By Bruce Weber
Rudolf and Margaret Wetterau
(1891-1953 and 1894-1989)
Map of Woodstock Artists Houses, 1926
Photo engraving
Collection of Paula Nelson
and John Kleinhans
Detail of Wetterau Map
of Woodstock Artists Houses
The Wetteraus followed the Woodstock Almanac with “An Unauthentic Map of Woodstock, County of Ulster, New York, United States of America, showing the location of some of the artists homes.” The cartouche at lower right contains the date “March 17 1926” above the words “M and R Wetterau Engravers.” Creating the photo engraving entailed the process of employing a special large format camera to image the source material directly onto a photosensitive coating or onto a sheet of photographic film. This was then developed, and contact printed onto a coated plate. The result was an image in relief, similar to a blockprint yet giving much finer detail. To print, the ink was then applied to the raised surface, and paper was pressed directly against it to transfer map and text. As mentioned in part 1, Rudolf Wetterau became skilled at engaving while working as a young man for the Nashville American.
Wetterau Map Divided into Quadrants
and Expanded to View - Top Left, Etcetera
Considerable time and energy went into researching and recording the whereabouts of the Woodstock homes, stores, mills, restaurants, hotels, boarding houses, theatres, orchards, and references to the geographic landscape. Research likely ensued mostly over the summer of 1925 and the drawing and printing of the map probably took place in New York City. The artists’ granddaughter Meed Wetterau Barnett first became aware of the map when she was a young child in the late 1940s, and remembers the map always hanging in her grandfather's Woodstock studio. As shall be mentioned, the Wetteraus later created a map of Woodstock for a commission they received from The Country Club Tavern.
The Wetterau map of 1926 includes the location of approximately seventy artist houses, among them such key members of the art colony as John F. Carlson, Birge Harrison, Eugene Speicher, Charles Rosen, Frank Swift Chase, Andrew Dasburg, Alfeo Faggi, Paul Fiene, Paul Rohland, Charles Emile Schumacher, Henry Lee McFee, Konrad Cramer, Allen Dean Cochran, Cecil Chichester, Hermon More, and Captain Henry Lang Jenkinson, as well as Rudolf and Margaret Wetterau, and her parents Stewart and Mary Chaplin (see appendix for various listings). Also appearing on the map are Rudolf’s fellow illustrators Earle B. Winslow, Rhoda Chase, Grace Evans, Cushman Parker, and Miska and Maud Petersham. The house of George Bellows is included despite the fact that the artist had died in early January 1925, a great tragedy for the American art world as well as for his many friends and acquaintances in Woodstock, where he was beloved and had been living part of the year since 1920. In the decades after his death his family continued to spend time in town in their house near the center of the village, where the Woodstock community played a rich part in the lives of Bellow’s widow Emma and daughters Anne and Jean.
Coulton Waugh (1896-1973)
A Map of Provincetown, 1924
Detail of Center of Coulton Waugh,
Map of Provincetown, 1924
Detail of Left Side of Coulton Waugh,
Map of Provincetown, 1924
Detail of Right Side of Coulton Waugh,
Map of Provincetown, 1924
Coulton Waugh’s pictorial map of 1924 of the art colony in Provincetown, Massachusetts may have inspired the Wetteraus to create their map. The map is a who’s who of Provincetown in the early 1920s. Among the artists referenced are Todd Lindemith (portrayed as “Ye Woodcut King”), Charles Hawthorne (painting a portrait of a fisherman holding a cod) and Ross Moffett (standing behind a painting of his own). The inset map of nearby Truro is “full of ye literats,” including Eugene O’Neill and Hutchins Hapgood, and includes images of writers pecking away on typewriters. The map includes images of female movers and shakers, among them the playwright and novelist Susan Glaspell, founder of the Provincetown Players. There are also depictions of local sites, such as town hall and the local history museum.
Coulton Waugh (1896-1973)
Cover of The Plowshare, December 1917
Waugh was a pioneer of the pictorial map making movement that began in the early 1920s. He was born in Great Britain, and moved with his family to the United States in 1907. He studied art with his father, the marine painter Frederick J. Waugh, and at the Art Students League in New York with George Bridgeman and Frank Dumond.(1) In 1913 he studied with John F. Carlson at the League’s Woodstock School of Landscape Painting and began a period of sporadic activity in the Woodstock art community. In 1917 and 1918 he contributed prints (including cover illustrations) to Hervey White’s Maverick art colony periodical The Plowshare, whose prominent inclusion of linocuts and woodcuts would influence the local periodicals Hue and Cry and Clarence Bolton’s The Clatter, as well as Rudolf Wettersu’s own Woodstock Almanac, to follow suit. Other artists identified with the art colony in Provincetown also contributed to The Plowshare, among them Todd Lindemuth and Blanche Lazell. The magazine served as something of a link between the Woodstock and Provincetown art colonies.
