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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

Oscar Bluemner papers

Creator:
Bluemner, Oscar, 1867-1938  Search this
Names:
Bourgeois, Stephan, 1881-1964  Search this
Bruce, Edward, 1879-1943  Search this
Fiene, Ernest, 1894-  Search this
Friedman, Arnold, 1874-1946  Search this
Hirsch, Stefan, 1899-1964  Search this
Hochschild, Walter  Search this
Lewisohn, Margaret  Search this
Liebman, Aline Meyer, 1879-1966  Search this
Of, George F. (George Ferdinand), b. 1876  Search this
Rothbart, Albert  Search this
Stieglitz, Alfred, 1864-1946  Search this
Vogelstein, Ludwig, 1871-1934  Search this
Extent:
6.9 Linear feet
Type:
Collection descriptions
Archival materials
Sketches
Writings
Diaries
Photographs
Date:
1886-1939, 1960
Summary:
The papers of painter Oscar Bluemner date from 1886 to 1939, with one item from 1960, and measure 6.9 linear feet. The collection documents Bluemner's career through scattered biographical material and personal and professional correspondence. Almost one-half of the collection consists of Bluemner's extensive writings and notes about his artwork, painting techniques, and art theory in the form of diaries, notebooks, lists, essays, and notes - many of which are also illustrated. Also found are annotated books, exhibition catalogs, newsclippings, artwork and sketches by Bluemner, and photographs of Bluemner's artwork and of architecture. Bluemner's work in architecture is documented to a lesser degree through scattered licenses, photographs, and design drawings.
Scope and Content Note:
The papers of painter Oscar Bluemner date from 1886 to 1939, with one item from 1960, and measure 6.9 linear feet. The collection documents Bluemner's career through scattered biographical material and personal and professional correspondence. Almost one-half of the collection consists of Bluemner's extensive writings and notes about his artwork, painting techniques, and art theory in the form of diaries, notebooks, lists, essays, and notes - many of which are also illustrated. Also found are annotated books, exhibition catalogs, newsclippings, artwork and sketches by Bluemner, and photographs of Bluemner's artwork and of architecture. Bluemner's work in architecture is documented to a lesser degree through scattered licenses, photographs, and design drawings.

Biographical material is scattered and includes autobiographical writings, a list of published works, an essay for a Guggenheim fellowship application, certificates, legal documents, and membership records. Also of note are detailed technical diagrams of his studio easel. The small amount of correspondence in this collection is with family, friends, artists, art galleries and museums, art collectors and patons, and others. Notable correspondents include Stephan Bourgeois, Edward Bruce, Ernest Fiene, Arnold Friedman, Stefan Hirsch, Walter Hochschild, Margaret Lewisohn, Aline Liebman, George Ferdinand Of, Albert Rothbart, Alfred Stieglitz, and Ludwig Vogelstein.

Bluemner' extensive writings about his painting techniques and theories, and art history and criticism are found in painting and theory diaries, notebooks, notes, lists of artwork, essays, and writings for publication. Painting Diaries contain Bluemner's handwritten notes about newly-completed paintings and current work. Theory Diaries contain his notes on art theory. Both sets of diaries contain many color illustrations and sketches. Also of particular interest are Bluemner's notes and homemade notebooks on techniques which he often called "Easel Notes." Also found are notes on paintings he viewed in American art collections and four volumes of notes taken during his tour of Europe in 1912. Bluemner also maintained extensive notes on Chinese and Japanese art history and styles. Additional writings include a collection of notes he compiled and organized from his other diaries, notebooks, and writings for a book on painting.

Bluemner's papers also contain books and exhibition catalogs annotated with his notes and illustrations - many of which are on the subject of Chinese and Japanese art. Art motif and travel sketches contain motifs and artwork that Bluemner developed into themes for his paintings. Most of the travel sketches are of towns in New Jersey, but also include sketches and notes on Italy, which he visited in 1912. There is also a small sketchbook and drawings of buildings Bluemner designed.

Printed material includes exhibition catalogs and announcements, some of which are annotated with prices and additional information, as well as news and magazine clippings, and prints of published writings by Bluemner. Photographs found in the collection include three photographs of buildings Bluemner designed, photographs of artwork, one print of Bluemner, and negatives.
Arrangement:
The collection is arranged into 9 series:

Series 1: Biographical Material, 1886-circa 1937 (Box 1, OV 9; 0.2 linear feet)

Series 2: Correspondence, 1889-1936 (Box 1; 0.2 linear feet)

Series 3: Painting & Theory Diaries, 1911-1936 (Box 1-2, 7; 1.2 linear feet)

Series 4: Writings & Notes, 1891-1892, 1909-1937 (Box 2-4, 8; 2.2 linear feet)

Series 5: Annotated Books & Catalogs, 1907-1933 (Box 4-5; 1.0 linear feet)

Series 6: Art Motifs & Travel Sketches, 1902-1936 (Box 5-6, 8; 1.4 linear feet)

Series 7: Artwork, 1892-circa 1930s (Box 6; 4 folders)

Series 8: Printed Material, 1906-1939, 1960, undated (Box 6; 0.3 linear feet)

Series 9: Photographs, 1891, 1903, circa 1930s (Box 6; 5 folders)
Biographical Note:
Oscar Bluemner (1867-1938) was born Friedrich Julius Oskar Blümner in Prussia in 1867. As a child he received some formal art training. He enrolled in the architecture department of the Konigliche Technische Hochschule (Royal Technical Academy), Berlin, and received his architecture degree in 1892. A few months later he moved to the United States and worked in Chicago as a draftsman at the World's Columbian Exposition. After the exposition, Bluemner attempted to find work in both Chicago and New York City, but could not find steady employment. In 1903 he created the winning design for the Bronx Borough Courthouse, and for the next few years had various intermittent jobs as an architect in New York. Around this time Bluemner also began writing down his thoughts on aesthetics, art history, and art theory, which he would continue to do for the rest of his life in various journals, diaries, and notebooks.

In 1908 Bluemner met Alfred Stieglitz at Stieglitz's gallery, known as "291", and by 1910 he had decided to pursue painting full-time rather than architecture. From 1911 to 1912 he worked on a set of Neo-Impressionist paintings and, using the money he won in a suit regarding the Bronx Courthouse design, he went on a seven-month trip to Europe, touring museums and galleries, and exhibiting his own work in Germany. Upon returning to the United States, Bluemner exhibited in the 1913 Armory Show, and in 1915 had a one-man show at 291. Despite participating in several exhibitions, including solo shows, for the next ten years Bluemner failed to sell many paintings and lived with his family in near-poverty. In 1916 he moved to New Jersey, living as an itinerant, until finally settling in South Braintree, Massachusetts, after his wife's death in 1926. Over the next few years, Bluemner had several prominent one-man shows at the Whitney Studio Galleries and at the Marie Harriman Gallery in New York. He was briefly employed for the Public Works of Art Project in 1934 and the Federal Art Project in 1936, but due to failing health was forced to stop painting. Oscar Bluemner committed suicide in 1938.
Related Material:
Also found in the Archives of American Art is the John Davis Hatch papers, 1790-1995, which include correspondence, printed material, and research files regarding Oscar Bluemner.

Additional Oscar Bluemner materials are available at the Avery Architectural and Fine Arts Library, Columbia University, and within the Vera Bluemner Kouba Collection, Stetson University, Deland, Florida.
Separated Material:
The Archives of American Art also holds microfilm of material lent for microfilming on reel N737. Loaned materials were returned to the lender and are not described in the collection container inventory.
Provenance:
The material on reel N737 was lent by Graham Gallery in 1968. The rest of the collection was donated between 1970-1985 by John David Hatch, a close friend of Bluemner and an art historian.
Restrictions:
The collection has been digitized and is available online via AAA's website.
Rights:
The Oscar Bluemner papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Art -- Philosophy  Search this
Works of art  Search this
Painting -- Technique  Search this
Architects -- New York (State) -- New York  Search this
Painters -- New York (State) -- New York  Search this
Art -- History  Search this
Art criticism  Search this
Art, Chinese  Search this
Art, Japanese  Search this
Genre/Form:
Sketches
Writings
Diaries
Photographs
Citation:
Oscar Bluemner papers, 1886-1939, 1960. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.blueosca
See more items in:
Oscar Bluemner papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-blueosca
Online Media:

Fred Uhl Ball papers

Creator:
Ball, Fred Uhl, 1945-1985  Search this
Names:
Ball, F. Carlton, 1911-1992  Search this
Ball, Kathryn Uhl, 1910-2000  Search this
Uhl, George A.  Search this
Extent:
1 Linear foot
Type:
Collection descriptions
Archival materials
Photographs
Slides (photographs)
Visitors' books
Date:
1936-2002
Summary:
The papers of enamelist and sculptor, Fred Uhl Ball, measure 1.0 linear feet and date from 1936 to 2002. The collection provides scattered documentation of Ball's career through biographical material, family photographs, photographs of artwork, and printed material. The collection also includes a small group of papers concerning Ball's father, ceramicist F. Carlton Ball, his mother, illustrator and enamelist Kathryn Uhl Ball, and his grandfather, silversmith George Uhl.
Scope and Content Note:
The papers of enamelist and sculptor, Fred Uhl Ball, measure 1.0 linear feet and date from 1936 to 2002. The collection provides scattered documentation of Ball's career through biographical material, family photographs, photographs of artwork, and printed material. The collection also includes a small group of papers concerning Ball's father, ceramicist F. Carlton Ball, his mother, illustrator and enamelist Kathryn Uhl Ball, and his grandfather, silversmith George Uhl.The collection consists primarily of photographs and slide transparencies of Ball's artwork, but also includes photographs of Ball, his studio and some of his exhibitions. Papers and printed material include a vita compiled after Ball's death, news clippings providing an overview of his career, a folder of writings, and several items commemorating him.
Arrangement:
The collection was assembled by Lois and David Warren after Ball's death and their original arrangement has been retained.

The papers are arranged into two series:

Series 1: Papers and Printed Material, 1936-2002, undated (box 1; 0.3 linear ft.)

Series 2: Photographs, 1945-1987, undated (box 1; 0.7 linear ft.)
Biographical Note:
Fred Uhl Ball was born in Oakland, California, in 1945. Ball's interest in enameling began in childhood, and was fostered by his mother, Kathryn Uhl, an illustrator and enamelist who taught life drawing at Mills College, and his father, a ceramicist, who was head of the art department at Mills.

