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Colin de Land collection

Creator:
De Land, Colin, 1955-2003  Search this
Names:
American Fine Arts, Co.  Search this
Armory Show (1913: New York, N.Y.)  Search this
Art Cologne  Search this
Art Forum Berlin  Search this
Biennale di Venezia  Search this
Documenta  Search this
International Art Fair  Search this
Balk, Dennis  Search this
Beckwith, Patterson  Search this
Davey, Moyra  Search this
Dion, Mark, 1961-  Search this
Fend, Peter  Search this
Fraser, Andrea  Search this
Greene, Carol  Search this
Heilmann, Mary, 1940-  Search this
Marks, Matthew  Search this
McDonald, Daniel  Search this
Morris, Paul  Search this
Pierson, Jack, 1960-  Search this
Wadlin, Craig  Search this
Waters, John, 1946-  Search this
Extent:
15.15 Linear feet
0.901 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Photographs
Scrapbooks
Motion pictures (visual works)
Video recordings
Date:
1968-2008, bulk 1980-2003
bulk 1980-2003
Summary:
The Colin de Land collection measures 15.15 linear feet and 0.901 GB and dates from 1968 to 2008, with the bulk of the collection dating from the early 1980s through 2003. The majority of the collection consists of photographic material, primarily snapshots, documenting daily life in and around de Land's gallery American Fine Arts, Co., as well as de Land's pesonal life and affairs. There are candid photographs of exhibition openings, day-to-day gallery operations, art fairs, vacations, social gatherings, and New York City street scenes. Also included are some personal objects belonging to de Land and his wife Pat Hearn, as well as two scrapbooks containing items once decorating the walls of de Land's office at American Fine Arts. The collection includes video recordings documenting trips to Cape Cod, Hearn's illness, and occasional art world events.
Scope and Contents:
The Colin de Land collection measures 15.15 linear feet and 0.901 GB and dates from 1968 to 2008, with the bulk of the collection dating from the early 1980s through 2003. The majority of the collection consists of photographic material, primarily snapshots, documenting daily life in and around de Land's gallery American Fine Arts, Co., as well as de Land's pesonal life and affairs. There are candid photographs of exhibition openings, day-to-day gallery operations, art fairs, vacations, social gatherings, and New York City street scenes. Also included are some personal objects belonging to de Land and his wife Pat Hearn, as well as two scrapbooks containing items once decorating the walls of de Land's office at American Fine Arts. The collection includes video recordings documenting trips to Cape Cod, Hearn's illness, and occasional art world events.

The bulk of the collection consists of snapshots, along with their negatives and the envelopes provided by commercial photographic printers. The envelopes are sometimes annotated. The photographs, not typically identified by photographer, were taken by de Land, Hearn, and gallery employees, artists, and visitors. Most of the snapshots provide a candid record of life within de Land's circle, and not formal documentation of gallery exhibitions.

The figures in this collection often occupied blurred boundaries between artist, gallery employee, critic, and friend. Many of the photographs include AFA staff, including Daniel McDonald, Patterson Beckwith, and Craig Wadlin. Also of note are photos showing AFA artists, including John Waters, Mark Dion, Andrea Fraser, Moyra Davey, Dennis Balk, Peter Fend, and Jack Pierson.

In addition to life within the gallery, de Land's cameras also documented a larger art world of the era, candidly showing openings at other galleries, art fairs such as Art Basel, Art Cologne, and the Berlin Artforum, as well as festivals including the Venice Biennale and Documenta, many of which included AFA artists. There is some documentation of the Gramercy International Contemporary Art Fair and The Armory Show. The photographs frequently include de Land and Hearn's friends and fellow art dealers Paul Morris, Matthew Marks, and Carol Greene. Some images include artists that showed at Pat Hearn Art Gallery, such as Mary Heilmann. Collectors, celebrity visitors to the gallery, and critics also occasionally appear in the photographs. There is one 1968 photograph of de Land's mother and a small number of 1970s images of both de Land and Hearn.

In addition to the snapshots, there are a variety of other photographic formats, including digital, in the collection. The contents of the slides are of similar nature to the snapshots. The contact sheet binders offer some formal exhibition installation documentation, but are not exhaustive.

The collection also includes film and video footage. Thirty-five reels of Super-8 motion picture film primarily documents frequent vacations to Cape Cod, as well as the final stages of Hearn's illness and subsequent death. The 31 DV-mini cassettes include similar content, and some footage of opening receptions and other art world events.

Most of the official gallery records are missing, most likely lost in the frequent floods in the gallery basement. Two scrapbooks include material that was often photographed on the walls surrounding de Land's desk at AFA. Additional artifacts include one small painting by artist Charles Clough, inscribed to Hearn, a baseball hat frequently worn by de Land and appearing in many of the snapshots, and one page of an autographed calendar.
Arrangement:
This collection is arranged in 4 series:

Series 1: Photographic Material, 1968-2003, bulk 1980-2003 (14 linear feet; Box 1-14, 0.901 GB; ER01)

Series 2: Scrapbooks, circa 1980s-2003 (0.2 linear feet; Box 19)

Series 3: Video and Film Recordings, circa 1980-2003 (1.1 linear feet; Box 15, 16, 18)

Series 4: Artifacts, 1988-2008 (0.3 linear feet; Box 14, 17, 19)
Biographical / Historical:
Colin de Land (1955-2003) was a gallery owner whose New York City spaces challenged traditional modes of exhibition and art dealing.

Raised in Union City, New Jersey, de Land came to the art world from an academic background, having studied philosophy and linguistics at New York University. In 1984, de Land opened Vox Populi, a largely unrenovated space in the East Village, at 511 East 6th Street. The gallery showed experimental work by emerging artists, including the enigmatic John Dogg, thought to be a collaboration between de Land and artist Richard Prince.

In 1986, De Land opened his longest standing gallery, American Fine Arts, Co. (AFA), in the same space previously occupied by Vox Populi. The gallery moved to SoHo in 1988, first to 40 Wooster Street then to 22 Wooster Street in 1993. During the late 1990s, as most SoHo galleries moved to Chelsea, AFA remained a mainstay of the downtown arts scene. De Land's wife, Pat Hearn, whom he married in 1999 after over a decade together, was also a well known art dealer. Her gallery, Pat Hearn Art Gallery, also moved from the East Village to SoHo, later becoming one of the first to set down roots in Chelsea.

Known for his eccentric fashion and unorthodox business style, de Land cultivated a culture of experimentation within the AFA community. He typically hired young art students or recent graduates, often nurturing their own artistic careers. Along with a group of Cooper Union graduates, many of whom worked at the gallery, he founded the artist collective Art Club 2000. De Land often showed artists working in hybrid media, for example film and photography or music and installation. He was especially interested in ecological and environmental art, as well as work that took as its subject exhibition practice and the act of creating art. He often staged large thematic group shows. Artists who showed at the gallery included Mark Dion, John Waters, Andrea Fraser, Moyra Davey, Dennis Balk, Peter Fend, Tom Burr, James Welling, Mariko Mori, Dan Graham, Jessica Stockholder, Alex Bag, Christian Philipp Muller, and Jack Pierson.

In 1994, de Land and Hearn, along with gallerists Matthew Marks and Paul Morris, established the Gramercy International Contemporary Art Fair. Fashioned after the tradition of inexpensive hotel art fairs, four galleries were invited to exhibit artwork in rooms of the Gramercy Park Hotel, to be sold in a cash and carry model. The fair became an annual event, branching out to other cities, including Miami and Los Angeles, and growing significantly in size in New York. It later became known as The Armory Show.

De Land often carried a point-and-shoot camera and kept several on hand in the gallery. He documented opening receptions, art world social gatherings, concerts, and day-to-day happenings and invited visitors to the gallery and employees to do the same.

