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Antonio Sotomayor papers, circa 1920-1988

Creator:
Sotomayor, Antonio, 1904-1985  Search this
Subject:
Gerstle, William Lewis  Search this
Rivera, Diego  Search this
Franco, Johan  Search this
Pflueger, Timothy Ludwig  Search this
Morley, Grace  Search this
Von Hagen, Victor Wolfgang  Search this
Moya del Pino, Jose  Search this
Long, Emilie  Search this
Salinger, Jehanne Bietry  Search this
Sotomayor, Grace  Search this
Reed, Alma M.  Search this
Entenza, John  Search this
Oldfield, Otis  Search this
Little, Philip  Search this
Salinger, Pierre  Search this
Labaudt, Lucien Adolphe  Search this
Fried, Alexander  Search this
Farr, Fred  Search this
Robinson, Elmer E. (Elmer Edwin),  Search this
Orozco, José Clemente  Search this
Sauer, Carl Ortwin  Search this
Delphic Studios  Search this
Pan American Union  Search this
Type:
Sketches
Sketchbooks
Photographs
Works of art
Topic:
Painters  Search this
Caricatures and cartoons  Search this
Mural painting and decoration  Search this
Illustrators  Search this
Illustration  Search this
Muralists  Search this
Cartoonists  Search this
Art, Modern  Search this
Hispanic American artists  Search this
Record number:
(DSI-AAA_CollID)5549
(DSI-AAA_SIRISBib)212812
AAA_collcode_sotoanto
Theme:
Latino and Latin American
Sketches & Sketchbooks
American Art and Artists in a Global Context
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_212812
Additional Online Media:

Richard Fitzgerald papers, 1930-1972

Creator:
Fitzgerald, Richard  Search this
Subject:
Sloan, John French  Search this
Sloan, Helen Farr  Search this
Becker, Maurice  Search this
Chamberlain, Kenneth Russell  Search this
Type:
Exhibition catalogs
Interviews
Topic:
Art historians  Search this
Cartooning  Search this
Politics in art  Search this
Caricatures and cartoons  Search this
Illustrators  Search this
Cartoonists  Search this
Record number:
(DSI-AAA_CollID)8179
(DSI-AAA_SIRISBib)210350
AAA_collcode_fitzrich
Theme:
Art Theory and Historiography
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_210350

Walt Kuhn Family papers and Armory Show records

Creator:
Kuhn, Walt, 1877-1949  Search this
Names:
Armory Show (1913: New York, N.Y.)  Search this
Association of American Painters and Sculptors (New York, N.Y.)  Search this
International Exhibition of Modern Art  Search this
Kit Kat Club (New York, N.Y.)  Search this
Penguin Club (New York, N.Y.)  Search this
Davies, Arthur B. (Arthur Bowen), 1862-1928  Search this
Kuhn, Brenda, 1911-  Search this
Kuhn, Vera, d. 1961  Search this
Oldfield, Otis, 1890-1969  Search this
Pach, Walter, 1883-1958  Search this
Quinn, John, 1870-1924  Search this
Sheeler, Charles, 1883-1965  Search this
Photographer:
Rainford, Percy  Search this
Weston, Edward, 1886-1958  Search this
Extent:
31 Linear feet
Type:
Collection descriptions
Archival materials
Drawings
Diaries
Scrapbooks
Sound recordings
Date:
1859-1984
bulk 1900-1949
Summary:
The Walt Kuhn Family papers and Armory Show records measure 31 linear feet and date from 1859 to 1984, with the bulk of material dating from 1900 to 1949. Papers contain records of the legendary Armory Show of 1913, also known as the International Exhibition of Modern Art, which introduced modern European painting and sculpture to the American public. Papers also contain records of the Association of American Painters and Sculptors (AAPS), the artist-run organization that mounted the Armory Show; records of the New York artists' clubs the Kit Kat Club (founded 1881) and the Penguin Club (founded 1917); and the personal and family papers of New York artist Walt Kuhn (1877-1949), one of the primary organizers of the Armory Show.
Scope and Contents note:
The Walt Kuhn Family papers and Armory Show records measure 31 linear feet and date from 1859 to 1984, with the bulk of material dating from 1900 to 1949. Papers contain records of the legendary Armory Show of 1913, also known as the International Exhibition of Modern Art, which introduced modern European painting and sculpture to the American public. Papers also contain records of the Association of American Painters and Sculptors (AAPS), the artist-run organization that mounted the Armory Show; records of the New York artists' clubs the Kit Kat Club (founded 1881) and the Penguin Club (founded 1917); and the personal and family papers of New York artist Walt Kuhn (1877-1949), one of the primary organizers of the Armory Show.

