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Focus Gallery records

Creator:
Focus Gallery  Search this
Names:
George Eastman House  Search this
Torren Gallery  Search this
Abbott, Berenice, 1898-1991  Search this
Adams, Ansel, 1902-1984  Search this
Brandt, Bill  Search this
Bullock, Wynn  Search this
Caponigro, Paul, 1932-  Search this
Cunningham, Imogen, 1883-1976  Search this
Dater, Judy  Search this
Heinecken, Robert, 1931-  Search this
Hosoe, Eikō, 1933  Search this
Johnston, Helen, 1916-1989  Search this
Leibovitz, Annie, 1949-  Search this
Porter, Eliot, 1901-  Search this
Siskind, Aaron  Search this
Uelsmann, Jerry, 1934-  Search this
Weston, Brett  Search this
Extent:
11.8 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Date:
1963-1987
Summary:
The records of San Francisco Focus Gallery measure 11.8 linear feet and date from 1963-1987. The bulk of the collection consists of exhibition files. There are also artists files, sales information, correspondence, and scattered records of the gallery's companion bookshop.
Scope and Contents:
The records of San Francisco's Focus Gallery measure 11.8 linear feet and date from 1963-1987. The bulk of the collection consists of exhibition files. There are also artists files, sales information, correspondence, and scattered records of the gallery's companion bookshop.

Exhibition files comprise the bulk of the collection and generally contain a wide range of materials including correspondence, short biographies, forms requesting artists' background information, flyers, booklets, brochures, checklists, loan agreements, sales records, news releases, and photographs and negatives. Among the many photographers exhibited were Ansel Adams, Berenice Abbott, Bill Brandt, Wynn Bullock, Paul Caponigro, Imogen Cunningham, Judy Dater, Robert Heinecken, Eikoh Hosoe, Annie Leibovitz, Eliot Porter, Aaron Siskind, Jerry Uelsmann, and Brett Weston.

A relatively small amount of general business correspondence includes orders and payments for photographic prints, books, and magazine subscriptions, some personal notes, and requests for information about how to submit for exhibitions and for exhibition schedules. Correspondents include customers, photographers, publishers, law firms, museum, and colleges and universities. Correspondence from the founding year contains Johnston's letters to various venues prominent in art photography, such as George Eastman House. There is also a letter to Ansel Adams requesting prints to sell or for a small opening exhibit.

Additional records include artists' files; sales and inventory records containing print and bookshop inventories, general pricing information and receipts for photographs; and printed materials including flyers and brochures, bookshop catalogs and news releases. There are also scattered administrative records, including gallery history, a file on the Toren Gallery and five owner's notebooks, as well as The Imogen Cunningham Trust files documenting Focus Gallery's interactions with the trust before and after Cunningham's death regarding photographs printed and signed by her; financial and legal files; and guest books.

Documents in the collection that pre-date the founding of the gallery are found in the Toren Gallery file and a few of the exhibition files.
Arrangement:
The collection is arranged as 8 series.

Series 1: Administrative Records, 1963-1985 (Box 1; 0.3 linear feet)

Series 2: Correspondence, 1966-1987 (Boxes 1-2; 1 linear foot)

Series 3: Exhibition Files, 1966-1985 (Boxes 2-10; 8.5 linear feet)

Series 4: Artists Files, 1966-1978 (Boxes 10-11; 0 .5 linear feet)

Series 5: Financial and Legal Files, 1966-1987 (Box 11; 0 .2 linear feet)

Series 6: Sales and Inventories, 1966-1987 (Box 11; 0.4 linear feet)

Series 7: Printed Materials, 1966-1987 (Boxes 11-12; 0.3 linear feet)

Series 8: Guest Books, 1966-1970, 1978-1985 (Boxes 12-13; 0.6 linear feet)
Biographical / Historical:
Focus Gallery was founded by Helen Head Johnson (1916-1989) in 1966 on Union Street in San Francisco. The gallery exhibited and sold primarily art photographs and other contemporary art.

Helen Head Johnston believed that photography deserved its own exhibition space. As stated in the gallery's first press release, "in seeking to encourage print collecting it (the gallery) offers not only a show place but also a market place for photographers." While retaining an emphasis on Bay Area photographers, the gallery's exhibitions soon became international in scope, featuring little known and well-established photographers through both solo and group exhibitions. With few exceptions, the gallery's policy was to feature an artist only once. To help keep the gallery going in its early days, Johnston started a bookshop mail-order business. At the time of its closing in August 1985, Focus Gallery was the longest continuously operating photography gallery in the country. The bookshop continued in another location for an additional two years.

The collection is arranged as 8 series

Series 1: Administrative records, 1963-1985, (Box 1 8 folders)

Series 2: Correspondence, 1966-1987, undated (Box 1-2 1 linear foot)

Series 3: Exhibition files, 1966-1985 (Box 2-10 8.5 linear feet)

Series 4: Artists files, 1966-1978, undated (Box 10-11, 9 folders)

Series 5: Financial and Legal files, 1966-1987 (Box 11 6 folders)

Series 6: Sales and Inventories, 1966-1987, undated (Box 11 11 folders)

Series 7: Printed Materials, 1966-1987, undated (Box 11 and Hol 12 7 folders)

Series 8: Guest Books, 1966-1985 (Hol 12-13 6 folders)
Related Materials:
Among the holding of the Archives of American Art is an untranscribed interview of Helen Johnston by Louise Katzman or Irene Borger in the collection Interviews of California Photographers 1981 Jun.-Nov.20.

Helen Johnston left her private photography collection to the de Saisset Museum, the Oakland Museum of California, and the San Francisco Museum of Modern Art.
Provenance:
The Focus Gallery records were donated by the estate of owner Helen Johnston, care of Gerald O'Conner, executor.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Focus Gallery records are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Visitors' books  Search this
Women photographers  Search this
Photography -- Exhibitions  Search this
Photography, Artistic  Search this
Photographic art galleries -- California -- San Francisco  Search this
Photographers -- United States  Search this
Gallery owners -- local  Search this
Art galleries, Commercial -- California -- San Francisco  Search this
Art dealers -- California -- San Francisco  Search this
Genre/Form:
Photographs
Citation:
Focus Gallery records, 1963-1987. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.focugall
See more items in:
Focus Gallery records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-focugall
Online Media:

Nina Howell Starr papers

Creator:
Starr, Nina Howell  Search this
Names:
International Women's Art Festival  Search this
Museum of American Folk Art  Search this
Photographic Historical Society of New York  Search this
Professional Women's Photographers, Inc.  Search this
Sharon Arts Center  Search this
Southern Regional Council  Search this
Brandt, Helene, 1936-  Search this
Cohen, Stephenie  Search this
Coke, Van Deren, 1921-  Search this
Connor, Linda  Search this
Daitz, Evelyne Z.  Search this
DiSpirito, Henry, 1898-1995  Search this
Evans, Minnie, 1892-  Search this
Evans, Walker, 1903-1975  Search this
Ghent, Henri, 1926-  Search this
Kanaga, Consuelo, 1894-  Search this
Kernan, Margo, 1927-  Search this
Kruger, Louise, 1924-  Search this
Lippard, Lucy R.  Search this
Macdonald-Wright, Stanton, 1890-1973  Search this
Mainardi, Patricia  Search this
Morgan, Barbara Brooks, 1900-  Search this
Putnam, Wallace, 1899-1989  Search this
Ringgold, Faith  Search this
Rose, Ruth Starr, 1887-1965  Search this
Savage, Naomi, 1927-2005  Search this
Sherwood, Maggie, 1922-1984  Search this
Siskind, Aaron  Search this
Strand, Paul, 1890-1976  Search this
Szarwarski, John  Search this
Uelsmann, Jerry, 1934-  Search this
Extent:
21.2 Linear feet
Type:
Collection descriptions
Archival materials
Scrapbooks
Photographs
Interviews
Drawings
Sketches
Transcripts
Sound recordings
Prints
Date:
circa 1933-1996
Summary:
The papers of photographer and art historian Nina Howell Starr measure 21.2 linear feet and date from circa 1933 to 1996. The papers contain research files about various art historical topics, museums and galleries, photography, and artists. There are extensive files documenting Starr's relationship as researcher, dealer, and friend of folk painter Minnie Evans. Additionally, the papers include biographical materials, writings, speeches, project files, printed material collected or authored by Starr, and hundreds of artistic and documentary photographs and negatives created by Starr depicting her travels, Minnie Evans' paintings, roadside folk art, and other topics.
Scope and Contents:
The papers of photographer and art historian Nina Howell Starr measure 21.2 linear feet and date from circa 1933 to 1996. The papers contain research files about various art historical topics, museums and galleries, photography, and artists. There are extensive files documenting Starr's relationship as researcher, dealer, and friend of folk painter Minnie Evans. Additionally, the papers include biographical materials, writings, speeches, project files, printed material collected or authored by Starr, and hundreds of artistic and documentary photographs and negatives created by Starr depicting her travels, Minnie Evans' paintings, roadside folk art, and other topics.

Biographical materials are scattered and include grant and publication applications, curriculum vitae, lists of artwork, and miscellany.

Starr's lectures, writings, and project files are arranged into one series. They include Starr's student writings, a notebook about Civil Rights, files documenting her work on a Florida public housing project, the Southern Regional Council, and the League of Women Voters. A few files of general writings and lectures mostly concern folk artist Minnie Evans and the exhibition Women Photograph Men, held at the International Women's Arts Festival in 1976.

