Camp, Darling and Robinson | Collections | The Huntington

Camp, Darling and Robinson | Collections | The Huntington

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Architectural Drawings
Visual Materials
Contains drawings donated by the families of Charles and Henry Greene, by the families of the clients and by the families of later owners. About 137 architectural drawings can be viewed online along with a smaller number of design drawings. A group of post-1966 landscape drawings(unprocessed) for the Gamble House by landscape architect Emmet Wemple was added to the Gamble House drawings in 2011. Large format items other than architectural drawings are housed in the last few folders of the subseries. These include photographs and certificates related to the AIA awards to the Greenes in 1948 and 1952; an oversize tinted photograph of the James Culbertson garden; and wallpaper and paint samples from the Lucy Wheeler house. See also an oversize tinted photograph of the Camp house and presentation drawings for Darling, Robinson, and Tichenor houses in Boxes 121 and 121a, Subseries D. below.
Subseries A.
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Tichenor watercolors
Visual Materials
Tichenor watercolor: view of house on bluff Tichenor watercolor: courtyard view Tichenor watercolor: table lamp design
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Camp Robinson
Visual Materials
Camp Robinson, Nebraska. Panorama of camp and buttes in distance.
photCL 292 (2)
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Decorative table lamps design drawings
Visual Materials
Set of 6 original pencil drawings on drafting paper of decorative table lamp designs created by Jack Heaney and Associates for the NS Savannah. The drawings, measuring 11 x 17 in., presumably date from 1958 and include design and material specifications, quantities, and placements.
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Photographs
Visual Materials
Arranged by the name of the original client, this series contains photographs of buildings and furniture drawn from various sources, including the families of the Greenes and of the clients, from later owners, and other donors. These photographs date from the time of construction through the present. Included are photographs by well-known photographers, such as Harold A. Parker, Maynard Parker, Marvin Rand, Julius Shulman, and Ezra Stoller, as well as early photos by Gamble son, Sidney, and a professional photographer hired by the Greenes, Leroy Hulbert (a tinted photograph by Hulbert of the Camp house is in Box 121 below). See also Flat File 40 for oversize tinted photograph by Harold A. Parker of the James Culbertson garden. There are also informal snapshots as well as copy prints from other collections, and a few photographs of the builders and craftsmen, (including Emil Lange, Box 122) who worked on some of the projects.
Subseries C.
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Culbertson J, Darling, Earle, Flavin
Visual Materials
The Greene and Greene Collection contains a wide variety of materials, from Greene and Greene ancestor, architect/engineer James Sumner's "Memo of the Timber wanted for the Steeple in Providence," dated 1775, and a diary of a European grand tour from 1829 to 1931 by an English ancestor of Charles Greene's wife, Alice, to drawings and photographs of Greene and Greene works from the time of construction through the close of the 20th century. The bulk of the collection dates from 1889 to 1975. Photographs comprise most of the records documenting their architecture. There is a small number of architectural drawings; most of the firm's drawings are housed at the Avery Architectural and Fine Arts Library at Columbia University, New York City, with a smaller collection of drawings from the estate of Charles Greene at the Environmental Design Archives, University of California, Berkeley. The collection is organized into four series: I. Personal papers, II. Office records, III. Job (project) records (including furniture), and IV. Related research materials. In general, the papers and records of both brothers have been kept together for the periods in which they were living together as students and young men, and for the period when they were partners in the firm of Greene and Greene. Within each series, the organization follows the separate lives and works of each brother from the dates at which they diverge. Although the collection has been assembled from many different sources, most items have a unique accession number identifying the donor, so that the researcher can easily identify the source of most documents.
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