Contain articles and photographs primarily relating to the clothing manufacturing and textile weaving trades in Ireland. In addition, there are photographs of Ireland including Blarney Castle in County Cork and James Joyce's Tower in Dublin. Materials are arranged in chronological order.
Collection Restrictions:
The collection is open for research use.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning intellectual property rights. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Virginia "Jimmie" Booth Collection, Archives Center, National Museum of American History, Smithsonian Institution.
Consist of materials primarily relating to Donald Brook Davies the Welsh clothing manufacturer headquartered in Enniskerry, County Wicklow, Ireland. His company created clothing designed by his wife Mary Davies. Materials include magazine articles, photographs, printed advertisements, promotional literature, fabric swatches, photographs, a shopping bag, store drawing, newspaper articles, and a management consultants report.
There are also photographs of designs and newspaper articles relating to Countess Ebba Von Eckermann (April 19, 1921-February 2, 2018) Swedish fashion designer and owner of Ebba von Eckermann Textilier a company that created woven fabrics for the retail trade. An article printed in Victoria magazine relates to Sybil Connally (January 24, 1921- May 6, 1998), a Dublin-based fashion designer who was known for creating clothing using traditional Irish textiles and styles. In addition, there are photographs of models in Irish fashions. Materials are arranged first in alphabetical order and then in chronological order within each person.
Collection Restrictions:
The collection is open for research use.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning intellectual property rights. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Virginia "Jimmie" Booth Collection, Archives Center, National Museum of American History, Smithsonian Institution.
Collection items available for reproduction, but the Archives Center makes no guarantees concerning intellectual property rights. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Virginia "Jimmie" Booth Collection, Archives Center, National Museum of American History, Smithsonian Institution.
Collection items available for reproduction, but the Archives Center makes no guarantees concerning intellectual property rights. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Virginia "Jimmie" Booth Collection, Archives Center, National Museum of American History, Smithsonian Institution.
An account of Mr. Craton's life from his birth on June 23, 1902 to January 1, 1924. Written in 1972, from old letters, genealogical materials collected by Mr. Craton's mother and memory.
Collection Restrictions:
Collection is open for research.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Forman H. Craton Collection, 1902-1983, Archives Center, National Museum of American History.
Sponsor:
Digitization of this collection was made possible by Andrew and Anya Shiva.
Alabama-English, 2433 typed cards in 2 boxes; English-Alabama, approximately 3000 typed and autograph A. cards in 2 boxes. Includes terms written in pencil and marked "(K)," which may be terms in Koasati. Informants are Harden Sylestine and others.
Swanton's arrangement of the Alabama-English section is generally alphabetical, with many terms grouped together by stesm. The cards have been stamped with consecutive numbers 1-2433, and Swanton's order has been preserved. Cards that had been clipped together now have a second number, beginning with 1 for the first in a clipped group (e.g., if cards 25-27 were found clipped together, they would now be numbered 25-1, 26-2, 27-3).
The Alabama-English section (with sequentially numbered cards) contains utterances identifiable by a following number in parentheses. If the number does not begin with zero, apparently if refers to Swanton's page numbers in his rough field notes (M 4151 "second set"). Numbers beginning with zero seem to refer to the"first set," MS 4151-- Karen Lupardus, August 18, 1978.
Biographical / Historical:
The note by Swanton preceding Alabama-English section reads? "The material marked (H) was furnished by an Alabama Indian, Harden Sylestine, who translated in his own way. His translation is usually preserved lest a mistake be made in altering; the material is to be corrected later. This includes all of my Alabama material except 12 pages of text by native informants and a vocabulary which for the most part duplicates what has been given."
Local Numbers:
NAA MS 2435
Place:
Texas Polk County
Other Archival Materials:
Related Collection: Manuscript 4151
Related Collection: Manuscript 7360
Related Collection: Manuscript 7361
Topic:
Language and languages -- Documentation Search this
Indians of North America -- Southern states Search this
Genre/Form:
Dictionaries
Citation:
Manuscript 2435, National Anthropological Archives, Smithsonian Institution
The Defending Champion Invention of sewing machine changed role of women. Foreign lands now compete with American clothing manufacturers. To solve problem of increasing foreign dominance, U.S. manufacturers try to build better machines. America defends itself against foreign competition.
