catskills Travelled to Hudson and stayed in the Catskills Mountains with Nancy Siegel. We visited Thomas Cole’s house and Olana, the home of Frederick Church, who was taught by Cole. We also saw the Kaaterskills Falls which Cole had painted in 1826. We saw Catskill Clove and some of the Hudson river. The train from New York travels upstate along the river, so I was able to see much of it and the places that were painted by the Hudson River School artists. 19th- 27th June - Boston Travelled to Boston. Studied at the Museum of Fine Arts for several days - in the print room and galleries and the Harvard University Art Museums - Fogg Art Museum - on the stores and galleries, Arthur M Sackler Museum and Busch-Resinger Museum and at Boston Public Library. Also visited Isabella Stewart Gardener Museum, Peabody Museum of Natural History and the Harrison Otis House. 29 June, 4-9th and the 11th July Washington DC Visited the Corcoran Gallery of Art, National Gallery of Art – meeting Nancy Anderson, Associate Curator of American and British Paintings, Smithsonian Museum of the American Indian, Museum of Natural History, Freer and Sackler Galleries Gallery, Hishhorn Sculpture Garden and the Renwick Gallery. I visited and studied at the Smithsonian Museum of American Art several times and studied the Moran and Cole works in the stores meeting Denise Wamaling. The new SAAM is joined with the National Portrait Gallery under the umbrella title: The Donald W. Reynolds Centre, so visited both. 30 June - 3 July Newport News Virginia Visited Virginia Living Museum. 9-11th July in Pennsylvania Visited the Juniata College Museum of Art in Huntingdon, Pennsylvania with Dr Nancy Siegel, Director and Professor of Art and studied collection of Moran’s and Hudson River School pictures. Also visited the Trout Gallery, seeing their Moran’s in store with the Director Dr Phillip J Earenfight, at Dickinson College,

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Carlisle. 12-19 July Oklahoma Spent three days studying in stores, archives and galleries at the Gilcrease Museum, Tulsa with Carole Klein and Kimberly Roblin. Spent a day at the Philbrook Museum of Art, Tulsa and did some research in their library met with Thomas X. Visited the National Cowboy Museum and Western Heritage Centre in Oklahoma City and saw an excellent exhibition at Oklahoma City Museum of Art on Tempests, which had eleven works by the Moran’s and many by their contemporaries and some by Cole. Also visited Woolaroc, which holds a large collection of Western American art including 3 works by Thomas Moran - one of the Cliffs of Green River. 19-25 July in Wyoming Studied the “Painting the Parks” exhibition of Moran watercolours from the collection of Yellowstone National Park, on display at the National Museum of Wildlife Art in Jackson. Saw Mount Moran and Canyon Moran, Moran Junction, and the Teton Mountains which were all drawn and painted by Thomas Moran in what is now Grand Teton National Park. Travelled to Yellowstone twice and visited many of the sites which Moran drew and painted on the official geological exploration survey in 1871. These paintings helped convince congress to make Yellowstone the world’s first national park. I saw West Thumb Geyser Basin at Yellowstone Lake, Hayden Valley, Sulphur Cauldron, Mammoth Hot Springs, the Albright Visitor Centre exhibition on Thomas Moran, Gardiner’s River, Tower Falls, Old Faithful and the Upper and Lower Geyser Basins, Gibbon Falls and the Grand Canyon of the Yellowstone. 26-28th July travel back across the USA to New York and flew back to the UK.

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ANNEX 2

Encounters with “Churchill”

This is Holly Joy Churchill who I met whilst visiting the Smithsonian Folk life Festival in Washington DC. She had travelled all the way from her home in Ketchikan, Alaska with her mother to demonstrate the craft of weaving for the duration of the two week festival. She was representing the Haida tribe and there were many other people representing different cultures and tribes from North America and the traditions of weaving. Holly was sure she was related in some way to Winston Churchill.

