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Recueil d'architecture civile, contenant les plans, coupes et élévations des châteaux, maisons de campagne, et habitations rurales, jardins anglais, temples, chaumières, kiosques, ponts, etc. etc. situés aux environs de Paris et dans les départemens voisins, avec les décorations intérieures, et le détail de ce qui concerne l'embellissement des jardins (Album of Civilian Architecture, containing the Plans, Sections and Elevations of the Chateaux, Country Houses and Rural Habitations, English Gardens, Temples, Cottages, Kiosques, Bridges etc. etc. situated Around Paris and in the Neighboring Departments, with the Interior Decorations and Detail of the Embellishments of Gardens)

Draftsman:
Jean-Charles Krafft, French, 1764 - 1833  Search this
Medium:
Black ink on cream paper
Type:
albums (bound) & books
Album
Object Name:
Album
Made in:
France
Date:
1806-12
Credit Line:
Purchased for the Museum by the Advisory Council
Accession Number:
1921-6-552
See more items in:
Cooper Hewitt, Smithsonian Design Museum Collection
Drawings, Prints, and Graphic Design Department
Data Source:
Cooper Hewitt, Smithsonian Design Museum
EDAN-URL:
edanmdm:chndm_1921-6-552
Online Media:

Recueil des plans, élévations et coupes tant géométrales qu'en perspective des châteaux, jardins et dépendances que le roy de Pologne occupe en Lorraine, y compris les bâtimens qu'il a fait élever, ainsi que les changemens considérables, les décorations et autres enrichissemens, qu'il a fait faire à ceux qui étoient déjà construits (Album of Plans, Elevations and Sections Both Geometral and In Perspective of the Chateaux, Gardens and Outbuildings That the King of Poland Uses in Lorraine, Including the Buildings That He Built, and the Considerable Modifications, Decorations and Other Enrichments That He Made for Those That Were Already Built)

Designer:
Emmanuel Héré de Corny, 1705 - 1763  Search this
Publisher:
Jean-Charles François, 1717 - 1769  Search this
Type:
albums (bound) & books
Album
Object Name:
Album
Made in:
France
Date:
1753
Credit Line:
Purchased for the Museum by the Advisory Council
Accession Number:
1921-6-209
See more items in:
Cooper Hewitt, Smithsonian Design Museum Collection
Drawings, Prints, and Graphic Design Department
Data Source:
Cooper Hewitt, Smithsonian Design Museum
EDAN-URL:
edanmdm:chndm_1921-6-209

Henry and Nancy Rosin Collection of Early Photography of Japan

Collector:
Rosin, Henry D., Dr.  Search this
Rosin, Nancy  Search this
Creator:
Lyman, Benjamin Smith, 1835-1920  Search this
Ueno, Hikoma, 1838-1904  Search this
Beato, Felice, b. ca. 1825  Search this
Stillfried, Raimund, Baron von, 1839-1911  Search this
Underwood & Underwood  Search this
Names:
Japanese tea ceremony  Search this
Meiji, Emperor of Japan, 1852-1912  Search this
Shōken, Empress, consort of Meiji, Emperor of Japan, 1850-1914  Search this
Extent:
616 Items (approximate count)
Type:
Collection descriptions
Archival materials
Mammoth plates
Photographs
Photograph albums
Stereographs
Cartes-de-visite
Photographic prints
Place:
Japan
Japan -- 1890-1900
Kyoto (Japan)
Tokyo (Japan)
Yokohama-shi (Japan)
Date:
1860 - ca. 1900
Scope and Contents:
Assembled by collectors Dr. Henry D. Rosin and Nancy Rosin to document nineteenth-century and early twentieth-century photography of Japan. Includes albumen prints, portions handcolored, some signed and numbered in the negative. Taken by photographers Felice Beato (b. ca. 1825), Baron Raimon von Stillfried (1938-1911), Kusakabe Kimbei (active 1880s), Ueno Hikoma (1838-1904), Ogawa Kazumasa (1860-1929) and unknown photographers to depict architecture, landscapes, formal studio portraits, and daily activities.
Arrangement:
Organized chronologically by the creators.
Biographical / Historical:
Henry and Nancy Rosin were collectors of Japanese photography of the nineteenth and twentieth centuries.
Local Numbers:
FSA A1999.35
Restrictions:
Collection is open for research.
Topic:
Ainu  Search this
Photography of women  Search this
Streets -- Japan  Search this
Temples -- Japan  Search this
Samurai  Search this
Sumo wrestlers  Search this
Religion  Search this
Genre/Form:
Mammoth plates
Photographs -- 1850-1900
Photograph albums
Stereographs -- 1860-1900
Cartes-de-visite
Photographic prints
Citation:
Henry and Nancy Rosin Collection of Early Photography of Japan. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Smithsonian Institution, Washington, D.C. Purchase and partial donation.
Identifier:
FSA.A1999.35
See more items in:
Henry and Nancy Rosin Collection of Early Photography of Japan
Archival Repository:
Freer Gallery of Art and Arthur M. Sackler Gallery Archives
EDAN-URL:
ead_collection:sova-fsa-a1999-35
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Marcia M. Mathews papers relating to Henry Ossawa Tanner

Creator:
Mathews, Marcia M.  Search this
Names:
Glackens, Edith  Search this
Tanner, Henry Ossawa, 1859-1937  Search this
Tanner, Jesse O., 1903-  Search this
Tough, Charles C.  Search this
Extent:
54 Items
Type:
Collection descriptions
Archival materials
Date:
1937-1969
bulk, 1963-1969
Scope and Contents:
The Marcia M. Mathews papers relating to Henry Ossawa Tanner consist of 54 items and date from 1937 to 1969, with the bulk of the materials dating from 1963 to 1969. The collection primarily consists of correspondence preceding Mathew's 1969 book Henry O. Tanner, American Artist and related printed material.