Ball received his bachelor's and master's degrees in art from Sacramento State University. His first exhibition was a two-man show with Gerald Silva at the Barrios Gallery. His first national exhibition was held the same year, and his work was shown in Stuttgart, Germany, two years later. In the early 1970s Ball began experimenting with test tiles and assembling torch-fired enamels on thin copper foil into collage-like panels. He also experimented with using brass as a surface and with exposing white enamel to varying degrees of heat to produce a range of hues. In 1972, he published Experimental Techniques in Enameling (New York: Van Nostrand Reinhold), which has since been considered the definitive text on enameling.

Ball was best known in Sacramento, where he lived and had his studio, for his large-scale public murals. In 1976 he joined the city's federally funded Comprehensive Employment and Training program (CETA) and created his first truly large-scale mural for the Sacramento Community Center. The mural won him critical acclaim and for the remainder of his career Ball would combine his personal work with additional commissions, and would continue to experiment with innovative enameling techniques and material in his sculptural collages. His Sacramento parking garage mural is one of the largest enameled murals ever attempted.

During the last decade of his life Ball was commissioned to create a number of large, site-specific works for corporate clients in the Sacramento area. In September of 1985 he was working on a fifty-foot copper mural, The Great Sacramento Valley, when he was assaulted at his studio. Ball died three months later at the age of forty from injuries sustained during the attack. The mural was completed by his mother and his associate, Bruce Beck, and was unveiled at Sacramento's Sutter General Hospital in December, 1986. A memorial retrospective of Ball's work, organized by the Creative Arts League, was held at the Crocker Art Museum from March to April of 1987.
Provenance:
At his death, Fred Uhl Ball's art passed to his mother, Kathryn, who died in 2000 without any heirs. Susan J. Willoughby, a close family friend, served as Trustee of the Kathryn Uhl Ball Trust. Unfortunately, most of Ball's papers were discarded after his death. The remainder of the collection was assembled by Lois and David Warren, and given to the Archives of American Art by Susan J. Willoughby in 2001. Several 2002 news clippings were added to the collection in 2002.
Restrictions:
The collection is open for research. Use requires an appointment and is limited to the Washington, D.C. research facility.
Rights:
The Fred Uhl Ball 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:
Enamelers -- California -- Sacramento  Search this
Enamel and enameling  Search this
Silverwork  Search this
Genre/Form:
Photographs
Slides (photographs)
Visitors' books
Citation:
Fred Uhl Ball papers, 1936-2002. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.ballfred
See more items in:
Fred Uhl Ball papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-ballfred

Musical Instrument Recording Session Photoprint

Photographer:
Gray & Wynkoop  Search this
Names:
Edison, Thomas A. (Thomas Alva), 1847-1931  Search this
Extent:
0.1 Cubic feet (1 box)
Type:
Collection descriptions
Archival materials
Sound recordings
Photographs
Place:
Paterson (N.J.) -- 1900-1910
Date:
ca. 1900.
Summary:
Collection is a photoprint of an early recording session taken about 1900.
Scope and Contents:
The photoprint, probably gelatin silver bromide, is on pink tinted paper, mounted on a small board with a wrinkled, frayed, red ribbon adhered to the upper left corner. The image depicts a sound recording session with an Edison recording machine and five men, three seated, holding two mandolins and a zither. The photographic studio's blind-stamp, including address (256 Main Street, Paterson, New Jersey) is on the mount.
Biographical / Historical:
Print by Gray & Wynkoop of Paterson, New Jersey.
Provenance:
Purchased by the Division of Musical Instruments, now part of the Division of Music, Sports and Entertainment from Keith DeLellis in 1985.
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:
Musicians -- 1900-1950  Search this
Musical instruments -- 1900-1910  Search this
Zither -- 1900-1910  Search this
Mandolin -- 1900-1910  Search this
Genre/Form:
Sound recordings -- 1900-1910
Photographs -- 1900-1950
Citation:
Musical Instuments Recording Session Photoprint, ca. 1900, Archives Center, National Museum of American History
Identifier:
NMAH.AC.0194
See more items in:
Musical Instrument Recording Session Photoprint
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-0194

Michael Brenner papers

Creator:
Brenner, Michael, 1885-1969  Search this
Names:
Washington Square Gallery  Search this
Coady, Robert J., 1881-1921  Search this
Extent:
0.4 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1888-1976
Summary:
The papers of the sculptor Michael Brenner measure 0.4 linear feet and date from 1888 to 1976. The collection includes letters, scrapbooks, drawings, photographs and other materials documenting Michael Brenner's career, the activities of members of the Brenner family, and the colony of expatriate American artists flourishing in Paris in the early twentieth century.
Scope and Contents:
The papers of the sculptor Michael Brenner measure 0.4 linear feet and date from 1888 to 1976. The collection includes letters, scrapbooks, drawings, photographs and other materials documenting Michael Brenner's career, the activities of members of the Brenner family and the colony of expatriate American artists flourishing in Paris in the early twentieth century.

Letters are written to family members and associates and include exchanges between Brenner's sister Miriam (Fanny) and her brothers Michael, Morris, Samuel, and Victor (Dave) Brenner concerning their health, family business, work, and other art-related activities. Several of Michael Brenner's letters mention his dissatisfaction with Robert Coady's handling of consignments, dealings with Mr. Kahnweiler, and exhibitions of colleagues Michel Kikoine and Pinchus Kremegne. Other correspondents include Alexandre Charpentier and (Louis) Oscar Roty.

Scrapbooks are comprised of material related to the life and career of Michael Brenner. The first scrapbook contains a photocopy of a letter written to Michael Brenner from Gertrude Stein where she describes her travels with Alice B. Toklas and mentions the bust Brenner made of her likeness. Other materials include a 1953 exhibition catalog for Chaim Soutine at Perls Galleries, letters written to Mrs. Michael Brenner concerning the sale of her husband's artwork, and photographs of Michael Brenner, Miriam Brenner, other family members, and works of art.

Photographs are of artwork and show Brenner family members, Victor Brenner and his studio, Michael Brenner with Chaim Soutine and pictures of Brenner's close friend, I. C. Rubin and Albert Einstein.

Art work is comprised of twenty-seven figure drawings.

Printed materials consists of clippings about Abraham Lincoln, reproductions of works of art, a bookplate for Marion Kean Lopez, and an essay entitled "Instead of an Introduction" by Sadakichi Hartmann praising the American landscape artist, Leon Dabo. Also found is an 1899 announcement for a "Seance Publique Annuelle," a photocopy of an article about Brenner by Cathy Turrill, a list of objects borrowed and photographed by Turrill in 1974, a photocopy of a photograph of Robert Coady, and the cover of an Avant-Garde catalog.

Other materials includes notes and a subject file on a life-long friend and physician, I. C. Rubin (1922-1975). There are letters from Rubin about his travels and photographs of Brenner and Rubin as young men, Brenner with his son, and Brenner with painter Isaac Pailes.
Arrangement:
Due to the small size of this collection the papers are arranged as one series.
Biographical / Historical:
Michael Brenner (1885-1969) was a sculptor who emigrated from Lithuania to New York with his family in 1890. In 1900, Brenner moved to Paris, France, entering the Ecole des Beaux-Arts and the Academie Julian. He studied under his brother, Victor Brenner, and Augustus Saint-Gaudens. Brenner established a studio in Paris and was included in Gertrude Stein's circle of friends. He was associated with a small artist colony of Russian Jews which included Chaim Soutine, Michel Kikoine, Pinchus Kremegne, and Isaac Pailes. In 1914, with his American friend, Robert Coady, Brenner established the Washington Square Gallery in New York for which he acted as European agent.
Provenance:
The papers of Michael Brenner were donated by his widow in 1976.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
Occupation:
Sculptors -- New York (State) -- New York  Search this
Topic:
Expatriate painters -- France -- Paris  Search this
Citation:
Michael Brenner papers, 1888-1976. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.brenmich
See more items in:
Michael Brenner papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-brenmich

Derek Boshier papers

Creator:
Boshier, Derek  Search this
Names:
Bowie, David  Search this
Extent:
0.9 Linear feet ((on one microfilm reel))
Type:
Collection descriptions
Archival materials
Date:
1955-1983
Scope and Contents:
Correspondence, some illustrated, from friends, colleagues and galleries; writings, including a statement by Boshier about his painting, "Identi-kit Man," and an essay about Boshier by Nigel Gosling; a catalog from an exhibition called "Lives", 1979, for which Boshier wrote the introduction; articles and clippings; exhibition announcements; exhibition catalogs; several books containing illustrations by Boshier; an illustrated notebook, 1979-1982; a sketchbook of ink drawings, 1955-1956; photographs, including a series of photographs of the singer David Bowie, and some of Derek Boshier's work.
Also includes a resume and bibliography; photographic reproductions of Boshier's work; the catalog introduction for the "Lives" exhibition; and clippings.
Biographical / Historical:
Painter, draftman, educator,photographer, filmmaker; Houston, Tex. and London, England. Rock star David Bowie was an acquaintance of Boshier, and Boshier prepared some studies of album covers for Bowie.
Provenance:
Microfilmed as part of the Archives of American Art's Texas project.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
Occupation:
Filmmakers  Search this
Educators  Search this
Painters  Search this
Printmakers  Search this
Topic:
Painting, Modern -- 20th century -- Texas -- Houston  Search this
Art, Modern -- United States  Search this
Identifier:
AAA.boshdere
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-boshdere

