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Personal Papers

Collection Creator:
Stapleton, Jean, 1923-2013  Search this
Type:
Archival materials
Date:
undated
1930 - 2014
Scope and Contents:
Documents Stapleton's private life as well as her career. The series is divided into four subseries.

Subseries one, Correspondence, consists of the incoming and outgoing letters relating to Stapleton's career, private life and philanthropic work. In addition, there is some fan mail, two scrapbooks containing her correspondence, and greeting cards. The materials are arranged in chronological order.

Subseries two, Activism and Awards, include materials relating to Stapleton's work outside of her acting career. Stapleton was involved with a number of organizations such as the National Women's Conference, the preservation of Eleanor Roosevelt's home, the Equal Rights Amendment, Pearl S. Buck Foundation, Women's Research and Education Institute, Legal Defense and Education Fund, and the Actor's Equity Association. In addition, throughout Stapleton's career she received numerous awards and honors including honorary degrees from Monmouth College, Emerson College, and Hood College. Other acknowlegments include the Kennedy Center Honors and Emmy Award; Women in Film Crystal Award; Female Entertainer of the Year Award from the Conference of Personal Managers East; National American Cable Entertainment Award; Managers East, Academy of Television Arts and Sciences Award; Box Office Blue Ribbon Award; Theatre Hall of Fame and the Congressional Arts Caucus Award. The materials are arranged in chronological order.

Subseries three, Personal Memorabilia and Photographs, includes photographs of the Actors Equity Cultural Exchange trip to Russia, scrapbooks, obituaries of friends, press and studio photographs and, a caricature of Stapleton. The materials are arranged in chronological order.

Subseries four, Publications, consists primarily of newspaper clippings and magazine articles relating to her career. There is also a book about the television program All in the Family. The materials are arranged in chronological order.
Collection Restrictions:
Collection is open for research.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Jean Stapleton Papers, Archives Center, National Museum of American History
Identifier:
NMAH.AC.1424, Series 3
See more items in:
Jean Stapleton Papers
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-1424-ref379

Ranger Personal Papers

Collection Creator:
Ranger, Henry Ward, 1858-1916  Search this
Container:
Box 1, Folder 39
Type:
Archival materials
Date:
circa 1910-1916
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
Collection Rights:
The Henry Ward Ranger estate papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Henry Ward Ranger estate papers, 1888-circa 1999, bulk 1904-1954. Archives of American Art, Smithsonian Institution.
See more items in:
Henry Ward Ranger Estate papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-ranghenr-ref36

Miscellaneous Personal Papers and Stationery, 1969-1985

Collection Creator:
Dodd, Sharon Donovan  Search this
Donovan, Christine  Search this
Donovan, James F. Jr., Dr.  Search this
Donovan, Marion O'Brien, 1917-1998 (woman inventor)  Search this
Rabinow, Jacob, 1910-  Search this
Walters, Barbara  Search this
Container:
Box 1, Folder 6
Type:
Archival materials
Collection Restrictions:
Collection is open for research.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Marion O'Brien Donovan Papers, 1949-1996, Archives Center, National Museum of American History.
See more items in:
Marion O'Brien Donovan Papers
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-0721-ref20

William Russo Music and Personal Papers

Creator:
Strayhorn, Billy (William Thomas), 1915-1967  Search this
Russo, William, 1928-2003  Search this
Photographer:
Claxton, William  Search this
Leonard, Herman, 1923-2010  Search this
Composer:
Kenton, Stan  Search this
Musician:
Mulligan, Gerry  Search this
Names:
Chicago Jazz Ensemble  Search this
Ellington, Duke, 1899-1974  Search this
Extent:
53 Cubic feet
Type:
Archival materials
Collection descriptions
Motion pictures (visual works)
Music
Audiotapes
Business records
Photographs
Correspondence
Librettos
Awards
Posters
Programs
Scrapbooks
Scores
Lecture notes
Date:
1920s-2002.
Scope and Contents:
Papers and audiovisual materials documenting Russo's career in music. The collection includes Russo's original and published music scores, parts and arrangements; audiovisual materials including recordings of broadcasts of Russo's radio show, performances of Russo's compositions, including performances by Duke Ellington, and film and video recordings of Russo's productions in theater and opera; and personal papers such as correspondence, photographs, scrapbooks, publicity files, contracts, etc. Among the most significant items in the collection are experimental jazz arrangements for Stan Kenton in the late 1940s-early 1950s, undated arrangements for Gerry Mulligan, Russo's original arrangement of Duke Ellington's Sacred Concert, scores to his first and second symphonies, and scores and libretti to several early rock operas. The photographs include images of persons such as Ellington, Kenton, and Billy Strayhorn, and photographs by jazz photographers Herman Leonard and William Claxton. 2007 addendum includes correspondence, mostly between Russo and his family; eighteen diaries for 1946-1967 (not all years are present) with sparse entries, some in Italian; and additional music manuscripts, parts, scores and libretti.
Arrangement:
Divided into 3 series: Music manuscripts, Audiovisual materials, and Personal and Business Papers.
Biographical / Historical:
Russo (1928-2003) was a renowned American jazz composer, arranger and founder of the Chicago Jazz Ensemble.
Provenance:
Bequeathed to the Smithsonian by William Russo. Papers collected after Russo's death in 2003. The 2007 addendum sent by Russo's sister and daughter were also part of the bequest.
Restrictions:
Unrestricted research access on site by appointment.,Unprotected photographs must be handled with gloves.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Composers -- 20th century  Search this
Opera  Search this
Jazz musicians -- United States  Search this
Jazz  Search this
Music -- 20th century  Search this
Genre/Form:
Motion pictures (visual works)
Music -- Manuscripts
Audiotapes
Business records -- 20th century
Photographs -- 20th century
Correspondence -- 20th century
Librettos
Awards
Posters -- 20th century
Programs
Scrapbooks
Scores
Lecture notes
Citation:
William Russo Music and Personal Papers, 1920s-2002, Archives Center, National Museum of American History.
Identifier:
NMAH.AC.0845
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-0845
Additional Online Media:

