The papers of New York-based painter, teacher and art director Anna Walinska measure 2.1 linear feet and date from 1927 to 2002, with the bulk of material from 1935 to 1980. The papers include biographical material, correspondence, writings, travel diaries, printed material, scrapbooks, artwork, sketchbooks, and photographs.
Scope and Contents:
The papers of New York-based painter, teacher and art director Anna Walinska measure 2.1 linear feet and date from 1927 to 2002, with the bulk of material from 1935 to 1980. The papers include biographical material, correspondence, writings, travel diaries, printed material, scrapbooks, artwork, sketchbooks, and photographs.
Biographical material consists of awards, certificates, curriculum vitae, biographical outlines, exhibition lists, passports and other material. There is a partial transcript from a radio interview of Anna Walinska. Also included are limited financial records.
Correspondence includes Anna Walinska's letters to her family from her 1954-1955 trip abroad to multiple countries in Asia, the Middle East, and Europe. There is personal and professional correspondence with friends, artists and art institutions. Notable correspondents include Milton Avery, Louise Nevelson, Beata Welsing, Bracha Hacohen, William Littlefield, and Walinska's brother Louis Walinsky.
Writings consist of Walinska's notes, notebooks, lectures, essays, and a handwritten prospectus for Guild Art Gallery. There is one folder of writings by others about Walinska at the end of the series.
There are four travel diaries that describe Walinska's trip around the world from 1954-1955, during which she traveled to many countries, and later trips to locations such as Israel and Trinidad.
Printed Material include clippings about Anna Walinska, group and solo exhibition catalogs, announcements, event invitations, and course catalogs for the Master Institute of United Art in New York City, where Walinska taught painting and drawing classes.
There are three scrapbooks: one scrapbook is about Guild Art Gallery, the second scrapbook is about the Holocaust exhibition, the third oversized scrapbook documents Walinska's career and activities overall.
Artwork consists of two bound sketchbooks as well as drawings and sketches in a variety of mediums from pencil and ink to watercolors and oils.
Photographs are of Walinska, friends, family, artists, artwork, exhibition installations, and other subjects. One album includes photos of Anna Walinska and her travels, along with images of friends and colleagues. The second album includes photographs of Walinska's solo exhibition at Sunken Meadow Gallery (1959). There is also one folder of photocopies of photos of assorted artwork by Walinska.
Arrangement:
The collection is arranged as 8 series.
Series 1: Biographical Material, 1927-2002 (Box 1; 11 folders)
Series 2: Correspondence, 1949-1995 (Box 1; 0.4 linear feet)
Series 3: Writings, circa 1935-circa 1983 (Box 1; 8 folders)
Series 4: Travel Diaries, 1954-1973 (Box 1; 0.2 linear feet)
Series 5: Printed Material, 1942-2002 (Boxes 1-2; 0.4 linear feet)
Series 6: Scrapbooks, circa 1929-1980 (Boxes 2, 4; 0.5 linear feet)
Series 7: Artwork, circa 1929-1963 (Box 3; 5 folders)
Series 8: Photographs, circa 1932-1980 (Box 3; 0.3 linear feet)
Biographical / Historical:
Anna Walinska (1906-1997) was a New York artist, teacher and gallery director who traveled widely and is most well known for her paintings related to the subject of the Holocaust.
Anna Walinska was born in London, England in 1906 to labor organization leader Ossip Walinsky and poet Rosa Newman Walinska. She had two siblings, Emily and Louis. The family immigrated to New York City in 1914, and Anna Walinska began studying at the Art Students League in 1918. In 1926, she travelled to Paris and studied art at the Academie de Grande Chaumier with Andre L'Hote. France was her primary residence until 1930.
In 1935, Walinska and artist Margaret Lefranc co-founded the Guild Art Gallery at West 57th Street in New York and gave Arshile Gorky his first solo exhibition in the city. The gallery closed its doors in 1937. In 1939, Walinska was the Assistant Creative Director of the Contemporary Art Pavilion at the New York World's Fair. During this time, Walinska also pursued her own art and exhibited work in numerous group shows.
From 1954 to 1955, Walinska traveled around the world, visiting the capitals and major cities of many countries in Asia, the Middle East and Europe. Places she went included Japan, Burma (now known as Myanmar), Pakistan, Greece, Italy, France and Spain. During her four month stay in Burma, she painted a portrait of Prime Minister U Nu and she later became a highly respected portrait artist who painted numerous illustrious subjects such as First Lady Eleanor Roosevelt, artists Louise Nevelson and Mark Rothko, and many others.
In 1957, Walinska became the artist-in-residence at the Riverside Museum where she also taught and exhibited with other artists. That same year, she had her first retrospective at the Jewish Museum in New York City.
