How to become respected and how to keep your femininity when doing a male's job? This was quite a burden for Rhode Island's first female architect, starting 1897 when she graduated from the Rhode Island School of Design. Henley was probably one of the few women designers to request equal social rights with men in her profession. As a lifetime member of the Providence Plantations Club, she succeeded to make herself even more visible in the public sphere of Rhode Island through 'women power.'

The women who gathered under this society were businesswomen, as well as women interested in the social and economic life and political life, at a moment just before they were granted the official right to vote by the US Constitution in 1920. The club was a success, starting with about 150 members and it reached more than 1300 members, just one year after its inception. As the only female architect of the society, Henley got involved in promoting the Club in terms of its visuals and interior design.

Since the commencement of the club in 1916, which gathered in different locations, the members envisioned a building to host the meetings and tea parties, including rooms for rent for women who came from different corners of the state. The lot on Abbott Park finally came into the possession of the association in 1923 and Henley was named in the Building Committee for the construction of the new building. The chosen project was built following the design project of the Boston-based firm Andrews, Jones, Biscoe and Whitmore in August 1926.

Henley was commissioned with the interior design for several parts of both buildings that were planned for hosting the variety of functions necessary for the new space: the dressing room of the swimming pool, found at the basement level of the building, the dormitories placed on the 5th floor, and an apartment for Marion Louise Simon Misch, one of the important members of the club, on the 4th floor. Misch’s apartment contained a “music room.” Mrs. Misch was not the only member of the society that Henley designed a cozy, fancy place for. Clara B. Earterbrooks, who occupied the position of chairman of the Finance Committee, and was also part of the Building Committee of the Providence Plantations Club, sought out Henley's services to design her little house in Hortonville, Massachusetts.

Henley was aware of the tremendous advantage of connections that this society had to offer. Linking her name with the design of the building where this society was gathered, a place of multiple connections and possibilities, provided Henley with a portal to attract clientele. Being part of this society which grew to more than 2500 members was an efficient way to present her creations and to make her visible as the only independent female architect in the public sphere of the state. The club's space was also an opportunity for Henley to teach young women interested in the profession of architecture how to overcome the societal prejudices. With the decline of the society, the building was sold to Morris Gaebe and Edward Triangolo in December 1962 and made part of the Johnson & Wales University campus.

For more (including 5 images) view the original article

“Over ten years ago, two women, both lovers of antique Colonial furniture, decided to popularize its beauty by making artistically perfect, made-to-scale doll’s furniture. Equipped with a child’s circular saw, they opened a tiny shop in the tiniest State in the Union. “ Tynietoy Catalogue, c.1930

Responding to a halt in trade during World War I that saw an end to the importation of European toys, Marion Perkins made her first piece of miniature furniture, a ladderback rush chair, in 1917. Encouraged by fellow member of the Handicraft Club in Providence, Amey Vernon, the two set up a small workshop space at the Club, first in the basement of the John W. Mitchell House, and subsequently in the carriage house of the Truman Beckwith House, which allowed space for a showroom as well.  This was the beginning of the Toy Furniture Shop and their line of Tynietoy furniture. Perkins had studied in the department of Decorative Design at the Rhode Island School of Design, and after working briefly as secretary for Rhode Island’s Governor Lippitt she embarked on a career as an interior designer. Perkins used her practical knowledge and expertise to create high quality miniature furnishings, at a scale of one inch to one foot. Much of the furniture was modeled on the American colonial period, which Perkins would have been familiar with from the Pendleton House Collection of American and European decorative arts, donated to the RISD museum by Charles Pendleton in 1904.  Well-known Providence artist, Sydney Burleigh assisted in the design of the furniture and dollhouses, and as the company’s output expanded, the manufacturing moved to larger quarters on Market Square, where the RISD auditorium now stands. The company had around sixty employees by 1927 made up of RISD students and veterans from the First World War, who were responsible for hand painting the details and decoration of the pieces, as well as assisting with the construction of the dollhouses and furniture. Thus, Perkins can been seen as part of a wider national movement after the War, which saw a renewed interest in the socially beneficial impact of design, demonstrated locally by RISD’s rehabilitation program for wounded veterans, established in 1919. Tynietoy offered six different models of dollhouse, all based on traditional New England house styles, the most expensive of which was the Colonial Mansion, partly inspired by Pendleton’s residence in Providence at 72 Waterman Street, which was itself used in the design of the interiors of Pendleton House. The quality of the Tynietoy furniture, combined with the fact that it was made to scale, set it apart from other companies producing miniature furniture during the period. The company was at its most active in the 1920s, and was duly credited with enhancing appreciation for colonial style American furniture, both nationally and internationally, evidenced by the fact that the Metropolitan Museum of Art in New York acquired the first room of miniature furniture Perkins exhibited at the Handicraft Club. After the stock market crash in 1929, the business began to struggle, although it managed to stay afloat until the early 1950s.  From business records, it appears that the company was taken over by new management in 1940, the year in which Vernon died. Perkins died in December 1947. The story of Tynietoy offers a rare example of female entrepreneurship in a period when women were not encouraged to work, let alone run a company. Perkins, much like the founders of the Handicraft Club, aimed to promote an appreciation of hand-crafted design, both within the local community and further afield, offering her own form of historic preservation in miniature. 