Detail of a portrait of Winston Churchill by Douglas Chandor (1897-1953) in the new Smithsonian Museum of American Art and National Portrait Gallery (opened 1 July 2006). Painted in 1946, this portrait shows Churchill in his military uniform. The artist was originally commissioned to paint the historic meeting of Roosevelt, Stalin and Churchill at Yalta, but Stalin refused to sit for his portrait, so this was not completed. There was also a photograph of this meeting on display in the exhibition The Presidency and the Cold War, in the Portrait Gallery. Part of the label reads “As Great Britain’s Prime Minister during World War II, it fell to Winston Churchill to cement his country wartime alliance with the United States. The son of an American mother and an English father, he ultimately came to personify that alliance, and his wartime eloquence and shrewdness endeared him nearly as much to Americans as to his own countrymen. In recognition of his own special place in Anglo-American relations, Congress made him an honorary citizen in 1963”.

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Annex 3 Maps

Map of Grand Teton National Park, Wyoming – Moran related sites

Courtesy of the National Park Service, U.S. Department of the Interior

Mount Moran, Canyon Moran and Moran Bay

Junction Moran and Moran Entrance Station, Grand Teton National Park

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Map of Yellowstone National Park, Wyoming – Moran related sites

Courtesy of the National Park Service, U.S. Department of the Interior

Moran Point, Grand Canyon of the Yellowstone

Old Faithful, Castle Geyser and many others including Grotto Geyser, depicted by Thomas Moran

Mammoth Hot Springs including Minerva Terrace and Liberty Cap drawn by Thomas Moran

Tower Falls, drawn and painted by Thomas Moran

Norris Geyser Basin, drawn and painted by Thomas Moran

West Thumb Geyser Basin, drawn by Thomas Moran

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Map of Historic East Hampton, Long Island The Moran house is near the bottom left of this map, close to Goose Pond, now known as Town Pond. The Moran family grave is nearly opposite the house on south-east side of Goose Pond.

© Michael E Brown for Streetwise Maps 1998

Thomas and Mary Nimmo Moran’s house

Windmills and historic houses drawn by Thomas and Mary Nimmo Moran

Moran family grave

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Annex 4

Archive of material on the Morans and Thomas Cole held at Bolton Museum & Art Gallery

Those in blue are new additions gathered by Fiona Salvesen, Keeper of Art as a result of her Churchill Fellowship in 2006

Thomas Cole

Books Baigell, Matthew, Thomas Cole, Watson-Guptill Publications, New York, 1985 Merritt, Howard S., Thomas Cole, Memorial Art Gallery, University of Rochester, 1969 Noble, Louis Legrand (edited by Elliot S. Vesell), The Life and Works of Thomas Cole, Black Dome Press, New York, 1997 Powell, Earl A., Thomas Cole, published by Harry N Abrams, New York, 1990 Siegel, Nancy, Along the Juniata – Thomas Cole and the Dissemination of American Landscape Imagery, Juniata College Museum of Art, Huntingdon, PA, 2003 Articles etc Belanger, Pamela J., Inventing Acadia, Artists and Tourists at Mount Desert, Farnsworth Art Museum, University Press of New England (extract) Burns, Sarah, Painting the Dark Side, Art and the Gothic Imagination in Nineteenth-Century America, University of the California Press, Berkeley, 2004 (extract) Copies of Thomas Cole picture reference files held in the Frick Art Reference Library, New York Copies of 8 letters written by Thomas Cole, originals held in Museum of Fine Arts, Boston Fogg Art Museum, Harvard University Art Museums, Cambridge, MA, USA, Curatorial files extracts on their paintings by Thomas Cole, including:

- House, Mount Desert, Maine, c. 1845 - Watkins’ Glen and verso Landscape

Wilmerding, John, The Artist’s Mount Desert, American Painters on the Maine Coast, Princeton University Press, New Jersey, 1999 (extract) Wilmerding, John, American Views, Princeton University Press, New Jersey, 1991 (extract)

Hudson River School artists Avery, Kevin J. & Kelley, Franklin, Hudson River School Visions, The Landscapes of Sanford R Gifford, Metropolitan Museum of Art, New York, Yale University Press (extract) Sanford R Gifford Curatorial files extracts at the Museum of Fine Arts, Boston Hudson River School, Drawings from the Dia Art Foundation, Exhibition booklet, Frances Lehman Loeb Art Centrer, Vassar College, Poughkeepsie, New York, 2003 National Gallery of Art, Washington, Asher B Durand- Kindred Spirits (leaflet, circa 2006) Sweet, Frederick A., Hudson River School in Encyclopaedia Americana, 1978 (extract)

