United States of America -- Connecticut -- Fairfield -- Fairfield
Scope and Contents:
The folder includes worksheets and photocopies of articles and other documents, and additional images.
General:
The Birdcraft Museum and Sanctuary was founded in 1914 by ornithologist and author Mabel Osgood Wright on ten acres of land, former pasture that had been donated and deeded to the fledgling Connecticut Audubon Society. It was established as a refuge for migratory and other song birds; the birds prefer open or partly bushed fields with some tall trees so the early plantings augmented the trees and shrubs already growing. The existing trees included mature oaks, Pepperidge, cedars, maples, black cherries and alders, and trailing wild berries. To prepare the sanctuary pines, spruce and hemlocks were planted for windbreaks, mountain ash, mulberries, sweet cherries, flowering shrubs and vines were planted for food, and several stone birdbaths and numerous bird houses were installed as well as a cat-proof fence. Additional plantings included blackberries, dewberries, thimble berries, strawberries, huckleberries, blueberries, chokeberries, sumacs, wild grapes, wild plum, shad bush, elderberries, wild roses, sweetbriar and honeysuckle.
Starting in 2013 the Sasqua Garden Club has been restoring five different garden habitats with native plants that will support the ecosystem of animals, birds, insects and microorganisms. The gardens are living classrooms for the outdoor science-based education and augment the exhibits in the museum, also undergoing restoration. While many trees, shrubs and native perennials recur throughout the sanctuary, now reduced to six acres, each garden has a distinctive profile. The Woodland edge garden contains red chokeberry, dogwood, magnolia, and crab apple with spicebush, rhododendron, viburnum and an understory of coral bells, ferns, Virginia bluebells, and phlox. The Meadow garden includes wild flowers, winterberry, cedars and dogwood, grasses and low and high bush blueberries. In the Wetland garden there are Juneberry, serviceberry, milkweed, native azaleas, spicebush, river birch, native flowers and ferns. The Seaside garden has butterfly weed, sedge, beach plum, grasses and bayberry. The Terrace garden has mountain laurel, holly, honeysuckle, sumac, willow, coneflower and potentilla.
Birdcraft Sanctuary has been an important community resource ever since it opened in 1914. Every year birds are trapped in soft nets, counted, inspected, tagged and released supplying useful data on migratory bird populations. The sanctuary was enrolled on the National Register of Historic Places on June 23, 1982 and became a National Historic Landmark in 1993.
Persons associated with the garden include Annie B. Jennings (former owner, -1914); Mabel Osgood Wright (1859-1934) (founder of Birdcraft Sanctuary, 1914-circa 1934); Connecticut Audubon Society (owners since 1914);Cameron Clarke (1887-1957) (architect of the Swallow Chimney, 1937); Jack Franzen, (architect of new museum space, 2012-2014); Alice Eckerson (landscape architect, 2013- ); William Kenny (ecological services, 2013-2014); Andrew Loglisci (water features, -2016).
Related Materials:
Birdcraft Gardens related holdings consist of 1 folder (30 digital images)
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.
Material is subject to Smithsonian Terms of Use. Should you wish to use NASM material in any medium, please submit an Application for Permission to Reproduce NASM Material, available at Permissions Requests.
Collection Citation:
Benjamin O. Davis, Jr. Collection, Acc. 1992.0023, National Air and Space Museum, Smithsonian Institution.
Material is subject to Smithsonian Terms of Use. Should you wish to use NASM material in any medium, please submit an Application for Permission to Reproduce NASM Material, available at Permissions Requests.
Collection Citation:
Benjamin O. Davis, Jr. Collection, Acc. 1992.0023, National Air and Space Museum, Smithsonian Institution.
Material is subject to Smithsonian Terms of Use. Should you wish to use NASM material in any medium, please submit an Application for Permission to Reproduce NASM Material, available at Permissions Requests.
Collection Citation:
Benjamin O. Davis, Jr. Collection, Acc. 1992.0023, National Air and Space Museum, Smithsonian Institution.
A vocabulary of the Po-da-wahd-mih language with illustrative sentences and a translation of the first three chapters of the Gospel of Matthew, followed by a vocabulary of the Kaw language by Joseph N. Bourassa, 1843
Files containing Sturtevant's students' grades have been restricted, as have his students' and colleagues' grant and fellowships applications. Restricted files were separated and placed at the end of their respective series in boxes 87, 264, 322, 389-394, 435-436, 448, 468, and 483. For preservation reasons, his computer files are also restricted. Seminole sound recordings are restricted. Access to the William C. Sturtevant Papers requires an apointment.
Collection Rights:
Contact the repository for terms of use.
Collection Citation:
William C. Sturtevant papers, National Anthropological Archives, Smithsonian Institution
Sponsor:
The papers of William C. Sturtevant were processed with the assistance of a Wenner-Gren Foundation Historical Archives Program grant awarded to Dr. Ives Goddard. Digitization and preparation of these materials for online access has been funded through generous support from the Arcadia Fund.
Files containing Sturtevant's students' grades have been restricted, as have his students' and colleagues' grant and fellowships applications. Restricted files were separated and placed at the end of their respective series in boxes 87, 264, 322, 389-394, 435-436, 448, 468, and 483. For preservation reasons, his computer files are also restricted. Seminole sound recordings are restricted. Access to the William C. Sturtevant Papers requires an apointment.
Collection Rights:
Contact the repository for terms of use.
Collection Citation:
William C. Sturtevant papers, National Anthropological Archives, Smithsonian Institution
Sponsor:
The papers of William C. Sturtevant were processed with the assistance of a Wenner-Gren Foundation Historical Archives Program grant awarded to Dr. Ives Goddard. Digitization and preparation of these materials for online access has been funded through generous support from the Arcadia Fund.
Files containing Sturtevant's students' grades have been restricted, as have his students' and colleagues' grant and fellowships applications. Restricted files were separated and placed at the end of their respective series in boxes 87, 264, 322, 389-394, 435-436, 448, 468, and 483. For preservation reasons, his computer files are also restricted. Seminole sound recordings are restricted. Access to the William C. Sturtevant Papers requires an apointment.
Collection Rights:
Contact the repository for terms of use.
Collection Citation:
William C. Sturtevant papers, National Anthropological Archives, Smithsonian Institution
Sponsor:
The papers of William C. Sturtevant were processed with the assistance of a Wenner-Gren Foundation Historical Archives Program grant awarded to Dr. Ives Goddard. Digitization and preparation of these materials for online access has been funded through generous support from the Arcadia Fund.
Train whistle blues --Treasures untold --Somewhere down below the Dixon line --Hobo Bill's last ride --Blue yodel no. 5 -- My little old home town in New Orleans --High powered mama --No hard times --Jimmie's Texas blues --Ben Dewberry's final run --My good gal's gone-blues --Down the old road to home --Let me be your side track --Lullaby yodel -- Any old time --Mississippi delta blues.
Track Information:
101 Train Whistle Blues / Guitar.
102 Treasures Untold / Guitar.
103 Somewhere Down Below the Dixon Line / Guitar.
104 Hobo Bill's Last Ride / Guitar.
105 Blue Yodel No.5 / Guitar.
106 My Little Old Home Town in New Orleans / Guitar.
107 High Powered Mama / Guitar.
108 No Hard Times / Guitar.
201 Jimmie's Texas Blues / Guitar.
202 Ben Dewberry's Final Run / Guitar.
203 My Good Gal's Gone-Blues / Guitar.
204 Down the Old Road to Home / Guitar.
205 Let Me Be Your Side Track / Guitar.
206 Lullaby Yodel / Guitar.
207 Any Old Time / Guitar.
208 Mississippi Delta Blues / Guitar.
Local Numbers:
FW-ASCH-LP-2929
RCA Victor.1640
Publication, Distribution, Etc. (Imprint):
RCA Victor 1958
General:
Biographical notes by Jim Evans on container. Performer(s): Principally original songs, sung by the composer accompanying himself on the guitar. Production notes: Originally recorded 1927-1933.
Restrictions:
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Collection of the Smithsonian National Museum of African American History and Culture, Gift of the Families of Anita Williams Christopher and David Owen Williams
Object number:
2013.79.27
Restrictions & Rights:
Unknown - Restrictions Possible
Rights assessment and proper usage is the responsibility of the user.
