Skip to main content Smithsonian Institution

Search Results

Collections Search Center
5,391 documents - page 1 of 270

B&O Bldg. (?) Blueprint Room

Collection Author:
Garrett, John W. (John Work), 1820-1884  Search this
Latrobe, Benj. H. (Benjamin Henry), 1807-1878  Search this
Collection Creator:
Baltimore and Ohio Railroad Company  Search this
Container:
Box 26, Item 1645
Type:
Archival materials
Negatives
Date:
undated
Collection Restrictions:
The collection is open for research use. Researchers must handle unprotected photographs and glass plate negatives with gloves.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Baltimore and Ohio Railroad Records, Archives Center, National Museum of American History
See more items in:
Baltimore and Ohio Railroad Records
Baltimore and Ohio Railroad Records / Series 9: Negatives / 9.2: Glass Plate Negatives (Numbered)
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep8901724f9-d3b0-42ec-88fc-7dd52853431b
EDAN-URL:
ead_component:sova-nmah-ac-1086-ref4318

A Residence for Mr. And Mrs. James E. Moore Petersburg, VA

Created by:
Julian Abele Cook Sr., American, 1904 - 1986  Search this
Medium:
Prussian blue on photographic paper
Dimensions:
H x W (a): 17 15/16 × 25 1/16 in. (45.6 × 63.6 cm)
H x W (b): 17 15/16 × 25 3/16 in. (45.6 × 63.9 cm)
H x W (c): 18 1/8 × 25 1/4 in. (46 × 64.2 cm)
H x W (d): 18 1/8 × 25 3/16 in. (46 × 64 cm)
H x W (d): 18 1/8 × 25 3/16 in. (46 × 64 cm)
H x W (e): 18 1/8 × 25 3/16 in. (46 × 64 cm)
H x W (f): 18 1/8 × 25 3/16 in. (46 × 64 cm)
H x W (g): 18 1/8 × 25 3/16 in. (46.1 × 64 cm)
H x W (h): 18 1/8 × 25 3/16 in. (46 × 64 cm)
H x W (i): 18 3/16 × 25 3/16 in. (46.2 × 64 cm)
H x W (j): 17 15/16 × 25 in. (45.6 × 63.5 cm)
H x W (k): 17 15/16 × 25 in. (45.6 × 63.5 cm)
H x W (l): 18 1/8 × 25 1/4 in. (46 × 64.2 cm)
H x W (m): 18 1/8 × 25 1/4 in. (46 × 64.1 cm)
Type:
blueprints
Place depicted:
Petersburg, Dinwiddie County, Virginia, United States, North and Central America
Date:
1941
Topic:
African American  Search this
Architecture  Search this
Craftsmanship  Search this
Design  Search this
Domestic life  Search this
Housing  Search this
Credit Line:
Collection of the Smithsonian National Museum of African American History and Culture, Gift of Peter Cook in honor of Julian Francis Abele and Julian Abele Cook, Sr.
Object number:
2021.95.15a-m
Restrictions & Rights:
© Estate of Julian Abele Cook Sr.
Permission required for use. Proper usage is the responsibility of the user.
See more items in:
National Museum of African American History and Culture Collection
Classification:
Decorative Arts, Craft, and Design
Data Source:
National Museum of African American History and Culture
GUID:
http://n2t.net/ark:/65665/fd588ee1c53-612c-493c-a14a-d808a1a2aae9
EDAN-URL:
edanmdm:nmaahc_2021.95.15a-m

A Residence For Mr. And Mrs. Donald F. Cardoza To Be Located at Forty Fourth & Marne Streets N.E. Washington D.C.

Title:
Architectural blueprints created by Julian Abele Cook
Created by:
Julian Abele Cook Sr., American, 1904 - 1986  Search this
Medium:
Prussian blue on photographic paper
Dimensions:
H x W (a): 17 3/8 × 36 5/8 in. (44.1 × 93 cm)
H x W (b): 17 5/16 × 36 7/16 in. (44 × 92.5 cm)
H x W (c): 17 5/16 × 36 11/16 in. (44 × 93.2 cm)
H x W (d): 17 1/4 × 36 5/8 in. (43.8 × 93 cm)
H x W (e): 17 5/16 × 34 5/16 in. (43.9 × 87.1 cm)
H x W (f): 17 5/16 × 36 7/16 in. (43.9 × 92.5 cm)
H x W (g): 17 5/16 × 32 7/8 in. (43.9 × 83.5 cm)
H x W (h): 17 5/16 × 36 1/4 in. (43.9 × 92 cm)
H x W (i): 17 1/4 × 36 7/16 in. (43.8 × 92.5 cm)
H x W (j): 17 1/4 × 36 1/4 in. (43.8 × 92 cm)
H x W (k): 17 3/8 × 36 in. (44.1 × 91.5 cm)
H x W (l): 17 5/16 × 36 11/16 in. (44 × 93.2 cm)
Type:
blueprints
Place depicted:
District of Columbia, Washington, United States, North and Central America
Date:
mid 20th century
Topic:
African American  Search this
Architecture  Search this
Craftsmanship  Search this
Design  Search this
Domestic life  Search this
Housing  Search this
Credit Line:
Collection of the Smithsonian National Museum of African American History and Culture, Gift of Peter Cook in honor of Julian Francis Abele and Julian Abele Cook, Sr.
Object number:
2021.95.16a-l
Restrictions & Rights:
© Estate of Julian Abele Cook Sr.
Permission required for use. Proper usage is the responsibility of the user.
See more items in:
National Museum of African American History and Culture Collection
Classification:
Decorative Arts, Craft, and Design
Data Source:
National Museum of African American History and Culture
GUID:
http://n2t.net/ark:/65665/fd5f1cad483-fcfc-47cf-ac79-ef56cf6fc0f1
EDAN-URL:
edanmdm:nmaahc_2021.95.16a-l

Greenwood -- Tiverton Farm

Provenance:
Albemarle Garden Club  Search this
Landscape architect:
Gillette, Charles F.  Search this
Lilly, Rachel  Search this
Architect:
Lindner, Carl Max  Search this
Sutphin, Adams  Search this
Photographer:
Erler, Catriona Tudor  Search this
Collection Creator:
Garden Club of America  Search this
Type:
Archival materials
Place:
United States of America -- Virginia -- Albemarle County -- Greenwood
Scope and Contents:
This file contains 35 digital images and 1 folder.
General:
Tiverton, a 466.67-acre property in Greenwood, Virginia, dates to the early 1800s when it was part of extensive farmland owned by James Marshall Bowen and his wife Frances Starke Bowen. After changing hands multiple times, Marie Owsley purchased the farm in October 1900, tore down the existing house, and built a mansion that was completed in 1906. At that time there also were various barns, silos, and outbuildings, and a greenhouse built circa 1896.
There are photographs taken in 1912 that show a traditional, colonial style "falling" garden consisting of three terraces on the east side of the house that connected to a series of formal garden rooms to the south, however it is not known whether Marie Owsley commissioned those gardens, or if they were already there.
In 1935 a fire damaged the house interior. Then-owner Mariska Owsley hired architect Carl Max Lindner to restore the house and commissioned Virginia landscape architect Charles F. Gillette to redesign the tired, old garden. Gillette reconfigured the three terraces into two, built brick retaining walls, each topped with a brickwork balustrade, and a wide brick stair with a demilune landing to link the two levels.

