By Andrea Valuzzo
In celebration of the 20th anniversary of the New England Carousel Museum in Bristol, Conn., which took place last fall, historian Peter Malia has shone a spotlight on a joyful symbol of Americana at its finest: carousel animals produced during the so-called Golden Age of carousel art, 1870–1930. This exhaustively detailed and lavishly photographed book details a wondrous menagerie of carousel animals along with their craftsmen who changed the face of America in the era when a ride on a seaside carousel or at the local amusement park was a cherished childhood memory.
During their brief heyday, there were about 3,000 hand carved carousels operating around the country. Fewer than 200 remain today.
The book is carefully researched and covers the history of carousel art in America from its early days embodied in the Old World craftsmanship of such carousel makers as Herschell-Spillman, Looff, the Philadelphia Tobaggon Company, M.C. Iillions & Sons, G.A. Dentzel, and the Charles W.F. Parker Co. Most of the animals pictured are in the museum's permanent collection and a handful of others are in private collections.
The "Great Wild Ride" boom of the 1920 hastened the demise of the carousel as American audiences sought faster thrills, with an ever-increasing number of roller coasters built to satisfy the masses. Carousel animals were appreciated in their time by generations of wide-eyed children, eager to take their first ride on the dizzying blur of bright colored animals and lights and loud music that made up the carousel experience. Today, carousel art can be appreciated on its own merits, by antiques and folk art aficionados.
Many of the examples in the museum's collection have been lovingly restored and are visually stunning as photographed here. For purists, there a few unrestored examples in the book to behold that are elegant in their wooden simplicity. A primitive flying horse, circa 1880s, in the country fair style from an unknown carver, with no discernible paint remaining, has been dubbed "Patches" for the many tin repair patches that dot its body. A track machine horse, country fair style, circa 1885, Armitage Herschell Co., retains only a few spots of red and black color, allowing one to fully appreciate the workmanship of the mortiselike joinery of the legs to the body (a manufacturing trademark for the upstate New York firm).
A highlight in the book has to be the "ferocious" open-mouth lion from G.A. Dentzel, circa 1905, attributed to carver Salvatore Cernigliaro, that was never painted and still bears touches of stain and varnish. Lions were staples of carousels, but Cernigliaro's details and strong muscular definition set his lions apart. A graceful cherub in relief on the side of the lion was among the carver's signature carved trappings that became known as "Cherni figures."
Other highlights in the book include a gaily colored second row stander horse, carved by Charles Carmel, 1910, that was last used at Pleasure Island, Wakefield, Mass., typical of the firm's horse with its expressive features and realistic look, along with an outside row stander, Philadelphia Tobaggan Co, 1917, last used in Wildwood, N.J. Attributed to carver David Lightfoot, the horse embodies Lightfoot's soft angles and distinctive mane but is also noteworthy for a secondary figure, a carved bulldog, baring his teeth, as it peeks out from under the back of the saddle.
This book is a visual treat, easy to digest, and a fascinating look into American carousels.
* * * *
reviews Flying Horses in May 2011 Issue
By Richard Gardner
Special to The Carousel News & Trader
Flying Horses, the Golden Age of American Carousel Art covers carousel history in America during the period when carousel development and manufacturing were at their peak, and when the artistry of carousel carvers flourished. Specifically, the book describes in detail the period from 1870 to 1930, the so-called "Golden Age" of Carousels, and discusses the inventions and social factors that led to the rapid spread as well as the decline of the carousel as one of the prime attractions at amusement centers and trolley parks across America. The influence on carousel art and manufacturing of a generation of immigrants from Germany, Austria, The Netherlands, Russia, and Italy, as well as some native-born Americans, is described in detail, often with insights and details not often seen in such a book.
The book was written in partnership with the New England Carousel Museum (NECM) in Bristol, CT, and a portion of the proceeds of book sales goes to support the museum. The book uses photographs of the carousel figures in the museum to illustrate the various carousel horse styles, specifically the Country Fair, Coney Island, and Philadelphia styles. The museum collection also serves to illustrate the carving styles and characteristics of many of the master carvers from the major carousel manufacturers of the period. The photographs in the book show examples of work from nearly all the carvers that helped to elevate carousel carvings to an art form, including Daniel Muller, Marcus Illions, Charles I.D.. Looff, David Lightfoot, Leo Zoller, Salvatore Cernigliaro, Frank Caretta, and Charles Carmel. Noticeably absent however, is any example of the work of John Zalar, sometimes called the "Michelangelo" of wood carvers, although some of Zalar's contributions are described in text.An internet Google search of "carousel history" (including the quotes) yields roughly 12,900 hits, or citations. One would think that with such an overload of information on this topic that there would be little left to say that is original and enlightening. Such an assumption, however, would be a mistake. Yes the book does provide numerous citations of previously published carousel literature (particularly Frederick Fried's, A Pictorial History of the Carousel and Charlotte Dinger's The Art of the Carousel, works that make up roughly 10-20 of the book's 145 cited references). What is new and original about this book is the narrative that the author weaves together to blend many disparate and often little known facts into a cohesive history of carousels during the sixty-year period from 1870 to 1930. Original research that reflects the discipline of a trained historian comes across in the reading. Examples of US patent drawings illustrating some of the early carousel-related inventions and how they factored into carousel development were enlightening. The book also corrects, or brings together corrections, of some common misunderstandings, misinformation, or "urban legends" in the carousel world, such as the true identification of Charles I.D. Looff's middle names, and the tale (not true) that President Dwight D. Eisenhower once worked as a sander in Charles Parker's carousel factory in Abilene, KS. Having read much of the previous literature, I found myself wanting to read on in the text to see what I had missed in earlier histories and to see what new associations and insights were being developed.
The original photography in the book is superb. Bryan Pages' photographs of the museum's collection in a controlled studio environment shows the figures in their best light. The fine details of the carvings become apparent, as do some features of the manufacturing and repair of the figures. The high quality of the printed pages and the attention to color balance in the photos give to the casual reviewer, carousel aficionado, historian, or restorer an appreciation of the artistry and skill of the masters of carousel carving and painting art.
What comes across in the book is a truly American story. Talented immigrants, searching for a better life, bring their skills to a new land and have a profound influence on the culture and economy of their new land. The contributions of the new Americans do not diminish those of native-born Americans, of which there were many, but the most celebrated carousel artists have been those immigrants. They not only contributed to a thriving and competitive industry, but also helped to create an art form that was not fully appreciated until nearly a half century after their deaths.
