United States of America -- Wisconsin -- Walworth County -- Lake Geneva
Scope and Contents:
The folder includes a worksheet, historical pictures and information regarding previous owners, historical timeline of property, planting lists, planting plans, and landscape design.
General:
Located on approximately 100 acres, Windwood Garden was originally part of a 90-plus acre property that dates back to 1879 when R.T. Crane purchased it. During the early 1900s, the property was operated as the Crane's family compound with fruit orchards, vegetable gardens, a bakery laundry building and four greenhouses. The property was subdivided in 1933 to Maxwell House and A. F. Gartz. The western side of the divided property was purchased in 1948 by the current owner from A. F. Gartz and included the original house, vegetable garden, orchard and large expanses of lawn with a few flowers or shrubs. When the property was purchase, the property was very basic and showed signs of neglect. Brian Bader, arborist consultant, and Scott Byron, landscape architect, assisted the owners in creating a plan to conserve and transform the property into a small arboretum and then to further develop vistas from many different angles across the entire property.
The property includes woodlands and meadows populated with native spring wildflowers and large beds of daffodils. The wooded areas have many varieties of oaks, beech, maple, hemlock, walnut, hickory, lindens and butternut trees. A white okay tree is marked with a plaque by a University of Wisconsin arborist as the largeest white oka in Southeast Wisconsin. Decorative sculptures, benches, bridges, fountains, ponds and trails with plantings of trees, shrubs, perennials and wild grasses are also featured on the property.
In a 2014 garden tour handout for the Garden Club of America, the following areas were described as distinct areas of the home and garden: the manor House, the Country House, the Green Carriage House, the Caretaker's House, teh Stable, the Woodland Cottage, the White Oak Savannah, the Vegetable Garden, the Cooler House, the Pond, the Boat Deck, West Pier and East Pier.
Persons associated with the property include: R. T. Crane (former owner, 1879-1933); A. F. Gartz (former owner, 1933-1948); The Griffith family (owner, 1948- ), Scott Byron (landscape architect, 1985-present); Brian Bader (arborist consultant, University of Wisconsin, Madison Arboretum, 1996-1998).
Related Materials:
Windwood Garden related holdings consist of 1 folder (16 35 mm slides)
Collection Restrictions:
Access to original archival materials by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Collection Rights:
Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.
Sponsor:
A project to describe images in this finding aid received Federal support from the Smithsonian Collections Care Initiative, administered by the National Collections Program.
United States of America -- Wisconsin -- Waukesha County -- Oconomowoc
Scope and Contents:
The folder includes a worksheet and narrative description, a copy of the garden plan, and a plant list. The garden is noted for its Edwardian strolling garden, boxwood plantings, and roses, all complementing the arts and crafts style lakeside cottage.
General:
The gardens of Tatterdemalion, situated on a two-acre site, are designed to complement this 1907 arts and crafts style lakeside cottage. The wrap-around porch is surrounded by a stone terrace edged with tea roses and a lavender hedge. Steps to the west lead across the drive to an Edwardian strolling garden, bordered by an antique 1850 wrought iron fence, acquired in Madison, Indiana. Gently curving paths radiate from a circular path which encloses a weeping crabapple tree surrounded by lamb's ears. A low box hedge curves around in a flowing line to define the lawn. A semi-circle of purple lilacs and white Blanc Double de Coubert roses frame a bronze statue of Mercury.
Hemlocks and viburnums screen the adjoining property and form the backround for antique rose bushes, the mainstay of the garden. Flowering continues throughout the summer with the addition of pastel old-fashioned flowers. A dooryard fern garden on the north side of the house faces a small orchard. To the east is a Victorian reflecting pool centered in a semi-circular enclosure of shrubs. A wisteria and rose-covered arbor frames the view into the garden.
Persons associated with the property include: C. R. Cran (former owner, 1907-1939); Avery Sherry (former owner, 1939-1957); William Beverung (former owner, 1957-1986); Judson Griggs (landscape architect, 1987-1998); Michael Sproule (consultant, 1995-1997); Kyle Johnson (hardscape gardener, 1998); and Trevor Johnson (hardscape gardener, 1998).