Gillette's upper terrace had a central brick path flanked by Magnolia grandiflora trees planted in 1936. The landing's half-moon shape is echoed in the lower terrace by the curved form of the brick terrace at the eastern end of this level, and in the arcs at the east-west ends of the central pool. The drama of this space is in its simplicity: a horizontal plane comprised of a lawn, a centrally placed pool, and a brick patio at the far end. Axial paths to the north and south lead to formal garden rooms

When Coran Capshaw purchased the property in 2008, the Gillette garden was overgrown, and the brick walls were crumbling. He and his wife Parke recognized the importance of Gillette's designs, and fortunately had the original blueprints. In 2013 they commissioned the nationally recognized Gillette expert, landscape architect Rachel Lilly, to restore the Gillette gardens and create additional garden spaces.

Working with architect Adams Sutphin, Lilly rebuilt the leaking pool and crumbling brick walls. They used three different bricks to recreate the original Gillette look. Lilly simplified Gillette's more complex planting schemes to reduce maintenance. The mixed borders in the lower terrace are now planted with a row of boxwoods (Buxus sempervirens) fronted by a hedge of Russian sage (Perovskia atriplicifolia). The parterre rose gardens in Gillette's formal garden rooms are now axial brick paths running through lawn and edged with single pink Knock Out® roses. Shrubs add interest in the corners of these spaces.

Lilly also designed additional gardens, including a butterfly border and an enclosed vegetable garden with seven raised beds and custom hoop covers. To take advantage of the view of the Blue Ridge Mountains, she designed a terrace on the west side of the house near the kitchen. Enclosed by low-growing boxwoods, it is paved with blue stone laid in a diamond pattern, and has a 70-inch-wide cast stone "Lagoon" planter from the English company Haddonstone in the central brick roundel.

To the south is a swimming pool complex designed by Lilly and architect Adams Sutphin. It features a covered pool house with kitchen, a fireplace, arbor, spa area and panoramic mountain views.

To the south is a swimming pool complex designed by Lilly and architect Adams Sutphin. It features a covered pool house with kitchen, a fireplace, arbor, spa area and panoramic mountain views.
Persons associated with this property include: Colonel James M. Bowen (former owner, 1850); Carl Max Lindner (architect, 1935-1936); Charles Gillette (landscape architect, 1935-1945); Andrew Sutphin (architect, 2008-2016); Rachel "Rusty" Lilly (landscape designer, 2013—2016); Maggie Stemman Thompson (head gardener, 2015– ); Edward Pelton (metalwork for gate repair and other ongoing projects); Jim Smith (technical and historic consultant for greenhouse restoration, 2013-2016).
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 -- Virginia -- Greenwood  Search this
Tiverton (Greenwood, Virginia)  Search this
Collection Citation:
Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.
Identifier:
AAG.GCA, File VA516
See more items in:
The Garden Club of America collection
The Garden Club of America collection / Series 1: United States Garden Images / Virginia
Archival Repository:
Archives of American Gardens
GUID:
https://n2t.net/ark:/65665/kb6d2590288-114b-4890-87f8-e15af22640d2
EDAN-URL:
ead_component:sova-aag-gca-ref33247

Knoxville -- VanDeventer-Haslam Garden

Photographer:
Colquitt, Elle  Search this
Owner:
Haslam, Bill, 1958-  Search this
Haslam, Crissy  Search this
Landscape architect:
Jensen, Jens, 1860-1951  Search this
Page, Ben  Search this
Architect:
Barber, Charles Ives, 1887-1962  Search this
Provenance:
Knoxville Garden Club  Search this
Collection Creator:
Garden Club of America  Search this
Type:
Archival materials
Place:
VanDeventer-Haslam Garden (Knoxville, Tennessee)
United States of America -- Tennessee -- Knox County -- Knoxville
Scope and Contents:
29 digital images (2021-2022).
General:
The VanDeventer-Haslam Garden is located in West Knox County, Tennessee along the Tennessee River. Established in 1924, the 66.6-acre property offers examples of the work of landscape architect Jens Jensen. In, 2018 Nashville landscape architect Ben Page was selected by the owners, former Tennessee Governor Bill and Crissy Haslam, to supervise the restoration of the woodland, meadow, formal and informal gardens.

Jen Jensen's design blueprints, personal correspondence, and hand-written plant lists remain in the owner's possession, as do historic photos of the property. The original plans for the estate focused on several sites including the swimming hole, tennis court, woodland garden, rose garden, and the gardens surrounding the house. Ben Page's thoughtful restoration celebrates the graceful curves, native plants, woodland pathways, and stone hardscape laid down nearly a century ago. At the same time, he has invigorated the property with his brand of modern aesthetic.

The woodland hillside "swimming hole" is as alluring as it was generations ago with invisible improvements allowing for easier more efficient maintenance. Adjacent to the swimming hole, a council ring, and fire pit still welcome warm gatherings. This wooded wonderland is bordered by a stone wall and features the original his and her changing rooms. The former tennis court and rose garden have been replaced with a revived players' green, pickleball court, and treehouse. A home originally built for a furniture maker remains and the nearby stone workshop has been transformed into a playhouse. The traditional gardens surrounding the residence consist mostly of boxwoods and deer-resistant perennials. Throughout the property, an effort has been undertaken to restore the native wildflowers and trees. Originally called "Konnaseetah," which means "dogwood" in Native Cherokee the property is laden with East Tennessee's favorite flowering tree. Descendants of original trillium and fern proliferate in the woods.

