United States of America -- Rhode Island -- Newport -- Newport
Scope and Contents:
The folder includes worksheets, site plans, photocopies of articles.
General:
This Modernist garden was created right after World War II, designed by Christopher Tunnard. It still survives today, perhaps the only existing commissioned landscape design by the man who influenced many of the United States most celebrated postwar architects and landscape architects. At only 65' x 42', the garden has an extreme austerity in design with a hint of luxury in its fountains, thick hedges and sculpture. The plants are cut and trimmed into an ordained shape, and the pattern is designed to be seen from the ground, where its curves interlock and turn back on themselves. Only two kinds of trees are used - lime (Tilia) and arbor vitae (Thuja); and three kinds of permanent plants - ivy (Hedera), box (Buxus) and yew (Taxus). The lime trees will eventually be pleached into an architectural block to throw the ground pattern into even greater contrast. The ivy is in slightly raised mounds, edged in places with small summer flowers. The bedding plants are purple and white petunias with carnations and lemon-yellow thunbergias." The sculpture, 'Chimerical Font,' by Jean Arp, is golden bronze centered on a plinth in a black lacquered rectangular pool. The other pools (two circular, one biomorphic) are shallow and painted white. Of note are the unusual shapes of the pruned boxwoods in the shapes of question marks and semi-colons; the colorful flowers; and the 6th linden along the left and end wall, now covered in Boston ivy, and originally painted white to complete a design that very much relied on strong figure-ground relationship.
Christopher Tunnard (1910-1979) was born in Canada, moved to England in 1929 and received a diploma from the Royal Horticultural Society the following year. The period of the eclectic Arts and Crafts movement (which he characterized as "romantic trivialization" of garden design) prompted him to introduce his Modernist views of landscape design. This approach avoided decoration, sentimentality and classical allusion "in favor of functional minimalist designs that provided a friendly and hospitable milieu for rest and recreation." After 10 years practicing garden and landscape work, he immigrated to America at the invitation of Walter Gropius to teach at Harvard's Graduate School of Design (1938-1943). Following the War, Tunnard taught city planning at Yale, advancing to professor and chairman of this department; he did little garden design from that point forward, making this 1949 garden probably one of his last commissions. For the final thirty years of his life, Tunnard put his energies into urban planning and the preservation of historic buildings; his publications in this area include "Man-made America: Chaos or Control?" (1963) which won the 1964 National Book Award in Science, Philosophy and Religion. It is perhaps ironic that Christopher Tunnard ended up of very much the same sentiment as his American patron, Mrs. George W. (Katherine) Warren, founder of the Preservation Society of Newport County (1945). In "Pioneers of American Landscape Design," (2000), Lance Neckar notes that "by the time of his death, he had come full circle to be identified with conservation-and-preservation-oriented attributes toward city revitalization which were antithetical to the Modern movement" that Tunnard had originally espoused.
Tunnard's patrons, George and Katherine Warren, who purchased the property on Mill Street in 1933, chose a part of Newport that was then considered "the other side of the tracks" by their social set, most of whom resided out on Ocean Drive. In New York, where the couple lived "off season," Katherine Warren collected modern art and was on the Advisory Committee of the Museum of Modern Art. Interesting to note that the garden was commissioned in 1949 and distinguished by its functional, minimalist modern design in sharp contrast with its early Federal-style house. The Warrens also added two glass-enclosed rooms on the first and second floors of their home on the garden side, presumably to enjoy this new garden to its full extent. Mrs. Warren died in 1976, bequeathing her home to the Preservation Society of Newport County, which moved its offices to this location in 1977. While the Preservation Society of Newport County owned the property, the garden was heavily shaded by a large beech tree and had become overgrown. It was maintained as they found it without major renovation. The current owner moved into the Mill Street house in 1994 and restored the Tunnard garden in 2001 and has proven to be a conscientious caretaker of this rare, nationally significant garden.
Persons associated with the garden include Tanner Family (former owners, 1776-1807); Samuel F. Gardner (former owner, 1807-1809); Robert Lawton (former owner, 1809-1810); Penelope Lawton (former owner, 1810-1822); Reverend Samuel Austin (former owner, 1822-1826); Francis Henderson (former owner, 1826-1857); Fanny S. Brinley (former owner, 1857-1863); Sallie C. Lawrence (former owner, 1863-1886); Allen G. Paul (former owner, 1886-1916); Florence S. Paul (former owner, 1916-1932); George and Katherine Warren (former owners, 1932-1977); Preservation Society of Newport County (former owner, 1977-1994); Christopher Tunnard (landscape designer, 1949); Eusebio Pleitez (gardener, 2001- ).
Related Materials:
Warren House-Tunnard Garden related holdings consist of 1 folder (10 digital images)
Additional photographs are also located in the collections of the Preservation Society of Newport County.
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.
Elizabeth R. Hooker House (New Haven, Connecticut)
United States of America -- Connecticut -- New Haven County -- New Haven
Scope and Contents:
The folders include work sheets, site plans, and copies of site plans by Coffin and Delano & Aldrich.
