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Antigone en Créole

Written by:
Félix Morisseau-Leroy, Haitian, 1912 - 1998  Search this
Medium:
ink on paper (fiber product)
Dimensions:
H x W x D: 8 9/16 × 5 5/8 × 3/16 in. (21.8 × 14.3 × 0.5 cm)
Place printed:
Morne Hercule, Pétion-Ville, Haiti, Caribbean, Latin America, North and Central America
Date:
1953
Topic:
African American  Search this
African diaspora  Search this
Communities  Search this
Language  Search this
Literature  Search this
Tragedy (Theatre)  Search this
Credit Line:
Collection of the Smithsonian National Museum of African American History and Culture
Object number:
2018.47
Restrictions & Rights:
Unknown - Restrictions Possible
See more items in:
National Museum of African American History and Culture Collection
Classification:
Documents and Published Materials-Published Works
Data Source:
National Museum of African American History and Culture
GUID:
http://n2t.net/ark:/65665/fd531fd2b6f-5cc7-4ba5-ae09-4ecd8f39d241
EDAN-URL:
edanmdm:nmaahc_2018.47

New Thing Calendar Artboard, June '69

Medium:
photomechanical print on paper mounted to paperboard
Dimensions:
11 × 10 15/16 × 1/16 in. (27.9 × 27.8 × 0.1 cm)
Type:
artboard
Cite As:
Anacostia Community Museum, Smithsonian Institution.
Accession Number:
2017.8.4
Restrictions & Rights:
Usage conditions apply
See more items in:
Anacostia Community Museum Collection
Data Source:
Anacostia Community Museum
GUID:
http://n2t.net/ark:/65665/dl881e20958-fa73-498c-aa64-ab8edc9e8341
EDAN-URL:
edanmdm:acm_2017.8.4
Online Media:

Aaron Siskind

Artist:
Lida Moser, 17 Aug 1920 - 11 Aug 2014  Search this
Sitter:
Aaron Siskind, 4 Dec 1903 - 8 Feb 1991  Search this
Medium:
Gelatin silver print
Dimensions:
Image: 13 × 11.1 cm (5 1/8 × 4 3/8")
Sheet: 16.5 × 13.6 cm (6 1/2 × 5 3/8")
Type:
Photograph
Date:
1949
Topic:
Exterior  Search this
Costume\Dress Accessory\Eyeglasses  Search this
Equipment\Smoking Implements\Cigarette  Search this
Equipment\Camera  Search this
Aaron Siskind: Male  Search this
Aaron Siskind: Visual Arts\Artist\Photographer  Search this
Aaron Siskind: Education\Educator\Teacher\English  Search this
Aaron Siskind: Education\Educator\Professor\Photography  Search this
Portrait  Search this
Credit Line:
National Portrait Gallery, Smithsonian Institution; gift of Eric Denker in memory of the Artist
Object number:
NPG.2016.136
Restrictions & Rights:
Usage conditions apply
Copyright:
© Lida Moser
See more items in:
National Portrait Gallery Collection
Data Source:
National Portrait Gallery
GUID:
http://n2t.net/ark:/65665/sm41db0cf32-944d-40da-8057-0260dae68f8b
EDAN-URL:
edanmdm:npg_NPG.2016.136

Brady's Daguerreotypes

Artist:
Unidentified Artist  Search this
Associated Person:
Mathew B. Brady, 1823? - 15 Jan 1896  Search this
Medium:
Engraving
Dimensions:
Image: 21.8 × 14.8 cm (8 9/16 × 5 13/16")
Sheet: 24 × 18.6 cm (9 7/16 × 7 5/16")
Mat: 45.8 × 35.6 cm (18 1/16 × 14")
Type:
Print
Place:
United States\New York\Kings\New York
Date:
1854
Topic:
Equipment\Camera  Search this
Credit Line:
National Portrait Gallery, Smithsonian Institution; gift of George S. Whiteley IV
Object number:
AD/NPG.2015.3
Restrictions & Rights:
CC0
See more items in:
National Portrait Gallery Collection
Data Source:
National Portrait Gallery
GUID:
http://n2t.net/ark:/65665/sm452a631f9-69ce-44b2-90ff-3a0277753b7d
EDAN-URL:
edanmdm:npg_AD_NPG.2015.3

Self-portrait (muscle shirt)

Artist:
Jess T. Dugan, born 1986  Search this
Sitter:
Jess T. Dugan, born 1986  Search this
Medium:
Pigment print
Dimensions:
Sheet: 101.6 × 81.3cm (40 × 32")
Frame: 105.1 × 82.9 × 3.8cm (41 3/8 × 32 5/8 × 1 1/2")
Type:
Photograph
Date:
2013
Topic:
Jess T. Dugan: Visual Arts\Artist\Photographer  Search this
Portrait  Search this
Credit Line:
National Portrait Gallery, Smithsonian Institution; gift of the artist and the Catherine Edelman Gallery, Chicago, Illinois
Object number:
C/NPG.2019.121
Restrictions & Rights:
Usage conditions apply
Copyright:
© 2013 Jess T. Dugan
See more items in:
National Portrait Gallery Collection
Data Source:
National Portrait Gallery
GUID:
http://n2t.net/ark:/65665/sm462bc0581-b191-414b-a554-97cba0ca022d
EDAN-URL:
edanmdm:npg_C_NPG.2019.121

The Four Justices

Alternate Title:
Sonia Sotomayor, Elena Kagan, Sandra Day O'Connor and Ruth Bader Ginsburg
Artist:
Nelson Shanks, 23 Dec 1937 - 28 Aug 2015  Search this
Sitter:
Sonia Maria Sotomayor, born 25 Jun 1954  Search this
Elena Kagan, born 28 Apr 1960  Search this
Sandra Day O'Connor, born 26 Mar 1930  Search this
Ruth Bader Ginsburg, 1933 - 2020  Search this
Medium:
Oil on canvas
Dimensions:
Frame-approximately: 294.6 × 242.6 cm (116 × 95 1/2")
Stretcher-from artist: 216.1 × 169.2 cm (85 1/16 × 66 5/8")
Type:
Painting
Date:
2012
Topic:
Interior  Search this
Printed Material\Book  Search this
Home Furnishings\Mirror  Search this
Home Furnishings\Furniture\Seating\Sofa  Search this
Home Furnishings\Curtain  Search this
Painting  Search this
Home Furnishings\Pillow  Search this
Sandra Day O'Connor: Female  Search this
Sandra Day O'Connor: Law and Law Enforcement\Lawyer  Search this
Sandra Day O'Connor: Law and Law Enforcement\Judge\Justice\US Supreme Court Justice  Search this
Sandra Day O'Connor: Education\Administrator\University\Chancellor  Search this
Sandra Day O'Connor: Politics and Government\State Senator\Arizona  Search this
Sandra Day O'Connor: Presidential Medal of Freedom  Search this
Ruth Bader Ginsburg: Female  Search this
Ruth Bader Ginsburg: Law and Law Enforcement\Judge  Search this
Ruth Bader Ginsburg: Law and Law Enforcement\Judge\Justice\US Supreme Court Justice  Search this
Sonia Maria Sotomayor: Female  Search this
Sonia Maria Sotomayor: Law and Law Enforcement\Lawyer  Search this
Sonia Maria Sotomayor: Law and Law Enforcement\Judge\Justice\US Supreme Court Justice  Search this
Elena Kagan: Female  Search this
Elena Kagan: Law and Law Enforcement\Lawyer  Search this
Elena Kagan: Law and Law Enforcement\Judge\Justice\US Supreme Court Justice  Search this
Elena Kagan: Education\Educator\Professor\Law  Search this
Portrait  Search this
Credit Line:
National Portrait Gallery, Smithsonian Institution; gift of Ian M. and Annette P. Cumming
Object number:
NPG.2019.146
Restrictions & Rights:
Usage conditions apply
Copyright:
© Estate of Nelson Shanks
See more items in:
National Portrait Gallery Collection
Data Source:
National Portrait Gallery
GUID:
http://n2t.net/ark:/65665/sm40af6f06f-1f5c-4548-91fe-653a7349f42c
EDAN-URL:
edanmdm:npg_NPG.2019.146

Annie Leibovitz

Artist:
John Loengard, born 1934  Search this
Sitter:
Annie Leibovitz, born 2 Oct 1949  Search this
Roseanne Barr, born 1953  Search this
Medium:
Gelatin silver print
Dimensions:
Image: 20.3 x 30.9cm (8 x 12 3/16")
Sheet: 27.9 x 35.5cm (11 x 14")
Type:
Photograph
Place:
United States\California\Los Angeles\Los Angeles
Date:
1993 (printed 2004)
Topic:
Equipment\Camera  Search this
Home Furnishings\Mirror  Search this
Human Figures  Search this
Annie Leibovitz: Female  Search this
Annie Leibovitz: Literature\Writer  Search this
Annie Leibovitz: Visual Arts\Artist\Photographer  Search this
Roseanne Barr: Female  Search this
Roseanne Barr: Performing Arts\Performer\Actor  Search this
Roseanne Barr: Performing Arts\Performer\Comedian  Search this
Portrait  Search this
Credit Line:
National Portrait Gallery, Smithsonian Institution; gift of John Loengard
Object number:
NPG.2004.144
Restrictions & Rights:
Usage conditions apply
Copyright:
© 1993 John Loengard
See more items in:
National Portrait Gallery Collection
Data Source:
National Portrait Gallery
GUID:
http://n2t.net/ark:/65665/sm44419fd85-18e0-43bd-8ec7-01a140c04834
EDAN-URL:
edanmdm:npg_NPG.2004.144

Lunar Orbiter, Engineering Mock-up

Title:
Lunar Orbiter, Engineering Mock-up
Manufacturer:
Boeing Company  Search this
Materials:
Aluminum, mixed metals, phenolics
Dimensions:
Approximate: 12ft 2 7/16in. x 5ft 4 15/16in. x 4ft 11 1/16in. (3.72m x 1.65m x 1.5m, 385.6kg)
Type:
SPACECRAFT-Unmanned-Test Vehicles
Country of Origin:
United States of America
Credit Line:
Transferred from the Boeing Company through NASA - Langley Research Center
Inventory Number:
A19700318000
Restrictions & Rights:
CC0
See more items in:
National Air and Space Museum Collection
Location:
Steven F. Udvar-Hazy Center in Chantilly, VA
Hangar:
Mary Baker Engen Restoration Hangar
Data Source:
National Air and Space Museum
GUID:
http://n2t.net/ark:/65665/nv9fe656352-b7a7-408f-a2cb-60627bbdb309
EDAN-URL:
edanmdm:nasm_A19700318000

