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Jan Butterfield papers

Creator:
Butterfield, Jan  Search this
Names:
Lapis Press  Search this
Pacific Enterprises  Search this
Bell, Larry, 1939-  Search this
Bischoff, Elmer, 1916-1991  Search this
Dugmore, Edward, 1915-  Search this
Francis, Sam, 1923-1994  Search this
Gehry, Frank O., 1929-  Search this
Goode, Joe, 1937-  Search this
Greene, George  Search this
Guston, Philip, 1913-1980  Search this
Harrison, Helen Mayer, 1929-  Search this
Harrison, Newton, 1932-  Search this
Hopkins, Henry, 1928-2009  Search this
Hudson, Robert, 1938-  Search this
Irwin, Robert, 1928-  Search this
Karp, Michael  Search this
Kienholz, Edward, 1927-  Search this
Nauman, Bruce, 1941-  Search this
Nordman, Maria  Search this
Orr, Eric, 1939-1998  Search this
Rauschenberg, Robert, 1925-2008  Search this
Reinhardt, Ad, 1913-1967  Search this
Resnick, Milton, 1917-2004  Search this
Roche, Jim  Search this
Ruscha, Edward  Search this
Shaw, Richard, 1941 Sept. 12-  Search this
Still, Clyfford, 1904-1980  Search this
Turrell, James  Search this
Wheeler, Douglas  Search this
Wortz, E.  Search this
Wortz, Melinda  Search this
Young, R. Joshua  Search this
Interviewee:
Cage, John, 1912-1992  Search this
Extent:
15 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Sound recordings
Video recordings
Transcripts
Interviews
Scrapbooks
Date:
1950-1997
Summary:
The papers of Jan Butterfield measure 15 linear feet and date from circa 1950 to 1997. Papers contain hundreds of recorded interviews with and lectures by artists, panel discussions of artists and art historians, as well as extensive writings by Butterfield. Also found are project files, personal business records, printed materials, photographs, and additional sound and video recordings related to art subjects.
Scope and Contents:
The papers of Jan Butterfield measure 15 linear feet and date from circa 1950 to 1997. Papers contain hundreds of recorded interviews with and lectures by artists, panel discussions of artists and art historians, as well as extensive writings by Butterfield. Also found are project files, personal business records, printed materials, photographs, and additional sound and video recordings related to art subjects.

Interviews and Lectures include hundreds of interviews conducted by Butterfield between 1971 and 1987 with contemporary artists about whom she was writing at the time. The artists Robert Irwin and Sam Francis are represented particularly well. Also found are slide talks, class discussions, and lectures given by artists, which are assumed to have been recorded by Butterfield in most cases. Also among the recordings are recorded performances by John Cage, Joe Goode, Newton and Helen Harrison, Jim Roche, and George Greene. Panel discussions include two notable recordings involving Milton Resnick, one with the painter Edward Dugmore in 1959, and the other with the painter Ad Reinhardt at The Club in 1961, which was later dubbed "The Attack."

The bulk of the writings relate to Butterfield's published work The Art of Light and Space, represented here in multiple drafts, research, and photographs of works of art by the artists discussed in the work including Robert Irwin, James Turrell, Maria Nordman, Douglas Wheeler, Bruce Nauman, Eric Orr, Larry Bell, DeWain Valentine, Susan Kaiser Vogel, and Hap Tivey. Also found are extensive drafts and research for catalog essays for exhibitions of Larry Bell, Richard Shaw, Robert Hudson, and Elmer Bischoff. Drafts of articles and publicity writing are mainly about artists but also some galleries and other art events. There are a few transcripts of recorded interviews, and it appears that many of the writings are based on Butterfield's interviews.

Project files include records relating to Butterfield's involvement with the production of a catalog for the corporate art collection of Pacific Enterprises. These also include additional artist interviews and artist files containing research and writing, mainly by her associate Michael Karp. Also found are photographs and sound recordings for the Waterfront Project at the San Francisco Art Institute, an interdisciplinary community-centered development project that involved Larry Bell, Robert Irwin, Melinda Wortz, Eric Orr, Dr. E. Wortz, Frank Gehry, Newton and Helen Harrison, Josh Young, and students at the Art Institute. And finally, project files include photographs, interviews, and printed material related to publications of Lapis Press, where Butterfield was Executive Director.

Personal business records include correspondence, price lists, financial records, notes, press releases, and career documentation of Butterfield. Printed materials include articles by Butterfield, articles about Butterfield, and articles by Henry Hopkins, most of which are photocopies. There are also clippings, exhibition catalogs, exhibition posters, and publicity. Of note is a disassembled scrapbook pertaining to the controversial Ed Kienholz exhibition at the Los Angeles County Museum of Art in 1966, and a directory of art spaces in Los Angeles from 1978.

Most of the photographs are of works of art by artists about whom Butterfield wrote. Also found are a few files of photographs of artists, some taken by Butterfield, including Philip Guston, Ed Kienholz, Henry Hopkins with Clyfford Still, Robert Irwin, Robert Rauschenberg, and James Turrell. Additional video and sound recordings include artist installations, a documentary on Sam Francis, and an acoustiguide for an Ed Ruscha exhibition.
Arrangement:
This collection is arranged as 7 series.

Series 1: Interviews and Lectures (Boxes 1-5; 4.2 linear feet)

Series 2: Writings (Boxes 5-7, 16, OV 17; 3.7 linear feet)

Series 3: Project Files (Boxes 8-10, 16; 1.6 linear feet)

Series 4: Personal Business Records (Boxes 10-11, OV 17-19; 1.1 linear feet)

Series 5: Printed Materials (Boxes 11-12, 16, OV 17-19; 1.8 linear feet)

Series 6: Photographs (Boxes 12-14, 16; 2.2 linear feet)

Series 7: Sound and Video Recordings (Box 15; 0.4 linear feet)
Biographical / Historical:
Jan Butterfield (1937-2000) was an art writer and critic of contemporary art who spent most of her career in California. She is best known for her writings on late twentieth century installation and craft artists, particularly those who worked in California and the American West.

Butterfield was born Jan Van Alstine in Los Angeles, California in 1937 and attended the Univeristy of California, Los Angeles. She received numerous fellowships and grants from the National Endowment for the Arts as an art critic, and contributed art writing to dozens of exhibition catalogs and art publications including Art International, Images and Issues, Art News, Art in America, and Flash Art. Her most ambitious work of writing was The Art of Light and Space (Abbeville Press: 1993), which profiles the work of contemporary artists Robert Irwin, James Turrell, Maria Nordman, Douglas Wheeler, Bruce Nauman, Eric Orr, Larry Bell, DeWain Valentine, Susan Kaiser Vogel, and Hap Tivey. She was also the author of a 1972 monograph of the Abstract Expressionist painter Sam Francis.

Butterfield held positions in public relations at the Los Angeles County Museum of Art from its opening until 1970, and at the Fort Worth Art Museum from 1970 to 1974. She taught at Northwood Experimental Art Institute in Dallas, Texas, the San Francisco Art Institute, San Jose State University, and Mills College in Oakland, California between 1973 and 1983. At the San Francisco Art Institute, she was Director of the extension program and Coordinator of the visiting artist program and the Waterfront Project between 1976 and 1978. In 1984, Butterfield and the artist Sam Francis co-founded the Lapis Press, where she served as Executive Director from its founding until 1988.

Butterfield was married twice, the second time to Henry Hopkins, Museum Director at LACMA, the Museum of Fine Art of Houston, and the San Francisco Museum of Modern Art. She died in 2000 after an extended illness.
Related Materials:
Also found among the collections of the Archives of American Art is a 1981 panel discussion on Bay area art criticism sponsored by the National Women's Caucus for Art, in which Butterfield participated, as well as an oral history interview Butterfield conducted with Helen Lundeberg for the Archives' Oral History Program in 1980.
Separated Materials:
The Archives of American Art also holds microfilm of material lent for microfilming on reel 1042 including two volumes of scrapbooks. Loaned materials were returned to the lender and are not described in the collection container inventory.
Provenance:
Jan Butterfield lent material in 1975 for microfilming. She donated the Robert Irwin material in 1980 of and most of the interviews and audio tapes in 1989. An additional 12 feet of papers, including some material previously loaned and microfilmed, along with two additional audio tapes, were donated by Butterfield's brother, and Trustee of the Jan Butterfield Trust, Derek Van Alstine in 2002.
Restrictions:
Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
The Jan Butterfield papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Art historians -- California  Search this
Authors -- California -- San Francisco  Search this
Art critics -- California -- San Francisco  Search this
Genre/Form:
Photographs
Sound recordings
Video recordings
Transcripts
Interviews
Scrapbooks
Citation:
Jan Butterfield papers, 1959-1998. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.buttjan
See more items in:
Jan Butterfield papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-buttjan
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Scurlock Studio Records

Creator:
Custom Craft  Search this
Scurlock Studio (Washington, D.C.)  Search this
Scurlock, George H. (Hardison), 1919-2005  Search this
Scurlock, Addison N., 1883-1964  Search this
Scurlock, Robert S. (Saunders), 1917-1994  Search this
Names:
Howard University -- 20th century  Search this
DuBois, W.E.B. (William Edward Burghardt), 1868-1963  Search this
Washington, Booker T., 1856-1915  Search this
Extent:
200 Cubic feet
Type:
Collection descriptions
Archival materials
Dye transfer process
Studio portraits
Matrices, color separation
Photographs
Color separation negatives
Place:
Washington (D.C.) -- Small business -- 20th century
Shaw (Washington, D.C.)
Washington (D.C.) -- African Americans
Date:
1888-1996
Summary:
The collection includes approximately 250,000 photonegatives, photoprints, color transparencies from the photographic business founded by Addison Scurlock in Washington, DC. Collection also includes business records and ephemera.
Scope and Contents:
Photographs includes portraits of famous African-American luminaries such as Booker T. Washington, W.E.B. DuBois, and many other artists, intellectuals, educators, entertainers, etc., as well as documentation of Washington, DC, including both the African-American community and national political life, and important photographs of Howard University; also commercial photography, including color materials.

Color separation materials include sets of black-and-white color-separation negatives, sets of matrices for the Kodak Dye Transfer process (full-color Dye Transfer prints are storied in a different series).

Business records: The photography studio records and Custom Craft records are in separate series, reflecting the fact that they were operated as separate businesses.

The collection includes all forms of photographs produced by the studio, such as prints in black-and-white and color, black-and-white and color negatives, color transparencies, black-and-white dye-transfer matrices, slides, etc.; as well as business documents, studio session ledgers, appointment books, business and personal correspondence, tax documents, and books, catalogs, and other publications. This material documents not only the photographic output of the business, both commercial and artistic, as well as the personal and business side of the enterprise.

Some photographs in the collection were not created by the Scurlocks. Some black-and-white and color prints seem to derive from assignments in the Capitol School of Photography, and are therefore student work. Also Custom Craft, the professional color processing service provided by the studio, made prints for other photographers, and samples for printing reference, as well as studio decor, have been retained in the collection. Custom Craft worked for such diverse photographers as artist Robert Epstein and well-known Washington photographer Fred Maroon, for example.

The collection numbers several hundred thousand photographic negatives, prints, and transparencies made by the Scurlocks and other staff photographers of the studio in its various Washington locations. The negatives are estimated at approximately 160,000-200,000 in number, and the prints of all sizes and types at nearly 57,000. The vast majority of the photographs are portraits of individuals, family groups, and organizations, as the primary business of the studio was portrait photography. They date primarily from the 1940s to 1990s. There are also a number of images, made for commercial clients, of building interiors and exteriors, and food. A small group of photojournalistic documentation also exists. The subjects also include architectural and industrial views, scenes in and around Washington, including children and street laborers, political events, social events, and 35mm slides of President Kennedy's funeral, 1964. There are also more personal artistic images, including still lifes with plants and flowers, and a few nudes; Robert's wartime service is also documented by his photographs, including European landscape photographs.

In addition to images taken by the Scurlock studio photographers, there are some prints, especially color, of images by other photographers who were clients, such as Fred Maroon, a prominent Washington photojournalist, and Robert Epstein, a teacher at the Corcoran School of Art. A print of one of Maroon's pictures had been displayed in the studio reception room at the time the studio was closed.

A large group of manuscript items, business documents, ephemera, and office and studio supplies constitutes a separate series from the photographs. An important adjunct to the photographs, a set of ledgers recording and identifying portrait sittings, highlights this group.

Nearly all of the photographs and documents stored in the studio and auxiliary storage locations were accepted for acquisition in order to form a complete history of this family business's production and operations over the better part of a century, whereas a selection of photographic apparatus and studio equipment was acquired by the Photographic History Collection: these items have been inventoried and catalogued separately.

Studio Portraits

The majority of the surviving photographic negatives and proof prints were made in connection with the studio's portrait work for a wide variety of clients. These portraits include images of famous people, such as political figures, entertainers, and noteworthy persons in a variety of fields, including scientists, writers, intellectuals, and academics. The majority of the figures depicted among both the famous and the not so famous are black. The greatest number of studio portraits, most of which are identified and dated, depict a general clientele who visited the studio for portrait sittings. Although the individual images in this vast quantity have limited research value in the usual sense, the aggregate represents a chronology spanning almost ninety years, which may be useful for demographic and genealogical information and as visual evidence of changing styles in clothing, hair, and accessories. It constitutes a panorama of a significant percentage of Washingtonians of the period, especially the black community.

Portraits of famous personages include George Washington Carver, Dr. Martin Luther King, Jr., Duke Ellington, Marian Anderson, Archbishop Desmond Tutu, Sammy Davis, Jr., Sugar Ray Leonard, Muhammad Ali, Mayor Walter Washington, and Presidents Kennedy, Johnson, Nixon, Ford, Reagan, Bush, and Clinton, Mayor Marion Barry, DC Council members, statesmen such as Ralph Bunche, and many other noteworthy figures. Of particular interest is a signed group portrait of the US. Supreme Court with Chief Justice Berger presiding. There are also large- format portraits of Justice Thurgood Marshall and J. Edgar Hoover.

Group portraits include both formal sittings and the informal documentation of banquets, convocations, and similar events. This material includes groups at Howard University; Dunbar High School; the Post Office Clerks' Banquet; the Bishops' Meeting of the AME Church; a YMCA camp, cira 1947 1949; the 23rd annual conference of the NAACP, 1932, etc.

Howard University

Several thousand black and white negatives and prints, 1930s-1960s, depict the people, facilities, and events of Howard University, with which the Scurlocks had a long business relationship. There are various portraits, including Howard University Medical School, represented by 850 negatives and 100 prints. A group of law school and medical school images numbers some 800 negatives and 200 prints. In addition, there are class portraits, as well as images of famous guests speaking at Howard convocations, such as President Herbert Hoover.

Wedding Photography

An important aspect of any portrait studio's output is wedding photography, and the Scurlock studio was no exception. Bridal portraits, group pictures of wedding parties, and the complete documentation of weddings, in both black and white and color, constitute a significant part of the collection. African-American weddings predominate and provide important insights into this aspect of the society.

Exhibitions

The studio's work was shown in special public exhibitions over the years, and several of these are included in toto. The most important was an extensive retrospective display of 121 prints of Addison's work, both vintage and posthumous, prepared by Robert for the Corcoran Gallery of Art in 1976. Others include: (1) a set of 32 black and white images made by Robert at the Ramitelli Air Base, Italy, while he was a major in the US Air Force during World War II; (2) a group of portraits from a Black History Month exhibit at Woodward and Lothrop; and (3) a set of sixteen vintage and modern prints which Robert displayed in an interview on the "Today" television show in the 1980s.

