United States of America -- Wisconsin -- Walworth County -- Lake Geneva
Scope and Contents:
The folder includes a worksheet, garden plans, plant lists, and a photocopy of an article about the garden.
General:
Built in 1898 on the shores of Lake Geneva as a summer home for a New York City family, Flowerside Inn once employed up to 15 gardeners to maintain its extensive formal landscaping. The current owners purchased the property in 1976, and, after restoring the house, turned to the gardens, which had suffered from years of neglect. All that remained were the stately maples that shaded the home from the summer sun, while a weed-ridden lawn marched to the lakeside door and broken black asphalt greeted the drive door. With the help of a nationally renowned landscaping firm and the personal knowledge of the owner, who is active in the Lake Geneva Garden Club, the entire grounds have been landscaped with native species and more modern hybrids bred to withstand harsh winter winds and searing summer sun. The lake to the south is now fully exposed with a shoreline of flag iris, roses and daylilies combined with hosta and astilbe where the tree shade blocks the sun. A pier house, dragged one winter onto the shore, is now an attractive shoreside gazebo. The kitchen bay window looks out on a rose garden and birdbath.
The drive entrance on the north side of the home has been curved to lead gently to the front door and paved with bricks reflecting the brown tones of the landscaping. The edges have been planted with hawthornes, hosta, daylilies, coneflowers, hydrangeas, roses, liatris, daisies, peonies, azaleas, sedum, and other perennials, supplemented with annuals left over from the planting of window boxes that line the second story windows and the front entrance. An antique English garden wagon sits on the drive loaded with pots of annual flowers. There is variety in both color and green plant material throughout the growing season. A rambling perennial bed provides cut flowers, and the recently added "deer garden" provides a protected environment in which the owner can grow roses and lilies together with bellflowers, coreopsis, zinnias, sunflower, and vegetables without the fear of the deer. She built a "tennis court" which has a 10.5 foot black-clad chain link fence (too high for the deer to jump), and covered the fence with annual and perennial vines. Fencing continues underground for 18 inches, so even the little wild folk are denied the garden greens for their salad. Recent acquisitions include a 1900s gazing ball, marble statues of the four seasons, and a bench beneath an arbor.
Persons and firms associated with the garden include: Simeon B. Chapin (former owner, ca. 1896); William Trinke (former owner, ca. 1952); Benjamin H. Marshall (architect, 1896 and 1906); James Nagle (architect, 1999); and The Brickman Group (landscape designers, 1993-1997).
Related Materials:
Flowerside Inn related holdings consist of 1 folder (17 35 mm. slides)
Collection Restrictions:
Access to original archival materials by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Collection Rights:
Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.
Sponsor:
A project to describe images in this finding aid received Federal support from the Smithsonian Collections Care Initiative, administered by the National Collections Program.
Isaac Motte Dart House (Charleston, South Carolina)
United States of America -- South Carolina -- Charleston -- Charleston
Scope and Contents:
The folder includes worksheets and photocopies of articles.
General:
Most gardens in Charleston, South Carolina's historic district are small pocket gardens: this property has a half-acre divided into seven distinct garden rooms in addition to the 1806 Federal style house and the 1823 Gothic Revival style brick carriage house. When the current owners found this property in 1993 both buildings were derelict and nothing remained of the historic garden which was an asphalt parking lot. After the buildings were restored the owners removed the asphalt and underlying cobblestones, brought in topsoil and compost, and installed boxwood and other hedges and picket fencing painted dark green to divide the property into garden rooms. Although influenced by French and Baroque styles the formal structure predominantly resembles Italianate style gardens, with a color palette of green and white with accents in pink and purple from azaleas, camellias, crape myrtles and roses. Walkways are comprised of dark gray crushed slag, old bricks found on the property and elsewhere are stood on end and used as edging, and a brick Gothic style folly used as a garden shed was built.
The long driveway is the main axis, comprised of two cobblestone runways set in St. Augustine grass with globe-shaped boxwood hedges on either side. A formal parterre garden is along one side (opposite the main house) with two beds in the shape of Celtic crosses, a repeating shape in other garden rooms. There are Luytens benches at either end, and a hedge of alternating holly and cypress along the property line. The next room is known as the sitting garden where there is another Luytens bench under an arbor of confederate jasmine, a wall sculpture of Bacchus and a table and chairs for dining. In the back corner of the property there is a shade garden with tropical plants in a looser, less rectilinear style than the other rooms with irregular bluestone paving. The car park garden at the end of the driveway has the Gothic folly, brick edging and wrought iron gates with the same quatrefoil design as the carriage house.
The carriage house faces the formal garden which has four quadrants edged in boxwood, each with a standard bay tree, with a circular bed of crossed boxwood hedges in the center. The rose garden, outlined with boxwood, is in the shape of a teardrop or paisley motif and has a 19th century Celtic cross used as a trellis for noisette roses. The herb garden with remnants of the brick wall of the historic kitchen outbuilding is tucked between the carriage house and the main house.
Persons associated with the garden include: John Harleston (former owner, before 1795); John Rutledge (former owner, circa 1795); Isaac Motte Dart (former owner, 1801-1815); Edward Washington North (former owner, 1824-1845); members of the Simons family (former owners, 1845-1859); American Missionary Association (former owner, 1930-1950); Palmer College (former owner, 1954-1973); Historic Charleston Foundation (former owner, until 1993); Richard Marks (conservator of the house, 1993-1996); Eugene Gaillard Johnson (landscape designer, 1993- ).
Related Materials:
Isaac Motte Dart House related holdings consist of 1 folder (28 digital images)
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 -- South Carolina -- Charleston 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.
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:
Janice Lowry papers, 1957-2009. Archives of American Art, Smithsonian Institution.
The papers of sculptor, painter, and author Robert Smithson and sculptor, filmmaker, and earthworks artist Nancy Holt measure 18.9 linear feet and date from 1905 to 1987, with the bulk of the material dating from 1952 to 1987. Also included is Smithson's personal library of books, vinyl records, and magazine, measuring 48.4 linear feet. The papers consist of Smithson's biographical material; business and personal correspondence, much of it with artists; interview transcripts; extensive writings and project files; financial records; printed material; a scrapbook of clippings; holiday cards with original prints and sketches; photographic material; and artifacts. Also found are project files related to Nancy Holt's motion picture film Pine Barrens and her seminal environmental work of art Sun Tunnels, including a video documentary about Sun Tunnels.
Scope and Content Note:
The papers of sculptor, painter, and author Robert Smithson and sculptor, filmmaker, and earthworks artist Nancy Holt measure 18.9 linear feet and date from 1905 to 1987, with the bulk of the material dating from 1952 to 1987. Also included is Smithson's personal library of books, vinyl records, and magazine, measuring 48.4 linear feet. The papers consist of Smithson's biographical material; business and personal correspondence, much of it with artists; interview transcripts; extensive writings and project files; financial records; printed material; a scrapbook of clippings; holiday cards with original prints and sketches; photographic material; and artifacts. Also found are project files related to Nancy Holt's film Pine Barrens and her seminal environmental work of art Sun Tunnels, including a video documentary about Sun Tunnels.
Biographical material includes Robert Smithson's curriculum vitae, personal identification and medical documents, eight engagement/day planners Smithson and Holt maintained from 1966 to 1973, and Smithson's funeral register.
Correspondence is primarily with Smithson's family, friends, fellow artists, and business associates discussing personal relationships, proposed art projects, and exhibitions. Correspondents of note include Carl Andre, the Dwan Gallery (Virginia Dwan), Dan Graham, Will Insley, Ray Johnson, Gyorgy Kepes, Sol Lewitt, Lucy Lippard, and Dennis Wheeler. There is also substantial correspondence received by Holt upon Smithson's death in 1973, and between Holt and the Herbert F. Johnson Museum of Art regarding Smithson's retrospective exhibition in 1982.
There are nine interview transcripts with Smithson discussing his works and his general philosophy on art, and one transcript of the Andrew Dickson White Museum's Earth Art Symposium (1969) featuring the following artists: Mike Hiezer, Dennis Oppenheim, Robert Smithson, Neil Jenney, Gunther Uecker, Jan Dibbets, Richard Long, and Hans Haacke.
Writings are substantial and include 73 drafts of published and unpublished essays by Smithson on art, artists, and works in progress. The series also includes poems by Smithson, six notebooks containing notes and sketches by Smithson, and drafts of writings sent to Smithson and Holt by friends and colleagues, including Carl Andre, Terry Atkinson, Dan Flavin, Dan Graham, and Jack Thibeau.
Project files contain correspondence, project instructions, diagrams and sketches, research materials, photographic material, and maps related to over 50 of Smithson's artworks. These include concepts, proposed projects, sculptures, non-sites, and earthwork projects, including Spiral Jetty, Broken Circle, and Spiral Hill.
Personal business records include gallery related loan arrangements and receipts for miscellaneous art supplies. Financial records include tax forms and preparation documents, including cancelled checks, receipts, statements, and related correspondence.
Printed materials include books, clippings, and periodicals related to Smithson, either containing writings or sketches by him, or containing articles reviewing his work. There are also exhibition announcements and catalogs of Smithson's group and solo shows from 1959 to 1985.
The scrapbook contains clippings of Smithson's published articles from 1966 to 1973 with annotated shorthand notes.
Artwork consists of Christmas cards collaged by Smithson, and sketches by Smithson and Leo Valledor.
Photographic materials include prints and negatives of Smithson with friends, promotional Hollywood movie stills, and original prints and copyprints of other artists' artwork.
Artifacts consist of a paper bag silkscreened with a Campbell's soup can (Warhol), promotional buttons (N.E. Thing Co.), various organic materials, and two art kits.
Nancy Holt's papers consist of correspondence, a grant application, printed materials, and project files and audio visual material related to her motion picture film Pine Barrens (1975) and her seminal environmental work of art Sun Tunnels (1975).
Arrangement:
The collection is arranged as 14 series:
Missing Title
Series 1: Biographical Materials, 1905-1974 (Box 1; 14 folders)
Series 2: Correspondence, 1959-1987 (Boxes 1-2, OV 21; 1.7 linear feet)
Series 3: Interview Transcripts, 1966-1973 (Box 2; 11 folders)
Series 4: Writings, 1959-1975 (Boxes 2-3; 1.1 linear feet)
Series 5: Project Files, circa 1950s-1982 (Boxes 4-5, Boxes 17-18, OV 20, OV 22-26, OV 36, RD 28-30, RD 32-35; 6.5 linear feet)
Series 6: Personal Business Records, circa 1967-1970s (Box 5; 4 folders)
Series 7: Financial Records, 1962-1972 (Box 6-7; 0.4 linear feet)
Series 8: Printed Material, 1955-1985 (Boxes 7-11, Box 18, RD 31; 5.6 linear feet)
Series 9: Scrapbook, 1966-1973 (Box 11, Box 16; 0.3 linear feet)
Series 10: Artwork, circa 1950s-1970s (Box 11; 4 folders)
Series 11: Photographs, circa 1950s-1970s (Box 11, Box 18; 5 folders)
Series 12: Artifacts, circa 1950s-1970s (Box 11, Box 14, OV 19; 0.5 linear feet)
Series 13: Nancy Holt Papers, circa 1960s-1980s (Box 12-13, 15, OV 27, FC 37-38; 1.9 linear feet)
Series 14: Robert Smithson Personal Library (Boxes 39-87; 48.4 linear feet)
Biographical Note:
Robert Smithson (1938-1973) was a sculptor, painter, author, and lecturer who was known as a pioneer of land and earthworks art, based primarily in New York City. Nancy Holt (1938-2014) was a land artist, conceptual artist, and filmmaker. Smithson and Holt were married from 1963 until Smithson's death in 1973.
Born in Passaic, New Jersey, Smithson expressed an early interest in art, enrolling in classes at the Brooklyn Museum School and the Art Student's League in New York while still attending high school. Smithson's early works were primarily paintings, drawings, and collages. In 1959, he exhibited his first solo show of paintings at the Artists' Gallery in New York and had his first solo international show in Rome with the Galleria George Lester in 1961.
During the early to mid-1960s, Smithson was perhaps better known as a writer and art critic, writing numerous essays and reviews for Arts Magazine and Artforum. He became affiliated with artists who were identified with the minimalist movement, such as Carl Andre, Donald Judd, Nancy Holt, Sol LeWitt, Robert Morris and others. In 1963, Smithson married sculptor and filmmaker Nancy Holt and a year later started to create his first sculptural works. In 1966, Smithson joined the Dwan Gallery, whose owner Virginia Dwan was an enthusiastic supporter of his work.
Smithson's interest in land art began in the late 1960s while exploring industrial and quarry sites and observing the movement of earth and rocks. This resulted in a series of sculptures called "non-sites" consisting of earth and rocks collected from a specific site and installed in gallery space, often combined with photographs, maps, mirrors, or found materials. In September 1968, Smithson published the essay "A Sedimentation of the Mind: Earth Projects" in Artforum that promoted the work of the first wave of land art artists. Soon thereafter, he began creating his own large scale land art and earthworks.
From 1967 to 1973, Smithson's productivity was constant as he wrote, lectured, and participated in several solo and group shows a year, both at home and abroad. He explored narrative art as essay in "The Monuments of Passaic" and fully committed to his idea of visiting sites and using them as the basis for creating non-sites, Non-Site, Pine Barrens, (1968); incorporated and documented the use of mirrors at sites in Mirror Displacement, Cayuga Salt Mine Project (1968-1969); and created his first site-specific works through liquid pours of mud, asphalt, and concrete, including Asphalt Rundown (1969). In 1969, he also completed his first earth pour at Kent State University with his project Partially Buried Woodshed. Later that year, he created the sculptural artwork for which he is best known, Spiral Jetty (1969) on the Great Salt Lake in Utah. This was the first of his pieces to require the acquisition of land rights and earthmoving equipment, and would be followed two years later by Broken Circle and Spiral Hill in 1971.
On July 20, 1973, while surveying sites in Texas for the proposed Amarillo Ramp, Smithson died in a plane crash at the age of 35. Despite his early death, Smithson's writings and artwork had a major impact on many contemporary artists.
Nancy Holt began her career as a photographer and video artist. Today, Holt is most widely known for her large-scale environmental works, Sun Tunnels and Dark Star Park. Holt has also made a number of films and videos since the late 1960s, including Mono Lake (1968), East Coast, West Coast (1969), and Swamp (1971) in collaboration with her late husband Robert Smithson. Points of View: Clocktower (1974) features conversations between Lucy Lippard and Richard Serra, Liza Bear and Klaus Kertess, Carl Andre and Ruth Kligman and Bruce Brice and Tina Girouard. In 1978, she produced a film about her seminal work Sun Tunnels.
Related Material:
The Archives also holds several collections related to Robert Smithson and Nancy Holt, including an oral history interview with Robert Smithson conducted by Paul Cummings in 1972; an interview with Robert Smithson conducted by Tony Robbin in 1968; Robert Smithson letters to George B. Lester, 1960-1963; an oral history interviews with Nancy Holt conducted by Scott Gutterman in 1992 and Joyce Pomeroy Schwartz in 1993; and the Nancy Holt Estate records, circa 1960-2001.
Provenance:
The papers of Robert Smithson and Nancy Holt were donated by Nancy Holt in several accretions between 1986 and 2011.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Rights:
The Archives of American Art, Smithsonian Institution, holds the intellectual property rights, including copyright, to all materials created by Robert Smithson and Nancy Holt with the exception of the following items: two holiday cards found in box 11, folders 22-23. For these two items, copyright held by Holt/Smithson Foundation / Licensed by VAGA at Artists Rights Society (ARS), NY. Requests for permission to reproduce should be submitted to ARS.
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.
Occupation:
Conceptual artists -- New York (State) -- New York Search this
Robert Smithson and Nancy Holt papers, 1905-1987. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art and the Alice L. Walton Foundation.
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Collection Rights:
The Archives of American Art, Smithsonian Institution, holds the intellectual property rights, including copyright, to all materials created by Robert Smithson and Nancy Holt with the exception of the following items: two holiday cards found in box 11, folders 22-23. For these two items, copyright held by Holt/Smithson Foundation / Licensed by VAGA at Artists Rights Society (ARS), NY. Requests for permission to reproduce should be submitted to ARS.
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:
Robert Smithson and Nancy Holt papers, 1905-1987. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art and the Alice L. Walton Foundation.
The bulk of 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 born-digital records or audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Some papers remain closed to researchers including some rolled documents in the unprocessed papers, financial files, and Nancy Holt's annotated library of books.
Rights:
Items created by Nancy Holt and Robert Smithson copyright held by Holt/Smithson Foundation/Licensed by VAGA at Artists Rights Society (ARS), NY. Requests for permission to reproduce should be submitted to ARS.
Collection Citation:
Nancy Holt Estate records, circa 1900-2014. Archives of American Art, Smithsonian Institution.
Collection of the Smithsonian National Museum of African American History and Culture, Contributed in memory of Professor Sarah Webster Fabio (1928-1979), poet, educator, Black Arts Movement icon, and one of the Literary Corner's analysts.
The Literary Corner: Introduction to Afro-American Essays with Sarah Fabio and Thomas Schick (side a) / Introduction to African English Drama with Brooks Robinson (side b)
Title:
Cassette tape with two episodes of the Literary Corner radio program
Collection of the Smithsonian National Museum of African American History and Culture, Contributed in memory of Professor Sarah Webster Fabio (1928-1979), poet, educator, Black Arts Movement icon, and one of the Literary Corner's analysts.
(letter to Dr. Guy Bensusan, Associate Professor, University of Arizona, 07/22/1972; Con Safo organizational information: list of needs, meeting notes, mission statement - Brown Paper Report; "General Comments" [by Felipe Reyes?]; clippings; exhibition announcements; catalogs; photographs of Con Safo members; material for TYF's course on Chicano Culture)
Collection Restrictions:
The collection is open for research. Use requires an appointment and is limited to the Washington, D.C. research facility.
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:
Tomás Ybarra-Frausto research material, 1965-2004. Archives of American Art, Smithsonian Institution.
United States of America -- Ohio -- Wood County -- Bowling Green
Date:
2000 Sep.
Collection Restrictions:
Access to original archival materials by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Collection Rights:
Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.
Sponsor:
A project to describe images in this finding aid received Federal support from the Smithsonian Collections Care Initiative, administered by the National Collections Program.
United States of America -- Pennsylvania -- Philadelphia County -- Philadelphia
Date:
1998 May.
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.
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.
United States of America -- Pennsylvania -- Philadelphia County -- Philadelphia
Date:
1998 May.
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.
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.
Aspen Farms Community Garden (Philadelphia, Pennsylvania)
United States of America -- Pennsylvania -- Philadelphia County -- Philadelphia
Date:
2004 Sep.
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
Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.
Sponsor:
A project to describe images in this finding aid received Federal support from the Smithsonian Collections Care Initiative, administered by the National Collections Program.
United States of America -- California -- Santa Barbara County -- Santa Barbara
Date:
1970
General:
East balcony of front patio.
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.
Henry Shaw was in business at 17, retired at 40 a very wealthy man. He built a country house, Tower Grove in 1849. In 1853, Henry Shaw decided to create a botanical garden at Tower Grove that would be given to the citizens of St. Louis. In 1858 the main part of the 79 acre garden plans had been completed. In 1881 and 1882, the Linnaean House, designed simular to a European orangery and housed displays of camellias. Seiwa-En means Garden of pure harmony and peace.
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.
New Jersey Woodland Property (Princeton, New Jersey)
United States of America -- New Jersey -- Mercer County -- Princeton
Scope and Contents:
The folder includes worksheets and write-ups of the property's planting scheme.
