Search Results

Creator:

Woman's Building (Los Angeles, Calif.)  Search this

Subject:

Chicago, Judy  Search this

De Bretteville, Sheila Levrant  Search this

Raven, Arlene  Search this

Feminist Studio Workshop  Search this

Women's Graphic Center (Los Angeles, Calif.)  Search this

Type:

Slides

Artists' books

Citation:

Woman's Building records, 1970-1992. Archives of American Art, Smithsonian Institution.

Topic:

Works of art  Search this

Art -- Study and teaching -- California -- Los Angeles  Search this

Women artists  Search this

Feminism and art  Search this

Theme:

Women  Search this

Art organizations  Search this

Record number:

(DSI-AAA_CollID)6347

(DSI-AAA_SIRISBib)215074

AAA_collcode_womabuil

Theme:

Women

Art organizations

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_215074

Creator:

Woman's Building (Los Angeles, Calif.)  Search this

Names:

Feminist Studio Workshop  Search this

Women's Graphic Center (Los Angeles, Calif.)  Search this

Chicago, Judy, 1939-  Search this

De Bretteville, Sheila Levrant  Search this

Raven, Arlene  Search this

Extent:

32.5 Linear feet

Type:

Collection descriptions

Archival materials

Slides

Artists' books

Date:

1970-1992

Summary:

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.

Topic:

Works of art  Search this

Art -- Study and teaching -- California -- Los Angeles  Search this

Women artists  Search this

Feminism and art  Search this

Function:

Nonprofit organizations -- California

Arts organizations -- California

Genre/Form:

Slides

Artists' books

Citation:

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.

Identifier:

AAA.womabuil

See more items in:

Woman's Building records

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw938796dfe-5dbf-49e9-96e7-5a8745391f13

EDAN-URL:

ead_collection:sova-aaa-womabuil

Artist:

Martha Rosler, born New York City 1943  Search this

Medium:

inkjet print

Dimensions:

overall: 24 × 20 in. (61 × 50.8 cm)

Type:

Photography-Photoprint

Date:

ca. 1967-1972, printed 2018

Topic:

Figure group\male  Search this

Occupation\military\soldier  Search this

Architecture Interior\domestic\house  Search this

Credit Line:

Smithsonian American Art Museum, Gift of Norbert Hornstein and Amy Weinberg and museum purchase through the Luisita L. and Franz H. Denghausen Endowment

Copyright:

Courtesy of the artist and Mitchell-Innes & Nash, New York © Martha Rosler

Object number:

2021.7.13

Restrictions & Rights:

Usage conditions apply

See more items in:

Smithsonian American Art Museum Collection

Department:

Graphic Arts

On View:

Smithsonian American Art Museum, 3rd Floor, North Wing

Data Source:

Smithsonian American Art Museum

GUID:

http://n2t.net/ark:/65665/vk74f4ef0fe-0114-4f24-b4c5-6f9dd5f02c2e

EDAN-URL:

edanmdm:saam_2021.7.13

Creator:

American Academy in Rome  Search this

Names:

American Academy in Rome  Search this

American School of Architecture in Rome  Search this

American School of Classical Studies in Rome  Search this

Aldrich, Chester Holmes, 1871-1940  Search this

Boring, William, 1859-1937  Search this

Breck, George, 1863-1920  Search this

Dinsmoor, William B.  Search this

Egbert, J. C. (James Chidester), 1859-1948  Search this

Ely, Theo. N.  Search this

Faulkner, Barry, 1881-1966  Search this

Guernsey, Roscoe  Search this

Hewlett, James Monroe  Search this

Kendall, William M.  Search this

La Farge, C. Grant (Christopher Grant), 1862-1938  Search this

Marquand, Allan, 1853-1924  Search this

McKim, Charles Follen, 1847-1909  Search this

Mead, William Rutherford, 1846-1928  Search this

Millet, Francis Davis, 1846-1912  Search this

Morey, Charles Rufus, 1877-1955  Search this

Mowbray, H. Siddons (Harry Siddons), 1858-1928  Search this

Platt, Charles A. (Charles Adams), 1861-1933  Search this

Pope, John Russell, 1874-1937  Search this

Roberts, Laurance P.  Search this

Smith, James Kellum, 1893-1963  Search this

Stevens, Gorham Phillips, 1876-  Search this

Vedder, Elihu, 1836-1923  Search this

Vitale, Ferrucio, 1875-1933  Search this

Ward, John Quincy Adams, 1830-1910  Search this

Extent:

65.9 Linear feet

Type:

Collection descriptions

Archival materials

Photographs

Date:

1855-2012

Summary:

The records of the American Academy in Rome measure 65.9 linear feet and date from 1855 to 2012. The collection documents the history of the institution from its inception in 1894 as the American School of Architecture in Rome, through the end of World War II, and chronicles the contributions the academy has made to America's cultural and intellectual development. Nearly one-half of the collection consists of an unprocessed addition received in 2014 containing records that mostly post-date World War II and include correspondence and subject files of officers and executives based in the New York office of American Academy in Rome.

Scope and Content Note:

The records of the American Academy in Rome measure 65.9 linear feet and date from 1855 to 2012. The collection documents the history of the institution from its inception in 1894 as the American School of Architecture in Rome, through the end of World War II, and chronicles the contributions the academy has made to America's cultural and intellectual development. Nearly one-half of the collection consists of an unprocessed addition received in 2014 containing records that mostly post-date World War II and include correspondence and subject files of officers and executives based in the New York office of American Academy in Rome.

Items predating the 1894 founding of the American School of Architecture in Rome are personal papers and memorabilia of individuals associated with the institution.

Series 1: Predecessor Institutions, is composed of the records of the American School of Architecture in Rome, 1894-1898, and the American School of Classical Studies in Rome, 1895-1913. Records of the American School of Architecture in Rome include records of its Managing Committee, correspondence, financial records, and printed matter. Among the Managing Committee's records are notes and correspondence relative to the founding of the institution, minute books and reports; also, legal documents including records concerning its dissolution prior to being reorganized as the American Academy in Rome. Correspondence is mostly that of Vice President Charles F. McKim who handled administrative matters. Financial records include capital stock certificates, invoices and receipts. Printed matter consists of scholarship competition announcements.

Records of the American School of Classical Studies in Rome include records of its Managing Committee, Committee on Fellowships, publications, printed matter, and treasurers' records. The Managing Committee's records consist of the proposed resolution concerning its merger with the American Academy in Rome. Committee on Fellowship records are comprised of correspondence, reports, and fellowship applications. Publications records include correspondence and invoices. Printed matter includes general information, annual reports of the Managing Committee and Director, annual reports of the Committee on Medieval and Renaissance Studies, fellowship applications and examination questions, and the proposed consolidation agreement. Treasurers' records include the files of Alex. Bell and Willard V. King. Bell's sparse records consist of a budget, receipts for salary payments, an invoice, canceled checks, and correspondence. King's files, while more substantial than those that survive from Bell's tenure, are quite incomplete. They include correspondence, banking records, budgets and financial statements, investment records, invoices, and receipts for salaries and expenses.

Series 2: Board of Trustees Records, is comprised of legal documents, minutes, and reports; records of Trustee committees; records of officers; and records of individual Trustees. Legal documents, 1897-1926 and undated, consist of by-laws and amendments, certificate of incorporation, and constitution and amendments. Minutes and reports of the Board of Trustees, 1897-1947 and 1957, including those of its annual meetings, are carbon copies rather than the official minute books, and are incomplete. Reports of officers are incomplete, as well. Also included are reports of Officers'/Trustees' visits to Rome, and reports of the Director and Secretary in Rome submitted to the Board of Trustees.

Records of Trustee committees, 1905-1946 and undated, consist of reports and/or minutes arranged alphabetically by committee; these, too are incomplete, with many committees represented by a single report. Committees represented are: Building Committee, Carter Memorial Committee, Endowment Committee, Executive Committee, Finance Committee, Library Committee, McKim Memorial Committee, Nominating Committee, Committee on Publications. Committee on the School of Classical Studies records consist of its own minutes and reports, reports of its Advisory Council and the Jury on Classical Fellowships. Committee on the School of Classical Studies also include reports of officers and staff of the School of Classical Studies to the Committee on the School of Classical Studies as follows: Director, Professor in Charge, Annual Professor, Director of the Summer Session, Professor of Archaeology, Curator of the Museum, Editor, Librarian, and Committee on the Welfare of Women Students. Committee on the School of Fine Arts records consist of its own minutes and reports, reports of its Special Committee on the Plan and Expense of a Department of Music in the School of Fine Arts, and report of Fine Arts Program, Triptych Project with the Citizens Committee for the Army and Navy, Inc.; also, reports of officers and staff of the School of Fine Arts to the Committee on the School of Fine Arts as follows: Director, Professor in Charge, Associate in Charge, Annual Professor, Professor in Charge of the Department of Musical Composition. In addition, there are minutes and/or reports of the Committee of Twelve and Subcommittee of Five and the Special Committee on Villa Aurelia.

