Cover image for The White House : its historic furnishings and first families
The White House : its historic furnishings and first families
Monkman, Betty C.
Personal Author:
First edition.
Publication Information:
Washington, D.C. : White House Historical Association ; New York : Abbeville Press, [2000]

Physical Description:
320 pages : illustrations (some color) ; 32 cm
General Note:
"With the support of the Hon. Walter H. Annenberg White House Publications Fund."
The President's house in the early years, 1789-1814 -- French taste at its White House zenith, 1817-29 -- The People's president and the Jacksonian Era, 1830-40s -- Revivals of the "Antique" at mid-Century, 1850s-60s -- Renaissance revivals and the Aesthetic Movement, 1870s-1890s -- National identity and the Colonial Revival, 1900-1950s -- A museum evolves from a collection -- Important acquisitions, 1961-2000.
Format :


Call Number
Material Type
Home Location
Item Holds
NK2438.W37 M66 2000 Adult Non-Fiction Central Closed Stacks-Oversize
NK2438.W37 M66 2000 Adult Non-Fiction Non-Fiction Area-Oversize
NK2438.W37 M66 2000 Adult Non-Fiction Open Shelf

On Order



With a fascinating, anecdotal text by the curator of the White House, this beautifully illustrated, ground-breaking book is the most comprehensive survey ever published of the furnishings of the President's House and the changing tastes of the first families. For 200 years the White House has served as the residence of our nation's president and his family. John and Abigail Adams were the first residents, and each family ever since has been able to make the White House a comfortable home and to acquire the necessities for handsomely carrying out its additional functions as nexus for state ceremony and entertaining. In captivating detail, this volume--produced in association with the White House Historical Association--reveals how the decoration of the White House has reflected the personal style of our first families and their countless forays into redecorating. Illustrated largely with photographs especially commissioned for this book, as well as historic pictures, The White House focuses on some of our nation's most important heirlooms, including furniture, silver, glass, porcelain, and textiles. Enlivened with stories about the first families and how their furnishings often clashed with the politics of the time, this book is an ideal gift for those interested in the decorative arts, biography, and history. Betty C. Monkman has worked in the White House curator's office since 1967; in 1997 she was named curator. She has written numerous articles on White House decorative arts. Bruce White, formerly a staff photographer at the Metropolitan Museum of Art, specializes in photographing art and architecture. 295 illustrations

Reviews 3

Publisher's Weekly Review

1600 Pennsylvania Avenue, America's home address, is the subject of this comprehensive and celebratory tome covering more than 200 years of presidential and cultural history told through lavish full-color photography. With an informed eye and a scholarly devotion, Monkman, the White House curator for more than three decades, has assembled an impressive catalog of the art, furniture, china, silver, and other decor of all but one of the First Families that have resided there. (George Washington never slept there.) This second edition updates readers with previously unpublished pictures from the most recent Presidents' tenure including the book's Red Room as it looks today and also the current Oval office where you can see Barack Obama's Resolute desk, the same one used by Presidents Kennedy, Carter, Reagan, Clinton and G.W. Bush. A rare stereographic portrait of a somber White House draped in mourning cloth from Washington upholsterers on the occasion of President Lincoln's death in April, 1865 is also in the new edition. Along with comprehensive coverage of the public rooms, there's an occasional peak at the private corners. Photos of the Lincoln bedroom, for example, provides a close-up of the elaborate rosewood headboard and gilded canopy of the Lincoln bed. Though Lincoln never slept there, he used the room as an upstairs office; Mrs. Lincoln bought the bed in 1861 for the presidential guest room. Lovers of history or the decorative arts, in particular, will find this book abundantly satisfying, but anyone with a national pride will appreciate and admire their "Family" heirlooms. (Apr.) © Copyright PWxyz, LLC. All rights reserved.

