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John Storrs Correspondence

Collection Creator:
Storrs, John Henry Bradley, 1885-1956  Search this
Type:
Archival materials
Date:
1900-1956
Scope and Contents:
John Storrs' extensive correspondence spans over fifty years and documents his personal and professional life. There are extensive letters to his wife Marguerite Storrs, including love letters written before they were married and letters written to her during his visits to the United States. Letters written by Marguerite to John are located series 2.2. John Storrs' love letters to other women, including Yolande de Manziarly, are found within his general correspondence.

General correspondence primarily consists of Storrs' correspondence with friends, colleagues, art critics and historians, patrons, art organizations, and galleries. Where they exist, Storrs' drafts of outgoing letters are interfiled with letters he received in a chronological arrangement. Storrs was friends with many artists, architects, performers, and writers in both the US and Europe. Among the artists he corresponded with are Berenice Abbott, Hendrick Andersen, George Biddle, Jerome Blum, Arthur Bock, Louis Bouche, Georges Braque, Alexander Calder, Walter Cole, Arthur Davies, Jessica Dismorr, Katherine Dreier, Marcel Duchamp, Leo Friedlander, Marsden Hartley, Jean Helion, Gertrude Lambert, Fernand Leger, Jacques Lipchitz, Man Ray, Richard Recchia, Edwin Scott, Charles Sheeler, Joseph Stella, Maurice Sterne, Alfred Stieglitz, Leopold Survage, Jacques Villon, and William and Marguerite Zorach. Other notable correspondents include architects Edward Bennett, Paul Phillippe Cret, R. Buckminster Fuller, and Alfonso Iannelli; writers and publishers Sherwood Anderson, Louise Bryant, William Bullitt, Max Eastman, Jane Heap, Paul Scott Mowrer, and Gertrude Stein; art critics Phyllis Ackerman, Frank Crowninshield, and Maurice Raynal; art patrons Arthur Aldis, Mildred Bliss, and Charles Worcester; friend and curator Alice Roullier; and dancer Maud Allan. A portion of the general correspondence is in French.

A small amount of correspondence with galleries, museums, and curators concerns exhibitions and sales of Storrs' artwork. Also found is correspondence concerning his participation in art organizations. Researchers should note a portion of Storrs' business correspondence, especially regarding his major sculpture commissions and his dealings with Downtown Gallery, are found in Series 3: Personal Business Records.

See Appendix for a list of correspondents from Series 2.1.
Appendix: Correspondents from Series 2.1:
Abbott, Berenice, 1921, 1922, undated

Ackerman, Phyllis, 1924, 1925, 1926, 1927, 1928, undated

Adams, Cyrus H., 1944

Adler, Alfred, 1926

Adler, David, 1939, 1945

Adrien, Rouet, 1924

Alby, Leony, undated

Aldis, Arthur T., 1922, 1923, 1924, 1925, 1926, undated

Aldis, Graham, 1934

Allan, Maud, 1907, 1913, 1925, 1928, undated

American Art Association, 1926, undated

American Art Bronze Foundry, 1935, 1936

American Designers Gallery, Inc., 1928

American Express Company, 1907, 1933

American Hospital of Paris, 1913

American Library in Paris, 1945, 1946, 1947

American Red Cross, 1918

American Union of Decorative Artists and Craftsmen, 1928, 1929

American University Union in Europe, 1923

American Women's Club of Paris, inc., 1932, undated

Andersen, Mrs. A. O., 1928

Andersen, Hendrick, 1912, 1913, 1914, 1918

Anderson, Margaret, 1924

Anderson, Sherwood, 1917, 1925, undated

Antheil, George, 1924, 1926, 1927

A.O. Smith Coporation, 1934

Apex Smelting Co., 1930

Arden, Elizabeth, 1935, 1936, undated

Arens, Egmont, 1919, 1920, 1921

Arnhem, Edward, 1925

Art Institute of Chicago, 1920, 1921, 1922, 1925, 1927, 1929, 1930, 1931, 1933, 1934, 1935, 1939, 1940, 1945

Artists and Writers Dinner Club, 1934

Arts Club of Chicago, 1920, 1922, 1927, 1928, 1932, 1934, 1937

Artwork, 1924

Ateliers D'Art du Clos De Joye, 1955

B., Simone, 1924, 1926, 1928, undated

Babcock, Ella, 1912, undated

Babcock, James L., 1904, 1905, 1906, 1907, 1908, 1909, 1910, undated

Bailey, C. Foster, 1928

Ballard, George S., 1935

Barbarin, Georges, 1942

Barbier, H., 1925

Barbusse, Leevri, 1919

Barrett, Ida C., 1939

Bartholomew, Marshall, 1937

Bartlett, Paul W., 1914

Beach, John & Lucy, 1909, 1911, 1912, 1913, 1914, 1916, 1918, 1919, 1923, 1925, 1926, 1945, undated

Benard, Maddy, undated

Benington, Walter, 1918

Benjamin, Elizabeth, undated

Bennett, Edward H., 1934, 1935, 1937, 1938, 1940, 1944, 1945, 1948, 1951

Berger, Paul, 1920

Berlin Photographic Company, 1915

Biddle, George, 1923, 1924, 1925, 1946, undated

Biddle, Katherine Garrison, 1928

Jane Biddle, 1925, 1926

Birdsall, Lucy Storrs, 1950, undated

Birnbaum, Martin, 1916

Blanquet-Pernot, Mrs., 1928

Bliss, Mildred, 1929, 1948, undated

Blinstrub, Ben, 1937, 1945

Blum, Frank, 1929

Blum, Jerome, 1907, undated

Bock, Arthur, 1906

Bon, Jacques, 1923

Booz, Helen, 1946, 1947, undated

Bonney, M. Therese, 1926

Bosley, Frederick A., 1907, 1909, undated

Bouche, G. Louis (Folsom Galleries), 1920, 1921, undated

Boulenger, Jacques, 1942

Boyce, Sydney, 1911

Boyd, Jim, 1906

Bragdon, Marston S., 1914

Brandt, Edgar, 1926

Braque, G., 1939, 1955

Breck, George W., 1907

Bretano's, 1913

Brewster, Kate Lancaster, 1929, undated

Brewster, Walter, 1928

Brooklyn Museums, 1930, 1934

Brorby, Melvin, 1924

Brown, A. Spenser, 1907, 1912, 1913, 1914, undated

Brown, Slater, 1921

Brummer, Joseph, 1928, 1929, 1930

Bryant, Louise, 1917, 1918, 1920, 1922, 1923, 1924, 1925, 1929, 1930, undated

Bucher, Jeanne, 1937, undated

Bulliet, C. J., 1949

Bullitt, Orville H., undated

Bullitt, William C., 1937, 1939, 1940, undated

Butcher, Fanny, 1931

Byrne, Barry, 1928, 1930

Caffery, Jefferson, 1944, 1945

Cahiers de L'Etoile, 1929

Calder, Alexander (Illustrated Letter), 1932, 1935

California Museum of Art, Palace of the Legion of Honor, 1923, 1924, 1933

Calton, Constance, 1948

Campbell, Elisa, undated

Carnegie Institute, 1938

Caro-Delvaille, Aline, 1923

Carpenter, Genevieve, 1928, 1929

Carpenter, Rue, 1927

Cartarin, A., 1924

Carter, Helen B., 1921, 1922

Cecile, Paul, 1929

Centre Immobilier et Forestier, 1923

Chambers, Christine, undated

Chandler, George M., 1921

Chapman, C., 1912, undated

Charles Fiore Nurseries, 1930

Charpentier, Jean, 1926

Chase Bank, 1946

Cheney, Sheldon (Theatre Arts Magazine), 1921

Chicago Academy of Fine Arts, 1933, 1934, 1935

Chicago Daily News, 1918

Chicago Sculptors Association, 1935, 1936

Chicago Society of Etchers, 1916, 1918

Child, Paul Cushing & Julia, 1929, 1950

Childs, Newell, 1940, 1945, undated

Christy, Bill, 1946

Chrysler, Walter P., 1939

Civil Affairs Office, Orleans, France, 1944

Clarke, Dora, undated

Cliff Dwellers, 1928

Cline, Jared, 1927, 1928

Clow, Isabelle, 1927, 1928

Cohalan, Daniel, 1930

Colbert, F. Overton, 1933

Cole, Timothy, 1917

Cole, Walter, 1907, 1908, 1909, 1910, 1911, 1912, 1919, undated

Coleville, Ruth, 1912

College of St. Scholastica, 1939

Combes Favard, Berthe des, 1921, undated

Compagnie Generale Transatlantique, 1916, 1923, 1927

Commission de la Renaissance d'Orleans, 1945

Consulate-General of the United States of America, 1914

Corcoran Gallery of Art, 1935

Coules, Edith V., 1926, undated

Cowles, Genevieve, 1927

Crane, Jacob, 1933

Creative Art, 1928

Cret, Paul Philippe & Marguerite, 1925, 1926, 1930, 1945, undated

Cross, Louise, 1932

Crowninshield, Frank, 1929

Cummings, Nathan, 1955, 1956

Cummings, Walter, undated

Cunningham, John, 1933, 1938, 1955

Cuttoli, Marie, undated

Dallies, Jeanne, 1917

Dashiell, Juliet A., 1905, 1906, 1907

Davies, Arthur, 1923

Davis, Garry, 1949

Dell, Floyd (The Liberator), undated

Department du Loiret, Republique Francaise, 1944

Deregnancourt, Alphonse, 1914, 1915, 1918

Devambez, 1918, 1919

Deville-Chabrol, Emma, undated

Diaz, Luis, 1936

Diaz de Recchia, Ana, 1911, 1913

Dismorr, Jessica, 1918

Doubleday Page & Company, 1920

Dougherty, Paul, 1925

Dreier, Ethel E., 1923, 1926

Dreier, Katherine (Societe Anonyme Inc.), 1921, 1922, 1923, 1924, 1926, 1928, undated

Drury, Holden, 1953

Dubowsky, Henry, 1945

Duchamp, Marcel, 1927, undated

Dudensing Galleries, Inc., 1929

Duval, Jack H., 1907, 1918, undated

Duval, L. & L. Janier, 1916

Eastman, Max (The Liberator), 1918, 1919

Eckridge, Bob, undated

Eddy, Arthur J., 1916,undated

Editions Savoir Vivre, 1919

Eggimann, L. H., 1918

Elliott, Lucretia M., 1906

Embassy of the United States of America, Paris, 1940, 1945, 1946, 1947

Emmett, Beulah, 1937, undated

Enterprises Morlon & Fils, 1923

Espy, John, 1915

Ewing, Mary H., 1909

Ewing, Mary James, 1930

Ewing, W. A., 1916

Eyskens, A. Mary, 1909

Eyskens, Felix, 1912

Fagotat, G., 1922

Fairmount Park Art Association, 1933, 1948

Farre, William, 1922, 1923, 1925

Faucauld, Isabelle de Comtess, undated

Fauche, E., 1927

Fenton, P., 1943

Fio Rito, Madelyn, 1954, 1955

Fournier, F., 1932

Franks, Sara, 1909

Freelander, Ronald, 1945, 1946

Freneuse, Marie Louise Landry de, 1944, 1945, 1946, 1947, 1948

Freres, Brunschwig, 1925, 1927, 1928

Friedlander, Leo, 1936

Fry, Edith M., 1917, 1918

Fry, William E., 1909, 1921, 1923, undated

Fuller, R. Buckminster, 1929, 1930, 1932, undated

Galerie Briant-Robert, 1924

Galerie des feuillets d'art, 1919, 1920, undated

Galerie "L'Effort Moderne" (Leonce Rosenberg), 1919, 1924, 1926, 1928, 1930, 1931

