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Ching Ho Cheng papers, circa 1950-2014, bulk 1970-1989

Creator:
Cheng, Ching Ho, 1946-1989  Search this
Subject:
Millard, Gregory  Search this
Cohen, Ira  Search this
Cheng-Wilson, Sybao  Search this
Brown, Tally  Search this
Rattray, David  Search this
Myers, Vali  Search this
Seid, Dui  Search this
Type:
Sketches
Drawings
Sketchbooks
Photographs
Scrapbooks
Citation:
Ching Ho Cheng papers, circa 1950-2014, bulk 1970-1989. Archives of American Art, Smithsonian Institution.
Topic:
Asian American art  Search this
Asian American artists  Search this
Chinese American art  Search this
Chinese American artists  Search this
Asian American painters  Search this
Theme:
Asian American  Search this
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)16241
(DSI-AAA_SIRISBib)370439
AAA_collcode_chenchin
Theme:
Asian American
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_370439
Online Media:

Ching Ho Cheng papers

Creator:
Cheng, Ching Ho  Search this
Names:
Brown, Tally  Search this
Cheng-Wilson, Sybao  Search this
Cohen, Ira  Search this
Millard, Gregory  Search this
Myers, Vali, 1930-2003  Search this
Rattray, David  Search this
Seid, Dui  Search this
Extent:
6.8 Linear feet
Type:
Collection descriptions
Archival materials
Sketches
Drawings
Sketchbooks
Photographs
Scrapbooks
Date:
circa 1950-2014
bulk 1970-1989
Summary:
The papers of New York City Asian American artist Ching Ho Cheng measure 6.8 linear feet and date from circa 1950 to 2014, with the bulk of the materials dating from 1970-1989. The collection documents Cheng's art career and life through biographical material, correspondence, personal business and estate records, printed material, a scrapbook, photographic material, artwork, sketchbooks, and artifacts.
Scope and Contents:
The papers of New York City Asian American artist Ching Ho Cheng measure 6.8 linear feet and date from circa 1950 to 2014, with the bulk of the materials dating from 1970-1989. The collection documents Cheng's art career and life through biographical material, correspondence, personal business and estate records, printed material, a scrapbook, photographic material, artwork, sketchbooks, and artifacts.

Biographical material includes artist's statements, biographical writings, lists, life and death documents, a memorial book, naturalization paperwork, and one file of collaborative poetry with David Rattray.

Correspondence includes letters and postcards from Cheng's friends, artists, and family, including Tally Brown, Ira Cohen, Gregory Millard, Vali Myers, David Rattray, and Dui Seid.

Personal business and estate records contain contracts, loan agreements, inventories, and other records documenting income and expenses.

Printed material is comprised of books, clippings, exhibition announcements and catalogs, journals, magazines, newsletters, postcards, press releases, programs, and posters documenting Cheng's career.

One scrapbook contains clippings and reproductions of Cheng's work.

Photographic material includes photographs, negatives, and slides featuring portraits of Cheng, Gregory Millard, Tally Brown, Vali Myers, Sybao Cheng-Wilson, and others.

Artwork and fifteen sketchbooks contain drawings and sketches, mostly quick studies of geometric compositions done in pencil, ink, and colored pencil.

Artifacts include a metal box, various fabric scraps, a paintbrush, and a blue enamel mug, which is the subject of one of Cheng's paintings.
Arrangement:
The collection is arranged as nine series

Missing Title

Series 1: Biographical Material, circa 1970-1990 (0.3 linear foot; Box 1)

Series 2: Correspondence, 1957-2014 (2.2 linear feet; Box 1-3)

Series 3: Personal Business and Estate Records, circa 1970-2010 (0.7 linear foot; Box 3-4)

Series 4: Printed Material, 1954-2011 (1.1 linear feet; Box 4-5, 7, OV 9)

Series 5: Scrapbook, 1982-1983 (1 folder; Box 5)

Series 6: Photographic Material, circa 1950-1990 (0.4 linear feet; Box 5, 7)

Series 7: Artwork, circa 1960-1990 (1linear foot; Box 5, 8, OV 10)

Series 8: Sketchbooks, circa 1970-1990 (0.5 linear feet; Box 6, 8)

Series 9: Artifacts, circa 1970-1990 (0.6 linear feet; Box 6)
Biographical / Historical:
Ching Ho Cheng (1946-1989) was a Chinese American artist based in New York City.

Cheng was born in Cuba but spent most of life in New York City. After receiving his BFA from the Cooper Union in 1968, Cheng lived in Paris and Amsterdam, where he had his first solo exhibition in 1976. Shortly after, Cheng moved back to New York City. He became associated with the Warhol circle, and took up residence in the Chelsea Hotel, where he lived until his death in 1989.

Working in the pop psychedelic style early in his career, Cheng later developed a technique of creating abstract paintings with stencils and torn paper that he treated and soaked. He was in more than fifteen exhibitions before his death, and his work has been collected posthumously by the Hirshhorn, the Whitney, and many other museums.
Provenance:
The Ching Ho Cheng papers were donated to the Archives of American Art in 2014 and 2016 by Sybao Cheng-Wilson, Cheng's sister and executor of the Ching Ho Cheng estate.
Restrictions:
This collection is temporarily closed to researchers due to archival processing and digitization. Contact Reference Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Painters -- New York (State) -- New York  Search this
Topic:
Asian American art  Search this
Asian American artists  Search this
Chinese American art  Search this
Chinese American artists  Search this
Asian American painters  Search this
Genre/Form:
Sketches
Drawings
Sketchbooks
Photographs
Scrapbooks
Citation:
Ching Ho Cheng papers, circa 1950-2014, bulk 1970-1989. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.chenchin
See more items in:
Ching Ho Cheng papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw91424b382-b141-4533-a128-128db7bf4258
EDAN-URL:
ead_collection:sova-aaa-chenchin
Online Media:

Women in Industry Photographs and Advertisements

Topic:
Kodak (Brand name)
Collector:
National Museum of American History (U.S.). Division of Work and Industry  Search this
Donor:
Wright, Helena, 1946-  Search this
Extent:
1 Cubic foot (2 boxes)
Type:
Collection descriptions
Archival materials
Advertisements
Date:
1890-1979
Summary:
The collection consists of photographs and advertisements related to women working in industry dating from 1890 to 1948.
Scope and Contents:
Series 1 consists of photographs that include images of women in industry along with associated documents. Materials are arranged alphabetically by subject. The photographs date from 1890 to 1981, yet the bulk of the materials are from 1930 to 1948. A portion of the materials are undated. There is a notable shortage of material related to women of color. The photographs depict women working in engineering jobs, operating heavy machinery, working with textiles, and handling different types of technology. There are several types of machines and products featured in the collection including pneumatic drills, gas irons, typewriters, rivet guns, compressed air machines, an arbor press, bending roll machines, and light bulbs. Documents that correspond to the photographs discuss an increase in women taking men's jobs in the 1940s while the men were at war. Consequently, photographs from the 1940s in this collection represent the transition of making machinery more applicable to women and enabling them to do "man-sized" jobs. Many of the 1940's photographs depict women enrolling in engineering training programs and physically working with heavy machinery.

Earlier materials from the early 1900s show women sitting in factories next to lighter equipment such as sewing machines and typewriters. There are a variety of companies displayed in the photographs including B. F. Spinney Co., Computing-Bureau Freight Accounts, Curtis Publishing Company, Curtis-Wright Corporation, Deane Works, Draper Corporation, General Electric Co., Glenn L. Martin Co., Goodyear Aircraft Corp., Osborn Manufacturing Company, and Timken Roller Bearing Co. A portion of the commercial photographs were taken by companies including Commercial Photo Co., Eastman Kodak Company, Mercury MFG. Co., Novelty Photo Co., Science Service, and Underwood and Underwood.

Series 2 contains advertisements related to women in industry. These advertisements date from 1927 to 1946. The materials in this series promote products and jobs targeting women operating machinery such as safety bars, grinding tools, bending roles, gauges, double-seaming machines, and portable package staplers. There are a variety of companies featured in this series including Acme Staple Co., Ashcroft Gauge Division, Buffalo Forge Company, E.W. Bliss Co., The Sheffield Corporation, and Willson Safety Products.
Arrangement:
The collection is arranged into two series.

Series 1: Photographs, 1890-1948

Series 2: Advertisements, 1927-1946
Historical:
This artificially created collection traces the transition of women's work in industry during the twentieth century. Most of the collection materials have a different provenance, but thirty-two photographs were assembled by Helena E. Wright during her years working as a curator in the Division of Culture and the Arts at the National Museum of American History. Other photographs showing women in industrial sites were added to the collection by the curator Peter Liebhold in the Division of Work and Industry. The photographs and advertisements in the complete collection were arranged to exhibit the evolution of women in the workforce. Women's occupations in the late nineteenth and early twentieth centuries included work in the clothing industry (i.e. Draper Corporation, B. F. Spinney Co.), factories, and production lines. Despite the low pay, laborious and unsafe working conditions that came with working in these industries, most women felt a sense of empowerment being employed outside the home. Many women welcomed the opportunity to provide an income for their families yet worked long hours in inadequate and dismal settings. During World War I and World War II, men left their industry jobs to serve in the war. In order to serve the war effort, women found more employment opportunities in several types of industries. These included electric companies (i.e. General Electric Co.), aircraft and aerospace engineering businesses (i.e. Glenn L. Martin Co., Goodyear Aircraft Corp.), foundry work (i.e. Osborn Manufacturing Company), steel making (i.e. Timken Roller Bearing Co.), as well as enrollment in engineering training programs (i.e. Curtis-Wright Corporation). These industries provided women with a broader range of employment opportunities, skills, and experiences. Consequently, other companies began creating and marketing products to help improve the lives of women in the workforce. Inventions such as the Willson Saf-t-Bra advertised comfort and protection to women working in various industry occupations.
Related Materials:
Materials in the Archives Center

Warshaw Collection of Business Americana Subject Categories: Women (AC0060)

Rosie the Riveter Health and Safety Records (AC0621)

Jantzen Knitting Mills Collection (AC0233)
Provenance:
Found in collections and assembled by curatorial staff.
Restrictions:
Unrestricted research access on site by appointment. Unprotected photographs must be handled with gloves.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Science Service  Search this
Women iron and steel workers  Search this
Women laborers  Search this
Factories -- 20th century  Search this
Textile industry  Search this
Machinery industry  Search this
Electric engineering -- 20th century  Search this
Industrial engineering  Search this
Manufacturing -- 1920-1930  Search this
Commercial photography  Search this
Women employees  Search this
Photographs  Search this
Industry -- U.S.  Search this
Women -- Employment  Search this
Women in technology  Search this
Women in advertising  Search this
World War, 1939-1945  Search this
Genre/Form:
Advertisements -- 20th century
Citation:
Women in Industry Photographs and Advertisements, 1890-1948, Archives Center, National Museum of American History.
Identifier:
NMAH.AC.1446
See more items in:
Women in Industry Photographs and Advertisements
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep875322312-8f6c-4ebd-953a-39fca61ad338
EDAN-URL:
ead_collection:sova-nmah-ac-1446
Online Media:

Franklin D. Roosevelt Plaque, (sculpture)

Title:
FDR, (sculpture)
Sculptor:
de Zoro dei Cappeller, Ettore 1894-1977  Search this
Subject:
Roosevelt, Franklin D  Search this
Medium:
Relief: bronze; Frame: wood
Type:
Sculptures-Relief
Sculptures
Owner/Location:
Administered by National Archives and Records Administration 7th & Pennsylvania Avenue Washington District of Columbia
Llocated Franklin D. Roosevelt Library and Museum 259 Albany Post Road Hyde Park New York 12538
Date:
1958
Topic:
Portrait male--Head  Search this
Occupation--Political--President  Search this
Control number:
IAS 76002511
Data Source:
Art Inventories Catalog, Smithsonian American Art Museums
EDAN-URL:
edanmdm:siris_ari_1754

Illustration for Saturday Evening Post, (painting)

Painter:
Altmen, Fred  Search this
Medium:
Gouache
Type:
Paintings
Paintings-Illustration
Topic:
Landscape  Search this
Figure group  Search this
Occupation--Other--Cowboy  Search this
Architecture--Vehicle--Train  Search this
Object--Weapon--Gun  Search this
State of Being--Illness--Wound  Search this
Control number:
IAP 8G380114
Data Source:
Art Inventories Catalog, Smithsonian American Art Museums
EDAN-URL:
edanmdm:siris_ari_481268

Tax Collector, (sculpture)

Sculptor:
Shaw, Elsie 1929-2015  Search this
Medium:
Brass
Type:
Sculptures
Topic:
Figure male--Full length  Search this
Occupation--Other--Businessman  Search this
Dress--Accessory--Umbrella  Search this
Control number:
IAS 8G380127
Data Source:
Art Inventories Catalog, Smithsonian American Art Museums
EDAN-URL:
edanmdm:siris_ari_481281

Cotton Picker, (sculpture)

Sculptor:
Shaw, Elsie 1929-2015  Search this
Medium:
Brass
Type:
Sculptures
Topic:
Figure female--Full length  Search this
Dress--Accessory--Hat  Search this
Object--Other--Container  Search this
Occupation--Farm--Harvesting  Search this
Control number:
IAS 8G380129
Data Source:
Art Inventories Catalog, Smithsonian American Art Museums
EDAN-URL:
edanmdm:siris_ari_481283

Cotton Picker Eating Lunch, (sculpture)

Sculptor:
Shaw, Elsie 1929-2015  Search this
Medium:
Brass
Type:
Sculptures
Topic:
Figure male--Full length  Search this
Dress--Accessory--Hat  Search this
Object--Other--Container  Search this
Occupation--Farm--Harvesting  Search this
Recreation--Leisure--Eating & Drinking  Search this
Control number:
IAS 8G380130
Data Source:
Art Inventories Catalog, Smithsonian American Art Museums
EDAN-URL:
edanmdm:siris_ari_481284

Farmer with a Hoe, (sculpture)

Sculptor:
Shaw, Elsie 1929-2015  Search this
Medium:
Bronze
Type:
Sculptures
Topic:
Figure male--Full length  Search this
Dress--Accessory--Hat  Search this
Object--Tool--Hoe  Search this
Occupation--Farm--Farmer  Search this
Control number:
IAS 8G380131
Data Source:
Art Inventories Catalog, Smithsonian American Art Museums
EDAN-URL:
edanmdm:siris_ari_481285

Oral History Interview with Ophelia Settle Egypt

Names:
Dunbar High School (Washington, D.C.)  Search this
Hampton University Choir  Search this
Howard University  Search this
Anderson, Marian, 1897-1993  Search this
Dett, R. Nathaniel, 1882-1943  Search this
Egypt, Ophelia Settle  Search this
Ellington, Duke, 1899-1974  Search this
Tibbs, Roy W., 1890-1944  Search this
Collection Creator:
Anacostia Community Museum  Search this
Extent:
2 Sound recordings (1 box)
1 Sound disc ((1 sound disk CD-R (00:31:31). digital, 16-bit 44.1 KhZ))
1 Digital file ((1 data disk DVD-R digital, 24-bit 96kHz WAV.)))
Container:
Box 2, Folder 27
Box 4, Cassette 16A
Box 4, Cassette 16B
Box 5, Disk 16
Type:
Archival materials
Audio
Sound recordings
Sound discs
Digital files
Oral histories (document genres)
Place:
Anacostia (Washington, D.C.)
Anacostia Community Museum
Date:
1970- 1971 March 19
1974 April 3 - 1975 November 11
Scope and Contents note:
Ophelia Settle Egypt, an African American woman born on February 20, 1903, discusses her time in Anacostia after moving to the neighborhood in 1940. She talks about the public education available (such as Dunbar High School), the "Social Work Row" in the neighborhood (a street in Anacostia where many social workers lived), the different occupations residents had, and the typical family structures. She describes how the neighborhood was segregated and how sit-in protests began the difficult integration process.

Egypt provides information about her time at Howard University, recalling student involvement with the sit-in protests (including her own experiences) as well as with musical groups at Howard Theater and Constitutional Hall, where students saw Duke Ellington and Marian Anderson perform. She speaks about how the communities in Anacostia used to be much more close-knit by organizing civic organizations and neighbors helping each other with childcare and housework. She recalls the fight for integration of schools and other public spaces. The interview is cut short during Egypt noting the difference between childrearing now versus when she was growing up.

