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Embroidery Design: Man's

Manufacturer:
Fabrique de Saint Ruf  Search this
Artist:
Mademoiselle Montalent  Search this
Mademoiselle Anteleme  Search this
Medium:
Gouache, over graphite Support: white laid paper
Type:
embroidery & stitching
Drawing
Object Name:
Drawing
Place:
France
Made in:
France
Date:
ca. 1785
Credit Line:
Gift of Eleanor and Sarah Hewitt
Accession Number:
1920-36-75
See more items in:
Cooper Hewitt, Smithsonian Design Museum Collection
Drawings, Prints, and Graphic Design Department
Data Source:
Cooper Hewitt, Smithsonian Design Museum
EDAN-URL:
edanmdm:chndm_1920-36-75

Design for a Stained Glass Window: Grammatica

Artist:
Hans Kaspar Lang the Elder, Swiss, 1571 – 1645  Search this
Medium:
Pen and brown ink, brown wash
Type:
glasswares
Drawing
Object Name:
Drawing
Date:
1606
Credit Line:
Purchased for the Museum by the Advisory Council
Accession Number:
1911-28-129
See more items in:
Cooper Hewitt, Smithsonian Design Museum Collection
Drawings, Prints, and Graphic Design Department
Data Source:
Cooper Hewitt, Smithsonian Design Museum
EDAN-URL:
edanmdm:chndm_1911-28-129

Crevices in Minnewaski, N.Y.

Medium:
Glass
Object Name:
Slide
Type:
Slide
Date:
20th century
Credit Line:
Gift of Miss Frances Morris
Accession Number:
1945-201-152
See more items in:
Cooper Hewitt, Smithsonian Design Museum Collection
Drawings, Prints, and Graphic Design Department
Data Source:
Cooper Hewitt, Smithsonian Design Museum
EDAN-URL:
edanmdm:chndm_1945-201-152

Kay Sage papers

Creator:
Sage, Kay  Search this
Names:
Catherine Viviano Gallery  Search this
Monagan, John S.  Search this
Tanguy, Yves, 1900-1955  Search this
Extent:
0.4 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Date:
1925 - circa 1985
bulk 1950-1965
Summary:
The scattered papers of surrealist painter Kay Sage measure 0.4 linear feet and date from 1925 to circa 1985, with the bulk of the material dating from 1950 to 1965. Information about Sage's life as an abstract and surrealist artist and her relationship with her husband, artist Yves Tanguy are found in this small collection of biographical materials, correspondence, printed material, and photographs.
Scope and Content Note:
The scattered papers of surrealist painter Kay Sage measure 0.4 linear feet and date from 1925 to circa 1985, with the bulk of the material dating from 1950 to 1965. Information about Sage's life as an abstract and surrealist artist and her relationship with her husband, artist Yves Tanguy are found in this small collection of biographical materials, correspondence, printed material, and photographs.

Sadly, the papers contain Sage's suicide note and her own personal arrangements for her funeral and estate. Correspondence concerns business and personal matters and is with galleries, museums, and family and friends. Correspondents include Dorothea Tanning, Pierre and Patricia Matisse, John S. Monagan, Hans and Fridel Richter, and Yves's sister, Emilie Tanguy, as well as the Catherine Viviano Gallery and the Museum of Modern Art. The papers do not contain documentation of Sage's early career while she was living in Europe, and very little about her husband Yves Tanquy. There are photographs of Kay and Yves and their home "Town Farm" in Connecticut.
Arrangement:
The collection is arranged into four series:

Series 1: Biographical Material and Business Records, 1925-1963, circa 1985 (Box 1; 9 folders)

Series 2: Correspondence, 1945-1963 (Box 1; 5 folders)

Series 3: Printed Material, circa 1930-1974 (Box 1; 4 folders)

Series 4: Photographs, circa 1950-1965 (Box 1; 4 folders)
Biographical Note:
Kay Sage was born Katherine Linn Sage in Albany, New York in 1898 to Ann and Henry Manning Sage, a state senator. After her parents divorced she lived in Europe with her mother from 1900 to 1914, spending most of that time in Italy. She returned to the United States for schooling from 1914 to 1919 and then returned to Italy where she worked for a short time at the Scuola Libera delle Belle Arti in Rome. In 1925 she married Prince Ranieri di San Faustino, but they divorced in 1935. Around this time Sage began to paint in an abstract style, and quickly developed an interest in surrealism. She had her first solo exhibition in Italy in 1936 and the next year moved to Paris where she met surrealist painter Yves Tanguy. Tanguy introduced her to other surrealist painters in Paris and she soon began exhibiting with them. During World War II, Sage returned to the United States. In 1940 she and Tanguy were married, and that same year she had her first American exhibition at the Pierre Matisse Gallery in New York City. In 1941 she and Tanguy settled in Woodbury, Connecticut and named their home "Town Farm". Sage and Tanguy continued to exhibit their work with great success, ultimately leading to a joint exhibition at the Wadsworth Atheneum in 1954.

After Yves Tanguy's death in 1955 Sage experienced extreme grief and depression for the rest of her life. She did, however, continue to exhibit at the Catherine Viviano Gallery in New York City, which also managed the sale of her paintings. This partnership culminated in a retrospective exhibition of her work in 1960. Sage started to lose her sight in the late 1950s and stopped painting and began making collages. She also wrote three volumes of poetry which were published in 1957 and 1962. The last few years of her life were spent working on a catalogue of her husband's work for which she wrote the foreword. In January 1963 Kay Sage committed suicide at the age of 64.
Related Material:
Also available at the Archives of American Art are the Flora Whitney Miller papers regarding Kay Sage, as well as China Eggs, Kay Sage's unpublished memoirs covering the period circa 1910 to 1935, available on microfilm reel 685.
Separated Material:
A game, "Fiddlesticks" given to Sage from Joseph Cornell and donated to the Archives of American Art as part of this collection was removed and transferred to the Joseph Cornell Study Center at the Smithsonian American Art Museum.
Provenance:
John S. Monagan, attorney for Kay Sage's estate loaned a portion of this collection for microfilming in 1980 and subsequently donated the same material in 1989, as well as additional materials in 1994.
Restrictions:
This collection has been digitized and is available online via AAA's website.
Rights:
The Kay Sage papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Surrealism -- United States  Search this
Women painters -- Connecticut -- Woodbury  Search this
Painters -- Connecticut -- Woodbury  Search this
Genre/Form:
Photographs
Citation:
Kay Sage papers, 1925-circa 1985. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.sagekay
See more items in:
Kay Sage papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-sagekay
Online Media:

