Collection is open for research but the original and master audiovisual materials are stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
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.
Copyright restrictions. Consult the Archives Center at archivescenter@si.edu or 202-633-3270.
Paul Ellington, executor, is represented by:
Richard J.J. Scarola, Scarola Ellis LLP, 888 Seventh Avenue, 45th Floor, New York, New York 10106. Telephone (212) 757-0007 x 235; Fax (212) 757-0469; email: rjjs@selaw.com; www.selaw.com; www.ourlawfirm.com.
Collection Citation:
Duke Ellington Collection, Archives Center, National Museum of American History
Sponsor:
Processing and encoding partially funded by a grant from the Council on Library and Information Resources.
United States of America -- Wisconsin -- Waukesha County -- Hartland
Rosecrest (Hartland, Wisconsin)
Scope and Contents:
16 digital images (2017-2018) and 1 file folder with historical images and other information.
General:
The first residence on this property was a log cabin built circa 1840 by a Swedish settler; there is local lore that remnants of his building were found when the sunken garden was installed in the 1920's. This ten-acre property established in 1926 was part of a larger farm followed by a family compound on Pine Lake. Donald John Bushey designed the sunken garden, which required extensive excavation, with a long pergola and a row of seven large arches. In 1995 the garden was redesigned and refurbished and the owners kept the historic, formal elements in situ, had the gardens replanted in time for a family wedding, then finished their new house. Rosecrest now includes the sunken garden with a 110-foot long pergola, one new and one restored pond with fountains, elaborately patterned parterres and statuary with deep mixed borders and towering trees around the perimeter of the lawn. Additional historic features that were retained are stone pillars and several stone benches.
Roses, for which the garden was named, were a prominent part of the landscape until depredations by local deer necessitated changes to the plant material. Knockout and David Austin shrub roses are grown still. In 2018 existing shrubs included several vibernums, winterberry, boxwood, hemlock and sumac; existing trees included several varieties of cedar, pine, spruce and maple, also crabapple, gingko, linden and plum. Dozens of perennials and annuals fill the grid of parterres and the deep borders. The sunken garden has been opened for many charity fundraisers, three garden tours, wedding photo shoots, and many family events.
Persons associated with the garden include: Gustaf Unionius (former owner, 1840-1841); Albert Chapman (former owner, 1841-1895); the Mayer family (former owners, 1895-1991); Donald John Bushey (1896-1966) (landscape architect, designer of sunken garden, 1925-1926)(Hawks Landscape Co. (garden design, 1995); Janet Gamble, Meg Miller, Al Holt, Steve Wege, Joe Pauley (gardeners and landscapers, no dates available); Lee Kaster (gardener,1977-1984), Liban's Landscaping (landscape maintenance, 2018- ); Judith Stark Landscape Architects (patio landscape, no dates available); Wachtel Tree Science (arborists, 2018- ).
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.
This series contains programs for the Atlantic Stampede, newsletters, photographs, and ephemera from the Atlantic States Gay Rodeo Association (ASGRA).
Biographical / Historical:
Gay rodeo competition has been a part of the LGBT culture since the first rodeo was held in Reno, Nevada in 1976. The Atlantic States Gay Rodeo Association (ASGRA) is a member of the International Gay Rodeo Association (IGRA). IGRA, founded in 1985, is the sanctioning organization for gay rodeos in the United States and Canada. ASGRA was founded and seated at the 1991 IGRA Convention. ASGRA covers the states of Delaware, Maryland, metropolicant New York, New Jersey, and Virginia as well as the District of Columbia. ASGRA's annual rodeo is the Atlantic Stampede.
From the 2003 Atlantic Stampede program, "What is ASGRA? The Talantice States Gay Rodeo Association (ASGRA) is a charitable and social organization whose primary purpose is to promote the sport of rodeo and foster country and western lifestyles in the gay and lesbian community. ASGRA members enjoy the fellowship of numerous social, recreational and education activities.
ASGRA educates, trains, and fields individuals and teams to compete in International Gay Rodeo Association (IGRA) rodeos.