Betty Parsons Gallery records and personal papers

Creator:
Parsons, Betty  Search this
Names:
Betty Parsons Gallery  Search this
Mortimer Brandt Gallery (New York, N.Y.)  Search this
Wakefield Gallery  Search this
Alloway, Lawrence, 1926-1990  Search this
Baker, Adge, b. ca. 1890  Search this
Bess, Forrest, 1911-1977  Search this
Bigelow, Larry  Search this
Calder, Alexander, 1898-1976  Search this
Congdon, William, 1912-  Search this
Feely, Paul, 1910-1966  Search this
George, Thomas, 1918-  Search this
Janis, Sidney  Search this
Lazzari, Pietro, 1898-1979  Search this
Liberman, Alexander, 1912-1999  Search this
Lipton, Seymour, 1903-  Search this
Margo, Boris, 1902-1995  Search this
Newman, Barnett, 1905-1970  Search this
Parsons, Betty  Search this
Pollock, Jackson, 1912-1956  Search this
Pousette-Dart, Richard, 1916-1992  Search this
Reichek, Jesse, 1916-  Search this
Reinhardt, Ad, 1913-1967  Search this
Roberts, Colette, 1910-  Search this
Rothko, Mark, 1903-1970  Search this
Stamos, Theodoros, 1922-1997  Search this
Still, Clyfford, 1904-  Search this
Youngerman, Jack, 1926-  Search this
Extent:
57.2 Linear feet
Type:
Archival materials
Collection descriptions
Sketchbooks
Interviews
Photographs
Date:
circa 1920-1991
bulk 1946-1983
Summary:
The Betty Parsons Gallery records and personal papers measure 57.2 linear feet and date from 1920 to 1991, with the bulk of the material dating from 1946-1983. Records provide extensive documentation of the gallery's operations from its inception in 1946 to its closing in 1983 and of the activities of Betty Parsons as one the leading art dealers of contemporary American Art in the latter half of the twentieth century, particularly the work of the Abstract Expressionists. Over one third of the of the collection is comprised of artists files containing correspondence, price lists, and printed materials. Additional correspondence is with galleries, dealers, art institutions, private collectors, and the media. Also found are exhibition files, exhibition catalogs and announcements, sales records, stock inventories, personal financial records, and photographs. Betty Parsons' personal papers consist of early curatorial files, pocket diaries, personal correspondence, and evidence of her own artwork, including sketchbooks, and files documenting her personal art collection.
Scope and Content Note:
The Betty Parsons Gallery records and personal papers measure 57.2 linear feet and date from 1920 to 1991, with the bulk of the material dating from 1946-1983. Records provide extensive documentation of the gallery's operations from its inception in 1946 to its closing in 1983 and of the activities of Betty Parsons as one the leading art dealers of contemporary American Art in the latter half of the twentieth century, particularly the work of the Abstract Expressionists. Over one third of the of the collection is comprised of artists files containing correspondence, price lists, and printed materials. Additional correspondence is with galleries, dealers, art institutions, private collectors, and the media. Also found are exhibition files, exhibition catalogs and announcements, sales records, stock inventories, personal financial records, and photographs. Betty Parsons' personal papers consist of early curatorial files, pocket diaries, personal correspondence, and evidence of her own artwork, including sketchbooks, and files documenting her personal art collection. An unprocessed addition donated in 2017 includes personal correspondence with friends and colleagues, writings by Parsons, artists' files, photographs of Parsons with friends and her works of art, artwork including sketches, printed material and a VHS recording about the Chinese text I Ching. Materials date from 1922-1981.