Subject files on artists, art history topics, photographers and photography (including Starr's work), and on folk artist and friend Minne Evans comprise the bulk of the collection. The files are a mix of collated materials and primary sources created by Starr and others and many contain correspondence, notes, photographs, and a few sketches and orginal prints. Also included are materials related to professional and organizational groups in which Starr was involved, including the Professional Women's Photographers, Inc., the Photographic Historical Society of New York, and the Museum of American Folk Art; files on several of Starr's exhibitions; and files on artists that contain printed materials, correspondence, and photographs. The file on Ruth Starr Rose contains prints and drawings. There are also photographs taken by Stephanie Cohen. Particularly rich files are found for Stephanie Cohen; Van Deren Coke, Director of the George Eastman Company; Evelyn Daitz, Director of the Witkin Gallery; Henry DiSpirito; Walker Evans; the Fotofolio printing company; curator Henri Ghent; photographer Consuelo Kanaga and husband Wallace Putnam; Margot Starr Kernan; Lucy Lippard; Stanton Mac-Donald Wright; Sharon Arts Center; photographer Paul Strand; curator John Szarwarski; and photographer Jerry Uelsman.

The collection also documents the friendship between painter Minnie Evans and Starr, and Starr's business dealings on Evans' behalf. There is correspondence about and with Evans, several sound recordings of interviews conducted by Starr and others with Evans, many with transcripts, financial documents, publications about Evans including exhibition catalogs, clippings, journal articles and monographs, two posters, a scrapbook, and one sketch by Evans.

Printed material includes published articles, exhibition catalogs and announcements, and clippings about Starr.

Photographic materials are extensive and include photographs and slides taken by Starr of friends, family, artwork by Minnie Evans, events, exhibition openings, world travels, and folk art, especially roadside. Prominent artists and art historians photographed include: photographers Maggie Sherwood, Naomi Savage, Barbara Morgan, Linda Connor, Aaron Siskind, Consuelo Kanaga, Faith Ringgold, and Walker Evans; sculptors Louise Kruger and Helene Brandt; feminist and art historian Pat Mainardi; and curators Henri Ghent and John Szarkowski. Starr's artistic photographic work is also represented, and includes two silver gelatin prints of Minnie Evans, and subject studies on hands, people, and nature, among others.
Arrangement:
The collection is arranged as 6 series.

Series 1: Biographical material, 1954-circa 1990 (8 folders; Box 1)

Series 2: Writings, Speeches and Projects, 1933-1995 (1.1 linear feet; Boxes 1-2)

Series 3: Subject Files, circa 1939-1996 (8.3 linear feet; Boxes 2-10)

Series 4: Minnie Evans, 1962-1996 (3.7 linear feet; Boxes 10-13, 23, OV 24)

Series 5: Printed Material, 1936-1995 (2.7 linear feet; Boxes 13-16, 23)

Series 6: Photographic Material, circa 1939-1993 (5.4 linear feet; Boxes 16-23, OV 24)
Biographical / Historical:
Nina Howell Starr (1903-2000) was a photographer, art dealer, and art historian who worked primarily in New York City. Born in Newark, New Jersey in 1903 as Cornelia Margaret Howell, Starr attended Wellesley College and graduated from Barnard in 1926. Also in 1926, she married Nathan Comfort Starr, an English professor, and, over the years the couple lived in Massachusetts, Maryland, Florida, and New York City.

In 1963, at the age of 60, Starr received the first M.F.A. in photography granted by the University of Florida. Starr exhibited widely in both solo and group exhibitions, including Magic Lantern (Photographer's Gallery, London, 1976), and the Strength of Women (Witken Gallery, 1991), and numerous shows featuring photographs of outsider art. Her "New Yorker" project became an exhibition in 2016. Her work is owned by several prominent museums, including the Metropolitan Museum of Art and the George Eastman House International Museum of Photography.

As art historian, self-proclaimed critic, and civil rights and feminist advocate, Starr lectured widely, wrote articles and letters to editors, and corresponded with many notable art world figures. She became especially interested in outsider and folk art. Starr met outsider artist Minnie Evans in 1962 and became Evans' lifelong friend, advocate, and representative dealer. She wrote about Evans and introduced Evans' works to galleries and other exhibition spaces in New York, including the Whitney Museum, where she guest-curated an exhibition of Evans' work in 1975.

Starr was an active member of professional organizations including the Photographic Historical Society of New York, Professional Women's Photographers, Inc., and the Museum of American Folk Art where she served on the Advisory Committee.

Nina Howell Starr died in 2000 in Connecticut at the age of 97.
Provenance:
The Nina Howell Starr papers were donated by Nina Howell Starr in 1996.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Use of archival audiovisual recordings with no duplicate access copy requires advance notice. Contact Reference Services for more information.
Rights:
The Nina Howell Starr papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Folk art -- United States  Search this
Civil rights  Search this
Art historians -- New York (State) -- New York  Search this
Art dealers -- New York (State) -- New York  Search this
African American art  Search this
Folk art -- Photographs  Search this
Women photographers  Search this
Photography  Search this
Photographers -- New York (State) -- New York  Search this
Genre/Form:
Scrapbooks
Photographs
Interviews
Drawings
Sketches
Transcripts
Sound recordings
Prints
Citation:
Nina Howell Starr papers, circa 1933-1996. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.starnina
See more items in:
Nina Howell Starr papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-starnina
Online Media:

Joseph Cornell project notes for aviary boxes

Creator:
Cornell, Joseph, 1903-1972  Search this
Type:
Writings
Date:
not before 1950 February 22
Topic:
Animals in art  Search this
Assemblage (Art)  Search this
Record number:
(DSI-AAA)16985
See more items in:
Joseph Cornell papers, 1804-1986, bulk bulk 1939-1972
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_item_16985
Online Media:

Oral history interview with Beaumont Newhall, 1965 Jan. 23

Interviewee:
Newhall, Beaumont, 1908-1993  Search this
Interviewer:
Trovato, Joseph S., 1912-1983  Search this
Subject:
Blatas, Arbit  Search this
Steichen, Edward  Search this
Talbot, William Henry Fox  Search this
United States  Search this
George Eastman House  Search this
Federal art project (Mass.)  Search this
New Deal and the Arts Oral History Project  Search this
Type:
Sound recordings
Interviews
Topic:
Federal aid to the arts  Search this
Photography  Search this
Arts administrators -- New York (State) -- Rochester -- Interviews  Search this
Art historians -- New York (State) -- Rochester -- Interviews  Search this
Record number:
(DSI-AAA_CollID)13299
(DSI-AAA_SIRISBib)213687
AAA_collcode_newhal65
Theme:
Photography
New Deal
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_213687

University of Pennsylvania papers relating to Eadweard Muybridge's studies on animal locomotion, 1886-1901

Creator:
Muybridge, Eadweard James, 1830-1904  Search this
Subject:
Muybridge, Eadweard  Search this
University of Pennsylvania  Search this
Topic:
Photography -- Pennsylvania -- Philadelphia  Search this
Photography -- Equipment and supplies  Search this
Photography -- Early works to 1900  Search this
Record number:
(DSI-AAA_CollID)10257
(DSI-AAA_SIRISBib)213390
AAA_collcode_muybeadw
Theme:
Art Materials, Techniques, and Studio Art Education
Photography
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_213390

Los Angeles Art Association records, 1922-1990

Creator:
Los Angeles Art Association  Search this
Subject:
Selz, Peter Howard  Search this
Wurdemann, Helen  Search this
Zajac, Jack  Search this
Kosa, Emil Jean  Search this
Kuntz, Roger  Search this
Macdonald-Wright, Stanton  Search this
Menches, Arnold  Search this
Engel, Jules  Search this
Burkhardt, Hans Gustav  Search this
George Eastman House  Search this
Stendahl Art Galleries  Search this
Watts Towers Commission  Search this
Type:
Photographs
Visitors' books
Scrapbooks
Topic:
Art -- Societies, etc. -- California -- Los Angeles  Search this
Art -- Exhibitions -- California -- Los Angeles  Search this
Artists -- California -- Los Angeles  Search this
Record number:
(DSI-AAA_CollID)10215
(DSI-AAA_SIRISBib)213290
AAA_collcode_losangea
Theme:
Communities, Organizations, Museums
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_213290
Online Media:

Focus Gallery records, 1963-1987

Creator:
Focus Gallery  Search this
Subject:
Uelsmann, Jerry  Search this
Siskind, Aaron  Search this
Hosoe, Eikō  Search this
Johnston, Helen  Search this
Leibovitz, Annie  Search this
Porter, Eliot  Search this
Bullock, Wynn  Search this
Caponigro, Paul  Search this
Adams, Ansel  Search this
Brandt, Bill  Search this
Abbott, Berenice  Search this
Weston, Brett  Search this
Heinecken, Robert  Search this
Cunningham, Imogen  Search this
Dater, Judy  Search this
Torren Gallery  Search this
George Eastman House  Search this
Type:
Photographs
Topic:
Visitors' books  Search this
Women photographers  Search this
Photography -- Exhibitions  Search this
Photography, Artistic  Search this
Photographic art galleries -- California -- San Francisco  Search this
Photographers -- United States  Search this
Gallery owners -- local  Search this
Art galleries, Commercial -- California -- San Francisco  Search this
Art dealers -- California -- San Francisco  Search this
Record number:
(DSI-AAA_CollID)10224
(DSI-AAA_SIRISBib)213302
AAA_collcode_focugall
Theme:
The Art Market
Photography
Art Gallery Records
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_213302
Online Media:

