Skip to main content Smithsonian Institution

Search Results

Collections Search Center
16 documents - page 1 of 1

Decoration, Paulist Church [photomechanical print]

Artist:
Harris, William Laurel 1870-1924  Search this
Physical description:
1 photomechanical print black and white
Type:
Photomechanical prints
Date:
Copyrighted 1890-1945
Topic:
Religion--New Testament--Christ  Search this
State of Being--Death  Search this
Animal--Sheep  Search this
Image number:
LOC LC001047
See more items in:
Photograph Archives
Library of Congress Copyright Deposit Collection
Data Source:
Archives and Special Collections, Smithsonian American Art Museum
EDAN-URL:
edanmdm:siris_jul_138898

Doorway, Paulist Church [photomechanical print]

Artist:
Harris, William Laurel 1870-1924  Search this
Physical description:
1 photomechanical print black and white
Type:
Photomechanical prints
Date:
Copyrighted 1890-1945
Topic:
Architecture interior--Religious--Church  Search this
Figure group  Search this
Recreation--Church  Search this
Image number:
LOC LC001048
See more items in:
Photograph Archives
Library of Congress Copyright Deposit Collection
Data Source:
Archives and Special Collections, Smithsonian American Art Museum
EDAN-URL:
edanmdm:siris_jul_138899

Mural Painting [photomechanical print]

Artist:
Harris, William Laurel 1870-1924  Search this
Physical description:
1 photomechanical print black and white
Type:
Photomechanical prints
Date:
Copyrighted 1890-1945
Topic:
Religion--New Testament--Christ  Search this
Religion--New Testament--Crucifixion  Search this
Image number:
LOC LC001049
See more items in:
Photograph Archives
Library of Congress Copyright Deposit Collection
Data Source:
Archives and Special Collections, Smithsonian American Art Museum
EDAN-URL:
edanmdm:siris_jul_138900

Bryson Burroughs photographs

Creator:
Burroughs, Bryson, 1869-1934  Search this
Names:
Metropolitan Museum of Art (New York, N.Y.)  Search this
Extent:
0.6 Linear feet
Type:
Archival materials
Collection descriptions
Date:
circa 1935
circa 1983
Summary:
Bryson Burroughs photographs of artwork measure 0.6 linear feet and date from circa 1935 and circa 1983. The collection consists of glass plate negatives and copy prints of artwork, primarily paintings, by Burroughs.
Scope and Contents:
Bryson Burroughs photographs of artwork measure 0.6 linear feet and date from circa 1935 and circa 1983. The collection consists of glass plate negatives and copy prints of artwork, primarily paintings, by Burroughs. The glass plates were possibly made for the memorial exhibition for Burroughs held at The Metropolitan Museum of Art in 1935.
Arrangement:
The collection is arranged as one series.

Series 1: Bryson Burroughs Photographs, circa 1935, circa 1983 (0.43 linear feet; Box 1, MMs)
Biographical / Historical:
New York painter and museum curator Bryson Burroughs (1869-1934), studied at the Art Students League in New York and at the Académie Julian in Paris. Later, he became an associate, then a full member, of the National Academy of Design in New York. From 1909 to 1934 he was the Curator of Paintings at The Metropolitan Museum of Art in New York. A memorial exhibition for Burroughs was held at the museum in 1935.
Provenance:
The collection was donated to the Archives of America Art in 1983 by the Metropolitan Museum of Art via John K. Howat.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
Rights:
The Bryson Burroughs photographs 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.
Occupation:
Painters -- New York (State) -- New York  Search this
Art museum curators -- New York (State) -- New York  Search this
Citation:
Bryson Burroughs papers, circa 1935, circa 1983. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.burrbrys
See more items in:
Bryson Burroughs photographs
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-burrbrys
Additional Online Media:

Charles Rivers Photographs

Creator:
Rivers, Charles, 1904-1993  Search this
Names:
Chrysler Building (New York, N.Y.) -- Pictorial works  Search this
Empire State Building (New York, N.Y.) -- Construction--1929-1930  Search this
Pathe News  Search this
Bates, Ruby  Search this
Extent:
0.5 Cubic feet (4 boxes )
Type:
Archival materials
Collection descriptions
Photographs
Scrapbooks
Albums
Place:
New York (N.Y.) -- 1920-1930
Washington (D.C.) -- 1960-1970
Date:
1929-1963
bulk 1929-1930
Scope and Contents:
The collection contains: twenty-nine silver gelatin photoprints mounted on Fome-Core, Masonite, and cardboard, ranging in size from 5-1/2" x 9-1/4" to 10-11/16" x 13-13/16"; three 5" x 7" unmounted silver gelatin photoprints; a scrapbook which originally contained 56 silver gelatin photoprints, ranging in size from 2" x 3" to 7-1/2" x 9-1/2"; and silver gelatin film negatives (presumably acetate) for the prints. The scrapbook includes a New York Daily News clipping about Rivers: "Builds a Bridge to Students" by Anthony Burton (dated May 12, 1970 by Rivers) with a photograph showing him speaking to a crowd, Most of the photographs depict the construction of the Chrysler and Empire State Buildings--iron workers on the job and relaxing during breaks, and pictures of the buildings at various stages of completion. Other subjects are: a demonstration to prevent World War II (1935), a color photoprint of the Civil Rights March and Demonstration in Washington, D.C. (1963), and two magazine clippings from a Soviet publication, New Times, in which Rivers's prize-winning "Self Portrait" (1930) was reproduced.

Most of these prints were made by Charles Rivers many years after the creation of the original negatives, probably ca.1970s 1980s. The collection is in generally good condition, except that many of the print surfaces are scratched.
Biographical / Historical:
Charles Rivers created a certain amount of confusion about his origins, whether accidentally or intentionally. Born Constantinos Kapornaros[1] (or Kostandinos Kapernaros)[2] in the small town of Vahos in Mani, an isolated area in the southern Peloponnesian region of Greece, on May 20, 1904, he emigrated to the United States as a child of five or six with his parents. His school record showed that he was enrolled in 1911 at the age of seven.[3] The family lived in Maine or New Hampshire, then Massachusetts, and later other locations in New York state. It is believed that his new name was derived from the Charles River in Boston.[4] The change may have been occasioned by a need to conceal his deep involvement in left-wing political and union activities.[5] Mr. Rivers settled in New York City in 1950 and resided there until 1993.[6] He sometimes identified his birthplace as Denver, Colorado,[7] but this may have been a fabrication or simplification, based on the fact that Greek church baptismal records were kept in Denver.[8] His sons James and Ronald believe that he never became an official American citizen. Late in life, in order to visit his birthplace, he was issued a passport, based on his school records, which stated that he was born in Denver. Rivers photographed the construction of the Chrysler Building (1929) and the Empire State Building (1930) in New York City. He was inspired to take up photography by seeing the work of the influential documentary photographer Lewis Hine, whose famous images of working children helped win passage of protective child labor laws. Rivers and Hine both photographed the Empire State Building and the men building it, yet Rivers apparently was unaware until years later that his idol had been present. Employed as an iron worker, Rivers traded his pail of tools for a Zeiss Ikon[9] camera during his lunch hour or when photographic opportunities arose. While the workers depicted in some of the photographs clearly are aware of the photographer's presence, Rivers's project presumably was conducted more or less surreptitiously. It is not known for certain if the paths of Rivers and Hine ever crossed, but his son Ron considers it unlikely: Hine photographed only the Empire State Building in connection with his "Men at Work" project,[10] not the earlier Chrysler Building, and Rivers did not work on the Empire State Building for a very long period. His self-portrait on the Empire State Building, "The Bolter-Up," may have been intended as a memento during one of his last days on that job.[11]

Rivers became unemployed in the Depression and consequently became involved in national efforts to create Social Security, unemployment insurance, and housing programs. These experiences apparently encouraged his active participation in politically leftist activities, as coverage about him in Soviet publications attests. A pacifist, in 1935 he was involved in demonstrations aimed at preventing World War II, and in the 1960s he took part in anti-Vietnam demonstrations and encouraged young people to continue such resistance.

