Freedmen's Bureau Digital Collection, 1865–1872, is a product of and owned by the National Museum of African American History and Culture, Smithsonian Institution. Copyright for digital images is retained by the donor, FamilySearch International; permission for commercial use of the digital images may be requested from FamilySearch International, Intellectual Property Office, at: cor-intellectualproperty@ldschurch.org.
Collection Citation:
Courtesy of the U. S. National Archives and Records Administration, FamilySearch International, and the Smithsonian National Museum of African American History and Culture.
Thomas, J. Maurice (John Maurice), 1900 or 1901- Search this
Extent:
5.5 Linear feet
Type:
Collection descriptions
Archival materials
Scrapbooks
Audiocassettes
Video recordings
Photographs
Date:
circa 1894-2001
Summary:
The papers of Washington, D.C. painter and art educator Alma Thomas, date from circa 1894-2001 and measure 5.5 linear feet. The papers document Thomas's work as a teacher, and her development and success as a painter of the Washington Color School, through biographical material, letters, notes and writings, personal business records, exhibition files, printed materials, scrapbooks, photographs, an audio recording, and two video recordings.
Scope and Contents note:
The papers of Washington, D.C. painter and art educator Alma Thomas, date from circa 1894-2001 and measure 5.5 linear feet. The papers document Thomas's work as a teacher, and her development and success as a painter of the Washington Color School, through biographical material, letters, notes and writings, personal business records, exhibition files, printed materials, scrapbooks, photographs, an audio recording, and two video recordings.
Biographical material includes identity cards, chronologies, an audio recording including a biographical account, and scattered documentation of Thomas's education and teaching careers with D.C. Public Schools, Howard University, and Thomas Garrett Settlement in Wilmington, Delaware. Also found are records relating to Thomas's participation in a summer marionette class taught by Tony Sarg in 1934, and a tour of European art centers which Thomas took in 1958.
Letters relate primarily to the exhibition of Thomas's work and related events and are from galleries, museums, other art institutions, colleagues, and friends including Franz Bader, Adelyn Breeskin, Corcoran Gallery of Art, Howard University Gallery of Art, Martha Jackson Gallery, Nathalie J. Cole Johnson, Vincent Melzac, Celine Tabary, and Joshua Taylor.
Notes and writings include four notebooks and autobiographical writings by Thomas, a "Birthday Book," and an annotated engagement calendar. J. Maurice Thomas's writings about Alma Thomas, her research for a bibliography on James Weldon Johnson, and writings by others, including Jacob Kainen, about Alma Thomas, are also found here.
Exhibition files contain a wide variety of documentation for many group and solo exhibitions of Thomas's work from the early 1950s through a 1998-2000 traveling retrospective exhibition, including solo exhibitions at the Whitney Museum of American Art and the Corcoran Gallery of Art in 1972. The records include letters from Franz Bader Gallery, David Driskell at Fisk University, and Vincent Melzac. Photographs include Thomas with individuals including William Buckner, Jeff Donaldson, David Driskell, James W. Herring, and Vincent Melzac. Also found is a photograph of the 1951 Little Paris Studio Group picturing Lois Mailou Jones, Celine Tabary, Alma Thomas, and others. Two video recordings are of events related to the 1998-2000 retrospective at the Fort Wayne Museum of Art and the Columbus Museum of Art. Records documenting a 1981-1982 exhibition at the Smithsonian National Museum of American Art, A Life in Art: Alma Thomas, includes the script of a video written by Adolphus Ealey.
Personal business records include price lists, gift and loan receipts, and files concerning the Art in Embassies Program, the Martha Jackson Gallery, a benefit auction for the Corcoran School of Art, and the designation of the Thomas family home in Washington, D.C. as a historic property.
Eleven scrapbooks document Thomas's teaching career through the activities of the art classes she taught at Shaw Junior High School.
Printed materials include announcements and catalogs for exhibitions and other events; clippings which document Thomas's career and subjects of interest to her; Christmas cards featuring block prints designed by Thomas; and other programs and publications featuring Thomas.
Photographs are of Alma Thomas, family, and friends and colleagues including Sam Gilliam, James V. Herring, and Nathalie V. Cole Johnson; art classes taught by Thomas; Thomas's homes in Columbus, Georgia and Washington, D.C.; and exhibitions not documented in Series 4: Exhibition Files, including photographs of Alma Thomas at an opening at Barnett Aden Gallery with Alonzo Aden and others.
