Search Results

Creator:

Churchill, Frank C. (Frank Carroll), 1850-1912  Search this

Churchill, Clara G.  Search this

Names:

United States. Bureau of Indian Affairs  Search this

United States. Department of the Interior  Search this

Extent:

3,710 Photographic prints (29 photograph albums)

3 Linear feet

1430 Negatives (photographic) (acetate)

325 Lantern slides (colored)

Culture:

Oklahoma Cherokee  Search this

Oklahoma Muskogee (Creek)  Search this

Osage  Search this

A:shiwi (Zuni)  Search this

Indians of North America  Search this

Sioux [Crow Creek]  Search this

Ponca  Search this

Chaticks Si Chaticks (Pawnee)  Search this

Oklahoma Seminole  Search this

Quapaw  Search this

Miami [Oklahoma]  Search this

Wyandotte [Oklahoma]  Search this

Tsitsistas/Suhtai (Cheyenne)  Search this

Ho-Chunk (Winnebago)  Search this

Eastern Shawnee [Quapaw Agency, Oklahoma]  Search this

Chaticks Si Chaticks (Pawnee)  Search this

Oto  Search this

Sioux [Crow Creek]  Search this

Chickasaw  Search this

Modoc  Search this

Kiowa  Search this

Kaw (Kansa)  Search this

Diné (Navajo)  Search this

Acoma Pueblo  Search this

Akimel O'odham (Pima)  Search this

Cahuilla  Search this

Chemehuevi  Search this

Cochiti Pueblo  Search this

Hopi Pueblo  Search this

Isleta Pueblo  Search this

K'apovi (Santa Clara Pueblo)  Search this

Kumeyaay (Diegueño)  Search this

Laguna Pueblo  Search this

Payómkawichum (Luiseño)  Search this

Mescalero Apache  Search this

Mojave (Mohave)  Search this

Ohkay Owingeh (San Juan Pueblo)  Search this

Picuris Pueblo  Search this

Piipaash (Maricopa)  Search this

Puye Pueblo  Search this

Quechan (Yuma/Cuchan)  Search this

San Carlos Apache  Search this

Taos Pueblo  Search this

Tohono O'odham (Papago)  Search this

Minnesota Chippewa  Search this

Lake Superior Chippewa  Search this

Potawatomi  Search this

Menominee (Menomini)  Search this

Pechanga Band Luiseño  Search this

Rincon Band Luiseño  Search this

Santa Ysabel (Santa Isabela) Diegueño  Search this

Pala Band Luiseño (Agua Caliente)  Search this

Yuit (Siberian Yup'ik)  Search this

Inupiaq (Alaskan Inupiat Eskimo)  Search this

Bering Strait Inupiaq  Search this

Alutiiq (Pacific Eskimo)  Search this

Tlingit  Search this

Eastern Band of Cherokee  Search this

Pikuni Blackfeet (Piegan)  Search this

Wahpetonwan Dakota (Wahpeton Sioux)  Search this

Seminole  Search this

Type:

Collection descriptions

Archival materials

Photographic prints

Negatives (photographic)

Lantern slides

Photographs

Photograph albums

Place:

Utah

Alaska

Oklahoma

Washington

Florida

Montana

Arizona

Arkansas

Missouri

North Carolina

Minnesota

New Mexico

California

Date:

1880-1928

bulk 1899-1909

Summary:

The Frank C. and Clara G. Churchill collection includes photographic negatives, photo albums, lantern slides, journals, scrapbooks and other documents created and compiled by the Churchills over the course of Frank's career as a special agent and Indian Inspector for the Department of the Interior between 1899 and 1909. Initially assigned as a revenue collector to the Cherokee Nation and later as an Indian Inspector reviewing boarding schools, Frank's assignments took him all over the United States including Indian Territory (present day Oklahoma), Missouri, Texas, Nebraska, Kansas, South Dakota, Minnesota, Wisconsin, New Mexico, Arizona, Utah, California, Florida, North Carolina and Alaska. During this time the Churchills visited over 80 different Native communities shooting photographs and taking notes.

Scope and Contents:

The Frank C. and Clara G. Churchill collection includes 1430 photographic negatives, 29 photo albums containing 3710 photographic prints, 325 lantern slides, and 3 linear feet of journals, scrapbooks, and other documents created and compiled by the Churchills over the course of Frank's career as a special agent and Indian Inspector for the Department of the Interior between 1899 and 1909.

Series 1: Photographs in Indian Territory (Oklahoma): Muskogee, Tahlequah, Sulphur Springs and Other Assignments, 1899-1903, includes 11 photo albums and 357 negatives from Frank Churchill's original assignment as revenue collector to the Cherokee Nation. Locations include Indian Territory (Oklahoma) [bulk], Kansas, Nebraska, Iowa, South Dakota, Arkansas, and Missouri. The Native communities visited and photographed in this series include— Oklahoma Cherokee, Oklahoma Muskogee (Creek), Quapaw, Osage, Miami, Wyandotte [Oklahoma], Tsitsistas/Suhtai (Cheyenne), Winnebago [Nebraska], Eastern Shawnee [Quapaw Agency, Oklahoma], Ponca, Chaticks Si Chaticks (Pawnee), Oto, Sioux [Crow Creek], Kaw (Kansa), Chickasaw, Modoc, Kiowa, Choctaw.

Series 2: Photographs in the Southwest and Midwest: Arizona, New Mexico, Califonia, Minnesota and Wisconsin, 1903-1907, includes 9 photo albums and 832 negatives from Frank Churchill's assignment as an Indian Inspector. Because the Churchills visited some of the same locations on multiple occasions, it has been hard to date some of the negatives. For that reason, all the negatives made in the Southwest have been included in this series, though there are two photo albums with Southwest photographs included in Series 4. Locations in this series includes Arizona, New Mexico, California, Minnesota and Wisconsin. The Native Communities visited and photographed in this series include—A:shiwi (Zuni), Diné (Navajo), Acoma Pueblo, Akimel O'odham (Pima), Cahuilla, Chemehuevi, Cochiti Pueblo, Hopi Pueblo, Isleta Pueblo, K'apovi (Santa Clara Pueblo), Kumeyaay (Diegueño), Laguna Pueblo, Luiseño (Luiseno), Mescalero Apache, Mojave (Mohave), Ohkay Owingeh (San Juan Pueblo), Picuris Pueblo, Piipaash (Maricopa), Puye Pueblo, Quechan (Yuma/Cuchan), San Carlos Apache, Taos Pueblo, Tohono O'odham (Papago).

Series 3: Photographs in Alaska and Oregon, 1905-1910 (bulk 1905), includes four photograph albums and 71 negatives from Frank Churchill's appointment as special agent, by President Roosevelt, to investigate the condition of the school & reindeer service and other affairs in Alaska in the summer and fall of 1905. Two of the albums were not made by the Churchills. The first of these (Box 20) includes photographs by William Hamilton and the second (Box 21) includes photographs by W. T. Lopp. Locations in Alaska include St. Lawrence Island, Nuwukmiut/Point Barrow, Teller, Diomedes Islands, Nome, Kotzebue, Wrangell, Port Clarence Bay, Unalaska Island and Baranof Island. There are a number of photographs aboard the U.S. Cutter "Bear" and aboard the mailboat "Georgia." Native communities photographed include—Yuit (Siberian Yup'ik), Inupiaq (Alaskan Inupiat Eskimo), Bering Strait Inupiaq [Diomedes], Alutiiq (Pacific Eskimo), Tlingit.

Series 4: Photographs in Arizona, Utah, North Carolina, Montana, North Dakota, Florida and Miscellaneous, 1907-1909, includes five photograph albums and 163 negatives from Frank Churchill's assignment at Indian Inspector. Because the Churchills visited some of the same locations in the Southwest (Arizona and Utah) on multiple occasions, it has been hard to date some of the negatives. For that reason, all the negatives made in the Southwest have been included in Series 3. Locations include Arizona, Utah, North Carolina, Montana, North Dakota and Florida. Native communities visited and photographed include-Diné (Navajo), Hopi Pueblo, Kaibab Paiute, Quechan (Yuma/Cuchan), Eastern Band of Cherokee, Pikuni Blackfeet (Piegan), Wahpetonwan Dakota [Sisseton-Wahpeton Sioux Tribe], Turtle Mountain Chippewa, Seminole. There is restricted material in Box 23 (Album P23380).

Series 5: Non-Native Photographs: Colorado Vacation, Lebanon, New Hampshire, and other Materials, 1898-1913, includes four photograph albums from vacations and other visits made by the Churchills unrelated to Frank's activities as Indian Inspector.

Series 6: Manuscripts: Journals, Documents and Scrapbooks, 1880-1928 (bulk 1899-1909), includes three linear feet of materials arranged in three subseries. Subseries 6.1, Clara Churchill, includes 16 journals, 12 scrapbooks and various other manuscript materials written and accumulated by Clara Churchill during their travels. Many of the journals include personal writings as well as several photographs that are duplicated in the photograph albums. The journals and scrapbooks encompass the full range of the Churchills' travels and include notes from Indian Territory, Southwest, Midwest, Southeast, Plains and Alaska. Subseries 6.2, Colonel Frank C. Churchill, includes official documents around Churchill's assignments as well as the reports Frank submitted back to the Secretary of the Interior (Box 41 and 42). Subseries 6.3, Churchill Museum and Miscellaneous, includes catalogs and other notes related to the large collection of Native American objects amassed by Frank and Clara. Clara also collected other items such as shells, minerals, and sand.

Series 7: Lantern Slides for Lectures, 1899-1909, includes 325 hand colored glass lantern slides. These were made by the Churchills from existing negatives and used for lectures. Lantern slides #1-#121 include views photographed in Alaska in 1905. Sldes #122-#325 include an assortment of views from Oklahoma (Indian Territory), Nebraska, Montana, Minnesota, California, Arizona and New Mexico photographed between 1900 and 1909.

Arrangement:

The Frank C. and Clara G. Churchill collection has been arranged in seven series by material type and then chronologically. The first five series are then divided into subseries by "Photo Albums" and "Negatives." These include--Series 1: Photographs in Indian Territory (Oklahoma): Muskogee, Tahlequah, Sulphur Springs and Other Assignments, 1899-1903; Series 2: Photographs in the Southwest and Midwest: Arizona, New Mexico, California, Minnesota and Wisconsin, 1907-1907; Series 3: Photographs in Alaska and Oregon, 1905-1910 (bulk 1905-1905); Series 4: Photographs in Arizona, Utah, North Carolina, Montana, North Dakota, Florida and Miscellaneous, 1907-1909; Series 5: Non-Native Photographs: Colorado Vaction, Lebanon, New Hampshire, and other Materials.

Series 6: Manuscripts: Journals, Documents and Scrapbooks, 1880-1928, is arranged in three subseries. Subseries 6.1: Clara G. Churchill, Subseries 6.2: Frank C. Churchill, and Subseries 6.3: Churchill Museum and Miscellaneous. Series 7: Lantern Slides for Lectures, 1899-1909, is arranged in orginal number order from the Hood Museum at Dartmouth College.

Biographical / Historical:

Frank Carroll Churchill was born August 2, 1850 to Benjamin P. Churchill and Susanna Thompson in West Fairlee, Vermont. Frank was educated at Thetford Academy in Thetford, VT and worked as a clerk for D.C. Churchill & Co. in Lyme, NH between 1869-1870. Between 1870 and 1877, Churchill was employed by H.W. Carter as a wholesale merchant in Lebanon, New Hampshire. During this time, Churchill met Clara Corser Turner and they were married on June 11, 1874.

