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Ellen Biddle Shipman's New England Gardens

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Ellen Biddle Shipman's New England Gardens Ellen Biddle Shipman’s New England Gardens Judith B. Tankard This pioneering landscape architect, distinguished for her innovative planting designs, described her use of plants as "painting pictures as an artist would." Ellen Biddle Shipman (1869-1950) was one of Once hailed as the "Dean of American the most important landscape architects during Women Landscape Architects," Shipman de- the 1910s and 1920s, the great years of estate signed nearly six hundred gardens throughout building across the United States. Shipman’s the country during the course of her thirty-five approach to garden design was steeped in the year career ( 1912-1947/.3 Clusters of her gardens traditionalism of the Northeast, especially the once proliferated in areas such as Grosse Pointe, Colonial Revival style. She owed her great suc- Michigan; Greenwich, Connecticut; and Cha- cess m the design and planting of small gardens grin Falls, Ohio, where she designed several to early years of gardening at her New Hamp- dozen gardens. She also carried out a number of shire country home. "Working daily in my gar- commissions in the New England states, where den for fifteen years," she wrote, "taught me to she had gotten her start. Sadly, few examples know plants, their habits and their needs."’ remain in their original condition. Shipman brought a fine-tuned artistic sensi- Ellen Biddle was born into a promment Phila- tivity to garden design. She transformed the delphia family, the military rather than the flower border into an art form by using carefully financial branch. Her father was a career soldier, articulated compositions of flowers, foliage, and and she spent an adventurous childhood in fron- color, thoroughly grounded in her exceptional tier outposts in Nevada, Texas, and the Arizona knowledge of plants. This planting expertise Territory. Her discovery of gardens came when set her apart from other landscape architects of she was sent back East to live with her grand- the period. Shipman’s simple, unpretentious parents, who had an old-fashioned, rose-filled designs for gardens served as a framework for garden in New Jersey. Later, when she attended her dazzlmg plantmgs. To create the proper set- finishing school in Baltimore, interests in art ting, she would surround the garden with an and architecture were awakened. enclosing curtain of trees and always used During her early twenties, Ellen lived in generous quantities of small flowering trees, Cambridge, Massachusetts, sharing a house shrubs, vines, and standards (such as roses, with Marian Nichols, who later married the lilacs, or wisteria) to create structural notes and landscape architect Arthur Shurcliff, whose pro- to cast shadows over the borders. Invariably her fessional path would intersect with Shipman’s. gardens were enhanced by her delightful designs Ellen’s brief academic career at Radcliffe (then for rose arbors, pergolas, benches, teahouses, known as the Harvard Annex) ended when she dovecotes, and other structures that carefully married Louis Shipman, a dashing young play- echoed the architectural style of the house. wright from New York who was then attending Shipman collaborated with numerous architects Harvard. They moved to the artists’ colony m and landscape architects, including Charles Cornish, New Hampshire, where they were part Platt, the Olmsted Brothers, and James of a lively coterie surrounding the colony’s Greenleaf. Warren Manning, with whom she founder, American sculptor Augustus Saint- collaborated on many projects, considered her Gaudens, who was also Marian Nichols’ uncle. "one of the best, if not the very best, Flower Years later, recalling her first visit to Cornish in Garden Maker in America. "z 1894, she wrote, "a garden became for me the 3 Ellen Biddle Shipman (1869-1950) m her New York City home on Beekman Place in the 1920s most essential part of a home."4 This would Shipman’s originality as a garden designer become Ellen Shipman’s credo in garden design. came from several different sources. The coun- In 1910, when Ellen Shipman was in her early try gardens in Cornish, once dubbed "the most forties and the mother of three children, she beautifully gardened village in all America,"" turned to garden design at the suggestion of her were the pre-eminent influence on her early Cornish neighbor, the country house architect years.s Gardens such as those of Thomas Charles Platt. By then the Shipmans’ marriage Wilmer Dewing, Stephen Parrish, Augustus had deteriorated, leaving Ellen to fend for Saint-Gaudens, and other artists brimmed with herself financially after her husband left her. old-fashioned flowers, dirt paths, and simple Platt admired her garden at Brook Place, the ornaments and features, such as rose arbors and Shipmans’ colonial farmhouse in nearby circular reflecting pools. As a young wife of an Plainfield, New Hampshire, and the remodeling aspiring but penniless writer, Ellen was not able she had recently carried out there. Platt thought to take the grand tour of European gardens as did she had a good eye for design and no doubt felt other prominent colleagues such as her Cornish that her plantings would be an asset for his neighbor, landscape architect Rose Standish gardens. While the Shipmans’ elder daughter Nichols (a sister of her friend Marian Nichols), (also named Ellen) managed the household, or Beatrix Jones (Farrand/.