Rowena Stewart, former Director of the African American Museum in Philadelphia, The Rhode Island Black Heritage Society, the African American Historical and Cultural Museum, and the Motown Historical Museum and the American Jazz Museum, discusses the influence the Anacostia Community Museum had in introducing African American heritage in a museum setting, in serving the Anacostia neighborhood, and in supporting other emerging African American cultural institutions in the 1960s and 1970s. She discusses meeting John Kinard, and the guidance he provided in presenting history through exhibitions and educational programs. She shares her memories of the early days of the Anacostia Museum, the effects of its move from the Carver Theater to the current location, and its ongoing influence.
The interview was conducted by Gail S. Lowe on May 11, 1992. There is background static throughout the recording, but the interview can be heard clearly.
Provenance:
Conducted as part of the ACM 25th Anniversary Oral History Project, which includes approximately 100 interviews of residents and influential people of the Anacostia area of Washington, DC.
Restrictions:
Use of the materials requires an appointment. Please contact the archivist to make an appointment: ACMarchives@si.edu.
Recorded in: Washington (D.C.), United States, May 11, 1972.
Restrictions:
Restrictions on access. Some duplication is allowed. Use of materials needs permission of the Smithsonian Institution.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
The Smithsonian Institution president, Anacostia residents, and city politicians provide remarks for the official opening of the exhibition Evolution of a Community at the Anacostia Neighborhood Museum. Their speeches cover the history, purpose, and growth of the Anacostia Neighborhood Museum; an introduction to the exhibit; the role of museums, particularly the role of the Anacostia Neighborhood Museum within in the community of Anacostia and the city of Washington, D.C.; a short history of the people of Anacostia, including the establishment of Anacostia and Barry Farms; the importance of recording history for the people of a community; the present state of Anacostia; and what Anacostia will be for future generations. Recording also includes footage of exhibit displays, museums visitors, and exterior of the Anacostia Neighborhood Museum; and a musical performance by Blackstone Rangers Band.
Exhibition opening. Part of Evolution of a Community Audiovisual Records. AV003208: part 1. AV003182: part 2. AV003208: glitches/skips in video recording. Undated.
Biographical / Historical:
Evolution of a Community, an exhibit at the Anacostia Neighborhood Museum from January 1972 though December 1972, presented the history of Anacostia from post-World War II to the present through photos, text, drawings, video tape programs, and a slide/tape show. Evolution of a Community Part II, also known as Anacostia Today, was on display at the Anacostia Neighborhood Museum from March 1973 though July 1973. The exhibitions developed as a result oral histories collected from Anacostia residents.
Local Numbers:
ACMA AV003208
General:
Title transcribed from physical asset.
Series Restrictions:
Use of the materials requires an appointment. Some items are not accessible due to obsolete format and playback machinery restrictions. Please contact the archivist at acmarchives@si.edu.
Collection Rights:
Collection items available for reproduction, but the Archives makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives cost-recovery and use fees may apply when requesting reproductions.
Opening: Evolution of a Community Pt. 1, Exhibition Records AV03-040, Anacostia Community Museum Archives, Smithsonian Institution.
Sponsor:
Funding for partial processing of the collection was supported by a grant from the Smithsonian Institution's Collections Care and Preservation Fund (CCPF).
Ripley, S. Dillon (Sidney Dillon), 1913-2001 Search this
Collection Creator:
Smithsonian Institution. Anacostia Community Museum Search this
Extent:
1 Video recording (open reel, 1/2 inch)
Type:
Archival materials
Video recordings
Speeches
Place:
Anacostia (Washington, D.C.)
Washington (D.C.)
United States
Date:
circa 1977
Scope and Contents:
S. Dillon Ripley introduces the opening of the new exhibition, The Anacostia Story; and speaks of the Anacostia Neighborhood Museum on its 10th anniversary and the opening of Anacostia Historical Society in 1974. John Kinard introduces Ripley as the speaker. Footage of patrons viewing exhibition and talking to each other.
Speech. Part of Anacostia Story 1608 -1930 Audiovisual Records. Undated.
Biographical / Historical:
The exhibition, The Anacostia Story, presented the history and development of Anacostia between 1608 and 1930 told through artifacts, photographs, early prints, documents and memorabilia. Well-known residents of the area, including Frederick Douglass, Elzie Hoffman, Dr. Charles Nichols, and Solomon G. Brown, were featured. The exhibition was organized by the Anacostia Neighborhood Museum and held there from March of 1977 to March 1978.
Series Restrictions:
Use of the materials requires an appointment. Some items are not accessible due to obsolete format and playback machinery restrictions. Please contact the archivist at acmarchives@si.edu.
