Dong Kingman (1911-2000) was a respected Chinese-American watercolorist, one of the leading figures in the “California Style” school of painting, and the father of Dong Kingman Jr., Williston Academy class of 1955. In 1953 he and his wife Janice visited the campus. While here, Kingman painted this picture of the east end of the Recreation Center, today’s Reed Campus Center, and presented it to Sarah and Headmaster Phillips Stevens. It was hung in the Homestead (at that time, the Headmaster’s residence) and, according to Phillips Stevens Jr., went with them to every home.
Last year, on behalf of the Stevens family, Phillips Stevens Jr. presented Kingman’s painting to the school. It has been conserved, re-framed, and added to Williston Northampton’s permanent art collection, and is displayed in the west end of the Reed Campus Center, which it depicts.
At right, another member of the Stevens family, Peter Stevens ’60, admires the Kingman painting in the Reed Campus Center, March 30, 2019. Peter was visiting with his wife, painter Linn Bower, for the opening reception of her exhibit, The Passionate Hands of the Sun, in the Grubbs Gallery, just down the hall.
More information about the life and work of Dong Kingman may be found in a variety of online sources, and several books, including Dong Kingman: an American Master, by Monte James (Twenty-Second Century Film Corporation of America, 2000), and Kingman’s own Portraits of Cities (Twenty-Second Century, 1997) and Dong Kingman’s Watercolors (Watson-Guptil, 1980).
Recently the Archives acquired a photo album kept by Jean M. Bigelow, who attended Northampton School for Girls in 1925-26. Since Northampton School had just opened a year earlier, in 1924, the contents of the album represent some of the earliest images we have.
We don’t know much about Jean Bigelow — in fact, her identification in the photograph above is based on an ambiguous caption on another copy of this photo given us by Elva Minuse, class of 1927 (that’s Elva in the second row, second from right), and comparison with uncaptioned family photos elsewhere in Jean’s album. Beyond her academic transcript, she left no paper trail in our alumnae records. According to Social Security records, she was born in 1907 and died, aged 78, in 1986. She attended Vassar College, class of 1930, and lived in Worcester, Mass.
And that’s about all we know. But the photos capture Northampton School for Girls at its very beginning, so this is a significant addition to the Archives.
Anyone familiar with Easthampton in the ’40s through the ’60s is likely to recall a taciturn gentleman with an easel and paintbox, often engaged in capturing a town landmark or rural scene. Albert Kiesling (1885-1968) was born in Clinton, Mass., and moved to Easthampton to work in the textile mills. He was a protégé and friend of the American expressionist painter Oscar F. Adler (1868-1932), another Clinton native. In fact, Kiesling and Adler often painted the same scenes together.
In the summer of 2016, Easthampton CityArts+, in association with Albert Kiesling’s family, mounted an exhibition and sale of a large group of his paintings, at the Mill Arts Project (MAP) Gallery at Eastworks in Easthampton. The following video, from Easthampton Media, is an excellent introduction to Kiesling’s work. (Alumni from certain eras may recognize some of the people interviewed.)
There are five known Kiesling paintings of Williston scenes. One had been on campus since 1945. Following the CityArts+ exhibit, Williston Northampton was able to obtain the other four, through a combination of alumni generosity and purchases. They are:
The Old Gymnasium
The Old Williston Seminary Gym, with its distinctive tower, was built in 1864, the first free-standing athletic building in any American secondary school. It stood on High Street, at the rear of the original Williston campus. Rendered largely obsolete by the construction of the Recreation Center (now the Reed Campus Center) in 1930, it was razed following the school’s consolidation onto the present campus in 1951. Kiesling painted the scene in 1952. Williston Northampton was able to acquire the painting through the generosity of Patricia Zavorski Coon ’61. This painting currently hangs in the office of the Director of Athletics.
