Posts filed under ‘Collections’
This monocarpic, herbaceous banana is a wonderful specimen in any garden. Monocarpic describes plants that flower, set seed, and then die. Ensete superbum, or cliff banana, is native to India and has a conical pseudo-stem made up of overlapping leaf sheaths. Its bright green leaves, reaching six feet in length, drop during winter. The plant may reach ten to twelve feet while blooming. The inflorescence (or flower head) is a curved terminal spike with triangular oblong fruits and reddish brown bracts that persist for some time to add ornamental value. This banana, unlike many others, does not produce suckers and only reproduces by seed. In some extraordinary cases, plants in the wild can go into a three to four year dormancy period.
This rare plant in now on display in the Enid A. Haupt Garden. You can see it for a limited time just inside the west entrance to the garden, close to the entrance to the S. Dillon Ripley Center.
-Matt Fleming, Smithsonian Gardens horticulturist
As a Structural Entomologist, I primarily deal with pests found in any typical urban environment, including cockroaches, ants, flies and rodents; however, working in a museum, I also encounter a completely different classification of pests that provide their own unique challenges.
Wood infesting insects, stored product pests and fabric and paper pests can destroy museum objects in a relatively short amount of time. A carpet beetle or clothes moth that might put a few holes in a $40 sweater could completely decimate an artifact like a wool cap from the Civil War. It’s important to identify pests correctly and to know the early signs of an infestation before an object is irreversibly damaged.
Museum pests are not a topic that is typically covered at pest management conferences or in industry journals or websites. This is why I was so excited to have the opportunity to attend “Museum Pests 2014: Integrated Pest Management for Museums, Libraries, Archives and Historic Sites” in Colonial Williamsburg, thanks to the Smithsonian Gardens travel grant program earlier this year.
There was an overwhelming number of presentations, workshops and tours to choose from during the two day conference including topics such as pest identification, treatment options, record keeping, Integrated Pest Management policy, and health and safety. Workshops that I attended included tours of the Colonial Williamsburg Historic Area and the Collection and Preservation Facilities.
It was reassuring to meet with museum professionals from all over the world and to learn that all of us experience the same basic challenges regardless of whether we work in large complexes or small, historic homes. The information that I gathered in two short days has been indispensable in my encounters with museum pests.
-Allison Dineen, Smithsonian Gardens Entomologist
At the end of April, after ten months of planning, coordinating, and troubleshooting, the Smithsonian Gardens Orchid Collection (SGOC) went live. No, we didn’t kill off all of the plants over the winter and revive them for this announcement . . . I mean live as in on-air, online, and freely accessible! SGOC is now available for the world to explore on the Smithsonian Collections Search Center and is the only living collection to join the multitudes of objects, specimens, and archival records that are contained within the site. Below is a snapshot of what an individual catalog record looks like:
Records are updated twice a month and contain basic information about each accession, such as scientific name, flower color, range (if a species), and taxonomy. One of the best parts of having the collection online is being able to peruse the beautiful images taken by our talented volunteers Gene Cross, Bryan Ramsay, and James Osen. So far, about a third of the records have images associated with them. We only photograph the orchids when they are in bloom, but many of our orchids (especially the species) are either too small to bloom, or haven’t yet bloomed during their time at the greenhouses.
SGOC’s presence on the Collections Search Center is serving as motivation to improve Smithsonian Gardens’ collection records in BG-BASE and correct plant identification errors. Our hope is that these records can be a valuable resource for educators, students, researchers, and curious individuals, and a source of orchid inspiration year-round.
-Julie Rotramel, Smithsonian Gardens Living Collections Contractor
Imagine yourself after a long day outside; you are driving down the road on a hot summer day with temperatures in the upper 90s. Now imagine there is no air-conditioning in the car; immediately a pungent odor of battery acid hits you and mingles with the stench of the other passengers’ sweat. This experience is not common today thanks to temperature controls that are standard in most cars, but it would have been the case whenever you rode in a car until air conditioners were installed in automobiles in 1939.
There were no pine-scented cardboard trees to dangle from the mirror during this time, and many car owners desperately wanted a reprieve from the foul smell. The auto vase, a term coined by auto magnate Henry Ford, was the solution to the problem. As early as 1895, small vases, which held one or two flowers that emitted a sweet fragrance, became the first automobile air-fresheners.
The auto vase is comprised of a small bud vase with a bracket that allowed it to be mounted inside the car either on the dashboard or by a passenger side window. Vases came in many designs and colors, in a variety of price ranges. They not only improved the smell but also added a touch of elegance to the car interior. Pressed glass, cut crystal, metal, porcelain, ceramic, and even wood were used for the vases, which were often paired with brackets that were fancier than the vases themselves. The fixtures could be made of silver and some were even gold plated. Smithsonian Gardens preserves three examples of these auto vases in its Garden Furnishings and Horticultural Artifacts Collection. One of the three is made from Depression glass with a sky blue satin finish, and is encircled by a nickel-plated bracket.
Auto vases were sold in jewelry stores, auto parts stores, and catalogs from companies such as Sears. Henry Ford was so pleased with these simple solutions that he offered them in his parts department and added them to his system of mass production. The service these vases provided made them a desirable feature to add to any car. With improvements in car batteries and air-conditioning becoming standard in vehicles, the auto vase was no longer necessary. In recent years, however, there has been resurgence in these novelties. Cars such as the Volkswagen Beetle revived these little vases for a fresh twist on their interiors, and drivers of other cars have caught on to the trend.
For more information about auto vases:
Steele, Evie. “For your Limousine.” Classic Car, vols. 23-25. Michigan: Classic Car Club of America, 1975. p. 22-23.
Stout, Sandra. Depression Glass Price Guide. Wayne, PA: Wallace-Homestead Book Company, 1980.
____. “Origin of automobile bouquet holders.” Popular Mechanics, May 1913. Hearst Magazines, 1913. p. 678-679.
Lounsbery, Elizabeth. “Some Automobile Accessories.” American Homes and Gardens, Vol. 10. Munn and Company, 1913.
____. “Flower-Decorated Motor Cars the Vogue.” Automobile Topics, Vol. 18. E.E. Schwarzkopf, 1909. p. 386.
-Janie R. Askew
Research Assistant, Smithsonian Gardens
MA Candidate, History of Decorative Arts
The Smithsonian Associates – George Mason University
The common name rain lily comes from this plant’s tendency to bloom after a good soaking from Mother Nature. They are native to tropical and semi-tropical regions of the Americas. There are 3 genera commonly known as rain lilies – Zephyranthes, Habranthus, and Cooperia. Rain lilies are a perennial bulb with a hardiness of USDA Zones 7 to 11 for most species. They come in various colors, mostly ranging from pinks, yellows, and whites and new colors are popping up through hybridizing and breeding all the time. Although the common name would suggest that they are in the Liliaceae (lily) family, they actually fall under Amaryllidaceae.
Rain lilies are often grown in containers where they can be placed on a front porch or around a deck and will reward all season long. I have found that if grown in containers, they seem to prefer being slightly crowded and even somewhat pot-bound. They also look great along a pathway or in the front of a sunny border and are often used in rock gardens. To get the finest show, Rain lilies look best planted in masses. Most Rain lilies will bloom several times a season, usually after a good downpour.
If you live in a zone where Rain lilies are not hardy they are easy to overwinter. When it starts getting cooler, simply bring them indoors (either the container or, if planted, the dug up plants – if possible give them a quick potting) and keep them dry all winter, then set them outside again in the spring. You can pull off the foliage as it dies to keep them clean. You may want to either add soil or rough the edges of the pot prior to setting them outside if the soil has shrunk over the winter.
Rain lilies grow best in full sun to partial shade. They prefer to be kept evenly moist but can tolerate periodic dry spells without problem. During summer months use a well-balanced fertilizer (either liquid or slow release). The bulbs produce offsets which can be divided and planted in spring or you can sow seeds if you wish. If you are collecting seeds, sow right away before they dry as they tend to lose the ability to germinate and may take extra time to do so. Rain lilies are very gardener-friendly as they have no serious pest or disease issues. I have had problems with mealy bugs, however, but that is because I start watering them earlier in the season than normal and I keep them in the greenhouse for a fuller plant come spring. Be aware that all parts of the plant can be toxic if ingested.
After reading this, you may be eager to see some Rain lilies for yourself, so please stop by the Ripley Garden at the Smithsonian Institution this summer and enjoy their beauty. Some of the ones we display are Zephyranthes flavissima, Habranthus robustus ‘Russell Manning’, Habranthus texanus, and Zephyranthes candida.
-Matt Fleming, Smithsonian Gardens horticulturist
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 manages the health and maintenance of 1,873 trees in the Washington, D.C. area. As you walk around the Smithsonian gardens and museums you may notice a common theme: many of these trees are mature specimens with historical context and connection to the museums they surround. This is extremely evident as you walk the grounds of the National Museum of Natural History, where the extensive American elm plantings bring us back to a time when Ulmus americana was the predominant street tree in America. In fact, the large specimen on the corner of 9th Street and Constitution Avenue predates the museum, which celebrated its centennial in 2010.
As Dutch Elm Disease (DED) has wiped out the majority of stately American elms throughout the U.S., we at Smithsonian Gardens work diligently to monitor and manage our trees in order to prevent the spread of this lethal disease.
It is with this management strategy in mind that we carefully select replacements when elm trees at the Smithsonian need to be removed. When one of the younger elms on the north lawn of the National Museum of Natural History was critically damaged during a storm, we once again debated and discussed which “resistant” elm to replace it with. One of the best choices for a true Ulmus americana replacement is the ‘Jefferson’ Elm (Ulmus americana ‘Jefferson’), selected through the collaborative efforts of the National Park Service and the USDA’s Agricultural Research Service (ARS).
This tree was selected for its excellent DED resistance and the fact that as a true species, it exhibits the classic American elm form, unlike some of the resistant hybrids.
‘Jefferson’ elms leaf out earlier in the spring and maintain their green color better in the summer than other U. americana specimens. We were very lucky to receive this tree from the National Park Service as it is just becoming available in the commercial trade at this time, and can be difficult to find. The National Park Service propagates ‘Jefferson’ by cuttings from the original tree, located on the National Mall, and grows the seedlings for six years at its National Capital Region Nursery. It is a long process and a difficult one, as only about 5% of the cuttings live to become mature trees. Hopefully this selection will become more common in the nursery trade so that we can once again plant these majestic trees with confidence. Until that time, we are very thankful for the ongoing collaboration between the National Park Service and Smithsonian Gardens to ensure that the American elm still graces the Washington, D.C. landscape.
-Jonathan Kavalier, Smithsonian Gardens Supervisory Horticulturist