Search Results

Medium:

Earthenware with iron pigments

Dimensions:

H x W: 29.7 x 26 cm (11 11/16 x 10 1/4 in)

Style:

Gansu ware

Type:

Vessel

Origin:

Gansu province, China

Date:

2000 BCE

Period:

Neolithic period

Topic:

ceramic  Search this

Gansu ware  Search this

Neolithic period (ca. 7000 - ca. 1700 BCE)  Search this

China  Search this

earthenware  Search this

Chinese Art  Search this

Credit Line:

Purchase — Charles Lang Freer Endowment

Accession Number:

F1930.98

Restrictions & Rights:

CC0

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/ye34dfa2894-2198-4439-8a73-ad3469c1cd89

EDAN-URL:

edanmdm:fsg_F1930.98

Medium:

Earthenware with iron pigments

Dimensions:

H x W: 26.6 x 37.6 cm (10 1/2 x 14 13/16 in)

Style:

Gansu ware

Type:

Vessel

Origin:

China

Date:

2000 BCE

Period:

Neolithic period

Topic:

ceramic  Search this

Gansu ware  Search this

Neolithic period (ca. 7000 - ca. 1700 BCE)  Search this

China  Search this

earthenware  Search this

Chinese Art  Search this

Credit Line:

Purchase — Charles Lang Freer Endowment

Accession Number:

F1930.99

Restrictions & Rights:

CC0

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/ye381ebb3b2-542f-447a-9281-8431ab6f721f

EDAN-URL:

edanmdm:fsg_F1930.99

Creator:

West, Benjamin, 1738-1820  Search this

Subject:

Spilsbury, Jonathan  Search this

Livingston, Robert R.  Search this

Boydell, John  Search this

Adams, John Quincy  Search this

Citation:

Benjamin West collection, 1771-circa 1879. Archives of American Art, Smithsonian Institution.

Topic:

Expatriate artists -- England -- London  Search this

Theme:

Lives of artists  Search this

Record number:

(DSI-AAA_CollID)9344

(DSI-AAA_SIRISBib)211540

AAA_collcode_westbenj

Theme:

Lives of artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_211540

Author:

Ramsay, William, 1716-1785 (minister)  Search this

Names:

Alexandria Dyeing and Cloth Dressing Establishment  Search this

Alexandria Turnpike Co.  Search this

Snicker's Gap Turnpike Co.  Search this

Washington National Monument Society  Search this

Ramsay family -- 18th century -- Virginia  Search this

Bartleman, William  Search this

Carlyle, John  Search this

Dalton, John  Search this

Dinwiddie, Robert  Search this

Dixon, John  Search this

Fairfax, George William  Search this

Fauquier, F.  Search this

Frazier, Joseph  Search this

Gilpin, G.  Search this

Gilpin, Thomas  Search this

Gilpin, William  Search this

Henry, Patrick, Jr  Search this

Irving, Washington, 1783-1859  Search this

Johnston, George  Search this

Lee, Richard  Search this

Madison, James  Search this

McCarthy, Daniel  Search this

McCarty, Dennis  Search this

Ramsay, Anthony  Search this

Ramsay, Betty ("Betsy")  Search this

Ramsay, Dennis  Search this

Ramsay, Edward  Search this

Roberts, M.  Search this

Rumsey, James  Search this

Sanford, Capt. Edward  Search this

Stewart, James  Search this

Stoddert, Benjamin  Search this

Washington, George, 1732-1799  Search this

Wythe, George  Search this

Collector:

National Museum of American History (U.S.). Division of Domestic Life  Search this

Extent:

3.5 Cubic feet (9 boxes, 1 oversize folder)

Type:

Collection descriptions

Archival materials

Clippings

Genealogical tables

Account books

Financial records

Correspondence

Family papers

Wills

Legal documents

Obituaries

Tickets

Manuscripts

Insurance policies

Place:

Alexandria (Va.) -- 18th century

Virginia -- 18th century

Date:

1749-1924; 1957

Summary:

An extensive range of papers relating to the Ramsay family of Alexandria, Virginia.

Scope and Contents:

Original and photocopied correspondence, financial papers, newspaper clippings, legal documents, insurance policies, account book, genealogical notes, wills, lottery tickets, and currency, documenting the activities of the Ramsay family of Alexandria, Virginia and related families.

Arrangement:

The collection is arranged topically.

Biographical / Historical:

William Ramsay (1716-1785), a Scottish Presbyterian minister, played a major role in the establishment of Alexandria, Virginia and later served as its mayor. His son, Dennis, also served as mayor and as a colonel in the Continental Army. Other descendants remained active in local affairs.

Provenance:

Collection donated by Heirs of William and Dennis Ramsay,1962, April 30.

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:

Clergy -- 18th century -- Virginia  Search this

Domestic relations -- 18th century -- Virginia  Search this

City and town life -- 18th century -- Virginia  Search this

Community life -- 18th century -- Virginia  Search this

Genre/Form:

Clippings -- newspaper -- Virginia

Genealogical tables -- Virginia

Account books -- 18th century

Financial records -- 18th century

Correspondence -- 18th century

Family papers -- 18th century

Wills -- Virginia

Legal documents -- Virginia

Obituaries

Tickets -- Lottery

Manuscripts -- 18th century

Insurance policies -- Virginia

Citation:

Ramsay Family Papers, 1749-1924, 1957, Archives Center, National Museum of American History.

Identifier:

NMAH.AC.0088

See more items in:

Ramsay Family Papers

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep82132e846-9b85-49b6-9259-07a6d6d56e23

EDAN-URL:

ead_collection:sova-nmah-ac-0088

Creator:

Vose Galleries of Boston  Search this

Subject:

Vose, Robert Churchill  Search this

Hassam, Childe  Search this

Hoffman, Malvina  Search this

Jonniaux, Alfred  Search this

Ladd, Anna Coleman (sculptor)  Search this

Thayer, Abbott Handerson  Search this

Norton, William E.  Search this

Sargent, John Singer  Search this

Vose, Robert C. (Robert Churchill)  Search this

Arthur U. Newton Galleries  Search this

Ehrich Galleries (New York, N.Y.)  Search this

Howard Young Galleries (New York, N.Y.)  Search this

Jill Newhouse (Gallery)  Search this

M. Knoedler & Co.  Search this

Macbeth Gallery  Search this

Milch Galleries  Search this

Norton Gallery and School of Art  Search this

R.C. & N.M. Vose (Firm)  Search this

Robert C. Vose Galleries  Search this

Centennial Exhibition (1876 : Philadelphia, Pa.)  Search this

Type:

Video recordings

Manuscript

Citation:

Vose Galleries of Boston records, circa 1876-1996, bulk 1920-1940. Archives of American Art, Smithsonian Institution.

Topic:

Artists -- United States -- Photographs  Search this

Picture frame industry -- Massachusetts -- Boston  Search this

Picture frames and framing  Search this

Art, Modern -- 20th century -- Massachusetts -- Boston  Search this

Art, Modern -- 19th century -- Massachusetts -- Boston  Search this

Theme:

Art Gallery Records  Search this

Art Market  Search this

Record number:

(DSI-AAA_CollID)9272

(DSI-AAA_SIRISBib)211467

AAA_collcode_vosegall

Theme:

Art Gallery Records

Art Market

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_211467

Creator:

Vose Galleries of Boston  Search this

Names:

Arthur U. Newton Galleries  Search this

Centennial Exhibition (1876 : Philadelphia, Pa.)  Search this

Ehrich Galleries (New York, N.Y.)  Search this

Howard Young Galleries (New York, N.Y.)  Search this

Jill Newhouse (Gallery)  Search this

M. Knoedler & Co.  Search this

Macbeth Gallery  Search this

Milch Galleries  Search this

Norton Gallery and School of Art  Search this

R.C. & N.M. Vose (Firm)  Search this

Robert C. Vose Galleries  Search this

Hassam, Childe, 1859-1935  Search this

Hoffman, Malvina, 1887-1966  Search this

Jonniaux, Alfred, b. 1882  Search this

Ladd, Anna Coleman, 1878-1939 (sculptor)  Search this

Norton, William E., 1843-1916  Search this

Sargent, John Singer, 1856-1925  Search this

Thayer, Abbott Handerson, 1849-1921  Search this

Vose, Robert C. (Robert Churchill), 1911-1998  Search this

Vose, Robert Churchill, 1873-  Search this

Extent:

26.6 Linear feet

Type:

Collection descriptions

Archival materials

Video recordings

Manuscript

Date:

circa 1876-1996

bulk 1920-1940

Summary:

The records of Vose Galleries of Boston measure 26.6 linear feet and date from circa 1876, 1890s-1996 with the bulk of materials dating from 1920s-1930s. Nearly 90 percent of the collection documents the gallery's handling of American paintings and portraits through incoming and outgoing business correspondence with artists, clients, galleries, and museums, including considerable correspondence with portrait artist Alfred Jonniaux and clients regarding commissioned portraits. Other materials include client files; artists' biographies; records of sales, consignments, framing, restoration, and banking, mostly from the 1940s-1960s; and scattered exhibition catalogs, newspaper clippings, and postcards. Also found is a handwritten manuscript regarding the 1876 Centennial Exhibition in Philadelphia, PA and a 1991 videotape about the Vose Galleries and its founding family.

Scope and Contents note:

The records of Vose Galleries of Boston measure 26.6 linear feet and date from circa 1876, 1890s-1996 with the bulk of materials dating from 1920s-1930s. Nearly 90 percent of the collection documents the gallery's handling of American paintings and portraits through incoming and outgoing business correspondence with artists, clients, galleries, and museums, including considerable correspondence with portrait artist Alfred Jonniaux and clients regarding commissioned portraits. Other materials include client files; artists' biographies; records of sales, consignments, framing, restoration, and banking, mostly from the 1940s-1960s; and scattered exhibition catalogs, newspaper clippings, and postcards. Also found is a handwritten manuscript regarding the 1876 Centennial Exhibition in Philadelphia, PA and a 1991 videotape about the Vose Galleries and its founding family.

Correspondence of note is with artists Childe Hassam, Malvina Hoffman, Alfred Jonniaux, and John Singer Sargent; galleries Ehrich Galleries, Clapp & Graham Co., M. Knoedler & Co., Macbeth Galleries, Milch Galleries, Newhouse Galleries, Arthur U. Newton Galleries, Norton Galleries, and Howard Young Galleries; the estates of Anna Coleman Ladd and William E. Norton; and the family of Abbott H. Thayer.

Researchers should note that the records do not comprehensively span the gallery's history or operations. The bulk of the collection is correspondence from Robert C. Vose's era running the Robert C. Vose Galleries in the 1920s-1930s and, lesser so, under Robert C. Vose, Jr.'s direction in the 1970s. There is little material in the collection which dates before the 1910s or the 1950s-1960s, other than correspondence regarding Alfred Jonniaux and some financial records. There is a handful of correspondence which covers the period of R.C. & N.M. Vose Gallery. Records loaned for microfilming should be consulted for materials outside of the bulk dates of this collection, especially for materials from the late 1800s-early 1900s.

Arrangement note:

The collection is arranged as 5 series:

Missing Title

Series 1: Correspondence, 1895-1996 (Boxes 1-23, 28; 22.6 linear feet)

Series 2: Customer Files, 1912-1946 (Boxes 23-24; 0.8 linear feet)

Series 3: Art-Related Files, circa 1876, 1890s-1947 (Box 24, 28; 1 linear feet)

Series 4: Financial Records, 1911-1962, 1991 (Boxes 24-25; 1.8 linear feet)

Series 5: Printed Materials, circa 1904-1990 (Boxes 25-27; 0.4 linear feet)

Biographical/Historical note:

Vose Galleries is a long time family run art gallery based in the Boston, Mass. area.

In 1841, Joseph Vose purchased Westminster Art Gallery, a small Providence, Rhode Island art gallery founded by Ransom Hicks. At the age of 19 in 1850, Joseph's son Seth Morton Vose joined the gallery and five years later became director. The gallery's primary business until the late 1860s was frame making, gilding and art supplies. Seth Morton Vose had a passion for art, especially the French painters of the Barbizon School and he slowly began buying and exhibiting artwork. By 1882, the gallery regularly exhibited in Boston.

Seth's son Robert C. Vose joined the business in 1896, and managed the gallery's Boston office from 1897. Robert broadened the gallery's horizons by showing his fine stock of Barbizon, Dutch, English and American artists throughout America, while his younger brother, Nathaniel, and his cousin, Charles Thompson, handled the Boston gallery. During the next sixty-seven years, Robert C. Vose moved the gallery into a position of national prominence.

In 1924, Nathaniel left the gallery and established his own gallery in Providence. The Boston gallery's name changed to Robert C. Vose Galleries, and around the same time, took over the Carrig-Rohane framing company. In 1931-1932, Robert's three sons, Robert C. Vose, Jr., Seth Morton Vose II, and Herbert Vose, joined the firm. The gallery continued to show exhibitions in Boston, and the sons took turns joining their father on the road. The gallery's name was changed to Vose Galleries of Boston, Inc. in 1952. In 1963, Vose Galleries moved to their current location at 238 Newbury Street in Boston. Robert C. Vose passed away in 1964.

Robert C. Vose, Jr.'s sons, Abbot W. Vose and Robert C. Vose III, joined the gallery in 1968 and 1970, respectively. Robert C. Vose, Jr. passed away in 1998. The Vose Galleries of Boston continues to operate at Newbury Street under the direction of the sixth generation of the Vose family.

Related Archival Materials note:

The Archives of American Art holds several separately cataloged collections related to Vose Galleries of Boston, including the Carrig-Rohane Shop records (1903-1962); oral history interviews with Seth Morton Vose (July 24, 1986 - April 28, 1987) and Robert C. Vose, Jr. (June 27 - July 23, 1986); a sound recording and videotape of a Robert C. Vose, Jr. lecture at the Somerset Club (May 14, 1987); a sound recording of an interview with Robert C. Vose (March 1961); the Miscellaneous Art Exhibition Catalog collection containing Vose Galleries exhibition catalogs, circa 1900-1941; and, Robert C. Vose, Jr. typescripts and clippings, 1961, on microfilm reels 3480 and 4314.

Separated Materials note:

The Archives of American Art also holds material lent for microfilming.

Reel B1 contains a scrapbook compiled by Seth Vose and annotated by Robert Vose that contains clippings, 1886-1900, and an 1889 letter from author and critic Alfred Trumble; and a scrapbook compiled and annotated by Robert C. Vose spanning the years 1920-1940, 1897, and 1905, containing clippings and handwritten lists.

Reel 2380 includes numerous photographs, circa 1890-1964, of Seth Morton Vose, Robert C. Vose, Sr., artists, collectors, and dealers associated with Vose Galleries; a Macbeth Gallery "smoker" in honor of Emil Carlsen; a drawing of Charles Emil Heil by George F. Wing, and a charcoal drawing after Monticelli by Albion Harris Bicknell. Many of the photographs are annotated by Robert C. Vose.

Reels 3936-3940 are comprised of account books, 1871-1887; a journal, 1889-1903, a ledger, 1889-1901; invoice books, 1896-circa 1954, inventories of paintings and drawings in stock, 1884, 1892 and 1906; exhibition records, 1911-1982?; traveling exhibition records, 1915-1949; and a record of paintings sold, 1876-1894. Written permission is required to access these reels.

Reels 4593-4594 contain clippings, undated and 1891-1989, chiefly about purchases, sales and exhibitions, but also pertaining to art dealers, museums, artists, and art events.

Reel 4909 contains a scrapbook of clippings, announcements, programs, and other printed materials, 1882-1993.

Lent materials were returned to the lender and are not described in the collection container inventory.

Provenance:

From 1965-1994, Vose Galleries of Boston loaned materials to the Archives of American Art for microfilming. Robert C. Vose, Jr. also donated records in several installments from 1974 to 1997.

Restrictions:

Use of original papers requires an appointment.

Rights:

Reels 3936-3940: Authorization to publish, quote or reproduce requires written permission from an officer of the Vose Galleries. Contact Reference Services for more information.

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Topic:

Artists -- United States -- Photographs  Search this

Picture frame industry -- Massachusetts -- Boston  Search this

Picture frames and framing  Search this

Art, Modern -- 20th century -- Massachusetts -- Boston  Search this

Art, Modern -- 19th century -- Massachusetts -- Boston  Search this

Function:

Art galleries, Commercial -- Massachusetts

Art galleries, Commercial -- Rhode Island

Genre/Form:

Video recordings

Manuscript

Citation:

Vose Galleries of Boston records, circa 1876-1996. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Smithsonian Institution Collection Care Preservation Fund

Identifier:

AAA.vosegall

See more items in:

Vose Galleries of Boston records

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9b560897e-b32f-45cc-9f36-548879006396

EDAN-URL:

ead_collection:sova-aaa-vosegall

Owner:

Bedman, John  Search this

Bedman, James  Search this

Bedman, Joseph  Search this

Bedman, Frank  Search this

Bedman, Charles  Search this

Founder:

Bedman, William  Search this

Creator:

Bedman Brothers Rahway, New Jersey.  Search this

Bedman Brothers  Search this

William Bedman Seed Company (Rahway, New Jersey)  Search this

Investor:

Thorburn, James  Search this

Names:

Bedman Brothers  Search this

Extent:

8.5 Cubic feet

Type:

Collection descriptions

Archival materials

Negatives

Brochures

Price lists

Account books

Administrative records

Correspondence

Photographs

Artifacts

Leaflets

Clippings

Ledgers (account books)

Scrapbooks

Purchase orders

Pamphlets

Date:

1859 - 1984

Summary:

The Bedman Brothers Company Records collection focuses primarily on the business and financial transactions of Bedman Brothers seed company of Rahway, New Jersey, and includes accounting ledgers, purchase orders, price lists, miscellaneous business and family correspondence, and various brochures, pamphlets and leaflets related to horticultural topics. Other holdings in the collection include World War II ration stamps and two scrapbooks, one of which contains many late nineteenth and early twentieth century chromo-lithographed trade cards (primarily from the sewing, clothing, and floral industries). The other scrapbook holds news clippings from the Civil War period. Seperated materials include seed gathering equipment used by field workers.