Arrangement note:
The papers have been arranged into 8 series:
Missing Title
Series 1: Biographical Material, 1911-2001 (Box 1; 0.5 linear feet)
Series 2: Letters, circa 1930-2001 (Boxes 1-2; 0.6 linear feet)
Series 3: Notes and Writings, circa 1920s-circa 1998 (Box 2; 0.7 linear feet)
Series 4: Exhibition Files, 1951-2000 (Boxes 2-3, OV 7; 0.8 linear feet)
Series 5: Personal Business Records, circa 1950s-1994 (Box 3; 0.2 linear feet)
Series 6: Printed Material, circa 1908-2000 (Boxes 3-5, OV 7; 1.8 linear feet)
Series 7: Scrapbooks, 1930-1946 (Box 5; 0.3 linear feet)
Series 8: Photographs, circa 1894-2001 (Boxes 5-6; 0.6 linear feet)
Biographical/Historical note:
Washington, D.C. painter and art educator Alma Thomas (1891-1978) was known for her abstract paintings filled with dense patterns of color, and was considered a major artist of the Washington Color School.
Thomas was born in Columbus, Georgia, in 1894, and was the eldest of the four daughters of John Harris Thomas and Amelia Cantey Thomas. The family moved to Washington, D.C. in 1906 and Thomas was first introduced to art classes at Armstrong Technical High School. Following her graduation in 1911 she took a course in kindergarten teaching at the Miner Normal School, and subsequently worked as a substitute teacher in the Washington, D.C. public school system until 1914, when she took a teaching position on the Eastern shore of Maryland. From 1916 to 1923 she taught kindergarten at Thomas Garrett Settlement House in Wilmington, Delaware.
Thomas originally enrolled at Howard University in Washington, D.C. as a home economics major in 1921, but after studying under Lois Mailou Jones amd James V. Herring in Herring's newly established art department, she earned a Bachelor's degree in Fine Art in 1924, and became the first person to graduate from the program. Thomas then began her teaching career at Shaw Junior High School in Washington, D.C. that lasted from 1924, until her retirement in 1960. During this time she established community arts programs that would encourage her students to develop an appreciation of fine arts. Activities included marionette programs, distribution of student-designed holiday menu cards for dinners given for soldiers at the Tuskegee Veterans' Hospital, art clubs, lectures, and student exhibitions. In 1943 she became the founding vice president of Barnett Aden Gallery, which was established by James V. Herring and Alonzo Aden and was the first integrated gallery in Washington, D.C.
In 1934 Thomas earned an M.A. degree in Art Education from Columbia University. At American University in Washington, D.C., she studied creative painting under Joe Summerford, Robert Gates, and Jacob Kainen from 1950 to 1960, and began to break away from representational painting and experiment more seriously with Abstract Expressionism. In 1958 she participated in a tour of the art centers of Western Europe under the auspices of the Tyler School of Fine Arts at Temple University in Philadelphia.
Following her retirement from teaching in 1960, Thomas devoted herself full-time to painting, and continued to develop her signature style. She was inspired by nature and the desire to express beauty through composition and color, and refused to be constrained by societal expectations related to her race, gender, and age, achieving her greatest success in the last decade of her life. Her work was exhibited at the Dupont Theatre Art Gallery, Franz Bader Gallery, and the Howard University Gallery of Art, before she was honored in 1972 with exhibitions at the Whitney Museum of American Art and the Corcoran Gallery of Art in Washington, D.C.
Thomas's work has been exhibited at the White House and can be found in the permanent collections of major museums, including the Metropolitan Museum of Art, the National Museum of Women in the Arts, and the Smithsonian American Art Museum.
Separated Materials note:
In 1979, J. Maurice Thomas loaned papers for microfilming. Most, but not all, of the loaned material was later donated and is described in this finding aid. Loaned materials not donated at a later date are available on reels 1541-1543 and are not described in the container listing of this finding aid.
Provenance:
J. Maurice Thomas, the artist's sister, loaned portions of the collection for microfilming in 1979. Most, but not all of this material was then later donated in several accretions by J. Maurice Thomas, between 1979 and 2004. Charles Thomas Lewis, Thomas' nephew, gave additional papers in 2010.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Use of archival audiovisual recordings with no duplicate copies 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.
United States of America -- New York -- Orange County -- Balmville
Scope and Contents:
The folder includes worksheets, historical images and additional documentation.