In the 1950s Rivers worked in steel fabrication, in a chemistry lab as a technician, and briefly as a legislative aide for a New York state senator.

In 1986 Rivers submitted his 1930 self-portrait, posed on the Chrysler Building, to the International Year of Peace art contest sponsored by the New Times, published in Moscow: it was awarded a prize and diploma.

Mr. Rivers died in 1993, only two weeks after moving to Arlington, Texas to enter a nursing home near his sons' homes.

1. The page on Rivers in New York University=s Robert F. Wagner Labor Archives web site (http://laborarts.org/collections/item.cfm?itemid=82) --noted 5 June 2002), claims Rivers was born in 1905 and changed his name Ato resemble those of the Mohawk Indians working on the high steel of New York City=s skyscrapers and bridges".

2. This spelling is given in an e-mail from James Rivers to Helen Plummer, Aug. 19, 2002.

3. Ibid.

4. Telephone conversation between Ron Rivers and the author, 6 June 2002. Additional information was provided by Ron Rivers in electronic mail messages, 5 June and 12 June 2002.

5. James Rivers, op. cit.

6. Telephone conversation with Ron Rivers, 6 June 2002.

7. In a biographical statement for the Amon Carter Museum of Western Art (copy supplied by Helen Plummer), Charles Rivers called Denver his birthplace. The George Eastman House photographer database also included this apparently erroneous information, probably derived from the Amon Carter statement (telephone conversation with Helen Plummer, 3 June 2002).

8. Ron Rivers, telephone conversation, 6 June 2002.

9. Identified by Charles Rivers as the camera used in the skyscraper photographs: interview by Carol Sewell, "Photographer looked at U.S. from high view," Fort Worth Star-Telegram, Dec. 27, 1986. Rivers also used a Rolleiflex, according to Ron Rivers (see note above), but the folding Zeiss Ikon camera would have been a more convenient addition to a lunchbox than the bulkier Rolleiflex. The collection negatives are not in the Rolleiflex square format, moreover.

10. See Judith Mara Gutman, Lewis W. Hine and the American social conscience. New York: Walker, 1967.

11. Ron Rivers, telephone conversation, 6 June 2002.
Related Materials:
Materials at the Smithsonian Institution

Hirshhorn Museum and Sculpture Garden

Included Rivers's self-portrait, "The Bolter Up," in its summer 2002 exhibition, "Metropolis in the Machine Age," in the form of a new print made from a digital copy of the Archives Center's original negative. The author discussed the new print from the Rivers negative and other photographs in this exhibition in an invited gallery lecture, "The Skyscraper Photographs of Lewis Hine and Charles Rivers," Hirshhorn Museum and Sculpture Garden, June 6, 2002.

Materials at Other Organizations

Amon Carter Museum, Fort Worth, Texas

See Barbara McCandless and John Rohrbach, Singular moments: photographs from the Amon Carter Museum, with select entries by Helen Plummer. Reproduction of a Rivers photograph, with description and analysis, p. 30. Additional information has been generously supplied by Ms. Plummer, curatorial associate, and Barbara McCandless, curator of photography, Amon Carter Museum of Western Art, Fort Worth Texas.

Robert F. Wagner Labor Archives at New York University

Museum of the City of New York

Some of his photographs were included in the Amon Carter Museum of Western Art exhibition, "Looking at America: Documentary Photographs of the 1930s and 1940s," December 1986.
Provenance:
The collection is a gift from Mr. Charles Rivers, 1989.
Restrictions:
Collection is open for research.
Rights:
Archives Center claims copyright. Rights were conveyed to the Archives Center through a Deed of Gift signed by the donor.
Topic:
Self-portraits, American  Search this
Iron and steel workers -- 1920-1930 -- New York (State) -- New York  Search this
Construction workers -- 1900-1950 -- New York (State) -- New York  Search this
Structural steel workers -- 1920-1930 -- New York (State) -- New York  Search this
Labor unions  Search this
Civil rights demonstrations -- 1960-1970  Search this
Skyscrapers -- 1920-1930 -- New York (State) -- New York  Search this
Civil rights  Search this
Peace movements -- 1960-1970  Search this
Peace movements -- 1930-1940  Search this
Scottsoro boys case  Search this
Fires  Search this
Scottsboro Trial, Scottsboro, Ala., 1931  Search this
Self-portraits  Search this
Genre/Form:
Photographs -- 1900-1950
Scrapbooks -- 20th century
Albums
Photographs -- Black-and-white photoprints -- Silver gelatin -- 1970-1990
Citation:
Charles Rivers Photographs, 1929-1963, Archives Center, National Museum of American History
Identifier:
NMAH.AC.0360
See more items in:
Charles Rivers Photographs
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-0360
Additional Online Media:

Ralph Gutieri photographs, [ca. 1930-1940]

Creator:
Gutieri, Ralph  Search this
Subject:
Federal Art Project (New York, N.Y.)  Search this
Topic:
Photographers  Search this
Photographs  Search this
Record number:
(DSI-AAA_CollID)8278
(DSI-AAA_SIRISBib)210449
AAA_collcode_gutiralp
Theme:
Audio - Visual
Photography
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_210449

Alexander Alland, Sr., Photoprints

Creator:
Ostroff, Eugene, d. 1999 (NMAH Curator)  Search this
Salo, Matt, Dr.  Search this
Haberstich, David E., 1941-  Search this
Ahlborn, Richard E.  Search this
Alland, Alexander, Sr. (Alexander Landschaft), 1902-1989  Search this
Names:
China Daily News -- 1930-1940 -- New York N.Y.  Search this
China Daily News -- Photographs  Search this
United States. Works Progress Administration  Search this
Davis, Earl  Search this
Kaslov, Steve, ca. 1888-1949 (King of the Red Bandanna Romany Gypsies )  Search this
Extent:
0.25 Cubic feet (4 boxes)
Type:
Archival materials
Collection descriptions
Photographs
Oral history
Interviews
Audio cassettes
Place:
Virgin Islands -- 1930-1940
New York (N.Y.) -- 1930-1940
Bowery (New York, N.Y.) -- 1930-1940
Chinatown (New York, N.Y.) -- 1930-1940
St. Thomas (Virgin Islands) -- 1930-1940
Date:
1985 - 1986
1930 - 1943
Scope and Contents:
This collection contains 273 silver gelatin photoprints (Series 1), most of which apparently were made during the 1930s and early 1940s, contemporaneously with the original negatives. All are 8" x 10" or slightly smaller, unmounted except for flush mounted linen on the backs of some prints. The photographs were made primarily in two locations, New York City and the Virgin Islands. The Virgin Islands pictures were made as part of a special documentary project in 1939, as described above, whereas the New York photographs stem from Mr. Alland's largely self assigned documentation of various ethnic and religious groups in New York from approximately 1932 to 1943. The projects include photographs of the "Red Bandanna" Romany Gypsy group in the Bowery, a black Jewish congregation, Mohawk Indians in Brooklyn, and other groups, which required extensive exploration, research, and photographing over periods of many days or weeks. A variety of miscellaneous ethnic and religious groups are covered in the general "Other Religions" and "Nationalities" folders. The contents of the "Judaism" folder include primarily New York sites and people, but there are also additional views of a synagogue from the Virgin Islands project.