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The Moran Family

Bilington, D, The Moran Family: Edward, Thomas and Peter Moran, handwritten notes in curatorial files, Bolton Museum and Art Gallery Bolton Journal, Bolton Artists in the New World, The Moran Family, 22 April 1882, Bolton, England Crook, Sheila, Joseph, Jean and Voce, Eileen, Artisans to Artists, manuscript, not dated, circa 1990s East Hampton Library, East Hampton, Long Island, List of works held in the Moran Biographical archive collection – photographs, sketches, paintings, papers etc Groce, George C. and Wallace, David H., The New York Historical Society’s Dictionary of Artists in America 1564-1860, Yale University Press, New Haven, n.d., extract on Edward, John, Thomas and Peter Moran Longwell, Alicia and Cullman, Dorothy, First Impressions, American Etchings from the Parrish Art Museum, exhibition booklet, 2006 Schneider, Rona, The American Etching Revival: Its French Sources and Early Years, published in American Art Journal, Autumn 1982 Siegel, Nancy, The Morans, The Artistry of a Nineteenth Century Family of Painter Etchers, Juniata College Press, 2001

Edward Moran

Copies of Edward Moran picture reference files held in the Frick Art Reference Library, New York Malone, Dumas (editor), Edward Moran, entry in Dictionary of American Biography, Volume VII, New York, 19XX Naylor, Maria (editor), The National Academy of Design Exhibition Record 1861-1900, Volume II, Kennedy Galleries, Inc, New York, 1973 (extract) Sutro, Theodore, Thirteen Historical Marine Paintings by Edward Moran representing Thirteen Chapters of American History, New York, 1905

Peter Moran

Copies of Peter Moran picture reference files held in the Frick Art Reference Library, New York Malone, Dumas (editor), Peter Moran, entry in Dictionary of American Biography, Volume VII, New York, 19

Mary Nimmo Moran

Copies of Mary Nimmo Moran picture reference files held in the Frick Art Reference Library, New York Picture reference files of works held in Bolton Museum and Art Gallery

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Naylor, Maria (editor), The National Academy of Design Exhibition Record 1861-1900, Volume II, Kennedy Galleries, Inc, New York, 1973 (extract)

Stephen J Ferris

Picture reference files of works held in Bolton Museum and Art Gallery

Jean Leon Germone Ferris

Copies of Jean Leon Gerome Ferris picture reference files held in the Frick Art Reference Library, New York (son of Elizabeth Moran and nephew of Thomas Moran) Picture reference files of works held in Bolton Museum and Art Gallery Naylor, Maria (editor), The National Academy of Design Exhibition Record 1861-1900, Volume II, Kennedy Galleries, Inc, New York, 1973 (extract)

Thomas Moran and America Books Anderson, Nancy K., Thomas Moran, National Gallery of Art, Washington, 1997 (and large print guide to the exhibition) Bedell, Rebecca, The Anatomy of Nature – Geology and American Landscape Painting 1825-1875, Princeton University Press, 2001 Clark, Carol, Thomas Moran, Watercolours of the American West, Amon Carter Museum, University of Texas Press, 1980 Gustafson, Donna and Morand, Anne, The Poetry of Place, Works on paper by Thomas Moran from the Gilcrease Museum, American Federation of Arts, 2001 Hassrick, Peter H., The American West – Out of Myth into Reality, The Trust for Museum Exhibitions, Washington D.C., 2000 Hassrick, Peter H, Drawn to Yellowstone, Artists in American’s First National Park, Autry Museum of Western Heritage, LA, published by University of Washington Press, Seattle and London, 2002 Kinsey, Joni Louise, Thomas Moran and the Surveying of the American West, Smithsonian Institution Press, Washington, 1992 Merrill, Marlene Deahl (editor), Seeing Yellowstone in 1871, University of Nebraska Press, 2005 Smithsonian Institution, Frederic Church, Winslow Homer and Thomas Moran, Tourism and the American Landscape, Bullfinch Press, New York, 2006

Thomas Moran and America Articles and booklets Buek, Gustave H., Thomas Moran – N.A., The Grand Old Man of American Art, in The Mentor, Volume 12, No.7, August 1924 Harris, Adam Duncan, Thomas Moran, Painting the Parks, National Museum of Wildlife Art, Jackson, Wyoming, 2006 (booklet)