Library Journal Review

Publication of this well-written, beautifully photographed book coincides with the 200th anniversary of White House occupancy. Monkman, the White House curator, documents the furnishings and decorative objects as well as the metamorphoses of White House interiors. The impact of the presidents and first ladies is particularly intriguing. Monkman traces the house's history from its humble beginningsDJohn and Abigail Adams moved in to a partially finished building in November 1800Dthrough its sacking during the Madison administration to Jacqueline Kennedy's impressive efforts to keep the history of the house alive. Her work led to the institutionalization of the White House as a museum, which the American Museum Association accredited in 1988. The back of the book features a catalog of the illustrated objects. This important work is highly recommended for any collection.DJennifer Mayer, Univ. of Wyoming Libs., Laramie (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

Choice Review

What looks like a coffee-table book or a White House souvenir is a detailed scholarly work using documents, letters, reminiscences, and newspaper accounts. Written to museum and academic standards by Monkman, curator of the White House, the book creates a documented history of one of America's greatest collections. High-quality pictures of modern and period interiors and the collection of furniture, ceramics, glass, metals, lighting fixtures, clocks, and textiles all reflect the lives and tastes of presidents and their families. There are also plans, historic prints, and a few portraits. Old pictures compared with recent pictures of the same rooms display renovations, additions, and redecoration. The focus of the book, however, is on the historic furnishings purchased and donated over some 200 years. Many well-known American furniture makers are represented. There is a good analysis of Mrs. Kennedy's efforts to make the White House a museum. The last section shows important acquisitions from 1961 to 2000 of furniture in American Federal and Empire styles. Bibliography, notes, and catalog of all objects illustrated. Change and continuity in White House decorative arts is shown in this important resource. All levels. W. L. Whitwell; formerly, Hollins College



INTRODUCTION The American capital in the early nineteenth century was an anomaly. Other towns and cities of the United States grew up on a commercial foundation; even the frontier settlements laid out in advance of the arrival of permanent householders usually had some assured prospects of trade by river or rail. But the well-informed founders of this nation--statesmen familiar either through travel or study with the great cities of Europe--envisaged even more for the national capital than a meeting place for Congress and a seat of the executive branch of government. Their carefully prepared plan for the city of Washington in itself proclaimed their dream of embodying in the stones of her buildings, in her parks and fountains, and in the broad sweep of her avenues a dignity and beauty that would symbolize the ideals of the new republic. With the federal city a reality, architectural competitions were held in 1792 for the new nation's two most important buildings, the Capitol and the President's House. President George Washington, Secretary of State Thomas Jefferson, and the commissioners of the Federal City gave William Thornton the prize for the Capitol and James Hoban the commission for the residence of the president. Hoban apparently drew inspiration for his somewhat conservative design from Leinster House, Dublin, and from other English and Irish country houses shown in James Gibb's Book of Architecture (1728). His original plans called for a structure three stories high, but as funds were meager, two stories would suffice. Construction had begun in the fall of 1792, but when, in November 1800, President and Mrs. John Adams took up residence, the buildings set within Virginia sandstone walls was still unfinished. Abigail Adams wrote her daughter, complaining: "There is not a single apartment finished...We had not the least fence, yard, or other convenience, without, and the great unfinished audience-room [the East Room] I make a drying room of, to hang up the clothes in." Though conditions were drafty and unpleasant, John Adams nonetheless bestowed a lasting benediction on the house, following his first night there: "May none but honest and wise men ever rule under this roof." Thomas Jefferson, the mansion's first long-term resident, from 1801 to 1809, was not overly enamored of the building either, grousing that it was "big enough for two emperors, one Pope, and the grand Lama." A diligent amateur architect, he designed low terrace-pavilions for either side of the main building, thinking they would soften the structure's grandiloquent impression. Jefferson appointed architect Benjamin Henry Latrobe to finish the structure, and he had completed numerous projects before it was burned by the British in August 1814 during the War of 1812. To rebuild the gutten mansion, President James Madison (1809-1817) rehired James Hoban. By 1817 President James Monroe (1817-1825) was able to move into the reconstructed house, and he ordered the elaborate French Empire furnishings that remain at the core of the historic White House collection. Hoban was still on the scene in 1824 when Monroe hired him to add the semicircular South Portico, a Latrobe-Jefferson pastiche. Five years later, Andrew Jackson (1829-1837) engaged Hoban to build the North Portico, again following Latrobe's Jefferson-sanctioned plans. Throughout the nineteenth century, creature comforts brought about by advancing technology were added, including water closets, running water, central heating, gas lights, and electricity by 1891. The symbol of continuity and stability the White House in reality has been continually in revision over the past two centures--as Betty Monkman's engaging narrative so ably demonstrates. Ever since the Adamses moved into the house, first families have furnished and redecorated the White House in the prevailing styles of their times or the exigencies of the moment. Because the house was not only the president's home but his office as well, the structure endured the stress and strain of daily use by numerous visitors. Chester A. Arthur (1881-1885) undertook a major refurbishing of the mansion in 1882, having wagon-loads of old furniture carted away to public auction, and then calling on the celebrated New York designer Louis C. Tiffany to redecorate the interior. When Theodore Roosevelt (1901-1909) because president, the house underwent another revamping when the prominent architectural firm of McKim, Mead & White was selected to survey the building and make recommendations. Extensive greenhouses that had flanked the building for decades were demolished, and interior facilities were modernized. The Roosevelt renovation began the process of reshaping the White House into what was envisioned as its original appearance--a process extending through succeeding presidencies. By the early 1960s, Mrs. John F. Kennedy, recalling the period when the White House was first occupied, redecorated the state floor rooms in the Federal style. Earlier, during the administration of Harry S. Truman (1945-1953), the White House had been gutted to create more space and to provide structural stability within the original walls. This involved disassembling the rooms, removing the internal fittings of the building, then piercing the interior back together over a steel structural frame. It is difficult to know whether to be more astonished at the boldness and courage or at the originality and genius of that generation of incomparable leaders who launched this nation. The founding fathers formulated the paradox of democracy and limited government, and they and their successors institutionalized it with such practical devices as written constitutions, bills of rights, a system of checks and balances, and judicial review--all sanctioned by the primacy of law. That the American cause had opened a new chapter in the history of mankind was reaffirmed by foreign liberal intellectuals throughout the nineteenth century. The French social philosopher Alexis de Tocqueville wrote: "In that land the great compliment of the attempt to construct society upon a new basis was to be made by civilized man; and it was there, for the first time, that theories hitherto unknown, or deemed impracticable, were to exhibit a spectacle for which the world has not been prepared by the history of the past." America was not just one more empire but a transforming presence who emergence at the center of history had been made possible not only by the providential wealth of a virgin continent, but by the first successful application of a new principle in human affairs. "The present year," Martin Van Buren said in 1838, "closes the first half century of our Federal institutions...It is reserved for the American Union to test the advantages of a government entirely dependent on the continual exercise of popular will." Andrew Jackson's prophecy that America was "manifestly called by the Almighty to a destiny which Greece and Rome, in the days of their pride, might have envied" was coming true. Between the time of Washington and Lincoln, America was searching for its identity to give meanings to its past, present, and future. One reason Americans tried so compulsively to explain America was that the country kept changing beyond the conception and even the recognition of its people. The belief that America was different, that America was exceptional, evolved into a national mythology of sorts. All expected us to become the most splendid empire since Rome, indeed the first true empire of liberty in the history of mankind. The principal instrument of collective progress was an exceptionally functional elite, a swarm of achievers, largely self-taught, who had earned rather than inherited their places. They were rigorously continental in scope and vigorously capitalist in thrust, this multitude of uncommon men and women whom Lincoln hailed as "the fairest portion of the earth." The diverse, changing, and in many ways unique White House collection of decorative arts featured here vividly reflects the disparate strands of this emerging American culture. "Democratic nations," De Tocqueville observed, "will therefore cultivate the arts that serve to render life easy in preference to those whose object is to adorn it. They will habitually prefer the useful to the beautiful, and they will require that the beautiful should be useful." Romantic beliefs led artists to seek truth and beauty in the commonplace of daily life, and there is a functional beauty in these peculiarly American household objects of utility and adornment. Ralph Waldo Emerson urged young American writers to find their inspiration and materials in the "meal in the firkin; the milk in the pan; the ballad in the streets; the news of the boat"; and, as for himself: "I embrace the common, I explore and sit at the feet of the familiar, the low." This kind of art would be democratic and practical, moral and optimistic. And in that spirit, over the next several decades, literature was written and arts, both ornamental and useful, were created all across this broad continent. Herman Melville called Americans the advance guard of mankind, "sent on through the wilderness to untried things, to break a path in the New World that is ours." --Wendell Garrett, 1998 Excerpted from The White House: Its Historic Furnishings and First Families by Betty C. Monkman, William G. Allman All rights reserved by the original copyright owners. Excerpts are provided for display purposes only and may not be reproduced, reprinted or distributed without the written permission of the publisher.