Search Results

Interviewee:

Kidd, Edythe  Search this

Interviewer:

Loomis, Sylvia Glidden  Search this

Creator:

New Deal and the Arts Oral History Project  Search this

Names:

New Deal and the Arts Oral History Project  Search this

Public Works of Art Project  Search this

Kidd, Hari Matthew, 1898 or 1899-1964  Search this

Extent:

1 Sound tape reel (Sound recordings: (20 min.), 7 in.)

7 Pages (Transcript)

Type:

Collection descriptions

Archival materials

Sound tape reels

Pages

Sound recordings

Interviews

Date:

1965 Aug. 5

Scope and Contents:

An interview of Edythe Kidd conducted 1965 Aug. 5, by Sylvia Loomis, for the Archives of American Art New Deal and the Arts Project.

Kidd speaks of her husband, the painter and graphic artist Hari Matthew Kidd, his background and his work with the Public Works of Art Project.

Biographical / Historical:

Edythe Kidd is the widow of the painter and graphic artist, Hari Matthew Kidd.

General:

An unrelated interview of Pablita Velarde (8/29/65) conducted by S. Loomis is also on this tape.

Provenance:

This interview conducted as part of the Archives of American Art's New Deal and the Arts project, which includes over 400 interviews of artists, administrators, historians, and others involved with the federal government's art programs and the activities of the Farm Security Administration in the 1930s and early 1940s.

Restrictions:

This interview is open for research. Contact Reference Services for more information.

Occupation:

Painters -- Interviews  Search this

Topic:

Federal aid to the arts  Search this

Printmakers -- Interviews  Search this

Genre/Form:

Sound recordings

Interviews

Identifier:

AAA.kidd65

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9912aad58-038c-403e-82d0-fe086a3cf5b7

EDAN-URL:

ead_collection:sova-aaa-kidd65

Creator:

Warshaw, Isadore, 1900-1969  Search this

Extent:

1.83 Cubic feet (consisting of 3.5 boxes, 1 folder, 2 oversize folders, 1 map case folder, 1 flat box (partial).)

Type:

Collection descriptions

Archival materials

Advertising fliers

Reports

Mail order catalogs

Business records

Technical reports

Commercial catalogs

Print advertising

Technical manuals

Business ephemera

Legislation (legal concepts)

Commercial correspondence

Illustrations

Advertising cards

Advertising

Advertising mail

Advertisements

Catalogues

Publications

Trade literature

Periodicals

Photographs

Printed materials

Printed material

Receipts

Sales letters

Manuals

Catalogs

Sales catalogs

Trade cards

Business letters

Manufacturers' catalogs

Test reports

Trade catalogs

Ephemera

Business cards

Invoices

Legal documents

Printed ephemera

Sales records

Correspondence

Letterheads

Date:

circa 1832-1959

Summary:

A New York bookseller, Warshaw assembled this collection over nearly fifty years. The Warshaw Collection of Business Americana: Accounting and Bookkeeping forms part of the Warshaw Collection of Business Americana, Subseries 1.1: Subject Categories. The Subject Categories subseries is divided into 470 subject categories based on those created by Mr. Warshaw. These subject categories include topical subjects, types or forms of material, people, organizations, historical events, and other categories. An overview to the entire Warshaw collection is available here: Warshaw Collection of Business Americana

Scope and Contents note:

Contains a broad scope of freshwater capture and use topics, with particular emphasis on the machinery and systems required for managing water resources and business aspects of the costs of goods and services. Includes coverage of home and farm use, agricultural solutions, and large scale operations such as public utilities such as damns, watersheds, reservoirs. Some of the technologies used are drilling, wells, hydraulics, engines and pumps, in addition to natural power sources in the form of windmills and turbines, and water wheels. both as methods of conveyance of water and in powering other devices such as grinders and saws. Purification and softeners address make up the bulk of treatment. Some materials address legal and regulatory issues but water rights is not significantly covered.

Materials include business records, marketing and advertising, some informational documentation in the form of guides and reports. A few schematics are present. A small amount of regulatory publications provide a glimpse of how municipalities dealt with local water issues, including billing and taxation. Miscellaneous writings includes a few tangential topics such as inland waterways and swimming pools, and a perspective essay on water.

Arrangement note:

Waterworks is arranged in three subseries.

Business Records

Genre

Subjects

Forms Part Of:

Forms part of the Warshaw Collection of Business Americana.

Missing Title

Series 1: Business Ephemera

Series 2: Other Collection Divisions

Series 3: Isadore Warshaw Personal Papers

Series 4: Photographic Reference Material

Provenance:

Waterworks is a portion of the Business Ephemera Series of the Warshaw Collection of Business Americana, Accession AC0060 purchased from Isadore Warshaw in 1967. Warshaw continued to accumulate similar material until his death, which was donated in 1971 by his widow, Augusta. For a period after acquisition, related materials from other sources (of mixed provenance) were added to the collection so there may be content produced or published after Warshaw's death in 1969. This practice has since ceased.

Restrictions:

Collection is open for research. Some items may be restricted due to fragile condition.

