Phalaenopsis orchids, the most ubiquitous of flowers, hardly garner a second glance when we stroll by the myriad colored hybrids that adorn restaurants, homes, offices, and flower sections of grocery stores.
However, in 19th century Victorian England, if you had orchids in your parlour, you were most probably a member of the upper class. Orchids were a costly rarity, and for much of the 19th century, these plant gems remained in the domain of aristocrats, whose adoration of spectacular orchid originals epitomized the genteel display of power, status, and luxury.
In celebration of those passionate Victorians whose obsessions spawned perilous journeys and whose collectors’ cultivations helped to transform the field of plant research, propagation, and conservation, this year’s theme of the NYBG Orchid Show, is “Orchidelirium.” Representative of all that is exceptional and dynamic about this monumental flowering plant family Orchidaceae (over 30,000 naturally occurring species from tiny to large, with over 150,000 man-made hybrids), NYBG “Orchidelirium” in its intense visual design and intriguing tour layout circumscribes the trending mania that burst onto the scene in Victorian England. The exhibition highlights the finest and most innovative creative impulses of the time and recalls some of the most nefarious of human activity before profiteering, exploitation, and habitat destruction became the anathema they are today.
Marc Hachadourian (NYBG orchid curator) holding the beloved Psychopsis papilio that whetted the Duke of Devonshire’s obsession for more rare beauties. Photo: Carole Di Tosti
Close up of the Psychopsis papilio that started orchid mania and determined the British Duke of Devonshire to amass the largest private orchid collection in the world at his Chatsworth House estate in Derbyshire which you can visit today. Photo Carole Di Tosti
The Duke’s head gardener Joseph Paxton revolutionized greenhouse design and orchid cultivation for the Duke whose expanding collection (eventually his greenhouses were over an acre under glass), inspired his wealthy friends to also display their unrivaled orchid prizes. Soon hundreds of adventurers were commissioned to travel on the high seas and bring back all the obscure, unparalleled beauties they could find. In 10 years the Duke possessed the largest private orchid collection in the world centered at his Chatsworth House estate. The grandiloquent gardens, greenhouses, and impressive buildings in Derbyshire, which recall the wealth and splendiferous grounds of Mr. Darcy’s estate in Pride and Prejudice, are worth the visit if you are traveling to the UK.
Fragrant Dancing Ladies Orchid, Oncidium, Rosy Sunset ‘F’ NYBG Orchidelirium. The oncidium orchids carry a lovely fragrance of roses or chocolate. Photo: Carole Di Tosti
Our love of orchids has been tempered with an ethical imperative about conservation and preservation of habitats that was absent back in the time of the exploitative, predatory Victorians. Throughout, this prodigious show highlights the extent of the Victorians’ often piratical obsession, not only through its exquisite, floral pageantry but by showcasing the historical artifacts, books, pictures, narratives that adorn the pathways where the lusciously fragrant Oncidium Rosy Sunset ‘F’ orchids dance (they smell like chocolate), and the Miltoniopsis Herralexandre (pansy orchids) charm with their smiling faces that bloom with scintillating color. The narrative discloses “movers and shakers like Benedikt Roezl, the “Prince of Orchid Hunters,” who was the most famous and successful orchid collector of the era.
The exhibition is breathtaking in its conceptualization, scope, design, and presentation. It is partly conceived as an expeditionary journey that snakes through the greenhouse galleries and suggests the diversified habitats that recall the various continents spanning rain forests, mountains, and deserts (orchids live in all continents with the exception of Antarctica), where orchids luxuriate. One first enters the conservatory’s Palms of the World Gallery Reflecting Pool and is struck by the explosion of whites, fuscias, variegated roses, pinks, and maroons of reigning Phalaenopsis which cascade dripping Spanish moss from elevated dispositions in the trees. The featured display symbolizes how far orchid cultivation has come from hunters poaching species in the wild to the massive hybridization and cultivation of
Around each turn is the unusual, like the vanilla orchid whose pods are not beans and which is the only orchid of natural economic value from which we derive all our vanilla flavoring. According to Marc Hachadourian who walked with us along the orchid trail, the vanilla seed pod of the orchid is what is taken, dried and cured and as a result of that curing process or fermentation, that’s where natural vanilla comes from. So the Madagascar and Tahitian vanilla which is the real vanilla extract, comes from the seed pod of an orchid. Marc referred to the black flecs in Vanilla Haagen dazs ice cream which are from the vanilla orchid seed pod. “You see, you’ve been eating orchids your entire life and didn’t know it.”
