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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:

Jimmy Hedges papers and Rising Fawn Folk Art Gallery records

Creator:
Hedges, Jimmy, 1942-2014  Search this
Names:
Rising Fawn Folk Art Gallery  Search this
Blizzard, Georgia, 1919-2002  Search this
Finster, Howard, 1916-2001  Search this
Green, Homer, 1910-2002  Search this
Harvey, Bessie, 1929-  Search this
Hoskinson, Danny  Search this
Lancaster, Paul  Search this
Mohammed, A.J.  Search this
Simmons, Charlie  Search this
Sudduth, Jimmy Lee, 1910-2007  Search this
Tolliver, Mose, 1920-  Search this
Young, Purvis, 1943-  Search this
Extent:
23.5 Linear feet
15.63 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Photographs
Sound recordings
Video recordings
Date:
1969-2016, bulk 1991-2013
Summary:
The papers of art collector and dealer Jimmy Hedges and the records of his Rising Fawn Folk Art Gallery measure 23.5 linear feet and 15.63 GB and date from 1969-2016, with the bulk of the material dating from 1991-2013. The collection documents Hedges's career as a dealer of outsider art and as an advocate for self-taught artists. Records include administrative and sales records, correspondence, artist files, collector and gallery files, exhibition and art fair files, regional files, printed and digital material, photographic material, and unidentified sound and video recordings. The bulk of the collection consists of artist files and color photographs documenting hundreds of artists that Hedges visited at their homes and studios, including Georgia Blizzard, Howard Finster, Homer Green, Bessie Harvey, Danny Hoskinson, Paul Lancaster, A.J. Mohammed, Charlie Simmons, Jimmy Lee Sudduth, Mose Tolliver, and Purvis Young, among many others.
Scope and Contents:
The records of art collector and dealer Jimmy Hedges and his Rising Fawn Folk Art Gallery measure 23.5 linear feet and 15.63 GB and date from 1969-2016, with the bulk of the material dating from 1991-2013. The collection documents Hedges's career as a dealer of outsider art and as an advocate for self-taught artists. Records include administrative and sales records, correspondence, artist files, collector and gallery files, exhibition and art fair files, regional files, printed and digital material, photographic material, and unidentified sound and video recordings. The bulk of the collection consists of artist files and color photographs documenting hundreds of artists that Hedges visited at their homes and studios, including Georgia Blizzard, Howard Finster, Homer Green, Bessie Harvey, Danny Hoskinson, Paul Lancaster, A.J. Mohammed, Charlie Simmons, Jimmy Lee Sudduth, Mose Tolliver, and Purvis Young, among many others.
Arrangement:
This collection is arranged as 9 series.

Series 1: Administrative and Sales Records, 1969-1971, 1991-2015 (Boxes 1-4; 3.9 linear feet, ER01-ER03; 0.134 GB)

Series 2: Correspondence, 1974, 1981, 1990-2013 (Boxes 4-5; 0.2 linear feet)

Series 3: Artist Files, 1985-2014 (Boxes 5-9, 31, 33, OV 32; 4.6 linear feet, ER04-ER15; 5.35 GB)

Series 4: Collector and Gallery Files, 1992-2014 (Boxes 9-10; 1.2 linear feet)

Series 5: Exhibition and Art Fair Records, circa 1992-2013 (Boxes 10-11; 1.3 linear feet, ER16-ER18; 1.52 GB)

Series 6: Regional Files, 1976, 1980s-2012 (Boxes 11-13; 1.7 linear feet)

Series 7: Printed Material, 1980-2013 (Boxes 13-16, OV 32; 2.2 linear feet, ER19; 0.833 GB)

Series 8: Photographic Material, circa 1990-2011 (Boxes 16-30, 34-35; 7.9 linear feet, ER20-ER35; 7.79 GB)

Series 9: Unidentified Sound and Video Recordings, undated (Boxes 30-31; 0.5 linear feet)
Biographical / Historical:
James R. "Jimmy" Hedges III (1942-2014), was an artist, art collector and dealer of Outsider Art and Folk art in Tennessee and Georgia. Hedges established the Rising Fawn Folk Art Gallery, Lookout Mountain, Georgia.