Impossible Avant Garde The

Author:
Stojkovic Jelena http://id.loc.gov/vocabulary/relators/aut  Search this
Physical description:
1 online resource
Type:
Electronic resources
Electronic books
History
Place:
Japan
Date:
2018
Topic:
Photography, Artistic--History  Search this
Surrealism  Search this
Photography & photographs  Search this
Photography, Artistic  Search this
Call number:
N6494.S8 S868 2020 (Internet)
Restrictions & Rights:
1-user.
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_1145685

Maida Babson Adams American garden collection

Creator:
Adams, Molly, 1918-2003  Search this
Landscape architect:
Ireys, Alice Recknagel, 1911-2000  Search this
Stege, Friede  Search this
Weber, Nelva M.  Search this
Extent:
0 Photographic prints (color, 4 x 6 inches)
0 Photographic prints (black and white, 3 1/2 x 5 inches)
0 Photographic prints (black and white, 8 x 10 inches)
0 contact sheets (black and white)
35mm slides (photographs) (color, 2 x 2 inches)
0 Negatives (35mm negatives, color)
0 Negatives (black & white, 4 x 5 inches)
0 Negatives (120mm negatives, black and white, 2 x 2 inches)
0 film transparency (color, 4 x 5 inches)
0 Transparencies (120mm transparencies, color, 2 x 2 inches)
Type:
Collection descriptions
Archival materials
Photographic prints
Contact sheets
Negatives
Film transparency
Transparencies
Film transparencies
Color negatives
Black-and-white photographs
Photographs
Color photographs
Slides (photographs)
Black-and-white negatives
Date:
circa 1960-1994
Summary:
The Maida Babson Adams American Garden Collection documents the work of Molly Adams, a free-lance garden photographer who photographed hundreds of private and public gardens, many of them in the mid-Atlantic region, from the late 1950s through the mid-1990s. It includes slides, photographic prints, negatives and transparencies. A significant number of images document the work of landscape designers Nelva M. Weber, Alice Recknagel Ireys, and Friede Stege. Roughly 50 gardens do not have an identified location. Some images have captions and other information written on them.
Scope and Contents:
The Maida Babson Adams American Gardens Collection includes a total of 7,606 images documenting close to 400 gardens photographed by Molly Adams from the 1950s to the 1990s. Although most images document gardens in New Jersey, the collection also includes gardens in Connecticut, Massachusetts, New York and Pennsylvania. While the vast majority of gardens in the collection are private, there are also some public gardens and venues like the Frelinghuysen Arboretum in New Jersey, the International Flower Show in New York City, and the White House in Washington, D.C. A number of gardens were photographed during organized garden or horticultural tours or annual meetings of the Garden Club of America. A significant number of images document the work of landscape designers Alice Ireys, Nelva Weber, and Friede Stege. Approximately 85 gardens in the collection are unidentified as to their location and/or client. Relatively few images are captioned or dated; Adams often labeled a film envelope or back of a photograph or contact sheet with just a client surname and the designer (if it was Ireys, Weber, or Stege). In some cases, additional information about a garden's location or owner's full name was gleaned from the finding aids for the Alice Recknagel Ireys Papers or the Nelva Weber Papers. Some images were accompanied by clippings from newspapers or magazines that featured one or more related images by Adams; most of these clippings date from the 1950s and 1960s. There is also a file of general clippings of Adams' work; many of these do not identify the garden that is shown.

Most of the images are black and white, though there are a number taken in color. Adams' contact sheets and photo envelopes were sometimes marked with cropping marks or photo developing notes respectively.
Biographical / Historical:
Molly (Maida Babson) Adams (1918 - 2003) had a 40+ year career as a nationally recognized free-lance garden and wildlife photographer and conservationist. Her images were published under the name "Molly Adams." Adams was born in Orange, New Jersey and lived over fifty years in Mendham Township, New Jersey. As a teenager she became interested in photography; she later attended the New York Institute of Photography and became a member of the New York Camera Club.

Her photographs were featured in numerous newspapers and magazines including the "New York Times," "New York Herald Tribune," "House Beautiful," "Horticulture," "Home Garden," and "Audubon." During the Kennedy administration, she photographed the White House Rose Garden; these photographs were later published in "Flower Grower."

Adams provided hundreds of photographs for "How to Plan and Plant Your Own Property" (1967) by landscape architect Alice Recknagel Ireys and "How to Plan Your Own Home Landscape" (1976) by landscape designer Nelva M. Weber. Her images were also published in books including "The Reader's Digest Practical Guide to Home Landscaping," and "The Complete Illustrated Book of Garden Magic." Adams also occasionally wrote garden-themed articles. A longtime member in the Somerset Hills (NJ) Garden Club, which is part of the Garden Club of America, Adams once served as the latter's official photographer.

In the 1960's Adams' photographs drew attention to conservation issues related to the Great Swamp National Wildlife Refuge in northwestern New Jersey. These widely publicized photographs rallied public support against the proposed destruction of the Great Swamp for the construction of an airport. Adams was also active as a member of the Mendham Township Environmental Commission and the North Jersey Conservation Foundation. In the 1980's she was awarded the Buckley Medal of Merit for Horticultural Achievement by the Garden Club of America for her photographs used in the postcard campaign "Save Our Vanishing Wild Flowers."
Related Archival Materials Note:
The Alice Recknagel Ireys Papers in the Sophia Smith Collection at Smith College in Northampton, Massachusetts, include photographs by Molly Adams.

