How Lorraine Waxman Pearce Turned The White House Into A Museum

The White House looks permanent on TV, but its history has to be protected one object at a time. We’re joined by Leslie Calderone, Director of the White House History Digital Archives at the White House Historical Association, to introduce a name most Americans have never heard: Lorraine Waxman Pearce , the first curator of the White House.

We go back to the moment that quietly set everything in motion: Jacqueline Kennedy’s 1941 White House tour, when the rooms felt sparse on historic furnishings and short on context. From there, we trace how decades of informal practices left artifacts vulnerable to replacement, neglect, and even theft, and why the early 1960s became a true turning point. With the Fine Arts Committee in place, TV bringing the White House into living rooms nationwide, and donations pouring in, Pearce  arrives in March 1961 with professional museum training and steps into what she calls “a room full of mail.”

From cataloging and collections management to authentication and museum climate standards, we unpack how her work created the foundation for modern White House preservation while navigating real pressure, tight timelines, and public scrutiny. You’ll hear why preservation is civic education, how the Kennedy Restoration inspires similar efforts across the country, and what visitors can still see today thanks to Pearce , including the Van Buren bust in the Red Room and the State Dining Room mantle beneath Lincoln’s portrait.

If you love American history, museums, archives, or the hidden jobs that keep democracy’s symbols intact, this one’s for you. Subscribe, share the episode with a history-loving friend, and leave a review with the White House object you’d most want to preserve.

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Transcript

SPEAKER_01 0:00

Welcome back to Civics in a Year. Today I'm excited to welcome Leslie Calderon, Director of the White House History Digital Archives at the White House Historical Association, to our podcast. Today we're diving into the story of someone many Americans have never heard of, but whose work shaped how we experience one of the most recognizable buildings in the world. Lorraine Waxman Pierce, the first curator of the White House. When Jacqueline Kennedy launched her effort to restore the White House in the early 1960s, Pierce was tasked with helping transform it from simply a residence and workplace into a carefully preserved piece of American history. Her work helped recover lost artifacts, authenticate historical furnishings, and establish

Why Lorraine Waxman Pierce Matters

SPEAKER_01 0:46

standards that continue to guide White House preservation today. In this episode, we'll explore how history is preserved, why public memory matters, and what the White House can teach us about the American story. Leslie, thank you so much for being here. Welcome to the podcast. Well, thank you so much, Liz, for having me. I'm really excited to talk about Lorraine Waxman here. So she was the first curator of the White House during Jaclyn Kennedy's restoration effort. What made that moment such a turning point and how Americans thought about the White House?

SPEAKER_00 1:23

Yeah, well, I think it would be helpful to go back to actually 1941 when first future First Lady Jacqueline Kennedy went on a tour of the White House with her mother and sister. She later recalled the tour was a bit disappointing. There really weren't too many examples of historic furnishings or other decorative arts throughout the rooms, and there was no guiding information, so no booklet to learn about the history of the White House. This in many ways was a reflection of long-held, though informal practices in and outside of the White House. Preservation was not a common practice, nor was being a curator a formal job during the 19th century and even into the early 20th century. So many first families came into the White House and sold or discarded furniture in order to purchase

The White House Before Preservation

SPEAKER_00 2:10

more modern pieces, not seeing the historic value and meaning behind what was left behind by their predecessors. Many historic pieces also suffered from theft, neglect, and damage. There just simply wasn't a policy or protocol for how to handle these pieces or an appreciation of their significance. There were several First Ladies, I should note, and White House hostesses who did take a curatorial role over the years. First Lady Caroline Harrison, for instance, made an inventory of pieces of historical significance in the House and advocated against replacing the furnishings in the White House. And then there was First Lady Lou Hoover, who notably oversaw the first comprehensive inventory of pieces in the White House collection. So this really sets the stage for Jacqueline Kennedy, the impact of her 1941 White House tour, and then her arrival at the White House in 1961 as First Lady. Her arrival coincided with perhaps a deeper appreciation for historic cones and the professionalization and scholarship that had developed in the museum field over the previous decades. It also coincided quite nicely, I think, with the advent of television and the impact of Mrs. Kennedy's 1962 CBS tour, the White House, of course. So now the White House was there for everyone in America to see from the comfort of their homes. You know, we're so used to seeing the White House on the news every day. And it's easy to lose sight of how exciting it must have been to watch Mrs. Kennedy's tour. Upon her arrival at the White House, Mrs. Kennedy quickly began making large plans to restore the rooms of the White House. Her plans and efforts led to the establishment of the Fine Arts Committee to help oversee and add and advise the

