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Appleton Chapel, Harvard University, Cambridge, Massachusetts

Series Creator:
Warshaw, Isadore, 1900-1969  Search this
Container:
Box 2, Folder 26
Type:
Archival materials
Series Restrictions:
Collection is open for research. Some items may be restricted due to fragile condition.
Series Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Series Citation:
Warshaw Collection of Business Americana, Archives Center, National Museum of American History, Smithsonian Institution
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Warshaw Collection of Business Americana Subject Categories: Churches
Warshaw Collection of Business Americana Subject Categories: Churches / 4: Episcopal Denomination / 4.3: Images of Episcopal Churches
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-0060-s01-01-churches-ref769

Official Harvard University Foot Ball Club, Score Card, Harvard vs. Cornell Various Advertisers

Series Creator:
Warshaw, Isadore, 1900-1969  Search this
Container:
Box 10, Folder 6
Type:
Archival materials
Date:
1890
Series Restrictions:
Collection is open for research. Some items may be restricted due to fragile condition.
Series Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Series Citation:
Warshaw Collection of Business Americana Subject Categories: Sports, Archives Center, National Museum of American History, Smithsonian Institution
See more items in:
Warshaw Collection of Business Americana Subject Categories: Sports
Warshaw Collection of Business Americana Subject Categories: Sports / 4: Schedules, Score Cards, Calendars, Almanacs and Programs,
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-0060-s01-01-sports-ref740

A View of the Commercial Library [reproduction in book]

Names:
Commercial Museum (Philadelphia)  Search this
Series Creator:
Warshaw, Isadore, 1900-1969  Search this
Container:
Box 2, Folder Philadelphia Commercial Museum
Type:
Archival materials
Photographs
Scope and Contents:
Image reproduced in "The Commercial Museum and Its Work," undated, p. 16.
Local Numbers:
AC0060-0001121-16 (AC Scan Number)
Series Restrictions:
Collection is open for research. Some items may be restricted due to fragile condition.
Series Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Libraries -- 1900-1910  Search this
Museums  Search this
Genre/Form:
Photographs -- 1900-1910 -- Reproductions
Series Citation:
Warshaw Collection of Business Americana Subject Categories: Museums, Archives Center, National Museum of American History, Smithsonian Institution
See more items in:
Warshaw Collection of Business Americana Subject Categories: Museums
Warshaw Collection of Business Americana Subject Categories: Museums / Business Records, Marketing Material, and Other / Museums
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-0060-s01-01-museums-ref518

Harvard University Library

Series Creator:
Warshaw, Isadore, 1900-1969  Search this
Container:
Box 1, Folder 7
Type:
Archival materials
Series Restrictions:
Collection is open for research. Some items may be restricted due to fragile condition.
Series Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Series Citation:
Warshaw Collection of Business Americana Subject Categories: Libraries, Archives Center, National Museum of American History, Smithsonian Institution
See more items in:
Warshaw Collection of Business Americana Subject Categories: Libraries
Warshaw Collection of Business Americana Subject Categories: Libraries / Business and Operation Records, Marketing Material, Images, and Trade Literature / 1: Libraries
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-0060-s01-01-libraries-ref537

Drummer's Yarns / Fun on the "Road" [sic] [book]

Publisher:
Excelsior Publishing House  Search this
Series Creator:
Warshaw, Isadore, 1900-1969  Search this
Extent:
1 Item
Container:
Box 2, Folder 7
Type:
Archival materials
Books
Caricatures
Lithographs
Cartoons (humorous images)
Date:
1886
Scope and Contents:
Paperback book containing cartoons, jokes, anecdotes, and humorous poetry. 73 pages plus advertising material in the back. Cover image, a lithograph printed in color, shows a man with a moustache and top hat, apparently telling a joke to another man, who is laughing uproariously. Lithograph credited to "Johns & Co. Lith. Cleveland, O." (lower right). Note: although the title suggests that the jokes in the book are suitable for traveling salesmen to tell each other, the jokes are not necessarily about salesmen. Line cartoons are scattered throughout the text.
Local Numbers:
AC0060-0000904.tif (AC Scan No.)
Publication:
New York, N.Y., Excelsior Publishing House,, 1886
Series Restrictions:
Collection is open for research. Some items may be restricted due to fragile condition.
Series Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Wit and humor  Search this
Sales personnel -- 19th century  Search this
Traveling sales personnel  Search this
Genre/Form:
Books -- 19th century
Caricatures
Lithographs -- 1880-1900
Cartoons (humorous images)
Series Citation:
Warshaw Collection of Business Americana Subject Categories: Humor, Archives Center, National Museum of American History, Smithsonian Institution
See more items in:
Warshaw Collection of Business Americana Subject Categories: Humor
Warshaw Collection of Business Americana Subject Categories: Humor / Advertisements, Caricatures, Printed Matter / Collections of Stories and Jokes
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-0060-s01-01-humor-ref516

Harvard University Press

Series Creator:
Warshaw, Isadore, 1900-1969  Search this
Container:
Box 3, Folder 46
Type:
Archival materials
Scope and Contents:
Cambridge, Massachusetts
Series Restrictions:
Collection is open for research. Some items may be restricted due to fragile condition.
Series Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Series Citation:
Warshaw Collection of Business Americana Subject Categories: Books, Archives Center, National Museum of American History, Smithsonian Institution
See more items in:
Warshaw Collection of Business Americana Subject Categories: Books
Warshaw Collection of Business Americana Subject Categories: Books / 1: Book Publishers
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-0060-s01-01-books-ref873

Albert Christ-Janer papers

Creator:
Christ-Janer, Albert, 1910-1973  Search this
Names:
Michigan State University -- Faculty  Search this
New York University -- Faculty  Search this
Pennsylvania State University -- Faculty  Search this
Pratt Institute -- Faculty  Search this
Stephens College  Search this
University of Chicago -- Faculty  Search this
University of Georgia -- Faculty  Search this
Bingham, George Caleb, 1811-1879  Search this
Christ-Janer, Virginia Morgan Carpenter  Search this
Robinson, Boardman, 1876-1952  Search this
Saarinen, Eliel, 1873-1950  Search this
Zoller, Edwin W., 1900-1967  Search this
Extent:
56.3 Linear feet
Type:
Collection descriptions
Archival materials
Sketchbooks
Christmas cards
Sound recordings
Blueprints
Scrapbooks
Photographs
Prints
Drawings
Sketches
Date:
1915-circa 1993
bulk 1930-1981
Summary:
The papers of art historian, educator, painter, and printmaker Albert Christ-Janer measure 56.3 linear feet and date from 1915 to circa 1993, with the bulk of the materials dating from 1930 to 1981. The papers include biographical materials, personal and professional correspondence, writings, professional files, project files, teaching files, exhibition files, financial and estate records, printed material, scrapbooks and scrapbook material, photographs, artwork, and artifacts.
Scope and Contents:
The papers of art historian, educator, painter, and printmaker Albert Christ-Janer measure 56.3 linear feet and date from 1915 to circa 1993, with the bulk of the materials dating from 1930 to 1981. The papers include biographical materials, personal and professional correspondence, writings, professional files, project files, teaching files, exhibition files, financial and estate records, printed material, scrapbooks and scrapbook material, photographs, artwork, and artifacts.

Biographical material includes address books; awards, certificates and diplomas; chronologies, biographies, and resumes; material relating to Albert Christ-Janer's death, including memorial services and a sound tape reel memorial; and information and blueprints for residences, among other materials.

Correspondence includes Christmas cards from other artists and professional correspondence, much of it relating to his work at various institutions, including Michigan State University, New York University, Pennsylvania State University, Pratt Institution, and foundations. Also included is Virginia Christ-Janer's correspondence regarding Christ-Janer's artwork and career, his death in Italy, as well as general correspondence and letters between Virginia and Albert. Additional correspondence is found within the Professional Files, Project Files, and Teaching Files.

Writings by Christ-Janer include articles, book reviews, essays, notes, and eleven notebooks. There are also a few miscellaneous articles and writings about Christ-Janer written by others. There are 38 annotated appointment notebooks and five of Virginia Christ-Janer's annotated appointment books. Annotations are about meetings, travel, and general thoughts.

Albert Christ-Janer's book projects are documented in the Project Files series. There are drafts, manuscripts, research, and correspondence relating to the research, writing, and publication of five of his books, including George Caleb Bingham of Missouri (Dodd, Mead and Company, 1940), Boardman Robinson (Unversity of Chicago Press, 1946), Eliel Saarinen (University of Chicago Press, 1948), and Modern Church Architecture, with Mary Mix Foley (McGraw-Hill, 1962), and Modern Hymns (1980). Project files also include files regarding proposed projects.

Professional files document Christ-Janer's work at various institutions, as a consultant, on juried art exhibitions, memberships in arts associations, activities at conferences and committees, and the development of art centers in cities and educational institutions. There is significant documentation of his work planning and developing an arts center in New York City and at New York University, as well as his positions at Pennsylvania State University, Pratt Institute, University of Chicago, and University of Georgia. Also found are materials relating to professional trips taken to El Paso, Italy, Scandinavia, and other parts of Europe.

Teaching files consist of syllabi, lecture notes and course materials, class record books, and other documents for positions at New York University, Pennsylvania State University, Stephens College, University of Georgia, and other institutions. Exhibition files are comprised of lists, prizes and awards, and other scattered documentation of Christ-Janer's solo and group exhibitions.

Financial and estate records include five account books, miscellaneous bills and receipts, a will and estate taxes and financial papers, and files for gallery transactions, lists of galleries representing Christ-Janer, lists of museum and private collectors of Christ-Janer's artwork. Printed materials include exhibition catalogs and announcements, published versions of Christ-Janer's books, books written by others and annotated by Christ-Janer, clippings, magazines, reviews, and printed material relating to Pratt Institute. There is one bound scrapbook and several files of loose scrapbook materials.

The scrapbooks series consists of one completed scrapbook concerning Christ-Janer's book on George Caleb Bingham, as well as several folders of general scrapbook files.