The purpose of the book was to showcase the collection at the NECM and to create a history of carousel art using the museum's collection as illustrations of the art of the period. If there is a shortcoming to the book, it is that the choices used in illustrating the book were limited. However, the text by Peter Malia transforms what could have been a catalog for an exhibition of the carousel collection of the NECM into a well-written book on the history of carousels in America, adding some needed perspective to the history. This book would be a welcome addition to the collection of anyone who appreciates carousel art.
FLYING HORSES, The Golden Age of American Carousel Art, By Peter J. Malia, with photography by Bryan Page, (Monroe, CT: The Connecticut Press, 2010. 200 pages, 250+ color photos and illustrations). Limited, signed and numbered Collector's Edition: $75.00. ISBN: 978-0-9825468-2-6.
The book is available at www.connecticutpress.com. The NECM at www.thecarouselmuseum.org. and Amazon.com.
Carousel News & Trader, May 2011
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WFSB's Better Connecticut show (Channel 3) profiles Flying Horses.
Click link to view Video: http://www.wfsb.com/betterct/26954024/detail.html
Click link to view Video: http://www.wfsb.com/betterct/26954024/detail.html
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| Scot Haney interviews author of Flying Horses, Peter Malia and Photograher, Bryan Page ********************************** |
2010 NEW ENGLAND BOOK FESTIVAL ANNOUNCES WINNERS
If you would like to attend, please email us at NewEnglandBookFestival@sbcglobal.net
*****************************************
Limited-edition 'Flying Horses' traces history of the carousel
Posted on 12/20/2010
By LESLIE LAKEHour Staff Writer
Colorful flying horses rearing their heads and spinning in never-ending circles is the stuff of dreams. They are also the subject of a new illustrated, limited-edition book, a history of American carousels called "Flying Horses: The Golden Age of American Carousel Art 1870-1930," by Fairfield County resident Peter Malia.
The book, published by The Connecticut Press, is both a fine art book and a social history of the United States. It features photos of the hand-carved carousel animals that are housed at the New England Carousel Museum in Bristol, Conn., which has one of the most comprehensive collections in the U.S.
Malia, who holds a Ph.D. in American History, says, "Beyond the sheer beauty of these wonderful wood figures is the story they have to tell about the carvers that parallels the history of America itself."
Malia says the book is presented chronologically because the popularity of hand-carved carousel animals and the carousels themselves correspond with three historic trends in the United States in the late 19th and early 20th century.
The first, industrialization, provided the mechanics and know-how to create carousels. The second, electrification, gave rise to trolley cars. The trolley companies, wanting to raise revenue for cars that lay idle on the weekends, created amusement parks. The third trend, immigration, brought skilled woodcarvers from Russia, Germany, and Italy.
"Each of the major carvers has a compelling story to tell and we wanted to relate as many of these stories as possiblem," says Malia. In what he calls, "Some of the most intricate and beautifully sculpted pieces of art ever produced," Malia traces the evolution of the art form. The horses are categorized into three distinct styles: The earliest carvings in the Country Fair Style, which was very primitive; the Philadelphia Style, with very realistic looking animals, and the popular Coney Island Style, which featured overdone, bejeweled horses with a sense of fantasy. This elaborate style gave rise to a sense of competition among the carvers, who would attempt to outdo one another in creating the most outlandish horses.
The carousel was the centerpiece of amusement parks that began to spring up around the country in the late 19th century. There were hundreds of small, pastoral country fairs, and amusement parks in cities throughout the U.S., but the Mecca for carousels was Coney Island. At the turn of the 20th century, at the cost of 5 cents a ride, Coney Island was a million-dollar business.
"Flying Horses" is the first book written by a social historian in cooperation with carousel specialists and one of America's top studio photographers, Bryan Page, according to Malia.. The book has more than 250 color and black and white photos and illustrations, many before never seen in print. There are photos of docile horses decorated with carved flowers, as well as regal-looking horses rearing their heads and adorned with plumes of feathers and jeweled saddles.
"The results are just stunning," says Louise DeMars, executive director of The New England Carousel Museum. "Each of the figures in the book is photographed under rigid studio conditions, which allow for the highest quality high-definition photography ever taken of our museum pieces."
DeMars notes that book orders are being accepted by the museum for the limited, signed and numbered Collector's Edition of "Flying Horses."
Peter J. Malia is a 30-year veteran of the non-profit, publishing and marketing industries. Trained as a historian at Trinity College and Fordham University, he has served as chief research historian at Sleepy Hollow Restorations, Inc., assistant editor of Sleepy Hollow Press, and editor-in-chief at The Connecticut Historical Society.
"The idea for The Connecticut Press has been germinating for many years, Malia says. "As caretakers of our nation's heritage, non-profit museums are blessed with remarkable collections that are carefully preserved."
For more information, visit www.connecticutpress.com or www.thecarouselmuseum.org
_______________________________
Friday, December 17, 2010
By MIKE CHAIKEN
EDITIONS EDITOR
By MIKE CHAIKEN
EDITIONS EDITOR
Most people have seen a carousel horse.
And if you live in the area, you’ve probably seen carousel horses at either Bristol’s New England Carousel Museum or on the merry-go-round at Lake Compounce on the Bristol/Southington border.
But not many people probably have taken the time to scrutinize the horses and consider the artistry behind these creations.However, photographer Bryan Page from Bristol and writer Peter J. Malia have taken the time to give carousel horses their due with a new book, “Flying Horses: The Golden Age of American Carousel Art.” The book is filled with artistically rendered photographs of carousel horses and text offering up the history of the horses inside the book.
Page said he found the topic of carousel horses an attractive choice for a book because of the rarity of this book’s approach.
“In my research, very few books treat the horses as art objects,” said Page. “I found that to be an artistic challenge. They are not just a horse on an amusement ride, they are works of art.”
During the process of photographing the horses, Page said, he was struck by the “intricate craftsmanship in detail.”
“You never really get a chance to see that unless you’re close up and have free access to the horses,” he said. “Normally when you ride a carousel, you wait in line and watch horses spin, and when it’s your turn to get on, you run quickly to claim your horse and jump on the saddle, and see the horse only from above. And when the ride is over, you quickly jump off so other people have a chance to ride. You never get a chance to just stop and look at the horses.”
Page said, “Photographing (the carousel horses) gave me that chance and I was amazed at what I saw and I think that came out in the photographs. You can’t really appreciate their beauty unless you take the time to look at them and this is what the book offers you.”
When approaching the horses as a subject for photographs, Page said, “The subjects speak for themselves.” So he said he didn’t pull out any “over-the-top” photographic techniques for their depiction.
Instead, Page said, “(Malia and I) wanted to show the detail of these art pieces and capture the beauty of both the carvings and the painting techniques in high definition.”
During the process of pulling together the book, Page said, “We photographed over 60 horses that were in different areas of the (New England Carousel Museum) and on different floors as well as one from the Bushnell Carousel in Hartford.”
To pull this off, Page said, “We needed a lighting studio that would be easy to move and set up and break down in order to maintain consistent lighting for every horse. We chose this concept after researching other carousel books that were very inconsistent with their photography . . . Some (photographs) looked like a studio set up and others were shot on location, and some with or without backgrounds,” said Page. “We thought we could improve on this by giving our books a more clean and consistent look similar to what you would expect in a high-quality museum catalogue.”
Page said he became involved with pulling the book together because he had worked with Malia on another book. Page shot the cover and inside shots for Malia’s earlier effort.
When they collaborated on that book, Page said, “We talked about the possibility of publishing books highlighting the various collections of different museums. I had mentioned The New England Carousel Museum to him and after taking a tour of the collection, we decided it would make a great book. We contacted the museum and the director, Louise DeMars, thought it was a great idea.”
Page was fairly familiar with the museum even before the process began to put the book together. “My aunt, Irene Nadeau, gave guided tours there as a volunteer from its beginning and some years ago when some family members came from out of state, we visited the carousel museum. Irene gave us a wonderful tour with intricate and interesting stories about each horse and I was impressed with the collection.”
Page said, “The Carousel Museum really is a national treasure. It’s also an important piece of American history.”
The book not only preserves in image the collection at the Carousel Museum, it also is a fundraiser for the facility. “A portion of the sale of the book goes to help support the museum restore new horses constantly being donated and to run the carousel at Bushnell Park.”
Talking about the decision to help the carousel museum, Page explained “As editor of the Connecticut Historic Society in Hartford, Peter always felt there was a need for a strategic partnership between museums and a dedicated publisher who understands the non-profit world as well as the need to find new sources of revenue for museums by sharing their collections with a broad audience.”
“Flying Horses” will be of interest to “anyone who loves carousels... In addition to being a great history, I think it will also appeal to those who enjoy fine art or coffee table books.”
Putting in a pitch for the book, Page said, “We encourage businesses to purchase books as giveaways, gifts and to put in their reception areas. ‘Flying Horses’ also makes awonderful holiday gift.”
 |
Author Peter Malia, center, and photographer Bryan Page autograph their new book ‘Flying Horses’ for Carrie Norton at recent craft fair at the New England Carousel Museum. |
For more information, go to http://www.flyinghorsesbook.blogspot.com/, or http://www.connecticutpress.com/. The book is available for sale at the New England Carousel Museum, 95 Riverside Ave., Bristol.
_____________________________
Monroe, CT, December 13, 2010 –(PR.com)–
Flying Horses: The Golden Age of American Carousel Art, 1870 – 1930New illustrated history of American carousel carving issued by The New England Carousel Museum & The Connecticut Press.
The New England Carousel Museum and The Connecticut Press have announced the national publication of Flying Horses: The Golden Age of American Carousel Art, 1870 – 1930 by Peter J. Malia and photographer Bryan Page.
In over 250 color and b&w photos and illustrations – many never before seen in print – Flying Horses is the first comprehensive, annotated American carousel history ever published. It is also the first ever written by a social historian in close cooperation with carousel specialists and one of America’s top studio photographers.
According to award-winning historian and author Peter J. Malia, Flying Horses is much more than the story of an amusement park ride. It mirrors the rise of America’s ascendance onto the world stage.
"There was a revolution underway in industry, mass entertainment, transportation, the electrification of cities, and, most importantly, the waves of immigrants that included so many incredibly talented carvers coming to America," Malia says. "These artisans initially may have only spoken their native languages, but they allowed their chisels and imaginations to speak the universal language of their art."
Published in recognition of The New England Carousel Museum’s 20th anniversary, Flying Horses is available as a limited, signed, and numbered Collector’s Edition.
For further information on Flying Horses contact: http//www.connecticutpress.com or email pjmalia@connecticutpress.com. Orders can also be placed through Amazon.com.
Flying Horses: The Golden Age of American Carousel Art, 1870 – 1930 (200 pp., 250+ color & b&w photos and illustrations, notes, index), ISBN 978-0-9825468-2-6. Limited edition, signed & numbered, $75.00.
Flying Horses: The Golden Age of American Carousel Art, 1870 – 1930New illustrated history of American carousel carving issued by The New England Carousel Museum & The Connecticut Press.
The New England Carousel Museum and The Connecticut Press have announced the national publication of Flying Horses: The Golden Age of American Carousel Art, 1870 – 1930 by Peter J. Malia and photographer Bryan Page.
In over 250 color and b&w photos and illustrations – many never before seen in print – Flying Horses is the first comprehensive, annotated American carousel history ever published. It is also the first ever written by a social historian in close cooperation with carousel specialists and one of America’s top studio photographers.
According to award-winning historian and author Peter J. Malia, Flying Horses is much more than the story of an amusement park ride. It mirrors the rise of America’s ascendance onto the world stage.
"There was a revolution underway in industry, mass entertainment, transportation, the electrification of cities, and, most importantly, the waves of immigrants that included so many incredibly talented carvers coming to America," Malia says. "These artisans initially may have only spoken their native languages, but they allowed their chisels and imaginations to speak the universal language of their art."
Published in recognition of The New England Carousel Museum’s 20th anniversary, Flying Horses is available as a limited, signed, and numbered Collector’s Edition.
For further information on Flying Horses contact: http//www.connecticutpress.com or email pjmalia@connecticutpress.com. Orders can also be placed through Amazon.com.
Flying Horses: The Golden Age of American Carousel Art, 1870 – 1930 (200 pp., 250+ color & b&w photos and illustrations, notes, index), ISBN 978-0-9825468-2-6. Limited edition, signed & numbered, $75.00.
_____________________________________________________________________________
Carousel Museum hosts authors of historical tome
Saturday, November 13, 2010 9:10 PM EST
By LISA BACKUS
Staff writer
BRISTOL — At the turn of the 20th century, amusement parks with colorful carousels sprung up across the country at the end of trolley lines.
The bustling masses would ride the trolley to the park on the weekend to enjoy the electrified works of art that featured ornately carved flying horses moving in circles to the boom of lyrical organ music that filled the air.
“They were the first electrified thrill rides,” said historian and author Peter Malia as he stood Saturday among the dozens of carousel horses, lions, giraffes and chariots that fill the New England Carousel Museum in Bristol. “They added the organ music to cover up the noise. The combination of the two created a sensation.”
They also spawned one of the best little-known treasures in Connecticut and Malia’s new book, “Flying Horses: The Golden Age of American Carousel Art” with photographs by Bristol native Bryan Page.
The book was inspired by the city’s Carousel Museum which boasts one of the finest collections of carved carousel pieces in the country. Malia, owner of The Connecticut Press, wrote “Flying Horses” as a way of pursuing his historical research background while showcasing the museum’s displays which bring to life the magic of a simple carousel ride.
“The more I found out by talking to the people at the museum, the more I realized they had a collection that was so rich and extensive, it deserved to be highlighted,” he said.
More than 170 images of carousels and the carved artworks at the museum many with legs prancing in the air grace the pages of the coffee table book. Malia and Page were on hand Saturday during the museum’s annual Arts and Crafts show as part of the book’s Bristol debut.
“This is their 20th year and basically what happened in that 20 years is they went from a startup to a place of recognition,” said Bristol Mayor Art Ward minutes after he accepted an autographed copy of the book to be kept in the Bristol Public Library and then purchased one of his own. “I think it shows the significance of the museum culturally in the city and throughout the country.”
Page who has worked with Malia for 18 years on commercial projects had a hand in bringing the publisher to visit the museum with the possibility of creating a book on the topic of carousels with some of the proceeds going to the museum.
“I think very few people know about the museum,” Page said. “My aunt did tours so I had been here but hadn’t been back in years. It’s a treasure that I think even people from Bristol aren’t aware of.”
What Page and Malia found at the museum located at 95 Riverside Avenue in the Bristol Center for Arts & Culture was an astounding collection of carved artwork spanning from the 1870s to the 1930s when the carousel craze suddenly stopped during the Great Depression.
As Malia began to painstakingly investigate the history of the pieces in the museum’s collection he discovered that nearly every great woodcarving artist who produced the “flying horses” for the contraptions was a first-generation immigrant who would eventually become a millionaire by selling the creations to supply trolley companies eager to get work-week passengers a place to spend their nickels on the weekend.
“I had a teacher who said they wanted to do a class on carousels because it melded the history of immigration, electrification, transportation and art,” Malia said.
The collection gathered by the museum under long-time executive director Louise DeMars is one of the finest in the country, he said.
DeMars and the staff worked with Malia and Page to craft the book which will be carried at the museum, on Amazon.com and at Connecticutpress.com. A portion of the proceeds will benefit the museum.
With her museum background, DeMars originally came on as a board member and then was asked to take over the helm. She also manages a separate staff for the Bushnell Park Carousel and the museum’s restoration of carousel horses from around the area.
“When I was in art school my favorite medium was wood and as a child I loved horses and would ride as often as I could,” she explained. “When I saw my first carousel horse stripped down to the bare wood, it was like be still my heart. It was like I came home.”
For more information on the museum call (860) 585-5411.
_________________________________________________________
New England Carousel Museum hosts ‘Flying Horses’ book signing
BRISTOL – At the turn of the 20th century, amusement parks with colorful carousels sprung up across the country at the end of trolley lines.
The bustling masses would ride the trolley to the park on the weekend to enjoy the electrified works of art that featured ornately carved flying horses moving in circles to the boom of lyrical organ music that filled the air.
“They were the first electrified thrill rides,” said historian and author Peter Malia as he stood Saturday among the dozens of carousel horses, lions, giraffes and chariots that fill the New England Carousel Museum in Bristol. “They added the organ music to cover up the noise. The combination of the two created a sensation.”
They also spawned one of the best little-known treasures in Connecticut and Malia’s new book, “Flying Horses: The Golden Age of American Carousel Art” with photographs by Bristol native Bryan Page.
The book was inspired by the city’s Carousel Museum which boasts one of the finest collections of carved carousel pieces in the country.
Malia, the owner of The Connecticut Press wrote “Flying Horses” as a way of pursuing his historical research background while showcasing the museum’s displays which bring to life the magic of a simple carousel ride.
“The more I found out by talking to the people at the museum, the more I realized they had a collection that was so rich and extensive, it deserved to be highlighted,” he said.
More than 170 images of carousels and the carved artworks at the museum many with legs prancing in the air grace the pages of the coffee table book.
Malia and Page were on hand Saturday during the museum’s annual Arts and Crafts show as part of the book’s Bristol debut.
“This is their 20th year and basically what happened in that 20 years is they went from a startup to a place of recognition,” said Bristol Mayor Art Ward minutes after he accepted an autographed copy of the book to be kept in the Bristol Public Library and then purchased one of his own. “I think it shows the significance of the museum culturally in the city and throughout the country.”
Page who has worked with Malia for 18 years on commercial projects had a hand in bringing the publisher to visit the museum with the possibility of creating a book on the topic of carousels with some of the proceeds going to the museum.
“I think very few people know about the museum,” Page said. “My aunt did tours so I had been here but hadn’t been back in years. It’s a treasure that I think even people from Bristol aren’t aware of.”
What Page and Malia found at the museum located at 95 Riverside Avenue in the Bristol Center for Arts & Culture was an astounding collection of carved artwork spanning from the 1870s to the 1930s when the carousel craze suddenly stopped during the Great Depression.
As Malia began to painstakingly investigate the history of the pieces in the museum’s collection he discovered that nearly every great woodcarving artist who produced the “flying horses” for the contraptions was a first-generation immigrant who would eventually become a millionaire by selling the creations to supply trolley companies eager to get work-week passengers a place to spend their nickels on the weekend.
“I had a teacher who said they wanted to do a class on carousels because it melded the history of immigration, electrification, transportation and art,” Malia said.
The collection gathered by the museum under long-time executive director Louise DeMars is one of the finest in the country, he said.
DeMars and the staff worked with Malia and Page to craft the book which will be carried at the museum, on Amazon.com and at Connecticutpress.com. A portion of the proceeds will benefit the museum.
With her museum background, DeMars originally came on as a board member and then was asked to take over the helm. She also manages a separate staff for the Bushnell Park Carousel and the museum’s restoration of carousel horses from around the area.
“When I was in art school my favorite medium was wood and as a child I loved horses and would ride as often as I could,” she explained. “When I saw my first carousel horse stripped down to the bare wood, it was like be still my heart. It was like I came home.”
__________________________________________________________
Carousel art makes the rounds in Bristol
_____________________________________________________________________________
Carousel Museum hosts authors of historical tome
Saturday, November 13, 2010 9:10 PM EST
By LISA BACKUS
Staff writer
BRISTOL — At the turn of the 20th century, amusement parks with colorful carousels sprung up across the country at the end of trolley lines.
The bustling masses would ride the trolley to the park on the weekend to enjoy the electrified works of art that featured ornately carved flying horses moving in circles to the boom of lyrical organ music that filled the air.
