Allyn House, Hartford, Conn.Circa 1908.


Quinnipiac To Open Museum With World's Largest Collection Of Irish Potato Famine Art, Artifacts


 A University President's Passion To Tell The "Great Hunger" Story; A Bagel Magnate's Backing

By KATHLEEN MEGAN, kmegan@courant.com The Hartford Courant

8:40 p.m. EDT, September 17, 2012

HAMDEN—

— Since he was a child, Quinnipiac University President John Lahey had heard about the tragic Irish potato famine.

But it wasn't until he served as grand marshal of New York's St. Patrick's Day Parade in 1997 that he researched the subject and developed a passion so strong that the university will soon open its own museum on the famine.

"You know, I grew up in an Irish neighborhood, and I was told about this, but the story was more or less that it was the Irish fault for being dependent on the potato. They were lazy or whatever," said Lahey, who grew up in the Riverdale section of the Bronx. "That was the British story that they wanted us to believe so they were not held accountable."

What he learned in his research convinced Lahey that the 19th century tragedy was avoidable – that policies of the British left the Irish starving when there were alternative food supplies in the country.

Certain that this was a story that needed to be told, Lahey delivered speeches on the subject often during 1997 — the year he was grand marshal and also the 150th anniversary of the famine. His outrage persuaded bagel magnate Murray Lender, then vice chairman of Qunnipiac's trustees, who saw parallels in the lives of the Jews and the Irish, of the need to inform people about the famine and he offered to help.

A decade and a half later, Quinnipiac will open "Ireland's Great Hunger Museum" or, in Irish, "Museam An Ghorta Mór," in Hamden on Oct. 11. The museum will be dedicated in an invitation-only ceremony on Sept. 28, but in the previous week, there will be several public lectures at Quinnipiac, including a Sept. 25 talk by Gerry Adams, president of Sinn Féin, an Irish national political party.

Lahey said the 4,750 square-foot museum will be home to the largest collection of visual art, artifacts and printed materials related to the Irish famine. While the university is covering the cost to buy and renovate the museum — which Quinnipiac isn't disclosing — the Lender family contributed to the purchase of the collection.

Niamh O'Sullivan, who is a professor emeritus of visual culture with the National College of Art and Design in Dublin, is the inaugural curator; Grace Brady, who worked as an administrator for The Metropolitan Museum of Art, will start as executive director on Wednesday.

"This is the only museum anywhere in the world dedicated to Irish art on the Great Hunger," Lahey said. "There is nothing like this in Ireland. The educational piece is that this was an avoidable tragedy."

Christopher Cahill, executive director of the American Irish Historical Society, said it's a "great concept" that the university has focused on "a single, but extremely complicated historical event that is almost as central to the history of the United States as it is to the history of Ireland.

"If you look at the impact of the Great Hunger on the U.S., it's incredibly transformative," he said. "There certainly are specialized collections in various libraries, but this is a kind of a different way of organizing a collection around a single historical event."

The collection focuses on the famine years from 1845-52, when blight destroyed almost all of Ireland's potato crops. That crop loss, paired with the British government's "callous disregard for human rights" as Lahey said — others have called it indifference — led to the deaths of more than a million Irish men, women and children. More than 2 million left Ireland with a massive influx into to the U.S., reducing Ireland's population from 8 million to just over 4 million.

Scholars and historians disagree on the British government's intent during the famine years, though it's clear that British policies proved devastating. "Was it a crime?" asked Lahey. "I would say it was a human rights abuse. … It was certainly a human rights violation."

In 1997, then newly-elected Prime Minister Tony Blair issued an apology for the famine, calling it "a defining event in the history of Ireland and Britain. ... Those who governed in London at the time failed their people through standing by while a crop failure turned into a massive human tragedy.

Lender Family Support Launches Collection

On a visit last week to the soft-gray stucco museum that was built in 1890 as a library, Lahey paces and talks effusively, describing his travels, visiting galleries and looking for works of art that focus on the famine years.

Not much famine-related artwork was produced during the years of the blight, Lahey said, because there were not many who could pay for it and the few who could "didn't want the starving Irish hanging on the wall in some Irish manor."

It was a significant donation from the Lender family, Lahey said, that launched Quinnipiac's collection of famine-related art, artifacts, original documents and other resources, which is housed in the Lender Family Special Collection room in the university's library on the campus, and now needs more space.

Murray Lender passed away earlier this year, but his brother Marvin said that when the brothers heard about the details of the famine from Lahey, "We couldn't help but compare the history, particularly the potato famine, to some of the experiences of the Jewish people over the years."

On the tour, Lahey points to a space in the museum where a chilling painting called "Burying the Child," by Lilian Lucy Davidson, will hang. In its place last week was a copy of the painting — a placeholder until the museum is completed. But even a copy tells the story of the famine in dark, devastating tones.

Though he has a doctorate in philosophy, Lahey sounds like an art history major. A painting called the "Irish Peasant Children," Lahey said, symbolizes the "three faces of Ireland": the beauty of a young girl, the wildness of an unkempt youth, and a third youth, who iappears to be more sinister.

Also particularly moving are Statistic I and Statistic II, sculptures by Rowan Gillespie, that present the names of hundreds of Irish immigrants who died of disease in quarantine camps on Staten Island.

In his quarter century at Quinnipiac's helm, Lahey is known for sweeping change: during his tenure the university has more than quadrupled its enrollment to 8,500 students; and has had added two new campuses, a law school, and next year, a medical school.

But it's clear as Lahey walks through the museum, pointing out highlights, including space where schoolchildren will be able to watch videos on the famine, that he worries about the details.

Bradford P. Collins, the exhibit designer, corrals Lahey for a moment to get his input on the size of type for a gallery wall. The sizes differ by only a 32nd of an inch, but it's enough to discuss. "Let's go with the bigger," Lahey concludes. "I think I can read it better from a distance.''