Photographs and slides depict Albert Christ-Janer, family, friends, artists, colleagues, exhibitions, and also include photographs compiled for published books.

Artwork includes numerous drawings, sketches, one sketchbook, and 111 lithographs by Albert Christ-Janer. There are also sketches and drawings by Charles Massey, John D. Whiting, Edwin Zoller, and others. Miscellaneous artifacts include a business card die, exhibition medals and trophy, handmade paperweight, a block-printed piece of fabric, and three graduation hoods.
Arrangement:
This collection is arranged as 14 series:

Series 1: Biographical Material, circa 1930-circa 1986 (Boxes 1-2, 51, 53, 67, OV 54, OV 57; 2.1 linear feet)

Series 2: Correspondence, circa 1937-1990 (Boxes 2-16, 51, 67, OV 55; 15.1 linear feet)

Series 3: Writings, circa 1930s-1972 (Boxes 16-18, 51; 1.5 linear feet)

Series 4: Appointment Books, 1939-1973 (Boxes 18-21; 2.9 linear feet)

Series 5: Professional Files, circa 1933-circa 1986 (Boxes 21-28, 51-52, 67-69; 10 linear feet)

Series 6: Project Files, 1937-circa 1981 (Boxes 28-34, 51, 69; 6.1 linear feet)

Series 7: Teaching Files, circa 1939-circa 1973 (Boxes 34-35; 0.6 linear feet)

Series 8: Exhibition Files, circa 1938-circa 1992 (Boxes 35-38; 2.7 linear feet)

Series 9: Financial and Estate Records, circa 1947-1992 (Boxes 38-40; 2.4 linear feet)

Series 10: Printed Material, 1915-circa 1993 (Boxes 40-49, 51-52, 69; 8.7 linear feet)

Series 11: Scrapbooks, circa 1936-circa 1952 (Boxes 49, 51; 0.5 linear feet)

Series 12: Photographs, circa 1937-circa 1986 (Boxes 49-51, OV 56; 0.7 linear feet)

Series 13: Artwork, circa 1933-circa 1970s (Boxes 50-52, 69, OV 58-66; 1.1 linear feet)

Series 14: Artifacts, 1923-circa 1986 (Boxes 50, 53; 0.9 linear feet)
Biographical / Historical:
Albert Christ-Janer (1910-1973) was a painter, printmaker, art historian, writer, and educator active at colleges and universities across the U.S.

Albert Christ-Janer was born in Appleton, Minnesota in 1910 and studied at the Art Institute of Chicago, Yale University, and Harvard University. Christ-Janer wrote about American artists Boardman Robinson and John Caleb Bingham, and taught at a variety of institutions, including Stephens College, Cranbrook Academy, Pratt Institute Art School, and the University of Georgia. He was also an artist-in-residence at Tamarind Lithography Workshop in 1972.

Christ-Janer began his teaching career at Stephens College in Columbia, Missouri in 1934, and soon became head of the art department. He moved to Michigan to accept the position of head of the art department and professor of art at Michigan State University in 1942. In 1945, he began working for the Cranbrook Academy in Bloomfield Hills, Michigan, serving as director of the educational program, director of the museum and library, and professor of art history.

In 1947, Christ-Janer moved to Chicago and worked at the University of Chicago and the Arts Center Association, Inc. In the 1950s, he served as director of Arts Center Development at New York University, director of the School of Arts at Pennsylvania State University, and on the Lake Erie College Board of Trustees. In 1958, he moved to New York and become dean of the School of Art and Design at the Pratt Institute in Brooklyn, later becoming director. He left Pratt in 1970 to accept the position of Fuller E. Callaway Professor of Art at the University of Georgia, where he remained until his tragic death in 1973.

Christ-Janer was the author of several books: Art in Child Life (University of Iowa Press, 1938), George Caleb Bingham of Missouri (Dodd, Mead and Company, 1940), Boardman Robinson (Unversity of Chicago Press, 1946), Eliel Saarinen (University of Chicago Press, 1948), and Modern Church Architecture, with Mary Mix Foley (McGraw-Hill, 1962).

Albert Christ-Janer was a Guggenheim Fellow in 1950, awarded the Rockefeller Award in 1954, and the Guggenheim Award in 1960. He was also awarded multiple grants from the American Philosophical Society and the J. M. Kaplan Fund for research and work in lithography, as well as multiple Arthur Judson grants. In 1972 Christ-Janer was the Tamarind artist-in-residence at the University of New Mexico in Albuquerque.

Christ-Janer traveled often. In 1962 he was a guest of the Bonn government for two months to visit museums and schools of design in Germany. And in 1964, he was a guest of the governments of Denmark, Norway, Finland, and Sweden for two months to study schools, museums, and cultural centers. In July of 1973, Christ-Janer was the official NASA artist for the Skylab III launch, and in October of 1973, he was the studio guest of the Norway-America Association and the Norwegian government in Oslo. From November to December of 1973, Christ-Janer was the scholar-in-residence at the Study and Conference Center of the Rockefeller Foundation (Centro Culturale delle Fondazione Rockefeller), at the Villa Serbelloni in Bellagio (Como), Italy.

Albert Christ-Janer was killed in an automobile accident in Bellagio (Como), Italy on December 12, 1973.
Related Materials:
Also found in the Archives of American Art is an oral history interview with Albert Christ-Janer conducted by Dorothy Seckler, March 21, 1964.

Albert Christ-Janer's research materials for his book American Hymns Old and New (1980) are found at the St Olaf College in Northfield, Minnesota, a center for the study of hymns.
Provenance:
The Albert Christ-Janer papers were donated by Virginia Christ-Janer in 1980-1981 and 1994.
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.
Rights:
The Albert Christ-Janer 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.
Occupation:
Printmakers -- Georgia  Search this
Painters -- Georgia  Search this
Art historians -- Georgia  Search this
Topic:
Art -- Study and teaching  Search this
Genre/Form:
Sketchbooks
Christmas cards
Sound recordings
Blueprints
Scrapbooks
Photographs
Prints
Drawings
Sketches
Citation:
Albert Christ-Janer papers, 1915-circa 1993, bulk 1930-1981. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.chrialbe
See more items in:
Albert Christ-Janer papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-chrialbe

Charles Grafton Page Papers

Creator:
Page, Charles Grafton, 1812-1868  Search this
Donor:
Poinier, Lois W.  Search this
Poinier, Lois W.  Search this
Extent:
0.25 Cubic feet (1 box, 1 oversize folder)
Type:
Collection descriptions
Archival materials
Correspondence
Drawings
Date:
1844-1870
Summary:
Papers relate to American inventor Charles Grafton Page, an early developer of electromagnetic machinery.
Scope and Contents:
These papers were created by Charles Grafton Page. The bulk of the papers relate to invention matters about electro magnetic engines (1844); axial galvanometer (1846); magnetic axial pump (1848); and electro dynamic axial engine (no date).
Arrangement:
Divided into three series.

Series 1, Correspondence, 1844-1970

Series 2, Writings and drawings, undated

Series 3, Publications, 1846-1868.
Biographical / Historical:
Charles Grafton Page was born on January 25, 1812 in Salem, Massachusetts. He received a bachelor's degree in science from Harvard University (1832), and a medical degree (1836). In 1838, Page moved to Washington, D.C. where he practiced medicine and taught medicine at Columbian College (now George Washington University). During the late 1830s and 1840s, Page experimented with electricity and specifically with electromagnetism. Page developed an induction coil in 1836 and a self-acting circuit breaker and a primitive electric locomotive, which had a trial run in 1850. In 1841, Page was appointed Examiner of Electricity at the United States Patent Office. He left the Patent Office in 1852 to start is own business, returned in 1861 where he remained until his death in 1868. Page died on May 5, 1868, in Washington, D.C.
Provenance:
This collection was donated by Lois Wodell Poinier, a descendant of Charles Grafton Page, 2006.
Restrictions:
Collection is open for research.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Inventors  Search this
Electromagnetism  Search this
Electricity  Search this
Inventions  Search this
Electromagnets  Search this
Genre/Form:
Correspondence -- 19th century
Drawings -- 19th century
Citation:
Charles Grafton Page Papers, 1844-1870, Archives Center, National Museum of American History. Gift of Lois W. Poinier.
Identifier:
NMAH.AC.0933
See more items in:
Charles Grafton Page Papers
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-0933
Online Media:

Greenleaf Pickard Notebooks and Nikola Tesla Patents

Creator:
Pickard, Greenleaf Whittier, 1877-1956  Search this
Donor:
Cardwell Condenser Corporation (Lindenhurst, New York)  Search this
Cardwell Condenser Corporation (Lindenhurst, New York)  Search this
Names:
Tesla, Nikola, 1857-1943  Search this
Extent:
1 Cubic foot (5 boxes)
Type:
Collection descriptions
Archival materials
Notebooks
Date:
1898-1941
Summary:
The collection documents Greenleaf Whittier Pickard, an engineer, and his experiments in wireless technology. Materials include Greenleaf Pickard notebooks and patents issued to Nikola Tesla.
Arrangement:
Series 1: Greenleaf Pickard Notebooks, 1898-1941

Series 2: Nikola Tesla Patents, 1890, 1896 (bulk 1901-1918)
Biographical / Historical:
Dr. Greenleaf Whittier Pickard was born February 14, 1877, in Portland, Maine and died on January 8, 1956 in Newton, Massachusetts. Dr. Pickard was a grandnephew of the poet John Greenleaf Whittier, and was a graduate of Harvard University and the Massachusetts Institute of Technology. In 1899 he received a grant from the Smithsonian Institution to support his wireless research at Blue Hill Observatory in Milton, Massachusetts. He was an engineer at the American Telephone and Telegraph Company (1902-1906); and after 1945 he was head of Pickard and Burnes, an electronics engineering firm.

