Posts filed under ‘Archives of American Gardens’
Did you know Smithsonian Gardens does a lot more than just plant and maintain all the beautiful gardens around the Smithsonian properties? I know I didn’t! That is until I became an Archives of American Gardens intern at Smithsonian Gardens. My name is Jessica Brode, and I am a graduate student at George Washington University beginning my final year in the Masters in Museum Studies program.
Before coming to Smithsonian Gardens, I interned with various institutions across the country and abroad. After moving to D.C. I began to specialize in collections management work within museums, mainly assisting in digitization efforts with museums like the Smithsonian’s American History and Natural History Museums. I applied to Smithsonian Gardens after a chance encounter demonstrated that there were opportunities to use my skills there.
Coming in as an Archives of American Gardens intern, I was able to really put my skills to use for Smithsonian Gardens while learning new skills along the way. The Archives of American Gardens (AAG) currently documents over 8,500 gardens throughout the United States, with images ranging from the 1870s to the present. AAG maintains records on historic and contemporary gardens and gardening trends and contains over 150,000 images.
I learned the Horizon cataloging system utilized by the AAG and cataloged often throughout my internship. I was given the opportunity to research and write several exciting blog posts about gardening topics I would have never even thought of, including the Hershey Rose Garden, World Fairs’ gardens, and floral clocks.
The best part of my internship was the ability to take a project further than I ever thought I could. Smithsonian Gardens uses a system called a Digital Asset Management System (or DAMS) in order to track digital images of its gardens and events. I was given the opportunity to rename and reorganize the Smithsonian Gardens folder structure so that images could be filed by garden and year, making it more intuitive for a user to search numerous images. The new re-organization of images will enable staff to easily create slideshows of the best garden images for each of its gardens to make them readily available to the public through the Collections Search Center and SIRIS. It was really exciting to see how my skills could be used to help share garden history with the public!
I am really excited that I had the opportunity to spend the summer with Smithsonian Gardens, and even more excited to see what else is ahead. My internship has been extended so that I can continue my work at the Archives of American Gardens this coming fall and spring, and I am really looking forward to continuing some of the work I began, and starting new projects as well.
-Jessica Brode, Archives of American Gardens intern
As a continuation to the National History Day post, we wanted to offer ways to find credible primary sources for any research projects. There is an infinite amount of information available to students today, but it is also infinitely important to know how to search for credible sources. Resources are available both online and in-person if you know where to look.
If your student is looking for something available online these are great starting points:
- The National Archives and Records Administration’s hub for primary sources and learning activities with primary sources in the NARA collection: docsteach.org
- A page which NARA gears towards the NHD theme each year: docsteach.org/home/national-history-day
- Curated sets of primary sources by the Library of Congress ranging on topics spanning America’s history: loc.gov/teachers/classroommaterials/primarysourcesets/
- A site detailing how to find information from Presidential Libraries, which are a subsidiary of NARA: archives.gov/presidential-libraries/research/
- For artwork and other cultural pieces check out the Google Cultural Institute (google.com/culturalinstitute/about/) and digitized artworks from internationally renowned galleries and museums: www.google.com/culturalinstitute/project/art-project
- Search your state’s archive for any digitized material: http://www.archives.gov/research/alic/reference/state-archives.html
- The Smithsonian’s Collection Search Center is a catalog for all materials across the Smithsonian’s many institutions: http://collections.si.edu/search/
However, not everything in an institution is available online. If your student has the ability to do so, visiting an archive is a great way to find primary and secondary sources. Local courthouses and city offices hold historical records such as property deeds or census records and registries. Art museums and galleries are also a great source. There may be local colleges or universities in your area with historical collections waiting to be explored. Don’t forget to look for historical societies, churches, and of course libraries which all may have primary sources about your area. All it takes is a phone call or e-mail stating your interest to find out what material is available to you!
-Catherine Bell, Archives of American Gardens intern
During a recent conversation, a parent of a high school student brought up the question of how to find primary sources to use in National History Day projects. That got the Archives of American Gardens staff thinking; maybe we have items that could help students find interesting and exciting ideas for projects. The 2015 theme for NHD is “Leadership and Legacy in History,” and a further description for the theme can be found here: http://www.nhd.org/images/uploads/Theme_2015_5-7.pdf.
NHD encourages participants to develop their understanding of history using both primary and secondary resources, finding new stories beyond what is generally taught in the classroom. While the NHD website offers some great ideas for topics, the staff at AAG have a few of our own to offer. Each of the topics listed are ideas or starting points for an NHD project, and we have included places to find further information and resources beyond AAG collections.
