Wild Flower Preservation Society of America, Washington, D.C. Chapter: 'Nature Lovers' cartoon; used by Wildflower Preservation Society of America for educational purposes.
1 Photograph (lantern slide, hblack and white, 3.25 x 4 in.)
Type:
Archival materials
Photographs
Lantern slides
Reproductions
Place:
Wild Flower Preservation Society of America, Washington, D.C. Chapter (Washington, D.C.)
United States of America -- District of Columbia -- Washington
Date:
Oct 22, 1922
General:
Text reads: Will you help save the wild flowers by not picking them and help protect the trees by not breaking branches. Keep them for next year and every year. Garden Club of America
Collection Restrictions:
Access to original archival materials by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Collection Rights:
Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.
Sponsor:
A project to describe images in this finding aid received Federal support from the Smithsonian Collections Care Initiative, administered by the National Collections Program.
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
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:
Nell Blaine papers, 1879, 1940-1985. Archives of American Art, Smithsonian Institution.
Sponsor:
Processing of this collection received Federal support from the Collections Care Initiative Fund, administered by the Smithsonian American Women's History Initiative and the National Collections Program. Funding for the digitization of this collection was provided in part by the Terra Foundation for American Art and The Walton Family Foundation.
Xerox copies of clippings; reproductions of cartoons; Zimmerman's book, "In Dairyland"; a printed article on the Zim Memorial; and one photo of Zimmerman.
Biographical / Historical:
Cartoonist Eugene Zimmerman (1862-1935) worked for Puck and Judge magazines. Zimmerman, whose nickname was Zim, was born May 25, 1862 in Basel, Switzerland. He died March 26, 1935 in Horseheads, New York where his home, known as Zim House, is on the National Register of Historic Places. Zimmerman designed the house in 1890.
Provenance:
Donated August 1970 by John Appel.
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.
The papers of Dean Cornwell measure 3.9 linear feet and date from circa 1893-1981. They illustrate his career through biographical material, correspondence, writings, printed and photographic material, and artwork.
Scope and Contents:
The Dean Cornwell papers measure 3.9 linear feet and date from circa 1893-1981. Biographical material consists of a resume, obituaries for Cornwell, estate papers referencing various inheritances, multiple membership and award certificates, and material relating to a Who's Who in America article featuring Cornwell. Correspondence is to and from Dean Cornwell and is with artists and business associates. Writings include various essays by Cornwell as well as multiple diaries. Also included are the transcript of a biography about Cornwell titled Dean Cornwell: Dean of Illustrators (1978) by Patricia Janus Broder and two article drafts. Printed material consists of exhibition announcements and catalogs, printed reproductions of Cornwell's artwork, news clippings, and two scrapbooks of artwork by others. Photographic material includes personal photographs and photographs of Cornwell as well as photographs of his mural projects. Also included are a set of fifty-seven glass plate negatives which depict various drawings by Cornwell. Artwork includes a folder of sketches.
Arrangement:
This collecton contains six series.
Series 1: Biographical Material, circa 1930-1961 (.1 Linear feet: Box 1)
Series 2: Correspondence, circa 1933-1981 (.2 Linear feet: Box 1)
Series 3: Writings, circa 1930-1978 (.7 Linear feet: Box 1)
Series 4: Printed Material, circa 1924-1970 (1.1 Linear feet: Box 2, OV 5, and OV 6)
Series 5: Photographic Material, circa 1893-1960 (1.7 Linear feet: Boxes 2-4, OV 7, and OV 8)
Series 6: Artwork, circa 1934 (.1 Linear feet: Box 3)
Biographical / Historical:
Dean Cornwell (1892-1960) was a muralist, painter, and illustrator who worked primarily in New York.
Cornwell was born in Louisville, Kentucky. He began his career as a cartoonist for the Louisville Herald and then moved to Chicago where he studied at the Art Institute and worked for the Chicago Tribune. In 1915 he moved to New Rochelle, New York where he studied under Harvey Dunn at the Art Students League of New York. Eventually he traveled to London where he began to study mural painting under Frank Brangwyn.