Pickard discovered that a number of naturally occurring crystalline minerals could detect radio signals. The contact between a fine metallic wire (cat's whisker) and the surface of certain crystalline materials rectifies and demodulates high frequency alternating currents, such as those produced in a receiving antenna by radio waves. Pickard patented a crystal detector in 1906. The point-contact rectifier was the forerunner of the transistor invented in 1948. Pickard conducted experiments to determine the effect of sun and sunspots, meteor showers, atmosphere pressure and temperature on reception. He contributed to the development of the direction finder, and noted in 1908 that errors in reading radio compasses might be caused by buildings, trees, and other objects.
Provenance:
The collection was donated by the Cardwell Condenser Corporation, through Paul Meyer and David C. Kjeldsen in November 2004.
Restrictions:
The collection is open for research use.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. No copyright, patent, trademark or related interests were conveyed in the deed of gift. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Radio  Search this
Inventors  Search this
Radio -- History  Search this
Radio -- Receivers and reception  Search this
Genre/Form:
Notebooks
Citation:
Greenleaf Pickard Notebooks, Archives Center, National Museum of American History.
Identifier:
NMAH.AC.0915
See more items in:
Greenleaf Pickard Notebooks and Nikola Tesla Patents
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-0915

Laurie Lisle research material on Georgia O'Keeffe and Louise Nevelson

Creator:
Lisle, Laurie  Search this
Names:
Nevelson, Louise, 1899-1988  Search this
O'Keeffe, Georgia , 1887-1986  Search this
Extent:
3.4 Linear feet
Type:
Collection descriptions
Archival materials
Interviews
Date:
1902-1990
Summary:
The Laurie Lisle research material on Georgia O'Keeffe and Louise Nevelson measures 3.4 linear feet and dates from 1902-1990. The collection consists of copied biographical papers, recordings, correspondence, and printed material related to O'Keeffe, and 97 recorded interviews related to the life of Louise Nevelson. The outcome of Lisle's research on O'Keeffe resulted in her book, Portrait of an Artist: A Biography of Georgia O'Keeffe (1980); and on Nevelson, Lisle authored, Louise Nevelson: A Passionate Life (1990).
Scope and Contents:
The Laurie Lisle research material on Georgia O'Keeffe and Louise Nevelson measures 3.4 linear feet and dates from 1902-1990. The O'Keeffe portion of the collection consists of biographical papers, recordings, correspondence, and printed material. Biographical material includes academic records, maps and ephemera regarding O'Keeffe's various residences, and legal records concerning law suits and her will. The correspondents in this series include artists, gallery representatives and collectors, and exhibition organizers. Printed material consists of newspaper clippings, magazines, and exhibition announcements for both her and her husband, Alfred Stieglitz. Also included in the printed material is a file pertaining to Laurie Lisle's book, Portrait of an Artist: A Biography of Georgia O'Keeffe (1980).

The research material on Louise Nevelson consists of 97 audiocassettes featuring interviews with Louise Nevelson, some members of the Nevelson family, artists, dealers, and peers. The recordings were gathered in preparation for Lisles biography on Nevelson, Louise Nevelson: A Passionate Life (1990).
Arrangement:
Collection is arranged as two series.

Series 1: Research Files on Georgia O'Keeffe, 1902-1990 (1 linear foot; box 1)

Series 2: Interviews of and Related to Louise Nevelson, 1975-1988 (2.4 Linear feet; shoeboxes 2-7)
Biographical / Historical:
Louise Lisle is an art historian and author in Sharon, Connecticut. Lisle is originally from Providence, Rhode Island and attended college at Ohio Wesleyan University. After college she held positions at The Providence Journal and Newsweek magazine. She has published five books covering the topics of art history, education, sociology, and her own life. Lisle is married to painter and printmaker Robert Kipniss.

Georgia O'Keeffe (1887-1986) was born in Sun Prairie, Wisconson in 1887. She was an artist who is mostly known for painting flowers, New York Skyscrapers, and New Mexico landscapes. O'Keeffe began high school at Sacred Heart Academy in Madison, Wisconsin, but ultimately graduated from Chatham Episcopal Institute in Virginia after her family moved to Williamsburg, Virginia in 1902. O'Keeffe went on to study at the School of Art Institute of Chicago, Art Students League, Teachers College of Columbia University, and taught art at high schools in Texas and at Chatham Episcopal Insitute, Columbia College, and became the chair of the art department at West Texas State Normal College. O'Keeffe's art was ultimately promoted by Alfred Stieglitz who, although eventually marrying O'Keeffe in 1924, first exhibited her artwork at his esteemed 291 gallery in New York City. O'Keeffe's fame as an artist took off from there. O'Keeffe was a member of the American Academy of Arts and Letters; she received the Presidential Medal of Freedom in 1977 and the National Medal of Arts in 1985; and in 1993 was inducted into the National Women's Hall of Fame.

Louise Nevelson (1899-1988) was born in Kiev, Russia in 1899. Her parents, Isaac and Minna Berliawsky, and their children emigrated to America in 1905 and settled in Rockland, Maine. She decided upon a career in art at an early age and took some drawing classes in high school, before graduating in 1918. Two years later, she married Charles Nevelson, a wealthy businessman, and moved to New York. She proceeded to study painting, drawing, singing, acting, and eventually dancing. In 1922, Nevelson gave birth to a son, Myron (later called Mike). Beginning in 1929, Nevelson began to study art full-time at the Art Students League, where she took classes with Kenneth Hayes Miller and Kimon Nicolaides. In 1931, she went to Europe and studied with Hans Hofmann in Munich before traveling to Italy and France. Over the years, she received honorary degrees from Rutgers University and Harvard University, among other schools, as well as numerous awards, including the Brandeis University Creative Arts Award in Sculpture and the Skowhegan Medal for Sculpture in 1971, the gold medal for sculpture from the American Academy of Arts and Letters in 1983, and the National Medal of the Arts in 1985.
Related Materials:
The Archives of American Art also houses the Louise Nevelson papers, circa 1903-1979.
Provenance:
This collection was donated by Laurie Lisle in two separate installments. The material on Georgia O'Keeffe was donated in 1991, and the material on Louise Nevelson was donated in 2004.
Restrictions:
The Georgia O'Keeffe portion of this collection is open for research. Access to original papers requires an appointment, and is limited to the Archives' Washington, D.C. Research Center.

All Louise Nevelson related interviews in this collection are access restricted; written permission is required. Contact Reference Services for more information. Access, with permission, to original papers and audiovisual material 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 reponsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Art historians -- Connecticut  Search this
Authors -- Connnecticut  Search this
Topic:
Women artists  Search this
Sound recordings  Search this
Genre/Form:
Interviews
Citation:
Laurie Lisle research material on Georgia O'Keeffe and Louise Nevelson, 1902-1990. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.lisllaur
See more items in:
Laurie Lisle research material on Georgia O'Keeffe and Louise Nevelson
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-lisllaur
Online Media:

Maryette Charlton papers

Creator:
Charlton, Maryette  Search this
Names:
American University of Beirut -- Faculty  Search this
Art Institute of Chicago -- Faculty  Search this
Chicago Public School Art Society  Search this
Container Corporation of America  Search this
University of Iowa, Museum of Art  Search this
Andres, Jo  Search this
Bishop, Elizabeth, 1911-1979  Search this
Cage, Xenia  Search this
Calder, Alexander, 1898-1976  Search this
Court, Paula  Search this
Elliott, Leone  Search this
Elliott, Owen  Search this
Fujitomi, Yasuo, 1928-  Search this
Habachy, Nimet  Search this
Hadzi, Dimitri, 1921-2006  Search this
Haskins, Sylvia Shaw Judson, 1897-  Search this
Hoff, Margo  Search this
Kiesler, Frederick  Search this
Kiesler, Lillian, 1910?-2001  Search this
Lubar, Cindy  Search this
MacIver, Loren, 1909-  Search this
Matisse, Pierre, 1900-1989  Search this
Miller, Dorothy Canning, 1904-2003  Search this
Nevelson, Louise, 1899-1988  Search this
Purdy, James  Search this
Reynal, Jeanne, 1903-  Search this
Smith, Kiki, 1954-  Search this
Takaezu, Toshiko  Search this
Tawney, Lenore  Search this
Von Brockdorff, Louise Medbery  Search this
Extent:
80.6 Linear feet
0.34 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Photographs
Diaries
Sketchbooks
Sketches
Interviews
Scrapbooks
Sound recordings
Scripts (documents)
Drawings
Mail art
Motion pictures (visual works)
Video recordings
Date:
circa 1890-2013
Summary:
The papers of filmmaker, photographer, painter, printmaker, teacher, and arts advocate Maryette Charlton measure 81 linear feet and date from circa 1890 to 2013. This particularly rich collection includes biographical materials, correspondence, writings, 30 diaries, teaching files, professional and project files, major film project files, artist research files, exhibition files, printed material, scrapbooks, artwork, 22 sketchbooks, extensive photographic materials, numerous sound and film recordings, a digitized sound recording, and an unintegrated later addition to the papers containing additional biographical materials, journals, correspondence, subject files, printed materials, and scattered photographs.
Scope and Contents:
The papers of filmmaker, photographer, painter, printmaker, teacher, and arts advocate Maryette Charlton measure 81 linear feet and 0.34 gigabytes and date from circa 1890 to 2013. This particularly rich collection includes biographical materials, correspondence, writings, 30 diaries, teaching files, professional and project files, major film project files, artist research files, exhibition files, printed material, scrapbooks, artwork, 22 sketchbooks, extensive photographic materials, numerous sound and video recordings, motion picture film, a digitized sound recording, and an unintegrated later addition to the papers containing additional biographical materials, journals, correspondence, subject files, printed materials, and scattered photographs.

Biographical materials consist of material on Maryette Charlton and her family. The subseries on Maryette Charlton includes a biographical chronology, passports, records of her marriage to Hall Winslow, information on studio spaces, school transcripts, and other material. Family files include genealogical charts and files of family members containing correspondence, writings, printed material, sound and video recordings, and photographs. The bulk of the family files are for Charlton's parents, Etna and Shannon, and her husband and son, Hall and Kirk Winslow.

