Most of Ruth Landes's papers relate directly or indirectly to Landes's American Indian research, her work in Brazil, and her study of bilingualism. There is also a considerable amount of material that relates to her experiences (sometimes fictionalized) at Fisk University. There is only small amount of material related to her other interests. Her collection also has material of and relating to the Brazilian folklorist and journalist Edison Carneiro. There is also noteworthy material concerning Herbert Baldus, Ruth Benedict, Elmer C. Imes, Charles S. Johnson, and Robert E. Park. There is a large amount of printed and processed materials in the collection, mainly in the form of newspaper clippings and a collection of scholarly papers.
Scope and Contents:
This collection is mainly comprised of the professional papers of Ruth Schlossberg Landes. Included are correspondence, journals, published and unpublished manuscripts of writings, research materials including field notes and reading notes, photographs, drawings, scholarly papers and publications by other scholars, and clippings from newspapers and periodicals.
Landes's field research on Candomblé in Brazil is well-represented in this collection, consisting of her field journals, writings, and photographs. Also present are Maggie Wilson's stories that were the basis for Landes's The Ojibwa Woman. Unfortunately, Landes was unable to locate her journals for her early research with the Ojibwa/Chippewa, Potawatomi, and Dakota. There are, however, field photographs of the Ojibwa/Chippewa and Potawatomi in the collection. There is also a great deal of her research on groups, especially minorities, in multilingual states with particular focus on the French of Quebec, Basques of Spain and the United States, Boers and Blacks of South Africa, the several socio-linguistic groups of Switzerland, and Acadians (Cajuns) of Louisiana. In the collection are several drafts of her unpublished manuscript on bilingualism, "Tongues that Defy the State." There is also a small amount of material about Black Jews of New York and considerable material about Landes's experience among African Americans when she taught briefly at Fisk University, including her unpublished manuscript "Now, at Athens," containing fictional and autobiographical accounts of her time at Fisk.
Reflections of other facets of Landes's professional activities are also included. Some materials concern her teaching activities, and there is also documentation of her work with the Fair Employment Practices Commission (a federal government agency during the administration of Franklin D. Roosevelt) and a similar private organization which immediately succeeded the FEPA; Gunnar Myrdal's research into the plight of African Americans ("The Negro in America"); the Research in Contemporary Cultures project at Columbia University; and the American Jewish Congress.
Among Landes's correspondents are Ruth Benedict, Franz Boas, Margaret Mead, Ralph Bunche, Herbert Baldus, Edison Carneiro, Sally Chilver, Frances Densmore, Sol Tax, Elmer S. Imes, Charles S. Johnson, Robert E. Park, and Hendrik W. van der Merwe.
Arrangement:
The collection is organized into 6 series: (1) Correspondence, 1931-1991; (2) Research Materials, circa 1930s-1990; (3) Writings, circa 1930s-1990; (4) Teaching Materials, 1935-1975, undated; (5) Biographical and Personal Files, 1928-1988; (6) Graphic Materials, 1933-1978, undated
Biographical Note:
Ruth Schlossberg Landes was born on October 8, 1908 in New York City. Her father was Joseph Schlossberg, an activist in the Yiddish labor socialist community and one of the founders of the Amalgamated Clothing Workers of America. She studied sociology at New York University (B.A. 1928) and social work at the New York School of Social Work, Columbia University (M.S.W. 1929). While in graduate school, Landes studied Black Jews in Harlem for her master's thesis, a topic that developed her interests in anthropology.
After graduating in 1929, she worked as a social worker in Harlem and married Victor Landes, a medical student and son of family friends. Their marriage ended after two years when she enrolled in the doctoral program in anthropology at Columbia against her husband's wishes. She kept his surname due to the stigma of being a divorced woman.
At Columbia, Landes studied under Franz Boas and Ruth Benedict, her main advisor. Under the guidance of Benedict, Landes moved away from further study of African Americans to focus on Native American communities. Upon Benedict's suggestion, Landes studied the social organization of the Ojibwa in Manitou Rapids in Ontario from 1932 to 1936 for her Ph.D. fieldwork. Her dissertation, Ojibwa Sociology, was published in 1937. Landes also contributed "The Ojibwa of Canada" in Cooperation and Competition among Primitive Peoples (1937), a volume edited by Margaret Mead. In 1938, Landes published Ojibwa Women (1938), a book written in collaboration with Maggie Wilson, an Ojibwa interpreter and informant.
