Heritage Preservation Assistant, Paint, John's Thoughts

I am back for my second season as a painter at Parkwood NHS. I am also an interpreter, providing tours, at the Estate,  when not completing paint projects. I have found that my position as a painter has given me an unique insight into the building/structures on the property, as it as forced me to carefully inspect the property, observing and appreciating the fine details of the construction of Parkwood.  As I return to my second summer at the Estate, with a renewed sense of confidence and vigor, I am pleased to be back, meeting with senior staff, mostly, Brian and Samantha,  about paint colour selection and techniques, and Alanna, to select and highlight what her concerns are, as the summer season Guest Experience Ambassador.

Our early focus has been the business office porch, which historically, was the domain and entry of

the house staff, and Curator Sam is anxious to reinstall the clothesline, for interpretation reasons, telling part of the Estate story which has been lost or ignored since 1972.

I have also been busy at the Teahouse Restaurant, as we get ready for the season opening, next week, on June 1.

I'll be checking and posting on a somewhat regular basis, as the projects keep rolling out.

Visitor Experience Ambassador, Alanna's Thoughts

For two months this summer I have been given the opportunity to work with Samantha as a Guest Experience Ambassador. This means I have to try and look at Parkwood from the guest’s perspective rather than the tour guide. Imagine making that switch after working here for just over 5 years! I thought it would be a little tricky to do, but it turns out that by being a tour guide, I have the opportunity to witness the guest experience through giving tours of the property and being in the gift shop. What I have learned from this has helped me to look at ways of improving guest experience and addressing different things to help make Parkwood even better. I love being able to give tours and take people on a walk through history and I also love being given the opportunity to try and develop new programs and approaches to how we run things here too. Ask the staff, I get way too excited for garden tour training and cleaning windows. In the last two weeks alone, I’ve helped plan and organize for our upcoming Victory Garden Party, work on some preventive conservation aka housekeeping with Alyssa, research parts of history that I never really knew much about, fought technology (and won!), and so much more. I find I’m digging deeper into the history of Parkwood, learning more and more about the property that I never knew.

For example, did you all know that the Oshawa Generals hockey team was created by R. S. McLaughlin? The original team was composed of all GM employees! I’ve been telling everyone about that. I’m excited to contribute more ideas to Parkwood and I hope that my experiences help to improve the experiences of others!

My highlight this week: Finding and watching WWII propaganda films that were produced by R.S. McLaughlin (on our YouTube channel). They are simply a delight to watch! Check it out!!

Curious Curator:July 1941 Cap-Chat, Quebec

Cap-Chat, Quebec was RS McLaughlin's private fishing camp along the Gaspe Peninsula, a 39-mile stretch along a "salmon river", which the McLaughlin Family frequented several times a year.

It is documented that Cap-Chat was one of RSM's most favoured locations, and this statement may be accurate, if one takes a look at the murals in the Billiards Room, by Frederick Challener, and how the images that flank the fireplace, capture and tell the Cap Chat story in a prime real estate location.
Several years ago, I was fortunate to make the acquaintance of the Cap Chat Historical Society who had in their possession the "McLaughlin Camp Kills Ledger" from the mid thirties through the sixties, when the family and friends/guests frequented the camp.  Through museum and heritage minded courtship, a copy of the ledger was swiftly provided to Parkwood and what a gem it is!

The ledger not only provides insight into the successes, and failures, of fishing seasons, and skill sets, but also provides a glimpse into the entertaining and friendship stories of the McLaughlin's. The names listed provide another layer of rich commentary upon the images that the photographs in the archives tell us, along with some of the interesting remarks, that are notated on the right side of each page in the ledger.


Today, I am going to share with you four days of the July 1941 page. A little glimpse into how some of my curator days, where and when I have a few hours away from other museum duties, I delve into the names on these pages, and begin to research, analyse and ponder through the information I can gather, the stories of how the hours and characters played out on the banks of the river.

July 5 through July 9, 1941 saw RSM entertaining; RCH Cassels (typed Cassele on the page); J. Lyle and A.E. Dyment during their visit and it appears they have a very successful time in the various pools. Sounds like a great trip! Shall we look at the guests visiting? 

