WSEE_A_480072 246..264 Full Terms & Conditions of access and use can be found at https://www.tandfonline.com/action/journalInformation?journalCode=wsee20 Slavic & East European Information Resources ISSN: 1522-8886 (Print) 1522-9041 (Online) Journal homepage: https://www.tandfonline.com/loi/wsee20 Russian Art & Design in the Evergreen Museum & Library James Archer Abbott To cite this article: James Archer Abbott (2010) Russian Art & Design in the Evergreen Museum & Library, Slavic & East European Information Resources, 11:2-3, 246-264, DOI: 10.1080/15228881003795504 To link to this article: https://doi.org/10.1080/15228881003795504 Published online: 08 Sep 2010. Submit your article to this journal Article views: 832 View related articles https://www.tandfonline.com/action/journalInformation?journalCode=wsee20 https://www.tandfonline.com/loi/wsee20 https://www.tandfonline.com/action/showCitFormats?doi=10.1080/15228881003795504 https://doi.org/10.1080/15228881003795504 https://www.tandfonline.com/action/authorSubmission?journalCode=wsee20&show=instructions https://www.tandfonline.com/action/authorSubmission?journalCode=wsee20&show=instructions https://www.tandfonline.com/doi/mlt/10.1080/15228881003795504 https://www.tandfonline.com/doi/mlt/10.1080/15228881003795504 PART II: REGIONAL COLLECTIONS Russian Art & Design in the Evergreen Museum & Library JAMES ARCHER ABBOTT Evergreen Museum & Library, The Johns Hopkins University, Baltimore, Maryland, USA This article describes the strong relationship between art collector Alice Warder Garrett (1877–1952) and artist L�eon Bakst (1861– 1924). Bakst and Mrs. Garrett became friends in early-twentieth- century Paris, where she acquired a number of his works of art. He eventually visited the United States under the auspices of Alice Garrett, and designed and decorated a series of interiors within the Garretts’ Baltimore, Maryland residence, Evergreen House—today open to the public as Johns Hopkins University’s Evergreen Museum & Library. KEYWORDS L�eon Bakst, Alice Warder Garrett, John Work Garrett, Ballets Russes, Russian, interior design, costume design, theater, theatre, Johns Hopkins University, Evergreen Museum & Library The Johns Hopkins University’s Evergreen Museum & Library in Baltimore, Maryland is among a small and unique group of American historic houses with important concentrations on Russian art and design. The house itself is counted as one of the Monument City’s rare treasures—a modern interpretation of the great Renaissance cabinet of curiosities, richly assembled and layered by two generations of the philanthropic Garrett family, most often associated with the powerful Baltimore & Ohio Railroad and the Robert Garrett and Sons investment house. Unique and unrivaled, Evergreen’s Russian holdings date from the second generation of Garrett occupancy. Largely, they were not acquired as historical artifacts, but, instead, commissioned as contemporary additions to the collections and the house itself. They are works by émigré Léon Bakst (born Lev Address correspondence to James Archer Abbott, MA, Director and Curator, Evergreen Museum & Library, Johns Hopkins University, 4545 North Charles Street, Baltimore, MD 21210, USA. E-mail: james.abbott@jhu.edu Slavic & East European Information Resources, 11: 246–264, 2010 Copyright � Taylor & Francis Group, LLC ISSN: 1522-8886 print/1522-9041 online DOI: 10.1080/15228881003795504 246 FIGURE 1 Theatre Lobby, North Wing, Evergreen Museum & Library. Completed 1922. Stenciled and painted plaster, wood and textiles. Collection of The Johns Hopkins University. Russian Art & Design in the Evergreen Museum & Library 247 Samoilovich Rosenberg, 1866–1924), the highly influential painter and designer best known for his awe-inspiring modernist designs for Serge Diaghilev (1872– 1929) and his early twentieth-century Ballets Russes. They include: whole rooms; stage sets; designs for same as well as for costumes, textiles, and