Collection is open for research but the original and master audiovisual materials are stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Copyright restrictions. Consult the Archives Center at archivescenter@si.edu or 202-633-3270.
Paul Ellington, executor, is represented by:
Richard J.J. Scarola, Scarola Ellis LLP, 888 Seventh Avenue, 45th Floor, New York, New York 10106. Telephone (212) 757-0007 x 235; Fax (212) 757-0469; email: rjjs@selaw.com; www.selaw.com; www.ourlawfirm.com.
Collection Citation:
Duke Ellington Collection, Archives Center, National Museum of American History
Sponsor:
Processing and encoding partially funded by a grant from the Council on Library and Information Resources.
Collection is open for research. Access to original materials in boxes 76-80 is prohibited. Researchers must use digital copies.
Additional materials have been removed from public access pending investigation under the Smithsonian Institution's Ethical Returns and Shared Stewardship Policy.
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:
Robert "Mack" McCormick Collection, Archives Center, National Museum of American History, Smithsonian Institution
Sponsor:
Digitization of Series 1: Photographic Negatives, Photographs, and Slides was made possible by Andrew and Anya Shiva.
Access to the Aleš Hrdlička papers requires an appointment.
Collection Rights:
Contact the repository for terms of use.
Collection Citation:
Aleš Hrdlička papers, National Anthropological Archives, Smithsonian Institution
Sponsor:
The Repatriation Office, Department of Anthropology, National Museum of Natural History, provided funds for the arrangement and description of the Aleš Hrdlička papers
John Storrs' extensive correspondence spans over fifty years and documents his personal and professional life. There are extensive letters to his wife Marguerite Storrs, including love letters written before they were married and letters written to her during his visits to the United States. Letters written by Marguerite to John are located series 2.2. John Storrs' love letters to other women, including Yolande de Manziarly, are found within his general correspondence.
General correspondence primarily consists of Storrs' correspondence with friends, colleagues, art critics and historians, patrons, art organizations, and galleries. Where they exist, Storrs' drafts of outgoing letters are interfiled with letters he received in a chronological arrangement. Storrs was friends with many artists, architects, performers, and writers in both the US and Europe. Among the artists he corresponded with are Berenice Abbott, Hendrick Andersen, George Biddle, Jerome Blum, Arthur Bock, Louis Bouche, Georges Braque, Alexander Calder, Walter Cole, Arthur Davies, Jessica Dismorr, Katherine Dreier, Marcel Duchamp, Leo Friedlander, Marsden Hartley, Jean Helion, Gertrude Lambert, Fernand Leger, Jacques Lipchitz, Man Ray, Richard Recchia, Edwin Scott, Charles Sheeler, Joseph Stella, Maurice Sterne, Alfred Stieglitz, Leopold Survage, Jacques Villon, and William and Marguerite Zorach. Other notable correspondents include architects Edward Bennett, Paul Phillippe Cret, R. Buckminster Fuller, and Alfonso Iannelli; writers and publishers Sherwood Anderson, Louise Bryant, William Bullitt, Max Eastman, Jane Heap, Paul Scott Mowrer, and Gertrude Stein; art critics Phyllis Ackerman, Frank Crowninshield, and Maurice Raynal; art patrons Arthur Aldis, Mildred Bliss, and Charles Worcester; friend and curator Alice Roullier; and dancer Maud Allan. A portion of the general correspondence is in French.
A small amount of correspondence with galleries, museums, and curators concerns exhibitions and sales of Storrs' artwork. Also found is correspondence concerning his participation in art organizations. Researchers should note a portion of Storrs' business correspondence, especially regarding his major sculpture commissions and his dealings with Downtown Gallery, are found in Series 3: Personal Business Records.
See Appendix for a list of correspondents from Series 2.1.
Smith, Howard E., 1912, 1913, 1914, 1914, 1915, 1916, 1917, 1918, 1920, 1925, 1926, undated
Societe de Saint-Jean, 1917
Sowerby, Leo, 1918
Spaulding, W. B., 1910
Sprague, Albert A., 1921
Stearns, Harold E., 1932
Stein, Gertrude, undated
Stein, Rita, undated
Stella, Joseph, 1929
Stephens, E. A., 1949
Stephens, Lucille Chandler, 1925
Sterne, Maurice, 1925
Sterner, Carl John, undated
Stieglitz, Alfred, 1930
Stinson, Roxie R., 1905, 1906, 1907, 1908, undated
Stora, M. & R., 1926
Storgo Laboratories (David Goldsmith), 1936, 1937
Storrs, Frank Herbert, 1924, 1926
Storrs, John W., 1918
Storrs, Louis, 1939
Storrs, Ronald, 1925, 1927, 1928
Sueur, G., 1926
Survage, Leopold & Germaine, 1930, 1931, 1932, 1937, 1945, undated
Tancrede, Robert, 1945
Tartarin, A., 1930
The Tavern, 1928
Taylor, Catherine, 1911, 1912
Texas Centennial Exposition, 1936
Thanlow, Ch. L. & Ingrid, 1919, undated
The Seven Arts Magazine, 1918
Thomas, Maxime, 1930
Tillson, Rex, 1923
Toledo Museum of Art, 1938
Tooker, Marion F., 1911
Toulouse, Roger, 1949, 1955, undated
The Transatlantic Review, 1924
Truman, Harry S., 1945 (letter to)
Turnbull, Yale, 1925, 1926
Tyson, Russell, 1922, 1927
Vallette, S., 1920
Valsuani, Claude, 1919, 1922, 1933, 1951, 1955
Vestal, Donald B., 1931
Villon, Jacques, undated
Vinton, Warren Jay & Helen Augur, 1924
Voccia, Luigi, 1914
Vogelgesang, Shepard, 1935
Wacker, Fred, 1955
Walpone, Marguerite, 1918
Ware, Mary, undated
Waring, P. A., 1921
Warwick, Katherine Murray, 1916
Webster, H. A., 1920
White, Charles E., 1932, 1933
Whitney Museum of American Art, 1933
Williams, Frederick, 1924
Williams, Walter R., 1909, 1911, 1912, undated
Wilson, A. J., 1935
Wolf, Walter, 1923
Worcester, Charles H., 1928, 1929, 1945, undated
Wright, Alan, 1910
Wright, Katherine, 1921
Zamoyski, August, 1921
Zorach, William & Marguerite, 1922, 1924
Restrictions:
This series contains access-restricted medical records.
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:
John Henry Bradley Storrs papers, 1890-2007, bulk 1900-1956. 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. Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee.
Quotes and excerpts must be cited as follows: Oral history interview with Hananiah Harari, 1992 Sept. 24-Oct. 15. Archives of American Art, Smithsonian Institution.
Quotes and excerpts must be cited as follows: Oral history interview with Mischa Richter, 1994 September 27-28. Archives of American Art, Smithsonian Institution.
This series contains a large amount of printed material of interest to and collected by McCoy, much of it documenting her professional activities. Found here are books, clippings, magazines, postcards, newsletters, press releases, and publications by subject. News clippings include articles about McCoy, articles written by McCoy, articles about architecture not written by McCoy, and other miscellaneous subjects. Architecture, art, and literary magazines found here often include articles written by McCoy. Additionally, she collected leftist magazines such as New Masses and Left Front. Certain printed materials are arranged by subjects which were of interest to McCoy for her writing projects. Included are printed materials gathered during her travels to Italy, Mexico, and Israel. These files may contain brochures, exhibition announcements and catalogs, booklets, travel guides, newsletters and other miscellaneous items.
Arrangement note:
This series has been arranged alphabetically by type of item followed by an alphabetical arrangement of subject files. Items within each folder are arranged chronologically. Researchers should note that additional printed materials, especially clippings, are also found in Series 4: Architectural Writings, Series 5: Projects, and Series 6: Architect Files.
Collection Restrictions:
Use of original papers requires an appointment. Use of audiovisual recordings without access copies requires advance notice.
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:
Esther McCoy papers, circa 1876-1990, bulk 1938-1989. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by the John Randolph Haynes and Dora Haynes Foundation and the Terra Foundation for American Art.
Use of original papers requires an appointment. Use of audiovisual recordings without access copies requires advance notice.
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:
Esther McCoy papers, circa 1876-1990, bulk 1938-1989. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by the John Randolph Haynes and Dora Haynes Foundation and the Terra Foundation for American Art.
The papers of New York City and California painter, printmaker, and teacher Harry Sternberg date from 1927 to 2000 and measure 3.4 linear feet and 0.553 GB. The collection documents Sternberg's career as an artist and art instructor through scattered biographical material, correspondence with friends, artists, collectors, curators, art organizations, universities, and galleries, writings by Sternberg and others, exhibition catalogs and announcements, news clippings, and other printed and digital material. Also found are photographs of Sternberg and his artwork, two sketchbooks and three loose drawings by Sternberg, audio visual recordings, and one scrapbook.
Scope and Content Note:
The papers of New York City and California painter, printmaker, and teacher Harry Sternberg date from 1927 to 2000 and measure 3.4 linear feet and 0.553 GB. The collection documents Sternberg's career as an artist and art instructor through scattered biographical material, correspondence with friends, artists, collectors, curators, art organizations, universities, and galleries, writings by Sternberg and others, exhibition catalogs and announcements, news clippings, and other printed and digital material. Also found are photographs of Sternberg and his artwork, two sketchbooks and three loose drawings by Sternberg, audio visual recordings, and one scrapbook.
Biographical material includes an interview of Sternberg conducted by art curator Malcolm Warner, two ledgers documenting business activities, scattered financial and legal documents, and files regarding a few of his projects, including the film "Many Worlds of Art". Sternberg's personal and professional correspondence is with friends, artists, including Harry Wickey, Rockwell Kent, Philip Evergood, and Peter Blume, collectors and curators such as Hudson Walker and Carl Zigrosser, and art organizations, universities, and galleries.
The small number of writings by Sternberg in this collection includes drafts of articles and lectures, a manuscript for a book on etching, and notes. Writings by others consists of draft writings about Sternberg, draft exhibition catalogs, and writings by the artists Arthur Secunda and David Alfaro Siqueiros. Over one-third of this collection is printed material, including exhibition catalogs and announcements, news clippings, books written by Sternberg, school publications, and material regarding art events.
Also found are photographs of Sternberg in his studio, with students, with his wife Mary, and at the Idyllwild School. Other photographs include group photographs of Art Students League faculty as well as photographs of exhibitions, murals, and artwork. The collection also contains original artwork including two sketchbooks and three loose drawings by Sternberg and one scrapbook of news clippings and exhibition materials. Audio and video materials include several interviews of Sternberg and a video copy of his film "Many Worlds of Art".
Arrangement:
The collection is arranged into 8 series:
Missing Title
Series 1: Biographical Material, 1927-2000 (Box 1, OV 5; 0.3 linear feet)
Series 2: Correspondence, 1928-2000 (Box 1; 0.3 linear feet)
Series 3: Writings, circa 1940s-2000 (Box 1, 4; 0.2 linear feet)
Series 4: Printed Material, 1933-2000 (Box 1-3; 1.2 linear feet)
Series 5: Photographs, circa 1930s-1998 (Box 3, 4; 0.3 linear feet)
Series 6: Artwork, circa 1928-1980s (Box 3, OV 5; 0.2 linear feet)
Series 7: Audio Visual Material, circa 1980s-2000 (Box 3; 0.5 linear feet, ER01; 0.553 GB)
Series 8: Scrapbook, 1929-1958 (Box 4; 0.2 linear feet)
Biographical Note:
Harry Sternberg (1904-2001) was a New York painter, muralist, printmaker, etcher, teacher, and political activist who relocated to California in 1957.
Harry Sternberg was born in 1904 in the Lower East Side of New York City and grew up in Brooklyn. As a child he attended his school art club where he met and became lifelong friends with artists Peter Blume and Philip Reisman. He took free Saturday art classes at the Brooklyn Museum of Art for two years and attended the Art Students League part time from 1922 to 1927 where he studied with George Bridgman. In 1926 he shared a studio with Philip Reisman where they received private instruction in etching from Harry Wickey. Sternberg began exhibiting his etchings and intermittently had drawings published in New Masses, a prominent American Marxist publication. In the late 1920s he became friends with Hudson Walker who also became a major collector of his work. In 1933 Sternberg was hired as instructor of etching, lithography, and composition at the Art Students League and continued teaching there for the next 33 years. Also around this time he became politically active in artist rights organizations, serving on the planning committee to create the American Artists' Congress and later serving as an active member of the Artists Equity Association. In 1935 he became the technical advisor of the Graphic Art Division of the Federal Art Project. From 1937 to 1939 he completed three federal mural commissions. His first mural Carrying the Mail was created for the Sellersville, Pennsylvania post office in 1937. His most famous mural Chicago: Epoch of a Great City was painted for the Lakeview post office in Chicago. It depicts the history of the city and its workers, particularly life for the workers in Chicago's stockyards and steel mills.
During the 1940s Sternberg remained very active in arts organizations, as one of the founders of the National Serigraph Society and a member of the Committee on Art and Education in Society. In 1942 he published the first of five books on printing. Sternberg had his first retrospective in 1953 at ACA Galleries, and in 1957 he taught summer painting courses at the Idyllwild School of Music and the Arts in California. He continued teaching in the summers there from 1960 to 1967 and 1981 to 1989. Suffering from lung disease, Sternberg moved with his wife, Mary, to Escondido, California in 1966 in hopes that the climate would improve his health. In 1972 he was elected to the American Academy and Institute of Arts and Letters. During the 1970s and 1980s Sternberg traveled extensively throughout the US and Mexico where he found new inspiration for his artwork. He continued teaching, exhibiting, and creating new work until his death in 2001.
Related Material:
Also found in the Archives of American Art are the May Konheim papers concerning Harry Sternberg, 1934-1981, and an oral history interview of Harry Sternberg, conducted March 19, 1999, October 8, 1999, and January 7, 2000, by Sally Yard for the Archives of American Art
Provenance:
The Harry Sternberg papers were donated by Sternberg in several installments from 1967 to 2001.
Restrictions:
Use of original papers requires an appointment.
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.
Indiana Company makes components of a house. New mass production home-building techniques; construction industry. National Homes Corporation, Lafayette, IN.
Ohio Making a crate which can stretch, hold liquid. Used in washing surfaces. Cincinnati Industries, Inc., Cincinnati, OH.
Arizona Producing air coolers cheaper and easier than air-conditioners. Wright Manufacturing Co., Phoenix, AZ.
New York Company makes weather seals for windows. Company first produced fringe for women's skirts. As skirts shortened, company changed products. Schlegel Co., Rochester, NY.
Reference video, Box 12
Collection Restrictions:
Collection is open for research but the films are stored off-site. Special arrangements must be made directly with the Archives Center staff to view episodes for which no reference copy exists. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees will be charged for reproductions.
Collection Citation:
Industry on Parade Film Collection, 1950-1959, Archives Center, National Museum of American History, Smithsonian Institution.
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.
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:
Charles W. White papers, 1933-1987. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Henry Luce Foundation. Funding for the digitization was provided by the Roy Lichtenstein Foundation and the Alice L. Walton Foundation.
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.
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:
Charles W. White papers, 1933-1987. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Henry Luce Foundation. Funding for the digitization was provided by the Roy Lichtenstein Foundation and the Alice L. Walton Foundation.
Printed material provides a substantial overview of the range of work White produced over the course of his career, and his involvement with multiple art and educational institutions, community organizations, and the television, film, and music industries. This series houses announcements, invitations, catalogs for exhibitions and events in which White participated, including solo and group exhibitions; publicity about White in journals, magazines, newspapers, and press releases; copies of, or clippings from, publications for which White provided artwork and illustrations; and obituaries and other printed material documenting memorial events and tributes to White following his death.
The earliest announcement is for a 1936 Eberhard Faber art contest for high school students in which White won 4th prize in the black lead pencil division as a high school student at Englewood High School. Early exhibition catalogs of note include a 1933 Exhibition of Productions by Negro Artists at the Harmon Foundation, Exhibition of the Art of the American Negro (1851-1940) (1940) at the American Negro Exposition in Chicago, and Exhibition of Negro Artists of Chicago (1941) at Howard University, curated by Alonzo Aden.
A substantial portion of the news clippings about White, particularly the ones from the 1930s and 1940s, are photocopies.
Posters from exhibitions and events are for exhibitions at Forum Gallery (1970) and Pepperdine University (1978); a Tribute to Martin Luther King, Jr., event at Los Angeles Municipal Art Gallery (1976); a Robinson's store promotion by California Originals which featured artwork by White; a Pratt Graphics Center event; and an Artists' Benefit for Civil Liberties Association of Men and Women in the Arts Concerned About Vietnam.
Publications with illustrations by White include covers for magazines such as Ebony, feature articles for newspapers including the New York Times and the New York Times Book Review, and the National Negro Congress publication, Congress Vue (Congress View). Congress Vue also includes cartoons by colleagues and friends of White including Ernie Chrichlow, Ruth Jeff, Thelma Dale, Fredi Washington, and Elizabeth Catlett. These retain their original order and are accompanied by an explanatory note by Frances White. Also found are copies of the Marxist publication (New Masses, and The Worker, both of which featured illustrations by White.
Arrangement:
Series is arranged by record type and chronologically thereafter.
Collection Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.
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:
Charles W. White papers, 1933-1987. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Henry Luce Foundation. Funding for the digitization was provided by the Roy Lichtenstein Foundation and the Alice L. Walton Foundation.