John Lyle, architect- John Lyle was an architect that RSM had hired through the late 20s and 30s to work on the Parkwood Art Gallery space, the Formal Garden and his second bedroom suite. I found it interesting that Lyle was a guest of RSM to Cap Chat during this period.

RCH (Robert Cecil Hamilton) Cassels*- Barrister and President of the Royal Canadian Golf Association  * no photograph found


A.E Dyment- politician, lumber baron, stock broker founding, Dyment, Cassels and Company.  His brief bio, compliments of DBS Heritage Biz website;

"Dyment quickly established himself in the elite of Canadian business circles. By 1915 he was Vice-President, Canadian General Electric Co.; Director, Royal Bank of Canada, Dominion Sugar Co.; Vice-President, Maritime Coal, Railway & Power Co.; President, Dyment Securities, Loan & Savings Co.; and Vice-President, Canadian Theatres, Ltd. In 1925, he became chair of Canadian General Electric, a post he held until 1941. Dyment also went on to become vice-president of the Royal Bank of  
                        Canada. (red highlights indicate the companies RSM sat as a director, also) .Dyment was winner of four Kings Plates
Albert Dyment became a director and ultimately president of the Ontario Jockey Club,  serving in that capacity from 1924 to 1942 and then as honourary president from 1943 to 1944. 
The pinnacle of Dyment’s sporting career came during the Royal Tour of 1939. As President of the Ontario Jockey Club, it was his privilege to escort King George VI and Queen Elizabeth to the royal box for the 80th running of the King’s Plate at Woodbine."  Top Stockbroker in History

Nora Underwood, in her 2001 article on the McLaughlin Foundation, A Driving Force, references that it was at Cap-Chat where RSM developed his idea for the creation of the McLaughlin Foundation in 1951, and I have to wonder how many other ideas saw their fruition at Cap Chat, especially with such an interesting array of minds gathering.

When I delved further in the 1941 pages, I see that after John Lyle leaves the party, another architect, this one located in Montreal joins the group.  This makes me wonder if RSM is thinking projects, perhaps the family mausoleum project at Union Cemetery is on his mind. This project is eventually awarded to John Lyle, but it is a curiosity.

 

 

Curious Curator: Framed Delft Tiles

Most can recognise a delft tile upon looking at one and generally understands its historic link with the Netherlands. That is almost a given with any of the typical blue and white pottery the world has come to identify as Delft. Many will also know that its inception was the Dutch answer to the craze Europeans had for the Chinese porcelain that was arriving on the docks in the 17th century thanks to the rising middle/merchant classes emulating the upper classes and the Dutch East Indian Company.  Essentially, delft is pottery covered in a glaze containing tin oxide which is white, shiny and opaque.
The pottery underneath is usually red or brown earthenware. Delft pottery received its name from the factory which it originated in the 17th century in Delft, Netherlands, however, delft style is also applied to wares of similar nature made in 17th & 18th centuries in London, Bristol, and Liverpool.

 At the estate we have two framed Delft tiles on exhibit. Rarely are these noticed by the casual visitor who is often busy listening to the interpreter, however, there they are, affixed to a wall.  One depicts the Temptation of Adam by Eve, the other the western love of all "orient" exotic, an Arab gentleman sitting on a river bank with a city in the background.    If you look closely at the tiles, you can see some pitting is occurring in the tin glaze, leading to loss in various areas.  In some cases exposing the base earthenware or biscuit, as the tile base is called.

 

What may be further appealing is the notation on the back of the tile, on what looks and feels like a butcher paper used as framing paper applied to the back of the piece, 

"Taken from a house in Middelsburg, Holland. Said to be 250 years old. Given by Mrs Victor Ross to Mrs R.S McLaughlin, Xmas 1939"                                                                 

Noting the interesting claim of provenance, but also the deteriorating backing, I set about to take action on researching the history of these tiles and preserving the written note, in Adelaide McLaughlin's handwriting.   

