Search Results

Former owner:

Mortimer, Stanley  Search this

Garvan, Francis P. (Francis Patrick), 1875-1937  Search this

Landscape architect:

Olmsted Brothers  Search this

Barrett, Nathan Franklin  Search this

Architect:

Lord, James Brown  Search this

Collection Creator:

McFarland, J. Horace (John Horace), 1859-1948  Search this

American Rose Society  Search this

Type:

Archival materials

Place:

Roslyn Hall (Roslyn, New York)

United States of America -- New York -- Nassau County -- Roslyn

Scope and Contents note:

The folder includes worksheets and photocopies of an article and other information.

Varying Form:

Garvan Estate

General note:

The first owner of Roslyn Hall (also known as the Garvan Estate) 101-acre estate was Stanley Mortimer, who had the Tudor style mansion built in 1891 by the architect James Brown Lord, and the garden designed by landscape architect Nathan Franklin Barrett. There were stone steps and gravel walkways with large plantings of evergreens and other trees and expanses of ground cover, tea gardens, and barns. An ornate wishing well stood in the center of the circular driveway in front of the house. The property was sold to Francis Patrick Garvan (1875-1937) in 1919, who hired Olmsted Associates landscape architects ca. 1930. Copper beech trees were planted by Olmsted Associates. Some of the original garden features remain, including stone arches and garden architecture, but the house, except the chapel, which was demolished in 1974 by developer Robert Praver who subdivided the property.

Francis P. Garvan (b.1875-1937) was a prominent New York attorney as well as the president of the Chemical Foundation of America. The Mabel Brady Garvan Collection (10, 00 items including art and decorative arts) are at Yale University. His correspondences concerning his collections are in the Smithsonian's Archives of American Art.

Nathan Franklin Barrett (b.1845-1919), who designed the first gardens for Stanley Mortimer, was one of the earliest landscape architects in the US, beginning his professional practice in the 1870s.

Persons associated with the garden include Stanley Mortimer (former owner, 1891-1919), Francis P. Garvan (former owner 1919-1937). The Garvan family (former owners, 1937-1974), Nathan Franklin Barrett (landscape architect, 1845-1919) and Olmsted Associates (landscape architects, ca. 1930s).

Related Materials:

Records related to this site can be found at the Frederick Law Olmsted National Historic Site, Olmsted Job Number 07995, Francis P. Garvan.

Collection Restrictions:

Access to original archival materials by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.

Collection Rights:

Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.

Collection Citation:

Smithsonian Institution, Archives of American Gardens, J. Horace McFarland Company Collection.

Identifier:

AAG.MCF, File NY159

See more items in:

J. Horace McFarland Company collection

J. Horace McFarland Company collection / Series 1: Garden Images / United States / New York

Archival Repository:

Archives of American Gardens

GUID:

https://n2t.net/ark:/65665/kb6b0784a03-f68e-45ad-8952-8adfd4898bc6

EDAN-URL:

ead_component:sova-aag-mcf-ref10987

Creator:

McCray, Porter A., 1908-2000  Search this

Names:

Asia Society  Search this

Byrd Hoffman Foundation  Search this

Cathedral of St. John the Divine (New York, N.Y.)  Search this

Cunningham Dance Foundation  Search this

International Council of the Museum of Modern Art (New York, N.Y.)  Search this

Japan Society (New York, N.Y.)  Search this

Museum of Modern Art (New York, N.Y.)  Search this

Society of Architectural Historians  Search this

UNESCO  Search this

United States. Foreign Service  Search this

Cutting, Brock  Search this

Humphrey, Hubert H. (Hubert Horatio), 1911-1978  Search this

Kazuko Oshima  Search this

Morley, Grace, 1900-1985  Search this

Paik, Nam June, 1932-2006  Search this

Richie, Donald, 1924-2013  Search this

Rockefeller, John D., 1906-  Search this

Sherfield, Roger Mellor Makins, Baron, 1904-1996  Search this

Thetong, Tenzin  Search this

Extent:

12.3 Linear feet

Type:

Collection descriptions

Archival materials

Photographs

Lectures

Interviews

Paintings

Transcripts

Date:

1936-1989

Summary:

The papers of New York City arts administrator Porter A. McCray measure 12.3 linear feet and date from 1936 to 1989. The papers include scattered biographical materials, correspondence, and writings and notes. The bulk of the collection consists of professional files documenting his advisory and consulting work for museums, institutions, organizations, and foundations. Also found within the collection are printed materials and photographs of McCray and artwork.

Scope and Contents:

The papers of New York City arts administrator Porter A. McCray measure 12.3 linear feet and date from 1936 to 1989. The papers include scattered biographical materials, correspondence, and writings and notes. The bulk of the collection consists of professional files documenting his advisory and consulting work for museums, institutions, organizations, and foundations. Also found within the collection are printed materials and photographs of McCray and artwork.

Scattered biographical materials include appointment books, curricula vitae, a transcript of an interview conducted by McCray with Dr. Grace Morley, and an unsigned painting.

Found within the general correspondence are letters that relate to his work as an arts advisor and consultant, but which appear to be more personal in nature. The bulk of correspondence related to specific projects is found within the professional files. Correspondents include Hubert Humphrey, Mrs. John Lockwood, Grace Morely, Kazuko Oshima, Donald Richie, John D. Rockefeller III, and Tenzin Thetong among others.

Writings and notes include lectures by McCray and writings by others including Brock Cutting, Lord Sherfield, and Nam June Paik. Also found are travel notes for McCray's travels throughout Asia, Europe, and the Middle East.

Professional files document McCray's work as an arts advisor and consultant for numerous museums, foundations, organizations, foundations, and special committees, as well as his membership in various arts committees and boards. Files document McCray's work for and/or membership in the Asia Society, Asian Cultural Program of Cultural Exchange, Byrd Hoffman Foundation, Cathedral Church of St. John the Divine, Cunningham Dance Foundation, Indo-United States committees, International Council of Museums, Japan Society, John D. Rockefeller 3rd Fund, Museum of Modern Art, Society of Architectural Historians, UNESCO, and the United States Foreign Service.

Printed materials include clippings and articles, a Drawing and Architecture exhibition catalog, and a book by Robert Wilson. Photographs include personal photographs and oversized photographs of sculptures by an unknown artist.

Arrangement:

This collection is arranged as 6 series.

Missing Title

Series 1: Biographical Materials, 1959-1982 (0.5 linear feet; Box 1)

Series 2: Correspondence, 1959-1986 (0.5 linear feet; Box 1)

Series 3: Writings and Notes, 1960-1983 (1.5 linear feet; Box 2-3)

Series 4: Professional Files, 1936-1987 (8.2 linear feet; Box 3-11, OVS 12-13)

Series 5: Printed Materials, 1965-1989 (0.5 linear feet; Box 11, OV 14)

Series 6: Photographs, 1945-1980s (0.2 linear feet; Box 11, OV 15)

Biographical / Historical:

Porter A. McCray (1908-2000) was an arts administrator working in New York City, New York.

