United States of America -- Tennessee -- Knox County -- Knoxville
Scope and Contents:
The folder includes work sheets, copies of a talk by W. R. McNabb on Knoxville gardens, photocopies of correspondence regarding Rostrevor and other Knoxville gardens, copies of the "routine of work" for Rostrevor, and other information.
General:
Rostrevor was the garden of Mr. and Mrs. William C. Ross; its elements were installed primarily between 1911 and 1928. In the latter year the Rosses added a formal garden largely of their own design, said to be based on one they had admired at the Hill School in Pottstown, Pennsylvania. Terraces and a pergola provided the framework for plantings in bloom from March until November. The 12-acre site also included a rock garden made by Paul Adams, extensive lawns bordered by flowering shrubs, elms for shade, and a swimming pool. Most of the images are copies of originals commissioned about 1935 by Mrs. Ross.
Persons and organizations associated with the garden include: Mr. and Mrs. William C. Ross (former owners, 1911-1968); Helen R. McNabb (former owner, 1968-1972); Paul Adams (plantsman); and Barber & McMurry (architects, ca. 1911-1928).
Related Materials:
Rostrevor related holdings consist of 1 folder (24 35 mm. slides (photographs))
Collection Restrictions:
Access to original images 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.
United States of America -- Tennessee -- Knox County -- Knoxville
Scope and Contents:
Copies of original photographs are included in file.
The folder includes a work sheet, garden plans, photo copies of articles, nursery invoices, correspondence, and booklet on Craig family and Candoro Marble Company.
General:
Charles I. Barber, of Barber and McMurry, designed the house in 1926 for Mr. John J. Craig, III., one of the owners of Candoro Marble Company. Landscape architect Charles F. Lester was hired to mold the surrounding eighty acres to complement the strongly Italianate house. Lester laid out green terraces on a slope between the north front of the house and a man-made lake below and created a large formal garden to the west. Developers purchased the property in 1971, with the intent of demolishing the residence and constructing a subdivision. The house and several acres, however, were preserved with the remaining being developed into the Westlands and Westchase condominiums and Craigland subdivision. The current owners of the existing property have restored and renovated the gardens and remaining two acres of property, which combine formal and naturalistic elements. In 1998, a wall was added to define the north side of the formal garden, which features ponds and stone benches original to the property, concrete sculptures, boxwoods, and espaliered "Smoothee" apple trees. To the east of the house is a large lawn surrounded by woods of mature dogwoods, maples, tulip poplars, magnolias, hackberries, walnuts, oaks, and hemlocks. A cottage garden is kept behind the garage. The owners planted an herb garden in large clay pots just outside the kitchen door.
Persons associated with the garden include: Mr. and Mrs. John J. Craig, III. (former owners, 1926-1945); Mrs. John J. Craig, III. (former owner, 1945-1971); Mrs. and Mrs. Calvin Walter (former owners, 1971-1992); Charles F. Lester (landscape architect, 1926); Charles I. Barber (architect, 1926); Albert Milani (marble sculpture, 1926); Mary Spengler (garden designer, 1992-1998); Rosemary Verey (garden consultant, 1995); and Peter Thevenot (plant supplier, 1998).
Related Materials:
Craiglen related holdings consist of 1 folder (11 35 mm. slides)
Collection Restrictions:
Access to original images 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.
This collection consists of a scrapbook relating to Manila Davis Talley and her aviation career.
Scope and Contents:
This collection consists of one scrapbook which contains newspaper clippings, membership cards, programs, photographs, and pilot's licenses, mostly relating to Manila Davis Talley and her aviation career. The focus of the collection is on the years 1929-42, and highlights Talley's career as a salesperson for Curtis-Wright, and her association with the 99s and the Betsy Ross Corps. Also included is the scrapbook is information on the Women's National Air Races, the Women's National Air Meets, and Talley's work with the Civil Air Patrol. The scrapbook also includes clippings and other items related to Amelia Earhart, Jimmy Doolittle and General Balbo.
Arrangement:
Single item in original order.
Biographical / Historical:
Manila Davis Talley (1898-1973) soloed in October 1929 and received her pilot's license in April of 1930. She joined Curtis-Wright Corporation as a saleswoman in late 1929 or early 1930. Talley joined the 99s (international association of female pilots) in 1930 and was a founding member of Betsy Ross Corps, a private 1930s female auxiliary/reserve for the Army Air Corps. Talley was the third woman to go through Air Force War College, in December 1966.