Imogen Cunningham papers, 1903-1991

Creator:
Cunningham, Imogen, 1883-1976  Search this
Subject:
Adams, Ansel  Search this
Mann, Margery  Search this
Moholy-Nagy, László  Search this
Newhall, Beaumont  Search this
Sheeler, Charles  Search this
Noskowiak, Sonya  Search this
Partridge, Roi  Search this
Schoener, Allon  Search this
Steichen, Edward  Search this
Steinert, Otto  Search this
Strand, Paul  Search this
Struss, Karl  Search this
Toklas, Alice B.  Search this
Van Dyke, Willard  Search this
Weston, Edward  Search this
Bissantz, Edgar  Search this
Andreson, Laura  Search this
Bristol, Horace  Search this
Bourke-White, Margaret  Search this
Butler, John Davidson  Search this
Bullock, Wynn  Search this
Feininger, Lyonel  Search this
Coburn, Alvin Langdon  Search this
Graves, Morris  Search this
Hellman, Lillian  Search this
Lange, Dorothea  Search this
Kanaga, Consuelo  Search this
O'Keeffe, Georgia  Search this
Aalto, Alvar  Search this
Newman, Arnold  Search this
Witkin, Lee D.  Search this
Zorach, William  Search this
White, Minor  Search this
George Eastman House  Search this
Group f.64  Search this
Henry Art Gallery  Search this
Witkin Gallery  Search this
Type:
Interviews
Illustrated letters
Photographs
Topic:
Photography, Artistic  Search this
Photographers -- California -- San Francisco Bay Area  Search this
Photographers  Search this
Women photographers  Search this
Portrait photography  Search this
Record number:
(DSI-AAA_CollID)9453
(DSI-AAA_SIRISBib)211651
AAA_collcode_cunnimog
Theme:
Women
Lives of American Artists
Photography
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_211651
Online Media:

Robert M. Doty papers, 1913-1992

Creator:
Doty, Robert M.  Search this
Subject:
Akron Art Institute  Search this
Albright-Knox Art Gallery  Search this
Currier Gallery of Art  Search this
George Eastman House  Search this
Whitney Museum of American Art  Search this
Yale University  Search this
Record number:
(DSI-AAA_CollID)6508
(DSI-AAA_SIRISBib)215738
AAA_collcode_dotyrobe
Theme:
Communities, Organizations, Museums
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_215738

Oral history interview with Beaumont Newhall

Interviewee:
Newhall, Beaumont, 1908-1993  Search this
Interviewer:
Trovato, Joseph S., 1912-1983  Search this
Creator:
New Deal and the Arts Oral History Project  Search this
Names:
Federal art project (Mass.)  Search this
George Eastman House  Search this
New Deal and the Arts Oral History Project  Search this
United States. Farm Security Administration. Historical Section  Search this
Blatas, Arbit  Search this
Steichen, Edward, 1879-1973  Search this
Talbot, William Henry Fox, 1800-1877  Search this
Extent:
23 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1965 Jan. 23
Scope and Contents:
An interview of Beaumont Newhall conducted 1965 Jan. 23, by Joseph Trovato, for the Archives of American Art. Newhall speaks of his education and first jobs in museums; his administration of the WPA Federal Art Project in Massachusetts; Berenice Abbott's photographs of New York; and the Farm Security Administration's photography project. He speaks of early photography and William Henry Fox Talbot; photography and the Armory Show; the 1937 photography exhibition at the Museum of Modern Art and Edward Steichen; and the George Eastman House. Newhall comments on museums accepting photography as art; the amateur photographer versus the artistic photographer; and his view of photography as a discoverer and a "partaker" of nature.
Biographical / Historical:
Beaumont Newhall (1908-1993) was an art administrator and art historian from Rochester, N.Y.
General:
Originally recorded on 2 sound tape reels. Reformatted in 2010 as 2 digital wav files. Duration is 1 hr., 21 min.
Provenance:
Conducted as part of the Archives of American Art's New Deal and the Arts project, which includes over 400 interviews of artists, administrators, historians, and others involved with the federal government's art programs and the activities of the Farm Security Administration in the 1930s and early 1940s.
Restrictions:
Transcript available on the Archives of American Art website.
Topic:
Federal aid to the arts  Search this
Photography  Search this
Arts administrators -- New York (State) -- Rochester -- Interviews  Search this
Art historians -- New York (State) -- Rochester -- Interviews  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.newhal65
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-newhal65

Jan Faul "Potomac : East and West" (portfolio of photoprints)

Creator:
Faul, Jan, 1945-  Search this
Extent:
0.3 Cubic feet (1 box)
Type:
Collection descriptions
Archival materials
Topographical views
Manipulated photographs
Photographs
Painted photographs
Hand coloring
Landscapes (representations)
Portfolios (groups of works)
Place:
Washington (D.C.) -- 1990-2000
West Virginia -- 1990-2000
Virginia -- 1990-2000
Maryland -- 1980-2000
Potomac River -- 1990-2000
Date:
1991
Summary:
The collection is a set of twenty-four black-and-white silver gelatin prints entitled "Potomac: East and West," by Jan Faul, 1991. They include agricultural landscapes, cemeteries, industrial buildings commercial buildings in rural areas, etc., in the Potomac River region of Washington, D.C., Maryland, Virginia, and West Virginia. Each image contains a small area hand-colored by the photographer, providing a subtly mysterious, often whimsical or humorous effect.
Scope and Contents:
The collection is a set of twenty-four black-and-white silver gelatin prints entitled "Potomac: East and West," and is number six in an edition of forty five. The photographs all were taken in 1991 and the prints were made shortly thereafter. The photographs are basically somewhat romantic documentary images of locales in Washington, D.C., Virginia, Maryland, and West Virginia, including landscapes and industrial settings, interiors and exteriors, some of which are apparently abandoned. Human figures are seen only incidentally in several images. Each print has a small area hand colored by the artist, usually adding subtle humor and/or a hint of mystery. The titles are brief and geographical, and the set is numbered I to XII and XIV to XXV; there is no number XIII, the artist was careful to point out.
Arrangement:
The collection is arranged into one series. Sequence arranged by artist: numbered I-XII, XIV-XXV (no number XIII).
Biographical / Historical:
Jan Faul was born in Port Chester, New York in 1945. His family moved frequently, living in Washington, D.C., New York, Boston, Denver, Toronto, Strasbourg, and Bern, Switzerland. In Bern he received his first camera as a gift for his fourteenth birthday. He returned to the United States and completed high school in Washington.

In his late teens Faul met Roy Stryker, legendary director of the Farm Security Administration documentary photography project, who suggested that he spend time looking at photographs in the Library of Congress which he did, concentrating on the F.S.A. files. Influenced by his artist parents, Faul studied art history and graphics in college, hoping to become a printmaker, but had begun to support himself with photography by the time he graduated from The George Washington University in 1969.

The "immediacy" of photography and other aesthetic considerations in addition to the financial ones finally led to Faul's abandonment of printmaking and commitment to photography. Since 1970 he has been a self employed photographer, working in landscape, still life, and portraiture. He documented the lives of poor people in the U.S. from July 1970 to March 1971 for the Office of Economic Opportunity. In summer 1971 he photographed scenes of rural poverty for the Appalachian Regional Commission. A grant from the Upjohn Institute for American Labor Studies in 1974 supported his photographic documentation of American workers and changing work habits. In the summer of 1975 he worked for the Smithsonian, portraying the locksmen and pilots of the St. Lawrence Seaway. Further grants and contracts for documentary photography followed, including the 1976 Smithsonian Festival of American Folklife.

Faul moved to Copenhagen, Denmark, in 1979, and there worked on commercial accounts for Esso, Polaroid, and others, while continuing to pursue a variety of personal photographic projects. He returned to the Washington, D.C., area a decade later.

