Search Results

Collection Creator:

Withers, Margret Craver, 1907-  Search this

Container:

Box 4, Folder 3

Type:

Archival materials

Date:

1953

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 born-digital records or 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:

Margret Craver Withers papers, 1908-2016. Archives of American Art, Smithsonian Institution.

Sponsor:

The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.

See more items in:

Margret Craver Withers papers

Margret Craver Withers papers / Series 5: Subject Files

Archival Repository:

Archives of American Art

EDAN-URL:

ead_component:sova-aaa-withmarg-ref150

Creator:

New York Artists Strike Against War, Racism, Repression, and War  Search this

Subject:

American Association of Museums  Search this

Type:

Printed Materials

Date:

ca. 1970

Topic:

Art and race  Search this

Protesting  Search this

War  Search this

Record number:

(DSI-AAA)9976

See more items in:

Michael Goldberg papers, 1942-1981

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_item_9976

Artist:

Josef Albers, American, b. Bottrop, Germany, 1888–1976  Search this

Medium:

Acrylic on fiberboard

Dimensions:

48 x 48 in. (121.9 x 121.9 cm) frame: 48 5/8 x 48 1/2 x 1 3/8 in. (105.7 x 123.2 x 3.5 cm)

Type:

Painting

Date:

1966

Credit Line:

Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC, Gift of Joseph H. Hirshhorn, 1972

Accession Number:

72.3

See more items in:

Hirshhorn Museum and Sculpture Garden Collection

School:

Geometric Abstraction

Data Source:

Hirshhorn Museum and Sculpture Garden

GUID:

http://n2t.net/ark:/65665/py28e042dff-cda0-42d2-a69d-c623914c0aa8

EDAN-URL:

edanmdm:hmsg_72.3

Landscape designer:

London, Ruth  Search this

Collection Creator:

Garden Club of America  Search this

Type:

Archival materials

Place:

Museum of Fine Arts, Houston (Houston, Texas)

United States of America -- Texas -- Houston

Scope and Contents:

The folder includes a worksheet and a photocopy of an American Association of Museums directory entry about the museum.

General:

Since 1932 the Garden Club of Houston has been involved with the development and maintenance of the gardens at The Museum of Fine Arts, Houston. In that year the original landscape plan drawn by Ruth London was given to the museum and executed, and the club's commitment to the gardens has remained to this day. The plantings are changed seasonally.

Persons associated with the property include Ruth London (landscape designer).

Related Materials:

The Museum of Fine Arts, Houston related holdings consist of 1 folder (8 35 mm. slides)

Collection 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.

Collection 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:

Gardens -- Texas -- Houston  Search this

Collection Citation:

Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.

Identifier:

AAG.GCA, File TX015

See more items in:

The Garden Club of America collection

The Garden Club of America collection / Series 1: United States Garden Images / Texas

Archival Repository:

Archives of American Gardens

EDAN-URL:

ead_component:sova-aag-gca-ref13501

Former owner:

Inman, Edward H.  Search this

Inman, Edward H., Mrs.  Search this

Architect:

Shutze, Philip T.  Search this

Photographer:

Weller, Eleanor C.  Search this

Landscape architect:

Tunnell, Spencer, II  Search this

Collection Creator:

Garden Club of America  Search this

Type:

Archival materials

Place:

Swan House (Atlanta, Ga.)

United States of America -- Georgia -- Atlanta

Scope and Contents:

"The Tullie Smith House is located on the same grounds. See also the Tullie Smith House, Atlanta, Georgia."

Materials relating to the public gardens located in Altanta, Georgia. The folder includes slide list, brochures, excerpts from publications featuring the gardens, and a description and worksheet completed by a GCA researcher. The gardens are noted for its walled boxwood garden that terminates in twin pairs of fantastic Ionic columns supporting broken pediments. The gardens are owned by the Altanta Historical Society.

General:

"The boxwood garden is located to the south of the house, acting as a cross axis and transition between the facades at the front and rear of the house. There is a dual stylistic nature of Italian themes and filtered through English experience."

"There is a fountain at the center of the cross axis of paths. Urns flank the garden's side entrances, and were decorated with pieces of lava to give it the look of Italian ruins. There are parterres, defined by clay roof tiles, and planted with perennials. The garden paths were made of a buff colored gravel, and the stucco was tinted to make the house appear aged. The gardens were restored to the 1928 design in 1997."

Persons associated with the property include: Mr. and Mrs. Edward H. Inman (former owner, 1928 to 1965); Philip T. Shutze (architect, designer, 1928); Eleanor Weller (photographer); Spencer Tunnell, II (landscape architect, 1997).

Related Materials:

Swan House related holdings consist of 1 folder (15 35 mm. slides)

Collection 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.

Collection 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:

Gardens -- Georgia -- Atlanta  Search this

Collection Citation:

Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.

Identifier:

AAG.GCA, File GA066

See more items in:

The Garden Club of America collection

The Garden Club of America collection / Series 1: United States Garden Images / Georgia

Archival Repository:

Archives of American Gardens

EDAN-URL:

ead_component:sova-aag-gca-ref23103

Former owner:

Smith, Robert  Search this

Smith, John  Search this

Smith, Tullie  Search this

Collection Creator:

Garden Club of America  Search this

Type:

Archival materials

Place:

Tullie Smith House (Atlanta, Georgia)

United States of America -- Georgia -- Atlanta

Scope and Contents:

Materials relating to the public gardens of the Altanta Historical Society, located in Atlanta, Georgia. The folder includes a slide list, excerpts from publications featuring the gardens, brochures, and a worksheet completed by GCA researcher Harriet W. Ellis.

The Swan House is located on the same grounds. See also the Swan House, Atlanta, Georgia.

General:

"Vegetable and herb gardens and a neatly swept flower yard have been carefully researched to provide an authentic setting for the house. The surrounding woodlands, with many varieties of native plants, give the restoration a feeling of rural isolation. Roadside plantings, a scuppernong arbor, an orchard and field crops lend a plantation atmosphere."

Persons associated with the property include: Robert Smith (former owner); John and Tullie Smith (former owners).

Related Materials:

Tullie Smith House related holdings consist of 1 folder (2 35 mm. slides)

Collection 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.

Collection 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:

Gardens -- Georgia -- Atlanta  Search this

Collection Citation:

Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.

