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The Medal Maker [motion picture]

Collector:
National Museum of American History (U.S.). Division of Information, Technology and Society  Search this
National Museum of American History (U.S.). Division of Numismatics  Search this
Extent:
1 Item (film)
Type:
Archival materials
Motion pictures (visual works)
Date:
circa 1930
Scope and Contents:
One reel of black-and-white, silent film, approximately 600 feet, 16mm, entitled THE MEDAL MAKER. With videotape user copy.
Local Numbers:
1997.3079 (NMAH Acc.)
Restrictions:
Unrestricted research access to videotape copy only, on site by appointment.
Collection Rights:
Reproduction may be restricted due to copyright or trademark. Contact Archives Center staff for more information.
Topic:
Numismatics  Search this
Medals  Search this
Genre/Form:
Motion pictures (visual works)
Collection Citation:
Archives Center Miscellaneous Film and Videotape Collection, 1930-1978, Archives Center, National Museum of American History.
See more items in:
Archives Center Miscellaneous Film and Videotape Collection
Archives Center Miscellaneous Film and Videotape Collection / The Medal Maker
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep80241c602-7b0b-4c07-a22b-642ca3d8d426
EDAN-URL:
ead_component:sova-nmah-ac-0358-ref546

[March of Dimes advertising "spot"]

Names:
March of Dimes  Search this
Extent:
1 Item (film)
Type:
Archival materials
Commercials
Motion pictures (visual works)
Date:
1955
Scope and Contents:
A 16mm film spot (commercial) about the March of Dimes.
Local Numbers:
2002.3081 (NMAH Acc.)
Restrictions:
Unrestricted research access to videotape copy only, on site by appointment.
Collection Rights:
Reproduction may be restricted due to copyright or trademark. Contact Archives Center staff for more information.
Topic:
Television advertising  Search this
Charities  Search this
Poliomyelitis  Search this
Genre/Form:
Commercials
Motion pictures (visual works)
Collection Citation:
Archives Center Miscellaneous Film and Videotape Collection, 1930-1978, Archives Center, National Museum of American History.
See more items in:
Archives Center Miscellaneous Film and Videotape Collection
Archives Center Miscellaneous Film and Videotape Collection / March of Dimes Spot
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep8091b6652-c637-4474-b149-d34a5cfea1da
EDAN-URL:
ead_component:sova-nmah-ac-0358-ref547

Ghost Town [Edgar Bergen television show]

Creator:
American Film Institute. National Center for Film and Video Preservation  Search this
Advertiser:
Coca-Cola Company  Search this
Names:
Bergen, Edgar  Search this
McCarthy, Charlie  Search this
Extent:
1 Item (film)
Type:
Archival materials
Commercials
Motion pictures (visual works)
Date:
1951
Scope and Contents:
Duplicate of print in AFI collection: black-and-white 16mm film of the television show "Ghost Town" featuring Edgar Bergen with Charlie McCarthy and other guests. Sponsored by Coca Cola and featuring some Coca Cola commercials.
Local Numbers:
2002.3080 (NMAH Acc.)
Collection Restrictions:
Collection is open for research. Only reference copies may be used.
Collection Rights:
Reproduction may be restricted due to copyright or trademark. Contact Archives Center staff for more information.
Topic:
Broadcast advertising  Search this
Television programs -- 1950-1960  Search this
Television advertising -- 1950-1960 -- United States  Search this
Television  Search this
Genre/Form:
Commercials
Motion pictures (visual works)
Collection Citation:
Archives Center Miscellaneous Film and Videotape Collection, 1930-1978, Archives Center, National Museum of American History.
See more items in:
Archives Center Miscellaneous Film and Videotape Collection
Archives Center Miscellaneous Film and Videotape Collection / Edgar Bergen Show
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep828cfccd5-6b14-466c-b05e-81f17e9fe441
EDAN-URL:
ead_component:sova-nmah-ac-0358-ref548

Chance to Lose [motion picture]

Collector:
American Film Institute. National Center for Film and Video Preservation  Search this
Donor:
American Film Institute. National Center for Film and Video Preservation  Search this
Producer:
Chrysler Corporation  Search this
Extent:
1 Item (film)
Type:
Archival materials
Motion pictures (visual works)
Date:
1946
Scope and Contents:
A black-and-white 16mm film promoting good driving habits while extolling the dependability of Chrysler Plymouth automobiles.
Local Numbers:
2002.3080 (NMAH Acc.)
Restrictions:
Unrestricted research access to videotape copy only, on site by appointment.
Collection Rights:
Reproduction may be restricted due to copyright or trademark. Contact Archives Center staff for more information.
Topic:
Automobile driving  Search this
Automobiles  Search this
Genre/Form:
Motion pictures (visual works)
Collection Citation:
Archives Center Miscellaneous Film and Videotape Collection, 1930-1978, Archives Center, National Museum of American History.
See more items in:
Archives Center Miscellaneous Film and Videotape Collection
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep861fe64fb-b211-4199-960c-6a26e90cfa2a
EDAN-URL:
ead_component:sova-nmah-ac-0358-ref549

Waldo L. Schmitt Papers

Extent:
79.56 cu. ft. (6 record storage boxes) (121 document boxes) (2 half document boxes) (4 12x17 boxes) (60 3x5 boxes) (3 5x8 boxes) (2 film boxes) (oversize material)
Type:
Collection descriptions
Archival materials
Motion pictures (visual works)
Audiotapes
Black-and-white photographs
Manuscripts
Lantern slides
Color transparencies
Date:
1907-1978
Descriptive Entry:
The papers of Waldo LaSalle Schmitt provide comprehensive documentation of his professional career, 1907-1977. They also illustrate, to a lesser degree, his personal life. Particularly well represented in the papers is material concerning Schmitt's carcinological research, his curatorial and administrative careers at the United States National Museum (USNM), his career as a field worker and scientific expedition member, and his activities in scientific societies and professional organizations.

Schmitt was a prolific letter writer and a large part of his papers consists of correspondence written and received between 1907 and 1977. The correspondence reflects all aspects of Schmitt's career, particularly expeditions and field work, the evolution of his duties at the USNM, carcinological research, and relations with the scientific community. Also included are many letters with friends and family members concerning personal matters.

Records relating to Schmitt's activities in scientific societies, professional organizations, and social groups are found in his organizational files. They also include files kept by Schmitt on government agencies, museums, colleges and universities, and research foundations. Included are records documenting Schmitt's tenure as President of the Washington Academy of Sciences, his duties as a trustee of the Bear's Bluff Laboratories and the International Oceanographic Foundation, his application for the position of Director of the California Academy of Sciences, his academic careers at George Washington University and the University of California, and his career as an instructor at George Washington University.

Other records relating to Schmitt's service in professional organizations exist in separate series. These include files concerning his work on the editorial board for biological manuscripts for the American Geophysical Union's Antarctic Research Series, records regarding his service on the National Academy of Sciences' Committee on Polar Research, and files reflecting his activities as a member of the Explorers Club and the Society of Systematic Zoology (SSZ). The SSZ files are of particular interest since they provide information concerning the founding and early history of the Society and include records maintained by Schmitt during his tenure as the organization's first President.

Schmitt's fifty-two-year career as a field worker and scientific expedition member is extensively illustrated in the expedition files. The records include diaries, field notes, station data, correspondence, manuscripts, reprints, publications, reports, newspaper clippings, financial records, photographs, notes, maps, and memorabilia collected by Schmitt. Records concerning his underwater photography field work with Harry Pederson are contained in a separate series.

Aside from his correspondence, Schmitt's personal activities and outside interests are best illustrated by records concerning his ideas and plans for easing traffic problems in Washington, D.C. Included is correspondence, newspaper articles by Schmitt, and hearing statements that outline his plans for a commuter railroad.

The papers include a large group of photographs, slides, movies, lantern slides, and tape recordings made and collected by Schmitt. Included are photographs of Schmitt, scientific colleagues, and Smithsonian and USNM associates; early underwater photographs taken by William Harding Longley at Tortugas, Florida; slides, movies, lantern slides, and tape recordings made on expeditions; and a tape recording of the "Remembrance to Waldo LaSalle Schmitt" held at the National Museum of Natural History in 1978.

The papers also include diaries and notebooks mostly concerning USNM business, but also containing entries made on expeditions; records dealing with the republication of Schmitt's book Crustaceans; files on his research project "The American Commensal Crabs of the Family Pinnotheridae"; manuscripts, speeches, and publications of Schmitt; biographical materials, compiled by Schmitt on his mentor, Mary Jane Rathbun; records, collected by Schmitt, on Robert A. Bartlett and the Bartlett Arctic Expeditions; a transcript of an oral history interview of Schmitt; and awards, diplomas, and citations received by Schmitt.

Additional material in the Smithsonian Archives that relates to Schmitt can be found in the records of the Division of Marine Invertebrates, United States National Museum (Record Units 233 and 235) and its successor, the Division of Crustacea, National Museum of Natural History (Record Unit 307), and the records of the Departments of Biology and Zoology, United States National Museum (Record Units 143, 242, and 243).
Historical Note:
Waldo LaSalle Schmitt (1887-1977) was born in Washington, D.C. He developed an early interest in natural history, studying the flora and fauna of the District of Columbia and nearby Maryland. He received the B.S. degree from George Washington University in 1913; the M.A. degree from the University of California in 1916; and his Ph.D. from George Washington University in 1922. In 1948, he received an honorary Doctor of Science degree from the University of Southern California.

Schmitt began his career in government service in 1907 as an Aide in Economic Botany for the U.S. Department of Agriculture. He served in that position until 1910 when he was appointed Scientific Aide in the Division of Marine Invertebrates of the United States National Museum (USNM). At USNM, he became acquainted with Mary Jane Rathbun and began to develop his interest in the study of crustacea. From 1911 to 1914, Schmitt served on the staff of the United States Bureau of Fisheries as Scientific Assistant and Naturalist aboard the Albatross during its cruises along the west coast of America and Alaska. Crustacean collections surveys made on the Albatross provided the material for Schmitt's M.A. thesis, "The Marine Decapod Crustacea of California." In 1915, Schmitt returned to the United States National Museum as Assistant Curator in the Division of Marine Invertebrates. From 1915 to 1920, he also served as part-time instructor of Zoology at George Washington University. In 1920, Schmitt was named Curator of the Division of Marine Invertebrates and remained in that capacity until 1943 when he was appointed Head Curator of the Department of Biology. The Department of Biology was split into the Departments of Zoology and Botany in 1947, with Schmitt as Head Curator of Zoology. Upon his retirement in 1957, Schmitt was named Honorary Research Associate and continued his association with the Smithsonian Institution until his death on 5 August 1977.

Schmitt participated in numerous biological expeditions and field trips during his career. Under the auspices of the United States Bureau of Fisheries, he spent the summer of 1918 studying the life history of the spiny lobster at the Scripps Institution, La Jolla, California. During the summers of 1924 and 1925, Schmitt was at the Carnegie Institution's Marine Laboratory at Tortugas, Florida, surveying the crustacean fauna of the area, identifying crustaceans found in the stomachs of fishes, and taking underwater photographs. He also participated in field work at Tortugas during the summers of 1930, 1931, and 1932. In 1925, Schmitt was awarded the Smithsonian's Walter Rathbone Bacon Traveling Scholarship "for the study of the fauna of countries other than the United States." The scholarship enabled him to collect marine invertebrates along the east coast of South America from August to December, 1925, and on the west coast from August 1926 to May 1927.

During the years 1933 to 1935, Schmitt was a member of three expeditions to the Galapagos Islands sponsored by G. Allan Hancock of Los Angeles, California. While on these trips, Schmitt became acquainted with a group of utopian colonists on Florena Island in the Galapagos, who attracted considerable attention in the world press by their intrigues and mysterious behavior. As a guest of G. Huntington Hartford, he explored and collected in the West Indies on the Smithsonian-Hartford West Indies Expedition of 1937. In 1938, Schmitt was chosen by the White House to accompany President Franklin D. Roosevelt as Naturalist on the Presidential Cruise to Clipperton, Cocos, and the Galapagos Islands. In 1939, Schmitt was a member of the Hancock South America Expedition and he served as the Biologist in charge of field operations on the first United States Fish and Wildlife Service Alaska King Crab Investigation in 1940. During 1941 and 1942, Schmitt spent time on special detail with the United States Navy investigating the possibility of establishing a biological station in the Galapagos Islands. In 1943, he visited South America, under the auspices of the State Department, for the purpose of strengthening relations between United States and Latin American scientists.

In 1955, the Smithsonian Institution began an association with J. Bruce Bredin of Wilmington, Delaware, that produced several scientific expeditions. In that year, Schmitt headed the Smithsonian-Bredin Belgian Congo Expedition. From 1956 to 1960, Schmitt led Bredin sponsored expeditions to the Caribbean (1956, 1958, 1959), the Society Islands (1957), and the Yucatan (1960). Sponsored by a grant from the Office of Naval Research, Schmitt spent the summers of 1961 and 1962 with Harry Pederson photographing the coral reef fauna of the Bahama Islands. Schmitt's last expedition was in 1962-1963, when he served as a member of the Palmer Peninsula (Antarctica) Survey of the United States Antarctic Research Program. During the survey, Schmitt collected over 29,000 specimens, which were added to the collections of the National Museum of Natural History. In recognition of his contributions to the United States Antarctic Research Program, the Board of Geographic Names designated a 30 mile ice-covered series of outcrops at the base of the Antarctic Peninsula, Schmitt Mesa.

Schmitt's primary field of zoological investigation was carcinology, with special emphasis on the decapod crustaceans (the order that includes crabs, lobsters, and shrimp). His bibliography consists of more than seventy titles. A member of numerous professional organizations, Schmitt was active in the founding of the Society of Systematic Zoology and served as president in 1948. He was also president of the Washington Academy of Sciences in 1947. Schmitt was a trustee of the Bear's Bluff Laboratories, the International Oceanographic Foundation, and the Serological Museum of Rutgers University.

For additional biographical information on Waldo LaSalle Schmitt, see Richard E. Blackwelder, The Zest for Life, or Waldo Had a Pretty Good Run: The Life of Waldo LaSalle Schmitt (Lawrence, Kansas: The Allen Press, Inc., 1979); Fenner A. Chace, Jr., "Waldo LaSalle Schmitt, 25 June 1887 - 5 August 1977," Crustaceana, 1978, vol. 34, pt. 1, pp. 83-90; and John Sherwood, "Uncle Waldo Still Hears the Call of Crustaceans," The Washington Star, January 11, 1977.
Chronology:
June 25, 1887 -- Born in Washington, D.C.

1907-1910 -- Aide in Economic Botany, United States Department of Agriculture

1910 -- Scientific Aide, Division of Marine Invertebrates, United States National Museum (February-September)

1911 -- Scientific Assistant, Bureau of Fisheries Expedition to Lower California aboard the Albatross (February-May)

1911 -- Scientific Assistant, Bureau of Fisheries Chignik (Alaska) Biological Survey aboard the Albatross and the Star of Alaska (May-September)

1912-1914 -- Scientific Assistant, Bureau of Fisheries Survey of San Francisco Bay aboard the Albatross (various trips)

1913 -- Bachelor of Science, George Washington University, Washington, D.C.

1914 -- Naturalist in charge of biological activities, Bureau of Fisheries Halibut Survey of Washington and Oregon aboard the Albatross (April-May, August-September)

1914 -- Assistant, Bureau of Fisheries Olympia Oyster Beds Survey (June-August)

1914 -- Married Alvina Stumm (November 19)

1915-1920 -- Assistant Curator, Division of Marine Invertebrates, USNM

1915-1920 -- Instructor in Zoology, George Washington University, Washington, D.C.