Records of Officers. 1898-1957 and undated, consist mainly of correspondence files and reports, with large numbers of transcriptions and carbon copies. Included are records of: Presidents Charles F. McKim, William R. Mead, Charles A. Platt, John Russell Pope, and James Kellum Smith; Vice Presidents Theodore N. Ely, George B. McClellan, and Henry James; Secretaries H. Siddons Mowbray (Secretary/Treasurer), Frank D. Millet, C. Grant La Farge, William B. Dinsmoor, and H. Richardson Pratt; and Treasurers William R. Mead, William A. Boring, Leon Fraser, and Lindsay Bradford Office files of President Mead, Secretaries Millet and La Farge, and Treasurer Boring are the most complete; files of other individuals, the Vice Presidents in particular, are often quite sparse.

Records of individual Trustees, 1902-1946 and undated, consist of material relating to official Academy business that was created or maintained by each in his capacity as trustee. (Note: many of these individuals also served as officers or staff of the Academy, and their records documenting those functions will be found in the appropriate series.) Included in this subseries are the records of: Chester H. Aldrich, Gilmore D. Clarke, James C. Egbert, Barry Faulkner, Allan C. Johnson, William M. Kendall, C. Grant La Farge, Edward P. Mellon, Charles Dyer Norton, Charles A. Platt, John Russell Pope, Edward K. Rand, John C. Rolfe, James Kellum Smith, S. Breck Trowbridge, Ferruccio Vitale, John Quincy Adams Ward, Andrew F. West, and William L. Westerman. These records tend to be sparse; files maintained by James C. Egbert, Barry Faulkner, Allan C. Johnson, and Ferruccio Vitale are notable exceptions.

Series 3: New York Office Records, consists of records of staff, rosters, printed matter, photographs, personal papers, Association of Alumni of the American Academy in Rome, and miscellaneous records.

Records of staff, 1919-1950 and undated, include the office files of Executive Secretaries Roscoe Guersney, Meriwether Stuart, and Mary T. Williams; Librarian George K. Boyce; and Endowment Fund Campaign Secretaries Phillilps B. Robinson and Edgar I. Williams.

The rosters, 1895-1939 and undated, are printed forms completed by fellows and students, with occasional attachments (usually correspondence or photographs). Included are the rosters of the School of Fine Arts, School of Classical Studies, and School of Classical Studies Summer Sessions.

Printed matter, 1905-[1981?] and undated, has been classified as Academy produced and produced by others. Items produced by the Academy, 1905-[1981?], include general information including act of incorporation and by-laws, fundraising brochure, constitution, Directory of Fellows and Residents, histories of the institution, newsletter of the Director, and printed items relating to special events. Printed matter specifically relating to the School of Classical Studies includes annual announcements, the consolidation agreement, a directory, fellowship announcements and applications, lecture announcements, newsletters, and brochures about summer sessions. School of Fine Arts printed matter includes annual announcements, concert programs, exhibition checklists and catalogs, fellowship announcements and application forms, history, and newsletters.

Printed matter produced by others, 1905-1940 and undated, consists of three scrapbooks of news clippings and photographs compiled by the American Academy in Rome, extensive clipping files, and articles from miscellaneous publications. All of these items are about the American Academy in Rome, or by or about individuals associated with the institution. Also included is a poster for Leave Courses offered at the Academy for U. S. servicemen.

Photographs, 1891-1941 and undated, are organized into the categories of works of art, people, buildings, places, events, and miscellaneous. Works of art are by visiting students and fellows, Frank D. Millet, collaborative problems, Rome Prize Competitions in Architecture, Rome Prize Competitions in Landscape Architecture, and Prix de Rome Competition exhibitions. Photographs of people are both of individuals and groups; among the groups are summer school students and fellowship winners.

Buildings depicted are American Academy properties. Among them are the "New Building," including interior and exterior construction views; studios; and Villas Aurelia, Mirafiore, and Richardson. Also included is a group of photographs of Academy architecture students measuring buildings in Rome and Florence. Places pictured are views of the Academy property and surrounding areas.

Photographs of events include cricket games, Thanksgiving and Fourth of July dinners, Architectural League exhibition, and inauguration of the Manship Fountain. Miscellaneous photographs are of an architectural drawing for a proposed building.

Personal Papers, Memorabilia, and Ephemera, 1855-1923 an undated, were donated to the American Academy in Rome or otherwise left on its premises. None are official records generated by the institution. Included are: Ernest Lewis' photograph album/scrapbook; Allan Marquand's papers; Charles F. McKim's memorabilia, photographs, printed matter, and artifacts; Charles R. Morey's correspondence; and Elihu Vedder's Bible.

Records of the Association of the Alumni of the American Academy in Rome, 1913-1945 and undated), consist of a small number of scattered records including correspondence, fellows' war/government service information (compiled by Sidney Waugh), membership lists, and a newsletter.

Miscellaneous records, 1899-1926 and undated, are writings and architectural records. Writings consist of published and unpublished manuscript material about the American Academy in Rome and its history, and article by H. Siddons Mowbray advising on ornamentation, and text and illustrations for the Art and Archaeology issue on the Academy. Also included are fragments of unidentified letters. Architectural records [oversize] include property and floor plans of Villas Aurora, Chiaraviglio, Ferrari, and Ludovisi.

Series 4: Rome Office Records, consist of records of staff and personal papers. Records of staff, 1903-1947 and undated, include the office files of Directors H. Siddons Mowbray, George Breck, Jesse Benedict Carter, Gorham Phillips Stevens, James Monroe Hewlett, Chester H. Aldrich, Amey Aldrich [Acting Director, very briefly, perhaps unofficially], Charles R. Morey, and Laurance P. Roberts; and records of two members of the School of Fine Arts faculty, Frank P. Fairbanks, Professor of Fine Arts, and Felix Lamond, Professor of Music. Records of Carter, Stevens, Hewlett, and Aldrich appear to be fairly complete; records of early directors are sparse; those of Morey and Roberts appear to be missing significant portions; and those of Professors Fairbanks and Lamond consist of a few scattered items.

Also surviving are the personal papers of Director Gorham Phillips Stevens, 1912-1931 and undated), consisting of correspondence, financial records, and documentation of professional and charitable activities.

Series 5: Unprocessed Addition to the American Academy in Rome Records was received in 2014 and consists of 31.6 linear feet of the New York office's records for officers, directors, and executives.

Arrangement:

It was obvious that before they came to the Archives of American Art the records had been rearranged more than once, and in such a way that materials from many different departments had been intermingled. In keeping with archival theory and practice, the records were organized to reflect the structure and operation of the institution that created the records, making them more understandable and accessible to a wide variety of researchers.

In general, the records of each officer and staff member are arranged alphabetically, with general correspondence preceding the alphabetical sequence; arrangement within each file is chronological, unless noted otherwise.

Records of the American Academy in Rome are organized into five major series. Each series, except series 5, is divided into several subseries, with the arrangement described in detail in the series descriptions.

Missing Title

Series 1: Predecessor Institutions, 1894-1913 (box 1; 0.88 linear ft.; Reels 5749-5750)

Series 2: Board of Trustees Records, 1897-1957, undated (boxes 1-17, 35, 37; 15.25 linear ft.; Reels 5750-5777)

Series 3: New York Office, 1855-circa 1981, undated (boxes 17-32, 36; 15 linear ft.; 5777-5795)

Series 4: Rome Office, 1903-1943, undated (boxes 32-34; 3 linear ft.; 5795-5800)

Series 5: Unprocessed Addition to the American Academy in Rome Records, 1933-2002 (boxes 35-103; 31.6 linear ft.)