Identifier:

AAG.GCA, File GA169

See more items in:

The Garden Club of America collection

The Garden Club of America collection / Series 1: United States Garden Images / Georgia

Archival Repository:

Archives of American Gardens

EDAN-URL:

ead_component:sova-aag-gca-ref23123

Former owner:

Speed, John  Search this

Speed, Lucy Gilmer Fry  Search this

Peay, Austin Lightfoot  Search this

Peay, Peachy Walker Speed  Search this

Dresher family  Search this

Bischoff family  Search this

Tyler, William  Search this

Smith, Porter  Search this

Landscape designer:

Haldeman, Anne Bruce  Search this

Collection Creator:

Garden Club of America  Search this

Type:

Archival materials

Place:

Farmington (Louisville, Kentucky)

United States of America -- Kentucky -- Jefferson County -- Louisville

Scope and Contents:

Materials relating to the public garden of the Historic Homes Foundation, located in Louisville, Kentucky. The folder includes slide list, postcards of the home, notes from the garden designer, a copy of a publication featuring the garden, with a worksheet completed by GCA researcher Anne Bruce Haldeman. The garden and home is noted for being originally designed by Thomas Jefferson.

General:

"This home is a self-sustaining Kentucky plantation of the early nineteenth century. Because no information on the original garden could be found, a typical garden of that time, as it might have been, was designed by a local landscape architect and member of the Glenview Garden Club, Miss Anne Bruce Haldeman."

Persons associated with the property include: John Speed and Lucy Gilmer Fry Speed (former owners, 1810 to 1840); Austin Lightfoot Peay and Peachy Walker Speed Peay (former owner, 1841 to 1865); Dresher family (former owner, 1865 to 1907); Bischoff family (former owner, 1907 to 1945); William Tyler (former owner, 1945 to 1947); Porter Smith (former owner, 1947 to 1958); Historic Homes Foundation, Inc. (owner, 1958 to present); Miss Anne Bruce Haldeman (landscape architect).

Information about the Speed and Peay families is included in Samuel W. Thomas' book, "Oxmoor: The Bullitt Family Estate Near Louisville, Kentucky since 1787."

Related Materials:

Farmington related holdings consist of 1 folder (2 35 mm. slides)

Collection 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.

Collection 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:

Gardens -- Kentucky -- Louisville  Search this

Collection Citation:

Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.

Identifier:

AAG.GCA, File KY026

See more items in:

The Garden Club of America collection

The Garden Club of America collection / Series 1: United States Garden Images / Kentucky

Archival Repository:

Archives of American Gardens

EDAN-URL:

ead_component:sova-aag-gca-ref7664

Collection Creator::

National Museum of Natural History. Office of Exhibits  Search this

Container:

Box 1 of 10

Type:

Archival materials

Collection Citation:

Smithsonian Institution Archives, Accession 94-127, National Museum of Natural History, Office of Exhibits, Exhibition Records

See more items in:

Exhibition Records

Exhibition Records / Box 1

Archival Repository:

Smithsonian Institution Archives

EDAN-URL:

ead_component:sova-sia-fa94-127-refidd1e858

Creator:

Inverarity, Robert Bruce, 1909-1999  Search this

Names:

Federal Art Project (Calif.)  Search this

Federal Art Project (Ill.)  Search this

Federal Art Project (Iowa)  Search this

Federal Art Project (N.Y.)  Search this

Federal Art Project (Or.)  Search this

Federal Art Project (Utah)  Search this

Federal Art Project (Wash.)  Search this

Museum of International Folk Art (N.M.)  Search this

Deutsch, Hilda, 1911-  Search this

Duchamp, Marcel, 1887-1968 -- Photographs  Search this

Graves, Morris, 1910- -- Photographs  Search this

Morris, Carl, 1911-1993  Search this

Ray, Man, 1890-1976 -- Photographs  Search this

Tobey, Mark  Search this

Extent:

13.8 Linear feet

Type:

Collection descriptions

Archival materials

Scrapbooks

Sound recordings

Sketchbooks

Interviews

Photographs

Drawings

Place:

United States -- Economic conditions, 1918-1945 -- Washington (State)

Date:

circa 1840s-1997

Summary:

The papers of artist, photographer, museum director, anthropologist, and writer Robert Bruce Inverarity are dated circa 1840s-1997 and measure 12.7 linear feet. Biographical information, correspondence, writings and notes, subject files, art work, scrapbooks, sound recordings, printed material and photographs are found within the papers. They document Inverarity's work as Director of the Federal Art Project in Seattle and Director of the Art and Craft Project for the State of Washington, as well as his other professional work. Nineteenth century material consists of a Japanese print, printed material, and photographs.

Scope and Content Note:

The papers of artist, photographer, museum director, anthropologist, and writer Robert Bruce Inverarity are dated circa 1840s-1997 and measure 13.8 linear feet. Biographical information, correspondence, writings and notes, subject files, art work, scrapbooks, sound recordings, printed material and photographs are found within the papers. They document Inverarity's work as Director of the Federal Art Project in Seattle and Director of the Art and Craft Project for the State of Washington, as well as his other professional work. Nineteenth century material consists of a Japanese print, printed material, and photographs.

Among the biographical information are awards and certificates, biographical and genealogical notes, and educational records. Correspondence concerns Inverarity's activities as Director of the WPA Federal Arts Project in Washington State, 1936-1941. Additional personal and professional correspondence, 1929-1993, documents his activities as a museum director, consultant, collector, and writer. Among the friends and colleagues with whom he corresponded are: Max Ernst and Dorothea Tanning, Rockwell and Sally Kent, Stanton MacDonald-Wright, Wolfgang Palen, Juliet and Man Ray, Mark Tobey, Edward Weston, and various individuals associated with the WPA.

Manuscripts of a few of Inverarity's many articles on topics such as anthropology, museology, and information storage and retrieval are among his writings and notes. Also included are the manuscript of an unpublished book, Tobey Remembered, along with drafts, notes, correspondence, research materials, and photocopies of Tobey's letters to him and others. Other writings consist of book reviews, children's books, a catalog of the Inverarity Collection, and a copy of his 1946 master's thesis, "The Social-Economic Position of the American Artist." Several journals, 1928-1966, survive, including one that records his 1932 trip to study the Haida Indians of the Queen Charlotte Islands.

Subject files include general subjects such as "Folk Art" and "Preservation." Files on the museums where Inverarity was the director contain some official records as well as general information. Art work by Inverarity includes eight volumes of sketch books, 1928-1942, commercial work for Boeing, notes and drawings for book designs. Among the work by other artists are drawings, paintings and prints by friends. Of particular interest are display panels for a small exhibit on airbrush stencil prints produced by the Washington State WPA Federal Art Project. Other noteworthy items are pencil sketches and a watercolor by Mark Tobey, and prints by Hiroshige and Jan Matulka.

