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Buddies / Again! / Doughboy Donuts do their bit again [magazine tear sheet]

Collector:
Steinberg, Sally L. (Sally Levitt)  Search this
Advertiser:
Doughnut Corporation of America  Search this
Collection Collector:
Steinberg, Sally L. (Sally Levitt)  Search this
Extent:
1 Item (Ink on paper., 13.9" X 10.4".)
Container:
Box 4, Folder 1
Type:
Archival materials
Advertisements
Tear sheets
Date:
Ca. 1941
Scope and Contents:
Tear sheet with advertisement for Doughboy Donuts on left and listing of collegiate football teams on right. Ad features a soldier in uniform holding doughnut. The text references the consumption of Doughboy Donuts in both 1917 (World War I) and during World War Two. Slogan shown in ad copy: "Vitamized [sic] for health defense."
Local Numbers:
AC0439-0000023.tif (AC Scan)
Collection Restrictions:
Collection is open for research.
Collection 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:
World War, 1914-1918 -- Art and the war  Search this
World War, 1939-1945 -- Art and the war  Search this
College sports  Search this
Football  Search this
Soldiers -- 1940-1950  Search this
Food  Search this
Doughnuts  Search this
Food habits -- United States  Search this
Vitamins  Search this
Genre/Form:
Advertisements -- 1900-1950
Tear sheets -- 1940-1950
Collection Citation:
Sally L. Steinberg Collection of Doughnut Ephemera, 1920s-1987, Archives Center, National Museum of American History.
See more items in:
Sally L. Steinberg Collection of Doughnut Ephemera
Sally L. Steinberg Collection of Doughnut Ephemera / Series 4: Other Donut Companies / Oversized Ephemera
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep877792840-5f1d-4731-9ab1-deb30453c0ed
EDAN-URL:
ead_component:sova-nmah-ac-0439-ref599

Call out the Donuteers * [sic] [advertisement]

Collector:
Steinberg, Sally L. (Sally Levitt)  Search this
Donor:
Steinberg, Sally L. (Sally Levitt)  Search this
Advertiser:
Doughnut Corporation of America  Search this
Names:
Mayflower Doughnuts  Search this
Collection Collector:
Steinberg, Sally L. (Sally Levitt)  Search this
Extent:
1 Item (Ink on paper., 13.7" X 11.1".)
Type:
Archival materials
Cartoons (humorous images)
Advertisements
Date:
Item undated
Scope and Contents:
Advertisement consists of cartoon panels indicating how doughnuts helped boost morale during World War II, both on the warfront and home front.
Arrangement:
In Box 4, Folder 1.
Local Numbers:
AC0439-0000053.tif (AC Scan)
Collection Restrictions:
Collection is open for research.
Collection 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:
Women in advertising  Search this
Morale  Search this
advertising  Search this
World War, 1939-1945 -- Art and the war  Search this
Food  Search this
Doughnuts  Search this
Food habits -- United States  Search this
Genre/Form:
Cartoons (humorous images) -- 20th century
Advertisements -- 1900-1950
Collection Citation:
Sally L. Steinberg Collection of Doughnut Ephemera, 1920s-1987, Archives Center, National Museum of American History.
See more items in:
Sally L. Steinberg Collection of Doughnut Ephemera
Sally L. Steinberg Collection of Doughnut Ephemera / Series 4: Other Donut Companies / Dunkin' Donuts, Inc.--Publications
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep81123db51-1116-4996-a000-2539d9eb2d97
EDAN-URL:
ead_component:sova-nmah-ac-0439-ref627

Harry V. Anderson inventory and receipt for Hermann Göring art collection submitted to Commanding General, 101st Airborne Division

Creator:
Anderson, Harry V.  Search this
Subject:
Allied Forces. Supreme Headquarters. Monuments, Fine Arts and Archives Section  Search this
Type:
Correspondence
Date:
1945 August 4
Topic:
World War, 1939-1945--Art and the war  Search this
Record number:
(DSI-AAA)15083
See more items in:
Thomas Carr Howe papers, 1932-1984
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_item_15083
Online Media:

Thomas Carr Howe papers

Creator:
Howe, Thomas Carr, 1904-1994  Search this
Names:
Allied Forces. Supreme Headquarters. Monuments, Fine Arts and Archives Section  Search this
Bohemian Club (San Francisco, Calif.)  Search this
California Palace of the Legion of Honor  Search this
M.H. de Young Memorial Museum  Search this
United States. Army. Monuments, Fine Arts and Archives Section  Search this
Berenson, Bernard, 1865-1959  Search this
Cronyn, Hume  Search this
Faison, S. Lane (Samson Lane), 1907-2006  Search this
Göring, Hermann, 1893-1946  Search this
Hancock, Walker Kirtland, 1901-1998  Search this
Kelleher, Patrick J. (Patrick Joseph), 1917-  Search this
Mallory, Margaret, 1911-1998  Search this
Mills, Paul Chadbourne, 1924-  Search this
Moore, Lamont  Search this
Ritchie, Andrew Carnduff  Search this
Rorimer, James J. (James Joseph), 1905-1966  Search this
Standen, Edith Appleton  Search this
Stout, George L. (George Leslie)  Search this
Valland, Rose  Search this
Wittmann, Otto, 1911-2001  Search this
Extent:
4.4 Linear feet
Type:
Collection descriptions
Archival materials
Scrapbooks
Sound recordings
Photographs
Date:
1932-1984
Summary:
The Thomas Carr Howe papers measure 4.4 linear feet and date from 1932 to 1984. Howe was director of the California Palace of the Legion of Honor in San Francisco for nearly 40 years, and he served as one of the Monuments Men in the Monuments, Fine Art and Archives (MFAA) Section of the U.S. Army during World War II. The collection documents Howe's MFAA work in Germany and Austria locating and recovering cultural artifacts and artwork stolen by the Nazis. There is significant correspondence with friends and colleagues, as well as fellow Monuments Men such as Samson Lane Faison, Edith Standen, and George Stout. The papers also includes reports, inventories of stolen artwork, maps, annotated photographs, a scrapbook, and photographs. The papers also document Howe's later work at the California Palace of the Legion of Honor.
Scope and Content Note:
The Thomas Carr Howe papers measure 4.4 linear feet and date from 1932 to 1984. Howe was director of the California Palace of the Legion of Honor in San Francisco for nearly 40 years, and he served as one of the Monuments Men in the Monuments, Fine Art and Archives (MFAA) Section of the U.S. Army during World War II. The collection documents Howe's MFAA work in Germany and Austria locating and recovering cultural artifacts and artwork stolen by the Nazis. There is significant correspondence with friends and colleagues, as well as fellow Monuments Men such as Samson Lane Faison, Edith Standen, and George Stout. The papers also includes reports, inventories of stolen artwork, maps, annotated photographs, a scrapbook, and photographs. The papers also document Howe's later work at the California Palace of the Legion of Honor.

Biographical materials include articles and memorial tributes for Howe's father and grandfather, a short autobiography and resume, and the certificate for the copyright to his book.

The bulk of the collection consists of correspondence, the most voluminous of which are letters from Monuments Men S. Lane Faison, Patrick J. Kelleher, Andrew C. Ritchie, Edith Standen, George Stout, Marcelle Minet, Rose Valland, James Rorimer, and others. Additional correspondents include friends and colleagues such as Bernard Berenson, Hume Cronyn, Paul Mills, Christopher Forbes, Margaret Mallory, William A. McGonagle, and Otto Wittman, among many others

Writings include a brief summary of Howe's book Salt Mines and Castles and a sound cassette of his lecture about the book. Project, membership and travel files are primarily associated with his professional work at the California Palace of the Legion of Honor and include documentation of member art trips, a feasibility study for merging the California Palace of the Legion of Honor with the M. H. de Young Memorial Museum, and a membership list of the Bohemian Club.

The Monuments, Fine Arts and Archives (MFAA) Records and Looted Inventories series contain many records relating to Howe's military service as a Monuments Man. There are several inventory records which contain lists of the contents of Hermann Göring's collection of looted artwork, artwork destroyed in the Flak towers fire in Berlin, and artwork held at several of the central collecting points, though mostly at Weisbaden. There is also a small fold out map of the Altausse salt mines; a U.S. government issued manual of maps marking important cultural monuments and artwork in Germany; a book of U.S. government regulations pertaining to the MFAA section; a government information bulletin; and several official status reports and published U.S. government reports about art looting investigations and safeguarding cultural property.

Professional files consist of papers relating to Howe's job as the director of the California Palace of the Legion of Honor and art trips he organized. Documents include a survey of Los Angeles museum curator salaries, a questionnaire about Howe's work as a museum director, and a membership list of Bohemian Club artists. The bulk of the travel papers are itineraries.

The photographs are divided into two subseries: MFAA Section images and personal photographs. The Monuments Men subseries includes photographs documenting bomb damage to cultural monuments in various countries, though mainly Germany; U.S. soldiers transporting recovered artwork such as Michelangelo's Madonna and Child from the Altaussee salt mines in Austria, and other looted art repositories such as Neuschwanstein Castle and Berchtesgaden in Germany; Weisbaden and Munich collecting points; and art recovery of The Adoration of the Mystic Lamb by Hubert and Jan van Eyck. There are many photographs of the Monuments Men including Thomas Carr Howe, George Stout, Stephen Kovalyak, Lamont Moore, Patrick J. Kelleher, Edith Standen, and Rose Valland. Personal photographs consists of portraits of Howe and photographs of events, mostly formal dinners and parties.

Printed materials are clippings, postcards, fundraising pamphlets, essays, and memorial tributes for colleagues.
Arrangement:
The collection is arranged as 10 series:

Missing Title

Series 1: Biographical Materials, 1934-1955, 1974 (Box 1; 6 folders)

Series 2: Correspondence, 1932-1984 (Box 1-3; 2.1 linear feet)

Series 3: Writings, circa 1946 (Box 3; 2 folders)

Series 4: Professional Files, circa 1945-1975 (Box 3, 5; 0.3 linear feet folders)

Series 5: Monuments, Fine Arts and Archives Records and Looted Inventories, circa 1942-1950 (Box 3, 5, OV 6; 0.3 linear feet)

Series 6: Photographs, 1938-1970 (Box 3-5; 1.2 linear feet)

Series 7: Scrapbook, 1936-1948 (Box 4; 0.1 linear feet)

Series 8: Printed Materials, 1934-1980 (Box 4; 0.4 linear feet)
Biographical Note:
Thomas Carr Howe, Jr. (1904-1994) served as the director of the California Palace of the Legion of Honor in San Francisco for nearly four decades and, during World War II, as an officer in the U.S. Army's Monuments, Fine Arts and Archives unit assisting with locating, recovering, and restituting cultural objects and artwork stolen by the Nazis.

Howe was born in Kokomo, Indiana in 1904. He studied at Harvard University where he received his bachelor's and master's degrees. Howe was the assistant director of the California Palace of the Legion of Honor in San Francisco from 1931-1939 and director from 1939-1968. Howe was also the art commissioner for the San Francisco Golden Gate International Exposition (1939-1940) for which he organized an exhibition showcasing Mexican muralists.

During World War II, Howe joined the U.S. army and served from 1945 to 1946 in Germany and Austria. He began as a naval lieutenant but was soon assigned to serve in the Monuments, Fine Arts and Archives (MFAA) section. Howe reported to Lieutenant Commander George Stout at Wiesbaden, and was later promoted to Lieutenant Commander and Deputy Chief of the MFAA at Frankfurt. During his service as one of the "Monuments Men" Howe located hidden and recovered large repositories of cultural objects and works of art stolen by the Nazis. He also helped with the restitution effort. At the Altaussee salt mines in Austria, Howe helped salvage a large cache of stolen artwork that included Michelangelo's Madonna and Child and the Ghent Altarpiece or The Adoration of the Mystic Lamb by Hubert and Jan van Eyck, Vermeer's The Artists Studio, and the Rothschild family jewels. Howe later described his wartime work in his book Salt Mines and Castles: The Discovery and Restitution of Looted European Art (1946).

Howe resumed his position as the director of the California Palace of the Legion on Honor after the war, a position he held until his retirement in 1968. Through his career as a prominent art director, Howe was close with many American and international museum professionals, collectors and socialites. Friends and colleagues include Agnes Mongan and Paul Sachs (both former directors of Harvard's Fogg Museum), Whitney Warren, and Gerda and Hans-Erich Von Schmidt auf Altenstadt.

For his wartime service as a Monuments Men, Howe was honored with the Chevalier of the French Legion of Honor and the Officier of the Dutch Order of Orange-Nassau in 1946. At the request of the federal government, Howe also later served as the Cultural Affairs Advisor to the High Commissioner of Germany from 1950-1951, during which time he returned to Germany with S. Lane Faison, another MFAA official, to assist with closing the central collecting points where the recovered artworks has been held for restitution. From 1960-1968, Howe was a member of the Fine Arts Committee for The White House and he continued to serve on numerous panels and commissions as an art advisor.

Howe married Francesca Deering. Together they had one daughter Francesca.
Related Material:
Among the holdings of the Archives of American are the papers of several additional members of the U. S. Army MFAA section. There is an oral history interview with Thomas Carr Howe and Robert Neuhaus conducted by Paul Karlstrom and Peter Fairbanks on September 26, 1987 and another with Howe conducted by Paul Karlstrom on June 2-3, 1976.
Provenance:
Thomas Carr Howe donated his papers to the Archives of American Art in multiple installments from 1979 to 1982.
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:
Arts administrators -- California -- San Francisco  Search this
Topic:
Cultural property -- Protection -- Europe -- History -- 20th century  Search this
Art thefts -- Germany -- History -- 20th century  Search this
Museum directors -- California -- San Francisco  Search this
Art treasures in war -- Germany  Search this
World War, 1939-1945 -- Art and the war  Search this
Art treasures in war -- France  Search this
Genre/Form:
Scrapbooks
Sound recordings
Photographs
Citation:
Thomas Carr Howe papers, 1932-1984. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.howethom
See more items in:
Thomas Carr Howe papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw994ab802b-473d-4480-ad1e-12e76c5babda
EDAN-URL:
ead_collection:sova-aaa-howethom
Online Media:

Rockwell Kent papers, circa 1840-1993, bulk 1935-1961

Creator:
Kent, Rockwell, 1882-1971  Search this
Subject:
Wildenstein, Felix  Search this
Phillips, Duncan  Search this
Hays, Lee  Search this
Untermeyer, Louis  Search this
Zigrosser, Carl  Search this
Robeson, Paul  Search this
DuBois, W.E.B. (William Edward Burghardt)  Search this
Roosevelt, Franklin D. (Franklin Delano)  Search this
Ruggles, Carl  Search this
Stefansson, Vilhjalmur  Search this
Nearing, Helen  Search this
Nearing, Scott  Search this
Pach, Walter  Search this
Rasmussen, Knud  Search this
Reeves, Ruth  Search this
Seeger, Pete  Search this
Daniel, Charles  Search this
Cleland, T. M. (Thomas Maitland)  Search this
Davies, Arthur B. (Arthur Bowen)  Search this
Chamberlain, J. E.  Search this
Boyesen, Bayard  Search this
Chase, William Merritt  Search this
Freuchen, Peter  Search this
Gellert, Hugo  Search this
Gottlieb, Harry  Search this
Hartley, Marsden  Search this
FitzGerald, James  Search this
Keller, Charles  Search this
Miller, Kenneth Hayes  Search this
Henri, Robert  Search this
Jones, Dan Burne  Search this
United American Artists  Search this
United Office and Professional Workers of America  Search this
United Scenic Artists  Search this
National Farmers' Union (U.S.)  Search this
National Maritime Union of America  Search this
American Artists' Congress  Search this
Artists' Union (New York, N.Y.)  Search this
Artists League of America  Search this
Citizens' Committee for Government Arts Projects  Search this
Farmers Union of the New York Milk Shed  Search this
Federal Art Project  Search this
Federal Writers' Project  Search this
Macbeth Gallery  Search this
International Workers Order  Search this
Type:
Poems
Sketches
Business records
Photographs
Drawings
Topic:
Designers -- New York (State)  Search this
Mural painting and decoration  Search this
Politics and culture  Search this
Authors -- New York  Search this
Art, Modern -- 20th century -- United States -- Political aspects  Search this
Dairy farms  Search this
Federal aid to the arts  Search this
Illustrators -- New York (State)  Search this
Illustration of books  Search this
Works of art  Search this
Art and war  Search this
Commercial art  Search this
World War, 1939-1945 -- Art and the war  Search this
Theme:
Lives of American Artists  Search this
Record number:
(DSI-AAA_CollID)9557
(DSI-AAA_SIRISBib)211757
AAA_collcode_kentrock
Theme:
Lives of American Artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_211757
Online Media:

James J. Rorimer papers

Creator:
Rorimer, James J. (James Joseph), 1905-1966  Search this
Names:
Allied Forces. Supreme Headquarters. Monuments, Fine Arts and Archives Section  Search this
Cloisters (Museum)  Search this
Metropolitan Museum of Art (New York, N.Y.). Board of Trustees  Search this
Rorimer, Katherine S.  Search this
Valland, Rose  Search this
Extent:
2.3 Linear feet
Type:
Collection descriptions
Archival materials
Scrapbooks
Photographs
Date:
1921-1982
bulk 1943-1950
Summary:
The papers of curator and museum director James J. Rorimer measure 2.3 linear feet and date from 1921 to 1982, with the bulk from 1943-1950. The papers include documentation of James J. Rorimer's World War II service in the Monuments, Fine Art and Archives Section of the U.S. Army and his activities protecting historic and cultural sites from bombing, and locating and recovering art work and cultural icons stolen by the Nazis. Found within the papers are scattered biographical materials and correspondence, writings include draft versions of Rorimer's book Safe-Keeping or Survival: The Salvage and Protection of Art in War, financial records, photographic materials including a photo album containing photographs of European art work and cultural sites where Rorimer worked, newsclippings and additional printed materials, and one scrapbook of clippings dating from World War II.
Scope and Contents note:
The papers of curator and museum director James J. Rorimer measure 2.3 linear feet and date from 1921 to 1982, with the bulk from 1943-1950. The papers include documentation of James J. Rorimer's World War II service in the Monuments, Fine Art and Archives Section of the U.S. Army and his activities protecting historic and cultural sites from bombing, and locating and recovering art work and cultural icons stolen by the Nazis. Found within the papers are scattered biographical materials and correspondence, writings include draft versions of Rorimer's book Safe-Keeping or Survival: The Salvage and Protection of Art in War, financial records, photographic materials including a photo album containing photographs of European art work and cultural sites where Rorimer worked, newsclippings and additional printed materials, and one scrapbook of clippings dating from World War II.

Scattered biographical materials include a college transcript and various certificates. Much of the correspondence is comprised of army directives but also includes some personal letters from Rorimer's wife Katherine.

Writings by Rorimer include several handwritten manuscripts and drafts of his book Survival: The Salvage and Protection of Art in War, which was originally titled Safe-Keeping. There is one folder of miscellaneous financial records, mostly dating from Rorimer's time in the army. There is also one folder of minutes of the Metropolitan Museum of Art Board of Trustees meetings.

Photographic materials include black and white photographs, negatives, contact prints, postcards, and one photo album. The photograph album was given to Rorimer from the headquarters of the Office of Military Government in Baden-Wurttemberg and is titled War Damage in Wurtemmberg: A Selection of Photographs. Many of the photographs document bomb damage to European cultural monuments and historic sites. There are photographs of Nazi stolen art repositories discovered by Rorimer and fellow Monuments Men at Buxheim monastery and Neuschwanstein castle, art recovery and transportation, and restitution work at Wiesbaden Central Collecting Point. Photographs of people, such as Edith Standen, Rose Valland, and Rorimer, are scattered throughout the series.

Printed materials include newspaper and magazine clippings, mostly related to The Cloisters or the activities and achievements of the Monuments Men. Printed materials also includes bulletins, brochures, and press releases. There is also a war-time scrapbook and two handbooks of maps showing historic monuments and sites in France and Germany.
Arrangement note:
The collection is arranged as 7 series:

Missing Title

Series 1: Biographical Materials, 1942-1946 (Box 1, 4; 8 folders)

Series 2: Correspondence, 1927-1982 (Box 1; 0.1 linear feet)

Series 3: Writings, circa 1946-1950 (Box 1; 0.8 linear feet)

Series 4: Financial Records, 1943-1946 (Box 1; 1 folder)

Series 5: Administrative Files, 1940 (Box 1; 1 folder)

Series 6: Photographic Materials, 1921-1966 (Box 1-2, 4; 0.7 linear feet)

Series 7: Printed Materials, 1923-1966 (Box 3-4, OV 5-6; 0.7 linear feet)
Biographical/Historical note:
James J. Rorimer (1905-1966) was a museum director and curator of medieval art working in New York City. Rorimer was the primary force and first director of The Cloisters at the Metropolitan Museum of Art. During World War II, Rorimer served in the U.S. Army Monuments, Fine Art and Archives Section protecting cultural sites and recovering stolen art work.

James J. Rorimer was born in Cleveland, Ohio in 1905 and attended the University School there until he left in 1921 in order to study abroad in Europe. He studied at the Ecole Gory in Paris for two years, then returned to the United States to finish his studies at the University School in Cleveland. In 1927, Rorimer graduated from Harvard University with a B.A. Soon after, he began working at the Metropolitan Museum of Art in New York City where he worked his way up from a position as an assistant to Head Curator of Medieval Art, a position he filled from 1934 to 1955, director of The Cloisters, and eventually director and trustee of the museum.

Rorimer was heavily involved with the planning and development of The Cloisters, working closely with the architect Charles Collens. When The Cloisters opened in 1938, Rorimer worked there as a curator and later became the first director in 1949. During this time, Rorimer developed a professional relationship with John D. Rockefeller, Jr., who donated to New York City a large tract of land, a portion of which was given to the Metropolitan Museum as a location to build The Cloisters. The Cloisters' collections evolved into a world renown collection of medieval art under Rorimer's curatorship and directorship.

As the director of the Metropolitan Museum of Art from 1955-1966, Rorimer nearly doubled membership and attendance, raised a substantial amount of endowment funding, renovated almost half of the galleries, and increased the exhibition space.

Rorimer married Katherine Newton in 1942. They had two children, Anne and Louis.

During World War II, from 1943 to 1946, Rorimer served in the U.S. Army's Monuments, Fine Art and Archives (MFAA) Section. The "Monuments Men" of the U.S. Army were charged with locating and protecting historical sites, monuments, artwork, and buildings from Allied bombing. Towards the end of the war, the section led recovery efforts to locate and retrieve Nazi stolen art works and other cultural heritage items. Rorimer served as a MFAA officer in Normandy and Paris, and, while in Germany, was promoted to chief of the MFAA Section of the 7th Army Western Military District.