Artists files, the largest and most extensive series, consist of a wide variety of documents, including biographical materials, correspondence with or related to the artist, exhibition catalogs and announcements, sales and expense invoices, clippings, price lists, and photographs of the artist, exhibitions, and artwork. The files reflect Parsons' close personal relationships with certain artists, particularly Jackson Pollock, Mark Rothko, Clyfford Still, and Barnett Newman. Extensive documentation is also found for Forrest Bess, William Congdon, Paul Feeley, Thomas George, Alexander Liberman, Seymour Lipton, Richard Pousette-Dart, Jesse Reichek, and Jack Youngerman. Historians and researchers will find these files to be an invaluable resource both in tracing Betty Parsons' role in promoting Abstract Expressionism and researching individual artists.

Exhibition files primarily document the gallery's infrequent group or themed exhibitions. Of particular note are the files on The Ideographic Picture, which was organized by Barnett Newman and included his work, as well as that of Pietro Lazzari, Boris Margo, Ad Reinhardt, Mark Rothko, Theodoros Stamos, and Clyfford Still. Price lists, artist biographies and exhibition schedules are housed in the general exhibition files. Loan exhibition files provide documentation of artwork borrowed by other galleries or institutions for exhibitions, as well as shows outside of the gallery that were organized by Betty Parsons. Also found are gallery exhibition guest books, and announcements and catalogs.

Gallery correspondence is primarily with galleries and dealers, museums, arts organizations, and collectors. Scattered letters from artists are also found, although the bulk of the artists' correspondence is filed in the Artists Files. Also found here are memoranda and letters between Betty Parsons and her staff that contain detailed information concerning Parsons' schedule and gallery activities. Similar correspondence is found amongst the correspondence files within the series Betty Parsons papers.

Appraisal and conservation files include correspondence, appraisal invoices, forms, and appraisal requests and other information from the Art Dealers Association of America, and conservation invoices and reports. The majority of the appraisal records contain information about the specific works of art, including artist, title, date, current owner and the estimated value at the time of the request. Conservation records document conservation treatments undertaken by outside conservators to gallery stock.

Sales, purchases, stock and inventory are well documented in the sales and inventory records. The records provide detailed information about individual sales, prices of individual pieces of artwork, consignments, and loans. Most sales records also include detailed information about the buyer and are a valuable resource for provenance research. Files documenting the general administration, routine business operations, and financial transactions (not individual sales) of the gallery are housed in the general business and financial records. These records include ledgers, receipts, tax records, and banking records. There is some limited information about works of art scattered amongst the receipts and in the "in/out slips" files. Legal records house general legal documents and those concerning specific lawsuits. Of particular note is the file detailing the lawsuit between Betty Parsons and Sidney Janis over the fifth floor of 24 West 57th Street.

The remainder of the collection consists of Betty Parsons' personal papers which document Parsons' career prior to opening her own gallery, her work as an artist, and her personal art collection.

Some information about Parsons' work prior to opening her own gallery is found in the early curatorial files she retained from her curatorial and administrative work at the Wakefield Gallery and the Mortimer Brandt Gallery. Clippings, correspondence, announcements, exhibition lists and exhibition files are found. For both positions, she kept only the exhibition files for a small group of exhibitions organized around a specific theme, the most notable being the exhibition of Pre-Columbian Sculpture at the Wakefield Gallery.

Biographical materials include copies of her biography, family genealogies, photographs of Parsons, interviews with Colette Roberts and WYNC radio, memberships, photographs, and ephemera, including a collection of programs and invitations from events that she attended. Throughout her life Parsons gave generously of her time to various cultural and charitable institutions and was awarded for her contributions. There are also a number of files that document her speaking engagements, her participation as a juror in numerous juried exhibitions, charitable work, and awards that she received.

Parsons' personal correspondence files reflect how deeply Parsons' life was intertwined with the gallery. There are letters from museum directors, dealers, artists seeking representation, and personal letters from artists with whom she had close personal relationships, most notably Larry Bigelow, Alexander Calder, William Condon, and Ad Reinhardt. There are also letters from the English artist Adge Baker, with whom Parsons was romantically involved. Correspondence also includes several files of postcards and Christmas cards.