The Nelva Weber Papers in the Division of Rare and Manuscript Collections at Cornell University Library in Ithaca, New York, likely include photographs by Molly Adams.
Separated Materials:
The North Jersey History & Genealogy Center at The Morristown & Morris Township Library in New Jersey has a collection of images by Molly Adams showcasing nature scenes and birds.
Provenance:
Adams' family donated her collection of garden images to the Smithsonian's Archives of American Gardens after her death in 2003.
Restrictions:
Access to original images by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Rights:
Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens.
Topic:
Gardens -- Pennsylvania  Search this
Gardens -- United States  Search this
Gardens -- Connecticut  Search this
Gardens -- Massachusetts  Search this
Gardens -- New Jersey  Search this
Gardens -- New York (State)  Search this
Genre/Form:
Photographic prints
Film transparencies
Color negatives
Black-and-white photographs
Photographs
Color photographs
Negatives
Slides (photographs)
Contact sheets
Black-and-white negatives
Citation:
Smithsonian Institution, Archives of American Gardens, Maida Babson Adams American garden collection.
Identifier:
AAG.ADM
See more items in:
Maida Babson Adams American garden collection
Archival Repository:
Archives of American Gardens
EDAN-URL:
ead_collection:sova-aag-adm
Online Media:

Eliot Elisofon Field collection

Photographer:
Elisofon, Eliot  Search this
Extent:
14000 negatives (photographic) (b&w, 35mm)
30000 slides (photographs) (color)
80,000 Photographic prints (b&w, 25 x 20 cm. or smaller.)
Type:
Collection descriptions
Archival materials
Negatives (photographic)
Slides (photographs)
Photographic prints
Negatives
Color slides
Black-and-white negatives
Black-and-white photographs
Place:
Africa
Congo (Democratic Republic)
Mali
Ghana
Côte d'Ivoire
Benin
Burkina Faso
Egypt
Kenya
Liberia
Niger
Rwanda
Senegal
Sudan
Tanzania
Togo
Uganda
Zambia
Zimbabwe
Central African Republic
Date:
circa 1935-1978
Summary:
This collection is comprised of photographic and manuscript materials, primarily created by Eliot Elisofon to document his travels and work. The images portray many aspects of African life and culture including agriculture, wildlife, archaeology, architecture, art and artisans, children, cityscapes and landscapes, leaders, markets, medicine, recreation, ritual and celebration, and transportation. The manuscript materials include correspondence, essays, clippings, puobligations, notes, research, and itineraries.
Scope and Contents:
This collection is comprised of circa 14,000 negatives, 30, 0000 slides, 8,000 photographic prints, and 14 boxes of manuscript materials that date from circa 1945-1978.

The photographs document Eliot Elisofon's travels and work in Africa. The images portray many aspects of African life and culture including agriculture, wildlife, archaeology, architecture, art and artisans, children, cityscapes and landscapes, leaders, markets, medicine, recreation, ritual and celebration, and transportation. Artisans shown include an Asante weaver making kente cloth in Ghana; a Dogon carver in Mali making a kanaga mask; an Ebrie goldsmith in Cote d'Ivoire; Hausa dyers in Kano, Nigeria; and Nupe beadmakers in Nigeria; as well as artists at the Ecole des Beaux Arts in Kinshasa, Congo. Portraits of leaders include the Asante court at Kumase in Ghana; Ebrie chiefs and notables in Cote d'Ivoire; the timi (king) of Ede, a Yourba town, Nigeria; the emir of Katsina, Nigeria; and the Kuba king and his court in the Congo. There are informal portraits showing children of the Kuba royal court dancing, Fulbe women with gold earrings in Mali, Mangbetu women in the Congo, and Maasai elders in Kenya. Masked dances documented include a Dogon dama festival celebration in Mali, an Igbo festival in Nigeria, and Kuba and Pende masked dancers in the Congo. There are also images of Yoruba gelede (men's association) masks in Nigeria. Non-masked dancers shown include Dan professional acrobatic dancers in Cote d'Ivoire, Irigwe dancers in Nigeria, Mangbetu dancers in the Congo, Mbuti dancers in the Democratic Republic of the Congo, and Wodaabe men dancing in Nigeria. Events shown include Hausa riders in chain mail during the Independence Day celebration in Katsina, Nigeria. Images of art in situ include ancestral altars in the King of Benin's palace in Nigeria; Dogon rock paintings in Mali; and Yoruba Shango shrine sculptures in the palace courtyard of timi (king) of Ede in Nigeria. Landscapes include views of mount Kilimanjaro, Tanzania. Animals shown include birds, buffalos, elephants and giraffes. Traditional architecture shown includes Asante shrine houses with raised wall decorations in Ghana, Dogon villages in Mali and mosques in Mopti.