Jackie Kennedy’s Restoration Takes Shape

SPEAKER_00 3:50

restoration work. As their work quickly progressed, though, it was recommended that Mrs. Kennedy hire a permanent White House curator, and Lorraine Waxon-Pierce was hired in March 1961. Dorain had a master's degree from the Winterthur program in early American culture through the University of Delaware. So she was an expert on the decorative arts and had professional experience with collections management, cataloging, and implementing museum standards so that it was the first time really someone with her expertise was on the White House staff.

SPEAKER_01 4:21

So much of the public sees the White House as a political space. But Lorraine Waxman-Pierce helped Americans see it more as a historical and cultural space too. How did her work change the way history is preserved there?

SPEAKER_00 4:36

Yeah, so the position of White House curator has certainly evolved in the years since. But when Lorraine Wax and Pierce was hired, her focus was on cataloging existing objects in the White House collection and then screening and researching the authenticity of new objects being donated to the White House. Lorraine came on board just a couple of months into the Kennedy presidency, and public interest in Jacqueline Kennedy's restoration of the White House led to a lot of mail with offers from fine and decorative arts collectors looking to donate or sell pieces. When she arrived, she called the curator's

Building The Curator’s Office

SPEAKER_00 5:08

office just a room full of mail. So the inventory and catalog, as well as sifting through this massive stack, occupied a lot of her time at the beginning. Her role quickly expanded to establishing what would be the foundations of the office of the curator as we know it today. This included setting museum and climate standards for the pieces in the collection, teaching staff to care and handle these pieces and outreach. Outreach included publishing articles, giving lectures. She spoke at both public and private events and providing background information for communications coming out of the White House about new acquisitions and restoration projects. This informed the public of the care and attention to detail being done during the restoration project.

SPEAKER_01 5:49

So, what challenges did she face in trying to identify, authenticate, and recover all of these historic furnishings and artifacts for the White House?

SPEAKER_00 5:59

Yeah, I think the most significant challenge Lorraine faced was the just the sheer volume of what she was asked to do. When Lorraine entered the White House, it was very much uncharted territory. There was no precedent, no collection policy to work from, limited documentation of the fine and decorative arts in the collection. The standards of a museum were not in place, and a massive project was already underway with Mrs. Kennedy. In addition to Mrs. Kennedy, she also reported to the Fine Arts Committee and interior decorators. So I think there was a bit of a tug of war of sorts between achieving a pleasant aesthetic design and restoring the White House in a historically accurate way,

Authenticity Fights And A Fake Desk

SPEAKER_00 6:36

which was Lorraine's preference. Mrs. Kennedy and the Fine Arts Committee added many new pieces to the White House collection during this time, all of which was the responsibility of the curator's office to authenticate, catalog, and document to the White House's new museum standards. There was a minor incident where a woman, a Mrs. Noun, that's all we know of her name, wanted to donate a Baltimore-style desk that she was acquiring from an antiques dealer. The desk was estimated to be valued at $20,000 and was in the process of being authenticated by the White House when a Washington Post reporter got wind of the purchase and reported that it was a fake. The desk was acquired during Lorraine's time as curator, but the controversy erupted after she had left in 1962. The desk ended up being a reproduction of an original, but the news coverage failed to note that there was already, there were already concerns at the White House about its authenticity. Mrs. Now graciously accepted the desk back, but I think this is a great example, first, of the public interest in the work being done by Jacqueline Kennedy and Lorraine Wax and Pierce. And second, the overwhelming amount of work Lorraine was responsible for. I think this is probably also a good time to point out that Lorraine was about 27 to 28 years old while she was the White House curator. She was a mother as well. So to be a young, educated, married, working woman was relatively rare, was relatively rare at that time. And I think adds a bit of awe to what she was able to accomplish.