Clara G. (Turner) Churchill was born December 16, 1851, to Colonel Francis H. Corser and Sarah Hook (Perkins) Corser. Colonel Corser and his wife died young, and Clara was adopted by George and Abby H. Turner of Concord, New Hampshire. In 1877, in association with William S. Carter, Frank Churchill opened the business "Carter & Churchill" which was in this business for 21 years. Churchill held various political offices from 1879-91. He served as chairman of the Republican town committee of Lebanon and of the Republican State committee in 1890 and 1891. He served on the staff of Governor Natt Head in 1879 and 1880, with the rank of Colonel. He was chairman of the New Hampshire delegation at the Republican National Convention which nominated President Harrison and represented the Fourth District in the Executive Council in 1889-1890 during the administration of Governor David. H. Goodell.

In 1899 Frank was appointed revenue inspector for the Cherokee Nation in Indian Territory and was later appointed a special agent for the Interior Department to formulate a system of public schools in Indian Territory (Oklahoma) and across the Southwest. In 1905, he was appointed special agent, by President Roosevelt, to investigate the condition of the school & reindeer service and other affairs in Alaska and was reappointed Indian Inspector between 1905-1909. In 1909, Churchill resigned due to failing health and died November 5, 1912. Clara accompanied Frank on all his travels between 1899 and 1909 (see below chronology for full details) maintaining journals and writing articles for publication in "WHAT." Clara was also a painter, producing watercolors and hand-painting many of the photographs she and Frank made on their travels. Following Frank's death, Clara maintained their collection of Native artifacts and photographs in their home in Lebanon, New Hampshire. Clara died April 16, 1945, bequeathing the full collection to Dartmouth College.

Frank Churchill's assignments as Special agent and Indian Inspector from 1899-1909 took him all over the United States including Indian Territory (present day Oklahoma), Missouri, Texas, Nebraska, Kansas, South Dakota, Minnesota, Wisconsin, New Mexico, Arizona, Utah, California, Florida, North Carolina and Alaska. During this time the Churchills visited over 80 different Native communities. For more details, see the chronology below.

Travels in Indian Territory (Oklahoma) and other assignments, 1899-1903

1899, June 29 -- Churchills arrive in Muskogee, Indian Territory (Oklahoma).

1899, July-October -- Visit to Fort Gibson, Tahlequah, Sallisaw, and Vinita (Indian Territory/Oklahoma). Visit to Noel and South west City, Missouri. Visit to Chelsea and Coffeyville, Kansas. Visit to Fort Smith, Arkansas.

1899, November -- Visit Tahlequah while the Cherokee Nation legislature was in session.

1899, December -- Travel in Colorado.

1900, March -- Return to Muskogee and Fort Gibson.

1900, Sept 17-Oct 5 -- Dawes Commission in Vinita.

1901, Mar-Apr 3 -- Visit to the Quapaw Agency, Wyandotte Reservation and school, Modoc reservation and the town of Miami.

1901, April -- Visit to Denison, Texas. Visit to Checotah, Eufaula, South McAlester (Choctaw nation).

1901, Summer -- Visit to Pawhuska, Osage Nation.

1901, October -- Visit to Tishomingo, seat of government of the Chickasaws.

1902, January -- Trip to the Chickasaw Nation Visit to Anadarko, Indian Agency of the Kiowa, Comanche and Apache, Fort Sill, Wichita Mountains, and Lawton.

1902, May -- Frank is dispatched to Sioux City, Iowa.

1902, May-June -- Visit to Winnebago Agency, Omaha Agency, Santee Agency.

1902, July -- Visit to St. Paul, Minnesota and Eau Claire, Wisconsin, (Chippewa Falls). Frank is sent to Sulphur Springs, Texas, to author a report.

1902, August -- Churchills return to Muskogee, IT.

1902, September-October -- Trip to White Eagle, Ponca Agency for a month. Visit to Otoe school, Pawnee School, Shawnee, Sac and Fox reservations.

1902, November-December -- Visit to Crow Creek Agency.

1903, January -- Return to Sulpher Springs, Texas.

1903, March -- Visit to Pawhuska, Osage Nation.

1903, April -- Visit to Colorado.

1903, May-October -- Visit to 23 towns in Oklahoma (IT) with the Secretary of the Interior.

Travels in New Mexico, Arizona and California, 1903-1905

1903, November -- Frank receives orders to proceed to Zuni Pueblo, New Mexico.

1903, December 9 -- Visit to Zuni, followed by Canyon de Chelly, Hubbell's Ranch, Keams Canyon.

1903, December 21 -- Visit to Hopi Pueblo. Walpi, Polacca Day School, Oraibi, Shumopavi (Shungopavi/Songoopavi), Shipaulovi (Supawlavi) and Mishongnovi (Musungnuvi).

1903, December 28 -- Visit to Fort Defiance.

1904, January -- Travel in New Mexico. Visit to Gallup, Laguna Pueblo, Acomita, Paraje, Acoma, Albuquerque, Isleta Pueblo, Santa Fe, Ohkay Owingeh (San Juan Pueblo), K'apovi (Santa Clara Pueblo).

1904, February -- Visit to Sacaton, Akimel O'odham (Pima) Reservation and Casa Grande ruins in Arizona.

1904, March -- Visit to Lehi Day School, Salt River Day School, Phoenix Indian School, Gila River Crossing Day School and Maricopa Day School, Arizona.

1904, March 10-26 -- Visit to Fort Mojave and Chemehuevi.

1904, March 30-April -- Visit to Riverside, California, Sherman Institute and Perris School. Side trip to Yuma, Arizona.

1905, January-February -- Visit to Sulphur, IT.

1905, March -- Visit to Mescalero Apache Agency, San Carlos Apache Agency, Geronimo Settlement, Rice Station School at Talkalai.

1905, April 10-20 -- Return to Sherman Institute in Riverside, California. Visit to San Jacinto, Perris, Saboba, Cahuilla, San Manuella (Band of Mission Indians), Coachella, Torres Reservation, Martinez Reservation Day School, Cabazon Reservation, Protrero Reservation and Day School.

1905, April 22-May -- Visit to Temecula, Pechanga Day School, Pala Mission, Campo Reservation, Mission of San Luis Rey, Rincon Day School, Mesa Grande School, Santa Ysabel (Diegueno), Volcan Mountain Day School.

Travels in Alaska, 1905

1905, June -- Frank receives an assignment in Alaska.

1905, July -- Board the U.S. Revenue Cutter "Bear" in Nome. Visit to Reindeer Station in Teller, Cape Prince of Wales, Kotzebue Sound, Cape Thompson, Point Hope and Point Barrow.

1905, August -- Visit to Wainwright Inlet, return to Nome. Visit to Anvil Creek, Gologin (Golovin) Bay, St. Lawrence Island, Pribilof Islands (Seal Islands), St. George, Dutch Harbor and Unalaska.

1905, September -- Board the "Dora" anchored near Belkofski, Cold Bay, Karluk, Afgonak, and Kodiak. Stop in Homer, Seldovia and Seward. Visit to Sitka.

1905, September 28 -- Board the steamer "Georgia" to Juneau and Skagway via Hoonah.

1905, October -- Return to Lebanon, NH.

Travels in Arizona, New Mexico, Minnesota, Wisconsin, California and Utah, 1906-1907

1906, March-April -- Re-assigned to Southwest and arrive in Tucson, Arizona. Visit to San Xavier Mission, Tohono O'odham (Papago) reservation, Casa Grande, Sacaton, Maricopa, Gila Crossing, Salt River and Phoenix schools.

1906, May -- Return to New Mexico to visit Gallup and Zuni Day School.

1906, June -- Visit to St, Paul, Minnesota and the White Earth (Ojibwe) reservation and Wild Rice River School in Boliere.

1906, July -- Visit to Ashland, Wisconsin, Lac Courte Oreilles, Hayward, and Lac de Flambeau (La Pointe Agency.

1906, July-September -- Return to Lebanon, New Hampshire.

1906, September -- Visit to Fond du Lac (Winnebago Lake), Wabeno, and Carter, Wisconsin.

1906, October -- Visit to Phlox, Wausau, Minocqua, Star Lake, Bark River and Wausaukee, Wisconsin.

1906, November-December -- Visit to Keshena (Green Bay Indian School), Menominee Reservation and Ashland, Wisconsin.

1906, December-January -- Stay in Washington, DC.

1907, February -- Return to Albuquerque, New Mexico.

1907, March -- Visit to Santa Fe and various Pueblos (Cochiti, Tesuque, San Ildefonso, Ohkay Owingeh [San Juan], Toas and Picuris).

1907, April -- Return to Albuquerque, visit to Pueblos (Isleta, Laguna, Mesita, Acomita, Paraje, Acoma, Seama).

1907, April -- Visit to Phoenix, Arizona (Phoenix Indian School), Fort McDowell and Salt River Day School.

1907, May -- Visit to Sacaton, Maricopa, Casa Grande, and Yuma, Arizona.

1907, June -- Visit to Riverside (Sherman Institute), and Pomona, California.

1907, June-July -- Travel to Salt Lake City, Utah. Visit Panguitch, Orton, Kanab, Escalante and Marysvale, Utah.

1907, July-August -- Return to Arizona. Visit Flagstaff, Tuba Indian School, as well as Hopi Pueblo (Walpi, Moencopi, and Oraibi).

1907, September-October -- Return to Lebanon, NH.

Travels in North Carolina, Montana and Florida, 1907-1909

1907, October 22 -- Assigned to Cherokee, North Carolina, to make a new roll of the Eastern Band of Cherokee.

1907, November -- Arrive in Cherokee, North Caolina.

1908, February -- Visit to Robbinsville and Big Cove

1908, April -- Cherokee council meeting regarding Churchill's new roll.

1908, May -- Completes assignment in North Carolina.

1908, June-September -- Return to Washington, DC and Lebanon, New Hampshire.

1908, September-October -- Trip to Montana. Visit to Browning, Blackfeet Reservation, Harlem, Fort Belknap and Fort Peck.

1908, November -- Visit to Spirit Lake (Devil's Lake) and Wahpeton, and Fort Totten, North Dakota.

1908, December -- Visit to Morris, Minnesota.

1909, January -- Trip to Washington, DC for the inauguration of President Taft.

1909, February -- Visit to Carlisle, Pennsylvania.

1909, March-April -- Trip to Florida. Visit to Miami, Fort Lauderdale, Fort Myers, Tampa Bay, St. Petersburg, Gainesville, and St. Augustine.

1909, May -- Visit to Soco Creek and Cherokee, North Carolina.

1909, July -- Return to Lebanon, New Hampshire.

1909, August -- Resignation as Indian Inspector.

Related Materials:

A large collection of Native American cultural objects and archaeology bequeathed by Clara Churchill can still be found at the Hood Museum at Dartmouth College.

Provenance:

Frederick Dockstader, former director of the Museum of the American Indian (MAI), Heye Foundation, illegally removed the majority of the photographs (photo albums, negatives) and manuscript material (journals, reports) from the Hood Museum of Art at Dartmouth College in 1955, before depositing them at the MAI. Those materials were officially gifted to NMAI in 2018 by the Hood Museum. Additional materials from the Churchill collection that remained at the Hood Museum (lantern slides, photographs, scrapbooks, journals) were donated in 2020. These materials have been noted in the finding aid.

Restrictions:

Access to NMAI Archives Center collections is by appointment only, Monday - Friday, 9:30 am - 4:30 pm. Please contact the archives to make an appointment (phone: 301-238-1400, email: nmaiarchives@si.edu).

Rights:

Single photocopies may be made for research purposes. Permission to publish or broadbast materials from the collection must be requested from National Museum of the American Indian Archives Center. Please submit a written request to nmaiarchives@si.edu.

Topic:

Boarding schools  Search this

Genre/Form:

Photographs

Photographic prints

Photograph albums

Negatives (photographic)

Citation:

Identification of specific item; Date (if known); Frank C. and Clara G. Churchill collection, NMAI.AC.058, National Museum of the American Indian Archives Center, Smithsonian Institution.