General:
Echo Lawn is located on a 6 acre parcel of land which was originally part of a 40 acre estate. The property has at its center an Italianate walled garden established in 1911 set within a wider naturalistic setting of the original landscaping of 1850-1860. This is set within a wider naturalistic landscaping of the original garden of 1850-1860. The National Register of Historic Places registration form completed for Echo Lawn, suggests that Echo Lawn's first period of design was influenced by landscape architect Andrew Jackson Downing and the architects Calvert Vaux and Frederick Clark Withers in their design of neighboring properties (Downing and Vaux at Algonac about 1851; Withers at Mornigside 1859). The 1911 design of the walled garden was developed by the artists Reynolds and Gifford Beal, brothers of the property owner at that time, Thaddeus Beal.
The original structure of the Italianate garden remains, defined by outer walls of fieldstone with cut bluestone topping. The terrace of flagstone and herringbone brick features a Neoclassical cast concrete balustrade from which a divided stone staircase circles around a small fountain as it leads down into the sunken walled garden with a large fountain at its center.
Historical accounts of the garden describe the walled garden as a less formal Italian garden with softer border plantings in contrast to the present hedges which frame the quadrants created by the garden's brick paths. Climbing roses and honeysuckle grew on the west wall, climbing hydrangea on the north wall, lilacs at the terrace, and ferns were planted at the center fountain.
To the north of the walled garden is a large lawn with views through specimen shade trees including locust, walnut, and maple to a peripheral border of native trees. This area originally featured a grape arbor and an allée of cherry trees which led to vegetable gardens and a pond. To the east of the walled garden, presently lawn with a low stone retaining wall and steps leading to the north lawn, was a pergola and rose arbor, beyond which a stream was dammed to form a pond featuring a moon bridge and a small island. To the south of the walled garden, now a lawn bordered by native trees, were fruit orchards and distant views of the hills beyond the Hudson River.
Echo Lawn was used as a filming location in the silent film, The Scales of Justice, released in 1914 by the Famous Players Film Company.
Persons associated with the garden include: George A. Elliott (former owner, ca. 1860-1880); Frank Gerard (builder, ca. 1850-1860); Mrs. Minnie Knowlton (former owner, 1880-1905); Thaddeus Beal (former owner, beginning 1905); Gifford Beal and (Alonzo) Reynolds Beal (garden designers, ca. 1911); and John and Mary Beal (former owners, to 1957).
Related Materials:
Echo Lawn related holdings consist of 1 folder (20 digital images)
Other materials documenting this property are located at the Metropolitan Museum of Art.
Collection Restrictions:
Access to original archival materials by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Collection Rights:
Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.
Sponsor:
A project to describe images in this finding aid received Federal support from the Smithsonian Collections Care Initiative, administered by the National Collections Program.
United States of America -- Washington -- King County -- Bellevue
Scope and Contents:
The folder includes a worksheet, site plans, a plant list, and a photocopy of an article about the garden.
General:
The 4.5-acre Bowman Garden was designed by landscape architect Robert Chittock in 1982. The driveway is lined with a high boxwood hedge on one side and a small orchard on the other leading to a circular planting of towering magnolias, cedars, rhododendrons, peonies, and other plants. The surrounding brick walkway is enhanced by 'Seafoam' tree roses in large planters with petunias and variegated vinca. Passing under a grape arbor, one enters the boxwood garden, each bordered area a masterpiece of design, filled with white roses and seasonal white flowers. Antique pear trees stand as sentinels on all four sides of the boxwood garden, which is centered by a cloverleaf pool. Up ivy-lined brick stairs is the sundial garden with surrounding dogwoods. Beyond is a clay tennis court with a glass-ceilinged arbor and small lion fountain, serving as a rest pavilion. Beautiful plantings of specimen magnolias, cedars, maples, and a gum sapwood surround the home, with a magnificent lawn sweeping down to the water's edge to views of Mt. Rainier and Seattle.
Persons associated with the garden include: Robert W. Chittock, Landscape Architect (1982); and Ellie Hensel (gardener).
Related Materials:
Bowman Garden related holdings consist of 1 folder (16 35 mm. slides; 7 photoprints (1 b&w, 6 col.))
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 -- Washington (State) -- Bellevue. Search this
Collection Citation:
Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.
Sponsor:
A project to describe images in this finding aid received Federal support from the Smithsonian Collections Care Initiative, administered by the National Collections Program.
United States of America -- Massachusetts -- Essex -- Beverly
Scope and Contents:
This file contains 2 folders, 2 35mm slides (1987), 11 digital images and 3 photographic prints (2020).
General:
The Tea House Garden is a small sunken flower garden that occupies 1/4 acre on the 175 acre Moraine Farm. The tea house itself is an octagonal shape with fluted columns and a shingled dome on top of a fieldstone grotto. It features a vast lawn that extends south from the house and terrace, as well as a circular pool. The east and west walls of the lawn are constructed of trees, shrubs, and dragon tooth. The property overlooks a panoramic view of Wenham Lake from a terrace that spans the length of the house.
