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Print index for Western Union Maintenance Building Steel Roof Deck

Collection Creator:
United Telegraph Workers.  Search this
Western Union Telegraph Company  Search this
Container:
Box 868, Folder 3
Type:
Archival materials
Date:
1961-1962
Collection Restrictions:
Collection is open for research but Series 11 and films are stored off-site. Special arrangements must be made to view some of the audiovisual materials. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Western Union Telegraph Company Records, Archives Center, National Museum of American History
See more items in:
Western Union Telegraph Company Records
Western Union Telegraph Company Records / Series 13: Operating Records / 13.9: Western Union Microwave Tower, West Lodi, Ohio
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep8166ebc17-7447-42fd-a572-44141bc6eb94
EDAN-URL:
ead_component:sova-nmah-ac-0205-ref11281

Plant Department Records

Collection Creator:
United Telegraph Workers.  Search this
Western Union Telegraph Company  Search this
Type:
Archival materials
Date:
1963
1867-1937
Scope and Contents:
The Plant Department was responsible for constructing, reconstructing and maintaining domestic telegraph plants; maintaining pole lines, wires and aerial and underground cables; installing and repairing equipment; and operating telegraph buildings.

Plant Instructions consist of two volumes. Volume one contains a numerical and alphabetical index to the various instructions that were issued. The numerical index provides the plant instruction (P.I.) number and a title description, while the alphabetical and cross index of active plant instructions, plant general letters, and plant stencils provides a subject description and reference number. Only numbers 1 to 26 and 41 to 52 of the plant instructions are available. Also, there are Instructions and Rules Pertaining to the Construction and Maintenance of Outside Plant, 1915. These instructions--numbers 20 and 21--are rules and instructions for the guidance of district foremen, general foremen, and section linemen.
Arrangement:
The series is divided into eight subseries:

1. Correspondence, 1916-1940

2. Instructions, 1916-1960

3. Specifications, 1913-1953

4. Inside Plant Catalogues, 1917-1929

5. Outside Plant Catalogues, 1920-1929

6. Equipment, 1867-1936 (not inclusive)

7. Wire and Pole Line Materials, 1874-1915

8. Miscellaneous, 1899-1963
Collection Restrictions:
Collection is open for research but Series 11 and films are stored off-site. Special arrangements must be made to view some of the audiovisual materials. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Western Union Telegraph Company Records, Archives Center, National Museum of American History
Identifier:
NMAH.AC.0205, Series 16
See more items in:
Western Union Telegraph Company Records
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep89324c337-9217-4a02-833f-58f52668c7bc
EDAN-URL:
ead_component:sova-nmah-ac-0205-ref8495

Troy -- Julia & William Hobart Garden

Landscape architect:
Child, Susan F.  Search this
Reed, Douglas  Search this
Child Associates, Inc.  Search this
Provenance:
The Garden Club of Dayton  Search this
Collection Creator:
Garden Club of America  Search this
Type:
Archival materials
Place:
Julia & William Hobart Garden (Troy, Ohio)
United States of America -- Ohio -- Miami County -- Troy
Scope and Contents:
The folders include worksheets, site plans, a narrative description of the garden with plant names, and plant lists.
General:
Designed by Child Associates, this garden complements the late 18th century French "Bois de Boulogne" style house on the five-acre site. What began as an idea for a garden with swimming pool developed into a comprehensive plan that transformed the site to meet the needs of a large family and to connect the formal house to its rural landscape. The site, which adjoined family farmland, had areas of woodland, open lawns, and remnants of an old apple orchard. Low maintenance, opportunities to introduce bulbs, wildflowers and other native plants to the woodland areas, and a pool that would complement the garden, rather than detract from it, were all priorities for the owners. The formal tradition of the slate-roofed dwelling has been respected by using bluestone walkways and terraces. The terrace paving continues around the edge of the symmetrical pool, which is painted black to double as a reflecting pool and is surrounded at each end by sinuous mixed borders. Behind the borders and lawn to the east are a meadow garden and more woodland, which serve as a screen from neighboring houses. Zumi crabapples serve as a reminder of the apple orchard that once covered the site, while two small garden buildings and other structures were designed to reinforce the French style of the house. A transition to the wilder landscape begins across the graveled upper drive. The land dips down into a shallow ravine and this natural rocky swale provides "movement" to the front garden and is lined with wet-loving plants. It descends to a lily pond that attracts a wide variety of wildlife. Over the nearly 20 years since its design, adjustments have been made to the original plan. Overgrown Bradford pears hiding the front of the house were replaced with more compact columnar oaks, while clipped boxwood hedges edging the front walk gave way to looser, more diverse compositions of box and perennials. A collection of David Austin shrub roses has been added to the perennial beds near the back terrace. The garden continues to evolve.
Persons and firms associated with the garden include: Susan F. Child (landscape architect, 1985-1987); Douglas Reed (landscape architect, 1987 to date); and Child Associates, Inc. (landscape architects, 1985-1987).
Related Materials:
Julia & William Hobart Garden related holdings consist of 2 folders (31 35 mm. slides)
Collection Restrictions:
Access to original archival materials by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Collection Rights:
Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Topic:
Gardens -- Ohio -- Troy  Search this
Collection Citation:
Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.
Identifier:
AAG.GCA, File OH182
See more items in:
The Garden Club of America collection
The Garden Club of America collection / Series 1: United States Garden Images / Ohio
Archival Repository:
Archives of American Gardens
GUID:
https://n2t.net/ark:/65665/kb649477ca2-8ea7-4d97-b9d3-1df74cdd0add
EDAN-URL:
ead_component:sova-aag-gca-ref15567

Devon -- Brook View Farm

Landscape architect:
Sears, Thomas Warren, 1880-1966  Search this
Provenance:
The Weeders  Search this
Collection Creator:
Garden Club of America  Search this
Type:
Archival materials
Place:
Brook View Farm (Devon, Pennsylvania)
United States of America -- Pennsylvania -- Chester County -- Devon
Scope and Contents:
The folder includes a work sheet, narrative description of the garden and its history, and an abbreviated garden plan.
Former Titles:
Kemble/Wood Garden and Brookside Garden.
General:
The ca. 1758 stone house was part of a dairy farm during the nineteenth and early twentieth centuries. Former owners, Francis and Emily Kemble, hired Thomas Sears to terrace the hillside with stone walls and steps. English boxwood marked the corners, and narrow grass paths defined rectangular beds lined with hosta and centered with matching clusters of peonies and phlox. Sears planted masses of "Congo" lilacs and an American elm in order to provide a canopy for the garden. A small orchard of apple and pear trees were planted to screen the house from the road. A meadow area was set aside for a large vegetable garden, cold frames and a hot frame. Sears converted several out-buildings into garden "follies" for tea parties and relaxing. The foundation of one of the buildings became a rose garden with a stepping stone path down the center. When the present owners purchased the property, invasive weeds overtook the garden beds and vegetable garden. Most of the boxwood succumbed to disease and many of the fruit trees were dead. The owners wished to adapt an old high maintenance garden to contemporary interests and a reasonable budget. Azaleas became the foundation of the woody plantings. They revived the vegetable garden and offered plots to friends. The garden is currently used as a laboratory to learn more about growing and combining various plants while overcoming problems, such as deer.
Persons and firms associated with the garden include: William Wood (former owner, 1700s); Emily and Francis Kemble (former owners, 1920-1975); Thomas Sears (landscape architect, 1927-1930); and Brognard Okie (architect, 1928-1929).
Related Materials:
Brookside Farm related holdings consist of 1 folder (14 35 mm. slides)
Collection Restrictions:
Access to original archival materials by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Collection Rights:
Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Topic:
Gardens -- Pennsylvania -- Devon  Search this
Collection Citation:
Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.
Identifier:
AAG.GCA, File PA451
See more items in:
The Garden Club of America collection
The Garden Club of America collection / Series 1: United States Garden Images / Pennsylvania
Archival Repository:
Archives of American Gardens
GUID:
https://n2t.net/ark:/65665/kb6d044beda-74fe-4d55-98ce-ada2b94c4c54
EDAN-URL:
ead_component:sova-aag-gca-ref16453

