National Museum of Natural History (U.S.). Department of Anthropology Search this
Smithsonian Institution. Department of Anthropology Search this
Smithsonian Institution. United States National Museum. Department of Anthropology Search this
Extent:
330.25 Linear feet (519 boxes)
Note:
Some materials are held off-site; this will be indicated at the series or sub-series level. Advanced notice must be given to view these portions of the collection.
Type:
Collection descriptions
Archival materials
Date:
1840s-circa 2015
Summary:
The Department of Anthropology records contain administrative and research materials produced by the department and its members from the time of the Smithsonian Institution's foundation until today.
Scope and Contents:
The Department of Anthropology records contain correspondence, manuscripts, photographs, memoranda, invoices, meeting minutes, fiscal records, annual reports, grant applications, personnel records, receipts, and forms. The topics covered in the materials include collections, exhibits, staff, conservation, acquisitions, loans, storage and office space, administration, operations, research, budgets, security, office procedures, and funding. The materials were created by members of the Section of Ethnology of the Smithsonian Institution, the Division of Anthropology of the United States National Museum, the Office of Anthropology of the National Museum of Natural History, and the Department of Anthropology of the National Museum of Natural History and range in date from before the founding of the Smithsonian Institution to today. The Department of Anthropology records also contain some materials related to the Bureau of American Ethnology, such as documents from the River Basin Surveys.
Please note that the contents of the collection and the language and terminology used reflect the context and culture of the time of its creation. As an historical document, its contents may be at odds with contemporary views and terminology and considered offensive today. The information within this collection does not reflect the views of the Smithsonian Institution or National Anthropological Archives, but is available in its original form to facilitate research.
Arrangement:
This collection is arranged in 28 series: (1) Correspondence, 1902-1908, 1961-1992; (2) Alpha-Subject File, 1828-1963; (3) Alpha-Subject File, 1961-1975; (4) Smithsonian Office of Anthropology Subject Files, 1967-1968; (5) River Basin Survey Files, 1965-1969; (6) Research Statements, Proposals, and Awards, 1961-1977 (bulk 1966-1973); (7) Publication File, 1960-1975; (8) Memoranda and Lists Concerning Condemnations, 1910-1965; (9) Notebook on Special Exhibits, 1951-1952 (10) Section on Animal Industry; (11) Administrative Records, 1891-1974; (12) Administrative Records, 1965-1994 (bulk 1975-1988); (13) Fiscal Records, 1904-1986; (14) Annual Reports, 1920-1983; (15) Chairman's Office Files, 1987-1993; (16) Division of Archaeology, 1828-1965; (17) Division of Ethnology, 1840s, 1860-1972, 1997; (18) Division of Physical Anthropology; (19) Division of Cultural Anthropology, 1920-1968; (20) Records of the Anthropological Laboratory/Anthropology Conservation and Restoration Laboratory, 1939-1973; (21) Collections Management, 1965-1985; (22) Photographs of Specimens and Other Subjects (Processing Laboratory Photographs), 1880s-1950s; (23) Exhibit Labels, Specimen Labels, Catalog Cards, and Miscellaneous Documents, circa 1870-1950; (24) Antiquities Act Permits, 1904-1986; (25) Ancient Technology Program, circa 1966-1981; (26) Urgent Anthropology; (27) Records of the Handbook of North American Indians; (28) Personnel; (29) Repatriation Office, 1991-1994
Administrative History.:
The Smithsonian Institution was founded in 1846. Although there was no department of anthropology until the creation of the Section of Ethnology in 1879, anthropological materials were part of the Smithsonian's collection from its foundation. The Section of Ethnology was created to care for the rapidly growing collection. In 1881, the United States National Museum was established. Soon thereafter, in 1883, it was broken up into divisions, including the Division of Anthropology. In 1904, Physical Anthropology was added to the Division.
The Bureau of American Ethnology (BAE) was created in 1879 as a research unit of the Smithsonian, separating research from collections care. However, during the 1950s, research became a higher priority for the Department of Anthropology and, in 1965, the BAE was merged with the Department of Anthropology to create the Office of Anthropology, and the BAE's archives became the National Anthropological Archives (NAA).
In 1967, the United States National Museum was broken up into three separate museums: the Musuem of History and Technology (now the National Museum of American History), the National Museum of American Art, and the National Museum of Natural History (NMNH). The Office of Anthropology was included in NMNH and was renamed the Department of Anthropology in 1968.