SPEAKER_01 7:58

Talk about preservation. Why does preservation work like this matter for civic education and public memory today?

SPEAKER_00 8:06

Sure. So there are a number of ways to consider Lorraine Wax and Pierce's work and the work of museums, libraries, and archives in the frame of civic education and public memory. First museums, such as the White House, and it is a museum as well as a residence and a place of work, but they record and house primary resources, document and preserve history and interpret history for students, researchers, and the general public. The Kennedy Restoration was of such significance it trickled down and inspired local initiatives. Mrs. Kennedy's program was emulated in public residences throughout the country. So during the 1960s, governors' mansions in several states embarked on historic restorations

Preservation As Civic Education

SPEAKER_00 8:45

of their interiors of their own, often simultaneously establishing furnishing committees and nonprofit foundations to ensure long-term preservation, much like Mrs. Kennedy did. Second in the frame of White House history, the White House has grown and evolved just as our nation has. When Jacqueline Kennedy sought to restore the White House, she notably did not want to restore it to the period when the White House was built. The cornerstone was laid in 1792, but rather she wanted to wanted the restored rooms to reflect the many periods and styles in American history. This brings to mind the great concept of American democracy, you know, the peaceful transfer of power. Many presidents and their families leave a mark on the White House that carries over to the next president. And that's now spanning centuries. There's a great, a great quote from Lorraine Wax and Pierce that captures this. It's the object is a social document. It is a visual statement as rewarding and rich as any written document. And it speaks of itself, of the people who made it and used it, and of American culture itself. So, and lastly, you know, Lorraine Wax and Pierce's work as a museum curator is a great example of the many nonpartisan workers federal, state, and local governments employ. I think a lot of civic students would find it interesting that the White House also employs electricians and florists as well as curators. There are many roles in the White House that a student might hear about and relate to in some way, whether they had a grandfather who was an electrician or an aunt who was a florist. The men and women who work at the White House have careers that span decades and multiple presidents from different political parties. And knowing their stories and roles kind of bridges that connection. The White House History Digital Archives, of which I am director, worked with Lorraine Wax and Pierce's family to digitize her personal archival collection. Her collection is part of a larger initiative by the White House Historical Association to share the lives and impact of White House resident staff members to the public so that they have a better understanding of the people who help the White House run on a daily basis and shed light on some of the unsung heroes and witnesses to American history, and then also to build a better connection and engagement with the public.

SPEAKER_01 10:54

I love that. And we will put the link to the digital archives on the show notes. I mean I've been to the White House a couple of times and I'm always in such awe of everything that is there. So are there particular rooms or objects or stories that are connected to Lorraine Waxman-Pierce's work that visitors still experience while they're on tour at the White House today?

SPEAKER_00 11:21

Yeah, there are many examples still of Lorraine Waxman-Pierce's work throughout the White House today. I think a cool way of answering this question would be to look at two of the primary responsibilities she had as White House curator that I mentioned before. First, her catalog of existing objects in the White House collection, and then her work researching and screening new items for the collection. So today, if you go into the red room of the White House, you will typically see

