Can I Sign New York Banking Form

Can i industry sign banking new york form easy

okay well welcome everyone um i'm going to stop my screen sharing well i'll let it go for a minute so you can look at what information we have this is a partnership with women in horticulture and the great cliff conservancy and i want to say thank you to anna kaplan the executive director of the grey cliff conservancy rebecca allen who has was suggested this talk and did the research and his um i mean presenter and nellie gardner who is the horticulturist and agronomist at the great cliff conservancy who was oversaw the restoration of the gardens there my name is kate gaylor i'm the programming director of women in horticulture delaware valley there's really one women in horticulture right now but we are in the philadelphia region so it's really exciting to see so many people from all over the country and the world joining us um if you haven't been on our events before you know that we are a small grassroots non-prof if you have been on our events you know we're a small grassroots non-profit that is dedicated to supporting women in horticulture and related green industries through networking and free or low-cost events such as this zoom um and we've really had to um obviously go all online over the past year and so it has definitely had an effect on us but it's really given us an opportunity to expand uh to different areas and with different people and have a talk like this um otherwise we'd probably be doing more in-person events which are great too and we can't wait to get back to those like going to local gardens or doing volunteer days um or having um we're gonna have a quiz oh uh in may but we would have had that in person we're gonna have an online one so um just um just kind of check out our website we're on instagram facebook and kind of find out what's going on what's coming up um if you have ideas we're always open to programming ideas uh right now we're in uh doing a besides this talk we're doing a horticulture and folklore speaker series and our fourth one is on tuesday symbolism and function in japanese gardens and that's via zoom as well so you can email us if you want to find out more about that or you can look on our facebook or website and the webinar link is there it's a little different than this one you just use the link to join the webinar that evening um so right now i'm just gonna stop my share and i'm going to introduce the speakers um and just go over a few um things if you're not familiar with zoom you might want to put your uh go up to the right hand side of your screen and it says view you might want to put it on speaker view for when the presenters are talking and that will spotlight them um you in this case it doesn't really matter with mute so much because you can't really talk but you can put things in chat in the chat and you can put questions in the chat and we're going to encourage you to do that we will monitor it as we go but we also look at it at the end so um so please do that if you have any questions and i noticed that julie bear is in the chat and she's our um she's our director of women in horticulture and she put i think she put um i think she put so someone said that audio is very spotty okay i'll speak up maybe she put um the link to our uh website and our paypal in there we survive on very small donations many little small donations um so i just want to first introduce um rebecca allen and rebecca is i have to read because i can't remember anything anymore even though i've met rebecca before because she did um do our professional show and tell last july she presented on her chainsaw which was great um it was a go-to garden gear um presentation and she did a presentation there so rebecca is bronc-based bronx-based um horticulturalist she is a painter and a horticulturist so she owns a design firm called painterly gardens that she opened in 2018. you can find her information it was in those slides she's on instagram at painterly gardens rebecca allen she has a website as well she's on the board of directors of the kentucky land trust she grew up eight miles from grey cliff near buffalo new york so very close um nelly gardner is the horticulturist and agronomist at greycliff and she oversaw the restoration of the gardens along with the executive director anna kaplan who is also with us and we just want to make sure to really say thank you to them um because they helped set up a webinar um little women in heart only has the regular zoom so we had to switch to a webinar because we had such a high interest in this and we wanted to make sure that everyone had a chance to see it um it will it is being recorded so it will be posted on both the women in hort and the um and the uh greycliff youtube channel so thank you very much and with that i'm gonna turn it over to rebecca thank you so much kate i'm just going to share my screen and uh just indicate to me um when you see the first slide with um ellen vittle shipman's portrait and the in the kitchen looks good okay guys um hello everyone and welcome from all over the united states and abroad i'm so happy that we've had such a wonderful response to ellen shipman at great cliff and i really want to thank women in horticulture kate gaylor and anna kaplan at greycliff and especially my friend and horticulturist nelly gardner whom i'll introduce in greater depth later i also just want to um thank judith tankard who wrote a singular book on ellen shipman's work and who's been so generous in her responses to my questions and um i will put up a photograph of her book which everybody with any interest in the history of landscape in america should should see the world and work of ellen bittleshipman crystallizes many of the things that i've been thinking about and doing for almost 30 years though i live in the bronx i grew up just eight miles away from greycliff as kate was saying in hamburg new york and so i feel very close to this story um i'm a painter oh this is a photograph of the cover of judah tankard's book ellen shipman in the american garden and hello to judith i think she's in the in the room today i'm a painter and a gardener who designs landscape gardens and tends all of these worlds in different ways and so when i think about ellen shipman's work what strikes me are the principles that influenced her thinking and distinguished her artistry as a painter painting to me is really an act of perceiving the world and synthesizing your experiences in order to simultaneously fuse broad spatial relationships and specific details of our environment color texture sound light smell and i'm interested in something i call the sequence metaphors sequence metaphors that is the seasonal cycle cycles of horticulture and especially the imagery of pruning as many of you hear from the horticulture community can attest a gardener is really a restless creature um and sometimes unreasonably ambitious person who is trying to accomplish the impossible so these are some of my paintings representing the