A New York bookseller, Warshaw assembled this collection over nearly fifty years. The Warshaw Collection of Business Americana: Accounting and Bookkeeping forms part of the Warshaw Collection of Business Americana, Subseries 1.1: Subject Categories. The Subject Categories subseries is divided into 470 subject categories based on those created by Mr. Warshaw. These subject categories include topical subjects, types or forms of material, people, organizations, historical events, and other categories. An overview to the entire Warshaw collection is available here: Warshaw Collection of Business Americana
Scope and Contents:
Minimally covers the terminus of the wind-powered (sail) era and more fully documents the peak of the engine (steam) era of commercial cargo and passenger vesselsk, including freight and dockage services, maintenance and provisioning, ferry service, navigation (tug and tow) assistance, plus leisure cruising and touring. There is not a significant amount of material on battle or war ships. Includes both short distance routes such as lakes, rivers, and islets, and longer trans-oceanic crossings.
Documents within the collection consist of handbills, broadsides, leaflets, books, business cards, advertisements, insurance forms, wreck reports, passenger lists, baggage tags, freight manifests, rate cards, correspondence on letterhead stationery, booklets, newspaper clippings, postcards, menus, periodicals, manuals, photographs, engravings, woodcuts, sketches, bills of lading, receipts, catalogues, ledgers, journals, purchase orders, broadsides, brochures, custom forms, schedules, shipping and receiving documents, early steam guides, timetables, lithographs, announcements, etc. There are no navigational nautical maps. There is very little in the way of international import/export records. However, domestic and North American freight services are well-covered through invoices, bills of lading, manifests, and receipts for goods and services.
Some materials cover the history and development of steamships, particularly in the latter half of the nineteenth century with the iron screw replacing the wooden paddle steamer in the 1850s. The late 1860s brought the compound engine, which led to the steamship, previously used for the conveyance of mails and passengers, to compete with the sailing vessel in the carriage of cargo for long voyages. The 1870s brought improvements in accommodation for the passenger, with the midship saloon, conveniences in state-rooms, and covered access to smoke rooms and ladies cabins.
Ownership of specific lines and vessels was very fluid throughout shipping history, including the renaming of vessels. Mergers, dissolution, and absorption of fleets were frequent. Thus, researchers should independently seek out a more detailed history for any entity of particular interest.
The general maritime business series focuses on good and services related to maritime operations such as repair, shipbuilding, parts, ticket agents, chandlers, groceries, coal supply, dockage, wharfs/marinas, etc.
Operation records of named vessels contains primarily bills of lading and similar receipts for the movement of material goods or in-water services such as tow and tug assistance.
The largest series covering shipping lines and conglomerates offers a wide assortment of miscellaneous, nonexhaustive operation records for cargo and passenger lines and corporations, typically those with multiple holdings. These documents may include receipts, bills of lading, correspondence, and financial ledgers, plus promotional material for services and routes offered. Passenger sailings and luxury cruise documentation may contain menus, passenger lists, itineraries, shore excursion information, souveniers such as luggage tags, ticket stubs, and postcards. See also the subject category Menus, for additional examples of passenger and cruise ship menus.
When not associated with any of the above, general examples of materials related to the industry have been by arranged by their material type such as images, reports, and serial publications. More formal documentation, especially legal and reports, can be found here.
Narrative type materials related to lore, history, and building and design specifications have been sorted by subject. A scarce amount of material covers ships used for military service. Likewise, there are a few examples of maritime related material from the art world, mostly in the form of catalogues for exhibits or auction of paintings and scale models.
A note on vessel names: those used as contract carriers of mail and when in service, were entitled to unique prefix designations such as Royal Mail Ship (RMS.), otherwise, the ship name may be preceded by the more generic S.S. for single-screw steamer or steamship, SV for sailing vessel, PS for paddle steamer, RV for research vessel or similar type prefix. USS is the standard for the United States Navy commissioned ships while in commission, with HMS used for His/Her Majesty's Ship of the British Royal Navy.