other decorative elements; and portraits. The origin of Evergreen as a backdrop for collecting began in the late 1850s, soon after the merchant Broadbent family completed construction of what was then a country house. A melding of both the historic, Jefferson- espoused Greek revival and the more romantic and then-current Italianate design vocabularies, Evergreen was no doubt intended to impress. From the beginning, the house’s vast interior was envisioned as a type of reliquary for treasures—fine paintings, sculpture, and other objets d’art representative of FIGURE 2 “Costume Design for Arabian Prince with Pageboy” for La Belle au Bois Dormant. Signed Upper Right: Bakst 1916. Graphite, watercolor, gouache on paper. EH1952.1.402. Evergreen House Foundation, Evergreen Museum & Library, Baltimore, MD. 248 J. A. Abbott extensive travel, great knowledge, as well as significant financial and social standing. An American interpretation of the great European country house or villa, Evergreen was, from its beginning, a beacon of taste for Baltimore. But it was not until 1878 when one-time Baltimore & Ohio president John Work Garrett (1820–1884) acquired the estate for his son Thomas (1848–1888) and his young family that Evergreen became associated with true connoisseur- ship. Building upon his father’s own model of expanding a gentleman’s personal understanding of the world through collecting, Thomas became an active appre- ciator of German and Asian porcelains, rare treatises, and historical coins; for his literary interests he built the first two of five libraries that still exist within the house. His collecting passions were vast, and, as is often the case, subsequently passed to his three sons, and most fervently continued by his eldest, John Work Garrett (1872–1942) who dedicated his life to diplomatic service. Eventually the inheritor of Evergreen, Ambassador Garrett married the astute and always theatrical Alice Warder (1877–1952; see Figure 3) in Washington, D.C., in December 1908. 1 Together, they redefined Evergreen as an even more diverse and eclectic repository of art. To the historical collec- tions assembled by John’s father, they added Modern art by artists such as Amadeo Modigliani (1884–1920), Raoul Dufy (1877–1953), and Pablo Picasso (1881–1973). But perhaps the most celebrated contemporary acquisitions were those Alice commissioned from Léon Bakst. Bakst and Mrs. Garrett met in Paris in 1914 while John Work Garrett was serving among the United States’ diplomatic delegation to France during World War I. 2 While her husband was busy with his duties, Mrs. Garrett assisted friends Edith Wharton and Walter Berry with the American Hostels Committee, an organization aiding refugees with both housing and other urgent needs. She also actively invested time and interest in the art scene of war-dominated Paris, becoming acquainted with artists like Edouard Vuillard (1868–1940) and Pierre Bonnard (1867–1947), and often dining with and subsequently falling under the temporary tutelage of master art historian Bernard Berenson (1865–1959). Standing in sharp contrast to the historically- tied Berenson, the innovative and very modern Bakst became a frequent companion of Mrs. Garrett’s at this time, as the artist’s name appears frequently in her still extant day books. They regularly took mid-day tea together, while also attending opera and ballet performances in the evenings. By August 1915, when Bakst was painting Alice Garrett’s portrait, in which she wears a dress he had designed specifically for her, his importance in her life proved to have no rival: “I go almost every day to pose for Bakst. . .