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Address book

Culture/People:
Non-Indian  Search this
NMAI agent:
Ann McMullen (AMcM), Non-Indian  Search this
Seller:
Camel Rock Casino Gift Shop  Search this
Object Name:
Address book
Media/Materials:
Plastic, paper
Techniques:
Commercially produced/manufactured
Dimensions:
8.5 x 5.9 cm
Object Type:
Advertising/Logo items
Place:
Camel Rock Resort Casino gift shop; Tesuque Reservation; Santa Fe County; New Mexico; USA
Date created:
2000-2001
Catalog Number:
25/7368
Barcode:
257368.000
See related items:
Non-Indian
Advertising/Logo items
Data Source:
National Museum of the American Indian
EDAN-URL:
edanmdm:NMAI_273272
Additional Online Media:

Anthropological Address Book + Engagement Calendar 1952

Collection Creator:
Freeman, Ethel Cutler, 1886-1972  Search this
Container:
Box 41
Type:
Archival materials
Date:
1952
Collection Restrictions:
By Ethel Freeman's instructions, the collection was restricted for ten years dating from the receipt and signing of the release forms on October 12, 1972. Literary property rights to the unpublished materials in the collection were donated to the National Anthropological Archives.
Seminole recordings cannot be accessed without the permission of the Seminole Tribe.
Collection Rights:
Contact repository for terms of use.
Collection Citation:
Ethel Cutler Freeman papers, National Anthropological Archives, Smithsonian Institution.
See more items in:
Ethel Cutler Freeman papers
Ethel Cutler Freeman papers / Series 5: Seminole Indians / Notes and diaries
Archival Repository:
National Anthropological Archives
EDAN-URL:
ead_component:sova-naa-xxxx-0166-ref1480

David Herbert papers

Creator:
Herbert, David, 1920-1995  Search this
Names:
Betty Parsons Gallery  Search this
David Herbert Gallery  Search this
Graham Gallery  Search this
Robert Fraser Gallery  Search this
Sidney Janis Gallery  Search this
Stewart Neill Gallery  Search this
Andrade, Jaime, 1931-  Search this
Berman, Aaron  Search this
Blaszko, Martin, 1920-  Search this
Blum, Irving, 1930-  Search this
Carrington, Leona  Search this
Carsman, Jon, 1944-  Search this
Cotsen, Lloyd E.  Search this
Draper, William F., 1912-  Search this
Feigen, Richard L., 1930-  Search this
Fraser, Robert  Search this
Hoffman, Martin  Search this
Hopps, Walter  Search this
Johnson, Ray, 1927-  Search this
Kelly, Ellsworth, 1923-  Search this
Kline, Franz, 1910-1962  Search this
Lukin, Sven  Search this
McKelvy, Douglas  Search this
Merck, Josephine  Search this
Namuth, Hans  Search this
Negret, Edgar, 1920-2012  Search this
Nevelson, Louise, 1899-1988  Search this
Ossorio, Alfonso, 1916-1990  Search this
Padovano, Anthony  Search this
Ramirez, Eduardo  Search this
Reynal, Jeanne, 1903-  Search this
Smith, Leon Polk, 1906-1996  Search this
Sorel, Paul  Search this
Still, Clyfford, 1904-1980  Search this
Extent:
5.8 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Place:
Greece -- description and travel
Ecuador -- description and travel
Puerto Rico -- description and travel
Japan -- Description and Travel
Iwo Jima (Japan)
Date:
circa 1909-1996
bulk 1945-1995
Summary:
The papers of New York gallery owner and art dealer David Herbert measure 5.8 linear feet and date from circa 1909-1996, with the bulk of the material dating from 1945-1995. Herbert's papers document his years working for Betty Parsons Gallery, Sidney Janis Gallery, Graham Gallery, and others; the operation of the David Herbert Gallery from 1959-1962; Herbert's partnerships and agreements with Richard Feigen and others; and his activities as an independent dealer. Records include biographical material, correspondence, notebooks, subject files, artist files, exhibition files, business records, printed material, and photographs.
Scope and Contents:
The papers of New York gallery owner and art dealer David Herbert measure 5.8 linear feet and date from circa 1909-1996, with the bulk of the material dating from 1945-1995. Herbert's papers document his years working for Betty Parsons Gallery, Sidney Janis Gallery, Graham Gallery, and others; the operation of the David Herbert Gallery from 1959-1962; Herbert's partnerships and agreements with Richard Feigen and others; and his activities as an independent dealer. Records include biographical material, correspondence, notebooks, subject files, artist files, exhibition files, business records, printed material, and photographs.

Biographical material includes address books and calendars, educational records, records of Herbert's military service in the United States Naval Construction Battalion in Japan, and resume's charting his career.

Correspondence is with Herbert's parents, friends, business colleagues, and artists. It includes documentation of Herbert's partnership with Richard Feigen, and his cooperative work with Irving Blum and Walter Hopps of Ferus Gallery in Los Angeles, and Robert Fraser in London. Also documented are Herbert's relationship with Jaime Andrade and Andrade's family, and a lawsuit Herbert brought against Aaron Berman relating to the ownership of an Ellsworth Kelly drawing. There are scattered letters and postcards from artists and collectors, including Martin Blaszko, Lloyd Cotsen, Martin Hoffman, Ray Johnson, Josephine Merck, Alfonso Ossorio, Paul Sorel, and Clyfford Still.

Notebooks provide brief notes on Herbert's day-to-day business dealings. Subject files, consisting primarily of printed material, document Herbert's interests in several art world figures, subjects such as ancient art, and travel to locations such as Ecuador, Puerto Rico, and Greece.

Exhibition files include installation shots and catalogs for many of the exhibitions held at the David Herbert Gallery between 1959 and 1962.

Artist files document Herbert's interest in individual artists, such as William Draper, Ellsworth Kelly, Franz Kline, Sven Lukin, Edgar Negret, Louise Nevelson, Anthony Padovano, Eduardo Ramirez, and Jeanne Reynal, through printed material, photographs of artwork, scattered artist letters, and sales documentation.

Business records document the financial details and overall goals of Herbert's various business ventures. There is a sales book for Betty Parsons Gallery and Sidney Janis Gallery; Herbert's appraisal, consignment, commission, sales, and loan records; Herbert's business plans and projections; financial statements from the David Herbert Gallery; sales records for Graham Gallery; and records of Herbert's partnership with Douglas McKelvy.

Printed material includes announcements and catalogs from galleries Herbert worked for or collaborated with, including Graham Gallery, Betty Parsons Gallery, Feigen/Herbert Gallery, Stewart Neill Gallery, and Robert Fraser Gallery. Also found are obituaries and other new clippings of interest to Herbert.

Photographs are of Herbert, family members, and friends and colleagues, including his companion, Jaime Andrade, Leona Carrington, William Draper, Jon Carsman, Hans Namuth, and Leon Polk Smith. Many are color snapshots collected in two photographs albums. Also found are photographs taken in Japan and Iwo Jima in 1945-1946 of street scenes, Naval Construction Battalion facilities, and Herbert's army colleagues and friends.
Arrangement:
The collection is arranged as nine series.

