Skip to main content Smithsonian Institution

Search Results

Collections Search Center
59 documents - page 1 of 3

[Early 20th century house], Ijebu area, village of Imewuro, Nigeria

Photographer:
Drewal, Margaret Thompson  Search this
Collection Creator:
Drewal, Henry John  Search this
Drewal, Margaret Thompson  Search this
Extent:
1 Slide (col.)
Culture:
Yoruba (African people)  Search this
Type:
Archival materials
Slides
Color slides
Place:
Africa
Nigeria
Date:
1986
Local Numbers:
EEPA 1992-028-06952
Collection Restrictions:
Use of original records requires an appointment. Contact Archives staff for more details.
Collection Rights:
Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. Copyright held by John and Margaret Drewal. To publish images from this collection, permission must be given by Henry and Margaret Drewal. Contact Archives staff for further information. The collection is subject to all copyright laws.
Topic:
Mod. architecture/cityscape -- Photographs  Search this
Genre/Form:
Color slides
Collection Citation:
Henry and Margaret Drewal Photographs, EEPA 1992-028, Eliot Elisofon Photographic Archives, National Museum of African Art, Smithsonian Institution.
Identifier:
EEPA.1992-028, Item EEPA D06952
See more items in:
Henry and Margaret Drewal photographs
Archival Repository:
Eliot Elisofon Photographic Archives, National Museum of African Art
EDAN-URL:
ead_component:sova-eepa-1992-028-ref9455

Morris Jacks Papers

Source:
Work and Industry, Division of, NMAH, SI  Search this
Names:
Empire State Building (New York, N.Y.)  Search this
Yankee Stadium (New York, N.Y. : 1923-2009)  Search this
Former owner:
Work and Industry, Division of, NMAH, SI  Search this
Extent:
3 Cubic Feet (6 boxes, 1 map-folder)
Type:
Archival materials
Collection descriptions
Correspondence
Reports
Blueprints -- 20th century
Legal documents -- 20th century
Color slides -- 20th century
Photographs -- Black-and-white photoprints -- 1930-1950
Date:
1929-1974
Summary:
Papers document consulting engineer Morris Jacks and his work with the Empire State Building, Yankee Stadium, and the Third Avenue Transit Corporation.
Content Description:
Papers document consulting engineer Morris Jacks and his work with the Empire State Building, Yankee Stadium, and the Third Avenue Transit Corporation. The collection consists of correspondence, appraisals, reports, blueprints, legal documents, and other notes about Jacks's work related to the valuation of structures.
Arrangement:
The Collection is arranged into 4 series.

Series 1: Personal Materials, undated

Series 2: Empire State Building, 1929-1975

Series 3: Third Avenue Transit Corporation, 1949-1955

Series 4: Yankee Stadium, 1945-1976
Biographical / Historical:
Morris Jacks was a ptacticing and consulting engineer who graduated from Washington University (St. Louis) in 1920. He supervised construction projects in Missouri and New York City and was president and chief engoneer of Sola Engineering Corporation which worked on excavations and foundations. Jacks also conducted appraisals and the valuation of structural improvements (buildings, fixtures, machinery, piping, and wiring) working for the City of New York , Board of Taxes and Assessments He also acted as an expert witness, providing testimony in state and federal court for legal cases involving construction costs and depreciations of buildings and equipment.
Provenance:
Immediate source of acquisition unknown.
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.
Topic:
Engineering -- 20th century  Search this
Stadiums  Search this
Appraisals  Search this
Genre/Form:
Correspondence
Reports
Blueprints -- 20th century
Legal documents -- 20th century
Color slides -- 20th century
Photographs -- Black-and-white photoprints -- 1930-1950
Citation:
Morris Jacks Papers, Archives Center, National Museum of American History
Identifier:
NMAH.AC.1448
See more items in:
Morris Jacks Papers
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-1448

William P. Johnson Lunar Module Collection

Creator:
Johnson, William P, 1931-2002  Search this
Names:
Grumman Aerospace Corporation  Search this
Extent:
3.43 Cubic Feet ((3 boxes))
Type:
Archival materials
Collection descriptions
Technical manuals -- 20th century
Black-and-white photographs
Color slides
Publications
Date:
bulk 1960s
Scope and Contents:
This collection consists of the following types of material documenting William Johnson's work on the Lunar Module: color snapshots, black and white photography, decals and patches, color slides, newspaper and magazine articles, manuals and reports, Grumman Plane News, posters, drawings of the control panel, press releases, and pamphlets.
Biographical / Historical:
William P. "Swede" Johnson (1931-2002) was born in Evanston, Illinois. After high school, Johnson joined the United States Navy and became an Aviation Structural Mechanic from December 1950 until September 1954. Johnson then worked at Grumman Aerospace Corporation in Bethpage, New York, on several Lunar Modules for the Apollo Space program and later lectured about the space program for Grumman. He owned and flew an experimental aircraft.
Provenance:
Charlotte Bennardo, Gift, 2004
Restrictions:
No restrictions on access.
Rights:
Material is subject to Smithsonian Terms of Use. Should you wish to use NASM material in any medium, please submit an Application for Permission to Reproduce NASM Material, available at Permissions Requests
Topic:
Manned space flight  Search this
Space flight  Search this
Astronautics  Search this
Apollo Lunar Module  Search this
Genre/Form:
Technical manuals -- 20th century
Black-and-white photographs
Color slides
Publications
Citation:
William P. Johnson Lunar Module Collection, Accession number 2005-0003, National Air and Space Museum, Smithsonian Institution.
Identifier:
NASM.2005.0003
Archival Repository:
National Air and Space Museum Archives
EDAN-URL:
ead_collection:sova-nasm-2005-0003

Smothers Brothers Collection

Names:
Paulsen, Pat  Search this
Seeger, Pete, 1919-2014  Search this
Extent:
12 Cubic feet (12 boxes)
Type:
Archival materials
Collection descriptions
Biography files
Clippings
Color slides
Contact sheets
Contracts
Itineraries
Legal records
Letters (correspondence)
Photograph albums
Photographs
Color prints (photographs)
Programs
Press releases
Scrapbooks
Scripts (documents)
Date:
1937-2003
bulk 1960-1990
Summary:
The collection documents the lives and careers of the Smothers Brothers, with emphasis on their television variety show, The Smothers Brothers Comedy Hour.
Scope and Contents:
The collection documents the lives and careers of the Smothers Brothers, with emphasis on their television variety show, The Smothers Brothers Comedy Hour. The collection includes very large numbers of photographs, slides, contact prints and negatives. These include a few childhood photographs of the brothers and their family, performance photographs, their talent agency's publicity shots, candid photographs of the act on tour, album cover shots, and behind-the-scenes photographs of the show and its guest stars. The comedian Pat Paulsen appears in many of the photographs. The photographs of the show's guests are mostly contact sheets and include no captions. Other types of materials in the collection include publicity materials including press releases, programs, biographical information, and clippings; fan mail, some from famous persons (many of these are photocopies) such as Lucille Ball, Jack Paar, and others; business records including contracts, tour itineraries, talent agency correspondence, memos, correspondence with CBS regarding content of the shows and relating to editing, objections, etc.; a file of letters received from viewers, some complimentary, some critical, after the show aired a feature lampooning gun owners; a file of letters criticizing the show for having Pete Seeger as a guest; a file of letters from members of Congress; one script; several scrapbooks, mostly containing clippings; one photograph album; and a large file of legal and other papers relating to the lawsuit against CBS.
Arrangement:
Collection is unarranged.
Biographical / Historical:
The Smothers Brothers were a folksinging duo who toured and made occasional appearances on television variety shows during the 1960s. Starting in 1967, the brothers had their own show, The Smothers Brothers Comedy Hour. The show often contained controversial content and often featured appearances by controversial guest performers. The show was cancelled in 1969 by the network, over conflicts regarding the network's rights to edit or censor the programs in advance. The brothers sued the network successfully but the show was not reinstated. They continued to make occasional television appearances, tour and record, retiring in 2010.
Restrictions:
Collection is open for research.
Rights:
Reproduction restricted due to copyright or trademark.
Topic:
Comedy  Search this
Folk singers  Search this
Television personalities  Search this
Television  Search this
Variety shows (Television programs) -- Production and direction  Search this
Genre/Form:
Biography files
Clippings -- 20th century
Color slides -- 20th century
Contact sheets
Contracts
Itineraries
Legal records
Letters (correspondence) -- 20th century.
Photograph albums
Photographs -- 20th century
Color prints (photographs) -- 20th century
Photographs -- Black-and-white photoprints -- 20th century
Photographs -- Black-and-white negatives -- 20th century
Photographs -- Black-and-white negatives -- Acetate film
Programs
Press releases
Scrapbooks
Scripts (documents)
Photographs -- 20th century -- Color prints
Citation:
Smothers Brothers Collection, Archives Center, National Museum of American History.
Identifier:
NMAH.AC.1437
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-1437
Additional Online Media:

"African and Middle Eastern History" slide collection

Extent:
541 slides (photographs) (+master guide +special guide)
Container:
Volume 1
Type:
Archival materials
Collection descriptions
slides (photographs)
Black-and-white transparencies
Color slides
Place:
Africa -- Politics and government -- 20th century
Africa -- Social conditions
Africa, North
Africa -- history -- 20th century
Africa -- Civilization
Africa, North -- history -- 1882-
Africa -- history -- 1884-1960
Africa -- history
Africa -- Antiquities
Africa
Date:
1998
Summary:
A published instructional slide set of African and Middle Eastern scenes that is part of a larger slide set of "The World History Slide Collection".
Formatted Contents note:
Group A-G. African and Middle Eastern History (670 slides) - - Group A. History of Traditional Africa (112 slides) - - Group B. Africa and Europe to World War II (108 slides) - - Group C. Southern Africa to 1948 (42 slides) - - Group D. Sub-Saharan Africa After 1945 (72 slides) - - Group F. Northern and Northeast Africa to 1945 (67 slides) - - Group G. North Africa and the Middle East After 1945 (70 slides).
Restrictions:
Use of original records requires an appointment. Contact Archives staff for more details.
Rights:
For study purposes only. Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.
Topic:
World War, 1939-1945 -- Africa  Search this
World history  Search this
Slave trade -- Africa -- History  Search this
Genre/Form:
Black-and-white transparencies
Color slides
Identifier:
EEPA.1988-005
Archival Repository:
Eliot Elisofon Photographic Archives, National Museum of African Art
EDAN-URL:
ead_collection:sova-eepa-1988-005

Paola Ferrario Color Photographs

Creator:
Ferrario, Paola  Search this
Extent:
0.1 Cubic feet (1 box)
Type:
Archival materials
Collection descriptions
Color slides
Ektacolor Supra II (brand name) paper
Photographs
Slides (photographs)
Color prints (photographs)
Chromogenic color prints
Chromogenic processes
Place:
Elgin (Texas) -- 1990-2000
Guatemala -- 1990-2000
Taylor (Texas) -- 1990-2000
Texas -- 1990-2000
Date:
1989-1996
Summary:
Two color prints of industrial subjects in Elgin, Texas, and Taylor, Texas, 1995-1996; and 35mm color slide copies of 20" x 24" color prints: 12 from "Texas Cotton Towns series, 1995-1996, and 10 from "Guatemalan Altars" series, 1989-1996.
Scope and Contents:
Collection consists of color prints of industrial subjects in Elgin, Texas, and Taylor, Texas, 1995-1996 and color slide copies of 20" x 24" color prints.
Arrangement:
The collection is arranged into twp series.