The bulk of the papers consist of Nagel's files on his various positions and projects (ca. 3.3 ft), containing a variety of materials, including correspondence, writings, notes, art works, clippings, photographs and printed material. Also included are files pertaining to Nagel's father, lawyer and statesman Charles Nagel, and to his mother, Anne; and papers of and relating to Nagel's friend and associate, architect Victor Proetz (0.6 ft).
Nagel's files on positions and projects are arranged chronologically, and relate to: design projects while a student at Yale University, ca. 1926-1928; his struggle with career choices (mostly typescripts of letters to his father), ca. 1927-1931; his appointment to the Yale University Gallery of Fine Arts; commissions during his partnership in Nagel & Dunn (includes photographs of Fred Dunn, St. Mark's Episcopal Church, and other designs); organizing the exhibit "Italy at Work: Her Renaissance in Design Today, 1950-1951," his publication American Furniture, 1650-1850, and other activities while director of the Brooklyn Museum, 1946-1955; his position as juror and secretary for the Jefferson National Expansion Memorial Competition and working with other jurors Fiske Kimball and William Wurster, and design winner, Eero Saarinen; the Independence National Historical Park Project, Philadelphia, Pa.; positions at the City Art Museum, St. Louis, Mo.; establishment of the National Portrait Gallery (includes photographs of staff, the building, exhibitions, and opening celebrations, 1964-1969, notably Chief Justice Earl Warren, Smithsonian Secretary S. Dillon Ripley, and artist Peter Hurd); his emigration to Cuernavaca, Morelos, Mex.; and alterations and additions to St. Michael and All Angels Church in Cuernavaca, 1983. Included in several files are photographs of Nagel, his residences, and colleagues, and architectural drawings.
Files on his father contain honorary degrees and awards, photographs and printed material relating to the naming of a post office in his honor, St. Louis, Mo., and other events honoring him.
The papers of Victor Proetz, ca. 1928-1966 (ca. 0.6 ft), include obituaries; correspondence; a Last Will and Testament; a list of Proetz's commissions, 1934-1943; writings by Proetz and others; Proetz's "The Astonishment of Words," 1971, posthumously published; a scrapbook; exhibition announcements and catalogs; printed material; and photographs of Proetz and his designs for interiors and furniture.
Biographical / Historical:
Museum director; architect. Nagel was born in St. Louis, Mo. He attended Yale University, earning a B.A. in 1923, a B.A. in architecture in 1926 and M.F.A. in architecture in 1928. Upon graduation, he was employed at the firms of Jamieson & Spearl, and Hall & Proetz, St. Louis, and with Coolidge, Shepley, Bulfinch, Abbott in Boston.
He taught art history at Yale, and served as curator of Decorative Arts at Yale's Gallery of Fine Arts, 1930-1936, returning to architecture with the firm Nagel & Dunn, St. Louis, from 1936-1942. His positions as museum director include the City Art Museum in St. Louis, 1942-1946 (acting) and 1955-1964; the Brooklyn Museum, 1946-1955; and the National Portrait Gallery, 1964-1969.
Provenance:
Donated 1992 and 1994 by Lucie O. Nagel, widow of Charles Nagel. According to Mrs. Nagel, the material relating to Victor Proetz was given to Nagel by Proetz, who was a close friend and associate, and by the Proetz estate following his death in 1966.
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 directors -- Missouri -- St. Louis Search this
Museum directors -- New York (State) -- Brooklyn Search this
The papers of New York sculptor Robert White measure 8.4 linear feet and 0.846 GB and date from 1889-2003, with the bulk of the material from 1915-2003. The collection documents White's varied career as a sculptor, educator, painter, and illustrator through biographical material; extensive correspondence; project files; personal business records; notes and writings; sketchbooks and sketches by Robert White and others; printed and digital material; audiovisual material; artifacts; and photographs.
Scope and Content Note:
The papers of New York sculptor Robert White measure 8.4 linear feet and 0.846 GB and date from 1889-2003, with the bulk of the material from 1915-2003. The collection documents White's varied career as a sculptor, educator, painter, and illustrator through biographical material; extensive correspondence; project files; personal business records; notes and writings; sketchbooks and sketches by Robert White and others; printed and digital material; audiovisual material; artifacts; and photographs.
Scattered biographical materials include a curriculum vitae, documentation relating to White's service in the U.S. Coast Guard, a certificate of appreciation, and a memorial card for White's daughter, Natalie Laura White.
