When you hear the word "archive," it's easy to think of shelves full of letters, files, and other records that hold the story of an organization. But did you know that objects are also a vital part of that recorded history—and on display in some of our new Longwood Reimagined spaces? Whether they’re kept in our archives or on display for our guests, our objects hold vital information about the story of Longwood Gardens, from the design choices made for our iconic fountains to the plant care practices of our horticulturists' predecessors. Follow along as we share a few of our treasured objects and how they help us understand, honor, and share Longwood’s history.
As much as a saved letter illuminates our founder Pierre S. du Pont’s garden plans or a preserved drawing offers insight into Cascade Garden designer Roberto Burle Marx’s conservation philosophy, objects serve as some of our best informants when examining Longwood’s history. For an organization that actively seeks to honor and build upon the legacy of our founders Pierre S. and Alice du Pont, preserving a material record of our story is vital.
When Mr. du Pont first purchased the land that would become Longwood Gardens, he corresponded with descendants of the Peirce family who had purchased it from William Penn in 1700 and had lived there for 200 years. Corresponding with C.S. Stebbins, who had migrated to Omaha, he wrote letters to collect information about the property and eventually collected Peirce family antiques as well, building up his understanding about the history of his place. Today, Longwood archives staff continue to preserve and expand that portion of our heritage object collection. Each object, along with those correspondences, offers a piece of the puzzle as we try to understand how the people who lived here used their land and its resources to relate to one another.
Among our vast collection of objects are an early 19th century glass bottle recovered from the grounds of the Cox House; a custom, employee-made hole puncher for brass plant tags; a fountain nozzle from the Main Fountain Garden; a green-glazed clay tile from the Open Air Theatre; olive weights from the Silver Garden, a Christmas tree ornament commemorating Longwood’s centennial anniversary in 2006; and a sign salvaged from the machines that screened debris from the pre-revitalization Main Fountain Garden pumps. Photo by Carol Gross.
For example, by studying the construction of an 1820s tiger maple dresser that’s currently kept behind-the-scenes, we can learn about the neighborhood’s economy at that time. Purchased by du Pont from the descendants of its original owner, the desk was part of the household furnishings that filled the house during his and Alice’s lifetime. He felt that it was important to preserve the story of the family, and even kept a special display case for smaller Peirce family objects in the library of the house. Today, careful study of that tiger maple dresser sparks questions. As we look at the tiger maple exterior and tulip poplar interior, we ask if the dresser was made from trees on this land. Close study with a black light recently revealed a long-hidden signature on the back: "Joshua Peirce." Was Peirce making his own furniture in a shop here on his land and signing his own work, or had he purchased it from a cabinet maker in West Chester?
The 1820s tiger maple dresser, photographed in the attic of the Peirce-du Pont House. Photo by Marty du Pont.
Our object collection also gives us insight into Pierre and Alice du Pont's life and legacy—and many of those objects are on display for our guests to see: for example, a jigsaw puzzle and dominoes displayed inside the Peirce-du Pont House library. When we examine these items in light of family members' memories of "Uncle Pierre," we understand that the busy executive and passionate garden builder also made time for fun with his guests.
A variety of objects are also on display in new Longwood Reimagined spaces. In the Library at The Grove, we proudly display a small selection of our archival heritage objects: an early 20th century galvanized watering can from the conservatories, a piece of architectural metal work from an unknown origin, and an eroded stone flower basket from the Main Fountain Garden.
A variety of objects on display in our new Library at The Grove. Photo by Carol Gross.
Among the objects on display in the Library is this stonework removed from the Main Fountain Garden prior to its 2017 revitalization. Photo by Carol Gross.
In 1906, guests are greeted by a display of beautiful garden objects at the reception desk, including more pieces of rescued stonework from the Main Fountain Garden—which in turn echo the spectacular Main Fountain Garden views enjoyed from the restaurant.
A beautiful display of objects can be enjoyed at 1906. Photo by Laurie Carrozzino.
One example of rescued stonework from the Main Fountain Garden, on display at 1906. Photo by Carol Gross.
Some have been carefully documented, and others were removed from garden spaces decades ago and placed in forgotten corners of barns. Our ongoing jobs are to find these remnants and, whenever possible, match them up with historic photographs and records. Once we know where a piece of stonework or metalwork originated, we can analyze the materials, examine the design, and compare those things to features in other gardens from the same period of history. Careful study of these fragmentary objects gives us a sense for the deep care that Pierre and Alice put into their garden design choices, which we proudly carry on today.
Objects from across our history have a place in our collection. A toad door stop was used in the Peirce-du Pont House while Pierre and Alice lived there, and a fruit collection basket from the same era was used to collect produce in the estate fruit houses. Also shown are a brass tag for Picea pungens f. pendens from the 1960s, a painted rock placed in the Gardens by an anonymous guest in the 2020s, and a light board that was used in the Main Fountain Garden in the 1960s to regulate the fountain light colors and intensity. Finally, wooden pegs found in the attic of the Peirce-du Pont House are the type used to assemble the house itself: often called “trunnels,” they were literally “tree-nails”: fastening devices made from hard woods like oak or ash. Photo by Carol Gross.
In our archives, we have samples of the first Ballroom drapes, original ceramic tiles from tenant houses, and even sections of flooring from the former greenhouses. Each sample not only helps us understand original design intent, but also serves as a guide for any restoration that might be needed in the future. From the Open Air Theatre, we have an early, custom-built control panel that once operated the fountains. Studied from a technical perspective, this piece of electronics shows us the great creativity of Mr. du Pont's engineering staff. But it also points to a host who was dedicated to the delight and entertainment of his guests, always looking for the best in water displays. In the corners of barns, we still occasionally find old farm tools that remind us of the joy that "Farmer Pierre" and Alice took in the crops and livestock of Longwood Farms.
A stash of unused milk bottle caps labeled "Longwood Farms" attest to the active Guernsey dairy herd that kept a staff of hundreds supplied with fresh milk and cream. Photo by Daniel Traub.
History never stops! We still actively collect material evidence of Longwood's story. The metal watering can on display in the Library at The Grove was recently added to the collection, having been in continual use in the greenhouses and the conservatories for decades. During our most recent A Longwood Christmas display removal, we selected and saved portions of the decorations, documenting the amazing creativity of our design staff. In the coming months, we will also collect a representative sample of the Longwood Reimagined merchandise from The Garden Shop and preserve it alongside our 18th century Quaker furniture and 20th century farm tools. As the story of Longwood Gardens continues to grow for years to come, our object collection will continue to record—and celebrate—it.