New divisions were added to the Department, including the Human Studies Film Archives (HSFA) in 1981, the Research Institute on Immigration and Ethnic Studies (RIIES) in 1982, and the Repatriation Office in 1993. In 1983, the Smithsonian opened the Museum Support Center (MSC) in Suitland, Maryland, as offsite housing for collections with specialized storage facilities and conservation labs.
The Department of Anthropology is currently the largest department within NMNH. It has three curatorial divisions (Ethnology, Archaeology, and Biological Anthropology) and its staff includes curators, research assistants, program staff, collections specialists, archivists, repatriation tribal liaisons, and administrative specialists. It has a number of outreach and research arms, including the Repatriation Office, Recovering Voices, Human Origins, and the Arctic Studies Center.
The Museum is home to one of the world's largest anthropology collections, with over three million specimens in archaeology, ethnology, and human skeletal biology. The NAA is the Smithsonian's oldest archival repository, with materials that reflect over 150 years of anthropological collecting and fieldwork. The HSFA is the only North American archive devoted exclusively to the collection and preservation of anthropological film and video.
Sources Consulted
National Museum of Natural History. "Department of Anthropology: About" Accessed April 13, 2020. https://naturalhistory.si.edu/research/anthropology/about
National Museum of Natural History. "History of Anthropology at the Smithsonian." Accessed April 13, 2020. https://naturalhistory.si.edu/sites/default/files/media/file/history-anthropology-si.pdf
National Museum of Natural History. "History of the Smithsonian Combined Catalog." Accessed April 13, 2020 https://sirismm.si.edu/siris/sihistory.htm
Chronology
1846 -- The Smithsonian Institution is founded
1879 -- George Catlin bequeaths his collection to the Smithsonian The Section of Ethnology is established to oversee ethnological and archaeological collections The Bureau of Ethnology is established by Congress as a research unit of the Smithsonian
1881 -- The U.S. National Museum (USNM) is established as a separate entity within the Smithsonian Institution
1883 -- The staff and collections of the USNM are reorganized into divisions, including a Division of Anthropology
1897 -- The United States National Museum is reorganized into three departments: Anthropology headed by W. H. Holmes; Biology with F. W. True as head; and Geology with G. P. Merrill in charge The Bureau of Ethnology is renamed the Bureau of American Ethnology (BAE) to emphasize the geographic limit of its interests
1903 -- The Division of Physical Anthropology established
1904 -- The Division of Physical Anthropology is incorporated into the Division of Anthropology
1910 -- The USNM moves into the new Natural History Building
1965 -- The Smithsonian Office of Anthropology is created on February 1 The BAE is eliminated and merged with the Office of Anthropology
1968 -- The Smithsonian Office of Anthropology (SOA) of the National Museum of Natural History is retitled the Department of Anthropology on October 29
1973 -- The Research Institute on Immigration and Ethnic Studies (RIIES) is established at the National Museum of Natural History's (NMNH) Center for the Study of Man (CSM) to study the waves of immigration to the United States and its overseas outposts that began in the 1960's
1975 -- The National Anthropological Film Center is established
1981 -- The National Anthropological Film Center is incorporated into the Department of Anthropology
1982 -- The RIIES, part of the CSM at the NMNH, is transferred to the Department of Anthropology
1991 -- NMNH establishes a Repatriation Office
1993 -- The Repatriation Office is incorporated into the Department of Anthropology
Head Curators and Department Chairs
1897-1902 -- William Henry Holmes
1902-1903 -- Otis T. Mason (acting)
1904-1908 -- Otis T. Mason
1908-1909 -- Walter Hough (acting)
1910-1920 -- William Henry Holmes
1920-1923 -- Walter Hough (acting)
1923-1935 -- Walter Hough
1935-1960 -- Frank M. Setzler
1960-1962 -- T. Dale Stewart
1963-1965 -- Waldo R. Wedel
1965-1967 -- Richard Woodbury
1967-1970 -- Saul H. Riesenberg
1970-1975 -- Clifford Evans
1975-1980 -- William W. Fitzhugh
1980-1985 -- Douglas H. Ubelaker
1985-1988 -- Adrienne L. Kaeppler
1988-1992 -- Donald J. Ortner
1992-1999 -- Dennis Stanford
1999-2002 -- Carolyn L. Rose
2002-2005 -- William W. Fitzhugh
2005-2010 -- J. Daniel Rogers
2010-2014 -- Mary Jo Arnoldi
2014-2018 -- Torbin Rick
2018- -- Igor Krupnik
Related Materials:
The NAA holds collections of former head curators and department chairs, including the papers of Otis Tufton Mason, Walter Hough, T. Dale Stewart, Waldo Rudolph and Mildred Mott Wedel, Saul H. Riesenberg, Clifford Evans, and Donald J. Ortner; the photographs of Frank Maryl Setzler; and the Richard B. Woodbury collection of drawings of human and animal figures.
Other related collections at the NAA include the papers of Gordon D. Gibson, Eugene I. Knez, and Betty J. Meggers and Clifford Evans; and the records of the Bureau of American Ethnology, the Center for the Study of Man, and the River Basin Surveys.
Provenance:
This collection was transferred to the National Anthropological Archives (NAA) by the National Museum of Natural History's Department of Anthropology in multiple accessions.
Restrictions:
Some materials are restricted.
Access to the Department of Anthropology records requires an appointment.
Richard Gates Slattery photograph collection relating to Fisher Site in Loudoun County, Virginia
Creator:
Slattery, Richard Gates (collector and photographer) Search this
Photographer:
Wedel, Waldo R. (Waldo Rudolph), 1908-1996 Search this
Extent:
20 Prints (silver gelatin)
4 Negatives (acetate)
Type:
Collection descriptions
Archival materials
Prints
Negatives
Photographs
Place:
Loudoun County (Va.)
Virginia -- Antiquities
Date:
circa 1938-1940
Scope and Contents note:
Photographs depicting archeological excavations at Fisher Site in Loudoun County, Virginia. They include views of the surrounding area, the dig site, members of the field expedition, and burials, skeletal remains, and artifacts discovered during the dig. Some photographs are by Waldo Rudolph Wedel.
Biographical/Historical note:
Fisher Site is a Late Woodland village located along the Potomac River in Loudoun County. Waldo Rudolph Wedel was Smithsonian Assistant Curator of Archeology and conducted weekend surveys of sites along the Potomac River as an off-season project from 1938-1939. Richard Gates Slattery was an amateur archeologist and a member and officer with the Maryland Archeological Society. Slattery conducted surveys and carried out excavations on both sides of the Potomac during the 1930s-1960s.
Local Call Number(s):
NAA Photo Lot 83-13
Location of Other Archival Materials:
The National Anthropological Archives holds Slattery's report on the Winslow Site (MS 7190) and notes relating to the Shepard Barrack site (MS 7199).
Correspondence from Slattery can be found in the National Anthropological Archives in the Waldo Rudolph Wedel and Mildred Mott Wedel Papers.
The Department of Anthropology holds specimens from the Fisher Site (NMNH accession 217907) as well as artifacts and specimens from other sites, donated by Slattery.
Photo lot 83-13, Richard Gates Slattery photograph collection relating to Fisher Site in Loudoun Counrty, Virginia, National Anthropological Archives, Smithsonian Institution
Papers, 1959-1987, of Elizabeth Gordon, editor of the periodical, House Beautiful from 1941-1964, mostly related to her research for the August and September 1960 issues of House Beautiful regarding the Japanese aesthetic concept of "shibui", and the subsequent travelling "shibui exhibition" from 1961-1964. Included are correspondence, some photocopies, 1959-1963; notes; drafts for articles and lectures; printed material including magazine and newspaper clippings, 1959-1987; 2 books, and exhibition announcements; drawings of paper and foil art; a photo album containing photos of exhibition installations; and photographs, slides, color transparencies, and lantern slides depicting people, sites, and objects reflecting the "shibui" aesthetic.
Scope and Contents:
The Elizabeth Gordon Papers measure 4.5 linear feet and span the years 1959-1987. The collection mainly documents Ms. Gordon's research for the August and September 1960 issues of House Beautiful regarding the Japanese aesthetic concept of "shibui", and the subsequent travelling "shibui exhibition" from 1961-1964. Included are correspondence, some photocopies, 1959-1963; research notes and materials; articles; lectures; printed material including magazine and newspaper clippings, 1959-1987; 2 books, and exhibition announcements; article materials; a photo album containing photos of exhibition installations; and photographs, slides, color transparencies, and lantern slides depicting people, sites, and objects reflecting the "shibui" aesthetic.
Arrangement note:
This collection is organized into eight series. 1. Biographical data, 2. Shibui research, 3. Shibui issues of, House Beautiful, 4. Correspondence, 5. Shibui promotion, 6. Exhibition files, 7. Printed materials, and 8. Photographs.
Biographical Information:
Born in Logansport, Indiana in 1906, Elizabeth Gordon served as editor of House Beautiful magazine 1941 to 1964. Ms. Gordon first became interested in Japanese aesthetics during the mid-1950s. As a result she began to read and study Japanese art, history and culture. In 1959, Gordon travelled to Japan with three staff people from, House Beautiful. In Kyoto she met Eiko Yuasa, a young woman then employed by the City of Kyoto to handle foreign V.I.P.s, who was assigned to assist Gordon during her stay there. It was Ms. Yuasa who, in the course of discussions of Japanese aesthetics, introduced the term "shibui." Around that term and its related concepts ("iki", "jimi", "hade") the theme for the issue began to crystallize. In August and September, 1960, House Beautiful, under the editorial control of Ms. Gordon, published two extremely popular issues devoted to the subject of "shibui". Due to the popularity of the issues, museum exhibits devoted to the concept of "shibui" travelled around the United States. Ms. Gordon died in Adamstown, Maryland in 2000.
Biographical Overview
1906 -- Born in Logansport, Indiana
1920s -- Attended the University of Chicago
1930s -- Moved to New York to work as a promotional copywriter for several newspapers
1930s -- Syndicated columnist on home maintenance for The New York Herald Tribune
1930s -- Editor at Good Housekeeping (here for 8 years)
1937 -- More House for your Money by Elizabeth Gordon and Dorothy Ducas published by W. Morrow and Company: New York.
1937 -- Married Carl Hafey Norcross
1939 -- Appointed editor of House Beautiful
1964 -- Left the magazine world
1972 -- Published a special issue on Scandinavian design and awarded the insignia of a knight, first class, in the Finnish Order of the Lion
1987 -- American Institute of Architects made her an honorary member
1988 -- Carl Hafey Norcross died
September 3, 2000 -- Died in Adamstown, MD
(The following biography of Elizabeth Gordon comes courtesy of curator Louise Cort. Written in consultation with Elizabeth Gordon, October 23, 1987)
The research papers, memoranda, magazines, books, photographs and color transparencies and other materials in this archives are related to the publication by Elizabeth Gordon (Mrs. Carl Norcross), editor of House Beautiful from 1941 to 1964 and creator of the August, 1960 issue of the magazine on the special theme of the Japanese aesthetic concept of "shibui". The "shibui issue" was followed by the September, 1960, issue of the same publication on the theme, "How to be shibui with American things." As a by-product of the issues, a "Shibui Exhibition" travelled to eleven museums in the United States during 1961-1964. Each exhibition was opened with a slide lecture by Elizabeth Gordon.
Miss Gordon first became curious about Japanese aesthetics in the mid-1950s when she began to see Japanese objects being displayed and used in the homes of Americans who had spent time in Japan during the Occupation and Japanese influence began to appear in wholesale showrooms of home furnishings manufacturers. It was clear that the time had come: she HAD to go to Japan!
She read for five years before going to Japan - history, social mores, art history. (Many of the books on Japan that she collected during this time have been presented to the library at the University of Maryland, College Park.)
An important bit of advice came from Alice Spaulding Bowen, owner of Pacifica, the highest quality shop of Asian antiquities in Honolulu, who told her, "Be sure to read, The Tale of Genji - then you'll understand everything."
She made her first trip to Japan in April, 1959, accompanied by three staff people from, House Beautiful. In Kyoto she met Eiko Yuasa, a young woman then employed by the City of Kyoto to handle foreign V.I.P.s, who was assigned to assist Miss Gordon during her stay there. It was Ms. Yuasa who, in the course of discussions of Japanese aesthetics, introduced the term "shibui." Around that term and its related concepts ("iki", "jimi", "hade") the theme for the issue began to crystallize.
Miss Gordon came home, planning to spend the summer researching "shibui" with the aid of the Japan Society. But she found virtually nothing written in English on the concept. So she returned to Japan in December, 1959 together with staff member Marion Gough, to dig deeper and to work out details and get better educated with Eiko Yuasa. One of their devices was to walk through department stores and discuss with sales personnel whether objects for sale were "shibui", or were "jimi" or "hade", and why. Between themselves, they did the same for the costumes of women they saw on the streets.
Lacking printed sources for information on "shibui", Miss Gordon sought out and interviewed experts, including Douglas Overton, head of the Japan Society in New York. In Japan in December, 1959, she met Yanagi Soetsu, founder of Japan's Folk Craft Movement and head of the Craft Museum in Tokyo (with an introduction from Tonomura Kichinosuke, head of the Craft Museum in Kurashiki). She met the chef Tsuji Kaichi, who was commissioned to write an article on "kaiseki" (that could not be used because of an inadequate English translation) and Frances Blakemore. She met several times with Bernard Leach and attended his lecture at Bonnier's while he was in New York in March, 1960. (He would later write a "fan letter" for the issue)
As the concept of "the shibui issue" began to take shape, a third trip in the spring of 1960 focused on photography - to produce the shooting script decided on the preceding December. This was executed by the noted photographer Ezra Stoller of Rye, New York, and John DeKoven Hill, House Beautiful's Editorial Director. (Mr. Hill worked with Frank Lloyd Wright except for the ten years that he was a member of the House Beautiful editorial staff)
Miss Gordon was back in Japan in Mid-August 1960 as the "shibui issue" was causing a sensation. Altogether she spent sixteen months in Japan.
As one of the experiences that influenced her strong interest in Japanese costumes and textiles, Miss Gordon remembers a spectacularly thorough exhibition at the Tokyo National Museum in Ueno on, 1200 Years of Japanese Costume. She saw it on the last day of its exhibition (possibly 1964).
The August 1960 issue sold out quickly. Copies of the magazine, which sold for fifty cents, were sold on the "black market" for ten dollars.
The publication of the August 1960 issue was followed by an unprecedented avalanche of "fan mail". Many department heads in colleges and universities, including the Harvard-Yenching Institute and the Oriental Institute of the University of Chicago (where Miss Gordon had worked as an undergraduate) wrote to comment on the issue. Many people in other fields of endeavor wrote: heads of firms concerned with interior design, landscape architecture, and related areas expressed their interest in the concept of "shibui" Other writers include Bernard Leach, Gertrude Natzler, Laura Gilpin, Mainbocher, the architect Yoshimura Junzo, the textile artist Marianne Strengell, Walter Kerr, Craig Claiborne, and Oliver Statler.
The "shibui issue" was followed immediately by the September issue dealing with the use of non-Japanese objects to express the concept of "shibui." (Miss Gordon convinced her advertisers, who had been skeptical about the potential success of the August issue, by promising the September issue dealing with American products.) Four American firms were involved in the production of an integrated line of paints, wallpaper, furniture and carpets expressive of the concept. Products were designed by the firms' designers following the clues offered by objects and fabrics purchased by Miss Gordon in Japan in December 1959 and spring 1960. Miss Gordon has expressed her dissatisfaction with the September issue, although public opinion was positive. She feels that some of the firms failed in the "shibui" project, though some "caught" the message: namely the paint company and the fabric/wallpaper company.
In response to strong public interest, the House Beautiful staff prepared a travelling exhibition to introduce the concept of "shibui" through a series of vignettes, mixing fabrics and objects, colors and textures. The museum installation was designed by John Hill of House Beautiful. Japan Air Lines underwrote shipping costs.
The exhibition began in Philadelphia in late 1961. Ezra Stoller was sent to photograph the installation in considerable detail at the Dallas Museum of Fine Arts in January, 1962, so that his photographs cold serve as guidelines for installations at the other museums, which included the San Francisco Museum of Art (April 1962), the Newark Pubic Library, and the Honolulu Academy of Art. Miss Gordon presented a lecture on "shibui" at each of the museum installations.
In appreciation of her work to introduce Americans to the concept of "shibui", the city of Kyoto presented a bolt of especially "shibui" kimono fabric executed by a Living National Treasure textile artist. Miss Gordon eventually tailored the fabric into a dress and jacket. She received the 1961 Trail Blazer Award from the New York Chapter of the National Home Fashions League, Inc. In June, 1987, Miss Gordon was named an honorary member of the American Institute of Architects, with her introduction of the concept of "shibui" and her promotion of an understanding of other culture cited as her major contributions to American architecture.
Provenance:
Elizabeth Gordon donated her papers to the Freer Gallery of Art and Arthur M. Sackler Gallery Archives in 1988.
Elizabeth Gordon donated her papers to the Freer Gallery of Art and Arthur M. Sackler Gallery Archives in 1988.
The Elizabeth Gordon Papers, FSA.A1988.03. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C. Gift of Elizabeth Gordon, 1988
The molded base is gray porcelain paste with a matte opaque white interior glaze and exterior transparent green glaze. The molded lid in the shape of a duck has a white paste with a transparent green exterior glaze with unglazed wings. The interior glaze is a transparent clear glaze.
Dimensions:
H x W x D (overall): 4.2 x 4.4 x 5.9 cm (1 5/8 x 1 3/4 x 2 5/16 in)
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.
Historical Note:
The Smithsonian Institution was created by authority of an Act of Congress approved August 10, 1846. The Act entrusted direction of the Smithsonian to a body called
the Establishment, composed of the President; the Vice President; the Chief Justice of the United States; the secretaries of State, War, Navy, Interior, and Agriculture; the
Attorney General; and the Postmaster General. In fact, however, the Establishment last met in 1877, and control of the Smithsonian has always been exercised by its Board of
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
to the presidency on the death of Zachary Taylor in 1851, Chief Justice Roger Brooke Taney was chosen in his stead. The office has always been filled by the Chief Justice
since that time.
The Regents of the Smithsonian have included distinguished Americans from many walks of life. Ex officio members (Vice President) have been: Spiro T. Agnew, Chester A.
Arthur, Allen W. Barkley, John C. Breckenridge, George Bush, Schuyler Colfax, Calvin Coolidge, Charles Curtis, George M. Dallas, Charles G. Dawes, Charles W. Fairbanks, Millard
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
R. Marshall, Walter F. Mondale, Levi P. Morton, Richard M. Nixon, Nelson A. Rockefeller, Theodore Roosevelt, James S. Sherman, Adlai E. Stevenson, Harry S. Truman, Henry A.
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,
William Howard Taft, Charles Evans Hughes, Harlan F. Stone, Fred M. Vinson, Earl Warren, Warren E. Burger.
Regents on the part of the Senate have been: Clinton P. Anderson, Newton Booth, Sidney Breese, Lewis Cass, Robert Milledge Charlton, Bennet Champ Clark, Francis M. Cockrell,
Shelby Moore Cullom, Garrett Davis, Jefferson Davis, George Franklin Edmunds, George Evans, Edwin J. Garn, Walter F. George, Barry Goldwater, George Gray, Hannibal Hamlin,
Nathaniel Peter Hill, George Frisbie Hoar, Henry French Hollis, Henry M. Jackson, William Lindsay, Henry Cabot Lodge, Medill McCormick, James Murray Mason, Samuel Bell Maxey,
Robert B. Morgan, Frank E. Moss, Claiborne Pell, George Wharton Pepper, David A. Reed, Leverett Saltonstall, Hugh Scott, Alexander H. Smith, Robert A. Taft, Lyman Trumbull,
Wallace H. White, Jr., Robert Enoch Withers.
Regents on the part of the House of Representatives have included: Edward P. Boland, Frank T. Bow, William Campbell Breckenridge, Overton Brooks, Benjamin Butterworth,
Clarence Cannon, Lucius Cartrell, Hiester Clymer, William Colcock, William P. Cole, Jr., Maurice Connolly, Silvio O. Conte, Edward E. Cox, Edward H. Crump, John Dalzell, Nathaniel
Deering, Hugh A. Dinsmore, William English, John Farnsworth, Scott Ferris, Graham Fitch, James Garfield, Charles L. Gifford, T. Alan Goldsborough, Frank L. Greene, Gerry Hazleton,
Benjamin Hill, Henry Hilliard, Ebenezer Hoar, William Hough, William M. Howard, Albert Johnson, Leroy Johnson, Joseph Johnston, Michael Kirwan, James T. Lloyd, Robert Luce,
Robert McClelland, Samuel K. McConnell, Jr., George H. Mahon, George McCrary, Edward McPherson, James R. Mann, George Perkins Marsh, Norman Y. Mineta, A. J. Monteague, R.
Walton Moore, Walter H. Newton, Robert Dale Owen, James Patterson, William Phelps, Luke Poland, John Van Schaick Lansing Pruyn, B. Carroll Reece, Ernest W. Roberts, Otho Robards
Singleton, Frank Thompson, Jr., John M. Vorys, Hiram Warner, Joseph Wheeler.
Citizen Regents have been: David C. Acheson, Louis Agassiz, James B. Angell, Anne L. Armstrong, William Backhouse Astor, J. Paul Austin, Alexander Dallas Bache, George
Edmund Badger, George Bancroft, Alexander Graham Bell, James Gabriel Berrett, John McPherson Berrien, Robert W. Bingham, Sayles Jenks Bowen, William G. Bowen, Robert S. Brookings,
John Nicholas Brown, William A. M. Burden, Vannevar Bush, Charles F. Choate, Jr., Rufus Choate, Arthur H. Compton, Henry David Cooke, Henry Coppee, Samuel Sullivan Cox, Edward
H. Crump, James Dwight Dana, Harvey N. Davis, William Lewis Dayton, Everette Lee Degolyer, Richard Delafield, Frederic A. Delano, Charles Devens, Matthew Gault Emery, Cornelius
Conway Felton, Robert V. Fleming, Murray Gell-Mann, Robert F. Goheen, Asa Gray, George Gray, Crawford Hallock Greenwalt, Nancy Hanks, Caryl Parker Haskins, Gideon Hawley,
John B. Henderson, John B. Henderson, Jr., A. Leon Higginbotham, Jr., Gardner Greene Hubbard, Charles Evans Hughes, Carlisle H. Humelsine, Jerome C. Hunsaker, William Preston
Johnston, Irwin B. Laughlin, Walter Lenox, Augustus P. Loring, John Maclean, William Beans Magruder, John Walker Maury, Montgomery Cunningham Meigs, John C. Merriam, R. Walton
Moore, Roland S. Morris, Dwight W. Morrow, Richard Olney, Peter Parker, Noah Porter, William Campbell Preston, Owen Josephus Roberts, Richard Rush, William Winston Seaton,
Alexander Roby Shepherd, William Tecumseh Sherman, Otho Robards Singleton, Joseph Gilbert Totten, John Thomas Towers, Frederic C. Walcott, Richard Wallach, Thomas J. Watson,
Jr., James E. Webb, James Clarke Welling, Andrew Dickson White, Henry White, Theodore Dwight Woolsey.
Hubbard Garden related holdings consist of 2 folders, 60 35 mm. slides (1995) and 44 digital images (2018). Folders include numerous photocopies of articles about the garden.
General:
The two-acre property has a 1937 Colonial revival house and gardens that have been reworked many times since 1969 when the current owners moved in. The sloping property has been terraced, replacing a grassy hillside in back with dense plantings and winding stone walkways that lead eventually to a woodland garden. Along the front of the house there are three courtyards connected by a broad brick walkway that culminates at an antique cast iron bench painted turquoise blue; the doorway to the house is through another small private courtyard off to one side under a rough timber pergola. A curving 840-square-foot swimming pool with a dark gray reflective interior has a stone wall with fountains. The owners have collected thousands of trees, shrubs, perennials and bulbs that fill the terraces in front and back as well as screen their property. Conifers that have year round interest include Japanese umbrella pine, blue spruce, hinoki cypress, and Japanese cedar. There are modernist sculptures places around the upper terraces, along with a fish pond. Raised beds for growing vegetables now grow tulips and other flowers. Dwarf conifers and sedum are planted in hypertufa troughs. Other plant collections include more than 150 varieties of daylilies, hydrangeas, azaleas, rhododendron and ornamental grasses that were amassed by landscape architect Kurt Bluemel. The areas designed by Bluemel hug the hillside with curving terraces supported by dry stone walls that bring the gardens into closer association with the house. Perennials are planted in large drifts while evergreens are used as backdrops and screens. Plants that succumb are replaced with different varieties and deer fencing was installed in 2009.
Persons associated with the property include: Dr. and Mrs. Henrich (former owners, 1937-1969); T. Worth Jamison (1893-1964) (architect, 1937); Kurt Bluemel (1933-2014) (landscape designer, 1990); Ingrid Ernestl (gardener, 1994-2010); Ulrich Ruckriem (sculptor); Ian Aurbuch (sculptor); Matthew Harris (sculptor); Costas Velatsis (sculptor); Anthony Card (sculptor); Wade Saunders (sculptor); and Jon Iserwood (sculptor).
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.
United States of America -- Maryland -- Owings Mills -- Baltimore
Scope and Contents:
The folder includes worksheets, photocopies of images and an illustrated history of the family, house and garden.
General:
The five-acre Brightside gardens were built from 1983 to 2014 on a property with a large country house of white-painted bricks and a slate roof, surrounded by woodland shade and poor soil. Described as a dialog between the heart and the head there are 54 discrete garden areas, including Lutyens-style stairways, a potager, a cemetery for family pets with a statue of a beloved pug, gardens named after the neoclassical statues within them or the friends that designed or inspired them, a pool garden. Formal garden rooms are near the house and more rustic woodlands gardens are further from the house. Some of the hardscapes of the formal gardens were designed to echo the neoclassical lines of Baltimore Federal furniture. Each garden has a theme inspired by a quotation from philosophy, religion, literature or poetry that bespeaks the spirit of that area, with plantings that refer to the symbolic Victorian language of flowers. The owners have been inspired by their visits to hundreds of gardens and the Greek and Roman ideals embodied in neoclassicism and the American Federal and empire styles from the late 18th and early 19th centuries. Among their favorites are the English garden design collaborations of Gertrude Jekyll and Sir Edwin Lutyens, William Kent's Rousham, Sissinghurst, Hidcote, and the fantasy elven gardens in J.R.R. Tolkien's The Lord of the Rings.
In 1990 woodlands were cleared of understory and hundreds of tons of soil were deposited under the remaining tall trees and dogwood to sculpt a new landscape. Within one week 500 rhododendron, 65,000 fern and 65,000 pachysandra seedlings were planted. There are six levels of woodland gardens descending from a ridgeline, 2,000 specimen trees, and amphitheaters and berms that have altered the contours of the lawns. Since most of the property is shaded native plants and shade tolerant specimen plants are featured. Garden ornaments include pedigreed statues, antique urns, birdbaths, boot scrapers and gates. Formal garden borders near the house in the room named Jessica's garden for its designer contain more colorful and sun-loving plants, including delphinium, peony, phlox, lilac, hydrangea and butterfly bush. For the owners these lyrical gardens are a retreat they liken to medieval gardens where man imposed rationality and beauty in a small part of the chaotic world.
Persons associated with the garden include Mr. and Mrs. S. Bonsal White (former owners, 1950's); Mr. and Mrs. A.B. Krongard (former owners, 1960's); Mr. and Mrs. John Lalley (former owners, 1970's); Charles M. Ness (architect, 1950); James A. Snead (architect, circa 1995-1998).
Related Materials:
Brightside related holdings consist of 1 folder (22 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.
United States of America -- Maryland -- Anne Arundel County -- Harwood
Scope and Contents:
The folder includes worksheets, photocopies of articles and program notes, and additional information about the house and garden.
General:
Located on the West River and Browns Creek near Annapolis, Tulip Hill was the plantation estate of Quaker merchant-planter Samuel Galloway. Named for its grove of tulip poplar trees, Tulip Hill saw construction of its Georgia-style mansion in 1755-62, with significant additions by Galloway's son, John, in 1787-90. The property is listed on the National Register of Historic Places and the grounds include many tulip poplar, fir, and beech trees. The terraced gardens stretch down to the river. The property was most recently sold in 2010.
Persons and firms associated with the property include Samuel Galloway (former owner, ca. 1755-1785); John Galloway (former owner, ca. 1785-1810); Mr. and Mrs. Henry H. Flather (former owners, 1918-1946) ; Mr. and Mrs. Lewis R. Andrews (former owners, 1946-ca. 1990); and Morgan Wayson (former owner, 1992-2004).
Related Materials:
Tulip Hill related holdings consist of 1 folder (4 lantern slides; 2 film transparencies; 9 slides (photographs))
See others in:
Hollerith Family Slide Collection, 1952-1998.
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.
United States of America -- Maryland -- Anne Arundel County -- Annapolis
Date:
1977
General:
Antiques Magazine, Jan. 1977, p. 181.
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.