Some of the major lines/companies represented in the collection include: American Line, American Steamship Company, Anchor Line, Compagnie Générale Transatlantique, Cunard-Anchor Line, Cunard Line, Cunard Steam Ship Company, Limited, Cunard White Star Line, Eastern Steamship Lines, Furness, Withy & Company, Hamburg American Line (HAPAG) / Hamburg Amerika Linie, Holland America Line (N.A.S.M. / HAL), Inman Line, International Mercantile Marine Company (IMM), International Navigation Company, North German Lloyd (Norddeutscher Lloyd Bremen), Panama Pacific Line, Peninsular and Oriental, Red Star Line, Royal Mail Steam Packet, U.S. Mail Steamship Company, United States Lines, White Star Line.
Arrangement:
Ships, Boats, and Vessels is arranged in three subseries.
Business Records and Marketing Material
General Maritime Businesses
Operation Records of Named Vessels
Shipping Lines/Conglomerates
Miscellaneous Business Records and Marketing Material
Genre
Keepsakes
Images
Ledger
Legal
News Clippings
Regulatory
Reports
Serial Publications
Stamps/Cigarette Cards
Associations and Societies
Images, Artwork, Racing, Technical Literature
Subject
Battleships, Warships
Destination Guides
Employment and Licensing
Insurance
Maritime History
Maritime Models and Art
Revue Generale Des Sciences
Warshaw Administrative Records
Related Materials:
Several other Warshaw Subject Categories may have closely related material such as Submarines and Transportation. For casual and recreational boating see Boats and Boating Equipment and Yachts. Other subject categories that may have related materials include: Canals, Dredging, Engines, Menus, Railroads (point of common transportation transfer), and Tours. .
Forms Part Of:
Forms part of the Warshaw Collection of Business Americana.
Missing Title
Series 1: Business Ephemera
Series 2: Other Collection Divisions
Series 3: Isadore Warshaw Personal Papers
Series 4: Photographic Reference Material
Provenance:
Steamboats [Ships, Boats, and Vessels] is a portion of the Business Ephemera Series of the Warshaw Collection of Business Americana, Accession AC0060 purchased from Isadore Warshaw in 1967. Warshaw continued to accumulate similar material until his death, which was donated in 1971 by his widow, Augusta. For a period after acquisition, related materials from other sources (of mixed provenance) were added to the collection so there may be content produced or published after Warshaw's death in 1969. This practice has since ceased.
Restrictions:
Collection is open for research. Some items may be restricted due to fragile condition.
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.
Warshaw Collection of Business Americana Subject Categories: Ships, Boats, and Vessels, Archives Center, National Museum of American History, Smithsonian Institution
Sponsor:
Funding for partial processing of the collection was supported by a grant from the Smithsonian Institution's Collections Care and Preservation Fund (CCPF).
Permission to publish, quote, or reproduce must be secured from the repository.
Collection Citation:
Charles Lang Freer Papers. FSA A.01. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C. Gift of the estate of Charles Lang Freer.
Permission to publish, quote, or reproduce must be secured from the repository.
Collection Citation:
Charles Lang Freer Papers. FSA A.01. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C. Gift of the estate of Charles Lang Freer.
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974. Archives of American Art, Smithsonian Institution.
Sponsor:
Processing of the collection was funded by the Getty Grant Program; digitization of the collection was funded by the Samuel H. Kress Foundation and the Terra Foundation for American Art. Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee.
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:
Benjamin O. Davis, Jr. Collection, Acc. 1992.0023, National Air and Space Museum, Smithsonian Institution.
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:
Lee Ya-Ching Papers, NASM.2008.0009, National Air and Space Museum, Smithsonian Institution.
The Paul Singer papers measure 23 linear feet and date from circa 1880s to 1997. Materials include biographical documents, correspondence, writings and notes, exhibition and symposium files, travel files, personal art collection records, personal business records, printed material, artwork, artifacts, and photographs.
Scope and Contents:
The Paul Singer papers measure 23 linear feet and date from circa 1880s to 1997. Materials include biographical documents, correspondence, writings and notes, exhibition and symposium files, travel files, personal art collection records, personal business records, printed material, artwork, artifacts, and photographs.