Historical Note:

While in Chicago to advise and work on the fine arts section of the 1893 World's Columbian Exposition, architects Charles F. McKim, Daniel Burnham, and Richard Howland Hunt, painters John La Farge and Frank Millet, and sculptors Augustus Saint-Gaudens, and Daniel Chester French, among others, met regularly. From their collaborative experience and discussions came the idea for an American school for artists in Europe. Charles F. McKim was especially enthusiastic. He strongly believed that collaborative experience should be available to future American artists, and perceived a real need for an American school in Europe--preferably in Rome, the very best place to study art, in his opinion.

By March of the following year, McKim was busy devising plans for the school and persuading like-minded architects and artists to assist. He proposed to finance the school by convincing institutions with traveling scholarships in the arts to send those students to Rome. Columbia University, University of Pennsylvania, and the Rotch Scholarship fund readily agreed to the scheme, and in ensuing years many others followed suit. In October, 1894, the American School of Architecture in Rome opened temporary quarters in the Palazzo Torlonia. The school consisted of its Director, Austin Lord, three fellows, and a visiting student; its "library" contained but one volume.

A move to the larger, more suitable Villa Aurora occurred in July 1895. Rent from two subtenants (the newly established American School of Classical Studies in Rome and the British and American Archaeological Society Library in Rome), along with a personal contribution from McKim, made this financially feasible.

The American School of Architecture in Rome was incorporated in the State of New York, 1895, and 10 shares of capital stock were issued. Despite substantial fundraising efforts in Chicago, New York, and Boston, severe financial problems continued. The American School of Classical Studies in Rome vacated the Villa Aurora in 1896--and with it went a sizeable portion of the School of Architecture's income. McKim frequently made up the deficit from his own pocket.

Eventually, it was decided that the American School of Architecture in Rome must be reorganized along the lines of the French Academy and that national sponsorship needed to be obtained through an act of Congress. In June of 1897, the American School of Architecture in Rome voted to dissolve itself and create the American Academy in Rome. The new institution would assume all assets and obligations, fellowships in painting and architecture were to be added to the program, and its Board of Trustees would include architects and artists. The Academy is not a school. Its fellows and visiting students, already professionally trained, go to Rome for further development and for collaboration and association with others. In the words of Director Gorham Phillips Stevens: "The object of the American Academy in Rome is not to afford opportunities for a few individuals to perfect themselves for the practice of their chosen professions. The ideal is to create an atmosphere in which a limited number of carefully selected artists and scholars may develop that synthesis of intellectual culture which will make them worthy to preserve and continue the great traditions of the past in order that the standard of art and literature may be handed on from year to year, constantly strengthened and improved."

Beginning in 1901, bills to make the American Academy in Rome a "national institution" were introduced in Congress on several occasions. A hearing was finally scheduled in 1905, and a revised bill that prohibited government funding and specified that U.S. officials may not be Trustees was signed into law. Serious efforts to create an Endowment Fund and secure better quarters were associated with the movement to obtain status as a national institution. The Academy was successful in meeting all of these objectives. In 1904, the Academy moved to the Villa Mirafiore (also known as Villa Mirafiori), which it soon purchased and renovated. The Endowment Fund raised well over a million dollars. Donors of $100,000 to the Endowment Fund, designated "Founders" of the American Academy in Rome, were: The Carnegie Foundation, Henry C. Frick, Harvard College, Charles F. McKim, J. P. Morgan, Sr., J. P. Morgan, Jr., The Rockefeller Foundation, John D. Rockefeller, Jr., William K. Vanderbilt, and Henry Walters. Other categories of donors were "Incorporators" (a new Act of Incorporation was required at the time the American Academy in Rome was chartered as a national institution) and "Life Members."

The American School of Classical Studies in Rome, which had been established by the Archaeological Society in 1895 and during its first year shared the Villa Aurora with the American School of Architecture in Rome, entered into a consolidation agreement with the American Academy in Rome in 1911. Their merger went into effect on the last day of 1912, and ever since, the American Academy in Rome has consisted of the School of Fine Arts and the School of Classical Studies, administered by a common director. The School of Classical Studies is composed of fellows and visiting scholars who are graduate students, secondary teachers, or professors engaged in research in the areas of archaeology, ancient art, philology, and humanistic studies. Women were a part of the School of Classical Studies from its beginning, but were not permitted to participate in the School of Fine Arts until well after World War II. Beginning in 1923, the School of Classical Studies instituted Summer Sessions which appealed to secondary teachers, and attracted an enrollment that was largely female.

Originally, the School of Fine Arts offered fellowships in architecture, painting, and sculpture. Fellowships in landscape architecture were added in 1915; in 1920, a Department of Music was established, and along with it fellowships in musical composition. Fellowships in art history were established in 1947. Unmarried men under age 30 were eligible to compete for the fine arts fellowships awarded annually (except for landscape architecture, awarded every third year); the duration of fellowships ranged from one to three years at various points in the institution's history. In residence along with fellows of the American Academy in Rome, might be holders of various traveling scholarships: the McKim Fellowship, the Columbia Traveling Scholarship, the Perkins Scholarship, the Robinson Traveling Scholarship (Harvard), the Rotch Scholarship, the Julia Appleton Scholarship, the Traveling Scholarship and Stewardson Memorial Scholarship (University of Pennsylvania), the Cresson Scholarship (Pennsylvania Academy of the Fine Arts), the Drexel Institute Traveling Scholarship, the Lazarus Scholarship (Metropolitan Museum of Art), the Lowell Scholarship (Massachusetts Institute of Technology), and the Rinehart Scholarship (Peabody Institute, Baltimore). Visiting students, who remained for a much briefer period than fellows or recipients of various traveling scholarships, were admitted to all lectures and granted use the library, but resided elsewhere. The Academy opened an Atelier in downtown Rome for visiting students in 1927, which operated until financial considerations forced its discontinuation seven years later.

As the merger was being planned, J. P. Morgan, Sr., who was interested in both the American Academy in Rome and the American School of Classical Studies in Rome, began buying properties on the Janiculum, adjacent to Villa Aureilia. Villa Aurelia, built on the summit of the Janiculum in 1650, had been bequeathed to the American Academy in Rome in 1909 by Clara Jessup Heyland. Complications surrounding the gift of Villa Aurelia--including the will being contested by Mrs. Heyland's brother, and problems with unsettled tax assessments--were overcome in the interest of acquiring the outstanding building and its extensive grounds. Not long before his death in 1913, Morgan donated his neighboring land, and the American Academy in Rome continued to expand its Janiculum holdings through purchases and gifts from others. Morgan also agreed to provide a loan for construction of a new building. This building, designed by McKim, Mead, and White and known as the Main Building or Academy Building, opened in 1915; it served as the fellows' residence and work area, and included room for the library, offices, and space for exhibitions and other public events.

During World War I, the American Academy in Rome managed to remain open, although no new fellows arrived during the war years and the number of resident fellows and staff dwindled considerably. Most who remained were involved in some type of civilian war work, often with the Red Cross. In fact, Villa Aurelia was rented by the Red Cross in Italy for office space, and the Main Building was offered as a convalescent hospital, but the war ended before it could be put to that use.

After Italy declared war on the United States in 1941, the American Academy in Rome closed for the remainder of World War II. Those who had been awarded fellowships in classics just prior to the Academy's closing were given the option of using their stipends for study at home or waiting until conditions permitted travel to Rome. A very reduced staff stayed to care for the property and continue library cataloguing, coping with often severe wartime shortages of food and fuel. In addition, there were financial hardships. When bank accounts of enemy aliens were frozen and it was no longer possible to transfer funds from the United States, the Swiss Legation and Vatican arranged for loans to keep the Academy and its staff afloat. Funds that would have been awarded to new fellows during this period were put to use in other ways. In 1943, the American Academy in Rome made a grant to the Citizen's Committee for the Army and Navy, Inc. for competitions to award commissions to artists and art students throughout the country, funding more than 100 triptychs for chapels, as well as murals, medals, and sculpture. Seniors in American colleges and universities were eligible to compete for several scholarships for graduate work in classical studies awarded by the American Academy in Rome.