Legacy of the Redwoods: How the Garden Club of America saved a Forest:
- Primary source from the Archives of American Gardens’ Garden Club of America Collection: http://tinyurl.com/ltrszno
- Secondary Source giving background information: http://www.savetheredwoods.org/wp-content/uploads/GCA-Grove-FAQs.pdf
Milton Hershey’s Legacy: Public Spaces at the Hershey Rose Gardens:
- Primary sources- catalog link to images of the Hershey Rose Garden from the Archives of American Gardens: http://tinyurl.com/mxpvfaj
- Primary sources- records from the Hershey Community Archives relating to the Hershey Rose Garden: http://media.hersheyarchives.org/archon/index.php?p=core/search&subjectid=426
- For more information on the Rose Garden and Milton Hershey see the Hershey Community Archives: http://www.hersheyarchives.org/
The Leadership and Legacy of Charles Sprague Sargent:
- Primary sources- images connected to Sargent from the Archives of American Gardens: http://tinyurl.com/pojn46l
- Primary sources- catalog link to images and documents on the Arnold Arboretum from the Archives of American Gardens: http://tinyurl.com/mxrzbhr
- For more information on Charles Sprague Sargent and the Arnold Arboretum: http://arboretum.harvard.edu/about/our-history/
The Leadership and Legacy of Frederic Law Olmsted: (Note: Materials listed are extensive)
- Primary sources- catalog link to images pertaining to Olmsted and his works including Arnold Arboretum, Rusty Rocks, Central Park, and Franklin Park in the Archives of American Gardens collection: http://tinyurl.com/od8vjwr
- The Olmsted Archives at the National Park Service: http://www.nps.gov/frla/olmstedarchives.htm
- For more information on Olmsted and his specific projects: http://www.olmsted.org/the-olmsted-legacy/frederick-law-olmsted-sr
- For more information on the “Emerald Necklace:” http://arboretum.harvard.edu/about/emerald-necklace/
Leader in Conservation: The Legacy of J. Horace McFarland:
- Primary sources- images of parks in the J. Horace McFarland collection at the Archives of American Gardens: http://tinyurl.com/kwk869r
- Information on collection materials at the Archives of American Gardens: http://gardens.si.edu/collections-research/aag-mcfarland-collection.html
- Information on McFarland and materials relating to him at the United States Department of Agriculture National Agricultural Library: http://specialcollections.nal.usda.gov/j-horace-mcfarland-collection
- The Pennsylvania Museum and Historical Commission holds materials pertaining to McFarland and the American Civic Association: http://www.phmc.state.pa.us/bah/dam/mg/mg85.htm
Other ideas for further research include:
- The Leadership of the W. Atlee Burpee Company
- Legacy of Gardening in America
- Changing the Landscape: the Legacy of Women in Landscape Architecture and Design
- Public Parks: the Legacy of Public Spaces in American History
Whatever topic your student may choose, we hope these offer some unique opportunities to create an interesting project for National History Day. The Archives of American Gardens staff welcomes any questions regarding these ideas or collection materials and can be reached at email@example.com or 202-633-5840.
-Catherine Bell, Archives of American Gardens intern
This article was originally published in the National Association for Olmsted Parks online newsletter. April 26th is Frederick Law Olmsted’s birthday; celebrate by visiting a local park!
Several hundred photographic images dating from the early twentieth century and taken by Olmsted Brothers’ employee Thomas W. Sears were digitized recently thanks to a project funded by the Smithsonian Institution. The glass plate negatives are part of the Thomas Warren Sears Collection at the Smithsonian’s Archives of American Gardens (AAG).
The historic images include unpublished views of early Olmsted design projects including the Emerald Necklace in Boston and Roland Park in Baltimore. There are even a handful of images of Fairsted, the Olmsted firm’s office in Brookline, Massachusetts.
Sears started his design career with the Olmsted firm and later went into private practice in Philadelphia. Among his most noted commissions are Reynolda, the R. J. Reynolds estate in Winston-Salem, North Carolina (now part of Wake Forest University) and the Colonial Revival gardens at Pennsbury, William Penn’s country estate in Bucks County, Pennsylvania.
An amateur photographer, Sears documented several projects of the Olmsted firm, his own design work, and numerous gardens and landscapes in the U.S. and Europe that he visited. The Sears Collection at AAG includes over 4,500 of his images, dated approximately 1900-1930.
The 900 Sears images digitized for this pilot project are all available on the Smithsonian’s online catalog at www.siris.si.edu . Their resolution is truly remarkable: it is possible to read the caption of a framed photograph seen in the background of Sears’ dorm room at Harvard University!