Born in Clarksburg, West Virginia in 1908, McCray recieved a degree in English literature from the Virginia Military Institute in 1930, and a degree in architecture from Yale University in 1941. McCray traveled extensively throughout Europe, Asia, and the Middle East, developing relationships with individuals and organizations across the world.

In 1941, McCray worked as an exhibition specialist in the Office of the Coordinator of Inter-American Affairs and collaborated with the Museum of Modern Art on an American exhibition at the Guatemala National Fair. After serving as an ambulance driver in World War II, he was employed by the architectural firm of Harrison and Abramovitz where he worked on some preliminary designs of the present site of the United Nations.

While working for Harrison, McCray met Nelson Rockefeller, who was chairman of the board of the Museum of Modern Art (MOMA). In 1947, Rockefeller asked McCray to serve as the director of circulating exhibitions at MOMA and be responsible for the Museum's national and international traveling exhibition program. McCray accepted and remained at MOMA until 1961. The following year, he orchestrated the preparation of a MOMA exhibition of Mark Rothko's work in Paris in 1962. In 1963, McCray became the executive director of the JDR 3rd Fund, a non-profit started by John D. Rockefeller III to promote artistic and cultural exchanges between the United States and Asia. McCray also worked as a consultant for the Japan Society's visual arts programs, the Asian Cultural Council, for the dean of the Cathedral Church of St. John the Divine's visual and performing arts program, and for MOMA's International Program after retiring.

McCray died in 2000 in Hightstown, New Jersey.

Related Materials:

Also found at the Archives of American Art is an oral history interview of Porter A. McCray conducted by Paul Cummings from September 17 to October 4, 1977.

Provenance:

The collection was donated in 1994 by Porter McCray.

Restrictions:

Use of original papers requires an appointment and is limited to the Washington, D.C. Research Center.

Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Occupation:

Arts administrators -- New York (State) -- New York  Search this

Topic:

Arts boards  Search this

Cultural relations  Search this

Genre/Form:

Photographs

Lectures

Interviews

Paintings

Transcripts

Citation:

Porter A. McCray Papers, 1936-1989. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Smithsonian Institution Collections Care and Preservation Fund.

Identifier:

AAA.mccrport

See more items in:

Porter A. McCray papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw908b878b0-26c0-42f5-8de4-defe9950f12e

EDAN-URL:

ead_collection:sova-aaa-mccrport

Creator:

Casa 31 de Janeiro  Search this

Extent:

1 Postcard (collotype., b&w, 9 x 14 cm.)

Container:

Volume 1

Type:

Archival materials

Postcards

Postcards

Place:

Africa

Congo (Democratic Republic)

Date:

ca. 1920

Scope and Contents:

Printed text on verso reads, "Casa 31 de Janeiro, Loanda."

Local Numbers:

EEPA CG-03-07

General:

Title source: Postcard caption.

Citation source: Archives staff.

Exhibitions Note:

"Call and Response: Journeys of African Art" held by Yale University Art Gallery, 11/15/2000 through 4/15/2001.

Collection Restrictions:

Use of original records requires an appointment. Contact Archives staff for more details.

Collection Rights:

Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.

Topic:

Works of art in situ  Search this

Rites and ceremonies  Search this

Genre/Form:

Postcards

Collection Citation:

African Postcard collection, EEPA 1985-014, Eliot Elisofon Photographic Archives, National Museum of African Art, Smithsonian Institution.

Identifier:

EEPA.1985-014, Item EEPA CG 1985-142108

See more items in:

African Postcard Collection

African Postcard Collection / Series 11: Congo Belge (CG)

Archival Repository:

Eliot Elisofon Photographic Archives, National Museum of African Art

GUID:

https://n2t.net/ark:/65665/xo7a8372970-5ebb-428a-998e-0ec94ba6c2b2

EDAN-URL:

ead_component:sova-eepa-1985-014-ref2355

Former owner:

Deering, James, 1859-1925)  Search this

Designer:

Chalfin, Paul, 1874-  Search this

Architect:

Hoffman, Francis Burrell, 1882-1980)  Search this

Landscape designer:

Suarez, Diego, 1888-1974  Search this

Collection Creator:

Garden Club of America  Search this

Type:

Archival materials

Place:

Vizcaya Museum and Gardens (Miami, Florida)

United States of America -- Florida -- Miami-Dade County -- Miami

Scope and Contents:

The folders include worksheets, copies of correspondence, brochures, photocopies of articles and book chapters about the site, and other information.

General:

Situated along Miami Bay, Vizcaya was the 1916-1925 winter home of industrialist James Deering. With overall supervision by Paul Chalfin, development of the site included a mansion designed by architect Francis Burrall Hoffman, Jr., and extensive gardens created by Colombian-born Diego Suarez. The gardens combined Italian Renaissance and French design elements and took seven years to complete. They were conceived as one vast outdoor room whose individual parts were integrated into a complementary whole. Garden features included many fountains, a central pool surrounding an elevated island, the elevated "Mound" with its small house or "Casino," statuary, and several themed gardens. Over the years hurricanes, humidity, and salt air took a toll on both the mansion and gardens, and much of the original property was sold for development. The site is now owned by Miami-Dade County, is open to the public, and continues to undergo extensive restoration. A recent garden addition is the David A. Klein Orchidarium to the north of the main house.

Persons associated with the property include: James Deering (former owner, 1916-1925); Paul Chalfin (designer); Francis Burrall Hoffman, Jr. (architect); and Diego Suarez (landscape designer).

Related Materials:

Vizcaya Museum and Gardens related holdings consist of 2 folders (1 lantern slide; 111 35 mm. slides (photographs))

Collection Restrictions:

Access to original archival materials by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.

Collection Rights:

Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.

Topic:

Gardens -- Florida -- Miami  Search this

Collection Citation:

Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.

Sponsor:

A project to describe images in this finding aid received Federal support from the Smithsonian Collections Care Initiative, administered by the National Collections Program.

Identifier:

AAG.GCA, File FL083

See more items in:

The Garden Club of America collection

The Garden Club of America collection / Series 1: United States Garden Images / Florida

Archival Repository:

Archives of American Gardens

GUID:

https://n2t.net/ark:/65665/kb63870babe-f287-43d1-96b3-9524d22a1884

EDAN-URL:

ead_component:sova-aag-gca-ref11967

Collection Creator:

Garden Club of America  Search this

Extent:

1 Slides (photographs) (black-and-white, 35 mm.)

Type:

Archival materials

Slides (photographs)

Place:

Vizcaya Museum and Gardens (Miami, Florida)

United States of America -- Florida -- Miami-Dade County -- Miami

Date:

1916 Mar.

General:

Slide is of an image in Clive Aslet, The American Country House (New Haven: Yale University Press, 1990), p. 269.

