Posts filed under ‘Archives of American Gardens’
What better way to celebrate National Garden Month in April than to spend some time enjoying historic garden images from the J. Horace McFarland Company Collection! Thanks to a Smithsonian preservation grant, thousands of images from this collection at the Archives of American Gardens (AAG) were digitized recently and are now available online through the Smithsonian’s Research Information System (SIRIS). These images–produced by McFarland’s publishing firm which specialized in printing horticultural publications–are just some of the treasures found in AAG which is administered by Smithsonian Gardens and tasked with collecting historic and contemporary garden documentation as a means of preserving our garden heritage.
Very much a renaissance man, J. Horace McFarland (1859-1948) of Harrisburg, Pennsylvania,was a publisher, author, lecturer, horticulturist and authority on roses. As the first President of the American Civic Association—a position he held for 20 years—McFarland also advocated for effective civic planning and improvements throughout the U.S. during the Progressive Era (1890-1920) when living and community conditions called out for significant reforms.
McFarland’s printing company, Mount Pleasant Press, published many of the seed and nursery trade catalogs in the U.S. during the first half of the 20th century. The J. Horace McFarland Company Collection at AAG includes over 3,000 of the firm’s images, many of which were published in books, catalogs, newspapers, and journals.
The images document an extensive variety of gardens across the U.S. dating from the 1900s to the 1960s, everything from popular parks to small flower patches planted behind crowded urban row houses. Thanks to the broad range of private and public gardens photographed by the firm, the J. Horace McFarland Company Collection provides glimpses into historic trends and events of the times including World War II’s victory gardens and post-war neighborhood development. Images that show people working in or enjoying these gardens are especially captivating. In many cases the photographs are the only evidence left of certain gardens and public spaces.
This digitization project was timely since the photographs—which had been pasted onto brittle cardboard mounts –are fragile and subject to continued deterioration. Rather than scanning the thousands of photographs on a flatbed scanner—both a time-consuming and potentially damaging procedure—each was photographed with a Phase One digital camera under controlled lighting conditions. High resolution digital images are now readily available for research use and the need to handle the originals has been significantly reduced. We hope you get a chance to search the McFarland Company Collection online and enjoy the garden history that it documents.
– Joyce Connolly, Museum Specialist, Archives of American Gardens
March is a month of green: St. Patrick’s Day decorations, green buds appearing on the trees, and a new hint of green reappearing on our lawns. Patios, Pools, & the Invention of the American Backyard opens March 18th at the Elmhurst History Museum in Illinois. Let’s take a look back at American lawns through the years and our changing attitudes towards the green beneath our feet.
In his 1989 article “Why Mow?” Michael Pollan describes the American landscape as a carpet of green stretching in an unbroken line from the East Coast to the deserts of New Mexico to the most arid regions of Southern California. “Like the interstate highway system, like fast-food chains, like television,” he writes, “the lawn has served to unify the American landscape; it is what makes the suburbs of Cleveland and Tucson, the streets of Eugene and Tampa, look more alike than not.” Lawns are arguably the most prevalent garden feature in the United States.
Floral clocks started appearing in outdoor public spaces at the turn of the twentieth century. Not to be confused with botanist Carl Linnaeus’ flower clock which laid out a variety of flowers in a clock-like design according to the hour of the day they opened and closed, the floral clocks referred to here were large-scale timepieces placed amongst richly colored and contrasting carpet plants in elaborate patterns. Some worked like sundials, dependent on the sun to mark time, while others were fully functioning timepieces.
The design for one of the earliest floral clocks, at Edinburgh’s Princes Street Gardens, is credited to Parks Superintendent John
McHattie who arranged to have clockmakers Ritchie & Son install the necessary mechanical parts. When the clock began operating in 1903, it had only an hour hand; a minute hand was added the following year. The Princes Street Gardens’ floral clock featured a twelve-foot dial and hands created from long, shallow troughs of sheet metal planted with flowers. It was not only a work of ingenuity for masterfully combining the technology of clock making with the art of garden design, but also for the engineering it took to install the clock on a forty degree incline.