Frederick Law Olmsted was involved in the development of the property between 1879 and 1880 when John C. Phillips acquired several small farms to renovate, including this one. Olmsted worked with the architectural firm Peabody and Stearns to determine the position of the house, as well as its visual and physical connection with the naturalistic landscape adjacent to the house and along the road. Though the first owner desired a vibrant flower garden, Olmsted discouraged his client from clashing the brilliance of a colorful garden with the native shrubs and trees. He ultimately decided to place the flower garden within the rock-bound framework of the residential landscape, and out of sight of the house. John W. Watson of Lawrence Watson and Son built a stone wall and terrace on the property in 1880.
The original owner continued to take interest in the Tea House Garden after her husband's death in 1885. In 1907, she commissioned Beatrix Jones [Farrand] to design a water garden. While Jones' original plans depicted a horseshoe shaped pond amongst perennials, photographs taken that year prove that the water garden created did not reflect Jones' plan. The idea for a shrubbery bed was replaced by a circular lily pond and fountain. After the original owner's death in 1925, her children sold the property to George and Katherine Batchelder Jr. In 1928, the new owners removed the grape arbor, kept the circular pond, and designed a new trap rock path system that reflected the horseshoe shape of the dragon tooth wall. In 2017, the Moraine Farm Landscape Committee asked member Lolly Gibson to simplify the garden to reduce maintenance requirements and make upkeep more sustainable. Her alterations are reflected in the current documentation of the garden, such as the added mulched maintenance paths in the large beds.
Inside the dragon tooth wall are azaleas, andromeda, laurel, white rose of Sharon, Summersweet and Lilacs that form a backdrop for summer blooming Astilbe, Fairy Candles, Hosta, Lysimachus, Sedum, Thalictrum, Thermopsis, and Turk's Cap Lily. European Ginger, Lady Ferns, Maidenhair Ferns, and Trillium lie beneath the shrubs. Roses, lilacs, sweetspire, and anemones frame the grotto of the teahouse. The circular pond is surrounded by roses, catmint, and peonies, and behind it are germander edged perennial beds. One can see azaleas through the tea house windows. Moss continues to cover the stone used as the tea house foundation as it did in Olmsted's day.
Persons associated with the garden include: John Charles and Anna Tucker Phillips (former owners, 1878 – 1885, 1885 – 1925); John Charles Phillips Sr., and William Phillips (former owners, 1925 – 1928); George Lewis Batchelder Jr., and Katherine Tiffany Abbot Batchelder (former owners, 1928 – 1977); George Lewis Batchelder III and Wilhelmina VanLier Batchelder (former owners, 1977 – 1999); Batchelder Trust (former owner, 1991 - present); Project Adventure (74 acres including garden area); (owner, 1999 to present); The Trustees of Reservations (37 acres) (owners, 2010 – present); Frederick Law Olmsted/ Olmsted Bros. (landscape architects, 1879 – 1884/ 1948 – 1968); Beatrix Jones {Farrand} (landscape architect, 1907); Grace Kirkwood (landscape architect, 1960); Thomas Wirth (landscape architect, 1986); Laura Gibson (landscape architect, 2017).
Related Materials:
Related materials include Tea House Garden Ledgers, correspondence, plans: The Trustees of Reservations, Archives and Research Center, Sharon, Massachusetts; Plans: Fairsted, Brookline, Massachusetts, National Park Service; Correspondence: Library of Congress; Frederick Law Olmsted, Designing the American Landscape, Charles E. Beveridge and Paul Rocheleu, Rizzoli; The Papers of Frederick Law Olmsted, Vol. III, page 203.
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.
Tea House Garden, Moraine Farm (Beverly, Massachusetts) Search this
Collection Citation:
Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.
Sponsor:
A project to describe images in this finding aid received Federal support from the Smithsonian Collections Care Initiative, administered by the National Collections Program.
1 Photograph (lantern slide, hand-colored, 3.25 x 4 in.)
Type:
Archival materials
Photographs
Lantern slides
Place:
Butler Garden (Katonah, New York)
United States of America -- New York -- Westchester County -- Bedford -- Katonah
Date:
[between 1914 and 1949?]
General:
Mount reads: "Edward Van Altena."
Historic plate number: "55."
Historic plate caption: "Mrs. James Butler, Jr."
Collection Restrictions:
Access to original archival materials by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Collection Rights:
Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.
Sponsor:
A project to describe images in this finding aid received Federal support from the Smithsonian Collections Care Initiative, administered by the National Collections Program.