The photographer's career has included commercial work and contractual documentary projects, as well as the sale of photographic prints as art to private collectors and sales and donations to institutions. Fourteen photographs were donated to the Division of Photographic History of this Museum in 1970, and his work is in the collections of the Royal Museum of Art in Denmark, The Library of Congress, the San Francisco Museum of Modern Art, George Eastman House, the Toledo Museum of Art, the Corcoran Gallery of Art, the Oakland Museum, and others. He has received a number of awards, and has been included in a number of group and solo exhibitions. He has received an artist's residency at Yaddo for 1992 1993. Additional biographical information, including a bibliography, is on file in the Archives Center.
Provenance:
Collection donated by Jan Faul, November 13, 1991.
Restrictions:
Collection is open for research.
Rights:
Use and copyright restrictions: all rights retained by the artist. The Museum may exhibit and reproduce photographs in its publications, but cannot make copies or authorize reproduction by others. Contact artist for reproduction arrangements.
Topic:
Agricultural land -- 1990-2000  Search this
Rivers -- 1990-2000 -- United States  Search this
Commercial buildings -- 1990-2000  Search this
Cemeteries -- 1990-2000  Search this
Industrial complexes -- United States  Search this
Industrial towns -- 1990-2000  Search this
Genre/Form:
Topographical views
Manipulated photographs
Photographs -- Black-and-white photoprints -- Silver gelatin -- 1990-2000
Painted photographs
Hand coloring
Landscapes (representations) -- 1990-2000 -- United States
Portfolios (groups of works) -- 1990-2000
Citation:
Jan Faul "Potomac East and West" Portfolio, 1991, Archives Center, National Museum of American History. Gift of the artist.
Identifier:
NMAH.AC.0441
See more items in:
Jan Faul "Potomac : East and West" (portfolio of photoprints)
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-0441

Paul Vanderbilt papers

Creator:
Vanderbilt, Paul  Search this
Names:
Graphic History Society of America  Search this
Library of Congress. Prints and Photographs Division  Search this
Philadelphia Museum of Art  Search this
State Historical Society of Wisconsin. Division of Archives and Manuscripts  Search this
Union Library Catalogue of the Philadelphia Metropolitan Area  Search this
United States. Farm Security Administration. Historical Section  Search this
Allen, Mary North  Search this
Blake, William  Search this
Conniff, Gregory, 1944-  Search this
Crane, Barbara, d1928-  Search this
Guthrie, Woody, 1912-1967  Search this
Haywood, Carl  Search this
Holzhueter, Jack  Search this
Lange, Dorothea  Search this
Lesy, Michael, 1945-  Search this
Newhall, Beaumont, 1908-1993  Search this
Pilling, Arnold R.  Search this
Plunkett, Jane  Search this
Shera, Jesse Hauk, 1903-1982  Search this
Stryker, Roy Emerson, 1893-1975  Search this
Talbot, George  Search this
Vanderbilt, Julia  Search this
Extent:
25.2 Linear feet
Type:
Collection descriptions
Archival materials
Diaries
Interviews
Photographs
Sound recordings
Date:
1854-1992
bulk 1945-1992
Summary:
The papers of librarian, curator, and photographer Paul Vanderbilt (1905-1992) measure 25.2 linear feet and date from 1854 to 1992 with the bulk of the material dating from 1945 to 1992. The papers are comprised of biographical materials, personal and business correspondence, interviews, writings and notes, fourteen diaries and two diary fragments, reference and project files, photographic materials, sound recordings, and professional files.
Scope and Contents:
The papers of librarian, curator, and photographer Paul Vanderbilt (1905-1992) measure 25.2 linear feet and date from 1854 to 1992 with the bulk of the material dating from 1945 to 1992. The papers are comprised of biographical materials, personal and business correspondence, interviews, writings and notes, fourteen diaries and two diary fragments, reference and project files, photographic materials, sound recordings, and professional files.

Biographical materials include seven appointment books, family letters and documents, and an honorary degree from the University of Wisconsin.

Vanderbilt's correspondence is with colleagues, and organizations including Dorothea Lange, Beaumont Newhall, Roy Stryker, and Julia Vanderbilt.

Sound recordings of interviews of Vanderbilt conducted by Mary North Allen, Barbara Crane, Carl Haywood, Jack Holzhueter, and Jane Plunkett. Other recordings are of Vanderbilt discussing his personal and professional life.

Writings by Paul Vanderbilt include drafts of Between the Landscape and its Other, poems, lectures, student papers, and notes on a variety of subjects. Writings by others are found for William Blake, Gregory Conniff, Woody Guthrie, Michael Lesy, Arnold R. Pilling, Jesse H. Shera, and Roy Stryker.

Fourteen of Vanderbilt's personal diaries and two diary fragments date from 1926 to 1990.

Reference files consist of printed materials on art, art historians, book reviews, library and information studies, photography and microphotography techniques, and other themes of interest to Vanderbilt. Project files include material from Vanderbilt's various projects, including a guide to the iconography of Iran, the reclassification of FSA photographs, and the Union Library Catalog of Philadelphia.

Included in professional files are administrative records, correspondence, exhibition files, project files, printed material, and research files created during Vanderbilt's career at the Library of Congress, Graphic History Society, State Historical Society of Wisconsin, Philadelphia Museum of Art, and the Farm Security Administration. Also found are materials for Vanderbilt's work as a consultant for several organizations, lecture documents, and art-related workshops.

Photographs are by and of Paul Vanderbilt, the staff of the Library of Congress, and George Talbot. Negatives include images for the Farm Security Administration. Bibliography cards and photographs of artwork from the Library of Congress can be found on microfilm reels within the collection.

Also found are fourteen unidentified sound recordings.
Arrangement:
The collection is arranged as 10 series.

Series 1: Biographical Materials, 1894-1992 (0.5 linear feet; Box 1)

Series 2: Correspondence, 1933-1992 (1.5 linear feet; Box 1-2)

Series 3: Interviews, 1967-1992 (1.5 linear feet; Box 2-4)

Series 4: Writings and Notes, 1887-1992 (4.0 linear feet; Box 4-8)

Series 5: Diaries, 1926-1990 (0.5 linear feet; Box 8)

Series 6: Reference Files, 1877-1992 (2.5 linear feet; Box 8-10, 26)

Series 7: Project Files, 1935-1990 (3.0 linear feet; Box 10-13)

Series 8: Professional Files, 1854-1991 (11.7 linear feet; Box 13-24)

Series 9: Photographic Materials, 1912-1980s (0.5 linear feet; Box 24)

Series 10: Sound Recordings, circa 1980s (0.5 linear feet; Box 24-25)
Biographical / Historical:
Paul Vanderbilt (1905-1992) was a librarian, curator, and photographer active in Philadelphia, Pennsylvania, Washington, D.C. and Madison, Wisconsin.

Paul Vanderbilt was born in Cambridge, Massachusetts and educated in Germany, Switzerland, and Massachusetts. He attended Amherst College from 1923 to 1925 before transferring to Harvard where he graduated with a BA in art history in 1927. After graduation, Vanderbilt traveled to Europe where he studied at the American School of Librarianship in Paris and the Institut de Psychologie Bibliogique in Lausanne. In 1929, he returned to the United States and became a librarian at the Philadelphia Museum of Art and director of the Union Library Catalog project for the Philadelphia area.

In 1941 Vanderbilt began working under Roy Stryker cataloging the extensive photographic survey collection of the Farm Security Administration and U.S. Office of War Information. The collection is a rich resource of images of American life between 1935 and 1944. In 1943, the FSA photograph collection was transferred to the Library of Congress and Vanderbilt went with it as the curator of the newly formed Prints and Photographs Division, eventually becoming the Division chief of fine arts.

During the early 1950s, Vanderbilt also served as the director of the Graphic History Society of America. There he published a quarterly bulletin Eye to Eye and developed a guide to iconography in Iran. In 1954, he became the Curator of Iconographic Collections at the State Historical Society of Wisconsin and worked there until he retired in 1972.

Vanderbilt remained active after retirement. He became an artist-in-residence at the Apeiron Workshops, worked as a photographer for the Seagram courthouse project and the George Eastman House, and was a presenter at multiple conferences. Vanderbilt devoted much of his later life to working on his book titled Between the Landscape and its Other which was published posthumously after Vanderbilt's death in 1992.
Related Materials:
Also found at the Archives of American Art is an oral history interview with Paul Vanderbilt conducted by Richard Doud on November 10, 1964.
Provenance:
The collection was donated in 1981 by Paul Vanderbilt and in 1993 by his estate through John W. Winn, executor.
Restrictions:
Use of original papers requires an appointment and is limited to the Washington, D.C. Research Center. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
The Paul Vanderbilt papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Art historians -- United States  Search this
Curators -- United States  Search this
Documentary photography -- United States  Search this
Photography  Search this
Photomicrography  Search this
Graphic arts -- Historiography  Search this
Graphic arts -- Iran  Search this
Librarians  Search this
Photographers  Search this
Genre/Form:
Diaries
Interviews
Photographs
Sound recordings
Citation:
Paul Vanderbilt papers, 1854-1992, bulk 1945-1992. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.vandpaul
See more items in:
Paul Vanderbilt papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-vandpaul
Online Media:

Esta Nesbitt papers

Topic:
Everyman (motion picture)
Creator:
Nesbitt, Esta  Search this
Names:
Parsons School of Design -- Faculty  Search this
Whitney Museum of American Art  Search this
Xerox Corporation  Search this
Ambert, Anibal  Search this
Beckett, Samuel, 1906-1989  Search this
Einstein, Albert, 1879-1955  Search this
English, Merle  Search this
Ginsberg, Allen, 1926-  Search this
Leder, Alan J.  Search this
Lyle, David  Search this
Wood, R. F.  Search this
Extent:
10.05 Linear feet
Type:
Collection descriptions
Archival materials
Sketches
Transcripts
Diaries
Sound recordings
Photographs
Date:
circa 1942-1981
bulk 1964-1975
Summary:
The papers of illustrator, xerography artist, filmmaker, and educator Esta Nesbitt measure 10.05 linear feet and date from circa 1942-1981. Found within the papers are biographical material, correspondence, writings, xerography research files, project and exhibition files, and printed material. Much of the collection relates to Nesbitt's xerography art work. Additionally, the collection includes motion picture film and sound recordings related to her film and performance work.
Scope and Contents:
The papers of illustrator, xerography artist, filmmaker, and educator Esta Nesbitt measure 10.05 linear feet and date from circa 1942-1981. Found within the papers are biographical material, correspondence, writings, xerography research files, project and exhibition files, and printed material. Much of the collection relates to Nesbitt's xerography art work. Additionally, the collection includes motion picture film and sound recordings related to her film and performance work.