Extensive correspondence is with family, friends, artists, and colleagues. Family correspondence is with her husband and son, parents, and extended family. Personal correspondence is with friends and colleagues, many of whom were famous artists. Named correspondence files and chonological correspondence files contain exchanges with Jo Andres, Elizabeth Bishop, Xenia Cage, Paula Court, Yasuo Fujitomi, Dimitri Hadzi, Margo Hoff, Sylvia Shaw Judson, Lillian Kiesler, Cindy Lubar, Loren MacIver, Pierre Matisse, Nimet (Saba Habachy), Henri Seyrig, Robert Wilson, and many others. There is also correspondence with colleges, museums, and universities.

Writings include academic papers and college class notes, titled essays, a notebook with sketches, and miscellaneous notes. Thirty diaries cover the period 1943 - 2001 and document a wide variety of topics, from film projects to travels to the art world in New York City. Some diaries are illustrated, including one illustrated by Alexander Calder at a party with Maryette, Ellsworth Kelly, and actress Delphine Seyrig. Journals from 1978-1979 tell of Charlton's experiences while appearing in films made by avant-garde director Richard Foreman. There is also one diary of Maryette's mother Etna Barr Charlton.

Teaching files document Charlton's career as an instructor at the Art Institute of Chicago and as the founder of and instructor at the American University of Beirut's art department. Files include appointment calendars, schedules, notes, lectures, news releases, printed material, and photographs.

Professional and project files consist of material related to Maryette Charlton's professional work at the University of Iowa Museum of Art, as a lecturer at the Chicago Public School Art Society, color analyst at the Container Corporation of America, executor of the estate of artist Louise Medbery von Brockdorff, fellowships, conferences, organizations, and the filming industry in general. There are files for the screening of Zen in Ryoko-In. The University of Iowa Museum of Art subseries consists of correspondence with fellow co-founders Leone and Owen Elliott, files on art donations, museum administration, annual reports, printed material, photographs, and sound and video recordings.

Artist research files consist of books, articles, and clippings collected by Charlton for research. Notable artists chronicled include Alexander Calder, James Purdy, Louise Nevelson, Kiki Smith, and Toshiko Takaezu.

Major film project files document Maryette Charlton's films about or with artists Frederick Kiesler (Trienniale, The Universal Theater and Kiesler on Kieseler), Lenore Tawney, Dorothy Miller, Loren MacIver, and Jeanne Reynal. The files for Frederick Kiesler also contain materials about his wife Lillian Kiesler, with whom Charlton had a long relationship and collaborated with on film projects. Individual film project files contain a wide variety of research and production documentation, including correspondence, writings, printed material, research files, exhibition catalogs, photographic materials, sound recordings of interviews and lectures, and Charlton's documentation about the creation and producation of each film, such as contracts, scripts, and distribution information. The film project files for Kiesler and Dorothy Miller are particularly rich, containing substantial amounts of primary source materials not found elsewhere. Sound and video recordings are found throughout the series, as well as 4 film reels.

Files documenting Maryette Charlton's group and solo exhibitions include catalogs and announcements, publicity, printed material, mailing lists, art inventory, sales lists, correspondence, and other material.

Printed materials include other exhibition catalogs, books, posters, magazines, and clippings. There are many books on color theory from Maryette Charlton's job as a color analyst and substanial printed material on Frederick Kiesler. Scrapbooks document Maryette Charlton's personal life from high school, college, and summer camp, as well as exhibitions of her own work, and miscellaneous subjects.

Artwork includes sketches and drawings by Maryette Charlton, some drawings by Lillian Kiesler and others, and mail art created by various artists. There are also 22 sketchbooks filled with pencil, ink, and crayon drawings and sketches, with occasional annotations.

Photographic materials include photographs, slides, negatives, and photograph albums. There are photographs of Maryette Charlton, her travels, family, friends, and artists. Photographs are also found throughout other series.

Sound and video recordings which could not be merged with other series were arranged in an audiovisual series. There are recordings of radio programs and performances Maryette Charlton attended or participated in as well as miscellaneous recordings of artists and events.

The 2014 addition to the Maryette Charlton papers consists of biographical materials, journals, correspondence, subject files, printed materials, and a small number of photographs.
Arrangement:
This collection is arranged as 16 series.

Series 1: Biographical Material, 1896-2005 (3.4 linear feet; Boxes 1-4, 80)

Series 2: Correspondence, 1930-2010 (23.3 linear feet; Boxes 4-27, 80)

Series 3: Writings, 1942-1999 (1 linear feet; Boxes 27-28)

Series 4: Diaries, 1943-2001 (2.1 linear feet; Boxes 28-30)

Series 5: Teaching Files, 1946-1997 (3.6 linear feet; Boxes 30-33, 80)

Series 6: Professional and Project Files, 1923-1998 (7.6 linear feet; Boxes 34-41, 81, OV 87)

Series 7: Artist Research Files, 1949-circa 2000 (1.8 linear feet; Boxes 41-43)

Series 8: Major Film Projects, 1904-2007 (18.8 linear feet, 0.34 GB; Boxes 43-61, 81-82, OV 87, FC 88-91, ER01)

Series 9: Exhibition Files, 1950-2000 (0.8 linear feet; Boxes 61-62)

Series 10: Printed Material, 1924-2000 (3.2 linear feet; Boxes 62-65, 82, OV 87)

Series 11: Scrapbooks, 1939-2010 (0.8 linear feet; Box 65, 82-83)

Series 12: Artwork, 1950-1998 (0.9 linear feet; Boxes 65-66, 84)

Series 13: Sketchbooks, 1949-1996 (0.5 linear feet; Box 66)

Series 14: Photographic Materials, circa 1890-circa 2010 (7.8 linear feet; Boxes 67-74, 84-86)

Series 15: Sound and Video Recordings, circa 1953-2008 (1.2 linear feet; Boxes 74-75, 86)

Series 16: Addition to Maryette Charlton papers, 1951-2013 (3.7 linear feet; Boxes 75-79, 86)
Biographical / Historical:
Maryette Charlton (1924-2013) was a painter, printmaker, photographer, filmmaker and arts advocate based in Chicago, Illinois, and New York, New York.

Maryette Charlton was born in Manchester, Iowa on May 18, 1924. Her parents were Shannon and Etna Charlton and she had 2 siblings. Charlton pursued her undergraduate studies at Monticello College and Northwestern University in Illinois, Antioch College in Ohio, and the University of Colorado before receiving a B.F.A. from Pratt Institute in Brooklyn, New York in 1947. She continued her studies in Chicago, Illinois with Laszlo Moholy-Nagy and Hugo Weber at the Institute of Design and Art Institute of Chicago. From 1948 to 1952, she was a Department of Education lecturer at the Art Institute of Chicago museum galleries and also gave talks at schools for the Chicago Public School Art Society.

Between 1942-1951, Maryette Charlton worked as a color analyst for the Container Corporation of America. In 1952, Charlton founded the Art Department of the American University of Beirut and taught there as an assistant professor until 1956. While in Beirut, Charlton married photographer Hall Winslow in 1953 and their only child Kirk Winslow was born in 1955. Winslow and Charlton later divorced in 1973.

Charlton moved to New York City in 1955. She began a master's program at Columbia University and graduated with a M.F.A in film and printmaking in 1958.

Charlton made numerous documentary films, mostly about American artists including Alexander Calder, e. e. cummings, Jeanne Reynal, Dorothy Miller, Pierre Matisse, Lenore Tawney, and Loren MacIver. She also worked tirelessly to promote the work of sculptor, architect, and set designer Frederick Kiesler. She was the camera woman for Kiesler's Kiesler's Universal Theater which aired on CBS in 1962. She became close friends with Kiesler's widow, Lillian, and they collaborated on the film Kiesler on Kiesler and numerous other film and art projects, supporting the work of young artists. Charlton also worked on commissioned films, including The Mosaics of Jeanne Reynal and Zen in Ryoko-in. Charlton befriended many artists in the visual, literary, and film worlds, including Elizabeth Bishop, Dimitri Hadzi, Margo Hoff, James Purdy, and Delphine Seyrig.

A performer in her own right, Charlton appeared in the works of Richard Foreman, Jo Andres, and others. She also played the part of Helen Keller in the film Ghostlight (2003).

An Iowa native, Charlton founded the University of Iowa Museum of Art together with Leone and Owen Elliott. She maintained a close relationship with the Iowa Museum over many years as a donor and chronicler.

Charlton died in New York City on November 25, 2013.
Related Materials:
The Houghton Library at Harvard University and the University of Iowa Museum of Art also hold papers and artwork by Maryette Charlton. The Museum of Modern Art, New York, houses the film Kiesler on Kiesler, created by Maryette Charlton.