Floral clocks were regularly showcased at world’s fairs and in public spaces ranging from parks to cemeteries around the turn of the century. They were perfect for ornately planted Edwardian-era carpet beds that featured sometimes over-the-top figurative designs such as historic scenes, lettering, or coats of arms. In America there were floral clocks displayed on the slope of the Agricultural hill at the Louisiana Purchase Exposition. Water Works Park in Detroit Michigan featured a water powered floral clock and by 1948, America was home to the world’s largest floral clock in Fort Lincoln Cemetery in Brentwood, Maryland, which still operates today.
Floral clocks have their place as a trend or fad in gardening history and are wonderful examples of the use of technology in the garden. The ability of landscape architects, gardeners, and clock makers to collaborate on such beautiful and yet demanding pieces is what makes the floral clock so special.
-Jessica Brode, Archives of American Gardens Intern, Smithsonian Gardens
Original version of this post published on the Smithsonian Collections Blog.
We had a holiday visitor to Smithsonian Gardens – no, not the bearded one in a red suit, but a small hot-pink friend that decided to escape from our storage facilities in Maryland to see the sights in Washington, D.C. The halls have been decked and yards across the country decorated in their holiday finest. As a new year begins, and lights are put away with hopes they will not tangle between now and next December, we have a different kind of ornament on our minds—the lawn ornament. A very American invention which holds a special place in our hearts, right between their European cousin the garden gnome and classier sibling the armillary sphere, the pink flamingo is an icon of mid-20th century kitsch and consumerism.
In the landscape architecture world of the 1950s, designers sought minimal ornament and flowers, instead preferring expanses of grass, textured ground covers, and green, green, green. Poured concrete, fieldstone, hardscape, and geometric swimming pools provided a contrast to the verdant (and chemically-enhanced) lawns. However, this was also the decade of plastic everything as new materials and products flooded the market after World War II. Hula hoops, vinyl covers for lounge chairs, and yes, plastic lawn ornaments, were all within reach for the middle-class consumer eager to make their backyard a paradise for outdoor family living. Surprisingly, the pink flamingo lawn ornament was not invented in Florida, but by sculptor and designer Don Featherstone for the Massachusetts-based Union Products in 1957. Read more about the history of the pink flamingo here and here.
Patios, Pools, & the Invention of the American Backyard is a collaboration between the Archives of American Gardens and the Smithsonian Institution Traveling Exhibit Services. The exhibit explores the rise of outdoor living and modern garden design in 1950s-1960s United States. In December, the exhibit wrapped up a run at the Louisiana Old State Capitol in Baton Rouge. The museum curators asked visitors to decorate pink flamingoes to display throughout the Old Capitol during the length of the exhibit, and boy did adoring fans of the fuchsia fowl deliver in creativity. Look for the exhibit at two locations in Illinois, the Elmhurst Historical Museum and the Glen Ellyn Public Library, beginning in March 2016.
Did you have pink flamingoes decorating your yard as a kid, or do you have them now? We’d love for you to add your story or a neighbor’s story to our digital garden history archive, Community of Gardens. Anyone can add a story about gardens and gardening in America. Help us preserve our garden heritage, especially the history in our own back (and front) yards, lawn ornaments and all.
-Kate Fox, curator, Patios, Pools, & the Invention of the American Backyard
Note: the January 23rd program at Purcellville Library has been canceled due to inclement weather. See you on February 6th!
As you kick back with your seed catalogs and a mug of hot tea this winter, dreaming of summer blooms and bounty, take a moment to think about the important role gardens play in our lives. Gardens are a place to relax, enjoy nature, exercise, express our artistic sides, and spend time with family and friends. Whether it’s roses, heirloom string beans, or perennials you’re growing, gardens tell us something about ourselves and our personal history. If you’re itching to get outside but the ground is frozen solid, consider taking a moment during the down season to share your garden story with our digital archive, Community of Gardens. It could be an interview with a neighbor who gardens, the memory of your grandfather’s peonies, the history behind the apples grown on a family orchard, or the retreat in your own backyard.
Local gardeners, join us in preserving our garden history for future generations! Smithsonian Gardens and the Purcellville Library are teaming up for the first-ever Community of Gardens story drive. Join us for two events at the Purcellville Library this winter:
Community of Gardens: History in our Gardens
- Saturday, January 23, 2 p.m. Cynthia Brown, Smithsonian Gardens education manager, will give an overview of the Community of Gardens program and how gardeners can help the Smithsonian preserve everyday garden history at this kick-off event.
