United States of America -- Pennsylvania -- Philadelphia County -- Philadelphia
Scope and Contents:
The folder includes a worksheet, narrative description of the garden and its history, and an abbreviated garden plan.
This 140,000 square-foot community garden site is located at the northern edge of the Susquehanna Greene Countrie Towne, a low-income community in north central Philadelphia. Initiated in 1983 with assistance from the Pennsylvania Horticultural Society's Philadelphia Green program, the garden has been developed by the neighborhood on the former site of a warehouse complex destroyed by fire. By the third season in 1986 between 80 and 90 vegetable plots were flourishing. Two primary coordinators, both retired men, have handled the work in the common area, with the support of several other volunteers. They set up the wire fence, paths, raised beds, sheds, and watering system. The boards used for the raised beds and bricks for the pathways were recycled from a number of buildings being demolished in the area. Philadelphia Green provided fencing, a watering system, gravel, soil, woodchips, a paved driveway, trellis, a patio, plants, and benches. Although the garden was initially focused on vegetables, in 1990 plans were implemented for the East Hill, filled with trees, shrubs, and perennial flowers, set among boulders for dramatic effect. A pergola was erected as the entrance to the hillside garden, and additional plants were donated from exhibits and the Philadelphia Flower Show. In 1992, the commissioner of the Department of Licenses and Inspections entered into an agreement with the gardeners under which he put a caboose from his personal train collection along the back of the garden in exchange for replacement of fencing along two sides of the garden.
The group is well-organized, with elected officers and written by-laws. The gardeners are mostly in their 60s and 70s, while a few younger ones are in their 30s and 40s. Many of the gardeners are former residents of the neighborhood who travel back to Glenwood to work a garden plot each year. The community at large is supportive of the garden, which has won many prizes in the City Gardens Contest. The gate is never locked and visitors are often treated to the harvest and favorite recipes. The gardeners are renowned for their huge feasts in the summer when everyone is welcomed. The gardeners of Glenwood Green Acres have hosted Philadelphia Green workshops on many occasions. A special intergenerational project was conducted there in 1990 introducing youngsters to the heritage of southern agriculture. Demonstration plots of tobacco, cotton, and peanuts are still grown there.
Glenwood Green Acres related holdings consist of 1 folder (6 35 mm. slides)
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The papers of Boston area painters Esther Baldwin Williams and daughter Esther Williams measure 2.1 linear feet and date from 1887 to 1984. The scattered papers of both women include biographical information, personal business records, correspondence, writings and notes, two diaries, four sketchbooks, printed materials, photographs, and one photograph album.
Scope and Content Note:
The papers of Boston and New York area painters Esther Baldwin Williams and daughter Esther Williams measure 2.1 linear feet and date from 1887 to 1984. The scattered papers of both women include biographical information, personal business records, correspondence, writings and notes, two diaries, four sketchbooks, printed materials, photographs, and one photograph album.
For clarity, Esther Baldwin Williams and Esther Williams are referred to by their proper names throughout this finding aid.
Biographical information includes a membership card to the Rockport Art Association for Esther Williams and a biographical sketch of Esther Baldwin Williams
Personal business records include receipts for purchases of artwork by Esther Baldwin Williams, banking documents, exhibition entry forms and sales receipts for Esther William's works.
Correspondence includes incoming letters and drafts of outgoing letters. The majority of the correspondence is that of Esther Williams, including a considerable amount of letters to her parents. There are letters to Esther Williams from her friends Louis Eilshemius, Furman J. Finck, and Leon Kroll, and both Grace Horne Galleries and Kraushaar Galleries. Esther Baldwin Williams' correspondence includes personal letters from Maurice Prendergast.
Writings and notes include two diaries kept by Esther Baldwin Williams that date from 1892 until 1902 and cover her life in Paris and later in Boston. Some of the diary pages are illustrated with sketches. The series also includes scattered notes, including Charles Prendergast's Notes on Formula of Ebonizing Technique.
There are four sketchbooks, likely by Esther Baldwin Williams, of pencil and watercolor sketches of cats, babies and children, orchestral scenes, portraits, and architecture.
Scattered printed materials include a copy of Cezanne's Studio given to Esther Baldwin Williams by Maurice Prendergast, a copy of a family history by Nadia Williams, exhibition announcements and catalogs, clippings, and miscellany.
There is one photograph of an unidentified work of art and a circa 1900 family photo album with mostly unidentified photos of babies, children, and family members.
The collection is arranged as 7 series:
Series 1: Biographical Materials, 1942-1979 (2 folders; Box 1)
Series 2: Personal Business Records, 1893-1966 (9 folders; Box 1)
Series 3: Correspondence, 1887-1961 (0.7 linear feet; Boxes 1-2)
Series 4: Writings and Notes, 1892-1947 (0.2 linear feet; Box 2)
Series 5: Sketchbooks and Sketches, circa 1900 (0.2 linear feet; Boxes 2-3)
Series 6: Printed Material, 1883-1984 (0.2 linear feet; Box 3)
Series 7: Photographs, circa 1900-circa 1920 (0.3 linear feet; Boxes 3-4)
Esther Baldwin Williams (1867-1964) and her daughter Esther Williams (1907-1969) were painters active in Boston, Paris, and New York City.
Esther Baldwin Williams was born Esther Mabel Baldwin on December 11, 1867 to a prominent Boston family of artists. She began her art education under her uncle Joseph Foxcroft Cole and worked with her cousin Adelaide Chase Cole. Adelaide and Esther shared a studio in Greenwich Village in 1888. The two cousins also traveled to Paris in 1877 and 1891 to paint. Esther Baldwin concentrated on portraiture and often painted the women in her social circle.
Esther Baldwin became engaged to Oliver Williams in 1898. They married and moved to 96 Beacon Street in Boston where they raised their children, Oliver, Thomas, and Esther. Around 1900, the Williams met Maurice and Charles Prendergast. Esther became a friend and patron of Maurice and the two shared a studio for some time and exchanged letters. Esther Baldwin continued to work in portraiture, focusing her work on her children and relatives and did not pursue a professional career. In addition to painting, Esther Baldwin and Oliver Williams inspired a passion for music in their children.
Born in 1907, Esther Williams inherited her mother's interest in the arts. Unlike her mother, she desired a professional career as a painter. She first studied at the Museum of Fine Arts School, Boston in 1925 and later went to Paris to study under Andre Lhote. Upon returning to the United States, she moved to New York City and enrolled with the Art Students League. She married Roland Joseph McKinney, director of the Baltimore Museum of Art and the Los Angeles County Museum.
Esther Williams is known for her portraits, paintings of flowers, circus and orchestra scenes, and for her impressionistic style. She was represented by Grace Horne Gallery in the 1930s and switched to Kraushaar Galleries in 1940.
Esther Baldwin Williams died in 1964. Her daughter, Esther Williams died shortly thereafter in 1969.
Among the holdings of the Archives of American Art are the papers of Esther William's husband Roland Joseph McKinney.
The Esther Baldwin Williams and Esther Williams papers were donated in two installments by Peter McKinney, step-son of Esther Williams in 1974 and by Nadia Williams, Esther Baldwin William's daughter-in-law in 1985.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
Unrestricted research use on site by appointment. Photographs must be handled with cotton gloves unless protected by sleeves.
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
PUEBLO: Taxipehual; LOCALIDAD EXACTA: Brecha a Taxipehual aproximadamente a medio camino de la desviación al puente, por el lado de la carretera., Cuetzalan del Progreso, Puebla, México, North America - Neotropics