Correspondence contains primarily incoming letters from family and friends, and from clients, galleries, museums, arts organizations, students, and university administrators. Spanning over a seventy year period, family and friends correspondence centers on daily activities, events, and work. There is extensive correspondence from Robert White's parents, Lawrence Grant White and Bessie Chanler White and from Claire Nicolas White and her family. Other correspondents include Gil Franklin, Walker Hancock, Jim Harrison, Susan Hobbes, Willard R. Huntington, Ben LaFarge, Ward Lamb, Suzannah Lessard, Peter Matthiessen, Walker O'Cain, Mark and Katja Oxman, Frank C. Platt, Laura Spencer Pope, Paul and Ellen Resika, Paul Russotto, Sidney Simon, and William Styron, among others.
General correspondence mostly concerns White's commissions, teaching appointments, and his activities in professional organizations. Also included are letters from family members, friends, and colleagues. Frequent correspondents include: the American Academy in Rome, Amyas Ames, the Augustus Saint Gaudens Memorial, Century Association, Theodore Cremer, Davis Galleries, Patricia Fleischmann, Hugh Fosburgh, Rebekah Harkness Kean, David Garrard Lowe, National Academy of Design, Parsons School of Design, S. Dillon Ripley, the State University of New York at Stony Brook, Steuben Glass, and the Suffolk Museum and Carriage House.
Project files contain materials on Robert White's exhibitions and his commissioned projects. Materials include letters, lists of artwork, notes, price lists, receipts, exhibition schedules, contracts, and loan agreements. Files document White's exhibits at the Davis Galleries, Elaine Benson Gallery, Graham Gallery, Graham Modern, Heckscher Museum, and the State University of New York at Stony Brook. Included are extensive files on White's commissions for the American Battle Monuments Commission, Peabody Museum, and Steuben Glass.
Personal business records include files on Robert White's association with the Augustus Saint Gaudens Memorial and the National Academy of Design; his teaching appointments at the Parsons School of Design, the State University of New York at Stony Brook, and the Skowhegan School of Painting and Sculpture; and his dealings with foundries. There are scattered files on the Whites' St. James, New York property and residence.
Notes and writings contain Robert White's diaries, artist's statements, notebooks, essays on art, lectures, and scattered notes. Also found are writings by Clare White and others.
Sketchbooks and loose sketches contain preliminary studies by Robert White and scattered sketches by others. Printed material houses newspaper clippings and periodicals; exhibition announcements, catalogs, brochures, and posters; press releases and newsletters; and miscellaneous printed material.
Artifacts include two printing blocks: a portrait sculpture of Stephanie White and a landscape image. Audiovisual material consists of a digital audio recording of a classroom lecture by Robert White at an unidentified venue.
Photographs house images of Robert White; his studio; and snapshots of family and friends, many unidentified. Also included are photographs and slides of artwork.
Arrangement:
The collection is arranged into ten series:
Missing Title
Series 1: Biographical Material, 1939-2002 (Box 1; 0.1 linear feet)
Series 2: Correspondence, 1923-2002 (Boxes 1-4; 3.8 linear feet)
Series 3: Project Files, 1952-2003 (Boxes 4-5, OV 10; 1.2 linear feet)
Series 4: Personal Business Records, 1889, 1946-2003 (Boxes 5-6, OV 10; 1.3 linear feet)
Series 5: Notes and Writings, 1915, circa 1946-2002 (Boxes 6-7; 0.6 linear feet)
Series 6: Sketchbooks and Sketches, circa 1965-1972 (Boxes 7, 9; 0.3 linear feet
Series 7: Printed Material, 1937-2003 (Boxes 7, 9; 0.5 linear feet)
Series 8: Audiovisual Material, 1973 (ER01; 0.846 GB)
Series 9: Artifacts, circa 1965 (Box 7; 0.1 linear feet)
Series 10: Photographs, circa 1940s-2001 (Box 8; 0.5 linear feet)
Biographical Note:
Robert Winthrop White (1921-2002) lived and worked in St. James, New York and was primarily known as a sculptor and educator.
He was the son of the architect, Lawrence Grant White (1887-1956) and Bessie Chanler White. Stanford White (1853-1906), Robert's grandfather, was one of the founding partners in the prominent New York City architectural firm, McKim, White, and Mead.
As a youth, Robert White traveled to Munich, Germany to study woodcarving, sculpture, and painting. In 1935, he entered Portsmouth Priory School in Rhode Island. From 1938-1942, he was enrolled in the Rhode Island School of Design, where his mentors were Walter Raemisch in sculpture and John Howard Benson in calligraphy. In World War II, White served as chief boatswain's mate in the United States Coast Guard and later worked in the Office of Strategic Services (OSS). At the end of the war, White continued his training in sculpture and painting. In 1947, Robert White married Clare Nicolas, daughter of the painter and stained glass master, Joep Nicolas and the sculptor, Suzanne Nicolas.