Collection Restrictions:
Collection is open for research but the films are stored off-site. Special arrangements must be made directly with the Archives Center staff to view episodes for which no reference copy exists. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees will be charged for reproductions.
Collection Citation:
Industry on Parade Film Collection, 1950-1959, Archives Center, National Museum of American History, Smithsonian Institution.
Correspondence, patents, photographs, newspaper clippings, and subject files about various inventors and ideas. Collection documents women inventors, American culture, 1950s-1970s, and products designed for women and the home. Donovan's papers offer a near complete invention record, including both successes and failures, as well as patent and trademark correspondence.
Scope and Contents:
The Donovan papers offer a near complete invention record, including both successes and failures, and include correspondence, photographs, patents, newspaper clippings, and subject files about various inventions and ideas. This collection documents direct marketing techniques for products designed especially for women and the home. It may be useful for researchers interested in women inventors and entrepreneurs, American culture from the 1950s through the 1970s, and advertising history.
Series 1: Personal Papers and Biographical Materials, 1917-1999
Subseries 1.1: Biographical Materials, 1917-1999 includes newspaper clippings, biographical materials, and memorabilia relating to Marion Donovan's early life, family, and social activities. Note: Original clippings have been photocopied, and researcher copies are available.
Subseries 1.2: Magazine Publications, 1953-1999 includes original magazines which featured articles on Marion Donovan.
Series 2: The Boater, 1949-1995
Includes United States and foreign patents, notes, clippings, correspondence, photos, press releases and scrapbooks that document the invention of the Boater diaper cover.
Series 3: Other Ideas and Inventions, 1941-1993
Subseries 3.1: Marion Donovan's Subject Files, 1941-1995 are arranged chronologically and contain advertisements, articles, correspondence, sketches, notes, United States and foreign patents, photo materials, press releases, publications, and some artifacts documenting her ideas and inventions.
Subseries 3.2: Barbara Walters' Television Special, Not For Women Only, [1975] features an episode highlighting "Inventors and Invention," with a panel that includes Marion Donovan, Jacob Rabinow, and Henry Kloss, demonstrating their inventions.
Series 4: Dentaloop, 1979-1996
Subseries 4.1: Manufacturing Files, 1979-1996 contains files relating to the manufacture and packaging of DentaLoop, and includes photo materials, correspondence with various manufacturers including Johnson & Johnson, clippings, craft materials, and reports.
Subseries 4.2: Patents and Patent History, 1985-1996 contains files kept by Marion Donovan documenting the patent history of her and others' dental inventions.
Subseries 4.3: Marketing Files, 1989-1995 includes a substantial mailing list compiled over the years by Marion Donovan Associates, various order forms, advertising drafts, press releases, correspondence with Procter & Gamble, photo materials, personalized questionnaire responses, and a "How-To" videotape demonstration.
Arrangement:
The collection is divided into 4 series.
Series 1: Personal Papers and Biographical Material, 1999
Series 2: The Boater, 1949-1999
Series 3: Other Ideas and Inventions, 1941-1993
Series 4: DentaLoop, 1979-1996
Biographical / Historical:
Twentieth-century inventor, Marion O'Brien Donovan (1917-1998), made a career of designing solutions to everyday, domestic problems. Her career is framed by her invention in 1949 of the "Boater," a diaper cover made of surplus parachute nylon, and her invention in 1993 of DentaLoop, individual precut circles of two-ply dental floss. As an inventor and entrepreneur, Donovan created products that addressed problems in personal health, beauty, and household needs.
Marion O'Brien was born into a family of inventors on October 15, 1917, in South Bend, Indiana. Marion's father, Miles O'Brien, with his identical twin brother John, developed an industrial lathe for manufacturing gun barrels and founded the South Bend Lathe Works in 1906. After her mother died when she was seven, Marion spent a majority of her time at her father's factory, even inventing a "tooth powder" while in elementary school. She graduated with a B.A. in English from Rosemont College in 1939, and worked briefly for both Harper's Bazaar and Vogue. In 1942, she married James F. Donovan and moved to Westport, Connecticut.
