Search Results

Creator:

Wilson, Sol, 1896-1974  Search this

Wilson, Sol, 1896-1974  Search this

Subject:

Hopper, Edward  Search this

Bouché, Louis  Search this

Burliuk, David  Search this

Evergood, Philip  Search this

Babcock Galleries  Search this

Topic:

Painting, American  Search this

Theme:

Lives of American Artists  Search this

Record number:

(DSI-AAA_CollID)9380

(DSI-AAA_SIRISBib)211577

AAA_collcode_wilssol

Theme:

Lives of American Artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_211577

Interviewee:

Davis, Leroy, 1922-  Search this

Davis, Leroy, 1922-  Search this

Interviewer:

Langdale, Cecily  Search this

Subject:

Shikler, Aaron  Search this

Barnes, Albert C. (Albert Coombs)  Search this

Bly, Boris  Search this

De Mazia, Violette  Search this

Davis, Terry Ritter  Search this

Bouché, Louis  Search this

Levine, David  Search this

Penn, Arthur  Search this

Hirschl & Adler Galleries  Search this

Tyler School of Art  Search this

Barnes Foundation  Search this

Widgeon Point Charitable Foundation  Search this

Type:

Sound recordings

Interviews

Topic:

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

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

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

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

Record number:

(DSI-AAA_CollID)13624

(DSI-AAA_SIRISBib)271983

AAA_collcode_davis07

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_oh_271983

Former owner:

Massey, Richard W.  Search this

Architect:

Turner, Joseph Clifford  Search this

Collection Collector:

Marchand, Richard  Search this

Extent:

2 Slides (photographs)

Type:

Archival materials

Slides (photographs)

Postcards

Place:

Massey Garden (Birmingham, Alabama)

United States of America -- Alabama -- Jefferson County -- Birmingham

General:

This property is featured in Jefferson County Historical Commission. Birmingham and Jefferson County Alabama. Charleston, SC : Arcadia Publishing Incorporated, 2010.

The Massey estate, which included a 20-room, Beaux-Arts style mansion and elaborate gardens, was the home of businessman Richard W. Massy in Birmingham, Alabama beginning around 1905. The gardens were designed and overseen by men hired by Massey from Europe. On the east side of the estate were elaborate Italian-inspired gardens with fountains and imported statuary. Behind the house a terraced garden surrounded by a seat-height wall was planted with aromatic plants surrounding a large marble fountain. The gardens could be accessed from the house through glass doors leading onto the terrace, which was draped with wisteria. The Massey family hosted many large parties, dances, and small gatherings in the manicured gardens considered by many to be one of the city's loveliest locations. The estate later housed the Birmingham College of Music and was then home to Dr. and Mrs. James Crenshaw, until it was finally razed in the 1960s to make way for the construction of an expressway through the city.

Persons associated include: Richard W. Massey (former owner), Joseph Clifford Turner (architect, 1904), Birmingham College of Music (former owner), Dr. and Mrs. James Crenshaw (former owner).

MAR001 Caption: 3371 Italian Gardens of Mr. Richard W. Massey. Birmingham, Ala.

MAR002 Caption: Birmingham, Ala. Italian Gardens of Mr. Richard W. Massey. 3370

Postcards circa 1907-1945.

Varying Form:

Also known as the Richard Massey Estate and Turner.

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 -- Alabama -- Birmingham  Search this

Italian gardens  Search this

Walled gardens  Search this

Trellises  Search this

Urns  Search this

Marble sculpture  Search this

Bedding plants  Search this

Plant containers  Search this

Pergolas  Search this

Benches  Search this

Climbing plants  Search this

Palms  Search this

Genre/Form:

Postcards

Collection Citation:

Smithsonian Institution, Archives of American Gardens, Richard Marchand historical postcard collection.

Sponsor:

The project to catalog postcards in this collection received Federal support from the Smithsonian Collections Care Initiative, administered by the National Collections Program.

Identifier:

AAG.MAR, File AL018

See more items in:

Richard Marchand historical postcard collection (35mm slides)

Richard Marchand historical postcard collection (35mm slides) / Alabama

Archival Repository:

Archives of American Gardens

EDAN-URL:

ead_component:sova-aag-mar-ref1169

Former owner:

Deering, James, 1859-1925)  Search this

Architect:

Hoffman, Francis Burrell, 1882-1980)  Search this

Landscape architect:

Suarez, Diego, 1888-1974  Search this

Sculptor:

Calder, Alexander Stirling, 1870-1945  Search this

Collection Collector:

Marchand, Richard  Search this

Extent:

5 Slides (photographs)

Type:

Archival materials

Slides (photographs)

Postcards

Place:

Vizcaya estate (Florida)

United States of America -- Florida -- Miami-Dade County -- Miami

General:

The Vizcaya gardens span over ten acres surrounding the former winter home of the wealthy industrialist and patron of the arts, James Deering (1859-1925). The Vizcaya estate, located in the Coconut Grove area of Miami, was conceived of by Deering and artist and designer Paul Chalfin (1874-1959). Together they traveled extensively through Europe, particularly Italy, to inspire the design for Deering's South Florida retreat. Vizcaya which means "an elevated place" in Basque, was built in the years 1914 to 1916, and transformed a jungle tract of land into one of the most celebrated houses on the Eastern Seaboard. Diego Suarez (1888-1974), a Columbia-born landscape architect trained in Florence, Italy, was commissioned to create a modern, subtropical interpretation of classical, European Renaissance and Baroque landscape design suited to Miami's climate and terrain. Suarez' extensive knowledge of Italian gardens was combined with a consciousness of architectural design to create a setting for the house.