Commercial Work

This category includes architectural and industrial photography for commercial clients, food and still life photographs, etc. Much of this material is comparatively recent and was made in large format color, and includes transparencies and enlargements. It is possible that some of the prints represent Custom Craft work for other photographers rather than the camera work of Robert and George Scurlock. Thus far, prints by artist Robert Epstein have been identified as extra prints of his work from orders which he placed with the firm. At least one image by Fred Maroon has been identified.

A group of color prints constitutes copies of artworks, primarily in the National Portrait Gallery, for which the Scurlocks worked. Prints in 8" x 10", 11" x 14", 16" x 20" and 20" x 24" sizes are included, and undoubtedly negatives and transparencies corresponding to these subjects will be found.

Photojournalism

In addition to the formal studio portraits and pictures documenting formal events, the Scurlocks took candid photographs of the everyday life of their city, as well as extraordinary events of local and national significance, ranging from occasions such as John F. Kennedy's funeral and the 1968 riots to political rallies and demonstrations.

Capitol School of Photography

The collection includes a variety of materials, such as books and ephemera, which document the activities of the Capitol School of Photography, a sideline of the Scurlock business. Some of the photographs apparently represent student work. The most famous student of the school was Jacqueline Bouvier (later Jacqueline Kennedy Onassis), although no documentation of her association with the school has been located thus far. There are 45 photographs, circa 1950s, showing the photography lab, men retouching prints, students with cameras, etc.

Personal Photographs

A few photographs of the Scurlock family are included in the collection in various forms and formats, including enlarged portraits of Addison and Robert. A self portrait of Addison and Mamie Scurlock is included in the Corcoran Gallery of Art exhibition series. Other photographs which represent personal artistic expression, such as a few nude studies and floral and plant still lifes, are included.

Series 6 consists of photographic materials including color transparencies, slides, film, and proofs but occasionally includes notes, forms, and envelopes associated with the orders.
Series 1: Black and White Photographs:
Dates -- 1888-1993

Extent -- 105 boxes

Contents -- Series 1: Black and White Photographs: The materials are almost entirely black and white photographs, but in the subseries of clients, there may also be job envelopes, order materials, and other photographic material types that were included in the overall order. The series is arranged into two subseries, clients and subjects, and both are arranged alphabetically. The subseries clients documents the orders made by clients of the Scurlock Studio and individuals who were or could be identified but may or may not have actually placed an order at the Studio. The majority of the photographs in the clients subseries are formal portrait sittings but there are photographs of events, organizations, and businesses. The subseries subjects are photographs that were grouped into categories because no known client or individual in the image could be identified. The subjects cover a broad array of subjects but the majority of the subjects include unidentified people in formal portrait sittings and groups. In addition, not all photographs in this series were taken by the Scurlock Studio; there are photos by Abdon Daoud Ackad and other studios or photographers that were sent in to make copies. 1.1: Clients Black and white photographs1.2: Subjects Black and white photographs
Series 2: Color Photographs:
Dates -- 1930-1995

Extent -- 113 boxes

Contents -- Series 2: Color Photographs: The series color photographs consists of color photographs and hand-colored photographs, but there are also order envelopes and materials, and other photographic material types that were part of the order. The subseries are arranged as clients, subjects, weddings, and hand-colored photographs. Clients are arranged alphabetically by last name or the first word of an organization's name. Not all individuals, organizations, or businesses necessarily represent a client of the Scurlock Studio; if an individual or organization could be identified, the photograph was placed under the identified person or organization even if ther were not a known client of the Studio. The majority of the photographs are individual portrait sittings but also included are family portraits, businesses, organizations, and informal images. The subjects are arranged alphabetically, and document images of non-humans and humans that could not be connected to a known client. Weddings and hand-colored are arranged in alphabetical order with clients preceeding subjects. The were a large subject of the overall collection and the majority of weddings are color photographs but also included in the subseries are black and white and hand-colored photographs of weddings. The hand-colored photographs largely reflect the same subject matter of the subseries clients and subjects. In addition, not all photographs in this subseries were taken by the Scurlock Studio; there are photos by Abdon Daoud Ackad and other studios or photographers that were sent in to make copies. 2.1: Clients Color photographs2.2: Subjects Color photographs2.3: Weddings2.4: Hand-colored photographs
Series 3: Framed Prints:
Dates -- circa 1979

Extent -- 3 boxes

Contents -- Series 3: Framed Prints: The series framed prints includes three framed color photographs. The framed prints are arranged by the size, from smallest to largest, of the frame. The photographs are of two important political figures: Washington, D. C., Mayor Marion Barry and Senator Edward Brooke.
Series 4: Black-and-White Silver Gelatin Negatives:
Dates -- 1900-1994

Extent -- 320 boxes

Contents -- Series 4: Black-and-White Silver Gelatin Negatives: The material type of the series is black and white silver gelatin negatives. The negatives are arranged into twelve subseries. The materials document the clients and individuals whose photographs were taken by the Scurlock Studio and a wide variety of subject matters. The subjects represented are individual portrait sittings, organizations, events, businesses, commercial ventures of the Studio, and Washington, D. C. 4.1: Black and white negatives 4.2: Black and white negatives in freezers arranged by job number 4.3: Black and white negatives in freezer storage arranged by client 4.4: Black and white negatives in freezer storage arranged by subject 4.5: Black and white negatives in cold storage arranged by job number 4.6: Black and white negatives in cold storage arranged by client 4.7: Negatives in cold storage arranged by client with index cards 4.8: Negatives in cold storage arranged by subject 4.9: Black and white negatives for publication 4.10: Glass Plate Negatives 4.11: Customcraft Negatives 4.12: Banquet Negatives
Series 5: Color Negatives:
Dates -- 1964-1994

Extent -- 72 boxes

Contents -- Series 5: Color Negatives: The series color negatives primarily of color negatives but it also includes order envelopes and materials. The series is arranged into two subseries: clients and subjects. The subseries clients is arranged by job number, and the materials document the orders placed by clients of the Scurlock Studio and identified persons and organizations. The negatives depict individual portrait sittings, groups, and informal poses. The subseries subjects is arranged in alphabetical order, and the materials document negatives that could not be connected to a client of the studio. The negatives represent subjects such as art, buildings, commercial ventures of the Scurlock Studio, and unidentified people. 5.1: Color negatives arranged by client5.2: Color negatives arranged by subject
Series 6: Color Transparencies, Slides, and Other Formats:
Dates -- 1922-1994

Extent -- 40 boxes

Contents -- Series 6: Color Transparencies, Slides, and Other Formats: The series color transparencies, slides, and other formats consists of black and white and color transparencies, color slides, film, proofs, and order materials. The materials are arranged into four subseries: transparencies, slides, film, and proofs. The subseries are arranged by clients, in alphabetical order by last name, and then subjects, in alphabetical order. The materials document the orders placed at the Scurlock Studio by clients and identified individuals and organizations, and materials that could not be identified and are categorized by subjects. The subjects represented in the materials are primarily individual, family, and group portraits, and events and places. Cut but unmounted slides were typically placed in the subseries transparencies but a small number of cut but unmounted slides are included in the slides. The subseries proofs only contains a form of proof used by the Scurlock Studio that has a fugitive image, and other types of proofs printed on low quality paper or are water-marked and have a lasting image were included in the series Black and White Photographs and Color Photographs if the proof was either black and white or color. 6.1: Transparencies6.2: Slides6.3: Film6.4: Proofs
Series 7: Black-and-White Color Separation Negatives and Matrices:
Dates -- 1955-1957