Identifier:

NMAI.AC.058

See more items in:

Frank C. and Clara G. Churchill collection

Archival Repository:

National Museum of the American Indian

GUID:

https://n2t.net/ark:/65665/sv45e31a2d8-afd7-4320-96c7-1f596f51c142

EDAN-URL:

ead_collection:sova-nmai-ac-058

Donor:

Finley, Harry, 1942-  Search this

Names:

Museum of Menstruation (1994-1998)  Search this

Extent:

7.5 Cubic feet (23 boxes, 1 map folder)

Type:

Collection descriptions

Archival materials

Advertisements

Cd-roms

Correspondence

Filmstrips

Fliers (printed matter)

Newspaper clippings

Pamphlets

Patents

Photographs

Postcards

Trade literature

Videocassettes

Date:

circa 1890s-2011

Summary:

Collection documents menstruation and menstrual products.

Scope and Contents:

The collection documents through advertisements, product packaging, educational materials and pamphlets, correspondence, photographs, and videotapes, one of the most important topics in health experienced by half of the world's population, menstruation. Menstruation products are a worldwide industry with a documented connection to women's rights, pervasive economic, education, and opportunity inequities, and ecological problems.

The archival materials document health, business, advertising, and innovation history. Topics found within the collection include freedom, equality, success, ideals of race and gender in advertising, disposable products and innovation, small, woman-owned businesses and DIYers (Do It Yourself) who devised products to keep plastics out of landfills; business and health issues with multinational conglomerates, such as Tambrands, Procter & Gamble, Kimberly-Clark Corporation, and Scott Paper Company; and period poverty and tampon tax issues.

The collection represents US-made and consumed products, both mass-marketed and small business/DIY (Do It Yourself), from around the country. Also represented are products produced in other countries such as the United Kingdom, Germany, France, Japan, Mexico and Italy. All major, corporate US brands (and many multinational brands) are represented, for example: Tampax (now owned by Procter & Gamble), Kotex (Kimberly-Clark and Scott Paper), o.b (Johnson & Johnson, now Edgewell Personal Care). Also represented are a host of small companies, inventors, and DIY (Do It Yourself) products, such as: Women's Choice, Glad Rags, Instead Cup (Ultrafem), the Keeper, and organic cotton products from Natracare.

Arrangement:

Collection is arranged into five series.

Series 1: Museum of Menstruation Materials, 1984-2003

Series 2: Booklets, Pamphlets, and Other Writings, circa 1894-2003

Series 3: Product Inserts and Product Packaging, circa 1890s-2011

Series 4: Advertising and Sales Materials, 1914-2000s

Series 5: Ephemera and Other Materials, circa 1896-2005

Biographical:

Harry Finley (1942-) was born in Long Branch, New Jersey to George and Marjorie Finley. He holds a B.A. in Philosophy from Johns Hopkins University and did post graduate work in philosophy and German at the University of Florida. Finley worked as a graphic designer for the Department of the Army in Washington DC and Germany (1971—2004) and also as a painter, illustrator, and cartoonist.

Historical:

The Museum of Menstruation (MUM) was founded by Harry Finley in 1994 and operated as a physical museum until 1998, after which it continued as an extensive website. The Museum was an outgrowth of a collection he started assembling when living in Europe. Finley worked in Germany as a graphic designer for the U.S. government and was researching print ad layouts. Among the print ads he acquired some documented Kotex and other menstrual products which piqued his interest. Finley built the Museum's collection through his own collecting efforts, and through purchasing materials and by writing to researchers and mentrual-product manufacturers.

Provenance:

Collection donated by Harry Finley, October 13, 2022.

Restrictions:

Collection is open for research. Reference copies for audio and moving images materials do not exist. Use of these materials requires special arrangement. Gloves must be worn when handling unprotected photographs and negatives.

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:

Advertising, magazine -- 20th century  Search this

Birth control  Search this

Contraceptives industry  Search this

Coupons (Retail trade)  Search this

Feminine hygiene products  Search this

Feminine hygiene products industry  Search this

Health education  Search this

Hygiene  Search this

Menstrual cycle  Search this

Menstruation  Search this

Patent medicines  Search this

Pregnancy  Search this

Sanitary napkins  Search this

Tampons  Search this

Sex  Search this

Sex instruction  Search this

Teenagers  Search this

Women -- Health and hygiene  Search this

Zines  Search this

Genre/Form:

Advertisements

CD-ROMs

Correspondence

Filmstrips

Fliers (printed matter)

Newspaper clippings

Pamphlets

Patents

Photographs

Postcards

Trade literature

Videocassettes

Citation:

Museum of Menstruation Collection, Archives Center, National Museum of American History

Identifier:

NMAH.AC.1586

See more items in:

Museum of Menstruation Collection

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8288ee9dc-59d3-4419-9446-a7a7783bd76c

EDAN-URL:

ead_collection:sova-nmah-ac-1586

Artist:

Horace Pippin, American, b. West Chester, Pennsylvania, 1888–1946  Search this

Medium:

Oil on canvas

Dimensions:

18 x 33 1/8 in. (45.6 x 84.2 cm)

Type:

Painting

Date:

(c. 1939)

Credit Line:

Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC, Gift of Joseph H. Hirshhorn, 1966

Accession Number:

66.4071

See more items in:

Hirshhorn Museum and Sculpture Garden Collection

School:

Outsider Art

On View:

Hirshhorn Museum & Sculpture Garden (Washington, DC), 2nd Floor

Data Source:

Hirshhorn Museum and Sculpture Garden

GUID:

http://n2t.net/ark:/65665/py203a2af7d-fd7e-4394-bf75-5528cbadde07

EDAN-URL:

edanmdm:hmsg_66.4071

Artist:

John Singer Sargent, American, b. Florence, Italy, 1856–1925  Search this

Medium:

Oil on canvas

Dimensions:

71 5/8 x 45 3/4in. (181.9 x 116.2cm)

Type:

Painting

Date:

1884

Credit Line:

Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC, Gift of Joseph H. Hirshhorn, 1972

Accession Number:

72.257

See more items in:

Hirshhorn Museum and Sculpture Garden Collection

School:

American Impressionism

On View:

Hirshhorn Museum & Sculpture Garden (Washington, DC), 2nd Floor

Data Source:

Hirshhorn Museum and Sculpture Garden

GUID:

http://n2t.net/ark:/65665/py259f3e3f5-edab-480a-b272-2d0ff4855a16

EDAN-URL:

edanmdm:hmsg_72.257

Artist:

Stuart Davis, American, b. Philadelphia, Pennsylvania, 1892–1964  Search this

Medium:

Oil on paperboard

Dimensions:

18 × 24 in. (45.6 × 60.9 cm)

Type:

Painting

Date:

1924

Credit Line:

Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC, Museum purchase, 1974

Accession Number:

74.228

See more items in:

Hirshhorn Museum and Sculpture Garden Collection

School:

American Abstraction (Mid-Century)

On View:

Hirshhorn Museum & Sculpture Garden (Washington, DC), 2nd Floor

Data Source:

Hirshhorn Museum and Sculpture Garden

GUID:

http://n2t.net/ark:/65665/py2f46f6cb4-ceaf-4ba8-b575-e7cebeebf6b7

EDAN-URL:

edanmdm:hmsg_74.228

Creator:

Fisher, Ethel, 1923-  Search this

Names:

Art Students League (New York, N.Y.)  Search this

Brentwood Art Center  Search this

Barnet, Will, 1911-2012  Search this

Boxer, Stanley  Search this

Coleborn, Keith  Search this

Ehrenkranz, Elaine  Search this

Fernandez, Rafael  Search this

Fine, Irving, 1914-1962  Search this

Getz, Ilse, 1917-  Search this

Jones, Keri  Search this

Kitaj, Sandra Fisher  Search this

Kott, Seymour  Search this

Lassaw, Ibram, 1913-2003  Search this

Pearson, Henry, 1914-2006  Search this

Thek, Paul  Search this

Extent:

12.5 Linear feet

0.558 Gigabytes

Type:

Collection descriptions

Archival materials

Gigabytes

Travel diaries

Photographs

Sketchbooks

Drawings

Sketches

Watercolors

Transcripts

Interviews

Video recordings

Sound recordings

Date:

1930-2017

Summary:

The papers of California and New York painter Ethel Fisher measure 12.5 linear feet and 0.558 GB and date from 1930 to 2017. Included are biographical materials, correspondence, writings, project files, exhibition files, artists' files, personal business records, printed and digital material, artwork and several sketchbooks, a few sound and video recordings, and photographic material.

Scope and Contents:

The papers of California and New York painter Ethel Fisher measure 12.5 linear feet and 0.558 GB and date from 1930 to 2017. Included are biographical materials, correspondence, writings, project files, exhibition files, artists' files, personal business records, printed and digital material, artwork and several sketchbooks, a few sound and video recordings, and photographic material.

Biographical material includes Art Students League records, address books and business cards, artist statements and resumes, an interview transcript and sound cassette, and other miscellaneous documents.

Correspondence is with family, friends, colleagues, artists, galleries, and museums. The bulk of the correspondence is with daughter Sandra Fisher and husband Seymour Kott. Notable correspondents include Will Barnet, Keith Coleborn, Elaine Ehrenkranz, Rafael Fernandez, Henry Pearson, and others. There are also greeting cards and postcards, inluding numerous illustrated cards from Fisher to her husband Seymour.

Writings mostly consist of annotated appointment calendars and travel diaries along with some writings by others, such as a travel diary by Keith Coleborn and a graduate thesis by Keri Jones.

Project files include correspondence, grant applications, printed and digital material, and publication agreements for art projects, commissions, studio tours, auctions, and speaking engagements. Notable projects include material on the NBC-TV film Family Ties, art loans for the Showtime movie Town of the Eighties, and teaching material from Brentwood Art Center.

Exhibition files contain exhibition announcements, catalogs, publicity, reviews, correspondence, exhibition lists, price lists of artwork, and other material for Ethel Fisher's group and solo shows.

Artists' files include printed material about and limited correspondence with various artists in which Fisher was interested or with whom she was friends, including Stanley Boxer, Irving Fine, Ilse Getz, Ibram Lassaw, and Paul Thek.

Personal business records include consignments, price lists, loan agreements, receipts, donations, and sales documentation.

Printed material includes exhibition catalogs, announcements, magazines, and clippings about Ethel Fisher and other artists. There are also books inscribed to Fisher.

The artwork series includes sketchbooks, drawings, watercolors, and loose sketches.

Photographic material consists of photographs, digital photographs, slides, and negatives of Ethel Fisher, her artwork, exhibitions, events, family, friends, artists, studios, and travel. There are also "reference photos" of people, places, and objects which Fisher used for her portraits and paintings.

Arrangement:

The collection is arranged as 10 series.

Missing Title

Series 1: Biographical Material, 1939-2014 (0.3 linear feet; Boxes 1, 13)

Series 2: Correspondence, 1930-2017 (5.4 linear feet; Boxes 1-6, 13, 15)

Series 3: Writings, 1965-2014 (0.8 linear feet; Boxes 6-7, 13)

Series 4: Project Files, 1954-2011 (0.5 linear feet; Boxes 7, 12, 0.128 GB; ER01)

Series 5: Exhibition Files, 1945-2006 (0.6 linear feet; Boxes 7-8)

Series 6: Artists' Files, 1952-2010 (0.4 linear feet; Boxes 8, 12)

Series 7: Personal Business Records, 1959-2017 (0.3 linear feet; Boxes 8, 13)

Series 8: Printed Material, 1940-2016 (1.0 linear feet; Boxes 8-9, 12-13)

Series 9: Artwork and Sketchbooks, 1944-2014 (1.0 linear feet; Boxes 9, 12-15, OV16)

Series 10: Photographic Materials, 1942-2014 (2.2 linear feet;Boxes 9-11, 14, 0.430 GB; ER02)

Biographical / Historical:

Ethel Fisher (1923-2017) was a painter who lived in Pacific Palisades, California.