Galerie Zak, 1925, 1934

General Alloys Company, 1935

Geret, Lucien, 1946, 1951

Germain, Mr. & Mrs., 1925

Gibson, Sidney, undated

Golejewski, General, 1945, 1946

Goodale, Hazel, 1906

Grafly, Charles & Martha, 1911

Graphic Institute of Lithography, 1937

Greeley, Martha, undated

Green, Gretchen, 1954

Gros, Gabriel, 1919

Grossman, Edward, undated

Gutheim, Frederick, 1946

H., Edna R., 1921, 1922

H. W. Croxton & Co., 1933

Hadley, Louise, 1937, 1940, undated

Haines, Grace (Mrs. L. Emerson Matter), 1906, 1907, 1908, 1909

Hammond, Madelyn, 1933

Hannen, Jos. H., 1909

Harrington, James (Jimmie), 1900, 1905, 1906, 1907, 1921, 1922, 1937

Hartley, Marsden, 1926, 1927, 1928, 1930, undated

Harvey, Fred, 1918

Heap, Jane, 1923, 1924, 1925, 1927, 1929, undated

Hecht, Zoltan, 1928

Heitkamp, Irving & Eleanor M., 1907, 1909, 1911, 1912, 1913, undated

Helion, Jean, 1937, 1938

Heyman, Katherine, undated

Hoeckner, Carl, 1921

Holabird, John A. (Holabird & Root), 1930

Holley, Bertha, 1913, undated

Holmes, Frederick, 1905, undated

Hoskins, W., 1930

Houfe, Eric, 1954

Houston, William, undated

Hoyt, Henry M. & Anne, 1911, 1912, 1918, 1920, 1921, undated

Hubert, M. de la Montaigne, 1933, 1935, 1936, undated

Hubert, Loyou, 1926

Huddleston, Sisley, 1924, 1927, 1929, 1930, undated

Hugon, Paul D., 1938

Hunt, Dorothy, undated

Iannelli, Alfonso, 1924, 1926, 1927, 1929

Industrial Fireproofing Corp., 1935

Jacques Seligmann & Co., Inc., 1934

Jaines, Louise, 1921

James, R. Howard, 1911, 1912, 1929, undated

Jaques, Bertha, 1917, 1918, 1919, 1920, 1921

Jenkins, Julia, 1905, undated

John H. Vanderpoel Art Association, 1939

Joy, Bill, 1922, 1923, undated

Junior League of Chicago, 1932, 1935

Kahn, Albert, 1934

Kayser, Jos., 1947

Kennedy, Herbert H., 1922, 1923, 1924, 1925

Kramer, Frank, 1905

Kunst Art Foundries, 1931

Lacomme, Risette, 1919, 1920, 1924, 1926, undated

Lafargue, Henry, 1925, 1926, 1927, 1928, 1931

Laing, Alice S., 1921

Lambert, Gertrude, 1911, 1912, 1913, 1914, 1917, 1929, undated

Laurens, E., 1911

La Verite, 1919

Lavolley, I.?, 1926, 1929, undated

Layrault?, 1923, 1924, 1925

Lazari, Paul, 1946

Le Bosse, R., 1938

Lecomte, Mr., 1928

Lecomte du Nouy, Mrs., 1948

Lecornu, G., 1927

Lee, G. Ambrose, 1905

Lee, Henry C., 1927

Lee, Robert M., 1931

Leger, Fernand, 1936, undated

Leight, Mrs. Edward, 1921, undated

Les Muses Francaises, 1920, 1921, 1922

Lewis, Elizabeth, 1935

Lewis, Helen, 1946, 1947, undated

Lipchitz, Jacques & Berthe, undated

Long, Mason, 1953

Loring?, Gustave, 1919

Loyson, 1913

Luntz, Charles, 1946

Lyons, Philip, 1929, 1932, undated

MacBurney, T. N., 1930

Magnin, A. de, 1918

Malye, T., 1927

Mannheimer, Frank, undated

Manziarly, Yolande de, 1923, 1925, 1926, 1927, 1928, 1929

Martre, Charles, 1927

Masclary, Bernard de, 1923, 1924, 1925, 1942, 1955, undated

Masclary, P. de, 1942

Marmet, L. J., 1906

Mazau, F., 1923

McClelland, Nancy, 1937

McCormick, Elsie Rockefeller, 1950

McCormick, Robert H., 1949

McIntyre, Margaret, 1924, 1926

McManus, Blanche, 1918

Medallic Art Company, 1931

Meeker, Arthur, 1930

Metropolitan Museum of Art, 1916

Meunier, Maurice, 1926, 1927

Miller, Edgar, undated

Miller, John O'Fallon & Caroline, 1923, 1926, undated

Miller, Joseph Gilman, 1929

Milman, Ralph & Helen, 1937, 1938, 1955

Monnette, Orra Eugene, 1921

Montellier, J., 1930

Moody, Harriet, 1925

Moore, Grace, 1936

Morgan, Charles, 1933

Morley, R., 1908, 1918

Morse, Howard K., 1927

Morris Book Shop, 1921

Mowrer, Edgar, 1914, undated

Mowrer, Paul Scott & Winifred, 1912, 1913, 1914, 1915, 1916, 1917, 1918, 1922, undated

Museum of Fine Arts, Boston, 1923

Museum of Modern Art, 1930, 1933, 1934

"Nadja", 1926

Nagel, Elizabeth, undated

Nashville Art Club, 1909

National Sculpture Society, 1928

National Soap Sculpture Committee, 1931

Navez, P., 1914

Needham, Louis & Brorby, Inc., 1930, 1935, 1936, 1945, 1946, 1948, 1949, undated

Nelson, Paul, undated

Neological Foundation, 1940, 1945

The Neoterics, 1935

Neue Gallerie, 1925

Neumann, A., 1940, 1945

Newark Museum, 1935

New Masses, 1925

The New Orient, 1930

Noel, Georges, 1945

Norton, John, 1929, undated

Oakley, Horace, 1921

Office of War Information, 1945

Olds, Abbie Storrs, 1950

O'Toole, James St. L, 1935, 1936, undated

Paas, Emily Anita, 1928

Packard, Mary Storrs, 1921

Palmer, Pauline, undated

Panama-Pacific International Exposition, 1913, 1916

Paris-Midi, 1925, undated

Paris Post, 1946

Parker, Eleanor Wayne, 1912, 1913

Parker, Kineton, 1922, 1930

Partridge, Charlotte Russell, undated

Pascal, Pietro, 1946

Pasquier, Gustave, 1924

Passani, F., 1930

Pearson, Ralph M., 1928, 1929

Peignin, Marius, 1925

Pelzer, Mildred W., 1936

Pennsylvania Academy of Fine Arts, 1910, 1911, 1933

Perry, Ruth T., 1907

Phillips, S. G., (illustrated) 1911, 1914

Pichon, Leon, 1920

Pierron, M., 1920

Playboy, 1919

Polasek, Albin, 1926

Ponce, J., 1927

Post, Mary, 1906, 1907, undated

Potin, O., 1953

Provincetown Print Gallery, 1921

Putnam, Samuel, undated

Quattrocchi, Edmondo, 1929

Ray, Man, undated

Raynal, Maurice, 1928, 1929, undated

Reboul, Jacques, 1907

Recchia, Richard H., 1912, 1913, 1920, undated

Reed, John, 1917

Rendu, A., undated

Republique Francaise, Mairie D'Orleans, 1945, 1946, 1947, 1948

Rerolle, Gervaise, undated

Richard, E., 1932

Richard, Paul, 1923, 1927, 1928

Ritman, Louis, 1909

Roberts, Webb, 1936, 1938

Roche, Henri Pierre, 1924, 1927

Rockwell, 1920

Roger, Maurice, 1927

Roosevelt, Theodore, 1916

Root, Ellen, undated

Roseman, T., 1922

Rosenberg, Paul, 1939

Rotil, J., 1924

Roullier, Alice, 1920, 1922, 1923, 1924, 1927, 1928, 1931, 1935, 1936, 1937, 1938, 1939, 1940, 1945, 1946, 1947, 1948, 1949, 1950, 1955, undated

Rowdon, J. T., 1905

Royer, Jean, 1945

Ruhlmann & Laurent, 1919, 1920

Russell, Ann, 1904, 1906

Safalgette, L., 1919, 1920, undated

Salmon, Andre, 1921, 1923, undated

Salon du Franc, 1926

Salons of America, 1923, 1924

Saltino, Andy, 1925

Schoenfeld, Flora, undated

School of the Museum of Fine Arts, Boston, 1909

Schulberg, Stuart and Barbara, undated

Schutze, M., 1934, undated

Schwartz, Andrew T., 1910

Scott, Edwin & Josephine, 1907, 1909, 1911, 1912, 1914, undated

Segur, Adrienne, 1927

Senior, John L., 1935, 1936, undated

Seymour, Ruth, 1922

Shanlow?, Alexandra, 1914

Sheeler, Charles, 1923

Shenker, Harry, 1919

Slaiman, M. & Ruth, 1950

Smith, C. Powers, 1923

Smith, Howard E., 1912, 1913, 1914, 1914, 1915, 1916, 1917, 1918, 1920, 1925, 1926, undated

Societe de Saint-Jean, 1917

Sowerby, Leo, 1918

Spaulding, W. B., 1910

Sprague, Albert A., 1921

Stearns, Harold E., 1932

Stein, Gertrude, undated

Stein, Rita, undated

Stella, Joseph, 1929

Stephens, E. A., 1949

Stephens, Lucille Chandler, 1925

Sterne, Maurice, 1925

Sterner, Carl John, undated

Stieglitz, Alfred, 1930

Stinson, Roxie R., 1905, 1906, 1907, 1908, undated

Stora, M. & R., 1926

Storgo Laboratories (David Goldsmith), 1936, 1937

Storrs, Frank Herbert, 1924, 1926

Storrs, John W., 1918

Storrs, Louis, 1939

Storrs, Ronald, 1925, 1927, 1928

Sueur, G., 1926

Survage, Leopold & Germaine, 1930, 1931, 1932, 1937, 1945, undated

Tancrede, Robert, 1945

Tartarin, A., 1930

The Tavern, 1928

Taylor, Catherine, 1911, 1912

Texas Centennial Exposition, 1936

Thanlow, Ch. L. & Ingrid, 1919, undated

The Seven Arts Magazine, 1918

Thomas, Maxime, 1930

Tillson, Rex, 1923

Toledo Museum of Art, 1938

Tooker, Marion F., 1911

Toulouse, Roger, 1949, 1955, undated

The Transatlantic Review, 1924

Truman, Harry S., 1945 (letter to)

Turnbull, Yale, 1925, 1926

Tyson, Russell, 1922, 1927

Vallette, S., 1920

Valsuani, Claude, 1919, 1922, 1933, 1951, 1955

Vestal, Donald B., 1931

Villon, Jacques, undated

Vinton, Warren Jay & Helen Augur, 1924

Voccia, Luigi, 1914

Vogelgesang, Shepard, 1935

Wacker, Fred, 1955

Walpone, Marguerite, 1918

Ware, Mary, undated

Waring, P. A., 1921

Warwick, Katherine Murray, 1916

Webster, H. A., 1920

White, Charles E., 1932, 1933

Whitney Museum of American Art, 1933

Williams, Frederick, 1924

Williams, Walter R., 1909, 1911, 1912, undated

Wilson, A. J., 1935

Wolf, Walter, 1923

Worcester, Charles H., 1928, 1929, 1945, undated

Wright, Alan, 1910

Wright, Katherine, 1921

Zamoyski, August, 1921

Zorach, William & Marguerite, 1922, 1924
Restrictions:
This series contains access-restricted medical records.
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:
John Henry Bradley Storrs papers, 1890-2007, bulk 1900-1956. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.storjohn, Subseries 2.1
See more items in:
John Henry Bradley Storrs papers
John Henry Bradley Storrs papers / Series 2: Correspondence
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-storjohn-ref45

