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Tibor de Nagy Gallery records

Creator:
Tibor de Nagy Gallery  Search this
Names:
Art Dealers Association of America  Search this
Art in America  Search this
Hirshhorn Museum and Sculpture Garden  Search this
Museum of Modern Art (New York, N.Y.)  Search this
National Institute of Arts and Letters (U.S.)  Search this
United States Information Agency  Search this
Castoro, Rosemarie  Search this
Ciarrocchi, Ray, 1933-  Search this
De Nagy, Tibor, 1908-1993  Search this
Goodnough, Robert, 1917-  Search this
Gregor, Harold, 1929-  Search this
Grooms, Red  Search this
Hirsch, Pauli  Search this
Kozloff, Joyce  Search this
Onassis, Jacqueline Kennedy, 1929-1994  Search this
Penney, Charles Rand, 1923-2010  Search this
Reginato, Peter, 1945-  Search this
Robbin, Tony  Search this
Rockefeller, Nelson A. (Nelson Aldrich), 1908-1979  Search this
Rose, Leatrice  Search this
Witteman-Widrig, Nancy  Search this
Extent:
43.9 Linear feet
3.26 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Photographs
Date:
1941-2016
Summary:
The records of the New York Tibor de Nagy Gallery measure 43.9 linear feet and date from 1941-2016. The records document the activities of the gallery through business records and correspondence, exhibition files, artist files, financial and legal records, inventory records, and a small amount of records of the Houston Branch.
Scope and Contents:
The records of the New York Tibor de Nagy Gallery measure 43.9 linear feet and date from 1941-2016. The records document the activities of the gallery through business records and correspondence, exhibition files, artist files, financial and legal records, inventory records, a small amount of records of the Houston Branch, and exhibition announcements.

Business records include correspondence and administrative files. Business correspondence is with clients, curators, galleries, museums, colleges and universities, organizations, and publications, such as the Museum of Modern Art, Art Dealers Association, National Institute of Arts and Letters, United States Information Agency, The Hirshhorn Museum, Art News, Art in America, Pauli Hirsch, Jacqueline Kennedy, Charles Penney, Nelson Rockefeller, and many others. Correspondence concerns sales, purchases, shipping, loans, general exhibitions, publicity, events, publications and publishing, and other topics. Additional documents found within the correspondence files are purchase invoices, inquiries, shipping receipts, and photographs. Correspondence with artists is found in the Artist Files series. Administrative files concern day-to-day operations and include leases and construction documents, incorporation, insurance, art appraisals, art framing, and other general business affairs.

Exhibition files document many exhibitions held at the Gallery and include clippings and research materials, exhibition catalogs, exhibit and gallery plans, correspondence, and photographs, some in digital form. Some loan agreements and shipping receipts are also included.

Artist files document business affairs with individual artists and also contain collected information on artists. Typically, there are several files on each artist which may include printed materials, biographies, consignments, loans documentation, sales documentation, correspondence, photographic material, publicity, and reviews. Artists well represented among these files include Rosemarie Castoro, Ray Ciarrocchi, Robert Goodnough, Harold Gregor, Red Grooms (including a transcript of "A Conversation with Marison and Red Grooms"), Joyce Kozloff, Peter Reginato, Tony Robbin, Leatrice Rose, and Nancy Witteman-Widrig.

Financial records include incomplete runs of billing statements, expenses and cash disbursements, paid and unpaid invoices, and sales and shipping receipts. Inventory records consist primarily of index cards and/or sheets that document stock, consignments, loans, sales, and shipping.

A relatively small amount of Houston branch records include announcements, clippings, correspondence, financial information including consignments, income, invoices, and statements, photographs, publicity materials and a research file on Houston art museums.

Exhibition announcements promote the gallery's exhibitions for artists including Joe Brainard, Shirley Jaffe, Fairfield Porter, Rosemarie Castoro, Alfred Leslie, and many others.
Arrangement:
The Tibor de Nagy Gallery records are arranged into seven series.

Missing Title

Series 1: Business Records and Correpondence, 1950-1993 (10 linear feet; Boxes 1-10)

Series 2: Exhibition Files, 1941-1992 (2 linear feet; Boxes 11-12)

Series 3: Artist Files, 1956-1993 (18.6 linear feet; Boxes 13-31, 46)

Series 4: Financial and Legal Records, 1951-1984 (3.5 linear feet; Boxes 31-34)

Series 5: Inventory Records, 1952-1989 (9 linear feet; Boxes 34-43)

Series 6: Houston Branch Records, 1969-1984 (1.2 linear feet; Boxes 43-45)

Series 7: Exhibition Announcements, 1953-2016 (0.8 linear feet; Boxes 47-48)
Biographical / Historical:
One of the earliest modern art galleries in New York, Tibor de Nagy Gallery was founded in 1950 by Tibor de Nagy and John Bernard Myers. Initially the gallery featured the work of second generation Abstract Expressionists and continues to operate today with a focus on the Post War second generation New York School.

John B. Myers served as the gallery's first director and De Nagy was the business manager while continuing to work in the banking business. Early on, the gallery introduced and promoted second generation Abstract Expressionists such as Grace Hartigan and Alfred Leslie. The gallery quickly earned a reputation for promoting the work of emerging artists, including Carl Andre, Helen Frankenthaler, Jane Freilicher, Red Grooms, Fairfield Porter, and Larry Rivers, among others, giving many of them their first solo shows.

Later the gallery gained a reputation as a space for collaborative artistic ventures and organized exhibitions that combined visual imagery and poetry by several New York School poets. The gallery also published books by poets John Ashbery, Frank O'Hara, and James Schuyler, as well as a poetry newsletter entitled Semi-Colon.

In 1973 de Nagy teamed with Marvin Watson to open the Watson/deNagy Gallery in Houston, which closed in 1983. Tibor de Nagy retired from banking in 1970 and continued running the gallery until he died in 1993. The Tibor de Nagy gallery continues operating today at 724 Fifth Avenue under the direction of Andrew Arnot and Eric Brown. It also works with a number of estates, including those of Joe Brainard, Rudy Burckhardt, Donald Evans, and Jess.
Related Materials:
Among the holdings of the Archives of American Art are an oral history interview with Tibor de Nagy, March 29, 1976 conducted by Paul Cummings; the John Bernard Myers papers (which do not contain documentation of his work at the gallery); and the Watson/de Nagy Houston gallery records available only on microfilm, a small portion of which may also be duplicated in the original records described in this finding aid.
Provenance:
The records were donated by Tibor de Nagy Gallery in multiple accessions between 1993-1996 and in 2018. Additional material about the exhibition, Digital Explorations: Emerging Visions in art, 1988, donated in 2020 by one of the exhibition curators, Ligia Ercius-DiPaola.
Restrictions:
Use of original papers requires an appointment and is limited to the Washington, D.C. research facility. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Topic:
Art, Modern  Search this
Function:
Art galleries, Commercial -- New York (State)
Art galleries, Commercial -- Texas
Genre/Form:
Photographs
Citation:
Tibor de Nagy Gallery records, 1941-1993. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.tibode
See more items in:
Tibor de Nagy Gallery records
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw946ac8606-480f-4fee-ae39-03f1093720dc
EDAN-URL:
ead_collection:sova-aaa-tibode
Online Media:

Lee Nordness business records and papers

Creator:
Nordness, Lee  Search this
Names:
American Art Expositions (New York, N.Y.)  Search this
Cooper-Hewitt Museum  Search this
Forms and Objects (Firm)  Search this
Johnson Wax  Search this
Lee Nordness Galleries  Search this
Little Studio  Search this
Metromedia, Inc.  Search this
Nordness Gallery  Search this
Talent Discovery Company  Search this
Aronson, David, 1923-2015  Search this
Blaustein, Al H., 1924-2004  Search this
Collie, Alberto  Search this
Crawford, Ralston, 1906-1978  Search this
D'Arista, Robert, 1929-  Search this
Gibran, Kahlil, 1922-  Search this
Gikow, Ruth, 1915-1982  Search this
Grippe, Peter, 1912-  Search this
Guglielmi, Louis, 1906-1956  Search this
Hebald, Milton  Search this
Kachadoorian, Zubel, 1924-  Search this
Kearns, James  Search this
Lebrun, Rico, 1900-1964  Search this
Levi, Julian E. (Julian Edwin), 1900-1982  Search this
Meigs, Walter, 1918-1988  Search this
Prestopino, Gregorio  Search this
Williams, Hiram  Search this
Zerbe, Karl, 1903-1972  Search this
Extent:
117.5 Linear feet (Boxes 1-121)
Type:
Collection descriptions
Archival materials
Scrapbooks
Photographs
Date:
circa 1931-1992
bulk 1954-1984
Summary:
The Lee Nordness business records and papers measure 117.5 linear feet and date from circa 1931 to 1992 with the bulk of materials dating from 1954 to 1984. The records document seven New York City art-related companies with which Nordness was involved: Talent Discovery Company, The Little Studio, Ltd., American Art Expositions, Inc., Nordness Gallery, Inc., Lee Nordness Galleries Art Advisory Section, Inc., Lee Nordness Galleries Exhibition Section, Inc., and Forms & Objects, Inc. Records include correspondence, artist's files, business and legal records, inventories, financial and sales records, printed materials, scrapbooks, and photographic materials. Also found is a small group of personal papers.
Scope and Contents:
The Lee Nordness business records and papers measure 117.5 linear feet and date from circa 1931 to 1992 with the bulk of materials dating from 1954 to 1984. The records document seven New York City art-related companies with which Nordness was involved: Talent Discovery Company, The Little Studio, Ltd., American Art Expositions, Inc., Nordness Gallery, Inc., Lee Nordness Galleries Art Advisory Section, Inc., Lee Nordness Galleries Exhibition Section, Inc., and Forms & Objects, Inc. Records include correspondence, artist's files, business and legal records, inventories, financial and sales records, printed materials, scrapbooks, and photographic materials. Also found is a small group of personal papers.

More than half of the collection documents Lee Nordness' primary businesses, Nordness Gallery, Inc. and Lee Nordness Galleries Art Advisory Section, Inc. Business correspondence, artist's files, extensive project files, business and legal records, financial and sales records, inventories, printed materials, scrapbooks, and photographic materials reveal Nordness' role as an art dealer of contemporary American artwork and art consultant to companies and organizations. The records document his ability to adapt to changing external markets as well as his own interests, from dealing primarily in paintings and sculpture to promoting American fine crafts. Artists from Nordness' permanent roster are represented, including David Aronson, Al Blaustein, Alberto Collie, Ralston Crawford, Robert D'Arista, Kahlil Gibran, Ruth Gikow, Peter Grippe, Louis Guglielmi, Milton Hebald, Zubel Kachadoorian, James Kearns, Rico Lebrun, Julian Levi, Walter Meigs, Gregorio Prestopino, Hiram Williams, and Karl Zerbe. Companies and organizations represented include S.C. Johnson & Son, Co., Metromedia, and Cooper-Hewitt, National Museum of Design. Because materials from Nordness Gallery, Inc. and Art Advisory Section were often interfiled and related, the records were not separated into different series.

The records of Lee Nordness Galleries Exhibition Section, Inc. document the exhibition and sale of artwork through correspondence, artist's files, business records, financial and sales records, and scrapbooks for artists and exhibition seasons. Forms & Objects, Inc. contains correspondence, lecture notes, public relations files, business records, financial and sales records, scrapbooks and photographic materials related to American fine crafts.

The organization and press surrounding the monumental exhibitions Art:USA:58 and Art:USA:59 are illustrated in the correspondence, banking records, founding documents, newspaper clippings, paid bill receipts, and sales invoices of the American Art Expositions, Inc. records. Photographs of the Art:USA:59 artists taken by Fred Darrah are also found here.

The bulk of the records of The Little Studio, Inc. are financial records and sales invoices. Lee Nordness' involvement in the gallery is also documented through correspondence and business records. The records of Talent Discovery Company are primarily financial, including banking records, receipts, and tax records. Also found are shipping records, correspondence, and inventory cards.

There are few personal papers of Lee Nordness, the bulk of which are related to his involvement with his tenant cooperative. Also found is scattered correspondence, a scrapbook, and travel documents.

Records for the various companies were co-mingled upon accession. AAA has attempted to place papers in Nordness' original order based on discussions with Nordness and evidence from the records. However, researchers should note there is significant interfiling of the companies' records throughout the collection, especially scrapbooks and photographs. Researchers are strongly encouraged to use dates and keywords to help discover related materials throughout all series.

Abbreviations were often written by the gallery in the upper left-hand corner of a document to indicate to which company the record should be filed. Abbreviations used include: Nordness Gallery, "NG" or "LN"; Art Advisory Section, "AA" or "LN"; Exhibition Section, "ES" or "E/S"; Forms & Objects, "F/O"; American Art Expositions, "AAE"; The Little Studio, "TLS"; and, Talent Discovery Company, "TDC."
Arrangement:
The collection is arranged as 7 series:

Missing Title

Series 1: Nordness Gallery, Inc. and Lee Nordness Galleries Art Advisory Section, Inc., circa 1938-1992, bulk 1958-1982 (67.8 linear feet; Boxes 1-67, 117-119)

Series 2: Lee Nordness Galleries Exhibition Section, Inc., 1938-1985 (25.5 linear feet; Boxes 68-93, 120, FC 122)

Series 3: Forms & Objects, Inc., circa 1931, circa 1959-1984 (13.5 linear feet; Boxes 93-106, 120)

Series 4: American Art Expositions, Inc., 1955-1968 (1.4 linear feet; Boxes 106-107)

Series 5: The Little Studio, Inc., 1947-1969 (7.7 linear feet; Boxes 108-115, 121)

Series 6: Talent Discovery Company, 1953-1957 (0.9 linear feet; Boxes 115-116, 121)

Series 7: Personal Papers of Lee Nordness, 1948-1976 (0.7 linear feet; Box 116)
Biographical / Historical:
New York City gallerist and entrepreneur Lee Nordness (1922-1995) was born in Olympia, Washington. He studied art in college and received a bachelor's degree from Uppsala University in Sweden. From 1954-1956, Nordness ran a small gallery, Talent Discovery Company, out of his apartment in New York City. Around 1955, Nordness became the director of The Little Studio, Ltd., a gallery started by Richard Kollmer in 1952 to showcase moderately priced artwork by young artists. Nordness took over the business in 1957; it closed in April 1963.

In 1958, Nordness incorporated American Art Expositions, Inc. to organize Art:USA:58, a large exposition of contemporary American art held at Madison Square Garden. The following year Art:USA:59 was held at the New York Coliseum.

Lee Nordness opened his own gallery, Nordness Gallery, Inc., in December 1957 on Madison Avenue. The gallery promoted a roster of contemporary painters and sculptors, including David Aronson, Al Blaustein, Alberto Collie, Ralston Crawford, Robert D'Arista, Kahlil Gibran, Ruth Gikow, Peter Grippe, Milton Hebald, Zubel Kachadoorian, James Kearns, Julian Levi, Walter Meigs, Gregorio Prestopino, Hiram Williams, Karl Zerbe, and the estates of Louis Guglielmi and Rico Lebrun. In 1966, Lee Nordness reorganized his businesses. He closed Nordness Gallery and opened Lee Nordness Art Advisory Section, an art consulting service to corporations, collectors, museums, and individuals, and Lee Nordness Galleries Exhibition Sections, Inc. to handle exhibitions and the sale of paintings and sculptures.

Lee Nordness had an interest in American crafts and, beginning in 1968, he added a permanent roster of American craftmakers to exhibit alongside paintings and sculpture. He opened Forms & Objects, Inc. to handle the exhibition and sales of fine crafts such as ceramics, fiber, glass, metal and wood. With a need for additional exhibition space, the gallery moved a few blocks off Madison Avenue to 236-238 East 75th Street.

Nordness traveled the globe to assemble prominent collections for clients, such as Art:USA, a collection of contemporary works by 102 American artists for S.C. Johnson & Son, Inc. Art:USA traveled throughout the United States and Europe in the mid-late 1960s before being donated to the National Collection of Fine Arts (Smithsonian Institution). In the late 1960s, he assembled a collection of 300 American craft objects for S.C. Johnson & Son, Inc. called Objects:USA, which toured throughout the United States and Europe. This collection was disassembled in the late 1970s, many of the works donated to the Museum of Arts and Design, formerly the Museum of Contemporary Craft.

Nordness closed his New York galleries in the mid-1980s. Soon after, he moved to Belfair, Washington and opened Lee Nordness Galleries, Inc. in 1986. He passed away in 1995 in Washington.
Separated Materials:
Three microfilm reels of material were loaned to the Archives of American Art by Lee Nordness in 1959 regarding American Art Exposition, Inc.'s Art:USA 58 and Art:USA:59. Microfilm includes correspondence, catalogs, visitor lists, press releases, lists of artwork, financial records, and advertising materials and is available on reels NAU1, NAU2 and NAU3.

Later, in 1964 and 1969, Lee Nordness loaned original materials for microfilming compiled by Nordness Gallery about the careers of Gregorio Prestopino, Julian E. Levi, and Lee Gatch, including correspondence, exhibition materials, biographical information, clippings, and photographs. Loaned material is available on reels N69-21 and D169. Original materials were returned to Nordness, but some may have been included in later donations and those originals have been integrated with the other donated records.