REEL 64: 26 letters, January 21, 1966 through March 5, 1968, to Mathews from Jesse O. Tanner, son of Henry Ossawa Tanner, conveying information about his father and particular art works; as well as a letter from Edith D. [Mrs. William] Glackens, August 7, 1937, to Charles C. Tough, Jesse O. Tanner's uncle, advising with regard to Tough's plans of selling Henry O. Tanner's paintings. Also included is a biographical questionnaire completed by Henry O. Tanner for the Art League Publishing Company.

REEL 3268: 23 letters to Mathews regarding her book and exhibitions of Tanner's work; and printed material, 1968-1969. Correspondents include Jesse O. Tanner, Erwin S. Barrie, Romare H. Bearden, George Biddle, Mrs. Samuel M. Bryant, Benjamin Mays, James A. Porter, and Warren Robbins.
Biographical / Historical:
Marcia M. Mathews is a writer and art historian in Durham, North Carolina.

Henry Ossawa Tanner (1859-1937) was an African American painter born in Pittsburgh, Pennsylvania who spent much of his life in Paris, France. His work often depicts biblical scenes. Tanner trained at the Pennsylvania Academy of Fine Arts under Thomas Eakins. In 1891, Tanner traveled to Europe and settled in Paris, where he remained for the rest of his life.
Related Materials:
The Archives of American Art also holds the Henry Ossawa Tanner papers, 1860s-1978; the Henry O. Tanner letters to the Pennsylvania Academy of the Fine Arts, 1885-1909; and the Alexander family papers relating to Henry Ossawa Tanner, 1912-1985. The Atlanta University Center, Robert W. Woodruff Library holds the Henry Ossawa Tanner collection, 1907-1937.
Provenance:
Donated 1969 and 1976 by Marcia Mathews.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
Occupation:
Authors -- North Carolina -- Durham  Search this
Art historians -- North Carolina -- Durham  Search this
Topic:
Expatriate painters -- France -- Paris  Search this
African American artists  Search this
Women art historians  Search this
Women authors  Search this
Women artists  Search this
Identifier:
AAA.mathmarc
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-mathmarc

Eleanor Green letters

Creator:
Green, Eleanor, 1929-  Search this
Names:
Di Suvero, Mark, 1933-  Search this
Newman, Barnett, 1905-1970  Search this
Nordland, Gerald  Search this
Still, Clyfford, 1904-1980  Search this
Extent:
8 Items ((on 2 partial microfilm reels))
Type:
Collection descriptions
Archival materials
Date:
1967-1968
Scope and Contents:
Barnett Newman's letter to Herman Warner Williams and seven letters to Green from Mark Di Suvero, Gerald Nordland, and Clyfford Still discuss the progress and exhibition of their work.
Reel 3567: Clyfford Still's 4 letters and a postcard concern plans to visit Green and his views on the state of the art world. Gerald Nordland's letter contains excerpts of his correspondence with Still and his wife regarding a 1967 exhibit of Still's work at the San Francisco Museum of Art. Barnett Newman's letter to Williams, director of the Corcoran Gallery of Art, concerns a proposed exhibit of Newman's work at the Corcoran.
Reel 4391: Mark Di Suvero's letter discusses his difficulties in producing work according to a timetable and thanks Green for releasing him from an exhibition deadline.
Biographical / Historical:
Gallery owner and art historian; Washington, D.C. During the late 1960s, Eleanor (Sue) Broome Green was curator of contemporary art at the Corcoran Gallery of Art in Washington, D.C.
Provenance:
Donated 1985 by Eleanor Broome Green.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
Occupation:
Art historians -- Washington (D.C.)  Search this
Topic:
Curators -- Washington (D.C.)  Search this
Women art historians  Search this
Identifier:
AAA.greeelea
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-greeelea

Constance Perkins papers

Creator:
Perkins, Constance M., 1913-  Search this
Names:
Neutra, Richard Joseph, 1892-1970  Search this
Extent:
5.3 Linear feet
0.2 Linear feet (Addition)
Type:
Collection descriptions
Archival materials
Date:
1900-1991
Scope and Contents:
Biographical material, correspondence, building plans, diaries, appointment calendars, travel journals, photograph albums, loose photographs, rolls of film, and financial records relating to the construction of Perkins' home designed by Richard Neutra in 1955, Perkins' career as an educator, and her work as a Red Cross nurse in Europe and Australia during WW II.
ADDITION: Art and architecture magazines (1957-1985) containing articles on homes designed by Richard Neutra, including Perkins'; b&w photographs of Perkins' home for various journal and newspaper articles; and seven color photographs of original color drawings by Neutra of Perkins' home.
Biographical / Historical:
Educator, art historian, critic; Los Angeles, Calif.; d. 1991. Professor of art history, Occidental College, Los Angeles, 1947-1983.
Provenance:
Donated 1992-1996 through a bequest of Constance Perkins' estate, via Thornton H. Hamlin, executor.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Contact Reference Services for more information.
Occupation:
Art historians -- California -- Los Angeles  Search this
Educators -- California -- Los Angeles  Search this
Topic:
Architecture, Domestic -- California  Search this
Women art historians  Search this
Women educators  Search this
Identifier:
AAA.perkcons
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-perkcons