Five scrapbooks, 1928-1979, contain newspaper clippings, miscellaneous printed items, and a small number of photographs and letters. Three volumes document his career as an artist and museum director. One consists of biographical information and items designed by Inverarity, and another concerns publication and marketing of his monograph Art of the Northwest Coast Indians.

Sound recordings consist of interviews and conversations. An extensive interview with Inverarity about his life and career was conducted by Craig Gilborn in 1990. Bruce and Jane Inverarity in conversation with former colleague Ernie Johnson and his wife Helen about his departure from the Museum of International Folk Art were recorded in 1980. Also included is a 1981 conversation with Grace T. Stevenson containing references to Mark Tobey and Morris Graves.

Printed material includes many items about or produced by the WPA Federal Art Project. Among the items written by Inverarity are many articles on a wide variety of topics, his book Art of the Northwest Coast Indians, and two published portfolios. Printed material by other authors includes articles, books and reports about or mentioning Inverarity, and books designed or illustrated by him. Among the miscellaneous printed items are catalogs and brochures of the schools where Inverarity taught and studied, and a few ephemeral items designed by him.

Photographs are of art work, people, places, the Washington State WPA Federal Art Project, and miscellaneous subjects. All photographs known to be by Inverarity are clearly marked. Art work includes views of Inverarity's collection of his own work and that of other artists hanging in his home. Photographs of people include artists, friends, colleagues, and various groups. Of special interest are Inverarity's portraits of artists, among them Marcel Duchamp, Max Ernst, Morris Graves, Hilaire Hiler, Rico Le Brun, Stanton Macdonald-Wright, Man Ray, Dorothea Tanning, and Mark Tobey. Photographs of places include the museums where Inverarity was director, places in which he lived, and travel pictures. Of note are a large group of photographs (copy prints) taken in 1932 while studying the Haida Indians in British Columbia. Nineteenth century photographs of family homes, Europe, and South America may have been taken by his father. Photographs of the Washington State WPA Federal Arts Project are of individual works of art, exhibition installations, mosaic procedures and local art centers. Many, probably intended for display, are mounted in groups on large cardboard panels. Miscellaneous subjects include art photographs by Inverarity and the microreader he invented.

Arrangement:

The collection is arranged as nine series. Correspondence is in chronological order, Biographical Information and Subject Files are arranged alphabetically by folder title. Other series have been organized into subseries and arrangement is as described in the Series Descriptions/Container List below. Unless noted otherwise, material within folders is arranged chronologically.

Series 1: Biographical Information, 1934-1997, undated (Box 1, OV 18; 0.25 linear ft.)

Series 2: Correspondence, 1928-1993, undated (Box 1; 0.75 linear ft.)

Series 3: Writings and Notes, 1928-1993, undated, (Boxes 2-3; 1.5 linear ft.)

Series 4: Subject Files, 1938-1990, undated (Boxes 3-6, OV 19-20; 2.5 linear ft.)

Series 5: Art Work, circa 1840s-1969, undated (Boxes 6, 12, 16, OV 21; 1.3 linear ft.)

Series 6: Scrapbooks, 1928-1991, undated (Boxes 7-8; 1.1 linear ft.)

Series 7: Sound Recordings, 1980-1990 (Box 8; 3 folders)

Series 8: Printed Material, 1902-1995, undated (Boxes 8-13, OV 22; 3.4 linear ft.)

Series 9: Photographs, circa 1870s-1990, undated (Boxes 11, 14-17, OV 23; 3.0 linear ft.)

Biographical Note:

Robert Bruce Inverarity (1909-1999) showed artistic leanings as a boy, and from an early age was fascinated by puppetry and Northwest Coast native culture. During much of his youth, Inverarity's family lived in Canada, but returned to their native Seattle when he was a teenager. After graduating from high school, he made a 500 mile journey on foot along the coasts of the Vancouver Islands, collecting Indian artifacts and studying the area's tribal legends.

He studied briefly with Mark Tobey in Seattle, where the two shared a studio; when Tobey departed for Chicago, Inverarity succeeded him as an art teacher at the Cornish School. He spent the next few years in California working as an artist, exhibiting, and occasionally teaching. From there, he moved to Vancouver where he was Director of the School of Creative Art. In 1932, Inverarity made a three month trip to the Queen Charlotte Islands, British Columbia, for the purpose of studying the Haida Indians.

Upon his return to the United States in 1933, Inverarity joined the University of Washington Drama School as a puppetry instructor; in 1938 he published a highly regarded Manual of Puppetry. During 1936-37, he took a leave of absence from the university to assume the position of State Director of the Federal Art Project, where he remained until 1939. He then became State Director of the Art and Crafts Project (1939-1941). The U.S. Navy appointed Inverarity Chief of Design for Camouflage (1941-1943) and he later served as an Official Navy War Artist (1943-1945).

During his early years as a teacher and administrator, Inverarity continued making art and participated in a wide variety of exhibitions. He published a portfolio, 12 Photographs by R. B. Inverarity (1940). In the following year, Movable Masks and Figures of the North Pacific Coast Indians, a portfolio of his watercolors reproduced as silkscreen prints, appeared. Although Inverarity stopped exhibiting in 1941, he continued to produce art; notable work of this period includes photographic portraits of a number of artist friends (Max Ernst, Dorothea Tanning, Marcel Duchamp, and Man Ray).

After World War II, Inverarity completed his formal education. He earned a Bachelor's degree in art and anthropology from the University of Washington (1946), and then studied with Hilaire Hiler at Freemont University in Los Angeles, where he was awarded a Master's degree in fine arts (1947) and a Ph.D. (1948).

Inverarity began his museum career in 1949 when he was appointed the first director of the Museum of International Folk Art in Santa Fe, New Mexico, a position that combined his interest in, and knowledge of, anthropology and art. While in Santa Fe, he published Art of the North West Coast Indians (1950). During his five year tenure as director, the museum participated in a pilot study for coding visual files, a project of the anthropological group, Human Resources Area Files, Inc. When Inverarity was dismissed from the Museum of International Folk Art in 1954, most of the staff resigned in protest, and the American Association of Museums investigated the situation.

Inverarity then became the first director of the Adirondack Museum, Blue Mountain Lake, New York, where he remained for eleven years. In addition to planning the museum's building, and developing collections and programs, Inverarity continued his involvement with the visual files project of the Human Resources Area Files, Inc., studying information storage and retrieval, developing a "microreader," and publishing Visual Files Coding Index (1960). In addition, he published many articles on a variety of topics and was active in organizations for anthropologists and museum professionals.

