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Washington Arts Scene in the 1960s

Creator:
Smithsonian American Art Museum  Search this
Type:
Youtube videos
Uploaded:
2017-01-13T00:59:04Z
Topic:
Art, American  Search this
Youtube Category:
Education  Search this
See more by:
americanartmuseum
YouTube Channel:
americanartmuseum
Data Source:
Smithsonian American Art Museum
EDAN-URL:
edanmdm:yt_fXofyq9AZmk

Historic footage of Bamiyan statues

Creator:
Human Studies Film Archives  Search this
Type:
Youtube videos
Uploaded:
2007-01-25T17:02:12Z
Topic:
Anthropology  Search this
Youtube Category:
Education  Search this
See more by:
HSFAFilmClips
YouTube Channel:
HSFAFilmClips
Data Source:
Human Studies Film Archives
EDAN-URL:
edanmdm:yt_RDbrZaoXh4I

Arg-é Bam (Bam Citadel), Iran, 1956

Creator:
Human Studies Film Archives  Search this
Type:
Youtube videos
Uploaded:
2008-04-21T20:14:23Z
Topic:
Anthropology  Search this
Youtube Category:
Education  Search this
See more by:
HSFAFilmClips
YouTube Channel:
HSFAFilmClips
Data Source:
Human Studies Film Archives
EDAN-URL:
edanmdm:yt_xDvmvjoGA7s

Tulsa -- Villa Philbrook

Former owner:
Phillips, Waite  Search this
Architect:
Delk, Edward Beuhler  Search this
Landscape architect:
Hare & Hare  Search this
Owner:
Philbrook Museum of Art  Search this
Collection Collector:
Marchand, Richard  Search this
Extent:
1 slides (photographs)
Type:
Archival materials
Slides (photographs)
Postcards
Place:
United States of America -- Oklahoma -- Tulsa
Villa Philbrook (Tulsa, Oklahoma)
Date:
1930-1950
General:
Philbrook Museum of Art is located in Tulsa, Oklahoma at the former Waite Phillips estate. The museum housed in the Villa Philbrook, an Italianate mansion surrounded by of 25 acres of gardens. The estate was created for the wealthy oilman and philanthropist Waite Phillips (1883-1964) and his wife Genevieve Elliott Phillips (1887-1979) and their two children in 1926-1927. The gardens around the mansion were the result of a collaboration of the owners, the house's architect, and the firm of Hare & Hare, Landscape Architects & City Planners. To complement Delk's architectural designs, the garden design combined French, and English garden iconography with inspiration from Villa Lante, an Italian country estate by Giacomo Barozzi da Vignola in 1566. They followed Renaissance models with features such as formal gardens, cascading water feature, rock garden and pond terminated by a tempietto. The main emphasis was placed on the East Formal Garden, which was designed on axis with the villa's grand hall. The Italian preference for a predominately green palette was achieved with beds of English ivy, low hedges of Chinese privet, clipped spheres of bay or boxwood and tall red cedars chosen to mimic Italian cypress. Beyond the formal garden stretches a pastoral grove. Important to Genevie Philips was a scheme that featured plants native to the area. Specimens were collected from the native woods on the property, and used in along the flagstone walkways, in borders, and on slopes near house. Yuccas, cedars, dogwood, elder, and serviceberry were among the varieties incorporated into the Italianate design. Structures found throughout the gardens include the Tempietto, the Summer House built in 1933, fountains in the East Formal Garden, the grotto, and a fireplace.

To design their home, the Philips commissioned a Kansas City architect, Edward Buehler Delk (1885–1956), as well as designing Villa Philmonte for their ranch in Cimarron, New Mexico, and the Philtower office building in downtown Tulsa. For Villa Philbrook, Delk interpreted the most fashionable styles of the day in his plans for the 72-room Italian Renaissance villa. It is situated high on the property, overlooking the gardens and to get the breezes in warmer months. The façade of the house is unpretentious with spare use of classical ornament. The house and grounds are linked by the addition of arches and windows, which frame views of the garden, as well as a loggia and terrace that overlooks the most formal of the gardens.

After only eleven years living at Philbrook, the Philips family donated the estate to the community to become Tulsa's first art museum. The house underwent major renovations, and the landscape architecture firm, Hare and Hare, were brought back in to work on the conversion of the gardens from private to public. In 1939 the Philbrook Art Museum (later Philbrook Museum of Art) opened to the public. The gardens were briefly used as a botanical garden concerned with the development, preservation and exhibition of native species to Oklahoma and the Southwest. From 2002-2004, Howell & Vancuren designed another major garden renovation with the support of the Philips family. The Philips also gave Villa Philmonte and the Philmont Ranch to the Boy Scouts of America, and today both institutions continue to serve their communities.

Contributions to the construction of Villa Philbrook were made by multiple craftspeople and artists including George Gibbs, Oscar Bach, Bertram Segar, Cooper & Gentiluomo, Edward F. Caldwell & Co., and Jørgen Dreyer.

Persons associated include: Waite and Genevieve Phillips (former owner), Edward Buehler Delk (architect), S. Herbert Hare of Hare & Hare, Landscape Architects & City Planners (landscape architect), Howell & Vancuren (landscape architects), and Philbrook Museum of Art, Inc. (owner).
Varying Form:
Also known as Philbrook Art Museum and Philbrook Museum of Art.
Collection Restrictions:
Access to original images 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.
Topic:
Gardens -- Oklahoma -- Tulsa  Search this
Genre/Form:
Postcards
Collection Citation:
Smithsonian Institution, Archives of American Gardens, Richard Marchand historical postcard collection.
Identifier:
AAG.MAR, File OK001
See more items in:
Richard Marchand historical postcard collection (35mm slides)
Richard Marchand historical postcard collection (35mm slides) / Oklahoma
Archival Repository:
Archives of American Gardens
EDAN-URL:
ead_component:sova-aag-mar-ref1703

African Postcard Collection

Collector:
National Museum of African Art (U.S.)  Search this
National Museum of African Art (U.S.)  Search this
Extent:
61 Volumes
Type:
Collection descriptions
Archival materials
Volumes
Postcards
Place:
Algeria
Angola
Benin
Burkina Faso
Burundi
Cameroon
Cape Verde
Central African Republic
Chad
Congo (Democratic Republic)
Côte d'Ivoire
Mozambique
Morocco
Mali
Namibia
Rwanda
Niger
Nigeria
Somalia
South Africa
Sierra Leone
Sudan
Tanzania
Togo
Tunisia
Zimbabwe
Zambia
Uganda
Senegal
Kenya
Liberia
Ghana
Guinea
Mauritania
Madagascar
Malawi
Djibouti
Ethiopia
Gabon
Egypt
Eritrea
Africa
Date:
1898-[ongoing]
Summary:
This collection includes postcards from 45 African countries. Subjects include agriculture; animals; artists; body arts; cityscapes; cultural landscapes; dance; education; expeditions; flora; industry; leaders; marketplaces; medicine; military; missionaries; music; portraits; recreation; rites and ceremonies; and transportation, among many other topics.
Arrangement note:
Arranged by country and topic
Restrictions:
Use of original records requires an appointment. Contact Archives staff for more details.
Rights:
Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.
Genre/Form:
Postcards
Citation:
African Postcard collection, EEPA 1985-014, Eliot Elisofon Photographic Archives, National Museum of African Art, Smithsonian Institution.
Identifier:
EEPA.1985-014
See more items in:
African Postcard Collection
Archival Repository:
Eliot Elisofon Photographic Archives, National Museum of African Art
EDAN-URL:
ead_collection:sova-eepa-1985-014
Online Media:

Stemming the Tide Symposium: Cultural Landscapes and Historic Urban Landscapes

Creator:
Smithsonian American Art Museum  Search this
Type:
Youtube videos
Uploaded:
2020-03-31T18:10:53Z
Topic:
Art, American  Search this
Youtube Category:
Education  Search this
See more by:
americanartmuseum
YouTube Channel:
americanartmuseum
Data Source:
Smithsonian American Art Museum
EDAN-URL:
edanmdm:yt_io6snM8g4yg

The Course of Empires Symposium, Morning Session

Creator:
Smithsonian American Art Museum  Search this
Type:
Youtube videos
Uploaded:
2017-10-20T16:44:48Z
Topic:
Art, American  Search this
Youtube Category:
Education  Search this
See more by:
americanartmuseum
YouTube Channel:
americanartmuseum
Data Source:
Smithsonian American Art Museum
EDAN-URL:
edanmdm:yt_viK0iB9B3Kw

Tomás Ybarra-Frausto research material, 1965-2004

Creator:
Ybarra-Frausto, Tomás, 1938-  Search this
Subject:
Lomas Garza, Carmen  Search this
Goldman, Shifra M.  Search this
Mesa-Bains, Amalia  Search this
Mexican Museum  Search this
Studio 24 (San Francisco, Calif.)  Search this
Royal Chicano Air Force  Search this
Type:
Photographs
Slides (photographs)
Interviews
Topic:
Santos (Art)  Search this
Hispanic American art -- Sources  Search this
Mexican American artists -- Sources  Search this
Hispanic American artists -- Sources  Search this
Household shrines -- Mexico  Search this
Mexican American arts -- Sources  Search this
Record number:
(DSI-AAA_CollID)5563
(DSI-AAA_SIRISBib)216281
AAA_collcode_ybartoma
Theme:
Latino and Latin American
Art Theory and Historiography
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_216281
Online Media:

Jacques Seligmann & Co. records, 1904-1978, bulk bulk 1913-1974

Creator:
Jacques Seligmann & Co.  Search this
Subject:
Hauke, Cesar M. de (Cesar Mange)  Search this
Glaenzer, Eugene  Search this
Haardt, Georges  Search this
Seligman, Germain  Search this
Seligmann, Arnold  Search this
Parker, Theresa D.  Search this
Waegen, Rolf Hans  Search this
Trevor, Clyfford  Search this
Seligmann, René  Search this
Seligmann, Jacques  Search this
De Hauke & Co., Inc.  Search this
MM. Jacques Seligmann & fils  Search this
Eugene Glaenzer & Co.  Search this
Germain Seligmann & Co.  Search this
Gersel  Search this
Type:
Gallery records
Topic:
Mackay, Clarence Hungerford, 1874-1938 -- Art collections  Search this
Schiff, Mortimer L. -- Art collections  Search this
Arenberg, duc d' -- Art collections  Search this
Liechtenstein, House of -- Art collections  Search this
Art -- Collectors and collecting -- France -- Paris  Search this
Art -- Collectors and collecting  Search this
Art galleries, Commercial -- New York (State) -- New York  Search this
Art dealers -- New York (State) -- New York  Search this
World War, 1939-1945 -- Art and the war  Search this
Art dealers -- France -- Paris  Search this
La Fresnaye, Roger de, 1885-1925  Search this
Art, Renaissance  Search this
Decorative arts  Search this
Art treasures in war  Search this
Art, European  Search this
Art galleries, Commercial -- France -- Paris  Search this
Record number:
(DSI-AAA_CollID)9936
(DSI-AAA_SIRISBib)212486
AAA_collcode_jacqself
Theme:
The Art Market
Art Gallery Records
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_212486
1 Page(s) matching your search term, top most relevant are shown: View entire project in transcription center
  • View Jacques Seligmann & Co. records, 1904-1978, bulk bulk 1913-1974 digital asset number 1
Online Media:

Tomás Ybarra-Frausto research material

Creator:
Ybarra-Frausto, Tomás, 1938-  Search this
Names:
Mexican Museum  Search this
Royal Chicano Air Force  Search this
Studio 24 (San Francisco, Calif.)  Search this
Goldman, Shifra M., 1926-2011  Search this
Lomas Garza, Carmen  Search this
Mesa-Bains, Amalia  Search this
Extent:
33.1 Linear feet
1.27 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Photographs
Slides (photographs)
Interviews
Place:
Mexico -- Religious life and customs
Date:
1965-2004
Summary:
The research material of Tomás Ybarra-Frausto, measures 33.1 linear feet and 1.27 GB and dates from 1965-2004. The collection, amassed throughout Ybarra-Frausto's long and distinguished career as a scholar of the arts and humanities, documents the development of Chicano art in the United States and chronicles Ybarra-Frausto's role as a community leader and scholar in the political and artistic Chicano movement from its inception in the 1960s to the present day.
Scope and Content Note:
The research material of Tomás Ybarra-Frausto, amassed throughout his long and distinguished career as a scholar of the arts and humanities, documents the development of Chicano art in the United States. As community leader and scholar, Ybarra-Frausto played dual roles of active participant and historian in the Chicano movement, chronicling this unique political and artistic movement from its inception in the 1960s to the present day.

Deeply rooted in American history, "El Movimiento," the Chicano movement, evolved from Mexican-Americans' struggle for self-determination during the civil rights era of the 1960s. It began as a grassroots community effort that enlisted the arts in the creation of a united political and cultural constituency. Chicano artists, intellectuals, and political activists were instrumental in mobilizing the Mexican-American community for the cause of social justice, and the movement was shaped by the affirmation of a cultural identity that embraced a shared heritage with Mexico and the United States.

Just as "El Movimiento" aimed to instruct and inspire through the recollection and conservation of culture, Ybarra-Frausto's own career as scholar and historian helped to shape the intellectual discourse of the Chicano art. As a leading historian and theoretician in the field of Chicano Studies, he has written extensively on the subject, and has been instrumental in defining the canons of Chicano art. His papers are accordingly rich and varied, and they will be of great use to future scholars.

His research material, dating from 1965 to 1996, are arranged in subject files containing original writings, notes, bibliographies compiled by Ybarra-Frausto and others, exhibition catalogues, announcements, newspaper clippings and other printed material, as well as slides and photographs. Many of these files also include interview transcripts and correspondence with prominent figures in the movement. While this research collection contextualizes Chicano art within the larger framework of Latino and Latin-American culture, the bulk of the files relates specifically to Chicano visual culture. The collection also contains pertinent documentation of the Chicano civil rights movement, material on Chicano poets and writers, and research files on the wider Hispanic community, but these also appear within the context of Chicano culture in general.

Prominent among the bibliographies are the many notes and drafts related to the publication of A Comprehensive Annotated Bibliography of Chicano Art, 1965-1981 (University of California, Berkeley, 1985), which Ybarra-Frausto co-authored with Shifra Goldman. Ybarra-Frausto's files on Goldman, like other files in the collection, document his close associations and collaborations with scholars.

Art historians have traditionally found the categorization of Chicano art a difficult task. Unsure whether to classify the work as "American" or "Latin American," critics often ignored the work altogether. An outgrowth of this dilemma was the proliferation of artists, curators, and critics within the Chicano community, and the papers contain many original writings by Chicano artists about Chicano art, found in extensive files on artists that will be of particular significance to researchers. These often contain exhibition essays, dissertation proposals, and course outlines authored by the artists, along with the standard biographies, exhibition records, and reviews. Some of the files contain rare interviews conducted and transcribed by Ybarra-Frausto. Highlights include conversations with Carmen Lomas Garza, Amalia Mesa-Bains, and members of the Royal Chicano Air Force artist cooperative.

As a member of several Chicano art organizations and institutions, Ybarra-Frausto kept active records of their operation. The extensive files on the Mexican Museum and Galerie de la Raza/Studio 24, both in San Francisco, not only chronicle the history of Chicano art through the records of exhibitions and programming, but also offer case studies on the development of non-profit art institutions. The files on artist cooperatives, organizations, and exhibition spaces cover several regions of the United States, but focus on California, Texas and New York.

Two notable events in the development of Chicano art were the 1982 Califas: Chicano Art and Culture in California seminar at the University of California at Santa Cruz, and the 1990 traveling exhibition Chicano Art: Resistance and Affirmation, 1965-1985 (CARA), of which Ybarra-Frausto served as organizer and catalogue essayist. His records document the planning and development of these seminal events. Ybarra-Frausto's files on folk art, altars, posters, murals, performance art, border art, Chicana feminist art, and Southwestern and Mexican imagery (both urban and rural expressions) mirror the diverse forms and subject matter of Chicano art.

Spanning almost four decades of American culture from a Chicano perspective, these files have a unique historical value. The legacy of Chicano art and its contribution to the cultural landscape of this country, kept alive in Ybarra-Frausto's files, attests to the richness and diversity of American art.

Henry C. Estrada

Research Fellow, 1997.
Arrangement:
The collection is arranged as a single series of subject files. The general contents of each folder have been listed. The subject files are arranged in alphabetical order. While no two files are alike, they may contain résumés, printed and digital material, letters, draft writings, and photographs. Unless otherwise noted, each listing represents one file folder. The abbreviation TYF was used to refer to the name Tomá Ybarra-Frausto throughtout the Series Description.
Autobiographical Note:
Papelitos (little bits of paper), whether rent receipts, paid bills, or piles of personal letters, can become layered bundles of personal history. I have always been a pepenador (a scavenger) and saver of paper scraps. Diary notes, scribbled annotations, and first drafts are often useful indicators of ideas and gestation. Papelitos are the fragments of every-day life that gain expanded meaning integrated into the larger historical events of a period.

In the decade of the 1960s, I started saving ephemeral material--exhibition announcements, clippings of individual artists and of organizations fomenting a Chicano art movement. The social scenarios of the period such as marches, strikes, sit-ins, and mobilizations for social justice all spawned manifestos, posters, leaflets, and other forms of printed material. I somehow managed to assemble and protect the evanescent printed information that recorded the birth and development of Chicano art.

As I started to research and write about Chicano art and artists of the period, I continued to clip, photocopy, and preserve material given me by Mexican-American artists from throughout the nation. My idea was to form an archive that would be comprehensive rather than selective. I knew that it was the offbeat, singular piece of paper with a missing link of information that would attract the scholar.

Today, several decades after the flowering of Chicano art, there is still a lamentable paucity of research and information about this significant component of American art.

It is my fervent hope that this compendium of information will function as a resonant print and image bank for investigators of Chicano culture. Perhaps contained within the archive are the facts that will inspire new visions or revisions of Chicano art and culture--this is my fondest dream.

Dr. Tomás Ybarra-Frausto

New York City, 1998
Provenance:
The collection was donated to the Archives of American Art by Tomás Ybarra-Frausto in 1997, and in 2004.
Restrictions:
The collection is open for research. Use requires an appointment and is limited to the Washington, D.C. research facility.
Rights:
The Tomás Ybarra-Frausto research material is owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Santos (Art)  Search this
Hispanic American art -- Sources  Search this
Mexican American artists -- Sources  Search this
Hispanic American artists -- Sources  Search this
Household shrines -- Mexico  Search this
Mexican American arts -- Sources  Search this
Genre/Form:
Photographs
Slides (photographs)
Interviews
Citation:
Tomás Ybarra-Frausto research material, 1965-2004. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.ybartoma
See more items in:
Tomás Ybarra-Frausto research material
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-ybartoma
Online Media:

Vistas and Dreams 3: James E. Snead

Creator:
National Museum of the American Indian  Search this
Type:
Youtube videos
Uploaded:
2016-12-14T19:21:40Z
Topic:
Native Americans;American Indians  Search this
Youtube Category:
Education  Search this
See more by:
SmithsonianNMAI
YouTube Channel:
SmithsonianNMAI
Data Source:
National Museum of the American Indian
EDAN-URL:
edanmdm:yt_XOYfMoEP8Kc

Remembering Emmett Till Dave Tell

Author:
Tell, Dave 1976- http://id.loc.gov/vocabulary/relators/aut http://id.loc.gov/authorities/names/n2012036049 http://viaf.org/viaf/249782176  Search this
Subject:
Till, Emmett 1941-1955 Anniversaries, etc http://viaf.org/viaf/4002894  Search this
Till, Emmett 1941-1955 Anniversaries, etc Economic aspects http://viaf.org/viaf/4002894  Search this
Till, Emmett 1941-1955 http://id.worldcat.org/fast/00228763 http://viaf.org/viaf/4002894  Search this
Physical description:
1 online resource (xiv, 308 pages)
Type:
Electronic resources
Electronic books
History
Place:
Mississippi
Delta (Region)
Tallahatchie County
United States
Delta (Miss. : Region)
Tallahatchie County (Miss.)
Delta Region
Date:
2019
Topic:
Murder victims--Monuments--History  Search this
Civil rights movements--History  Search this
SOCIAL SCIENCE--Criminology  Search this
Anniversaries  Search this
Civil rights movements  Search this
Murder victims--Monuments  Search this
Race relations  Search this
Social conditions  Search this
Call number:
E185.93.M6 T45 2019 (Internet)
Restrictions & Rights:
1-user
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_1145262

Newport -- Warren House-Tunnard Garden

Former owner:
Tanner Family  Search this
Gardner, Samuel F.  Search this
Lawton, Robert  Search this
Lawton, Penelope  Search this
Austin, Samuel Reverend  Search this
Henderson, Francis  Search this
Brinley, Fanny S.  Search this
Lawrence, Sallie C.  Search this
Paul, Allen G.  Search this
Paul, Florence S.  Search this
Warren, George  Search this
Warren, Katherine Urquhart  Search this
Preservation Society of Newport County  Search this
Gardener:
Pleitez, Eusebio  Search this
Landscape designer:
Tunnard, Christopher  Search this
Provenance:
Newport Garden Club  Search this
Collection Creator:
Garden Club of America  Search this
Type:
Archival materials
Place:
Warren House-Tunnard Garden (Newport, Rhode Island)
United States of America -- Rhode Island -- Newport -- Newport
Scope and Contents:
The folder includes worksheets, site plans, photocopies of articles.
General:
This Modernist garden was created right after World War II, designed by Christopher Tunnard. It still survives today, perhaps the only existing commissioned landscape design by the man who influenced many of the United States most celebrated postwar architects and landscape architects. At only 65' x 42', the garden has an extreme austerity in design with a hint of luxury in its fountains, thick hedges and sculpture. The plants are cut and trimmed into an ordained shape, and the pattern is designed to be seen from the ground, where its curves interlock and turn back on themselves. Only two kinds of trees are used - lime (Tilia) and arbor vitae (Thuja); and three kinds of permanent plants - ivy (Hedera), box (Buxus) and yew (Taxus). The lime trees will eventually be pleached into an architectural block to throw the ground pattern into even greater contrast. The ivy is in slightly raised mounds, edged in places with small summer flowers. The bedding plants are purple and white petunias with carnations and lemon-yellow thunbergias." The sculpture, 'Chimerical Font,' by Jean Arp, is golden bronze centered on a plinth in a black lacquered rectangular pool. The other pools (two circular, one biomorphic) are shallow and painted white. Of note are the unusual shapes of the pruned boxwoods in the shapes of question marks and semi-colons; the colorful flowers; and the 6th linden along the left and end wall, now covered in Boston ivy, and originally painted white to complete a design that very much relied on strong figure-ground relationship.
Christopher Tunnard (1910-1979) was born in Canada, moved to England in 1929 and received a diploma from the Royal Horticultural Society the following year. The period of the eclectic Arts and Crafts movement (which he characterized as "romantic trivialization" of garden design) prompted him to introduce his Modernist views of landscape design. This approach avoided decoration, sentimentality and classical allusion "in favor of functional minimalist designs that provided a friendly and hospitable milieu for rest and recreation." After 10 years practicing garden and landscape work, he immigrated to America at the invitation of Walter Gropius to teach at Harvard's Graduate School of Design (1938-1943). Following the War, Tunnard taught city planning at Yale, advancing to professor and chairman of this department; he did little garden design from that point forward, making this 1949 garden probably one of his last commissions. For the final thirty years of his life, Tunnard put his energies into urban planning and the preservation of historic buildings; his publications in this area include "Man-made America: Chaos or Control?" (1963) which won the 1964 National Book Award in Science, Philosophy and Religion. It is perhaps ironic that Christopher Tunnard ended up of very much the same sentiment as his American patron, Mrs. George W. (Katherine) Warren, founder of the Preservation Society of Newport County (1945). In "Pioneers of American Landscape Design," (2000), Lance Neckar notes that "by the time of his death, he had come full circle to be identified with conservation-and-preservation-oriented attributes toward city revitalization which were antithetical to the Modern movement" that Tunnard had originally espoused.
Tunnard's patrons, George and Katherine Warren, who purchased the property on Mill Street in 1933, chose a part of Newport that was then considered "the other side of the tracks" by their social set, most of whom resided out on Ocean Drive. In New York, where the couple lived "off season," Katherine Warren collected modern art and was on the Advisory Committee of the Museum of Modern Art. Interesting to note that the garden was commissioned in 1949 and distinguished by its functional, minimalist modern design in sharp contrast with its early Federal-style house. The Warrens also added two glass-enclosed rooms on the first and second floors of their home on the garden side, presumably to enjoy this new garden to its full extent. Mrs. Warren died in 1976, bequeathing her home to the Preservation Society of Newport County, which moved its offices to this location in 1977. While the Preservation Society of Newport County owned the property, the garden was heavily shaded by a large beech tree and had become overgrown. It was maintained as they found it without major renovation. The current owner moved into the Mill Street house in 1994 and restored the Tunnard garden in 2001 and has proven to be a conscientious caretaker of this rare, nationally significant garden.
Persons associated with the garden include Tanner Family (former owners, 1776-1807); Samuel F. Gardner (former owner, 1807-1809); Robert Lawton (former owner, 1809-1810); Penelope Lawton (former owner, 1810-1822); Reverend Samuel Austin (former owner, 1822-1826); Francis Henderson (former owner, 1826-1857); Fanny S. Brinley (former owner, 1857-1863); Sallie C. Lawrence (former owner, 1863-1886); Allen G. Paul (former owner, 1886-1916); Florence S. Paul (former owner, 1916-1932); George and Katherine Warren (former owners, 1932-1977); Preservation Society of Newport County (former owner, 1977-1994); Christopher Tunnard (landscape designer, 1949); Eusebio Pleitez (gardener, 2001- ).
Related Materials:
Warren House-Tunnard Garden related holdings consist of 1 folder (10 digital images)
Additional photographs are also located in the collections of the Preservation Society of Newport County.
Collection Restrictions:
Access to original images 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.
Topic:
Gardens -- Rhode Island -- Newport  Search this
Collection Citation:
Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.
Identifier:
AAG.GCA, File RI201
See more items in:
The Garden Club of America collection
The Garden Club of America collection / Series 1: United States Garden Images / Rhode Island
Archival Repository:
Archives of American Gardens
EDAN-URL:
ead_component:sova-aag-gca-ref10575

Inka Engineering Symposium 9: Closing Remarks

Creator:
National Museum of the American Indian  Search this
Type:
Youtube videos
Uploaded:
2013-11-19T18:32:11Z
Topic:
Native Americans;American Indians  Search this
Youtube Category:
Education  Search this
See more by:
SmithsonianNMAI
YouTube Channel:
SmithsonianNMAI
Data Source:
National Museum of the American Indian
EDAN-URL:
edanmdm:yt_bxEy8EyU3cU

Leather shield (Adraga)

Physical Description:
leather, rawhide (overall material)
paint (overall material)
Measurements:
overall: 124.5 cm x 137.5 cm x 4 cm; 49 1/32 in x 54 1/8 in x 1 9/16 in
Object Name:
Shield
shield
Place made:
Mexico
Place used:
United States: New Mexico, Santa Fe
Date made:
ca 1800
Subject:
Hispanic  Search this
ID Number:
CL.175188
Catalog number:
175188
Accession number:
29421
See more items in:
Cultural and Community Life: Religion
Clothing & Accessories
Data Source:
National Museum of American History
GUID:
http://n2t.net/ark:/65665/ng49ca746a4-b9f1-704b-e053-15f76fa0b4fa
EDAN-URL:
edanmdm:nmah_659476

USA Skateboarding Autographed Skate Deck

Autographer:
Baker, Lacey  Search this
Physical Description:
wood (overall material)
Measurements:
overall: 31 13/16 in x 8 13/32 in x 1 29/32 in; 80.772 cm x 21.336 cm x 4.826 cm
Object Name:
skate deck
skatedeck
Date made:
2019
Subject:
Sports  Search this
ID Number:
2019.0134.01
Accession number:
2019.0134
Catalog number:
2019.0134.01
See more items in:
Cultural and Community Life: Sport and Leisure
Data Source:
National Museum of American History
GUID:
http://n2t.net/ark:/65665/ng49ca746b4-c8b2-704b-e053-15f76fa0b4fa
EDAN-URL:
edanmdm:nmah_1936494
Online Media:

Sharpie Marker

Autographer:
Baker, Lacey  Search this
Physical Description:
plastic (overall material)
ink (overall material)
Measurements:
overall: 5 13/32 in x 19/32 in x 13/32 in; 13.716 cm x 1.524 cm x 1.016 cm
Object Name:
permanent marker
Date made:
2019
Subject:
Sports  Search this
ID Number:
2019.0134.02.1
Accession number:
2019.0134
Catalog number:
2019.0134.02.1
See more items in:
Cultural and Community Life: Sport and Leisure
Data Source:
National Museum of American History
GUID:
http://n2t.net/ark:/65665/ng49ca746b4-f295-704b-e053-15f76fa0b4fa
EDAN-URL:
edanmdm:nmah_1936500

Sharpie Marker

Autographer:
Baker, Lacey  Search this
Physical Description:
plastic (overall material)
ink (overall material)
Measurements:
overall: 5 13/32 in x 19/32 in x 13/32 in; 13.716 cm x 1.524 cm x 1.016 cm
Object Name:
permanent marker
Date made:
2019
Subject:
Sports  Search this
ID Number:
2019.0134.02.2
Accession number:
2019.0134
Catalog number:
2019.0134.02.2
See more items in:
Cultural and Community Life: Sport and Leisure
Data Source:
National Museum of American History
GUID:
http://n2t.net/ark:/65665/ng49ca746b5-0234-704b-e053-15f76fa0b4fa
EDAN-URL:
edanmdm:nmah_1936504

Sharpie Marker

Autographer:
Baker, Lacey  Search this
Physical Description:
plastic (overall material)
ink (overall material)
Measurements:
overall: 5 13/32 in x 19/32 in x 13/32 in; 13.716 cm x 1.524 cm x 1.016 cm
Object Name:
permanent marker
Date made:
2019
Subject:
Sports  Search this
ID Number:
2019.0134.02.3
Accession number:
2019.0134
Catalog number:
2019.0134.02.3
See more items in:
Cultural and Community Life: Sport and Leisure
Data Source:
National Museum of American History
GUID:
http://n2t.net/ark:/65665/ng49ca746b5-0235-704b-e053-15f76fa0b4fa
EDAN-URL:
edanmdm:nmah_1936506

Sharpie Marker

Autographer:
Baker, Lacey  Search this
Physical Description:
plastic (overall material)
ink (overall material)
Measurements:
overall: 5 13/32 in x 19/32 in x 13/32 in; 13.716 cm x 1.524 cm x 1.016 cm
Object Name:
permanent marker
Date made:
2019
Subject:
Sports  Search this
ID Number:
2019.0134.02.4
Accession number:
2019.0134
Catalog number:
2019.0134.02.4
See more items in:
Cultural and Community Life: Sport and Leisure
Data Source:
National Museum of American History
GUID:
http://n2t.net/ark:/65665/ng49ca746b5-0236-704b-e053-15f76fa0b4fa
EDAN-URL:
edanmdm:nmah_1936508

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