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Kay WalkingStick Symposium 05 - Robert Houle

Creator:
National Museum of the American Indian  Search this
Type:
Symposia
YouTube Videos
Uploaded:
2015-11-10T18:58:03.000Z
YouTube Category:
Education  Search this
Topic:
Native Americans;American Indians  Search this
See more by:
SmithsonianNMAI
Data Source:
National Museum of the American Indian
YouTube Channel:
SmithsonianNMAI
EDAN-URL:
edanmdm:yt_7gOODkXZAOk

Kay WalkingStick Symposium 07 - Jolene Rickard

Creator:
National Museum of the American Indian  Search this
Type:
Symposia
YouTube Videos
Uploaded:
2015-11-10T18:58:03.000Z
YouTube Category:
Education  Search this
Topic:
Native Americans;American Indians  Search this
See more by:
SmithsonianNMAI
Data Source:
National Museum of the American Indian
YouTube Channel:
SmithsonianNMAI
EDAN-URL:
edanmdm:yt_JF_1jCRT28M

Kay WalkingStick and Jeff Chang: A Conversation

Creator:
National Museum of the American Indian  Search this
Type:
YouTube Videos
Uploaded:
2016-02-16T17:49:49.000Z
YouTube Category:
Education  Search this
Topic:
Native Americans;American Indians  Search this
See more by:
SmithsonianNMAI
Data Source:
National Museum of the American Indian
YouTube Channel:
SmithsonianNMAI
EDAN-URL:
edanmdm:yt_rtbwoKC_pXw

Artwork & Sketchbooks

Collection Creator:
Stout, George L. (George Leslie)  Search this
Extent:
0.1 Linear feet (Box 6)
Type:
Archival materials
Date:
circa 1924-circa 1938
1970-1977
Scope and Contents:
Artwork consists of numerous sketches and one sketchbook by George Leslie Stout. The sketchbook is filled with figure drawings. Sketches are in pencil and ink of landscapes, animals, people and scenes from travels. Stout loosely grouped the sketches together by topic with titles such as "Pool Doodles" of people lounging by a poolside and "Pencil Studies Zoo, Park Studies," which are sketches of animals and landscapes. Stout also made holiday greetings cards for which he drew illustrations and added text. Photocopies of several of the completed greeting cards are included. There is one caricature of Eric Brown, Director of the National Gallery of Canada, by Murray Pease, Stout's friend and colleague.
Arrangement:
The materials in this series have been arranged in loose chronological order. One drawing by Murray Pease is at the end of the series.
Collection Restrictions:
This collection is temporarily closed to researchers due to archival processing and digitization. For more information, please contact Reference Services.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
George Leslie Stout papers, 1855, 1897-1978. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.stougeor, Series 8
See more items in:
George Leslie Stout papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9e8176299-6f6f-4fae-ab5a-d19be4ab8555
EDAN-URL:
ead_component:sova-aaa-stougeor-ref325

Women's Air Force Service Pilots (WASP) and Soviet Women Pilots Photographs [Noggle]

Creator:
Noggle, Anne, 1922-  Search this
Names:
Women Airforce Service Pilots (U.S.)  Search this
Extent:
0.28 Cubic feet (One flat box)
Type:
Collection descriptions
Archival materials
Photographic prints
Date:
1938-1945
Summary:
This collection consists of 35 reprints of historical images gathered for Anne Noggle's books, For God, Country, and the Thrill of It: Women Airforce Service Pilots in World War II (published 1990) and A Dance with Death: Soviet Airwomen in World War II (published 1994).
Scope and Contents:
This collection consists of 35 large-format black and white photographic reprints of historical images gathered for Anne Noggle's books, For God, Country, and the Thrill of It: Women Airforce Service Pilots in World War II and A Dance with Death: Soviet Airwomen in World War II. From For God, Country and the Thrill of it there are 21 images (including nine not used in the book) relating to training of the Women Airforce Service Pilots (WASPs) at Sweetwater, Texas. From A Dance with Death there are 12 images (including two not used in the book) relating to Soviet air personnel assigned to the 588th Night Bomber Regiment (later renamed the 46th "Taman" Guards Night Bomber Aviation Regiment, also nicknamed by the Germans as die Nachthexen or "Night Witches"), the 125th Guards Bomber Regiment, and the 586th Fighter Regiment (Air Defense). Women pilots pictured include Marina Raskova, Lydia (Lilya) Litvyak, Anna Timofeyeva-Yegorova, and other Heroes of the Soviet Union.
Arrangement:
Photographs are arranged into two series; Series 1 consists of photographs relating to WASP training at Avanger Field, Sweetwater, Texas; Series 2 consists of Soviet World War II photographs. Folders containing photographs used in Noggle's books are arranged in page number order.
Biographical / Historical:
With the entry of the United States into World War II, many American women pilots longed to volunteer their skills to serve their country but were barred from flying for the US military due to their gender. Some American women pilots, including well-known racing pilot Jacqueline "Jackie" Cochran, had already offered their services to the British Air Transport Auxiliary (ATA), ferrying aircraft from the manufacturers to and between air bases and freeing up male Royal Air Force (RAF) pilots for other duties. Cochran's experience with the ATA led her to lobby long and hard for a similar organization in the US. Initially, two organizations were formed to allow American women pilots to participate in the war effort. On September 10, 1942, the Women's Auxiliary Ferrying Squadron (WAFS), consisting of commercially licensed women pilots under the leadership of Nancy Harkness Love, was created as part of the US Army Air Corps' Air Transport Command. On November 16, 1942, a women pilot training program designed to supply pilots for the WAFS was begun under Cochran's leadership as the Women's Flying Training Detachment (WFTD). Initially based at Howard Hughes Municipal Airport in Houston, Texas, the WFTD was soon moved to Avenger Field at Sweetwater, Texas. On August 5, 1943, the WAFS and the WFTD were merged to form the Women Airforce Service Pilots (WASP), with Cochran as director of the WASP and its training division and Love as director of the ferrying division. Between November 17, 1942, and December 7, 1944, the 1,074 women who earned WASP wings flew 60 million miles for the US Army Air Corps. From light aircraft, the WASPs advanced quickly to fly every type of Air Corps aircraft in use at the time. Except for aerial gunnery and formation flying, these women received the same training as the male pilots. WASPs ferried planes, towed anti-aircraft artillery training targets, flew tracking, simulated bombing missions, performed radio control, flight tested aircraft, gave instrument instruction and performed many other duties. Their work allowed more men to participate in aviation combat roles.

The Russian Civil War which followed the Bolshevik Revolution of October 1917 provided new opportunities for women in previously male-dominated areas; Marxist ideology considered men and women to be equal citizens in both rights and responsibilities. Aviation became increasingly popular in the Union of Soviet Socialist Republics (USSR) throughout the 1920s and 1930s, with many women receiving training alongside men in aviation and aircraft mechanics through local aero clubs. In September 1938, three Soviet women made a record-setting long distance flight across the Soviet Union in the Tupolev (ANT-37bis) DB-2B "Rodina" ("Motherland"). The previous year, Marina Raskova, navigator for the flight, had become the first female staff instructor at the Zhukhovski Air Academy; Raskova later trained as a pilot and became a popular role model for young women who went on to serve as military pilots and navigators during World War II. After the Nazis invaded the USSR in June 1941, Raskova was able to convince Soviet leaders that women were a valuable asset and could play a useful military role. Young women recruited to join the 122nd Composite Air Group were sent to the Engels Military Aviation School where they were divided into four groups to train as pilots, navigators, mechanics, or armorers, based on their previous experience. They received the same training as the male recruits. In early 1942, three regiments which had been formed out of the 122nd Composite Air Group were activated: the 586th Fighter Regiment (Air Defense), the 587th Bomber Aviation Regiment (later renamed as the 125th Guards Bomber Regiment), and the 588th Night Bomber Regiment (later renamed the 46th "Taman" Guards Night Bomber Aviation Regiment, also nicknamed by the Germans as die Nachthexen or "Night Witches"). By the end of the war the three regiments had flown a combined total of over 30,000 combat sorties, and many of the airwomen had been awarded the title Hero of the Soviet Union for their wartime service.

Anne Noggle (1922--2005) was a fine art photographer recognized for her feminist artwork on women, aging, and self-portraiture. Noggle served as a Woman Airforce Service (WASP) pilot from 1943--1944, was a stunt pilot and crop duster after the war, and was a captain in the Air Force from 1953--1959. Noggle remained an active pilot throughout her lifetime. At 38 years old, Noggle pursued a college education and received a Bachelor of Arts degree in art and art history, and a Master of Arts degree in photography from the University of New Mexico. She was the curator of photography at the New Mexico Museum of Art from 1970--1976 and taught photography as an adjunct professor at the University of New Mexico 1970--1984, which is recognized for their prestigious photography program. Noggle received numerous awards for her photographic work, including a grant from the National Endowment for the Arts and a John Simon Guggenheim Memorial Foundation Fellowship. Her work is in the permanent collections of the New Mexico Museum of Art, Albuquerque Museum, California Museum of Photography, Denver Art Museum, Minneapolis Institute of the Art, the National Gallery of Canada, the San Francisco Museum of Modern Art, the Harn Museum at the University of Florida in Gainesville, and the Harry Ransom Center at the University of Texas in Austin. Noggle also was the author of several books, including For God, Country, and the Thrill of It: Women Airforce Service Pilots in World War II, and A Dance with Death: Soviet Airwomen in World War II, which featured her portrait photography of the women fliers.
Related Materials:
The Smithsonian National Air and Space Museum Art Collection includes 117 print photographs created by photographer Anne Noggle.
Provenance:
Anne Noggle Foundation, Gift, 2021, NASM.2021.0014
Restrictions:
No restrictions on access
Rights:
Material is subject to Smithsonian Terms of Use. Should you wish to use NASM material in any medium, please submit an Application for Permission to Reproduce NASM Material, available at Permissions Requests.
Topic:
Women air pilots  Search this
World War, 1939-1945  Search this
Aeronautics, Military  Search this
Women -- Soviet Union -- History  Search this
Genre/Form:
Photographic prints
Citation:
Women's Air Force Service Pilots (WASP) and Soviet Women Pilots Photographs [Noggle], Acc. NASM.2021.0014, National Air and Space Museum, Smithsonian Institution.
Identifier:
NASM.2021.0014
See more items in:
Women's Air Force Service Pilots (WASP) and Soviet Women Pilots Photographs [Noggle]
Archival Repository:
National Air and Space Museum Archives
GUID:
https://n2t.net/ark:/65665/pg27b54ea0f-fdc1-495c-99bd-4a838e21ee1f
EDAN-URL:
ead_collection:sova-nasm-2021-0014
Online Media:

Nancy Spero papers

Creator:
Spero, Nancy, 1926-2009  Search this
Names:
A.I.R. Gallery (New York, N.Y.)  Search this
Galerie Lelong (New York, N.Y.)  Search this
Golub, Leon, 1922-2004  Search this
Mendieta, Ana, 1948-1985  Search this
Sosa, Irene  Search this
Extent:
26.4 Linear feet
19.12 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Sound recordings
Interviews
Video recordings
Documentary films
Motion pictures
Date:
1940s-2009
Summary:
The papers of painter, collage artist, and printmaker Nancy Spero measure 26.4 linear feet and 19.12 GB and are dated 1940s-2009. Biographical material, correspondence and other files documenting Spero's personal and professional relationships, interviews and writings, records of Spero's many exhibitions and projects, files highlighting the major subjects that galvanized her, business records, printed and photographic material, and digital and video recordings, offer detailed insight into the career of one of the earliest feminist artists.
Scope and Contents:
The papers of painter, collage artist, and printmaker Nancy Spero measure 26.4 linear feet and 19.12 GB and are dated 1940s-2009. Biographical material, correspondence and other files documenting Spero's personal and professional relationships, interviews and writings, records of Spero's many exhibitions and projects, files highlighting the major subjects that galvanized her, business records, printed and photographic material, and digital and video recordings, offer detailed insight into the career of one of the earliest feminist artists.

Biographical material includes biographical notes and curricula vitae, as well as several video recordings of documentaries about Spero by Patsy Scala and Irene Sosa which feature original footage of Spero at work. Correspondence is personal and professional, and includes letters from artists including Judy Chicago and Ana Mendieta, writers and curators such as Deborah Frizzell and Susanne Altmann, regarding Spero exhibition catalogs, monographs, and articles, and personal news from family members such as Spero's sons, and correspondence related to other aspects of Spero's career.

Interviews of Spero include transcripts, published interviews, and video recordings. Writings include many of Spero's statements about her work, as well as notes, published versions of articles written by Spero, and video recordings of talks and panel discussions she participated in.

Exhibition files for over 75 shows document the extent to which Spero's work has been widely exhibited in her lifetime with numerous solo exhibitions, including major retrospectives in London, Paris, Barcelona, and Madrid, and dozens of group exhibitions in which she participated over the course of her career.

Gallery and museum files supplement the exhibition files by further documenting Spero's dealings with numerous galleries and museums, including Galerie Lelong, which represents Spero's estate, Barbara Gross Galerie, the first gallery in Germany to represent Spero, the Museum of Fine Arts, Boston, the National Gallery of Canada, and many others. The series also documents Spero's involvement with A.I.R. Gallery, the first independent women's art venue in the United States.

Professional files document other aspects of Spero's career including, but not limited to, awards she received, organizations she participated in or contributed to, publishing projects related to her work, and individual projects she executed such as an installation at the Harold Washington Library in Chicago and the Artemis, Acrobats, Divas & Dancers mosaic tiles she created for the Metropolitan Transit Authority for the 66th Street/Lincoln Center subway station. Also included here are files related to works of art such as Codex Artaud, and Notes in Time.

Subject files, contents of which were presumably used as source material for Spero, document subjects of interest to her, many of which were incorporated into her work and consists primarily of printed material. Broad subject categories include animal rights and conservation, feminism, war, and women. One set of folders documents "museum and political actions" undertaken by Spero and other activists during the 1960s-1970s to fight for equal representation of women in the arts and challenge the male-dominated hierarchy of the art world. Subject files include multiple news articles on torture, rape, and other atrocities committed particularly against women during wartime and by repressive and autocratic political regimes, and also include source material on the archetypal images of women that were fundamental to her interpretation of the female experience.

Printed material documents Spero's entire career from the late 1950s on. Announcements, exhibition catalogs, invitations, news clippings, and periodicals provide comprehensive coverage of her many exhibitions and other events. Printed material also documents the activities of a few other artists, primarily from the 2000s, and includes periodicals, primarily about art, and video recordings of documentaries about art and various other subjects.

Photographic material includes photographs of Nancy Spero from the 1940s on, photos of Spero with family and friends, and photographs of artwork including the heads of Spero's 2007 Maypole: Take No Prisoners which was the last major work completed before her death, originally realized for the Venice Biennale. Also found are a few installation shots and prints, slides, and digital images of Notes in Time at A.I.R. Gallery in 1979.
Arrangement:
The collection is arranged as 11 series:

Missing Title

Series 1: Biographical Material, 1950-2009 (Box 1, FC 30; 0.85 linear feet, ER01-ER04; 9.58 GB)

Series 2: Correspondence, 1946-2009 (Boxes 1-4, 27; 2.75 linear feet)

Series 3: Interviews, 1973-2007 (Boxes 4-5; 0.6 linear feet)

Series 4: Writings, 1950-2007 (Boxes 5-6; 1 linear foot)

Series 5: Exhibition Files, circa 1976-2009 (Boxes 6-9, 27, OV 28; 3.3 linear feet, ER09-ER10, ER14-ER17; 1.5 GB)

Series 6: Gallery and Museum Files, 1972-2009 (Boxes 9-14; 5.1 linear feet; ER05-ER08, ER12-ER13; 2.962 GB)

Series 7: Professional Files, circa 1967-2008 (Boxes 14-17, RD 29; 3.5 linear feet; ER15; 0.74 GB)

Series 8: Subject Files, 1950s-2009 (Boxes 17-19, 27, OV 28; 2.4 linear feet)

Series 9: Business Records, circa 1976-2008 (Boxes 19-20; 0.7 linear foot)

Series 10: Printed Material, 1949-2009 (Boxes 20-25, 27, OV 28; 5.5 linear feet)

Series 11: Photographic Material, 1940s-2009 (Boxes 25-27; 0.7 linear foot; ER18-ER19; 0.151 GB)
Biographical / Historical:
Nancy Spero (1926-2009) was a figurative painter, printmaker, and collage artist based in New York City whose work was executed primarily on paper from the 1960s on, and often incorporated text. Spero was among the first feminist artists and a political activist whose convictions were expressed relentlessly in her work. Using archetypal representations of women to examine the range of female experience, Spero centered "woman as protagonist" whilst simultaneously examining the suffering women have long been subjected to through structural inequality, the systematic abuses of repressive political regimes, and the atrocities of war.

Born in Cleveland, Nancy Spero lived in Chicago from the time she was a very young child until completing her studies at the School of the Art Institute of Chicago (BFA 1949) where she met her future husband, painter Leon Golub (1922-2004). Spero studied briefly in Paris and lived in New York City, returning to Chicago after her marriage in 1951. The couple and their two sons lived in Italy from 1956 to 1957. In 1959, after a few years in New York, the family moved to Paris where Spero developed an interest in existentialism and produced a series of black paintings. Spero and Golub returned to New York in 1964 with their three sons.

Nancy Spero was strongly affected by the war in Vietnam and the many social changes of the period. She became an activist and feminist, joined various organizations, and participated in a variety of demonstrations. Work such as the War series began to include political and sexual imagery, and Spero's work from here on was primarily executed on paper.

Spero was among the founding members of the women's cooperative A.I.R. Gallery established in 1972. In the 1970s archetypal representations of women in mythology, history, art, and literature became predominant in her work. Included in this vein are major series and installations, among them Torture of Women, Notes in Time on Women, The First Language, and her 66th Street/Lincoln Center subway station mosaic mural Artemis, Acrobats, Divas and Dancers.

Spero exhibited in the 1950 Salon des Independents and her first solo exhibition (in tandem with Leon Golub) was held at Indiana University in 1958. Thereafter, she showed sporadically until nearly 30 years later when her career flourished and she enjoyed international stature. Beginning in 1986, each year brought multiple solo exhibitions at galleries and museums in the United States and internationally. In addition, she continued to participate in group shows such as "Documenta" and the Venice Biennale. Her work is included in the permanent collections of museums throughout the world.

Awards and honors included the Skowhegan Medal for Works on Paper (1995), Hiroshima Art Prize shared with Leon Golub (1996), The Women's Caucus for Art award for Outstanding Achievement in Visual Arts (2003), and The Women's Caucus for Art Distinguished Artist Award for Lifetime Achievement (2005). Spero was awarded honorary Doctorates of Fine Arts by The School of the Art Institute of Chicago (1991) and Williams College (2001), and was elected a member of the American Academy of Arts and Letters (2006).

After several years of declining health, Nancy Spero died from heart failure in New York City, October 18, 2009.
Related Materials:
Also among the holdings of the Archives of American Art are an interview with Nancy Spero conducted 2008 Februay 6-July 24, by Judith Olch Richards, and the papers of Spero's husband, Leon Golub.
Provenance:
Following a gift of materials by Nancy Spero in 1979, the majority of the collection was donated by Spero's sons, Stephen Golub, Philip Golub, and Paul Golub, in 2013.
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 born-digital records or audiovisual recordings 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.
Occupation:
Collagists -- New York (State) -- New York  Search this
Printmakers -- New York (State) -- New York  Search this
Painters -- New York (State) -- New York  Search this
Topic:
Art -- Political aspects  Search this
Feminism and art  Search this
Women artists  Search this
Women printmakers  Search this
Women painters  Search this
Genre/Form:
Sound recordings
Interviews
Video recordings
Documentary films
Motion pictures
Citation:
Nancy Spero papers, 1940s-2009. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.spernanc
See more items in:
Nancy Spero papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9ee586015-b282-427f-88a2-0768b0b0e79b
EDAN-URL:
ead_collection:sova-aaa-spernanc
Online Media:

Flavin, Dan

Collection Creator:
Wagstaff, Samuel J.  Search this
Container:
Box 1, Folder 23
Type:
Archival materials
Date:
1963-1969
Collection Restrictions:
The collection has been digitized and is available online via AAA's website.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Samuel J. Wagstaff papers, circa 1932-1985. Archives of American Art, Smithsonian Institution.
See more items in:
Samuel J. Wagstaff papers
Samuel J. Wagstaff papers / Series 1: Correspondence / 1.1: Correspondence with Artists and Others
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9128e1515-4f4f-4fb8-94ed-9a498c791c4a
EDAN-URL:
ead_component:sova-aaa-wagssamu-ref36
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National Gallery of Canada

Collection Creator:
Nochlin, Linda  Search this
Container:
Box 6, Folder 55
Type:
Archival materials
Date:
1995-1996
Collection Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Linda Nochlin papers, circa 1876, 1937-2017. Archives of American Art, Smithsonian Institution.
See more items in:
Linda Nochlin papers
Linda Nochlin papers / Series 3: Correspondence
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw94748c93d-e87b-4775-b5b9-9588fe7ebca8
EDAN-URL:
ead_component:sova-aaa-nochlind-ref212

National Gallery of Canada

Collection Creator:
Macbeth Gallery  Search this
Container:
Box 61, Folder 37
Type:
Archival materials
Date:
1946
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Macbeth Gallery records, 1838-1968, bulk 1892 to 1953. Archives of American Art, Smithsonian Institution.
See more items in:
Macbeth Gallery records
Macbeth Gallery records / Series 1: Correspondence Files / 1.1: Correspondence
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9e8bf18ef-1978-429d-8f4f-57a52ff0b74f
EDAN-URL:
ead_component:sova-aaa-macbgall-ref9592

Ottawa, National Gallery of Canada

Collection Creator:
Vose Galleries of Boston  Search this
Container:
Box 16, Folder 36
Type:
Archival materials
Date:
1926
Collection Restrictions:
Use of original papers requires an appointment.
Collection Rights:
Reels 3936-3940: Authorization to publish, quote or reproduce requires written permission from an officer of the Vose Galleries. Contact Reference Services for more information.
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Vose Galleries of Boston records, circa 1876-1996. Archives of American Art, Smithsonian Institution.
See more items in:
Vose Galleries of Boston records
Vose Galleries of Boston records / Series 1: Correspondence
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9fa3d10a0-f4a5-4150-a7ed-4bb3b4c6ca9c
EDAN-URL:
ead_component:sova-aaa-vosegall-ref415

Art Gallery of Ontario/The National Gallery of Canada/ Dalhousie University Art Gallery, Nova Scotia

Collection Creator:
Fendrick Gallery  Search this
Container:
Box 72, Folder 20
Type:
Archival materials
Date:
1974-1976, undated
Collection Restrictions:
The collection is open for research. Use of unmicrofilmed material requires an appointment.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Fendrick Gallery records, 1952-2001. Archives of American Art, Smithsonian Institution.
See more items in:
Fendrick Gallery records
Fendrick Gallery records / Series 5: Museums and Galleries Files / 5.2: International Museums and Galleries / Canada
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9070510d4-1155-48fb-93a0-e50132b93072
EDAN-URL:
ead_component:sova-aaa-fendgall-ref1064

Ottawa (National Gallery of Canada)

Collection Creator:
Panofsky, Erwin, 1892-1968  Search this
Container:
Box 13, Folder 40
Type:
Archival materials
Date:
1955-1956
Collection Restrictions:
The collection is open for research. Patrons must use microfilm copy. Use of the unmicrofilmed portion requires an appointment and is limited to the Washington, D.C. research facility.
Collection Rights:
The donor has retained all intellectual property rights, including copyright, that they may own.
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Erwin Panofsky papers, 1904-1990 (bulk dates 1920-1968). Archives of American Art, Smithsonian Institution.
See more items in:
Erwin Panofsky papers
Erwin Panofsky papers / Series 1: Correspondence / 1.3: Galleries and Museums / Canada
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw954211d54-97cb-4112-b143-ac19d20c68ea
EDAN-URL:
ead_component:sova-aaa-panoerwi-ref703

Janson, H. W.

Collection Creator:
Jacques Seligmann & Co  Search this
Container:
Box 52, Folder 14
Type:
Archival materials
Date:
1946-1972
Collection Restrictions:
Use of original papers requires an appointment.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974. Archives of American Art, Smithsonian Institution.
See more items in:
Jacques Seligmann & Co. records
Jacques Seligmann & Co. records / Series 1: Correspondence / 1.3: General Correspondence
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw91aedf83a-4e82-4f42-8616-43bbaa34b30c
EDAN-URL:
ead_component:sova-aaa-jacqself-ref10193
1 Page(s) matching your search term, top most relevant are shown: View entire project in transcription center
  • View Janson, H. W. digital asset number 1

Jonas, Edouard

Collection Creator:
Jacques Seligmann & Co  Search this
Container:
Box 52, Folder 33
Type:
Archival materials
Date:
1927-1952
Collection Restrictions:
Use of original papers requires an appointment.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974. Archives of American Art, Smithsonian Institution.
See more items in:
Jacques Seligmann & Co. records
Jacques Seligmann & Co. records / Series 1: Correspondence / 1.3: General Correspondence
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9ff05eff5-823a-42f5-8e3e-0f8066ac20a8
EDAN-URL:
ead_component:sova-aaa-jacqself-ref10212
1 Page(s) matching your search term, top most relevant are shown: View entire project in transcription center
  • View Jonas, Edouard digital asset number 1

Southam, H. S.

Collection Creator:
Jacques Seligmann & Co  Search this
Container:
Box 90, Folder 22
Type:
Archival materials
Date:
1937-1938
Collection Restrictions:
Use of original papers requires an appointment.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974. Archives of American Art, Smithsonian Institution.
See more items in:
Jacques Seligmann & Co. records
Jacques Seligmann & Co. records / Series 1: Correspondence / 1.3: General Correspondence
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9f60abfdb-8f8e-47df-8721-9f8b7ea489d9
EDAN-URL:
ead_component:sova-aaa-jacqself-ref11282
1 Page(s) matching your search term, top most relevant are shown: View entire project in transcription center
  • View Southam, H. S. digital asset number 1

Boston, Massachusetts, Museum of Fine Arts

Collection Creator:
Jacques Seligmann & Co  Search this
Container:
Box 106, Folder 3
Type:
Archival materials
Date:
1962-1977
Collection Restrictions:
Use of original papers requires an appointment.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974. Archives of American Art, Smithsonian Institution.
See more items in:
Jacques Seligmann & Co. records
Jacques Seligmann & Co. records / Series 1: Correspondence / 1.4: Museum Correspondence
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9b792a0fb-87c7-449a-a669-dc4f339b56d1
EDAN-URL:
ead_component:sova-aaa-jacqself-ref11763
1 Page(s) matching your search term, top most relevant are shown: View entire project in transcription center
  • View Boston, Massachusetts, Museum of Fine Arts digital asset number 1

Ottawa, Canada, National Gallery of Canada

Collection Creator:
Jacques Seligmann & Co  Search this
Container:
Box 122, Folder 16
Type:
Archival materials
Date:
1924-1964
Collection Restrictions:
Use of original papers requires an appointment.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974. Archives of American Art, Smithsonian Institution.
See more items in:
Jacques Seligmann & Co. records
Jacques Seligmann & Co. records / Series 1: Correspondence / 1.4: Museum Correspondence
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9058a97ae-9e75-493d-88a6-7ec8a7a2baef
EDAN-URL:
ead_component:sova-aaa-jacqself-ref11986

Ottawa, Canada, National Gallery of Canada

Collection Creator:
Jacques Seligmann & Co  Search this
Container:
Box 122, Folder 17
Type:
Archival materials
Date:
1965-1973
Collection Restrictions:
Use of original papers requires an appointment.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974. Archives of American Art, Smithsonian Institution.
See more items in:
Jacques Seligmann & Co. records
Jacques Seligmann & Co. records / Series 1: Correspondence / 1.4: Museum Correspondence
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw979d63236-a5c2-4821-8b73-0ad13c5e6726
EDAN-URL:
ead_component:sova-aaa-jacqself-ref11987

Chinard, Joseph, Bust of Empress Josephine

Collection Creator:
Jacques Seligmann & Co  Search this
Container:
Box 224, Folder 20
Type:
Archival materials
Date:
1948-1967
Collection Restrictions:
Use of original papers requires an appointment.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974. Archives of American Art, Smithsonian Institution.
See more items in:
Jacques Seligmann & Co. records
Jacques Seligmann & Co. records / Series 2: Collectors Files / 2.2: Museum Files / Ottawa, Canada, National Gallery of Canada
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9dfbdb48f-4783-4888-9020-7e03574d6417
EDAN-URL:
ead_component:sova-aaa-jacqself-ref14306

Master of the Marble Madonnas, Madonna and Child

Collection Creator:
Jacques Seligmann & Co  Search this
Container:
Box 224, Folder 21
Type:
Archival materials
Date:
1960-1963
Collection Restrictions:
Use of original papers requires an appointment.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974. Archives of American Art, Smithsonian Institution.
See more items in:
Jacques Seligmann & Co. records
Jacques Seligmann & Co. records / Series 2: Collectors Files / 2.2: Museum Files / Ottawa, Canada, National Gallery of Canada
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9e0e21a6a-c542-45d8-ada0-3b706941682b
EDAN-URL:
ead_component:sova-aaa-jacqself-ref14307

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