W'NTER,obrt 0 io - Norman Rockwell Museum

W'NTER,obrt 0 ioNORMAN ROCKWELL MUSEUMNorman Rockwell M useum win s th e a ti onal Humanities Medal. Story on page 7.

BOARD OF TRUSTEESDaniel M . Cain, PresidentPerri Petricca , First Vice PresidentMichelle Gillett, Second Vice PresidentSteven Spielberg, Third Vice PresidentJames W . Ireland, TreasurerPeter Williams, ClerkClarke BaileyLillian BenderRuby Bridges HallAlice CarterMary & Robert CrowellCatharine B. DeelyPeter de SeveMary Jo & Walter EngelsJohn V. FrankDr. Mary GrantSteven HirschValerie & George KennedyPamela KinseyMark KrentzmanDeborah S. McMenamyWendell MinorAnne MorganDuncan PollockThomas L. Pul lingCynthia RockwellMark SelkowitzJohn SpellmanRichard B. WilcoxLee WilliamsJamie WilliamsonTRUSTEES EMERITILila W. BerleJane P. FitzpatrickPaul IvoryDavid KlausmeyerNorma G. OgdenHenry H. Williams, Jr.Laurie Norton Moffatt, Director/CEOportfolioVolume 25, Issue 1, Winter 2009Audrey Manring, EditorJeremy Clowe, ContributorToni Kenny, Graphic DesignE-mail the editor at: amanring@nrm.orgPortfolio is published by Norman RockwellMuseum at Stockbridge, Inc., and is sentfree to all members. © 2009 by NormanRockwell Museum at Stockbridge. Allrights reserved.COVER: Laurie Norton Moffatt, Director/CEO, receiving the 2008 NationalHumanities Medal from PresidentGeorge W. Bush at the White House.Photo © 2008 Norman RockwellMuseum. All rights reserved ./;n,\ Accredited br the\ Q O I American Association of Museums.~""' .o ol#~~Kids Free Every Dayl A Gift to Families fromCountwCurtains. !lJ~and ThEREDLIllNlNNFROM THE DIRECTORWhen I began working at NormanRockwell Museum in 1977 during college,the small house museum then knownas the Old Corner House was only eightyears old. I did not realize at that time howrecently the Museum had sprung into being,the community effort of civic-mindedStockbridge citizens, Norman and MollyRockwell among them, to save an oldhome on Main Street. That same year,Norman Rockwell received the PresidentialMedal of Freedom, the nation's highestcivilian honor, for his vivid and affectionateportraits of America. He died a year later in1978, and the nation mourned his passing.Last November, Norman RockwellMuseum received the National HumanitiesMedal, the nation's highest recognition forsignificant scholarship in the humanities.There was a satisfying symmetry betweenthe two medals-one given to America'sillustrator, the other given to the museumthat is, in the words of the presidentialcitation that accompanied the medal, "thecareful curator of the archives, illustrations,and benevolent spirit Norman Rockwellbequeathed to the nation."The Museum's award was utterly unexpectedand even, in a sense, improbable.Norman Rockwell Museum is the firstmuseum to receive the medal, whichis most often bestowed on individuals.And it is not all that many years ago thatNorman Rockwell's art would have beenthe least likely candidate for scholarly recognition.Yet, in fact, Norman RockwellMuseum has always been rooted in scholarship;one of our first scholarly projectswas publishing the two-volume catalogueraisonne of Rockwell's work in 1986.I must confess to not knowing much aboutRockwell when I first joined the Museum.As an art history student in college, myfirst introduction to hi s work was veiledwith innuendo about his standing as anartist. The condescending academic viewdid not jibe with what I witnessed duringmy early Old Corner House months whenthousa nds of vis itors lined up around thehistoric home, waiting for as long as anhour to see Ro ckwell 's paintings. Oncein the welcoming rooms that held his artwork,people were visibly moved by theirexperience with these powerful images. Iwas simultaneously struck by the joy thesepaintings brought to people and the lackof regard the art world accorded to thisdi stinguished artist's work. The contrastgalvanized me.Much has transpired since then. Providingfor the care of the collection is at the core ofthe Museum's stewardship role, and as theMuseum outgrew the Old Corner HOllse,plans were made to build a new home forthe collection with proper climate controland collections storage. The new Museumopened in 1993. As essential and beautifulas it was, board and staff understood that amuseum is much more than its buildings.During this yea r, our 40th anniversary, wecelebrate our core mission of bringing joyand meaning to people across the nationand world-and in our own backyard ­through our collections stewardship, exhibitions,programs, scholarship, and warm,engaging visitor experience. Please join us!Laurie Norton MoffattDirector/CEO2 PO RTFOLIO

Life's WorkAn interview with curator Linda Szekely Peroby Jeremy CloweLinda Szekely Pera, C urator of Norman Rockwell Collections,retired this fall after 24 years with Norman Rockwell Museum.Pera has been an integral part of the M useum, and is a worldauthority on the life and work of Norman Rockwell. T hecurator of numerous exhibitions on Rockwell's art and life,Pero most recently orga nized American Chronicles: The Artof Norman Rockwell, a nati onwide traveling retrospective,and authored the accompanying catalogue. Her work in theNorman Rockwell Archives has prepared the ground for thepublic launch of ProjectNORMAN, the Museum's archivesdigiti zati on initiative, in the fa ll of 2009. Portfolio readershave had a chance to enj oy Pero's scholarship first h and,thanks to her "year-by-yea r" essays on Rockwell that haveappeared in our pages. T his fa ll, we sat down with Pero todiscuss her career. E dited highlights of that conversa tionfollow below.-Ed.How did you get started at Norman Rockwell Museum?I was hired to help former director David Wood get organized,which was quite a feat! The creation of the DefinitiveCatalogue was already underway, and Laurie Norton Moffatt[then Museum curator] was busy finalizing all of her entries.One of the th ings that was really great about my early workwith the Museum was that David and Laurie made themselvesvery accessible to help me learn everything there was to knowabout the Museum-it was a true team.The Museum was located in the Old Corner House then .What was it like?Fall was insane! There were wall-to-wall people in the shopand the holding area, where people would come in, payadmission, and need to wait until a group of 25 left. We hada guard stationed downstairs and a guide upstairs to regulatethe traffic flow, so that people could get past each other inthe narrow hallways.WINTE R 2 0 0 9 3

In addition to seeingRockwell's art on the walls,how did you begin learningabout his work?Once th e DEFCAT[D efinitive Catalogue] material came back from theprinters, Laurie asked meto fil e it. I spent my time filingthe photographs of theartwork back with the documentation.It meant lookingat all of the 4 ,000 imagesthat were in the catalogue.That was a great experiencefor me because I got a reallygood understanding ofRockwell's work.The Museum eventuallymade plans to relocateto the Linwood property,and Rockwell's studio wasbrought over first. Whatare your recollectionsof that?That was really excitingfor us! To see it bein gtransported through town,cut in half on two flat-bedtrail ers. It was early Marchand there was a lot of snowon the ground, but it was awarm day, which made ithard er because the wheelskept getting stuck. T heyhad to keep putting boardsunder the wheels of thetrailer to be able to move it.It was around that time that you took on formal curatorialresponsibilities.Shortly after the stud io contents were packed and moved,Laurie and David decided to create a position for a curatori alassistant, and they offered it to me.What are some ofthe highlights of thecuratorial work you'vedone since then?It was my idea to [situate]Rockwell in his threelocations [New Rochelle,Vermont, and Stockbridge].I thought it would helpto see the work in termsof these three contexts, toconsider what influencethey had on his workand on him, and see theevolution of his painting.[Ed. note-The Museum'score Rockwell galleri es arearranged in this way.]Exhibitions donethrough the arch iveswere very gratifying-andilluminating to the public.The In Rockwell We Trustexhibit was really fun .We had so much archivalmaterial to draw on. I wastrying to communicateth at Rockwell didn' t justrecently become a celebrity.Even as a young illustratorhe was so well-knownthat he was asked to doendorsements for nationalcompanies. It wasn' t asmuch a fin ancial strugglefor him as it is for m anyartists and illustrators. Hewas probabl y strugglingduring the Boys' Lifeyears, when he was honing his technical skills, and thatwas good for him because he really grew artisti ca lly duringthat peri od. By th e time he was in his twenti es, he was veryaccomplished and made a name for himself.4 PORT FOLIO