As we move along the trail, Marc informs us of the tremendous diversity of orchids which are highly adaptable to all terrains and climates and are the reason why researchers use them in their plant studies. Along the pathway through the galleries that mimic the various terrains where orchids grow, you will encounter the desert orchid Eulophia Petersii.
Orchidelirium, the theme of the NYBG Orchid Show for 2016, refers to the Victorian period in England when there was a renaissance in the collection, research, propagation and cultivation of rare and exotic plants which eventually morphed into an obsessive craze for orchids. The selection of the theme dovetails with the 125th Anniversary of the Garden because the Victorians’ orchid obsession spawned many innovations in propagation and cultivation and hybridization of orchids that has continued to this day. The Victorian passion for illimitable orchid gems even improved trends in greenhouse design and helped inspire the Victorian design for the Enid A. Haupt Conservatory.
Indirectly, it is because of Victorian orchid mania that the NYBG has one of the largest institutional orchid collections in the world with over 7,000 individual specimens as a part of its entire collection, a fact which Marc Hachadourian orchid curator reinforces. The family Orchidaceae is the largest and one of the most varied of blooming plant families in the plant kingdom and as a result it has been used to conduct research and encourage efforts toward conservation and habitat preservation. Additions from the historic, permanent orchid collection are included in the Orchidelirium exhibition.
Christian Primeau, the show designer and manager of the Enid A. Haupt Conservatory oversees the extensive tropical/subtropical plant collections housed in 11 unique environments in the Conservatory. Primeau reinforced the tremendous influence the Victorians had and continue to have today. It is because of them that orchids are the most charismatic and popular of plants. As NYBG orchid curator Marc Hachadourian says, “They are the pandas of the plant world.” It is their popularity that has encouraged growers and cultivators to create over 150,000 man-made hybrids for us to enjoy.
Christian Primeau talked to a group of us about his design inspiration for the show and clarified that the two week installation period was a high pressured and frenetic but absolutely enjoyable time.
Christian Primeau, Orchidelirium’s designer
Orchidelirium has a whole different meaning for my staff and me because we’ve been working 13 hour days including weekends. We were pretty ambitious with the design and we hope you like it. But we’re all hallucinating at this point. I think I’m one of those rare people and I think Marc probably shares the same feeling of love for our jobs. It’s my hobby and my career. And it’s just what I’m passionate about. I hope that’s not the case, but loving one’s job seems like a rarity these days. I owe everything around me, this entire beautiful collection, this palate of plants that we get to work with, we owe all that to the people who came before us who were passionate. As Marc explained their motive may not always have been so pure, a lot of time it was a passion for personal glory or for profit, but in any case we owe what we have now, where we are today in this industry, everything around you that you see to that passion.
This is a celebration. We’ve been here 125 years. Orchid collecting has been going on for longer than that. So we owe this to the passion of those people. It’s an homage to those guys and ladies and people who sometimes gave up their lives so that we can enjoy these plants. And we also give them a nod because in terms of breeding and conservation, we’ve come a long way. We’re much more responsible, hopefully, nowadays in regard to collecting. Not always, but we’re trying. Of course, the mission of the garden is to move that along and to show the public these plants that they wouldn’t have access to see 125 years ago. Orchid collections was only accomplished with those who had the wealth to fund orchid expeditions for themselves or orchid collectors.
This is the centerpiece of the collection. (Christian points to the magic mountain of orchids towering above us.) When the Victorians obtained these beautiful plants, they would bring them into their greenhouses and try to stage them basically to reproduce nature. We found this incredible drawing. I think you all have access to it. It’s an 1837 sketch of the Epiphyte house at Knypersley Hall. (The illustration appears in a two volume tome commissioned by James Bateman, The Orchidaceae of Mexico and Guatemala, 1843). It’s about a 5-6 foot mountain they built at the center of the greenhouse, beautifully covered with ferns and orchids.