[he has] such reverence for his art and great will power and concentration on his work.” 3 Alice Garrett became a patron of the renowned Ballets Russes during this period, no doubt in part as a demonstration of her loyalties to Bakst.4 She attended performances of the company’s various ballets at the famous Théâtre du Châtelet, including the Bakst-designed Les Femmes de Bonne Humeur (1917). Mrs. Garrett presumably aided her friend in his planning of an American tour for the company, Russian Art & Design in the Evergreen Museum & Library 249 which included the Garretts’ home city of Baltimore. She also celebrated his independent design work for Russian ballerinas Ida Rubinstein (1885–1960) and Anna Pavlova (1881–1931), as well as producer and satirist George Thenon. After John Work Garrett’s reassignment as America’s Envoy Extraordinary and Minister Plenipotentiary to the Netherlands and Luxembourg in September 1917, his wife continued to visit Paris, dedicating hours to the company of Bakst. She organized an exhibition of over eighty of the artist’s watercolors in The Hague in the spring of 1919, from which she presumably added to her already sizable collection of Bakst’s drawings and paintings. Of this, Bakst wrote to his patroness: “You cannot possibly realize how moved and touched I was by the interest you brought to my exhibition. . .for me. . .my Art. . .absorbs all my being and always keeps me in a state of energy and enthusiasm.” 5 FIGURE 3 Alice Warder Garrett, ca. 1921. Evergreen House Foundation, Evergreen Museum & Library, Baltimore, MD. 250 J. A. Abbott Upon the couple’s return to the United States in the summer of 1919, Mrs. Garrett took on the official role of representing her friend’s art. She organized an exhibition of Bakst’s work at Manhattan’s M. Knoedler & Company in April 1920, as well as another exhibition that traveled to Dallas, Los Angeles, San Francisco, Santa Barbara, Denver, and Chicago. (A second Garrett-organized Knoedler exhibition was held in December 1922.) With each venue, she wired monies from various sales to the sometimes struggling artist’s Paris account. Still another exhibition of Bakst’s paintings and drawings was held at the Maryland Institute School of Fine and Practical Arts (today the Maryland Institute College of Art) in early 1921. This led to Bakst’s actual arrival in Baltimore, and his subsequent involvement in the transformation of Evergreen, which had recently been inherited by Ambassador Garrett. “Bakst is here,” Alice Garrett wrote in 1922 to socialite and Legion of Honor recipient Beatrice Astor Chanler (1886–1944), “and you can’t imagine what won- derful things he is doing in the theatre. It is going to be a perfect jewel.” 6 What had been nothing more than a dark, utilitarian gymnasium for her husband and his brothers during their adolescent years soon became a strikingly modern theater with colorfully stenciled walls, ceiling, and lighting fixtures inspired by Russian folk art motifs. It was an ideal, somewhat whimsical backdrop for the occasional intimate performances given by the stage-loving Mrs. Garrett. Bakst also designed costumes and completed three sets for her performances: Chansons Orientales; Seville Street Scene; and The Rustic Mill or The Irish Barnyard. 7 According to historian Cindy Kelly, Bakst’s decoration was “reminiscent of his earliest design work for the Ballets Russes,” simplistic in its general composition and bright, near primary palette.8 However, it was also reflective of the Russian-born avant-garde that heralded a new artistic beginning in the West, a particularly relevant selection for the house of a statesman actively involved in the formulation of a new world order following the end of global war. Beyond Alice Garrett’s recitals, East Coast society was treated to concerts by the Musical Art Quartet, a chamber ensemble affiliated with the preceding incarnation of today’s Julliard School of Music. It was in reference to such mesmerizing evenings in this Bakst-designed confection that interior decorator Billy Baldwin (1903–1983) later recalled: “There I was surrounded by the best art and music. . .I knew I could never return to the life I had led before.” 9 Léon Bakst subsequently redesigned Evergreen’s dining room, creating an electric Chinese scheme that included acidic yellow walls, a series of red and gold nineteenth-century Chinese scrolls, and sharp, contrasting white enameled woodwork that emulated the succinctly drawn lines of the artist. Though surely far from alarming by today’s sophisticated palette, this room no doubt chal- lenged the sedate calm of 1920s Colonial revivalism. Where most other society gatherings were resigned to gray, off-white, or other safely hued backdrops, Garrett dinners would demonstrate no such complacency. Their dinner parties were “alive” before the first course was even served, as Bakst no doubt intended. Russian Art & Design in the Evergreen Museum & Library 251 Upon his last visit to Evergreen before his 1924 death, the artist redesigned a retired bowling alley, making it, through partnership with regional architect Laurence Hall Fowler (1876–1971), a vibrant gallery of mainly Japanese applied arts. This sophisticated burgundy, pink, and ivory interior with lighted cases made of former windows and converted medicine cabinets still revels in a spontaneity and energy befitting its era—the Jazz Age. Though Bakst did not live to see the gallery’s completion, it—like the theater, dining room, and other works by the artist cherished by Alice Garrett—honored his unique imagination and creativity. The important Bakst holdings contained at Evergreen are listed below. Upon Ambassador Garrett’s 1942 death, the physical rooms created by the artist were included in the gift of the mansion to The Johns Hopkins University— made on behalf of “lovers of music, art, and beautiful things.” 10 Dying ten years after her husband, Alice Garrett gave her art collection—including textile and costume designs as well as other works by Bakst—to a newly created entity, the Evergreen House Foundation (EHF), the partial purpose of which she saw as the encouragement of new artists and designers like those she had aided in her lifetime—artists like Léon Bakst. FIGURE 4 “Farm Scene,” Theater Stage Set, ca. 1922–23. Canvas, cardboard, wood, paint, stone, rope. EH1952.1.1201a-g. Evergreen House Foundation, Evergreen Museum & Library, Baltimore, MD. 252 J. A. Abbott Together, the University and EHF maintain and celebrate the art of the great Bakst. Demonstrating the foundation’s commitment to the celebration of Bakst and his art is the 2009 acquisition of a yet-to-be identified rendering for another private theater by the artist. Undated, the work is based on the excavated and heavily restored Throne Room in the Palace of Minos at Knossos, Crete (c. 2000–1700 B.C.). Incorporating griffin and dolphin-adorned murals similar to the famous frescoes at Knossos, Bakst’s more modern scheme also includes stylized columns and wall treatments reminiscent of Viennese and Russian design vocabularies of the years just prior to and following the First World War. The highly rhythmic patterning included in this newly acquired work affords an interesting comparison to the equally energized Constructivist vocabulary of Evergreen’s iconic theater. Evergreen Museum & Library is one of two museums owned and operated by The Johns Hopkins University, and it is open for public tours as well as through special programming and events Tuesday through Sunday, throughout the year. 11 For more information please visit http://www.museums.jhu.edu/. FIGURE 5 Léon Bakst, ca. 1915. Evergreen House Foundation, Evergreen Museum & Library, Baltimore, MD. Russian Art & Design in the Evergreen Museum & Library 253 List of Works by Léon Bakst in the Collections of the Evergreen Museum & Library and the Evergreen House Foundation (Prepared by Edward Heimiller, 2009 Graduate Intern) Black Painted Wooden Lamps with Parchment Shade ca. 1922–23 EH1952.1.344.9a-b – 12a-b Drapery Panels Four panels with floral and rooster patterning* ca. 1922 Silk brocade with metallic threads EH1952.1.905 *A three-piece Louis XV-style parlor suite and two English Georgian