Robert White, influenced by the classical techniques of the Renaissance artists, worked in various media, such as bronze, stone, plaster, terra-cotta, and wood. His subjects included portrait, figure, and life studies; animals; and dancers. Robert White also was an illustrator. He illustrated works by Laura Spencer Pope, William Styron, and others. White also illustrated two collections of his own poems, Casques and Dust and Palace: The Story of A Friendship that were privately published before his death in 2002.
Robert White held teaching positions at several universities and schools, including the Suffolk Museum of Art, the Parsons School of Design, and the Skowhegan School of Painting and Sculpture. From 1967-1987, White was an associate professor at the State University of New York at Stony Brook.
White exhibited his work in museums and galleries in the United States and abroad, including Artists Choice Museum, Artist's Gallery, Benson Gallery, Boston Athenaeum, Gallery North, Hartwick College Museum, Nassau County Museum of Fine Art, Patricia Fleischmann Gallery, Rijksakademie Van Beeldende, State University of New York at Stony Brook, and the Suffolk Museum and Carriage House, among others. Robert White was represented by the Davis Gallery, Graham Gallery, and Graham Modern in New York City.
Robert White's private and public commissions included works for the American Battle Monuments Commission, Amyas Ames, Theodore Cremer, John Marquand, Peabody Museum, State University of New York, William Styron, and Xerox Corporation. His work can be viewed in the collections of the Boston Athenaeum, Brooklyn Museum, Civici Musei 3 Gallerie di Storia e Arte, Heckscher Museum, and the Rhode Island School of Design. Robert White was the recipient of the Laurel Gallery's "New Talent" exhibition prize, 1948; American Academy's Rome Prize, 1952-1954; and the Proctor Memorial Prize at the National Academy of Design, 1962, 1982. He was also awarded grants from the Tiffany Foundation, 1950 and the Fairfield Foundation, 1968. From 1952-1955, White was a fellow of the American Academy in Rome, where he also served as an artist-in-residence from 1969-1970. Robert White was a member of the American Academy in Rome, the Augustus Saint Gaudens Memorial, Century Association, and the National Academy of Design.
Robert White continued to work on the family estate in St. James, New York until his death in 2002.
Provenance:
The Robert W. White Papers were donated in 2003 by Claire Nicolas White, widow of Robert White.
Restrictions:
Use of the original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Topic:
Educators -- New York (State) -- New York Search this
The papers of art historian E. P. Richardson measure 28.7 linear feet and date from 1814-1996, with the bulk of the materials dating from 1921-1996. Within the papers are scattered biographical materials; acquisition files for Richardson's personal art collection; professional and personal correspondence with colleagues, art historians and critics, artists, museums, galleries, and dealers; numerous writings, including manuscripts and research files for his published books, articles, and lectures; general research notebooks and files compiled by Richardson on a wide variety of art-related topics and artists; professional and committee files; as well as a smaller amount of Constance C. Richardson's papers.
Scope and Contents:
The papers of art historian E. P. Richardson measure 28.7 linear feet and date from 1814-1996, with the bulk of the materials dating from 1921-1996. Within the papers are scattered biographical materials; acquisition files for Richardson's personal art collection; professional and personal correspondence with colleagues, art historians and critics, artists, museums, galleries, and dealers; numerous writings, including manuscripts and research files for his published books, articles, and lectures; general research notebooks and files compiled by Richardson on a wide variety of art-related topics and artists; professional and committee files; as well as a smaller amount of Constance C. Richardson's papers.
Biographical materials include certificates, awards, and honorary degrees, membership information, personal and family photographs, a few sketches, and a transcript of an oral history Interview with E.P. Richardson conducted by the National Endowment for the Humanities in 1982.
There are acquisitions files for the Richardsons' personal art collection that invoices, photographs, correspondence with galleries and collectors, appraisals, price lists, and artwork examination forms.
Correspondence is with colleagues, art dealers, collectors, museums and museum curators, foreign scholars, organizations, galleries, artists, art historians and critics, publishers, editors, librarians, friends, and family. Topics regard purchasing art for various collections, consultations about art and collecting including authentications and attributions, publishing, general art history, lectures, and personal matters, among other topics. There is correspondence with the Archives of American Art, Castano Galleries, Lawrence Fleischman, James Thomas Flexner, Alfred V. Frankenstein, George Croce, Walter Heil, Earl Krentzin, Wilmarth Lewis, Russel Lynes, John Francis McDermott, Philadelphia Museum of Art, J. Hall Pleasants, Anna Rutledge, Charles Sellers, Smithsonian Institution, Regina Soria, Victor Spark, William Stevens, Robert Vose, William Woolfenden, and many others. Scattered correspondence with artists is with Isabel Bishop, Louis Bouche, William Bostick, Eve Garrison, Edward Hopper, Irene Jungwirth, Yasuo Kuniyoshi, Hughie Lee-Smith, Reginald Marsh, Gerald Mast, Georgia O'Keeffe, Charles Sheeler, Walt Speck, and John Wedda, among many others. The greatest extent of correspondence is with Andrew Wyeth, Harold Cohn, and Frederick Simper. There is also personal correspondence with family and friends, and between E.P. and Constance Richardson.