Collection Restrictions:

Access to original archival materials by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.

Collection Rights:

Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.

Topic:

Spring  Search this

Construction sites  Search this

Gardens -- Florida -- Miami  Search this

Genre/Form:

Slides (photographs)

Collection Citation:

Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.

Sponsor:

A project to describe images in this finding aid received Federal support from the Smithsonian Collections Care Initiative, administered by the National Collections Program.

Identifier:

AAG.GCA, Item FL083017

See more items in:

The Garden Club of America collection

The Garden Club of America collection / Series 1: United States Garden Images / Florida / FL083: Miami -- Vizcaya Museum and Gardens

Archival Repository:

Archives of American Gardens

GUID:

https://n2t.net/ark:/65665/kb687e0e823-4b0f-43e4-86a8-98b34ad669d5

EDAN-URL:

ead_component:sova-aag-gca-ref12128

Provenance:

The Garden Club of Philadelphia  Search this

Collection Creator:

Garden Club of America  Search this

Type:

Archival materials

Place:

Aspen Farms Community Garden (Philadelphia, Pennsylvania)

United States of America -- Pennsylvania -- Philadelphia County -- Philadelphia

Scope and Contents:

The folder includes a work sheet, a detailed description of the garden, copies of articles and awards, and an abbreviated garden plan.

Varying Form:

Aspen Farms Community Garden

General:

This 28,362 square-foot site dates to 1975 and was established under the sponsorship of the Pennsylvania Horticultural Society's community vegetable garden program (the forerunner of Philadelphia Green, created in 1978). The garden, located over the stream bed of Mill Creek, formerly held a row of residences on Aspen Street and a dry cleaning company, which were demolished in 1965. The initial garden size was 3,600 square feet. The society's program supplied turkey-wire fencing, soil, tools, seeds, and technical assistance to a group of 10 people. In each of the next two years, the garden doubled in size with Philadelphia Green assistance. By 1979, the garden filled the entire lot of more than 28,000 square feet. In 1980, the garden underwent its first renovation when Philadelphia Green sponsored the development of a central walkway with planting beds and benches. In 1983, the Penn State Cooperative Extension Service's Urban Gardening Program sponsored a wood frame greenhouse. The most significant improvement to the garden occurred in 1988-89 when it was the focus of a design project jointly sponsored by the University of Pennsylvania's Department of Landscape Architecture and Regional Planning, the West Philadelphia Partnership, and Philadelphia Green. During that time, the garden received a new chain link fence, several newly constructed raised beds with new plantings, and a gazebo.

Located in the Mill Creek neighborhood of West Philadelphia, a moderate income community, the garden is organized and managed by the Aspen Farms Community Garden Club, originally called "Our Club." This well-organized and efficiently run club has as its mission to "foster relationships, community pride, aesthetic value, and provide a social spot for the gardeners of the community." The club consists of approximately 40 members who are responsible for planning, developing, and maintaining the garden plots and common areas of the site. The gardeners range in age from 13 to 104, including many school children who participate in the garden as part of formal school programs. Each member pays an annual fee of $10 [as of 1996] and additional income is generated through fund-raising projects and donations. The club's annual budget is approximately $1,000. The money is used to purchase plants, supplies, and other materials for the garden. Except for occasional soil and wood chip deliveries from Philadelphia Green and technical assistance from the Penn State Cooperative Extension Service's Urban Gardening Program, there is no other ongoing significant support for the garden club. The club continues to maintain the garden well and it has become the central feature of the Mill Creek community. It consistently wins top awards in the City Gardens Contest and Harvest Show. It has also attracted national attention through network television coverage and an article in National Geographic. In 1997, Aspen Farms hosted tours in conjunction with the annual meeting of the Garden Club of America. In the spring of 2004, the Philadelphia Green crew built a bridge over the ponds connecting the site to the new butterfly garden to installed next year. The ultimate goal for this garden is to create an outdoor classroom for use by Sulzberger middle students, who have been involved with the garden for many years.

Persons and organizations associated with property include: Redevelopment Association of Philadelphia (former owners, 1950s-2004); and Neighborhood Garden Association (owner, 2004-present).

Related Materials:

Aspen Farms related holdings consist of 1 folder (26 35 mm. slides)

Collection Restrictions:

Access to original archival materials by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.

Collection Rights:

Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.

Topic:

Community gardens  Search this

Urban gardens  Search this

Vegetable gardening  Search this

Gardens -- Pennsylvania -- Philadelphia  Search this

Raised bed gardening  Search this

Collection Citation:

Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.

Sponsor:

A project to describe images in this finding aid received Federal support from the Smithsonian Collections Care Initiative, administered by the National Collections Program.

Identifier:

AAG.GCA, File PA352

See more items in:

The Garden Club of America collection

The Garden Club of America collection / Series 1: United States Garden Images / Pennsylvania

Archival Repository:

Archives of American Gardens

GUID:

https://n2t.net/ark:/65665/kb6a7f9479a-c4d0-46a1-87f4-6c6799879b92

EDAN-URL:

ead_component:sova-aag-gca-ref16524

Former owner:

Whitehead, Elisabeth  Search this

Whitehead, Mather  Search this

Burr family  Search this

Architect:

Vincente, Paolo  Search this

Clark, Cameron  Search this

Landscape designer:

Ortloff, H. Stuart (Henry Stuart), 1896-  Search this

Raymore, Henry B. (Henry Bond)  Search this

Provenance:

Sasqua Garden Club  Search this

Collection Creator:

Garden Club of America  Search this

Type:

Archival materials

Place:

Burrwood House (Fairfield, Connecticut)

United States of America -- Connecticut -- Fairfield -- Fairfield

Scope and Contents:

1 folder and 37 digital images (which include digital reproductions of historic maps and photographs). The folder includes worksheets, photocopies of articles, illustrated description of house and garden renovation, and owners' garden diary for one year.

Varying Form:

Whitehead Estate, formerly known as.

General:

Burrwood House is a historically significant house and gardens that has been owned by three generations of families since it was built in 1812. It evolved as a working farm under the Burr family, to a gentleman's farm with exquisite gardens in the 1940s with the Whitehead family (with gardens designed by the Ortloff and Raymore), to a genteel country home and gardens after being rescued from demolition by the current family.