Community of Gardens: Harvest
- Saturday, February 6, 2 p.m. Bring your photos and memories of gardens, family farms, and orchards. In collaboration with the library we will be scanning photos and saving stories to capture personal stories of gardens and their importance in American life.
Both of these free events take place at the Purcellville Library: 220 East Main Street, Purcellville, Virginia, 20132.
Not able to make it? You can participate by submitting your garden story (or your neighbor’s, your mother’s, or your grandfather’s) online at communityofgardens.si.edu.
Within Smithsonian Gardens is the Archives of American Gardens, a repository dedicated to collecting documentation on historic and contemporary American gardens. AAG was founded in 1987, the same year the Garden Club of America (GCA) donated its extensive slide collection documenting American gardens throughout history to the Smithsonian Institution.
Thanks to a GCA scholarship, I was able to join AAG for a 10-week Garden History and Design Internship this summer. Prior to this internship, I knew little about this archive or its collections. Nevertheless I was eager to learn more about AAG and Smithsonian Gardens plus excited to have an internship with the Smithsonian Institution in Washington, D.C. My name is Kathryn Schroeder and this past May I received a Master of Library and Information Science and Graduate Certificate in Archival Administration from Wayne State University in Detroit, Michigan.
Right away, I was happy to see that my internship would be a diverse experience working on a variety projects exposing me to much of what AAG does. One of the main projects I worked on was processing the Mary Riley Smith Collection. Smith, a Manhattan-based landscape designer, laid out scores of private and public gardens including design work and supervising installation of planting beds at the Cooper Hewitt National Design Museum in New York City for 20 years. I went through the collection folder by folder, noting the client or garden name, location, and folder contents in an inventory. In addition, I re-housed the materials and photocopied certain items for preservation purposes. Utilizing the knowledge I acquired of the collection during this process, I wrote a scope and contents note describing the collection as well as a biographical note about Mary Riley Smith. These notes will be incorporated into a comprehensive finding aid for the collection so interested individuals can learn more about it.
Having specialized in digital content management during my graduate program, digitization is something that greatly interests me. I was able to apply this interest during my internship by digitizing letters from the W. Atlee Burpee & Company Records. The letters I digitized were from a 1925 contest where customers shared their success stories using Burpee’s seeds. These digitized letters will be uploaded to the Smithsonian Transcription Center where they will be available for transcribing by virtual volunteers whose efforts will enable them to be readily searchable online.
I also had the opportunity to catalog digital images documenting gardens submitted to AAG by volunteers from the Garden Club of America. Using a database designed for cataloging, I created records describing the garden as a whole as well as specific sections of it. The records I created are now available to the public on SIRIS, an online catalog containing millions of records describing holdings in the Smithsonian collections. Another exciting aspect of my internship was researching the history behind a number of garden features and writing ‘One Minute Reports’ to be distributed to GCA chapters across America, blogs, and social media posts. This enabled me to become more familiar with gardening, a subject I did not know much about prior to my internship. I particularly enjoyed researching and writing about the history of swimming pools.
The various projects I worked on throughout my internship allowed me to acquire skills and knowledge that will be valuable tools as I advance in my career. I am grateful that I had the opportunity to spend 10 weeks with the Archives of American Gardens and Smithsonian Gardens, and thoroughly enjoyed my time in Washington, D.C.
–Kathryn Schroeder, Summer 2015 GCA Garden History and Design Intern, Archives of American Gardens
We continue our June #ThrowbackThursday theme of mid-century matrimony with a fun project that combines two of our favorite trends from the 1950s: DIY and classic backyard flowers. Melanie Pyle, Smithsonian Gardens horticulturist, shows us how to create a do-it-yourself wedding bouquet. We peeked into the special collections of the Archives of American Gardens, finding inspiration in the bright and cheery seed catalogs of the W. Atlee Burpee & Company Collection. Melanie carefully chose classically beautiful flowers reminiscent of those found growing in grandma’s backyard garden, such as snapdragons and football mums. Our new traveling exhibit Patios, Pools, & the Invention of the American Backyard explores the do-it-yourself trend, flowers, and outdoor living in the years after World War II. It opens at the Tampa Bay History Center this Saturday, June 20th.