Historical note:

The William Bedman Seed Company of Rahway, New Jersey was established in 1843 by William Bedman with the support of James Thorburn, a Manhattan seed purveyor. The firm, later called Bedman Brothers, was principally a wholesale mail order seed company that sold to consumer-end seed houses such as Vicks, W. Atlee Burpee, and George J. Ball. Bedman Brothers became known for its production of salvias (sage), including the development of 'Bonfire' or Clara Bedman sage variety. The company continued after William Bedman's tenure under the leadership of his sons Charles, James and John. The business ended after the death of Joseph Bedman, William's grandson, in 1962.

Separated Materials:

Assorted nursery and trade catalogs and price lists from the Bedman Brothers records were transferred to the Smithsonian Institution's National Museum of American History Library, Horticulture Trade Catalogs Collection.

Provenance:

Donated to the Smithsonian Office of Horticulture (later Horticulture Services Division) in 1984 by Gladys and Florence Whitehead, great-granddaughters of William Bedman.

Restrictions:

Access to original archival materials 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. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.

Topic:

Mail-order business  Search this

Seed industry and trade  Search this

Seeds -- Processing -- Equipment and supplies  Search this

Salvia  Search this

Flowers  Search this

Horticulture  Search this

Genre/Form:

Negatives

Brochures

Price lists

Account books -- 19th century

Administrative records

Correspondence

Photographs

Artifacts

Leaflets

Clippings

Ledgers (account books)

Scrapbooks

Account books -- 20th century

Purchase orders

Pamphlets

Citation:

Smithsonian Institution, Archives of American Gardens, Bedman Brothers Company Records.

Identifier:

AAG.BED

See more items in:

Bedman Brothers Company records

Archival Repository:

Archives of American Gardens

GUID:

https://n2t.net/ark:/65665/kb694e03bc2-1a56-4061-9ca9-d71a422025d5

EDAN-URL:

ead_collection:sova-aag-bed

Creator:

Fendrick Gallery  Search this

Subject:

Cottingham, Robert  Search this

Castle, Wendell  Search this

Dusenbery, Walter  Search this

Brush, Daniel  Search this

Dreyfuss, John  Search this

Benes, Barton Lidic  Search this

Drake, James  Search this

KaskeyRaymond J.  Search this

Johns, Jasper  Search this

Bailey, William  Search this

Arneson, Robert  Search this

Maria da Conceição  Search this

Lalanne, François Xavier  Search this

Lalanne, Claude  Search this

Tenneson, Joyce  Search this

Summer, Carol  Search this

Raffael, Joseph  Search this

Paley, Albert  Search this

Woodyard, William  Search this

Gilliam, Sam  Search this

Frankenthaler, Helen  Search this

Barbara Fendrick Gallery  Search this

Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this

Type:

Account books

Photographs

Citation:

Fendrick Gallery records, 1952-2001. Archives of American Art, Smithsonian Institution.

Topic:

Art -- Washington (D.C.)  Search this

Furniture designers  Search this

Artists -- Washington (D.C.)  Search this

Art, Modern -- 20th century -- Washington (D.C.)  Search this

Sculptors  Search this

Artists' books  Search this

Printmakers  Search this

Metal-workers  Search this

Theme:

Art Gallery Records  Search this

Craft  Search this

Art Market  Search this

Record number:

(DSI-AAA_CollID)6271

(DSI-AAA_SIRISBib)216614

AAA_collcode_fendgall

Theme:

Art Gallery Records

Craft

Art Market

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_216614

Collection Creator:

Liebes, Dorothy  Search this

Container:

Box 13, Folder 30

Type:

Archival materials

Date:

1938-1947

Collection Restrictions:

This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.

Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.

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:

Dorothy Liebes papers, circa 1850-1973. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of the Dorothy Liebes papers was provided by the Terra Foundation for American Art. Funding for the digitization of the collection was provided by the Coby Foundation.

See more items in:

Dorothy Liebes papers

Dorothy Liebes papers / Series 6: Financial and Legal Records

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9009ecc25-0e2b-4e89-8a22-8498e66367c2

EDAN-URL:

ead_component:sova-aaa-liebdoro-ref208

Collection Creator:

Liebes, Dorothy  Search this

Extent:

0.6 Linear feet (Boxes 6, 20)

Type:

Archival materials

Date:

circa 1935-1972

Scope and Contents:

Series includes an account book, personal and business related accounting correspondence, balance sheets, statements of income and profit and loss, year-end statements for Dorothy Liebes Textiles, Inc., some financial summaries for Liebes's personal expenses, statements summarizing Liebes's investments, personal and business inventories and insurance records, and federal, state, and city tax records.

Of note is a file documenting Liebes's appeal to the New York State Tax Commission to be recognized as a professional industrial designer, with supporting statements written by colleagues such as Alfred Auerbach, Henry Dreyfuss, Samuel Marx, Edward J. Wormley, and Walter Teague, and two folders of records relating to legal action taken by Liebes against a company (Matson vs. Liebes) for use of a design.

Collection Restrictions:

This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.

Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.

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:

Dorothy Liebes papers, circa 1850-1973. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of the Dorothy Liebes papers was provided by the Terra Foundation for American Art. Funding for the digitization of the collection was provided by the Coby Foundation.

Identifier:

AAA.liebdoro, Series 6

See more items in:

Dorothy Liebes papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw98176caf9-c43f-476f-9f7b-83becad8c672

EDAN-URL:

ead_component:sova-aaa-liebdoro-ref262

Manufacturer:

Chambers Brothers & Company  Search this

Former owner:

Gouran, Inc.  Search this

National Museum of American History (U.S.). Division of Mechanical and Civil Engineering  Search this

National Museum of American History (U.S.). Division of Work and Industry  Search this

Extent:

2 Cubic feet (1 box, 1 map folder)

Type:

Collection descriptions

Archival materials

Bulletins

Catalogs

Drawings

Date:

circa 1867-1930, undated

Summary:

Collection documents the work of Chambers Brothers and Company located in Philadelphia, Pennsylvania and manufacturers of brick-making machinery.

Scope and Contents:

Collection consists of the records of Chambers Brothers and Company. Materials include pamphlets, bulletins, catalogues, price lists, and a drawing room order book primarily relating to brick-making. The materials are arranged in chronological order.

Arrangement:

Collection is arranged into one series.

Biographical / Historical:

Chambers Brothers and Company was established in Philadelphia, Pennsylvania in 1857 and incorporated in 1888. It manufactured various products including paper folding machines, board cutters, brick making machines, embossing presses, mashing machines, paper litters, sheet varnishing machines, and pulleys.

Related Materials:

Archives Center, National Museum of American History

Windsor & Ford Business Records, NMAH.AC.0019

Agricultural and Brick Account Book, 1824-1846, NMAH.AC.0057

Warshaw Collection of Business Americana Subject Categories: Bricks, NMAH.AC.0060

Underwood & Underwood Glass Stereograph Collection, NMAH.AC.0143

Transportation Nitrate Negatives, NMAH.AC.0790

Pittsburgh Consolidation Coal Company Photographs and Other Materials, NMAH.AC.1007

Penn Station, New York, Photographs, NMAH.AC.1048

Wheeling and Lake Erie Railway Photographs, NMAH.AC.1075

Baltimore and Ohio Railroad Records, NMAH.AC.1086

Brooklyn Crozite Brick Corporation Records, NMAH.AC.1571

Smithsonian Institution Libraries and Archives



Chambers Brothers Company, trade catalogue, 1800s, Record Id:SILNMAHTL_10252

Other Repositories

Greater Philadelphia GeoHistory Network

Free Library of Philadelphia, Map Collection, Chambers Brothers & Company Machine Works & Foundry

Provenance:

Collection donated by Gouran, Incorporated, through President Clyde A. Cobb, April 24, 1974.

Restrictions:

Collection is open for research. Unprotected photographs must be handled with gloves.

