This collection consists of 8 cubic feet of archival material documenting the life of Gene Nora Stumbough Jessen from 1950s to the 2010s. She had a successful career as a flight instructor, Beech Aircraft sales demonstration pilot, Beech Aircraft dealership owner, flight school chief pilot, commercial pilot, Federal Aviation Agency (FAA) Safety Counselor, aviation insurance agent/broker, advisor to the FAA, president of the Ninety-Nines, Inc. (1988-1990), and published aviation author. Jessen also participated in the Women in Space Program, evaluating women's potential as possible astronauts at the Lovelace Medical Center in 1961.
Scope and Contents:
This collection consists of approximately 8 cubic feet of archival material documenting the aviation career of Gene Nora Stumbough Jessen, including her involvement with the Ninety-Nines, her career with Beechcraft Aviation, and her writings on aviation; there is also a small amount of material related to her week-long testing with the Women in Space Program. The following types of materials are included: correspondence, photographs, pilot logs, scrapbooks, photo albums, programs, brochures, maps, magazine articles, manuals, handbooks, VHS tapes, and audiotapes.
Arrangement:
When the National Air and Space Museums Archives received the Gene Nora Stumbough Jessen Collection, it was arranged alphabetically by folder name. All original folder titles have been retained. PII has been manually redacted. Any additional contextual information that was added by the processing archivist appears in brackets.
Biographical / Historical:
Gene Nora (pronounced Janora) Stumbough Jessen was born on January 10, 1937, in Springfield, Illinois. While growing up, Jessen became interested in aviation after learning about the Women Airforce Service Pilots (WASPs) who served their country during World War II. She began flying while in her junior year of high school in the Civil Air Patrol and earned her private pilot license in 1956. She then attended the University of Oklahoma (OU), where she was a member of their flight team and entered her first National Intercollegiate Flying Association (NIFA) competition. While taking classes in 1959, Jessen became the first woman to work as a flight instructor for the school, which allowed her to also pay for college. During her time at OU, she earned seven collegiate-level flying trophies and remained on staff for six years after completing her English degree.
In 1961 Jessen quit her job as a flight instructor when she was selected as one of the women to participate in the Women in Space Program (1960-1962), also known as the Mercury 13 or Fellow Lady Astronaut Trainees (FLATs), at the Lovelace Medical Center in New Mexico. She was twenty-four years old. Dr. William Randall "Randy" Lovelace, who designed and carried out the rigorous testing for the thirty-two male Project Mercury candidates, and US Air Force Brigadier General Donald Flickinger, were curious to see how women would fare against their all-male peers. Unable to interest the National Aeronautics and Space Administration (NASA) in the undertaking, they conducted the experiment in secret independently. For Phase 1, this group of women underwent the same rigorous physical testing regimen used for NASA's Mercury astronauts. All participants passed. Armed with these results, Lovelace and Flickinger lobbied both Congress and the White House to consider including women in the Astronaut Corps, neither of which were keen on the idea; On a draft response letter, Vice President Lyndon B. Johnson wrote "Let's stop this now!" Before the other parts of the test could begin, the Lovelace Program was cancelled.
Jessen moved to Wichita, Kansas, and accepted a job at Beech Aircraft in 1962. There, Jessen piloted planes for demonstration purposes for the company. On July 20, 1962, she embarked on a 90-day, 40,000 mile cross-country flight with fellow pilots Joyce Case and Mike Gordon. They were known as "The Three Musketeers", named after the Beech Musketeers the trio flew in formation across the United States. She and Case were the only female pilots flying for any aircraft manufacturer at that time. Soon, Jessen became rated to fly the entire line of Beech aircraft. In her spare time, she volunteered with the Wichita Wing Scouts from 1963-1967.
In Kansas, she also met and married Leland Robert "Bob" Jessen (1925-2020), a B-29 pilot during World War II, on June 12, 1964, in Colorado Springs, Colorado. In 1967, they moved to Boise, Idaho, where they established their own Beech dealership and, later, an aviation insurance business and Boise Air Service, a full-service, fixed base operation on the Boise Airport.
Jessen was also an avid writer. She was the aviation columnist for The Northwest Flyer, and The Idaho Statesman. Jessen also wrote several books on the history of women in aviation, including Sky Girls, a chronicle of the 1929 Powder Puff Derby.
Additionally, Jessen was appointed by President Lyndon B. Johnson to serve on the Federal Aviation Agency's (FAA) Women in Aviation Advisory Board for five years. Between 1988 and 1990, Jessen was President of the Ninety-Nines, an international organization of licensed women pilots. She was also a Wing Scout Leader, treasurer of the Idaho Pilot's Association, an Accident Prevention Counselor for the FAA, and the Boise Airport Commissioner. She was recently inducted into the International Women in Aviation Pioneers Hall of Fame in Dayton, Ohio. Jessen holds over 4,000 hours of flying experience and earned ratings as a commercial pilot, single and multi-engine land, single-engine sea, instrument rating and a Gold Seal flight instructor.
HONORS:
Honorary PhD, University of Wisconsin
Idaho Aviation Hall of Fame
Pathfinder Award Wall of Fame, Seattle Museum of Flight
Wright Brothers Master Pilot Award
Ninety-Nines Amelia Earhart Award
Achievement Award, International Northwest Aviation Council
Evanston Township High School Distinguished Alumni Award
Adler Planetarium Women in Space Service Award
Mercury 13 NASA Award, International Human Space Flight Day
Women with Wings Award, International Air and Space Museum
Next Generation Indie Book Award, 2010
YMCA Pioneers of the Future Award
FAA Women's Advisory Committee on Aviation
Boise Airport Commissioner
Provenance:
Gene Nora Jessen, Gift, 2023, NASM.2023.0052
Restrictions:
No restrictions on access
Rights:
Material is subject to Smithsonian Terms of Use. Should you wish to use NASM material in any medium, please submit an Application for Permission to Reproduce NASM Material, available at Permissions Requests.
122 Two Good Men (Sacco and Vanzetti)(ACT-0045) / Woody Guthrie. Guitar.
124 Tell Me What's the Matter (ACT-0048) / Brownie McGhee, Sonny Terry. Guitar.
125 Don't You Push Me Down (ACT-0051) / Woody Guthrie. Guitar.
127 Merry Go Round (ACT-0052) / Woody Guthrie. Guitar.
129 Alabama Bound (ACT-0053).
130 Hooterville Trolley (ACT-0053).
131 Jesus Christ (ACT-0054) / Woody Guthrie. Guitar.
Local Numbers:
FP-CDR-0074
Restrictions:
Restrictions on access. No duplication allowed listening and viewing for research purposes only; No Duplication.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
1/5. ACT-008 Pete Seeger, Lee Hays et. al from People's Songs Hootenanny "Scabs Crawl In' ,"We Pity the Bosses Five', "Union Train", "Keep That Line Movin' ", "Roll the Union On" 6. ACT-009 Woody Guthrie "Choo Choo" 7. ACT-015 Woody Guthrie "900 Miles" 8/15 ACT-016 Lead Belly with Moses Asch and Marian Distler in the studio "Liza Jane", "Molly Don't You Grieve", "Move On Soldier Boys (frag.)", Out on the Western Plains (Cow-Cow Yicky Yicky)", Death Letter Blues" 16. ACT-017 Woody Guthrie, Cisco Houston, Bess Hawes "Will You Miss Me" SF40007 17. ACT-023 Woody Guthrie, Cisco Houston "Train Medley" SF40046 18. ACT-024 Woody Guthrie, Cisco Houston "Gave Her Kisses" SF40046 19. ACT-031 Woody Guthrie, Cisco Houston "Girl I Left Behind Me" SF40046 20. ACT-042 Woody Guthrie "A,B,C, Song" 21. ACT-043-101 Woody Guthrie "Ship in the Sky" 22. ACT-043-102 Woody Guthrie "A Million Miles" 23. ACT-043-103 Woody Guthrie "Ship in the Sky" 24. ACT-046 Woody Guthrie, Cisco Houston, Sonny Terry "What Would You Give in Exchange for Your Soul" 25. ACT-047-101 Woody Guthrie "Hard Travelin'" 26. ACT-047-201 Woody Guthrie, Cisco Houston "Farmer Labor Train" 27. ACT-050-101 Woody Guthrie, Cisco Houston "Reckless Talk" 28. ACT-050-102 Woody Guthrie, Cisco Houston "Farmer Labor Train" 29. ACT-050-103 Woody Guthrie, Cisco Houston "Poor Boy" 30. ACT-050-104 Woody Guthrie, Cisco Houston "Baltimore to Washington"
Track Information:
101 Scabs Crawl In, The (ACT-008) / People's Songs (Organization), Pete Seeger. Banjo.
102 We Pity the Bosses Five (ACT-008) / People's Songs (Organization), Pete Seeger. Banjo.
103 Union Train (ACT-008) / People's Songs (Organization), Pete Seeger, Lee Hays. Banjo.
104 Keep That Line A-Moving (ACT-008) / People's Songs (Organization), Pete Seeger. Banjo.
105 Roll the Union On (ACT-008) / People's Songs (Organization), Lee Hays, Woody Guthrie. Guitar.
106 Choo Choo (ACT-009) / Woody Guthrie. Guitar.
108 900 Miles (ACT-015) / Woody Guthrie. Fiddle.
110 Liza Jane (ACT-016) / Lead Belly, Moses Asch. Guitar.
111 Molly, Don't You Grieve (ACT-016) / Lead Belly, Moses Asch. Guitar.
112 Move On, Soldier Boy (ACT-016) / Lead Belly. Guitar.
113 Move On, Soldier Boy, pt. 2 (ACT-016) / Lead Belly. Guitar.
114 Out on the Western Plains (ACT-016) / Lead Belly. Guitar.
115 Death Letter Blues (ACT-016) / Lead Belly. Guitar.
116 Will You Miss Me? (ACT-017) / Woody Guthrie, Bess Lomax Hawes. Guitar.
129 Poor Boy (ACT-050) / Woody Guthrie, Cisco Houston. Guitar.
130 Baltimore to Washington (ACT-050) / Woody Guthrie, Cisco Houston. Guitar.
Local Numbers:
FP-CDR-0001
Date/Time and Place of an Event Note:
1993.
Restrictions:
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Roll 22 [22.1-22.36] notes provided by James Jones.
December 27, 1978- January 19, 1979
2. Pancho Noe at the motor as we cruise up the río Apere to Santa Rosa. Río Apere. 1978 December 27.
3. large moroño tree growing at water's edge on río Apére. Note the sleek, curved elegance of the hole as it reaches for the sky. 1978 December 27.
4. A toboróchi tree at margin of río Apere. Río Apére. 1978 December 27.
5. Palo de Achoó at water's edge on río Apere. Río Apére. 1978 December 27.
6. Forest growth hugs the water's edge along río Apere during rainy season. 1978 December 27.
7. Two macheteros in procesión de los ucras. Día de Deyes. San Ignacio de Moxos. 1979 January 6.
8. Flautista (= flutist) and drummer (cajero, or "bombero") in Procesión de los curas. Día de Reyes, San Ignacio de Moxos. 1979 January 6.
9. "Curas" move in procesión de los curas (or magos) at noon on Día de Reyes. San Ignacio de Moxos. 1979 January 6.
10. "Curas" move in procesión de los curas (or magos) at noon on Día de Reyes. San Ignacio de Moxos. 1979 January 6.
11. Nicolás Vela, 1st cacigue, sits in accustomed seat in Belén. San Ignacio de Moxos. (Reyes) 1979 January 6.
12. Cajero plays drum in Belén. Reyes, San Ignacio de Moxos. 1979 January 6.
13. Flautista plays in Belen in Día de Reyes. San Ignacio de Moxos. 1979 January 6.
14. Altar in Bebín, highly decorated. Reyes, San Ignacio de Moxos. 1979 January 6.
15. Macheteros dance in Procesión de los Reyes. San Ignacio de Moxos. 1979 January 6.
16. Macheteros approach entrance to church at close of Procesión de los Reyes. San Ignacio de Moxos. 1979 January 6.
17. Ankle rattles of a Machetero; made of seed skulls (cáscara) of the chaká-i (Ig.), ankle rattles of Achus (raditionally) made of uña del cierro. San Ignacio de Moxos. 1979 January 6.