MY PROCESS:

       

Step 1: The first step was to remove the butcher paper which

scored very high on the acidic level in a pH test

This exposed the grey felt

Step 2: Removal of the felt pad. This came away with ease, as no adhesive had been used,
historically. Pressure mounted, the years of being under the butcher paper had allowed for some of the fibres to adhere themselves to the rough tin glazing of the back, but these came away easily with a natural bristle brush



Step 3: The exposed tile with the opaque tin glazing.
How a biscuit tile is made: the earthenware biscuit is dipped into the tin glazed mixture; baked. Once dry the image is stencilled onto the front of the tile; using charcoal and a dot method. An artist connects the dots and adds any additional elements; baked a second time; polished for market.

 

Step 4: When I removed the butcher paper backing, I reinforced the inscription with pH neutral document repair tape. I opted for this method due to the fact that the inscription was being replaced onto the fresh backing I was creating for the tile/frame. If this had been a stand alone piece, or visible and not for posterity against the wall, I would have used the Japanese tissue and wheat starch method to mend the areas of loss.

Step 5: Acid free and lignin free tissue backing replaced the previous butcher paper. This was applied to the back of the wooden frame that encapsulates the tile with an inert adhesive. The condition of the wood frames are decent, showing no evidence of wood rot or insect damage. The butcher paper inscription is applied, with an interface between the acid free tissue and original butcher paper due to the high levels of acids in the butcher stock.  This is affixed with inert adhesive.



What did I learn about the delft tiles within our collection?  Lets take a look at the inscription once again. 

  "Taken from a house in Middelsburg, Holland. Said to be 250 years old. Given by Mrs Victor Ross to Mrs R.S McLaughlin, Xmas 1939"   

Taken from a house is Middelsburg & said to be 250 years old- the Parkwood delft tiles are not vivid blue and white, but rather purple brown manganese. The use of purple brown manganese for delft came into vogue in the 18th century and was widely used for tiles portraying biblical figures. Purple Brown Manganese delft tiles most often originate in the Bristol factories. Date, 250 years old in 1939- maybe an exaggeration by a few years.(??)
Originating in Middelsburg?- Middelsburg is reknowned for delftware, but actually did not have a huge part in manufacturing the tiles. This is a legend that may stay a legend, as I cannot prove or disprove any further.

Who was Mrs Victor Ross- this was a wonderful curatorial discovery, from my perspective.

Victor Ross, originally from Walkerton, Ontario, went from financial editor of the Globe to becoming the VP of Standard Oil in 1919. In 1922, now living in New Jersey,  Mr. & Mrs. Ross purchased a summer home in Pickering Village, Clarendon Woods, a 18 bedroom English country style manor, originally built and owned by Lord Hyde and Lord Somers.
Readers may recognise the property today, as the Manresa Retreat of the Jesuit Brothers.

When Victor Ross died, he was President of Standard Oil and Vice President of International Petroleum, a likely friend and guest of the McLaughlin Family, and giver of delft tile gifts in 1939.

                                                                                                    

                                                                                                                                                                        

 

      

Parkwood Spring Cleaning aka Preventive Conservation Work Part II

Reflections of Alyssa:

Since the beginning of our annual spring clean, I have had the opportunity to dabble in a few different tasks alongside the volunteers including sheer washing and silver polishing.  Then last week during reading break Samantha asked Mariah & I to come in for ceiling and chandelier cleaning. The scaffolding arrived on Monday and we set out to not only clean but explore a part of the house we never get close enough to. Now I have cleaned quite a few different places in the estate but this was my first scaffolding experience. With that comes my first time up close and personal with all the details so naturally I had questions. And if you know me, you know that is nothing new. Questions are my favourite

 

 
Once the first section of the hallway was done we had created a flow and rotation of the instruments. First we used the longer brush to dust the surface than the smaller brush to get at the detailing in the ceiling. The Q-tips were for cocoons or smaller spaces that we thought needed a bit more attention. The last part of our process was the sponge that picked up dust and dirt from the flat surfaces. We started by the front door of the mansion cleaning all the corners, tops of the door ways and chandeliers ending in the dining room.