Extent -- 7 boxes

Contents -- Series 7: Black-and-White Color Separation Negatives and Matrices: The materials in the series are black-and-white color separation negatives and a booklet about how to process black-and-white color separation negatives. The materials are arranged into three subseries: clients, subjects, and the booklet. The materials document orders placed at the Scurlock Studio by clients and individuals and organizations that could be identified but not connected to a specific order. The materials also document negatives categorized by subjects because there was no known client or identifiable individual or organization. The subjects represented are individual portrait sittings and groups, and unidentified people. 7.1: Clients Black-and-White Color Separation Negatives 7.2: Subjects Black-and-White Color Separation Negatives Booklet
Series 8: Scurlock Studio Business Records:
Dates -- 1907-1996

Extent -- 66 boxes

Contents -- Series 8: Scurlock Studio Business Records: The series Scurlock Studio Business Records contains paperwork pertaining to the administration of the business, the financial documentation of the business, the reocrds of sales, the advertising signs and promotions of hte business, the files kept on employees, and other materials kept at the Scurlock Studio. The series is arranged into six subseries: administrative file, financial, sales, advertising and marketing, employee and personnel, and office files. Each subseries is arranged differently according to the types of materials predominantly found in the subseries or in chronological order. The subjects represented in the series are mostly related to the financial records of the Scurlock Studio kept and the invoices of sales records. A wide variety of other subjects relating to the the business records of the Scurlock Studio can also be found including: session registers, construction plans, advertisements for specific holidays, and product information sent to the Studio. Some materials found in this series may be marked Scurlock Studio and Custom Craft, the color division of the Scurlock Studio, and were placed with this series because the Scurlock Studio was the primary business. Other materials with an unclear origin of either the Scurlock Studio or Custom Craft were placed in this series. 8.1: Administrative Files8.2: Financial8.3: Sales8.4: Advertising and Marketing8.5: Employee and Personnel8.6: Office Files
Series 9: Custom Craft Business Records:
Dates -- 1951-1994

Extent -- 57 boxes

Contents -- Series 9: Custom Craft Business Records: The series Custom Craft Business Records consists of paper documents relating to the administrative, financial, sales records, employee and personnel, and other files about the affairs of the Custom Craft business's day-to-day operations. The materials are arranged into five subseries: administrative, financial, sales, employee and personnel, and office files. The materials within a subseries are ordered by types of documents that consisted of a large number of materials listed first and materials with few documents following the grouped materials in chronological order. The materials document the day-to-day business of Custom Craft. The subjects represented are documents relating to the administration of the business, journals kept to document finances, the order invoices, the files kept about employees, product information, and materials accumulated in the office. Some documents may list both the Scurlock Studio and Custom Craft and were kept with the business records of Custom Craft if the materials appeared to fit the activities, color photography, of that business. Other documents relating to the business affairs of Custom Craft may be in the series Scurlock Studio Business Records because these documents did not clearly indicate which business the documents belonged to; in these cases, the materials were put in the series Scurlock Studio Business Records because the business was the primary business of the Scurlocks. There business records seem to indicate that there was not always a clear differentiation between the two businesses. 9.1: Administrative9.2: Financial9.3: Sales9.4: Employee and Personnel9.5: Office files
Series 10: Capitol School of Photography:
Dates -- 1948-1954

Extent -- 4 boxes

Contents -- Series 10: Capitol School of Photography: The series Capitol School of Photography consists of paper documents, photographs, and transparencies. The materials are arranged in chronological order and document the administration of the Capitol School of Photography and the students. The subjects represented are administrative documents, student files, photographs by students, photographs of students and the space used for the School, and transparencies of the same subjects.
Series 11: Washington Stock:
Dates -- 1981-1994

Extent -- 2 boxes

Contents -- Series 11: Washington Stock: The series Washington Stock consists of order materials, orders, and published materials. The materials are arranged chronologically and document the orders placed for Washington Stock and how the materials were used and published. The subjects represented are orders, standard forms used by Washington Stock, and published materials.
Series 12: Background Materials and Publications:
Dates -- 1902-1995

Extent -- 18 boxes

Contents -- Series 12: Background Materials and Publications: The series Background Materials and Publications is composed of paper documents, published materials, and materials from exhibitions. The materials are arranged into four subseries: historical and background information, Scurlock images, reference materials, and exhibition materials. The materials document the Scurlocks, published Scurlock images, published materials lacking Scurlock images, exhibitions of Scurlock images, and other exhibitions of related material. The subjects represented are largely materials related to the Scurlocks' photography and personal interests. Images were placed in the subseries Scurlock images if the photograph was credited to the Scurlocks or was a photograph known to have been taken by the Scurlocks; it is possible that uncredited and less well known images taken by the Scurlocks are present in the subseries reference materials. 12.1: Historical and Background Information12.2: Scurlock Images12.3: Reference Materials12.4: Exhibition Materials
Arrangement:
The collection is divided into 12 series.

This collection was processed with numerous changes in arrangement and numbering of boxes. Original box numbers have been retained in this finding aid for cross-reference purposes and to assist anyone with a record of photographs according to the original box numbers.
Biographical / Historical:
The Scurlock photographic studio was a fixture in the Shaw area of Washington, D.C. from 1911 to 1994, and encompassed two generations of photographers, Addison N. Scurlock (1883-1964) and his sons George H. (1920- 2005) and Robert S. (1916-1994).

The turn of the twentieth century saw a mass exodus of African Americans from the South to northern cities in search of better employment opportunities and fairer racial treatment. Although many considered Washington to be the northern-most southern city, it still offered opportunities for African Americans leaving seasonal agricultural work and racial oppression in the South. In Washington, African Americans found stable employment with the U.S. government. In addition, Howard University offered African Americans teaching opportunities, college education, and professional training as doctors, dentists, nurses, lawyers, and ministers. By 1900 a substantial African-American middle class existed in Washington. Despite the fact that Washington was a historically and legally segregated city (and would remain so into the 1960s), this middle class population continued to grow and prosper.

After graduation from high school, Addison Scurlock moved from Fayetteville, North Carolina, to Washington, D.C., with his family in 1900. With a keen interest in photography, he sought out an apprenticeship at the white-owned Moses Rice Studio on Pennsylvania Avenue. The Rice brothers (Amos and Moses) had been in Washington working as photographers since the 1860s and had one of the more prominent and better studios in the city. There Addison learned portrait and general photography. In 1904, he left Rice and began his photographic career at his parents' home. By 1911, when he opened the Scurlock Studio, he had already captured the likeness of Booker T. Washington (1910; see Appendix B), most likely his most well-known portrait. Scurlock quickly identified his market: a self-sufficient African-American community which included students, graduates, and educators affiliated with Howard University; poets; writers; intellectuals; musicians and entertainers; politicians; socialites; fraternal and religious organizations and their leaders. The Scurlock Studio, located at 900 U Street, N.W., became a fixture in the midst of the thriving African-American business community. As with his white counterparts on Pennsylvania Avenue and F Street, N.W., Addison Scurlock inspired passers-by with window displays of his photographs of national leaders and local personalities.

During the 1930s, Addison Scurlock's two sons Robert and George apprenticed in the studio. In addition to portrait and general photography, the sons learned the techniques of retouching negatives and photographic prints, hand-coloring, hand-tinting, and mat decoration. George concentrated on the commercial side of the business while Robert concentrated on the portrait side. The Scurlocks' work changed with the times. From the early 1900s until Addison's death in 1964, the Scurlock Studio was the official photographer of Howard University. In the 1930s the studio began a press service and prepared newsreels on African American current events for the Lichtman Theater chain, which offered some of the few non-segregated venues in the city. Their press service supplied the African-American press with newsworthy photographs of current events, personalities, and social, political, and religious life. Clients included the Norfolk Journal and Guide, Amsterdam News, Pittsburgh Courier, Cleveland Call and Post and the Washington Tribune and Afro-American. George and Robert ran the Capitol School of Photography from 1948 to 1952. Included among their students were African-American veterans under the G.I. Bill, Ellsworth Davis, who later worked as a Washington Post photographer and Bernie Boston of the Los Angeles Times. Perhaps their best-known student was the young Jacqueline Bouvier.

In 1952 Robert opened Washington's first custom color lab. Capitalizing on his knowledge of color processing, Robert was asked to take color portraits of both noted and ordinary individuals. In addition, the studio offered color views of important Washington landmarks and monuments. By the 1960s, Robert added magazine photography to his list of talents, publishing images in Life, Look, and Ebony. Robert continued photographing Washingtonians at his studio until his death in 1994.

According to George Scurlock, the Scurlock studio never had substantial competition in the African American community. Some Washington residents remember it differently, however. Dr. Theodore Hudson, a retired Howard University professor, recalled two other black photographers: Sam Courtney and a man named Sorrell. He said Courtney photographed events in the African American community...?

The collection represents the most comprehensive record of any long-lived, let alone African-American, photography studio, in a public institution. Other twentieth century studio collections exist, such as Robinson Studio, Grand Rapids; Hughes Company, Baltimore, Md. Among African American studio collections in public institutions are James Van Der Zee (New York City, 1912-80s), P.H. Polk (Tuskegee), and the Hooks Brothers (Memphis, Tenn., 1910-1975). The Scurlock Collection covers a greater time period and provides greater depth of coverage of African-American events and personages.

A number of articles have been written about the Scurlock family. Jane Freundel Levey, editor of Washington History magazine, believes that the family went beyond the artful use of light, shadow, and composition. She wrote, "Perhaps the most distinctive hallmark of the Scurlock photograph is the dignity, the uplifting quality of the demeanor of every person captured by photographs who clearly saw each subject as above the ordinary."

Constance McLaughlin Green, one of the leading historians of Washington, D.C., talks about African-American Washington as "the Secret City," a separate world with institutions of its own that remained virtually unknown to the white majority. Addison Scurlock and his sons captured that world on film and in doing so, documented that world in the course of running his business and perfecting his art. Steven C. Newsome, director of the Maryland Commission on Afro-American History and Culture stated that The Scurlocks' photograph "Gave us connections. They tell stories. They let us remember."

The collection includes photographs of the nationally famous Booker T. Washington, W.E.B. DuBois, Paul Laurence Dunbar, Mary McLeod Bethune, Mary Church Terrell, Marian Anderson; the locally or regionally important: P.B.S. Pinchback, Judge Miflin Gibbs, Col. Jim Lewis, Ernest Just, Anna J. Cooper; and actors, artists, vaudevillians, and musicians such as Fredi Washington, Madame Lilian Evanti, Oakley & Oakley, and Duke Ellington.

Sources

George Scurlock. Interview conducted by David Haberstich and intern Lora Koehler at Mr. Scurlock's apartment, Aug. 2003.

Theodore Hudson, conversation with David Haberstich in the Archives Center, 2 February 2004.

Jane Freundel Levey, "The Scurlock Studio," Washington History, 1989, p. 44.

Robert S. Scurlock, "An Appreciation of Addison N. Scurlock's Photographic Achievements," The Historic Photographs of Addison N. Scurlock. Washington, D.C.: The Charles Sumner School Museum and Archives, 1986 (exhibition catalog).
Materials at Other Organizations:
The Historical Society of Washington, DC holds Scurlock-related materials.

The Charles Sumner School Museumn and Archives holds Scurlock-related materials.
Materials in the National Museum of American History:
Cameras and other photographic apparatus, studio furniture, and miscellaneous ephemera from the Scurlock studio are in the History of Photography Collection. An adding machine from the studio is in the Museum's mathematics collection. See accessions 1997.0293 and 2010.0157.
Provenance:
The Museum purchased the Scurlock Studio Records from the Estate of Robert S. Scurlock, through Judge Marjorie Lawson in 1997. During the period of negotiation between the museum and Robert Scurlock's heirs, his widow Vivian and brother George, the collection was on loan to the Museum and was housed primarily in a closed exhibition area on the second floor. Staff of the Archives Center took physical possession of the collection long before the transfer to the Museum was final. The studio records and photographs were housed principally in the 18th Street studio and in two rental storage facilities. The primary move of the collection to the Museum occurred in September 1995. An additional pickup occurred on February 12, 1996 (on tags). There was probably one additional pickup from the studio by David Haberstich and Caleb Fey on an unrecorded date.
Restrictions:
Collection is open for research.

Series 8: Business Records, Subseries 8.1: Studio Session Registers are restricted. Digital copies available for research. See repository for details.

Gloves must be worn when handling unprotected photographs and negatives. Special arrangements required to view negatives due to cold storage. Using negatives requires a three hour waiting period. Contact the Archives Center at 202-633-3270.
Rights:
When the Museum purchased the collection from the Estate of Robert S. Scurlock, it obtained all rights, including copyright. The earliest photographs in the collection are in the public domain because their term of copyright has expired. The Archives Center will control copyright and the use of the collection for reproduction purposes, which will be handled in accordance with its standard reproduction policy guidelines. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Portraits -- 20th century  Search this
Politicians -- 20th century  Search this
Segregation  Search this
Commercial photography -- 20th century -- Washington (D.C)  Search this
Photography -- 20th century -- Washington (D.C.)  Search this
African Americans -- History -- 20th century  Search this
African American entertainers -- 20th century  Search this
African American photographers  Search this
Genre/Form:
Dye transfer process
Studio portraits
Matrices, color separation
Photographs -- 20th century
Color separation negatives
Citation:
Scurlock Studio Records, Archives Center, National Museum of American History. Smithsonian Institution
Identifier:
NMAH.AC.0618
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-0618
Online Media:

Speech, "Standards of Photographic Criticism"

Collection Creator:
McCausland, Elizabeth, 1899-1965  Search this
Container:
Box 52, Folder 6
Type:
Archival materials
Date:
1944
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
Collection Rights:
The Elizabeth McCausland 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.
Collection Citation:
Elizabeth McCausland papers, 1838-1995, bulk 1920-1960. Archives of American Art, Smithsonian Institution.
See more items in:
Elizabeth McCausland papers
Elizabeth McCausland papers / Series 15: Elizabeth McCausland Material from the Estate of Berenice Abbott / 15.9: Writings
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-mccaeliz-ref1742

Simon Moselsio papers

Creator:
Moselsio, Simon, 1890-1963  Search this
Extent:
0.2 Linear feet ((partially microfilmed on 1 reel))
Type:
Collection descriptions
Archival materials
Date:
1924-1971
Scope and Contents:
Biographical material; photographs; criticism; scrapbooks; and catalogs.
REEL 141: Biographical material; catalogs; criticism; 2 scrapbooks of clippings; and Moselsio's comments on 2 works: his statue of Mahatma Gandhi and his film of Martha Graham's dance, "Lamentation", with an interview of Miss Graham.
UNMICROFILMED: Photographs of Moselsio's work, 1940s; newspaper clippings; and a 47 p. typescript of an interview conducted by Richard Carter Barret, ca. 1960.
Biographical / Historical:
Painter, sculptor, educator; Bennington, Vermont. Born in Russia. Died 1963.
Provenance:
Material on reel 141 lent for microfilming, and unmicrofilmed material donated 1971, by Herta Moselsio, widow of Simon Moselsio.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
Occupation:
Painters -- Vermont  Search this
Sculptors -- Vermont  Search this
Topic:
Painting, American  Search this
Sculpture, American  Search this
Identifier:
AAA.mosesimo
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-mosesimo

Artists Talk on Art records

Creator:
Artists Talk on Art  Search this
Names:
Barnet, Will, 1911-2012  Search this
Bourgeois, Louise, 1911-2010  Search this
Christo, 1935-  Search this
De Niro, Robert, Sr., 1922-1993  Search this
Denes, Agnes  Search this
Goldberg, Michael, 1924-  Search this
Jeanne-Claude, 1935-2009  Search this
Longo, Robert  Search this
Mendieta, Ana, 1948-1985  Search this
Morris, Robert, 1931-  Search this
Murray, Elizabeth, 1940-  Search this
Neel, Alice, 1900-1984  Search this
Pavia, Philip, 1915-2005  Search this
Sleigh, Sylvia  Search this
Wilke, Hannah  Search this
Wojnarowicz, David  Search this
Extent:
64.4 Linear feet
317.43 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Photographs
Sound recordings
Scrapbooks
Transcripts
Video recordings
Date:
circa 1974-2018
Summary:
The records of Artists Talk on Art (ATOA) measure 64.4 linear feet and 317.43 gigabytes and date from circa 1974-2018. The bulk of the records consist of extensive video and sound recordings of events organized by the group featuring artists, critics, historians, dealers, curators and writers discussing contemporary issues in the American art world in hundreds of panel discussions, open screenings, and dialogues held in New York City. Events began in 1975 and continue to the present; recordings in the collection date from 1977 and 2016. A smaller group of records include administrative files, panel flyers, three scrapbooks, as well as photographs, slides, and negatives of panel discussions and participants.
Scope and Contents:
The records of Artists Talk on Art (ATOA) measure 64.4 linear feet and 317.43 gigabytes and date from circa 1974-2018. The bulk of the records consist of extensive video and sound recordings of events organized by the group featuring artists, critics, historians, dealers, curators and writers discussing contemporary issues in the American art world in hundreds of panel discussions, open screenings, and dialogues held in New York City. Events began in 1975 and continue to the present; recordings in the collection date from 1977 and 2016. A smaller group of records include administrative files, panel flyers, three scrapbooks, as well as photographs, slides, and negatives of panel discussions and participants.

ATOA's recordings chronicle the American art world, covering critical discussions and significant art world issues over five decades. Thousands of artists such as Will Barnet, Louise Bourgeois, Christo and Jeanne-Claude, Robert De Niro, Agnes Denes, Michael Goldberg, Robert Longo, Ana Mendieta, Robert Morris, Elizabeth Murray, Alice Neel, Philip Pavia, Howardena Pindell, Larry Rivers, Sylvia Sleigh, Kahinde Wiley, Hannah Wilke, David Wojnarowicz, and others speak about their work. The original recordings exist in a variety of formats, including U-Matic and VHS videotape, MiniDVs, sound cassettes and sound tape reels. ATOA digitized most of the video and sound recordings prior to donating the collection.

The collection also includes printed histories, board and program committee meeting minutes, financial statements, general correspondence files of the president and chair, attendance statistics, grant files, panel participant release forms, sixteen panel transcripts, a complete set of panel flyers (many are annotated) and other printed materials, three dismantled scrapbooks, as well as photographs, slides, and negatives of panels and panel participants.
Arrangement:
The records are arranged into nine series.

Series 1: Adminstrative Files, 1974-2013 (0.4 linear feet, Box 1)

Series 2: Director's and Chairman's Correspondence, 1977-2006 (0.4 linear feet, Box 1)

Series 3: Grant Files, 1977-2009 (1 linear foot, Boxes 1-2)

Series 4: Panel Release Forms, 1978-2012 (1 linear foot, Boxes 2-3)

Series 5: Panel Transcripts, 1981, 1986, 1988, 2017-2018 (1 folder, Box 3; 0.002 GB, ER01)

Series 6: Printed Materials, 1975-2015 (0.8 linear feet, Boxes 3-4; 0.434 GB, ER02)

Series 7: Scrapbooks, 1975-1989 (0.2 linear feet, Box 4)

Series 8: Photographic Materials, circa 1975-circa 2000 (1 linear foot, Boxes 4-5)

Series 9: Video and Sound Recordings of Events, 1977-2016 (59 linear feet, Boxes 6-65; 317.43 GB, ER03-ER04)
Biographical / Historical:
Established in 1974 and still active in New York, Artists Talk on Art is the art world's longest running and most prolific aesthetic panel discussion series organized by artists for artists. Founded by Lori Antonacci, Douglas I. Sheer, and Robert Wiegand, the forum has presented 6,000 artists in nearly 1,000 documented panels or dialogues. ATOA held its first panel, "Whatever Happened to Public Art," on January 10, 1975 and it drew a "crowd" of 77 people. In the decades that followed, ATOA presented dozens of panels or dialogues a year, tackling such diverse topics as "What is Happening with Conceptual Art," with Louise Lawler and Lawrence Weiner; "Painting and Photography: Defining the Difference," with Sarah Charlesworth, Jack Goldstein, Joseph Kosuth, Barbara Kruger, and Robert Mapplethorpe; "Organizing Arts Activism," with Lucy Lippard; "The Artist and the Epidemic—an information panel about AIDS"; "Cross-generational Views of Feminism"; and hundreds more.
Provenance:
The Artists Talk on Art (ATOA) records, including digital files of the video and sound recordings, were donated to the Archives in 2016 by Douglas Sheer, Chairman of ATOA.
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.
Topic:
Art, American  Search this
Art critics  Search this
Art dealers  Search this
Art historians  Search this
Artists  Search this
Historians  Search this
Genre/Form:
Photographs
Sound recordings
Scrapbooks
Transcripts
Video recordings
Citation:
Artists Talk on Art records, circa 1974-2018. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.artitalk
See more items in:
Artists Talk on Art records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-artitalk
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Online Media:

Charles Caffin

Artist:
Marius de Zayas, 1880 - 1961  Search this
Sitter:
Charles Henry Caffin, 1854 - 1918  Search this
Medium:
Ink, metallic paint, and graphite on paper
Dimensions:
17 3/8 x 10 3/8 in. (44.1 x 26.4 cm)
Type:
Drawing
Date:
1910
Topic:
Equipment\Walking stick\Cane  Search this
Costume\Headgear\Hat\Derby  Search this
Charles Henry Caffin: Male  Search this
Charles Henry Caffin: Literature\Writer  Search this
Charles Henry Caffin: Visual Arts\Artist\Photographer  Search this
Charles Henry Caffin: Humanities and Social Sciences\Critic  Search this
Portrait  Search this
Credit Line:
Owner: The Metropolitan Museum of Art
Object number:
49.70.201 MMA
Restrictions & Rights:
Usage conditions apply
See more items in:
Catalog of American Portraits
Data Source:
Catalog of American Portraits
GUID:
http://n2t.net/ark:/65665/sm4bb534f51-c545-4479-9874-5982f0d89074
EDAN-URL:
edanmdm:npg_49.70.201_MMA

George H. Seeley and J. Nilsen Laurvik

Artist:
Marius de Zayas, 1880 - 1961  Search this
Sitter:
George H. Seeley, 1880 - 1955  Search this
J. Nilsen Laurvik, 1877 - 1953  Search this
Medium:
Ink and metallic paint on paper
Dimensions:
17 3/8 x 11 1/4 in. (44.1 x 28.6 cm)
Type:
Drawing
Date:
1910
Topic:
George H. Seeley: Male  Search this
George H. Seeley: Visual Arts\Artist\Photographer  Search this
George H. Seeley: Visual Arts\Art Instructor  Search this
J. Nilsen Laurvik: Male  Search this
J. Nilsen Laurvik: Literature\Writer  Search this
J. Nilsen Laurvik: Visual Arts\Artist\Photographer  Search this
J. Nilsen Laurvik: Humanities and Social Sciences\Critic  Search this
Portrait  Search this
Credit Line:
Owner: The Metropolitan Museum of Art
Object number:
49.70.202 MMA
Restrictions & Rights:
Usage conditions apply
See more items in:
Catalog of American Portraits
Data Source:
Catalog of American Portraits
GUID:
http://n2t.net/ark:/65665/sm42c134de4-1d8e-45a7-b8b7-d114b8fae93f
EDAN-URL:
edanmdm:npg_49.70.202_MMA

J. Nilsen Laurvik

Artist:
Marius de Zayas, 1880 - 1961  Search this
Sitter:
J. Nilsen Laurvik, 1877 - 1953  Search this
Medium:
Charcoal on paper
Dimensions:
24 3/4 x 18 7/8 in. (62.9 x 47.9 cm)
Type:
Drawing
Date:
c. 1908
Topic:
J. Nilsen Laurvik: Male  Search this
J. Nilsen Laurvik: Literature\Writer  Search this
J. Nilsen Laurvik: Visual Arts\Artist\Photographer  Search this
J. Nilsen Laurvik: Humanities and Social Sciences\Critic  Search this
Portrait  Search this
Credit Line:
Owner: The Metropolitan Museum of Art
Object number:
49.70.216 MMA
Restrictions & Rights:
Usage conditions apply
See more items in:
Catalog of American Portraits
Data Source:
Catalog of American Portraits
GUID:
http://n2t.net/ark:/65665/sm4921dbc90-1666-44ae-8b27-abf7f89fd624
EDAN-URL:
edanmdm:npg_49.70.216_MMA

Gertrude Stein, Carl Van Vechten and Alice B. Toklas

Artist:
Carl Van Vechten, 17 Jun 1880 - 21 Dec 1964  Search this
Sitter:
Carl Van Vechten, 17 Jun 1880 - 21 Dec 1964  Search this
Gertrude Stein, 3 Feb 1874 - 27 Jul 1946  Search this
Alice Babette Toklas, 30 Apr 1877 - 7 Mar 1967  Search this
Medium:
Gelatin silver print
Dimensions:
Sheet: 17.8 x 23.5cm (7 x 9 1/4")
Frame: 38.7 x 46.7cm (15 1/4 x 18 3/8")
Type:
Photograph
Date:
1935
Topic:
Carl Van Vechten: Male  Search this
Carl Van Vechten: Visual Arts\Artist\Photographer  Search this
Carl Van Vechten: Humanities and Social Sciences\Critic\Music  Search this
Carl Van Vechten: Literature\Writer\Novelist  Search this
Carl Van Vechten: Humanities and Social Sciences\Critic\Theater  Search this
Alice Babette Toklas: Female  Search this
Alice Babette Toklas: Literature\Writer  Search this
Alice Babette Toklas: Education\Educator\Lecturer  Search this
Gertrude Stein: Female  Search this
Gertrude Stein: Literature\Writer\Poet  Search this
Gertrude Stein: Literature\Writer\Librettist  Search this
Gertrude Stein: Visual Arts\Art Collector  Search this
Gertrude Stein: Literature\Writer\Novelist  Search this
Gertrude Stein: Visual Arts\Art Patron  Search this
Portrait  Search this
Credit Line:
Owner: The Nelson-Atkins Museum of Art
Object number:
EXH.GS.54
Restrictions & Rights:
Usage conditions apply
See more items in:
Catalog of American Portraits
Data Source:
Catalog of American Portraits
GUID:
http://n2t.net/ark:/65665/sm402533052-0d2b-4a28-bb50-d81bd50d895e
EDAN-URL:
edanmdm:npg_EXH.GS.54

Carl Van Vechten

Artist:
Miguel Covarrubias, 22 Nov 1904 - 4 Feb 1957  Search this
Sitter:
Carl Van Vechten, 17 Jun 1880 - 21 Dec 1964  Search this
Medium:
Gouache
Dimensions:
39.4 x 28.6cm (15 1/2 x 11 1/4")
Type:
Painting
Date:
1923
Topic:
Nature & Environment\Animal\Cat  Search this
Caricature  Search this
Exterior\Cityscape  Search this
Carl Van Vechten: Male  Search this
Carl Van Vechten: Visual Arts\Artist\Photographer  Search this
Carl Van Vechten: Humanities and Social Sciences\Critic\Music  Search this
Carl Van Vechten: Literature\Writer\Novelist  Search this
Carl Van Vechten: Humanities and Social Sciences\Critic\Theater  Search this
Portrait  Search this
Credit Line:
Owner: Beinecke Rare Book and Manuscript Library, Yale University
Object number:
CT231404
Restrictions & Rights:
Usage conditions apply
See more items in:
Catalog of American Portraits
Data Source:
Catalog of American Portraits
GUID:
http://n2t.net/ark:/65665/sm4cb9c9ae7-7783-47ac-ae0b-30ae2bfb444a
EDAN-URL:
edanmdm:npg_CT231404

Carl Van Vechten

Artist:
Martha Susan Baker, 1871 - 1911  Search this
Sitter:
Carl Van Vechten, 17 Jun 1880 - 21 Dec 1964  Search this
Medium:
Oil on canvas
Dimensions:
146.1cm x 87.5cm (57 1/2" x 34 7/16"), Sight
Type:
Painting
Date:
1906
Topic:
Carl Van Vechten: Male  Search this
Carl Van Vechten: Visual Arts\Artist\Photographer  Search this
Carl Van Vechten: Humanities and Social Sciences\Critic\Music  Search this
Carl Van Vechten: Literature\Writer\Novelist  Search this
Carl Van Vechten: Humanities and Social Sciences\Critic\Theater  Search this
Portrait  Search this
Credit Line:
Owner: American Academy of Arts and Letters
Object number:
NY220160
Restrictions & Rights:
Usage conditions apply
See more items in:
Catalog of American Portraits
Data Source:
Catalog of American Portraits
GUID:
http://n2t.net/ark:/65665/sm4009aadd3-a3c0-450e-83dd-49d300f6dce7
EDAN-URL:
edanmdm:npg_NY220160

Mr. as Van Vecthen Gooses a Gol

Artist:
Miguel Covarrubias, 22 Nov 1904 - 4 Feb 1957  Search this
Sitter:
Carl Van Vechten, 17 Jun 1880 - 21 Dec 1964  Search this
Medium:
Pen and ink on paper
Dimensions:
42.3cm x 30.2cm (16 5/8" x 11 7/8"), Accurate
Type:
Drawing
Date:
c. 1923-1964
Topic:
Carl Van Vechten: Male  Search this
Carl Van Vechten: Visual Arts\Artist\Photographer  Search this
Carl Van Vechten: Humanities and Social Sciences\Critic\Music  Search this
Carl Van Vechten: Literature\Writer\Novelist  Search this
Carl Van Vechten: Humanities and Social Sciences\Critic\Theater  Search this
Portrait  Search this
Credit Line:
Owner: Harry Ransom Center
Object number:
69.98.42.23
Restrictions & Rights:
Usage conditions apply
See more items in:
Catalog of American Portraits
Data Source:
Catalog of American Portraits
GUID:
http://n2t.net/ark:/65665/sm490844da2-d569-4888-ab76-18a4a5ebff52
EDAN-URL:
edanmdm:npg_69.98.42.23

A companion to photography edited by Stephen Bull

Editor:
Bull, Stephen 1971-  Search this
Author:
ProQuest (Firm)  Search this
Physical description:
1 online resource (571 pages)
Type:
Electronic resources
Date:
2020
Topic:
Photographic criticism  Search this
Photography--Philosophy  Search this
Photography, Artistic  Search this
PHOTOGRAPHY / Criticism  Search this
Call number:
TR185 .C667 2020 (Internet)
Restrictions & Rights:
1-user.
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_1118403

Simon Moselsio papers, 1924-1971

Creator:
Moselsio, Simon, 1890-1963  Search this
Topic:
Painting, American  Search this
Sculpture, American  Search this
Record number:
(DSI-AAA_CollID)9067
(DSI-AAA_SIRISBib)211260
AAA_collcode_mosesimo
Theme:
Lives of American Artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_211260

