Here's an encore blog from my visit to Virginia last year. This one originally ran on June 9th, 2021.
I always try to make the most of every business trip I take - visiting gardens and other interesting places that inform and inspire me.
Earlier this spring, during a brief visit to Northern Virginia for a garden club appearance, I stopped in Upperville, to tour the former estate of prominent philanthropists, Paul and Rachel "Bunny" Mellon. The 700 acre property includes the Main Residence, gardens, and the Oak Spring Garden Library - all maintained by the Oak Spring Garden Foundation. OSGF is a nonprofit organization created by Bunny and dedicated to sharing her gifts and ideas. Its main mission is to support and inspire fresh thinking and bold action on the history and future of plants, including the art and culture of plants, gardens and landscapes.
Enjoy these photos.
Paul and Bunny Mellon maintained residences in Europe, North America and the Caribbean, but their primary home was this estate in Upperville, Virginia called Oak Spring Farm. This is the front facade of the home. An Asian pear tree is espaliered against the front wall. (Photo by Max Smith, Oak Spring Garden Foundation)
This is a view into the brick hallway in the Mellon’s residence and the front door.
Outside the Dining Room is this display of ceramics belonging to the Mellons. Most of Mrs. Mellon’s ceramics were sold at Sotheby’s after her death in 2014, but a selection of pieces were kept and used here.
Paul Mellon was the son of Andrew Mellon, one of the longest-serving U.S. Treasury Secretaries. Here are Andrew’s monogrammed place settings in the Dining Room. Embroidered linens were designed by Hubert de Givenchy.
This is a facsimile of “The Melon” by Edouard Manet, c. 1880, oil on canvas in the Dining Room at Oak Spring. The original was donated to the National Gallery of Art by Paul and Bunny.
This is the Blue Kitchen, or Sunday Kitchen, at Oak Spring. Portuguese tiles, featuring Bunny’s signature blue diamond patterned floor, are beautifully maintained. The windows offer great views of the garden.
Here is a statue of Mill Reef in the Broodmare Barn courtyard. Mill Reef was probably Paul Mellon’s most successful racehorse. He raced in Europe between 1970 and 1972, where he won the Epsom Derby, the Eclipse Stakes, the King George VI and Queen Elizabeth Stakes, and the Prix de l’Arc de Triomphe.
Here is a topiary American Holly tree standing over planting beds shaped like butterflies and a small reflecting pool. Bunny Mellon developed a love of plants and gardens at a young age. She began collecting botanical books when she was just 10 years old. She also loved garden design. In fact, you may know that Bunny designed gardens for some of her dearest friends, including the Rose Garden and the East Garden at the White House for Jacqueline Kennedy.
Many of Bunny’s garden designs at Oak Spring remain intact. Tulips and Narcissus line the beds surrounding the square garden. This view looks south toward the Mellon’s residence.
This tree is Malus ‘Katherine’. Malus is a genus of about 35 species of deciduous trees and shrubs from Europe, Asia and North America. The name comes from the Latin for apple. ‘Katherine’ is an upright, spreading crabapple that matures to 20 feet tall. It was discovered as a chance seedling in Rochester, New York in 1928. Pink buds open to pinkish-white, double flowers in spring, then fade to white. The flowers are followed by greenish-yellow crabapples blushed with red that mature in fall and persist into early winter.
Here’s a view toward the schoolhouse along the wall beds. Tulips fill out the wall beds on the northern side of the garden. Apple trees are trained against the wall in the candelabra style of espalier.
A burbling fountain extends from the wall of the Honey House and feeds a linear stream that cuts across a portion of the garden adjacent to the croquet lawn.
Inside the Honey House is a carved stone bird bath by William Edmondson (c.1874-1951), the first African-American folk art sculptor to have a solo exhibition at the Museum of Modern Art in New York City.
