Walker, Hudson D. (Hudson Dean), 1907-1976 Search this
Extent:
3.6 Linear feet ((partially microfilmed on 2 reels))
Type:
Collection descriptions
Archival materials
Sketchbooks
Date:
1909-1989
Scope and Contents:
Biographical material, correspondence, business records, writings and notes, printed material, scrapbooks, and photographs document Nordfeldt's career as a painter and instructor, and his widow's involvement after his death in exhibitions, biographies, and sales of his work.
REELS D166-D167: Biographical material includes a biographical sketch by Stanton L. Catlin, several letters from Nordfeldt's first wife Margaret to his second wife, Emily, and his nephew, Leonard Olson, in response to requests for biographical information, and biographical documents; correspondence of Emily and B.J.O., 1909-1959, with museum directors, gallery owners, patrons, artists, friends, universities, and others, mainly regarding the sale and exhibitions of his paintings and his teaching positions; artists' statements; exhibition catalogs; photographs of Nordfeldt; an excerpt from The Man on the Hilltop, by Arthur Davison Ficke; 5 sketchbooks; 3 scrapbooks; and an extensive catalog of Nordfeldt's paintings compiled by Emily, containing photographs and descriptive information.
Among the correspondents are Dewey Albinson, Watson Bidwell, Gina Knee Brook, Victor Candell, Howard N. Cook, Edward L. Davison, Howard Devree, William Dickerson, Constance Forsyth, Harriet Hanley of Harriet Hanley Gallery, Raymond Jonson, William Lester, A. Hyatt Mayor, Georgette Passedoit of the Passedoit Gallery, his student Roberta Shelton, Homer Saint-Gaudens, and Hudson D. Walker. Some of the letters are illustrated.
UNMICROFILMED: Resumes; correspondence, undated, 1923-1979, includes excerpts of letters from Nordfeldt to Constance Forsyth, 1942-1943 and Emily Abbott Nordfeldt, 1944; Emily Abbott Nordfeldt's correspondence with art collectors, art dealers, galleries and museums regarding exhibitions, gifts and sales of Nordfeldt's work; with Nordfeldt's biographers F. Van Deren Coke and J. Douglas Hale; and with the University of Minnesota, University Gallery, 1970-1972 regarding a Nordfeldt exhibition and the Nordfeldt Fund established by Emily; receipts and other business records; 1944-1979; writings and notes by Emily, ca.1930-1950, and others including the preface by Sheldon Cheney for Nordfeldt, the Painter by Coke, 1972;
a transcript of an interview with Raymond Jonson by Coke; printed material, including clippings, 1912-1984, exhibition catalogs, posters and announcements, undated, 1915-1991, notably a catalog of Nordfeldt's etchings shown at the Arthur H. Hahlo & Co. with an introduction by Robert W. Bruere, 1915; reproductions of graphic work for The Outlook and Harper's Monthly Magazine, 1910; miscellaneous printed material; a scrapbook of clippings and printed material, 1971-1980; photographs of Nordfeldt, undated 1910-1955, of the Santa Fe Players' production of "Grumpy," 1921; 3 photo albums of works of art, ca. 1930-1940; 10 seconds of motion picture film; and 2 sketches by Nordfeldt.
Biographical / Historical:
Painter, etcher, block printer, engraver, lithographer, watercolorist, teacher; Santa Fe, N.M. and Lambertville, N.J. Born in Tullstorp, Scania, Sweden, and came to the United States in 1891. Taught at the Minneapolis School of Art and the University of Texas. Moved to Lambertville, N.J. in 1937 from Santa Fe, N.M.
Provenance:
Material on reels D166-D167 lent for microfilming 1963 by Emily Abbott Nordfeldt, Bror's widow. In 1991 her estate donated additional material as well as portions of the previously microfilmed material. Material previously lent but NOT subsequently donated includes portions of the biographical material; several letters; artists' statements; a few personal photographs; the 5 sketchbooks; items from the scrapbooks; and the catalog of paintings. (The collection file contains a list of specific reel and frame numbers.)
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
This series consists of the business and personal correspondence of Edith Gregor Halpert and the Downtown Gallery. For the most part, this series is general business correspondence concerning routine activities of the Downtown Gallery, including the American Folk Art Gallery and the Daylight Gallery, both operated by the Downtown Gallery on the same premises. Included are correspondence with clients, employees, other galleries, and colleagues concerning sales, loans, purchases, appraisals, and so forth; arrangements for shipping, framing, photography, reproduction permissions, and insurance; and gallery housekeeping and improvements, ordering of supplies, and other administrative concerns.
Also included is personal correspondence of Edith Gregor Halpert. There are letters and greeting cards from nieces, nephews, and other relatives; correspondence with longtime friends, including some who were art collectors, museum curators, or museum directors; and correspondence concerning upkeep and improvement of her Newtown, Connecticut, country home and entertaining there.
See Appendix A for a list of selected correspondents from Series 1
Arrangement note:
Letters (with enclosures) are arranged chronologically, with those of the same date alphabetized by name of correspondent; undated material is arranged alphabetically, followed by unidentified correspondents and letters bearing illegible signatures.
Box numbers provided in the Container Listing are approximate.
Appendix A: List of Selected Correspondents in Series 1:
Names and titles indicated in this list are those that appear on the letters. Where appropriate, terms have been standardized and cross-referencing provided. Because filing is not always consistent, researchers are advised to check both the name of an individual and the institution that he or she represented.
Abate Associates, Inc., 1956
Abbot and Land, 1965
Abbot, B. Vincent, 1944
Abbot, Bernice, 1957
Abbot, John E., 1945, 1948
Abbot Laboratories, 1950, 1952
ABC Employment Agency, 1951
Richard Abel and Co., Inc., 1968
Abendroth, Robert W., 1966-1967
Abercrombie and Fitch Co., 1962
Abilene Museum of Fine Arts, undated, 1949, 1954
Abingdon Square Painters, 1965
Abraham and Straus, 1930, 1960, 1965-1966, 1968
Abraham, Mae C., 1965
Abrahamsen, Mrs. David, 1962
Abramowitz, M., 1958
Harry N. Abrams, Inc., 1958-1960, 1965-1966, 1968-1969
"HemisFair '68," 1968 (see also: "International Exposition, HemisFair '68")
Hemmenway, Catherine C., 1961
Hemmingsen, R. V., 1963
Hemmingson, Victoria, 1965
Henderson, Hanford, 1960
Henderson, Priscilla A. B. (Mrs. A. I.), 1934-1955
Henderson, Ray, 1956
Hendrick, Mrs. James Pomeroy, 1961
Heninger, Helen, undated, 1963, 1969
Henquet, Roger, 1948, 1965
Henri, Robert, 1926-1927
Henry, David T., 1964
Henry, Helen (Mrs. Charles), undated, 1949
Henry, James F., 1958
Henry Street Settlement, 1958, 1962-1963
Hentschel, R. A. A., 1951-1954
Hepburn, Katharine, 1952
Herbert, Elmer, 1962
Herbert, James D., 1962
Herider, Ed. L., 1961
Heritage Gallery, 1960, 1964
Herman, Stanley, 1964
Herman, Vic, 1968
Herring, Audrey L., 1964
Herrington, Nell Ray (Mrs. A. W. S.), 1962, 1965
John Herron Art Institute, undated, 1934, 1949, 1951, 1953, 1957-1958, 1962-1964, 1967 (see also: Art Association of Indianapolis; Art School of the John Herron Art Institute)
Hertslet, G. Gordon, 1962, 1966
Hertz, Richard C., 1965
Hertzberg, Stuart E., 1967-1968
Heschel, Mrs. Abraham, 1961
Hess, Elaine Marie, 1965
Hess, Mrs. Thomas B., 1954
Hetzel, Margaret deL. (Mrs. Joseph L.), 1948
Hewitt, Ada M., 1953
Edwin Hewitt Gallery, 1953
Heydenryk, Henry, 1954, 1960, 1964
Heynick, Carla Marian, 1965
Hickok, M., 1958
Hiddens, Mrs. Earl, 1952
Hiersoux, Arne, 1966
Hi Fi/Stereo Review, 1960
High Museum of Art, 1950, 1955, 1961-1962, 1965-1968 (see also: Atlanta Art Association; Atlanta Art Association and High Museum of Art)
Highway Antique Shop, 1954
R. Hill and Son, Ltd., 1960
Hill, Ralph Nading, 1952, 1962
Hille, Elise B., undated
Hille and Curran, 1954
Hilleman, Alex L., 1956
Hiller, Paula, 1962
Hilles, Mrs. Frederick W., 1956
Hillman, Mrs. Joel, II., 1960
Hillside Hospital Clinic, 1949, 1953
Hillstrom, Richard L., 1958, 1962, 1964-1965
Hilltop Theatre, Incorporated, 1952
Hilsenrath, Yakov R., 1965
Hilson, Catherine [Katy] and/or John S., undated, 1958-1959, 1961-1966
Himel, Irving, 1963
Himmelsfarb, Samuel, 1955
Hines, Felrath, 1961
Hinkhouse, Inc., 1960, 1964
Hirsch, B., 1961
Hirsch, E. W., 1954
Hirschberg, J. Cotter, 1956
Hirschl and Adler Galleries, Inc., 1958, 1960, 1963-1965, 1968
Hirschland, Dr. and/or Mrs. F. H., undated, 1959
Hirschland, Paul Michael, 1945
Hirschburg, Mrs. Roy, undated
S. A. Hirsh Manufacturing Co., 1966
Hirshberg, Henrietta, 1961
Hirshhorn, Mrs. Arthur, 1960
Hirshhorn, Joseph H., 1946, 1948, 1951-1954, 1956, 1960, 1963, 1965
Joseph H. Hirshhorn Collection, 1959-1960, 1962-1963, 1965-1966
[incomplete; without signature], undated, 1953, 1961, 1967, 1968
Collection Restrictions:
The microfilm of this collection has been digitized and is available online via the Archives of American Art website.
Collection Rights:
The Downtown Gallery records are owned by the Archives of American Art, Smithsonian Institution. 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. Prior to publishing information regarding sales transactions, researchers are responsible for obtaining written permission from both artist and purchaser involved. If it cannot be established after a reasonable search whether an artist or purchaser is living, it can be assumed that the information may be published sixty years after the date of sale.
Collection Citation:
Downtown Gallery records, 1824-1974, bulk 1926-1969. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing, microfilming and digitization of the microfilm of this collection was provided by the Henry Luce Foundation. Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee.
Album of photographs documenting Ainu people, ceremonies, religious customs, fishing, hunting, and other activities. J. F. McClendon evidently assembled the material in order to try to show that Native Americans and Ainu people were not directly related. The collection includes commercial postcards published in Japanese and English and original photographs probably made by McCLendon.
Biographical/Historical note:
Jesse Francis McClendon was born in Lanett, Alabama, in 1880. He studied zoology and invertebate zoology at the University of Texas (BS, 1903 and MS, 1904) and the University of Pennsylvania (PhD, 1906). After teaching at Randolph-Macon College (1907-1908), the University of Missouri (1907-1909) and Cornell University (1909-1914), McClendon obtained a position in the Physiological Laboratory of the University of Minnesota Medical School. He was appointed professor and head of physiological chemistry in 1920. McClendon taught for a period at the Biological Institute in Sendai, Japan, probably while still with the University of Minnesota during the 1930s. His book, Advances in the Science of Nutrition, was published by Sasaki in Sendai (1937). In 1939, McClendon joined the Hahnemann Medical School in Philadelphia. He later became a research chemist at the Albert Einstein Medical Center there.
Local Call Number(s):
NAA Photo Lot 102
Location of Other Archival Materials:
The University of Minnesota Archives and the Historical Collections of the College of Physicians of Philadelphia hold McClendon's papers.
The Entomology Department and Invertebrate Zoology Department hold specimens collected by McClendon.
One folder of 74 black and white photoprints mostly of subjects and localities throughout Minnesota.
Scope and Contents:
The collection contains 74 unmounted silver gelatin photoprints. Sizes range from typical amateur rollfilm snapshots up to 5" x 7" enlargements. A typical range of snapshot subjects is included, such as a wedding group, informal portraits, including people with automobiles, landscapes and waterfalls (including the Temperance River and Gooseberry Falls), the Split Rock Lighthouse, and a costume party. Seven prints have been hand colored. Some prints are identified in pencil on the verso. The dates September 28, 1936 and September 21, 1937 are included, and several prints are identified as processed by Brown Photo Service, Minneapolis, Minn., and La Crosse Film Service ("Nature Tone Prints"), La Cross, Wis., so it is assumed that most of the subjects are in Minnesota and Wisconsin. One picture of an infant is marked "Michael Shaw Ohme 4 mo."
Arrangement:
The collection is arranged topically.
Historical:
As the donor did not supply identification with the photographs, nothing is known about them except for captions and marks on the backs of the prints.
Provenance:
Collection donated by Marshall Sylvia, 1988.
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.
Pelican Lake / Merrifield, Minn. / CCC # 4751 [on print borders]. [Group of men unloading blocks of ice from the back of a truck and stacking them to store for use in the summer (making an ice house for camp 4751), at Pelican Lake, Merrifield, Minnesot...
Researchers must handle unprotected photographs with cotton gloves. Researchers may use reference copies of audio-visual materials. When no reference copy exists, the Archives Center staff will produce reference copies on an "as needed" basis and as resources allow.
Viewing film portions of the collection requires special appointment, please inquire; listening to LP recordings is only possible by special arrangement.
Gloves must be worn when handling unprotected photographs and negatives. Special arrangements required to view materials in cold storage. Using cold room materials requires a three hour waiting period. Contact the Archives Center at 202-633-3270.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Many of SIA's holdings are located off-site, and advance notice is recommended to consult a collection. Please email the SIA Reference Team at osiaref@si.edu.
Adlard, Richard (Ithel Richard), 1915-1997 Search this
Extent:
2 Cubic feet (3 boxes)
Type:
Collection descriptions
Archival materials
Correspondence
Place:
Japan -- 1930-1940
Date:
1936 - 1998
Scope and Contents:
This collection consists of some correspondence, extensive agricultural notes, photographs, maps and a scrapbook from Adlard's time as a student at Lingnan University. Adlard's photographs, commentary, and notes on rural life in both China and the Phillipines are extremely detailed and insightful. The collection includes articles written by Adlard, that were inspired by his time in the Orient, on Philippine cocoanut production, Chinese village life, the farmers of China, soybeans as food and pre-war China. The collection also includes Adlard's later articles for various publications and his correspondence with Julia Needham of the Troy-Bilt Owner News about Adlard's work with drip system irrigation and design as well as his use of Chinese farming practices in his own home garden. The collection also includes some brief biographical information on Adlard, some related gardening and agricultural pamphlets and two copies of the Garden Way Inc. publication, Gardening Beyond the Plow. This collection is valuable in its view of rural China and the Phillipines just prior to World War II and the domination of East Asia by Japan. The collection is arranged chronologically.
Arrangement:
The collection is arranged chronologically.
Biographical / Historical:
Ithel Richard Adlard (1915-1997) was born to Walter and Elizabeth Burrows Adlard on October 14th, 1915 in Condon, Oregon. His interest in agriculture was formed early on and continued into his highschool years. The following is an autobiographical note assembled by Julia Needham, editor of the Troy-Built Owner News and a long time correspondent of Adlard, from several of Adlard's letters. This biography was corrected and approved by him in 1995.
"As a high-school student during the Depression days in Salem, Oregon, I operated a
five-acre fruit and vegetable garden on shares. I raised my own plants, using horse
manure for heat and a cover made of cheap muslin impregnated with wax. The vegetables
were sold house to house and I netted virtually nothing, but kept busy.
At a Methodist youth meeting, I heard a missionary from Allahabad, India, and set my
sights on becoming an agricultural missionary. This idea was further reinforced when I
studied biology and learned of Mendel's Law. I had a most inspirational biology teacher,
Martin Elle, who encouraged me, even though I had little financially.
I got to Oregon State University (then college) where I worked part-time in the
greenhouse through a government program for students. This was part of President
Roosevelt's New Deal, intended to help college students during the national Depression.
We had meaningful jobs at 25 cents per hour.
One morning my roommate read about an opening for an exchange student to Canton, China.
I didn't know where Canton was, but checked it out and submitted my application along
with several written recommendations. Much to my surprise, I won the Phi Kappa Phi
scholarship and in 1937, at age 21, became a student at Lingnan University.
I was the first exchange student in agriculture; the others over the preceding three
years had been in the social science and humanities. I was fortunate enough to study
under Dr. Floyd A. McClure, a Rhodes scholar and world authority on bamboo, with whom I
had biweekly conferences or field trips by bicycle to observe the methods used by local
farmers. My textbook was Farmers of Forty Centuries by F.H. King (1848-1911), now
available from Rodale Press.
In 1937, the year of my arrival, the Japanese bombed our university, thus disrupting our
studies. Four exchange students stayed on while seventeen returned home.
When the American ship on which we sailed docked at Yokohama in 1938, the Japanese
authorities came into my stateroom looking for pictures. They had probably seen my
article predicting that Japan would take over the Philippines, which my roommate had
translated for the Canton paper. Anticipating trouble while at sea, however, I had
hidden my bamboo basket of negatives and other materials in a lifeboat along with a
broadsword used in executions. After leaving Yokohama, I was relieved to find my
belongings still in the boat.
After returning from China, I worked for Oregon State Department of Agriculture when not
attending intermittent terms at Oregon State, thus prolonging the completion of my
degree in crop science. I devoted all my spare time to the national, "stop war supplies
to Japan", movement under the leadership of Dr. Walter Judd, former missionary to China
and Senator for Minnesota, whom I met on the boat-trip home. In fact, I spent too much
time on this effort and became quite bitter over Americans' "not our business" attitude
and the reluctance of colleges and churches to take a stand.
When the draft for one-year training began, I drew Number 17 locally, one year short of
finishing college. No draft board appeal process had yet been set up , so I was drafted
into the Army in March, 1941, and discharged in August, 1945. I finished my senior year
at OSC after returning home. Thereafter, I went to work for the US Soil Conservation
Service, and later became an Extension Agent.
What I had learned of traditional Chinese agriculture was all but forgotten during many
years of my working life. In the late 1960s, however, the environmental movement and the
growing interest in organic food production recalled them to my mind, and I realized
that much of modern organic practice was what I had observed in China under an
agricultural system that has been used for 4,000 years.
With my interest reawakened, I began to undertake some of the traditional Chinese
techniques in my own garden in Stevenson, Washington, located in the Columbia River
Gorge about 30 miles east of Vancouver, Washington. I have continued to experiment in
retirement, as time and health permit."Adlard Biographical Information, Adlard Collection, Archives Center
Adlard married his wife Evelyn in 1947, they had two sons. Adlard died on August 22, 1997 in Vancouver, Washington.
Provenance:
Collection donated by Julia Needham in 1998.
Restrictions:
The collection is open for research.
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.
United States of America -- Minnesota -- Ramsey County -- St. Paul
Scope and Contents:
This file contains 32 digital images and 1 folder. Images 029 and 032 are restricted.
General:
This .4 acre property features an urban residential garden landscape surrounding an English Tudor Villa style home. When the current owners purchased the property in 1968, the entire front landscape was obscured by a tall buckthorn hedge that lined the property. The current garden was established in 1972 after the owners replaced the hedge and massive trees with gardens. The owner is formally trained as a Master Gardener and enrolled in University of Minnesota horticulture and landscaping courses to expand their knowledge of landscape design. They also designed gardens for the Dale Street Greenhouse and started their own business as a garden writer and designer.
The garden design combines the formal hardscape elements of an English garden such as iron fencing, bluestone pathways, terrace, and brick wall, with the informal plantings indicative of English cottage gardens. The property features 8 garden areas: the front yard garden, the main garden, the east side woodland "wild garden," the back gardens, the herb garden, the terrace garden, conservatory indoor garden, and alley garden. The front yard garden, established in 1972, is surrounded by black iron fencing and garden beds edged in double running brick. This area features dwarf evergreen trees and shrubs, flowering deciduous trees, perennials and colorful annuals. Inside the front fence are 'White Lights' azaleas, "Jack Korbett' dwarf Korean pine, and a "Louisa" weeping crabapple that partially shades the perennials below. The main garden is bordered by Chicagoland Green boxwoods and features seasonal plantings. The "wild garden" along the east side of the home memorializes the owner's mother and features wildflowers and ferns inside its 80 by 20 square feet. The herb garden is structured with diamond shaped bluestone paths and a central armillary. The 40x23 foot, two-tiered bluestone terrace displays brick and ceramic planters of annuals. The conservatory indoor garden was designed by local architect Kathryn Olmstead and built in 2000. It features a collection of rhizomatous begonias and succulents. The 7-foot wide and 65-foot-long alley garden is edged in cobble stone and features Standing Ovation serviceberry. It also houses roses, flowering shrubs and prairie wildflowers.
Persons associated with the garden include: George Van Slyck (former owner, 1909); Emmalyn Van Slyck (former owner, 1909); Harold and Dorothy Nesbit (former owners, 1930 - 1940); Dorothy Nesbit and Paul Webster (former owners, 1940 - 1945); Ephraim and Grace Holmgren (former owners, 1945); David and Marjorie Hols (owners, 1968– ); Holm and Olsen (designer, 1972); Ed Reed (designer, 1975); Sally Ross and Marge Hols (designer, 1992); Rose Hassing (gardener, 2008- ); Madeline Pojar (gardener, 2008-present).
The garden submission includes an extensive bibliography.
Collection Restrictions:
Access to original archival materials by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Collection Rights:
Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.
Sponsor:
A project to describe images in this finding aid received Federal support from the Smithsonian Collections Care Initiative, administered by the National Collections Program.