Ophelia Settle Egypt was interviewed on December 9,1970, by an unnamed volunteer or staff member at the Anacostia Neighborhood Museum (now the Anacostia Community Museum). Digital audio files include white noise and static; interviewee can be heard clearly for most parts. The interview was cut short due to a recording failure of tape #16B.
Restrictions:
Use of the materials requires an appointment. Please contact the archivist to make an appointment: ACMarchives@si.edu.
Collection Rights:
Collection items available for reproduction, but the Archives makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives cost-recovery and use fees may apply when requesting reproductions.
Topic:
African American women  Search this
African Americans  Search this
Public Education  Search this
Community Organizations  Search this
Segregation -- United States  Search this
African American families  Search this
School integration  Search this
Anacostia Neighborhood Museum  Search this
exhibit  Search this
African American educators  Search this
Women social workers  Search this
Genre/Form:
Oral histories (document genres)
Collection Citation:
Evolution of a Community: 1972 Exhibition Records, Anacostia Community Museum Archives, Smithsonian Institution.
See more items in:
Evolution of a Community: 1972 Exhibition Records
Evolution of a Community: 1972 Exhibition Records / Series 2: Interviews
Archival Repository:
Anacostia Community Museum Archives
GUID:
https://n2t.net/ark:/65665/qa79b1905d2-d494-4ea3-856a-fd7e91f5fa8f
EDAN-URL:
ead_component:sova-acma-03-040-ref602

Unraveling a paradox of habitat relationships: scale-dependent drivers of temporal occupancy-abundance relationships in a cooperatively breeding bird

Author:
Hagemeyer, Natasha D. G.  Search this
Pesendorfer, Mario B.  Search this
Koenig, Walter D.  Search this
Walters, Eric L.  Search this
Object Type:
Smithsonian staff publication
Year:
2023
Citation:
Hagemeyer, Natasha D. G., Pesendorfer, Mario B., Koenig, Walter D., and Walters, Eric L. 2023. "Unraveling a paradox of habitat relationships: scale-dependent drivers of temporal occupancy-abundance relationships in a cooperatively breeding bird." Landscape Ecology, 38, (8) 1955–1970. https://doi.org/10.1007/s10980-023-01668-0.
Identifier:
171889
DOI:
https://doi.org/10.1007/s10980-023-01668-0
ISSN:
0921-2973
Data source:
Smithsonian Libraries and Archives
EDAN-URL:
edanmdm:slasro_171889

Phil Jordan Collection

Topic:
Graphis (Serial)
Communication Arts (Serial)
Skylines (Newsletter)
Air & Space (Serial)
Smithsonian (Serial)
Creator:
Jordan, Phil  Search this
Names:
Art Directors Club of Metropolitan Washington  Search this
Baughman Company  Search this
Beveridge and Associates Inc.  Search this
Chamber of Commerce of the United States of America  Search this
East Carolina University  Search this
IBM (International Business Machines)  Search this
McGraw-Hill Book Company, Inc.  Search this
National Air and Space Museum  Search this
Richmond Times-Dispatch (Firm)  Search this
Robert Kline and Co. Inc.  Search this
Skyline Soaring Club  Search this
Society of Illustrators (New York, N.Y.)  Search this
United States Postal Service  Search this
United States Postal Service. Stamp Development Department  Search this
United States. Coast Guard  Search this
United States. Montgomery G.I. Bill  Search this
United States. National Aeronautics and Space Administration  Search this
Virginia Commonwealth University  Search this
Jordan, Phil  Search this
Extent:
7.18 Cubic feet (10 letter size document boxes, 3 legal size document boxes, one tall document box, and one oversize folder.)
Type:
Collection descriptions
Archival materials
Place:
New Bern (N.C.)
Fort Greely (Alaska)
United States -- History -- Civil War, 1861-1865
Date:
1992-2015
Summary:
Phil Jordan was a Stamp Art Director for the United States Postal Service (USPS). Jordan's involvement with the USPS started in 1991 and ended 23 years later having worked on 300 stamps. The collection consists primarily of stamp design files created and maintained by Jordan during his time as a Stamp Art Director for the United States Postal Service (USPS) from 1991 to 2014. The majority of the files relate to stamps that were issued by the USPS while a smaller portion of the files are related to unissued stamps that Jordan worked on. As a Stamp Art Director, Jordan was responisbile for leading and providing direction for stamp designs and regularly worked with researchers, artists, painters, illustrators, photographers, and typographers to bring to fruition an aesthetic vision for each stamp.
Scope and Contents:
The Phil Jordan collection consists primarily of stamp design files created and maintained by Jordan during his time as a Stamp Art Director for the United States Postal Service (USPS) from 1991 to 2013. The majority of the files relate to stamps that were issued by the USPS while a smaller portion of the files are related to unissued stamps that Jordan worked on. As a Stamp Art Director, Jordan was responsible for leading and providing direction for stamp designs and regularly worked with researchers, artists, painters, illustrators, photographers, and typographers to bring to fruition an aesthetic vision for each stamp.

Of the some 300 stamps Jordan was responsible for, some that are represented in this collection include stamps related to hospice care (Jordan consider his work on this stamp to be amongst the most rewarding); legends of baseball; the Civil War Sesquicentennial; legends of Hollywood; the Indianapolis 500; literary arts; Owney the postal dog; the Washington, D.C. cherry blossom centennial; bicycling; ʻĪd al-Fiṭr; Grand Central Terminal in New York City; the USS Arizona Memorial; Wilt Chamberlain; the 225th anniversary of the U.S. Coast Guard; and the 50th anniversary of supersonic flight.

In addition, there are portfolios that provide visual documentation of Jordan's work on stamps, correspondence related to stamp design inquiries, and some biographical information.

Materials in the collection include correspondence, drawings, illustrations, color photographs, color transparencies, maps, news releases, notes, research materials, brochures, and clippings. Some materials are in electronic format.

Many of the stamps that Jordan worked on as Stamp Art Director can be found at the National Postal Museum.
Arrangement:
This collection is arranged into five series.

Series

Series 1: Issued Stamps Issued Stamps, 1999-2011

Series 2: Unissued Stamps, 1998-2006

Series 3: Portfolios, 1993-2015

Series 4: General Files, 1992-2013

Series 5: Oversize, 1994-2015
Biographical / Historical:
Phil Jordan was a Stamp Art Director for the United States Postal Service (USPS). Jordan's involvement with the USPS started in 1991 and ended 23 years later having worked on 300 stamps.