The manuscript materials include correspondence, essays, clippings, puobligations, notes, research, and itineraries.
Biographical/Historical note:
A photographer best known for his work in Life magazine. Elisofon worked as a free-lance magazine photographer from 1933 to 1937, as a staff photographer for Life from 1933 to 1937 and on photographic assignments for various magazines, including the Smithsonian magazine, from 1942 to 1945. Elisofon traveled extensively in Africa, Asia, Europe and South America documenting the peoples of these lands as well as their arts and environments. A founding member and curatorial associate of the private Museum of African Art, which in 1981 became the National Museum of African Art (NMAfA), Elisofon bequeathed his collection of African photographs to the museum when he died in 1973. To honor Elisofon's contribution to the understanding of African art and culture, NMAfA named its archives after him.
Restrictions:
Use of original records requires an appointment. Contact Archives staff for more details.
Rights:
Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.
Topic:
Body arts  Search this
Nigeria  Search this
South Africa  Search this
Genre/Form:
Negatives
Photographic prints
Color slides
Black-and-white negatives
Black-and-white photographs
Citation:
Eliot Elisofon Field Collection, EEPA 1973-001, Eliot Elisofon Photographic Archives, National Museum of African Art, Smithsonian Institution
Identifier:
EEPA.1973-001
See more items in:
Eliot Elisofon Field collection
Archival Repository:
Eliot Elisofon Photographic Archives, National Museum of African Art
EDAN-URL:
ead_collection:sova-eepa-1973-001
Online Media:

Charles Rivers Photographs

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

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

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

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

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

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

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

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

3. Ibid.

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

5. James Rivers, op. cit.

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

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

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

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

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

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

Hirshhorn Museum and Sculpture Garden

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

Materials at Other Organizations

Amon Carter Museum, Fort Worth, Texas

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

Robert F. Wagner Labor Archives at New York University

Museum of the City of New York

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

Historic Mount Wilson Observatory Threatened by Bobcat Fire in Los Angeles

Creator:
Smithsonian Magazine  Search this
Type:
Blog posts
Smithsonian staff publications
Blog posts
Published Date:
Wed, 23 Sep 2020 19:22:53 +0000
Topic:
Custom RSS  Search this
See more posts:
Smithsonian Article Database
Data Source:
Smithsonian Magazine
EDAN-URL:
edanmdm:posts_9e4647e1b1320e91a4e55361485987af

Elizabeth McCausland papers, 1838-1995, bulk 1920-1960

Creator:
McCausland, Elizabeth, 1899-1965  Search this
Subject:
Hartley, Marsden  Search this
Abbott, Berenice  Search this
Hawthorne, Charles Webster  Search this
Henri, Robert  Search this
Henry, Edward Lamson  Search this
Dove, Arthur Garfield  Search this
Kleinholz, Frank  Search this
Morgan, Barbara Brooks  Search this
Stieglitz, Alfred  Search this
Weegee  Search this
Hine, Lewis Wickes  Search this
Inness, George  Search this
Lawrence, Jacob  Search this
Maurer, Alfred Henry  Search this
Weston, Edward  Search this
American Art Research Council  Search this
Federal Art Project (U.S.)  Search this
United States  Search this
Barnard College  Search this
Type:
Scrapbooks
Prints
Drawings
Photographs
Watercolors
Topic:
Springfield Republican  Search this
Art historians -- New York (State) -- New York  Search this
Federal aid to the arts  Search this
Art criticism -- United States  Search this
Documentary photography -- United States  Search this
Authors -- New York (State) -- New York  Search this
Art -- Exhibitions -- United States  Search this
Art -- History -- Study and teaching  Search this
Art, Modern -- 20th century -- United States  Search this
Art -- Societies, etc. -- United States  Search this
Modernism (Art) -- United States  Search this
Art, American  Search this
Art critics -- New York (State) -- New York  Search this
Record number:
(DSI-AAA_CollID)7839
(DSI-AAA_SIRISBib)210006
AAA_collcode_mccaeliz
Theme:
Diaries
Art Theory and Historiography
Photography
Women
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_210006
Online Media:

Photo-Mosaic, Aerobee

Manufacturer:
Naval Research Laboratory  Search this
Materials:
Paper, photographic emulsion, wooden frame
Dimensions:
2-D - In Frame (H x W x D): 72.4 × 130.8cm (2 ft. 4 1/2 in. × 4 ft. 3 1/2 in.)
2-D - Unframed (H x W): 65.4 × 123.8cm (2 ft. 1 3/4 in. × 4 ft. 3/4 in.)
Type:
LITERATURE AND RESEARCH-Photos & Prints
Country of Origin:
United States of America
Credit Line:
U. S. Navy / Naval Research Laboratory
Inventory Number:
A19620042000
Restrictions & Rights:
Usage conditions apply
See more items in:
National Air and Space Museum Collection
Data Source:
National Air and Space Museum
GUID:
http://n2t.net/ark:/65665/nv95292e56f-d58d-440c-9bcf-d92f1c494976
EDAN-URL:
edanmdm:nasm_A19620042000
Online Media:

Nadar-Polka par A. Vizentini

Author:
Vizentini, Albert 1841-1906 http://id.loc.gov/vocabulary/relators/cmp http://id.loc.gov/authorities/names/n97874651 http://viaf.org/viaf/44527104  Search this
Morel-Retz, Louis Pierre Gabriel Bernard 1825-1899 http://id.loc.gov/vocabulary/relators/ill http://id.loc.gov/authorities/names/nr96023382 http://viaf.org/viaf/17314783  Search this
Nadar, Félix 1820-1910 http://id.loc.gov/vocabulary/relators/dte http://id.loc.gov/authorities/names/n50014563 http://viaf.org/viaf/84808952  Search this
Bella C. Landauer Collection of Aeronautical Sheet Music (Smithsonian Institution. Libraries) DSI  Search this
Subject:
Nadar, Félix 1820-1910  Search this
Nadar, Félix 1820-1910 http://id.worldcat.org/fast/00004529 http://viaf.org/viaf/84808952  Search this
Physical description:
5 pages of music 36 cm
Type:
Nonprojected graphics
Caricatures and cartoons
Advertisements
Sheet music covers
Sheet music
Place:
France
Date:
1879
To 1901
1870-1880
Topic:
Piano music  Search this
Polkas  Search this
Popular instrumental music  Search this
Balloons (Aircraft)  Search this
Books  Search this
Cameras  Search this
French  Search this
Call number:
M1 .B4
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_982564