ASGRA provides rough stock and camp events training, training in horsemanship and horse speed events, and calf roping, trail riding as well as barbecues and other social events, country and western dance instruction and competition, and promotes awareness and provides information regarding animal welfare. ASGRA also sponsors Atlantic Stampede, the annual rodeo and country western festival held each fall in the Washingon, DC metropolitan area. Atlantic Stampede is one of the largest gay rodeos in the U.S.
Since the founding of ASGRA in 1991, the association has raised and distributed thousands of dollars to gay, lesbian, and other local charities in Maryland, Virginia, New York, and the District of Columbia.
Over the years, ASGRA has grown to become one of the largest gay and lesbian organizations in the Washington, DC metropolitan area, with approximately 200 registered members throughout the United States and Canada." Atlantic Stampede 2003, program, page 3.
ASGRA fully subscribes to the IGRA Animal Welfare Statement.
Collection Restrictions:
The collection is open for research use.
Researchers must handle unprotected photographs with gloves. Researchers must use reference copies of audio-visual materials. When no reference copy exists, the Archives Center staff will produce reference copies on an "as needed" basis, as resources allow.
Do not use original materials when available on reference video or audio tapes.
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:
Archives Center Lesbian, Gay, Bisexual, and Transgender (LGBT) Collection, Archives Center, National Museum of American History, Smithsonian Institution
This series contains material collected from Sean O. Strub, publisher and executive editor of POZ magazine by Katherine Ott, curator, Division of Medical Sciences, for the HIV and AIDS exhibit mounted at NMAH in 2011. The series contains the premiere issue of POZ magazine from April 1994 and others, one featuring Magic Johnson on the cover. Other materials are fundraising mailings from various HIV and AIDS charity organizations and well as other organizations LGBT rights, the 1993 March on Washington for instance. There is one poster for the My Hero benefit for Stephen Gendin in 2000.
Collection Restrictions:
The collection is open for research use.
Researchers must handle unprotected photographs with gloves. Researchers must use reference copies of audio-visual materials. When no reference copy exists, the Archives Center staff will produce reference copies on an "as needed" basis, as resources allow.
Do not use original materials when available on reference video or audio tapes.
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:
Archives Center Lesbian, Gay, Bisexual, and Transgender (LGBT) Collection, Archives Center, National Museum of American History, Smithsonian Institution
This series contains material collected from Sean O. Strub, publisher and executive editor of POZ magazine by Katherine Ott, curator, Division of Medical Sciences, for the HIV and AIDS exhibit mounted at NMAH in 2011. The series contains the premiere issue of POZ magazine from April 1994 and others, one featuring Magic Johnson on the cover. Other materials are fundraising mailings from various HIV and AIDS charity organizations and well as other organizations LGBT rights, the 1993 March on Washington for instance. There is one poster for the My Hero benefit for Stephen Gendin in 2000.
Collection Restrictions:
The collection is open for research use.
Researchers must handle unprotected photographs with gloves. Researchers must use reference copies of audio-visual materials. When no reference copy exists, the Archives Center staff will produce reference copies on an "as needed" basis, as resources allow.
Do not use original materials when available on reference video or audio tapes.
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:
Archives Center Lesbian, Gay, Bisexual, and Transgender (LGBT) Collection, Archives Center, National Museum of American History, Smithsonian Institution
Spark, Victor D. (Victor David), 1898-1991 Search this
Container:
Box 7, Folder 7
Type:
Archival materials
Date:
1967
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:
Victor D. Spark papers, circa 1830-1983, bulk 1930-1970. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by the Samuel H. Kress Foundation
The W. Atlee Burpee & Company records, dated circa 1873-1986, document the firm's business activities developing plant varieties and marketing and selling seeds. They include accounting records, seed trial records, seed contracts, sales records, inventories, office correspondence, seed catalogs, promotional and instructional materials, advertisements and advertising reports, contest letters, daybooks, photographs, reference materials, and other items relating to the company and some of its competitors.