18. Street scene in Indian section of San Ignacio. San Ignacio de Moxos. 1979 January 12.
19. Mariano Aguirre, my Ignaciano assistant. San Ignacio de Moxos. 1979 January 12.
20. Templo in San Ignacio. San Ignacio de Moxos. 1979 January 12.
21. House of Juan ("Tito") Abularach fronting on plaza; he is reputed to be wealthiest man of Moxos Province. The plaza in the foreground. San Ignacio de Moxos. 1979 January 12.
22. Tall cross on plaza. San Ignacio de Moxos. 1979 January 12.
23. The belén, Indian meeting and fiesta center. San Ignacio de Moxos. 1979 January 12.
24. Indian houses in San Ignacio. San Ignacio de Moxos. 1979 January 12.
25. Inidan house; note the bridged watery depression in the foreground. San Ignacio de Moxos. 1979 January 12.
26. Looking down the approach to cemetery. Note capilla under construction, and to the right the mausoleum of Abularach family. San Ignacio de Moxos. 1979 January 12.
27. Horno beneath shed at house of Indian family. San Ignacio de Moxos. 1979 January 12.
28. Indian child (grandchild of Simón Guatáica, "representante" in Cabildo) eating manga. San Ignacio de Moxos. 1979 January 12.
29. Carretón approaches with load of leña for San Ignacio. New Pista grande. San Ignacio de Moxos. 1979 January 19.
30. RESTRICTED. Man builds bridge across cuneta to house on other side. New pista grande, San Ignacio de Moxos. 1979 January 19.
31. Indian family returns to chaco in carretón. New pista grande, San Ignacio de Moxos. 1979 January 19.
32. Man walking with his carya suspended from the narakurake (carrying pole) on road to pista grande, near San Ignacio. 1979 January 19.
33. Two Indian women walking along road near pista grande. Going to hunt chocolate. San Ignacio de Moxos. 1979 January 19.
34. Indian woman carries load atop her head in lard can. Road to pista grande. 1979 January 19.
35. Facing a buey of kind common hearabouts. Near pista grande. 1979 January 19.
36. Young fellow on horseback drives bueyas along road to pista grande. San ignacio de Moxos. 1979 January 19.
37. Two indian houses in San Ignacio, the farther most on boards the near most no. San Ignacio de Moxos. 1979 January 19.
Collection Restrictions:
Access to NMAI Archive Center collections is by appointment only, Monday - Friday, 9:30 am - 4:30 pm. Please contact the archives to make an appointment (phone: 301-238-1400, email: nmaiarchives@si.edu).
Collection Rights:
Permission to publish materials from the collection must be requested from National Museum of the American Indian Archive Center. Please submit a written request to nmaiphotos@si.edu. For personal or classroom use, users are invited to download, print, photocopy, and distribute the images that are available online without prior written permission, provided that the files are not modified in any way, the Smithsonian Institution copyright notice (where applicable) is included, and the source of the image is identified as the National Museum of the American Indian. For more information please see the Smithsonian's Terms of Use and NMAI Archive Center's Digital Image request website.
Collection Citation:
Identification of specific item; Date (if known); James Jones collection from Bolivia, Item Number; National Museum of the American Indian Archive Center, Smithsonian Institution
2. The "huírico" that borders numerous properties in Villa Esperanza. Pablo Bazán and Manuel Uche are in the canoe that is used to cross the huírico. Villa Esperanza. 1978 January 19.
3. Pablo Bazán and Manuel Uche in a "bajura" on the way to a hunting ground for "puerco de tropa" (tayasuidos), a kind of pig, in Villa Esperranza. 1978 January 19.
4. A "lomita" in the far chaco of Manuel Uche. An ancient "zanja" passes to the side of the property in Villa Esperanza. 1978 January 19.
5. A "choza" (temporary shelter) in the far chaco of Manuel Uche in Villa Esperanza. 1978 January 19.
6. An ancient "zanja" or arroyo covered with a green growth locally called "pachi". The ditch runs along the far chaco of Manuel Uche in Villa Esperanza. 1978 January 19.
7. Manuel Uche holding a "peta del monte" (turtle) which was found while in search of a "puerco de tropa" (tayasuidos), a kind of pig, in Villa Esperanza. 1978 January 19.
8. The "peta del monte" (turtle) after having been split open with a club by Manuel Uche so that the meat may be removed. Villa Esperanza. 1978 January 19.
9. Pablo Bazán, Manuel Uche, his son and dog stand before a large and oddly shaped moroño tree, locally called "el botellón" which is inscibed on the bark. Villa Esperanza. 1978 January 19.
10. An ancient "zanja" or arroyo covered with a green growth locally called "pachi". The ditch runs along the far chaco of Manuel Uche in Villa Esperanza. 1978 January 19.
11. The "huírico" that borders numerous properties in Villa Esperanza. Shot taken from a canoe at mid-point. 1978 January 19.
12. A long "puente" (bridge) of palm planks and logs across the huirico at a wide point in Villa Esperanza. 1978 January 21.
13. The "mangones" (mangroves) in January. There is a rainbow across the sky in the background. Villa Esperanza. 1978 January 21.
14. The "mangones" (mangroves) in January. There is a rainbow across the sky in the background. Villa Esperanza. 1978 January 21.
15. Tom Hutchinson, pilot, with an "Avimeta" plane of SIL on the "pista" at San Igancio de Moxos getting ready to leave for Tumi Chucua. 1978 January 24.
16. Aerial view of the topography of San Ingancio from 7,500 feet--pampa, monte, water. Note the large area of monte to the northeast. Between San Ignacio and Tumi Chucua. 1978 January 24.
17. Aerial view of a laguneta. Between San Ignacio and Tumi Chucua. 1978 January 24.
18. Aerial view of the topography of San Ingancio from 7,500 feet; pampa, monte, water. Between San Ignacio and Tumi Chucua. 1978 January 24.
19. Aerial view of the gallery forest ofneither side of the river from 7,500 feet. Between San Ignacio and Tumi Chucua. 1978 January 24.
20. Aerial view of the gallery forest following a small river and flooded pampa from 7,500 feet. Between San Ignacio and Tumi Chucua. 1978 January 24.
21. Aerial view of an extensive low area of flooded pampa at 7,500 feet. Between San Ignacio and Tumi Chucua. 1978 January 24.
22. Aerial view of the topography just northwest of Santa Ana de Yacuma from 7,500 feet. Between San Ignacio and Tumi Chucua. 1978 January 24.
23. Aerial view of the topography just northwest of Santa Ana de Yacuma from 7,500 feet. Between San Ignacio and Tumi Chucua. 1978 January 24.
24. Aerial view of the topography just northwest of Santa Ana de Yacuma from 7,500 feet. Between San Ignacio and Tumi Chucua. 1978 January 24.
25. Aerial view of a quadrangular lake typical of Moxos from 8,500 feet. Between San Ignacio and Tumi Chucua. 1978 January 24.
26. Aerial view of the pampa and selva (jungle) from 7,500 feet. Between San Ignacio and Tumi Chucua, 70 miles south of Tumi Chucua. 1978 January 24.
27. Aerial view of a typical garden clearing in the jungle. Between San Ignacio and Tumi Chucua, descending into Tumi Chucua. 1978 January 24.
28. Aerial view of the base of SIL Bolivia. On the approach for landing in Tumi Chucua. 1978 January 24.
29. Canoe crossing the oxbow lake below the SIL base of Tumi Chucua, near Riberalta. 1978 January 26.
30. Aerial view of Earthworks north of Santa Ana de Yacuma (30 miles north of "Santana") and west of Exaltacíon. View from altitude of 9,500 feet. 1978 January 28.
31. Aerial view of Earthworks north of Santa Ana de Yacuma (30 miles north of "Santana") and west of Exaltacíon. View from altitude of 9,500 feet. 1978 January 28.
32. Aerial view of Earthworks north of Santa Ana de Yacuma (30 miles north of "Santana") and west of Exaltacíon. View from altitude of 9,500 feet. 1978 January 28.
33. Aerial view of Earthworks north of Santa Ana de Yacuma (30 miles north of "Santana") and west of Exaltacíon. View from altitude of 9,500 feet. 1978 January 28.
34. Aerial view of Rio Mamoré near Sanata Ana de Yacuma during flood season. View from altitude of 9,500 feet. 1978 January 28.
35. Aerial view of the topography of Moxos, terre plein leading off from one of the quadrangular lagunas. View from altitude of 9,500 feet. 1978 January 28.
36. Aerial view of Rio Mamoré at Trinidad. View from altitude of 9,500 feet. 1978 January 28.
37. Aerial view of Rio Mamoré at Trinidad. View from altitude of 9,500 feet. 1978 January 28.
Collection Restrictions:
Access to NMAI Archive Center collections is by appointment only, Monday - Friday, 9:30 am - 4:30 pm. Please contact the archives to make an appointment (phone: 301-238-1400, email: nmaiarchives@si.edu).
Collection Rights:
Permission to publish materials from the collection must be requested from National Museum of the American Indian Archive Center. Please submit a written request to nmaiphotos@si.edu. For personal or classroom use, users are invited to download, print, photocopy, and distribute the images that are available online without prior written permission, provided that the files are not modified in any way, the Smithsonian Institution copyright notice (where applicable) is included, and the source of the image is identified as the National Museum of the American Indian. For more information please see the Smithsonian's Terms of Use and NMAI Archive Center's Digital Image request website.
Collection Citation:
Identification of specific item; Date (if known); James Jones collection from Bolivia, Item Number; National Museum of the American Indian Archive Center, Smithsonian Institution
The Exhibitions series includes schedules and information about traveling shows, which were usually group exhibitions built around themes; these records are arranged chronologically. The majority of the records in this series consist of files on particular exhibitions, including both traveling shows and exhibitions held at Midtown Galleries; these records are arranged alphabetically by exhibition title. See the Appendix for .
See Appendix for a chronological list of Midtown Galleries exhibitions documented in Series 2.
Arrangement note:
The series is organized into two subsseries:
Missing Title
2.1: Schedules and General Correspondence, 1932-1982, undated
Appendix: List of Midtown Galleries Exhibitions Documented in Series 2:
This list was compiled from announcements and catalogs produced by Midtown Galleries. A few of these were not included with the Midtown Galleries records, but were microfilmed in the mid-1960s as part of an Archives of American Art project to microfilm exhibition catalogs at a number of art libraries. Microfilm reel and frame numbers for these items are indicated in parentheses (reel: frames) immediately following the title. Most are part of Series VII: Printed Matter, and are microfilmed in chronological order; those marked with an asterisk (*) are part of the 1997 addition (5438: 713-838 and 889-932).