armchairs also relate to these panels—they all have upholstery of the same material as the draperies. Alice Garrett apparently utilized this Bakst-designed textile—assumed to be not a special commission, but an already in-production textile—for the decoration of a number of Evergreen’s primary reception rooms in the 1920s. Drawing “THE PATTERN REPEATS HERE” (Stage curtain design for Evergreen Theatre) ca. 1922 Graphite on paper EH (not numbered) Drawing “Judith of Bethulia with the head of Holofernes” Signed Lower Right: Bakst ca. 1919–20 Graphite, India ink on paper EH1952.1.126 Drawing “Sultane Norie,” African Woman Wearing a Turban Signed Lower Left: Bakst Graphite, charcoal, gouache on paper EH1952.1.128 Drawing Costume for Alice Work Garrett Inscribed Upper Right: Corsage de La roba espagnole Pour Mme Garratte ca. 1922–23 Graphite, watercolor, charcoal on paper EH1952.1.131 254 J. A. Abbott Drawing Costume Design, Baroness in Scene 3 for La Belle au Bois Dormant ca. 1916 Graphite, watercolor, gouache, silver paint on paper EH1952.1.132 Drawing Nude Woman Unsigned Ink on paper EH1952.1.144 Drawing Portrait of Linda Cole Porter Signed Lower Right: Bakst Graphite on paper EH1952.1.147 Drawing Nature Study, Branch with Leaves and Fruit Signed Upper Right: Bakst Graphite on paper EH1952.1.151a Drawing Nature Study, Study of Branch of Leaves Signed Upper Right: Bakst Graphite on paper EH1952.1.151b Drawing Nature Study, Study of Leaves Signed Lower Left: Bakst Graphite on paper EH1952.1.151c Drawing Nature Study, Botanical Study Signed Upper Left: Bakst Graphite on paper EH1952.1.151d Drawing Nature Study, Study of Ivy Signed Upper Left: Bakst Graphite on paper EH1952.1.151e Russian Art & Design in the Evergreen Museum & Library 255 Drawing Nature Study, Study of Branch of Fruit Signed Upper Left: Bakst Graphite on paper EH1952.1.151f Drawing Nature Study, Study of Ivy Signed Upper Left: Bakst Graphite on paper EH1952.1.151g Drawing Nature Study, Fruit on Branch Singed Upper Left: Bakst Graphite on paper EH1952.1.151h Drawing Nature Study, Fruit or Gourds on Branch Unsigned Graphite on paper EH1952.1.151i Drawing Nature Study, Fruit on Branch Signed Lower Left: Bakst Graphite on paper EH1952.1.151j Drawing Nature Study/Set Design, Study of Ruins Signed Lower Left: Bakst Graphite on paper EH1952.1.151k Drawing Nature Study, Branch of Leaves Signed Upper Left: Bakst Graphite on paper EH1952.1.151l Drawing Nature Study/Set Design, Mountain Landscape Inscribed: Undecipherable Graphite on paper EH1952.1.151m 256 J. A. Abbott Drawing Nature Study/Set Design, Landscape with Aqueduct Signed Lower Left: Bakst Graphite on paper EH1952.1.151n Drawing Nature Study/Set Design, Scene of a Cottage with Fence Singed Lower Left: Bakst Graphite on paper EH1952.1.151o Drawing Nature Study/Set Design, Valley Landscape with Road Signed Lower Right: Bakst Graphite on paper EH1952.1.151p Drawing Design for Chansons Orientales backdrop Signed Lower Right: Bakst 23, 0—10 Scale ca. 1923 Watercolor, gold paint on paper EH1952.1.389 Drawing Design for Seville Street Scene backdrop (Two Houses on a Narrow Street) Unsigned ca. 1923 Watercolor EH1952.1.390 Drawing Winged Figures Design for Columns of Evergreen Theatre Unsigned ca. 1922 Graphite, watercolor on paper EH1952.1.392 Drawing Triangle Design for Columns of Evergreen Theatre Signed Lower Right: Bakst 1922 ca. 1922 Graphite, watercolor on paper EH1952.1.393 Russian Art & Design in the Evergreen Museum & Library 257 Drawing Rooster Design for Ceiling of Evergreen Theatre Signed Lower Right: Bakst 22 ca. 1922 Watercolor on paper EH1952.1.394 Drawing Fish Design for Proscenium Arch and Hanging Lights of Evergreen Theatre Signed Lower Right: Bakst ca. 1922–23 Watercolor Stencil EH1952.1.395 Drawing Maze Design for Carpet for Evergreen Theatre Signed Lower Right: Bakst ca. 1922–23 Graphite, watercolor on paper EH1952.1.396 Drawing Design for Evergreen Theatre Windowpanes