The Archives of American Art also has the papers of Frederick and Lillian Kiesler, a portion of which was donated by Charlton.
Provenance:
The Maryette Charlton papers were donated in multiple accretions from 1998-2011 by Maryette Charlton, and in 2013-2014 by the Maryette Charlton estate via Jo Andres, executor.
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.
Rights:
The Maryette Charlton 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.
Occupation:
Filmmakers -- Illinois -- Chicago  Search this
Photographers -- Illinois -- Chicago  Search this
Art teachers -- Illinois -- Chicago  Search this
Topic:
Filmmakers -- New York (State) -- New York  Search this
Painters -- Illinois -- Chicago  Search this
Painters -- New York (State) -- New York  Search this
Photographers -- New York (State) -- New York  Search this
Art teachers -- New York (State) -- New York  Search this
Printmakers -- Illinois -- Chicago  Search this
Printmakers -- New York (State) -- New York  Search this
Museums -- Administration  Search this
Color  Search this
Art -- New York (State) -- New York  Search this
Art -- Study and teaching  Search this
Genre/Form:
Photographs
Diaries
Sketchbooks
Sketches
Interviews
Scrapbooks
Sound recordings
Scripts (documents)
Drawings
Mail art
Motion pictures (visual works)
Video recordings
Citation:
Maryette Charlton papers, circa 1890-2013. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.charmary
See more items in:
Maryette Charlton papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-charmary
Online Media:

Learning from performers : sound recordings

Creator:
Harvard University  Search this
Names:
Estes, Richard, 1932-  Search this
Levy, Julien  Search this
Motherwell, Robert  Search this
Neel, Alice, 1900-1984  Search this
Nevelson, Louise, 1899-1988  Search this
Extent:
8 sound tapes ((partially transcribed on 72p.), 7 & 5 in.)
Type:
Collection descriptions
Archival materials
Sound tapes
Sound recordings
Date:
1977 Mar. 31-1979 June 4
Scope and Contents:
Lectures by artists delivered for the "Learning from Performers" series at Harvard University, Cambridge, Massachusetts. Artists include Richard Estes(21 p.), Julien Levy, Robert Motherwell, Alice Neel(51 p.) and Louise Nevelson.
Restrictions:
Patrons must use transcript. Use of untranscribed lectures requires an appointment.
Topic:
Art, American  Search this
Genre/Form:
Sound recordings
Identifier:
AAA.harvau
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-harvau

Max Bohm papers

Creator:
Bohm, Max, 1868-1923  Search this
Names:
Beachcombers (Organization)  Search this
Salmagundi Club  Search this
Bohm, Zella Newcomb  Search this
Hunt, Clyde du Vernet  Search this
Locke, Esther Bohm, d. 1913  Search this
Longyear, Mary Beecher, 1851-1931  Search this
Macbeth, Robert W. (Robert Walker), 1884-1940  Search this
Macbeth, William, 1851-1917  Search this
Extent:
5.6 Linear feet
Type:
Collection descriptions
Archival materials
Motion pictures (visual works)
Sketchbooks
Sketches
Paintings
Photographs
Drawings
Diaries
Place:
France -- description and travel
Date:
1873-1970
bulk 1880-1959
Summary:
The papers of painter Max Bohm measure 5.6 linear feet and date from 1873-1970, with the bulk of the material dating from 1880-1959. Biographical material includes a file concerning the Provincetown artist's club The Beachcombers. Also found is detailed family correspondence, as well as general correspondence that includes exchanges with patron Mary Beecher Longyear and dealer William Macbeth. The papers contain scattered business records; five diaries written by Bohm's wife Zella; other notes and writings; art work including fifteen sketchbooks, loose drawings, and oil paintings; printed material; and photographs of Bohm, his family, and colleagues including artists attending a Salmagundi dinner. There is also a motion picture film Six Foot Art, in Which Max Bohm, Member of the National Academy Tells How He Does It.
Scope and Contents:
The papers of painter Max Bohm measure 5.6 linear feet and date from 1873-1970, with the bulk of the material dating from 1880-1959. Biographical material includes a file concerning the Provincetown artist's club The Beachcombers. Also found within the papers is detailed family correspondence, as well as general correspondence that includes exchanges with patron Mary Beecher Longyear and dealer William Macbeth. Also found are scattered business records; five diaries written by Bohm's wife Zella; other notes and writings; art work including sketchbooks, loose drawings, and oil paintings; printed material; and photographs of Bohm, his family, and colleagues including artists attending a Salmagundi dinner. There is also a motion picture film Six Foot Art, in Which Max Bohm, Member of the National Academy Tells How He Does It.

Family correspondence consists of letters exchanged between various Bohm family members during their long periods of separation. Decades of almost daily exchanges of letters offer detailed descriptions of Bohm's activities in pursuit of notoriety as an artist including his frequent travels in Europe and the United States, attendance of art-related and other cultural events, and his thoughts about art, philosophy, and his strong opposition to German aggression in World War I. The often affectionate letters from Bohm's wife Zella describe her concerns over finances and raising the children during Bohm's frequent absences, but also include descriptions of their summers in coastal France.

Professional correspondence consists of scattered letters discussing art-related business with colleagues including Bohm's longtime patron and Christian Science advocate, Mary Beecher Longyear, and Macbeth Gallery owners Robert and William Macbeth.

Scattered business records include price lists for art work, banking records, and miscellaneous receipts.

Five diaries and loose diary pages written by Bohm's wife Zella contain detailed descriptions of daily activities and her observations and thoughts, some drawings, notes, and financial notations. Some of the diaries contain annotations by her daughter, Esther.

Notes and writings include notebooks containing original short stories and miscellaneous sketches by Bohm, lists of art work, miscellaneous notes including several written by Esther Bohm, and miscellaneous writings by and about Bohm including his typescript "An Artist's Philosophy."

Art work consists of fifteen sketchbooks, miscellaneous drawings including a self-portrait, and oil paintings on board and on unstretched canvases including Bohm's studies of works by Titian and Van Dyke, and a painting of a young Esther Bohm looking at the sea. Works by others include a batik design on silk by Zella Bohm, a watercolor by Bohm's aunt, Anna Stuhr Weitz, and an oil portrait of Zella by her granddaughter.

Printed material primarily consists of clippings generated by Bohm's participation in the Paris Salons, in addition to several exhibition announcements and catalogs for Bohm and for others, and reproductions of art work by Bohm and others. There are also 2 copies of a silent, black and white Pathé newsreel titled Six Foot Art, in Which Max Bohm, Member of the National Academy Tells How He Does It on 16mm and 35mm film reels.

Photographs are of Bohm and his family, colleagues including Clyde du Vernet Hunt in his studio and a Salmagundi Club "Get Together" dinner, views of the town of Etaples, France, and of works of art by Bohm and others.
Arrangement:
The papers have been organized into 8 series.

Series 1: Biographical Material, 1898-1970 (0.1 linear feet; Box 1, OV 8)

Series 2: Correspondence, 1880-1955 (3.3 linear feet; Boxes 1-4, 7)

Series 3: Business Records, 1910-1930 (0.2 linear feet; Box 4)

Series 4: Diaries, 1887-1916 (0.2 linear feet; Box 4)

Series 5: Notes and Writings, 1882-circa 1970 (0.2 linear feet; Boxes 4, 7)

Series 6: Art Work, 1873-1951 (0.6 linear feet; Boxes 4-5, 7, OVs 8-10)

Series 7: Printed Material and Motion Picture Film, 1886-1957 (0.8 linear feet; Boxes 5-7, FC 11-12)

Series 8: Photographs, 1886-1959 (0.2 linear feet; Boxes 6-7)
Biographical / Historical:
Max Bohm was born on January 21, 1868, in Cleveland, Ohio, the son of Henry and Emilie Bohm.

Bohm began his study of art in 1887 when he accompanied his aunt, Anna Stuhr, on the first of several voyages to France. He studied in artist communities in Brittany and in Paris at the Académie Julian with Boulanger, Lefebvre, and Benjamin Constant. He also traveled to Belgium, The Netherlands, and Germany.

In 1895, Bohm attended an open school of painting in Etaples on the coast of France, and during the winter months he taught painting at a school in London, England. His painting En Mer was awarded the Gold Medal by the Paris Salon of 1897.

While teaching in Etaples in 1898, Bohm married one of his pupils, Zella Newcomb, an art teacher from Carlton College in Minnesota. In 1900, the Bohms traveled to Italy for several months before returning to Minneapolis, Minnesota, where Bohm established a studio. After trying to find affordable studio and living space in New York City, Bohm moved his family back to France in 1902. Bohm established a studio in Paris for two years and during the summer months his wife and children moved to the less expensive and cooler coastal towns of France. Bohm continued to display his work in the annual Paris Salons.

From 1905 until the summer of 1908, the Bohm family lived primarily in England. In 1909, Bohm entered and won the Cleveland Court House mural competition, prompting the family to return to the United States for several months. They returned to Paris the following year, where Bohm established a studio and worked on the Cleveland Court House mural. Again, Bohm's wife and children would live in French coastal towns, while Bohm was on extended visits to Paris, London, or the United States.

Sometime around 1911, Bohm became acquainted with Mrs. Mary Beecher Longyear, a wealthy follower of Mary Baker Eddy and Christian Science. Over the next decade, Mrs. Longyear commissioned many works by Bohm and supported his career. In May of 1912 Bohm's mural, First New England Town Meeting, was installed in the new Cleveland Court House and arrangements were made with Macbeth Galleries to exhibit Bohm's work. Late in 1913, Bohm became involved with the Pan-Pacific International Exposition where his painting Promenade won the Gold Medal in 1915.

During World War I, the Bohm family fled France and temporarily settled in Tuckahoe, New York, and Bohm made frequent visits to his patron, Mrs. Longyear, in Boston. In 1916, the Knoedler Gallery exhibited Bohm's murals for Mrs. Longyear's music room. Also during this time, the family enjoyed spending summers in Provincetown, where Bohm joined The Beachcombers, an organization of artists.

In 1919, the Bohms built a house in Bronxville, New York, for easy access to New York City, while simultaneously purchasing a cottage in Provincetown. While the house was being constructed, Zella and the children became boarders in the home of painter Spencer Nichols, who also lived in Bronxville. During this year, Max Bohm, Jr., entered Harvard University while Mrs. Longyear continued to provide commissions for Max Bohm's art work.

Between 1922 and 1923, Bohm had exhibitions in Greenwich, Connecticut, Washington, D.C., and at the Grand Central Galleries, with his painting En Mer being exhibited at the National Academy of Design.

Max Bohm died on September 19, 1923 in Provincetown, Massachusetts.
Separated Materials:
The Archives of American Art also holds microfilm of material lent for microfilming (reels 420-421) including biographical material, scattered letters, notes and writings, drawings, clippings, exhibition catalogs, booklets, a scrapbooks, and photographs of Bohm, his family, colleagues, and residences. Loaned materials were returned to the lender and are not described in the collection container inventory.