A Connecticut housewife and mother of two in 1946, Donovan was unsatisfied with the options available to her to keep her babies dry. To her, cloth diapers "served more as a wick than a sponge," and rubber pants assured a nasty case of diaper rash. Looking for a way to hold the dampness in without keeping air out, she experimented by clipping a panel from her shower curtain, sewing a moisture-proof diaper cover, and replacing safety pins with snaps. Three years later, she introduced the "Boater." Donovan's attempts to sell her idea to leading manufacturers failed, but her product became an instant sensation and commercial success when she began selling the Boater at Saks Fifth Avenue in 1949. In 1951, Donovan sold both her company, Donovan Enterprises, and her diaper patents to children's clothing manufacturer Keko Corporation, for one million dollars.
Marion Donovan's interest in design and invention manifested itself in a Master's degree in architecture which she received from Yale University in 1958, at age forty-one. According to her obituary, she was one of three women in her graduating class. In the decades that followed, Donovan would go on to invent "The Ledger Check," a combined check and record-keeping book; "The Big Hang-Up," a garment hanger and closet organizer; and "The Zippity-Do," an elasticized zipper pull.
Marion Donovan was involved in every aspect of product development, serving as creator, designer, manufacturer, and marketer. Often, designing the product also meant designing the machinery that could construct the product to her unique specifications. While working on the development of DentaLoop, for example, she and second husband, John Butler, traveled to a factory in Germany to explore floss-producing machinery ideas. Donovan also went to great lengths to market her floss product. Between the years 1991 and 1995, in collaboration with daughter Christine, she launched her largest promotional campaign, marketing DentaLoop directly to hundreds of dental professionals and pharmacists all over the country. Always envisioning improvements, she continued to correspond with companies specializing in oral hygiene products until her husband suffered a stroke, and she focused her attentions on caring for him. Following his death in July, Marion O'Brien Donovan Butler died four months later on November 4, 1998.
Related Materials:
Artifacts were donated to the National Museum of American History in March of 2000. The "Boater" diaper cover (1949), a key chain bracelet, and "The Zippity-Do" (1970) were donated to the American Costume Collection of Social History Collection (now Division of Cultural and Community Life). "DentaLoop" (1993) materials were donated to the Science, Medicine, and Society Division (now Division of Medicine and Science).
Provenance:
Ms. Donovan's daughters, Christine Donovan and Sharon Donovan Dodd, and son, Dr. James F. Donovan, Jr., donated the collection to the Archives Center, March 2000.
Restrictions:
Collection is open for research.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection is open for research. Some items may be restricted due to fragile condition.
Series Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Series Citation:
Warshaw Collection of Business Americana, Archives Center, National Museum of American History, Smithsonian Institution
Sponsor:
Funding for partial processing of the collection was supported by a grant from the Smithsonian Institution's Collections Care and Preservation Fund (CCPF).
Freedmen's Bureau Digital Collection, 1865–1872, is a product of and owned by the National Museum of African American History and Culture, Smithsonian Institution. Copyright for digital images is retained by the donor, FamilySearch International; permission for commercial use of the digital images may be requested from FamilySearch International, Intellectual Property Office, at: cor-intellectualproperty@ldschurch.org.
Collection Citation:
Courtesy of the U. S. National Archives and Records Administration, FamilySearch International, and the Smithsonian National Museum of African American History and Culture.
Freedmen's Bureau Digital Collection, 1865–1872, is a product of and owned by the National Museum of African American History and Culture, Smithsonian Institution. Copyright for digital images is retained by the donor, FamilySearch International; permission for commercial use of the digital images may be requested from FamilySearch International, Intellectual Property Office, at: cor-intellectualproperty@ldschurch.org.
Collection Citation:
Courtesy of the U. S. National Archives and Records Administration, FamilySearch International, and the Smithsonian National Museum of African American History and Culture.
Freedmen's Bureau Digital Collection, 1865–1872, is a product of and owned by the National Museum of African American History and Culture, Smithsonian Institution. Copyright for digital images is retained by the donor, FamilySearch International; permission for commercial use of the digital images may be requested from FamilySearch International, Intellectual Property Office, at: cor-intellectualproperty@ldschurch.org.
Collection Citation:
Courtesy of the U. S. National Archives and Records Administration, FamilySearch International, and the Smithsonian National Museum of African American History and Culture.