Cornwell was a teacher at the Art Students League in New York, served as President of the Society of Illustrators (1922-1926), and was elected to its Hall of Fame in 1959. In 1934, he was elected Associate Academician into the National Academy of Design, and became a full Academician in 1940. He also served as president of the National Society of Mural painters from 1953 to 1957. At the peak of his career, he earned the nickname "Dean of Illustrators".
Cornwell's artwork was featured in multiple publications including Cosmopolitan, Harper's Bazaar, Redbook, and Good Housekeeping. He painted many murals during his career including those found in the Sir Walter Raleigh Room in the Hotel Warwick, the Lincoln Memorial Shrine in Redlands, and the General Motors Mural at the 1939 World's Fair in New York.
Cornwell died on December 4th, 1960 at the age of sixty-eight in New York City.
Provenance:
Papers were donated in 1984 by Lucy Cornwell, daughter of Dean Cornwell.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Illustrators -- New York (State) -- New York Search this
Muralists -- New York (State) -- New York Search this
Topic:
Mural painting and decoration, American Search this
Mural painting and decoration -- 20th century -- United States Search this
Genre/Form:
Scrapbooks
Citation:
Dean Cornwell papers, circa 1893-1981, Archives of American Art, Smithsonian Institution.
Sponsor:
The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.
Quotes and excerpts must be cited as follows: Oral history interview with Thomas Hart Benton, 1973 July 23-24. Archives of American Art, Smithsonian Institution.
Topic:
Mural painting and decoration -- 20th century Search this
Quotes and excerpts must be cited as follows: Oral history interview with Saul Steinberg, 1973 March 27. Archives of American Art, Smithsonian Institution.
The Frank and Eleanor Freed papers measure 2.9 linear feet and date from 1923-1992 with bulk dates from 1943-1975. The papers document Frank Freed's career through biographical material, printed material, and artwork. Both Freeds are documented through writings and printed material.
Scope and Contents:
The Frank and Eleanor Freed papers measure 2.9 linear feet and date from 1923-1992 with bulk dates from 1943-1975. The papers document Frank Freed's career through biographical material, printed material, and artwork. Both Freeds are documented through writings and printed material. Biographical material includes Frank Freed's resumes, a tv documentary interview video and related audio tape and correspondence from friends congratulating Freed on the TV special. Also found is a Museum of Fine Arts, Houston reel-to-reel panel discussion: The Fine Arts from Various Points of View, and a home video of friends remembering and celebrating Freed on what would have been his 80th birthday. Writings contains essays by Frank Freed on war along with essays and memorial speeches about Freed and writings by Eleanor Freed on artist and professor Donald J. Weismann. The series also contains thirteen guest books from the Freed's home, signed by visitors often with accompanying drawings. Printed material includes clippings by and about Frank Freed including articles written under Freed's pseudonym "Caliph McFloe", along with copies of student cartoons Freed drew for Rice University's student humor magazine the Rice Owl. Also found are exhibition catalogs and announcements and newsletters written by Eleanor Freed. Photographic material contains over two hundred photographs of Freed's paintings, along with portraits of Frank Freed and photographs of the filming of the channel KUHT 8 TV documentary on Freed, depicting Frank, Elanor and Freed's studio. Also found are two hundred and thirteen slides of Freed's artwork. Artwork consists of four of Freed's sketchbooks along with four loose large charcoal drawings.
Arrangement:
The collection is arranged as five series.