Rights:

Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Topic:

Beverages  Search this

Water use  Search this

Patents  Search this

Water -- Purification -- Filtration  Search this

Water transfer  Search this

Irrigation  Search this

Retail trade  Search this

Water-supply  Search this

Water-power  Search this

Water -- Purification  Search this

Water-wheels  Search this

Consumer goods -- Catalogs  Search this

Public works  Search this

Turbines  Search this

Hydraulic turbines  Search this

Windmills  Search this

Water -- Filtration  Search this

Dams  Search this

Water conservation  Search this

Reservoirs  Search this

Waterways  Search this

Water pumps  Search this

Hydraulic structures  Search this

Hydraulic testing  Search this

Public utilities  Search this

Pumps  Search this

Water resources development  Search this

Water supplies  Search this

Waterworks  Search this

Filters and filtration  Search this

Hydraulic engineering  Search this

Drinking water  Search this

Genre/Form:

Advertising fliers

Reports

Mail order catalogs

Business records

Technical reports

Commercial catalogs

Print advertising

Technical manuals -- 20th century

Business ephemera

Legislation (legal concepts)

Commercial correspondence

Illustrations

Advertising cards

Advertising

Advertising mail

Advertisements

Catalogues

Publications

Trade literature

Periodicals

Photographs

Printed materials

Printed material

Receipts

Sales letters

Publications -- Business

Manuals

Catalogs

Sales catalogs

Trade cards

Business letters

Manufacturers' catalogs

Test reports

Trade catalogs

Ephemera

Business cards

Invoices

Legal documents

Printed ephemera

Sales records

Correspondence

Letterheads

Citation:

Warshaw Collection of Business Americana Subject Categories: Waterworks, Archives Center, National Museum of American History, Smithsonian Institution

Sponsor:

Funding for partial processing of the collection was supported by a grant from the Smithsonian Institution's Collections Care and Preservation Fund (CCPF).

Identifier:

NMAH.AC.0060.S01.01.Waterworks

See more items in:

Warshaw Collection of Business Americana Subject Categories: Waterworks

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep825c7b83d-32ce-41ef-ac1a-c9dd603d3b92

EDAN-URL:

ead_collection:sova-nmah-ac-0060-s01-01-waterworks

Creator:

Adams, Kenneth M.  Search this

United States. Department of the Treasury. Section of Fine Arts  Search this

Subject:

Rowan, Edward Beatty  Search this

Jones, Cecil H.  Search this

Public Works of Art Project  Search this

Treasury Relief Art Project  Search this

Federal Art Project  Search this

Place:

United States -- Social conditions -- 1933-1945

United States -- Economic conditions -- 1918-1945

Citation:

Kenneth Miller Adams papers, 1933-1938. Archives of American Art, Smithsonian Institution.

Topic:

Mural painting and decoration -- Kansas  Search this

Mural painting and decoration -- New Mexico  Search this

New Deal, 1933-1939 -- Kansas  Search this

New Deal, 1933-1939 -- New Mexico  Search this

Federal aid to the arts -- Kansas  Search this

Federal aid to the arts -- New Mexico  Search this

Art and state -- Kansas  Search this

Art and state -- New Mexico  Search this

Theme:

New Deal  Search this

Patronage  Search this

Record number:

(DSI-AAA_CollID)5613

(DSI-AAA_SIRISBib)208447

AAA_collcode_adamkenn

Theme:

New Deal

Patronage

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_208447

Creator:

Palmer, William C. (William Charles), 1906-1987  Search this

Federal Art Project (Iowa)  Search this

Subject:

Public Works of Art Project  Search this

United States. Dept. of the Treasury. Section of Painting and Sculpture  Search this

Treasury Relief Art Project  Search this

United States. Dept. of the Treasury. Section of Fine Arts  Search this

Citation:

William C. Palmer papers, 1933-1978. Archives of American Art, Smithsonian Institution.

Topic:

Federal aid to the arts  Search this

Art and state  Search this

Public art  Search this

Mural painting and decoration, American -- Washington (D.C.)  Search this

Mural painting and decoration -- United States  Search this

Muralists  Search this

Theme:

Lives of artists  Search this

Record number:

(DSI-AAA_CollID)7241

(DSI-AAA_SIRISBib)209389

AAA_collcode_palmwill

Theme:

Lives of artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_209389

Creator:

Shahn, Ben, 1898-1969  Search this

Names:

Baskin, Leonard, 1922-2000  Search this

Delano, Jack  Search this

Evans, Walker, 1903-1975  Search this

Osborn, Robert Chesley, 1904-1994  Search this

Rivera, Diego, 1886-1957  Search this

Robbins, Jerome  Search this

Soyer, Raphael, 1899-1987  Search this

Extent:

25.1 Linear feet

Type:

Collection descriptions

Archival materials

Motion pictures (visual works)

Sketchbooks

Video recordings

Drawings

Sound recordings

Interviews

Date:

1879-1990

bulk 1933-1970

Summary:

The papers of social realist painter, photographer, printmaker, and teacher Ben Shahn (1898-1969) measure 25.1 linear feet and date from 1879-1990, with the bulk of the material dating from 1933-1970. The bulk of the collection consists of over 14 linear feet of incoming letters from artists, writers, colleagues, publishers, art organizations, galleries, and universities and colleges. Also found are biographical materials, project and source files, printed material, artwork by Shahn and others, photographs taken of and by Shahn, interview transcripts, sound recordings of interviews and a motion picture film.

Scope and Contents note:

The papers of social realist painter, photographer, illustrator, printmaker, and teacher Ben Shahn (1898-1969) measure 25.1 linear feet and date from 1879-1990, with the bulk of the material dating from 1933-1970. The bulk of the collection consists of over 14 linear feet of incoming letters from artists, writers, colleagues, publishers, art organizations, galleries, and universities and colleges. Also found are biographical materials, project and source files, printed material, artwork by Shahn and others, photographs taken of and by Shahn, interview transcripts, sound recordings of interviews and a motion picture film.