After Hearn's death from liver cancer in 2000, de Land became involved with Kembra Pfahler, the performance artist and leader of the rock band The Voluptuous Horror of Karen Black. De Land took over Hearn's Chelsea gallery, operating it as a second location of AFA. Following his own struggle with cancer, de Land passed away in 2003. AFA remained open, closing at the end of 2004 with a tribute group exhibition to de Land.
Related Materials:
The archival gallery records of Colin de Land's art gallery American Fine Arts, Co. as well as the gallery records of the Pat Hearn Gallery are available at the Center for Curatorial Studies at Bard College in New York. The gallery records there also include a fair amount of de Land's personal papers. Bard also acquired de Land's and Hearn's personal library.
Provenance:
The Colin de Land papers were donated to the Archives of American Art in 2008 by Dennis Balk, an artist represented by American Fine Arts, Co. and a close friend of de Land.
Restrictions:
Use of original material requires an appointment. The audio visual material in this collection has access restrictions and requires written permission for use.
Rights:
The Colin de Land papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Genre/Form:
Photographs
Scrapbooks
Motion pictures (visual works)
Video recordings
Citation:
Colin de Land papers, 1968-2008, bulk 1980-2003. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.delacoli
See more items in:
Colin de Land collection
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-delacoli
Online Media:

Thomas Warren Sears photograph collection

Topic:
Landscape architecture
Creator:
Olmsted Brothers  Search this
Sears, Thomas Warren, 1880-1966  Search this
Harvard University  Search this
American Society of Landscape Architects  Search this
Donor:
Tibbetts, Eleanor Sears  Search this
Tibbetts, Eleanor Sears  Search this
Extent:
44.5 Cubic feet (4,317 glass negatives. 363 film negatives. 182 glass lantern slides. 12 photograph albums. 56 plans and drawings. 3 monographs. )
Type:
Collection descriptions
Archival materials
Negatives
Blueprints
Albums
Plans (drawings)
Lantern slides
Date:
1899-1964
Summary:
The Thomas Warren Sears Photograph Collection documents examples of the design work of Thomas Warren Sears (1880-1966), a landscape architect and amateur photographer from Brookline, Massachusetts. Sears, who was based for most of his career in Philadelphia, designed a variety of different types of landscapes ranging from private residences, schools, and playgrounds to parks, cemeteries, and urban housing developments located primarily in Pennsylvania, Maryland, and New York. In addition to some of Sears' design work, images in the collection document Sears' domestic and foreign travels, design inspirations, and family. The collection includes over 4,800 black and white negatives and glass lantern slides dated circa 1899 to 1930. While most images show private and public gardens, there are a significant number of unidentified views and views photographed in Europe during two trips he took there in 1906 and 1908. Few images are captioned or dated. In addition, there are over 50 plans and drawings, most notably for Balmuckety in Pikesville, Maryland and Reynolda in Winston-Salem, North Carolina, and 3 monographs by or about Sears.
Scope and Contents note:
The Thomas Warren Sears Photograph Collection documents examples of the design work of Thomas Warren Sears (1880-1966), a landscape architect and amateur photographer from Brookline, Massachusetts. Sears, who was based for most of his career in Philadelphia, designed a variety of different types of landscapes ranging from private residences, schools, and playgrounds to parks, cemeteries, and urban housing developments located primarily in Pennsylvania, Maryland, and New York. In addition to some of Sears' design work, images in the collection document Sears' domestic and foreign travels, design inspirations, and family. The collection includes over 4,800 black and white negatives and glass lantern slides dated circa 1899 to 1930. While most images show private and public gardens, there are a significant number of unidentified views and views photographed in Europe during two trips he took there in 1906 and 1908. Few images are captioned or dated. In addition, there are over 50 plans and drawings, most notably for Balmuckety in Pikesville, Maryland and Reynolda in Winston-Salem, North Carolina, and monographs by or about Sears. Several of the glass lantern slides are duplicates of glass plate negatives in the collection. They apparently were chosen by Sears to illustrate some of his best design work, perhaps for lecture or client purposes.

In addition, there are 56 plans and drawings, most notably for Balmuckety in Pikesville, Maryland and Reynolda in Winston-Salem, North Carolina. They range in date from 1917 to 1937 and from 1955 to 1964. Sears photographed some of his early plans; they are included in with the photographic images. Sears also photographed a handful of design plans by landscape architect Sibley Coslett Smith who practiced in Providence, Rhode Island; Sears and Smith shared the same business address there.

The Thomas Warren Sears Collection does not fully document the extent of Sears' design work. The use of glass plate negatives—which make up the bulk of the Thomas Warren Sears Collection—as a photography medium waned sometime during the first quarter of the twentieth century. As a result, the images in the Sears Collection capture examples of Sears' early to mid-career design work but they do not include jobs designed by Sears during the latter half of his design career.
Arrangement note:
The glass plate negatives were originally housed in numerous cardboard boxes manufactured for the sale of undeveloped glass plate negatives. Sears annotated the outside of the boxes with project or client names and/or locations, but the contents do not always match these labels. In addition, because very few of the glass plate negatives and lantern slides were labeled or captioned, it is not always evident where one job ended and another began if multiple projects were stored in the same carton. As a result, there are many instances in the Sears Collection where images have been inadvertently mislabeled because their identification is not apparent. Misidentified images are subject to correction as their proper identification is discovered. Each project has been assigned its own unique AAG job number based on its geographic origin. Those groups of images that have not been identified as to their location have been assigned a project number starting with 'SRS.' The collection is arranged into 3 series: 1) Photographic images (including glass plate negatives, film negatives, glass lantern slides, and photograph albums) 2) Plans and Drawings 3) Monographs
Biographical/Historical note:
Thomas Warren Sears was born in 1880 in Brookline, Massachusetts. He received a Bachelor of Arts degree from Harvard University in 1903 and Bachelor of Science degree in landscape architecture from the Lawrence Scientific School of Harvard in 1906. Sears was an amateur photographer who won awards for his photography while at Harvard. In 1915 his images were published in the monograph, Parish Churches of England. After graduation he worked for the firm of Olmsted Brothers Landscape Architects for two years and then briefly practiced in Providence, Rhode Island. In 1913, Sears established a landscape design office in Philadelphia, Pennsylvania where he spent the remainder of his professional career. Sears at one point was in a professional partnership; some of his design plans list the firm name of Sears and Wendell. He was made a Fellow of the American Society of Landscape Architects in 1921.

Sears designed many different types of landscapes ranging from private residences, schools, and playgrounds to parks, cemeteries, and urban housing developments. His designs were primarily located in Pennsylvania, Maryland, and New York. Just a few of his private landscapes include Marengo in Easton, Maryland; Sunnybrook, the Isaac H. Clothier, Jr. estate in Radnor, Pennsylvania; and Balmuckety in Pikesville, Maryland. In 1915, Sears started work on Reynolda, a country estate in Winston-Salem, North Carolina. He generated design plans for the property intermittently over the next two decades. Reynolda's formal gardens, greenhouses, and acres of fields and woodlands subsequently became part of Wake Forest University.

During World War I, Sears designed Army camps in Battle Creek, Michigan and Spartanburg, South Carolina. He also helped lay out Langley Field, at that time an experimental aviation field in Hampton Roads, Virginia. In the 1940s, Sears designed the amphitheater at Swarthmore College in Swarthmore, Pennsylvania for concerts, outdoor performances, and other special events. During that decade he also worked on Colonial Revival gardens at Pennsbury, William Penn's country estate in Bucks County, Pennsylvania located by the Delaware River. Sears retired in 1964 and died in 1966.
Related Archival Materials note:
The Philadelphia Architects and Buildings Project (PAB), administered by The Athenaeum of Philadelphia, includes references to design projects by Sears.

Harvard University's Loeb Library includes a number of images by Sears, some of them documenting gardens that he designed.

Harvard University's Fine Arts Library, Special Collections includes a collection of photographs and negatives of English parish churches by Sears, c. 1908. Some of the images were published in the monograph, Parish Churches of England.

The Reynolda House Museum of American Art in Winston-Salem, North Carolina includes plans by Sears of Reynolda in its Estate Archives.
Provenance:
Gift of Eleanor Sears Tibbetts, Sears' daughter, to the Horticulture Services Division (later Smithsonian Gardens) in 1992.
Restrictions:
Access to original images by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Rights:
For information or study purposes only. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens.
Topic:
Photographers  Search this
Landscape architects  Search this
Gardens -- United States  Search this
Gardens -- Switzerland  Search this
Gardens -- Scotland  Search this
Gardens -- Italy  Search this
Gardens -- Germany  Search this
Gardens -- France  Search this
Gardens -- England  Search this
Genre/Form:
Negatives
Blueprints
Albums
Plans (drawings)
Lantern slides
Citation:
Smithsonian Institution, Archives of American Gardens, Thomas Warren Sears photograph collection.
Identifier:
AAG.SRS
See more items in:
Thomas Warren Sears photograph collection
Archival Repository:
Archives of American Gardens
EDAN-URL:
ead_collection:sova-aag-srs
Online Media:

Smithsonian Gardens Image Library

Extent:
35mm slides, photographic prints, negatives + digital images.
Type:
Collection descriptions
Archival materials
Date:
1973-ongoing
Related Materials:
Related materials may be found in the Smithsonian Institution, Archives of American Gardens, Historic Stereograph Collection.
Provenance:
The Smithsonian Gardens (formerly the Office of Horticulture) was established in 1972 to manage the Smithsonian's grounds, greenhouses, and horticultural collections including plants, garden furnishings, and artifacts. The Image Library began as a small in-house reference collection. The images document a wide range of activities including the construction and maintenance of Smithsonian gardens, landscapes, and interior plantscapes on or near The Mall in Washington, DC as well as special horticultural exhibits designed by Smithsonian Gardens.
Restrictions:
Access to original images by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu
Rights:
Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher
Citation:
Smithsonian Gardens Image Library, Archives of American Gardens, Smithsonian Institution.
Identifier:
AAG.SGI
See more items in:
Smithsonian Gardens Image Library
Archival Repository:
Archives of American Gardens
EDAN-URL:
ead_collection:sova-aag-sgi
Online Media:

Lewis & Valentine company records

Creator:
Lewis & Valentine Company  Search this
Donor:
Lewis, Hewlett Withington  Search this
Names:
Lewis & Valentine Company  Search this
Lewis & Valentine Nurseries, Inc.  Search this
Longwood Gardens (Kennett Square, Pa.)  Search this
Rodin Museum (Philadelphia, Pa.)  Search this
Lewis, Harold Carman  Search this
Owner:
Auchincloss, Hugh D.  Search this
Chrysler, Walter P. (Walter Percy), 1909-  Search this
Kahn, Otto Hermann, 1867-1934  Search this
Schwab, Charles M., 1862-1939  Search this
Stotesbury, Edward T.  Search this
Woolworth, F. W.  Search this
du Pont, Eugene  Search this
du Pont, Pierre S.  Search this
Extent:
2.5 Cubic feet (documents, 366 photographs, 1 videotape.)
Type:
Collection descriptions
Archival materials
Videotapes
Brochures
Books
Lists
Correspondence
Trade catalogs
Photographs
Place:
New York (State) -- Greenvale
New York (State) -- Roslyn
Date:
1916-1971
Summary:
The Lewis & Valentine Company Collection contains records of the Lewis & Valentine Company dating from 1916 to 1971 including photographs, negatives, brochures, books, trade catalogs, company papers, letters from clients, customer lists and a history of the company written by Harold Carman Lewis. Photographs document the Rodin Museum in Philadelphia, estates in Long Island, New York, and the properties of Hugh D. Auchincloss, Eugene du Pont, Walter P. Chrysler, Otto H. Kahn, F. W. Woolworth, Pierre S. du Pont (Longwood Gardens), Charles M. Schwab and Edward T. Stotesbury. This collection contains only a sampling of the records of Lewis & Valentine and should not be considered comprehensive.
Arrangement note:
The collection is arranged into 3 series:

Series 1: Documents Series 2: Photographs Series 3: Videotape
Biographical/Historical note:
Specializing in moving and replanting large trees, Lewis & Valentine was one of the most prominent landscape contracting companies in the eastern United States during the first half of the twentieth century. The Lewis & Valentine Company was formed by five brothers whose father had hoped that his sons would grow up to be lawyers. Instead, the Lewis brothers formed a landscape design, installation and nursery firm that specialized in developing "successful methods for transplanting full-grown trees." Their success was based on "doing well the task which is usually considered impossible."

The company was the inspiration of H.C. Lewis, the oldest of seven brothers, who believed that estate owners should have the luxury of immediate landscapes, rather than waiting decades for their landscapes to mature. The Lewis brothers started their business in the early 1900s. Shortly afterwards, a Mr. Valentine, roommate of Albert Addison Lewis at the Amherst Landscape School in Massachusetts, invested in the business. After three years Mr. Valentine moved on and the Lewis brothers bought back his interest, but continued to keep Valentine part of the company's name.

Lewis & Valentine was the largest firm in America devoted to transplainting mature trees in the years leading up to the Great Depression. It claimed to be "the most experienced and most versatile, backed by an intimate knowledge of horticulture and the development of fine estates." The company was noted as a leader in providing complete landscape services, from selling and guaranteeing the plants, to designing and installation, requiring that its staff be men "of good character and not afraid of hard work." This was evident in the firm's principle of no limitations to the size of trees that they were willing to deliver. The trees were often full-grown and ranged in age from twenty to a hundred years old. Many were so large that 20 or more tons of earth had to be moved during the relocation process.

During its first 25 years in business, Lewis & Valentine opened nineteen offices east of the Mississippi serving such notable clients as Charles A. Schwab and Pierre du Pont at his estate, Longwood. The business was set up as an organization of independent companies. Each was incorporated under the laws of the state in which it operated. The offices were located in Connecticut (Darien), Florida (Palm Beach), Illinois (Chicago), Maryland (Baltimore), Massachusetts (Boston and Hanover), Michigan (Detroit), Pennsylvania (Ardmore and Pittsburg), New Jersey (Ashbury Park and Morristown), New York (Buffalo, Roslyn-Long Island, Rye, Valley Stream-Long Island, New York City), North Carolina (Winston-Salem) and Ohio (Cleveland and Cincinnati). Although no longer owned by any members of the Lewis family, the company still exists and operates in Long Island under the name Lewis & Valentine Nurseries.
Provenance:
Gift from Hewlett Withington Lewis, former owner of Lewis & Valentine Nurseries.
Restrictions:
Access to original images by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Rights:
Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens.
Topic:
Nurseries (Horticulture) -- United States  Search this
Gardens -- New York (State)  Search this
Tree moving  Search this
Landscape gardening -- New York (State)  Search this
Genre/Form:
Videotapes
Brochures
Books
Lists
Correspondence
Trade catalogs
Photographs
Citation:
Smithsonian Institution, Archives of American Gardens, Lewis & Valentine Company Records.
Identifier:
AAG.LVC
See more items in:
Lewis & Valentine company records
Archival Repository:
Archives of American Gardens
EDAN-URL:
ead_collection:sova-aag-lvc
Online Media:

Lee Ya-Ching Papers

Creator:
Ya-Ching, Lee  Search this
Extent:
11.9 Cubic feet (22 boxes)
Type:
Collection descriptions
Archival materials
Scripts (documents)
Photographs
Maps
Scrapbooks
Date:
1938-1970
Summary:
This collection consists of 11.9 cubic feet of material chronicling Lee Ya-Ching's role as a pilot trying to raise funds for China during World War II. The collection contains the following types of material: correspondence, both official and personal; maps; publications; newspapers; invitation; programs from events; lecture notes; scripts from radio shows; photographs, both official and snapshots; trip schedules and agendas; address books; scrapbooks; and official paperwork and licenses.
Scope and Content note:
This collection consists of 11.9 cubic feet of material chronicling Lee Ya-Ching's role as a pilot trying to raise funds for China during World War II. The collection contains the following types of material: correspondence, both official and personal; maps; publications; newspapers; invitations; programs from events; lecture notes; scripts from radio shows; photographs, both official and snapshots; trip schedules and agendas; address books; scrapbooks; and official paperwork and licenses.

