Search Results

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

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

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

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.

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 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

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.

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 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

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

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

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

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

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

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

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

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

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

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

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

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

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.

Sponsor:

Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art

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

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.

Sponsor:

Funding for the processing of this collection was provided by the Henry Luce Foundation.

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

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.

Sponsor:

Funding for the processing of this collection was provided by the Henry Luce Foundation.

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