In addition to the restoration and re-imaginings of the Jensen features, the Haslams have made other additions to the property. A new entrance allows for safer access while still ascending through the woods to the circular driveway and home. From the home's back yard, when the surrounding hardwoods lose their leaves, there is a wide view of the river. On the sweeping green behind the residence, a modern pool provides a more formal centerpiece for entertaining and when the hardwoods drop their leaves, a wide view of the river remains. New seating areas are in keeping with the home's architecture and are substantial modern additions, fully expected to survive the next century or two with grace.

The English Revival Tudor house was designed by local architect Charles Barber in 1924.
Persons associated with the design of the garden include Jens Jensen (landscape architect, 1924), Mr. Beardsley (gardener, 1924-), Ben Page (landsacpe architect, 2018), Brian Campbell (gardener, 2019-).
Provenance:
The Knoxville Garden Club facilitated the 2022 garden documentation.
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 -- Tennessee -- Knoxville  Search this
Formal gardens  Search this
Historic landscapes  Search this
Meadows  Search this
Night gardens  Search this
Native plant gardens  Search this
Rock gardens  Search this
Gardening in the shade  Search this
Woodland gardens  Search this
Collection Citation:
Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.
Identifier:
AAG.GCA, File TN128
See more items in:
The Garden Club of America collection
The Garden Club of America collection / Series 1: United States Garden Images / Tennessee
Archival Repository:
Archives of American Gardens
GUID:
https://n2t.net/ark:/65665/kb61c1e0bac-41e2-42f2-852a-4c5f4d653e83
EDAN-URL:
ead_component:sova-aag-gca-ref33276

ODEX I Walking Robot Collection

Creator:
Odetics, Inc.  Search this
Names:
Odetics, Inc.  Search this
Extent:
0.6 Cubic feet (2 boxes)
Type:
Collection descriptions
Archival materials
Date:
1973-1986
Scope and Contents:
The collection includes memoranda, notebooks, drawings, blueprints, photographs, and video cassette tapes related to the design, manufacture of the "first functionoid," Odex I. The documentation for Odex I and general and financial information on Odetics, Inc. consists of numerous publicity releases, photographs, press clippings and magazine articles describing the robot. Also included are two video tapes (19mm). The first (20 minutes) is a series of TV stations and CBS news. The second tape (1 hour) is a record of the March 22, 1983 news conference hosted by Joel Slutzky, chairman of Odetics, inc. This includes an initial presentation on the history and purpose of the robot, a demonstration of its capabilities and multi-city closed-circuit question and answer period in which Slutzky and several technicians answer questions from the press representatives.
Arrangement:
The collection is arranged into one series.
Biographical / Historical:
This material represents documentation for the walking robot Odex I presented to the National Musuem of American History by Odetics, Inc. of Anaheim, California on April 21, 1986. Odex I was produced by Odetics, Inc. over the period 1973-1983. It was exhibited at the National Museum of American History in 1986.
Provenance:
Collection donated by Odetics, Inc., April 29, 1986.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Citation:
ODEX I Walking Robot Collection, Archives Center, National Museum of American History
Identifier:
NMAH.AC.0203
See more items in:
ODEX I Walking Robot Collection
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep81afb4e36-a52a-4bca-89bf-bf553bfffc1e
EDAN-URL:
ead_collection:sova-nmah-ac-0203

Pixar - Brave Character Design

Creator:
Cooper Hewitt, Smithsonian Design Museum  Search this
Type:
YouTube Videos
Uploaded:
2015-10-08T16:46:15.000Z
YouTube Category:
Education  Search this
Topic:
Design  Search this
See more by:
cooperhewitt
Data Source:
Cooper Hewitt, Smithsonian Design Museum
YouTube Channel:
cooperhewitt
EDAN-URL:
edanmdm:yt_1uYI8T5dvf0

Rebellion in Design: Developing a Blueprint for the Future

Creator:
Cooper Hewitt, Smithsonian Design Museum  Search this
Type:
Conversations and talks
YouTube Videos
Uploaded:
2020-09-24T05:58:44.000Z
YouTube Category:
Entertainment  Search this
Topic:
Design  Search this
See more by:
cooperhewitt
Data Source:
Cooper Hewitt, Smithsonian Design Museum
YouTube Channel:
cooperhewitt
EDAN-URL:
edanmdm:yt_wmygYmJz8Pw

Exploring the Moon and Mars: Learning to Work and Live in Space

Creator:
National Air and Space Museum  Search this
Type:
YouTube Videos
Uploaded:
2023-05-25T13:28:43.000Z
YouTube Category:
Science & Technology  Search this
Topic:
Aeronautics;Flight;Space Sciences  Search this
See more by:
airandspace
Data Source:
National Air and Space Museum
YouTube Channel:
airandspace
EDAN-URL:
edanmdm:yt_kHUbKP2VJ1o

Garden Images

Landscape architect:
Wheeler, Perry H., 1914-1989  Search this
Architect:
Roudebush, Francis W.  Search this
Former owner:
Cole, Glen W. Mrs.  Search this
Collection Landscape architect:
Wheeler, Perry H., 1914-1989  Search this
Collection Photographer:
Stengle, James M., Dr.  Search this
Collection Creator:
University of Georgia  Search this
Garden Club of America  Search this
Emory University  Search this
American Society of Landscape Architects  Search this
Type:
Archival materials
Place:
Cole Garden (Corning, New York)
United States of America -- New York -- Steuben County -- Corning
Scope and Contents:
The folders include worksheets and other information.
General:
Perry H. Wheeler did the landscape design work for Mrs. Glen W. Cole's home on Spencer Hill in Corning, New York, during the late 1950s. Mrs. Cole's husband had been president of the Corning Glass Works from 1941 to 1946. Wheeler's photographs show the home's stone terrace in spring, with its tulip bed accents, flowering trees, and striking views of the surrounding hills. Outdoor furnishings with umbrellas and an awning for shade completed this ideal setting for entertaining. Plans in the series include Wheeler's graphite drawings, while the blueprints are of architect Francis W. Roudebush's designs for the house.
Persons associated with the garden include Perry H. Wheeler (landscape architect, ca. 1956-1958); Francis W. Roudebush (architect, ca. 1955-1956); and Mrs. Glen W. Cole (former owner, ca. 1955-1960).
Related Materials:
Cole Garden related holdings consist of 2 folders (5 slides (photographs); 1 photographic print; 7 blueprints; 3 plans)
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 -- New York -- Corning  Search this
Collection Citation:
Smithsonian Institution, Archives of American Gardens, Perry H. Wheeler collection.
Identifier:
AAG.WHE, File NY371
See more items in:
Perry H. Wheeler collection
Perry H. Wheeler collection / Project Files / New York / NY371: Corning -- Glen W. Cole Garden
Archival Repository:
Archives of American Gardens
GUID:
https://n2t.net/ark:/65665/kb677274e8b-6b9a-438d-bfd5-bfa8d55abfbf
EDAN-URL:
ead_component:sova-aag-whe-ref1036