Elizabeth and Coulton Waugh, c. 1930
During his involvement with the magazine, Waugh must have associated with Captain Henry Lang Jenkinson, who also contributed to the issue of December 1917, and soon became the artist’s father-in-law. The following June, Waugh wed Jenkinson’s daughter Elizabeth, who was well known in the artist community. In Hervey White's autobiography he recalled that Elizabeth “was a charmer much loved by the artists, myself claiming a place in her company.”(2)
Former House of
Captain Henry Lang Jenkinson
and his Daughter Elizabeth Waugh,
90 Rock City Road, Woodstock
Later the Home of Julia Leaycraft.
Advertisement for the
Woodstock School of Metal Work.
The Plowshare, December 1916
Former Shop
of Coulton and Elizabeth Waugh, Provincetown
Jenkinson settled in Woodstock in 1912, where he was active as a metalsmith and teacher of metalworking, and created bowls, flatware, jewelry, fire screens and decorative fabrics. During the period 1919-1925 he played a key role in the formation and development of the Woodstock Artists Association.(3) Being married to Jenkinson’s daughter likely aided Waugh in becoming known in the tightly knit artist colony. The Waughs moved to Provincetown in 1921, where they opened a shop which sold maps, prints and ship models. The Wetteraus may have associated with Coulton Waugh during the course of his time living in Woodstock, and possibly on his return visits to see family, and there learned of his efforts as a maker of pictorial maps. They also undoubtedky were aware of his activity with The Plowshare. Their home was a short distance away from Jenkinson’s house on Rock City Road.
Former Woodstock Guild of Craftsmen, Now Rare Bear,
Tinker Street, Woodstock
The Wetterau map appears to have first come to wider public attention in the 1950s, when copies were sold at the shop of the Woodstock Guild of Craftsmen on Tinker Street. Its availability likely stemmed from Margaret Wetterau’s close involvement at this time with the organization. Lawrence Webster, daughter of prominent Woodstock residents Benjamin and Gioja Webster, and author of a book on Woodstock illustrators Miska and Maud Petersham, concurs with this assessment, and recalls “poring over [the map] from the time I was a child. The map itself is great fun, and even as late as my own childhood in the 1950s I knew most of the people or families named on it.”(4)
View Today of the Wetterau Map
on Wall of Woodstock Public Library
Recognition of the map’s importance as a historical document, and essential tool for learning about the historic Woodstock art colony, appears to have become more widespread in the wake of the Woodstock Public Library’s discovery in the autumn of 1965 of its hand colored copy. The article “Library Displays Unusual Old Map,” appeared in the Kingston Daily Freeman issue of December 6, 1965, and features the earliest known published reference to the Wetterau map. The article notes that while “rummaging through old papers at the Woodstock Library the librarian came upon the old map [which shows] humor in [its] charming design, and indicates the homes, businesses and roads of the period, including directions for trout fishers (Mink Hollow and Phoenicia), pickerel fishers (Yankeetown Pond), roads by now in disuse, and the locations of famous artists of the time . . . .”(5) The map continues to serve as a “portal” in time back to the golden age of the art colony. The map and the artists mentioned there helped to educate and guide Arthur A. Anderson in the formation of his important collection of art of the colony, which he donated to the New York State Museum in Albany (subject of a new illustrated book produced by the museum). Margaret Wetterau lived until 1989 so she was available to answer anyone who had questions about the map. In addition to making them available for purchase she liked to provide copies to interested parties.
Rudolf and Margaret Wetterau
(1891-1953 and 1894-1989)
Map of Woodstock Artists Houses, 1926
Collection of Paula Nelson
and John Kleinhans
Reproduction of Hand-Colored Copy of Wetterau Map
in Collection of Historical Society of Woodstock
The reproduction is sold
in the Historical Society shop.