“They were the first electrified thrill rides,” said historian and author Peter Malia as he stood Saturday among the dozens of carousel horses, lions, giraffes and chariots that fill the New England Carousel Museum in Bristol. “They added the organ music to cover up the noise. The combination of the two created a sensation.”
They also spawned one of the best little-known treasures in Connecticut and Malia’s new book, “Flying Horses: The Golden Age of American Carousel Art” with photographs by Bristol native Bryan Page.
The book was inspired by the city’s Carousel Museum which boasts one of the finest collections of carved carousel pieces in the country. Malia, owner of The Connecticut Press, wrote “Flying Horses” as a way of pursuing his historical research background while showcasing the museum’s displays which bring to life the magic of a simple carousel ride.
“The more I found out by talking to the people at the museum, the more I realized they had a collection that was so rich and extensive, it deserved to be highlighted,” he said.
More than 170 images of carousels and the carved artworks at the museum many with legs prancing in the air grace the pages of the coffee table book. Malia and Page were on hand Saturday during the museum’s annual Arts and Crafts show as part of the book’s Bristol debut.
“This is their 20th year and basically what happened in that 20 years is they went from a startup to a place of recognition,” said Bristol Mayor Art Ward minutes after he accepted an autographed copy of the book to be kept in the Bristol Public Library and then purchased one of his own. “I think it shows the significance of the museum culturally in the city and throughout the country.”
Page who has worked with Malia for 18 years on commercial projects had a hand in bringing the publisher to visit the museum with the possibility of creating a book on the topic of carousels with some of the proceeds going to the museum.
“I think very few people know about the museum,” Page said. “My aunt did tours so I had been here but hadn’t been back in years. It’s a treasure that I think even people from Bristol aren’t aware of.”
What Page and Malia found at the museum located at 95 Riverside Avenue in the Bristol Center for Arts & Culture was an astounding collection of carved artwork spanning from the 1870s to the 1930s when the carousel craze suddenly stopped during the Great Depression.
As Malia began to painstakingly investigate the history of the pieces in the museum’s collection he discovered that nearly every great woodcarving artist who produced the “flying horses” for the contraptions was a first-generation immigrant who would eventually become a millionaire by selling the creations to supply trolley companies eager to get work-week passengers a place to spend their nickels on the weekend.
“I had a teacher who said they wanted to do a class on carousels because it melded the history of immigration, electrification, transportation and art,” Malia said.
The collection gathered by the museum under long-time executive director Louise DeMars is one of the finest in the country, he said.
DeMars and the staff worked with Malia and Page to craft the book which will be carried at the museum, on Amazon.com and at Connecticutpress.com. A portion of the proceeds will benefit the museum.
With her museum background, DeMars originally came on as a board member and then was asked to take over the helm. She also manages a separate staff for the Bushnell Park Carousel and the museum’s restoration of carousel horses from around the area.
“When I was in art school my favorite medium was wood and as a child I loved horses and would ride as often as I could,” she explained. “When I saw my first carousel horse stripped down to the bare wood, it was like be still my heart. It was like I came home.”
For more information on the museum call (860) 585-5411.
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New England Carousel Museum hosts ‘Flying Horses’ book signing
BRISTOL – At the turn of the 20th century, amusement parks with colorful carousels sprung up across the country at the end of trolley lines.
The bustling masses would ride the trolley to the park on the weekend to enjoy the electrified works of art that featured ornately carved flying horses moving in circles to the boom of lyrical organ music that filled the air.
“They were the first electrified thrill rides,” said historian and author Peter Malia as he stood Saturday among the dozens of carousel horses, lions, giraffes and chariots that fill the New England Carousel Museum in Bristol. “They added the organ music to cover up the noise. The combination of the two created a sensation.”
They also spawned one of the best little-known treasures in Connecticut and Malia’s new book, “Flying Horses: The Golden Age of American Carousel Art” with photographs by Bristol native Bryan Page.
The book was inspired by the city’s Carousel Museum which boasts one of the finest collections of carved carousel pieces in the country.
Malia, the owner of The Connecticut Press wrote “Flying Horses” as a way of pursuing his historical research background while showcasing the museum’s displays which bring to life the magic of a simple carousel ride.
“The more I found out by talking to the people at the museum, the more I realized they had a collection that was so rich and extensive, it deserved to be highlighted,” he said.
More than 170 images of carousels and the carved artworks at the museum many with legs prancing in the air grace the pages of the coffee table book.
Malia and Page were on hand Saturday during the museum’s annual Arts and Crafts show as part of the book’s Bristol debut.
“This is their 20th year and basically what happened in that 20 years is they went from a startup to a place of recognition,” said Bristol Mayor Art Ward minutes after he accepted an autographed copy of the book to be kept in the Bristol Public Library and then purchased one of his own. “I think it shows the significance of the museum culturally in the city and throughout the country.”
Page who has worked with Malia for 18 years on commercial projects had a hand in bringing the publisher to visit the museum with the possibility of creating a book on the topic of carousels with some of the proceeds going to the museum.
“I think very few people know about the museum,” Page said. “My aunt did tours so I had been here but hadn’t been back in years. It’s a treasure that I think even people from Bristol aren’t aware of.”
What Page and Malia found at the museum located at 95 Riverside Avenue in the Bristol Center for Arts & Culture was an astounding collection of carved artwork spanning from the 1870s to the 1930s when the carousel craze suddenly stopped during the Great Depression.
As Malia began to painstakingly investigate the history of the pieces in the museum’s collection he discovered that nearly every great woodcarving artist who produced the “flying horses” for the contraptions was a first-generation immigrant who would eventually become a millionaire by selling the creations to supply trolley companies eager to get work-week passengers a place to spend their nickels on the weekend.
“I had a teacher who said they wanted to do a class on carousels because it melded the history of immigration, electrification, transportation and art,” Malia said.
The collection gathered by the museum under long-time executive director Louise DeMars is one of the finest in the country, he said.
DeMars and the staff worked with Malia and Page to craft the book which will be carried at the museum, on Amazon.com and at Connecticutpress.com. A portion of the proceeds will benefit the museum.
With her museum background, DeMars originally came on as a board member and then was asked to take over the helm. She also manages a separate staff for the Bushnell Park Carousel and the museum’s restoration of carousel horses from around the area.
“When I was in art school my favorite medium was wood and as a child I loved horses and would ride as often as I could,” she explained. “When I saw my first carousel horse stripped down to the bare wood, it was like be still my heart. It was like I came home.”
