other homes, this one near the polo grounds at Old Westbury, unintentionally birthed a museum. The question of what would become of her cigar store Indians, hunting decoys, and weather vanes had to be settled. In 1947 Electra Havemeyer Webb gathered with her friends to create Shelburne Museum. Located near Route 7 in Shelburne, Vermont, Webb's museum became a haven for the handmade objects of another era. A two-hundred-year-old tavern shelters one of the finest collections of weathervanes, trade signs, and primitive portraits on the continent. A rambling old farmhouse is filled with spectacular assemblages of mochaware, pewter, and staffordshire. The finest collection of carriages and sleighs in North America rests in a unique horseshoe barn. Period homes, filled with outstanding collections of early American furniture and accessories, dot the grounds. Rather than confine her eclectic collections to a single modern gallery, Webb chose to create an institution that would showcase her "collection of collections" in fine examples of early American homes and public buildings. A general store, meeting house, log cabin, and a steamship dot the grounds. The entire museum reflects Electra Webb's passion for American art and design, as she treasured a variety of objects. Five rooms from her Park Avenue apartment were installed in a memorial building after her death in 1960, bringing Webb's collection of works by Monet, Manet, and Degas to the museum grounds. A large pastel by Mary Cassatt, showing a young Electra Havemeyer with her mother Louisine, enjoys a place of honor in the entry hall. Electra Havemeyer Webb began to collect "in earnest" in 1911, more than a decade before the founding of Colonial Williamsburg and nearly a half century before authentic American antiques would return to the major rooms of the White House. When she began to gather the remnants of an earlier America there was no National Register of Historic Places. Americans had yet to understand that their heritage was interesting and worthy of preservation. Before there was Henry Francis du Pont's Winterthur, Henry Ford's Greenfield Village, or even the American Wing at the Metropolitan Museum in New York, Webb was an ambitious and well-known collector of Americana. She worked with the finest antique dealers of the era, including Edith Halpert and Harry Newman, to assemble encyclopedic and irreplaceable collections of American material culture. The honesty of everyday objects spoke to Webb, and she used her significant resources to ensure