The contents of microfilm reels are not described in the container listing of this finding aid.
Provenance:
The Lee Nordness business records and papers were donated to the Archives of American Art in several increments by Lee Nordness in 1976, 1986 and as a bequest in 1996. Original materials were also lent by Nordness in 1964 and 1969 for microfilming, some of which may have been included in subsequent donations.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Art dealers -- New York (State) -- New York  Search this
Genre/Form:
Scrapbooks
Photographs
Citation:
Lee Nordness business records and papers, circa 1931-1992, bulk 1954-1984. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.nordlee
See more items in:
Lee Nordness business records and papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw965a089d3-b459-436d-8468-e7e559fd7043
EDAN-URL:
ead_collection:sova-aaa-nordlee
Online Media:

Oral history interview with Lois A. Bingham, 1981 April 16

Interviewee:
Bingham, Lois A., 1913-1996  Search this
Interviewer:
Pennington, Estill Curtis  Search this
Subject:
Adams, Ansel  Search this
National Collection of Fine Arts (U.S.)  Search this
Type:
Sound recordings
Interviews
Citation:
Quotes and excerpts must be cited as follows: Oral history interview with Lois A. Bingham, 1981 April 16. Archives of American Art, Smithsonian Institution.
Topic:
Women art historians  Search this
Art, American  Search this
Theme:
Women  Search this
Record number:
(DSI-AAA_CollID)11724
(DSI-AAA_SIRISBib)212541
AAA_collcode_bingha81
Theme:
Women
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_212541
Online Media:

Oral history interview with Lois A. Bingham

Interviewee:
Bingham, Lois A.  Search this
Interviewer:
Pennington, Estill Curtis  Search this
Names:
National Collection of Fine Arts (U.S.)  Search this
Adams, Ansel, 1902-1984  Search this
Extent:
36 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1981 April 16
Scope and Contents:
An interview of Lois A. Bingham conducted 1981 April 16, by Estill Curtis "Buck" Pennington, for the Archives of American Art. Topics discussed include her time with the National Collection of Fine Arts; the USIA (United States Information Agency) politics in art; McCarthyism and censorship in art in the 1950s; traveling exhibitions; art transportation and crating; and working with Ansel Adams on a photography exhibition, among other topics.
Biographical / Historical:
Lois A. Bingham (1913-1996) was an art historian from Washington, D.C.
General:
Originally recorded 2 sound tape cassettes. Reformatted in 2010 as 3 digital wav files. Duration is 1 hr., 46 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and others.
Restrictions:
This interview is open for research. Contact Reference Services for more information.
Occupation:
Art historians -- Washington (D.C.)  Search this
Topic:
Women art historians  Search this
Art, American  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.bingha81
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9eedf9aa3-5ae1-4419-835b-41545542e856
EDAN-URL:
ead_collection:sova-aaa-bingha81
Online Media:

Eugene Irving Knez papers

Creator:
Knez, Eugene I. (Eugene Irving), 1916-2010  Search this
Names:
East China Seas Program  Search this
Korean National Museum of Anthropology  Search this
National Folk Museum of Korea  Search this
National Museum of Korea  Search this
Extent:
57.6 Linear feet
Type:
Collection descriptions
Archival materials
Place:
Korea
Tibet
Bhutan
East Asia
Nepal
Date:
circa 1920–2000, With Information Dating Back to 1481
Summary:
The Knez papers include material concerning many aspects of his career up to the time he retired from the Smithsonian. Of particular strength is the documentation of Asian exhibits, both temporary and permanent ones installed during his time at the Institution. There is also considerable material concerning specimens and collections acquired earlier. Material concerning Knez's work as a field researcher, bibliographer, and editor are also among the papers. After his retirement, Knez became involved in a study of Buddhism among the Tibetans living in India. Copies of film made for this study have been deposited in the Human Studies Film Archives. It should be noted that the papers represent only a portion of the Knez papers, for he has retained some of them.
Scope and Contents:
Knez was not a prolific writer. Though his research encompassed East and Southeast Asia, his field expeditions for collections and his charge to establish the first permanent Asian halls while at the Smithsonian limited his scientific writings to documentation required for Smithsonian exhibitions and his ongoing interest in the material culture of Sam Jong Dong and The Three Ministries, located in the Kimhae region of southeast Korea. To overcome Asian language barriers, Knez had to utilize informants, Korean scholars, and translators in order to carry out his research. The materials that he collected or were forwarded to him about Asia, however, represent an impressive body of information that researchers of Southeast Asia would want to review for general studies. Of special importance would be the information about culture around the South China Sea, and especially studies about Korean and Japanese ethnology and anthropology, the pre-colonial and colonial period, the period right after World War II, the Korean War, and changes in Korean agricultural farming life, from the early 1900s through the 1980s. A knowledge of Chinese calligraphy, Korean Hangul, and pre-World War Two Japanese (Taisho and Showa Periods) are required to understand the complete record documenting Korean history.

These papers contain detailed correspondence and memoranda, documenting Knez's professional life as a curator of anthropology at the Smithsonian Institution. Visual images, photographs, slides, videotapes, film, and sound recording as well as research information and correspondence provide a complete record of the exhibitions that Knez established at the Smithsonian. Correspondence, memoranda, and photographs provide a less complete picture of Knez's activities before his appointment as curator. There is a very strong and complete record of his activities while stationed in Korea after World War II and during the Korean War. This material includes correspondence, photographs and film footage. Knez also brought out of Korea photographs that were taken by the Japanese during the colonial period. There is also film footage taken around 1946 on Cheju Island. In addition, there are postcards and photo cards that contain a rich visual image of Korea dating back before the 1920s.

The largest series within these papers contains Knez's material culture research on Korea. This series includes field notes, interviews, transcriptions, correspondence, photographs, publications and translations about Korean history dating back to 1481, Japanese publications and translations regarding anthropomorphic and agricultural studies of Koreans and Korean agricultural life, and Knez's draft publications. There is a large series of photographs and slides documenting Asian art collections as well as Asian cultures. The Knez Papers also includes a phonograph record collection which is not dated and contains Korean and Japanese opera and folk songs. In addition, there is a collection of Confucius teachings, school books, and genealogy written in Chinese calligraphy and Hangul.

The arrangement of these papers and the file folders within the series are not always well ordered. Multiple accessions were transferred to the National Anthropological Archives. Where subject information was the same, folders were filed into existing series developed in the 1970s and 1980s. In similar fashion, individual items that were not within folders were interfiled in existing folders that contained the same information.

The research series (series six), which primarily documents Knez's research activities and information he received or collected on Korea has some provenance. The material was reboxed several times, but there remains segments of information that are completely related. At other times, there is no logical relationship between one group of files and the next. Most of the folders were never dated. Therefore, it is difficult to understand the different periods in Knez's life when he worked on his Korean studies, without going through the entire series. Photographs are not always dated. Only a very small number were used in Knez's 1997 publication (where they are dated), The Modernization of Three Korean villages, 1951-1981 (Smithsonian Institution Press).

Most of the series within these papers contain different aspects of Knez's interest in Asia, and in particular, his focus on Korea. For example, correspondence regarding Knez's activities during his stay in Korea after World War II and during the Korean War will be found in series two, Subject File; photographs documenting the same time period will be found in series six, Research Projects, and series thirteen, Biographical and Autobiographical Material. And, series ten, Motion Picture Film and Sound Recordings, contain visual images of Knez's activities in Korea during 1946, 1950-1951.

Please note that the contents of the collection and the language and terminology used reflect the context and culture of the time of its creation. As an historical document, its contents may be at odds with contemporary views and terminology and considered offensive today. The information within this collection does not reflect the views of the Smithsonian Institution or National Anthropological Archives, but is available in its original form to facilitate research.
Arrangement:
The collection is arranged into fourteen (14) series:

SERIES 1.Accession Correspondence and Information and Examination and Reports of Collections, 1959-1977 and undated, with information dating back to 1893, boxes 1-4

SERIES 2.Subject File, 1937-1999 and undated, with information dating back to 1852, boxes 4-32

SERIES 3.Professional and Non-Professional Association Material, 1955-1980, with information dating back to 1896, boxes 33-36

SERIES 4.Exhibitions, 1960-1977 and undated, with information dating back to 1876, boxes 36-43

SERIES 5.Research Grants, 1963-1981 and undated, with information dating back to 1884, boxes 43-46

SERIES 6.Research Projects, 1909, 1929-2000 and undated, with information dating back to 1481, boxes 47-115

SERIES 7.Geographical and Publications Files, 1929-1977 and undated, boxes 116-139

SERIES 8.Korean and Chinese Writings, boxes 140-141

SERIES 9.Collection and Research Photographs, 1946-1977 and undated, boxes 142-161

SERIES 10.Motion Picture Film and Sound Recordings, 1946-1978 and undated, boxes 162-164

SERIES 11.Phonograph Recordings, 1959- and undated, with recordings possibly dating back to the 1940s, boxes 165-170

SERIES 12.Invitations and Greetings, box 171

SERIES 13.Biographical and Autobiographical Material, Family Photographs, and Notes, circa 1920s-1997 and undated, boxes 172-174

SERIES 14.Oversize, 1952-1971 and undated, box 175 and oversize map case drawers
Biographical / Historical:
Eugene I. Knez was born Eugene Irving Knezevich on May 12, 1916, in Clinton, Indiana, where he graduated from high school in 1935. His mother and father, Ida and Sam Knezevich, were divorced in 1932, and in 1936, his mother married Edward P. Pearson. The family moved to California where Knez enrolled in pre-medical studies at Los Angeles City College. Knez transferred to the University of New Mexico (UNM), but before completing his studies, returned to Indiana to be with his father, who was ill. There, Knez enrolled at Indiana University. Since Indiana University did not offer courses in anthropology, Knez took classes in sociology and psychology so that he could fulfill the requirements of UNM. Upon completion of his course work at Indiana University, UNM awarded Knez a B.A. in 1941.

While attending the University of New Mexico, Knez was primarily interested in the Native American Indian. During the summer of 1939 he was appointed Park Ranger-Historian in the National Park Service at Coolidge, Arizona. When he returned to Indiana to be with his father, Knez found a summer job as an assistant to a psychologist, who was testing inmates at the Indiana State Farm.

Knez was drafted as a private in the United States Army in 1941. He was promoted to sergeant in 1942 and during that same year was selected for Officer's Candidate School. Knez graduated OCS as a second lieutenant. Knez was trained and later moved into personnel classification and assignment sections in various divisions before and during World War II. In 1945, he was promoted to captain while in a combat support unit on Saipan.

At the end of the war Knez was assigned to Korea. This assignment began a pivotal sequence of events in his life. With his background in anthropology, Knez was placed in charge of the Army's Bureau of Culture, National Department of Education, United States Military Government in Korea headquartered in Seoul. His responsibilities included the restoration of cultural and religious activities, including museums. At the Bureau, Knez developed a sensitivity towards Korea and her people in the aftermath of Japanese colonialism. Knez undertook the restoration of Admiral Yi's large inscribed boulder and a Buddhist pagoda that had been partially dismantled by the Japanese. He established The National Museum of Anthropology (which became the National Folk Museum). In 1946 Knez sponsored an expedition to Cheju Island to collect ethnographic artifacts and record music for the Museum. During that year he also received permission to excavate two royal Silla Tombs at Kyonju with staff from the National Museum of Korea (NMK). This was the beginning of an endearing association with Korea and her people, which culminated in Knez receiving the award of The Order of Cultural Merit (gold medal) in 1995 from the Republic of Korea.

Knez was discharged from the United States Army in 1946. From 1947 to 1948, he attended Yale University as a research assistant in anthropology and worked at the Peabody Museum. He then joined the federal government and from 1949 to 1953 Knez served as a Cultural Affairs and Public Affairs officer at the American embassies in Korea and Japan. From 1949 to 1951, Knez was chief of Branch Operations, United States Information Agency, first headquartered in Seoul and then moving from Seoul to Pusan with the invasion by North Korea.

During his assignment in Korea, Knez undertook several major activities that had a profound effect on his life. With the approaching North Korean forces getting ready to invade Seoul for the second time, Kim, Chewon, director of the National Museum of Korea, approached Knez and made a personal request to help save the Museum's treasures. Though Knez was a war time member of the American Embassy he undertook the task without receiving official permission. He coordinated the movement of the Museum and Yi dynasty collections and some of the Museum staff by having them shipped by railroad boxcar from Seoul to Pusan.

During the fighting Knez began his ethnographic material culture research at Sam Jong Dong in the Kimhae region north of Pusan. When it appeared in 1951 that the United Nations was losing the war, Knez received permission to spend two months of his home leave to stay in Korea to continue his research. This study was to continue into the 1990s.

While in Pusan, Knez recommended that two dinners be held to help the morale of Korea's cultural leaders, those who were refugees from Seoul. One dinner was to be for the older generation and the second for younger Korean scholars and members of the cultural community. At the second dinner, Knez met his future bride, Choi, Jiae, a highly regarded Korean actress.

During 1951, Knez was transferred to Tokyo as Policy and Program officer for the United States Information Agency. In 1952 he was assigned as the USIA regional Public Affairs officer in Fukuoka.

In 1953, Knez left the USIA and joined the staff at Hunter College, located in the Bronx, New York, first as a lecturer and then as an instructor. While teaching at Hunter, Knez attended graduate school at Syracuse University. In 1959, he received a Doctor of Social Science Degree in anthropology from the Maxwell School of Citizenship and Public Affairs. Knez's thesis was Sam Jong Dong: A South Korean Village. During the school year 1968-1969, the Maxwell School went from awarding the D.S.Sc. degree to the Ph.D. In 1970, Knez successfully petitioned the School to have his degree changed.

In 1959, Knez was appointed Associate Curator of Anthropology at the Smithsonian Institution. He was given the responsibility for Asian ethnology and was assigned the task of establishing the first permanent Asian exhibitions in two halls at the United States National Museum (later, the National Museum of Natural History). At the time, the Asian collections available for the halls were poor or non-existent. Knez began his first of several field expeditions to augment the Museum's artifact and cultural collections. Almost all of the Asian exhibitions that he planned had to have collections taken directly from the field.

The first permanent exhibition was opened in 1961 and contained information on the South Asian World in Miniature, India and Pakistan. During the year two more exhibitions were completed, documenting India, Pakistan, and Thailand. In 1962, Knez completed fifteen more exhibitions; he completed eight in 1963 and 1964; one in 1965; and one in 1967. The themes for the exhibitions included China, Japan, Iran, Korea, Tibet, Thailand, Malaysia, Cambodia, Laos, Pakistan, India, East Africa, North Africa and the Middle East, Islam, and Buddhism.

From 1963 through 1973, Knez put together additional temporary exhibitions, which included themes on Korea, China, India, Japan, Bhutan, and acquisitions of Hindu and Buddhist sculpture. In 1967, Knez provided the objects and created the documentation for the United States Department of State exhibition honoring the visit of the King and Queen of Thailand. Knez developed an exhibition about Korea, which went on display between 1977 and 1979 and was coordinated by the Smithsonian Institution Traveling Exhibition Service.

Knez retired from the Smithsonian in November 1978 and was appointed Anthropologist Emeritus in 1979. Knez moved to Hawaii and developed ties with the University of Hawaii as a visiting scholar at the Center for Korean Studies. Knez continued his research on the Kimhae region, and in 1993, published his revised, The Modernization of Three Korean Villages, 1951-81: an Illustrated study of a people and their material culture.

May 12, 1916 -- Born

1935 -- Graduated High School

1941 -- Drafted, Private, United States Army B.A., University of New Mexico

1942 -- Officer's Candidate School, 2nd Lieutenant, United States Army

1945 -- Promoted to Captain, United States Army

1945-1946 -- United States Army, In charge, Bureau of Culture, National Department of Education, Seoul, Korea

1946 -- Excavation, National Museum of Korea, Royal Silla Tomb, Kyongju Ethnographic and Geographic Survey, National Folk Museum of Anthropology, Korea, Cheju Island

August 1946 -- Honorable Discharge, United States Army

1947-1948 -- Yale University, Peabody Museum, Research Assistant in Anthropology

1947 -- Study of American Indian Shaker cult, Washington State Museum, Seattle

1949 -- Changed Name from Knezevich to Knez

1949-1951 -- Wartime Center Director, United States Information Service, Pusan, Korea

1951 -- Shipment of National Museum of Korea Collections and Staff from Seoul to Pusan

1951-1952 -- Ethnographic Study of Kimhae Area, Korea, towards a dissertation

1952-1976 -- United States Army Reserve (retired as Full Colonel)

1953-1959 -- Lecturer and Instructor, Hunter College, New York

1959 -- Fellow, American Anthropological Association D.S.S.C. (later, Ph.D.) Syracuse University Anthropologist, Smithsonian Institution

1961-1962 -- Overseas Collecting Trips to Asia

1961 -- First Asian Exhibition Installation

1962 -- Letter of Appreciation, Republic of Korea

1965 -- Smithsonian Special Act (Development of Asian Collections) Award

1966 -- Member of the United States Museums Advisory Delegation Planning Meeting for the Establishment of a Korean National Science Museum Center, Seoul

1970 -- Award, Korean Village Study, Smithsonian Institution, Secretary's Fund

1971 -- Exhibition, A Korean Village: Its Changing Culture, which was later adapted as a traveling exhibition in the United States and Canada

1974 -- Exhibition, Bhutan: The Land of Dragons

1975 -- Invited Participant, Pakistan-Sind Government International Seminar

1977 -- Exhibition, Arms and Armor of Japan

1978 -- Retired, Smithsonian Institution Fellow, The Explorers Club, New York

1979 -- Anthropologist Emeritus, Smithsonian Institution Award, Himalayan Project, Tibetan Buddhism and Its Role in Society and State, National Endowment for the Humanities, which led to a publication by Knez with Franz Michael

1981 -- Award, Fulbright Senior Scholar, Korea, Council for International Exchange of Scholars

1995 -- Presentation of The Order of Culture Merit (Gold Medal), Republic of Korea
Related Materials:
The National Anthropological Archives holds Franz H. Michael and Eugene I. Knez photographs and sound recordings relating to Tibetan Buddhism in northeastern India (NAA.PhotoLot.80-13).
Separated Materials:
The motion picture film was transferred to the Human Studies Film Archives in 2002 (HSFA.2002.09).
Provenance:
Most of the papers were donated to the National Anthropological Archives by Dr. Knez in 1978. There have been additional accretions since then.
Restrictions:
The Eugene Irving Knez papers are open for research.