After his 1965 departure from the Adirondack Museum, Inverarity went to California and worked as an illustrator and book designer at the University of California Press. He returned to the east coast in 1969 to assume the directorship of the Philadelphia Maritime Museum. During this period, he remained active in professional associations and traveled to study museums abroad. He retired in 1976 and moved to La Jolla, California.

Robert Bruce Inverarity died in 1999.

Separated Material:

Originals of most of the drawings and sketches loaned by Mr. Inverarity were returned to him after filming and were not subsequently donated. This material is available on 35 mm microfilm reel D/NDA/I, frames 392-409.

Provenance:

Robert Bruce Inverarity donated his papers to the Archives in several installments between 1965 and 1993. Additional papers were received from his estate in 1999. He also loaned a small number of additional drawings and sketches for microfilming which were returned to him. A few of these drawings were included with the papers he subsequently donated to the Archives of American Art.

Restrictions:

The collection is open for research. Use requires an appointment.

Rights:

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

Occupation:

Arts administrators  Search this

Painters  Search this

Topic:

Puppet theater  Search this

New Deal, 1933-1939 -- Washington (State)  Search this

Works of art  Search this

Federal aid to the arts -- Washington (State)  Search this

Art and state -- Washington (State)  Search this

Genre/Form:

Scrapbooks

Sound recordings

Sketchbooks

Interviews

Photographs

Drawings

Citation:

Robert Bruce Inverarity papers, circa 1840s-1997. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.inverobe

See more items in:

Robert Bruce Inverarity papers

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-inverobe

Collection Creator:

Stout, George L. (George Leslie)  Search this

Container:

Box 2, Folder 58

Type:

Archival materials

Date:

1975-1978

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.

The Stout diaries are currently closed for conservation.

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:

George Leslie Stout papers, 1855, 1897-1978. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Samuel H. Kress Foundation.

See more items in:

George Leslie Stout papers

George Leslie Stout papers / Series 2: Correspondence / 2.4: Professional

Archival Repository:

Archives of American Art

EDAN-URL:

ead_component:sova-aaa-stougeor-ref154

Collection Creator:

Stout, George L. (George Leslie)  Search this

Container:

Box 4, Folder 22

Type:

Archival materials

Date:

1971-1978

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.

The Stout diaries are currently closed for conservation.

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:

George Leslie Stout papers, 1855, 1897-1978. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Samuel H. Kress Foundation.

See more items in:

George Leslie Stout papers

George Leslie Stout papers / Series 4: Subject Files / 4.2: Institutions

Archival Repository:

Archives of American Art

EDAN-URL:

ead_component:sova-aaa-stougeor-ref278

Creator:

Smithsonian Education  Search this

Type:

YouTube Videos

Uploaded:

2009-03-17T14:31:02.000Z

YouTube Category:

Education  Search this

Topic:

Education  Search this

See more by:

SmithsonianEducation

Data Source:

Smithsonian Education

YouTube Channel:

SmithsonianEducation

EDAN-URL:

edanmdm:yt_0tr6tsytQTY

Creator:

Freudenheim, Tom L.  Search this

Names:

American Arts Alliance  Search this

American Association of Museums  Search this

American Federation of Arts  Search this

Baltimore Museum of Art  Search this

National Endowment for the Arts  Search this

Textile Museum (Washington, D.C.)  Search this

Washington Project for the Arts (D.C.)  Search this

Worcester Art Museum  Search this

Extent:

6 Linear feet

Type:

Collection descriptions

Archival materials

Date:

circa 1970-1990

Scope and Contents:

Business correspondence and administrative records regarding Freudenheim's involvment as director, trustee, secretary, chairman and consultant for a variety of museums, art associations and foundations. Included are files on the Baltimore Museum of Art, the Worcester Art Museum, the American Federation of Arts, the museum program at the National Endowment for the Arts, the American Association of Museums, the American Association of Museum Directors, the American Arts Alliance, Washington Project for the Arts, the Hand Hollow Foundation and the Textile Museum.

Biographical / Historical:

Museum director; consultant; New York, N.Y. Freudenheim is a trustee of the American Federation of Arts and was Director of the Worcester Art Museum, 1982-1986, Director of the National Endowment for the Arts,1979-1982, Director of the Baltimore Museum of Art, 1971-1978, Founder and board member of the American Arts Alliance, 1976, 1984-1986, and Secretary and Chairman of the Association of Museum Directors, 1976-1977 and 1983-1986. He held numerous other prestigous positions not found within the papers.

Provenance:

Donated 2007 by Tom L. Freudenheim.

Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Contact Reference Services for more information.

Occupation:

Arts administrators -- Washington (D.C.)  Search this

Museum directors -- Washington (D.C.)  Search this

Identifier:

AAA.freutom

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-freutom

Creator:

Comfort, George Fisk, 1834-1910  Search this

Names:

Metropolitan Museum of Art (New York, N.Y.)  Search this

Syracuse Museum of Fine Arts  Search this

Syracuse University. College of Fine Arts  Search this

Cesnola, Luigi Palma di, 1832-1904  Search this

Cox, Kenyon, 1856-1919  Search this

Johnson, Andrew, 1808-1875  Search this

Johnson, Eastman, 1824-1906  Search this

Massaranti, Marcello  Search this

Extent:

2 Linear feet ((on 3 microfilm reels))

Type:

Collection descriptions

Archival materials

Sketchbooks

Date:

[ca.1857]-1955

Scope and Contents:

Biographical materials, correspondence, manuscripts, notes, sketchbook, subject files, photographs and printed materials documenting George Fisk Comfort's career as an educator and museum director, selected from the Comfort Family papers at Syracuse University.

Biographical materials consist of autobiographical writings, a biographical essay and abstract of a thesis about Comfort, and an address given at his funeral. Personal and professional correspondence includes numerous lengthy letters to his son, Ralph Manning Comfort. Correspondents include Luigi di Cesnola, Kenyon Cox (1901), Eastman Johnson (1902) and Andrew Johnson, who writes about the aims of his administration shortly after becoming President. Interfiled in the correspondence are a 15-page holograph list of "Works of Art Exhibited in the Syracuse Museum of Fine Arts" (1903); a brochure on the organization and first meeting of the American Association of Museums (1906); and material relating to the founding of the Metropolitan Museum of Art including minutes, a transcript of Comfort's address at the 40th anniversary, and a brochure about the role he played in the organization of the museum. Also included are correspondence and documents relating to the Southern College of Fine Arts, La Porte, Texas, and a sketchbook of an Italian tour. The subject files concern the (Marcello) Massaranti collection; the Syracuse Museum of Fine Arts, including organizational material, minutes of trustees meetings, correspondence, and exhibition materials; and Syracuse University, including Comfort's resignation and printed materials about the role he played in the organization of the museum.

