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Two gifts from Dick Scaife

Tribune - Review - In this file photo from December 2005, Westmoreland Museum of American Art Director and CEO Judith Hansen O’Toole and the late Dick Scaife share a quiet discussion. Scaife's wealth, land and art collections will be distributed among two foundations, a trust, an art museum and a conservancy, according to his will.
<div style='float:right;width:100%;' align='right'><em>Tribune - Review</em></div>In this file photo from December 2005, Westmoreland Museum of American Art Director and CEO Judith Hansen O’Toole and the late Dick Scaife share a quiet discussion. Scaife's wealth, land and art collections will be distributed among two foundations, a trust, an art museum and a conservancy, according to his will.
Pennsylvania Trolley Museum - Dick Scaife operating Pittsburgh Railways streetcar 3756 (vintage 1925) at the Pennsylvania Trolley Museum, date unknown.
<div style='float:right;width:100%;' align='right'><em>Pennsylvania Trolley Museum</em></div>Dick Scaife operating Pittsburgh Railways streetcar 3756 (vintage 1925) at the Pennsylvania Trolley Museum, date unknown.
- Otto August Kuhler (1894-1976), “Steel Valley, Pittsburgh,” circa 1925, oil on canvas, 45 x 50 inches, Westmoreland Museum of American Art, Greensburg.
Otto August Kuhler (1894-1976), “Steel Valley, Pittsburgh,” circa 1925, oil on canvas, 45 x 50 inches, Westmoreland Museum of American Art, Greensburg.
- John James Audubon (1785-1851), “Osprey and Weakfish,” 1829, oil on canvas, 40 x 26¼ in., National Gallery of Art, Washington, donated by Dick Scaife in 2005.
John James Audubon (1785-1851), “Osprey and Weakfish,” 1829, oil on canvas, 40 x 26¼ in., National Gallery of Art, Washington, donated by Dick Scaife in 2005.
- Judith O'Toole and Richard Scaife at the Westmoreland Museum, Greensburg, Friday, December 9, 2005.
Judith O'Toole and Richard Scaife at the Westmoreland Museum, Greensburg, Friday, December 9, 2005.
Pittsburgh Tribune-Review - Dick Scaife talks with director Rusty Powell on Wednesday, Sept. 28, 2005, in the National Gallery of Art in Washington.
<div style='float:right;width:100%;' align='right'><em>Pittsburgh Tribune-Review</em></div>Dick Scaife talks with director Rusty Powell on Wednesday, Sept. 28, 2005, in the National Gallery of Art in Washington.
Pittsburgh Tribune-Review - Dick Scaife with National Gallery of Art director Earl A. Powell III at the Gallery in Washington on Sept. 28, 2005. Scaife donated the rare oil painting by John James Audubon to the gallery, where it was featured prominently in “Audubon’s Dream Realized: Selections from the ‘Birds of America.’ ”
<div style='float:right;width:100%;' align='right'><em>Pittsburgh Tribune-Review</em></div>Dick Scaife with National Gallery of Art director Earl A. Powell III at the Gallery in Washington on Sept. 28, 2005. Scaife donated the rare oil painting by John James Audubon to the gallery, where it was featured prominently in “Audubon’s Dream Realized: Selections from the ‘Birds of America.’ ”
- William Trost Richards (1833-1905), “East Shore of Conanicut Island Near Newport, The Naragansett Bay,” c. 1877, Watercolor and gouache on carpet paper, 23 x 37 inches, Westmoreland Museum of American Art, Greensburg.
William Trost Richards (1833-1905), “East Shore of Conanicut Island Near Newport, The Naragansett Bay,” c. 1877, Watercolor and gouache on carpet paper, 23 x 37 inches, Westmoreland Museum of American Art, Greensburg.
Pittsburgh Tribune-Review - Edwin Feulner, president of the Heritage Foundation, presents Dick Scaife the Clare Boothe Luce Medal at a reception at the Duquesne Club, Downtown, on May 19, 2011.
<div style='float:right;width:100%;' align='right'><em>Pittsburgh Tribune-Review</em></div>Edwin Feulner, president of the Heritage Foundation, presents Dick Scaife the Clare Boothe Luce Medal at a reception at the Duquesne Club, Downtown, on May 19, 2011.

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Remembering Richard Scaife

“Many readers of the Tribune-Review will have specific but differing remembrances of Dick Scaife. For me, Dick was a man of ideas: the ideas of personal liberty and opportunity, and freedom for all.