Access to the Eugene Irving Knez papers requires an appointment.
Rights:
Contact the repository for terms of use.
Topic:
Village life -- Korea  Search this
Language and languages -- Documentation  Search this
Citation:
Eugene Irving Knez papers, National Anthropological Archives, Smithsonian Institution
Identifier:
NAA.1980-22
Archival Repository:
National Anthropological Archives
GUID:
https://n2t.net/ark:/65665/nw35632d487-40c6-4e14-9b21-bab85debd8dd
EDAN-URL:
ead_collection:sova-naa-1980-22

Fendrick Gallery records

Creator:
Fendrick Gallery  Search this
Names:
Barbara Fendrick Gallery  Search this
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Arneson, Robert, 1930-1992  Search this
Bailey, William, 1930-2020  Search this
Benes, Barton Lidic  Search this
Brush, Daniel  Search this
Castle, Wendell, 1932-2018  Search this
Cottingham, Robert, 1935-  Search this
Drake, James, 1946-  Search this
Dreyfuss, John, 1949-  Search this
Dusenbery, Walter, 1939-  Search this
Frankenthaler, Helen, 1928-2011  Search this
Gilliam, Sam, 1933-2022  Search this
Johns, Jasper, 1930-  Search this
KaskeyRaymond J., 1943-  Search this
Lalanne, Claude  Search this
Lalanne, François Xavier  Search this
Maria da Conceição  Search this
Paley, Albert  Search this
Raffael, Joseph, 1933-  Search this
Summer, Carol  Search this
Tenneson, Joyce, 1945-  Search this
Woodyard, William  Search this
Extent:
106.4 Linear feet
0.008 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Account books
Photographs
Date:
1952-2001
Summary:
The records of the Fendrick Gallery measure 106.4 linear feet and 0.008 GB and span the years 1952 to 2001. The bulk of the collection is comprised of artist's files that document the gallery's relations with and representation of over 300 contemporary artists and sculptors, including Robert Arneson, William Bailey, Daniel Brush, Wendell Castle, Robert Cottingham, James Drake, John Dreyfuss, Walter Dusenbury, Roger Essley, Helen Frankenthaler , Sam Gilliam, Jasper Johns, Raymond Kaskey, Claude and Francois Lalanne, Albert Paley, Joseph Raffael, Carol Summer, and numerous other artists. Also found are subject, exhibition, commission, administrative, and financial files, as well as files documenting the gallery's relationship with other museums and galleries.
Scope and Content Note:
The records of the Fendrick Gallery measure 106.4 linear feet and 0.008 GB and span the years 1952 to 2001. The bulk of the collection is comprised of artist's files that document the gallery's relationships with and representation of over 300 contemporary artists, including Robert Arneson, William Bailey, Daniel Brush, Wendell Castle, Robert Cottingham, James Drake, John Dreyfuss, Walter Dusenbury, Roger Essley, Helen Frankenthaler, Sam Gilliam, Jasper Johns, Raymond Kaskey, Claude and Francois Lalanne, Albert Paley, Joseph Raffael, Carol Summer, and numerous other artists. Also found are subject, exhibition, commission, administrative, and financial files, as well as files documenting the gallery's relationship with other museums and galleries.

Series 1, Artist's Files, measures almost 42 linear feet and dates from 1962-2001. Found here are files documenting the gallery's relationship with over 300 contemporary artists. Files typically contain correspondence, sales receipts, printed materials, exhibition catalogs and announcements, commission information, photographs, slides, and other materials.

Series 2, Albert Paley, 1970-2001, and undated, provides detailed documentation (14.5 linear feet) of the Fendrick gallery's representation of prominent American metal sculptor Albert Paley. The gallery represented Paley from the early 1980s through the early 1990s and devoted a great deal of its resources promoting Paley's work through exhibitions and commissioned sales. Correspondence between the Fendrick Galleries and Paley Studios is found in this series, along with publicity materials, commission proposals and sketches, exhibition materials, and audio-visual and photographic documentation of Paley's work. Researchers should also consult Series 3 for additional documentation of Paley's commissioned projects.

Series 3, Commissioned Works and Projects, 1972-2000, and undated, documents the variety of commissions and special projects the gallery arranged and managed on behalf of its represented artists. Because privately commissioned work and government-sponsored public art projects represented a significant source of revenue for the Fendrick galleries, the gallery devoted a substantial amount of time and resources towards securing these projects. These files contain applications, proposals, sketches, correspondence, photographs and other material arranged by name of project.

Series 4, Exhibition Files, 1961, 1970-1996, and undated, houses files relating to exhibitions organized by Fendrick Gallery. Found here are exhibition announcements, invitations, and catalogs; specific named exhibition files; and files concerning special projects or exhibitions, often jointly curated with other galleries or institutions. The Fendrick gallery was also actively involved in various governmental programs, such as Art in the Embassies Program, and organized traveling exhibits or loaned artwork to them.

The gallery's relationships with other galleries, museums, institutions, and art organizations is documented in Series 5, Museums and Galleries Files, 1952-2000, and undated. Many of the files concern loans, exhibition venues, and joint exhibitions or projects.

Series 6, Subject Files, 1952, 1960-2001, and undated contain numerous files arranged by subject heading. Here, researchers will find information collected and maintained by the gallery on various art medium, artists of interest, exhibition catalogs from museums and other galleries, information about small and fine art presses. Of particular interest are several folders entitled "Fine Art Printers & Publishers." Barbara Fendrick's early years in the art business centered upon exhibiting, promoting, and selling prints produced by young, emerging American artists. The information found here documents her growing personal relationships with some of the most prominent artists and printmakers of this era.

Records documenting administrative, business, operating, and financial affairs are arranged in Series 7, Administrative and Financial Files, 1960-2001, and undated. Found here are records of both the Barbara Fendrick Gallery (New York) and the Fendrick Gallery (Washington, D.C.), as well as files that document Barbara Fendrick's role as art consultant, appraiser, lecturer, exhibition juror, and guest curator. Found are numerous inventory cards, insurance records, consignment files, general correspondence, lists, loan files, notebooks, real estate files, card files on artists and clients, and history files. Of particular interest are the Day Books/Dailies maintained by the New York gallery staff consisting of entries and notes regarding prospective clients and their interests. The Telephone Log Books contain details of telephone conversations with artists, clients, dealers, and other art professionals. Series 7 also houses the financial records of both galleries, including invoices, financial statements, expenses, accounts, and tax records.
Arrangement:
The Fendrick Gallery records were processed to the series, subseries, and folder level. The collection is arranged into seven series. Items within folders, for the most part, were not fully sorted or preserved. When possible, materials were generally arranged at least by year. Within Series 1, Artists' Files, each set of folders for a particular artist are only given span dates. Due to the amount and complexity of material compiled on the artist Albert Paley, his files are arranged into a separate series of their own.

Missing Title

Series 1: Artists Files, 1962-2001, undated (Box 1-42, OV 108-110; 41.5 linear ft.)

Series 2: Albert Paley, 1970-2001, undated (Box 42-54; Box 107, OV 111-113, 117-118, FC 119; 14.6 linear ft., ER01; 0.001 GB)

Series 3: Commissioned Works and Projects, 1972- 2000, undated (Box 54-57; 3.5 linear ft.)

Series 4: Exhibition Files, 1961, 1970-1996, undated (Box 58-63; 5.5 linear feet)

Series 5: Museums and Galleries Files, 1952-200, undated (Box 64-73; 9.25 linear feet)

Series 6: Subject Files, 1952, 1960-2001, undated (Box 73-88, OV 115-116, FC 120; 15.6 linear ft.)

Series 7: Administrative and Financial Files, undated (Box 88-106; OV, ER02-ER03; 0.008 GB)
Historical Note:
The Fendrick Gallery was established in 1960 as a "by appointment only" gallery out of Barbara Fendrick's Washington, D.C., area home. Initially the gallery promoted contemporary American and European prints by emerging artists and also commissioned print editions by nationally-known artists. During the mid 1960s, the Fendrick Gallery also coordinated and produced art exhibitions on a contract basis for the United States Information Agency. The gallery was responsible for organizing the first large American art exhibition at the Department of State and the Federal Reserve.

In May, 1970 the Fendrick Gallery moved into a three-story townhouse in Georgetown and began presenting regular exhibitions open to the public. The gallery offered many prominent American artists, such as Robert Arneson, Jim Dine, Helen Frankenthaler, Jasper Johns, Louise Nevelson, and Robert Rauschenberg their first solo shows in the nation's capital. The Fendrick Gallery also represented many nationally known sculptors, such as John Dreyfuss, Walter Dusenbery, Raymond Kaskey, and Albert Paley.