Scope and Contents:
This collection documents W. Atlee Burpee & Co., a mail-order seed company based in Philadelphia, from its early beginnings in 1876 when its founder, W. Atlee Burpee, started in the agricultural business, to the 1970s when his son, David Burpee, sold the family's then-global company. The collection also includes personal papers of the Burpee family dating back to the mid-nineteenth century.
Business-related content in the collection consists of crop propagation and management records; company correspondence; administrative and personnel records; advertising files; legal papers; property records and plans; reports, studies, and technical data; notes and drafts; files on professional outreach activities and events; trade literature (published by both the Burpee company and a number of its competitors); and awards and certificates received by the company. Significant topics documented in these files include the development of notable flower and vegetable novelties introduced by the company; the impact of World Wars I and II on gardening and the global seed trade; advertising strategies, technology, and innovation; and David Burpee's involvement in the national floral emblem congressional debate.
The Burpee family papers consist of personal files unrelated to the company's business operations. This includes records generated by W. Atlee's father (David Burpee, 1827-1882) and grandfather (Washington L. Atlee, 1808-1878), as well as W. Atlee's wife, Blanche (1863-1948); David Burpee (1893-1980) and his wife, Lois (1912-1984); and W. Atlee Burpee II (1894-1966). There are genealogical surveys conducted on both the Atlee and Burpee families as well as clippings about family members. W. Atlee and David Burpee's series are the most extensive and cover their involvement with numerous clubs and societies such as the Canadian Society of Philadelphia, the Union League of Philadelphia, and, for David Burpee, his involvement with Pearl S. Buck's Welcome House charity. The series include personal correspondence; financial, accounting, and tax records; files generated during vacations; reference material; and will and estate papers.
The Burpee collection also has a large number of images related to the Burpee business and family in a variety of formats including photographs, film and glass plate negatives, and advertisement mock-ups. Other formats include architectural and site plans, original artwork for advertisements, films, cassettes, audio tapes, and ephemera.
Arrangement:
Collection is arranged into six series:
Series 1: Plant/Farm Related Material
Series 2: Business Records
Series 3: Material Published About the Burpee Company
Series 4: Awards and Certificates
Series 5: Photographic and A/V Materials
Series 6: Burpee Family Papers
Biographical / Historical:
Washington Atlee Burpee (1858-1915) began a mail-order poultry and livestock business in 1876 in Philadelpia, which he soon expanded to include corn seed for chicken feed. In 1878, he founded W. Atlee Burpee & Co., the primary focus of which was to sell vegetable, fruit, and flower seeds through the mail. This company would go on to become one of the most notable seed distributors in the United States.
By 1888, Burpee's family home, Fordhook Farms, in Doylestown, Pennsylvania, was established as an experimental farm to test and evaluate new varieties of vegetables and flowers, and to produce seeds. Burpee spent many summers traveling throughout the United States and Europe, visiting farms and searching for the best flowers and vegetables; certain plants he found were shipped to Fordhook Farms for testing. Plants that survived were bred with healthier specimens to produce heartier hybrids that were more resistant to disease. Other Burpee trial gardens were established in Lompoc, California and near Swedesboro, New Jersey.
Burpee's son David took over the family business upon his father's death in 1915. At that time, the Burpee Company had 300 employees and was the largest mail order seed company in the world. It distributed over one million catalogs a year and received as many as 10,000 orders a day. In response to food shortages caused by World War I, the Burpee Company helped promote a "war gardens" campaign that evolved into a "victory gardens" campaign during World War II. Both were aimed at city dwellers and instructed them on how to grow vegetables for their own consumption to aid in the war effort.
Sometime in the 1930s, the Burpee Company entered into a business relationship with the James Vick's Company of Rochester, New York. In 1947, Burpee purchased the assets of and rights to the use of the name of the Wm. Henry Maule Co. In 1970, Burpee was sold to General Foods; the corporate headquarters moved from Philadelphia to Warminster, Pennsylvania in 1974. David Burpee remained a consultant for the company until his death in 1981. In 1991, the Burpee Company was acquired by George J. Ball, Inc.