Note: The digital images shown for this collection were repurposed from scans made by an outside contractor for a commercial product which did not reproduce all materials found in this collection; some items have not been scanned. In addition, some materials have been excluded from display due to copyright, trademark, or patent restrictions.
Arrangement:
This collection of materials listed in the finding aid is arranged into two series, Ms Lee's personal papers and her professional papers. Within each series, items are arranged by material type then chronologically. No attempt was made to translate foreign language material in the collection.
Biographical/Historical note:
Lee Ya-Ching was born in Canton, China in 1912. As an only child who lost her mother at a young age, Ya-Ching was raised by her father and grandmother. Under her father's guidance she learned many skills, including martial arts, some previously restricted to male children. Ya-Ching attended English schools in Hong Kong and Shanghai and at the age of 16 was sent to London to attend finishing school.

In 1929 at the age of 17, Ya-Ching went to Geneva, Switzerland. It is there that she took her first ride in an airplane and vowed to learn how to fly. She enrolled in Ecole Aero Club de Suisse and, in 1934, became the first woman to receive a pilot's license from the school. Determined to continue her education, Ya-Ching went to the United States and attended the Boeing School of Aeronautics in Oakland, California in 1935. In November of that year she became the first woman licensed through the Boeing School. Upon completion of her training at the Boeing school Ya-Ching returned to China and began campaigning for a Chinese pilot's license, eventually obtaining the license in 1936. Seeing a need to train new pilots, Ya-Ching and some fellow pilots opened a civilian flying school in Shanghai in 1936.

When Japan invaded China in 1937, Ya-Ching volunteered to fly for her country, but was refused. Undeterred, she served her country by establishing hospitals. Leaving Shanghai for Hong Kong just before the city fell, she was finally given the opportunity to fly for China by piloting Red Cross planes ferrying supplies from Hong Kong to Canton. Realizing that China needed aid and supplies, Ya-Ching embarked on a Goodwill Tour of the United States and Canada in 1938. When the war prevented her return to China, Ya-Ching continued the tour expanding her appearances into South America.

Not much is known of Ya-Ching's life after the war. She returned to Hong Kong for a number of years. In the 1960's she returned to California, where she died in 1998 at the age of 86.

Time Line of Lee Ya-Ching

xxxx -- The following timeline covers key events in Ya-Ching's life, as well world events. Events involving Ya-Ching are shown in normal type world events are shown in italics.

1909 -- M. Vallon flies first plane in China

1911 -- China ousts the 2000 year old Imperial System for a Republic

April 16, 1912 -- Lee Ya-Ching is born in Canton, China

1916 -- Ya-Ching's mother dies of tuberculosis

1917 -- China enters World War 1 on the side of the Allies

1926 -- Begins career as a movie actress

1928 -- Leaves the film industry and goes to school in England

1929 -- The CCP (Chinese Communist Party) is ousted from China Goes to Switzerland

September 1931 -- Japan seizes control of Manchuria

November 1931 -- CCP resurfaces in China and forms the Chinese Soviet Republic in Jiangxi Province

May 1932 -- Amelia Earhart becomes first woman to solo across the Atlantic

1933 -- Begins flying lessons at Geneva's Cointrin-Ecole d'Aviation

1934 -- Receives her pilot's license from Ecole Aéro Club de Suisse

1935 -- Attends and receives license from the Boeing School of Aeronautics in Oakland, California

1935 -- Falls out of an aerobatic plane, earning her membership in the Caterpillar Club

1936 -- Receives her pilot's license from the Chinese Government First domestic airline established in China Opens a civilian flying school in Shanghai

1937 -- Flies for the Red Cross ferrying supplies from Hong Kong to Canton Japan invades China Earns Hong Kong commercial pilot's license Helps establish hospitals in Shanghai

1938 -- Begins goodwill tour of United States and Canada

1939 -- Appears in US film Disputed Passage with Dorothy Lamour

1940 -- Flies "Estrella China" to Caribbean, Central and South America Aids Ruth Nichols in raising money for Relief Wings

1941 -- Begins working for United China Relief

December 7, 1941 -- Bombing of Pearl Harbor forces American entry into World War II

1944 -- Begins Goodwill and Fund Raising tour of South America and Caribbean

August 1945 -- Atom bombs dropped on Hiroshima and Nagasaki, followed by Japanese surrender and end of World War II

1946 -- Returns to China and retires

1946 -- Fighting between CCP and KMT (Nationalist party) resumes

October 1949 -- KMT retreats to Taiwan Mao Zedong establishes the People's Republic of China

1950 -- Receives Hong Kong private pilot's license

1963 -- Receives Hong Kong Special Purpose Pilot's license

1971 -- Permanently moves to the United States

1997 -- British rule ends in Hong Kong

January 28, 1998 -- Dies at the age of 86
Provenance:
Pax Cheng and Mary Wolfson, Gift, 2007, NASM.2008.0009.
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.
Topic:
World War, 1939-1945 -- Civilian relief  Search this
Aeronautics  Search this
World War, 1939-1945 -- China  Search this
Aeronautics -- Exhibitions  Search this
Women air pilots  Search this
World War, 1939-1945  Search this
Genre/Form:
Scripts (documents)
Photographs
Maps
Scrapbooks
Citation:
Lee Ya-Ching Papers, NASM.2008.0009, National Air and Space Museum, Smithsonian Institution.
Identifier:
NASM.2008.0009
See more items in:
Lee Ya-Ching Papers
Archival Repository:
National Air and Space Museum Archives
EDAN-URL:
ead_collection:sova-nasm-2008-0009
Online Media:

Giuseppe M. Bellanca Collection

Creator:
Bellanca, Giuseppe M., 1886-1960  Search this
Names:
Bellanca  Search this
Wright Aeronautical Corporation  Search this
Chamberlin, Clarence  Search this
Extent:
248.5 Cubic feet (245 boxes)
Type:
Collection descriptions
Archival materials
Correspondence
Financial records
Newspaper clippings
Drawings
Photographic prints
Date:
1919-1959
Summary:
This collection consists of the archives of Giuseppe M. Bellanca and his company, including the following types of mediums: drawings, stress analysis tests, reports, photographs/negatives, documents, correspondence, patent information, newspaper clippings, business records, and financial statements.
Scope and Contents:
Series I: Mr. Bellanca's professional life

Here, the researcher will find documents regarding the day-to-day operations of the Bellanca Aircraft Corporation. The material is generally divided into core documents of the corporation, correspondence, financial documents, subcontracting pursuits, patents, employee relations, and company history.

Series II: Technical Material

This material is separated into the following subseries: Miscellaneous Handwritten Notes and Sketches, Bellanca Aircraft Technical Data, Bellanca Aircraft Corporation Reports, Technical Research Files, Bellanca Aircraft Drawing Lists, Bellanca Aircraft Drawings, and Bellanca Aircraft Drawing Indexes. The Bellanca Collection is not a complete history of the Bellanca Aircraft Corporation. Over the years, it appears that many items were loaned out by the Bellanca Family to researchers and not returned. Therefore, there are significant gaps in correspondence, formal, numbered reports, and other areas of the collection. For example, the earliest report in the Bellanca Collection is Report #28, the next report which appears is report #45.

The Giuseppe M. Bellanca Collection contains over 10,000 drawings. (At the time of processing, not all drawings were entered into the Bellanca Drawings Database. These drawings will be entered as time allows.) The drawings vary in size from 8 x 11 inches to 36 x 185 inches. There are original pencil drawings, blueprints, and blueline drawings. Over 130 models of Bellanca aircraft are represented in the Collection. There are General Arrangement, or Three-View drawings for over 80 of these models. Bellanca drawings are not easy to decipher. Most of the drawings have data blocks which contain only a finite amount of information. Often the aircraft has been identified only by serial number. In some cases the model number of the aircraft is also the drawing number. Other times, the aircraft name would be given, but no model number, i.e. Skyrocket. Also, words were abbreviated and it was left up to the processing archivist to determine their probable meaning. Despite the explanation in the scope and content notes, the Bellanca Corporation was not consistent when assigning model numbers. Letters were sometimes assigned that reflected a United States War Department designation, i.e. the VSO and the VF. By using the Bellanca Drawing indexes, the processing archivist was able to supply model numbers for some of the drawings.

7136 Bellanca Aircraft Company Drawings have been added to the National Air and Space Museum Miscellaneous Drawings Database. As time allows, the remaining Bellanca Drawings will be added to this database. An Archives Staff member will assist researchers in retrieving these materials from the database finding aid.

The Bellanca drawings were stored for over thirty years in less-than-ideal conditions. Many of the drawings were drawn on poor-quality tracing paper, and have become extremely brittle and fragile. Therefore, many of the drawings in the Bellanca Collection may not be available to researchers.

During processing of the collection, the project archivist has gained some insight about how Mr. Bellanca chose the model designations for his aircraft. The earliest system of model designations was based upon letters of the alphabet. No model designations appear for any Bellanca design until his work for Maryland Pressed Steel in 1916. The CD, which he designed for that company, was his fourth aircraft design that was built, and the letter D is the fourth letter of the alphabet. This pattern continues through the Bellanca CF. During 1926, when Mr. Bellanca worked for the Wright Corporation, he already had in mind an improved version of the CF, which was designated the CG. This aircraft received the designation WB-1 from the Wright Corporation.

When Mr. Bellanca formed his own company in 1927, the letter pattern described above reasserted itself for a time with the introduction of the Bellanca CH. It was a common practice of manufacturers of the time to also include the engine horsepower as part of the model number, so the Bellanca CH actually received its Approved Type Certificate (ATC) as the CH-200. When the next model came out, it was the CH-300 with a 300 horsepower Wright Whirlwind engine. This system remained in place through the CH-400. Names were given to some Bellanca aircraft. It appears that the names were a marketing tool meant to appeal to the buying public. With this idea in mind, the CH-300 became the "Pacemaker", the CH-400 became the "Skyrocket", and the P 100 was christened the "Airbus". In the early 1930's, the Bellanca Corporation moved away from the alphabetical designations and moved to numerical designations. Later Bellanca aircraft model designations consist of a series of numbers, such as 31-50. The first number was the wing area, in this case, 310 square feet, divided by 10. The second number was the horsepower of the engine, 500, divided by 10. This resulted in a distinctive system of model designations, which lasted until Mr. Bellanca sold the company.

Series III: Mr. Bellanca's personal material.

In this series, the researcher will find personal correspondence among family members, from both Giuseppe and Dorothy Bellanca's families and personal, legal and financial records for Bellanca family. As the lines between Mr. Bellanca's personal and professional lives were sometimes blurred, a fine line of separation between the two was not always possible. For example, at one time or another, two of Mr. Bellanca's brothers, John and Frank, worked for the Bellanca Aircraft Corporation and Andrew Bellanca, Mr. Bellanca's nephew, was his lawyer throughout his life. Therefore, the processing archivist suggests that the researcher look in the professional series of documents as well as Mr. Bellanca's personal papers for a more complete representation of Mr. Bellanca's correspondence.

After processing was completed, publications which previously had been offered to the NASM Branch Library were returned to the collection. They are listed in an addendum at the end of this finding aid.

Series IV: Photographs.

The researcher will find photographs of Bellanca aircraft, including the Bellanca Aircraft Corporation's Master Photograph Files, photographs of the Bellanca factory and factory workers, and photographs of Giuseppe M. Bellanca, business associates, and family members.

Series V: Miscellaneous and Oversize Materials.

This series contains ephemera of the Bellanca Collection: Scrapbooks, Loose Newspaper Clippings, Artwork, Ephemera and Magazine Clippings.

The Bellanca Collection included 27 motion picture films. In May of 2000, this film was transferred to the NASM Film Archives. Researchers wishing to access this part of the collection should contact the NASM Film Archivist.
Arrangement:
Series I: Mr. Bellanca's Professional Life

Series II: Technical Data

Series III: Personal Papers

Series IV: Photographs

Series V: Miscellaneous and Oversize Materials
Biographical / Historical:
Giuseppe Mario Bellanca was born in 1886 in Sciacca, Sicily. As a young man, he attended the Technical Institute in Milan, graduating with a teaching degree in mathematics in 1908. During his quest for a second mathematics and engineering degree, he became enamoured of aviation, and set out to design and build his own airplane. Bellanca's first aircraft design was a "pusher" aircraft, somewhat similar to the Wright Flyer. Lacking funds for such an endeavor, he joined with two partners, Enea Bossi, and Paolo Invernizzi. The union of the three produced the first flight of a totally Italian-designed and Italian-built aircraft in early December of 1909. The flight was short, but it was a start. Bellanca's second design was a tractor-type aircraft. Although the aircraft was successfully constructed, it was never flown due to insufficient funds for an engine.

At the urging of his brother Carlo, who was already established in Brooklyn, New York, Giuseppe Bellanca immigrated to America in 1911. Before the end of the year, he began construction of his third airplane design, a parasol monoplane. After construction was completed, he took the small craft to Mineola Field on Long Island, NY, and proceeded to teach himself to fly. He began by taxiing. He then, taxied faster, which gave way to short hops. The hops got longer, until, on May 19, 1912, there was not enough room to land straight ahead, and Bellanca had to complete a turn in order land safely. Having successfully taught himself to fly, Bellanca then set about teaching others to fly, and from 1912 to 1916, he operated the Bellanca Flying School. One of his students was a young Fiorello La Guardia, the future mayor of New York City. In return for flying lessons, La Guardia taught Bellanca how to drive a car.

In 1917 the Maryland Pressed Steel Company of Hagerstown, MD hired Bellanca as a consulting engineer. While there, he designed two trainer biplanes, the CD, and an improved version, the CE. With the conclusion of WWI, Maryland Pressed Steel's contracts were cancelled and the company entered into receivership. Thus, the CE never went into production.

In 1921, a group of investors lured Bellanca westward to Omaha, NE, in hopes of establishing that town as a center for aircraft manufacture. Before the aircraft could be built, the company went bankrupt, but construction of the aircraft continued under the financial backing of a local motorcycle dealer named Victor Roos. The resultant aircraft, the Bellanca CF, was called by Janes's All the World's Aircraft "the first up-to-date transport aeroplane that was designed, built, and flown with success in the United States." Among the local people helping to build the aircraft was the daughter of Bellanca's landlord, Dorothy Brown. Giuseppe and she were married on November 18, 1922.

Despite its advanced design, the Bellanca CF could not compete with the economics of the time. In the days just after World War I, a surplus Curtiss Jenny could be purchased for as little as $250.00. A Bellanca CF, with a price tag of $5000.00, was just too expensive and the aircraft never went into production. After the disappointment of the CF, Bellanca designed wings for the Post Office Department's DH-4's. His new wings were a tremendous improvement over the original design, but only a few aircraft were so modified.

In 1925, Bellanca went to work for the Wright Aeronautical Corporation of Paterson, NJ. His assignment there was to develop an aircraft around the new Wright Whirlwind engine. He already had a design in mind, which was an improved version of the CF, called the CG. This design evolved into the Wright-Bellanca WB-1.

The WB-1 enjoyed a short, but successful flying career. The aircraft had already won one race and efficiency contest before an untimely accident destroyed the craft during preparation for an attempt to break the world's non-refueled endurance record. Fortunately, at the time of the crash, Bellanca was already working on an improved version, of the WB-1 designated the WB-2.

During 1926, the WB-2 won two efficiency trophies at the National Air Races in Philadelphia. Wright considered putting the aircraft into production, but decided against it to avoid alienating other aircraft companies that were potential customers for their engines. Disappointed by Wright's decision, Bellanca left the company and joined with a young businessman named Charles Levine to form the Columbia Aircraft Company. Wright sold the WB-2 and all drawings and production rights to the new company. The WB-2 went on to a long and fruitful flying career starting with establishing a new world's non-refueled endurance record of 51 hours, 11 minutes, and 59 seconds in April of 1927.

In the latter half of 1926, Charles Lindbergh wanted to buy the WB-2, now named the 'Columbia', for his proposed flight from New York to Paris. He was rebuffed by Levine who also had designs on the flight and the $25,000 prize money. Lindbergh then went to Ryan for his specially designed NYP. Meanwhile Levine, in choosing the crew, managed to promise two seats to three people. So while the Columbia was grounded by a court order brought by the third party, Lindbergh took off on his successful flight to Paris.