Over the years, Fendrick Gallery promoted many emerging artists who were breaking down the barriers between art and craft in the areas of clay, furniture, metal, and book arts. The gallery held the first major show of contemporary ceramics on the East Coast, with the 1976 exhibition, Clay USA. The gallery also received critical acclaim for its exhibitions in the area of "book arts" and held four shows featuring the works of prominent American and international book artists.

In 1987 and 1988, the gallery expanded and opened the Barbara Fendrick Gallery in the Soho section of New York City. The New York location operated as both a gallery space and storage area and was often referred to as "The Warehouse." Both the Fendrick Gallery and the Barbara Fendrick Gallery closed in the summer of 1991, but Barbara Fendrick continues to work as an art consultant, appraiser, exhibition juror, lecturer, and guest curator.
Provenance:
The records of the Fendrick Gallery were donated to the Archives of American Art by Barbara Fendrick in 1999, with an addition to the records in 2001.
Restrictions:
The collection is open for research. Use of unmicrofilmed material requires an appointment.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Topic:
Art -- Washington (D.C.)  Search this
Furniture designers  Search this
Artists -- Washington (D.C.)  Search this
Art, Modern -- 20th century -- Washington (D.C.)  Search this
Sculptors  Search this
Artists' books  Search this
Printmakers  Search this
Metal-workers  Search this
Function:
Art galleries, Commercial -- Washington (D.C.)
Genre/Form:
Account books
Photographs
Citation:
Fendrick Gallery records, 1952-2001. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.fendgall
See more items in:
Fendrick Gallery records
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9c38a61dc-847b-4624-aa9c-0b53206502b3
EDAN-URL:
ead_collection:sova-aaa-fendgall
Online Media:

Lawrence and Barbara Fleischman papers, 1837-1984, bulk 1935-1979

Creator:
Fleischman, Lawrence A. (Lawrence Arthur), 1925-1997  Search this
Subject:
Sellers, Charles Coleman  Search this
Ryder, Albert Pinkham  Search this
Burchfield, Charles Ephraim  Search this
Rattner, Abraham  Search this
Richardson, Edgar Preston  Search this
Richardson, Constance  Search this
Pollack, Peter  Search this
Watkins, Franklin Chenault  Search this
Bailey, Grace  Search this
Arms, John Taylor  Search this
Allston, Washington  Search this
Evergood, Philip  Search this
Eakins, Thomas  Search this
Culver, Charles B. (Charles Beach)  Search this
Bohrod, Aaron  Search this
Bailey, Truman E.  Search this
Krentzin, Earl  Search this
Gentle, Esther  Search this
Fleischman, Barbara  Search this
Marin, John  Search this
University of Michigan. Museum of Art  Search this
United States Information Agency  Search this
Whitney Museum of American Art  Search this
Archives of American Art  Search this
Kraushaar Galleries  Search this
American Federation of Arts  Search this
National Gallery of Art (U.S.)  Search this
Detroit Institute of Arts  Search this
Corcoran Gallery of Art  Search this
M. Knoedler & Co.  Search this
Kennedy Galleries  Search this
Henry Francis du Pont Winterthur Museum  Search this
Pennsylvania Academy of the Fine Arts  Search this
Philadelphia Museum of Art  Search this
Museum of Modern Art (New York, N.Y.)  Search this
Midtown Galleries (New York, N.Y.)  Search this
Milwaukee Art Center  Search this
Metropolitan Museum of Art (New York, N.Y.)  Search this
Type:
Typescripts
Photographs
Citation:
Lawrence and Barbara Fleischman papers, 1837-1984, bulk 1935-1979. Archives of American Art, Smithsonian Institution.
Topic:
Painting, American  Search this
Art patrons Michigan Detroit  Search this
Artists' studios -- Photographs  Search this
Philanthropists  Search this
Art -- Collectors and collecting -- United States  Search this
Theme:
Patronage  Search this
Record number:
(DSI-AAA_CollID)10245
(DSI-AAA_SIRISBib)213339
AAA_collcode_fleilawr
Theme:
Patronage
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_213339
Online Media:

Jazz: Where It Came From, Where Its At, by John S. Wilson pamphlet published by United States Information Agency, circa 1960's

Collection Creator:
Ellington, Duke, 1899-1974  Search this
Container:
Box 14 (Series 10), Folder 4
Type:
Archival materials
Collection Restrictions:
Collection is open for research but the original and master audiovisual materials are stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Copyright restrictions. Consult the Archives Center at archivescenter@si.edu or 202-633-3270.

Paul Ellington, executor, is represented by:

Richard J.J. Scarola, Scarola Ellis LLP, 888 Seventh Avenue, 45th Floor, New York, New York 10106. Telephone (212) 757-0007 x 235; Fax (212) 757-0469; email: rjjs@selaw.com; www.selaw.com; www.ourlawfirm.com.
Collection Citation:
Duke Ellington Collection, Archives Center, National Museum of American History
See more items in:
Duke Ellington Collection
Duke Ellington Collection / Series 10: Magazine Articles and Newspaper Clippings / 10.1: Domestic Articles
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep84b70272c-1a15-4d71-9a99-a3a021c1d0f2
EDAN-URL:
ead_component:sova-nmah-ac-0301-ref21147

Hold the fort! The story of a song from the sawdust trail to the picket line by Paul J. Scheips

Author:
Scheips, Paul J  Search this
Subject:
Bliss, P. P (Philip Paul),) 1838-1876 Hold the fort  Search this
Bliss, Philip Paul 1838-1876 Hold the fort  Search this
Physical description:
iii, 57 pages illustrations, facsimiles, music, ports 26 cm
Type:
Electronic resources
Government publications
Criticism, interpretation, etc
Place:
United States
Date:
1971
Civil War, 1861-1865
Topic:
Songs--History and criticism  Search this
Songs  Search this
History  Search this
Songs and music  Search this
History and criticism  Search this
Call number:
ML3561.H6 S319
ML3561.H6S319
E171.S664 no. 9
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_9872

Evangeline J. Montgomery papers

Creator:
Montgomery, Evangeline J.  Search this
Names:
Andrews, Benny, 1930-2006  Search this
Jones, Lois Mailou, 1905-1998  Search this
Saar, Betye  Search this
Waddy, Ruth G. (Ruth Gilliam), 1909-2003  Search this
Extent:
26.1 Linear feet
Type:
Collection descriptions
Archival materials
Drawings
Interviews
Scrapbooks
Sketchbooks
Sound recordings
Video recordings
Date:
1928-2018
Summary:
The papers of African American artist, curator, and arts administrator Evangeline "EJ" Montgomery measure 26.1 linear feet and date from 1929-2019. The papers relate to Montgomery's career and involvement in the African American art scene in California and Washington, D.C. The collection includes biographical materials consisting of calendars and appointment books, certificates and awards, records regarding Montgomery's personal art collection, resumes and biographies, and other personal records; correspondence with colleagues and friends such as Benny Andrews, Willis Bing Davis, Edmund Barry Gaither, Eugene Grigsby, Dele Jegede, Samella Lewis, Nzegwu Nkiru, and A.M. Weaver; professional activity files documenting Montgomery's career as a consultant, curator, member, and volunteer for a myriad of organizations including the American Association for State and Local History, National Conference of Artists, and the Oakland Museum; and research files and notes on African and African American arts and history, Black media, Black photographers, the museum profession, and the artists Betye Saar, Lois Mailou Jones, Nike Davies-Okundaye, Romare Bearden, Ruth Waddy, Sam Gilliam, and Sargent Johnson. Also included are files regarding Montgomery's career as an artist containing material on the Brandywine Workshop, interviews with Floyd Coleman and for The Historymakers, sales and consignment records, and other material; printed and documentary material consisting of art reproductions, clippings, exhibition announcements and catalogs, and posters regarding Montgomery and other African American artists; artwork by Montgomery, including student sketchbooks, and others; photographic material of Montgomery, friends and colleagues, events, personal snapshots, and works of art; and unidentified audiovisual material.
Scope and Contents:
The papers of artist, curator, and arts administrator Evangeline "EJ" Montgomery measure 26.1 linear feet and date from 1929-2019. The papers relate to Montgomery's career and involvement in the African American art scene in California and Washington, D.C. The collection includes biographical materials consisting of calendars and appointment books, certificates and awards, records regarding Montgomery's personal art collection, resumes and biographies, and other personal records; correspondence with colleagues and friends such as Benny Andrews, Willis Bing Davis, Edmund Barry Gaither, Eugene Grigsby, Dele Jegede, Samella Lewis, Nzegwu Nkiru, and A.M. Weaver; professional activity files documenting Montgomery's career as a consultant, curator, member, and volunteer for a myriad of organizations including the American Association for State and Local History, National Conference of Artists, and the Oakland Museum; and research files and notes on African and African American arts and history, Black media, Black photographers, the museum profession, and the artists Betye Saar, Lois Mailou Jones, Nike Davies-Okundaye, Romare Bearden, Ruth Waddy, Sam Gilliam, and Sargent Johnson. Also included are files regarding Montgomery's career as an artist containing material on the Brandywine Workshop, interviews with Floyd Coleman and for The Historymakers, sales and consignment records, and other material; printed and documentary material consisting of art reproductions, clippings, exhibition announcements and catalogs, and posters regarding Montgomery and other African American artists; artwork by Montgomery, including student sketchbooks, and others; photographic material of Montgomery, friends and colleagues, events, personal snapshots, and works of art; and unidentified audiovisual material.
Arrangement:
The collection is arranged as 9 series.