Varying Form:
Frog Pond
General:
The New Jersey Woodland Property comprises 3.5 acres, a Colonial Revival house designed by architect Rolf W. Bauhan (1892-1966) in 1959, and ten distinct garden areas that the owner has been developing since 1981. Among the first area encountered is wooded lot bordered by preserved open space, a spring-fed pond, a swimming pool, and a graceful curving entry with bluestone steps and mature rhododendron and mountain laurel. Problems to overcome included a huge native deer population, undeveloped areas where invasive plants thrived, heavy clay soil, a cinder block retaining wall near the swimming pool, and the competing roots and canopies of mature trees that had to be accommodated in the landscape designs. The owner undertook a three-year course of study at the Barnes Arboretum, installed a six-foot tall deer fence around the property, and found the right plant for the right place, taking into account light, soil conditions and terrain. The style of the gardens is naturalized, with different species intermingling, rather than formally planted garden beds.
The entry courtyard was improved by replacing black asphalt with stone pavers, installing a brick retaining wall and piers, and planting bulb, perennial and shrub gardens under existing trees. The front path to the main entrance of the house is a bluestone walkway bordered by rhododendron and mountain laurel under planted with hosta, tiarella, euonymous and other ground covers. The pool terrace is in full sun, and features a 50-year-old wisteria that wraps around the house, Chippendale style gates lead to the pool, and vistas of the other gardens, pond and woodlands due to its higher elevation. Dwarf conifers are planted under the overhanging roof.
A perennial garden that replaced grass on the south side of the house was the owner's first project, with stone retaining walls defining the space. The eastern border of the property features unusual rhododendron. `The cryptomeria garden is a small woodland screen that features naturalized plantings. The woodland garden was designed with a meandering stone path and beds of naturalized perennials and shrubs but the soil was poor and needed yearly additions of leaf compost. A tennis court and outdoor room were installed in 1987 near Stony Brook and the designated open space. The banks of the pond created from a spring by the previous owners are accessible for bass fishing, with the outer perimeter planted in trees and shrubs that screen the property from the street.
Persons associated with the garden include Mr. and Mrs. Thomas Stanley (former owners, 1959-1981); Rolf W. Bauhan (architect, 1959); Robert S. Bennett (architect, 1997, 2008); David M. Lenker (landscape architect, 1959); Doerler Landscapes (landscape architect, 1973, 1975); S. Lawrence Bencze (landscape architect, 1988, 1990, 1992, 1995); Barbara J. Olejnik, CLA (landscape architect, 2000-2002); Ann Mallory (sculptor of "Forest Pool"); Roger Ditarando (sculptor of "Bird's Nest"); Charlotte Calwell Stokes (sculptor of "Francis of Assisi")
Related Materials:
New Jersey Woodland Property related holdings consist of 1 folder (25 digital images)
Collection Restrictions:
Access to original archival materials by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Collection Rights:
Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.
Sponsor:
A project to describe images in this finding aid received Federal support from the Smithsonian Collections Care Initiative, administered by the National Collections Program.
United States of America -- New York -- Nassau County -- Locust Valley
Scope and Contents:
The folders include worksheets, site plans (one with a plant list), photocopies of an article about the garden, and additional information.
General:
Lying on 3.2 acres adjacent to a marsh and creek, this site is highlighted by a Japanese-influenced 40' x 80' iris garden that also includes features of a cottage garden in keeping with its location by a low, rambling house. Designed in the early 1980s by Nancy B. Taylor of the landscape architecture firm Innocenti & Webel, the garden replaced what was formerly an asphalt driveway. Running the length of the garden are a dry riverbed and path, accented by two small bridges. Although there is no actual water in the garden, the use of different plants helps to simulate that effect. In addition to this garden, the site includes more natural areas with marsh and water views, as well as a swimming pool and herb garden.
Persons and firms associated with the property include Nancy B. Taylor (landscape architect, 1981); Mr. and Mrs. C. Gachot (former owners, 1956-1981); and Innocenti & Webel (landscape architects, 1981).
Related Materials:
Goose Chase related holdings consist of 2 folders (18 35 mm. slides (photographs))
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.