The original Six Foot Art film was also transferred to 16mm and 35mm film reels in the 1970s, but is not in the collection.
Provenance:
Kathryn Esther Locke and Elizabeth Schwarz, the artist's daughters, lent the material on microfilm reels 420-421 and donated papers in 1972.
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 Max Bohm 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:
Painters -- Massachusetts -- Provincetown  Search this
World War, 1914-1918  Search this
Art -- Philosophy  Search this
Christian Scientists  Search this
Painting, American -- Massachusetts -- Provincetown  Search this
Genre/Form:
Motion pictures (visual works)
Sketchbooks
Sketches
Paintings
Photographs
Drawings
Diaries
Citation:
Max Bohm papers, 1873-1970, bulk 1880-1959. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.bohmmax
See more items in:
Max Bohm papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-bohmmax
Online Media:

Castano Galleries records

Creator:
Castano Galleries (Boston, Mass.)  Search this
Names:
Beam, Philip C.  Search this
Castano, Giovanni, 1896-1978  Search this
Chrysler, Walter P. (Walter Percy), 1909-1988, Jr.  Search this
Danes, Gibson A.  Search this
Denghausen, Franz H., 1911-  Search this
Goodrich, Lloyd, 1897-1987  Search this
Grandin, Isabella  Search this
Hale, Lilian Westcott, 1880-1963  Search this
Hofer, Philip, 1898-1984  Search this
Rathbone, Perry Townsend, 1911-2000  Search this
Richardson, Edgar Preston, 1902-1985  Search this
Sachs, Paul J. (Paul Joseph), 1878-1965  Search this
Venturi, Lionello, 1885-1961  Search this
Extent:
30 microfilm reels
Type:
Collection descriptions
Archival materials
Microfilm reels
Date:
1907-1983
Scope and Contents:
20 feet, chiefly gallery records and some personal papers of gallery owner, Giovanni (John) Castano, including correspondence, legal material, subject files, notes, writings, financial material, photographs, a scrapbook, and printed material.
Included are biographical information about Castano, business correspondence with dealers, museums, clients, collectors, artists, art historians, and others, and some personal correspondence, including a letter from Rome, 1876, from an unidentified writer to an unidentified woman containing a detailed description of a painting in the Barberini, and correspondence related to Castano's work as a scenic artist, 1924-1931. Subject files contain mainly correspondence and lists of work, and relate to Italian Renaissance exhibition, 1938, the Heeramaneck Collection of Persian and Indian Art, a Boldini exhibition, Arthur C. Goodwin, 1945-1952, and a Mancini-Sargent exhibition, 1951.
Financial material includes records of expenses and income; account books; employees' weekly wage book; records of purchases and sales of art work, including part of a bill for a painting by Diaz paid by Knoedler and Co., 1890; appraisals done for individuals, estates and institutions, including the Gorham Corporation, Harvard University murals, the Mrs. T. Morris Murray estate, furnishings of William M. Paxton's studio, ca. 1941, and paintings by Edmund Tarbell, and others; consignments; priced auction catalogs of the Henry F. Sears estate, the Mary A.H. Traiser estate, and miscellaneous price lists.
Also included are a card file on paintings; lists of paintings; inventories; client cards; address and appointment books; mailing lists; gallery journals, 1936-1927; descriptions and notes on paintings and authentications; biographies of artists; writings by and about Castano; and notes by Churchill Wyman on Philip Hale's anatomy lectures.
Photographs are of Castano, his work, artists at work, and various works of art. Original art work consists of sketches for a logo designed by Suzanne Chapman. Included in the exhibition related material is a catalog for Castano's posthumous exhibition.
Also included is a scrapbook containing announcements, clippings on the gallery and Castano, exhibition catalogs, and biographical material compiled by Castano's longtime secretary.
Among the correspondents are: Philip Beam, Walter P. Chrysler, Jr., Gibson Danes, Franz Denghasusen, Lloyd Goodrich (Whitney Museum of American Art), Isabella Grandin, Lilian W. Hale, Philip Hofer (Fogg Art Museum), Perry T. Rathbone (Museum of Fine Arts, Boston), Edgar P. Richardson (Detroit Institute of Arts), Paul J. Sachs (Fogg), and Lionello Venturi.
Biographical / Historical:
Art gallery, Boston, Mass. Founded in 1931 by Giovanni Castano, also known as John Castano. Castano attended the School of the Museum of Fine Arts, Boston, where he was an assistant to Philip Hale. He was a scenic artist for the Boston Opera Company and for the Grand Opera in Cincinnati, Ohio. During the Depression, he returned to Boston where he opened a gallery on Newbury Street specializing in European and American paintings, acted as an agent for Wildenstein and Co., and restored paintings. The gallery had numerous exhibitions of the "Boston School," including A.C. Goodwin, Winslow Homer, Philip Hale, Edmund C. Tarbell, William Paxton and others. The gallery occupied several Newbury St. locations. From 1975 until his death, Castano operated it from his home in Needham.
Other Title:
Giovanni Castano Galleries records, 1907-1983.
Provenance:
Lent for microfilming by Elvira Castano Palmerio, Castano's daughter, 1988.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Occupation:
Art appraisers  Search this
Restorers  Search this
Set decorators  Search this
Gallery owners  Search this
Art dealers -- Massachusetts  Search this
Painters -- Massachusetts -- Boston  Search this
Topic:
Art -- Collectors and collecting  Search this
Function:
Art galleries, Commercial -- Massachusetts -- Boston
Identifier:
AAA.castgall
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-castgall

Lorenzo Dow Turner papers

Creator:
Turner, Lorenzo Dow, 1890-1972  Search this
Names:
Fisk University  Search this
Howard University  Search this
Roosevelt University  Search this
Turner, Lorenzo Dow, 1890-1972  Search this
Extent:
23.97 Linear feet (20 boxes)
Type:
Collection descriptions
Archival materials
Audiovisual materials
Field recordings
Photographs
Photographic prints
Maps
Correspondence
Date:
1895 - 1972
Summary:
The collection, which dates from 1895 to 1972 and measures 23.97 linear feet, documents the career and travels of Professor Lorenzo Dow Turner. The collection is comprised of correspondence, academic papers, research materials, books, newspaper and journal articles, sound recordings, and photographs.
Arrangement note:
The collection is arranged by series: (1) Biographical, (2) Academic Career, (3) Writings, (4) Research, (5) Photographs, (6) Sound Recordings, and (7) Printed Materials.
Biographical/Historical note:
Lorenzo Dow Turner was born in Elizabeth City, N.C. in 1895. He earned his B.A. in 1914 from Howard University; in 1917, he received an M.A. in English from Harvard University. He received his doctorate in English from the University of Chicago in 1926 while simultaneously serving as chairman and professor of the Department of English at Howard from 1917 to 1928. He held the same positions at Fisk University in Nashville from 1929 to 1946. In 1946 he accepted a professorship in the English department at Roosevelt University in Chicago, where he remained as professor of English and lecturer in African Cultures until his retirement in 1970. Turner was professor emeritus at Roosevelt until his death at age 77 in 1972. Turner's professional and academic interests encompassed both English and linguistics. A noted scholar of African languages and linguistics, he learned numerous West African languages, mastering five of them. He was a noted authority on Gullah, a Creole language spoken in the Sea Islands off the coast of South Carolina and Georgia.
Related Archival Materials note:
Lorenzo Dow Turner Papers at Northwestern University Library
Restrictions:
Use of the materials requires an appointment. Please contact the archivist to make an appointment: ACMarchives@si.edu.
Topic:
Sea Islands Creole dialect  Search this
African languages -- Study and teaching -- United States  Search this
Linguistics -- Research -- United States  Search this
Genre/Form:
Audiovisual materials
Field recordings
Photographs
Photographic prints
Maps
Correspondence
Citation:
Lorenzo Dow Turner papers,Anacostia Community Museum Archives, Smithsonian Institution, gift of Lois Turner Williams.
Identifier:
ACMA.06-017
See more items in:
Lorenzo Dow Turner papers
Archival Repository:
Anacostia Community Museum Archives
EDAN-URL:
ead_collection:sova-acma-06-017
Online Media:

Letterio Calapai papers

Creator:
Calapai, Letterio, 1902-1993  Search this
Names:
Haystack Mountain School of Crafts -- Faculty  Search this
Extent:
3.4 Linear feet
Type:
Collection descriptions
Archival materials
Sketches
Photographs
Sketchbooks
Date:
1858, 1870, 1900-1993
bulk 1920-1993
Summary:
The papers of Italian-American painter, engraver, and printmaker Letterio Calapai measure 3.4 linear feet and date from 1858 through 1993 (bulk 1920s-1993). Found are correspondence, teaching and project files, writings and notes, printed materials, photographs, and sketchbooks, including one with scenes of Rockwell Kent's dairy farm in upstate New York.
Scope and Content Note:
The papers of Italian-American painter, engraver, and printmaker Letterio Calapai measure 3.4 linear feet and date from 1858 through 1993 (bulk 1920s-1993). Found are correspondence, teaching and project files, writings and notes, printed materials, photographs, and sketchbooks, including one with scenes of Rockwell Kent's dairy farm in upstate New York. Calapai's teaching career is documented through correspondence, writings and notes, as well as files concerning his position at the Haystack Mountain School of Crafts in Maine. Projects files are found for Calapai's reprint of an 1845 engraving of The Capture of Major Andre by Asher B. Durand for the Historical Society of the Tarrytowns, New York, reprints of print originals by Thomas Bewick, the Look Homeward Angel engravings, and a possible exhibition and book about British engraver William Hogarth.
Arrangement:
The Letterio Calapai papers are arranged into eleven series based primarily on type of material. Documents within individual folders are arranged chronologically by year.