Like I said above this was my first scaffolding experience and I would have to say it was an interesting one. Usually when I do things over and over again I begin to feel more comfortable with it, but I found working on that scaffolding a bit more difficult to adjust to. Feeling this way lead to discussing it with my cleaning partners which lead to all sorts of questions, naturally! First off, 80 years ago who would have been doing this job? How would they have reached these high parts of the mansion? Would it have been a man or a women up on, say a ladder? What would they have been wearing? Ladders and dresses sure would not have mixed 80 years ago and would have made the job quite difficult. Although dusting would have been the housekeepers job, something like the chandeliers would have been done by a household valet or maintenance man.

The Integrated Pest Management program is a very important aspect to the preservation of Parkwood. Pest management means putting out phermone traps and keeping track of the insects that may have made their way into the mansion. If insects are found than they are dealt with by our Curator. To be honest this job can be a bit overwhelming sometimes with 15, 000 square feet of heritage to cover. It may not seem like a huge deal to have a few insects hanging around, but in reality certain types can do a lot of damage to the collection of artifacts because they will eat wood, wool, leather and even sizing (ink). Whenever a project like this is happening pests are always on our minds. Prior to the beginning we had discussed the fact that we may come across cocoons or spider webs. I was expecting to find more cocoons in the areas we were cleaning but we only found three. While removing dust from the chandeliers we started to find a few lady bugs and than I realized that they were not all lady bugs but actually a form of beetle which is called “varied carpet beetle”. All the insects were dead, but the larvae stage is when they do the most damage. This raised further concern since we dealt with a carpet beetle issue in the Billiard Room several years ago.

 

One of my favourite things about Parkwood Estate is that there is always something “new” to discover if you just take the time to see it. On a regular basis I find things I have not noticed before and always end up discussing it with my colleagues. What was so great about being up on the scaffolding was that I was able to explore a whole different section of the house. Details that I had not seen before because they were either too small or hidden. My favourite discovery was the detail in the hallway that was hidden in a crevice that connected the front hall to the side hall. The only way I noticed it was when I stuck my head in crevice to do some dusting. It fascinates me that an area not on display would be decorated like the rest of the hallway. So much time and effort went into this section of the hallway that no one really gets to see, now why would anyone do that? Was it originally built that way or did the McLaughlins' add to it as time went by?

Another interesting part of the hallway is the mural, the Enchanted Wood, by Fredrick Challener. If you have been to Parkwood you know exactly what I am talking about. It has a few family members in the main panels but all around the room is nature, animals and LOTS of birds. Well when we were cleaning the tops of the door way leading into the serving galley we noticed birds that live behind the exit sign.  Finding detail like this is what makes these mundane jobs much more fun.

A few more photos show parts of the dining room ceiling that are absolutely beautiful but no one ever gets close enough to really appreciate it. For example, the trim around the room that is attached to the silk damask covering the walls. From a standing position we notice it is a gold colour trim but when you get closer you begin to see the intricate work that was put into the creation of it.

Throughout this whole process I have not only cleaned and dusted but I had the opportunity to explore a new section of my favourite National Historic Site. With this process also comes the responsibility of protecting the artifacts and the estate itself including walls and doors. The moving and positioning of tthe scaffold could we had to be wary not only for our safety, but also  for the safety of the Estate. Being close to the silk damask walls or the mural in the hallway or even the paintings in the dining room means you have to be very careful, it’s not just a quick and easy dusting duties.  

Mariah spending time with RSM

Additional commentary from Samantha: Alyssa has been working at Parkwood NHS for the last few years in a variety of capacities, most recently as a preventive conservation tech or housekeeper in lay terms, although our housekeeping is very different from what one would define as housekeeping. She is able to reflect on some of the general preventive practices that she does routinely, integrated pest management, monitoring relative humidity and lux levels in terms of light and light damage on textiles while working away on the ceiling and chandeliers.  I am able to comment on her statement that she loves asking questions, which is a genuinely superb attribute since she is a sponge absorbing information.