Yasuo Kuniyoshi papers

Creator:
Kuniyoshi, Yasuo, 1889-1953  Search this
Extent:
14.3 Linear feet
2.84 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Photographs
Scrapbooks
Date:
1906-2016
bulk 1920-1990
Summary:
The papers of artist Yasuo Kuniyoshi measure 14.3 linear feet and 2.84 gigabytes and date from 1906-2016, bulk 1920-1990. The collection documents his career as a painter, graphic artist, and photographer, as well as his involvement in political, social, and art organizations, especially during World War II. Included are biographical material; correspondence; writings and lectures by Kuniyoshi and others; organization records primarily on his participation in various associations and groups he was a member of; professional and gallery records regarding business dealings with American and Japanese galleries, museums, and dealers; exhibition files; printed material; four scrapbooks; artwork; photographs of Kuniyoshi and others in various locations and at events; and artwork records which mostly consist of photographs and provenance information. The collection also contains materials on Kuniyoshi's career and artwork obtained after his death by his widow Sara Mazo Kuniyoshi.
Scope and Content Note:
The papers of artist Yasuo Kuniyoshi measure 14.3 linear feet and 2.84 gigabytes and date from 1906-2013, bulk 1920-1990. The collection documents his career as a painter, graphic artist, and photographer, as well as his involvement in political, social, and art organizations, especially during World War II. Included are biographical material; correspondence; writings and lectures by Kuniyoshi and others; organization records primarily on his participation in various associations and groups he was a member of; professional and gallery records regarding business dealings with American and Japanese galleries, museums, and dealers; exhibition files; printed material; four scrapbooks; artwork; photographs of Kuniyoshi and others in various locations and at events; and artwork records which mostly consist of photographs and provenance information. The collection also contains materials on Kuniyoshi's career and artwork obtained after his death by his widow Sara Mazo Kuniyoshi.

Biographical material consists of a wide range of records such as an address book, resumes, biographical summaries, vital records, citizenship applications, identification documents, travel records, and documentation regarding Kuniyoshi's death. There is some limited biographical material on the artist's widow, Sara Mazo Kuniyoshi, plus interviews with her talking about Kuniyoshi.

Correspondence is divided into correspondence with Yasuo Kuniyoshi and the correspondence with his second wife, Sara Mazo Kuniyoshi. The Yasuo Kuniyoshi correspondence discusses various topics including exhibits and his status as a Japanese American during World War II. The bulk of the series consists of correspondence with Sara after Yasuo's death and usually relates to exhibitions of his work, and reproduction requests for the inclusion of his work in publications. Of note is her correspondence with Alexander Brook, Ritsuko Ozawa, Tom Wolf, and the Yasuo Kuniyoshi Museum in Japan.

Writings and lectures include Kuniyoshi's writings and speeches about other artists, art and the art profession, lithography, and World War II. Also found are statements on his own work and extensive notes for his autobiography. There are two sound recordings of lectures by Kuniyoshi at art schools as well as writings by others, including Sara Mazo Kuniyoshi, about Yasuo Kuniyoshi.

Organization records document Kuniyoshi's involvement in social, political, and art organizations, including the East West Association and the Artists Equity Association. These records include correspondence, speeches, printed material and notes.

Gallery and professional records include material on Kuniyoshi's career and the sales of his work at galleries. Found herein are correspondence, printed material and notes. There are files on projects and commissions, transcripts of the radio broadcast "Japan Against Japan," appraisals of artwork, authentications of artwork, art inventories of his work at various galleries as well as private collections, and records of his participation in the Woodstock Art Conference. Also noteworthy are the records of Sara Mazo Kuniyoshi's dealings with the Downtown Gallery and Zabriskie Galleries.

Exhibition files include a few files on exhibitions while Yasuo Kuniyoshi was alive, but most of the series consists of files created by Sara Mazo Kuniyoshi about exhibitions of Kuniyoshi's works after his death in 1953. Files may include exhibition checklists and planning documents, loan agreements, correspondence, photographs of the exhibition, and press materials.

Printed material consists of books, newspaper, and magazine clippings about Kuniyoshi and about World War II. There are numerous exhibition catalogs and announcements and some magazines, posters, brochures, and bulletins.

There are four scrapbooks of printed material related to Kuniyoshi and his artwork. The scrapbooks contain press clippings, exhibition announcements, checklists, and a few catalogs.

Artwork consists of etchings, numerous sketches and drawings in graphite and ink, sketches painted onto clear acetate which Kuniyoshi used for catalogs, two zinc lithographic plates and their corresponding prints, and a sketchbook. Drawings that Yasuo Kuniyoshi created for the Office of War Information during World War II are in this series. There is one folder of pencil sketches by unidentified artists.

Photographic material are mostly photographs of Kuniyoshi in his studio, at various events and parties, teaching at Mills College and with his wife Sara Mazo Kuniyoshi. Also found are photographs of artists, including Francis Criss, Julian Levi, Doris and Russell Lee, and others, taken by Yasuo Kuniyoshi. Especially noteworthy, are photographs of the Artists Equity Testimonial Dinner held in honor of Kuniyoshi's 1948 retrospective at the Whitney Museum of American Art. There are some slides and snapshots of Sara Mazo Kuniyoshi's travels abroad and a the house in Woodstock she shared with Yasuo, along with other locations.

Artwork photograph records were created by Sara Mazo Kuniyoshi to document works of art created by her husband. Files mostly include photographs of artwork with annotations regarding title, date, sale, and provenance. Some files also include correspondence, notes by Sara Kuniyoshi, exhibition history, and published reproductions. There are also miscellaneous photographs and slides of artwork which mostly consist of duplicates of artwork that can be found in the rest of the series.
Arrangement:
This collection is arranged as 11 series.

Series 1: Biographical Material, 1906-1998 (Box 1, ER01; 0.3 linear feet)

Series 2: Correspondence, 1931-2007 (Boxes 1-2; 1.2 linear feet)

Series 3: Writings and Lectures, 1939-2003 (Box 2; 0.5 linear feet)

Series 4: Organization Records, 1939-2003 (Box 3; 0.4 linear feet)

Series 5: Gallery and Professional Records, circa 1924-2009 (Boxes 3-5, OV 19; 2.1 linear feet)

Series 6: Exhibition Files, 1948-2004 (Boxes 5-6, OVs 19-20; 1.1 linear feet)

Series 7: Printed Material, 1921-2013 (Boxes 6-8, 14, OV 20 ; 2.1 linear feet)

Series 8: Scrapbooks, 1919-1978 (Boxes 8, 13, 15; 0.6 linear feet)

Series 9: Artwork, 1925-1991 (Boxes 8, 14, 16, OV 21-23; 0.8 linear feet)

Series 10: Photographic Material, circa 1920-2005 (Boxes 8-9, 16-17; 1.4 linear feet)

Series 11: Artwork Photograph Records, circa 1920s-2016 (Boxes 9-12, 17-18, OV 22; 3.8 linear feet)
Biographical Note:
Yasuo Kuniyoshi (1889-1953) was a Japanese-American painter, printmaker and photographer in New York, N.Y.

Kuniyoshi was born in Okayama, Japan. In 1906 he came to the United States and a year later began studying at the Los Angeles School of Art and Design. In 1910 he moved to New York and took courses at the National Academy of Design, the Independent School of Art, and the Art Students League, where he studied with Kenneth Hayes Miller. He was married to fellow artist Katherine Schmidt from 1919 to 1932. After traveling throughout Europe, they moved to the Woodstock, New York, in 1927 and took part in the Woodstock Art Colony. Kuniyoshi studied and later taught at the Art Students League summer school there.

By 1930 Kuniyoshi had established himself as an internationally known painter and graphic artist. In 1935, he received a Guggenheim fellowship and married Sara Mazo. In New York City he taught at the Art Students League, the New School for Social Research, and served as the first president of the Artists Equity Association from 1947 to 1950. Kuniyoshi was active in social organizations, especially Japanese American organizations, such as the Japanese American Committee for Democracy. Although Kuniyoshi was barred from becoming a citizen due to American immgration laws at the time, he viewed himself as American and took an active role in the war effort during World War II, even working with the U.S. Office of War Information department to design posters.

The Whitney Museum of American Art held a retrospective for Kuniyoshi in 1948, making him the first living artist to be honored in such a fashion at the museum. Yasuo Kuniyoshi died of cancer in 1953 and was survived by his second wife Sara Mazo Kuniyoshi who preserved the legacy of his work.
Related Materials:
Also found at the Archives of American Art are the Yasuo Kuniyoshi photographs of artwork, a 1948 letter from Kuniyoshi to E. P. Richardson, and checklists of Yasuo Kuniyoshi prints.
Provenance:
The collection was donated in installments, from 1969 to 1995, by Sara Mazo Kuniyoshi, Yasuo Kuniyoshi's widow. Additional papers were donated in 2014 and 2018 by Stephen Diamond, Sara Mazo Kuniyoshi's nephew.
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 zinc lithographic plates and corresponding prints are for study purposes only. No reproduction or publication allowed.

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, Modern -- 20th century  Search this
Asian American artists  Search this
Political clubs  Search this
World War, 1939-1945 -- Japanese Americans  Search this
Photographers -- New York (State) -- New York  Search this
Japanese American art  Search this
Painters -- New York (State) -- New York  Search this
Printmakers -- New York (State) -- New York  Search this
Genre/Form:
Photographs
Scrapbooks
Citation:
Yasuo Kuniyoshi papers, 1906-2016, bulk 1920-1990. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.kuniyasu
See more items in:
Yasuo Kuniyoshi papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-kuniyasu
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Colette Roberts Papers and Interviews with Artists

Creator:
Roberts, Colette, 1910-  Search this
Names:
British Broadcasting Corporation  Search this
Grand Central Moderns (Gallery)  Search this
Le Point Cardinal (Gallery)  Search this
New York University -- Faculty  Search this
Bauermeister, Mary, 1934-  Search this
Bearden, Romare, 1911-1988  Search this
Chryssa, 1933-  Search this
Dehner, Dorothy, 1901-1994  Search this
Duchamp, Marcel, 1887-1968  Search this
Ferren, John, 1905-1970  Search this
Gottlieb, Adolph, 1903-1974  Search this
Johnson, Ray, 1927-  Search this
Karp, Ivan C., 1926-2012  Search this
Le Prat, Thérèse  Search this
Lindner, Richard, 1901-  Search this
Marisol, 1930-  Search this
Moy, Seong  Search this
Nevelson, Louise, 1899-1988  Search this
O'Doherty, Brian  Search this
Ray, Man, 1890-1976  Search this
Reinhardt, Ad, 1913-1967 -- Photographs  Search this
Schwabacher, Ethel, 1903-1984  Search this
Sterne, Hedda, 1910-  Search this
Vieira da Silva, Maria Helena, 1908-1992  Search this
Extent:
10.2 Linear feet
Type:
Collection descriptions
Archival materials
Transcripts
Reviews (documents)
Interviews
Articles
Notes
Manuscripts
Photographs
Sound recordings
Date:
1918-1971
Summary:
The papers of New York City and Paris art historian, educator, and gallerist Colette Roberts measure 10.2 linear feet and date from 1918 to 1971. Papers include correspondence, writings, teaching records, project proposals, gallery records from Grand Central Moderns Gallery, clippings, Roberts' printed articles, press releases, exhibition catalogs, posters, photographs, and a few works of art on paper. Also found are 124 interviews with contemporary artists conducted by Roberts.
Scope and Content Note:
The papers of New York City and Paris art historian, educator, and gallerist Colette Roberts measure 10.2 linear feet and date from 1918 to 1971. Papers include correspondence, writings, teaching records, project proposals, gallery records from Grand Central Moderns Gallery, clippings, Roberts' printed articles, press releases, exhibition catalogs, posters, photographs, and a few works of art on paper. Also found are 124 interviews with contemporary artists conducted by Roberts.

Significant correspondents include Sam Adler, Erwin Barrie, Hubert Damisch, George Deem, Mesdames de Harting and de Tinan, Lamar Dodd, Hélène Drude (Le Point Cardinal gallery), Arne Ekstrom, Albert M. Fine (Fluxus artist), Iqbal Geoffrey, R.G. Gilllet, Adolph Gottlieb, Cleve Gray, Leon Hartl, Jennett Lam, Alberto Cifolelli Lamb, Mike Nevelson, Norman Norotzky, Jacqueline Pavlowsky, Abe Rattner, Ad Reinhardt, H. Sandberg, Philippe Stern, Russell Twiggs, and Zuka.

Writings by Roberts include manuscripts and articles about artists, writings about her own art, personal writings, working notes from interviews and classes, reviews, and translations between English and French.

Among the personal records are Robert's files relating to teaching, charitable activities, and exhibitions. Also found are gallery records from Grand Central Moderns Gallery, including artist résumés, a card file of artworks with provenance information, exhibition catalogs and announcements, membership records, posters, publicity, and sales records.

Printed materials in the collection include clippings, Roberts' printed articles, press releases, and other exhibition catalogs and announcements. Photographs are of Roberts, artists, including Ad Reinhardt, classes, art spaces, and works of art. A small number of artworks on paper are also found, including Fluxus art stamps and a printed picture of Ray Johnson stamped "DOUGHNUT FESTIVAL."

Documentation of interviews with artists conducted by Roberts includes a card index file, a few transcripts, and the original sound recordings. Most of the recordings are interviews with artists that Roberts created during a class she taught at New York University between 1957 and 1971 called "Meet the Artist," including Mary Bauermeister, Romare Bearden, Dorothy Dehner, John Ferren, Ray Johnson, Ivan Karp, Thérèse Le Prat, Richard Lindner, Marisol, Seong Moy, Brian O'Doherty, Man Ray, Ethel Schwabacher, Hedda Sterne, Marie Helena Vieira da Silva, and many others. In preparation for magazine articles, Roberts conducted more extensive interviews with Chryssa, Marcel Duchamp, Adolph Gottlieb, and Louise Nevelson. A few of the recordings of Marcel Duchamp were not created by Roberts. In all, over 100 artists are represented in Roberts' interviews. Other recordings found include lectures and interviews conducted by people other than Roberts.
Arrangement:
The collection is arranged as 8 series:

Series 1: Correspondence, 1918-1971 (Box 1, 0.5 linear feet)

Series 2: Notes and Writings, 1936-1970 (Box 1, 0.3 linear feet)

Series 3: Personal Records, 1944-1971 (Box 1-2, 11; 0.7 linear feet)

Series 4: Grand Central Moderns Gallery Records, 1952-1970 (Box 2-3, 11; 0.7 linear feet)

Series 5: Printed Material, 1938-1971 (Box 3-5, 11-12; 2.0 linear feet)

Series 6: Photographs, 1930-1971 (Box 5; 0.2 linear feet)

Series 7: Artwork, 1940-1969 (Box 5; 4 folders)

Series 8: Interviews with Artists, 1959-1971 (Box 5-10; 5.5 lienar feet)
Biographical Note:
Colette Roberts was a French artist, curator, gallery director, and scholar who emigrated to the United States in 1939, settling in New York City and remaining there until her death in 1971.

Roberts was born in Paris, France in 1910. She studied art with Roger Bissière at the Académie Ranson and with Henry Focillon at the Ecole du Louvre, and she later attended the Institut d'Art et Archeologie at the Sorbonne. Roberts came to the United States in 1939, settling in New York City, and became an American citizen three years later. In her early years in the United States, Roberts lectured and wrote on art and literature, and was active in various war-relief organizations, raising money and organizing benefits for organizations such as the American Red Cross and UNICEF. She was the gallery director for the National Association of Women Artists' Argent Galleries from 1947 to 1949, secretary to the curator of Far Eastern Art at New York's Metropolitan Museum from 1950 to 1951, and art editor for "France Amérique," the French-language newspaper in New York, beginning in 1953.

Roberts became gallery director of the Grand Central Moderns Gallery (New York, NY) in 1952 and remained in that position until 1968, when the gallery closed. The gallery was opened in 1946 by Erwin S. Barrie of the Grand Central Galleries for the promotion of living American artists. Among the artists represented there were Jennett Lam and Seong Moy. During this period she was also an instructor at New York University and Queens College, teaching art history and contemporary art. In 1957, she began a course at New York University called "Meet the Artist," for which she took her classes to the studios of working artists to see and discuss their work. In the early 1960s, she began to tape record her interviews of artists for this course, a practice which continued until her death in 1971. In 1968, Roberts worked briefly as Gallery Director for the A.M. Sachs Gallery (New York, NY), and as an oral history interviewer for the Archives of American Art.

Roberts wrote extensively on contempoary art, including articles and monographs on Mark Tobey (1960, Grove Press), Louise Nevelson (1964, The Pocket Museum), and Marcel Duchamp. She was a regular contributor to Aujourd'hui and Art and Architecture magazines.
Related Material:
Additional papers and recordings of Colette Roberts are held by Syracuse University Library Special Collections Research Center.
Separated Material:
A copy of a 1967 oral history with Adolf Gottlieb conducted by Dorothy Seckler for the Archives of American Art oral history program, which was found in Roberts' papers, has been returned to the Archives' oral history collection.
Provenance:
The sound recordings and transcripts of interviews with artists, were donated by Colette Roberts in 1970. The remaining papers were donated by her son, Richard B. Roberts, in 1973.
Restrictions:
Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
The Colette Roberts papers and interviews with artists are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Art galleries, Commercial -- New York (State) -- New York  Search this
Sculptors -- New York (State) -- New York -- Interviews  Search this
Art -- Study and teaching  Search this
Sculpture, Modern -- 20th century -- New York (State) -- New York  Search this
Painters -- New York (State) -- New York -- Interviews  Search this
Painting, Modern -- 20th century -- New York (State) -- New York  Search this
Fluxus (Group of artists)  Search this
Art historians -- New York (State) -- New York  Search this
Artists -- New York (State) -- New York -- Interviews  Search this
Art, Modern -- 20th century -- New York (State) -- New York  Search this
Genre/Form:
Transcripts
Reviews (documents)
Interviews
Articles
Notes
Manuscripts
Photographs
Sound recordings
Citation:
Colette Roberts papers and interviews with artists, circa 1930-1971. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.robecoli
See more items in:
Colette Roberts Papers and Interviews with Artists
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-robecoli
Online Media:

San Francisco Women Artists records

Creator:
San Francisco Women Artists  Search this
Names:
San Francisco Art Institute  Search this
Labaudt, Marcelle, 1892-1987  Search this
Whitney, Susan A.  Search this
Windslade, Dorothy  Search this
Extent:
15.5 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Sound recordings
Motion pictures (visual works)
Scrapbooks
Photograph albums
Date:
1925-1999
Summary:
The San Francisco Women Artists records measure 15.5 linear feet, date from 1925 to 1999, and include administrative records, correspondence, membership files, exhibition files, inventory records, printed material, twenty scrapbooks, photographs, eight photograph albums, and two motion picture film reels.
Scope and Contents:
The San Francisco Women Artists records measure 15.5 linear feet and date from 1925 to 1999. The activities of the SFWA are documented through administrative records, correspondence, membership files, exhibition files, inventory records, printed material, twenty scrapbooks, photographs, eight photograph albums, and two motion picture film reels.

Administrative records include daily journals and publicity materials, historical materials and founding documents, meeting minutes and agendas, artist council and committee meetings, and member and patron surveys. Also found within administrative records are materials on Marcelle Labaudt, SFWA Executive Secretary then Executive Director for many years, including original film footage and sound recordings for a career retrospective film project. Correspondence is with potential donors and patrons, board members, members, and artists. Membership files contain ledgers of paid memberships, lists of dropped members, membership applications and rosters, membership biographies, renewals and statistics, and membership directories.

Exhibition files contain price lists and display placards, slides and photographs, and printed materials relating to shows and exhibitions presented by various SFWA members and cooperating organizations, including the San Francisco Art Institute. Shows include "Celebration of International Women" (1991), "The Paintings of Dorothy Windslade" (1994), annual juried SFWA shows and emerging artists exhibitions (1947-circa 1994), "Art of Susan A. Whitney Exhibit and Silent Auction" (1997), and "Hands and Heart, the Art of Healing" (1997), among others.

Inventory records contain artist inventory cards noting various artwork and exhibitions. Printed material includes books, SFWA bulletins, SFWA calendars, clippings, and exhibition printed materials, such as announcements, brochures, and catalogs. Twenty scrapbooks document the SFWA through clippings, exhibition documentation, photographs, biographies, and annotations. Eight photograph albums depict exhibitions and shows, artwork and artists. Also found within photographs are slides, negatives, and loose photographs depicting works of art, gallery and receptions, and meetings.
Arrangement:
This collection is arranged as 8 series:

Series 1: Administrative Records, 1925-circa 1998 (6.5 linear feet; Boxes 1-6, FC 17-18)

Series 2: Correspondence, 1931-1998 (0.7 linear feet; Boxes 6-7)

Series 3: Membership Files, 1925-circa 1998 (1.5 linear feet; Boxes 7-8)

Series 4: Exhibition Files, 1947-circa 1998 (0.7 linear feet; Boxes 8-9)

Series 5: Inventory Records, circa 1974-circa 1985 (0.4 linear feet; Boxes 9-10)

Series 6: Printed Material, 1926-1999 (1.5 linear feet; Boxes 10-11, 16)

Series 7: Scrapbooks, 1925-circa 1990s (2.7 linear feet; Boxes 11-13, 15)

Series 8: Photographs 1970-circa 1990s (1.5 linear feet; Boxes 13-14, 16)
Biographical / Historical:
San Francisco Women Artists (SFWA) is one of California's oldest arts organizations, dating its founding to 1887 as the Sketch Club. At that time, members met monthly to share and critique one another's work and to travel together on sketching trips. After the great earthquake in 1906 destroyed the club's headquarters, the group floundered and reorganized and merged with other organizations that also included men. By 1925, however, a core group of women broke away and formed the San Francisco Society of Women Artists. The SFWA's founding mission was "... the study and furtherance of all interests common to the arts both graphic and plastic … and to support causes neglected by other art organizations in the Bay Area." Early members include Alice B. Chittenden, Helen Hyde, Matilda Lotz, Clara Taggart McChesney, M. Evelyn McCormick, Dora Williams, and Eva Almond Withrow. Other members included Marcelle Labaudt, Dorr Bothwell, Claire Falkenstein, Ruth Asawa, Nell Sinton, Imogen Cunningham, Eleanor Dickenson, Jo Hansen, Emmy Lou Packard, Eleanore Rappe, Ruth Armer, Barbara Spring, Beth Van Hoesen and Dorothy Winslade.

The Society held its first exhibition in 1926. In 1932, Frida Kahlo's painting, Frieda and Diego Rivera, was shown at the "Sixth Annual Exhibition of the San Francisco Society of Women Artists" and was the first public showing of Kahlo's work. In 1946 the organization shortened its name to the San Francisco Women Artists.

In 1976 the SFWA and exective director Marcelle Labaudt were commended in a Senate Resolution for "outstanding contributions to the cultural enhancement of the City of San Francisco." In 1983 the SFWA procured a gallery at 451 Hayes Street, which provided exhibition space for members, as well as an art rental program. In 1985 the gallery moved to 370 Hayes Street. The SFWA celebrated its centennial in 1994 with an exhibition including work of many past members.

This organization continues to host monthly themed juried shows and is dedicated to encouraging and promoting the work of women artists.
Provenance:
Pam Foley, president of the San Francisco Women Artists donated the records in 1999.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
The San Francisco Women Artists records are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Occupation:
Women artists -- California -- San Francisco  Search this
Topic:
Art -- Societies, etc. -- California -- San Francisco  Search this
Genre/Form:
Photographs
Sound recordings
Motion pictures (visual works)
Scrapbooks
Photograph albums
Identifier:
AAA.sanfrawa
See more items in:
San Francisco Women Artists records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-sanfrawa

List of Center for the Study of Man staff, Exhibit F, 1974

Collection Creator::
Scherer, Joanna Cohan  Search this
Container:
Box 11 of 14
Type:
Archival materials
Collection Citation:
Smithsonian Institution Archives, Accession 19-190, Joanna Cohan Scherer Papers
See more items in:
Joanna Cohan Scherer Papers
Joanna Cohan Scherer Papers / Box 11
Archival Repository:
Smithsonian Institution Archives
EDAN-URL:
ead_component:sova-sia-fa19-190-refidd1e3296

Productions

Topic:
Mighty Ships (Television series)
World War II Spy School (Television program)
Perfect Stores (Television series)
Surviving the Serengeti (Television program)
Million Dollar American Princesses (Television series)
Air Disasters (Television series)
Killer IQ: Lion vs. Hyena (Television series)
Mighty Cruise Ships (Television series)
Napoleon's Waterloo (Television program)
L.A. Frock Stars (Television series)
Siege of Masada (Television program)
Mummies Alive (Television series)
Aerial America (Television series)
Yellowstone Supervolcano (Television program)
Nepal Quake: Terror on Everest (Television program)
My Million Dollar Invention (Television series)
Islands of Creation (Television program)
Rock 'N' Roll Inventions (Television series)
Crazy Monster Spiders (Television program)
Crazy Monster Diggers (Television program)
Crazy Monster Bats (Television program)
Crazy Monster Gulpers (Television program)
Real Mad Men of Advertising (Television series)
Crazy Monster Bugs (Television program)
Crazy Monster Sea Creatures (Television program)
Crazy Monster Fangs (Television program)
The Weapon Hunter (Television series)
The Obama Years: The Power of Words (Television program)
Humongous Moves (Television series)
Battle at Sea: Jutland (Television program)
Castro's Secret Reef (Television program)
Victorian Rebel: Marianne North (Television program)
Mysteries of the Rainforest (Television program)
Americans Underground: Secret City of WWI (Television program)
Pocahontas: Beyond the Myth (Television program)
Nightmare on Everest (Television program)
An Ocean Mystery: The Missing Catch (Television program)
Secrets (Television series)
Titanic's Fatal Fire (Television program)
The Real Jesus of Nazareth (Television series)
The Lost Tapes (Television program)
America's Secret Space Heroes (Television series)
Air Warriors (Television series)
Combat Trains (Television series)
Amazing Monkeys (Television series)
Aerial Ireland (Television program)
Aerial New Zealand (Television program)
My Big Bollywood Wedding (Television program)
Battle of Okinawa in Color (Television program)
America in Color (Television series)
First Ladies Revealed (Television series)
Flying High with Phil Keoghan (Television program)
Honey Badger Grit (Television program)
Inside Windsor Castle (Television series)
Hunt for the Nazi Gold Train (Television program)
Cobra King (Television program)
Diana and the Paparazzi (Television program)
Diana: The Day We Said Goodbye (Television program)
Last Emperor of Mexico (Television program)
Baboon King (Television program)
Make It Out Alive (Television series)
Tiger on the Run (Television program)
Survival in the Skies (Television series)
Lions Unleashed (Television program)
Polar Bear Town (Television series)
America's Badlands (Television program)
Panama's Animal Highway (Television program)
Supercar Superbuild (Television series)
David Attenborough's Great Barrier Reef (Television series)
Combat Ships (Television series)
The Coronation (Television program)
Escape to the Great Dismal Swamp (Television program)
Cleopatra (Television series)
Epic Warrior Women (Television series)
Billionaire Space Club (Television program)
Earth From Outer Space (Television program)
Europe's Last Warrior Kings (Television series)
Aerial Africa (Television series)
Fishing for Giants (Television series)
Finding Life in Outer Space (Television program)
Ice Bridge: The Impossible Journey (Television program)
Aerial Cities (Television series)
Waco: The Longest Siege (Television program)
China's Dragon Emperor (Television series)
Carriers at War (Television series)
Smithsonian Time Capsule: 1968 (Television program)
Rise of Tokyo in Color (Television program)
The Pacific War in Color (Television series)
Drinks, Crime and Prohibition (Television series)
King of the Desert Lions (Television program)
Hell Below (Television series)
Monster Shipwreck: Mysteries of the Mars (Television program)
Kings of the Desert (Television program)
Sacred Sites (Television series)
China From Above (Television series)
The Wild Andes (Television series)
America's Mississippi (Television series)
Creator::
Smithsonian Channel  Search this
Type:
Collection descriptions
Archival materials
Electronic records
Place:
United States -- History
United States -- Social life and customs
United States -- Description and travel
China -- Description and travel
Africa -- Description and travel
Date:
2015, 2017-2018
Descriptive Entry:
Smithsonian Networks is a joint venture between Showtime Networks and the Smithsonian Institution. It was formed to create channels featuring programs largely inspired by the assets of the Smithsonian Institution, the world's largest museum and research complex. Smithsonian Channel features award-winning original documentaries, series and ground-breaking programs highlighting America's historical, cultural and scientific heritage. This accession consists of programs created for the Smithsonian Channel that cover a range of topics including aeronautics, astronautics, science, nature, and American culture and history. Materials are in electronic format.
Restrictions:
Special restrictions on use of these materials apply. See Record of Transfer, Appendix B, Transferring office; Record of Transfer, August 25, 2009; Contact reference staff for details.
Topic:
Documentary television programs  Search this
Educational television programs  Search this
Museums and television  Search this
Nature  Search this
Science -- History  Search this
Animals  Search this
Insects  Search this
Military history  Search this
Genre/Form:
Electronic records
Citation:
Smithsonian Institution Archives, Accession 19-197, Productions
Identifier:
Accession 19-197
See more items in:
Productions
Archival Repository:
Smithsonian Institution Archives
EDAN-URL:
ead_collection:sova-sia-fa19-197

Real Mad Men of Advertising 101: The 1950s (Show code: X15017.1), 1/8/2017

Collection Creator::
Smithsonian Channel  Search this
Container:
Electronic Records
Type:
Archival materials
Collection Restrictions:
Special restrictions on use of these materials apply. See Record of Transfer, Appendix B, Transferring office; Record of Transfer, August 25, 2009; Contact reference staff for details.
Collection Citation:
Smithsonian Institution Archives, Accession 19-197, Productions
See more items in:
Productions
Productions / Electronic Records
Archival Repository:
Smithsonian Institution Archives
EDAN-URL:
ead_component:sova-sia-fa19-197-refidd1e1085

Real Mad Men of Advertising 102: The 1960s (Show code: X15017.2), 1/15/2017

Collection Creator::
Smithsonian Channel  Search this
Container:
Electronic Records
Type:
Archival materials
Collection Restrictions:
Special restrictions on use of these materials apply. See Record of Transfer, Appendix B, Transferring office; Record of Transfer, August 25, 2009; Contact reference staff for details.
Collection Citation:
Smithsonian Institution Archives, Accession 19-197, Productions
See more items in:
Productions
Productions / Electronic Records
Archival Repository:
Smithsonian Institution Archives
EDAN-URL:
ead_component:sova-sia-fa19-197-refidd1e1097

Real Mad Men of Advertising 103: The 1970s (Show code: X15017.3), 1/22/2017

Collection Creator::
Smithsonian Channel  Search this
Container:
Electronic Records
Type:
Archival materials
Collection Restrictions:
Special restrictions on use of these materials apply. See Record of Transfer, Appendix B, Transferring office; Record of Transfer, August 25, 2009; Contact reference staff for details.
Collection Citation:
Smithsonian Institution Archives, Accession 19-197, Productions
See more items in:
Productions
Productions / Electronic Records
Archival Repository:
Smithsonian Institution Archives
EDAN-URL:
ead_component:sova-sia-fa19-197-refidd1e1108

Real Mad Men of Advertising 104: The 1980s (Show code: X15017.4), 1/30/2017

Collection Creator::
Smithsonian Channel  Search this
Container:
Electronic Records
Type:
Archival materials
Collection Restrictions:
Special restrictions on use of these materials apply. See Record of Transfer, Appendix B, Transferring office; Record of Transfer, August 25, 2009; Contact reference staff for details.
Collection Citation:
Smithsonian Institution Archives, Accession 19-197, Productions
See more items in:
Productions
Productions / Electronic Records
Archival Repository:
Smithsonian Institution Archives
EDAN-URL:
ead_component:sova-sia-fa19-197-refidd1e1119

Drinks, Crime and Prohibition 102: Gangsters and G-Men (Show code: X17005.2), 6/18/2018

Collection Creator::
Smithsonian Channel  Search this
Container:
Electronic Records
Type:
Archival materials
Collection Restrictions:
Special restrictions on use of these materials apply. See Record of Transfer, Appendix B, Transferring office; Record of Transfer, August 25, 2009; Contact reference staff for details.
Collection Citation:
Smithsonian Institution Archives, Accession 19-197, Productions
See more items in:
Productions
Productions / Electronic Records
Archival Repository:
Smithsonian Institution Archives
EDAN-URL:
ead_component:sova-sia-fa19-197-refidd1e3285

Harold E. Morehouse Flying Pioneers Biographies collection

Creator:
Morehouse, Harold E., 1894-1973  Search this
Names:
Early Birds of Aviation (Organization).  Search this
Morehouse, Harold E., 1894-1973  Search this
Extent:
4.36 Cubic feet (4 records center boxes)
4.16 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Manuscripts
Date:
circa 1960s-1970s
Summary:
This collection consists of 355 biographies written by Harold E. Morehouse and intended for publication. These biographies discuss Morehouse's fellow early aviation pioneers, many of whom belong to the Early Birds, an organization open to those who soloed before December 17, 1916. Each biography discusses the subject's life and the majority of biographies include a photograph of the individual.
Contents note:
The Harold E. Morehouse Flying Pioneers Biographies Collection (accession XXXX-0450) contains approximately four cubic feet of material. It is also known as The Harold and Marvel Morehouse Aviation Pioneers Collection. The collection includes photographs, negatives, and typewritten material.
Arrangement note:
Container List: Series I: Biographies of Flying Pioneers; Series II: Miscellaneous related materials; Series III: Oversized materials
Biographical note:
This collection consists of over 350 short biographies of early aviation's trailblazers written by Harold E. Morehouse (1894-1973). Conspicuous by its absence is a biography of the author, himself an innovator.

Born in Michigan, Morehouse channelled a youthful fascination with flight into training in the field of mechanical engineering. He began work in 1915 for the Van Blerck Motor Company and assisted in their development of aircraft engines. In 1917, Morehouse was working as a layout draftsman on the Standard J-1 Training Airplane for the Dayton-Wright Aeroplane Company. However, this assignment was quickly superseded by his placement on a secret project, supervised by C.F. Kettering and Orville Wright. Its aim was the production of a selfflying aerial torpedo which has since become known as the Kettering Bug. Morehouse contributed to all phases of this project, including its design, engine development and flight testing. The armistice arrived before the actual deployment of the Bug; Morehouse was to spend the next few years in engine design and development.

In 1925, Morehouse joined the Wright Aeronautical Corporation and both the Wright-Morehouse engine and the Wright-Whirlwind J-5 (a re-design of the J-4) were developed here under Morehouse. The latter engine was later to serve as the powerplant for the historic 1927 trans-Atlantic flight of the Spirit of St. Louis and this was a great source of satisfaction to Morehouse. He left Wright Aero in 1929 and in subsequent years designed the inverted Rover for the Michigan Aero Engine Company, the A-50 for the Continental Motors Corporation and the Engineering and Research Corporation's Erco engine.

About ten years prior to his retirement in 1965, Harold Morehouse began work on a personal project. His aim was to gather information on significant contributors to early aviation and distill this data to produce a set of brief biographies of these innovative men and women. He was assisted in this by his wife, Marvel Dyer. After Harold's death, Marvel worked in concert with Paul E. Garber of the National Air Museum to procure publication of the work. Sadly, the passing of Marvel Dyer and later of Paul Garber seemed to bring plans for publication to a halt.

This collection consists of hundreds of biographical narratives concerning the lives of the "Flying Pioneers." Many of those featured were members of the Early Birds of Aviation, Inc., a group whose members had the distinction of having soloed prior to 1916. Most of the biographies are accompanied by one or more photographs of their subject and comprise an invaluable resource on the accomplishments and sacrifices of those intrepid individuals who forged the history of American aviation. However, it should be borne in mind that the biographies are based in large measure on personal interviews and are concerned primarily with their subjects' careers in aviation.

Other sources should be consulted to obtain a complete portrait.
Provenance:
Mr. and Mrs. Harold E. Morehouse, gift, 1960-1972, XXXX-0450, NASM
Restrictions:
No restrictions on access
Rights:
Permissions Requests
Topic:
Aeronautics -- 1903-1916  Search this
Aeronautics  Search this
Genre/Form:
Photographs
Manuscripts
Citation:
Harold E. Morehouse Flying Pioneers Biographies Collection, Acc. XXXX-0450, National Air and Space Museum, Smithsonian Institution.
Identifier:
NASM.XXXX.0450
See more items in:
Harold E. Morehouse Flying Pioneers Biographies collection
Archival Repository:
National Air and Space Museum Archives
EDAN-URL:
ead_collection:sova-nasm-xxxx-0450
Online Media:

Folders 8-12 Langley, Samuel P., correspondence, 1889-1898. This correspondence is chiefly concerned with Langley's research in astrophysics and manned flight. Researchers should also consult the oversize holdings for related material. Oversize materia...

Collection Creator::
Smithsonian Institution. Office of the Secretary  Search this
Container:
Box 70 of 192
Type:
Archival materials
Collection Citation:
Smithsonian Institution Archives, Record Unit 31, Smithsonian Institution, Office of the Secretary, Correspondence
See more items in:
Correspondence
Correspondence / Series 2: Smithsonian Bureaus and Offices, 1891-1906. / Box 70
Archival Repository:
Smithsonian Institution Archives
EDAN-URL:
ead_component:sova-sia-faru0031-refidd1e11759

Records and Correspondence Relating to the Hodgkins Bequest and Prizes Subsequently Allocated from its Income, 1866-1916.

Collection Creator::
Smithsonian Institution. Office of the Secretary  Search this
Type:
Archival materials
Note:
The Hodgkins Fund was created by a gift in 1891 from Thomas George Hodgkins, who directed that one-half its income be used to support research on atmospheric air in connection with the welfare of man. In 1893 the Smithsonian held its first competition for contributions to knowledge on this subject. In later years it also made direct grants from the Fund to support the research of specific scientists.
Collection Citation:
Smithsonian Institution Archives, Record Unit 31, Smithsonian Institution, Office of the Secretary, Correspondence
Identifier:
Record Unit 31, Series 3
See more items in:
Correspondence
Archival Repository:
Smithsonian Institution Archives
EDAN-URL:
ead_component:sova-sia-faru0031-refidd1e12264

Folders 7-9 Chanute, Octave O., 1891-1905. Discussing topics related to manned flight.

Collection Creator::
Smithsonian Institution. Office of the Secretary  Search this
Container:
Box 18 of 192
Type:
Archival materials
Collection Citation:
Smithsonian Institution Archives, Record Unit 31, Smithsonian Institution, Office of the Secretary, Correspondence
See more items in:
Correspondence
Correspondence / Series 1: General Incoming Correspondence, 1888-1927. Arranged Alphabetically. / Box 18
Archival Repository:
Smithsonian Institution Archives
EDAN-URL:
ead_component:sova-sia-faru0031-refidd1e2303

Folders 4-17 Adler, Cyrus A., 1890-1906. Cyrus Adler was Librarian and Assistant Secretary of the Smithsonian. He was one of the few men close to Secretary Langley, who consulted him on a variety of subjects.

Collection Creator::
Smithsonian Institution. Office of the Secretary  Search this
Container:
Box 3 of 192
Type:
Archival materials
Collection Citation:
Smithsonian Institution Archives, Record Unit 31, Smithsonian Institution, Office of the Secretary, Correspondence
See more items in:
Correspondence
Correspondence / Series 1: General Incoming Correspondence, 1888-1927. Arranged Alphabetically. / Box 3
Archival Repository:
Smithsonian Institution Archives
EDAN-URL:
ead_component:sova-sia-faru0031-refidd1e367

Folders 19-22 Gatchel and Manning, 1902-March 1905. This Philadelphia firm produced illustrations for many SI publications.

Collection Creator::
Smithsonian Institution. Office of the Secretary  Search this
Container:
Box 27 of 192
Type:
Archival materials
Collection Citation:
Smithsonian Institution Archives, Record Unit 31, Smithsonian Institution, Office of the Secretary, Correspondence
See more items in:
Correspondence
Correspondence / Series 1: General Incoming Correspondence, 1888-1927. Arranged Alphabetically. / Box 27
Archival Repository:
Smithsonian Institution Archives
EDAN-URL:
ead_component:sova-sia-faru0031-refidd1e3975

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