National Air and Space Museum: Video Camera For Collections

Collection Creator::
Smithsonian Institution. Office of the Registrar  Search this
Container:
Box 13 of 18
Type:
Archival materials
Collection Citation:
Smithsonian Institution Archives, Record Unit 568, Smithsonian Institution, Office of the Registrar, Records
See more items in:
Records
Records / Box 13
Archival Repository:
Smithsonian Institution Archives
EDAN-URL:
ead_component:sova-sia-faru0568-refidd1e6654

Folder 4

Collection Creator::
Smithsonian Institution. Office of the Secretary  Search this
Container:
Oversize
Type:
Archival materials
Collection Citation:
Smithsonian Institution Archives, Record Unit 31, Smithsonian Institution, Office of the Secretary, Correspondence
See more items in:
Correspondence
Correspondence / Series 5: Large Format Materials. / Oversize
Archival Repository:
Smithsonian Institution Archives
EDAN-URL:
ead_component:sova-sia-faru0031-refidd1e16422

Folder 6 Rochester Optical and Camera Co.- Rochon, Achille

Collection Creator::
Smithsonian Institution. Office of the Secretary  Search this
Container:
Box 58 of 192
Type:
Archival materials
Collection Citation:
Smithsonian Institution Archives, Record Unit 31, Smithsonian Institution, Office of the Secretary, Correspondence
See more items in:
Correspondence
Correspondence / Series 1: General Incoming Correspondence, 1888-1927. Arranged Alphabetically. / Box 58
Archival Repository:
Smithsonian Institution Archives
EDAN-URL:
ead_component:sova-sia-faru0031-refidd1e9495

Elizabeth McCausland papers

Topic:
Springfield Republican
Creator:
McCausland, Elizabeth, 1899-1965  Search this
Names:
American Art Research Council  Search this
Barnard College -- Faculty  Search this
Federal Art Project (U.S.)  Search this
United States. Farm Security Administration  Search this
Abbott, Berenice, 1898-1991  Search this
Dove, Arthur Garfield, 1880-1946  Search this
Hartley, Marsden, 1877-1943  Search this
Hawthorne, Charles Webster, 1872-1930  Search this
Henri, Robert, 1865-1929  Search this
Henry, Edward Lamson, 1841-1919  Search this
Hine, Lewis Wickes, 1874-1940  Search this
Inness, George, 1825-1894  Search this
Kleinholz, Frank, 1901-  Search this
Lawrence, Jacob, 1917-2000  Search this
Maurer, Alfred Henry, 1868-1932  Search this
Morgan, Barbara Brooks, 1900-1992  Search this
Stieglitz, Alfred, 1864-1946  Search this
Weegee, 1899-1968  Search this
Weston, Edward, 1886-1958  Search this
Extent:
45 Linear feet
Type:
Collection descriptions
Archival materials
Scrapbooks
Prints
Drawings
Photographs
Watercolors
Place:
New York N.Y. -- Pictorial works -- Photographs
Date:
1838-1995
bulk 1920-1960
Summary:
The papers of art critic, writer, and historian Elizabeth McCausland measure 45 linear feet and date from 1838 to 1995, with the bulk of the material dating from 1920 to 1960. The collection provides a vast accumulation of research data on various artists and aspects of American art, especially the early American modernists and the Federal Arts Projects. Papers include McCausland's extensive research and writing files, particularly on Marsden Hartley, E. L. Henry, Lewis Hine, George Inness, and Alfred H. Maurer. McCausland's correspondence with artists includes a substantial amount with Arthur Dove and Alfred Stieglitz. Her collaborative work with Berenice Abbott on the Changing New York book and series of photographs is well-documented within the collection. Also found are general writings, subject files, files relating to exhibitions, teaching, and committees, photographs, art work, personal papers, and printed material. Additional McCausland material donated later from the estate of Berenice Abbott include biographical materials, project files, writings, and printed materials.
Scope and Content Note:
The papers of art critic, writer, and historian Elizabeth McCausland measure approximately 45 linear feet and date from 1838 to 1995, with the bulk of the material dating from 1920 to 1995. The collection provides a vast accumulation of data on various artists and aspects of American art, especially the early American modernists and the Federal Arts Projects. Papers include McCausland's extensive research and writing files, particularly on Marsden Hartley, E. L. Henry, Lewis Hine, George Inness, and Alfred H. Maurer. McCausland's correspondence with artists includes a substantial amount with Arthur Dove and Alfred Stieglitz. Her collaborative work with Berenice Abbott on the Changing New York book and series of photographs is well-documented within the collection. Also found are general writings, subject files, files relating to exhibitions, teaching, and committees, photographs, art work, personal papers, and printed material. Additional McCausland material from the estate of Berenice Abbott include biographical materials, project files, writings, and printed materials.

