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Warshaw Collection of Business Americana Subject Categories: Tobacco Trade and Industry

Creator:
Warshaw, Isadore, 1900-1969  Search this
Extent:
11.35 Cubic feet (consisting of 20 boxes, 8 folder, 30 oversize folders, 17 map case folders, 3 flat boxes (partial), plus digital images of some collection material.)
Type:
Collection descriptions
Archival materials
Ephemera
Business ephemera
Date:
1750-1965
undated
Summary:
A New York bookseller, Warshaw assembled this collection over nearly fifty years. The Warshaw Collection of Business Americana: Tobacco Trade and Industry forms part of the Warshaw Collection of Business Americana, Subseries 1.1: Subject Categories. The Subject Categories subseries is divided into 470 subject categories based on those created by Mr. Warshaw. These subject categories include topical subjects, types or forms of material, people, organizations, historical events, and other categories. An overview to the entire Warshaw collection is available here: Warshaw Collection of Business Americana
Scope and Contents:
This subject category, "Tobacco Trade and Industry," consists of materials related to the tobacco trade and industry. This subject category provides an extensive record of the late nineteenth to mid-twentieth century tobacco industry with materials for consumers, traders, and distributors. It forms part of the Warshaw Collection of Business Americana: Collection Division I: Business Ephemera and Division II: Oversize Materials.

Series 1, Tobacco and Tobacco Related Product Ephemera, 1781-1965, undated, is the largest portion of the tobacco related materials. This series is arranged alphabetically by manufacturer and distributor name. The materials consist of advertising cards, scraps, trade catalogs, price lists, pamphlets, labels, correspondence on letterhead stationery, bills, receipts, illustrations from periodicals, printed advertisements, periodicals, newspaper clippings, broadsides, shipping documents, handbills, premiums, promotional items, announcements, and business cards. The majority of materials are from the late nineteenth to the early twentieth- century and were created primarily for consumers, traders and distributors. Most of the materials are from the East Coast and there is a large amount of undated material. Ethnic imagery and images of women and children are prominently featured in this series. The location of the company is given when known.

Series 2, Patents and Trademarks, 1875-1904, is arranged alphabetically by patent and trademark applicants. With illustrations and descriptions, many patent and trademark documents come from East Coast patent offices during the 1870s. While this series is limited in scope, it provides numerous examples of the patenting of tobacco brand names and other related products. Additionally, it contains many images of minorities, women, and a variety of ethnic imagery.

Series 3, Bills of Lading, 1833-1925, is arranged alphabetically by location with foreign locations comprising one folder. The materials date from the late nineteenth century, and the majority is from the port of Philadelphia, Pennsylvania. This series not only tells a great deal about shipping and importing, but it also provides detailed information about the parties, countries, and people involved in the process of shipping tobacco around the world. Although the collection is somewhat varied, the majority of the bills of lading have date stamps, detailed port information, and information about the imported tobacco itself. Other locations include Maryland, New York, Cuba, and foreign locales.

Series 4, Lithographs, undated, is a series of labels for packages and products arranged alphabetically. It is a great resource for the study of early American advertising. Although most of the product labels are undated, they are probably of the late nineteenth to early twentieth- century. The majority of companies were based in New York, New York.

Series 5, Ephemera and Photographs, 1750-1957, undated, is arranged and organized by type of material. This series is comprised of general images, cigar store Indian images, auction lists, packing for tobacco products, and advertising cards, and contains a wealth of documentation of the American tobacco market. One of the best resources of this series is its collection of cigar bands. There are two photographs within this series, one depicting the exterior of a tobacco shop and another photograph of ladies working with shade grown tobacco, most likely in Connecticut. This series contains a copy of the Burr McIntosh photograph, "Leaves of Desire".

Series 6, Publications, 1742-1962, undated, consist of articles, books, pamphlets, magazines, and periodicals. One of the most useful portions of this series is the anti-tobacco related publications. The series contains tobacco-related articles. In addition to a few articles about tobacco companies, there are publications that contemplate the issues behind smoking. This series also contains tobacco related clippings from magazines and periodicals. Directories are also included in this series. The sheer variety of the material is vast, including essays from The Farm Quarterly and United States government documents. Tobacco is the only unifying factor. Researchers may be interested in La Santa Yerba, a late nineteenth-century book containing verses and other reflections on the tobacco plant itself.
Brand Name Index:
The following is a list of brand names for various tobacco products and related names that appear on this list is a compilation of those found on materials in the vertical document boxes. It is not a complete list of all the brand names for tobacco. The list is intended to assist researchers locate desired materials when only the brand name is known.

Brand Name -- Manufacturer/Dealer

Adonis -- Waldorf-Astoria Sugar Company

A. Hussey -- Leaf Tobacco Company

All Red Scrap -- Spaulding & Merrick

Alligator -- Pierre Lorillard

Almighty Dollar -- Roig & Langsdorf, LTD.

American Eagle -- Barker, K.C. & Company

Anglo-Egyptian -- Anderson, John & Company

Ante Fine (Cut) -- Pierre Lorillard

Apollo Egyptian -- Crescent Tobacco Company

Ateshian Bagdad -- Ateshian Company

Bagdad -- Pierre Lorillard

Bag Pipe -- Pierre Lorillard

Banner -- Banner Company

Banner -- American Tobacco Company

Bay State -- Brewer, Clarks & Sons

Bee -- Pierre Lorillard

Beech-Nut -- Pierre Lorillard

Belle of Turkey -- Pierre Lorillard

Between the Acts -- Pierre Lorillard

Between the Acts -- Thomas Hall Company

Bibber Cigarettes -- American Tobacco Company

Bijou -- S. Busnitz & Company

Birdseye -- British-American Company

Birdseye -- Akhbar Shah

B & L -- S. Busnitz & Company

Black Bird -- Baumann-Ashley Company

Black Joe Dark Plug -- American Tobacco Company

Black & Tan -- Pierre Lorillard

Black & Tan -- Annen Tobacco Company

Blended Stock -- American Tobacco Company

Blot -- Pierre Lorillard

Blue Peter -- Blue Peter Company

Bock y Ca -- Benson & Hedges

Boot Jack -- John Finzer

Boss Bite -- Pierre Lorillard

Brand M -- S. Monday & Son

Briar -- Spaulding & Merrick

Bright Sweet Emerald -- Pierre Lorillard

Briggs -- Pierre Lorillard

Brotherhood -- Pierre Lorillard

Buffalo Head -- Bland Tobacco Company

Bull Durham -- American Tobacco Company Smoking Tobacco

Bull's Eye -- Pierre Lorillard

Bull's Eye -- Peerless (Kimball)

Buzz Long -- Pierre Lorillard

Cabana -- Brewer, Clark & Sons

Cabanas -- Benson & Hedges

Cabarga -- Brewer, Clark & Sons

Cameo -- W. Duke & Son

Canada -- American Tobacco Company

Canoe -- Spence

Cap Sheaf -- Pierre Lorillard

Capadura -- R.C. Brown & Company

Capadura De La Reina -- R.C. Brown & Company

Capadura Olivette -- R.C. Brown & Company

Capadura Patience -- R.C. Brown & Company

Capital -- G.W. Gail

Captive -- Pierre Lorillard

Catlin's Twin Sisters -- American Tobacco Company

Cavendish -- Pierre Lorillard

Century -- Peter Lorillard

Challenge -- Pierre Lorillard

Chesterfield -- Ligget & Myers

Circassian Girls -- Pierre Lorillard

Clay, Henry -- Benson & Hedges

Climax -- Peter Lorillard

Clipper -- American Tobacco Company

Coca -- Drummond

Comet -- Pierre Lorillard

Common Sense -- American Tobacco Company

Conchas -- Brewer, Clark & Sons

Consols -- Consolidated Co.

Continental Cubes -- Continental Tobacco Company

Cools -- Brown & Williams Company

Cork (Number 1) -- Benson & Hedges

Cork Tip #2 -- Benson & Hedges

Cornucopia -- American Tobacco Company

Corona -- Brewer, Clark & Sons

Crown -- Benson & Hedges

Cute -- Merchants Cigar Factory

Dainties -- Allen & Ginter

Dainties -- American Tobacco Company

Defiance -- D. Hirsch

Derby -- Felener, F.W. Company

Diamond -- Allen & Ellis

Dixie -- Dixie Allen & Ginter

Dogtail -- Peter Lorillard

Drawing Room -- Pierre Lorillard

Dubec -- Allen & Ginter

Dubec -- American Tobacco Company

Duke of Durham -- American Tobacco Company

Duke's Best -- American Tobacco Company

Duke's Cameo -- American Tobacco Company

Duke's Mixture -- American Tobacco Company

Eagle Principe -- Brewer, Clark & Sons

Egyptian -- Pierre Lorillard

Egyptian Deities -- American Tobacco Company

Egyptian Dreams -- Rappaport

Egyptian Luxury -- American Tobacco Company

Egyptian Temple Lorillard, Peter -- Pierre Lorillard

Egyptian Straights -- American Tobacco Company

El Muezzin #1 -- Benson & Hedges

El Muezzin #2 -- Benson & Hedges

Embassy -- Pierre Lorillard

Emerald -- Pierre Lorillard

Etc., Etc. -- Brewer, Clark & Sons

Eureka -- Peter Lorillard

Excelsior -- American Tobacco Company

Extra Eagle -- B. Leidersdorf & Company

Excelsior #1 -- American Tobacco Company

Extra Mild #3 -- Benson & Hedges

Extra Mild Mild #4 -- Benson & Hedges

Fair Play -- American Tobacco Company

Favorite -- Cameron & Cameron

Felgner's Mohawk -- American Tobacco Company

Fine Brother -- Finzer, John

Flagman -- American Tobacco Company

Fontica -- Brewer, Clark & Sons

Forget-Me-Not -- Pierre Lorillard

Fortunato Bianco -- American Tobacco Company

Fragrant Vanity Fair -- American Tobacco Company

Friends -- Pierre Lorillard

Full Dress -- American Tobacco Company

Gaiety -- Bland Tobacco Co.

Gail & Ax's Navy -- American Tobacco Co.

Genuine Durham -- Blackwell, W.T. & Co.

Globe -- McGraw, Walker

Gold Extra Fine #1 -- Benson & Hedges

Gold #2 -- Benson & Hedges

Gold Rope -- Wilson & McNally

Golden Back -- Pioneer Tobacco Co.

Golden Bell -- Pierre Lorillard

Golden Bright -- Pierre Lorillard

Golden Culprit -- Peter Lorillard

Golden Light -- American Tobacco Co.

Golden Light -- Kimball & Co.

[Golden S?] -- [Unknown]

Golden Thread -- American Tobacco Co.

Good Luck -- Cotterill & Fenner Co.

Good Luck -- Drummond

Good Smoke -- Pierre Lorillard

Gondola -- Pierre Lorillard

Greek Slave -- Commonwealth Tobacco Co.

Green Turtle -- Pierre Lorillard

Greenback -- American Tobacco Co.