Series 1: Color Prints

Series 2: Color Slides
Biographical / Historical:
Born in Rho (Milan) Italy in 1963. BFA, San Francisco Art Institute; M.F.A. in photography, Yale University 1988. Since then, she has completed projects in Italy, Guatemala, Turkey and the United States. She has received several awards and fellowships, including the Friends of Photography/Calumet Emerging Photographer award in 2000 and the Paul Taylor/Dorothea Lange Prize from Duke University in 2001, Puffin Foundation Grant in 2003, a Guggenheim Fellowship in Photography in 2004 and Harnish Visiting Fellowship at Smith College 2005–11 and 2016–17. Her work has been collected by the Museum of Modern Art in New York. Ferrario is the author of 19 Pictures, 22 Recipes 2012. She has published criticism in such publications as Art in America and Photograph magazine. She is represented by Rick Wester Fine Art in New York. Asssistant Professor of Photography, Rhode Island College, Providence.
Provenance:
Collection donated by Paola Ferrario, December 18, 1998 and June 26, 2002.
Restrictions:
Collection is open for research.
Rights:
Paola Ferrario retains copyright. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Cotton -- 1990-2000 -- Texas  Search this
Industrial photography -- 1990-2000 -- Texas  Search this
Photography, Industrial -- 1990-2000 -- Texas  Search this
Color photography -- 1990-2000  Search this
Genre/Form:
Color slides -- 1990-2000
Ektacolor Supra II (brand name) paper
Photographs -- Color prints -- 20th century
Photographs -- 1980-2000
Slides (photographs) -- 1980-2000
Color prints (photographs)
Chromogenic color prints
Chromogenic processes
Citation:
Paola Ferrario Color Photographs, 1989-1996, Archives Center, National Museum of American History
Identifier:
NMAH.AC.0699
See more items in:
Paola Ferrario Color Photographs
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-0699

Aircraft Propulsion Collection [Mikel]

Names:
United Aircraft Corporation. Pratt & Whitney Aircraft Division  Search this
Westinghouse Electric & Manufacturing Company  Search this
Extent:
0.41 Cubic feet ((2 boxes and 2)
Type:
Archival materials
Collection descriptions
Technical manuals
Photographic prints
Drawings
Brochures
Date:
bulk 1917-1985
Scope and Contents:
This collection consists of manuals, reports, photographs, drawings, brochures, and other material relating to aircraft propulsion. The following companies are represented: Pratt & Whitney, Armstrong Siddeley, Bristol, Napier, Westinghouse, and Rolls Royce Engines. Besides material on engines and propellers, the collection also contains U.S. Navy Department Power Plant Memorandums and color slides of 1962 and 1964 British air shows.
Provenance:
Ulrika Mikel, Gift, 1994
Restrictions:
No restrictions on access.
Rights:
Material is subject to Smithsonian Terms of Use. Should you wish to use NASM material in any medium, please submit an Application for Permission to Reproduce NASM Material, available at Permissions Requests
Topic:
Propulsion systems  Search this
Aeronautics  Search this
Aeronautics, Military  Search this
Aeronautics -- Exhibitions  Search this
Genre/Form:
Technical manuals -- 20th century
Photographic prints
Drawings
Brochures
Citation:
Aircraft Propulsion Collection [Mikel], Acc. 1994-0018, National Air and Space Museum, Smithsonian Institution.
Identifier:
NASM.1994.0018
Archival Repository:
National Air and Space Museum Archives
EDAN-URL:
ead_collection:sova-nasm-1994-0018
Additional Online Media:

Robert Love Collection

Creator:
Love, Robert J.  Search this
Names:
Northrop Aircraft, Inc.  Search this
Extent:
3 Cubic Feet ((5 boxes))
Type:
Archival materials
Collection descriptions
Photographs
Interviews
Motion pictures (visual works)
Correspondence
Technical manuals -- 20th century
Date:
bulk 1947-1989
Scope and Contents:
This collection consists of 3 cubic feet of materials relating to Robert Love's career in aviation: both his military career, especially relating to his exploits in the Korean War; and his civilian career, most notably his time as a test pilot with Northrop and his involvement with the Reno Air Races. This collection consists of the following types of archival material: photographs, color slides, 16 mm motion pictures films, U-matic videos, technical manuals, certificates, military records, correspondence, licenses, individual flight records, Northrop publications, and interviews of Love on audio tape cassettes.
Biographical / Historical:
Major Robert J. "Bob" Love (1917-1986) had an impressive military and civilian aviation career. Born in Grand Prairie, Alberta, Canada, his family moved to New York when he was young. Love learned to fly in 1940 and before the United States entered World War II, he joined the Royal Canadian Air Force. After the United States joined the war, Love joined the United States Army Air Corps and flew a variety of aircraft, including Lockheed P-38s and North American P-51 Mustangs, but was kept in a training command stateside. Love represented the USAF in the 1947 and 1949 Cleveland Air Races. In the late 1940s, Love left the Air Corps to become a Commanding Officer in the Air National Guard. His unit was activated for the Korean War, and he was eventually transferred to the 4th Fighter Interceptor Wing, where he flew North American F-86 Sabre jets. He flew over 50 combat missions between January - March 1952 and became an ace by shooting down six MiG MiG-15 Fagots. After the Korean War, Love left the military to become a test pilot for Northrop Aircraft where he tested the Northrop F-89 Scorpion, Northrop F-20 (F-5G) Tigershark, and Northrop T-38 Talon. After his stint at Northrop, he spent time in Central America as a mercenary fighter pilot in the wars between El Salvador and Nicaragua, and later tried to establish a rubber tree plantation in Guatemala. He returned to the United States and had a career flying as an executive pilot for a number of firms, including for Golden Industries. In 1964, Love raced a Mustang in the inaugural Reno Air Races; he crossed the finish line first, but lost the championship on points based on previous heats. He continued to be active in the Reno Races and for many years was the official Reno Race Check Pilot, approving new race pilots and recently modified World War II fighter-racers. Love was also active in the western United States air show circuit where he had a featured aerobatic act flying his Mustang P-51D.
Provenance:
Ron Burda, Gift, 2013
Restrictions:
No restrictions on access.
Rights:
Material is subject to Smithsonian Terms of Use. Should you wish to use NASM material in any medium, please submit an Application for Permission to Reproduce NASM Material, available at Permissions Requests
Topic:
Aeronautics  Search this
Korean War, 1950-1953 -- Aerial operations  Search this
Korean War, 1950-1953  Search this
Airplane racing  Search this
Test pilots  Search this
Genre/Form:
Photographs
Interviews
Motion pictures (visual works)
Correspondence
Technical manuals -- 20th century
Citation:
Robert Love Collection, Accession 2013-0057, National Air and Space Museum, Smithsonian Institution.
Identifier:
NASM.2013.0057
Archival Repository:
National Air and Space Museum Archives
EDAN-URL:
ead_collection:sova-nasm-2013-0057

Lester Shanks Collection of Covered Bridge Photographs and Ephemera

Collector:
Shanks, Lester  Search this
Extent:
3 Cubic feet (14 boxes)
Type:
Archival materials
Collection descriptions
Maps
Slides (photographs)
Photograph albums
Books
Picture postcards
Photographs
Ephemera
Travel brochures
Pamphlets
Newsletters
Postcards
Place:
Switzerland
Baltimore (Md.) -- 19th century
Date:
1876-2010
bulk 1973-2008
Summary:
The collection is comprised of the results of Shanks's research on covered bridges, mostly in America but also covered bridges in Canada and Switzerland. Included are albums containing color photographs of covered bridges, slides of covered bridges, postcards depicting covered bridges; maps, and guidebooks; newsletters, magazines, and newspaper clippings on the subject of covered bridges.
Scope and Contents:
The collection is comprised of the results of Shanks's research on covered bridges, mostly in America but also covered bridges in Canada and Switzerland. Included are albums containing color photographs of covered bridges, slides of covered bridges, postcards depicting covered bridges; maps, and guidebooks; newsletters, magazines, and newspaper clippings on the subject of covered bridges.

Series 1, Photograph Albums, 1963-2006, consists of bound albums of black-and-white and color photographs by Shanks documenting covered bridges in the United States and other countries. The series is arranged geographically and then alphabetically. Some of the states have documentation preceding the photographs which lists the counties where the covered bridges he photographed were located. Shanks assigned a number to each state and each county for organization purposes. The number 35-04-03 means Ohio-Ashtabula County-third photograph in the group. The majority of photographs are identified.

In some instances, correspondence, brochures, fliers for covered bridge activities, invitations to covered bridge events, and copies or portions of Covered Bridge Topics, a quarterly journal published by the National Society for the Preservation of Covered Bridges, containing articles and information relating to covered bridges, are also included. Wooden Covered Spans, the newsletter for the Theodore Burr Covered Bridge Society of Pennsylvania is also present. The covered bridge photographs from Switzerland were taken by Leonard Reich.

Series 2, Slides, 1971-1997, consists of color slides taken by Shanks documenting covered bridges in Alabama, Georgia, Illinois, Indiana, Iowa, Kentucky, Maine, Maryland, Massachusetts, Michigan, Minnesota, Missouri, New Hampshire, New York, North Carolina, Ohio, Oregon, Pennsylvania, South Carolina, Tennessee, Vermont, Washington, West Virginia, British Columbia, New Brunswick, Ontario, and Quebec, Canada, and Switzerland. The slides depict bridge interiors, side elevations, landscape views surrounding the bridge, river views, views of the road leading up to the bridge, and restoration work. Each slide is labeled with the name of the state/country/province, county and/or township, date, name of bridge and in some instances, the name of the river the bridge spans. Other numbers such as 38-63-22 are also present on the slides and represent a numbering system Shanks applied to his slides, which are keyed to states and counties. Shanks assigned a Roman numeral and Arabic numeral system to some of the slides (e.g. I-1 to I-100) and (13-1 to 13-100). This arrangement has been retained and while there is no key to it, the slides are arranged chronologically.

Series 3, Guide Books, 1876-2009, consists of bound guide books about covered bridges. The most significant of the guide books is theThe Stranger's Guide in Baltimore and its Environs, 1876. This small pocket guide book contains sketches of public buildings, monuments, notable localities, resorts, and suburban drives. The guide book is intended to show strangers where to go and what to see when in Baltimore.

Series 4, Maps, 1850, 1982, contains two maps for the city of Baltimore and Baltimore County, Maryland.

Series 5, National Society for the Preservation of Covered Bridges, Inc, 2005-2010, consists of copies of the Covered Bridges Topics, the official magazine for the National Society for the Preservation of Covered Bridges, Inc. (N.S.P.C.B.) and the newsletter for the N.S.P.C.B.

Series 6, Newsclippings, 2006, 2008, consists of two articles fromThe Post Standard, New York about covered bridges.

Series 7, Postcards, 1963-1985, consists of color postcards of covered bridges from a variety of locations in the United States. The postcards are arranged alphabetically by state. Some bear cancelled postmarks, but the majority are blank.
Arrangement:
The collection is divided into seven series.

Series 1, Photograph Albums, 1963-2006

Series 2, Slides, 1971-1977

Series 3, Guide Books, 1876-2009

Series 4, Maps, 1850, 1982

Series 5, National Society for the Preservation of Covered Bridges, Inc., 2005-2010

Series 6, News clippings, 2006, 2008

Series 7, Postcards, 1963-1985
Biographical / Historical:
Shanks, an employee of Baltimore Gas and Electric for over 40 years, was a covered bridge enthusiast and collector. He set a goal of photographing every covered bridge in America. Lester Shanks died October 10, 2010.
Related Materials:
Materials in the Archives Center, National Museum of American History

Warshaw Collection of Business Americana, Bridges (series), circa 1818-1940 (AC0060)

Warshaw Collection of Business Americana, Bridges: stereographs, circa 1868-1902 (mostly circa 1875-1880) (AC0060)

Beata Drake Covered Bridge Collection, 1954-1981 (AC0998)

Raymond E. Wilson Covered Bridge Collection, 1958-1974 (AC0999)

Samuel E. Reed Bridge Collection, 1947-1964 (AC1001)

Lucinda Rudell Covered Bridge Collection, 1942-1979 (AC1028)

Robert Bagby Stereographs and Lantern Slides, 1919; circa 1940-1960 (AC1185)
Provenance:
Donated by Eunice C. Shanks on August 11, 2011.
Restrictions:
The 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.
Topic:
Bridges -- Switzerland  Search this
Covered bridges -- Switzerland  Search this
Covered bridges -- United States  Search this
Bridges -- United States  Search this
Genre/Form:
Maps -- 20th century
Slides (photographs) -- 1950-2000
Photograph albums -- 20th century
Books
Picture postcards -- 20th century
Photographs -- 20th century
Ephemera -- 19th century
Travel brochures
Photographs -- Color transparencies -- Acetate film -- 20th century
Ephemera -- 20th century
Pamphlets -- 1950-2000
Newsletters -- 2000-2010
Postcards
Citation:
Lester Shanks Collection of Covered Bridge Photographs and Ephemera, 1876-2010 (bulk 1973-2008), Archives Center, National Museum of American History.
Identifier:
NMAH.AC.1244
See more items in:
Lester Shanks Collection of Covered Bridge Photographs and Ephemera
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-1244

Michael Cipriano Papers

Topic:
Bride's (Magazine)
Creator:
Cipriano, Michael L., 1960-1993  Search this
Names:
Barneys New York  Search this
Bergdorf Goodman, New York  Search this
Bloomingdale's (Firm)  Search this
Cooper-Hewitt Design Archive  Search this
Ercole (Store)  Search this
Etoile (Store)  Search this
Kosta Boda (Firm)  Search this
Macy, R.H., & Co., New York  Search this
Puiforcat (Firm)  Search this
Extent:
0.6 Cubic feet
Type:
Archival materials
Collection descriptions
Proposals
Photographs
Sketches
Clippings
Obituaries
Color xerographic copies
Color slides
Swatches
Invoices
Correspondence
Advertising cards
Drawings
Purchase orders
Receipts
Date:
1983 - 1993
Scope and Contents:
It consists of business records and correspondence, colored pencil sketches for Barney's Christmas windows done in 1988-1989, and approximately 500 color 35 mm slides illustrating window displays for Macy's, Bloomingdale's, Bergdorf Goodman, and Barney's.,This collection covers the full range of Cipriano's design career from 1983 to 1993.
The majority of the collection focuses on Cipriano's work for the Chelsea Passage for Barney's New York. Included is a copy of Barney's display policy providing details on when displays need to be checked, how often floral arrangements need to be changed, and other details. The collection also contains documentation for projects Cipriano did for Bride's magazine, Etoile, Ercole, Puiforcat, and Kosta Boda.
Biographical / Historical:
Window and display designer. Born Waterbury Connecticut, 1960. Cipriano studied fine art and art history at the University of Connecticut. His professional interests include costume, set, and theater design of the Art Deco, Art Moderne, and Art Nouveau styles. Prior to 1983, he did freelance displays for a number of small shops in Connecticut.