Signed Lower Right: Bakst ca. 1922–23 Watercolor, gold paint on paper EH1952.1.397 Drawing Bird or Rooster Design for Evergreen Theatre Walls Signed Lower Right: Bakst ca. 1922–23 Watercolor EH1952.1.398 Drawing Costume Design for Alice W. Garrett Unsigned ca. 1922–23 Graphite on paper EH1952.1.399 Drawing “Monteau” Costume Design for Alice W. Garrett Inscribed Lower Right: Original Drawing by Bakst for Alice Garrett; Upper Left: Monteau from Madame Garrett ten tuffen ca. 1922–23 258 J. A. Abbott Graphite on paper EH1952.1.400 Drawing Mendiant/Beggar Costume Design for Les Femmes de Bonne Humeur Signed Lower Right: Bakst; Upper Right: Mendiant 1917 Indian ink on paper EH1952.1.401 Drawing “Costume Design for Arabian Prince with Pageboy” for La Belle au Bois Dormant Signed Upper Right: Bakst 1916 Graphite, watercolor, gouache on paper EH1952.1.402 Drawing “Mariccua” Costume Design for Les Femmes de Bonne Humeur Signed Lower Left: Bakst 1916; Upper Right: Mariccua Graphite, watercolor, gouache on paper EH1952.1.403 Drawing “Battista” Costume Design for Les Femmes de Bonne Humeur Signed Lower Right: Bakst; Upper Left: Batissta ca. 1916 Graphite, watercolor, gouache on paper EH1952.1.404 Drawing “A Boyar” Costume Design for Sadko Signed Lower Left: Bakst 1917 Graphite, watercolor, gouache on paper EH1952.1.405 Drawing Design for the Forest Scene in Act II of La Belle au Bois Dormant Unsigned ca. 1916 Watercolor on paper EH1952.1.406 Drawing Design for the Prologue of Act I for La Belle au Bois Dormant Signed Lower Right: Bakst ca. 1916 Graphite, watercolor, gouache on paper EH1952.1.407 Russian Art & Design in the Evergreen Museum & Library 259 Drawing Design for the Enchanted Castle in Act II, Scene 2, for La Belle au Bois Dormant ca. 1916 Signed Lower Right: Bakst Watercolor on paper EH1952.1.408 Drawing “Fantastic Bird,” Preparatory Drawing for Evergreen Theatre ca. 1922–23 Graphite, crayon on paper EH1952.1.751 Drawing Preparatory Design for Rooster Motif for Evergreen Theatre ca. 1922–23 Graphite, watercolor on paper EH1952.1.753a Drawing Farm Scene Inscribed Lower Right: Bakst for scenery Evergreen Theatre (Alice Garrett’s handwriting) ca. 1923 Indian ink on paper EH1952.1.756 Drawing Head of a Young Man Unsigned Charcoal on paper EH1952.1.878 Drawing Alice W. Garrett in Costume Signed Lower Left: Bakst / 1915 ca. 1915 Graphite, watercolor on paper EH1975.196.1 on extended loan from the collection of Mrs. George Rublee III Drawing Textile Design for Chauve Souris: Motif of Roosters, People, Horses, and Lions Signed Lower Right: Leon Bakst ca. 1922–24 Graphite, watercolor, gold paint on paper EH1991.11.1 260 J. A. Abbott Drawing Unidentified Theater Design Based on the Throne Room in the Palace of Minos at Knossos, Crete Signed Lower Left: Bakst ca. 1920 Graphite, watercolor, gouache on paper EH2009.1 Fabric Panels Painted Burlap, with dark green field and gold ring patterning ca. 1922–23 EH1952.1.669 a-g Letter Certificate of Beauty and Grace with Wax Seal ca. 1916 Ink, wax on paper EH1952.1.418 Pink Painted Wooden Lamps with Parchment Shade ca. 1922–23 EH1952.1.344.1a-b – 8a-b Side Tables Moderne, Black Painted Side with Rectangular Top ca. 1922–23 Wood and paint EH1952.1.1206a-k Sign “YOU ARE ONE/OF THE 102/MILLION ‘ARTISTS’/IN THE U.S.A./YOU ARE LIVING/IN ONE/THE 18 MILLION/DWELLINGS/YOU ARE/A MEMBER/OF ONE/OF THE/22 MILLION/FAMILIES” [Uncompleted version of “IF YOU ARE LATE. . .” theater sign (EH1952.1.885), with standing man interrupting seated patrons during a performance, on reverse] ca. 1922–23 Ink on paper; ink and watercolor (drawing on reverse) EH1952.1.758 Sign “THE NATION’S MOST/VALUABLE RESOURCE/IS ITS FUND OF/HUMAN ENERGY” [Accompanied by a pie-chart defining: “SLEEP/8 HOURS/ CONSUMPTION”; “RECREATION/8 HOURS/CONSUMPTION”; “WORK/8 HOURS/PRODUCTION”] Unsigned ca. 1922–23 Ink on paper EH1952.1.759 Russian Art & Design in the Evergreen Museum & Library 261 Sign “IF YOU ARE LATE PLEASE