As Secretary for the AAPS, Kuhn retained the bulk of existing records of that organization and of the Armory Show. Minutes and correspondence make up most of the AAPS records (Series 2), as well as documents related to John Quinn's legal brief against a tariff on imported works of living artists. Armory Show Records (Series 1) include personal letters, voluminous business correspondence, a record book, miscellaneous notes, inventories and shipping records, two large scrapbooks, printed materials, a small number of photographs, and retrospective accounts of the show. The printed materials and photographs in Kit Kat Club and Penguin Club Records reflect Kuhn's deep involvement in those clubs.

The Walt Kuhn Family Papers (Series 4) contain records of his artwork, career, travels, personal and professional associations, family members, and work in vaudeville, film, and interior design. Notable among the family papers are illustrated letters and other cartoons; sketches, drawings, watercolors, and prints; candid letters from Walt to Vera Kuhn discussing art scene politics and personalities in New York, Paris, Chicago, Los Angeles, San Francisco, Florida, and the Midwest; general correspondence with artists, dealers, collectors, journalists, writers, models, and fans; notes in index card files containing biographical anecdotes of the Kuhns' many contacts; provenance files that document the origin and fate of Kuhn's paintings, sculptures, and prints; papers relating to Kuhn's exhibitions and his relationships with the Marie Harriman Gallery and Durand-Ruel Gallery; and photographs and drawings depicting Kuhn's early years in Munich, Germany and Fort Lee, New Jersey; trips to Nova Scotia, New England, the Western United States, and Europe; New York and summer studios, among other subjects.
Arrangement:
This collection has been arranged into 4 series, with multiple subseries in Series 1 and 4.

Series 1: Armory Show Records, 1912-1963 (Boxes 1-2, 27-31, 56, OV 36; 3.6 linear feet)

Series 2: Association of American Painters and Sculptors (AAPS) Records, 1911-1914, undated (Box 3; 0.2 linear feet)

Series 3: Kit Kat Club and Penguin Club Records, 1909-1923, undated (Box 3, 32, 56, OVs 37-38; 0.5 linear feet)

Series 4: Walt Kuhn Family Papers, 1859-1984, undated (Box 3-26, 32-35, 56-57, OVs 39-55, 58; 26.7 linear feet)

In general, documents are arranged chronologically, alphabetically, or by type of material. Copy negatives and copy prints made from documents in this collection have been filed separately from originals, in a folder marked "copy." Duplicates of original records made or obtained by the Kuhns have been filed separately as well.

Existing envelopes are filed in front of correspondence and enclosures directly after. Correspondence in the Armory Show Records and AAPS Records is arranged alphabetically, and correspondents are listed in the box inventory following series descriptions below.
Biographical/Historical note:
Walt Kuhn (1877-1949) was an etcher, lithographer, and watercolorist, as well as being a teacher, an advisor to art collectors, an organizer, and a promoter of modern art. He played a key role in the art scene of New York City in the early 20th century, and was among the small group that organized the infamous Armory Show of 1913, officially known as the International Exhibition of Modern Art, held at the 69th Regiment Armory building in New York City. After the Armory Show, Kuhn went on to a distinguished career as a painter. He was best known for his sober oil portraits of show people, clowns, acrobats, and circus performers, but was equally prolific in landscapes, still lifes, and figure and genre drawings.