He began his professional career as a display trimmer for Macy's department store in New York in 1983. He designed for Bloomingdale's from 1984-85, and for Bergdorf Goodman's Home Department from 1985 to 1986. Cipriano became recognized shortly before his death in 1993, as an innovative designer of table settings for Barney's Chelsea Passage, where he served as Display Manager from 1985-1990.
Provenance:
This collection was a gift to the museum, donated in 1993 by D. Thomas Shoemaker.
Restrictions:
Unrestricted research access on site by appointment.,Unprotected photographs must be handled with gloves.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Occupation:
Window display designers  Search this
Topic:
Chelsea Passage  Search this
Display of merchandise -- United States  Search this
Table setting and decoration  Search this
Show windows  Search this
Genre/Form:
Proposals
Photographs -- Color prints -- 20th century
Sketches
Clippings
Obituaries
Color xerographic copies
Color slides
Swatches
Invoices
Correspondence
Advertising cards
Drawings
Purchase orders
Receipts
Citation:
Michael Cipriano Papers, 1983-1993, Archives Center, National Museum of American History.
Identifier:
NMAH.AC.1274
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-1274

Exhibition Records

Creator:
Smithsonian American Art Museum, Exhibition Manager  Search this
Extent:
3 cu. ft. (3 record storage boxes)
Type:
Archival materials
Collection descriptions
Manuscripts
Color transparencies
Date:
2002-2008
Descriptive Entry:
This accession consists of exhibition records created and maintained by the Exhibitions Manager, Marie Elena Amatangelo, in her work planning and coordinating exhibitions at the Smithsonian American Art Museum and the Renwick Gallery. Exhibitions represented include "High Fiber;" "Modernism in American Silver: 20th Century Design;" "American ABC: Childhood in 19th Century America;" "Temple of Invention: History of a National Landmark;" "Passing Time: The Art of William Christenberry;" "Joseph Cornell: Navigating the Imagination;" "Ruth Duckworth, Modernist Sculptor;" "An Impressionist Sensibility: The Halff Collection;" "William H. Johnson's World on Paper;" "William Wegman - Funny/Strange;" "Grant Wood's Studio: Birthplace of American Gothic;" "John Alexander: A Retrospective;" "Variations on America: Masterworks from American Art Forum Collections;" "Celebrating the Lucelia Artist Award, 2001-2006;" "Modern Masters at the Smithsonian American Art Museum" (traveling exhibition); "Earl Cunningham's America;" "Kindred Spirits: Asher B. Durand and the American Landscape;" "Going West! Quilts and Community;" "From the Ground Up: Renwick Craft Invitational 2007;" "Eadweard Muybridge: The Central American Journey;" "The Prints of Sean Scully;" "Saul Steinberg: Illuminations;" and "Over the Top: American Posters from World War I." Materials include correspondence, memoranda, checklists, exhibition prospectuses, contracts, budget records, loan records, color slides, press releases, meeting notes, label text, conservation records, publication information, grant records, and educational programming information.
Rights:
Restricted for 15 years; until Jan-01-2024. Boxes 1-3 contain materials restricted indefinitely; see finding aid. Transferring office; 03/12/2010 memorandum, Toda to Howard; Contact reference staff for details.
Topic:
Art museums.  Search this
Art, American  Search this
Museum exhibits  Search this
Museums -- Collection management.  Search this
Traveling exhibitions.  Search this
Genre/Form:
Manuscripts
Color transparencies
Citation:
Smithsonian Institution Archives, Accession 10-091, Smithsonian American Art Museum, Exhibition Manager, Exhibition Records
Identifier:
Accession 10-091
See more items in:
Exhibition Records
Archival Repository:
Smithsonian Institution Archives
EDAN-URL:
ead_collection:sova-sia-fa10-091

Alixa Naff photographs of Europe, the Middle East and the Mediterranean and audio tapes on Mediterranean folklore

Creator:
Naff, Alixa, 1919-2013  Search this
Extent:
28 color prints
13 sound tapes (open reel)
1,500 slides (circa 1500 black & white and color slides)
300 prints (circa, silver gelatin)
1 box (35 mm acetate negatives)
Culture:
Arabs  Search this
Type:
Archival materials
Collection descriptions
color prints
sound tapes
slides
prints
Photographs
Audiotapes
Place:
Lebanon
Turkey
Egypt
Greece
Syria
Spain
England
Date:
circa 1957-1972
Scope and Contents note:
Photographs taken by Alixa Naff between 1957 and the early 1970s on trips to England, Europe, the Mediterranean, and the Middle East, and open reel audio tapes of interviews regarding Syrian-Lebanese folklore that Naff conducted in 1965 in the Lebanese Village of Rashaya al-Wadi. Comprising this collection are images of cities, structures, art, people, activities, and scenery, and two folders of Dr. Naff's notes relating to the recorded interviews. Photographic formats include 35mm slides, black and white prints, and 35mm negatives. Naff annotated many of the slide mounts or verso of prints with descriptions and identifications.
Biographical Note:
Alixa Naff began collecting Arab folklore in 1962 when she visited 16 communities in the U.S. and eastern Canada. After earning her MA and PhD, she taught at California State University, Chico, and at the University of Colorado, Boulder. Naff left academia in 1977 to research and collect material relating to the Arab immigrant experience (particularly Syrian and Lebanese immigrants from the turn of the 20th century). In 1984, with prompting from Richard Ahlborn, curator of the Smithsonian Institution Community Life Division (now the Department of Cultural Affairs), Naff donated her collection of Arab immigrant material. Naff eventually became the archivist of the "Faris and Yamna Naff Arab American Collection", named in honor of her parents, at National Museum of American History Archives Center.
Local Call Number(s):
NAA Photo Lot 2011-02
Location of Other Archival Materials:
One reel of 8mm film of Zahle, Lebanon was donated with this collection. It has been relocated to the Human Studies Film Archives.
Archives Center, National Museum of American History holds the Faris and Yamna Naff Arab American Collection and several other Naff accessions.
The National Anthropological Archives also holds a 1950 map of Cairo donated by Alixa Naff (MS 7449).
Restrictions:
Negatives are not available for viewing. Some restrictions on open reel audio tapes.
Rights:
Contact the repository for terms of use.
Topic:
Art  Search this
Architecture  Search this
Language and languages -- Documentation  Search this
Folklore  Search this
Genre/Form:
Photographs
Audiotapes
Citation:
Photo Lot 2011-02, Alixa Naff photographs of Europe, the Middle East and the Mediterranean and audio tapes on Mediterranean folklore, National Anthropological Archives, Smithsonian Institution.
Identifier:
NAA.PhotoLot.2011-02
Archival Repository:
National Anthropological Archives
EDAN-URL:
ead_collection:sova-naa-photolot-2011-02

Cultural landscapes

Photographer:
DeCorse, Christopher  Search this
Collection Photographer:
DeCorse, Christopher  Search this
Extent:
1 Slide (col.)
Type:
Archival materials
Slides
Color slides
Place:
Africa
Ghana
Ghana
Ghana
Date:
1986
Scope and Contents:
19th /early 20th century house, English Komenda. The date on the slide is DEC 86.
Local Numbers:
GH 42-14

S 2 GHA 42.14 CDC 86
Collection Restrictions:
Use of original records requires an appointment. Contact Archives staff for more details.
Collection Rights:
Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.
Topic:
Mod. architecture/cityscape -- Photographs  Search this
Cultural landscapes  Search this
Genre/Form:
Color slides
Identifier:
EEPA.1993-028, Item EEPA.1993-028-0853
See more items in:
Christopher DeCorse photographs
Archival Repository:
Eliot Elisofon Photographic Archives, National Museum of African Art
EDAN-URL:
ead_component:sova-eepa-1993-028-ref1359

Bethlehem Steel Corporation Mining Photographs

Creator:
Bethlehem Steel Corporation  Search this
Extent:
19 Cubic feet (66 boxes )
Type:
Archival materials
Collection descriptions
Color slides
Photographs
Slides (photographs)
Color negatives
Date:
1880-1993
bulk 1947-1980
Summary:
The collection consists of approximately 28,000 photographic negatives, slides, prints and other materials documenting Bethlehem Steel Corporation's iron ore mining operations. The photographs were taken by Richard "Jay" Angelo, a Bethlehem Steel Corporation photographer. The majority of the photographs depict Bethlehem's mining operations at its Cornwall and Morgantown, Pennsylvania mines. A smaller number of negatives document operations in western Pennsylvania, Kentucky, West Virginia, Michigan and Ontario. The negatives depict aerial views, blasting operations, tunneling, equipment and infrastructure, machinery, employees working, company personnel, and company-built community facilities. The collection documents the complete operations of a major, historic mining operation over four decades.
Scope and Contents:
The collection consists of approximately 28,000 photographic negatives, slides, prints and other materials documenting Bethlehem Steel Corporation's iron ore mining operations. The photographs were taken by Richard "Jay" Angelo, a Bethlehem Steel Corporation photographer. The majority of the photographs depict Bethlehem's mining operations at its Cornwall and Morgantown, Pennsylvania mines. A smaller number of negatives document operations in western Pennsylvania, Kentucky, West Virginia, Michigan and Ontario. The negatives depict aerial views, blasting operations, tunneling, equipment and infrastructure, machinery, employees working, company personnel, and company-built community facilities. The collection documents the complete operations of a major, historic mining operation over four decades.

Series 1, Historical Background Materials, 1923-19933, consists of typescript general histories for the Bethlehem Steel Corporation, and specifically, the Cornwall Mine, Grace Mine, and the Marmoratan Mining Company. Included are some copies of maps, newspaper articles, photographs and one letter from Charlie Neil dated 1993 containing history of the Cornwall mining operations. Other miscellaneous items include articles about concrete, a retirement brochure for Sheldon J. Shale, and bound monthly progress reports of operations for the Cornwall Division, 1923-1929. These reports detail production, ore analysis, construction of mine shafts, repairs made, and physical plant conditions.

Series 2, Logbooks, 1949-1980, consists of personal, mileage, and photograph and negative logbooks maintained by Richard R. Angelo during the course of his career as a photographer for Bethlehem Steel Corporation, Cornwall Division. The series is divided into three subseries: Subseries 1, Personal Logbooks, 1949-1981, Subseries 2, Mileage Logbooks, 1957-1980, and Subseries 3, Photograph and Negative Logbooks, 1947-1968. The bound notebooks are arranged chronologically and are approximately 4 1/2" x 7 1/2" or smaller.

Subseries 1, Personal Logbooks, 1949-1980, consists of Angelo's personal logbooks which begin in 1949 and chronicle his daily activities and include the amount of time spent accomplishing each stated activity. For example, from April of 1949, Angelo writes, "making negatives and printing, eight hours." Later logbooks do not contain the number of hours, but many contain the number of vacation days Angelo took.

Subseries 2, Mileage Logbooks, 1957-1980 and undated, consists of logbooks with the date, number of miles, and location where Angelo drove. In some instances, toll expenses are noted as well as total mileage calculated for a month.

Subseries 3, Negative Logbooks, 1947-1980, consists of logbooks detailing the date, negative number and a brief description for black-and-white and color negatives. For example, the March 3, 1951, entry is listed as "#1840-0, waste rock tunnel, mine number 3." In some instances Angelo notes if a photograph or negative was rejected. Later logbooks follow an alpha-numeric identification system. These logbooks should be consulted when using Series 4, Black-and-White negatives. The subseries is arranged chronologically.

Series 3, Indices, 1943-1960, consists of typescript lists detailing the negative number, date, and a brief description for the Bethlehem Report (BR), the early Pilot Plant and raw materials (CN), microphotographs (MP), and Pilot Plant (PP,) and raw materials and office plant (RM). The person who assembled these lists or applied the alpha-numeric system is unknown. These indices should be consulted when using boxes 36 to 38 in Series 4, Black-and-White Negatives.

Series 4, Black-and-White Negatives, 1941-1963, is divided into six subseries: Subseries 1, #1-#4108, 1947-1961; Subseries 2, A1 to A400, 1941-1949; Subseries 3, B1 to B9995, 1953-1963; Subseries 4, C1 to C6999, 1963 [1969?]; Subseries 5, Chronological, 1950-1955; and Subseries 6, Topical, 1941-1961. The negatives are approximately 4" x 5" and are housed in glassine envelopes. In some instances, 4" x 5" prints are filed behind the corresponding negative.

The alpha-numeric subseries of negatives is not inclusive. There are indices (see Series 3) for the negatives in boxes 36 to 38 and the logbooks (see Series 2) maintained by Richard R. Angelo. The indices provide the alpha-numeric identification number, date, and brief description for the negative. For example, negative B-528 documents the #4 mine machine shop looking west, March 12, 1954. Researchers should use the logbooks in conjunction with the negatives.

There are some negatives that document diagrams, drawings, plans, sectional views, schematics for ore pockets, mine shafts, and flow sheets for the Lebanon Concentrator and the crushing plant at the Grace Mine. Some of the negatives were used in the creation of the Bethlehem Mines Corporation, Cornwall Division, photograph album which documents progress as of December 31, 1964.

Series 5, Color Negatives, 1964-1979, consists of approximately 940 color negatives, presumably documenting a wide variety of mining activities as well as employees. There is no index to these negatives. The negatives are arranged numerically.