Rights:

Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Topic:

Brickmaking  Search this

Building materials  Search this

Foundries  Search this

Iron  Search this

Machinists  Search this

Genre/Form:

Bulletins

Catalogs -- 20th century

Drawings

Citation:

Chambers Brothers and Company Records, Archives Center, National Museum of American History

Identifier:

NMAH.AC.1530

See more items in:

Chambers Brothers and Company Records

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep857e1a7e7-beb2-491a-97fa-8c540501b024

EDAN-URL:

ead_collection:sova-nmah-ac-1530

Creator:

Parsons, Betty  Search this

Names:

Betty Parsons Gallery  Search this

Bess, Forrest, 1911-1977  Search this

Congdon, William, 1912-1998  Search this

Pollock, Jackson, 1912-1956  Search this

Reinhardt, Ad, 1913-1967  Search this

Rothko, Mark, 1903-1970  Search this

Extent:

61.1 Linear feet

Type:

Collection descriptions

Archival materials

Sketchbooks

Interviews

Video recordings

Drawings

Date:

1916-1991

bulk 1946-1983

Summary:

The Betty Parsons Gallery records and personal papers measure 61.1 linear feet and date from 1916 to 1991, with the bulk of the material dating from 1946-1983. Records provide extensive documentation of the gallery's operations from its inception in 1946 to its closing in 1983 and of the activities of Betty Parsons as one the leading art dealers of contemporary American Art in the latter half of the twentieth century, particularly the work of the Abstract Expressionists. Over one third of the of the collection is comprised of artists files containing correspondence, price lists, and printed materials. Additional correspondence is with galleries, dealers, art institutions, private collectors, and the media. Also found are exhibition files, exhibition catalogs and announcements, sales records, stock inventories, personal financial records, and photographs. Betty Parsons's personal papers consist of early curatorial files, pocket diaries, personal correspondence, and evidence of her own artwork, including sketchbooks, and files documenting her personal art collection.

Scope and Content Note:

The Betty Parsons Gallery records and personal papers measure 61.1 linear feet and date from 1916 to 1991, with the bulk of the material dating from 1946-1983. Records provide extensive documentation of the gallery's operations from its inception in 1946 to its closing in 1983 and of the activities of Betty Parsons as one the leading art dealers of contemporary American Art in the latter half of the twentieth century, particularly the work of the Abstract Expressionists. Over one third of the of the collection is comprised of artists files containing correspondence, price lists, and printed materials. Additional correspondence is with galleries, dealers, art institutions, private collectors, and the media. Also found are exhibition files, exhibition catalogs and announcements, sales records, stock inventories, personal financial records, and photographs. Betty Parsons's personal papers consist of early curatorial files, pocket diaries, personal correspondence, and evidence of her own artwork, including sketchbooks, and files documenting her personal art collection. Personal papers also include personal photographs.

Artists files, the largest and most extensive series, consist of a wide variety of documents, including biographical materials, correspondence with or related to the artist, exhibition catalogs and announcements, sales and expense invoices, clippings, price lists, and photographs of the artist, exhibitions, and artwork. The files reflect Parsons's close personal relationships with certain artists, particularly Jackson Pollock, Mark Rothko, Clyfford Still, and Barnett Newman. Extensive documentation is also found for Forrest Bess, William Congdon, Paul Feeley, Thomas George, Alexander Liberman, Seymour Lipton, Richard Pousette-Dart, Jesse Reichek, and Jack Youngerman. Historians and researchers will find these files to be an invaluable resource both in tracing Betty Parsons's role in promoting Abstract Expressionism and researching individual artists.

Exhibition files primarily document the gallery's infrequent group or themed exhibitions. Of particular note are the files on The Ideographic Picture, which was organized by Barnett Newman and included his work, as well as that of Pietro Lazzari, Boris Margo, Ad Reinhardt, Mark Rothko, Theodoros Stamos, and Clyfford Still. Price lists, artist biographies and exhibition schedules are housed in the general exhibition files. Loan exhibition files provide documentation of artwork borrowed by other galleries or institutions for exhibitions, as well as shows outside of the gallery that were organized by Betty Parsons. Also found are gallery exhibition guest books, and announcements and catalogs.

Gallery correspondence is primarily with galleries and dealers, museums, arts organizations, and collectors. Scattered letters from artists are also found, although the bulk of the artists' correspondence is filed in the Artists Files. Also found here are memoranda and letters between Betty Parsons and her staff that contain detailed information concerning Parsons's schedule and gallery activities. Similar correspondence is found amongst the correspondence files within the series Betty Parsons papers.

Appraisal and conservation files include correspondence, appraisal invoices, forms, and appraisal requests and other information from the Art Dealers Association of America, and conservation invoices and reports. The majority of the appraisal records contain information about the specific works of art, including artist, title, date, current owner and the estimated value at the time of the request. Conservation records document conservation treatments undertaken by outside conservators to gallery stock.

Sales, purchases, stock and inventory are well documented in the sales and inventory records. The records provide detailed information about individual sales, prices of individual pieces of artwork, consignments, and loans. Most sales records also include detailed information about the buyer and are a valuable resource for provenance research. Files documenting the general administration, routine business operations, and financial transactions (not individual sales) of the gallery are housed in the general business and financial records. These records include ledgers, receipts, tax records, and banking records. There is some limited information about works of art scattered amongst the receipts and in the "in/out slips" files. Legal records house general legal documents and those concerning specific lawsuits. Of particular note is the file detailing the lawsuit between Betty Parsons and Sidney Janis over the fifth floor of 24 West 57th Street.

The remainder of the collection consists of Betty Parsons's personal papers which document her career prior to opening her own gallery, her work as an artist, and her personal art collection.

Some information about Parsons's work prior to opening her own gallery is found in the early curatorial files she retained from her curatorial and administrative work at the Wakefield Gallery and the Mortimer Brandt Gallery. Clippings, correspondence, announcements, exhibition lists and exhibition files are found. For both positions, she kept only the exhibition files for a small group of exhibitions organized around a specific theme, the most notable being the exhibition of Pre-Columbian Sculpture at the Wakefield Gallery.

Biographical materials include copies of her biography, family genealogies, photographs of Parsons, interviews with Colette Roberts and WYNC radio, memberships, photographs, and ephemera, including a collection of programs and invitations from events that she attended. Throughout her life Parsons gave generously of her time to various cultural and charitable institutions and was awarded for her contributions. There are also a number of files that document her speaking engagements, her participation as a juror in numerous juried exhibitions, charitable work, and awards that she received.

Parsons's personal correspondence files reflect how deeply Parsons's life was intertwined with the gallery. There are letters from museum directors, dealers, artists seeking representation, and personal letters from artists with whom she had close personal relationships, most notably Larry Bigelow, Alexander Calder, William Condon, and Ad Reinhardt. There are also letters from the English artist Adge Baker, with whom Parsons was romantically involved. Correspondence also includes several files of postcards and Christmas cards.

Pocket diaries and engagement calendars, spanning from 1933-1981, record social engagements, meetings, vacations, and telephone numbers. Also found are circa two linear feet of notebooks and sketchbooks, many of which are annotated with addresses, poetry, journal entries, and other observations of people, places, and travels. Writings by others include writings about Betty Parsons or the Betty Parsons Gallery, such as Lawrence Alloway's unpublished typescript titled "An American Gallery" and other topics.

Printed material consists of exhibition announcements and catalogs, art magazines, and newspaper and magazine clippings about Betty Parsons, her family and acquaintances, artists, and other art related topics, coupled with a miscellaneous selection of clippings, and a video recording, on topics that presumably captured Parsons's attention.

Personal art work records document Betty Parsons's career as an artist through inventories, group and solo exhibitions files, price lists, appraisals, sales and consignment invoices. Photographs are primarily reproductions of her works of art, although there are scattered photographs of exhibition installations.

Betty Parsons's private art collection files document her extensive personal collection of art that included works by Jackson Pollock, Agnes Martin, Romare Bearden, Barnett Newman, and Mark Rothko, in addition to Amlash sculpture from ancient Persia and primitive sculpture from New Hebrides. These files include inventories, lists, exhibition records, sales and purchase invoices, and photographs. There are also files for donations and loans from Parsons's personal collection to museums and fund raising auctions for several non-profit institutions.

Finally, the personal financial records provide information about the Parsons's family finances and her personal financial success as an art dealer. In addition to her own investments, Parsons inherited shares in family investments through the estates of her parents, J. Fred Pierson, Jr. and Suzanne Miles Pierson, and younger sister, Emily Rayner. Real estate files include correspondence, utility bills, receipts, area maps, and land plots for houses in Sheepscot, Maine and St. Maartens, Netherlands Antilles. Tax returns, ledger worksheets, receipts, banking statements, deposit slips, and cancelled checks are among the other financial records.

Arrangement:

The collection is arranged as seven series. Many of the series are further divided into subseries.

Missing Title

Series 1: Artists Files, 1935-1983 (19.4 linear feet; Boxes 1-18, 51, 55-56, OVs 53, 65)

Series 2: Exhibition Files, 1941-1983 (2.9 linear feet; Boxes 18-21, 51, 55, OVs 54, 66)

Series 3: Correspondence Files, 1941-1983 (3.9 linear feet; Boxes 21-24, 52, 56)

Series 4: Appraisal Files, 1954-1983 (0.7 linear feet; Box 24)

Series 5: Sales and Inventory Records, 1946-1983 (3.9 linear feet; Boxes 25-28, 51)

Series 6: General Business and Financial Records, 1946-1983 (9.3 linear feet; Boxes 28-38, 51, 56)

Series 7: Betty Parsons Personal Papers, 1916-1991 (21 linear feet; Boxes 38-51, 55-64, OVs 65-67)

Historical Note:

Betty Parsons (1900-1982) was one of the leading art dealers in New York City specializing in modern art, particularly the work of the Abstract Expressionists, and an abstract painter and sculptor in her own right. She opened Betty Parsons Gallery in 1946 at 15 E. 57th St., later moving to 24 W. 57th St.

The history of the Betty Parsons Gallery is inextricably bound to the life and experiences of its founder. Betty Parsons was born Betty Bierne Pierson on January 31, 1900 in New York City. She enjoyed a privileged childhood, which included vacation homes in Newport and Palm Beach. Her only formal education was a five-year stint at the prestigious Chapin School from 1910-1915, where she met many of the women who would become life-long friends and supporters. In the spring of 1920, she married Schuyler Livingston Parsons from one of New York's oldest families. The marriage ended after only three years and the couple traveled to Paris where they could obtain a divorce on the grounds of incompatibility. She retained her married surname and purchased a house on the rue Boulard in Paris, where she remained for ten years, pursuing studies in painting and sculpture.

Financial constraints forced Parsons to return to the United States in 1933. She first traveled west to California, but it was her return to New York in 1935 that marked the start of her career as an art dealer. Her first opportunity to connect with the New York art world came after a successful exhibition of her watercolors at the Midtown Galleries where the owner, Alan Gruskin, noted Parson's faithful and wealthy group of supporters and offered her work installing exhibitions and selling paintings on commission. Her work for the Midtown Galleries led to a second position in the Park Avenue gallery of Mary Sullivan, one of the founders of the Museum of Modern Art. Here, Parsons learned the business of running a gallery. By 1940 Parsons was ready to take on more independent responsibility and agreed to manage a gallery within the Wakefield Bookshop. In this job, she exercised full curatorial control by selecting artists and organizing exhibitions. She championed then unknown contemporary American artists and the gallery's roster soon included Saul Steinberg, Hedda Sterne, Alfonso Ossorio, Joseph Cornell, Walter Murch, and Theodore Stamos. Although the majority of the exhibitions were solo shows, there were a few group shows and themed exhibitions, such as Love in Art (1941) and Ballet in Art (1942). Under Parson's direction, the gallery hosted an important exhibition of Pre-Columbian sculpture, curated by Barnett Newman.

When the owners of the Wakefield Bookshop decided to close the gallery late in 1944, Mortimer Brandt, a dealer who specialized in Old Master paintings and drawings, offered her a position as head of the newly created contemporary section of his gallery. Many of the artists who had shown with Parsons at the Wakefield Gallery followed her to her new gallery, where they were joined by Ad Reinhardt, Boris Mango, and Hans Hofmann. While the exhibitions garnered attention from the press and the interest of contemporary artists, the contemporary section was not a financial success and Brandt opted to close his gallery in 1946.

Using $1000 of her own money and an additional borrowed $4000, Parsons sublet the space that previously housed Mortimer Brandt's contemporary section, on the fifth floor of 15 East 57th Street, and opened the Betty Parsons Gallery.

In many respects the early years of the Betty Parsons Gallery were the most vital, as it was during the period of 1947-1951 that the gallery became linked with the Abstract Expressionists and the history of post-WWII American Art. In an unpublished history of the gallery, noted art critic Lawrence Alloway stated that the significance of the gallery's early exhibitions ranks with Durand-Ruel's Impressionists exhibitions or Kahnweiler's shows of the Cubists. Betty Parsons Gallery quickly became one of the most prestigious galleries in New York City associated with new American Art of all styles. Her close friend Barnett Newman organized the gallery's inaugural exhibition of Northwest Coast Indian Art and he soon began to exhibit his own work at the gallery. When Peggy Guggenheim's Art of This Century Gallery closed, Jackson Pollock, Clyfford Still, and Mark Rothko joined Parsons' growing stable of artists. Although Parsons continued to promote and exhibit many of the artists whom she had previously discovered, these four artists dominated this period. Newman, Pollock, Still, and Rothko worked closely together, holding themselves apart from the other artists somewhat. They were actively involved in the curatorial process and often hung their own shows. For these artists, the exhibition itself was an artistic act of creation.

Parsons provided a supportive environment and allowed her artists enormous freedom in planning and designing their exhibitions. She was not, however, an aggressive salesperson. During this early period the gallery ledgers document sales to an impressive array of museums including the Museum of Modern Art, the Whitney Museum of American Art, and the Art Institute of Chicago, as well as important collectors such as Edward Root and Duncan Phillips. Nevertheless, the art that the gallery promoted was not yet widely accepted. Sales were few, prices were low and the business would not turn a profit for several years. Meanwhile, there was mounting pressure from Pollock, Newman, Still, and Rothko to drop some of the other artists from Parsons' stable and focus all resources on them. They wanted to be promoted to a larger audience and have their work sold at higher prices, but Parsons enjoyed discovering new artists and did not want to be restricted in this endeavor. The year 1951 marks the last time that Pollock's drip paintings or the monumental works of Newman, Rothko or Still were shown at the Betty Parsons Gallery.

In the following years the Betty Parsons Gallery continued to attract a diverse group of talented artists. Ellsworth Kelly, Richard Tuttle, Robert Rauschenberg, and Jack Youngerman had their first New York exhibitions at the Betty Parsons Gallery. Parsons opened Section Eleven in 1958, a short-lived annex to the main gallery, so that she could promote younger, less well-known artists. It closed in 1960 due to the administrative difficulties in running two essentially separate galleries.

In 1962, Sidney Janis, another prominent art dealer, started proceedings to evict Parsons from the floor that they shared on 15 East 57th Street. The Betty Parsons Gallery moved to 24 West 57th Street in 1963, where it remained until it closed in 1983, following Parsons' death the preceding year. Throughout the gallery's history, Parsons continued to promote faithful artists such as Hedda Sterne and Saul Steinberg, who had been with her from the beginning and to seek out new talent, both for her main gallery and for other venues, such as the short-lived Parsons-Truman Gallery, which she opened in 1974 with former Parsons Gallery director Jock Truman to show works on paper by emerging artists.

In addition to being an art dealer, Betty Parsons was a respected artist and collector. With her connoisseur's eye and connections, Parsons amassed an impressive private collection of art. She bought her first piece while an art student in Paris in the 1920s, a small gouache by Zadkine, but did not begin acquiring works in earnest until she was established as an art dealer. Partial inventories of her personal collection show that the majority of her collection contained works by artists associated with the gallery. Mark Rothko, Hans Hofmann, Ad Reinhardt, Agnes Martin, and Kenzo Okada were among the artists represented. Many were gifts from the artists, such as an ink drawing by Jackson Pollock, inscribed "For Betty." Selections from her collection appeared in small museums across the United States, including a traveling exhibition organized by Fitch College, New York, in 1968. In her role as a promoter of contemporary American art, Parsons lent generously from her collection, particularly to the federal Art in the Embassies Program. Throughout her life she also donated works to a variety of museums, most notably, the Whitney Museum of American Art, Museum of Modern Art, New York, and the Louisiana Museum of Modern Art, Denmark.

Parsons frequently claimed that her desire to pursue a career as an artist stemmed from a visit to the Armory Show when she was thirteen. In her late teens, after pressuring her father for art lessons, she studied with the sculptor Gutzon Burglum of Mount Rushmore fame. In Paris, she continued her studies first with Antoine Bourdelle, whose sculptures she had admired at the Armory Show, and later with Ossip Zadkine. The first exhibition of her work, figurative watercolors and sculptures, took place in Paris in 1927. As she matured as an artist, her art became more abstract. Her late works were painted wood sculptures that she pieced together from wood that she found near her studio in Long Island. Parsons's work was exhibited in more than thirty solo exhibitions, including, Betty Parsons; Paintings, Gouaches and Sculpture, 1955-1968, at the Whitechapel Gallery in London. During her lifetime, she would not allow her works to be shown in her own gallery. Shortly after she died of a stroke in 1982, In Memoriam, Betty Parsons: Late Sculptures, opened at the Betty Parsons Gallery.

Related Material:

Also found in the Archives of American Art are oral history interviews with Betty Parsons, June 4-9, 1969, by Paul Cummings, and June 11, 1981 by Gerald Silk.

Separated Material:

Some of the material originally loaned for microfilming in 1968 and 1969 was not included in later donations and can be viewed on microfilm reels N68/62-N68/74 and N69/105-N69/106. Loaned materials are not described in the container listing in this finding aid.

Provenance:

The gallery donated some records in 1974, many of which had been loaned earlier for microfilming. The bulk of the collection was donated in 1984 and 1986 by William Rayner and Christopher Schwabacher, executors of the Estate of Betty Parsons. Additional material was donated by William Rayner in 1998 and Christopher Schwabacher in 2017. Additional material was donated in 2018 by the Lee Hall estate via Carolyn Crozier and Deborah Jacobson, co-executors. Hall was Parsons's biographer and had the material in her possession at the time of Parsons's death. An additional photograph of Parons and Marie Carr Taylor by Henri Cartier-Bresson was donated in 2021 by Mary Carpenter, who inherited the photograph from her mother, Nan Thorton Jones, who received it as a gift from Taylor.

Restrictions:

This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.

Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.

Rights:

The 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:

Gallery owners -- New York (State) -- New York  Search this

Art dealers -- New York (State) -- New York  Search this

Painters -- New York (State) -- New York  Search this

Sculptors -- New York (State) -- New York  Search this

Topic:

Women art dealers  Search this

Women artists  Search this

Abstract expressionist  Search this

Genre/Form:

Sketchbooks

Interviews

Video recordings

Drawings

Citation:

Betty Parsons Gallery records and personal papers, 1916-1991. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art and The Walton Family Foundation.

Identifier:

AAA.parsbett

See more items in:

Betty Parsons Gallery records and personal papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw956c1036f-b673-4dc1-8c1b-cde0bd641c60

EDAN-URL:

ead_collection:sova-aaa-parsbett

Creator:

Windsor & Ford (Brick Manufacturing Company).  Search this

Charles Ford (company).  Search this

Ford & Brother  Search this

Names:

Ford, Charles  Search this

Ford, Samuel  Search this

Windsor, David A.  Search this

Extent:

4.3 Cubic feet (14 boxes)

Type:

Collection descriptions

Archival materials

Ledgers (account books)

Receipts

Correspondence

Business records

Business cards

Invoices

Account books

Place:

Washington (D.C.)

Date:

1859-1906

Scope and Contents:

The collection consists of invoices and receipts documenting the sale of bricks, purchase of supplies, and expenses for the real estate business; account books, ledgers, and a business diary showing employment records and the shipment of bricks by land and water. Records of Ford and Brother are primarily represented by Charles Ford, and later accounts are with his estate. Also in the included is correspondence concerning financial transactions of several companies and business cards of other local brick manufacturers.

Arrangement:

The collection is divided into three series.

Series 1: Windsor & Ford, 1859-1890

Series 2: Charles Ford, 1879-1900

Series 3: Ford & Brother, 1886

Series 4: Estate of Charles Ford, 1868-1906

Biographical / Historical:

Windsor & Ford, a brick manufacturing company in Washington, D. C., was operated by Charles and Samuel Ford and David A. Windsor. It supplied bricks for several federal and district buildings in the city. In addition, the Fords operated a brick manufacturing company and real estate business as Ford and Brother.

Collection documents business actcivities of David A. Windsor and Charles Ford.

Provenance:

Collection purchased through Raymond J. Staffieri, 1987.

Restrictions:

Collection is open for research but is stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.

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:

Real estate -- Washington (D.C.)  Search this

Brickmakers -- 1850-1910  Search this

Bricks -- Manufacturing -- 1850-1910 -- Washington (D.C.)  Search this

Brickmaking -- 1859-1906 -- Washington (D.C.)  Search this

Genre/Form:

Ledgers (account books)

Receipts

Correspondence -- 1930-1950

Business records -- 1850-1900

Business cards

Invoices

Account books

Citation:

Windsor & Ford Business Records, 1859-1906, Archives Center, National Museum of American History

Identifier:

NMAH.AC.0019

See more items in:

Windsor and Ford Business Records

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep88c9e461a-ca68-4f9e-8adf-cc123a809079

EDAN-URL:

ead_collection:sova-nmah-ac-0019

Published by:

Freedomways Associates, Inc., American, 1961 - 1985  Search this

Edited by:

John Henrik Clarke, American, 1915 - 1998  Search this

Esther Cooper Jackson, American, born 1917  Search this

Jack O'Dell, American, 1923 - 2019  Search this

John Devine  Search this

Written by:

Lawrence Guyot, Jr., American, 1939 - 2012  Search this

Shirley Graham Du Bois, American, 1896 - 1977  Search this

Ekwueme Mike Thelwell, American, born 1939  Search this

Lance Jeffers, American, 1919 - 1985  Search this

Frank Chapman Jr., American, born 1942  Search this

Ellsworth Raymond Johnson  Search this

Ernest D. Kaiser, American, born 1916  Search this

Augusta Strong, American, 1934 - 1976  Search this

Illustrated by:

Tom Feelings, American, 1933 - 2003  Search this

Subject of:

President Lyndon Baines Johnson, American, 1908 - 1973  Search this

Medium:

ink on paper with metal

Dimensions:

H x W x D: 9 × 6 1/16 × 5/16 in. (22.8 × 15.4 × 0.8 cm)

Type:

magazines (periodicals)

Place printed:

New York City, New York, United States, North and Central America

Cultural Place:

Africa

Ghana, Africa

Date:

1966

Topic:

African American  Search this

Activism  Search this

Africa  Search this

Art  Search this

Black Press  Search this

Civil Rights  Search this

International affairs  Search this

Literature  Search this

Poetry  Search this

Politics  Search this

Prisons  Search this

U.S. History, 1961-1969  Search this

Credit Line:

Collection of the Smithsonian National Museum of African American History and Culture, Gift of Dr. Maurice Jackson

Object number:

2021.20.2

Restrictions & Rights:

Unknown - Restrictions Possible

Rights assessment and proper usage is the responsibility of the user.

See more items in:

National Museum of African American History and Culture Collection

Classification:

Documents and Published Materials-Published Works

Movement:

Civil Rights Movement

Pan Africanism

Data Source:

National Museum of African American History and Culture

GUID:

http://n2t.net/ark:/65665/fd504c554c5-8fe5-44e4-b310-84de35c47c1e

EDAN-URL:

edanmdm:nmaahc_2021.20.2

Created by:

Apollo Theater, American, founded 1934  Search this

Medium:

ink on paper

Dimensions:

H x W (Each page): 14 × 9 in. (35.6 × 22.9 cm)

H x W x D (Overall): 14 × 9 × 3 1/4 in. (35.6 × 22.9 × 8.3 cm)

Type:

ledgers (account books)

Place used:

Harlem, New York City, New York, United States, North and Central America

Date:

1934-1977

Topic:

African American  Search this

Amusements  Search this

Business  Search this

Comedy  Search this

Entertainers  Search this

Film  Search this

Finance  Search this

Jazz (Music)  Search this

Music  Search this

Musicians  Search this

Nightlife  Search this

Popular music  Search this

Rhythm and blues (Music)  Search this

Urban life  Search this

Credit Line:

Collection of the Smithsonian National Museum of African American History and Culture

Object number:

2022.93

Restrictions & Rights:

Unknown – Restrictions Possible

Rights assessment and proper usage is the responsibility of the user.

See more items in:

National Museum of African American History and Culture Collection

Classification:

Documents and Published Materials

Data Source:

National Museum of African American History and Culture

GUID:

http://n2t.net/ark:/65665/fd5800b69cb-aedb-4b5a-a12f-cf9b9144fe62

EDAN-URL:

edanmdm:nmaahc_2022.93

Creator:

Aimar, G.W., Drug Company  Search this

Former owner:

National Museum of American History (U.S.). Division of Science, Medicine, and Society  Search this

Donor:

Aimar, George W.  Search this

Aimar, Harold  Search this

Extent:

350 Cubic feet

Type:

Collection descriptions

Archival materials

Business records

Cashbooks

Daybooks

Formulae, chemical

Invoices

Ledgers (account books)

Letterpress copybooks

Prescriptions

Place:

Charleston (S.C.)

South Carolina

Date:

1866-1978

Scope and Contents note:

The day-to-day business records of a Charleston, South Carolina pharmacy, including day books, ledger books, cash books, prescription books, invoices, letterpress copybooks, and formula books.

Arrangement:

The collection is arranged into eight series.

Series 1: Business Correspondence, 1866-1973

Series 2: Product Information, 1896-1978

Series 3: Financial Records, 1874-1978

Series 4: Prescription Records, 1865-1869

Series 5: Estate Records, 1905-1917

Series 6: Knights of Columbus, 1910-1911

Series 7: Publications, 1895-1936

Series 8: Audiovisual Materials

Biographical/Historical note:

A pharmacy established in 1852 which operated in Charleston, South Carolina for over 100 years. During the Civil War the store served as an official dispensary for the Confederate States of America, and the top three floors were converted to a hospital. The store remained in the family and in business until 1978.

Provenance:

Collection donated by Harold and George W. Aimar.

Restrictions:

Collection is open for research but is stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.

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:

Drugstores  Search this

Medicine  Search this

Pharmacies  Search this

Genre/Form:

Business records -- 19th century

Business records -- 20th century

Cashbooks

Daybooks

Formulae, chemical

Invoices

Ledgers (account books)

Letterpress copybooks -- 19th century

Letterpress copybooks -- 20th century

Prescriptions

Prescriptions -- 19th century

Citation:

G.W. Aimar Drug Company Records, 1864-1972, Archives Center, National Museum of American History.

Identifier:

NMAH.AC.0810

See more items in:

G.W. Aimar Drug Company Records

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep88af99698-3ae6-4d7f-8acd-ea99b2e9c5d9

EDAN-URL:

ead_collection:sova-nmah-ac-0810

Creator:

International Salt Company  Search this

Costain, Harold Haliday  Search this

Rittase, William M., 1894-1968  Search this

Extent:

3.5 Cubic feet (11 boxes, 1 oversize folder)

Type:

Collection descriptions

Archival materials

Photograph albums

Slides (photographs)

Photographs

Transparencies

Time books

Scrapbooks

Cashbooks

Annual reports

Ledgers (account books)

Financial records

Patents

Letters

Newsletters

Date:

1881-1993

bulk 1920-1929

Summary:

The collection contains business records and photographic materials documenting the International Salt Company. The business records include correspondence, account and ledger books, a payroll book, patent and trademark information, print advertising and marketing materials, and a salesman salt display kit. The photographic materials include a series of photographs by William M. Rittase, a series of photographs by Harold Haliday Costain, a small photograph album, snapshots, and slides. The images cover all facets of the salt manufacturing and packaging operations, and include photographs taken in New York State, Michigan, and Louisiana.

Scope and Contents:

The collection contains business records and photographic materials documenting the International Salt Company. The business records include correspondence, account and ledger books, a payroll book, patent and trademark information, print advertising and marketing materials, and a salesman salt display kit. The photographic materials include a series of photographs by William M. Rittase, a series of photographs by Harold Haliday Costain, a small photograph album, snapshots, and slides. The images cover all facets of the salt manufacturing and packaging operations, and include photographs taken in New York State, Michigan, and Louisiana.

The scrapbooks contain advertisements for the International Salt Company's Sterling Salt label and other leading salt companies, especially Morton's. Much of the ephemera consists of labels, but there are also small pamphlet cookbooks. The cookbooks, prepared and marketed by various salt companies, tout recipes for tasty dishes using specific salts and expound upon the merits of salt in general, especially the medical benefits. Other clever salt-related advertising appears in conjunction with maps, buttons, song books, calendars, and health exercises.

Series 1, Business Records, 1894-1937, consists primarily of financial materials--ledgers, cash books, monthly statements, timekeeping and payroll information--for the Avery Rock Salt Mining Company (A.R.S.M.Co.), Detroit Rock Salt Company, Detroit Salt Company, International Salt Company, and the Restof Mining Company. Additionally, there is one annual report for the International Salt Company (1957) and the newsletter Saltmaker, 1964.

There are two A.R.S.M.Co. ledgers, 1898-1907 and 1907-1922. The first ledger, 1898-1907, predates the founding of the International Salt Company, and it is likely that A.R.S.M.Co was absorbed by International Salt during a merger. Documentation recorded including inventories, merchandise, labor, surplus, insurance, office expenses, legal expenses, taxes, bills receivable, directors' committee fees, fuel, candles, oil, waste and packing, rental, repairs and maintenance, interest, labor, feed, outside salary account, Cuban consignment account, and loan account. Specific persons, such as superintendents F. Rundio and Sidney Bradford, are mentioned and specific companies including Restof Mining, Joy Morton Company, Havana Mill, G. Lawton Childs & Company, International Salt of New York and various others (pages 193-212), are listed with expenses.

The Detroit Salt Company (general ledger), 1911-1913, consists of one bound volume documenting the company's assets, liabilities, expenses, earnings, advance accounts, and old accounts.

Detroit Rock Salt Company (cash record), 1912 October-1913 January, consists of one bound volume documenting cash received and cash disbursed.

International Salt Company, Inc., Independent Salt Company Division (monthly statements), 1933 October-1937 December, consists of one bound volume of general ledger trial balance sheets organized chronologically. Detailed documentation includes general expenses, assets, capital assets, liabilities, special reserves, net worth, profit and loss statements, warehousing costs and tonnage purchased.

Restof Mining Company (time and payroll), 1894 July 1-1895 March 31, consists of one bound volume of 400 pages, documenting the time and payroll for employees. The volume contains the name of the employee, the number of days worked, hourly wage earned per day, the amount earned, advances, board due, store (supplies due), rent, and any balances due. A portion of the volume is severely water-damaged.

Series 2, Trademarks, 1881-1935, consists of copies of issued trademark declarations from the United States Patent Office. The trademarks are for company names, logos, salt containers and packages, and various salt products. The trademarks are arranged alphabetically by the name of the trademark. For example, Amaessa, a trademark for baking powder and salt is filed with other trademarks beginning with the letter "A." Additional materials consist of one file folder of correspondence and printed materials about patents, trademarks and copyright laws. The correspondence relates specifically to the ownership of certain trademarks by International Salt Company, and there is correspondence from John L. Ryon, assistant sales manager and W.T. Chisolm, vice-president of International Salt Company. There are compiled lists of brand names, trademarks, and package designs for which International Salt registered at the United States Patent Office, 1926-1927. There are two examples of small cloth bags branded with "Ideal Salt" and some packaging, such as "White Lily High Grade Salt" and labels such as "Purex Free Running Table Salt." The Peter J.L. Searing trademark for salt (No. 52,963) and Chicago Sawed Salt-Block Company (No. 15,174) provide examples of ethnic imagery. A trademark is a brand name. A trademark or service mark includes any word, name, symbol, device, or any combination used or intended to be used to identify and distinguish the goods/services of one seller or provider from those of others, and to indicate the source of the goods/services. Although federal registration of a mark is not mandatory, it has several advantages, including notice to the public of the registrant's claim of ownership of the mark, legal presumption of ownership nationwide, and exclusive right to use the mark on or in connection with the goods/services listed in the registration.

Series 3, Photographs, 1934-1993, is divided into five subseries: Subseries 1, Harold Haliday Costain, 1934; Subseries 2, William Ritasse, circa 1934; Subseries 3, Loose Photographs, 1969-1993; Subseries 4, Slides, circa 1970s; and Subseries 5, Album (unidentified), undated.

Subseries 1, Harold Haliday Costain, circa 1934, consists of three photographs (approximately 10 1/2" x 13") black-and-white prints mounted to 16" x 20" boards. The prints are numbered #6, #42, and #44 and depict a salt mine and equipment used in salt manufacturing located in Avery Island, Louisiana.

Subseries 2, William Ritasse, circa 1934, consists of black-and-white prints (10" x 14") signed by Ritasse which are mounted on 18 1/2" x 20" boards. The photographs are arranged numerically from #350 to #480. Many of the photographs are captioned. American photographer William Rittase (1887-1968), active in the 1920s-1930s, is known for his industrial photography. Rittase's images provide insight into International Salt Company activities such as salt manufacturing, packaging operations, general factory processes, printing salt bags, can labeling, brine storage, exteriors of buildings, crushing salt, men in the salt mines, machine shop views, and equipment.

Subseries 3, Loose Photographs, 1969-1993, consists of black-and-white and color prints, as well as transparencies depicting salt mines and related activities. Some of the photographs document a visit by International Salt Company executives to the Jefferson Island, Louisiana salt plant.

Subseries 4, Slides, circa 1970s, consists of seventeen color slides documenting salt plants, equipment and salt miners.

Subseries 5, Album (damaged mine), undated, consists of twenty-two 4" x 6 1/2" black-and-white photographs documenting the damage to a salt manufacturing plant. The photographs are captioned, but there is no indication of the geographic location of the salt plant.