the work that relates to my work as a gardener and other gardeners in in my life and the seasons of the garden you know what's happening now is so interesting just as interesting as when things are in their full flesh show bloom in the spring and summer and so speaking of restless ambition and impossible things to accomplish there's nothing in the lives of the american landscape architect ellen biddleshipman or her remarkable clients isabelle and darwin martin that indicates that these were people for whom life happened by accident without enormous imagination propulsive intention and a desire to invest in beauty within the environments that they cultivated and stewarded in the dashed shorthand of their personal diary entries of the late 1920s and the early 1930s the notes on top of design drawings that instruct changes there is such urgency in the things that these people took on the work that they made the pleasures that they took in life and the personal and national hardships that they noted the confluence of desires that formed a landscape garden surrounding a prairie-style architectural jewel overlooking lake erie near buffalo is to our great fortune accessible today in the place of grey cliff the restored summer house and landscape created between 1926 and 1931 for isabella and darwin martin by frank lloyd wright and ellen biddleshipman this image of the of the way that the house looks today is evidence of the next the extensive multi-year restoration undertaken by the great cliff conservancy executive directors including the current anna kaplan many donors many volunteers and horticulturist nellie garner in his diary for october 29 1929 darwin martin notes that mrs shipman arrives at g greycliff just four days after the catastrophic stock market crash that overnight upended the american economy now at the height of her success as one of the few american women professionally practicing landscape architecture ellen shipman must have been traveling constantly because you see it in her client activity so she's traveling between her new york office at 19 beekman place here it is today this was it in the 20s and then today and the residences of her well-to-do clients so from grand central station she would have boarded the new york central passenger train possibly the 20th century limited and arrived in buffalo within seven or eight hours if there were very few stops staffing the majority of the routes and famous for their impeccable standards african-american pullman porters managed the service operations of these well-appointed trains that ran daily from buffalo and routes west can you imagine how much thinking and writing and revising of design plans our heroine would have been capable of on such a train just by way of contrast this is the transportation i employ for client appointments hauling plants and supervising my staff and i really don't get a lot of design revisions done in that in that form of transportation shipman would have arrived at buffalo central terminal so so knew that it had opened just six months earlier in june 1929 this is how it looked at that time and she would have likely been met by the martins or a driver and motored to grey cliff in derby about 18 miles south of downtown buffalo my mind really just freezes when i think about the sheer creative output and organizational stamina of this woman because between 1914 and 1950 she created more than 600 gardens in the united states and by 1929 when the martins hired her and with an office of 12 women on her staff mostly hired from the lother lothorpe school that she hired exclusively women she was actively designing or collaborating with other gardens for clients including the fords edisons algers knoxes dewalls and others in florida illinois kentucky massachusetts new york state michigan and washington all while she is in conversation with the martins in discussion about how to improve upon frank lloyd wright's broad landscape plan for greycliff ellen shipman was born in philadelphia in 1869 to general james biddle shipman general james biddle and ellen mcgowan after briefly attending radcliffe college this is a photograph of her around the time that she was at radcliffe a little later she um left radcliff and married a classmate louis shipman who was a playwright and they had three children the shipments had by the early 1900s uh moved by then to new to new hampshire near cornish um and here are ellen with her daughter ellen her son evan and her daughter mary in 1910 at cornish and with her son evan so the cornish artist colony would have been a draw for people like lewis and ellen shipman because this is where some of america's most influential artists including augustus saint-gaudens and landscape architect charles adams platt um put down roots and platt later became ellen's mentor he was a very important and successful landscape architect in his own right and he took her in as as a student as an apprentice and taught her many of the professional skills that that wove together her own self-education as a gardener and she learned by making her own gardens at cornish and by interacting with friends and artists in the colony at cornish like this sculptor ann parish and the saint gardens and so many others this was like a hotbed of artist gardens and so one of the most important gardens of that community was in fact her garden at brookhouse the shipment garden in plainfield new hampshire um she was also active as an interior designer and i think that she did some interior design work on the side as a way to support herself because in 1910 her marriage dissolved shipman left and went to england and remarried so that ellen undertook her apprenticeship with charles platt and professionally began to actually collaborate with him but it it can't be underestimated the fact that in relationship to her professional peers like beatrix farron and rose standish nichols ellen chipman didn't have the financial wherewithal to go to europe like some of these other the few other successful women landscape architects who took the grand horticultural tour to europe and and extended their education not only in horticulture but also in art and architecture ellen like many other women of her day and of her standing of her economic standing would have had access to many books and periodicals like a woman's hearty guard and here on top of a photograph of abby aldrich rockefeller i i read this book when i worked at kikit and this was part of the curator's collection um and so these were with these were the resources that she had and that she used so shipment self-education as a gardener and her own knowledge through reading of the work of designers like gertrude jikel her knowledge of italian and english gardens from these publications as well as the burgeoning colonial revival movement in america became the foundation for her work i also believe that she was well aware of the arts and crafts movement another important burgeoning movement in america and that this infused her own thinking and the development of a distinct eye for a maker's interpretation of the design of the garden and i see this painterly aspect as prioritizing closely related color palettes and textural relationships that echo the way that a painter would work with the fluid material of paint and the knowledge of layering forms in space so where does that come in in her work in the late 20s shipment was was hired by the women's auxiliary committee of the new york botanical garden because they had been looking to create a border garden and this was during a period during the history of the new york botanical garden when there was a transition in the way that these garden beds were curated and organized so prior to shipments coming onto this project the predominant style of curating botanical collections public collections private collections was to organize things by genus botanical scientific organization but shipman comes in and she organizes the planting beds for the ladies border which exists to this day in terms of these layers the bulb layer on the top the perennial layer and the shrub layer and these are these are the blueprints for from the new york botanical garden collection for her plans isn't this interesting shipman was also an advocate of the use of native plants and trees and integrated them wherever possible including at grey cliff her gardens are notable for their dramatic borders and reflecting pools that create a sense of movement points of stillness and privacy within the landscape and as a technician shipman really had exacting standards for soil and site preparation plant placement and maintenance and in fact few of her gardens survived today in part because the specifications for her plantings require enormous labor to maintain one of the wonderful characteristics of her design drawings and this was done early in her career when she was still work kind of apprenticing with platt a design for mrs s d warren's garden in me in mata fawcett massachusetts was that she would include these vignettes of garden elements furniture ornaments so that the client i mean these are just as much an entertainment for herself i think let's get off the grid and focus in on these smaller details and and spaces that they would give the client a a kind of keyhole view i to her thinking into what they might expect um as a part of the ensemble of the garden and then in these other drawings this is a drawing for the the cummergarden in jacksonville florida you can see her hand is developing she's got this flare and a kind of flourish with her line as she makes the forms of the trees these are the kinds of things that landscape architects and horticulture is still we still do this we still practice these techniques so the cummergarden was laid out on a really almost an italian style form with this axial space and these these formally trimmed um shrubs and taupe and topiary gates this is how it looks today so it's been fully restored and this is now part of the grounds of the comer museum in jacksonville gertrude sieberling was one of shipman's most important clients and certainly at the same time that she had been engaged by the the darwin martins she was improving uh an uh part of a garden on sieberling's estates it's called stan hewitt in akron ohio and shipman was invited to uh redesign warren manning's original design to create the ink this part of the english garden with the reflecting pool now keep this in mind because when we look at the reflecting pool at grey cliff this is the same shape isabelle reed path and darwin martin were very important figures in the history of buffalo's history as well as the united states during the early 20th century their wealth came from darwin martin's role as an executive for the larkin company an enormously successful mail order business and by the 1900s martin was one of the highest paid executives in the united states and by extension an active philanthropist who's giving tended toward education and social causes um here is isabel uh martin with her friend and ladies companion cora herrick and i was talking to anna and nelly about who was cora well isabelle had um very serious problems with her vision um and i as i understand it cora was her companion and also her kind of helped her get around and and move through the world but cora is part of the family and we see her throughout the family photographs by 1902 darwin had become fast friends with this gentleman whom i'm sure everybody recognizes frank lloyd wright who went on to then design the administration building for the larkin company as well as the martin family complex completed in 1905 on jewett parkway in buffalo and here's the family the darwin martin family gathered in front of the darwin martin house shortly after they had moved in i love this photograph here's isabel in the conservatory we can almost identify some of these plantings the conservatory is filled with light one of the lightest areas in the house which actually has quite a bit of darkness and shadow and isabelle herself was was very accomplished at flower arranging um here we see her arranging flowers in the martin house reception room wearing a dress purportedly designed for her by by frank lloyd wright the martins gave money to the pine mountain settlement school in southeastern kentucky a place that i have visited several times in my capacity as a board member of the kentucky natural lands trust still in existence the school served the rural families in the haulers of appalachia and you guessed it darwin martin was involved he served on the board of directors of the pine mountain settlement school from 1920 to 1933 he gave advice about tree planting he sent seeds fire extinguishers and even a piano to the school it's in um it's near pineville kentucky down in the corner of southeastern kentucky fountain was founded by two women isabelle de long sandy and catherine pettit in 1913. most interestingly the architect that isabelle and catherine hired for the buildings at the settlement school was mary rockwell cook a kansas city-based architect and cook we think was the connection to that got through frank lloyd wright got darwin martin on the board of trustees at the school um cook we also think was aware of the darwin martin project and certainly aware of frank lloyd wright's work and we see that in her utilization of the horizontal framework and natural stone um wall work that parallels much of wright's work and indeed this is a photograph of one of the buildings at the pine mountain settlement school on the left and on the right is a close-up detail of the exterior of greycliff we do not know exactly how martin became connected with pine mountain but progressive education and an interest in hand craftsmanship was a part of the martin's world and indeed ellen shipman's cultural milieu so this um attention to craftsmanship and returning to things that are made with the hand the heart and the head was really at the core of the roycroft community that was founded by albert hubbard darwin martin's former boss at the larkin company turned arts and crafts demigod who influenced the styles in art decorative arts and architecture in the united states and abroad in the late 19th and early 20th centuries by 1926 darwin martin has retired from the larkin company and he records in his diary bot lot 250 front on lake erie and then mother's first visit to the lot at the lake delighted and here they are here is the space overlooking lake erie uh above the bluff and who knows maybe this was there for maybe this was mother's first visit um they look a little bit sort of like reluctant okay darwin you bought this property now what are we gonna do with this so by 1926 darwin martin had retired with his fortune intact and with isabelle's compromised isa eyesight coupled with the need for quiet retreat from the city he asked wright to design the summer retreat to isabel specifications the house would be built on the land that martin purchased and wright's initial plan included broadly defined ideas for the landscape but at some point ellen shipman was hired to augment and refine the garden plantings and atmosphere interestingly enough isabelle martin and ellen shipman were the same age so by 19 26 27 they are both 56 years old construction um begins at greycliff and um you can see how ambitious this project must have been and the evidence of construction and the rubble and dust around the site and at its completion you know i can imagine being the client here and looking around and saying oh my god what are we going to do with the landscape now so we better call ellen shipman and initially um she worked directly with the right plan so she comes out in october 1929 she receives that plan from wright's office shortly thereafter around november 1st but at the same time we have to remember black thursday is october 24th 1929 just four days before her visit the martins and the world certainly america were in a panic but i have to think about their state of mind and also the sense of resolve that they had in spite of the unknown to go forward with this project and also shipman's hope that the project would go forward and that she would have employment so shipman receives the plan from wright's office on november 1st 1929 and she starts to make notes she says take this out the sunken pool and plantings here and there there are indications on on this drawing of things that they were talking about doing and within a month i mean this is this plan is dated november 1929 it must have been a few weeks later within a few weeks she turns it around and creates a drawing in response to the original plan and whatever conversations that they had at that meeting at greycliff and she fleshes it out boundaries planting of native trees and shrubs a picking border native trees and shrubs are croquet lawn apple trees you can start to see this landscape taking shape she develops a planting plan for the evergreen garden this is a sunken garden in the back of the house or as some people think of at the front of the house that looks out upon lake erie prepare the soil carefully by upgrading and thoroughly up to 12 to 15 inches then place a layer of granulated peat it produces a strong acid reaction i mean can you just imagine the the number of details that she was concerned with drainage for the broadleaf evergreens this is where i just am amazed at her work she draws out her beds like braids in the landscape and now we see the landscape certainly in these family photographs we can see that the uh the the growth of the poplar trees the juniper the evergreens this is the the view of the sunken garden with someone sitting on the stone wall and isabella and her daughter dorothy in front of the garden there was a lot of fun going on in this in this family a lot of garden cleanup pruning hauling uh weeding horseplay al fresco lunch with the grandkids and children were invited to come and visit and enjoy the apple orchards the vegetable garden maybe i'll i'll ask nelly to talk about the vegetable and garden and how the martins really sustained themselves and and shared their bounty with other families really fun so that fence that that that that metal structure in the background that is a irrigation system that waters the garden from spout spigots that that are at the tips of those of those stands the water was brought in from the lake and was filtered through a cistern system that um is still there but anna i know will may talk about that in the chat a little bit there's that watering system and kitty cats in the garden with um the martin's grandchildren um margaret and darwin foster sitting on containers which we all know we love to do and we can actually see some of the evergreen plantings here around the reflecting pool and then the reflecting pool looking out toward the the restored pool pond from the port cochair here's aunt polly cora here on the garden path at greycliff and i want you to kind of focus on this because this is the center piece of the restoration that nellie supervised so interestingly enough in these family photographs we don't have any photographs of sort of prized finnish finished gardens the kinds of images that would have been taken by the photographer maddie edwards hewitt the photographer for many of the wealthy clients of the wealthy gardens of the wealthy clients we have family photographs we have fun in the garden it nothing is formal and i think maybe i'll i like to have nelly speak to this as we move into having her talk about the restoration there were many many individuals um corporate donors and the conservancy of course and professional consultants involved in the project i'm listing a few here we'll add others as we talk but nellie gardner is really the centerpiece of this story and i met nelly about a year and a half ago during my first couple visits to see the site after you know not having seen it since i was a high school student and nellie is an agronomist and horticulturist who consults on agronomy and horticulture she is the staff horticulturist at greycliff and she also has run her own cut flower firm called flower fields near rochester for many many years so nelly welcome maybe you want to jump in here and talk a little bit about the restoration okay okay so i want to say one quick thing before you start this is like the search and rescue part yes okay so the first thing i had to do was figure out what was there what was left and how i could rescue it so it was sort of a search and rescue mission to find you know original apple seedlings um any original plants that were still there anything that was an original plant is really very valuable and i knew that that's what people would be very interested in and was really important in finding so it really was like all grown up to a lot of brush buckthorn was a real problem there was just a lot of seedling you know plants had taken over um the privet hedge also this is an apple variety that i found in the hedge so just finding those elements was really important and very exciting actually there was a lot of clearing going on i mean we cut down most probably over 100 trees these are the original grapevines those are the actual grapes that they harvested at graycliff we found them in one of the brush piles and cleared out everything and re-trellised them and actually harvested them and made grape jelly yeah very satisfying yeah of course we needed drainage there was just like a lot of heavy soil and we needed drainage this is where the picking border was going to go and i as soon as it rained i realized we'd have to have drainage um whatever in whatever project we did and here it is before we cut down some trees this is the privet hedge this had not been really done much to for many many years this is the original privet hedge and some of the logs in it i say logs they were like eight inches through so we're talking chainsaw here for a couple of years it was good exercise but we finally have it down to a manageable height and a manageable um health actually and you see here we're doing more brush cutting you know ash trees probably over 100 trees stump grinding um we had some wonderful partners in this some great people helping us uh some of the vendors we had we're just excellent went above and beyond to make sure that you know trees don't fall in the house or you know they fall where they're supposed to and they clean up everything uh evergreen tree these these guys were great um above and beyond tree uh yes so there was a lot to be done just to prepare for the planting so we had to get rid of all the wheat trees and dead trees and of course dead ash trees and then also they had to be careful of the the trees that i had found and we found some really beautiful specimens actually yep and here's bringing in some of darwin's beloved elm trees darwin loved trees always had his picture with his hand on a tree and he loved elm trees so we have some jefferson elms which are uh resistant dutch elm disease resistant and these were some of the first trees planted they were actually donated to us so we have a couple of darwins and they're growing fantastically they love it at great cliff so they're in honor of darwin nelly can we share the plant list later with anybody who wants to know anna would that be okay okay sure yeah yeah and here is laying out the drainage for the we had to remove a lot of the trees and you could see the private hedges is orderly now but we had to um remove a lot of trees from here that had grown into this garden and this is where we started by putting the path the original path in and putting in drainage and restoring it exactly as it would have been only with a stabilized stone on the surface for walkability and disability uh disabled access of course bringing in more compost of course lots and lots of compost i think we've used over 200 yards of compost on the gray cliff property this was a sunken garden had to take out some vegetation that was there to start with some modern shrubs that had been put in and fill this in up to a certain level and all of this i'll have to tell you none of this was done lightly i had to go through the cultural landscape report and the treatment plan on an everyday basis and make sure i wasn't missing any details so the level of the of the soil where it was to be how it looked everything was very well considered as we went moved along in the process nelly can i ask you to just um explain that the cultural landscape report process is to those that might be familiar yeah so the cultural landscape foundation is uh was formed to better steward some of the gardens and restore some of the landscapes that are on historic properties so the cultural landscape report is actually was required for historic properties and it's a study of the landscape from when it was first planted to the present day so it's really basically a history of the landscape and encompasses um the plantings and the letters and correspondence and basically anything to do with the landscape so there was um a cultural landscape report done by heritage associates and then there was um here just landscapes and then presley associates did the treatment plan which takes the cultural landscape report and puts it into a plan mode as to how it's going to be reinstated because sometimes you have quite a bit of the landscape left and you can restore it sometimes you don't have a lot of the landscape and it calls for a different treatment so it's how you actually restore the landscape and that's a guide it's really a good guide to where you're going nelly that's like my bible compost envy yeah truckloads of compost believe me all i know is that it's lighter than dirt and the volunteers like it and we we have them shovel a lot of it but i did a lot of this shoveling myself and a lot of um chainsawing and and other things to get things started so yeah i was very intimately involved with the beginning project because i volunteered here as i was working at the martin house i was volunteering at grey cliff so i was intimately understanding the landscape before i actually started working there and here's the sunken garden and um you know we were given three different plants that we could put in there um zinnias and dahlias there are two of them and um we chose zinnias one year and then another year we put these sunshine dahlias in they just rock they just look so fantastic and they would have been cut flowers that isabelle would have brought inside and so i was also trying to match um what was what we saw in the house uh in the some of the bases and some of the arrangements in the house where what was reflected outside cool nelly we have a question um did you do a soil test first yes many soil tests all the time yes i'm a strong believer as an agronomist of soil testing and ph testing and soil testing and the soil wasn't bad but it was very heavy it has a lot of clay in it and so um you know it got compacted over the years equipment has run over it as buildings have been torn down and you know built and torn down and whatever so the pieris era so you know when we were digging it wasn't always you know the native soil uh but i chose as isabelle did not to bring in soil because you bring in problems so we chose to just add a lot of compost and that is key in how we restore the property because many historic properties now are actually digging out the native soil the original soil and bringing in um bringing in engineered soil and i just didn't want to bring in other problems i've seen you know buying wheat or nutsedge overwhelm properties where soil was brought in and i didn't want to do that so it's actually worked very well and the plants have acclimated very well so yep yards of compost and here's our m t volunteers and farmer our other volunteer um helping to plant and believe me they worked very hard because digging a hole wasn't very easy but we just add compost every year and are improving the soil the ph was actually a little bit on the high side here we're unloading plants just more and more plants you had a lot on that site what's that a lot of hunks