 

 

 

Spring Cleaning aka Preventive Conservation Work at Parkwood

Reflections of Mariah:

This week I was given the task, along with my partner in crime/co-worker Alyssa, to give the upper half of the estate a little TLC. As mundane as that may sound, you may be surprised to learn that the ceilings are just as, if not more, intriguing than the grandeur of the main level. Several feet suspended in the air (via scaffolding) I discovered a whole new world. Parkwood Estate is known for its incredible architectural detail, and this week I was able to confirm it extends literally from floor to ceiling. I was amazed by the intricacy of every carving within the crown moldings and ceiling tiles. Little treasures spied at every corner. Did you know, for example, that the pattern decorating the ceilings of the Dining Room is in fact made of delicate little flowers? 

Next time you find yourself at Parkwood Estate, I suggest look up! A new perspective of our adored mansion awaits you.  

Additional Commentary from Samantha (Curator):
When we set out to do some of our ceiling work, and no coincidence that it paralleled reading week, I asked that the staff involved reflect on what their assigned chores were and write about the experience for me.

I am sharing with you their thoughts and notes this week.

The work on the ceilings involved dry dusting, a mechanical process, to rid the ceilings of surface soils, cobwebs and cocoons.  We used several materials, two kinds of brushes with sable bristles; a special conservation sponge for flat surface cleaning (not a magic eraser); Q-tips(TM) for bugs and cocoons. 

A wet cleaning process is possible, but for that work or paint infills/touch ups a licenced conservator would be hired and is currently not needed or in the budget.

Curious Curator: The Nonesuch Dickens

There is a set of Charles Dickens books within the Parkwood Library which are referenced by Dickens fans and book lovers as the "most complete and handsome" set of Dickens works ever printed.

The Parkwood set of the Nonesuch Dickens lives upon one and a half shelves and sits nicely among the rest of the books within the collection, but this series of twenty four books, plus one folio, is a limited edition set of works published in 1937, among a lot of only 877 sets produced.
Physically the set is quite pretty and colourful, perhaps too colourful for the leather bound book lover, with its series of different colour buckram covers, and black morocco spine labels lettered in gilt. However, the hand-made linen pages have their top edges defined in gilt, while inside these colourful covers lives a medley of engraved titled vignettes and plates, illustrations that were selected by Dickens himself to accompany his stories.  According to Grace Barham, "Charles Dickens had been closely involved in the choice of each illustration, and his relationships with his illustrators were crucial to his creativity" and the Nonesuch edition was able to ensure that this aspect was part of their publication in 1937.
 

What further adds to the historic value of this set of books is that the actual text was printed from the original woodblock and steel plates used by Dickens original publishers, Chapman and Hall, "the very last editions which Dickens had revised himself, and Nonesuch added “every authentic scrap of his writing which has been collected since his death”.
 
"The Nonesuch Press was one of several deluxe publishers that aspired to the aesthetic standards of the private press movement. Founded in 1922, the Nonesuch Press had a similar aim to William Morris’s Kelmscott Press: to produce artistically designed volumes that demonstrated a care and love for the book, the materials used, and the process of production", although where Nonesuch differed from the arts and crafts presses was that although they hand designed publications they still printed on a trade press.
 

Chirp The First

The folio volume that I mention in the second paragraph, is not a book at all, but an enclosure designed to mimic the look of a book, but is a clamshell, holding a piece of the very original printing plate of one of the illustrations used in the first publication by Chapman and Hall. When Nonesuch Press acquired the Dickens' Portfolio from Chapman and Hall, they acquired all the plates, etc. Our set boasts the original illustration plate, Chirp the First, from the novella The Cricket on the Hearth, A Fairytale of Home .

Oh if these walls and shelves could talk!

Curious Curator: Holly Leaves

While working in the vault which houses many of the original blueprints and concept drawings for Parkwood, and miscellaneous McLaughlin affiliated paper based (archival) items, etc., I stumbled upon a grouping of large lithographic prints neatly rolled together. I had noticed them previously, but they were not the urgent item of which I was looking for at that specific moment and they have sat there until I turned my attention towards them again a few months ago.

Each of the lithographic prints, on card stock measuring 70cm x 47cm, seem to depict a military inspired images/campaigns, save one, of different time periods, evoking a variety of emotional responses, mostly empathy, when I looked at them. What struck me as odd, initially, was the typed inscription along the top, Holly Leaves, and a date. Guess what happened? I researched.