You've been involved withthe Norman RockwellArchives for over 20 years.How would you characterizethe collection?The collection is a hugeresource: the referencephotos, correspondence,financial documentation.Rockwell kept so much.Do you think he hadthe foresight to know hisrecords would be valuedby scholars?I don't know if he had anysense of how interesting orimportant his records are.He kept everything as far as Ican tell. Iron icall y, not all ofhis artwork-he would oftengive away or sell his work.When he became concernedabout his studio in 1976,I'm not sure whether he wasthinking of the building heso lovingly designed andfurnished, his mementosfrom traveling, or the thingsburied in fil e cabinets. Washe thinking about howthese would inform [future]understanding of his work?How does the archival collection inform you?It tells you what other illustrators he was friends with, whoseopinion he considered. Certainly the fan mail he kept is anindication of how important public opin ion was for him.Have there been any discoveries in the archives that havesurprised you?I'm always having those little wow moments. They are nothuge epiphanies, just little fascinating things-the collectionis full of them. One thing I discovered recently was that hewas a member of th e NAACP before he met and marriedMolly. So [his progressivism] wasn't just her influence on him.It's a common perceptionthat Rockwell idealizedthings, but do you thinkthere was a "truth" inhis work?I think so. I think a lot ofhis pictures do accuratelycapture what American lifefelt like for a lot of people.There are good timesthosemoments depictedin his paintings-you can'tdeny that.Since Rockwell hadsomething of a reputationfor creating "rose-colored"images, why do you thinkLook pursued him in the1960s to create images thatreflected the Civil Rightsmovement?Bear in mind that Rockwellchose what he was goingto paint. It wasn't as if [theLook editors] sa id , 'We wantyou to depict C ivi l Ri ghts.'Look went after Rockwellbecause they knew he wasdisenchanted with the Postand they could get him.Maybe Rockwell had acertain level of frustrationfrom not being able to do that kind of work for all thoseyea rs because of the Post's editorial policies-he'd not beenallowed to be political.Is there anything connected with Rockwell and thearchives you wish you knew more about?It would be so wonderful to see him actuall y applying paint.There might be a few newsreels where you see him puttinga dab or two on a canvas, but how fa scinating wo uld it beto see the way he developed a painting and his method ofglazi ng in between to save the work he was sure of, andthen play on top of that and be able to remove [what] hedidn' t like?WINTER 2009 5

Rockwell threw himself into so many of his paintings.If he hadn't had deadlines a lot of the paintings wouldprobably be different today! He would have continued towork on and change things. I mean, look at the portrait ofthe woman in Art Critic-we have studies he created forabout 10 different faces until he decided on the actual face!Do you have a favorite Rockwell painting?I think Art Critic is one of my favo rite paintings because yousee so many of his artistic inAuences. I also love Checkers. Iknow a painting is my favorite when I don't want to lend it!The Museum was able to purchase the original Art Criticpainting in 1998. Does it surprise you to see how muchRockwell works are going for now on the auction block?It's amazing! We have documentation in the archives wherewe turned down paintings once offered to us in the $ 100,000range that are now selling in the millions! But everything isrelative-we just didn' t have enough money back then.How has the Museum contributed to the awareness anddemand for Rockwell by collectors and the public?The traveling shows did what they were intended to do ­raised awareness and interest. [The Museum has] establisheda very good reputation; I am always getti ng feedback tothat effect. It's hard to imagin e that peopl e come from sofar afield-we're hard to get to! A lot has to do with theambience that's created by our staff and our willingness toaccommodate people.How do you think Rockwell would feel about what theMuseum has become?I think he'd be thrilled with it. He wa nted the collection tobe available for educational programs; he wanted th e studio tobe available. I think his idea was to inspi re art and ill ustrationas a career.Thirty years after Rockwell's death, what's the state ofillustration as a field?There has been a renaissance of great illustrati on in thiscountry; there are so many people doing such wonderfu lwork, especially children's book illustration. Artists are doingillustration in order to make a living, and the schools are creatingsuch great illustrators.What have you enjoyed most about your work inthe archives?In general, I would say that I have loved trying to imposean orga ni zation on the archi ves-tryin g to make it moreaccessible. We've done a lot, but there's still much moreto do, especially now with the capacity to digitize andassociate th e material with other documents. This is goingto be an amazin gly organi zed and accessibl e collectionvery,very ri ch.Final question: if you could ask Norman Rockwell onething, what would it be?T here wouldn't be just on e thing-th ere would be tonsof things !JEREMY C LOWE is Norman Rockwell Museum'scommunicati ons assistant.PAGES 3 - 5: Photos © Norman Rockwell Museum. All rights reserved.ABOVE LEFT: Checkers, Norman Rockwell. 1928. Licensed by Norman RockwellLicensing, Nil es IL. RIGHT: Art Critic. Norman Rockwell. © 1955 SEPS: Licensedby Curtis Publishing, Indianapolis, IN.6 PORT F OLIO