Oral history interview with John Outterbridge

Creator:
Outterbridge, John, 1933-2020  Search this
Interviewer:
Bassing, Allen, 1932-  Search this
Names:
American Academy of the Fine Arts -- Students  Search this
Chicago Academy of Fine Arts -- Students  Search this
Compton Communicative Arts Academy  Search this
Pasadena Art Museum  Search this
Alexander, Peter, 1939-  Search this
Coplans, John  Search this
Di Suvero, Mark, 1933-  Search this
Dickson, Charles  Search this
Gilmore, Robert  Search this
Powell, Judson  Search this
Puerefoy, Noel  Search this
Rauschenberg, Robert, 1925-2008  Search this
Sera, Richard  Search this
Warhol, Andy, 1928-1987  Search this
Extent:
13 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Interviews
Date:
1973 January 3
Scope and Contents:
Interview of John W. Outterbridge conducted 1973 January 3, by Allen Bassing, for the Archives of American Art.
Outterbridge speaks of his family background and how that influenced him to lean toward the arts; attending Agriculture & Technical University and majoring in engineering even though he wanted to become an artist; joining the Army in order to get the G.I. Bill so he could afford school; painting during his three-year stint in the service, and how his company commander admired his work and got him a studio; attending the Chicago Academy of Art, then the American Academy of Art after leaving the military; moving to Los Angeles to pursue a career as an artist full-time; quitting painting and deciding to focus on sculpture; working at the Pasadena Art Museum, and how it disturbed him that there weren't any Black artists being represented in the shows he was installing there; getting involved with the Compton Communicative Arts Academy just as it was starting; and the present situation of the Compton Communicative Arts Academy and where he sees it going. He recalls Andy Warhol, Peter Alexander, Richard Serra, Robert Rauschenberg, Mark di Suvero, John Coplans, Judson Powell, Noel Puerefoy, Charles Dickson, Bobby Gilmore, and many others.
Biographical / Historical:
John Outterbridge (1933-2020) was an art administrator, painter, and sculptor from Los Angeles, California.
Provenance:
This interview is part of the Archives' Oral History Program, started in 1959 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and others.
Restrictions:
This transcript is open for research. No audio exists. Contact Reference Services for more information.
Occupation:
Arts administrators -- California -- Los Angeles  Search this
Painters -- California -- Los Angeles  Search this
Sculptors -- California -- Los Angeles  Search this
Topic:
African American artists  Search this
African American painters  Search this
African American sculptors  Search this
Genre/Form:
Interviews
Identifier:
AAA.outter73
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-outter73
Online Media:

Rudolph Weisenborn papers

Creator:
Weisenborn, Rudolph, b. 1881  Search this
Names:
Chicago No-Jury Society of Artists  Search this
Weisenborn, Fritzi  Search this
Extent:
2.3 Linear feet
Type:
Collection descriptions
Archival materials
Drawings
Sketchbooks
Date:
1919-1977
Scope and Contents:
Biographical material, letters, business records, notes, writings, art works, scrapbooks, printed material, and photographs.
REEL 856: Biographical sketches; eighteen letters from colleagues, 1948-1965; records of expenditures, 1956-57; a travel log from a trip to Arizona; essays "The Freedom of the Artist" and "Diorama on Soil Erosion and Soil Conservation for the Tennessee Valley Administration" by Weisenborn, a poem "Fritzi and Rudolph"; 2 typed drafts of "Weisenborn and the American Vision" by John Thwaites (1946); notes from an exhibition at the Werner's Books Gallery.
16 sketchbooks, undated and 1947, and 15 sketches by Weisenborn; three scrapbooks, 1921-1956, containing clippings and art reviews written by Weisenborn's wife, Fritzi, exhibition announcements and catalogs, letters, and an autographed guest list from a party; clippings, 1937-1965; catalogs from 10 No-Jury Society exhibitions, 1922-1941; lecture announcements 1934, brochures; and photographs of Weisenborn, his studio, art-related events, and his works of art.
UNMICROFILMED: 4 biographical sketches and his marriage certificate; letters, 1919-1977; business and financial records, 1931-1972; 3 address books; essays by and about Weisenborn, including sections of "Weisenborn and the American Vision" by John Thwaites (1946); 2 children's drawings, a caricature sketch, and a print by Weisenborn; scrapbooks and scrapbook pages, containing clippings and reviews by his wife, 1938 and 1945-1946; clippings, 1920-1973; exhibition announcements and catalogs, 1922-1965, and other printed material; photographs and a photo album of Weisenborn, his family, studio, and works of art, including designs for department store windows; and a metal printing plate showing a newspaper photograph of Weisenborn and his wife.
Biographical / Historical:
Painter and art instructor; Chicago, Illinois. Died 1974. Taught at the Chicago Academy of Fine Arts, 1922-1934. Co-founder of Chicago No-Jury Society of Artists. Weisenborn's wife Fritzi, was art critic for Chicago's Sunday Times.
Provenance:
Material on reel 856 was lent for microfilming in 1974 and subsequently donated 1985 by Gordon Weisenborn with additional unmicrofilmed material. (Several items from 2 of the scrapbooks were not returned.)
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
Occupation:
Art critics -- Illinois -- Chicago  Search this
Art teachers -- Illinois -- Chicago  Search this
Painters -- Illinois -- Chicago  Search this
Topic:
Art -- Study and teaching -- Illinois -- Chicago  Search this
Painting, Abstract -- Illinois -- Chicago  Search this
Women art critics -- Illinois -- Chicago  Search this
Function:
Artists' studios -- Illinois
Genre/Form:
Drawings
Sketchbooks
Identifier:
AAA.weisrudo
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-weisrudo

Carl N. Werntz papers

Creator:
Werntz, Carl N. (Carl Newland), 1874-1944  Search this
Photographer:
Ray, Man, 1890-1976  Search this
Extent:
0.2 Linear feet
Type:
Collection descriptions
Archival materials
Place:
Africa -- description and travel
Taiwan -- description and travel
Oceania -- Description and Travel
Date:
1910-1952
Scope and Contents:
Clippings with some photographs and printed materials documenting Werntz's career as an artist and his extensive travels. Clippings contain many travel articles written and illustrated by Werntz and his wife, Millicent. Among other travel-related items are their travel itinerary, an illustrated letter from 1929, reproductions of Werntz's travel sketches, and photographs (including seven portraits of him and his wife by Man Ray). Other materials consist of Werntz's resume, his obituary, several inventories of artwork from exhibits, and an illustrated catalog of his work exhibited at The Chicago Academy of Fine Arts.
Biographical / Historical:
Painter, illustrator, educator, and world traveller; born in Illinois, died in Mexico. Studied painting with Alphonse Mucha. Founder of The Chicago Academy of Fine Arts. Between 1933 and 1944 he travelled around the world six times.
Provenance:
Donated by Freda West, 1989. West and her husband, Roy West, received the papers from Roy's aunt, Louise Newman West, who had received them from her sister, Millicent Werntz, Carl Werntz's wife.
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.
Occupation:
Educators  Search this
Illustrators  Search this
Painters  Search this
Identifier:
AAA.werncarl
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-werncarl

Ruth Van Sickle Ford papers

Creator:
Ford, Ruth Van Sickle, 1897-1989  Search this
Names:
Chicago Academy of Fine Arts  Search this
Extent:
1.7 Linear feet
Type:
Collection descriptions
Archival materials
Scrapbooks
Date:
circa 1920-1986
Summary:
The papers of painter and educator Ruth Van Sickle Ford (1897-1989) measure 1.7 linear feet and date from circa 1920 to 1986. Found are biographical materials, correspondence, writings, printed materials, three scrapbooks, and photographs.
Scope and Contents:
The papers of painter and educator Ruth Van Sickle Ford (1897-1989) measure 1.7 linear feet and date from circa 1920 to 1986. Found are biographical materials, correspondence, writings, printed materials, three scrapbooks, and photographs.
Arrangement:
Due to the small size of this collection the papers are arranged as one series.
Biographical / Historical:
Ruth Van Sickle Ford (1897-1986) was a painter and educator active in Chicago, Illinois. She was president and owner of the Chicago Academy of Fine Arts from 1936 to 1960.

Ford was born in Aurora, Illinois. She enrolled at the Chicago Academy of Fine Arts, where she studied under Carl Newland Werntz, and graduated in 1918. Over the course of her career her works were exhibited throughout the United States. In addition to her painting, Ford returned to the Chicago Academy of Fine Arts to teach watercolor and oil painting, and ultimately purchased the school and served as both president and director.

In 1918, Ruth married Arthur Ford and together they had a daughter, Barbara. Ruth Van Sickle Ford died in 1989 in Aurora, Illinois.
Separated Materials:
The Archives of American Art also holds microfilm of material lent for microfilming (Reel 3956, frames 187-316) including 55 handmade Christmas cards, news clippings,a booklet, photographs, and one sketch by Claude Buck. Originals are in the possession of Barbara Turner. Loaned materials were returned to the donor and are not described in the collection container inventory.
Provenance:
Barbara Turner donated her mother's papers to the Archives of American Art in 1987.
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.
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 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:
Painters -- Illinois -- Chicago  Search this
Educators -- Illinois -- Chicago  Search this
Topic:
Women artists  Search this
Women painters  Search this
Women educators  Search this
Genre/Form:
Scrapbooks
Citation:
Ruth Van Sickle Ford papers, circa 1920-1986. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.fordruth
See more items in:
Ruth Van Sickle Ford papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-fordruth

Writings, Class Outlines, Chicago Academy of Fine Arts

Collection Creator:
Ford, Ruth Van Sickle, 1897-1989  Search this
Container:
Box 1, Folder 8
Type:
Archival materials
Date:
1940-1941
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.
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 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:
Ruth Van Sickle Ford papers, circa 1920-1986. Archives of American Art, Smithsonian Institution.
See more items in:
Ruth Van Sickle Ford papers
Ruth Van Sickle Ford papers / Series 1: Ruth Van Sickle Ford papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-fordruth-ref13

Ruth Van Sickle Ford papers

Collection Creator:
Ford, Ruth Van Sickle, 1897-1989  Search this
Extent:
1.7 Linear feet (Boxes 1-3)
Type:
Archival materials
Date:
circa 1920-1986
Scope and Contents:
Biographical materials consist of awards and resumes. Letters are from friends and art organizations including Aurora University, Art Instruction Associates, Rockport Art Association, and Mrs. V. Walworth. Also found is a xerox copy of a letter from Henry Fonda. Twenty-six letters (1982) are from young students at the Allen School in Aurora, Illinois, thanking Ford for her visit.

Writings include four notebooks containing information and photographs concerning specific works of art by Ford. Also found is a bound book of class outlines from the Chicago Academy of Fine Arts from 1940 to 1941.

Printed materials include clippings, exhibition announcements and catalogs, reproductions of works of art, and school publications. Two clippings scrapbooks and one mixed-media scrapbook focus on Ford's painting and teaching careers. Photographs depict Ford, her family and friends, homes and architecture, and works of art.
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.
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 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:
Ruth Van Sickle Ford papers, circa 1920-1986. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.fordruth, Series 1
See more items in:
Ruth Van Sickle Ford papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-fordruth-ref8

Chicago Academy of Fine Arts

Collection Creator:
Bulliet, C.J. (Clarence Joseph), 1883-1952  Search this
Container:
Box 28, Folder 6
Type:
Archival materials
Date:
circa 1888-1959
Collection Restrictions:
Use of original papers requires an appointment.
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 C. J. Bulliet papers, circa 1888-1959. Archives of American Art, Smithsonian Institution.
See more items in:
C. J. (Clarence Joseph) Bulliet papers
C. J. (Clarence Joseph) Bulliet papers / Series 6: Printed Material / 6.2: Printed Material by Others / Art Schools
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-bullclar-ref3709

Chicago Academy of Fine Arts - Chicago's New Century Committee

Collection Creator:
Bulliet, C.J. (Clarence Joseph), 1883-1952  Search this
Container:
Box 1, Folder 27
Type:
Archival materials
Date:
1929-1950
Scope and Contents note:
Chicago Academy of Fine Arts

Chicago Annual Pot-Pourri

Chicago Artists Equity

Chicago Board of Education

Chicago Committee for Bureau of Fine Arts

Chicago Daily News

Chicago Evening Post

Chicago Flower Show

Chicago Galleries Association

Chicago Journal of Commerce

Chicago Newspaper Guild

Chicago No-Jury Society of Artists

Chicago Opera Company

Chicago Park District

Chicago Public Library

Chicago Railroad Fair

Chicago Society of Artists, Inc.