Jordan grew up in New Bern, North Carolina and attended East Carolina University. After a period of service with the Army Arctic Indoctrination School in Fort Greely, Alaska, Jordan graduated from Virginia Commonwealth University with a degree in visual communications. Early in his career he worked as an artist for the Richmond Times-Dispatch and the Baughman Company offset lithographers while attending school on the GI Bill.

Later he worked at the advertising agency Robert Kline and Co. Inc. as their art supervisor before serving as the assistant art director the United States Chamber of Commerce. Next, he joined Beveridge and Associates, Inc. guiding art direction for corporate, institutional and government design projects. Eventually becoming a partner at the firm, Jordan left after 18 years to form his own communications consulting firm where he managed projects for USAir, NASA, McGraw-Hill, IBM, the National Air and Space Museum, and Smithsonian Books.

Jordan was responsible for the original formats of the Air and Space and Smithsonian magazines and was their Design Director for fifteen years. From there his work as consulting art director for the United States Postal Service's Stamp Development Department saw him art direct and produce 300 postage stamps as well as other stamp collateral publications for 23 years. Among some of the stamps he worked on include the 2011 Neon! Celebrate stamp, the 2012 Major League Baseball All-Stars stamps, the 2013 Civil War stamps; the 2012 Cherry Blossom Centennial stamps; the 1997 Classic American Aircraft stamps; and the 2003 First Flight stamp.

Jordan's work has been featured in a number of exhibitions and in publications such as Graphis, Society of Illustrators, and Communication Arts. A recipient of professional awards from these organizations over the years, he was also the recipient of the NASA Group Achievement Award. He is a past president of the Art Directors Club of Metropolitan Washington and was an avid glider pilot, being a founding member of the Skyline Soaring Club and the former long-time editor of Skylines newsletter.
Provenance:
Donated by Phil Jordan, 2015. This collection was initially part of the museum collections (Accession 2015.2015), but was released to the NPM Archives in December 2023.
Restrictions:
Collection is open for research. Access to original archival materials is by appointment only. Researchers must submit request for appointment in writing. Please direct reference inquiries to the National Postal Museum Archives: NPM_Archives@si.edu.
Rights:
The National Postal Museum Archives makes its archival collections available 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. Please refer to the Smithsonian's Terms of Use and the NPM Rights and Reproductions for additional information. Please direct reference inquiries to the National Postal Museum Archives: NPM_Archives@si.edu.
Occupation:
Art directors  Search this
Graphic designers -- United States  Search this
Topic:
Postage stamps  Search this
Baseball  Search this
Cherry blossoms  Search this
Bicycling  Search this
Supersonic planes  Search this
Hospice care  Search this
Owney (Dog)  Search this
Glider pilots  Search this
USS Arizona Memorial (Hawaii)  Search this
ʻĪd al-Fiá¹­r  Search this
Citation:
Phil Jordan Collection, NPMA.2023.2, National Postal Museum, Smithsonian Institution
Identifier:
NPMA.2023.2
See more items in:
Phil Jordan Collection
Archival Repository:
National Postal Museum Archives
GUID:
https://n2t.net/ark:/65665/zn80a463026-5019-4c9c-95c2-cd698cf84f5a
EDAN-URL:
ead_collection:sova-npma-2023-2
Online Media:

David Ireland Papers

Artist:
Ireland, David, 1930-2009  Search this
Names:
American Academy in Rome  Search this
Arts Club of Chicago  Search this
California College of Arts and Crafts (San Francisco, Calif.)  Search this
Center for the Arts at Yerba Buena Gardens  Search this
Gallery Paule Anglim  Search this
Helmhaus Zürich  Search this
Mattress Factory  Search this
New Museum of Contemporary Art (New York, N.Y.)  Search this
Perth Institute of Contemporary Arts  Search this
San Francisco Art Institute  Search this
San Francisco Museum of Modern Art  Search this
Skowhegan School of Painting and Sculpture  Search this
Stanford University  Search this
Walker Art Center  Search this
Washington State Arts Commission  Search this
Western Washington University  Search this
Coppola, Eleanor  Search this
Grobart, Jeffrey  Search this
Lee, Margie  Search this
Lienhard, Marie-Louise  Search this
Marion, Paul  Search this
Tingle, Alta  Search this
Extent:
24.8 Linear feet
8.39 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Video recordings
Sketches
Interviews
Prints
Sound recordings
Drawings
Photographs
Date:
circa 1910s-circa 2009
bulk 1960-2005
Summary:
The papers of California conceptual artist and sculptor David Ireland measure 24.8 linear feet and 8.39 GB and date from circa 1910s to circa 2009, with the bulk of the material dating from 1960 to 2005. The papers include biographical material, correspondence, notes and notebooks, installation projects and exhibition files, teaching files, travel files, personal business records, printed and digital material and commercial recordings, photographic materials, artwork, and video and sound recordings.
Scope and Contents:
The papers of California conceptual artist and sculptor David Ireland measure 24.8 linear feet and 8.39 GB and date from circa 1910s to circa 2009, with the bulk of the material dating from 1960 to 2005. The papers include biographical material, correspondence, notes and notebooks, installation projects and exhibition files, teaching files, travel files, personal business records, printed and digital material and commercial sound recordings, photographic materials, artwork, and video and sound recordings.

Biographical material includes awards and certificates, address books and appointment books, artist's statements, resumes, chronologies, student university materials, passports, and sound and video recordings of interviews with Ireland. Correspondence is with friends, peers, universities, galleries, and museums, including Jeffrey Grobart, Eleanor Coppola, Margie Lee, Marie-Louise Lienhard, Paul Marion, and Alta Tingle, among others. Notes and notebooks contain incoming phone messages, notes to self, regarding projects and ideas, as well as various other notes and plans.