DateExhibitionNov. 1-15, 1932 -- Paintings by Bertram Goodman
Dec. 5-29, 1932 -- Paintings by Saul [Berman]
Nov. 7-22, 1933 -- Paintings by Marko Vukovic
Jan. 2-17, 1934 -- Recent Paintings of Nantucket by Margaret Wendell Huntington
Jan. 22-Feb.3, 1934 -- Paintings by Miron Sokole
April 2-17, 1934 -- Watercolors by Eleanor Hine
April 18-May 5, 1934 -- Paintings by Ary Stillman
Oct. 15-27, 1934 -- Paintings by Arthur L. Esner
Dec. 5-22, 1934 -- New York Night, Paintings by Eugene C. Fitsch
Jan. 14-26, 1935 -- Water Colors by E. Helen Young
Feb. 18-March 15, 1935 -- Paintings by Saul [Berman]
March 7-23, 1935 -- Drawings and Etchings by Isabel Bishop
April 1-19, 1935 -- Four Recent Guggenheim Fellows (Paintings by Francis Criss, Frank Mechau, Jr., and Doris Rosenthal, and Sculptures by Oronzio Maldarelli)
April 16-29, 1935 -- Feminanities, Paintings by Minna Citron
May 1-19, 1935 -- Doris Rosenthal (N442:537-538)
Dec. 26-Jan. 9, 1936 -- Vermont Farms by Margaret W. Huntington
Dec. 26-Jan. 12, 1936 -- Paintings of Massachusetts and Pennsylvania by Maurice Freedman
Feb. 11-29, 1936 -- Paintings by Isabel Bishop
April 10-25, 1936 -- Watercolors by Eugenie Schein
May 11-25, 1936 -- Paintings by Vincent Spagna
Oct. 14-31, 1936 -- Paintings by Martha Simpson
Dec. 8-24, 1936 -- Watercolors by Betty Pierson-Parsons
Dec. 13-24, 1936 -- American Print Makers Tenth Anniversary Annual Exhibition of Etchings, Lithographs, Woodcuts
Feb. 1-15, 1937 -- Doris Rosenthal
March 22-April 10, 1937 -- Paintings by Paul Cadmus
April 12-24, 1937 -- Paintings by Edith Nagler
April 19-May 3, 1937 -- Watercolors of Mexico by Eugenie Schein
Oct. 5-18, 1937 -- Vincent Spagna (Br15:527-529)
Oct. 19-Nov. 4, 1937 -- Paintings by Minna Citron
Nov. 5-22, 1937 -- Paul Mommer (Br15:533-535)
Nov. 23-Dec. 6, 1937 -- Paintings by Mary Hutchinson
Nov. 23-Dec. 6, 1937 -- Contemporary American Artists (Br15:536)
Dec. 7-20, 1937 -- Herbert Ferber (Br15:539-541)
Dec. 21-Jan. 3, 1938 -- Paintings by Alfred Kraemer
Jan. 4-17, 1938 -- Paintings by M. Azzi Aldrich
Feb. 8-26, 1938 -- Paintings and Drawings of Mexico by Doris Rosenthal
Sept. 16-Oct. 3, 1938 -- Paintings by Margit Varga
Nov. 21-Dec. 10, 1938 -- Paintings and Drawings by Zoltan Sepeshy
Dec. 8-24, 1938 -- Water Colors by Betty P. Parsons
Dec. 12-30, 1938 -- Water Colors of Bucks County by Lionel S. Reiss
Dec. 27-Jan. 14, 1939 -- Paintings by Jacob Getlar Smith
Jan. 17-Feb. 4, 1939 -- Paintings and Drawings by Isabel Bishop
Feb. 6-20, 1939 -- Paintings by Vincent Drennan
March 7-25, 1939 -- Paintings by Miron Sokole
March 27-April 15, 1939 -- Paintings of Mexico by Doris Rosenthal
April 17-May 6, 1939 -- Recent Paintings by Waldo Peirce
Sept. 26-Oct. 14, 1939 -- Paintings by Maurice Freedman
Oct. 17-Nov. 2, 1939 -- Paintings by Vincent Spagna
Nov. 3-20, 1939 -- Paintings by Minna Citron
Nov. 21-Dec. 9, 1939 -- Paintings by Frederic Taubes
Dec. 9-24, 1939 -- Water Colors by Betty P. Parsons
Jan. 3-20, 1940 -- Paintings by Emlen Etting
Feb. 20-March 9, 1940 -- Paintings by Paul Meltsner
March 19-April 6, 1940 -- Paintings and Watercolors by Bernardine Custer
Nov. 11-30, 1940 -- Paintings by Fletcher Martin
Dec. 2-21, 1940 -- Paintings by Simka Simkhovitch
Feb. 3-22, 1941 -- Paintings and Watercolors by Zoltan Sepeshy
March 3-22, 1941 -- Paintings by Doris Rosenthal
April 14-May 3, 1941 -- Paintings by Waldo Peirce
July 22-Aug. 22, 1941 -- Dealers Show American Art
Nov. 3-22, 1941 -- Pastels by Gladys Rockmore Davis
Nov. 25-Dec. 13, 1941 -- Water Colors by Betty P. Parsons
Dec. 15-Jan. 3, 1942 -- Paintings of the Tennessee Valley by Minna Citron
Jan. 6-24, 1942 -- Paintings by Jacob Getlar Smith
Jan. 26-Feb. 14, 1942 -- Watercolors by Zoltan Sepeshy
March 3-21, 1942 -- Tenth Anniversary Loan Exhibition, Works of Art by Midtown Artists Borrowed Back for this event from the Permanent Collections of Leading American Museums and Collectors
March 31-April 18, 1942 -- Watercolors by Waldo Peirce
April 27-May 16, 1942 -- Paintings by Vincent Spagna
May 18-June 6, 1942 -- Drawings by Isabel Bishop
Jan. 4-29, 1943 -- Watercolors by Jacob Getlar Smith
Feb. 8-March 6, 1943 -- Paintings of Mexico by Doris Rosenthal
March 5-27, 1943 -- Water Colors, Drawings and Prints by Contemporary American Artists at MacMurray College, courtesy of Midtown Galleries
March 29-April 17, 1943 -- Drawings by Minna Citron
April 19-May 15, 1943 -- Paintings by Gladys Rockmore Davis
May 17-June 4, 1943 -- Sculpture, Water Colors and Drawings by Herbert Ferber
Oct. 19-Nov. 6, 1943 -- Watercolors of the United States by Dong Kingman
Nov. 9-27, 1943 -- Ceramic Sculpture by Lilian Swann Saarinen
Nov. 23-Dec. 11, 1943 -- Drawings, Pastels, and Paintings by Doris Rosenthal
Jan. 25-Feb. 12, 1944 -- Paintings by William Thon
Feb. 5-21, 1944 -- Paintings by Mary E. Hutchinson
March 21-April 15, 1944 -- Paintings of the Ballet Backstage by Gladys Rockmore Davis
April 17-May 6, 1944 -- Paintings by Miron Sokole
May 9-27, 1944 -- Paintings by Waldo Peirce
May 29-June 17, 1944 -- Water Colors of the Stage Door Canteen and Other Home Front Activities by Bernardine Custer
Nov. 13-Dec. 2, 1944 -- Watercolors by Dong Kingman
Dec. 5-23, 1944 -- The Road to Paris, Gouaches by Emlen Etting
Dec. 26-Jan. 13, 1945 -- New York Harbor in Wartime by Julien Binford
Dec. 28-Jan. 15, 1945 -- Paintings by Fletcher Martin
Jan. 15-Feb. 3, 1945 -- Paintings, Gouaches and Drawings by Philip Guston
May 1-19, 1945 -- Paintings of Guatemala by Doris Rosenthal
Oct. 16-Nov. 3, 1945 -- Watercolors by Dong Kingman
Nov. 6-Dec., 1945 -- The Peirce Children Grow Up, Paintings by Waldo Peirce
Jan. 8-26, 1946 -- Memorial Exhibition of Paintings and Watercolors by Renee Lahm
Feb. 3, 1946 -- Upjohn Company Collection of Contemporary American Painting, High Museum of Art, Atlanta, Georgia
Feb. 19-March 9, 1946 -- Paintings by Henry Billings
April 23-May 11, 1946 -- Paintings by William Thon
Oct. 22-Nov. 9, 1946 -- Moods of Children, Paintings by Gladys Rockmore Davis
Oct. 6-26, 1946 -- Upjohn Collection of Contemporary American Paintings, Delaware Art Center, Wilmington, Delaware
Nov. 19-Dec. 7, 1946 -- Paintings and Watercolors by Zoltan Sepeshy
Feb. 2-March 1, 1947 -- Paintings by Isabel Bishop
Feb. 11-March 1, 1947 -- Paintings by Maurice Freedman
March 11-29, 1947 -- Watercolors by Dong Kingman
March 12-30, 1947 -- Recent Oil Paintings by Emlen Etting
April 1-26, 1947 -- 15th Anniversary Exhibition, Painting and Sculpture by Members of the Midtown Group of American Artists
April 2-20, 1947 -- Recent Oil Paintings by Fred Nagler
April 13-26, 1947 -- Upjohn Collection of Contemporary American Paintings, Stockwell Memorial Library, Albion College, Albion, Michigan
April 29-May 16, 1947 -- Paintings by Lenard Kester
May 12-28, 1947 -- Upjohn Collection of Contemporary American Painting, Davenport Municipal Art Gallery, Davenport, Iowa
Sept. 2, 1947 -- Upjohn Collection of Contemporary American Painting, Brooks Memorial Art Gallery, Memphis, Tennessee
Oct. 5-25, 1947 -- Upjohn Collection of Contemporary American Painting, Illinois State Museum, Springfield, Illinois
Oct. 14-Nov. 1, 1947 -- Paintings by William Palmer
Dec. 8-29, 1947 -- Upjohn Company Collection of Contemporary American Painting, The Burpee Art Gallery, Rockford, Illinois
Jan. 27-Feb. 16, 1948 -- Paintings by Henry Koerner
Feb. 1, 1948 -- Upjohn Company Collection of Contemporary American Painting, Mulvane Art Museum, Washburn University, Topeka, Kansas
March 2-20, 1948 -- Watercolors by Dong Kingman
March 7-28, 1948 -- Upjohn Company Collection of Contemporary American Painting, Oklahoma Art Center, Oklahoma City, Oklahoma
March 22-April 3, 1948 -- American Art, A Multiple Exhibition arranged by The Association of Dealers in American Art, and Held in Their Galleries
April 6-24, 1948 -- Paintings and Gouaches by Maurice Freedman
April 11-25, 1948 -- Upjohn Company Collection of Contemporary American Painting, Isaac Delgado Museum of Art, New Orleans, Louisiana
May 6-23, 1948 -- Upjohn Company Collection of Contemporary American Painting, Dallas Health Museum, Dallas, Texas
May 11-29, 1948 -- Paintings and Mural Sketches by Emlen Etting
June 5-28, 1948 -- Upjohn Company Collection of Contemporary American Painting, William Rockhill Nelson Gallery of Arts and Mary Atkins Museum of Fine Arts, Kansas City, Missouri