E.P. Richardson's prominence as an art historian, writer, and expert on collecting is well documented through his prolific writings. Materials include drafts, notes, typescripts, and outlines for articles, exhibition catalog essays, and lectures. Also found are research files and publishing documentation for Richardson's books, including Washington Allston: A Study of the Romantic Artist in America (1948), Painting in America (1956), Charles Willson Peale and his World (1983), and American Romantic Painting (1944). There are also miscellaneous notes and four diaries. Two of the diaries comment on the social and cultural life of Detroit; the authenticity of paintings; Richardson's reflections on contemporary American painting, thoughts about museums, dealers, artists, and art historians (especially Wilhelm R. Valentiner); and travel.
Notebooks compiled by Richardson on a wide variety art-related topics cover nearly six decades. There are also numerous research files organized Richardson about individual artists and art history. And, the art collector files contain reference materials about art collectors and their collections including Lamont du Pont Copeland, Michael W. Freeman, Nelson Rockefeller, Mr. and Mrs. Joseph Allen, and the Marquis de Somerlous. There are three index card file boxes containing bibliographic data on published books and articles.
Professional and committee files document Richardson's professional and consulting work for the Art Quarterly, Detroit Institute of Arts, National Collection of Fine Arts, the National Portrait Gallery, the Pennsylvania Academy of Fine Arts, the John D. Rockefeller III collection, Winterthur Museum, the White House, and the Historical Society of Pennsylvania.
Constance C. Richardson's papers include business and professional correspondence with various institutions, most extensively with the Macbeth Gallery. In addition, there is a smaller amount of personal correspondence, photographs and slides of her artworks, printed materials, two illustrated notebooks on her work, and miscellaneous notes. Also included is Constance's artist palette.
Biographical / Historical:
Art historian, museum director, and writer E. P. (Edgar Preston) Richardson (1902-1985) served as director of the Detroit Institute of Arts (1945-1962) and Winterthur Museum (1963-1966). He was also a board member of the Pennsylvania Academy of the Fine Arts from 1966-1977 and, in 1954, co-founded the Archives of American Art, Smithsonian Institution.
E. P. Richardson was born in 1902 in Glens Falls, New York and died in Philadelphia in 1985. He graduated from Williams College in Massachusetts in 1925 and studied painting at the Pennsylvania Academy of the Fine Arts for the three years following graduation. In 1930 he became educational secretary at the Detroit Institute of Arts, was quickly named assistant director in 1933, and served as director from 1945 to 1962. He left Detroit to take the position of director of the Winterthur Museum, where he remained until 1966.
Richardson married Constance Coleman in 1931. Born in Berlin, Germany in 1905, Constance Coleman Richardson was an award-winning and widely exhibited realist style painter of American landscapes. She gave up painting in the 1960s and died in 2002.
While at the Detroit Institute of Arts, E. P. Richardson co-founded the Archives of American Art with Lawrence Fleischman, and served as the Archives' first director. Richardson was also art advisor to John D. Rockefeller III for over ten years, editor of Art Quarterly from 1938 to 1967, and a member of various boards, including the Historical Society of Pennsylvania, the Smithsonian Arts Commission, and the National Portrait Gallery. He authored numerous books including ones on artists Washington Allston and Charles Willson Peale, and The Way of Western Art: American Romantic Painting (1939), Painting in America: The Story of Four Hundred and Fifty Years (1956), A Short History of Painting in America (1963), and American Art, an Exhibition of the Collection of Mr. and Mrs. John D. Rockefeller, 3d (1976).
Related Materials:
Related collections among the holdings of the Archives of American Art include an interview with E.P. Richardson dated February 6, 1978 conducted by Linda Downs; and several miscellaneous manuscripts that include an E.P. Richardson Letter to Rockwell Kent, June 15 1959; E.P. Richardson letters to Lawrence Arthur Fleischman, May 13, 1962 and August 22 1954; and a Yasuo Kunioshi letter to E.P. Richardson, July 25 1948.
Additional E.P. Richardson papers are found at the Detroit Institute of Arts and in the archives of the Henry Francis du Pont Winterthur Museum.