Henry Botkin papers

Creator:
Botkin, Henry, 1896-1983  Search this
Names:
American Abstract Artists  Search this
Artists Equity Association  Search this
Federation of Modern Painters and Sculptors  Search this
Gallery 256 (Provincetown, Mass.)  Search this
Arlen, Harold, 1905-1986  Search this
Botkin, Benjamin Albert, 1901-1975  Search this
Brice, Fanny  Search this
Brice, William, 1921-2008  Search this
Gershwin, George, 1898-1937  Search this
Gershwin, Ira, 1896-  Search this
Godowsky, Frances  Search this
Gross, Chaim, 1904-1991  Search this
Hasegawa, Saburō, 1906-1957  Search this
Hofmann, Hans, 1880-1966  Search this
Knaths, Karl, 1891-1971  Search this
Laurent, Toinette Botkin  Search this
Mocsanyi, Paul  Search this
Motherwell, Robert  Search this
Nevelson, Louise, 1899-1988  Search this
Newman, Barnett, 1905-1970  Search this
Picasso, Pablo, 1881-1973  Search this
Putnam, Wallace, 1899-1989  Search this
Rattner, Abraham  Search this
Robus, Hugo, 1885-1964  Search this
Schoenberg, Arnold, 1874-1951  Search this
Shadbolt, Jack, 1909-  Search this
Siqueiros, David Alfaro  Search this
Von Wicht, John, 1888-1970  Search this
Extent:
3.5 Linear feet ((on 10 microfilm reels))
4 Sound tapes (7 & 5 in.)
Type:
Collection descriptions
Archival materials
Sound tapes
Drawings
Scrapbooks
Date:
1917-1979
Scope and Contents:
Biographical material (1945-1965), letters (1917-1979), notes (1950-1970), writings (1944-1970), business records (1927-1977), art works (1932-1964), subject files (1952-1955), scrapbook (1927-1939), printed material (1923-1977), and photographs (1922-1968) documenting Botkin's career and his friendship with George and Ira Gershwin and other entertainment and artistic figures.
Among the correspondents and subjects of photographs or letters are: George and Ira Gershwin, their sister Frances Godowsky, Botkin's brother Benjamin, Botkin's daughter Toinette Botkin Laurent, and grandson Alexander Laurent, composer Harold Arlen, Fanny Brice and her son William Brice, artists Chaim Gross, Saburo Hasegawa, Hans Hofmann, Karl Knaths, Paul Manship, Paul Mocsanyi, Robert Motherwell, Louise Nevelson, Barnett Newman, Pablo Picasso, Wallace Putnam, Abrahmam Rattner, Hugo Robus, Arnold Schoenberg, Jack Shadbolt, John Von Wicht, and Abraham Walkowitz. Also included are photographs of Botkin's studio, night picnic in Provincetown attended by many artists; and material relating to American Abstract Artists, New School Art Center, Provincetown Art Association, and the Federation of Modern Painters and Sculptors. [See Finding Aid for information on location of items on the microfilm].
UNMICROFILMED: 3 untranscribed interviews of Botkin, 1 done for the "Today" show, NBC, June 4, 1965; 1 for Colette Roberts "Meet the Artist" Program, undated, and 1 by an unidentified interviewer. Also included is an untranscribed monologue, Oct. 11, 1970.
Biographical / Historical:
Painter; New York, N.Y. and Provincetown, Mass. Born in Boston and attended art schools there from 1913-1917. From 1917-1920, he attended the Art Students League and was employed as an illustrator for prominent magazines until 1929. Traveling abroad between 1926 and 1933, he attained his first one-man show in 1927 at the Billiet Galleries in Paris. Through his cousin, composer George Gershwin, Botkin became acquainted with people active in the performing arts, such as Harold Arlen, Fanny Brice, Harry Kurnitz, and Bert Lahr. Botkin was also involved in the American Abstract Artists, Artists Equity Association, Federation of Modern Painters and Sculptors, and Gallery 256 in Provincetown, Massachusetts.
Related Materials:
Henry Botkin papers also at Syracuse University.
Provenance:
Donated 1969-1982 by Henry Botkin and by his son Glenn and his assistant Rene Barilleaux. Many items were returned to Botkin after microfilming.
Restrictions:
Patrons must use microfilm copy. Use of untranscribed tapes requires an appointment at the Washington, D.C. office.
Occupation:
Composers  Search this
Painters -- New York (State) -- New York  Search this
Painters -- Massachusetts -- Provincetown  Search this
Topic:
Artists' studios -- New York (State) -- New York -- Photographs  Search this
Art, Abstract  Search this
Genre/Form:
Drawings
Scrapbooks
Identifier:
AAA.botkhenr
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-botkhenr

Louis Bouché papers

Creator:
Bouché, Louis, 1896-1969  Search this
Names:
Penguin Club (New York, N.Y.)  Search this
Wanamaker Gallery  Search this
Bacon, Peggy, 1895-1987  Search this
Bouché, Ernest  Search this
Bouché, Henri L.  Search this
Bouché, Jane  Search this
Bouché, Marian Wright, 1895-  Search this
Brook, Alexander, 1898-1980  Search this
Davidson, Jo, 1883-1952  Search this
Marsh, Reginald, 1898-1954  Search this
Pène du Bois, William, 1916-1993  Search this
Schmidt, Katherine, 1898-1978  Search this
Extent:
5.9 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Sketches
Scrapbooks
Travel diaries
Drawings
Date:
1880-2007
Summary:
The papers of painter and muralist Louis Bouché measure 5.9 linear feet and date from 1880 to 2007. Found within the papers are biographical material; personal correspondence, including correspondence from the extended Bouché family; writings; financial records; printed material; four scrapbooks; artwork; and photographs of Bouché, his family and friends, and his work.
Scope and Contents:
The papers of painter and muralist Louis Bouché measure 5.9 linear feet and date from 1880 to 2007. Found within the papers are biographical material; personal correspondence, including correspondence from the extended Bouché family; writings; financial records; printed material; four scrapbooks; artwork; and photographs of Bouché, his family and friends, and his work.

Biographical material consists of family certificates and Bouché's curriculum vitae.

The bulk of the correspondence consists of letters from Bouché 's father to his mother, and of letters addressed to his daughter, Jane. These include letters Louis and Marian wrote to Jane, along with letters from her first husband, William Pène du Bois, during the early days of their courtship and marriage. The handful of letters directly addressed to Louis and Marian include correspondence from Peggy Bacon and Katherine Schmidt.

Writings include drafts of Bouché's autobiography, eight journals kept by Marian Bouché detailing their travels in the United States and abroad, four reminiscences of Bouché written by others, and a poem written by Peggy Bacon.

Personal business records consist of two ledger books, lists, and receipts documenting inventory and records of sales.

Printed material consists of clippings, exhibition announcements and catalogs, and periodicals related to Bouché's work. There are also three books from Bouché's personal library and exhibition announcements and catalogs from Walt Kuhn's Penguin Club and Wanamaker's Gallery.

Two scrapbooks include clippings, photographs, and printed material related to Bouché 's career. One scrapbook includes material related to the extended Bouché family, and one scrapbook consists of reproductions of works of art by modern French artists.

Photographic materials include ten photograph albums. Three are of Louis, Marian, and Jane, three are of Jane and her family, and four are of Louis' parents and sister's family. There are also loose prints and negatives of Bouché, his family and friends, and works of art.

Artwork consists of sketches and drawings by Louis, Jane, Henri, and Ernest Bouché. Additional sketches by Peggy Bacon, Alexander Brook, Jo Davidson, and Reginald Marsh are also included.
Arrangement:
This collection is arranged as 8 series.

Series 1: Biographical Materials, 1880-1964 (2 folders, Box 1)

Series 2: Correspondence, 1880-2003 (1.2 linear feet; Boxes 1-2)

Series 3: Writings, 1933-1995 (.9 linear feet, Boxes 2-3)

Series 4: Personal Business Records, 1930-1974 (4 folders, Box 3)

Series 5: Printed Material, 1900-1997 (.5 linear feet; Boxes 3, 6)

Series 6: Scrapbooks, 1880-1969 (.8 linear feet; Boxes 3, 7-8)

Series 7: Photographic Materials, 1890-1994 (2.3 linear feet; Boxes 3-5, 9-10)

Series 8: Artwork, 1870-1965 (10 folders; Boxes 5, 10)
Biographical / Historical:
Louis Bouché (1896-1969) was a painter, muralist, and educator who lived and worked in New York City.

Bouché was born in New York City to Henri and Marie Bouché. His father was an interior designer who worked with Stanford White and for Tiffany, and his grandfather, Ernest Louis Bouché, was a Barbizon school painter. After his father's death in 1909, his mother moved the family to Paris where Bouché attended art school at La Grand Chaumère. When the family moved back to America in 1915, Bouché enrolled at the Art Students League where he met fellow student and lifelong friend Alexander Brook. In 1916, Bouché was invited to become a member of Walt Kuhn's Penguin Club, and in 1918, he joined the stable of Charlie Daniel's Daniel Gallery. At this time, Bouché began exhibiting in shows organized by Julianna Force for the Whitney Studio Club, which later evolved into the Whitney Museum. In 1920, he was introduced to the Woodstock artist community and was a frequent summer resident at the colony.

Bouché met Marian Wright while they were both members of the Penguin Club, and they were married in 1921. Upon returning from their honeymoon, Bouché accepted a position managing exhibitions for Wanamaker's Belmaison Galleries, the first modern art gallery in a department store in New York. Their daughter Jane would later marry William Pène du Bois, son of Guy Pène du Bois, whom the Bouchés had known from their days in the Penguin Club. In 1926, Bouché separated from Wanamaker's and began taking commissions for mural and design work, eventually completing murals for the U.S. Department of the Interior, Radio City Music Hall, and the Pennsylvania Railroad. In addition to murals, Bouché did illustrative advertising work for various publications, including Condé Nast and Town and Country.

In 1936, Bouché joined the stable at Kraushaar Gallery, where he eventually exhibited a series of ten one-man shows. Bouché also held solo exhibitons at the Valentine Gallery, Staten Island Institute, Century Association, and Albany Institute. Beginning in 1943, Bouché taught for many years at the Art Students League and began teaching at the National Academy of Design in 1951. He received a Guggenheim Fellowship in 1936 and was the American Academy in Rome's artist in residence in 1960.

Louis Bouché died in Pittsfield, Massachusetts, on August 7, 1969.
Related Materials:
Also found in the Archives of American Art are two oral history interviews with Louis Bouché, one conducted by John Morse, August 7, 1959, and another by William Woolfenden on March 13, 1963.
Provenance:
A portion of the Louis Bouché papers were loaned for microfilming and subsequently donated by the artist and his wife in 1963 and from 1972 to 1973. Additions were donated by Bouché's daughter, Jane Bouché Strong, in several accretions dating from 1978 to 1988. In 2011, Anne Strong, Jane B. Strong's executor, donated additional materials to the Archives of American Art.
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.
Rights:
The Louis Bouché 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:
Muralists -- New York (State) -- New York  Search this
Painters -- New York (State) -- New York  Search this
Genre/Form:
Photographs
Sketches
Scrapbooks
Travel diaries
Drawings
Citation:
Louis Bouché papers, 1880-2007. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.boucloui
See more items in:
Louis Bouché papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-boucloui
Online Media:

Dorr Bothwell papers

Creator:
Bothwell, Dorr  Search this
Names:
Pollock-Krasner Foundation  Search this
Adams, Ansel, 1902-1984  Search this
Adams, Virginia Best  Search this
Adnan, Etel  Search this
Chinn, Benjamen, 1921-2009  Search this
Falkenstein, Claire, 1908-1997  Search this
Howard, Charles, 1899-1978  Search this
Jackson, Martha Kellogg  Search this
Packard, Emmy Lou, 1914-1998  Search this
Extent:
10.6 Linear feet
1.72 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Drawings
Sketchbooks
Photographs
Visitors' books
Interviews
Travel diaries
Scrapbooks
Collages
Sketches
Contracts
Awards
Diaries
Lecture notes
Date:
1900-2006
Summary:
The papers of California painter, printmaker, and art instructor Dorr Bothwell date from 1900-2006, and measure 10.6 linear feet and 1.72 GB. Found within the papers are biographical material, correspondence, personal business records, notes and writings, five diaries, art work and 19 sketchbooks, three scrapbooks, printed material, and print and digital photographs.
Scope and Content Note:
The papers of California painter, printmaker, and art instructor Dorr Bothwell date from 1900-2006, and measure 10.6 linear feet and 1.72 GB. Found within the papers are biographical material, correspondence, personal business records, notes and writings, five diaries, art work and 19 sketchbooks, three scrapbooks, printed material, and print and digital photographs.