Wright, Frank Lloyd, 1867-1959 -- Photographs Search this
Extent:
13.3 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Scrapbooks
Diaries
Christmas cards
Designs
Interviews
Sketchbooks
Sketches
Sound recordings
Transcripts
Place:
Japan -- Description and Travel
Date:
1880s-1997
Summary:
The collection measures 13.3 linear feet, dates from the 1880s-1997 and documents the life and varied career of Rudolph Schaeffer, artist, designer, teacher, writer, collector of Asian art, and pioneer in the field of color study who founded the Rudolph Schaeffer School of Design in San Francisco in 1926. The papers include biographical information, correspondence, subject files, writings, diaries, journals, artwork, scrapbooks, sound recordings, and photographs.
Scope and Content Note:
The collection measures 13.3 linear feet, dates from the 1880s-1997, and documents the life and varied career of Rudolph Schaeffer, artist, designer, teacher, writer, collector of Asian art, and pioneer in the field of color study who founded the Rudolph Schaeffer School of Design in San Francisco in 1926. The papers include biographical information, correspondence, subject files, writings, diaries, journals, artwork, scrapbooks, sound recordings, and photographs.
Correspondence documents Schaeffer's personal and professional activities as well as the Rudolph Schaeffer School of Design. Subject files contain various combinations of correspondence, photographs, printed material, and drawings reflecting Schaeffer's activities, projects, and interests. Within the subject files is correspondence with artists, including Mark Tobey. Extensive writings include manuscripts for published and unpublished articles and drafts, notes, and manuscripts of several unpublished books including Collected Lectures of Rudolph Schaeffer on Color and Design, Color and Design, Prismatic Color Theory, and Rhythmo-Chromatics, all undated. Diaries include a volume recording Schaeffer's 1936 trip to Japan. 42 volumes of journals, compiled between 1954 and 1987, contain entries on a wide range of subjects including lists of errands, invitation lists, class notes, drafts of letters, notes including staff assignments and staff meetings, autobiographical notes and reminiscences, and musings on religion and philosophy.
The Artwork series houses artwork by Schaeffer and his students. Found are hand-made Christmas cards, designs, sketches, and sketchbooks. Seven scrapbooks document Rudolph Schaeffer's career, his school and former students, and the San Francisco art scene. They contain printed material, photographs, letters, and a small amount of artwork. Volume 3 is devoted to East West Gallery, and volume 7 documents Rudolph Schaeffer's 90th Birthday and the 50th Anniversary of the Rudolph Schaeffer School of Design.
Most untranscribed sound recordings (audio cassettes and reels) are of lectures by Schaeffer and others delivered at the Rudolph Schaeffer School of Design.
Miscellaneous records includes a series of hand-baticked fabric samples from the Wiener Werkstatte, as well as transcripts of an oral history with Schaeffer and other interviews.
Printed material concerns the career of Rudolph Schaeffer, his school and former students, the San Francisco art scene, and general art topics. Included are articles and a book by Schaeffer, catalogs and other items produced by the Rudolph Schaeffer School of Design, and miscellaneous items about or mentioning Schaeffer and his school. Items of note are announcements of courses taught by Schaeffer in Piedmont and San Francisco prior to the opening of his school, and theatre programs from productions with sets and some costumes designed by Schaeffer in the early 1920s.
Photographs are of artwork, people, places, events, stage designs, and miscellaneous subjects. Artwork includes some designs by Rudolph Schaeffer; people include Schaeffer, his family, friends, and students. Of particular note are a photograph of Frank Lloyd Wright's visit to the Rudolph Schaeffer School of Design, and one of Rudolph Schaeffer and Imogen Cunningham. Places include interior and exterior views of the Rudolph Schaeffer School of Design at its St. Anne Street and Mariposa Street locations. Also included are photographs by Ansel Adams of the home of Ed and Caroline Fey.
Arrangement:
The collection is arranged as 10 series:
Missing Title
Series 1: Biographical Information, 1900-1988 (Box 1; 0.1 linear ft.)
Series 2: Correspondence, 1906-1989 (Box 1, 19; 0.5 linear ft.)
Series 3: Subject Files, 1907-1988 (Boxes 1-2, OV 16; 1.3 linear ft.)
