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Lorado Taft Midway Studios AND/OR COMMON Lorado Taft Midway Studios______I LOCATION
Form No. 10-300 (Rev. 10-74) UNITED STATES DEPARTMENT OF THE INTERIOR NATIONAL PARK SERVICE NATIONAL REGISTER OF HISTORIC PLACES INVENTORY -- NOMINATION FORM SEE INSTRUCTIONS IN HOW TO COMPLETE NATIONAL REGISTER FORMS ___________TYPE ALL ENTRIES - COMPLETE APPLICABLE SECTIONS______ | NAME HISTORIC Lorado Taft Midway Studios AND/OR COMMON Lorado Taft Midway Studios______________________________ I LOCATION STREET & NUMBER University of Chicago, 6016 Ingleside Avenue —NOT FOR PUBLICATION CITY. TOWN CONGRESSIONAL DISTRICT Chicago __ VICINITY OF STATE CODE COUNTY CODE Illinois 05 P.onV CLASSIFICATION CATEGORY OWNERSHIP STATUS PRESENT USE _DISTRICT —PUBLIC XXOCCUPIED _ AGRICULTURE —MUSEUM X_BUILDING(S) ?_PRIVATE —UNOCCUPIED —COMMERCIAL —PARK —STRUCTURE —BOTH _ WORK IN PROGRESS ^-EDUCATIONAL —PRIVATE RESIDENCE _ SITE PUBLIC ACQUISITION ACCESSIBLE —ENTERTAINMENT —RELIGIOUS —OBJECT —IN PROCESS —YES: RESTRICTED —GOVERNMENT —SCIENTIFIC —BEING CONSIDERED _ YES: UNRESTRICTED —INDUSTRIAL —TRANSPORTATION _NO —MILITARY —OTHER. (OWNER OF PROPERTY NAMEINAMt University of Chicago, (Office of Special Events, Administration STREET & NUMBER 5801 Ellis Avenue CITY. TOWN STATE VICINITY OF Chicago T1 1 inr>i' a LOCATION OF LEGAL DESCRIPTION COURTHOUSE, REGISTRY OF DEEps.ETc. Cook County Recorder and Registrat of Titles STREET & NUMBER 118 North Clark CITY. TOWN STATE Chicago Tllinm', REPRESENTATION IN EXISTING SURVEYS TITLE none known DATE — FEDERAL —STATE —COUNTY —LOCAL DEPOSITORY FOR SURVEY RECORDS CITY. TOWN STATE DESCRIPTION CONDITION CHECK ONE CHECK ONE YY —EXCELLENT _DETERIORATED —UNALTERED —ORIGINAL SITE XXQOOD —RUINS XXALTERED —MOVED DATE_______ —FAIR —UNEXPOSED DESCRIBETHE PRESENT AND ORIGINAL (IF KNOWN) PHYSICAL APPEARANCE Lorado Taft's wife, Ada Bartlett Taft y described the Midway Studios in her biography of her husband, Lorado Taft, Sculptor arid Citizen; In 1906 Lorado moved his main studio out of the crowded Loop into a large, deserted brick barn on the University of Chicago property on the Midway. -
Clothing of Kansas Women, 1854-1870
CLOTHING OF KANSAS WOMEN 1854 - 1870 by BARBARA M. FARGO B. A., Washburn University, 1956 A MASTER'S THESIS submitted in partial fulfillment of the requirements for the degree MASTER OF SCIENCE Department of Clothing, Textiles and Interior Design KANSAS STATE UNIVERSITY Manhattan, Kansas 1969 )ved by Major Professor ACKNOWLEDGMENTS The author wishes to express sincere appreciation to her adviser, Dr. Jessie A. Warden, for her assistance and guidance during the writing of this thesis. Grateful acknowledgment also is expressed to Dr. Dorothy Harrison and Mrs. Helen Brockman, members of the thesis committee. The author is indebted to the staff of the Kansas State Historical Society for their assistance. TABLE OP CONTENTS PAGE ACKNOWLEDGMENT ii INTRODUCTION AND PROCEDURE 1 REVIEW OF LITERATURE 3 CLOTHING OF KANSAS WOMEN 1854 - 1870 12 Wardrobe planning 17 Fabric used and produced in the pioneer homes 18 Style and fashion 21 Full petticoats 22 Bonnets 25 Innovations in acquisition of clothing 31 Laundry procedures 35 Overcoming obstacles to fashion 40 Fashions from 1856 44 Clothing for special occasions 59 Bridal clothes 66 SUMMARY AND CONCLUSIONS 72 REFERENCES 74 LIST OF PLATES PLATE PAGE 1. Bloomer dress 15 2. Pioneer woman and child's dress 24 3. Slat bonnet 30 4. Interior of a sod house 33 5. Children's clothing 37 6. A fashionable dress of 1858 42 7. Typical dress of the 1860's 47 8. Black silk dress 50 9. Cape and bonnet worn during the 1860's 53 10. Shawls 55 11. Interior of a home of the late 1860's 58 12. -