Biographical material consists of biographical sketches, resumés, identity cards, award certificates, typescripts of autobiographical interviews, address books, and a file concerning UFOs, spirituality, and philosophy.

Correspondence consists of letters exchanged between Bothwell and her colleagues and friends discussing their art-related activities, travel, and birthday greetings. There are scattered letters from Ansel and Virginia Adams, Etel Adnan, Benjamin Chinn, Claire Falkenstein, and Emmy Lou Packard.

Personal business records include teaching contracts, contracts and royalty statements for the publication of Bothwell's book Notan, insurance records, income tax records, records concerning a grant from the Pollock-Krasner Foundation, estate records, card files, lists of art work, price lists, exhibition entry cards, receipts for the sale of art work, travel receipts, medical receipts, and consignment/sales records.

Notes and writings include three diaries, two travel journals, guest books, miscellaneous lists, schedules of classes for various organizations and art schools including the Ansel Adams Yosemite Workshop, typescripts of lecture notes, and miscellaneous notes. There are also scattered writings by Bothwell and others.

Seventeen sketchbooks, including several completed during Bothwell's travels, and one dated 1942 illustrated with daily drawings of her activities while preparing for World War II, are found within the papers. There are also miscellaneous drawings, collages, a serigraph It's Time for a Change, an etching by Martha Jackson, and a drawing by Charles Howard.

Three scrapbooks contain clippings, exhibition announcements and catalogs, programs, and photographs of art work. Scrapbook 3 contains materials concerning spiritualism and mysticism. Additional printed material consists of clippings, exhibition announcements and catalogs, press releases, brochures for art classes, the sale of art work, travel, and camera equipment, reproductions of art work, picture postcards, programs, books, and miscellaneous commercial business cards.

Photographs are of Bothwell, her mother and brother, her studio/residences, miscellaneous friends and colleagues including her former husband, sculptor Donal Hord, miscellaneous events, and art classes conducted by Bothwell. There are also photographs of art work by Bothwell and others, as well as numerous photographs and slides of travel various forms in nature that Bothwell would incorporate into her art work.
Arrangement:
The collection is arranged as 8 series:

Series 1: Biographical Material, 1939-2001 (Box 1, 11, 13, 15; 0.6 linear feet)

Series 2: Correspondence, 1942-2002 (Box 1-3, 13; 2.3 linear feet)

Series 3: Personal Business Records, 1925-2006 (Box 3-4; 0.7 linear feet)

Series 4: Notes and Writings, 1949-1998 (Box 4, 11, 14, 15; 0.8 linear feet.)

Series 5: Art Work, 1920-1994 (Box 4-5, 11, 13, 16, 17; 1.5 linear feet)

Series 6: Scrapbooks, 1926-1979 (Box 5, 11, 12; 0.5 linear feet)

Series 7: Printed Material, 1923-2000 (Box 5-7, 12, 13; 1.8 linear feet)

Series 8: Photographs, 1900-2001 (Box 7-9, 10; 2.4 linear feet, ER01-ER04; 1.72 GB)
Biographical Note:
Dorr Bothwell (1902-2000) worked primarily in California as a painter, printmaker, and art instructor.

Doris Bothwell was born on May 3, 1902 in San Francisco, and later changed her first name to Dorr in order to more easily enter the art business. Bothwell began her art studies in 1916 with her parents' friend Anna Valentien, a student of Rodin. Between 1921 and 1922, she studied at the California School of Fine Art, and continued her studies at the University of Oregon at Eugene. After attending the Rudolph Schaeffer School of Design in 1924, she established her own studio in San Francisco from 1924 to 1927. Also during this time Bothwell, with eight other artists opened the Modern Gallery on Montgomery Street, mounting her first solo exhibition there in 1927.

Between 1928 and 1929, Bothwell traveled to American Samoa, where she created paintings and drawings, and documented tapa (barkcloth) drawings for the Bishop Museum of Honolulu. She then spent a year of study in Europe, returning to San Diego, California in 1931 and marrying sculptor Donal Hord. Four years later, they divorced and she moved to Los Angeles where she worked for the pottery manufacturer Gladding McBean, joined the post-surrealist group around Lorser Feitelson and Helen Lundeberg and opened the Bothwell-Cooke Gallery.

Between 1936 and 1939, Bothwell worked in the mural division of the Federal Arts Project of Los Angeles, and learned the art of serigraph printing. She designed dioramas and mechanized exhibitions for the Los Angeles County Museum. In 1940 she also created murals in the Manning Coffee Restaurant in San Francisco.

After teaching color and design at the California School of Fine Art in San Francisco from 1944 to 1948, Bothwell was awarded the Abraham Rosenberg Traveling Scholarship that financed study in Paris from 1949 to the fall of 1951. In 1952 she taught textile design for mass production at the Parsons School of Design in New York City.

Returning to San Francisco, Bothwell taught again at the California School of Fine Art from 1953 to 1958, and at the San Francisco Art Institute from 1959 to 1960. From 1960 to 1961 she took a sabbatical in England and France, creating paintings for an exhibition. In 1962 she was asked to teach at the new Mendocino Art Center and she taught there until 1983. She was also asked by Ansel Adams to teach design and composition for photographers at his Yosemite Workshop summer sessions, which she did from 1964 to 1977.

From 1966 to 1967, Bothwell documented indigo dying techniques, strip weaving, and pottery in Western Nigeria and Tunisia. In 1968, she published her book, co-authored with Marlys Frey, NOTAN The Principle of Dark-Light Design. The book was reissued in 1991. Bothwell continued her travels from 1970 to 1971, when she studied 12th century enamels in England, France, and Holland, and conducted a symposium, "Notan Design," for the London Educational Authority. In 1974, she traveled to Bali, Java, and Sumatra, making a slide documentary on batik, woodcarving, and folk design.

In 1977 Bothwell moved to Joshua Tree, California, from Mendocino in Northern California, but moved back and forth between the two studio/residences until 1992 when she moved to her last residence on the desert at Apache Junction, Arizona. From 1979 to 1980, she taught composition at the Victor School of Photography in Colorado and a design course at the Women's Art Guild in Kauai, Hawaii. Following a tour of China with a watercolor artists' group in 1982, Bothwell conducted workshops at the Mendocino Art Center. In 1985, she traveled to Japan.

Dorr Bothwell died on September 24, 2000 in Fort Bragg, California.
Provenance:
The Dorr Bothwell papers were donated in 1978 by the artist, and in 2002, 2009, and 2012 by the Dorr Bothwell Trust.
Restrictions:
Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
The Dorr Bothwell 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:
Women artists -- California  Search this
Art teachers -- California  Search this
Artists' studios -- Photographs  Search this
Painters -- California  Search this
Surrealism  Search this
World War, 1939-1945  Search this
Genre/Form:
Drawings
Sketchbooks
Photographs
Visitors' books
Interviews
Travel diaries
Scrapbooks
Collages
Sketches
Contracts
Awards
Diaries
Lecture notes
Citation:
Dorr Bothwell papers, 1900-2006. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.bothdorr
See more items in:
Dorr Bothwell papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-bothdorr

Solon H. Borglum and Borglum family papers

Creator:
Borglum, Solon Hannibal, 1868-1922  Search this
Names:
Borglum, Emma Vignal, 1864-1934  Search this
Borglum, Gutzon, 1867-1941  Search this
Davies, A. Mervyn (Alfred Mervyn)  Search this
Davies, Monica Borglum, 1903-1997  Search this
Extent:
11.5 Linear feet
Type:
Collection descriptions
Archival materials
Sketches
Date:
1864-2002
Summary:
The Solon H. Borglum and Borglum family papers date from 1864 to 2002 and measure 11.5 linear feet. The collection documents Solon Borglum's personal life and his career as a sculptor specializing in Western themes through biographical material, family and general correspondence, writings and notes, research for his biography, financial and business letters, printed material, photographs and artwork.
Scope and Contents:
The Solon H. Borglum and Borglum family papers date from 1864 to 2002 and measure 11.5 linear feet. The collection documents Solon Borglum's personal life and his career as a sculptor specializing in Western themes through biographical material, family and general correspondence, writings and notes, research for his biography, financial and business letters, printed material, photographs and artwork.

Biographical material contains documents providing information on the Borglum Family history as well as Solon's military service and memorial. Also found is a leather portfolio of ephemera kept by Emma Borglum. Family correspondence includes numerous letters between Solon and Emma and various members of their extended family. The letters discuss family events, everyday life, Solon's military service, and family history. General Correspondence pertains to Solon's career as an artist and includes his incoming and outgoing correspondence with galleries, foundries, patrons, fellow artists such as Augustus Saint-Gaudens, and others. Later correspondence from galleries, museums, foundries, historical societies, and other individuals and organizations, is addressed to his daughter Monica Borglum and concerns Solon's artwork and legacy after his death. Writings and notes include material written by Solon Borglum and material written by others. Solon's writings include project proposals as well as essays, lectures, and other notes on the topics of his own works of art, art and form, and his participation in World War I. Also found are Solon's diary, notebooks, and address books kept during the last five years of his life. Writings by others include writings by Emma and others about Solon Borglum, as well as guest books for the Silvermine Group of Artists.

Series five contains documents compiled by Monica Borglum Davies and her husband A. Mervyn Davies for a biography Solon Borglum. Included are their research files and notes as well as heavily edited drafts of book sections and draft manuscripts and notes. Financial and business records document Solon's professional career and legacy, including project contracts and financial proposals, account books, ledgers, receipts, and items regarding the Solon H. Borglum Sculpture and Education Fund. Printed material contains items about Solon Borglum's career and artwork compiled by his daughter, Monica Davies, and includes exhibition catalogs, exhibition announcements, brochures, programs, clippings, reports, and other publications. Also included is the textbook Sound Construction.

This collection also contains numerous photographs, including Solon's personal and family photographs, and photographs of his artwork. Family and personal photographs consist of photos of Solon taken throughout his career, including his time in military service, photos of his family and friends, various studios and residences including Rocky Ranch, and of him and and Emma at the Crow Creek Reservation. Artwork is comprised of sketches Solon made for his sculptural works and for Sound Construction. Also found are sketches by Emma and Gutzon Borglum, including a sketch of Solon, and artwork by others such as artist Robert Fulton Logan.
Arrangement:
The collection is arranged into 9 series. Glass plate negatives are housed separately and closed to researchers.

Series 1: Biographical Material, 1866, 1895-1922, undated (Box 1, 13; 10 folders)

Series 2: Family Correspondence, 1885-1972, undated (Box 1; 0.4 linear feet)

Series 3: General Correspondence, 1871-1989, undated (Box 1-2; 1.0 linear foot)

Series 4: Writings and Notes, 1871-1983, undated (Box 2-3; 1.0 linear foot)

Series 5: Solon Borglum Biography, 1870-1975, undated (Box 3-8; 5.3 linear feet)

Series 6: Financial and Business Records, 1898-1998, undated (Box 8, 13; 0.2 linear feet)

Series 7: Printed Material, 1879-2002, undated (Box 9, 13-14; 1.1 linear feet)

Series 8: Photographs, 1864-1986 (Box 9-13, MGP 1, MGP 3, OV 15-16; 2.0 linear feet)

Series 9: Artwork, 1890-1921, undated (Box 12-13; 0.3 linear feet)
Biographical Note:
Solon Hannibal Borglum was born in Ogden, Utah in 1868. His father Jens (James) Borglum and wife Ida emigrated to America in 1864, as Mormon converts. James took a second wife Christina who was the mother of Solon and his older brother John Gutzon de la Mothe. Christina left the family after just a few years, when James left the Mormon Church. James and Ida raised the large family, which included Solon, Gutzon, Miller, Arnold, August, Anna, Harriet, Theodora and Frank. Solon spent most of his childhood in Fremont, Nebraska, and in 1893 he became a ranch hand in Southern California. At this time he also developed an interest in art which he shared with his brother Gutzon, who was studying painting in Los Angeles.

From 1885 to 1893 Solon ran a ranch on his father's land in central Nebraska, but also took painting lessons from artist J. Laurie Wallace. After spending a short time at his brother's studio in Sierra Madre, and living as an artist in Santa Ana, he studied at the Cincinnati Art Academy under Louis T. Rebisso from 1895 to 1897. Solon then went to Paris where he met sculptor Augustus Saint-Gaudens who persuaded him to study sculpture at the Academie Julian. He studied there under Denys Puech and won numerous awards for works exhibited both in France and the United States. In 1898 Solon married Emma Vignal in Paris. They spent four months at the Crow Creek Reservation in South Dakota, an experience that greatly influenced his work. In 1901 Solon was elected to the National Sculpture Society, later becoming its vice president, and set up a studio in New York. Despite his success, such as winning the gold medal at the Art Palace at the 1904 World's Fair, confusions began between him and his brother Gutzon who decided to also become a sculptor. In 1906 he moved with his wife and children, Paul and Monica, to a farm in Connecticut called "Rocky Ranch." Artist Paul Manship became his student helper and lived with the family. Solon received commissions to do many monuments and memorials, but also continued to exhibit his work and participate in the local Silvermine Group of Artists.

From 1916 to 1917 Solon taught at the Beaux-Arts Institute of Design in New York and also developed ideas for an art textbook called Sound Construction, which he worked on with his student assistant Mildred Archer Nash. In 1918, he enlisted in the YMCA for overseas war work, attached to the Third and Fifth French Army. While there he was also the Director of Sculpture at the specially organized American Expeditionary Forces Art Training Center. When he returned home, he decided to establish the School of American Sculpture in New York City. He ran the school with great success, and gave many lectures on art and his experiences overseas until his sudden death after an appendectomy in January of 1922. His legacy was carried on by his wife Emma until her death in 1934, at which point his daughter Monica and her husband, A. Mervyn Davies, oversaw the exhibition of his artwork, and in 1974 published his biography Solon H. Borglum: "A Man Who Stands Alone".
Related Material:
The Archives also holds several collections related to the Borglum family, including the Gutzon Borglum collection, available on microfilm only, reel 3056. This collection includes correspondence, printed material, and photographs. Originals reside at the San Antonio Museum of Art. Also found are the Gutzon Borglum letters to John A. Stewart (available on microfilm reel D8, frames 359-362) and the Harriet Collins Allen papers relating to Solon Borglum. The Library of Congress also holds papers of Solon Hannibal Borglum and is the primary repository of the papers of Gutzon Borglum.
Separated Material:
The Archives of American Art also holds microfilm of material lent for microfilming (reels N69-98 and 1054) including a scrapbook of new clippings, other printed material, writings, and correspondence, much of which was included in subsequent donations. Loaned materials not donated at a later date are not described in the container listing of this finding aid.
Provenance:
Most of the materials in the collection were originally loaned by the Borglum family between 1969-1975 and microfilmed. Much of the same material was later donated in several accretions between circa 1991-2004 by various family members David Borglum, Harriet M. Borglum, Alfred Davies, Harold Davies, Monica B. Davies, Linda Borglum Fry, and Gwynneth Kelly. In 1979 approximately 200 photographs were transferred from the Smithsonian American Art Museum Library to AAA, which had received them from Monica Borglum Davies.
Restrictions:
The bulk of the collection has been digitized and is available online via AAA's website. Use of material not digitized requires an appointment. Glass plate negatives are housed separately and closed to researchers.
Rights:
Solon Borglum and the Borglum family 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:
Sculpture, American -- United States  Search this
Sculptors -- Connecticut -- Wilton  Search this
Sculpture -- Study and teaching  Search this
World War, 1914-1918  Search this
Genre/Form:
Sketches
Citation:
Solon H. Borglum and Borglum family papers, 1864-2002. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.borgsolo
See more items in:
Solon H. Borglum and Borglum family papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-borgsolo
Online Media:

W. C. Handy Collection

Creator:
Shurr, Robert L.  Search this
Handy, W. C. (William Christopher), 1873-1958  Search this
Names:
Pace, Harry (song writer)  Search this
Extent:
0.3 Cubic feet (1 box)
Type:
Collection descriptions
Archival materials
Sheet music
Letters (correspondence)
Correspondence
Photographs
Personal papers
Date:
1928
1948 - 1948
Scope and Contents note:
The collection consists of a photograph, several letters written by Handy, and several pieces of music which he published.

Handy remains among the most influential of American Blues songwriters. Handy is credited with giving Blues, its contemporary form. While Handy was not the first to publish music in the blues form, he took the blues from a regional music style with a limited audience to one of the dominant national forces in American music.

Handy was an educated musician who used folk material in his compositions. He was scrupulous in documenting the sources of his works, which frequently combined stylistic influences from several performers.
Arrangement:
Divided into 4 series: (1) Correspondence, 1928; (2) Photographs, 1948; (3) Sheet music, 1948; and (4) Robert L. Shurr papers.
Biographical/Historical note:
William Christopher Handy, a composer and music publisher, was born in Florence, Alabama on November 16, 1873. He is known as the "father of the blues" because he was the first person to collect and write the songs down which had been played by workers, illiterates, and share croppers. These original blues songs had a three line verse, a definite musical pattern which usually expressed a lament of some kind, and often ended in "ironical self -ridicule, fatalistic resignation, or absurd incongruous laughter" He also had a minstrel show band.

Among the more than sixty songs he wrote were "Memphis Blues, St. Louis Blues, Beale Street Blues, Mississippi Blues, and Joe Turner Blues." Handy wrote other secular songs, made arrangements of spirituals, and did orchestral work as a composer and conductor.

To get his music published. Handy, with Harry Pace, a songwriter, founded a music publishing house in Memphis in 1907 which was moved to New York in 1918. Among the songs his company published was "A Good Man is Hard to Find" which Sophie Tucker, a white singer, sang on Broadway and helped to make it a hit.

Handy died on March 29, 1958 in New York City. Later that year a movie based on his life was issued. It was titled "St. Louis Blues" and Nat "King" Cole played the role of Handy.
Related Archival Materials:
Received with George Washington Carver Collection, same donor.
Provenance:
Collection donated by Robert L. Shurr.
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:
Popular music -- Publishing and writing  Search this
Composers -- 20th century  Search this
Blues (Music)  Search this
African American music -- 20th century  Search this
African American composers  Search this
Genre/Form:
Sheet music
Letters (correspondence) -- 1900-1950
Correspondence -- 20th century
Photographs -- 1900-1950
Personal papers
Citation:
W. C. Handy Collection, Archives Center, National Museum of American History.
Identifier:
NMAH.AC.0132
See more items in:
W. C. Handy Collection
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-0132

Charles Sumner Tainter Papers

Source:
Electricity and Modern Physics, Division of, NMAH, SI.  Search this
Mechanisms, Division of (NMAH, SI)  Search this
Creator:
Tainter, Charles Sumner, 1854-1940  Search this
Hartsook Studio (San Diego, Calif.)  Search this
Names:
American Graphaphone Company  Search this
Clark, Alvin and Sons Company  Search this
Edison Phonograph Works  Search this
International Graphophone Company  Search this
Volta Graphophone Gompany  Search this
Bell, Alexander Graham, 1847-1922  Search this
Bell, Chichester  Search this
Berliner, Emile, 1851-1929  Search this
Former owner:
Electricity and Modern Physics, Division of, NMAH, SI.  Search this
Mechanisms, Division of (NMAH, SI)  Search this
Extent:
2 Cubic feet (6 boxes)
Type:
Collection descriptions
Archival materials
Laboratory notebooks
Date:
1878-1937
Summary:
Charles Sumner Tainter has been recognized as the father of the talking machine, and much of the material in this collection represents his experimental work on the graphophone. Alexander Graham Bell, Chichester Bell, and Tainter established the Volta Laboratory Association in 1881. This collection presents a comprehensive picture of the early development of the phonograph and Tainter's substantial contributions to the project.
Scope and Contents:
Charles Sumner Tainter has been recognized as the father of the talking machine, and much of the material in this collection represents his experimental work on the graphophone.

Alexander Graham Bell, in partnership with his cousin Chichester Bell, and Tainter, established the Volta Laboratory Association in 1881, which stayed in operation until 1885. During this time Tainter recorded his experiments on the graphophone in thirteen note books or "Home Notes" and in two large volumes of technical drawings and notes. One of these volumes contains very exact drawings for a multiple record duplicator (1897-1908); the other contains rough sketches of his experiments with various apparatuses (1883-1884).

Tainter also wrote an unpublished, undated manuscript on The Talking Machine and Some Little Known Facts in Connection with Its Early Development. Another document consists of a binder with the printed patent specifications of Tainter, Alexander Graham Bell, and Chichester Bell (1880-1903). All of these documents are contained within this collection, except Volumes 9, 10, and 13 of Tainter's "Home Notes" which were destroyed in a fire in Tainter's Laboratory in Washington, D.C., in September 1897. The other ten volumes were needed in a law suit and were in possession of his attorney at the time of the fire. Records of Court testimony in suits involving the phonograph (1894-1896) are also included in this collection.