Biographical material and family records include a 1924 passport for Shahn and his first wife, Tillie, biographical sketches of Shahn, and award certificates received by him.

Letters are primarily written to Shahn from family members, artists, writers, colleagues, publishers, art organizations, galleries, and universities and colleges. Notable correspondents include Leonard Baskin, Alexander Calder, Dorothea Lange, Walker Evans, Joseph Hirsch, Leo Lionni, John Bartlow Martin, George and Marian Nakashima, Clifford Odets, Charles Olson, Robert Osborn, Diego Rivera, Jerome Robbins, Selden Rodman, James Thrall Soby, Raphael Soyer, and William Carlos Williams. A small number of scattered letters from Shahn can also be found throughout the series.

Project files document approximately twenty-one of Shahn's commissions, including murals for the community center at Jersey Homesteads, the Bronx Central Annex Post Office, the Social Security Building in Washington D.C. , and the William E. Grady Vocational High School. The files also document his involvement in the Franklin Delano Roosevelt Memorial in Roosevelt, in addition to projects for schools, temples and private homes.

Financial and legal records include consignment records, loan agreements, royalty statements and receipts for artwork sold.

Notes and writings are by Shahn and others including Alan Dugan, W. H. Ferry, Theodore Gusten, and John Bartlow Martin. They include lists of artwork, many of which are annotated.

Artwork includes a sketchbook and several unbound sketches and lettering by Shahn, in addition to drawings and prints by others including Shahn's children, Mario Casetta and Stefan Martin.

Source files contain printed material and photographs relating to topics depicted by Shahn in his artwork such as children, dams, farming, houses, industry, mines and miners, slums, war and workers. These files also contain scattered photographic prints by FSA and OWI photographers including Shahn, Jack Delano, Walker Evans, Dorothea Lange, Russell Lee, Carl Mydans, Marion Post Wolcott, Arthur Rothstein, and John Vachon.

Printed material includes news clippings covering Shahn and his career as well as subjects of interest to Shahn. Also found are exhibition catalogs and announcements for exhibitions for Shahn and others, and reproductions of Shahn's artwork including publications illustrated by him.

Photographs are of Shahn, his family and friends and colleagues including Alexander Calder, Jerome Robbins, Charles Sheeler, David Smith and William Zorach. Also included are photographs taken by Shahn of New York City and for the FSA in the 1930s, as well as photographs of artwork by Shahn. Photographs by others include one photo each by Walker Evans, Dorothea Lange, Russell Lee and Arthur Rothstein.

The collection also contains transcripts of eight radio, television and motion picture interviews of Shahn and a reel of 16mm motion picture film from the BBC-TV program "Monitor," in addition to sound recordings of interviews of Shahn by Tony Schwartz and Arlene Francis. Artifacts include a Christmas greeting in the form of a sock.

Arrangement note:

The collection is arranged as 12 series:

Missing Title

Series 1: Biographical and Family Records, 1879-1984 (Box 1, OV 36; 0.2 linear ft.)

Series 2: Letters, 1929-1990 (Boxes 1-25, 35, 43, OVs 36-38; 14.5 linear ft.)

Series 3: Project Files, 1933-1975 (Boxes 25-26; OVs 36-37; 1.03 linear ft.)

Series 4: Financial and Legal Records, 1934-1988 (Boxes 26-27, 35; 0.81 linear ft.)

Series 5: Notes and Writings, circa 1933-1988 (Boxes 27-28, 43; 1.72 linear ft.)

Series 6: Artwork, circa 1930s-1965 (Boxes 28, 35; 11 folders)

Series 7: Source Files, circa 1900s-1960s (Boxes 28-30, 35; 1.81 linear ft.)

Series 8: Printed Material, 1912-1988 (Boxes 30-33, 35, OV 39; 3.22 linear ft.)

Series 9: Photographs, circa 1900-1969 (Boxes 33-35; 0.86 linear ft.)

Series 10: Interview Transcripts, 1943-1968 (Box 34; 0.25 linear ft.)

Series 11: Audio and Video Recordings, 1959-1968 (Box 34; 0.25 linear ft.)

Series 12: Artifacts, circa 1930s-circa 1960s (Box 34; 2 items)

Biographical/Historical note:

Ben Shahn (1898-1969) was a social realist painter, muralist, printmaker, photographer, illustrator, and educator who worked primarily in Brooklyn, New York and New Jersey. He was most active in the 1930s through the 1950s and worked on several federally funded arts projects, including the Farm Security Administration's photographic documentation project of rural America during the Depression.

Ben Shahn was born in Kovno, Lithuania and immigrated with his family to the United States in 1906 where he settled in Brooklyn, and later Roosevelt, New Jersey, after becoming a naturalized citizen in 1918.

Following an apprenticeship as a lithographer from 1913-1917, Shahn studied at New York University, the City College of New York, and the National Academy of Design from 1919-1922. He married Tillie Goldstein in 1922 and they had two children, Judith and Ezra.

Two years after Shahn's first solo exhibition at the Downtown Gallery in 1930, his Passion of Sacco and Vanzetti, a series of 23 gouaches about the Sacco and Vanzetti trial of the 1920s, was exhibited at the Downtown Gallery to critical and public acclaim. The exhibition marked the beginning of Shahn's reputation as one of the most important social realist painters in America. Shahn's commitment to social and political justice found a natural outlet in mural painting when, in 1933, he was hired to assist Diego Rivera on the labor and industry mural Man at the Crossroads, for New York City's Rockefeller Center. The mural was destroyed amid controversy in 1933 before it was completed, but Shahn had learned much about the art of fresco painting during the project and was inspired by the potential of the mural as a unique art form for presenting life's struggles and stories to a large public audience. Between 1933 and 1937 Shahn worked on various murals for other buildings, including New York's Central Park Casino (circa 1934) and Riker's Island Prison (1934), none of which saw completion. In 1937, however, the Farm Security Administration (FSA) commissioned Shahn to execute a mural for the Community Center in the town of Jersey Homesteads, later Roosevelt, New Jersey, which Shahn completed in 1938. Shahn settled in Jersey Homesteads the following year and remained there for the rest of his life. Other important mural commissions followed for the Bronx Central Post office (1939) and the Social Security Building in Washington DC (1942).

One of Shahn's assistants on the Jersey Homesteads mural was Bernarda Bryson, whom he had met in 1933 when she came to New York to interview Rivera about the Rockefeller Center mural controversy for an Ohio newspaper. Shahn and Bryson became lifetime companions and had three children, Susanna, Jonathan and Abigail, although they did not marry until shortly before Shahn's death in 1969. Shahn and Tillie Goldstein were divorced in 1944.

Shahn had enrolled with the federal Public Works of Art Project in 1934, and between 1935 and 1938 he and Bryson travelled across country as Shahn photographed poverty-stricken areas and documented rural life for the Farm Security Administration (FSA) and the Resettlement Agency. Shahn's interest in photography developed in the early 1930s when, encouraged by his friendship with Walker Evans, he began photographing street scenes and people in New York City. He later used the images as the basis for many of his prints and paintings.

In 1942 Shahn began working for the Office of War Information (OWI) and was instructed to produce posters and pamphlets explaining to citizens the necessities of wartime, such as the need for secrecy and food rationing. Ultimately, only two of Shahn's posters were ever used; the rest were rejected as being too harsh for their intended audience. Shahn later worked for the Congress of Industrial Organization Political Action Committee (CIO-PAC), producing posters for the 1944 campaign to re-elect Roosevelt, who he believed in deeply. He was promoted to director of the CIO's Graphic Arts Division for the 1946 congressional campaign following Roosevelt's death, but that job ended when the election went poorly for the Democratic party.

Shahn returned increasingly to painting and a retrospective of his work was held at the Museum of Modern Art in 1947. He also became more active in academia as an accomplished writer, teacher and lecturer. He received honorary doctorates from Princeton University and Harvard University, and become the Charles Eliot Norton professor at Harvard in 1956. Shahn's Norton lectures were collected and published as the influential The Shape of Content in 1957. He also began to work as a commercial artist for a variety of companies and publications including CBS, Time, Harper's, and the Container Corporation of America. Shahn believed, however, that the artist's ideas and integrity must always be reflected in his commercial art. He refused to compromise on this point and was very selective in his choice of commercial commissions. Shahn illustrated many books and articles, designed sets for stage productions such as New York Export: Opus Jazz, choreographed by Jerome Robbins, and designed mural mosaics for synagogues, universities and private homes.

Since the 1930s Shahn had been represented by Edith Halpert at the Downtown Gallery, but his relationship with her was always contentious on the subject of payments Shahn received for commercial work, and became increasingly so as his income from such sources increased. Finally, in 1968, Shahn wrote to Halpert telling her that after ten years of "an accumulation of ill-feeling, discomfort and recrimination between us" he felt compelled to end their dealer-artist relationship.

By the time of Shahn's break with Halpert his health had begun to fail. He died of a heart attack following surgery in a New York City hospital on March 14, 1969.

Related Archival Materials note:

The Archives of American Art holds four oral history interviews with Ben Shahn: 1964 Apr. 14 interview conducted by Richard K. Doud for the Archives of American Art New Deal and the Arts Project in which Shahn speaks of his travels and work for the Farm Security Administration (FSA) and the American image as portrayed by FSA; 1965 Jan. 17 interview; 1965 Oct. 3. interview conducted by Harlan Phillips for the Archives of American Art New Deal and the Arts Project; and 1968 Sept. 27 interview conducted by Forrest Selvig. Most of these interviews have transcripts available online.

The Archives also holds the Bernarda Bryson Shahn papers, circa 1947-2005, and two oral history interviews with Bernarda Bryson Shahn: 1983 Apr. 29 and 1995 July 3.

Separated Materials note:

The Archives of American Art also holds material lent for microfilming (reel N70-6) including addresses and essays by Shahn, seven royalty statements, and three letters from publishers. Many of the writings found on this reel were included in subsequent donations. All other lent material was returned to the lender and is not described in the collection container inventory.

Provenance:

The Ben Shahn papers were donated to the Archives of American Art in several installments between 1967-1991 by Shahn's widow, Bernarda Bryson Shahn who also lent materials for microfilming in 1969. Jean Shahn, Ben Shahn's daughter-in-law and estate representative, donated additional material in 2018 and 2021.

Restrictions:

This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.

Researchers interested in accessing audiovisual recordings 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:

Painters -- New Jersey -- Roosevelt  Search this

Painters -- New York (State) -- Brooklyn  Search this

Photographers -- New York (State) -- Brooklyn  Search this

Photographers -- New Jersey -- Roosevelt  Search this

Printmakers -- New Jersey -- Roosevelt  Search this

Printmakers -- New York (State) -- Brooklyn  Search this

Educators -- New York (State) -- Brooklyn  Search this

Educators -- New Jersey -- Roosevelt  Search this

Muralists -- New York (State) -- Brooklyn  Search this

Muralists -- New Jersey -- Roosevelt  Search this

Topic:

Social realism  Search this

Genre/Form:

Motion pictures (visual works)

Sketchbooks

Video recordings

Drawings

Sound recordings

Interviews

Citation:

Ben Shahn papers, 1879-1990, bulk 1933-1970. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art

Identifier:

AAA.shahben

See more items in:

Ben Shahn papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw983b06d9b-dd51-45bc-9b11-09b06a88f6c6

EDAN-URL:

ead_collection:sova-aaa-shahben

Collector:

Capt. Joseph G. Bruff  Search this

Donor Name:

Mrs. Joseph G. Bruff  Search this

Object Type:

Celt

Place:

District Of Columbia, United States, North America

Accession Date:

28 Aug 1889

Topic:

Archaeology  Search this

Accession Number:

022308

USNM Number:

A141197-0

See more items in:

Anthropology

Data Source:

NMNH - Anthropology Dept.

GUID:

http://n2t.net/ark:/65665/386e2772a-34b3-4697-9839-8feac6f90115

EDAN-URL:

edanmdm:nmnhanthropology_8020883

Discipline:

Mineral Sciences  Search this

Region:

North American Region  Search this

Object Type:

Education and Outreach collections

Collecting Locality:

Public Works Quarry, Bailey's Bay area, Bermuda, Islands of Bermuda

Topic:

Education & Outreach  Search this

Scientific Name:

Sedimentary Rock Calcareous Eolianite

USNM Number:

EO45300

See more items in:

Q?rius, The Coralyn W. Whitney Science Education Center

GUID:

http://n2t.net/ark:/65665/321516f96-7e4d-4998-ae0f-e291c9731a56

EDAN-URL:

edanmdm:nmnheducation_10024626

Biogeographical Region:

84 - Brazil  Search this

Collector:

L. Tatto  Search this

Place:

Public Works - Reservatorio do Macacos., Brazil, South America - Neotropics

Collection Date:

Aug 1941

Taxonomy:

Plantae Dicotyledonae Sapindales Sapindaceae

Published Name:

Dimocarpus longan Lour.

Euphoria longana Lam.

Barcode:

01078306

USNM Number:

1829181

See more items in:

Botany

Flowering plants and ferns

Data Source:

NMNH - Botany Dept.

GUID:

http://n2t.net/ark:/65665/3da2deea8-30ee-47eb-8eff-841536f7d02a

EDAN-URL:

edanmdm:nmnhbotany_10198649

Biogeographical Region:

62 - Northwestern Pacific  Search this

Collector:

L. Raulerson  Search this

Max. Elevation:

1  Search this

Place:

East of Ibo Cove & Navy Public Works, NAVSTA., Santa Rita, Guam, Pacific Islands

Collection Date:

15 Aug 1987

Taxonomy:

Plantae Dicotyledonae Fabales Fabaceae Papilionoideae

Published Name:

Dalbergia candenatensis (Dennst.) Pr.

Barcode:

01237632

USNM Number:

3381209

See more items in:

Botany

Flowering plants and ferns

Crowdsourcing Project

Data Source:

NMNH - Botany Dept.

GUID:

http://n2t.net/ark:/65665/32f1dc28b-2eb1-4a4d-80d1-76dcac923173

EDAN-URL:

edanmdm:nmnhbotany_11273222

Biogeographical Region:

62 - Northwestern Pacific  Search this

Collector:

F. R. Fosberg  Search this

Min. Elevation:

15  Search this

Place:

The Marianas Islands. Guam. Tamuning. Small colony in weedy place around Public Works installation., Guam, Pacific Islands

Collection Date:

19 Dec 1953

Taxonomy:

Plantae Monocotyledonae Poales Poaceae Panicoideae

Published Name:

Melinis repens (Willd.) Zizka

Barcode:

04291286

USNM Number:

2302695

See more items in:

Botany

Flowering plants and ferns

Data Source:

NMNH - Botany Dept.

GUID:

http://n2t.net/ark:/65665/34ec32a92-0007-4359-a396-6ad332dd801e

EDAN-URL:

edanmdm:nmnhbotany_16064988

Biogeographical Region:

51 - New Zealand  Search this

Collector:

A. J. Healy  Search this

Place:

Public works Depot., Wellington, New Zealand, Australasia

Collection Date:

Transcribed d/m/y: 19/4/41

Taxonomy:

Plantae Monocotyledonae Poales Poaceae Pooideae

Published Name:

Polypogon viridis (Gouan) Breistr.

Barcode:

04034851

USNM Number:

2184069

See more items in:

Botany

Flowering plants and ferns

Data Source:

NMNH - Botany Dept.

GUID:

http://n2t.net/ark:/65665/3b04c3010-21fb-49f8-83d9-ac40556e3675

EDAN-URL:

edanmdm:nmnhbotany_15810369

Biogeographical Region:

62 - Northwestern Pacific  Search this

Collector:

David H. Lorence  Search this

C Ciancini  Search this

W. Law  Search this

Mrs. K. Wood  Search this

Min. Elevation:

25  Search this

Place:

The Caroline Islands. Kosrae: Lelu Municipality. Toful town along main road near Public Works and Government Offices., Kosrae, Micronesia, Federated States of, Pacific Islands

Collection Date:

29 Jan 2010

Taxonomy:

Plantae Dicotyledonae Solanales Convolvulaceae

Published Name:

Ipomoea aquatica Forssk.

Barcode:

03154331

USNM Number:

3622887

See more items in:

Botany

Flowering plants and ferns

Data Source:

NMNH - Botany Dept.

GUID:

http://n2t.net/ark:/65665/3d3975d0c-7652-4b42-be68-207998be12a1

EDAN-URL:

edanmdm:nmnhbotany_14632164

Biogeographical Region:

62 - Northwestern Pacific  Search this

Collector:

B. S. Blackburn  Search this

Place:

Caroline Islands. Yap i., down street from Public Works, Yap, Micronesia, Federated States of, Pacific Islands

Collection Date:

13 Feb 1968

Taxonomy:

Plantae Dicotyledonae Asterales Asteraceae Asteroideae

Published Name:

Eclipta alba (L.) Hassk.

Barcode:

01759024

USNM Number:

2880421

See more items in:

Botany

Flowering plants and ferns

Flora of Micronesia

Data Source:

NMNH - Botany Dept.

GUID:

http://n2t.net/ark:/65665/35df75b87-87b9-4195-9220-66ee0ff9695d

EDAN-URL:

edanmdm:nmnhbotany_12801217

Collection Creator:

Shahn, Ben, 1898-1969  Search this

Container:

Box 1, Folder 2

Type:

Archival materials

Date:

circa 1947-1961

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 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:

Ben Shahn papers, 1879-1990, bulk 1933-1970. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art

See more items in:

Ben Shahn papers

Ben Shahn papers / Series 1: Biographical and Family Records

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9502c0fb0-3856-4a02-9c19-a02a46d276c0

EDAN-URL:

ead_component:sova-aaa-shahben-ref17

Creator:

Rush, Olive, 1873-1966  Search this

Names:

United States. Dept. of the Treasury. Section of Fine Arts  Search this

Extent:

6.3 Linear feet

Type:

Collection descriptions

Archival materials

Sketches

Diaries

Photographs

Date:

1879-1967

Summary:

The papers of Olive Rush measure 6.3 linear feet and date from 1879 to 1967. They contain correspondence, artwork, photographs, writings, and other personal papers documenting Rush's education and career as an illustrator, portraitist, muralist, painter, teacher, and promoter of Native American art.

Scope and Contents note:

The records of Olive Rush measure 6.3 linear feet and date from 1879 to 1967. They contain correspondence, artwork, photographs, writings, and other records that document her education and career as an illustrator, portraitist, muralist, painter, and promoter of Native American art.

Biographical materials include several narratives written by Rush and others, as well as a few items related to Delaware artist Ethel Pennewill Brown Leach, Rush's close friend and colleague. Correspondence spans Rush's education and career, and documents her early career in illustration, purchases and exhibitions of her work, her efforts to secure exhibitions for Native American artists, and her dealings with administrators of Federal Art Projects of the 1930s.

Writings include diaries from Rush's early years, including an especially detailed diary from her Santa Fe Indian School mural project in 1932. Also found are lectures, talks, essays, notebooks with technical experiments and aesthetic ideas, and loose notes for her FAP project at the New Mexico College of Agricultural and Mechanical Arts.

Records of Rush's artwork include two record books, receipts for supplies and shipments, price lists, inventories, records of submissions, and a small number of similar records of artwork by Native American artists. Sketchbooks, loose sketches, and drawings by Rush span her entire career and include many studies and proposed designs for murals and frescoes.

Printed Materials consist of exhibition catalogs, clippings, and reproductions of artwork, especially illustration work from Rush's early career. Photographs include a class photograph from the Corcoran School of Art circa 1890 and many of Rush and her fellow artists in Wilmington, Delaware from around 1904 to 1910. Photographs of works of art document Rush's murals and frescoes in private homes, businesses, and public buildings.

Arrangement note:

The collection is arranged into seven series:

Missing Title

Series 1: Biographical Material, 1886-1966 (Box 1; 7 folders)

Series 2: Correspondence, 1889-1964 (Boxes 1-2, 8; 1.4 linear feet)

Series 3: Writings, 1886-1962 (Box 2; 0.6 linear feet)

Series 4: Records of Artwork, 1904-1956 (Box 3; 8 folders)

Series 5: Artwork, 1896-1957 (Boxes 3-4, 7, OV 8-12; 1 linear foot)

Series 6: Printed Materials, 1879-1967 (Boxes 4-5, 7, OV 13; 1.6 linear feet)

Series 7: Photographs, circa 1890-1966 (Box 6; 0.4 linear feet)

Biographical/Historical note:

Olive Rush was born in Fairmount, Indiana in 1875 to a Quaker farm family of six children, and attended nearby Earlham College, a Quaker school with a studio art program. Encouraged by her teacher, Rush enrolled in the Corcoran School of Art in Washington, D.C. in 1890, where she stayed for two years and achieved early recognition for her work. In 1893, Rush joined the Indiana delegation of artists to the World's Columbian Exposition in Chicago.

In 1894, she moved to New York City and continued her studies at the Art Students League with Henry Siddons Mowbray, John Twachtman, and Augustus St. Gaudens. She secured her first job as an illustrator with Harper and Brothers and quickly started doing additional illustration work for Good Housekeeping, Scribner's, The Delineator, Woman's Home Companion, Sunday Magazine and St. Nicholas Magazine. Rush also became a staff artist at the New York Tribune and illustrated several books.