Pocket diaries and engagement calendars, spanning from 1933-1981 (although the 1950s are notably missing) record social engagements, meetings, vacations, and telephone numbers. Also found are three notebooks, and thirty-two sketchbooks, many of which are annotated. Writings by others include writings about Betty Parsons or the Betty Parsons' Gallery, such as Lawrence Alloway's unpublished typescript titled "An American Gallery" and other topics.

Printed material consists of exhibition announcements and catalogs, art magazines, and newspaper and magazine clippings about Betty Parsons, her family and acquaintances, artists, and other art related topics, coupled with a miscellaneous selection of clippings on topics that presumably captured Parsons' attention.

Personal art work records document Betty Parsons' career as an artist through inventories, group and solo exhibitions files, price lists, appraisals, sales and consignment invoices. Photographs are primarily reproductions of her works of art, although there are scattered photographs of exhibition installations.

Betty Parsons private art collection files document Parsons extensive personal collection of art that included works by Jackson Pollock, Agnes Martin, Romare Bearden, Barnett Newman, and Mark Rothko, in addition to Amlash sculpture from ancient Persia and primitive sculpture from New Hebrides. These files include inventories, lists, exhibition records, sales and purchase invoices, and photographs. There are also files for donations and loans from Parsons' personal collection to museums and fund raising auctions for several non-profit institutions.

Finally, the personal financial records provide information about the Parsons' family finances and her personal financial success as an art dealer. In addition to her own investments, Parsons inherited shares in family investments through the estates of her parents, J. Fred Pierson, Jr. and Suzanne Miles Pierson, and younger sister, Emily Rayner. Real estate files include correspondence, utility bills, receipts, area maps, and land plots for houses in Sheepscot, Maine and St. Maartens, Netherlands Antilles. Tax returns, ledger worksheets, receipts, banking statements, deposit slips, and cancelled checks are among the other financial records.
Arrangement:
The collection is arranged as seven series. Many of the series are further divided into subseries.

Series 1: Artists Files, 1935-1983 (Boxes 1-18, 51, 55, OVs 53, 60; 18.8 linear feet)

Series 2: Exhibition Files, 1941-1983 (Boxes 18-21, 51, 55, OVs 54, 61; 3.8 linear feet)

Series 3: Correspondence Files, 1941-1983 (Boxes 21-24, 52, 55); 3.8 linear feet)

Series 4: Appraisal Files, 1935-1983 (Box 24; 0.7 linear feet)

Series 5: Sales and Inventory Records, 1941-1983 (Boxes 25-28, 51; 3.0 linear feet)

Series 6: General Business and Financial Records, circa 1956-1983 (Boxes 28-38, 51, 55; 9.8 linear feet)

Series 7: Betty Parsons Personal Papers, circa 1920s-1991 (Boxes 38-51, 55-59, OV 61; 15.3 linear feet)
Historical Note:
Betty Parsons (1900-1982) was one of the leading art dealers in New York City specializing in modern art, particularly the work of the Abstract Expressionists. She opened Betty Parsons Gallery in 1946 at 15 E. 57th St., later moving to 24 W. 57th St.

The history of the Betty Parsons Gallery is inextricably bound to the life and experiences of its founder. Betty Parsons was born Betty Bierne Pierson on January 31, 1900 in New York City. She enjoyed a privileged childhood, which included vacation homes in Newport and Palm Beach. Her only formal education was a five year stint at the prestigious Chapin School from 1910-1915, where she met many of the women who would become life long friends and supporters. In the spring of 1920, she married Schuyler Livingston Parsons from one of New York's oldest families. The marriage ended after only three years and the couple traveled to Paris where they could obtain a divorce on the grounds of incompatibility. She retained her married surname and purchased a house on the rue Boulard in Paris, where she remained for ten years, pursuing studies in painting and sculpture.

Financial constraints forced Parsons to return to the United States in 1933. She first traveled west to California, but it was her return to New York in 1935 that marked the start of her career as an art dealer. Her first opportunity to connect with the New York art world came after a successful exhibition of her watercolors at the Midtown Galleries where the owner, Alan Gruskin, noted Parson's faithful and wealthy group of supporters and offered her work installing exhibitions and selling paintings on commission. Her work for the Midtown Galleries led to a second position in the Park Avenue gallery of Mary Sullivan, one of the founders of the Museum of Modern Art. Here, Parsons learned the business of running a gallery. By 1940 Parsons was ready to take on more independent responsibility and agreed to manage a gallery within the Wakefield Bookshop. In this job, she exercised full curatorial control by selecting artists and organizing exhibitions. She championed then unknown contemporary American artists and the gallery's roster soon included Saul Steinberg, Hedda Sterne, Alfonso Ossorio, Joseph Cornell, Walter Murch, and Theodore Stamos. Although the majority of the exhibitions were solo shows, there were a few group shows and themed exhibitions, such as Love in Art (1941) and Ballet in Art (1942). Under Parson's direction, the gallery hosted an important exhibition of Pre-Columbian sculpture, curated by Barnett Newman.