When purchased by the current owners in 1997 the Greek revival farmhouse built in 1812 and twentieth century additions, outbuildings, and formal gardens installed by subsequent owners were in a dilapidated state, and development plans for the entire 15-acre property were in dispute. The house and original barn were granted historic status by the state but not legal protection. However when they bought the house and 2.3 acres the owners and developer agreed to save the house and not change its footprint, keep 3,500 feet of existing stone walls, protect 20 mature specimen trees, and preserve significant open space for wildlife. The owners, English ex-pats from the Cotswold region, determined they would blend the trees with understated English perennial gardens with unstructured borders, swathes of perennials beds in pastel colors, and hardscape salvaged from other parts of the estate before it was developed. Work has been ongoing for twenty years, first critical repairs and restoration, then new projects as dictated by nature. Trees that were damaged by storms or diseased, grown too big for their location or too close to the house were removed. Overgrown rhododendron and azalea foundation plantings in front of the house were replaced with more formal boxwood and hollies. Many trees were planted for privacy along the new property lines, including ironwood, laurel, and pine. Dry stone walls softened with climbing hydrangea, post and rail fences and deer fencing were installed.

A red barn for cows built in the 1950's was rebuilt as a garage for classic English cars with two bays around a central dog trot that leads to a raised bed vegetable garden. Rhododendron surrounding rear terraces were replaced with boxwood hedges and perennial beds. A bluestone paved island bed with a statue was built on the site of a defunct pond, and is encircled by more boxwood and flowering perennials. An unsightly greenhouse was replaced with a metal roofed summerhouse used for entertaining, a dense bank of rhododendron was removed and replaced with a patio and perennial bed planted with hyssop and ferns, and an arbor overweighted by wisteria was removed. Gravel with cobblestone edging was laid for the driveway, and gravel walkways were put down in the vegetable garden and leading to the wildlife preserve.

Persons associated with the garden include Lewis and Maritta Burr (former owner, 1812-1867); Burr family members (former owners, 1867-1946); Mather and Elizabeth Whitehead (former owners, 1946-1997); Henry Stuart Ortloff (1896-1967) and Henry Bond Raymore (1895-1984) (landscape architects, 1947); Charles Cameron Clark (1887-1957) (architect, 1947); Paolo Vicente (architect house and outbuilding, 2004 and 2008).

Related Materials:

Additional materials located in Fairfield History Center Library in Fairfield Connecticut and at the Yale University Library in New Haven, Connecticut.

Collection Restrictions:

Access to original archival materials by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.

Collection Rights:

Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.

Topic:

Gardens -- Connecticut -- Fairfield  Search this

Collection Citation:

Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.

Sponsor:

A project to describe images in this finding aid received Federal support from the Smithsonian Collections Care Initiative, administered by the National Collections Program.

Identifier:

AAG.GCA, File CT754

See more items in:

The Garden Club of America collection

The Garden Club of America collection / Series 1: United States Garden Images / Connecticut

Archival Repository:

Archives of American Gardens

GUID:

https://n2t.net/ark:/65665/kb62d079c91-495d-41e4-93a3-201a7b9220b8

EDAN-URL:

ead_component:sova-aag-gca-ref21470

Collection Creator:

Garden Club of America  Search this

Type:

Archival materials

Collection Restrictions:

Access to original archival materials by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.

Collection Rights:

Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.

Collection Citation:

Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.

Sponsor:

A project to describe images in this finding aid received Federal support from the Smithsonian Collections Care Initiative, administered by the National Collections Program.

Identifier:

AAG.GCA, File CT123

See more items in:

The Garden Club of America collection

The Garden Club of America collection / Series 1: United States Garden Images / Connecticut

Archival Repository:

Archives of American Gardens

GUID:

https://n2t.net/ark:/65665/kb66583d199-6191-4551-b38d-5411c628df01

EDAN-URL:

ead_component:sova-aag-gca-ref21588

Landscape architect:

Zion & Breen Associates  Search this

Collection Creator:

Garden Club of America  Search this

Extent:

1 Slide (col.)

Type:

Archival materials

Slides

Place:

Connecticut -- New Canaan

United States of America -- Connecticut -- Fairfield County -- New Canaan

Date:

1930

General:

Zion & Breen served as Landscape Architects at Yale from 1967 - 1982. Presidents garden.

Collection Restrictions:

Access to original archival materials by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.

Collection Rights:

Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.

Topic:

Spring  Search this

Walkways, brick  Search this

Chairs -- Iron  Search this

Outdoor furniture  Search this

Parterres  Search this

Stairs  Search this

Arches  Search this

Tables, iron  Search this

Collection Citation:

Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.

Sponsor:

A project to describe images in this finding aid received Federal support from the Smithsonian Collections Care Initiative, administered by the National Collections Program.

Identifier:

AAG.GCA, Item CT123001

See more items in:

The Garden Club of America collection

The Garden Club of America collection / Series 1: United States Garden Images / Connecticut / CT123: New Canaan -- Yale University

Archival Repository:

Archives of American Gardens

GUID:

https://n2t.net/ark:/65665/kb6105ded8e-1636-4450-8519-f8bc7829ce62

EDAN-URL:

ead_component:sova-aag-gca-ref22481

Landscape architect:

Zion & Breen Associates  Search this

Collection Creator:

Garden Club of America  Search this

Extent:

1 Slide (col.)

Type:

Archival materials

Slides

Place:

Connecticut -- New Canaan

United States of America -- Connecticut -- Fairfield County -- New Canaan

Date:

1984

General:

Zion & Breen served as Landscape Architects at Yale from 1967 - 1982. Marble Garden. Beardsley, John. Earthworks and beyond: Contemporary art in the Landscape. New York: Abbeville Press, 1984.

Collection Restrictions:

Access to original archival materials by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.

Collection Rights:

Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.

Topic:

Spring  Search this

Plazas  Search this

Sculpture  Search this

Collection Citation:

Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.

Sponsor:

A project to describe images in this finding aid received Federal support from the Smithsonian Collections Care Initiative, administered by the National Collections Program.

Identifier:

AAG.GCA, Item CT123002

See more items in:

The Garden Club of America collection

The Garden Club of America collection / Series 1: United States Garden Images / Connecticut / CT123: New Canaan -- Yale University

Archival Repository:

Archives of American Gardens

GUID:

https://n2t.net/ark:/65665/kb63e6ed5e3-f9c8-4a7a-bb01-9d20bff23c68

EDAN-URL:

ead_component:sova-aag-gca-ref22482

Former owner:

Upson, Stephen  Search this

Collection Creator:

Garden Club of America  Search this

Type:

Archival materials

Place:

Upson-Howard Place (Lexington, Georgia)

United States of America -- Georgia -- Oglethorpe County -- Lexington

Scope and Contents:

The folders include worksheets, a brief narrative history of the cemetery, and a photocopy of an article about the cemetery's history.

Biographical / Historical:

Georgia's 59th county was named for Stephen Upson, a noted Georgia lawyer. Born in 1784 or 1785 in Waterbury, Conn., Upson graduated from Yale University in 1804. Because of health reasons, he moved southerward -- first to Virginia, and then in 1807 to Lexington, Ga. Upson died in Aug. 1824 at age 40 and was buried in the Presbyterian Cemetery in Lexington.

General:

Persons associated with the garden include: Stephen Upson (former owner) and William King Howard (former owner, ca. 1903).

