United States of America -- Connecticut -- Hartford County -- Hartford
Scope and Contents:
The folder includes worksheets, biographical information, photocopies of articles and a bibliography of background materials.
General:
The 4.79-acre property with a red brick Tudor influenced mansion built in 1913, and the grounds, were in disrepair in 1994 when the current owner gave it a name and began restorations. Mature trees including fruit trees were kept and augmented with more trees and shrubs in front of the house and in the center of the circular driveway. Many garden room designs were inspired by visits to gardens in England and Ireland, and garden features were acquired following visits to gardens in Europe and the American southwest. The owners added an outdoor kitchen to a patio with ornamental ironwork that had been built by the original owners in 1926. A nearby stone fireplace that is used year round was inspired by the outdoor fire pits in New Mexico. Three terraces or tiers divided by low stonewalls and new plantings connect the patio to the swimming pool. On the uppermost terrace there is a formal parterre garden with boxwood hedges and pincushion topiary. Grass walkways on the terraces are bordered by continuous blooms; lilies are favored and other perennials are added to extend bloom time. There is another patio with a hot tub, Adirondack chairs, and a stone lantern. A rustic arbor and stone steps lead to a lower garden and the vestigial Park River. The newest garden room close to the river is Asian-inspired, with Japanese cherry trees, dogwood, magnolia and weeping evergreen and a red painted footbridge over a stone 'river'.
On the north side of the property a restored former pony barn is used for storing garden tools. Nearby there is a new heated chicken house and vegetable garden with fruit trees enclosed by a white picket fence. A cutting garden with ironwork arches at each end has been added. Outside the kitchen there is a large herb garden, wall fountain on a gray fence, and a grape arbor on the site of a former dog pen. Other garden rooms include rose beds and a shade garden with hosta, fern, lily-of-the-valley and trillium. Flowering shrubs include lilac, mature rhododendron, and mountain laurel, the Connecticut state flower. There are extensive vines including eight varieties of clematis, three varieties of honeysuckle, trumpet vines and wisteria. Garden ornaments include a statue of Neptune next to the swimming pool, a tall angel on the patio near the outdoor kitchen, a large stone face set in one of the terraces, many planted containers and urns, and an armillary sphere.
Persons associated with the garden include: Charles A. and Ruth Cheney Goodwin (former owners, 1913-1953); Richard C. Levin (former owner, circa 1956-1970); W. Robert Lappin (former owner, 1970-1994); Benjamin Wistar Morris (1870-1944) (architect, 1913); Tony DiBatiste (gardener, circa 1913-1954).
Related Materials:
Scarborough Farm related holdings consist of 1 folder (53 digital images and 11 photographic prints)
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.
File consists of Levine, Richard "Who is Hare Krishna and why are they doing all those strange things on Fifth Avenue" and ISKON pamphlet "On Chanting Hare Krsna".
Collection Restrictions:
Access to the Ralph Rinzler Folklife Archives and Collections is by appointment only. Visit our website for more information on scheduling a visit or making a digitization request. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Collection Citation:
Ralph Rinzler papers and audio recordings, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Access to student records (consisting of graded materials and student recommendation letters), grant proposals sent to Harris for review by grant agencies, and part of his faculty recruitment files are restricted until 2081. Series 10. Computer Files are also restricted due to preservation concerns.
Collection Rights:
Contact the repository for terms of use.
Collection Citation:
Marvin Harris papers, National Anthropological Archives, Smithsonian Institution.
No access restrictions Many of SIA's holdings are located off-site, and advance notice is recommended to consult a collection. Please email the SIA Reference Team at osiaref@si.edu
Fleischman, Lawrence A. (Lawrence Arthur), 1925-1997 Search this
Extent:
3.8 Linear feet (Boxes 1-4, 7)
Type:
Archival materials
Date:
1949-1984
Scope and Contents note:
Correspondence includes letters exchanged between the Fleischmans and artists and colleagues including Aaron Bohrod, Charles E. Burchfield, Charles B. Culver, Philip Evergood, Earl Krentzin, John Marin, Jr., Abraham Rattner and Esther Gentile, Peter Pollack, Edgar P. and Constance Richardson, Charles Coleman Sellers, and Franklin Watkins. One letter from Charles E. Burchfield includes four etching plates used to create the color print of Hot September Wind.
The Fleishman's corresponded with many arts organizations, museums, and galleries, including the American Federation of Arts, the Archives of American Art, the Arts Commission of the City of Detroit, the Corcoran Gallery of Art, the Detroit Institute of Art, Kennedy Galleries, M. Knoedler and Co., Inc., Kraushaar Galleries, the Metropolitan Museum of Art, the Midtown Galleries, the Museum of Modern Art, the National Gallery of Art, the Pennsylvania Academy of the Fine Arts, the Philadelphia Museum of Art, the Smithsonian Institution, the School of the Society of Arts and Crafts, the United States Information Agency, the Whitney Museum of American Art, and the Winterthur Museum.
There are also a small number of letters each from Ivan Albright, Truman and Grace Bailey, Leonard Baskin, Herbert Bayer, Isabel Bishop, Louis Bouché, Frederic Castellón, Joseph Cornell, Jimmy Ernst, Lyonel Feininger, George Grosz, Joe Hirsch, Ben Kamihira, James Kearns, Norman Kent, Jack Levine, Richard Lippold, Reginald Marsh, John Paul Miller, Walter Tandy Murch, Alejandro Obregón, Guy Palazzola, Louis Pomerantz, Ruth Reeves, Reuven Rubin, Eero Saarinen, Ben Shahn, Charles Sheeler, Millard Sheets, Raphael Soyer, Richard Tucker, and William Zorach.
Arrangement note:
Correspondence is arranged alphabetically by recipient.
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
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:
Lawrence and Barbara Fleischman Papers, 1837-1984. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the digitization of this collection was provided by the Terra Foundation for American Art.
Letters from thirty artists to Sue Scott, Curator, Oklahoma Art Center, 1987-1988, concerning their work in the Westheimer Collection. This information was collected preparatory to an exhibition of the Westheimer Collection. Excerpts from the letters are used in exhibition catalog, a copy of which is included.
Correspondents include Karel Appel, Will Barnet, Gene Bavinger, Robert Beauchamp, Aaron Bohrod, Isabel Case Borgatta, Carolyn Brady, Roy Carruthers,Christin Couture, Rackstraw Downes, Don Eddy, John Fincher, Janet Fish, Rosalie Gwathmey, Paul Jenkins, Alex Katz, Josef Levi, David Levine, Jack Levine, Richard McLean, Ulisse Pagliari, Peter Paone, Philip Pearlstein, Joseph Raffael, Deborah Remington, Wade Reynolds, Larry Rivers, David Soyer,George Tooker, and Robert Vickrey.
Biographical / Historical:
Art museum curator; Oklahoma.
Provenance:
Donated by Sue Scott, Curator, Oklahoma Art Center, and author of exhibition catalogue on Westheimer Collection, 1988.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Contact Reference Services for more information.