Herter Garden, Garden Images

Landscape architect:
Wheeler, Perry H., 1914-1989  Search this
Former owner:
Herter, Christian Archibald, 1895-1966  Search this
Herter, Mary Caroline Pratt, 1895-1980  Search this
Collection Landscape architect:
Wheeler, Perry H., 1914-1989  Search this
Collection Photographer:
Stengle, James M., Dr.  Search this
Collection Creator:
University of Georgia  Search this
Garden Club of America  Search this
Emory University  Search this
American Society of Landscape Architects  Search this
Type:
Archival materials
Place:
Herter Garden (Washington, D.C.)
United States of America -- District of Columbia -- Washington
Scope and Contents:
The folders include worksheets, copies of magazine and newspaper articles featuring the garden, orders and invoices, correspondence, and other information.
General:
The Georgetown garden of Christian A. Herter and Mary Caroline Pratt Herter involved Perry Wheeler for a period of about 10 years. Wheeler's association began in 1954, when he provided additions to an original plan (with plant names) by Cary Millholland Parker, and lasted until at least 1964, when he created a new design for the garden's pool. Typical of Georgetown gardens, the Herter Garden occupied a relatively small space behind its Federal period house, situated cheek by jowl with its neighbors. Privacy was provided by brick walls, a bamboo fence, and shrub and tree plantings. A wide brick walkway led to a small ornamental pool at the back of the garden, while smaller brick walkways provided additional circulation. Azaleas, magnolia, boxwood, spring bulbs, and other plantings amply filled the garden space, while seating was provided on a terrace area near the pool.
Persons associated with the garden include Perry H. Wheeler (landscape architect, 1954-1964) and Christian Archibald and Mary Caroline Pratt Herter (former owners, 1943-1980).
Related Materials:
Herter Garden related holdings consist of 3 folders (30 slides (photographs); 2 photographic prints; 1 safety film negative; 10 plans; 3 drawings; 1 blueprint)
See others in:
Garden Club of America Collection, ca. 1920-[ongoing].
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 -- Washington (D.C.)  Search this
Collection Citation:
Smithsonian Institution, Archives of American Gardens, Perry H. Wheeler collection.
Identifier:
AAG.WHE, File DC020
See more items in:
Perry H. Wheeler collection
Perry H. Wheeler collection / Project Files / District of Columbia / DC020: Washington -- Christian A. Herter Garden
Archival Repository:
Archives of American Gardens
GUID:
https://n2t.net/ark:/65665/kb6394887cf-378f-4ad9-9c03-975482542cb1
EDAN-URL:
ead_component:sova-aag-whe-ref1009

T.B. Cryer Company Records

Creator:
T.B. Cryer Company  Search this
Collector:
National Museum of American History (U.S.). Division of History of Technology  Search this
National Museum of American History (U.S.). Division of Mechanical and Civil Engineering  Search this
Extent:
2.5 Cubic feet (1 box, 17 map folders)
Type:
Collection descriptions
Archival materials
Drawings
Specifications
Tracings
Place:
Montclair (N.J.)
Newark (N.J.)
Orange (N.J.)
West Orange (N.J.)
Date:
1892-1950
Summary:
Collection documents select plumbing and heating projects undertaken by the T.B. Cryer Company in New Jersey.
Scope and Contents:
These records contain plans and specifications for plumbing and heating systems installed in residences, schools, and public buildings in Newark, Orange, East Orange, West Orange, Montclair, and other locations in New Jersey. The drawings consist of blueprints, pencil tracings, linen and typescript contracts and specifications, and correspondence related to the projects.
Arrangement:
Collection is arranged into two series.

Series 1: List of Drawings (by Project Number), 1962, undated

Series 2: Projects, 1892-1950
Biographical:
Thomas Blackburn Cryer (1864-1935) was born in London, Ontario, Canada and came to the United States in 1909 and formed a heating, ventilating and contracting and engineering firm, T.B. Cryer Company in Newark, New Jersey.

Sources

New York Times, "Thomas B. Cryer," March 29, 1935.
Related Materials:
Materials at Smithsonian Libraries

Smithsonian Libraries Trade Literature Collection holds a proposal from T.B. Cryer Company (1922) related to oil burners by Schuette & Koerting Company.
Provenance:
Donated to the National Museum of History and Technology (now called the National Museum of American History) by Clifford T.l. Cryer in 1962.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Heating and ventilating  Search this
Housing  Search this
Plumbing  Search this
Public buildings  Search this
Genre/Form:
Drawings
Specifications
Tracings
Citation:
T.B. Cryer Company Records, Archives Center, National Museum of American History.
Identifier:
NMAH.AC.1085
See more items in:
T.B. Cryer Company Records
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep838dfad9d-bac2-443a-bf8e-71f2efee0e33
EDAN-URL:
ead_collection:sova-nmah-ac-1085

Schematic for the Computer System X-66744, Bell Telephone Laboratories

Maker:
Bell Telephone Laboratories  Search this
Physical Description:
paper (overall material)
Measurements:
overall (folded): 28 in x 37 1/4 in x 1/4 in; 71.12 cm x 94.615 cm x .635 cm
Object Name:
blueprint
Place made:
United States: New York, New York City
Date made:
1952-09-25
Subject:
Mathematics  Search this
Credit Line:
Gift of New Mexico State University
ID Number:
1983.3018.10.06
Nonaccession number:
1983.3018
Catalog number:
1983.3018.10.06
See more items in:
Medicine and Science: Mathematics
Computers & Business Machines
Data Source:
National Museum of American History
GUID:
http://n2t.net/ark:/65665/ng49ca746b4-8335-704b-e053-15f76fa0b4fa
EDAN-URL:
edanmdm:nmah_1940585