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Kestner, Jospeh, Moran and the Spirit of the Age – Moran/Ulysses: The Artist as Explorer, in the Gilcrease Journal, Volume 5, No.1, Tulsa, Oklahoma, 1997 Lindstrom, Gaell, Thomas Moran in Utah, Utah State University, n.d. Malone, Dumas (editor), Thomas Moran, entry in Dictionary of American Biography, Volume VII, New York, 19XX Morand, Anne, Everywhere It is a Picture – Moran in Mexico published in the Gilcrease Journal, Volume 1, No.2, Tulsa, Oklahoma, 1993 Morand, Anne, Moran and the American Image – Return to Yellowstone, in the Gilcrease Journal, Volume 5, No.1, Tulsa, Oklahoma, 1997 Naylor, Maria (editor), The National Academy of Design Exhibition Record 1861-1900, Volume II, Kennedy Galleries, Inc, New York, 1973 (extract) Philbrook Museum of Art, Columns -Visual Splendour: Thomas Moran at Philbrook, 2006 Rae, John W. and East Hampton Library, East Hampton, Charleston, USA, 2000 Ronda, James P., Moran in the East: Landscapes and Locomotives – Thomas Moran and the Eastern Railroads, in the Gilcrease Journal, Volume 5, No.1, Tulsa, Oklahoma, 1997 Shively, Carol A., Moran and the American Image – Yellowstone, in the Gilcrease Journal, Volume 5, No.1, Tulsa, Oklahoma, 1997 Yellowstone National Park, Canyon Area Trail Guide, Mammoth Hot Spring Trail Guide, Old Faithful Area Trail Guide, and West Thumb Geyser Basin Trail Guide, Yellowstone Association, 2006

Thomas Moran and Europe Books Townsend, Richard, JMW Turner “That Greatest of Landscape Painters” – watercolours from London Museums, Philbrook Museum of Art, University of Washington Press, 1998 (This has very important sections on Moran and how much he was influenced by Turner) Articles / extracts Bassford, Amy O. and Fryxell, Fritioff (editors) “Home Thoughts from Afar” – The Letters of Thomas Moran to Mary Nimmo Moran (extract only), East Hampton Library, 1967 (edition of 1000) Lovell, Margaretta M., Venice, The American View 1860-1920, Fine Arts Museum of San Francisco, 1984 (extract) Lovell, Margaretta M., A Visitable Past, Views of Venice by American Artists 1860-1915, University of Chicago Press, Chicago, 1989 (extract) Stebbins, Theodore, Jr, The Lure of Italy, American Artists and The Italian Experience 1760-1914, Museum of Fine Arts, Boston, Harry N Abrams Inc, New York, 1993 (extract) Townsend, Richard P., Moran and the European Tradition – Near Turner’s Point of View - The Relationship between Thomas Moran and J.M.W. Turner, in the Gilcrease Journal, Volume 5, No.1, Tulsa, Oklahoma, 1997

Thomas Moran – individual paintings

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Picture reference files of works held in Bolton Museum and Art Gallery – including a large archive relating to the campaign to acquire the masterpiece “Nearing Camp, Evening on the Upper Colorado River, Wyoming” (1882) , and loan files and related catalogues: Victorian Vision, V&A, London (2001), American Sublime, Tate, London (2002) and Art at the Rockface, Norwich and Sheffield, (2006) Childe Roland to the Dark Tower Came, 1859, Spanierman Gallery, New York Abraham and Issac, 1868, Spanierman Gallery, New York Fogg Art Museum, Harvard University Art Museums, Cambridge, MA, USA, Curatorial files extracts on their paintings by Thomas Moran Philbrook Museum of Art, A Handbook to The Collections, Tulsa, Oklahoma, 1991 (extract) – Thomas Moran paintings: Upper Falls, Yellowstone, 1874, Spirit of the Indian, 1869, Slaves Escaping Through the Swamp, 1862 and extracts from Curatorial files Smithsonian American Art Museum, List of 89 works by Thomas Moran in their permanent collection and various related reference materials Stratton, Robert E., The Lure of Hiawatha and the Shining Big-Sea-Water, in Lake Superior Magazine, 1995 Sweeny, J. Gray, Great Lakes Marine Painting of the Nineteenth Century in Michigan History, Michigan, 1983 (Thomas Moran Spirit of the Indian) Unknown, Dr William Bell (1849-1921) of Briarhurst Manor, Colorado Springs and his ownership of Thomas Moran’s Mount of the Holy Cross.