Series 4, Advertising and Marketing Materials, 1920-1948, consists of two scrapbooks (14" x 17" and 11" x 16") that contain primarily tear sheets, unbound periodical pages showing an advertisement as printed, or as a proof, newspaper clippings, magazine clippings, correspondence, pamphlets, price lists, recipes, labels, periodicals, and other ephemera.

The scrapbook, 1920-1931, consists primarily of advertisements and newspaper clippings related to advertising salt products, especially for Morton's Salt and Diamond Crystal Salt. Other companies represented include Colonial Salt Company, Carey Salt Company, Jefferson Island Salt Company, Kerr Salt Company, Mulkey Salt Company, Myles Salt Company, Ohio Salt Company, Pennsylvania Salt Manufacturing Company, Remington Salt Company, Star Salt Corporation, Union Salt Company, Worcester Salt Company, and Watkins Salt Company.

The scrapbook from 1945-1948 is devoted to advertisements for the International Salt Company and Sterling Salt, which promoted salt uses for the home (table salt, curing meats, and brines), industry (rock salt for winter weather) and agriculture (killing weeds). Many of the advertisements were part of the "Pass the Salt" campaign and were featured in publications such as Woman's Day, National Provisioner, Food Industries, Hide, Leather and Shoes, Chemical Previews, and Public Works. The scrapbook is divided into three sections: institutional, weed prevention, and Lixate, a process developed by the International Salt Research Laboratory for making brine. Many of the advertisements were prepared by J.M. Mathes Incorporated.

Also included is a traveling salt kit for Sterling Salt Company salesmen, undated, featuring small glass vials of sterling salt from mines in Detroit, Avery Island, Louisiana, and Restof, New York. Each vial notes the types of salts--purified, softener, iodized, medium flake, coarse flake, granular flour, and meat.

Series 5, Posters, circa 1920s, consists of oversize advertising posters for Worcester Salt Company. There is one set of labels from an exhibit titled "I Eat Rocks! Salt of the Earth."

Arrangement:

The collection is divided into five series.

Series 1, Business Records, 1894-1937

Series 2, Trademarks, 1881-1935

Series 3, Photographs, 1934-1993

Subseries 1, Harold Haliday Costain, circa 1934

Subseries 2, William Ritasse, circa 1934

Subseries 3, Loose Photographs, 1969-1993

Subseries 4, Slides, circa 1970s

Subseries 5, Album (damaged mine), undated

Series 4, Advertising and Marketing Materials, 1920-1948

Series 5, Posters, circa 1920s

Biographical / Historical:

The International Salt Company incorporated on August 22, 1901, and in 1902, the company purchased the stock and assets of the National Salt Company, which had failed. By 1934, International Salt was a holding company for six subsidiaries: Avery Salt Company (West Virginia), Detroit Rock Salt Company (Michigan), Eastern Salt Company (Massachusetts), Independent Salt Company (New York), International Salt Company, Inc. (New York), and Retsof Mining Company (New York). All of the subsidiaries operated rock salt mines and evaporated salt plants and distributed salt. In 1940, the International Salt Company decided to sell four of its subsidiaries--Avery Salt Company, Detroit Rock Salt Company, International Salt Company, Inc., and Retsof Mining Company.

John M. Avery discovered rock salt at Petite Anse, Louisiana in 1862. Petite Anse Island was renamed Avery Island in the late 19th century. Ownership and mining of salt at Petite Anse involved numerous parties until 1886, when New Iberia Salt Company took over operations. In 1896, the Avery family began operating the mine, and they founded the Avery Rock Salt Mining Company. In 1899, the International Salt Company leased the mine.

The Detroit Salt and Manufacturing Company was founded in 1906. The company quickly went bankrupt during construction of a shaft and was acquired in 1910 by the Watkins Salt Company, which incorporated the new organization under the name Detroit Rock Salt Company. The company experienced success and the International Salt Company purchased the mine circa 1914. In 1983, International Salt closed the mine's operations and in 1985, Crystal Mines, Inc., purchased the mine as a potential storage site.

In 1885 the Empire Salt Company of New York was renamed the Retsof Mine Company, and the Village of Retsof was founded near the mine shaft. During the next 110 years, the mine grew to become the largest salt-producing mine in the United States and the second largest in the world. Before the initial collapse in March 1994, the mine encompassed an underground area of more than 6,000 acres, and the mine footprint (outer edge of mined area) extended over an area of nearly ten square miles. At the time of the collapse, the Retsof Mine was owned by Akzo-Nobel Salt Incorporated (ANSI) and, during the winter of 1993--994 operated at full capacity to meet demands for road salt throughout the northeastern United States. The Retsof Mine ceased operations on September 2, 1995, and by December, twenty-one months after the initial collapse, the mine was completely flooded.

Related Materials:

Materials held at the Smithsonian Institution

Smithsonian Institution Libraries, National Museum of American History

Trade catalogs from International Salt Company Inc., 1900s

Materials held at Other Organizations

Harvard University Archives

Ritasse, William M., 1894-1968. Photographs of Hardvard University campus and environs taken by William M. Ritasse, circa 1930.

Library of Congress, Prints and Photographs

Avery Rock Salt Mining Company, Plan. June 16, 1924 (AKZO No. 7-77-02) - Avery Island Salt Works, Akzo Salt Incorporated, Avery Island, Iberia Parish, LA

Salt Mine Village, Salt Workers' Houses No. 6, Avery Island, Iberia Parish, LA

Avery Island Sugarhouse, Avery Island, Iberia Parish, LA

State Library of Louisiana

Historic Photograph Collection contains images of salt mining at Avery Island, Louisiana.

University of North Carolina, Southern Historical Collection at the Louis Round Wilson Library

Papers for the Avery Family of Louisiana, 1796-1951

Provenance:

Tom Maeder donated the collection on June 13, 2009.

Restrictions:

Collection is open for research but is stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.

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:

Salt  Search this

Salt workers  Search this

Salt mines and mining -- Michigan  Search this

Salt mines and mining -- New York  Search this

Salt industry and trade  Search this

Salt mines and mining -- Louisiana  Search this

advertising  Search this

Industrial photography -- 1990-2000 -- Texas  Search this

Mines and mineral resources -- Louisiana  Search this

Mines and mineral resources -- New York  Search this

Mines and mineral resources -- Michigan  Search this

Genre/Form:

Photograph albums

Slides (photographs) -- 20th century

Photographs -- 20th century

Transparencies

Time books

Scrapbooks

Cashbooks

Annual reports

Ledgers (account books)

Financial records

Patents

Letters

Newsletters

Citation:

International Salt Company Records, 1881-1993, Archives Center, National Museum of American History.

Identifier:

NMAH.AC.1158

See more items in:

International Salt Company Records

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8fb5589f8-c9ba-4e1d-ac7d-1ce2b4585c34

EDAN-URL:

ead_collection:sova-nmah-ac-1158

Writer:

Benjamin Franklin, American, 1706 - 1790  Search this

Associated Person:

John Foxcroft  Search this

John Parker  Search this

Medium:

paper; ink / handwritten

Dimensions:

Height x Width: 8 x 13 in. (20.32 x 33.02 cm)

Type:

Archival Material

Place:

United States of America

Date:

April 5, 1770-April 5, 1772

Topic:

Colonial Era (1607-1776)  Search this

Postal Administration  Search this

Object number:

1982.0786.1

See more items in:

National Postal Museum Collection

Data Source:

National Postal Museum

GUID:

http://n2t.net/ark:/65665/hm8f9810d08-70ca-4e80-b42b-0093c154d067

EDAN-URL:

edanmdm:npm_1982.0786.1

Medium:

paper; ink; cotton

Dimensions:

36.5 x 27 cm (14 3/8 x 10 5/8 in.)

Type:

Archival Material

Place:

Ohio

Date:

1890-1898

Topic:

The Gilded Age (1877-1920)  Search this

Postal Administration  Search this

Object number:

2002.2014.1

See more items in:

National Postal Museum Collection

Data Source:

National Postal Museum

GUID:

http://n2t.net/ark:/65665/hm85e7c86f0-f165-40a8-9aca-a67ea115ae3a

EDAN-URL:

edanmdm:npm_2002.2014.1

User:

Lou Slade  Search this

Mary Slade  Search this

Medium:

paper; ink

Dimensions:

Height x Width x Depth: 10 1/4 x 8 x 7/8 in. (26.04 x 20.32 x 2.22 cm)

Type:

Archival Material

Place:

Missouri

Date:

1900s-1950s

Object number:

2009.2033.1

See more items in:

National Postal Museum Collection

Data Source:

National Postal Museum

GUID:

http://n2t.net/ark:/65665/hm85470d446-9f1f-4909-b2fd-8bf827b6abfa

EDAN-URL:

edanmdm:npm_2009.2033.1