Provenance:
Estate of Manila Davis Talley, Gift, Unknown, NASM.XXXX.0041
Restrictions:
No restrictions on access.
Rights:
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.
Smithsonian Institution. Office of Fellowships and Internships Search this
Container:
Box 33 of 55
Type:
Archival materials
Collection Rights:
Restricted for 15 years; until Jan-01-2027. These records contain sensitive information and will be redacted by SIA before use by researchers. Boxes 38-54 contain materials restricted indefinitely; see finding aid; Transferring office; 8/19/2013 memorandum, Johnstone to Murphy; Contact reference staff for details.
Collection Citation:
Smithsonian Institution Archives, Accession 13-241, Smithsonian Institution, Office of Fellowships and Internships, Program Records
United States of America -- Tennessee -- Knox -- Knoxville
Scope and Contents:
The folder includes worksheets, historical information, family histories, additional photographs and photocopies of articles.
General:
When Hillspoint was acquired in the late 1920s it was a thirty-acre tract on a ridge overlooking the Tennessee and Little Rivers and the Cumberland Mountains. An informal cottage-style house with cedar shakes siding and stone chimneys was designed by BarberMcMurray architects and five acres of gardens were designed by family member Bonarges M. Dean. The spectacular natural setting was enhanced by garden rooms that were recessed and set away from the house so as not to obstruct the views. Native stone including marble and millstones from local industries were used to build walls along the roads, to outline garden rooms, for curving paths that connected cultivated to wild gardens, and to enclose two ponds. There were kitchen, rose, wild, herb and secret garden rooms that featured indigenous flowers and trees within the five acres, and 25 acres of woodlands. The original house burned down in 1967 and was nearly replicated by a house built in 1980, and the current owners care for a three-acre garden with the same hardscaping and natural style as the original.
Some changes over time include natural arbors formed by 50-year-old unclipped boxwood that arch over the side paths that lead from the secret garden. Metal arbors and trellises installed in the 1950s replaced the original cedar posts. The original rose and cutting garden now is a formal rose garden with beds edged in brick. Vinca and English ivy planted as ground covers in the 1950s is being removed and replaced with indigenous wild flowers that grow as an understory in the woodlands and among the native rocks sited in the 1930s. The original recessed secret garden had white lattices in flower beds; now it is a green and white garden with flowering trees and shrubs with an understory of groundcovers. Elsewhere native trees have matured and specimen trees have been added alongside the reflecting pool. A fernery has been planted under the trees in the woodlands. An alpine meadow with eight varieties of dwarf to midsize conifers, groupings of native shrubs, bulbs and wildflowers has been installed downhill from the house and is cut back each spring to preserve the view.
Persons associated with the garden include James W. and Minniebel S. Dean, James W. and Katie D. Dean (former owners, 1927 until circa 1979); Charles H. and Lottie L. Dean (former owners, beginning in 1979); James M. and Laurel M. Dean (former owners, 1999-2007); Bonarges M. Dean (garden designer, 1929); Barber McMurry (architects, 1929); Grieve Associates Architects (architects, 1979).
Related Materials:
Hillspoint related holdings consist of 1 folder (36 digital images; 12 photographic prints)
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.
Freedmen's Bureau Digital Collection, 1865–1872, is a product of and owned by the National Museum of African American History and Culture, Smithsonian Institution. Copyright for digital images is retained by the donor, FamilySearch International; permission for commerical use of the digital images may be requested from FamilySearch International, Intellectual Property Office, at: cor-intellectualproperty@ldschurch.org.
Collection Citation:
Courtesy of the U. S. National Archives and Records Administration, FamilySearch International, and the Smithsonian National Museum of African American History and Culture.
Freedmen's Bureau Digital Collection, 1865–1872, is a product of and owned by the National Museum of African American History and Culture, Smithsonian Institution. Copyright for digital images is retained by the donor, FamilySearch International; permission for commerical use of the digital images may be requested from FamilySearch International, Intellectual Property Office, at: cor-intellectualproperty@ldschurch.org.
Collection Citation:
Courtesy of the U. S. National Archives and Records Administration, FamilySearch International, and the Smithsonian National Museum of African American History and Culture.