unloading plants on there yeah that's always uh that's always good this is molly venjira and we had several partners in coming up with the plan i first studied ellen biddle shipman's plans and decided kind of what we wanted to do we wanted to use the same plants only thin them out so that we weren't pruning all the time so that at their maturity they would um be the the right size for the space this is the border garden that has the path with the reclaimed brick edging exactly as we saw in photos and the the stabilized stone walk and this is the you know picking border and i did go to stan hewitt and studied what they had there and made sure that we were within her realm of what she was using we were looking at photos and the closer landscape report and studying what was in those but also what she would have been using at that time and i did get the plant list from stan hewitt so that helped as well i asked a couple questions that have come up in the chat and i'm curious about as well someone said what year did the restaurant this restoration start so when is this taking place was this taking place and um also i'm i don't know how long in between the time of basically no maintenance or whatever and the time of restoring the gardens about approximately just um so i think that i started in 2016 but there had been some restoration of the pond and other things done before that several years before that so probably like 2011. um i think the cultural landscape report was done in 2011. um and so first major phase of the landscape restoration happened it began in 2013. yeah that was the pond yep and then what was the other question about um about how long had there been no since there yeah or you know well the conservancy took over in 2000 around then yeah late 90s 1997 yeah uh the martin's isabelle's last summer on the property was 1943 and then a group of pierist fathers uh purchased the property in 1950 and they were actually the longest tenants of the property they were there for you know about 50 years and the this was a group of people that uh you know changed the property they added buildings and um you know that were later removed during restoration and i believe and nelly you can correct me if i'm wrong that they were responsible for the daffodils that still pop up now and again i think that yeah i think so i think some of the things were also planted by volunteers um i think some of the volunteers planted some of that but some yeah they planted some trees that pierre's did and of course we had to remove a lot of that because it wasn't original vegetation they actually had some nice trees there and some things that would have been nice to keep but you know we were sticking um purely with the restoration so yeah it was a lot of removal the landscape is uh restored to 1931. yes thank you yeah great yeah and this is just these are pictures that uh rebecca's been putting up that are just uh of the border garden that i created um and uh you know i'm not a designer but i looked at what was there and i looked at um the other borders she designed and sort of followed a pattern and really it's only like about maybe 20 varieties and they're very hardy and uh so the garden looks wonderful all season this is like november i think yeah yeah beautiful damsonia and yep and it's really just the starting to come into its own it's really this is just like the third or fourth year and only like the the second year for the one side of the border that we didn't plant we just planted one side and on the other side so a real process and then this is um the restoration that happened next which would have been i believe 2018 and 2019 that this was finished and this is the um the home grounds the maids croquet lawns that are being planted here and and those were finished and they are they look fabulous it's basically really all these wonderful varieties of dogwood and um viburnum and ground covers and those right there that picture right there the the flowers that is some of the original cornice uh florida that's there that that ellen biddleshipmen specified that's on the plan and you can see the groupings of three there's actually several different um cornice plantings in that border there so we just um you know left those plantings we beefed them up with more of her her design plantings it's just all native plants it's really wonderful design it's going to be beautiful as it grows up and this is just fixing restoring the pond so that it worked better it needed to be made more um into an ecosystem of its own uh so that it processed the nutrients that were going into it and we took out all of the um cattails that were growing in there and actually planted native plants three native uh plants in there so that it it cycles the nutrients and uses the nutrients and actually works pretty well sort of a self-sufficient pond yep and more masses of ground covers these are anemones i believe canadensis and uh yeah there's an elm tree um the the plants i love the plants you know there's there's a beach there's japanese lilac there's crab apples but her varieties are great and i found sort of remnants of some of those in the hedgerows because they planted on the outsides of the property and so we can't really go to the neighbor's property and but but some of those plants i've been able to um you know id them and know what was used in the landscape there's delphiniums and different varieties of viburnum again there's elderberries in there as well nelly um is this tiarella or hookera tiarella yeah cinderella yeah is this phlox stolonifera no that's diver that's the woodland flocks here it is yeah specify that she did it's in her plan it isn't her plan yep and we all think we're also new and contemporary right yeah that's pretty funny because i bought a plant like that for my mom at uh i think it was lows or somewhere a couple years ago and gave it to her and i'm like no this is not an original thought this is what a shipment did yeah um yeah and here's some of the flowers that i um restored on the interior of the house i really wanted to i really wanted the experience of walking to the house to sort of be like it was when isabelle was there and they put new flowers in every room every week and so i went around and and pieced together photos and took the pictures to my favorite shop that sells um really high and artificial flowers and made some arrangements that i just love that go um you know quite nicely with the gardens actually too can i interrupt you for a minute i just want to address a question that came through in the chat um and mentioned this decision to restore the landscape to 1931. um so that date was chosen because in 1931 the pond still existed and obviously that was wright's design and was filled in by shipment but the decision was made that restoration of the pond was important for the integrity of wright's design yeah um but nellie can you address the second part of the question which is how you know you you ended up taking or you looked at ellen's plan and um and