And the Winner Is ...America's Highest Humanities Honor Bestowed onNorman Rockwell MuseumIt was a day for rejoicing. On November 17, Laurie Norton Moffatt,Director/CEO, stepped up onto a platform at the White House andaccepted the National Humanities Medal on behalf of NormanRockwell Museum. President George W. Bush bestowed the honorduring a special White House ceremony for arts and humanitiesmedal winners. Norton Moffatt was joined at the ceremony byher daughter, Leigh Moffatt, and colleagues Stephanie HaboushPlunkett, Chief Curator and Deputy Director; Daniel M. Cain,President of the Board of Trustees; and Lila Berle, President Emeritus.The National Humanities Medal is America's highest honor inthe field. It recognizes extraordinary work by individuals and, lesscommonly, institutions in deepening the nation's understandingof the humanities. Remarkably, Norman Rockwell Museum is thefirst museum to receive the medal in the award's u-year history.Every year, the National Endowment for the Humanities and theNational Endowment for the Arts each select up to 12 recipientsof arts and humanities medals nationwide, which are presentedjointly by the president on behalf of all citizens. Norman RockwellMuseum's selection as a humanities medal winner is especiallysignificant. The honor reflects both the deeply humanitarian natureof Norman Rockwell's work, as well as the Museum's role inpreserving and interpreting not just the art itself, but the ideals andhistory it expresses.Norman Rockwell's work is anessential part of American artand the 20th-century Americanexperience, and the Museum'swork to preserve the legacy ofthis iconic American artist istruly deserving of this honor.- Bruce Cole, Chairman,Na ti onal Endowment for the HumanitiesFittingly, the medallion presented to Norman Rockwell Museumwas designed by illustrator and former medal winner DavidMacaulay-one of over 450 contemporary illustrators whose workhas been exhibited by the Museum. The medal, together with abeautiful hand-calligraphied citation, is currently on view in theFour Freedoms gallery at the Museum. We invite you to visit andshare in the honor!WINTER 2009 7

Norman Rockwell Museum is being recognized forhonoring and studying the life, work, and idealsof an icon of American art. The Museum has beenthe careful curator of the archives, illustrations,and benevolent spirit bequeathed to the nationby Norman Rockwell.-Citation by President George W. Bush8 P O R'! FO LI O

One Membership.325 Museums.the longer look of many minutes or a lifetime.Like all virtuosos, he made it look simple-andthat may be why we sometimes think it, andhe, was.In fact, Rockwell was a complex and worldlyman. Born in New York City, he led a bicoastallife. He traveled frequently from NewEngland, where he resided most of his adultlife, to California, the home state of his secondwife. He was as comfortable in Hollywoodas he was in Washington, D.C. I-Ie paintedportraits of six U.S. presidents, and a widerange of national and international dignitaries,including Egyptian president Nasser, Britishphilosopher Bertrand Russell, and Josip Titoof Yugoslavia. He documented the Soviet educationsystem and the activities of the PeaceCorps in countries such as Ethiopia, India,and Columbia. In 1955 , Rockwell traveledaround the globe for Pam Am ai rlines to promoteleisure air travel, making numerous stopsand hundreds of sketches. Rockwell visiteddozens of countries in his lifetime; he was atrue citizen of the world.orman Rockwell Museum is nowpart of NARM, North AmericanReciprocal Museums! Upgradeyour membership to the Illustrators'Roundtable level and enjoy freeor reduced admission to over 325museums across North America.For details or to upgrade:413-298-4100, ext. 234extrelations@nrm.orgNorman Rockwell's art and spirit endures becausehe speaks to all of us- Main Streetersand Wall Streeters, East Coasters and WestCoasters, Heartlanders and Cosmopolitans.His vision is gentle, wry, compassionate.Beneath our political divisions and economicturmoil, he sees our common humanity-andhelps open our eyes to it, too.TOP TO BOTTOM: Golden Rule, Norman Rockwell. © 1961 SEPS:Licensed by Curtis Publishing, Indianapolis, IN . Freedomof Speech, Norman Rockwell. © 1943 SEPS: Licensed byCurtis Publishing, Indianapolis, IN . The Runaway, NormanRockwell . © 1958 SEPS: Licensed by Curtis Publishing,Indianapolis, IN .NORMAN ROCKWELL MUSEUMwww.nrm.orgStockbridge.MA 413.298-4100 open daily free tuesdaysKids Free Every Day! A gift to families fromCountry Curtains, Blantyre, anel The Reel Lion Inn.WINTER 2009 11