The first printed impressions of the map date from the time of its origin in 1926. Black and white, their image size measures 14 ½ x 20 inches. By 1963, black and white impressions were in circulation with an image size of 19 ½ x 28 ½ inches. Over the decades many people have brightened up the black and white impressions by hand coloring them. In the late 1960s, Margaret Wetterau gave the Woodstock artist Paula Nelson the smaller, first impression of the map pictured above. She recently recalled Margaret encouraging her to hand color the map if she wanted to. A hand colored copy of the first impression in the collection of the Historical Society of Woodstock served as the source for the reproductions that are currently for sale in the organization’s gift shop.
Wetterau Map of Artist Houses in Woodstock Recollection by Recipe
(Poughkeepsie, New York: Hamilton Reproductions, 1967), op. p. 164
Reproduction of Wetterau Map, c. 1967
Kramer Family Archives
Cover of
Woodstock Recollection by Recipe
(Poughkeepsie, New York:
Hamilton Reproductions, 1967)
A black and white reproduction of a hand colored version of the Wetterau map (measuring 10 1/2 x 14 1/2") was published in 1967 as a fold out inWoodstock Recollection by Recipe. The book is a compilation of local recipes of the past, prepared and edited by Jean Lasher Gaede with the aid of many members of the Woodstock community. It includes recipes to everything from Swedish pancakes with lingoberries to shrimp jambalaya, and is illustrated with historical material, including photographs of people, places and events, and reproductions of prints. The map that is pictured was provided courtesy of Margaret Wetterau. The publication sold very briskly and helped expand knowledge of the maps existence and historical significance. A copy of an identical map (measuring 6 x 8 1/2”) from the same time, on slightly heavier paper and with slightly darker inking, and assumedly created for a different purpose or reason, was recently discovered in the family archive of Konrad and Florence Ballin Cramer.
Woodstock Recollection by Recipe was published two years before the Woodstock Music & Art Fair: An Aquarian Exposition: Three Days of Peace and Music. The festival (though held in Bethel, New York, some 70 miles southwest of the Catskill town) put Woodstock back on the cultural map after the art colony passed into dimmer days beginning in the mid-1950s. The publication came on the cusp of the early 1970s, when the town’s artistic old guard played a key role in undertaking the groundwork for the successful formation of the permanent art collection at the Woodstock Artists Association. This was accomplished in part to ensure that the town’s illustrious history as an artists colony would not be forgotten and swept up in the wake of the town’s new notoriety.
Arnold Blanch and Robert Eric Carlson created pictorial maps of the town in later years. Blanch remarked that “Woodstock provided two essential elements for artists – a place of natural beauty, with isolation available, and at the same time a necessary proximity to people [plus] New York [City] was not far away. To these elements the artists gradually added another – studios and homes and gathering places to live in, work in and exchange ideas.”(6)
Arnold Blanch (1896-1968)
Woodstock and Environs, 1942
In 1942, Blanch created a pictorial map to serve as a guide to Woodstock and the nearby environs as part of the local relief effort for Russia during World War II. Nineteen years later in 1961 Blanch created a second map (not illustrated) highlighting the artistic side of the town and celebrating The Woodstock Festival of Music and Art, a forerunner of the famous festival of 1969.
Robert Eric Carlson (1918-2001)
Woodstock, As It Were, c. 1920, 1995
Collection of The Carlson Family
Byron Linville (1915-2002)
The Maverick As We Remember It, 1983
From Jean Lasher Gaede,
“The Maverick Colony,"
in Woodstock Gatherings: Apple
Bites & Ashes Pre 1994
(Woodstock, New York: Broken Madonna Press, 1997), p. 36
In 1995, Robert Eric Carlson (son of artists John and Margaret Carlson) created Woodstock, As It Were, ca. 1920. Among other things the map includes references to artists long gone (among them Captain Jenkinson), and children of deceased artists, including Aileen and Margot Cramer (daughters of Konrad Cramer and Florence Ballin Cramer), John Faggi (son of Alfeo Faggi), Peggy Ives (daughter of Neil and Dorothy Ives), and Miriam Cochran (daughter of Alice and Allen Dean Cochran), who made their home in town. Carlson may have derived the idea for creating his map after seeing Byron Linville’s map of 1983 titled The Maverick As We Remember It. Carlson’s map will be discussed by his niece Barbara Carlson in part 3 of this series of posts relating to the Wetteraus.