July 6-29, 1948 -- Upjohn Company Collection of Contemporary American Painting, Kenosha Historical and Art Museum, Kenosha, Wisconsin
Oct. 5-23, 1948 -- Paintings by Lenard Kester
Jan. 4-22, 1949 -- Watercolors of Italy by William Thon
Jan. 25-Feb. 12, 1949 -- Paintings by Henry Koerner
Feb. 21-March 12, 1949 -- Paintings by Cecile Belle
March 15-April, 1949 -- Paintings and Drawings by Anatol Shulkin
April 5-23, 1949 -- Watercolors by Dong Kingman
May 3-21, 1949 -- Paintings by Isabel Bishop
June 3-26, 1949 -- Upjohn Company Collection of Contemporary American Painting, E. B. Crocker Art Gallery, Sacramento, California
Oct. 4-22, 1949 -- Paintings in Gouache by Fred Meyer
Oct. 25-Nov. 19, 1949 -- Paintings by Gladys Rockmore Davis
Nov. 22-Dec. 17, 1949 -- Paintings by Paul Cadmus, 1938-1949
Jan. 10-28, 1950 -- Non-Realistic and Objectionable Portraits of American Artists by Isabella Howland (drawings)
Jan. 31-Feb. 18, 1950 -- Paintings and Watercolors by Zoltan Sepeshy
Feb. 28-March 18, 1950 -- Drawings and Water Colors, Paris - Honolulu, by Emlen Etting
March 9-20, 1950 -- The Art Department of Northeast Missouri State Teachers College Presents... Contemporary American Artists, Midtown Galleries, New York City
March 21-April 15, 1950 -- Paintings and Gouaches by Henry Koerner
April 18-May 6, 1950 -- Paintings of Italy by William Thon
May 9-27, 1950 -- Recent Watercolors by Dong Kingman
Oct. 31-Nov. 25, 1950 -- Twenty-one Paintings in Casein and Ink by William C. Palmer
Nov. 28-Dec. 23, 1950 -- Recent Paintings by Fred Nagler
Jan. 2-29, 1951 -- Mobile Art Association Presents Contemporary Artists Circuited by Midtown Galleries
Feb. 6-24, 1951 -- Paintings by Miron Sokole
March 6-31, 1951 -- Paintings and Drawings by Henry Koerner
April 3-21, 1951 -- The Dance, Paintings and Drawings by Emlen Etting
May 1-26, 1951 -- 10 Year Retrospective Exhibition of Watercolors by Dong Kingman
Oct. 9-27, 1951 -- Watercolors and Oil Paintings by William Thon
Nov. 6-Dec. 1, 1951 -- 100 Drawings by Henry Koerner
Jan. 8-26, 1952 -- Oil Paintings by William Palmer
Feb. 5-25, 1952 -- Paintings by Maurice Freedman
Feb. 20-23, 1952 -- Paintings and Drawings by Doris Rosenthal Presented by Haygood Lasseter Interiors, Miami, through courtesy of Midtown Galleries, New York City
May 6-24, 1952 -- Paintings of the West Indies by Doris Rosenthal
June 4-28, 1952 -- 20 Years of the Midtown Galleries, A Pictorial Survey of Twenty Years' Activity in the Promotion of Outstanding Contemporary American Art
Nov. 5-29, 1952 -- Paintings by Henry Koerner
March 31-April 25, 1953 -- Paintings of Spain by Gladys Rockmore Davis
April 28-May 23, 1953 -- Paintings by Cecile Belle
Oct. 20-Nov. 7, 1953 -- Paintings by Margit Varga
Nov. 17-Dec. 5, 1953 -- Paintings by Zoltan Sepeshy
Dec. 14-Jan. 9, 1954 -- Paintings by William Palmer
Feb. 9-27, 1954 -- Dong Kingman's Water Colors
April 6-May 1, 1954 -- Recent Paintings and Drawings by Henry Koerner
May 4-29, 1954 -- Watercolors by William Thon
Sept. 20, 1954 -- Art In Interiors
Oct. 19-Nov. 6, 1954 -- Paintings by Robert Vickrey
Nov. 16-Dec. 4, 1954 -- Recent Paintings by Emlen Etting
Dec. 7-31, 1954 -- Recent Paintings by William Thon
Jan. 25-Feb. 12, 1955 -- Paintings of Mexico by Doris Rosenthal
Feb. 23-March 19, 1955 -- Paintings by Henry Koerner
April 12-May 7, 1955 -- Paintings and Lithographs by Robert Sivard
May 10-June 4, 1955 -- Watercolors and Drawings by Dong Kingman
Oct. 25-Nov. 19, 1955 -- Paintings and Drawings by Isabel Bishop
Nov. 22-Dec. 17, 1955 -- Paintings by William Thon
Feb. 21-March 10, 1956 -- Paintings and Gouaches by Maurice Freedman
March 13-31, 1956 -- Paintings by Cecile Belle
April 3-21, 1956 -- Recent Paintings by Miron Sokole
May 8-June 2, 1956 -- Watercolors by Dong Kingman
Sept. 25-Oct. 17, 1956 -- 5th Annual Exhibition, Art In Interiors
Nov. 20-Dec. 15, 1956 -- Paintings of Bali by Gladys Rockmore Davis
Dec. 26-Jan. 19, 1957 -- Paintings by Zoltan Sepeshy
Jan. 22-Feb. 16, 1957 -- Paintings of Mexico by Doris Rosenthal
Feb. 19-March 9, 1957 -- Paintings and Drawings by Emlen Etting
March 12-30, 1957 -- Paintings by Henry Koerner
May 7-June 8, 1957 -- 25th Anniversary Loan Exhibition, Lent by American Museums and Collectors
Nov. 12-30, 1957 -- Paintings by Betty Parsons
Dec. 3-28, 1957 -- Paintings by William Palmer
Dec. 31-Jan. 25, 1958 -- Paintings by Fred Nagler
Feb. 18-March 15, 1958 -- Paintings by Henry Koerner
March 18-April 12, 1958 -- Watercolors by Dong Kingman
April 15-May 10, 1958 -- Paintings by William Thon
May 13-31, 1958 -- Paintings by Annette Bartle
Oct. 28-Nov. 15, 1958 -- Paintings by Robert Sivard
Nov. 18-Dec. 6, 1958 -- Paintings by Robert Vickrey
Jan. 27-Feb. 21, 1959 -- Paintings by Ernest Fiene
Feb. 24-March 14, 1959 -- Paintings by Jason Schoener
March 17-April 4, 1959 -- Paintings by Waldo Peirce
April 14-May 2, 1959 -- Sculpture by Raimondo Puccinelli
May 5-23, 1959 -- Annual Good Drawing Exhibition by Distinguished American Draughtsmen
Sept. 29-Oct. 21, 1959 -- Th Annual Exhibition, Art In Interiors
Nov. 17-Dec. 5, 1959 -- Paintings by Maurice Freedman
Dec. 8-26, 1959 -- Paintings by William Palmer
Jan. 5-30, 1960 -- Paintings by Henry Koerner
March 1-26, 1960 -- Paintings by Waldo Peirce
March 29-April 23, 1960 -- Paintings and Watercolors by William Thon
May 3-28, 1960 -- Paintings by Isabel Bishop
Sept. 20-Oct. 19, 1960 -- The Annual Exhibition, Art In Interiors
Oct. 25-Nov. 19, 1960 -- Paintings by Robert Vickrey
Nov. 22-Dec. 10, 1960 -- Paintings by Annette Bartle
Dec. 12-Jan. 6, 1960 -- Paintings by William Palmer
Dec. 13-Jan. 7, 1961 -- Paintings by Jason Schoener
Jan. 10-Feb. 4, 1961 -- Recent Paintings by Emlen Etting
Feb. 28-March 18, 1961 -- Drawings by Henry Koerner
March 21-April 15, 1961 -- Paintings by Zoltan Sepeshy
April 18-May 13, 1961 -- Watercolors by 5: William Thon, Jason Schoener, Robert Vickrey, Edward Betts, Fred Nagler
Sept. 27-Oct. 18, 1961 -- 10th Anniversary Exhibition, Art In Interiors
Jan. 16-Feb. 3, 1962 -- Oh, Fearful Wonder of Man, Recent Paintings and Drawings by Henry Koerner
March 21-April 7, 1962 -- Barabbas
April 10-May 5, 1962 -- Paintings and Watercolors by Robert Vickrey
June 5-July 6, 1962 -- Oil Paintings and Watercolors by William Thon
Nov. 23-Dec. 15, 1962 -- 30th Anniversary Loan Exhibition, Loans from American Museums and Collectors
Dec. 19-Jan. 5, 1963 -- Recent Paintings and Drawings by Henry Koerner
Jan. 8-Feb. 2, 1963 -- Oil Paintings, Nos. 1 through 25, Paintings of Maine, California, Greece, etc., Gouaches by Jason Schoener
March 5-30, 1963 -- Four Distinguished American Painters: William Thon, Robert Vickrey, Jason Schoener, Edward Betts
April 2-27, 1963 -- 30 Years of Religious Painting by Fred Nagler
April 30-May 18, 1963 -- Forms in Light, 1959-1963, Recent Paintings by Henry Billings
Oct. 8-26, 1963 -- Recent Paintings by Annette Bartle
Oct. 29-Nov. 16, 1963 -- Recent Paintings by Maurice Freedman
Nov. 26-Dec. 21, 1963 -- Recent Paintings by William Palmer
Feb. 18-March 14, 1964 -- Paintings and Drawings by Siegfried Reinhardt
March 17-April 11, 1964 -- Paintings and Drawings by William Thon
April 21-May 9, 1964 -- Drawings, Watercolors, and Welded Sculpture by Nathan Cabot Hale
Oct. 6-31, 1964 -- Paintings of Maine by Midtown's Maine Artists (Hans Moller, Edward Betts, William Thon, Waldo Peirce, and Jason Schoener)
Nov. 10-Dec. 5, 1964 -- Paintings by Hans Moller
Dec. 8-26, 1964 -- Twenty Five Years of Drawing by Emlen Etting
Jan. 4-22, 1966 -- Paintings from the Greek Islands by Emlen Etting
Jan. 25-Feb. 12, 1966 -- Paintings of Greece by Jason Schoener
Feb. 15-March 12, 1966 -- Recent Paintings by Robert Sivard
March 15-April 2, 1966 -- Recent Paintings by Annette Bartle
April 5-30, 1966 -- Paintings and Watercolors by William Thon
Sept. 11-Oct. 7, 1966 -- Midtown Galleries Exhibition at Charleston Art Gallery, Charleston, W. Va.
Sept. 7-Oct. 22, 1966 -- Paintings of Maine by Midtown's Maine Artists (Hans Moller, William Thon, Edward Betts, Waldo Peirce, and Jason Schoener)
Oct. 25-Nov. 12, 1966 -- Flowers in Art, Paintings and Watercolors
Nov. 8-Dec. 3, 1966 -- Paintings by Siegfried Reinhardt
Dec. 6-31, 1966 -- Small Paintings by Major Artists (Isabel Bishop, Paul Cadmus, William Palmer, Robert Vickrey, Emlen Etting, Doris Rosenthal, Robert Sivard, Edward Betts, Jason Schoener, Roy Moyer, Waldo Peirce, Hans Moller, Charles Coiner, Maurice Freedman, Fred Nagler, etc.)
Jan. 4-28, 1967 -- Recent Paintings by Hans Moller
March 14-April 1, 1967 -- 35th Anniversary Exhibition, A Documentary Presentation of Midtown Galleries' 35 Years of Varied Activities in Behalf of the Contemporary American Artist
April 4-29, 1967 -- Paintings by Isabel Bishop
May 9-June 3, 1967 -- Watercolors by Four Distinguished American Painters (William Thon, Hans Moller, Jason Schoener, Edward Betts)
Oct. 3-28, 1967 -- Recent Paintings of France by Robert Sivard
Oct. 31-Nov. 25, 1967 -- Recent Paintings by Roy Moyer
Nov. 28-Dec. 16, 1967 -- Watercolors by Four (William Thon, Edward Betts, Jason Schoener, Hans Moller)
Dec. 12-Jan. 6, 1968 -- Paintings by William Palmer
Jan. 7-28, 1968 -- Group Exhibition at the Columbus Museum of Arts and Crafts, Inc., Columbus, Ga., Courtesy of Midtown Galleries
Jan. 16-Feb. 10, 1968 -- Recent Paintings of the Scottish Highlands by Charles Coiner
Feb. 13-March 9, 1968 -- Recent Sculpture by Fred Meyer
March 1-April 6, 1968 -- Retrospective Selection of Drawings and Prints, Including Loans from Public and Private Collections, 1907-1968
April 9-May 4, 1968 -- Paintings of Ireland by William Thon
May 7-31, 1968 -- Sculpture, Watercolors and Drawings by Nathan Cabot Hale
Oct. 15-Nov. 9, 1968 -- Recent Paintings by Edward Betts
Nov 12-Dec. 7, 1968 -- Elections: Waldo Peirce, 1938-1968
Dec. 10, 1968-Jan. 4, 1969 -- Watercolors by 4 Members of the Midtown Group Noted for their Work in this Medium (William Thon, Edward Betts, Jason Schoener, Hans Moller)
Feb. 4-March 1, 1969 -- Paintings by Jason Schoner
April 1-26, 1969 -- Recent Paintings by Ethel Magafan
April 29-May 24, 1969 -- Paintings by Robert Vickrey
Oct. 7-Nov. 1 Hans, 1969 -- Watercolors by Five Distinguished American Painters (William Thon, Moller, Ethel Magafan, Jason Schoener, and Edward Betts)
Nov. 5-29, 1969 -- Paintings by Richard Mayhew
Dec. 2-27, 1969 -- Recent Paintings by William Palmer
Jan. 6-24, 1970 -- Exhibition of Paintings by Maurice Freedman
Feb., 1970 -- 38th Anniversary Exhibition
March 3-28, 1970 -- Paintings of Mykonos, Etc. by Margit Varga
Sept. 29-Oct. 24, 1970 -- Watercolors and Pastels of Monhegan, Maine, by Hans Moller
Jan. 19-Feb. 13, 1971 -- Recent Paintings by Stephen Etnier
March 16-April 10, 1971 -- Paintings by Richard Mayhew
April 13-May 8, 1971 -- Paintings by Charles Coiner
May 21-June 5, 1971 -- Earth, Sea and Sky: Naturescapes by Eight Artists, Squibb Gallery, Courtesy of Midtown Galleries
Sept. 28-Oct. 23, 1971 -- Paintings by Emlen Etting
Oct. 26-Nov. 20, 1971 -- Bishop, Cadmus, Vickrey*
Nov. 23-Dec. 18, 1971 -- Paintings by William Thon
Dec. 21-Jan. 15, 1972 -- Paintings by Maurice Freedman
Jan. 18-Feb. 12, 1972 -- Paintings of Latin America by Jason Schoener
Feb. 15-March 11, 1972 -- Fortieth Anniversary Exhibition (In Tribute to the Memory of Alan D. Gruskin)
March 14-April 8, 1972 -- Paintings of Maine and California by Edward Betts
May 9-June 3, 1972 -- Flowers in Art (Paintings by Waldo Peirce, William Palmer, Emlen Etting, Roy Moyer, Maurice Freedman, Hans Moller, Charles Coiner, Julien Binford, Robert Vickrey)
Oct. 24-Nov. 18, 1972 -- Waldo Peirce Memorial Exhibition, Paintings of the Last Two Decades
Oct. 3-21, 1972 -- Drawings by Eight Important Contemporary American Artists (Isabel Bishop, Paul Cadmus, Emlen Etting, Ethel Magafan, Richard Mayhew, Hans Moller, William Palmer, William Thon)
Nov. 21-Dec. 16, 1972 -- Paintings by Robert Vickrey
Dec. 19-Jan. 13, 1973 -- Religious and Figurative Paintings by Fred Nagler
March 6-31, 1973 -- Recent Paintings by Hans Moller
April 3-28, 1973 -- Paintings by Ethel Magafan
June 5-22, 1973 -- New Talent Festival
Oct. 2-27, 1973 -- Sculpture and Drawings by Nathan Cabot Hale
Oct. 30-Nov. 24, 1973 -- Recent Paintings of England, Scotland and Wales by Charles Coiner
Jan. 8-Feb. 2, 1974 -- A Selection of Drawings and Prints by Isabel Bishop
Feb. 5-March 2, 1974 -- 42nd Anniversary Exhibition, Paintings of the Thirties
March 5-30, 1974 -- Paintings by Richard Mayhew
April 2-27, 1974 -- Flowers by Julien Binford
June 4-15, 1974 -- New Talent Festival
Oct. 1-26, 1974 -- Terra Cottas and Bronzes by Fred Meyer
Oct. 29-Nov. 23, 1974 -- Paintings and Prints by Robert Sivard
Nov. 26-Dec. 21, 1974 -- Paintings by William Palmer
Jan. 7-25, 1975 -- Recent Paintings by Robert Vickrey
Jan. 28-Feb. 22, 1975 -- Paintings and Gouaches by Jason Schoener
Feb. 25-March 22, 1975 -- Watercolor Paintings by William Thon
March 25-April 12, 1975 -- Paintings by Maurice Freedman
Oct. 6-31, 1975 -- Religious Paintings by Fred Nagler at Saint Peter's Gallery, New York City (in cooperation with Midtown Galleries)
Oct. 28-Nov. 22, 1975 -- Paintings by Emlen Etting
Dec. 23-Jan. 17, 1976 -- Richard Mayhew*
Jan. 20-Feb. 14, 1976 -- Paintings by Ethel Magafan
March 16-April 10, 1976 -- Paintings by Edward Betts
April 13-May 10, 1976 -- Selected Works by Paul Cadmus
May 11-28, 1976 -- American Landscapes (William Palmer, Charles Coiner, Robert Vickrey, Waldo Peirce, William Thon, Jason Schoener)
June 1-18, 1976 -- New Talent Festival
Sept. 28-Oct. 23, 1976 -- Paintings of The Hamptons by Margit Varga
Oct. 26-Nov. 20, 1976 -- Paintings by Stephen Etnier
Nov. 2-20, 1976 -- Illustrations by Isabel Bishop for "Pride and Prejudice" by Jane Austen
Nov. 23-Dec. 18, 1976 -- Paintings by Robert Vickrey
Dec. 28-Jan. 22, 1977 -- On Loan from a Private Collection, "Seven Deadly Sins" and "Subway Symphony" by Paul Cadmus
Feb. 22-March 19, 1977 -- Paintings of Artists and Writers in Paris by Robert Sivard
March 22-April 16, 1977 -- Paintings and Watercolors by William Thon
April 19-May 14, 1977 -- Paintings by Maurice Freedman
May 17-June 4, 1977 -- New Talent and Guest Exhibition (Mary L. Buckley, Ruth Cobb, David Cobb Kupferman, Meyer Tannenbaum)
Nov. 1-26, 1977 -- Paintings by Waldo Peirce
Nov. 29-Dec. 24, 1977 -- Paintings by William Palmer
Feb. 28-March 25, 1978 -- Paintings of England, Scotland, Maine by Jason Schoener
March 28-April 22, 1978 -- Drawings and Serigraphs by Gregorio Prestopino
April 25-May 20, 1978 -- Terra Cottas and Bronzes by Fred Meyer
Oct. 31-Dec. 2, 1978 -- Paintings by Charles Coiner
Nov. 28-Dec. 16, 1978 -- Watercolors of Paris Shops, Dublin Pubs, etc. by Robert Sivard
Dec. 5-30, 1978 -- Drawings and Etchings by Isabel Bishop
Jan. 9-Feb. 3, 1979 -- The Seasons (Paintings by William Palmer, Paul Cadmus, William Thon, Hans Moller, Edward Betts, Emlen Etting, Gregorio Prestopino, Richard Mayhew, Maurice Freedman, Waldo Peirce, Jason Schoener, Charles Coiner)
Feb. 6-March 3, 1979 -- Recent Paintings by Stephen Etnier
Oct. 9-Nov. 3, 1979 -- Paintings by Maurice Freedman
Nov. 6-Dec. 1, 1979 -- Watercolors by Gregorio Prestopino
Dec. 4-29, 1979 -- Paul Cadmus, A Small Intimate Retrospective on the Occasion of His Seventy-fifth Birthday
Feb. 5-March 1, 1980 -- Drawings by Emlen Etting
March 4-29, 1980 -- Paintings of Summer in Maine by Jason Schoener
April 29-May 24, 1980 -- Paintings by Bruce Currie
Nov. 4-29, 1980 -- Paintings by Stephen Etnier
Dec. 2-Jan. 3, 1981 -- Paintings by William Thon
Jan. 6-31, 1981 -- Paintings by Ethel Magafan
Feb. 3-28, 1981 -- Watercolors by Ruth Cobb
March 3-28, 1981 -- Paintings by Robert Sivard
Sept. 8-Oct. 3, 1981 -- Self Portraits *
Oct. 6-31, 1981 -- A Fifty Year Drawing Retrospective and Recent Paintings by Isabel Bishop
Dec. 1-Jan. 9, 1982 -- William Palmer: Painting 50 Years
Jan. 19-Feb. 27, 1982 -- Retrospective Exhibition of Selected Paintings, 1932-1982, by Maurice Freedman
March 2-27, 1982 -- Retrospective Exhibition by Margit Varga
March 30-April 24, 1982 -- Midtown Galleries Golden Anniversary, Selected Work by Gallery Artists
April 27-May 22, 1982 -- New Bronzes and Terra Cottas by Fred Meyer
Oct. 5-20, 1982 -- Ruth Cobb: A Selection of Watercolors *
Nov. 2-27, 1982 -- A Twenty Year Retrospective Exhibition by Edward Betts
Jan. 4-29, 1983 -- Recent Paintings and Sculpture by Artists Associated with Midtown Galleries since the Thirties and Forties *
Feb. 1-26, 1983 -- Isabel Bishop: An Intimate Exhibition of Work of the Past Five Years
July 10-Aug. 4, 1983 -- Selected Works of Contemporary American Artists from the Midtown Galleries, New York City [at Fairfield University] *
Oct. 4-30, 1983 -- Paintings, Drawings and Prints by Bernarda Bryson Shahn
Nov. 1-26, 1983 -- Jason Schoener: The Artist's Travels *
Sept. 21-Nov. 5, 1994 -- Paul Tchelitchev: A Reevaluation *
Nov. 11-Dec. 30, 1994 -- Paul Cadmus: Still Lifes, Portraits, Tableaux
Jan. 12-Feb. 25, 1995 -- Jacob Lawrence: An Overview, Paintings from 1936-1994 *
March 2-April 8, 1995 -- Robert Kushner: Mille Fleurs, a Cornucopia of New Paintings *
Below is a list of exhibitions for which the year or date is unknown.