Nancy Moure research material on artists

Creator:
Moure, Nancy Dustin Wall  Search this
Names:
Alvarez, Mabel, 1891-1985  Search this
Bellows, George, 1882-1925  Search this
Blair, Lee Everett, 1911-1993  Search this
Campbell, Richard, 1921-  Search this
Helder, Zama Vanessa, 1904-  Search this
Kramer, Al, 1908-1991  Search this
Extent:
0.6 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1978-1991
Scope and Contents:
Ca. 800 index cards containing information on works of art by George Bellows, preparatory to Moure's planned catalog raissone; a 28 p. transcript of an interview with watercolor painter Lee Blair, April 13, 1991; a 12 p. transcript of an interview with printmaker Richard Horton Campbell, Nov. 20, 1991, used as background for Moure's "Essay on Richard Campbell" in the catalog for his show at Baylor Studios, Pacific Palisades, California; material relating to Moure's work on primitive painter and gallery owner Al Kramer, including 14 photographs of his paintings; a list of paintings; notes; an article by Moure, "The California Primitives of Albert Kramer," published in the L.A. Art Show catalog; 6 photographs of Zama Vanessa Helder and one of Mabel Alvarez, artists and friends of Kramer who he handled at his gallery, La Cienega; 17 color photos of paintings by Helder, and 79 by Alvarez; and a list of Alvarez paintings in Kramer's collection, March 1990, compiled by Moure.
Biographical / Historical:
Art historian, art consultant, writer; Los Angeles, Calif. Former assistant curator of American art for the L.A. County Museum of Art.
Provenance:
Donated 1979-1992 by Nancy Moure. Moure received the photos of Alvarez and Helder from Al Kramer.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Contact Reference Services for more information.
Occupation:
Museum curators  Search this
Art historians -- California -- Los Angeles  Search this
Topic:
Painters -- California -- Interviews  Search this
Printmakers -- California -- Interviews  Search this
Art, American  Search this
Women art historians  Search this
Women museum curators  Search this
Identifier:
AAA.mournanc
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-mournanc

Jana Vander Lee papers

Creator:
Vander Lee, Jana, 1945-  Search this
Names:
Contemporary Handweavers of Houston  Search this
Museum of Fine Arts, Houston  Search this
Extent:
3 Microfilm reels
Type:
Collection descriptions
Archival materials
Microfilm reels
Date:
1979-1984
Scope and Contents:
REELS 2906-2907: Papers, 1979-1981, compiled by Vander Lee, symposium coordinator of "Fiber in the 80's: Current and future issues in the textile arts," held October 3-4, 1980, at the Alfred J. Glassell, Jr. School of Art and the Museum of Fine Arts, Houston, Tex. Included are correspondence with participating panelists and grants organizations; artists' resumes; contracts; income and expenditure lists; mailing lists; meeting minutes of the Contemporary Handweavers of Houston, a sponsor of the symposium; and 3 clippings.
REEL 3362A: Material regarding the exhibition, "American Fiber: A New Aesthetic," including resumes and printed biographical information on the participants; correspondence; checklists; loan agreements; writings including Vander Lee's notes regarding the planning of the exhibition, and her draft for the text of the catalog; printed material; and photographs of the installation.
Biographical / Historical:
Museum curator; Houston, Tex.
Provenance:
Lent for microfilming 1981 & 1984 by Jana Vander Lee.
Microfilmed as part of the Archives of American Art's Texas project.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Occupation:
Museum curators -- Texas -- Houston  Search this
Designers -- Texas  Search this
Topic:
Textile crafts -- United States  Search this
Women museum curators  Search this
Function:
Art museums -- Texas
Identifier:
AAA.vandlee
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-vandlee

Birmingham -- Vestavia

Former owner:
Ward, George B., 1867-1940  Search this
Architect:
Welton, William Leslie  Search this
Collection Collector:
Marchand, Richard  Search this
Extent:
1 Slides (photographs)
Type:
Archival materials
Slides (photographs)
Postcards
Place:
Vestavia (Birmingham, Alabama)
United States of America -- Alabama -- Jefferson County -- Birmingham
General:
Vestavia was the 20-acre country estate of George B. Ward (1867-1940) located on the crest of Shades Mountain about six miles from Birmingham, Alabama. Ward was the 13th Mayor of Birmingham from 1905 to 1909, as well as a successful businessman and financier. As the mayor, Ward worked to establish city parks for the citizens to enjoy during their leisure time. Using plans designed by the Olmstead Firm and adding athletic fields, Ward developed Green Springs Park, which was renamed George Ward Park following his death in 1940.

Wards home, built in 1925, was a replica of the Temple of Vesta inspired by his interest in the classics and travels to Greece and Rome. The home's location on Shades Mountain afforded an exceptional view overlooking the city of Birmingham and the surrounding countryside. The grounds were beautifully landscaped and carried the carried the Greco-Roman theme with doghouses shaped like miniature Roman temples, models of ancient ships floating in the pond, and a gazebo-type Temple of Sibyl, which was copied from a structure twelve miles from Rome in Tivoli. Ward opened the house and gardens to the public for tours on special occasions. He was also known to host elaborate themed parties complete with servants costumed as Roman Soldiers, young ladies dancing as the barefooted Vestal Virgins, and the guests dressed in togas.

A residential community grew around the estate and is now a large suburban municipality known as Vestavia Hills. The image of home became so iconic to the people of the city that its image was used in the design for the city's logo. Following Ward's death in 1940, the home was sold. After nearly a decade of neglect the home was converted to a restaurant and tourist attraction for a brief time before being sold to the Vestavia Hills Baptist Church. The once pagan temple was used to hold church services until 1971, when it was razed and replaced with a new sanctuary. The Sybil Temple gazebo was donated to the Vestavia Hills Garden Club, who had it installed above US Highway 31.