Thomas Moran archive at Gilcrease Museum, Tulsa, Oklahoma Full list of the Thomas Moran archival collection held at the Gilcrease Museum, plus copies of: Folder 57 (Gilcrease number: 4026.4051) Thomas Moran notebook – List of Paintings 1878-1882 Original photographed for reference printed by Fiona Salvesen (Includes reference to our “Nearing Camp…” (called Green River by TM) and “Coast of Florida”), plus copy of typed transcription as corrected by Anne Morand Folder 60 (Gilcrease number: 4026.4052) Thomas Moran List of Paintings 1899-1918 (transcript by Anne Morand) Folder 107 (Gilcrease number: 3827.814) Thomas Moran Letter to Mr Holmes (National Gallery of Art curator), c.1917 Folder 109 (Gilcrease number: 3827.859) Letter to Thomas Moran from National Gallery of Art, 1917 Folder 179 (Gilcrease number: 5127.253) Smithsonian Institution Press Release, 1917 re: National Park Painting exhibition Folder 180 (Gilcrease number: 5127.254) Acquisition of Thomas Moran sketches by ? to check in 1917 Folder 185 (Gilcrease number: 5317.330) Lummis, Charles, Poem entitled Thomas Moran, June 1929

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Folder 187 (Gilcrease number: 5117.2378) Kay, Charles de, Moran the Path Breaker, Letter to the Editor re Memorial Exhibition at Clinton Hall Folder 189 (Gilcrease number: 5127.257) Gift of Thomas Moran sketches, paintings etc by Ruth Moran to Department of the Interior- press release 1935 Folder 195 (Gilcrease number: 5327.344(b) Honours and Memberships of Thomas Moran and Mary Nimmo Moran Folder 203 (Gilcrease number: 2126.1078) Catalogue of Water Colour Drawings of the Yellowstone Region painted by Mr T. Moran for William Blackmore and List of Photographs by Mr W H Jackson Folder 206 (Gilcrease number: 5026.620) Koehler, S. R., Thomas Moran in The American Art Review, February 1880, Volume 1, Number 4 Folder 208 (Gilcrease number: 5217.326) Ladegast, Richard, Thomas Moran, N. A., in Truth, September 1900, Volume XIX, No.9 Folder 211 (Gilcrease number: 5027.612) Gillespie, Harriet Sisson, Thomas Moran, Dean of Our Painters in International Studio, August 1924 Folder 212 (Gilcrease number: 5027.613) Fryxell, Fritioff, Thomas Moran’s Journey to the Tetons in 1879 Folder 230 (Gilcrease number: 2626.286) The Yellowstone National Park… described by Professor F V Hayden illustrated by Thomas Moran, Boston, 1876 (transcribed promotional leaflet) Folder 235 (Gilcrease number: 4317.5786) Harbour at Venice by Thomas Moran, N. A.

American Art Books Barbara Novak, American Painting of the Nineteenth Century, Realism, Idealism and the American Experience, Harper and Row, New York, 1979 O’Brien, Maureen and Mandel, Patricia, Nineteenth Century American Etchings in the Collection of the Parrish Art Museum, Southampton, New York, 1987 (Includes a lot of Moran works and their contemporaries) Wilton, Andrew and Barringer, Tim, American Sublime, Tate, London, 2002 Articles / extracts Bennett, Ian, The Art of the West and Impressionism in America and Landscape in the 19th century all from History of American Painting, Hamlyn, 1973 Butler, William J., Bierstadt Painter of the American West, in The Gilcrease Magazine of American History and Art, Volume 3, No. 4, 1981, Tulsa Oklahoma Johns, J, Nature and the American Identity, World Wide Web, 1996 http://xroads.virginia.edu/-CAP/NATURE/cap2.html

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Lubetkin, M. John, The Forgotten Yellowstone Surveying Expeditions of 1871, in Montana, The Magazine of Western History, Montana Historical Society, Helena, Montana Volume 52, No.4, 2002 Myers, Fred A., Bierstadt’s Small Paintings: The Intimate Aspect of Grand Opera, in The Gilcrease Magazine of American History and Art, Volume 4, No. 4, 1985, Tulsa Oklahoma Parrish Art Museum, Encouraging American Genius, Master Paintings from the Corcoran Gallery of Art, Family Guide, Southampton, New York, 2006 Rosenthal, Evelyn (editor), American Watercolours and Pastels 1875-1950 a the Fogg Art Museum, Harvard University Art Museums, Cambridge, 2006 Smithsonian American Art Museum and National Portrait Gallery, Grand Opening booklet, Washington, 2006