Drafts and completed manuscripts of Comfort's unpublished writings include a 12-page history of Syracuse University, a 2-page holograph on the art season of 1909-1910 in New York, and miscellaneous notes including "Fine Art Notes," possibly by a student, which contains a summary of a lecture by Comfort. Lectures consist of manuscripts of 4 talks given at the Metropolitan Museum of Art and an excerpt from an address about establishing a Syracuse Museum of Fine Arts. Other materials consist of clippings and photographs of Comfort, his family, his home and of works of art depicting him.

Biographical / Historical:

Museum director, educator, and one of the founders of the Metropolitan Museum of Art, N.Y. Comfort established the Syracuse Museum of Fine Arts (now known as the Everson Museum of Art) and the College of Fine Arts, Syracuse University. He served as dean of the College (1873-1893) and as director of the Syracuse Museum from its founding in 1869 until his death in 1910.

Other Title:

Comfort Family papers (George Arents Library for Special Collections, Syracuse University, N.Y.)

Provenance:

Comfort's son, the architect Ralph Manning Comfort, assembled and donated the family's papers to the George Arents Research Library for Special Collections at Syracuse University. The Archives of American Art microfilmed selected material from the papers pertaining to George Fisk Comfort. The lender kept letters exchanged among family members with the papers of the writer, not the recipient. Therefore, letters from relatives to Comfort are to be found in the author's papers rather than Comfort's and were not microfilmed.

Restrictions:

The Archives of American art does not own the original papers. Use is limited to the microfilm copy.

Occupation:

Art museum directors -- New York (State) -- Syracuse  Search this

Educators  Search this

Museum directors -- New York (State) -- Syracuse  Search this

Function:

Art museums -- New York (State)

Art museums, University and college -- New York (State) -- Syracuse

Genre/Form:

Sketchbooks

Identifier:

AAA.comfgeor

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-comfgeor

Creator:

Bowman, Ruth, 1923-  Search this

Names:

American Association of Museums  Search this

American Federation of Arts  Search this

Brooklyn Museum  Search this

Canadian Museums Association  Search this

Craft and Folk Art Museum  Search this

KUSC (Radio station : Los Angeles, Calif.)  Search this

Long Beach Museum of Art  Search this

Los Angeles County Museum of Art  Search this

Massachusetts Institute of Technology  Search this

Metropolitan Museum of Art (New York, N.Y.)  Search this

Museum of Modern Art (New York, N.Y.)  Search this

New York University  Search this

Newark Museum  Search this

WNYC (Radio station : New York, N.Y.)  Search this

Albers, Josef  Search this

Anshutz, Thomas Pollock, 1851-1912  Search this

Bengelsdorf, Rosalind, 1916-1979  Search this

Bolotowsky, Ilya, 1907-1981  Search this

Burkhardt, Hans Gustav, 1904-1994  Search this

Cézanne, Paul, 1839-1906  Search this

Diller, Burgoyne, 1906-1965  Search this

Eakins, Thomas, 1844-1916  Search this

Ferren, John, 1905-1970  Search this

Holty, Carl, 1900-1973  Search this

Holtzman, Harry  Search this

Lassaw, Ibram, 1913-2003  Search this

Levine, Les, 1935-  Search this

Lipchitz, Jacques, 1891-1973  Search this

MacDonald, Duncan (Broadcaster)  Search this

Mason, Alice Trumbull, 1904-1971  Search this

McNeil, George, 1908-1995  Search this

Morris, George L. K., 1905-1975  Search this

Noguchi, Isamu, 1904-1988  Search this

Picasso, Pablo, 1881-1973  Search this

Reinhardt, Ad, 1913-1967  Search this

Sloan, Helen Farr, 1911-2005  Search this

Wilfred, Thomas, 1889-1968  Search this

Extent:

26.7 Linear feet

21.99 Gigabytes

Type:

Collection descriptions

Archival materials

Gigabytes

Photographs

Interviews

Sound recordings

Scripts (documents)

Date:

1936-2006

bulk 1963-1999

Summary:

The papers of art historian and museum educator Ruth Bowman are dated 1936-2006, bulk 1963-1999, and measure 26.7 linear feet and 21.99 GB. Professional correspondence and subject files document Bowman's relationships with colleagues and reflect her interests, activities including curatorial work, and accomplishments as a museum educator. Writings and related research materials include her thesis,"Thomas Pollock Anshutz, 1851-1912" (M.A., Institute of Fine Arts, New York University, 1971), and unfinished projects. Also found are interviews conducted by Bowman with a wide range of individuals for a variety of purposes.

Scope and Contents:

The papers of art historian and museum educator Ruth Bowman are dated 1936-2006, bulk 1963-1999, and measure 26.7 linear feet and 21.99 GB. Professional correspondence and subject files document Bowman's relationships with colleagues and reflect her interests, activities including curatorial work, and accomplishments as a museum educator. Writing and related research materials include her thesis, "Thomas Pollock Anshutz, 1851-1912" (M.A., Institute of Fine Arts, New York University, 1971), and unfinished projects. Also found are interviews conducted by Bowman with a wide range of individuals for a variety of purposes.

Biographical materials consist of certificates, resumes, and a few photographs of Ruth Bowman. Correspondence concerns Bowman's professional activities and interests. Among the most frequent correspondents are: American Association of Museums, Craft and Folk Art Museum (Los Angeles), Massachusetts Institute of Technology, The Metropolitan Museum of Art, and The Museum of Modern Art.

Writings by Ruth Bowman, published and unpublished, include a thesis and articles about Thomas Pollock Anshutz, catalogs for American Federation of Arts and The Newark Museum exhibitions, lectures, as well as articles about museum education and visual arts programs. Research relates to her writings about Anshutz, and to unrealized projects concerning Anshutz, Cézanne, Eakins, Picasso, and other subjects. Also found are two brief writings about Bowman.