Persons associated include: George B. Ward (former owner, 1923-1940), William Leslie Welton (architect, 1923-1925), Vestavia Hills Baptist Church (former owner).
Vestavia, Country home of Mr. Geo. B. Ward, Crest of Shades Mt., BBirmingham, Ala.--63
Postcard circa 1930-1945.
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.
Topic:
Gardens -- Alabama -- Birmingham  Search this
Mansions  Search this
Formal gardens  Search this
Follies (Architecture)  Search this
Temples  Search this
Temples, Greek  Search this
Woodlands  Search this
Flower beds  Search this
Garden walks  Search this
Driveways  Search this
Genre/Form:
Postcards
Collection Citation:
Smithsonian Institution, Archives of American Gardens, Richard Marchand historical postcard collection.
Identifier:
AAG.MAR, File AL019
See more items in:
Richard Marchand historical postcard collection (35mm slides)
Richard Marchand historical postcard collection (35mm slides) / Alabama
Archival Repository:
Archives of American Gardens
EDAN-URL:
ead_component:sova-aag-mar-ref1168

Miami -- Vizcaya

Former owner:
Deering, James, 1859-1925)  Search this
Architect:
Hoffman, Francis Burrell, 1882-1980)  Search this
Landscape architect:
Suarez, Diego, 1888-1974  Search this
Sculptor:
Calder, Alexander Stirling, 1870-1945  Search this
Collection Collector:
Marchand, Richard  Search this
Extent:
5 Slides (photographs)
Type:
Archival materials
Slides (photographs)
Postcards
Place:
Vizcaya estate (Florida)
United States of America -- Florida -- Miami-Dade County -- Miami
General:
The Vizcaya gardens span over ten acres surrounding the former winter home of the wealthy industrialist and patron of the arts, James Deering (1859-1925). The Vizcaya estate, located in the Coconut Grove area of Miami, was conceived of by Deering and artist and designer Paul Chalfin (1874-1959). Together they traveled extensively through Europe, particularly Italy, to inspire the design for Deering's South Florida retreat. Vizcaya which means "an elevated place" in Basque, was built in the years 1914 to 1916, and transformed a jungle tract of land into one of the most celebrated houses on the Eastern Seaboard. Diego Suarez (1888-1974), a Columbia-born landscape architect trained in Florence, Italy, was commissioned to create a modern, subtropical interpretation of classical, European Renaissance and Baroque landscape design suited to Miami's climate and terrain. Suarez' extensive knowledge of Italian gardens was combined with a consciousness of architectural design to create a setting for the house.

The garden scheme was divided into various terraces and areas, including a completely walled secret garden, a maze garden, theater garden, pergola garden, and the fountain garden, which features a fountain from the town square of Sutri, Italy. Plants were chosen for their ability to withstand south Florida's climate and pests and combined with native soil and plant materials in designs inspired by gardens seen by Deering and Chalfin on their tours of Italy and France. Varieties of bougainvillea, roses, water lilies, and jasmine were among the flowers found throughout the gardens, along with potted pines and podocarpus, some carefully trimmed in the art of topiary. The gardens were trimmed with hedges and trees and feature decorative walls, balustrades, urns, and sculpture. The areas were supplied with water through designed elements meant to compliment the garden such as pools, cascades, a frescoed grotto pool, fountains, and a system of canals, which invokes scenes on the waterways of Venice.

Unique among country estates, the gardens of Vizcaya integrated statues, busts, vases and urns that ranged from antiquity to the Renaissance and Baroque periods, as well as modern art from Deering's time into the lush vegetation. As the artistic advisor of the property, Paul Chalfin, acquired artifacts as decoration rather than to create a collection. Garden artworks ranged from antique elements to new sculptural decorations by contemporary artists. The gardens also featured several structures including a Baroque casino (garden house), decorative bridges, a large boathouse with a rooftop garden, and a domed garden house called the Casba. The most celebrated outdoor feature was the Barge by artist Alexander Stirling Calder (1870–1945), located in the water in front of the house. In addition to the house and gardens, the grounds also housed a swimming pool and tennis courts. Over two-thirds of the estate, originally 180 acres of subtropical forest along the shores of Biscayne Bay, remains in its natural state. The untouched hammock, shoreline, and pineland serves as a background for the more formal main gardens and along the drive up to the house. The Vizcaya property was surrounded by a wall with decorative paintings on stone and wrought-iron grills.

The house was designed to take advantage of its location on west shore of Biscayne Bay and each side of the house had a unique relationship with the surrounding grounds with loggias, terraces, arcades, and a partially enclosed swimming pool and, from some rooms, views of the gardens and bay. Architect F. Burrell Hoffman Jr. (1884-1980) was commissioned to design the house in the manner of an Italian Renaissance-style villa. Hoffman adapted traditional Mediterranean architectural elements to the subtropical climate in the palatial 70-room mansion. The beautifully planned interior was designed around an airy garden courtyard with a peripheral gallery, originally open to the sky, that was the heart and primary living space of the home. The house embraced modern conveniences and employed the latest technology of the period with an automated telephone switch board, a central vacuum-cleaning system, central heating, several elevators, generators and a water filtration system. The house also included a billiard room, bowling alley, and smoking room. The interiors were designed by the artistic advisor Paul Chalfin around objects acquired on Deering's travels in period rooms ranging in style from the Renaissance through the Neoclassical. The villa housed entire ceilings, mural paintings, chimney pieces, carved paneling, and doorways removed from foreign palaces along with rare rugs, tapestries, and antique furnishings. A working farm called the "Village" with eleven outbuildings was also located on the estate. These buildings were designed to look like an Italian village by Hoffman to compliment the architecture of the house. The Village included barns, stables, chicken houses, mechanical shops, housing for the staff, and the gate lodge making it nearly self-sufficient. A pumphouse provided water for the flower and vegetable gardens, groves for citrus, pineapple, and other fruits, greenhouses, and a large shade house for delicate plants grown at the Village to supply the mansion.

