United States of America -- Washington -- King County -- Seattle
Scope and Contents:
The folders include work sheets, narrative history by Mrs. Corydon (Eulalie) Wagner and copies of articles.
Two slides copied from Washington State Historical Society collections, Tacoma, Washington; four from Mrs. Corydon Wagner collection; two from Treasury of American Gardens; one from The American Woman's Garden; and three from unknown sources. One photoprint is copy of original 1928 photoprint.
According to Mrs. Corydon (Eulalie) Wagner, the one acre, European-style garden, was seen at its best when seen from above. A city garden enclosed by high cement walls, it consisted of formal pathways of white pebbles; eight flower beds outlined with dwarf box; and a round pool surrounded by a square qrass bed and parterres. The beds displayed various color schemes of tulips, followed by a "Mille Fleur" perennial garden in the summer. Tea roses were added during the 1920s. After the death of Mrs. Merrill in the 1930s, the family opened the house for charitable organizations, particularly those in which she took an active part. During World War II, Victory Garden vegetables filled in where lilies and holly-hocks grew. The perennial borders were slightly transformed by using annuals, and after the bay trees died in the wooden boxes, they were replaced with tree-tiered topiaries of Ficus. During the 1960s, the Merrill family visited Versailles and its box borders. In order to eliminate the upkeep of the "Mille Fleur" summer garden, Thomas Church designed a box parterre, a miniature version of those at Villandry--eliminating much of Shipman's perennial borders. Kevin Harvey currently plants strongly-shaped and colored perennials into the gravel beds to add year-round interest.
Persons associated with the garden include: Richard Dwight Merrill (former owner, 1910-1964); Eulalie Wagner (former owner, ?-1991); The Merrill Foundation (owners of 1/2 the original property); Charles A. Platt (architect, landscape designer, 1910); Ellen Biddle Shipman (landscape architect, 1915); Thomas Dolliver Church (landscape architect, 1960s); and Kevin Harvey (gardener and designer, 2004).
The Merrill House related holdings consist of 1 folder (12 35 mm. slides and 4 photoprints)
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Collection is open for research but is stored off-site and special arrangements must be made to work with it. The original glass plate is available for inspection if necessary in the Archives Center. A limited number of fragile glass negatives and positives in the collection can be viewed directly in the Archives Center by prior appointment. Contact the Archives Center for information at firstname.lastname@example.org or 202-633-3270.
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.
Eastern Band of Cherokee Indians of North Carolina
Scope and Contents:
Photograph depicting a mill building on the Eastern Cherokee Reservation in North Carolina. Photographed by W.M. Cline Company circa 1937-1938.
Access to NMAI Archives Center collections is by appointment only, Monday - Friday, 9:30 am - 4:30 pm. Please contact the archives to make an appointment (phone: 301-238-1400, email: email@example.com).
Identification of specific item; Date (if known); W.M. Cline Company photographs of Eastern Band of Cherokee, image #, NMAI.AC.362; National Museum of the American Indian Archives Center, Smithsonian Institution.
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Dorothy Liebes papers, circa 1850-1973. Archives of American Art, Smithsonian Institution.
Funding for the processing of the Dorothy Liebes papers was provided by the Terra Foundation for American Art. Funding for the digitization of the collection was provided by the Coby Foundation.