used it as inspiration and went from there but you mentioned that maybe you know you had to make choices and at a certain point maybe things were too densely planted and choices were made how did that process work yeah so basically um on her plant is specified like maybe there might be like 12 birch trees um you know river birch or paper birch specified in an area where we might put three or five um it's just that they used she used a lot of plants and as you can see in the photos the borders became very dense and more like a thicket and as they grew together and so rather than us having to we want the plants to reach their full expression and rather than having to prune them or let them grow into that sort of thicket it would we thought it would be better to instead of placing them at such a close proximity better to space them out a little bit more let them grow to their full expression and have you know a wonderful border without as much maintenance because a lot of those would have died out and would have to be removed and replanted at some point so this is a more durable sustainable landscape some the comment that was just in the chat from rainy house you know that's that's not um having that many is not a sustainable you go into the woods and you see a tree that has you know 100 seedlings only like three are going to survive and so you know it was planted very thickly and i know that down the road we would have had to be you know taking some of those out so uh you know we decided to plant them according to how they would um grow up and be healthy and um ren hauser just added um as a side note ron i hope you don't mind that i'm um calling you out on this but she mentioned that in 1931 the gardens would probably look their best um before they deteriorate deteriorated uh due to lack of funds during the depression and rebecca yeah i know you gave me credit um in the beginning but i i have to say you know i can't take credit for any of this restoration i i'm relatively new to the organization i'm i'm honored to now be working as a steward but i did not oversee any of the restoration and actually renhauser was the first to oversee this process as the first executive director and then robert wooler in between ren and myself and we do have some upcoming active restoration efforts um but i i can't take credit so i'm glad that ren is is chiming in here and it was really honestly um the process is has sort of been over several years and it's a combination of of um the plan as well as what was planted so you don't always just go by what the plan was the elemental shipment it's like what was actually there and what was there in 1931 so it's not going to encompass everything um you know but it's it's it's it's it's like a snapshot in time thanks for that um acknowledgement of ren and robert and anna and i i just and also i just want to say that we i think three of us really welcome insights and corrections and updates to these histories um we're kind of coming to the end of our talk but i can see that there are still questions and we're happy to hang out and chat a little bit and but just as we come to the end of the powerpoint images i just would like to thank once again nellie for your wonderful inspiring work and for all of the people who have been involved in the restoration of the great great cliff site and landscape i am so excited to learn more from all of you um and i just want to thank my wife laura kaminsky who made the meals for me for the last two weeks while i had a moderate bout of covid and all of the people that continue to steward and shape and make gardens in our world because now is a time when spending time with plants and the natural world is even more important than it's ever been so do my cohorts have any other comments or thoughts before we look at some of the chat questions i i just want to say that um this is really a labor of love for um isabelle darwin and ellen biddleshipman because honestly the way their generosity and kindness of the martins is evident in all that they did and all that they they were a part of and you know giving away food to people and just their subscriptions of donations and even when they didn't have much and they were just an inspiration to me and so seeing you know isabelle in the landscape and wanted to create and walk in her shoes was really uh just a very heartwarming process and i really enjoyed every minute of it it's really created an atmosphere there that's that's wonderful i i have a couple questions of my own and i know they might overlap with some that are in the chat um for the maintenance of the original um shipment garden when the darwin's owned it do you know how many gardeners they had or staff or what you said the maintenance was uh extensive because of the plantings and i was just curious about uh if you have any idea of those numbers or well no they had at least one gardener who lived on site there's a gardener's cottage that's on the property it's not right designed although wright did design a cottage for the gardener but they did not end up going with that design i think that they would hire additional local help during the summers um we had a couple other questions i will definitely follow up and share the border plant list with everyone via email um paypal was to women and hort if you go on our website um there is a paypal link and uh julie bear might be able to post it again but you can also give to greycliff um so uh the great conservancy so um yeah and i'd like to just follow up and tell you a little bit about what we have going on i know that came up in the chat um rebecca i'm gonna share my screen okay okay can you see this yep so this is gray cliff's website and we're on instagram and facebook at flw grey cliff we are open for um private and self-guided tours we have an adjusted program because of the pandemic but we still have programming available and it's changing constantly and we we hope that with this season we might get up to relatively usual programming albeit with um coped guidance uh we i i wanted to mention that the the female child in some of the historic photos that rebecca shared just recently passed away um in early january and the family set up a fund the margaret read path foster fund that will support our historic gardens and ground specifically because this is something that margaret felt very connected to um she had very vivid memories of greycliff up until um you know her final days which were right around her 91st birthday and then i also want to mention that we have a series of virtual programs that we've been running and um i know and this is for lo uh local uh viewers on the zoo today i mentioned this it's a virtual beer tasting event that's happening on dingus day i mention it because there will be a virtual tour that focuses on the grounds because it's a spring celebration so i hope that those of you that can will make a trip out to great cliff at some point i wanted to thank rebecca so much uh for the time and effort put into this and also laura