Chicago Sun

Chicago Symphony Orchestra

Chicago Woman's Aid

Chicago's Charter Jubilee

Chicago's New Century Committee
Collection Restrictions:
Use of original papers requires an appointment.
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 C. J. Bulliet papers, circa 1888-1959. Archives of American Art, Smithsonian Institution.
See more items in:
C. J. (Clarence Joseph) Bulliet papers
C. J. (Clarence Joseph) Bulliet papers / Series 2: Correspondence
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-bullclar-ref52

Carl N. Werntz papers, 1910-1952

Creator:
Werntz, Carl N. (Carl Newland), 1874-1944  Search this
Werntz, Carl N. (Carl Newland), 1874-1944  Search this
Subject:
Ray, Man  Search this
Place:
Africa -- description and travel
Taiwan -- description and travel
Oceania -- Description and travel
Theme:
Lives of American Artists  Search this
Chicago's Art-Related Archival Materials: A Terra Foundation Resource  Search this
Record number:
(DSI-AAA_CollID)9699
(DSI-AAA_SIRISBib)211927
AAA_collcode_werncarl
Theme:
Lives of American Artists
Chicago's Art-Related Archival Materials: A Terra Foundation Resource
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_211927

Notice for a painting and drawing class taught by John Storrs

Creator:
Chicago Academy of Fine Arts  Search this
Chicago Academy of Fine Arts  Search this
Type:
Printed Materials
Date:
ca. 1930
Topic:
Art--Study and teaching  Search this
Record number:
(DSI-AAA)11642
See more items in:
John Henry Bradley Storrs papers, 1790-2007, bulk 1900-1956
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_item_11642
Online Media:

Oral history interview with John Outterbridge, 1973 January 3

Interviewee:
Outterbridge, John Wilfred, 1933-2020  Search this
Outterbridge, John Wilfred, 1933-2020  Search this
Interviewer:
Bassing, Allen, 1932-  Search this
Subject:
Gilmore, Robert  Search this
Rauschenberg, Robert  Search this
Alexander, Peter  Search this
Warhol, Andy  Search this
Sera, Richard  Search this
Powell, Judson  Search this
Puerefoy, Noel  Search this
Dickson, Charles  Search this
Coplans, John  Search this
Di Suvero, Mark  Search this
Chicago Academy of Fine Arts  Search this
Pasadena Art Museum  Search this
American Academy of the Fine Arts  Search this
Compton Communicative Arts Academy  Search this
Type:
Interviews
Topic:
African American artists  Search this
African American painters  Search this
African American sculptors  Search this
Theme:
African American  Search this
Record number:
(DSI-AAA_CollID)11485
(DSI-AAA_SIRISBib)214143
AAA_collcode_outter73
Theme:
African American
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_214143

Rudolph Weisenborn papers, 1919-1977

Creator:
Weisenborn, Rudolph, 1881-1974  Search this
Weisenborn, Rudolph, 1881-1974  Search this
Subject:
Weisenborn, Fritzi  Search this
Chicago No-Jury Society of Artists  Search this
Type:
Drawings
Sketchbooks
Topic:
Art -- Study and teaching -- Illinois -- Chicago  Search this
Painting, Abstract -- Illinois -- Chicago  Search this
Women art critics -- Illinois -- Chicago  Search this
Theme:
Sketches & Sketchbooks  Search this
Lives of American Artists  Search this
Chicago's Art-Related Archival Materials: A Terra Foundation Resource  Search this
Record number:
(DSI-AAA_CollID)10115
(DSI-AAA_SIRISBib)213005
AAA_collcode_weisrudo
Theme:
Sketches & Sketchbooks
Lives of American Artists
Chicago's Art-Related Archival Materials: A Terra Foundation Resource
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_213005

Ruth Van Sickle Ford papers, circa 1920-1986

Creator:
Ford, Ruth Van Sickle, 1897-1989  Search this
Ford, Ruth Van Sickle, 1897-1989  Search this
Subject:
Chicago Academy of Fine Arts  Search this
Type:
Scrapbooks
Topic:
Women artists  Search this
Women painters  Search this
Women educators  Search this
Theme:
Women  Search this
Art Materials, Techniques, and Studio Art Education  Search this
Chicago's Art-Related Archival Materials: A Terra Foundation Resource  Search this
Record number:
(DSI-AAA_CollID)9625
(DSI-AAA_SIRISBib)211832
AAA_collcode_fordruth
Theme:
Women
Art Materials, Techniques, and Studio Art Education
Chicago's Art-Related Archival Materials: A Terra Foundation Resource
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_211832

Honorary Bachelor of Fine Arts Degree, Chicago Academy of Fine Arts

Collection Creator:
Lanyon, Ellen  Search this
Container:
Box 5, Folder 4
Type:
Archival materials
Date:
1974
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.

Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
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:
Ellen Lanyon papers, circa 1880-2015, bulk 1926-2013. Archives of American Art, Smithsonian Institution.
See more items in:
Ellen Lanyon papers
Ellen Lanyon papers / Series 1: Biographical Material
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-lanyelle-ref60

Chicago Academy of Fine Arts

Collection Creator:
Carnegie Institute, Museum of Art  Search this
Container:
Box 32, Folder 23
Type:
Archival materials
Date:
1905-1906
Collection Restrictions:
Use of original papers requires an appointment.
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:
Carnegie Institute, Museum of Art records, 1883-1962, bulk 1885-1940. Archives of American Art, Smithsonian Institution.
See more items in:
Carnegie Institute, Museum of Art records
Carnegie Institute, Museum of Art records / Series 1: Correspondence
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-carninst-ref1531

N W Ayer Advertising Agency Records

Creator:
Ayer (N W) Incorporated.  Search this
Names:
American Telephone and Telegraph Company -- Advertisements  Search this
Cunningham & Walsh.  Search this
Hixson & Jorgenson  Search this
United Air Lines, Inc. -- Advertisements  Search this
Ayer, Francis Wayland  Search this
De Kooning, Willem, 1904-1997  Search this
O'Keeffe, Georgia , 1887-1986  Search this
Extent:
270 Cubic feet (1463 boxes, 33 map-folders, 7 films)
Type:
Collection descriptions
Archival materials
Business records
Interviews
Oral history
Print advertising
Proof sheets
Proofs (printed matter)
Scrapbooks
Trade literature
Tear sheets
Advertisements
Date:
1817-1851
1869-2006
Summary:
Collection consists of records documenting one of the oldest advertising agencies created in Philadelphia. The company then moves to New York and expanses to international markets. During its history NW Ayer & Sons acquires a number of other advertising agencies and is eventually purchased. The largest portion of the collection is print advertisements but also includes radio and television. NW Ayer is known for some of the slogans created for major American companies.
Scope and Contents:
The collection consists primarily of proof sheets of advertisements created by NW Ayer & Son, Incorporated for their clients. These materials are in series one through thirteen and consist primarily of print advertisements. There are also billboards, radio and television commercials. The advertisements range from consumer to corporate and industrial products. The majority of the advertisements were created for Ayer's New York, Chicago, Los Angeles and international offices. Printed advertisements created by Cunningham & Walsh, Hixson & Jorgensen and Newell-Emmett are also included among these materials. Researchers who are interested in records created by Ayer in the course of operating an advertising agency will find these materials in Series fourteen-nineteen.

Series fourteen consists of advertisements created by NW Ayer & Son to promote their services to potential clients.

Series fifteen are scrapbooks of some of the earliest advertisements created by the company. Series sixteen are publications. Some of the publications were created by Ayer while others were about Ayer or the advertising industry in general. Provides good background materials and puts the company in perspective. Series eighteen are the legal records. Materials relating to employees including photographs, oral histories etc. are found in series nineteen.

Series twenty is one of the smallest amounts of materials and includes information relating to the history of NW Ayer & Son.

The container lists for series one-thirteen are part of a database and are searchable. The list has been printed for the convenience of the researcher and is included in this finding aid. Series fourteen-twenty container lists are also a part of the finding aid but are not in a searchable format.

Series 1, Scrapbooks of Client Advertisements, circa 1870-1920, is arranged into three boxes by chronological date. There are two bound scrapbooks and one box of folders containing loose scrapbook pages. NW Ayer & Son compiled an assortment of their earliest ads and placed them into scrapbooks. Besides the earliest advertisements, the scrapbooks contain requests to run advertisements, reading notices and listings of papers Ayer advertised in. The early advertisements themselves range from medical remedies to jewelry to machines to clothing to education and more. Most of the advertisements in the bound scrapbooks are dated.

Series 2, Proofsheets, circa 1870-1930, NW Ayer was fond of creating scrapbooks containing proofsheets. The series contains proofsheets created between 1892 and 1930, organized into 526 boxes. For convenience of storage, access and arrangement, the scrapbooks were disassembled and the pages placed in original order in flat archival storage boxes. The proofsheets are arranged by book number rather than client name. Usually the boxes contain a listing of the clients and sometimes the dates of the advertisements to be found within the box.

Series 3, Proofsheets, circa 1920-1975, is organized into 532 oversize boxes, and contain proofsheets and tearsheets created between 1920 and 1972. Within this series, materials are arranged alphabetically by company name (occasionally subdivided by brand or product), and thereunder chronologically by date of production. Many major, national advertisers are represented, including American Telephone & Telegraph, Armour Company, Canada Dry, Cannon Mills, Carrier Corporation, Domino Sugar, Caterpillar tractor company, Ford Motor Company, General Electric, Goodyear, Hills Bros. Coffee, Ladies Home Journal, National Dairy, Plymouth (Chrysler Corporation), Steinway, TV Guide, United Airlines and the United States Army. Also contained in this series are three scrapbooks of client advertisements including Canada Dry, Ford Motor, and Victor Talking Machine.

Series 4, 2001 Addendum, circa 1976-2001, is organized into ninety three oversized boxes,one folder and contains proofsheets for select Ayer clients, created between 1975 and 2001. Within this series, materials are arranged alphabetically by client name and there under chronologically by date of production. Major national advertisers represented include American Telephone & Telegraph, Avon, the United States Army, DeBeers Consolidated Diamond Mines, Dupont, TV Guide, Sealtest, Kraft Foods, Gillette, General Motors, Cannon Mills.

Series 5, Billboards, circa 1952-1956, consists of mounted and un-mounted original art/mock-ups. Twenty-two pieces of original art created as mock-ups for Texaco billboards.

Series 6, Film and Video Commercials, 1967-1970,

Series 7, Radio and Television Materials, 1933-1993, undated, is arranged into eight boxes and includes radio scripts, television scripts, and story boards for commercials.

Subseries 7.1, Scripts and storyboards for Radio and Television Commercials, dates Scripts for radio and television commercials includes title, date, length of commercial, advertising agency, client information

NW Ayer's radio and television materials mainly focus on the American Telegraph and Telephone account. Some of Ayer's materials relate to Bell Telephone Hours.

Storyboards are used in television and film to assist the director in working with crew to tell the story. To show the viewer through the use of figures, visual effects and camera angles. When directors first start thinking about their storyboard they create a story in their mind. They think of all the camera angles, visual effects and how the figures will interact in their mind. They try to create an extraordinary story in their head to attract the viewer (YOU) In order for the storyboard to be entirely effective it can't be a passive document. When done properly, a storyboard serves as a central design, meeting the needs of many team members including graphics artists, video personnel and programmers.

Another function of a storyboard is to help the team communicate during the training development process. This communication is very important in working with a large team as in the movie King, produced in 1996. Figures help the director explain to the crew how they are going to record the film and how to present it to the audience. Sometimes the director wants special effects to be added to the film, but his budget might not be that big so the director will have to change the story to fit their budget.

The Visual Effects are an important part in the storyboards it adds a special touch of creativity to your film. Camera angles are an important expects in your film because the camera angles determine where the viewing audience will look. If you want your audience to look at a certain object you must turn their attention to it by focusing on that object and maybe you might try blocking something out. Then you will have your audience's attention and you may do whatever else you have to, it could be scaring them are just surprising them or whatever you do.

Also included is talent information and log sheets relating to the storage of the commercials.

Bell Telephone Hour Program, 1942-[19??], The Bell Telephone Hour, also known as The Telephone Hour, was a five minute musical program which began April 29, 1940 on National Broadcasting Company Radio and was heard on NBC until June 30, 1958. Sponsored by Bell Telephone showcased the best in classical and Broadway music, reaching eight to nine million listeners each week. It continued on television from 1959 to 1968.

Earlier shows featured James Melton and Francia White as soloists. Producer Wallace Magill restructured the format on April 27, 1942 into the "Great Artists Series" of concert and opera performers, beginning with Jascha Heifetz. Records indicate that the list of talents on the program included Marian Anderson, Helen Traubel, Oscar Levant, Lily Pons, Nelson Eddy, Bing Crosby, Margaret Daum, Benny Goodman, José Iturbi, Gladys Swarthout and .The series returned to radio in 1968-1969 as Bell Telephone Hour Encores, also known as Encores from the Bell Telephone Hour, featuring highlights and interviews from the original series.