Cuchina’s (Formerly The Country Club Tavern), Woodstock, New York
Riseley's Boarding House, Woodstock,
c. 1900
Postcard Collection of Chuck Howland, Woodstock, New York
In 1935, the Wetteraus were commissioned to paint a series of murals on artist life in Woodstock for The Country Club Tavern (now Cuchina’s), situated at the bottom of Mill Hill Road at the junction of the Woodstock-West Hurley and Woodstock-Saugerties roads. They were sought out by the hotel’s owner June Holbrook, who purchased the building in October 1933, and remodeled and renovated parts of the structure in order to open it as a first-class hotel. It was originally the farmhouse of the Riseley family, who early in the 20th century converted it into a boarding house, where many students resided in the summer while attending the Art Students League, or while studying with other artists in town. Holbrook (who resided in a house on the Glasco Turnpike that is marked on the Wetterau map) celebrated the Wetteraus completion of their mural project with an elegant dinner party.(7)
Town House, c. 1950s
Postcard Collection of Chuck Howland, Woodstock, New York
The Country Club Tavern was acquired in 1946 by Sam S. Schwartz, who renamed the property the Town House, and turned it into a restaurant and gallery. Schwartz curated exhibitions of the work of local artists. Among the artists to have shows there were the Wetteraus (joint exhibition in 1952), Eugenie McEvoy, John Ruggles, John McClellan, Clarence J. McCarthy, Edna Thurber, Murray Hoffman, Arthur Zaidenburg, Agnes Hart, Josef Presser and Grace Greenwood.
Deanie's, c. 1970s
Elwyn Family Archives
Rudolf and Margaret Wetterau
(1891-1953 andf 1894-1989)
Town House Reception Room 1, c. 1950s
Janine Fallon Mower
(Postcard Collection)
Rudolf and Margaret Wetterau (1891-1953 and 1894-1989)
Town House Reception Room 2, c. 1950s
Postcard Collection of
Chuck Howland, Woodstock, New York
In 1973, the Town House was sold to Alan Dean Elwyn. The property became the home of the restaurant Deanie's, which moved to the location after suffering a disastrous fire at its location further up Mill Hill Road. By that time there were no traces of the Wetterau murals.(8) We know something about their appearance because of two postcards the Town House produced of the reception room, and from descriptions of their appearance in articles written about the establishment in the early 1950s. The name of the artist who painted the images of the animals on the walls is not known.
Rudolf and Margaret Wetterau (1891-1953 and 1894-1989)
Detail of Part of Town House
Reception Room 1, c. 1950s
From Images of Woodstock
by Janine Fallon Mower
Rudolf and Margaret Wetterau (1891-1953 1894-1989)
Detail of Part of Reception Room
with Map of Woodstock,
c. 1950s
Postcard Collection of Chuck Howland, Woodstock, New York
An article in the Kingston Daily Freeman of June 2, 1952 explained that “Some years ago Wetterau did a mural for the hotel which contains many well-known Woodstock personalities, the late John F. Carlson, Eugene Speicher, Henry Mattson and others. He also drew the map of Woodstock in one of the reception rooms which is a source of considerable interest. In the hotel living room is another mural painted around old Woodstock days, another project in which Mrs. Wetterau assisted.” (9)
An article in the Catskill Mountain Star explained one of the murals in greater detail; “Rudolf Wetterau sketched [Henry Lee] McFee, Frank Chase, Charley Rosen and Richard Gersell at a game of golf. He depicted C. J. McCarthy dancing with Polly Rosen [and] John F. Carlson appears with a beard. Miska Petersham is playing bridge with June Holiday and Effie Whittredge [daughter of late Hudson River School painter Worthington Whittredge]. Holly Cantine is just standing there looking jolly. Other recognizable persons are Eugene and Mrs. Speicher, Wilna Hervey, Nan Mason, John Striebel, and J. P. McEvoy.”(10) It was further pointed out that a large mural that hung in the living room showed “various village characters in odd dress. Children are running about [the town green] among the artists. A farmer is sitting atop a load of hay, riding his wagon down the street.”(11)
Former Bronxville Home of Wetteraus
In 1946, the Wetteraus bought a house in Bronxville, an affluent town in Westchester County, approximately fifteen miles north of midtown Manhattan. The town was home to a vital art colony in the late 19th and early 20th century. The couple became active in local art life. Rudolph commuted to his job as art director of the Kiesewetter Advertising agency on East 40th Street, while Margaret became involved with town affairs, serving as the Village Good Will representative in 1949, and with the Bronxville Women’s Club.
Photograph of Margaret
and Rudolf Wetterau, 1952
From “Wetteraus Hold Joint Show,” Catskill Mountain Star,
June 6, 1952, p. 2
Announcement for joint exhibition
at Town House.
Rudolf Wetterau, c. 1950
Wetterau Family Archives
In 1950, Rudolf suffered a heart attack. The family sold their house in Bronxville and settled full time in Woodstock. Rudolf worked at home on advertisements for the Kiesewetter Advertising agency and spent his free time painting and gardening. He collaborated with Margaret on two ventures. In 1952, he assisted his wife on the creation of a doll house for the Tinker Street Nursery School, and that year they collaborated on the design and construction of a scale model of a Norman Castle for a school benefit, and had their joint exhibition at the Town House. Rudolf Wetterau died in May 1953, the same week as longtime Woodstock artists Yasuo Kuniyoshi and Bradley Walker Tomlin passed away.(12)
Margaret Chaplin Wetterau (1894-1989)
Woodstock Gallery Opening, c. 1947-1952
James Cox Gallery
Rudolf Wetterau (1891-1953)
Running Horses, c. 1950
Collection of Meed
and Robert Lowe Barnett
Margaret Chaplin Wetterau (1894-1989)
Tulips, c. 1947
Collection of Meed and Robert Barnett
Rudolf Wetterau (1891-1953)
Reservoir Road, c. 1947
Collection of Meed and Robert Barnett
Margaret Chaplin Wetterau (1894-1989)
Children’s Workshop, c. 1950s
Collection of Meed and Robert Barnett
Following her full time move to Woodstock, Margaret Wetterau began her full engagement in the Woodstock Guild of Craftsmen. She taught a variety of courses, including art classes for children, and art appreciation for adults. She had become involved with puppetry after fashioning Punch and Judy figures for her sons Alan and Robin’s birthday parties. She now taught children how to make puppets and scenery, and directed them in puppet shows at various places, including the annual Library Fair. Dating from this period are her drawings Woodstock Gallery Opening and Children’s Workshop. In the picture of the gallery opening the three works to right of center on the back wall represent Rudolf's painting Running Horses, a still life that brings to mind Margaret's Tulips, and Rudolf's Reservoir Road. Among the artists represented in the drawing are Hermon Cherry, John McClellan, Yasuo Kuniyoshi, Rosemarie Beck, Henry Mattson, Ethel and Jenne Magafan, Bruce Currie, Fletcher Martin, Holly Cantine, and Arnold Blanch. In the late 1950s, Margaret managed the guild’s gallery, organizing displays by artists in town. Musa Guston, daughter of artist Philip Guston, assisted her in 1958.(13)
Margaret Chaplin Wetterau, c. 1950
In 1960, Margaret Chaplin Wetterau sold her Woodstock property to May Wetterau, her daugher-in-law, and moved into the house nearby that was formerly occupied by her parents. In 1969 May sold the property to Linda Sweeney, daughter of artist Margaret Lowengrund. Marg began to winter in Longboat Key, and later moved to Bradenton, Florida, where she was active in the Bradenton Art Center, and passed away in 1989. Her comical drawing of members of the post-war artist community gathering at a gallery opening is the final work by the Wetteraus chronicling as well as celebrating the artistic life of the town, and offers a glimpse of some of the new generation of artists who recently made their way to the colony, among them Martin, Beck, Cherry, Bruce Currie and the Magafan twins Ethel and Jenny, who helped perpetuate Woodstock’s remarkable artistic community.
Appendix
An Unauthentic List of Artists,
Illustrators and Others
with Houses or Businesses
on the Wetterau Map of 1926
By Bruce Weber
With the assistance of Paula Nelson
Artist Houses
William Arlt
George Bellows [Family]
Henry Billings
Clarence Bolton
Ernest Brace
Reeves Brace
Marion Bullard
Jo Cantine
John and Margaret Carlson
John Carroll
Edward L. Chase
Frank Swift Chase
Rhoda Chase
Cecil Chichester
Allen Dean Cochran
Florence Ballin Cramer
Konrad Cramer
Andrew Dasburg
Grace Evans
Alfeo Faggi
Ernest Fiene
Paul Fiene
Walter Goltz
Birge Harrison
Rosella Hartman (Fiene)
Norbert Heerman
Wilna Hervey
Neil and Dorothy Ives
Captain Henry Lang Jenkinson
Harry Leith-Ross
Carl Eric Lindin
Daphne Mattson
Henry Mattson
Henry Lee McFee
Eugenie McEvoy
Alice Owen
William Owen
Cushman Parker
Ethel C. Peets
Orville Peets
Maud Fuller Petersham
Miska Petersham
Eleanor Rixon
Caroline Speare Rohland
Paul Rohland
Charles Rosen
Charles Emile Schumacher
Margaret Shotwell
Judson Smith
Eugene Speicher
Lottie Stoehr
Edward Thatcher
Alice Wardwell
Margaret Wetterau
Rudolf Wetterau
Jane Byrd Whitehead
Ralph Radcliffe Whitehead
Earle B. Winslow
Sam W. Wylie
Other Houses Noted on the Wetterau Map
Ayer (?)