1916 -- Master of Arts, University of California, Berkeley

1918 -- Bureau of Fisheries Spiny Lobster Investigations aboard the Albacore out of La Jolla, California (June-August)

1920-1943 -- Curator, Division of Marine Invertebrates, USNM

1921 -- The Marine Decapod Crustacea of California..., University of California Publications in Zoology, volume 23

1922 -- Ph.D., George Washington University, Washington, D.C.

1924 -- Field work at Carnegie Marine Laboratory, Dry Tortugas, Florida (summer)

1925 -- Field work at Carnegie Marine Laboratory, Dry Tortugas, Florida (summer)

1925 -- Walter Rathbone Bacon Traveling Scholarship Expedition to the East Coast of South America (August-December)

1926-1927 -- Walter Rathbone Bacon Traveling Scholarship Expedition to the West Coast of South America, including the Falkland Islands, Deception Island, and Juan Fernandez Islands (August 1926-May 1927)

1930 -- Field work at Carnegie Marine Laboratory, Dry Tortugas, Florida (summer)

1931 -- Crustaceans. Smithsonian Scientific Series, volume 10

1931 -- Field work at Carnegie Marine Laboratory, Dry Tortugas, Florida (summer)

1932 -- Field work at Carnegie Marine Laboratory, Dry Tortugas, Florida (summer)

1933 -- Hancock Pacific-Galapagos Expedition I aboard the Velero III (January-March)

1933-1934 -- Hancock Pacific-Galapagos Expedition II aboard the Velero III (December 1933-March 1934)

1934-1935 -- Hancock Pacific-Galapagos Expedition III aboard the Velero III (November 1934-February 1935)

1937 -- Smithsonian-Hartford West Indies Expedition aboard the Joseph Conrad (March-May)

1938 -- Presidential Cruise to the Galapagos aboard the U.S.S. Houston (July-August)

1939 -- Hancock South America Expedition aboard the Velero III (March-May)

1940 -- Biologist in charge of field operations, U.S. Fish and Wildlife Service Alaska King Crab Investigation (August-December)

1941 -- United States Navy Trip to the Galapagos (April)

1942 -- United States Navy Trip to the Galapagos (June-July)

1943 -- United States Department of State Trip to South America (April-June)

1943-1947 -- Head Curator, Department of Biology, USNM

1947 -- President, Washington Academy of Sciences

1947-1957 -- Head Curator, Department of Zoology, USNM

1948 -- Honorary Doctor of Science, University of Southern California

1948 -- Society of Systematic Zoology formed with Schmitt as first President

1954 -- Applied Systematics. Smithsonian Report for 1953

1955 -- Smithsonian-Bredin Belgian Congo Expedition (March-June)

1956 -- Smithsonian-Bredin Caribbean Expedition I (March-April)

1957 -- Smithsonian-Bredin Society Islands Expedition (April-May)

1957 -- Retirement from USNM

1957-1977 -- Research Associate, Department of Invertebrate Zoology, National Museum of Natural History

1958 -- Smithsonian-Bredin Caribbean Expedition II (March-May)

1959 -- Smithsonian-Bredin Caribbean Expedition III (March-May)

1960 -- Smithsonian-Bredin Yucatan Expedition (March-May)

1961-1962 -- Underwater photography field work with Harry Pederson in the Bahamas

1962-1963 -- Palmer Peninsula Survey, U.S. Antarctic Research Program (November 1962-March 1963)

1965 -- Crustaceans. Republished by University of Michigan Press

1968 -- "Schmitt Mesa" designated in Antarctica by Board of Geographic Names

1976 -- Death of Alvina Schmitt

August 5, 1977 -- Death

1978 -- "Remembrance to Waldo LaSalle Schmitt," memorial meeting at the National Museum of Natural History
Topic:
Biography  Search this
Invertebrate zoology  Search this
Zoology  Search this
Zoologists  Search this
Invertebrates  Search this
Crustacea  Search this
Collectors and collecting  Search this
Scientific expeditions  Search this
Marine invertebrates  Search this
Genre/Form:
Motion pictures (visual works)
Audiotapes
Black-and-white photographs
Manuscripts
Lantern slides
Color transparencies
Citation:
Smithsonian Institution Archives, Record Unit 7231, Waldo L. Schmitt Papers
Identifier:
Record Unit 7231
See more items in:
Waldo L. Schmitt Papers
Archival Repository:
Smithsonian Institution Archives
EDAN-URL:
ead_collection:sova-sia-faru7231

Records

Extent:
146.04 cu. ft. (5 record storage boxes) (280 document boxes) (1 5x8 box) (1 film box) (2 oversize folders)
Type:
Collection descriptions
Archival materials
Manuscripts
Black-and-white photographs
Motion pictures (visual works)
Video recordings
Sound recordings
Black-and-white negatives
Color transparencies
Posters
Architectural drawings
Floor plans
Clippings
Diaries
Brochures
Date:
1947-1981
Introduction:
The records of the Office of Program Support, National Museum of American Art, 1965-1981, with related records from 1947, were received in the Archives from 1981 through 1994.
Descriptive Entry:
The large volume and irregular arrangement of the records of the Office is reflected in this finding aid. Series 1 through 14, the administrative records, are described on the folder level. Series 15 and 16, the exhibition files that form the bulk of the records, are described on the box level. Series 17 and 18, the oversize and audio-visual records, are described on the item level.

The Office arranged exhibitions by project number. The unnumbered, early exhibitions which appear in Series 15 are not well-documented, and project files contain only scraps of material, which do not paint a full portrait of the exhibition. Materials in these early files appear arbitrary; sometimes a catalog exists, sometimes some budget material, sometimes only correspondence.

In the mid-1960s, when the numbering system was more firmly established, the files increased in volume. The files of the numbered exhibitions which are contained in Series 16 document all aspects of the major exhibitions, though not in an easily recognized, regular order. Most exhibition files contain correspondence, but later files also include material regarding budget issues (both proposals and purchases); loans; shipping and packing; installation and instructions; publicity; and catalog creation (and finished catalogs as well). These files also often reflect the specific planning and equipment requirements of each exhibition.

The box-level format of the finding aid indicates the kinds of documentation that can be found in each box of records for particular exhibitions, since the files for single exhibitions often fill more than one box. Of course, folder titles are the most accurate guides to the contents of a box; however, the Office did not use standard folder titles for basic documentation that recurred for most exhibitions. Therefore, researchers consulting only the "Finances" folder would perhaps miss important records in folders entitled "Budget" or "Bills." Thus the box level description offers the researcher a general description of the material within, with more precise information found on the folder headings. Please note that only the English words for "biennial" and "triennial" have been used in the finding aid, and the documents themselves should be consulted for the proper foreign-language titles of these recurring exhibitions.

For this reason, researchers should search all boxes pertaining to a particular exhibition, rather than a few folders alone; similar material may arise in folders at both the beginning and the end of an exhibition. For a brief overview, researchers should request the folders called "exhibition notebooks" or "final report notebooks," which usually pull together much of the important material from all the folders. Useful material can also often be found in "Lois Bingham's file" for an exhibition.

Visual material exists throughout the Exhibition Series, yet again, the volume increases from the midpoint on. Some exhibition files contain only photographs of exhibited works, while others contain images of exhibited works, of installations, of opening receptions, of artists, of artists at work, of packing, and of various other scenes for panel exhibits. Later exhibitions often involved multimedia displays (slide, film, music shows; technological advances; lectures; panel exhibits) and the files reflect the planning and outcome of these more involved, more visual exhibitions.
Historical Note:
The historic mission and activities of the Office of Program Support date back to the mid-1940s, when the Department of State administered United States exhibition activities overseas. In 1954 this activity was transferred to the United States Information Agency (USIA). The USIA organized and circulated art exhibitions abroad and, in the years immediately preceding 1965, supported American participation in international art shows.

In November 1965, the Smithsonian Institution and the USIA agreed that the Smithsonian would assume the responsibility for an international exchange program of art exhibitions; support American entries in international art exhibitions, in particular, the Venice and Sao Paulo biennials; and service the United States Information Services' field requests, when possible. The USIA would continue to be responsible for national exhibitions presented in the Soviet Union and East European countries.

The International Art Program (IAP), the office responsible for the USIA activities in this area, was transferred to the control of the National Collection of Fine Arts (NCFA). Three program employees were detailed to NCFA. The USIA agreed to continue providing financial assistance for projects begun before the program transfer had been made.

In July 1966, IAP personnel, Lois A. Bingham, Chief, Margaret P. Cogswell, Deputy Chief, and William M. Dunn, Exhibits Officer, became permanent NCFA staff members.

Between 1965 and 1970, most of the exhibition budget for IAP was directed to the large international shows, most notably the biennials. After the threatened boycott of American artists at the Venice biennial in 1970, the Smithsonian began considering its role in the international art shows, not wanting to get involved in politics and the consequences of such activity in its relations with artists. At the same time, the USIA no longer felt that the international shows were the most useful means of reaching audiences abroad. As a result, both agreed that IAP would provide smaller exhibitions for USIA use - a minimum of six a year. NCFA, however, continued to assist American entries in the larger international shows by encouraging private institutions to provide support for them.

In 1973, IAP became the Office of Exhibitions Abroad (OEA), reflecting the changes in its mission. Lois Bingham continued as Chief of OEA.

By 1976-1977, OEA's funding and budgetary support for packaging shows for USIA was waning. In 1977, the Office title was changed to the Office of Program Support, with Bingham as Chief of the Office. The program of the new office became more restrictive, working with NCFA staff in assisting and developing NCFA projects. For other types of exhibitions, the Office was to seek outside financial support. In fiscal year 1980, Bingham became Coordinator of Program Support; and by the end of 1981 the Office ceased all operations.

These records provide detailed documentation on the administrative as well as exhibition activities carried out by USIA, IAP, and OEA from 1954 through 1981. Exhibition records include correspondence with embassies, working committees, organizers, artists; fund-raising letters; loan agreements; condition reports; exhibition reports and catalogs; press releases and newspaper clippings; photographs of artwork, installations, and publicity material (ambassadors, artists, and local committees), as well as biographies of artists involved with the shows. In addition, there are color slides, tape recordings, and film covering some of the exhibitions. Well documented are the Sao Paulo biennial and the Venice biennial dating from 1955 and 1964, respectively.

Administrative records include correspondence and memoranda, histories of the programs, USIA and Smithsonian agreements, and information on the office reorganizations. There is also information on program planning, budgetary material, travel policy, and trips taken by the staff. In addition, there are records on exhibitions sponsored by the Museum of Modern Art and the USIA, resource files broken down by collections and collectors, and professional art organizations, staff meeting notes, and personal diaries.
Topic:
Museum exhibits  Search this
Art museums  Search this
Genre/Form:
Manuscripts
Black-and-white photographs
Motion pictures (visual works)
Video recordings
Sound recordings
Black-and-white negatives
Color transparencies
Posters
Architectural drawings
Floor plans
Clippings
Diaries
Brochures
Citation:
Smithsonian Institution Archives, Record Unit 321, National Museum of American Art. Office of Program Support, Records
Identifier:
Record Unit 321
See more items in:
Records
Archival Repository:
Smithsonian Institution Archives
EDAN-URL:
ead_collection:sova-sia-faru0321

Colin de Land collection

Creator:
De Land, Colin, 1955-2003  Search this
Names:
American Fine Arts, Co.  Search this
Armory Show (1913: New York, N.Y.)  Search this
Art Cologne  Search this
Art Forum Berlin  Search this
Biennale di Venezia  Search this
Documenta  Search this
International Art Fair  Search this
Balk, Dennis  Search this
Beckwith, Patterson  Search this
Davey, Moyra  Search this
Dion, Mark, 1961-  Search this
Fend, Peter  Search this
Fraser, Andrea  Search this
Greene, Carol  Search this
Heilmann, Mary, 1940-  Search this
Marks, Matthew  Search this
McDonald, Daniel  Search this
Morris, Paul  Search this
Pierson, Jack, 1960-  Search this
Wadlin, Craig  Search this
Waters, John, 1946-  Search this
Extent:
15.15 Linear feet
0.901 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Photographs
Scrapbooks
Motion pictures (visual works)
Video recordings
Date:
1968-2008, bulk 1980-2003
bulk 1980-2003
Summary:
The Colin de Land collection measures 15.15 linear feet and 0.901 GB and dates from 1968 to 2008, with the bulk of the collection dating from the early 1980s through 2003. The majority of the collection consists of photographic material, primarily snapshots, documenting daily life in and around de Land's gallery American Fine Arts, Co., as well as de Land's pesonal life and affairs. There are candid photographs of exhibition openings, day-to-day gallery operations, art fairs, vacations, social gatherings, and New York City street scenes. Also included are some personal objects belonging to de Land and his wife Pat Hearn, as well as two scrapbooks containing items once decorating the walls of de Land's office at American Fine Arts. The collection includes video recordings documenting trips to Cape Cod, Hearn's illness, and occasional art world events.
Scope and Contents:
The Colin de Land collection measures 15.15 linear feet and 0.901 GB and dates from 1968 to 2008, with the bulk of the collection dating from the early 1980s through 2003. The majority of the collection consists of photographic material, primarily snapshots, documenting daily life in and around de Land's gallery American Fine Arts, Co., as well as de Land's pesonal life and affairs. There are candid photographs of exhibition openings, day-to-day gallery operations, art fairs, vacations, social gatherings, and New York City street scenes. Also included are some personal objects belonging to de Land and his wife Pat Hearn, as well as two scrapbooks containing items once decorating the walls of de Land's office at American Fine Arts. The collection includes video recordings documenting trips to Cape Cod, Hearn's illness, and occasional art world events.

The bulk of the collection consists of snapshots, along with their negatives and the envelopes provided by commercial photographic printers. The envelopes are sometimes annotated. The photographs, not typically identified by photographer, were taken by de Land, Hearn, and gallery employees, artists, and visitors. Most of the snapshots provide a candid record of life within de Land's circle, and not formal documentation of gallery exhibitions.

The figures in this collection often occupied blurred boundaries between artist, gallery employee, critic, and friend. Many of the photographs include AFA staff, including Daniel McDonald, Patterson Beckwith, and Craig Wadlin. Also of note are photos showing AFA artists, including John Waters, Mark Dion, Andrea Fraser, Moyra Davey, Dennis Balk, Peter Fend, and Jack Pierson.

In addition to life within the gallery, de Land's cameras also documented a larger art world of the era, candidly showing openings at other galleries, art fairs such as Art Basel, Art Cologne, and the Berlin Artforum, as well as festivals including the Venice Biennale and Documenta, many of which included AFA artists. There is some documentation of the Gramercy International Contemporary Art Fair and The Armory Show. The photographs frequently include de Land and Hearn's friends and fellow art dealers Paul Morris, Matthew Marks, and Carol Greene. Some images include artists that showed at Pat Hearn Art Gallery, such as Mary Heilmann. Collectors, celebrity visitors to the gallery, and critics also occasionally appear in the photographs. There is one 1968 photograph of de Land's mother and a small number of 1970s images of both de Land and Hearn.

In addition to the snapshots, there are a variety of other photographic formats, including digital, in the collection. The contents of the slides are of similar nature to the snapshots. The contact sheet binders offer some formal exhibition installation documentation, but are not exhaustive.

The collection also includes film and video footage. Thirty-five reels of Super-8 motion picture film primarily documents frequent vacations to Cape Cod, as well as the final stages of Hearn's illness and subsequent death. The 31 DV-mini cassettes include similar content, and some footage of opening receptions and other art world events.