Series 1: Biographical Material, 1920-circa 1995 (0.7 linear feet; Box 1)

Series 2: Correspondence, 1942-1996 (1 linear foot; Boxes 1-2)

Series 3: Notebooks, circa 1950s-circa 1995 (0.3 linear feet; Box 2)

Series 4: Subject Files, 1950s-1992 (0.4 linear feet; Boxes 2-3)

Series 5: Exhibition Files, 1959-1963 (0.25 linear feet; Box 3)

Series 6: Artist Files, 1950s-1993 (0.75 linear feet; Boxes 3-4)

Series 7: Business Records, 1950s-1992 (0.6 linear feet; Box 4)

Series 8: Printed Material, 1949-circa 1995 (1.4 linear feet; Boxes 5-7)

Series 9: Photographs, circa 1909-circa 1990 (0.4 linear feet; Box 7)
Biographical / Historical:
New York gallery owner and art dealer, David Herbert (1920-1995, born David Herbert Schmerer), worked for a number of important galleries in New York, had his own eponymous gallery from 1959-1962, operated as a private dealer, and was in partnership with dealer Richard Feigen from 1962-1964.

Herbert served in the United States Naval Construction Battalion from 1943-1946 and was posted to Japan in 1945-1946. After receiving a BA in art history from Syracuse University in 1951, he worked for Betty Parsons Gallery (1951-1953) and Sidney Janis Gallery (1953-1959), selling the work of contemporary American painters and sculptors, handling publicity, and installing exhibitions.

Herbert forged strong connections with artists and collectors alike, and was instrumental in launching the careers of a number of important artists. One such artist was Ellsworth Kelly, whom he recommended to Parsons, triggering Kelly's New York career. He opened the David Herbert Gallery in 1959, with investment from Douglas McKelvy, promoting the works of artists including Willem de Kooning, Franz Kline, Jackson Pollock, and Louise Nevelson, to leading collectors and museums.

Herbert often worked in cooperation with colleagues Irving Blum and Walter Hobbs in Los Angeles, and Robert Fraser in London. After closing his gallery in 1962, Herbert entered a partnership with dealer Richand Feigen, operating the Feigen/Herbert Gallery from 1962-1964. From 1964-1969 he worked as a private dealer specializing in twentieth century works of art and serving as a consultant to collectors, museums, artists, and corporate interests. From 1969-1975 he was Director and Art Salesman of contemporary and 19th Century American Art at Graham Gallery. Herbert subsequently continued as a private dealer from 1975 until his death.

Herbert traveled extensively, visiting museums, collectors, and galleries in England, France, Italy, Greece, Spain, Colombia, Peru, Ecuador, Hawaii, and Japan. Through Edgar Negret, whom Herbert represented, he met Jaime Andrade, who became his assistant at the Feigen/Herbert Gallery in 1963. In turn Andrade shared with Herbert an interest in pre-Columbian art and contemporary Spanish and Latin America art, hosting multiple visits to his native Ecuador by Herbert and others, including artist William Draper.

Andrade served as executor of Herbert's estate, following Herbert's death in 1995.
Provenance:
The David Herbert papers were given to the Archives of American Art by Jaime Andrade, Herbert's companion, in 1999.
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.
Rights:
The David Herbert papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Art, Modern -- 20th century -- New York (State) -- New York  Search this
Gallery owners -- New York (State) -- New York  Search this
Art galleries, Commercial -- New York (State) -- New York  Search this
Art dealers -- New York (State) -- New York  Search this
Genre/Form:
Photographs
Citation:
David Herbert papers, circa 1909-1996. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.herbdavi
See more items in:
David Herbert papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-herbdavi
Additional Online Media:

Address Books

Collection Creator:
Herbert, David, 1920-1995  Search this
Container:
Box 1, Folder 1
Type:
Archival materials
Date:
circa 1950s-circa 1960s
Collection 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.
Collection Rights:
The David Herbert papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
David Herbert papers, circa 1909-1996. Archives of American Art, Smithsonian Institution.
See more items in:
David Herbert papers
David Herbert papers / Series 1: Biographical Material
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-herbdavi-ref22

Simon

Manufacturer:
International Business Machines Corp. (IBM), Armonk, New York, USA  Search this
Mitsubishi Consumer Electronics of America  Search this
Distributor:
Bell South  Search this
Designer:
International Business Machines Corp. (IBM), Armonk, New York, USA  Search this
Medium:
Plastic housing, metal, electronic components
Type:
appliances & tools
Decorative Arts
Cellular telephone
Object Name:
Cellular telephone
Made in:
USA
Date:
1993
Credit Line:
Gift of International Business Machines
Accession Number:
1996-23-1-a/d
See more items in:
Cooper Hewitt, Smithsonian Design Museum Collection
Product Design and Decorative Arts Department
Data Source:
Cooper Hewitt, Smithsonian Design Museum
EDAN-URL:
edanmdm:chndm_1996-23-1-a_d

Album: Address Book

Designer:
Gustav Boerg Jensen, Danish, 1898 – 1954  Search this
Type:
graphic design
Photograph
Object Name:
Photograph
Made in:
USA
Credit Line:
Gift of Ellen Gustav Jensen
Accession Number:
1956-47-84-c
See more items in:
Cooper Hewitt, Smithsonian Design Museum Collection
Drawings, Prints, and Graphic Design Department
Data Source:
Cooper Hewitt, Smithsonian Design Museum
EDAN-URL:
edanmdm:chndm_1956-47-84-c

Beverly Buchanan papers

Creator:
Buchanan, Beverly, 1940-  Search this
Names:
Bernice Steinbaum Gallery (New York, N.Y.)  Search this
Steinbaum Krauss Gallery (New York, N.Y.)  Search this
Lippard, Lucy R.  Search this
Scott, Arden  Search this
Sims, Lowery Stokes  Search this
Extent:
18.3 Linear feet
1.07 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Scrapbooks
Sketchbooks
Photograph albums
Motion picture film
Date:
1912-2017
bulk 1970s-1990s
Summary:
The papers of African American sculptor, painter, and land artist Beverly Buchanan measure 18.3 linear feet and 1.07 gigabytes, and date from 1912 to 2017 with the bulk of the material dating from the 1970s to the 1990s. The collection contains biographical material including address books, calendars, awards and education certificates, identification documents, family history research material, and a recorded interview with Marcia Yerman for Women in Art; correspondence with friends and colleagues including Lucy Lippard and Lowery Stokes Sims, and with galleries and museums such as Bernice Steinbaum Gallery/Steinbaum Krauss Gallery, the Georgia Museum of Art, and the High Museum of Art. Also included are writings such as artist's statements, journals and notebooks, notes, and writings by others about Beverly Buchanan; exhibition and project files including audiovisual documentation from Bernice Steinbaum Gallery and Steinbaum Krauss Gallery of various exhibitions; material related to professional activities including teaching files and grant and fellowship applications; personal business records such as sales and consignment records; printed material including clippings, exhibition and event announcements and catalogs, magazines, posters, a video recording of A World of Art profile, and other published material; and scrapbooks, including one documenting Buchanan's City Walls series, containing primarily photographs and artwork with some printed material. The collection also contains photographic material including photographs, snapshots, negatives, and photograph albums; and artwork including sketchbooks, drawings, folded cardboard artwork, and illustrated cards.
Scope and Contents:
The papers of African American sculptor, painter, and land artist Beverly Buchanan measure 18.3 linear feet and 1.07 gigabytes, and date from 1912 to 2017 with the bulk of the material dating from the 1970s to the 1990s. The collection contains biographical material including address books, calendars, awards and education certificates, identification documents, family history research material, and a recorded interview with Marcia Yerman for Women in Art; correspondence with friends and colleagues including Lucy Lippard and Lowery Stokes Sims, and with galleries and museums such as Bernice Steinbaum Gallery/Steinbaum Krauss Gallery, the Georgia Museum of Art, and the High Museum of Art. Also included are writings such as artist's statements, journals and notebooks, notes, and writings by others about Beverly Buchanan; exhibition and project files including audiovisual documentation from Bernice Steinbaum Gallery and Steinbaum Krauss Gallery of various exhibitions; material related to professional activities including teaching files and grant and fellowship applications; personal business records such as sales and consignment records; printed material including clippings, exhibition and event announcements and catalogs, magazines, posters, a video recording of A World of Art profile, and other published material; and scrapbooks, including one documenting Buchanan's City Walls series, containing primarily photographs and artwork with some printed material. The collection also contains photographic material including photographs, snapshots, negatives, and photograph albums; and artwork including sketchbooks, drawings, folded cardboard artwork, and illustrated cards.
Arrangement:
This collection is arranged as ten series.