The garden scheme was divided into various terraces and areas, including a completely walled secret garden, a maze garden, theater garden, pergola garden, and the fountain garden, which features a fountain from the town square of Sutri, Italy. Plants were chosen for their ability to withstand south Florida's climate and pests and combined with native soil and plant materials in designs inspired by gardens seen by Deering and Chalfin on their tours of Italy and France. Varieties of bougainvillea, roses, water lilies, and jasmine were among the flowers found throughout the gardens, along with potted pines and podocarpus, some carefully trimmed in the art of topiary. The gardens were trimmed with hedges and trees and feature decorative walls, balustrades, urns, and sculpture. The areas were supplied with water through designed elements meant to compliment the garden such as pools, cascades, a frescoed grotto pool, fountains, and a system of canals, which invokes scenes on the waterways of Venice.

Unique among country estates, the gardens of Vizcaya integrated statues, busts, vases and urns that ranged from antiquity to the Renaissance and Baroque periods, as well as modern art from Deering's time into the lush vegetation. As the artistic advisor of the property, Paul Chalfin, acquired artifacts as decoration rather than to create a collection. Garden artworks ranged from antique elements to new sculptural decorations by contemporary artists. The gardens also featured several structures including a Baroque casino (garden house), decorative bridges, a large boathouse with a rooftop garden, and a domed garden house called the Casba. The most celebrated outdoor feature was the Barge by artist Alexander Stirling Calder (1870–1945), located in the water in front of the house. In addition to the house and gardens, the grounds also housed a swimming pool and tennis courts. Over two-thirds of the estate, originally 180 acres of subtropical forest along the shores of Biscayne Bay, remains in its natural state. The untouched hammock, shoreline, and pineland serves as a background for the more formal main gardens and along the drive up to the house. The Vizcaya property was surrounded by a wall with decorative paintings on stone and wrought-iron grills.

The house was designed to take advantage of its location on west shore of Biscayne Bay and each side of the house had a unique relationship with the surrounding grounds with loggias, terraces, arcades, and a partially enclosed swimming pool and, from some rooms, views of the gardens and bay. Architect F. Burrell Hoffman Jr. (1884-1980) was commissioned to design the house in the manner of an Italian Renaissance-style villa. Hoffman adapted traditional Mediterranean architectural elements to the subtropical climate in the palatial 70-room mansion. The beautifully planned interior was designed around an airy garden courtyard with a peripheral gallery, originally open to the sky, that was the heart and primary living space of the home. The house embraced modern conveniences and employed the latest technology of the period with an automated telephone switch board, a central vacuum-cleaning system, central heating, several elevators, generators and a water filtration system. The house also included a billiard room, bowling alley, and smoking room. The interiors were designed by the artistic advisor Paul Chalfin around objects acquired on Deering's travels in period rooms ranging in style from the Renaissance through the Neoclassical. The villa housed entire ceilings, mural paintings, chimney pieces, carved paneling, and doorways removed from foreign palaces along with rare rugs, tapestries, and antique furnishings. A working farm called the "Village" with eleven outbuildings was also located on the estate. These buildings were designed to look like an Italian village by Hoffman to compliment the architecture of the house. The Village included barns, stables, chicken houses, mechanical shops, housing for the staff, and the gate lodge making it nearly self-sufficient. A pumphouse provided water for the flower and vegetable gardens, groves for citrus, pineapple, and other fruits, greenhouses, and a large shade house for delicate plants grown at the Village to supply the mansion.

The estate, mansion, and its interiors were celebrated in magazines of the time. Deering occupied the house for four months each winter season beginning at Christmas in 1916.The whole complex was created for entertaining and recreation and Deering frequently invited family, visitors, and houseguests to the enjoy his estate. After Deering's death in 1925, the estate passed to his brother's children. Some of the acreage was sold off, and in 1952 Dade County purchased the remaining land and house. With donations of art and furniture from the family, the Vizcaya estate, became a decorative arts museum operated by Dade County Park and Recreation Department. The property, including the house, gardens, hammock forest, and Vizcaya Village, was designated a National Historic Landmark in 1994.

Other notable artists who contributed to the house and grounds were: Alexander Stirling Calder (1870-1945), Gaston Lachaise (1882-1935), Robert Chanler (1872-1930), Charles Gary Rumsey (1879-1922), Ettore Pellagatta (1881-1966), Paul Thevenez (1891-1921), and Samuel Yellin (1885-1940).

Persons associated include: James Deering (former owner), F. Burrall Hoffman, Jr. (architect), Paul Chalfin (architect of interiors), Diego Suarez (landscape architect), and Alexander Stirling Calder (sculptor), and Metro Dade County Park & Recreation Department (owner).

National Register of Historic Places, Vizcaya, Miami, Dade County, Florida, National Register #70000181.

Postcards circa 1915-1930.

Varying Form:

Also known as Villa Vizcaya, Vizcaya Palace, Vizcaya Museum and Gardens, and the James Deering Estate.

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 -- Florida -- Miami  Search this

Seaside gardening  Search this

Formal gardens  Search this

Mansions  Search this

Genre/Form:

Postcards

Collection Citation:

Smithsonian Institution, Archives of American Gardens, Richard Marchand historical postcard collection.

Sponsor:

The project to catalog postcards in this collection received Federal support from the Smithsonian Collections Care Initiative, administered by the National Collections Program.