When the owners of the Wakefield Bookshop decided to close the gallery late in 1944, Mortimer Brandt, a dealer who specialized in Old Master paintings and drawings, offered her a position as head of the newly created contemporary section of his gallery. Many of the artists who had shown with Parsons at the Wakefield Gallery followed her to her new gallery, where they were joined by Ad Reinhardt, Boris Mango, and Hans Hofmann. While the exhibitions garnered attention from the press and the interest of contemporary artists, the contemporary section was not a financial success and Brandt opted to close his gallery in 1946.

Using $1000 of her own money and an additional borrowed $4000, Parsons sublet the space that previously housed Mortimer Brandt's contemporary section, on the fifth floor of 15 East 57th Street, and opened the Betty Parsons Gallery.

In many respects the early years of the Betty Parsons Gallery were the most vital, as it was during the period of 1947-1951 that the gallery became linked with the Abstract Expressionists and the history of post-WWII American Art. In an unpublished history of the gallery, noted art critic Lawrence Alloway stated that the significance of the gallery's early exhibitions ranks with Durand-Ruels Impressionists exhibitions or Kahnweiler's shows of the Cubists. Betty Parsons Gallery quickly became one of the most prestigious galleries in New York City associated with new American Art of all styles. Her close friend Barnett Newman organized the gallery's inaugural exhibition of Northwest Coast Indian Art and he soon began to exhibit his own work at the gallery. When Peggy Guggenheim's Art of This Century Gallery closed, Jackson Pollock, Clyfford Still, and Mark Rothko joined Parsons' growing stable of artists. Although Parsons continued to promote and exhibit many of the artists whom she had previously discovered, these four artists dominated this period. Newman, Pollock, Still, and Rothko worked closely together, holding themselves apart from the other artists somewhat. They were actively involved in the curatorial process and often hung their own shows. For these artists, the exhibition itself was an artistic act of creation.

Parsons provided a supportive environment and allowed her artists enormous freedom in planning and designing their exhibitions. She was not, however, an aggressive salesperson. During this early period the gallery ledgers document sales to an impressive array of museums including the Museum of Modern Art, the Whitney Museum of American Art, and the Art Institute of Chicago, as well as important collectors such as Edward Root and Duncan Phillips. Nevertheless, the art that the gallery promoted was not yet widely accepted. Sales were few, prices were low and the business would not turn a profit for several years. Meanwhile, there was mounting pressure from Pollock, Newman, Still, and Rothko to drop some of the other artists from Parsons' stable and focus all resources on them. They wanted to be promoted to a larger audience and have their work sold at higher prices, but Parsons enjoyed discovering new artists and did not want to be restricted in this endeavor. The year 1951 marks the last time that Pollock's drip paintings or the monumental works of Newman, Rothko or Still were shown at the Betty Parsons Gallery.

In the following years the Betty Parsons Gallery continued to attract a diverse group of talented artists. Ellsworth Kelly, Richard Tuttle, Robert Rauschenberg, and Jack Youngerman had their first New York exhibitions at the Betty Parsons Gallery. Parsons opened Section Eleven in 1958, a short-lived annex to the main gallery, so that she could promote younger, less well-known artists. It closed in 1960 due to the administrative difficulties in running two essentially separate galleries.

In 1962, Sidney Janis, another prominent art dealer, started proceedings to evict Parsons from the floor that they shared on 15 East 57th Street. The Betty Parsons Gallery moved to 24 West 57th Street in 1963, where it remained until it closed in 1983, following Parsons' death the preceding year. Throughout the gallery's history, Parsons continued to promote faithful artists such as Hedda Sterne and Saul Steinberg, who had been with her from the beginning and to seek out new talent, both for her main gallery and for other venues, such as the short-lived Parsons-Truman Gallery, which she opened in 1974 with former Parsons Gallery director Jock Truman to show works on paper by emerging artists.

In addition to being an art dealer, Betty Parsons was a respected artist and collector. With her connoisseur's eye and connections, Parsons amassed an impressive private collection of art. She bought her first piece while an art student in Paris in the 1920s, a small gouache by Zadkine, but did not begin acquiring works in earnest until she was established as an art dealer. Partial inventories of her personal collection show that the majority of her collection contained works by artists associated with the gallery. Mark Rothko, Hans Hofmann, Ad Reinhardt, Agnes Martin, and Kenzo Okada were among the artists represented. Many were gifts from the artists, such as an ink drawing by Jackson Pollock, inscribed "For Betty." Selections from her collection appeared in small museums across the United States, including a traveling exhibition organized by Fitch College, New York, in 1968. In her role as a promoter of contemporary American art, Parsons lent generously from her collection, particularly to the federal Art in the Embassies Program. Throughout her life she also donated works to a variety of museums, most notably, the Whitney Museum of American Art, Museum of Modern Art, New York, and the Louisiana Museum of Modern Art, Denmark.