DateExhibitionundated -- Solo Exhibitions, A - Z (by artist)
Jan. 27-Feb. 10 -- Paintings by M. Azzi Aldrich
Nov. 23-Dec. 9 -- Paintings by M. Azzi Aldrich
April 17-May 6 -- Paintings by Saul Berman
Nov. 9-28 -- Paintings by Julien Binford
March 7-23 -- Drawings and Etchings by Isabel Bishop
Oct. 3-15 -- Paintings by Isabel Bishop
Feb. 15-March 4 -- Paintings by Homer Boss
April 18-30 -- Paintings and Watercolors by Homer Boss
Oct. 24-Nov. 17 -- Paintings and Drawings by Paul Cadmus
April 16-29 -- Feminanities, Paintings by Minna Citron
April 27-May 13 -- Paintings by Minna Citron
Dec. 14-25 -- Paintings by Adelaide De Groot
June 8-21 Other -- Exhibition of Drawings of the Philadelphia Stage Door Canteen and Recent Drawings by Emlen Etting
Oct. 23-Nov. 11 -- Paintings and Gouaches by Maurice Freedman
Dec. 26-Jan. 12 -- Paintings of Massachusetts and Pennsylvania by Maurice Freedman
Feb. 1-14 -- Watercolors by Ethel Katz
Oct. 13-31 -- Watercolors by Dong Kingman
Oct. 14-Nov. 1 -- Dong Kingman's Watercolors
undated -- Watercolors by Dong Kingman
June 6-23 -- Building the New York World's Fair, Gouaches and Oil Paintings by Renee Lahm
March 23-April 15 -- New York Murals by Edward Laning
May 22-June 9 -- Drawings of War in Italy by Edward Laning
Oct. 19-Nov. 4 -- Sculpture by Oronzio Maldarelli
Oct. 29-Nov. 17 -- Sculptures in Hammered Metal by Oronzio Maldarelli
March 18-31 -- Paintings and Watercolors by Joseph Margulies
June 2-21 -- Drawings by Fletcher Martin
April 20-May 9 -- Oils, Water Colors, Lithographs, and Drawing by Paul R. Meltsner
April 30-May 18 -- Oils, Tempera, and Lithographs by Paul R. Meltsner
May 24-June 10 -- Oil Paintings and Water Colors by Paul Meltsner
May 14-29 -- Watercolors by Thalia Millett
May 7-27 -- Watercolors by Kaname Miyamoto
May 1-16 -- Paintings by Paul Mommer
Oct. 2-18 -- Paintings by Paul Mommer
Oct. 13-31 -- Paintings by Paul Mommer
Nov. 1-16 -- Paintings by Paul Mommer
May 12-31 -- Paintings by Fred Nagler
Oct. 18-31 -- Paintings by Fred Nagler
Jan. 4-29 -- Iowa Landscapes, Paintings and Watercolors by William C. Palmer
March 24-April 12 -- Recent Wash Drawings by William C. Palmer
Sept. 25-Oct. 14 -- Paintings and Drawings by William Palmer
Dec. 12 -- Paintings by William Palmer
Dec. 3-16 -- Watercolors by Betty Pierson-Parsons
Feb. 15-March 1 -- Paintings and Sculpture by Alzira Peirce
Oct. 4-17 -- Paintings by Alzira Peirce
Jan. 7-25 -- Paintings by Waldo Peirce
March 3-29 -- Paintings, Watercolors, Prints by Waldo Peirce
Aug. 30-Sept. 25 -- Six Year Retrospective Exhibition of Paintings by Waldo Peirce
Nov. 16-Dec. 5 -- Paintings by Waldo Peirce
Nov. 14-Dec. 9 -- Paintings and Drawings by Siegfried Reinhardt
Dec. 12-30 -- Watercolors by Lionel S. Reiss
Nov. 2-14 -- Water Scenes of New York by Saul [Berman]
April 10-25 -- Watercolors by Eugenie Schein
Nov. 1-19 -- Paintings by Anatol Shulkin
Sept. 28-Oct. 12 -- Paintings by Martha Simpson
Jan. 18-Feb. 5 -- Paintings by Jacob Getler Smith
April 9-27 -- Drawings and Watercolors by Jacob Getlar Smith
Dec. 27-Jan. 14 -- Watercolors by Jacob Getlar Smith
Jan. 11-28 -- Paintings by Miron Sokole
Dec. 10-23 -- Gouaches by Miron Sokole
March 2-16 -- Paintings by Isaac Soyer
May 3-21 -- Paintings by Isaac Soyer
March 2-20 -- Paintings by Frederic Taubes
Nov. 27-Dec. 22 -- Recent Paintings by William Thon
undated -- Paintings and Watercolors by William Thon
Feb. 27-March 10 -- Watercolors of Mexico by Edward Valentine
March 22-April 9 -- Sculpture by Arline Wingate
Jan. 14-26 -- Water Colors by E. Helen Young
Group Exhibitions, date or year unknown
DateExhibitionundated -- Group Exhibitions
Feb. 27-March 26 -- Cooperative Exhibition of Contemporary American Art
May 4-31 -- Peggy de Salle Presents Little Gallery's 20th Anniversary: Four Nationally Known Artists, Courtesy Midtown Galleries (Isabel Bishop, Stephen Etnier, Zoltan Sepeshy, William Thon)
June 24-July 30 -- Three Painters from the Midtown, Watercolors, Drawings, Pastels at United Virginia Bank Gallery, Norfolk, Va. (Hans Miller, Jason Schoener, William Thon)
July 31-Aug. 13 -- Contemporary American Artists Associated with Midtown Galleries of New York, Four Fountains, Southampton
Collection Restrictions:
The collection is open for research. Patrons must use microfilm copy.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Midtown Galleries records, 1904-1997. Archives of American Art, Smithsonian Institution
The papers of Louise Nevelson measure 30.5 linear feet and 40.5 MB and date from circa 1903 to 2019. The collection documents aspects of the life and work of the sculptor, focusing especially on her later career. Papers include correspondence, personal business records, writings, scrapbooks, early art work, photographs, interviews, awards and honorary degrees, books, and an extensive amount of printed material.
Scope and Content Note:
The papers of Louise Nevelson measure 30.5 linear feet and date from circa 1903 to 1988. The collection documents aspects of the life and work of the sculptor, focusing especially on her later career. Papers include correspondence, personal business records, writings, scrapbooks, some of Nevelson's early art work, photographs, interviews, awards and honorary degrees, books, and an extensive amount of printed material.
Interviews, awards, and honorary degrees comprise a series of biographical material, along with scattered personal papers such as a graduation program, wedding announcement, teaching certificate, invitations, miscellaneous notes, and material relating to Nevelson's family. Correspondence consists of letters and enclosures from a wide range of professional contacts, including museums and art centers, universities, art associations, women's and charitable organizations, artists, and philanthropists, among others, concerning the exhibition, sale, and donation of Nevelson's art work, and her various arts-related activities, as well as some letters from friends and family. Correspondence can also be found amongst the subject files, which also include clippings, notes, printed and other material organized according to subject and relating to certain exhibitions, and various artistic and professional activities. Whether this organization originates with Nevelson, one of her assistants, or Archives staff is unknown.
Found amongst Nevelson's business records are consignment receipts, statements, correspondence, inventories, disposition cards, notebooks, and lists, stemming from her business dealings with the Martha Jackson Gallery and related matters, usually carried out by her assistant at the time. Business records relate in particular to the large and complex project of inventorying Nevelson's art work undertaken sometime in the early-1960s. Nevelson's writings consist of poems and poem fragments, a short-lived dream journal, scattered writings on art, and drafts from Dawns and Dusks: Taped Conversations with Diana MacKown by Louise Nevelson and Diana MacKown. Also found are a large number of scrapbooks and an extensive amount of printed material, which likely stem in large part from Nevelson's concern to document and keep a record of her accomplishments. Scrapbooks contain clippings, exhibition announcements and catalogs, and other material documenting Nevelson's early career from roughly the mid-1930s to the mid-1950s. Also included are loose items comprising a scrapbook of sorts on son Mike Nevelson and various scrapbooks compiled by others as mementos of particular events. Printed material includes an extensive amount of clippings and publications, exhibition catalogs and announcements, and a variety of other printed material relating or referring to Nevelson or merely featuring her name in print. Also included are several books, some of which are about or feature segments on Nevelson. This material documents both her critical and commercial success, and her role as personality and minor celebrity in the mass media later in her career, especially during the 1960s and 1970s.
Art work consists of early drawings and watercolors made by Nevelson as a child and adolescent and while studying art in high school and New York, which document her artistic tendencies as youth and her early development as an artist and which provide an interesting contrast to her later work in sculpture. Photographs include ones of the Berliawsky family and Nevelson as a child, adolescent, and young woman in the 1920s and 1930s before she became known as an artist; ones of Nevelson from the mid-1950s to the 1980s, once she had become known, and began to be honored, as an artist; and ones of Nevelson's art work, as well as of various exibitions and installations of her work. Also included are a number of slides of the artist and her art work, including photographs taken by Dorothy Dehner in the mid-1950s at Louise Nevelson's house on Thirtieth Street.
There is a 40.5 MB unprocessed addition to this collection donated in 2022 that includes digital photographs of a plaque commemoration installed in Louise Nevelson's birth town of Pereyaslav, Ukraine in 2019. Organizers of the event include Julie Gard, Associate Professor of Writing and Associate Director of the Writing Center at the University of Wisconsin-Superior; Yuri Avramenko, Memorial Organizer in Pereyaslav-Ukraine and Maria Nevelson, Founder and Executive Director and Chair of the Board for the Louise Nevelson Foundation. Materials date from 2019.
Arrangement:
The Louise Nevelson papers are arranged into ten series:
Missing Title
Series 1: Biographical Material, 1918-1985 (Boxes 1, 17, OV 21, 30, 31, Sol 42; 2.3 linear feet)
Series 2: Correspondence, 1931-1984 (Boxes 1-2, 31-35, Sol 42; 6 linear feet)
Series 3: Subject Files, 1955-1988 (Box 3, 35-36; 1.7 linear feet)
Series 4: Business Records, 1946-1981 (Boxes 3-5, 36-38, Sol 42; 3.8 linear feet)
Series 5: Writings, 1936-1980 (Box 5, 38, Sol 42; 0.5 linear feet)
Series 6: Scrapbooks, 1935-1983 (Boxes 5, 18-19, OV 22-27, 38, Sol 42; 1.5 linear feet)
Series 7:Books and Printed Material, 1904-1985 (Boxes 6-13, 19, OV 28, 38-40, Sol 43; 9.5 linear feet)
Series 8: Art Work, 1905-1982 (Boxes 13, 20, 40, Sol 43; 0.5 linear feet)
Series 9: Photographs, circa 1903-1980s (Boxes 14-15, 20, OV 29, 40-41, Sol 43; 3.5 linear feet)
Series 10: Unprocessed Addition, 2019 (40.5 MB)
Biographical Note:
Louise Nevelson was born in 1899 in Kiev, Russia. Her parents, Isaac and Minna Berliawsky, and their children emigrated to America in 1905 and settled in Rockland, Maine, where the young Louise grew up as a bit of an outsider in local society. She decided upon a career in art at an early age and took some drawing classes in high school, before graduating in 1918. Two years later, she married Charles Nevelson, a wealthy businessman, and moved to New York. She proceeded to study painting, drawing, singing, acting, and eventually dancing. In 1922, Nevelson gave birth to a son, Myron (later called Mike). She eventually separated from her husband in the winter of 1932-1933; and they divorced officially in 1941.
Beginning in 1929, Nevelson began to study art full-time at the Art Students League, where she took classes with Kenneth Hayes Miller and Kimon Nicolaides. In 1931, she went to Europe and studied with Hans Hofmann in Munich before traveling to Italy and France. She returned to New York in 1932 and again studied for a time with Hofmann, who was by now a guest instructor at the Art Students League. In 1933, she met Diego Rivera while he was in New York working on his mural for Rockefeller Center and casually worked as his assistant for a short period. Shortly thereafter, she began to work in sculpture and joined a sculpture class taught by Chaim Gross at the Educational Alliance. She continued to draw and paint, and even took up etching, lithography, and other techniques at different points in her career, but from this time on, she concentrated on sculpture. Her early sculptures were primarily in plaster, clay, and tattistone.
During the thirties, Nevelson exhibited in a number of group shows (both non-juried and competitive ones), garnering some recognition for her work. In 1935, she taught mural painting at the Flatbush Boys Club in Brooklyn, as part of the Works Progress Administration (WPA), then went on to work in the fine-arts division as an easel painter and sculptor until 1939. In 1941, Nevelson had her first solo exhibition at the Nierendorf Gallery, run by Karl Nierendorf who represented her until his death in 1947. Both this and a one-woman show the following year received favorable reviews. It was around this time that she discovered the decorated shoeshine box of Joe Milone, a local tradesman, and arranged to have it exhibited at the Museum of Modern Art, an occasion which received much notice in the press.
In the 1940s, Nevelson produced a great many works in stone, bronze, terra cotta, and wood, most of them being cubist studies of the figure. In 1943, she had a show titled "The Clown as the Center of his World" at the Norlyst Gallery, which featured works on a circus theme constructed from discarded pieces of wood and other material. This new work was not very well received at the time, and it wasn't until the mid-1950s that she began to work with discarded and found objects on a regular basis.
During the early-1950s, Nevelson attempted to exhibit her work as often as possible, eventually receiving various prizes and notices for her work in the press. She continued to struggle financially though and began to teach sculpture classes in the adult education program of the Great Neck, Long Island public schools in order to make ends meet. In 1955, she joined he Grand Central Moderns Gallery, which was run by Colette Roberts, and had several one-woman shows there. These included: "Ancient Games and Ancient Places" in 1955, featuring Bride of the Black Moon, "The Forest" in 1957, featuring First Personage, and "Moon Garden + One" in 1958, featuring her first wall, Sky Cathedral. During this period, she was painting her wood black and putting together entirely black exhibits; she went on to create works in white and gold in the early-1960s. Around this time, she also began to enclose her small sculptures within wooden boxes.