Related Materials:
Burpee seed catalogs donated to the Smithsonian in 1982 by the W. Atlee Burpee Co. can be found in the Smithsonian Libraries and Archives' Trade Literature Collection at the National Museum of American History.
The Farm Security Administration - Office of War Information Photograph Collection in the Library of Congress Prints and Photographs Division includes a series of images of Burpee company operations taken in 1943.
The Black Gold Cooperative Library System's Asian/Pacific - Americans on the Central Coast Collection includes images dated 1933-1939 of Japanese employees of the Burpee Co. working at Floradale Farms in Lompoc, California.
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.
"According to the encyclopedia Iranica, Jeanne d'Arc schhool, was one of the two Lazarist French schools of tehran, and "the well-known school for girls to which many of the members of the upper classes sent their daughters, was in operation until the 1979 revolution. In the early 1960s, it had about a thousand pupils in the secondary school and about fifty in its junior school. However, instruction at its secondary school terminated at the tenth grade (Komīsīūn-e mellī-e Yūnesko, II, p. 1211). Many of the more affluent pupils were then sent abroad or continued their studies for the school-leaving certificate at Lycée Razi which offered mixed classes for boys and girls up to the twelfth grade. According to Anīsa Šayḵ-Reżāʼī (pp. 97-98,) the origins of the Jeanne d'Arc school can be traced to two Lazarist schools. The first school was the St. Vincent de Paul school for orphaned girls founded in 1865 by the Daughters of Charity and later renamed Jeanne d'Arc. In the 1920s, the school offered both primary and secondary education at separate classes for Muslim and Armenian students. The Ministry of Education granted the school one hundred tomans per month to support teaching of Persian and financial aid for needy students. The curriculum of the school at the elementary level included arithmetic, dictation, sewing, history and geography, a study of Farāʼed al-adab, and acquaintance with elementary sciences (ʿelm al-ašyāʼ). At the secondary level the curriculum included algebra, geometry, natural sciences, Persian (grammar and reading the text of Kalīla o Demna), hygiene, sewing, and home economy. In 1931 Sister Pauline was the principal of both Jeanne d'Arc and St. Joseph schools indicating the close links between the two institutions. The second school was St. Joseph, a four-year elementary school for girls founded in 1880 by the sisters of Saint Vincent de Paul in the Armenian neighborhood of the Qazvīn Gate quarter (Maḥalla-ye darvāza-ye Qazvīn) with more than two hundred students. Later, the school admitted boys in separate classes. The school enrolled ninety-nine girls and thirty-three boys in 1929. The curriculum included arithmetic, history and geography, sciences, Persian, and French (Nāṭeq, pp. 194, 201, 203). A government grant was given to the school to support teaching of Persian and the admission of fifteen non-paying pupils. Later, in the mid-1930s, this school was renamed Manūčehrī Elementary and High School. In the late 1930s it had an enrollment of about one hundred students and about ten teachers. In 1941, the school closed its Persian program, but its French program continued for foreign pupils. In 1953, its Persian program was revived under the name of Jeanne d'Arc (Dabīrestān-e Žāndārk) with Badr-al-Molūk Pāzārgādī as its principal (Šayḵ-Reżāʼī, p. 97; Wezārat-e farhang, pp. 32-33)."." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "Red paper on all the four sides. Varnish on and around the figures. The centre of the image has wiped out varnish. The faces are also very Lightly touch up."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "Jean d'Arc School." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 41.5: Tehran. Jean d'Arc School. Girls." [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 41."
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.41.05
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.
"According to the encyclopedia Iranica, Jeanne d'Arc schhool, was one of the two Lazarist French schools of tehran, and "the well-known school for girls to which many of the members of the upper classes sent their daughters, was in operation until the 1979 revolution. In the early 1960s, it had about a thousand pupils in the secondary school and about fifty in its junior school. However, instruction at its secondary school terminated at the tenth grade (Komīsīūn-e mellī-e Yūnesko, II, p. 1211). Many of the more affluent pupils were then sent abroad or continued their studies for the school-leaving certificate at Lycée Razi which offered mixed classes for boys and girls up to the twelfth grade. According to Anīsa Šayḵ-Reżāʼī (pp. 97-98,) the origins of the Jeanne d'Arc school can be traced to two Lazarist schools. The first school was the St. Vincent de Paul school for orphaned girls founded in 1865 by the Daughters of Charity and later renamed Jeanne d'Arc. In the 1920s, the school offered both primary and secondary education at separate classes for Muslim and Armenian students. The Ministry of Education granted the school one hundred tomans per month to support teaching of Persian and financial aid for needy students. The curriculum of the school at the elementary level included arithmetic, dictation, sewing, history and geography, a study of Farāʼed al-adab, and acquaintance with elementary sciences (ʿelm al-ašyāʼ). At the secondary level the curriculum included algebra, geometry, natural sciences, Persian (grammar and reading the text of Kalīla o Demna), hygiene, sewing, and home economy. In 1931 Sister Pauline was the principal of both Jeanne d'Arc and St. Joseph schools indicating the close links between the two institutions. The second school was St. Joseph, a four-year elementary school for girls founded in 1880 by the sisters of Saint Vincent de Paul in the Armenian neighborhood of the Qazvīn Gate quarter (Maḥalla-ye darvāza-ye Qazvīn) with more than two hundred students. Later, the school admitted boys in separate classes. The school enrolled ninety-nine girls and thirty-three boys in 1929. The curriculum included arithmetic, history and geography, sciences, Persian, and French (Nāṭeq, pp. 194, 201, 203). A government grant was given to the school to support teaching of Persian and the admission of fifteen non-paying pupils. Later, in the mid-1930s, this school was renamed Manūčehrī Elementary and High School. In the late 1930s it had an enrollment of about one hundred students and about ten teachers. In 1941, the school closed its Persian program, but its French program continued for foreign pupils. In 1953, its Persian program was revived under the name of Jeanne d'Arc (Dabīrestān-e Žāndārk) with Badr-al-Molūk Pāzārgādī as its principal (Šayḵ-Reżāʼī, p. 97; Wezārat-e farhang, pp. 32-33)."." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "Red paper on all the four edges. Varnish all over the figures. Faces touched up."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 41.9: Tehran. Jean d'Arc School. Girls." [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 41."
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.41.09
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.
"According to the encyclopedia Iranica, Jeanne d'Arc schhool, was one of the two Lazarist French schools of tehran, and "the well-known school for girls to which many of the members of the upper classes sent their daughters, was in operation until the 1979 revolution. In the early 1960s, it had about a thousand pupils in the secondary school and about fifty in its junior school. However, instruction at its secondary school terminated at the tenth grade (Komīsīūn-e mellī-e Yūnesko, II, p. 1211). Many of the more affluent pupils were then sent abroad or continued their studies for the school-leaving certificate at Lycée Razi which offered mixed classes for boys and girls up to the twelfth grade. According to Anīsa Šayḵ-Reżāʼī (pp. 97-98,) the origins of the Jeanne d'Arc school can be traced to two Lazarist schools. The first school was the St. Vincent de Paul school for orphaned girls founded in 1865 by the Daughters of Charity and later renamed Jeanne d'Arc. In the 1920s, the school offered both primary and secondary education at separate classes for Muslim and Armenian students. The Ministry of Education granted the school one hundred tomans per month to support teaching of Persian and financial aid for needy students. The curriculum of the school at the elementary level included arithmetic, dictation, sewing, history and geography, a study of Farāʼed al-adab, and acquaintance with elementary sciences (ʿelm al-ašyāʼ). At the secondary level the curriculum included algebra, geometry, natural sciences, Persian (grammar and reading the text of Kalīla o Demna), hygiene, sewing, and home economy. In 1931 Sister Pauline was the principal of both Jeanne d'Arc and St. Joseph schools indicating the close links between the two institutions. The second school was St. Joseph, a four-year elementary school for girls founded in 1880 by the sisters of Saint Vincent de Paul in the Armenian neighborhood of the Qazvīn Gate quarter (Maḥalla-ye darvāza-ye Qazvīn) with more than two hundred students. Later, the school admitted boys in separate classes. The school enrolled ninety-nine girls and thirty-three boys in 1929. The curriculum included arithmetic, history and geography, sciences, Persian, and French (Nāṭeq, pp. 194, 201, 203). A government grant was given to the school to support teaching of Persian and the admission of fifteen non-paying pupils. Later, in the mid-1930s, this school was renamed Manūčehrī Elementary and High School. In the late 1930s it had an enrollment of about one hundred students and about ten teachers. In 1941, the school closed its Persian program, but its French program continued for foreign pupils. In 1953, its Persian program was revived under the name of Jeanne d'Arc (Dabīrestān-e Žāndārk) with Badr-al-Molūk Pāzārgādī as its principal (Šayḵ-Reżāʼī, p. 97; Wezārat-e farhang, pp. 32-33)."." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "Varnish all over the figures. Faces touched up."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "Jean d'Arc School." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 41.10: Tehran. Jean d'Arc School. Girls." [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 41."