Flowers have played an essential role in weddings throughout history as symbols of love, chastity, hope, and beauty. The practice was not truly institutionalized as a marriage custom until Queen Victoria’s wedding to Prince Albert in 1840. Victoria wore a simple headdress of orange blossom, with additional blossoms trimming her dress, which in turn became a favorite flower for Victorian and Edwardian brides. Though she was not the first bride to wear white, her wedding cemented the popular and ubiquitous tradition of wearing of white for brides in the Western world.
Of course, many brides have taken the traditional bouquet and made it their own, with unique twists. The June 22, 1942 cover of Life magazine featured a bride carrying a bouquet composed of ten-cent to five-dollar war stamps, which could be used to buy a twenty-five dollar bond. According the article on “furlough brides” the bouquet was first popularized in the Midwest and became all the rage nationwide—they sold for the cost of stamps plus the time taken to craft the bouquet or bridesmaid corsage. It was just one of the many ways wartime brides made-do and supported the war effort, from dresses with shorter hemlines that used less fabric to hurried weddings between deployments.
Bouvardia, white orchids, and gardenias were popular choices for wedding bouquets in the 1940s and 50s, as well as a simple palette of white and pink. Shirley Temple carried both bouvardia and orchids in her 1945 wedding and Jacqueline Kennedy carried orchids, gardenias, and stephanotis in her 1953 wedding to John F. Kennedy. Our bouquet runs with the white and pink palette, but subs out the fancy flowers for the more down-home feel of backyard blooms. Hippie culture loosened up the traditional formal bouquet in the 1960s and 1970s, favoring “common” flowers such as daisies. Today, anything goes, from a farm-fresh locavore bouquet to one made of felt flowers to no bouquet at all.
Flowers: Melanie chose flowers that were commonly grown in backyard gardens in the 1950s and 1960s, taking inspiration from the vintage W. Atlee Burpee & Company seed catalogs in the Archives of American Gardens. Wholesale flower sellers and farmers’ markets are great places to start when sourcing flowers for your bouquet.
Dusty pink stock
White football mums (chrysanthemums)
Pale pink carnations
Small pieces of tulle
- Prepare your flowers by removing the bottom leaves from the stems.
- Wrap flowers with larger blooms and floppier stems (the mums and stock) with floral wire, starting at the top, and hiding the mechanics by wrapping the stems with floral tape. Leave four to five inches of exposed stem at the bottom.
- Trim the stems. Using a pen knife, rest the stem on your index finger with your thumb on top and carefully cut the stem from bottom upwards at angle and away from you. The angle allows the stems to soak up more water. Trim about two inches off the stem.
- Choose two or three favorite flowers to anchor the bouquet.
- Begin to make a bunch around the anchor flowers by adding more flowers and greens, turning your bouquet as you add more flowers or greens. This is an opportunity to play with texture, height, and color based on your flower choice! A looser bouquet will have a more informal feel, and a tighter, rounder bouquet a more classic look.
- Pause for a moment and take a look at your bouquet from all angles. Do you need more flowers? More greenery?
- When you are happy with the size of the bouquet, surround the base of the arrangement with pieces of white tulle and secure with floral tape.
- Starting where the tulle is attached to the stems, wrap the stems with floral wire, leaving about two inches of exposed stem at the bottom. Conceal the mechanics with floral tape.
- Take your satin ribbon and starting at the topmost part of the floral tape, making sure none is showing, tightly wrap the ribbon down the length of the stems. Secure with a pin two inches from bottom, hiding all floral tape. Push the pin towards the stems at a slight angle. It may take a few tries to get it to stick.
- Using a second piece of satin ribbon, tie a bow around the base of the bouquet and attach with a pin.
There you go! A beautiful backyard bouquet, inspired by the gardens of the 1950s. What types of flowers were growing in your backyard in the 1950s? Do you remember the flowers from your wedding bouquet or boutonnière? Did the flowers you chose have a special significance to you?
-Kate Fox, Patios, Pools, & the Invention of the American Backyard curator and Melanie Pyle, Smithsonian Gardens horticulturist