In 1945, the Academy was the site of Leave Courses on various aspects of Italian culture offered to servicemen. From the end of the war until the Academy reopened at the start of the 1946/47 academic year, G.I. Fellowships were offered to discharged soldiers wishing to study at the Academy, making the institution eligible to receive surplus equipment and rations. During this time intensive planning was underway for administrative changes and new programs.

test

1893 -- While in Chicago to collaborate on the fine arts section for the World's Columbian Exposition, architects Charles F. McKim, Daniel Burnham, Richard Howland Hunt, painters John La Farge, and Sculptors Augustus Saint-Gaudens, and Daniel Chester French, among others, met regularly and from their collaborative experience and discussions came the idea for an American school in Europe.

1894 -- American School of Architecture in Rome opened in temporary quarters at the Palazzo Torlonia with Austin Lord, Director, three fellows, and a visiting student.

1895 -- Villa Aurora leased with 2 subtenants, the American School of Classical Studies and the British and American Archaeological Society Library in Rome American School of Architecture incorporated and 10 shares of capital stock issued (2 each to McKim and Hunt, and 1 to Burnham, Kendall, Schermerhorn, Boring, Garland, and Dill) McKim visits Rome.

1896 -- Metropolitan Museum of Art, administrator of Jacob H. Lazarus Scholarship for the study of mural painting, agrees to send the winner to Rome American School of Classical Studies in Rome vacates Villa Aurora.

1897 -- American School of Architecture in Rome dissolved and reorganized as the American Academy in Rome; the assets (including the lease on Villa Aurora) of the American School of Architecture in Rome were transferred and its program expanded to include fellowships in painting and sculpture Samuel A. B. Abbott appointed first Director Rome Prize discontinued (for 9 years) due to lack of funds.

1898 -- Incorporated in New York State; trustees begin to focus on raising an endowment.

1904 -- Move to Villa Mirafiore (also known as Villa Mirafiori); occupied until 1914.

1905 -- Chartered by the Congress of the United States; a bill signed by President Roosevelt made the American Academy in Rome a national institution (receiving no government funding and barring U.S. officials from acting as Trustees).

1906 -- Purchase of Villa Mirafiore finalized; renovations begun.

1909 -- Villa Aurelia bequeathed to the Academy by Clara Jessup Heyland (used until 1932); there were protracted problems surrounding the acquisition of the property including a brother who contested the will and unsettled taxes.

1911 -- School of Classical Studies in Rome (established by the Archaeological Institute of America in 1895) and the American Academy in Rome announce their consolidation [the merger became effective on the final day of 1912].

1912 -- Lands on the Janiculum adjacent to Villa Aurelia, recently acquired by J. Pierpont Morgan, Sr., transferred to the American Academy in Rome.

1913 -- American Academy in Rome now consists of the School of Fine Arts and the School of Classical Studies. New York office moves to the Architect's Building, 101 Park Ave., remaining at this location until 1973. By this date, largely through the generosity of J. Pierpont Morgan, Sr., nearly all of the land bounded by Via Angelo Masina, Via Giacomo Medici, Via Pietro Riselli, and the Aurelian Wall on the Janiculum had been purchased and many improvements made to the properties near the Villa Aurelia. Construction begins on the new Academy building designed by McKim, Mead, and White and situated on the grounds of Villa Aurelia; financed through a loan from J. Pierpont Morgan, Sr. (after Morgan Sr.'s death, his son offered to cancel the loan at an amount equal to funds raised by the Academy for the purpose).

1915 -- First Fellowship in Landscape Architecture established; opening of new Academy building housing the fellows' residential quarters, work areas, library, offices, and spaces for public programs.

1917 -- Villa Aurelia rented to the Red Cross for office space, and the new Main building was slated to become a convalescent hospital, but the war ended before it could be put to use.

1919 -- New York office reorganized by Roscoe Guernsey, executive secretary; sale of Villa Mirafiore; Academic Council established in Rome.

1920 -- Department of Music and Fellowship in Musical Composition established.

1923 -- School of Classical Studies establishes summer sessions, largely attended by teachers.

1926 -- Second Fellowship in Landscape Architecture funded by Garden Club of America (later permanently endowed).

1927 -- Academy opens an Atelier in downtown Rome, providing studios for visiting students (operated until 1934).

1929 -- First Thomas Spencer Jerome lecturer appointed.

1941 -- Academy closes for duration of World War II; a skeletal staff remain behind to care for the property and continue library cataloguing; Italy declares war on the United States.

1942 -- After transfer of funds from the U.S. proved impossible and enemy aliens were prohibited from withdrawing their own funds from Italian banks, the Swiss Legation and Vatican offered assistance to the Academy by providing loans.

1943 -- Academy grant to Citizen's Committee for the Army and Navy, Inc., funded hundreds of triptychs; murals, medals, and sculptures also commissioned Academy awards scholarships in classical studies at American colleges and universities.

1945 -- "Leave courses," held at the Academy, consisting mainly of lectures by distinguished scholars still in Rome, instituted for U.S. servicemen.

1946 -- Regular program resumes at the start of the academic year.

1947 -- Fellowship in the History of Art established.

1965 -- Loan of printed matter for microfilming by the Archives of American Art (reels ITRO 2-3 and 11-13).

1973 -- New York office moves to American Federation of Arts building, 41 East 65th St. (until 1993).

1982 -- Gift of New York office records to the Archives of American Art.

1990 -- Gift of Rome office records to the Archives of American Art.

1993 -- New York office moves to Metropolitan Club, 7 East 60th St.

Related Material:

Papers of a number of former fellows, trustees, and other individuals associated with the American Academy in Rome are among the holdings of the Archives of American Art.

Chaloner Prize Foundation records, 1915-1974 (microfilm reels 5664-5669) were received with the American Academy in Rome records. They have been arranged and described as a separate collection.

Valentine, Lucia and Alan Valentine. The American Academy in Rome, 1894-1969. Charlottesville: University Press of Virginia, 1973.

Separated Material:

The Archives of American Art also holds microfilm of material lent for microfilming (reels ITRO 2-3, and ITRO 11-13) including annual reports, exhibition catalogues, a history of the American Academy in Rome, the American Academy in Rome at the World's Fair, and the Golden Gate Exposition and newsletter. Loaned materials were returned to the lender and can be found at the American Academy in Rome, Italy. This material is not described in the collection container inventory.

Provenance:

The material on reels ITRO 2-3 and ITRO 11-13 were lent to the Archives of American Art for microfilming by the American Academy in Rome in 1965. Records of predecessor institutions, the Board of Trustees, and the New York office, including photographs and personal papers, were donated in 1982 by the Academy president, Calvin G. Rand. In 1990, Rand also gifted the Rome office records and the personal documents of Gorham Phillips Stevens. An addition of New York office records was donated in 2014 by the Academy director, Adele Chatfield-Taylor.

Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. research center. Contact Reference 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.

Topic:

Architecture -- Study and teaching  Search this

Architecture, Classical -- Study and teaching  Search this

Art -- Study and teaching  Search this

Art schools -- Italy -- Rome  Search this

Genre/Form:

Photographs

Citation:

American Academy in Rome records, 1855-2012. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.ameracar

See more items in:

American Academy in Rome records

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9eb425e5a-26de-478b-8ecc-8a9006e9dc52

EDAN-URL:

ead_collection:sova-aaa-ameracar

Creator:

Doll & Richards (Gallery)  Search this

Subject:

Meyerowitz, William  Search this

Shepler, Dwight  Search this

Verner, Elizabeth O'Neill  Search this

Homer, Winslow  Search this

Lindenmuth, Tod  Search this

Woodward, Stanley Wingate  Search this

Wyeth, Andrew  Search this

Zoehler, Wendell H.  Search this

Haseltine, William Stanley  Search this

Goodrich, Lloyd  Search this

Freiman, Robert  Search this

Chetcuti, John  Search this

Museum of Fine Arts, Boston  Search this

Kleemann Galleries  Search this

Macbeth Gallery  Search this

Azeez Khayat Gallery  Search this

Type:

Photographs

Scrapbooks

Financial records

Citation:

Doll & Richards gallery records, 1863-1978, bulk 1902-1969. Archives of American Art, Smithsonian Institution.