Series 6, Photographic Prints, 1880s-1972 and undated, consists primarily of black-and-white prints of mining equipment, views of mine interiors (including the mine vein), aerial views, buildings, and employees. The bulk of photographs document Bethlehem mines in Pennsylvania, specifically Cornwall and Grace, but there is documentation for the Marmora Mine in Ontario, Canada. Some of the prints have captions and dates. Some oversize photographs (11" x 14") documenting the Matamora Mine in Ontario, Canada, 1958, were taken by H.R. Oakman of Peterboro, Ontario. The materials are arranged alphabetically.

Series 7, Photograph Albums, 1951-1971, consists of five bound albums and some loose materials documenting the Marmora Mine in Ontario, Canada. Many of the albums were photographed by H.R. Oakman of Peterboro, Ontario. The albums contain mounted black-and-white prints that are 4" x 5" or 11" x 17." The albums are arranged chronologically.

Series 8, Slides, 1950-1980, contains 35 mm slides in both black and white and color. The slides document a range of activities and are arranged alphabetically by mine location.

Series 9, Moving Images, 1961 and undated, consists of two color 16 mm films documenting the Grace Mine in Pennsylvania.
Arrangement:
The collection is arranged into nine series.

Series 1, Historical Background Materials, 1923-1993

Series 2, Logbooks, 1949-1980

Subseries 1, Personal Logbooks, 1949-1980

Subseries 2, Mileage Logbooks, 1957-1980 and undated

Subseries 3, Negative Logbooks, 1947-1980

Series 3, Indices, 1943-1960

Series 4, Black-and-White Negatives, 1941-1963

Subseries 1, #1-#4108, 1947-1961

Subseries 2, A1 to A400, 1941-1949

Subseries 3, B1 to B9995, 1953-1963

Subseries 4, C1 to C6999, 1963 [1969?]

Subseries 5, Chronological, 1950-1955

Subseries 6, Topical, 1941-1961

Series 5, Color Negatives, 1964-1979

Series 6, Photographic Prints, 1880s-1972 and undated

Series 7, Photograph Albums, 1951-1971

Series 8, Slides, 1950-1980

Series 9, Moving Image, 1961 and undated
Biographical / Historical:
Richard "Jay" Angelo (1922-1997) was the official photographer for Bethlehem Cornwall Corporation (a subsidiary of the Bethlehem Steel Corporation) mining operations in Cornwall, Pennsylvania. The Cornwall Division operated three underground mines with concentrating and agglomerating facilities. Using a Speed Graphic camera (a portable professional camera), which used 4" x 5" film, Angelo captured between 20,000 and 30,000 negatives, mostly black-and-white, from January 1947 to January 1980. The negatives depict aerial views; each new blast in the open pit; tunneling in the underground works; installation of infrastructure such as underground bracing, head frames, railway track and agglomeration machinery; employees at work, receiving awards, or retiring; tours for corporate executives, local school teachers, and other mining executives; road and land improvements; company-built community facilities; safety program activities; installation and operation of the concentrating and agglomeration plants.

Angelo graduated from high school in 1940 and immediately began working in the mines, following in the foot steps of his father, an Italian immigrant. He joined the United States Navy in 1942 working as a radio operator aboard a communications ship. Angelo served in both the European and Pacific theaters of World War II. Angelo returned home in 1946 and worked in the mines, first in a tool room, then in the enginneering department. In 1947, he began taking photographs for the company, specializing in mining. Other photographers processed color and black-and-white negatives in the company lab and photographed the company's many plants. Angelo retired in 1980.

For over sixty years (1916-1980), Bethlehem Steel Company obtained most of its iron ore from three mines it owned and operated in eastern Pennsylvania. Two mines were located in Cornwall, about fifteen miles east of Harrisburg, and one was located in Morgantown, about twenty-five miles south of Reading. Until its closure in 1980, the Cornwall mine was the longest continuously operated mine in North America. The Cornwall Mine began in 1732 when John, Thomas, and Richard Penn deeded over 9,000 acres to Joseph Turne, who assigned it to William Allen. In 1734, Peter Grubb, a prospector for iron, paid Allen for the acreage and in 1742 built the Cornwall Furnance near the ore deposit. Other parties gained access and partnership to the ore banks through purchase or inheritance, and in 1854, Grubb and the others combined to form the Cornwall Ore Banks Company. Bethlehem Steel Company acquired ownership of the Cornwall Mines in 1916 and had complete ownership by 1921. The only exception was the Robesonia Iron Company, a small indepednent section that remained free of Bethlehem ownership until 1926, when Bethlehem acquired it and thus gained sole control of the ore desposits. The Cornwall iron ore deposit became one of the most valuable in the United States.

There were two major ore bodies in Cornwall, Pennsylvania, south of Lebanon, Pennsylvania, called Cornwall mines number 3 and number 4. Extracting the ore was done through open pit mining when deposits of useful minerals or rock were found near the surface. Open pit mining was used at Cornwall until 1953 when the open pits became too deep and economically not viable. It is estimated that over fifty-six million tons of ore were removed from mine number 3 between 1734 and 1953. By 1953, all of the available exposed ore was removed, and it was necessary for the company to begin underground mining activities. Other forms of mining included extractive methods that required tunneling into the earth, such as long wall mining. The number 4 mine was begun in 1926 as an underground operation; by 1965, twenty-two million tons of ore had been mined. In 1948, new iron ore deposits were discovered using an airborne magnetometer (an instrument used to measure the magnetic field) during an aerial survey in southeastern Pennsylvania. Bethlehem Steel acquired the land. Construction for the mine began in 1951 and ore stripping began in 1958. The new mine was called Grace Mine after Bethlehem Chairman and CEO Eugene Grace. Mining at lasted until 1977.

The Marmoratan Mine located in Hastings County, Ontario (east of Toronto) also became part of the vast Bethlehem Steel Corporation holdings. Iron mining was an important industry in the area during the nineteenth century. The village of Marmora was originally named Marmora Iron Works. Magnetic iron ore was mined as early as 1820, but a series of failures resulted in the abandonment of the mine. In 1949, the Ontario Department of Mines, in conjunction with the Geological Survey of Canada, conducted an aerial survey of the region. Bethlehem Steel geologists became interested in the area and in May, 1950, the company obtained options to purchase a 290 acre tract of property. Bethlehem would eventually acquire 1900 acres of property at Marmora. Drilling began in 1951, and the mine closed in 1979.

The scale of operations at the three mines was prodigious. Together, these mines were second only to Minnesota's famous Mesabi Range in terms of volume and quality of iron ore extracted. In addition to ore extraction, the mines were equipped with large-scale concentrating and agglomeration facilities, where the raw ore was separated into disparate minerals through the use of magnetic separators. The iron was then further concentrated into high density pellets that were easier to ship and more economical in making steel. Bethlehem erected its first concentrating facilities at Cornwall in 1916. When Bethlehem Steel acquired the Cornwall mines its long-term plan was to expand and modernize its program by adding mill equipment and providing sintering plants. Bethlehem purchased the Pennsylvania Steel Company in 1916, which included a wet mill equipped with a Grondal magnetic separator. From 1934 to 1962, the mines produced over twenty-seven million tons of iron concentrate, 450,000 tons of copper concentrate, and 1,650 tons of pyrite concentrate. The agglomeration plant at the Grace Mine alone produced three million tons of iron concentrate between 1958 and 1965.
Related Materials:
Materials at the Archives Center, National Museum of American History

Alexander Van Valen Papers, 1849-1850 (AC0935)

International Salt Company Records, 1888-1964 (AC1158)

Industry on Parade Film Collection, 1950-1960 (AC0507)

Arthur d'Arazien Industrial Photographs Collection, circa 1939-1984 (AC0314)

Frank Klepetko Michigan Mining Cyanotype Album, circa 1880 (AC1042)

Materials in Other Organizations

Hagley Museum and Library

Bethlehem Steel Corporation records, 1714-1982

Bethlehem Steel Corporation and Bethlehem Ship Corporation photograph collection, 1786-1966

Bethlehem Steel Corporation. Predecessor and subsidiary companies, 1860-1947

Pennsylvania State Archives

Cornwall Ore Bank Company Records, 1802-1935, 1954
Provenance:
The collection was donated to the Archives Center by Richard Angelo, Jr., and Jeanette Angelo Laverty on July 9, 2011.
Restrictions:
The collection is open for research use. Special arrangements required to view negatives due to cold storage. Using negatives requires a three hour waiting period. Contact the Archives Center at 202-633-3270.
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.
Topic:
Mines -- Pennsylvania  Search this
Iron and steel industry  Search this
Iron -- Pennsylvania  Search this
Mines  Search this
Genre/Form:
Color slides -- 20th century
Photographs -- Black-and-white negatives -- 20th century
Slides (photographs) -- 20th century
Color negatives
Citation:
Bethlehem Steel Corporation Mining Photographs, 1880-1993, Archives Center, National Museum of American History. Gift of Michael Cuscuna.
Identifier:
NMAH.AC.1242
See more items in:
Bethlehem Steel Corporation Mining Photographs
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-1242
Additional Online Media:

Joellen Bard's, Ruth Fortel's, and Helen Thomas' exhibition records of Tenth Street Days: The Co-ops of the 50s

Creator:
Bard, Joellen  Search this
Names:
14 Sculptors Gallery  Search this
Amos Eno Gallery  Search this
Association of Artist-run Galleries  Search this
Brata Gallery  Search this
Camino Gallery  Search this
Hansa Gallery (New York, N.Y.)  Search this
James Gallery (New York, N.Y.)  Search this
Noho Gallery (New York, N.Y.)  Search this
Pleiades Gallery  Search this
Tanager Gallery (New York, N.Y.)  Search this
Ward-Nasse Gallery  Search this
Fortel, Ruth  Search this
Thomas, Helen  Search this
Extent:
0.7 Linear feet
Type:
Archival materials
Collection descriptions
Scrapbooks
Photographs
Video recordings
Date:
1953-1977
Summary:
Joellen Bard's, Ruth Fortel's, and Helen Thomas' exhibition records of The Tenth Street Days: The Co-ops of the 50s measure 0.7 linear feet and date from 1953-1977. The collection documents the research for, and organization of, this exhibition held at Amos Eno Gallery, 14 Sculptors Gallery, Noho Galley, Pleiades Galley, and Ward-Nasse Gallery, December 20, 1977 through January 7, 1978. Records consist of a grant proposal and related documentation; printed material including an exhibition catalog and poster; research files including 35-mm color slides and photographs; and 2 scrapbooks containing biographical information, printed matter, and photographs of works of art relating to the corollary exhibition, Tenth Street in 1977.
Scope and Content Note:
Joellen Bard's, Ruth Fortel's, and Helen Thomas' exhibition records of The Tenth Street Days: The Co-ops of the 50s measure 0.7 linear feet and date from 1953-1977. The collection documents the research for, and organization of, this exhibition held at Amos Eno Gallery, 14 Sculptors Gallery, Noho Galley, Pleiades Galley, and Ward-Nasse Gallery, December 20, 1977 through January 7, 1978. Records consist of a grant proposal and related documentation; printed material including an exhibition catalog and poster; research files including 35-mm color slides and photographs; and 2 scrapbooks containing biographical information, printed matter, and photographs of works of art relating to the corollary exhibition, Tenth Street in 1977.

Series 1: Exhibition records of Tenth Street Days: The Co-ops of the 50s, 1953-1977 (0.4 linear ft.) documents the exhibition that was held December 20, 1977 through January 7, 1978 at Amos Eno Gallery, 14 Sculptors Gallery, Noho Gallery, Pleiades Gallery, and the Ward-Nasse Gallery. Included are the grant proposal, resumes, budget, and background information on the Association of Artist-Run Galleries, exhibition catalog and other printed matter, and congratulatory telegram from John Krushenick. Research files concerning Brata Gallery, Camino Gallery, Hansa Gallery, James Gallery, and Tanager Gallery contain a variety of printed items and historical notes. Of particular interest are administrative records of Camino Gallery that include its articles of agreement and minutes; and a reminiscence of Craig Hazlet who funded Tanager Gallery for 5 years, by daughter Sally Hazlet Drummond. Research files also include artist address lists, responses to a questionnaire about Tenth Street galleries circulated by Bard, and general printed matter about Tenth Street galleries and artists. Additional exhibition records consist of 35-mm color slides of works of art, and small number of black and white photographs of galleries and artists.

Series 2: Records of Tenth Street in 1977, December 20, 1977-January 8, 1978 (0.25 linear ft.) relates to the corollary exhibition shown at Landmark Gallery, Inc., December 20, 1977 through January 8, 1978. Records consist of 2 disbound scrapbooks, arranged alphabetically by artist, that contain biographical information, miscellaneous printed matter, and photographs of works of art.
Arrangement:
The collection is arranged into 2 series. Material in Series 1 is arranged chronologically within each folder. Series 2 is arranged alphabetically by artist.

Series 1: Records of -- Tenth Street Days: The Co-ops of the 50s -- , 1953-1977 (Box 1 and OV; 0.4 linear ft.)

Series 2: Records of -- Tenth Street in 1977 -- , 1977 (Box 2; 0.25 linear ft.)
Biographical Note:
Tenth Street between Third and Fourth Avenues, was an artist community that was home to many of the first generation Abstract Expressionists. The neighborhood was also home to The Club and the Cedar Tavern. After 1953, many of younger artists--the second and third generations of Abstract Expressionists--came to live and work near Tenth Street. They organized and ran a number of cooperative galleries that became an important focus and provided much needed exhibition opportunities for the large number of young artists lured to New York City in the late 1950s and early 1960s.