Series 1: Biographical Material, 1917-2015 (Box 1, Boxes 19-20; 0.6 linear feet)

Series 2: Correspondence, 1919-1954, 1967-2017 (Boxes 1-2; 0.9 linear feet; ER01, 0.017 GB)

Series 3: Writings 1960-circa 2009 (Boxes 2-3; 0.7 linear feet)

Series 4: Exhibition and Project Files, 1974-2001, 2010-2017 (Boxes 3-4, OV 21, FCs 22-23; 1.9 linear feet; ER02, 0.020 GB)

Series 5: Professional Activities, 1962, 1979-2005 (Box 4, Box 19; 0.3 linear feet)

Series 6: Personal Business Records, 1966-2010 (Box 4; 0.3 linear feet)

Series 7: Printed Material, 1912, 1923-1931, 1940-2014 (Boxes 4-7, Box 19, OV 21; 3.6 linear feet)

Series 8: Scrapbooks, 1970-circa 1977 (Box 7, Box 20; 0.3 linear feet)

Series 9: Photographic Material, circa 1920s-2013 (Boxes 7-13, Boxes 16-18, Box 20; 8.8 linear feet; ER03, 1.03 GB)

Series 10: Artwork, 1956-2013, undated (Boxes 13-15, Box 20; 0.7 linear feet)
Biographical / Historical:
Beverly Buchanan (1940-2015) was an African American sculptor, painter, and land artist in Macon, Georgia. Born in Fuquay, North Carolina and raised in Orangeburg, South Carolina, Buchanan studied medical technology at Bennett College before going on to earn two master's degrees in parasitology and public health from Columbia University in 1968 and 1969. Her artistic career began in 1971 when she enrolled in a class at the Art Students League in New York City taught by Norman Lewis. She moved to Georgia in 1977.

Buchanan is most well known for her "shack" sculptures and paintings, depictions of houses tied to Southern identity and memory.

Buchanan has been included in exhibitions at institutions such as Cinque Gallery, Truman Gallery, the Museum of Arts and Sciences in Macon, GA, the Chrysler Museum, and a traveling retrospective exhibition organized by the Montclair Art Museum. Her work is included in the permanent collections of institutions such as the Whitney Museum of American Art, High Museum of Art, Metropolitan Museum of Art, and the Pennsylvania Academy of the Fine Arts. Beverly Buchanan has received a Guggenheim Fellowship, a National Endowment for the Arts Fellowship, the Anonymous Was a Woman Award, and the Women's Caucus for Art lifetime achievement award, among others. She died in 2015 in Ann Arbor, Michigan.
Related Materials:
Also found at the Archives of American Art are the Storm King Art Center records, 1972-1978. A sculptor file for Beverly Buchanan is included in these records.
Provenance:
The Beverly Buchanan papers were donated to the Archives of American Art in 2018 by Jane Bridges, Buchanan's friend and executor.
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.

Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies. 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:
Sculptors -- Georgia  Search this
Painters -- Georgia  Search this
Topic:
Environmental art  Search this
African American painters  Search this
African American sculptors  Search this
African American artists  Search this
African American women artists  Search this
Genre/Form:
Scrapbooks
Sketchbooks
Photograph albums
Motion picture film
Citation:
Beverly Buchan papers, 1912-2017. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.buchbeve
See more items in:
Beverly Buchanan papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-buchbeve

Biographical Material

Collection Creator:
Buchanan, Beverly, 1940-  Search this
Extent:
0.5 Linear feet (Box 1; Boxes 19-20)
Type:
Archival materials
Date:
1917-2015
Scope and Contents:
Included in the biographical material series are address books; awards and certificates; Beverly Buchanan's baby book; a guest book and card for her 60th birthday; calendars, including some created by the artist; education certificates; family history research material; a program and invitation from Beverly Buchanan's funeral; identification documents; interviews, including a recorded interview by Marcia Yerman for Women in Art; report cards and transcripts; and resumes and biographies.
Collection 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.

Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies. Contact Reference Services for more information.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Beverly Buchan papers, 1912-2017. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.buchbeve, Series 1
See more items in:
Beverly Buchanan papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-buchbeve-ref1

Address Book

Collection Creator:
Buchanan, Beverly, 1940-  Search this
Container:
Box 1, Folder 1
Type:
Archival materials
Date:
undated
Collection 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.

Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies. Contact Reference Services for more information.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Beverly Buchan papers, 1912-2017. Archives of American Art, Smithsonian Institution.
See more items in:
Beverly Buchanan papers
Beverly Buchanan papers / Series 1: Biographical Material
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-buchbeve-ref17

Address Books

Collection Creator:
Buchanan, Beverly, 1940-  Search this
Container:
Box 1, Folder 2
Type:
Archival materials
Date:
undated
Collection 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.

Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies. Contact Reference Services for more information.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Beverly Buchan papers, 1912-2017. Archives of American Art, Smithsonian Institution.
See more items in:
Beverly Buchanan papers
Beverly Buchanan papers / Series 1: Biographical Material
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-buchbeve-ref18

Address Books

Collection Creator:
Lanyon, Ellen  Search this
Extent:
Includes 1 electronic disc (CD) in Folder 7
Container:
Box 3, Folder 3-7
Type:
Archival materials
Date:
circa 1950-2008
Collection 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.
Collection Rights:
The Ellen Lanyon papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Ellen Lanyon papers, circa 1880-2014, bulk 1926-2013. Archives of American Art, Smithsonian Institution.
See more items in:
Ellen Lanyon papers
Ellen Lanyon papers / Series 1: Biographical Material / Contacts
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-lanyelle-ref45

Lee Ya-Ching Papers

Creator:
Ya-Ching, Lee  Search this
Extent:
11.9 Cubic feet (22 boxes)
Type:
Collection descriptions
Archival materials
Scripts (documents)
Photographs
Maps
Scrapbooks
Date:
1938-1970
Summary:
This collection consists of 9.3 cubic feet of material chronicling Lee Ya-Ching's role as a pilot trying to raise funds for China during World War II. The collection contains the following types of material: correspondence, both official and personal; maps; 8 mm films; publications; newspapers; invitation; programs from events; lecture notes; scripts from radio shows; photographs, both official and snapshots; trip schedules and agendas; address books; scrapbooks; and official paperwork and licenses.
Scope and Content note:
This collection of materials listed in the finding aid is arranged into two series, Ms Lee's personal papers and her professional papers. Her personal papers consist mainly of correspondence and memorabilia from the 1930's through the 1960's. The primary focus of the professional papers is the years 1937 to 1945, the time which Ya-Ching was conducting her Good Will tour of the United States. The information in this section is in the form or correspondence, newspaper clippings, event pamphlets and flyers, publications, itineraries, and corporate papers. These items are arranged by material type then chronologically. No attempt was made to translate foreign language material in the collection.

There are various conservation concerns in this collection. Most of the papers were buried for a number of years prior to being donated. There are many photographs which have adhered to each other, many papers are torn with information missing and there is significant mildew damage to both paper and photographs. These items have been removed from the collection until they receive conservation treatment.
Biographical/Historical note:
Lee Ya-Ching was born in Canton, China in 1912. As an only child who lost her mother at a young age, Ya-Ching was raised by her father and grandmother. Under her father's guidance she learned many skills, including martial arts, some previously restricted to male children. Ya-Ching attended English schools in Hong Kong and Shanghai and at the age of 16 was sent to London to attend finishing school.

In 1929 at the age of 17, Ya-Ching went to Geneva, Switzerland. It is there that she took her first ride in an airplane and vowed to learn how to fly. She enrolled in Ecole Aero Club de Suisse and, in 1934, became the first woman to receive a pilot's license from the school. Determined to continue her education, Ya-Ching went to the United States and attended the Boeing School of Aeronautics in Oakland, California in 1935. In November of that year she became the first woman licensed through the Boeing School. Upon completion of her training at the Boeing school Ya-Ching returned to China and began campaigning for a Chinese pilot's license, eventually obtaining the license in 1936. Seeing a need to train new pilots, Ya-Ching and some fellow pilots opened a civilian flying school in Shanghai in 1936.

When Japan invaded China in 1937, Ya-Ching volunteered to fly for her country, but was refused. Undeterred, she served her country by establishing hospitals. Leaving Shanghai for Hong Kong just before the city fell, she was finally given the opportunity to fly for China by piloting Red Cross planes ferrying supplies from Hong Kong to Canton. Realizing that China needed aid and supplies, Ya-Ching embarked on a Goodwill Tour of the United States and Canada in 1938. When the war prevented her return to China, Ya-Ching continued the tour expanding her appearances into South America.

Not much is known of Ya-Ching's life after the war. She returned to Hong Kong for a number of years. In the 1960's she returned to California, where she died in 1998 at the age of 86.

Time Line of Lee Ya-Ching

xxxx -- The following timeline covers key events in Ya-Ching's life, as well world events. Events involving Ya-Ching are shown in normal type world events are shown in italics.

1909 -- M. Vallon flies first plane in China

1911 -- China ousts the 2000 year old Imperial System for a Republic

April 16, 1912 -- Lee Ya-Ching is born in Canton, China

1916 -- Ya-Ching's mother dies of tuberculosis

1917 -- China enters World War 1 on the side of the Allies

1926 -- Begins career as a movie actress

1928 -- Leaves the film industry and goes to school in England

1929 -- The CCP (Chinese Communist Party) is ousted from China Goes to Switzerland

September 1931 -- Japan seizes control of Manchuria

November 1931 -- CCP resurfaces in China and forms the Chinese Soviet Republic in Jiangxi Province

May 1932 -- Amelia Earhart becomes first woman to solo across the Atlantic

1933 -- Begins flying lessons at Geneva's Cointrin-Ecole d'Aviation

1934 -- Receives her pilot's license from Ecole Aéro Club de Suisse

1935 -- Attends and receives license from the Boeing School of Aeronautics in Oakland, California

1935 -- Falls out of an aerobatic plane, earning her membership in the Caterpillar Club

1936 -- Receives her pilot's license from the Chinese Government First domestic airline established in China Opens a civilian flying school in Shanghai

1937 -- Flies for the Red Cross ferrying supplies from Hong Kong to Canton Japan invades China Earns Hong Kong commercial pilot's license Helps establish hospitals in Shanghai

1938 -- Begins goodwill tour of United States and Canada

1939 -- Appears in US film Disputed Passage with Dorothy Lamour

1940 -- Flies "Estrella China" to Caribbean, Central and South America Aids Ruth Nichols in raising money for Relief Wings

1941 -- Begins working for United China Relief

December 7, 1941 -- Bombing of Pearl Harbor forces American entry into World War II

1944 -- Begins Goodwill and Fund Raising tour of South America and Caribbean

August 1945 -- Atom bombs dropped on Hiroshima and Nagasaki, followed by Japanese surrender and end of World War II

1946 -- Returns to China and retires

1946 -- Fighting between CCP and KMT (Nationalist party) resumes

October 1949 -- KMT retreats to Taiwan Mao Zedong establishes the People's Republic of China

1950 -- Receives Hong Kong private pilot's license

1963 -- Receives Hong Kong Special Purpose Pilot's license

1971 -- Permanently moves to the United States

1997 -- British rule ends in Hong Kong

January 28, 1998 -- Dies at the age of 86
Provenance:
Pax Cheng and Mary Wolfson, Gift, 2007
Restrictions:
No restrictions on access.
Topic:
World War, 1939-1945 -- Civilian relief  Search this
Aeronautics  Search this
World War, 1939-1945 -- China  Search this
Aeronautics -- Exhibitions  Search this
Women air pilots  Search this
World War, 1939-1945  Search this
Genre/Form:
Scripts (documents)
Photographs
Maps
Scrapbooks
Citation:
Lee Ya-Ching Papers, Accession 2008-0009, National Air and Space Museum, Smithsonian Institution.
Identifier:
NASM.2008.0009
See more items in:
Lee Ya-Ching Papers
Archival Repository:
National Air and Space Museum Archives
EDAN-URL:
ead_collection:sova-nasm-2008-0009
Additional Online Media:

Charles M. Kurtz papers

Creator:
Kurtz, Charles M. (Charles McMeen), 1855-1909  Search this
Names:
Albright Art Gallery (Buffalo, N.Y.)  Search this
American Art Association  Search this
Buffalo Fine Arts Academy  Search this
Exposition universelle internationale de 1900 (Paris, France)  Search this
Louisiana Purchase Exposition (1904: Saint Louis, Mo.)  Search this
National Academy of Design (U.S.)  Search this
Pennsylvania Academy of the Fine Arts  Search this
Saint Louis Exposition and Music Hall Association (1883-1902 : Saint Louis, Mo.)  Search this
Southern Exposition (1885 : Louisville, Ky.)  Search this
World's Columbian Exposition, Chicago, 1893  Search this
Starkweather family  Search this
Abbey, Edwin Austin, 1852-1911  Search this
Avery, Samuel Putnam, 1822-1904  Search this
Cesnola, Luigi Palma di, 1832-1904  Search this
Clarke, Thomas B. (Thomas Benedict), 1848-1931  Search this
Hallowell, Sara  Search this
Hambidge, Jay, 1867-1924  Search this
Hasbrouck, Du Bois Fenelon, b.1860  Search this
Irwin, Benoni, 1840-1896  Search this
Ives, Halsey Cooley, 1847-1911  Search this
Kurtz, Davis Brook Kurtz, 1826-1906  Search this
Kurtz, Julia Stephenson  Search this
Reid, Alexander  Search this
Rhodes, Charles Ward, d. 1905  Search this
Richardson, Mary Curtis, 1848-1931  Search this
Sedelmeyer, Charles  Search this
Thum, Patty P., 1853-1926  Search this
Wanamaker, John, 1838-1922  Search this
Wickenden, Robert J.  Search this
Photographer:
Pluschow, Guglielmo  Search this
Extent:
27.74 Linear feet
Type:
Collection descriptions
Archival materials
Menus
Photographs
Lithographs
Etchings
Address books
Engravings
Visiting cards
Diaries
Photogravures
Tempera paintings
Oil paintings
Sketches
Date:
1843-1990
bulk 1884-1909
Summary:
The papers of arts administrator, museum director, collector, dealer, and editor Charles M. Kurtz (1855-1909), measure 27.74 linear feet and date from 1843-1990 (bulk dates 1884-1909). The bulk of the collection consists of detailed chronological correspondence between Kurtz and his wife and family, friends, colleagues, and business associates that documents many notable exhibitions, galleries, museums, private collections, as well as cities, people, and events of the period. Also found in the collection are Kurtz's diaries, scrapbooks, printed materials, and photographs.
Scope and Content Note:
The Charles M. Kurtz papers measure 27.74 linear feet and date from 1843 to 1990 with the bulk of the material dating from 1884 to 1909. The bulk of the collection consists of chronological correspondence between Kurtz and his family, most notably his wife, friends, colleagues, and business associates. Kurtz's letters are amazingly detailed and document many notable exhibitions, galleries, museums, private collections, as well as cities, people, and events of the period. The letters between Kurtz and his wife are most interesting for their descriptive commentary on late 19th century life and offer a complete picture of Kurtz's activities. Many of Kurtz's letters to Halsey C. Ives can be found in the Halsey C. Ives Papers. Some of the letters in the collection are illustrated. Also found in the collection are Kurtz's diaries, scrapbooks, printed materials, and photographs.
Arrangement:
The collection is organized into twelve series.