McCausland's personal papers consist of appointment books and engagement calendars, scrapbooks, student papers, works printed on her private press, financial records, biographical material, and scattered memorabilia, which together document other aspects of her life apart from her work. Correspondence includes incoming and outgoing letters along with enclosures, dating from McCausland's time as a journalist for The Springfield Republican in the 1920s and 1930s to her time as a freelance writer, art critic, and historian (1940s-1960s) and mostly concerning professional matters. Also included is a substantial amount of correspondence with artists, particularly Arthur Dove and Alfred Stieglitz, and some personal correspondence with her mother. General writings consists primarily of copies of McCausland's speeches and lectures on various art topics in addition to her early poems (dating from the 1930s) and scattered essays and articles.

The most extensive part of the collection is comprised of McCausland's research and writing files pertaining to large research and curatorial projects, such as ones on the artists Alfred H. Maurer and Marsden Hartley (which was begun by the American Art Research Council and subsequently taken over by McCausland), and one for the American Processional exhibition at the Corcoran Gallery in 1950. A wide variety of smaller projects are also well-documented in the series Other Research and Writing Files, including ones on E. L. Henry, Lewis Hine, George Inness, her collaborative work with Berenice Abbott on the Changing New York book and series of photographs. Numerous other artists and art topics are covered as well, such as Arthur Dove, Robert Henri, Jacob Lawrence, Charles Hawthorne, film, and photography. Files for her book Careers in Art (1950), her many speaking and lecture engagements, and editing work are also found in this series. Files consist primarily of correspondence, notes, research material, manuscripts, bibliographies, photographs of works of art, completed research forms for works of art, card index files, and printed material.

Also found are subject files containing printed material, scattered notes and correspondence, and photographs, which may have been used for reference and/or collected in the course of McCausland's research activities; files relating to various exhibitions organized by McCausland from 1939 to 1944, including ones of silk screen prints and modern photography; files relating to courses on art history taught by McCausland, especially the one she taught at Barnard College in 1956; and files stemming from her participation in various art organizations and committees, especially during the time period just before and during the Second World War.

Printed material consists primarily of clippings and tear sheets of McCausland's newspaper articles and columns, which document her contributions to The Springfield Republican from 1923 to 1946, in addition to scattered exhibition catalogs, announcements, books, and miscellaneous publications. Photographs include ones of various artists and works of art, ones from the Farm Security Administration, and ones by photographers, such as Berenice Abbott (including ones from the Federal Art Project book, Changing New York), Barbara Morgan, Weegee, and Edward Weston, among others. Photographs, sometimes annotated or including notes, are scattered throughout her research files. Also included are photographs of McCausland, dating from her childhood. Art work found in the collection includes drawings, prints, and watercolors that were either given to McCausland by the artist or collected by her in the course of her work as an art critic and historian.

Additional material belonging to Elizabeth McCausland and donated by the estate of Berenice Abbott includes biographical material; business and personal correspondence; professional project files and writings, including drafts and research materials related to the book projects Art in America, Conversations with March, and Frank Kleinholz; and printed materials, including reprints of critical essays and articles by McCausland.
Arrangement:
The collection is arranged as 15 series:

Series 1: Personal Papers, 1838, 1920-1951 (Boxes 1-2, 34; 1.5 linear feet)

Series 2: Correspondence, 1923-1960 (Boxes 2-5; 2.9 linear feet)

Series 3: General Writings, circa 1930-1954 (Boxes 5-6; 0.9 linear feet)

Series 4: Alfred H. Maurer, 1851-1951, bulk 1948-1950 (Boxes 6-9; 3.7 linear feet)

Series 5: American Processional, 1949-1951 (Boxes 10-11; 1.8 linear feet)

Series 6: Marsden Hartley, 1900-1964, bulk 1944-1964 (Boxes 11-21, OV 37; 10 linear feet)

Series 7: Other Research and Writing Files, 1896, 1926-1958 (Boxes 21-25, 31; 4.6 linear feet)

Series 8: Subject Files, 1927-1954 (Boxes 25-26; 1.0 linear feet)

Series 9: Other Exhibition Files, 1939-1941, 1944 (Box 26; 0.1 linear feet)

Series 10: Teaching Files, 1939-1965 (Box 27; 0.5 linear feet)

Series 11: Committee Files, 1936-1960 (Box 27; 0.5 linear feet)

Series 12: Printed Material, 1923-1953 (Boxes 28-32, 34, OV 38, BV 44-47; 4.6 linear feet)

Series 13: Photographs, circa 1905-1950 (Boxes 32-36, OV 37; 1.4 linear feet)

Series 14: Art Work, 1887-1942 (Boxes 33-34, OV 39-43; 0.7 linear feet)

Series 15: Elizabeth McCausland Material from the Estate of Berenice Abbott, 1920-1995 (Boxes 48-53; 5.4 linear feet)
Biographical Note:
Elizabeth McCausland, the art critic and writer, was born in Wichita, Kansas in 1899. She attended Smith College, receiving her Bachelor's degree in 1920 and her Master's in 1922. Beginning in 1923, she worked as a general reporter for The Springfield Republican (Springfield, Massachusetts). After several years, she began to review art exhibitions and soon became an established art critic. In the course of her work, she began to develop friendships with artists, such as Alfred Stieglitz and Arthur Dove. During these early years, she also wrote poetry and designed and printed limited edition publications on her private press.