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Carousel Museum hosts authors of historical tome
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Carousel Museum hosts authors of historical tome
Saturday, November 13, 2010 9:10 PM EST
By LISA BACKUS
Staff writer
BRISTOL — At the turn of the 20th century, amusement parks with colorful carousels sprung up across the country at the end of trolley lines.
The bustling masses would ride the trolley to the park on the weekend to enjoy the electrified works of art that featured ornately carved flying horses moving in circles to the boom of lyrical organ music that filled the air.
“They were the first electrified thrill rides,” said historian and author Peter Malia as he stood Saturday among the dozens of carousel horses, lions, giraffes and chariots that fill the New England Carousel Museum in Bristol. “They added the organ music to cover up the noise. The combination of the two created a sensation.”
They also spawned one of the best little-known treasures in Connecticut and Malia’s new book, “Flying Horses: The Golden Age of American Carousel Art” with photographs by Bristol native Bryan Page.
The book was inspired by the city’s Carousel Museum which boasts one of the finest collections of carved carousel pieces in the country. Malia, owner of The Connecticut Press, wrote “Flying Horses” as a way of pursuing his historical research background while showcasing the museum’s displays which bring to life the magic of a simple carousel ride.
“The more I found out by talking to the people at the museum, the more I realized they had a collection that was so rich and extensive, it deserved to be highlighted,” he said.
More than 170 images of carousels and the carved artworks at the museum many with legs prancing in the air grace the pages of the coffee table book. Malia and Page were on hand Saturday during the museum’s annual Arts and Crafts show as part of the book’s Bristol debut.
“This is their 20th year and basically what happened in that 20 years is they went from a startup to a place of recognition,” said Bristol Mayor Art Ward minutes after he accepted an autographed copy of the book to be kept in the Bristol Public Library and then purchased one of his own. “I think it shows the significance of the museum culturally in the city and throughout the country.”
Page who has worked with Malia for 18 years on commercial projects had a hand in bringing the publisher to visit the museum with the possibility of creating a book on the topic of carousels with some of the proceeds going to the museum.
“I think very few people know about the museum,” Page said. “My aunt did tours so I had been here but hadn’t been back in years. It’s a treasure that I think even people from Bristol aren’t aware of.”
What Page and Malia found at the museum located at 95 Riverside Avenue in the Bristol Center for Arts & Culture was an astounding collection of carved artwork spanning from the 1870s to the 1930s when the carousel craze suddenly stopped during the Great Depression.
As Malia began to painstakingly investigate the history of the pieces in the museum’s collection he discovered that nearly every great woodcarving artist who produced the “flying horses” for the contraptions was a first-generation immigrant who would eventually become a millionaire by selling the creations to supply trolley companies eager to get work-week passengers a place to spend their nickels on the weekend.
“I had a teacher who said they wanted to do a class on carousels because it melded the history of immigration, electrification, transportation and art,” Malia said.
The collection gathered by the museum under long-time executive director Louise DeMars is one of the finest in the country, he said.
DeMars and the staff worked with Malia and Page to craft the book which will be carried at the museum, on Amazon.com and at Connecticutpress.com. A portion of the proceeds will benefit the museum.
With her museum background, DeMars originally came on as a board member and then was asked to take over the helm. She also manages a separate staff for the Bushnell Park Carousel and the museum’s restoration of carousel horses from around the area.
“When I was in art school my favorite medium was wood and as a child I loved horses and would ride as often as I could,” she explained. “When I saw my first carousel horse stripped down to the bare wood, it was like be still my heart. It was like I came home.”
For more information on the museum call (860) 585-5411.
_________________________________________________________
New England Carousel Museum hosts ‘Flying Horses’ book signing
The bustling masses would ride the trolley to the park on the weekend to enjoy the electrified works of art that featured ornately carved flying horses moving in circles to the boom of lyrical organ music that filled the air.
“They were the first electrified thrill rides,” said historian and author Peter Malia as he stood Saturday among the dozens of carousel horses, lions, giraffes and chariots that fill the New England Carousel Museum in Bristol. “They added the organ music to cover up the noise. The combination of the two created a sensation.”
They also spawned one of the best little-known treasures in Connecticut and Malia’s new book, “Flying Horses: The Golden Age of American Carousel Art” with photographs by Bristol native Bryan Page.
The book was inspired by the city’s Carousel Museum which boasts one of the finest collections of carved carousel pieces in the country.
Malia, the owner of The Connecticut Press wrote “Flying Horses” as a way of pursuing his historical research background while showcasing the museum’s displays which bring to life the magic of a simple carousel ride.
“The more I found out by talking to the people at the museum, the more I realized they had a collection that was so rich and extensive, it deserved to be highlighted,” he said.
More than 170 images of carousels and the carved artworks at the museum many with legs prancing in the air grace the pages of the coffee table book.
Malia and Page were on hand Saturday during the museum’s annual Arts and Crafts show as part of the book’s Bristol debut.
“This is their 20th year and basically what happened in that 20 years is they went from a startup to a place of recognition,” said Bristol Mayor Art Ward minutes after he accepted an autographed copy of the book to be kept in the Bristol Public Library and then purchased one of his own. “I think it shows the significance of the museum culturally in the city and throughout the country.”
Page who has worked with Malia for 18 years on commercial projects had a hand in bringing the publisher to visit the museum with the possibility of creating a book on the topic of carousels with some of the proceeds going to the museum.
“I think very few people know about the museum,” Page said. “My aunt did tours so I had been here but hadn’t been back in years. It’s a treasure that I think even people from Bristol aren’t aware of.”
What Page and Malia found at the museum located at 95 Riverside Avenue in the Bristol Center for Arts & Culture was an astounding collection of carved artwork spanning from the 1870s to the 1930s when the carousel craze suddenly stopped during the Great Depression.
As Malia began to painstakingly investigate the history of the pieces in the museum’s collection he discovered that nearly every great woodcarving artist who produced the “flying horses” for the contraptions was a first-generation immigrant who would eventually become a millionaire by selling the creations to supply trolley companies eager to get work-week passengers a place to spend their nickels on the weekend.
“I had a teacher who said they wanted to do a class on carousels because it melded the history of immigration, electrification, transportation and art,” Malia said.
The collection gathered by the museum under long-time executive director Louise DeMars is one of the finest in the country, he said.
DeMars and the staff worked with Malia and Page to craft the book which will be carried at the museum, on Amazon.com and at Connecticutpress.com. A portion of the proceeds will benefit the museum.
With her museum background, DeMars originally came on as a board member and then was asked to take over the helm. She also manages a separate staff for the Bushnell Park Carousel and the museum’s restoration of carousel horses from around the area.
“When I was in art school my favorite medium was wood and as a child I loved horses and would ride as often as I could,” she explained. “When I saw my first carousel horse stripped down to the bare wood, it was like be still my heart. It was like I came home.”