United States of America -- Iowa -- Linn County -- Cedar Rapids
Scope and Contents:
The folders include a worksheet, a garden plan, a detailed narrative description of the property and garden, a plant list, geological survey, copies of articles on Grant Wood, and photocopies of articles about the garden.
General:
The gardens at Pleasant Hill were inspired by the early architecture of the area and the designs of regionalist painter, Grant Wood. The residence was constructed in 1932 to reflect the architectural history of Iowa, using original structral elements from other houses and antique furniture. On December 20, 1989, the home was designated as a National Historic Site. At the entrance to the garden, Grant Wood designed a grape arbor. Stones from a quarry near Stone City, Iowa and a grist mill stone were incorporated into garden seats. The owner chose species of flowers and trees that are either indigenous to the zone or have proven successful through the harsh Iowa winters, producing a continuous show of color in summer, spring, and fall.
Persons and firms associated with the property and garden include: Bruce McKay (architect, designer, builder, 1932-?); Grant Wood (artist, 1933); and Mrs. E. W. Spence (landscape architect).
Related Materials:
Pleasant Hill related holdings consist of 2 folders (4 35 mm. slides)
Collection Restrictions:
Access to original archival materials by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Collection Rights:
Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.
Sponsor:
A project to describe images in this finding aid received Federal support from the Smithsonian Collections Care Initiative, administered by the National Collections Program.
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.
Collection Citation:
Smithsonian Institution, Archives of American Gardens, W. Atlee Burpee & Company Records.
United States of America -- Montana -- Ravalli County -- Hamilton
Date:
1920
General:
The Daly Mansion, a Georgian Revival style residence, was built in 1910. The estate was originally part of the 22,000 acre Bitterroot Stock Farm of Marcus Daly, founder of the Anaconda Mining Company. The house, now a museum, was boarded up for over 40 years. During that time most of the gardens were lost. They are hoping to restore the grounds at some point to the original intention. The property features a wide variety of trees, a tennis court, swimming pool, children's playhouse, greenhouse, laundry building, and boat house. South side of residence. Family photo album in Daly Mansion Preservation Trust archives.
Collection Restrictions:
Access to original archival materials by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Collection Rights:
Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.
Sponsor:
A project to describe images in this finding aid received Federal support from the Smithsonian Collections Care Initiative, administered by the National Collections Program.
United States of America -- Montana -- Ravalli County -- Hamilton
Date:
1920
General:
The Daly Mansion, a Georgian Revival style residence, was built in 1910. The estate was originally part of the 22,000 acre Bitterroot Stock Farm of Marcus Daly, founder of the Anaconda Mining Company. The house, now a museum, was boarded up for over 40 years. During that time most of the gardens were lost. They are hoping to restore the grounds at some point to the original intention. The property features a wide variety of trees, a tennis court, swimming pool, children's playhouse, greenhouse, laundry building, and boat house. Family photo album in Daly Mansion Preservation Trust archives.
Collection Restrictions:
Access to original archival materials by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Collection Rights:
Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.
Sponsor:
A project to describe images in this finding aid received Federal support from the Smithsonian Collections Care Initiative, administered by the National Collections Program.
United States of America -- Montana -- Ravalli County -- Hamilton
Date:
1920
General:
The Daly Mansion, a Georgian Revival style residence, was built in 1910. The estate was originally part of the 22,000 acre Bitterroot Stock Farm of Marcus Daly, founder of the Anaconda Mining Company. The house, now a museum, was boarded up for over 40 years. During that time most of the gardens were lost. They are hoping to restore the grounds at some point to the original intention. The property features a wide variety of trees, a tennis court, swimming pool, children's playhouse, greenhouse, laundry building, and boat house. Mrs. Daly in flower garden. Family photo album in Daly Mansion Preservation Trust archives.
Collection Restrictions:
Access to original archival materials by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Collection Rights:
Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.
Sponsor:
A project to describe images in this finding aid received Federal support from the Smithsonian Collections Care Initiative, administered by the National Collections Program.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
Collection 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.
Collection Citation:
Reuben Tam papers, 1931-2006. Archives of American Art, Smithsonian Institution.
Sponsor:
The processing and digitization of the Reuben Tam papers received Federal support from the Asian Pacific American Initiatives Pool, administered by the Smithsonian Asian Pacific American Center.
Use of original papers requires and appointment and is limited to the Archives' Washington, D.C., Research Center.
Collection 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.
Collection Citation:
Jervis McEntee papers, 1796, 1848-1905. Archives of American Art, Smithsonian Institution.