Related Materials:

Upson-Howard Place related holdings consist of 1 folders (2 glass lantern slides)

Collection Restrictions:

Access to original archival materials by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.

Collection Rights:

Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.

Topic:

Gardens -- Georgia -- Lexington  Search this

Collection Citation:

Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.

Sponsor:

A project to describe images in this finding aid received Federal support from the Smithsonian Collections Care Initiative, administered by the National Collections Program.

Identifier:

AAG.GCA, File GA003

See more items in:

The Garden Club of America collection

The Garden Club of America collection / Series 1: United States Garden Images / Georgia

Archival Repository:

Archives of American Gardens

GUID:

https://n2t.net/ark:/65665/kb6ce4e9bd0-b288-4ca9-8aec-58fba3db063a

EDAN-URL:

ead_component:sova-aag-gca-ref23193

Creator:

Field, Marshall, III  Search this

Long Island State Park Comm  Search this

Caumsett State Park  Search this

Hopkins, John  Search this

Architect:

Pope, John Russell, 1874-1937  Search this

Warner & Wetmore  Search this

Gardener:

Gillies, George, Mr.  Search this

Landscape architect:

Coffin, Marian Cruger, 1876-1957  Search this

Collection Creator:

Garden Club of America  Search this

Extent:

1 Slide (col.)

Type:

Archival materials

Slides

Books

Place:

New York (State) -- Huntington

United States of America -- New York -- Suffolk County -- Huntington

Date:

1921

General:

Aslet, Clive. American Country House. New Haven: Yale University Press, 1990. 2000 acres - House and sport buildings grouped to the north. Working building clustered around gate lodge to south.

Collection Restrictions:

Access to original archival materials by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.

Collection Rights:

Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.

Topic:

Spring  Search this

Plan views  Search this

Genre/Form:

Books

Collection Citation:

Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.

Sponsor:

A project to describe images in this finding aid received Federal support from the Smithsonian Collections Care Initiative, administered by the National Collections Program.

Identifier:

AAG.GCA, Item NY317006

See more items in:

The Garden Club of America collection

The Garden Club of America collection / Series 1: United States Garden Images / New York / NY317: Huntington -- Caumsett

Archival Repository:

Archives of American Gardens

GUID:

https://n2t.net/ark:/65665/kb61bfcd10a-5aa4-4808-8aac-690714238131

EDAN-URL:

ead_component:sova-aag-gca-ref27739

Creator:

Bloomfield, Leonard, 1887-1949  Search this

Extent:

8 Linear feet (6 document boxes and 13 card file boxes)

Culture:

Lenape (Delaware)  Search this

Cree  Search this

Anishinaabe (Chippewa/Ojibwa)  Search this

Algonquin (Algonkin)  Search this

Shawnee  Search this

Mahican  Search this

Menominee (Menomini)  Search this

Sac and Fox (Sauk & Fox)  Search this

Meskwaki (Fox)  Search this

Type:

Collection descriptions

Archival materials

Date:

undated

Summary:

Bloomfield was one of America's foremost scientific linguists, concerned with theoretical, descriptive, and applied aspects of his field. A teacher of German and an accomplished Indo-European scholar, he also carried out reserch on the languages of non-literated peoples on Algonquian languages.

Scope and Contents:

The collection concerns Bloomfield's work and the work of his students and colleagues--Charles Frederick Voegelin, Morris Swadesh, and Bernard Bloch--on Algonquian languages, particularly Menoninee, Chippewa, Shawnee, Delaware, Fox, Mahican, and Cree. Included are manuscript word lists, grammar notes, and texts together with some related printed and processed materials. In addition, the collection contains weekly summaries used in a Linguistic Institute course on (Oklahoma) Delaware, dated July-August, 1939. Voegelin was the linguist while the speaker was Willie Longbone. There are also a few letters of colleagues and informants (Ruth Landes, Joe Satterlee, Amos Striker, and Voegelin); an early draft of the 1946 publication Algonquian, Viking Fund Publications in Anthroplogy Number 6, pages 85-129; and other writings. Also included, sometimes as waste materials on the backs of newer manuscripts, are materials relating to Bloomfield's work on European languages and on Turkish.

Please note that the contents of the collection and the language and terminology used reflect the context and culture of the time of its creation. As an historical document, its contents may be at odds with contemporary views and terminology and considered offensive today. The information within this collection does not reflect the views of the Smithsonian Institution or National Anthropological Archives, but is available in its original form to facilitate research.

Related Materials:

The Yale University Library and the Hanna Holborn Gray Special Collections Research Center at the University of Chicago Library hold additional Leonard Bloomfield papers.

Restrictions:

The Leonard Bloomfield papers are open for research.

Access to the Leonard Bloomfield papers requires an appointment.

Rights:

Contact the repository for terms of use.

Topic:

Language and languages -- Documentation  Search this

Linguistics  Search this

Citation:

Leonard Bloomfield papers, National Anthropological Archives, Smithsonian Institution

Identifier:

NAA.1981-04

Archival Repository:

National Anthropological Archives

GUID:

https://n2t.net/ark:/65665/nw34004f1af-9dcc-41af-84d8-722ebea6ef32

EDAN-URL:

ead_collection:sova-naa-1981-04

Collection Creator:

Nevelson, Louise, 1899-1988  Search this

Extent:

(Boxes 1-2, 31-35, Sol 42; 6 linear feet)

Type:

Archival materials

Date:

1931-1984

Scope and Contents note:

Series consists primarily of Nevelson's professional correspondence, as well as some personal and family correspondence. Files are typically made up of letters, invitations, greeting cards, and telegrams received by Nevelson, copies of letters sent on her behalf (by lawyers and assistants) or shared with her by others, and photographs, press releases, clippings, and other printed material enclosed with correspondence. Correspondents include artists, dealers, museums, universities, art critics, collectors, arts-related and social organizations, admirers, along with some friends, colleagues, and family members in addition to her son. (See appendix for a select list of notable correspondents.)

General correspondence details the exhibition of Nevelson's work in various group and one-man shows; the consignment, sale, and disposition of her work, especially her dealings with the Martha Jackson Gallery and Daniel Cordier (in Europe); her donations of art work to museums and universities, and for auction by charitable organizations; and the various honors and awards received by her later in her career (including the Creative Arts Medal in Sculpture from Brandeis University and honorary degrees from the Philadelphia College of Art and Bowdoin College, among others). General correspondence also concerns Nevelson's various art-related activities, including her participation on various panels, and in workshops, conferences, and lecture series on art; her involvement in professional organizations, such as the Sculptor's Guild; and her service on various award juries and arts committees (such as the Arts and Entertainment Committee for the Rockefeller Team).