Separated Materials:
The Archives of American Art also holds material lent for microfilming (reel D46) including E.P. Richardson's research material on Jeremiah P. Hardy. These materials are housed at the Smithsonian American Art Museum Library and are not described in the collection container inventory.
Provenance:
Edith Wilkinson first donated a letter to E. P. Richardson from herself in 1957. E.P. Richardson donated papers to the Archives of American Art in 1958 and 1960 and lent materials for microfilming in 1961. Addition material was donated by Constance Richardson in 1985, and by Martha Fleischman in 2003.
Restrictions:
Use of original material requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact References Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Eleven letters from Abram Lerner, Director, Hirshhorn Museum and Sculpture Garden (HMSG), Smithsonian Institution, to Sidney S. Lawrence. Letters are personal in nature and were written after Lerner's appointment with the Smithsonian Institution. Individuals mentioned are Secretary of the Smithsonian Institution, S. Dillon Ripley, and artists Larry Rivers, Jacob Kainen, Catherine Murphy, Romare Bearden, and Wayne Thiebaud, among others.
Biographical / Historical:
Sidney S. Lawrence (1948- ) was Head of Public Affairs, Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D.C.
Provenance:
Donated 2010 by Sidney S. Lawrence, former Head of Public Affairs, Hirshsorn Museum and Sculpture Garden, Smithsonian Institution.
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.
Recorded in: Washington (D.C.), United States, October 8, 1980.
Restrictions:
Restrictions on access. Some duplication is allowed. Use of materials needs permission of the Smithsonian Institution.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Recorded in: Washington (D.C.), United States, October 8, 1980.
Restrictions:
Restrictions on access. Some duplication is allowed. Use of materials needs permission of the Smithsonian Institution.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Collection Citation:
Smithsonian Folklife Festival records: 1980 Festival of American Folklife, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Recorded in: Washington (D.C.), United States, October 4, 1978.
Restrictions:
Restrictions on access. Some duplication is allowed. Use of materials needs permission of the Smithsonian Institution.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Recorded in: Washington (D.C.), United States, October 4, 1978.
Restrictions:
Restrictions on access. Some duplication is allowed. Use of materials needs permission of the Smithsonian Institution.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
United States of America -- District of Columbia -- Washington
Varying Form:
Victorian Garden, formerly known as.
General:
The Enid A. Haupt Garden was dedicated on May 22, 1987. It is located between the Freer Gallery of Art and the Arts and Industries Building, and south of the Smithsonian Institution Building, commonly referred to as the Castle. This 4.3 acre area actually sits atop the Quadrangle complex - an underground facility made up of three Smithsonian museum spaces: the Arthur M. Sackler Gallery, the National Museum of African Art, and the S. Dillon Ripley Center. Above-ground kiosk entrances to the Sackler and African Art museums are located in the Haupt Garden itself. The Haupt Garden contains three discrete gardens within it: the Parterre, the Moongate Garden, and the Fountain Garden.
After the Castle's construction was completed in 1855, the area to its south became known as the South Yard. In 1887, it functioned as a zoo for bison to promote the conservation of their over-hunted population. The bison were moved to the newly-established National Zoological Park in 1889, and for nearly a century, the South Yard was home to a number of different buildings including the Aerodrome Shop, a solar radiation lab, a bug house (where beetles cleaned skeletal remains of animal specimens), temporary storage and collection buildings, a U.S. Army hangar, and a greenhouse and Quonset hut for the Office of Horticulture. In 1976, the Smithsonian's Office of Horticulture (now Smithsonian Gardens) planted the Victorian Garden parterre on the South Yard, in celebration of America's Bicentennial and to complement a Victoriana exhibition on horticulture in the adjacent Arts and Industries Building. This garden was inspired by a similar parterre made for the 1876 Centennial celebration in Philadelphia, Pennsylvania. In 1979, President Jimmy Carter authorized $500,000 for the planning and construction of the Quadrangle - an underground complex built in the South Yard - to house the Arthur M. Sackler Gallery, the National Museum of African Art, and the S. Dillon Ripley Center. In 1982, the Victorian Garden was removed. Construction on the Quadrangle spanned from June 21, 1983 to 1987. Architect Jean Paul Carlhian of the firm Shepley, Bulfinch, Richardson and Abbot was in charge of designing the Quadrangle complex which incorporated an initial design concept by Japanese architect Junzo Yoshimura.