Walinska exhibited widely and often. Holocaust: Paintings and Drawings, 1953-1978, which opened at the Museum of Religious Art at the Cathedral of St. John the Divine in New York City, is probably the most well-known of her exhibitions and it traveled across the country to several other sites such as the War Memorial Building in Baltimore and Mercy College of Detroit. Works from this exhibition were acquired by multiple museums to become part of their permanent collections.
Walinkska died on December 19, 1997 at the age of 91 in New York City. In 1999, there was a retrospective of her work titled Echoes of the Holocaust: Paintings, Drawings, and Collage, 1940-1989 held at Clark University's Center for Holocaust Studies. The Onisaburo Gallery at New York's Interfaith Center also held a solo exhibition titled Portraits of Faith (2000). Her art is part of the collections at the Denver Art Museum, National Portrait Gallery, National Museum of Women in the Arts, the Rose Art Museum, and other museums.
Related Materials:
The Archives of American Art also has the Guild Art Gallery records, which consists of material related to the gallery that was co-founded by Anna Walinska.
Provenance:
The papers were donated by Anna Walinska in two installations in 1976 and 1981. Rosina Rubin, Anna Walinska's niece, made a third donation of material in 2017.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., research center.
Occupation:
Gallery directors -- New York (State) -- New York Search this
Educators -- New York (State) -- New York Search this
Painters -- New York (State) -- New York Search this
Collection is open for research. Access to collection materials requires an appointment.
Collection Rights:
The NMAAHC Archives can provide reproductions of some materials for research and educational use. Copyright and right to publicity restrictions apply and limit reproduction for other purposes.
Collection Citation:
Norma Merrick Sklarek Archival Collection, 1944-2008. National Museum of African American History and Culture, Smithsonian Institution.
Collection is open for research. Access to collection materials requires an appointment.
Collection Rights:
The NMAAHC Archives can provide reproductions of some materials for research and educational use. Copyright and right to publicity restrictions apply and limit reproduction for other purposes.
Collection Citation:
Norma Merrick Sklarek Archival Collection, 1944-2008. National Museum of African American History and Culture, Smithsonian Institution.
Alland, Alexander, Sr. (Alexander Landschaft), 1902-1989 Search this
Collection Author:
Kaslov, Steve, ca. 1888-1949 (King of the Red Bandanna Romany Gypsies ) Search this
Container:
Box 7, Folder 39
Type:
Archival materials
Scope and Contents note:
Moscow, May 1, 1931. Gypsies, identified as Magyars, in patriotic parade. Moscow, May 1935. Theater presentation by 'Romanian Gypsies." Kindergarten; construction workers; cradle. Sovfoto (Soyuzfoto).
Collection Restrictions:
Collection is open for research.
Collection Rights:
Photographs by de Wendler-Funaro are available for reproduction. Fees for commercial use. Permission to reproduce photographs by Alexander Alland must be granted by the photographer's estate; other photographs may have copyright restrictions.
Collection Citation:
Carlos de Wendler-Funaro Gypsy Research Collection, Archives Center, National Museum of American History.
[Needham, Harper & Steers Television Commercials. Borden Historical Reel]
Collection Creator:
National Museum of American History (U.S.). Division of Medical Sciences Search this
National Museum of American History (U.S.). Division of Medical Sciences Search this
Container:
Item RF8 222.31
Type:
Archival materials
Scope and Contents:
Farkas Films, Inc. ca. 1960? 1 reel (652 ft.) : sd., col. ; 16mm. positive. Contents: Thirty three commercials of varying lengths for snack foods manufactured by Borden's.
Summary and footage of each commercial:
1. 000-037. Dipsy Doodles. "Triple Rippled;" jingle, corn chip with snap. Old London Foods, Inc., 1960.
2. 039-075. Cheez Doodles. "Oodly, doodly." Old London. Animated.
3. 077-113. Corn Doodles. Jingle—won't spoil your appetite. Animated.
4. 116-151. Cheese Wafflies. New snack, bite size. Animated.
5. 154-189. Pretz-L.-Nuggets. Jingle—Golden Good Nuggets, bite size. Animated.
6. 192-228. Tortilla chips. Triangle, good with guacamole, chili, etc.,. Animated.
7. 230-266. Dipsy Doodles, Cocktail party.
8. 268-304. Tortilla chips. Same as No. 6.
9. 309-321. Tortilla chips. Same as No. 6, except cut some of man dressed as Mexican.
10. 324-336. Natty Doodles. With comedian.
11. 340-374. Old London products. Snacks more fun with Old London; mentions all products.
12. 379-413. Old London products. Same as No. 11.
13. 417-428. Old London products. Same as first third of No. 11.
14. 432-443. Old London products. Same as first third of No. 11.
15. 446-451. Old London products. Same as middle portion of No. 11.
16. 455-460. Old London products. Same as No. 15.
17. 464-499. Old London products. Same as No. 15.
18. 501-506. Cheez Doodles. Hard hat construction worker with Cheez Doodles and lunch.
19. 508-514. Cheez Doodles first to arrive at a party and first to leave, (note: color faded.)
20. 516-522. Cheez Doodles. David Doyle (Bosley in Charley's Angels') is beset by dhildren in park trying to take his Cheez Doodles, (note: color faded.)
21. 523-529. Cheez Doodles. Child with Cheeze Doodles.
22. 532-538. Onion rings and two men.
23. 539-545. Onion rings. Little boy dressed up as man with beard and moustache, with onion rings.
24. 546-551. Onion rings. Couple with onion rings.
25. 553-559. Onion rings. Man eating onion rings.
26. 560-566. Onion rings. Man and woman eating onion rings.
27. 568-586. Cheez Doodles. Wedding, "Cheez Doodles make everything alright."
28. 588-605. Cheez Doodles. Woman crying at movie. "Cheez doodles make everything alright."
29. 607-624. Cheez Doodles. Bill Ford takes son to Shay Stadium. Save Mets coupons on Cheez Doodles to get in Stadium free.
30. 625-631. Cheez Doodles. Two little girls share secrets and Cheez Doodles.
31. 633-639. Cheez Doodles. "Man who does not like children should not eat Cheez Doodles in public places."
32. 641-645. Cheez Doodles. Little boy dressed as cowboy eats Cheez Doodles.
33. 647-652. Cheez Doodles. Father and son fixing son's bike eat Cheez Doodles.
Collection Restrictions:
Collection is open for research.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Medical Sciences Film Collection, circa 1930s-1960s, Archives Center, National Museum of American History
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Mel Casas papers, 1963-1998. Archives of American Art, Smithsonian Institution.
Sponsor:
The processing and digitization of this collection received Federal support from the Latino Initiatives Pool, administered by the Smithsonian Latino Center. Additional funding for the digitization of the papers was provided by the Roy Lichtenstein Foundation.
Sketchbook created for Isabelle Manship, wife of sculptor Paul Manship, with an inscription dated March 16, 1930, containing sketches of animals, birds, Indians, nudes, construction workers, peasants, and other subjects, including a sketch of a Pekinese, dated February 7, 1937, which was assumed to have been added by Young during a visit to Manship.
Biographical / Historical:
Painter, sculptor, writer, instructor; New York, N.Y.; Ridgefield, Conn.
Provenance:
Lent for microfilming 1993 by Isabel Natti, granddaughter of Isabelle Manship.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Occupation:
Painters -- New York (State) -- New York Search this
Watercolorists -- New York (State) -- New York Search this
The Marlboro Oral History and Documentation Project is the result of a two-year effort supported in part by a gift from Philip Morris, Inc. Sixty oral history interviews and a variety of television commercials, print advertising, promotional materials, packaging, and industry publications were gathered to document Marlboro cigarette advertising. The bulk of the collection focuses on the period between 1954 and 1986, and examines the "Marlboro man", "Settle Back" and "Marlboro Country" campaigns. The collection is a rich source of information for researchers interested in advertising and marketing history, issues of smoking and health, and the export of both tobacco and American cultural symbols abroad.
The core of the collection is a series of interviews conducted during 1985-1987 by Dr. Scott Ellsworth, an independent scholar and oral historian. The broad range of interviewees included executives of Philip Morris, advertising agency personnel from Leo Burnett, photographers, production staff, sales and marketing personnel, and Marlboro cowboys.
Twenty-seven interviews were conducted overseas, in Argentina, Brazil, the Dominican Republic, Hong Kong, Switzerland, and West Germany. Conducted primarily with Marlboro licensee and affiliate staff, the interviews focus on the marketing and advertising history of Marlboro in the six nations. These interviews and others conducted with executives of Philip Morris International in New York City also address the history of Marlboro advertising in Africa, the Middle East, China, Eastern Europe and elsewhere in Europe and Latin America.
The interviews cover events from the 1930s through the 1980s. They focus on the theory and development of Marlboro advertising, its content and creation, and its modifications over the years. The foreign interviews also discuss the structure of the local cigarette marketplace, marketing and advertising techniques, and the use and modification of Marlboro advertising for different cultures.
Finding aids to the oral histories include abstracts of each interview indicating the major topic discussed, a cumulative index to personal names and topics in the interviews, and brief biographical and scope notes.
Arrangement:
Dthe collection is divided into seven series.
Series 1: Research Files, 1943-1987
Series 2, Interviewee Files, 1986
Series 3; Oral History Interviews, 1986
Series 4: Advertising Materials, 1926-1986
Series 5: Promotional items and packaging, 1926-1986
Series 6: Publications and Research Material, 1960-1988
Series 7: Travel Slides Generated by Project Team, 1926-1986
Biographical / Historical:
The history of Marlboro cigarettes offers insight into one of the great advertising and marketing success stories of the 20th century. Marlboro cigarettes were marketed from the Victorian era through the first half of this century as a women's cigarette, with tag-lines that aimed to appeal to female smokers, such as "Marlboro - Mild As May." In 1955, two transformations occurred which would affect both profitability and brand recognition: the addition of an integrated filter and the re-invention of the market through the debut of the "Marlboro Man" advertising campaign. The original Marlboro Man campaign featured close-up images of all kinds of men using the product -- the cowboy was one, along with lifeguards, sailors, drill sergeants, construction workers, gamblers and other types suggestive of a masculine spirit and rugged independence. By 1963, the "Marlboro Country" campaign began. This campaign focused on the cowboy and his symbolic canon: boots, hats, horses, and western landscapes. By the mid-1980s, Marlboro was the best-selling brand in the United States and the world, and the Marlboro cowboy was among the most widely recognized of American cultural symbols. Sold in over 180 nations, both the cigarettes and the ad campaign had become a global phenomena.
Provenance:
The collection was donated to the Archives Center by Philip Morris, Inc. in 1986.
Restrictions:
The materials in the Marlboro Collection are made available for research according to the established practices and principles of the Archives Center and the National Museum of American History.
Rights:
In making these materials available for research, the Smithsonian Institution makes no claims of ownership of the copyrights or related rights. All responsibility for infringement of legal authorship rights and or copyright is assumed by the user of the materials. In addition, the user indemnifies and holds harmless the Smithsonian Institution for all claims, actions, damages, judgments and expenses that may result from use of these materials.
In addition, the donor has imposed restrictions on reproduction or broadcast of collection materials by third parties. The reproduction or broadcast of print ads and television commercials in the collection is subject to prior written consent from: Nancy Lund, Vice President, Marketing,Philip Morris International, 120 Park Avenue, New York, NY 10017;(917) 663-5000
Box 3, folders 1-2 include letters of Grace Clements, G. Merangel, Stuart Davis, Thomas Parker
Collection Restrictions:
The collection has been digitized and is available online via AAA's website.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Hugo Gellert papers, 1916-1986. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art
The collection has been digitized and is available online via AAA's website.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Hugo Gellert papers, 1916-1986. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art
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.
Collection Citation:
Benjamin O. Davis, Jr. Collection, Acc. 1992.0023, National Air and Space Museum, Smithsonian Institution.
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.
Collection Citation:
Benjamin O. Davis, Jr. Collection, Acc. 1992.0023, National Air and Space Museum, Smithsonian Institution.
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.
Collection Citation:
Benjamin O. Davis, Jr. Collection, Acc. 1992.0023, National Air and Space Museum, Smithsonian Institution.
Some items are in fragile condition. Please seek assistance with the following items of correspondence:
Byrd, Charlene Hodges: General Correspondence, 1946 May 15; 1946 July.
Cummings, Grace E. Shimm: Cummings, Charles Gilmor, 1907 May 13; 1907 May 20; John W, 1890 July 28.
Shimm, Sarah A: General Correspondence, 1881 May 6.
Other Correspondence: William P. Ryder, 1877.
Collection Rights:
This collection is subject to all copyright laws.
Collection Citation:
Charlene Hodges Byrd collection, circa 1750-2009. National Museum of African American History and Culture, Smithsonian Institution.
Sponsor:
This project received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.
Some items are in fragile condition. Please seek assistance with the following items of correspondence:
Byrd, Charlene Hodges: General Correspondence, 1946 May 15; 1946 July.
Cummings, Grace E. Shimm: Cummings, Charles Gilmor, 1907 May 13; 1907 May 20; John W, 1890 July 28.
Shimm, Sarah A: General Correspondence, 1881 May 6.
Other Correspondence: William P. Ryder, 1877.
Collection Rights:
This collection is subject to all copyright laws.
Collection Citation:
Charlene Hodges Byrd collection, circa 1750-2009. National Museum of African American History and Culture, Smithsonian Institution.
Sponsor:
This project received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.
Festival Recordings: New York Construction Workers (John Degeorge, Nick Mardarelli, Richie Danielowski) (Kathleen Condon), Narrative/Storytelling- city Stories from New York (Annie Lanzillato, Roberta Jones, Roslyn Perry)
Collection Creator:
Smithsonian Institution. Center for Folklife and Cultural Heritage Search this
Extent:
1 Sound recording (compact audio cassette)
Type:
Archival materials
Sound recordings
Date:
2001 June 28
Collection Restrictions:
Access to the Ralph Rinzler Folklife Archives and Collections is by appointment only. Visit our website for more information on scheduling a visit or making a digitization request. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Collection Citation:
Smithsonian Folklife Festival records: 2001 Smithsonian Folklife Festival, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