Born into a prominent family from Chattanooga, Jimmy Hedges was a lifelong philanthropist as a trustee of his family's Tonya Memorial Foundation. His true vocation, however, was as an artist, collector, and dealer of outsider art and as an advocate for self-taught artists. Hedges discovered his love of wood carving as a teenager, when he created song birds, and returned to making art at age forty. Using a chain saw, he carved sculptures of Southerners he had encountered in his travels, including artists. His colleagues in this sector of the fine art craft world were predominantly southern African American self-taught painters, sculptors, potters, and carvers. Befriending them and collecting their work led Hedges to establish Rising Fawn Folk Art Gallery in 1993, building a gallery space in the early 2000s on his 500-acre farm in Lookout Mountain, Georgia.

An unconventional art dealer, Hedges would hand-deliver work to collectors' homes, driving his truck through backroads and stopping along the way to visit with artists and purchase more works to sell. He was an active presence at the Outsider Art Fair and self-taught artist exhibitions throughout the U.S., as well as at Slotin Folk Art auctions and prison auctions. His aim was to improve the economic condition of fellow artists and raise their profiles among curators and critics. Hedges' development of an archive was essential to this goal.
Provenance:
Donated 2016 by James R. Hedges IV on behalf of the Hedges Descendants Trust and in 2018 by James R. Hedges IV on behalf of Wildcat Asset Managment, LLC.
Restrictions:
Use of original papers requires an appointment. Use of archival audiovisual records or born digital records with no duplicate access copy requires advance notice.
Rights:
The Jimmy Hedges papers and Rising Fawn Folk Art Gallery records 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:
Self-taught artists  Search this
Art -- Collectors and collecting  Search this
Art dealers -- Tennessee  Search this
Folk art -- Tennessee  Search this
Outsider art -- Georgia  Search this
Folk art -- Georgia  Search this
Outsider art -- Tennessee  Search this
Artists' studios -- Photographs  Search this
Genre/Form:
Photographs
Sound recordings
Video recordings
Citation:
Jimmy Hedges papers and Rising Fawn Folk Art Gallery records, 1969-2016, bulk 1991-2013. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.hedgjimm
See more items in:
Jimmy Hedges papers and Rising Fawn Folk Art Gallery records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-hedgjimm

The evolution of polyandry II: post-copulatory defenses against genetic incompatibility

Author:
Zeh, David W.  Search this
Zeh, Jeanne A.  Search this
Object Type:
Smithsonian staff publication
Electronic document
Year:
1997
Topic:
Tropics  Search this
Biology  Search this
Data source:
Smithsonian Libraries
EDAN-URL:
edanmdm:SILSRO_98125
Online Media:

[One Evelyn Place]: side garden and statuary.

Photographer:
McLean, Merri Barron  Search this
Collection Creator:
Garden Club of America  Search this
Extent:
1 Slide (col., 35 mm.)
Type:
Archival materials
Slides
Place:
One Evelyn Place (Asheville, North Carolina)
United States of America -- North Carolina -- Buncombe County -- Asheville
Date:
1998.
Collection Restrictions:
Access to original images by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Collection Rights:
Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens.
Topic:
Gardens -- North Carolina -- Asheville  Search this
Shrubs  Search this
Fountains  Search this
Flower beds  Search this
Tulips  Search this
Trees  Search this
Walls, brick  Search this
Walkways, brick  Search this
Hedges  Search this
Box  Search this
Collection Citation:
Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.
Identifier:
AAG.GCA, Item NC046003
See more items in:
The Garden Club of America collection
The Garden Club of America collection / Series 1: United States Garden Images / North Carolina / NC046: Asheville -- One Evelyn Place
Archival Repository:
Archives of American Gardens
EDAN-URL:
ead_component:sova-aag-gca-ref13097

[Hidden Glen Farms]: detail of colonial "Maid" statue.

Photographer:
Schorsch, Shelley D.  Search this
Collection Creator:
Garden Club of America  Search this
Extent:
1 Slide (col., 35 mm.)
Type:
Archival materials
Slides
Place:
Hidden Glen Farms (Meadowbrook, Pennsylvania)
United States of America -- Pennsylvania -- Montgomery County -- Abington Township -- Meadowbrook
Date:
1998 Apr.
Collection Restrictions:
Access to original images by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Collection Rights:
Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens.
Topic:
Gardens -- Pennsylvania -- Meadowbrook  Search this
Fences -- wooden  Search this
Daffodils  Search this
Hedges  Search this
Collection Citation:
Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.
Identifier:
AAG.GCA, Item PA348014
See more items in:
The Garden Club of America collection
The Garden Club of America collection / Series 1: United States Garden Images / Pennsylvania / PA348: Abington Township -- Hidden Glen Farms
Archival Repository:
Archives of American Gardens
EDAN-URL:
ead_component:sova-aag-gca-ref16637

[Hidden Glen Farms]: detail of colonial "Gentlewoman."

Photographer:
Schorsch, Shelley D.  Search this
Collection Creator:
Garden Club of America  Search this
Extent:
1 Slide (col., 35 mm.)
Type:
Archival materials
Slides
Place:
Hidden Glen Farms (Meadowbrook, Pennsylvania)
United States of America -- Pennsylvania -- Montgomery County -- Abington Township -- Meadowbrook
Date:
1998 Jul.
Collection Restrictions:
Access to original images by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Collection Rights:
Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens.
Topic:
Gardens -- Pennsylvania -- Meadowbrook  Search this
Formal gardens  Search this
Hedges  Search this
Fences -- wooden  Search this
Collection Citation:
Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.
Identifier:
AAG.GCA, Item PA348019
See more items in:
The Garden Club of America collection
The Garden Club of America collection / Series 1: United States Garden Images / Pennsylvania / PA348: Abington Township -- Hidden Glen Farms
Archival Repository:
Archives of American Gardens
EDAN-URL:
ead_component:sova-aag-gca-ref16642

[Hidden Glen Farms]: detail of colonial "Maid."

Photographer:
Schorsch, Shelley D.  Search this
Collection Creator:
Garden Club of America  Search this
Extent:
1 Slide (col., 35 mm.)
Type:
Archival materials
Slides
Place:
Hidden Glen Farms (Meadowbrook, Pennsylvania)
United States of America -- Pennsylvania -- Montgomery County -- Abington Township -- Meadowbrook
Date:
1998 Jul.
Collection Restrictions:
Access to original images by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Collection Rights:
Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens.
Topic:
Gardens -- Pennsylvania -- Meadowbrook  Search this
Formal gardens  Search this
Hedges  Search this
Perennials  Search this
Collection Citation:
Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.
Identifier:
AAG.GCA, Item PA348020
See more items in:
The Garden Club of America collection
The Garden Club of America collection / Series 1: United States Garden Images / Pennsylvania / PA348: Abington Township -- Hidden Glen Farms
Archival Repository:
Archives of American Gardens
EDAN-URL:
ead_component:sova-aag-gca-ref16643

Untitled Garden in Atlanta, Georgia

Photographer:
Ellis, Harriet  Search this
Former owner:
Garlington, J. Peek Mrs Mr  Search this
Little, Gordon  Search this
Glenn, James Dr Mrs  Search this
Landscape designer:
Monroe, William, Jr.  Search this
Henderson, Edith  Search this
Gainey, Ryan  Search this
Collection Creator:
Garden Club of America  Search this
Extent:
1 Slide (col.)
Type:
Archival materials
Slides
Place:
Georgia -- Atlanta
United States of America -- Georgia -- Atlanta
Date:
1996 Apr.
General:
Secluded walled city garden that was on the first tour to benefit Atlanta Botanical Garden.
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:
Walls, brick  Search this
Niches (Architecture)  Search this
Sculpture  Search this
Terra-cotta  Search this
Standard  Search this
Hedges  Search this
Ponds  Search this
Flowering trees  Search this
Walkways, flagstone  Search this
Finials  Search this
Collection Citation:
Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.
Identifier:
AAG.GCA, Item GA060003
See more items in:
The Garden Club of America collection
The Garden Club of America collection / Series 1: United States Garden Images / Georgia / GA060: Atlanta -- Untitled Garden in Atlanta, Georgia
Archival Repository:
Archives of American Gardens
EDAN-URL:
ead_component:sova-aag-gca-ref23294

Untitled Garden in Atlanta, Georgia

Photographer:
Ellis, Harriet  Search this
Former owner:
Garlington, J. Peek Mrs Mr  Search this
Little, Gordon  Search this
Glenn, James Dr Mrs  Search this
Landscape designer:
Monroe, William, Jr.  Search this
Henderson, Edith  Search this
Gainey, Ryan  Search this
Collection Creator:
Garden Club of America  Search this
Extent:
1 Slide (col.)
Type:
Archival materials
Slides
Place:
Georgia -- Atlanta
United States of America -- Georgia -- Atlanta
Date:
1996 Apr.
General:
Secluded walled city garden that was on the first tour to benefit Atlanta Botanical Garden.
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:
Walls, brick  Search this
Niches (Architecture)  Search this
Sculpture  Search this
Hedges  Search this
Ponds  Search this
Walkways, stone  Search this
Edging, brick  Search this
Flowering trees  Search this
Collection Citation:
Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.
Identifier:
AAG.GCA, Item GA060006
See more items in:
The Garden Club of America collection
The Garden Club of America collection / Series 1: United States Garden Images / Georgia / GA060: Atlanta -- Untitled Garden in Atlanta, Georgia
Archival Repository:
Archives of American Gardens
EDAN-URL:
ead_component:sova-aag-gca-ref23297

[B. Fletcher Garden]: wishing well.

Landscape architect:
Fletcher, Robert M., d. 1995  Search this
Photographer:
Fletcher, Robert M., d. 1995  Search this
Architect:
Neff, Wallace  Search this
Collection Creator:
Garden Club of America  Search this
Extent:
1 Slide (col., 35 mm.)
Type:
Archival materials
Slides
Place:
Fletcher Garden (Los Angeles, Calif.)
United States of America -- California -- Los Angeles County -- Los Angeles
Date:
1991 Dec
Scope and Contents:
Featured in this view: wishing well.
Collection Restrictions:
Access to original images by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Collection Rights:
Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens.
Topic:
Gardens -- California -- Los Angeles  Search this
Climbing plants  Search this
Hedges  Search this
Ivy  Search this
Lawns  Search this
Palms  Search this
Shrubs  Search this
Trees  Search this
Wells  Search this
Wishing wells  Search this
Collection Citation:
Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.
Identifier:
AAG.GCA, Item CA357024
See more items in:
The Garden Club of America collection
The Garden Club of America collection / Series 1: United States Garden Images / California / CA357: Los Angeles -- B. Fletcher Garden
Archival Repository:
Archives of American Gardens
EDAN-URL:
ead_component:sova-aag-gca-ref24976

House of Four Seasons

Photographer:
Swanson, Nancy  Search this
Landscape designer:
Lewis, Scott  Search this
Landscape architect:
Voorhees, Steve  Search this
Gardener:
Arreola, Manuel  Search this
Sculptor:
London, Lyle  Search this
Collection Creator:
Garden Club of America  Search this
Extent:
1 Slide (col., 35mm.)
Type:
Archival materials
Slides
Slides (photographs)
Place:
Ventana (Paradise Valley, Arizona)
United States of America -- Arizona -- Maricopa County -- Paradise Valley
Date:
1995 May.
Varying Form:
Ventana, now known as.
General:
A five acre retreat is a collection of differently landscaped areas that reflect the four seasons. The garden contains a gazebo for entertaining, vegetable and herb garden, formal fountain and sculpture garden, cactus garden swimming pool, children's playground, guest house and amphitheater.
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:
Spring  Search this
Cactus  Search this
Fountains  Search this
Hedges  Search this
Dogs  Search this
Rocks  Search this
Trees  Search this
Women  Search this
Sculpture  Search this
Gardens -- Arizona -- Paradise Valley  Search this
Genre/Form:
Slides (photographs)
Collection Citation:
Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.
Identifier:
AAG.GCA, Item AZ004008
See more items in:
The Garden Club of America collection
The Garden Club of America collection / Series 1: United States Garden Images / Arizona / AZ004: Paradise Valley -- Ventana
Archival Repository:
Archives of American Gardens
EDAN-URL:
ead_component:sova-aag-gca-ref5502

[Westerley]: sundial in east terrace.

Photographer:
Clowes, Allen W.  Search this
Provenance:
Indianapolis Garden Club  Search this
Collection Creator:
Garden Club of America  Search this
Extent:
1 Slide (col.)
Type:
Archival materials
Slides
Place:
Westerley (Indianapolis, Indiana)
United States of America -- Indiana -- Marion County -- Indianapolis
Date:
1990 Apr.
Collection Restrictions:
Access to original images by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Collection Rights:
Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens.
Topic:
Gardens -- Indiana -- Indianapolis  Search this
Sundials  Search this
Outdoor furniture  Search this
Hedges  Search this
Walkways, flagstone  Search this
Walls, brick  Search this
Flowering shrubs  Search this
Urns  Search this
Gates  Search this
Flowering trees  Search this
Box  Search this
Lanterns  Search this
Collection Citation:
Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.
Identifier:
AAG.GCA, Item IN003024
See more items in:
The Garden Club of America collection
The Garden Club of America collection / Series 1: United States Garden Images / Indiana / IN003: Indianapolis -- Unidentified
Archival Repository:
Archives of American Gardens
EDAN-URL:
ead_component:sova-aag-gca-ref7296

[Westerley]: inside walled garden with house in background.

Photographer:
Clowes, Allen W.  Search this
Provenance:
Indianapolis Garden Club  Search this
Collection Creator:
Garden Club of America  Search this
Extent:
1 Slide (col.)
Type:
Archival materials
Slides
Place:
Westerley (Indianapolis, Indiana)
United States of America -- Indiana -- Marion County -- Indianapolis
Date:
1990 Aug.
Collection Restrictions:
Access to original images by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Collection Rights:
Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens.
Topic:
Gardens -- Indiana -- Indianapolis  Search this
Sundials  Search this
Outdoor furniture  Search this
Hedges  Search this
Walkways, flagstone  Search this
Urns  Search this
Box  Search this
Greenhouses  Search this
Evergreens  Search this
Houses  Search this
Walled gardens  Search this
Collection Citation:
Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.
Identifier:
AAG.GCA, Item IN003026
See more items in:
The Garden Club of America collection
The Garden Club of America collection / Series 1: United States Garden Images / Indiana / IN003: Indianapolis -- Unidentified
Archival Repository:
Archives of American Gardens
EDAN-URL:
ead_component:sova-aag-gca-ref7297

[Van Doren Garden]: looking across the vegetable garden toward the house.

Photographer:
Adams, Molly, 1918-2003  Search this
Collection Creator:
Adams, Molly, 1918-2003  Search this
Extent:
1 Photographic print (b & w, 7 3/8 x 9 3/8 in.)
1 safety film negative (b & w, 2 x 2 in.)
Type:
Archival materials
Photographic prints
Safety film negative
Safety film negatives
Place:
Gayway (Morristown, New Jersey)
United States of America -- New Jersey -- Morristown
Date:
[between 1960 and 1994]
See others in:
Van Doren Garden, ca. 1960-1994.
Collection Restrictions:
Access to original images by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Collection Rights:
Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens.
Topic:
Gardens -- United States  Search this
Perennials  Search this
Trees  Search this
Shrubs  Search this
Alcea  Search this
Vegetable gardening  Search this
Biennials (Plants)  Search this
Mulching  Search this
Plant supports  Search this
Hedges  Search this
Houses  Search this
Climbing plants  Search this
Bells  Search this
Walls, stone  Search this
Genre/Form:
Photographic prints
Safety film negatives
Collection Citation:
Smithsonian Institution, Archives of American Gardens, Maida Babson Adams American garden collection.
Identifier:
AAG.ADM, Item NJ522054
See more items in:
Maida Babson Adams American garden collection
Maida Babson Adams American garden collection / Series 1: Garden Images / New Jersey / NJ522: Morristown (?) -- Gayway
Archival Repository:
Archives of American Gardens
EDAN-URL:
ead_component:sova-aag-adm-ref1038

[Taggart Garden]: garden border from porch and terrace.

Photographer:
Adams, Molly, 1918-2003  Search this
Collection Creator:
Adams, Molly, 1918-2003  Search this
Extent:
1 slides (photographs) (col., 35 mm.)
Type:
Archival materials
Slides (photographs)
Place:
Taggart Garden (Oldwick, New Jersey)
United States of America -- New Jersey -- Hunterdon County -- Oldwick
Date:
1996 Jun.
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:
Porches  Search this
Outdoor furniture  Search this
Chairs -- wicker  Search this
Tables  Search this
Picnic benches  Search this
Picnic tables  Search this
Plants, Potted  Search this
Trees  Search this
Shrubs  Search this
Lawns  Search this
Garden borders  Search this
Perennials  Search this
Terraces  Search this
Arbors  Search this
Walls, stone  Search this
Walkways, flagstone  Search this
Box  Search this
Hedges  Search this
People  Search this
Gardens -- New Jersey -- Oldwick  Search this
Genre/Form:
Slides (photographs)
Collection Citation:
Smithsonian Institution, Archives of American Gardens, Maida Babson Adams American garden collection.
Identifier:
AAG.ADM, Item NJ534005
See more items in:
Maida Babson Adams American garden collection
Maida Babson Adams American garden collection / Series 1: Garden Images / New Jersey / NJ534: Oldwick -- Taggart Garden
Archival Repository:
Archives of American Gardens
EDAN-URL:
ead_component:sova-aag-adm-ref1100

[Unidentified Garden in New Jersey, No. 2]: view of house and flower bed at base of flagpole.