Unbound letters received, June 1865–November 1868, are arranged chronologically with undated letters at the end. The letters are partially entered in the two volumes of letters received and endorsements sent, 1 (103) and 2 (104), described above.
Collection Restrictions:
Freedmen's Bureau Digital Collection, 1865–1872, is a product of and owned by the National Museum of African American History and Culture, Smithsonian Institution. Copyright for digital images is retained by the donor, FamilySearch International; permission for commerical use of the digital images may be requested from FamilySearch International, Intellectual Property Office, at: cor-intellectualproperty@ldschurch.org.
Collection Citation:
Courtesy of the U. S. National Archives and Records Administration, FamilySearch International, and the Smithsonian National Museum of African American History and Culture.
1,195 Prints (albumen, silver gelatin, and platinum)
Type:
Collection descriptions
Archival materials
Prints
Photomechanical prints
Photographs
Stereographs
Postcards
Place:
Wyoming
Virginia
New York
New Mexico
Vermont
South Carolina
Maine
Louisiana
Massachusetts
Maryland
Montana
Nebraska
Alaska
British Columbia
Arizona
Colorado
California
Date:
1871-1912
Scope and Contents note:
Photographs of geologic features and the natural environment of the American West, Alaska, and Mexico, most of which were created during government surveys and the expansion of railroads during the 1800s. There are also photographs collected and made by individuals who worked or traveled in the west. Depicted locales include Alaska, Arizona, British Columbia, California, Colorado, Louisiana, Maine, Maryland, Massachusetts, Montana, Nebraska, New Mexico, New York, South Carolina, Vermont, Virginia, and Wyoming, and there are some additional images of artifacts, artwork, and portraits. Photographers represented include William Henry Jackson, John K. Hillers, Timothy H. O'Sullivan, E. O. Beaman, James Fennemore, William Bell, and other professional and amateur photographers.
Local Call Number(s):
NAA Photo Lot 37
Varying Form of Title:
Scenic Views of North America
Location of Other Archival Materials:
Charles Savage photographs previously filed in Photo Lot 37 have been relocated to National Anthropological Archives Photo Lot 156.
Bourne & May photographs previously filed in Photo Lot 37 have been relocated to National Anthropological Archives Photo Lot 159.
The National Anthropological Archives holds additional photographs by photographers or from accessions represented in this collection in Photo Lot 24, Photo Lot 40, and other photo lots.
See others in:
Photographs of North American geology and scenery, 1871-1912
Case Files Relating to the Administration of Justice
Type:
Archival materials
Date:
Mar. 1865–June 1868
Collection Restrictions:
Freedmen's Bureau Digital Collection, 1865–1872, is a product of and owned by the National Museum of African American History and Culture, Smithsonian Institution. Copyright for digital images is retained by the donor, FamilySearch International; permission for commercial use of the digital images may be requested from FamilySearch International, Intellectual Property Office, at: cor-intellectualproperty@ldschurch.org.
Collection Citation:
Courtesy of the U. S. National Archives and Records Administration, FamilySearch International, and the Smithsonian National Museum of African American History and Culture.
Freedmen's Bureau Digital Collection, 1865–1872, is a product of and owned by the National Museum of African American History and Culture, Smithsonian Institution. Copyright for digital images is retained by the donor, FamilySearch International; permission for commercial use of the digital images may be requested from FamilySearch International, Intellectual Property Office, at: cor-intellectualproperty@ldschurch.org.
Collection Citation:
Courtesy of the U. S. National Archives and Records Administration, FamilySearch International, and the Smithsonian National Museum of African American History and Culture.
The film, George Washington Carver, starring Carver himself, was filmed in 1939 and released in 1940. Ben Parker was the director and Robert L. Shurr wrote the screenplay.
Scope and Contents:
This collection consists of a copy of the original script for the motion picture George Washington Carver and a scrapbook detailing the motion picture's press. The bulk of the material dates to the production and release of the film, 1939-1940. There is additional correspondence from Shurr concerning the film dated 1968. The scrapbook contains photographs from the film. There are reference copies for the script and scrapbook.