I thought, wouldn’t it be great to take this and put it on steroids? So I asked, “Hey, can you build me a fake mountain? And they came back and said, ‘No, that would cost as much as a vacation home in the Hamptons. But what you can have is a bunch of four foot by four foot cubes.’ So the bones of this mountain are four by four steel cubes stacked on top of each other. It looked great on paper. But when I saw them stacked I wondered, how are we ever going to make that look like a mountain? Hours later and many rolls of chicken wire later, we were able to mount it and plant it to look much like the mountain in the picture but just on a grander scale. It’s hollow and we have a little access door. I won’t tell you where it is. So it’s on the mountain and we can go inside and water it from the inside. All the orchids are wrapped by hand in moss so we can actually water them from the inside through the chicken wire. It looks like a beast to water but it’s fairly simple to do.
It’s an homage to those guys who really were so passionate and built these structures. It is naturalistic but that’s what they were going for and it is the inspiration for our centerpiece mountain. I really let my staff loose in terms of creativity. I cannot thank them enough because I really worked them to the bone. So as you walk around, you are going to see lots of little moments and vignettes so the character of each one of my staff members is actually reflected in certain moments in the display. I hope that people will find the moments that appeal to them whether it be the really intense colors or delicate colors or the moss areas or the small areas of the Paphiopedilum, the Lady Slipper orchids, to find something they can grab onto. My hope is that the orchid enthusiasts will be as psyched about the show as the people who are general plant growers. They’ll find something they can recognize or something that will spark that passion that we all have here. I mean that’s what it’s all about. We want to share what we love and ignite this love in them as well.
I planned for a large waterfall in the front, and in the back something a little more peaceful. So we just wanted to have a mossy grotto of water, taller in the back and a bit crazier in the front. In the sketch there’s actually a bird’s nest fern at the top of the mountain. I thought it would be great to take a little license. So we took bromeliads up there and again on paper it looked great. But when we actually had to climb up the mountain carrying a 70 pound bromeliad, it became less fun but we got them up there and we got everything planted. And are fairly happy with the way things turned out. So that’s it. So this was based on that illustration that we talked about. And then we head into what I imagine Marc Hachadourian’s greenhouse looks like. For the crazy plant nerd, orchid geek, this would be the greenhouse that you see. And again we took license and as I said we’ve come a long way in terms of breeding and cultivars. What you see here crazy color, lots of contrast, lots of strange plants and again a huge, huge variety of orchids that we have in this section.
Orchids are epiphytic and grow on trees and rocks. Others are terrestrial orchids, depending on where they grow. Lots of plants will be epiphytic. Note the walls. They are reproductions of the walls that are actually in that scene from Knypersly, so we had those reproduced. A working greenhouse would be dingier and a little less densely planted. We have the potting benches where people can learn a little about propagating orchids and what a working greenhouse would be like but this section of the display it’s predominately ornamental. We tried to load it up with a diverse selection of orchids. The Phalaenopsis (moth orchid) on the mountain everyone is familiar with but you come in here and even if you’re a serious orchid aficionado, you will see a lot of interesting orchids you may not have seen otherwise. The more expensive orchids come from our permanent collection.
Explorers and others used the Wardian Cases to transport orchids back in the Victorian era. They created and maintained that micro-climate to keep them alive. The show also highlights the history of Ward and the invention of the Wardian case wonderfully. The Wardian Case is a symbol of the Victorians.
The majority of the orchids that people buy are from Florida, Hawaii, California. The bulk orchids come in from nurseries around the country. And the rarer ones come from our collection. (What happens to the orchids after the show?) We all have plenty of orchids in our houses after the show. But we donate the rest to schools and societies and give them to people who use them to teach so they don’t go to waste. If they are degraded then we compost them. They have their own value and come back into the greenhouse or into the vegetable garden as they are recycled. So that’s what we tried to do with the show. It turned out to be more ambitious than we thought in terms of numbers of orchids, but I’m happy it doesn’t look like Q*bert the game. That’s what it looked like before we planted. I think we succeeded. We took Q*bert out of it, making it look natural.
Orchidelirium, The NYBG Orchid Show 2016, concludes April 17th. Check the Garden website for details about Orchid Evenings on Saturdays (March 12, 19, 26, April 2, 9, 16), as well as Friday (April 15), and Thursday (March 24, LGBT night). On select evenings visitors can also upgrade to V.I.P. status and enjoy the Orchid Lounge.