Correspondence is arranged chronologically. Correspondence in this series from the 1966-1979 acquisition has been scanned in its entirety, except for Louise Nevelson's correspondence with her son, Mike. The bulk of correspondence donated by the Farnsworth Art Museum includes an item-level inventory, and is mostly separated by personal and business subject matter.

See Appendix for a list of selected correspondents from Series 2.

Appendix: Selected Correspondents from Series 2:

List represents only a selection of correspondents and does not include names of family.

Albright-Knox Art Gallery: 1971

American Federation of Arts: 1961, 1964

American Women in Radio and Television: 1959

Art in America -- : 1963, 1965

Art Institute of Chicago: 1962

The Artists' Gallery: 1955

Bloch, Ernest: 1933

Bourgeois, Louise: undated

Bowdoin College: 1971

Brandeis University: 1971

Brooklyn Museum: 1956

Brooklyn Society of Artists: 1957

Buffalo Fine Arts Academy: 1962

Calder, Sandy: 1955

Chatham College: 1971

City of Scottsdale, Arizona: 1973

Cleveland Museum of Art: 1977

Colby College: 1957, 1973

Contemporary Arts Association of Houston: 1953

Cordier, Daniel: 1961

Dallas Museum of Fine Arts: 1974

Dehner, Dorothy: 1960

Detroit Institute of the Arts: 1966

Dord Fitz School and Gallery: 1960

Feininger, Lyonel: 1955

Galerie Jeanne-Bucher: 1961

Genauer, Emily: 1955

Grand Central Art Galleries: 1959

Guggenheim, Peggy: 1946

Hamline University: 1970, 1971

Harry Salpeter Gallery: 1961

Hirschhorn, Joseph: 1968

Hobart and William Smith Colleges: 1971

Indiana, Robert: 1966

Jackson, Martha (See Martha Jackson Gallery)

Jacobi, Lotte: 1960, 1963, 1965

Kendall, Tom: 1959, 1961, undated

Knox, Seymour: 1968

Kramer, Hilton: 1957

Lipman, Howard: 1962

Lipton, Seymour: 1955

Mademoiselle -- : 1961, 1962

Martha Jackson Gallery: 1956, 1959, 1960, 1961, 1962, 1967, 1968, undated

Massachusetts Institute of Technology, Center for Advanced Visual Studies: 1971

Miller, Kenneth Hayes: 1931, 1933

Milone, Joe: 1941

Minneapolios College of Art and Design: 1971

Mount Holyoke College: 1962, 1964

Museum of Art, Carnegie Institution: 1967, 1971, 1974

Museum of Fine Arts of Houston: 1954

Museum of Modern Art: 1943, 1953, 1955, 1964, 1967, 1968

National Association of Women Artists: 1953, 1954

National Foundation on the Arts and Humanities: 1966

Neumann, Hans: 1962

Neumann, J. B.: 1954

New School for Social Research: 1961

The New York Times -- : 1968

New York State Council on the Arts: 1968

The New Yorker -- : 1967

Newsweek -- : 1967

Nierenforf, Karl: 1941, 1943, 1946

Nordjyllands Kunstmuseum: 1973

Ono, Yoko: 1971

Pace Gallery: 1976

Pennsylvania Academy of Fine Arts: 1952, 1970

Philadelphia College of Art: 1961, 1968

Philadelphia Museum of Art: 1965

Princeton University: 1962

Queens College: 1958

Rhode Island School of Design: 1971

Riverside Museum: 1964

Rockefeller, Nelson: 1960, 1962, 1966, 1968

Roberts, Collette: 1952, 1953

Robus, Hugo: 1958

Rosenblum, Robert: 1958

Sewall, Mrs. Sumner: 1943

Silvermine Guild of Artists: 1953, 1954, 1955

Skowhegan School of Painting and Sculpture: 1970, 1971

Solomon R. Guggenheim Museum: 1964, 1966

Tamarind Lithography Work Shop: 1971

Tate Gallery: 1963, 1966, 1967, 1968

Teachers College, Columbia University: 1964

Trenton State College: 1961

Tyler, Parker: 1958

United States Committee of the International Association of Art: 1971

University of Alabama, Department of Art: 1964

University of Bridgeport: 1971

University of Nebraska Art Galleries: 1951

Vogue -- : 1964

Wadsworth Atheneum Museum of Art: 1962

Walker Art Center: 1971, 1973

Weber, Max: 1947, 1948, 1950, 1951

Western College for Women: 1964

The White House: 1974

Whitney Museum of American Art: 1950, 1956, 1957, 1962, 1964, 1966, 1967

Wichita State University: 1974

The Woman's College of The University of North Carolina: 1951

Women's Interart Center: 1973

Yale University, Department of Art: 1961

Collection Restrictions:

The bulk of this collection has been digitized and is available online via AAA's website, with the exception of the 2017 addition. Use of material not digitized requires an appointment.

Collection Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Collection Citation:

Louise Nevelson papers, circa 1903-1982. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for a portion of the processing and digitization of this collection was provided by the Terra Foundation for American Art. Additional processing received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.

Identifier:

AAA.neveloui, Series 2

See more items in:

Louise Nevelson papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw93cd690b9-9c7f-4b65-95a4-9fb34488e325

EDAN-URL:

ead_component:sova-aaa-neveloui-ref37

Collection Creator:

Nevelson, Louise, 1899-1988  Search this

Type:

Archival materials

Date:

1959-1979

Scope and Contents note:

Subseries consists of photographs of Nevelson's art work in various exhibitions and on display in various locations. Included are photographs of an exhibition at the Martha Jackson Gallery (October-November, 1959) and of a retrospective at the Whitney Museum in 1979, as well as of a Nevelson work on display at the Tate Gallery; and a photograph album of her one-man show at the Minami Gallery, Tokyo, Japan in 1975. Other photographs include ones of Nevelson's work displayed in the Thorndike Hotel (owned by her brother) and the Queens College library; and ones of Nevelson's outdoor (metal) sculptures installed at Wichita State University, Yale University, and in Italy, as well as ones of a Nevelson wood sculpture in an outdoor setting (not necessarily an outdoor sculpture).

Files are arranged in chronological order.

Collection Restrictions:

The bulk of this collection has been digitized and is available online via AAA's website, with the exception of the 2017 addition. Use of material not digitized requires an appointment.

Collection Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Collection Citation:

Louise Nevelson papers, circa 1903-1982. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for a portion of the processing and digitization of this collection was provided by the Terra Foundation for American Art. Additional processing received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.