Walt Kuhn was born in Brooklyn, NY in 1877. After a brief career as a bicycle shop owner in downtown Brooklyn, Kuhn traveled West in 1899 to San Francisco, CA and earned his living as a cartoonist for newspapers such as Wasp. After two years in California, he moved back East and then on to Europe to pursue further art training. He briefly attended the Académie Colarossi studio in Paris, but quickly moved to Munich where he joined the class of Heinrich von Zügel in the Royal Academy.

Kuhn returned to New York City in 1904 and took up an active role in the art scene there, participating in the Salmagundi Club and the Kit Kat Club, teaching at the New York School of Art, and cartooning for Life, Judge, Puck, and other publications. In 1910, he participated in an exhibition of Independent Artists on 35th St. with Robert Henri and met artist Arthur B. Davies.

In 1911, when the National Academy of Design opened their annual exhibition, Kuhn, Henry Fitch Taylor, Elmer MacRae, and Jerome Myers were exhibiting at Clara Potter Davidge's Madison Gallery. To these four young artists, the Academy exhibition was typically lackluster, and the attention it received was unwarranted. Sensing that they were not alone in their attitude, they decided to organize. They invited a dozen other artists to join them, thus forming the Association of American Painters and Sculptors (AAPS). The group elected Kuhn Secretary and Arthur B. Davies President, and with the help of attorney and art collector John Quinn, they incorporated and began raising funds for an independent exhibition the following year.

In September of 1912, at Davies' suggestion, Kuhn traveled to Cologne, Germany to view the Sonderbund Internationale Kunst-Austellung. There he saw presented, in overwhelming volume, the work of his European contemporaries and their modern antecedents, the post-impressionists. He immediately began selecting and securing artwork for the upcoming AAPS exhibition. Kuhn traveled through Germany, Holland, France, and England, visiting private collectors, dealers, and artists. In Paris, Kuhn was joined by Davies and American artist and art agent Walter Pach. Kuhn and Davies sailed for New York in November, leaving the details of European arrangements to Pach.

The resulting Armory Show exhibition opened in New York in February 1913, and a selection of the foreign works traveled to Chicago and Boston in March and April. It included approximately 1300 American and European works of art, arranged in the exhibition space to advance the notion that the roots of modernism could be seen in the works of the old masters, from which the dramatically new art of living artists had evolved. Savvy and sensational publicity, combined with strategic word-of-mouth, resulted in attendance figures over 200,000 and over $44 thousand in sales. The Armory Show had demonstrated that modern art had a place in the public taste, that there was a market for it and legitimate critical support as well.

During the first World War, Kuhn stayed in NY and was active in the Kit Kat Club, an artists' club founded in 1881, which provided its members with collective studio space, live models, exhibitions, and an annual costume ball. In 1917, Kuhn founded another group called the Penguin Club, which had similar objectives to the Kit Kat Club, but with Kuhn himself as the gatekeeper. In addition to exhibitions and costume balls, the Penguin Club held summer outings and stag dinners, and maintained collective studio and exhibition space on East 15th Street in Manhattan. Its members included Americans and European artists displaced by the war in Europe. In the 1920s, Kuhn expanded a few sketches he had written for Penguin Balls into full-blown vaudeville productions, some of which were incorporated into larger musical revues such as The Merry Go Round and The 49ers and traveled around the country. Kuhn's theater work continued until 1928, and his fascination with show business continued to influence him throughout his life.

In the 1920s and 1930s, Kuhn gradually achieved recognition for his artwork, with sales to private collectors and dealers including Edith Halpert, Merritt Cutler, Lillie Bliss, John Quinn, and Marie Harriman. Kuhn also promoted other young painters whose work he liked, including Otis Oldfield, Lily Emmet Cushing, John Laurent, Frank di Gioia, and the self-taught Vermont artist Patsy Santo. Sometimes artists would contact him by mail, asking for lessons or advice. His lengthy letters to students offer coaching in technique and subject matter, as well as in the overall problem of success in art.

In 1929, Kuhn moved into the 18th St. studio that he would keep until the end of his life. He kept a rack of costumes in the studio, mostly made by Vera Kuhn, and his models, many of them stage and circus performers, would come and sit for Kuhn's portraits. The same year his painting The White Clown was exhibited at the newly established Museum of Modern Art in New York, bringing intense publicity and sales interest. Around this time, Kuhn began to receive the support of collector Duncan Phillips and curator Juliana Force of the Whitney Museum of American Art, both of whom made purchases and consistently exhibited his work.