Parsons frequently claimed that her desire to pursue a career as an artist stemmed from a visit to the Armory Show when she was thirteen. In her late teens, after pressuring her father for art lessons, she studied with the sculptor Gutzon Burglum of Mount Rushmore fame. In Paris, she continued her studies first with Antoine Bourdelle, whose sculptures she had admired at the Armory Show, and later with Ossip Zadkine. The first exhibition of her work, figurative watercolors and sculptures, took place in Paris in 1927. As she matured as an artist, her art became more abstract. Her late works were painted wood sculptures that she pieced together from wood that she found near her studio in Long Island. Parsons' work was exhibited in more than thirty solo exhibitions, including, Betty Parsons; Paintings, Gouaches and Sculpture, 1955-1968, at the Whitechapel Gallery in London. During her lifetime, she would not allow her works to be shown in her own gallery. Shortly after she died of a stroke in 1982, In Memoriam, Betty Parsons: Late Sculptures, opened at the Betty Parsons Gallery.
Related Material:
Also found in the Archives of American Art are oral history interviews with Betty Parsons, June 4-9, 1969, by Paul Cummings, and June 11, 1981 by Gerald Silk.
Separated Material:
Some of the material originally loaned for microfilming in 1968 and 1969 was not included in later donations and can be viewed on microfilm reels N68/62-N68/74 and N69/105-N69/106. Loaned materials are not described in the container listing in this finding aid.
Provenance:
The gallery donated some records in 1974, many of which had been loaned earlier for microfilming. The bulk of the collection was donated in 1984 and 1986 by William Rayner and Christopher Schwabacher, executors of the Estate of Betty Parsons. Additional material was donated by William Rayner in 1998 and Christopher Schwabacher in 2017.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Betty Parsons Gallery records and personal papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Sculptors -- New York (State) -- New York  Search this
Art galleries, Commercial -- New York (State) -- New York  Search this
Painters -- New York (State) -- New York  Search this
Abstract expressionism -- New York (State) -- New York  Search this
Art dealers  Search this
Genre/Form:
Sketchbooks
Interviews
Photographs
Citation:
Betty Parsons Gallery records and personal papers, circa 1920-1991, bulk 1946-1983. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.parsbett
See more items in:
Betty Parsons Gallery records and personal papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-parsbett
Additional Online Media:

Sam DeVincent Collection of Illustrated American Sheet Music, Series 35: Sam DeVincent Personal Papers

Extent:
6 Boxes
Type:
Archival materials
Collection descriptions
Date:
1898-1987
Summary:
Sam DeVincent loved music and art and began collecting sheet music with lithographs at an early age.

Series 35 contains documents related to Sam DeVincent and his interest in sheet music.

An overview to the entire DeVincent collection is available here: Sam DeVincent Collection of Illustrated American Sheet Music.
Scope and Contents:
Contains biographical and personal materials and other documents relating to Sam DeVincent's life and collecting activities. The bulk of the materials dates from 1898 to 1987. These materials are arranged in 6 boxes, first in chronological order then followed by undated items arranged in alphabetical order. The materials in this series include catalogues, certificates, personal correspondence, magazines, WOWO radio station information, auction materials, documents corresponding to the national sheet music society, and notes about the collection.
Forms part of:
Series 35: Sam DeVincent Personal Papers forms part of theSam DeVincent Collection of Illustrated American Sheet Music .

An ongoing, updated list of DeVincent topical series is available via the Smithsonian finding aid portal.
Materials in Other Organizations:
Sam DeVincent Collection of American Sheet Music, Lilly Library, Indiana University, Bloomington, Indiana

This collection contains duplicates of materials in the Smithsonian collection, as well as materials acquired by Mr. DeVincent after the donation to the Smithsonian. The phonograph records described above were transferred to the University of Missouri at Kansas City.
Materials in the Archives Center, National Museum of American History:
Donald J. Stubblebine Collection of Musical Theater and Motion Picture Sheet Music and Reference Material, 1843-2010 (AC1211)
Provenance:
This collection was purchased by the Smithsonian Institution in 1988 from Sam and Nancy Lee DeVincent.
Restrictions:
Collection is open for research.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Citation:
The Sam DeVincent Collection of Illustrated American Sheet Music, Archives Center, National Museum of American History, Smithsonian Institution
Identifier:
NMAH.AC.0300.S35
See more items in:
Sam DeVincent Collection of Illustrated American Sheet Music, Series 35: Sam DeVincent Personal Papers
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-0300-s35
Additional Online Media:

Personal Papers

Collection Creator:
Kallmann-Bijl, Hildegard Korf, Dr., 1908-1968.  Search this
Type:
Archival materials
Scope and Contents:
This series contains Dr. Kallman-Bijl's personal papers, biographical information and technical papers.
Arrangement:
Technical papers written by Dr. Kallmann-Bijl are arranged in chronological order.
Collection Restrictions:
No restrictions on access
Identifier:
NASM.1989.0042, Series 1
See more items in:
Hildegard Korf Kallmann-Bijl Collection
Archival Repository:
National Air and Space Museum Archives
EDAN-URL:
ead_component:sova-nasm-1989-0042-ref14

Personal Papers

Collection Collector:
Vidal, Teodoro  Search this
Type:
Archival materials
Date:
1942-1992
Collection Restrictions:
Collection is open for research.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Teodoro Vidal Collection, 1592-1992, Archives Center, National Museum of American History.
Identifier:
NMAH.AC.0712, Series 1
See more items in:
Teodoro Vidal Collection
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-0712-ref10

Personal Papers

Collection Creator:
Rule, Bob (Robert M.)  Search this
Type:
Archival materials
Date:
circa 1950s – 2002
Collection Restrictions:
Collection is open for research.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Bob Rule Papers, 1950-1999, Archives Center, National Museum of American History.
Identifier:
NMAH.AC.0855, Series 1
See more items in:
Bob Rule Papers
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-0855-ref18

Personal Papers

Collection Creator:
Burckhardt, Rudy, 1914-1999  Search this
Extent:
0.2 Linear feet (Box 1)
Type:
Archival materials
Date:
1934-1990
Scope and Contents:
This series includes biographical information about Rudy Burckhardt's life, work, and exhibitions. Personal papers consist of a hand-written biographical statement; book; announcements; exhibition catalog; photographs on postcards; and clippings.
Collection 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.
Collection Rights:
The donor has retained all intellectual property rights, including copyright, that she may own in the following material: photographs taken by Rudy Burckhardt.
Collection Citation:
Rudy Burckhardt papers, 1934-2015. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.burcrudy, Series 1
See more items in:
Rudy Burckhardt papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-burcrudy-ref2

Personal Papers

Collection Creator:
Kern, George Robert, 1894-1962 (cabinet maker, machinist)  Search this
Kern, George Robert, Jr., 1919-1987  Search this
Collection Source:
Medical History, Division of (NMAH, Smithsonian Institution).  Search this
Type:
Archival materials
Scope and Contents:
Series 1, Personal Papers, consists of records of George Kern's employment with National Scientific Laboratories and his honorary membership in the Virginia State Dental Association. It also includes George Kern, Jr's, international driving permit.
Collection Restrictions:
Collection is open for research.
Collection Rights:
Usage or copyright restrictions in effect. Contact the repository for details.
Collection Citation:
Kern Dental Equipment Collection, 1936-1970, Archives Center, National Museum of American History.
Identifier:
NMAH.AC.0479, Series 1
See more items in:
Kern Dental Equipment Collection
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-0479-ref123

Personal Papers

Collection Creator:
Cheatham, Doc, 1905-1997  Search this
Cheatham, Amanda  Search this
Type:
Archival materials
Date:
ca. 1930s-1990s
Scope and Contents:
Subseries 3A, ca. 1930s-1990s, boxes 2 and 16-17.

Contains Cheatham's autobiography, correspondence, an interview done by the Smithsonian Institution, itineraries, passports, planners, pension/welfare handbooks and research notes. Published in 1995, Cheatham's autobiography is an informative account of his career and personal life. The Smithsonian Institution interview conducted by a Mr. Albertson in 1976 reveals much about Cheatham's career and those he worked with.
Collection Restrictions:
Collection is open for research.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Doc Cheatham Papers, 1939-1998, Archives Center, National Museum of American History
Identifier:
NMAH.AC.0814, Subseries 3.1
See more items in:
Doc Cheatham Papers
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-0814-ref355

Personal Papers

Collection Creator:
Jones, Caroline Robinson, 1942-2001 (advertising executive)  Search this
Type:
Archival materials
Date:
1953-1986
Scope and Contents:
Includes high school memorabilia and photos, news clippings and information about Caroline Jones' hometown, Benton Harbor, Michigan, and family-related material. Three folders document her role as co-chairman of a 1968 benefit event sponsored by her sorority, Alpha Kappa Alpha, in New York City honoring Ella Fitzgerald and supported by many prominent local and national figures.
Collection Restrictions:
Collection is open for research.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Identifier:
NMAH.AC.0552, Series 1
See more items in:
Caroline R. Jones Papers
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-0552-ref735