Greenback -- Marburg Brothers

Grizzly -- Pierre Lorillard

Gypsy Queen -- Goodwin

Happy Thought -- Pierre Lorillard

Happy Thought -- Wilson McNally

Hard A Port -- Thompson & C. Moors

Hard Plan -- H.M. Ferguson

Hard Tack -- American Tobacco Co.

Havana Consul Penete -- Pierre Lorillard

Havana Mixture -- Allen & Ginter

Havana Segar -- Waldorf-Astoria Segar Co.

Havannah -- Amber & Co.

Hazel Nut -- John J. Bagley

Helma -- Pierre Lorillard

Helmar Turkish -- American Tobacco Company

His Majesty's -- Benson & Hedges

Hoffman House Magnum -- Pierre Lorillard

Honest -- American Tobacco Co.

Honey Dew -- John Anderson & Co.

Horse Shoe -- Cotterill & Fenner

Horse Shoe -- Drummond

Hoyt's Medium -- American Tobacco Co

Hunki-Dori -- Chapin Stuart & Co.

Hunter -- H.M. Ferguson

Ideal -- Pierre Lorillard

Imperial Cavendish -- Allen & Ginter

Imperialette -- S. Monday

Imported -- Benson & Hedges

Improved Shorts -- Pierre Lorillard

India House -- Pierre Lorillard

Indian -- Amber & Company

Ivanhoe -- American Tobacco Co.

I. X.L. -- American Tobacco Co.

Jack & Jill -- American Tobacco Co.

Jack Rose -- Pierre Lorillard

John Dew -- Kaufmann, A.G

Jolly Tar -- Continental Tobacco Co.

Just Suits -- Pierre Lorillard

Kaiser (Gold Tip) -- A.B.C. Importation Co.

Karam -- Aslan Brothers

Kensington -- Brucker & Boghein

Kismen -- Strater Brothers

Kool -- Kool Brown & Williamson Co.

La Corona (Plain) -- A.B.C. Importation Co.

La Corona -- Benson & Hedges

La Flor de Cuba -- Benson & Hedges

La Marquise -- American Tobacco Co.

La Rosa -- Clark Brewer & Sons

Latest English -- American Tobacco & Sons

Leather Stocking -- C. Bickel

Level Head -- Pierre Lorillard

Libertad -- Clark Brewer & Sons

Lime Kiln Club -- Bagley & Company

Little Drummer -- Drummond

Little Joker -- American Tobacco Co.

Little Joker -- G.W. Gail

Little Rhody -- Pierre Lorillard

Little Sparks -- F.W. Felener

London Life -- American Tobacco Co.

Londres -- Clark Brewer & Sons

Long Cut -- W. & Son Duke

Lorillard's Stripped -- Pierre Lorillard

Louisiana Perique -- Allen & Ginter

Lucky Strike -- American Tobacco Co.

Lucky Strike -- R.A. Petterson

Luscious Luxury -- Pierre Lorillard

Luxury -- American Tobacco Co.

Lyceum -- Duke & Son

Mail Pouch -- Block Brothers

Manilla -- Amber & Company

Matinee -- Oliver & Robinson

Match -- Bland Tobacco Co.

Mecca -- American Tobacco Co.

Mechanic's Delight -- Pierre Lorillard

Melachrino -- L. Melachrino

Mellowleaf -- Commonwealth Tobacco Co.

Melrose -- British-American Co.

Melrose -- Marburg Brothers

Mercedes (Gold Tip) -- A.B.C. Importation Co.

Mexican -- Amber & Co.

Mild Number 2 -- Pierre Lorillard

Miner's Stript -- Pierre Lorillard

Mogul Egyptian -- American Tobacco Co.

Moon Spot -- Van Slyke & Horton

Mule Ear -- Wellman & Dwire Co.

Murad -- American Tobacco Co.

Myrtle Navy -- American Tobacco Co.

Napoleons -- Allen & Ginter

Navy -- G.W. Gail

Nebo -- Pierre Lorillard

Neptune -- Adams, J.L.

Neptune -- Buchanan & Lyalls

New Cross Bar -- Drummond

Nigger Head -- American Tobacco Co.

Night Watch -- Banner Co.

Night Watch -- American Tobacco Co.

Number 1 -- Benson & Hedges

Number 1 -- Pierre Lorillard

Old Egypt -- Pierre Lorillard

Old English -- American Tobacco Co.

Old Fashion -- American Tobacco Co.

Old Gold -- American Tobacco Co.

Old Gold -- British American Co.

Old Gold -- Kimball & Co.

Old Gold -- Pierre Lorillard

Old Guebeck -- Benson & Hedges

Old Guebeck Gold -- Benson & Hedges

Old Honesty -- American Tobacco Co.

Old Honesty -- John Finzer

Old Judge -- British-American Co.

Old Judge -- Kimball & Co.

Old Judge -- Goodwin Co.

Old Judge -- Allen & Ginter

Old Nut -- Pierre Lorillard

Old Rip -- British-American Co.

Old Rip -- Allen & Ginter

Old Sledge -- Edel

Old Tom -- Pierre Lorillard

Old Virginia Cheroots -- American Tobacco Co.

Old Virginia Cheroots -- Whitlock Co.

Olympia -- Gail, G.W.

Omar Turkish -- American Tobacco Co.

Omega Kentucky -- Pierre Lorillard

Opera -- Kerbs, Werthim & Schiffer

Opera Puff -- Allen & Ginter

Oronoko -- Pierre Lorillard

Our Country's Pride -- Collins Cigar Co.

Our game -- Alex Cameron

Our Little Beauties -- Allen & Ginter

Our Pet Nave -- Goddard Co.

Owl -- Straitron & Storm

Pall Mall -- American Tobacco Co.

Panetelas -- S. Monday & Son

Parliament -- Benson & Hedges

Parole -- Pierre Lorillard

Pastime -- John Finzer Co.

Pearl -- Pierre Lorillard

Peerless -- Kimball & Co.

Pedro -- American Tobacco Co.

Pedro Murias -- Benson & Hedges

Perfection -- Allen & Ginter

Perfection Mixture -- Pierre Lorillard

Perique Mixture -- Allen & Ginter

Pet -- Allen & Ginter

Peter Schuyler -- Van Slyke & Horton

Pink -- Pierre Lorillard

Pioneer Crown -- Allen & Ellis

Piper Heidsieck -- American Tobacco Co.

Pippin -- Banner Company

Pippins -- H. Traisser & Co.

Plain Light -- Pierre Lorillard

Planet -- Buchannan & Lyalls

Polar Bear -- Pierre Lorillard

Preferred Stock -- American Tobacco Co.

Prince Albert -- R.J. Reynolds

Princess Charlotte -- A.B.C. Importation Co.

Pure Virginia -- Pierre Lorillard

Purity -- Cameron & Cameron

Quality Puffs -- S. Monday & Sons

Queen of the Seas -- Alex Cameron & Co.

Raleigh -- Brown & Williamson Co.

Red Cross -- Pierre Lorillard

Regalia -- Clark Brewer & Sons

Richmond Cavendish -- Allen & Ginter

Richmond Gem Mild -- Allen & Ginter

Richmond Gem Mixture -- Allen & Ginter

Richmond Mixture #1 -- Allen & Ginter

Richmond Mixture #2 -- Allen & Ginter

Richmond Straight -- Allen & Ginter

Richmond Straight #1 -- Allen & Ginter

Right Bower -- Allen & Ginter

Ripple Navy -- Pierre Lorillard

Robert Burns -- Straiton & Storm

Rose Leaf -- Pierre Lorillard

Royal Bengals -- Pierre Lorillard

Royal Bengals -- Pierre Lorillard

Russian #1 -- Benson & Hedges

Russian Gold -- Benson & Hedges

Russian Gold #3 -- Benson & Hedges

Russian Mouthpiece #1 -- Benson & Hedges

Russian Mouthpiece #1 -- Benson & Hedges

Russian Mouthpiece #3 -- Benson & Hedges

Rustic -- George Bell

Sailor's Delight -- Pierre Lorillard

Sailor's Pride -- Bland Tobacco Co.

Satins -- American Tobacco Co.

Seal of North Carolina -- American Tobacco Co.

Seal Skin -- Commonwealth Tobacco

Sensation -- Peter Lorillard

Siesta -- Pierre Lorillard

Silk -- Strasser Co.

Si Peu Que Rein -- Benson & Hedges

Snow Flake -- American Tobacco Co.

Solace -- John Anderson & Co.

Something Good -- James Butler Co.

Sovereign -- Butler & Butler

Spanish Puffs -- American Tobacco Co.

Spear Head -- American Tobacco Co.

Special -- American Tobacco Co.

Special Favours -- American Tobacco Co.

Splendid -- Pierre Lorillard

Sport -- H.M. Lockrow

Sporting Extra -- American Tobacco Co.

Spot Cash -- H.P. Brewster

Stag -- Pierre Lorillard

St. Ledger -- Pierre Lorillard

Straw #1 -- Benson & Hedges

Straw Extra Mild #4 -- Benson & Hedges

Straw Tip #2 -- Pierre Lorillard

Stripped -- Pierre Lorillard

Sub-Rosa -- Pierre Lorillard

Sunny South -- Allen & Ginter

Sunnyside -- American Tobacco Co.

Suwanee River -- Van Slyke & Co.

Sweet Banner -- American Tobacco Co.

Sweet Caporal -- American Tobacco Co.

Sweet Caporal -- Kinny Co.

Sweet Conqueror -- Pierre Lorillard

Sweet Golden Seal -- Buchner & Co.

Sweet Lavender -- American Tobacco Co.

Sweet Maple -- Bland Tobacco Co.

Tareyton -- American Tobacco Co.

Ten Minute -- Marburg Brothers

Three Black Cows -- Pierre Lorillard

Three Kings -- William S. Kimball Co.

Tiger -- Pierre Lorillard

Tin Tag -- Pierre Lorillard

Toko -- Bland Tobacco Co.

Tolstoi -- American Tobacco Co.

Troy -- American Tobacco Co.

Tuberose -- Pierre Lorillard

Turkey Red -- Pierre Lorillard

Turkish Cross Cut -- American Tobacco Co.

Turkish Mixture -- Allen & Ginter

Tuxedo -- American Tobacco Co.

Uncle Sam -- Nall & Williams

Union Leader -- Pierre Lorillard

Upper Cut -- L. Miller & Son

Vafiadis -- Ligget & Myers

Van Bibber -- American Tobacco Co.

Vanity Fair -- Kimballs

Velvet -- Ligget & Myers

Venable's Cockade -- S.W. Venable Tobacco Co.

Veteran -- American Tobacco Co.

Victory -- Buchner & Co.

Victory -- American Tobacco Co.

Villar y Villar -- Benson & Hedges

Virginia Brights -- Allen & Ginter

Virginia Brights -- American Tobacco Co.

Virginia Cheroots -- Pierre Lorillard

Virginia's Choice -- [Unknown]

Virginia Leaf -- John Cornish Co.

Wandering Jew -- Clark Brewer & Sons

Welcome -- Goodwin

West Virginia Mail Pouch -- Block Brothers Co.

Wings -- Brown & Williamson Co.

Winner -- H.M. Ferguson

White Puff -- Pierre Lorillard

Wild Rose Chipped -- Pierre Lorillard

XX Navy Clipping -- Pierre Lorillard

Yacht Club -- Pierre Lorillard

Yasoa -- S. Monday & Son

Yellow Jacket -- Pierre Lorillard

Yellow Kid -- National Tobacco Co.

Zira -- Pierre Lorillard

Zoo Zoo -- Wilson & McNally Co.

Zubelda -- Pierre Lorillard
Materials in the Archives Center:
Archives Center Collection of Business Americana (AC0404)
Forms Part Of:
Forms part of the Warshaw Collection of Business Americana.

Series 1: Business Ephemera

Series 2: Other Collection Divisions

Series 3: Isadore Warshaw Personal Papers

Series 4: Photographic Reference Material
Provenance:
Tobacco Trade and Industry is a portion of the Business Ephemera Series of the Warshaw Collection of Business Americana, Accession AC0060 purchased from Isadore Warshaw in 1967. Warshaw continued to accumulate similar material until his death, which was donated in 1971 by his widow, Augusta. For a period after acquisition, related materials from other sources (of mixed provenance) were added to the collection so there may be content produced or published after Warshaw's death in 1969. This practice has since ceased.
Restrictions:
Collection is open for research. Some items may be restricted due to fragile condition.
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.
Genre/Form:
Ephemera
Business ephemera
Citation:
Warshaw Collection of Business Americana Subject Categories: Tobacco Trade and Industry, Archives Center, National Museum of American History, Smithsonian Institution
Identifier:
NMAH.AC.0060.S01.01.Tobacco
See more items in:
Warshaw Collection of Business Americana Subject Categories: Tobacco Trade and Industry
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-0060-s01-01-tobacco
Online Media:

Benson & Hedges

Series Creator:
Warshaw, Isadore, 1900-1969  Search this
Container:
Box 3, Folder 12
Type:
Archival materials
Date:
1906-1914
Scope and Contents:
New York, New York
Series Restrictions:
Collection is open for research. Some items may be restricted due to fragile condition.
Series 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.
Series Citation:
Warshaw Collection of Business Americana Subject Categories: Tobacco Trade and Industry, Archives Center, National Museum of American History, Smithsonian Institution
See more items in:
Warshaw Collection of Business Americana Subject Categories: Tobacco Trade and Industry
Warshaw Collection of Business Americana Subject Categories: Tobacco Trade and Industry / Business Records, Marketing Material, and Other / 1: Tobacco and Tobacco-Related Product Ephemera
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-0060-s01-01-tobacco-ref708

[Unidentified Garden in Unidentified Location]: flower beds and stone path adjacent to house.

Collection Donor:
Hiller, John  Search this
Extent:
1 autochromes (photographs) (lantern slide.)
Type:
Archival materials
Autochromes (photographs)
Lantern slides
Place:
Unidentified Garden (Unknown location).
Date:
circa 1920-1930.
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:
Houses  Search this
Paths  Search this
Steps  Search this
Shrubs  Search this
Benches, stone  Search this
Outdoor furniture  Search this
Hedges  Search this
Flower beds  Search this
Genre/Form:
Autochromes (photographs)
Lantern slides
Collection Citation:
Smithsonian Institution, Archives of American Gardens, John Hiller lantern slide collection.
Identifier:
AAG.HIL, Item HLR073
See more items in:
John Hiller lantern slide collection
John Hiller lantern slide collection / Series 1: Garden Images / Unidentified Location
Archival Repository:
Archives of American Gardens
EDAN-URL:
ead_component:sova-aag-hil-ref1006

[Unidentified Garden in Unidentified Location]: view of sunken garden with flower beds and hedges.

Collection Donor:
Hiller, John  Search this
Extent:
1 autochromes (photographs) (lantern slide.)
Type:
Archival materials
Autochromes (photographs)
Lantern slides
Place:
Unidentified Garden (Unknown location).
Date:
circa 1920-1930.
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:
Lawns  Search this
Shrubs  Search this
Paths  Search this
Flower beds  Search this
Stones  Search this
Roses  Search this
Hedges  Search this
Sunken gardens  Search this
Genre/Form:
Autochromes (photographs)
Lantern slides
Collection Citation:
Smithsonian Institution, Archives of American Gardens, John Hiller lantern slide collection.
Identifier:
AAG.HIL, Item HLR145
See more items in:
John Hiller lantern slide collection
John Hiller lantern slide collection / Series 1: Garden Images / Unidentified Location
Archival Repository:
Archives of American Gardens
EDAN-URL:
ead_component:sova-aag-hil-ref1024

Andrew Dasburg and Grace Mott Johnson papers

Creator:
Dasburg, Andrew, 1887-1979  Search this
Names:
Carlson, John F., 1874-1945  Search this
Cramer, Florence Ballin, 1884-1962  Search this
Davidson, Florence Lucius, d. 1962  Search this
Davidson, Jo, 1883-1952  Search this
Frankl, Walter  Search this
Hartley, Marsden, 1877-1943  Search this
Howard, Lila  Search this
Johnson, Grace Mott, 1882-1967  Search this
Kuhn, Vera, d. 1961  Search this
Lockwood, Ward  Search this
Luhan, Mabel Dodge, 1879-1962  Search this
McFee, Henry Lee, 1886-1953  Search this
Riley, Mary G., 1883-1939  Search this
Simonson, Lee, 1888-  Search this
Sterling, Lindsey, 1876-1931  Search this
Wright, Alice Morgan, 1881-1975  Search this
Extent:
8.8 Linear feet
Type:
Collection descriptions
Archival materials
Poetry
Diaries
Sketchbooks
Photographs
Date:
1833-1980
bulk 1900-1980
Summary:
The papers of painter Andrew Dasburg and his wife and sculptor Grace Mott Johnson date from 1833 to 1980 (bulk 1900 to 1980), and measure 8.8 linear feet. The collection documents each artist's career and personal lives, including their brief marriage and their friendships with many notable artists in the New Mexico and New York art colonies during the early twentieth century. The papers of Dasburg (6 linear feet) and Johnson (2.8 linear feet) include biographical materials; extensive correspondence with family, friends, and fellow artists, such as John F. Carlson, Mabel Dodge Luhan, Marsden Hartley, Henry Lee McFee, and Ward Lockwood; writings by Dasburg, Johnson, and others; scattered legal, financial, and business records; clippings; exhibition materials; numerous photographs of Johnson and Dasburg, friends, family, and artwork; and original artwork, including two sketchbooks by Johnson.
Scope and Content Note:
The papers of painter Andrew Dasburg and sculptor Grace Mott Johnson date from 1833 to 1980, with the bulk of the materials dating from 1900 to 1980, and measure 8.8 linear feet. The collection is divided into the papers of Andrew Dasburg (6 linear feet) and the papers of Grace Mott Johnson (2.8 linear feet), and documents each artist's career and personal lives, including their brief marriage, and friendships with many notable artists in New Mexico and New York art colonies during the early twentieth century. Found are scattered biographical, legal, and financial materials. Extensive correspondence (particularly in Dasburg's papers) is with family, friends, and fellow artists, such as John F. Carlson, Florence Ballin Cramer, Mabel Dodge Luhan, Marsden Hartley, Henry Lee McFee, Vera Spier Kuhn, and Ward Lockwood. Dasburg's papers also include letters to Johnson and his two later wives.

Johnson's correspondence is also with numerous artist friends and others, including John F. and Margaret Carlson, Florence Ballin Cramer, Jo Davidson, Florence Lucius, Walter Frankl, Lila Wheelock Howard, Henry Lee McFee, Mary Riley, Lee Simonson, Lindsey Morris Sterling, Alice Morgan Wright, Mabel Dodge Luhan, and Vera Spier Kuhn. Letters to her son Alfred are quite detailed and revealing. Writings are by Dasburg, Johnson, and others. Johnson's writings include a very brief diary and her poetry. Writings by others are about the Taos and New Mexico art communities. Printed materials about both artists include clippings and exhibition catalogs. There are numerous photographs of Dasburg and Johnson, individually and together, and with friends and family. Of note are a group photograph of Birge Harrison's art class in Woodstock, New York, which includes Johnson and Dasburg, and a photograph of Dasburg with friends Konrad Cramer and John Reed. Dasburg's papers also include snapshots of Florence Lucius, Konrad and Florence Ballin Cramer, Frieda and D. H. Lawrence, and Mabel Dodge Luhan. Original artwork by the two artists include two sketchbooks by Johnson and three prints and two drawings by Dasburg.
Arrangement:
The collection is arranged into 2 series of each artist's papers:

Series 1: Andrew Dasburg Papers, circa 1900-1980 (Box 1-7; 6.0 linear feet)

Series 2: Grace Mott Johnson Papers, 1833-1963 (Box 7-10; 2.8 linear feet)
Biographical Note:
Andrew Michael Dasburg (1887-1979) was born in Paris, France, to German parents. After his father died and when he was five, Dasburg and his mother moved to New York City. In 1902 Dasburg started attending classes at the Art Students' League and studied with Kenyon Cox and Frank Du Mond. He also took night classes with Robert Henri. In 1907 he received a scholarship to the Art Students' League summer school in Woodstock, New York and spent three summers studying there in Birge Harrison's painting class. While in school he became friends with many young artists, including Morgan Russell and his future wife, Grace Mott Johnson.

Grace Mott Johnson (1882-1967) was born in New York City. She began drawing when she was four years old, and when the family moved to a farm in 1900 she enjoyed sketching horses and other farm animals. At the age of 22 she left home to study at the Art Students' League with sculptors Gutzon Borglum and James Earle Fraser, and also attended Birge Harrison's painting class in Woodstock. Throughout her career she would sculpt animals from memory, and would often attend circuses and farms for inspiration.

In 1909 Johnson and Dasburg went to Paris and joined the modernist circle of artists living there, including Morgan Russell, Jo Davidson, and Arthur Lee. During a trip to London that same year they were married. Johnson returned to the United States early the next year, but Dasburg stayed in Paris where he met Henri Matisse, Gertrude and Leo Stein, and became influenced by the paintings of Cezanne and Cubism. He returned to Woodstock, New York in August and he and Johnson became active members of the artist community. In 1911 their son Alfred was born. Both Dasburg and Johnson showed several works at the legendary Armory Show in 1913, and Dasburg also showed at the MacDowell Club in New York City, where he met the journalist and activist John Reed who later introduced him to Mabel Dodge (Luhan), a wealthy art patron and lifelong friend. In 1914 Dasburg met Alfred Stieglitz and became part of his avant-garde circle. Using what he had seen in Paris, Dasburg became one of the earliest American cubist artists, and also experimented with abstraction in his paintings.

Dasburg and Johnson lived apart for most of their marriage. By 1917 they had separated and Dasburg began teaching painting in Woodstock and in New York City. In 1918 he was invited to Taos, New Mexico by Mabel Dodge, and returning in 1919, Johnson joined him there for a period of time. Also in 1919, Dasburg was one of the founding members of the Woodstock Artists Association with John F. Carlson, Frank Swift Chase, Carl Eric Lindin, and Henry Lee McFee. In 1922 Dasburg and Johnson divorced, and also at that time he began living most of the year in Santa Fe with Ida Rauh, spending the rest of the year in Woodstock and New York City. Dasburg became an active member of the Santa Fe and the Taos art colonies, befriending many artists and writers living in these communities, and remaining close friends with Mabel Dodge Luhan. Here he moved away from abstraction, and used the southwestern landscape as the inspiration for his paintings.

In 1928 he married Nancy Lane. When that marriage ended in 1932, he moved permanently to Taos, and with his third wife, Marina Wister, built a home and studio there. Dasburg periodically taught art privately and at the University of New Mexico. In 1937 he was diagnosed with Addison's disease, which left him unable to paint again until 1946. In 1945 he and his wife Marina separated. Dasburg was recognized for his career as an artist in a circulating retrospective organized by the American Federation of Arts in 1959. He also had retrospectives in Taos in 1966 and 1978. His artwork influence several generations of artists, especially in the southwest, and he continued creating art until his death in 1979 at the age of 92.

Grace Mott Johnson lived in the Johnson family home in Yonkers, New York during the 1920s and later moved to Pleasantville, New York. In 1924 she went to Egypt to study ancient Egyptian sculpture. During the 1930s she became a civil rights activist. She produced very little art during the last twenty years of her life.
Related Material:
Also found in the Archives of American Art are two oral history interviews with Andrew Dasburg, July 2, 1964 and March 6, 1974. Additional related collections at other repositories include the Andrew and Marina Wister Dasburg Papers at the New Mexico State Archives, the Andrew Dasburg Papers at Syracuse University Library, and the Grace Mott Johnson Papers at the Beinecke Rare Book and Manuscript Library, Yale University.
Separated Material:
The Archives of American Art also holds microfilm of material lent for microfilming. Reel 2803 contains photocopies of ten Morgan Russell letters to Dasburg. Reels 4276-4278 include biographical material, subject files, photographs, correspondence, writings, and exhibition material. The photocopies on reel 2803 were discarded after microfilming, and the items on 4276-4278 were returned to the lender. This material is not described in the collection container inventory.
Provenance:
The Andrew Dasburg and Grace Mott Johnson papers were donated by their son, Alfred Dasburg, in 1980. Syracuse Univresity lent materials for microfilming in 1978 and 1989.
Restrictions:
The collection has been digitized and is available online via AAA's website.
Rights:
The Andrew Dasburg and Grace Mott Johnson papers are 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:
Artist colonies -- New York (State)  Search this
Artist colonies -- New Mexico  Search this
Painters -- New Mexico  Search this
Works of art  Search this
Sculptors -- New York (State)  Search this
Painters -- New York (State)  Search this
Genre/Form:
Poetry
Diaries
Sketchbooks
Photographs
Citation:
Andrew Dasburg and Grace Mott Johnson papers, 1833-1980 (bulk 1900-1980). Archives of American Art, Smithsonian Institution.
Identifier:
AAA.dasbandr
See more items in:
Andrew Dasburg and Grace Mott Johnson papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-dasbandr
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Alma Thomas papers

Creator:
Thomas, Alma  Search this
Names:
Art in Embassies Program (U.S.)  Search this
Martha Jackson Gallery  Search this
Bader, Franz, 1903-1994  Search this
Breeskin, Adelyn Dohme, 1896-1986  Search this
Johnson, Nathalie J. Cole  Search this
Sarg, Tony, 1882-1942  Search this
Tarbary, Celine  Search this
Taylor, Joshua Charles, 1917-  Search this
Thomas, J. Maurice (John Maurice), 1900 or 1901-  Search this
Extent:
5.5 Linear feet
Type:
Collection descriptions
Archival materials
Scrapbooks
Audiocassettes
Video recordings
Photographs
Date:
circa 1894-2001
Summary:
The papers of Washington, D.C. painter and art educator Alma Thomas, date from circa 1894-2001 and measure 5.5 linear feet. The papers document Thomas's work as a teacher, and her development and success as a painter of the Washington Color School, through biographical material, letters, notes and writings, personal business records, exhibition files, printed materials, scrapbooks, photographs, an audio recording, and two video recordings.
Scope and Contents note:
The papers of Washington, D.C. painter and art educator Alma Thomas, date from circa 1894-2001 and measure 5.5 linear feet. The papers document Thomas's work as a teacher, and her development and success as a painter of the Washington Color School, through biographical material, letters, notes and writings, personal business records, exhibition files, printed materials, scrapbooks, photographs, an audio recording, and two video recordings.

Biographical material includes identity cards, chronologies, an audio recording including a biographical account, and scattered documentation of Thomas's education and teaching careers with D.C. Public Schools, Howard University, and Thomas Garrett Settlement in Wilmington, Delaware. Also found are records relating to Thomas's participation in a summer marionette class taught by Tony Sarg in 1934, and a tour of European art centers which Thomas took in 1958.

Letters relate primarily to the exhibition of Thomas's work and related events and are from galleries, museums, other art institutions, colleagues, and friends including Franz Bader, Adelyn Breeskin, Corcoran Gallery of Art, Howard University Gallery of Art, Martha Jackson Gallery, Nathalie J. Cole Johnson, Vincent Melzac, Celine Tabary, and Joshua Taylor.

Notes and writings include four notebooks and autobiographical writings by Thomas, a "Birthday Book," and an annotated engagement calendar. J. Maurice Thomas's writings about Alma Thomas, her research for a bibliography on James Weldon Johnson, and writings by others, including Jacob Kainen, about Alma Thomas, are also found here.

Exhibition files contain a wide variety of documentation for many group and solo exhibitions of Thomas's work from the early 1950s through a 1998-2000 traveling retrospective exhibition, including solo exhibitions at the Whitney Museum of American Art and the Corcoran Gallery of Art in 1972. The records include letters from Franz Bader Gallery, David Driskell at Fisk University, and Vincent Melzac. Photographs include Thomas with individuals including William Buckner, Jeff Donaldson, David Driskell, James W. Herring, and Vincent Melzac. Also found is a photograph of the 1951 Little Paris Studio Group picturing Lois Mailou Jones, Celine Tabary, Alma Thomas, and others. Two video recordings are of events related to the 1998-2000 retrospective at the Fort Wayne Museum of Art and the Columbus Museum of Art. Records documenting a 1981-1982 exhibition at the Smithsonian National Museum of American Art, A Life in Art: Alma Thomas, includes the script of a video written by Adolphus Ealey.

Personal business records include price lists, gift and loan receipts, and files concerning the Art in Embassies Program, the Martha Jackson Gallery, a benefit auction for the Corcoran School of Art, and the designation of the Thomas family home in Washington, D.C. as a historic property.

Eleven scrapbooks document Thomas's teaching career through the activities of the art classes she taught at Shaw Junior High School.

Printed materials include announcements and catalogs for exhibitions and other events; clippings which document Thomas's career and subjects of interest to her; Christmas cards featuring block prints designed by Thomas; and other programs and publications featuring Thomas.

Photographs are of Alma Thomas, family, and friends and colleagues including Sam Gilliam, James V. Herring, and Nathalie V. Cole Johnson; art classes taught by Thomas; Thomas's homes in Columbus, Georgia and Washington, D.C.; and exhibitions not documented in Series 4: Exhibition Files, including photographs of Alma Thomas at an opening at Barnett Aden Gallery with Alonzo Aden and others.
Arrangement note:
The papers have been arranged into 8 series:

Series 1: Biographical Material, 1911-2001 (Box 1; 0.5 linear feet)

Series 2: Letters, circa 1930-2001 (Boxes 1-2; 0.6 linear feet)

Series 3: Notes and Writings, circa 1920s-circa 1998 (Box 2; 0.7 linear feet)

Series 4: Exhibition Files, 1951-2000 (Boxes 2-3, OV 7; 0.8 linear feet)

Series 5: Personal Business Records, circa 1950s-1994 (Box 3; 0.2 linear feet)

Series 6: Printed Material, circa 1908-2000 (Boxes 3-5, OV 7; 1.8 linear feet)

Series 7: Scrapbooks, 1930-1946 (Box 5; 0.3 linear feet)

Series 8: Photographs, circa 1894-2001 (Boxes 5-6; 0.6 linear feet)
Biographical/Historical note:
Washington, D.C. painter and art educator Alma Thomas (1891-1978) was known for her abstract paintings filled with dense patterns of color, and was considered a major artist of the Washington Color School.

Thomas was born in Columbus, Georgia, in 1894, and was the eldest of the four daughters of John Harris Thomas and Amelia Cantey Thomas. The family moved to Washington, D.C. in 1906 and Thomas was first introduced to art classes at Armstrong Technical High School. Following her graduation in 1911 she took a course in kindergarten teaching at the Miner Normal School, and subsequently worked as a substitute teacher in the Washington, D.C. public school system until 1914, when she took a teaching position on the Eastern shore of Maryland. From 1916 to 1923 she taught kindergarten at Thomas Garrett Settlement House in Wilmington, Delaware.

Thomas originally enrolled at Howard University in Washington, D.C. as a home economics major in 1921, but after studying under Lois Mailou Jones amd James V. Herring in Herring's newly established art department, she earned a Bachelor's degree in Fine Art in 1924, and became the first person to graduate from the program. Thomas then began her teaching career at Shaw Junior High School in Washington, D.C. that lasted from 1924, until her retirement in 1960. During this time she established community arts programs that would encourage her students to develop an appreciation of fine arts. Activities included marionette programs, distribution of student-designed holiday menu cards for dinners given for soldiers at the Tuskegee Veterans' Hospital, art clubs, lectures, and student exhibitions. In 1943 she became the founding vice president of Barnett Aden Gallery, which was established by James V. Herring and Alonzo Aden and was the first integrated gallery in Washington, D.C.

In 1934 Thomas earned an M.A. degree in Art Education from Columbia University. At American University in Washington, D.C., she studied creative painting under Joe Summerford, Robert Gates, and Jacob Kainen from 1950 to 1960, and began to break away from representational painting and experiment more seriously with Abstract Expressionism. In 1958 she participated in a tour of the art centers of Western Europe under the auspices of the Tyler School of Fine Arts at Temple University in Philadelphia.

Following her retirement from teaching in 1960, Thomas devoted herself full-time to painting, and continued to develop her signature style. She was inspired by nature and the desire to express beauty through composition and color, and refused to be constrained by societal expectations related to her race, gender, and age, achieving her greatest success in the last decade of her life. Her work was exhibited at the Dupont Theatre Art Gallery, Franz Bader Gallery, and the Howard University Gallery of Art, before she was honored in 1972 with exhibitions at the Whitney Museum of American Art and the Corcoran Gallery of Art in Washington, D.C.