Marie Norton Whitney Harriman, second wife of railroad magnate and diplomat W. Averell Harriman, shared a professional liaison with Kuhn that would take many forms and last until his death. Soon after the success of The White Clown, Kuhn established a relationship with the Marie Harriman Gallery, where he participated in group and solo shows during the height of his career. Kuhn also traveled with the Harrimans to Europe in 1931, where the three visited important private collections and acquired many valuable modern paintings for the Harrimans. Their collection, so heavily influenced by Kuhn's ideas about art, would eventually go to the National Gallery of Art.

Kuhn was an artist who understood the art business and never shied away from it. For Kuhn, promoting the ideas and practitioners of a certain brand of modernism was an expression of both aesthetic ideology and pragmatic self-interest. His contribution to the public discourse on modernism situated his own work at the heart of art history and the marketplace. Regardless of his motivations, he was indisputably a key player at a pivotal time in American art, when academic art was riotoulsy overturned to make way for modernism. His paintings are now held in major museum collections around the country, where most of them arrived with bequests from the collectors Kuhn had cultivated so carefully in his lifetime.

Sources consulted for this biography include The Story of the Armory Show (1988) by Milton W. Brown, Walt Kuhn, Painter: His Life and Work (1978) by Philip Rhys Adams, and "Walt Kuhn" by Frank Getlein, in the 1967 catalog of the Kennedy Galleries, Inc.
Related Archival Materials note:
The Archives of American Art holds the papers of Walter Pach, the European representative of the Armory Show.
Provenance:
The Walt Kuhn Family papers and Armory Show records were loaned for microfilming and later donated to the Archives of American Art by Walt Kuhn's daughter Brenda Kuhn in several installments between 1962 and 1979. An additional accession of letters, photographs, and an artifact was purchased by the Archives in 2000. Another addition was donated by Terry DeLapp, Kuhn's dealer, in 2015.
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 audiovisual recordings in this collection must use access copies. Contact References 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:
Etchers -- New York (State) -- New York  Search this
Watercolorists -- New York (State) -- New York  Search this
Lithographers -- New York (State) -- New York  Search this
Topic:
Art -- Societies, etc. -- New York (State) -- New York  Search this
New York school of art  Search this
Modernism (Art)  Search this
Genre/Form:
Drawings
Diaries
Scrapbooks
Sound recordings
Citation:
Walt Kuhn Family papers and Armory Show records, 1859-1984. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.kuhnwalt
See more items in:
Walt Kuhn Family papers and Armory Show records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-kuhnwalt
Additional Online Media:

Antonio Sotomayor papers

Creator:
Sotomayor, Antonio, 1904-  Search this
Names:
Delphic Studios  Search this
Pan American Union  Search this
Entenza, John, 1903-  Search this
Farr, Fred, 1914-1973  Search this
Franco, Johan, 1908-  Search this
Fried, Alexander, 1902-1988  Search this
Gerstle, William Lewis, 1868-1947  Search this
Labaudt, Lucien, 1880-1943  Search this
Little, Philip, 1857-1942  Search this
Long, Emilie  Search this
Morley, Grace, 1900-1985  Search this
Moya del Pino, Jose, 1891-1969  Search this
Oldfield, Otis, 1890-1969  Search this
Orozco, José Clemente, 1883-1949  Search this
Pflueger, Timothy Ludwig, 1892-1946  Search this
Reed, Alma M.  Search this
Rivera, Diego, 1886-1957  Search this
Robinson, Elmer E. (Elmer Edwin), b. 1894  Search this
Salinger, Jehanne Bietry  Search this
Salinger, Pierre  Search this
Sauer, Carl Ortwin, 1889-  Search this
Sotomayor, Grace  Search this
Von Hagen, Victor Wolfgang, 1908-1985  Search this
Extent:
1.6 Linear feet
Type:
Archival materials
Collection descriptions
Sketchbooks
Sketches
Photographs
Date:
circa 1920-1988
Summary:
The collection documents the career of painter and illustrator, Antonio Sotomayor, his interest in Latin American art and artists, and his association with the San Francisco arts community. Materials found in the collection include letters, writings, sketches and sketchbooks, printed material and photographs.
Scope and Content Note:
The collection consists primarily of correspondence, writings, artwork, printed material, and photographs documenting Sotomayor's career, his interest in Latin American art and artists, and his association with the San Francisco arts community.
Arrangement:
The collection is arranged as six series:

Series 1: Correspondence, 1931-1988, undated (box 1, 21 folders)

Series 2: Writings, 1932-1946, undated (box 1, 11 folders)

Series 3: Artwork, 1935, undated (box 1, 23 folders)

Series 4: Printed Material, 1935-1987 (boxes 1-2, 12 folders)

Series 5: Photographs, circa 1920-1984, undated (box 2, 13 folders)

Series 6: Oversized Material, 1941, 1958, undated (2 OV folders)
Biographical Note:
Antonio Sotomayor was born in Bolvia and came to San Francisco in 1923. He was educated at the Escuela de Belleas Arts in La Paz and the Hopkins Institute of Art in San Francisco. Primarily known for his murals and paintings, Sotomayor was also an illustrator, caricaturist, designer, ceramicist, and educator. Over the course of his career his work was exhibited in the United States, France, Italy, Spain, Mexico, and South America and he became known as the popular "artist laureate" of San Francisco where he lived with his wife, Grace. He died of cancer in 1985 at the age of 82.
Provenance:
The Antonio Sotomayor papers were donated to the Archives of American Art by Grace Sotomayor in 1998.
Restrictions:
The collection is open for research. Patrons must use microfilm copy.
Rights:
The Antonio Sotomayor 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:
Muralists -- California -- San Francisco  Search this
Works of art  Search this
Painters -- California -- San Francisco  Search this
Caricatures and cartoons  Search this
Mural painting and decoration -- 20th century  Search this
Illustration  Search this
Illustrators -- California -- San Francisco  Search this
Art, Modern -- 20th century -- California -- San Francisco  Search this
Hispanic American artists  Search this
Cartoonists -- California -- San Francisco  Search this
Genre/Form:
Sketchbooks
Sketches
Photographs
Citation:
Antonio Sotomayor papers, circa 1920-1988. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.sotoanto
See more items in:
Antonio Sotomayor papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-sotoanto

Wayne Thiebaud papers

Creator:
Thiebaud, Wayne  Search this
Names:
University of California, Davis. Art Dept. -- Faculty  Search this
Extent:
1 Linear foot
Type:
Archival materials
Collection descriptions
Drawings
Sketches
Cartoons (humorous images)
Photographs
Date:
1944-2001
Summary:
The papers of Sacramento painter, printmaker, and teacher Wayne Thiebaud date from 1944 through 2001 and measure 1.0 linear foot. Thiebaud's prolific painting career is documented in this collection mostly through exhibition catalogs, printed materials, original artwork, photographs, and ephemera. His career as an art professor at the University of California at Davis is documented to a lesser extent.
Scope and Content Note:
The papers of Sacramento painter, printmaker, and teacher Wayne Thiebaud date from 1944 through 2001 and measure one linear foot. Thiebaud's prolific painting career is documented in this collection mostly through exhibition catalogs, printed materials, original artwork, photographs, and ephemera. His career as an art professor at the University of California at Davis is documented to a lesser extent.

Of particular interest in the collection are ten large format sketchbook pages with numerous ink, graphite, and watercolor drawings of his typical imagery of pies, cakes, tie racks, San Francisco street scenes, Sacramento Delta landscapes, many figures, storefronts, counters, and personal notations regarding color, light, and ideas for the transformation of his imagery. There are also ten smaller cartoon drawings in ink on plain copy paper. In addition to several folders of exhibition catalogs, announcements, and other printed material, there is one folder of teaching notes and one folder of photographs, many of which include other artists, such as Chuck Close, Richard Diebenkorn, Richard Estes, Gregory Kondos, Roy Lichtenstein, Barnett Newman, Claes Oldenburg, Philip Pearlstein, Mel Ramos, Harold Rosenberg, and others. Also found are ephemera items, including a collectible watch with his imagery printed onto the face and band, a palette, brushes, and plastic lids from tennis ball containers used for mixing paints.
Arrangement:
The Wayne Thiebaud papers are arranged as five series.