Fishers Island -- The Oakes-Howard Garden on Fishers Island

Former owner:
Oakes, Elinor R.  Search this
Architect:
Righter, James Volney  Search this
Landscaper:
Race Rock Garden Company  Search this
Property maintenance:
Z & S Construction  Search this
Provenance:
Garden Club of Hartford  Search this
Collection Creator:
Garden Club of America  Search this
Type:
Archival materials
Place:
The Oakes-Howard Garden on Fishers Island (Fishers Island, New York)
United States of America -- New York -- Suffolk -- Fishers Island
Scope and Contents:
The folder includes worksheets, historical information and images of Fishers Island, and photocopies of garden and building plans.
General:
The 5.27 acre island property has been owned by one family since the mid-1960s, the clapboard beach house was finished for occupancy in 1972, and since then the house and garden have been modified and expanded. The original flower garden had four sections of perennials and annuals enclosed by a wire fence to keep out rabbits. Red poppies grew wherever the seeds landed. When a bedroom wing was added to the square house the flower beds were relocated to two large raised beds now planted each year with colorful annuals. Foundation plantings include trimmed boxwood, hydrangeas, butterfly bush, beach rose, day lilies, rose of Sharon, and ornamental grasses that are suited to the island's climate. Garden work is kept to a minimum because the house is rented during the summer and the island has water use restrictions. When a house was built nearby that could have spoiled the view a berm was built and planted, and West Harbor of Long Island Sound can still be seen from the decks and from a cupola on the house that has a 360 degree view.
Persons associated with the garden include Elinor Righter Oakes (former owner, 1965-2001); James Volney Righter (architect, 1971-1999); Race Rock Garden Company (garden design, planting and maintenance, 1971- ); Z&S Construction (house and deck maintenance, 1971- ).
Related Materials:
The Oakes-Howard Garden on Fishers Island related holdings consist of 1 folder (17 digital images; 19 photographic prints)
Collection Restrictions:
Access to original archival materials by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Collection Rights:
Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Topic:
Gardens -- New York -- Fishers Island  Search this
Collection Citation:
Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.
Identifier:
AAG.GCA, File NY118
See more items in:
The Garden Club of America collection
The Garden Club of America collection / Series 1: United States Garden Images / New York
Archival Repository:
Archives of American Gardens
GUID:
https://n2t.net/ark:/65665/kb65481f265-c29d-444a-a76c-2a6d6c2fa8a3
EDAN-URL:
ead_component:sova-aag-gca-ref26777

Hartland -- Rosecrest

Provenance:
Kettle Moraine Garden Club  Search this
Landscape architect:
Bushey, Donald John  Search this
Collection Creator:
Garden Club of America  Search this
Type:
Archival materials
Place:
United States of America -- Wisconsin -- Waukesha County -- Hartland
Rosecrest (Hartland, Wisconsin)
Scope and Contents:
16 digital images (2017-2018) and 1 file folder with historical images and other information.
General:
The first residence on this property was a log cabin built circa 1840 by a Swedish settler; there is local lore that remnants of his building were found when the sunken garden was installed in the 1920's. This ten-acre property established in 1926 was part of a larger farm followed by a family compound on Pine Lake. Donald John Bushey designed the sunken garden, which required extensive excavation, with a long pergola and a row of seven large arches. In 1995 the garden was redesigned and refurbished and the owners kept the historic, formal elements in situ, had the gardens replanted in time for a family wedding, then finished their new house. Rosecrest now includes the sunken garden with a 110-foot long pergola, one new and one restored pond with fountains, elaborately patterned parterres and statuary with deep mixed borders and towering trees around the perimeter of the lawn. Additional historic features that were retained are stone pillars and several stone benches.

Roses, for which the garden was named, were a prominent part of the landscape until depredations by local deer necessitated changes to the plant material. Knockout and David Austin shrub roses are grown still. In 2018 existing shrubs included several vibernums, winterberry, boxwood, hemlock and sumac; existing trees included several varieties of cedar, pine, spruce and maple, also crabapple, gingko, linden and plum. Dozens of perennials and annuals fill the grid of parterres and the deep borders. The sunken garden has been opened for many charity fundraisers, three garden tours, wedding photo shoots, and many family events.

Persons associated with the garden include: Gustaf Unionius (former owner, 1840-1841); Albert Chapman (former owner, 1841-1895); the Mayer family (former owners, 1895-1991); Donald John Bushey (1896-1966) (landscape architect, designer of sunken garden, 1925-1926)(Hawks Landscape Co. (garden design, 1995); Janet Gamble, Meg Miller, Al Holt, Steve Wege, Joe Pauley (gardeners and landscapers, no dates available); Lee Kaster (gardener,1977-1984), Liban's Landscaping (landscape maintenance, 2018- ); Judith Stark Landscape Architects (patio landscape, no dates available); Wachtel Tree Science (arborists, 2018- ).
Collection Restrictions:
Access to original archival materials by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Collection Rights:
Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Topic:
Formal gardens  Search this
Collection Citation:
Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.
Identifier:
AAG.GCA, File WI057
See more items in:
The Garden Club of America collection
The Garden Club of America collection / Series 1: United States Garden Images / Wisconsin
Archival Repository:
Archives of American Gardens
GUID:
https://n2t.net/ark:/65665/kb632db5a50-c35f-41dc-9c40-b1a784b443b7
EDAN-URL:
ead_component:sova-aag-gca-ref32876

Longboat Key -- Sands Point Condominium

Garden designer:
Hansen, Barbara  Search this
Architect:
Carl A. Vollmer & Earl J. Draeger  Search this
Provenance:
Founders Garden Club of Sarasota  Search this
Collection Creator:
Garden Club of America  Search this
Type:
Archival materials
Place:
Sands Point Condominium (Longboat Key, Florida)
United States of America -- Florida -- Sarasota -- Longboat Key
Scope and Contents:
The file includes worksheets, copy of article, and other documentation.
General:
Designed and built as a rental property on a barrier island in the mid-1960s, then converted to condominiums in 1976, the three-story horseshoe-shaped buildings had minimalist landscaping, just palm trees and St. Augustine grass. Later, one of the condominium owners with a long association with the Garden Club of America developed landscaping designs that were approved by the board of directors of the condominium association. The property is located between the Gulf of Mexico and a lagoon with differing exposures to wind, sunlight, salt spray and hurricanes within its 7.5 acres. The plant selections are tropical with low maintenance requirements and low water usage.
A deep sea-grape hedge next to the beach helps control flooding from storm surges and is heavily pruned twice each year to keep it from blocking views of the sea. Color was added to the original landscape as gardenias, hibiscus, oleander, geraniums, begonias, croton, birds of paradise and flowering trees including magnolias were planted. Individual owners of ground level condominiums have added patios with foundation plantings and the central carport has been spruced up with plantings between the pods. Beds under the palm trees at the entrance to the condominium, outside the office and recreation building, outside the maintenance building and marina along the lagoon, and along the walkways that lead to the swimming pool and the Gulf have added color with tropical ground covers and shrubs.
Persons associated with the garden include Arvida Corporation (land owners, 1965); Carl A. Vollmer and Earl J. Draeger (architects, 1966); Barbara Hansen (garden designer, 1980- ).
Related Materials:
Sands Point Condominium related holdings consist of 2 folders (1 photographic print; 13 digital images)
Collection Restrictions:
Access to original archival materials by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Collection Rights:
Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Topic:
Gardens -- Florida -- Sarasota  Search this
Condominiums  Search this
Collection Citation:
Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.
Identifier:
AAG.GCA, File FL257
See more items in:
The Garden Club of America collection
The Garden Club of America collection / Series 1: United States Garden Images / Florida
Archival Repository:
Archives of American Gardens
GUID:
https://n2t.net/ark:/65665/kb6d524c8e5-e260-4005-9e9a-a820ba4ba06e
EDAN-URL:
ead_component:sova-aag-gca-ref11966