National Broadcasting television specials sponsored by the Bell System, 1957-1987includes information relating to Science series, Bell system Theshold Series, Bell telephone hour and commercial and public sponsored programs

Series 8, Chicago Office Print Advertisements, 1954-1989, is arranged alphabetically by the name of the client in ninety boxes and six oversize folders. Clients include Illinois Bell Telephone (1955-1989), Microswitch (1969-1989), Teletype (1975-1984), John Deere (1974-1989) and Caterpillar (1966-1972) are particularly well represented. Other clients of interest include Dr. Scholl's shoes (circa 1968-1972), the Girl Scouts (1976-1980), Sunbeam Personal Products Company (1973-1981), Bell and Howell (1974-1983) and Alberto Culver shampoos (1967-1971), Honeywell, Incorporated, Blue Cross and Blue Shield Associations, Kraft, Incorporated, Sears, Roebuck and Company, and YMCA.

Series 9, Los Angeles Office Materials, 1950s-1987, include printed advertisements created by this office and information relating to the employees.

Subseries 9.1, Print Advertisements, 1977-1987, printed advertisements arranged in one box alphabetically by client. There is a sparse sampling of clients from this particular Ayer branch office. The majority of the advertisements contained within this series are from Pizza Hut (1986-1987). Also included are Computer Automation (1977-1978), State of the Art, Incorporated (1982) and Toshiba (1986).

Subseries 9.2, Personnel Files, 1950s-1970s, includes cards of employees who worked in the Los Angeles office. Information on the cards includes name, address, telephone number, birthday, date hired, departure date and why (retired, terminated, resigned, etc) and position. Not all cards have all information. There is also a photograph of the employees on the cards.

Series 10, Foreign Print Advertisements, 1977-1991, undated, NW Ayer maintained partnerships with international companies such as Sloanas Ayer in Argentina, Connaghan & May Paton Ayer in Australia, Moussault Ayer in Belgium, NW Ayer, LTD. in Canada, GMC Ayer in France, Co-Partner Ayer in Germany, Wong Lam Wang in Hong Kong, MacHarman Ayer in New Zealand, Grupo de Diseno Ayer in Spain, Nedeby Ayer in Sweden, and Ayer Barker in United Kingdom. This group of material is a small sampling of advertisements created from these International offices. It is arranged alphabetically by client. There are quite a few automobile advertisements (i.e. Audi, Fiat, General Motors, Mercedes-Benz, and Volkswagen). In addition there are numerous advertisements for various personal items from MacLean's toothpaste to Quick athletic shoes to Labello lip balm, etc. Most of the advertisements have the creator's name printed on the advertisements.

Series 11, Cunningham & Walsh, Incorporated Materials, 1915-1987, undated contains 98 boxes 11 folders materials from the New York advertising agency acquired by NW Ayer in the 1960s. The company began with Newel-Emmett, an agency of nine men which broke up in 1949. Two of the men Fred Walsh and Jack Cunningham formed this agency in bearing their names in 1950. The agency created "let your fingers for the walking campaign for American Telephone & Telegraph, Mother Nature for Chiffon, and Mrs. Olson for Folgers's coffee and let the good times roll for Kawasaki motorcycle. In 1986, NW Ayer Incorporated purchased Cunningham & Walsh Incorporated.

Subseries 11.1, Print Advertisements, 1915-1987, are contained in ninety eight boxes of primarily print advertisements arranged alphabetically by client name. Clients that are particularly well represented are Graybar (electrical implements, circa1926-1937), Johns-Manulle (circa1915-1971), Smith and Corono typewriters (circa 1934-1960), Sunshine Biscuit Company (circa 1925-1961), Texaco Company (circa 1936-1961), Western Electric (circa 1920- 1971) and Yellow Pages (circa 1936-1971). Cunningham and Walsh also represented several travel and tourism industry clients, including Cook Travel Services (circa 1951-1962), Italian Line (circa 1953-1961), Narragansett and Croft (circa 1956-1960) and Northwest Airlines (circa 1946-1955). There are photographs of Texaco advertisements dating from 1913-1962. There is also a scrapbook of advertisements from the Western Electric Company dating from 1920-1922.

Subseries 11.2, Radio and Television Advertisements, 1963-1967, consist of materials created for Western Electric. Materials are arranged in chronological order.

Subseries 11.3, Company Related Materials, 1962-1986, undated include client lists, information relating to NW Ayer purchase and annual report 1962.

Series 12, Hixson & Jorgensen Materials, 1953-1971, a Los Angeles advertising company, merged with Ayer in 1969. This series is housed in one box. Within the box are four scrapbooks and folders with a hodgepodge of materials relating to advertising. Of most interest are the scrapbooks. Two scrapbooks deal with Hixson and Jorgensen's self promotion ad campaign "the right appeal gets action" (1953-1957). The other two scrapbooks contain news clippings about the company and its activities (1959-1971).

Series 13, Newell-Emmet, 1942-1957, founded in 1919 and governed in the 1940s by a partnership of nine men. The partnership broke up in 1949 when the men went their separate ways. The materials consist of print advertisements for one of client, Permutit Company, a water conditioning company. The materials are arranged in one box in chronological order.

Series 14, House Print Advertisements, 1870-1991, 16 boxes consists of advertisements or self-promotion advertisements to campaign for new clients. The series is arranged chronologically by date into fifteen boxes. Within the series are two scrapbooks containing self promotion ads from 1888-1919 and 1892-1895. Numerous house ads relate to Ayer's "Human Contact" campaign. In addition to the self promotion ads, Ayer ran advertisements expounding about particular concepts or themes for example, one month the concept would "understand" while another month would be "teamwork" and yet another would be on "imagination". Some of the self promotion ads target specific groups like Philadelphia businessmen. Other advertisements incorporate the fine arts.

Series 15, Scrapbooks, 1872-1959, relates to company events, records and news clippings about Ayer's history. The six boxes are arranged by chronological date. Two of the boxes focus solely on the death of founder F.W. Ayer (1923). Another box houses a scrapbook that showcases Ayer's annual Typography Exhibition (1931-1959). One box contains a scrapbook that specifically deals with correspondences relating to Ayer's advertising. Yet another box's contents are folders of loose pages from scrapbooks that have newspaper clippings, order forms, correspondences and other company records. In one box, a bound scrapbook houses a variety of materials relating to Ayer and advertising (i.e. newspaper clippings, competitor's advertisements, NW Ayer's advertisements, correspondences for advertisements, clippings regarding the "theory of advertising."

Series 16, Publications, 1849-2006, are housed in thirty four boxes and are arranged into three main categories.

Subseries 16.1, House Publications, 1876-1994, covers diverse topics; some proscriptive works about the Ayer method in advertising, some commemorating people, anniversaries or events in the life of the agency. Materials consist of scattered issues of the employee newsletter The Next Step 1920-1921. The materials are arranged in chronological order by date of publication. Ayer in the News, The Show Windows of an Advertising Agency, 1915, book form of advertisements published on the cover of Printer's Ink, highlighting Ayer's relations with advertisers. The Story of the States, 1916, Reprint in book form of a series of articles published in Printer's Ink for the purpose of adding some pertinent fact, progressive thought and prophetic vision to the Nationalism of Advertising highlights major businesses, manufacturer, natural resources and other qualities or attractions of each state. The Book of the Golden Celebration, 1919, includes welcome address and closing remarks by founder F. Wayland Ayer, The Next Step, 1920 employee newsletter with photographs, employee profiles, in-house jokes, etc., Advertising Advertising: A Series of Fifty-two Advertisements scheduled one time a week. Twenty-seven, thirty and forty inches, a day of the week optional with publisher, 1924

Subseries 16.2, Publications about NW Ayer, 1949-2006, includes a book first published in 1939. Includes articles, documenting events and is arranged chronologically by date of publication.

Subseries 16.3, General Publications about Advertising, 1922-1974, are arranged chronologically by date of publication and relate primarily to the history of advertising.

Subseries 16.4, Publications about Other Subjects, 1948-1964, include four books about the tobacco industry primarily the history of the American Tobacco Company and Lorillard Company from the Cunningham and Walsh library.

Series 17, Business Records, circa 1885-1990s

Subseries 17.1, Contracts, 1885-1908, undated, are arranged alphabetically and span from 1885-1908. The majority of the contracts are with newspaper and magazine publishers from around the country.

Subseries 17.2, General client information, 1911-1999, undated, including active and cancelled lists with dates, client gains, historical client list, (should move this to series 20) Ayer Plan User Guide Strategic Planning for Human Contact, undated

Subseries 17.3, Individual Client Account Information, 1950s-1990s, undated, contain information used by Ayer to create advertisements for some of its clients. American Telephone &Telegraph Corporate Case History, American Telephone &Telegraph Corporate advertisement memo, commissioned artists for DeBeers advertisements, DeBeers information relating to the creative process and photography credits, a case history for DeBeers Consolidated Mines, Ltd., The Diamond Engagement Ring, Managing Communication at all levels, DuPont publications, JC Penny Marketing Communication Plan Recommendation, Leaf, Incorporated, Saturn presentation, and USAREC oral presentation.

Subseries 17.4, Potential Clients, 1993, includes grouping has a questionnaire sent to Ayer by a potential client. Questionnaire response for Prudential Securities, 1993 Prudential Securities advertising account review, 1993.

Subseries 17.5, Financial Records, 1929-1938, includes balance sheet, 1929 May 1 Balance sheet and adjustments Consolidated statement of assets and liabilities, Expenses 191936-37 Business review and expenses, 1937 and 1938 Business review and expenses comparative statement, 1937 and 1938.

Series 18, Legal Records, circa 1911-1982, Ayer's legal records are arranged by twelve subject groupings within four boxes. The twelve groupings are advertising service agreements (circa 1918-1982), bylaws, copyright claims, correspondences, international correspondences, dissolution of trusts, stock information, agreements between partners, incorporation materials, reduction of capital, property information and miscellaneous materials. The bulk of the materials are the advertising service agreements. These agreements are between Ayer and their clients and state the services Ayer will offer and at what cost. The bylaws are Ayer's company bylaws from 1969 and 1972. The copyright claims are certificates stating Ayer's ownership over certain published materials (i.e. "Policy", Media Equalizer Model, and Don Newman's Washington Square Experiment). The correspondences relate to either the voting trust and receipts for agreement or the New York Corporation. The international correspondences are from either Ayer's Canadian office or London office. The dissolutions of trusts contains materials about the dividend trust of Wilfred F. Fry, the investment trust of Winfred W. Fry, the voting trust, and the New York corporation. The stock information has stock certificates and capital stock information. The agreements between partners (1911-1916) specify the terms between F.W. Ayer and his partners. The incorporation materials (circa 1929-1977) deal with Ayer advertising agency becoming incorporated in the state of Delaware. The reduction of capital grouping is a notification that shares of stock have been retired. The property information grouping contains property deeds and insurance policy (circa 1921-1939), a property appraisal (1934), and a bill of sale (1948). The miscellaneous grouping contains a house memo regarding a set of board meeting minutes and a registry of foreign companies in Commonwealth of Pennsylvania (1929-1954).

Subseries 18.1, Advertising Service Agreements, 1918-1982

Subseries 18.2, Bylaw Materials, 1969-1972

Subseries 18.3, Copyright Claims, 1962-1969

Subseries 18.4, Correspondence, 1928-1933

Subseries 18.5, International Office Correspondence, 1947-1948

Subseries 18.6, Dissolution of Trusts, 1934-1937

Subseries 18.7, Stock Information, 1934-1974

Subseries 18.8, Agreements between Partners, 1911-1916

Subseries 18.9, Incorporation Materials, 1929-1977

Subseries 18.10, Certificates of Reduction of Capital, 1937; 1975

Subseries 18.11, Property Information, 1921-1948

Subseries 18.12, Miscellaneous Materials, 1929-1977

Series 19, Personnel Records, circa 1889-2001, are arranged into eight groupings within eight boxes. The groupings are employee card files, photographs, Ayer alumni, biographies, speeches, recollections, oral histories, and miscellaneous. Typed manuscript of book A Copy Writer Speaks by George Cecil, NW Ayer, Incorporated copy head 1920s-1950s

Subseries 19.1, Employee card files, circa 1892-1915; 1929-1963, consists of index cards with the name, age, job title, date and wage increases, date of hire/fire, as well as remarks about the employee's service and/or reasons for seeking or leaving the job. Materials are arranged alphabetically by the last name of the employee within three boxes.