McCausland moved to New York in 1935, but continued to contribute a weekly art column to The Springfield Republican until it suspended publication in 1946. From the mid-1930s on, she worked primarily as a freelance writer and art critic, contributing articles to publications such as Parnassas, The New Republic, and Magazine of Art. In the latter part of her career, her writings focused more on art history and special studies on artists.

In the late-1930s, McCausland collaborated with the photographer Berenice Abbott on the Federal Art Project book, Changing New York, for which she provided the text to Abbott's now-famous photographs of New York City neighborhoods, architecture, and street scenes. She studied and wrote about photography, including numerous articles on the photographer Lewis Hine (of whose work she organized a retrospective exhibition at the Riverside Museum in 1939), and was appointed to the Advisory Committee of the Museum of Modern Art's Department of Photography in 1944.

McCausland went on to organize other exhibitions, including a show of contemporary work, "The World of Today" (Berkshire Museum, 1939), shows of silk screen prints (Springfield Museum of Fine Arts, March 1940 and New York State Museum, Summer 1940), and a photography show, "Photography Today" (A.C.A. Gallery, 1944). In the late 1930s, she embarked upon a study of "the status of the artist in America from colonial times to the present, with especial attention to the relation between art and patronage," which continued over twenty years (and was never completed) and for which she received a Guggenheim fellowship in 1943.

In addition to her other writing, during the 1940s, McCausland carried out studies on the artists, E. L. Henry and George Inness, which resulted in exhibitions at the New York State Museum in 1942 and the George Walter Vincent Smith Art Museum in 1946, respectively and publications (a report on Henry and a book on Inness). From 1948 to 1949, she carried out an extensive study of the painter, Alfred H. Maurer, organizing an exhibition, "A. H. Maurer: 1868-1932," which showed at the Walker Art Center and the Whitney Museum of American Art in 1949, and publishing the biography, A. H. Maurer, in 1951. In 1950, she worked as a special consultant on the American Processional exhibition at the Corcoran Gallery and as editor of the accompanying book. Shortly thereafter, she began a study of Marsden Hartley for a monograph, which was published in 1952, and she helped organize the Hartley exhibition at the University of Minnesota that same year. She continued the Hartley study on larger scale for a planned biography and catalogue raisonne; although she continued to work on it off and on for the next decade, the project was never completed.

McCausland published other books, including Careers in the Arts (1951), and undertook other research and consulting projects, such as photo-editing Carl Sandburg's Poems of the Midwest (1946), conducting surveys of art and advertising for an article in Magazine of Art and of art education for Cooper Union Art School, and contributing yearly articles on art to various encyclopedias. At different times throughout her career, she supplemented her income by taking teaching positions. She taught courses on art history at Sarah Lawrence College from 1942 to 1944 and at Barnard College in 1956, as well as courses at the Design Laboratory (1939) and the New School for Social Research (1946). She also gave numerous lectures and speeches on various art topics, and regularly participated in conferences and symposiums. Towards the end of her career, she was publishing less, but was still involved in many projects, most notably the Hartley study.

McCausland was a tireless promoter of the arts, and often an advocate for artists. Even though her work was well-known among certain art circles, she never received the recognition as a writer that she deserved. Nor was she ever able to free herself from the pressure of writing for a living. Continually suffering from poor health, she died on May 14, 1965.
Related Material:
Related material found in the Archives includes a sound recording from a symposium on Marsden Hartley, of which McCausland was a participant, held at the Portland Museum of Art in 1961. The Frank Kleinholz papers contain a recorded interview of McCausland done in 1944-1945 for radio station WNYC. Some of McCausland's correspondence is found in the G. Alan Chidsey papers; Chidsey served as a trustee of the Marsden Hartley estate.
Separated Material:
Material separated from the collection includes some issues of Camera Work (Vol. 30, 47, 49/50), which were combined with other issues in an artificial collection created by the Archives at some earlier point.
Provenance:
Elizabeth McCausland donated the bulk of her papers in several installments from 1956 to 1961. An unknown donor, perhaps her literary executor, donated additional papers sometime after her death in 1965. It appears that McCausland originally donated her research files on Marsden Hartley, measuring 10 linear feet, to the Whitney Museum, who then lent them to the Archives for microfilming in 1966, and donated them sometime thereafter. McCausland originally donated files of newspaper clippings and offprints of her articles to the The New York Public Library, who gave them to the Archives in 1968. Additional McCausland material from the estate of Berenice Abbott was donated to the Archives in 2009.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
Rights:
The Elizabeth McCausland papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Art historians -- New York (State) -- New York  Search this
Federal aid to the arts  Search this
Art criticism -- United States  Search this
Documentary photography -- United States  Search this
Authors -- New York (State) -- New York  Search this
Art -- Exhibitions -- United States  Search this
Art -- History -- Study and teaching  Search this
Art, Modern -- 20th century -- United States  Search this
Art -- Societies, etc. -- United States  Search this
Modernism (Art) -- United States  Search this
Art, American  Search this
Art critics -- New York (State) -- New York  Search this
Genre/Form:
Scrapbooks
Prints
Drawings
Photographs
Watercolors
Citation:
Elizabeth McCausland papers, 1838-1995, bulk 1920-1960. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.mccaeliz
See more items in:
Elizabeth McCausland papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-mccaeliz
Online Media:

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