Here’s an arrangement of baskets on the ceiling of the Mellon’s Basket House. When Mrs. Mellon was alive, this room was a place for rest and relaxation. It is now used as a meeting and education space for visitors to the Oak Spring Garden Foundation who come to participate in workshops, short courses, and other programs.
This is a reflecting pool in front of the Formal Greenhouse. Sitting at the end of the pool is the Cake House – a gazebo so named because it was used to shade the wedding cake when Bunny Mellon’s daughter, Eliza Lloyd, married Derry Moore, the 12th Earl of Drogheda in 1968.
Looking directly up at the vaulted ceiling in the central room of the Formal Greenhouse is this decorative chandelier.
The central room of the Formal Greenhouse is surrounded with a mural in the trompe l’oeil style by the french artist Fernand Renard. The work was commissioned by Bunny and serves as a sort of visual biography of her, depicting many real world objects she owned and things about which she was so passionate.
Sometimes the real physical objects in the greenhouse can be hard to distinguish from the objects painted on the walls. Look closely…
A few feet further is the inside of the Formal Greenhouse – still filled with plants.
Back outside – a replica finial on top of the Formal Greenhouse. The original was designed by the Tiffany artist-jeweler Jean Schlumberger. Exposure to the elements and deterioration led to the original being taken down for conservation in 2018. It is now on display in the nearby Oak Spring Gallery.
This is the main gallery of the Oak Spring Garden Library. The library contains around 19,000 rare books and objects relating to plants, gardens, and landscapes – some dating back as early as the 14th century. The library was built close to the home in 1981 as a gift from Paul to Bunny. It was expanded in 1997 to contain her growing collection of books, manuscripts, and art. Mrs. Mellon’s wish was that this collection continue to be a resource for scholars after her death. In 1993 she established the Oak Spring Garden Foundation with the purpose of maintaining and sharing those collections. (Photo by Max Smith, Oak Spring Garden Foundation)
And here’s the original Greenhouse Finial on display. It is being featured as part of an exhibit about its designer, Jean Schlumberger, and his creative partnerships with Bunny Mellon.
Here, OSGF Head Librarian, Tony Willis, shows me a selection of works from the Oak Spring collections by exceptional women artists. (Photo by Max Smith, Oak Spring Garden Foundation)
This view from the Road of Rokeby shows the Blue Ridge in the background. This was the Mellon’s first foothold in Virginia, purchased in 1931 by Andrew Mellon for his son, Paul. Here you can also see the mile-long airstrip that the Mellons used for their private jet.
And this is one of Oak Spring’s most recognizable features – the arbor of pleached Mary Potter crabapple trees. In mid-April, the trees bloom, filling the arbor with soft white blossoms. When they begin to fall, it is like a snow flurry – I am sure it is breathtaking. The Oak Spring Garden Foundation is not open to the public for general admission, but its facilities are used to host researchers, artists, and writers who come through a Fellowship or Residency program. The OSGF also hosts short courses and workshops relating to plants, gardens, and landscapes. Please go the web site at OSGF.org to learn more.
Here's an encore blog I originally posted after a memorable visit back to Turkey Hill, my former home in Westport Connecticut, in June of 2017.
I am so happy to share photos with you from my very special visit to my former Connecticut home.
Over the weekend, I traveled about 30-minutes to nearby Westport and to Turkey Hill, the place I called home for more than 30-years. I was invited there to lead a tour and to speak at a fundraising event for Positive Directions, a community-based, not-for-profit organization offering alcohol and substance misuse prevention and counseling services. Casey Berg, the current owner of Turkey Hill, is a member of the Positive Directions Board. Of course, I was thrilled with the opportunity and excited to see how my old home had changed. As many of you know, Turkey Hill was a dream place for my family and me. I learned so much from all the work we completed there - all by ourselves, without the use of outside contractors. We restored the home, built new structures, developed the landscape and designed the gardens and borders. Turkey Hill was my original farmhouse and my first 'laboratory', where my ‘empire’ began. It's been featured in my magazines and on my television shows. I would not be who I am today without the vast knowledge I gained at Turkey Hill.