Identifier:

AAG.MAR, File FL083

See more items in:

Richard Marchand historical postcard collection (35mm slides)

Richard Marchand historical postcard collection (35mm slides) / Florida

Archival Repository:

Archives of American Gardens

EDAN-URL:

ead_component:sova-aag-mar-ref1329

Former owner:

Phillips, Waite  Search this

Architect:

Delk, Edward Beuhler  Search this

Landscape architect:

Hare & Hare  Search this

Owner:

Philbrook Museum of Art  Search this

Collection Collector:

Marchand, Richard  Search this

Extent:

1 Slides (photographs)

Type:

Archival materials

Slides (photographs)

Postcards

Place:

United States of America -- Oklahoma -- Tulsa

Villa Philbrook (Tulsa, Oklahoma)

General:

Philbrook Museum of Art is located in Tulsa, Oklahoma at the former Waite Phillips estate. The museum housed in the Villa Philbrook, an Italianate mansion surrounded by of 25 acres of gardens. The estate was created for the wealthy oilman and philanthropist Waite Phillips (1883-1964) and his wife Genevieve Elliott Phillips (1887-1979) and their two children in 1926-1927. The gardens around the mansion were the result of a collaboration of the owners, the house's architect, and the firm of Hare & Hare, Landscape Architects & City Planners. To complement Delk's architectural designs, the garden design combined French, and English garden iconography with inspiration from Villa Lante, an Italian country estate by Giacomo Barozzi da Vignola in 1566. They followed Renaissance models with features such as formal gardens, cascading water feature, rock garden and pond terminated by a tempietto. The main emphasis was placed on the East Formal Garden, which was designed on axis with the villa's grand hall. The Italian preference for a predominately green palette was achieved with beds of English ivy, low hedges of Chinese privet, clipped spheres of bay or boxwood and tall red cedars chosen to mimic Italian cypress. Beyond the formal garden stretches a pastoral grove. Important to Genevie Philips was a scheme that featured plants native to the area. Specimens were collected from the native woods on the property, and used in along the flagstone walkways, in borders, and on slopes near house. Yuccas, cedars, dogwood, elder, and serviceberry were among the varieties incorporated into the Italianate design. Structures found throughout the gardens include the Tempietto, the Summer House built in 1933, fountains in the East Formal Garden, the grotto, and a fireplace.

To design their home, the Philips commissioned a Kansas City architect, Edward Buehler Delk (1885–1956), as well as designing Villa Philmonte for their ranch in Cimarron, New Mexico, and the Philtower office building in downtown Tulsa. For Villa Philbrook, Delk interpreted the most fashionable styles of the day in his plans for the 72-room Italian Renaissance villa. It is situated high on the property, overlooking the gardens and to get the breezes in warmer months. The façade of the house is unpretentious with spare use of classical ornament. The house and grounds are linked by the addition of arches and windows, which frame views of the garden, as well as a loggia and terrace that overlooks the most formal of the gardens.

After only eleven years living at Philbrook, the Philips family donated the estate to the community to become Tulsa's first art museum. The house underwent major renovations, and the landscape architecture firm, Hare and Hare, were brought back in to work on the conversion of the gardens from private to public. In 1939 the Philbrook Art Museum (later Philbrook Museum of Art) opened to the public. The gardens were briefly used as a botanical garden concerned with the development, preservation and exhibition of native species to Oklahoma and the Southwest. From 2002-2004, Howell & Vancuren designed another major garden renovation with the support of the Philips family. The Philips also gave Villa Philmonte and the Philmont Ranch to the Boy Scouts of America, and today both institutions continue to serve their communities.

Contributions to the construction of Villa Philbrook were made by multiple craftspeople and artists including George Gibbs, Oscar Bach, Bertram Segar, Cooper & Gentiluomo, Edward F. Caldwell & Co., and Jørgen Dreyer.

Persons associated include: Waite and Genevieve Phillips (former owner), Edward Buehler Delk (architect), S. Herbert Hare of Hare & Hare, Landscape Architects & City Planners (landscape architect), Howell & Vancuren (landscape architects), and Philbrook Museum of Art, Inc. (owner).

Postcard circa 1930-1950.

Varying Form:

Also known as Philbrook Art Museum and Philbrook Museum of Art.

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 -- Oklahoma -- Tulsa  Search this

Formal gardens  Search this

Parterres  Search this

Museums  Search this

Terraces  Search this

Groves  Search this

Naturalized plantings  Search this

Genre/Form:

Postcards

Collection Citation:

Smithsonian Institution, Archives of American Gardens, Richard Marchand historical postcard collection.

Sponsor:

The project to catalog postcards in this collection received Federal support from the Smithsonian Collections Care Initiative, administered by the National Collections Program.

Identifier:

AAG.MAR, File OK001

See more items in:

Richard Marchand historical postcard collection (35mm slides)

Richard Marchand historical postcard collection (35mm slides) / Oklahoma

Archival Repository:

Archives of American Gardens

EDAN-URL:

ead_component:sova-aag-mar-ref1703

Creator:

Smithsonian Magazine  Search this

Type:

Blog posts

Smithsonian staff publications

Blog posts

Published Date:

Fri, 07 May 2021 16:02:57 +0000

Topic:

Custom RSS  Search this

See more posts:

Smithsonian Article Database

Data Source:

Smithsonian Magazine

EDAN-URL:

edanmdm:posts_8a7e8b92b5df4eb3461a100f7300c15a

Creator:

Laigo, Val M., 1930-1992  Search this

Laigo, Val M., 1930-1992  Search this

Type:

Video recordings

Topic:

Asian American art  Search this

Asian American artists  Search this

Filipino American art  Search this

Filipino American artists  Search this

Asian American painters  Search this

Asian American muralists  Search this

Mural painting and decoration -- 20th century -- Washington (State) -- Seattle  Search this

Theme:

Asian American  Search this

Lives of American Artists  Search this

Record number:

(DSI-AAA_CollID)10455

(DSI-AAA_SIRISBib)213863

AAA_collcode_laigval

Theme:

Asian American

Lives of American Artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_213863

Creator:

Henrion, Marilyn, 1932-  Search this

Henrion, Marilyn, 1932-  Search this

Topic:

Women artists  Search this

Decorative arts  Search this

Theme:

Craft  Search this

Women  Search this

Lives of American Artists  Search this

Record number:

(DSI-AAA_CollID)11099

(DSI-AAA_SIRISBib)243960

AAA_collcode_henrmari

Theme:

Craft

Women

Lives of American Artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_243960

Creator:

Hanbury, Una, 1904-1990  Search this

Names:

Royal Academy of Arts (Great Britain)  Search this

Saunders Sculpture International  Search this

Carson, Rachel, 1907-1964  Search this

Fuller, R. Buckminster (Richard Buckminster), 1895-  Search this

Gilpin, Laura  Search this

O'Keeffe, Georgia , 1887-1986  Search this

Oppenheimer, J. Robert, 1904-1967  Search this

Ripley, Sidney Dillon, 1913-2001  Search this

Segovia, Andrés, 1893-  Search this

Extent:

5.3 Linear feet

Type:

Collection descriptions

Archival materials

Photographs

Date:

1910-1994

Summary:

The papers of Una Hanbury measure 5.3 linear feet and date from 1910 to 1994, with the bulk of the material from 1966 to 1990. The collection documents the sculptor's career and the dispersal of her estate through business records, project files, subject files, printed material, and photographs. There is also a small amount of material relating to her personal life including correspondence with friends and family and photographs from various stages of her life.

Scope and Contents:

The papers of Una Hanbury measure 5.3 linear feet and date from 1910 to 1994, with the bulk of the material from 1966 to 1990. The collection documents the sculptor's career and the dispersal of her estate through business records, project files, subject files, printed material, and photographs. There is also a small amount of material relating to her personal life including correspondence with friends and family and photographs from various stages of her life.

Arrangement:

The collection is arranged into seven series.

Series 1: Personal Papers, 1926-1983 (Box 1; 4 folders)

Series 2: Business Records, 1965-1991 (Boxes 1-2; 1.2 linear feet)

Series 3: Project Files, 1961-1992 (Boxes 2-3; 1.8 linear feet)

Series 4: Subject Files, circa 1924-1985 (Box 4, OV 7; 1.0 linear feet)

Series 5: Estate of Una Hanbury, 1990-1994 (Boxes 4-5; 0.6 linear feet)

Series 6: Printed Material, 1926-1990 (Box 5; 0.4 linear feet)

Series 7: Photographs, 1910-1991 (Boxes 5-6, 0.3 linear feet)

Biographical / Historical:

Una Hanbury (1904-1990) was a sculptor in Washington, D.C. and Santa Fe, New Mexico. Hanbury was born in Middlesex, England, in 1904; the incorrect birth date of 1909 that she submitted to Who's Who and other biographical reference sources is cited in numerous published articles. Hanbury [née Rawnsley] exhibited artistic talent as a young child and received instruction from animal artist Frank Calderon. After graduation from London's Polytechnic School of Art, she studied for three years at the Royal Academy. Jacob Epstein was her most influential teacher.

Soon after completing her formal education, Una Rawnsley became Una Hanbury and devoted herself full-time to being a wife and mother. During World War II she left England for Bermuda and brought her family to the United States once the war was over. Hanbury settled in Washington, D.C., where she resumed her sculpting career, completing many large scale commissions for public buildings such as the Medical Examiners Building, Baltimore, and St. Mark's Lutheran Church, Springfield, Virginia, among others. She developed a fine reputation as a portrait sculptor, and commissions included busts of Rachel Carson, Enrico Fermi, Buckminster Fuller, Laura Gilpin, Richard Neutra, Georgia O'Keeffe, Robert Oppenheimer, S. Dillon Ripley, and Andrés Segovia. In addition, animals--particularly horses--were a favorite subject since childhood; sculptures were commissioned by several zoos, and horse portraits often were commissioned by owners.

In 1970, Una Hanbury relocated to Santa Fe, New Mexico, where she continued working well into old age and became a significant force in the art life of that region.

Provenance:

The Una Hanbury papers were donated to the Archives of American Art by the artist's daughter, Jillian Poole, in 1999 and 2006.

Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Use of archival audiovisual recordings with no duplicate access copy requires advance notice. Contact Reference 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.

Topic:

Portrait sculpture -- 20th century -- United States  Search this

Portrait sculpture, American  Search this

Women sculptors -- New Mexico  Search this

Animal sculptors -- Washington (D.C.)  Search this

Animal sculptors -- New Mexico  Search this

Animal sculpture  Search this

Sculptors  Search this

Women sculptors -- Washington (D.C.)  Search this

Genre/Form:

Photographs

Citation:

Una Hanbury papers, 1910-1994, bulk 1966-1990. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.hanbuna

See more items in:

Una Hanbury papers

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-hanbuna

Collection Creator:

Hanbury, Una, 1904-1990  Search this

Extent:

1.8 Linear feet (Boxes 2-3)

Type:

Archival materials

Date:

1961-1992, undated

Scope and Contents note:

Unless otherwise noted, files include photographs--in fact, many consist of photographs only. If other record types such as correspondence, printed material, certificates of authenticity, casting records, sketches, 35-mm slides, color transparencies, and negatives are present, this information is noted for each title. Dates indicated reflect the contents of the folder, which may or may not correspond to the date of execution of the particular work.

Arrangement note:

Project files are arranged alphabetically by title/commission. Material within each folder is arranged chronologically.

Collection Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Use of archival audiovisual recordings with no duplicate access copy requires advance notice. Contact Reference Services for more information.

Collection Rights:

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

Collection Citation:

Una Hanbury papers, 1910-1994, bulk 1966-1990. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.hanbuna, Series 3

See more items in:

Una Hanbury papers

Archival Repository:

Archives of American Art

EDAN-URL:

ead_component:sova-aaa-hanbuna-ref88

Collection Creator:

National Academy of Design (U.S.)  Search this

Extent:

28.5 Linear feet (Boxes 44-56, 68-99)

Type:

Archival materials

Date:

1826-2008

Scope and Contents:

School records contain administrative files, enrollment records, course files, student affairs files, and printed material documenting all aspects of the school's activities.

Administrative files (subseries 12.1) contain material on the school's history and associations, including its 1948 closing and subsequent reopening in 1951, its affiliation with Columbia University in the early 20th century, and its failed merger with New York Academy of Art in 1992. Also found are analytics and expense reports on the school's performance, an extensive comparative study that was commissioned in 1928 to measure the school against similar institutions, and a detailed historical survey compiled in 1919 with summaries of the school's operations since its founding. Other material consists of licensing documents related to the school's official accreditation, and material on the school supply store that was run both by students and outside vendors.

The bulk of enrollment files (subseries 12.2) is comprised of student registration and attendance records. Student course registrations were documented in registers, then on index cards beginning in the 1930s. While information collected varied over the decades, registrations document student names and the year, and may additionally include course name, instructor, and cost. Additional files contain prospectuses, financial aid and scholarship information, applications, and immigration forms for international students.

Course files (subseries 12.3) include calendars, course descriptions, assignments, exams, and information on models used for figure classes. Teacher files are also included here, and contain letters of application, clippings, course proposals, photographic material, and legal contracts.

Student affairs files (subseries 13.4) are comprised of material directly related to the student body. Included are lists of notable students and alumni, material on the student association and student petitions, records of the recipients of awards and prizes, and information regarding War services and death notices, which includes correspondence with the Veterans Administration and announcements of students who passed away during service in World War I and World War II, or in the influenza epidemic of 1918.

Printed materials (subseries 12.5) relate to the promotion and advertising of the school, and include booklets, brochures, bulletins, notices posted for students and faculty, newspaper clippings, and articles containing school and faculty mentions.

Arrangement:

The series is arranged as five subseries.

12.1: Administrative Files, 1898-1995

12.2: Enrollment, 1826-2002

12.3: Course Files, 1893-1997

12.4: Student Affairs, 1832-1999

12.5: Printed Material, 1919-2008

Collection Restrictions:

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

Collection Rights:

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

Collection Citation:

National Academy of Design records, 1817-2012. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.natiacad, Series 12

See more items in:

National Academy of Design records

Archival Repository:

Archives of American Art

EDAN-URL:

ead_component:sova-aaa-natiacad-ref12

Collection Creator:

National Academy of Design (U.S.)  Search this

Container:

Box 16, Folder 19

Type:

Archival materials

Date:

1961

Collection Restrictions:

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

Collection Rights:

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

Collection Citation:

National Academy of Design records, 1817-2012. Archives of American Art, Smithsonian Institution.

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National Academy of Design records

National Academy of Design records / Series 5: Council Officers / 5.1: Presidents / John Harbeson (1959-1962)

Archival Repository:

Archives of American Art

EDAN-URL:

ead_component:sova-aaa-natiacad-ref381

Collection Creator:

National Academy of Design (U.S.)  Search this

Container:

Box 18, Folder 9

Type:

Archival materials

Date:

1927-1930

Collection Restrictions:

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

Collection Rights:

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

Collection Citation:

National Academy of Design records, 1817-2012. Archives of American Art, Smithsonian Institution.

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National Academy of Design records

National Academy of Design records / Series 5: Council Officers / 5.3: Corresponding Secretaries / Charles Curran

Archival Repository:

Archives of American Art

EDAN-URL:

ead_component:sova-aaa-natiacad-ref407

Creator:

Nakashima, George, 1905-1990  Search this

Names:

Caldwell, Alfred, 1903-1998  Search this

Extent:

1 Linear foot

Type:

Collection descriptions

Archival materials

Date:

1950-1991

Summary:

The papers of architect, craftsman, woodworker, and furniture designer George Nakashima measure 1.0 linear foot and date from 1950 to 1991. The collection is comprised of biographical material, correspondence, writings, subject files, and printed material that mostly relate to Nakashima's work in furniture design.

Scope and Contents:

The papers of architect, craftsman, woodworker, and furniture designer George Nakashima measure 1.0 linear foot and date from 1950 to 1991. The collection is comprised of biographical material, correspondence, writings, subject files, and printed material that mostly relate to Nakashima's work in furniture design.

Biographical materials consist of a curriculum vitae and obituaries. Correspondence is with clients, colleagues, and friends in the United Staes, Japan, and the Sri Aurobindo community. Writings by and about Nakashima include articles, essays, and a speech about his design processes. Subject files are on Alfred Caldwell, flush toilet systems, trademark, and wood and tree services. Printed material includes art reproductions, booklets, catalogs, clippings, and publicity material.

Arrangement:

The collection is arranged as five series.

Series 1: Biographical Material, 1990 (Box 1; 1 folder)

Series 2: Correspondence, 1950-1990 (Box 1; 0.7 linear feet)

Series 3: Writings, 1953-1989 (Box 1, 2 folders)

Series 4: Subject Files, 1957-1980s (Box 1, 4 folders)

Series 5: Printed Material, 1954-1991 (Box 1, 0.2 linear feet)

Biographical / Historical:

George Nakashima (1905-1990) was a Japanese American architect, craftsman, woodworker, and furniture designer in New Hope, Pennsylvania. He was born in Spokane, Washington and received a bachelor's degree in architecture from the University of Washington in 1929. He also earned a master's degree from Massachusetts Institute of Technology in 1930.

After his studies, Nakashima traveled around the world by steamship. He spent time in France, North Africa, and Japan. While in Japan, he began working under architect Antonin Raymond. When Raymond's architecture company was commissioned to build for the Sri Aurobindo ashram in Puducherry, India, Nakashima became the onsite architect as well as a devotee of Sri Aurobindo. When World War II began, Nakashima returned to the U.S. with his wife, Marion, whom he met in Japan. George, Marion, and their infant daughter Mira were sent to a Japanese internment camp in Idaho in 1942. The Nakashimas were able to leave the camp after Raymond sponsored their release in 1943. Nakashima began working on Raymond's farm in Bucks County, Pennsylvania, where he eventually built his workshop. Nakashima's son Kevin was born after the family relocated to Pennsylvania.

Nakashima's design work includes furniture lines for the Widdicomb Furniture Company and Knoll Furniture, and 200 pieces of furniture commissioned by Nelson Rockefeller. He also wrote a book titled The Soul of a Tree: A Master Woodworker's Reflections.

Nakashima died in 1990.

Provenance:

The papers were donated by Marion Nakashima, widow of George Nakashima, in 1991.

Restrictions:

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

Topic:

Architect-designed furniture  Search this

Artisans  Search this

Asian American art  Search this

Asian American artists  Search this

Asian American architects  Search this

Decorative arts  Search this

Furniture making  Search this

handicrafts  Search this

Woodworkers  Search this

Japanese American art  Search this

Japanese American artists  Search this

Japanese Americans -- Evacuation and relocation, 1942-1945  Search this

Asian American woodworkers  Search this

Asian American furniture designers  Search this

Furniture designers--Pennsylvania--New Hope  Search this

Citation:

George Nakashima papers, 1950-1991. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.nakageor

See more items in:

George Nakashima papers

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-nakageor

Collection Creator:

Matsukata, Miye, 1922-1981  Search this

Container:

Box 10, Folder 17

Type:

Archival materials

Date:

1980-1981

Collection Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Use of archival audiovisual recordings and born-digital records with no duplicate copies requires advance notice.

Collection Citation:

Miye Matsukata papers, circa 1900-1982, bulk 1964-1981. Archives of American Art, Smithsonian Institution.

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Miye Matsukata papers

Miye Matsukata papers / Series 9: Artwork

Archival Repository:

Archives of American Art

EDAN-URL:

ead_component:sova-aaa-matsmiye-ref339

Creator:

Henrion, Marilyn  Search this

Extent:

9.6 Linear feet

Type:

Collection descriptions

Archival materials

Date:

1989-2020

Scope and Contents:

The Marilyn Henrion papers measure 9.6 linear feet and date from circa 1989-2020. Included is correspondence; financial records; notes, plans and sketches; files concerning exhibitions, commission, teaching materials, and organizations; grant applications; printed material about Henrion; slides and photographs; and miscellany.

Biographical / Historical:

Marilyn Henrion (1932- ) is a multimedia and fiber artist in New York, New York.

Provenance:

Donated in 2003 and in 2021 by Marilyn Henrion.

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.

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:

Fiber artists -- New York (State) -- New York  Search this

Multimedia artists -- New York (State) -- New York  Search this

Topic:

Women artists  Search this

Decorative arts  Search this

Identifier:

AAA.henrmari

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-henrmari

Creator:

Laigo, Val M., 1930-1992  Search this

Extent:

0.4 Linear feet

0.4 Linear feet (Addition)

Type:

Collection descriptions

Archival materials

Video recordings

Date:

1954-1998

Scope and Contents:

A resume; correspondence, 1954-1991, mainly regarding teaching positions at Seattle University and commissions; 7 sketches for mural projects; art inventories, 1970 and 1987; writings, including biographical notes, and a portion of his M.F.A. thesis "Hard Edge Variations," 1964; exhibition announcements; clippings; photographs of Laigo in his studio, Laigo with his paintings, and his family; 2 video tapes, 1990, taken by Marvin Herard of Laigo discussing his murals at the Seattle University Library.

ADDITION : A chronology; awards; clippings; magazine articles; writings; obituary; correspondence; and two video tapes, including Wing Luke Art Museum's January 29, 1994 Auction Honoring Val Laigo, and Seattle University Laigo Retrospective Show at the Kinsey Gallery, October 6 to November 19, 1992.

Biographical / Historical:

Val Laigo (1930-1992) was a Filipino American painter based in Seattle, Washington. Val Laigo was born in Naguilian, La Union, in the Phillipines. His family moved to the United States in 1931 and to Seattle in 1941. Laigo's full name Valeriano Emerenciano Montante Laigo.

Provenance:

Donated 1990 by Val Laigo and in 1994 and 1998 by his widow Austreberta Laigo.

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:

Artists -- Washington (State) -- Seattle  Search this

Painters -- Washington (State) -- Seattle  Search this

Topic:

Asian American art  Search this

Asian American artists  Search this

Filipino American art  Search this

Filipino American artists  Search this

Asian American painters  Search this

Asian American muralists  Search this

Mural painting and decoration -- 20th century -- Washington (State) -- Seattle  Search this

Genre/Form:

Video recordings

Identifier:

AAA.laigval

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-laigval

Creator:

Kuniyoshi, Yasuo, 1889-1953  Search this

Extent:

14.3 Linear feet

2.84 Gigabytes

14.3 Linear feet

2.84 Gigabytes

Type:

Collection descriptions

Archival materials

Gigabytes

Scrapbooks

Photographs

Date:

1906-2016

bulk 1920-1990

1906-2016

bulk 1920-1990

Summary:

The papers of artist Yasuo Kuniyoshi measure 14.3 linear feet and 2.84 gigabytes and date from 1906-2016, bulk 1920-1990. The collection documents his career as a painter, graphic artist, and photographer, as well as his involvement in political, social, and art organizations, especially during World War II. Included are biographical material; correspondence; writings and lectures by Kuniyoshi and others; organization records primarily on his participation in various associations and groups he was a member of; professional and gallery records regarding business dealings with American and Japanese galleries, museums, and dealers; exhibition files; printed material; four scrapbooks; artwork; photographs of Kuniyoshi and others in various locations and at events; and artwork records which mostly consist of photographs and provenance information. The collection also contains materials on Kuniyoshi's career and artwork obtained after his death by his widow Sara Mazo Kuniyoshi.

Scope and Content Note:

The papers of artist Yasuo Kuniyoshi measure 14.3 linear feet and 2.84 gigabytes and date from 1906-2013, bulk 1920-1990. The collection documents his career as a painter, graphic artist, and photographer, as well as his involvement in political, social, and art organizations, especially during World War II. Included are biographical material; correspondence; writings and lectures by Kuniyoshi and others; organization records primarily on his participation in various associations and groups he was a member of; professional and gallery records regarding business dealings with American and Japanese galleries, museums, and dealers; exhibition files; printed material; four scrapbooks; artwork; photographs of Kuniyoshi and others in various locations and at events; and artwork records which mostly consist of photographs and provenance information. The collection also contains materials on Kuniyoshi's career and artwork obtained after his death by his widow Sara Mazo Kuniyoshi.

Biographical material consists of a wide range of records such as an address book, resumes, biographical summaries, vital records, citizenship applications, identification documents, travel records, and documentation regarding Kuniyoshi's death. There is some limited biographical material on the artist's widow, Sara Mazo Kuniyoshi, plus interviews with her talking about Kuniyoshi.

Correspondence is divided into correspondence with Yasuo Kuniyoshi and the correspondence with his second wife, Sara Mazo Kuniyoshi. The Yasuo Kuniyoshi correspondence discusses various topics including exhibits and his status as a Japanese American during World War II. The bulk of the series consists of correspondence with Sara after Yasuo's death and usually relates to exhibitions of his work, and reproduction requests for the inclusion of his work in publications. Of note is her correspondence with Alexander Brook, Ritsuko Ozawa, Tom Wolf, and the Yasuo Kuniyoshi Museum in Japan.

Writings and lectures include Kuniyoshi's writings and speeches about other artists, art and the art profession, lithography, and World War II. Also found are statements on his own work and extensive notes for his autobiography. There are two sound recordings of lectures by Kuniyoshi at art schools as well as writings by others, including Sara Mazo Kuniyoshi, about Yasuo Kuniyoshi.

Organization records document Kuniyoshi's involvement in social, political, and art organizations, including the East West Association and the Artists Equity Association. These records include correspondence, speeches, printed material and notes.

Gallery and professional records include material on Kuniyoshi's career and the sales of his work at galleries. Found herein are correspondence, printed material and notes. There are files on projects and commissions, transcripts of the radio broadcast "Japan Against Japan," appraisals of artwork, authentications of artwork, art inventories of his work at various galleries as well as private collections, and records of his participation in the Woodstock Art Conference. Also noteworthy are the records of Sara Mazo Kuniyoshi's dealings with the Downtown Gallery and Zabriskie Galleries.

Exhibition files include a few files on exhibitions while Yasuo Kuniyoshi was alive, but most of the series consists of files created by Sara Mazo Kuniyoshi about exhibitions of Kuniyoshi's works after his death in 1953. Files may include exhibition checklists and planning documents, loan agreements, correspondence, photographs of the exhibition, and press materials.

Printed material consists of books, newspaper, and magazine clippings about Kuniyoshi and about World War II. There are numerous exhibition catalogs and announcements and some magazines, posters, brochures, and bulletins.

There are four scrapbooks of printed material related to Kuniyoshi and his artwork. The scrapbooks contain press clippings, exhibition announcements, checklists, and a few catalogs.

Artwork consists of etchings, numerous sketches and drawings in graphite and ink, sketches painted onto clear acetate which Kuniyoshi used for catalogs, two zinc lithographic plates and their corresponding prints, and a sketchbook. Drawings that Yasuo Kuniyoshi created for the Office of War Information during World War II are in this series. There is one folder of pencil sketches by unidentified artists.

Photographic material are mostly photographs of Kuniyoshi in his studio, at various events and parties, teaching at Mills College and with his wife Sara Mazo Kuniyoshi. Also found are photographs of artists, including Francis Criss, Julian Levi, Doris and Russell Lee, and others, taken by Yasuo Kuniyoshi. Especially noteworthy, are photographs of the Artists Equity Testimonial Dinner held in honor of Kuniyoshi's 1948 retrospective at the Whitney Museum of American Art. There are some slides and snapshots of Sara Mazo Kuniyoshi's travels abroad and a the house in Woodstock she shared with Yasuo, along with other locations.

Artwork photograph records were created by Sara Mazo Kuniyoshi to document works of art created by her husband. Files mostly include photographs of artwork with annotations regarding title, date, sale, and provenance. Some files also include correspondence, notes by Sara Kuniyoshi, exhibition history, and published reproductions. There are also miscellaneous photographs and slides of artwork which mostly consist of duplicates of artwork that can be found in the rest of the series.

Arrangement:

This collection is arranged as 11 series.

Series 1: Biographical Material, 1906-1998 (Box 1, ER01; 0.3 linear feet)

Series 2: Correspondence, 1931-2007 (Boxes 1-2; 1.2 linear feet)

Series 3: Writings and Lectures, 1939-2003 (Box 2; 0.5 linear feet)

Series 4: Organization Records, 1939-2003 (Box 3; 0.4 linear feet)

Series 5: Gallery and Professional Records, circa 1924-2009 (Boxes 3-5, OV 19; 2.1 linear feet)

Series 6: Exhibition Files, 1948-2004 (Boxes 5-6, OVs 19-20; 1.1 linear feet)

Series 7: Printed Material, 1921-2013 (Boxes 6-8, 14, OV 20 ; 2.1 linear feet)

Series 8: Scrapbooks, 1919-1978 (Boxes 8, 13, 15; 0.6 linear feet)

Series 9: Artwork, 1925-1991 (Boxes 8, 14, 16, OV 21-23; 0.8 linear feet)

Series 10: Photographic Material, circa 1920-2005 (Boxes 8-9, 16-17; 1.4 linear feet)

Series 11: Artwork Photograph Records, circa 1920s-2016 (Boxes 9-12, 17-18, OV 22; 3.8 linear feet)

Biographical Note:

Yasuo Kuniyoshi (1889-1953) was a Japanese-American painter, printmaker and photographer based in New York, N.Y.

Kuniyoshi was born in Okayama, Japan. In 1906 he came to the United States and a year later began studying at the Los Angeles School of Art and Design. In 1910 he moved to New York and took courses at the National Academy of Design, the Independent School of Art, and the Art Students League, where he studied with Kenneth Hayes Miller. He was married to fellow artist Katherine Schmidt from 1919 to 1932. After traveling throughout Europe, they moved to the Woodstock, New York, in 1927 and took part in the Woodstock Art Colony. Kuniyoshi studied and later taught at the Art Students League summer school there.

By 1930 Kuniyoshi had established himself as an internationally known painter and graphic artist. In 1935, he received a Guggenheim fellowship and married Sara Mazo. In New York City he taught at the Art Students League, the New School for Social Research, and served as the first president of the Artists Equity Association from 1947 to 1950. Kuniyoshi was active in social organizations, especially Japanese American organizations, such as the Japanese American Committee for Democracy. Although Kuniyoshi was barred from becoming a citizen due to American immgration laws at the time, he viewed himself as American and took an active role in the war effort during World War II, even working with the U.S. Office of War Information department to design posters.

The Whitney Museum of American Art held a retrospective for Kuniyoshi in 1948, making him the first living artist to be honored in such a fashion at the museum. Yasuo Kuniyoshi died of cancer in 1953 and was survived by his second wife Sara Mazo Kuniyoshi who preserved the legacy of his work.

Related Materials:

Also found at the Archives of American Art are the Yasuo Kuniyoshi photographs of artwork, a 1948 letter from Kuniyoshi to E. P. Richardson, and checklists of Yasuo Kuniyoshi prints.

Provenance:

The collection was donated in installments, from 1969 to 1995, by Sara Mazo Kuniyoshi, Yasuo Kuniyoshi's widow. Additional papers were donated in 2014 and 2018 by Stephen Diamond, Sara Mazo Kuniyoshi's nephew.

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:

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

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

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

Topic:

Art, Modern -- 20th century  Search this

Asian American art  Search this

Asian American artists  Search this

Political clubs  Search this

World War, 1939-1945 -- Japanese Americans  Search this

Japanese American art  Search this

Japanese American artists  Search this

Asian American painters  Search this

Asian American printmakers  Search this

Asian American photographers  Search this

Genre/Form:

Scrapbooks

Photographs

Citation:

Yasuo Kuniyoshi papers, 1906-2016, bulk 1920-1990. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing and digitization of this collection was provided by Stephen Diamond, the Roy Lichtenstein 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.

Identifier:

AAA.kuniyasu

See more items in:

Yasuo Kuniyoshi papers

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-kuniyasu

Collection Creator:

Kuniyoshi, Yasuo, 1889-1953  Search this

Container:

Box 3, Folder 4

Type:

Archival materials

Date:

1947-1952

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:

Yasuo Kuniyoshi papers, 1906-2016, bulk 1920-1990. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing and digitization of this collection was provided by Stephen Diamond, the Roy Lichtenstein 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:

Yasuo Kuniyoshi papers

Yasuo Kuniyoshi papers / Series 4: Organization Records

Archival Repository:

Archives of American Art

EDAN-URL:

ead_component:sova-aaa-kuniyasu-ref1184

Collection Creator:

Kuniyoshi, Yasuo, 1889-1953  Search this

Container:

Box 3, Folder 5

Type:

Archival materials

Date:

1949-2002

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:

Yasuo Kuniyoshi papers, 1906-2016, bulk 1920-1990. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing and digitization of this collection was provided by Stephen Diamond, the Roy Lichtenstein 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:

Yasuo Kuniyoshi papers

Yasuo Kuniyoshi papers / Series 4: Organization Records

Archival Repository:

Archives of American Art

EDAN-URL:

ead_component:sova-aaa-kuniyasu-ref1185