Series 1: Biographical Materials, 1967-2015 (1.0 linear feet; Box 1, OV 27)

Series 2: Correspondence, 1963-2014 (2.0 linear feet; Boxes 2-4)

Series 3: Professional Activity Files, 1963-2017 (7.6 linear feet; Boxes 4-11)

Series 4: Research Files and Notes, 1928-2018 (4.0 linear feet; Boxes 11-16)

Series 5: Files Regarding Montgomery's Career as an Artist, 1970-2016 (1.5 linear feet; Boxes 16-17)

Series 6: Printed and Documentary Materials, 1964-2018 (7.2 linear feet; Boxes 17-23, 26, OVs 27-29, 31-34

Series 7: Artwork, circa 1957-2006 (0.2 linear feet; Boxes 23, 26, OV 30)

Series 8: Photographic Materials and Moving Images, circa 1965-2017 (3.0 linear feet; Boxes 23-27, OV 27)

Series 9: Unidentified Audiovisual Materials, circa 1990s (1 folder; Box 25)
Biographical / Historical:
Evangeline "EJ" Montgomery (1930- ) is an African American artist, curator, and arts administrator in California and Washington, D.C.

Montgomery was born in New York and moved to Harlem in New York City after the divorce of her parents, Oliver and Carmelite Thompson. Upon graduating from Seward Park High School in 1951, Montgomery worked painting faces on dolls and statues. In 1955, she married Ulysses "Jim" Montgomery and moved to Los Angeles. In California she began working for jewelry designer Thomas Usher while attending Los Angeles City College. She continued her education at California College of the Arts (California College of Arts and Crafts) where she received her Bachelor of Fine Arts degree in 1969. During the late 1960s, Montgomery began curating exhibitions. From 1971 to 1976, she was curator for Rainbow Sign Gallery in Berkeley. Other roles Montgomery held were as the national exhibits workshop coordinator at the American Association for State and Local History and as program development consultant at the African American Museums Association. From 1976 to 1979, she was art commissioner for the city of San Francisco.

Montgomery moved to Washington, D.C. in 1980 to serve as the community affairs director for Howard University's WHMM-TV station. She then began working for the United States Information Agency (USIA) as a program officer in their Arts America program in the early 1980s. In her role, she worked to promote cross-cultural exchanges through art, specializing in American exhibitions touring abroad. Montgomery retired from the USIA in 2008.

As an artist, Montgomery gained recognition for her work in printmaking and metalworking. She was the recipient of the D.C. Commission on the Arts and Humanities fellowship in 2012 and an Excellence in the Arts Award from the Brandywine Print Workshop in 2004. Due to her diagnosis of Parkinson's disease in the 1990s, Montgomery had to stop working with metal but continued her printmaking work.
Provenance:
The Evangeline J. Montgomery papers were donated in 2019 by Evangeline J. Montgomery, as part of the Archives' African American Collecting Initiative funded by the Henry Luce Foundation.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Art museum curators -- Washington (D.C.)  Search this
Art museum curators -- California  Search this
Printmakers -- Washington (D.C.)  Search this
Metal-workers -- Washington (D.C.)  Search this
Metal-workers -- California  Search this
Printmakers -- California  Search this
Topic:
African American artists  Search this
African American art museum curators  Search this
Black Arts movement  Search this
Women artists  Search this
Women museum curators  Search this
Women printmakers  Search this
Women arts administrators  Search this
Genre/Form:
Drawings
Interviews
Scrapbooks
Sketchbooks
Sound recordings
Video recordings
Citation:
Evangeline J. Montgomery papers, 1928-2018. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.montevan
See more items in:
Evangeline J. Montgomery papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9915d0dc7-2f94-41bd-9b8b-d04432f7df32
EDAN-URL:
ead_collection:sova-aaa-montevan
Online Media:

Fendrick Gallery records, 1952-2001

Creator:
Fendrick Gallery  Search this
Subject:
Cottingham, Robert  Search this
Castle, Wendell  Search this
Dusenbery, Walter  Search this
Brush, Daniel  Search this
Dreyfuss, John  Search this
Benes, Barton Lidic  Search this
Drake, James  Search this
KaskeyRaymond J.  Search this
Johns, Jasper  Search this
Bailey, William  Search this
Arneson, Robert  Search this
Maria da Conceição  Search this
Lalanne, François Xavier  Search this
Lalanne, Claude  Search this
Tenneson, Joyce  Search this
Summer, Carol  Search this
Raffael, Joseph  Search this
Paley, Albert  Search this
Woodyard, William  Search this
Gilliam, Sam  Search this
Frankenthaler, Helen  Search this
Barbara Fendrick Gallery  Search this
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Type:
Account books
Photographs
Citation:
Fendrick Gallery records, 1952-2001. Archives of American Art, Smithsonian Institution.
Topic:
Art -- Washington (D.C.)  Search this
Furniture designers  Search this
Artists -- Washington (D.C.)  Search this
Art, Modern -- 20th century -- Washington (D.C.)  Search this
Sculptors  Search this
Artists' books  Search this
Printmakers  Search this
Metal-workers  Search this
Theme:
Art Gallery Records  Search this
Craft  Search this
Art Market  Search this
Record number:
(DSI-AAA_CollID)6271
(DSI-AAA_SIRISBib)216614
AAA_collcode_fendgall
Theme:
Art Gallery Records
Craft
Art Market
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_216614
Online Media:

Reinhardt, Ad - Biographical Material

Collection Creator:
Parsons, Betty  Search this
Container:
Box 15, Folder 7
Type:
Archival materials
Date:
circa 1965
Collection Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.

Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Betty Parsons Gallery records and personal papers, 1916-1991. Archives of American Art, Smithsonian Institution.
See more items in:
Betty Parsons Gallery records and personal papers
Betty Parsons Gallery records and personal papers / Series 1: Artists Files
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9b3120a10-dd39-47ab-b721-8362e662a3a9
EDAN-URL:
ead_component:sova-aaa-parsbett-ref467
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Reinhardt, Ad - Correspondence

Collection Creator:
Parsons, Betty  Search this
Extent:
(3 folders)
Container:
Box 15, Folder 9-11
Type:
Archival materials
Date:
1947-1982
Collection Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.

Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Betty Parsons Gallery records and personal papers, 1916-1991. Archives of American Art, Smithsonian Institution.
See more items in:
Betty Parsons Gallery records and personal papers
Betty Parsons Gallery records and personal papers / Series 1: Artists Files
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9da9c59ce-eb13-420c-8061-d7a18a92e060
EDAN-URL:
ead_component:sova-aaa-parsbett-ref469
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Online Media:

[Duke Ellington at a USIS (United States Information Service) library, shaking hands with a boy. Location unknown, photographic print,]

Names:
United States Information Agency  Search this
Ellington, Duke, 1899-1974  Search this
Collection Creator:
Ellington, Duke, 1899-1974  Search this
Extent:
1 Item (Silver gelatin on paper.)
Culture:
African Americans  Search this
Type:
Archival materials
Photographs
Date:
1963
Scope and Contents:
Sepia-toned print.
Arrangement:
Box No. 4.
Local Numbers:
AC0301-0000052 (AC Scan No.)
Series Restrictions:
Unrestricted research access on site by appointment. Unprotected photographs must be handled with gloves.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Copyright restrictions. Consult the Archives Center at archivescenter@si.edu or 202-633-3270.