Biographical / Historical:
The film, George Washington Carver, was an independent production of Bryant Productions, directed by Ben Parker and written by Robert L. Shurr. An article on Dr. George Washington Carver in Life magazine reportedly inspired the original idea for Parker. After a personal visit by Parker, Carver consented not only to approve the film but to appear in it. Parker engaged Robert L. Shurr to write the screenplay, originally titled Devil Cotton or the Story of Dr. Carver. The screenplay combined both a documentary and fictional narrative style. The screenplay detailed Carver's early life including a fictitious romantic relationship. The cast included: Ralph Edwards, Raye Gilbert, John J. Marvin, and Milton Sprague.
Raising funds for the project and making the film were both difficult. Parker eventually raised $2,000 from Allen McDowell who is listed as one of the film's producers. The film, which reportedly cost $14,000, was shot in Alabama with a small crew and very basic equipment. The film crew and those helping with the filming experienced violence from the white community which reportedly stoned McDowell and two of the film's local white participants. The film was released independently and played in a few RKO owned theatres but apparently never recouped its cost. In 1940, $10,000 was taken in at the film's premiere at Tuskegee Institute. Most likely, this was the film's largest audience.
We have no further information about the production or producer, our initial research has been unable to locate any further details concerning this film. A print of the film in its entirety is not known to exist, but portions of it are seen in a thirty minute video from Schlesinger Video Productions entitled Black Americans of Achievement: George Washington Carver.
Carver, a world famous agrichemist, was born near Diamond Grove, Missouri, circa 1864 to a woman named Mary. In 1896, he went to Tuskegee Institute as the head of the Agricultural Department and stayed there until his death on January 5, 1943.
Carver found many uses for the peanut, sweet potato, pecan, soybean, and cotton stalk. His important contributions to the Southern economy were: to diversify, utilize the land more efficiently, and in an ecologically friendly way, build up the soil, cope with plant diseases, and utilize research results in farm activities.
Among the many honors he received were: fellow, British Royal Society of Arts, 1916; Spingarn Medal from the National Association for the Advancement of Colored People (NAACP), 1923; and the Theodore Roosevelt Medal, 1939. He was widely admired and Henry Ford included a replica of his birthplace at Greenfield Village in Dearborn, Michigan.
In his personal life Carver was never married and current scholarship indicates that he may have been homosexual. The historian, Horace L. Griffin, in his 2006 book Their Own Receive Them Not: African American Lesbians & Gays in Black Churches, details the clandestine homosexual life of Carver and others. Pertaining to Carver's habit of giving peanut oil massages to his male friends, Linda O. McMurry in her 1982 biography of Carver, George Washington Carver, Scientist and Symbol, relates, "Most of his male friends received at least one massage from the professor," but evidence that it ever went beyond massage is not detailed. Beginning in 1935, Carver's constant companion was Austin W. Curtis, Jr. a graduate of Cornell who taught at North Carolina Agricultural and Technical College before coming to Tuskegee and joining Carver as his assistant.
Rackham Holt, Carver's biographer, describes the relationship between the two men in his 1943 biography, George Washington Carver: an American Biography, "At last someone had been welcomed not merely into Dr. Carver's laboratory, but also into his heart. He believed that there was something providential in the coming of this young man, so intensely serious about his work and extremely competent at it, who was at the same time a genial companion; he was proud of him and loved and depended on him as his own son . . . . And the affection was returned in full measure. Mr. Curtis accompanied him everywhere, seeing to his comfort, shielding him from intrusion, and acting as his official mouthpiece." Carver had a standing invitation to visit Henry Ford at his plantation in Ways, Georgia, where guest rooms were kept prepared for both Carver and Curtis. Carver died in Tuskegee, Alabama on January 5, 1943 and was buried in the churchyard of the college chapel. The National Park Service owns and maintains 210 acres of the farm where Carver was born as the George Washington Carver National Monument.
Provenance:
The collection was donated by Robert L. Shurr in October 1984.
Restrictions:
Collection is open for research but is 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.
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.
Robert L. Shurr Script and Scrapbook for the Motion Picture "George Washington Carver", 1939-1968, Archives Center, National Museum of American History
National Museum of American History. Department of the History of Science and Technology Search this
Container:
Box 2 of 6
Type:
Archival materials
Collection Citation:
Smithsonian Institution Archives, Accession 17-299, National Museum of American History. Department of the History of Science and Technology, Exhibition Records