Nesbitt's primary collaborators, correspondents, and subjects of investigation are not concentrated in any one series but rather recur throughout the collection. Nesbitt worked closely with Anibal Ambert, Merle English at Xerox Corporation, and the Whitney Museum of American Art. She read and wrote about the accrual of information, Albert Einstein, Asian religion and philosophy, communication, computer technology, documentation practices, energy, psychology, Samuel Beckett, and states of consciousness. Chinese characters and an image of Allen Ginsberg appear repeatedly in Nesbitt's works. Subjects of study and experimentation include 3M and Kodak technologies, color, film, morphology, participatory and performance art, shadows, sound, street works, xerography, and Xerox machines.

Biographical material revolves mostly around Nesbitt's work as a professor at Parsons School of Design. Records include Nesbitt's resumé, an exhibition history, motion picture film of the inside of her studio, and teaching files.

Correspondence contains personal letters from family members, and professional correspondence with fellow artists and employees of Xerox Corporation. Much of the series is correspondence between Nesbitt and fellow artists Alan Leder, David Lyle, and R.E. Wood, and is philosophical in nature. Correspondence with Xerox Corporation documents her relationship with the corporation between 1970 and 1972, when they underwrote her experiments in xerography.

Writings include illustrated journals, journals, notebooks, loose notes, and transcripts. The content of the writings varies widely throughout the series and includes artwork, sketches, diagrams, annotated clippings, transcripts of conversations, Nesbitt's writings about her dreams and family, details about her daily life, and notes about artists' materials, film, and sound.

Xerography Research Files document Nesbitt's experiments with xerography, which she often refers to in her papers as "Xerox Xplore." Contents include Nesbitt's definitions of xerography terms; Xerox equipment brochures; clippings; xerography studies; notebooks about Nesbitt's plans, work with color, and xerography study details; and slides and transparencies of completed xerography prints.

Project and Exhibition Files consist of a variety of documentation related to Nesbitt's books, exhibitions, films, performance and participatory art, and other projects. This series contains the bulk of the collection's motion picture films and sound recordings. The film and sound performance piece titled "Everyman as Anyman, or Putting On, On, On, On, On," the piece Walk Up --Tape On, the film "Light Times 499," and exhibitions of Nesbitt's xerography work and her series of work called Shadow Paintings are the most prominent subjects of the series.

Printed Material includes books, clippings, magazines, exhibition announcements, catalogs, and press releases about Nesbitt's interests, artwork, exhibitions, and galleries that exhibited her work. Some of the material is annotated.
Arrangement:
The collection is arranged into 6 series:

Biographical Materials, 1964-circa 1981 (0.3 linear feet; Box 1, 11)

Correspondence, 1942, 1964-1976 (0.3 linear feet; Box 1, OV 14)

Writings, 1959-circa 1973 (1.3 linear feet; Box 1-2, 12, OV 15)

Xerography Research Files, circa 1966-1974 (2.5 linear feet; Box 2-4, 11, OV 16)

Project and Exhibition Files, circa 1966-1981 (5.2 linear feet, Box 4-8, 11, 13, OV 17-19, 21, FC 22-23)

Printed Material, 1942-circa 1944, circa 1963-1977 (0.9 linear feet; Box 9-10, OV 20)
Biographical / Historical:
Esta Nesbitt (1918-1975) was an illustrator, xerography artist, filmmaker, and educator who lived and worked in New York City. She was a fashion illustrator for about two decades before becoming a children's book illustrator, performance artist, xerography artist, and filmmaker.

Nesbitt taught at Parsons School of Design from 1964 to 1974. Around 1970, Nesbitt created the piece Walk Up --Tape On with her Parsons students. The piece involved documenting social interaction by taping themselves to each other and then others as they walked through New York City, creating what Nesbitt called a "living organism," before presenting themselves to the Whitney Museum of American Art. The event was documented with film, photography, and audio recordings.

In 1970, Nesbitt contacted Xerox Corporation about creating experimental art investigations of the Walk Up --Tape On documentation using Xerox machines in their New York City office. During Nesbitt's time at Xerox, she experimented with many different copying machines, materials, and techniques to create what came to be known as xerographic artworks. She invented three xerography techniques: transcapsa, photo-transcapsa, and chromacapsa. A transcapsa work is created by moving a piece of material over the copier's window during the printing cycle. A photo-transcapsa work is created by moving a photographic image over the copier's window during the printing cycle. Chromacapsa is a process of adding color to xerographic works using Xerox copiers. Nesbitt referred to her work at Xerox as "Xerox Xplore," which culminated with the exhibition "Xerography - Extensions in Art" (1971-1972) and the commission of the print All the Lines are Nines.

To demonstrate "the media bombardment surrounding 'everyman' today," Nesbitt created a film and sound performance piece titled "Everyman as Anyman, or Putting On, On, On, On, On" in 1969. The performance consisted of five Super 8 film projectors and a multi-layered soundtrack. Nesbitt further experimented with filmmaking and xerography with the films "Folding/Struck" and "Light Times 499," which was created with Anibal Ambert. Her interest in xerography is further illustrated in the exhibition "Electrostatic Structures: 'New Morphs'" (1972-1973). The exhibition "1000 Empty 49.3 Grams: A participatory environment" was a culmination of her interest in participatory art.

Nesbitt died November 30, 1975 in New York City. Three posthumous exhibitions include "Esta Nesbitt: Xerography Prints" (1976) at The Art Center of Waco, "Memorial Exhibition of Drawing and Illustrations by Esta Nesbitt" (1977) at Parsons School of Design, and "Electroworks" (1979-1981) at the George Eastman House.
Related Materials:
The Esta Nesbitt papers at Center for Creative Photography at University of Arizona contain 3 linear feet related to her xerography artwork and exhibitions, dated 1966-1983.

Papers related to Nesbitt's fashion illustrations are found at the Kellen Design Archives at The New School in New York City. T

he Esta Nesbitt papers at the University of Minnesota Libraries Children's Literature Research Collections are related to Nesbitt's children's book illustrations, dated 1964-1969.
Provenance:
The Esta Nesbitt papers were donated by Saul Nesbitt, her husband, to the Archives of American Art in 1981.
Restrictions:
Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
The Esta Nesbitt papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Motion pictures (visual works)  Search this
Filmmakers -- New York (State) -- New York  Search this
Women artists  Search this
Xerography  Search this
Art teachers  Search this
Copy art  Search this
Illustrators -- New York (State) -- New York  Search this
Genre/Form:
Sketches
Transcripts
Diaries
Sound recordings
Photographs
Citation:
Esta Nesbitt papers, circa 1942-circa 1981, bulk 1964-1975. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.nesbesta
See more items in:
Esta Nesbitt papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-nesbesta
Online Media:

University of Pennsylvania papers relating to Eadweard Muybridge's studies on animal locomotion

Creator:
Muybridge, Eadweard, 1830-1904  Search this
Names:
University of Pennsylvania  Search this
Muybridge, Eadweard, 1830-1904  Search this
Extent:
0.1 Linear feet ((on partial microfilm reel))
Type:
Collection descriptions
Archival materials
Date:
1886-1901
Scope and Contents:
Printed matter (1885-1890), receipts, and certificates (1888-1899) include the prospectus and final publication of ANIMAL LOCOMOTION (1887), the Library of Congress register of copyright, clippings, and insurance certificates. Correspondence (1886-1901) generally relates to the University's effort to sell the equipment after the project's completion and contains 17 letters from Muybridge.
Biographical / Historical:
Muybridge contracted with the University of Pennsylvania in 1883 to conduct and publish animal locomotion studies.
Other Title:
Eadweard Muybridge collection (microfilm title)
Related Materials:
University of Pennsylvania papers on Eadweard Muybridge; Also located at; International Museum of Photography, George Eastman House, Rochester, N.Y.
Provenance:
Microfilmed in 1990 as part of AAA's Philadelphia Arts Documentation Project.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Occupation:
Photographers -- United States  Search this
Topic:
Photography -- Pennsylvania -- Philadelphia  Search this
Photography -- Equipment and supplies  Search this
Photography -- Early works to 1900  Search this
Identifier:
AAA.muybeadw
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-muybeadw

Los Angeles Art Association records

Creator:
Los Angeles Art Association  Search this
Names:
George Eastman House  Search this
Stendahl Art Galleries  Search this
Watts Towers Commission  Search this
Burkhardt, Hans Gustav, 1904-1994  Search this
Engel, Jules  Search this
Kosa, Emil Jean, 1903-1968  Search this
Kuntz, Roger, 1926-1975  Search this
Macdonald-Wright, Stanton, 1890-1973  Search this
Menches, Arnold  Search this
Selz, Peter Howard, 1919-  Search this
Wurdemann, Helen  Search this
Zajac, Jack, 1929-  Search this
Extent:
12.6 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Visitors' books
Scrapbooks
Date:
1922-1990
Summary:
The Los Angeles Art Association records measure 12.6 linear feet and date from 1922-1990. Almost a third of the collection consists of artists' files containing a wide variety of materials documenting the association's relationship with numerous California and international artists. Also found are ten scrapbooks documenting exhibitions and events over the course of 50 years, administrative files, correspondence, subject files, exhibition files, financial and legal records, printed material, and photographic material depicting artists, events, and artwork. Scattered files of Executive Director Helen Wurdemann's are also found throughout the collection.
Scope and Contents:
The Los Angeles Art Association records measure 12.6 linear feet and date from 1922-1990. Almost a third of the collection consists of artists' files containing a wide variety of materials documenting the association's relationship with numerous California and international artists. Also found are ten scrapbooks documenting exhibitions and events over the course of 50 years, administrative files, correspondence, subject files, exhibition files, financial and legal records, printed material, and photographic material depicting artists, events, and artwork. Scattered files of Executive Director Helen Wurdemann's are also found throughout the collection.