Ethel Fisher was born in Galveston, Texas in 1923. She studied art at the University of Houston, University of Texas, and Washington University in St. Louis, Missouri. After college, she moved to New York City and attended The Art Students League on scholarship from 1943-1946. In New York, she studied with painter Will Barnet, Morris Kantor, and Robert Beverly Hale, and befriended many people in the art world. She married Gene Fisher and their first daughter Sandra was born. Sandra also became a painter and later married artist R. B. Kitaj.

Fisher and her family moved to Miami in 1948 where her daughter Margaret was born. Upon her divorce, Fisher travelled in Europe for about a year before returning to New York City in the early 1960s, where she continued to paint and maintained 2 studios for her artwork. She married art historian Seymour Kott in 1963.

In 1970, Fisher and her husband moved to Pacific Palisades in Los Angeles, California. Throughout her career as a painter, Ethel Fisher has had solo and group exhibitions at galleries in Havana, Cuba; West Palm Beach, Florida; Atlanta, Georgia; New York City, New York; and San Francisco and Los Angeles, California. She has been the recipient of numerous awards and continues to paint. In 2003, Fisher had solo exhibit of portraits at Platt Gallery in Los Angeles.

Provenance:

The Ethel Fisher papers were donated by Ethel Fisher in two installments in 1997 and 2015.

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 copy requires advance notice.

Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Occupation:

Painters -- New York (State) -- New York  Search this

Topic:

Art -- Study and teaching  Search this

Artists' studios -- Photographs  Search this

Women artists  Search this

Women painters  Search this

Genre/Form:

Travel diaries

Photographs

Sketchbooks

Drawings

Sketches

Watercolors

Transcripts

Interviews

Video recordings

Sound recordings

Citation:

Ethel Fisher papers, 1930-2017. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.fishethe

See more items in:

Ethel Fisher papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9d7e887a2-bffd-4c8e-ad17-16d3139bc61f

EDAN-URL:

ead_collection:sova-aaa-fishethe

Creator:

Camblin, Bob Bilyeu, 1928-2010  Search this

Subject:

Staley, Earl  Search this

Tate, Joe  Search this

Type:

Sketchbooks

Drawings

Moving images

Citation:

Bob Bilyeu Camblin papers, 1951-1985. Archives of American Art, Smithsonian Institution.

Theme:

Lives of artists  Search this

Record number:

(DSI-AAA_CollID)9268

(DSI-AAA_SIRISBib)211463

AAA_collcode_cambbob

Theme:

Lives of artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_211463

Creator:

Camblin, Bob Bilyeu, 1928-2010  Search this

Names:

Staley, Earl, 1938-  Search this

Tate, Joe  Search this

Extent:

3.1 Linear feet

Type:

Collection descriptions

Archival materials

Sketchbooks

Drawings

Moving images

Date:

1951-1985

Summary:

The Bob Bilyeu Camblin papers measure 3.1 linear feet and date from 1951 to 1985. The papers provide a snapshot of Camblin's career as an artist and educator through personal papers, printed material, artwork, photographs, and motion picture film and video recordings.

Scope and Contents:

The Bob Bilyeu Camblin papers measure 3.1 linear feet and date from 1951 to 1985. The papers provide a snapshot of Camblin's career as an artist and educator through personal papers, printed material, artwork, photographs, and motion picture film and video recordings.

Personal papers include resumes and printed material such as exhibition catalogs and announcements and clippings. Camblin's artwork includes sketches, expressive writings, drawings, and prints. Photographic material includes images of artwork, friends, family, trips, and miscellany; and moving images include home videos of art, art techniques, leisure activities, and autobiographical films.

Arrangement:

This collection is arranged as 4 series.

Series 1: Personal Papers, 1951-1985 (5 folders; Box 1)

Series 2: Artwork, 1951-1985 (8 folders; Box 1)

Series 3: Photographs, 1951-1980 (1 linear foot; Box 1, 2)

Series 4: Moving Images, circa 1970-1976 (1.8 linear feet; Box 2; FCs 3-19)

Biographical / Historical:

Bob Bilyeu Camblin (1928-2010) was a modernist painter and educator active in Houston, Texas. Camblin experimented with a wide variety of media and is known for collaborative projects with many artists, including a collective known as The Holding Firm with Earl Staley and Joe Tate in Houston.

Born in Ponca City, Oklahoma, Camblin served in the United State Army (1948-1949) and Air Force (1950-1951) before receiving his bachelor of fine arts in 1954, and his master of fine arts degree in 1955. He worked as a map make from 1955-1958 before holding teaching posts at multiple institutions including the Kansas City Art Institute, the Ringling School of Art, Sarasota Florida, the University of Illinois, the University of Detroit, the University of Utah, and Rice University in Houston.

While living in Houston Camblin collaborated with artists Earl Staley and Joe Tate, as the B. E. and J. Holding Firm, or The Holding Firm. The collective worked on multiple projects including paintings, drawings, art excursions, and exhibitions.

Camblin's first one-man show was held in 1955 at the Kansas City Art Institute and his work has been exhibited in other solo exhibitions including at Oklahoma State University (1961), Plumtree Gallery, Salt Lake City, Utah (1965-1966), Windsor College, Canada (1965), David Gallery, Houston (1969-1970), and the Graham Gallery in Houston (1989). Camblin participated in many group exhibitions including ART:USA 58 (1958), Fulbright Artists Exhibition, Nelson Gallery of Art, Kansas City (1958), Childe Hassam Purchase Fund Show, American Academy of Arts and Letters (1958), and Printmaking in Texas: The 1980s Modern Art Museum, Fort Worth (1990).

Separated Materials:

The Archives of American Art also holds microfilm of material lent for microfilming by Mrs. Eldon Jensen on Reel 2248, including six sketchbooks, 1979-1980, containing sketches, writings, and a few letters. Loaned materials were returned to the lender and are not described in the collection container inventory.

Some of the material from reels 3461 and 3462 including correspondence, clippings, files on the Document Show, the Barter Show, B. E. and J. Holding Firm and the Venice Venture are available for use only at the Museum of Fine Arts, Houston and through interlibrary loan, and are not described in the collection container inventory.

Provenance:

This collection was donated by Sandra Curtis Levy in a series of accessions between 1979-1986.

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.

Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Occupation:

Painters -- Texas -- Houston  Search this

Educators -- Texas -- Houston  Search this

Genre/Form:

Sketchbooks

Drawings

Moving images

Citation:

Bob Bilyeu Camblin papers, 1951-1985. Archives of American Art, Smithsonian Institution.

Sponsor:

The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.

Identifier:

AAA.cambbob

See more items in:

Bob Bilyeu Camblin papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw97a6fd7c8-6f2e-4062-853a-d77d5375f0ee

EDAN-URL:

ead_collection:sova-aaa-cambbob

Collector:

David K. Caldwell  Search this

Ocean/Sea/Gulf:

North Atlantic Ocean  Search this

Length - Total:

330 cm

Sex:

Male

Place:

Flagler Beach, Just N Of Painters Hill, Flagler, Florida, United States, North America, North Atlantic Ocean

Collection Date:

14 Oct 1973

Taxonomy:

Animalia, Chordata, Vertebrata, Mammalia, Eutheria, Cetacea, Odontoceti, Physeteridae

Published Name:

Kogia breviceps (de Blainville, 1838)

Other Numbers:

Whale Field Number 1 : R-16-KB

USNM Number:

STR2579

See more items in:

Vertebrate Zoology

Mammals

Data Source:

NMNH - Vertebrate Zoology - Mammals Division

GUID:

http://n2t.net/ark:/65665/3576db44c-136b-449d-b00b-d896a0d7432e

EDAN-URL:

edanmdm:nmnhvz_7518481

Creator:

Pearlstein, Philip, 1924-  Search this

Names:

WBAI Radio (New York, N.Y.)  Search this

WRFM (Radio station : New York, N.Y.)  Search this

Barnet, Will, 1911-2012  Search this

Blaine, Michael  Search this

Cantor, Dorothy  Search this

Close, Chuck, 1940-  Search this

Downes, Rackstraw  Search this

Dückers, Alexander, 1939-  Search this

Field, Richard  Search this

Haas, Richard, 1936-  Search this

Hampleman, Jean  Search this

Kelly, W. J.  Search this

Levine, Jack, 1915-2010  Search this

McCarthy, David, 1960-  Search this

Shaman, Sanford Sivitz  Search this

Storr, Robert  Search this

Tamburini, Fernando  Search this

Tsao, Vivian, 1950-  Search this

Updike, John  Search this

Viola, Jerome  Search this

Wallin, Leland  Search this

Ward, John  Search this

Warhol, Andy, 1928- -- Photographs  Search this

Witkin, Jerome  Search this

Yezzi, David  Search this

Extent:

31.8 Linear feet

16.68 Gigabytes

Type:

Collection descriptions

Archival materials

Gigabytes

Interviews

Motion pictures (visual works)

Photographs

Scrapbooks

Sketches

Slides (photographs)

Sound recordings

Transcripts

Video recordings

Date:

circa 1940-2008

Summary:

The papers of New York artist Philip Pearlstein measure 31.8 linear feet and 16.68 GB and date from circa 1940 to 2008. The collection is comprised of biographical material, correspondence, interviews and transcripts, writing projects and lectures, personal business records, printed material, three scrapbooks, photographs and moving images, documentary production material, digital records, sound and video recordings, and motion picture film that documents Pearlstein's career as a painter and educator.

Scope and Contents:

The papers of New York artist Philip Pearlstein measure 31.8 linear feet and 16.68 GB and date from circa 1940 to 2008. The collection is comprised of biographical material, correspondence, interviews and transcripts, writing projects and lectures, personal business records, printed material, three scrapbooks, photographs and moving images, documentary production material, digital records, sound and video recordings, and motion picture film that documents Pearlstein's career as a painter and educator.

Biographical material includes appointment books, several awards, annotated calendars, a catalogue raisonné working list, identification card, membership files, resumes, and one sound recording. Correspondence is with Will Barnet, Chuck Close, Rackstraw Downes, Richard Haas, Jack Levine, Robert Storr, John Updike, Leland Wallin, Jerome Witkin, family, galleries and museums, students, colleagues, artists, arts organizations, and includes a digital recording.

Also found are sound recordings and transcripts of interviews with Pearlstein by Vivian Tsao, Michael Blaine, Sanford Sivitz Shaman, David McCarthy, and broadcast stations WRFM and WBAI. Writing projects and lectures by Pearlstein consist of student work, numerous articles and essays, sound and video recordings of lectures and speeches, letters, memorials, miscellaneous manuscripts and notes, and a U.S. and U.S.S.R. Workshop Exchange project proposal. Writings by others about Pearlstein are by W.J. Kelly, Alexander Dückers, Richard Field, John Ward, Jerome Viola, Robert Storr, and David Yezzi.

Personal business records contain agreements, consignment and loan documents, donations, financial material, exhibition files, insurance and inventories, recommendations written by Pearlstein, reproduction permissions, digital recordings, and teaching files for various institutions. Art reproductions, clippings, exhibition announcements and catalogs for exhibitions of artwork by Pearlstein and others, magazines and journals, newsletters, postcards, and publicity files that include one digital recording are in printed materials.

Two scrapbooks are of Egyptian and Roman architecture and objects accompanied by notes and a small amount of sketches, and one scrapbook is printed material regarding Pearlstein's work and exhibitions. Artwork is by Jean Hampleman, Fernando Tamburini, and unidentified artists. Photographs and moving images that include video recordings and motion picture film of Pearlstein in the studio, portraits, and candids; personal photographs of family, travel, and classmates including Andy Warhol and Dorothy Cantor; artist's models; events and exhibitions; and works of art.

Completed and unedited video and sound recordings, computer graphics footage, soundtrack material, and administrative records for the 1985 documentary video production Philip Pearlstein Draws the Artist's Model are also in this collection.

Arrangement:

The collection is arranged as 10 series.

Series 1: Biographical Material, 1964-2008 (0.8 linear feet; Boxes 1, 36, OV42)

Series 2: Correspondence, circa 1955-2008 (8.5 linear Feet; Boxes 1-10, OVs 42-43, 0.168 GB; ER01)

Series 3: Interviews and Transcripts, 1957-2003 (0.5 linear Feet; Box 10)

Series 4: Writing Projects and Lectures, circa 1945-2008 (2.5 linear Feet; Boxes 10-13, 37-38, 8.26 GB: ER02-ER13)

Series 5: Personal Business Records, 1955-2007 (1 linear Feet; Boxes 13-14, 3.77 GB: ER14-ER15)

Series 6: Printed Materials, 1946-2008 (3.0 linear Feet; Boxes 14-21, 36, OVs 42-43)

Series 7: Scrapbooks, circa 1953-1970s (0.4 linear Feet; Box 22)

Series 8: Artwork, undated, 1967-2004 (0.2 linear Feet; Box 22, OV 42)

Series 9: Photographs and Moving Images, 1940s-2008 (3.3 linear Feet; Boxes 22, 37, 39-41, 4.18 GB; ER16-ER18)

Series 10: Philip Pearlstein Draws the Artist's Model, Documentary Production Material, 1983-1991 (8.5 linear Feet; Boxes 23-30, SAV 31-35)

Biographical / Historical:

Philip Pearlstein (1924- ) is a painter and educator based in New York, N.Y.

Pearlstein was born in Pittsburgh, Pennsylvania, and he attended classes at the Carnegie Museum of Art as a child. While still in high school, his paintings were reproduced in Life magazine after winning Scholastic magazine's high school art competition. After graduating from high school Pearlstein enrolled in the Carnegie Institute of Technology's (CIT) art school, but left after a year to serve in the Army during World War II. He gained knowledge of printing, drafting, and sign painting while stationed in Florida and Italy. After the war he returned to CIT as a student and became art editor of the engineering school's Carnegie Technical magazine. During this time Pearlstein met his wife, Dorothy Cantor, and became close friends with Andy Warhol, both classmates at CIT. Pearlstein moved to New York City with Warhol after receiving his Bachelor of Fine Arts in 1949. In 1955, he completed his thesis on Francis Picabia and received a Master of Arts in art history from New York University's Institute of Fine Arts.

As Pearlstein's career evolved, he became known for his realistic nudes and landscapes. Many of Pearlstein's paintings were inspired by his travels to the western United States, Peru, Egypt, and to Italy as a 1958 Fulbright Grant recipient. His work has been exhibited throughout the United States and internationally, and he has worked closely with the Tanager and Alan Frumkin Galleries in New York. In addition to his painting career, Pearlstein was an instructor at Pratt Institute from 1959 to 1963 and at Brooklyn College from 1963 to 1988. He is also a member of the National Academy of Design and the American Academy of Arts and Letters, serving as president from 2003 to 2006.

Pearlstein continues to work and live in New York, N.Y.

Related Materials:

Also found in the Archives of American Art is an oral history interview with Philip Pearlstein conducted by Paul Cumming, June 8 to August 10, 1972.

Provenance:

The papers were donated in multiple installments by Philip Pearlstein from 1975 to 2009.

Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Use of archival audiovisual recordings and born-digital records with no duplicate copies requires advance notice.

Rights:

Audio visual material "Philip Pearlstein Draws the Artists' Model": Authorization to quote or reproduce for purposese of publication requires written permission from Pearlstein or his heirs. Contact Reference Services for more information.

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Occupation:

Art teachers -- New York (State) -- New York  Search this

Topic:

Architecture -- Egypt  Search this

Architecture, Roman  Search this

Art -- Study and teaching  Search this

Painters -- New York (State) -- New York  Search this

Painting, Modern -- 20th century -- New York (State) -- New York  Search this

Genre/Form:

Interviews

Motion pictures (visual works)

Photographs

Scrapbooks

Sketches

Slides (photographs)

Sound recordings

Transcripts

Video recordings

Citation:

Philip Pearlstein papers, circa 1940-2008. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.pearphil

See more items in:

Philip Pearlstein papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9ae8de1cb-660c-49be-b009-d765ed771ebe

EDAN-URL:

ead_collection:sova-aaa-pearphil

Creator:

Liberman, Alexander, 1912-1999  Search this

Names:

André Emmerich Gallery  Search this

Bennington College  Search this

Museum of Modern Art (New York, N.Y.)  Search this

Solomon R. Guggenheim Museum  Search this

Barr, Alfred H., Jr., 1902-1981  Search this

Beaton, Cecil Walter Hardy, Sir, 1904-  Search this

Cartier-Bresson, Henri, 1908-  Search this

Chernow, Burt  Search this

Dalí, Salvador, 1904-1989  Search this

De Kooning, Willem, 1904-1997  Search this

Dietrich, Marlene  Search this

Emmerich, André  Search this

Frankenthaler, Helen, 1928-2011  Search this

Greenberg, Clement, 1909-1994  Search this

Hopps, Walter  Search this

Klein, William  Search this

Kline, Franz, 1910-1962  Search this

Leibovitz, Annie, 1949-  Search this

Motherwell, Robert  Search this

Mulas, Ugo  Search this

Namuth, Hans  Search this

Newman, Barnett, 1905-1970  Search this

Newton, Helmut, 1920-  Search this

Parks, Gordon, 1912-2006  Search this

Parsons, Betty  Search this

Penn, Irving  Search this

Picasso, Pablo, 1881-1973  Search this

Ritts, Herb  Search this

Snowdon, Antony Armstrong-Jones, Earl of, 1930-  Search this

Steichen, Edward, 1879-1973  Search this

Vogel, Lucien  Search this

Vreeland, Diana  Search this

Extent:

59 Linear feet

Type:

Collection descriptions

Archival materials

Drafts (documents)

Drawings

Scrapbooks

Interviews

Photographs

Sketches

Sound recordings

Transcripts

Video recordings

Date:

circa 1912-2003

Summary:

The papers of sculptor, painter, and publishing executive Alexander Semeonovitch Liberman date from circa 1913-2003 and measure 59 linear feet. Found within the papers are biographical materials; correspondence with family, galleries, museums, and many artists; numerous recorded interviews and transcripts with and by Liberman, including one of Walter Hopps; writings and writing project files; extensive subject files maintained by Liberman; exhibition files; printed materials; scattered drawings; and extensive photographs of Liberman's artwork, exhibitions, Liberman, and of Liberman with notable artists, dealers, collectors, and critics. Many of the photographs were taken by noted photograhers. Also found within the papers are unidentified sound and video recordings. Additional sound and video recordings have been integrated into other series.

Scope and Contents:

The papers of sculptor, painter, and publishing executive Alexander Semeonovitch Liberman date from circa 1913-2003 and measure 59 linear feet. Found within the papers are biographical materials; correspondence with family, galleries, museums, and many artists; numerous recorded interviews and transcripts with and by Liberman, including one of Walter Hopps; writings and writing project files; extensive subject files maintained by Liberman; exhibition files; printed materials; scattered drawings; and extensive photographs of Liberman's artwork, exhibitions, Liberman, and of Liberman with notable artists, dealers, collectors, and critics. Many of the photographs were taken by noted photograhers. Also found within the papers are unidentified sound and video recordings. Additional sound and video recordings have been integrated into other series.

Biographical materials include awards, biographies and chronologies, family history materials, membership cards, writings by Liberman's mother, and a scrapbook about his father.

Correspondence is extensive and concerns both personal and professional affairs. It is with artists and photographers, art magazines, organizations and museums, art collectors, businesses, and family. Notable correspondents include Cecil Beaton, Henri Cartier-Bresson, Burt Chernow, Salvador Dali, Robert Motherwell, Helen Frankenthaler, Barnett and Annalee Newman, Additional correspondence is found within the subject files compiled and organized by Liberman (series 6).

There are sound and video recordings and transcripts of interviews with and by Liberman, most completed for broadcast television and radio shows. Of particular interest are sound cassettes, a sound tape reel, and a transcript of an interview with Walter Hopps by Liberman.

Writings by Liberman include essays, short stories, and a play entitled 2+1. Writing project files were organized by Liberman for writing projects for which he was the author, collaborator, or subject. There are numerous files concerning Barbara Rose's book about Liberman Alexander Liberman that also include recorded interviews with Liberman and transcripts. Other books for which there are files include The Art and Technique of Color Photography, The Artist in His Studio, Vogue: The First 100 Years, Vogue History of Fashion Photography, and others.

Subject files were organized by Liberman for a wide variety of work projects, activities, topics, and entities of interest. Files cover commissions, the filming and distribution of the 1981 documentary film Alexander Liberman: A Lifetime Burning, Liberman's personal collection of art, gifts of artwork, and his relationship with galleries and dealers, particularly André Emmerich Gallery.

Exhibition files document exhibitions of Liberman's artwork, and include those held at André Emmerich Gallery, Bennington College, the Guggenheim, Museum of Modern Art, among other venues. Files contain correspondence, contracts, photographs, plans and drawings, notes, etc. Also found are inventory records of Liberman's artwork in the form of lists, index cards, bound registers, and notes.

Ten linear feet of printed materials include exhibition announcements and catalogs, books and book flyers, brochures, calendars, clippings, postcards, posters, press releases, and other materials.

There are scattered drawings and sketches found within the papers, some of which are sketches of sculpture pieces.

Nearly one-half of the collection is comprised of photographs of Liberman and his artwork, and of artists and colleagues, many of which were taken by noted photographers, including Cecil Beaton, Henri Cartier-Bresson, William Klein, Henri Lartique, Annie Leibowitz, Inge Morath, Ugo Mulas, Hans Namuth, Helmut Newton, Gordon Parks, Irving Penn, Herb Ritts, and Lord Snowden, among others. Subjects of note found in the photographs include Alfred Barr, Salvador Dali, Marlene Dietrich, Willem de Kooning, Andre Emmerich, Helen Frankenthaler, Clement Greenberg, Franz Kline, Robert Motherwell, Barnett Newman, Betty Parsons, Pablo Piccaso, Edward Steichen, Lucien Vogel, and Diana Vreeland, among many others.

Arrangement:

The collection is arranged into twelve series. Photographs retain Liberman's original numerical and alpha schemas and the corresponding indexes are found in the Inventory Records in Series 8.

Missing Title

Series 1: Biographical Materials, circa 1930s-1999 (1 linear foot; Box 1, 56)

Series 2: Correspondence, 1944-1997 (4 linear feet; Boxes 1-5, 56, OV 65)

Series 3: Interviews, 1946-1996 (1.4 linear feet; Boxes 5-7, 56)

Series 4: Writings, 1948-1995 (0.9 linear feet; Boxes 7-8)

Series 5: Writing Project Files, 1951-1997 (1.8 linear feet; Boxes 8-9, 56)

Series 6: Subject Files, 1946-2000 (6 linear feet; Boxes 9-15, 56, OV 66-67)

Series 7: Exhibition Files, 1954-1991 (0.7 linear feet; Boxes 15-16, 56, OV 68)

Series 8: Inventory Records, 1938-1998 (6 linear feet; Boxes 16-22)

Series 9: Printed Materials, 1932-2003 (10 linear feet; Boxes 22-31, 56-57, OV 69)

Series 10: Artwork, circa 1940s-1990s (0.4 linear feet; Boxes 32, 57, OV 70)

Series 11: Photographic Materials, circa 1912-1999 (26 linear feet; Boxes 32-55, 57-64, OVs 71-77)

Series 12: Unidentified Sound and Video Recordings, circa 1941-1999 (0.8 linear feet; Boxes 55, 64)

Biographical / Historical:

Alexander S. Liberman (1912-1999) was a sculptor, painter, photographer, graphic designer, writer, and publishing executive who worked primarily in New York City. He held senior positions at Condé Nast Publications for 32 years.

Alexander Semeonovitch Liberman was born in 1912 in Kiev Russia. He was educated in London and the École des Beaux Art in Paris. He began his journalistic career in Paris at VU magazine owned by Lucien Vogel and there he befriended photographers Henri Cartier-Bresson, Brassai, Robert Capa, and André Kértesz. He served in the French army for a short time in 1940, but he and his family fled Paris in 1941 to New York City. Condé Nast hired Liberman in 1941 as an assistant to the art director of Vogue magazine. Liberman became art director in 1943 and editorial director of Condé Nast Publications in 1962, a position he held until his retirement in 1994.

Liberman was also a photographer whose subjects included Georges Braque, Alexander Calder, Alberto Giacometti, Henri Matisse, Pablo Picasso, and Marlene Dietrich, among others, many represented in his 1960 book entitled The Artist in his Studio and Marlene: An Intimate Photographic Memoir (1992). He was also the subject of the work of noted photographers Cecil Beaton, Irving Penn, Henri Cartier-Bresson, Gordon Parks, Lord Snowden, Jill Krementz, Henri Lartique, Annie Leibovitz, and Hans Namuth.

Liberman took up painting and sculpting in the 1950s. Although his first exhibition was at the Betty Parsons Gallery, he was primarily associated with the André Emmerich Gallery in New York City. His monumental sculptures were mostly assembled from industrial parts and painted and can be seen in museums and public sites worldwide.

Liberman was briefly married to Hildegarde Sturm. He married his second wife Tatiana Yacovleff du Plessix in 1942. Before their marriage, they fled occupied France together. She was a noted hat designer, working for Henri Bendel and Saks, where she became known as Tatiania of Saks. She died in 1991 and, in 1992, Liberman married Melinda Pechangco, a nurse who had earlier cared for Tatiania. Alexander Liberman died in 1999 in Miami, Florida.

Related Materials:

Related collections found at the Archives of American Art include the Dodie Kazanjian and Calvin Tomkins research materials on Alexander Liberman and numerous collections of gallery records.

Provenance:

The Alexander Liberman papers were donated to the Archives of American Art by Liberman Art Partners in 2010 via Dodie Kazanjian.

Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. research center. Contact Reference Services for more information. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.

Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Occupation:

Publishers -- New York (State) -- New York  Search this

Graphic designers  Search this

Topic:

Photographers -- New York (State) -- New York  Search this

Photography  Search this

Sculptors -- France -- Paris  Search this

Fashion photography  Search this

Painters -- France -- Paris  Search this

Painters -- New York (State) -- New York  Search this

Photographers -- France -- Paris  Search this

Genre/Form:

Drafts (documents)

Drawings

Scrapbooks

Interviews

Photographs

Sketches

Sound recordings

Transcripts

Video recordings

Citation:

Alexander Liberman Papers, circa 1912-2003. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Smithsonian Institution's Collections Care and Preservation Fund.

Identifier:

AAA.libealex

See more items in:

Alexander Liberman papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw942e7024f-773e-4db8-b545-31138550580a

EDAN-URL:

ead_collection:sova-aaa-libealex

Painter:

Herzog, Hermann 1831-1932  Search this

Medium:

Oil

Type:

Paintings

Topic:

Landscape--Marsh  Search this

Landscape--Florida  Search this

Animal--Deer  Search this

Control number:

IAP 8G380025

Data Source:

Art Inventories Catalog, Smithsonian American Art Museums

EDAN-URL:

edanmdm:siris_ari_481179

Painter:

Strater, Henry 1896-1987  Search this

Medium:

Oil

Type:

Paintings

Date:

1976

Topic:

Landscape--Florida--Sarasota  Search this

Control number:

IAP 8G370333

Data Source:

Art Inventories Catalog, Smithsonian American Art Museums

EDAN-URL:

edanmdm:siris_ari_481139

Creator:

Finch College. Museum of Art  Search this

Varian, Elayne H. (Elayne Hanley), 1913-1987  Search this

Subject:

Acconci, Vito  Search this

Glimcher, Arnold B.  Search this

Benglis, Lynda  Search this

Anderson, David K.  Search this

Bochner, Mel  Search this

Benyon, Margaret  Search this

Janis, Sidney  Search this

Castelli, Leo  Search this

Brooks, James  Search this

Jackson, Martha Kellogg  Search this

Hollander, Irwin  Search this

Insley, Will  Search this

Gottlieb, Adolph  Search this

Graham, Dan  Search this

Smith, Tony  Search this

Siegelaub, Seth  Search this

Richter, Hans  Search this

Parsons, Betty  Search this

O'Doherty, Brian  Search this

Nauman, Bruce  Search this

Kirby, Michael  Search this

Chase, Doris  Search this

Cross, Lloyd G.  Search this

Davis, Douglas  Search this

Dwan, Virginia  Search this

Feigen, Richard L.  Search this

Wise, Howard  Search this

Weiner, Sam  Search this

Sonfist, Alan  Search this

Mazur, Michael  Search this

Meyer, Ursula  Search this

Lichtenstein, Roy  Search this

Levine, Les  Search this

Type:

Transcripts

Interviews

Photographs

Sound recordings

Video recordings

Museum records

Citation:

Exhibition records of the Contemporary Study Wing of the Finch College Museum of Art, 1943-1975, bulk 1964-1975. Archives of American Art, Smithsonian Institution.

Topic:

Art dealers -- New York (State) -- New York  Search this

Painters -- New York (State) -- New York  Search this

Gallery directors  Search this

Gallery owners  Search this

Theme:

Art Gallery Records  Search this

Art organizations  Search this

Record number:

(DSI-AAA_CollID)8114

(DSI-AAA_SIRISBib)210285

AAA_collcode_finccoll

Theme:

Art Gallery Records

Art organizations

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_210285

Creator:

Mason, Lauris  Search this

Subject:

Bellows, George  Search this

Albright, Ivan  Search this

Morgan, Charles H. (Charles Hill)  Search this

Ludman, Joan  Search this

Citation:

Lauris Mason research material on George Bellows, 1976-2012. Archives of American Art, Smithsonian Institution.

Topic:

Women art historians  Search this

Theme:

Research and writing about art  Search this

Record number:

(DSI-AAA_CollID)10957

(DSI-AAA_SIRISBib)214739

AAA_collcode_masolaur

Theme:

Research and writing about art

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_214739

Creator:

Blanc, Giulio V.  Search this

Names:

Cuban Museum of Arts and Culture (Miami, Fla.)  Search this

Brito, María (1947-)  Search this

Cano, Margarita, 1932-  Search this

Cano, Pablo  Search this

Carreño, Mario  Search this

Carulla, Ramón, 1938-  Search this

Demi, 1955-  Search this

Garcia, Hernan, 1935-  Search this

Gattorno, Antonio  Search this

Gaztelu, A. (Angel)  Search this

Goldman, Shifra M., 1926-2011  Search this

Gómez-Peña, Guillermo  Search this

Lam, Wifredo  Search this

Larraz, Julio  Search this

Libin, Victoria  Search this

Macia, Carlos A., 1951-1994  Search this

Martínez-Cañas, María  Search this

Riverón, Enrique  Search this

Rodríguez, Arturo, 1956-  Search this

Sánchez, Juan, 1954-  Search this

Sí, Juan  Search this

Trasobares, César  Search this

Vater, Regina  Search this

Vázquez Lucio, Oscar E. (Oscar Edgardo), 1932-  Search this

Interviewee:

Cabrera, Lydia  Search this

Gómez Sicre, José  Search this

Extent:

11 Linear feet

0.001 Gigabytes

Type:

Collection descriptions

Archival materials

Gigabytes

Sound recordings

Date:

1920-1995

Summary:

The dates for the Giulio V. Blanc papers range from 1920-1995. Measuring a total of eleven linear feet and 0.001 GB, the collection provides documentation of the art exhibitions Blanc curated during his career, including original writings and exhibition catalogs. The extensive artists files in the collection provide information on numerous Latin American and Caribbean artists. The collection also provides historical information on the life and culture of Cuba.

Scope and Content Note:

The Giulio V. Blanc papers measure approximately 11 linear feet and 0.001 GB and date from 1920 to 1995. Compiled by Blanc since the beginning of his curatorial, writing, and research career in the 1980s, the papers consist primarily of artist files on Cuban, Cuban-American, and Latin American artists (1920-1995 and undated). Also found is biographical information (1994-1995), interviews by Blanc (1984-1987, 1994) and miscellaneous letters from artists and friends (1983-1995 and undated).

The first series, Biographical Files, 1994-1995 includes information about Blanc's career. Series 2: Miscellaneous Letters, 1983-1995, undated, consists of letters from artists and friends on various topics. Series 3: Artist Files, 1920-1995, undated, represents the bulk of the collection (approximately 300 artists in all, 6 linear feet), and contain materials either collected by Blanc or received by Blanc from the artists themselves. These consist of biographical material about the artist, usually two or three paragraphs written by Blanc, scattered resumes and copies of fellowship applications. Also found are newspaper clippings, exhibition announcements and catalogs, and letters or correspondence between Blanc and the artists. Of special interest in this series are numerous taped interviews with celebrated Cuban artists and art historians such as José Gómez Sícre, founder and first director of the Art Museum of the Americas, Organization of American States. Gómez-Sícre describes his early career and involvement with acquisitions for the museum's permanent collection as well as his working relationship with Alfred H. Barr, first director of the Museum of Modern Art in New York. Gómez-Sícre's notable book, Pintura Cubana de Hoy, published in Havana in 1944 is included in the files.

Elena Peláez de Medero, another interviewee, discusses her sister, Cuban painter Amelia Peláez (1896-1968). Blanc interviewed Elena Peláez in Miami for his 1988 exhibition Amelia Peláez: A Retrospective. The Peláez file includes Blanc's correspondence with her as well as copies of rare 1930s and 1940s exhibition catalogs from Amelia Peláez's early career. Among the catalogs is a copy of Modern Cuban Painters from the 1944 exhibition held at the Museum of Modern Art in New York. Also found are rare French, German and Spanish newspaper clippings on Peláez dating back to the 1920s. Of interest is a copy of Amado Blanco's 1937 poetry book, Poema desesperado. Published in Havana, the book is dedicated to the memory of Federico García Lorca and includes illustrations by Peláez.

Another prominent artist whom Blanc interviewed was Enrique Riverón (b. 1901) leader of the Cuban vanguardia. He was a member of El Grupo de Montparnasse, a talented group of painters and writers living in the southern district of Paris in the late 1920s, an area noted for its boisterous after-hour activities. The interview was published in the Journal of Decorative and Propaganda Arts in 1997. Also found in the papers are illustrated letters and greeting cards addressed to Blanc and his parents, Baron Lodovico Blanc and María V. Blanc.

Series 4: Exhibition Files, 1977-1995, undated, consists primarily of material Blanc compiled for exhibitions he curated. Found here are letters from museum directors, artists and colleagues, drafts and finished essays for exhibition catalogs, and printed material such as newspaper clippings of art reviews. This series also includes files on exhibitions Blanc did not curate.

Series 5: Subject Files, 1933-1995, undated, are files relating to Cuban art, culture, and society, the Cuban revolution, book projects, Biennials in Havana and São Paulo, the 1988 controversy surrounding the Cuban Museum of Arts and Culture (Miami, FL) and other topics. Found are letters, drafts of writings, notes, printed material such as newspaper clippings and magazine articles, press releases, and exhibition announcements.