for making new meals while you had co-fed um and nelly for all that you do and kate it's been wonderful to be connected to you through this programming and i hope that we can continue some sort of um collaborative effort moving forward yes thank you all ladies thank you very much that's excellent excellent i can't believe you're just getting over covet oh my gosh um so i hope you're better you're feeling well fine i'm i'm one of the lucky ones yeah it's good thank you um i know there's a few more questions that if you don't mind i just um someone asked how did um shipman and uh frank lloyd wright get along considering i was thinking considering she came and kind of changed around or i guess she uh made a more detailed planting plan but do you guys know anything about that i don't think that they ever met face to face um at least we don't have evidence that they corresponded i i don't believe we yeah as far as we know they never did meet yeah but she put um plants in front of his buildings so you know he wasn't always in favor of that so sometimes we placed like the lilacs in front of the garden wall it's like well let's leave a little space there so that frank lloyd wright won't be so upset um let's see i have a couple that's a good you know that brings up a good point though nelly because i think one of the reasons that ellen was hired um was because the martins wanted the landscape to help serve um as a sort of screen to diffuse some of the light coming into the buildings yes and the road yes and the road also i mean that was like also visible at that point yeah yeah yeah they talked about that actually the disguising the sign or something yeah yeah screening yeah and the soil you've talked about the soil when you're there but i imagine and a little bit about the beginning but i imagine the soil was just i mean is there a lot of rock it's on a cliff i mean is there bed the rock is underneath so the tension of limestone there's like maybe four feet of soil till you get to rocks so there isn't bedrock on the surface but it is certainly heavy very heavy clay soil wouldn't have been great for farming although it probably was farmed earlier than this it was a field but probably for hay or pasture they say they talk about potatoes but i'm not sure how well they would grow there but yeah it is pretty heavy soil but certain things grow there well there's iron a lot of iron in that soil and so you're getting a lot of um like oak trees and uh linden trees certain trees like that so ellen biddleston actually saw and looked at the what was native there and what was growing there and grew the same trees like she specified the same oaks in the same maples that were there so she used those in her design which we did as well yeah yeah exactly i thought that was great yeah um let's see i'm just thinking if there's any other questions the reflecting pool my question is the shape is that an illusion or is the shape wider and then narrower as it goes down i'm trying to trying to determine that in several of the pictures so it's excited but it has that hexagon and it has the um on the end it comes in at the end and towards the v towards the waterfall yeah but it's straight sided yeah and the water they got from the lake um how they must have pumped it up yeah it was amazing they they pumped it up there's a on the beach there's a pump house with this amazing mechanism in it that um filtered the water through a sand filtration system up the cliff into this ginormous cistern that's in the basement of the main house that i believe it holds i want to say ten thousand is it a hundred thousand or ten yeah it's a huge cistern in the basement of the main house and what's fascinating is that this water and i only recently learned this because i knew that they needed water for the pond and they needed water for this irrigation system but this water that they were pumping out from the lake actually was all of their plumbing in um in the in both houses and you know their drinking water oh wow okay yeah so it's a it's an amazing story of sustainability um the martins you know they they darwin wrote in a letter at one point to uh write that he was living off of the land so they were really using the land and the resources of the property yeah 1931 he says enjoying great cliff and living mostly on the garden yeah so they really it was really a harvest garden they harvested their fruit and the vegetables and it was very productive yeah i mean you wouldn't have a skin or irrigation system that was for uh small farms actually that's a commercial system and it's installed everywhere everywhere you dig there's a pipe i can guarantee you you start digging and you'll find a pipe and that's from their irrigation system of their production area so it was serious it was electrically pumped i'm assuming or how was it pumped up do you know was there is electricity that was that pump is probably is that that engine is run by gas i think okay that's a that's a gasoline engine i think down there i i don't know is anything any part of it still in use or it's not in use but it's there and we actually have a restoration effort that's starting this spring that will involve removing the mechanism from the pump house and bringing it up the cliff so that we we have it available for visitors to see there were a couple more questions kate did you want to uh well it says did ellen recommend see sheep pasturing cheap sheep you're saying sheep oh well there were sheep a couple sheep there but i don't know if she recommended that but they were commonly used for mowing grass yeah there's a lot of grass demo they didn't have much of a mower they see that there's a picture with the gardener pushing a little hand a hand uh mower that would have been a big job it would have been helpful yeah exactly um i think that's it unless anybody sees any other questions um i'm so excited to see people from different organizations like the cummer museum and all sorts of different organizations attending so um thank you all and um i'm not seeing any other someone just put a message let's see they used sheep once they let the gardener go there you go due to lack of funds good okay thank you for the answer um uh so thank you very much everyone i don't know if any of you have anything else to add to any of this it was it was wonderful um i'm so um honored that you chose to do it through women in horticulture and i'm so glad rebecca that we came back around to it it took a while but we got here right yeah yeah thank you and please everybody stay in touch with each other and stay in touch with that us as you find things out um the research is still ongoing and this will be on um youtube right it will be put on youtube for from your great cliff as well as uh women and horticulture right exactly yeah and i'll follow up with an email link thank you yeah great great okay that was a nice way to spend a sunday evening thank you so much thank you so much rebecca kate nelly thanks ladies and gentlemen thank you so great everyone for coming