Minor White

Artist:
Imogen Cunningham, 12 Apr 1883 - 24 Jun 1976  Search this
Sitter:
Minor White, 9 Jul 1908 - 24 Jun 1976  Search this
Medium:
Gelatin silver print
Dimensions:
Image: 21.6 × 18.8 cm (8 1/2 × 7 3/8")
Mat: 45.6 × 35.6 cm (17 15/16 × 14")
Sheet: 25.8 × 20.3 cm (10 3/16 × 8")
Type:
Photograph
Date:
1959
Topic:
Indeterminable  Search this
Minor White: Male  Search this
Minor White: Visual Arts\Artist\Photographer  Search this
Minor White: Humanities and Social Sciences\Critic\Art  Search this
Portrait  Search this
Credit Line:
National Portrait Gallery, Smithsonian Institution; acquired through the generosity of Elizabeth Ann Hylton
Object number:
NPG.2018.29
Restrictions & Rights:
Usage conditions apply
Copyright:
© Imogen Cunningham Trust
See more items in:
National Portrait Gallery Collection
Data Source:
National Portrait Gallery
GUID:
http://n2t.net/ark:/65665/sm4932c95ea-efb9-48a3-97d2-9c89ddf1c24b
EDAN-URL:
edanmdm:npg_NPG.2018.29

Carl Van Vechten

Artist:
Miguel Covarrubias, 22 Nov 1904 - 4 Feb 1957  Search this
Sitter:
Carl Van Vechten, 17 Jun 1880 - 21 Dec 1964  Search this
Medium:
Photomechanical reproduction on paper
Dimensions:
Sheet: 23 x 17.1 cm (9 1/16 x 6 3/4")
Type:
Print
Date:
1925
Topic:
Caricature  Search this
Illustration  Search this
Carl Van Vechten: Male  Search this
Carl Van Vechten: Visual Arts\Artist\Photographer  Search this
Carl Van Vechten: Humanities and Social Sciences\Critic\Music  Search this
Carl Van Vechten: Literature\Writer\Novelist  Search this
Carl Van Vechten: Humanities and Social Sciences\Critic\Theater  Search this
Portrait  Search this
Credit Line:
National Portrait Gallery, Smithsonian Institution; transfer from the Smithsonian American Art Museum/National Portrait Gallery Library
Object number:
NPG.2010.26.24
Restrictions & Rights:
Usage conditions apply
Copyright:
© Estate of Miguel Covarrubias
See more items in:
National Portrait Gallery Collection
Data Source:
National Portrait Gallery
GUID:
http://n2t.net/ark:/65665/sm42adc2600-70a6-4e5c-bd11-fb280246b537
EDAN-URL:
edanmdm:npg_NPG.2010.26.24

Cabaret Interior with Carl Van Vechten

Artist:
Charles Henry Demuth, 8 Nov 1883 - 23 Oct 1935  Search this
Sitter:
Carl Van Vechten, 17 Jun 1880 - 21 Dec 1964  Search this
Medium:
Watercolor on paper
Dimensions:
Image: 19.7 x 27.3cm (7 3/4 x 10 3/4")
Mat: 34.6 x 42.2cm (13 5/8 x 16 5/8")
Frame: 40 x 47.6cm (15 3/4 x 18 3/4")
Type:
Painting
Date:
c. 1918
Topic:
Carl Van Vechten: Male  Search this
Carl Van Vechten: Visual Arts\Artist\Photographer  Search this
Carl Van Vechten: Humanities and Social Sciences\Critic\Music  Search this
Carl Van Vechten: Literature\Writer\Novelist  Search this
Carl Van Vechten: Humanities and Social Sciences\Critic\Theater  Search this
Portrait  Search this
Credit Line:
Owner: Barbara Millhouse
Object number:
EXH.HS.173
Restrictions & Rights:
Usage conditions apply
See more items in:
Catalog of American Portraits
Data Source:
Catalog of American Portraits
GUID:
http://n2t.net/ark:/65665/sm451c37fd3-6cd8-4443-853c-aae21ce78b62
EDAN-URL:
edanmdm:npg_EXH.HS.173

Carl Van Vechten

Artist:
Don Bachardy, born 1934  Search this
Sitter:
Carl Van Vechten, 17 Jun 1880 - 21 Dec 1964  Search this
Medium:
Pencil and inkwash on paper
Dimensions:
Sheet: 73.5 x 58.6 cm (28 15/16 x 23 1/16")
Type:
Drawing
Date:
1964
Topic:
Carl Van Vechten: Male  Search this
Carl Van Vechten: Visual Arts\Artist\Photographer  Search this
Carl Van Vechten: Humanities and Social Sciences\Critic\Music  Search this
Carl Van Vechten: Literature\Writer\Novelist  Search this
Carl Van Vechten: Humanities and Social Sciences\Critic\Theater  Search this
Portrait  Search this
Credit Line:
National Portrait Gallery, Smithsonian Institution; gift of Margaret and Bruce Kellner
Object number:
NPG.2010.81
Restrictions & Rights:
Usage conditions apply
Copyright:
© Don Bachardy
See more items in:
National Portrait Gallery Collection
Data Source:
National Portrait Gallery
GUID:
http://n2t.net/ark:/65665/sm4c0e976fa-d0d8-496c-aefe-bc7267a343a8
EDAN-URL:
edanmdm:npg_NPG.2010.81

Carl Van Vechten

Artist:
Carl Van Vechten, 17 Jun 1880 - 21 Dec 1964  Search this
Sitter:
Carl Van Vechten, 17 Jun 1880 - 21 Dec 1964  Search this
Medium:
Gelatin silver print
Dimensions:
Image/Sheet: 25 x 19.8 cm (9 13/16 x 7 13/16")
Type:
Photograph
Place:
United States\New York\Kings\New York
Date:
1942
Topic:
Self-portrait  Search this
Carl Van Vechten: Male  Search this
Carl Van Vechten: Visual Arts\Artist\Photographer  Search this
Carl Van Vechten: Humanities and Social Sciences\Critic\Music  Search this
Carl Van Vechten: Literature\Writer\Novelist  Search this
Carl Van Vechten: Humanities and Social Sciences\Critic\Theater  Search this
Portrait  Search this
Credit Line:
National Portrait Gallery, Smithsonian Institution; gift of Francis A. DiMauro
Object number:
NPG.2007.275
Restrictions & Rights:
Usage conditions apply
Copyright:
© Carl Van Vechten Trust
See more items in:
National Portrait Gallery Collection
Data Source:
National Portrait Gallery
GUID:
http://n2t.net/ark:/65665/sm402879e18-3f0f-4d21-8ab9-3f52589a9a4a
EDAN-URL:
edanmdm:npg_NPG.2007.275

Minor White

Artist:
Abe Frajndlich, born 1946  Search this
Sitter:
Minor White, 9 Jul 1908 - 24 Jun 1976  Search this
Medium:
Gelatin silver print
Dimensions:
Image: 25 x 36.9cm (9 13/16 x 14 1/2")
Sheet: 40.6 x 50.3cm (16 x 19 13/16")
Type:
Photograph
Date:
1976 (printed 2000)
Topic:
Interior  Search this
Costume\Headgear\Hat  Search this
Costume\Headgear\Hat\Cap  Search this
Costume\Headgear\Hat\Fedora  Search this
Costume\Dress Accessory\Scarf  Search this
Equipment\Chain  Search this
Minor White: Male  Search this
Minor White: Visual Arts\Artist\Photographer  Search this
Minor White: Humanities and Social Sciences\Critic\Art  Search this
Portrait  Search this
Credit Line:
National Portrait Gallery, Smithsonian Institution; gift of Paulette and Kurt Olden in memory of Lily E. Kay
Object number:
NPG.2000.90
Restrictions & Rights:
Usage conditions apply
Copyright:
© 2000, Abe Frajndlich
See more items in:
National Portrait Gallery Collection
Data Source:
National Portrait Gallery
GUID:
http://n2t.net/ark:/65665/sm40ec2db35-2305-4397-b894-ea4f754d9c57
EDAN-URL:
edanmdm:npg_NPG.2000.90

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