Series 1: Printed Material, 1965-2001, undated (Box 1-2; 12 folders)

Series 2: Writings, 1981, 2001, undated (Box 2; 1 folder)

Series 3: Photographs, 1944-1990, undated (Box 2; 1 folder)

Series 4: Original artwork, undated (Box 2, OV3; 1 folder, 1 oversize folder)

Series 5: Original artwork, undated (Box 2, OV3; 1 folder, 1 oversize folder)
Biographical Note:
Wayne Thiebaud was born in Mesa, Arizona in 1920 and raised in Long Beach, California. After graduating high school, he worked as a free-lance cartoonist, commercial artist, and stage technician. He later landed a job at the Walt Disney studios as an 'in-betweener' filling in individual film frames started by animators. Thiebaud joined the Air Force in 1942 where he painted murals and began to create cartoons and illustrations.

After his service in the war, Thiebaud went to California State College in Sacramento to study art and art history. His work remained figurative but gained a conceptual dimension as he read, studied, taught, and exhibited a great deal in Northern California. During the late 1950s, Thiebaud spent time in New York City with artists such as Willem and Elaine de Kooning, Barnett Newman and other painters of their generation.

Thiebaud's work found its national audience in 1962 with his first exhibition, Wayne Thiebaud: Recent Paintings, at the Allan Stone Gallery in New York and his participation in the "New Realists" exhibition at the Sidney Janis Gallery during the same New York season. In that memorable year, when Pop Art burst upon the American cultural scene, Thiebaud's more painterly images of food and other familiar objects found an audience that has grown with each passing decade. Thiebaud's exhibition of store counters, suburban consumers, tie racks, cakes and pies seemed to comment upon American consumer culture as did his New York contemporaries. However, his thickly painted strangely illuminated forms had a pathos and a humor that was seldom found in Pop Art. Thiebaud's roots were more likely in the urban melancholy of Edward Hopper and the robust painterly style of Willem de Kooning.

Wayne Thiebaud has served as faculty member of the art department at the University of California at Davis for more than thirty years. At this writing, he lives and works in Sacramento, California while also maintaining a studio in San Francisco. He is still affiliated with the Allan Stone Gallery. Thiebaud's work is currently found in the permanent collections of the San Francisco Museum of Modern Art, the Smithsonian's Hirshhorn Museum and Sculpture Garden in Washington, D.C., the Whitney Museum of American Art and the Museum of Modern Art in New York City. His recent 2000-2001 retrospective exhibition organized by the Fine Arts Museums of San Francisco, California Palace of the Legion of Honor, traveled the nation to critical acclaim and great interest from the general public.
Provenance:
Wayne Thiebaud donated his papers in 2001 to the Archives of American Art, Smithsonian Institution.
Restrictions:
The collection is open for research. Use requires an appointment.
Rights:
The Wayne Thiebaud 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:
Painters -- California -- San Francisco  Search this
Artists' preparatory studies  Search this
Art teachers -- California -- San Francisco  Search this
Genre/Form:
Drawings
Sketches
Cartoons (humorous images)
Photographs
Citation:
Wayne Thiebaud papers, 1944-2001. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.thiewayn
See more items in:
Wayne Thiebaud papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-thiewayn

Livin' on the Dock of the Bay

Creator:
Smithsonian Magazine  Search this
Type:
Blog posts
Smithsonian staff publications
Blog posts
Published Date:
Wed, 04 Apr 2012 03:00:00 +0000
Topic:
Search this
See more post:
Smithsonian Article Database
Data Source:
Smithsonian Magazine
EDAN-URL:
edanmdm:posts_162c95bc5f2f993f207b3d2513ca165d

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