Series 1: Biographical Material, 1950-1986 (0.5 Linear feet: Box 1)
Series 2: Writings, 1943-1992 (1 Linear foot Box: 1-2)
Series 3: Printed Material, 1923-1984 (0.7 Linear feet: Box 2-3, OV 1-2)
Series 4: Photographic Material, 1958-1989 (0.3 Linear feet: Box 3-4)
Series 5: Artwork, 1948-1975 (0.2 Linear feet: Box 4, OV 3)
Biographical / Historical:
Frank Freed was a self taught painter, cartoonist and writer. His wife, Eleanor (1914-1992) was an art critic for The Houston Post and an active member in the arts and culture sector of Houston, Texas where the couple lived. Born in San Antonio, Texas, Freed and his family moved to Houston in 1913, where Freed drew cartoons for his high school yearbook and the Rice Owl, the campus humor magazine, during a year of study at Rice University. Ultimately, Freed graduated from Harvard in 1927 with a degree in English Literature. After graduation he published several articles and began a forty-two-year career as a life-insurance salesman. He enlisted in the United States Army in 1943 and from 1944 to 1946 served in Normandy with the United States Corps of Engineers. In 1948 Freed began to paint and in 1949 he was included in two group shows in Houston galleries and then participated in annual group shows of Houston artists sponsored by the Museum of Fine Arts, Houston in 1950–1952 and 1958–1959. Freed went on to participate in numerous group and solo exhibitions in the United States and abroad, including a 1970 solo show in Mexico City. Freed's work can be found in the collections of the Museum of Fine Art, Houston; the Marion Koogler McNay Art Museum in San Antonio; and the Harry Ransom Humanities Research Center at the University of Texas, Austin.
In addition to her career as an art critic Eleanor Freed served as member and subsequent president of the Friends of the Houston Public Library organization, and then later served on the Houston Public Library Board. In her will, Eleanor left a bequest to the Museum of Fine Arts, Houston for a lecture series and renovation funding to the museum's Glassell School of Art, which contains the Eleanor and Frank Freed Auditorium and Image Library.
Separated Materials:
The Archives of American Art also holds microfilm of material lent for microfilming (reels 432-3433, 3538) including
3 scrapbooks containing clippings regarding a trial on which Frank was a juror and Mexican Painting and Drawing, a show curated by Frank; articles written by Eleanor as art critic for the Houston Post, 1965-1973; and an article written for Texas Humanist, 1984, Dominique de Menil: Rare Visions in the Arts, outlining the collecting philosophy of Menil and the establishment of a private museum to exhibit the collection; source material for paintings; a guestbook from an exhibition at Instituto Mexicanos Norteamerico de Relaciones Culturales; and sketches. Loaned materials were returned to the lender and are not described in the collection container inventory.
Provenance:
Material on reels 3432-3433 lent for microfilming 1985, by Frank and Eleanor Freed as part of the Archives of American Art's Texas project. The remainder was donated by the Freeds, 1978-1985, and by Eleanor Freed Stern's estate, 1993. The estate bequest included the guestbooks which were part of the 1985 loan.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Frank and Eleanor Freed papers, 1923-1992. Archives of American Art, Smithsonian Institution.
Sponsor:
The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.
Interview of Thomas Hart Benton conducted 1973 July 23-24, by Paul Cummings, for the Archives of American Art. Benton speaks of his childhood in Missouri and Washington, D.C., working as a newspaper cartoonist, and classes at the Chicago Art Institute (1907-1908) and the Academie Julian in Paris (1908). He discusses the New York art world, painting scenes for silent movies, the "Stieglitz Society," the synchromist and regionalist movements, John Weichsel and the People's Art Guild, teaching at the Art Students League and the Kansas City Art Institute, murals and mural techniques, lithographic illustrations, drawings, and World War II propaganda posters. He recalls Thomas Craven, Rex Ingram, Stanton Macdonald-Wright, Jackson Pollock, Alma Reed, Boardman Robinson, and others.
Biographical / Historical:
Thomas Hart Benton (1889-1975) was a painter and mural painter.
General:
Originally recorded on 2 sound tape reels. Reformatted in 2010 as 4 digital wav files. Duration is 3 hr., 46 min.
Provenance:
These interviews are part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and others.