In 1904, Rush sent an inquiry with samples of her work to master illustrator Howard Pyle, who had established what was then the only school of illustration in the country in Wilmington, Delaware. There he provided free instruction to a small number hand-picked artists culled from hundreds of applicants. Although Pyle did not admit women to his studio, he encouranged her to come and join the class for lectures and criticisms. Rush moved to Delaware later that year, joining a growing number of female illustrators there including Ethel Pennewill Brown (later Leach), Blanche Chloe Grant, Sarah Katherine Smith, and Harriet Roosevelt Richards, among others. Rush and her female colleagues lived together in a boarding house known as Tusculum, which became well-known as a gathering place for women artists.

Rush traveled to Europe in 1910, embarking on a period of intense study and travel which would mark a steady transition from illustration to painting. She studied at Newlyn in Cornwall, England and then in France with the American impressionist Richard E. Miller. She returned to Wilmington in 1911, where she moved into Pyle's studio with Ethel Pennewill Brown. Rush bounced to New York, Boston, and back to France, where she lived for a time with fellow artists Alice Schille, Ethel Pennewill Brown, and Orville Houghton Peets. Her reputation grew, and she began to exhibit regularly in major national and regional juried exhibitions including the Carnegie, Pennsylvania Academy, and Corcoran annual exhibitions, as well as the Hoosier Salon.

In 1914, Rush made her first trip to Arizona and New Mexico. Passing through Santa Fe on her return trip, Rush made contact with the artists community at the Museum of New Mexico, where she secured an impromptu solo exhibition after showing her new work, inspired by the landscape of the Southwest. She made Santa Fe her permanent home in 1920 in an adobe cottage on Canyon Road, which became a main thoroughfare of the Santa Fe artists' community.

Rush began to experiment with fresco painting, and developed her own techniques suitable to the local climate. She became a sought-after muralist and was asked to create frescoes for many private homes and businesses. In her painting, she often depicted the Native American dances and ceremonies she attended. She exhibited these paintings around the country, including with the Society of Independent Artists in New York, and in the Corcoran Annual Juried exhibition, where Mrs. Herbert Hoover and Duncan Phillips both purchased her work.

In 1932, Rush was hired to teach at the Santa Fe Indian School. Rush's enthusiastic work in the 1930s with the young pueblo artists is credited with helping to bring about a flourishing of Native American visual art in New Mexico. Rush continued to work with native artists throughout her life, and many of her associates went on to gain national reputations, including Harrison Begay, Awa-Tsireh, Pop Chalee, Pablita Valerde, and Ha-So-De (Narciso Abeyta).

From 1934 to 1939, Rush executed murals for the Public Works of Art Project (PWAP) and the Federal Art Project (FAP) of the Works Progress Administration (WPA). Rush's federal art projects included murals for the Santa Fe Public Library (1934), the Biology Building of the New Mexico Agricultural College (1935), the Pawhuska, Oklahoma Post Office (1938), and the Florence, Colorado Post Office (1939). Rush was also asked to join the Advisory Committee on Indian Art created by the PWAP in 1934, to help administer a segment of the program aimed at employing Native American artists.

In her later years, Rush's artwork became increasingly experimental, incorporating the ideas of Chinese painting, Native American art, and her contemporaries, the modernists, especially Wassily Kandinsky. She continued painting and exhibiting until 1964, when illness prohibited her from working. She died in 1966, leaving her home and studio to the Santa Fe Society of Friends.

Sources consulted for this biography include Olive Rush: A Hoosier Artist in New Mexico (1992) by Stanley L. Cuba, and Almost Forgotten: Delaware Women Artists and Arts Patrons 1900-1950 (2002) by Janice Haynes Gilmore.

Related Archival Materials note:

The Archives of American Art holds a brief oral history interview with Olive Rush concerning her involvement with Federal Art Projects.

Separated Materials note:

The Archives of American Art also holds material lent for microfilming (reel SW4) including scrapbooks, photographs, clippings, and exhibition catalogs. Most of this material was later donated, but some items remain with the lender and are not described in the collection container inventory.

Provenance:

Olive Rush donated the bulk of her papers to the Archives of American Art in 1963 and 1964. Additional exhibition catalogs and photographs were added to the collection upon her death in 1966. An anonymous donation of diaries, sketchbooks, and a photograph was received by the Archives in 1970. Also in 1970, the Olive Rush Memorial Studio lent papers for microfilming. Many, but not all, of the loaned materials were later donated.

Restrictions:

The bulk of the collection has been digitized and is available online via AAA's website. Use of material not digitized requires an appointment.

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:

Painters -- New Mexico -- Santa Fe  Search this

American Indians in art  Search this

Art and state  Search this

Mural painting and decoration -- 20th century -- New Mexico -- Santa Fe  Search this

Muralists -- New Mexico -- Santa Fe  Search this

Illustrators -- New Mexico -- Santa Fe  Search this

Women artists  Search this

Women painters  Search this

Genre/Form:

Sketches

Diaries

Photographs

Citation:

Olive Rush papers, 1879-1967. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art.

Identifier:

AAA.rusholiv

See more items in:

Olive Rush papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9658989d9-2bae-49ac-8468-a447e744a90e

EDAN-URL:

ead_collection:sova-aaa-rusholiv

Creator:

Bruce, Edward, 1879-1943  Search this

Subject:

Sterne, Maurice  Search this

Biddle, George  Search this

Roosevelt, Franklin D. (Franklin Delano)  Search this

Stein, Leo  Search this

Dornbush, Adrian  Search this

Dows, Olin  Search this

Roosevelt, Eleanor  Search this

United States. Dept. of the Treasury. Section of Fine Arts  Search this

Public Works of Art Project  Search this

Type:

Diaries

Scrapbooks

Photographs

Place:

United States -- Politics and government -- 1933-1945

United States -- Social conditions -- 1933-1945

Citation:

Edward Bruce papers, 1902-1960, bulk 1932-1942. Archives of American Art, Smithsonian Institution.

