United States of America -- California -- Los Angeles County -- San Marino
Scope and Contents:
Holdings consist of a garden file with a description of the garden, photocopies of articles, and other information (15 35mm slides).
The garden and house were first designed in 1939 on a flat ¾ acre property in San Marino, a small suburb of Los Angeles 30 miles from the coast. The area has a Mediterranean-like climate that receives approximately 14 inches of rain per year, in the winter only. Original to the front is a large lawn with Viburnum suspensum hedges on each side. Past the driveway, original concrete blocks surround the courtyard, and continue around both sides of the house and the perimeter of the rear garden. The original rear garden was mostly lawn, edged by a narrow path, hedges of Viburnum suspensum and an assortment of trees, including three large Quercus agrifolia, the coast live oak most common to this area. Still in existence from 1939 are the mature Plantanus ramosa (California sycamore) at the courtyard entrance. The second owners, in the 1960s turned part of the back lawn into lathe houses for their camellia collection, replacing some of the Viburnum suspensum with camellia specimens, which still exist.
After the original owners sold the property in 1960, it was owned by a second family for nearly a decade before being sold a third time to the present owners in 1969. Since the present owners bought the property, the gardens have undergone multiple revisions by four landscape architects, including the notable Robert Fletcher, who worked intermittently with the owners between 1985-1995. In every revision to this estate's gardens, every effort was made to preserve and incorporate the very mature trees and shrubs which provide form, color and shade. While the estate has plantings in the front lawn and flanking the east and west sides of their home, the most impressive landscape features are in the rear of the property, particularly the borders surrounding the central lawn and the plantings along the 'Bouquet Canyon' stone path to the pool. In the 1970s landscape architect Chuck Hoffman designed the rear garden, emphasizing the desire for informal and naturalistic garden spaces for outdoor living around the French colonial-style house. He designed the swimming pool, two terraces, and created curving borders around the lawn, and added four Liriodendron tulipifera (tulip trees). In the 1980s landscape designer Robert Fletcher built on Hoffman's footprint, adding more distinctive plant material, installing six bullet-shaped Syzygium paniculatum to anchor the borders, and turned one terrace into a small stone patio after an addition to the house. Nurseryman Frank Burkard added Phormium tenax (New Zealand flax), roses and other shrubs in the 1990s.
Garden features at the entrance of the courtyard include an espalier Magnolia grandiflora, a four-part sculpture, "Kyoto Protocol" by Ray Meeker, which is surrounded by Ophiopogon (mondo grass), with an overhanging Olea europaea (olive) and Plantanus racemosa and a large collection of potted succulent varieties on the terrace selected by landscape architect John Caitlin in 1970 for their heat tolerance.
Persons associated with the property include: Mr. and Mrs. M.D. Schatzman (former owners, 1939-1960); Carla Barker Hind and William O. Hind (former owners; 1960-1969); H. Roy Kelley (architect, 1939); John Caitlin (landscape architect, 1970); Charles Hoffman (landscape architect, 1972); Robert M. Fletcher (landscape architect and photographer, 1985-1995); Frank Burkard (nurseryman, 1990); Mark Bartos (landscape architect, 1999); Peter Lodato (sculptor, 1991); Ray Meeker (ceramic artist, 2005).
The present owners have Charles Hoffman and Mark Bartos plans.
H. Roy Kelley papers, #3864, Division of Rare and Manuscript Collections, Cornell University Library.
See others in:
Robert M. Fletcher Collection ca. 1979-1995.
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The Jerry Dreva papers measures 1.0 linear foot and dates from circa 1963-1982. The papers include biographical information; rare printed material; scrapbooks; correspondence consisting of letters of support for the exhibition DREVA/GRONK 1968-78: Ten Years of Art/Life (Los Angeles Contemporary Exhibitions, 1978) and mail art; zines and small artist books exchanged with collaborators and friends; material documenting Dreva's relationship with performance artist, Gronk, including staged photographs, candid snapshots, correspondence, and ephemera, chronicling their shared practice, and the glam Hollywood, activist Chicana/o, and queer scenes in 1970s and 80s Los Angeles. Also included are two small labeled vinyl albums, one of which appears to have been used in a piece of artwork.
Scope and Contents:
The Jerry Dreva papers measures 1.0 linear foot and dates from circa 1963-1982. The papers include biographical information; rare printed material; scrapbooks; correspondence consisting of letters of support for the exhibition DREVA/GRONK 1968-78: Ten Years of Art/Life (Los Angeles Contemporary Exhibitions, 1978) and mail art; zines and small artist books exchanged with collaborators and friends; material documenting Dreva's relationship with performance artist, Gronk, including staged photographs, candid snapshots, correspondence, and ephemera, chronicling their shared practice, and the glam Hollywood, activist Chicana/o, and queer scenes in 1970s and 80s Los Angeles. Also included are two small labeled vinyl albums.
Correspondence consists of letters to friends and institutions for which Dreva created mail and graphic art for. Some of the indiduals include: Vittore Baroni, John Jack, The Gay Activists Alliance, Michael Scott, and Sandy Robertson. Also included are files of mail art created by Dreva or sent to him by friends and other artists.
Professional files consist of some invoices and receipts, material related to the "Dreva/Gronk 1968-1978 Ten Years of Art/Life" exhibition, work for Mohammed publication company in Italy, certificates, a vinyl record produced by Le Petite Bon-Bons, and a scrapbook.
Printed material consists of clippings, announcements and posters, editions of Mainman Newsletter, "Despair" comic book, "How I Became Rich and Famous" by Captain Zerox, and "Mail Art Show" exhibition catalog.
Photographic material consists of photographs of Dreva, photographs of Dreva and Gronk, photographs of Le Petite Bon-Bons band members and various famous rock stars, and candid shots.
The collection is arranged into four series
Series 1: Correspondence, 1972-1983 (0.5 linear feet; Box 1)
Series 2: Professional Activity Files, 1975-1984 (0.2 linear feet; Box 1)
Series 3: Printed Material, 1964-1979 (0.2 linear feet; Box 1)
Series 4: Photographic Material, circa 1975-1979 (0.1 linear feet; Box 1)
Biographical / Historical:
Jerry Dreva (1945-1997) was a performance artist, writer, activist, and teacher based in Milwaukee, Wisconsin and Los Angeles, California. Dreva was a leader in the mail art movement during the 1970s and 1980s. He was a founding member (together with Robert J. Lambert) of Les Petites Bon-Bons, a flamboyantly attired musical group that never played a single concert. In fact, they never so much as picked up an instrument. Instead they dressed as glitter rock musicians of the era (1970's) and were frequently featured in newspapers and magazines.
Donated in 2020 by Patrick Veda, a family attorney and the executor of Dreva's mother's estate.
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Performance artists -- California -- Los Angeles Search this