United States of America -- Maine -- Hancock County -- Bar Harbor
Kenarden (Bar Harbor, Maine)
Date:
1930
Scope and Contents note:
The folders includes worksheets, historical information about the property, and a garden tour description.
General note:
The original gardens at Kenarden were designed by landscape architect Beatrix Jones Farrand (1872-1959) early in the last century and have been restored and replanted by the current owners. The gardens include a formal rose garden with boxwood edging that has a contemporary Lunaform urn at its center. The fomal sunken Italianate garden's balustrade and pergola were replicated by garden designer Dennis Bracale, and the flower beds were replanted. Urns created by Eric Ellis Soderholtz in the early 20th century are in situ in the Italianate garden as well as around the residence. Large cutting and vegetable gardens were installed in the same location as the historic gardens, alongside greenhouses. Many of the original outhouses remain on the property as well as mature specimens including a Japanese umbrella pine, a very large hawthorn tree, a mature gingko, and very mature pieris, kalmia and rhododendron. An iron fence surrounding the property was added with new perimeter plantings. The drive from the main entrance cuts through native woods that are maintained as a decorative feature.
Kenarden Lodge was one of the original summer properties built at the end of the 19th century in Mount Desert, Maine. The turreted mansion with its own electrical plant designed by New York architects Rowe and Baker in 1892 was torn down in the 1960s and another house was built in its place circa 1970 by the architectural firm Carroll, Grisdale & Van Alen. The first owner of the property was financier John Stewart Kennedy; the estate was sold in the 1930s to Ethel Mallinckrot Dorrance, widow of Dr. John Thompson Dorrance, a chemist at Campbell who invented condensed canned soups.
Encouraged by Beatrix Farrand, Eric Ellis Soderholtz switched from photography to manufacturing garden urns and other ornaments, some of which remain at Kenarden.
Persons associated with the garden include John Stewart Kennedy and members of the Kennedy family (former owners, 1892-1933); Ethel Mallinckrot Dorrance (former owner 1933-1958); Ethel Dorrance Colket (former owner 1958-1966); Rowe and Baker (architects of original house, 1892); Beatrix Jones Farrand (landscape architect, circa 1915); Carroll, Grisdale & Van Alen (architects of current house, 1970-1972; firm in business 1946-1973 ); AB & JR Hodgkins, Inc. (builders of current house, 1970-1972); Dennis Bracale, Gardens by Design (landscape designer).
See others in:
Garden Club of America Collection, ca. 1920-[ongoing].
Holdings:
Kenarden related holdings consist of 3 folders (36 35 mm. slides; 15 digital images.; 4 photographic prints; 3 glass lantern slides)
Collection Restrictions:
Access to original images 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:
For information or study purposes only. Use or copyright restrictions may exist. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens.
The folder includes worksheets and photocopies of articles.
General:
Like other great country houses in England Wilton House has been expanded and rebuilt over the centuries, with contributions from some of the most renowned architects working in the Palladian style. The gardens have evolved as well: in 1645 designer Isaac de Caus published etchings of his newly styled French formal Wilton Garden, set within the 21 acres of parkland that comprised the estate gardens. Features included elegant parterres bordered with clipped hedges, balustrades, galleries, statues, fountains, colored gravel walks and other walks under trellised vaults and pavilions. One natural feature left untouched was the River Nadder, and this became identified as in the English style as opposed to the highly ordered great gardens of the Continent. In the next century a footbridge based on Palladio's design for the Rialto in Venice was built over the river. The bridge complements the Palladian style house designed by architects Inigo Jones and his son-in-law John Webb. In the early 19th century architect James Wyatt re-used the provincial baroque carved limestone façade of the grotto at the end of the Great Walk, installing it on a building on the grounds known as the Old Schoolhouse. Wyatt also relocated on the grounds a 16th century porch from the earlier version of the main house, attributed to artist Hans Holbein.
The parterre was demolished and replaced by lawns, and contemporary gardens include a water garden, an Oriental garden area with linked ponds crossed by Chinese style red bridges, and a rose garden. Other public facilities include an adventure playground and a garden center. The current Earl of Pembroke and his family still own Wilton House and reside there. Wilton House was visited by Thomas W. Sears in 1908 and by the Garden Club of America's June 1929 tour to England. A complete copy of the GCA tour itinerary was printed in the Bulletin of the Garden Club of America (Fourth Series, No. 5), September 1929, pp. 6-25.
Persons associated with the garden include First through 17th Earls of Pembroke, Herbert family (owners since circa 1550); Isaac de Caus (1590-1648) (garden designer, 1632-1633); Inigo Jones (1573-1652) and John Webb (1611-1672) (architects, circa 1633-1647) and James Wyatt (1746-1813) (architect, circa 1805).
Related Materials:
Wilton House and Vicinity related holdings consist of 1 folder (14 glass negatives; 4 lantern slides)
See others in:
Thomas Warren Sears photograph collection, 1900-1966.
Collection Restrictions:
Access to original images 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.
Topic:
Gardens -- England -- Wiltshire -- Wilton 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.
This donation consists of the two booklets written by Rufus Porte on aerial navigation.
Scope and Contents:
This donation consists of the following two booklets written by Rufus Porter: 1) 'Select Collection of Valuable and Curious Arts and Interesting Experiments which are well Explained, and Warranted genuine, and may be Performed Easily, Safely and At Little Expense,' Concord (New Hampshire), J.B. Moore Printers, 1826; and 2) Aerial navigation: The Practicability of Traveling Pleasantly and Safely from New York to California in Three Days, Fully Demonstrated: With a Full Description of a Perfect Aerial Locomotive, with Estimates of Capacity Speed and Cost of Construction,' New-York, Published by H. Smith, John Hall Printer, 222 Water Street, 1849.
Arrangement:
This collection is arranged at the item level. One of the two items has been digitized.
Biographical/Historical note:
Rufus Porter (1792-1889) was the inventor of an airship 'the Aerial Locomotive' in the early 19th century. The original design for the airship was produced in 1820. In 1850 Porter organized a stock company to obtain funds for experimental purposes that failed to receive sufficient funds. Porter also invented a revolver, a horse power wood sawing apparatus and other mechanical devices. He was publisher of 'The New York Mechanic' and one of the founders of 'Scientific American.'
Provenance:
Robert B. Stephens, Gift, 1991, NASM.1991.0033
Restrictions:
No restrictions on access
Rights:
• Material is subject to Smithsonian Terms of Use. Should you wish to use NASM material in any medium, please submit an Application for Permission to Reproduce NASM Material, available at Permissions Requests.
Series 9, Published Files, 1982-1994, are closed for thirty years from the date of the last correspondence in the individual folder. They may be opened, on a case-by-case basis, through appeal to the SHOT Editorial Committee.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning intellectual property rights. Archives Center cost-recovery and use fees apply when requesting reproductions.
Collection Citation:
Society for the History of Technology Records, Archives Center, National Museum of American History, Smithsonian Institution
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:
Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974. Archives of American Art, Smithsonian Institution.
Sponsor:
Processing of the collection was funded by the Getty Grant Program; digitization of the collection was funded by the Samuel H. Kress Foundation and the Terra Foundation for American Art. Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee.
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