For more (including 5 images) view the original article

In 1904, ten women gathered together, led by former school teacher Julia Lippitt Mauran, to form a club in Providence devoted to “the promotion of interest in all kinds of handicraft and to provide a place where such work could be done.” This was, in part, a response to the growing interest in hand crafted design sweeping the country in the later decades of the 19th century, which saw the establishment of the first American arts and crafts society, founded in Boston in 1897.

In a report on the arts and crafts convention held in Boston in 1907, Mary Parsons, president of the Handicraft Club from 1904 – 1909, emphasized the crucial role of the Club in creating a center of activity for those interested in arts and crafts in Providence. Thus, the Club’s embattled search for a permanent home in the first ten years of its existence caused a great deal of alarm amongst its officers and members alike. Between 1904 and 1925 the Club had to move premises four times. This begun with informal meetings at the Froebal School, where Julia Mauran had been a teacher, and a brief period at Maxcy House at 7 Cushing Street, to a twelve year stint at the Truman Beckwith House, 42 College Street, from 1907 to 1919. They were forced to move again when the House was rented to another party, at which point they established what they thought would be their permanent home in Mitchell House, 227 Benefit Street, only to return to Beckwith House for good in 1925.

With the purchase of Beckwith House, the Club also took on the responsibility of preserving the historic building, designed by the architect John Holden Greene, and completed in 1826. Renovations included extensive redecoration, and the installation of a bow window in the south wall of the carriage house, the first floor of which was occupied by the workshop and showroom for the miniature furniture company, Tynietoy, established by Club members Marion Perkins and Amey Vernon in 1917.

Through providing the equipment required for crafts such as metalwork and book binding, among many others, and in encouraging the entrepreneurial activities of its members, the Club brought such endeavors out of the home and into a more public arena, endowing these women with a sense of pride and accomplishment in the skills they gained and the crafts they produced. In addition to offering classes and lectures by external practitioners from a wide range of geographic and disciplinary backgrounds, the Club served as a site in which women could exchange ideas and draw inspiration and knowledge from one another. The Club also staged exhibitions of members’ work, which were open to the public, and thus encouraged an interest in and support for handicrafts within the local community. During both first and second World Wars the Club devoted much energy to the war effort, knitting socks and scarves for the Red Cross and raising money for their Red Cross Unit by selling craft items.

The Club remains active in the community to this day, maintaining a strong sense of its heritage. In an effort to preserve the work of Perkins and Vernon, the Club acquired a Tynietoy dollhouse in 2013, and is still in the process of furnishing the Colonial style mansion with Tynietoy furniture. Thus, the Club continues its dual mission of promoting an interest in handicraft and historic preservation.

For more (including 4 images) view the original article