The estate, mansion, and its interiors were celebrated in magazines of the time. Deering occupied the house for four months each winter season beginning at Christmas in 1916.The whole complex was created for entertaining and recreation and Deering frequently invited family, visitors, and houseguests to the enjoy his estate. After Deering's death in 1925, the estate passed to his brother's children. Some of the acreage was sold off, and in 1952 Dade County purchased the remaining land and house. With donations of art and furniture from the family, the Vizcaya estate, became a decorative arts museum operated by Dade County Park and Recreation Department. The property, including the house, gardens, hammock forest, and Vizcaya Village, was designated a National Historic Landmark in 1994.

Other notable artists who contributed to the house and grounds were: Alexander Stirling Calder (1870-1945), Gaston Lachaise (1882-1935), Robert Chanler (1872-1930), Charles Gary Rumsey (1879-1922), Ettore Pellagatta (1881-1966), Paul Thevenez (1891-1921), and Samuel Yellin (1885-1940).

Persons associated include: James Deering (former owner), F. Burrall Hoffman, Jr. (architect), Paul Chalfin (architect of interiors), Diego Suarez (landscape architect), and Alexander Stirling Calder (sculptor), and Metro Dade County Park & Recreation Department (owner).

National Register of Historic Places, Vizcaya, Miami, Dade County, Florida, National Register #70000181.
Postcards circa 1915-1930.
Varying Form:
Also known as Villa Vizcaya, Vizcaya Palace, Vizcaya Museum and Gardens, and the James Deering Estate.
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.
Topic:
Gardens -- Florida -- Miami  Search this
Seaside gardening  Search this
Formal gardens  Search this
Mansions  Search this
Genre/Form:
Postcards
Collection Citation:
Smithsonian Institution, Archives of American Gardens, Richard Marchand historical postcard collection.
Identifier:
AAG.MAR, File FL083
See more items in:
Richard Marchand historical postcard collection (35mm slides)
Richard Marchand historical postcard collection (35mm slides) / Florida
Archival Repository:
Archives of American Gardens
EDAN-URL:
ead_component:sova-aag-mar-ref1329

Natchez -- Longwood Plantation

Architect:
Sloan, Samuel  Search this
Owner:
Pilgrimage Garden Club  Search this
Nutt, Haller  Search this
Collection Collector:
Marchand, Richard  Search this
Extent:
1 Slides (photographs)
Type:
Archival materials
Slides (photographs)
Postcards
Place:
United States of America -- Mississippi -- Adams County -- Natchez
Longwood Plantation (Natchez, Mississippi)
General:
Longwood Plantation was located on eighty-six acres south of Natchez, Mississippi. The property was purchased in 1850 by Haller Nutt (1816-1864), who earned his fortune farming sugar and cotton in Louisiana and Mississippi. The purchase of Longwood was inspired by his wife Julia, who had always been fond of Natchez. From 1860 to 1873, Longwood was the site of geometrically-patterned gardens, trees and allées following the drive, and vast rose gardens. The gardens once covered fifteen acres of the land surrounding the house, with a full ten of the acres planted in roses. Anecdotes state that the gardens were so large that Julia Nutt had to take a horse and carriage out whenever she wanted to pick flowers. The grounds also included a small bowling alley for the family's amusement and large peach and pear tree orchards and vegetable gardens, which Julia used to feed her family when they had fallen on hard times. Surviving records suggest that Mark Kyle, a Philadelphia gardener and landscape architect had a hand in the creation of the gardens at Longwood. When the home was designed, it included four verandas overlooking the gardens and shaded by the ancient oak trees that grew on the plantation.

The house on Longwood Plantation, also known as the Octagon House or Nutt's Folly, was designed by the Philadelphia architect Samuel Sloan beginning in 1859. The octagonal house design was popular during the 1850's throughout the United States, and the form was praised for its utility and cheapness. Longwood is the largest and grandest of the octagon houses built in the United States. The Oriental Revival style residence uniquely combines both Moslem and Italianate architecture with the eclecticism and exotic romanticism, which flourished in mid-nineteenth-century American architecture. Constructed from 1860 to 1862, the palatial structure is an eight-sided, two and one-half story, brick house over a full basement and topped with a large onion-shaped "Moorish" dome. The scale of the house is immense, spanning 30,000 feet, and including thirty-two rooms, eight verandas, four porches, 115 doors, twenty-six fireplaces, twenty-four closets, twenty-six coal-burning fireplaces, and a rotunda that opens to the cupola. Construction was halted in 1861 when the Civil War broke out, with only the exterior and nine rooms on the basement level completed. In 1862, Nutt finished the basement level, and the family moved into this completed section of the mansion. The estate also included several planned outbuildings, many of which were never used for their intended purpose. These structures, still standing today, include the kitchen, necessary (privy), slave's quarters, carriage house, and stables. The Nutt family's cemetery was also kept on the grounds at a considerable distance to the southwest of the mansion.

From the first floor up through the third, the house remained an incomplete, empty shell due to the severe financial losses caused by the Civil War. By the time of his death in 1864, Nutt was deeply in debt and his unfinished home came to be known as Nutt's Folly, a symbol of his financial fall. Haller Nutt died in the home in 1864, and his wife, Julia, remained in residence until her death in 1897. The property remained in the possession of the Nutt family until 1968, when it was purchased by Mr. and Mrs. Kelly McAdams, who in turn sold it to the Pilgrimage Garden Club of Natchez. In 1969, Longwood was added to the National Register of Historic Places as a National Historic Landmark. Sadly, during this time the once spacious and well-tended gardens fell into a state of disrepair, with only the path of the driveway remaining from the original garden plan. When the Pilgrimage Garden Club began restorations there were no visible surface signs of the former gardens of Longwood Plantation. The Pilgrimage Garden Club still owns Longwood today and operates it as a historic house museum and offers tours. Despite the fact that Longwood was never completed on the interior above the basement level, the exterior detailing has survived in an amazing state of preservation. The vast upper stories remain just as the workmen left them in 1861, which provides an opportunity to see a mid-19th-century house under construction. Together with the papers of the owner, Haller Nutt, and the architect, Samuel Sloan, Longwood offers a comprehensive view of the creative process and architectural theory of the period.

Persons associated include: Haller Nutt (former owner), Samuel Sloan (architect), Mark Kyle (possibly landscape architect), Mr. and Mrs. Kelly McAdams (former owner), and the Pilgrimage Garden Club (owner).
Postcard circa 1915-1950.
Varying Form:
Also known as Nutt's Folly and the Octagon House.
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.
Topic:
Gardens -- Mississippi -- Natchez  Search this
Mansions  Search this
Spanish moss  Search this
Formal gardens  Search this
Rose gardens  Search this
Architecture, Moorish Revival  Search this
Domes  Search this
Plantations  Search this
Live oak  Search this
Porches  Search this
Genre/Form:
Postcards
Collection Citation:
Smithsonian Institution, Archives of American Gardens, Richard Marchand historical postcard collection.
Identifier:
AAG.MAR, File MS030
See more items in:
Richard Marchand historical postcard collection (35mm slides)
Richard Marchand historical postcard collection (35mm slides) / Mississippi
Archival Repository:
Archives of American Gardens
EDAN-URL:
ead_component:sova-aag-mar-ref1455

Tulsa -- Villa Philbrook

Former owner:
Phillips, Waite  Search this
Architect:
Delk, Edward Beuhler  Search this
Landscape architect:
Hare & Hare  Search this
Owner:
Philbrook Museum of Art  Search this
Collection Collector:
Marchand, Richard  Search this
Extent:
1 Slides (photographs)
Type:
Archival materials
Slides (photographs)
Postcards
Place:
United States of America -- Oklahoma -- Tulsa
Villa Philbrook (Tulsa, Oklahoma)
General:
Philbrook Museum of Art is located in Tulsa, Oklahoma at the former Waite Phillips estate. The museum housed in the Villa Philbrook, an Italianate mansion surrounded by of 25 acres of gardens. The estate was created for the wealthy oilman and philanthropist Waite Phillips (1883-1964) and his wife Genevieve Elliott Phillips (1887-1979) and their two children in 1926-1927. The gardens around the mansion were the result of a collaboration of the owners, the house's architect, and the firm of Hare & Hare, Landscape Architects & City Planners. To complement Delk's architectural designs, the garden design combined French, and English garden iconography with inspiration from Villa Lante, an Italian country estate by Giacomo Barozzi da Vignola in 1566. They followed Renaissance models with features such as formal gardens, cascading water feature, rock garden and pond terminated by a tempietto. The main emphasis was placed on the East Formal Garden, which was designed on axis with the villa's grand hall. The Italian preference for a predominately green palette was achieved with beds of English ivy, low hedges of Chinese privet, clipped spheres of bay or boxwood and tall red cedars chosen to mimic Italian cypress. Beyond the formal garden stretches a pastoral grove. Important to Genevie Philips was a scheme that featured plants native to the area. Specimens were collected from the native woods on the property, and used in along the flagstone walkways, in borders, and on slopes near house. Yuccas, cedars, dogwood, elder, and serviceberry were among the varieties incorporated into the Italianate design. Structures found throughout the gardens include the Tempietto, the Summer House built in 1933, fountains in the East Formal Garden, the grotto, and a fireplace.

To design their home, the Philips commissioned a Kansas City architect, Edward Buehler Delk (1885–1956), as well as designing Villa Philmonte for their ranch in Cimarron, New Mexico, and the Philtower office building in downtown Tulsa. For Villa Philbrook, Delk interpreted the most fashionable styles of the day in his plans for the 72-room Italian Renaissance villa. It is situated high on the property, overlooking the gardens and to get the breezes in warmer months. The façade of the house is unpretentious with spare use of classical ornament. The house and grounds are linked by the addition of arches and windows, which frame views of the garden, as well as a loggia and terrace that overlooks the most formal of the gardens.

After only eleven years living at Philbrook, the Philips family donated the estate to the community to become Tulsa's first art museum. The house underwent major renovations, and the landscape architecture firm, Hare and Hare, were brought back in to work on the conversion of the gardens from private to public. In 1939 the Philbrook Art Museum (later Philbrook Museum of Art) opened to the public. The gardens were briefly used as a botanical garden concerned with the development, preservation and exhibition of native species to Oklahoma and the Southwest. From 2002-2004, Howell & Vancuren designed another major garden renovation with the support of the Philips family. The Philips also gave Villa Philmonte and the Philmont Ranch to the Boy Scouts of America, and today both institutions continue to serve their communities.

Contributions to the construction of Villa Philbrook were made by multiple craftspeople and artists including George Gibbs, Oscar Bach, Bertram Segar, Cooper & Gentiluomo, Edward F. Caldwell & Co., and Jørgen Dreyer.

Persons associated include: Waite and Genevieve Phillips (former owner), Edward Buehler Delk (architect), S. Herbert Hare of Hare & Hare, Landscape Architects & City Planners (landscape architect), Howell & Vancuren (landscape architects), and Philbrook Museum of Art, Inc. (owner).
Postcard circa 1930-1950.
Varying Form:
Also known as Philbrook Art Museum and Philbrook Museum of Art.
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.
Topic:
Gardens -- Oklahoma -- Tulsa  Search this
Formal gardens  Search this
Parterres  Search this
Museums  Search this
Terraces  Search this
Groves  Search this
Naturalized plantings  Search this
Genre/Form:
Postcards
Collection Citation:
Smithsonian Institution, Archives of American Gardens, Richard Marchand historical postcard collection.
Identifier:
AAG.MAR, File OK001
See more items in:
Richard Marchand historical postcard collection (35mm slides)
Richard Marchand historical postcard collection (35mm slides) / Oklahoma
Archival Repository:
Archives of American Gardens
EDAN-URL:
ead_component:sova-aag-mar-ref1703