While in Paris, Rorimer worked closely with Rose Valland, an employee of the Jeu de Paume Museum in Paris who spied on the Nazis and recorded in detail the movements of artwork stolen by members of the Nazi party, including Hermann Wilhelm Goering and Joseph Goebbels. With Valland's assistance, Rorimer discovered a large cache of stolen and confiscated artwork at the Neuschwanstein Castle in the Bavarian Alps. He and his team also recovered other artwork, European antiquities, and cultural icons that were stored in nearby salt mines. Rorimer and the other Monuments Men arranged the recovery and removal of the cache of stolen goods.

Rorimer received numerous awards for his work during World War II including, the French Cross of War in 1945, Chevalier in 1947, and officer of the French Legion of Honor in 1957. Rorimer wrote about his work as a Monuments Man in his book Survival: The Salvage and Protection of Art in War, published by Abelard Press in 1950. James J. Rorimer died in 1966.
Related Archival Materials note:
Among the holdings of the Archives of American is an oral history interview with Anne Rorimer, James' daughter, conducted in 2010 by the Archives of American Art. The Archives also holds the papers of several members of the World War II Monuments, Fine Arts, and Archives (MFAA) Section of the U.S. Army, including S. Lane Faison, Walker Hancock, Walter Horn, Thomas Carr Howe, George Stout, and Otto Wittman. as well as oral history interviews with some of them.

The official government records for James Rorimer's service during World War II in the MFAA Section of the U.S. Army are maintained by the National Archives and Records Administration.

James J. Rorimer Papers, 1927-1966, are also located at Metropolitan Museum of Art Libraries.
Provenance:
The James J. Rorimer papers were donated to the Archives of American Art by his wife, Katherine Serrell Rorimer, in 2 installments in 1983.
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.
Topic:
Art treasures in war -- France  Search this
Art treasures in war -- Germany  Search this
Museum directors -- New York (State) -- New York  Search this
Art thefts -- Germany -- History -- 20th century  Search this
Cultural property -- Protection -- Europe -- History -- 20th century  Search this
Curators -- New York (State) -- New York  Search this
World War, 1939-1945 -- Art and the war  Search this
Genre/Form:
Scrapbooks
Photographs
Citation:
James J. Rorimer papers, 1923-1982, bulk 1943-1950. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.rorijame
See more items in:
James J. Rorimer papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw91203946f-18c7-44f6-8a73-79cc5e80b894
EDAN-URL:
ead_collection:sova-aaa-rorijame
Online Media:

Aaron Bohrod papers

Creator:
Bohrod, Aaron  Search this
Names:
Milch Galleries  Search this
Ball, F. Carlton, 1911-1992  Search this
Benton, Thomas Hart, 1889-1975  Search this
Coward, Noel, 1899-1973  Search this
Dehn, Adolf, 1895-1968  Search this
Extent:
17.8 Linear feet
Type:
Collection descriptions
Archival materials
Sketchbooks
Interviews
Drawings
Sound recordings
Motion pictures
Date:
1507-1994
bulk circa 1930-1994
Summary:
The papers of Wisconsin painter, ceramicist, and educator Aaron Bohrod measure 17.8 linear feet and date from 1507 to 1994 with the bulk of the collection dating from circa 1930 to 1994. The collection documents his career through biographical material, correspondence, gallery files, personal business records, writings, printed material, seven scrapbooks, photographs, and artwork.
Scope and Contents:
The papers of Wisconsin painter, ceramicist, and educator Aaron Bohrod measure 17.8 linear feet and date from 1507 to 1994 with the bulk of the collection dating from circa 1930 to 1994. The collection documents his career through biographical material, correspondence, gallery files, personal business records, writings, printed material, seven scrapbooks, photographs, and artwork.

Biographical material includes film and audio recordings of interviews with Bohrod, War Art Unit employment records, awards, an exhibition guest book, architectural plans for Bohrod's studio, and other personal records. Personal and business correspondence is with David Breger, Adolf Dehn, the Hammer Galleries, the Milch Galleries, Thomas Hart Benton, Henri Cadiou, Noel Coward, and many others. Gallery files contain records of Bohrod's business dealings with over 20 galleries and personal business records consist of primarily financial and legal records, as well as project files for his pottery collaboration with F. Carlton Ball and Madison Public Schools. Writings by Bohrod include manuscripts, lectures, and drafts for the book A Decade of Still Life along with several writings by others about Bohrod. Printed materials relate to Bohrod, his artwork, and other art subjects. Photographic materials depict Bohrod, his studio, family and friends, travel, and works of art. Artworks include drawings, prints, and designs by Bohrod, and lithographs and etchings by others.
Arrangement:
The collection is arranged as nine series.

Series 1: Biographical Materials, circa 1930-1987 (0.4 linear feet; Box 1, OV 24, FC 25)

Series 2: Correspondence, 1849-1994 (6.2 linear feet; Boxes 1-7, 19)

Series 3: Gallery Files, 1957-1993 (1.2 linear feet; Boxes 7-8)

Series 4: Personal Business Records, 1939-1994 (1.4 linear feet; Boxes 8-10)

Series 5: Writings, circa 1948-circa 1979 (0.2 linear feet; Box 10, OV 24)

Series 6: Printed Materials, 1831-1991 (3.0 linear feet; Boxes 10-13, 19, OV 24)

Series 7: Scrapbooks, 1929-1992 (1.3 linear feet; Boxes 13, 18, BVs 20-23)

Series 8: Photographic Materials, circa 1930-1992 (3.8 linear feet; Boxes 13-16, 19, OV 24)

Series 9: Artwork, 1507-circa 1989 (0.3 linear feet; Boxes 17, 19)
Biographical / Historical:
Aaron Bohrod (1907-1992) was a painter, ceramicist, and educator in Madison, Wisconsin.

Bohrod was born in Chicago, Illinois to Fannie and George Bohrod, a Russian immigrant grocer and cigar maker. From 1926 to 1928, Bohrod studied at the School of the Chicago Art Institute under John Sloan, Boardman Robinson, and Kenneth Hayes Miller. He married Ruth Bush in 1929. His first New York solo exhibition took place in 1934, and during the next four years, he received two Guggenheim Fellowhsips, which financed his projects to depict Midwestern American towns in paintings. During World War II, Bohrod was an artist and correspondent for the U.S. Corps of Engineers in the Pacific and for Life magazine in Europe.

Bohrod followed John Stuart Curry as artist-in-residence at the University of Wisconsin in Madison from 1948 until his retirement in 1973. In 1950, he began work in pottery with F. Carlton Ball with whom he published A Pottery Sketch Book in 1959. In 1954, Bohrod began a meticulous style of still life painting and published A Decade of Still Life in 1966. These trompe l'oeil paintings also appeared in many magazines, including Life, Fortune, Holiday, and several covers of Time magazine.