Norman Rockwell Museum Turns 40A look back, a look forwardIn 1969, Norman Rockwell Museum opened its doors in th e O ld C orner I-louse.Two yea rs earli er, a group of concerned citi zens, including Norman and MollyRockwell , had banded together to save th e historic building on Stockbridge's MainStreet. Norman Rockwell had generously put a few of his original paintings on vi ewto draw visitors ... and visitors came, first in a trickle, then in a torrent. Several yearslater, Norman Rockwell and his estate put artwork and other m ateri als in trust tothe new museum, as well as the artist's studio and its contents. In 1993, NormanRockwell M useum opened ""ith great fanfare in its new home: a New England \Town Hall-style building designed by Robert A.M. Stern, located on 36 beautiful 1acres graced by Rockwell's transpl anted and restored studio. For 15 years, we havewelcomed millions of visitors from around the nation and world to our campus, andtaken our collections on the road to share with millions more.In 2009, the Museum celebrates its 40th anniversary year! We invite all ourmembers and fri ends from near and far to join us in honoring the artisti c andcultural legacy of Norman Rockwell. Highlights of th e year are featured on thefacing page. We enter our 40th year cheri shing our role in preserving and sharingNorman Rockwell's art and spiri t, and embracing our commitment to his belovedfield-Ameri can illustrati on art. Since our founding, the Museum has presentedthe art of more than 450 illustrators working in a wide array of fi elds: politicalillustration, magazine cover and editorial illustration, graphic novels, children'sbook illustration, and cartooning. As we move into the next 40 years, we willcontinue to put Norman Rockwell and the art of illustration into context- keepingour work fresh, always relevant, and sometimes surprising. Beyond the art on ourwalls and in our collections, the Internet and related technologies give us newplatforms for engagin g audiences anytime, anywh ere.TOP AND LEFT: Photos by Sarah Edwards. © 2008 Norman Rockwell Museum. ABOVE: Norman Ro ckwell atan early Old Corner House exhibition, 1969. Photo by Louie Lamone. Li ce nsed by Norman RockwellLicensing, Niles, IL.12 PORTF OLIO

Come Celebrate with Us!Highlights of our 40th anniversary yearfebruary37Norman Rockwell's Birthday 640th Anniversary PreviewCome celebrate Norman Rochvell's 115th birthdaywith cake and fes ti viti es, followed by a preview of our40th anniversary-including announcements aboutexciting new initiatives.Artists in TheirStudios opensGet a glimpse into thework spaces of morethan 75 Americanartists from the 19thcentury to today. Onview through May 25.may23A Day in the Life:Norman Rockwell'sStudio opensThe first ever preciserecreation of Rockwell 'sStockbridge studio. Thisexciting reinstallationturns back th e clock to1960, when Rockwell wasworking on Golden Rule.Community DayFriends from the Berkshires and beyond are invited toa day of festi vities.TOP LEFT: Willem de Kooning, photograph by Kay Bell Reynal, 1952.Archives of American Art, Smithsonian Institution. ABOVE: Photo byBill Scovil l. Licensed by Norman Rockwell Licensing, Niles, IL. RIGH T:No Swimming, Norman Rockwell. © 1921 SEPS: Licensed by CurtisPubl ishing, Indianapolis, IN .july49AmericanChronicles: TheArt of NormanRockwell opensOur major Rockwellretrospectivecomes home toStockbridge for the summer before returning to itsnationwidc tour. On view through September 7.All-American Independence Day FestivalCelebrate the Fourth with us!Stone's Throw: Peter Rockwell,Sculptor opensStroll our grounds and galleries and enjoy the workof noted sculptor and art historian Peter Rockwell,youngest son of orman Rockwell.40th Anniversary CelebrationA family-fri endly party honoring the Museum'sfounders and the Rockwell family!november7Norman Rockwell: Behind the CameraopensA frame-by-fram e look at th e composition ofRockwell's paintings, through the photographs th eartist himself took. On view through May 24, 2010.Public launch of ProjectNORMANDigital archive of photographs, artwork, andreference materi als goes online!WINTER 2009 13