Approximately 20% of the Sears Collection was digitized during the rapid capture digitization project. The time needed to capture a high resolution digital scan of each fragile glass plate negative was under a minute as compared to 9-14 minutes per scan that AAG staff had been averaging with a flatbed scanner. The Archives of American Gardens hopes to secure funding in the future to digitize the remainder of the collection which includes Olmsted gems like New York’s Central Park, Buffalo’s Delaware Park, and Branch Brook Park in New Jersey.
-Joyce Connolly, Museum Specialist
Smithsonian Gardens is pleased to announce the recent acquisition of the Ken Druse Garden Photography Collection. Druse, a prolific garden writer and photographer, donated his extensive photographic collection of garden and plant images to the Archives of American Gardens. The collection includes several thousand transparencies and slides documenting over 300 gardens across the United States. Druse took the images to illustrate many of his books as well as newspaper and magazine articles for publications like House & Garden and The New York Times and postings published on his own blog, Ken Druse Real Dirt. Among his books are go-to references like Making More Plants: The Science, Art, and Joy of Propagation; The Collector’s Garden; and The Natural Shade Garden.
Given its huge scale and exceptional quality, the Ken Druse Garden Photography Collection is a wonderful and important addition to the Archives of American Gardens. A multi-year project to make the collection available for research use will involve steps such as rehousing and cataloging the images as well as digitizing select images for inclusion on the Smithsonian’s online catalog at www.siris.si.edu. Please join Smithsonian Gardens and the Archives of American Gardens in celebrating this fantastic acquisition!
-Joyce Connolly, Museum Specialist
Here at Smithsonian Gardens we are celebrating American Archives Month throughout October. In August 2013, we participated in the first of a series of pilot projects, funded by the Smithsonian’s Digitization Program Office, to create high resolution images of archival, museum and library collection items at a rapid speed. The pilot project included a week-long open house for Smithsonian staff, fellows, interns, volunteers and contractors, to showcase the rapid digitizating of over 900 historic glass-plate negatives from the Thomas Sears Collection at the Archives of American Gardens. The open house demonstrated all stages of digitizating a glass-plate negative collection, from moving each fragile plate in a custom carrier, capturing it, and performing quality control on the resulting image, to making the digitized output accessible to the public online. The overall process involved an outside contractor performing the image capture and image processing and two staff members from the Archives of American Gardens prepping the images, handling the glass-plate negatives, ingesting the images into the Smithsonian’s Digital Asset Management System and linking them to pre-existing catalog records in the Smithsonian’s online catalog, SIRIS.
The 8×10 negatives, which had previously been digitized in the 1990s on a video disc at 640 pixels on the image’s longest side, were obviously pixelated in SIRIS. New scans of the negatives created by the vendor through rapid capture were digitized with an 80 megapixel camera. The quality of the new scans, measured at roughly 10,000 pixels on the longest side, ensures that the Archives will likely never have to scan the glass plates again. Rapid capture is not new, but the tools to measure the quality that can be achieved through rapid digitization are. For any large scale digitization projects of like materials, the Archives of American Gardens hopes to secure funding to digitize archival images through the rapid capture process instead of its current method of digitizing on a flatbed scanner.
To put it into concrete terms, the time that it takes to scan one image on a flatbed scanner is roughly 12 to 15 minutes. To digitize one image using rapid capture, it takes less than one minute. Rapid capture has opened our eyes to a highly efficient method that enables an entire collection to be digitized in a quantifiable time frame. The piece of the puzzle that remains to be addressed is the time-intensive process of cataloging that is needed to make the collections readily searchable online.
Background on Thomas Sears
Thomas Sears graduated with a degree in landscape architecture from Harvard University’s Lawrence Scientific School in 1906, where he also studied photography. He worked for Olmsted Brothers Landscape Architects in the 1910s out of their Brookline, Massachusetts office before establishing his own landscape design office.
A set of images scanned during the rapid capture digitization project included the Edgewood estate in Baltimore, Maryland, photographed by Thomas Sears and designed by Sears and Wendell of Philadelphia.
Learn more about the Thomas Sears Collection.
Click here to learn more about the Archives of American Gardens.
-Kelly Crawford, Museum Specialist
We’re used to looking at Detroit as a symbol of economic collapse and decline, especially after the city filed for bankruptcy under the direction of a state-appointed Emergency Financial Manager in July. Factories, cars, and images of abandoned buildings remain powerful symbols of the city’s past and present. Yet often against the odds, generations of residents and city leaders have also imagined Detroit as a “green city.” Detroit’s Belle Isle Park, designed by Frederick Law Olmsted in the 1880s was one of the first environmental visions to imagine the landscape of Detroit as a space valuable for more than the products and byproducts of manufacturing and industry.