Series 2 of the collection contains four cassette tape recordings of two interviews with Mr. Alland, three made by Richard Ahlborn (with Eugene Ostroff and Matt Salo) in 1985, and one by David Haberstich and Richard Ahlborn, June 2-3, 1986 (at which time the photographs were donated). The tapes include readings from his autobiography, personal reminiscences on his experiences as an immigrant and a photographer, and commentary on the photographs.
Arrangement:
The collection is arranged into two series.

Series 1: Photoprints, 1930-1943

Series 2: Audiotape Cassettes, 1985-1986

The photographs are arranged topically and by nationality.
Biographical / Historical:
Alexander Alland, Sr., was born in Sevastopol, Crimea (formerly in the Soviet Union) on 6 August 1902. His last name originally was Landschaft, but he legally changed it to Alland following the birth of his son. Alland's interest in photography began at the age of twelve, when he helped a local photographer with darkroom work. He constructed his own camera from cardboard with a simple meniscus lens and exposed glass plate negatives with the device.

Toward the end of the Civil War in Russia in 1920, Alland relocated in Constantinople, Turkey, where he was hired as an apprentice by a graduate of the Vienna Academy of Photography. When the Union Nationale des Combatants Francais went on a pilgrimage to Gallipoli, a former battle zone on the Dardanelles, he was asked to accompany them in order to document events. After having his request for a pay increase refused, he left his employer two years later and opened his own portrait studio, "Photo d'Art Russe." When civil unrest threatened Constantinople in 1923, he decided to emigrate to the United States.

During his first years in the United States he worked in photo finishing businesses while engaged in home portraiture independently. He married in 1929 and a son, Alexander, Jr., was born. In the 1930s he became one of the best known photographers portraying the life of immigrants and various ethnic groups in New York. (1) In 1936 he was appointed supervisor of the Photo Mural section of the W.P.A. Federal Art Project, and worked as a free lance photographer for magazines and periodicals featuring the activities of various ethnic groups living in New York City. He specialized in making photomurals with montage techniques. (2)

In 1937 Alland became photography instructor at the American Artists' School and joined the American Artists Congress. In 1939, his first book, Portrait of New York, was published and he became president of the "Exploration Photo Syndicate" and went to the U.S. Virgin Islands as part of a project to produce a pictorial record of the West Indian Islands. His photographs appeared in publications and were exhibited at the New School for Social Research and at the Schomberg Collection. In 1942 he joined the staff of Common Ground magazine as photography editor and was appointed by the National Youth Administration to supervise their photography workshop. His book American Counterpoint appeared in 1943 and was selected as "One of the Fifty Best Books of the Year." The original prints from that book were exhibited at the Museum of the City of New York, which also exhibited a portfolio of his work on American Gypsies. In 1944 he became director of an agency, "Pictures for Democracy," and in 1945 his book The Springfield Plan was proclaimed another "One of the Fifty Best Books of the Year."

During World War II Alland did technical photography for the War Department, receiving a commendation for this work. After another book My Dog Rinty was published, he left New York City to establish a school of photography, combined with a school of dance directed by his wife, Alexandra, a professional dancer and choreographer. (3) He then began to exhibit his own photographs and to collect glass plate negatives and vintage prints by significant photographers. He is perhaps best known for locating a collection of Jacob Riis negatives and making them available. In 1974 Aperture published his biography, Jacob A. Riis: Photographer and Citizen4. Because of his efforts in providing the Riis negatives to the Museum of the City of New York, that institution awarded a special commemorative medal to him in 1973. The Riis book was followed by two more studies of photographers, Jessie Tarbox Beals, First Woman News Photographer (5) and Heinrich Tonnies, Cartes de Visite Photographer Extraordinaire. (6)

Retrospective exhibitions of Alland's work were held in two major Danish museums in summer 1979 and he was honored for contributions to the cultural history of Denmark. In 1991 studies for his photomural work were included in an historical survey exhibition of American photomontage at the University of Maryland at College Park. (7).

Sources

1. My text is based upon the biographical information recorded on my taped interviews with Mr. Alland in this collection, but see also Bonnie Yochelson, The Committed Eye: Alexander Alland's Photography. New York: The Museum of the City of New York, Inc., 1991.

2. Merry A. Foresta, "Art and Document: Photography of the Works Progress Administration's Federal Art Project," in Official Images: New Deal Photography (essays by Foresta, Pete Daniel, Maren Stange, and Sally Stein), Washington: Smithsonian Institution Press, 1987, p. 153, based on an interview with Alland, January 1987.

3. Photographic historian Anne Peterson, contractor for three Archives Center photographic collection projects between 1986 and 1982, reports that she studied ballet as a child with Mrs. Alland.

4. Ibid.

5. Ibid.

6. Ibid

7. See catalog by Cynthia Wayne, Dreams, Lies, and Exaggeration: Photomontage in America. The Art Gallery, University of Maryland at College Park, 1991 (exhibition at the gallery Oct. 21 Dec. 20, 1991).
Related Materials:
Materials in the Archives Center

Carlos de Wendler Funaro Gypsy Research Collection (AC0161)

Contains additional Alland photographs. De Wendler Funaro also photographed Steve Kaslov, his family, and his Bowery coppersmith workshop.
Provenance:
Collection donated by Alexander Alland, June 3, 1986.
Restrictions:
Collection is open for research.
Rights:
Copyrighted material: photographs may not be reproduced without written permission from the Estate of Alexander Alland, Sr.
Topic:
Synagogues -- Photographs -- 1930-1940 -- New York, N.Y.  Search this
Newspapers -- Photographs -- 1930-1940 -- New York N.Y.  Search this
Muslims -- Photographs -- 1930-1940 -- New York N.Y.  Search this
Minorities -- Housing -- 1930-1940 -- New York (State) -- New York  Search this
Minorities -- Housing -- 1930-1940 -- Virgin Islands  Search this
Judaism -- Customs and practices  Search this
Housing -- Photographs -- 1930-1940 -- New York N.Y.  Search this
Immigrants -- 1930-1940 -- New York (State) -- New York  Search this
Housing -- 1930-1940 -- Virgin Islands  Search this
Buddhism -- Photographs -- 1930-1940 -- New York N.Y.  Search this
Catholic Church -- Liturgy  Search this
Chinese drama -- New York (State) -- New York  Search this
Churches -- Photographs -- 1930-1940 -- New York N.Y.  Search this
Clergy -- 1930-1940 -- United States  Search this
Coppersmiths -- 1930-1950  Search this
Ethnic costume  Search this
Ethnic groups -- Photographs -- 1930-1940 -- New York N.Y.  Search this
Falashas -- 1930-1940 -- New York (State) -- New York  Search this
Fortune-tellers -- Gypsies -- 1930-1940 -- United States  Search this
Pluralism  Search this
Poverty -- Photographs -- 1930-1940 -- Virgin Islands  Search this
Printing -- Photographs -- 1930-1940 -- New York N.Y.  Search this
Protestant churches -- Photographs -- 1930-1940 -- New York N.Y.  Search this
Religious and ecclesiastical institutions -- Photographs -- 1930-1940 -- New York N.Y.  Search this
Singers -- 1930-1950  Search this
Synagogues -- 1930-1940 -- Virgin Islands  Search this
Genre/Form:
Photographs -- 1900-1950
Oral history -- 1980-1990
Interviews -- 1980-2000
Audio cassettes -- 1980-1990
Citation:
Alexander Alland, Sr., Photoprints, 1932-1943, Archives Center, National Museum of American History. Gift of the artist.
Identifier:
NMAH.AC.0204
See more items in:
Alexander Alland, Sr., Photoprints
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-0204
Additional Online Media:

Jumping the derrick--moving the derrick to the next operational floor--two floors up / Empire State Building 1930 [photoprint]

Names:
Empire State Building (New York, N.Y.) -- Construction -- 1929-1930  Search this
Collection Creator:
Rivers, Charles, 1904-1993  Search this
Extent:
1 Item (35.0 x 23.2 cm.)
Container:
Box 2, Folder 20
Type:
Archival materials
Photographs
Photographs
Date:
1930
Scope and Contents:
Print probably made for exhibition in the 1960s. Signed in print, lower right.
Arrangement:
In box 2.
Local Numbers:
AC0360-0000007.tif (AC Scan)
Restrictions:
Unrestricted research use on site by appointment.
Collection Rights:
Archives Center claims copyright. Rights were conveyed to the Archives Center through a Deed of Gift signed by the donor.
Topic:
Derricks  Search this
Skyscrapers -- New York (State) -- New York -- 1920-1930.  Search this
Structural steel workers -- 1920-1930 -- New York (State) -- New York  Search this
Iron and steel workers -- 1920-1930 -- New York (State) -- New York  Search this
Construction workers -- New York (State) -- New York -- 1900-1950.  Search this
Genre/Form:
Photographs -- 1930-1940 -- Black-and-white photoprints -- Silver gelatin -- Later prints
Collection Citation:
Charles Rivers Photographs, 1929-1963, Archives Center, National Museum of American History
See more items in:
Charles Rivers Photographs
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-0360-ref41

Preparing to jump the derrick two stories up on the Empire State Building--1930 [photoprint]

Names:
Empire State Building (New York, N.Y.) -- Construction -- 1929-1930  Search this
Collection Creator:
Rivers, Charles, 1904-1993  Search this
Extent:
1 Item (35.0 x 27.6 cm.)
Container:
Box 2, Folder 18
Type:
Archival materials
Photographs
Photographs
Date:
1930
Scope and Contents:
Print probably made for exhibition in the 1960s.
Arrangement:
In box 2.
Local Numbers:
AC0360-0000008.tif (AC Scan)
Restrictions:
Unrestricted research use on site by appointment.
Collection Rights:
Archives Center claims copyright. Rights were conveyed to the Archives Center through a Deed of Gift signed by the donor.
Topic:
Derricks  Search this
Skyscrapers -- New York (State) -- New York -- 1920-1930.  Search this
Structural steel workers -- 1920-1930 -- New York (State) -- New York  Search this
Iron and steel workers -- 1920-1930 -- New York (State) -- New York  Search this
Construction workers -- New York (State) -- New York -- 1900-1950.  Search this
Genre/Form:
Photographs -- 1930-1940 -- Black-and-white photoprints -- Silver gelatin -- Later prints
Collection Citation:
Charles Rivers Photographs, 1929-1963, Archives Center, National Museum of American History
See more items in:
Charles Rivers Photographs
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-0360-ref39

5F-125 Statuary - Constitutional Mall - N.Y.W.F. [postcard]

Photographer:
Underwood & Underwood  Search this
Names:
New York World's Fair ((1939-1940 :) (New York, N.Y.))  Search this
Collection Collector:
Community Life, Div. of, NMAH, SI  Search this
Extent:
1 Item (3.6" x 5.6".)
Type:
Archival materials
Photographs
Postcards
Date:
1939-1940
Scope and Contents:
View of Constitutional Mall with a few New York World's Fair visitors. This item must be inspected to determine whether it is a photographic print or an ink reproduction of a photograph.
Arrangement:
In Box 1, Folder Postcards.
Local Numbers:
AC0134-0000002 (AC Scan)
Restrictions:
Unrestricted research use on site by appointment. Photographs must be handled with cotton gloves unless protected by sleeves.
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.
Topic:
Sculpture, Modern -- 20th century  Search this
Exhibitions  Search this
Genre/Form:
Photographs -- 1930-1940 -- Black-and-white photoprints -- Reproductions
Postcards
Collection Citation:
New York World's Fair Collection, Archives Center, National Museum of American History
New York World's Fair Collection, Archives Center, National Museum of American History.
See more items in:
New York World's Fair Collection
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-0134-ref528

Norcross Greeting Card Collection

Collector:
Norcross, Arthur Dickinson, d. 1968  Search this
Extractive Industries, Division of.  Search this
Rust, Fred Winslow, 1877?-1949  Search this
Rust Craft Greeting Card Company (Dedham (Mass.))  Search this
Extractive Industries, Division of.  Search this
Designer:
Tuck, Raphael, fl. 1880s  Search this
Prang, Louis, fl. 1880-1900  Search this
Chase, Ernest Dudley, fl. 1920s  Search this
Manufacturer:
Norcross Greeting Card Company (New York (N.Y.))  Search this
Rust Craft Publishers (Boston, Mass.)  Search this
Extent:
202 Cubic feet (179 boxes, 362 volumes)
Type:
Archival materials
Collection descriptions
Lithographs
Business records
Chromolithographs
Color slides
Greeting cards
Valentines
Trade cards
Postcards
Motion pictures (visual works)
Advertisements
Scrapbooks
Slides (photographs)
Place:
New York (N.Y.) -- 20th century
Boston (Mass.) -- 1910-1950
Date:
1800-1981
bulk 1880-1881
Summary:
Collections consists of the records of both the Norcross Greeting Card Company founded in New York City in the 1920s and The Rust Craft Greeting Card Company, founded in Kansas City, Missouri, 1906. Both the Norcross and Rust Craft companies collected antique greeting cards. Also includes a small number of modern cards by other manufacturers, circa 1930-1980. Collection represents development of the greeting card industry, social trends in the United States and technology of the printing industry from 1924 through 1978.
Scope and Contents:
The Norcross Greeting Card Collection consists of cards and a few records of both the Norcross Greeting Card Company and the Rust Craft Greeting Card Company, circa 1911 1981; antique greeting cards, circa 1800 1930 (bulk 1880 1900) collected by both these companies and their executives; and a small number of modern cards by other manufacturers, circa 1939 1960. According to Norcross Company officials in 1978, this collection represents "not only a history of the development of the greeting card industry but also a history of social trends in the United States" and gives "an indication of the quality and technology of the [printing] industry from 1924 through 1978."
Arrangement:
The collection is divided into six series.