ush ~tpoke~Powerful PostersM useum members and fri ends marveled over the vibrant colors andstirring imagery of 90-year-old posters during the opening of our late falllwinter show, Over the Tal); American Posters fram World War I. Attendeeslearned about the rale th ese posters played in raising funds for the wareffort fram James Meehan of Meehan Mil itary Posters, and were regaledwith the fascinating story of how the posters were preserved and restoredfrom the collection's owner, Thomas Leffingwell Pulling. Mr. Pulling isthe grandson of the original owner, the Honorable R.C. Leffingwell,who, as Assistant Secretary of the Treasury and head of the WarLoan Organization, was charged with devising a strategy forunderwriting the war. T he posters, created by leading illustratorsof the day and used to spur Ameri cans' participation in thewar bond and stamp programs, were given to R. C. Leffingwellby Treasury staff in gratitude for his work. An extraordinarycollection, and a memorable evening!Thomas and Eileen Leffingwell Pul li ng.Photos © Norman Rockwell Museum. All rights reserved.Party AnimalsIllustrator Steve Bradner was the man of the hour during the openingof the Museum's summer/fall show, Raw Nerve! The Political Artof Steve Bradner. One of America's most important art journalists,Brodner celebrated with a crowd of nearly 300, including New YorkTimes Book Review contributor Steve Heller, illustrators Barry Bl ittand Thomas Woodruff, and filmmaker Gail Levin, who worked withthe artist on a series of videos for the New Yorker about the 2008 presidentialcampaign. Museum members and fri ends enjoyed browsingover 100 original works, and learning about Bradner'stechnique thraugh interactive touch screens withlinks to Bradner's daily art blog. Attendees also got inline to choose their favorite political candidate in anold-fashioned voting booth, and contrast Brodner'swork with a series of political portraits created byNorman Rockwell. In the midst of a long primaryseason during an historic election, the party was infull swing!Steve Brod ner and exhib ition cu rator Charles Sable.Photos © Norman Rockwe ll Museum. Al l rights reserved.14 PORTFOLIO

Green SavingsGet into the Zone!Next time you visit the Museum, venture into our transformed creative center,located on the building's lower level. Our new Art Zone is open daily, and invitesthe young and young-at-heart to get in touch with their "inner Rockwell" andcreate artwork of their own. Art materials, books, prints, project ideas, and a creativeatmosphere provide the tools and inspiration for creative expression. On Sundayafternoons from 1 to 4 p.m., join us in the Art Zone for drop-in family art-making.Over the recent school hoI idays, the Museum offered special holiday art-makingworkshops for families looking for fun, imaginative activities to enjoy together.In a challenging economy, goinggreen means saving green ... dollars,that is. The Museum already had alO-plus year commitment to recyclingwhen Laurie Norton Moffatt,Director/CEO, charged Museumstaff with taking that commitmentto a new level. Out of that charge,our very own Green Team was born.This cross-departmental team, nowalmost a year old, has taken numerousmoney-saving actions that save the environment,too. We have significantlyreduced our use of copy paper andtoner cartridges, replaced some papermailings in favor of electronic communications,and recently installedenergy-saving bulbs in all staff officesand meeting spaces. Our staff meetingsnow include a "Green Minute"with helpful tips and updates. Go,Green Team!Free TuesdaysThis winter, the Museum is welcoming all our friends inthe Berkshires and beyond through our doors with freeadmission every Tuesday. We invite you to come in from thecold and warm your spirit with Norman Rockwell's imagesof family, community, and everyday experience. Specialprograms for children and adults are offered on selectTuesdays; check your new Programs 6 Events guide (mailedin January) for details. And remember, Museum membersare free every day! Free Tuesdays also complements ourongoing Kids Free Every Day program, a gift to familiesfrom Country Curtains, Blantyre, and The Red Lion Inn.Photos by Sarah Edwa rds. © 2008 Norman Rockwell Museum.W I NTER 2009 15

NORMAN9 Gl endale RoadPO Box 308Stockbridge, MA 0]262ROCKWELLM U 5 E U M140 yea rsillustrati on artNon ProfitOrge:lni za tiollU.S. Posta gePAIDPermit No. 33Stockbridge MA 0 1262www.nrm.orgMixed SourcesProduct group from well·managedforests, co ntrolled sources andrecycled wood or fibrewww.fsc.org Cert no. SW-COC-003067C 1996 Forest Stewardship Counci l