The project to turn Belle Isle, a long, narrow island of approximately 700 acres in the Detroit River into an urban park became official in 1879. After years of debate over the location of a large city park, members of Detroit’s Common Council voted to purchase the site from private owners for $200,000. As George Lothrop, chairman of the Detroit Park Commission wrote, this park was needed “alike for beauty and salubrity…the rich cannot afford to overlook a great popular need like this. In no way can they so well check the spread of communism and the growing hatred of poverty to wealth as by taking a hearty interest in every rational project for the promotion of the health, comfort and enjoyment of the people.” Lathrop and other advocates imagined a park might change relationships between classes by offering residents the opportunity to temporarily leave the city and experience a different kind of environment in relatively close proximity to their homes.
Situated upriver from the docks and disarray of Detroit’s downtown waterfront, Belle Isle had a long history of informal use by residents during the nineteenth century prior to becoming an intentionally designed park. Even so, the suitability of the site for a park was less than ideal. It was marshy, and nearly all of the areas were prone to becoming water-soaked or even completely submerged. When Frederick Law Olmsted was commissioned to transform the island into a park in 1881, he was not all too pleased with the site the city had selected. As Olmsted noted in one of his preliminary visits to the island,
Conditions could not be more favorable to the breeding and nursing of mosquitoes…the pools, in September, I found discolored, and covered by bubbles and a green scum; and there was putrescent organic matter on their borders. They are thus available to the propagation of typhoid, malarial, and other zymotic poisons; and it may be questioned whether the city is justified in allowing, not to say inviting, ignorant people and children to stray near them.
As it was, the island would require much thought and human labor to transform it into an intentionally designed, manicured, and managed city park.
Although a relatively minimalist design from an aesthetic standpoint, Olmsted’s carefully crafted plan sought to make Belle Isle a more pleasant place for residents of Detroit to enjoy the outdoors, while also preserving some of the island’s important natural features. It was complete with picturesque views of the surrounding landscape and city, walking paths, a grand promenade, fields for sports, and idyllic arched bridges over a network of gently curving canals, which assisted with drainage in addition to their use by canoeists. Until a bridge was built in the 1890s, visitors used ferry boats to reach the island park. Olmsted consolidated the ferry docks and major activity sites at the western end of the island. From the moment visitors stepped off the boat, they entered into a choreographed experience that took them from the more highly designed area of activities to the eastern end of the park that Olmsted left in a more natural appearance, including an old-growth forest that remains today.
Belle Isle Park quickly became the city’s most popular gathering spot for residents and visitors alike. In 1894 alone, some sixty one thousand persons patronized the bathhouses for the three months they were open. While Olmsted’s general design theme still remains relatively intact, the city gradually altered the park over time. To more directly advance an educational mission, the city built an aquarium and horticultural conservatory (both designed by Albert Kahn) in 1904. Now, in addition to the leisurely activities of the park, visitors could also learn about nature through curated displays of plants and aquatic life.
In line with the architectural design tastes of the City Beautiful Movement in the early twentieth century, a beaux-arts style fountain and gathering space designed by architect Cass Gilbert was added to the lower end of the island during the 1920s, which replaced Olmsted’s more organic design with one of rigid symmetry and geometric forms. Over the years, the city’s projects also increased the park’s landmass to its current size of some 985 acres.
When the city purchased Belle Isle in 1879, the swampy island may not have been the best suited place for a park. Yet through careful human design and continued use, generations of Detroiters transformed Belle Isle into an enduring piece of Detroit’s urban fabric despite the city’s rise and fall. Today, amidst the city’s precarious financial situation, non-profit organizations have partnered with the city to help maintain and preserve the park, which remains a popular spot for residents and visitors to the city today.
Although the park’s meaning, design, and use have changed since Olmsted’s time, and the city’s bankruptcy may change the park’s relationship to the city (plans in recent years have included leasing or selling the park to the State of Michigan, charging an entrance fee, and one individual who has proposed selling it to private developers), preserving the legacy of Belle Isle Park remains important to understanding the city’s past in addition to changing tastes and styles in landscape design. Belle Isle’s lasting significance in the present is a reminder that the historic, natural, and human resources that come together in the design of parks and gardens are key ingredients to sustaining Detroit and cities like it into the future.
- Joe Cialdella, Enid A. Haupt Fellow, Smithsonian Gardens.