Series 1: Biographical Information, 1885-1931, undated

Series 2: Correspondence, 1843-1940, undated

Series 3: Circulars/Requests for Submissions of Works of Art, 1886-1905

Series 4: Legal Records, 1881-1928

Series 5: Financial Records, 1870-1989, undated

Series 6: Diaries, 1894-1901

Series 7: Notes and Writings, 1872-1980, undated

Series 8: Scrapbooks, 1878-1909

Series 9: Printed Material, 1873-1990, undated

Series 10: Photographs, 1898-1990

Series 11: Photographs of Works of Art, undated

Series 12: Miscellany, undated
Biographical Note:
Charles M. Kurtz's name is known to many scholars and students of American art history. To some he is important for his critical writings, others are interested in his management of exhibitions for the Art Union and the American Art Association. Many are aware of him because of his publication of National Academy Notes, which continued for nine years. Still others are familiar with Kurtz in his role as an art administrator for late 19th century art exhibitions like those at the 1893 Columbian Exposition in Chicago and the St. Louis Fair, or for his accomplishments as the first director of the Albright Gallery in Buffalo, New York. Sometimes researchers have become familiar with his name through the sale catalogue for his considerable collection, which was sold at auction after his death in 1909. His career, which encompassed the last quarter of the nineteenth century and the first decade of the twentieth century, touched on virtually every aspect of art in America during that period.

Born in 1853 to Davis Brook Kurtz (1826-1906), an attorney, and Julia Wilder, Charles Kurtz enjoyed a genteel upbringing. The Kurtz family originated in Darmstadt, Germany, and migrated to America in the eighteenth century. D.B. Kurtz, a leading member of the Lawrence County bar, was also a vice-president of the National Bank of Lawrence County, Pennsylvania. As a local representative of many important railroad and business interests, he accumulated assets estimated at one million dollars by the time of his death, just three years before that of his son, Charles, the eldest of his five children. Unlike his brothers Louis, who also became an attorney, and Edward, a professor at Columbia University, Charles eschewed a professional career to enter the art world, as did his sisters Emily, an artist, and Catherine, a musician.

After his graduation from Washington and Jefferson College in Washington, Pennsylvania, Kurtz visited the Centennial Exposition, held in 1876 in Philadelphia, before coming to New York to study art at the National Academy of Design. These two activities foreshadowed the direction that his career would eventually take. As the chronology indicates, his early efforts revolve around writing for a variety of publications, most notably, his own National Academy Notes. In 1881 he took what was to be the first of many trips abroad to survey the art scene in Europe. Later in his career, his fascination with foreign art and his own entrepeneurial interests led him to become an outspoken opponent of tariffs on imported art.

Kurtz's personal life changed significantly in 1884 when he met Julia Stephenson, a physician's daughter and fledging art student from Harrodsburg, Kentucky. Throughout their courtship and after their marriage the couple was frequently separated. Consequently, they wrote lengthy letters which document not only their personal relationship but also Kurtz's aspirations and activities in the art world.

With his appointment as one of Halsey C. Ives's (1847-1911) chief assistants of the Fine Arts Department of the World's Columbian Exposition in 1891, Charles Kurtz's career achieved international stature. Among the most notable European artists he introduced into this country through circulating exhibitions were the Glasgow School, the Danish School, the Hungarian artist, Mihaly Munkacsy, and the subject of his final exhibition, the Spanish artist, Sorolla.

Throughout his life, Kurtz was plagued by health problems and, in 1899, illness forced him to resign as Assistant Director of Fine Arts for the United States for the Paris Exposition of 1900. Throughout the following decade, his work was increasingly interrupted by ill health. His death in 1909 at the age of 54, while sudden, was not entirely unexpected. However it most certainly cut short a cosmopolitan career that encompassed virtually every aspect of the art world and the pertinent issues of the day.

Kurtz is remembered for his editorial work with the National Academy of Design; as Art Director for the Southern Exposition, 1883-1886, and the St. Louis Exposition, 1894-1899 (where he introduced the Glasgow School of Painting); and as Assistant Chief/Director for the World's Columbian Exposition, the 1900 Paris Exposition, and the 1904 Louisiana Purchase Exposition. He was also director of the Buffalo Fine Arts Academy.

1855 -- Charles McMeen Kurtz born

1876 -- receives B.S. degree from Washington and Jefferson College, Washington, Pennsylvania

1876-78 -- studies at the National Academy of Design, N.Y. with Lemuel Wilmarth and William Morgan; writes a column, "New York Letters," for The Courant published in New Castle, Pennsylvania

1878 -- edits a small daily paper published during a "National Camp Meeting for the promotion of Holiness" held that summer in New Castle, Pa.; its critical stance resulted in his public denouncement and earned him a reputation as a journalist in western Pennsylvania; receives M.A. from Washington and Jefferson College

1878-79 -- becomes the local editor of The Guardian of New Castle

1879 -- publishes The Daily Reporter, a financial success

1881 -- publishes the first issue of National Academy Notes; travels in Europe, spending time in England, Holland, Belgium, Germany, Switzerland, Italy and France (Paris)

1881-82 -- prepares Illustrated Notes for Metropolitan Museum of Art exhibition

1882 -- writes "Art Notes" in The New York Tribune and resigns Dec. 23rd

1882-83 -- accepts position to write for Music and Drama, a new daily paper

1883 -- becomes the general manager of the American Art Union; exhibits a large collection of Art Union paintings in Buffalo, N.Y. and Louisville, Ky., where they became part of the Southern Exposition's first great art display

1883-86 -- accepts offer to become Director of the Art Department, Southern Exposition, Louisville, Kentucky

1884 -- edits Art Union magazine until December; applies for position to head the Art Department of the New Orleans World's Fair in September

1884-86 -- accepts a position offered by the American Art Association; terminates uncongenial relationship in March, 1886

1885 -- writes catalogues for the sale of the George Seney Collection and for the Watts exhibition at the Metropolitan Museum of Art, New York; October 1, marries Julia Stephenson (1861-1931), daughter of Dr. A. T. Stephenson of Harrodsburg, Kentucky; they had two daughters who survived them: Julia Wilder Kurtz (1889-1977), and Isabella Starkweather Kurtz (1901-1991); another daughter, Elizabeth Stephenson Kurtz (1886-1897), predeceased them

1886 -- terminates employment with the Art Association; daughter, Elizabeth Stephenson Kurtz, born

1886-87 -- manages the circulation of Mihaly Munkacsy's Christ Before Pilot for Charles Sedelmeyer to American venues: New York, Boston, St. Louis, Cincinnati, Kansas City, Minneapolis, Saint Paul, Nashville, Phildelphia, Indianapolis; tour generates $90,000 in ticket receipts

1889-91 -- February 24, appointed art critic ("Art Notes") and book reviewer for New York Daily Star; later literary and art editor of the Sunday Star

1890 -- writes for the Sunday edition The Press, a New York paper

1891 -- writes for The World; art editor for The New York Recorder; contributes to the New York Truth

1891-93 -- contributes to Chicago Evening Post ; writes artist biographies for The Chicago Graphic, a regional magazine; appointed Assistant Chief of the Department of Fine Arts of the World's Columbian Exposition

1894 -- contributes column, "Art at the Exposition" to St. Louis Life

1895 -- tours Denmark, Scotland, and France during the summer on behalf of the St. Louis Exposition

1894-99 -- appointed Director of the Art Department of the St. Louis Annual Exposition

1896 -- elected member of The Japan Society, London

1897 -- daughter, Elizabeth (Daisy), dies

1898 -- receives a diploma and medal "in recognition of valuable services in connection with the Fine Arts Exhibit" from the directors of the Trans-Mississippi International Exposition, Omaha

1899 -- appointed Assistant Director of Fine Arts for the United States Commission to the Paris Exposition of 1900; resigned in July due to ill health

1901-04 -- appointed Assistant Chief of the Department of Art of the Louisiana Purchase Exposition, August

1901 -- daughter, Isabella Starkweather Kurtz, born

1902 -- receives honorary Ph.D from Washington and Jefferson College "in recognition of distinguished ability and services as an art critic and writer"

1905 -- receives the cross of the Order of Merit from Prince Ferdinand of Bulgaria; appointed Director, Buffalo Fine Arts Academy and Albright Art Gallery, Buffalo, New York, in January; exhibits Glasgow paintings at Albright Art Gallery from November until the following April

1906 -- writes Academy Notes, a bulletin pubished by the Buffalo Fine Arts Academy and the Albright Art Gallery; father, D.B. Kurtz, dies in Newcastle, Pennsylvania

1907 -- accused of importing German pictures free of duty for exhibition purposes and then selling some for profit

1908 -- Honorary Doctor of Philosophy degree conferred by Washington and Jefferson College

1909 -- Charles M. Kurtz dies in Buffalo, New York on March 21

1910 -- Sale of the private collection of Charles M. Kurtz at auction, Fifth Avenue Art Galleries, February 24-25

1931 -- Widow, Julia Stephenson Kurtz dies October 30

1977 -- Daughter, Julia Wilder Kurtz, dies

1991 -- Daughter, Isabel Starkweather Kurtz, dies in Buffalo, N.Y.; remaining Charles M. Kurtz Papers bequeathed to the Archives of American Art and the National Academy of Design, New York
Related Material:
The St. Louis Exposition/Halsey C. Ives papers in the Archives of American Art contain material relating to Charles M. Kurtz.

Additional Charles Kurtz papers, 1870-1910, including 340 letters which discuss exhibitions, sales of art, patronage, atelier visits, and submissions to publications, and letters to his parents in which he discsses the art market and art world new; as well as manuscripts, notebooks, a diary, and printed ephemera relating to exhibitions and publications, are available at the Getty Research Institute, Research Library, Los Angeles, California.
Separated Materials:
The Archives of American Art also holds material lent for microfilming (reel 4912) including Charles Kurtz's Glasgow painting diary. The loaned diary was returned to the lender and can now be found at the Yale Center for British Art in New Haven, Connecticut. This material is not described in the collection container inventory.
Provenance:
For many years, the Kurtz Papers were thought to have been destroyed in a fire. Isabel Kurtz, a school teacher who lived with her older sister in Buffalo, New York, was vague when initially approached about her father's papers by Archives Regional Director, Robert Brown in the mid-1980s. However upon her death in 1991, her will revealed that the papers were indeed in her house in Buffalo and the bulk of them were bequeathed to the Archives of American Art. Paintings and a diary relating to the Glasgow School were given to the Yale Center for British Art. That diary has subsequently been duplicated on microfilm and is now also available in the Archives. Scorch marks on some of the papers and also on the paintings given to Yale suggest that there was indeed a fire. The material that was not bequeathed to the Archives included duplicates of printed documents along with books from the Kurtz library and a coin collection, all of which were dispersed in an estate auction that was held in Buffalo in 1991.
Restrictions:
The collection is open for research. Patrons must use microfilm copy.
Rights:
With the exception of material filmed on Reel 4912 the Charles M. Kurtz papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws. Permission from Yale University is required to quote, publish or reproduce from papers filmed on Reel 4912.
Topic:
Works of art  Search this
Editors -- United States  Search this
Glasgow school of painting  Search this
Exhibitions -- United States  Search this
Art, Scottish  Search this
Art -- Private collections  Search this
Art criticism  Search this
Art museums -- Buffalo (N.Y.)  Search this
Art -- Collectors and collecting  Search this
Art critics -- United States  Search this
Museum directors -- New York (State) -- Buffalo  Search this
Arts administrators -- United States  Search this
Genre/Form:
Menus
Photographs
Lithographs
Etchings
Address books
Engravings
Visiting cards
Diaries
Photogravures
Tempera paintings
Oil paintings
Sketches
Citation:
Charles M. Kurtz papers, 1843-1990 (bulk 1884-1909). Archives of American Art, Smithsonian Institution.
Identifier:
AAA.kurtchar
See more items in:
Charles M. Kurtz papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-kurtchar
Additional Online Media:

Chester Beach papers

Creator:
Beach, Chester, 1881-1956  Search this
Names:
American Academy in Rome  Search this
Architectural League of New York  Search this
Cleveland Museum of Art  Search this
Ecole nationale supérieure des beaux-arts (France)  Search this
Frontier Art Colony  Search this
Mark Hopkins Institute of Art  Search this
National Academy of Design (U.S.)  Search this
National Sculpture Society (U.S.)  Search this
Panama-Pacific International Exposition (1915: San Francisco, Calif.)  Search this
Salmagundi Club  Search this
Salon d'automne  Search this
Allen, Mary Jester  Search this
Beach, Eleanor Murdock  Search this
Blumenschein, Ernest Leonard, 1874-1960  Search this
Carrington, Fitz Roy, 1869-1954  Search this
Couper, William, 1853-1942  Search this
Fitchen, Eleanor Beach  Search this
French, Daniel Chester, 1850-1931  Search this
Greacen, Edmund W., 1876-1949  Search this
Hancock, Walker Kirtland, 1901-1998  Search this
Jackson, Hazel Brill  Search this
Jennewein, Carl Paul, 1890-  Search this
Kuhn, Brenda, 1911-  Search this
Kuhn, Walt, 1877-1949  Search this
Käsebier, Gertrude, 1852-1934  Search this
Leibig, Bonnie  Search this
MacMonnies, Frederick William, 1863-1937  Search this
Mora, F. Luis (Francis Luis), 1874-1940  Search this
Nelson, Laurence, 1887-1978  Search this
Nisbet, Robert H., 1879-1961  Search this
Olmsted, Frederick Law, 1822-1903  Search this
Piexotto, Jessica B.  Search this
Winter, Ezra, 1886-1949  Search this
Extent:
7.32 Linear feet
Type:
Collection descriptions
Archival materials
Scrapbooks
Sketches
Christmas cards
Drawings
Photographs
Prints
Sketchbooks
Date:
1846-1999
bulk 1895-1999
Summary:
The Chester Beach papers measure 7.32 linear feet and date from 1846 to 1999, with the bulk ot the material dating from circa 1900 to 1999. The work and professional activities of Beaux Arts sculptor Chester Beach (1881-1956) and his family's efforts to exhibit and sell work from the estate are documented by project files, business records, correspondence, scrapbooks, printed material, and photographs. The papers also include many artist-designed Christmas cards sent and received by the Beach family, and artwork by Chester Beach and others.
Scope and Contents:
The Chester Beach papers measure 7.32 linear feet and date from 1846 to 1999, with the bulk ot the material dating from circa 1900 to 1999. The work and professional activities of Beaux Arts sculptor Chester Beach (1881-1956) and his family's efforts to exhibit and sell work from the estate are documented by project files, business records, correspondence, scrapbooks, printed material, and photographs. The papers also include many artist-designed Christmas cards sent and received by the Beach family, and artwork by Chester Beach and others.

Biographical material consists of biographical notes, identification cards, and a membership certificate.

Project files contain correspondence, financial records, notes, drawings and plans, research materials, printed matter, and photographs that document commissions for sculpture, medals and coins, monuments, and Beach's own projects. Among the most thoroughly documented projects are a fountain sculpture for the grounds of the Cleveland Museum of Art (Sun, Earth, Fountain of the Waters, and Zodiac) and the Edward W. Bok Memorial in Mountain Lake, Florida; both commissions were executed in conjunction with the firm of Frederick Law Olmsted.

Business records include Chester Beach's general business correspondence and correspondence concerning consignments. An address book records names, addresses, and occasionally indicates prices of services and supplies used by the sculptor. Other record books detail expenses and income of the studio building Beach owned, with a list of the effects of the former owner, sculptor William Couper; bronzes cast; sales, with titles, prices, and buyers; names and addresses of clients, dealers, and suppliers; and instructions for cleaning and bronzing plaster.

Family correspondence consists mainly of letters, many mentioning Chester Beach, and addressed to Mrs. Chester Beach and daughter Eleanor Beach Fitchen. Estate correspondence and related documents concern efforts to exhibit, sell, and research Beach's remaining work. These records, for the most part, were created by Mrs. Fitchen who acted as sales agent, ran the Chester Beach Memorial Studio, and maintained the Beach archive. Of particular interest is a series of letters from Brenda Kuhn that relate what she learned from handling the estate of her father, Walt Kuhn; in addition, she offered ideas and advice about exhibitions, the Memorial Studio, and the Beach Centennial.

Beach designed his family's annual Christmas cards, most of which incorporate images of their three daughters. A complete set, preserved in an album, includes a few later cards that reproduce artwork by his widow. Many of the cards received - some with original artwork - are from artist friends, among them: Ernest Blumenschein, Edward W. Greacen, Hazel Brill Jackson, Paul Jennewein, Bonnie Leibig, F. Luis Mora, Robert Nisbet, and Ezra Winter. Also of note are a card from Walker Hancock bearing a photograph of his studio; a painting of Beach's Sylvan at Brookgreen Gardens, reproduced on Anna Hyatt Huntington's card; and a card from Beach patron Mary Jester Allen containing a brief note about the Frontier Art Colony she had established near Cody, Wyoming.

Among the drawings and sketches by Chester Beach are student work, designs for some of his Christmas cards, and a sketchbook containing drawings of sculpture. Work by other artists consists of prints, including one by Ezra Winter.

Three scrapbooks, largely comprised of newspaper clippings and other printed material, contain a variety of other items, including: letters from the American Academy in Rome, Architectural League of New York, Ecole des Beaux Arts, Daniel Chester French, Hazel Brill Jackson, Frederick MacMonnies, National Academy of Design, National Sculpture Society, Jessica B. Piexotto, and Salon d'Autome. There are also awards and certificates from the National Academy of Design, Panama-Pacific International Exposition; bookplates and a place card Beach etched for Mr. and Mrs. George Davison; and an unfinished poem by FitzRoy Carrington. Photographs within the scrapbooks are of a night school class Beach attended at the Mark Hopkins Art Institute in San Francisco, Beach at work in his studio, and a portrait of him painted by G. Laurance Nelson.

Printed material includes Panama-Pacific International Exposition guide books, brochures about the Chester Beach Memorial Studio in Brewster, New York, and catalogs for solo and group exhibitions.

Photographs and glass plate negatives of artwork are mainly of Chester Beach's sculpture and include views of work in progress. Also found are photographs of drawings and sculpture from his student years in California and Paris. Pictures of work by other artists are portraits of Chester Beach painted by G. Laurance Nelson and by his daughter, Natalie Beach McLaury. Among the photographs of Chester Beach are several by Gertrude Kasebier, circa 1910. Other pictures show Beach in his studio, Beach with family and friends, and a "Dinner tendered to Edmund W. Greacen by Samuel T. Shaw, Salmagundi Club, March 2, 1922." Places documented are Beach's boyhood home in San Francisco, the interiors of his studios, and Brookgreen Gardens. Miscellaneous subjects are nude models.
Arrangement:
The collection is arranged as 10 series. Glass plate negatives are housed separately and closed to researchers.

Series 1: Biographical Material, 1910-1947 (4 folders; Box 1)

Series 2: Project Files, 1846-1999 (1.6 linear feet; Boxes 1-2, 11, OV 12-13)

Series 3: Business Records, circa 1900-1958 (0.4 linear feet; Boxes 2-3)

Series 4: Writings, 1913-1935 (2 folders; Box 3)

Series 5: Correspondence, 1875, 1933-1996 (0.5 linear feet; Box 3)

Series 6: Christmas Cards, 1909-1961 (0.7 linear feet; Boxes 3-4)

Series 7: Artwork, circa 1900-1955 (0.3 linear feet; Boxes 4, 11)

Series 8: Scrapbooks, 1903-1972 (0.3 linear feet; Box 10)

Series 9: Printed Material, 1910-1997 (0.4 linear feet; Box 4)

Series 10: Photographs, circa 1885-circa 1960s (3.1 linear feet; Boxes 4-9, 11, 14)
Biographical / Historical:
Sculptor Chester Beach (1881-1956) was known for portrait busts, allegorical and mythological figures, coins and medallic art in the Beaux-Arts tradition. He lived and worked in New York City and Brewster, New York.

Chester Beach, son of Chilion Beach and Elizabeth Ferris Beach, was born in San Francisco on May 23, 1881. Beach initially studied at the California School of Mechanical Arts in 1899. He remained in San Francisco and between 1900 and 1902 continued his art training at the Mark Hopkins Institute of Art while working as a jewelry designer. To further his career and exposure to artistic trends, Beach moved to New York City in 1903. The following year, he went to Paris, enrolled at the Ecole des Beaux-Arts, and also studied with Raoul Verlet at the Académie Julian.

Upon his return to New York in 1907, Beach established a studio on Tenth Street. He won the National Academy of Design's Barnett Prize for sculpture in 1907 and the Academy elected him an Associate Artist the following year. His increased stature resulted in numerous portrait commissions and eventually led to commissions for monuments and architectural sculpture. In 1910, Chester Beach married Eleanor Hollis Murdock, a painter he met when both were art students in Paris. The couple spent the next two years in Rome; for several years after returning, Beach continued to spend time in Italy and maintained a studio in Rome.

Solo exhibitions of Beach's work were presented at Macbeth Gallery (1912), Pratt Institute (1913), Cincinnati Art Museum (1916), John Herron Art Institute (1916), and Memorial Art Gallery, Rochester (1917). In addition to frequent participation in annual exhibitions at the National Academy of Design and the Pennsylvania Academy of the Fine Arts, Beach was represented in the Panama-Pacific International Exposition (1915), and in group shows at venues including: Art Institute of Chicago, Boston Art Club, California Palace of the Legion of Honor, and National Arts Club.

The gold medal presented by Académie Julian (1905), Beach's first award, was followed by many other prizes, among them: American Numismatic Society prize for a medal commemorating the Peace of Versailles (1919) and its Saltus Medal for distinguished medallic art (1946); Architectural League of New York gold medal (1924); National Academy of Design Barnett Prize (1907) and Watrous gold medal (1926); National Arts Club medal and prizes (1923, 1926, 1932); and the Panama-Pacific International Exposition silver medal (1915).