Once basic construction was complete and soil returned to the ground-level (i.e. roof) of the Quadrangle, it was clear that there was more room for gardens beyond the reincorporated parterre. Smithsonian Secretary S. Dillon Ripley invited philanthropist Enid A. Haupt to tour the garden site, hoping Mrs. Haupt would finance a Zen garden west of the parterre. In fact, she financed the entire design and construction of the new garden with a $3 million endowment, stipulating that the garden be mature when it opened in 1987. With funds in place, work on the garden began, with the primary goal being to harmonize the stylistically varied buildings in and around the Quadrangle (the three entrance pavilions to the underground museums, the Smithsonian Castle, Freer Gallery of Art, and the Arts and Industries Building). The design of the garden was a collaborative effort between principal architect Jean Paul Carlhian, the landscape architectural firm Sasaki Associates, Inc., landscape architect Lester Collins, and James R. Buckler, Director of the Smithsonian's Office of Horticulture. Together they designed the three gardens described below.
Enid A. Haupt (1906-2005) was a publishing heiress and philanthropist who especially supported American horticulture. In addition to this garden, Mrs. Haupt's horticultural philanthropy created and/or preserved several renowned garden spaces including The Enid A. Haupt Glass Garden at the Howard A. Rusk Institute, NYU Medical Center in New York City; the Enid A. Haupt Conservatory at the New York Botanical Garden in the Bronx, New York; The Haupt Fountains on the Ellipse in Washington, D.C.; River Farm in Alexandria, Virginia; and The Cloisters in New York City. In 1994, the American Horticultural Society awarded her the Liberty Hyde Bailey award for her philanthropy.
The Parterre is the Victorian-style centerpiece of the Haupt Garden. It is a carefully manicured garden with a changing palette of colors and textures, laid out in symmetrical patterns that are redesigned every few seasons. Designs incorporate such motifs as diamonds, fleurs-de-lis, and scallops. While parterre is a French term meaning "on the ground," parterres as an ornamental garden style originated in 16th century Renaissance Italy.
The Moongate Garden is next to the Arthur M. Sackler Gallery, and was inspired by the Temple of Heaven in Beijing, China. The Temple of Heaven was designed using a geometrical, axial layout, centered on the cardinal points of the compass. The Moongate Garden's dominant features are stone and water, which symbolize the body and spirit of the earth in Chinese culture. Two 9-foot-tall pink granite moon gates stand on the southwest and northeast corners of the garden; two more lie as benches in the opposite corners. A circular platform lies in the center of a granite-paved square pool, connected by bridges to each side of the square.
The Fountain Garden is next to the National Museum of African Art, and was modeled after the Court of the Lions at Alhambra, a 13th-century Moorish palace in Granada, Spain. As with most Islamic gardens, the Fountain Garden is symmetrical and includes a central fountain with four water channels. Respectively, these channels represent paradise itself, and the four rivers of paradise described in the Koran: water, milk, honey, and wine. At the garden's north end is a chadar - a patterned, sloping stone ramp that has water running down it.
The Renwick Gates are cast iron carriage gates at the garden's entrance on Independence Avenue. The gates were erected in 1979, based on an 1849 drawing by James Renwick, Jr., architect of the Castle. The design includes piers made of the same sandstone that went into the Castle's great reddish walls from a quarry in Seneca, Maryland.
A European linden tree once stood in the northeast corner of the South Yard. When construction on the Quadrangle began, Secretary Ripley directed that the tree remain unharmed. Construction personnel and arborists minded the tree, helping it live through the end of construction. However, it died of old age two years later, in 1989.
The Downing Urn was originally erected on the National Mall in 1856 in memory of landscape designer and horticulturist Andrew Jackson Downing (1815-1852). The urn was restored in 1972. In 1989, it was moved to where the linden tree had stood in the Haupt Garden.
Plantings include saucer magnolia (Magnolia x soulangeana), Wollemi pine (Wollemia nobilis), weeping Higan cherry (Prunus pendula 'Pendula Rosea'), golden shrimp plant (Pachystachys lutea), coneflower (Echinacea), dusty miller (Senecio cineraria), and pansy (Viola x wittrockiana).
Persons associated with the garden include: Enid A. Haupt (donor, 1987). Jean Paul Carlhian (principal architect, 1987). Lester Collins (landscape architect consultant, 1987). Constantine Seferlis (stonecarver, 1979). James Renwick Jr. (architect, 1849). James Goode (SI Castle keeper, design and construction supervisor, 1979-1987). S. Dillon Ripley (Smithsonian Secretary, 1964-1984). Michael Riordan (horticulturist, 1995- ).
Related Materials:
Enid A. Haupt Garden related holdings consist of 3,124 35mm slides (photographs), 979 photographic prints, 15 contact sheets, 12 transparencies, and 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.
Topic:
Gardens -- District of Columbia -- Washington Search this
Genre/Form:
Digital images
Slides (photographs)
Photographic prints
Negatives
Collection Citation:
Smithsonian Gardens Image Library, Archives of American Gardens, Smithsonian Institution.