Biographical materials document Paul Singer's life in Vienna, Austria and in the United States. Scattered biographical documentation concerning Singer's wife, Eva Geyer, is also included. Correspondence files show the many relationships Singer maintained with art auctions and art dealers, Asian art colleagues, and various museums and universities in an effort to continuously expand and exhibit his collection. Topics also include requests for loans and viewings of Singer's art collection; consultations about other art objects; auction and sales offers; and his unpublished collection catalog project. Writings and notes include drafts of articles, essays, Singer's memoirs, and Singer's unpublished collection catalog drafts. As reflected within exhibition and symposium files, items from Singer's collection were included in several exhibitions over the years, many at the Asia House Gallery and China Institute of America, and a symposium held in his honor at the Arthur M. Sackler Gallery in 1990, "New Perspectives on Chu Culture during the Eastern Zhou Period." The papers also include various materials documenting Singer's international travels, especially to China from 1979 onward.
Personal art collection records document various Singer collection purchases and sales and include invoices, receipts, shipping documents, appraisal and laboratory testing results, scattered loan agreements, and Arthur M. Sackler Foundation and Purchase Fund documentation. Personal business records include Singer's personal financial files, legal files, and estate papers. Also found within the papers are printed materials, a sketchbook and sketches by others, two picture frames, and a bronze bust of Paul Singer by David Cregeen. Personal photographs depict Paul Singer and his friends and family through snapshots, portraits, vintage photographs, and one album, and primarily document Singer's life in Austria. Also included are images of Singer's apartment showing his collection as a whole, as well as various social events. Photographs of works of art, both within Singer's collection and from other sources, constitute the bulk of the photographs found within the papers and include four photograph albums. However, researchers should note that prints, slides, and negatives of works of art are as yet largely unsorted.
Arrangement:
The collection is arranged as 11 series.
Series 1: Biographical Material, 1911-1996, undated [0.7 linear feet; Boxes 1-2, 28, OV29]
Series 2: Correspondence, 1906-1996 [2.5 linear feet; Boxes 2-8]
Series 3: Writings and Notes, circa 1950s-circa 1990s [2.0 linear feet; Boxes 8-13]
Series 4: Exhibition and Symposium Files, 1957-1990 [0.7 linear feet; Boxes 13-15]
Series 5: Travel Files, circa 1960s-circa 1991 [0.2 linear feet; Box 15]
Series 6: Personal Art Collection Records, 1951-circa 1996 [1.9 linear feet; Boxes 16-20]
Series 7: Personal Business Records, 1948-1997 [0.9 linear feet; Boxes 20-23]
Series 8: Printed Material, circa 1900-1996 [0.9 linear feet; Boxes 23-24, 28]
Series 9: Artwork, circa 1950s [0.1 linear feet; Boxes 24, 28]
Series 10: Artifacts, circa 1970s-circa 1980s, undated [1.1 linear feet; Box 24, Bust]
Series 11: Photographs, circa 1880s-circa 1990s [12 linear feet; Boxes 24-27, 30-40]
Biographical / Historical:
Paul Singer (1904-1997) was a collector of Chinese art and neuropsychiatrist active in New York.
Born in Pressburg, Hungary in 1904, Singer grew up in Vienna, Austria where he studied medicine and developed his lifelong interest in Chinese art. He began his studies in 1921 at the Realgymnasium in Vienna, becoming a neuropsychiatrist in 1929 at the University of Vienna. He and his wife, actress Eva Geyer (1907-1975), fled Austria in 1938. After staying briefly in London, they arrived in New York in 1939 where Singer frequented art dealer shops, such as C. T. Loo and Ralph Chait, auction houses, and thrift stores. Singer met Arthur M. Sackler (1913-1987) at a Sotheby's auction in 1957. After Singer's wife's death in 1975, Sackler and Singer entered an agreement whereby Sackler would pay to support Singer's collecting and Singer's collection would go to Sackler upon his death.
Galleries and museums around the country displayed works from Singer's collection, and in 1965, Singer and Max Loehr (1903-1988) co-curated Relics of Ancient China (1965) at Asia House Gallery in New York. The Chinese Institute in New York held several exhibitions showing pieces from his collection, two of which included: Early Chinese Gold and Silver (1971) and Early Chinese Miniatures (1977), for which he wrote the catalogs. In honor of Singer's eighty-fifth birthday in April 1990, the Arthur M. Sackler Gallery held a symposium, "New Perspectives on Chu Culture during the Eastern Zhou Period," displaying a select number of objects from his collection and dedicating the published volume of presented papers to Paul Singer. In addition to curating and collecting, Singer also published scholarly articles on Chinese art in journals such as Archives of Asian Art and Oriental Art, and was senior consultant to the Far Eastern Department at the Metropolitan Museum of Art.