The Button Mill
The painting of the original Williston Button Mill, Easthampton’s first factory building, was commissioned in 1945 by Charles Johnson, class of 1875, Treasurer of Easthampton Savings Bank, and presented to the school by the Class of 1905, one of whose members, Guy Richard Carpenter, was instrumental in tracking down and preserving many of the documents and memorabilia that now comprise the Williston Northampton Archives. The building, which still stands on Union Street, was erected in 1846-47. One of the workers’ tenement houses beyond the mill also remains, now home to the Easthampton Diner. Kiesling added a couple of historical touches to the background: the spire of the Payson (now Easthampton Congregational) Church and, in front of it, Williston’s original (1841) White Seminary building. This painting hangs in the front parlor of the Head of School’s Residence.
The Old Campus
This undated painting now hangs in the Advancement Conference Room in the Williston Homestead. Purchased in 2016 via the Archives Fund, it shows the pre-1951 campus from the intersection of Main and Union Streets, from the vantage point of the Congregational Church’s front lawn. The buildings, from right, are South, Middle, and North Halls. All these structures were torn down after the move to the New Campus in 1951, but a portion of the distinctive iron fence remains in place. Also visible are the Maher Fountain, which remains today, and the First Congregational Church, which succumbed to fire in 1929.
In the mid-19th century, Hill’s Mansion House was Easthampton’s grand hotel. Even then, it housed Williston students able to pay the premium rates. The huge wooden building stood at the top of the hill on the corner of Main and Northampton Streets. In the early 20th century, when the hotel business had fallen off, the school bought the building and renamed it Payson Hall. It was used as a dormitory, dining commons, and for many years, the home of the Williston Junior School. From the early 1950s on the structure, in increasingly fragile condition, hosted inexpensive apartments. It burned in the early 1970s. Kiesling’s 1963 painting, part of the 2016 purchase, is now in the office of the Director of Alumni Engagement.
The Williston Birthplace
Here the subject is the Payson Williston parsonage, also known as “The Birthplace,” on Park Street, opposite the Homestead. Dated 1968, thus one of Kiesling’s last paintings, this seems less successful than the others – something in the perspective is not quite right. The artist has set the building well back from the road and included a nonexistent mountain. Also part of the 2016 purchase, this painting presently hangs in the Williston Birthplace, now a faculty residence.
Finally, if you watched thevideo, you’ll recall that Kiesling was also an enthusiastic creator of snow sculpture, often of epic proportions. On Saturday, February 10, as part of the 5th Annual Easthampton Winterfest, the Nashawannuck Pond Steering Committee will host the First Annual Albert Kiesling Snow Art Competition. Please click the link for details!
Andy Lapidus – Andrew Stone Lapidus – wasn’t at Williston Academy for very long. Having spent three years at Avon Old Farms, he was tempted north to Williston’s greener French Department and pastures in 1964. Away from the classroom and the soccer field, he was rarely without a camera, and at a time when Williston didn’t offer a photography class, organized a camera club.
He left Williston in 1966 for the Cate School in Carpinteria, California, met his future bride Roxanne, and eventually shifted his professional attentions from French to counseling and advocacy for youth. They raised three sons, Peter, Alex, and Paul. Sadly, he left us, aged 72, in 2010. A few months ago Roxanne sent the Archives a cache of photographs he’d taken at Williston. We exchanged a couple of letters – she was initially surprised that anyone remembered him. Roxie visited the campus at Reunion last May and met others who had fond recollections as well.
But of course I remembered him. Andy was unforgettable. Perhaps I should qualify that memory. In 1964 I was 12, a somewhat nerdish, classically-trained Williston faculty brat. Brats of my ilk found Andy fascinating. Here was an adult who didn’t take adult-ness too seriously, who would break off a grownup conversation to deliver a wicked aside meant only for juvenile ears, or deliver a straight-faced pun so horrible that even Horace Thorner would shudder. He was subversively funny. I think we understood that deep down, he was one of us.
And his camera was an essential accessory. Some of Andy’s native whimsy comes through in his photographs, especially in certain portraits, which often capture something unspoken about their subjects.
Here is a sampling. Where images are uncaptioned, it is because we don’t know who the people are. Readers are invited to help us with that; please email email@example.com; if you can fill in a blank, or if anyone is mis-identified, we’d like to know!