~ Instead, she read Ellen studied drafting and construction under House Beautiful, House and Garden, and popu- Platt’s tutelage. Within two years she was col- lar gardening magazines that would later feature laboratmg with Platt as well as undertaking her own work. She consulted recent books such small, mdependent commissions. as Mabel Cabot Sedgwick’s The Garden Month 4 Clusters of peomes and summer phlox with vmes chmbmg on the pergola m Ellen Shipman’s own garden at Brook Place, New Hampshire. Photograph by Mattie Edwards Hewitt, 1923 5 by Month, Helena Rutherfurd Ely’s A Woman’s Hardy Garden, and others that promoted the revival of interest in hardy plants. As a result, Ellen Shipman’s approach to garden design, in particular her planting style, was refreshingly American in spirit, escaping, for the most part, European influences that dominated the work of Farrand and Marian Coffin. Shipman’s apprenticeship with Platt strength- ened her design sensibilities. She loosely adapted his basic axial garden plan and habit of placing at regular intervals features such as the tubs of plants, statuary, and clipped evergreens associated with Italianate gardens. The result- ing compositions, which varied little through- out Shipman’s career, balanced formality and informality, more in the manner of Colonial Revival gardens of the era. At the crux of her garden design philosophy was the close integra- tion of house and garden, with easy transitions from one area to the next, without stiffness and artifice. Ellen Shipman had nearly four dozen clients in Massachusetts and several gardens in the Bos- Preliminary sketch for a garden m Mattapoisett~’ Massachusetts, for Mrs. Samuel D Warren, 1912. ton area exemplify the range of her capabilities, Shipman’s Colomal Revival-style plan has four mam two from her including designs fledgling years. beds edged m clipped barberry, a small hly pool, and In when she was 1912, just starting out, she a sundial on a side path. designed a small seaside garden in Mattapoisett for Mrs. Samuel D. Warren as a complement design for "Old Farms" harmonized with its to the modest shingle-style summer house. country setting and the clapboard seventeenth- Shipman’s simple, four-square Colonial Revival century house. At the front entrance, she plan consisted of beds of phlox and lilies edged designed a Colonial Revival dooryard garden with low, clipped barberry hedging, with con- with mounds of hardy plants such as peonies, verging stone walks. A sundial and a Lutyens phlox, and lilies in boxwood-edged beds, but bench-at the time a novelty in America- behind the house she created a new-style garden appear to have been the two major ornaments. that would quickly become one of her signature The garden was enclosed on one side by a dense creations. Here she made a garden with low wall of evergreens, and existing cedars stone walls of native fieldstone, set in an old (juniperus virginiana) were accommodated in orchard. Happily, the "bones" of the garden still the plan. Shipman felt an unswerving belief exist. The design was composed of a series of in the importance of privacy: "Planting, how- rectangular beds and walks culminating in a ever beautiful, is not a garden. A garden must be pool and a semicircular "apse" with a curved enclosed ... or otherwise it would merely be a stone bench. Since several of the old apple trees cultivated area."’ In this respect she differed were allowed to "stray" into the garden, its from Platt, whose walls and hedges defined character derived directly from its setting. spaces but rarely offered a sense of seclusion. Screening was provided by clumps of small trees The present status of this garden is unknown. and shrubs around the perimeter. Photographs The following year, in March 1913, Shipman of the garden show it to be one of the earliest designed an mnovative garden in Wenham, on instances in which Shipman used more innova- Boston’s North Shore, for Alanson Daniels. Her tive plantings than the simple flowerbeds filled 6 A wall of evergreens frames flowerbeds filled with phlox and lilies in the Warren garden. Fieldstone paths converge at the sundial Photograph by Edith Hastings Tracy, 1912. with masses of only two or three kinds of plants. kind of garden that appealed to her clients, In the Daniels garden, she created a strong wealthy women, the wives of prominent indus- sculptural effect around the small reflecting trialists, who sought traditionalism m the form pool by using clusters of bold foliage-hostas, of good taste and privacy.
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