The presentation explores the evolution of museums and ways in which museums can make themselves more useful to their immediate communities. Suggestions included involving people in the decision making, fundraising, and membership of museums; understanding the role of urban projects as they relate to museums; and determining the contributions the museum can make toward solving problems which plague its community and its residents. Additionally, the concepts of the branch museum and the neighborhood museum are explained. Quotes by S. Dillon Ripley and John Kinard are integrated into the presentation.
Presentation. AV002677: music and narration only, consistent beeping throughout recording. Undated.
Restrictions:
Use of the materials requires an appointment. Some items are not accessible due to obsolete format and playback machinery restrictions. Please contact the archivist to make an appointment: ACMarchives@si.edu.
Opening Ceremony speakers include: Robert McCormick Adams, James Hurley, S. Dillon Ripley, Ambassador Ramley of Indonesia, Eleanor Arnold, Sen. Paul Simon, Secretary of Agriculture Ed Madigan, Ruth Brown, Vicki McGraw of Interior Dept., Richard Kurin, Jim Morris, Ralph Rinzler, Marian Lund, Sen. Tim Harkin
Track Information:
101 Opening Ceremonies: "Chirps" Smith Family: "The Rush and the Pepper" / Dorothy Kent, Kenny Applebee, Lynn Smith. Fiddle,Guitar.
104 Opening Ceremonies: Moving Star Hall Singers "You Got to Move".
105 Opening Ceremonies / James Hurley, Robert McCormick Adams, Sidney Dillon Ripley.
Local Numbers:
FP-1991-CT-0041-5
General:
tape /
Date/Time and Place of an Event Note:
Recorded in: Washington (D.C.), United States, June 28, 1991.
Restrictions:
Restrictions on access. Some duplication is allowed. Use of materials needs permission of the Smithsonian Institution.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Kentucky Program Press Conference - S. Dillon Ripley
Creator:
Smithsonian Institution. Festival of American Folklife (1973) Search this
Artist:
Ripley, S. Dillon (Sidney Dillon), 1913-2001 Search this
Collection Creator:
Smithsonian Institution. Center for Folklife and Cultural Heritage Search this
Extent:
1 Sound recording (7 inch reel, 1/4 inch tape)
sound-tape reel (analog, 7 in.)
Type:
Archival materials
Sound recordings
Place:
United States
Washington (D.C.)
Date:
1973 April 12
General note:
Other number Q-72
Local Numbers:
FP-1973-7RR-0163
General:
Q72
Date/Time and Place of an Event Note:
Recorded in: Washington (D.C.), United States, April 12, 1973.
Restrictions:
Restrictions on access. Some duplication is allowed. Use of materials needs permission of the Smithsonian Institution.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Collection Citation:
Smithsonian Folklife Festival records: 1973 Festival of American Folklife, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
At construction site, John Kinard and Alton Jones talk about the origin of the idea for the Anacostia Neighborhood Museum, involving the community in museum operations, and the development and purpose of the Exhibit Design and Production Laboratory to be located in Fort Station (southeast Washington, D.C.). S.D. Ripley, R. Brooks, and L. Thomas tour the Exhibit Lab during construction process of structure. Footage of work on the construction site, various stages of building development, neighborhood surrounding the construction site, and discussion about the building plans for the Exhibits Lab.
Discussion, and b-roll or unedited footage. Part of ACM Museum Events, PR, and Ceremonies Recordings. AV004334: recording is distorted and a recording of a Video Camera Demonstration interrupts discussion; content of discussion on AV004334 overlaps with content on AV004314. AV003564: exhibition lab from 001109 - 001345 and 001447 - 003135 [also on recording: Conversation about Penn State Student Visit, Anacostia Neighborhood Museum: Exhibition Construction and Exterior of Museum]. Undated.
Local Numbers:
ACMA AV004334
ACMA AV003564
Collection Restrictions:
Use of the materials requires an appointment. Some items are not accessible due to obsolete format and playback machinery restrictions. Please contact the archivist at acmarchives@si.edu.
Proceedings of the Archives of American Art's twenty-fifth anniversary dinner, held in Washington, D.C., November 8, 1979. Speakers include S. Dillon Ripley, Gilbert Kinney, W. E. Woolfenden and Eloise Spaeth.
General:
Originally recorded on reel-to-reel tape. Reformatted in 2010.
Funding note:
Funding for the digital preservation of this recording was provided by a grant from the Save America's Treasures Program of the National Park Service.
Collection Restrictions:
Use requires an appointment.
Sponsor:
Funding for the digital preservation of these recordings was provided by a grant from the Save America's Treasures Program of the National Park Service.