Related Materials:
Tatterdemalion related holdings consist of 1 folder (29 35 mm. slides)
Collection Restrictions:
Access to original archival materials by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Collection Rights:
Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.
Sponsor:
A project to describe images in this finding aid received Federal support from the Smithsonian Collections Care Initiative, administered by the National Collections Program.
Access to original archival materials by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Collection Rights:
Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Collection Citation:
Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.
Sponsor:
A project to describe images in this finding aid received Federal support from the Smithsonian Collections Care Initiative, administered by the National Collections Program.
The records of the Woman's Building feminist arts organization in Los Angeles measure 32.5 linear feet and date from 1970-1992. Originally founded by artist Judy Chicago, graphic designer Sheila Levant de Bretteville, and art historian Arlene Raven in 1973, the Woman's Building served as an education center and public gallery space for women artists in southern California. The records document both the educational and exhibition activities and consist of administrative records, financial and legal records, publications, curriculum files, exhibition files, grant funding records and artist's works of arts and prints. A significant portion of the collection documents the Women's Graphic Center, a typesetting, design, and printing service operated by The Woman's Building.
Scope and Content Note:
The records of the Woman's Building measure 32.5 linear feet and date from 1970 to 1992. The organization played a key role as an alternative space for women artists energized by the feminist movement in the 1970s. The records document the ways in which feminist theory shaped the Building's founding core mission and goals. During its eighteen year history, the Building served as an education center and a public gallery space for women artists in Los Angeles and southern California; the records reflect both functions of the Building's activities.
The Administrative Files series documents the daily operations of the Building, with particular emphasis on management policies, budget planning, history, cooperative relationships with outside art organizations and galleries, special building-wide programs, and relocation planning. Included in this series are the complete minutes from most Building committees from 1974 through closing, including the Board of Directors and the Advisory Council. The General Publicity and Outreach series is particularly complete, containing publicity notices from most events, exhibits, and programs held at the Woman's Building, including brochures, announcements, programs, invitations, press releases, newspaper clippings, and magazine articles.
The Woman's Building's educational programs centered on courses offered by the Feminist Studio Workshop and the Extension Program. While the Workshop provided a two-year program for women interested in fully developing their artistic talent, the Extension Program offered a broad range of classes, specifically oriented to working women interested in art and art vocations. The records fully document both programs, focusing on the course development and descriptions, teacher contracts, class evaluations, budget planning, and scholarship programs. Although the Archives does not have the entire slide library, there are files concerning the establishment and administration of the library, as well as a few folders of slides.
The Gallery Programs series houses the records of the visual, performing, literary and video arts events held at the Woman's Building. Administrative files detail the daily operation of the gallery spaces. The files in the remaining subseries are primarily arranged by event and contain proposals, announcements, publicity, and artist biographies.
The Women's Graphic Center became a profit-making arm of the Woman's Building in 1981 but the typesetting and design equipment had been used by staff and students since 1975. The records in this series focus on the work produced at the Center, including general projects and artist designs and art prints. Many of the design and printing examples were produced for Woman's Building events and programs.
The Artist's Works of Art series includes artist books, resumes, correspondence, postcards, and samples of art in the form of sketches, drawings, and prints. There is also material related to Woman's Building projects. Especially noteworthy is the "What is Feminist Art?" project where artists gave their responses in various formats and mediums from text to pieces of artwork.
Arrangement:
The collection is arranged into 6 series.