Topic:

Art, American  Search this

Theme:

Art Gallery Records  Search this

Art Market  Search this

Record number:

(DSI-AAA_CollID)9315

(DSI-AAA_SIRISBib)211510

AAA_collcode_dollrich

Theme:

Art Gallery Records

Art Market

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_211510

Former owner:

Bartlett, Adolphus Clay  Search this

Bartlett, Adolphus Clay, Mrs.  Search this

Spencer, William Marvin, Colonel, Mr.  Search this

Spencer, William Marvin, Colonel, Mrs.  Search this

Landscape architect:

Olmsted, John Charles, 1852-1920  Search this

Mariani Landscape  Search this

Architect:

Shaw, Howard Van Doren  Search this

Provenance:

Lake Geneva Garden Club  Search this

Arborist:

Bartlett Tree Experts  Search this

Creator:

Olmsted Brothers  Search this

Collection Creator:

Garden Club of America  Search this

Type:

Archival materials

Digital images

Place:

House in the Woods (Lake Geneva, Wisconsin)

United States of America -- Wisconsin -- Walworth -- Lake Geneva

Scope and Contents:

The folder includes worksheets and articles about the house.

General:

Beauty without boundaries is the guiding principle for the more than 50 acre vacation estate. Since it was identified as one of the most beautiful country houses by Ladies Home Journal in 1912 and had gardens landscaped by John Charles Olmsted in 1905, the owners chose to restore rather than renovate when they purchased the property in 1971. The wooded shore of Lake Geneva with rockwork retaining walls transitions into an ornamentally landscaped estate. Drifts of hydrangea, hosta and buckeye at the gated entrance are succeeded by the original concrete driveway through woodland gardens with sugar maple, red oak, white oak, linden, boxwood, ground covers and perennial flowers that include daylilies, bleeding heart, phlox, and rugose roses. The formal drive circle at the house has a fountain in the center and a perimeter of flowering shrubs and variegated ivy topiaries. A grass terrace facing the lake features a rustic planted stone staircase. White roses and hydrangea are accented by a bell placed on an old tree stump. The children's garden has containers of vegetables, fruits, flowers and herbs with rustic wattle arches and furniture.

An enclosed courtyard for the swimming pool between the main house and guest house has clipped yew hedges, ground covers and perennials, trumpet, clematis and wisteria vines, and potted citrus trees. Near stands of mature trees planted more than 100 years ago there is a grotto, a mound of soil and stones topped by a statue with a stone bench nearby. One lawn is kept sculpted into a labyrinth. There is a mineral spring on the property, which is said to be restorative, that flows into a fieldstone basin surrounded by a planted rockwork wall. The other formal gardens include a rose garden planted in parterres and enclosed by espaliered apple trees and an organic potager with vegetable, herb and cutting flower beds laid out geometrically on either side of a wide path of stabilized degenerate granite with more espaliered fruit trees on the surrounding wire fence and covering a pergola.

Renovations were required for a family member with disablilites, including widened and level walkways with very gradual inclines, smooth stone patios and terraces with narrow joints, benches placed where there are good views of the lake, access to the house and swimming pool, and an elevator to the second floor inside the house. Trees in the woodland gardens were replaced as needed and tagged for future reference.

Persons associated with the garden include: Mr. and Mrs. Adolphus Clay Bartlett (former owners, 1905-1930); Colonel and Mrs. William Marvin Spencer (former owners, 1930-1971); John Charles Olmsted (landscape architect, 1905); Howard Van Doren Shaw (architect, 1905); Bartlett Tree Experts (arborists, 2011); Mariani Landscape (landscape architect, 1980- ).

The property was featured in "Ladies Home Journal" in 1909 when it was selected as one of the the twelve most beautiful homes in America.

Related Materials:

House in the Woods related holdings consist of 1 folder and 21 digital images)

Records related to this site can be found at the Frederick Law Olmsted National Historic Site, Olmsted Job Number 03038, A. C. Bartlett.

See others in:

Richard Marchand historical postcard collection, circa 1900s-1970s, bulk 1920-1940s.

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.

Topic:

Gardens -- Wisconsin -- Lake Geneva  Search this

Genre/Form:

Digital images

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.

Identifier:

AAG.GCA, File WI027

See more items in:

The Garden Club of America collection

The Garden Club of America collection / Series 1: United States Garden Images / Wisconsin

Archival Repository:

Archives of American Gardens

GUID:

https://n2t.net/ark:/65665/kb65ecad488-b154-45ec-85d7-31c2ef917cc4

EDAN-URL:

ead_component:sova-aag-gca-ref11667

Former owner:

Woodward, Gertrude  Search this

United Presbyterian Church  Search this

Woodward, George, Dr.  Search this

Ornamental ironwork designer:

Yellin, Samuel  Search this

Creator:

Mercer, Henry  Search this

Sculptor:

Hancock, Walker Kirtland, 1901-1998  Search this

Selmer-Larsen, Johan  Search this

Landscape designer:

Fleming, Robert  Search this

Schneider, Nina  Search this

Landscape architect:

Dawson, James F. (James Frederick), 1874-1941  Search this

Collection Creator:

Garden Club of America  Search this

Type:

Archival materials

Place:

Krisheim (Philadelphia, Pennsylvania)

United States of America -- Pennsylvania -- Philadelphia -- Philadelphia

Scope and Contents:

The folder includes worksheets, photocopy of articles and a DVD entitled, "John Selmer Larsen: The Truth of All Things Natural."

Varying Form:

Woodward Garden, formerly known as.

General:

The landscape design was planned for this property by the original owners and landscape architect James Frederick Dawson, consulting for 15 years before the half-timbered Jacobean Tudor mansion was finished. During that time Krisheim was an arboretum open to the public who could "respect the trees and shrubbery". Their vision was to create a garden suburb in the city comprising a densely wooded entrance with a long driveway leading to parkland in front of the house, sweeping lawns directly behind the house to give an unobstructed view of the Wissahickon Valley, formal gardens on three levels beside the house, more private lawn below as well as cutting and vegetable gardens, and woodland gardens. The massed trees and native Wissahickon schist used throughout for walls, paths and the house itself were to give the impression of a woodsy retreat rather than the great estate they actually built. The original 40 acre property has been reduced to 14 acres and beginning in 1988 features of the original Olmsted Brothers hardscape and plantings have been restored.

At the top level of the formal garden there is a long pool used for swimming laps, fed from the wall fountains above that are run by a contemporary recycling pump. Dogwood trees are espaliered on the Wissahickon schist wall behind the pool which has cantilevered steps so workers could climb in from the service area on the other side of the wall. A wooden arbor and benches in an alcove above that wall recently were rebuilt following the original Olmsted Brothers designs. The second level of the formal garden has a rectangular reflecting pool in the center planted with iris and tulips, with Walter K. Hancock's sculpture "Boy with Squirrel" placed on the rim of the pool. Four parterres surrounding the pool contain dogwood and crabapple trees with bordering boxwoods and clusters of arborvitae at the corners of the pool. The lowest level walled garden was designed for contemplation with a long bench and two large specimen euonymus trees. In the wall behind the bench a saying from the Songs of Solomon is carved: "Awake O North wind and come south. Blow upon my garden that the spices thereof may flow out." Walkways in the formal terraces are brick with a mosaic stone path at the upper level.

Other features include a log house copied from a vacation house in Wyoming under tall pine woodlands and a tea house at the end of a newly planted hydrangea walk at one side of the second formal terrace. Additional benches and Adirondack chairs are placed under the trees in the front park and around a fire pit. Artifacts from the Arts and Crafts era include a Moravian tile floor in the tea house depicting symbols of the zodiac, containers for planting, Samuel Yellin ironwork, and a bronze sculpture of a boy with a ball sited under the arbor, by Johan Selmer-Larsen.

Persons associated with the garden include Dr. George and Gertrude Woodward (former owners, 1895-1961); United Presbyterian Church (former owner, 1961-1983); Peabody & Stearns (architects, 1910-1911); James Frederick Dawson (1874-1941) (independent and with Olmsted Brothers) (landscape architect, 1895-1910); Samuel Yellin (ornamental ironwork designer); Henry Mercer (Moravian ornamental tiles in the tea house and house); Walter K. Hancock (1901-1998) (sculptor); Johan Selmer-Larsen (1876-1967) (sculptor); Robert Fleming (landscape designer, 1988-1989); Nina Schneider (landscape designer, 2011-2012).

Related Materials:

Krisheim related holdings consist of 2 folders (1 lantern slide, 9 photographic prints mounted on board and 51 digital images)

Additional materials also located in Olmsted Archives, Brookline, Massachusetts (job number 03223).

See others in:

J. Horace McFarland company collection, 1899-1974.

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.

Topic:

Gardens -- Pennsylvania -- Philadelphia  Search this

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.