Subseries 19.2, Photographs, circa 1924-1984, undated, are housed in two boxes. The photographs grouped together by subjects i.e. personnel, company events, Ayer buildings, and miscellaneous. This grouping primarily consists of personnel photographs. Includes a glass plate negative dated 1924 of NW Ayer.

Subseries 19.3, Ayer Alumni, circa 1989-98, include employees who have left Ayer. There is a listing of Ayer "graduates" and their current job. Emeritus, Ayer's alumni newsletter 1989-1996, makes up the majority of materials in this grouping. The newsletter keeps the alumni up to date with the happenings of Ayer and what has become of former Ayer employees. Emeritus is a quarterly newsletter devoted to the activities, thoughts and feelings of Ayer alumni a body of people who consists of retirees and former employees.

Subseries 19.4, Biographical Information, circa 1889-1994, undated, prominent members of Ayer's operations had biographical sketches completed of them. This was true for the bio sketches of Robert Ervin, Louis T. Hagopian, and George A. Rink. There is a substantial file on Dorothy Dignam ("Mis Dig"), a leading woman in the advertising world from the 1930s to the 1950s. Also of interest is a video ("The Siano Man") compiled by Ayer employees to commemorate Jerry Siano's retirement from Ayer in 1994. The series is arranged alphabetically by last name.

Subseries 19.5, Speeches, circa 1919-1931; 1975, contains speeches made by Wilfred W. Fry and Neal W. O'Connor. Wilfred W. Fry had various speaking engagements connected with Ayer. Contained in this group is a sampling of his speeches from 1919 to 1931. Neal O'Connor's speech "Advertising: Who Says It's a Young People's Business" was given at the Central Region Convention for the American Association of Advertising Agencies in Chicago on November 6, 1975. The speeches are arranged alphabetically by the speaker's last name.

Subseries 19.6, Recollections, 1954-1984, undated, are arranged alphabetically by last name. These are recollections from Ayer employees about the company and its advertisements. Some recollections are specifically about certain types of advertisements, like farm equipment while others reflect on F. W. Ayer and the company.

Subseries 19.7, Oral History Interview Transcripts, 1983-1985; 1989-1991, include interviews with key NW Ayer personnel, conducted by Ayer alumnae Howard Davis, Brad Lynch and Don Sholl (Vice President creative) for the Oral History Program. The materials are arranged alphabetically by the last name of the interviewee.

Subseries 19.8, Oral History Interview Audio Tapes, 1985-1990, include interviews on audiotape the materials are arranged alphabetically by the last name of the interviewee.

Subseries 19.9, Internal Communications, 1993-1999, includes information sent to employees relating to retirements, management changes, awards won by the company, promotions, potential new accounts, free items, grand opening of Ayer Café, donation events, sponsorship programs, holiday schedules, discounts for employees from clients, Ayer joins MacManus Group.

Subseries 19.10, General Materials, 1940; 1970, includes agency directory entry including a list of the employees, 1970s, annual banquet program for the Curfew Club May 22, 1940 a group formed by the Philadelphia employee in 1938. It sponsored numerous sports, social and educational activities. Groups were formed in public speaking, music appreciation and a series of talks on Monday evenings title the modern woman. The front page was a series of talks for general interest. A list of officers, 1991, Twenty five year club membership, 1973 December 1, List of NW Ayer graduates, 1970, List of Officers, 1991 May 31, Obituary for Leo Lionni, 1999 October 17, List of photographers of advertisements, 2001

Series 20, Background and History Information, 1817-1999, undated includes a chronology, 1817-1990, quick reference timeline, 1848-1923, loose pages from a scrapbook containing examples of correspondence, envelopes, advertisements dating from 1875-1878; slogans coined by NW Ayer & Sons, Incorporated, 1899-1990, history of management, 1909-1923, articles and photographs about the building and art galleries, 1926-1976, publications about the Philadelphia building, 1929, pamphlet relating to memories of NW Ayer & Sons, Incorporated, 1930s-1950s, television history, 1940-1948, Article about the history of the company, 1950 January, pocket guide, 1982, AdWeek reports about standings for advertising agencies, information relating to Human Contact which is NW Ayer's Information relating to Human Contact, undated which is their philosophy on advertising.

Series 21, Materials Created by other Advertising Agencies, 1945-1978, undated, consists of print advertisements collected by Ayer from other major advertising companies. The companies include Doyle Dane Bernback, Incorporated, Leo Burnett Company, Grey Advertising Agency, D'Arcy Ad Agency, Scali, McCabe, Sloves, Incorporated and Erwin Wasey Company. The materials are arranged in alphabetical order by client and include products from Ralston Purina and Van Camp (Chicken of the Sea), Kellogg, American Export Lines and No Nonsense Fashions.

Series 22, 2010 Addendum of Print Advertisements, circa 1879s-1999, undated, includes material given to the Archives Center in 2010. It is organized into seventy one oversized boxes and contains proofsheets of print advertisements for select Ayer clients. These are arranged alphabetically by client name and include substantial quantities of materials from American Telephone &Telegraph (1945-1996), Bahamas Ministry of Tourism (1967-1987), Carrier (1971-1981), Citibank (1973-1991), DeBeers (1940s-1960s and1990s), Electric Companies Advertising Program [ECAP] (1942-1970s), General Motors (1989-1998), J.C. Penney (1983-1986), Newsweek (1966-1975), and Proctor and Gamble (1980s-1890s). There are also numerous other clients represented by smaller quantities of materials.

Subseries 22.1, Print Advertisements, 1930-1990, undated

Subseries 22.2, Print Advertisements on Glass Plate Negatives, 1879-1881, undated, include Cannon towels, Cheny Brothers silks, Cornish & Company organs and pianos, Enterprise Manufacturing Company, 1879 sad iron, an ad from Harper's Weekly 1881 for ladies clothing, Ostermoor & Company mattresses, Pear's soap, Porter's cough balsam, Steinway pianos.

Series 23, Microfilm of Print Advertisements, circa 1908-1985, consists of three boxes of printed advertisements for the American Telephone and Telegraph Company. Some of the same advertisements might also be found in series two, three and four.
Arrangement:
The collection is arranged into twenty-three series.

Series 1: Scrapbooks of Client Print Advertisements, circa 1870-1920

Series 2: Proofsheets, circa 1870-1930

Series 3: Proofsheets, circa 1920-1975

Series 4: 2001 Addendum, circa 1976-2001

Series 5: Billboards, circa 1952-1956

Series 6: Audiovisual Materials

Series 7: Radio and Television Materials, 1933-1993, undated

Series 8: Chicago Office Print Advertisements, 1954-1989

Series 9: Los Angeles Office Materials, 1950s-1987

Subseries 9.1: Printed Advertisements, 1977-1987

Subseries 9.2: Personnel Files, 1950s-1970s

Series 10: Foreign Print Advertisements, 1977-1991, undated

Series 11: Cunningham & Walsh Incorporated Materials, 1915-1987, undated

Subseries 11.1: Printed Advertisements, 1915-1987

Subseries 11.2: Radio and Television Advertisements, 1963-1967

Subseries 11.3: Company Related Materials, 1962-1986, undated

Series 12: Hixson & Jorgensen Materials, 1953-1971, undated

Series 13: Newell-Emmet, 1942-1957

Series 14: House Print Advertisements, 1870-1991

Series 15: Scrapbooks, 1872-1959

Series 16: Publications, 1849-2006

Subseries 16.1: House Publications, 1876-1994

Subseries 16.2: Publications about NW Ayer, 1949-1995

Subseries 16.3: General Publications about Advertising, 1922-2006

Subseries 16.4: Publications about other Subjects, 1948-1964

Series 17, Business Records, circa 1885-1990s

Subseries 17.1: Contracts, 1885-1908, undated

Subseries 17.2: General Client Information, 1911-1999, undated

Subseries 17.3: Individual Client Account Information, 1950s-1990s, undated

Subseries 17.4: Potential Clients, 1993

Subseries 17.5: Financial Records, 1929-1938

Series 18: Legal Records, circa 1911-1984

Subseries 18.1: Advertising Service Agreements, 1918-1982

Subseries 18.2: Bylaw Materials, 1969-1972

Subseries 18.3, Copyright Claims, 1962-1969

Subseries 18.4: Correspondence, 1928-1933

Subseries 18.5: International Office Correspondence, 1947-1948

Subseries 18.6: Dissolution of Trusts, 1934-1937

Subseries 18.7: Stock Information, 1934-1974

Subseries 18.8: Agreements between Partners, 1911-1916

Subseries 18.9: Incorporation Materials, 1929-1977

Subseries 18.10: Certificates of Reduction of Capital, 1937; 1975

Subseries 18.11: Property Information

Subseries 18.12: Miscellaneous Materials, 1929-1977

Series 19: Employee Materials, circa 1889-2001

Subseries 19.1: Employee Card files, circa 1892-1915; 1929-1963

Subseries 19.2: Photographs, circa 1924-1984, undated

Subseries 19.3: Alumni Publications, circa 1989-1998

Subseries 19.4: Biographical Information, circa 1889-1994

Subseries 19.5: Speeches, circa 1919-1931; 1975

Subseries 19.6: Recollections, 1954-1984, undated

Subseries 19.7: Oral History Interview Transcripts, 1983-1985; 1989-1991

Subseries 19.8: Oral History Audiotapes, 1985-1990

Subseries 19.9: Internal Communications, 1993-1999

Subseries 19.1: General Materials, 1940-2001

Series 20: History and Background Information about the Company, 1817-1999, undated

Series 21: Materials Created by other Advertising Agencies, 1945-1978, undated

Series 22: 2010 Addendum of Print Advertisements, circa 1879s-1990s, undated

Subseries 22.1: Print Advertisements, 1930-1990, undated

Subseries 22.2: Print Advertisements on Glass Plate Negatives, 1879-1881, undated

Series 23: Microfilm of Print Advertisements, circa 1908-1985
Biographical / Historical:
Founded in Philadelphia in 1869, NW Ayer & Son is one of the oldest and largest advertising agencies in America. For most of its history, it was the undisputed leader and innovator in the field of advertising. In 1876, NW Ayer & Son pioneered the "open contract", a revolutionary change in the method of billing for advertising which became the industry standard for the next hundred years. NW Ayer pioneered the use of fine art in advertising and established the industry's first art department. It was the first agency to use a full-time copywriter and the first to institute a copy department. The agency relocated to New York City in 1974. During its long history, the agency's clients included many "blue-chip" clients, including American Telephone & Telegraph, DeBeers Consolidated Diamond Mines, Ford Motor Company, Nabisco, R. J. Reynolds and United Airlines. However, in later years, the Ayer's inherent conservatism left the agency vulnerable to the creative revolution of the 1960s and 1970s, the advertising industry restructuring of the 1980s and the economic recession of the early 1990s. The agency was bought out by a Korean investor in 1993. In 1996, NW Ayer merged with another struggling top twenty United States advertising agency, Darcy, Masius, Benton & Bowles, under the umbrella of the McManus Group. Ayer continues to operate as a separate, full-service agency.

Through a series of buyouts and mergers, Ayer traces its lineage to the first advertising agency founded in the United States, a Philadelphia agency begun by Volney Palmer in 1841. Palmer began his career in advertising as a newspaper agent, acting as middleman between newspaper publishers and advertisers across the country. By 1849, Palmer had founded his own newspaper, V. B. Palmer's Register and Spirit of the Press, and had developed a complete system of advertising which included securing advertising space and placing ads in scores of commercial, political, religious, scientific and agricultural journals across the country. Palmer went one step further than the "space jobbers" of the day when he began offering "advertisements carefully drawn for those who have not the time to prepare an original copy." Always an enthusiastic promoter of advertising as an incentive to trade and American economic growth, Palmer promised advertisers that "every dollar paid for advertising in country newspapers will pay back twenty-fold" and encouraged skeptical consumers that "he who wishes to buy cheap should buy of those who advertise." When Palmer died in 1863, the agency was bought by his bookkeeper, John Joy, who joined with another Philadelphia advertising agency to form Joy, Coe & Sharpe. That agency was bought out again in 1868 and renamed Coe, Wetherill & Company. In 1877, Coe, Wetherill and Company was bought out by the newly formed NW Ayer & Son.

Francis Wayland Ayer was an ambitious young schoolteacher with an entrepreneurial streak. Having worked for a year soliciting advertisements on a commission basis for the publisher of the National Baptist weekly, Francis Ayer saw the potential to turn a profit as an advertising agent. In 1869, Ayer persuaded his father, Nathan Wheeler Ayer, to join him in business, and with an initial investment of only $250.00, NW Ayer & Son was born. Notwithstanding a smallpox epidemic in Philadelphia in 1871 and the general economic depression of the early 1870s, the agency flourished. The senior Ayer died in 1873, leaving his interest in the agency to his wife, but Francis W. Ayer bought her out, consolidating his interest in the company's management. In 1877, with Coe, Wetherill & Company (the successor to Palmer's 1841 agency) on the verge of bankruptcy and heavily indebted to Ayer for advertising it had placed in Ayer publications, Ayer assumed ownership of that agency. Thus did NW Ayer lay claim to being the oldest advertising agency in the country.

Both Nathan Wheeler and Francis Wayland Ayer began their careers as schoolteachers, and one of their legacies was a commitment to the cause of education: correspondence schools and institutions of higher learning were historically well-represented among Ayer clients. Just after World War I, the agency was heralded as "co-founder of more schools than any citizen of this country" for its conspicuous efforts to advertise private schools. Well into the 1960s, an "Education Department" at Ayer prepared advertisements for over three hundred private schools, camps and colleges, representing almost half the regional and national advertising done for such institutions. In fact, to its clients Ayer presented advertising itself as being akin to a system of education. In 1886, Ayer began promoting the virtues of the Ayer way advertising with the slogan, "Keeping Everlastingly at It Brings Success."

The agency's goals were simple: "to make advertising pay the advertiser, to spend the advertiser's money as though it were our own, to develop, magnify and dignify advertising as a business." Initially, Ayer's fortunes were tied to newspapers, and the agency began to make a name for itself as compiler and publisher of a widely used American Newspaper Annual. During the first years, Ayer's singular goal was "to get business, place it [in newspapers] and get money for it"; after several years as an independent space broker, however, Francis Ayer resolved "not to be an order taker any longer." This decision led NW Ayer and Son to a change in its mode of conducting business which would revolutionize the advertising industry: in 1876, Ayer pioneered the "open contract" with Diggee & Conard, Philadelphia raised growers and agricultural suppliers. Prior to the open contract, NW Ayer & Sons and most agencies operated as "space-jobbers," independent wholesalers of advertising space, in which the opportunities for graft and corrupt practices were virtually unlimited. In contrast, the open contract, wherein the advertiser paid a fixed commission based on the volume of advertising placed, aligned the advertising agent firmly on the side of the advertiser and gave advertisers access to the actual rates charged by newspapers and religious journals. The open contract with a fixed commission has been hailed by advertising pioneer Albert Lasker as one of the "three great landmarks in advertising history." (The other two were Lasker's own development of "reason-why" advertising copy and J. Walter Thompson's pioneering of sex appeal in an advertisement for Woodbury's soap.) Although the transition to the open contract did not happen overnight, by 1884, nearly three-quarters of Ayer's advertising billings were on an open contract basis. Since Ayer was, by the 1890s, the largest agency in America, the switch to direct payment by advertisers had a significant impact on the advertising industry, as other agencies were forced to respond to Ayer's higher standard. Just as important, the open contract helped to establish N W Ayer's long-standing reputation for "clean ethics and fair dealing" -- a reputation the agency has guarded jealously for over a century. The open contract also helped to establish Ayer as a full service advertising agency and to regularize the production of advertising in-house. From that point forward, Ayer routinely offered advice and service beyond the mere placement of advertisements. Ayer set another milestone for the industry in 1888, when Jarvis Wood was hired as the industry's first full-time copywriter. Wood was joined by a second full time copywriter four years later, and the Copy Department was formally established in 1900. The industry's first Art Department grew out of the Copy Department when Ayer hired its first commercial artist to assist with copy preparation in 1898; twelve years later Ayer became the first agency to offer the services of a full time art director, whose sole responsibility was the design and illustration of ads.

Ayer's leadership in the use of fine art in advertising has roots in this period, but achieved its highest expression under the guidance of legendary art director Charles Coiner. Coiner joined Ayer in 1924, after graduating from the Chicago Academy of Fine Arts. Despite early resistance from some clients, Coiner was adamant that "the use of outstanding palette and original art forms bring a greater return in readership, in impact and prestige for the advertiser." To this end, Coiner marshaled the talents of notable painters, illustrators and photographers, including N.C. Wyeth and Rockwell Kent (Steinway), Georgia O'Keefe (Dole), Leo Lionni (DuPont), Edward Steichen (Steinway, Cannon Mills), Charles Sheeler (Ford), and Irving Penn (DeBeers). Coiner believed that there was a practical side to the use of fine art in advertising, and his success (and Ayer's) lay in the marriage of research and copywriting with fine art, an arrangement Coiner termed "art for business sake." Coiner's efforts won both awards and attention for a series completed in the 1950s for the Container Corporation of America. Titled "Great Ideas of Western Man" the campaign featured abstract and modern paintings and sculpture by leading U.S. and foreign artists, linked with Western philosophical writings in an early example of advertising designed primarily to bolster corporate image. In 1994, Charles Coiner was posthumously named to the American Advertising Federation's Hall of Fame, the first full time art director ever chosen for that honor.

Coiner and fellow art director Paul Darrow also created legendary advertising with the "A Diamond Is Forever" campaign for DeBeers; ads featured the work of Pablo Picasso, Salvador Dali and other modernist painters. The "A Diamond is Forever" tagline was written in 1949 by Frances Gerety, a woman copywriter at Ayer from 1943 to 1970. In 1999, Ad Age magazine cited "A Diamond is Forever" as the most memorable advertising slogan of the twentieth century.

Coiner also earned respect for his volunteer government service during World War II; he designed the armbands for civil defense volunteers and logos for the National Recovery Administration and Community Chest. As a founding member of the Advertising Council in 1945, Ayer has had a long-standing commitment to public service advertising. In the mid-1980s, Ayer became a leading force in the Reagan-era "War on Drugs". Lou Hagopian, Ayer's sixth CEO, brokered the establishment of the Partnership for a Drug-Free America, a media coalition which generated as much as a million dollars a day in donated advertising space and time to prevent the use and abuse of illegal drugs. Famous names appear among NW Ayer's clientele from the very earliest days of the agency. Retailer John Wanamaker, Jay Cooke and Company, and Montgomery Ward's mail-order business were among the first Ayer clients. The agency has represented at least twenty automobile manufacturers, including Cadillac, Chrysler, Ford, General Motors, Plymouth, and Rolls-Royce. Other major, long-term clients through the years have included American Telephone & Telegraph, Canada Dry, Cannon Mills, Hills Bros. Coffee Company, Kellogg's, R. J. Reynolds, Steinway and Sons, United Airlines, and the United States Army. By the time of Ayer's hundredth anniversary in 1969, some of these companies had been Ayer clients for decades if not generations, and the longevity of those relationships was for many years a source of Ayer's strength.

But the advertising industry began to change in the late 1960s and 1970s, due in part to a "creative revolution." Small advertising agencies won attention with provocative copywriting and art direction that more closely resembled art than advertising. Advances in market research allowed clients to more narrowly tailor their advertising messages to distinct groups of consumers, and this led to a rise in targeted marketing which could more readily be doled out to specialized small agencies than to larger, established firms like NW Ayer & Son. The civil rights and anti-war movements also contributed to increasing public skepticism with the values of corporate America, and by extension, with some national advertising campaigns. Older, more conservative firms like Ayer were hard pressed to meet these new challenges.

About 1970, in an effort to meet these challenges and to establish a foothold on the West Coast, Ayer bought out two smaller agencies--Hixson & Jorgenson (Los Angeles) and Frederick E. Baker (Seattle). The agency relocated from Philadelphia to New York City in 1974 in an attempt both to consolidate operations (Ayer had operated a New York office since the 1920s) and to be closer to the historic center of the advertising industry. Riding the wave of mergers that characterized the advertising industry in the late 1980s and 1990s, Ayer continued to grow through the acquisition of Cunningham & Walsh in 1986 and Rink Wells in 19xx.

During this transitional period, Ayer received widespread acclaim for its work for the United States Army, which included the widely recognized slogan "Be All You Can Be". Ayer first acquired the Army recruitment account in 1967 and with help from its direct marketing arm, the agency was widely credited with helping the Army reach its recruitment goals despite an unpopular war and plummeting enlistments after the elimination of the draft in 1973. Ayer held the account for two decades, from the Vietnam War through the Cold War, but lost the account in 1986 amid government charges that an Ayer employee assigned to the account accepted kickbacks from a New York film production house. Despite Ayer's position as the country's 18th largest agency (with billings of $880 million in 1985), the loss of the agency's second largest account hit hard.

NW Ayer made up for the loss of the $100 million dollar a year Army account and made headlines for being on the winning end of the largest account switch in advertising history to date, when fast food giant Burger King moved its $200 million dollar advertising account from arch-rival J. Walter Thompson in 1987. Burger King must have had drive-thru service in mind, however, and Ayer made headlines again when it lost the account just eighteen months later in another record-breaking account switch. Another devastating blow to the agency was the loss of its lead position on the American Telegraph and Telephone account. Ayer pioneered telecommunications advertising in 1908, when the agency was selected to craft advertising for the Bell System's universal telephone service. Despite valiant efforts to keep an account the agency had held for most of the twentieth century, and for which they had written such memorable corporate slogans as American Telephone &Telegraph "The Voice with a Smile" and "Reach Out and Touch Someone", the agency lost the account in 1996.

After a wave of mergers and acquisitions in the late 1980s, the economic recession of the early 1990s hit Madison Avenue hard, and Ayer was particularly vulnerable. Despite the agency's long history and roster of "blue-chip" clients, Ayer was not known for cutting-edge creative work. Moreover, though the agency had offices overseas, Ayer had never built a strong multinational presence, and many of the smaller international offices were sold during the financial turmoil of the 1980s. This left a real void in the new climate of global marketplace consolidation. By about 1990, earnings were declining (although Ayer was still among the top twenty United States agencies in billings), and the agency was suffering from client defections, high management turnover, expensive real estate commitments and deferred executive compensation deals, all fallout of the high-flying 1980s. This was the atmosphere in 1993, when W.Y. Choi, a Korean investor who had already assembled a media and marketing empire in his homeland, began looking for an American partner to form an international advertising network. Jerry Siano, the former creative director who had recently been named Ayer's seventh CEO, was in no position to refuse Choi's offer of $35 million to buy the now floundering agency. The infusion of cash was no magic bullet, however. Choi took a wait-and-see approach, allowing his partner Richard Humphreys to make key decisions about Ayer's future, including the purging of senior executives and the installation of two new CEOs in as many years.

The agency's downward trend continued with the loss of another longtime client, the DeBeers diamond cartel in 1995. Adweek reported that Ayer's billings fell from $892 million in 1990 to less than $850 million in 1995. Several top executives defected abruptly, and the agency failed to attract major new accounts. Ayer was facing the loss not merely of revenue and personnel, but the loss of much of the respect it once commanded. Ayer remained among the twenty largest U.S. agencies, but an aura of uncertainty hung over the agency like a cloud. A new CEO was appointed, and Mary Lou Quinlan became the agency's first woman CEO in 1995. A year later, Ayer and another struggling top twenty agency, D'arcy, Masius, Benton & Bowles, combined as part of the McManus Group of companies. In 1998, the McManus Group had worldwide billings of more than $6.5 billion.

Under the McManus Group, Ayer was able to expand its international operations and begin to rebuild a stronger global presence. Several important new clients were won in 1997 and 1998, including Avon, General Motors, Kitchenaid, several Procter & Gamble brands and, most notably, Continental Airlines worldwide accounts. Born in the nineteenth century, Ayer may be one of a very few advertising agencies to successfully weather the economic and cultural transitions of both the twentieth and twentieth first centuries. Ayer was eventually acquired by the Publicis Groupe based in Paris, France which closed down the N.W. Ayer offices in 2002.
Related Materials:
Materials in the Archives Center

Warshaw Collection of Business Americana (AC0060)

Hills Bros. Coffee Incorporated Records (AC0395)
Provenance:
The collection was donated by N W Ayer ABH International, April 15, 1975 and by Ayer & Partners, October 30, 1996.
Restrictions:
The collection is open for research use.