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Carousel art makes the rounds in Bristol
BRISTOL — A new and stunning coffee table book about carousel art is largely focused on the exhibit pieces at the New England Carousel Museum and its sister operation, the Bushnell Park Carousel.
“Flying Horses: The Golden Age of American Carousel Art, 1870-1930,” by historian Peter Malia and photographer Bryan Page is hot off the presses and available at a special book signing at a museum craft fair today.
“It’s just beautiful,” said Louise DeMars, executive director of the museum. “I think it’s a great gift for the holidays.”
DeMars said the author and photographer will both be on hand all day to autograph copies of the new volume, which sells for $75.
Part of the proceeds from the book sales go to the museum. Books sold today return $15 each to the museum, said DeMars.
There are more than 200 photos and images in the book, according to DeMars, and most of them are of museum pieces. Using a makeshift studio in the museum, photographer Page snapped hundreds of images of the collection.
“We spent all January and February of last year pulling every piece out of the collection and photographing it,” she said.
“The books will be available in the museum gift shop,” she said, “but anyone who wants a signed copy may want to get one today.” She said there will be other book signings in the state, including one at the Bristol Public Library in early December.
The museum is donating one of the signed books to the Bristol Public Library, said DeMars, who said Mayor Art Ward will be at the museum this morning to receive it.
DeMars said that there hasn’t been a book anything like this in at least a decade.
“There’s a lot of new information in this,” she said, adding that she expects it will appeal both to carousel aficionados as well as to the general public. “So far, we’re getting a really great response from people who have seen the book.”
Museum manager Mary Moret said the craft fair will take up two floors and include almost 50 vendors coming from Connecticut, New York, Rhode Island and Massachusetts.
“We had a crazy waiting list,” said Moret.
“Someone’s bringing homemade candy in carousel themes,” said Moret.
Moret said this is the third year of the craft fair, which she said is a great place for holiday shopping.
“I got a lot of jewelry last year and the prices were really fair,” she said.
There will be facepainting and balloon animals and a craft table for children, said Moret and the museum will be selling hot dogs, chips and drinks for hungry shoppers.
“It should be a beautiful day,” said Moret, who also promised “a new, fully stocked gift shop” at the museum starting today.
The craft fair and book signing runs today from 10 a.m. to 4 p.m. at the museum at 95 Riverside Ave.
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Book Signing in Hartford a Success
"It's National Children's Book Week. Please read to children. Yesterday City received fabulous book on Carousel Horses to be displayed Hartford Public Library."
Photographer Bryan Page, Hartford Mayor Pedro Segarra, NECM President Jack Driscoll, and Social Historian Peter Malia
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Hartford Mayor Receives Flying Horses
11/14/10
Hartford Mayor Pedro E. Segarra attends book signing for Flying Horses: The Golden Age of American Carousel Art, 1870 - 1930
Hartford, CT -- Mayor Pedro E. Segarra of Hartford accepted a presentation copy of Flying Horses: The Golden Age of American ! Carousel Art, 1870 - 1930 on behalf the Hartford Public Library on November 7, 2010.
Authored by Peter J. Malia with photographs by Bryan Page, this major new carousel study is the first annotated history ever written on American merry-go-rounds and their makers.
The new title is offered as a special Collector's Limited and Numbered edition in celebration of the 20th anniversary of the New England Carousel Museum, located in Bristol, CT. The book is available through http://www.connecticutpress.com/ as well as Amazon.com.
Peter Malia of Monroe authors book on American carousel art
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| Peter J. Malia, Social Historian |
Written by Brad Durrell
Friday, 22 October 2010 20:12
Friday, 22 October 2010 20:12
Historian Peter J. Malia of Monroe has authored a book on the history of American carousel art.
The book, "Flying Horses: The Golden Age of American Carousel Art, 1870–1930," is an illustrated history of American carousel carving. It is being published by the New England Carousel Museum and the Connecticut Press.
.
The book, photographed by Bryan Page, has more than 250 color and black-and-white photos and illustrations, including many never before seen in print.
Publicity material describes the book as “the first comprehensive American carousel history published in more than a decade [and] the first ever written by a social historian in close cooperation with carousel specialists and one of America’s best studio photographers.”
Malia, an award-winning historian and writer who owns the Connecticut Press, worked with well-known carousel authority Catherine Mahoney to research and author the book.
He said the book offers unique insights into the nation’s past.
“Beyond the sheer beauty of these wonderful wood figures is the story they have to tell about their carvers that parallels the history of America itself,” Malia said.
“Unlike previous studies, we approached the story chronologically, so readers can literally trace the rise of a fledgling art form from the primitive folk pieces of the early 19th Century to some of the most intricate and beautifully sculpted pieces of art ever produced,” he said.
“And all this happened over a relatively short period of 60 years and against a varied backdrop as boisterous as Coney Island to pastoral country fairs, where merry-go-rounds were the centerpiece of the fair. It was truly a phenomenon,” he said.
Rise of America
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| A historical photo of a carousel horse woodcarver from the book |
According to "Flying Horses," the reasons that gave rise to this golden age of carousel carving mirror the rise of America’s own ascendance onto the world stage. There was a revolution underway in industry, entertainment, transportation, the electrification of cities, and, most importantly, the waves of immigrants that included many talented carvers coming to America in search of a new life in what really proved to be “The Land of Opportunity.”
From England, then Germany, Eastern Europe, and finally Southern Europe, these artisans initially may have only spoken in their native languages but they allowed their chisels and imaginations to speak for them through the universal language of their art.
“Each of the major carvers has a compelling story to tell, and we wanted to relate as many of those stories as possible,” Malia said. “We’ve written 'Flying Horses' so general readers can enjoy it as much as specialists.”
The book’s title is drawn directly from the first U.S. patent ever issued for a carousel dated July 1850, said Malia, who rarely heard a carousel being called anything other than “flying horses” while growing up near New York City.
Role of Bristol museum
The book includes more than 175 color images of carvings by Page, a studio and architectural photographer. Shown are works by master carvers and different carousel carving styles, drawn from the extensive collections of the New England Carousel Museum in Bristol.Page said it was a challenge to photograph some of these pieces under uniform conditions. “And many of the carvings have some really unique characteristics that most of us might overlook at first,” he said. “But because of our approach in focusing on those characteristics as accompanying close-ups, we’re very happy with the final results; and we think the carousel community will be, too.”
Louise DeMars, New England Carousel Museum executive director, said the resulting photographs are stunning.
“Each of the figures in the book is photographed under strict studio conditions, which allow for the highest quality, high-definition photography ever taken of our museum pieces,” DeMars said. “We wanted to do something unique that would become a valued resource for scholars and collectors alike.”
In recognition of the New England Carousel Museum’s 20th anniversary this year, the museum is selling a limited, signed and numbered Collector’s Edition of "Flying Horses."
Malia’s company, the Connecticut Press, specializes in history, photography and fine art. It provides editorial and publishing assistance as well as funding to help museums share their collections with a larger audience in print and online. Learn more, and order copies of Flying Horses, at connecticutpress.com.
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For Immediate Release |
Press Release
Flying Horses: The Golden Age of American Carousel Art, 1870 – 1930
New illustrated history of American carousel carving issued by The New England Carousel Museum and The Connecticut Press
Bristol, CT October 14, 2010:
The New England Carousel Museum (NECM) and The Connecticut Press are proud to announce the publication of Flying Horses: The Golden Age of American Carousel Art, 1870 – 1930 by historian Peter J. Malia and photographer Bryan Page.
The New England Carousel Museum (NECM) and The Connecticut Press are proud to announce the publication of Flying Horses: The Golden Age of American Carousel Art, 1870 – 1930 by historian Peter J. Malia and photographer Bryan Page.
In over 250 color and b&w photos and illustrations – many never before seen in print – Flying Horses is the first comprehensive American carousel history published in more than a decade. It is also the first ever written by a social historian in close cooperation with carousel specialists and one of America’s best studio photographers.
“The results are just stunning,” says Louise DeMars, executive director of The New England Carousel Museum. “Each of the figures in the book is photographed under strict studio conditions, which allow for the highest quality, high-definition photography ever taken of our museum pieces. We wanted to do something unique that would become a valued resource for scholars and collectors alike, and I think we’ve accomplished that in this beautiful limited collector’s edition that will be signed and numbered by the author and the photographer.”
Carousels Through History’s Eye
“Beyond the sheer beauty of these wonderful wood figures is the story they have to tell about their carvers that parallels the history of America itself,” says Peter J. Malia, an award-winning historian and writer who worked with well-known carousel authority Catherine Mahoney to research and author the new history. “Unlike previous studies, we approached the story chronologically, so readers can literally trace the rise of a fledgling art form from the primitive folk pieces of the early 19th century to some of the most intricate and beautifully sculpted pieces of art ever produced… and all this happened over a relatively short period of 60 years and against a varied backdrop as boisterous as Coney Island to pastoral country fairs, where merry-go-rounds were the centerpiece of the fair. It was truly a phenomenon.”
According to Flying Horses, the reasons that gave rise to this golden age of carousel carving mirror the rise of America’s own ascendance onto the world stage. There was a revolution underway in industry, entertainment, transportation, the electrification of cities, and, most importantly, the waves of immigrants that included so many incredibly talented carvers coming to America in search of a new life in what really proved to be the Land of Opportunity. From England, then Germany, Eastern Europe, and finally Southern Europe, these artisans initially may have only spoken in their native languages but they allowed their chisels and imaginations to speak for them through the universal language of their art. “Each of the major carvers has a compelling story to tell, and we wanted to relate as many of those stories as possible,” Malia says, who notes that Flying Horses is both a social history and a fine art book. “We’ve written Flying Horses so general readers can enjoy it as much as specialists,” he says.
What about the title? “It’s drawn directly from the first U.S. patent ever issued for a carousel dated July 1850,” Malia says, who admits that growing up not far from New York City, he rarely heard a carousel being called anything other than “flying horses.” So when it came to a title, it just seemed to be a natural.
Picture Perfect Approach
In addition to being an important new history of carousel carving, the “meat and potatoes” of Flying Horses are the remarkable carvings themselves. Renowned studio and architectural photographer Bryan Page includes more than 175 crystal-clear color images of works by all of the master carvers and carousel carving styles, drawn from the extensive collections of The New England Carousel Museum.
From a purely artistic perspective, these photographs are so good you feel as if you can reach out and touch some of the horses. We are just delighted that we are able to make our collection available as part of this wonderful project. After 20 years, this book is going to help us share our world-class collection with the carousel world and beyond and prove something that we have been saying all along – The New England Carousel Museum is a hidden national treasure as one of the best and most comprehensive museums dedicated to the Golden Age of American Carousels.”
Flying Horses Available As Limited Collectors’ Edition
In recognition of The New England Carousel Museum’s anniversary, DeMars notes that book orders are now being accepted by the Museum for the limited, signed, and numbered Collector’s Edition of Flying Horses.
“We are offering this special book to the carousel community and limiting the press run as a special anniversary issue that will be signed and numbered by the author and photographer and sent out to all subscribers in October on a first-come, first-serve basis,” DeMars says.“We want everyone in the carousel community to have an opportunity to own this book for themselves before they are all gone.”
A Unique Partnership
“Working with The New England Carousel Museum has been a great experience, and we think Flying Horses reflects that close working relationship,” Photographer Bryan Page says. He noted that it was a challenge to photograph some of these pieces under uniform conditions. “And many of the carvings have some really unique characteristics that most of us might overlook at first,” he says. “But because of our approach in focusing on those characteristics as accompanying close-ups, we’re very happy with the final results, and we think the carousel community will be, too.”
Malia agrees. “In researching these carvers and their work, I have had the pleasure of dealing with a number of carousel museums and carousel experts from around the country, “he says. “In every instance, people have gone out of their way to help, to share information and to provide a number of images that have not been seen previously. That’s what helps make Flying Horses so unique.”
Specializing in history, photography and fine art, Malia’s company, The Connecticut Press, is dedicated to working with non-profit museums in providing the editorial, publishing expertise and funding that many museums lack to see that their collections are shared with a larger national audience in both print and/or on-line. “We’d love the opportunity to work with other museums thinking about ways to broaden their audience and generate a source of revenue through a book or video,” Malia says. “But I think our work will speak for itself.”
For further information on The Connecticut Press and its mission, visit http//www.connecticutpress.com or drop an email to pjmalia@connecticutpress.com.
Hartford, CT -- Mayor Pedro E. Segarra of Hartford accepted a presentation copy of Flying Horses: The Golden Age of American ! Carousel Art, 1870 - 1930 on behalf the Hartford Public Library on November 7, 2010.
Authored by Peter J. Malia with photographs by Bryan Page, this major new carousel study is the first annotated history ever written on American merry-go-rounds and their makers.
The new title is offered as a special Collector's Limited and Numbered edition in celebration of the 20th anniversary of the New England Carousel Museum, located in Bristol, CT. The book is available through http://www.connecticutpress.com/ as well as Amazon.com.