Subject files--general subjects, artists' files, Ruth Bowman activities, and "Sunrise Semester"--contain the majority of Bowman's professional correspondence along with printed material, writings, photographs, and sound recordings. Among the most thoroughly documented general subjects are: The Brooklyn Museum's Trustees Retreat, Canadian Museums Association, a 1981 Craft Symposium, International Network for the Arts, Long Beach Museum of Art, Los Angeles County Museum of Art, "Museum Directors' Forum", New York University Art Collection, and Massachusetts Institute of Technology Council for the Arts. Artists' files are comprised mainly of printed material with a small amount of correspondence and some photographs. The Les Levine file consists of the first issue of Art-Rite featuring a brief article about Levine on its cover; Thomas Wilfred's file includes information about Lumia. Ruth Bowman activities include lectures, radio and television appearances, and participation in professional events. "Sunrise Semester," a collaboration between CBS television and New York University, offered early morning courses for college credit. Ruth Bowman was the instructor for "20th Century American Art," which is documented by general information, scripts, and sound recordings of all 46 classes.

Interviews conducted by Bowman are with English museum administrators and educators; people knowledgeable about a controversial proposal for an Annenberg Fine Arts Center at The Metropolitan Museum of Art; guests on KUSC radio shows "Sounds of Seeing" and "Live from Trump's"; and guests on the WNYC radio program "Views on Art." Interviews with miscellaneous individuals include Josef Albers, Hans Burkhardt, Carl Holty, Isamu Noguchi, and Helen Farr Sloan. Bowman interviewed a dozen American abstract artists, including Ilya Bolotowsky, Rosalind Bengelsdorf Browne, Burgoyne Diller, John Ferren, Carl Holty, Harry Holtzman, Ibram Lassaw, Jacques Lipchitz, Alice Mason, George McNeil, George L. K. Morris, and Ad Reinhardt for a thesis on the subject, but eventually wrote on a different topic. Two interviews with Bowman were conducted by Duncan MacDonald and an unidentified interviewer.

Arrangement:

This collection is arranged as 5 series:

Series 1: Biographical Materials, 1964-1984 (Box 1; 0.1 linear feet)

Series 2: Correspondence, 1963-1996 (Box 1; 0.7 linear feet)

Series 3: Writings and Related Research, 1942-1999 (Boxes 1-3; 1.5 linear feet)

Series 4: Subject Files, 1936-2006 (Boxes 3-12, 26; 9.6 linear feet)

Series 5: Interviews, 1963-1989 (Boxes 12-25; 9.2 linear feet, ER01-ER70; 21.99 GB)

Biographical / Historical:

Ruth Bowman (b. 1923) is an art historian and museum educator who worked in New York City and Los Angeles. She is known for her interest in using new communications technology for museum education, discovering Arshile Gorky's long forgotten murals at Newark Airport, and expertise in the work of Thomas Anshutz.

A graduate of Bryn Mawr College (B.A. 1944), where she had studied art history and classical archaeology, Ruth Bowman began a museum career in New York as an assistant curator at the Jewish Museum in the early 1960s. From 1963-1974 Ruth Bowman served as curator of the York University Art Collection and was involved in its transition to the Grey Art Gallery and Study Center. Bowman wrote her master's thesis on Philadelphia artist Thomas Pollock Anshutz and received a degree from the Institute of Fine Arts, New York University in 1971. During this same period, she was a staff lecturer at The Museum of Modern Art and taught art history in divisions of New York University. She was the instructor for a "Sunrise Semester" 20th century American art course broadcast nationally on CBS.

In 1974 Bowman and her family moved to California and she began an association with the Los Angeles County Museum of Art as Director of Education. She attended summer courses in arts administration at Harvard University (1975) and similar training provided by the British Arts Council (1976). She taught at University of California Santa Barbara, as well as at California State University at Fullerton and Long Beach. Bowman was active in the Council of the American Association of Museums (vice president), the Craft and Folk Art Museum in Los Angeles (vice president), and has served as a consultant to several museums and a corporate collection.

Ruth Bowman with her friend Harry Kahn (1916-1999) developed a collection of self-portraits by 20th century American artists, which she donated to the National Portrait Gallery in 2002. Mrs. Bowman is the widow of R. Wallace Bowman and currently resides in New York City.

Provenance:

Donated by Ruth Bowman in 2004.

Restrictions:

Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.

Rights:

Research material including correspondence, writings and notes, photographs, and printed material on Cezanne, Thomas Eakins, and Picasso: Authorization to publish, quote, or reproduce requires written permission from Ruth Bowman. 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.

Occupation:

Art historians -- California -- Los Angeles  Search this

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

Topic:

Art -- Study and teaching  Search this

Art, American -- 20th century  Search this

Genre/Form:

Photographs

Interviews

Sound recordings

Scripts (documents)

Citation:

Ruth Bowman papers, 1936-2006, bulk 1963-1999. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.bowmruth2

See more items in:

Ruth Bowman papers

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-bowmruth2

Creator:

Baker, Mildred, 1905-  Search this

Names:

Federal Art Project  Search this

Index of American Design  Search this

Municipal Art Committee (New York, N.Y.)  Search this

Newark Museum  Search this

Salons of America, Inc.  Search this

Technical Services Laboratory (National Space Technology Laboratories)  Search this

United Federal Workers of America  Search this

Baker, Jacob  Search this

McMahon, Audrey, 1900?-1981  Search this

Weiss, Adolph, 1891-1971  Search this

Extent:

2.7 Linear feet

Type:

Collection descriptions

Archival materials

Photographs

Interviews

Transcripts

Date:

1882

1923-1997

Summary:

The papers of arts administrator Mildred Baker measure 2.7 linear feet and date from 1882 to 1997, with the bulk of the material dating from 1923 to 1997. Found within the papers are biographical materials; personal and professional correspondence; writings; files related to her work on the WPA Federal Art Project and other institutional art projects; printed material; photographs of Baker; and photographs and papers related to the work of her husband, Jacob Baker, who also administered programs for the WPA.

Scope and Contents:

The papers of arts administrator Mildred Baker measure 2.7 linear feet and date from 1882 to 1997, with the bulk of the material dating from 1923 to 1997. Found within the papers are biographical materials; personal and professional correspondence; writings; files related to her work on the WPA Federal Art Project and other institutional art projects; printed material; photographs of Baker; and photographs and papers related to the work of her husband, Jacob Baker, who also administered programs for the WPA.

Biographical materials include birth and award certificates, curriculum vitae, divorce documents, an oral history transcript, and genealogical research and information on Baker's family, including her brother, the composer and bassoonist Adolph Weiss.

Correspondence is primarily with Baker's friends, business associates, researchers, and art institutions discussing personal relationships, research inquiries into the administration of the Federal Art Project, and loans and gifts of artwork to various institutions. The series includes Baker's responses to researcher requests regarding FAP exhibitions, programs, artists, and recollections of her fellow administrators.

Writings by Baker consist of reminiscences, 8 travel diaries, 3 essays, an exhibition catalog introduction, 4 lectures, and miscellaneous notes. Writings by others consist of 4 essays on contemporary art and art administration.

Federal Art Project files include correspondence; artist and exhibition lists; memoranda and general information; reports; speeches; information and photographs related to regional art centers and black artists; printed material; and miscellaneous material related to the Index of American Design, Southern California Art Project, and the Technical Services Laboratory.

General project files include information for 4 exhibitions, including the 1934 First Municipal Art and Salon of America Exhibitions; reports and speeches for the Newark Museum; information on the commissioning of the New Jersey Council on the Arts; and member information from the Woman Pays Club.

Printed material includes clippings, exhibition announcements and catalogs, newsletters, press releases, and a commercial recording of Alice Tully Hall.

Photographs are of Mildred Baker, including photos during her tenure at the Federal Art Project and Newark Museum. There is also a photograph of fellow FAP administrator Audrey McMahon.

Materials related to Jacob Baker include interview recordings and transcripts; personal correspondence with friends and business associates; writings and speeches; information related to Baker's work for the United Federal Workers of America; printed materials; and photographs of Baker.

Arrangement:

The collection is arranged as 8 series.

Series 1: Biographical Materials, 1882, 1934-1990 (7 folders; Box 1)

Series 2: Correspondence, circa 1937-1997 (0.4 linear feet, Box 1)

Series 3: Writings, circa 1940-1985 (17 folders; Box 1)

Series 4: Federal Art Project, WPA, circa 1934-1953 (0.8 linear feet, Box 1-2)

Series 5: Project Files, 1934-1991 (0.4 linear feet, Box 2)

Series 6: General Printed Material, 1923-1996 (11 folders; Box 2-4)

Series 7: Photographs, circa 1934-1992 (2 folders; Box 3)

Series 8: Jacob Baker, 1930-1975 (0.3 linear feet; Box 3-4)

Biographical / Historical:

Mildred Baker (1905-1998) was an arts administrator who worked in New York City, New York; Newark, New Jersey; and Washington, D.C.

Baker was born in Brooklyn, New York to composer and musician George Weiss and his wife Sophia Soennichsen, whose family were also musicians and writers. In 1925, while enrolled at the University of Rochester, she married the artist Ernest Holzhauer and together they moved to Europe for study and travel. In 1927, they returned to New York where Baker began working in administrative positions for the Van Diemen Galleries and the College Art Association. In 1934, she was hired by Holger Cahill to assist him in organizing Rockefeller Center's Salons of America Exhibition and First Municipal Art Exhibition. After the success of these shows, in 1935, Baker was hired as Cahill's assistant after he was selected to run the Federal Art Project for the Work Projects Administration in Washington, D.C.

While working for the Federal Art Project, Baker was appointed director of exhibitions and surveyed the work of over 100 art centers, organized over 500 traveling exhibitions, and managed the final allocation of artworks created for the FAP. In 1940, Baker divorced Mr. Holzhauer and married Jacob Baker, an economist and WPA administrator, union organizer, and a founder of the left-wing Vanguard Press, in 1947. After overseeing the closing of the Federal Art Project offices in Washington, Baker and her husband moved back to New York and became longtime residents of the Chelsea Hotel. Baker joined the staff of the Newark Museum in 1944, was promoted to assistant director in 1949, and to associate director in charge of exhibitions and programs from 1953 until her retirement in 1971.

In 1963, Baker was appointed by Governor Richard Hughes to the Commission to Study the Arts in New Jersey, and while serving as vice chairman, she oversaw the establishment of the New Jersey State Council on the Arts. She was a member of the Cosmopolitan Club, Women's City Club, Woman Pays Club, and American Association of Museums. Baker died on December 9, 1998.

Related Materials:

The Archives of American Art holds several collections related to Mildred Baker and the WPA Federal Art Project. There are two oral histories with Mildred Baker, one conducted by Harlan Phillips, September 21, 1963 and another by William Agee, July 22, 1965. There is also an oral history with Jacob Baker conducted by Harlan Phillips, September 25, 1963. Transcripts of the interviews conducted by Harlan Phillips are found within the collection. Collections related to the Federal Art Project include the Federal Art Project of the Work Projects Administration records and the Holger Cahill papers.

Separated Materials:

The Archives of American Art also holds microfilm of material lent for microfilming on reel D110 including exhibition catalogs and clippings. Loaned materials were returned to the lender and are not described in the collection container inventory.

Provenance:

Mildred Baker donated her papers in several increments between 1971 and 1993. In 1999, the bulk of her papers were donated to the archives by Baker's estate executor, Patricia Haskell, some of which included materials that had been loaned for microfilming in 1963.

Restrictions:

Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.

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:

Arts administrators  Search this

Topic:

Federal aid to the arts  Search this

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

Genre/Form:

Photographs

Interviews

Transcripts

Citation:

Mildred Baker papers, 1882, 1923-1997. Archives of American Art, Smithsonian Institution.

Sponsor:

Processing of this collection was funded by the Terra Foundation for American Art

Identifier:

AAA.bakemild

See more items in:

Mildred Baker papers

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-bakemild

Creator:

Seybolt, George Crossan, 1914-1993  Search this

Museum Trustee Association  Search this

Names:

American Association of Museums. Museum Trustee Committee  Search this

American Association of Museums. Museum Trustee Committee for Research and Development  Search this

Seybolt, George Crossan, 1914-1993  Search this

Extent:

5 Linear feet

Type:

Collection descriptions

Archival materials

Date:

[ca. 1970]-1991

Scope and Contents:

Records kept by George C. Seybolt in his capacity as chairman of the Museum Trustee Committee, American Association of Museums (AAM); chairman, Museum Trustee Committee for Research and Development, AAM; and founding chairman of the Museum Trustee Association. Included are files containing correspondence, reports, by-laws, minutes of meeetings, and printed material.

Biographical / Historical:

George Seybolt was a food industry executive, museum trustee, and founder of the Museum Trustee Association from Boston, Mass. Born 1914. Died 1993. George Seybolt, president of the Museum of Fine Arts, Boston, was instrumental in founding the Museum Trustee Association, an advisory and discussion group whose purpose was to provide trustees of all museums with regular meetings and a means of influencing the deliberations of the American Association of Museums (now the American Alliance of Museums) through independent recommendations. It is no longer part of the AAM.The Museum Trustee Association (MTA) was originally the Museum Trustee Committee, American Association of Museums (AAM), and then the Museum Trustee Committee for Research and Development, AAM.

Provenance:

Donated by George C. Seybolt in 1992.

Function:

Art museums -- United States

Identifier:

AAA.seybgeor

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-seybgeor

Interviewee:

Rathbone, Perry Townsend, 1911-2000  Search this

Interviewer:

Cummings, Paul  Search this

Extent:

11 Items (sound tape reels, 3 3/4 ips.)

277 Pages (Transcript)

Type:

Collection descriptions

Archival materials

Pages

Sound recordings

Interviews

Date:

1975 Aug. 8-1976 Sept. 24

Scope and Contents:

An interview of Perry Townsend Rathbone conducted 1975 Aug. 8-1976 Sept. 24, by Paul Cummings, for the Archives of American Art.

Perry speaks of his childhood in New York City and upstate New York; his parents; his education at Harvard University; his experience taking a museum course with Paul Sachs at Harvard; working in the education department and under William Valentiner at the Detroit Institute of the Arts during the Depression; assisting Valentiner in organizing the 1939 World's Fair art exhibitions; directing the St. Louis Museum of Art; funding strategies and practices for art museums; working for the Combat Artists' Program in the military during World War II; leaving St. Louis to direct the Boston Museum of Fine Arts; initiating museum membership programs and women's committees in St. Louis and Boston; leading the American Association of Museum Directors; traveling to Washington, DC to advocate for art museums during the 1969 income tax reform committee sessions; retiring early from the Boston Museum; assuming the directorship of Christie's in New York; notable acquisitions throughout his career; relationships with museum donors and boards of trustees; and exhibitions including Westward the Way, Mississippi Panorama, Sport in Art, European Masters of the 20th century, Art of Ancient Peru, Gold of Ancient Americas, and Masterpieces of Primitive Art. Perry also recalls Donald Oenslager, Bud Reed, John Mason Brown, Arthur Pope, Paul Sachs, Edward Forbes, William Valentiner, John Newberry, Louis LaBeaume, Lionberger Davis, Meyric Rogers, Curt Valentin, Max Beckmann, Henry McIlhenny, Joseph Pulitzer, Charles Norgle, Lansing Thoms, Etta Steinberg, Richard Weil, Gertrude Townsend, John W. Coolidge, Harold Edgell, W.G. Constable, Henry Rossiter, Gertrude Townsend, Carl Zahn, Hanns Swarzenski, Dows Dunham, Richard McLanathan, Walter Whitehill, Tenley Albright, Maxim Karolik, Nathaniel Saltonstall, Walter Chrysler, George Seybolt, and others.

Biographical / Historical:

Perry Townsend Rathbone (1911-2000) was a museum director from New York, N.Y. He was a curator at the Detroit Institute of Art, 1936-1940, director of the City Art Museum of St. Louis, 1940-1955, and director of the Museum of Fine Arts, Boston, 1955-1972. At the time of the interview, Rathbone was director of the auction house, Christie's USA (1973-1977). He went on to become senior vice-president from 1977-1987, and a consultant beginning in 1987.

General:

Originally recorded on 11 sound tape reels. Reformatted in 2010 as 20 digital wav files. Duration is 16 hr., 43 min.

Provenance:

These interviews are part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and others.

Topic:

Art, American  Search this

Museum directors -- New York (State) -- New York -- Interviews  Search this

Genre/Form:

Sound recordings

Interviews

Sponsor:

Funding for the digital reformatting of this interview in 2007 was provided by the Rathbone Family.

Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service.

Identifier:

AAA.rathbo75

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-rathbo75

Creator:

Piper, Adrian, 1948-  Search this

Names:

Alloway, Lawrence, 1926-1990  Search this

Buchanan, Nancy, 1946-  Search this

LeWitt, Sol, 1928-2007  Search this

Lippard, Lucy R.  Search this

Mayer, Rosemary  Search this

Extent:

10 Linear feet

Type:

Collection descriptions

Archival materials

Date:

1966-1990

Scope and Contents:

Papers related to Piper's dual careers as conceptual artist and philosophy instructor. Personal letters and financial material are also included.

The Adrian Piper papers contain material related to Piper's art career includinc correspondence (1968-1988) with editors, curators, critics and others regarding museum and gallery exhibitions; lectures and panel discussions; and publications by and about Piper, mainly concerned with race and gender in art. Correspondents include Lawrence Alloway, Nancy Buchanan, Nina Felshin, Hans Haacke, Donald Kuspit, Sol Lewitt, Lucy Lippard, Rosemary Mayer, William Olander (The New York Museum), Philip Redican, Sam Samore, Terry Wolferton, and others. Subject files on the American Association of Museums, the National Endowment for the Arts panels and the New York State Council on the arts, and printed material including exhibition announcements and clippings are also included. Philosophy career related papers include correspondence (1974-1987) kept while teaching at the University of Michigan, Stanford University, and Georgetown University; and graduate school class notes, many with sketches. Personal papers include letters (1965-1990) from friends and family; and financial material such as tax returns and household expenses.

Arrangement:

I. Materials regarding Piper's art career, 1968-1988, boxes 1 to 3. II. materials regarding Pipers philosophy career, 1979-1987, boxes 4 to 7. III. personal papers, 1965-1990, boxes 8 to 10.

Biographical / Historical:

Adrian Piper (1948-) is a conceptual artist and philosopher. She taught philosophy at numerous institutions and was the first female African American philosophy professor to receive academic tenure in the United States. Piper moved to Berlin, Germany in 2005 where she now runs the Adrian Piper Research Archive (APRA). In 2012, Piper "publicly retired from being Black."

Provenance:

Donated 1990 by Adrian Piper.

Restrictions:

ACCESS RESTRICTED; written permission required. Contact Reference Services for more information.

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.

Occupation:

Conceptual artists  Search this

Educators  Search this

Philosophers  Search this

Topic:

Art and race  Search this

Women artists  Search this

African American artists  Search this

Identifier:

AAA.pipeadri

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-pipeadri

Collection Creator:

Jacques Seligmann & Co  Search this

Container:

Box 68, Folder 13

Type:

Archival materials

Date:

1928

Collection Restrictions:

Use of original papers requires an appointment.

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:

Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974. Archives of American Art, Smithsonian Institution.

Sponsor:

Processing of the collection was funded by the Getty Grant Program; digitization of the collection was funded by the Samuel H. Kress Foundation and the Terra Foundation for American Art. Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee.

See more items in:

Jacques Seligmann & Co. records

Jacques Seligmann & Co. records / Series 1: Correspondence / 1.3: General Correspondence

Archival Repository:

Archives of American Art

EDAN-URL:

ead_component:sova-aaa-jacqself-ref10603