Series 4: Writings, circa 1910-1987 (Boxes 2-6, 15, 19, 21; 4.2 linear ft.)
Series 5: Artwork, 1911-1957 (Boxes 6-15, 19, 21 OV 17; 0.6 linear ft.)
Series 6: Scrapbooks, 1933-1976 (Boxes 6, 14, 19; 0.6 linear ft.)
Series 7: Sound Recordings, 1949-1986 (Boxes 11-13; 1.2 linear ft.)
Series 8: Miscellaneous Records, 1905-1986 (Box 7, 19, 22; 0.8 linear ft.)
Series 9: Printed Material, 1906-1994 (Boxes 7-8, 15, 19, 22; 1.2 linear ft.)
Series 10: Photographs, 1880s-circa 1988 (Boxes 8-10,15, 20, 22, OV 18; 1.8 linear ft.)
Biographical Note:
Rudolph Schaeffer (1886-1988), a proponent of the Arts and Crafts movement, aspired to unite technology, science, and lifestyle in order to live in harmony with nature. An individual with many talents and interests, he was best known for his work in the field of color study and as a teacher and the founder of the Rudolph Schaeffer School of Design in San Francisco.
Born on a farm in Clare, Michigan in 1886, Rudolph Schaeffer displayed musical and artistic talent from a young age. Although he initially wanted to become a professional musician, he began focusing more on art when his musical abilities were compromised by an improperly set broken wrist. Schaeffer received his first formal art training as a high school student and then attended the Thomas Normal Training School in Detroit, where he studied music, art, and design. He continued studying independently, developing interests in calligraphy and metal craft.
In 1907, Schaeffer taught manual training courses in the Columbus, Ohio, public schools. The following summer he traveled to Paris and London. While in London he saw an exhibition of Josef Hoffman's modern interiors that had a great impact on his own design ideas. He then returned to Michigan and taught in schools close to home. In 1909, Schaeffer attended a design course in Minneapolis taught by A. E. Batchelder, director of Throop Polytechnic Institute in Pasadena. Both Batchelder and his course were strong influences on Schaeffer, as was Ralph Johnot, a proponent of Arthur Wesley Dow's design principles. In 1910 Schaeffer joined the faculty of Throop Polytechnic Institute, where he remained for five years.
The U. S. Commission on Education selected Schaeffer to be part of a delegation of twenty-five American teachers sent to Munich for several months in 1914 to investigate the exemplary industrial design curriculum offered in their secondary schools. Schaeffer subsequently expected to begin teaching at the Manual Arts High School in Los Angeles at the start of the 1914 school year, but World War I erupted while he was in Germany and his return to the United States was delayed so long that another teacher had to be hired to fill his place.
In 1915 Schaeffer was a manual training instructor at the California College of Arts and Crafts (formerly the Hopkins School), and taught design and metal crafts at the University of California Berkeley. For a number of years afterwards, he did free lance design work, taught private classes, and ran a small summer school in his Piedmont studio. Schaeffer was a visiting professor at Stanford University in 1918 when he was drafted and sent to drafting and surveying courses by the Army. Between 1917 and 1924 Schaeffer was on the faculty of the California College of Arts and Crafts where he taught design, color, handicrafts, and interior design. During this period he developed a new approach to teaching color and design based on the prismatic color wheel.
During the early 1920s Schaeffer worked as a set designer and as Art Director of Greek Theatre at the University of California at Berkeley, Schaeffer began applying prismatic color theory to set and costume design. He also designed sets for productions in Detroit. In 1925, Schaeffer saw the Paris Exposition and researched interior and stage design while in France.
The Rudolph Schaeffer School of Design which, in its early days was called the Rudolph Schaeffer School of Rhythmo-Chromatic Design, opened on St. Anne Street in San Francisco's Chinatown in 1926. In 1951 the school then moved to Union Street on Telegraph Hill where it remained for nearly a decade. In 1960, the school purchased a former boys' school on Mariposa Street, Portero Hill. Rudolph Schaeffer lived in a small cottage built for him at the rear of the property where he designed and tended a remarkable "Peace Garden."