Photographer:
Adams, Molly, 1918-2003  Search this
Collection Creator:
Adams, Molly, 1918-2003  Search this
Extent:
1 negatives (photographic) (black-and-white, 2 x 2 in.)
Type:
Archival materials
Negatives (photographic)
Place:
Unidentified Garden No. 2 (New Jersey)
United States of America -- New Jersey
Date:
[between 1960 and 1994]
Collection Restrictions:
Access to original images by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Collection Rights:
Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens.
Topic:
Gardens -- New Jersey  Search this
Houses  Search this
Trees  Search this
Lawns  Search this
Hedges  Search this
Flower beds  Search this
Shrubs  Search this
Flagpoles  Search this
Collection Citation:
Smithsonian Institution, Archives of American Gardens, Maida Babson Adams American garden collection.
Identifier:
AAG.ADM, Item NJ479001
See more items in:
Maida Babson Adams American garden collection
Maida Babson Adams American garden collection / Series 1: Garden Images / New Jersey / NJ479: Unidentified Location -- Unidentified Garden in New Jersey, No. 2
Archival Repository:
Archives of American Gardens
EDAN-URL:
ead_component:sova-aag-adm-ref1249

[Suarez Garden]: clipped yew hedges enclose trees next to another pool.

Photographer:
Adams, Molly, 1918-2003  Search this
Collection Creator:
Adams, Molly, 1918-2003  Search this
Extent:
1 Transparencie (black-and-white, 120 mm.)
Type:
Archival materials
Transparencies
Place:
Suarez Garden (Brookville, New York)
United States of America -- New York -- Nassau -- Brookville
Date:
[between 1952 and 1994]
Collection Restrictions:
Access to original images by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Collection Rights:
Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens.
Topic:
Gardens -- New York -- Brookville  Search this
Hedges  Search this
Benches  Search this
Yew  Search this
Collection Citation:
Smithsonian Institution, Archives of American Gardens, Maida Babson Adams American garden collection.
Identifier:
AAG.ADM, Item NY912007
See more items in:
Maida Babson Adams American garden collection
Maida Babson Adams American garden collection / Series 1: Garden Images / New York / NY912: Brookville -- Suarez Garden
Archival Repository:
Archives of American Gardens
EDAN-URL:
ead_component:sova-aag-adm-ref1295

[Unidentified Garden in Armonk, New York, No. 3]: garden border with lawn and dense hedge beyond.

Photographer:
Adams, Molly, 1918-2003  Search this
Collection Creator:
Adams, Molly, 1918-2003  Search this
Extent:
1 negatives (photographic) (black-and-white, 2 x 2 in.)
Type:
Archival materials
Negatives (photographic)
Place:
Unidentified Garden No. 3 (Armonk, New York)
United States of America -- New York -- Nassau County -- Town of North Castle -- Armonk
Date:
[between 1960 and 1994]
Collection Restrictions:
Access to original images by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Collection Rights:
Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens.
Topic:
Gardens -- New York -- Armonk  Search this
Trees  Search this
Lawns  Search this
Hedges  Search this
Garden borders  Search this
Roses  Search this
Pinks (Plants)  Search this
Ornamental grasses  Search this
Garden houses  Search this
Outdoor furniture  Search this
Collection Citation:
Smithsonian Institution, Archives of American Gardens, Maida Babson Adams American garden collection.
Identifier:
AAG.ADM, Item NY847003
See more items in:
Maida Babson Adams American garden collection
Maida Babson Adams American garden collection / Series 1: Garden Images / New York / NY847: North Castle (Armonk) -- Unidentified Garden in Armonk, New York, No. 3
Archival Repository:
Archives of American Gardens
EDAN-URL:
ead_component:sova-aag-adm-ref1463

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