Objects You Can Still See Today

SPEAKER_00 11:47

a bust of President Martin Van Buren by Hiram Powers. The bust is a nice complement to the portrait of Angelica Singleton Van Buren. She was President Van Buren's daughter-in-law and acted as his hostess while he was in office. Angelica's very glamorous portrait. She has a lovely white headpiece on and, you know, voluminous white gown. But the portrait has more recently hung above the mantle in the red room. And very notably, you can see a depiction of this bust in the background of the painting. This bust was in the Van Buren family for generations until it was bequeathed to the White House in the late 19th century. Lorraine Waxman-Pierce, while going through storage, likely perhaps as a part of her catalog, uncovered the bust over 70 years later. And unless the bust has been moved or perhaps is undergoing conservation treatment, you will see it in on your tour in the White House alongside Angelica's portrait in the red room. The second item of Lorraine Waxman-Pierce's work you can still see in the White House is the state dining room mantle. You may not realize it, but you have likely seen this mantle since George Peter Alexander Healy's famous portrait of Abraham Lincoln hangs right above it. So when there is a state dinner, you may see the portrait behind the president or visiting head of state when they're giving their traditional toast. The mantle was a replica of one that President Theodore Roosevelt had installed in the state dining room in 1903. The mantle was unique for Roosevelt's insistence that it have a bison head carved in it over the traditional lion's head. The original mantle was removed during the Truman renovation of 1948 to 1952. Lorraine oversaw the installation of the replica in June 1962, and it remains in the state dining room today. This is a great example of her restoration work and also the care and research she undertook acquiring new pieces for the White House collection. She had a deep knowledge of the fine and decorative arts as well as American craftsmanship. The mantle also has a favorite quote of mine engraved on it that originates from a letter by President John Adams to First Lady Abigail Adams, and it states, I pray heaven to bestow the best of blessings on this house and all that shall hereafter inhabit it. May none but honest and wise men ever rule under this roof. And I think this quote just captures the hope of a young nation that you know continues 250 years later.

SPEAKER_01 14:09

And I I mean every time I go to the White House, I am just in awe of everything that is there. And now I can't wait to go back and try to look for these pieces and you know, this history. It's so amazing that the executive mansion, the White House, like you said, is a museum. It's also where people work, it's also where the president and their family live. It is this incredible piece of American history. And to know that Lorraine Waxon appears again, a young woman who is a mother who did all of these incredible things is just it's just so cool to think about. I do want to ask one more question, and because I know our smaller listeners will wonder what is your favorite part of the White House?

SPEAKER_00 15:05

Well, I would say my favorite part is on the in the ground floor corridor of the White House. There is a big China cabinet actually that displays many pieces of China and glassware from presidents over the centuries and different administrations. And in the corner on the bottom shelf is a collection of glassware from actually the Kennedy administration. So full circle with this, with this discussion, but if on a personal level, uh the glassware actually comes from Morgantown, West Virginia. And it was important for a number of reasons. Glassware at the time, I believe, was a pretty important industry in the state.

A Favorite Corner Of The White House

SPEAKER_00 15:44

It was also the first time that glassware was selected for the collection outside, or I guess in the United States. And you know, when we weren't relying on France or another manufacturer in Europe. And it was also representative of the Kennedy family and their appreciation for the state of West Virginia and the role that it played in the primary election to getting President Kennedy the nomination. And on a personal level, you know, my mom is from a small town in West Virginia, and uh she remembers Kennedy's coming and how important it was to and seeing them driving down the main street in town and getting that experience. So I remember hearing that story, and I also remember being able to visit Morgantown Glass when I was younger. And so to work in this field and specifically at the White House Historical Association all these years later, and seeing what the Morgantown Glassware and knowing that importance, I think is representative of the history of the White House and also, you know, what we can connect to in the White House. And I'm sure if you ask me, I could probably come up with, you know, a connection to every state in the United States, something that is represented in that house. And I think that is kind of the the perhaps the perfect metaphor for the White House.

SPEAKER_01 17:02

I love that because it really does make it the people's house, and it really makes it. And I again now I'm like, I can't wait to go back and like just find all these pieces and see all of these things. Leslie, thank you so much for introducing us to this incredible person in history and for giving us kind of a peek into the White House again as this public space and as this museum that hopefully over the next few hundred and fifty years will continue to expand and hold all of these incredible artifacts of American history.

SPEAKER_00 17:39

Thank you so much for having me listening.