Particularly extensive is the documentation about the 1980s conflict at the Cuban Museum of Arts and Culture. In April 1988, a fund-raising auction at the 24-year-old 'little Havana' institution resulted in heated disputes that escalated to violence. The works auctioned were by Cuban artists still living on the island. Many in Miami's Cuban community considered these artists to be supporters of the Communist regime and were outraged. One of the disputed works purchased the night of the auction, a drawing by Manuel Mendive, was taken across the street by its successful bidder and burned. In addition, the museum building was damaged by a pipe bomb shortly after the sale. In the National Public Radio news story (available in Blanc's papers on audio cassette) Helen Kohen, critic for the Miami Herald commented, "We're not talking about paintings. We're talking about `my brother's in jail'. That's what we're talking about." The situation intensified quickly; transcending local politics and involving the Treasury and Justice Departments, the American Civil Liberties Union, the Federal Bureau of Investigation, and Sotheby's and Christie's auction houses. Ramón Cernuda, the museum vice-president who organized the auction also had his personal collection of Cuban art impounded by the FBI. A second bombing took place in 1989 to protest an exhibition of Cuban artists who came to the U. S. during the early 1980s Mariel boatlift.

The seriousness of the conflicts in the Miami museum prompted the Museum of Modern Art in New York to withdraw an offer to lend three paintings to the Cuban museum for the 1988 exhibition Amelia Peláez: A Retrospective scheduled to open later that year. Curated by Giulio Blanc, it was the first U.S. retrospective of this important Cuban artist and the exhibition helped situate her work. The Cuban Museum of Art in Daytona Beach, an institution that helped start the Miami museum, also withdrew an offer to lend "Amelias". The result was an exhibition devoid of works owned by the Museum of Modern Art, important paintings created after 1963, the year President Kennedy imposed economic sanctions on Cuba.

To publicize the Peláez exhibition and boost attendance, the museum placed a public invitation in the Spanish section of the Miami Herald. The half page ad, also found in the Blanc papers, lists more than 100 intellectuals and professionals who supported the exhibition. Blanc stated in a letter to the Miami Herald, "It is horrifying to think there are those in Miami who would burn a painting for the sake of politics. This was the same reasoning utilized by Joseph Goebbels when he made bonfires of books and paintings by anti-Nazi and `degenerate' artists and writers in 1930s Germany... One can only pity the ignorance of those who play into the hands of the Castro regime by resorting to uncivilized tactics that can only hurt the image of the Cuban-exile community and of Miami in general."

The files concerning the Cuban Museum of Arts and Culture contain exhibition announcements, copies of court orders, press releases and correspondence between Blanc and the Museum of Modern Art in New York regarding the museum and the Peláez exhibition. Also included are a great number of newspaper articles printed in two of Miami's major newspapers, the Miami Herald and El Nuevo Herald which covered the story until it was resolved in the early 1990s. Offering additional information on the controversy are a number of letters addressed to either Blanc or his parents from artists and friends expressing either discontent with the museum's state of affairs or gratitude for the Blanc's financial support during the museum's reconstruction. These provide remarkable insight into a relatively heterogeneous Cuban community.

Series 6: Sound Recordings, 1992, 1994 consists of two untranscribed audio cassette tapes. One is of the 1992 College Art Association's session: Artistic Voices of Latin America: The Aesthetics of Anti-Colonialism held in Chicago, Illinois in which Giulio V. Blanc was a panelist. The other is a rare 1994 interview conducted by Blanc with poet-priest Monseñor Angel Gaztelu, a friend of many Cuban writers and artists, and who presided over Peláez's funeral service in 1968.

The last series, Series 7: Photographs, 1981-1993, undated, includes black and whiteportraits of artists, group shots of Blanc with "Miami Generation" artists María Brito, Pablo Cano, María Martínez-Cañas, Carlos Macía, Arturo Rodríguez, and César Trasobares, and photos of other artists.

Arrangement:

The Giulio V. Blanc papers are arranged into seven series primarily according to type of material. Within each series, materials are arranged chronologically, except for Artist Files and Subject Files which are arranged alphabetically by either name or subject.

Missing Title

Series 1: Biographical Files, 1994-1995, undated (box 1; 3 folders)

Series 2: Miscellaneous Letters, 1983-1995, undated (box 1; 3 folders)

Series 3: Artist Files, 1920-1995, undated (boxes 1-8, ER01; 6 linear ft., 0.001 GB)

Series 4: Exhibition Files, 1977-1995, undated (box 8; 1 linear foot)

Series 5: Subject Files, 1933-1995, undated (boxes 8-12; 2.5 linear feet)

Series 6: Untranscribed Sound Recordings, 1992-1994 (box 12; 2 folders)

Series 7: Photographs, 1981, 1993, undated (box 12; 2 folders)

Biographical Note:

Cuban born independent curator, critic, art historian and consultant Giulio V. Blanc (1955-1995) specialized in Cuban and Latin American art history and in his lifetime collected a wealth of material on the subject. Through his numerous exhibitions and keen articles appearing in national and international art journals, Blanc became a leading authority on Latin American art and successfully established himself as a link between Cuban and Cuban-American artists and US galleries and museums. The Miami Generation (1983) and Amelia Peláez: A Retrospective (1988) are two significant exhibitions Blanc curated for Miami's Cuban Museum of Arts and Culture in addition to the celebrated Wifredo Lam and His Contemporaries, 1938-1952 (1992) for New York's Studio Museum in Harlem. Giulio V. Blanc was among the key figures that catapulted Latin American art onto the mainstream in the early 1980s.

Giulio V. Blanc was born in Havana in 1955 to Baron Lodovico Blanc and María V. Blanc. The Blanc name hails from Italy and the title of Baron was awarded to Alberto Blanc, Lodovico Blanc's grandfather, while he was Secretary of State in 1873 under Victor Emmanuel II of Italy. As young advocates of Cuban culture, the Blanc's collected a number of paintings by Cuban artists but were forced to leave behind the works of Cuban masters such as Carlos Enríquez, Victor Manuel, René Portocarrero, Fidelio Ponce and others to facilitate an uncomplicated exodus from the country during the revolution. Lodovico and María were in their thirties and Giulio was five years old when the family settled in Miami.

Giulio Blanc completed his undergraduate education at Harvard and proceeded to Brown University and the Institute of Fine Arts in New York for graduate work (1979-1980). During his career, he served as an independent curator and consultant to The Cuban Museum of Arts and Culture (Miami), The Metropolitan Museum (Miami), and The Museum of Contemporary Hispanic Art (New York) among others. He also lectured on Latin American art history at the Art Museum of the Americas, OAS (Organization of American States), Washington, DC, The University of Miami, and El Museo Nacional de Arte in La Paz, Bolivia. In addition, he worked as a consultant in the Latin American Paintings Department at Sotheby's auction house in New York and served on the editorial board of the magazine Art Nexus. Blanc was pursuing a doctoral degree in art history at the City University of New York before his premature death in 1995 at the age of thirty-nine.

Missing Title

1955 -- Born November 1 in Havana, Cuba to Baron Lodovico and Baroness María V. Blanc, young collectors of Cuban art. The title of Baron was awarded to Alberto Blanc, Lodovico Blanc's grandfather, in 1873 while Alberto was Secretary of State under Victor Emmanuel II of Italy.

1960 -- The Blanc family migrates to the United States because of the escalating revolution. Lodovico and Maria V. Blanc are in their thirties when they flee the island. The works of Cuban painters such as Carlos Enríquez, Victor Manuel, René Portocarrero, Fidelio Ponce and others were left behind to facilitate an uncomplicated exodus.

1976 -- Giulio V. Blanc serves as research assistant for one year at the Tozzer Library, Peabody Museum, Harvard University.

1977 -- Graduates cum laude from Harvard College with a B.A. in Archeology.

1979 -- Graduates from Brown University with a M.A. in Archeology. Was a research assistant until 1980 at the Gallery of the Center for Inter-American Relations, New York city.

1980 -- Receives a certificate in Museum Studies from the Graduate School of Arts and Science, New York University. Curates Emilio Sánchez: Lithographs which opens at the Pagoda, Ransom-Everglades School, Coconut Grove, Florida. Co-curates Cuba in the Nineteenth Century for Miami's Miami-Dade Public Library.

1981 -- Joins the Latin American Paintings Department, Sotheby's Auction House, New York and serves for two years.

1982 -- Co-curates Young Hispanics, USA which opens at the Lehigh University Museum, Bethlehem, Pennsylvania and curates Ten Out of Cuba for INTAR Latin American Gallery in New York.

1983 -- Curates Cuban Fantasies at the Kouros Gallery in New York and Pablo Cano en Paris for the 4 Place de Saussaies in Paris, France. Also curates The Miami Generation: Nine Cuban-American Artists for the Cuban Museum of Arts and Culture in Miami and the Meridian House in Washington, DC.

1984 -- Serves as independent curator and consultant to Miami's Metropolitan Museum and Art Center and The Cuban Museum of Arts and Culture; The Museum of Contemporary Hispanic Art in New York and other institutions. Lectures at the Art Museum of the Americas (Organization of American States) in Washington, DC; The University of Miami; The Cuban Museum of Arts and Culture (Miami); The Center for the Fine Arts (Miami); Rockland Center for the Arts (West Nyack, NY); and the National Museum of Art, La Paz, Bolivia. Curates Young Collector's of Latin American Art which opened at Miami's Metropolitan Museum and Art Center.

1985 -- Curates Dancing Faces: An Exhibition of Mexican Masks for the Metropolitan Museum and Art Center in Miami and Nuevas Vistas: Latin American Paintings which opens at the Wistariahurst, Holyoke, Massachusetts. Curates Architecture in Cuban Painting, for the Miami Dade Public Library.

1986 -- Receives and M.A. in Art History at New York University's Institute of Fine Arts. Curates Carlos Enríquez for the Cuban Museum of Arts and Culture, Miami, Florida and Into the Mainstream: Ten Latin American Artists Working in New York for the Jersey City Museum in Jersey City, New Jersey.

1987 -- The exhibition Aurelia Muñoz: Selections, curated by Blanc, opens at the Metropolitan Museum of Art in Miami, Florida. Serves as juror for Expresiones Hispanas: Coors National Hispanic Art Exhibition, Denver, Colorado. Curates Visions of Self: The American Latin Artist for the Miami-Dade Community College gallery.

1988 -- Receives a grant from the NY State Council on the Arts for research on Cuban artist Wifredo Lam for the exhibition at the Studio Museum in Harlem, New York. Enrolls in the art history Ph.D. program at the City University Graduate Center, New York city. First bombing of the Cuban Museum of Arts and Culture in Miami takes place. Blanc's Amelia Peláez: A Retrospective successfully opens at the Cuban Museum of Arts and Culture despite much controversy.

1989 -- Curates Urgent Dream: New Work by Mario Bencomo at the Museum of Contemporary Hispanic Art (MoCHA), New York. Second bombing of the Cuban Museum of Arts and Culture, Miami FL.

1990 -- New York correspondent for Arte en Colombia, Bogota. Serves as adjunct lecturer at Queens College (CUNY) for the Fall semester. Curates the exhibition, The Post-Miami Generation for the Inter-American Gallery in Miami, Florida. Co-curates Figurative Perspectives: Six Artists of Latin American Background for the Rockland Center for the Arts, West Nyack, NY.

1991 -- Visiting scholar at University of Massachusetts at Amherst. Writes a small play, Tía Carmela: A Cuban Tragicomedy, illustrated by Cuban artist and friend Pablo Cano.

1995 -- Dies at the age of forty of AIDS related complications.

Related Materials:

Papers of Giulio V. Blanc, 1930-1982, are also located at the University of Miami Archival Collections.

Provenance:

Margherite Blanc, sister of Giulio V. Blanc, donated her brother's papers in 1998 to the Archives of American Art, Smithsonian Institution. This collection, along with numerous other Latino collections, was acquired through the 1996 Latino Art Documentation Project in South Florida. Initiated to chronicle the thriving art scene so apparent in the city's galleries, museums, and private collections, the project resulted in numerous acquisitions described in the revised edition of the Papers of Latino and Latin American Artists. Both the project and the publication were made possible, in part, with funding provided by the Smithsonian Institution's Center for Latino Initiatives.