S-26--28: "Samarra Planaufnahme 6--8"

Collection Creator:
Herzfeld, Ernst, 1879-1948  Search this
Container:
Volume S-26–28
Type:
Archival materials
Scope and Contents note:
Each of these sketchbooks contains only measurements and sketches for plans of unidentified buildings or maps.
Collection Restrictions:
Collection is open for research.
Collection Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
Collection Citation:
Ernst Herzfeld Papers. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Smithsonian Institution, Washington D.C. Gift of Ernst Herzfeld, 1946
See more items in:
Ernst Herzfeld Papers
Ernst Herzfeld Papers / Series 7: Records of Samarra Expeditions
Archival Repository:
Freer Gallery of Art and Arthur M. Sackler Gallery Archives
EDAN-URL:
ead_component:sova-fsa-a-06-ref10831

S-29: "Samarra kleine Pläne"

Creator:
Herzfeld, Ernst, 1879-1948  Search this
Names:
Herzfeld, Ernst, 1879-1948  Search this
Collection Creator:
Herzfeld, Ernst, 1879-1948  Search this
Extent:
1 Volume (Sketchbook (25 pages), 12.8 cm. x 25.7 cm.)
Type:
Archival materials
Volumes
Sketchbooks
Drawings
Sketches
Place:
Asia
Iraq
Mesopotamia
Sāmarrāʼ (Iraq)
Iraq -- Salah ad-Din -- Samarra
Date:
1911-1913
Scope and Contents:
- The eighteenth of a series of eighteen sketchbooks (Skizzenbücher), in which Ernst Herzfeld recorded his observations on topography, landscape, archaeological remains, architecture, artifacts and decorative motifs, related to the congregational mosques in Samarra, Mutawakkiliyya, and Balkuwārā; the Qubbat al-Ṣulaibiyya; the palaces of Balkuwārā, Ṣūr ʿĪṣā, and the Qaṣr al-ʿĀshiq; and finally the residential architecture and the baths at Quraina, Wadī al-Muḥḥ, Qāṭūn, Jubairiyya, and west of Ṣūr ʿĪṣā.
- Original handwritten caption on cover reads, "Samarra; kleine plane."
- Original handwritten notes for pg. 1 and 2 reads, "Palace of al-Iṣbaʿain (al-Isbaʿain); Palace of Ṣūr al-Wasṭānī (Ṣūr al-Wasṭāni)."
- Original handwritten notes for pg. 3 and 4 reads, "Dār Bakhtīshūʿ (Dār Bakhtīshūʿ); Palace of Ṣūr al-Wasṭānī (Ṣūr al-Wasṭāni)."
- Original handwritten notes for pg. 5 and 6 reads, "Topographical measurements."
- Original handwritten notes for pg. 7 and 8 reads, "Topographical measurements."
- Original handwritten notes for pg. 9 and 10 reads, "[Dār al-Khilāfa, cruciform plan of dome chamber inside the square reception-hall block]."
- Original handwritten notes for pg. 11 and 12 reads, "[Dār al-Khilāfa, square reception-hall block, the five halls and the basin on its north side, all situated after the Bāb al-ʿĀmma]."
- Original handwritten notes for pg. 13 and 14 reads, "[Congregational Mosque of Madinat al-Mutawakkiliyya (Abu Dulaf Mosque), north quadrant of the mosque and ziyāda and sketch of recessed niche of the courtyard facades]."
- Original handwritten notes for pg. 15 and 16 reads, "[Congregational Mosque of Madinat al-Mutawakkiliyya (Abu Dulaf Mosque), south quadrant of the mosque and ziyāda and plan of the miḥrāb]."
- Original handwritten notes for pg. 17 and 18 reads, "[Congregational Mosque of Madinat al-Mutawakkiliyya (Abu Dulaf Mosque), west and east quadrants of the mosque and ziyāda]."
- Original handwritten notes for pg. 19 and 20 reads, "[Congregational Mosque of Madinat al-Mutawakkiliyya (Abu Dulaf Mosque), levelling measurements]."
- Original handwritten notes for pg. 21 and 22 reads, "[Congregational Mosque of Madinat al-Mutawakkiliyya (Abu Dulaf Mosque), double-column base in the qibla aisle and sketch of the nothern quadrant of the mosque]."
- Original handwritten notes for pg. 23 and 24 reads, "al-Jubairiyyah (Djubairiyyah)."
- Original handwritten notes for pg. 25 reads, "[Section of architectural details]."
Excavation of Samarra (Iraq): Architectural Studies 9
Arrangement:
Journals, letters, and sketchbooks are arranged roughly in sequential number sequences, housed in document boxes.
Local Numbers:
S-29

