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.
Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.
Sponsor:
A project to describe images in this finding aid received Federal support from the Smithsonian Collections Care Initiative, administered by the National Collections Program.
The papers of Boston and New Hampshire painter Joseph Lindon Smith date from 1647-1965, with the bulk of papers dating from 1873-1965, and measure 8.8 linear feet. Found within the papers are biographical materials; letters from family members, artists, museums, and art patrons; seven diaries by Smith and two by his wife Corinna, personal business records, notes and writings, files concerning charitable theatrical productions, one sketchbook and other art work, a scrapbook, printed material, photographs, and sound recordings of radio interviews and a radio program on Smith.
Scope and Content Note:
The papers of Boston and New Hampshire painter Joseph Lindon Smith date from 1647-1965, with the bulk of papers dating from 1873-1965, and measure 8.8 linear feet. Found within the papers are biographical materials; letters from family members, artists, museums, and art patrons; seven diaries by Smith and two by his wife Corinna, personal business records, notes and writings, files concerning charitable theatrical productions, one sketchbook and other art work, a scrapbook, printed material, photographs, and sound recordings of radio interviews and a radio program on Smith.
Scattered biographical material consists of family history documents for the Smith and Putnam families, a Jenkes family tree, and passports for Joseph Lindon Smith and his family.
Over three linear feet of letters are from family members, artists including Cecilia Beaux, Frank Benson, George DeForest Brush, and Denman Ross, museum staff concerned with work in Egypt, and art patrons including Isabella Stewart Gardner, and individuals involved with Smith's charitable pageants. There are scattered letters from Lawrence Alma-Tadema, Henry James, Charles G. Loring, Paul Manship, General John J. Pershing, John Singer Sargent, and Abbott Handerson Thayer. Among the subjects discussed are student life at the Académie Julian, the Smiths' travels, and individuals known by Smith.
Seven diaries written by Joseph Lindon Smith document his ravels in Egypt, Persia, Europe, and New Mexico. Two diaries were written by Corinna Smith during her travels to Beiram and Egypt.
Personal business records business records include contracts, price lists, lists of securities, and miscellaneous receipts of the Smith and Putnam families, Joseph Lindon Smith, Corinna Smith, and their daughter Lois Smith.
Notes include engagement calendars, notebooks, lists of art work, lecture notes, minutes of meetings, notes on family history and on travel, and an autograph by Kit Carson. Writings include miscellaneous typescripts by the Smiths and others concerning travel, work in Egypt and elsewhere, and anecdotes about various friends and acquaintances. There are also three drafts of "Egypt - My Winter Home."
Theatrical production files concern plays, pageants, and masques written and/or produced by the Smiths. Many of the performances were benefits, dedication or anniversary celebrations, such as a pageant given at Fenway Court in honor of Isabella Stewart Gardner, a pageant at the dedication of a memorial to Abbott Handerson Thayer, and the centenary celebration of the founding of Amherst, Massachusetts.
Art work includes a sketchbook with extensive notes, a painting, drawings by Joseph Lindon Smith, and prints by other artists.
A scrapbook contains clippings and an exhibition catalog from the St. Botolph Club. Additional printed material includes clippings, exhibition announcements and catalogs, press releases, programs, booklets, brochures, and books by others.
Photographs are of Smith, his family, friends including classmates from the Académie Julian, Isabella Stewart Gardner, Abbott Handerson Thayer, exhibition installations, military camp sites from World War I, travel scenes, and art work by Smith.
Audio recordings consist of four sound disc recordings of interviews for WKNE Radio, Keene, New Hampshire, with Corinna Smith and Barry Faulkner talking about Smith, and a program about Smith and his book Tombs, Temples, and Ancient Art.
Arrangement:
The collection is arranged as 11 series:
Missing Title
Series 1: Biographical Material, 1711-1948 (Box 1, 10; 5 folders)
Series 2: Letters, 1768-1965 (Box 1-4, OV 11; 3.5 linear feet)
Series 3: Diaries, 1904-1949 (Box 4; 11 folders)
Series 4: Personal Business Records, 1647-1959 (Box 4, 10; 11 folders)
Series 5: Notes and Writings, 1783-1963 (Box 4-6; 2.0 linear feet)
Series 6: Theatrical Production Files, 1897-1950 (Box 6-7, 10; 1.2 linear feet)
Series 7: Art Works, 1932-1943 (Box 8, 10; 8 folders)
Series 8: Scrapbook, 1888-1901 (Box 8; 1 folder)
Series 9: Printed Material, 1723-1963 (Box 8, OV 11; 0.8 linear feet)
Series 10: Photographs, 1884-1956 (Box 8-10; 0.5 linear feet)
Series 11: Audio Recordings, 1956 (Box 9-10; 2 folders)
All material is arranged chronologically except for the writings by others and travel photographs that are arranged alphabetically.
Biographical Note:
Joseph Lindon Smith (1863-1950) of Boston, Massachusetts and Dublin, New Hampshire, was a painter primarily known for his ability to meticulously depict the murals and tomb sculpture of Egypt and other ancient cultures.
Joseph Lindon Smith was born on October 11, 1863 in Pawtucket, Rhode Island, the son of wholesale lumberman Henry Francis Smith and Emma Greenleaf Smith, a cousin of John Greenleaf Whittier.
From 1880 to 1882, Smith studied drawing and painting at the Art School of the Boston Museum of Fine Arts under Frederic Crowninshield and Otto Grundman. Accompanied by his friend, Frank Benson, he attended the Académie Julian and studied under William Bouguereau, Gustave Boulanger, and Jules Lefebvre from 1883 to 1885.
Upon his return to Boston, Smith established a studio as a portrait and landscape painter, attracting the attention of Denman Ross, a professor of History of Fine Arts at Harvard University. In the early 1890s Smith and Ross began to travel extensively and Smith became interested in ancient civilizations of Mexico, China, and Southeast Asia. In 1892, during a trip to Italy, Smith befriended Isabella Stewart Gardner, for whom he copied famous paintings, and occasionally acted as agent in purchasing art work.
Making his first trip to Egypt in 1898, Smith became enthralled with the art work of the ancient civilization and devoted himself to painting copies of the tomb sculptures and murals for educational uses in museums and other public institutions. In 1899, he married Corinna Haven Putnam and the couple spent much of their married life traveling between the United States and the Middle East, especially Egypt. From 1910 to 1939, Smith was a member of the Joint Expedition of the Boston Museum of Fine Arts and Harvard University directed by Dr. George A. Reisner.
For fifty years, Smith was also sought out as a writer and producer of plays and theatrical pageants, fetes, and masques primarily staged for various charitable fund-raising events.
Joseph Lindon Smith died on October 18, 1950 in Dublin, New Hampshire.
Related Material:
The papers of Smith's wife, Corinna Putnam Smith, are available at The Schlesinger Library of Radcliffe College, Cambridge, Massachusetts.
Provenance:
The Joseph Lindon Smith papers were donated by Jessie T. Hale, Smith's granddaughter, in 1977 and 1978.
Restrictions:
Use of original papers requires an appointment.
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.
4 Microfilm reels (5 linear feet on 4 microfilm reels)
Type:
Collection descriptions
Archival materials
Microfilm reels
Date:
1887-1925
Scope and Contents:
The microfilmed Paul Wayland Bartlett papers contain correspondence with family, artists, and others (1887-1925); legal and financial documents (1887-1925); printed materials (1888-1925); sketches, drawings, and blueprints (undated, 1916-1920); and certificates (1915-1918).
Correspondence consists of a chronological series (1887-1925) containing letters and postcards from John White Alexander, Samuel P. Avery, William A. Clark, Frank Edwin Elwell, John Flanagan, Daniel Chester French, Henry-Bonnard Bronze Company, Gorham Company, J. Scott Hartley, John LaFarge, Charles Loring, Frederick MacMonnies, Charles Sprague Pearce, Auguste Rodin, Frederic Wellington Ruckstull, Augustus Saint-Gaudens, and scattered letters from other nineteenth century artists regarding the execution of works, commissions, exhibitions and expositions in Paris and the United States, among them the Louisiana Purchase Exposition (1904) and the Exposition Universale (1899-1900), and Bartlett's illness and death in 1925.
The remainder of the correspondence, arranged by subject, includes letters from Bartlett's father, Truman Howe Bartlett (1899-1913), many written from Boston where he taught in the architecture department of MIT, or from New Hampshire where he kept a studio, and letters to Paul regarding his father's entry in the National Cyclopedia of American Biography (1925); correspondence with the International Society of Sculptors, Painters and Gravers (1905-1907), some from Joseph Pennell, regarding exhibitions; correspondence regarding commissions, including Lafayette, McClellan, General Warren, Library of Congress, and other statues; postcards from artists (1892-1895); and miscellaneous letters.
Legal documents relate to the Lafayette statue (1900) and also include Bartlett's death certificate. Financial records (1899-1922) consist of bank statements, checkbooks, bills and receipts for casting, photography, dues, and rent. Clippings and a scrapbook deal with Barlett's Lafayette statue. Other printed material includes articles on various Bartlett sculptures and other sculptors, exhibition catalogs, passes and announcements, yearbooks from the American Club of Paris (1905-1909), and material from the American Art Association of Paris, including a 20-page booklet by Bartlett giving the history of the group, and an invitation (1906) to an auction to benefit the victims of the San Francisco earthquake.