Eventually, the 'Columbia' was cleared of litigation and took off on its successful transatlantic flight on June 4, 1927. In the cockpit were Clarence Chamberlin, one of the pilots of the endurance record and Charles Levine, who became the first transatlantic passenger. The plan was to fly all the way to Berlin, and Chamberlin had vowed to fly until they ran out of fuel. Forty-three hours later, they landed in Eisleben, Germany, the first of two successful Atlantic crossings for Bellanca's most famous aircraft.

Disappointed because the 'Columbia' was not the first aircraft to accomplish the New York to Paris flight, Bellanca severed all relations with Levine, and started his own company, the Bellanca Aircraft Corporation of America, and rented facilities on Staten Island, NY. The new Bellanca model was designated the CH, and was basically a commercial version of the WB-2. The new company also had two other models that were built for special orders, the Bellanca Model J and the Model K.

It was not long before Bellanca caught the attention of the Du Pont family of Delaware. They wanted to start aircraft manufacturing in Delaware, and in late 1927, an agreement was made with Bellanca to locate his factory outside of Wilmington. The site was large enough for a first-class airfield, with a seaplane ramp on the nearby Delaware River.

This was a busy time in Bellanca's life. Along with all that was happening in his professional life, he and Dorothy celebrated the birth of their son August T. Bellanca in March of 1927.

With the exception of a few years immediately before and during the early stages of WWII, Bellanca was President and Chairman of the Board from the corporation's inception on the last day of 1927 until he sold the company to L. Albert and Sons in 1954. After his departure from the company, Giuseppe and his son, August, formed the Bellanca Development Company with the purpose of building a new aircraft. It would have increased performance due to the use of lighter materials for its structure. Work on this aircraft was progressing when Giuseppe Bellanca succumbed to leukemia and died on December 26, 1960. After his father's death, August continued the project, and under his guidance, the aircraft first flew in 1973.

In 1993, August Bellanca donated his father's personal and professional papers to the National Air and Space Museum Archives. Prior to that time, they were kept in the Bellanca home near Galena, MD, and administered by Dorothy and August Bellanca.

1886 -- Born in Sciacca, Sicily

1909 -- Built first airplane. It completed the first flight of an Italian-designed, Italian-built, aircraft on December 8, 1909.

1911 -- Immigrated to America, settled in Brooklyn, NY.

1912 -- Completed construction of parasol monoplane. Successfully learned to fly this aircraft at Mineola, Long Island, NY.

1912 - 1916 -- Taught others to fly the parasol monoplane, including Fiorello LaGuardia.

1917 - 1920 -- Employed as a consulting engineer for Maryland Pressed Steel Company of Hagerstown, MD. While there, Bellanca designed and built the Bellanca CD and CE tractor biplanes.

1921 - 1922 -- Moved to Omaha, NE, and with Victor Roos, formed the Roos-Bellanca Aircraft Company. Bellanca designed and built the Bellanca CF. Married Dorothy Brown on November 18, 1922, in Omaha, NE.

1923 -- Moved back to New York, and designed and built new sets of wings for the Post Office Department's DH-4 mailplanes

1925 -- Employed by the Wright Aeronautical Corporation of Paterson, NJ, designing an aircraft around their new "Whirlwind" engine. The Wright-Bellanca 1, or WB-1, was the result, and was first flown in the latter part of that year.

1926 -- First flight of the WB-2.

1927 -- Bellanca started the Bellanca Aircraft Corporation of America, on Staten Island, NY. Bellanca established the Bellanca Aircraft Corporation of New Castle, DE. Wright decided not to enter into quantity production of the WB-2. Bellanca entered into a partnership with Charles A. Levine, and together, they formed the Columbia Aircraft Corporation. From Tuesday, April 12 to Thursday, April 14, Clarence Chamberlin and Bert Acosta set a new world's non-refueled endurance record in the WB-2, which was shortly thereafter, renamed the "Columbia". On June 4th, the Columbia set off across the Atlantic, and landed in Eisleben, Germany.

1941 - 1943 -- Head of the aviation department at Higgins Industries, Inc., in New Orleans, designing large cargo aircraft for troop movement during the war.

1954 -- Formed the Bellanca Development Company, to conduct research in lightweight aircraft construction materials.

1960 -- Died of leukemia in New York, December 26.
Provenance:
Mr. and Mrs. August Bellanca, Gift, 1993, NASM.1993.0055
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.
Topic:
Aeronautics  Search this
Bellanca WB-2 "Miss Columbia"  Search this
Transatlantic flights  Search this
Genre/Form:
Correspondence
Financial records
Newspaper clippings
Drawings
Photographic prints
Citation:
Giuseppe M. Bellanca Collection, Acc. NASM.1993.0055, National Air and Space Museum, Smithsonian Institution.
Identifier:
NASM.1993.0055
See more items in:
Giuseppe M. Bellanca Collection
Archival Repository:
National Air and Space Museum Archives
EDAN-URL:
ead_collection:sova-nasm-1993-0055
Online Media:

Smithsonian Global Chinese

Creator:
Smithsonian Institution  Search this
Type:
Youtube videos
Uploaded:
2015-08-04T20:07:25.000Z
Youtube Category:
People & Blogs  Search this
See more by:
SmithsonianGlobal
YouTube Channel:
SmithsonianGlobal
Data Source:
Smithsonian Institution
EDAN-URL:
edanmdm:yt_CW_j_SdXMwM

Museum Specialist Patricia Raynor: New Deal Post Office Murals

Creator:
National Postal Museum  Search this
Type:
Youtube videos
Uploaded:
2018-07-03T18:29:42.000Z
Topic:
Postal service;Letter mail handling;Stamp collecting  Search this
Youtube Category:
Education  Search this
See more by:
SmithsonianNPM
YouTube Channel:
SmithsonianNPM
Data Source:
National Postal Museum
EDAN-URL:
edanmdm:yt_iZV5raAHqkM

S. J. Woolf papers, 1835-1986, bulk 1880-1948

Creator:
Woolf, S. J. (Samuel Johnson), 1880-1948  Search this
Subject:
Woolf, Edith Truman  Search this
Woolf, Edward  Search this
Woolf, Benjamin E.  Search this
Type:
Drawings
Topic:
Actors  Search this
Journalists as artists  Search this
Portrait painting, American  Search this
Art and war  Search this
Journalism, Pictorial  Search this
United States  Search this
Record number:
(DSI-AAA_CollID)9296
(DSI-AAA_SIRISBib)211491
AAA_collcode_woolsj
Theme:
Lives of American Artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_211491

Richard Guggenheimer papers, 1925-1974

Creator:
Guggenheimer, Richard H. (Richard Henry), 1906-1977  Search this
Subject:
Cone, Etta  Search this
Type:
Sketchbooks
Topic:
Painters  Search this
Art  Search this
Painting, Modern  Search this
Record number:
(DSI-AAA_CollID)8281
(DSI-AAA_SIRISBib)210452
AAA_collcode_guggrich
Theme:
Sketches & Sketchbooks
Lives of American Artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_210452

Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974

Creator:
Jacques Seligmann & Co.  Search this
Subject:
Waegen, Rolf Hans  Search this
Glaenzer, Eugene  Search this
de Hauke, César  Search this
Seligmann, Jacques  Search this
Seligmann, René  Search this
Parker, Theresa D.  Search this
Mackay, Clarence Hungerford  Search this
Liechtenstein, House of  Search this
Schiff, Mortimer L.  Search this
Haardt, Georges  Search this
La Fresnaye, Roger de  Search this
Seligman, Germain  Search this
Arenberg  Search this
Seligmann, Arnold  Search this
Trevor, Clyfford  Search this
MM. Jacques Seligmann & fils  Search this
Eugene Glaenzer & Co  Search this
Gersel  Search this
Germain Seligmann & Co  Search this
De Hauke & Co., Inc  Search this
Topic:
Art  Search this
World War, 1939-1945  Search this
Art, European  Search this
Decorative arts  Search this
Art treasures in war  Search this
Art galleries, Commercial  Search this
Art, Renaissance  Search this
Record number:
(DSI-AAA_CollID)9936
(DSI-AAA_SIRISBib)212486
AAA_collcode_jacqself
Theme:
The Art Market
Art Gallery Records
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_212486
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Online Media:

Eliot Candee Clark papers, 1839-1984

Creator:
Clark, Eliot Candee, 1883-1980  Search this
Subject:
Clark, Walter  Search this
Sparks, Leon  Search this
Clark, Margaret W. Fowler  Search this
Wyeth, Andrew  Search this
Type:
Scrapbooks
Sketchbooks
Topic:
India  Search this
Morocco  Search this
United States  Search this
Painting, American  Search this
Europe  Search this
Record number:
(DSI-AAA_CollID)6711
(DSI-AAA_SIRISBib)208836
AAA_collcode_clarelio
Theme:
Diaries
Lives of American Artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_208836
Online Media:

Floral button

Medium:
Jade
Dimensions:
H x Diam (overall): 2 x 2.3 cm (13/16 x 7/8 in)
Type:
Jade
Costume and Textile
Origin:
China
Date:
4th-3rd century BCE
Period:
Eastern Zhou dynasty
Topic:
Eastern Zhou dynasty (770 - 221 BCE)  Search this
China  Search this
Chinese Art  Search this
Paul Singer collection  Search this
Credit Line:
The Dr. Paul Singer Collection of Chinese Art of the Arthur M. Sackler Gallery, Smithsonian Institution; a joint gift of the Arthur M. Sackler Foundation, Paul Singer, the AMS Foundation for the Arts, Sciences, and Humanities, and the Children of Arthur M. Sackler
Accession Number:
RLS1997.48.2748
Restrictions & Rights:
Usage conditions apply
Related Online Resources:
Google Cultural Institute
See more items in:
Freer Gallery of Art and Arthur M. Sackler Gallery Collection
Data Source:
Freer Gallery of Art and Arthur M. Sackler Gallery
GUID:
http://n2t.net/ark:/65665/ye36dccc5e3-2adc-45b0-8aeb-6d37f79969cc
EDAN-URL:
edanmdm:fsg_RLS1997.48.2748

Administrative Records, 2000-2008

Creator:
Smithsonian Institution Office of the Secretary  Search this
Subject:
Davis, Leslie B  Search this
Lee, Yong  Search this
Small, Lawrence M  Search this
Smithsonian Institution Board of Regents  Search this
United States Congress  Search this
Smithsonian National Board  Search this
Type:
Electronic mail
Collection descriptions
Electronic records
Date:
2000
2000-2008
Topic:
Budget  Search this
Contracts  Search this
Exhibitions  Search this
Fund raising  Search this
Museum directors  Search this
Museum finance  Search this
Museum visitors  Search this
Museums--Administration  Search this
Museums--Public relations  Search this
Personnel management  Search this
Special events  Search this
Strategic planning  Search this
Electronic mail messages  Search this
Local number:
SIA Acc. 10-032
Restrictions & Rights:
Restricted for 15 years, until Jan-01-2024. Records may contain personally identifiable information (PII) that is permanently restricted; Transferring office; 3/19/1970 memorandum, Lytle to Ripley; Contact reference staff for details
See more items in:
Administrative Records 1835-2017 [Smithsonian Institution Office of the Secretary]
Data Source:
Smithsonian Institution Archives
EDAN-URL:
edanmdm:siris_arc_292996

News Releases, 2000-2001

Creator:
Smithsonian Institution Office of Public Affairs  Search this
Subject:
Smithsonian Institution Administration  Search this
Physical description:
1 cu. ft. (1 record storage box)
Type:
Manuscripts
Collection descriptions
Date:
2000
2000-2001
Topic:
Congresses and conventions  Search this
Exhibitions  Search this
Lectures and lecturing  Search this
Museums--Public relations  Search this
Music--Performance  Search this
Publicity  Search this
Research  Search this
Special events  Search this
Theater  Search this
Museum directors  Search this
Local number:
SIA Acc. 10-136
See more items in:
News Releases 1911-1917, 1932-2009 [Smithsonian Institution Office of Public Affairs]
Data Source:
Smithsonian Institution Archives
EDAN-URL:
edanmdm:siris_arc_293051

Records, 1954-1979

Creator:
Smithsonian Institution Office of Exhibits Central  Search this
Subject:
National Museum of Natural History (U.S.) By-Word Program  Search this
National Museum of Natural History (U.S.)  Search this
National Museum of History and Technology  Search this
National Air Museum (U.S.)  Search this
National Air and Space Museum (U.S.)  Search this
Arts and Industries Building (Washington, D.C.)  Search this
United States National Museum Exhibits Modernization Program  Search this
O. Orkin Insect Zoo  Search this
Smithsonian Institution Administration  Search this
Smithsonian Institution Office of Exhibits  Search this
Smithsonian Institution Office of Exhibits Programs  Search this
Drugs: A Special Exhibition (1972: Washington, D.C.)  Search this
Laser 10 (Exhibition) (1970: Washington, D.C.)  Search this
Physical description:
25.58 cu. ft. (25 record storage boxes) (1 tall document box) (oversize materials)
Type:
Black-and-white photographs
Collection descriptions
Floor plans
Black-and-white transparencies
Black-and-white negatives
Serials (publications)
Posters
Clippings
Books
Illustrations
Manuscripts
Audiotapes
Date:
1954
1954-1979
Topic:
Exhibitions  Search this
Local number:
SIA RU000503
See more items in:
Exhibition Records 1948-2016 [Smithsonian Exhibits]
Data Source:
Smithsonian Institution Archives
EDAN-URL:
edanmdm:siris_arc_217068

Agency history, 1970-

Creator:
National Portrait Gallery (U.S.) Department of Design and Production  Search this
Subject:
Shelton, James J  Search this
Carrigan, J. Michael  Search this
Marconi, Nello R  Search this
Type:
Mixed archival materials
Date:
1970
1970-
Topic:
Art museums  Search this
Exhibitions  Search this
Local number:
SIA AH00072
Data Source:
Smithsonian Institution Archives
EDAN-URL:
edanmdm:siris_arc_218120

Records, c. 1933-1991

Creator:
Archives of American Art  Search this
Uniform title:
Artists in Michigan, 1900-1976: a biographical dictionary (Monograph)  Search this
Journal--Archives of American Art  Search this
Reliable Sources ( Documentary film)  Search this
Subject:
Fredericks, Marshall M. 1908-1998  Search this
Brown, Roger 1941-1997  Search this
Hunt, Richard 1935-  Search this
Nathan, Emily  Search this
Hegarty, John 1938-  Search this
McCoy, Garnett  Search this
Richardson, Edgar Preston 1902-1985  Search this
Kinney, Gilbert H  Search this
Woolfenden, William E (William Edward) 1918-1995  Search this
Murray, Richard N. 1942-2006  Search this
Fleckner, John A. 1941-  Search this
Hamilton, Susan A  Search this
Wattenmaker, Richard J  Search this
Ford Foundation  Search this
United States Work Projects Administration  Search this
From Reliable Sources (Exhibition) (1975: Washington, D.C.)  Search this
Physical description:
38.69 cu. ft. (38 record storage boxes) (1 16x20 box)
Type:
Books
Collection descriptions
Brochures
Clippings
Manuscripts
Architectural drawings
Drawings
Black-and-white photographs
Motion pictures (visual works)
Audiotapes
Videotapes
Date:
1933
1933-1991
c 1933-1991
Topic:
Art museums  Search this
Museum archives  Search this
Contracts  Search this
Local number:
SIA Acc. 92-015
Restrictions & Rights:
Restricted for 15 years, until Jan-01-2005; Transferring office; 3/2/1988 memorandum; Contact reference staff for details
See more items in:
Archives of American Art Journal Records 1962-2003 [Archives of American Art]
Director's Records 1954-2011 [Archives of American Art]
Departmental Records 1909-2010 [Archives of American Art]
Data Source:
Smithsonian Institution Archives
EDAN-URL:
edanmdm:siris_arc_228958

Special Project Records, 1980-1997

Creator:
National Portrait Gallery (U.S.) Department of Design and Production  Search this
Physical description:
1 cu. ft. (1 record storage box)
Type:
Manuscripts
Collection descriptions
Brochures
Drawings
Floor plans
Architectural drawings
Black-and-white photographs
Date:
1980
1980-1997
Topic:
Portraits, American  Search this
Art museums  Search this
Designers  Search this
Local number:
SIA Acc. 07-056
See more items in:
Special Project Records 1985-1997 [National Portrait Gallery (U.S.) Department of Design and Production]
Data Source:
Smithsonian Institution Archives
EDAN-URL:
edanmdm:siris_arc_270187