Paul Ellington, executor, is represented by:

Richard J.J. Scarola, Scarola Ellis LLP, 888 Seventh Avenue, 45th Floor, New York, New York 10106. Telephone (212) 757-0007 x 235; Fax (212) 757-0469; email: rjjs@selaw.com; www.selaw.com; www.ourlawfirm.com.
Topic:
African American musicians  Search this
Musicians -- 1950-2000  Search this
Libraries  Search this
Genre/Form:
Photographs -- Black-and-white photoprints -- Silver gelatin -- 1960-1970
Collection Citation:
Duke Ellington Collection, Archives Center, National Museum of American History
See more items in:
Duke Ellington Collection
Duke Ellington Collection / Series 7: Photographs, Duke Ellington Collection / 7.7.32: International Tours
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep83be8a58b-c226-4816-b759-d9c6236435f9
EDAN-URL:
ead_component:sova-nmah-ac-0301-ref53270

Freedomways Vol. 6 No. 3

Published by:
Freedomways Associates, Inc., American, 1961 - 1985  Search this
Edited by:
John Henrik Clarke, American, 1915 - 1998  Search this
Esther Cooper Jackson, American, born 1917  Search this
Jack O'Dell, American, 1923 - 2019  Search this
John Devine  Search this
Written by:
Lawrence Guyot, Jr., American, 1939 - 2012  Search this
Shirley Graham Du Bois, American, 1896 - 1977  Search this
Ekwueme Mike Thelwell, American, born 1939  Search this
Lance Jeffers, American, 1919 - 1985  Search this
Frank Chapman Jr., American, born 1942  Search this
Ellsworth Raymond Johnson  Search this
Ernest D. Kaiser, American, born 1916  Search this
Augusta Strong, American, 1934 - 1976  Search this
Illustrated by:
Tom Feelings, American, 1933 - 2003  Search this
Subject of:
President Lyndon Baines Johnson, American, 1908 - 1973  Search this
Medium:
ink on paper with metal
Dimensions:
H x W x D: 9 × 6 1/16 × 5/16 in. (22.8 × 15.4 × 0.8 cm)
Type:
magazines (periodicals)
Place printed:
New York City, New York, United States, North and Central America
Cultural Place:
Africa
Ghana, Africa
Date:
1966
Topic:
African American  Search this
Activism  Search this
Africa  Search this
Art  Search this
Black Press  Search this
Civil Rights  Search this
International affairs  Search this
Literature  Search this
Poetry  Search this
Politics  Search this
Prisons  Search this
U.S. History, 1961-1969  Search this
Credit Line:
Collection of the Smithsonian National Museum of African American History and Culture, Gift of Dr. Maurice Jackson
Object number:
2021.20.2
Restrictions & Rights:
Unknown - Restrictions Possible
Rights assessment and proper usage is the responsibility of the user.
See more items in:
National Museum of African American History and Culture Collection
Classification:
Documents and Published Materials-Published Works
Movement:
Civil Rights Movement
Pan Africanism
Data Source:
National Museum of African American History and Culture
GUID:
http://n2t.net/ark:/65665/fd504c554c5-8fe5-44e4-b310-84de35c47c1e
EDAN-URL:
edanmdm:nmaahc_2021.20.2
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Anatomy of a Broken Promise

Creator:
Menashe, Louis  Search this
Producer:
United States Information Agency  Search this
Names:
Castro, Fidel, 1926-2016  Search this
Collection Creator:
Asch, Moses  Search this
Distler, Marian, 1919-1964  Search this
Folkways Records  Search this
Extent:
1 Sound recording (sound-tape reel, analog, 10 in.)
Type:
Archival materials
Sound recordings
Place:
Cuba
Local Numbers:
FW-ASCH-10RR-0574
General:
"HANU--T & F (WSIA)";

CDR copy; sound file exists in the DAMS system

A Voice of America radio broadcast protesting Fidel Castro by highlighting his pledges to hold elections that never happened. Broadcast 11 March 1961. This tape contains the 2nd hour of the program, and was recorded on 27 September 1961.
Restrictions:
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Collection Citation:
Moses and Frances Asch Collection, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Identifier:
CFCH.ASCH, Item FW-ASCH-10RR-0574
See more items in:
Moses and Frances Asch Collection
Moses and Frances Asch Collection / Series 9: Audio Recordings / Open Reel Tapes
Archival Repository:
Ralph Rinzler Folklife Archives and Collections
GUID:
https://n2t.net/ark:/65665/bk5c26fc5fb-54c3-4a40-99fc-a1c59a534635
EDAN-URL:
ead_component:sova-cfch-asch-ref19073

Evangeline J. Montgomery papers, 1928-2018

Creator:
Montgomery, Evangeline J.  Search this
Subject:
Andrews, Benny  Search this
Saar, Betye  Search this
Jones, Lois Mailou  Search this
Waddy, Ruth G. (Ruth Gilliam)  Search this
Type:
Drawings
Interviews
Scrapbooks
Sketchbooks
Sound recordings
Video recordings
Citation:
Evangeline J. Montgomery papers, 1928-2018. Archives of American Art, Smithsonian Institution.
Topic:
African American artists  Search this
African American art museum curators  Search this
Black Arts movement  Search this
Women artists  Search this
Women museum curators  Search this
Women printmakers  Search this
Women arts administrators  Search this
Theme:
African American  Search this
Women  Search this
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)21682
(DSI-AAA_SIRISBib)398437
AAA_collcode_montevan
Theme:
African American
Women
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_398437
Online Media:

Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974

Creator:
Jacques Seligmann & Co.  Search this
Subject:
Hauke, Cesar M. de (Cesar Mange)  Search this
Glaenzer, Eugene  Search this
Haardt, Georges  Search this
Seligman, Germain  Search this
Seligmann, Arnold  Search this
Parker, Theresa D.  Search this
Waegen, Rolf Hans  Search this
Trevor, Clyfford  Search this
Seligmann, René  Search this
Seligmann, Jacques  Search this
De Hauke & Co., Inc.  Search this
Jacques Seligmann & Co  Search this
Eugene Glaenzer & Co.  Search this
Germain Seligmann & Co.  Search this
Gersel  Search this
Type:
Gallery records
Citation:
Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974. Archives of American Art, Smithsonian Institution.
Topic:
Mackay, Clarence Hungerford, 1874-1938 -- Art collections  Search this
Schiff, Mortimer L. -- Art collections  Search this
Arenberg, duc d' -- Art collections  Search this
Liechtenstein, House of -- Art collections  Search this
Art -- Collectors and collecting -- France -- Paris  Search this
Art -- Collectors and collecting  Search this
World War, 1939-1945 -- Art and the war  Search this
La Fresnaye, Roger de, 1885-1925  Search this
Art, Renaissance  Search this
Decorative arts  Search this
Art treasures in war  Search this
Art, European  Search this
Theme:
Art Gallery Records  Search this
Art Market  Search this
Record number:
(DSI-AAA_CollID)9936
(DSI-AAA_SIRISBib)212486
AAA_collcode_jacqself
Theme:
Art Gallery Records
Art Market
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_212486
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  • View Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974 digital asset number 4
  • View Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974 digital asset number 5
  • View Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974 digital asset number 6
Online Media:

United States Information Agency/Service

Collection Creator:
Greenberg, Clement, 1909-1994  Search this
Container:
Box 7, Folder 43
Type:
Archival materials
Date:
1961-1970
Series Restrictions:
Correspondence between Peter Fuller, Andre Emmerich, and Clement Greenberg; correspondence with Nuala O'Faolain; Greenberg family letters; and additional individual letters from a variety of correspondents are access restricted. Written permission is required. Contact Reference Services for more information.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
The Clement Greenberg papers, 1937-1983. Archives of American Art, Smithsonian Institution.
See more items in:
Clement Greenberg papers
Clement Greenberg papers / Series 3: Correspondence
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9a351eeb2-df38-4db7-ae0b-13db3e2cdb05
EDAN-URL:
ead_component:sova-aaa-greeclep-ref492

Apollo 8 and 11 Notes and Letters [Bourgin]

Creator:
Bourgin, Simon (Simon E.), 1914-  Search this
Names:
Apollo 8 (Spacecraft)  Search this
Borman, Frank, 1928-2023  Search this
Extent:
.01 Cubic feet (one legal folder)
Type:
Collection descriptions
Archival materials
Date:
1969
Summary:
This collection consists a memo and correspondence relating to the Apollo 8 broadcast as well as notes relating to various astronaut post-flight tours.
Scope and Contents:
This collection consists of the following: a memo to Hew Ryan, Deputy Director at the United States Information Agency (USIA), explaining how Simon Bourgin came to be the cocreator of the idea that the Apollo 8 crew read from the book of Genesis from the dark side of the moon; two letters Bourgin wrote Frank Frederick Borman, II on what he might say during that broadcast; notes on the Apollo 11 crew's world tour after their flight; and notes made from the East Asia tour of Borman and Walter Marty "Wally" Schirra, Jr. after the Gemini missions.
Arrangement:
No arrangment
Biographical / Historical:
Simon Bourgin was a Science Policy Officer at the United States Information Agency (USIA) during the late 1960s and early 1970s. During that time, Bourgin was the liaison with the National Aeronautics and Space Administration (NASA) and in this capacity he was in charge of NASA's information overseas. Bourgin was also the political escort for the astronauts on the foreign tours they made upon returning from space.
Provenance:
Simon Bourgin, Gift, 1995, NASM.1995.0025
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.
Topic:
Astronautics  Search this
Space flight  Search this
Citation:
Apollo 8 and 11 Notes and Letters [Bourgin], NASM.1995.0025, National Air and Space Museum, Smithsonian Institution.
Identifier:
NASM.1995.0025
Archival Repository:
National Air and Space Museum Archives
GUID:
https://n2t.net/ark:/65665/pg2b8854da5-582f-4d7a-a349-01e56c83a481
EDAN-URL:
ead_collection:sova-nasm-1995-0025
Online Media:

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