Most of the official gallery records are missing, most likely lost in the frequent floods in the gallery basement. Two scrapbooks include material that was often photographed on the walls surrounding de Land's desk at AFA. Additional artifacts include one small painting by artist Charles Clough, inscribed to Hearn, a baseball hat frequently worn by de Land and appearing in many of the snapshots, and one page of an autographed calendar.
Arrangement:
This collection is arranged in 4 series:

Missing Title

Series 1: Photographic Material, 1968-2003, bulk 1980-2003 (14 linear feet; Box 1-14, 0.901 GB; ER01)

Series 2: Scrapbooks, circa 1980s-2003 (0.2 linear feet; Box 19)

Series 3: Video and Film Recordings, circa 1980-2003 (1.1 linear feet; Box 15, 16, 18)

Series 4: Artifacts, 1988-2008 (0.3 linear feet; Box 14, 17, 19)
Biographical / Historical:
Colin de Land (1955-2003) was a gallery owner whose New York City spaces challenged traditional modes of exhibition and art dealing.

Raised in Union City, New Jersey, de Land came to the art world from an academic background, having studied philosophy and linguistics at New York University. In 1984, de Land opened Vox Populi, a largely unrenovated space in the East Village, at 511 East 6th Street. The gallery showed experimental work by emerging artists, including the enigmatic John Dogg, thought to be a collaboration between de Land and artist Richard Prince.

In 1986, De Land opened his longest standing gallery, American Fine Arts, Co. (AFA), in the same space previously occupied by Vox Populi. The gallery moved to SoHo in 1988, first to 40 Wooster Street then to 22 Wooster Street in 1993. During the late 1990s, as most SoHo galleries moved to Chelsea, AFA remained a mainstay of the downtown arts scene. De Land's wife, Pat Hearn, whom he married in 1999 after over a decade together, was also a well known art dealer. Her gallery, Pat Hearn Art Gallery, also moved from the East Village to SoHo, later becoming one of the first to set down roots in Chelsea.

Known for his eccentric fashion and unorthodox business style, de Land cultivated a culture of experimentation within the AFA community. He typically hired young art students or recent graduates, often nurturing their own artistic careers. Along with a group of Cooper Union graduates, many of whom worked at the gallery, he founded the artist collective Art Club 2000. De Land often showed artists working in hybrid media, for example film and photography or music and installation. He was especially interested in ecological and environmental art, as well as work that took as its subject exhibition practice and the act of creating art. He often staged large thematic group shows. Artists who showed at the gallery included Mark Dion, John Waters, Andrea Fraser, Moyra Davey, Dennis Balk, Peter Fend, Tom Burr, James Welling, Mariko Mori, Dan Graham, Jessica Stockholder, Alex Bag, Christian Philipp Muller, and Jack Pierson.

In 1994, de Land and Hearn, along with gallerists Matthew Marks and Paul Morris, established the Gramercy International Contemporary Art Fair. Fashioned after the tradition of inexpensive hotel art fairs, four galleries were invited to exhibit artwork in rooms of the Gramercy Park Hotel, to be sold in a cash and carry model. The fair became an annual event, branching out to other cities, including Miami and Los Angeles, and growing significantly in size in New York. It later became known as The Armory Show.

De Land often carried a point-and-shoot camera and kept several on hand in the gallery. He documented opening receptions, art world social gatherings, concerts, and day-to-day happenings and invited visitors to the gallery and employees to do the same.

After Hearn's death from liver cancer in 2000, de Land became involved with Kembra Pfahler, the performance artist and leader of the rock band The Voluptuous Horror of Karen Black. De Land took over Hearn's Chelsea gallery, operating it as a second location of AFA. Following his own struggle with cancer, de Land passed away in 2003. AFA remained open, closing at the end of 2004 with a tribute group exhibition to de Land.
Related Materials:
The archival gallery records of Colin de Land's art gallery American Fine Arts, Co. as well as the gallery records of the Pat Hearn Gallery are available at the Center for Curatorial Studies at Bard College in New York. The gallery records there also include a fair amount of de Land's personal papers. Bard also acquired de Land's and Hearn's personal library.
Provenance:
The Colin de Land papers were donated to the Archives of American Art in 2008 by Dennis Balk, an artist represented by American Fine Arts, Co. and a close friend of de Land.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.

Researchers interested in accessing audiovisual recordings and born-digital records in this collection must use access copies. Contact References Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Genre/Form:
Photographs
Scrapbooks
Motion pictures (visual works)
Video recordings
Citation:
Colin de Land papers, 1968-2008, bulk 1980-2003. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.delacoli
See more items in:
Colin de Land collection
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9f9da47c1-bd20-49da-8477-4f57e4a58874
EDAN-URL:
ead_collection:sova-aaa-delacoli
Online Media:

Manuscript and Pamphlet File

Creator:
Smithsonian Institution. National Museum of Natural History. Department of Anthropology. Division of Ethnology  Search this
Mason, Otis Tufton, 1838-1908  Search this
Hough, Walter, 1859-1935  Search this
Williams, Talcott  Search this
Hawley, Edwin H.  Search this
Wilson, Thomas  Search this
Collection Creator:
National Museum of Natural History (U.S.). Department of Anthropology  Search this
Smithsonian Institution. Department of Anthropology  Search this
Smithsonian Institution. United States National Museum. Department of Anthropology  Search this
Extent:
41 Linear feet
Culture:
Sac and Fox (Sauk & Fox)  Search this
Baubi  Search this
Niitsitapii (Blackfoot/Blackfeet)  Search this
Eskimos  Search this
Innuit  Search this
Jamomadi  Search this
Kiowa  Search this
Mission  Search this
Moro  Search this
Naltunnetunne  Search this
Pygmies  Search this
Tesuque  Search this
A:shiwi (Zuni)  Search this
Modoc  Search this
Wichita  Search this
Osage  Search this
Dyak  Search this
Fox  Search this
Haida  Search this
Makah  Search this
Maya  Search this
Carib  Search this
Shuar/Achuar  Search this
Pueblo  Search this
Mi'kmaq (Micmac)  Search this
Seminole  Search this
Nanticoke  Search this
Seri  Search this
Pomo  Search this
Chinook  Search this
Washo Indians  Search this
Nez Percé Indians  Search this
Shoshone  Search this
Cuna  Search this
Bannock  Search this
Omaha  Search this
Cochiti Pueblo  Search this
Yavapai  Search this
Chaticks Si Chaticks (Pawnee)  Search this
Lenape (Delaware)  Search this
Sauk  Search this
Mojave (Mohave)  Search this
Hupa  Search this
Caddo  Search this
Klamath  Search this
Onondaga  Search this
Maidu  Search this
Oto  Search this
Tolowa  Search this
Wintun  Search this
Samoan  Search this
Cossacks  Search this
Arabs  Search this
Diegueño Indians  Search this
Goajira  Search this
Hittites  Search this
Kabyles  Search this
Kirghese  Search this
Luiseño Indians  Search this
Maori (New Zealand people)  Search this
Wichí (Mataco)  Search this
Narragansett  Search this
Parsee  Search this
Quichua  Search this
Quinaielt  Search this
Tonga?  Search this
Tulalip  Search this
Dayak (Indonesian people)  Search this
Samoans  Search this
Indians of North America -- California  Search this
Wintu  Search this
Arctic peoples  Search this
Indians of North America -- Subarctic  Search this
Indians of North America -- Great Basin  Search this
Indians of North America -- Northeast  Search this
Indians of North America -- Northwest Coast of North America  Search this
Quinault  Search this
Indians of North America -- Great Plains  Search this
Indians of North America -- Plateau  Search this
Indians of North America -- Southwest, New  Search this
Inuit  Search this
Indians of North America -- Southern States  Search this
Type:
Archival materials
Letters
Notes
Drawings
Maps
Photographs
Printed materials
Processed materials
Paper specimens
Reports
Manuscripts
Catalogs
Motion pictures (visual works)
Bibliographies
Place:
British Columbia
District of Columbia
Europe
Hawaii
India
Iran
Ireland
Japan
Korea
Madagascar
Madeira Islands
Micronesia
Mongolia
Morocco
New Guinea
Papua New Guinea
Peru
Nubia
Puerto Rico
Spain
Tahiti
Philippines
Thailand
Texas
Utah
Virginia
Date:
1840s
1860-1962
1972
1997
Scope and Contents:
For those who are searching for anthropologically substantive materials, special note should be made of the Manuscript and Pamphlet File. A potpourri of documents, the file includes correspondence, notes, drawings, maps, photographs, printed and processed materials, paper specimens, reports, writings, catalogs, motion picture film (now in the Smithsonian's Human Studies Film Archives), bibliographies, and other types of documents. Of concern is a wide variety of subjects such as anthropological specimens, museology and museums, Smithsonian history, archaeological and ethnological methods, exhibits, expeditions, history of anthropology, and so forth.

The file seems to have been maintained in the Division of Ethnology — in one document it was referred to as Herbert W. Krieger's morgue — and the subject matter is largely ethnological. Nevertheless, some documents relate to archeology and physical anthropology. The file also contains administrative materials, such as records relating to the Department of Anthropology's use of Work Projects Administration workers during the 1930s. In addition, the file is the main location of materials not generally accepted as being strictly anthropological in the modern sense. It includes, for example, material on period costumes, fish and fisheries, whaling, religions, armor, biblical studies, modern appliances, the seal industry, European music and musical instruments, lace, aeronautics, and other similar subjects. In addition, the file includes sets of papers of Edwin H. Hawley ,Walter Hough, Otis T. Mason, Talcott Williams and Thomas Wilson. Some documents, both primary and secondary research materials, concern the following cultural groups and geographic areas: Arabs, Bannock, Baubi, Blackfoot, British Columbia, Caddo, Carib, Chinook, Cochiti, Comanche, Cossacks, Cuna, Delaware, Diegueño, District of Columbia, Dyak, Eskimo, Europe, Fox, Goajira, Haida, Hawaii, Hittites, Hupa, India, Innuit, Iran, Ireland, Jamomadi, Japan, Jivaro, Kabyles, Kiowa, Kirghese, Klamath, Korea, Luiseño, Madagascar, Madiera, Maidu, Makah, Maori, Mataco, Maya, Micmac, Micronesia, Mission, Modoc, Mohave, Mongolia, Moro, Morocco, Naltunnetunne, Nanticoke, Narragansett, Navaho, New Guinea, Nez Perce, Nubia, Omaha, Onandaga, Osage, Oto, Papua, Parsee, Pawnee, Peru, Philippines, Pomo, Pueblo, Puerto Rico, Pygmies, Quichua, Quinaielt, Samoa, Sauk, Seminole, Seri, Shoshoni, Spain, Tahiti, Tesuque, Thailand, Texas, Tolowa, Tonga, Tulalip, Utah, Virginia, Washo, Wichita, Wintun, Yavapai, and Zuni.
The manuscript and pamphlet file is virtually a potpourri of documents, including correspondence, notes, drawings, maps, photographs, printed and processed materials, paper specimens, reports, writings, catalogs, motion picture film, bibliographies, and other types of documents. Of concern is a wide variety of subjects such as anthropological specimens, museology and museums, Smithsonian history, archeological and ethnological methods, exhibits, expeditions, history of anthropology, and so forth. The file seems to have been maintained in the Division of Ethnology--in one document it was referred to as being Herbert W. Krieger's morgue--and the subject matter is largely ethnological.

Some documents, however, concern archeology and physical anthropology. The file also contains some administrative materials--records relating to the Department of Anthropology's use of Work Projects Administration workers, for example. In addition, it is the main location of materials not generally accepted as being strictly anthropological in the modern sense. It includes, for example, material on the First Ladies' Gown exhibit now in the National Museum of American History, fish and fisheries, whaling, religions, armour, biblical studies, modern appliances, the seal industry, European music and musical instruments, lace, aeronautics, and other similar subjects.

The file includes the papers of many different persons. The file also includes sets of papers of Otis Tufton Mason, Walter Hough, Talcott Williams, Edwin H. Hawley, and Thomas Wilson. It includes documents, sometimes of a secondary nature, about the following cultural groups and geographic areas; Arabs, Bannock, Baubi, Blackfoot, British Columbia, Caddo, Chinook, Cochiti, Comanche, Cossacks, Cuna, Delaware, Diegueno, District of Columbia, Dyak, Eskimo, Europe, Fox, Goajira, Haida, Hawaii, Hittites, Hupa, India, Innuit, Iran, Ireland, Jamomadi, Japan, Jivaro, Kabyles, Kiowa, Kirghese, Klamath, Korea, Luiseno, Madagascar, Madeira, Maidu, Makah, Maori, Mataco, Maya, Micmac, Micronesia, Mission, Modoc, Mohave, Mongolia, Moro, Morocco, Naltunnetunne, Nanticoke, Narragansett, Navaho,

New Guinea, Nez Perce, Nubia, Omaha, Onandaga, Osage, Oto, Papua, Parsee, Pawnee, Peru, Philippines, Pomo, Pueblo, Puerto Rico, Pygmies, Quichua, Quinaielt, Samoa, Sauk, Seminole, Seri, Shoshoni, Spain, Tahiti, Tesuque, Thailand, Texas, Tolowa, Tonga, Tulalip, Utah, Virginia, Washo, Wichita, Wintun, Yavapai, and Zuni.
Collection Restrictions:
Some materials are restricted.

Access to the Department of Anthropology records requires an appointment.
Collection Rights:
Contact the repository for terms of use.
Topic:
Aeronautics  Search this
Lace and lace making  Search this
Musical instruments  Search this
Seal industry  Search this
Electric apparatus and appliances  Search this
Fish and fisheries  Search this
First Ladies' Gowns  Search this
Whaling  Search this
Religions  Search this
Armor  Search this
Biblical studies  Search this
Tipai-Ipai  Search this
Luiseno  Search this
Shoshone  Search this
Lenape  Search this
Mi'kmaq  Search this
Otoe  Search this
Pueblo  Search this
Eskimo ?  Search this
Iroquois  Search this
Meskwaki; Sauk & Fox  Search this
Blackfeet  Search this
Genre/Form:
Letters
Notes
Drawings
Maps
Photographs
Printed materials
Processed materials
Paper specimens
Reports
Manuscripts
Catalogs
Motion pictures (visual works)
Bibliographies
Collection Citation:
Department of Anthropology Records, National Anthropological Archives, Smithsonian Institution
Identifier:
NAA.XXXX.0311, Subseries 17.1
See more items in:
Department of Anthropology records
Department of Anthropology records / Series 17: Division of Ethnology
Archival Repository:
National Anthropological Archives
GUID:
https://n2t.net/ark:/65665/nw3b2f3180c-4348-4175-ab6f-c61e477eafc5
EDAN-URL:
ead_component:sova-naa-xxxx-0311-ref53

Philip Stein papers regarding David Alfaro Siqueiros, 1933-2012

Creator:
Stein, Philip  Search this
Subject:
Siqueiros, David Alfaro  Search this
Type:
Photographs
Interviews
Video recordings
Motion pictures (visual works)
Topic:
Muralists -- Mexico  Search this
Muralists -- New York (State) -- New York  Search this
Painters -- New York (State) -- New York  Search this
Record number:
(DSI-AAA_CollID)16219
(DSI-AAA_SIRISBib)368506
AAA_collcode_steiphil
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_368506
Online Media:

Hildreth Meière papers, 1901-2011, bulk 1911-1960

Creator:
Meiere, M. Hildreth, d. 1961-  Search this
Subject:
Abbott, Berenice  Search this
Dunn, Louise Meière  Search this
United States. Navy  Search this
Exposition internationale (1937 : Paris, France)  Search this
Peter A. Juley & Son  Search this
New York World's Fair (1939-1940 : New York, N.Y.)  Search this
Type:
Transcripts
Video recordings
Photographs
Diaries
Sketchbooks
Place:
Spain -- History -- Civil War, 1936-1939
Topic:
War relief  Search this
Travel  Search this
World War, 1939-1945  Search this
Women artists  Search this
Motion pictures (visual works)  Search this
World War, 1914-1918  Search this
Women muralists  Search this
Theme:
Women  Search this
Lives of American Artists  Search this
Latino and Latin American  Search this
Record number:
(DSI-AAA_CollID)5982
(DSI-AAA_SIRISBib)228718
AAA_collcode_meiemari
Theme:
Women
Lives of American Artists
Latino and Latin American
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_228718
Online Media:

William Russo Music and Personal Papers

Creator:
Strayhorn, Billy (William Thomas), 1915-1967  Search this
Russo, William, 1928-2003  Search this
Photographer:
Claxton, William  Search this
Leonard, Herman, 1923-2010  Search this
Composer:
Kenton, Stan  Search this
Musician:
Mulligan, Gerry  Search this
Names:
Chicago Jazz Ensemble  Search this
Ellington, Duke, 1899-1974  Search this
Extent:
87 Cubic feet (188 boxes)
Type:
Collection descriptions
Archival materials
Motion pictures (visual works)
Music
Audiotapes
Business records
Photographs
Correspondence
Librettos
Awards
Posters
Programs
Scrapbooks
Scores
Lecture notes
Date:
1920-2002
Summary:
Papers and audiovisual materials documenting Russo's career in music.
Scope and Contents:
The collection includes Russo's original and published music scores, parts and arrangements; audiovisual materials including recordings of broadcasts of Russo's radio show, performances of Russo's compositions, including performances by Duke Ellington, and film and video recordings of Russo's productions in theater and opera; and personal papers such as correspondence, photographs, scrapbooks, publicity files, contracts, etc. Among the most significant items in the collection are experimental jazz arrangements for Stan Kenton in the late 1940s-early 1950s, undated arrangements for Gerry Mulligan, Russo's original arrangement of Duke Ellington's Sacred Concert, scores to his first and second symphonies, and scores and libretti to several early rock operas. The photographs include images of persons such as Ellington, Kenton, and Billy Strayhorn, and photographs by jazz photographers Herman Leonard and William Claxton. 2007 addendum includes correspondence, mostly between Russo and his family; eighteen diaries for 1946-1967 (not all years are present) with sparse entries, some in Italian; and additional music manuscripts, parts, scores and libretti.
Arrangement:
The collection is arranged into nine series.