Topic:

New Deal, 1933-1939  Search this

Federal aid to the arts  Search this

Art, American  Search this

Art and state  Search this

Art, Modern -- 20th century -- United States  Search this

Theme:

Diaries  Search this

Lives of artists  Search this

Record number:

(DSI-AAA_CollID)7264

(DSI-AAA_SIRISBib)209415

AAA_collcode_brucedwa

Theme:

Diaries

Lives of artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_209415

Interviewee:

Goodrich, Lloyd, 1897-1987  Search this

Interviewer:

Phillips, Harlan B., 1920-1979,  Search this

Subject:

Eakins, Thomas  Search this

Field, Hamilton Easter  Search this

Force, Juliana  Search this

Marsh, Reginald  Search this

Miller, Kenneth Hayes  Search this

Stieglitz, Alfred  Search this

Watson, Forbes  Search this

Art Students League (New York, N.Y.)  Search this

National Academy of Design (U.S.)  Search this

Public Works of Art Project  Search this

Whitney Museum of American Art  Search this

Type:

Interviews

Citation:

Quotes and excerpts must be cited as follows: Oral history interview with Lloyd Goodrich, 1962 June 13-1963 March 25. Archives of American Art, Smithsonian Institution.

Topic:

Art and state  Search this

Art -- Forgeries  Search this

Museum directors -- New York (State) -- New York -- Interviews  Search this

Record number:

(DSI-AAA_CollID)13038

(DSI-AAA_SIRISBib)212055

AAA_collcode_goodri62

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_oh_212055

Interviewee:

Biddle, George, 1885-  Search this

Interviewer:

Phillips, Harlan B., 1920-1979,  Search this

Subject:

Bacon, Peggy  Search this

Benton, Thomas Hart  Search this

Billings, Henry  Search this

Bruce, Edward  Search this

Cahill, Holger  Search this

Demuth, Charles  Search this

Evergood, Philip  Search this

Grosz, George  Search this

Halpert, Edith Gregor  Search this

Hartley, Marsden  Search this

Marsh, Reginald  Search this

Miller, Kenneth Hayes  Search this

Orozco, José Clemente  Search this

Rivera, Diego  Search this

Robinson, Boardman  Search this

Siqueiros, David Alfaro  Search this

Sterne, Maurice  Search this

Stieglitz, Alfred  Search this

Tamayo, Rufino  Search this

Weber, Max  Search this

Zorach, William  Search this

Cassatt, Mary  Search this

Pascin, Jules  Search this

Poor, Henry Varnum  Search this

Curry, John Steuart  Search this

Bouché, Louis  Search this

Kroll, Leon  Search this

Zorach, William  Search this

Public Works of Art Project  Search this

New Deal and the Arts Oral History Project  Search this

Type:

Sound recordings

Interviews

Citation:

Quotes and excerpts must be cited as follows: Oral history interview with George Biddle, 1963. Archives of American Art, Smithsonian Institution.

Topic:

Art -- Censorship  Search this

Federal aid to the arts  Search this

Painters -- New York (State) -- New York -- Interviews  Search this

Sculptors -- New York (State) -- Interviews  Search this

Theme:

New Deal  Search this

Record number:

(DSI-AAA_CollID)12696

(DSI-AAA_SIRISBib)213269

AAA_collcode_biddle63

Theme:

New Deal

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_oh_213269

Interviewee:

Albro, Maxine, 1903-1966  Search this

Interviewer:

McChesney, Mary Fuller, 1922-2022  Search this

Subject:

Hall, Parker  Search this

Bertrand, Raymond  Search this

Gaethke, George  Search this

Neininger, Urban  Search this

O'Higgins, Pablo  Search this

Rivera, Diego  Search this

Stackpole, Ralph  Search this

Zakheim, Bernard Baruch  Search this

Allied Artists Guild  Search this

Federal Art Project (Calif.)  Search this

New Deal and the Arts Oral History Project  Search this

Type:

Sound recordings

Interviews

Citation:

Quotes and excerpts must be cited as follows: Oral history interview with Maxine Albro and Parker Hall, 1964 July 27. Archives of American Art, Smithsonian Institution.

Topic:

Women artists  Search this

Women printmakers  Search this

Women painters  Search this

Federal aid to the arts  Search this

Women muralists  Search this

Theme:

New Deal  Search this

Women  Search this

Record number:

(DSI-AAA_CollID)12350

(DSI-AAA_SIRISBib)213349

AAA_collcode_albro64

Theme:

New Deal

Women

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_oh_213349

Interviewee:

Dows, Olin, 1904-1981  Search this

Interviewer:

Phillips, Harlan B., 1920-1979,  Search this

Subject:

Bruce, Edward  Search this

Watson, Forbes  Search this

Federal Art Project  Search this

New Deal and the Arts Oral History Project  Search this

Type:

Sound recordings

Interviews

Citation:

Quotes and excerpts must be cited as follows: Oral history interview with Olin Dows, 1963 October 31. Archives of American Art, Smithsonian Institution.

Topic:

Art and state  Search this

Federal aid to the arts  Search this

Arts administrators -- Washington (D.C.) -- Interviews  Search this

Theme:

New Deal  Search this

Record number:

(DSI-AAA_CollID)12383

(DSI-AAA_SIRISBib)213412

AAA_collcode_dows63

Theme:

New Deal

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_oh_213412