Series 1: Norcross Company Records, 1920-1981

Series 2: Antique Greeting Card Collection, circa 1800-1930 (bulk 1880-1990)

Series 3: Rust Craft Company Records, circa 1920-1980

Series 4: Greeting Cards by Other Manufacturers, 1939-1960

Series 5: Norcross Company Permanent Files, 1911-1981

Series 6: Rust Craft Company Permanent Files, 1927-1981
Biographical / Historical:
Arthur D. Norcross founded the Norcross Greeting Card Company in New York City in the nineteen twenties. From the start Norcross cards had a "look" which contributed to their selling success although, through the years, the company commanded only a small share of the greeting card market. In 1974 the company relocated to West Chester and Exton, Pennsylvania, where in 1981 Norcross and the Rust Craft Greeting Card Company merged to form divisions of a parent company.

At some point, Norcross executives realized the value of collecting and preserving antique greeting cards. The company built a large collection of antique cards, a number of which traveled in shows around the country bringing attention not only to the cards themselves but also to the Norcross Company.

Arthur Norcross died in 1968, and the company had four owners from then until 1982. One of the owners, the Ziff Corporation, a New York publisher, picked up the Norcross Company to augment the floundering Rust Craft Greeting Card Company that it had purchased primarily for its television holdings. Finally the Norcross and Rust Craft combination was acquired by Windsor Communications, Inc., a privately held company. In August 1981 Windsor entered into Chapter 11 proceedings under the Federal bankruptcy law and ceased producing greeting cards. Factors leading to bankruptcy included the expensive consolidation of Norcross and Rust Craft, a doubtful marketing strategy, and unsuccessful efforts to continue producing two distinct lines of greeting cards.

The Rust Craft Greeting Card Company, some of whose records are contained in this collection, was begun as a little bookshop by Fred Rust, (1877? 1949) in Kansas City in 1906. Later that year he created a plain Christmas folder which he called a "letter," perhaps a forerunner of the greeting card. These "letters" proved successful sellers prompting Rust to increase his publications over the years and expand his line to include post cards, greeting cards with envelopes, calendars, and blotters, in addition to lines of cards for New Year's and birthdays. Donald Rust, his brother, soon joined him to take over manufacturing, and in 1908, Fred Rust, seeking to increase distribution, carried his line to Boston while Donald carried his to California. The original bookshop was retained until 1910 when all retailing was discontinued. After building a considerable volume of business, the firm was consolidated in Boston in 1914 and became known as Rust Craft Publishers.

Sales mounted as the company issued cards for various seasons. Many of the sentiments were written by Fred Rust himself. Around 1927 Ernest Dudley Chase joined the firm as an associate in charge of creation and advertising. In the 1950s the company relocated to Dedham, Massachusetts and finally in 1981 merged with the Norcross Company in West Chester and Exton, Pennsylvania.

A popular innovation of the Rust Craft Company was a card bearing the sentiment printed on the card itself with four or five extra sentiments tucked in as part of the message and design. This card was so popular that it was patented with the name Tukkin. The Rust Craft Company also collected some antique greeting cards.
Related Materials:
Materials in the Archives Center

AC0109 Division of Domestic Life Greeting Card Collection, circa 1854-1975

AC0126 Burris and Byrd Family Card Sample Case, circa 1920

AC0263 Susie Paige Afro-American Greeting Card Collection, 1900-1984

AC0376 Olive Leavister 19th Century Handmade Valentine Collection, 1830-1880

AC0404 Archives Center Business Americana Collection, circa 1900-present

AC0530 Beatrice Litzinger Postcard Collection, 1900-1990

AC0468Archives Center Scrapbook Collection, circa 1880-circa 1960

AC0579 Greeting Card Collection, 1920s-1970s

AC0886 Ernest Dudley Chase Papers, 1930s-1940s

AC1198 Beatrice Morgan Steyskal Collection of Greeting Cards, 1958-1970

AC0060 Warshaw Collection of Business Americana

AC1251 L.F. Pease Greeting Card Company Collection, circa 1908-1913

AC 1252 Sandford Greeting Card Company and Family Papers, circa 1840-1990

AC 0062 Hoffmania (or Hoffman Collection

AC0295 Rocky Herosian Collection, 1910-1943

AC0674 Jean Clairmook Radio Scrapbook, 1930-1932

AC0136 Celia K. Erskine Scrapbook of Valentines, Advertising Cards, and Postcards, circa 1882-1884

The Valentine & Expressions of Love [videocassette], 2000 within the Archives Center Miscellaneous Film and Videotape Collection, (AC0358)
Provenance:
Norcross Greeting Card Company, West Chester, Pennsylvania, 1982-1985.
Restrictions:
Collection is open for research. Viewing the film portion of the collection without reference copies requires special appointment, please inquire.
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.
Genre/Form:
Lithographs
Business records -- 20th century
Chromolithographs -- 1880-1900
Color slides
Greeting cards -- ca. 1800-1980
Valentines
Trade cards
Postcards
Motion pictures (visual works) -- 1960-1980
Advertisements
Scrapbooks
Slides (photographs) -- 1950-2000
Citation:
Norcross Greeting Card Collection, Archives Center, National Museum of American History
Identifier:
NMAH.AC.0058
See more items in:
Norcross Greeting Card Collection
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-0058
Additional Online Media:

André Thibault/Teabo papers regarding Romare Bearden

Creator:
Thibault/Teabo, André, 1948?  Search this
Names:
Bearden, Nanette  Search this
Bearden, Romare, 1911-1988  Search this
Goings, Russell L.  Search this
Extent:
0.9 Linear feet
Type:
Archival materials
Collection descriptions
Sketchbooks
Drawings
Date:
circa 1930s-2003
bulk 1980-1998
Summary:
The papers of studio assistant Andre Thibault/Teabo regarding African American painter Romare Bearden measure 0.9 linear feet and date from circa 1930s to 2003 with the bulk of the material dating from 1980 to 1998. The papers consist of administrative records such as financial and gallery records. Correspondence includes letters from Romare Bearden, his wife Nanette and Andre Thibault. Of note is correspondence between Thibault and Nanette concerning the signature on a Bearden painting. Printed material includes exhibition catalogs, posters, magazines, art books and source material used by Bearden. Artwork consists of a self-portrait, a sketchbook, collage pieces, and oversize drawings by Bearden. Photographic material is comprised of photographs of Bearden, his art, studio, Andre Thibault/Teabo, Russell Goings and others.
Scope and Contents:
The papers of studio assistant Andre Thibault/Teabo regarding African American painter Romare Bearden measure 0.9 linear feet and date from circa 1930s to 2003 with the bulk of the material dating from 1980 to 1998. The papers consist of administrative records such as financial and gallery records. Correspondence includes letters from Romare Bearden, his wife Nanette and Andre Thibault. Of note is correspondence between Thibault and Nanette concerning the signature on a Bearden painting. Printed material includes exhibition catalogs, posters, magazines, art books and source material used by Bearden. Artwork consists of a self-portrait, a sketchbook, collage pieces, and oversize drawings by Bearden. Photographic material is comprised of photographs of Bearden, his art, studio, Andre Thibault/Teabo, Russell Goings and others.
Arrangement:
This collection is arranged in five series.

Series 1: Administrative Records, 1985-1988 (Box 1; 2 folders)

Series 2: Correspondence, 1987-1996 (Box 1; 3 folders)

Series 3: Printed Material, 1949-1958, 1971-2003 (Box 1-2, OV 3; 0.5 linear feet)

Series 4: Artwork, circa 1930s-1940s, circa 1980-1988 (Box 2, OV 3; 0.2 linear feet)

Series 5: Photographic Material, 1983-1991 (Box 2, OV 3; 0.2 linear feet)
Biographical / Historical:
Andre Thibault/Teabo (1948?- ) is an artist in New York, N.Y. and was Romare Bearden's studio assistant from 1980-1988.

