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Cosmos Andrew Sarchiapone papers, circa 1860-2011, bulk bulk 1940-2011

Creator:
Sarchiapone, Cosmos Andrew, 1931-2011  Search this
Subject:
Arbus, Diane  Search this
Cage, John  Search this
Glaser, Milton  Search this
Hay, Alex  Search this
Huebler, Douglas  Search this
Israel, Marvin  Search this
Johnson, Ray  Search this
Kelly, Ellsworth  Search this
Scull, Robert C.  Search this
Sonneman, Eve  Search this
Parsons School of Design  Search this
School of Visual Arts (New York, N.Y.)  Search this
Push Pin Studios  Search this
Type:
Drawings
Ephemera
Illustrations
Music
Photocopies
Photographs
Posters
Prints
Sketchbooks
Sound recordings
Video recordings
Topic:
Art -- New York (State) -- New York  Search this
Art -- Study and teaching  Search this
Composers--New York (State)--New York  Search this
Conceptual art  Search this
Conceptual artists--New York (State)--New York  Search this
Music--New York (State)--New York  Search this
Photographers -- New York (State) -- New York  Search this
Photography -- Study and teaching  Search this
Photography--New York (State)--New York  Search this
Theater--New York (State)--New York  Search this
New York (State)--New York City--Photographs  Search this
Record number:
(DSI-AAA_CollID)16242
(DSI-AAA_SIRISBib)370445
AAA_collcode_sarccosm
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_370445
Online Media:

Cosmos Andrew Sarchiapone papers

Creator:
Sarchiapone, Cosmos Andrew, 1931-2011  Search this
Names:
Parsons School of Design -- Faculty  Search this
Push Pin Studios  Search this
School of Visual Arts (New York, N.Y.) -- Faculty  Search this
Arbus, Diane, 1923-1971  Search this
Cage, John, 1912-1992  Search this
Glaser, Milton  Search this
Hay, Alex  Search this
Huebler, Douglas  Search this
Israel, Marvin  Search this
Johnson, Ray, 1927-  Search this
Kelly, Ellsworth, 1923-  Search this
Scull, Robert C.  Search this
Sonneman, Eve  Search this
Extent:
49.2 Linear feet
Culture:
New York (State)--New York City--Photographs  Search this
Type:
Collection descriptions
Archival materials
Drawings
Ephemera
Illustrations
Music
Photocopies
Photographs
Posters
Prints
Sketchbooks
Sound recordings
Video recordings
Date:
circa 1860-2011
bulk 1940-2011
Summary:
The papers of New York City photographer, conceptual artist, and musical composer Cosmos Sarchiapone measure 49.2 linear feet and date from circa 1860-2011, with the bulk of the materials dating from 1940-2011. The collection includes biographical material and personal business records; correspondence; extensive writings, including written and recorded music compositions; teaching files; printed material and published sound and video recordings; photographic material; artwork; artifacts; and unpublished sound recordings and born digital material. Highlights of the collection are more than 40,000 photographic images documenting New York's avant-garde art scene of the 1970s, along with celebrity parties, concerts, exhibition openings and other occasions in the art, music, and theater world. Extensive and somewhat rare printed materials offer users a visual chronical of the downtown art world in the form of posters from the 1970s, including a number of Milton Glaser's, and hundreds of exhibition announcements, theater programs, and playbills.
Scope and Contents:
The papers of New York City photographer, conceptual artist, and musical composer Cosmos Sarchiapone measure 49.2 linear feet and date from circa 1860-2011, with the bulk of the materials dating from 1940-2011. The collection includes biographical material and personal business records; correspondence; extensive writings, including written and recorded music compositions; teaching files; printed material and published sound and video recordings; photographic material; artwork; artifacts; and unpublished sound recordings and born digital material. Highlights of the collection are more than 40,000 photographic images documenting New York's avant-garde art scene of the 1970s, along with celebrity parties, concerts, exhibition openings and other occasions in the art, music, and theater world. Extensive and somewhat rare printed materials offer users a visual chronical of the downtown art world in the form of posters from the 1970s, including a number of Milton Glaser's, and hundreds of exhibition announcements, theater programs, and playbills.

Biographical material and personal business records include address books, calendars, legal paperwork, life documents, resumes, and other material. Correspondence is both personal and professional in nature. Personal correspondence is between Cosmos and friends, family, and pen pals. Professional correspondence is with curators, publishers, and estates and mostly concerns Cosmos's artwork, photographs, or objects he lent for exhibition or publication.

Writings include general writings and notes, including a book layout for a book never realized; fifteen notebooks containing Cosmos's writings about projects, dreams, and miscellany; music compositions in both written form and on sound recordings; and scattered writings by others, including manuscripts and theater scripts.

Teaching files document photography courses taught by Cosmos at the School of Visual Arts in 1974-1976, and the Parsons School of Design in 1980.

Printed materials and commercially published sound and video recordings in the collection are extensive and reflect Cosmos's unique interests and inspirations, and his tendency to save and collect material discarded or rejected by others. There are books and periodicals featuring Cosmos's work, annotated by Cosmos, or of special significance to Cosmos. There is also a list of books in Cosmos's library. Some of the periodicals concern Push Pin Studios and Milton Glaser. There is a large group of ephemera, such as announcements, catalogs, press releases, programs, playbills, posters, and assorted items covering several decades of New York exhibitions, events, concerts, and performances. There are posters for exhibitions, events, performances, film screenings, and concerts. Some of the clippings and other ephemera may have been removed from scrapbooks or other compilations, and some remain collated and mounted on mat board. Some of the printed materials may have been used by Cosmos as source materials.

Photographic material makes up a significant portion of the collection (14.5 linear feet), and illustrates the breadth of Cosmos's documentation of New York City, capturing the avant-garde art and theater worlds, the people and streets, self-portraits, and numerous other subjects. There are images of named people and people at parties, of exhibitions and performances, of New York City streets and buildings, of a more personal and family nature, of artwork, and of miscellaneous subjects. There are also collected photographs, some of which are vintage. There is a large group of unidentified and unsorted negatives, slides, and contact sheets. Where they existed, labeling and descriptive notes have been preserved with the unidentified materials.

Artwork is also quite extensive (10.5 linear feet) and found in a variety of genre, format, and media. There is also a small subseries of artwork by others. One group of artwork consists of titled or named art projects and series, often executed in the form of series that spanned decades. This group includes Cosmos's Reciprocal project that incorporated his photographic work. For this project, he would photograph notable figures, including John Cage, Robert Scull, and others, and ask them to photograph him. There are also several folders of Cosmos's work focusing on photographer Diane Arbus.

A group of artwork identified as "compilations" consist primarily of photocopies of compiled presentations of documents, photographs, fragments, writings, drawings, printed materials and ephemera, and bits and pieces of Cosmos's titled work. These compilations were prepared by Cosmos for individuals in the art world to whom he was close. The original compilations were then photocopied and presented to the intended receiver. The subseries of compilations contains both originals and photocopied versions that do not always correlate with one another. Also found among the artwork are drawings, illustrations, a few paintings, collages, and sketchbooks by Cosmos. Artwork by others includes an artist book, drawings, a sketchbook, and prints by Milton Glaser, Alex Hay, Douglas Huebler, Marvin Israel, Ray Johnson, Ellsworth Kelly, and Eve Sonneman.

Found within the collection are three dimensional artifacts, including eight cameras and other items Cosmos saved and collected to incorporate into his photographs.

There is a large series of unpublished sound recordings and born digital material, some of which is clearly identified and labeled, and some of which is unidentified. When known, labeling has been incorporated into the folder titles in the container inventory. Users should note that sound recordings that were clearly identified and associated with other projects were arranged in context with those related materials.

Printed material (series 5), photographic material (series 6), and artwork (series 7), include many photocopies. Cosmos used the photocopy process to make copies of his work to share with others, and as a creative form of art in itself, experimenting with tonality, collage, and the degeneration of images from repeated copying. Photocopies were also made of articles, newspapers, and various source material and ephemera that he collected. Many photocopies have descriptive labeling on the back. For some photographs and projects, photocopies are the only form of documentation located in the collection.
Arrangement:
The collection is arranged as nine series

Series 1: Biographical Material and Personal Business Records, circa 1949-2011 (1 linear foot; Box 1, 44, OV 49)

Series 2: Correspondence, 1940s-2011 (.7 linear feet; Box 1-2)

Series 3: Writings, circa 1947-2000s (4.2 linear feet; Box 2-6, 44, OV 50-51)

Series 4: Teaching Files, 1970s-1980s (1.9 linear feet; Box 6-8, 44, OV 52)

Series 5: Printed Material, Published Sound, Video Recordings, 1894-2000s (8.3 linear feet; Box 8-13, 44-45, OV 53-73, RD 105)

Series 6: Photographic Material, circa 1860-2000s, bulk 1970-2010 (14.5 linear feet; Box 14-26, 46-47, OV 74-80)

Series 7: Artwork, 1947-2000s (10.5 linear feet; Box 27-34, 47-48, OV 81-104)

Series 8: Artifacts, 1960s-2000s (1.5 linear feet; Box 34-35)

Series 9: Sound Recordings and Born Digital Material, 1950s-2000s (6.6 linear feet; Box 36-43)
Biographical / Historical:
Cosmos Andrew Sarchiapone (1931-2011) was a documentary photographer, musical composer, and conceptual artist who worked in New York City.

Cosmos Andrew Sarchiapone was named Cosime Sarchiapone at birth, and was also known as Cosmos, Cosmos Savage, and Richard Savage. His parents, Lois and Aldo, had seven children, including twins Cosmos and Damian. Born in Manhattan, Cosmos graduated from the La Guardia High School of Music and Art in New York City in 1948 and from Syracuse University in 1958 with a concentration in music composition and studio art. After college, he studied musical composition with John Cage at the New School in 1961, art history with Meyer Schapiro at Columbia University from 1963-1965, illustration with Marvin Israel from 1966-1971, design with Milton Glaser from 1968-1973, and photography with Diane Arbus from 1970-1971. He taught photography at the School of Visual Arts from 1974-1976, and at Parsons School of Design in 1980. In the early 1970s, he led experimental theater workshops at Columbia-Barnard University.

Between 1968-1969, Cosmos worked with Milton Glaser and Seymour Chwast at their Push Pin Studios, a graphic design and illustration studio.

Sometime between the late 1960s and the early 1970s, Cosmos began photographing New York City, capturing the art and theater worlds, the people and streets, self-portraits, and numerous other subjects. As a freelance photographer for New York magazine (founded by Milton Glaser) and other mass-market publications, Cosmos photographed Andy Warhol and his circle, Halloween parties at the Waldorf, the Rev. Sun Myung Moon convention, the Jesus Joy Jubilee at Carnegie Hall, the Beat Poets' reunion and private parties attended by Hollywood actors and directors, often capturing the overlapping worlds of art, movies and music. Cosmos's photographs have been published in numerous books and publications. His work was featured in several exhibitions in the 1970s, including shows at the Jamie Gallery, the Fine Arts Building, and the Baltimore Museum of Art. But he created the bulk of his work for himself and much of it remains unpublished.

Throughout the 1970s, Cosmos documented the avant-garde art scene in New York City. He captured performances at The Kitchen and La Mama, the offices of New York magazine and Push Pin Studios, Tom O'Horgan's Broadway and Off-Broadway productions, and much more. He photographed performances and installations at 112 Greene Street in SoHo, an interdisciplinary art space that nurtured the experiments of a number of now significant American artists, dancers and musicians, including Chris Burden, Vito Acconci, Suzanne Harris and Phillip Glass, all of whom were photographed by Cosmos. He also photographed numerous images of 112 Greene Street's sister space, Matta-Clark's FOOD, an artist-run eatery at the corner of Prince and Wooster Streets where exotic meals were offered up as both performance art and nourishment. Cosmos used his camera as a way to get close to artists he admired, including Diane Arbus, Milton Glaser, and Marvin Israel.

According to Milton Glaser, "Cosmos was a brilliant photographer who was never without a camera….He was always everywhere. In terms of documentation of that period, there was no one like him."

Cosmos often incorporated aspects of his photography into conceptual art pieces, including two serial works that Cosmos made from fragments of Diane Arbus' discarded photographs, transforming her iconic work. Many of Cosmos's conceptual art pieces often took the form of a series, and were continuously revisited. In Reciprocal, Cosmos photographed figures—including those he admired like John Cage, Meyer Schapiro, Robert Scull, and others—then asked each to photograph him. Many of Cosmos's art projects were based in photographic documentation of his "performances", as in Sheet Music, where he is seen tearing a white sheet outside Bloomingdale's during the 'white sale.' Cosmos's convictions about smoking, its hazards, and the nefarious actions of tobacco companies led to several related projects, among them, Photo Arrest, where Cosmos captured on camera people smoking illegally in hospitals, classrooms, grocery stores, and elevators.

Cosmos created scores for plays and dance performances, including Churchyard by the Paul Taylor Dance Company in 1970, and numerous Off-Off Broadway theater productions in the 1960s. He wrote an opera, Vox Humana #3. The opera is about three heroines of history: Antigone, Joan of Arc, and Patty Hearst, and synthesizes a variety of media, including music composition, stage direction, and video (Patty Hearst in Chains), into a four hour performance that was staged at La Mama in 1976 and The Kitchen in 1977.

Cosmos lived at Westbeth Artists' Community from 1970-2011, but had largely withdrawn from the world by the 2000s. Cosmos Sarchiapone died in 2011.
Provenance:
Donated to the Archives of American Art in 2015 by Tom Sarchiapone, Cosmos Sarchiapone's brother, via Catherine Morris, curator and friend of Cosmos.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.

Use of archival audiovisual recordings with no duplicate copy requires advance notice.
Rights:
The Cosmos Andrew Sarchiapone 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 -- New York (State) -- New York  Search this
Art -- Study and teaching  Search this
Composers--New York (State)--New York  Search this
Conceptual art  Search this
Conceptual artists--New York (State)--New York  Search this
Music--New York (State)--New York  Search this
Photographers -- New York (State) -- New York  Search this
Photography -- Study and teaching  Search this
Photography--New York (State)--New York  Search this
Theater--New York (State)--New York  Search this
Genre/Form:
Drawings
Ephemera
Illustrations
Music
Photocopies
Photographs
Posters
Prints
Sketchbooks
Sound recordings
Video recordings
Citation:
Cosmos Andrew Sarchiapone papers, circa 1860-2011, bulk 1940-2011. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.sarccosm
See more items in:
Cosmos Andrew Sarchiapone papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-sarccosm

Henry Varnum Poor papers

Creator:
Poor, Henry Varnum, 1887-1970  Search this
Names:
Montross Gallery  Search this
Skowhegan School of Painting and Sculpture  Search this
Benton, William, 1900-1973  Search this
Biddle, George, 1885-1973  Search this
Billing, Jules  Search this
Burchfield, Charles Ephraim, 1893-1967  Search this
Caniff, Milton Arthur, 1907-1988  Search this
Ciardi, John, 1916-  Search this
Czebotar, Theodore  Search this
Deming, MacDonald  Search this
Dickson, Harold E., 1900-  Search this
Dorn, Marion, 1896-1964  Search this
Duchamp, Marcel, 1887-1968  Search this
Esherick, Wharton  Search this
Evergood, Philip, 1901-1973  Search this
Garrett, Alice Warder  Search this
Houseman, John, 1902-1988  Search this
Marston, Muktuk  Search this
Meredith, Burgess, 1907-1997  Search this
Mumford, Lewis, 1895-1990  Search this
Padro, Isabel  Search this
Poor, Anne, 1918-  Search this
Poor, Bessie Breuer  Search this
Poor, Eva  Search this
Poor, Josephine Graham  Search this
Poor, Josephine Lydia  Search this
Poor, Peter  Search this
Sargent, Elizabeth S.  Search this
Smith, David, 1906-1965  Search this
Steinbeck, John, 1902-1968  Search this
Watson, Ernest William, 1884-1969  Search this
Extent:
12.9 Linear feet
Type:
Collection descriptions
Archival materials
Sketches
Motion pictures (visual works)
Diaries
Prints
Photographs
Illustrations
Drawings
Watercolors
Sketchbooks
Date:
1873-2001
bulk 1904-1970
Summary:
The papers of Henry Varnum Poor measure 12.9 linear feet and date from 1873-2001, with the bulk from the period 1904-1970. Correspondence, writings, artwork, printed material and photographs document Poor's work as a painter, muralist, ceramic artist and potter, architect, designer, writer, war artist, educator and a co-founder of the Skowhegan School of Painting and Sculpture. Also found is extensive information about the design and construction of Crow House, his home in New City, New York, commissions for other architectural projects, and his personal life.
Scope and Content Note:
The papers of Henry Varnum Poor measure 12.9 linear feet and date from 1873-2001, with the bulk from the period 1904-1970. Correspondence, writings, artwork, printed material and photographs document Poor's work as a painter, muralist, ceramic artist and potter, architect, designer, writer, war artist, educator and a co-founder of the Skowhegan School of Painting and Sculpture. Also found is extensive information about the design and construction of Crow House, his home in New City, New York, commissions for other architectural projects, and his personal life.

Henry Varnum Poor's correspondence documents his personal, family, and professional life. Correspondents include family and friends, among them George Biddle, Charles Burchfield, John Ciardi, Marion V. Dorn (who became his second wife), Philip Evergood, Lewis Mumford, John Steinbeck, David Smith, and Mrs. John Work (Alice) Garrett. Among other correspondents are galleries, museums, schools, organizations, fans, former students, and acquaintances from his military service and travels. Family correspondence consists of Henry's letters to his parents, letters to his parents written by his wife, and letters among other family members.

Among the writings by Henry Varnum Poor are manuscripts of his two published books, An Artist Sees Alaska and A Book of Pottery: From Mud to Immortality. as well as the text of "Painting is Being Talked to Death," published in the first issue of Reality: A Journal of Artists' Opinions, April 1953, and manuscripts of other articles. There are also film scripts, two journals, notes and notebooks, lists, speeches, and writings by others, including M. R. ("Muktuk") Marston's account of Poor rescuing an Eskimo, and Bessie Breuer Poor's recollections of The Montross Gallery.

Subject files include those on the Advisory Committee on Art, American Designers' Gallery, Inc., William Benton, Harold Dickson, Reality: A Journal of Artists' Opinions Sales, and War Posters. There are numerous administrative files for the Skowhegan School of Painting and Sculpture.

Artwork by Henry Varnum Poor consists mainly of loose drawings and sketches and 45 sketchbooks of studies for paintings, murals, and pottery. There is work done in France, 1918-1919, and while working as a war correspondent in Alaska in 1943. There are commissioned illustrations and some intended for his monograph, A Book of Pottery: From Mud to Immortality. Also found are a small number of watercolors and prints. Work by other artists consist of Anne Poor's drawings of her father's hands used for the Lincoln figure in The Land Grant Frescoes and interior views of Crow House by Ernest Watson.

Documentation of Poor's architectural projects consists of drawings and prints relating to houses designed and built for Jules Billing, MacDonald Deming, John Houseman, Burgess Meredith, Isabel Padro, and Elizabeth S. Sargent. Also found is similar material for the new studio Poor built in 1957 on the grounds of Crow House.

Miscellaneous records include family memorabilia and two motion picture films, Painting a True Fresco, and The Land Grant Murals at Pennsylvania State College.

Printed material includes articles about or mentioning Poor, some of his pottery reference books, family history, a catalog of kilns, and the program of a 1949 Pennsylvania State College theater production titled Poor Mr. Varnum. Exhibition catalogs and announcements survive for some of Poor's shows; catalogs of other artists' shows include one for Theodore Czebotar containing an introductory statement by Henry Varnum Poor. Also found is a copy of The Army at War: A Graphic Record by American Artists, for which Poor served as an advisor. There are reproductions of illustrations for An Artist Sees Alaska and Ethan Frome, and two Associated American Artists greeting cards reproducing work by Poor.

Photographs are of Henry Varnum Poor's architectural work, artwork, people, places, and miscellaneous subjects. This series also contains negatives, slides, and transparencies. Images of architectural work include exterior and interior views of many projects; Poor's home, Crow House, predominates. Photographs of artwork by Poor are of drawings, fresco and ceramic tile murals, paintings, pottery and ceramic art. People appearing in photographs include Henry Varnum Poor, family members, friends, clients, juries, students, and various groups. Among the individuals portrayed are Milton Caniff, Marcel Duchamp, Wharton Esherick, M. R. ("Muktuk") Marston, and Burgess Meredith. Among the family members are Bessie Breuer Poor, Marion Dorn Poor, Anne Poor, Eva Poor, Josephine Graham Poor, Josephine Lydia Poor, Peter Poor, and unidentified relatives. Photographs of places include many illustrating village life in Alaska that were taken by Poor during World War II. Other places recorded are French and California landscapes, and family homes in Kansas. Miscellaneous subjects are exhibition installation views, scenes of Kentucky farms, and a photograph of Poor's notes on glazes.
Arrangement:
The collection is arranged as 9 series:

Series 1: Biographical Materials, 1919-1987 (0.2 linear feet; Box 1, OV 18)

Series 2: Correspondence, 1873-1985 (1.5 linear feet; Boxes 1-2)

Series 3: Writings and Notes, circa 1944-1974 (0.6 linear feet; Boxes 2-3)

Series 4: Subject Files, 1928-1975 (0.8 linear feet; Box 3, OV 23)

Series 5: Artwork, circa 1890s-circa 1961 (3.5 linear feet; Boxes 4-6, 9-10, OV 19-22)

Series 6: Architectural Projects, circa 1940-1966 (0.7 linear feet; Box 6, OV 24-26, RD 14-17)

Series 7: Miscellaneous Records, 1882-1967 (Boxes 6, 11, FC 30-31; 0.5 linear ft.)

Series 8: Printed Material, 1881-2001 (1.2 linear feet; Boxes 6-7, 11, OV 27-29)

Series 9: Photographs, 1893-1984 (2.3 linear feet; Boxes 7-8, 12-13)
Biographical Note:
Henry Varnum Poor (1888-1970), best known as a potter, ceramic artist, and a co-founder of the Skowhegan School of Painting and Sculpture, was also an architect, painter, muralist, designer, educator, and writer who lived and worked in New City, New York.

A native of Chapman, Kansas, Henry Varnum Poor moved with his family to Kansas City when his grain merchant father became a member of the Kansas Board of Trade. From a young age he showed artistic talent and spent as much time as possible - including school hours - drawing. When a school supervisor suggested that Henry leave school to study at the Art Institute of Chicago, the family disagreed. Instead, he enrolled in the Kansas City Manual Training High School where he delighted in learning skills such as carpentry, forge work, and mechanical drawing. In 1905, he moved with his older brother and sister to Palo Alto, California and completed high school there. Because Poor was expected to join the family business, he enrolled at Stanford University as an economics major, but much to his father's disappointment and displeasure, soon left the economics department and became an art major.

Immediately after graduation in 1910, Poor and his major professor at Stanford, Arthur B. Clark, took a summer bicycling tour to look at art in London, France, Italy, and Holland. As Poor had saved enough money to remain in London after the summer was over, he enrolled in the Slade School of Art and also studied under Walter Sickert at the London County Council Night School. After seeing an exhibition of Post-Impressionism at the Grafton Galleries in London, Poor was so impressed that he went to Paris and enrolled in the Académie Julian. While in Paris, Poor met Clifford Addams, a former apprentice of Whistler; soon he was working in Addams' studio learning Whistler's palette and techniques.

In the fall of 1911, Poor returned to Stanford University's art department on a one-year teaching assignment. During that academic year, his first one-man show was held at the university's Old Studio gallery. He married Lena Wiltz and moved back to Kansas to manage the family farm and prepare for another exhibition. Their daughter, Josephine Lydia Poor, was born the following year. Poor returned to Stanford in September 1913 as assistant professor of graphic arts, remaining until the department closed three years later. During this period, Poor began to exhibit more frequently in group shows in other areas of the country, and had his first solo exhibition at a commercial gallery (Helgesen Gallery, San Francisco). In 1916, Poor joined the faculty of the San Francisco Art Association. He and his wife separated in 1917 and were divorced the following year. Poor began sharing his San Francisco studio with Marion Dorn.

During World War I, Poor was drafted into the U. S. Army, and in 1918 went to France with the 115th Regiment of Engineers. He spent his spare time drawing; soon officers were commissioning portraits, and Poor was appointed the regimental artist. He also served as an interpreter for his company. Discharged from the Army in early 1919, Poor spent the spring painting in Paris. He then returned to San Francisco and married Marion Dorn.

Once Poor realized that earning a living as a painter would be extremely difficult in California, he and his new wife moved to New York in the autumn of 1919. They were looking for a place to live when influential book and art dealer Mary Mowbray-Clarke of the Sunwise Turn Bookshop in Manhattan suggested New City in Rockland County, New York as good place for artists. In January of 1920, the Poors purchased property on South Mountain Road in New City. The skills he acquired at the Kansas City Manual Training High School were of immediate use as Poor designed and constructed "Crow House" with the assistance of a local teenager. Influenced by the farmhouses he had seen in France, it was made of local sandstone and featured steep gables, rough plaster, chestnut beams and floors, and incorporated many hand-crafted details. Poor designed and built most of their furniture, too. Before the end of the year, he and Marion were able to move into the house, though it remained a work in progress for many years. Additions were constructed. Over time, gardens were designed and planted, and outbuildings - a kiln and pottery, work room, garage, and new studio - appeared on the property.

In 1925, two years after his divorce from Marion Dorn, Poor married Bessie Freedman Breuer (1893-1975), an editor, short story writer, and novelist. Soon after, he adopted her young daughter, Anne (1918-2002), an artist who served as his assistant on many important mural commissions. Their son, Peter (b. 1926) became a television producer. Crow House remained in the family until its sale in 2006. In order to prevent its demolition, Crow House was then purchased by the neighboring town of Ramapo, New York in 2007.

Between 1935 and 1966 Poor designed and oversaw construction of a number of houses, several of them situated not far from Crow House on South Mountain Road. Poor's designs, noted for their simplicity, featured modern materials and incorporated his ceramic tiles. Among his important commissions were houses for Maxwell Anderson, Jules Billig, Milton Caniff, MacDonald Deming, and John Houseman.

Poor's first exhibition of paintings in New York City was at Kevorkian Galleries in 1920, and sales were so disappointing that he turned his attention to ceramics. His first pottery show, held at Bel Maison Gallery in Wanamaker's department store in 1921, was very successful. He quickly developed a wide reputation, participated in shows throughout the country, and won awards. He was a founder of the short-lived American Designers' Gallery, and the tile bathroom he showed at the group's first exposition was critically acclaimed. Poor was represented by Montross Gallery as both a painter and potter. When Montross Gallery closed upon its owner's death in 1932, Poor moved to the Frank K. M. Rehn Gallery.

Even though Poor's pottery and ceramic work was in the forefront, he continued to paint. His work was acquired by a number of museums, and the Limited Editions Club commissioned him to illustrate their republications of Ethan Frome, The Scarlet Letter, and The Call of the Wild.

Poor's first work in true fresco was shown in a 1932 mural exhibition at the Museum of Modern Art. Between 1935 and 1949 he was commissioned to produce several murals in fresco for Section of Fine Arts projects at the Department of Justice and the Department of the Interior, The Land Grant Frescoes at Pennsylvania State College, and a mural for the Louisville Courier-Journal. Ceramic tile mural commissions included: the Klingenstein Pavilion, Mt. Sinai Hospital, New York City; Travelers Insurance Co., Boston; the Fresno Post Office, California; and Hillson Memorial Gallery, Deerfield Academy, Deerfield, Mass.

As a member of the War Artists' Unit, Poor was a "war correspondent" with the rank of major in World War II, and for several months in 1943 was stationed in Alaska. An Artist Sees Alaska, drawing on Poor's observations and experiences, was published in 1945. A Book of Pottery: From Mud to Immortality, his second book, was published in 1958. It remains a standard text on the subject. While on the faculty of Columbia University in the 1950s, Poor and other artists opposed to the growing influence of Abstract Expressionism formed the Reality Group with Poor the head of its editorial committee. Their magazine, Reality: A Journal of Artists' Opinions, first appeared in 1953 featuring "Painting is Being Talked to Death" by Poor as its lead article. Two more issues were published in 1954 and 1955.

Along with Willard Cummings, Sidney Simon, and Charles Cuttler, in 1946 Henry Varnum Poor helped to establish the Skowhegan School of Painting and Sculpture in Skowhegan, Maine. He served as its first president. Poor and his daughter, Anne, were active members of the Board of Trustees and were instructors for many years. The summer of 1961 was Henry Varnum Poor's last as a full-time teacher, though he continued to spend summers at Skowhegan.

Henry Varnum Poor exhibited widely and received many awards, among them prizes at the Carnegie Institute, Syracuse Museum of Fine Arts, Virginia Museum of Fine Arts, Pennsylvania Academy of the Fine Arts, and the Architectural League of New York. Poor was appointed to the United States Commission of Fine Arts by President Roosevelt in 1941 and served a five year term. He was elected a member of the National Institute of Arts and Letters in 1943. The National Academy of Design named him an Associate Artist in 1954 and an Academician in 1963. He became a trustee of the American Craftsman's Council in 1956. The work of Henry Vernum Poor is represented in the permanent collections of many American museums including the Cleveland Museum of Art, Metropolitan Museum of Art, Brooklyn Museum, Addison Gallery of American Art, and Syracuse Museum of Fine Arts.

Henry Varnum Poor died at home in New City, New York, December 8, 1970.
Related Material:
An oral history interview with Henry Varnum Poor was conducted by Harlan Phillips for the Archives of American Art in 1964.
Provenance:
Gift of Henry Varnum Poor's son, Peter V. Poor, in 2007. A smaller portion was loaned to the Archives in 1973 by Anne Poor for microfilming and returned to the lender; this material was included in the 2007 gift.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information. Use of audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
The Henry Varnum Poor 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:
War artists  Search this
Topic:
Architects -- New York (State) -- New York  Search this
World War, 1914-1918  Search this
Authors -- New York (State) -- New York  Search this
War posters  Search this
Educators -- New York (State) -- New York  Search this
Pottery -- New York (State) -- New York  Search this
Designers -- New York (State) -- New York  Search this
Ceramicists -- New York (State) -- New York  Search this
Artists' studios  Search this
Art -- Study and teaching  Search this
Painters -- New York (State) -- New York  Search this
Muralists -- New York (State) -- New York  Search this
Genre/Form:
Sketches
Motion pictures (visual works)
Diaries
Prints
Photographs
Illustrations
Drawings
Watercolors
Sketchbooks
Citation:
Henry Varnum Poor papers, 1873-2001, bulk 1904-1970. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.poorhenr
See more items in:
Henry Varnum Poor papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-poorhenr
Online Media:

1ERE EPOQUE J'ACCUSE D'ABEL GANCE / MR. SEVERIN-MARS PATHÉ MR. JOUBÉ

Collection Creator:
Princeton University  Search this
Extent:
1 Poster (Full size; Multi-color, 114 x 80 cm)
Container:
Map-folder 145
Type:
Archival materials
Posters
Place:
France
Date:
1919
Image:
Main Image: Portraits of 2 men, each with a name under it.

Other Image(s): Men asleep? in trenches
Local numbers:
Princeton Poster# 1290
General:
Issued by: PATHÉ

Artist(s): M. Mahus [?]
Series:
VISA No. 14392
Printing Info:
20s stamp affixed with a May 1919 Société General stamp over it
Collection Restrictions:
Collection is open for research.
Collection Rights:
Copyright status of items varies. 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:
Morale and propaganda  Search this
Propaganda  Search this
Genre/Form:
Posters
Collection Citation:
Princeton University Posters Collection, Archives Center, National Museum of American History.
See more items in:
Princeton University Poster Collection
Princeton University Poster Collection / Series 2: World War One / France
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-0433-ref15022

Betty LaDuke collection

Creator:
LaDuke, Betty  Search this
Sponsor:
Heifer International  Search this
Extent:
2 electronic discs (dvd)
4 Boxes (Printed Material (non-photographic))
11 Posters ((Oversize))
24 prints (visual works)
2488 negatives (photographic) (color , 35 mm)
3,194 Photographs (color , 20 x 24 inches or smaller)
Culture:
Ethiopians  Search this
Type:
Collection descriptions
Archival materials
Electronic discs (dvd)
Posters
Prints (visual works)
Negatives (photographic)
Photographs
Color photographs
Portraits
Textiles
Drawings
Color negatives
Photographic prints
Place:
Africa
Lalibela (Ethiopia)
Eritrea
Nāq̄fā (Eritrea)
Asmara (Ethiopia)
Ethiopia
Mits'iwa (Eritrea)
Date:
circa 1981-2018
Summary:
The collection dates from circa 1981 to 2018 and consists of photographic prints, negatives, posters, art prints, DVDs and printed and manuscript materials. Photographs depict architecture, agricultural work, beadwork, weaving, village scenes, artists, artists at work, artworks, markets, celebrations, scenic views, animals, churches and mosques. Most depict Kunama or Saho peoples, particularly women and children. LaDuke also regularly photographed war zones during the Border War, especially those in Nakfa and Gelebe, portraying Internally Displaced Persons (IDP) camps. Locations include villages in Ethiopia and Eritrea, particularly Senafe, Nakfa and Massawa, as well as Border War zones various battlefields and camps for internally displaced persons.
Scope and Contents:
The collection consists of 3,194 color photographs (20 x 24 inches or smaller), 2,488 color 35 mm negatives, a copy of a sketchbook, 11 posters, 24 art prints, biographical materials, correspondence, printed materials, and 3 DVDs, created by Betty LaDuke in circa 1981-2018.

The majority of the photographs were taken in Eritrea, including in Agordat, Asmara, Barentu, Emebet, Geleba, Keren, Massawa, Mendefera, Nakfa, Senafe and Serona, though some were taken in Ethiopia, especially in Lalibela. Images depict architecture, agricultural work, beadwork, weaving, village scenes, artists, artists at work, artworks, markets, celebrations, scenic views, animals, churches and mosques. Most of the photos depict Kunama or Saho peoples, particularly women and children. LaDuke also regularly photographed war zones during the Border War, especially those in Nakfa and Gelebe, portraying Internally Displaced Persons (IDP) camps, Red Cross workers, World Food Program supply tents and the Tacoumbia Food Distribution Center. Other notable subjects include the National Union of Eritrean Women (NUEW), artwork in the Saint George Gallery and children at Dekemhare School.

LaDuke frequently documented art workshops that she attended, artwork and exhibits. Many of her photos depict artwork by Berhane Adonais, Michael Adonais, Mussie Asgodam, Haile Berthe, Danny Dafla, Isak Fasil, Josief Idris, Terhas Iyassu, Elsa Yacob, Abraham Mogos, Kiros Adebe, Tzeghereda Yohannes, Teamrat Ghidei, Afewerki Asmeron, Demoz Russom and Jacob Abraha, as well as the artists themselves at work, socializing or posing by their finished artwork. Additionally, the collection includes four pen and ink drawings by the artists Afewerki Haile, Yoseirf G. Idris and Fessahaie Zemicael, and a number of art prints by LaDuke.

A copy of LaDuke's sketchbook depicts scenes in Asmara and surrounding areas, Tekul, Aidkeh, Keren, Barantu, Tocumbia, Mendefera, Senafe and Massawa. LaDuke sketched village, market and street scenes, celebrations, churchgoers at a Coptic Church, animals, Saho basketmakers, Kunama peoples, St. George's Restaurant and grain mill workers, among other subjects.

Biographical Materials include artist statements and biographical notes, a letter announcing LaDuke as winner of the Vida Scudder Award, a blank registration form for the Northern National Art Competition, for which LaDuke served as judge, a letter to LaDuke from Secretary-General Kofi A. Annan, exhibit schedules and a resume.

The printed material in the collection includes clippings of publications in which LaDuke's artwork is featured, such as Sojourners, Ashland Magazine, School Arts Magazine and Calyx, promotional materials and a holiday notecard produced by Heifer International, announcements and posters. Exhibition files for LaDuke's shows include clippings, announcements, catalogs, photos, correspondence and a CD-ROM of her photos. Additionally, there are a substantial number of exhibit reviews published in such magazines and newspapers as The Oregonian, The Christian Science Monitor and the Durango Herald.

Finally, the collection contains three DVDs entitled Africa Between Myth and Reality (circa 2000), Betty LaDuke: Art Reflection Life (2006), and With Love from Eritrea (2018)which document LaDuke's artistic process and artwork.
Arrangement note:
The collection is organized into 10 series:

Series 1: Photographic Prints, 1994-2002 (3,031 prints; Binders 1-7)

Series 2: Sketchbook (Copy), circa 1998 (1 Book; Binder 8)

Series 3: Color Photographic Prints, 1986-2003 (135 items; Boxes 9-10)

Series 4: Exhibition-Related Prints, Photographs and Posters, circa 1992-circa 2002 (21 items; Box 11)

Series 5: Art Prints and Matted Color Photographic Prints by LaDuke, 2001, 2008, undated (38 items; Boxes 12-13)

Series 6: Biographical Materials, circa 1999-circa 2009 (6 folders; Box 15)

Series 7: Printed Material, 1996-2008 (32 folders, Boxes 15-16)

Series 8: A/V Material, circa 2000-2018 (3 DVDs, Box 17)

Series 9: Art Prints and Poster by Other Artists, 1994, undated (5 items; Box 18)

Series 10: Negatives, 1994-2002 (2,488 items)
Biographical/Historical note:
Artist, writer, professor and multicultural women's art advocate Betty LaDuke (b. 1933) was born in the Bronx to Russian and Polish immigrant parents. She attended California State University in Los Angeles and the Otis College of Art and Design. After three years of teaching junior high art in East Los Angeles, LaDuke moved to Ashland, Oregon in 1964 to accept a position in the art department at Southern Oregon University, where she would teach for over 30 years. Beginning in 1972, she began to undertake annual research journeys to Asia, Latin America, Oceania and Africa, where she found inspiration for the paintings and prints that would make up her circulating exhibits. Upon her retirement from teaching in 1996, LaDuke began to travel to project sites of Heifer International, a humanitarian organization concerned with world hunger and environmental sustainability. These experiences inspired a new phase of her work, including a return to mural painting. LaDuke has published several books on women's art and has been the subject of a book by Gloria Feman Orenstein, entitled Multi-Cultural Celebrations: the Paintings of Betty LaDuke 1972-1992.
Restrictions:
Use of original records requires an appointment. The negatives are located in cold storage. All negatives have been digitized and are available online.
Rights:
Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.
Topic:
Women artists  Search this
Weddings  Search this
Schools  Search this
Church buildings  Search this
Beadwork  Search this
Basket making  Search this
Internally displaced persons  Search this
Rites and ceremonies -- Africa  Search this
Refugee camps  Search this
Mosques  Search this
Natural landscapes  Search this
Works of art  Search this
Weaving -- Ethiopia  Search this
Markets  Search this
Artists -- Ethiopia  Search this
Genre/Form:
Color photographs
Photographs
Portraits
Textiles
Drawings
Posters
Color negatives
Photographic prints
Citation:
Betty LaDuke collection, EEPA 2007-003, Eliot Elisofon Photographic Archives, National Museum of African Art, Smithsonian Institution.
Identifier:
EEPA.2007-003
See more items in:
Betty LaDuke collection
Archival Repository:
Eliot Elisofon Photographic Archives, National Museum of African Art
EDAN-URL:
ead_collection:sova-eepa-2007-003

Grant

Associated person:
Grant, Ulysses S. (Ulysses Simpson)  Search this
Object Name:
Poster
Associated date:
1868
Subject:
Portraits  Search this
Presidential Candidates  Search this
Credit Line:
Ralph Becker
ID Number:
PL.227739.1868.G22
Catalog number:
227739.1868.G22
See more items in:
Political and Military History: Political History, Campaign Collection
Princeton Posters
Data Source:
National Museum of American History
GUID:
http://n2t.net/ark:/65665/ng49ca746a3-5512-704b-e053-15f76fa0b4fa
EDAN-URL:
edanmdm:nmah_521494

Profile of Igor Stravinsky (After cover of Poetics of Music in the Form of Six Lessons by Igor Stravinsky, Vintage Book Edition)

Designer:
Paul Rand, (American, 1914–1996)  Search this
Medium:
Offset lithograph on paper
Type:
graphic design
Poster
Object Name:
Poster
Made in:
USA
Date:
1947, printed 1960-81
Credit Line:
Gift of Various Donors
Accession Number:
1981-29-424
Restrictions & Rights:
Usage conditions apply
See more items in:
Cooper Hewitt, Smithsonian Design Museum Collection
Drawings, Prints, and Graphic Design Department
Data Source:
Cooper Hewitt, Smithsonian Design Museum
GUID:
http://n2t.net/ark:/65665/kq46d7182ff-446a-42d9-b26b-747fccf5573c
EDAN-URL:
edanmdm:chndm_1981-29-424
Online Media:

Poster, NASA, Manned Flight Awareness

Manufacturer:
NASA  Search this
Materials:
Paper
Ink
Dimensions:
2-D - Unframed (H x W): 55.9 × 42.9cm (1 ft. 10 in. × 1 ft. 4 7/8 in.)
Type:
LITERATURE AND RESEARCH-Posters
Country of Origin:
United States of America
Inventory Number:
A20150351000
Restrictions & Rights:
Usage conditions apply
See more items in:
National Air and Space Museum Collection
Data Source:
National Air and Space Museum
GUID:
http://n2t.net/ark:/65665/nv9994d57d7-ee73-4acb-992b-d244d2d56e50
EDAN-URL:
edanmdm:nasm_A20150351000

Poster, NASA, Manned Flight Awareness

Manufacturer:
NASA  Search this
Materials:
Paper
Ink
Dimensions:
2-D - Unframed (H x W): 55.6 × 42.9cm (1 ft. 9 7/8 in. × 1 ft. 4 7/8 in.)
Type:
LITERATURE AND RESEARCH-Posters
Country of Origin:
United States of America
Inventory Number:
A20150354000
Restrictions & Rights:
Usage conditions apply
See more items in:
National Air and Space Museum Collection
Data Source:
National Air and Space Museum
GUID:
http://n2t.net/ark:/65665/nv99ab6dc92-7aa4-458a-a1f1-2b3645b2163d
EDAN-URL:
edanmdm:nasm_A20150354000

Poster, NASA, Manned Flight Awareness

Manufacturer:
NASA  Search this
Materials:
Paper
Ink
Dimensions:
2-D - Unframed (H x W): 55.9 × 43.2cm (1 ft. 10 in. × 1 ft. 5 in.)
Type:
LITERATURE AND RESEARCH-Posters
Country of Origin:
United States of America
Inventory Number:
A20150371000
Restrictions & Rights:
Usage conditions apply
See more items in:
National Air and Space Museum Collection
Data Source:
National Air and Space Museum
GUID:
http://n2t.net/ark:/65665/nv91b719775-13ed-49ab-ba90-27cf03bbb0e8
EDAN-URL:
edanmdm:nasm_A20150371000

Poster, NASA, Manned Flight Awareness

Manufacturer:
NASA  Search this
Materials:
Paper
Ink
Dimensions:
2-D - Unframed (H x W): 55.9 × 43.2cm (1 ft. 10 in. × 1 ft. 5 in.)
Type:
LITERATURE AND RESEARCH-Posters
Country of Origin:
United States of America
Inventory Number:
A20150475000
Restrictions & Rights:
Usage conditions apply
See more items in:
National Air and Space Museum Collection
Data Source:
National Air and Space Museum
GUID:
http://n2t.net/ark:/65665/nv9095ded85-0057-47d7-ac6f-c6197cf63ab5
EDAN-URL:
edanmdm:nasm_A20150475000

Poster, NASA, Manned Flight Awareness

Manufacturer:
NASA  Search this
Materials:
Paper
Ink
Dimensions:
2-D - Unframed (H x W): 26.7 × 20.3cm (10 1/2 in. × 8 in.)
Type:
LITERATURE AND RESEARCH-Posters
Country of Origin:
United States of America
Inventory Number:
A20150477000
Restrictions & Rights:
Usage conditions apply
See more items in:
National Air and Space Museum Collection
Data Source:
National Air and Space Museum
GUID:
http://n2t.net/ark:/65665/nv9e1429f6c-60ce-40a7-9d5f-a1cd03cc041c
EDAN-URL:
edanmdm:nasm_A20150477000

Irving Berlin Collection

Creator:
Berlin, Irving, 1888-1989  Search this
Extent:
3 Cubic feet (6 boxes and 10 oversize folders)
Type:
Collection descriptions
Archival materials
Photographs
Awards
Paintings
Sheet music
Posters
Date:
1905 - 1987
Summary:
Irving Berlin was a 20th century American composer and songwriter. This collection has sheet music for over 200 songs composed by Irving Berlin, as well as a sheet music by other composers. In addition to sheet music, there is correspondence, awards, photographs, and posters pertaining to Irving Berlin.
Scope and Contents:
The collection consists primarily of sheet music for over 200 songs composed by Irving Berlin, as well as sheet music by others, published before 1925. Additionally, there are awards, photographs, correspondence and posters relating to Irving Berlin.

Series 1, Sheet Music by Irving Berlin, circa 1907-1966,and undated, contains sheet music from musicals and films written by Irving Berlin. These are alphabetized by song title.

Series 2, Miscellaneous Sheet Music, 1905-1925, contains a miscellaneous assortment of sheet music from the early 1900s by various composers and lyricists, including two pieces by Irving Berlin. The series is arranged alphabetical by song title. Key: (L) indicates "Lyrics", (W) indicates "Words" and (M) indicates "Music" after composer's name(s).

Series 3, Awards, 1938-1987 and undated, contains awards to Berlin from schools, cities and professional musicians' associations. The earliest in the collection is August 1938, the Box Office Ribbon Award for the best picture of the month, "Alexander's Ragtime Band." The latest one is an accolade by the United States Senate, duly noted in the Congressional Record of October 30, 1987. Series 4 contains correspondence related to the awards.

Series 4, Correspondence, Photographs, and Posters, 1916-1980s and undated, contains correspondence, photographs, and posters. Also included are many large copy prints of Irving Berlin paintings, almost all of which are portraits or still lifes. Some date from the 1970s and 1980s. Nearly all are either signed or initialed. Photographs include Irving Berlin and one of his pianos. A document folio contains photographs of a number of canceled envelopes and a composition manuscript, "I Am Just a Dreaming Fool." There are several posters relating to Irving Berlin musicals.
Arrangement:
The collection is arranged into four series.

Series 1, Sheet Music by Irving Berlin, circa 1907-1966, and undated

Series 2, Miscellaneous Sheet Music, 1905-1925

Series 3, Awards, 1938-1987, and undated

Series 4, Correspondence, Photographs and Posters, 1916-1980s and undated
Biographical / Historical:
Irving Berlin, composer of about 1,500 popular songs, a number of stage musicals and film scores, was born in Russia on May 11, 1888. Named Israel by his parents, Moses and Leah Baline, he fled to the United States with them in 1893. Upon arrival he adopted his American name, and the family settled on the lower east side of New York City. Irving attended public school there for two years, but dropped out to work and help support his family.

In 1907 while employed as a waiter in New York's Chinatown, Irving Berlin wrote his first song, "Marie from Southern Italy". A year later he was employed as a lyricist by a music publishing house and soon was a partner in the company, Waterson, Berlin and Snyder. In 1910 Irving Berlin wrote "My Wife's Gone to the Country" and "Call Me Up Some Rainy Afternoon". These launched his career as a world famous composer of popular songs and in 1911 "Alexander's Ragtime Band" was a sensational hit. It was this song, along with the others he made at this time, that many consider the advent of Modernism within the musical field.

During World War I, Irving Berlin was stationed at Camp Upton, Long Island, where he wrote patriotic songs, including an all-soldier musical revue and the song "God Bless America" (this was not released until twenty years later). After the war he established his own music publishing company in New York City, Irving Berlin Inc. In 1921 he partnered with Sam Harris and and built the Music Box Theater.

Irving Berlin was married twice. The first marriage in 1912 was to Dorothy Goetz, who died shortly afterward. In 1926 he married Ellin Mackay, the daughter of C. H. Mackay, chairman of the board of Postal Telegraph Cable Company. They had four children: Mary Ellin Barret, Elizabeth Irving Peters, Linda Louise Emmet, and little Irving, who died in infancy.

During World War II, Mr. Berlin toured the United States and the European and Pacific battle zones. Proceeds from these appearances were assigned to the Army Emergency Relief and other service agencies. He was the recipient of the Medal of Merit, the Congressional Gold Medal, and the President's Medal of Freedom and was a member of the Legion of Honor of France.

After the war, Berlin continued to write songs, scores, and musicals. It was during these decades that the score for the movie "White Christmas" and the play "Annie Get Your Gun" were produced. He took up painting as a hobby later in life. He died on September 22, 1989 at the age of 101. He is buried at Woodlawn Cemetary, the Bronx, New York City.
Related Materials:
Material in the Archives Center

Sam DeVincent Illustrated Sheet Music Collection

Groucho Marx Collection

Material in Other Institutions

Library of Congress

University of New Hampshire, Milne Special Collections
Provenance:
Donated to National Museum of American History (formerly the the Museum of History and Technology) by Irving Berlin on March 27, 1975.
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:
Popular music -- 20th century -- United States  Search this
Composers -- 20th century  Search this
Portraits -- 1900-1950  Search this
Genre/Form:
Photographs
Awards
Paintings
Sheet music
Posters -- 1940-1960
Citation:
Irving Berlin Collection, 1905-1987, Archives Center, National Museum of American History
Identifier:
NMAH.AC.0257
See more items in:
Irving Berlin Collection
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-0257
Online Media:

Ronald S. Korda Collection of Sports and Trading Cards

Creator:
Korda, Ronald S., -1996  Search this
Korda, Catherine  Search this
Extent:
57 Cubic feet (259 boxes, 1 oversized folder)
Type:
Collection descriptions
Archival materials
Programs
Posters
Stickers
Collecting cards
Albums
Baseball cards
Date:
1952-1996
Summary:
Sports and trading cards, 1952-1996, amassed by card collector Ronald S. Korda. The sports cards are subdivided by sport. Baseball cards, (1952-1996), comprise the vast majority of the sports cards, while football (1968-1996) and hockey (1968-1996) are the two next largest subseries. There are lesser quantities of cards for basketball, and only a few each for all other sports, such as racing, skiing, etc. Non-sports cards cover a large variety of popular culture topics, including motion pictures, television programs, popular music, toys, games, cars and trucks, comics, fantasy art, and many other subjects. Some ephemeral items are also included in the collection, such as sticker albums, posters and programs
Scope and Contents:
This collection is divided into two main series, Series I, Sports; and Series II, Non-Sports.

Series I, Sports, comprises more than 90% of the collection. Within Series I, the collection is divided into seven subseries:

Subseries A: Baseball;

Subseries B: Football;

Subseries C: Hockey;

Subseries D: Basketball;

Subseries E: Other Sports;

Subseries F: Sports programs, schedules and other paper ephemera; toys, souvenirs and novelty items;

Subseries G: Sports card packaging.

Subseries A is the largest, with baseball cards making up approximately 70% of the entire Korda collection. Within the first three subseries, the cards are further subdivided into cards in sets, which are sleeved, and cards in packs, which are stored in card-sized boxes. Subseries D and E are in packs only. Both cards in sets and in packs have been arranged alphabetically by manufacturer, and thereunder, chronologically. Within sets, cards are arranged in numerical order by card number. In cases where, for baseball cards, titles of sets were unclear or ambiguous, the reference book Sports Collector's Digest's Standard Catalog of Baseball Cards (which in this finding aid will be referred to as Standard Catalog) was used to determine how card sets should be titled. Likewise, in the rare cases in which cards were not numbered within sets, the order used was that given in Standard Catalog. In the case of football and hockey, Beckett's Football Card Monthly and Beckett's Hockey Card Monthly were used as reference guides.

Series II: Non-Sports, is arranged into twenty three subseries:

Subseries A: Mass Media and Entertainment

Subseries B: Education

Subseries C: Comic Books and Strips

Subseries D: Toys and action figures

Subseries E: Literature

Subseries F: Automotive Themes

Subseries G: Crime and Law Enforcement

Subseries H: Military Topics

Subseries I: Biography

Subseries J: Fine Arts

Subseries K: Adult Themes

Subseries L: Beauty Contests

Subseries M: Video Games

Subseries N: Parodies

Subseries O: Product Advertising

Subseries P: Fantasy Art

Subseries Q: Monsters

Subseries R: Card Games

Subseries S: Stickers, patches and tattoos

Subseries T: Toys, games, puzzles, post cards and posters

Subseries U: Pogs, caps and gum wrappers

Subseries V: Oversize of above topics

Subseries W: Non-card items, relating to above topics

Subseries 1, Mass media and entertainment, is the largest of the non-sports categories, comprising movies, television and music. Other subseries are similarly subdivided. Unlike the majority of the sports cards, the non-sports cards are stored in small, card-sized cartons, which have been assigned the letters A through DD, and are stored in 4 Paige boxes and 1 DB. They are listed here according to titles of packs.
Arrangement:
The collection is divided into two series.

Series 1: Sports

Series 2: Non-sports
Biographical note:
Ronald Korda, an employee of NBC television and a man of modest, middle class means, began assembling his card collection in childhood after receiving a pack of cards as a party favor. After that initial inspiration, he began his collecting hobby which was his passion until his death in March, 1996. In the early years of his hobby, he collected baseball cards, later expanding to other sports as well as cards on diverse popular culture topics. Among these topics are films, television, popular music, science and nature, comics and magazines, toys and action figures, games, and products, and in addition to cards, there are stickers, sticker albums, tattoos, gum wrappers, puzzles, games and other novelty items. Numerous foreign issues are included. He amassed his collection by attending cards and collectibles shows and seeking out reputable dealers, and by purchasing factory sets when they became available. He was selective and careful, and in the case of the sports cards, succeeded in acquiring complete sets of virtually every series which he collected. (With the non-sports cards, he tended to collect samples rather than entire sets.) This thoroughness is what makes this collection rare and possibly unique among any card collections in public or private hands. With few exceptions, there are no cards missing, and virtually all are in mint or near mint condition. The Kordas could have sold their collection for a fortune, but felt it important that the collection stay together as a unit. Mr. Korda, in an emotional article entitled "Collections Should Live Forever" written for Baseball Hobby News, referred to his collection as "my card family" and expressed the fear that the family would be split up after he died. He approached the Smithsonian late in 1995. Just days before the Archives Center was to acquire the collection, Mr. Korda died. Finalization of his gift was completed by his wife.
History:
Although baseball and other trading cards date back to the nineteenth century, with some of the earliest accompanying packages of tobacco, they gained great popularity during the Depression with the advent of the bubble gum card. In the post-World War II years, and especially during the prosperous decade of the 1950s, they began to enjoy tremendous popularity, as the technology for producing them improved. The market rapidly expanded, and cards for other sports and other topics became popular, just as competition among manufacturers was heating up. The earliest trading cards accompanied packs of tobacco, but were eventually used to advertise gum, cookies, soft drinks, baked goods, hot dogs, and numerous other products. Card manufacturers, such as Topps, changed card formats with each new set, varying the presentation of statistics, vertical and horizontal orientation, use of action shots, candid shots and portraits, and inclusion of puzzles, games, fold-outs, and other novelties. They also added new features, such as trivia questions, cartoons, and holograms. As the hobby has changed, so have trading cards. Today's glossy, high-tech trading cards bear little resemblance to the tobacco cards of the 19th century or even to the cards produced during the "golden age" of cards in the 1950s. This collection represents a very diverse sampling of the card hobby from the 1950s to the 1990s.
Separated Materials:
Some card packaging was transferred to the Museum's Division of Cultural History.

add accession numbers
Provenance:
The entire collection was donated to the Archives Center in April, 1996 by Mr. Korda's widow, Catherine Korda. Some of the card packaging was transferred by the Archives Center to the Division of Cultural History.
Restrictions:
Collection is open for research.

Use of this collection by researchers requires compliance with security procedures more stringent than those required for other collections in the Archives Center. This is due to the high value and rarity of some of the items in this collection. Autographed items, and cards valued at higher than $300 by Standard Catalog and Beckett's are stored separately, and may be seen only with special permission from the Reference Archivist, and then only in cases (such as photography or scanning) where it is deemed a necessity.

Color photocopies have been placed in sleeves where these items would normally be stored. When using card boxes, only six at a time may be requested from the Reference Archivist, and unlike other collections, may not be reserved in advance (i.e., on each separate research visit, a researcher must request boxes only for that visit.)

Card sleeves may be taken out of the binders for photocopying only with the permission and the supervision of the Reference Archivist. Cards may not be taken from sleeves, except with the permission and supervision of the Collection Specialist. This may involve making advance arrangements with the Collection Specialist. These procedures are necessary for the preservation of this exceptional collection in perpetuity.
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  Search this
Popular culture  Search this
Sports -- Collectibles  Search this
Sports -- 1950-2000  Search this
Sports cards  Search this
Television programs  Search this
Football cards  Search this
Television personalities  Search this
Collectibles  Search this
Football  Search this
Collectors and collecting  Search this
Basketball  Search this
Baseball players  Search this
Cards  Search this
Basketball cards  Search this
Baseball  Search this
Hockey players  Search this
Motion pictures  Search this
Football players  Search this
Hockey  Search this
Genre/Form:
Programs -- Sports
Posters -- 20th century
Stickers
Collecting cards
Albums
Baseball cards -- 1950-2000
Baseball cards
Citation:
Ronald S. Korda Collection of Sports and Trading Cards, 1952-1996, Archives Center, National Museum of American History. Gift of Catherine Korda.
Identifier:
NMAH.AC.0545
See more items in:
Ronald S. Korda Collection of Sports and Trading Cards
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-0545
Online Media:

Maryland Food Co-Op 10th Anniversary Poster

Physical Description:
paper (overall material)
dark gold (overall color)
Measurements:
overall: 17 in x 11 in; 43.18 cm x 27.94 cm
Object Name:
poster
Date made:
1986
Credit Line:
Gift of Roger Hecht
ID Number:
2012.3009.01
Nonaccession number:
2012.3009
Catalog number:
2012.3009.01
See more items in:
Work and Industry: Food Technology
Food
FOOD: Transforming the American Table 1950-2000
Exhibition:
Food: Transforming the American Table
Exhibition Location:
National Museum of American History
Data Source:
National Museum of American History
GUID:
http://n2t.net/ark:/65665/ng49ca746ad-8aa7-704b-e053-15f76fa0b4fa
EDAN-URL:
edanmdm:nmah_1417674
Online Media:

Iron Tail, Last of the Great Chiefs

Depicted:
Iron Tail  Search this
Referenced:
Cody, Buffalo Bill  Search this
Pawnee Bill  Search this
Maker:
U.S. Lithograph Co.  Search this
Artist:
Morgan, Russell  Search this
Physical Description:
paper (overall material)
ink (overall material)
linen (overall material)
Measurements:
overall: 40 in x 26 3/4 in; 101.6 cm x 67.945 cm
Object Name:
Poster
Place made:
United States
Date made:
1912
ID Number:
2006.0135.01
Accession number:
2006.0135
Catalog number:
2006.0135.01
See more items in:
Cultural and Community Life: Entertainment
Data Source:
National Museum of American History
GUID:
http://n2t.net/ark:/65665/ng49ca746a9-dd9a-704b-e053-15f76fa0b4fa
EDAN-URL:
edanmdm:nmah_1306062

To Amnesty International

Referenced:
Amnesty International  Search this
Maker:
Amnesty International  Search this
Measurements:
overall: 31 1/2 in x 24 in; 80.01 cm x 60.96 cm
Object Name:
Poster
Place made:
United States: New York, New York City
Date made:
1977
Subject:
Amnesty  Search this
Credit Line:
Anne B. Zill
ID Number:
1986.0231.119
Accession number:
1986.0231
See more items in:
Political and Military History: Political History
Princeton Posters
Data Source:
National Museum of American History
GUID:
http://n2t.net/ark:/65665/ng49ca746b4-b195-704b-e053-15f76fa0b4fa
EDAN-URL:
edanmdm:nmah_535278

Horace Greeley

Associated person:
Greeley, Horace  Search this
Measurements:
overall: 30 in x 24 in; 76.2 cm x 60.96 cm
Object Name:
Poster
Place made:
United States: Massachusetts, Boston
Associated date:
June 30, 1872
Subject:
Portraits  Search this
Elections  Search this
Presidential Candidates  Search this
Credit Line:
Ralph Becker
ID Number:
PL.227739.1872.F01
Catalog number:
227739.1872.F01
See more items in:
Political and Military History: Political History, Campaign Collection
Princeton Posters
Data Source:
National Museum of American History
GUID:
http://n2t.net/ark:/65665/ng49ca746b4-cb9c-704b-e053-15f76fa0b4fa
EDAN-URL:
edanmdm:nmah_521499

Tumbleweeds Poster

Depicted:
Hart, William S.  Search this
Referenced:
United Artists  Search this
Maker:
Berkshire Poster Co.  Search this
Physical Description:
manufactured (overall production method/technique)
paper (overall material)
Measurements:
overall: 40 in x 27 1/2 in; 101.6 cm x 69.85 cm
Object Name:
poster
Movie Poster "Tumbleweeds"
Place made:
United States: New York, New York City
Date made:
ca 1925
Subject:
Motion Pictures  Search this
West  Search this
ID Number:
PG.005092.A
Catalog number:
5092.A
5092-A
Accession number:
212314
See more items in:
Work and Industry: Photographic History
Gatewood W. Dunston Collection
Popular Entertainment
Photo History Collection
Data Source:
National Museum of American History
GUID:
http://n2t.net/ark:/65665/ng49ca746b3-3935-704b-e053-15f76fa0b4fa
EDAN-URL:
edanmdm:nmah_1350924

Two Exhibitions of Works by Milton Glaser

Designer:
Milton Glaser, American, 1929–2020  Search this
Medium:
Offset lithograph on paper
Type:
graphic design
Poster
Object Name:
Poster
Made in:
USA
Date:
1980
Credit Line:
Gift of Various Donors
Accession Number:
1981-29-210
Restrictions & Rights:
Usage conditions apply
See more items in:
Cooper Hewitt, Smithsonian Design Museum Collection
Drawings, Prints, and Graphic Design Department
Data Source:
Cooper Hewitt, Smithsonian Design Museum
GUID:
http://n2t.net/ark:/65665/kq41ad45929-767b-4335-a50c-381b6a1fa66d
EDAN-URL:
edanmdm:chndm_1981-29-210
Online Media:

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