Bill Shoemaker

Artist:
Zbigniew Nyczak, born 1955  Search this
Sitter:
William Lee Shoemaker, 19 Aug 1931 - 12 Oct 2003  Search this
Medium:
Oil on canvas
Dimensions:
Stretcher: 61 x 91.4 x 1.9cm (24 x 36 x 3/4")
Frame: 87 x 117.2 x 6.4cm (34 1/4 x 46 1/8 x 2 1/2")
Type:
Painting
Place:
United States\California
Date:
1994
Topic:
Nature & Environment\Animal\Horse  Search this
Equipment\Sports Equipment\Equestrian Gear\Riding Crop  Search this
Costume\Dress Accessory\Neckwear\Tie\Bowtie  Search this
Exterior\Sports arena\Racetrack  Search this
Costume\Headgear\Hat\Cap\Jockey cap  Search this
William Lee Shoemaker: Male  Search this
William Lee Shoemaker: Sports and Recreation\Athlete\Equestrian\Jockey  Search this
Portrait  Search this
Credit Line:
National Portrait Gallery, Smithsonian Institution; gift of Zbigniew Nyczak and the Shoemaker Foundation
Object number:
NPG.96.11
Restrictions & Rights:
Usage conditions apply
Copyright:
© Zbigniew Nyczak
See more items in:
National Portrait Gallery Collection
Exhibition:
Champions
On View:
NPG, South Gallery 342 Mezzanine
Data Source:
National Portrait Gallery
GUID:
http://n2t.net/ark:/65665/sm4f26ba671-2358-41d2-8c24-69b3f7c26680
EDAN-URL:
edanmdm:npg_NPG.96.11

Exhibition Records

Collection Creator:
Lowry, Janice Ann, 1946-2009  Search this
Container:
Box 1, Folder 12
Type:
Archival materials
Date:
circa 1983-1985
Collection Restrictions:
Use of original papers 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:
Janice Lowry papers, 1957-2009. Archives of American Art, Smithsonian Institution.
See more items in:
Janice Lowry papers
Janice Lowry papers / Series 1: Biographical Material
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw91832e2d3-a8c3-4b9e-ab7b-78848397c978
EDAN-URL:
ead_component:sova-aaa-lowrjani-ref22
1 Page(s) matching your search term, top most relevant are shown: View entire project in transcription center
  • View Exhibition Records digital asset number 1

L. A. Grows, (sculpture)

Title:
Los Angeles Grows, (sculpture)
Sculptor:
Sheets, Tony 1942-  Search this
Medium:
Cast concrete
Culture:
Indian  Search this
Spanish  Search this
Chinese  Search this
Type:
Sculptures-Outdoor Sculpture
Sculptures-Relief
Sculptures-Architectural component
Sculptures
Owner/Location:
Administered by Los Angeles Times Times Mirror Square Los Angeles California
Located Los Angeles Times Parking Garage Broadway Street near 2nd Street Los Angeles California
Date:
1988-1989
Topic:
History--United States--California  Search this
Figure group  Search this
Ethnic  Search this
Object--Foodstuff--Nuts  Search this
Occupation--Religion--Clergy  Search this
Architecture--Religious--Mission  Search this
Equestrian  Search this
Occupation--Other--Explorer  Search this
Architecture--Boat--Sailing Ship  Search this
Object--Tool--Shovel  Search this
Object--Tool--Axe  Search this
Architecture--Vehicle--Train  Search this
Occupation--Labor  Search this
Architecture--Vehicle--Carriage  Search this
Occupation--Other--Cowboy  Search this
Animal--Cattle  Search this
Occupation--Education--Teacher  Search this
Architecture--Education  Search this
Landscape--Orchard--Orange Grove  Search this
Architecture--Machine--Oil Rig  Search this
Architecture--Industry--Waterwork  Search this
Architecture--Vehicle--Spacecraft  Search this
Architecture--Vehicle--Airplane  Search this
Cityscape--California--Los Angeles  Search this
Occupation--Art--Architect  Search this
Object--Other--Computer  Search this
Occupation--Science  Search this
Recreation--Sport & Play--Basketball  Search this
State of Being--Disabled--Physical Disability  Search this
Dress--Ethnic--Spanish Dress  Search this
Control number:
IAS CA001379
Data Source:
Art Inventories Catalog, Smithsonian American Art Museums
EDAN-URL:
edanmdm:siris_ari_337286

Thomas Warren Sears photograph collection

Topic:
Landscape architecture
Creator:
Sears, Thomas Warren, 1880-1966  Search this
Sears & Wendell  Search this
Olmsted Brothers  Search this
Harvard University  Search this
American Society of Landscape Architects  Search this
Donor:
Tibbetts, Eleanor Sears  Search this
Extent:
44.5 Cubic feet (4,317 glass negatives. 363 film negatives. 182 glass lantern slides. 12 photograph albums. 56 plans and drawings. 3 monographs. )
Type:
Collection descriptions
Archival materials
Negatives
Blueprints
Albums
Plans (drawings)
Lantern slides
Date:
1899-1964
Summary:
The Thomas Warren Sears Photograph Collection documents examples of the design work of Thomas Warren Sears (1880-1966), a landscape architect and amateur photographer from Brookline, Massachusetts. Sears, who was based for most of his career in Philadelphia, designed a variety of different types of landscapes ranging from private residences, schools, and playgrounds to parks, cemeteries, and urban housing developments located primarily in Pennsylvania, Maryland, and New York. In addition to some of Sears' design work, images in the collection document Sears' domestic and foreign travels, design inspirations, and family. The collection includes over 4,800 black and white negatives and glass lantern slides dated circa 1899 to 1930. While most images show private and public gardens, there are a significant number of unidentified views and views photographed in Europe during two trips he took there in 1906 and 1908. Few images are captioned or dated. In addition, there are over 50 plans and drawings, most notably for Balmuckety in Pikesville, Maryland and Reynolda in Winston-Salem, North Carolina, and 3 monographs by or about Sears.
Scope and Contents note:
The Thomas Warren Sears Photograph Collection documents examples of the design work of Thomas Warren Sears (1880-1966), a landscape architect and amateur photographer from Brookline, Massachusetts. Sears, who was based for most of his career in Philadelphia, designed a variety of different types of landscapes ranging from private residences, schools, and playgrounds to parks, cemeteries, and urban housing developments located primarily in Pennsylvania, Maryland, and New York. In addition to some of Sears' design work, images in the collection document Sears' domestic and foreign travels, design inspirations, and family. The collection includes over 4,800 black and white negatives and glass lantern slides dated circa 1899 to 1930. While most images show private and public gardens, there are a significant number of unidentified views and views photographed in Europe during two trips he took there in 1906 and 1908. Few images are captioned or dated. In addition, there are over 50 plans and drawings, most notably for Balmuckety in Pikesville, Maryland and Reynolda in Winston-Salem, North Carolina, and monographs by or about Sears. Several of the glass lantern slides are duplicates of glass plate negatives in the collection. They apparently were chosen by Sears to illustrate some of his best design work, perhaps for lecture or client purposes.