Benjamin H. Stansbury Papers

Donor:
Stansbury, Jacqueline  Search this
Creator:
Stansbury, Benjamin H., 1935-1996  Search this
Names:
Dymo Industries  Search this
Industrial Design Affiliates  Search this
Mattel Toys  Search this
Product Specialists  Search this
Ronco Teleproducts  Search this
Stansbury Company  Search this
Walter Dorwin Teague Associates  Search this
Extent:
5 Cubic feet (15 boxes, 1 oversize folder)
Type:
Collection descriptions
Archival materials
Photographs
Correspondence
Clippings
Memorandums
Manuals
Design drawings
Slides (photographs)
Date:
1955 - 1995
Summary:
The collection documents the inventing and design work of Benjamin Stansbury.
Scope and Contents:
The collection documents the inventing and design work of Benjamin Stansbury. It contains correspondence; photographs and slides; memoranda, manuals and other internal company documents; design drawings; clippings; and trade literature. The bulk of the material relates to Stansbury's work at the Stansbury Company and the PULSAR electric toothbrush.
Arrangement:
The collection is arranged into ten series.

Series 1: Personal Materials, 1954-1983

Series 2: Walter Dorwin Teague and Associates Records, 1959-1971

Series 3: Dymo, 1961, 1966

Series 4: Mattel Toymakers, Inc., 1962-1966

Series 5: Product Specialists, 1962-1971

Series 6: Innovation, undated

Series 7: Industrial Design Affiliates, 1964-1973

Series 8: The Stansbury Company, 1966-1994 (bulk 1978-1990)

Series 9: Ronco Teleproducts, Inc., 1978-1980

Series 10: Pulse Innovations, Inc., 1990-1995
Biographical / Historical:
Benjamin H. Stansbury, Jr. (September 26, 1934-March 11, 1996) was born in Chattanooga, Tennessee and graduated high school from the Baltimore Polytechnic Institute (founded in 1883 as an engineering school). He attended the Georgia Institute of Technology, School of Architecture, earning a BS in Engineering in 1957. From 1957 to 1961, Stansbury worked for Walter Dorwin Teague Associates in New York as an industrial designer. At Teague, Stansbury worked on a variety of products and missile components. In 1960, he won the Industrial Design Institute Design Award Citation for the Euphorian dental chair (for Ritter Dental). While at Teague, Stansbury met Helen Marie Beheney (December 5, 1935-July 27, 2014) who was a secretary. The couple married in 1961 in California and had two children, Claude and Jacqueline.

Stansbury left New York for Berkeley, California where he joined Dymo Industries, Inc. as Director of New Product Planning from 1961 to 1965. At Dymo, Stansbury crafted a new corporate image and supervised plant and office construction. From 1965 to 1966 he worked for Mattel Toymakers in Hawthorne, California as Director of Corporate Planning and Acquisitions. In 1966, Stansbury, along with John Pylant, formed Product Specialists in Santa Monica. Rudy Hurwich later invested in the company as a three-way partner. Product Specialists focused on product development, manufacturing and marketing. While at Product Specialists, Stansbury developed and built a folding polypropylene boat called the Stowboat (US Patent 4,556,009) available in three sizes (seven, eight and nine feet). His marketing included the phrase, "Let's Go Stowboating!" Stansbury obtained approximately thirty-five patents, many of which were design patents. Almost all of the patents issued to him were assigned to the company who contracted his services. In 1969, Stansbury founded Innovation, a company to take conceptual ideas to the point of commercialization and to then license or sell them.

In 1969, Stansbury was hired by Industrial Design Affiliates (IDA) of Beverly Hills to help turn around the faltering design practice. After years of creative frustration working for someone else, Stansbury left IDA and founded his own design firm, the Stansbury Company, in 1973. Stansbury believed in giving creative people as much freedom as possible and all of his employees were encouraged to be part of the creative process. His company provided full service product development--concept, design, appearance models, engineering development, prototype construction and testing, tool patterns, and pre-production models. A strong emphasis was placed on engineering and manufacturability. Some of the diverse products created included: an exercise bike, roller skates, a smokeless ashtray, a sewage treatment device for boats, cosmetic bottles, surgical rubber gloves, musical toys, a dental chair, packaging (Elvis concert album), and special effects (twenty-four foot alligator) for the film Alligator and miniature sets for the disaster filmMeteor. In 1978, The Stansbury Company was awarded the Western Plastics Art and Design Award for the toy category (sun runner roller skates) and the rotational molding category (La Chair). Some of his clients included: Honda Motor Car, Mansfield Sanitary, Procter and Gamble, Max Factor & Company, Mattel Toys, Schlage Lock, Technicolor, Tomy Toys, Redkin, Jaybee Manufacturing, American Hospital Supply Company and Ronco Teleproducts, Inc.

Stansbury was also a senior consultant to the Bender Corporation, which advised large manufacturing facilities about air quality issues and engineering improvements. He worked with the company on matters related to fluid dynamic modeling and to devise optimal air movements/clearance within a structure.

Stansbury was heavily involved in local politics in Beverly Hills, California. He served as traffic commissioner (1973-1977) and as a planning commissioner (1977-1980). In 1980, Stansbury was elected to the Beverly Hills City Council serving as mayor in 1983 and 1988. After leaving politics, Stansbury continued to invent and in 1992, moved to King City, Ontario, Canada to pursue his invention of the PULSAR Electric Toothbrush (US Patent 5,259,083). The patent was later reissued (RE 35,941) on November 3, 1998. Stansbury was an initial shareholder in Pulse Innovations, Inc., a Canadian corporation formed to develop, market, and license the Pulse toothbrush. The other shareholders in Pulse Innovations included Spark Innovations, Inc. (SPI), a Canadian venture capital incubator and other investors. At SPI, Stansbury was Vice-President of technical services and acted as an engineering consultant and technical advisor on other products under development. In 1995, Procter & Gamble was given an exclusive development option for the Pulse toothbrush, but ultimately Procter & Gamble underwent a restructuring and returned its focus to core products which did not include electric toothbrushes. In 1996, Pulse entered into an agreement with Butler Gum, Canada's largest consumer oral care product company. Stansbury's children, Claude and Jacqueline sold their parents' shares in Pulse Innovations to other shareholders. Stansbury returned to the United States in 1995 and died on March 16, 1996, in Alexandria, Virginia.
Separated Materials:
Artifacts related to the Ronco Egg Scrambler are located in the Division of Work and Industry.

Artifacts related to The Mr. Dentist, Pulse toothbrushes, Hayes School Publishing Co. posters for "Good Manners" (1957) and Safety (1957), a Sesame Street learning kit and parent guides (1970) are located in the Division of Home and Community Life.

A Hayes School Publishing Company poster for "Good Habit Check Charts" (1959) is located in the Division of Medicine and Science.

Materials related to Helen Stansbury's volunteer work for the Democratic Party, especially a George McGovern Handbook, 1972 and Mike Dukakis materials, 1988 are in the Division of Political History.
Provenance:
Collection donated to the Archives Center by Benjamin H. Stansbury's daughter, Jacquelyn Stansbury in 2015.
Restrictions:
Collection is open for research.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Toys  Search this
Inventors  Search this
Designers  Search this
Design, Industrial  Search this
Inventions -- 1950-2000 -- United States  Search this
Toothbrushes  Search this
Genre/Form:
Photographs -- 2000-2010
Correspondence -- 1950-2000
Clippings -- 1950-2000
Memorandums -- 1950-2000
Manuals -- 1950-2000
Design drawings -- 1950-2000
Slides (photographs) -- 1950-2000
Citation:
Benjamin H. Stansbury Papers, Archives Center, National Museum of American History
Benjamin H. Stansbury Collection, 1959-1995, Archives Center, National Museum of American History.
Identifier:
NMAH.AC.1350
See more items in:
Benjamin H. Stansbury Papers
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-1350

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