Personal Papers

Collection Author:
Ward, Frank Elmo, 1912-1964  Search this
Type:
Archival materials
Date:
1929-1965
Collection Restrictions:
The collection is open for research use.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Ward's Garage Records, 1929-1965, Archives Center, National Museum of American History.
Identifier:
NMAH.AC.0783, Series 5
See more items in:
Ward's Garage Records
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-0783-ref105

Personal Papers

Collection Creator:
Lanza, Kenneth  Search this
Lanza, Anthony, 1925-1995  Search this
Type:
Archival materials
Date:
1942-1946, undated
Collection Restrictions:
The collection is open for research use. Researchers must handle unprotected photographs with gloves.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Anthony Lanza World War II Papers, Archives Center, National Museum of American History
Identifier:
NMAH.AC.0910, Series 2
See more items in:
Anthony Lanza World War II Letters and Photographs
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-0910-ref21

Personal Papers

Collection Creator:
Robinson, Holton Duncan, 1863-1945  Search this
Type:
Archival materials
Date:
1889 - 1938
Collection Restrictions:
The collection is open for research use.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning intellectual property rights. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Holton Duncan Robinson papers, Archives Center, National Museum of American History, Smithsonian Institution.
Identifier:
NMAH.AC.0963, Series 1
See more items in:
Holton Duncan Robinson papers
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-0963-ref13

Personal Papers

Collection Creator:
Walker, Jerome  Search this
Collection Donor:
Walker, Cathy Jean  Search this
Type:
Archival materials
Date:
undated
1864 - 1917
Collection Restrictions:
Unrestricted research access on site by appointment. Unprotected photographs must be handled with gloves.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Reproduction permission from Archives Center: reproduction fees may apply. All duplication requests must be reviewed and approved by Archives Center staff.
Collection Citation:
Dr. Jerome Walker Papers, 1864-1917, undated, Archives Center, National Museum of American History, Smithsonian.
Identifier:
NMAH.AC.1408, Series 1.1
See more items in:
Dr. Jerome Walker Papers
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-1408-ref12

Personal Papers

Collection Creator:
Brown, David M.  Search this
Type:
Archival materials
Date:
1956-2004
Scope and Contents:
This series contains personal documents, correspondence, day planners, yearbooks, photographs, and miscellaneous materials. These items are all arranged chronologically.
Collection Restrictions:
No restrictions on access.
Collection Rights:
Material is subject to Smithsonian Terms of Use. Should you wish to use NASM material in any medium, please submit an Application for Permission to Reproduce NASM Material, available at Permissions Requests.
Collection Citation:
David M. Brown Papers, Acc. 2006-0013, National Air and Space Museum, Smithsonian Institution.
Identifier:
NASM.2006.0013, Series 1
See more items in:
David M. Brown Papers
Archival Repository:
National Air and Space Museum Archives
EDAN-URL:
ead_component:sova-nasm-2006-0013-ref12

Personal Papers

Collection Creator:
O'Neill, Gerard  Search this
Container:
Box 56-58
Type:
Archival materials
Date:
circa 1949-1990
Arrangement:
These materials were grouped together by the creator; file unit names are the creator's unless in brackets, which signifies that the processing archivist named the file unit. Processing archivist arranged file units chronologically.
Collection Restrictions:
No restrictions on access.
Collection Rights:
Material is subject to Smithsonian Terms of Use. Should you wish to use NASM material in any medium, please submit an Application for Permission to Reproduce NASM Material, available at Permissions Requests.
Collection Citation:
Gerard K. O'Neill Collection, Acc. 2014-0005, National Air and Space Museum, Smithsonian Institution.
Identifier:
NASM.2014.0005, Series 3
See more items in:
Gerard K. O'Neill Collection
Archival Repository:
National Air and Space Museum Archives
EDAN-URL:
ead_component:sova-nasm-2014-0005-ref3

Personal Papers

Collection Creator:
Hampson, Albert W., 1911-1990 (artist)  Search this
Type:
Archival materials
Date:
1928-1980; undated
Collection Restrictions:
Collection is open for research.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Albert W. Hampson Commercial Artwork Collection, 1926-1968, Archives Center, National Museum of American History.
Identifier:
NMAH.AC.0561, Series 1
See more items in:
Albert W. Hampson Commercial Artwork Collection
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-0561-ref510

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