WAIT HERE UNTIL THE MUSIC PAUSES” [Accompanied by a drawing with standing man interrupting seated patrons during a performance.] Signed Lower Right: Léon Bakst ca. 1923 Watercolor on paper EH1952.1.885 Stage Curtain ca. 1922–23 Painted canvas EH1952.1.1185 Stencils Fantastic Bird for Evergreen Theatre ca. 1922–23 Paint on varnished paper EH1952.1.748a-b Stencils Triangular Patterning, Column Decoration for Evergreen Theatre ca. 1922–23 Varnished paper EH1952.1.750a-b Stencils Fantastic Bird in Diamond Stencil (or Triangle Stencil with Spotted Bird) for Evergreen Theatre ca. 1922–23 Varnished paper EH1952.a.752a-b Stencils Fragment of Rooster Motif for Evergreen Theatre ca. 1922–23 Varnished paper EH1952.1.753b-n Stencil Triangular Patterning with Square or Key Motif for Evergreen Theatre ca. 1922–23 Varnished paper EH1952.1.754 Studies for Fans or Lamp Shades ca. 1922–23 262 J. A. Abbott Paint on varnished paper EH1952.1.749 Textile Floral Motif Design on Silk 1924 Manufactured by: Robinson Silk Company for Clingen and Selig (American, New York, New York); printed by United Piece Dye Works. EH1952.1.409 Textile Lion Motif Design on Silk EH1952.1.410 Textile Triangle Pattern Design on Silk 1924 Manufactured by: Robinson Silk Company for Clingen and Selig (American, New York, New York); printed by United Piece Dye Works. EH1952.1.411 Textile Floral Spray Design on Silk 1924 Manufactured by: Robinson Silk Company for Clingen and Selig (American, New York, New York); printed by United Piece Dye Works. EH1952.1.412 Textile Rooster Motif Design on Silk EH1952.1.413 Theater Stage Set “Farm Scene” ca. 1922–23 Canvas, cardboard, wood, paint, stone, rope EH1952.1.1201a-g Theater Stage Set “Seville Street Scene” ca. 1923 Canvas, wood, netting, paint EH1952.1.1139a-d Theater Stage Set “Chansons Orientale” Russian Art & Design in the Evergreen Museum & Library 263 ca. 1922–23 Canvas, wood, paint EH1952.1.1202a-i Rooms at Evergreen House Designed or Remodeled by Léon Bakst Theatre (former gymnasium), North Wing Originally built 1885; remodeled by Bakst, 1922 Stenciled and painted plaster, wood, paper, and textiles Collection of The Johns Hopkins University Theatre Lobby, North Wing 1922 Stenciled and painted plaster, wood and textiles Collection of The Johns Hopkins University Dining Room, Main House Originally built, 1857; remodeled by Bakst, 1922 Painted plaster and wood Collection of The Johns Hopkins University Far East Room (former bowling alley), North Wing [In collaboration with architect Laurence Hall Fowler (1876–1971)] Originally built, 1885; remodeled by Bakst and Fowler, 1924 Painted wood Collection of The Johns Hopkins University NOTES 1. John Work Garrett inherited Evergreen upon the 1920 death of his mother, Alice Whitridge Garrett (1851–1920). 2. John Work Garrett was serving as the Department of State’s special agent in charge of civilian prisoners of war, initially assigned to the staff of Ambassador Myron T. Herrick (1854–1929). 3. Cindy Kelly, L�eon Bakst at Evergreen (Baltimore, MD: Evergreen House, Johns Hopkins University, 2004), 11. 4. For the 1917 season, Mrs. Garrett is recorded as a “Dame Patronnesse” of the ballet company. 5. Léon Bakst to Alice Warder Garrett, May 18, 1919. Evergreen Museum & Library. Evergreen House Foundation. 6. Alice Warder Garrett to Beatrice Astor Chanler, 1922, transcription in the archive of Evergreen Museum & Library. 7. Surviving examples of the Bakst-designed costumes for Mrs. Garrett are now included in the Costume Institute within the Metropolitan Museum of Art in New York. 8. Kelly, L�eon Bakst, 27. 9. Billy Baldwin, Billy Baldwin Remembers (New York: Harcourt Brace Jovanovich, 1974), 25. 10. Will of the Honorable John Work Garrett, Collection of the Evergreen House Foundation. 11. The other museum of Johns Hopkins University is Homewood Museum—a restored Carroll family- affiliated, Federal-era mansion on the main campus of the university. 264 J. A. Abbott