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Annex 5 Press coverage of Fiona Salvesen’s Churchill Fellowship Bolton Evening News, 19 May 2006 Fiona on a quest to discover the artists of the Wild West By Wes Wright THE paintings of Bolton artists Thomas Moran and Thomas Cole captured the vast landscapes of America. Now a Bolton art expert is to travel to the States to study their works. Wes Wright reports.

BOLTON artist Thomas Moran painted the Wild West as it was being won, and his epic landscapes persuaded the Americans to create their legendary national parks. His major paintings sell for more than a million dollars among American collectors.

Fiona Salvesen, Bolton Museum and Art Gallery keeper of art, is to travel to the States on the trail of Moran, the other artists in his family, and his fellow Bolton artist Thomas Cole. Cole also settled across the Atlantic, where he is regarded as the father of landscape painting.

Ms Salvesen will be travelling on a Winston Churchill Fellowship in June and July. She will be visiting some of the main museum collections and archives in the USA that hold the work of 14 artists in the two families. Ms Salvesen, aged 33, now lives north of Bolton but was born in Edinburgh. She studied history of art at Aberdeen University and completed a post-graduate course in art gallery and museum studies at Manchester University. She has been keeper of art at Bolton Museum and Art Gallery for the past two years, and has held similar positions at galleries in Burnley, Bath, Chester and the National Museum of Scotland.

The aim of the trip is to greatly increase the knowledge contained in Bolton Museum and Art Gallery and build up the archives on the artists. Ms Salvesen also hopes to organise an exhibition in Bolton on the Morans which would borrow works from American collections. This would be the first international show on the family in Britain since 1882. Ms Salvesen said: "I'm really excited and just a little nervous about the trip, but I'm really looking forward to it. The visit will be my first to America. "I have already made lots of contacts and will be visiting museums and meeting with lots of experts on the Morans." She will travel to the Gilcrease Museum in Tulsa, Oklahoma, which, with around 2,000 works by the Moran family, has the largest collection in the world. She will also be visiting the Juniata College of Art in Pennsylvania, which has a collection of Moran and Cole paintings, the East Hampton Library in New York and the Museum of Fine Arts in Boston. She hopes to get a sponsor to help with the estimated £120,000 costs of mounting an exhibition of Moran paintings in Bolton. "That's just for a small exhibition, really," she said. "It will cost a lot to ship the paintings from America and to insure them."

Bolton Museum and Art Gallery holds the largest public collection of work by Thomas Moran and his wife Mary Nimmo Moran outside the USA. It was recently given a collection of 11 Moran etchings donated by Marcus Tillotson, of the family who used to own the Bolton Evening News, who died last year. Eight of these etchings are bound in a catalogue, which was sold by Thomas and Mary Moran in 1886 in order to fund a trip to Europe. They complement the masterpiece painting by Thomas Moran, "Nearing Camp, Evening on the Upper Colorado River", acquired by Bolton Museum and Art Gallery in 1998 for £1.3 million. The donated etchings also include three works by Mary Nimmo Moran (1842-1899), Thomas's Scottish-born wife, who was praised by the famous Victorian artist and critic John Ruskin for her unique style. There is also one work by Thomas Moran's nephew Jean Leon Gerome Ferris a portrait of Mary Higson Moran (1807-1883) entitled "Grandma Moran".

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Stephen Ferris (1835-1915), a brother-in-law of Thomas Moran, was a portrait painter and etcher, and his gift to the Tillotsons includes a self portrait inscribed "To WF Tillotson Esq'r with the compliments of Stephen J Ferris, Philadelphia, 1884."

The Winston Churchill Memorial Trust was set up after the wartime leader's death in 1965 to fund travelling fellowships. The fellowships exist to enable British citizens to gain a better understanding of the lives and cultures of people overseas, which enhances their effectiveness at work and contribution to the community when they return. Information on the 2007 awards will be available from Monday, June 5. For further information, contact the trust on 0207 584 9315 or visit www.wcmt.org.uk

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