Sarasota -- Casa del Carnevale

Provenance:
Founders Garden Club of Sarasota  Search this
Collection Creator:
Garden Club of America  Search this
Type:
Archival materials
Place:
Casa del Carnevale (Sarasota, Florida)
United States of America -- Florida -- Sarasota County -- Sarasota
Scope and Contents:
1 folder and 36 digital images. The folder includes worksheets and historic information about land development in the Florida Keys.
General:
The Italianate Revival house built in 1937 has been expanded by the current owners who are descended from the original owners, on a property of approximately one acre. Many specimen plants that were collected between 1950 and 1990 have been retained and rearranged to accommodate expansions to the house. With new plantings added the gardens emphasize the colors, specimen variety and textures in subtropical trees, shrubs, vines and flowering plants. There are eleven different varieties of palms, including the mature royal palms that tower over the street front of the property, and shorter pygmy date palms used as foundation plants under balconies. Bromeliads grow in enormous urns on either side of the original front door. Flowering vines that add color year round include Mexican flame vine, bougainvillea, stephanotis, Confederate jasmine and angel's trumpet. Dense growth for a jungle-like effect is encouraged and minimizes water usage.
The property was purchased from the John Ringling Estates, and references to the involvement of family members in the circus and carnivals is found in garden features. A mobile sculpture "Circus" by Frederick Prescott is sited outside the dining room window. A mosaic on the wall of one of the additions depicts Ringling Brothers clown Emmet Kelly and family member, plant collector, puppeteer and previous owner Marion McKennon. Her husband Joseph McKennon initiated the grassroots campaign Save Our Bays to prevent dredging to create more building sites in the Florida Keys. A park and bird sanctuary was established on some of the new ground rather than housing. In 1991 this property was designated a historic landmark by the City of Sarasota.
Persons associated with the garden include John Ringling and Owen Burns of John Ringling Estates (former owners 1917-1927); Mr. and Mrs. Charles Leigh (former owners, 1927-1969); Mr. and Mrs. Joseph McKennon (former owners, 1969-2002); Dwayne Henderson (former owner, 2002-2003); Paul Bergman (builder, 1936-1937); Wm. Thorning Little (architect for renovation and additions, 2004-2007 and 2003-2008); Daniel Patrick Ball (builder, 2003-2008); Michael L. Gilkey, Jr. (landscape architect, 2005-2007); Brian K. Desormier (landscape installation and maintenance (2005- ); Frederick Prescott (sculptor); Dimitar Kasabov (mosaic artist).
Collection Restrictions:
Access to original archival materials by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Collection Rights:
Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Topic:
Gardens -- Florida -- Sarasota  Search this
Collection Citation:
Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.
Identifier:
AAG.GCA, File FL264
See more items in:
The Garden Club of America collection
The Garden Club of America collection / Series 1: United States Garden Images / Florida
Archival Repository:
Archives of American Gardens
GUID:
https://n2t.net/ark:/65665/kb6a069e618-64eb-43f5-88ea-60fdb0a5580d
EDAN-URL:
ead_component:sova-aag-gca-ref12028

[Sands Point Condominium]: the maintenance building, outdoor seating and the marina at the lagoon.

Photographer:
Salas, Marianne  Search this
Collection Creator:
Garden Club of America  Search this
Extent:
1 Digital image (TIFF file, col.)
Type:
Archival materials
Digital images
Place:
Sands Point Condominium (Longboat Key, Florida)
United States of America -- Florida -- Sarasota -- Longboat Key
Date:
2015 Mar.
Collection Restrictions:
Access to original archival materials by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Collection Rights:
Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Topic:
Gardens -- Florida -- Sarasota  Search this
Palms  Search this
Driveways  Search this
Lagoons  Search this
Hedges  Search this
Hibiscus  Search this
Condominiums  Search this
Genre/Form:
Digital images
Collection Citation:
Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.
Identifier:
AAG.GCA, Item FL257004
See more items in:
The Garden Club of America collection
The Garden Club of America collection / Series 1: United States Garden Images / Florida / FL257: Longboat Key -- Sands Point Condominium
Archival Repository:
Archives of American Gardens
GUID:
https://n2t.net/ark:/65665/kb6e31d5ec0-c212-4168-8985-d4649b8df947
EDAN-URL:
ead_component:sova-aag-gca-ref12118

Gladstone -- Christina's Garden

Former owner:
Turnbull, William, d. 2002  Search this
Turnbull, Elizabeth (Betty) Howe  Search this
Turnbull Family  Search this
Landscape architect:
Spicer, Frederick  Search this
Landscaper:
Enyingi, Ron  Search this
Lambert, Steve  Search this
Rustic arbors:
Romancing the Woods  Search this
Provenance:
Garden Club of Somerset Hills  Search this
Collection Creator:
Garden Club of America  Search this
Type:
Archival materials
Place:
Christina's Garden (Gladstone, New Jersey)
United States of America -- New Jersey -- Somerset -- Gladstone
Scope and Contents:
The folder includes worksheets and an article.
General:
The two-acre garden with rustic features was built beginning in 1996 on a site with many challenges: wetlands restrictions on most of their entire 23-1/3 acre property; compacted soil and fill dirt with a high pH around their newly constructed Arts and Crafts style house; a steep difference in elevation between the building and the ground; and surrounding woodlands populated by deer, fox and wild fowl that would feast on whatever native and other ornamentals the owners planted. The owners wanted a low maintenance naturalistic style garden with minimal walls and terraces that would sustain the local ecology and conservation value of their property. The resulting garden with seven different defined rooms evolved over the next twelve years. Deer fencing was installed around one acre with rustic arbors and gates. Maple, boxwood and a crabapple allée where planted at the entry court. Next the meadow along the drive to the house was planted with a wildflower mix; deer ate most of the flowers and left the grasses which, with the addition of 1000 daffodil bulbs, provide three seasons of interest. The deer garden and shade garden has eight-foot tall fencing disguised by ornamental screens, low boxwood hedges, perennials beds and ferns. The courtyard and lilac terrace with a water feature has low shrubs planted along the walls, and hardscape built for the transition from the higher elevation of the house to the landscape. Viburnum under planted with liriope softens the staircase from the house while stachys and heucheras soften rough stone walls. In addition to the tank style water feature there is a small greenhouse with a butterfly, herb and small vegetable garden close to the house. Below the two terraces a rockery was installed on the steep slope that was paved with boulders and stepping stones leaving space for stabilizing plants including miniature forsythia, Japanese maple, hemlock, bearberry, lady's mantle and columbine. The Zen garden has stacked stones on a bed of grass shaded by tupelo and surrounded by red twig dogwood and hydrangea that screen the deer fence.
There is a moonlight garden below the lower terrace planted with trees and shrubs that have white flowers or gray foliage to capture the shimmer of lights from the moon and the pool. Elms that did not survive were replaced by oak trees and the perennials, grasses and ground covers planted between rough stones have included white Echinacea, liatris, nicotiana, nigella, phlox and thyme that thrive depending on the increasing level of shade and depredations by groundhogs. The raised beds in the cottage garden were intended for cutting flowers and some vegetables but after the groundhogs invaded they were planted with peonies and raspberry brambles, shaded by ironwood. The trees in the native shrub border were planted to create habitat and include buckeye, pepperbush, winterberry, dogwood, and redwood. Another allée of redbud leads out of the garden towards the fire pit that overlooks the woodlands, wetlands and one of the streams on the property. The owner's hand has not stopped here as the woodlands also have been restored by removing invasive vines and shrubs and planting more native shrubs and trees. Wetlands plantings included sycamore, alder, and river birch to help stabilize storm water runoff. Ornamental oat grass was planted to compete with invasive stilt grass, while a grove of native paw paw has yet to fruit.
Persons associated with the garden include William and Betty Turnbull and Turnbull family members (former owners, 1800's-); Fred Spicer (landscape architect, 1996-1997); Ron Enyingi (landscaper, 1997-2001); Romancing the Woods (rustic arbors, 1998-2001); Steve Lambert (landscaper, 2004-2010).
Related Materials:
Christina's Garden related holdings consist of 1 folders (62 digital images)
Collection Restrictions:
Access to original archival materials by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Collection Rights:
Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Topic:
Gardens -- New Jersey -- Gladstone  Search this
Collection Citation:
Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.
Identifier:
AAG.GCA, File NJ671
See more items in:
The Garden Club of America collection
The Garden Club of America collection / Series 1: United States Garden Images / New Jersey
Archival Repository:
Archives of American Gardens
GUID:
https://n2t.net/ark:/65665/kb63d7a967c-0f19-4e7e-8d68-ec706a70b6b6
EDAN-URL:
ead_component:sova-aag-gca-ref20084

Millburn -- Henry P. and Susan I. Johnson Garden

Former owner:
Halbach, Ernest K.  Search this
Wodell, Helen Page  Search this
Landscape designer:
Wodell, Helen Page  Search this
Provenance:
Short Hills Garden Club  Search this
Collection Creator:
Garden Club of America  Search this
Type:
Archival materials
Place:
Halbach Garden No. 1 (Short Hills, New Jersey)
United States of America -- New Jersey -- Essex County -- Millburn -- Short Hills
Scope and Contents:
The folders include worksheets and additional information.
General:
The restoration of the circa 1905 house recovered its original design but the gardens of this 2.6- acre property have a modern design, implemented over ten years. The owners consulted with experts at the New York Botanical Garden on plants and trees most appropriate for their location and least appealing to the local deer population. They sought out a landscape architect who would take a modern approach yet also reference the past of this location. The owners were involved in every step: drainage modification, construction, choosing hardscape materials, lighting, and finally the selection of trees, shrubs, bulbs and all the other plants. The straight driveway to the house was reconfigured into a meandering approach lined with green giant arborvitae, daffodils, and French iris surrounded by alliums and chives to deter deer. A deer deterring metal fence encloses the side and back yards to enable more varied plantings.

A short allée of lindens were planted to be pleached after they had grown at least three years. There is a garden for the relocated swimming pool and small utility building. Another garden within the enclosed space is for cutting. Outside the screened porch the garden emphasizes scent with white lilac and hydrangea, and variegated foliage for visual effect at night. Plantings throughout the property include more than thirty varieties of daffodils for an extended display, five magnolia and seven dogwood varieties, and seven varieties of boxwood in addition to the older extant trees.

The modern gardens were conceived and designed by the previous owners Henry and Susan Johnson along with landscape architect Ben Young and installation and maintenance crews. Previous owners Ernest K. Halbach and landscape designer Helen Page Wodell were responsible for a redesign in the 1940's that incorporated flagstone terraces, brick walls and an ornamental iron gate with a lily pond and wall fountain.
Persons associated with the garden include: Ernest K. Halbach (former owner); and Helen Page Wodell [Halbach] (former owner and landscape designer); Ben Young, BYLA Landscape Architects (landscape architect, 2008-2019); Michael Todd, The Todd Group (landscape installation, 2008-2019); John Rivell, Tewksbury Construction (general contractor, 2008-2019); Alexander Antonelli, Antonelli Architects (architect, 2008-2019; George Rickey (sculptor).
Varying Form:
Formerly known as Halbach Garden No. 1.
Related Materials:
Holdings consist of 2 folders including 3 glass lantern slides (001-003), 7 35 mm. slides (004-010), and 40 digital images (001-040).
See others in:
Lois Poinier slide collection, circa 1920-1999.
Collection Restrictions:
Access to original archival materials by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Collection Rights:
Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Topic:
Gardens -- New Jersey -- Short Hills  Search this
Gardening in the shade  Search this
Moon garden  Search this
Collection Citation:
Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.
Identifier:
AAG.GCA, File NJ025
See more items in:
The Garden Club of America collection
The Garden Club of America collection / Series 1: United States Garden Images / New Jersey
Archival Repository:
Archives of American Gardens
GUID:
https://n2t.net/ark:/65665/kb67d671127-bcd0-4d22-9818-c25f0749ca1f
EDAN-URL:
ead_component:sova-aag-gca-ref20116

Red Bank -- Middletown Farm

Landscape architect:
Hutcheson, Martha Brookes  Search this
Former owner:
Straus, Herbert  Search this
Provenance:
Rumson Garden Club  Search this
Collection Creator:
Garden Club of America  Search this
Type:
Archival materials
Place:
Middletown Farm (Red Bank, New Jersey)
United States of America -- New Jersey -- Monmouth County -- Red Bank
Scope and Contents:
The folder includes a worksheet and copy of b&W aerial view.
General:
Inspired by a French country estate, this property ws originally the "working part" of Mr. Straus' estate. The cluster of buildings were built for maintenance equipment, animals, and employees. Besides the vegetable and cutting gardens, there are little gardens, ground covers, vines, and fruit and flowering trees.
Persons and firms associated with the property include: Herbert and Theresa Kuhn Straus (former owners, 1929-1949); Hopkins and Associates (architect, 1929); and Martha Brookes Hutcheson (landscape architect, 1929).
Related Materials:
Middletown Farm related holdings consist of 1 folder (17 35 mm. slides)
Collection Restrictions:
Access to original archival materials by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Collection Rights:
Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Topic:
Vegetable gardening  Search this
Gardens -- New Jersey -- Red Bank  Search this
Collection Citation:
Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.
Identifier:
AAG.GCA, File NJ498
See more items in:
The Garden Club of America collection
The Garden Club of America collection / Series 1: United States Garden Images / New Jersey
Archival Repository:
Archives of American Gardens
GUID:
https://n2t.net/ark:/65665/kb6130443a9-c05b-4851-a152-be7132bf7b82
EDAN-URL:
ead_component:sova-aag-gca-ref20206

Mount Desert -- Long Pond Garden

Architect:
McHenry, William  Search this
Former owner:
Johnson, Edward C., Mrs., III  Search this
Provenance:
Garden Club of Mount Desert  Search this
Collection Creator:
Garden Club of America  Search this
Type:
Archival materials
Place:
United States of America -- Maine -- Hancock County -- Mount Desert
Gardens -- Maine -- Mount Desert
Long Pond Garden (Mount Desert, Maine)
Scope and Contents:
59 digital images (2017) and 1 file folder.
General:
Situated along the shores of a large inland Mt. Desert lake called Long Pond. This 20 acre property was once a family summer "camp." The Asian style house and "The Japanese House" was designed by architect william McHenry in 1997. The family's collection of antiques is displayed both inside and outside these houses and the landscape was designed with an Asian landscape aesthetic. Other buildings on the property include the original camp, a small boat house, a garage/office, two staff houses, maintenance outbuildings and a tennis court. The landscaping blends the natural beauty of native plants and Maine woods, with an Asian aesthetic of carefully groomed mosses, small neat streams, natural paths of pine needles and patterned flat stones, and the lovely lagoon. The garden areas are designed more as kitchen and cutting gardens than decorative gardens.
At the entrance of the property along the driveway through the woods on the right side there is a wet area that has been turned into a lagoon with little islands planted with fir trees. Designed by the current owner, the lagoon and its islands are neatly edged with moss covered stones. Plantings include water lilies, lilies, iris, and other water plants. A pine needle path meanders around the edge of the lagoon. There are lush groupings of ferns on the islands and on the edges of the path. "The Japanese House" which contains a meeting space and guest rooms, frames the view at the far end of the lagoon. The driveway splits at the "The Japanese House." On the left there is a circle with apple trees in the center. There is a small office building, the main house, and the original camp. An access path of pine needles at the back of the main house leads to a small "boat house" and dock. Turning to the right at "The Japanese House," the driveway continues along the side of the house to a parking area on the right, and a large vegetable and flower garden on the left. The drive then continues uphill, through the woods past a tennis court, to a staff house with a second vegetable garden for large crops. A building set into a hill on three sides is planted with a berry garden on its roof. The road continues to the top of the hill and a turnaround circle. There are two small additional garden areas on the property: one outside the master bedroom at the main house and the other behind the office/garage. Both of these areas are enclosed in a handmade fence of twigs and branches designed by Pat O'Grady. Scarlet bee balm planted in both gardens attract humming birds.
Persons associated with the garden include: William McHenry (architect, 1997); Edward C. Johnson, III (landscaper); Shelly Marsh (gardener); Darcy Davenport (gardener); Whitney Grandholm (gardener); Pat O'Grady (fencer).
Collection Restrictions:
Access to original archival materials by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Collection Rights:
Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Collection Citation:
Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.
Identifier:
AAG.GCA, File ME190
See more items in:
The Garden Club of America collection
The Garden Club of America collection / Series 1: United States Garden Images / Maine
Archival Repository:
Archives of American Gardens
GUID:
https://n2t.net/ark:/65665/kb6e002ba85-4c51-42e9-a211-380a570ce2fd
EDAN-URL:
ead_component:sova-aag-gca-ref32763

Wilmington -- Frog Hollow Garden

Former owner:
Lawrence, William J.  Search this
Lawrence, Lesley D.  Search this
Sculptor:
Simple  Search this
Heise, Bill  Search this
Bullwinkle, Mark  Search this
Provenance:
Garden Club of Wilmington  Search this
Collection Creator:
Garden Club of America  Search this
Type:
Archival materials
Place:
Frog Hollow Garden (Wilmington, Delaware)
United States of America -- Delaware -- New Castle County -- Wilmington
Scope and Contents:
The folder includes a worksheet, garden plans, photocopies of articles about the garden, and additional narrative description of the garden and slides, including plant names.
General:
This 2.25 acre suburban garden is situated on a sloping site and has been under development since the early 1980s. It is an outdoor living space reflecting the owners' passion for collecting unusual perennials and woodies and incorporating them into a series of gardens utilizing stonework, water features, and playful statuary. As of 2002 there were 1588 different species growing in the garden of which 992 were perennials, 185 trees, 271 shrubs, 32 vines, and 108 bulbs. The landscape design includes: a shady terrace with one pool surrounded by a moss garden plus another pool with goldfish and a formal fountain; a sunny terrace by a conservatory with a stand of hardy pitcher plants as well as approximately 100 non-hardy succulents in containers; a hillside rock garden including a collection of Japanese maples and dwarf conifers, two pools with frog fountains, and an artificial bog; a newly created desert garden for hardy agave, yucca and cacti; a walled knot garden along with a traditional herb garden and "dipping" pool; cozy sitting spaces; a gazebo overlooking a woodland pond with spouting frogs; and an octagonal vegetable garden. In the gardens, blooms, berries and lilypads cater to butterflies, birds and frogs. In a newly built conservatory attached to the house is a collection of tropical plants, in ground as well as in containers, and a horticultural library. Aside from heavy excavation and building of terrace areas, the design, planting, and maintenance of the garden are entirely the work of the owners.
Persons associated with the site and garden include: Holsinger (former owner, ca. 1949); Bruce (former owner, before 1978); Sodeburg (former owner, before 1978); William J. and Lesley D. Lawrence (former owners, 1978-1979); Simple (sculptor); Bill Heise (sculptor); and Mark Bullwinkle (sculptor).
Related Materials:
Frog Hollow Garden related holdings consist of 1 folder (17 35 mm. slides)
Collection Restrictions:
Access to original archival materials by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Collection Rights:
Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Topic:
Gardens -- Delaware -- Wilmington  Search this
Collection Citation:
Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.
Identifier:
AAG.GCA, File DE039
See more items in:
The Garden Club of America collection
The Garden Club of America collection / Series 1: United States Garden Images / Delaware
Archival Repository:
Archives of American Gardens
GUID:
https://n2t.net/ark:/65665/kb6e852c5de-1c89-45c6-90c7-3b4457bd8db3
EDAN-URL:
ead_component:sova-aag-gca-ref6089

Woman's Building records

Creator:
Woman's Building (Los Angeles, Calif.)  Search this
Names:
Feminist Studio Workshop  Search this
Women's Graphic Center (Los Angeles, Calif.)  Search this
Chicago, Judy, 1939-  Search this
De Bretteville, Sheila Levrant  Search this
Raven, Arlene  Search this
Extent:
32.5 Linear feet
Type:
Collection descriptions
Archival materials
Slides
Artists' books
Date:
1970-1992
Summary:
The records of the Woman's Building feminist arts organization in Los Angeles measure 32.5 linear feet and date from 1970-1992. Originally founded by artist Judy Chicago, graphic designer Sheila Levant de Bretteville, and art historian Arlene Raven in 1973, the Woman's Building served as an education center and public gallery space for women artists in southern California. The records document both the educational and exhibition activities and consist of administrative records, financial and legal records, publications, curriculum files, exhibition files, grant funding records and artist's works of arts and prints. A significant portion of the collection documents the Women's Graphic Center, a typesetting, design, and printing service operated by The Woman's Building.
Scope and Content Note:
The records of the Woman's Building measure 32.5 linear feet and date from 1970 to 1992. The organization played a key role as an alternative space for women artists energized by the feminist movement in the 1970s. The records document the ways in which feminist theory shaped the Building's founding core mission and goals. During its eighteen year history, the Building served as an education center and a public gallery space for women artists in Los Angeles and southern California; the records reflect both functions of the Building's activities.

The Administrative Files series documents the daily operations of the Building, with particular emphasis on management policies, budget planning, history, cooperative relationships with outside art organizations and galleries, special building-wide programs, and relocation planning. Included in this series are the complete minutes from most Building committees from 1974 through closing, including the Board of Directors and the Advisory Council. The General Publicity and Outreach series is particularly complete, containing publicity notices from most events, exhibits, and programs held at the Woman's Building, including brochures, announcements, programs, invitations, press releases, newspaper clippings, and magazine articles.

The Woman's Building's educational programs centered on courses offered by the Feminist Studio Workshop and the Extension Program. While the Workshop provided a two-year program for women interested in fully developing their artistic talent, the Extension Program offered a broad range of classes, specifically oriented to working women interested in art and art vocations. The records fully document both programs, focusing on the course development and descriptions, teacher contracts, class evaluations, budget planning, and scholarship programs. Although the Archives does not have the entire slide library, there are files concerning the establishment and administration of the library, as well as a few folders of slides.

The Gallery Programs series houses the records of the visual, performing, literary and video arts events held at the Woman's Building. Administrative files detail the daily operation of the gallery spaces. The files in the remaining subseries are primarily arranged by event and contain proposals, announcements, publicity, and artist biographies.

The Women's Graphic Center became a profit-making arm of the Woman's Building in 1981 but the typesetting and design equipment had been used by staff and students since 1975. The records in this series focus on the work produced at the Center, including general projects and artist designs and art prints. Many of the design and printing examples were produced for Woman's Building events and programs.

The Artist's Works of Art series includes artist books, resumes, correspondence, postcards, and samples of art in the form of sketches, drawings, and prints. There is also material related to Woman's Building projects. Especially noteworthy is the "What is Feminist Art?" project where artists gave their responses in various formats and mediums from text to pieces of artwork.
Arrangement:
The collection is arranged into 6 series.

Series 1: Administrative Files, circa 1970-1991 (Box 1-9, 32; 9 linear feet)

Series 2: Educational Programs, 1971-1991 (Box 10-14; 4.9 linear feet)

Series 3: Gallery Programs, 1973-1991 (Box 14-20, OV 54; 5.7 linear feet)

Series 4: Women's Graphic Center, circa 1976-1989 (Box 20-23, 32, OV 33-50; 5.6 linear feet)

Series 5: Artists' Works of Art, circa 1972-1990 (Box 24-25, OV 51-53; 1.7 linear feet)

Series 6: Grants, 1974-1992 (Box 25-30; 5.3 linear feet)
Historical Note:
In 1973, artist Judy Chicago, graphic designer Sheila Levant de Bretteville, and art historian Arlene Raven founded the Feminist Studio Workshop (FSW), one of the first independent schools for women artists. The founders established the workshop as a non-profit alternative education center committed to developing art based on women's experiences. The FSW focused not only on the development of art skills, but also on the development of women's experiences and the incorporation of those experiences into their artwork. Central to this vision was the idea that art should not be separated from other activities related to the developing women's movement. In November of 1973 the founders rented workshop space in a vacated building in downtown Los Angeles and called it The Woman's Building, taking the name from the structure created for the 1893 World's Columbian Exposition in Chicago. The FSW shared space with other organizations and enterprises including several performance groups, Womanspace Gallery, Sisterhood Bookstore, the National Organization of Women, and the Women's Liberation Union.

When the building they were renting was sold in 1975, the FSW and a few other tenants moved to a three-story brick structure, originally designed to be the administrative offices of the Standard Oil Company in the 1920s. In the 1940s, it had been converted into a warehouse and consisted of three floors of open space, conducive to publically available extension classes and exhibitions offered by the Woman's Building staff and students. By 1977, the majority of the outside tenants had left the Woman's Building, primarily because they were unable to sustain business in the new location. The new building was more expensive to maintain and the FSW staff decided to hire an administrator and to create a board structure to assume the financial, legal, and administrative responsibility for the Building. The funds to operate came from FSW tuition, memberships, fund-raising events, and grant monies.

In 1981, the Feminist Studio Workshop closed, as the demand for alternative education diminished. The education programs of the Building were restructured to better accommodate the needs of working women. The Woman's Building also began to generate its own artistic programming with outside artists, including visual arts exhibits, performance art, readings, and video productions. That same year, the Woman's Building founded the Women's Graphic Center Typesetting and Design, a profit-making enterprises designed to strengthen its financial base. Income generated from the phototypesetting, design, production, and printing services was used to support the educational and art making activities of the Building.

When the graphics business closed in 1988, the Woman's Building suffered a financial crisis from which it never fully recovered. The Building closed its gallery and performance space in 1991.
Related Material:
Among the other resources relating to the Woman's Building in the Archives of American Art is an oral history with Suzanne Lacy on March 16, 1990, March 24, 1990, and September 24, 1990. While not credited as a founding member, Lacy was among the first group of staff of the Woman's Building which she discusses in her interview.

The Getty Research Institute also holds a large collection on the Woman's Building which includes a wide range of material relating to its exhibitions, activities, and projects.
Separated Material:
The Archives of American Art donated 5 boxes of video tape from the collection to the Long Beach Museum of Art, Video Annex in 1994. According to documentation, this was the desire of Sandra Golvin and the Board of Directors of the Woman's Building. Printed material collected but not produced by the Woman's Building regarding feminism was transfered to Smithsonian Institution Libraries.
Provenance:
The Woman's Building records were donated to the Archives of American Art in 1991 by Sandra Golvin, President of the Board of Directors. An small addition of a set of "Cross Pollination" posters was donated in 2019 by by ONE Archives at University of Southern California Libraries via Loni Shibuyama, Archives Librarian.
Topic:
Works of art  Search this
Art -- Study and teaching -- California -- Los Angeles  Search this
Women artists  Search this
Feminism and art  Search this
Function:
Nonprofit organizations -- California
Arts organizations -- California
Genre/Form:
Slides
Artists' books
Citation:
Woman's Building records, 1970-1992. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.womabuil
See more items in:
Woman's Building records
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw938796dfe-5dbf-49e9-96e7-5a8745391f13
EDAN-URL:
ead_collection:sova-aaa-womabuil
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Online Media:

This Rail Maintenance Crew Has Plenty on its Plate

Creator:
Smithsonian Channel  Search this
Type:
YouTube Videos
Uploaded:
2019-08-07T15:30:02.000Z
YouTube Category:
Entertainment  Search this
See more by:
smithsonianchannel
Data Source:
Smithsonian Channel
YouTube Channel:
smithsonianchannel
EDAN-URL:
edanmdm:yt_tUL_ANJ33vI

Astronomy Careers - More Than Meets the Eye - STEM in 30 Season 9 - Episode 7

Creator:
National Air and Space Museum  Search this
Type:
YouTube Videos
Uploaded:
2023-05-04T17:00:06.000Z
YouTube Category:
Science & Technology  Search this
Topic:
Aeronautics;Flight;Space Sciences  Search this
See more by:
airandspace
Data Source:
National Air and Space Museum
YouTube Channel:
airandspace
EDAN-URL:
edanmdm:yt_SkKcNMHTdT0

Installation of Kenneth Snelson's "Needle Tower"

Creator:
Hirshhorn Museum and Sculpture Garden  Search this
Type:
YouTube Videos
Uploaded:
2010-04-08T15:19:40.000Z
YouTube Category:
Nonprofits & Activism  Search this
Topic:
Art, modern  Search this
See more by:
hirshhornmuseum
Data Source:
Hirshhorn Museum and Sculpture Garden
YouTube Channel:
hirshhornmuseum
EDAN-URL:
edanmdm:yt_xDNohDRWTvU

Millard Sheets papers

Creator:
Sheets, Millard, 1907-1989  Search this
Names:
Dalzell Hatfield Galleries  Search this
Millard Sheets & Associates Designs  Search this
Sheets, Mary Baskerville  Search this
Extent:
27.6 Linear feet
Type:
Collection descriptions
Archival materials
Slides (photographs)
Photographs
Date:
circa 1907-2000
Summary:
The Millard Sheets papers comprise 27.6 linear feet of material dating from circa 1907 to 2000 with bulk dates spanning 1956 to 1981. The collection documents Sheets's career as a designer, painter, and muralist, and his personal and professional interests through correspondence, writings, lectures, printed material, drawings, slides, photographs, and ephemera. A small addition donated 2018 by Carolyn Owen-Toole, Sheet's daughter. There is a 4.6 linear foot unprocessed addition to this collection donated 2018 that includes writings; sketchbooks and sketches; photographs and negatives of works of art, images of Millard Sheets and others including family; printed material, including two scrapbooks; and scattered correspondence regarding Sheet's projects.
Scope and Content Note:
The personal papers of Millard Sheets (1907-1990) measure 27.6 linear feet and date from circa 1907-2000, with bulk dates of 1956-1981. The collection reflects Sheets's career as a designer, painter, and muralist, as well as his other personal and professional interests, through correspondence, writings, lectures, clippings, blueprints, drawings, slides, photographs, and ephemera.

The Project Files comprise the largest group of materials in the collection and document design work undertaken by Sheets through his company Millard Sheets & Associates Designs. Sheets and his associates produced concept drawings and blueprints and supervised the construction for a wide range of design projects that ranged in scale from architectural plans for private residences to bid proposals for shopping malls and financial institutions located in California and the Southwest.

Sheets designed interior and exterior plans for over forty Home Savings and Loan bank branches in California. The distinctive modular design which Sheets created and then customized by integrating interior and exterior art elements that highlighted local historical events or natural features became synonymous with the image of Home Savings and Loan. Sheets also teamed up with the architect Edward Durrell Stone to produce a proposal for the Capitol Mall Project, an urban renewal project for the Redevelopment Agency of the City of Sacramento. Researchers will find correspondence, job costs and billing statements, and notes that trace the development of these and other building construction projects. In some instances the documents are supplemented by blueprints, photographs, and/or drawings of the project, but in many cases, visual documentation is missing.

The Project Files also document work done by Millard Sheets on public projects such as the Family of Man mural in the Los Angeles City Hall Annex, a mosaic dome in the National Shrine of the Immaculate Conception, Washington, D.C., and the Word of Life mural at the University of Notre Dame, Ind., along with numerous other murals and mosaics created for private individuals and corporations.

The Correspondence Series primarily reflects the interaction between Sheets and his clients, colleagues, and personal acquaintances. These files will prove valuable to researchers who are interested in the way that Sheets's beliefs about the role of art in everyday life impacted the way he conducted business and managed both large and small design projects. The correspondence also reflects Sheets's interest in popular American culture, travel, political issues of the day, and art collecting.

The Membership Files document the wide variety of interests that Sheets maintained through active membership in associations and organizations. The material in this series consists primarily of correspondence, minutes of meetings, and notes which Sheets created or used as he served as a board member or trustee on a number of organizational boards, such as the California Institute of the Arts, the Claremont Colleges, Virginia Steele Scott Foundation, Webb School of California, and Goodwill Industries of Southern California.

Also found in this series is material that documents his interest and participation in various recreational and professional organizations. Sheets maintained a long association with the Economic Roundtable, a group of businessmen who met regularly to give presentations and share discussion on contemporary political and social issues. Sheets was a frequent speaker and his talks given at the Economic Roundtables can be found in Lectures and Speeches, a subseries of the Writings Series.

Included in the Millard Sheets & Associates Designs, Inc. series are records that reflect the day-to-day operations of Sheets's design firm. Found here are chronological copies of correspondence that were sent out, files Sheets maintained on various independent contractors that the design firm frequently used, resumes and letters of recommendation that Sheets received regarding potential employees, as well as records relating to the cost and maintenance of Sheets's office building.

The Teaching and Workshop Files document the instructional activities undertaken by Sheets throughout his career in the arts. Although Sheets became pivotal in establishing a regionally recognized art department at Scripps College in Claremont, California, the files that reflect his academic position there are limited in scope and depth. Researchers will find more substantive the files that he maintained on the numerous art demonstrations and paintings workshops that he conducted privately throughout his career. Sheets traveled extensively around the world through his teaching activities and the files in this series track his path.

Closely related to the Teaching and Workshop Files is the Painting Trips series. The material in these files document Sheets's service as an American Specialist in the Bureau of Educational and Cultural Affairs of the USIS, Department of State. Sheets served two times as a cultural arts representative in Turkey in 1960 and in the former USSR in 1961. Sheets also made numerous trips to South East Asia, which had proved an area of fascination for him since his experiences as a war correspondent in Burma and India in World War II. The files in this series document his painting trips to Tahiti, the Pacific Ocean Rim, and Hawaii. Also found are files that detail his painting activities in Mexico.

The Exhibition Files reflect the records that Sheets maintained regarding his participation in art exhibitions, as well as his files on art shows that he personally directed or organized for public or private groups or organizations. Although Sheets exhibited his work predominantly in the West and Southwest, the files in this series demonstrate that he exhibited both nationally and internationally as well.

Also found within the records for this series are files relating to Sheets's representation of his artwork through established galleries and art agents. The Dalziel Hatfield Galleries of Los Angeles, California, served as his primary agent for most of his painting career. Correspondence between Sheets and the Hatfields provide insight into Sheets's development into a regionally and nationally significant watercolorist and painter. The files relating to the Kennedy Galleries in New York and the Circle Gallery in Chicago reflect Sheets's efforts to maintain a national presence in the arts community.

The Jury Files document Sheets's involvement as a juror in regional, as well, as national shows. The files reveal the great variety of professional watercolor and painting exhibitions in which Sheets participated as either a jury panelist or solo judge.

The Writings Files provide an excellent source for researchers interested in Sheets's philosophical beliefs about the relationship between art and everyday life. His articles, lectures, and speeches predominantly address the role of the artist, the relationships that exist between artists and the community, and the role that art can play in making a fuller, more productive life. Also found in the files of this series are articles written by others about Sheets.

The Biographical Material series provides a short introduction to Millard Sheets. The files consist of the calendars maintained by Sheets and his wife and staff, which were used to coordinate his many commitments and appointments. Also found in the files of this series are family chronologies that were created by Mary Baskerville Sheets. Medical records and resumes provide personal information about Sheets's background and health. A small file of military memorabilia provides information about Sheets's contributions to the war effort in World War II.

The Printed Matter series documents family activities and personalities through publicity clippings. Also found are exhibition catalogs and announcements that Sheets saved regarding other artists. Miscellaneous interests and activities of Sheets are found through magazine articles, brochures, and flyers.

The Photographs series includes photographic documentation for Sheets's artwork, horses, and major projects. A small group of photographs of Sheets are also in this series.

The files in the Artwork series include original drawings by Mary Baskerville Sheets and Millard Sheets.

There is a 4.6 linear foot unprocessed addition to this collection donated 2018 that includes writings; sketchbooks and sketches; photographs and negatives of works of art, images of Millard Sheets and others including family; printed material, including two scrapbooks; and scattered correspondence regarding Sheet's projects.
Arrangement:
The collection is arranged into fifteen series. Small series, such as Biographical Material are generally based on type of document. Larger series, such as Correspondence or Project Files, are arranged alphabetically by name of correspondent or project. General correspondence has been made into its own series, but other series or subseries may also contain some correspondence. Within particular series, materials have been further divided into subseries which represent particular aspects of the project or event. For example, the Writings Series is further divided into subseries of books and articles, eulogies, and lectures and speeches. An outline listing series and subseries titles and dates follows.

Missing Title

Series 1: Biographical Material, 1907-1982, undated (boxes 1-2; 1.25 linear ft.)

Series 2: Correspondence, 1929-1990, undated (boxes 2-4; 2.75 linear ft.)

Series 3: Personal Business Records, 1933-1980, undated (boxes 5-6; 1.25 linear ft.)

Series 4: Membership Files, 1946-1982, undated (boxes 6-8; 2.5 linear ft.)

Series 5: Millard Sheets & Associates Designs, 1934-1982, undated (boxes 8-9; 1.0 linear ft.)

Series 6: Project Files, 1956-1981, undated (boxes 9-18; 8.25 linear ft.)

Series 7: Teaching and Workshop Files, 1932-1982 (box 18; 0.5 linear ft.)

Series 8: Painting Trips, 1959-1980, undated (box 18; 16 folders)

Series 9: Exhibition Files, 1932-1937, 1951-1988, undated (box 19; 0.75 linear ft.)

Series 10: Jury Files, 1941-1982 (boxes 19-20; 42 folders)

Series 11: Writings, 1936-1988, undated (boxes 20-22; 2.5 linear ft.)

Series 12: Printed Matter, 1936-1922, undated (boxes 22-23; 20 folders)

Series 13: Photographs, 1934-1983, undated (box 23; 17 folders)

Series 14: Artwork, circa 1929, undated (box 23; 2 folders)

Series 15: Unprocessed Addition, circa 1930-2000 (boxes 24, 26-30, OV25: 4.6 linear ft.)
Biographical Note:
"Your painting is a measure of your mind"-Millard Sheets

Millard Sheets, as one of the founding members of the "California Scene Painters," exerted a lasting influence upon subsequent generations of Western painters. He and the small group of painters who worked in California during the 1930s and 1940s, developed a new style of watercolor painting that was at the forefront of the American watercolor movement of the time, and that later gave rise to a subsequent generation of painters who became known as the California Regionalist school.

Sheets was born in Pomona, California on June 24, 1907. His mother died in childbirth, and his father, John Sheets, unprepared to raise a baby alone, sent Millard to Pomona, California to be raised by his maternal grandparents, Lewis and Emma Owen. Sheets's grandfather proved to be a guiding force in his life, and when Sheets's father remarried and offered Millard the opportunity to return to the Sheets household, Millard chose instead to remain with his grandparents.

Sheets's love of horses can be directly traced back to his childhood years spent living at his grandfather's horse ranch. Millard rode his first horse when he was three years old. Throughout his life, Sheets returned to the theme of horses in his paintings, as well as maintaining a private stable of horses, and raising and breeding racehorses.

His interest in art also began in childhood. When he was still a young boy, his two maternal aunts encouraged him to play with crayons and pencils. Sheets took his first painting lesson from a neighbor at the age of seven, and by 1919 he had already submitted artwork to the copy division of the Los Angeles County Fair fine arts show competition. He submitted a drawing he had copied of a tinted photograph of Lake KIlarney, California. Sheets won first prize in his division.

It was through this competition that Millard met Theodore B. Modra, a Polish artist who had retired to the Pomona area. After giving Sheets a lecture on the evils of copying art, Modra offered to give him art lessons.

Sheets continued to pursue his interest in art and enrolled in the Choinard School of Art in Los Angeles, California. By the time that he graduated in 1929, Sheets had also managed to come to the attention of Dalzell and Ruth Hatfield of the Dalzell Hatfield Galleries in Los Angeles, California. The Hatfields were one of the most influential art dealers in Southern California, and that same year, they sponsored Sheets in his first one-man exhibition in 1929. The exhibition brought Sheets to the attention of Western Coast art critics and launched Sheets on his painting career.

In 1929 Sheets also learned that he had won second place in the annual Edgar B. Davis art competition held in San Antonio, Texas. The award came with a cash prize and Sheets made plans to travel to Europe to study and paint. Shortly before his departure, however, he met an art student, Mary Baskerville, and they began a whirlwind romance. With Baskerville's enthusiastic support for European plans, and with her promise that she would wait for him, Sheets departed for New York and then Europe.

While overseas during 1929 and 1930, Sheets studied under Dorfinant, a master printer in Paris. Through his work at this studio workshop, he met Henri Matisse.

Five months after Millard returned to the California in 1930, Sheets and Mary Baskerville married. Sheets worked as the director of the Fine Arts Exhibition of the Los Angeles County Fair. In 1932 Sheets returned to school to study art and humanities at Scripps College in Claremont, California. After graduating from Scripps, school officials approached Sheets with an offer to set up a separate fine arts program and asked him to chair the new department. This was the beginning of a twenty year association with the school. In 1938, he also became the Director of Art at Claremont Graduate School.

Sheets left the school during the years of World War II to serve as a war-time artist and journalist for Life magazine, and from 1943-1944 was stationed on the Burma-India Front. His experiences in Asia appeared to affect him deeply. In contrast to his earlier works which featured backgrounds with neutral tones and brilliant shades that highlighted and punctuated the compositions, the paintings from the wartime featured somber tones. Sheets remarked of this time:

During the fighting and the time I spent in the C-B-1 theater, I was too shaken and intellectually stunned to do any complete paintings. I made many, many sketches, though, as well as a real effort to remember each scene that particularly affected me. Then, once I returned to America, I painted frantically, for months, exorcising demons. [Lovoos, Janice and Edmund F. Penney, Millard Sheets: One-Man Renaissance, Northland Press, Flagstaff, AZ, 1984]

Sheets returned from the war in 1944 and resumed his position at Scripps College until 1955 when he was approached by the Los Angeles County Board of Supervisors and asked to overhaul the fledgling Los Angeles County Art Institute. Sheets accepted the position and spent the next five years reshaping the mission and format of the school, renaming it the Otis Art Institute. In the years after Sheets left the directorship, the school eventually became part of the Parson's School of Design on the West Coast.

In 1953 Sheets founded the Millard Sheets Designs company. He hired between twenty-five and thirty artisans for large projects, with Susan Hertel, a former student of his, serving as his assistant in all the operations of the design studio. The working staff included engineers, registered architects, draftsmen, and artists, and the projects that the firm produced included murals, mosaics, stained glass, and sculpture for private homes and public and commercial businesses.

The design studio completed several major architectural projects throughout the late 1950s through the mid 1970s, including the design and construction of Cal Aero, a flight training school for the US Air Force, the National American Insurance Company offices for the California financier, Howard Ahmanson, Ahmanson Bank and Trust Company in Beverly Hills, many Home Savings and Loan Association Buildings, private residences, and the Scottish Rite Memorial Temples in Los Angeles and San Francisco, among many other projects.

Sheets also designed and completed mural and mosiac work for numerous public buildings in the Los Angeles area, as well as across the nation. Many of the murals and mosiacs were for those buildings designed by his firm while others were done as independent commissions.

In 1968 Sheets first proposed the murals he designed for the Los Angeles City Hall. His design was approved and he was awarded a commission to complete The Family of Man murals over the two main entrances to the Los Angeles City Hall. The murals were completed in 1971 and installed in 1972. Sheets also designed mosiacs and murals for the Mayo Clinic in Minnesota, the Library at Notre Dame University, the Scottish Rite Masonic Temple in Los Angeles, several Home Savings and Loan Association buildings in the Los Angeles area, the Detroit Public Library, and the Dome of the National Shrine of the Immaculate Conception in Washington, DC.

During the early 1960s Sheets participated in the American Specialist Program of the US Department of State. His first assignment was to Turkey in 1960, where he served as a visiting artist. The following year he went to the USSR in the same capacity.

During the early to mid 1950s Sheets became involved with Columbia Pictures and was technical advisor and production designer for a few years.

Millard Sheets was a member of the National Watercolor Society, the American Watercolor Society, the National Academy of Design, the Society of Motion Picture Art Directors, and the Century Association. Sheets actively promoted his own work and was a businessman, an active and prolific artist, instructor, and designer. Millard Sheets died on March 31, 1989 in Gualala, California.
Separated Materials:
The Archives of American Art also holds material lent for microfilming (reels LA 10) including a biographical sketch, career resume, and a list of sheets' work prepared in 1964. Loaned materials were returned to the lender and are not described in the collection container inventory.
Provenance:
Millard Sheets lent material for microfilming in 1965. Mary B. Sheets, Millard's widow, donated the papers to the Archives of American Art in 1992. Carolyn Owen-Toole, Sheet's daughter, gave a small addition of material in 2018.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Topic:
Art -- Study and teaching  Search this
Art -- California  Search this
Art and society  Search this
Horses -- Breeding  Search this
Watercolorists -- California  Search this
Muralists -- California  Search this
Art -- Philosophy  Search this
Designers -- California  Search this
Genre/Form:
Slides (photographs)
Photographs
Citation:
Millard Sheets papers, circa 1907-2000. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.sheemill
See more items in:
Millard Sheets papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw978141c20-c1e5-41ff-aa5d-6603f62f526f
EDAN-URL:
ead_collection:sova-aaa-sheemill
Online Media:

Dowd Harpsichord Collection

Creator:
Dowd, William R.  Search this
Extent:
33 Cubic feet (81 boxes, 7 map folders)
Type:
Collection descriptions
Archival materials
Business records
Design drawings
Date:
1949-1997
Scope and Contents:
The collection documents Dowd's career as a maker and scholar of harpsichords through correspondence, photographs, drawings, notes, and financial materials. The collection contains templates and drawings for harpsichords built or restored by Dowd. The collection also documents the activities of small business and its owner in Boston from 1959-1988.
Arrangement:
The collection is arranged into ten series.

Series 1: William Dowd (Boston Office), 1958-1993

Subseries 1.1: Background Matreials, 1965-1993

Subseries 1.2: Desk Calendars, 1982-1989

Subseries 1.3: Wall Calendars, 1964-1985

Subseries 1.4: Address Books, undated

Subseries 1.5: Telephone Logs, 1985-1988

Subseries 1.6: Catalogs, 1962-1988

Subseries 1.7: Shop Books, 1949-1986

Subseries 1.8: Maintenance, 1981-1993

Series 2: General Files, 1949-1993

Series 3: Design Notes and Drawings, 1952-1990

Subseries 3.1: Drawings, 1952-1990

Subseries 3.2: Design Notes, 1959-1987

Series 4: Suppliers/Services, 1958-1988

Series 5: Owner's Files, 1960s-1980s

Subseries 5.1: Owners Files (alphabetical)

Subseries 5.2: Former Owners (alphabetical)

Series 6: Antique Files, 1949-1979

Series 7: Financial Records, 1961-1987

Series 8: Photographs, 1949-1988

Series 9: Publications, 1969-1994

Series 10: William Dowd (Paris Office), 1971-1985

Series 11: Newspaper Clippings, 1949-1993
Biographical / Historical:
William Richmond Dowd (1922–2008) was an American harpsichord maker. Dowd graduated from Harvard University (1948) and apprenticed with John Challis, a harpsichord maker in Detroit. In 1949, Dowd partnered with Frank Hubbard (1920-1976), a fellow Harvard classmate and harpsichord maker to form Hubbard and Dowd in Boston, operating the Boston School of Harpsichord from 1949-1958. Dowd and Hubbard built harpsichords based on historical principles and dedicated themselves to research and restoration techniques of historical keyboard instruments. The first harpsichords built by Dowd were based on the 1637 Johannes Ruckers single harpsichord. In 1956, Charles Fisher joined the firm as a third partner.

Dowd formed Dowd Harpsichord Shop in 1959, building the Pascal Taskin model of harpsichord. Taskin (1723-1793) was a French harpsichord and piano maker. In 1972, Dowd established an office in Paris in association with Reinhard von Nagel. The Paris office closed in 1985. Dowd closed his workshop in Boston on September 1, 1988 and died in November 1988.
Separated Materials:
The Division of Culture and the Arts (now Division of Cultural and Community Life) contains two harpsichords built by William Dowd. See accessions 1980.0274.1 (Compass: FF-f3. Copy of 1730 Blanchet instrument) and 2009.0229.01 (double manual, serial number 336-75).
Provenance:
The collection was donated by William R. Dowd and Pegram Dowd on June 12, 1997.
Restrictions:
Collection is open for research but is stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Musical instrument makers  Search this
Musical instruments  Search this
Harpsichord  Search this
Harpsichord makers  Search this
Genre/Form:
Business records
Design drawings
Citation:
Dowd Harpsichord Collection, 1949-1997, Archives Center, National Museum of American History.
Identifier:
NMAH.AC.0593
See more items in:
Dowd Harpsichord Collection
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep809e6f2e9-7a36-4321-9fca-4597194cf627
EDAN-URL:
ead_collection:sova-nmah-ac-0593
Online Media:

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