Romare Bearden (1911-1988) was an African American painter who worked in New York, N.Y. Bearden worked in various mediums and is known for his colorful abstract paintings depicting the lives of African American people and for his work in collage. In 1963 he co-founded the African American artistic group named Spiral that endeavored to answer the question "What is Black Art?" and in 1968 was involved in founding the Studio Museum in Harlem, New York. The following year Bearden co-founded the Cinque Gallery which promoted and exhibited the works of African American artists. In 1976 he received a Gold Medal from the Governor of North Carolina for the advancement of the arts and posthumously received the Lifetime Achievement Award from the Studio Museum in Harlem in 1988.
Provenance:
The papers were donated to the Archives of American Art by André Thibault/Teabo in 2017.
Restrictions:
This collection is open for research. Access to originals papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
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:
Artists -- New York (State) -- New York  Search this
Topic:
African American artists  Search this
Collagists  Search this
Genre/Form:
Sketchbooks
Drawings
Citation:
The André Thibault/Teabo papers regarding Romare Bearden, circa 1930s-2003. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.thibandr
See more items in:
André Thibault/Teabo papers regarding Romare Bearden
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-thibandr

Leon Polk Smith papers

Creator:
Smith, Leon Polk, 1906-1996  Search this
Names:
Brooklyn Museum  Search this
Butler Institute of American Art  Search this
East Central Oklahoma State University  Search this
Galerie Denise René  Search this
Meyers/Bloom Gallery  Search this
Washburn Gallery (New York, N.Y.)  Search this
Wilhelm-Hack-Museum  Search this
Buck, Robert T.  Search this
Danto, Arthur Coleman, 1924-  Search this
Galloway, David D.  Search this
Gego  Search this
Humblet, Claudine, 1946-  Search this
Jamieson, Robert  Search this
Johnson, Ray, 1927-  Search this
Extent:
7.2 Linear Feet
Type:
Archival materials
Collection descriptions
Photographs
Transcripts
Video recordings
Scrapbooks
Essays
Interviews
Date:
1938-1997
Summary:
The papers of New York abstract painter Leon Polk Smith measure 7.2 linear feet and date from 1938 to 1997. The papers consist of biographical material, business and personal correspondence, interview transcripts and an interview video recording, writings, financial records for the corporate entity Leon Polk Smith, Inc., printed material, photographic material, and a scrapbook of newspaper clippings.
Scope and Contents note:
The papers of New York abstract painter Leon Polk Smith measure 7.2 linear feet and date from 1938 to 1997. The papers consist of biographical material, business and personal correspondence, interview transcripts and an interview video recording, writings, financial records for the corporate entity Leon Polk Smith, Inc., printed material, photographic material, and a scrapbook of newspaper clippings.

Biographical material includes official affidavits, certificates, passports, expense receipts, and a travel expense notebook. A curriculum vitae, family history, and medical records are also included in the series.

Correspondence, both business and personal, comprises the bulk of the collection. This includes correspondence between Smith and his life companion, Robert Jamieson; art critics Arthur C. Danto, Claudine Humblet, and David Galloway; and artists Gego (Gertrude Goldschmidt) and Ray Johnson. Business correspondence relates to Smith's various gallery and museum exhibitions, loans, and sales. There is extensive correspondence between Smith and the Brooklyn Museum, Butler Institute of American Art, Di Laurenti Gallery, Edition and Galerie Hoffmann, Galerie Denise Rene, Meyers/Bloom Gallery, Washburn Gallery, and the Wilhelm-Hack Museum. The business subseries also includes correspondence between Smith and his alma mater, East Central University, formerly known as Oklahoma State University.

Interviews consist of six typewritten transcripts of interviews conducted with Smith over the course of his professional career from 1950 to 1993, a 1995 video interview of museum director Robert T. Buck discussing the Brooklyn Museum's exhibition of Leon Polk Smith for the television program National Arts, and a 1965 interview transcript with gallery owner Lucile Horsley.

Writings include sixteen published and unpublished scholarly essays on Smith and his work. The series also includes notes and a brief artist's statement by Smith regarding the pros and cons of modern art galleries.

Financial records are 1978-1989 federal income tax filings and routine tax preparation and payment receipts for the corporate entity Leon Polk Smith, Inc. Smith's personal filing records from 1987-1989 are also included in this series.

Printed material consists of two books, including the Brooklyn Museum's monograph Leon Polk Smith: American Painter, newspaper clippings reviewing Smith's work, and exhibition announcements and catalogs of Smith's museum and gallery shows from 1941 to 1997.

A scrapbook contains newspaper clippings documenting Smith's years as an educator and artist in Oklahoma in the 1930s and 1940s.

Photographs are of Smith and his acquaintances circa 1930-1960, and a representative selection of photographs and color slides of Smith's artwork from 1939 to 1960.
Arrangement note:
The collection is arranged as 8 series:

Series 1: Biographical Material, 1938-1994 (Box 1, OV 10; 11 folders)

Series 2: Correspondence, 1939-1997 (Boxes 1-5, 9, OV 10; 5 linear feet)

Series 3: Interviews, 1950-1995 (Boxes 5-6; 8 folders)

Series 4: Writings, 1963-1996 (Box 6; 13 folders)

Series 5: Financial Records, 1979-1990 (Box 6; 15 folders)

Series 6: Printed Material, 1941-1997 (Boxes 6-7, 9; .5 linear feet)

Series 7: Scrapbook, 1930-1940 (Box 8; 1 folder)

Series 8: Photographic Material, 1930-1990 (Box 8; 8 folders)
Biographical/Historical note:
Leon Polk Smith (1906-1996) worked primarily in New York City as a painter, educator, and lecturer. He is considered one of the founders of the hard edge style of minimalist abstract art.

Smith was born in Chickasha, Indian Territory one year before its formal incorporation into the Oklahoma Territory. Both of his parents were of Cherokee ancestry and he was raised in a small farming community that included Cherokee and Choctaw Indians. After receiving his teaching degree in 1934, Smith worked as an educator in rural Oklahoma communities and, at the same time, took the opportunity to introduce arts programs to local schools. In 1936, he enrolled in Columbia University's Teachers College to pursue a graduate degree in arts education and began painting full time. That summer, he visited the Albert E. Gallatin Gallery of Living Art at New York University, where he was first introduced to the work of the European modernists Constantin Brancusi, Jean Arp, and most importantly, Piet Mondrian.

In the late 1940s and early 1950s, Smith accepted university teaching positions at Rollins College in Florida, and New York University and Mills College of Education in New York. During this time, Smith moved beyond his early explorations of neo-plasticism and began to paint in a more hard edge style, typified by geometric lines, curving shapes of color, and the use of tondo (disk shaped) canvases. In 1958, Betty Parson's Section Eleven Gallery showcased his new work in two one-man exhibitions, which introduced him to a wider audience of museum curators and art collectors. In the 1960s, Smith's work was included in two of his most important group exhibitions, The Responsive Eye at the Museum of Modern Art (1965) and Systemic Painting at the Solomon R. Guggenheim Museum (1966). In 1995, the Brooklyn Museum curated Leon Polk Smith: American Painter, a retrospective exhibition of Smith's career.

Smith produced works exploring shapes and lines, minimalist use of color, and modularity well into the 1990s and exhibited at a number of affiliated galleries, including the Stable Gallery, Galerie Chalette, Galerie Denise Rene, Washburn Gallery, and ACA Galleries. Smith died in 1996 in his home in Manhattan, at the age of 91.
Provenance:
The papers of Leon Polk Smith were donated by the artist's partner, Robert Jamieson, in 1998 and 2002.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Leon Polk Smith 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:
Painters -- New York (State) -- New York  Search this
Painting, Abstract -- United States  Search this
Art galleries, Commercial  Search this
Genre/Form:
Photographs
Transcripts
Video recordings
Scrapbooks
Essays
Interviews
Citation:
Leon Polk Smith papers, 1938-1997. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.smitleon
See more items in:
Leon Polk Smith papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-smitleon
Additional Online Media:

Lilian Swann Saarinen papers

Creator:
Saarinen, Lilian Swann, 1912-1995  Search this
Names:
Cambridge Art Center  Search this
Cranbrook Academy of Art -- Faculty  Search this
G Place Gallery (Washington, D.C.)  Search this
Knoll Associates, inc.  Search this
Massachusetts Institute of Technology -- Faculty  Search this
Midtown Galleries (New York, N.Y.)  Search this
Otava Publishing Company  Search this
Reynal & Hitchcock  Search this
Armitage, Merle, 1893-1975  Search this
Crosby, Caresse, 1892-  Search this
Eames, Charles  Search this
Eames, Ray  Search this
Koch, Carl  Search this
Kreis, Henry, 1899-1963  Search this
Milles, Carl, 1875-1955  Search this
Moholy-Nagy, László, 1895-1946  Search this
Moholy-Nagy, Sibyl, 1905-  Search this
Saarinen, Eero, 1910-1961  Search this
Saarinen, Eliel, 1873-1950  Search this
Saarinen, Loja  Search this
Venturi, Robert  Search this
Weese, Harry, 1915-1998  Search this
Extent:
9 Linear feet
Type:
Archival materials
Collection descriptions
Blueprints
Diaries
Illustrations
Sketches
Photographs
Scrapbooks
Date:
circa 1909-1977
Summary:
The papers of Cambridge sculptor and illustrator, Lilian Swann Saarinen, measure nine linear feet and date from circa 1909 to 1977. The collection documents Saarinen's career through correspondence with artists, architects, publishers, and gallery owners; writings and notes, including manuscripts and illustrations for children's books and publications; project and teaching files; financial records; artwork, including numerous project sketches; and photos of Saarinen and her artwork. Saarinen's personal life is also documented through diaries and correspondence with friends and family members, including Eero Saarinen, to whom she was married from 1939-1953.
Scope and Contents:
The papers of Cambridge sculptor and illustrator, Lilian Swann Saarinen, measure nine linear feet and date from circa 1909 to 1977. The collection documents Saarinen's career through correspondence with artists, architects, publishers, and gallery owners; writings and notes, including manuscripts and illustrations for children's books and publications; project and teaching files; financial records; artwork, including numerous project sketches; and photos of Saarinen and her artwork. Saarinen's personal life is also documented through diaries and correspondence with friends and family members, including Eero Saarinen, to whom she was married from 1939-1953.

Biographical material consists of resumes and biographical sketches, as well as a 1951 blueprint for the Eero Saarinen and Associates Office Building in Bloomfield Hills, Michigan.

Correspondence documents Saarinen's personal and professional life through letters to and from Eero Saarinen and other family members, including six letters from Loja Saarinen; correspondence with artists and architects, including Merle Armitage, Charles and Ray Eames, Carl Koch, Henry Kreis, Carl Milles, Laszlo and Sibyl Moholy-Nagy, Robert Venturi, and Harry Weese; and friends and colleagues at the Cranbrook Academy of Art and Knoll Associates. Also documented is Saarinen's business relationship with Midtown Galleries and Caresse Crosby, and publishers and publications including Child Life, Interiors, Otava Publishing Company, and Reynal & Hitchcock, Inc.

Writings and Notes document Saarinen's work on several children's publications, including Picture Book Zoo (1935) and Who Am I? (1946), through correspondence, notes, manuscript drafts, and extensive sketches. This series also includes Saarinen's ideas for other publications and incorporates some early writings and notes, as well as typescripts of her reminiscences about Eliel Saarinen, the Saarinen family, and the Cranbrook Academy of Art.

Diaries consist of bound diary volumes, loose-leaf journal entries, and heavily annotated engagement calendars, documenting Saarinen's personal life, artistic aspirations, and career development from the 1930s-1970s. This material provides a deeply personal view of the emotional landscape of Saarinen's life, her struggles to balance her identity as a working artist with the roles of wife, mother, and homemaker, and the complex, and often competing, relationships within the renowned architectural family into which she married.

Project files document Saarinen's work on book cover designs, federal and post office commissions in Bloomfield, Indiana, Carlisle, Kentucky, and Evanston, Illinois, reliefs for the Crow Island School in Winnetka, Illinois, and other important commissions including the Harbor National Bank Clock in Boston, Massachusetts, the KLM Airlines installation at JFK Airport, the Fountain of Noah sculpture at the Northland Center in Detroit, Michigan, and the interior of Toffenetti's restaurant in Chicago, Illinois. Also documented is her role in designs for the Gateway Arch in St. Louis, with Eero Saarinen.

Teaching files document Saarinen's "Language of Clay Course" which she taught at Cambridge Art Center and the Massachusetts Institute of Technology.

Financial records document exhibition and sales expenses for two exhibitions, including her show at G Place Gallery in 1944.

Printed material consists of clippings about Saarinen and her family, exhibition announcements and catalogs for herself and others, and reference files from the 1930s-1940s, primarily comprising clippings of animals.

Additional printed material documenting Saarinen's career can be found in one of two scrapbooks found in the collection. An additional scrapbook consists of clippings relating primarily to Saarinen's parents.

Artwork comprises extensive sketches, particularly animal and figure sketches, in graphite, crayon, ink, pastel, and watercolor. The sketches demonstrate in particular Saarinen's developing interest in and skill with animal portraiture from her childhood to the 1960s.

Photographs are primarily of artwork and Saarinen's 1944 exhibition at G Place Gallery. Also found are one negative of Saarinen, probably with Eero Saarinen, and a group photo including Lilian, Eero, and Eliel Saarinen with the model for the Detroit Civic Center, circa 1940s.
Arrangement:
The collection is arranged as 11 series.

Series 1: Biographical Material, circa 1930s-1960s (3 folders; Box 1, OV 12)

Series 2: Correspondence, 1920-1974 (1.9 linear feet; Boxes 1-2, 8, OV 12)

Series 3: Writings and Notes, 1920s-1973 (1.3 linear feet, Boxes 2-3, 8, OVs 13-16)

Series 4: Diaries, 1930-1973 (1.4 linear feet, Boxes 3-5, 8)

Series 5: Project Files, 1931-1966 (1.7 linear feet, Boxes 5-6, 8, OVs 17-19)

Series 6: Teaching Files, 1966-1970 (3 folders, Box 6)

Series 7: Financial Records, 1940s-1970s (2 folders, Box 6)

Series 8: Printed Material, circa 1930s-1970s (0.2 linear feet, Box 6)

Series 9: Scrapbooks, circa 1909-1974 (2 folders; Boxes 6, 9)

Series 10: Artwork, circa 1920s-circa 1960s (1.7 linear feet, Boxes 6-7, 9-10, OVs 20-27)

Series 11: Photographs, circa 1940s, 1977 (0.5 linear feet, Boxes 7, 11, OV 27)
Biographical / Historical:
Cambridge artist and sculptor, Lilian Swann Saarinen (1912-1995), studied at the Art Students League with Alexander Archipenko in 1928, and later with Albert Stewart and Heninz Warneke from 1934-1936, before moving to Michigan where she studied with Carl Milles at the Cranbrook Academy of Art from 1936-1940. Saarinen was an accomplished skier and a member of the 1936 US Olympic ski team.