Max Loehr (1903-1988) began constructing a comprehensive catalog of Paul Singer's collection in 1965, sending entries to Singer as he and his colleagues completed them. After Loehr's death, Thomas Lawton (1931- ) took over much of the Singer collection catalog project, hoping for completion in time for the Symposium in 1990, but the catalog was never published.
Paul Singer died in New Providence, New Jersey in 1997.
Provenance:
Donations received in part from Dr. Paul Singer in 1991 and after his death in 1997, and from the executrix of his estate, Ms. Margit Elsohn, in 2000.
Restrictions:
Collection is open for research.
Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
William John Eck: First Pan American Airlines Transatlantic Flight Scrapbook
Extent:
0.33 Cubic feet (1 scrapbook)
Type:
Collection descriptions
Archival materials
Place:
Azores
New York, New York
Date:
June 12, 1939, through April 22, 1940
bulk June 28, 1939, through July 4, 1939
Summary:
This collection consists of a scrapbook, "To Europe By Air," assembled by railroad executive William J. Eck to document his trip June 28 to July 4, 1939, on Pan American Airways' (PAA) first transatlantic passenger flight on the Boeing Model 314 Clipper "Dixie Clipper" flying boat and containing information on its crew, passengers, and ports of call.
Scope and Contents:
This collection consists of a scrapbook, "To Europe By Air," assembled by William J. Eck to document his trip on Pan American Airways' (PAA) first transatlantic passenger flight, and containing information on the Boeing Model 314 Clipper "Dixie Clipper" (r/n NC-18605) flying boat and its crew, passengers, and ports of call. The scrapbook is particularly rich in ephemera, with many illustrations trimmed from brochures used to embellish the black paper album pages. Contents include ephemera from the Pennsylvania Railroad (on which Eck started and ended his trip from his home in Washington, D. C.), Pan American Airways (PAA), Air France, Hotel Aviz (Lisbon), Splendide Hotel (Marseille), Hotel Plaza-Athenée (Paris), and various tourist sites; photographs; telegrams; greeting cards; maps; menus; post cards; postage stamps; a first day cover; newspaper clippings (predominantly in English, but also in Portuguese and French); PAA receipts and press releases; copy photographs of Eck's PAA tickets, ticket folder, and baggage claim check; photographs of commemorative cigarette cases presented to Eck and PAA pilot R. O. D. Sullivan; and clippings and ephemera relating fellow passengers' stories: Russell Sabor, James McVittie (who continued on to Chicago immediately after landing in New York on the return trip), Gwladys Whitney (Mrs. Cornelius Vanderbilt Whitney), Anne Lyon Haight (Mrs. Sherman Post Haight, who also flew aboard the Clipper that inaugurated the mail route between North and South America in 1931). Also included is a transcript of interviews with the passengers recorded on board the "Dixie Clipper" during the eastbound flight: Russell Sabor, William J. Eck, Mrs. Sherman Haight, Captain Torkild Rieber, Clara Adams, C. V. Whitney, Mrs. Juan Trippe, Mr. and Mrs. Graham B. Grosvenor, Mr. and Mrs. E. O. McDonnell, Roger Lapham, James McVittie, and Louis Gimbel; and on the westbound flight: J. Carroll Cone (Manager of the Atlantic Division of Pan American Airways Company).
Arrangement:
The scrapbook is arranged chronologically.
Biographical / Historical:
William John Eck (1876-1957) graduated from Iowa State University in 1895 with a degree in electrical engineering and went to work in the telephone industry. In 1898, at the outbreak of the Spanish-American War, Eck joined the United States Army and was sent to the Philippines; after a year Eck transferred to the U.S. Quartermaster Department and spent his next three years at sea, eventually making a trip around the world. After leaving the Army, Eck switched to the railroad business, joining the Southern Railway in 1905. Over time, travel—particularly air travel—became a serious hobby for Eck, and by the early 1930s, he had become a pioneer passenger on several early airline routes. In 1931, after chatting to Pan American Airways (PAA) pilots on a flight to Santiago, Chile, Eck contacted PAA to apply for a ticket on PAA's first transatlantic passenger flight, whenever that might occur. Eight years later, Eck was delighted to be contacted by PAA with the news that he had been designated Passenger No. 1 on the historic flight, departing Port Washington, New York, on Wednesday, June 28, 1939, aboard the Boeing Model 314 "Dixie Clipper." The flight, carrying 22 passengers, was made via Horta, Azores, with an overnight stay at Lisbon, Portugal, on June 29, finishing at Marseille, France, on June 30. Eck continued on to Paris via a land-based Air France flight. Eck and many of the outbound passengers were also on the return flight of the "Dixie Clipper," departing Marseilles on Sunday, July 2, and following the same route to return to New York on Tuesday, July 4, 1939. At the time of the flight Eck, a resident of Washington, D. C., was Assistant to the Vice President, Southern Railway Company. The newspapers noted that Eck, a widower who had recently married his second wife, Emily Magdalene Kleb, three months earlier on March 20, 1939, was unable to take her along on the flight as he had only the single ticket bought well before their marriage.
Provenance:
Unknown gift, circa 1940-1967.
Restrictions:
No restrictions on access
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.
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:
United States Women in Aviation 1940-1985 Research Materials, NASM.1995.0062, National Air and Space Museum, Smithsonian Institution.
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:
Captain Michael Gitt Papers, Acc. NASM.2003.0033, National Air and Space Museum, Smithsonian Institution.
This series consists of the business and personal correspondence of Edith Gregor Halpert and the Downtown Gallery. For the most part, this series is general business correspondence concerning routine activities of the Downtown Gallery, including the American Folk Art Gallery and the Daylight Gallery, both operated by the Downtown Gallery on the same premises. Included are correspondence with clients, employees, other galleries, and colleagues concerning sales, loans, purchases, appraisals, and so forth; arrangements for shipping, framing, photography, reproduction permissions, and insurance; and gallery housekeeping and improvements, ordering of supplies, and other administrative concerns.
Also included is personal correspondence of Edith Gregor Halpert. There are letters and greeting cards from nieces, nephews, and other relatives; correspondence with longtime friends, including some who were art collectors, museum curators, or museum directors; and correspondence concerning upkeep and improvement of her Newtown, Connecticut, country home and entertaining there.
See Appendix A for a list of selected correspondents from Series 1
Arrangement note:
Letters (with enclosures) are arranged chronologically, with those of the same date alphabetized by name of correspondent; undated material is arranged alphabetically, followed by unidentified correspondents and letters bearing illegible signatures.
Box numbers provided in the Container Listing are approximate.
Appendix A: List of Selected Correspondents in Series 1:
Names and titles indicated in this list are those that appear on the letters. Where appropriate, terms have been standardized and cross-referencing provided. Because filing is not always consistent, researchers are advised to check both the name of an individual and the institution that he or she represented.