Thomas's work has been exhibited at the White House and can be found in the permanent collections of major museums, including the Metropolitan Museum of Art, the National Museum of Women in the Arts, and the Smithsonian American Art Museum.
Separated Materials note:
In 1979, J. Maurice Thomas loaned papers for microfilming. Most, but not all, of the loaned material was later donated and is described in this finding aid. Loaned materials not donated at a later date are available on reels 1541-1543 and are not described in the container listing of this finding aid.
Provenance:
J. Maurice Thomas, the artist's sister, loaned portions of the collection for microfilming in 1979. Most, but not all of this material was then later donated in several accretions by J. Maurice Thomas, between 1979 and 2004. Charles Thomas Lewis, Thomas' nephew, gave additional papers in 2010.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Use of archival audiovisual recordings with no duplicate copies requires advance notice.
Rights:
The Alma Thomas papers are 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.
Occupation:
Painters -- Washington (D.C.)  Search this
Educators -- Washington (D.C.)  Search this
Topic:
Painting, American  Search this
African American artists  Search this
Women artists  Search this
Washington Color School (Group of artists)  Search this
Genre/Form:
Scrapbooks
Audiocassettes
Video recordings
Photographs
Citation:
Alma Thomas papers, circa 1894-2001. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.thomalma
See more items in:
Alma Thomas papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-thomalma
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Emmy Lou Packard Papers

Creator:
Packard, Emmy Lou, 1914-1998  Search this
Names:
American Civil Liberties Union  Search this
Public Works of Art Project  Search this
Covarrubias, Miguel, 1904-1957  Search this
Edmunds, John, 1913-  Search this
Kahlo, Frida  Search this
Lange, Dorothea  Search this
O'Gorman, Juan, 1905-  Search this
O'Higgins, Pablo, 1904-  Search this
Refregier, Anton, 1905-  Search this
Reynolds, Malvina  Search this
Rivera, Diego, 1886-1957  Search this
Extent:
9.4 Linear feet
Type:
Collection descriptions
Archival materials
Scrapbooks
Sketches
Photographs
Interviews
Diaries
Date:
1900-1990
Summary:
The Emmy Lou Packard papers measure 9.4 linear feet and date from 1900 to 1990, and focus on the career of painter, printmaker, muralist, and sculptor Emmy Lou Packard. Also found are extensive materials relating to Packard's personal and professional relationship with muralist Diego Rivera and painter Frida Kahlo, with whom Packard lived for one year in Mexico. Papers include correspondence, financial records, notes, writings, exhibition files, photographs, and printed material.
Scope and Contents note:
The Emmy Lou Packard papers measure 9.4 linear feet and date from 1900 to 1990, and focus on the career of painter, printmaker, muralist, and sculptor Emmy Lou Packard. Also found are extensive materials relating to Packard's personal and professional relationship with muralist Diego Rivera and painter Frida Kahlo, with whom Packard lived for one year in Mexico. Papers include correspondence, financial records, notes, writings, exhibition files, photographs, and printed material.

Biographical materials include resumes, personal forms, and certificates. Correspondence is with family, friends, and colleagues, including muralist Anton Refregier, songwriter Malvina Reynolds, and composer John Edmunds. There is one letter from Dorothea Lange. Also found is correspondence with various political and arts organizations, such as the American Civil Liberties Union and the Russian magazine Soviet Woman. Much of the correspondence discusses personal relationships and political and art-related activities. Additional correspondence with and concerning Diego Rivera and Frida Kahlo is arranged in Series 6.

Personal business records found within the papers include studio real estate and rent records, insurance records, price lists for artwork, consignment records, and miscellaneous receipts. There is one interview transcript of an interview with Packard for the Radical Elders Oral History Project. The papers include a series of notebooks/diaries, address lists, and other notes.

Packard's reference files and personal papers documenting her professional and close personal relationship with Diego Rivera and Frida Kahlo are arranged into a separate series. They include her research files for a planned book on the two artists, personal letters between Packard and the couple, as well as several interesting photographs. Also found in this series are notes, writings, and printed materials relating to Diego Rivera, Frida Kahlo, and other Mexican artists, such as Covarrubius, Juan O'Gorman, and Pablo O'Higgins.

The collection also includes typescripts and additional writings by Packard and others. Artwork consists of orginal drawings and prints by Packard and others not directly associated with projects. Exhibition and project files for many of Packard's commissioned projects are also found within the collection, including her files for the restoration of Anton Refregier's Rincon Annex Post Office mural in San Francisco and the Coit Tower murals in San Francisco. Many of the project files contain correspondence, reports, contracts, printed material, photographs, and artwork.

The papers also include photographs of Packard, her family, residences, artwork, friends, and colleagues, including Cesar Chavez, Juan O'Gorman, Malvina Reynolds, Charles Safford, Ralph Stackpole, and Tennessee Williams. Two scrapbooks are found, as well as additional printed materials such as clippings and exhibition announcements and catalogs. There are also two artifact items, a vinyl record of Malvina Reynolds and a political campaign button.
Arrangement note:
The collection is arranged into fifteen series.

Series 1: Biographical Material, 1942-1985 (Box 1; 1 folder)

Series 2: Correspondence, 1919-1990 (Box 1-3; 2.6 linear feet)

Series 3: Personal Business Records, 1945-1985 (Box 3; 21 folders)

Series 4: Interview Transcript, 1979 (Box 3; 1 folder)

Series 5: Notes, 1900-1985 (Box 3-4, 10; 1.1 linear feet)

Series 6: Reference Files on Diego Rivera and Frida Kahlo, 1929-1986 (Box 5, 10, OV 11; 0.9 linear feet)

Series 7: Writings by Packard, 1953-1984 (Box 6; 17 folders)

Series 8: Writings by Others, 1955-1984 (Box 6; 19 folders)

Series 9: Artwork, 1921-1976 (Box 6; 10 folders)

Series 10: Exhibition Files, 1950-1964 (Box 6, OV 11; 5 folders)

Series 11: Project Files, 1953-1985 (Box 6-7, 10, OV 11; 1.8 linear feet)

Series 12: Photographs, 1914-1982 (Box 8, 10; 0.8 linear feet)

Series 13: Scrapbooks, 1947-1950 (Box 8, 10; 0.2 linear feet)

Series 14: Printed Material, 1936-1988 (Box 8-9, 10; 1 linear foot)

Series 15: Artifacts, 1984 (Box 9-10, OV 11; 2 folders)
Biographical/Historical note:
Emmy Lou Packard was born in Imperial Valley, California on April 15, 1914, to Walter and Emma Leonard Packard. In the late 1920s she lived with her family in Mexico City where she became acquainted with Diego Rivera, from whom she received regular art criticism and encouragement. She graduated from the University of California, Berkeley and completed courses in fresco and sculpture at the California School of Fine Arts in 1940. That year and the next, Packard worked as a full-time painting assistant to Rivera on his 1,650 square-foot fresco at the World's Fair in San Francisco. During this project, Packard became very close to Rivera and Frida Kahlo and returned to Mexico with them and spent a year living with the couple.

From then on, except for in 1944-1945 working for a defense plant, Packard worked and grew in various aspects of her art. In addition to her work in fresco, Packard is known for her work in watercolor, oil, mosaic, laminated plastic, concrete, and printmaking, both in linocuts and woodblocks. She received numerous commissions that included installations for ships, hotels, and private homes for which she executed large woodcuts and mural panels. During the 1950s and 1960s, Packard was hired to restore several historic murals, most notably the Rincon Annex Post Office mural by Anton Refregier and the Coit Tower murals in San Francisco.

Between 1966 and 1967 she was commissioned by architects to design and execute a number of concrete and mosaic pieces, one of which went to the Mirabeau Restaurant in Kaiser Center, Oakland. She also designed and executed a mural for the Fresno Convention Center Theater during that same period. In 1973-1974, she designed and supervised a glazed brick mural for a public library in Pinole, California.

Packard had one-woman shows at the San Francisco Museum of Art, Raymond and Raymond Gallery (San Francisco), Addison Gallery of American Art (Andover, Mass.), Connecticut Academy of Fine Arts, Pushkin Museum (Moscow), and March Gallery (Chicago). Emmy Lou Packard died in 1998.
Related Archival Materials note:
Also found in the Archives of American Art is an oral history interview with Emmy Lou Packard conducted by Mary Fuller McChesney in 1964.
Provenance:
Emmy Lou Packard donated her papers to the Archives of American Art from 1984-1988.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
Rights:
The Emmy Lou Packard papers are 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.
Occupation:
Sculptors -- California -- San Francisco  Search this
Topic:
Works of art  Search this
Printmakers -- California -- San Francisco  Search this
Painters -- California -- San Francisco  Search this
Mural painting and decoration, American  Search this
Mural painting and decoration, Mexican  Search this
Muralists -- California -- San Francisco  Search this
Genre/Form:
Scrapbooks
Sketches
Photographs
Interviews
Diaries
Citation:
Emmy Lou Packard papers, 1900-1990. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.packemmy
See more items in:
Emmy Lou Packard Papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-packemmy
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Esther McCoy papers

Creator:
McCoy, Esther  Search this
Names:
Historic American Buildings Survey  Search this
Society of Architectural Historians  Search this
University of California, Los Angeles. School of Architecture and Urban Planning  Search this
Ain, Gregory, 1908-1988  Search this
Barragán, Luis, 1902-  Search this
Bradbury, Ray, 1920-  Search this
Davidson, Julius Ralph, b. 1889  Search this
Dreiser, Theodore, 1871-1945  Search this
Ellwood, Craig  Search this
Gill, Irving, 1870-1936  Search this
Grotz, Dorothy  Search this
Hollein, Hans, 1934-  Search this
Jones, A. Quincy (Archie Quincy), 1913-1979  Search this
Maybeck, Bernard R.  Search this
Neutra, Richard Joseph, 1892-1970  Search this
O'Gorman, Juan, 1905-  Search this
Rand, Marvin  Search this
Schindler, R. M. (Rudolph M.), 1887-1953  Search this
Shulman, Julius  Search this
Soriano, Rafael, 1920-  Search this
Watanabe, Makoto  Search this
Worlidge, T. (Thomas), 1700-1766  Search this
Extent:
44.4 Linear feet
Type:
Collection descriptions
Archival materials
Diaries
Etchings
Photographs
Sound recordings
Interviews
Video recordings
Slides (photographs)
Transcripts
Drawings
Memoirs
Date:
circa 1876-1990
bulk 1938-1989
Summary:
The papers of Southern California architectural historian, critic, and writer Esther McCoy measure 44.4 linear feet and date from 1876 to 1990 (bulk 1938-1989). The collection documents McCoy's career, as well as her family and personal life through biographical material, extensive correspondence, personal and professional writings, project files, Southern California architects' files, clippings and other printed material, a large collection of photographs and slides, and taped interviews of Southern California modern architects.
Scope and Content Note:
The papers of Southern California architectural historian, critic, and writer Esther McCoy measure 44.4 linear feet and date from 1876 to 1990 (bulk 1938-1989). The collection documents McCoy's career, as well as her family and personal life through biographical material, extensive correspondence, personal and professional writings, project files, Southern California architects' files, clippings and other printed material, a large collection of photographs and slides, and taped interviews of Southern California modern architects.

Biographical and family material consists of awards, resumes, identification documents, and other documentation of McCoy's personal life. Included are a transcript of a 1984 interview of McCoy by Makoto Watanabe and material relating to her friend, Theodore Dreiser.

Correspondence focuses on her personal relationships with family, friends, and lovers, and general correspondence relating primarily to her work as a writer. McCoy's personal correspondence is valuable to researchers who are interested in her personal life, her struggles as a young writer, and the way in which her family, friends, lovers, mentors, and colleagues helped to shape her work and career. As documented in this correspondence, her life offers a glimpse into twentieth-century American social and political history, especially the radical leftist movements of the 1920s and 1930s. Researchers interested in the roots of feminism in the United States should also find these papers useful in documenting the life of a creative and productive woman who was successful in a field then almost entirely dominated by men. Correspondents of note include her husband Berkeley Tobey, lovers Geoffrey Eaton and Albert Robert, writers Ray Bradbury and Theodore Dreiser, and artists and architects, such as Dorothy Grotz, Craig Ellwood, A. Quincy Jones, Hans Hollein, and J. R. Davidson. General correspondence is primarily with researchers, professors, architects, publishers, and professional organizations.

Personal writings include McCoy's diaries, notebooks, and memoirs, and writings by others including friends, lovers, and colleagues. Also included are drafts of McCoy's fictional works, both published and unpublished, including short stories, teleplays, and novels.

The collection contains in-depth documentation of McCoy's pioneering study of the modernist work of twentieth-century architects in Southern California. The bulk of her papers consist of her writing files for books, exhibition catalogs, articles, and lectures on architecture. Because many of the architects about whom McCoy wrote were her contemporaries, she developed personal relationships with several of them through her research and writing. Her writing files include drafts, notes, research material, photographs, and correspondence. McCoy also traveled extensively, particularly in Italy and Mexico, and wrote about architecture, craft, and culture in those countries. Project files document McCoy's other activities related to architectural history, such preservation projects, juries, grants, the Dodge House Preservation Campaign and related film project, her work for the Society of Architectural Historians and the Historic American Buildings Survey (HABS), and her work at the UCLA School of Architecture and Urban Planning, compiling a slide library and cataloging the Richard Neutra's papers. McCoy also maintained architect files which may contain correspondence, notes, photographs, research material, interview transcripts, about architects and their works. Among these extensive records, the files documenting the careers of R. M. Schindler, Irving Gill, Richard Neutra, and Juan O'Gorman are particularly rich.

Printed material in this collection documents McCoy's career as well as her personal interests. Included are books, clippings, magazines, newsletters, press releases, as well as publications arranged by subject such as architecture, art, Italy, and Mexico. McCoy also collected literary and leftist publications. The small amount of artwork in this collection consists of artwork sent to her by friends, including a drawing of her by Esther Rollo and etchings by various artists including Thomas Worlidge.

There are personal photographs of family and friends and of McCoy at different times in her life, as well as photographs gathered during the course of her research on architecture. Found here are photographs of architects and their works, including a large number depicting the work of Gregory Ain, Luis Barragan, J. R. Davidson, Irving Gill, Bernard Maybeck, Juan O'Gorman, R. M. Schindler, and Raphael Soriano. Many of these photographs were taken by notable architectural photographers Julius Shulman and Marvin Rand. Also found are photographs of architecture designed for the Case Study House program of Arts & Architecture magazine; exhibition photographs, primarily for the exhibition "Ten Italian Architects" in 1967; and other research photographs primarily documenting architecture and craft in other countries and the history of architecture in California. This series also includes approximately 3,600 slides of architecture.

Audio and video recordings include a videocassette of McCoy's 80th birthday party and 55 taped interviews with architects, people associated with architectural projects, and artists.
Arrangement:
The collection is arranged into 10 series:

Series 1: Biographical and Family Material, 1881-1989 (boxes 1, 48; 0.6 linear feet)

Series 2: Correspondence, 1896-1989 (boxes 1-6, 4.9 linear feet)

Series 3: Personal Writings, 1919-1989 (boxes 6-14; 8.1 linear feet)

Series 4: Architectural Writings, 1908-1990 (boxes 14-24, 42, 49, 50; 10.2 linear feet)

Series 5: Projects, circa 1953-1988 (boxes 24-26, 47, FC 53-56; 2.5 linear feet)

Series 6: Architect Files, 1912-1990 (boxes 26-28, 42; 2.2 linear feet)

Series 7: Printed Material, circa 1885-1990 (boxes 28-31, 42; 2.9 linear feet)

Series 8: Artwork, 1924-1967, undated (box 31; 0.4 linear feet)

Series 9: Photographs and Slides, circa 1876-1989 (boxes 31-38, 41-46, 51; 8.7 linear feet)

Series 10: Audio and Video Recordings, 1930-1984 (boxes 38-40, 47; 2.5 linear feet)
Biographical Note:
Esther McCoy (1904-1989) is remembered best for her pioneering work as an architectural historian, critic, and proponent of Southern California modern architecture of the early to mid-twentieth century. Although her professional interests ranged from writing fiction to studying the folk architecture and crafts of Mexico, McCoy achieved her most notable success for her numerous articles, books, and exhibitions about Southern California architecture and the architects associated with the modernist movement.

Born in Arkansas in 1904, Esther McCoy grew up in Kansas and attended various schools in the Midwest. In 1926 she left the University of Michigan to launch a writing career in New York, where she moved in avant-garde literary circles and conducted research for Theodore Dreiser. She began writing fiction in New York and continued to write after moving to Los Angeles in 1932, working on short stories, novels, and screenplays. She published numerous short stories between 1929 and 1962, with works appearing in the New Yorker, Harper's Bazaar, and university quarterlies. Her short story, "The Cape," was reprinted in Best Short Stories of 1950. Many of the novels that she wrote from the mid-1960s through the 1980s were related thematically to architects and architecture.

During the late 1920s and throughout the 1930s, McCoy participated in the politically radical movements of the period and wrote for leftist publications. Her interest in the lowcost housing projects of modern architects was prompted by one of her articles about slums for Epic News. During World War II she entered a training program for engineering draftsmen at Douglas Aircraft and in 1944 was hired as an architectural draftsman for the architect R.M. Schindler. As she became increasingly interested in modern architecture and design, she combined her two major career interests and began to focus her energies on architectural research, writing, and criticism. Her first article on architecture, "Schindler: Space Architect," was published in 1945 in the journal Direction.

McCoy began writing about architecture in earnest in 1950 as a free-lance contributor to the Los Angeles Times. From then until her death in 1989, she wrote prolifically for Arts & Architecture magazine, Los Angeles Times, Los Angeles Herald Examiner, Architectural Record, L'Architectura, Zodiac (Italy), Progressive Architecture, Lotus (Italy), and Architectural Forum. In addition to her numerous articles, McCoy wrote several books on Southern California modern architecture and architects. Her first major work, Five California Architects, published in 1960, is now recognized as a classic work in modern architectural history. It promoted a serious study of modern architecture in Southern California and introduced to the world several leading California architects and their work: Bernard Maybeck, Irving Gill, Charles and Henry Greene, and R.M. Schindler. That same year, she published another important book focusing on the work of the California architect Richard Neutra. Other books by McCoy include Modern California Houses: Case Study Houses (1962), Craig Ellwood (1968), Vienna to Los Angeles: Two Journeys (1979), and The Second Generation (1984).

In addition to these books, McCoy organized and wrote catalogs for several significant exhibitions focusing on contemporary architects. Her first was the R.M. Schindler Retrospective, a 1954 exhibition at the Landau Art Gallery in Los Angeles. Her other exhibitions and accompanying catalogs include Roots of California Contemporary Architecture, 1956, Los Angeles Municipal Art Department; Felix Candela, 1957, University of Southern California, Los Angeles; Irving Gill, 1958, Los Angeles County Museum of Art; Juan O'Gorman, 1964, San Fernando Valley State College; and Ten Italian Architects, 1967, Los Angeles County Museum of Art. Moreover, McCoy contributed numerous essays to other exhibition catalogs and publications, lectured at the University of Southern California, participated in preservation projects, organized tours for the Society of Architectural Historians, and contributed to a number of documentary films. Her energy and interests also led her to catalog and transcribe Richard Neutra's papers at the University of California Los Angeles Archives.

McCoy received national recognition from the American Institute of Architects for her seminal and prolific work in the field of Southern California modern architectural history and criticism. Her interests, however, were not exclusively bound to California. She traveled the world and was interested in both Italian and Mexican architecture as well as the folk art and crafts of Mexico and South America. She made five extended trips to Italy during the 1950s and 1960s, publishing regularly about the architecture there and curating the exhibition Ten Italian Architects. She was a contributing editor to two Italian journals, Zodiac and Lotus, and was awarded the Star of Order of Solidarity in 1960 by the Republic of Italy for her research and writing.

Esther McCoy died of emphysema on December 30, 1989, at the age of eighty-five. Her last contribution was an essay for the exhibition catalog Blueprints for Modern Living: History and Legacy of the Case Study House. The show opened at the Museum of Contemporary Art in Los Angeles one month before her death.

1904 -- Born November 18 in Horatio, Arkansas. Raised in Kansas.

1920 -- Attended preparatory school at Central College for Women, Lexington, Missouri.

1922-1925 -- College education: Baker University, Baldwin City, Kansas; University of Arkansas, Fayetteville; Washington University, St. Louis, Missouri; University of Michigan.

1924 -- Visited Theodore Dreiser in Michigan.

1926-1938 -- Began writing in New York City.

1926-1938 -- Researched and read for Theodore Dreiser.

1926-1938 -- Worked for editorial offices and publishers.

1926-1938 -- Traveled to write in Paris (1928), Key West, Florida (1930), and Los Angeles, California (1932-1935).

1938 -- Moved to Santa Monica, California.

1941 -- Married Berkeley Greene Tobey.

1942-1944 -- Employed as engineering draftsman at Douglas Aircraft.

1944-1947 -- Worked as architectural draftsman for R.M. Schindler.

1945 -- Began architectural writing career.

1950 -- Wrote script for film Architecture West.

1950 -- Joined editorial board of Arts & Architecture.

1950-1968 -- Worked as free-lance writer for the Los Angeles Times.

1951-1955 -- Traveled to, researched, and wrote about Mexico and Mexican art and architecture.

1954 -- R.M. Schindler Retrospective exhibition at the Landau Art Gallery, Los Angeles.

1956 -- Roots of California Contemporary Architecture exhibition, Los Angeles Municipal Art Department.

1957 -- Felix Candela exhibition, University of Southern California, Los Angeles.

1958 -- Irving Gill exhibition, Los Angeles County Museum of Art. Traveled to Italy.

1959-1968 -- Contributing editor to Italian periodicals Zodiac and Lotus.

1960 -- Five California Architects (New York: Reinhold).

1960 -- Richard Neutra (New York: G. Braziller).

1960 -- Awarded Star of Order of Solidarity by the Republic of Italy for reporting on arts and crafts in Italy.

1962 -- Death of Berkeley Greene Tobey.

1962 -- Modern California Houses: Case Study Houses (New York: Reinhold) (reprinted as Case Study Houses, Los Angeles: Hennessey and Ingalls, 1978).

1963 -- Resident Fellow at Huntington Hartford Foundation.

1964 -- Juan O'Gorman exhibition, San Fernando Valley State College, Northridge, Calif.

1965 -- Consultant for the California Arts Commission.

1965-1966 -- Wrote and produced the film Dodge House.

1965-1968 -- Lecturer at University of California at Los Angeles, School of Architecture and Urban Planning.

1966 -- Resident Fellow at MacDowell Colony, New Hampshire.

1967 -- Ten Italian Architects exhibition, Los Angeles County Museum of Art.

1967 -- Honorary Associate of the Southern California Chapter of the American Institute of Architects.

1967 -- Regents' Lecturer at University of California, Santa Barbara.

1968 -- Craig Ellwood (New York: Walker).

1968 -- Distinguished Service Citation from the California Council of AIA.

1969-1970 -- Lecturer at the University of California, Santa Barbara.

1969-1989 -- Contributing editor of Progressive Architecture.

1971-1978 -- Graham Foundation Grants.

1974 -- Regents' Lecturer at the University of California,Santa Cruz.

1979 -- Vienna to Los Angeles: Two Journeys (Santa Monica, Calif.: Arts & Architecture Press).

1979 -- Guggenheim Foundation Fellowship.

1981 -- Los Angeles Chapter Women's Architectural League Honorary Member.

1982 -- Los Angeles County Museum of Art's Modern and Contemporary Art Council Award for Distinguished Achievement.

1983 -- Home Sweet Home: The California Ranch House exhibition at California State University.

1984 -- The Second Generation (Salt Lake City: Peregrine Smith Books).

1985 -- American Institute of Architects, Institute Honor.

1986 -- High Styles exhibition at the Whitney Museum of American Art.

1987 -- Vesta Award for outstanding scholarship.

1989 -- Award from the Historical Society of Southern California.

1989 -- Award from the City of Los Angeles Department of Cultural Affairs.

1989 -- Blueprints for Modern Living: History and Legacy of the Case Study House exhibition at the Museum of Contemporary Art, Los Angeles. Died in Santa Monica, California, December 30.
Related Material:
Also in the Archives of American Art are eight sound cassettes of a transcribed interview with Esther McCoy conducted by Joseph Giovannini, June 8-November 14, 1987.
Provenance:
The collection was given to the Archives of American Art by Esther McCoy in 1986. Before her death in 1989, McCoy assisted in the organization and identification of the papers. Original pre-print film elements for Dodge House 1916 were donated to the Archives of American Art by the Academy Film Archive in 2018.
Restrictions:
Use of original papers requires an appointment. Use of audiovisual recordings without access copies requires advance notice.
Rights:
The Esther McCoy papers are 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.
Occupation:
Art critics -- California  Search this
Topic:
Architecture, Modern -- 20th century -- Mexico  Search this
Architectural historians -- California  Search this
Architects -- Italy  Search this
Architecture, Domestic -- California  Search this
Authors -- California  Search this
Architecture, Modern -- 20th century -- California  Search this
Architecture, Modern -- 20th century -- Europe  Search this
Architects -- California  Search this
Feminism  Search this
Genre/Form:
Diaries
Etchings
Photographs
Sound recordings
Interviews
Video recordings
Slides (photographs)
Transcripts
Drawings
Memoirs
Citation:
Esther McCoy papers, circa 1876-1990, bulk 1938-1989. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.mccoesth
See more items in:
Esther McCoy papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-mccoesth
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Online Media:

[Villa Lante]: an overview of the garden and its fountains.

Lantern slide maker:
Collyer, Frank L.  Search this
Collection Creator:
Sears, Thomas Warren, 1880-1966  Search this
Sears & Wendell  Search this
Olmsted Brothers  Search this
Harvard University  Search this
American Society of Landscape Architects  Search this
Collection Donor:
Tibbetts, Eleanor Sears  Search this
Extent:
1 lantern slide (black-and-white, 3.25 x 4 in.)
Type:
Archival materials
Lantern slides
Place:
Villa Lante (Bagnaia, Italy)
Date:
[between 1900 and 1930]
General:
The lantern slide was made by Frank L. Collyer, 22 1/2 Crescent St., Cambridge, Massachusetts. An identical image appears in Rose Standish Nichols, Italian Pleasure Gardens (New York: Dodd, Mead & Company, 1931).
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:
For information or study purposes only. 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:
Summer  Search this
Fountains  Search this
Water jets  Search this
Ponds  Search this
Topiary work  Search this
Urns  Search this
Balustrades  Search this
Parterres  Search this
Hedges  Search this
Treillage  Search this
Sculpture  Search this
Gardens -- Italy -- Bagnaia  Search this
Genre/Form:
Lantern slides
Collection Citation:
Smithsonian Institution, Archives of American Gardens, Thomas Warren Sears photograph collection.
Identifier:
AAG.SRS, Item IT020004
See more items in:
Thomas Warren Sears photograph collection
Thomas Warren Sears photograph collection / Series 1: Photographic Images / International / Italy / IT020: Bagnaia -- Villa Lante
Archival Repository:
Archives of American Gardens
EDAN-URL:
ead_component:sova-aag-srs-ref2786

[Villa Lante]: the garden and its Fontana dei Mori (Fountain of the Moors).

Lantern slide maker:
Collyer, Frank L.  Search this
Collection Creator:
Sears, Thomas Warren, 1880-1966  Search this
Sears & Wendell  Search this
Olmsted Brothers  Search this
Harvard University  Search this
American Society of Landscape Architects  Search this
Collection Donor:
Tibbetts, Eleanor Sears  Search this
Extent:
1 lantern slide (black-and-white, 3.25 x 4 in.)
Type:
Archival materials
Lantern slides
Place:
Villa Lante (Bagnaia, Italy)
Date:
[between 1900 and 1930]
General:
The lantern slide was made by Frank L. Collyer, 22 1/2 Crescent St., Cambridge, Massachusetts.
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:
For information or study purposes only. 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:
Summer  Search this
Water jets  Search this
Ponds  Search this
Topiary work  Search this
Urns  Search this
Balustrades  Search this
Parterres  Search this
Hedges  Search this
Treillage  Search this
Sculpture  Search this
Finials  Search this
Gardens -- Italy -- Bagnaia  Search this
Genre/Form:
Lantern slides
Collection Citation:
Smithsonian Institution, Archives of American Gardens, Thomas Warren Sears photograph collection.
Identifier:
AAG.SRS, Item IT020005
See more items in:
Thomas Warren Sears photograph collection
Thomas Warren Sears photograph collection / Series 1: Photographic Images / International / Italy / IT020: Bagnaia -- Villa Lante
Archival Repository:
Archives of American Gardens
EDAN-URL:
ead_component:sova-aag-srs-ref2787

Unidentified Garden

Photographer:
Sears, Thomas Warren, 1880-1966  Search this
Collection Creator:
Sears, Thomas Warren, 1880-1966  Search this
Sears & Wendell  Search this
Olmsted Brothers  Search this
Harvard University  Search this
American Society of Landscape Architects  Search this
Collection Donor:
Tibbetts, Eleanor Sears  Search this
Extent:
1 negatives (photographic) (black-and-white, 8 x 10 in.)
Type:
Archival materials
Negatives (photographic)
Date:
[between 1900 and 1930]
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:
For information or study purposes only. 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:
Benches, stone  Search this
Hedges  Search this
Perennials  Search this
Collection Citation:
Smithsonian Institution, Archives of American Gardens, Thomas Warren Sears photograph collection.
Identifier:
AAG.SRS, Item SRS012009
See more items in:
Thomas Warren Sears photograph collection
Thomas Warren Sears photograph collection / Series 1: Photographic Images / United States / Unidentified Locations or Subjects / SRS012: Unidentified Gardens
Archival Repository:
Archives of American Gardens
EDAN-URL:
ead_component:sova-aag-srs-ref3382

[Chestnutwold Farm]: driveway and north side of the house, looking toward the garden and hillside.

Photographer:
Sears, Thomas Warren, 1880-1966  Search this
Collection Creator:
Sears, Thomas Warren, 1880-1966  Search this
Sears & Wendell  Search this
Olmsted Brothers  Search this
Harvard University  Search this
American Society of Landscape Architects  Search this
Collection Donor:
Tibbetts, Eleanor Sears  Search this
Extent:
1 glass negative (black-and-white, 8 x 10 in.)
Type:
Archival materials
Glass negatives
Place:
Chestnutwold Farm (Devon, Pennsylvania)
Date:
[between 1914 and 1923]
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:
For information or study purposes only. 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:
Driveways  Search this
Arbors  Search this
Lawns  Search this
Hedges  Search this
Balconies  Search this
Columns  Search this
Formal gardens  Search this
Trees  Search this
Houses  Search this
Gardens -- Pennsylvania -- Devon  Search this
Genre/Form:
Glass negatives
Collection Citation:
Smithsonian Institution, Archives of American Gardens, Thomas Warren Sears photograph collection.
Identifier:
AAG.SRS, Item PA490013
See more items in:
Thomas Warren Sears photograph collection
Thomas Warren Sears photograph collection / Series 1: Photographic Images / United States / Pennsylvania / SRS041: Devon - Chestnutwold Farm
Archival Repository:
Archives of American Gardens
EDAN-URL:
ead_component:sova-aag-srs-ref3480

[Unidentified Sites]: an unidentified location, probably in a public park.

Photographer:
Sears, Thomas Warren, 1880-1966  Search this
Collection Creator:
Sears, Thomas Warren, 1880-1966  Search this
Sears & Wendell  Search this
Olmsted Brothers  Search this
Harvard University  Search this
American Society of Landscape Architects  Search this
Collection Donor:
Tibbetts, Eleanor Sears  Search this
Extent:
1 Negative (black-and-white, 3.5 x 6 in.)
Type:
Archival materials
Negatives
Reproductions
Date:
[between 1900 and 1920]
General:
Original was a nitrate negative which has been digitized and the nitrate negative destroyed. A duplicate film negative is at Photographic Services, Smithsonian Institution (OIPPS). Negative Number: 94-7381.
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:
For information or study purposes only. 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:
Hedges  Search this
Lawns  Search this
Trees  Search this
Outdoor furniture  Search this
Benches  Search this
Standard  Search this
Parks  Search this
Genre/Form:
Negatives
Reproductions
Collection Citation:
Smithsonian Institution, Archives of American Gardens, Thomas Warren Sears photograph collection.
Identifier:
AAG.SRS, Item SRS047096
See more items in:
Thomas Warren Sears photograph collection
Thomas Warren Sears photograph collection / Series 1: Photographic Images / United States / Unidentified Locations or Subjects / SRS047: Unidentified Views
Archival Repository:
Archives of American Gardens
EDAN-URL:
ead_component:sova-aag-srs-ref3557

[Unidentified Sites]: a garden and stone wall in an unidentified location.

Photographer:
Sears, Thomas Warren, 1880-1966  Search this
Collection Creator:
Sears, Thomas Warren, 1880-1966  Search this
Sears & Wendell  Search this
Olmsted Brothers  Search this
Harvard University  Search this
American Society of Landscape Architects  Search this
Collection Donor:
Tibbetts, Eleanor Sears  Search this
Extent:
1 Negative (black-and-white, 3.5 x 6 in.)
Type:
Archival materials
Negatives
Reproductions
Date:
[between 1900 and 1920]
General:
Original was a nitrate negative which has been digitized and the nitrate negative destroyed. A duplicate film negative is at Photographic Services, Smithsonian Institution (OIPPS). Negative Number: 94-7134.
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:
For information or study purposes only. 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:
Walkways, gravel  Search this
Hedges  Search this
Walls (building)  Search this
Climbing plants  Search this
Outdoor furniture  Search this
Benches  Search this
Gardens  Search this
Genre/Form:
Negatives
Reproductions
Collection Citation:
Smithsonian Institution, Archives of American Gardens, Thomas Warren Sears photograph collection.
Identifier:
AAG.SRS, Item SRS047110
See more items in:
Thomas Warren Sears photograph collection
Thomas Warren Sears photograph collection / Series 1: Photographic Images / United States / Unidentified Locations or Subjects / SRS047: Unidentified Views
Archival Repository:
Archives of American Gardens
EDAN-URL:
ead_component:sova-aag-srs-ref3567

[Unidentified Sites]: a walkway and garden border in an unidentified location.

Photographer:
Sears, Thomas Warren, 1880-1966  Search this
Collection Creator:
Sears, Thomas Warren, 1880-1966  Search this
Sears & Wendell  Search this
Olmsted Brothers  Search this
Harvard University  Search this
American Society of Landscape Architects  Search this
Collection Donor:
Tibbetts, Eleanor Sears  Search this
Extent:
1 Negative (black-and-white, 3 x 5 in.)
Type:
Archival materials
Negatives
Reproductions
Date:
[between 1900 and 1920]
General:
Original was a nitrate negative which has been digitized and the nitrate negative destroyed. A duplicate film negative is at Photographic Services, Smithsonian Institution (OIPPS). Negative Number: 94-7234. The same location appears in SRS047152.
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:
For information or study purposes only. 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:
Walls, brick  Search this
Chairs  Search this
Walkways  Search this
Women  Search this
Benches  Search this
Garden borders  Search this
Hedges  Search this
Genre/Form:
Negatives
Reproductions
Collection Citation:
Smithsonian Institution, Archives of American Gardens, Thomas Warren Sears photograph collection.
Identifier:
AAG.SRS, Item SRS047153
See more items in:
Thomas Warren Sears photograph collection
Thomas Warren Sears photograph collection / Series 1: Photographic Images / United States / Unidentified Locations or Subjects / SRS047: Unidentified Views
Archival Repository:
Archives of American Gardens
EDAN-URL:
ead_component:sova-aag-srs-ref3605

[Unidentified Sites]: an unidentified country manor house, possibly in England.

Photographer:
Sears, Thomas Warren, 1880-1966  Search this
Collection Creator:
Sears, Thomas Warren, 1880-1966  Search this
Sears & Wendell  Search this
Olmsted Brothers  Search this
Harvard University  Search this
American Society of Landscape Architects  Search this
Collection Donor:
Tibbetts, Eleanor Sears  Search this
Extent:
1 Negative (black-and-white, 3.5 x 6 in.)
Type:
Archival materials
Negatives
Reproductions
Date:
[between 1900 and 1920]
General:
Original was a nitrate negative which has been digitized and the nitrate negative destroyed. A duplicate film negative is at Photographic Services, Smithsonian Institution (OIPPS). Negative Number: 94-7266.
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:
For information or study purposes only. 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:
Evergreens  Search this
Hedges  Search this
Driveways  Search this
Houses  Search this
Mansions  Search this
Genre/Form:
Negatives
Reproductions
Collection Citation:
Smithsonian Institution, Archives of American Gardens, Thomas Warren Sears photograph collection.
Identifier:
AAG.SRS, Item SRS047166
See more items in:
Thomas Warren Sears photograph collection
Thomas Warren Sears photograph collection / Series 1: Photographic Images / United States / Unidentified Locations or Subjects / SRS047: Unidentified Views
Archival Repository:
Archives of American Gardens
EDAN-URL:
ead_component:sova-aag-srs-ref3613

[Holly Beach Farm]: the house and grounds.

Photographer:
Sears, Thomas Warren, 1880-1966  Search this
Collection Creator:
Sears, Thomas Warren, 1880-1966  Search this
Sears & Wendell  Search this
Olmsted Brothers  Search this
Harvard University  Search this
American Society of Landscape Architects  Search this
Collection Donor:
Tibbetts, Eleanor Sears  Search this
Extent:
1 glass negative (black-and-white, 8 X 10 in.)
Type:
Archival materials
Glass negatives
Place:
Holly Beach Farm (Annapolis, Maryland)
United States of America -- Maryland -- Anne Arundel County -- Annapolis
Date:
1914.
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:
For information or study purposes only. 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:
Summer  Search this
Houses -- brick  Search this
Hedges  Search this
Foundation planting  Search this
Lawns  Search this
Gardens -- Maryland -- Annapolis  Search this
Genre/Form:
Glass negatives
Collection Citation:
Smithsonian Institution, Archives of American Gardens, Thomas Warren Sears photograph collection.
Identifier:
AAG.SRS, Item MD086007
See more items in:
Thomas Warren Sears photograph collection
Thomas Warren Sears photograph collection / Series 1: Photographic Images / United States / Maryland / MD086: Annapolis -- 'Holly Beach Farm,' Labrot, Sylvester
Archival Repository:
Archives of American Gardens
EDAN-URL:
ead_component:sova-aag-srs-ref4379

[Holly Beach Farm]: looking up to the house from the lawn.

Photographer:
Sears, Thomas Warren, 1880-1966  Search this
Collection Creator:
Sears, Thomas Warren, 1880-1966  Search this
Sears & Wendell  Search this
Olmsted Brothers  Search this
Harvard University  Search this
American Society of Landscape Architects  Search this
Collection Donor:
Tibbetts, Eleanor Sears  Search this
Extent:
1 glass negative (black-and-white, 8 X 10 in.)
Type:
Archival materials
Glass negatives
Place:
Holly Beach Farm (Annapolis, Maryland)
United States of America -- Maryland -- Anne Arundel County -- Annapolis
Date:
1914.
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:
For information or study purposes only. 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:
Summer  Search this
Houses -- brick  Search this
Awnings  Search this
Chairs -- wicker  Search this
Climbing plants  Search this
Hedges  Search this
Gardens -- Maryland -- Annapolis  Search this
Lawns  Search this
Trees  Search this
Genre/Form:
Glass negatives
Collection Citation:
Smithsonian Institution, Archives of American Gardens, Thomas Warren Sears photograph collection.
Identifier:
AAG.SRS, Item MD086028
See more items in:
Thomas Warren Sears photograph collection
Thomas Warren Sears photograph collection / Series 1: Photographic Images / United States / Maryland / MD086: Annapolis -- 'Holly Beach Farm,' Labrot, Sylvester
Archival Repository:
Archives of American Gardens
EDAN-URL:
ead_component:sova-aag-srs-ref4399

[Holly Beach Farm]: the house, lawn, and trees.

Photographer:
Sears, Thomas Warren, 1880-1966  Search this
Collection Creator:
Sears, Thomas Warren, 1880-1966  Search this
Sears & Wendell  Search this
Olmsted Brothers  Search this
Harvard University  Search this
American Society of Landscape Architects  Search this
Collection Donor:
Tibbetts, Eleanor Sears  Search this
Extent:
1 glass negative (black-and-white, 8 X 10 in.)
Type:
Archival materials
Glass negatives
Place:
Holly Beach Farm (Annapolis, Maryland)
United States of America -- Maryland -- Anne Arundel County -- Annapolis
Date:
1914.
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:
For information or study purposes only. 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:
Summer  Search this
Houses -- brick  Search this
Hedges  Search this
Trees  Search this
Gardens -- Maryland -- Annapolis  Search this
Lawns  Search this
Genre/Form:
Glass negatives
Collection Citation:
Smithsonian Institution, Archives of American Gardens, Thomas Warren Sears photograph collection.
Identifier:
AAG.SRS, Item MD086029
See more items in:
Thomas Warren Sears photograph collection
Thomas Warren Sears photograph collection / Series 1: Photographic Images / United States / Maryland / MD086: Annapolis -- 'Holly Beach Farm,' Labrot, Sylvester
Archival Repository:
Archives of American Gardens
EDAN-URL:
ead_component:sova-aag-srs-ref4400

[Holly Beach Farm]: looking up the brick stairs from the lawn to the house and its grass terrace.

Photographer:
Sears, Thomas Warren, 1880-1966  Search this
Collection Creator:
Sears, Thomas Warren, 1880-1966  Search this
Sears & Wendell  Search this
Olmsted Brothers  Search this
Harvard University  Search this
American Society of Landscape Architects  Search this
Collection Donor:
Tibbetts, Eleanor Sears  Search this
Extent:
1 glass negative (black-and-white, 8 X 10 in.)
Type:
Archival materials
Glass negatives
Place:
Holly Beach Farm (Annapolis, Maryland)
United States of America -- Maryland -- Anne Arundel County -- Annapolis
Date:
1914.
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:
For information or study purposes only. 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:
Summer  Search this
Stairs, brick  Search this
Awnings  Search this
Hedges  Search this
Climbing plants  Search this
Lawns  Search this
Balconies  Search this
Houses -- brick  Search this
Gardens -- Maryland -- Annapolis  Search this
Terraces  Search this
Genre/Form:
Glass negatives
Collection Citation:
Smithsonian Institution, Archives of American Gardens, Thomas Warren Sears photograph collection.
Identifier:
AAG.SRS, Item MD086031
See more items in:
Thomas Warren Sears photograph collection
Thomas Warren Sears photograph collection / Series 1: Photographic Images / United States / Maryland / MD086: Annapolis -- 'Holly Beach Farm,' Labrot, Sylvester
Archival Repository:
Archives of American Gardens
EDAN-URL:
ead_component:sova-aag-srs-ref4401

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