Series 1: Administrative Files, circa 1970-1991 (Box 1-9, 32; 9 linear feet)
Series 2: Educational Programs, 1971-1991 (Box 10-14; 4.9 linear feet)
Series 3: Gallery Programs, 1973-1991 (Box 14-20, OV 54; 5.7 linear feet)
Series 4: Women's Graphic Center, circa 1976-1989 (Box 20-23, 32, OV 33-50; 5.6 linear feet)
Series 5: Artists' Works of Art, circa 1972-1990 (Box 24-25, OV 51-53; 1.7 linear feet)
Series 6: Grants, 1974-1992 (Box 25-30; 5.3 linear feet)
Historical Note:
In 1973, artist Judy Chicago, graphic designer Sheila Levant de Bretteville, and art historian Arlene Raven founded the Feminist Studio Workshop (FSW), one of the first independent schools for women artists. The founders established the workshop as a non-profit alternative education center committed to developing art based on women's experiences. The FSW focused not only on the development of art skills, but also on the development of women's experiences and the incorporation of those experiences into their artwork. Central to this vision was the idea that art should not be separated from other activities related to the developing women's movement. In November of 1973 the founders rented workshop space in a vacated building in downtown Los Angeles and called it The Woman's Building, taking the name from the structure created for the 1893 World's Columbian Exposition in Chicago. The FSW shared space with other organizations and enterprises including several performance groups, Womanspace Gallery, Sisterhood Bookstore, the National Organization of Women, and the Women's Liberation Union.
When the building they were renting was sold in 1975, the FSW and a few other tenants moved to a three-story brick structure, originally designed to be the administrative offices of the Standard Oil Company in the 1920s. In the 1940s, it had been converted into a warehouse and consisted of three floors of open space, conducive to publically available extension classes and exhibitions offered by the Woman's Building staff and students. By 1977, the majority of the outside tenants had left the Woman's Building, primarily because they were unable to sustain business in the new location. The new building was more expensive to maintain and the FSW staff decided to hire an administrator and to create a board structure to assume the financial, legal, and administrative responsibility for the Building. The funds to operate came from FSW tuition, memberships, fund-raising events, and grant monies.
In 1981, the Feminist Studio Workshop closed, as the demand for alternative education diminished. The education programs of the Building were restructured to better accommodate the needs of working women. The Woman's Building also began to generate its own artistic programming with outside artists, including visual arts exhibits, performance art, readings, and video productions. That same year, the Woman's Building founded the Women's Graphic Center Typesetting and Design, a profit-making enterprises designed to strengthen its financial base. Income generated from the phototypesetting, design, production, and printing services was used to support the educational and art making activities of the Building.
When the graphics business closed in 1988, the Woman's Building suffered a financial crisis from which it never fully recovered. The Building closed its gallery and performance space in 1991.
Related Material:
Among the other resources relating to the Woman's Building in the Archives of American Art is an oral history with Suzanne Lacy on March 16, 1990, March 24, 1990, and September 24, 1990. While not credited as a founding member, Lacy was among the first group of staff of the Woman's Building which she discusses in her interview.
The Getty Research Institute also holds a large collection on the Woman's Building which includes a wide range of material relating to its exhibitions, activities, and projects.
Separated Material:
The Archives of American Art donated 5 boxes of video tape from the collection to the Long Beach Museum of Art, Video Annex in 1994. According to documentation, this was the desire of Sandra Golvin and the Board of Directors of the Woman's Building. Printed material collected but not produced by the Woman's Building regarding feminism was transfered to Smithsonian Institution Libraries.
Provenance:
The Woman's Building records were donated to the Archives of American Art in 1991 by Sandra Golvin, President of the Board of Directors. An small addition of a set of "Cross Pollination" posters was donated in 2019 by by ONE Archives at University of Southern California Libraries via Loni Shibuyama, Archives Librarian.
Woman's Building records, 1970-1992. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Getty Foundation. Funding for the digitization of this collection was provided by The Walton Family Foundation and Joyce F. Menschel, Vital Projects Fund, Inc.
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Carnegie Institute, Museum of Art records, 1883-1962, bulk 1885-1940. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Brown Foundation. Funding for the digitization of this collection was provided by the Terra Foundation for American Art.
The papers of Wisconsin painter, ceramicist, and educator Aaron Bohrod measure 17.8 linear feet and date from 1507 to 1994 with the bulk of the collection dating from circa 1930 to 1994. The collection documents his career through biographical material, correspondence, gallery files, personal business records, writings, printed material, seven scrapbooks, photographs, and artwork.
Scope and Contents:
The papers of Wisconsin painter, ceramicist, and educator Aaron Bohrod measure 17.8 linear feet and date from 1507 to 1994 with the bulk of the collection dating from circa 1930 to 1994. The collection documents his career through biographical material, correspondence, gallery files, personal business records, writings, printed material, seven scrapbooks, photographs, and artwork.