Abate Associates, Inc., 1956
Abbot and Land, 1965
Abbot, B. Vincent, 1944
Abbot, Bernice, 1957
Abbot, John E., 1945, 1948
Abbot Laboratories, 1950, 1952
ABC Employment Agency, 1951
Richard Abel and Co., Inc., 1968
Abendroth, Robert W., 1966-1967
Abercrombie and Fitch Co., 1962
Abilene Museum of Fine Arts, undated, 1949, 1954
Abingdon Square Painters, 1965
Abraham and Straus, 1930, 1960, 1965-1966, 1968
Abraham, Mae C., 1965
Abrahamsen, Mrs. David, 1962
Abramowitz, M., 1958
Harry N. Abrams, Inc., 1958-1960, 1965-1966, 1968-1969
"HemisFair '68," 1968 (see also: "International Exposition, HemisFair '68")
Hemmenway, Catherine C., 1961
Hemmingsen, R. V., 1963
Hemmingson, Victoria, 1965
Henderson, Hanford, 1960
Henderson, Priscilla A. B. (Mrs. A. I.), 1934-1955
Henderson, Ray, 1956
Hendrick, Mrs. James Pomeroy, 1961
Heninger, Helen, undated, 1963, 1969
Henquet, Roger, 1948, 1965
Henri, Robert, 1926-1927
Henry, David T., 1964
Henry, Helen (Mrs. Charles), undated, 1949
Henry, James F., 1958
Henry Street Settlement, 1958, 1962-1963
Hentschel, R. A. A., 1951-1954
Hepburn, Katharine, 1952
Herbert, Elmer, 1962
Herbert, James D., 1962
Herider, Ed. L., 1961
Heritage Gallery, 1960, 1964
Herman, Stanley, 1964
Herman, Vic, 1968
Herring, Audrey L., 1964
Herrington, Nell Ray (Mrs. A. W. S.), 1962, 1965
John Herron Art Institute, undated, 1934, 1949, 1951, 1953, 1957-1958, 1962-1964, 1967 (see also: Art Association of Indianapolis; Art School of the John Herron Art Institute)
Hertslet, G. Gordon, 1962, 1966
Hertz, Richard C., 1965
Hertzberg, Stuart E., 1967-1968
Heschel, Mrs. Abraham, 1961
Hess, Elaine Marie, 1965
Hess, Mrs. Thomas B., 1954
Hetzel, Margaret deL. (Mrs. Joseph L.), 1948
Hewitt, Ada M., 1953
Edwin Hewitt Gallery, 1953
Heydenryk, Henry, 1954, 1960, 1964
Heynick, Carla Marian, 1965
Hickok, M., 1958
Hiddens, Mrs. Earl, 1952
Hiersoux, Arne, 1966
Hi Fi/Stereo Review, 1960
High Museum of Art, 1950, 1955, 1961-1962, 1965-1968 (see also: Atlanta Art Association; Atlanta Art Association and High Museum of Art)
Highway Antique Shop, 1954
R. Hill and Son, Ltd., 1960
Hill, Ralph Nading, 1952, 1962
Hille, Elise B., undated
Hille and Curran, 1954
Hilleman, Alex L., 1956
Hiller, Paula, 1962
Hilles, Mrs. Frederick W., 1956
Hillman, Mrs. Joel, II., 1960
Hillside Hospital Clinic, 1949, 1953
Hillstrom, Richard L., 1958, 1962, 1964-1965
Hilltop Theatre, Incorporated, 1952
Hilsenrath, Yakov R., 1965
Hilson, Catherine [Katy] and/or John S., undated, 1958-1959, 1961-1966
Himel, Irving, 1963
Himmelsfarb, Samuel, 1955
Hines, Felrath, 1961
Hinkhouse, Inc., 1960, 1964
Hirsch, B., 1961
Hirsch, E. W., 1954
Hirschberg, J. Cotter, 1956
Hirschl and Adler Galleries, Inc., 1958, 1960, 1963-1965, 1968
Hirschland, Dr. and/or Mrs. F. H., undated, 1959
Hirschland, Paul Michael, 1945
Hirschburg, Mrs. Roy, undated
S. A. Hirsh Manufacturing Co., 1966
Hirshberg, Henrietta, 1961
Hirshhorn, Mrs. Arthur, 1960
Hirshhorn, Joseph H., 1946, 1948, 1951-1954, 1956, 1960, 1963, 1965
Joseph H. Hirshhorn Collection, 1959-1960, 1962-1963, 1965-1966
[incomplete; without signature], undated, 1953, 1961, 1967, 1968
Collection Restrictions:
The microfilm of this collection has been digitized and is available online via the Archives of American Art website.
Collection Rights:
The Downtown Gallery records are owned by the Archives of American Art, Smithsonian Institution. Rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws. Prior to publishing information regarding sales transactions, researchers are responsible for obtaining written permission from both artist and purchaser involved. If it cannot be established after a reasonable search whether an artist or purchaser is living, it can be assumed that the information may be published sixty years after the date of sale.
Collection Citation:
Downtown Gallery records, 1824-1974, bulk 1926-1969. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing, microfilming and digitization of the microfilm of this collection was provided by the Henry Luce Foundation. Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee.