The papers of painter Andrew Dasburg and his wife and sculptor Grace Mott Johnson date from 1833 to 1980 (bulk 1900 to 1980), and measure 8.8 linear feet. The collection documents each artist's career and personal lives, including their brief marriage and their friendships with many notable artists in the New Mexico and New York art colonies during the early twentieth century. The papers of Dasburg (6 linear feet) and Johnson (2.8 linear feet) include biographical materials; extensive correspondence with family, friends, and fellow artists, such as John F. Carlson, Mabel Dodge Luhan, Marsden Hartley, Henry Lee McFee, and Ward Lockwood; writings by Dasburg, Johnson, and others; scattered legal, financial, and business records; clippings; exhibition materials; numerous photographs of Johnson and Dasburg, friends, family, and artwork; and original artwork, including two sketchbooks by Johnson.
Scope and Content Note:
The papers of painter Andrew Dasburg and sculptor Grace Mott Johnson date from 1833 to 1980, with the bulk of the materials dating from 1900 to 1980, and measure 8.8 linear feet. The collection is divided into the papers of Andrew Dasburg (6 linear feet) and the papers of Grace Mott Johnson (2.8 linear feet), and documents each artist's career and personal lives, including their brief marriage, and friendships with many notable artists in New Mexico and New York art colonies during the early twentieth century. Found are scattered biographical, legal, and financial materials. Extensive correspondence (particularly in Dasburg's papers) is with family, friends, and fellow artists, such as John F. Carlson, Florence Ballin Cramer, Mabel Dodge Luhan, Marsden Hartley, Henry Lee McFee, Vera Spier Kuhn, and Ward Lockwood. Dasburg's papers also include letters to Johnson and his two later wives.
Johnson's correspondence is also with numerous artist friends and others, including John F. and Margaret Carlson, Florence Ballin Cramer, Jo Davidson, Florence Lucius, Walter Frankl, Lila Wheelock Howard, Henry Lee McFee, Mary Riley, Lee Simonson, Lindsey Morris Sterling, Alice Morgan Wright, Mabel Dodge Luhan, and Vera Spier Kuhn. Letters to her son Alfred are quite detailed and revealing. Writings are by Dasburg, Johnson, and others. Johnson's writings include a very brief diary and her poetry. Writings by others are about the Taos and New Mexico art communities. Printed materials about both artists include clippings and exhibition catalogs. There are numerous photographs of Dasburg and Johnson, individually and together, and with friends and family. Of note are a group photograph of Birge Harrison's art class in Woodstock, New York, which includes Johnson and Dasburg, and a photograph of Dasburg with friends Konrad Cramer and John Reed. Dasburg's papers also include snapshots of Florence Lucius, Konrad and Florence Ballin Cramer, Frieda and D. H. Lawrence, and Mabel Dodge Luhan. Original artwork by the two artists include two sketchbooks by Johnson and three prints and two drawings by Dasburg.
The collection is arranged into 2 series of each artist's papers:
Series 1: Andrew Dasburg Papers, circa 1900-1980 (Box 1-7; 6.0 linear feet)
Series 2: Grace Mott Johnson Papers, 1833-1963 (Box 7-10; 2.8 linear feet)
Andrew Michael Dasburg (1887-1979) was born in Paris, France, to German parents. After his father died and when he was five, Dasburg and his mother moved to New York City. In 1902 Dasburg started attending classes at the Art Students' League and studied with Kenyon Cox and Frank Du Mond. He also took night classes with Robert Henri. In 1907 he received a scholarship to the Art Students' League summer school in Woodstock, New York and spent three summers studying there in Birge Harrison's painting class. While in school he became friends with many young artists, including Morgan Russell and his future wife, Grace Mott Johnson.
Grace Mott Johnson (1882-1967) was born in New York City. She began drawing when she was four years old, and when the family moved to a farm in 1900 she enjoyed sketching horses and other farm animals. At the age of 22 she left home to study at the Art Students' League with sculptors Gutzon Borglum and James Earle Fraser, and also attended Birge Harrison's painting class in Woodstock. Throughout her career she would sculpt animals from memory, and would often attend circuses and farms for inspiration.
In 1909 Johnson and Dasburg went to Paris and joined the modernist circle of artists living there, including Morgan Russell, Jo Davidson, and Arthur Lee. During a trip to London that same year they were married. Johnson returned to the United States early the next year, but Dasburg stayed in Paris where he met Henri Matisse, Gertrude and Leo Stein, and became influenced by the paintings of Cezanne and Cubism. He returned to Woodstock, New York in August and he and Johnson became active members of the artist community. In 1911 their son Alfred was born. Both Dasburg and Johnson showed several works at the legendary Armory Show in 1913, and Dasburg also showed at the MacDowell Club in New York City, where he met the journalist and activist John Reed who later introduced him to Mabel Dodge (Luhan), a wealthy art patron and lifelong friend. In 1914 Dasburg met Alfred Stieglitz and became part of his avant-garde circle. Using what he had seen in Paris, Dasburg became one of the earliest American cubist artists, and also experimented with abstraction in his paintings.
Dasburg and Johnson lived apart for most of their marriage. By 1917 they had separated and Dasburg began teaching painting in Woodstock and in New York City. In 1918 he was invited to Taos, New Mexico by Mabel Dodge, and returning in 1919, Johnson joined him there for a period of time. Also in 1919, Dasburg was one of the founding members of the Woodstock Artists Association with John F. Carlson, Frank Swift Chase, Carl Eric Lindin, and Henry Lee McFee. In 1922 Dasburg and Johnson divorced, and also at that time he began living most of the year in Santa Fe with Ida Rauh, spending the rest of the year in Woodstock and New York City. Dasburg became an active member of the Santa Fe and the Taos art colonies, befriending many artists and writers living in these communities, and remaining close friends with Mabel Dodge Luhan. Here he moved away from abstraction, and used the southwestern landscape as the inspiration for his paintings.
In 1928 he married Nancy Lane. When that marriage ended in 1932, he moved permanently to Taos, and with his third wife, Marina Wister, built a home and studio there. Dasburg periodically taught art privately and at the University of New Mexico. In 1937 he was diagnosed with Addison's disease, which left him unable to paint again until 1946. In 1945 he and his wife Marina separated. Dasburg was recognized for his career as an artist in a circulating retrospective organized by the American Federation of Arts in 1959. He also had retrospectives in Taos in 1966 and 1978. His artwork influence several generations of artists, especially in the southwest, and he continued creating art until his death in 1979 at the age of 92.
Grace Mott Johnson lived in the Johnson family home in Yonkers, New York during the 1920s and later moved to Pleasantville, New York. In 1924 she went to Egypt to study ancient Egyptian sculpture. During the 1930s she became a civil rights activist. She produced very little art during the last twenty years of her life.
Also found in the Archives of American Art are two oral history interviews with Andrew Dasburg, July 2, 1964 and March 6, 1974. Additional related collections at other repositories include the Andrew and Marina Wister Dasburg Papers at the New Mexico State Archives, the Andrew Dasburg Papers at Syracuse University Library, and the Grace Mott Johnson Papers at the Beinecke Rare Book and Manuscript Library, Yale University.
The Archives of American Art also holds microfilm of material lent for microfilming. Reel 2803 contains photocopies of ten Morgan Russell letters to Dasburg. Reels 4276-4278 include biographical material, subject files, photographs, correspondence, writings, and exhibition material. The photocopies on reel 2803 were discarded after microfilming, and the items on 4276-4278 were returned to the lender. This material is not described in the collection container inventory.
The Andrew Dasburg and Grace Mott Johnson papers were donated by their son, Alfred Dasburg, in 1980. Syracuse Univresity lent materials for microfilming in 1978 and 1989.
The collection has been digitized and is available online via AAA's website.
The Andrew Dasburg and Grace Mott Johnson papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
This collection contains 119 gelatin silver prints and 10 black-and-white negatives taken by Charles Barney Cory between 1877-1896. The images depict scenes of everyday life among the Seminole Indians of Florida.
Scope and Contents:
The collection contains 119 gelatin silver copy prints and 10 copy negatives made in 1959 from Cory's original prints. (The original prints likely date from 1877 to 1896, and some of these appear as illustrations in Cory's 1896 book Hunting and Fishing in Florida.) The photographs primarily consist of informal, outdoor portraits of individual and groups of Seminole men, women, and children. In addition, some photographs depict villages and dwellings and people playing games, boating, and tending domestic animals.
Prints: organized in folders; arranged by image number.
Negatives: organized in individual sleeves; arranged by image number.
A wealthy Bostonian, Charles B. Cory (1857-1921) began collecting ornithological specimens as a young man. Eventually he amassed a superior collection of birds of the Caribbean and the Gulf of Mexico, which he donated to Chicago's Field Museum. In 1883, he was one of forty-eight ornithologists invited to establish the American Ornithologists' Union.
In 1959, Cory's heirs apparently permitted the Museum of the American Indian, Heye Foundation to print and retain photographs from Cory's original negatives. The present location of the original negatives is unknown.
Historically, the Museum of the American Indian, Heye Foundation managed all photographic materials separately. This collection description represents current management practices of organizing and contextualizing related archival materials.
Access to NMAI Archive Center collections is by appointment only, Monday - Friday, 9:30 am - 4:30 pm. Please contact the archives to make an appointment (phone: 301-238-1400, email: email@example.com).
Copyright restrictions may apply. Please contact the archivist for further information.
These records document the administration, field work, and research activities of the Pacific Ocean Biological Survey Program, especially its bird banding, island survey,
and pelagic survey programs. Included are reports, correspondence, field records, office records, contracts, data, notes, manuscripts, maps, and photographs. The records also
contain material from earlier field activities in the Pacific that was collected by the POBSP.
Many of the materials in this collection have been digitized.
View Digitized Materials.
The Pacific Ocean Biological Survey Program (POBSP) was initiated in 1962 when the Smithsonian Institution entered into a grant agreement with the Department of Defense.
From January 1963 through June 1969 Smithsonian Institution employees undertook biological surveys in an area of the Pacific Ocean spanning the equator and extending from
latitude 30 degrees north to 10 degrees south and from longitude 150 degrees east to 180 degrees west, an area dotted with clusters of islands and atolls. The major goals
of the program were to learn what plants and animals occurred on the islands, the seasonal variations in their numbers and reproductive activities, and the distribution and
population of the pelagic birds of that area. Emphasis was placed on the banding of birds in an effort to determine migration, distribution, and abundance of pelagic sea birds.
During the six and a half years of field work 1,800,000 birds were banded; approximately 150,000 observations of pelagic birds at sea were made; and biological surveys of
varying intensity were made on several islands.
The principal investigator of the POBSP was Philip S. Humphrey (1926-2009), who came to the Smithsonian Institution in 1962 as curator of birds. In 1964 Humphrey became
chairman of the newly created Department of Vertebrate Zoology, while retaining his position as curator of birds. In 1967 he left the Smithsonian to become director of the
Museum of Natural History and chairman of the Department of Zoology at the University of Kansas. He remained principal investigator of the Survey and retained his connection
with the Smithsonian as a research associate.
National Museum of Natural History. Division of Reptiles and Amphibians Search this
12.98 cu. ft. (9 record storage boxes) (1 document box) (6 tall document boxes)
This collection consists of correspondence of the Division of Reptiles and Batrachians, a correspondence which was conducted by Yarrow, Stejneger, and Cochran.
The correspondence of James A. Peters (1922-1972), who came to the United States National Museum in 1964 and was appointed Curator in Charge of the Division of Reptiles
and Amphibians in 1966, is maintained by the Division at this time.
The records contain general correspondence carried out by the Division's curators. Materials of Leonhard Stejneger pertaining to the international congresses he was invited
to and attended as a representative of the USNM (1895-1911) are included. In addition, administrative memoranda regarding the USNM operations for the Division of Reptiles
and Amphibians and the Departments of Biology, Vertebrate Zoology, and Zoology are included. This material pertains to requisitions, budgetary matters, publication policy,
expeditions of curators, museum exhibitions, and personnel matters.
The collection of reptiles and amphibians under the care of the Smithsonian Institution had its origins in the collection of Spencer F. Baird which he presented to
the Institution when he came to Washington to accept the position of Assistant Secretary in 1850. For the next three decades there was no curator officially in charge of the
collection, and most of the early publications resulting from the collection were produced by Baird and Charles Frederic Girard (1822-1895), who from 1850-1860 was Baird's
In 1879 Henry Crécy Yarrow (1840-1929), an army surgeon who had served as naturalist on the explorations west of the 100th meridian led by Lt. George Wheeler, was appointed
Honorary Curator of the Department of Herpetology, a position which he filled on a part-time basis until his resignation in 1889. During the early 1880's the Department was
known variously as the Department of Herpetology, the Department of Reptiles, and the Department of Reptiles and Batrachians. But by about 1885 the latter title had become
standard. In 1947 the name was changed to the Division of Reptiles and Amphibians.
In 1897 the National Museum was reorganized into three departments: Biology, Geology, and Anthropology, with Reptiles and Batrachians as a Division of the Department of
Biology. In 1947 another administrative reorganization took place in the United States National Museum. As part of the reorganization the Department of Biology was split into
Departments of Botany and Zoology with Reptiles and Batrachians (renamed Reptiles and Amphibians) becoming a Division of the Department of Zoology. In 1964 the Department
of Zoology was divided into three departments: Vertebrate Zoology, Invertebrate Zoology, and Entomology, with Reptiles and Amphibians a Division of the Department of Vertebrate
Leonhard Stejneger (1851-1943), the first full-time curator of the Division of Reptiles and Batrachians, came to the Smithsonian in 1881 as an ornithologist. During 1882
and 1883 he worked as an observer for the U. S. Signal Service in the Commander Islands, where he made large collections for the U. S. National Museum. After his return to
Washington he was made Assistant Curator in the Department of Birds (1884), a position which he held until asked to assume the position of Curator of the Department of Reptiles
and Batrachians in 1889, after the resignation of Yarrow. He accepted the position and held it until his death in 1943.
Doris Mable Cochran (1898-1968) was appointed Aid in the Division in 1919. In 1927 she was named Assistant Curator; in 1942 she became Associate Curator; and in 1956 she
was named Curator, a position which she held until her death.
This accession consists of records documenting the research activities of ornithologist Russell Greenberg (1953-2013). Greenberg began his career in 1977 at the Smithsonian
Tropical Research Institute (STRI) and was founder and first director of the Smithsonian Migratory Bird Center at the National Zoological Park in 1991. His earliest records
document his research as a graduate student. Judith Gradwohl, STRI Research Associate, circa 1977-1991, and Director of the Office of Environmental Awareness, circa 1991-1994,
who was Greenberg's field assistant and, later, his wife, also significantly contributed to these research records. Particularly well-documented in this accession are birds
and their habitats on Barro Colorado Island, Panama. Materials include field books, field observations, data sheets, compiled data, journals, proposals, correspondence, slides,
articles, notes, and related materials. Some materials are in electronic format.
Abbott Handerson Thayer's correspondence consists primarily of letters to Thayer, but includes a few handwritten copies or drafts of his outgoing letters. Found here are numerous personal letters to and from family members, including his daughters Mary and Gladys (Galla), his son Gerald (Gra), and his wife Emma (also known as Addie), as well as nephews, nieces, sisters, cousins, and other extended family. There is correspondence with his patrons Charles L. Freer and John Gellatly; with many artists, several of whom were close friends, including Samuel Colman, Thomas Millie Dow, Daniel Chester French, Richard Meryman, Everton Sainsbury, Louis Agassiz Fuertes, and E. M. Taber; and former students, such as Ben Foster and Barry Faulkner; with other friends, many of them prominent members of society, such as Samuel Clemens, Royal Cortissoz, Edward Waldo Emerson, and Stanford White. A large amount of Thayer's correspondence concerns his research on protective coloration in nature and the publication of his book Concealing Coloration in the Animal Kingdom. To pursue and defend his theories on concealing coloration, especially as applied to birds, he corresponded with many notable naturalists, biologists, ornithologists, and collection curators. Most notable is his extensive correspondence with Sir Edwin Bagnall Poulton, a British zoologist, and draft letters to Theodore Roosevelt, in defense and promotion of his work. He corresponded with many, including Franklin D. Roosevelt, then the Assistant Secretary of the Navy, and the War Office in London, promoting his theory on the value of concealing coloration for warships and the military. Correspondence is arranged alphabetically by last name of correspondent and chronologically within each folder.
The collection has been digitized and is available online via AAA's website.
The Abbott Handerson Thayer and Thayer Family papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Abbott Handerson Thayer and Thayer Family papers, 1851-1999 (bulk 1881-1950). Archives of American Art, Smithsonian Institution.
Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art. Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee.