Search Results

Culture/People:

Diné (Navajo)  Search this

Artist/Maker:

Robert Yellowhair, Diné (Navajo), 1937-2016  Search this

Previous owner:

Dr. Mathew Kent Wilson, Sr., Non-Indian, 1920-2000  Search this

Patricia R. Wakeling (Paddy Wakeling), Non-Indian, 1923-2016  Search this

Donor:

Patricia R. Wakeling (Paddy Wakeling), Non-Indian, 1923-2016  Search this

Honoree:

Dr. Mathew Kent Wilson, Sr., Non-Indian, 1920-2000  Search this

Title:

Still Life

Object Name:

Painting

Media/Materials:

Cotton canvas, acrylic paint, wood

Techniques:

Painted, framed

Dimensions:

77.5 x 67 x 4.5 cm

Object Type:

Painting/Drawing/Print

Place:

Snowflake; Navajo County; Arizona; USA

Date created:

1976

Catalog Number:

25/9007

Barcode:

259007.000

See related items:

Diné (Navajo)

Painting/Drawing/Print

Data Source:

National Museum of the American Indian

GUID:

http://n2t.net/ark:/65665/ws694393296-ad78-458f-8783-7da5908d36b1

EDAN-URL:

edanmdm:NMAI_274987

Culture/People:

Hopi Pueblo  Search this

Artist/Maker:

Michael Kabotie (Lomawywesa/Lomawywisa), Hopi Pueblo, 1942-2009  Search this

Donor:

R. E. Mansfield (Richard E. Mansfield), Non-Indian, 1937-2007  Search this

Previous owner:

R. E. Mansfield (Richard E. Mansfield), Non-Indian, 1937-2007  Search this

Title:

Awatovi Still Life

Object Name:

Painting (No image available)

Media/Materials:

Cotton canvas, paint

Techniques:

Painted

Dimensions:

63.0 x 53.3 x 3.4 cm

Object Type:

Painting/Drawing/Print

Place:

Flagstaff; Coconino County; Arizona; USA (inferred)

Date created:

2003

Catalog Number:

26/6033

Barcode:

266033.000

See related items:

Hopi Pueblo

Painting/Drawing/Print

Data Source:

National Museum of the American Indian

GUID:

http://n2t.net/ark:/65665/ws6edbd9d0d-c4fc-4083-a902-0cc835aa2a01

EDAN-URL:

edanmdm:NMAI_282260

Creator:

Ueyama, Tokio, 1889-1954  Search this

Extent:

0.8 Linear feet

Type:

Collection descriptions

Archival materials

Diaries

Sketchbooks

Date:

1908-circa 1954

bulk 1914-1945

Summary:

The papers of California-based painter Tokio Ueyama (1889-1954) measure 0.8 linear feet and date from 1908-circa 1954, bulk 1914-1945. This small but rich collection includes biographical material in the form of a family tree, travel documents, identification cards, records related to the World War II Japanese American incarceration camp, Amache Relocation Center, and other materials; correspondence with friends and family, most of which is written in Japanese; writings such as a diary and a notebook from his time as a student at the Pennsylvania Academy of Fine Art; printed materials including news clippings and exhibition announcements; a sketchbook; and photographs of friends and family during a trip to Japan. Also included are printouts of an item-level inventory created by Grace Nozaki, Ueyama's niece, and translations of select entries from the diaries produced by Noriko Okada.

Scope and Contents:

The papers of California-based painter Tokio Ueyama (1889-1954) measure 0.8 linear feet and date from 1908-circa 1954, bulk 1914-1945. This small but rich collection includes biographical material in the form of a family tree, travel documents, identification cards, records related to the World War II Japanese American incarceration camp, Amache Relocation Center, and other materials; correspondence with friends and family, most of which is written in Japanese; writings such as a diary and a notebook from his time as a student at the Pennsylvania Academy of Fine Art; printed materials including news clippings and exhibition announcements; a sketchbook; and photographs of friends and family during a trip to Japan. Also included are printouts of an item-level inventory created by Grace Nozaki, Ueyama's niece, and translations of select entries from the diaries produced by Noriko Okada.

Arrangement:

Due to the small size of this collection the papers are arranged as one series.

Series 1: Tokio Ueyama Papers, 1908-circa 1954, bulk 1914-1945 (0.8 linear feet; Boxes 1-2, OVs 3-4)

Biographical / Historical:

Tokio Ueyama (1889-1954) was a painter of still lifes, portraits, and landscapes who was primarily based in Los Angeles and San Francisco, California.­ Ueyama was born in Wakayama, Japan, in 1889 and immigrated to the United States after high school around 1908. He studied at the San Francisco Institute of Art, University of Southern California (B.A. in 1914), and the Pennsylvania Academy of the Fine Arts in Philadelphia, where he received the Cresson travel scholarship which allowed him to travel to Europe from 1920 to 1922. During his time abroad, Ueyama studied painting in France, Germany, Italy and Spain.

In 1922, Ueyama returned to Los Angeles and founded a painting association with three other Japanese American artists. He exhibited his paintings around Southern California and in Mexico City, where he travelled in 1924 and met and exchanged paintings with Diego Rivera. Sometime around 1928, he met and married a woman named Suye (née Tsukada).

In 1942, Ueyama and wife were forcibly removed from their homes and sent to World War II Japanese American incarceration camps: Santa Anita Assembly Center in California and then the Amache Relocation Center (also referred to as Granada Relocation Center) in Colorado. Ueyama taught art to fellow incarcerees at Amache. In late 1945, the Ueyamas returned to Los Angeles and opened Bunkado, a gift shop selling a variety of Japanese goods that is open to this day. He continued to paint and be active in the art world and remained in Los Angeles until his death in 1954.

Provenance:

The Tokio Ueyama papers were donated to the Archives of American Art in 2023 by Grace Nozaki, Ueyama's niece.

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.

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:

Landscape painters -- California -- San Francisco  Search this

Topic:

Asian American artists  Search this

Japanese American art -- United States  Search this

Japanese Americans -- Forced removal and internment -- 1942-1945  Search this

Asian American painters  Search this

Genre/Form:

Diaries -- 20th century

Sketchbooks -- 20th century

Citation:

Tokio Ueyama papers, 1908-circa 1954, bulk 1914-1945. 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 and the Roy Lichtenstein Foundation.

Identifier:

AAA.ueyatoki

See more items in:

Tokio Ueyama papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw951744173-42a8-4c7d-8b24-baa048f26b14

EDAN-URL:

ead_collection:sova-aaa-ueyatoki

Collection Creator:

André Emmerich Gallery  Search this

Container:

Box 221, Folder 27

Type:

Archival materials

Date:

1974

Collection Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Access of diaries and appointment books required written permission.

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:

André Emmerich Gallery records and André Emmerich papers, circa 1929-2009. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Leon Levy Foundation.

See more items in:

André Emmerich Gallery Records and André Emmerich Papers

André Emmerich Gallery Records and André Emmerich Papers / Series 16: Photographic Materials / 16.3: Installations

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9510775cc-f73c-4b9a-b8ef-e63510cac574

EDAN-URL:

ead_component:sova-aaa-andremmg-ref7687

Collection Creator:

André Emmerich Gallery  Search this

Container:

Box 221, Folder 53

Type:

Archival materials

Date:

circa 1995-1996

Collection Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Access of diaries and appointment books required written permission.

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:

André Emmerich Gallery records and André Emmerich papers, circa 1929-2009. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Leon Levy Foundation.

See more items in:

André Emmerich Gallery Records and André Emmerich Papers

André Emmerich Gallery Records and André Emmerich Papers / Series 16: Photographic Materials / 16.3: Installations

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw907ffc2bb-1d7c-4b5a-a036-67e20cf23d1e

EDAN-URL:

ead_component:sova-aaa-andremmg-ref7712

Creator:

Abercrombie, Gertrude, 1909-1977  Search this

Names:

Algren, Nelson, 1909-1981  Search this

Armin, Emil, 1883-  Search this

Armour, Richard Willard, 1906-  Search this

De Diego, Julio, 1900-  Search this

Evans, B.  Search this

Huppler, Dudley, 1917-1988  Search this

Karidis, Jerome  Search this

Priebe, Karl J., 1914-1976  Search this

Purdy, Carl  Search this

Purdy, James  Search this

Rollins, Sonny  Search this

Rorem, Ned, 1923-  Search this

Terkel, Studs, 1912-2008  Search this

Van Vechten, Carl, 1880-1964  Search this

Warren, Paul, 1916-  Search this

Wilcox, Wendell  Search this

Wilde, John, 1919-2006  Search this

Wilder, Thornton, 1897-1975  Search this

Extent:

5.9 Linear feet

Type:

Collection descriptions

Archival materials

Sketchbooks

Diaries

Drawings

Scrapbooks

Sound recordings

Sketches

Photographs

Writings

Date:

circa 1880-1986

bulk 1935-1977

Summary:

The papers of surrealist artist Gertrude Abercrombie date from circa 1880-1986, with the bulk of the material dated 1935-1977, and measure 5.9 linear feet. Found within are biographical material; correspondence (mostly incoming letters) with friends, museums, and galleries; files for artists that interested her; writings and notes, including five journal-type notebooks; scattered personal business records; two sketchbooks by Abercrombie and additional sketches and drawings, some by others; printed material, audio recordings, one scrapbook, photographs, and estate records.

Scope and Content Note:

The papers of surrealist artist Gertrude Abercrombie date from circa 1880-1986, with the bulk of the material dated 1935-1977, and measure 5.9 linear feet. Found within the papers are biographical material; correspondence (mostly incoming letters) with friends, museums, and galleries; artists files; writings and notes, including five journal-type notebooks; scattered personal business records; two sketchbooks by Abercrombie and additional sketches and drawings, some by others; printed material, audio recordings, one scrapbook, photographs, and estate records.

Biographical material consists of biographical notes, Gertrude Abercrombie's will, address books, and a file titled "memorabilia." Personal and professional correspondence consists mainly of incoming letters and some drafts of Gertrude Abercrombie's outgoing letters. Letters from museums and galleries concern loans of paintings and exhibitions. A large amount of the personal correspondence consists of post cards including many antique ones, as well as cards containing original art work by Julio de Diego, Jerry [Jerome] Karidis, Karl Priebe.

Artist files consist of correspondence, printed material, and photographs concerning painters, writers, a jazz musician, and a photographer. The individuals represented are: Dudley Huppler, Jerome Karidis, Karl Priebe, James Purdy, Sonny Rollins, Carl Van Vechten, Wendell Wilcox, John Wilde, and Thornton Wilder.

Writings and notes include reminiscences, miscellaneous writings and notes, and a girlhood diary with brief entries. Five notebooks contain a variety of writings dating from 1953 through 1975, and undated. One volume concerns only her second husband Frank Sandiford.

Business records include a painting catalog on file cards, mailing and guest lists, and miscellaneous sales records. In addition, six notebooks record expenses, sales, inventories, mailing lists, a register of paintings, and a guest book.

There are two sketchbooks, Christmas card designs, sketches and drawings done by Gertrude Abercrombie. There are also prints, drawings, and a painting by Emil Arman, B. Evans, de Diego, and unknown artists.

Printed material consists of articles and clippings about Gertrude Abercrombie, exhibition catalogs, and reproductions. Also included are books by friends inscribed by the authors, among them: Nelson Algren, Richard Armour, Dudley Huppler, James Purdy, Ned Rorem, Paul Warren [pen name of Abercrombie's second husband, Frank Sandiford], Studs Terkel, and Thornton Wilder.

Audio recordings (33-1/3 rpm phonograph alums) are inscribed to Gertrude Abercrombie by the artists. Orlando's album cover, designed by Abercrombie, incorporates one of her paintings.

Records of the Estate of Gertrude Abercrombie and the Gertrude Abercrombie Trust, Donald Baum, Executor, consist mainly of correspondence with the institutions that were offered works of art by Gertrude Abercrombie and from her personal collection. Also included are general correspondence, financial and tax records, and legal documents.

There is one scrapbook dated 1943 containing photographs and printed material.

Photographs are of art work, people, places, and miscellaneous subjects; negatives, slides, and transparencies are included in this series, too. Photographs of art include the work of Gertrude Abercrombie, Karl Priebe, and Charles Sebree. People pictured are Gertrude Abercrombie and family, including her parents, Richard I. Livingston, Dinah Livingston, and Frank Sandiford. There are also 19th and early 20th century photographs of ancestors. Among the images of friends are: Ivan le Lorraine Albright, Arnold Blanch, Dudley Huppler, Doris Lee, Karl Priebe, and Richard Purdy. Photographs of jazz artists include: Louis Armstrong, George Davis, Erroll Garner, Dizzy Gillespie, Earl Hines, Orlando, Charlie Parker, Sonny Rollins, Sarah Vaughn, and the Modern Jazz Quartet. Of particular note the portraits of Gertrude Abercrombie and Dizzy Gillespie by Carl Van Vechten.Among the photographs of places are interior views of Gertrude Abercrombie's home and studio, unidentified landscapes, travel pictures of San Francisco and commercially produced stereopticon slides of other locations. Miscellaneous subjects are automobiles, cats, exhibition installations, and a still life setup.

Arrangement:

The collection is arranged into 11 series:

Missing Title

Series 1: Biographical Material, circa 1902-1976 (Box 1, OV9; 0.1 linear ft.)

Series 2: Correspondence, circa 1935-1977 (Boxes 1-2; 1.65 linear ft.)

Series 3: Artist files, circa 1935-1977 (Box 2; 0.25 linear ft.)

Series 4: Writings and Notes, circa 1919-1977 (Box 3; 0.1 linear ft.)

Series 5: Business Records, circa 1944-1977 (Box 3; 0.2 linear ft.)

Series 6: Art Work, circa 1939-1975 (Boxes 3, 7; O.2 linear ft.)

Series 7: Printed Material, circa 1906-1977 (Boxes 3-4; 1.6 linear ft.)

Series 8: Audio Recordings, circa 1970-1974 (Box 7; 0.1 linear ft.)

Series 9: Estate Records, circa 1976-1986 (Box 5; o.5 linear ft.)

Series 10: Scrapbook, circa 1943(Box 5; 1 folder)

Series 11: Photographs, circa 1880-1978(Boxes 5-7; OV8, 1.0 linear ft.)

Biographical Note:

Surrealist painter Gertrude Abercrombie (1909-1977) lived and worked in Chicago and was a prominent member of Chicago's Hyde Park arts community.

Abercrombie was known for surrealist oil paintings featuring dreamlike landscapes and fantasies. Her wide circle of friends included locally and nationally known artists, writers, and jazz musicians who made her home a popular avant-garde salon. She was the inspiration for Richie Powell's "Gertrude's Bounce" and, appeared as a fictional character in Malcolm, Eustace Chisholm, and as herself in Gertrude of Stony Island Avenue all by James Purdy.

The only child of Tom and Lula Janes [Jane] Abercrombie, Gertrude was born in Austin, Texas in 1909, while her opera singer parents were in town with a traveling company. In 1913, the family relocated to Berlin to further Jane's career, but the outbreak of World War I forced their return to the United States. They lived with Tom Abercrombie's family in Alledo, Illinois, before permanently settling in Chicago.

Gertrude Abercrombie had a facility with language and possessed musical and artistic talents. After graduation from the University of Illinois at Champaign-Urbana with a degree in romance languages in 1929, she studied figure drawing at the School of the Art Institute of Chicago for a short time. She then enrolled at the American Arcademy of Art, also in Chicago, for a year long course in commercial art. Her first job was drawing gloves for Mesirow Department Store ads, followed by a stint working as an artist for Sears.

By 1932, Gertrude Abercrombie began painting seriously. The following summer, she participated in an outdoor art fair in downtown Chicago where she made her first sale and received favorable mention in a newspaper review of the event. Abercrombie's work that featured self-portraits and recurring images of personal symbols - trees, horses, owls, keys, shells, doors, stairways, ladders - began to attract attention. Beginning in 1934, Gertrude Abercrombie was employment as a painter in the WPA Federal Art Project in 1934, enabling her to feel validated as an artist and move from the home of her conservative, Christian Scientist parents to her own apartment. The Chicago Society of Artists presented a solo exhibition of Abercrombie's work in 1934, and in 1936 she showed at the Katharine Kuh Gallery (along with Rita Stein and Nicola Ziroli). In 1936 and 1938 Gertrude Abercrombie won prizes at the Art Institute of Chicago's Annual Exhibition of Works by Artists of Chicago and Vicinity.

She left the WPA in 1940 and married lawyer Robert Livingston. Their daughter, Dinah, was born in 1942, and they soon moved to a large Victorian house on South Dorchester St. where Gertude lived for the remainder of her life. The couple divorced in 1948. That same year she married Frank Sandiford, a music critic whose pen name was Paul Warren. An accomplished improvisational pianist, Gertrude Abercrombie became friends with many prominent jazz artists whom she met through Sandiford; in fact, Dizzy Gillespie performed at their wedding. Abercrombie and Sandiford separated in 1964.

The 1940s through 1950s were Gertrude Abercrombie's most productive and prolific period. Although she no longer painted many portraits, he work remained focused on the same themes and symbols. She believed that art was about ideas rather than technique and insisted that "It is always myself that I paint." During this period, Amercrombie exhibited widely in group shows and had solo exhibitions at the Art Institute of Chicago, Associated American Artists (New York), and Leonard Linn, Inc. (Winnetka, Ill.)

By the late 1950s, Gertrude Abercrombie began a long decline. Alcoholism started to take a toll. She suffered serious financial reverses, and in 1964 separated from Frank Sandiford. Debilitating arthritis eventually landed her in a wheel chair, and she became reclusive. In 1977, very near the end of her life, Gertrude Abercrombie was honored with a well-received retrospective exhibition at the Hyde Park Art Center, Chicago. She was able to attend the reception and enjoy seeing the many old friends who were at the event.

Gertrude Abercrombie died in Chicago in 1977. Her will established The Gertrude Abercrombie Trust that cared for and distributed to various institutions her own paintings and a personal collection of works by other artists to selected institutions, mainly in the Midwest.

Related Material:

A photograph of Gertrude Abercrombie at home with her painting "Slaughter House", was donated by Donald Baum to the National Collection of Fine Arts in 1979 and transferred to the Archives of American Art that same year.

Provenance:

Donald Baum, executor of both the estate and trust of Gertrude Abercrombie, donated the papers to the Archives of American Art in 1978 and 1986.

Restrictions:

Use of original papers 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.

Occupation:

Painters -- Illinois -- Chicago  Search this

Topic:

Women artists  Search this

Women painters  Search this

Surrealism  Search this

Genre/Form:

Sketchbooks

Diaries

Drawings

Scrapbooks

Sound recordings

Sketches

Photographs

Writings

Citation:

The Gertrude Abercrombie papers, circa 1880-1986, bulk 1935-1977. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.abergert

See more items in:

Gertrude Abercrombie papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw93af9ed86-0dce-4ea7-9cb4-085eb5d48b67

EDAN-URL:

ead_collection:sova-aaa-abergert

Collection Creator:

Abercrombie, Gertrude, 1909-1977  Search this

Extent:

1 Linear foot (Boxes 5-7; OV 8)

Type:

Archival materials

Date:

circa 1880-1978

Scope and Contents note:

Photographs are of art work, people, places, and miscellaneous subjects; negatives, slides, and transparencies are included in this series, too.

Photographs of art include the work of Gertrude Abercrombie, Karl Priebe, and Charles Sebree.

People pictured are Gertrude Abercrombie and family, including her parents, Richard I. Livingston, Dinah Livingston, and Frank Sandiford. There are also 19th and early 20th century photographs of ancestors. Among the images of friends are: Ivan le Lorraine Albright, Arnold Blanch, Dudley Huppler, Doris Lee, Karl Priebe, and Richard Purdy. Photographs of jazz artists include: Louis Armstrong, George Davis, Erroll Garner, Dizzy Gillespie, Earl Hines, Orlando, Charlie Parker, Sonny Rollins, Sarah Vaughn, and the Modern Jazz Quartet. Of particular note the portraits of Gertrude Abercrombie and Dizzy Gillespie by Carl Van Vechten.

Among the photographs of places are interior views of Gertrude Abercrombie's home and studio, unidentified landscapes, travel pictures of San Francisco and commercially produced stereopticon slides of other locations. Miscellaneous subjects are automobiles, cats, exhibition installations, and a still life setup.

Arrangement note:

Photographs are arranged into 5 subseries:

Subseries 1: Art Work, 1978, undated

Subseries 2: People, circa 1880-1976, undated

Subseries 3: Places, 1958-1971, undated

Subseries 4: Miscellaneous Subjects, 1931-1961, undated

Subseries 5: Negatives, Slides, and Transparencies, 1963, undated

Collection Restrictions:

Use of original papers requires an appointment.

Collection Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Collection Citation:

The Gertrude Abercrombie papers, circa 1880-1986, bulk 1935-1977. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.abergert, Series 11

See more items in:

Gertrude Abercrombie papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw98ac0eee1-f01b-4372-9389-5ea4c78aa0e3

EDAN-URL:

ead_component:sova-aaa-abergert-ref108

Collection Creator:

Abercrombie, Gertrude, 1909-1977  Search this

Container:

Box 6, Folder 24

Type:

Archival materials

Date:

undated

Collection Restrictions:

Use of original papers requires an appointment.

Collection Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Collection Citation:

The Gertrude Abercrombie papers, circa 1880-1986, bulk 1935-1977. Archives of American Art, Smithsonian Institution.

See more items in:

Gertrude Abercrombie papers

Gertrude Abercrombie papers / Series 11: Photographs / 11.4: Miscellaneous Subjects

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw961fda4ff-c1d4-4426-b33b-a2db6f340ca7

EDAN-URL:

ead_component:sova-aaa-abergert-ref161

Painter:

Schroder, Ben  Search this

Medium:

Oil

Type:

Paintings

Topic:

Still Life--Written Matter--Book  Search this

Still Life--Foodstuff--Bread  Search this

Still Life--Other--Dish  Search this

Control number:

IAP 8G380100

Data Source:

Art Inventories Catalog, Smithsonian American Art Museums

EDAN-URL:

edanmdm:siris_ari_481254

Painter:

MacKendrick, Lilian  Search this

Medium:

Oil

Type:

Paintings

Topic:

Still Life--Flower--Rose  Search this

Control number:

IAP 8G380102

Data Source:

Art Inventories Catalog, Smithsonian American Art Museums

EDAN-URL:

edanmdm:siris_ari_481256

Creator:

Faul, Jan, 1945-  Search this

Extent:

0.3 Cubic feet (1 box)

Type:

Collection descriptions

Archival materials

Portfolios (groups of works)

Photographs

Landscapes (representations)

Place:

Wisconsin -- photographs -- 1990-2000

Waukesha County (Wis.) -- 1990-2000

Date:

1994

Summary:

Photographs taken under a grant from the Graham Foundation to document disappearing family farms in Waukesha County, Wisconsin. This project shows the urbanization of this mostly rural county in central Wisconsin located between Chicago, Milwaukee, and Madison. Welsh men and women came to Waukesha County in the 1840s and became part of America's dairy history. After five or six generations, many of these farms are still family owned. Today's farms are threatened by developers due to rising land prices.

Scope and Contents:

32 photographs made in Waukesha County, Wisconsin, May 1994, under a grant from the Graham Foundation to document disappearing family farms in Waukesha County, Wisconsin. They include images of farms, dairy barns, silos, cemetery, and roads.

Welsh men and women came to the County in the 1840s to launch another part of America's dairy history; after five or six generations, many farms are still family owned. Today's farms are threatened by developers due to rising land prices (up to $50,000/acre perked) and their central location between Milwaukee (east), Madison (west), and Chicago (south).

Arrangement:

Arranged into two series. Sequence arranged by artist.

Biographical / Historical:

Artist b. Port Chester, New York, 1945; childhood in several American cities and Switzerland; studied printmaking at George Washington University, Washington, D.C., graduated 1969; gave up printmaking for photography due to influence of Farm Security Administration photographs he had seen at the Library of Congress as a teenager. Self-employed photographer since 1970, working on grants and contracts to document workers, and rural poverty.; also landscape, still life, and portraiture. To Denmark 1979: commercial photography for about ten years before returning to the U.S. Work in many museum and private collections. Artist's residency, Yaddo, 1992-1993.

Artist's comment about the portfolio subjects: Welsh men and women came to Waukesha County in the 1840s to launch another part of America's dairy history; after five or six generations, many farms are still family owned. Today's farms are threatened by developers due to rising land prices (up to $50,000/acre perked) and their central location between Milwaukee (east), Madison (west), and Chicago (south).

Provenance:

Collection donated by Barbara Scheide and Jan Faul, December 30, 1994.

Restrictions:

Collection is open for research but is stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.

Rights:

Use and copyright restrictions: rights retained by the artist. The Museum may exhibit and reproduce photographs in its publications, but cannot make copies or authorize reproduction by others.,Contact artist for reproduction arrangements.

Topic:

Cemeteries -- Wisconsin  Search this

Dairy farms -- Photographs -- 1990-2000 -- Wisconsin  Search this

Agricultural land -- Photographs -- 1990-2000 -- Wisconsin  Search this

Barns -- Photographs -- 1990-2000  Search this

Real estate development -- 1990-2000 -- Wisconsin  Search this

Welsh Americans -- 1990-2000 -- Wisconsin  Search this

Silos -- Photographs -- 1990-2000  Search this

Genre/Form:

Portfolios (groups of works) -- 1990-2000

Photographs -- Black-and-white photoprints -- Silver gelatin -- 1990-2000

Landscapes (representations) -- Wisconsin

Citation:

Jan Faul "Farming the Welsh Hills" Portfolio, 1994, Archives Center, National Museum of American History. Gift of the artist [or Barbara Scheide: consult finding aid for credits for specific photographs].

Identifier:

NMAH.AC.0526

See more items in:

Jan Faul, "Farming the Welsh Hills" Portfolio

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8a6808cb7-355c-4b10-8c38-02b7df8b46b5

EDAN-URL:

ead_collection:sova-nmah-ac-0526

Painter:

Pittman, Hobson 1898-1972  Search this

Medium:

Watercolor

Type:

Paintings

Topic:

Still Life--Fruit--Apple  Search this

Control number:

IAP 8G380070

Data Source:

Art Inventories Catalog, Smithsonian American Art Museums

EDAN-URL:

edanmdm:siris_ari_481224

Painter:

Jamison, Philip Duane 1925-2021  Search this

Medium:

Watercolor

Type:

Paintings

Topic:

Still Life--Flower  Search this

Control number:

IAP 8G380079

Data Source:

Art Inventories Catalog, Smithsonian American Art Museums

EDAN-URL:

edanmdm:siris_ari_481233

Painter:

Jamison, Philip Duane 1925-2021  Search this

Medium:

Oil

Type:

Paintings

Topic:

Still Life--Flower--Daisy  Search this

Control number:

IAP 8G380080

Data Source:

Art Inventories Catalog, Smithsonian American Art Museums

EDAN-URL:

edanmdm:siris_ari_481234

Artist:

Sigmund Menkes, American, b. Lvov, Poland, 1896–1986  Search this

Medium:

Oil on linen

Dimensions:

33 3/8 x 23 5/8 in. (84.7 x 65 cm)

Type:

Painting

Date:

(before 1954)

Credit Line:

Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC, Gift of Joseph H. Hirshhorn, 1966

Accession Number:

66.3532

See more items in:

Hirshhorn Museum and Sculpture Garden Collection

Data Source:

Hirshhorn Museum and Sculpture Garden

GUID:

http://n2t.net/ark:/65665/py2de8b4b87-72a4-4909-807a-e112fc33162e

EDAN-URL:

edanmdm:hmsg_66.3532

Artist:

Man Ray, American, b. Philadelphia, Pennsylvania, 1890–1976  Search this

Medium:

Color lithograph on paper

Dimensions:

SHEET: 29 7/8 X 21 3/8 IN. (75.9 X 54.3 CM.) IMAGE: 24 7/8 x 19 IN. (63.2 X 48.3 CM.)

Type:

Print

Date:

(1912-1916, editioned 1960s)

Credit Line:

Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC, The Joseph H. Hirshhorn Bequest, 1981

Accession Number:

86.3121

See more items in:

Hirshhorn Museum and Sculpture Garden Collection

School:

Dada/Fluxus

Data Source:

Hirshhorn Museum and Sculpture Garden

GUID:

http://n2t.net/ark:/65665/py2b53b3d93-3cd8-46a0-8694-b95c71e9ff6a

EDAN-URL:

edanmdm:hmsg_86.3121

Creator:

Tworkov, Jack  Search this

Names:

Egan Gallery  Search this

Leo Castelli Gallery  Search this

Nancy Hoffman Gallery  Search this

Poindexter Gallery  Search this

Stable Gallery (New York, N.Y.)  Search this

Zabriskie Gallery  Search this

Ashbury, John  Search this

Ashton, Dore  Search this

Bartlett, Jennifer, 1941-  Search this

Blinken, Donald M., 1925-  Search this

Calfee, William H. (William Howard), 1909-1995  Search this

Cavallon, Giorgio, 1904-1989  Search this

Cézanne, Paul, 1839-1906  Search this

Demarco, Ricky  Search this

Dickinson, Edwin Walter, 1891-1978  Search this

Forge, Andrew  Search this

Hartigan, Grace  Search this

Herzbrun, Helene  Search this

Katz, Paul  Search this

Knaths, Karl, 1891-1971  Search this

Lindeberg, Linda, 1915-1973  Search this

Matter, Herbert, 1907-1984  Search this

Newman, Arnold, 1918-2006  Search this

Newman, Michael  Search this

Osborn, Robert Chesley, 1904-1994  Search this

Ponsold, Renate  Search this

Praeger, David A.  Search this

Rothko, Mark, 1903-1970  Search this

Summerford, Joe  Search this

Thorne, Joan, 1943-  Search this

Westenberger, Theo  Search this

Wheeler, Dennis  Search this

Wise, Howard  Search this

Yunkers, Adja, 1900-1983  Search this

Extent:

9.7 Linear feet

Type:

Collection descriptions

Archival materials

Photographs

Sketchbooks

Video recordings

Interviews

Motion pictures (visual works)

Sound recordings

Sketches

Diaries

Date:

1926-1993

Summary:

The Jack Tworkov papers measure 9.7 linear feet and are dated 1926-1993. Tworkov's work as a painter and influential teacher, as well as his personal life, are documented by extensive journals and substantive correspondence that record his ideas about art and teaching, and illuminate his relationships with friends, colleagues, and students. Many sketchbooks, writings, interviews, photographs, and moving images are also included.

Scope and Content Note:

The Jack Tworkov papers measure 9.7 linear feet and are dated 1926-1993, with the bulk from the period 1931-1982. Tworkov's work as a painter and influential teacher, as well as his personal life, are documented by extensive journals and substantive correspondence that record his ideas about art and teaching, and illuminate his relationships with friends, colleagues, and students. Many sketchbooks, writings, interviews, photographs, and moving images are also included.

Biographical material includes Tworkov's citizenship certificate, awards, diplomas, a copy of Jack Tworkov: Video Portrait, produced by Electronic Arts Intermix, and a motion picture film, USA Artists: Jack Tworkov, produced by National Education Television.

Correspondence consists largely of incoming letters. It is both professional and personal in nature and often combines both spheres. Correspondents include artists Jennifer Bartlett, William H. Calfee, Giorgio Cavallon and Linda Lindeberg, Grace Hartigan, Helene Herzbrun (also named Helene McKinsey), Karl Knaths, Joe Summerford, Joan Thorne, and Adja Yunkers; cartoonist Robert C. Osborn; collectors Donald M. Blinken and David A. Praeger (who was also Tworkov's lawyer); illustrator Roger Dovoisin; critics Dore Ashton and Andrew Forge; critic and poet John Ashbury; galleries that represented Tworkov: Egan Gallery, Leo Castelli, Nancy Hoffman Gallery, Poindexter Gallery, Stable Gallery and Zabriskie Gallery; and many museums, arts organizations, colleges and universities.

Interviews with Tworkov include one with Ricky Demarco videotaped in 1979 and two conducted on video by Twokov's daughter Helen in 1975. The remaining interviews are sound recordings, one conducted by Grace Alexander for the show Artists in New York in 1967, one conducted by Michael Newman in 1980, and the remainder by unidentified interviewers. None have transcripts.

All writings are by Tworkov and include poems, an artist's statement, and documentation for two children's books by Tworkov illustrated by Roger Duvoisin. Two additional notebooks contain miscellaneous notes, teaching notes, and some specific to identified courses. Lectures exist as untranscribed sound recordings.

Tworkov's journals (33 volumes) span a period of 35 years, from 1947 until 1982, with the final entry dated a few weeks before his death. They record his reflections on painting, his challenges as a painter, aesthetics, the role of the artist in society, Jewish identity, painters he admired (especially Cézanne and Edwin Dickinson), politics, and teaching. They also recount everyday life: the comings and goings of friends and family members, social engagements, professional activities, illness, and travel.

The lone subject file concerns Mark Rothko and includes a photograph of Rothko and the guest list for the dedication of the Rothko Chapel in Houston.

Artwork consists of a small number of sketches by Tworkov in pencil and ink. Tworkov's sketchbooks (28 volumes) contain sketches and some finished drawings. Most are in pencil, but scattered throughout are a few pencil sketches embellished with colored marker or pastel, and a small number in ink.

Photographs are of people, places and events. Most photographs are of Tworkov alone and with others including Giogio Cavallon, though most friends and students are unidentified. Of note are views of Tworkov producing a series of prints at Tamarind Institute. Also found is an informal portrait of Wally Tworkov. Events recorded include the jurying of "Exhibition Momentum" in Chicago, 1956. Among the places shown are Tworkov's studios at Black Mountain College and in Provincetown. When known, photographers are noted; among them are Paul Katz, Herbert Matter, Arnold Newman, Renate Ponsold, Theo Westenberger, Dennis Wheeler, and Howard Wise.

A separate series of audiovisual recordings was established for those recordings that could not be readily identified to be arranged in other series. They consist of three videocassettes (2 VHS and 1 miniDV).

Arrangement:

The collection is arranged as 11 series:

Missing Title

Series 1: Biographical Material, 1933-1981 (Boxes 1, 9, 11, FC 13; 0.7 linear ft.)

Series 2: Correspondence, 1926-1993 (Boxes 1-5; 3.8 linear ft.)

Series 3: Interviews, 1978-1982 (Boxes 5, 9-10; 1 linear ft.)

Series 4: Writings, Notes, and Lectures, 1955-1982 (Boxes 5, 9; 0.5 linear ft.)

Series 5: Journals, 1947-1982 (Boxes 5-7; 2.0 linear ft.)

Series 6: Subject File, 1961-1977 (Box 7; 1 folder)

Series 7: Printed Material, 1952-1981 (Box 7, OV 12; 0.1 linear ft.)

Series 8: Artwork, circa 1950s-1960s (Box 7: 3 folders)

Series 9: Sketchbooks, circa 1950s-1960s (Boxes 7-8, 11; 1.0 linear ft.)

Series 10: Photographic Materials, 1941-1981 (Boxes 8-9; 0.5 linear ft.)

Series 11: Audiovisual Recordings, 1961-1975 (Box 9; 0.1 linear ft.)

Biographical Note:

New York School painter Jack Tworkov (1900-1982), best known for his Abstract Expressionist paintings and as a highly regarded teacher, lived and worked in New York City and Provincetown, MA.

At age 13, Tworkov (born Yakov Tworkovsky) emigrated from Poland with his mother and sister to join his father already in the United States. In America, they chose to use the name of distant relatives, the Bernsteins, who were their sponsors. Eventually, Jack and his sister, Janice, reclaimed and shortened their name to Tworkov; later, she adopted the name of their hometown in Poland and became the painter Janice Biala.

As a high school student in New York City, Tworkov attended drawing classes. After graduating from Columbia University, where he had been an English major and considered becoming a writer, Tworkov instead turned to art. He studied with Ivan Olinsky at the National Academy of Design between 1923 and 1925, and from 1925 to 1926 attended painting classes taught by Guy Péne Du Bois and Boardman Robinson at the Art Students League. During his college years, Tworkov began visiting museums and became a great admirer of Cézanne. Tworkov's early paintings - still life, landscapes, and portraits - showed the influence of European modernism and Cézanne.

Tworkov spent his first summer in Provincetown while still a student and subsequently returned to study with Ross Moffet. In Provincetown he met and was greatly influenced by Karl Knaths and developed a lifelong friendship with Edwin Dickinson. By 1929, Tworkov was painting there year round. Over the years, Tworkov and his family continued to return for long stretches, and in 1958 he purchased a house in Provincetown.

During the Great Depression, Tworkov participated in the Treasury Department's Public Works of Art Project until 1934, and then moved to the easel division of the WPA Federal Art Project. He felt uncomfortable with the growing ideological and political influences on art and found it depressing to paint for the WPA rather than for himself, so he left the WPA in 1941. Tworkov, who had studied mechanical drawing while in high school, spent most of the War years employed as a tool designer and draftsman at an engineering firm with government contracts.

By the 1940s, Tworkov was painting in the Abstract Expressionist style. Between 1948 and 1953, he leased a studio on Fourth Avenue that adjoined that of his friend Willem de Kooning. During this time, they mutually influenced each other as they developed into mature Abstract Expressionists. At Yale in the 1960s, Tworkov became close friends with fellow student Josef Albers. Alber's influence on Tworkov resulted in a turn to geometric compositions of small, systematic, and repetitive strokes defined by a grid. He experimented with diagonal compositions, and later geometric work that featured large areas of color and soft texture.

Tworkov's first teaching experience was during 1930-1931 when he served as a part-time painting instructor at the Ethical Culture Fieldston School. His teaching career began in earnest when he joined the faculties of Queens College, 1948-1955, and Pratt Institute, 1955-1958. During the summers he taught at various schools, most notably Black Mountain College's 1952 summer session. Tworkov was a visiting artist at the Yale University School of Art and Architecture, 1961-1963, and became chairman of its Art Department from 1963 until his retirement in 1969. In retirement he lived in Provincetown and was a visiting artist for both short and extended periods at various universities and art schools.

An avid reader of literature and poetry, Tworkov also wrote poems and essays. He published essays in It Is, Art Digest, and Art In America; his most notable piece, "The Wandering Soutine," appeared in Art News, November 1950. Tworkov also kept a journal for 35 years (1947-1982) that recorded his thoughts on a wide range of subjects concerning professional, personal, and philosophical issues, as well as details of everyday life.

Tworkov was among the founders of the Artists' Club or The Club in 1949, and for a decade actively participated in the stimulating discussions for which the group was known. In 1968 he helped to establish the Fine Arts Work Center in Provincetown. Its residency program enabled younger artists and writers to advance their careers and kept Provincetown's historic artists' colony active year round.

He was the recipient of the William A. Clark Award and Corcoran Gold Medal from the Corcoran Gallery of Art, 1963; Skowhegan School of Art's Painter of the Year Award, 1974; and Distinguished Teaching of Art Award from College Art Association, 1976. Tworkov was appointed to serve on the Massachusetts Art Commission, 1970-1971, and in 1981 was named a Fellow of The Cleveland Museum of Art and of the Rhode Island School of Design.

Following his second divorce in 1935, Rachel (Wally) Wolodarsky became Tworkov's third wife and their marriage endured. They had two daughters. Hermine Ford (b. 1939) is an artist married to fellow painter Robert Moskowitz. Helen Tworkov (b. 1943) is the founder of Tricycle: The Buddhist Review and the author of a book about yoga.

Tworkov remained physically and intellectually active after a diagnosis of bone cancer around 1980, and continued to paint until shortly before his death in Provincetown on September 4, 1982.

Related Material:

Among the holdings of the Archives of American Art are two oral history interviews with Jack Tworkov, one conducted by Dorothy Seckler, Aug. 17, 1962, and another by Gerald Silk, May 22, 1981. There is also a small collection of three letters written by Jack Tworkov to friend Troy-Jjohn Bramberger.

Separated Material:

The Archives of American Art also holds material lent for microfilming (reel N70-38 and 62) including writings by Tworkov, notebooks, notes for teaching and talks, notes on art and miscellaneous subjects, poems, artist's statements, biographical data, the transcript of a 1970 interview with Tworkov conducted by Phyllis Tuchman, and a few letters and drafts of letters, 1950-1963. Loaned materials were returned to the lender and are not described in the collection container inventory.

Provenance:

Jack Tworkov lent the Archives of American Art papers for microfilming in 1970-1971. Jack Tworkov's daughters, Hermine Ford and Helen Tworkov, donated the rest of the collection in 2009, which included some of the material from the original loan.

Restrictions:

Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.

Rights:

Reels N70-38 and 62: Authorization to publish, quote, or reproduce requires written permission from Helen Tworkov or Hermine Ford. Contact Reference Services for more information.

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Occupation:

Painters -- Massachusetts  Search this

Topic:

Painting -- New York (State)  Search this

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

Artists' studios -- Photographs  Search this

Genre/Form:

Photographs

Sketchbooks

Video recordings

Interviews

Motion pictures (visual works)

Sound recordings

Sketches

Diaries

Citation:

Jack Tworkov papers, 1926-1993. Archives of American Art, Smithsonian Institution.

Sponsor:

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

Identifier:

AAA.tworjack2

See more items in:

Jack Tworkov papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9345f5838-057f-4572-8063-0df7b8d00ad0

EDAN-URL:

ead_collection:sova-aaa-tworjack2

Collection Creator:

Garden Club of America  Search this

Extent:

1 Photograph (lantern slide, hand-colored, 3.25 in. x 4in.)

Type:

Archival materials

Photographs

Lantern slides

Place:

Miscellaneous Flower Arrangements (Summit, New Jersey)

United States -- New Jersey -- Union -- Summit

Date:

[between 1914 and 1949?]

Collection Restrictions:

Access to original archival materials by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.

Collection Rights:

Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.

Topic:

Gardens -- New Jersey -- Summit  Search this

Fruit  Search this

Vegetables  Search this

Urns  Search this

Butterflies  Search this

Nests  Search this

Eggs  Search this

Genre/Form:

Lantern slides

Collection Citation:

Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.

Sponsor:

A project to describe images in this finding aid received Federal support from the Smithsonian Collections Care Initiative, administered by the National Collections Program.

Identifier:

AAG.GCA, Item GCA039007

See more items in:

The Garden Club of America collection

The Garden Club of America collection / Series 1: United States Garden Images / New Jersey / GCA039: Summit -- Miscellaneous Flower Arrangements

Archival Repository:

Archives of American Gardens

GUID:

https://n2t.net/ark:/65665/kb6db08be0c-8a67-41fa-bff1-e752c85b90b1

EDAN-URL:

ead_component:sova-aag-gca-ref5279

Collection Creator:

Guild Art Gallery  Search this

Container:

Box 1, Folder 12

Type:

Archival materials

Date:

circa 1935-1936

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.

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:

Guild Art Gallery records, circa 1933-1937. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Smithsonian Institution's Collections Care and Preservation Fund. Funding for the digitization of the collection was provided in part by Rosina Rubin and the Walton Family Foundation.

See more items in:

Guild Art Gallery records

Guild Art Gallery records / Series 2: Exhibition Files

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9c1364f87-9e2b-4cc8-a142-ac70d2b26f32

EDAN-URL:

ead_component:sova-aaa-guilart-ref29

Collection Creator:

Guild Art Gallery  Search this

Container:

Box 1, Folder 13

Type:

Archival materials

Date:

1937

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.

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:

Guild Art Gallery records, circa 1933-1937. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Smithsonian Institution's Collections Care and Preservation Fund. Funding for the digitization of the collection was provided in part by Rosina Rubin and the Walton Family Foundation.

See more items in:

Guild Art Gallery records

Guild Art Gallery records / Series 2: Exhibition Files

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9facaf683-9042-43e6-9213-aad50f72d2f4

EDAN-URL:

ead_component:sova-aaa-guilart-ref543