"Holly Leaves" was an annual special publication that was issued at Christmas each year by the Illustrated Sporting and Dramatic News. The ISDN was a weekly magazine similar to that of the Illustrated London News, the world's first news magazine, but the ISDN concentrated predominantly on sport and drama, "it answered the demand for a paper devoted to sport at a time when the British middle classes were sharing an increasing enthusiasm in all forms of sporting pursuits."
The Illustrated Sporting and Dramatic News shared its offices and writers with the London Illustrated News, but was able to position itself as the "country gentleman's illustrated paper, focusing initially on equine sports (horse racing, polo, equestrian, hunting), attributing its success in finding favour with the sporting elite that was fostered through a public school* and university system. Shortly adding other public school sports; rugby, cricket, rowing, tennis and billiards.  (*note to NA reader English public school system = fee paying private schools)

These news magazines through the 1930s, held a tradition of using graphic illustrations and often referenced popular subjects of the time for the Empire, especially colonial or foreign military campaigns. The Great War effected the ISDN in an interesting way, and although the magazine continued to focus on issues that the sporting fan would find interesting, it was war, and gone were the actors that graced its front cover, "replaced with stories that reflected hunting in wartime, the commandeering of horses, breaking in mules or the work of the Royal Veterinary Corps.  The Officers’ Training Corps of the country’s public schools and universities were featured as were battalions made up from sportsmen.
The ISDN also took an interest in how women were helping the war effort and reflects their changing roles, with a particular focus on jobs in the countryside, such as the Women’s Land Army or the work of the Army Remount Service."

Discovering this information about the weekly news magazines, and that the lithographs that I was holding in my hands came from a member of the Great Eight, the name given to the most popular news magazines of the day. I still needed more information about the imagery I was looking at.

Faithful Unto Death

Where He Fell

Photographs and sketches of war-themed imagery plays proliferate in the Illustrated Sports and Dramatic News and its annual Christmas issue entitled, ‘Holly Leaves’ was always a festive feast of illustration, with contributions from many era specific artists  

The naval image, Faithful Unto Death is an image used by Holly Leaves in the 1916 edition. Faithful Unto Death is a painting done by W. Hatherell R.I. (1855 to 1928). An illustration artist, Hatherell's work appears in several editions of Holly Leaves. Where He Fell, is another example of Hatherell's work (1919 edition of Holly Leaves), providing the imagery that the ISDN was most famed for publishing, using the work of an artist, who is also exhibited at the Tate, but is often referenced to as an artist of the literary and sentimental genre, in capturing the minds and hearts of the Empire during the First World War.

Le Reve

Throughout the 1920s, ISDN continued to use lithographs of war-themed imagery in its Holly Leaves publications, but as the 1920s moved on, photographs began to replace the lithograph. The 1925 Holly Leaves featured Edouard Detaille's (1848 to 1912) Le Reve, or since the Illustrated Sports and Dramatic News is a British publication, retitled The Dream. The imagery depicts soldiers asleep dreaming of glory, the past glories dressed in republic and empire uniforms, that haunt their sleep found in the imagery of the clouds.  Detaille was a French academic painter, medal of honour recipient and military artist. He is often regarded as the semi official artist of the French Army, and he was entrusted with this title, because of the detail he captured in his work. In this piece, reference the line of rifle beams, parallel to the sleeping soldiers.

Tipperary

 To the left are some of the other examples that are found among the rolled up lithographs, also artworks created by leading artists and used in Holly Leaves.
As I have looked at these images over and over again associating them with the era and atmosphere of the carnage and loss of a generation with the first world war, it almost seems fitting that military inspired art work is used to convey emotion in a pop culture piece, especially when it was contrasted with whatever society sport it was illustrating. Unfortunately, I do not have the written portion of Holly Leaves available at Parkwood to compare and contrast what specifically the images are being used to illustrate and illuminate, but it is a curious collection to come upon.


Last of the Garrison

Why did the McLaughlins save these lithographs? I do not think I shall ever have the answer, but this journey into the social history of the Illustrated Sporting and Dramatic News, its use of art to inspire and evoke thought, along with polo scores, and its fundamental position as a source of entertainment, news and patriotic pride has proven an interesting journey this week. A fitting find when the world is begin to reflect and commemorate significant anniversaries of international conflicts.