Zoe Bateman
Norman Towar Boggs
Dr. Mortimer B. Downer
Marion Eames
Edwards (possibly artists Edward and Eleanor Edwards)
William and Bertha Elwyn
Leslie Elwyn
June Holbrook
Alfred de Liagre
Rosie McGee
Walter and Priscilla Mower
George Neher
Edwin D. and Nancy Schoonmaker
Frank Smith
Ben Webster
A List of Businesses, Places, Etc. Found on the Wetterau Map
Art Shop/Drugs
Baseball field
Bearsville
Butcher
Byrdcliffe
Cemetery
Cider Mill
Cooper Boarding House
Dibble’s Mill
Elwyn’s Food Shop
Farrell's Apples
Fireman’s Hall
The Flats
Graveyard
Happy
Henry Peper
Ice House
Indian Cove
Irish Village
Jack Horner Shop
Ken’s
Lewis Hollow
Library
Little Deep
Longyear’s Bus
Mead’s Mountain House
Movies
Mower’s Garden
News Shop
The Nook
Ohayo Mountain (Spelled Incorrectly)
Overlook Mountain
The Phoenix Players
Pine Grove
Planing Mill
Post Office
Quarry Reynold Boarding House
Riseley Boarding Pavillion
Ritz Allen Hotel
Sap Patch
The Sawkill
Shorts Corner
F. and C. Shultis
Stowall Studio
Stroehr’s Studio Barn
Sully’s Mill
Tannery Brook
Tea Room
Town Hall
Twin Gables
Undertaker
The Viletta
W.A.C.
Waterfall
Woodstock Art Association (Art Gallery)
Woodstock Garage
Woodstock Valley Hotel
Notice of Artistic and Cultural Activity Beyond the Borders of the Map
The Maverick: Hervey White, Colony of Musicians and Actors, Theatre, Sunday Concerts, Restaurant
Maverick Road for Arnold and Lucille Blanch, Harry Gottlieb,
Austen Mecklem, Carl Walters, Howard Barnes
Wittenberg Road for Georgina Klitgaard, Hermon More, Arnold Wiltz, Madeline Shiff Wiltz, Evans (?)
(1) For a brief biography of Coulton Waugh see “Coulton Waugh, 77, Cartoonist, Author ‘The Comics,’ Dead,” The New York Times, May 27, 1973, p. 39.
(2) Hervey White, “Autobiography,” manuscript in the Papers of Hervey White, Special Collections Department, University of Iowa Libraries, Iowa City, p. 213. A photocopy of the autobiography is in the collection of the Woodstock Public Library.
(3) For various references to Captain Henry Lang Jenkinson, Eleanor Waugh and Coulton Waugh see John B. Friedman and Kristen M. Figg, The Princess with the Golden Hair: Letters of Eleanor Waugh to Edmund Wilson, 1933-1942 (Teaneck, New Jersey and London: Fairleigh Dickinson Press, 2000).
(4) Email from Lawrence Webster to Bruce Weber, June 1, 2024.
(5) “Library Displays Unusual Old Map,” Kingston Daily Freeman, December 6, 1965, p. 3.
(6) Arnold Blanch, “Woodstock’s Art,” in The Woodstock Festival of Music and Art (Summer 1961), n.p.
(7) “Wetteraus’ Show Opened Friday at Town House,” Kingston Daily Freerman, June 2, 1952, p. 9.
(8) As reported to me in a conversation with Jonathan Elwyn, autumn 2021.
(9) “Wetteraus’ Show Opened Friday at Town House,” p. 9.
(10) “Wetterau’s Hold Joint Show at Town House,” Catskill Mountain Star, June 6, 1952. p. 3.
(11) "Rudolf Wetterau, 62, Dies Suddenly at His Glasco Turnpike Home,” Catskill Mountain Star, May 22,, 1953, p. 3.
(12) “Woodstockers in the News,” Catskill Mountain Star, May 22, 1953, p. 2.
(13) “Recreation Committee Names Mrs. Wetterau as Director,” Kingston Daily Freeman, April 14, 1958, p. 15.
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