Series 1: William Russo's Music

Series 2: Teaching Notes

Series 3: Correspondence

Series 4: Publicity, Programs, and Reviews

Series 5: Posters and Artwork

Series 6: Photographs

Series 7: Books and Lecture Notebooks

Series 8: Memorabilia

Series 9: Audiovisual Materials
Biographical / Historical:
William Russo, renowned American jazz composer, arranger, and founder of the Chicago Jazz Ensemble, had a music career that spanned five decades and included performance, conducting and composition. During his career he worked with such diverse talents as Duke Ellington, Billy Strayhorn, Leonard Bernstein, Cannonball Adderly, Yehuidi Menuhin, Dizzy Gillespie, Seiji Ozawa, and Billie Holiday. Although critics acknowledged Russo mainly for his pioneering contributions to the big-band jazz canon, his talents extended to a far wider range of musical styles, creating groundbreaking jazz scores, rock operas, classical works, film scores, and educational textbooks on jazz orchestration and arrangement. In all, he composed over 200 pieces for jazz orchestra with more than 25 recordings of his work. In 1990, Russo received a Lifetime Achievement award from NARAS, the organization that presents the Grammy Awards.

As a young trombonist, Russo studied with Lennie Tristano, the pianist and theorist who became a leader in the progressive jazz movement. During the late 1940s, Russo led the revolutionary Experiment in Jazz band. At age 21, he became one of the chief composers/arrangers for the Stan Kenton Orchestra, one of the most innovative and influential jazz orchestras of the postwar era. In his four years with Kenton, Russo penned such classic Kenton works as "23° North – 82° West," and "Frank Speaking."

Russo made several major jazz recordings under his own name before his classical "Symphony No. 2 in C (TITANS)" received a Koussevitsky award in 1959; it was performed by the New York Philharmonic that same year under Leonard Bernstein, who had commissioned the work. This award marked Russo's "official" entry into the world of classical music. Russo continued to write major symphonic works throughout his career, including his 1992 grand opera, "Dubrovsky."

After his tenure with Kenton, in the early 1950s, Russo led his own successful bands, The Russo Orchestra in New York, and the London Jazz Orchestra, before returning to Chicago to form the Chicago Jazz Ensemble in 1065. With the Ensemble, he presented Duke Ellington's "First Concert of Sacred Music" in 1967. This was one of the rare times when Ellington allowed one of his compositions to be arranged and performed by a jazz orchestra other than his own, and was a reflection of Ellington's respect for Russo. Shortly after this performance, Russo composed a rock cantata, "The Civil War," that led him into the field of rock opera. After concentrating on classical music again in the 1970s, in the late 1980s, Russo began to re-explore the history of jazz through his revived Chicago Jazz Ensemble. In 1995, the Chicago Jazz Ensemble made history with the first-ever complete live performance of Gil Evans' and Miles Davis' "Sketches of Spain" in its original form. Recent Russo works that premiered in Chicago included "Chicago Suite No. 1," and "Chicago Suite No. 2," a recording that was published posthumously in the spring of 2003.
Related Materials:
Materials in the Archives Center

William Russo Transcription and Arrangement of Duke Ellington's First Concert of Sacred Music, 1967-1968 (AC0406)
Provenance:
Bequeathed to the Smithsonian by William Russo. Papers collected after Russo's death in 2003. The 2007 addendum sent by Russo's sister and daughter were also part of the bequest.
Restrictions:
Collection is open for research but an oil painting is stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
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.
Occupation:
Composers -- 20th century  Search this
Topic:
Opera  Search this
Jazz musicians -- United States  Search this
Jazz  Search this
Music -- 20th century  Search this
Genre/Form:
Motion pictures (visual works)
Music -- Manuscripts
Audiotapes
Business records -- 20th century
Photographs -- 20th century
Correspondence -- 20th century
Librettos
Awards
Posters -- 20th century
Programs
Scrapbooks
Scores
Lecture notes
Citation:
William Russo Music and Personal Papers, 1920s-2002, Archives Center, National Museum of American History.
Identifier:
NMAH.AC.0845
See more items in:
William Russo Music and Personal Papers
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep888a8d92a-3927-49c1-ace4-466bb766a9d6
EDAN-URL:
ead_collection:sova-nmah-ac-0845
Online Media:

Hildreth Meière papers

Creator:
Meiere, M. Hildreth, d. 1961  Search this
Names:
Exposition internationale (1937 : Paris, France)  Search this
New York World's Fair (1939-1940 : New York, N.Y.)  Search this
Peter A. Juley & Son  Search this
United States. Navy  Search this
Abbott, Berenice, 1898-1991  Search this
Dunn, Louise Meière  Search this
Extent:
27.3 Linear feet
1.4 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Transcripts
Video recordings
Photographs
Diaries
Sketchbooks
Place:
Spain -- History -- Civil War, 1936-1939
Date:
1901-2011
bulk 1911-1960
Summary:
The papers of Hildreth Meière measure 27.3 linear feet and 1.40 GB and date from 1901 to 2011, with the bulk of material dating from 1911 to 1960. The collection documents Meière's life and travels, and her long and prolific career as an architectural muralist through biographical material, correspondence, writings, thirteen diaries, files regarding her war relief work during the Spanish Civil War and World War II, printed and digital materials, extensive photographs and slides, eight sketchbooks, and two videocassettes and 93 reels of motion picture film documenting her travels, her volunteer efforts in Spain following the civil war, artwork, and home movies.
Scope and Contents:
The papers of Hildreth Meière measure 27.3 linear feet and 1.40 GB and date from 1901 to 2011, with the bulk of material dating from 1911 to 1960. The collection documents Meière's life and travels, and her long and prolific career as an architectural muralist through biographical material, correspondence, writings, thirteen diaries, files regarding her war relief work during the Spanish Civil War and World War II, printed and digital materials, extensive photographs and slides, eight sketchbooks, and two videocassettes and 93 reels of motion picture film documenting her travels, her volunteer efforts in Spain following the civil war, artwork, and home movies.

Biographical material includes an autobiographical narrative written by Meière, her many awards and certificates, membership information, passports, her U.S. Navy service records from World War I, documentation of her brief marriage and family genealogy, obituaries, and memorial service documentation. Also found are extensive writings and research conducted by Meière's daughter, Louise Meière Dunn, which include a complete list of Meière's commissions, detailed biographical narratives, and records of Meière's works held elsewhere.

The papers contain Meière's personal and family correspondence, travel correspondence, and business correspondence regarding professional activities. Much of the correspondence with family and friends was written during Meière's extensive travels over the world. Both family and travel correspondence have extensive indexes, summaries, and in some cases, transcripts prepared by Meière's daughter, Louise Meière Dunn. Some of the indexes, summaries and transcripts are digital. Writings include poetry and diaries kept during childhood and school years, travel diaries, essays and talks written about Meière's work, writings Meière prepared for committees of the National Mural Painters Association, and detailed travelogues of her trips to Constantinople and the Balkans in 1933, to Russia in 1936, her "Grand Tour" to Australia, Southeast Asia, India, Africa, and Europe in 1952-1953, and her "Holy Land" tour of the Middle East in 1954.

Civilian War Service Records document Meière's efforts at war relief organization during and after the Spanish Civil War and during World War II. The Spanish Civil War files include extensive photographs provided by the Spanish government as well as three motion picture films documenting refugees and damaged architecture and public artwork shot by Meière during a trip sponsored by Franco's government. World War II activities concern Meière's efforts to organize artists in the United States to design and execute murals and other works of public art at military facilities around the U.S.

Travel records include maps, ephemera, slides, and 83 motion picture films taken on trips abroad between 1933 and 1958. Trips include Eastern and Western Europe, the Mediterranean Region and the Middle East, South America, Mexico and Guatemala, India, Sub-Saharan Africa, Southeast Asia, Australia, New Zealand, Scandinavia, and the UK. The motion picture films are mostly shot in Kodachrome color and many contain intertitles prepared by Meière to identify locations for travel lectures.

Printed materials consist primarily of clippings and publications that reference Meière's work, contain profiles of her, or contain published writings by her. A single published educational film is also found, given to her by an Australian filmmaker friend. Additional photographs, digital photographs and moving images include personal photographs of Meière, with portraits by Peter A. Juley and Sons and Berenice Abbott, photographs of many of her commissioned works, and a few photographs of artwork by others. Home movies show Meière with friends in 1926 and 1940. Among the photographic documentation of artworks by Meière and others are motion picture films of the 1939 New York World's Fair, the D.C. Municipal Building Frieze, and the 1937 Paris Fair; also found are 311 lantern slides and 201 glass copy negatives of her own completed works as well as murals she documented while traveling, notably murals in Norway and Oberammergau, Bavaria, taken in the 1930s.

Eight sketchbooks date to her early years as an art student and artist and include many figure studies, landscapes, and theatrical sketches made at home and abroad.
Arrangement:
This collection is arranged in 8 series. Indexes, summaries, and transcripts prepared by Louise Meière Dunn that relate directly to archival materials in the collection are found throughout the collection with the material they describe. These indices are particularly rich in Series 2, Correspondence.

Missing Title

Series 1: Biographical Material, 1915-2003 (0.6 linear feet; Boxes 1, 14, OV18)

Series 2: Correspondence, 1901-2011 (3 linear feet; Boxes 1-4, RD19, 0.038 GB; ER01-ER03)

Series 3: Writings, 1904-1960 (1.3 linear feet; Boxes 4-5)

Series 4: Civilian War Service Records, 1938-2006 (1.3 linear feet; Boxes 5-6, 15, FC 28-30, 1.33 GB; ER05)

Series 5: Travel Records, 1933-1958 (12.8 linear feet; Boxes 6-10, 15, OV18, FC 31-111)

Series 6: Printed Material, 1913-1998 (2.1 linear feet; Boxes 10-12, 15, FC 112)

Series 7: Photographs and Moving Images, 1915-1966 (5.8 linear feet; Boxes 12-13, 16, 20-27, FC 17, 113-127, 0.029 GB; ER04)

Series 8: Sketchbooks, 1911-1922 (0.4 linear feet; Box 13)
Biographical / Historical:
Hildreth Meière (1892-1961) was born in Flushing, New York, and had a prolific career from 1921-1961 as an architectural muralist working primarily in an Art Deco style. Meière painted murals and designed for various mediums including mosaic, metal, and stained glass. In 1956 the American Institute of Architects awarded Meière their Fine Arts Medal.

Meière was educated at New York's Convent of the Sacred Heart, Manhattanville, the Art Students League in New York, the California School of Fine Arts (now San Francisco Art Institute), and the School of the Art Institute of Chicago, in addition to pursuing studies in Italy. Her major commissions include the Nebraska State Capitol at Lincoln, the National Academy of Sciences, the Resurrection Chapel of the National Cathedral in Washington, D.C. In New York, she designed the Art Deco plaques on the exterior wall of Radio City Music Hall; created mosaic interiors for the Irving Trust Building at 1 Wall Street; and provided ecclesiastical decorations for St. Patrick's Cathedral, St. Bartholomew's Episcopal Church, Temple Emanu-El, and elsewhere. She also created murals for the Chicago 1933 Century of Progress Fair, and the 1939 New York World's Fair.

She was also an active officer in the Art Students League and the National Society of Mural Painters. Some of her most inspired collaborations were with the architect Bertram Goodhue in the 1920s, and only his sudden death in 1924 put an end to them, although some projects were finished with the successor firm.

Meière died in 1961 at the age of 68. Her work is remembered in several major publications, including The Art Deco Murals of Hildreth Meière by Catherine Coleman Brawer and Kathleen Murphy Skolnik, with photographs by Meière's granddaughter, Hildreth Meière Dunn, published in 2014; and the catalog of the 2009 exhibition at St. Bonaventure University, curated by Brawer and photographed by Dunn, entitled Walls Speak: the Narrative Art of Hildreth Meière.
Provenance:
A majority of the collection placed on deposit 2001 by Louise Meière Dunn, daughter of Hildreth Meière. The collection was donated incrementally by Dunn through 2012. Donations occurred 2001-2007, and again in 2010-2012.
Restrictions:
Use of original papers requires and appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Painters -- New York (State) -- New York  Search this
Muralists -- New York (State) -- New York  Search this
Mosaicists -- New York (State) -- New York  Search this
Topic:
War relief  Search this
Travel  Search this
World War, 1939-1945  Search this
Women artists  Search this
Motion pictures (visual works)  Search this
World War, 1914-1918  Search this
Women muralists  Search this
Function:
Art commissions
Genre/Form:
Transcripts
Video recordings
Photographs
Diaries
Sketchbooks
Citation:
Hildreth Meière papers, 1901-2011, bulk 1911-1960. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.meiemari
See more items in:
Hildreth Meière papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw91dab1643-4ed7-41c1-bd7a-196576d7d777
EDAN-URL:
ead_collection:sova-aaa-meiemari
Online Media:

Larry Zim World's Fair Collection

Collector:
Cooper-Hewitt Museum  Search this
Zim, Larry (Larry Zimmerman), 1931-1987  Search this
National Museum of American History (U.S.). Division of Cultural History  Search this
Names:
Alaska-Yukon-Pacific Exposition (1909 : Seattle, Wash.)  Search this
Appalachian Exposition. (Knoxville, Tennessee: 1911)  Search this
Art and Techniques Exposition (Paris, France: 1937)  Search this
British Empire Exhibition (Wembley, London, England: 1924-1925)  Search this
British Empire Exposition (Glasgow, Scotland: 1938)  Search this
Bronx International Exposition (New York, New York: 1917-1918)  Search this
Brussels International (1910 )  Search this
California Midwinter International Exposition (1894 : San Francisco, Calif.)  Search this
California-Pacific International Exposition (San Diego, California: 1935-1936)  Search this
Canadian National Exposition (1937)  Search this
Centennial Exhibition (1876 : Philadelphia, Pa.)  Search this
Centennial Exposition of the Ohio Valley and Central States (1888 : Cincinnati, Ohio)  Search this
Century of Progress International Exposition (1933-1934 : Chicago, Ill.)  Search this
Chicago Autumn Festival (1899)  Search this
Cincinnati Industrial Exposition (1882 : Cincinnati, Ohio)  Search this
Cotton States Exposition (1895 : Atlanta, Ga)  Search this
Esposizione Internationale (1911 : Turin, Italy)  Search this
Esposizione Internationale D'Arte (Venice, Italy: 1910)  Search this
Esposizione Internazionale d'Arte (1895 : Venice, Italy)  Search this
Exhibition of Art Treasures (1857 : Manchester, England)  Search this
Exhibition, Massachusetts Charitable Mechanic Association (1878 : Boston, Massachusetts)  Search this
Expo 67 (Montréal, Québec)  Search this
Exposicion Centro-Americana (1897 : Guatemala City, Guatemala)  Search this
Exposition International (1894 : Lyons, France)  Search this
Exposition International Coloniale Maritime et d'Art Flammand (Antwerp, Belgium: 1930)  Search this
Exposition International de Liege (1930)  Search this
Exposition Internationale Maritime (1887 : Le Havre, France)  Search this
Exposition Nationale Belge (1880 : Belgium)  Search this
Exposition Universelle (1885 : Antwerp, Belgium)  Search this
Exposition Universelle de Paris (1855 : Paris, France)  Search this
Exposition Universelle de Paris (1878 : Paris, France)  Search this
Exposition coloniale internationale de Paris (1931)  Search this
Exposition universelle de 1867 à Paris  Search this
Exposition universelle de 1889 (Paris, France)  Search this
Exposition universelle et internationale (1958 : Brussels, Belgium)  Search this
Exposition universelle internationale de 1900 (Paris, France)  Search this
Fiera di Milano (1939)  Search this
Foreign Exhibition (1883 : Boston, Massachusetts)  Search this
Franco-British Exhibition (London, England: 1908)  Search this
Franklin Institute Exhibition (1874 : Philadelphia, Pennsylvania)  Search this
Gewerbe Austellung (1896 : Berlin, Germany)  Search this
Golden Gate International Exposition (1939-1940 : San Francisco, Calif.)  Search this
Great Exhibition of 1851 (London, England)  Search this
Great Industrial Exhibition (1853 : Dublin, Ireland)  Search this
Great Lakes Exposition (Cleveland, Ohio: 1936-1937)  Search this
Hemisfair '68 (San Antonio, Texas: 1968)  Search this
Hudson-Fulton Celebration (1909)  Search this
Imperial International Exhibition (London, England: 1909)  Search this
International Exhibition (1897 : Brussels, Belgium)  Search this
International Exhibition of 1862 (London, England)  Search this
International Exhibition of 1871 (London, England)  Search this
International Exhibition of 1872 (London, England)  Search this
International Exhibition of Arts and Manufactures (1865: Dublin, Ireland)  Search this
International Exposition (Barcelona, Spain: 1929-1930)  Search this
International Exposition (Brussels, Belgium: 1935)  Search this
International Exposition of Decorative Arts and Modern Industries (1925 : Paris, France)  Search this
International Exposition on the Environment (Spokane, Washington: 1974)  Search this
International Fire Exhibition 1903 : London, England)  Search this
International Marine Exhibition of Marine Hygiene and Exhibition of the Italian Glories (Genoa, Italy: 1914)  Search this
International Ocean Exposition (Okinawa, Japan: 1975)  Search this
Interstate and West Indian Exposition (Charleston, South Carolina: 1901-1902)  Search this
Italian Exposition (1904 : London, England)  Search this
Jamestown Tercentennial Exposition (Hampton Roads, Virginia: 1907)  Search this
Japan World Exposition (Osaka, Japan: 1970)  Search this
Japan-British Exhibition (London, England: 1910)  Search this
Knoxville International Energy Exposition (1982)  Search this
Lewis and Clark Centennial Exposition (1905 : Portland, Or.)  Search this
Louisiana Purchase Exposition (1904: Saint Louis, Mo.)  Search this
National Ecuadorian Exposition (Quito, Ecuador: 1909)  Search this
National Export Exposition (1899 : Philadelphia, Pennsylvania)  Search this
New York World's Fair (1939-1940 : New York, N.Y.)  Search this
New York World's Fair (1964-1965)  Search this
Pan-American Exposition (1901: Buffalo, N.Y.)  Search this
Panama-California Exposition (1915 : San Diego, Calif.)  Search this
Panama-Pacific International Exposition (1915 : San Francisco, Calif.)  Search this
Scottish National Exposition (Edinburgh, Scotland: 1908)  Search this
Sesqui-Centennial International Exposition (1926 : Philadelphia, Pa.)  Search this
Sydney International Exhibition (Sydney, Australia: 1879)  Search this
Texas Centennial Central Exposition (Dallas, Texas: 1936)  Search this
Universal Exhibition (1873 : Vienna, Austria)  Search this
Western Pennsylvania Exposition (1915 : Pittsburgh, Pennsylvania)  Search this
World's Columbian Exposition (1893 : Chicago, Ill.)  Search this
World's Industrial and Cotton Centennial Exposition (1884-1885 : New Orleans, La.)  Search this
Extent:
46 Cubic feet (123 boxes and 150 map-folders)
Type:
Collection descriptions
Archival materials
Motion pictures (visual works)
Postcards
Greeting cards
Stationery
Panoramas
Sheet music
Posters
Shopping bags
Photographs
Stereographs
Menus
Place:
Disneyland (California)
Date:
1841-1988
Scope and Contents:
Memorabilia of fairs and World's Fairs throughout history, both in the United States and abroad, including photographs, stereographs, panoramas and slides; printed materials; postcards; sheet music; philatelic material; stationery and greeting cards; menus and food service items; posters; shopping bags; motion picture films; and other items.
Arrangement:
The collection is divided into three series.

Series 1: World's Fair Materials, 1841-1988

Series 2: Reference and Miscellaneous Materials

Series 3: Larry Zim Materials

Series 4: Oversize Materials, 1909-1968
Biographical / Historical:
Larry Zim, whose actual name was Larry Zimmerman, was an industrial designer, a historian of World's Fairs who wrote extensively on the subject, and a collector of World's Fair memorabilia.
Provenance:
Collection by bequest of Larry Zim.
Restrictions:
Collection is open for research but two oversize folders are stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
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:
Crystal Palace -- (New York, New York)  Search this
Exhibitions  Search this
Genre/Form:
Motion pictures (visual works)
Postcards
Greeting cards
Stationery
Panoramas
Sheet music -- 20th century
Posters
Shopping bags
Photographs -- 19th century
Sheet music -- 19th century
Stereographs
Menus
Citation:
Larry Zim World's Fair Collection, 1841-1988, Archives Center, National Museum of American History.
Identifier:
NMAH.AC.0519
See more items in:
Larry Zim World's Fair Collection
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep8523c6615-9c45-41fc-86c2-ca7717969437
EDAN-URL:
ead_collection:sova-nmah-ac-0519
Online Media:

Shirley Leonard Papers

Creator:
Jones, Shirley May, 1922-2004  Search this
Leonard, Shirley, 1922-2004  Search this
Donor:
Connick, Kathleen D.  Search this
Extent:
4 Cubic feet (16 boxes)
Type:
Collection descriptions
Archival materials
Motion pictures (visual works)
Audiotapes
Photographs
Correspondence
Scrapbooks
Sheet music
Date:
1931-1998
bulk 1938-1957
Summary:
Papers documenting the life and career of Shirley May Jones, stage name Shirley Leonard, an exotic dancer from Cincinnati, Ohio. The papers, photographs, and clippings document her childhood, early life, and professional career.
Scope and Contents:
Papers documenting the life and career of exotic dancer Shirley May Jones, stage name Shirley Leonard, of Cincinnati, Ohio. Leonard performed primarily throughout the Midwest but also worked in Florida, California, and Louisiana. The collection includes family, performance, venue, and publicity photographs, photographs of other entertainers (some inscribed), correspondence, clippings, a childhood scrapbook, sheet music, recorded music, printed materials, home movies, and financial and business records such as contracts and wage slips.
Arrangement:
The papers are divided into five series.

Series 1: Personal Papers

Series 2: Business, Financial, and Legal Records

Series 3: Performance Materials

Series 4: Photographs

Series 5: Audiovisual Materials
Biographical / Historical:
Exotic dancer, active during the 1940s and 1950s.
Separated Materials:
The Division of Culture and the Arts (now Division of Cultural and Community Life) holds artifacts related to this collection including some of Jones' costumes and accessories.
Provenance:
Purchased by the National Museum of American History from Cowan's Historic Americana Auction in 2005. Addendum donated to the Archives Center in 2006 by Kathleen D. Connick, a relative of Shirley May Jones.
Restrictions:
The collection is open for research use.

Physical Access: Researchers must handle unprotected photographs with gloves. Researchers must use reference copies of audio-visual materials. When no reference copy exists, the Archives Center staff will produce reference copies on an "as needed" basis, as resources allow. Researchers must use photocopies of scrapbooks due to the fragility of the originals, unless special access is approved.

Technical Access: Viewing film and listening to audio disc recordings is only possible by special arrangement, please inquire.
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:
Burlesque shows -- 1920-1970  Search this
Burlesque (Theater) -- 1920-1970  Search this
Striptease -- 1920-1970  Search this
Stripteasers -- 1920-1970  Search this
Genre/Form:
Motion pictures (visual works)
Audiotapes
Photographs -- 20th century
Correspondence -- 20th century
Scrapbooks -- 20th century
Sheet music
Citation:
The Shirley Leonard Papers, Archives Center, National Museum of American History
Identifier:
NMAH.AC.0919
See more items in:
Shirley Leonard Papers
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep802417644-dd41-44c9-84c3-64abbff4668b
EDAN-URL:
ead_collection:sova-nmah-ac-0919
Online Media:

Frank and Lillian Gilbreth Collection

Creator:
Perkins, James Secor  Search this
Gilbreth, Frank Bunker, 1868-1924  Search this
Gilbreth, Lillian Moller, 1878-1972  Search this
Extent:
5 Cubic feet (19 boxes)
5 Cubic feet (19 boxes)
Type:
Collection descriptions
Archival materials
Videotapes
Betacam sp (videotape format)
Motion pictures (visual works)
Date:
1907-2000
bulk 1911-1924
Summary:
The collection consists primarily of glass plate slides (negative and positive), photo prints, and stereographs documenting the work undertaken by Frank and Lillian Gilbreth from 1910 to 1924 in the fields of motion study, shop efficiency, and factory organization. Also included are slides dcoumenting the Gilbreth Family, their travels, residences, and friends. The collection also contains the film "The Original Films of Gilbreth The Quest for the One Best Way," 1968 by James S. Perkins.
Scope and Contents:
The collection consists primarily of glass plate slides (negative and positive), photo prints, and stereographs documenting the work undertaken by Frank and Lillian Gilbreth from 1910 to 1924 in the fields of motion study, shop efficiency, and factory organization. As scientific managers, the Gilbreth's introduced new techniques to analyze work, the workplace, and work practices with the goal of eliminating waste to maximize productivity. The collection illustrates these new techniques and their application to a wide variety of studies. The collection is diverse and provides insight into understanding how Gilbreth approached his studies. Also included are slides documenting the Gilbreth Family, their travels, residences, and friends. The collection also contains the film "The Original Films of Gilbreth The Quest for the One Best Way," 1968 by James S. Perkins.

Series 1, Background Information, 1892-1997, includes biographical materials about Frank B. Gilbreth; copies of some of Frank Gilbreth's patents, 1892-1916; and printed materials, 1907-1997, that contain articles, newspaper and magazine clippings about Frank and Lillian Gilbreth and time and motion study generally. Black-and-white photo prints of Gilbreth or work Gilbreth documented from collections held at Purdue University and Ohio State University are included.

Series 2, Glass plate stereo slides, 1910-1924, consists of approximately 2,250 glass stereo slides photographed by Frank B. Gilbreth and others and intended for viewing through an optical viewing machine. Some are positive black and white, positive color, and negative black and white. The subject matter of the slides covers the work undertaken by Frank Gilbreth from 1910 to 1924 in the fields of motion study, shop efficiency, and factory organization. Many of the images serve as documentation for the studies the couple performed as they were hired by firms in an attempt to provide solutions to the problems of inefficiency. Also included are the Gilbreth Family, their travels, residences, and friends.

The slides are numbered sequentially. For example, a glass plate slide numbered 318949.001 will have a corresponding photoprint 318949.001 in Series 3, Photoprints of glass plate slides. Note: not all glass plate slides have corresponding photoprints. Additionally, there are Office of Photographics Services, Smithsonian Institution negative numbers assigned to many of the photo prints.

Some subject categories include:

Frank B. Gilbreth: working in motion laboratories, on factory inspections, seated in offices, with family and friends, in World War I uniform, watching and monitoring shop operations.

Lillian M. Gilbreth: with family, during university graduation ceremonies, traveling and working with Frank and observing office workers.

Gilbreth Family: family on the road in an automobile, at home seated around the dinner table, in the parlor, in the garden, and with friends and relatives.

Gilbreth ship travel: contains views on steamer voyages to Europe, deck scenes, arrivals, departures, ship officers and crew, and other passengers.

Automobile assembly study: internal and external views of a warehouse/factory, including large piles or rows of metal car frames and other parts.

Benchwork study: images of a male worker standing or sitting in a chair while filing an object secured in a vice at a workbench.

Betterment: images of efforts whcih contributed to industrial betterment (the Gilbreth chair, employee library, and the home reading box).

Bricklaying study: view of men wearing overalls and caps, shoveling, and men laying bicks.

Business and apparatus of motion study: views of lectures, meetings, film showings, demonstrations, charts, drawings, motion models, charts amd some equipment.

Disabled study: views of partially blind World War I veterans, amputees using special tytpewriter, assembling machinery, use of cructhes, and a one armed dentist.

Factory bench work: table-top machines assembly operations, hand tools, orderly arrangement of parts prior to and during assembly and a variety of bench vises.

Factory documentation: various images of the interior and edterior of factories including heavy machinery.

Golfing study: various cyclegraphs of a man swinging a golf club.

Grid boards: back drops used by Gikbreth to isolate and measure worker motions. This includes walls, floors, desktops, and drop cloths divided into grids of various densities and scales.

Handwriting and cyclegraphs: finger lights moving in patterns of script.

Ladders: include step ladders and painters' ladders shown in use near shelving.

Light assembly study: wide variety of images ranging from cyclegraphs of women working, to the factory floor as well as tools and machinery.

Materials handling study: different angles of an empty cart, a cart oiled high with boxes, and a man pushing a cart illustrating different body positions.

Military study: illustrate work on the Army foot meausring machine, gun parts, men holding a rifle.

Motion models: images of simple wire motionmodels.

Needle trade study: views of textile machinery and workers.

Office study: various shots inside of an office with tables, desks, drawers, files, and typewriters. Some of the images are cyclegraphs of femal and male workers performing tasks, such as writing, both tin the context of an office as well as in front of a grdidded background. There are several close-ups of an organizer containing penciles, paperclips, pins and rubberbands.

Packing: methods of placing and arranging goods in boxes, such as soap packing.

Panama-Pacific Exposition 1915: contains views of statuary, fountains, and architecture of the exposition held in San Francisco.

Pure light cyclegraphs: no workers or grids visible only finger lights in motion.

Rubber stamping study: hand movements and access to ink pads and stamps.

Scenic views: views of buildings, landscapes, street scenes, and fountains from around the world documenting Gilbreth's travels.

Shoe making study: laboratory studies of shoe assembly operations with an emphasis on workers access to component pieces.

Shop machinery: various shots of machines and workers working with machines.

Signage: include organizational flow charts, shop floor plans, route maps, office layouts, numbering systems, exhibit display boards illustrating Frank Gilbreth's efficiency studies and techniques.

Stacking: views of the art and science of stacking boxes, clothing, equipment, containers, and vertical storage without shelves.

Stock bins: consists of storage pips, paper, other raw materials, shelves, and corridoe shots.

Storage: images illustrate contrast between old techniques and new.

Surgical and dental studies: thester views of surgeons, assistants, nurses, hand motions in grasping, placing surgical instruments, dental work and self inspection of teeth.

Tool cribs: storage of hand tools in shops with an emphasis on easy access and easy inventorying.

Typing study: various views of femaile s under observation using Remington typewriters.

Series 3, Photoprints of glass plate slides, 1910-1924, consist of black and white photoprints of the glass plate slides depicting the fields of motion study, shop efficiency, and factory organization. Also included are the Gilbreth Family, their travels, residences, and friends.

Series 5, Stereographs,1911-1914,

Series 6, Audio Visual Materials, 1968, 2000, and undated, is divided into three subseries: Subseries 1, Audio visual documentation, 1968 and undated; Subseries 2, Moving Images, 1968 and undated; and Subseries 3, Audio Recordings, 1980, 1990,. 2000 and undated. The series contains several formats: 7" open reel-to-reel audio tape, 1/2" VHS, Beta Cam SP, DVD, audio cassette, one inch audio tape, and 16 mm film.

Subseries 1, Audio visual documentation, 1967-1968 and undated, consists of supplemental documentation for the film, "The Original Films of Gilbreth The Quest for the One Best Way." Specifically, there are brochures and other printed materials detailing what the film is about and how copies may be obtained. This subseries also contains a copy of the book Cheaper by the Dozen, 1948. The book was written by Frank Bunker Gilbreth, Jr. and Ernestine Gilbreth Carey and tells the biographical story of Frank Bunker Gilbreth and Lillian Moller Gilbreth, and their twelve children. The book was adapted to film by Twentieth Century Fox in 1950.

Subseries 2, Moving Images, 1967, consists of one title, "The Original Films of Gilbreth The Quest for the One Best Way." The film materials consist of the film's production elements: 16 mm black and white negative A-roll; 16mm black-and-white negative B-roll; and the optical track negative. Each is 800 feet in length.

The film presents a summary of work analysis films which were taken by Frank B. Gilbreth between 1919 and 1924 showing a number of industrial operations from which the motion study was developed. Demonstrates motion and fatigue study, skill study, plant layout and material handling, inventory control, production control, business procedures, safety methods, developing occupations for the handicapped, athletic training and skills, military training, and surgical operations as researched and developed by Gilbreth. Points out that Gilbreth created entirely new techniques on how to improve industrial efficiency, while at the same time significantly improving conditions for the workers. The film was produced by James S. Perkins in collaboration with Dr. Ralph M. Barnes and with commentary by Liilian M. Gilbreth and James S. Perkins. The film was presented on December 3, 1968 at the American Society of Mechanical Engineers Annual Meeting in New York. The formats for this title include: 16 mm, Beta Cam SP, and DVD. Additionally, there is a one inch audio tape recording for the film.

Subseries 3, Audio Recordings, 1980, 1990, 2000 and undated consist of a Smithsonian radio program titled "Inside the Smithsonian, Cheaper by The Dozen," from 1980 and an recording of Ernestine Gilbreth Casey discussing Gilbreth Family photographs from 2000. Hosted by [Ann Carroll?], "Inside the Smithsonian, Cheaper by The Dozen," featured Fred and Bill Gilbreth discussing their parents Frank and Lillian, Gilbreth, and the book Cheaper by the Dozen. The radio program coincided with the 100th Anniversary of the American Society of Mechancial Engineers (founded 1880)of which Lillian Gilbreth was the Society's first female member and showcased a single case exhibition at the Museum of History and Technology (now the National Museum of American History) titled "Frank and Lillian Gilbreth: Motion Engineers." Inside Smithosnian Radio was a weekly program produced by the Office of Telecommunications. The recording of Ernestine Gilbreth Carey was recorded on July 9, 2000 and documents Ms. Carey's identification and discussion of Gilbreth Family photographs. David Ferguson assisted in the discussion. A hard copy index to the photographs Ms. Carey discusses is available.
Arrangement:
The collection is arranged into six series.

Series 1: Background Materials, 1892-1997

Subseries 1.1: Frank B. Gilbreth, undated

Subseries 1.2: Frank B. Gilbreth patents, 1892-1916

Subseries 1.3: Printed Materials, 1907-1997

Series 2: Glass Stereo Slides (Positive), 1910-1924 and undated

Series 3: Photo prints of glass stereo slides, 1910-1924 and undated

Subseries 3.1: Photo Print Books, 1-9, undated

Subseries 3.2: Photo prints (duplicates), undated

Series 4: Stereo Autochromes, undated

Series 5: Stereograph Cards, 1911-1914

Series 6: Audio Visual Materials, 1968, 1990, 2000 and undated

Subseries 6.1, Audio visual documentation, 1968 and undated

Subseries 6.2: Moving images, 1968 and undated

Subseries 6.3: Audio recordings, 1980, 1990, 2000, and undated
Biographical / Historical:
Frank Gilbreth is best known for his work on the efficiency of motion. Working with his wife and professional partner Lillian Moller Gilbreth, he applied modern psychology to his work with management. His innovative motion studies were used on factory workers, typists and the disabled. Gilbreth established the link between psychology and education to be succesful management.

Frank Gilbreth was born in Fairfield, Maine on July 7, 1868. His parents, John and Martha Bunker Gilbreth were New Englanders. John Gilbreth ran a hardware business, but died when Frank was only three. Bearing the responsibilty of raising her children alone, Martha moved the family twice in search of quality education for her children. Ultimately she decided to school the children herself. In 1885, Frank graduated from English High School in Boston. Despite gaining admission into the Massachusetts Institute of Technology, Frank opted to enter the work world immediately as a bricklayer's apprentice with Whidden and Company, building contractors in Boston.

Smart and skilled, Gilbreth worked his way up in the company. He learned the trade quickly and soon was promoted to supervisor, foreman, and finally to the position of superintendent. To further his edcuation, he went to night school to study mechanical drawing.

At the age of 27, Gilbreth embarked upon his first business venture. He started his own contracting firm. His firm developed a fine reputation for quality work at a very rapid pace. He invented tools, scaffolding, and other contraptions to make the job easier. His company goals included the elimination of waste, the conservation of energy, and the reduction of cost. His work included canals, factories, houses, and dams. His clients came from all parts of the United States, and he performed some work in England.

In 1903, Frank Gilbreth met Lillian Moller (1903-1972) and married her on October 19, 1904. Lillian graduated from the University of California, Berkeley with a BA (1900) and MA (1902). She later earned a Ph.D from Brown University (1915), earning a dissertation titled The Psychology of Management. Lillian's academic work, large family and integral role in Frank's consulting business kept her busy. Her contributions to the business led to a greater understanding of an individual's welfare in the work world. This becamme a key idea to increasing productivity through scientific management techniques.

Working together, the couple became leaders in the new field of scientific management. They published books, gave lectures, and raised tweleve children together: Anne, Mary (1906--912), Ernestine, Martha, Frank Jr., William, Lillian, Frederick, Daniel, John, Robert and Jane. Some of Gilbreth's books include Fields System (1908); Concrete System (1908); Bricklaying System (1909; Motion Study (1911); and Primer of Scientific Management (1911). Gilbreth co-authored with Lillian: Time Study (1916); Fatigue Study (1916); Applied Motion Study (1917); and Motion Study for the Handicapped (1919).

It wasn't long before Gilbreth moved away from construction. Together with his wife, they focused on the link between psychology and motion. With her strong psychological background, and his interest in efficiency, the Gilbreth's opened the School of Scientific Management in 1913. The school was in session for four years. Numerous professional attended the school, and soon the Gilbreth's had established a reputation as consultant's to the new field of scientific management.

In 1912, Frank won a contract with the New England Butt Company in Providence, Rhode Island. There he installed his system of scientific management in a factory setting for the first time. Contracts with the Hermann-Aukam handkerchief manufacturing company in New Jersey and the Auergessellschaft Company in Germany followed. Using motion study, Gilbreth studied and reoganized the factories, attempting to find "the one best way" to do work.

Gilbreth traveled to Germany to continue his work was a scientific manager. He visited factories and hospitals, working to improve procedures and eliminate waste. Using micro-motion study and the chronocyclegraph procedure, he analyzed and dissected motion, discovering therblings, the seventeen fundamental units of any motion. World War I slowed Gilbreth's progress abroad, so he focused his consulting business on firms n the United States.

After World War I, Gilbreth's business thrived. in 1920, the American Society of Mechanical Engineers instituted its Management Division, something Gilbreth had been demanding for years. He was now a famous American engineer, gaining financial rewards as as professional honors.

Frank Gilbreth died suddenly of a heart attack on June 14, 1924, still in the middle of three contracts. He was honored after his death in 1944 by the American Society of Engineers and the American Management Association with the Gant Gold Medal. After Frank's death, Lillian moved the family to California where she continued to work on efficiency and health in industry issues. She was a respected buiness woman and was hired by several companies to train employees, study working conditions, and reduce fatigue. She lectured at several universities (Newark College of Engineering and the University of Wisconsin), and joined the faculty at Purdue University in 1935 as the first woman professor in the engineering school.

Frank and Lillian Gilbreth often used their large family (and Frank himself) as guinea pigs in experiments. Their family exploits are lovingly detailed in the 1948 book Cheaper by the Dozen, written by Frank Jr. and Ernestine Gilbreth Carey.
Related Materials:
Material in Other Institutions

Purdue University, Archives and Special Collections

Frank and Lillian Gilbreth papers, 1869-2000

The Gilbreth Papers documents the professional and personal lives of Frank Gilbreth and Lillian Gilbreth. The collection consists of personal papers, letters, correspondence, photographs, and other memorabilia that Lillian Gilbreth collected during her life regarding her youth, marriage, family, and career.

Collection of materials related to Lillian Gilbreth, 1964-2006

One folder of items relating to the life of Lillian Gilbreth, and her family, collected by her granddaughter, Lillian (Jill) Barley and Nancy Weston. Materials include clippings relating to the Lillian Gilbreth postage stamp (1984); obituaries and memorial programs for Peter Barney, Ernestine Carey, Lillian Gilbreth, Anne Gilbreth Barney, Charles Carey, and Frank Gilbreth Jr.; programs and photographs relating to Lillian Gilbreth's visit to Athens in 1964; and biographical information on Lillian Gilbreth.

Cornell University, Kheel Center for Labor-Management Documentation and Archives

Frank Gilbreth Papers on Microfilm, Collection Number: 5424 mf

Selected papers pertaining to industrial engineering. Original materials are held by Purdue University. Microfilm copied purchased from Purdue University in April 1968.
Provenance:
The collection materials were donated by several individuals: New Jersey Institute of Technology (1975); Frank B. Gilbreth, Jr., (1980); Ernestine Gilbreth Carey (1995); Daniel B. Gilbreth (1998); and James Secor Perkins in 2001.
Restrictions:
Collection is open for research but the films are stored off-site and special arrangements must be made to work with it. Series 2: Glass Stereo Slides are restricted. Boxes 3-9 were digitized in 2021. Researchers must use digital copies. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
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:
Motion study  Search this
Machinery industry  Search this
Machine shops  Search this
Industrial management  Search this
Industrial films  Search this
Industrial engineering  Search this
Genre/Form:
Videotapes
BetaCam SP (videotape format)
Motion pictures (visual works) -- 1930-1950
Citation:
Frank and Lillian Gilbreth Collection, Archives Center, National Museum of American History
Identifier:
NMAH.AC.0803
See more items in:
Frank and Lillian Gilbreth Collection
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep8a48e652d-6387-4a23-98c0-299772c454d5
EDAN-URL:
ead_collection:sova-nmah-ac-0803
Online Media:

Philip Stein papers regarding David Alfaro Siqueiros

Creator:
Stein, Philip, 1919-2009  Search this
Names:
Siqueiros, David Alfaro  Search this
Extent:
3.8 Linear feet
3.88 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Photographs
Interviews
Video recordings
Motion pictures (visual works)
Date:
1933-2012
Summary:
The papers of muralist, writer, and activist Philip Stein regarding the Mexican muralist David Alfaro Siqueiros measure 3.8 linear feet and 3.88 GB and date from 1933 to 2012. The papers reflect Stein's relationship with Siqueiros as an art assistant and their shared commitment to leftist politics. Much of the material relates to Stein's book Siqueiros, His Life and Work (1994) and his first book The Mexican Murals (1984). Found are research materials, correspondence, interviews, printed and digital material, photographic materials, video and film recordings, writings about and by David Alfaro Siqueiros, and materials concerning Stein as a painter.
Scope and Contents:
The papers of muralist, writer, and activist Philip Stein regarding the Mexican muralist David Alfaro Siqueiros measure 3.8 linear feet and 3.88 GB and date from 1933 to 2012. The papers reflect Stein's relationship with Siqueiros as an art assistant and their shared commitment to leftist politics. Much of the material relates to Stein's book Siqueiros, His Life and Work (1994) and his first book The Mexican Murals (1984). Found are research materials, correspondence, interviews, printed and digital material, photographic materials, video and film recordings, writings about and by David Alfaro Siqueiros, and materials concerning Stein as a painter.
Arrangement:
The collection is arranged in 7 series:

Missing Title

Series 1: Correspondence, 1934-2010 (0.3 linear feet; Box 1)

Series 2: Interviews, 1977-1994 (0.1 linear feet; Box 1)

Series 3: Writings, 1937-2006 (0.6 linear feet; Boxes 1-2, 0.021 GB; ER01)

Series 4: Subject Files and Research Files, 1933-2009 (0.6 linear feet;Boxes 2-3)

Series 5: Printed Material, 1949-2009 (0.7 linear feet; Boxes 2-3,5)

Series 6: Photographic Materials, 1933-2005 ( 0.5 linear Feet; Boxes 3-4, 0.011 GB; ER02)

Series 7: Sound, Video and Film Recorings, circa 1967-2012 (1.3 linear feet; Box 3, 4, FC 6-9, 3.85 GB; ER03-ER04)
Biographical / Historical:
Artist, author and political activist, Philip Stein (1919-2009), also called "Estano," lived and worked in New York City, Mexico, and Spain. Stein worked as an assistant to muralist David Alfaro Siqueiros. Both men were committed to the Mexican Mural School of new-realism, painting exterior murals rather than easel paintings so art could be public and directed to the masses.

Stein was born in Newark, New Jersey and was a mostly self-taught artist, occasionally studying at local art schools. He served in the armed forces during World War II as a meteorologist, seeing action throughout Europe. After the war, he moved to California to paint movie sets. In 1948, Stein and his wife Gertrude moved to Mexico where he studied art on the GI Bill at The School of Fine Arts of San Miguel de Allende. There he met Siqueiros, an ardent communist, who had attempted to assasinate Leon Trotsky. Stein worked with Siqueiros on several murals in Mexico until Siqueiros' death in 1974.

Between 1953 and 1993 Stein occasionally exhibited in Mexico, New York City and Spain. One of Stein's best known murals is at the Village Vanguard club in New York City. His biography of Siqueiros, Siqueiros, His Life and Work was published in 1994. Stein died at home in Manhattan in 2009 at age 90.
Provenance:
The Philip Stein papers regarding David Alfaro Siqueiros were donated to the Archives of American Art in 2015 by Anne Stein, daughter of Philip Stein.
Restrictions:
Use of original material 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.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Painters -- Mexico  Search this
Topic:
Muralists -- Mexico  Search this
Muralists -- New York (State) -- New York  Search this
Painters -- New York (State) -- New York  Search this
Genre/Form:
Photographs
Interviews
Video recordings
Motion pictures (visual works)
Citation:
Philip Stein papers regarding David Alfaro Siqueiros, 1933-2012. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.steiphil
See more items in:
Philip Stein papers regarding David Alfaro Siqueiros
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw982ffa0fc-6a2b-47f1-808a-6e617c3d983c
EDAN-URL:
ead_collection:sova-aaa-steiphil
Online Media:

Lillian and Frederick Kiesler papers

Creator:
Kiesler, Lillian, 1910?-2001  Search this
Names:
Anthology Film Archives  Search this
Hans Hofmann School of Fine Arts  Search this
John Simon Guggenheim Memorial Foundation  Search this
Metropolitan Museum of Art (New York, N.Y.)  Search this
University of Iowa, Museum of Art  Search this
Whitney Museum of American Art  Search this
Adnan, Etel  Search this
Andres, Jo  Search this
Arnaud, Leopold, 1895-  Search this
Bartos, Armand P., 1910-  Search this
Bultman, Fritz, 1919-1985  Search this
Buscemi, Steve, 1958-  Search this
Castelli, Leo  Search this
Copley, Alfred L.  Search this
Diller, Burgoyne, 1906-1965  Search this
Dlugoszewski, Lucia, 1931-2000  Search this
Dorazio, Piero, 1927-  Search this
Dorazio, Virginia Dortch  Search this
Dreier, Katherine Sophie, 1877-1952  Search this
Dubuffet, Jean, 1901-  Search this
Duchamp, Marcel, 1887-1968  Search this
Hawkins, Erick  Search this
Hodges, Alice  Search this
Hofmann, Hans, 1880-1966  Search this
Holtzman, Harry  Search this
Howe, George, 1886-1955  Search this
Kamler, Richard  Search this
Kiesler, Frederick  Search this
MacIver, Loren, 1909-  Search this
Meredith, Burgess, 1907-1997  Search this
Milius, Tom  Search this
Miller, Henry, 1891-  Search this
Mondrian, Piet, 1872-1944  Search this
Montgomery, Chandler  Search this
Owen, Jane Blaffer, 1915-2010  Search this
Purdy, James  Search this
Takaezu, Toshiko  Search this
Tawney, Lenore  Search this
Zogbaum, Wilfrid, 1915-1965  Search this
Extent:
49.1 Linear feet
0.001 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Scrapbooks
Sound recordings
Diaries
Interviews
Scripts (documents)
Motion pictures (visual works)
Date:
circa 1910s-2003
bulk 1958-2000
Summary:
The papers of New York artist Lillian Kiesler and architect and sculptor Frederick Kiesler measure 49.1 linear feet and 0.001 GB and date from circa 1910s-2003, with the bulk of the material from 1958-2000. The collection documents their personal and professional lives and the legacy of Frederick Kiesler's work through biographical material, correspondence, legal, financial and business records, teaching files, exhibition and performance files, artwork, subject files, printed and digital material, writings and interviews, monographs, photographic material, and sound and video recordings. Also found are papers related to Abstract Expressionist painter Hans Hofmann and the papers of artist Alice Hodges.
Scope and Content Note:
The papers of artist, performer, and arts educator Lillian Kiesler and sculptor, architect, set designer, educator, and writer Frederick Kiesler measure 49.1 linear feet and 0.001 GB and date from circa 1910s-2003, with the bulk of the material from 1958-2000. The collection documents their personal and professional lives and the legacy of Frederick Kiesler's work through biographical material, correspondence, legal, financial and business records, teaching files, exhibition and performance files, artwork, subject files, printed and digital material, writings and interviews, monographs, photographic material, and sound and video recordings. Also found are papers related to Abstract Expressionist painter Hans Hofmann and the papers of artist Alice Hodges.

The collection is arranged into two series: the Lillian Kiesler Papers (Series 1) and the Frederick Kiesler Papers (Series 2). Measuring 41.1 linear feet, the Lillian Kiesler Papers (Series 1) make up the bulk of the collection and document her personal life and professional career as an artist, actor, teacher, arts benefactor and promoter of Frederick Kiesler's legacy. The series spans her lifetime, although most of the material is dated after 1965. Among her papers are biographical materials, correspondence, legal and financial records, teaching files, exhibition and performance files, artwork, subject files, printed material, monographs, papers related to Frederick Kiesler and his legacy, papers of and related to Hans Hofmann, papers of Alice Hodges, photographic material, and sound and video recordings.

Found among Lillian Kiesler's personal papers are address books, numerous calendars and appointment books, and diaries and journals. Her correspondence is extensive and contains business correspondence with John Simon Guggenheim Memorial Foundation, The Metropolitan Museum of Art, The Whitney Museum of American Art, The University of Iowa Museum of Art, and Erick Hawkins Dance Foundation, and personal letters and greeting cards from friends, family, artists, scholars, and researchers, including Etel Adnan, Alcopley, Fritz Bultman, Steve Buscemi, Mike Diamond, Burgoyne Diller, Lucia Dlugoszewski, Piero Dorazio, Jean Dubuffet, Jay Gottlieb, Erick Hawkins, Burgess Meredith, Henry Miller, James Purdy, and Herrel Thomas. Of interest is a letter from Harry Holtzman postmarked March 13, 1935 describing his initial meeting with Mondrian, and a letter from E.B. Gordon describing Henry Miller in Paris.

Materials related to Lillian Kiesler's estate and last wishes can also be found, as well as teaching plans, student work, and writings by Lillian Kiesler's mentor and friend, New York University professor Chandler Montgomery. Various printed material, correspondence, scripts, and rehearsal schedules from Lillian Kiesler's exhibitions and performances are also found, and among the directors, artists and writers represented are Jo Andres, Steve Buscemi, Cindy Lugar, Tim Miller and James Purdy. Artwork contains photographs by Bob Del Fredici, drawings by Piero Dorazio, and notes to Frederick Kiesler from Lillian Kiesler.

Subject files about artists, friends, colleagues, performances, and organizations in which she supported, such as the Anthology Film Archives, include printed materials and research materials. Signed exhibition catalogs of Loren MacIver, Dina Ghen, Lenore Tawney, and Toshiko Takaezu, and a reprint article inscribed by Alcopley can be found, as well as numerous inscribed monographs, including books inscribed by Max Weiler and Piero Dorazio, an inscribed first edition of Henry Miller's Black Spring (1936), and a 1937 monograph by Harry Holtzman titled American Abstract Artists.

Series 1 also includes materials related to her husband Frederick Kiesler, papers of and related to Abstract Expressionist painter Hans Hofmann, and the personal papers of artist Alice Hodges. The Papers Related to Frederick Kiesler were primarily created or compiled by Lillian Kiesler and document her work on behalf of Frederick Kiesler's legacy. Of interest are letters from Frederick Kiesler to Lillian Kiesler and Alice Hodges; a bound volume of correspondence to Piero Dorazio; an inventory of objects in the Frederick Kiesler estate; photographs of artwork; an interview (sound recordings and transcript) with Lillian Kiesler about Frederick Kiesler for "Music of the Age," included on the tape is a portion of a Frederick Kiesler interview (1965); a recording of Lillian Kiesler interviewing Richard Kamler about Frederick Kiesler; and Frederick Kiesler's dialogue with Leo Castelli (undated).

Lillian Kiesler was a student of Hans Hofmann (1880-1966) in New York City and Provincetown, Massachusetts, as well as an enthusiastic volunteer promoter and assistant to The Hans Hofmann School of Fine Arts. The bulk of the papers of and related to Hans Hofmann were created or compiled by Lillian Kielser and are about Hofmann's career and legacy. However, also found are some papers of Hans Hofmann, including letters from Hofmann to Lillian Kiesler and Alice Hodges describing his artwork, life in Provincetown, and issues with The Hans Hofmann School of Fine Arts, typed and handwritten lectures given by Hofmann, Hofmann's 1941 address to the American Abstract Artists (AAA), three boxes of card files on students of the Hans Hofmann School of Fine Arts in New York City and Provincetown, and photographs of Hofmann and his house in Provincetown taken by Wilfrid Zogbaum and Tom Milius.

The artist Alice Hodges (b. unknown-1965) was a close friend of Lillian Kiesler, a former secretary to Frederick Kiesler, and a student of Hans Hofmann. Included among her personal papers is some correspondence from Hans Hofmann and Katherine Drier and numerous postcards from Hodges and Lillian Kiesler's trip to Europe in 1950, posters and printed material from her exhibitions, an oversized scrapbook chronicling Lillian Kiesler's teaching career, records from the United States Treasury War Bond Art Auction in 1945, original artwork and greeting cards made by Hodges and Lillian Kiesler, and 31 rolled negative strips in metal canisters of Frederick Kiesler sculptures, Provincetown and Hans Hofmann, Wellfleet, Empire State Music Festival (1955), and travels to Colorado and Europe, some of which may be printed and found in this subseries.

Photographs found in the Lillian Kiesler Papers are mostly black and white and color snapshots of Lillian Kiesler's friends and family at events and at home, including candid photos of Hans Hofmann, Alice Hodges, Frederick Kiesler, and Alcopley. Slides prepared by Lillian Kiesler for a lecture on Frederick Kiesler and her lecture notes on index cards are found. Sound and video recordings include recordings of productions in which Lillian Kiesler performed, and music, film, or live stage performances written, directed, or performed by friends.

Measuring 7.1 linear feet, Frederick Kiesler's personal papers (Series 2) document his professional career and date from 1923-1992. Biographical materials include his curriculum vitae, four passports, and numerous appointment books and notes from late in his life. Correspondence with architects, publishers, editors, universities, museums, galleries, manufacturers, artists and friends includes letters from L. Alcopley, Leopold Arnaud, Armand P. Bartos, Piero and Virginia Dorazio, George Howe, Kay Johnson, Jane Owen, and others. There are also photocopied letters from Katherine Dreier, Marcel Duchamp, and Piet Mondrian. Business and financial records from the 1940s to mid-1960s comprise a significant bulk of this series and are primarily tax returns and receipts and statements used to file tax returns. Materials on the publication of "Inside the Endless House" (1966), the International Theatre Exposition (in German) in 1924 and other exhibits from shortly after his death are found, as well as student artwork and papers from Kiesler's classes in the mid-1950s. A bound copy of the "Bibliography of Writings of and About Frederick Kiesler" compiled by Lillian Kiesler is found, as well as printed material about Frederick Kiesler and a handful of photographs of artwork.

Users should note that Lillian Kiesler's and Frederick Kiesler's papers contain similar types of material that often overlap in subject matter, especially among the Papers Related to Frederick Kiesler (Subseries 1.10) in Series 1 and the Frederick Kiesler Papers (Series 2). This collection contains limited material related to Lillian Kiesler prior to the 1940s and Frederick Kiesler prior to his arrival in the United States in 1926.
Arrangement:
The collection is arranged into two series. Each series is divided into several subseries, with the arrangement described in detail in the series descriptions.

Missing Title

Series 1: Lillian Kiesler papers, circa 1910s-2003 (Box 1-39, 47-52, OV 53-57; 41.1 linear feet, ER01; 0.001 GB)

Series 2: Frederick Kiesler papers, 1923-1992 (Box 40-46, OV 53; 7.1 linear feet)
Biographical Note:
Frederick Kiesler (1890-1965) was a sculptor, architect, set designer, educator, and writer active in New York and Connecticutt. Lillian Kiesler (1911-2001) was a performer, arts educator, and painter married to Frederick Kiesler. She was also active in the administration of the Hans Hofmann School of Fine Arts.

Frederick Kiesler was born in Romania in 1890, although he gave various other dates for his birth and regularly cited Vienna as his birthplace. He arrived in the United States with his wife Steffi in 1926 for the International Theatre Exposition at Steinway Hall in New York City. They stayed in the United States and were granted citizenship in 1936.

Kiesler secured a teaching position at Columbia University's School of Architecture in 1930, and from 1934 through 1957 he was the scenic design director at The Juilliard School of Music. He also lectured at Yale University from 1950-1952. Often labeled a Surrealist, Kiesler's work was experimental and frequently described as ahead of its time. He published, lectured, and participated in numerous exhibitions throughout his career. He is known for his theory of "coreallism;" "The Space House" (1933), a full-scale model of a single family home; an installation designed for Peggy Guggenheim's Art of This Century gallery in 1942; "The Endless House" drawings and model (1950); "The Universal Theatre" (1961) model; and the Shrine of the Book (1965), a building to exhibit the Dead Sea Scrolls in Jerusalem. He died in New York City in December 1965.

Lillian Olinsey met architect and sculptor Frederick Kiesler in 1934. After years of friendship, they were married in 1964, a year and a half before Frederick's death in 1965.

Lillian Kiesler studied art at the Art Students League, Cooper Union, and the Hans Hofmann School of Fine Arts, where she also assisted Hofmann and the school administration. She taught art to children and young adults for twenty years in New York City. From 1945 to 1955, she taught at the Greenwich House Art workshops and the Woodward School, followed by the Brooklyn Museum (1948-1958), Barnard School (1953-1963), New York University School of Education (1955-1966), and Juilliard School of Visual Arts (1963-1965). Lillian was involved in the performing arts and between the late 1970s through the 1990s she performed in New York City with numerous directors, notably Jo Andres, Steve Buscemi, Richard Foreman, John Jesurun, Cindy Lubar, and Tim Miller. She frequently performed with her close friend, painter Maryette Charlton, who was the executor of the Lillian Kiesler estate.

Lillian Kiesler tirelessly promoted Frederick Kiesler's work and legacy after his death in 1965. From the late 1980s through the 1990s, she delivered lectures about his work at universities and museums, gave interviews, corresponded with researchers, and organized his papers to donate to the Harvard Theatre Collection, Yale School of Art and Architecture, and the Archives of American Art. In 1997, she helped found the Frederick and Lillian Kiesler Foundation in Vienna, Austria. She endowed the Austrian Frederick Kiesler Prize, an award given to a notable contributor to the field of architecture. The first recipient was Frank Gehry in 1998. Lillian Kiesler passed away in 2001 in New York City.
Related Material:
The holdings of the Archives of American Art include the Hans Hofmann Papers, 1904-1978 and the Maryette Charlton Papers, 1929-1998. Additional Frederick Kiesler papers are available at the Museum of Modern Art, the Harvard Theater Collection, and the Yale School of Art and Architecture.
Separated Material:
Some of the materials related to Frederick Kiesler were initially loaned for microfilming on reels 57 and 127-128. This material is not described in the container listing of this finding aid. Most, but not all, of the loaned material was later donated and has been merged with the other accretions.
Provenance:
The collection was donated by Lillian Kiesler and Maryette Charlton, executrix of her estate, in several accessions between 1980-2002. Some of the papers related to Frederick Kiesler were originally loaned for microfilming in 1971, most of which was later donated in 1980. Additional papers related to Frederick Kiesler were donated in 1993. Papers related to Hans Hofmann were given in 1981. Lillian Kiesler's papers were donated in 2000 by Lillian Kiesler, and in 2002, by Maryette Charlton.
Restrictions:
Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Sculptors -- New York (State) -- New York  Search this
Set designers -- New York (State) -- New York  Search this
Educators -- New York (State) -- New York  Search this
Authors -- New York (State) -- New York  Search this
Painters -- New York (State) -- New York  Search this
Performance artists -- New York (State) -- New York  Search this
Art patrons -- New York (State) -- New York  Search this
Topic:
Architects -- New York (State) -- New York  Search this
Exhibition designers  Search this
Women artists  Search this
Women educators  Search this
Women painters  Search this
Women performance artists  Search this
Function:
Art schools -- Massachusetts
Art Schools -- New York (State)
Genre/Form:
Scrapbooks
Sound recordings
Diaries
Interviews
Scripts (documents)
Motion pictures (visual works)
Citation:
Lillian and Frederick Kiesler papers, circa 1910s-2003, bulk 1958-2000. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.kieslill
See more items in:
Lillian and Frederick Kiesler papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw92be035c5-5063-4d6e-8ac2-5f08c17ef915
EDAN-URL:
ead_collection:sova-aaa-kieslill
Online Media:

Jacques Lipchitz papers

Creator:
Lipchitz, Jacques, 1891-1973  Search this
Bassett, Bruce W.  Search this
Names:
Buchholz Gallery (New York, N.Y.)  Search this
Curt Valentin Gallery (New York, N.Y.)  Search this
International Business Machines Corporation  Search this
Marlborough Gallery  Search this
Storm King Art Center  Search this
Cortois, Jenny  Search this
Frank, Mary, 1933-  Search this
Fry, Annette  Search this
Fry, Varian, 1907-1967  Search this
Gaspard, Leon, 1882-1964  Search this
Hay, Gyorgy  Search this
Ingersoll, R. Sturgis (Robert Sturgis), b. 1891  Search this
Landau, Gregorio  Search this
Larrea, Juan  Search this
Larrea, Marianne  Search this
Lipchitz, Yulla, 1911-  Search this
Modigliani, Amedeo, 1884-1920  Search this
Noguchi, Isamu, 1904-1988  Search this
Rapoport, Nathan, 1911-  Search this
Rodin, Auguste, 1840-1917  Search this
Soula, Camille, 1888-  Search this
Starrels, Celeste  Search this
Starrels, Joel  Search this
Stott, Deborah  Search this
Wilkinson, Alan G., 1941-  Search this
Zorach, William, 1887-1966  Search this
Collection Creator:
Lipchitz, Jacques, 1891-1973  Search this
Extent:
9.5 Linear feet (Boxes 1-10, OV 11-12)
Type:
Archival materials
Interviews
Diaries
Motion pictures (visual works)
Sound recordings
Scrapbooks
Sketches
Photographs
Video recordings
Date:
circa 1910-1999
bulk 1941-1999
Scope and Contents note:
The papers of sculptor Jacques Lipchitz measure 9.5 linear feet and are dated circa 1910-1999, with the bulk of the material from the period 1941-1999. Personal and professional correspondence comprises nearly half of the collection. It, along with biographical material, writings by and about Lipchitz, printed material, and photographs document Lipchitz's commissions, exhibitions, friendships, and interests. Also found are records relating to the compilation and production of The Sculpture of Jacques Lipchitz: A Catalogue Raisonné by Alan G. Wilkinson.

Biographical material includes an address book, biographical notes, membership cards, rent receipts and a lease, and a survey of Lipchitz's property in Hastings-on-Hudson, NY.

Correspondence is both professional and personal in nature. Approximately 20 percent is in foreign languages. French predominates, followed by Russian; German, Dutch, Italian, Spanish, Latvian, Hebrew, and Yiddish are also represented.

Professional correspondence documents business transactions with architects, potential clients, museum officials, art dealers, and others concerning commissions, exhibition plans, loans of artwork, jury service, etc. Art groups, Jewish organizations and charities wrote to solicit donations of artwork for fundraising events and issued invitations to speak or be a guest of honor. Scholars contacted Lipchitz about their research and requested information about specific works by him, items in his collection, and his opinions on a variety of subjects. Also found are fan letters from aspiring artists seeking advice, and from the general public asking for the opportunity to meet Lipchitz and visit his studio. After the 1952 studio fire, many friends and strangers sent letters of condolence and encouragement.

Among those with whom Lipchtz corresponded regarding commissions are: The Brazilian Embassy ( Prometheus Strangling the Vulture, Ministry of Health and Education, Rio de Janeiro), Vicomte Charles de Noailles ( The Joy of Life) [photocopies of letters from Lipchitz], Jean Devémy (Nôtre Dame de Liesse, Nôtre Dame de Toute Grace at Assy, France), Jane Blaffer Owen (ornamental gates and a cast of Nôtre Dame de Liesse for Philip Johnson's Roofless Church in New Harmony, IN), and the University of Minnesota, Duluth ( Daniel Greysolon, Sieur du Luth). There are numerous letters from Fairmount Park Art Association, Philadelphia Museum of Art, and R. Sturgis Ingersoll regarding multiple projects in Philadelphia; from the Emory Memorial and Robert Taft, Jr. about a memorial to Senator Taft; and from Eloise Spaeth concerning a bust of John F. Kennedy. Also documenting commissions are letters from architects, among them: Eero Saarinen and Associates, Kenneth Franzheim, Philip L. Goodwin, I. M. Pei and Associates, Philip L. Goodwin, and Vincent G. Kling and Associates.

Art dealers, galleries, and museums were frequent correspondents. They include: The Baltimore Museum of Art, The Bezalel Museum, Brussels Universal and International Exposition, Buchholz Gallery, Cincinnati Art Museum, Corcoran Gallery of Art, Curt Valentin Gallery, Fine Arts Associates (later Otto Gerson Gallery, Inc.), Marlborough-Gerson Gallery, Inc., Museé Bourdelle, Museé National d'Arte Moderne (Paris), Museum of Modern Art (New York), The Museum of Primitive Art, The Pennsylvania Academy of the Fine Arts, Philadelphia Museum of Art, Portland Art Museum (Oregon), Rijksmuseum Kröller Muller Otterlo, Stedelijk Museum (Amsterdam), Walker Art Center, Whitney Museum of American Art, and Worcester Art Museum.

Max N. Benoff, Bernard and Becky Reis, and Alan and Janet Wurtzburger were among the collectors who corresponded with Lipchitz. French artist Pierre Dubaut wrote over an extended period about his collection of Géricault paintings and plans for its eventual disposition. Other individuals who wrote frequently include: critic and writer, Waldemar George; Irene Patai, author of Encounters: The Life of Jacques Lipchitz; and Bert Van Bork, documentary filmmaker and author of Jacques Lipchitz, The Artist at Work; and art historian, Henry R. Hope, a professor active in the College Art Association. The America-Israel Cultural Foundation, Inc. and the International Rescue Committee were also frequent correspondents.

Of particular note is a lengthy letter (with drafts) to Daniel-Henry Kahnweiler in which Lipchitz explained in detail how the art dealer's writings about Cubist sculpture failed to adequately recognize his contributions to the genre. Extensive correspondence with Rabbi Schneerson includes thoughts about "graven images" in sculpture and contains lengthy religious discussions. Letters from Juan Gris and Josette Gris consist mainly of general news and pleasantries; they do, however, mention Juan Gris's health, and in one letter Gris states he is afraid of working too much and tiring himself out. While basically illegible, Gertrude Stein's letters seem to be short, quick notes about meetings.

Correspondence with wife Yulla, nephew Gyorgy Hay, and close friends recounts personal and family news, activities, and sometimes touches on future plans. Among these correspondents are: Jenny Courtois, Varian and Annette Fry, Leo Gaspard, R. Sturgis Ingersoll, Gregorio Landau, Juan and Marianne Larrea, Camille Soula, and Joel and Celeste Starrels.

Eleven small pocket diaries, 1940-1965, contain brief, often sporadic entries noting appointments, events, addresses and phone numbers, notes of expenses, and include some sketches. Among the other writings by Lipchitz are: a notebook containing random notes on sculpture; a list of sculpture destroyed in the 1952 studio fire; short pieces and fragments of writings about sculptors Mary Frank, Natan Rapoport, Auguste Rodin, and William Zorach; a memoir of Amedeo Modigliani; and articles and reflections on contemporary art and the church.

Catalogue raisonné records concern the compilation and production of The Sculpture of Jacques Lipchitz: A Catalogue Raisonné by Alan G. Wilkinson, sponsored by Marlborough Gallery, Inc.

Among the financial records are statements of the sculptor's accounts with Buchholz Gallery and Curt Valentin Gallery, and receipts for Lipchitz Collection purchases. Also found are insurance and tax records, as well as receipts for routine professional expenses and miscellaneous personal expenses.

Artwork consists of a few rough sketches by Lipchitz and several geometric designs by an unidentified artist. Two scrapbooks, 1945-1946, consist of newspaper clippings and a few items from other periodicals that mention Lipchitz or contain reproductions of his work. Volume 2 includes typescripts of an interview and remarks delivered by Lipchitz, both very brief.

Printed material consists of exhibition catalogs and announcements, articles, press releases, books, programs, and reproductions concerning Lipchitz's exhibitions, sculpture, commissions, and events honoring him. Of particular interest are architectural prints showing sites and project details of several commissions. Also found are a variety of printed items about general art topics.

Photographs document people, artwork, project sites and models, exhibition installations, events, and places. People include Jacques Lipchitz, family members, and other individuals. Artwork represented is by Lipchitz and other artists. Views of Lipchitz exhibition installations mainly document solo shows. Photographs of events record a variety of occasions, among them: the opening of Lipchitz's studio at Hastings-on-Hudson, NY; a dedication ceremony for Philip Johnson's Roofless Church in New Harmony, IN, with ornamental gates and a sculpture by Lipchitz; and Lipchitz addressing an anatomy class at Albert Einstein Medical College. Among the pictures of places are Lipchitz's studios in Hastings-on-Hudson, NY, and Pietrasanta, Italy, and a view of Picasso's Paris studio.
Collection Restrictions:
Use of original papers requires an appointment. Use of audiovisual materials with no duplicate access copy requires advance notice.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Topic:
Artists' studios -- Photographs  Search this
Sculptors -- New York (State) -- New York  Search this
Genre/Form:
Interviews
Diaries
Motion pictures (visual works)
Sound recordings
Scrapbooks
Sketches
Photographs
Video recordings
Collection Citation:
Jacques Lipchitz papers and Bruce Bassett papers concerning Jacques Lipchitz, circa 1910-2001, bulk 1941-2001. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.lipcjacq2, Series 1
See more items in:
Jacques Lipchitz papers and Bruce Bassett papers concerning Jacques Lipchitz
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9d9633b8a-e008-4cae-aa4e-80cfdb22757b
EDAN-URL:
ead_component:sova-aaa-lipcjacq2-ref14

Pershing's Crusaders Auspices of the United States Government the First Official American War Picture Taken by U.S. Signal Corps and Navy Photographers

Sponsor:
Committee on Public Information.. Division of Film  Search this
Creator:
United States. Army. Signal Corps  Search this
United States. Navy  Search this
Names:
Pershing, John J. (John Joseph), 1860-1948  Search this
Collection Creator:
Princeton University  Search this
Extent:
1 Poster (Full size; Multi-color, 105 x 71 cm)
Container:
Map-folder 159
Type:
Archival materials
Posters
Motion pictures (visual works)
Place:
United States
Date:
1918
Image:
Main Image: Pershing on horse leading infantry troops and ghosts of crusaders in background
Local numbers:
Princeton Poster# 1378
General:
Issued by: COMMITTEE ON PUBLIC INFORMATION - George Creel, Chairman

Issued for: PERSHING'S CRUSADERS

Artist(s): Anon
Related Materials:
Duplicates: 1378, 1488
Collection Restrictions:
Collection is open for research but is stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Collection Rights:
Copyright status of items varies. 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:
Exhibitions, Films, Publications  Search this
World War, 1914-1918  Search this
Crusades  Search this
World War, 1914-1918 -- Posters -- United States  Search this
Genre/Form:
Posters
Motion pictures (visual works) -- 1910-1920
Posters -- World War, 1914-1918 -- United States
Collection Citation:
Princeton University Posters Collection, Archives Center, National Museum of American History.
See more items in:
Princeton University Poster Collection
Princeton University Poster Collection / Series 2: World War One / United States
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep8508da7f3-537a-4b3a-934e-e6c9e4083e0f
EDAN-URL:
ead_component:sova-nmah-ac-0433-ref8357

Smithsonian World/WETA "Selling the Dream" Collection

Producer:
Smithsonian World  Search this
Names:
Center for Advertising History  Search this
Grey Advertising.  Search this
Mitsubishi  Search this
WETA  Search this
Wieden & Kennedy  Search this
Gitlin, Todd  Search this
Marchand, Roland  Search this
Oda, Frances  Search this
Ogilvy, David  Search this
Pertshuk, Michael  Search this
Polykoff, Shirley  Search this
Extent:
23 Cubic feet (16 boxes)
Type:
Collection descriptions
Archival materials
Audiovisual materials
Oral history
Motion pictures (visual works)
Transcripts
Interviews
Press releases
Date:
1990-1991
Summary:
The collection documents "Selling the Dream" was an hour long television documentary that aired in early 1991 as part of the public television series, Smithsonian World.
Scope and Contents:
Series 1, boxes 1-15: 16 mm color film shot for the program, arranged in two subseries. Subseries A, boxes 1-10, consists of primary source materials including film footage of a meeting of scholars, historians, archivists, Weiden & Kennedy advertising agency personnel, and Nike executives at the Smithsonian's Center for Advertising History for the Nike Advertising Oral History and Documentation Project; interviews with scholars, historians, industry representatives (including transcripts for some interviews); and documentation of a Mitsubishi GT3000 ad from pitch to production, including meetings between Grey advertising agency personnel and Mitsubishi account representatives, a live commerical shoot and a production session with a commercial narrator. Subseries B, boxes 11-15, consists of secondary materials created during production, including pre-production sync pulls, trims, and lifts as compiled and edited by producer Steven York and Associates. Series 2, box 16, contains documentary materials relating to the show's production and broadcast, including correspondence, press releases, and publicity. Transcripts for the interviews are located here.
Arrangement:
The collection is divided into two series.

Series 1: Film

Series 2: Documentary Material
Biographical / Historical:
"Selling the Dream" was an hour-long television documentary that aired in early 1991 as part of the public television series "Smithsonian World." The program traces the evolution of advertising from the late 19th century through the creative revolution of the 1960s to explore how advertising both influences and reflects American culture. In addition to historical imagery, the program follows a contemporary Mitsubishi GT3000 automobile advertising campaign from conception to production. The program features interviews with the men and women who created the advertising as well as with scholars, historians, industry advocates and government officials who comment on the role and history of advertising in a comsumer culture. "Selling the Dream" was underwritten by Southwestern Bell and co-produced by WETA and the Smithsonian Institution. The Center for Advertising History served as a resource and consultant to the producers.
Provenance:
Collection donated by Smithsonian World through executive producer Sandra Bradley, in August 1991.
Restrictions:
Collection is open for research.
Rights:
There are reproduction restrictions on material in this collection. See repository details.
Topic:
Stereotypes (Social psychology) in advertising  Search this
Symbolism in advertising  Search this
Wit and humor in advertising  Search this
Sex role in advertising  Search this
Television advertising  Search this
advertising  Search this
Genre/Form:
Audiovisual materials
Oral history -- 1990-2000
Motion pictures (visual works) -- 1990-2000
Transcripts
Interviews -- 1950-2000
Press releases -- 1990-2000
Citation:
Smithsonian World/WETA "Selling the Dream" Collection, 1990-1991, Archives Center, National Museum of American History.
Identifier:
NMAH.AC.0418
See more items in:
Smithsonian World/WETA "Selling the Dream" Collection
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep8066f4d6d-e3ae-4a59-8135-2575b7d3b239
EDAN-URL:
ead_collection:sova-nmah-ac-0418

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