The Berg family made what I started even better - the home and the gardens look amazing. I am so happy this special place is in their care. Here are some images from my wonderful visit. And please tell me what you think about Turkey Hill's evolution in the comments below - I'm excited to hear from all of you.
Here I am with Casey Berg, who moved to Turkey Hill with her family 10-years ago.
I love how much this antique farmer’s home has evolved over the years. When I first heard about this house, I learned it had once been an onion farm. It was on two acres, and had a few large trees. There was no garage or barn, just an old picket fence and an unkempt yard. My husband and I did a ton of work to create what became my “laboratory”.
As part of the tour, I hosted a special Facebook LIVE to show the evolution of Turkey Hill. Here we are at the front entrance.
Inside the foyer, we saw several photos of Turkey Hill. This picture is of my garden shed down by the barn.
I laid the wide path of antique brick that leads to the cherry tree – one of a dozen we received from Japan. And I planted a broad allee of boxwood on both sides. The boxwood shrubs still look great.
This purple beech tree was definitely not this large when I planted it. It was a gift to my husband, Andy, for his 40th birthday. It looks so majestic now.
And, I built the roof for the well. We did so many things without the use of any contractors. This home was where I experimented and learned. My husband and I did lots of excavating and sculpting of the land – we also constructed a barn, a chicken coop, and a garden shed.
This indoor porch is also the same – with all the wonderful glass doors. I painted Turkey Hill the color of drabware – the Bergs chose a similar and very pretty color as well – it matches the landscape so nicely.
Here is a view of the home from the far end of the pool. The new pool at my Bedford, New York farm, was inspired by this pool.
Here is the pool from the other end – so serene.
This hornbeam hedge allee is new to me – I love it. It is a nice addition to the garden.
At the end is a simple sitting area under the shade of a beautiful apple tree.
And this is the flower garden. In the center is an armillary sphere – a model of objects in the sky consisting of a spherical framework of rings that represent various features of astronomy.
The garden still has a many pretty flowers and colors – the poppies, and alliums, and irises. When I designed the gardens, I considered structure, texture, and varied plant material. It is so full and gorgeous.
Here is another stunning floral border.
Much of the pool area has not changed – I love all the layering of the foliage – everything has just grown so much over the years.
The iron arches were originally made by my brother. The Bergs kept them and just painted them a different color. I love all the pathways and all the grass – everything is so lovingly maintained.
Here is another beautiful arbor leading into another garden.
Here is the orchard, located beyond the garden and pool on the way to the barn.
This is my first gardening book, “Martha Stewart’s Gardening: Month by Month”, published in 1991. The Bergs keep it on a table in their den.
The Bergs connected the carriage house to the main house. This den is part of that new addition.
Here is the old fireplace in my kitchen – one of seven in the home. I spent so much time stripping this of all the old paint – it was so great to see again. On the left side is a dutch oven, which still works.
This wall of cabinets was part of Turkey Hill when I lived here – my goal was to have enough space for all my entertaining dishes and silverware.
This is a view looking at the back of the house with the expansive porch.
Here I am joined by Casey, and the Bergs’ architect, John Fifield, of Fifield Piaker Elman Architects, PC. John did such a fine job melding the old with the new – and borrowing the exterior details and proportions to form the existing house so it feels like it was always there.
Here I am with landscape architect, Chris Kusske, of Kolkowitz and Kusske. He did a fabulous job with the gardens. Chris said his goal was to make Turkey Hill more usable for the Bergs while respecting the existing garden beds.
Here is Levi, who started working for me in 1982. He continued to work at Turkey Hill after I moved to Bedford, and has kept all these gardens looking so amazing over the years.
As we continued the tour – many visitors arrived. Look closely and you can spot my longtime publicist and dear friend, Susan Magrino.
And, I am sure you all recognize Laura. She started working for me here at Turkey Hill – she loves this property so much. She came for this special tour. On the ledge is my four-month old puppy, Empress Chin – she is growing into a gorgeous Chow Chow.
Here is Levi working in the flower garden.
I showed guests this special tree – can you see why it is so special?
If you look closely, these branches connect from the trunk to a heavier, older limb, and actually keep it from breaking. I have never seen a tree like this.
This is Jose – he helps Levi with all the gardening. Does he look familiar? His brother is Wilmer, who works at my farm.
After touring the gardens, we walked passed the hedges toward the shed and barn.
Here is my old garden shed – it is where I said something very special – do you know what phrase I coined in this structure?
This is Lynn Abramson, chairman of the Board of Positive Directions, a community-based, 501(c)(3) not-for-profit located in Westport, Connecticut. It is the primary provider of alcohol and substance misuse prevention and individual counseling services. She welcomed everyone for attending and spoke a bit about the organization.
About 100-people arrived to hear my garden talk.
It was such a beautiful day – perfect for an outdoor event. It was so nice to see such an enthusiastic and interested crowd.
I spoke about the history of the gardens -what I had done when I lived here, and how it has evolved. I also shared some of my gardening tips with the audience.
This is the chicken coop – there are no chickens in here now, but it still looks the same. When I lived here, the chicken coop was home to about 80 excellent laying hens, and roosters.
And, here are some of my current and former colleagues who joined me at Turkey Hill for the special visit.
Before I left, I stopped for a quick photo with Basil Hero, executive director of Positive Directions, and members of the Positive Directions team.
Here's a blog I originally posted in June on an interesting exhibit at the Lyndhurst Estate not farm from my Bedford, New York farm. If you're in the area, you can still catch it - it runs through the summer.
A striking exhibition marking the evolution of women artists over the course of 300-years is now on display at the Gothic Revival Lyndhurst Estate in Tarrytown, New York.
Presented inside both the Lyndhurst mansion and in its exhibition gallery, this extraordinary "Women's Work" show features more than 125 works including approximately 50 contemporary pieces mainly created after 1970 by mostly American women artists from diverse backgrounds, placed in conversation next to historic antecedents from the 18th and 19th centuries.
Here are photos of a selection of items included in the exhibit, which is on view now through Monday, September 26th.
The “Women’s Work” exhibit was curated by Lyndhurst’s Executive Director Howard Zar, Nancy Carlisle of Historic New England, and Rebecca R. Hart, an independent contemporary art curator. The show displays historic examples of domestic handcrafted items alongside objects made by contemporary women artists who incorporated the same artistic traditions in their practices.
Many of the pieces are presented in this exhibition gallery on the Lyndhurst grounds. The groupings are intended to show the wide breadth of techniques used to create the pieces over time.
Here from left to right: “Tile Palette” by an unknown maker used by Jane Armstrong Tucker and Celia Thaxter/Haviland & Co., “Teacup and Saucer,” Jane Armstrong Tucker/Haviland & Co., “Plate,” Judy Chicago, “Virginia Wolf Test Plate #1 for The Dinner Party,” Emily Cole, “Monarda Cabinet Plate,” “Untitled (Strawberries),” and Emily Cole’s “Cream Pitcher.”
The “Knit Wool Rug” in the foreground was made by Elvira Curtis Hulett when she was 88-years old living with Shakers in Massachusetts. It shows her attention to detail as well as the utilitarian functionality so often shown in Shaker pieces. Above it on the wall is a more contemporary work by Miriam Schapiro called “Golden Pinwheel” which was made using braided and knitted wool.
Hand stitching was the most time consuming of the skills learned by women in the 18th and 19th centuries. Aside from housework, sewing the family’s clothes and linens took up most of a woman’s daily tasks.