In addition, there are 56 plans and drawings, most notably for Balmuckety in Pikesville, Maryland and Reynolda in Winston-Salem, North Carolina. They range in date from 1917 to 1937 and from 1955 to 1964. Sears photographed some of his early plans; they are included in with the photographic images. Sears also photographed a handful of design plans by landscape architect Sibley Coslett Smith who practiced in Providence, Rhode Island; Sears and Smith shared the same business address there.

The Thomas Warren Sears Collection does not fully document the extent of Sears' design work. The use of glass plate negatives—which make up the bulk of the Thomas Warren Sears Collection—as a photography medium waned sometime during the first quarter of the twentieth century. As a result, the images in the Sears Collection capture examples of Sears' early to mid-career design work but they do not include jobs designed by Sears during the latter half of his design career.
Arrangement note:
The glass plate negatives were originally housed in numerous cardboard boxes manufactured for the sale of undeveloped glass plate negatives. Sears annotated the outside of the boxes with project or client names and/or locations, but the contents do not always match these labels. In addition, because very few of the glass plate negatives and lantern slides were labeled or captioned, it is not always evident where one job ended and another began if multiple projects were stored in the same carton. As a result, there are many instances in the Sears Collection where images have been inadvertently mislabeled because their identification is not apparent. Misidentified images are subject to correction as their proper identification is discovered. Each project has been assigned its own unique AAG job number based on its geographic origin. Those groups of images that have not been identified as to their location have been assigned a project number starting with 'SRS.' The collection is arranged into 3 series: 1) Photographic images (including glass plate negatives, film negatives, glass lantern slides, and photograph albums) 2) Plans and Drawings 3) Monographs
Biographical/Historical note:
Thomas Warren Sears was born in 1880 in Brookline, Massachusetts. He received a Bachelor of Arts degree from Harvard University in 1903 and Bachelor of Science degree in landscape architecture from the Lawrence Scientific School of Harvard in 1906. Sears was an amateur photographer who won awards for his photography while at Harvard. In 1915 his images were published in the monograph, Parish Churches of England. After graduation he worked for the firm of Olmsted Brothers Landscape Architects for two years and then briefly practiced in Providence, Rhode Island. In 1913, Sears established a landscape design office in Philadelphia, Pennsylvania where he spent the remainder of his professional career. Sears at one point was in a professional partnership; some of his design plans list the firm name of Sears and Wendell. He was made a Fellow of the American Society of Landscape Architects in 1921.

Sears designed many different types of landscapes ranging from private residences, schools, and playgrounds to parks, cemeteries, and urban housing developments. His designs were primarily located in Pennsylvania, Maryland, and New York. Just a few of his private landscapes include Marengo in Easton, Maryland; Sunnybrook, the Isaac H. Clothier, Jr. estate in Radnor, Pennsylvania; and Balmuckety in Pikesville, Maryland. In 1915, Sears started work on Reynolda, a country estate in Winston-Salem, North Carolina. He generated design plans for the property intermittently over the next two decades. Reynolda's formal gardens, greenhouses, and acres of fields and woodlands subsequently became part of Wake Forest University.

During World War I, Sears designed Army camps in Battle Creek, Michigan and Spartanburg, South Carolina. He also helped lay out Langley Field, at that time an experimental aviation field in Hampton Roads, Virginia. In the 1940s, Sears designed the amphitheater at Swarthmore College in Swarthmore, Pennsylvania for concerts, outdoor performances, and other special events. During that decade he also worked on Colonial Revival gardens at Pennsbury, William Penn's country estate in Bucks County, Pennsylvania located by the Delaware River. Sears retired in 1964 and died in 1966.
Related Archival Materials note:
The Philadelphia Architects and Buildings Project (PAB), administered by The Athenaeum of Philadelphia, includes references to design projects by Sears.

Harvard University's Loeb Library includes a number of images by Sears, some of them documenting gardens that he designed.

Harvard University's Fine Arts Library, Special Collections includes a collection of photographs and negatives of English parish churches by Sears, c. 1908. Some of the images were published in the monograph, Parish Churches of England.

The Reynolda House Museum of American Art in Winston-Salem, North Carolina includes plans by Sears of Reynolda in its Estate Archives.
Provenance:
Gift of Eleanor Sears Tibbetts, Sears' daughter, to the Horticulture Services Division (later Smithsonian Gardens) in 1992.
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.
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:
Photographers  Search this
Landscape architects  Search this
Gardens -- United States  Search this
Gardens -- Switzerland  Search this
Gardens -- Scotland  Search this
Gardens -- Italy  Search this
Gardens -- Germany  Search this
Gardens -- France  Search this
Gardens -- England  Search this
Genre/Form:
Negatives
Blueprints
Albums
Plans (drawings)
Lantern slides
Citation:
Smithsonian Institution, Archives of American Gardens, Thomas Warren Sears photograph collection.
Identifier:
AAG.SRS
See more items in:
Thomas Warren Sears photograph collection
Archival Repository:
Archives of American Gardens
GUID:
https://n2t.net/ark:/65665/kb68e184341-59d2-4612-8886-4cc747c92bfe
EDAN-URL:
ead_collection:sova-aag-srs
Online Media:

Gertrude Vanderbilt Whitney papers

Creator:
Whitney, Gertrude Vanderbilt, 1875-1942  Search this
Names:
American Ambulance Field Hospital (Juilly, France)  Search this
Greenwich House (New York, N.Y.)  Search this
Whitney Museum of American Art  Search this
Whitney Studio Club  Search this
Cushing, Howard Gardiner, 1869-1916  Search this
De Meyer, Adolf, Baron, 1868-1949  Search this
Miller, Flora Whitney  Search this
Strelecki, Jean de, count  Search this
Watson, Forbes, 1880-1960  Search this
Whitney, Harry Payne, 1872-1930  Search this
Extent:
36.1 Linear feet
Type:
Collection descriptions
Archival materials
Lithographs
Photographs
Interviews
Sketchbooks
Diaries
Scrapbooks
Blueprints
Sketches
Date:
1851-1975
bulk 1888-1942
Summary:
The Gertrude Vanderbilt Whitney papers measure approximately 36.1 linear feet and date from 1851 to 1975, with the bulk of the material dating from 1888 to 1942. The collection documents the life and work of the art patron and sculptor, especially her promotion of American art and artists, her philanthropy and war relief work, her commissions for memorial sculpture, and her creative writing. Papers include correspondence, journals, writings, project files, scrapbooks, photographs, artwork, printed material, two sound recordings, and miscellaneous personal papers.
Scope and Content Note:
The Gertrude Vanderbilt Whitney papers measure approximately 36.1 linear feet and date from 1851 to 1975, with the bulk of the material dating from 1888 to 1942. The collection documents the life and work of the art patron and sculptor, especially her promotion of American art and artists, her philanthropy and war relief work, her commissions for memorial sculpture, and her creative writing. Papers include correspondence, journals, writings, project files, scrapbooks, photographs, artwork, printed material, two sound recordings, and miscellaneous personal papers.