Identifier:

AAG.GCA, File PA213

See more items in:

The Garden Club of America collection

The Garden Club of America collection / Series 1: United States Garden Images / Pennsylvania

Archival Repository:

Archives of American Gardens

GUID:

https://n2t.net/ark:/65665/kb67cd94566-f8c5-45c4-bee0-8c96e8fa40dc

EDAN-URL:

ead_component:sova-aag-gca-ref16520

Landscape architect:

Hough, John  Search this

Managers:

Center City Residents' Association  Search this

Provenance:

The Weeders  Search this

Collection Creator:

Garden Club of America  Search this

Type:

Archival materials

Place:

Schuylkill River Park Community Garden (Philadelphia, Pennsylvania)

United States of America -- Pennsylvania -- Philadelphia County -- Philadelphia

Scope and Contents:

The folder includes a work sheet, narrative description, copy of newsletter (Center City Residents' Association, February 2005), and site plan.

General:

In what was originally the Kelly Brickyard, an original community garden thrives today. In 1981, an organized group of neighbors petitioned the city for permission to use the vacated lot for gardening. The city of Philadelphia, under Mayor Wilson Goode, approved the construction budget for a community garden designed by landscape architect John Hough, inlcuding a pergola, walkways, fountain, iron fencing, and gates.After entering, the visitor proceeds down a long allee lined with sour cherry trees. The walkway leads to a central pergola with a cistern fountain enclosed by a trellis covered with four different kinds of grape vines. There are 72 raised bed plots of various sizes. "Tomato Lane," a 27 x 2 foot swath of land for tomato plants, was added in 2006.

Persons and organizations associated with the garden include: City of Philadelphia (owner, 1981-present); Center City Residents Association (managers, 1981-present); John Hough (landscape architect, 1981); and Greg and Lil Leavitt (sculptors, 1981-1982).

Related Materials:

Schuylkill River Park Community Garden related holdings consist of 1 folder (16 35 mm. slides)

Additional information located at Charles Willing Collection, Architectural Archives of the University of Pennsylvania.

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.

Topic:

Gardens -- Pennsylvania -- Philadelphia  Search this

Community gardens  Search this

Vegetable gardening  Search this

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.

Identifier:

AAG.GCA, File PA647

See more items in:

The Garden Club of America collection

The Garden Club of America collection / Series 1: United States Garden Images / Pennsylvania

Archival Repository:

Archives of American Gardens

GUID:

https://n2t.net/ark:/65665/kb660618d63-fe48-4823-a456-ba3043118157

EDAN-URL:

ead_component:sova-aag-gca-ref16533

Garden designer:

Leiber, Gerson August, 1921-  Search this

Owner:

Leiber, Gerson August, 1921-  Search this

Leiber, Judith  Search this

Collection Creator:

Garden Club of America  Search this

Type:

Archival materials

Place:

Judith and Gerson Leiber Gardens (Springs, New York).

United States of America -- New York -- Suffolk -- Springs

Scope and Contents:

The garden file includes a cataloging worksheet, an articleine, and 4 35mm slides.

General:

The original land, purchased circa 1970, was less than two acres with a modest house was meant to be a vacation home. The flat rectangular lot had been used as a dump and took two years to clear; the task of creating order evolved into creating a formal parterre garden with brick walkways, extensive treillage and hedges, a potager, and rose gardens. Primarily French in design the formal garden was laid out on a central axis with asymmetrical radiating paths with a Greek herm placed at one end of the axis. Three more acres were acquired; yew hedges were planted since there were no walls, in addition to the clipped boxwood hedges of the parterres. The property features a woodland modeled on English parks, swimming pool, dovecote and other sculptures placed throughout the garden rooms

Persons associated with the garden include Gerson Leiber (owner and garden designer, 1970s - ); Judith Leiber (owner, 1970s - ).

See others in:

Ken Druse garden photography collection 1978-2005.

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.

Topic:

Gardens -- New York -- Springs  Search this

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.

Identifier:

AAG.GCA, File NY518

See more items in:

The Garden Club of America collection

The Garden Club of America collection / Series 1: United States Garden Images / New York

Archival Repository:

Archives of American Gardens

GUID:

https://n2t.net/ark:/65665/kb65b6e1f8e-603d-43df-9fdc-11a9f01645e7

EDAN-URL:

ead_component:sova-aag-gca-ref27133

Photographer:

Cassebeer, F. W.  Search this

Collection Creator:

Garden Club of America  Search this

Extent:

2 Photographs (lantern slide, color, 3.25 x 4 in.)

Type:

Archival materials

Photographs

Lantern slides

Place:

New York (State) -- New York City

United States of America -- New York -- New York

Date:

20 March 1947

General:

Mount reads: "Kodachrome Transparency by F. W. Cassebeer, New York, N. Y."

Historic plate number: "44."

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.

Topic:

Flower shows  Search this

Dried flower arrangement  Search this

Driftwood  Search this

Evergreens  Search this

Pods (Botany)  Search this

Tables  Search this

Genre/Form:

Lantern slides

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.

Identifier:

AAG.GCA, Item NY208324

See more items in:

The Garden Club of America collection

The Garden Club of America collection / Series 1: United States Garden Images / New York / NY208: New York -- International Flower Show

Archival Repository:

Archives of American Gardens

GUID:

https://n2t.net/ark:/65665/kb6779deca9-6366-4be0-8b04-f72c7a46e14d

EDAN-URL:

ead_component:sova-aag-gca-ref28635

Photographer:

Cassebeer, F. W.  Search this

Collection Creator:

Garden Club of America  Search this

Extent:

1 Photograph (lantern slide, color, 3.25 x 4 in.)

Type:

Archival materials

Photographs

Lantern slides

Place:

New York (State) -- New York City

United States of America -- New York -- New York

Date:

21 March 1947

General:

Mount reads: "Kodachrome Transparency by F. W. Cassebeer, New York, N. Y."

Historic plate number: "49."

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.

Topic:

Flower shows  Search this

Flower arrangement  Search this

Tables  Search this

Genre/Form:

Lantern slides

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.

Identifier:

AAG.GCA, Item NY208325

See more items in:

The Garden Club of America collection

The Garden Club of America collection / Series 1: United States Garden Images / New York / NY208: New York -- International Flower Show

Archival Repository:

Archives of American Gardens

GUID:

https://n2t.net/ark:/65665/kb6b85c0e21-81e4-4525-af47-2ebde425750c

EDAN-URL:

ead_component:sova-aag-gca-ref28636

Photographer:

Cassebeer, F. W.  Search this

Collection Creator:

Garden Club of America  Search this

Extent:

1 Photograph (lantern slide, color, 3.25 x 4 in.)

Type:

Archival materials

Photographs

Lantern slides

Place:

New York (State) -- New York City

United States of America -- New York -- New York

Date:

21 March 1947

General:

Mount reads: "Kodachrome Transparency by F. W. Cassebeer, New York, N. Y."

Historic plate number: "48."

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.

Topic:

Flower shows  Search this

Interior views  Search this

Flower arrangement  Search this

Fireplaces  Search this

Tables  Search this

Chairs  Search this

Painting  Search this

Decoys (Hunting)  Search this

Genre/Form:

Lantern slides

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.

Identifier:

AAG.GCA, Item NY208326

See more items in:

The Garden Club of America collection

The Garden Club of America collection / Series 1: United States Garden Images / New York / NY208: New York -- International Flower Show

Archival Repository:

Archives of American Gardens

GUID:

https://n2t.net/ark:/65665/kb612320d1d-4b73-4464-8f29-5e9b8177236c

EDAN-URL:

ead_component:sova-aag-gca-ref28637

Provenance:

Garden Club of Palm Beach  Search this

Former owner:

Reynolds, Wiley, Mrs  Search this

Palm Beach County Crippled Children's Society  Search this

Allison, William M.  Search this

Live Oak Realty Corporation  Search this

Architect:

Wyeth, Marion Sims  Search this

Fatio, Maurice  Search this

Saladrigas, Raphael  Search this

Landscape designer:

Sanchez, Jorge  Search this

Collection Creator:

Garden Club of America  Search this

Extent:

2 Photographs (lantern slide, hand-colored, 3.25 x 4 in.)

20 Digital images (color, JPEG file.)

Type:

Archival materials

Photographs

Digital images

Place:

United States of America -- Florida -- Palm Beach County -- Palm Beach

La Salona

Varying Form:

Also known as Reynolds Garden.

