42 — Antiques and The Arts Weekly — October 18, 2019

STURBRIDGE, MASS. — Old Sturbridge Village presents “The Sleepy Hollow Experi-ence,” a musical adaption of the beloved story by Washing-ton Irving, pulling language directly from the source mate-rial to create a high-energy and interactive retelling. Pre-sented by Brian Clowdus, the show uses the historic New England village as the back-drop for its tale, walking audi-ences through the village as the story unfolds and adapts to its unique setting. For Old Sturbridge Village, this includes a harrowing and icon-ic final ride across the covered bridge by the Headless Horse-man as he pursues a terrified Ichabod Crane.

“We are proud to bring ‘The Sleepy Hollow Experience’ back to Old Sturbridge Village and remain the longest run-ning venue for the show under Brian Clowdus,” says Christine

Tieri, chief marketing officer at Old Sturbridge Village. “In our fourth year, we will have sev-eral new actors joining the cast which will bring a fresh per-spective to the performance, especially for our repeat visi-tors.”

“The Sleepy Hollow Experi-

ence” takes place on Wednes-days through Sundays, until November 3. Performances are conducted at the Museum Edu-cation buildings, starting in the evenings at 7:30 pm, with additional shows at 9:30 pm on Friday and Saturday nights.

Overnight accommodations

at Old Sturbridge Inn and Reeder Family Lodges are available, using promo code “Ichabod19” to save on select show nights. Tickets, show times and event details can be found online at https://www.osv.org/event/sleepy-hollow/.

Old Sturbridge Village, first

opened to the public in 1946, is one of the country’s oldest and largest living history muse-ums, celebrating life in early New England from 1790 to 1840. It is the largest living history museum in the North-east. Each year, more than 250,000 visitors interact with costumed historians, experi-ence up-close demonstrations of early American trades and meet heritage breed farm ani-mals. Situated on 200 scenic acres, the village is a collection of more than 40 historic build-ings — including homes, meet-inghouses, trade shops, work-ing farms and three water-powered mills — restau-rants, shops and the Old Stur-bridge Inn and Reeder Family Lodges.

Old Sturbridge Village is located just off the Massachu-setts Turnpike and Routes I-84 and 20. For more information, www.osv.org.

Legend Of Sleepy Hollow Comes Alive At Old Sturbridge Village

John Collins photo courtesy Old Sturbridge Village.

NEW YORK CITY — The Tredwell family lived in the historic Merchant’s House for nearly 100 years. Eight family members died in the house; their wakes and funerals were held in the double parlor, veiled in black crepe.

Some say they never left.In March 1865, family patri-

arch Seabury Tredwell died in his upstairs bedroom; his wake and funeral were held in the double parlor, shrouded in black crepe. Grief was not unique to the Tredwell family that year. The Civil War had ended, with more than 600,000 dead, and President Abraham Lincoln’s assassination plunged the nation into a period of unprecedented public mourn-ing. The overwhelming sense of grief and loss led to heightened

interest in Spiritualism, as sur-vivors attempted to contact their dearly departed through seances and mediums.

Poignant scenes throughout the house explore Nineteenth Century customs surrounding death, a time, unlike today, when death and mourning were pervasive and integral parts of life; dying and funerals took place at home; rituals of mourning helped the bereaved cope with the ever-present anguish of death; and Spiritu-alism offered hope of a Hereaf-ter.

Pay your last respects at Sea-bury Tredwell’s deathbed upstairs, then join the mourn-ing in the double parlor set with a coffin for his wake and funeral. And, in “Manhattan’s Most Haunted House,” discover

why our fascination with spir-its, ghosts and the Hereafter endures to this day. (If you see something, say something!)

New this year! On Saturday afternoons, the newly widowed Eliza Tredwell (portrayed by a costumed interpreter) will greet guests and answer ques-tions about life and death in the Nineteenth Century. The exhibition includes rarely dis-played Nineteenth Century mourning attire and accesso-ries from the Tredwell Collec-tion.

This exhibition continues through Monday, November 4, and is included with regular admission.

The Merchant’s House Muse-um is at 29 East 4th Street. For information, 212-777-1089 or www.merchantshouse.org.

Death, Mourning & The Hereafter In Mid-Nineteenth Century New York

Courtesy Merchant’s House Museum.

GUILFORD, CONN. — What secrets lurk behind the formidable stone walls of Connecticut’s oldest house? Find out on Saturday, October 26, from 10 am to 4:30 pm, when the Henry Whitfield State Museum pres-ents, “Halloween at Henry’s.” See the 380-year-old Whitfield House in a new light...or rather, in no light. The lights will be off as visitors explore the entire building. The basement, usually closed to the public, will have a few surprises for those brave enough to venture there. Bring a

flashlight to investigate all the nooks and crannies.

In the museum’s Visitor Center, enjoy some candy, craft a gravestone or gargoyle out of clay and do some coloring. In the Education Center, learn about the Guilford Green graveyards, the Whitfield connection to the Salem witch trials and the ori-gins of our Halloween traditions in the display “Holidaze: The Real Story of Halloween, Thanksgiving & Christmas.”

This program is recommended for

ages 6 and older. Admission is free for children ages 12 and younger, $5 for seniors ages 60 and older and $6 for everyone else. Parking is free at the museum.

The Henry Whitfield State Muse-um is at 248 Old Whitfield Street. For more information www.cultureand-tourism.org, whitfieldmuseum@ct.gov, 203-453-2457 or www.facebook.com/henrywhitfieldstatemuseum.

Halloween At Henry’s

Courtesy Henry Whitfield State Museum.

DALLAS — Claude Lal-anne’s garden bench from the DeWitt and Lila Archeson Wallace Garden at Colonial Williamsburg, Va., 1984, drew multiple bids until it closed at $156,250 (with premium) to lead Heritage Auctions’ Octo-ber 1 design auction. The

bench comes from an expan-sive group of furniture, ceramics and sculpture for the Wallace Garden, which, at the time of its completion, represented the artist’s larg-est American public commis-sion. The 28½-by-81-by-20-inch, patinated bronze bench

was offered from an impor-tant private collection, which also included rare works by Francois-Xavier and Claude Lalanne, Georges Jouve and Harry Bertoia. Watch for a full review of the sale in a future issue. For information, www.ha.com

Claude Lalanne’s Garden Bench Brings $156,250 At Heritage’s Design Auction

NEW YORK CITY — Con-sidered the father of impres-sionism, post-impressionism, and, by some, Twentieth Cen-tury abstraction, Édouard Manet (1832-1883) was a rev-olutionary in his own time and a legend thereafter. Beyond his pivotal role in art history as the creator of such iconic masterworks as “Olym-pia,” 1862–63, and “Luncheon

on the Grass,” 1863, Manet’s vision has come to define how we understand modern urban life and Paris, the so-called “capital of the Nineteenth Century.”

This fall, and continuing on view through January 5, the Frick presents three Manet canvases from the collection of the Norton Simon Museum in Pasadena, Calif., marking

the first time the paintings will be exhibited together elsewhere since their acquisi-tion. The exhibition presents the paintings as examples encapsulating three “views” of the artist’s life and work. Each canvas offers an oppor-tunity to consider the range of Manet’s pioneering vision: “Still Life with Fish and Shrimp,” 1864, focuses atten-

tion on the paint itself; “The Ragpicker,” circa 1865-71; possibly reworked in 1876, highlights the artist’s use of art historical references; and, finally, “Madame Manet,” circa 1876, looks at his biog-raphy.

“Manet from the Norton Simon Museum” is the sev-enth in a series of acclaimed reciprocal loans with the Cali-

fornia museum. The exhibi-tion and accompanying cata-log, which features new scholarly material on techni-cal analysis, provenance and dating, are organized and written by the Frick’s assis-tant curator, David Pullins.

The Frick Collection is at 1 East 70th Street. For more information, 212-288-0700 or www.frick.org.

Norton Simon Loans Frick Three Manet Works