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.41.10
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.
"According to the encyclopedia Iranica, Jeanne d'Arc schhool, was one of the two Lazarist French schools of tehran, and "the well-known school for girls to which many of the members of the upper classes sent their daughters, was in operation until the 1979 revolution. In the early 1960s, it had about a thousand pupils in the secondary school and about fifty in its junior school. However, instruction at its secondary school terminated at the tenth grade (Komīsīūn-e mellī-e Yūnesko, II, p. 1211). Many of the more affluent pupils were then sent abroad or continued their studies for the school-leaving certificate at Lycée Razi which offered mixed classes for boys and girls up to the twelfth grade. According to Anīsa Šayḵ-Reżāʼī (pp. 97-98,) the origins of the Jeanne d'Arc school can be traced to two Lazarist schools. The first school was the St. Vincent de Paul school for orphaned girls founded in 1865 by the Daughters of Charity and later renamed Jeanne d'Arc. In the 1920s, the school offered both primary and secondary education at separate classes for Muslim and Armenian students. The Ministry of Education granted the school one hundred tomans per month to support teaching of Persian and financial aid for needy students. The curriculum of the school at the elementary level included arithmetic, dictation, sewing, history and geography, a study of Farāʼed al-adab, and acquaintance with elementary sciences (ʿelm al-ašyāʼ). At the secondary level the curriculum included algebra, geometry, natural sciences, Persian (grammar and reading the text of Kalīla o Demna), hygiene, sewing, and home economy. In 1931 Sister Pauline was the principal of both Jeanne d'Arc and St. Joseph schools indicating the close links between the two institutions. The second school was St. Joseph, a four-year elementary school for girls founded in 1880 by the sisters of Saint Vincent de Paul in the Armenian neighborhood of the Qazvīn Gate quarter (Maḥalla-ye darvāza-ye Qazvīn) with more than two hundred students. Later, the school admitted boys in separate classes. The school enrolled ninety-nine girls and thirty-three boys in 1929. The curriculum included arithmetic, history and geography, sciences, Persian, and French (Nāṭeq, pp. 194, 201, 203). A government grant was given to the school to support teaching of Persian and the admission of fifteen non-paying pupils. Later, in the mid-1930s, this school was renamed Manūčehrī Elementary and High School. In the late 1930s it had an enrollment of about one hundred students and about ten teachers. In 1941, the school closed its Persian program, but its French program continued for foreign pupils. In 1953, its Persian program was revived under the name of Jeanne d'Arc (Dabīrestān-e Žāndārk) with Badr-al-Molūk Pāzārgādī as its principal (Šayḵ-Reżāʼī, p. 97; Wezārat-e farhang, pp. 32-33)."." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "Red paper around the edges. Varnish."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "31) 32) 33) 34) Jean d'Arc School." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 41.11: Tehran. Jean d'Arc School. Girls." [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 41."
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.41.11
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.