On the left is a quilt by renowned African American quilter, Mozell Stephens Benson in 1991. The center piece is Faith Ringgold’s “Feminist Series: Of My Two Handicaps #10.” Faith is known for popularizing the story quilt, a quilt with pictures and textures used primarily to tell a story. On the right is “Bars Quilt” made by Amish artist Elizabeth Yoder between 1870 and 1880.
This is a contemporary “Checkered Quilted Workwear Jacket” made of cotton and hand-tied yarn by Emily Bode – clothing made with modern fabrics and inspired by traditional practices.
This is called “Pantaloncini: Work No. 069” by Angela Ellsworth. These bloomers replicate those worn by 19th century women under their dresses. These garments became a symbol for women’s rights because they represented a lack of movement and the need for freedom. This piece is made using more than 50-thousand brightly colored dress pins and faux pearl corsage pins.
This is a scallop-shell-patterned needlepoint seat cushion – one of 12 made by First Lady Martha Washington around 1801, after the death of her husband, President George Washington.
In this installation, a wax figure by Sarah Gardner Gee made in the 1700s from wax, silk, linen, glass, shells, and wood, next to “Curupira,” by Shary Boyle in 2014. It shows a young women dressed in fancy clothing with fruit suggesting abundance and fertility displayed with a figure showing vulnerability and fear.
This “Dressing Gown” by an unknown maker was made between 1862 and 1864 out of wool, silk, taffeta, and cotton.
Many of the exhibit’s pieces are also displayed in various rooms of the mansion. They are loosely positioned in areas where they may have most naturally been used.
Here is a set of topsy turvy dolls in the child’s bed of the master bed chamber. The dolls are skirted figures that display a different face when turned upside-down. One made by an unknown woman in the 1860s on the left and two created by the artist Kiki Smith in 2002 – “Little Red Riding Hood” and “Owl and Pussycat.”
Contemporary artist Liza Lou created this piece in 2006. Look closely – it is made entirely with beads and aptly named the “Loo.”
Liza also made the popcorn box and popcorn in the back of this case, again all with beads. The beadwork of Northeastern Indigenous tribes has been known as an art of survival. The other pieces were likely done in the mid 19th century also using Indigenous beading techniques.
On this bed, another quilt created by one of the woman servants. Quilting was influenced by a need to provide proper cold weather bed coverings, but over time, also became a very artistic and expressive art form.
The tableau in the Lyndhurst Library features silhouette pieces by Idelle Weber, Kara Walker, and Jaune Quick-to-See Smith. Silhouettes were very popular in the 19th century as a more affordable art form compared to painted portraits. These were often done as parlor activities in the home.
Kathleen Ryan, “Bad Lemon” or “Sour Blush,” made this in 2020 out of aventurine, smokey quartz, rhodonite, calcite, quartz, labradorite, green line jasper, kambaba jasper, pink opal, citrine, amethyst, rose quartz, agate, serpentine, pink lepidolite, malachite, mother of pearl, freshwater pearl, bone, glass, acrylic, and steel pins on coated polystyrene. She was known to carve larger than life fruits into Styrofoam and then cover them with semi-precious stones and glass beads. The rotted sections of the fruit show the national economic decline during that time.
An unknown woman artist created this “Beaded Fruit” piece in the mid-20th century using synthetic beads and straight pins. The beads likely came from a kit sold to female home hobbyists during the Depression.
This is called “Murmur.” Made of wax, silk, and wire in 2009 by artist Valerie Hammond. It combines flora, fauna, and the human body in various gestures.
After the Civil War, home decorating became more common. Victorians were great fans of nature and horticulture. Below is “Floral Wreath” by an unknown artist made with wool and silk in a gilt wood frame. On top is Portia Munson’s 2012 “Morning Glory Mandala” using pigmented ink on Hahnemuhle paper.
The “Women’s Work” exhibit continues through the summer – catch it if you can. And please visit Lyndhurst – the historic estate will inform, intrigue, and inspire you.
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