Also included are sketches by Bartlett and his father (undated and circa 1913); oversized drawings, plans and prints for monuments, statues, and the Capitol ceiling (undated and 1916-1920); postcards depicting Bartlett's sculpture; and certificates from the National Academy of Design and the Panama Pacific International Exposition.
Biographical / Historical:
Paul Wayland Bartlett (1865-1925) was a sculptor and portraitist. Born in Connecticut and raised in France, Bartlett attended the Ecole des Beaux Arts and also studied under Emmanual Frémiet and Auguste Rodin. His early sculpture focused on animals and his piece Bear Tamer was presented to the Metropolitan Museum of Art in 1891 and exhibited in the World's Columbian Exposition in 1893. After 1895, he produced a number of public monuments, sculptures, and historical portraits, including the figures of Columbus and Michelangelo for the Main Reading Room of the Library of Congress, the Lafayette statue presented to France, and the pediment for the House wing of the U.S. Capitol.
Related Materials:
The Archives of American Art also holds the microfilmed Suzanne Bartlett papers relating to Paul W. Bartlett, circa 1883-1950s; the microfilmed Caroline Ogden-Jones Peter papers relating to Paul W. Bartlett, 1955-1965; and the microfilmed Armistead Peter, Jr. papers relating to Paul W. Bartlett, 1920-1925. The Library of Congress Manuscript Division holds the Paul Wayland Bartlett papers, 1875-1959.
Provenance:
Lent for microfilming by the Tudor Place Foundation, Inc., 1994. The Tudor Place Foundation inherited the papers in 1994 with the estate of Armistead Peter III of Tudor Place. Peter III was married to Caroline, the daughter of Bartlett's wife by her first marriage to Mahlon Odgen-Jones. After Bartlett's death in 1925, Suzanne cared for his papers, and donated the bulk of them to the Library of Congress in 1954. The papers she retained passed on to Caroline, and at her death to Armistead Peter III.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Correspondence, minutes, accession records, building records, and records of the Department of Prints and Drawings.
REELS 536-565: Archives of the Museum, 1875-1954, including: correspondence of the President, Gardiner M. Lane, 1910-1914 (8 letterpress books and 1,256 items); correspondence of the Director, Charles Greely Loring, 1876-1901 (6 vols. and 11,355 items); correspondence of the Assistant Director, Benjamin Ives Gilman, 1894-1902 (6 vols. and 272 items); minutes of the Board of Trustees, 1870-1954 (17 vols.); minutes of the Committee on the Museum, 1875-1954 (25 vols.); minutes of the Executive Committee, 1876-1946 (5 vols.); and Visiting Committee records, 1906-1949 (1 loose leaf binder).
REELS 584-587: Records of the Department of Prints and Drawings, including 2 vols. of correspondence, 1904-1915, 14 accession books, 1872-1946, and 14 record books. Record books include the following: The Sylvester Rosa Koehler Collection, 1893 (3 vols.); the Harvey D. Parker-Henry F. Sewell Collection, 1897-1900 (4 vols.); Objects Entering the Department of Prints and Drawings, 1935-1947; Prices of Prints, 1877-1885; Engravings and Photographs Purchased in Europe, 1886-1887; Visitors to the Gray Collection, 1872-1889; Vistors Register, 1890-1915; and a register of books.
REELS 2493-2497: Building records, including: records of the Copley Square Building with correspondence, 1870-1901, reports, minutes of the Executive Committee, financial records, and a prospectus and subscription list for the William Morris Hunt Memorial Exhibition, 1879; records of the Huntington Avenue Building, with reports, correspondence and financial records related to its personnel, departments, collections, and competitions; and clippings.
REEL 2715: Papers of the print department, ca. 1841-1901, including: letters from Sylvester R. Koehler, curator of the print department, to Charles G. Loring, director of the museum; letters to Koehler concerning printmaking techniques from W. H. Dougal, John M. Falconer, Henry Farrar, Thomas Moran, Walter Rowlands, Walter Shirlaw, James David Smillie, Frederick T. Stuart and Charles A. Walker; a report by Koehler on the print department, January 10, 1888; correspondence regarding the acquisition of the Henry F. Sewall print collection; a handwritten catalog of the Sewall collection, ca. 1880, including printmaker, title, catalog number, collector's mark and value, 463 p.; notes by Koehler; and printed material.
Provenance:
Lent for microfilming 1973-1983 by Museum of Fine Arts, Boston.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