Nevelson joined the Martha Jackson Gallery in 1958, where she received a guaranteed income and finally achieved a certain degree of financial security. Her first show at the gallery, "Sky Columns Presence," took place in the fall of 1959. In 1960, she had her first one-woman exhibition in Europe at the Galerie Daniel Cordier in Paris. Later that year, her work, grouped together as "Dawn's Wedding Feast," was included in the group show, "Sixteen Americans," at the Museum of Modern Art, alongside the work of Jasper Johns, Robert Rauschenburg, and other younger artists. She made her first museum sale in 1962 when the Whitney Museum of American Art purchased the black wall, Young Shadows. That same year, Nevelson's work was selected for the thirty-first Biennale in Venice.
Over the years, Nevelson took on several assistants, including Teddy Haseltine, Tom Kendall, and Diana Mackown, to help in the studio and with daily affairs. She also participated in various artists' groups, and served as President of the New York Chapter of Artists' Equity from 1957 to 1958, and as President of the national organization from 1962 to 1964. She left the Martha Jackson Gallery in 1962, and after a brief, unhappy stint with the Sidney Janis Gallery, she joined the Pace Gallery, which was run by Arnold Glimcher, in the fall of 1963. She proceeded to have shows of new work there about every two years for the remainder of her career. She had her first museum retrospective at the Whitney Museum in 1967, which featured over a hundred of her works from her drawings from the 1930s to her latest constructions. And in 1968, she was elected to the National Institute of Arts and Letters. By this time, Nevelson had achieved both critical and commercial success as an artist.
Nevelson always experimented with new materials; she continued to construct her black wood walls, but also went on make constructions from aluminium, plastic, and metal. In the fall of 1969, she was commissioned by Princeton University to do a monumental outdoor sculpture in Cor-ten steel (her first), and went on to do commissioned works for the Philadelphia Federal Courthouse, and Chase Manhattan Bank in New York, among others. In 1973, the Walker Art Center organized a major exhibition of Nevelson work which traveled around the country over the next two years. In 1975, she designed the chapel for St. Peter's Lutheran Church in midtown Manhattan.
Nevelson was widely honored for her work during her lifetime. Over the years, she received honorary degrees from Rutgers University and Harvard University, among other schools, as well as numerous awards, including the Brandeis University Creative Arts Award in Sculpture and the Skowhegan Medal for Sculpture in 1971, the gold medal for sculpture from the American Academy of Arts and Letters in 1983, and the National Medal of the Arts in 1985. By the time of her death on April 17, 1988, Nevelson was considered by and large one of the most important American sculptors of the twentieth century.
Sources consulted for this biographical note include Louise Nevelson: A Passionate Life by Laurie Lisle and Louise Nevelson by Arnold Glimcher.
Related Material:
Other resources relating to Louise Nevelson in the Archives include oral history interviews with Nevelson conducted by Dorothy Seckler, June 1964-January 14, 1964, and Arnold Glimcher, January 30, 1972. Also related are a 4 part untranscribed audio recording of an interview with Nevelson by Barbaralee Diamonstein, an audio recording of an interview with Nevelson conducted by Barbara Braun in 1983, and a video recording of Nevelson's 1958 exhibition installation at Grand Central Moderns gallery.
Provenance:
Donated 1966-1979 by Louise Nevelson,and in 2018 by the Farnsworth Art Museum in Rockland, Maine via Michael Komanecky, Chief Curator. The Farnsworth Art Museum received the materials from Louise Nevelson, her son Mike Nevelson, brother Nathan Berliawksy, and others that were close to the artist. Additional material donated in 2022 by Maria Nevelson, Louise Nevelson's granddaughter.
Restrictions:
The bulk of this collection has been digitized and is available online via AAA's website, with the exception of the 2017 and 2022 addition. Use of material not digitized requires an appointment.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Sculptors -- New York (State) -- New York Search this
Louise Nevelson papers, circa 1903-1982. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for a portion of the processing and digitization of this collection was provided by the Terra Foundation for American Art. Additional processing received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.
This collection consists of three 5-year diaries (1978-1992) kept by Gertrude Farrington, a member of Connecticut's Ridgefield Garden Club. Farrington's diaries track her daily tasks, garden club activities, and weather forecasts, and include occasional commentaries on national events.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Ankrum Gallery records, circa 1900-circa 1990s, bulk 1960-1990. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Smithsonian Institution Collections Care and Preservation Fund
Use of original papers requires and appointment and is limited to the Archives' Washington, D.C., Research Center.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Jervis McEntee papers, 1796, 1848-1905. Archives of American Art, Smithsonian Institution.
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974. Archives of American Art, Smithsonian Institution.
Sponsor:
Processing of the collection was funded by the Getty Grant Program; digitization of the collection was funded by the Samuel H. Kress Foundation and the Terra Foundation for American Art. Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee.
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974. Archives of American Art, Smithsonian Institution.
Sponsor:
Processing of the collection was funded by the Getty Grant Program; digitization of the collection was funded by the Samuel H. Kress Foundation and the Terra Foundation for American Art. Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee.
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974. Archives of American Art, Smithsonian Institution.
Sponsor:
Processing of the collection was funded by the Getty Grant Program; digitization of the collection was funded by the Samuel H. Kress Foundation and the Terra Foundation for American Art. Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee.
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974. Archives of American Art, Smithsonian Institution.
Sponsor:
Processing of the collection was funded by the Getty Grant Program; digitization of the collection was funded by the Samuel H. Kress Foundation and the Terra Foundation for American Art. Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee.
Material is subject to Smithsonian Terms of Use. Should you wish to use NASM material in any medium, please submit an Application for Permission to Reproduce NASM Material, available at Permissions Requests.
Collection Citation:
Thomas DeWitt Milling Collection, NASM.XXXX.0133, National Air and Space Museum, Smithsonian Institution.
Material is subject to Smithsonian Terms of Use. Should you wish to use NASM material in any medium, please submit an Application for Permission to Reproduce NASM Material, available at Permissions Requests.
Collection Citation:
Blanche Stuart Scott Collection, Acc. NASM.XXXX.0062, National Air and Space Museum, Smithsonian Institution.
Indians of North America -- Great Plains Search this
Type:
Archival materials
Pages
Folklore
Date:
1887
Scope and Contents:
259 texts; numbers 189 and 253, as well as parts of 223 and 224 are by John Bruyier, 1888. Interlinear translations by Dorsey, aided by Bushotter and Bruyier.
Lakota text contents: 1. Sword Keeper and his brother. The latter meets Two Faces, a mythic giant. 8 pages and 3 pages (notes) and 1 page partial translation. 2. The Mythic Buffalo. 10 pages. 3. Two Faces. Explains the origin of arrows, pipes, axes, knife-sharpeners, beads, etc. 14 pages. 4. Three brothers who had a witch sister. 17 pages. (incomplete) 5. Children, a bad old woman cannibal, and Spider (the Mythic Trickster). 12 pages. 6. Spider, animals, and women. 15 pages and 6 pages. 7. A man and his ghost wife. 9 and 5 pages. 8. Two against one: a ghost story with a song. 10 pages. 9. A man, a female ghost, and a male ghost who wrestled with the man. 15 pages. 10. Ghost on the hill, who could not be hit by arrows. 8 pages. 11. Treatment of the sick, burial customs. 22 pages and 4 pages (notes) and 2 pages and 1 sketch. 12. The man who came to life again. 14 and 2 (translation) pages. Note by Bruyier at end. 13. The man and woman in the moon. 6 pages. 14. Man, two in the lodge, female ghost, and the friendly wolf. 8 pages. 15. The man who spared the wolf cubs. 11 pages. 16. The Thunder Being and the Unkcegila (a mastadon ?) 12 pages. 17. Waziya, the northern giant who brings snow. 4 pages. 18. Buffalo people who attacked the Indian people. 10 pages. 19. Spider and the land turtle. 29 pages. 20. The man and his two sons. 18 pages and 2 pages (notes). 21. The turtle who wished to fly. 10 pages. 22. The man who could become a grizzly bear. 6 pages. 23. How the Indians cured the sun. 3 pages. 24. Spider and the horned water monster. 7 pages. 25. The strange lake with large subaquatic animals. 6 pages. 26. The warrior surrounded by a serpent. 4 pages. 27. The one-eyed serpent with short legs and large body. 3 pages. 28. Why they pray to stones, the sun, etc. 9 pages.
29. The mountain in which was a large serpent.. 6 pages. 30. Adventures of a man and his wife.. 8 pages. 31. Spider and the Prairie Chicken. 6 pages. 32. Adventure of RAbbit Carrier. 6 pages. 33. The woman who turned to a fish from her waist down. 22 pages. 34. Spider and the Rabbit; how the latter made snow. 5 pages. 35. The male ghost and his living wife. 8 pages. 36. The man with the magic sword, and the one with the powerful breath. 6 pages. 37. Swift Runner (he who tied stones to his legs). 10 pages. 38. The man who was rescued by eaglets. 10 pages. 39. The Double-woman. 5 pages. 40. Spider and the mice. 14 pages. 41. Spider and the ducks--how they got red eyes. 13 pages and 1 sketch. 42. Spider and the Rabbit; how the latter lost his long tail. 11 pages. 43. The man who ressembled the man in the moon. 11 pages. 44. The young lover who was rescued by the girl. 12 pages. 45. The warriors who met Heyoka (Sunflower) who was singing and dancing. 2 pages. 46. The flying Santee (a ghoul). 8 pages. 47. How the Santees first saw buffalo. 8 pages. 48. How the Lakotas went against the Rees. 5 pages. 49. Adventures of the Short Man. 8 pages. 50. Smoke Maker's adventures: a war story. 7 pages. 51. Fight between the Lakota and the Blackfeet. 4 pages (incomplete) 52. Fight between two unarmed men and a grizzly bear. 8 pages. 53. Treatment of an Omaha spy caught by the Lakotas. 6 pages. 54. The wild man, a nude cannibal. 4 pages. 55. He who uses the earth as an ear. 7 pages. 56. Why horses are called, in Lakota, "mysterious dogs." 7 ages. 57. The man who could understand ravens. 5 pages. 58. Of the two small stones that were servants of the people. 6 pages. (Brief note at the end appears to be in Swanton's hand.) 59. The Wahanksica, a strange animal. 3 pages. 60. The animal in the Missouri River which breaks up the ice in the spring of the year. 4 pages.
61. How thw wind brought sickness to Medicine Butte Creek. 6 pages. 62. Beliefs about day and night. 6 pages. 63. The man in the forest and his contest with ghosts. 8 pages. 64. The feast in honor of the Anti-Natural God. 18 pages. 65. Of the Heyoka man who dreamed of his death by lightening. 13 pages. 66. Fight between the Lakota and the Blackfeet. 6 pages. 67. Of the mysteriousman who knew about the distant war party, 5 pages. 68. Of the wise man who caught his eloping wife. 8 pages. 69. How the Rees or Blackfeet came against the Lakotas. 5 pages. 70. Origin of the buffalo. 5 pages. 71. The Sun Dance. A. 98 pages and 3 figures. B. 9 pages. C. 4 pages. D. 7 pages and 1 diagram. E. 6 pages. F. 4 pages. G. 14 pages. H. 3 pages and 2 diagrams. I. 3 pages. 72. The man who could lengthen his arm at will. 7 pages. 73. What a young man must do before he can marry. 11 pages. 74. How the Crows surrounded some Lakotas. 12 pages. 75. A raid on a Lakota camp. 4 pages. 76. Story of a warrior who was not wounded. 9 pages. 77. Fight between the Lakota and white soldiers. 20 pages. 78. Of the Santees, and their fondness for certain foods. 4 pages. 79. What the Lakota thought of the first white people whom they saw. 13 pages. 80. Belief respecting lakes. 6 pages. 81. Belief about this world. 7 pages. 82. The calumet dance. 39 pages and 2 diagrams. 83. How they honor the dead (the Ghost Feast). 15 and 2 and 18 pages. 84. Men who are arrow and bullet proof. 8 pages. 85. Of love potions, etc. 5 pages. 86. The acts of a wounded warrior. 7 pages. 87. Actors clothed in buffalo robes with the hair out detect wrongdoers. 11 pages. 88. Those who imitate the elk. 14 pages. 89. Why a man may not speak to his mother in law. 11 pages. 90. Rules for feasting, smoking, and visiting. 11 pages. 91. Of certain boyish customs. 8 pages. 92. A ghost story. 7 pages. 93. Origin of the white people. 10 pages. 94. Games and their seasons. 10 pages. 95. Education of a boy. 10 pages. 96. Of youth killed in battle, and of his faithful horse. 12 pages. 97. The people who lived in the north. 7 pages and 2 sketches. 98. The ghost woman and the robin. 9 pages. Note at end by Bruyier. 99. The Flying serpent whose touch was fatal. 5 pages. 100. Origin of twins. 5 pages. 101. George Bushotter's autobiography. 117 pages. 102. Belief concerning a loved one who has been called by a ghost. 7 pages. 103. Fight between two gamblers near Chamberlain, Dakota. 7 pages.
104. The singing elk. 7 pages. 105. Belief about Spider. 9 pages. 106. War of the Lakota against the Omaha. 7 pages. 107. Narrow escape of Bark Bird's Tail (a Lakota). 5 pages. 108. Busnotter's cousin's war adventure. 11 pages. 109. How certain men (doctors, priests, etc.) have become mysterious. 16 pages. 110. How the Lakota fought the Cheyennes and Black Men (Commanches ?). 22 pages. 111. Rules of etiquette for brothers, sisters, cousins. 21 pages. 112. Ghost story. 5 pages. 113. The habits of beavers. 8 pages. 114. Spider and the old woman who fed all the animals. 24 pages. 115. The handsome man who was rescued from a pit by a wolf. 32 pages. 116. Trick of a myth-teller. 9 pages. 117. Of thistles. 4 pages. 118. How Indians regard the past and their ancestors. 22 pages. 119. The grass dance. 12 pages. 120. The Big Belly Society. 6 pages. 121. The Mandan Society. 10 pages. 122. "Following one another," a Lakota game. 7 pages. 123. "They make it run by pushing," a Lakota game. 46 pages and 2 (colored) diagrams. 124. Horse racing. 5 pages. 125. Hitting the moccasin, a game. 9 pages. 126. Shooting at the cactus, a gane. 5 pages. 127. Hitting the bow, a game. 5 pages. 128. Shooting at bunches of grass, a game. 5 pages. 129. Shooting at the lights of an animal, a game. 6 pages. 130. Taking captives from one another, a game. 9 pages. 131. Trampling on the beaver, a game. 6 pages. 132. "Howi ! Howi !" a ring game for boys or youths. 12 pages. 133. "They touch not one another," a game. 6 pages. 134. Game with a long grass which has a long, sharp beard. 6 pages. 135. The old woman accuses them," a game. 8 pages. 136. A game with slings. 5 pages. 137. "Goose and her children," a game. 10 pages. 138. Buffalo horn game. 7 and 1 page. 139. A stick which is hurled. 5 and 1 page and 2 figures. 140. "Making the wood dance by hitting it," a game. 8 pages. 41. "Making the wood jump by hitting it," a game. 8 pages. 142. "Making the bow glide by throwing," a game. 6 pages. 143. Coasting. 8 pages. 144. Game of ball. 12 pages. 145. "Shotting at an arrow set up," a game. 7 pages. 146. Grizzly bear game. 12 pages. 147. Deer game. 10 pages. 148. "Running towards one another," a game. 9 pages. 149. "They cause one another to carry packs on their backs," a game. 10 pages. 150. "They hit one another with mud," a game. 10 pages. 151. Hitting the ball, a game. 11 pages. 152. A game with a rawhide hoop. 43 pages and 2 figures. 153. Game of earthen horses. 8 pages. 154. "They slide by pushing," a game. 14 pages. 155. "They kick at one another," a game. 14 pages.
156. "The hoop is made to roll in the wind," a game. 9 pages. 157. [Popgun game.] Missing July, 1966. (not on microfilm made 1958) 1 page illustration found July, 1968. 158. Wrestling. 8 pages. 159. Courting the girls. 9 pages. 160. Game with bow and small wood-pointed arrows. 10 pages. 161. Swinging. 10 pages. 162. "Taking Places from one another," a game. 9 pages. 163. "Playing with small things," a game. 18 pages. 164. Pinching the backs of hands, a game. 11 pages. 165. "Scattering them," a game. 9 pages. 166. "Who shall get threr first," a game. 10 pages. 167. Hopping. 9 pages. 168. Throwing arrows by hand, at a target. 6 pages. 169. Ghost game. 21 pages. 170. Hide and seek. 13 pages. 171. Jumping down from a high object. 12 pages. 172. Plumstone game. 18 pages. 173. Odd or even ? A game with sticks. 12 pages. 174. Throwing chewed leaves into the eyes, a game. 7 pages. 175. Game with the ankle-bones of a deer. 12 pages. 176. Native wooden harminicon, played by boys. 14 pages and 5 figures. 177. Mysterious game. 17 pages. 178. Playing doctor. 10 pages. 179. Pretending to be dead, a game. 10 pages. 180. Hunting young birds in summer. 12 pages. 181. Hunting eggs in spring. 10 pages. 182. Going to make a grass lodge. 11 pages. 183. Scrambling for presents. 11 pages. 184. Sitting on wooden horses, a game. 8 pages. 185. Making a bone turn and hum by twisting a cord. 15 pages and 2 figures. 186. "String twisted in and out among the fingers." 8 pages. 187. Tumbling and somersault. 7 pages. 188. "Game with large things." 17 pages. 189. About two young men who were friends. 51 pages. By Bruyier. 190. A bird that foretells cold weather. 14 pages. 191. Cause of scrofulous sore on the neck. 10 pages. 192. Meaning of ringing sounds in the ears. 10 pages. 193. The Brave and Fox societies. 18 pages and 4 sketches. 194. Dog Society. 31 pages and 2 sketches and 1 page drawing.
195. "Killing by Hitting," or "Taking the Buffalo paunch," a society of women. 12 pages. 196. Scalpdance society. 16 pages and 1 sketch. 197. Night dance. 18 pages. 198. Mysterious society. 16 pages. 199. Grizzly Bear dance. 19 pages. 200. Belief about the Kildeer. 13 pages. 201. The acts of a leader. 17 pages. 202. Return of the night hawk in the spring. 7 pages. 203. Belief concerning the Ski-bi-bi-la, a small grey bird which says Gli Hunwo ?" ("Coming home ?). 16 pages. Also earlier version of the same, with mistakes. 10 pages. 204. About hanging the "tablo" ("shoulder blade") at the door of the lodge. 7 pages. 205. Trying to excell others. 12 pages. 206. Scolding or whipping a woman. 12 pages. 207. How Indian paints are made. 18 pagrs. 208. Acting like the buffalo bull. 9 pages and 1 page drawing. 209. Law about bowls. 9 pages. 210. Meaning of a rooster's crowing. 8 pages. 211. The taking apart of fetishes. 24 pages. 212. How one man drowned another. 21 pages. 213. Concerning warts. 8 pages. 214. Of a woman who qas killed by mosquitoes. 32 pages. 215. Concerning hermaphrodites. 22 pages. 216. Belief concerning the grebe or dabchick. 10 pages. 217. Rules for eating dogs. 8 pages. 218. Bushotter's recollections of a certain famine. 219. Why Lakota men should not wear women's moccasins. 16 pages. 220. Customs relating to bowls. 10 pages. 221. Meanings of various kinds of twitchings. 10 pages. 222. "Kicking out his elder brother's teeth." 10 pages. 223. How a boy wounded his grandfather in the scrotum. 13 pages. Bruyier's revision of the same. 13 pages. 224. Legend of the nude Spider woman. 12 pages. About the woman who was deceived by the grizzly bear, with an account of the prairie hen. 20 pages. By Bruyier. 225. "Punishment of the prairie." 19 pages.
226. Part of the punishment of a murderer. 12 pages. 227. About a foolish wife. 42 pages. 228. How a ghost stunned Bushotter's father. 21 pages. 229. Occasions for scolding wives. 12 pages. Half-page corrected sentence at end by Buyier. 230. Setting out food, etc. for ghosts. 16 pages. 231. Concerning widows and widowers. 30 pages. 232. About a newborn child. 9 pages. 233. Tatala, a humorist. 6 pages. 234. Vegetal lore. 16 pages. 235. About the year when the stars fell (1833). 18 pages. 236. Concerning shells used as necklaces. 8 pages and 2 sketches. 237. Game with a ball of mud. 8 pages. 238. "Throwing fire at one another." 11 pages. 239. Punishment of a liar. 8 pages. 240. Invocation of the Thunder. 13 pages. 241. About spiders. 15 pages. 242. The mysterious imitation of ghosts. 14 pages. 243. What they carry when they migrate. 20 pages. 244. What happened when the Lower Brules went to a mountain. 24 pages. 245. Concerning guardian spirits. 16 pages. 246. About the Thunderers (People dwelling in the clouds.) 25 pages. 247. About lizards, frogs, etc. rained from the sky. 11 pages. 248. Deer Women. 28 pages. 249. Bird societies. 31 pages. 250. Ways od dancing. 26 pages. 251. About gashing the limbs when mourning. 7 pages. 252. On Fellowhood. 16 pages. 253. Ceremonies at birth. 8 pages. Bruyier's revision. 5 pages. 254. Bushotter's stepfather's prophetic gifts. 15 pages. 255. The recovery of Bushotter's younger brother. 14 pages. 256. Why a son or daughter acts in a childish manner. 9 pages. 257. Giving birth to one child while still nursing another. 13 pages. 258. Courting. 48 pages and 3 page color folding drawing and 1 page drawing. 259. Heyoka woman. 8 pages.
Biographical / Historical:
George Bushotter (1864-1892), or Oteri, was a Teton Lakota born in Dakota Territory to a Yankton man and his wife Grey Whirlwind, a Minneconjou Lakota. Raised to be a warrior, Bushotter nevertheless left to study at the Hampton Institute in Virginia from 1878-1881. He entered the Theological Seminary of Virginia in 1885 to become a minister, but his inadequate knowledge of English made the study of Latin and Greek incredibly difficult for him. At the advice of the faculty, Bushotter left the seminary in 1887. While at Hampton, he met Rev. James Owen Dorsey and recognized the potential in working with him to complete ethnographic studies, and worked with the BAE for approximately ten months in 1887. His primary contributions were in the comparative linguistics of Teton Lakota, writing myths and other texts in Lakota, and assisting Dorsey in creating the synonomy of Lakota tribal names that formed a major part of what was to become the Handbook of North American Indians North of Mexico. For more information on George Bushotter, see American Indian Intellectuals, ed. Margot Liberty, 1978.
Local Numbers:
NAA MS.4800: (3.1.1.3) [103]
Local Note:
Old number 2632 (Parts 1-3)
autograph document signed
Collection Restrictions:
The James O. Dorsey Papers are open for research. Access to the James O. Dorsey Papers requires an appointment
Collection Rights:
Contact the repository for terms of use.
Topic:
Language and languages -- Documentation Search this
Manuscript 4800 James O. Dorsey papers, National Anthropological Archives, Smithsonian Institution
Sponsor:
Creation of this finding aid was funded through support from the Arcadia Fund.
Digitization and preparation of additional materials for online access has been funded also by the National Science Foundation under BCS Grant No. 1561167 and the Recovering Voices initiative at the Smithsonian's National Museum of Natural History.