Administrative records include board of trustees' meeting minutes, membership correspondence, materials relating to publicity, visitor and artist registers, founding documents, and files on the history of the organization. Files about or created by Executive Director Helen Wurdemann are also found.

Correspondence, including greeting cards and notes, documents the LAAA's relationship with artists, other associations, museums, and collectors. Hans Burkhardt, Emil J. Kosa Jr., Roger Kuntz, Stanton MacDonald-Wright, Arnold Menches, and Peter Selz are among the correspondents.

Subject files compiled and maintained by the LAAA document special interests, events, and projects. There are files for various arts organizations, Stendhal Gallery, and the Watts Towers Commission.

Exhibition files are found for "Loan Exhibition of International Art" (1937), "Photographs of the George Eastman House Collection 1840-1915" (1968), "Independent Artists of Los Angeles" (1923), and "Top Flight Artists of Southern California" (1941), among others.

Almost a third of the collection consists of artists' files documenting the LAAA's relationship with many California and international artists over the years. Files are varied but often include artists' biographical information, resumes, photographs, price lists, artist statements, and printed materials. Artists include Hans Burkhardt, Jules Engel, and Jack Zajac, among many others.

Financial and legal records consist of daily and exhibition ledgers, art rental and sales files, audit reports and financial statements, billing receipts, bankruptcy legal papers, a prints price list, and miscellaneous financial notes.

Printed material consists of museum and LAAA bulletins, clippings, art school catalogs and brochures, exhibition announcements and catalogs, bulletins and newsletters from other organizations, periodicals, proofs of the "Loan Exhibition of International Art" (1937) exhibition catalog, and a limited edition copy of the book, Paintings by William Merritt Chase signed to the LAAA by B. M. Newhouse.

Photographs, slides, negatives, and copy prints depict LAAA events and gallery openings, artists and people, Executive Director Helen Wurdemann, and works of art by various artists. There are also photographs for publications and a photograph album of artwork by Douglass Parshall.

Ten scrapbooks document LAAA events and exhibitions through clippings, articles, photographs, notes and annotations, announcements, and printed materials.
Arrangement:
This collection is arranged as 9 series. Records are generally arranged by material type and chronologically thereafter.

Series 1: Administrative Records, 1925-1989 (Box 1; 0.75 linear feet)

Series 2: Correspondence, 1933-1990 (Boxes 1-2; 0.5 linear feet)

Series 3: Subject Files, 1924-1987 (Box 2; 0.5 linear feet)

Series 4: Exhibition Files, 1923-1982 (Boxes 2-3; 0.45 linear feet)

Series 5: Artists' Files, 1926-1986 (Boxes 3-6; 3.6 linear feet)

Series 6: Financial and Legal Records, 1932-1987 (Boxes 6-8; 1.6 linear feet)

Series 7: Printed Material, 1922-1987 (Boxes 8-9; 1.5 linear feet)

Series 8: Photographic Materials, 1925-1980 (Boxes 9-10, 13; 0.9 linear feet)

Series 9: Scrapbooks, 1934-1985 (Boxes 10-12, 14; 2.8 linear feet)
Biographical / Historical:
Originally founded as the Museum Patrons Association in 1925, the Los Angeles Art Association (LAAA) supported California artists and played an integral role in developing the Los Angeles art community.

The original intent of the Museum Patrons Association was to purchase works of art for the Los Angeles Museum of History, Science and Art. In 1933, the organization separated from the museum and was renamed the Los Angeles Art Association with a primary goal to connect to the broader Los Angeles art community through exhibitions, limited sales, rentals, events, and education. In 1944, with Helen Wurdemann (1892-1988) as Executive Director, the LAAA began to focus more on contemporary local artists, providing a place for the Southern California "hard-edge" abstractionist movement to flourish. In 1951, California painter Lorser Feitelson curated an exhibition of Hans Burkhardt, the LAAA's first solo exhibition of a local artist. Throughout its existence and continuing today, the LAAA has served as a place for arts education, outreach, and community-from its representation of artists studying under the GI bill between 1953 and 1965, to its participation in Monday night art-walks after its move to "Gallery Row" in 1960.
Provenance:
The Los Angeles Art Association records were donated to the Archives of American in 1990 and 1991 by Richard Campbell of the Los Angeles Art Association.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
Rights:
The Los Angeles Art Association records are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Art -- Societies, etc. -- California -- Los Angeles  Search this
Art -- Exhibitions -- California -- Los Angeles  Search this
Artists -- California -- Los Angeles  Search this
Genre/Form:
Photographs
Visitors' books
Scrapbooks
Citation:
Los Angeles Art Association records, 1922-1990. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.losangea
See more items in:
Los Angeles Art Association records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-losangea

Robert M. Doty papers

Creator:
Doty, Robert M.  Search this
Names:
Akron Art Institute  Search this
Albright-Knox Art Gallery  Search this
Currier Gallery of Art  Search this
George Eastman House  Search this
Whitney Museum of American Art  Search this
Yale University. Art Gallery  Search this
Extent:
3.4 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1913-1992
Scope and Contents:
The Robert M. Doty papers measure 3.4 linear feet and date from 1913-1992. Included are personal and professional correspondence; writings; exhibition, project, artist and subject files; photographs, transparencies and slides; lists of works; notes; and copies of funding proposals.
Biographical / Historical:
Robert Doty (1933-1993) was an arts administrator and curator in New Hampshire Doty was director of The Currier Gallery of Art, Manchester, N.H. (1977-1987); director and curator at the Akron Art Institute, Ohio (1974-1977); curator at the Whitney Museum of American Art, New York, N.Y. (1966-1974); assistant to the director at the Yale University Art Gallery, New Haven, Conn. (1964-1965); assistant to the director at the Albright-Knox Art Gallery (1963-1964); and assistant director at the George Eastman House, Rochester, N.Y. (1956-1963).
Provenance:
Donated 1994 by Joan Doty, Doty's wife and in 2018 by Paul Doty, Robert Doty's son.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
Occupation:
Arts administrators  Search this
Museum curators  Search this
Art museum curators  Search this
Identifier:
AAA.dotyrobe
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-dotyrobe

Division of Cultural History Lantern Slides and Stereographs

Creator:
Maertz, J.F., Department Store (Milwaukee, Wis.).  Search this
Stanley-Brown, Joseph, 1858-1941  Search this
Keystone View Company  Search this
Rau, William H.  Search this
Extent:
8 Cubic feet ((29 boxes))
Type:
Collection descriptions
Archival materials
Photographs
Stereographs
Lantern slides
Place:
Milwaukee (Wis.)
California
Date:
1887-1930
bulk 1900-1930
Summary:
Collection consists of lantern slides and stereographs produced by several companies: Keystone View Company, Better America Lecture Service, Incorporated, American Press Association, J. Stanley-Brown, William H. Rau, and J. F. Maertz Department Store. The lantern slides were primarily intended to be used for educational presentations about the United States, other countries, history, and society. Many of the slides and stereographs are accompanied by descriptive text and in some instances by small cards--one card for each slide--and in other instances directly on the back of a stereoview. The majority of images were taken from 1900 to 1930.
Scope and Contents:
The collection consists of lantern slides and stereographs primarily designed for use in audio-visual educational presentations about the United States, other countries, history, and society. Many of the slides and stereographs are accompanied by descriptive text. In some instances on small cards--one card for each slide-- and in other instances printed directly on the back of a stereoview. A few of the lantern slides, particularly the ones of the J. F. Maertz Department Store of Milwaukee, Wisconsin, are advertisements for consumer products. The majority were taken from 1890 through 1930. While the collection as a whole is in good general condition, some lantern slides, stereographs, and text cards are missing, and some of the lantern slides are cracked.

The collection will appeal to researchers examining the course of nineteenth-century social history broadly, especially how lantern slides were marketed to educators to teach geography, social studies, science, history and reading. The lantern slides as artifacts will be of interest to those who study material culture.

Series 1, Keystone View Company Lantern Slides and Stereographs, undated, is divided into seven subseries: Subseries 1, #1-#600, undated; Subseries 2, H-1 to H-300; Subseries 3, Biblical, undated; Subseries 4, Santa Barbara, California, undated; Subseries 5, Roads, undated; and Subseries 6, Miscellaneous, undated.

The series depicts scenes from around the United States and the rest of the world. Each image is intended to be characteristic of its location and in most cases is accompanied by a text card that describes the scene and gives the geographic coordinates (latitude and longitude) of the location. Many of the glass lantern slides have corresponding stereoviews and in these instances two box numbers are given.