Series 1: Biographical Material, 1928, 1948-1993, undated (Box 1; 6 folders)

Series 2: Correspondence, 1858, 1870, 1934-1992, undated (Boxes 1-2; 0.6 linear feet)

Series 3: Printed Material, 1925-1991, undated (Box 2; 12 folders)

Series 4: Writings and Notes, 1921, 1941-1992, undated (Boxes 2-3; 6 folders)

Series 5: The Historical Society of the Tarrytowns, New York, Project File, 1966, 1970-1980, undated

Series 6: Haystack Mountain School of Crafts, Deer Isle, Maine, Teaching Files, 1965-1981, undated (Box 3; 5 folders)

Series 7: Thomas Bewick Project Files, 1938-1988, undated (Box 3; 4 folders)

Series 8: Thomas Wolfe, -- Look Homeward Angel -- Portfolio Project Files, 1929-1990, undated (Box 3; 7 folders)

Series 9: William Hogarth Engravings Project Files, undated

Series 10: Photographs, 1900-1990, undated

Series 11: Artwork and Sketchbooks, 1960-1988, undated
Biographical Note:
Italian-American painter, engraver, and printmaker Letterio Calapai was born in Boston, Massachusetts in 1903. His parents emigrated from Sicily and encouraged his participation in the arts at an early age. Calapai studied at the Massachusetts School of Art, the Beaux Arts Institute of Design, under artist Robert Laurent at the Art Students League, and at the American Artists School under Ben Shahn.

While in New York, Calalpai worked as a lithographer in a commercial printing shop but eventually abandoned this to pursue his own printmaking and painting full time, an endeavor made possible with the financial help of his former professor, Charles Hopkins. In 1933, Calalpai received his first exhibition, a one man show of his oil paintings, at the Art Center in New York City.

In the 1940s, Calapai became William Hayter's personal assistant at the Atelier 17 printmaking workshop and began to focus much of his work on this medium. He created a hugely successful portfolio of wood engravings inspired by the Thomas Wolfe play Look Homeward Angel. New York's George Binet Gallery hosted an exhibition of these prints the same year, a show that resulted in purchases of the portfolio by the libraries of Harvard University, Princeton, and the Boston and New York Public Libraries. Calapai also created book illustrations for a number of manuscript projects including 45 wood engravings for How God Fixed Jonah (1946), a West African adaptation of Old and New Testaments accounts in the Bible.

Calapai founded and chaired the Graphic Arts Department of the Albright Art School in Buffalo from 1949-1955 and taught at various universities and colleges, including the Haystack Mountain School of Crafts in Maine, the New School for Social Research, and New York University. He also established the Intaglio Workshop for Advanced Printmaking in Greenwich Village. He later left New York to teach at the University of Illinois, where he established a training studio and gallery.

Letterio Calalapi died in Glencoe, Illinois in 1993.
Provenance:
The Letterio Calalapi papers were donated to the Archives of American Art by the artist in 1992.
Restrictions:
The collection is open for research. Use requires an appointment and is limited to the Washington, D.C. research facility.
Rights:
The Letterio Calapai 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 -- Study and teaching  Search this
Prints -- 20th century  Search this
Printmakers -- Illinois  Search this
Printmakers -- New York (State) -- New York  Search this
Genre/Form:
Sketches
Photographs
Sketchbooks
Citation:
Letterio Calapai papers, 1858, 1870, 1900-1993 (bulk 1920s-1993). Archives of American Art, Smithsonian Institution.
Identifier:
AAA.calalett
See more items in:
Letterio Calapai papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-calalett

Milton Wolf Brown papers

Creator:
Brown, Milton Wolf (Milton Wolf), 1911-1998  Search this
Names:
Archives of American Art  Search this
Armory Show 50th anniversary exhibition (1963 : New York, N.Y.)  Search this
Brooklyn College -- Faculty  Search this
Century Association (New York, N.Y.)  Search this
City University of New York -- Faculty  Search this
Whitney Museum of American Art  Search this
Brown, Blanche  Search this
Lawrence, Jacob, 1917-2000  Search this
Lozowick, Louis, 1892-1973  Search this
Lynes, Russell, 1910-1991  Search this
Meltzoff, Stanley  Search this
Panofsky, Erwin, 1892-1968  Search this
Prendergast, Charles, 1863-1948  Search this
Prendergast, Maurice Brazil, 1858-1924  Search this
Sachs, Paul J. (Paul Joseph), 1878-1965  Search this
Extent:
26 Linear feet
0.225 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Travel diaries
Articles
Interviews
Essays
Drafts (documents)
Transcripts
Photographs
Notebooks
Lectures
Scripts (documents)
Date:
1908-1998
Summary:
The papers of art historian and educator Milton Wolf Brown date from 1908 to 1998 and measure 26.0 linear feet and 0.225 GB. The collection documents Brown's career through scattered biographical material, correspondence with friends, publishers, colleagues, artists, museums, and art organizations, travel journals, files for the Prendergast Catalogue Raisonne Project, exhibition, research, teaching, and organization files, printed and digital material, and scattered photographs. A large portion of this collection consists of writings by Brown including notebooks, draft writings for books and other publications, lectures, and his writings as a student.
Scope and Content Note:
The papers of art historian and educator Milton Wolf Brown date from 1908 to 1998 and measure 25.8 linear feet and 0.225 GB. The collection documents Brown's career through scattered biographical material, correspondence with friends, publishers, colleagues, artists, museums, and art organizations, travel journals, files for the Prendergast Catalogue Raisonne Project, exhibition, research, teaching, and organization files, printed and digital material, and scattered photographs. A large portion of this collection consists of writings by Brown including notebooks, draft writings for books and other publications, lectures, and his writings as a student.

Biographical material includes academic records, travel documents, financial documents, Brown's military records, and a transcript of a 1997 interview. Correspondence is with students, museums, universities, publishers, art organizations, and others. The bulk of these letters document Brown's professional activities, but also found are scattered letters from friends, artists, and colleagues such as Russell Lynes, Stanley Meltzoff, Louis Lozowick, Erwin Panofsky, and Paul Sachs.

This collection also contains 33 detailed travel journals written primarily by Milton Brown's wife, Blanche, documenting their travels in Europe, the United States, and other parts of the world. Within the writings series are notebooks from the period that Brown was a student and while traveling in Europe in 1959 and 1960; book project files, which include draft writings as well as related correspondence, research material, notes, photographs and other material. Files are found for American Art: Painting, Sculpture, Architecture, Decorative Arts, Photography (1979), American Painting, From the Armory Show to the Depression (1955), The Story of the Armory Show (1963, 1988 2nd ed.), and other books. Among the writings are files for lectures written by Brown; essays, articles, and scripts written for various publications; general research notes and student writings; and writings by others sent to Brown for review and feedback.

Brown maintained a set of files documenting his work on the Prendergast Catalogue Raisonne Project, which consist of correspondence, drafts, reports, and research materials, including notes on twenty meetings with Mrs. Prendergast. Exhibition files document Brown's work as curator on several major exhibitions, including a Jacob Lawrence exhibition at the Whitney Museum, and his contributions to others. Also found here are three interviews of Milton Brown and Marcel Duchamp concerning the 50th Anniversary of the Armory Show and anniversary exhibition. Research files include notes, research material, and printed material on various art-related subjects that were maintained by Milton and Blanche Brown for regular use for lectures, teaching, and writing projects. Brown's teaching files contain scattered lecture notes, syllabi, correspondence, faculty records, and other materials from his time at CUNY, Brooklyn College, and other visiting professorships. Organization Files contain correspondence, reports, planning documents, and event materials. These records document his membership or advisory role in various organizations such as the Archives of American Art and Century Association.

This collection also contains printed material, such as exhibition announcements, newsletters, brochures, journals, event programs, and magazine and newspapers clippings compiled by Brown. Scattered photographs include nine photographs of Milton Brown, a few photographs of friends, and photographs of artwork.
Arrangement:
The collection is arranged as 11 series:

Series 1: Biographical Material, circa 1932-1998 (Box 1; 0.3 linear feet)

Series 2: Correspondence, 1908, 1934-1998 (Boxes 1-3; 1.8 linear feet)

Series 3: Travel Journals, 1941-1996 (Boxes 3-4; 1.6 linear feet)

Series 4: Writings, circa 1929-1990s (Boxes 4-13, 25; 8.7 linear feet)

Series 5: Prendergast Catalogue Raisonne Project, circa 1952-1990 (Boxes 13-14, 25; 1.8 linear feet)

Series 6: Exhibition Files, 1962-circa 1997 (Boxes 14-16, 28; 2.0 linear feet, ER01; 0.225 GB)

Series 7: Research Files, circa 1930s-1986 (Boxes 16-19; 3.0 linear feet)

Series 8: Teaching Files, circa 1946-1993 (Boxes 19-21; 2.0 linear feet)

Series 9: Organization Files, 1959-1995 (Boxes 21-22; 1.3 linear feet)

Series 10: Printed Material, 1925-1990s (Boxes 22-24, 26, 27; 3.2 linear feet)

Series 11: Photographs, circa 1956-1990s (Boxes 25, 27; 0.2 linear feet)
Biographical Note:
Milton Wolf Brown (1911-1998) was an art historian and educator in New York City.

Known to his friends as "Mainey," Brown was born in Brooklyn, New York, in 1911. At a young age he intended to be a painter and studied with Louis Lozowick. However, instead of attending art school, he entered New York University to study education and eventually received his master's and doctorate in art history from the Institute of Fine Arts. While there he took courses with Walter Friedlander, Erwin Panofsky, and Mayer Schapiro. He also received fellowships to the Courtauld Institute of Art in 1934 and Brussels in 1937, and studied from 1938-1939 at the Fogg Art Museum at Harvard University. In 1938 he married fellow student Blanche Levine. After serving in World War II, he began teaching in the art department at Brooklyn College in 1946. There he developed a specialization in American art history and his doctoral dissertation, American Painting from the Armory Show to the Depression, was published in 1955. In 1963 he participated in the fiftieth anniversary exhibition of the 1913 Armory Show. The publication of his book Story of the Armory Show coincided with this event.

In 1971 Brown established the graduate program in Art History at the City University of New York, which became preeminent in the areas of modern art and American art history. During the 1980s he remained a resident professor at CUNY, though he retired in 1979, and he held visiting professorships at Hebrew University in Jerusalem and the Center for Advanced Study in the Visual Arts at the National Gallery of Art. From 1983 to 1987 he had a senior fellowship at Williams College for the Prendergast Catalogue Raisonne Project.