Installation projects and exhibition files constitute the bulk of the collection and document David Ireland's extensive projects and exhibitions around the world. Files are found for his Capp Street house project and Pacific Enterprises project in San Francisco; Boott Mills project in Lowell, Massachusetts; IKEA Emeryville Public Art Project in Emeryville, California; and several Washington State Arts Commission and Western Washington University projects. Other exhibition and installation locations found within the files include the American Academy in Rome; Yerba Buena Arts Center in California; Perth Institute of Contemporary Art in Australia; Helmhaus in Zurich, Switzerland; Arts Club of Chicago; SFMOMA; New Museum of Contemporary Art in New York; Walker Art Center in Minneapolis, Minnesota; and the Mattress Factory in Pittsburgh, among many others. The files contain a wide variety of materials, including sound and video recordings in various formats.

Teaching files document David Ireland's many roles as visiting artist, artist-in-residence, instructor, and conference and symposium panelist at the California College of Arts and Crafts, San Francisco Art Institute, Skowhegan School of Painting and Sculpture, and Stanford University Department of Art, among others. Travel files document Ireland's trips abroad, both independent of and as a result of installation and project obligations.

Personal business records are comprised of financial materials and documentation relating to Ireland's two early South African import and safari businesses as well grants and project proposals, various loan agreements, representation through Gallery Paule Anglim, property sales and tax documentation, inventory materials, and various other business materials. Also found within the collection are printed material and four commercial sound recordings. Photographs are of the artist, friends and family, Ireland's Oakland studio, and works of art. There is artwork by Ireland, including sketches, drawings, and prints, and a few pieces of artwork by other artists. In addition to sound and video recordings arranged in other series, there is one video recording and six sound cassettes that are either unidentified or have no additional context within the collection.
Arrangement:
This collection is arranged as 11 series.

Missing Title

Series 1: Biographical Material, circa 1950-circa 2009 (1.5 linear feet; Boxes 1-2)

Series 2: Correspondence, circa 1937-circa 2008 (4 linear feet; Boxes 2-6)

Series 3: Notes and Notebooks, circa 1965-circa 2008 (0.7 linear feet; Boxes 6-7)

Series 4: Installation Projects and Exhibition Files, circa 1960s-circa 2009 (11.6 linear feet; Boxes 7-18, OV26, OV27, 7.84 GB; ER01-ER15)

Series 5: Teaching Files, 1977-1998 (1.2 linear feet; Boxes 18-19)

Series 6: Travel Files, circa 1950s-circa 1994 (0.6 linear feet; Boxes 19-20)

Series 7: Personal Business Records, circa 1965-circa 2008 (1.1 linear feet; Boxes 20-21)

Series 8: Printed Material and Commercial Recordings, 1932-circa 2009 (2.3 linear feet; Boxes 21-23, 0.553 GB; ER16)

Series 9: Photographic Materials, circa 1910s-circa 2005 (1 linear foot; Boxes 23-24)

Series 10: Artwork, circa 1965-circa 2003 (0.2 linear feet; Box 24)

Series 11: Video and Sound Recordings, circa 1965-circa 1990s (0.4 linear feet; Box 25)
Biographical / Historical:
David Ireland (1930-2009) was a conceptual artist and sculptor who worked in San Francisco, California.

Ireland was born in Bellingham, Washington and attended Western Washington University. In 1953, he received a degree in industrial design and printmaking from the California College of Arts and Crafts (now California College of the Arts) in Oakland. He then served two years in the U. S. Army in Missouri, returning to live and work in Bellingham. For several years, Bellingham served as his launch point for extensive travels in Europe and Africa.

In the late 1950s, Ireland founded Hunter Africa, an artifacts import business. He moved the business to San Francisco in 1965 and also began a second business leading safaris in Africa. He married Bellingham native Joanne Westford and had two children, Ian Ireland and Shaughn Niland; they divorced in 1970.

Ireland attended the San Francisco Art Institute and received a graduate degree in 1974. There, he met other Bay Area artists involved in the conceptual movement there, including Tom Marioni, Paul Kos, Howard Fried, and Terry Fox.

Much of Ireland's artwork of the 1980s and 1990s centered on the transformation of his home at 500 Capp Street in San Francisco, where he dramatically physically and conceptually transformed the interior and exterior structure into a mix of architectural sculpture and environmental art piece. He bought a second home in 1979 to transform, and, in the 1980s, completed a renovation of the main building at the Headlands Center for Arts in Sausalito with artist Mark Thompson.

David Ireland's work has been presented in more than forty solo exhibitions at venues that included the Walker Art Center, Minneapolis; Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D. C.; The Museum of Modern Art and the New Museum of Contemporary Art, New York. He created major public projects and private commissions in Los Angeles, San Francisco, Philadelphia, Washington, D. C., and other cities. His work is included in the permanent collections of The Museum of Modern Art and the Whitney Museum of American Art in New York, San Francisco Museum of Modern Art, Los Angeles County Museum of Art, Oakland Museum of California, and University of California, Berkeley Art Museum and Pacific Film Archive, among others.
Provenance:
The David Ireland papers were donated in 2010 by the David Ireland Estate through Jock Reynolds, Special Trustee, The David Ireland Revocable Trust.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Sculptors -- California -- San Francisco  Search this
Conceptual artists -- California -- San Francisco  Search this
Topic:
Artists' studios -- Photographs  Search this
Art -- Study and teaching  Search this
Installations (Art)  Search this
Public art  Search this
Genre/Form:
Video recordings
Sketches
Interviews
Prints
Sound recordings
Drawings
Photographs
Citation:
David Ireland papers, circa 1910s-circa 2009, bulk 1960-2005. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.ireldavi
See more items in:
David Ireland Papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw927567772-c71f-4f30-a427-adbd535e1009
EDAN-URL:
ead_collection:sova-aaa-ireldavi
Online Media:

Archaeological Excavations, Starved Rock, Illinois, ca. 1949, part 1

Creator:
Human Studies Film Archives  Search this
Type:
YouTube Videos
Uploaded:
2014-10-29T14:44:57.000Z
YouTube Category:
Education  Search this
Topic:
Anthropology  Search this
See more by:
HSFAFilmClips
Data Source:
Human Studies Film Archives
YouTube Channel:
HSFAFilmClips
EDAN-URL:
edanmdm:yt_zJtbmCZ-TtY

Ignatius Sancho

Creator:
National Museum of African Art  Search this
Type:
YouTube Videos
Uploaded:
2019-11-27T17:39:51.000Z
YouTube Category:
Education  Search this
Topic:
Art, African  Search this
See more by:
SmithsonianAfricanAr
Data Source:
National Museum of African Art
YouTube Channel:
SmithsonianAfricanAr
EDAN-URL:
edanmdm:yt_-N1YUqufjwI

Dorothy Zeidman photographs of works of art and exhibitions, 1982-2003

Creator:
Zeidman, Dorothy  Search this
Citation:
Dorothy Zeidman photographs of works of art and exhibitions, 1982-2003. Archives of American Art, Smithsonian Institution.
Theme:
Photography  Search this
Art instruction and services  Search this
Record number:
(DSI-AAA_CollID)22237
AAA_collcode_zeiddoro
Theme:
Photography
Art instruction and services
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_22237

Maurice Merlin papers, 1920-2020

Creator:
Merlin, Maurice, 1909-1947  Search this
Type:
Drawings
Citation:
Maurice Merlin papers, 1920-2020. Archives of American Art, Smithsonian Institution.
Theme:
Sketches & Sketchbooks  Search this
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)22281
AAA_collcode_merlmaur
Theme:
Sketches & Sketchbooks
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_22281

John DeWitt papers, 1962-1979

Creator:
DeWitt, John, 1910-1984  Search this
Subject:
Dodd, Lamar  Search this
Celmins, Vija  Search this
Raffael, Joseph  Search this
Magafan, Ethel  Search this
McCoy, Ann Wyeth  Search this
Hereward Lester Cooke Foundation  Search this
American artist and water reclamation (1973: Washington, D.C.)  Search this
America 1976 (1976-1978: Washington, D.C.)  Search this
United States. Bureau of Reclamation  Search this
Type:
Interviews
Sound recordings
Photographs
Scrapbooks
Citation:
John DeWitt papers, 1962-1979. Archives of American Art, Smithsonian Institution.
Theme:
Patronage  Search this
Record number:
(DSI-AAA_CollID)10398
(DSI-AAA_SIRISBib)213774
AAA_collcode_dewijohn
Theme:
Patronage
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_213774
Online Media:

Tokio Ueyama papers

Creator:
Ueyama, Tokio, 1889-1954  Search this
Extent:
0.8 Linear feet
Type:
Collection descriptions
Archival materials
Diaries
Sketchbooks
Date:
1908-circa 1954
bulk 1914-1945
Summary:
The papers of California-based painter Tokio Ueyama (1889-1954) measure 0.8 linear feet and date from 1908-circa 1954, bulk 1914-1945. This small but rich collection includes biographical material in the form of a family tree, travel documents, identification cards, records related to the World War II Japanese American incarceration camp, Amache Relocation Center, and other materials; correspondence with friends and family, most of which is written in Japanese; writings such as a diary and a notebook from his time as a student at the Pennsylvania Academy of Fine Art; printed materials including news clippings and exhibition announcements; a sketchbook; and photographs of friends and family during a trip to Japan. Also included are printouts of an item-level inventory created by Grace Nozaki, Ueyama's niece, and translations of select entries from the diaries produced by Noriko Okada.
Scope and Contents:
The papers of California-based painter Tokio Ueyama (1889-1954) measure 0.8 linear feet and date from 1908-circa 1954, bulk 1914-1945. This small but rich collection includes biographical material in the form of a family tree, travel documents, identification cards, records related to the World War II Japanese American incarceration camp, Amache Relocation Center, and other materials; correspondence with friends and family, most of which is written in Japanese; writings such as a diary and a notebook from his time as a student at the Pennsylvania Academy of Fine Art; printed materials including news clippings and exhibition announcements; a sketchbook; and photographs of friends and family during a trip to Japan. Also included are printouts of an item-level inventory created by Grace Nozaki, Ueyama's niece, and translations of select entries from the diaries produced by Noriko Okada.
Arrangement:
Due to the small size of this collection the papers are arranged as one series.

Series 1: Tokio Ueyama Papers, 1908-circa 1954, bulk 1914-1945 (0.8 linear feet; Boxes 1-2, OVs 3-4)
Biographical / Historical:
Tokio Ueyama (1889-1954) was a painter of still lifes, portraits, and landscapes who was primarily based in Los Angeles and San Francisco, California.­ Ueyama was born in Wakayama, Japan, in 1889 and immigrated to the United States after high school around 1908. He studied at the San Francisco Institute of Art, University of Southern California (B.A. in 1914), and the Pennsylvania Academy of the Fine Arts in Philadelphia, where he received the Cresson travel scholarship which allowed him to travel to Europe from 1920 to 1922. During his time abroad, Ueyama studied painting in France, Germany, Italy and Spain.

In 1922, Ueyama returned to Los Angeles and founded a painting association with three other Japanese American artists. He exhibited his paintings around Southern California and in Mexico City, where he travelled in 1924 and met and exchanged paintings with Diego Rivera. Sometime around 1928, he met and married a woman named Suye (née Tsukada).