Researched and organized by painter and art instructor Joellen Bard, Ruth Fortel and Helen Thomas in co-operation with the Association of Artist-Run Galleries and Pleiades Gallery, Tenth Street Days: The Co-ops of the 50s, was held at Amos Eno Gallery, 14 Sculptors Gallery, Noho Galley, Pleiades Galley, and Ward-Nasse Gallery, December 20, 1977 through January 7, 1978. A corollary exhibition, Tenth Street in 1977, was shown at Landmark Gallery, Inc., December 20, 1977 through January 8, 1978. An expanded version of the exhibition was circulated by The Gallery Association of New York State.
Provenance:
Gift of Joellen Bard, coordinator of the Association of Artist-Run Galleries and curator of Tenth Street Days: The Co-ops of the 50s, 1977-1978.
Restrictions:
The collection is open for research. Use requires an appointment and is limited to the Washington, D.C. research facility.
Rights:
Joellen Bard's, Ruth Fortel's, and Helen Thomas' exhibition records of Tenth Street Days: The Co-ops of the 50s are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated too public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Curators -- New York (State) -- New York  Search this
Art, American -- Exhibitions  Search this
Art, Modern -- 20th century -- United States -- Exhibitions  Search this
Group work in art -- United States -- Exhibitions  Search this
Art galleries, Commercial -- New York (State) -- New York  Search this
Genre/Form:
Scrapbooks
Photographs
Video recordings
Citation:
Joellen Bard's, Ruth Fortel's, and Helen Thomas' exhibition records of Tenth Street Days: The Co-ops of the 50s, 1953-1977. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.bardjoel
See more items in:
Joellen Bard's, Ruth Fortel's, and Helen Thomas' exhibition records of Tenth Street Days: The Co-ops of the 50s
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-bardjoel
Additional Online Media:

National Photographic Society Records

Topic:
The Finder (newsletter)
Creator:
Revenue Camera Club  Search this
National Photographic Society  Search this
Donor:
Schroeder, Barbara  Search this
Names:
Greater Washington Council of Camera Clubs  Search this
Photographic History, Division of (NMAH, SI).  Search this
Photographic Society of America  Search this
Extent:
3.5 Cubic feet (10 boxes)
Type:
Archival materials
Collection descriptions
Correspondence
Photographs
Newsletters
Clippings
Minutes
Date:
1942-1986
Summary:
Collection documents the National Photographic Society, an amateur camera club in Washington, D.C.
Scope and Contents:
The Executive Records, 1944-1978, consist of copies and drafts of the constitution, by-laws, correspondence, and the Board of Trustee Meeting Minutes. The Treasurer Records, 1956-1973, include bank account information that deals with authorization to open an organizational bank account, correspondence about monies collected and expenses incurred and the treasurer's annual reports that document receipts, disbursements, and special activities. The Membership Records, 1945-1984, contain directories (with mailing addresses and telephone numbers), officer information detailing which members served as trustees and/or on what committee. The club had several committees—slide, projector, portrait, special activities, publicity, finance, reception, dinner, membership, salon, audit, print, nominating, program, library and by-laws. The membership applications were maintained on 3" x 5 and 5" x 8" index cards. The annual awards information contains certificates awarded to Barbara Schroeder for a variety of honors, but the majority of documentation deals primarily with annual awards given for color slides. The Henry B. Shaw Memorial Trophy was a specific award and honor that was presented to the NPS member who made the greatest contribution to the well being of NPS. The award was named for Henry B. Shaw, former president of NPS.

The club published a monthly bulletin titled The Finder, 1942-1986, which was distributed to club members and photographic dealers. The Finder was a one-page newsletter from 1942 to April 1945, but in May of 1945 enlarged to four pages, in some instances with inserts. The Photographs and Negatives, 1959-1960, provide documentation of the club's annual banquet and presentation of awards in 1959 and a holiday outing to Petersburg, West Virginia. The photographs and negatives are approximately 4" x 5". The Salons, 1944-1959, includes schedules and other printed materials about salons that club members participated in or attended in the Washington, D.C. area. Camera Clubs, 1949-1967, documents the Greater Washington Council of Camera Clubs, an organization with which NPS was affiliated, and the Metropolitan Camera Club Council, Inc. of New York, New York. The newspaper clippings, 1948-1955, contain information on two columns, "Camera Angles," a weekly written by Alexander J. Wedderburn, Curator of Photography at the Smithsonian Institution and the "Monthly Print Clinic" featuring a photograph with narrative description.
Includes documents concerning the National Photographic Society's affiliations with the Greater Washington Council of Camera Clubs and the Photographic Society of America.
Arrangement:
The collection is divided into six series

Series 1: Executive Records

Series 2: Treasurer Records

Series 3: Membership Records

Series 4: The Finder Newsletter

Series 5: Photographs and Negatives

Series 6: Salons

Series 7: Camera Clubs

Series 8: Newspaper Clippings
Biographical / Historical:
The Revenue Camera Club was organized in Washington, D.C. on March 14, 1938. It changed its name to The National Photographic Society (NPS) on April 1, 1943. It became affiliated with the Greater Washington Council of Camera Clubs and the Photographic Society of America. The NPS was incorporated in 1944 with a constitution and by-laws as a "non-profit organization under the provisions of Chapter 5 of the Code of the District of Columbia for the promotion of art and science of photography in all its various branches, through individual memberships, associated camera clubs and other photographic organizations, research and the dissemination of photographic knowledge and the promotion of photographic salons and exhibitions." The management of the society was vested in a board of trustees that was made up of nine members. The club held meetings in each other's homes, church basements or at the Mt. Pleasant or Georgia Avenue libraries where they showed member's prints and eventually held meetings at the Arts Club of Washington. The club dissolved in 1986.
Provenance:
Collection donated by Ms. Barbara Schroeder, February 12, 1999.
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.
Topic:
Clubs -- Photography -- 1940-1990 -- Washington (D.C.)  Search this
Exhibitions -- 1940-1990 -- Washington (D.C.)  Search this
Camera clubs -- 1940-1990 -- Washington (D.C.)  Search this
Genre/Form:
Correspondence -- 1940-2000
Photographs -- Black-and-white negatives -- Acetate film -- 1900-2000
Newsletters -- 20th century
Clippings -- 1940-1990 -- Washington (D.C.)
Minutes
Citation:
National Photographic Society Records, 1942-1986, Archives Center, National Museum of American History.
Identifier:
NMAH.AC.0681
See more items in:
National Photographic Society Records
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-0681

Trude Guermonprez collection

Creator:
Guermonprez, Trude, 1910-1976  Search this
Names:
Akron Art Institute  Search this
American Crafts Council. Museum of Contemporary Crafts  Search this
American Institute of Architects  Search this
Black Mountain College (Black Mountain, N.C.)  Search this
California College of Arts and Crafts  Search this
Cooper-Hewitt Design Archive  Search this
Holland Amerika Lijn  Search this
Johnson Wax -- Art collections  Search this
Municipal School of Arts and Crafts (Halle an der Saale, Germany)  Search this
Oakland Art Museum  Search this
Owens-Corning Fiberglas Corporation  Search this
Pasadena Art Museum  Search this
Pond Farm Workshops  Search this
San Francisco Folk Art Museum  Search this
Staatliche Galerie Moritzburg Halle, Landeskunstmuseum Sachsen-Anhalt  Search this
Guermonprez, Paul.  Search this
Guermonprez, Trude, 1910-1976  Search this
Herr, Gordon.  Search this
Herr, Jane.  Search this
Larson, Jack Lenor.  Search this
Mendelsohn, Erich, 1887-1953  Search this
Oud, J. J. P. (Jacobus Johannes Pieter), 1890-1963  Search this
Wildenhain, Frans, 1905-1980  Search this
Wildenhain, Marguerite  Search this
Extent:
3 Boxes
Type:
Archival materials
Collection descriptions
Posters
Patterns (design elements)
Designs (textile)
Blueprints
Awards
Proposals
Postcards
Announcements
Brochures
Photographs
Exhibition catalogs
Slides (photographs)
Journals (periodicals)
Clippings
Financial records
Lecture notes
Articles
Business cards
Correspondence
Textiles
Sketches
Date:
1950-1976
Summary:
This archive includes interesting documents related to Trude Guermonprez's life and work as a weaver. The archives are especially related to the designer's work for her major clients, like Holland America Line and Owens Corning Fiberglass; other pieces in this archive are related to Guermonprez's work for custom curtains made for major synagogues and her designs, interior fabrics, screens and rugs realized in conjunction with J.P. Oud, Architects Associated, New York; Eric Mendelsohn, Warren Callister, etc. The correspondence and the photographs in this collection provide insight into the designer's private life. Included in this collection are press articles, brochures, correspondence, postcards, photographs, color slides, notebooks, textiles, and textile wood patterns.
Arrangement note:
Unprocessed; Included in this collection are press articles, brochures, correspondence, postcards, photographs, color slides, notebooks, textiles, and textile wood patterns.
Biographical/Historical note:
Trude Guermonprez is an experienced weaver as well as a designer, artist, craftsman and teacher. She has executed architectural commissions and has done interior design for industry. Her work is of great variety in character and form. Guermonprez started weaving in Halle, Germany at the Municipal School of Arts and Crafts. Six years of weaving in a Dutch rug shop preceded her coming to America, at the invitation of Anni Albers, to teach at Black Mountain College, and later to northern California to join her friend Marguerite Wildenhain, at Pond Farm Workshops in a producing-teaching cooperative. She served as Chairman of the Craft Department at The California College of Arts and Crafts. Though she designed fabrics for New York textile manufacturers, her works were mainly custom produced for architects and individuals. In 1970 she was honored the Craftsmanship Medal from the American Institute of Architects.

Guermonprez published works in Art and Architecture, 1949; Shuttlecraft Weaving Magazine, 1957; and Research in Crafts, 1961.

She also participated in the following exhibitions: de Young Museum; American Wallhangings, London; Oakland Art Museum; Pasadena Art Museum; U.S. Information Agency State Department Show, traveling Europe exhibition; "Craftsmen of the West", "Fabrics International" and "10 American Weavers" at the Victoria and Albert Museum in London. In 2000 at Staatliche Galerie Moritzburg Halle Landeskunstmuseum, Halle (Salle), Germany: "From Bauhaus to the Pacific: The Impact of Emigration on Marguerite Wildenhain and Trude Guermonprez".
Location of Other Archival Materials Note:
The North Carolina State Archives web site has material in its collection related to Guermonprez as a teacher and artist-in-residence at Black Mountain College.
The Archives of American Art hasoral history interviews of Merry Renk conducted 2001 Jan. 18-19 by Arline M. Fisch for Nanette L. Laitman's, Documentation Project for Craft and Decorative Arts in America. Guermonprez is only mentioned.
Provenance:
All materials were donated to the museum by Mr. Eric and Mrs. Sylvia Elsesser in 1993.
Restrictions:
Unprocessed; access is limited. Permission of Library Director required. Policy.
Occupation:
Textile designers -- United States  Search this
Weavers -- United States  Search this
Topic:
Weaving -- History -- 20th century -- Sources  Search this
Genre/Form:
Posters
Patterns (design elements)
Designs (textile)
Blueprints
Awards
Proposals
Postcards
Announcements
Brochures
Photographs
Exhibition catalogs
Slides (photographs)
Journals (periodicals)
Clippings
Financial records
Lecture notes
Articles
Business cards
Correspondence
Textiles
Sketches
Identifier:
SIL-CH.1993-121-118
Archival Repository:
Smithsonian Libraries
EDAN-URL:
ead_collection:sova-sil-ch-1993-121-118

George Constant papers

Creator:
Constant, George  Search this
Names:
Art Institute of Chicago  Search this
Audubon Artists (New York, N.Y.)  Search this
Brooklyn Museum  Search this
Carnegie Institute  Search this
Dayton Art Institute  Search this
Federation of Modern Painters and Sculptors  Search this
Ferargil Galleries  Search this
Heckscher Museum  Search this
Lyman Allyn Art Museum  Search this
Metropolitan Museum of Art (New York, N.Y.)  Search this
Museum of Modern Art (New York, N.Y.)  Search this
Parrish Art Museum  Search this
Spanish Refugee Aid (Organization)  Search this
United States. Works Progress Administration  Search this
Whitney Museum of American Art  Search this
Avery, Milton, 1885-1965  Search this
Avery, Sally  Search this
Burliuk, David, 1882-1967  Search this
Caparn, Rhys, 1909-1997  Search this
Carnell, Julia Shaw Patterson, 1863-1944  Search this
Davidson, Morris, 1898-1979  Search this
Eaton, Charles Warren, 1857-1937  Search this
Gecan, Vilko, 1894-1973  Search this
Kanaga, Consuelo, 1894-  Search this
Landgren, Marchal E.  Search this
Neuberger, Roy R.  Search this
Pach, Walter, 1883-1958  Search this
Perret, Nell, 1916-  Search this
Preston, Georgette  Search this
Putnam, Wallace, 1899-1989  Search this
Extent:
4.6 Linear feet
Type:
Archival materials
Collection descriptions
Christmas cards
Photographs
Video recordings
Sound recordings
Interviews
Date:
1912-2007
bulk 1932-1978
Summary:
The papers of modernist painter and printmaker George Constant measure 4.6 linear feet and date from 1912-2007, with the bulk of the material dating from 1932-1978. They consist of biographical material, inventories of artwork, audio interviews and recorded statements on art, personal and business related correspondence, holiday cards, printed material, an exhibition related video recording, and photographs of Constant, his family and friends, and his work.
Scope and Contents note:
The papers of modernist painter and printmaker George Constant measure 4.6 linear feet and date from 1912-2007, with the bulk of the material dating from 1932-1978. They consist of biographical material, inventories of artwork, audio interviews and recorded statements on art, personal and business related correspondence, holiday cards, printed material, an exhibition related video recording, and photographs of Constant, his family and friends, and his work. A small portion of the correspondence and printed materials are written in Greek.