It was Lahey's decision to put pavers in the parking lot, rather than blacktop. And he wanted the museum sign to sit squarely in front, rather than at 90 degrees to the road, to differentiate it from the retail outlets along Whitney Avenue.

"I see the big picture … but small things are important too," Lahey says. "When you think of the great universities, many of them have art collections and galleries: Boston College, Yale. ... We think this is part of our gift to the community in a way. .. In time, Quinnipiac will become the place to do Great Hunger-related research."

A weeklong program of cultural events and lectures will begin on Sept. 25. It will culminate with an invitation-only dedication on Sept 28. The museum, at 3011 Whitney Ave. in Hamden, will open to the public on Oct. 11. The museum is free.

 

Henry Shelton Sanford




Henry Shelton Sanford was born in Woodbury, Connecticut into an old New England family.  His mother was Nancy Bateman Shelton.  (Shelton Connecticut is named for one of her family members, Edward N. Shelton, founder of the Ousatonic Water Power Company)

Sanford’s father Nehemiah Curtis Sanford, a self-made millionaire who earned his fortune through the manufacturing of brass tacks.  He was also a founder of Birmingham (Ansonia) Connecticut and a direct descendant of Thomas Wells, Governor of the Connecticut Colony.  (The only person in Connecticut's history to hold all four top offices: governor, deputy governor, treasurer, and secretary.) and served in the Connecticut Senate for the 16th District.

Sanford began was the United States Secretary of the American legation to St. Petersburg, then Frankfurt and later, Paris. President Abraham Lincoln appointed him as Minister to Belgium in 1861.

Sanford coordinated northern secret service operations during the Civil War, arranged for the purchase of war materials for the Union in Europe, and delivered a message from Secretary of State William H. Steward to Giuseppe Garibaldi, offering the Italian patriot a Union command.

After the War, he bought an orange grove in St. Augustine, Florida, from John Hay, who had been one of President Lincoln's secretaries and later served as U.S. Secretary of State. It was the beginning of a Sanford’s large investment in the St. Augustine area.

In 1869, President Ulysses S. Grant nominated Sanford as his Minister to Spain but his Senate confirmation was tabled because, although Sanford wanted the post, he didn’t want to live in Spain.

The following year, 1870, Sanford paid $18,400 to former Confederate General Joseph Finegan to acquire his extensive land holdings along Lake Monroe and founded the city of Sanford, Florida.

He also had extensive holdings in the Congo and Belgian King Leopold II used Sanford to convince Henry Morton Stanley to explore the Congo basin for Belgium in 1878. He then hired Sanford in 1883 as his envoy to the United States to try to gain American recognition for his colony in Congo.

Sanford died at Healing Springs, Virginia on May 21, 1891. He is buried in Long Hill Cemetery, Shelton, Connecticut.

 

Winsted



Winstead


Sharon 1910


Norwich 1890


Norwalk in the 1960s


New Haven Connecticut Books on Sidewalk After Yale Library Fire


Milford 1960


Ike speaks in Hartford


Demonstrations in 1971


Gov. Dempsey


Abbie Hoffman in New Haven


1962 Connecticut Governor John Dempsey with A.M. Williams


River Street in Waterbury after the 55 flood


Ike in Hartford


Hartford


The Battleship USS Connecticut 1922


1954 New Haven Connecticut View of Lunar Eclipse


The flood in Middletown, 1955


Newspaper Publisher Journal Register Files for Bankruptcy and Plans for a Sale


 

6:38 p.m. | Updated The Journal Register Company, whose newspapers include The New Haven Register and The Trentonian, has again filed for bankruptcy protection and hopes for a quick sale, said Digital First Media, which operates the company along with the Mediavews Group.

The Chapter 11 filing announced Wednesday comes three years after Journal Register emerged from a prior bankruptcy case.

In this profile from last year, John Paton, the chief executive of Digital First Media, which operates the Journal Register Company, argued that newspapers had to move quickly to digital from print.

Digital First Media says it expects normal operations to continue during the sales process. Journal Register would be sold at auction, it said, and had signed a stalking horse bid from an affiliate of Alden Global Capital.

The chief executive of Digital First, John Paton, said Journal Register had more than doubled its digital audience in the last two years. But he said the company was still struggling with print advertising and legacy costs.

Journal Register operates news and media operations in 10 states.

Mr. Paton has been seen as an innovator in the newspaper industry and has proudly pointed out how much progress the Journal Register has been made in cutting costs and adjusting to a digital age. In a memo Mr. Paton sent to employees, he said the newspaper group more than doubled its digital audience in the last two years. It drastically cut its expenses and reduced its debt load by 28 percent. It also cut back its number of printing facilities and outsourced its distribution.

But Mr. Paton stressed that all of these efforts cannot make up for the company’s advertising revenue losses, which declined by 19 percent from 2009 to 2011. It also faces growing legacy costs. The company still carries $160 million in debt. It is also burdened by the leases it signed to house employees it needed when the company was nearly double its size. And its pension fund liabilities only continue to grow.

“This is about taking the necessary steps to deal with the obligations the company entered into when it was bigger. The company was nearly twice the size in revenue in 2005,” said Mr. Paton in an interview. “What we can’t do is pay for the past. If we could, we would.”

Newspaper industry experts say that the Journal Register’s problems plague the entire industry. Alan D. Mutter, a newspaper consultant who blogs at Reflections of a Newsosaur points to Newspaper Association of America data that shows annual advertising sales revenue for the industry shrunk to less than $24 billion in 2011 from $49.4 billion in 2005. He said that an industry shrinking that quickly cannot afford the obligations like the pensions of employees who retired years before in the current economy.