Over the course of his career Brown curated exhibitions, including an exhibition on the works of Jacob Lawrence and The Modern Spirit: American Painting and Photography, 1908-1935, and wrote for numerous publications. He also served as an active member of several professional societies. Brown was close friends with art scholars and artists, such as Jack Levine, Moses and Raphael Soyer, Ad Reinhardt, and Paul Strand. In 1991 he returned to painting landscape watercolors, and had the opportunity to exhibit his work before his death in 1998.
Related Material:
Also at the Archives of American Art is an oral history interview with Milton Wolf Brown, conducted in 1976 by Paul Cummings.
Provenance:
The Milton Wolf Brown papers were donated in 2000 and 2001 by Blanche R. Brown, Brown's widow. Three reel-to reel sound recordings were lent for duplication to cassette and transcript in 1986 by Milton Brown. A cassette copy of the Martha Deane interview was donated in 2006 by Milton Brown's estate, via Naomi Rosenblum. Additional material was donated in 2002 and 2004 by Naomi Rosenblum, executor for the estate of Blanche R. Brown, who died in 2002.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Milton Wolf Brown 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:
Curators -- New York (State) -- New York  Search this
Educators -- New York (State) -- New York  Search this
Art, American History Sources  Search this
Art historians -- New York (State) -- New York  Search this
Genre/Form:
Travel diaries
Articles
Interviews
Essays
Drafts (documents)
Transcripts
Photographs
Notebooks
Lectures
Scripts (documents)
Citation:
Milton Wolf Brown papers, 1908-1998. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.browmilt
See more items in:
Milton Wolf Brown papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-browmilt

Richard E. Filipowski papers

Creator:
Filipowski, Richard, 1923-2008  Search this
Names:
Bauhaus  Search this
Boston Arts Festival  Search this
Harvard University -- Faculty  Search this
Institute of Design (Chicago, Ill.)  Search this
Massachusetts Institute of Technology -- Faculty  Search this
Agoos, Herbert M., 1915-1992  Search this
Anderson, Lawrence B. (Lawrence Bernhart)  Search this
Belluschi, Pietro, 1899-1994  Search this
Davis, Stuart, 1892-1964  Search this
Eckbo, Garrett  Search this
Gropius, Walter, 1883-1969  Search this
Kepes, Gyorgy, 1906-2001  Search this
Kepes, Gyorgy, 1906-2001  Search this
Moholy-Nagy, László, 1895-1946  Search this
Extent:
4.1 Linear feet
Type:
Collection descriptions
Archival materials
Christmas cards
Photographs
Sketchbooks
Sketches
Slides (photographs)
Sound recordings
Date:
circa 1940-1998
Summary:
The papers of Massachusetts-based designer, sculptor, painter, filmmaker, and educator Richard E. Filipowski measure 4.1 linear feet and date from circa 1940 to 1998. The papers document his career through biographical material, correspondence, writings, teaching files, project files, printed material, photographic material, artwork, and a sound recording.
Scope and Contents:
The papers of Massachusetts-based designer, sculptor, painter, filmmaker, and educator Richard E. Filipowski measure 4.1 linear feet and date from circa 1940 to 1998. The papers document his career through biographical material, correspondence, writings, teaching files, project files, printed material, photographic material, artwork, and a sound recording.

Biographical material consists of a Bauhaus questionnaire, marriage license, various identification documents, Canadian selective service documents, resumes, and other miscellaneous material.

Correspondence mostly relates to Filipowski's teaching and sculpture, including letters from Herbert M. Agoos, Lawrence B. Anderson, Pietro Belluschi, Stuart Davis, Garrett Eckbo, Walter Gropius, Gyorgy Kepes, Laszlo Moholy-Nagy, and others.

Writings consist of Filipowski's lectures on art, notes, and other material. There is also one sound recording of a lecture.

Teaching files are mostly from the Institute of Design, Harvard University, and Massachusetts Institute of Technology. The series includes syllabi, faculty meeting minutes, notes and drafts for lectures, school catalogs and schedules, and files on student exhibitions and projects, including two films, Do Not Disturb and Hearts and Arrows.

Project files contain correspondence, business records, printed material, sketches and photographs on commissions in architecture, sculpture and furniture design. There are also files on programs which Filipowski assisted in planning and organizing, including the Boston Art Festival and a few exhibitions.

Printed material consists of exhibition catalogs, announcements, and clippings mostly about Filipowski.

Photographs, slides, and negatives are of Filipowski and others, sculpture, furniture designs, and works of art by his students from Harvard and MIT.

Art work includes sketches, sketchbooks, cardboard studies for sculptures, and Christmas card designs.
Arrangement:
This collection is arranged as eight series.

Series 1: Biographical Material, 1941-1974 (Box 1; 7 folders)

Series 2: Correspondence, 1941-1998 (Box 1, OV 6; 0.6 linear feet)

Series 3: Writings, 1951-1969 (Box 1; 0.4 linear feet)

Series 4: Teaching Files, 1943-1970 (Box 2, OV 6; 0.7 linear feet)

Series 5: Project Files, 1944-1976 (Boxes 2-3, OV 6-7; 0.6 linear feet)

Series 6: Printed Material, 1941-1989 (Box 3, OV 7; 0.4 linear feet)

Series 7: Photographic Material, circa 1940-1989 (Boxes 3-4, OV 8; 0.7 linear feet)

Series 8: Artwork, circa 1940-circa 1985 (Boxes 4-5, OV 6, 8; 0.7 linear feet)
Biographical / Historical:
Richard E. Filipowski (1923-2008) was a designer, sculptor, painter, filmmaker and educator mostly based in Massachusetts. Richard Filipowski was born in Poland in 1923 and he and his family moved to Ontario, Canada in 1927. He studied under Laszlo Moholy-Nagy at the Institute of Design (formerly known as the New Bauhaus) from 1942 to 1946 and taught there after graduating, 1946-1950. Filipowski was invited by Walter Gropius to organize and teach Design Fundamentals at Harvard University's Graduate School of Design where he stayed until 1952. He then taught as an Associate Professor of Visual Design in the Department of Architecture at the Massachusetts Institute of Technology, 1953-1989.

Filipowski also took on numerous commissions for sculptures and artwork. One especially noteworthy commission was a sculpture for an Ark created for the Temple B'Rith Kodesh in Rochester, New York. The sculpture was intricately wrought and welded from bronze and silver alloys and it remained a source of inspiration for other later sculptures and commissions which had a similar style of metal-working. Many of his works were also marked by his Bauhaus training. Filipowski passed away in 2008.
Related Materials:
Also found in the Archives of American Art is an oral history interview with Richard E. Filipowski conducted by Roger Brown on September 25, 1989 through March 14, 1990.
Provenance:
The papers were donated to the Archives of American Art by Richard E. Filipowski in multiple installments from 1989 to 1998.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
Occupation:
Design -- Study and teaching  Search this
Topic:
Art -- Study and teaching  Search this
Art and industry  Search this
Art commissions  Search this
Art festivals  Search this
Art teachers -- Massachusetts  Search this
Design, Industrial  Search this
Designers--Massachusetts  Search this
Educators -- Massachusetts  Search this
Filmmakers--Massachusetts  Search this
Industrial designers  Search this
Painters -- Massachusetts  Search this
Painting, Modern -- 20th century  Search this
Sculptors--Massachusetts  Search this
Genre/Form:
Christmas cards
Photographs
Sketchbooks
Sketches
Slides (photographs)
Sound recordings
Citation:
Richard E. Filipowski papers, circa 1940-1998. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.filirich
See more items in:
Richard E. Filipowski papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-filirich

Coat, Buffalo Hide Painted

Collector:
George Catlin  Search this
Donor Name:
Mrs. Joseph Harrison Jr.  Search this
Culture:
Plains Indian (?)  Search this
Metis (?)  Search this
Cree (?)  Search this
Object Type:
Coat
Place:
Plains, United States, North America
Accession Date:
21 Oct 1881
Topic:
Ethnology  Search this
Accession Number:
010638
USNM Number:
E386522-0
See more items in:
Anthropology
Data Source:
NMNH - Anthropology Dept.
GUID:
http://n2t.net/ark:/65665/3bd63f446-5915-4c93-a724-c7b9f186a828
EDAN-URL:
edanmdm:nmnhanthropology_8420530
Online Media:

George Santayana

Artist:
George Biddle, 24 Jan 1885 - 6 Nov 1973  Search this
Sitter:
George Santayana, 16 Dec 1863 - 26 Sep 1952  Search this
Medium:
Lithograph on paper
Dimensions:
Image: 37.5 × 30.8 cm (14 3/4 × 12 1/8")
Sheet (overall): 37.5 × 30.8 cm (14 3/4 × 12 1/8")
Mat (overall): 61 × 50.8 cm (24 × 20")
Type:
Print
Place:
Italia\Lazio\Roma\Rome
Date:
1952
Topic:
Personal Attribute\Facial Hair\Mustache  Search this
Indeterminable  Search this
George Santayana: Male  Search this
George Santayana: Education\Educator\Professor\University  Search this
George Santayana: Literature\Writer\Poet  Search this
George Santayana: Humanities and Social Sciences\Philosopher  Search this
George Santayana: Literature\Writer\Religious  Search this
Portrait  Search this
Credit Line:
National Portrait Gallery, Smithsonian Institution; Gift from the Trustees of the Corcoran Gallery of Art (Gift of George Biddle) The Corcoran Gallery of Art, one of the country’s first private museums, was established in 1869 to promote art and American genius. In 2014 the Works from the Corcoran Collection were distributed to institutions in Washington, D.C.
Object number:
NPG.2019.74
Restrictions & Rights:
Usage conditions apply
Copyright:
© Estate of George Biddle
See more items in:
National Portrait Gallery Collection
Data Source:
National Portrait Gallery
GUID:
http://n2t.net/ark:/65665/sm45f7d9b0e-9873-4bf0-9093-6ec503e553b1
EDAN-URL:
edanmdm:npg_NPG.2019.74

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