Varying Form:
Home of Edith H. Ilmanen, formerly known as.
General:
The brick house was designed in 1914-1915 by architects Delano & Aldrich with a brick walled garden. Marian Coffin designed the perennial border. The grounds were designed to complement the house which was fashioned in the style of the English Arts and Crafts movement. The walled garden is a formal terraced garden situated near the house. Beyond the walled garden is a more naturalized, wooded area featuring a pond on the lower lying grounds.
Current owners of the property have undertaken a restoration of the property to reflect the original Delano and Aldrich design. The property has since received recognition from the New Haven Preservation Trust, the Connecticut chapter of the American Society of Landscape Architects, and the Connecticut Trust for Historic Preservation and is listed in the National Register of Historic Places.
This garden was originally documented in 2005, at that time it was identified as the Home of Edith H. Ilmanen. An update of the garden documentation was provided in 2012, as the Elizabeth R. Hooker House.
Persons and organizations associated with the property include: Elizabeth Russell Hooker (former owner, 1911-1965); Edith Hooker Ilmanen (former owner, 1965-2004); Delano & Aldrich (architects, 1914-1915); and Marian Coffin (landscape architect, 1929 and 1940); and TPA Design Group (landscape architects, 2008).
Related Materials:
Elizabeth R. Hooker House related holdings consist of 2 folders (13 35 mm slides (photographs); 40 digital images)
Plans and photographs are to be given to the New Haven Colony Historical Society.
Additional materials are located at Columbia University's Avery Library.
Additonal materials are located in the Marian Cruger Coffin Papers at The Winterthur Library/Archives at the Henry Francis Du Pont Winterthur Museum in Winterthur, Delaware.
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 arts and crafts of German settlers along the lower Missouri river / by Charles Van Ravenswaay, 1975. Archives of American Art, Smithsonian Institution.
The papers of art collector Charles Rand Penney measure 23.1 linear feet and date from 1923 to 1994 with the bulk of the collection dating from 1945 to 1994. The majority of the collection consists of Penney's art collection files, which include printed materials, correspondence, notes, and photographic materials. Also found within the papers are catalogs from exhibitions that featured artwork from Penney's collection.
Scope and Contents:
The papers of art collector Charles Rand Penney measure 23.1 linear feet and date from 1923 to 1994 with the bulk of the collection dating from 1945 to 1994. The collection consists primarily of Penney's art collection files which include printed materials, correspondence, notes, and photographic materials. Also found within the papers are catalogs from exhibitions that featured artwork from Penney's collection.
Artists of significance represented in Penney's art collection files include Jean Arp, John James Audubon, Milton Avery, Harry Beroia, Alexander Calder, Stuart Davis, Philip Evergood, Emil Ganso, Robert Goodnough, Red Grooms, Edward Hopper, John Marin, Reginald Marsh, Joan Miro, Henry Moore, Louise Nevelson, Isamu Noguchi, Beverly Pepper, George Segal, John Sloan, Theodoros Stamos, Saul Steinberg, and Ulfert Wilke, among many others. Also included are files for artists that participated in theToronto 20 portfolio project in 1965. The files do not include Penney's files relating to Charles Burchfield, Wester New York state artists, or objects from the Arts and Craft movement.
A few notable exhibition catalogs found in the series of catalogs of the Charles Rand Penney art collection are Charles Burchfield: The Charles Rand Penney Collection, The Graphic Art of Emil Ganso, Drawings from the Collection of Charles Rand Penney, Quilts Coverlets Hooked Rugs from the Collection of Charles Rand Penney, The Charles Rand Penney Collection: Twentieth Century Art, and An American Visionary: Watercolors and Drawings of Charles E. Burchfield.
Arrangement:
The collection is arranged as 2 series.
Missing Title
Series 1: Art Collection Files, 1923-1994 (Box 1-23, OV 24; 22.7 linear feet)
Series 2: Catalogs of the Charles Rand Penney Art Collection, 1966-1991 (Box 23, 0.2 linear feet)
Biographical / Historical:
Charles Rand Penney (1923-2010) was an art collector from Buffalo, New York. He was well known for his collection of art by Western New York artists, but also collected art from Europe, Africa, Oceania, and other regions of the United States. His travels contributed to the eclectic mix of paintings, drawings, sculptures, hooked rugs, quilts, and tribal art found within his art collection.
Penney cited receiving the watercolor Warrior in 1933 from Western New York artist Bob Blair as the beginning of his life as an art collector. Years later, Penney served in World War II, attended law school, and began practicing law in the 1950s. His collections grew quickly during the late 1950s through 1970s. Penney collected over 100,000 works of art during his lifetime, much of it guided by dealers James and Merle Goodman.
In 1963, Penney began donating artwork to the Memorial Art Gallery in Rochester, New York. In total, approximately 400 works of art were donated to the gallery including Big Diamond by David Smith and Beverly Pepper's Vertical Ventaglio (1967-1968). Penney also donated over 1000 works of art to the Burchfield Art Center in Buffalo, New York.