In addition to studying the Ojibwa in Ontario, Landes also conducted fieldwork with the Chippewa of Red Lake, Minnesota in 1933, working closely with shaman or midé Will Rogers. Her book, Ojibwa Religion and the Midéwiwin (1968) was based largely on her research with Rogers and Maggie Wilson. In 1935 and 1936, she undertook fieldwork with the Santee Dakota in Minnesota and the Potawatomi in Kansas. Like Ojibwa Religion and the Midéwiwin, her books on the Santee Dakota and Potawatomi were not published until several years later—The Mystic Lake Sioux: Sociology of the Mdewakantonwan Sioux was published in 1968 while The Prairie Potawatomi was published in 1970. In between her field research in the 1930s and the publication of The Prairie Potawatomi, Landes returned to Kansas to study the Potawatomi in the 1950s and 1960s.
Landes's plan to continue her studies with the Potawatomi in 1937 changed when Benedict invited her to join a team of researchers from Columbia University in Brazil. Landes was to conduct research on Afro-Brazilians in Bahia, Brazil, while Walter Lipkind, Buell Quain, and Charles Wagley studied indigenous people in the Amazons. To prepare for her research, Landes was at Fisk University in Nashville, Tennessee in 1937 and 1938 to consult with Robert Park and Donald Pierson and to use the university's library collections of African and African American materials. During that time, Landes also held a teaching position at Fisk and lived in the non-segregated women's residence on campus. Landes later wrote "Now, at Athens," an unpublished memoir containing fictional and true accounts of her experiences at Fisk.
From 1938 to 1939, Landes conducted fieldwork on the role of Afro-Brazilian women and homosexuals in the Candomblé religion in Bahia, Brazil. Unable to move freely by herself in Brazil as a single woman, Landes was accompanied by Edison Carneiro, a Bahian journalist and folklorist. With Carneiro as her companion, Landes was allowed access to rituals and people that would have been closed off to her otherwise. Due to her association with Carneiro, a member of the Brazilian Communist Party, Landes was suspected of being a communist and was forced to leave Bahia early. Publications from her research in Brazil include "A Cult Matriarchate and Male Homosexuality" (1940) and City of Women (1947). She returned to Brazil in 1966 to study the effects of urban development in Rio de Janeiro. In 1967, a Portuguese translation of City of Women was published, a project that Carneiro had commissioned as the first director of the Ministry of Education and Culture's Special National Agency for the Protection of Folklore.
Landes returned to New York in 1939, working briefly as a researcher for Gunnar Myrdal's study of African Americans. Unable to obtain a permanent position at a university, she worked in several other short term positions throughout most of her career. During World War II, Landes was a research director for the Office of the Coordinator for Inter-American Affairs (1941) and consultant for President Franklin D. Roosevelt's Fair Employment Practices Committee on African American and Mexican American cases (1941-44). In 1945, Landes directed a program created by Pearl S. Buck and a group of interdenominational clergy to analyze pending New York anti-discrimination legislation. She moved to California the following year to work for the Los Angeles Metropolitan Welfare Council on a study of race and youth gangs. After her contract ended, she moved back to New York and was hired as a contract researcher for the American Jewish Congress (1948-50). She also participated in Columbia University's Research in Contemporary Cultures (1949-51), studying Jewish families. She coauthored with Mark Zborowski, "Hypothesis concerning the Eastern European Jewish Family." From 1951 to 1952, Landes spent a year in London, funded by a Fulbright fellowship to study colored colonial immigrants and race relations in Great Britain.
After her fellowship ended, Landes returned to the United States and held short term appointments at several universities. She taught at the William Alanson White Psychiatric Institution in New York (1953-54), the New School for Social Research in New York (1953-55), University of Kansas (1957, 1964), University of Southern California (1957-62), Columbia University (1963), Los Angeles State College (1963), and Tulane University (1964). At Claremont Graduate School, Landes helped to develop and direct the Claremont Anthropology and Education Program (1959-62).
It was not until 1965 that Landes obtained a permanent faculty position at McMaster University in Hamilton, Ontario; she was recruited for the position by Richard Slobodin. Due to Ontario's age retirement law, Landes was forced to retire in 1973 at the age of 65. She continued to teach part-time until 1977, when she became professor emerita.
Landes passed away at the age of 82 on February 11, 1991.
Sources Consulted
Cole, Sally. 2003. Ruth Landes: A Life in Anthropology. Lincoln, Nebraska: University of Nebraska Press.
Chronology
1908 October 8 -- Born Ruth Schlossberg in New York City
1928 -- B.A. in sociology, New York University
1929 -- M.S.W., New York School of Social Work, Columbia University
1929-1931 -- Social worker in Harlem Married to Victor Landes
1929-1934 -- Studied Black Jews in Harlem
1931 -- Began graduate work in anthropology at Columbia University
1932-1936 -- Studied the Ojibwa in Ontario and Minnesota (in field periodically)
1933-1940 -- Research Fellow, Columbia University
1935 Summer-Fall -- Studied the Santee Sioux (Dakota) in Minnesota
1935-1936 -- Studied the Potawatomi in Kansas
1935 -- Ph.D., Columbia University
1937 -- Instructor, Brooklyn College
1937-1938 -- Instructor, Fisk University
1938-1939 -- Studied Afro-Brazilians and Candomblé in Brazil, especially at Bahia
1939 -- Researcher on Gunnar Myrdal's study, "The Negro in America"
1941 -- Research Director, Office of Inter American Affairs, Washington, D.C.
1941-1945 -- Representative for Negro and Mexican American Affairs, Fair Employment Practices Committee (FEPC), President Franklin D. Roosevelt Administration
1944 -- Interim Director, Committee Against Racial Discrimination, New York
1946-1947 -- Researcher, study of Mexican American youth, gangs, and families, Los Angeles Metropolitan Council
1948-1951 -- Researcher, American Jewish Congress, New York
1949-1951 -- Research consultant, study on Jewish families in New York for Research in Contemporary Cultures Project, Columbia University
1951-1952 -- Fulbright Scholar, to study colored colonial immigration into Great Britain
1953-1954 -- Lecturer, William Alanson White Psychiatric Institution, New York
1953-1955 -- Lecturer, New School for Social Research, New York
1956-1957 -- Married to Ignacio Lutero Lopez
1957 Summer -- Visiting Professor, University of Kansas
1957-1958 -- Visiting Professor, University of Southern California
1957-1965 -- Consultant, California agencies (Department of Social Work, Bureau of Mental Hygiene, Department of Education, Public Health Department) and San Francisco Police Department
1958-1959 -- Director, Geriatrics Program, Los Angeles City Health Department
1959-1962 -- Visiting Professor and Director of Anthropology and Education Program, Claremont Graduate School
1962 -- Extension Lecturer, University of California, Los Angeles and University of California, Berkeley
1963 -- Extension Lecturer, Columbia University Extension Lecturer, Los Angeles State College
1963-1965 -- Consultant, International Business Machines (IBM)
1964 January-June -- Visiting Professor, Tulane University
1964 Summer -- Field work with Potawatomi in Kansas Professor, University of Kansas
1965-1975 -- Professor at McMaster University
1966 -- Studied urban development in Rio de Janeiro
1968-1975 -- Studied bilingualism and biculturalism in Spain, Switzerland, South Africa, United States, and Canada (in Spain and the United States concentrated on Basques)
1975 -- Became part-time faculty member at McMaster University
1977 -- Professor Emerita, McMaster University
1978 -- Award of Merit from the University of Wisconsin, Green Bay
1991 February 11 -- Died in Hamilton, Ontario
1991 -- Establishment of the Ruth Landes Memorial Research Fund at Research Institute for the Study of Man (RISM)
Related Materials:
Correspondence from Ruth Landes can be found in the William Duncan Strong Papers, the Leonard Bloomfield Papers, and MS 7369. The Ruth Bunzel Papers contains a copy of a grant application by Landes.
Provenance:
These papers were donated to the National Anthropological Archives by Ruth Landes in 1991.
Restrictions:
The Ruth Landes papers are open for research. The nitrate negatives in this collection have been separated from the collection and stored offsite. Access to nitrate negatives is restricted due to preservation concerns.
Access to the Ruth Landes papers requires an appointment.
Ruth Landes papers, National Anthropological Archives, Smithsonian Institution
Sponsor:
The revision of this finding aid and digitization of portions of the collection were made possible through the financial support of the Ruth Landes Memorial Research Fund.
The papers of studio glass artist Marvin Lipofsky measure 46.0 linear feet and date from 1954 to 2018. Found are biographical materials, correspondence, writings and notes, travel diaries, artist files, exhibition and gallery files, organization files, professional files, technical studio files, printed material, photographic material, three scrapbooks, sketchbooks, and artwork. There is a 0.4 linear foot unprocessed addition to this collection donated in 2021 that includes personal and professional correspondence between Lipofsky and others regarding travel and shows, a file on teaching, and biographical information, and "In a Bottle" transparency. Materials date from circa 1964-2002.
Scope and Contents:
The papers of studio glass artist Marvin Lipofsky (1938-2016) measure 46.0 linear feet and date from 1954 to 2018. Found are biographical materials, correspondence, writings and notes, travel diaries, artist files, exhibition and gallery files, organization files, professional files, technical studio files, printed material, photographic material, three scrapbooks, sketchbooks, and artwork.There is a 0.4 linear foot unprocessed addition to this collection donated in 2021 that includes personal and professional correspondence between Lipofsky and others regarding travel and shows, a file on teaching, and biographical information, and "In a Bottle" transparency. Materials date from circa 1964-2002.
Of note are materials concerning Lipofsky's extensive travel, likely with the Glass Art Society, and his files on oher artists. 108 travel diaries contain notes and contact information and date from 1970 to 2015. Professional files contain Lipofsky's international files which are organized by country. Within these are correspondence and printed materials from local artists. Also found are photo albums for many of Lipofsky's trips abroad.
Artist files are for Fritz Driesbach, Nick Labino, Harvey Littleton, Ronald Pennell, Raechel Running, Italo Scanga, Jean-Pierre Umbdenstock, Patti Warashina, and many others.
Arrangement:
The collection is arranged as 15 series
Series 1: Biographical Material, 1954-2017 (2.0 linear feet; Boxes 1-2, 46)
Series 2: Correspondence, 1960-2016 (3.3 linear feet; Boxes 3-6)
Series 3: Writings and Notes, 1962-2010 (0.8 linear feet; Boxes 6-7)
Series 4: Travel Diaries, 1970-2015 (1.4 linear feet; Boxes 7-8)
Series 5: Artist Files, 1956-2016 (2.7 linear feet; Boxes 8-11, 46)
Series 6: Exhibition and Gallery Files, 1966-2016 (7.7 linear feet; Boxes 11-19)
Series 7: Organization Files, 1965-2015 (1.8 linear feet; Boxes 19-21)
Series 8: Professional Files, 1960-2018 (5.4 linear feet; Boxes 21-27)
Series 9: Technical Studio Files, circa 1960s-circa 2000s (3.9 linear feet; Boxes 27-30)
Series 10: Printed Material, 1960s-2000s (4.6 linear feet; Boxes 30-35, 46)
Series 11: Photographic Material, 1980-2004 (9.2 linear feet; Boxes 35-44, 46-47)
Series 12: Scrapbooks, 1960s-1995 (0.2 linear feet; Box 44)
Series 13: Sketchbooks, 1960s-2009 (1.2 linear feet; Boxes 44-46)
Series 14: Artwork, 1960s-2000s (0.4 linear feet; Box 45)
Series 15: Unprocessed Addition, circa 1964-2002 (0.4 linear feet, Box 48)
Biographical / Historical:
Marvin B. Lipofsky (1938-2016) was a glass artist and educator active in Berkeley, California.
Marvin Lipofsky was born in Barrington, Illinois in 1938. He began his study of art at the University of Illinois, where he studied industrial design and received his MS and MFA in sculpture from the University of Wisconsin-Madison. At Wisconsin, he studied under Harvey Littleton, one of the founders of the Studio Glass movement.
Lipofsky would have a long career as an educator and lecturer at institutions throughout the United States. He held positions at the University of Wisconsin-Madison, University of California-Berkeley, and the California College of Arts and Crafts. He taught regular seminars at Haystack Mountain School of Crafts and the Pilchuck Glass School.
In addition to his teaching career, Lipofsky was a founding and active member of the Glass Art Society which held conferences all over the world to promote the study and sharing of glass art techniques. He traveled extensively to places such as Czech Republic, Japan, Italy, Russia, Slovakia, and Ukraine. He visited glass factories and studios, usually forming professional relationships and friendships with other glass artists.
Marvin Lipofsky died in 2016 in Berkeley, California.
Related Materials:
Also found in the Archives of American Art is an oral history interview of Marvin Lipofsky conducted 2003 July 30-August 5, by Paul Karlstrom, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, in Berkeley, California.
Provenance:
The Marvin Lipofsky papers were donated in 2004 by Ruth Okimoto, Lipofsky's spouse, on behalf of Marvin Lipofsky as part of the Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, and in 2017, 2018 and 2021 by Lisa Lipofsky-Valenzula, Marvin Lipofsky's daughter.
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.
Occupation:
Glass artists -- California -- Berkeley Search this
Professional files contain international files, teaching files, and general files. International files are organized by country and may include professional and personal correspondence from friends, colleagues, and artists, printed material, travel information, and scattered photographs. Teaching files contain lectures, administrative documents, and printed material from Lipofsky's career at the California College of Arts and Crafts, Colorado Mountain College, St. Cloud State College, and the University of California, Berkeley. General files contain material concerning appraisals, collectors and potential collectors, grants, the organization of studio visits, juries, a ledger, pricelists, sales, and museum acquisition records.
Arrangement:
This series is arranged as 3 subseries.
8.1: International Files, 1966-2015
8.2: Teaching Files, 1960-2018
8.3: General, 1964-2015
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:
Marvin Lipofsky papers, 1954-2018. Archives of American Art, Smithsonian Institution.
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:
Marvin Lipofsky papers, 1954-2018. Archives of American Art, Smithsonian Institution.
Sam Hinton- remarks; Besse Jones- Ya Ti Da Ti Ditta Dum--Brother rabbit, brother fox; Ball the Jack--Here comes Johnny Cuckoo--Uncle Jessie; Jean Ritchie--Here comes two dukes a-roving; Here we come a-riding; Charles Seeger--Discussion on how to raise a family of Seegers
Local Numbers:
FW-ASCH-7RR-1843
General:
CDR copy Tape Info: The following tapes were recorded at the 1962 University of California - Berkeley Folk Festival. Many other tapes in the CFCH Archives were recorded at the same festival. FW-ASCH-7RR-1843 was recorded on 6/28/1962. The tape box says "Concert Workshop 2, Reel 4." Moderator Sam Hinton states at the outset (perhaps the tape begins after an intermission) that the session is "for the purpose of discussing children's music, here and at home." Children's music is both performed and discussed by Sam Hinton, Bessie Jones, Jean Ritchie and Dr. Charles Seeger. (Only Bessie and Jean sing) For about ten minues at the end, Dr. Seeger denounces modern music education for children, claiming it is probably now at the "lowest stageithat was ever known in history." A handwritten sheet in the tape box lists the songs, ending with three sung by Mike Seeger that were apparently sung after the tape had ended.
Restrictions:
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
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.
Workshop on children's songs with Charles Seeger, Sam Hinton, Mike Seeger and Jean Ritchie includes songs--Cumberland Mountain deer chase (Mike Seeger) and I have a doggy (Sam Hinton)
Local Numbers:
FW-ASCH-7RR-4047
General:
CDR copy Tape Info: The following tapes were recorded at the 1962 University of California - Berkeley Folk Festival. FW-ASCH-7RR-4047 is part of "Concert Workshop 2" recorded 6/28/1962. Participants include Dr. Charles Seeger (most prominently), Mike Seeger, Jean Ritchie and Sam Hinton. In addition, Malvina Reynolds speaks from the audience. Probably, this tape is from near the end of the workshop, as it largely contains responses to questions from the audience, albeit the questions are often used as take-off points for extended conversation among the panelists. The discussion relates primarily to children's music, including such topics as: the inappropriate constraints placed on children's musicality by our music education system; puritanical constraints on song content; and children's musical culture. Some musical examples are presented, some of which are perhaps complete, while others are fragmentary. (Only lengthier examples are shown on sheet at front of jewel case.)
Restrictions:
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
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.
Hill-Stead Museum Sunken Garden (Farmington, Connecticut)
United States of America -- Connecticut -- Hartford County -- Farmington
Scope and Contents:
The folder includes a worksheet, photocopies of garden plans and Beatrix Farrand's plant list, a 1999 plant list, and brochures about the museum and the garden that also include plans and plant lists.
General:
The Sunken Garden is located adjacent to the 1901 Colonial Revival mansion, Hill-Stead, designed by Theodate Pope (later Riddle), with plans prepared by the architectural firm McKim, Mead, and White, to showcase the Pope family's important collection of French Impressionist paintings. Integral to the original plan of the country house was its landscape, designed to embrace not only a working New England farm, but also rustic woodland walking gardens and the formal Sunken Garden. Laid out in a natural depression with its asymmetrical boundaries defined by eight-to-ten-foot high drystone walls, the Sunken Garden consists of a summer house surrounded by brick paths and geometric flower beds that are enclosed by a hedge, forming an elongated octagon with grass filling the space between the hedge and outer stone wall. The garden is planted with 75 varieties of primarily perennials as well as small flowering trees and evergreens. At the far end is a stone sundial designed by Theodate Pope Riddle. The Sunken Garden was grassed over in the 1940s wartime labor shortage, leaving only the summer house in place. Today's reconstruction, initiated in 1983 by the Connecticut Valley Garden Club and the Garden Club of Hartford, is based on a planting plan by the landscape designer Beatrix Farrand for the "garden of Mrs. J. W. Riddle, Farmington, Conn.," discovered in the former's archives at the University of California, Berkeley. The Farrand design, dating from 1916, with its careful choice of texture, foliage, and color combinations of perennials (limited here to a palette of blues, pinks, whites, pale purple, and greys) echoes the theories of Gertrude Jekyll, the English garden designer whose work Farrand admired.
Persons and organizations associated with the garden include: Alfred Atmore Pope (former owner, 1901-1913); Ada Brooks Pope (former owner, 1913-1920); Theodate Pope Riddle (former owner, 1920-1946); the Hill-Stead Museum (owner, 1946 to date); Beatrix Farrand (landscape designer, 1916); and Roland/Towers (landscape restorers, 1986).
Related Materials:
Hill-Stead Museum Sunken Garden related holdings consist of 1 folder (11 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.
United States of America -- California -- San Mateo County -- Woodside
Scope and Contents:
This file contains 13 35mm slides, 25 digital images and 2 folders.
General:
This 32 acre property, established in 1933, is surrounded by the rolling grass hills of California while the Pennsylvania-style colonial house built in 1920 sits at its center. A farm once existed on the property that spanned 100 acres. The design of the property was inspired by the current owner's grandmother's estate in Filoli, which was given to the National Trust in 1975. It features a pool, guest residence renovated from an old barn, many native trees, and symmetrically designed gardens.
After the current owners purchased the property in 1951, they defined various areas of the property with paths, fences, walls, and hedges, keeping the surrounding California landscape in mind. They adapted the previous garden to better feature native California plants. The various paths are lined with perennial blooms and there are designated areas for shrubs, cutting flowers, and vegetable and fruit trees.
The property features formal and naturalistic garden areas including a rose, vegetable, and knot garden. A stone wall topped with a picket fence surrounds the formal rose garden whose beds are divided by euonymus hedges. The vegetable garden beds are outlined with green and white striped society garlic. The center of the garden features an old well covered with creeping ficus. The entrance garden is square and formal, echoing the architecture of the house. It is enclosed by a picket fence covered with jasmine. The knot garden at the south end of the home, designed by Denise Bates, was a gift from the owner's landscape architect daughter to celebrate their 85th birthday. The design was also inspired by a similar installation at Filoli and acted as a water sustainable alternative to the previous lawn. Berberis, Santolina, and Teucrium create the woven pattern which is anchored by a Haddonstone sundial at its center. There are approximately 20 trees on either side of the road at the entrance to the property, including olive, persimmons, apple, apricot, fig, lemon, and pomegranate trees. Birch, native oak, and a grove of redwoods also border the property.
Persons associated with the garden include: Mrs. Mathew Harris (former owner, 1933 – 1951); Gordon B. Kaufman (architect, 1932 – 1933); Bern Cotton (landscape consultant, 1950s); Denise C. Bates (landscape architect [Knot Garden], 2002).
Related Materials:
Related materials include Matson and Roth Family History – Bancroft Library – Berkeley, California; Garden: The American Woman's Garden, Rosemary Veray and Ellen Samuels; Matson Family – Daughters of Hawaii; Coonan Family – Society of California Pioneers.
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 -- Suffolk County -- Huntington
Scope and Contents:
The folder includes worksheets and photocopies of articles.
General:
Oheka was the grandest estate of its time in Cold Spring Harbor on Long Island's North Shore, styled after French farmhouses but with 126 rooms. The house was designed by architects William Adams Delano and Chester Holmes Aldrich in circa 1921. In 1917 the Olmsted Brothers planned the grounds of the 443-acre estate, which included the entrance drive bordered by red cedars, the golf course, and extensive bridle paths. It took two years to move the earth and build up a rise on which the house was sited. A distinctive parterre in front of the house was comprised of eight reflecting pools to show the changing sky and surrounding mountains, with grass borders. In 1919 Adele Wolff Kahn commissioned Beatrix Farrand to design more intimate spaces, including a Dutch garden, an octagonal garden, a rose garden and a water garden. The formal Dutch garden enclosed by vine-covered brick walls displayed tulips and flowering trees in the spring, in parterre beds separated by brick walks laid out in a herringbone pattern. The octagonal fragrance garden featured yellow and purple pansies followed in summer by lavender, nepeta and pink carnations. Farrand's designs were formal and highly detailed to the extent that each week's blooms could be anticipated.
Garden features included greenhouses, an orangery, a croquet lawn, stables, pools and tennis courts. Courtyards at the house featured single mature trees supplied by the Long Island nursery, Lewis & Valentine. The estate was too costly to maintain and the gardens were destroyed in 1948. A partial restoration and conversion to a hotel in the 1980s reinstalled the Olmsted Brothers landscape designs but not Farrand's.
Persons associated with the garden include Otto H. Kahn and Adele Wolff Kahn (former owners, 1914-circa 1934); Eastern military Academy (former owner), Gary Melius (former owner), Olmsted Brothers (landscape architects, circa 1917); Beatrix Farrand (landscape designer, 1919-1928); Lewis & Valentine (nurserymen, circa 1928); William Adams Delano & Chester Holmes Aldrich (architects).
Related Materials:
Oheka related holdings consist of 2 folders (29 35mm slides and 3 photo prints)
Other archival materials related to Oheka are located at the Environmental Design Archives at the University of California at Berkeley, Huntington Historical Society in Huntington, New York, the Nassau County Reference Library
Records related to this site can be found at the Frederick Law Olmsted National Historic Site, Olmsted Job Number 06499, Otto H. Kahn.
See others in:
J. Horace McFarland collection, 1900-1962.
Lewis & Valentine Company records, 1916-1971.
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 Paul and Charlene Vert Garden (Pasadena, California)
United States of America -- California -- Los Angeles County -- Pasadena
Date:
2017
Scope and Contents:
20 digital images and 1 folder. The folder includes worksheets.
General:
The gardens have been redesigned over more than forty years of ownership to suit the changing lifestyle of the family: a large lawn for sports and a traditional English style border garden have been replaced by formal parterres and fountains connected by gravel and accented by crushed lava stone, unique features, and containers planted with combinations of drought tolerant succulents. The property, which is less than one-half acre, has a craftsman style shingle house built circa 1906 with a formal neo-Georgian portico added twenty years later. The current owners added fencing and a Eugenia hedge around the property as well as a swimming pool, spa pool and raised wooden dining deck in the back garden. Garden renovations start at the curbside where jasmine has been clipped into squared borders around the bases of palm trees. Boxwood parterres on one side of the front garden surround larger boxwood orbs inside Eugenia hedges now 40 feet tall. There are three fountains, four symmetrically placed Chinese ceramic garden stools, and black ceramic containers overflowing with free-form succulents. There is a mirror hung in a niche in the tall hedge and cast iron gates designed by a daughter of the family.
A narrow pea gravel path lined with dwarf mondo grass leads to the back garden, shaded by camellia trees, Japanese maples, cast iron and leopard plants. Trees and shrubs in the back garden include silk oak, ficus benjamina, Chinese elms, pittosporum, strawberry tree, bottlebrush, azaleas, hawthorn, and parlor palms. The back wall of the garden behind the spa is covered with ivy and is the backdrop to two massive black pots planted with agave, an antique French cast iron fire back, and two tall bronze obelisks. The aggregate pebble deck around the pool has cast iron furniture, also designed by the owner's daughter, and silver reflecting balls float in the water. Whimsical and unconventional planters and features, free-form combinations of succulents in the containers, and unusual pairings of plants provide contrast to the formal design of clipped hedges, geometric stone beds and axial pathways.
Persons associated with the garden include Mr. and Mrs. John Murray Marshall (former owners, 1906-1932); Mr. and Mrs. Berkeley F. Jones (former owners, 1932-1964); Mr. and Mrs. Robert T. McInery (former owners, 1964-1975); Myron Hunt and Elmer Gray (architects, 1906); Roland E. Coate (architect, 1926); James J. Yoch, Jr. (landscape designer, 1998).
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 -- California -- Alameda County -- Berkeley
Hart Estate Garden (Berkeley, California)
Scope and Contents:
42 digital images.
General:
The Hart Estate Garden is located in the Claremont area of Berkeley, California. Established in 1909, the 0.35-acre historic property features walled flower gardens, urns, balustrades, lily pond, walkways, pergola, and a copper beech tree.
Today, as you enter from the street, a large and lush garden surrounds the historic carriage house. The garden is broken into several garden rooms and crowned with a rock-walled path that meanders through the upper gardens, punctuated by original plantings and new plant additions to the garden. Among the original features of the garden stands a marble statue that once filled a niche in the massive stone wall, and an ornate bench at the end of a reflecting pool. A large pergola, which is a section of the original, forms a colonnade, and rises above an elegant brick walkway. Acanthus leaf balustrades and architectural remnants can be seen throughout the garden. Along the arc of what was once a semi-circular driveway, an Italianate stone wall made by European artisans supports large planters where today Agapanthus thrives.
A few of the original planted trees remain. A copper beech towers in front of the house, the trunk's texture reminiscent of an elephant's skin. Other old trees, planted by the second owners of the carriage house, include two 60-year-old magnolias (lending a sculptural elegance to the front garden), and holly with intense red berries. Above the stone-walled terraces in back are numerous fruit trees, including a cherry that no longer bears fruit and a loquat. The current owner has introduced new drought tolerant plantings and succulents rub buds among the long-established perennials and dozens of roses, as an adaption to the environmental challenges of the 21st century.
Originally the property was much larger. A 43 room Mediterranean Revival residence, designed by Charles William "C.W." Dickey, was constructed in 1909, but was later razed in 1939. The carriage house, occupied by the current owners, was spared and the remaining property was divided into two building lots. A cement perimeter wall can still be seen as evidence of the original property line. Dickey also designed the estate so the two original structures were connected by a very long and slightly curved pergola and colonnade, a portion of which still stands today on the property.
Persons associated with the garden's design: Charles Dickey (architect, 1909-1911), and Harry Whitcomb Shepherd (landscape architect, 1939).
Provenance:
The Piedmont Garden Club facilitated the 2022 submission.
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 -- Maine -- Hancock County -- Bar Harbor
Scope and Contents:
The folders includes worksheets and photocopies of articles.
General:
Landscape designer Beatrix Farrand (1872 - 1959) spent her childhood summers at Reef Point on Mount Desert Island in Maine, a six-acre property with distinct garden rooms that featured native plants and panoramas of trees set against the ocean vista. According to landscape historian Judith Tankard the front of the half-timbered house supported flowering vines including clematis, jasmine, wisteria and hydrangea. A stone terrace facing the water had a rose garden complimented by gray foliage plants. In the acid soil banks of azaleas grew on slopes that led to the bay. There was an informal perennial garden sheltered by hemlocks, a vegetable garden, a small rock garden, a bog plantation, a large heather garden, and carpets of ground covers including bunchberry, ferns, trilliums, and ginger. Besides areas for seating and entertaining the grounds resembled an arboretum of spruce and Asian shrubs. Farrand inherited Reef Point after her mother's death and it became her permanent home in 1941.
Circa 1939 Farrand incorporated Reef Point Gardens as a botanical garden and reference library to be used by students of outdoor life and gardening. Her own professional papers and those of English garden designer Gertrude Jekyll were made available for study along with illustrations of European gardens that had influenced Farrand, thousands of books including English herbals, a herbarium of 1,800 plant species found at Reef Point, and the garden slides of garden architect Mary Rutherfurd Jay (1872 - 1953). The center was closed and the garden was dismantled by Farrand in 1955 due to lack of funds and a dearth of visitors to the area, which is near Acadia National Park. Farrand's and Jekyll's documents were sent to the University of California at Berkeley.
Persons associated with the garden include: Mary Cadwalader Rawle Jones (1850 - 1935) (former owner, 1882 until 1935); Beatrix (1872 - 1959) and Max (1869 - 1945) Farrand (former owners, 1941 - 1955); Arthur Rotch (1850 - 1894) & George Thomas Tilden (1845 - 1919) (architects, 1883); Beatrix Farrand (landscape designer).
Related Materials:
Reef Point related holdings consist of 1 folder (10 35 mm slides; 2 glass lantern slide)
Additional materials also located in University of California, Berkeley.
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.