Tainter's memoirs, Early History of Charles Sumner Tainter provide a personal account of his childhood and youth, and of his later role as a member of the U. S. Government Expedition to observe the transit of Venus in 1874. Certificates, photographs, clippings, some correspondence, handwritten notes, and articles on the history of the phonograph complete the collection of his papers.
Arrangement:
The collection is divided into three series:

Series 1, Papers, 1878-1937

Series 2, Laboratory Notes, 1881-1908

Series 3, Artifacts, undated
Biographical / Historical:
Charles Sumner Tainter, son of George and Abigail Sanger Tainter, was born on April 25, 1854, in Watertown, Massachusetts, near Boston. His father was an inventor with several patents to his name. In his memoirs Tainter describes his father as "a man of much force of character and inventive ability" and his mother as, "a woman of high character and beloved by all." His school years left him with a terror of public speaking that followed him all his life. He completed public school without much enthusiasm and then became essentially self-educated, studying only subjects that interested him. He obtained scientific and technical books from the public library, and was an avid reader of Scientific American. In his memoirs he recalls: "I believe that this journal had a great influence in molding my thoughts in mechanical and scientific directions as I grew up with it and used to read it regularly."

In 1870 Tainter started to work for Charles Williams, Jr., a manufacturer of telegraphs and electrical apparatus in Boston, for five dollars a week. Two years later he became associated with Johnson and Whittlemore, manufacturers of electrical instruments in Boston. He stayed with them until the business folded in 1873, and then joined Alvan Clark and Sons, a well-known manufacturing company of large telescopes and optical instruments in Cambridgeport, Massachusetts. As a technician at the Alvan Clark and Sons Company, Tainter assisted with the building of the Equatorial Telescope mounted in the U.S. Naval Observatory in Washington, D.C. He also constructed much of the equipment that was used during the U.S. government expedition to observe the transit of Venus in the South Pacific on December 8, 1874. The Secretary of the Navy appointed Tainter a member of this expedition, and Tainter vividly reveals his role in the event in his memoirs: "Early History of Charles Sumner Tainter." See Series 1, Box 1. [Note: Henry Draper, (1837 1882), a scientist whose collection of papers are also stored in the Archives Center, Series 3, Box 6, was superintendent of the government commission for the observation of the transit of Venus.] After he returned from the expedition in 1875, Tainter rejoined Alvan Clark and Sons Company and stayed there for three years.

Tainter started his own business in 1878 in Cambridgeport, Massachusetts, constructing scientific instruments. It was in Cambridgeport, that he met Alexander Graham Bell. A year later Tainter accepted Bell's proposal to join him in Washington, D.C. to establish a small laboratory. After a series of experiments they developed the radiophone, an instrument for transmitting sound to distant points through the agency of light, using sensitive selenium cells. The radiophone was shown at an electrical exhibition in Paris in 1881, where Tainter was awarded a gold medal and diploma for his part in the invention. Between 1879 and 1880, Tainter and Bell also experimented with and tried to improve on Edison's talking machine.

The Academie des Sciences of Paris awarded Bell the Volta prize in 1880 for his development of the telephone. The prize included $10,000 that Bell used a year later to establish the Volta Laboratory Association, a small research laboratory in Washington, D.C. He asked his cousin, Chichester A. Bell, a chemist from London, and Tainter to join him in this venture. Although they devoted much of their attention to electrical and acoustical research, most of their efforts went into the improvement of Edison's talking machine. Edison had used tinfoil as the recording medium for his first phonograph in 1877, but then abandoned the project and turned his attention to the electric light and power distribution system. Meanwhile, Chichester Bell and Tainter saw the fragile tinfoil as a major obstacle in any further development of the instrument, and after much experimenting came upon the idea of replacing the tinfoil with a wax compound onto which they could engrave the sound waves directly. This invention was patented in May 1886 under the name Graphophone. It was an important step in the development of the phonograph since for the first time it was possible to manufacture the device commercially. Tainter recorded his experiments on the graphophone in thirteen notebooks ("Home Notes") and two large volumes of technical drawings and sketches. See: Series 2, Boxes 1, 2, and 3.

Bell and Tainter recognized Edison as the inventor of the talking machine, and they wanted to work with him and carry the costs for all further experiments in exchange for half the share of the profits, but Edison rejected this proposal. He felt that they wanted to steal his invention. In 1885 the partnership between Bell, his cousin, and Tainter was dissolved, and the graphophone rights were given to a group of Washington court stenographers who felt that the graphophone could best be utilized as a dictaphone. The group subsequently formed the Volta graphophone Company where Tainter continued to work for several years. The Volta Graphophone Company was reorganized two years after its formation as the American Graphophone Company. Eventually Edison sued the Volta Graphophone Company (1894), and the American Graphophone Company (1895-96).

In June 1886 Tainter married Lila R. Munro, daughter of William J. Munro of Newport, Rhode Island. Two years later he suffered a severe case of pneumonia, which was to incapacitate him intermittently for the rest of his life.

The Volta Graphophone Company sold the foreign rights for the graphophone in the spring of 1889 to form the International Graphophone Company. Tainter became associated with this new company and went to Europe to look after its interests there. In the same year the graphophone was exhibited at the Paris Exposition and Tainter was awarded the Decoration of "Officier de L Instruction Publique" from the French government for his invention of the graphophone. Upon his return from Europe Tainter established a factory for the International Graphophone Company in Hartford, Connecticut in 1889. When he left the company in 1890, he launched his own laboratory in Washington, D.C., where he continued to improve on the phonograph and a number of new inventions were patented.

At the Chicago Exposition in 1893 Tainter was asked to manage the exhibition of more than a hundred machines for the American Graphophone Company. In 1897 a fire destroyed Tainter's Washington laboratory and much valuable material was lost, including three volumes of his "Home Notes", which contained some of the findings of his experiments on the graphophone. Three years later the city of Philadelphia awarded the John Scott medal to Chichester Bell and Tainter for their work in connection with the graphophone.

Tainter's chronic illness forced him to suspend his work frequently and seek treatment and relief in various sanatoria and spas both in Europe and in the United States. He and his wife eventually moved to California. They settled in San Diego in June of 1903 to enjoy the better climate there. Again Tainter established a laboratory and continued to work whenever his health allowed. In 1915 he was awarded a gold medal and diploma for his work with the graphophone at the San Francisco Exposition. Tainter's wife died in 1924. Four years later he married Laura Fontaine Onderdonk, widow of Charles G. Onderdonk.

At the meeting of the American Association for the Advancement of Science in Pittsburgh in December 1934, Tainter was made an Emeritus Life Member, having been a fellow for 55 years. His obituary also mentions that in 1915 Tainter was awarded a gold medal at the Panama Pacific Exposition for his work on the graphophone.

Tainter died on April 20, 1940. He was considered an inventor, a physicist, and a manufacturer of electrical apparatus, but most of all he was known as the father of the talking machine.
Separated Materials:
Materials Located at the National Museum of American History

Medal award given to Charles Sumner Tainter, Exposition Internationale d'Electricite, Paris, 1881. See Accession #: ME*313452.02

Gold medal award given to Charles Sumner Tainter. Panama - Pacific Exposition, 1915. See Accession #: ME*313452.01
Provenance:
The collection was donated by Laura F. Tainter, Charles Sumner Tainter's widow, in 1947 and 1950.
Restrictions:
Collection is open for research. Researchers must handle unprotected photographs with gloves.
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:
Physicists  Search this
Inventors  Search this
Electrical engineers  Search this
Light machinery  Search this
Mechanical engineering  Search this
Dictating machine  Search this
Sound recording and reproduction  Search this
Talking machine  Search this
Phonograph  Search this
Genre/Form:
Laboratory notebooks
Citation:
Charles Sumner Tainter Papers, Archives Center, National Museum of American History.
Identifier:
NMAH.AC.0124
See more items in:
Charles Sumner Tainter Papers
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-0124
Online Media:

Robert L. Shurr Script and Scrapbook for the Motion Picture "George Washington Carver"

Creator:
Parker, Ben (scriptwriter)  Search this
Shurr, Robert L. (scriptwriter)  Search this
Names:
RKO Pictures.  Search this
Tuskegee Institute  Search this
Carver, George Washington, 1864?-1943  Search this
Extent:
0.2 Cubic feet (2 boxes)
Type:
Collection descriptions
Archival materials
Film stills
Clippings
Press releases
Screenplays
Scrapbooks
Date:
1939-1940, 1968
Summary:
The film, George Washington Carver, starring Carver himself, was filmed in 1939 and released in 1940. Ben Parker was the director and Robert L. Shurr wrote the screenplay.
Scope and Contents:
This collection consists of a copy of the original script for the motion picture George Washington Carver and a scrapbook detailing the motion picture's press. The bulk of the material dates to the production and release of the film, 1939-1940. There is additional correspondence from Shurr concerning the film dated 1968. The scrapbook contains photographs from the film. There are reference copies for the script and scrapbook.
Biographical / Historical:
The film, George Washington Carver, was an independent production of Bryant Productions, directed by Ben Parker and written by Robert L. Shurr. An article on Dr. George Washington Carver in Life magazine reportedly inspired the original idea for Parker. After a personal visit by Parker, Carver consented not only to approve the film but to appear in it. Parker engaged Robert L. Shurr to write the screenplay, originally titled Devil Cotton or the Story of Dr. Carver. The screenplay combined both a documentary and fictional narrative style. The screenplay detailed Carver's early life including a fictitious romantic relationship. The cast included: Ralph Edwards, Raye Gilbert, John J. Marvin, and Milton Sprague.

Raising funds for the project and making the film were both difficult. Parker eventually raised $2,000 from Allen McDowell who is listed as one of the film's producers. The film, which reportedly cost $14,000, was shot in Alabama with a small crew and very basic equipment. The film crew and those helping with the filming experienced violence from the white community which reportedly stoned McDowell and two of the film's local white participants. The film was released independently and played in a few RKO owned theatres but apparently never recouped its cost. In 1940, $10,000 was taken in at the film's premiere at Tuskegee Institute. Most likely, this was the film's largest audience.

We have no further information about the production or producer, our initial research has been unable to locate any further details concerning this film. A print of the film in its entirety is not known to exist, but portions of it are seen in a thirty minute video from Schlesinger Video Productions entitled Black Americans of Achievement: George Washington Carver.

Carver, a world famous agrichemist, was born near Diamond Grove, Missouri, circa 1864 to a woman named Mary. In 1896, he went to Tuskegee Institute as the head of the Agricultural Department and stayed there until his death on January 5, 1943.

Carver found many uses for the peanut, sweet potato, pecan, soybean, and cotton stalk. His important contributions to the Southern economy were: to diversify, utilize the land more efficiently, and in an ecologically friendly way, build up the soil, cope with plant diseases, and utilize research results in farm activities.

Among the many honors he received were: fellow, British Royal Society of Arts, 1916; Spingarn Medal from the National Association for the Advancement of Colored People (NAACP), 1923; and the Theodore Roosevelt Medal, 1939. He was widely admired and Henry Ford included a replica of his birthplace at Greenfield Village in Dearborn, Michigan.

In his personal life Carver was never married and current scholarship indicates that he may have been homosexual. The historian, Horace L. Griffin, in his 2006 book Their Own Receive Them Not: African American Lesbians & Gays in Black Churches, details the clandestine homosexual life of Carver and others. Pertaining to Carver's habit of giving peanut oil massages to his male friends, Linda O. McMurry in her 1982 biography of Carver, George Washington Carver, Scientist and Symbol, relates, "Most of his male friends received at least one massage from the professor," but evidence that it ever went beyond massage is not detailed. Beginning in 1935, Carver's constant companion was Austin W. Curtis, Jr. a graduate of Cornell who taught at North Carolina Agricultural and Technical College before coming to Tuskegee and joining Carver as his assistant.

Rackham Holt, Carver's biographer, describes the relationship between the two men in his 1943 biography, George Washington Carver: an American Biography, "At last someone had been welcomed not merely into Dr. Carver's laboratory, but also into his heart. He believed that there was something providential in the coming of this young man, so intensely serious about his work and extremely competent at it, who was at the same time a genial companion; he was proud of him and loved and depended on him as his own son . . . . And the affection was returned in full measure. Mr. Curtis accompanied him everywhere, seeing to his comfort, shielding him from intrusion, and acting as his official mouthpiece." Carver had a standing invitation to visit Henry Ford at his plantation in Ways, Georgia, where guest rooms were kept prepared for both Carver and Curtis. Carver died in Tuskegee, Alabama on January 5, 1943 and was buried in the churchyard of the college chapel. The National Park Service owns and maintains 210 acres of the farm where Carver was born as the George Washington Carver National Monument.
Provenance:
The collection was donated by Robert L. Shurr in October 1984.
Restrictions:
The 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:
Motion pictures -- 1930-1940  Search this
Cotton stalks  Search this
Plant diseases  Search this
Pecan  Search this
Peanuts  Search this
Sweet potatoes  Search this
Agricultural chemists  Search this
Agriculture -- Research  Search this
African American scientists  Search this
Agricultural chemistry  Search this
Genre/Form:
Film stills
Clippings -- 1930-1950
Press releases -- 1930-1940
Screenplays -- 1930-1940
Scrapbooks -- 1900-1950
Citation:
Robert L. Shurr Script and Scrapbook for the Motion Picture "George Washington Carver", 1939-1968, Archives Center, National Museum of American History
Identifier:
NMAH.AC.0133
See more items in:
Robert L. Shurr Script and Scrapbook for the Motion Picture "George Washington Carver"
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-0133

Mexican Border Veterans, Inc., and Auxiliary Scrapbooks

Topic:
Bugler, The (newsletter)
Creator:
Hubbard, Howard  Search this
Mexican Border Veterans, Inc.  Search this
Names:
Closson, Clairice A.G.  Search this
Villa, Pancho  Search this
Wilson, Woodrow, 1856-1924  Search this
Extent:
1.3 Cubic feet (2 boxes)
Type:
Collection descriptions
Archival materials
Annual reports
Photographs
Clippings
Scrapbooks
Newsletters
Minutes
Correspondence
Date:
1916 - 1982
Summary:
The collection consists of five scrapbooks of materials relating to the Mexican Border Veterans, Inc. and Auxiliary's activities.
Scope and Contents:
The scrapbooks contain Mexican Border Veterans annual reports; convention minutes; samples of the Mexican Border Veterans newsletter, The Bugler; photographs of various officers and members of the association and their spouses; brochures of the association's conventions; brief historical sketches of the association; some biographical sketches of the founders of the association; newspaper clippings from unidentified newspapers; limited correspondence among national, state or regional Mexican Border Veterans officials and other miscellaneous correspondence.
Arrangement:
The collection is arranged into one series.
Biographical / Historical:
Mexican Border Veterans, Inc. (MBV) was a civilian association founded by Clairice A. G. Closson of Independence, Missouri in 1929. Closson was one of the participants in the Mexican border initiative of mid 1916. The association consisted of men who patrolled the Mexican-American border between May 9, 1916 and April 1917. Their presence on the border came about as a response to President Woodrow Wilson's call on the National Guard and the Army in mid 1916 to guard the border which had been repeatedly invaded by Francisco (Pancho) Villa, a Mexican revolutionary leader who carried out his incursions against residents of southern Texas. The MBV was formed by ex-Mexican-American border veterans to seek recognition and veteran benefits to which they were entitled as U.S. government ex-servicemen of a foreign war.
Related Materials:
Materials in the National Museum of American History

The Division of Home and Community Life holds related materials. See accessions 1984.0781 and 1985.0781.
Provenance:
The collection was donated to the Museum in 1986, through Howard Hubbard and Fabian E. Johnson.
Restrictions:
The collection is open for research use.
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:
Mexican-American Border Region  Search this
Mexico -- Boundaries -- United States -- 1910-1920  Search this
Veterans -- 1910-1920 -- United States  Search this
Military pensions  Search this
United States -- History -- 20th century  Search this
United States. Army -- History -- Punitive Expedition into Mexico, 1916  Search this
Genre/Form:
Annual reports
Photographs -- 20th century
Clippings
Scrapbooks -- 20th century
Newsletters -- 20th century
Minutes
Correspondence -- 1930-1950
Citation:
Mexican Border Veterans, Inc. and Auxiliary Scrapbooks, Archives Center, National Museum of American History, Smithsonian Institution
Identifier:
NMAH.AC.0119
See more items in:
Mexican Border Veterans, Inc., and Auxiliary Scrapbooks
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-0119

Crawford W. Long Collection

Creator:
Taylor, Frances Long, Mrs.  Search this
Long, Crawford Williamson, Dr., 1815-1878  Search this
Names:
Edward VII, King  Search this
Extent:
0.5 Cubic feet (3 boxes)
Type:
Collection descriptions
Archival materials
Photographs
Date:
1897
Summary:
The collection documents Crawford W. Long's use of sulphuric ether on a patient. The materials include glass plate negatives, correspondence, printed documents, and photprints.
Scope and Contents:
The collection includes five publications: a biographical sketch; personal recollections of a contemporary pharmacist, together with correspondence and documentation of Long's priority in the use of ether; a paper read before the Johns Hopkins Historical Society; the proceedings in Statuary Hall when Crawford Long's statue was unveiled; and a memorial to Dr. Long published by the University of Pennsylvania.

Also included are an original letter (dated December 3, 1911) from Dudley W. Buxton to Mrs. Taylor, Dr. Long's daughter, regarding a paper he had read before the Royal Academy of Medicine, and glass plate photonegatives and one film negative, with corresponding photographic prints, of a number of letters attesting to Dr. Long's use of sulphuric ether as an anaesthetic on approximate or specific dates.
Arrangement:
The collection is arranged into one series.
Biographical / Historical:
Crawford Williamson Long was born November 1, 1815, in Danielsville, Georgia, the son of James and Elizabeth Ware. He was a studious boy who entered Franklin College (now the University of Georgia) at fourteen and graduated in 1835, second in his class. After teaching one year he began to read medicine, first under a preceptor, later at Transylvania University, Lexington, Kentucky, and finally at the University of Pennsylvania, where he received a degree in 1839.

Following eighteen months in New York, where he gained a reputation as a skillful surgeon, he began to practice in Jefferson, a village in Jackson County, Georgia. In August 1842, Dr. Long married Caroline Swain, the niece of Governor David Lowry Swain of North Carolina.

During the early 1840's laughing gas was the subject of much discussion and a number of demonstrations of its effects on volunteers. In January, 1842 several of Long's friends induced him to let them have a nitrous oxide frolic. No nitrous oxide was available but Long offered sulphuric ether as a substitute, explaining to his friends that it was equally exhilirating and as safe as nitrous oxide. After observing that the young men who had inhaled the sulphuric ether did not experience pain, Dr. Long decided to test its ability to produce insensitivity in his practice.

On March 30, 1842, Dr. Long administered sulphuric ether to James Venable and removed a small tumor from his neck. This was the first recorded surgical procedure using inhalation anaesthesia. On June 6 he removed another tumor from Venable's neck and on July 3 amputated a boy's toe. By September Long had performed eight operations using ether as the anaesthetic. This experience with ether was not published until December, 1849 as a result of the controversy over W. T. G. Morton's claim to priority in its discovery. At that time Dr. Long described his first five operations using ether in a paper in the Southern Medical and Surgical Journal under the title "An Account of the First Use of Sulphuric Ether by Inhalation as an Anaesthetic in Surgical Operations."

In 1850 Crawford Long moved to Athens, Georgia, where he immediately acquired a large surgical practice. He died there on June 16, 1878. In 1910 an obelisk was erected to his memory in Athens and in 1926 Georgia placed his statue in Statuary Hall in the Capitol in Washington, D.C.
Provenance:
The collections was donated by Mrs. Frances Long Taylor in 1921.
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:
Physicians  Search this
Medical sciences  Search this
Anesthesia  Search this
Genre/Form:
Photographs -- Black-and-white photoprints -- Silver gelatin -- 19th-20th century
Photographs -- Black-and-white negatives -- Glass -- 1890-1920
Citation:
Crawford W. Long Collection, 1841-1926, Archives Center, National Museum of American History
Identifier:
NMAH.AC.0120
See more items in:
Crawford W. Long Collection
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-0120

Draper Family Collection

Creator:
Draper, John Christopher, (chemist), 1835-1885  Search this
Draper, Henry, 1837-1882  Search this
Draper, John William, 1811-1882  Search this
Mora, José Maria, ca. 1846-1926  Search this
New York Meteorological Observatory.  Search this
University of the City of New York.  Search this
Nye, Dorothy Catherine Draper  Search this
Draper, Daniel, (meteorologist), 1841-1931  Search this
Extent:
4.3 Cubic feet (13 boxes)
Type:
Collection descriptions
Archival materials
Wills
Certificates
Photomicrographs
Reprints
Photographs
Lectures
Diplomas
Date:
circa 1826-1936
Summary:
Miscellaneous documents and photographs related to the scientific careers of members of the Draper family. Includes publications of the University of the City of New York, with which the Drapers were associated, reprints of papers by John William Draper, F. Melloni, John C. Draper, and Henry Draper, publications of the New York Meteorological Observatory, photographs of the observatory, rare scientific photographs, including photomicrographs (paper prints) by the Drapers, correspondence addressed to Daniel Draper, certificates, diplomas, and other documents.
Scope and Contents:
This collection contains materials that revolve around the scientific interests, research, and professional activities of John W. Draper and his three sons. The materials are as diverse in subject as were these four men, with meteorology, solar observation, astronomy, chemistry, and optical science all represented. The collection contains a large number of separate journal issues and articles on these subjects as well as publications of the University of the City of New York, with which the Drapers were associated, mainly covering the periods of 1835, 1838, 1852, and publications of the New York Meteorological Observatory (NYMO), 1876. Included among the NYMO materials are correspondence addressed to Daniel Draper, some acknowledging receipt of publications from NYMO, circa 1892-1908, and photographs of NYMO. The collection also contains reprints of John William Draper, circa 1844-1877; M. Melloni, "A Radiation of Incandescence and Elementary Colors," 1848; John C. Draper, 1856; and reprints of Henry Draper, 1873, 1882.

Also included in the collection are some of the Draper's notebooks, lecture notes, experiment literature and notebooks, and experimental photographs concerning the Draper's professional endeavors in meteorology, chemistry, and astronomy in the late 19th century. There are also a number of materials relating to biographical information on the Draper family, including a substantial number of certificates and diplomas received by the Drapers. In addition, there is personal correspondence, articles on the members of the family, and a copy of Dorothy Catherine Draper Nye's will. While most of the documents are originals, the collection also contains many photocopied or reproduced documents.

A photograph by Mora in the collection, marked "J.W. Draper," does not appear to depict the same man as in Neg. No. 52,757.
Arrangement:
The collection is arranged into five series.

Series 1: Draper Family, 1829-1936

Series 2: John W. Draper, 1811-1936

Series 3: Henry Draper, 1837-1882

Series 4: Daniel Draper, 1841-1931

Series 5: John Christopher Draper, 1835-1885
Biographical / Historical:
The Draper family made a number of important contributions to American science, particularly in the fields of meteorology, astronomy, and chemistry during the 19th and early 20th centuries. John William Draper (1811-1882), primarily a chemist, did pioneer work in photography, and on the chemical effects of radiant energy. He took the first photograph of the moon in 1839-1840 and the first photograph of the diffraction spectrum.

Draper's three sons also did notable work. John C. Draper (1835-1885) was a noted Physician and chemist. Henry Draper (1837-1882) was an early astronomical photographer and also did work on stellar spectra and spectrum analysis. Daniel Draper (1841-1931) was a meteorologist and established the New York Meteorological Observatory in Central Park in 1868. He served as its first director until 1911.
Provenance:
Deeded to the Smithsonian Institution by John William Christopher Draper and James Christopher Draper on January 2, 1972.
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:
Spectrum analysis  Search this
Scientists  Search this
Astronomy  Search this
Astronomers  Search this
Astronomical photography  Search this
Physical sciences  Search this
Physicians  Search this
Photographers  Search this
Meteorology  Search this
Chemists  Search this
Chemistry  Search this
Photography  Search this
Genre/Form:
Wills
Certificates
Photomicrographs
Reprints
Photographs -- 19th century
Photographs -- 1840-1850
Lectures
Diplomas
Citation:
Draper Family Collection, 1835-1908, Archives Center, National Museum of American History
Identifier:
NMAH.AC.0121
See more items in:
Draper Family Collection
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-0121
Online Media:

Jerome Blum papers

Creator:
Blum, Jerome, 1884-1956  Search this
Names:
Anderson, Sherwood, 1876-1941  Search this
Blum, Frances, -1970  Search this
Dreiser, Theodore, 1871-1945  Search this
Extent:
3 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Place:
Tahiti -- Description and Travel
Date:
1915-circa 1969
bulk 1919-1935
Summary:
The papers of Jerome Blum measure 3.0 linear feet and date from 1915 to circa 1969, with the bulk of the material dating from 1919 to 1935. Biographical material, correspondence, writings and notes, printed material, artwork, and photographs document the painter's personal and professional life, and extensive travels.
Scope and Content Note:
The papers of Jerome Blum measure 3.0 linear feet and date from 1915 to circa 1969, with the bulk of the material dating from 1919 to 1935. Biographical material, correspondence, writings and notes, printed material, artwork, and photographs document the painter's personal and professional life, and extensive travels.

Correspondence with friends, relatives, colleagues, publishers, galleries, museums, and collectors document Blum's personal and professional life. Noted correspondents include Sherwood Anderson and Theodore Dreiser.

Blum was an avid writer. He published several short stories, and recorded reminiscences, thoughts, and daily events in a series of notebooks. These notes were the basis for Life Answered, an unpublished autobiography (eventually, edited and completed by Frances Blum). Also included are extensive notes and writings on a variety of subjects, including his extensive travels to Tahiti. Writings by other authors consist of critical statements about Jerome Blum and some of Frances Blum's writings on Theodore Dreiser.
Arrangement:
The collection is arranged as 6 series.

Series 1: Biographical Material, 1915-1933 (4 folders; Box 1)

Series 2: Correspondence, 1915-1966 (0.4 linear feet; Box 1)

Series 3: Writings, 1915-circa 1969 (2 linear feet; Boxes 1-3)

Series 4: Printed Material, 1916-1965 (0.3 linear feet; Box 3)

Series 5: Artwork, circa 1920-1930 (2 folders; Box 3)

Series 6: Photographs, circa 1915-1945 (6 folders; Box 3)
Biographical Note:
Jerome Blum (1884-1956) was a world traveler who found artistic inspiration while living in France and traveling to the American west, Hawaii, Japan, China, Cuba, and the South Seas (including a 10 month stay in Tahiti). Blum painted landscapes and seascapes of Southern France, and the many places he visited, as well as still lifes of exotic plants and fruits. He was living in Paris at the height of the Fauve movement and incorporated some of its ideas into his work, first inserting bold colors into his fairly conservative Post-Impressionist style. Later, he used significantly more saturated color, intense light, and bold forms.

Blum studied at the Francis J. Smith Art Academy in his native Chicago, and the Art Institute of Chicago. He went to Paris in 1906 with Lucile Swan, a sculptor and fellow student who eventually became his wife. There, he enrolled in the Ecole des Beaux-Arts for a brief period, studying with Luc Olivier Merson. Blum remained in Paris until 1910, participated in the 1909 and 1910 Salons d'Automne and received exhibition offers from Galerie Sagot, Paris, and Anderson Galleries, New York. While in France, Blum knew expatriates Jo Davidson, Arthur Dove, Samuel Halpert, Alfred Maurer, and John Marin. Halpert became a mentor of sorts, instructing him in painting Post-Impressionist landscapes, to which Blum soon added Fauvist color.

Once back in Chicago, Blum developed close friendships with writers Sherwood Anderson, Theodore Dreiser, and Ben Hecht that lasted for decades. His one-man show at Thurber's Art Gallery in 1911 received very mixed reviews--most likely it was the first time the Fauve palette was seen by Chicagoans, and most thought it too radical. When the mayor purchased a Blum painting from a 1912 Art Institute of Chicago group exhibition, the proceeds enabled Blum to visit the American west. Later that year, Blum and Lucile Swan traveled in Europe. They were married in Paris and took an extended honeymoon, continuing to travel in France until the fall of the following year.

For a period of approximately 20 years, he exhibited extensively and enjoyed critical acclaim. During his many years of foreign residence, Blum returned to the United States periodically for exhibitions and family visits. He participated in a large number of solo exhibitions and group shows in the United States and France, including: Art Institute of Chicago, Arts Club of Chicago, O'Brien Galleries, and Albert Roullier Art Galleries in Chicago; Ainslie Galleries, Brooklyn Museum, Delphic Studios, Katz Gallery, M. Knoedler and Co., Whitney Museum of American Art, and Whitney Studio Club in New York; Worcester Art Museum and Boston Art Club in Massachusetts; Montlcair Art Museum in New Jersey; Pennsylvania Academy of the Fine Arts in Philadelphia; and Galerie de la Renaissance in Paris. Blum is represented in the permanent collections of the Metropolitan Museum of Art, the Smithsonian Institution, and the Whitney Museum of American Art.

Blum returned to New York in 1924 and Lucile filed for divorce. An auction of his work was held at the Anderson Galleries that year; Augustus John, George Biddle, Chester Dale, M. Knoedler, Kraushaar Galleries, and Jo Davidson were among the successful bidders.

In 1925, he married Frances Baum, a psychiatric social worker. They settled in Dampierre, France for eight years, and during this period traveled extensively throughout the country. Always an unconventional and fiercely independent person, Blum's mental health was fragile and deteriorated markedly in the early 1930s, during which time his painting output decreased dramatically. The Blums spent part of 1934 at the MacDowell Colony in Petersborough, New Hampshire. Once his fellowship was over, they moved to Key West, Florida, where Blum became increasingly disturbed.

Blum was admitted to the Bloomingdale Hospital, a private psychiatric institution in White Plains, New York, in 1935. But after being diagnosed a "hopeless case," he was transferred to a state hospital. While hospitalized, Blum continued writing copious notes and made many appeals for release. He died at the Hudson River State Hospital, Poughkeepsie, New York, in 1956.
Separated Material:
Originals of loaned material, including typescripts of Sherwood Anderson's letters, most of Blum's Theodore Dreiser material, travel in China, scrapbooks, and drafts of portions of Life Answered - "Father and Mother," "Journal of the Last 20 Years," "Lucile," and "Marriage and Divorce" - were returned to Frances Blum after microfilming. Although this material is not technically part of the collection housed in the Archives of American Art, copies are available on microfilm reels D237 and D238.
Provenance:
The majority of the papers were donated or loaned for microfilming between 1965 and 1966 by Blum's widow, Frances Blum. A typescript copy of the final version of Life Answered was received in 1969.
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.
Rights:
The Jerome Blum 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.
Occupation:
Expatriate painters -- United States  Search this
Authors -- United States  Search this
Topic:
Painting, Modern -- 20th century -- New York (State) -- New York  Search this
Painters -- Illinois -- Chicago  Search this
Painters -- New York (State) -- New York  Search this
Genre/Form:
Photographs
Citation:
Jerome Blum papers, 1915-circa 1969, bulk 1919-1935. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.blumjero
See more items in:
Jerome Blum papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-blumjero
Online Media:

Untitled verifax print proof

Creator:
Berman, Wallace, 1926-1976  Search this
Type:
Printed Materials
Date:
1967
Record number:
(DSI-AAA)22955
See more items in:
Robert Alexander papers and Temple of Man records, 1938-2015
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_item_22955

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