Beach was an Academician of the National Academy of Design, a member of the American Numismatic Society, Architectural League of New York, National Arts Club, National Institute of Arts and Letters, and the National Sculpture Society (President, 1927-1928).

For more than 40 years, Beach lived and worked at 207 East 17th Street. The brownstone, purchased in 1913, was large enough for the family's home, his studio, and additional studios that were rented to other artists. Through barter, Beach acquired land in Brewster, New York, and in 1917 hired Italian stonemasons to build a studio. Later, they erected a summer house for the family. Many old stone walls on the site provided material for both buildings and Beach named the property Oldwalls.

After a long illness, Chester Beach died at Oldwalls on August 6, 1956. The funeral service was held at his Brewster, New York, studio and he is buried in Cold Spring Cemetery, Cold Spring, New York.
Separated Materials:
Also in the Archives of American Art is microfilm of papers lent for microfilming (reels N727-N729 and N68-11) including passports, genealogical materials, photograph albums, travel sketches, travel diaries of Mrs. Beach, and business and family correspondence. While the obituary letters on reel N68-11 are referenced in a scrapbook in Series 8, all other loaned materials were returned to the lender and are not described in the collection container inventory.
Provenance:
Chester Beach's daughter, Eleanor Beach Fitchen, lent materials for microfilming in 1967 and 1967. Subsequent papers were donated in 2009 by the estate of Eleanor Beach Fitchen, through her grandson and executor, John Fitchen.
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. Glass plate negatives are housed separately and closed to researchers.
Rights:
The Chester Beach papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Sculptors, American -- New York (State) -- New York  Search this
Eclecticism in architecture  Search this
Sculptors -- New York (State) -- New York  Search this
Sculpture -- Technique  Search this
Sculpture -- Equipment and supplies  Search this
Artists' studios  Search this
Sculpture -- Economic aspects  Search this
Genre/Form:
Scrapbooks
Sketches
Christmas cards
Drawings
Photographs
Prints
Sketchbooks
Citation:
Chester Beach papers, 1846-1999, bulk circa 1900-1999. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.beacches
See more items in:
Chester Beach papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-beacches
Additional Online Media:

Address Book (1 volume)

Collection Creator:
Beach, Chester, 1881-1956  Search this
Container:
Box 2, Folder 66
Type:
Archival materials
Date:
1914
Collection 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. Glass plate negatives are housed separately and closed to researchers.
Collection Rights:
The Chester Beach papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Chester Beach papers, 1846-1999, bulk circa 1900-1999. Archives of American Art, Smithsonian Institution.
See more items in:
Chester Beach papers
Chester Beach papers / Series 3: Business Records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-beacches-ref206

Negative Log Book Number 6, (74-1 to 74-12340)

Creator:
Smithsonian Institution Archives Smithsonian Photographic Services  Search this
Physical description:
Ink on paper
Type:
Logs (records)
Collection descriptions
Date:
1974
Topic:
Photography--History  Search this
Local number:
SIA Acc. 10-001 [SIA_10-001_NLB06]
Restrictions & Rights:
No restrictions. All requests for duplication and use must be submitted in writing and approved by the Smithsonian Institution Archives. Contact SIA Reference Staff for further information (email photos@si.edu)
Data Source:
Smithsonian Institution Archives
EDAN-URL:
edanmdm:siris_arc_367103
1 Page(s) matching your search term, top most relevant are shown: View entire project in transcription center
  • View Negative Log Book Number 6, (74-1 to 74-12340) digital asset number 1

Records, c. 1964-1994

Creator:
Smithsonian Astrophysical Observatory Office of the Director  Search this
Subject:
Shapiro, Irwin I  Search this
Harvard-Smithsonian Center for Astrophysics  Search this
Physical description:
35 cu. ft. (35 record storage boxes)
Type:
Books
Collection descriptions
Manuscripts
Date:
1964
1964-1994
c 1964-1994
Topic:
Astronomy  Search this
Astrophysics  Search this
Observatories  Search this
Research institutes  Search this
Satellites  Search this
Local number:
SIA Acc. 98-078
Restrictions & Rights:
Boxes 2, 23 and 25 contain materials restricted indefinitely; see finding aid; Contact reference staff for details
See more items in:
Personnel Records 1971-2005 [Smithsonian Astrophysical Observatory Office of the Director]
Telephone Address Books 1993-1994 [Smithsonian Astrophysical Observatory Office of the Director]
Subject Files c. 1964-1994 [Smithsonian Astrophysical Observatory Office of the Director]
Budget Records 1978-1994 [Smithsonian Astrophysical Observatory Office of the Director]
Publications 1964-1993 [Smithsonian Astrophysical Observatory Office of the Director]
Correspondence c. 1973-1998 [Smithsonian Astrophysical Observatory Office of the Director]
Data Source:
Smithsonian Institution Archives
EDAN-URL:
edanmdm:siris_arc_251895

Telephone Address Books, 1993-1994

Creator:
Smithsonian Astrophysical Observatory Office of the Director  Search this
Subject:
Shapiro, Irwin I  Search this
Harvard-Smithsonian Center for Astrophysics  Search this
Physical description:
1 cu. ft. unprocessed holdings
Type:
Manuscripts
Date:
1993
1993-1994
Topic:
Research institutes  Search this
Observatories  Search this
Astronomy  Search this
Astrophysics  Search this
Local number:
SIA RS00616
Restrictions & Rights:
Materials less than 15 years old Restricted. Contact reference staff for details
See more items in:
Telephone Address Books 1993-1994 [Smithsonian Astrophysical Observatory Office of the Director]
Data Source:
Smithsonian Institution Archives
EDAN-URL:
edanmdm:siris_arc_219526

George Frederick Kunz Papers, circa 1880-1932 and undated

Creator:
Kunz, George Frederick 1856-1932  Search this
World's Columbian Exposition (1893 : Chicago, Ill.)  Search this
Subject:
Kunz, George Frederick 1856-1932  Search this
Geological Survey (U.S.)  Search this
American Museum of Natural History  Search this
Tiffany and Company  Search this
Physical description:
0.3 linear meter
Type:
Account books
Date:
1880
1880-1932
circa 1880-1932 and undated
Topic:
Mineralogy  Search this
Local number:
SIA RU104101
Restrictions & Rights:
Use of this record unit requires prior arrangement with the Archives staff
Data Source:
Smithsonian Institution Archives
EDAN-URL:
edanmdm:siris_arc_217644

E. P. Killip, Journal, Colombia, 1939

Alternate Title:
Killip diary, Colombia, 1939  Search this
Collection name:
Ellsworth Paine Killip field notes from the Department of Botany
Physical Description:
1 field book
Physical Location:
National Museum of Natural History (U.S.). Main Library
Sublocation:
Box 3 Folder 2
Record type:
Fieldbook record
Object Type:
Field notes
Diary
Place:
Colombia
Gorgona, Isla
Cali
Bogotá
San Juan
Date Range:
1939
Start Date:
19390101
End Date:
19390511
Topic:
Botany  Search this
Accession #:
SIA Acc. 12-053
Access Information:
At least 24 hours advance notice is recommended to consult this collection. Contact the Department of Botany at 202-633-0920 to make an appointment.
See more records from this collection:
Ellsworth Paine Killip field notes from the Department of Botany
See more records associated with this person:
Killip, Ellsworth Paine, 1890-
Data Source:
Smithsonian Field Book Project
EDAN-URL:
edanmdm:fbr_item_MODSI3692
1 Page(s) matching your search term, top most relevant are shown: View entire project in transcription center
  • View E. P. Killip, Journal, Colombia, 1939 digital asset number 1
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