Dick enjoyed the give and take of policy discussions.

Yes, he was a publisher and a philanthropist, but those were means to his objective of advancing the causes — the ideas — he believed in.

Dick deeply believed in the superiority of the West — of our ideas, our values, our institutions, and our way of life. He wanted to make a difference. He wanted to stop the decline of the West.”

— Ed Feulner, founder and retired president of The Heritage Foundation

“During a time of great evolutionary changes in the media business, Dick Scaife managed to adapt and expand his paper while maintaining meaningful content. Under his leadership, the Pittsburgh Tribune-Review has become a powerful source of information and investigative journalism.

Along with his work for the paper, he touched many lives through his charity, and for that we owe him a debt of gratitude.

I also came to know Mr. Scaife personally and appreciated his kindness. I enjoyed visiting his home and was grateful for the conversations we had. My thoughts and prayers are with his family at this time.”

—Robert Casey, U.S. Senator

“Not only a passionate believer in conservative principles, Richard Mellon Scaife was – most importantly – a passionate doer, a man who lived those principles and put them into action in countless ways to lift our nation up and make it stronger for future generations.

He had a remarkable vision for how we could create a stronger democracy and support just causes that would strengthen our society. He moved that vision forward by advancing public dialogue on critical issues and by supporting meaningful public policy research at every level.

The man who was a force behind many of the conservative principles that have helped shape our nation may be gone, but his impact will be lasting for years to come.”

— John R. Kasich, governor of Ohio

“I met Mr. Scaife nearly 20 years ago. He invited me for lunch. I was actually very nervous. He was a generous supporter of Landmark Legal Foundation, my employer.

I flew from Virginia to his office in Pittsburgh. As it turned out, he couldn't have been kinder. In fact, Mr. Scaife was disarming and flattering. I had a wonderful time.

Mr. Scaife was a great and compassionate patriot. He touched so many people with his bigger-than-life personality and extraordinary philanthropy. In addition to his deep love of Pittsburgh, he was wholly committed to the preservation of the country and the cause of liberty. Mr. Scaife understood how extraordinary America is and sought to ensure that future generations would enjoy its blessings.

Because of his commitment and effectiveness, at times Mr. Scaife drew the animus of partisan media outlets and political extremists. He took it all in stride and with class. And, thankfully, he was undeterred.

Mr. Scaife used his remarkable life to make a real and meaningful contribution to our society. May he rest in peace.”

— Mark R Levin, lawyer, author, constitutional scholar and the host of syndicated radio show, The Mark Levin Show

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By Judith Otoole Director Westmoreland Museum Of American Art
Saturday, July 5, 2014, 9:47 p.m.
 

In 2004, a majestically sized painting by Pittsburgh artist Otto Kuhler was discovered in New England by Bob Gilliland, who brought it to his art gallery in Ligonier.

It is one of Kuhler's most ambitious scenes, showing Pittsburgh in its steel-making heyday and its smoke-laden daytime work mode, in deep umbers and sullen beiges.

I fell in love with the picture, but the museum didn't have the funds to acquire it.

The next weekend, Dick Scaife went to see what was new at Gilliland's gallery, and to engage in conversation about American art. Bob showed him the Kuhler and bragged a bit about how The Westmoreland's director had deemed it to be “the best Kuhler” she had seen to date.

“Judy?” asked Dick. “Why didn't she buy it?”

When Bob told him the reason, Dick replied that perhaps he should just buy it for me. And he did.

Bob was so excited about what he had unwittingly done that he dialed my office number before Dick firmly closed the gallery door as he left.

Two years later, I picked up my office phone one afternoon and heard Dick's cheerful voice: He had a watercolor painting in his dining room and was thinking of moving it to make room for something else. He said it really didn't fit with The Westmoreland but decided to call me about it.

When I heard that it was by William Trost Richards, one of the top Hudson River School artists, and that the subject was one of Richards' favorite spots on Narragansett Bay, I was confounded: Why would Dick believe it wouldn't fit in the Museum's stellar collection? Could he possibly think it was too good for us? So I asked why.

He replied that it was painted on a rather gloomy day, and looking at it depressed him a bit. (Dick is known for his love of sunshine and blue skies.) He said he always thought of The Westmoreland as a pleasant and beautiful place, with fond memories of being uplifted by its collection.

I was unbelievably touched — but I quickly told him I'd love to accept the Richards anyway.

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