Physical Access: Researchers must use microfilm copy. Researchers must handle unprotected photographs with gloves. Researchers must use reference copies of audiovisual materials. When no reference copy exists, the Archives Center staff will produce reference copies on an "as needed" basis, as resources allow.

Technical Access: Viewing the film portion of the collection without reference copies requires special appointment, please inquire; listening to audio discs requires special arrangement. Do not use original materials when available on reference video or audio tapes.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Reproduction permission from Archives Center: reproduction fees may apply. Publication and production quality duplication is restricted due to complex copyright, publicity rights, and right to privacy issues. All duplication requests must be reviewed and approved by Archives Center staff. Potential users must receive written permission from appropriate rights holders prior to obtaining high quality copies.
Topic:
Advertising agencies  Search this
advertising  Search this
Genre/Form:
Business records -- 1840-2000
Interviews -- 1980-2000
Oral history -- 1980-1990
Print advertising
Proof sheets
Proofs (printed matter)
Scrapbooks -- 1840-1990
Trade literature
Tear sheets
Advertisements
Citation:
NW Ayer & Sons, incorporated Advertising Agency Records, Archives Center, National Museum of American History
Identifier:
NMAH.AC.0059
See more items in:
N W Ayer Advertising Agency Records
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-0059
Online Media:

Slugger Ryan Marionette

User:
Baird, Bil  Search this
Referenced:
Willkie, Wendell L.  Search this
Maker:
Baird, Bil  Search this
Physical Description:
plastic (overall material)
wood (overall material)
paint (overall material)
wool (overall material)
cotton (overall material)
Measurements:
overall: 22 in x 26 in x 20 1/2 in; 55.88 cm x 66.04 cm x 52.07 cm
Object Name:
puppet
Place made:
United States: New York, New York City
Associated Place:
United States: New York, New York
Date made:
1930-1939
Date made:
1970s
Subject:
Puppetry  Search this
Musical Theater  Search this
Television broadcasts  Search this
Musicians  Search this
Music  Search this
Television  Search this
Credit Line:
Bil Baird
ID Number:
1980.0315.01
Accession number:
1980.0315
Catalog number:
1980.0315.01
See more items in:
Cultural and Community Life: Entertainment
Popular Entertainment
Puppets
Data Source:
National Museum of American History
GUID:
http://n2t.net/ark:/65665/ng49ca746b2-00f3-704b-e053-15f76fa0b4fa
EDAN-URL:
edanmdm:nmah_663670
Online Media:

Albert Bloch papers

Creator:
Bloch, Albert  Search this
Names:
Bloch, Anna  Search this
Fehl, Philipp P.  Search this
Kandinsky, Wassily, 1866-1944  Search this
Klee, Paul, 1879-1940  Search this
Klinker, Emmy  Search this
Marc, Franz, 1880-1916  Search this
Penney, James, 1910-1982  Search this
Sudlow, Robert  Search this
Extent:
17.9 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Sketches
Date:
1873-2014
Summary:
The papers of painter and educator Albert Bloch measure 17.9 linear feet and date from 1873 to 2014. The collection documents his career as an artist and university professor in Lawrence, Kansas, as well as his time in Munich, Germany, as part of the Blue Rider group of German Expressionists. The collection includes biographical material, extensive personal and professional correspondence, writings, personal business records, exhibition files, printed material, photographs, and artwork. Throughout the collection are records maintained by his widow Anna Bloch on the exhibition, sale, and research of Bloch's work after his death.
Scope and Contents:
The papers of painter and educator Albert Bloch measure 17.9 linear feet and date from 1873 to 2014. The collection documents his career as an artist and university professor in Lawrence, Kansas, as well as his time in Munich, Germany, as part of the Blue Rider group of German Expressionists. The collection includes biographical material, extensive personal and professional correspondence, writings, personal business records, exhibition files, printed material, photographs, and artwork. Throughout the collection are records maintained by his widow Anna Bloch on the exhibition, sale, and research of Bloch's work after his death.

Biographical material includes vital records, passports, chronologies, biographical summaries, family history documents, and bibliography files compiled by Anna Bloch. Correspondence is with family, friends, artists, art historians, students, museums, galleries, publishers, magazines, and others, and includes letters of both a personal and professional nature. Of note is Albert Bloch's correspondence with artists Wassily Kandinsky, Paul Klee, Emmy Klinker, Franz Marc, Philipp Fehl, and his students James Penney and Robert Sudlow.

Writings include poetry, lectures, essays, notes, and Bloch's translations of the writings of Austrian writer Karl Kraus. Included are many drafts of his book of poetry, Ventures in Verse: Selected Pieces. Also found are love notes between Albert and Anna Bloch. Writings by others include a few notebooks and loose notes by Anna Bloch, essays and lectures about Bloch's artwork, and poetry.

Personal business records include lists of artworks, price lists, sales records, and ownership records, and more recent records concerning artwork conservation; agreements, and consignment records with art galleries and dealers; and artwork shipping records, all maintained by Anna Bloch. Exhibition files are not comprehensive, and primarily document retrospective exhibitions of Bloch's artwork occurring after his death. Of note are records, including a scrapbook, for a 1997 retrospective at the Nelson-Atkins Museum of Art.

Printed material includes exhibition publications, news clippings, magazines, journals, and photocopies of Bloch's work for The Mirror. Photographs depict Bloch in his home, studio, and with family and friends. Also found are many photographs of family and friends, artwork by Bloch, Blue Rider exhibition photographs taken by artist Gabriele Münter, and two photograph album "Record Books" that contain annotated photographs of his painting during the period that he lived in Germany. A small amount of artwork includes sketches by Bloch.
Arrangement:
This collection is arranged as 8 series.

Series 1: Biographical Material, 1873-1990s (0.4 Linear feet; Box 1)

Series 2: Correspondence, 1912-2013 (6.2 Linear feet; Boxes 1-7)

Series 3: Writings, circa 1920s-1990s (3.9 Linear feet; Boxes 7-11)

Series 4: Personal Business Records, 1914-2014 (0.6 Linear feet; Box 11)

Series 5: Exhibition Files, 1939-2000 (0.7 Linear feet; Box 12, 19)

Series 6: Printed Material, 1911-2006 (2 Linear feet; Boxes 12-14)

Series 7: Photographic Materials, circa 1882-2013 (4.1 Linear feet; Boxes 14-21)

Series 8: Artwork, circa 1930s-1950s (0.2 Linear feet; Box 17)
Biographical / Historical:
Albert Bloch (1882-1961) was a painter and educator in Lawrence, Kansas. From 1909 to 1921, he lived and worked in Germany, where he was associated with Der Blaue Reiter (The Blue Rider) group of European modernists.

Bloch was born in St. Louis, Missouri, and as a teenager attended the St. Louis School of Fine Arts. From 1905 to 1913, he contributed numerous caricatures, cartoons, covers, and articles to the satirical newspaper The Mirror. In 1905, he married Hortense Altheimer and they lived briefly in New York City before moving to the artists' district in Munich, Germany, thanks to the financial support of William Reedy, editor of The Mirror. By 1911 Bloch had befriended prominent members of the Neue Kunstlervereinigung Munchen (NKVM), including Wassily Kandinsky and Franz Marc. He joined them when they later seceded from the NKVM group to form Der Blaue Reiter. Bloch exhibited six paintings in the group's first exhibition in 1911-1912. Over the next few years, Bloch exhibited his works regularly, most notably at Der Sturm Gallery. He and his family remained in Germany throughout World War I, returning to the US in 1921.

Bloch worked briefly at the Chicago Academy of Fine Art, and in 1923, settled in Lawrence, Kansas, accepting a faculty position at the University of Kansas. During this period he did not regularly exhibit his work and focused on teaching and writing. He corresponded with Austrian writer Karl Kraus, editor of Die Fackel, and began to translate Kraus' works into English. In the early 1930s, Bloch met Anna Francis at the University of Kansas and later she lived with the Bloch family, including Hortense and two sons, Bernard and Walter. After the death of his wife Hortense, Alfred married Anna in 1951. 1947, Bloch suffered a heart attack and retired from the University of Kansas. That same year a book of his poetry, Ventures in Verse: Selected Pieces, was published.

Bloch continued to paint and had a large retrospective of his work in 1955 at the University of Kansas Museum of Art. He died in December 1961 after a long illness.
Related Materials:
The Albert Bloch, the American Blue Rider Exhibition records, 1994-1997, are available at the Nelson-Atkins Museum of Art.
Provenance:
The collection was donated in 2015 by the Albert Bloch Foundation via Scott Heffley, president. Additonal letters from Anna Bloch donated 2017 by David Strauss, Albert Bloch's cousin.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Educators -- Kansas -- Lawrence  Search this
Painters -- Kansas -- Lawrence  Search this
Topic:
Art -- Study and teaching  Search this
Expressionism (Art)  Search this
Blaue Reiter (Group of artists)  Search this
Genre/Form:
Photographs
Sketches
Citation:
Albert Bloch papers, 1873-2014. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.blocalbe
See more items in:
Albert Bloch papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-blocalbe

Raymond Ciarrocchi papers

Creator:
Ciarrocchi, Ray, 1933-  Search this
Names:
Fischbach Gallery  Search this
Tibor de Nagy Gallery  Search this
Extent:
0.9 Linear feet
Type:
Collection descriptions
Archival materials
Sketchbooks
Photographs
Date:
1953-2010
Summary:
The Raymond Ciarrocchi papers measure 0.9 linear feet and date from 1953-2010. Correspondence and business records document Ciarrocchi's traveling exhibition, "The Nijinsky Series," and his relationships with Tibor de Nagy Gallery and Fischbach Gallery. Also found are four sketchbooks, a thesis about American landscape painting in which Ciarrocchi figures prominently, printed material, and photographs of Ciarrocchi.
Scope and Contents note:
The Raymond Ciarrocchi papers measure 0.9 linear feet and date from 1953-2010. Correspondence and business records document Ciarrocchi's traveling exhibition, "The Nijinsky Series," and his relationships with Tibor de Nagy Gallery and Fischbach Gallery. Also found are four sketchbooks, a thesis about American landscape painting in which Ciarrocchi figures prominently, printed material, and photographs of Ciarrocchi.
Arrangement note:
The collection is arranged as 7 series:

Series 1: Biographical Material, 1964-2009 (Box 1; 0.1 linear ft.)

Series 2: Letters, 1971-2010 (Box 1; 0.1 linear ft.)

Series 3: Writings, 1980 (Box 1; 0.1 linear ft.)

Series 4: Personal Business Records, 1971-1999 (Box 1; 0.2 linear ft.)

Series 5: Printed Material, 1971-2009 (Boxes 1-2, OV 3; 0.2 linear ft.)

Series 6: Sketchbooks, 1953-1956 (Box 2; 0.2 linear ft.)

Series 7: Photographs, 1963-1994 (Box 2; 1 folder)
Biographical/Historical note:
Landscape painter Raymond Ciarrocchi (b. 1933) has spent much of his life in New York City, exhibiting regularly and teaching at Parsons School of Design, Columbia University, and the Baruch College of City University.

A native of Chicago, he studied at the Chicago Academy of Fine Arts, Washington University (B.A.), and Boston University (M.F.A.). Beginning in 1971, Tibor de Nagy Gallery presented seven solo exhibitions of Ciarrocchi's work; after 1985 he was represented by Fischbach Gallery. Typically, he works in oil on canvas, though he has produced several monotype series, including one featuring Russian ballet dancer Vaslav Nijinsky.
Provenance:
The Raymond Ciarrocchi papers were donated to the Archives of American Art by Raymond Ciarrocchi in 2011.
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.
Topic:
Landscape painters -- New York (State) -- New York  Search this
Landsape painting -- United States  Search this
Genre/Form:
Sketchbooks
Photographs
Citation:
Raymond Ciarrocchi papers, 1953-2010. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.ciarraym
See more items in:
Raymond Ciarrocchi papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-ciarraym

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