Identifier:

AAA.neveloui, Subseries 9.3

See more items in:

Louise Nevelson papers

Louise Nevelson papers / Series 9: Photographs

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9099d05d9-ab13-45be-8ef0-26147beea4da

EDAN-URL:

ead_component:sova-aaa-neveloui-ref390

Photographer:

Elisofon, Eliot  Search this

Collection Photographer:

Elisofon, Eliot  Search this

Extent:

1 Slide (col.)

Culture:

Bamana (African people)  Search this

Type:

Archival materials

Slides

Color slides

Place:

Africa

Mali

Date:

1971

Scope and Contents:

"The male ci wara headdress epitomizes what art historian Robert Goldwater describes as the 'vertical' style, one of the three distinctive regional idioms developed by Bamana blacksmiths that draw upon the form of the antelope to interpret the mythical figure Ci Wara. The soaring vertical axis of the male antelope's horns suggests power and grace. They angle ever so slightly as they rise, bending sharply at the summit in hooked tips. that upward movement is echoed by the ears, which are elongated, narrow vertical volumes. The rest of the headdress, in contrast, is wavy lines and rounded curves. Ci wara headdresses are often augmented with jewelry in anticipation of performances. James Brink comments that 'men are responsible for preparing the headdresses and dressing the performers; women take care of washing the costume and providing the jewelry that will make the headdresses beautiful'." [La Gamma A., 2002: Genesis: Ideas of Origin in African Sculpture. The Metropolitan Museum of Art, New York. Yale University Press, New Haven and London]. This photograph was taken when Eliot Elisofon was on assignment for Westinghouse Film and traveled to Africa from October 26, 1970 to end of March 1971.

Local Numbers:

7

E 1 BMB 1 EE 71

General:

Citation source: Archives staff.

Title is provided by EEPA staff based on photographer's notes.

Local Note:

Selgem EE11915400

A photographic print resides in the collection.

Series Reference: 1.

Frame value is 18.

Slide No. E 1 BMB 1 EE 71

Collection Restrictions:

Use of original records requires an appointment. Contact Archives staff for more details.

Collection Rights:

Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.

Topic:

Rites and ceremonies -- Africa  Search this

Masquerades  Search this

Masks  Search this

Animals in art  Search this

Animals in art -- antelopes  Search this

Animals in art -- Composite animals  Search this

Wood-carving  Search this

Headdresses -- headgear -- Africa  Search this

Genre/Form:

Color slides

Collection Citation:

Eliot Elisofon Field Collection, EEPA 1973-001, Eliot Elisofon Photographic Archives, National Museum of African Art, Smithsonian Institution

Identifier:

EEPA.1973-001, Item EEPA EECL 3363

See more items in:

Eliot Elisofon Field collection

Eliot Elisofon Field collection / Mali

Archival Repository:

Eliot Elisofon Photographic Archives, National Museum of African Art

GUID:

https://n2t.net/ark:/65665/xo730bd5c04-6f8e-4f36-8844-50461421d767

EDAN-URL:

ead_component:sova-eepa-1973-001-ref19735

Photographer:

Elisofon, Eliot  Search this

Collection Photographer:

Elisofon, Eliot  Search this

Extent:

1 Slide (col.)

Culture:

Bamana (African people)  Search this

Type:

Archival materials

Slides

Color slides

Place:

Africa

Mali

Date:

1971

Scope and Contents:

"The male ci wara headdress epitomizes what art historian Robert Goldwater describes as the 'vertical' style, one of the three distinctive regional idioms developed by Bamana blacksmiths that draw upon the form of the antelope to interpret the mythical figure Ci Wara. The soaring vertical axis of the male antelope's horns suggests power and grace. They angle ever so slightly as they rise, bending sharply at the summit in hooked tips. that upward movement is echoed by the ears, which are elongated, narrow vertical volumes. The rest of the headdress, in contrast, is wavy lines and rounded curves. Ci wara headdresses are often augmented with jewelry in anticipation of performances. James Brink comments that 'men are responsible for preparing the headdresses and dressing the performers; women take care of washing the costume and providing the jewelry that will make the headdresses beautiful'." [La Gamma A., 2002: Genesis: Ideas of Origin in African Sculpture. The Metropolitan Museum of Art, New York. Yale University Press, New Haven and London]. This photograph was taken when Eliot Elisofon was on assignment for Westinghouse Film and traveled to Africa from October 26, 1970 to end of March 1971.

Local Numbers:

E 1 BMB 2 EE 71

General:

Title is provided by EEPA staff based on photographer's notes.

Local Note:

7

Frame value is 21.

Slide No. E 1 BMB 2 EE 71

Collection Restrictions:

Use of original records requires an appointment. Contact Archives staff for more details.

Collection Rights:

Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.

Topic:

Rites and ceremonies -- Africa  Search this

Masquerades  Search this

Masks  Search this

Wood-carving  Search this

Animals in art  Search this

Animals in art -- antelopes  Search this

Animals in art -- Composite animals  Search this

Headdresses -- headgear -- Africa  Search this

Genre/Form:

Color slides

Collection Citation:

Eliot Elisofon Field Collection, EEPA 1973-001, Eliot Elisofon Photographic Archives, National Museum of African Art, Smithsonian Institution

Identifier:

EEPA.1973-001, Item EEPA EECL 3364

See more items in:

Eliot Elisofon Field collection

Eliot Elisofon Field collection / Mali

Archival Repository:

Eliot Elisofon Photographic Archives, National Museum of African Art

GUID:

https://n2t.net/ark:/65665/xo7b731a727-4d61-4419-b4cc-0a042bbb7987

EDAN-URL:

ead_component:sova-eepa-1973-001-ref19736

Photographer:

Elisofon, Eliot  Search this

Collection Photographer:

Elisofon, Eliot  Search this

Extent:

1 Slide (col.)

Culture:

Bamana (African people)  Search this

Type:

Archival materials

Slides

Color slides

Place:

Africa

Mali

Date:

1971

Scope and Contents:

"The male ci wara headdress epitomizes what art historian Robert Goldwater describes as the 'vertical' style, one of the three distinctive regional idioms developed by Bamana blacksmiths that draw upon the form of the antelope to interpret the mythical figure Ci Wara. The soaring vertical axis of the male antelope's horns suggests power and grace. They angle ever so slightly as they rise, bending sharply at the summit in hooked tips. that upward movement is echoed by the ears, which are elongated, narrow vertical volumes. The rest of the headdress, in contrast, is wavy lines and rounded curves. Ci wara headdresses are often augmented with jewelry in anticipation of performances. James Brink comments that 'men are responsible for preparing the headdresses and dressing the performers; women take care of washing the costume and providing the jewelry that will make the headdresses beautiful'." [La Gamma A., 2002: Genesis: Ideas of Origin in African Sculpture. The Metropolitan Museum of Art, New York. Yale University Press, New Haven and London]. This photograph was taken when Eliot Elisofon was on assignment for Westinghouse Film and traveled to Africa from October 26, 1970 to end of March 1971.

Local Numbers:

7

General:

Title is provided by EEPA staff based on photographer's notes.

Local Note:

7

Frame value is 22.

Slide No. E 1 BMB 3 EE 71

Collection Restrictions:

Use of original records requires an appointment. Contact Archives staff for more details.

Collection Rights:

Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.