National Park Service Mission 66 Era Resources B
NPS Form 10-900-b (Rev. 01/2009) 0MB No. 1024-0018 (Expires 5/31/2012) UNITED STATES DEPARTMENT OF THE INTERIOR National Park Service National Register of Historic Places Multiple Property Documentation Form This form Is used for documenting property groups relating to one or several historic contexts. See instructil'.r!§ ~ ~ tloDpl lj~~r Bulletin How to Complete the Mulliple Property Doc11mentatlon Form (formerly 16B). Complete each item by entering the req lBtEa\oJcttti~ll/~ a@i~8CPace, use continuation sheets (Form 10-900-a). Use a typewriter, word processor, or computer to complete all items X New Submission Amended Submission AUG 1 4 2015 ---- ----- Nat Register of Historie Places A. Name of Multiple Property Listing NatioAal Park Service National Park Service Mission 66 Era Resources B. Associated Historic Contexts (Name each associated historic context, identifying theme, geographical area, and chronological period for each.) Pre-Mission 66 era, 1945-1955; Mission 66 program, 1956-1966; Parkscape USA program, 1967-1972, National Park Service, nation-wide C. Form Prepared by name/title Ethan Carr (Historical Landscape Architect); Elaine Jackson-Retondo, Ph.D., (Historian, Architectural); Len Warner (Historian). The Collaborative Inc.'s 2012-2013 team comprised Rodd L. Wheaton (Architectural Historian and Supportive Research), Editor and Contributing Author; John D. Feinberg, Editor and Contributing Author; and Carly M. Piccarello, Editor. organization the Collaborative, inc. date March 2015 street & number ---------------------2080 Pearl Street telephone 303-442-3601 city or town _B_o_ul_d_er___________ __________st_a_te __ C_O _____ zi~p_c_o_d_e_8_0_30_2 __ _ e-mail [email protected] organization National Park Service Intermountain Regional Office date August 2015 street & number 1100 Old Santa Fe Trail telephone 505-988-6847 city or town Santa Fe state NM zip code 87505 e-mail sam [email protected] D. -
Poncan Theatre
A Directory of Cultural Sites and Museums in Ponca City , Oklahoma Purpose of Directory Guidebook A tour guide or docent is usually available for assistance. Th is person is knowledgeable Th is “Adventures in History & Heritage” directory guidebook is intended to be a about the museums and collections. Listen and respect them and follow their lead. resource for teachers and citizens. It represents each cultural and/or historic site in Th ey have a wealth of knowledge to share. the Ponca City area and contains information to assist those interested in planning Show respect for the valuable artifacts and treasured items in a museum or a cultural educational visits. We hope you will fi nd the content informative and useful in site. Most items could not be replaced if destroyed. A “hands off ” policy is best when scheduling fi eld trips, group tours or individual visits. Enjoy the adventure and what touring. can be discovered along the way. At the end of the visit, be sure to show your appreciation and thank your guide. Why Cultural Heritage Field Trips are important… Table of Contents • Th ey help others discover the history and roots of a community. City Hall, Centennial Plaza, and Historic Downtown . 4 • Th ey create community awareness. Conoco Museum. 6 • Th ey enhance community pride. Marland Estate Mansion. 8 • Th ey encourage community involvement. Marland’s Grand Home.. 10 • Th ey generate partnerships between local schools, cultural heritage sites, Pioneer Woman Museum. 12 students and citizens. Ponca City Art Center. 14 Ponca City Library Matzene Art Collection. 16 Poncan Th eatre. -
The Association for Diplomatic Studies and Training Foreign Affairs Oral History Project
The Association for Diplomatic Studies and Training Foreign Affairs Oral History Project ELEANOR LOPES “PENNY” AKAHLOUN Interviewed by: Daniel F. Whitman Initial interview date: July 19, 2008 Copyright 2015 ADST TABLE OF CONTENTS MY FORMATIVE YEARS, 1943–1965 Born and raised in Onset, Massachusetts Cape Verdean History and Whaling Ships The Schooner Ernestina and the Packet Trade Small, Round, and Copper Tone Harsh Life for Cape Verdeans on the Cranberry Bogs Vera Cruz VII Shipwreck at Ocracoke, North Carolina Rescue of the Passengers Grandfather’s Marriage and the Curse Oak Grove School Prejudice and “Jungletown” My Big Dream at Age 8 Moving from Cape Cod to Boston, Massachusetts No Vacancy at Bethany Union If First You Don’t Succeed, Try and Try Again Massachusetts Attorney General Edward W. Brooke and a Second Chance Joining the Foreign Service THE PHILIPPINES, 1965–1967 1 The Right Place at the Right Time Shooting the Rapids at Pagsanjan Falls, Laguna Electric Typewriters, Carbons and Pencil Erasers Vice President Hubert Humphrey Attends President Ferdinand Marcos’ 1965 Inauguration Bike Rides on the Island of Mindanao Holy Week in Bongabong, Oriental Mindoro The Eclipse of Sukarno and the Rise of Suharto Bombs Rain Down on Saigon Skies President Lyndon Johnson and the Seven-Nation Manila Summit U.S. -Philippine Relations Around the World and Home in One Piece WASHINGTON, DC, AND HOME LEAVE, LATE 1967 Reverse Cultural Shock Vietnam War Demonstrations MOROCCO, 1968–1970 The Moroccan Treaty of Friendship, the Longest Unbroken Accord in U.S. History Disappearance of Mehdi Ben Barka U.S.-Moroccan Relations Marrakech’s Djema El Fna Square and Snake Charmers A Sense of Being Home A Muslim and a Christian Fall in Love The State Department’s Historical 1972 Directive Permission Granted to Marry a U.S. -
Building Stones of the National Mall
The Geological Society of America Field Guide 40 2015 Building stones of the National Mall Richard A. Livingston Materials Science and Engineering Department, University of Maryland, College Park, Maryland 20742, USA Carol A. Grissom Smithsonian Museum Conservation Institute, 4210 Silver Hill Road, Suitland, Maryland 20746, USA Emily M. Aloiz John Milner Associates Preservation, 3200 Lee Highway, Arlington, Virginia 22207, USA ABSTRACT This guide accompanies a walking tour of sites where masonry was employed on or near the National Mall in Washington, D.C. It begins with an overview of the geological setting of the city and development of the Mall. Each federal monument or building on the tour is briefly described, followed by information about its exterior stonework. The focus is on masonry buildings of the Smithsonian Institution, which date from 1847 with the inception of construction for the Smithsonian Castle and continue up to completion of the National Museum of the American Indian in 2004. The building stones on the tour are representative of the development of the Ameri can dimension stone industry with respect to geology, quarrying techniques, and style over more than two centuries. Details are provided for locally quarried stones used for the earliest buildings in the capital, including A quia Creek sandstone (U.S. Capitol and Patent Office Building), Seneca Red sandstone (Smithsonian Castle), Cockeysville Marble (Washington Monument), and Piedmont bedrock (lockkeeper's house). Fol lowing improvement in the transportation system, buildings and monuments were constructed with stones from other regions, including Shelburne Marble from Ver mont, Salem Limestone from Indiana, Holston Limestone from Tennessee, Kasota stone from Minnesota, and a variety of granites from several states. -
Contemporary American Painting and Sculpture
AT UR8ANA-GHAMPAIGN ARCHITECTURE The person charging this material is responsible for .ts return to the library from which it was withdrawn on or before the Latest Date stamped below '"" """"""'"9 "< "ooks are reason, ™racTo?,'l,°;'nary action and tor di,elpl(- may result in dismissal from To renew the ""'*'e™«y-University call Telephone Center, 333-8400 UNIVERSITY OF ILLINOIS LIBRARY AT URBANA-CHAMPAIGN I emp^rary American Painting and Sculpture University of Illinois Press, Urbana, 1959 Contemporary American Painting and Scuipttfre ^ University of Illinois, Urbana March 1, through April 5, 195 9 Galleries, Architecture Building College of Fine and Applied Arts (c) 1959 by the Board of Trustees of the University of Illinois Library of Congress Catalog Card No. A4 8-34 i 75?. A^'-^ PDCEIMtBieiiRr C_>o/"T ^ APCMi.'rri'Ht CONTEMPORARY AMERICAN PAINTING AND SCULPTURE DAVID D. HENRY President of the University ALLEN S. WELLER Dean, College of Fine and Applied Arts Chairman, Festival of Contemporary Arts N. Britsky E. C. Rae W. F. Doolittlc H. A. Schultz EXHIBITION COMMITTEE D. E. Frith J. R. Shipley \'. Donovan, Chairman J. D. Hogan C. E. H. Bctts M. B. Martin P. W. Bornarth N. McFarland G. R. Bradshaw D. C. Miller C. W. Briggs R. Perlman L. R. Chesney L. H. Price STAFF COMMITTEE MEMBERS E. F. DeSoto J. W. Raushenbergcr C. A. Dietemann D. C. Robertson G. \. Foster F. J. Roos C. R. Heldt C. W. Sanders R. Huggins M. A. Sprague R. E. Huh R. A. von Neumann B. M. Jarkson L. M. Woodroofe R. Youngman J. -
Hour by Hour!
Volume 13 Issue 158 HIPFiSHmonthlyHIPFiSHmonthly March 2012 thethe columbiacolumbia pacificpacific region’sregion’s freefree alternativealternative ERIN HOFSETH A new form of Feminism PG. 4 pg. 8 on A NATURALIZEDWOMAN by William Ham InvestLOWER Your hourTime!COLUMBIA by hour! TIME BANK A NEW community RESOURCE by Lynn Hadley PG. 14 I’LL TRADE ACCOUNTNG ! ! A TALE OF TWO Watt TRIBALChildress CANOES& David Stowe PG. 12 CSA TIME pg. 10 SECOND SATURDAY ARTWALK OPEN MARCH 10. COME IN 10–7 DAILY Showcasing one-of-a-kind vintage finn kimonos. Drop in for styling tips on ware how to incorporate these wearable works-of-art into your wardrobe. A LADIES’ Come See CLOTHING BOUTIQUE What’s Fresh For Spring! In Historic Downtown Astoria @ 1144 COMMERCIAL ST. 503-325-8200 Open Sundays year around 11-4pm finnware.com • 503.325.5720 1116 Commercial St., Astoria Hrs: M-Th 10-5pm/ F 10-5:30pm/Sat 10-5pm Why Suffer? call us today! [ KAREN KAUFMAN • Auto Accidents L.Ac. • Ph.D. •Musculoskeletal • Work Related Injuries pain and strain • Nutritional Evaluations “Stockings and Stripes” by Annette Palmer •Headaches/Allergies • Second Opinions 503.298.8815 •Gynecological Issues [email protected] NUDES DOWNTOWN covered by most insurance • Stress/emotional Issues through April 4 ASTORIA CHIROPRACTIC Original Art • Fine Craft Now Offering Acupuncture Laser Therapy! Dr. Ann Goldeen, D.C. Exceptional Jewelry 503-325-3311 &Traditional OPEN DAILY 2935 Marine Drive • Astoria 1160 Commercial Street Astoria, Oregon Chinese Medicine 503.325.1270 riverseagalleryastoria.com -
The Politics of Urban Cultural Policy Global
THE POLITICS OF URBAN CULTURAL POLICY GLOBAL PERSPECTIVES Carl Grodach and Daniel Silver 2012 CONTENTS List of Figures and Tables iv Contributors v Acknowledgements viii INTRODUCTION Urbanizing Cultural Policy 1 Carl Grodach and Daniel Silver Part I URBAN CULTURAL POLICY AS AN OBJECT OF GOVERNANCE 20 1. A Different Class: Politics and Culture in London 21 Kate Oakley 2. Chicago from the Political Machine to the Entertainment Machine 42 Terry Nichols Clark and Daniel Silver 3. Brecht in Bogotá: How Cultural Policy Transformed a Clientist Political Culture 66 Eleonora Pasotti 4. Notes of Discord: Urban Cultural Policy in the Confrontational City 86 Arie Romein and Jan Jacob Trip 5. Cultural Policy and the State of Urban Development in the Capital of South Korea 111 Jong Youl Lee and Chad Anderson Part II REWRITING THE CREATIVE CITY SCRIPT 130 6. Creativity and Urban Regeneration: The Role of La Tohu and the Cirque du Soleil in the Saint-Michel Neighborhood in Montreal 131 Deborah Leslie and Norma Rantisi 7. City Image and the Politics of Music Policy in the “Live Music Capital of the World” 156 Carl Grodach ii 8. “To Have and to Need”: Reorganizing Cultural Policy as Panacea for 176 Berlin’s Urban and Economic Woes Doreen Jakob 9. Urban Cultural Policy, City Size, and Proximity 195 Chris Gibson and Gordon Waitt Part III THE IMPLICATIONS OF URBAN CULTURAL POLICY AGENDAS FOR CREATIVE PRODUCTION 221 10. The New Cultural Economy and its Discontents: Governance Innovation and Policy Disjuncture in Vancouver 222 Tom Hutton and Catherine Murray 11. Creating Urban Spaces for Culture, Heritage, and the Arts in Singapore: Balancing Policy-Led Development and Organic Growth 245 Lily Kong 12. -
The American Pioneer Woman Circa 1930: Cultural Debates and the Role of Public Art
The American Pioneer Woman Circa 1930 85 The American Pioneer Woman Circa 1930: Cultural Debates and the Role of Public Art Janet Galligani Casey Last February a dozen women set out to tour the U.S. They were a curious company. Dressed in the style of the early 19th century, they remained totally impervious to the appraising stares of approximately 750,000 persons. —Time Magazine, January 2, 19281 In 1927, an unusual contest seized the attention of the American public. Oklahoma oil magnate E. W. Marland, inspired to commemorate the role of women on the American frontier, set aside more than $300,000 for the eventual erection of a monument in his hometown of Ponca City and invited prominent sculptors to submit appropriate designs. Over the next several months, twelve miniature bronze casts based on those designs were exhibited in major cities throughout the U.S., drawing tens of thousands of visitors who were invited to share their opinions via formal ballot. Although Marland retained the right to make the final decision, art critics, cultural commentators, and ordinary citizens nonetheless engaged in robust debate about the suitability of each of the models and, by extension, the symbolic parameters for an iconic female of the frontier. When the completed full-sized monument was unveiled in 1930 before a crowd estimated at 40,000—on a specially declared state holiday featuring Indian pow-wows, fiddling contests, and parades of Conestoga wagons—the cultural 0026-3079/2010/5103/4-085$2.50/0 American Studies, 51:3/4 (Fall/Winter 2010): 85-107 85 86 Janet Galligani Casey significance of the moment was reinforced through public addresses by none other than President Herbert Hoover and Secretary of War (and Oklahoma native) Patrick J. -
National Register of Historic Places Inventory Nomination
NPS Form 10-900 (3-82) OMB No. 1024-0018 Expires 10-31-87 United States Department off the Interior National Park Service For NPS use only National Register of Historic Places received Inventory Nomination Form date entered See instructions in How to Complete National Register Forms Type all entries complete applicable sections____________ 1. Name historic Rockefeller Center and or common 2. Location Bounded by Fifth Avenue, West 48th Street, Avenue of the street & number Americas, and West 51st Street____________________ __ not for publication city, town New York ___ vicinity of state New York code county New York code 3. Classification Category Ownership Status Present Use district public x occupied agriculture museum x building(s) x private unoccupied x commercial park structure both work in progress educational private residence site Public Acquisition Accessible _ x entertainment religious object in process x yes: restricted government scientific being considered yes: unrestricted industrial transportation no military other: 4. Owner of Property name RCP Associates, Rockefeller Group Incorporated street & number 1230 Avenue of the Americas city, town New York __ vicinity of state New York 10020 5. Location of Legal Description courthouse, registry of deeds, etc. Surrogates' Court, New York Hall of Records street & number 31 Chambers Street city, town New York state New York 6. Representation in Existing Surveys Music Hall only: National Register title of Historic Places has this property been determined eligible? yes no date 1978 federal state county local depository for survey records National Park Service, 1100 L Street, NW ^^ city, town Washington_________________ __________ _ _ state____DC 7. Description Condition Check one Check one x excellent deteriorated unaltered x original s ite good ruins x altered moved date fair unexposed Describe the present and original (iff known) physical appearance The Rockefeller Center complex was the final result of an ill-fated plan to build a new Metropolitan Opera House in mid-town Manhattan. -
“Flags In” by Lynne Belluscio on the Historical Society’S Recent Trip to Washington D.C
LE ROY PENNYSAVER & NEWS - MAY 11, 2014 “Flags In” by Lynne Belluscio On the Historical Society’s recent trip to Washington D.C. it was important for us to visit Arlington Cemetery. And although it was a cold windy and very wet, day, we all left the comfort of our warm bus to walk over to the Tomb of the Unknown Soldier to watch the changing of the guard. The ceremony is based on the highest military honor, the twenty-one gun salute. The guard marches twenty one steps, then faces east for 21 seconds and north for 21 seconds. He marches back 21 steps and faces east for 21 seconds and south for 21 seconds. The guards are all members of the 3rd U.S. Infantry known as the “Old Guard” which has served this nation since 1784. No other army unit has served longer. It was given its name by General Winfield Scott during 24, beginning at 9:00 am at completed and dedicated until Many years ago, cracks a victory parade during the Macpelah Cemetery, a group of 1932. The stone was quarried appeared in the 48-ton marble Mexican War in 1847. In 1948, volunteers will place 500 flags on from the Yule Marble Quarry tomb. Several attempts were the Old Guard began placing flags gravesites. Everyone is invited to near Marble, Utah, where marble made to fill the cracks but they for the Lincoln Memorial and kept reappearing and were other monuments was obtained. getting larger. There were plans The large marble block was to completely replace the tomb shipped to Rutland, Vermont, with a new piece of marble, but where it was sawn and dressed.