disc 1. I'll meet you in church Sunday morning (2:47). Swing low, sweet chariot (2:42). Angels rock me to sleep (2:37). Brakeman's blues (2:34). My Carolina sunshine girl (2:38). Ben Dewberry's final run (2:40). Those gambler's blues (2:33). Walking in Jerusalem just like John (1:57). Don't put off 'til tomorrow (2:32). I'm working on a building (2:43). My little Georgia rose (2:39). Cheyenne (2:48) -- disc 2. A fallin' star (2:09). Gotta travel on (2:33). Tomorrow I'll be gone (1:55). Thinking about you (3:10). Darling Corey (1:59). Cindy (2:01). Salt Creek (2:23). Shenandoah breakdown (2:17). Mary at the home place (2:21). Louisville breakdown (2:18). There's an old, old house (2:48). Soldier's joy (2:07) -- disc 3. Grey eagle (2:11). Virginia Darlin' (2:55). Train 45 (Heading south) (2:15). Crossing the Cumberlands (2:41). Walls of time (3:16). Fireball mail (2:31). What about you (3:07). With body and soul (3:05). Walk softly on my heart (2:32). Sweet Mary and the miles in between (2:55). McKinley's march (2:25). Lonesome moonlight waltz (2:34). Tallahassee (2:04). My old Kentucky and you (2:11).
Track Information:
101 I'll Meet You in Church Sunday Morning / Mandolin.
102 Swing Low Sweet Chariot / Mandolin.
103 Angels Rock Me / Mandolin.
104 Brakeman's Blues / Mandolin.
105 My Carolina Sunshine Girl / Mandolin.
106 Ben Dewberry's Final Run / Mandolin.
201 Those Gambler's Blues / Mandolin.
202 Walking in Jerusalem Just Like John / Mandolin.
203 Don't Put it on 'Til Tomorrow / Mandolin.
204 I'm Working on a Building / Mandolin.
205 My Litle Georgia Rose / Mandolin.
206 Cheyenne / Mandolin.
301 A Fallin' Star / Mandolin.
302 Gotta Travel On / Mandolin.
303 Tomorrow I'll be Gone / Mandolin.
304 Thinking About You / Mandolin.
305 Darling Corey / Mandolin.
306 Cindy / Mandolin.
401 Salt Creek / Mandolin.
402 Shenandoah Breakdown / Mandolin.
403 Mary at the Home Place / Mandolin.
404 Louisville Breakdown / Mandolin.
405 There's an Old, Old House / Mandolin.
406 Soldier's Joy / Mandolin.
501 Grey Eagle / Mandolin.
502 Virginia Darlin' / Mandolin.
503 Train 45 (Heading South) / Mandolin.
504 Crossing the Cumberlands / Mandolin.
505 Walls of Time / Mandolin.
506 Fireball Mail / Mandolin.
507 What About You / Mandolin.
601 With Body and Soul / Mandolin.
602 Walk Softly on My Heart / Mandolin.
603 Sweet Mary and the Miles in Between / Mandolin.
604 McKinley's March / Mandolin.
605 Lonesome Moonlight Waltz / Mandolin.
606 Tallahassee / Mandolin.
607 My Old Kentucky and You / Mandolin.
Local Numbers:
FP-RINZ-LP-2128
MCA.9269/71
Publication, Distribution, Etc. (Imprint):
Japan MCA
General:
Parallel title in Japanese. Program notes in Japanese and English (12 p.) and 1 wall chart inserted in container.
Restrictions:
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
These records are the official minutes of the Board. They are compiled at the direction of the Secretary of the Smithsonian, who is also secretary to the Board, after
approval by the Regents' Executive Committee and by the Regents themselves. The minutes are edited, not a verbatim account of proceedings. For reasons unknown, there are no
manuscript minutes for the period from 1857 through 1890; and researchers must rely on printed minutes published in the Annual Report of the Smithsonian Institution instead.
Minutes are transferred regularly from the Secretary's Office to the Archives. Minutes less than 15 years old are closed to researchers. Indexes exist for the period from
1907 to 1946 and can be useful.
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Regents. The membership of the Regents consists of the Vice President and the Chief Justice of the United States; three members each of the Senate and House of Representatives;
two citizens of the District of Columbia; and seven citizens of the several states, no two from the same state. (Prior to 1970 the category of Citizen Regents not residents
of Washington consisted of four members). By custom the Chief Justice is Chancellor. The office was at first held by the Vice President. However, when Millard Fillmore succeeded
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Fillmore, Gerald R. Ford, John N. Garner, Hannibal Hamlin, Thomas A. Hendricks, Garret A. Hobart, Hubert H. Humphrey, Andrew Johnson, Lyndon B. Johnson, William R. King, Thomas
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Wallace, William A. Wheeler, Henry Wilson.
Ex officio members (Chief Justice) have been: Roger B. Taney, Salmon P. Chase, Nathan Clifford, Morrison R. Waite, Samuel F. Miller, Melville W. Fuller, Edward D. White,
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Jr., James E. Webb, James Clarke Welling, Andrew Dickson White, Henry White, Theodore Dwight Woolsey.