Biographical material includes film and audio recordings of interviews with Bohrod, War Art Unit employment records, awards, an exhibition guest book, architectural plans for Bohrod's studio, and other personal records. Personal and business correspondence is with David Breger, Adolf Dehn, the Hammer Galleries, the Milch Galleries, Thomas Hart Benton, Henri Cadiou, Noel Coward, and many others. Gallery files contain records of Bohrod's business dealings with over 20 galleries and personal business records consist of primarily financial and legal records, as well as project files for his pottery collaboration with F. Carlton Ball and Madison Public Schools. Writings by Bohrod include manuscripts, lectures, and drafts for the book A Decade of Still Life along with several writings by others about Bohrod. Printed materials relate to Bohrod, his artwork, and other art subjects. Photographic materials depict Bohrod, his studio, family and friends, travel, and works of art. Artworks include drawings, prints, and designs by Bohrod, and lithographs and etchings by others.
Arrangement:
The collection is arranged as nine series.
Series 1: Biographical Materials, circa 1930-1987 (0.4 linear feet; Box 1, OV 24, FC 25)
Series 2: Correspondence, 1849-1994 (6.2 linear feet; Boxes 1-7, 19)
Series 3: Gallery Files, 1957-1993 (1.2 linear feet; Boxes 7-8)
Series 4: Personal Business Records, 1939-1994 (1.4 linear feet; Boxes 8-10)
Series 5: Writings, circa 1948-circa 1979 (0.2 linear feet; Box 10, OV 24)
Series 6: Printed Materials, 1831-1991 (3.0 linear feet; Boxes 10-13, 19, OV 24)
Series 7: Scrapbooks, 1929-1992 (1.3 linear feet; Boxes 13, 18, BVs 20-23)
Series 8: Photographic Materials, circa 1930-1992 (3.8 linear feet; Boxes 13-16, 19, OV 24)
Series 9: Artwork, 1507-circa 1989 (0.3 linear feet; Boxes 17, 19)
Biographical / Historical:
Aaron Bohrod (1907-1992) was a painter, ceramicist, and educator in Madison, Wisconsin.
Bohrod was born in Chicago, Illinois to Fannie and George Bohrod, a Russian immigrant grocer and cigar maker. From 1926 to 1928, Bohrod studied at the School of the Chicago Art Institute under John Sloan, Boardman Robinson, and Kenneth Hayes Miller. He married Ruth Bush in 1929. His first New York solo exhibition took place in 1934, and during the next four years, he received two Guggenheim Fellowhsips, which financed his projects to depict Midwestern American towns in paintings. During World War II, Bohrod was an artist and correspondent for the U.S. Corps of Engineers in the Pacific and for Life magazine in Europe.
Bohrod followed John Stuart Curry as artist-in-residence at the University of Wisconsin in Madison from 1948 until his retirement in 1973. In 1950, he began work in pottery with F. Carlton Ball with whom he published A Pottery Sketch Book in 1959. In 1954, Bohrod began a meticulous style of still life painting and published A Decade of Still Life in 1966. These trompe l'oeil paintings also appeared in many magazines, including Life, Fortune, Holiday, and several covers of Time magazine.
Bohrod died in Madison, Wisconsin in 1992.
Related Materials:
Also found at the Archives of American Art is an interview of Aaron Bohrod conducted by Ralph E. Sandler from 1973 to 1974. The Aaron Bohrod papers are also at Syracuse University.
Provenance:
The Aaron Bohrod papers were donated in 1974 by Aaron Bohrod and in 1996 by Neil Bohrod, Aaron Bohrod's son.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
The collection is open for research. Use of unmicrofilmed material requires an appointment.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Fendrick Gallery records, 1952-2001. Archives of American Art, Smithsonian Institution.
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Aaron Bohrod papers, 1507-1994, bulk circa 1930-1994. Archives of American Art, Smithsonian
Institution.
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Aaron Bohrod papers, 1507-1994, bulk circa 1930-1994. Archives of American Art, Smithsonian
Institution.