United States of America -- Virginia -- Richmond County -- Warsaw
Scope and Contents:
The folder includes worksheets and photocopies of articles.
General:
Mount Airy was built ca. 1748-1758 by John Tayloe II (b.1721-1779) in the Palladian style, on high ground overlooking the Rappahannock River. The original garden was formal and European in style, with a large bowling green directly behind the house which had formal parterres planted in flowers on either side. The five levels of garden terraces had square beds edged in boxwood. There was an orangery, now in ruins. Old trees remain on the grounds, including box, holly, tulip poplars, and yew, and also lilacs and roses. The house was approached through a deer park with an avenue of cedar trees.
In order to build the house on high ground six acres were leveled. The house was built of local brown sandstone with limestone trim from Aquia, Virginia. The architect was said to be Colonel Thornton of London. The large central house is connected to smaller wings in front of the main house by curved corridors, which enclose the courtyard. There was a private racetrack for horses on the estate, and John Tayloe II was a noted horseman. The property remained in the Tayloe family for nearly 300 years.
Landscape architect Arthur A. Shurtleff, best known for designing Colonial Revival gardens in the 1930s for Williamsburg and other locations, drew up plans to restore Mount Airy in 1931. These plans are located at the Library of Virginia.
Mount Airy was listed as a National Historic Landmark on Ocotber 9, 1960, noting that it is the burial place of Francis Lightfoot Lee. It was listed on the National Register of Historic Places on Ocotber 15, 1966 and as a Virginia Historic Landmark on September 9,1969.
Persons associated with the garden include Colonel John Tayloe II (1721-ca.1779), Colonel John Tayloe III (1771- 1828), who built Octagon House in Washington DC 1798-1800, descendents of the Tayloe family and Arthur A. Shurleff (landscape architect).
Related Materials:
Mount Airy related holdings consist of 2 folders (4 3 x 4 in. glass lantern slides and 4 35mm slides (photographs))
See others in:
Hollerith Collection, ca. 1957-1974.
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.
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.
1 Photograph (lantern slide, hand-colored, 3.25 x 4 in.)
Type:
Archival materials
Photographs
Lantern slides
Place:
Virginia -- Lynchburg
United States of America -- Virginia -- Lynchburg
Date:
[between 1914 and 1949?]
General:
The burial place of Patrick Henry.
Historic plate number: "96."
Historic plate caption: "caption on label: Red Hill; Garden Plan. caption printed on glass: Layout of Grounds Alterations & Additions to Red Hill, Charlotte Co. VA. for Mrs. Harrison."
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.
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.
1 Photograph (lantern slide, hand-colored, 3.25 x 4 in.)
Type:
Archival materials
Photographs
Lantern slides
Place:
Virginia -- Lynchburg
United States of America -- Virginia -- Lynchburg
Date:
[between 1914 and 1949?]
General:
The burial place of Patrick Henry.
Historic plate number: "[no. obscured]."
Historic plate caption: "Red Hill."
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.
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.
1 Photograph (lantern slide, hand-colored, 3.25 x 4 in.)
Type:
Archival materials
Photographs
Lantern slides
Place:
Virginia -- Lynchburg
United States of America -- Virginia -- Lynchburg
Date:
[between 1914 and 1949?]
General:
The burial place of Patrick Henry.
Historic plate number: "26."
Historic plate caption: "Red Hill - The Box."
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.
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.
"Shaykh Abu'l-Fath Ishaq, known as Safi al-Din Ardabili (b. 1252/3), is the eponymous founder of the Safawiyya order of Sufiism and is hence considered the founder of the Safavid Dynasty. Upon his death in 1334, he was buried in a tomb tower adjoining his khanqah outside the city walls of Ardabil. His burial site became a center of pilgrimage soon after, one richly endowed by Safavid rulers, many of whom were also buried there. The photo depicts the right side of the entrance gate to Jannatara, with the Chilla-khana wall to its right. Chilla-Khana served both as a hostel and a trading centre, built around the shrine in earlier years of 15th century. The image is most probably a copy print." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "274."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "1035."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 36.8: Azerbaijan. Ardebil. Shrine of Shaikh Safi-al Din. Mihrab." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Arrangement:
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 36."
Biographical / Historical:
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Local Numbers:
FSA A.4 2.12.GN.36.08
General:
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
Collection Restrictions:
Collection is open for research.
Collection Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
The Myron Bement Smith Collection, FSA A.04. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C. Gift of Katherine Dennis Smith.
"The monument dates back to mid 14th century. It is built on the burial site of Arghun's daughter. Arghun was the pre-Ilkhanid, Mongol ruler of Iran in the mid 13th century. The structure was destroyed during the earthquake of 1931." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "Thick glass. Multiple red dots on the imperfections of the sky."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "1268."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 47.2: (P) [black-and-white print on hand]. Azerbaijan. Salmas. Tomb of the daughter of Arghun." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Arrangement:
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 47."
Biographical / Historical:
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Local Numbers:
FSA A.4 2.12.GN.47.02
General:
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
Collection Restrictions:
Collection is open for research.
Collection Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
The Myron Bement Smith Collection, FSA A.04. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C. Gift of Katherine Dennis Smith.
"The Seljuk Shrine/mosque has a lengthy list of restorations during the years, a few of the most significant of which is from Qajar period. From adding minarets and tile work to restoring the other structures and shrines around the main building, works were carried out in the span of about a hundred years during the reigns of Fath Ali Shah, Nasir al-Din Shah and Muzaffar al-Din Shah Qajar. Its golden dome was added during Nasir al-Din Shah's reign, who ordered the dome to be covered in Gold covered copper sheets around 1850s. The minarets were added around 1890s. Many of the images of the building in the 1900s publications are missing the most recent addition of the minarets. The image shows the cemetery behind the main courtyard of the mosque, with the dome and minarets of the shrine visible in the background. The shrine is also the burial place of Nasir al-Din Shah whose tombstone - in white marble - is a notable marker of the Shah's burial place." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 1.4: Iran. Tehran - Shah Abdul Azim." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Arrangement:
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 1."
Biographical / Historical:
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Local Numbers:
FSA A.4 2.12.GN.01.10
General:
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
Collection Restrictions:
Collection is open for research.
Collection Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
The Myron Bement Smith Collection, FSA A.04. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C. Gift of Katherine Dennis Smith.
The "S. J." in the folder title may be an abbreviation for the San Juan Basin.
Collection Restrictions:
Materials containing personally identifiable information (predominately grant applications), student grades, references, grant reviews, and employee evaluations have been restricted for eighty years from their date of creation. Materials containing health information for Irwin-Williams have been restricted for fifty years from her date of death.
Audiovisual materials and computer disks are restricted. Please contact the repository for information on the availability of access copies.
Access to the Cynthia Irwin-Williams papers requires an appointment.
Collection Rights:
Contact the repository for terms of use.
Collection Citation:
Cynthia Irwin-Williams papers, National Anthropological Archives, Smithsonian Institution
Sponsor:
Funding for the processing of this collection was provided by the American Women's History Initiative.