Restrictions:

The collection is open for research. Use requires an appointment and is limited to the Washington, D.C. research facility.

Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Occupation:

Art historians -- Florida -- Miami  Search this

Topic:

Cuban American art  Search this

Art, Latin American  Search this

Artists -- Cuba  Search this

Cuban American artists  Search this

Latino and Latin American artists  Search this

Genre/Form:

Sound recordings

Citation:

Giulio V. Blanc papers, 1920-1995. Smithsonian Institution. Archives of American Art.

Identifier:

AAA.blangiul

See more items in:

Giulio V. Blanc papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9d3c414b1-dc78-4f66-889d-963690fe0282

EDAN-URL:

ead_collection:sova-aaa-blangiul

Creator:

Cuchiara, James A., 1925-2010  Search this

Subject:

James, Martin S.  Search this

Ippolito, Angelo  Search this

Singer, Arnold  Search this

Newell, Roy  Search this

Type:

Interviews

Video recordings

Citation:

Three Artists and Martin James video recording, 1990-2006. Archives of American Art, Smithsonian Institution.

Theme:

Lives of artists  Search this

Record number:

(DSI-AAA_CollID)17503

(DSI-AAA_SIRISBib)390280

AAA_collcode_cuchjame

Theme:

Lives of artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_390280

Creator:

Cuchiara, James A., 1925-2010  Search this

Names:

Ippolito, Angelo  Search this

James, Martin S., 1920-2011  Search this

Newell, Roy, 1914-2006  Search this

Singer, Arnold, 1920-2005  Search this

Extent:

3.79 Gigabytes

Type:

Collection descriptions

Archival materials

Gigabytes

Interviews

Video recordings

Date:

1990-2006

Summary:

A digital video recording of interviews conducted and filmed by James Cuchiara in 1990s with artists Angelo Ippolito, Roy Newell, and Arnold Singer, and art historian Martin S. James. Each interview is conducted at the artists' studios and they discuss current work hanging on the studio walls.

Scope and Contents:

A digital video recording of interviews conducted and filmed by James Cuchiara in 1990s with artists Angelo Ippolito, Roy Newell, and Arnold Singer, and art historian Martin S. James. Each interview is conducted at the artists' studios and they discuss current work hanging on the studio walls.

Arrangement:

Due to the small size of this collection the papers are arranged as one series.

Biographical / Historical:

James Cuchiara (1925-2010) was a painter and educator living in South Beach Miami, Florida. He was a friend of artist Roy Newell.

Provenance:

Donated 2017 by Robert E. Harrist Jr., a professor at Columbia University, who received a copy of the video from Dominic A. Cuchara while conducting research on Roy Newell for the exhibition "Color and Time: Paintings by Roy Newell, 1956-2000" at the Pollock-Krasner House in 2014. Harrist was referred to Cuchara by Newell's widow, Anne Newell. Note that Dominic A. Cuchara, brother of James Cuchiara, purposely spells his name differently.

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 born-digital records or audiovisual recordings in this collection must use access copies. Contact References Services for more information.

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 Usefor additional information

Occupation:

Painters -- Florida -- Miami  Search this

Art educators -- Florida -- Miami  Search this

Genre/Form:

Interviews

Video recordings

Citation:

Three Artists and Martin James video recording, 1990-2006. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.cuchjame

See more items in:

Three Artists and Martin James video recording

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9292e0c8e-3b43-4e39-9cf6-19e05e71a281

EDAN-URL:

ead_collection:sova-aaa-cuchjame

Painter:

Strater, Henry 1896-1987  Search this

Medium:

Oil

Type:

Paintings

Date:

1967

Topic:

Figure female  Search this

Control number:

IAP 8G370248

Data Source:

Art Inventories Catalog, Smithsonian American Art Museums

EDAN-URL:

edanmdm:siris_ari_481053

Creator:

Flack, Audrey  Search this

Names:

Arizona State University  Search this

Atlantic Center for the Arts (New Smyrna Beach, Fla.)  Search this

Cooper Union for the Advancement of Science and Art  Search this

Guild Hall of East Hampton  Search this

Louis K. Meisel Gallery  Search this

Museum of Modern Art (New York, N.Y.)  Search this

Janson, Anthony F.  Search this

Extent:

34.6 Linear feet

0.897 Gigabytes

Type:

Collection descriptions

Archival materials

Gigabytes

Scrapbooks

Photographs

Motion pictures (visual works)

Video recordings

Sound recordings

Date:

1950-2022

Summary:

The papers of painter Audrey Flack measure 34.6 linear feet and 0.897 GB and date from 1950-2022. The collection documents Flack's career as an artist through biographical material, correspondence, extensive project files, writings and notes by Flack and others, exhibition catalogs, news and magazine clippings, other printed and digital material, and scrapbooks. Also found are photographs by Audrey Flack as well as photographs of the artist and works of art.

There is an 18.8 unprocessed addition to this collection donated in 2022 that includes project files; correspondence; photographs, slides and negatives of works of art, exhibition installations, events, Flack and others; teaching notes; biographical information including resumes, awards, calendars, address books and identification cards; writings, notes and diaries by Flack; scrapbooks; sketches; financial records; commission applications; contracts; audio visual material including mini-DVs, VHS , DVDs and Super 8 film of interviews and lectures by Flack; and printed material including newspaper clippings, articles and posters. Materials date from circa 1950-2022.

Scope and Contents:

The papers of painter Audrey Flack measure 34.6 linear feet and 0.897 GB and date from 1950-2022. The collection documents Flack's career as an artist through biographical material, correspondence, extensive project files, writings and notes by Flack and others, exhibition catalogs, news and magazine clippings, other printed and digital material, and scrapbooks. Also found are photographs by Audrey Flack as well as photographs of the artist and works of art.

Biographical material includes curricula vitae, diplomas, an award certificate, and bibliographies of monographs and articles by and about Audrey Flack. Flack's correspondence documents her professional activities and business dealings.

There is correspondence with galleries, museums, arts organizations; architects and foundries; and academic institutions. Included are letters from Arizona State University, Atlantic Center for the Arts, Cooper Union, Guild Hall, Louis K. Meisel Gallery, and the Museum of Modern Art. There are letters from art historians and critics, including Flack's correspondence with Anthony Janson. Letters from publishers and agents pertain to book projects, proposals for articles, and requests to reproduce artwork in monographs or catalogs.

Interviews with Flack from the 1970s through the 1990s are found, recorded on sound and video. Writings and notes include manuscript versions for a book, typescripts of speeches, and a notebook. Also found are audio and video recordings of lectures and talks by Flack discussing her paintings and sculptures. The collection includes extensive project files on Flack's commissioned public works and exhibitions. The files also include correspondence concerning book projects, permission requests, and Flack's participation in art educational programs, and some projects are documented with recorded sound and moving images, two if which are in digital format.

Printed material consists of catalogs of Flack's shows, invitations and announcements to openings, press releases, reproductions of artwork, exhibition posters, clippings, periodicals, and books reflecting Flack's professional activities from the 1950s-2008. Photographs are of portraits by Flack, Flack by herself and with colleagues and students, as well as of the artist's studio. Also found are photographs of artwork.

There is an 18.8 unprocessed addition to this collection donated in 2022 that includes project files; correspondence; photographs, slides and negatives of works of art, exhibition installations, events, Flack and others; teaching notes; biographical information including resumes, awards, calendars, address books and identification cards; writings, notes and diaries by Flack; scrapbooks; sketches; financial records; commission applications; contracts; audio visual material including mini-DVs, VHS , DVDs and Super 8 film of interviews and lectures by Flack; and printed material including newspaper clippings, articles and posters. Materials date from circa 1950-2022.

Arrangement:

The collection is arranged as 9 series.

Series 1: Biographical Material, 1951-2006 (Box 1; 0.25 linear feet)

Series 2: Correspondence, 1950-2009 (Boxes 1-3; 2.4 linear feet)

Series 3: Interviews, circa 1970-1998 (Boxes 3-4; 0.8 linear feet)

Series 4: Writings and Notes, circa 1970-2007 (Boxes 4-6; 2.15 linear feet)

Series 5: Project Files, 1966-circa 2007 (Boxes 6-11, FC 18-21; 5.6 linear feet, ER01-ER02, 0.897 GB)

Series 6: Printed Material, 1950-2008 (Boxes 11-16, OV 17; 4.1 linear feet)

Series 7: Scrapbooks, 1977-2008 (Box 15; 2 folders)

Series 8: Photographs, 1966-2009 (Boxes 15-16; 0.5 linear feet)

Series 9: Unprocessed Addition, circa 1950-2022 (Boxes 22-41, OV 42-43; 18.8 linear feet)

Biographical / Historical:

Audrey Flack (1931-) is a painter and sculptor in New York City and in Long Island, New York. She earned a Bachelor of Arts from Cooper Union in 1951 and received a Bachelor of Fine Arts from Yale University in 1952. In the 1950s, she was part of the New York School that included the Abstract Expressionist painters Franz Kline and Jackson Pollock. By the 1960s, Flack had turned to painting in a realistic manner. She pioneered the technique of incorporating photographic images from contemporary sources such as magazines and newspapers; the art form became known as Photorealism. Her subjects have included families, celebrities, and public figures. An early work, The Kennedy Motorcade captured President John Kennedy moments before he was assassinated. Flack's paintings have also centered on the varied experiences of women as depicted in her Vanitas series done in the 1970s. Flack was the first Photorealist painter to have a work acquired by the Museum of Modern Art. By the 1980s, Flack was creating sculptures, goddess figures and other mythological deities of various cultures. The sculptures, many of monumental proportions were executed as commissioned works for public spaces. Flack's commissions have included Civitas: Four Visions, South Carolina, Galatea Fountain, South Pasadena, Florida, Islandia, New York City Technical College, and The Art Muse, Tampa, Florida. Further, Audrey Flack has also worked in other media such as photography and printmaking.

Audrey Flack has taught and lectured at colleges and universities in the United States and abroad, including Cooper Union, Pratt Institute of New York, and the Studio Art School International, Florence, Italy. She has been a Visiting Professor at a number of universities, including the University of North Dakota, University of Tennessee, and the University of Pennsylvania. Her paintings, watercolors, and sculptures have been featured in solo and group exhibitions in major museums and galleries. Flack's artwork has also been shown in a number of traveling exhibitions including "Saints and Other Angels: The Religious Paintings of Audrey Flack" sponsored by Cooper Union and "Breaking the Rules: Audrey Flack, A Retrospective, 1950-1990" organized by the J.B. Speed Museum. Flack has been represented by the Louis K. Meisel Gallery, the Vered Gallery, and the Gary Snyder Gallery. Among the many awards and honors she has received are the Honorary Ziegfeld Award, National Art Education Association, an Honorary Doctorate, Lyme Academy of Art, and the U.S. Government National Design for Transportation Award. Audrey Flack has also written two books and numerous articles. Audrey Flack lives and works in New York and in East Hampton, New York.

Related Materials:

Also found in the Archives of American Art is an oral history interview with Audrey Flack conducted by Robert C. Morgan, February 16, 2009.

Provenance:

The collection was donated by Audrey Flack in 2009 and 2022.

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.

Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Occupation:

Painters -- New York (State) -- New York  Search this

Sculptors -- New York (State) -- New York  Search this

Topic:

Art -- Study and teaching  Search this

Art -- Economic aspects  Search this

Artists' studios -- Photographs  Search this

Women artists  Search this

Women painters  Search this

Women sculptors  Search this

Genre/Form:

Scrapbooks

Photographs

Motion pictures (visual works)

Video recordings

Sound recordings

Citation:

Audrey Flack papers, 1950-2022. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.flacaudr

See more items in:

Audrey Flack papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9c12179ce-d722-47e1-b806-32a27e29d8f3

EDAN-URL:

ead_collection:sova-aaa-flacaudr