Subseries 1, #1-#600, undated, is arranged in order by the numbers on the image. Views #1-261 are arranged in a rough geographic order beginning in Maine and proceeding down the Atlantic Coast, through the former Confederate states, into the Midwest and Plains states, the mountain West states and the West coast, and ending in the territories of Alaska and Hawaii and the Panama Canal. Views #262-346 begin in eastern Canada, proceed across Canada and move through Mexico and Central America into the Caribbean, thence the length of South America and the Antarctic. Views #347-554 begin in the British Isles and move through Northern and Southern Europe and into Central Europe and then Russia, the Middle East, South Asia, and the Far East. Views #556-592 begin in North Africa and cover the length of the continent and a few areas in the Pacific. The series concludes with views of several planets, President McKinley reviewing Civil War heroes (1899), and the work of a Mexican artist (1900).

Subseries 2, H-1 to H-300, undated, is arranged in order by the numbers on the image. H-1 to H-258 depict scenes and sites of American history beginning with several images of indigenous peoples and proceeding, roughly chronologically, through major events and locations to about 1925. Images H-259 to H-300 document a range of localities and activities across the country in the mid-1920s, including major buildings in Washington, D.C., industrial activities, and modern agricultural practices.

Subseries 3, Biblical, undated, shows religious art works and rural scenes.

Subseries 4, Santa Barbara, California, undated, contains two images. One is pastoral with a Franscican friar, the other a fountain.

Subseries 5, Roads, undated, includes three images of roads, one with a person on horseback, the other two depicting wagons.

Subseries 6, Miscellaneous, undated, contains lithoprint stereographs, each with a short description, depicting scenes such as landmarks in the United States; news events in the late nineteenth and early twentieth centuries; warfare; domestic scenes and scenes of foreign countries.

Series 2, Hillis Better America Lecture Service lantern slides, undated, is divided into 12 subseries: Subseries 1, Ability Lecture Slides, undated; Subseries 2, Bolshevism Lecture Slides, undated; Subseries 3, Builders Lecture Slides, undated; Subseries 4, Equality Lecture Slides, undated; Subseries 5, Fathers Lecture Slides, undated; Subseries 7, General Lecture Slides, undated; Subseries 8, Poverty Lecture Slides, undated; Subseries 9, Property Lecture Slides, undated; Subseries 10, Republic Lecture Slides, undated; Subseries 11, Socialism Lecture Slides, undated; and Subseries 12, Miscellaneous Lecture Slides, undated.

This series consists of lantern slides produced by Newell Dwight Hillis' Better America Lecture Service Incorporated. Newell Dwight Hillis (1858-1929), was a noted clergyman, lecturer and author. The Better American Lecture Service sought to make better Americans and to inspire greater loyalty to American institutions. Better America Lecture Service rented the lecture manuscript and slides to churches, societies, schools, and patriotic organizations. Slides were sent in a tin box and contained suggestions for publicity arrangements. (Nevada Educational Bulletin, December 1920).

Hillis published more than twenty volumes including collections of his sermons, inspirational works, and a novel. In addition, many of Hillis addresses were published and distributed as pamphlets. The slides were intended to be used for lectures on subjects such as socialism and equality. The slides generally consist of text, drawings, images of persons, paintings, and landscapes. A few slides in each set are missing, and there is no text accompanying any of the slides. The series is arranged into twelve subseries alphabetically by topic.

Series 3, American Press Association lantern slides, undated, is divided into ten subseries: Subseries 1, General Images, undated; Subseries 2, Coffins and soliders, undated; Subseries 3, Mexican War, undated; Subseries 4, Niagara Falls Conference, undated; Subseries 5, Pancho Villa and Major Gonzales, undated; Subseries 6, Parade, undated; Subseries 7, Refugees, undated; Subseries 8, Warships, undated; Subseries 9, West Virginia Mine Explosion, undated; and Subseries 10, Women March for Votes (Suffrage), undated.

The series consists of lantern slides from the American Press Association depicting news events from early twentieth century history (e.g., Mexican War; Ludlow Colorado strike; suffragettes; Gettysburg veterans; various ship disasters). Each slide has a caption with a brief description of the scene. Many slides are cracked; one is completely broken and is in a folded paper. There are also approximately fifty slides with scenes of events associated with the Mexican-American War, most with short captions identifying the scenes. Many of these slides are cracked.

Series 4, J. F. Maertz Department Stores advertisement lantern slides, early 1920s, is divided into thirteen subseries: Subseries 1, Bathrooms, undated; Subseries 2, Children's shoes and clothing, undated; Subseries 3, Dress goods, undated; Subseries 4, Dress patterns, undated; Subseries 5, Hosiery, undated; Subseries 6, House furnishings, undated; Subseries 7, House wares, undated; Subseries 8, Ladies' Home Journal, undated; Subseries 9, Shoes, undated; Subseries 10, Store advertising, undated; Subseries 11, Underwear, undated; Subseries 12, Women's clothing, undated; and Subseries 13, Miscellaneous, undated.

The series consists of lantern slides showing advertisements used in J.F. Maertz Department Store catalogs for consumer goods. Slides are categorized by type of goods, including children's shoes and clothes, bathroom needs, dress patterns, men's wear, shoes, house furnishings, house wares, Ladies' Home Journal, and underwear.

Series 5, J. Stanley-Brown and E. H. Harriman lantern slides, undated, is divided into nineteen subseries: Subseries 1, Alaska-California scenes, undated; Subseries 2, Animal life, undated; Subseries 3, Artifacts, undated; Subseries 4, California/Franciscan life, undated; Subseries 5, California Indians, undated; Subseries 6, California mission exteriors, undated; Subseries 7, California mission interiors, undated; Subseries 8, Eskimos,undated; Subseries 9, Franciscans, undated; Subseries 10, Indians, undated; Subseries 11, Landscapes, undated; Subseries 12, Maps, undated; Subseries 13, Mission interiors, undated; Subseries 14, Seascapes, undated; Subseries 15, General images (#1-7;10), undated; Subseries 16, General images (#11-14; 16-17; 19-20), undated; Subseries 17, General images (#21-30), undated; Subseries 18, General images (#31-33; 36-40), undated; and Subseries 19, General images (#42; 45-50), undated.

The series contains lantern slides, each labeled with the names of distributors, "J. Stanley-Brown, 1318 Massachusetts Avenue, Washington, D.C. and E.H. Harriman, 1 East, 55th Street, New York." The slides, some with captions, depict maps; landscapes; seascapes; Eskimos; animal life; Franciscan dwellings; Indians of California; California missions and Franciscan life. There are slides depicting various scenes of California missions and scenes of indigenous Alaskans. Some slides are cracked.

Series 6, Miscellaneous Stereographs, 1894-1907, is divided into seventeen subseries: Subseries 1, American Series, 1887; Subseries 2, C.H. Graves Publisher, 1907; Subseries 3, Griffith and Griffith, 1894; Subseries 4, Pesko Binocular Company, 1907; Subseries 5, William H. Rau Publisher,undated; Subseries 6, Domestic scenes,undated; Subseries 7, Military, undated; Subseries 8, Miscellaneous, undated; Subseries 9, Places--Asia, undated; Subseries 10, Places--Cuba, undated; Subseries 11, Places--Egypt, undated; Subseries 12, Places--France, undated; Subseries 13, PLaces--Germany, undated; Subseries 14, Places--Italy, undated; Subseries 15, Places--Monte Carlo, undated; Subseries 16, Places-- Palestine, undated; and Subseries 17, Places--United States, undated.

The series consists of lantern slides and stereoviews from distributors that include the American Series; Griffith and Griffith; Pesko Binocular Company; William H. Rau Publisher; and the Universal Photo Art Company.

The stereographs related to domestic and military issues and geography are dated circa 1905, and copyrighted by H. C. White, and distrbuted by World Series.

The stereo views produced by William H. Rau, a publisher in Philadelphia, Pennsylvania, show parades and other ceremonies at Grand Army of the Republic (GAR) encampments and Elks conventions held in Philadelphia. The Grand Army of the Republic (GAR) was a fraternal organization composed of veterans of the Union Army who served in the American Civil War.
Arrangement:
The collection is divided into six series.

Series 1: Keystone View Company Lantern Slides and Stereographs, undated

Subseries 1, #1-#600, undated

Subseries 2, H-1 to H-300, undated

Subseries 3, Biblical, undated

Subseries 4, Santa Barbara, California, undated

Subseries 5, Roads, undated

Subseries 6, Miscellaneous, undated

Series 2, Hillis Better America Lecture Service Lantern Slides, undated

Subseries 1, Ability Lecture Slides, undated

Subseries 2, Bolshevism Lecture Slides, undated

Subseries 3, Builders Lecture Slides, undated

Subseries 4, Equality Lecture Slides, undated

Subseries 5, Ftahers Lecture Slides, undated

Subseries 7, General Lecture Slides, undated

Subseries 8, Poverty Lecture Slides, undated

Subseries 9, Property Lecture Slides, undated

Subseries 10, Republic Lecture Slides, undated

Subseries 11, Socialism Lecture Slides, undated

Subseries 12, Miscellaneous Lecture Slides, undated

Series 3, American Press Association Lantern Slides, undated

Subseries 1, General Images, undated

Subseries 2, Coffins and Soliders, undated

Subseries 3, Mexican War, undated

Subseries 4, Niagara Falls Conference, undated

Subseries 5, Pancho Villa and Major Gonzales, undated

Subseries 6, Parade, undated

Subseries 7, Refugees, undated

Subseries 8, Warships, undated

Subseries 9, West Virginia Mine Explosion, undated

Subseries 10, Women March for Votes (Suffrage), undated

Series 4, J. F. Maertz Department Store Advertisement Lantern Slides, early 1920s