Biographical material includes artist statements written and recorded by Constant, two audio interview recordings discussing his philosophies on art and his work, inventories of artwork, personal property deeds and legal correspondence, and other miscellaneous material.

Correspondence is predominantly in the form of business and personal letters, postcards, and holiday cards received from family and friends. These include correspondence from Constant's daughter, Georgette Preston, and extended family members. Other frequent personal correspondents include Milton and Sally Avery, Lewis Balamuth, Margaret Brunning, David Burliuk, Nathaniel Burwash, Rhys Caparn, Julia Shaw Patterson Carnell, Phillip Cavanaugh, Morris Davidson, Charles Eaton, Vilko Gecan, Marchal Landgren, Roy Neuberger, Walter Pach, Nell Perret, Constantine Pougialis, Wallace Putnam and Consuelo Kanaga, Hi Simons, and Helen Slosberg. Business related correspondents include Audubon Artists, Art Institute of Chicago, Brooklyn Museum, Carnegie Institute, Dayton Art Institute, Federation of Modern Painters and Sculptors, Ferargil Galleries, Guild Hall, Heckscher Museum, Lyman Allyn Museum, Metropolitan Museum, Museum of Modern Art, Spanish Refugee Appeal, and the Whitney Museum. Other business correspondence related to Constant's work with the WPA are also included in the series.

Printed material includes books and booklets on American and Greek art, including a limited print edition of George Constant by George Constant, clippings and articles reviewing Constant's work, exhibition announcements and catalogs of Constant's shows, periodicals profiling his artwork, and dance and theater related programs that Constant consulted on.

Photographs include black and white prints of Constant and his family and friends in St. Louis, Missouri, Dayton, Ohio, and in and around his studio in Shinnecock Hills, New York. The collection also includes photo stills from his 1965 exhibition at the Parrish Art Museum and a comprehensive set of black and white prints, a handful of color prints, and several color slide sheets of Constant's artwork from the 1920s to 1978.
Arrangement note:
The collection is arranged into 4 series:

Series 1: Biographical Material, 1923-2007 (Box 1; 17 folders)

Series 2: Correspondence, 1930-1979 (Box 1-2; 1.4 linear feet)

Series 3: Printed Material, 1927-2005 (Box 2-3; 2 linear feet)

Series 4: Photographic Material, 1912-1978 (Box 4-6; 1 linear foot)
Biographical/Historical note:
Greek American George Zachary Constant (1892-1978) worked from his studios in Shinnecock Hills, and New York City, New York as a painter and printmaker. A founder and lifelong member of the Federation of Modern Painters and Sculptors, Constant worked for the Work Projects Administration (WPA) during the Depression and early years of World War II, and exhibited regularly at major galleries and museums from the 1920s to 1970s.

Born in Arahova, Greece, Constant was raised by his two uncles after the death of his parents in 1896. In school and at the monestary one of his uncles led, Constant showed an early interest in classical Greek aesthetics. At the age of eighteen, he immigrated to the United States and continued his art studies at Washington University before transferring to the Art Institute of Chicago. From 1918 to 1922, Constant taught at the Dayton Art Institute and continued to produce and exhibit his work locally. In 1922, he moved to New York, joined the Society of Independent Painters, and became close friends with Society founder and art critic Walter Pach. During the 1920s, his etchings were shown at the Valentine and Downtown Galleries, and at the New Art Circle of J.B. Neumann, where he presented his first one man gallery show in 1929.

From the 1930s to 1940s, Constant produced prints, watercolors, and oil paintings for the WPA, many of which were purchased by museums and public institutions, including the Metropolitan Museum of Art and the Philadelphia Museum. During this same period, Constant exhibited his work at the Boyer Gallery in the late 1930s, and at the Ferargil Gallery from the 1940s to early 1950s. In the decade between 1955 and 1965, Constant also worked on color and set design for seventeen dance productions created by the choreographer Alwin Nikolais. In the last two decades of his career, Constant produced works from his studio in Shinnecock Hills, New York and continued to exhibit at numerous galleries, including Grace Borgenicht Gallery, Guild Hall, Mari Galleries, Tirca Karlis Gallery, and Artium Gallery.
Provenance:
The papers of George Constant were donated by the artist in 1969 and 1978. Additional materials were donated in 2001 and 2007 by his daughter Georgette Preston.
Restrictions:
Use of original papers requires an appointment.
Rights:
The George Constant 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 -- New York (State) -- New York  Search this
Art -- Philosophy  Search this
Printmakers -- New York (State) -- New York  Search this
Painting, Modern -- 20th century -- New York (State) -- New York  Search this
Genre/Form:
Christmas cards
Photographs
Video recordings
Sound recordings
Interviews
Citation:
George Constant papers, 1912-2007, bulk 1932-1978. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.consgeor
See more items in:
George Constant papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-consgeor

Saul Nesbitt Papers

Collector:
Cooper-Hewitt Design Archives  Search this
Cooper-Hewitt Design Archives  Search this
Creator:
Nesbitt, Saul, 1920-1993.  Search this
Names:
Archway Cookies, Inc.  Search this
Borden's Farm Products Co. of Illinois  Search this
Campbell Soup Company  Search this
Cooper-Hewitt Design Archive  Search this
Eastman Kodak Company  Search this
Florists' Telegraph Delivery Association  Search this
Franco American Food Co.  Search this
Lever Brothers and Unilever, ltd.  Search this
National Distillers and Chemical Corporation  Search this
Nesbitt Associates, Ltd.  Search this
P. Ballantine & Sons  Search this
Philip Morris Incorporated  Search this
Revlon, Inc.  Search this
Schick (Firm)  Search this
Scott Paper Company  Search this
Seagram Company  Search this
Extent:
3.5 Cubic feet
Type:
Archival materials
Collection descriptions
Slides
Sketches
Transparencies
Press releases
Correspondence
Photographs
Media lists
Blueprints
Drawings
Clippings
Client lists
Date:
1951 - 1984
Scope and Contents:
Background and biographical information consists of Nesbitt's resume, an artist/designer statement, list of clients and accomplishments of Nesbitt Associates, Ltd., press releases, articles, and photographs of the designer.,The materials in this collection document Nesbitt's work from 1951 through 1984.
The records of the office of public relations cover the years 1955-1963 and include press releases and clippings describing some Nesbitt's products, his theories on consumer motivation, and the results of his surveys, as well as correspondence with members of the press. General office correspondence is boxed separately.
Color slides, color and black & white transparencies, and black & white photographs of most of Nesbitt's designs for packaging from 1951-1981 are included. Oversized materials include books jackets and booklets designed by Nesbitt, as well as some renderings for packaging designs done in color.
Three samples of fitted presentation boxes designed by Nesbitt are included, as well as a prototype for a design award for Parsons School of Design in New York, and two "Multiplication" cubes commissioned by the Museum of Modern Art in New York.
Arrangement:
This collection has been reboxed in archivally-sound containers, but the materials have only been partially processed and arranged. Record groups include: 1) Backgound and Biographical Information; 2) Records of the Public Relations Office, 1955-1963; 3) Correspondence; 4) Slides, Transparencies, and Photographs; 5) Oversized Materials; and 6) Samples.
Biographical / Historical:
Packaging, industrial, and graphic designer. Born in New York City, August 10, 1920. Nesbitt was a student of sculptor Chaim Gross and studied art at many New York institutions including: Art Students League; New York University; Columbia University; Pratt Institute of Art; and the New School.

He served in the U.S. Army from 1942 to 1945 where he worked as a cartographer and as the head of the visual aid section in a military intelligence training center. In 1945, he joined the staff of Harper's Bazaar magazine where he was an illustrator assisting art director Alexey Brodovich. In 1946, Nesbitt was hired by the industrial design studio of Raymond Loewy as a handletterer and packaging designer.

He worked with Lippincott Industrial Design from 1948 to 1951. Nesbitt opened his own design studio, Nesbitt Associates, Ltd. in 1951. The firm specialized in package design, trademarks, and corporate identities. Some of his most recognizable designs were for the label for Campbell's Soup and the Florists' Telegraph Delivery (F.T.D.) Winged Mercury 'Interflora' figure, still used today. Nesbitt's other clients included: Franco American; Revlon; Ballantine Beer; Borden; Champion spark plugs; Kodak; Philip Morris cigarettes; Schick razors; and Archway cookies. In addition, Nesbitt developed the "Karry Kit" for Ballantine Beer which came to be widely used and known as the six pack.

Nesbitt was known for his revealing studies and surveys of the buying needs and preferences of the "average American housewife" and consumers in general. His opinions on what he referred to as "underpackaging" were widely publicized in professional magazines and journals. In 1984, Nesbitt retired from the design field and went to California to resume his career as a sculptor until his death in 1993.
Provenance:
Collection donated by the designer's wife, Mrs. Saul Nesbitt, in 1994.
Restrictions:
Unrestricted research access on site by appointment.,Unprotected photographs must be handled with gloves.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Occupation:
Industrial designers  Search this
Packaging designers  Search this
Graphic designers  Search this
Topic:
Consumers -- Research  Search this
Consumers' preferences -- United States  Search this
Housewives as consumers  Search this
Labels -- Design  Search this
Corporate image -- Design  Search this
Logos (Symbols) -- Design  Search this
Graphic arts -- United States  Search this
Design, Industrial -- United States  Search this
Packaging -- Design  Search this
Genre/Form:
Slides
Sketches
Transparencies
Press releases
Correspondence
Photographs -- 20th century
Media lists
Blueprints
Drawings
Clippings
Client lists
Citation:
Saul Nesbitt Papers, 1951-1984, Archives Center, National Museum of American History.
Identifier:
NMAH.AC.1275
See more items in:
Saul Nesbitt Papers
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-1275

Hans Hofmann papers

Creator:
Hofmann, Hans, 1880-1966  Search this
Names:
Hans Hofmann School of Fine Arts  Search this
Hans Hofmann School of Fine Arts (Provincetown, Mass.)  Search this
Amgott, Madeline  Search this
Dickey, Tina, 1954-  Search this
Hawthorne, Charles Webster, 1872-1930  Search this
Hofmann, Maria, 1885-1963  Search this
Hofmann, Renate Schmitz, 1930-1992  Search this
Mauer, Alfred  Search this
Extent:
29.92 Linear feet
Type:
Archival materials
Collection descriptions
Video recordings
Sound recordings
Scrapbooks
Transcripts
Interviews
Photographs
Date:
circa 1904-2011
Summary:
The papers of painter, teacher, and writer Hans Hofmann measure 29.92 linear feet and date from circa 1904 to 2011, with the bulk of the materials dating from 1945 to 2000. The majority of the papers were created after 1932 and document Hofmann's life and professional career after settling in the United States. Among his papers are personal and professional correspondence; records of his schools in Munich, New York City, and Provincetown, Mass.; writings and notes; financial records; photographs; printed matter; estate records; and a small number of personal papers of his second wife, Renate Schmitz Hofmann. Hofmann's personal papers are augmented by a large selection of printed matter, including exhibition catalogs, articles, news clippings, and monographs about Hofmann and modern art, as well as documentary projects including Tina Dickey's compilation of oral histories and records of Hofmann's students, and research materials, sound and video recordings, and motion picture film created and gathered by Madeline Amgott during the production of two video documentaries about Hans Hofmann released in 1999 and 2002. Hofmann's Library was acquired with his papers; inscribed/annotated volumes have been retained with the collection.
Scope and Content Note:
The papers of painter, teacher, and writer Hans Hofmann measure 29.92 linear feet and date from circa 1904 to 2011, with the bulk of the materials dating from 1945 to 2000. The majority of the papers were created after 1932 and document Hofmann's life and professional career after settling in the United States. Among his papers are personal and professional correspondence; records of his schools in Munich, New York City, and Provincetown, Mass.; writings and notes; photographs; address and appointment books; artifacts; artwork; biographical information; interview transcripts; sales and estate records; and a small number of personal papers of his second wife, Renate Schmitz Hofmann. Hofmann's personal papers are augmented by a large selection of printed matter, including exhibition catalogs, articles, news clippings, and monographs about Hofmann and modern art, as well as documentary projects including Tina Dickey's compilation of oral histories and records of Hofmann's students, and research materials, sound and video recordings, and motion picture film created and gathered by Madeline Amgott during the production of two video documentaries about Hans Hofmann released in 1999 and 2002. Hofmann's Library was acquired with his papers; inscribed/annotated volumes have been retained with the collection.

Correspondence, 1914-1966 (Series 1), consists mainly of incoming letters about professional matters and personal business. A large portion of the letters are from museum directors and curators regarding the exhibition, loan, sale or donation of Hofmann's work; publishers, editors, and others preparing catalogs or biographical works; and galleries that showed Hofmann's paintings or represented him. Also among the correspondents are students and former students, art historians, art critics, fans, and friends. Family correspondents are a sister-in-law, nieces, and a nephew in Germany. Additional correspondence concerning administrative matters, and requests for catalogs, transcripts and recommendations are among the Records of the School of Fine Arts (Series 2). Financial Records (Series 4) contain a small amount of correspondence regarding banking, taxes, and Social Security. Estate Records (Series 9) include correspondence relating to taxes, the sale of Hofmann's Provincetown house, and various legal documents. Correspondence among the Papers of Renate Schmitz Hofmann (Series 10) include condolence letters, and a small number of personal letters and business correspondence regarding Hofmann's estate.

School of Fine Arts Records, 1915-1965 (Series 2), include a very small number of items relating to the Hans Hofmann Schule fur Bildende Kunst that operated in Munich from 1915 until 1933. These are printed prospectuses, a financial record, 1925; and "Italian Schools of Painting: The Renaissance in Italy," a printed chart, probably used as a teaching aid. Other items relating to the Munich school are photographs (Series 6) of Hans Hofmann with students in the 1920s, including some taken during the summer course in Capri, circa 1925. Travel photographs, 1920s, may have been taken while teaching summer courses in Europe, and an unidentified photograph, undated, of an exhibition installation in Germany may be school-related.

The Hans Hofmann School of Fine Arts was established in New York in 1933, and his summer school in Provincetown, Mass., opened in 1934; both operated continually until Hofmann closed them in 1958 in order to paint full-time. Records of these schools are more substantial, but still quite incomplete. They consist of administrative files containing accreditation records, correspondence, model bookings, inquiries from prospective students, and printed matter about the schools. Financial records are comprised of expense statements and an analysis of income from the 1956 summer session. Student records consist of student ledgers, registration and payment records, and requests for transcripts and recommendations. Miscellaneous items are student artwork and notes. Records postdating the schools' closing are inquiries from prospective students and requests from former students for transcripts or recommendations. Additional letters from former students about matters other than transcripts and recommendations are filed with Correspondence (Series 1).

Writings, circa 1904-1965 (Series 3), are published and unpublished manuscripts by Hans Hofmann and other authors. Hoffman wrote extensively about his philosophy of painting, about himself as a teacher and an artist, and about modern art. Included are manuscripts, drafts, and revisions of Hofmann's book, Das Malerbuch: Form und Farbe in Gestaltung, circa 1904-[1952?], Search for the Real in the Visual Arts and Other Essays, published in 1948, and The Painter and His Problems-A Manual Dedicated to Painting, 1963. Articles and Essays include the constituent essays of Search for the Real in the Visual Arts and Other Essays and others on theoretical aspects of painting, Alfred Maurer, and Charles W. Hawthorne. Talks and Lectures consist of notes, outlines, and some complete texts of Hofmann's speeches. Miscellaneous Writings are shorter, informative pieces, mostly unpublished. Representative titles include: "I Am Often Asked to Explain My Work," 1946, and "About the Relation of Students and Teachers," undated. Poems by Hofmann include some written to Miz Hofmann. Notes and Lists include notes on specific works of art and lists of paintings for exhibitions, framing, and shipping.

Financial Records, 1927-1966 (Series 4), consist mainly of banking records and tax returns with supporting documentation. There are also statements of assets and liabilities, and a few subject files concerning financial matters such as "House Expenses," "Social Security," and "University of California-Financial Standing With." Additional tax records are among the documents of the Estate of Hans Hofmann (Series 9), and expenses are recorded in his 1932 appointment book (Series 5).

Miscellaneous Records, 1906-1966 (Series 5) include Addresses and Appointment Books. Artifacts are a leather wallet and 6 photogravure blocks. Artwork consists of 4 sketches and block prints of 3 red shapes, one the numeral 5. Included with Biographical Information are birth and marriage certificates, immigration and naturalization papers, wills, Hofmann and Wolfegg family documents, biographical notes and chronologies, and a bibliography of writings on and by Hofmann. Interview Transcripts are of 3 interviews with Hofmann conducted for various purposes. Sales Records include lists of paintings sold through galleries and privately, and a list of prices computed by canvas size.

Photographs, circa 1925-1966 (Series 6) are of People, Events, Places, Works of Art, and Miscellaneous Subjects; also, Oversize Photographs. People include views of Hofmann alone and with Miz, students, and others; Miz Hofmann; Renate Schmitz Hofmann; and the Hofmann family. Also, there are pictures of identified and unidentified individuals and groups. Events recorded are "Forum 49" at Gallery 200, exhibition installations, openings, and ceremonies for honorary degrees awarded Hofmann. Photographs of places include Miz Hofmann's Munich apartment; interior and exterior views of Hofmann's Provincetown house; exterior views of the Provincetown school; Hofmann's New York studio; and unidentified houses and landscapes. Travel pictures are of Italy, Mexico, California [?], and unidentified locations. Photographs of works of art by Hofmann are mainly 35-mm color slides of works completed from 1935 to 1965. There are also photographs of works by other artists and Hofmann students. Teaching materials are photographs of Old Masters paintings, drawings, and Classical sculpture, some marked to indicate line, form, or proportion. Miscellaneous subjects are a dog, cat, and doll; also, a cover design for Search for the Real in the Visual Arts. The oversize photographs include portraits of Hans Hofmann and Miz, and works of art by Hofmann students.

Printed Matter, 1930-1978 (Series 7), contains articles, essays and a letter to the editor by Hans Hofmann; the remaining material by other authors is categorized by type. Exhibition Catalogs and Related Items (mainly announcements and invitations), 1931-1978, undated, are from group and solo shows that featured the work of Hans Hofmann; also, catalogs and announcements of other artists' exhibitions collected by Hofmann. Newspaper clippings and articles from periodicals include reviews, feature articles, articles with brief references to Hofmann or reproductions of his work, and obituaries. Others are on art-related topics and miscellaneous subjects. Miscellaneous printed matter includes a variety of items such as brochures about art courses (not the Hofmann school), reproductions of works by Hofmann and other artists, book prospectuses, and statements. Art Museum: A Center for Cultural Study, a prospectus showing models and drawings of the proposed University Art Museum, Berkeley, notes the location of its Maria and Hans Hofmann Wing. A Scrapbook, 1944-1962, contains clippings, exhibition reviews, and some catalogs, checklists, and invitations. Nineteen books that mention or are about Hofmann are a part of this series.

Hans Hofmann's Library (Series 8) of art books and general literature was acquired with his papers. Inscribed and annotated volumes have been retained. Books about or mentioning Hofmann are among Printed Matter (Series 7). All other books and periodicals (376 items) were transferred to the Library of the Smithsonian's American Art Museum.

Estate of Hans Hofmann, 1945-1974 (Series 9), consists of records of Hofmann's attorney and co-executor, Robert Warshaw, and includes correspondence and legal documents concerning taxes, the Provincetown house, and miscellaneous business matters.

Papers of Renate Schmitz Hofmann, 1962-1967 (Series 10), include notes, correspondence, condolence letters and records regarding Hans Hofmann's funeral, and information about the theft of Hofmann paintings from his Provincetown house in 1966.

Hans Hofmann Documentary Projects, 1944-2011 (Series 11) includes research materials compiled by Tina Dickey concerning Hofmann's students, correspondence as well as primary source and supplementary research materials produced and gathered by Madeline Amgott for two video documentaries on Hofmann released in 1999 and 2002. Original and edited audiovisual recordings are included in the series, as well as primary source material gathered from a variety of sources.
Arrangement:
The Hans Hofmann papers are arranged into 11 series. Correspondence (Series 1), Financial Records (Series 4), and Papers of Renate Schmitz Hofmann (Series 10) are arranged alphabetically by folder title. Unless noted otherwise, material within each folder is arranged chronologically.

Series 1: Correspondence, 1914-1966 (3 linear feet; Box 1-3)

Series 2: School of Fine Arts records, 1915-1965 (2 linear feet; Box 4-5)

Series 3: Writings, circa 1904-1965 (2.5 linear feet; Box 6-8)

Series 4: Financial records, 1927-1966 (0.5 linear feet; Box 8)

Series 5: Miscellaneous records, 1906-1966 (0.8 linear feet; Box 9)

Series 6: Photographic materials, circa 1925-1965 (1.5 linear feet; Box 9-10, Box 19, MGP 1)

Series 7: Printed material, 1928-1978 (5.2 linear feet; Box 11-15, Box 20)

Series 8: Hans Hofmann Library (2.5 linear feet; Box 16-18, Box 20)

Series 9: Estate of Hans Hofmann, 1945-1974 (0.5 linear feet; Box 18)

Series 10: Papers of Renate Schmitz Hofmann, 1962-1967 (0.1 linear feet; Box 18)

Series 11: Hans Hofmann Documentary Projects, 1944-2011 (12.3 linear feet; Box 19, 21-31, FC 32-44)
Biographical Note:
German-born Hans Hofmann (1880-1966), a leading figure of the 20th century art world, was the first painter to be called an Abstract Expressionist. An esteemed and influential teacher, Hofmann operated his own school in Munich and later in New York City and Provincetown, Mass. He wrote extensively on theoretical aspects of modern art, and about himself as an artist and teacher, and was in demand as a speaker. Hofmann alternated among a variety of styles and techniques throughout his career. Many paintings combine Fauve-inspired color and Cubist structure; influenced by the Surrealist's automatism, much of Hofmann's abstract work often uses poured and spattered paint.

Johann (Hans) Georg Albert Hofmann showed musical and artistic talent as a boy and excelled in the study of science and mathematics. Technical knowledge acquired through working as assistant to the Director of Public Works of the State of Bavaria enabled him, while still a teenager, to invent several mechanical devices. Hofmann attended Moritz Heymann's Munich art school in 1898. Willi Schwarz, one of his teachers during this period, introduced him to Impressionism, and by visiting galleries Hofmann's awareness of contemporary art movements expanded. Schwarz also introduced him to art collector Phillip Freudenberg whose patronage made a move to Paris possible.

Hofmann arrived in Paris in 1904 and began attending evening sketch classes at the Académie Colarossi and the Académie de la Chaumière where Matisse was among his fellow students. During his 10 years in Paris, Hofmann established a close friendship with Robert Delaunay and met Braque, Arthur B. Carles, Léger, Picasso, and Leo Stein. He painted Cubist landscapes, still lifes, and figure studies, and participated in group shows with Neue Sezessions, Berlin, 1908 and 1909. In 1910, the Paul Cassierer Gallery, Berlin, presented Hofmann's first solo exhibition.

When World War I broke out, Hofmann was visiting Germany. War conditions prevented his return to Paris and terminated Freudenberg's financial assistance. Disqualified for military service due to a lung condition, Hofmann decided to earn his living by teaching. The Hans Hofmann Schule für Bildende Kunst in Munich opened in 1915 and was a success from its earliest days. Beginning in 1917, summer courses were offered in locations such as Italy, France, Bavaria, and Dalmatia. After the war, Hofmann's school began to attract American students including Carl Holty, Alfred Jensen, Louise Nevelson, Worth Ryder, Vaclav Vytlacil, and Glenn Wessels.

Hofmann first came to the United States in 1930, when former student Worth Ryder, art department chairman at the University of California, Berkeley, invited him to teach the summer session at Berkeley. He returned to California the following year, teaching a semester at the Chouinard School of Art, Los Angeles, followed by another summer session at Berkeley. Hofmann moved to New York in 1932 because of the political situation at home and at the urging of his wife, who was to remain in Germany until 1939.

While Hofmann served as guest instructor at the Thurn School of Art, Gloucester, Mass., during the summers of 1932 and 1933, his Munich school offered summer sessions taught by Edmund Daniel Kinzinger. Its 1933 prospectus noted, "Mr. Hofmann will probably conduct the summer school personally..." But he did not return, and the school closed in the fall of 1933.

Hofmann taught at Art Students League in the fall of 1932. The Hans Hofmann School of Fine Arts opened in New York City in the autumn of 1933, operating in several locations before moving to permanent quarters at 52 West 8th Street in 1938. He established the summer school at Provincetown, Mass. in 1934. Firsthand knowledge of Picasso, Matisse, and european modern art trends, along with his theories and the freedom he offered students, made Hofmann a widely admired, influential, and important teacher. Among his students were: Burgoyne Diller, Ray Eames, Helen Frankenthaler, Red Grooms, Harry Holtzman, Allen Kaprow, Lillian Kiesler, Lee Krasner, George McNeil, Irene Rice Pereira, and Richard Stankiewicz. In addition, art critic Clement Greenberg was significantly influenced by Hofmann's lectures on artistic theory. Both schools flourished until Hofmann decided to close them in 1958; after teaching for 43 consecutive years, he wanted to paint full-time.