General:

The gardens of La Salona surround a Mediterranean Revival House built in 1926 as a vacation home for the Reynolds family by architect Marion Sims Wyeth. Several years after the house was constructed, Maurice Fatio designed the enclosed patio and pool for privacy.

The current owners purchased the property in 1989, with the last major reconstruction in 2015 by Rafael Saladrigas. Jorge Sanchez and his firm maintain the landscaping needs at La Salona, such as reinstalling the sheltered garden and fountains with exotic plants and potted annuals. The east lawn faces the ocean and consequently the plant selection includes salt hardy varieties and coconut palms. The property became a historic landmark in 1990.

Persons associated with the garden include: Mr. and Mrs. Wiley R. Reynolds (former owners, 1926 – 1963); Palm Beach County Crippled Children's Society (former owners, 1963 - 1964); William M. Allison (former owners, 1964 – 1967); Live Oak Realty Corporation (former owner, 1978 – 1986); Marion Sims Wyeth (architect, 1926); Maurice Fatio (architect, 1929); Jorge Sanchez (landscape designer, 2016); Raphael Saladrigas (architect, 2015).

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.

Topic:

Gardens -- Florida -- Palm Beach  Search this

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.

Identifier:

AAG.GCA, File FL012

See more items in:

The Garden Club of America collection

The Garden Club of America collection / Series 1: United States Garden Images / Florida

Archival Repository:

Archives of American Gardens

GUID:

https://n2t.net/ark:/65665/kb6dcdcfb45-ffe9-4815-a143-1a0c8198518d

EDAN-URL:

ead_component:sova-aag-gca-ref11983

Former owner:

Loring, Charles Greely, 1828-1902  Search this

Shaw, Quincy A., 1869-1960  Search this

Shaw, Sarah Pemberton  Search this

Shaw, Lydia Codman  Search this

Codman, Samuel Eliot  Search this

Architect:

Emerson, William Ralph, 1833-1917  Search this

Little, Arthur  Search this

Browne, Herbert W. C.  Search this

Sculptor:

Crenier, Henri  Search this

Landscape architect:

Gibson, Laura  Search this

Provenance:

North Shore Garden Club of Massachusetts  Search this

Collection Creator:

Garden Club of America  Search this

Type:

Archival materials

Place:

Pompey's Garden (Prides Crossing, Beverly, Massachusetts)

United States of America -- Massachusetts -- Essex -- Beverly

Scope and Contents:

The folder includes worksheets, photocopies of articles, and historic information.

General:

Named after a slave who planted a flower garden on this rock ledge long before the town formerly known as Prides Crossing became popular for vacation homes for Bostonians, this property with its shingle style house was built in the 1880's with large windows facing the ocean view. However, the first owner did not install a garden. The second owner built a 3,400 square foot formal garden away from the house, walled with native stone and hidden from view on the four acre property. Comprised of a rectangle and a circle, the geometrically organized space was on two levels connected by stairs. In the 20th century the lower circular garden was shaded by a hemlock grove and featured a central pond with Henri Crenier's boy and turtle fountain sculpture. A flower border with anemones, foxgloves, lupines, gas plants, bugbane, iris and heliotrope was planted between the rough stone walls and patterned path of Majorcan pebbles that was installed, circa 1920. The rectangular upper garden had a wall fountain and tea house at one end with boxwood edged beds of roses, phlox, peonies and foxgloves with a heliotrope standard in the center. English ivy and climbing hydrangeas grew over the walls.

By 2012 when the most recent restoration of the garden was begun the rose and perennial beds were long gone, having been shaded out and replaced by lawn by an intervening owner. Shade loving perennials including astilbe, foxglove, lupine, and heliotrope were planted around the perimeter of that lawn. The lawn in the lower circular garden, now in full sun, was edged with pink dianthus and catmint. Korean dogwood and boxwood were planted on the rise between the two gardens, climbing roses were planted to climb the walls, and clematis was planted to climb the new arches over the gates. This restoration kept the hardscape walls, wall fountain, built-in bench and belvedere (tea house) and was completed in 2014.

Persons associated with the garden are General Charles Greeley Loring, Jr. (1828-1902) (former owner 1881-1902); Quincy Adams Shaw (former owner, 1902-1960); Sarah Pemberton Shaw (former owner, 1902-1945); Lydia Eliot Codman Shaw (former owner, 1947-1966); Samuel Eliot Codman (former owner, 1966-2008); William Ralph Emerson (1833-1917) (architect, 1881-1883); Arthur Little (1852-1925) & Herbert W.C. Browne (1860-1949) (architects of additions, 1903-1905); Henri Crenier (1873-1948) (sculptor, 1910); Laura Gibson (landscape architect, 2012- ).

Related Materials:

Pompey's Garden related holdings consist of 2 folders (1 glass lantern slide, 8 digital images, 1 print)

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.

Topic:

Gardens -- Massachusetts -- Beverly  Search this

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.

Identifier:

AAG.GCA, File MA017

See more items in:

The Garden Club of America collection

The Garden Club of America collection / Series 1: United States Garden Images / Massachusetts

Archival Repository:

Archives of American Gardens

GUID:

https://n2t.net/ark:/65665/kb63345d9d4-fc8c-40b8-8475-dcd9b7816e40

EDAN-URL:

ead_component:sova-aag-gca-ref17553

Architect:

Cheatham, Albert  Search this

Former owner:

Clark, J. Williams Mrs.  Search this

Kennedy, Frederick Judge Mrs.  Search this

Landscape architect:

Smith, William  Search this

Provenance:

Sand Hills Garden Club  Search this

Collection Creator:

Garden Club of America  Search this

Type:

Archival materials

Place:

Clark House (Augusta, Georgia)

United States of America -- Georgia -- Richmond County -- Augusta

Scope and Contents:

The folder includes a work sheet, garden plans, and a postcard.

General:

The home was constructed in 1929 by Mrs. Clark (of the Coats and Clark Co.) as her vacation home with extensive formal gardens. Purchased in 1944 by its current owners, the house was completely renovated under the direction of Albert Cheatham, AIA. At that time, the grounds were redesigned by William Smith. The iron gates and fencing along Milledge Road were brought from the original Augusta courthouse by Judge Fred kennedy. The aggregate driveway is bordered by cobblestones that were obtained from an old railroad. A huge, old magnolia tree is enhanced by fern and jasmine under plantings. The grounds to the rear of the home are a formal English garden. From the flagstone patio, a long, smooth expanse of green lawn leads to the English folly. Along the back wall of the folly is a lovely bronze fountain, "Girl with Bird and Bowl." A gardener's cottage and a chauffeur's cottage, built while Mrs. Clark occupied the house, are at the rear of the property.

Persons and firms associated with the garden include: Mrs. J. William Clark (former owner, 1929-?); Judge and Mrs. Frederick Kennedy (former owner, ?-1944); William Smith (landscape architect, 1994); and Albert Cheatham (architect, 1994).

Related Materials:

Clark House related holdings consist of 1 folder (7 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.

Topic:

Gardens -- Georgia -- Augusta  Search this

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.

Identifier:

AAG.GCA, File GA183

See more items in:

The Garden Club of America collection

The Garden Club of America collection / Series 1: United States Garden Images / Georgia

Archival Repository:

Archives of American Gardens

GUID:

https://n2t.net/ark:/65665/kb61d9e04ca-3ec9-4227-8f88-8441a30f7a54

EDAN-URL:

ead_component:sova-aag-gca-ref23188

Former owner:

Harkavy, Martin  Search this

Harkavy, Lillian  Search this

Cunningham, Cynthia W.  Search this

Barker, Tefft  Search this

Barker, Denise  Search this

Kitzis, Karen  Search this

Kitzis, Hugo  Search this

Architect:

Rudolph, Paul Marvin  Search this

Hall, Greg  Search this

Landscape designer:

Anderson, Richard  Search this

Provenance:

Founders Garden Club of Sarasota  Search this

Collection Creator:

Garden Club of America  Search this

Type:

Archival materials

Digital images

Place:

Harkavy House (Sarasota, Florida)

United States of America -- Florida -- Sarasota County -- Sarasota

Scope and Contents:

1 folder and 12 digital images. The folder includes worksheets and photocopies of articles.