At Cranbrook, Swann met architect Eero Saarinen, whom she married in 1939. She subsequently worked with Saarinen's design group on a variety of projects, including the Westward Expansion Memorial, which later became known as the "Gateway Arch" in St. Louis. Lilian and Eero had a son, Eric, and a daughter, Susie, before divorcing in 1953.

Saarinen, who had developed an affinity for drawing animals in childhood, specialized in animal portraits in a variety of sculptural media. In 1939, she exhibited her sculpture Night, which depicted Bagheera the panther from Rudyard Kipling's Jungle Book, at the World's Fair. The sculpture was placed in the Boston Public Garden in 1986. In the 1930s and 1940s Saarinen was commissioned to work on a variety of architectural projects, including reliefs for post offices in Bloomfield, Indiana, Carlisle, Kentucky, and Evanston, Illinois, and the Crow Island School in Winnetka, Illinois. She also executed commissions for the Harbor National Bank in Boston, KLM (Royal Dutch Airlines) at JFK Airport, the Northland shopping Center in Detroit Michigan, and Toffenetti's Restaurant in Chicago.

Saarinen was a contributing author and illustrator for a variety of publications, including Child Life, Interiors and Portfolio: An Intercontinental Quarterly. In 1935 she illustrated Picture Book Zoo for the Bronx Zoo and in 1946 Reynal & Hitchcock, Inc. published Who Am I?, a children's book which Saarinen wrote and illustrated.

Saarinen taught ceramic sculpture to soldiers for the Red Cross Arts and Skills Unit rehabilitation program in 1945, served on the Visiting Committee to the Museum School at the Museum of Fine Arts, Boston, from 1959-1964, where she taught ceramics, and later taught a course entitled "The Language of Clay" at the Cambridge Art Center and the Massachusetts Institute of Technology. One of Saarinen's private students at Cambridge was her cousin, Edie Sedgwick.

Saarinen died in Cohasset, Massachusetts, in 1995 at the age of 83.
Separated Materials:
The Archives of American Art also holds material lent for microfilming (reels 1152 and 1192) including a scrapbook containing clippings, copies of letters and telegrams received, and reproductions of Saarinen's work. There is a copy of Saarinen's book, "Who Am I?", and three albums containing photographs of Saarinen, photographs and reproductions of her work, a list of exhibitions, quotes about her, and writings by her about sculpture. Lent material was returned to the lender and is not described in the collection container inventory.
Provenance:
Lilian Swann Saarinen donated the collection in 1975. She lent additional materials for microfilming in 1976.
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.
Rights:
The Lilian Swann Saarinen 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
Occupation:
Sculptors -- Massachusetts -- Cambridge  Search this
Topic:
Women artists -- Massachusetts  Search this
Art -- Study and teaching  Search this
Illustrated books, Children's  Search this
Gateway Arch (Saint Louis, Mo.)  Search this
Sculpture, Modern -- 20th century -- United States  Search this
Illustrators -- Massachusetts  Search this
Art commissions  Search this
Art, Municipal  Search this
Genre/Form:
Blueprints
Diaries
Illustrations
Sketches
Photographs
Scrapbooks
Citation:
Lilian Swann Saarinen papers, circa 1909-1977. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.saarlili
See more items in:
Lilian Swann Saarinen papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-saarlili
Additional Online Media:

Exhibition Files

Collection Creator:
Washburn Gallery (New York, N.Y.)  Search this
Extent:
7.4 Linear feet (Boxes 37-45)
0.724 Gigabytes (57 computer files)
Type:
Archival materials
Gigabytes
Date:
1921-2014
bulk 1972-2014
Scope and Contents:
Exhibition files document the gallery's four decade exhibition history and date from 1921-2014, bulk 1972-2014. Files contain correspondence, price lists, floor plans, loan agreements, shipping receipts, invoices, sales records, photographic material of artworks and installations, digital images, and printed material including press releases, reviews, and exhibition brochures. The exhibition files reflect the Washburn Gallery's history of mounting both solo exhibitions for their stable of artists as well as group exhibitions highlighting significant movements and themes in art history, including American abstract art, abstract expressionism, folk art, genre scenes, women artists, Federal Art Project artworks, art from the 1930s-1940s, and many other categories. The gallery has also mounted several reinterpretations of historically significant exhibitions and exhibition spaces including The Museum of Non-Objective Painting (1972-1973), Seven Americans (1974 and 1982), and From the Intimate Gallery (1978), which featured artists from the Stieglitz Group. Two files of exhibitions schedules are filed at the end of the series. Material that dates prior to the Gallery's founding includes collected printed material and research relating to provenance.
Arrangement:
Files are arranged in chronological order by the date of exhibition.
Collection Restrictions:
The collection is ACCESS RESTRICTED; use requires written permission. Contact Reference Services for more information.

Access to original papers, with permission, requires an appointment.
Collection Citation:
Washburn Gallery records, 1906-2017, bulk 1971-2010. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.washbgall, Series 4
See more items in:
Washburn Gallery records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-washbgall-ref4

Bror Julius Olsson (B.J.O.) Nordfeldt papers, 1909-1989

Creator:
Nordfeldt, Bror Julius Olsson, 1878-1955  Search this
Subject:
Passedoit, Georgette  Search this
Knee, Gina  Search this
Davison, Edward L.  Search this
Bidwell, Watson  Search this
Hale, John Douglass  Search this
Jonson, Raymond  Search this
Dickerson, William Judson  Search this
Devree, Howard  Search this
Forsyth, Constance  Search this
Lester, William  Search this
Candell, Victor  Search this
Ficke, Arthur Davison  Search this
Cheney, Sheldon  Search this
Walker, Hudson D. (Hudson Dean)  Search this
Mayor, A. Hyatt (Alpheus Hyatt)  Search this
Catlin, Stanton Loomis  Search this
Nordfeldt, Emily Abbott  Search this
Cook, Howard Norton  Search this
Saint-Gaudens, Homer  Search this
Albinson, Dewey  Search this
Coke, Van Deren  Search this
Hanley, Harriet  Search this
Arthur H. Hahlo (Firm)  Search this
Passedoit Gallery (New York, N.Y.)  Search this
Harriet Hanley Gallery (Minneapolis, Minn.)  Search this
Topic:
Painters  Search this
Motion pictures (visual works)  Search this
Painting, Modern  Search this
Etchers  Search this
Illustrated letters  Search this
Photographs  Search this
Expressionism (Art)  Search this
Sketchbooks  Search this
Watercolorists  Search this
Sketches  Search this
Record number:
(DSI-AAA_CollID)9089
(DSI-AAA_SIRISBib)211282
AAA_collcode_nordbror
Theme:
Sketches & Sketchbooks
Lives of American Artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_211282

Modify Your Search






or


Narrow By