Topic:

Rites and ceremonies -- Africa  Search this

Masquerades  Search this

Masks  Search this

Wood-carving  Search this

Animals in art  Search this

Animals in art -- antelopes  Search this

Animals in art -- Composite animals  Search this

Headdresses -- headgear -- Africa  Search this

Genre/Form:

Color slides

Collection Citation:

Eliot Elisofon Field Collection, EEPA 1973-001, Eliot Elisofon Photographic Archives, National Museum of African Art, Smithsonian Institution

Identifier:

EEPA.1973-001, Item EEPA EECL 3365

See more items in:

Eliot Elisofon Field collection

Eliot Elisofon Field collection / Mali

Archival Repository:

Eliot Elisofon Photographic Archives, National Museum of African Art

GUID:

https://n2t.net/ark:/65665/xo7c1395551-68db-4f89-be7d-2405339ac8f4

EDAN-URL:

ead_component:sova-eepa-1973-001-ref19737

Photographer:

Elisofon, Eliot  Search this

Collection Photographer:

Elisofon, Eliot  Search this

Extent:

1 Slide (col.)

Culture:

Bamana (African people)  Search this

Type:

Archival materials

Slides

Color slides

Place:

Africa

Mali

Date:

1971

Scope and Contents:

"In Antilopes du soleil, his 1980 survey of ci wara, Dominique Zahan classifies this corpus of works in group I, which comprises pairs that overtly emphasize the differentiation of the male and female forms. Zahan notes that the social distinctions between men and women that suffuse Bamana society are referenced in the antelope sculptures through sexual attibutes: the male's penis and the infant carried by the female. Female ci wara headdress are also generally smaller than the males. The fawn depicted on her back is invariably a miniature representation of either the adult male or female. The fundamental differences underlying the designs of the male and female headdresses in this style derive from the fact that they are modeled on different species of animal. The head, neck, ears, and horns of the male form draw upon features of the roan antelope, known as dage, and its lower part refers to the aardvark. The female form is inspired by the oryx antelope." [La Gamma A., 2002: Genesis: Ideas of Origin in African Sculpture. The Metropolitan Museum of Art, New York. Yale University Press, New Haven and London]. This photograph was taken when Eliot Elisofon was on assignment for Westinghouse Film and traveled to Africa from October 26, 1970 to end of March 1971.

Local Numbers:

E 1 BMB 4 EE 71

General:

Title is provided by EEPA staff based on photographer's notes.

Exhibitions Note:

"Convergence," organized and held by Morgan State University on view from December 14, 2002 thru April 13, 2003. LL03-0015

Local Note:

Caption: Bamana Chi-wara (antelope) headdress dancers, near Bamako, Mali. Photograph by Eliot Elisofon, April, 1971. Image no. EEPA 3366. Eliot Elisofon Photographic Archives, National Museum of African Art, Smithsonian Institution.

48

Frame value is 33.

Slide No. E 1 BMB 4 EE 71

Collection Restrictions:

Use of original records requires an appointment. Contact Archives staff for more details.

Collection Rights:

Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.

Topic:

Rites and ceremonies -- Africa  Search this

Dance  Search this

Masquerades  Search this

Masks  Search this

Wood-carving  Search this

Animals in art  Search this

Animals in art -- antelopes  Search this

Animals in art -- Composite animals  Search this

Headdresses -- headgear -- Africa  Search this

Genre/Form:

Color slides

Collection Citation:

Eliot Elisofon Field Collection, EEPA 1973-001, Eliot Elisofon Photographic Archives, National Museum of African Art, Smithsonian Institution

Identifier:

EEPA.1973-001, Item EEPA EECL 3366

See more items in:

Eliot Elisofon Field collection

Eliot Elisofon Field collection / Mali

Archival Repository:

Eliot Elisofon Photographic Archives, National Museum of African Art

GUID:

https://n2t.net/ark:/65665/xo7fd9d54ca-87e6-415b-9882-dbc92f5c6e9f

EDAN-URL:

ead_component:sova-eepa-1973-001-ref19738

Photographer:

Elisofon, Eliot  Search this

Collection Photographer:

Elisofon, Eliot  Search this

Extent:

1 Slide (col.)

Culture:

Bamana (African people)  Search this

Type:

Archival materials

Slides

Color slides

Place:

Africa

Mali

Date:

1971

Scope and Contents:

"In Antilopes du soleil, his 1980 survey of ci wara, Dominique Zahan classifies this corpus of works in group I, which comprises pairs that overtly emphasize the differentiation of the male and female forms. Zahan notes that the social distinctions between men and women that suffuse Bamana society are referenced in the antelope sculptures through sexual attibutes: the male's penis and the infant carried by the female. Female ci wara headdress are also generally smaller than the males. The fawn depicted on her back is invariably a miniature representation of either the adult male or female. The fundamental differences underlying the designs of the male and female headdresses in this style derive from the fact that they are modeled on different species of animal. The head, neck, ears, and horns of the male form draw upon features of the roan antelope, known as dage, and its lower part refers to the aardvark. The female form is inspired by the oryx antelope." [La Gamma A., 2002: Genesis: Ideas of Origin in African Sculpture. The Metropolitan Museum of Art, New York. Yale University Press, New Haven and London]. This photograph was taken when Eliot Elisofon was on assignment for Westinghouse Film and traveled to Africa from October 26, 1970 to end of March 1971.

Local Numbers:

E 1 BMB 4.1 EE 71

General:

Citation source: Archives staff.

Title is provided by EEPA staff based on photographer's notes.

Exhibitions Note:

Contexual image in "African Masks from the Noel Collection" held by the Tubman African American Museum in Macon, Georgia, 2003. LL03-0069

Local Note:

48

Frame value is 32.

Slide No. E 1 BMB 4.1 EE 71

Collection Restrictions:

Use of original records requires an appointment. Contact Archives staff for more details.

Collection Rights:

Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.

Topic:

Rites and ceremonies -- Africa  Search this

Dance  Search this

Masquerades  Search this

Masks  Search this

Wood-carving  Search this

Animals in art  Search this

Animals in art -- antelopes  Search this

Animals in art -- Composite animals  Search this

Headdresses -- headgear -- Africa  Search this

Genre/Form:

Color slides

Collection Citation:

Eliot Elisofon Field Collection, EEPA 1973-001, Eliot Elisofon Photographic Archives, National Museum of African Art, Smithsonian Institution

Identifier:

EEPA.1973-001, Item EEPA EECL 3367

See more items in:

Eliot Elisofon Field collection

Eliot Elisofon Field collection / Mali

Archival Repository:

Eliot Elisofon Photographic Archives, National Museum of African Art

GUID:

https://n2t.net/ark:/65665/xo7460740eb-a048-4dac-9b68-a1b71179e435

EDAN-URL:

ead_component:sova-eepa-1973-001-ref19739