Saving Glass Gardens: the Parkwood NHS Greenhouses

 

Saving Glass Gardens

The greenhouses of Parkwood National Historic Site

 

Pre Conservation work

 

Glass Garden was a common terms for early 20th century greenhouse. For Canadian auto-baron Sam McLaughlin and his wife Adelaide, their glass gardens were enormously practical and highly decorative, providing plants for year round display as well as for the elaborate gardens. 

The Parkwood greenhouses also supported the
family's social pursuits, providing horticultural novelty & entertainment for guests, and the ability to compete and flower shows against others of green thumb and deep pockets.

Garden clubs and societies, from across Ontario and beyond, were frequently
entertained at Parkwood. Invitations to the McLaughlin’s annual Chrysanthemum Tea were coveted for over five decades, when guests came to wander the greenhouses and marvel at the 250 unusual varieties displayed, especially the large single- stemmed plants trained to have just one spectacular bloom.

Today, an engraved invitation is no longer required. Parkwood’s greenhouses are open to the public all year, for education& enjoyment. Now approaching 100 years of age, they still perform many of their historic functions for display and plant production for the gardens.


In  2012 Parkwood began a partnership with Durham College  in  a  Horticulture Technician Program that uses the historic gardens and greenhouses for teaching and lab purposes – extending their education value even further.

 

Why Save?

Parkwood's glass gardens speak to the vanished lifestyle of the early 20th century. They illustrate construction techniques and greenhouse operations of the era, and help visitors imagine the lavish lifestyle of the McLaughlins, and the roles played by their large garden staff (24+) in keeping up appearances. 

 

Why Now?

The greenhouse complex is at serious risk of loss to

the historic building fabric, and of public access and student use due to deteriorated unsafe conditions.

 

Who will benefit?

The greenhouses or glass gardens provide opportunities for education and enjoyment to area residents and visitors from across Canada and around the world, and even more specialised opportunities for horticultural enthusiasts and students.Many volunteers take part in both plant production  and  display  activities  including seniors and apartment dwellers without gardens of  their  own.   

Parkwood’s greenhouses offer  a chance to socialize and keep limbs and green thumbs active.

 

What’s Involved?

Each greenhouse or glass garden has different

requirements, due to its evolution and current condition.

Parkwood has engaged top heritage specialists in historic assessment and future planning.

Together we have determined a course of repair which respects historic values and ensures that each greenhouse can be sustained for 100 years more.

 

Work in progress

Conservation Completed

A pilot project was begun in late 2013, to test the “prescription” and launch a repair sequence for the remaining 5 greenhouses.   The pilot project involved  a  restoration  of  the  c.  1917  Vinery, which still houses one historic grapevine.   The project is complete and the results are stunning, encouraging the public to picture the other glass gardens fully conserved/restored. Community partners rallied to raise $ 200,000 to do this pilot work, but more dollars are urgently required.

One highly visual element of the complete project will be replacement of the decades-old plastic panels now yellowed and opaque, and a return to clear glass .
 

The next glass garden to undertake is the large and wonderful Palm House, home to many tropical plants including a large rubber tree planted by McLaughlin and his Head Gardener, and where Flora a marble sculpture of a woman takes centre stage.

 

The Palm House connects directly with the recreation  wing  of  the  mansion for seamless public access year-round. Its restoration program is pegged at just over $ 400,000.

Join the Palm House Rescue Party

Be a pane!  
Help fill in wall and roof sections with new glass, with a $ 75 gift.
724 panes required

Be  a  crank!     

Turn the handle on restoring the original ventilation system, with a $ 4,000 gift.

Give  a  shot  to  the  ribs!    
Help repair or replace original yellow cedar glazing ribs with $ 150 gift.
1410 ribs required



Did you know?

A gift of any amount is appreciated, and its impact immediately increases by 50% with the fund-matching challenge! In  2013,   The    City    of    Oshawa  pledged fund-matching support to assist in a full conservation/restoration program for the greenhouse complex, and will provide $ .50 for every $ 1 raised.