Material relating to more personal aspects of Whitney's life include school papers, a paper doll book dating from her childhood, financial material, interviews, awards and honorary degrees, address and telephone books, committee files, and other items. Correspondence consists of incoming and outgoing letters concerning both personal and professional matters, including her patronage of the arts and sponsorship of artists, her sculpture commissions and exhibitions, and her war relief work and other philantrophic activities. Also found are family correspondence and correspondence received by the Flora Whitney Miller and the Whitney Museum of American Art after Whitney's death. Journals include personal ones that she kept periodically from the time she was a child to near the end of her life, in which she recorded her travels, her impressions of people, her experiences with friends, and her thoughts on art, among other topics; and social ones, in which she recorded dinners and dances attended, and people invited to different social gatherings, and in which she collected invitations received and accepted.

Scattered files can be found that relate to the Whitney Studio Club and the Whitney Museum of American Art, consisting of notebooks, catalogs, a financial report, and other material. Files relating to Whitney's own sculpture projects are more extensive and consist of correspondence, contracts, printed material, notes, financial material for proposed and completed commissions for fountains, memorials, and monuments. The Whitney Museum of American Art, rather than Whitney herself, seems to have kept these files. Files relating to Whitney's philanthropic activities span from the time just before to just after the First World War and consist of correspondence, minutes, reports, and printed material stemming from her contributions to charities and war relief organizations, her sponsorship of the war hospital in Juilly, France, and her support of the Greenwich House Social Settlement.

Whitney's writings include extensive drafts, and handwritten and typed manuscripts and copies of novels, plays, and stories, as well as some autobiographical and early writings, notes and writings on art, and clippings of published writings, documenting her principle means of creative expression towards the end of her life. Also found are some writings by others. Scrapbooks consist of clippings, photographs, letters and other material, compiled by Whitney, Flora Whitney Miller, and possibly others, documenting Whitney's public life, her sculpture commissions and exhibitions, exhibitions at the Whitney Studio, the war hospital in Juilly, France, the death of Harry Payne Whitney in 1930, and the sickness and death of Whitney in 1942.

Photographs include ones of the Whitney and Vanderbilt families, ones of Gertrude Vanderbilt Whitney (including portraits taken by Baron Adolf de Meyer and Count Jean de Strelecki), ones of various Vanderbilt and Whitney residences and of Whitney's studios, ones of Whitney's sculpture exhibitions as well as exhibitions at her studio, and ones of her sculptures, as well as some miscellaneous and unidentified ones. Artwork consists of sketchbooks and sketches by Whitney (including sketches for sculptures) and artwork by others (including a sketchbook of Howard Cushing's containing a sketch of her and albums of World War I lithographs) collected by Whitney. Also found amongst the collection are printed material (clippings, exhibition catalogs, programs, and publications) and blueprints (including drawings for Whitney's studio on MacDougal Alley and various of her sculptures).
Arrangement:
The Gertrude Vanderbilt Whitney papers are arranged into twelve series:

Missing Title

Series 1: Miscellaneous Personal Papers, 1888-1947, 1975 (Boxes 1-3, 33-34, OV 42; 2.5 linear feet)

Series 2: Correspondence, 1889-1949, 1959 (Boxes 3-9; 6 linear feet)

Series 3: Journals, circa 1886-1939 (Boxes 9-12, 33; 2.5 linear feet)

Series 4: Whitney Studio Club and Whitney Museum of American Art Files, 1921-1943 (Box 12; 0.2 linear feet)

Series 5: Sculpture Files, 1900-1960 (bulk 1909-1942) (Boxes 12-15; 3 linear feet)

Series 6: Philanthropy Files, 1902-1923 (bulk 1915-1920) (Boxes 15-17; 2 linear feet)

Series 7: Writings, 1889-1942, 1974 (Boxes 17-26; 10 linear feet)

Series 8: Scrapbooks, 1893-1942 (Boxes 26-27, 33, 35; 1.5 linear feet)

Series 9: Printed Material, 1859-1942 (Boxes 27-28, 36; 0.8 linear feet)

Series 10: Photographs, 1862-1942 (Boxes 28-32, 36-41, OV 43-51; 6.4 linear feet)

Series 11: Artwork, 1871-1930s (Boxes 32, 41, OV 52-54; 0.8 linear feet)

Series 12: Blueprints, 1913-1945 (OV 55; 0.1 linear feet)
Biographical/Historical note:
New York art patron and sculptor, Gertrude Vanderbilt Whitney (1875-1942), was the eldest daughter of Cornelius Vanderbilt II and Alice Gwynne Vanderbilt, and founder of the Whitney Museum of American Art.

Whitney was born January 9, 1875 in New York City, the. She was educated by private tutors and attended Brearley School in New York. From the time she was a young girl, she kept journals of her travels and impressions of the people she met, and engaged in creative pursuits such as sketching and writing stories. In 1896, she was married to Harry Payne Whitney. They had three children, Flora, Cornelius, and Barbara.

In 1900, Whitney began to study sculpture under Hendrik Christian Anderson, and then under James Fraser. Later, she studied with Andrew O'Connor in Paris. From the time she started studying sculpture, her interest in art grew, as did her particular concern for American art and artists. In 1907, she organized an art exhibition at the Colony Club, which included several contemporary American paintings. She also opened a studio on MacDougal Alley, which became known as the Whitney Studio and was a place where shows and prize competitions were held. (She also had other studios in Westbury, Long Island and Paris, France.) Over the years, her patronage of art included buying work, commissioning it, sponsoring it, exhibiting it, and financially supporting artists in America and abroad. From 1911 on, she was aided in her work by Juliana Force, who started out as Whitney's secretary, was responsible for art exhibitions at the Whitney Studio, and became the first director of the Whitney Museum of American Art.