In his writings, Hofmann expanded on theories regarding form, color, and space developed during his years in Paris. His most important text, Das Malerbuch: Form und Farbe in Gestaltung, based on notes begun in Paris circa 1904, was written during his second summer at Berkeley, 1931. That same year, Glenn Wessels translated it into English as Creation in Form and Color. Although Hofmann produced additional notes and revisions over the next two decades, the manuscript remains unpublished. Hofmann wrote essays and articles, many of which were published. A collection of Hofmann's writings, Search for the Real and Other Essays, was published in conjunction with his 1948 retrospective exhibition at the Addison Gallery of American Art, Andover, Mass., the first solo show of an Abstract Expressionist to be organized by a museum. Other published and unpublished articles, essays, and shorter writings that elucidate his theoretical concerns include: "The Mystification of the Two- and Three-Dimensional in the Visual Arts," 1946; "Pictorial Function of Colours," 1950; "Space Pictorially Realized Through the Intrinsic Faculty of the Colours to Express Volume," 1951; "The Color Problem in Pure painting-Its Creative Origin," 1955; "The Creative Process-Its Physical and Metaphysical Performing," 1956; "Nature as Experience and Its Pictorial Realization," undated; and "Pure Colour Space," undated.

Hofmann's lectures to his own students, and talks presented to art groups and the general public addressed many of the same themes. He gave his first American lecture in 1930 at the University of Minnesota, and presented talks to a variety of groups while in California. Hofmann was a frequent speaker at the Provincetown Art Association, and participated in the "Forum 49" series he helped to organize at Gallery 200 in Provincetown, 1949.

In the last decade of his life, Hofmann produced a large number of paintings. He was represented in the XXX Venice Biennale, 1960, and major retrospective exhibitions were organized by the Whitney Museum of American Art, 1957, and the Museum of Modern Art, 1963. In 1963, he made a gift of 45 paintings to the University of California, Berkeley, and funded construction of a wing to house them in the soon-to-be-built University Art Museum. Hans Hofmann died in New York City on Feb. 17, 1966.

1880 -- Hans Hofmann is born in Weissenburg, Bavaria, on 21 March, the son of Theodor and Franziska Hofmann.

1886 -- The family moves to Munich, where Theodor becomes a government official. Hans studies mathematics, science, and music at the gymnasium. He plays the violin, piano and organ and begins to draw.

1896 -- With his father's help, finds a position as assistant to the director of public works of the State of Bavaria. Develops his technical knowledge of mathematics, resulting in several scientific inventions, including an electromagnetic comptometer.

1898 -- Studies with Willi Schwarz at Moritz Heymann's art school in Munich, where he is introduced to Impressionism.

1900 -- Meets Maria (Miz) Wolfegg, his future wife.

1903 -- Through Willi Schwarz, he meets the nephew of a Berlin collector, Philipp Freudenberg, who becomes his patron from 1904-1914 and enables him to live in Paris.

1904 -- Frequents the Café du Dome, a haunt of artists and writers, with Jules Pascin, a friend from Moritz Heymann's school. Miz joins him in Paris. Attends evening sketch class at the Académie de la Grand Chaumière and the Académie Colarossi. Meets Pablo Picasso, Georges Braque, and Henri Matisse.

1908 -- Exhibits with the Neue Sezession in Berlin and again in 1909. Miz designs scarves with Sonia Delaunay (then Sonia Uhde).

1910 -- First one-person exhibition held at Paul Cassirer Gallery, Berlin. Meets Robert Delaunay, with whom he designs patterns for Sonia Delaunay's Cubist fashions. During their close friendship, both men develop as colorists.

1914 -- Hans and Miz leave Paris for Corsica so that Hans can regain his health during a bout of what turned out to be tuberculosis. Called to Germany by the illness of his sister Rosa, they are caught on the Tegernsee by the outbreak of World War I.

1915 -- Disqualified for the army due to the after effects of his lung condition, and with the assistance of Freudenberg terminated by the war, Hofmann decides to earn a living teaching. In the spring, he opens the Hans Hofmann School of Fine Arts at 40 Georgenstrasse, Munich.

1918-29 -- After the war his school becomes known abroad and attracts foreign students such as Worth Ryder, Glenn Wessels, Louise Nevelson, Vaclav Vytlacil, Carl Holty, Alfred Jensen, and Ludwig Sander. Holds summer session at Tegernsee, Bavaria (1922), Ragusa (1924), Capri (1925-1927), St. Tropez (1928-1929). Makes frequent trips to Paris. Has little time to paint but draws continually.

1924 -- Marries Miz Wolfegg on 5 June.

1929 -- A series of his drawings is reproduced by a photographic process known as Lichtdrucke.

1930 -- At the invitation of Worth Ryder, teaches in a summer session at the University of California, Berkeley, where Ryder is chairman of the Department of Art. Returns to Munich for the winter.

1931 -- In the spring, teaches at the Chouinard School of Art, Los Angeles, and again at Berkeley in the summer. Wessels helps him with the first translation of his book Form und Farbe in der Gestaltung, begun in 1904. Exhibits a series of drawings at the California Palace of the Legion of Honor, San Francisco, his first show in the United States.

1932 -- Returns to the Chouinard School of Art in the summer. Advised by Miz not to return to Munich because of a growing political hostility to intellectuals, settles in New York. Vaclav Vytlacil helps arrange a teaching position for him at the Art Students League.

1932-33 -- Summer sessions at the Hans Hofmann School of Fine Arts continue in St. Tropez (1932) and Murnau (1933), taught by Edmund Daniel Kinzinger. The school closes in the fall of 1933, and Miz gives up the lease in 1936.

1933 -- Spends the summer as guest instructor at the Thurn School of Art in Gloucester, Mass. In the fall, opens the Hans Hofmann School of Fine Arts at 444 Madison Avenue in New York. After a prolonged period of drawing, begins to paint again.

1934 -- Upon the expiration of his visa, travels to Bermuda to return with a permanent visa. Opens a summer school in Provincetown, Mass. The Hans Hofmann School of Fine Arts opens at 137 East 57th Street in New York. In 1936, the Hofmann School moves to 52 West 9th Street.

1938 -- The Hofmann School moves to 52 West 8th Street. A planned European summer session (traveling to Paris, the Cote d'Azure, Italy, and Capri) is called off after Hitler moves into Austria in the Spring. Delivers a lecture series once a month at the school in the winter of 1938-39, which is attend by the vanguard of the New York art world, including Arshile Gorky and Clement Greenberg.

1939 -- Miz Hofmann arrives in America. After a stay in New Orleans, joins her husband in Provincetown. They spend five months each summer in Provincetown and the rest of the year in New York.

1941 -- Becomes an American citizen. Delivers an address at the annual meeting of the American Abstract Artists at the Riverside Museum. One-person exhibition at the Isaac Delgado Museum of Art, New Orleans.

1942 -- Hofmann's former student Lee Krasner introduces him to Jackson Pollock.

1944 -- First exhibition in New York at Art of This Century Gallery, arranged by Peggy Guggenheim. "Hans Hofmann, Paintings, 1941-1944" opens at the Arts Club in Chicago and travels on to the Milwaukee Art Institute in January 1945. Howard Putzel includes Hofmann in "Forty American Moderns" at 67 Gallery, New York. He is also included in "Abstract and Surrealist Art in America" at the Mortimer Brandt Gallery, New York (arranged by Sidney Janis in conjunction with publication of Janis's book of the same title).

1947 -- Exhibitions at Betty Parsons Gallery in New York, in Pittsburgh, and at the Dallas Museum of Fine Arts. The Texas show travels to Denton, Tex.; Norman, Okla.; and Memphis, Tenn. Begins to exhibit with the Kootz Gallery in New York. Kootz holds a one-person show of Hofmann's work each year until his death (with the exception of 1948 and 1956).

1948 -- Retrospective exhibition a the Addison Gallery of American Art in Andover, Mass., in conjunction with publication of his book, Search For the Real and Other Essays.

1949 -- Travels to Paris to attend the opening of his exhibition at the Galerie Maeght and visits the studios of Picassso, Braque, Constantin Brancusi, and Joan Miro. Helps Fritz Bultman and Weldon Kees organize Forum 49, a summer series of lectures, panels, and exhibitions at Gallery 200 in Provincetown.

1950 -- Participates in a three-day symposium at Studio 35 in New York with William Baziotes, James Brooks, Willem de Kooning, Herbert Ferber, Theodoros Stamos, David Smith, and Bradley Walker Tomlin. Joins the "Irascibles"-a group of Abstract Expressionists-in an open letter protesting the exclusion of the avant-garde from an upcoming exhibition of American art at the Metropolitan Museum of Art in New York.

1951 -- Juries the 60th Annual Exhibition at the Art Institute of Chicago with Aline Louchheim and Peter Blume.

1954 -- One-person exhibition held at the Baltimore Museum of Art.

1955 -- Designs mosaic murals for the lobby of the new William Kaufmann Building, architect William Lescaze, at 711 Third Avenue, New York. Retrospective held at the Art Alliance in Philadelphia.

1957 -- Retrospective exhibitions held at the Whitney Museum of American Art, New York, which then travel to Des Moines, San Francisco, Los Angeles, Seattle, Minneapolis, Utica, and Baltimore.

1958 -- Hofmann ceases teaching to devote himself full time to painting. He moves his studio into the New York and Provincetown schools. Completes a mosaic mural for the exterior of the New York School of Printing (Kelley and Gruzen, architects) at 439 West 49th Street.

1960 -- Represents the United States with Philip Guston, Franz Kline, and Theodore Roszak at the XXX Venice Biennale.

1962 -- Retrospective exhibition opens in Germany at the Frankische Galerie am Marientor, Nuremberg, and travels to the Kolnischer Kunstverein, Cologne, and the Kongreilhalle, Berlin. In Munich, Neue Galerie im Kunstlerhaus presents "Oils on Paper, 1961-1962." Awarded an honorary membership in the Akademie der Bildenden Kunste in Nuremberg and an honorary Doctor of Fine Arts degree by Dartmouth College in Hanover, N. H.

1963 -- Miz Hofmann dies. Retrospective exhibition at the Museum of Modern Art organized by William Seitz travels throughout the United States and internationally to locations in South America and Europe, including Stuttgart, Hamburg, and Bielefeld. Signs a historic agreement to donate 45 paintings to the University of California at Berkeley and to fund the construction of a gallery in his honor at the new university museum, then in the planning stage. The exhibition "Hans Hofmann and His Students," organized by the Museum of Modern Art, circulates in the United States and Canada.

1964 -- Awarded an honorary Doctor of Fine Arts degree from the University of California at Berkeley. Serves on the jury for the 1964 Solomon Guggenheim International Award. Becomes a member of the National Institute of Arts and Letters, New York. Renate Schmitz inspires the Renate series.

1965 -- Awarded an honorary Doctor of Fine Arts degree by Pratt Institute, New York. Marries Renate Schmitz on 14 October.

1966 -- Hans Hofmann dies on 17 February in New York.
Related Material:
The holdings of the Archives of American Art include papers and oral history interviews of many former students and friends of Hofmann; among these collections are correspondence, photographs, reminiscences, writings, and printed items relating to Hofmann and his school. The Lillian Kiesler Papers, 1920s-1990s include records of the Hans Hofmann School of Fine Arts. Researchers are advised to conduct a name search in the Smithsonian Institution Research Information System (SIRIS).

Other Hans Hofmann Papers, 1929-1976 (1.65 linear ft.) are owned by The Bancroft Library, University of California, Berkeley (Collection number: BANC MSS 80/27 c). An inventory is available on The Bancroft Library's website at http//www.lib.berkeley.edu/BANC/
Separated Materials:
Monographs and periodicals (376 items) from Hofmann's Library not directly related to the artist were transferred to the Library of the Smithsonian's American Art Museum in 2001. The Library retained relevant volumes, dispersed others to appropriate libraries within the Smithsonian Institution, and made final decisions regarding disposition of any remaining items.
Provenance:
Renate Schmitz Hofmann, widow of the artist, donated to the Archives of American Art 313 35-mm color slides of work by Hans Hofmann in 1974. The remainder of the collection was a gift of the Estate of Hans Hofmann in 1997. Tina Dickey donated her research material in 2000 and 2001 under the auspices of the Renate, Hans, and Maria Hofmann Trust. In 2006, additional manuscripts, notes, and illustrations for Hofmann's Das Malerbuch: Form und Farbe in der Gestaltung were received from the Trust. In 2015, the Trust donated additional correspondence, research and video production materials related to two documentaries on Hans Hofmann by Madeline Amgott. 13.0 linear ft. books, exhibition catalogs, and periodicals (376 items) from Hofmann's library, received with the collection, were transferred to the Smithsonian's American Art Museum-National Portrait Gallery Library.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Use of archival audiovisual recordings with no duplicate access copy requires advance notice. Contact Reference Services for more information.
Rights:
The Hans Hofmann 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. Authotization to quote or reproduce, for purposes of publication, the 1998 May 27 interview of Max Spoerri by Tina Dickey requires written permission from Max Spoerri.
Topic:
Motion pictures (visual works)  Search this
Art -- Study and teaching  Search this
Art -- Philosophy  Search this
Authors -- New York (State) -- New York  Search this
Authors -- Massachusetts  Search this
Painters  Search this
Art schools -- New York (State) -- New York  Search this
Abstract expressionism  Search this
Art schools -- Massachusetts -- Provincetown  Search this
Art teachers  Search this
Painting, Modern -- 20th century -- Study and teaching  Search this
Art students -- New York (State) -- New York  Search this
Genre/Form:
Video recordings
Sound recordings
Scrapbooks
Transcripts
Interviews
Photographs
Citation:
Hans Hofmann papers, circa 1904-2011, bulk 1945-2000. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.hofmhans
See more items in:
Hans Hofmann papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-hofmhans
Additional Online Media:

Modify Your Search






or


Narrow By