FSA A.06 07.29
General:
- Title is provided by Xavier Courouble, FSg Archives cataloger, based on Joseph Upton's Catalogue of the Herzfeld Archive.
- Series title in Joseph Upton's Catalogue of the Herzfeld Archive reads, "Records of Samarra Expeditions."
- Since these are primary sources, handwritten captions in the sketchbook are specified in three stages: (1) an English designation following Thomas Leisten and Alastair Northedge's terminology; (2) the transcribed original caption in German which is provided under parenthesis; and (3) additonal information from Herzfeld's publication, "Der Wandschmuck der Bauten von Samarra und Seine Ornamentik. Verlag Dietrich Reimer, Ernst Vohsen, Berlin, 1923." and Thomas Leisten's publication, "Excavation of Samarra, v. I. Architecture : Final report of the first campaign 1910-1912. Verlag Philipp von Zabern, Mainz am Rhein, 2003" which is provided under bracket.
Date/Time and Place of an Event Note:
Notes related primarly to the two campaigns of excavation at Sāmarrāʼ (Iraq), carried out by Ernst Herzfeld on behalf of the Kaiser Friedrich Museum in Berlin between the years 1911 and 1913.
Funding note:
Funded by
Collection Restrictions:
Collection is open for research.
Collection Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
Topic:
Abbasids  Search this
Architectural drawing  Search this
Architecture  Search this
Art of the Islamic World  Search this
Decoration and ornament  Search this
Excavations (Archaeology)  Search this
Mural painting and decoration  Search this
Relief (Sculpture)  Search this
Religious buildings  Search this
Genre/Form:
Sketchbooks
Drawings
Sketches
Collection Citation:
Ernst Herzfeld Papers. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Smithsonian Institution, Washington D.C. Gift of Ernst Herzfeld, 1946
Identifier:
FSA.A.06, File FSA A.06 07.29
See more items in:
Ernst Herzfeld Papers
Ernst Herzfeld Papers / Series 7: Records of Samarra Expeditions
Archival Repository:
Freer Gallery of Art and Arthur M. Sackler Gallery Archives
EDAN-URL:
ead_component:sova-fsa-a-06-ref10833

S-29: Plan. al-Isha ain

Collection Creator:
Herzfeld, Ernst, 1879-1948  Search this
Container:
Volume S-29, Page 1
Type:
Archival materials
Collection Restrictions:
Collection is open for research.
Collection Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
Collection Citation:
Ernst Herzfeld Papers. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Smithsonian Institution, Washington D.C. Gift of Ernst Herzfeld, 1946
See more items in:
Ernst Herzfeld Papers
Ernst Herzfeld Papers / Series 7: Records of Samarra Expeditions / FSA A.06 07.29: S-29: "Samarra kleine Pläne"
Archival Repository:
Freer Gallery of Art and Arthur M. Sackler Gallery Archives
EDAN-URL:
ead_component:sova-fsa-a-06-ref10834

S-29: Plan. sur al-Wastani

Collection Creator:
Herzfeld, Ernst, 1879-1948  Search this
Container:
Volume S-29, Page 2
Type:
Archival materials
Collection Restrictions:
Collection is open for research.
Collection Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
Collection Citation:
Ernst Herzfeld Papers. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Smithsonian Institution, Washington D.C. Gift of Ernst Herzfeld, 1946
See more items in:
Ernst Herzfeld Papers
Ernst Herzfeld Papers / Series 7: Records of Samarra Expeditions / FSA A.06 07.29: S-29: "Samarra kleine Pläne"
Archival Repository:
Freer Gallery of Art and Arthur M. Sackler Gallery Archives
EDAN-URL:
ead_component:sova-fsa-a-06-ref10835

S-29: Plan. Dar Bakhtishu'

Collection Creator:
Herzfeld, Ernst, 1879-1948  Search this
Container:
Volume S-29, Page 3
Type:
Archival materials
Collection Restrictions:
Collection is open for research.
Collection Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
Collection Citation:
Ernst Herzfeld Papers. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Smithsonian Institution, Washington D.C. Gift of Ernst Herzfeld, 1946
See more items in:
Ernst Herzfeld Papers
Ernst Herzfeld Papers / Series 7: Records of Samarra Expeditions / FSA A.06 07.29: S-29: "Samarra kleine Pläne"
Archival Repository:
Freer Gallery of Art and Arthur M. Sackler Gallery Archives
EDAN-URL:
ead_component:sova-fsa-a-06-ref10836

S-29: Plan. sur al-Wastani

Collection Creator:
Herzfeld, Ernst, 1879-1948  Search this
Container:
Volume S-29, Page 4
Type:
Archival materials
Collection Restrictions:
Collection is open for research.
Collection Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
Collection Citation:
Ernst Herzfeld Papers. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Smithsonian Institution, Washington D.C. Gift of Ernst Herzfeld, 1946
See more items in:
Ernst Herzfeld Papers
Ernst Herzfeld Papers / Series 7: Records of Samarra Expeditions / FSA A.06 07.29: S-29: "Samarra kleine Pläne"
Archival Repository:
Freer Gallery of Art and Arthur M. Sackler Gallery Archives
EDAN-URL:
ead_component:sova-fsa-a-06-ref10837

S-29: Plans and details of unidentified buildings

Collection Creator:
Herzfeld, Ernst, 1879-1948  Search this
Container:
Volume S-29, Page 9–18
Type:
Archival materials
Collection Restrictions:
Collection is open for research.
Collection Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
Collection Citation:
Ernst Herzfeld Papers. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Smithsonian Institution, Washington D.C. Gift of Ernst Herzfeld, 1946
See more items in:
Ernst Herzfeld Papers
Ernst Herzfeld Papers / Series 7: Records of Samarra Expeditions / FSA A.06 07.29: S-29: "Samarra kleine Pläne"
Archival Repository:
Freer Gallery of Art and Arthur M. Sackler Gallery Archives
EDAN-URL:
ead_component:sova-fsa-a-06-ref10839

S-29: Unidentified plans

Collection Creator:
Herzfeld, Ernst, 1879-1948  Search this
Container:
Volume S-29, Page 21–22
Type:
Archival materials
Collection Restrictions:
Collection is open for research.
Collection Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
Collection Citation:
Ernst Herzfeld Papers. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Smithsonian Institution, Washington D.C. Gift of Ernst Herzfeld, 1946
See more items in:
Ernst Herzfeld Papers
Ernst Herzfeld Papers / Series 7: Records of Samarra Expeditions / FSA A.06 07.29: S-29: "Samarra kleine Pläne"
Archival Repository:
Freer Gallery of Art and Arthur M. Sackler Gallery Archives
EDAN-URL:
ead_component:sova-fsa-a-06-ref10841

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