In 1942, Ueyama and wife were forcibly removed from their homes and sent to World War II Japanese American incarceration camps: Santa Anita Assembly Center in California and then the Amache Relocation Center (also referred to as Granada Relocation Center) in Colorado. Ueyama taught art to fellow incarcerees at Amache. In late 1945, the Ueyamas returned to Los Angeles and opened Bunkado, a gift shop selling a variety of Japanese goods that is open to this day. He continued to paint and be active in the art world and remained in Los Angeles until his death in 1954.
Provenance:
The Tokio Ueyama papers were donated to the Archives of American Art in 2023 by Grace Nozaki, Ueyama's niece.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
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.
Occupation:
Landscape painters -- California -- San Francisco  Search this
Topic:
Asian American artists  Search this
Japanese American art -- United States  Search this
Japanese Americans -- Forced removal and internment -- 1942-1945  Search this
Asian American painters  Search this
Genre/Form:
Diaries -- 20th century
Sketchbooks -- 20th century
Citation:
Tokio Ueyama papers, 1908-circa 1954, bulk 1914-1945. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.ueyatoki
See more items in:
Tokio Ueyama papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw951744173-42a8-4c7d-8b24-baa048f26b14
EDAN-URL:
ead_collection:sova-aaa-ueyatoki
Online Media:

John DeWitt papers

Creator:
DeWitt, John, 1910-1984  Search this
Names:
America 1976 (1976-1978: Washington, D.C.)  Search this
American artist and water reclamation (1973: Washington, D.C.)  Search this
Hereward Lester Cooke Foundation  Search this
United States. Bureau of Reclamation  Search this
Celmins, Vija, 1938-  Search this
Dodd, Lamar  Search this
Magafan, Ethel, 1915 or 1916-1993  Search this
McCoy, Ann Wyeth  Search this
Raffael, Joseph, 1933-  Search this
Extent:
1.4 Linear feet
Type:
Collection descriptions
Archival materials
Interviews
Sound recordings
Photographs
Scrapbooks
Date:
1962-1979
Summary:
The scattered papers of federal arts administrator John DeWitt date from 1962-1979, and measure 1.4 linear feet. The collection primarily documents 1970s arts programs sponsored by the U.S. Bureau of Reclamation, an agency of the Department of the Interior. Found within the papers are correspondence concerning the department's art projects and exhibition files for The American Artist and Water Reclamation, 1972, and America 1976.
Scope and Content Note:
The scattered papers of federal arts administrator John DeWitt date from 1962-1979, and measure 1.4 linear feet. The collection primarily documents 1970s arts programs organized by DeWitt while working for the U.S. Bureau of Reclamation, an agency of the Department of the Interior. Found within the papers are scattered correspondence concerning the department's art projects, including the Preservation of Endangered Species Art Program and activities of the Hereward Lester Cooke Foundation. There are letters from artists Vija Celmins, Lamar Dodd, and Ethel Magafan.

Files for the two exhibitions organized by DeWitt for the U.S. Bureau of Reclamation, The American Artist and Water Reclamation and America 1976, include a wide variety of materials. There are correspondence, lists of artwork, printed materials, a scrapbook, financial materials, audio recordings of interviews with DeWitt, audio recordings of a symposium on America 1976, and numerous photographs of exhibited artwork and participating artists. There are also additional photographs of DeWitt and his colleagues and artists Joseph Raffael and Ann Wyeth McCoy.
Arrangement:
The collection is arranged as 3 series; each series is arranged chronologically.

Missing Title

Series 1: Correspondence, 1965-1979 (Box 1; 10 folders)

Series 2: Exhibition Files, 1962-1978 (Box 1, 2; 1.3 linear feet)

Series 3: Photographs, 1970-1974 (Box 2; 1 folder)
Biographical Note:
John DeWitt was born in 1910 and was a wood sculptor and federal arts administrator in Washingon, D.C.

DeWitt began his career as a professional writer and was a wood sculptor connected with the Veerhoff Gallery in Washington, D.C. His wife, Miriam Hapgood DeWitt, was a painter. In the late 1960s, DeWitt was the Director of Art Programs for the Bureau of Reclamation, an agency of the Department of Interior responsible for water conservation in arid regions of the United States. At this time, the Bureau initiated a program to present its accomplishments to the public through arts commissions and exhibitions. Under the direction of DeWitt and Lloyd Goodrich of the Whitney Museum of American Art, some 40 artists including Ralston Crawford, Peter Hurd, and Norman Rockwell, were invited to depict the scope of reclamation projects in the American West. The artists were given a free hand to depict any scene in any medium as long as the subject matter pertained to the Bureau of Reclamation's program. The resulting artwork was displayed in an exhibition, The American Artist and Water Reclamation, that opened at the National Gallery of Art in April 1972, and then toured the country in a traveling exhibition sponsored by the Smithsonian Institution.

As the Director of the Visual Arts Program for the Department of the Interior, DeWitt celebrated the Bicentennial by organizing the exhibition America 1976, for which he hired over forty realist painters including Vija Celmins, Ralston Crawford, Alex Katz, Philip Pearlstein, and Wayne Thiebaud, to depict a diverse range of Americana. DeWitt was employed by the Department of the Interior until 1977.

John DeWitt died in 1984.
Provenance:
The John DeWitt papers were donated in 1987 by DeWitt's widow, Miriam Hapgood DeWitt.
Restrictions:
Use of original papers requires an appointment.
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.
Occupation:
Arts administrators -- Washington (D.C.)  Search this
Genre/Form:
Interviews
Sound recordings
Photographs
Scrapbooks
Citation:
John DeWitt papers, 1962-1979. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.dewijohn
See more items in:
John DeWitt papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw97958eaa1-1c25-42af-8cff-7fe4114adeba
EDAN-URL:
ead_collection:sova-aaa-dewijohn
Online Media:

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