General:

Harkavy House, designed and built in the 1950's as a vacation home, opened the interiors to the subtropical climate of Florida in the days before air-conditioning. Modernist architect Paul Rudolph designed movable walls: floor-to-ceiling sliding wooden and glass panels that opened to catch breezes; and wood lattice screens around the exterior for privacy and shade. The two-bedroom, one-bath house was expanded between 2006 and 2011, adding a two-story addition containing a master bedroom and more bathrooms, and converting a carport to a garage. Original minimalist landscaping of the small property included raked shell groundcover and indigenous plants that would not require extra water or fertilizer and have little environmental impact. Current landscaping includes orange bougainvillea vine, birds of paradise, several bromeliad cultivars, and a wall painted orange, the accent color for the all-white house. A row of tall royal palms, a bridal veil tree, bromeliads, dwarf podocarpus, and cardboard plants fill beds in front of the house set in the raked shell groundcover. Pandora vine grows on a pergola over the front door. Traveler's, Chinese and areca palms and yellow bamboo screen the rear and side property lines and the swimming pool, and there is a sea grape hedge in back.

Martin and Lillian Harkavy (former owners, 1957- ); Cynthia W. Cunningham (former owner, 1969- ); Denise and Tefft Barker (former owners, 1981- ); Karen and Hugo Kitzis (former owners, 2004- ); Paul Marvin Rudolph (1918-1997) (architect, 1953 or 1957?); Greg Hall (architect, 2005); Richard Anderson (landscape designer, 2012- ).

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.

Topic:

Gardens -- Florida -- Sarasota  Search this

Genre/Form:

Digital images

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.

Identifier:

AAG.GCA, File FL266

See more items in:

The Garden Club of America collection

The Garden Club of America collection / Series 1: United States Garden Images / Florida

Archival Repository:

Archives of American Gardens

GUID:

https://n2t.net/ark:/65665/kb6bbbe04c6-2f72-4970-a2ae-d56f6bd71fd8

EDAN-URL:

ead_component:sova-aag-gca-ref32667

Provenance:

Cedar Rapids Garden Club  Search this

Collection Creator:

Garden Club of America  Search this

Type:

Archival materials

Place:

Cottage-in-the-Meadow Gardens (South Amana, Iowa)

United States of America -- Iowa -- Iowa County -- South Amana

Scope and Contents:

The folder includes a work sheet, garden plans, a detailed narrative history and description of the garden, and photo copies of articles.

General:

There are at least ten distinct gardens on this ¾ acre property, originally part of the Amana colonies of Iowa, now owned by descendants of one of the families from the Community of True Inspiration. Members of the religious community emigrated from Germany in the 1800's, bringing with them seeds for some vegetable varieties that are still being grown here. Their brick house was built in 1900 and has a distinctive style of trellises originally used to support grapevines since the community grew only consumable fruits and vegetables, not ornamentals. A cottage on this property built in 1850 was used as a daycare center for the children; now it is a toolshed with a cottage garden enclosed by an authentic reproduction of an earlier picket fence. The property is in a valley with rich, fertile soil, skillfully tended by the owners who maintain a one hundred year old asparagus bed, an ivy garden grown from a cutting in her bridal bouquet, and trees as well as hedges of flowering shrubs grown from cuttings. An enormous vegetable garden produces fresh food, food that is preserved for the rest of the year, and seeds for their heirloom vegetable seed bank. More than 300 different varieties of plants are grown including perennials, bulbs, ornamental grasses, flowering vines, and foliage container plants arranged for texture and color impact. Three scallop-shaped flower beds that feature red salvia and mixed borders are edged with rocks collected on vacations by a previous generation of owners. A small lath outbuilding is nearly smothered in fall by sweet autumn clematis. Another flower garden grows on the site of an earlier chicken house. Among the fruit and nut trees in a small orchard there is an apple tree grown from a culture from a tree planted by Johnny Appleseed.

There is a division of labor in this garden: she grows the vegetables and passes along recipes while he grows ornamentals. He is also a historian who contributes garden-related postings to websites, on topics ranging from how to add a gnome feature, the virtues of growing fritillaries (deer avoid it), and successful groupings of ornamentals with similar horticultural requirements. His book, "Gardening the Amana Way," was published by the University of Iowa Press in 2013.

Related Materials:

Cottage-in-the-Meadow Gardens related holdings consist of 2 folders (9 35 mm. slides; 1 PDF)

See others in:

American Gardens collection, ca. 1920-[ongoing].

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.

Topic:

Gardens -- Iowa -- South Amana  Search this

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.

Identifier:

AAG.GCA, File IA014

See more items in:

The Garden Club of America collection

The Garden Club of America collection / Series 1: United States Garden Images / Iowa

Archival Repository:

Archives of American Gardens

GUID:

https://n2t.net/ark:/65665/kb664d11e90-8c37-40bd-b2b4-792b89631abe

EDAN-URL:

ead_component:sova-aag-gca-ref6560

Collection Creator:

Guild Art Gallery  Search this

Extent:

13 Folders (Box 1)

Type:

Archival materials

Date:

1935-1937

Scope and Contents:

Series documents the operation of the gallery through a variety of business records which span the duration of the gallery's existence. Artist account ledgers/notebooks include records of exhibition and lecture expenses and some sales. Artist agreements includes copies of agreements for the gallery to act as sole agent for artists including Ahron Ben-Shmuel, Don Forbes, Arshile Gorky, Chaim Gross, Philip Reisman, and Jacques Zucker. Balance and deposit books provide a chronological running account of the gallery's balance of funds, deposits made, checks drawn, and details on the nature of transactions, such as artwork sold or bills paid. Banking records include paid checks; bills are primarily for telephone service. Business agreements include a copy of the August 1935 agreement between Walinska and Frankel to establish the business, and their subsequent resignation agreements from the Stone Trading Corporation under which the gallery operated. Also found is a February 1936 legal petition directing the gallery to vacate the West 57th Street premises for non-payment of rent. Daily record notebooks offer handwritten accounts and notes written back and forth, presumably between Walinska and Frankel, which provide a narrative about the overall running of the gallery and interactions with various artists and clients. Insurance records include policies for artwork. Order books record orders sent out, including for artwork, with names of recipients, whether an order was paid for, and the amount charged. Receipts are primarily for costs associated with operating the gallery, such as framing, advertising, and maintenance, with a few scattered receipts for artwork sales.

Collection 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.

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:

Guild Art Gallery records, circa 1933-1937. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Smithsonian Institution's Collections Care and Preservation Fund. Funding for the digitization of the collection was provided in part by Rosina Rubin and the Walton Family Foundation.

Identifier:

AAA.guilart, Series 3

See more items in:

Guild Art Gallery records

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9bcc3c884-a8eb-4de3-8ba2-1582387c4ccc

EDAN-URL:

ead_component:sova-aaa-guilart-ref8

Collection Creator:

Blaine, Nell, 1922-1996  Search this

Container:

Box 1, Folder 23

Type:

Archival materials

Date:

1955-1984

Collection 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.

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:

Nell Blaine papers, 1879, 1940-1985. Archives of American Art, Smithsonian Institution.

Sponsor:

Processing of this collection received Federal support from the Collections Care Initiative Fund, administered by the Smithsonian American Women's History Initiative and the National Collections Program. Funding for the digitization of this collection was provided in part by the Terra Foundation for American Art and The Walton Family Foundation.

See more items in:

Nell Blaine papers

Nell Blaine papers / Series 2: Correspondence

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw90f9be03b-bef0-405c-9974-347659f994eb

EDAN-URL:

ead_component:sova-aaa-blainell-ref24

Collection Creator:

Blaine, Nell, 1922-1996  Search this

Container:

Box 1, Folder 10

Type:

Archival materials

Date:

1948-1984

Collection 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.

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:

Nell Blaine papers, 1879, 1940-1985. Archives of American Art, Smithsonian Institution.

Sponsor:

Processing of this collection received Federal support from the Collections Care Initiative Fund, administered by the Smithsonian American Women's History Initiative and the National Collections Program. Funding for the digitization of this collection was provided in part by the Terra Foundation for American Art and The Walton Family Foundation.

See more items in:

Nell Blaine papers

Nell Blaine papers / Series 2: Correspondence

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9d4bcdbac-92f8-4ef8-acac-4b2be5258535

EDAN-URL:

ead_component:sova-aaa-blainell-ref55