The Rudolph Schaeffer School of Design was best known for its courses in color and interior design. Schaeffer was the first person in the United States to teach prismatic color theory, is credited with being the first to use the term "interior design" rather than "interior decoration" and the first to incorporate the use of models into interior design coursework. In 1959 the school's courses were expanded from 2 to 3-year programs and a diploma was awarded. Former students include many successful interior designers, textile designers, furniture designers, industrial designers, commercial artists, color consultants, teachers, and master flower arrangers.
In addition to the interior design and color diploma courses, the school offered a summer session, classes for children, a brief lecture series for the general public, and a wide variety of classes including advertising art, architecture and design, art history, art in public schools, calligraphy, color design, color for television, color for weavers, color theory, design, drawing, environmental aesthetics, fashion design, fashion illustration, flower arrangement, industrial design, interior design, Notan, sculpture, space planning, textile design, and weaving. Always struggling financially and sometimes lacking adequate enrollment, the school nevertheless managed to stay open for nearly 60 years. In 1984, the Board of Directors voted to remove Schaeffer from the board and close the school. Two years earlier the board had forced Schaeffer to retire, appointed him Director Emeritus, and brought in a new director charged with making the institution financially solvent, reorganizing the curriculum, and working toward accreditation. Unable to separate himself from the school (though he had done so legally when it was incorporated in 1953), Schaeffer balked and refused to cooperate with plans for revitalizing the institution.
One of the aims of the Rudolph Schaeffer School of Design was to interpret Asian esthetic principles. To this end the East West Gallery was established at the school in 1950. A membership organization, it offered exhibitions, lectures, concerts, and other programs that encouraged cultural integration. Exhibitions alternated between East (Asian art and artifacts from Rudolph Schaeffer's collection or other sources) and West (student work or work of local artists illustrating the influence of the Asian esthetic on contemporary art and design). East West Gallery was a membership organization, the first space of its kind in San Francisco for Asian art and operated in each of the school's locations.
In addition to running the school Schaeffer was involved in many other activities. He wrote several articles about flower arrangement, color, and color theory that were published in popular magazines. In 1935, he published Flower Arrangement Folio I (said to be the first on the subject published in this country) and in 1942 edited and wrote the introduction to Sunset's Flower Arrangement Book by Nell True Welch. Over a period of many years, he worked on several monographs on color, design, and "rhythmo-chromatics." None were ever published.
A sought-after speaker on the subjects of color, interior design, flower arrangement, and myriad other art topics, Schaeffer frequently served as a juror for art exhibitions and flower shows. From the 1930s on, the San Francisco department store Emporium used his services as a color consultant, as did Dutch Boy paints, and numerous textile and clothing manufacturers. Builders also asked Schaeffer to select interior and exterior colors for suburban housing developments.
Schaeffer worked on planning and designing the decorative arts exhibition at the 1939-40 Golden Gate International Exposition. In 1943-44, he participated in the Red Cross's Arts and Skills program, using color therapy with shell-shocked soldiers in a psychiatric unit.
The Rudolph Schaeffer Collection of Asian Art began as a collection of ceramics, both historical and contemporary examples chosen for their form and color, which he used for flower arrangements and in set-ups for still life classes. It soon expanded to include color prints, paintings, screens, and other works of art and portions were exhibited frequently in the East West Gallery. Selections from this collection were exhibited in Kansas City in 1960 and at the Asian Art Museum of San Francisco in 1976.
The City of San Francisco declared June 26, 1986, Schaeffer's 100th birthday, "Rudolph Schaeffer Day" and it was observed with great fanfare. He died at home on March 5, 1988, a few months before his 102nd birthday.
Provenance:
The Rudolph Schaeffer papers were donated in 1991 by Rudolph Schaeffer and the Rudolph Schaeffer School of Design administrator Peter Docili, and in 1999 and 2000 by James Alexander, a friend of both Schaeffer and Docili, who had been storing portions of Docili's estate after his death in 1998, with the assistance of Frances Valesco, a fiber artist and researcher. An addition was received in 2007 by William Woodworth, a close friend and caretaker of Schaeffer's and in 2017 and 2018 by Frances Valesco.
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 requires advance notice.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Art teachers -- California -- San Francisco Search this
Topic:
Artists -- California -- San Francisco Search this
Designers -- California -- San Francisco Search this
Art -- Collectors and collecting -- California -- San Francisco Search this