The first recognition Whitney received for her sculpture came in 1908 when a project on which she had collaborated (with Grosvenor Atterbury and Hugo Ballin) won a prize for best design from the Architectural League of New York. The following year she received a commission to do a fountain sculpture for the Pan-American Building in Washington, D. C. She went on to do numerous other commissioned works over the next several decades, including: a fountain for the New Arlington Hotel in Washington D.C. (the design of which was reproduced in various sizes and materials, one cast being submitted to the 1915 Panama-Pacific International Exposition where it won a bronze medal and a later cast being installed on the campus of McGill University, Montreal, Canada in 1930); the Titanic Memorial (designed in 1913 and erected in 1930); the Buffalo Bill Memorial (1924) in Cody, Wyoming; the Columbus Memorial (1929) in Port of Palos, Spain; the Peter Stuyvesant statue in Stuyvesant Square (1939); and The Spirit of Flight (1939) for the New York World's Fair. In 1916, she had her first one-man show at the Whitney Studio, another at the Newport Art Association, and a retrospective at the San Francisco Art Association Palace of Fine Arts. A traveling exhibition in the Midwest followed in 1918.

During the First World War, Whitney was involved with numerous war relief activities, most notably establishing and supporting a hospital in Juilly, France. She made several trips to France during the war, keeping a journal and eventually publishing a piece on the hospital in several newspapers. Her sculpture during this period was largely focused on war themes. In 1919, she exhibited some of these works at the Whitney Studio in a show called "Impressions of War." In the years after the war, she was also commissioned to do several war memorials, including the Washington Heights War Memorial (1922) and the St. Nazaire Memorial (1926) commemmorating the landing of the American Expeditionary Force in France in 1917.

In 1918, Whitney opened the Whitney Studio Club, which served as pioneering organization for American art, putting on exhibition programs and offering social space and recreational amenities to its members (one point numbering over four hundred artists living in New York). She planned an "Overseas Exhibition" of American art, which traveled to Paris and other European cities in 1920-1921, and had her own shows in Paris and London in 1921. In 1928, the Whitney Studio Club was transformed into an art gallery, known as the Whitney Studio Galleries and directed by Juliana Force, which eventually became the Whitney Museum of American Art in 1931.

Whitney pursued creative writing throughout her life, but beginning in the 1930s writing became her principle means of creative expression. Over the years, she produced numerous manuscripts for stories, novels, and play. One novel, Walking the Dusk, was published in 1932 under the pseudonym L. J. Webb. Beginning in 1940, Whitney took a "Professional Writing" course at Columbia University with Helen Hull, which resulted in the production of numerous short stories. In 1941, she collaborated with Ronald Bodley to adapt one of her stories as a play and attempted to get it produced, although unsuccessfully.

In 1934, Whitney was involved in a custody battle for her niece, Gloria Vanderbilt (daughter of her late brother, Reginald Vanderbilt and his wife, Gloria Morgan Vanderbilt). In an agreement reached by the court, custody was awarded to Whitney and visitation rights to Gloria's mother. Litigation continued in the ensuing years.

In 1935, Whitney established the World's Fair Five Organization, with Juliana Force and four architects, to work on preparing a plan for the site of the 1939 New York World's Fair at Flushing Meadow, although the fair's own Board of Design ended up coming up with its own plan.

Whitney continued her work in sculpture, writing, art patronage, and philanthropy throughout the remaining years of her life. She died on April 18, 1942.
Related Archival Materials note:
Related material found in the Archives includes Research Material on Gertrude Vanderbilt Whitney compiled by Flora Miller Irving and the Whitney Museum of American Art artists' files and records, available on microfilm only (originals are located in the Whitney Museum of American Art). Also found in the Archives of American Art's Miscellaneous Exhibition Catalog Collection are a bundle of Whitney Studio Club and Mrs. H. P. Whitney's Studio catalogs and announcements.
Provenance:
The Gertrude Vanderbilt Whitney papers were donated in 1981 and 1991 by Whitney's granddaughter, Flora Miller Irving.
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 access copy requires advance notice. Contact Reference Services for more information.
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:
Sculptors -- New York (State) -- New York  Search this
Philanthropists -- New York (State) -- New York  Search this
Topic:
Art patrons -- New York (State) -- New York  Search this
Women artists  Search this
Women sculptors  Search this
World War, 1914-1918  Search this
Genre/Form:
Lithographs
Photographs
Interviews
Sketchbooks
Diaries
Scrapbooks
Blueprints
Sketches
Citation:
Whitney Museum of American Art, Gertrude Vanderbilt Whitney Papers, 1851-1975 (bulk 1888-1942). Archives of American Art, Smithsonian Institution.
Identifier:
AAA.whitgert
See more items in:
Gertrude Vanderbilt Whitney papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9db113d72-cc31-4974-85fe-3e99c53dd62e
EDAN-URL:
ead_collection:sova-aaa-whitgert
Online Media:

Art-in-Architecture Atlanta Commission, Blueprints

Collection Creator:
Gilliam, Sam, 1933-2022  Search this
Container:
Box 4, Folder 40
Type:
Archival materials
Date:
circa 1978
Collection 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.
Collection Rights:
Authorization to publish, quote, or reproduce requires written permission from Sam Gilliam. Contact Reference Services for more information.
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:
Sam Gilliam papers, 1957-1989. Archives of American Art, Smithsonian Institution.
See more items in:
Sam Gilliam papers
Sam Gilliam papers / Series 6: Subject Files
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9a70dc0c1-30a1-4581-af47-f447f3339235
EDAN-URL:
ead_component:sova-aaa-gillsam-ref203

Cambridge Subway Commission, Blueprints

Collection Creator:
Gilliam, Sam, 1933-2022  Search this
Container:
Box 5, Folder 35
Type:
Archival materials
Date:
1979
Collection 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.
Collection Rights:
Authorization to publish, quote, or reproduce requires written permission from Sam Gilliam. Contact Reference Services for more information.
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:
Sam Gilliam papers, 1957-1989. Archives of American Art, Smithsonian Institution.
See more items in:
Sam Gilliam papers
Sam Gilliam papers / Series 6: Subject Files
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw97920002d-8930-4c67-974f-621f592de2af
EDAN-URL:
ead_component:sova-aaa-gillsam-ref234

Modify Your Search







or


Narrow By