Related Materials:
Also found at the Archives of American Art is an oral history interview with Charles Rand Penney conducted by Robert F. Brown on August 14-16, 1981. Additional files relating to the Charles Rand Penney Foundation (1963-1976) are located at the Memorial Art Gallery of the University of Rochester in Rochester, N.Y. Files relating to Western New York state artists, Charles Burchfield, and American Arts and Crafts are located at the Burchfield-Penney Center at Buffalo State College, Buffalo, New York.
Provenance:
The collection was donated in 1993-1994 by Charles Rand Penney.
Restrictions:
Use of original papers requires an appointment and is limited to the Washington, D.C. Research Center.
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.
Smithsonian Institution. Center for Folklife and Cultural Heritage Search this
Extent:
1 Sound recording (digital audio file)
Type:
Archival materials
Sound recordings
Date:
2013 July 07
Scope and Contents:
Nina Kochayevna Manjieyeva, Nyamin Songajieyavich Manjieyev, Olga Semenovna Andratova, Dmitriy Sergejevich Sharayev, Baator Bukhaev, Ervena Semenovna Matsakova Introduction - Dress in the African-American Community. Center of Afican-American studio art and craft movement. Akosua Andele - Jewelry maker, fabric design; Africoba movement, Chicago, bright colors, African influenced; fine arts major. Marrin Sin - leater; from NY, Columbia Univ., Harlem; African Art Renaissance; loved to draw, paint, carve on leather; Sun Arts Gallery, Washington DC, black arts cultural movement; beginning/history of Belmont legacy & community. Januwa Moja - started making dashikis; went to art school; concerned w/ wearable art; started doing fashion shows; cultural arts activist. Brenda Winstead - self-taught designer; based on African designs; Nigerian, Congo fabric, Mali; fabric, textiles.
Collection Restrictions:
Access to the Ralph Rinzler Folklife Archives and Collections is by appointment only. Visit our website for more information on scheduling a visit or making a digitization request. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Collection Citation:
Smithsonian Folklife Festival records: 2013 Smithsonian Folklife Festival, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
The papers of weaver, author, and teacher Osma Gallinger Tod measure 3.7 linear feet and date from circa 1925 to 1993. The collection comprises biographical materials including photographs of Tod and writings about her by her daughter Josephine Couch Del Deo; files on Tod's numerous writing projects including typescripts, drawings, and samples; records documenting Tod's role as organizer and director of the National Conference of American Handweavers; and printed materials including a scrapbook of clippings, documenting Tod's career.
Scope and Contents:
The papers of weaver, author, and teacher Osma Gallinger Tod measure 3.7 linear feet and date from circa 1925 to 1993. The collection comprises biographical materials including photographs of Tod and writings about her by her daughter Josephine Couch Del Deo; files on Tod's numerous writing projects including typescripts, drawings, and samples; records documenting Tod's role as organizer and director of the National Conference of American Handweavers; and printed materials including a scrapbook of clippings, documenting Tod's career.
Arrangement:
The collection is arranged as four series.
Series 1: Biographical Materials, circa 1927-1993 (3 folders; Box 1)
Series 2: Writing Projects, circa 1925-1992 (2.8 linear feet; Boxes 1.3, 5)
Series 3: National Conference of American Handweavers, 1938-1957 (0.4 linear feet; Boxes 3-4)
Series 4: Printed Materials, 1927-1981 (0.4 linear feet; Boxes 4-5)
Biographical / Historical:
Osma Gallinger Tod (1895-1983) was a weaver, teacher, and author active in Michigan, Pennsylvania, and Florida. Tod was at the forefront of the reawakened American craft movement of the 1930s, and was the author of Basket Pioneering, Joys of Handweaving, The Shuttle Service, and numerous other instructional guides in the field of decorative art.
Tod was born Lucy Osma Palmer in Newark, New Jersey. She graduated from Wellesley College and married artist Frank Byron Couch with whom she had a daughter, Josephine Couch Del Deo. She developed a craft project known as Cromaine Crafts in Hartland, Michigan, which became a model for efforts in teaching residents of rural communities how to earn money at home. Couch died in 1928 and Tod married cabinet maker and craftsman Milo Oliver Gallinger. They owned a studio and loom factory in Guernsey, Pennsylvania, and established their own business, Creative Crafts. Oliver died in 1956.
After moving to Coral Gables, Florida, Tod established a studio in 1962 from which she taught weaving. The Coral Gables Library and the Weavers Guild of South Florida held a retrospective of her work in 1981. Along with writing and teaching, Tod organized and directed the National Conference of American Handweavers for over 20 years.
Tod died in 1983 in Centerville, Massachussetts.
Provenance:
The Osma Gallinger Tod papers were donated in 1993 and 1995 by Josephine Couch Del Deo, daughter of Osma Gallinger Tod, and in 2020 by Romolo Del Deo, Tod's grandson.
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.
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.