Bohrod died in Madison, Wisconsin in 1992.
Related Materials:
Also found at the Archives of American Art is an interview of Aaron Bohrod conducted by Ralph E. Sandler from 1973 to 1974. The Aaron Bohrod papers are also at Syracuse University.
Provenance:
The Aaron Bohrod papers were donated in 1974 by Aaron Bohrod and in 1996 by Neil Bohrod, Aaron Bohrod's son.
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 -- Wisconsin -- Madison  Search this
Ceramicists -- Wisconsin -- Madison  Search this
Educators -- Wisconsin -- Madison  Search this
Topic:
Decorative arts  Search this
World War, 1939-1945 -- Art and the war  Search this
Genre/Form:
Sketchbooks
Interviews
Drawings
Sound recordings
Motion pictures
Citation:
Aaron Bohrod papers, 1507-1994, bulk circa 1930-1994. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.bohraaro
See more items in:
Aaron Bohrod papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9da9c9477-772b-4335-8a8f-710b70031ac5
EDAN-URL:
ead_collection:sova-aaa-bohraaro

Sidney Simon papers

Creator:
Simon, Sidney, 1917-1997  Search this
Names:
Budd (Firm : New York, N.Y.)  Search this
Century Association (New York, N.Y.)  Search this
Colby College  Search this
Graham Gallery  Search this
Pennsylvania Academy of the Fine Arts  Search this
Skowhegan School of Painting and Sculpture -- Faculty  Search this
United States. Army. Corps of Engineers  Search this
Emmerich, André  Search this
Gonzalez, Xavier, 1898-1993  Search this
Gotfryd, Bernard  Search this
Hélion, Jacqueline  Search this
Jencks, Penelope  Search this
Kelly, Ellsworth, 1923- -- Photographs  Search this
King, William, 1925-2015  Search this
Meredith, Burgess, 1907-1997  Search this
Motherwell, Robert -- Photographs  Search this
Nevelson, Louise, 1899-1988 -- Photographs  Search this
Pousette-Dart, Richard, 1916-1992  Search this
Watson, Forbes, 1880-1960  Search this
Extent:
8 Linear feet
2.21 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Sound recordings
Transcripts
Sketchbooks
Sketches
Interviews
Illustrated letters
Diaries
Date:
circa 1917-2002
bulk 1940-1997
Summary:
The papers of sculptor, painter, and educator Sidney Simon measure 8.0 linear feet and 2.21 GB and date from circa 1917-2002, with the bulk of the papers dating from 1940-1997. The collection documents Simon's career through biographical material, correspondence, writings and notes, subject files, sketches, sketchbooks, printed and digital material, and photographs.
Scope and Contents:
The papers of sculptor, painter, and educator Sidney Simon measure 8.0 linear feet and 2.21 GB and date from circa 1917-2002, with the bulk of the papers dating from 1940-1997. The collection documents Simon's career through biographical material, correspondence, writings and notes, subject files, sketches, sketchbooks, printed and digital material, and photographs.

Biographical material chronicles Simon's academic training and professional activities through curriculum vitae, biographical accounts, and awards. Included are letters and memoranda, many from Forbes Watson pertaining to Simon's service as a combat artist in World War II. Also found is a transcript of an interview with Simon recounting his experiences in the Southwest Pacific. Simon's personal correspondence with colleagues, friends, and family includes scattered letters from Jacqueline Helion, Penelope Jencks, William King, Burgess Meredith, among others. Many letters are illustrated by Sidney Simon and others. General correspondence includes letters from artists, galleries, museums, public and religious institutions primarily relating to Simon's exhibitions and commissioned projects. Among the correspondents are Castle Hill, Truro Center for the Arts, Colby College, André Emmerich, Eric Makler Gallery, Xavier Gonzalez, Graham Gallery, and the Pennsylvania Academy of the Fine Arts. Interspersed among the files are letters of a personal nature. Other correspondence relates to Simon's faculty positions and his activities in professional organizations, e.g., Century Association, National Academy of the Fine Arts, and the Skowhegan School of Painting and Sculpture.

Writings and notes include Simon's 1943 diary entries recording his activities in the Army Corps of Engineers, draft versions of writings and lectures, and notes. Included are digital audio recordings of Simon's lectures at the Skowhegan School of Painting and Sculpture. Subject files provide documentation on Simon's commissioned projects, select exhibitions and competitions, as well as his faculty positions and memberships in several arts organizations. Printed material consists of clippings, invitations, announcements, newsletters, and programs. Exhibition catalogs are of Simon's solo and group shows at galleries, museums, and art organizations from 1959-1966. Photographs are of Simon by Budd Brothers, Richard Pousette-Dart, and Bernard Gotfryd. There are a number of photographs of the artist in his studio and outdoors as well as of Simon's family and friends, including group photographs with Ellsworth Kelly, André Emmerich, Robert Motherwell, and Louise Nevelson. Also found are three personal and family albums and twenty-one photograph albums of Simon's paintings and sculptures.
Arrangement:
The collection is arranged as 9 series.

Missing Title

Series 1: Biographical Material, 1940-1998 (Boxes 1, 9; 0.7 linear feet)

Series 2: Correspondence, 1936-2002 (Boxes 1-2; 1.2 linear feet)

Series 3: Writings and Notes, 1943, circa 1960-1997 (Box 2; 0.4 linear feet, ER01-ER03; 2.21 GB)

Series 4: Subject Files, 1940-1941, 1951-1997 (Boxes 2-4, 9; 1.8 linear feet)

Series 5: Sketches, 1937-1942 (Box 4; 1 folder)

Series 6: Sketchbooks, 1939-1995 (Boxes 4-5, 9; 0.5 linear feet)

Series 7: Printed Material, circa 1933, 1942-1998 (Box 5; 0.3 linear feet)

Series 8: Scrapbooks, 1978-1995 (Box 5; 0.1 linear feet)

Series 9: Photographs, circa 1917-1997 (Boxes 5-11; 3.0 linear feet)
Biographical / Historical:
Sidney Simon (1917-1997) was a sculptor, painter, and educator who worked primarily in New York City and Truro, Massachusetts. Simon was born in Pittsburgh, Pennsylvania. At the age of 14, he won a place as a special student at the Carnegie Institute of Technology. He received a Bachelor of Fine Arts degree from the University of Pennsylvania in 1934 and from the Pennsylvania Academy of the Fine Arts in 1936. Simon also studied at the Barnes Foundation from 1937-1940. Simon received professional recognition early in his career; he was awarded the Prix de Rome Collaborative Prize in 1939 and the Edwin Austin Abbey Fellowship in mural painting in 1945.

In 1941, Simon enlisted in the U.S. Army and served in the Army Corps of Engineers. Assigned to MacArthur's headquarters as an official war artist for the Southwest Pacific Theater, Simon was chosen to paint the signing of the peace treaty between the U.S. and Japan aboard the U.S.S. Missouri. He was discharged from the army with a Bronze Star and five presidential citations. In 1945, along with Bill Cummings and Henry Varnum Poor, Simon co-founded the Skowhegan School of Painting and Sculpture, where he later served as a director and a member of the Board of Governors. By the mid-1950s, Simon's interest shifted from painting to sculpture, creating works in wood, clay, and other media. Over the years, Simon collaborated with architects on a number of public and private commissions, including the doorway for the Downstate Medical Center, the Jewish Chapel at West Point, a playground sculpture for Prospect Park, and the totemic column for the Temple Beth Abraham. In addition to serving on the faculty at Skowhegan School of Painting and Sculpture, Simon also taught at the Art Students League, Brooklyn Museum, and Parsons School of Design. An active champion of artists' rights, Simon established the New York Artists Equity Association. He participated in solo and group shows at the Graham Gallery, Provincetown Art Association and Museum, and the Sculptors Guild, among other venues.

In 1997, Sidney Simon died at the age of 80 in Truro, Massachusetts. Simon was divorced from Joan Crowell in 1964. He is survived by his wife, Renee Adriance Simon and five children from his first and second marriages.
Related Materials:
The Archives has two oral history interviews with Sidney Simon conducted by Paul Cummings in October 17-November 8, 1973 and the Karl E. Fortress taped interviews with artists, [1963-1985].
Separated Materials:
The Archives of American Art also holds materials lent for microfilming (reel D210) including biographical material, correspondence, sketchbooks, scrapbooks, and photographs of Sidney Simon. Lent materials were returned to the lender and are not described in the collection container inventory.
Provenance:
Sidney Simon lent the Archives of American Art material for microfilming in 1965. Rene Simon, Simon's widow, donated the Sidney Simon papers in 2009.
Restrictions:
Use of original material requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
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:
War artists  Search this
Topic:
Art -- Study and teaching  Search this
World War, 1939-1945 -- Art and the war  Search this
Educators -- New York (State) -- New York  Search this
Painters -- New York (State) -- New York  Search this
Function:
Artists' studios -- New York (State)
Genre/Form:
Sound recordings
Transcripts
Sketchbooks
Sketches
Interviews
Illustrated letters
Diaries
Citation:
Sidney Simon papers, circa 1917-2002, bulk 1940-1997. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.simosidn
See more items in:
Sidney Simon papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw973588e01-af09-4ddf-ae4c-721c446d46c3
EDAN-URL:
ead_collection:sova-aaa-simosidn

Robert Franklin Gates papers

Creator:
Gates, Robert Franklin, 1906-1982  Search this
Names:
American University (Washington, D.C.). Fine Arts Dept. -- Faculty  Search this
Jack Rasmussen Gallery (Washington, D.C.)  Search this
United States. Dept. of the Treasury. Section of Fine Arts  Search this
Taylor, Prentiss, 1907-1991  Search this
Extent:
2.3 Linear feet
Type:
Collection descriptions
Archival materials
Drawings
Christmas cards
Photographs
Scrapbooks
Date:
1910-1988
bulk 1928-1988
Summary:
The papers of Washington, D.C. area painter and art instructor Robert Franklin Gates date from 1910-1988, bulk 1928-1988, and measure 2.3 linear feet. Found within the papers are biographical materials; letters from government agencies, museums, galleries, and colleagues; business records primarily concerning transactions with the Jack Rasmussen Gallery; artwork including scattered drawings by Gates and block prints by Joe Goethe and D. Neufeld; two scrapbooks; printed materials; and photographs of Gates, family members, models, artwork, and exhibition installations. There are also photograph albums and miscellaneous photographs documenting a 1936 voyage to the Virgin Islands commissioned by the U.S. Treasury Department.
Scope and Content Note:
The papers of Washington, D.C. area painter and art instructor Robert Franklin Gates date from 1910-1988, bulk 1928-1988, and measure 2.3 linear feet. Found within the papers are biographical materials; letters from government agencies, museums, galleries, and colleagues; business records primarily concerning transactions with the Jack Rasmussen Gallery; artwork including scattered drawings by Gates and block prints by Joe Goethe and D. Neufeld; two scrapbooks; printed materials; and photographs of Gates, family members, models, artwork, and exhibition installations. There are also photograph albums and miscellaneous photographs documenting a 1936 voyage to the Virgin Islands commissioned by the U.S. Treasury Department.

Biographical material includes resumes, biographical accounts, award certificates, records for employment through a State Department Specialists Grant, address lists, teaching notes, writings about Gates, and a guest book signed by colleagues celebrating Gates' forty years at American University. There is a also a group of Navy Department records documenting Gates' employment designing three-dimensional photo-surfaced topography models for use by troops during World War II.

Letters are primarily from the U.S. Treasury Department and the Federal Works Agency discussing commissions, including the painting of post office murals in Maryland and West Virginia, and from various museums and galleries discussing exhibitions and other art-related activities. There are one or two letters each from colleagues Alice Acheson, Adelyn Breeskin, Charles Burchfield, Alida Conover, John Gernand, Duncan Phillips, Henry Varnum Poor, and Prentiss Taylor. Some letters are Christmas cards decorated with original block prints.

Business records primarily document Gates' interaction with the Jack Rasmussen Gallery in Washington, D.C., but also include miscellaneous sales records and pay stubs from American University.

Artwork consists of scattered drawings of modern houses by Gates and abstract sketches by others, and small block prints by Joe Goethe and D. Neufeld. Two Scrapbooks contain clippings, exhibition announcements and catalogs, and scattered letters.

Additional printed material includes clippings, exhibition announcements and catalogs for Gates and others, prospectuses for art exhibitions, press releases, calendars of events, booklets about color and lenses, brochures for art schools and books, and an unannotated calendar containing a reproduction of one of Gates' paintings.

Photographs are of Robert Gates, various family members including Gates with his first wife photographed by Prentiss Taylor, models, artwork, and exhibition installations. There are two photograph albums and unbound photographs documenting a 1936 voyage to the Virgin Islands commissioned by the U.S. Treasury Department. Images of this trip are of Gates and colleagues including Mitchell Jamieson, the ship Doris Hamlin, the crew, markets, a cock fight, miscellaneous buildings, town squares, and the countryside of the Virgin Islands.
Arrangement:
The collection is arranged into 7 series. Each series is arranged chronologically:

Missing Title

Series 1: Biographical Material, 1928-1975 (Box 1, OV 4; 34 folders)

Series 2: Letters, 1930-1988 (Box 1; 25 folders)

Series 3: Business Records, 1961-1982 (Box 1; 5 folders)

Series 4: Artwork, circa 1962 (Box 1; 6 folders)

Series 5: Scrapbooks, 1932-1939 (Box 1-2; 4 folders)

Series 6: Printed Material, 1916-1988 (Box 2; 48 folders)

Series 7: Photographs, 1910-1982 (Boxes 2-3, OV 4; 20 folders)
Biographical Note:
Robert Franklin Gates was born on October 6, 1906 in Detroit, Michigan. He studied at the Detroit School of Arts and Crafts, and from 1929 to 1930 attended the Art Students' League in New York. Between 1930 and 1932, Gates studied under C. Law Watkins at the Phillips Gallery Art School in Washington, D.C., later becoming an instructor in life drawing and painting there. During this time, he met fellow student Margaret Casey, and they married on January 7, 1933. Between 1934 and 1938, Robert Gates was an art instructor at the Studio House in Washington, D.C.

In 1934, Gates received a commission from the U.S. Treasury Department Section of Fine Arts to create a series of watercolors of Charles Gardens, South Carolina, and from 1929-1940, murals for post offices in Bethesda, Maryland, Oakland, Maryland, and Lewisburg, West Virginia. In 1936, the Treasury Department also commissioned Gates and fellow artists Mitchell Jamieson and Prentiss Taylor to create series of watercolors of the Virgin Islands, arranging for several voyages there.

Between 1937 and 1942, Gates was a guest instructor at the University of Florida, taught art classes at Hood College in Frederick, Maryland and at the Washington County Museum of Art in Hagerstown, Maryland. He also taught at the Phillips Gallery Art School in Washington, D.C. while his wife was employed as the school secretary. In 1938, Gates received a summer scholarship to study under Henry Varnum Poor at the Colorado Springs Fine Arts Center.

During World War II, Gates worked as a civilian technician for the Navy Department doing model making and camouflage design, receiving the Distinguished Civilian Service Award for his work.

After the war, and the closing of the Phillips Gallery Art School, Gates attended classes taught by Bill Calfee at American University. In 1946, he joined the faculty and eventually becane chairman of the Art Department in 1954. Robert and Margaret Gates were divorced sometime in the mid-1950s. From 1966 to 1967, Gates was Artist-in-Residence at the U.S. Embassy in Baghdad, Iraq, under the Department of State Educational and Cultural Exchange Program. In 1967, he married his second wife, Sarita, while in Baghdad.

Gates is represented in the permanent collections of the American University, the Baltimore Museum of Art, the Corcoran Gallery of Art, the Dumbarton Oaks collection, the Phillips Collection, and the Lewisshon collection.

Robert Franklin Gates died on March 11, 1982 in Alexandria, Virginia.
Related Material:
Also in the Archives of American Art are the papers of Gates' first wife Margaret Casey Gates, 1934-1988,
Provenance:
The Robert Franklin Gates papers were donated in 1995 by Sarita W. Gates, the artist's widow, via legal representative Bradford G. Weekes III.
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 -- Washington (D.C.)  Search this
Art teachers -- Washington (D.C.)  Search this
Topic:
World War, 1939-1945 -- Art and the war  Search this
Post office buildings  Search this
Mural painting and decoration, American  Search this
Genre/Form:
Drawings
Christmas cards
Photographs
Scrapbooks
Citation:
Robert Franklin Gates papers, 1910-1988, bulk 1928-1988. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.gaterobe
See more items in:
Robert Franklin Gates papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9d311e740-03de-4049-91d8-ab87870ebc27
EDAN-URL:
ead_collection:sova-aaa-gaterobe
Online Media:

Sheldon-Claire Company Records

Donor:
Shalett, Lew  Search this
Photographer:
Lee, Russell, 1903-1986  Search this
Creator:
Sheldon-Claire Company  Search this
Extent:
10 Cubic feet (11 boxes, 21 map-folders, 2 films, 1 videocassette)
Type:
Collection descriptions
Archival materials
Posters
Date:
1926-1968
Summary:
Employee motivational materials, circa 1926-1968, produced by the Sheldon-Claire Company.
Scope and Contents:
Employee motivational materials, circa 1926-1968, produced by the Sheldon-Claire Company. Materials include posters, pamphlets, manuals and other materials, in addition to the papers documenting the development and promotion of these products. Many are reproductions of work by famous photographers, such as Russell Lee. Some reflect World War II themes or constitute wartime propaganda.
Arrangement:
The collections is arranged into 14 series.

Series 1: Poster Campaigns, 1943-1964

Series 2: Bulletins, 1949-1963

Series 3: Supervisors Manuals, undated

Series 4: Small versions of Posters by Topics, undated

Series 5: Mail-O-Grams, undated

Series 6: Meet Bill Jones Service, 1926-1927

Series 7: Endorsements and Acknowledgments, undated

Series 8: The Greenly Plan, undated

Series 9: Scrapbook, undated

Series 10: Papers on Client Relations

Series 11: Background and Historical Materials, undated

Series 12: Copyright Papers, 1936-1968

Series 13: Posters, 1927-1962

Series 14: Miscellaneous, undated
Biographical / Historical:
In 1981, Mr. Lew Shallet sold his employee motivation program to Pratt, Whitney. However, that firm found that there was no market for it and it was discontinued. Mr. And Mrs. Lew Shalett moved to Florida in 1981. Mr. Shalett passed away on January 29, 1994.
Materials at Other Organizations:
Franklin D. Roosevelt Presidential Library and Museum

In 1943, Mr. Shalett donated a set of his "This is America" posters to President Franklin D. Roosevelt; they were placed into the collection at Roosevelt's Hyde Park Library, where they joined previous poster series that Shalett had donated. In 1980, Mr. Shalett donated to the Chicago Historical Society his "valuable personal and private organized collection of graphic arts and related material consisting of original lithographed posters produced in the 20's [sic], 30's [sic], and during World War II."
Provenance:
Donated to the Archives Center by Mrs. Wanda Shalett in December 2001.
Restrictions:
Collection is open for research.
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:
World War, 1939-1945 -- Art and the war  Search this
Industrial relations  Search this
World War, 1939-1945 -- Posters -- United States  Search this
Propaganda  Search this
Genre/Form:
Posters -- 20th century
Citation:
Sheldon-Claire Company Records, 1926-1980, Archives Center, National Museum of American History.
Identifier:
NMAH.AC.0768
See more items in:
Sheldon-Claire Company Records
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep8458da57e-ddf0-4157-bfa7-2336461062f2
EDAN-URL:
ead_collection:sova-nmah-ac-0768
Online Media:

International Sweethearts of Rhythm Collection

Creator:
Cron, Rosalind  Search this
International Sweethearts of Rhythm  Search this
Piney Woods School  Search this
Moon, Dixie Hardy  Search this
Hughes, Cathy  Search this
Names:
United Service Organizations (U.S.)  Search this
Woods, Helen Jones, 1923-2020  Search this
Extent:
1 Cubic foot (4 boxes)
Type:
Collection descriptions
Archival materials
Books
Newspaper clippings
Photographs
Publicity photographs
Date:
1933-2010
bulk 1939-1946
Summary:
The International Sweethearts of Rhythm Collection focuses on the all-female, racially and ethnically diverse big band group that started in 1937 and disbanded in 1949. The collection contains news clippings, photographs, correspondence, ephemera from USO travels, and newsletters. Also included are books related to the group, as well as a tribute CD and a 33 rpm vinyl sound recording.
Scope and Contents:
The collection consists mostly of photographs and news clippings documenting the International Sweethearts Band of Rhythm's performances, rehearsals, and travels. It also includes tribute materials to the band, including books and audio CDs.
Arrangement:
The collection is divided into three series.

Series 1: Piney Woods School, 1937-1944

Series 2: Rosalind Cron Materials, 1933-2005

Series 3: Dixie Hardy Moon Materials, 1935-1951
Biographical / Historical:
The International Sweethearts of Rhythm were a racially and ethnically mixed swing band, all of whose members were women. They were organized in 1937 by Laurence Clifton Jones, who started the Piney Woods School near Jackson, Mississippi. He formed the band from students at Piney Woods and the band toured to raise money for the school, performing at fairs, dance halls, churches, and theaters. In 1939, the band began to tour outside of Mississippi and traveled across the American South and Midwest. In 1941 they separated from Piney Woods, started out on their own as professional musicians and relocated to Arlington, Virginia. While in Arlington, the band recruited professional musicians to replace the underage students who stayed in school. The band's venues included the Apollo Theatre and Savoy Ballroom in New York and the Howard Theatre in Washington DC They performed frequently at military bases and were quite popular during World War II. In response to requests from GIs serving overseas, the Sweethearts undertook a six month tour of Europe starting in July 1945. The tour was supported by the United Service Organization (USO) Camp Shows. The band played in Paris, France and throughout Germany, including the cities of Heidelberg, Stuttgart, Munich, and Mannheim. The group disbanded in 1949, but reunited for a reunion in 1980 at the Third Annual Women's Jazz Festival in Kansas City.

Rosalin Cron was born in Boston, Massachusetts in 1925 and began playing music at nine years old. She joined the band in 1943 and primarly played the alto saxophone, but was also trained to play the clarinet and flute. Cron was a part of the overseas tour. She was with the band until 1946. Dixie Hardy Moon is the niece of founder Laurence Clifton Jones. Catherine (Cathy) Hughes, was born in 1947 in Omaha, Nebraska. She is the granddaughter of founder Laurence Clifton Jones and her mother, Helen Jones Woods (1923-2020), played the trombone with the Sweethearts. Hughes is considered a media pioneer and founder of Radio One/TV One.
Provenance:
Collection donated to the Archives Center in 2011 by Rosalind Cron.
Restrictions:
Collection is open for research.
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:
Bands (Music) -- 1940-1950  Search this
Big band music  Search this
Female (Musical group)  Search this
Jazz -- 20th century -- United States  Search this
Musicians  Search this
Women musicians -- 1930-1950  Search this
World War, 1939-1945 -- Art and the war  Search this
Genre/Form:
Books -- 20th century
Newspaper clippings
Photographs -- 20th century
Publicity photographs
Citation:
International Sweethearts of Rhythm Collection, Archives Center, National Museum of American History
Identifier:
NMAH.AC.1218
See more items in:
International Sweethearts of Rhythm Collection
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep85c88d041-4d07-4b7f-9c60-c4253dfad1a6
EDAN-URL:
ead_collection:sova-nmah-ac-1218
Online Media:

Oral history interview with Robert Noel Blair

Interviewee:
Blair, Robert N. (Robert Noel), 1912-2003  Search this
Interviewer:
Brown, Robert F.  Search this
Names:
Albright Art School (Buffalo, N.Y.)  Search this
Arts Institute of Buffalo  Search this
Museum of Fine Arts, Boston. School  Search this
Burchfield, Charles Ephraim, 1893-1967  Search this
Extent:
2 Items (sound cassettes (2 hrs.), analog.)
66 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Interviews
Sound recordings
Date:
1994 November 30-1995 August 27
Scope and Contents:
An interview with Robert Blair conducted 1994 November 30-1995 August 27, by Robert Brown, for the Archives of American Art.
Blair talks about his father, a Vermonter, who went to Harvard Law School and became a corporation lawyer in Buffalo, and his mother, a Rochester, New York native, who went to Cornell and taught Greek and Latin in New York State schools before marriage; being an indifferent student until he went to the Albright Art School in Buffalo, although instruction there was perfunctory; attending the School of the Museum of Fine Arts, Boston (1931-1934), recalling especially his two British drawing teachers, Guthrie and Burns, and Frederick Allen who taught sculpture, and fellow student, Carl Johnson, summers with his family in Vermont and the pleasant primitive farm life; his first teaching job -- Saturday children's classes at the Buffalo Museum of Science and his first exhibitions in Buffalo and New York City, including a show at the Morton Gallery, New York (1940) from which the Metropolitan Museum purchased a large watercolor; his love of using unusual implements to paint with; his service in World War II, in which he was assigned to design training aids and to paint war scenes.
Blair continues discussion of his service as an airborne soldier and artist in Belgium and Germany during World War II; returning from the War to direct the Arts Institute of Buffalo and his long friendship with Charles Burchfield; Philip Elliott, painter and teacher at the rival Albright Art School in Buffalo; traveling throughout the US and Mexico, painting wherever he camped; his work and proficiency in watercolor; and the value of figure studies, which he does regularly with other artists.
Biographical / Historical:
Robert Blair (1912-2003) is a painter, printmaker, and instructor of Buffalo, New York.
General:
Originally recorded 2 sound cassettes. Reformatted in 2010 as 8 digital wav files. Duration is 2 hr., 30 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Restrictions:
This transcript is open for research. Access to the entire audio recording is restricted. Contact Reference Services for more information.
Occupation:
Art teachers -- New York (State) -- Buffalo -- Interviews  Search this
Topic:
Painting, American  Search this
Art -- Study and teaching -- New York (State) -- Buffalo  Search this
Art -- Study and teaching -- Massachusetts -- Boston  Search this
World War, 1939-1945 -- Art and the war  Search this
Printmakers -- New York (State) -- Buffalo -- Interviews  Search this
Painters -- New York (State) -- Buffalo -- Interviews  Search this
Genre/Form:
Interviews
Sound recordings
Identifier:
AAA.blair94
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw998228c8c-dfd5-481d-8c6a-d7a3990335cf
EDAN-URL:
ead_collection:sova-aaa-blair94
Online Media:

Käthe Kollwitz and the women of war femininity, identity, and art in Germany during World Wars I and II edited by Claire C. Whitner

Title:
Femininity, identity, and art in Germany during World Wars I and II
Artist:
Kollwitz, Käthe 1867-1945  Search this
Writer of added commentary:
Whitner, Claire C  Search this
Kets de Vries, Henriëtte  Search this
Host institution:
Davis Museum and Cultural Center  Search this
Smith College Museum of Art  Search this
Subject:
Kollwitz, Käthe 1867-1945  Search this
Kollwitz, Käthe 1867-1945 Themes, motives  Search this
Kollwitz, K̃the 1867-1945  Search this
Kollwitz, K̃the 1867-1945 Themes, motives  Search this
Physical description:
143 pages illustrations (some color), portraits 28 cm
Type:
Exhibitions
Art and the war
Expositions
Art et guerre
Exhibition catalogs
Ausstellungskatalog
Catalogues d'exposition
Place:
Germany
Allemagne
Wellesley, Mass
Northampton, Mass
Date:
2016
20th century
20e siècle
16.09.2015-13.12.2015
20.01.2016-29.05.2016
Topic:
World War, 1914-1918--In art  Search this
World War, 1939-1945  Search this
Motherhood in art  Search this
Art, German  Search this
Guerre mondiale, 1914-1918--Dans l'art  Search this
Guerre mondiale, 1939-1945  Search this
Maternité dans l'art  Search this
Art allemand  Search this
21.32 history of the graphic arts  Search this
Themes, motives  Search this
Art  Search this
World War, 1914-1918--Art and the war  Search this
World War, 1939-1945--Art and the war  Search this
Davis Museum at Wellesley College  Search this
Smith College Museum of Art  Search this
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_1117309

Arts of War exhibit at the Detroit Institute of Arts

Photographer:
Watson, Forbes, 1879-1960  Search this
Subject:
Detroit Institute of Arts  Search this
Type:
Photographs
Date:
1944
Topic:
Exhibitions  Search this
World War, 1939-1945--Art and the war  Search this
Record number:
(DSI-AAA)10161
See more items in:
Forbes Watson papers, 1840-1967, bulk 1900-1960
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_item_10161
Online Media:

Carlos Lopez

Photographer:
Morse, Ralph, 1918-  Search this
Subject:
Lopez, Carlos  Search this
Type:
Photographs
Date:
1943
Topic:
Portraits  Search this
World War, 1939-1945--Art and the war  Search this
Record number:
(DSI-AAA)2241
See more items in:
Forbes Watson papers, 1840-1967, bulk 1900-1960
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_item_2241
Online Media:

Ogden M. Pleissner

Creator:
Peter A. Juley & Son  Search this
Subject:
Pleissner, Ogden M. (Ogden Minton)  Search this
Type:
Photographs
Date:
ca. 1941
Topic:
Portraits  Search this
World War, 1939-1945--Art and the war  Search this
Record number:
(DSI-AAA)2518
See more items in:
Forbes Watson papers, 1840-1967, bulk 1900-1960
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_item_2518
Online Media:

James Rorimer's early draft of his memoir Survival: the salvage and protection of art in war

Creator:
Rorimer, James J. (James Joseph), 1905-1966  Search this
Subject:
Rorimer, James J. (James Joseph)  Search this
Allied Forces. Supreme Headquarters. Monuments, Fine Arts and Archives Section  Search this
World War, 1939-1945  Search this
Type:
Writings
Date:
not after 1950
Topic:
World War, 1939-1945--Art and the war  Search this
Record number:
(DSI-AAA)16200
See more items in:
James J. Rorimer papers, 1921-1982, bulk 1943-1950
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_item_16200
Online Media:

Nymphenburg china

Photographer:
Adams, Edward E.  Search this
Type:
Photographs
Place:
Germany
Date:
1945
Topic:
Pottery  Search this
World War, 1939-1945  Search this
World War, 1939-1945--Art and the war  Search this
Record number:
(DSI-AAA)9941
See more items in:
James J. Rorimer papers, 1921-1982, bulk 1943-1950
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_item_9941
Online Media:

Rothschild furniture

Photographer:
Adams, Edward E.  Search this
Type:
Photographs
Place:
Germany
Paris, France
Date:
1945
Topic:
Furniture  Search this
World War, 1939-1945  Search this
World War, 1939-1945--Art and the war  Search this
Record number:
(DSI-AAA)9942
See more items in:
James J. Rorimer papers, 1921-1982, bulk 1943-1950
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_item_9942
Online Media:

Buxheim repository packing and crafting shop

Photographer:
Adams, Edward E.  Search this
Type:
Photographs
Place:
Germany
Paris, France
Date:
1945
Topic:
Furniture  Search this
World War, 1939-1945  Search this
World War, 1939-1945--Art and the war  Search this
Record number:
(DSI-AAA)9943
See more items in:
James J. Rorimer papers, 1921-1982, bulk 1943-1950
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_item_9943
Online Media:

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