Subseries 1, Bathrooms, undated

Subseries 2, Children's shoes and clothing, undated

Subseries 3, Dress goods, undated

Subseries 4, Dress patterns, undated

Subseries 5, Hosiery, undated

Subseries 6, House furnishings, undated

Subseries 7, House wares, undated

Subseries 8, Ladies' Home Journal, undated

Subseries 9, Shoes, undated

Subseries 10, Store advertising, undated

Subseries 11, Underwear, undated

Subseries 12, Women's clothing, undated

Subseries 13, Miscellaneous, undated

Series 5, J. Stanley-Brown and E.H. Harriman lantern slides, undated

Subseries 1, Alaska-California scenes, undated

Subseries 2, Animal life, undated

Subseries 3, Artifacts, undated

Subseries 4, California/Franciscan life, undated

Subseries 5, California Indians, undated

Subseries 6, California mission exteriors, undated

Subseries 7, California mission interiors, undated

Subseries 8, Eskimos, undated

Subseries 9, Franciscans, undated

Subseries 10, Indians, undated

Subseries 11, Landscapes, undated

Subseries 12, Maps, undated

Subseries 13, Mission interiors, undated

Subseries 14, Seascapes, undated

Subseries 15, General images (#1-7;10), undated

Subseries 16, General images (#11-14; 16-17; 19-20), undated

Subseries 17, General images (#21-30), undated

Subseries 18, General images (#31-33; 36-40), undated

Subseries 19, General images (#42; 45-50), undated

Series 6, Miscellaneous Stereographs, 1887-1907

Subseries 1, American Series, 1887

Subseries 2, C.H. Graves Publisher, 1907

Subseries 3, Griffith and Griffith, 1894

Subseries 4, Pesko Binocular Company, 1907

Subseries 5, William H. Rau Publisher, undated

Subseries 6, Domestic scenes, undated

Subseries 7, Military, undated

Subseries 8, Places-Asia, undated

Subseries 9, Places-Cuba, undated

Subseries 10, Places-Egypt, undated

Subseries 11, Places-France, undated

Subseries 12, Places-Germany, undated

Subseries 13, Places-Italy, undated

Subseries 14, Places-Monte Carlo, undated

Subseries 6.15, Palestine, undated

Subseries 6.16, Places-United States, undated

Subseries 6.17: Miscellaneous, undated
Biographical / Historical:
Lantern slides are two nearly identical photographs or photomechanical prints, paired to produce the illusion of a single three-dimensional image; usually viewed with a stereoscope. Typically, they are photographic prints on card mounts, but may also be daguerreotypes, glass negatives, or other processes. The card mounts are commonly 3.5 x 7 in. (9 x 18 cm.) or up to 5 x 7 in. (12 x 18 cm.). Popular in the United States 1859-1920s lantern slides were typically used for presentations, lectures, and educational purposes and were narrated. Thesaurus of Graphic Materials

Stereographs consist of two nearly identical photographs or photomechanicl prints, paired to produce the illusion of a single three-dimensional image, usually when viewed through a sterescope. Typically, the images are on card mounts, but they take the form of daguerreotypes, glass negatives, or other processes. Stereographs were first made inthe 1850s and are still made today. They were most popular between 1870 and 1920.

In 1851 stereo daguerreotypes were exhibited for the first time to the general public at the London International Exhibition (Crystal Palace). Shortly thereafter, American photographers began making stereographs. One of the first American photographic firms to produce stereographs was the team of William and Frederick Langenheim. The Library owns a set of their early stereoviews of American cities on the East Coast.

By 1860 both amateur photographers and publishing firms were making stereographs. The major stereo publishers sold their views by mail order, door-to-door salesmen, and in stores. Stereographs were sold individually and in boxed sets.

Stereographs are usually mounted. They were typically published with caption information printed under the image or on the back of the mount. The mount also provided information about the publisher, photographer, and sometimes the series or a list of views available from the photographer or publisher.

Stereographs were collected by many middle-class families in the late 19th century. People acquired stereographs of tourist sites they had visited, as well as exotic locales that they would only experience through the wonder of the stereoscope. Viewing stereographs was a common activity, much like watching television or going to the movies today. Stereoviews were also used as an education tool in classrooms. (Library of Congress, Prints and Photographs Online Catalog, Stereograph Format)

The Division of Cultural History at the National Museum of American History assembled a collection of miscellaneous lantern slides and stereographs beginning in 1943. Other collection contents were acquired over many years in unrecorded transactions.

Several distributors and publishers of stereographic images are represented in the collection. One of the most prominent was the Keystone View Company of Meadville, Pennsylvania. Founded by Benneville Lloyd Singley (d.1938), a former Underwood & Underwood salesman, Keystone became a major distributor of stereographic images. From 1892 through 1963 it produced and distributed both educational and comic/sentimental stereoviews and stereoscopes used to see the images in 3-D. By 1905 it was the world's largest stereographic company. In 1963 Department A (stereoviews sold to individual families) and the education departments were closed, but Keystone continued to manufacture eye-training stereographic products as a subsidiary of Mast Development Company. In 1972 Mast closed the Meadville manufacturing site.

All of Keystone's manufacturing was done in Meadville, but branch offices were in New York, St. Louis, San Francisco, Portland, Oregon, Chicago, Toronto, Canada and London, England. Salesmen and photographers were scattered around the world, and the company offered 20,000 different views.

Selling stereoviews and lantern slides to schools was a field pioneered by Underwood & Underwood, and for several years Underwood & Underwood and Keystone were competitors for the growing educational market. According to the 1953 Keystone Sales Manual the more aggressive sales methods and the more progressive editorial policies of the Keystone View Company soon made it the acknowledged leader in the industry, and Underwood & Underwood decided to give up the contest.

Between 1915 and 1921 Keystone View Company purchased the negatives of nearly all of its competitors. They also continued to have staff photographers travel the world, so that by 1935 Keystone had approximately two million stereoscopic negatives.

Keystone View Company produced stereographic sets up through the mid-twentieth century, and had a stereoscopic photographer on staff until at least 1955.

References

Thesaurus of Graphic Materials, (2007), http://www.loc.gov/rr/print/tgm1/ (accessed February 10, 2011).

Library of Congress, Prints and Photographs Online Catalog, Stereograph Format, http://www.loc.gov/pictures/collection/stereo/background.html (accessed February 14, 2011).
Related Materials:
Materials in the Archives Center, National Museum of American History

Underwood & Underwood Glass Stereograph Collection, 1895-1921, (AC0143)

Other Institutions with Materials

University of California, Riverside/California Museum of Photography

George Eastman House

Temple University

Brooklyn Historical Society
Provenance:
Donated to the Department of Anthropology, United States National Museum by Mrs. Joseph Stanley-Brown, through Mrs. Herbert Feis, in 1943.
Restrictions:
Collection open for research on site by appointment. Unprotected lantern slides and stereographs must be handled with gloves.
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.
Genre/Form:
Photographs -- Black-and-white photoprints -- Stereographs -- 1900-1950
Stereographs -- 1900-1910
Photographs -- Lantern slides -- 1900-1950
Lantern slides
Citation:
Division of Cultural History Lantern Slides and Stereographs, dates, Archives Center, National Museum of American History
Identifier:
NMAH.AC.0945
See more items in:
Division of Cultural History Lantern Slides and Stereographs
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-0945
Online Media:

Painted Stripe on Pavement Oriented Diagonally

Maker:
Metzker, Ray K.  Search this
Physical Description:
paper (overall material)
Measurements:
overall: 8 in x 10 in; 20.32 cm x 25.4 cm
Object Name:
gelatin silver print
Object Type:
photographs
Date made:
1963
ID Number:
PG.69.205.02
Catalog number:
69.205.2
Accession number:
288848
See more items in:
Work and Industry: Photographic History
Ray Metzker Collection
Photo History Collection
Photography
Data Source:
National Museum of American History
GUID:
http://n2t.net/ark:/65665/ng49ca746ac-6522-704b-e053-15f76fa0b4fa
EDAN-URL:
edanmdm:nmah_1335869

Man in a Boat

Maker:
Metzker, Ray K.  Search this
Physical Description:
paper (overall material)
Measurements:
overall: 8 in x 10 in; 20.32 cm x 25.4 cm
Object Name:
photograph
Object Type:
photographs
Date made:
1961
ID Number:
PG.69.205.03
Catalog number:
69.205.3
Accession number:
288848
See more items in:
Work and Industry: Photographic History
Ray Metzker Collection
Photo History Collection
Photography
Data Source:
National Museum of American History
GUID:
http://n2t.net/ark:/65665/ng49ca746ac-6523-704b-e053-15f76fa0b4fa
EDAN-URL:
edanmdm:nmah_1335871

Abstract Ray K. Metzker Photograph

Maker:
Metzker, Ray K.  Search this
Physical Description:
paper (overall material)
Measurements:
overall: 8 in x 10 in; 20.32 cm x 25.4 cm
Object Name:
photograph
Object Type:
photographs
Date made:
1968
ID Number:
PG.69.205.04
Catalog number:
69.205.4
Accession number:
288848
See more items in:
Work and Industry: Photographic History
Ray Metzker Collection
Photo History Collection
Photography
Data Source:
National Museum of American History
GUID:
http://n2t.net/ark:/65665/ng49ca746ac-6524-704b-e053-15f76fa0b4fa
EDAN-URL:
edanmdm:nmah_1335872

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