Search Results

Creator:

Smithsonian Museum Conservation Institute  Search this

Type:

YouTube Videos

Uploaded:

2015-02-19T05:46:20.000Z

YouTube Category:

Education  Search this

Topic:

Conservation and restoration;Museum conservation methods;Museum techniques  Search this

See more by:

MCISmithsonian

Data Source:

Smithsonian Museum Conservation Institute

YouTube Channel:

MCISmithsonian

EDAN-URL:

edanmdm:yt_Z3o3z1kZmnE

Author:

Edwards, Howell G. M. 1943-  Search this

Vandenabeele, Peter  Search this

Colomban, Philippe  Search this

Physical description:

xxxviii, 493 pages illustrations (chiefly color), charts, facsimile, portraits 25 cm

Type:

Books

Date:

2023

Topic:

Historic preservation--Data processing  Search this

Cultural property--Protection--Data processing  Search this

Raman spectroscopy  Search this

Call number:

QD96.R34 E39 2023

Data Source:

Smithsonian Libraries

EDAN-URL:

edanmdm:siris_sil_1161238

Author:

Saaze, Vivian van 1975-  Search this

Physical description:

1 online resource (225 pages) illustrations (chiefly color)

Type:

Electronic resources

Electronic books

Date:

2013

20th century

21st century

Topic:

Installations (Art)--Conservation and restoration  Search this

Art, Modern--Conservation and restoration  Search this

Museum exhibits  Search this

Art museums  Search this

History of art--art and design styles  Search this

The arts  Search this

ART--History--General  Search this

Art conservation  Search this

Call number:

N410 .S33 2013 (Internet)

N6494.I56 S23 2013 ONLINE (Internet)

Restrictions & Rights:

OAPEN (Open Access Publishing in European Networks). All rights reserved

1-user

Data Source:

Smithsonian Libraries

EDAN-URL:

edanmdm:siris_sil_1147320

Creator:

National Museum of Natural History (U.S.). Department of Anthropology  Search this

Smithsonian Institution. Department of Anthropology  Search this

Smithsonian Institution. United States National Museum. Department of Anthropology  Search this

Extent:

330.25 Linear feet (519 boxes)

Note:

Some materials are held off-site; this will be indicated at the series or sub-series level. Advanced notice must be given to view these portions of the collection.

Type:

Collection descriptions

Archival materials

Date:

1840s-circa 2015

Summary:

The Department of Anthropology records contain administrative and research materials produced by the department and its members from the time of the Smithsonian Institution's foundation until today.

Scope and Contents:

The Department of Anthropology records contain correspondence, manuscripts, photographs, memoranda, invoices, meeting minutes, fiscal records, annual reports, grant applications, personnel records, receipts, and forms. The topics covered in the materials include collections, exhibits, staff, conservation, acquisitions, loans, storage and office space, administration, operations, research, budgets, security, office procedures, and funding. The materials were created by members of the Section of Ethnology of the Smithsonian Institution, the Division of Anthropology of the United States National Museum, the Office of Anthropology of the National Museum of Natural History, and the Department of Anthropology of the National Museum of Natural History and range in date from before the founding of the Smithsonian Institution to today. The Department of Anthropology records also contain some materials related to the Bureau of American Ethnology, such as documents from the River Basin Surveys.

Please note that the contents of the collection and the language and terminology used reflect the context and culture of the time of its creation. As an historical document, its contents may be at odds with contemporary views and terminology and considered offensive today. The information within this collection does not reflect the views of the Smithsonian Institution or National Anthropological Archives, but is available in its original form to facilitate research.

Arrangement:

This collection is arranged in 28 series: (1) Correspondence, 1902-1908, 1961-1992; (2) Alpha-Subject File, 1828-1963; (3) Alpha-Subject File, 1961-1975; (4) Smithsonian Office of Anthropology Subject Files, 1967-1968; (5) River Basin Survey Files, 1965-1969; (6) Research Statements, Proposals, and Awards, 1961-1977 (bulk 1966-1973); (7) Publication File, 1960-1975; (8) Memoranda and Lists Concerning Condemnations, 1910-1965; (9) Notebook on Special Exhibits, 1951-1952 (10) Section on Animal Industry; (11) Administrative Records, 1891-1974; (12) Administrative Records, 1965-1994 (bulk 1975-1988); (13) Fiscal Records, 1904-1986; (14) Annual Reports, 1920-1983; (15) Chairman's Office Files, 1987-1993; (16) Division of Archaeology, 1828-1965; (17) Division of Ethnology, 1840s, 1860-1972, 1997; (18) Division of Physical Anthropology; (19) Division of Cultural Anthropology, 1920-1968; (20) Records of the Anthropological Laboratory/Anthropology Conservation and Restoration Laboratory, 1939-1973; (21) Collections Management, 1965-1985; (22) Photographs of Specimens and Other Subjects (Processing Laboratory Photographs), 1880s-1950s; (23) Exhibit Labels, Specimen Labels, Catalog Cards, and Miscellaneous Documents, circa 1870-1950; (24) Antiquities Act Permits, 1904-1986; (25) Ancient Technology Program, circa 1966-1981; (26) Urgent Anthropology; (27) Records of the Handbook of North American Indians; (28) Personnel; (29) Repatriation Office, 1991-1994

Administrative History.:

The Smithsonian Institution was founded in 1846. Although there was no department of anthropology until the creation of the Section of Ethnology in 1879, anthropological materials were part of the Smithsonian's collection from its foundation. The Section of Ethnology was created to care for the rapidly growing collection. In 1881, the United States National Museum was established. Soon thereafter, in 1883, it was broken up into divisions, including the Division of Anthropology. In 1904, Physical Anthropology was added to the Division.

The Bureau of American Ethnology (BAE) was created in 1879 as a research unit of the Smithsonian, separating research from collections care. However, during the 1950s, research became a higher priority for the Department of Anthropology and, in 1965, the BAE was merged with the Department of Anthropology to create the Office of Anthropology, and the BAE's archives became the National Anthropological Archives (NAA).

In 1967, the United States National Museum was broken up into three separate museums: the Musuem of History and Technology (now the National Museum of American History), the National Museum of American Art, and the National Museum of Natural History (NMNH). The Office of Anthropology was included in NMNH and was renamed the Department of Anthropology in 1968.

New divisions were added to the Department, including the Human Studies Film Archives (HSFA) in 1981, the Research Institute on Immigration and Ethnic Studies (RIIES) in 1982, and the Repatriation Office in 1993. In 1983, the Smithsonian opened the Museum Support Center (MSC) in Suitland, Maryland, as offsite housing for collections with specialized storage facilities and conservation labs.

The Department of Anthropology is currently the largest department within NMNH. It has three curatorial divisions (Ethnology, Archaeology, and Biological Anthropology) and its staff includes curators, research assistants, program staff, collections specialists, archivists, repatriation tribal liaisons, and administrative specialists. It has a number of outreach and research arms, including the Repatriation Office, Recovering Voices, Human Origins, and the Arctic Studies Center.

The Museum is home to one of the world's largest anthropology collections, with over three million specimens in archaeology, ethnology, and human skeletal biology. The NAA is the Smithsonian's oldest archival repository, with materials that reflect over 150 years of anthropological collecting and fieldwork. The HSFA is the only North American archive devoted exclusively to the collection and preservation of anthropological film and video.

Sources Consulted

National Museum of Natural History. "Department of Anthropology: About" Accessed April 13, 2020. https://naturalhistory.si.edu/research/anthropology/about

National Museum of Natural History. "History of Anthropology at the Smithsonian." Accessed April 13, 2020. https://naturalhistory.si.edu/sites/default/files/media/file/history-anthropology-si.pdf

National Museum of Natural History. "History of the Smithsonian Combined Catalog." Accessed April 13, 2020 https://sirismm.si.edu/siris/sihistory.htm

Chronology

1846 -- The Smithsonian Institution is founded

1879 -- George Catlin bequeaths his collection to the Smithsonian The Section of Ethnology is established to oversee ethnological and archaeological collections The Bureau of Ethnology is established by Congress as a research unit of the Smithsonian

1881 -- The U.S. National Museum (USNM) is established as a separate entity within the Smithsonian Institution

1883 -- The staff and collections of the USNM are reorganized into divisions, including a Division of Anthropology

1897 -- The United States National Museum is reorganized into three departments: Anthropology headed by W. H. Holmes; Biology with F. W. True as head; and Geology with G. P. Merrill in charge The Bureau of Ethnology is renamed the Bureau of American Ethnology (BAE) to emphasize the geographic limit of its interests

1903 -- The Division of Physical Anthropology established

1904 -- The Division of Physical Anthropology is incorporated into the Division of Anthropology

1910 -- The USNM moves into the new Natural History Building

1965 -- The Smithsonian Office of Anthropology is created on February 1 The BAE is eliminated and merged with the Office of Anthropology

1968 -- The Smithsonian Office of Anthropology (SOA) of the National Museum of Natural History is retitled the Department of Anthropology on October 29

1973 -- The Research Institute on Immigration and Ethnic Studies (RIIES) is established at the National Museum of Natural History's (NMNH) Center for the Study of Man (CSM) to study the waves of immigration to the United States and its overseas outposts that began in the 1960's

1975 -- The National Anthropological Film Center is established

1981 -- The National Anthropological Film Center is incorporated into the Department of Anthropology

1982 -- The RIIES, part of the CSM at the NMNH, is transferred to the Department of Anthropology

1991 -- NMNH establishes a Repatriation Office

1993 -- The Repatriation Office is incorporated into the Department of Anthropology

Head Curators and Department Chairs

1897-1902 -- William Henry Holmes

1902-1903 -- Otis T. Mason (acting)

1904-1908 -- Otis T. Mason

1908-1909 -- Walter Hough (acting)

1910-1920 -- William Henry Holmes

1920-1923 -- Walter Hough (acting)

1923-1935 -- Walter Hough

1935-1960 -- Frank M. Setzler

1960-1962 -- T. Dale Stewart

1963-1965 -- Waldo R. Wedel

1965-1967 -- Richard Woodbury

1967-1970 -- Saul H. Riesenberg

1970-1975 -- Clifford Evans

1975-1980 -- William W. Fitzhugh

1980-1985 -- Douglas H. Ubelaker

1985-1988 -- Adrienne L. Kaeppler

1988-1992 -- Donald J. Ortner

1992-1999 -- Dennis Stanford

1999-2002 -- Carolyn L. Rose

2002-2005 -- William W. Fitzhugh

2005-2010 -- J. Daniel Rogers

2010-2014 -- Mary Jo Arnoldi

2014-2018 -- Torbin Rick

2018- -- Igor Krupnik

Related Materials:

The NAA holds collections of former head curators and department chairs, including the papers of Otis Tufton Mason, Walter Hough, T. Dale Stewart, Waldo Rudolph and Mildred Mott Wedel, Saul H. Riesenberg, Clifford Evans, and Donald J. Ortner; the photographs of Frank Maryl Setzler; and the Richard B. Woodbury collection of drawings of human and animal figures.

Other related collections at the NAA include the papers of Gordon D. Gibson, Eugene I. Knez, and Betty J. Meggers and Clifford Evans; and the records of the Bureau of American Ethnology, the Center for the Study of Man, and the River Basin Surveys.

Provenance:

This collection was transferred to the National Anthropological Archives (NAA) by the National Museum of Natural History's Department of Anthropology in multiple accessions.

Restrictions:

Some materials are restricted.

Access to the Department of Anthropology records requires an appointment.

Rights:

Contact the repository for terms of use.

Topic:

Anthropology  Search this

Ethnology  Search this

Archaeology  Search this

Citation:

Department of Anthropology Records, National Anthropological Archives, Smithsonian Institution

Identifier:

NAA.XXXX.0311

See more items in:

Department of Anthropology records

Archival Repository:

National Anthropological Archives

GUID:

https://n2t.net/ark:/65665/nw3da0f5297-c324-47c1-96dd-171f6edd11b6

EDAN-URL:

ead_collection:sova-naa-xxxx-0311

Author:

Getty Conservation Institute  Search this

Subject:

Getty Conservation Institute Periodicals  Search this

Physical description:

5 v. : ill. ; 28 cm

Type:

Periodicals

Date:

1986

1990

1986-

Topic:

Art--Conservation and restoration  Search this

Call number:

N8560 .G394

AP1 .G42

NA8560.G394

AP1.G42

Data Source:

Smithsonian Libraries

EDAN-URL:

edanmdm:siris_sil_336688

Issuing body:

Harvard University Museum of Comparative Zoology  Search this

Author:

Brill, Elizabeth R  Search this

Huber, Florian 1981-  Search this

Photographer:

Brown, David O (David Owen)  Search this

Subject:

Harvard University Museum of Comparative Zoology Natural history collections  Search this

Harvard Museum of Natural History  Search this

Physical description:

112 pages color illustrations, portraits 23 cm

Type:

Pictorial works

Exhibitions

Ouvrages illustrés

Illustrated works

Exhibition catalogs

Date:

2016

Topic:

Marine invertebrates--Models  Search this

Marine invertebrates--In art  Search this

Biological models  Search this

Animal models in research  Search this

Glass animals  Search this

Glass animals--Conservation and restoration  Search this

Invertébrés marins--Dans l'art  Search this

Modèles biologiques  Search this

Modèles animaux dans la recherche  Search this

Animaux en verre  Search this

Animaux en verre--Conservation et restauration  Search this

Natural history  Search this

Data Source:

Smithsonian Libraries

EDAN-URL:

edanmdm:siris_sil_1155849

Author:

Lochan, Pramila  Search this

Subbaraman, S  Search this

Publisher:

Indira Gandhi National Centre for the Arts  Search this

Physical description:

261 pages illustrations (black and white, and colour), maps (black and white) 22 cm

Type:

Books

Place:

India

Kānchipuram

Inde

Date:

2019

Topic:

Mural painting and decoration, Indic  Search this

Mural painting and decoration, Indic--Conservation and restoration  Search this

Hindu temples  Search this

Temples hindous  Search this

Data Source:

Smithsonian Libraries

EDAN-URL:

edanmdm:siris_sil_1118567

Author:

Hansen, Erik  Search this

Najimi, Abdul Wasay  Search this

Christensen, Claus  Search this

Photographer:

Hansen, Kickan  Search this

Physical description:

163 pages illustrations (some color), plans 30 cm

Type:

Books

History

Place:

Afghanistan

Herat

Afghānistān

Harāt

Herat (Afghanistan)

Date:

2015

Topic:

Architecture--History  Search this

Mosques--History  Search this

Monuments--Conservation and restoration  Search this

Timurids--History  Search this

Architecture--Histoire  Search this

Monuments--Conservation et restauration  Search this

Timourides--Histoire  Search this

Antiquities  Search this

Architecture  Search this

Mosques  Search this

Timurids  Search this

History  Search this

Data Source:

Smithsonian Libraries

EDAN-URL:

edanmdm:siris_sil_1146346

Author:

Jain, Shikha  Search this

Arora, Vanicka  Search this

Physical description:

175 pages color illustrations, maps 26 x 29 cm

Type:

Books

Place:

India

Udaipur (Princely State)

Date:

2017

India

Udaipur (Rajasthan)

Topic:

Architecture, Rajput  Search this

Museum buildings--Conservation and restoration  Search this

Buildings  Search this

Buildings, structures, etc  Search this

Data Source:

Smithsonian Libraries

EDAN-URL:

edanmdm:siris_sil_1146984

Extent:

39.1 cu. ft. (39 record storage boxes) (0.1 non-standard size boxes)

Type:

Collection descriptions

Archival materials

Brochures

Clippings

Manuscripts

Newsletters

Compact discs

Electronic records

Floppy disks

Posters

Color photographs

Black-and-white photographs

Black-and-white negatives

Black-and-white transparencies

Color negatives

Color transparencies

Videotapes

Audiotapes

Date:

1973-2014

Descriptive Entry:

This accession consists of records that document the history and activities of Heritage Preservation from its very beginnings as the National Conservation Advisory Council and the National Institute for the Conservation of Cultural Property. Among those areas documented include board meetings, workshops, the SOS! program, conservation awards, and annual meetings. People represented in the collection include R. M. Organ, Margiene H. Butler, Carolyn L. Rose, David Shute, and Lawrence L. Reger. Materials include correspondence, memoranda, reports, notes, meeting minutes, meeting agendas, financial records, transcripts, proposals, images, release forms, exhibition records, questionnaires, grant records, videotapes, audiocassettes, posters, and clippings. Some materials are in electronic format.

Historical Note:

In June 1973, a conference was held at the Winterthur Museum in Delaware. It was called primarily to attempt to quantify the known conservation training needs in the United States as a while and to compare those needs with currently available capability for training. At the conference were directors of the then-existing training programs, representatives of public and private agencies potentially capable of proving financial support for conservation programs, and individuals with wide-ranging concerns about the nation's need for more and better conservation work.

Conference attendees recommended the establishment of an advisory council to provide a forum for coordinated planning and voluntary cooperation among existing and projected conservation training programs. Initial funding for the expenses of the organization was obtained from the National Museum Act. The group held its organizational meeting in November 1973 at the Arts and Industries Building in Washington, D.C. to develop further its structure and purpose and to adopt by-laws. The organization was named the National Conservation Advisory Council (NCAC), and its purpose was stated to be the provision of a national forum for planning and cooperation among institutions and programs concerned with the conservation of cultural property in museums, historic properties, libraries, archives and other types of collections in the United States.

Its first efforts included assessing national Conservation needs in training, research and publications; seeking ways to meet these needs; and studying the advisability of creating a national institute for conservation, including such laboratory facilities, training programs and other activities on a national basis as might be found to be appropriate.

The executive committee of the NCAC included: Chairman, Edward R. Gilbert, Greenfield Village and Henry Ford Museum; Vice Chairman, Charles Van Ravenswaay, Winterthur Museum; Executive Secretary, Gretchen Gayle, Smithsonian Institution; and members, Norbert S. Baer, Institute of Fine Arts, New York University, Robert L. Feller, National Gallery of Art Research Project, Mellon Institute, Sheldon Keck, Cooperstown Graduate Programs.

After these initial efforts, NCAC evolved to become a nonprofit, independent, public policy organization dedicated to preserving the cultural, historic, and scientific heritage of the United States. The organization has identified threats to collections and has responded with practical and pioneering solutions. Its special initiatives, reports, and programs have made decision makers, conservation professionals, and the general public aware of the immediate attention required to reduce the risks of losing America's cultural heritage.

NCAC later became known as the National Institute for the Conservation of Cultural Property (NIC), and then ultimately became Heritage Preservation in 1997.

Its members included museums, libraries, archives, conservation centers, and national associations and its mission was to preserve the nation's heritage for future generations through innovative leadership, education, and programs.

Heritage Preservation helped museums, libraries, and individuals with the best preservation advice from professional conservators through their publications. The Conservation Assessment Program (CAP) helped small and mid-sized museums get the advice of professional conservators for their collections and historic buildings. Its Heritage Health Index survey was the first attempt to paint a national picture of the state of collections across a broad spectrum of institutions - museums, libraries, archives, historical societies, and scientific organizations.

Their Save Outdoor Sculpture! (SOS!) program served as a resource for identifying, documenting, and conserving outdoor sculpture nationwide.

SOS! advocated for the proper care of outdoor sculpture and provided the public with the tools necessary to garner local action, increase appreciation for sculpture, and improve the care of sculpture in both the short and long term. It encouraged a multifaceted approach to preservation: conservation treatment, public awareness, education, and long-term maintenance. It was a partnership between the Smithsonian American Art Museum (SAAM) and Heritage Preservation.

Topic:

Training  Search this

Historic preservation  Search this

Conservation and restoration  Search this

Congresses and conventions  Search this

Professional associations  Search this

Committees  Search this

Museums -- Collection management  Search this

Collection management (Libraries)  Search this

Archives -- Collection management  Search this

History -- Societies, etc.  Search this

Outdoor sculpture  Search this

Genre/Form:

Brochures

Clippings

Manuscripts

Newsletters

Compact discs

Electronic records

Floppy disks

Posters

Color photographs

Black-and-white photographs

Black-and-white negatives

Black-and-white transparencies

Color negatives

Color transparencies

Videotapes

Audiotapes

Citation:

Smithsonian Institution Archives, Accession 15-306, Heritage Preservation (Organization), Records

Identifier:

Accession 15-306

See more items in:

Records

Archival Repository:

Smithsonian Institution Archives

EDAN-URL:

ead_collection:sova-sia-fa15-306

Creator:

Cornelius, Francis duPont, 1907-  Search this

Extent:

12.4 Linear feet

Type:

Collection descriptions

Archival materials

Date:

1927-1978

Scope and Contents:

Correspondence; biographical and personal documents; writings; photographs; etchings; conservation work files; business files; slides and negatives.

Biographical and personal documents; business correspondence; typescripts, notes, and published writings; photographs of Cornelius; 4 etchings by him; files on conservation work completed, containing correspondence, condition reports, bills, receipts, canvas fragments, photographs, transparencies, x-rays and slides.

Business daybooks, 11volumes, 1952-1978, listing Cornelius' transactions as a conservator of works of art. The listings include the date, client, artist and work, appraisal of the work's condition, conservation performed, and cost. Payments due are also listed.

Biographical / Historical:

Francis duPont Cornelius (1907-1990) was a conservator from Cincinnati, Ohio.

Provenance:

Unmicrofilmed material donated 1978 by Francis duPont Cornelius. Material on reel 1419 lent for microfilming 1978 by Cornelius.

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:

Conservators -- Ohio -- Cincinnati  Search this

Topic:

Art -- Conservation and restoration  Search this

Identifier:

AAA.cornfran

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw90e4d6e95-e6b8-444e-8a41-5e06ff4c35ac

EDAN-URL:

ead_collection:sova-aaa-cornfran

Creator:

WNET (Television station : New York, N.Y.)  Search this

Names:

American Federation of Arts  Search this

WNET (Television station : New York, N.Y.)  Search this

Bowman, Ruth, 1923-  Search this

Broderick, Alfred  Search this

Davis, Elizabeth  Search this

Gorky, Arshile, 1904-1948  Search this

Extent:

1 Videocassettes (U-matic) ((30 min), sd., col., 3/4 in.)

Type:

Collection descriptions

Archival materials

Videocassettes (u-matic)

Place:

Newark Airport

Date:

1979

Scope and Contents:

Describes the 1972 discovery and later conservation of Arshile Gorky's murals "Aviation" at the Newark, N.J. International Airport, executed in 1937 by Gorky as part of the Work Projects Administration art project. Art historian Ruth Bowman, N.J. Port Authority employees Saul Wenegrat and Stephen Staempler, and conservator Carroll Wales of Oliver Bros. are among those who describe their involvement. The murals are now in the Newark Museum.

Publication, Distribution, Etc. (Imprint):

New York : WNET/Thirteen, 1979.

General:

Broadcast Dec. 1978 on WNET/Thirteen's Dateline, N.J. series. U-matic video produced April 16, 1979.

Based on the exhibition "Murals Without Walls: Arshile Gorky's Aviation Murals Rediscovered," Newark Museum, Nov. 1978-March 1979.

Provenance:

Donated by the American Federation of Arts, who sponsored a tour of the Newark Museum exhibition "Murals Without Walls: Arshile Gorky's Aviation Murals Rediscovered," July 1979-December 1980. The exhibit was curated by Ruth Bowman.

Topic:

Mural painting and decoration -- 20th century -- Conservation and restoration  Search this

Mural painting and decoration -- 20th century -- New Jersey -- Newark  Search this

Identifier:

AAA.wnettelv

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9551bec80-61a8-438e-80c8-ef6ba634f092

EDAN-URL:

ead_collection:sova-aaa-wnettelv

Interviewee:

Dolloff, Francis W.  Search this

Interviewer:

Brown, Robert F.  Search this

Names:

Rossiter, Henry P. (Henry Preston), b. 1885  Search this

Extent:

2 Items (sound cassettes. Sound recording)

51 Pages (Transcript)

Type:

Collection descriptions

Archival materials

Pages

Sound recordings

Interviews

Date:

1986 September 19-November 13

Scope and Contents:

An interview with Francis W. Dolloff conducted 1986 September 19-1986 November 13, by Robert F. Brown, for the Archives of American Art.

Dolloff speaks of his childhood and education in the Boston area; of his work as a young helper, from 1924 on, in various capacities at the Museum of Fine Arts, Boston; working in the late 1920s as a self-taught prints and drawings restorer under Henry P. Rossiter at the Museum of Fine Arts; modern apprenticeship plus specialized training for restorers.

Biographical / Historical:

Francis W. Dolloff (1908-2006) was a restorer of prints and drawings at the Museum of Fine Arts in Boston.

General:

Originally recorded on 2 sound cassettes. Reformatted in 2010 as 3 digital wav files. Duration is 2 hr., 6 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:

Prints -- Conservation and restoration -- Massachusetts -- Boston  Search this

Restorers -- Massachusetts -- Boston -- Interviews  Search this

Genre/Form:

Sound recordings

Interviews

Sponsor:

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.dollof86

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw91a19fc99-5fbe-47bf-b64b-422fbb00f935

EDAN-URL:

ead_collection:sova-aaa-dollof86

Creator:

Oliver, James, fl. 1865-1890  Search this

Extent:

5 Volumes ((on partial microfilm reel))

Type:

Collection descriptions

Archival materials

Volumes

Date:

1865-1890

Scope and Contents:

Account books presumed to have been kept by Oliver, listing his customers, charges, and sometimes naming the painting restored; names and addresses, probably of customers; copies of signatures of various artists.

Biographical / Historical:

Painting restorer; New York, N.Y.

Provenance:

Lent 1974 by the New York Historical Society.

Restrictions:

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

Occupation:

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

Topic:

Conservation and restoration -- Paintings  Search this

Identifier:

AAA.olivjame

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9ed1d740d-c7f8-493f-a314-006dca9e4a37

EDAN-URL:

ead_collection:sova-aaa-olivjame

Creator:

Pomerantz, Louis  Search this

Names:

American Institute for Conservation of Historic and Artistic Works  Search this

Art Institute of Chicago  Search this

Eastman Kodak Company  Search this

International Institute for Conservation of Historic and Artistic Works  Search this

Rijksmuseum (Netherlands)  Search this

Smithsonian Institution. Traveling Exhibition Service  Search this

Feller, Robert L.  Search this

Konrad, Anton  Search this

Stolow, Nathan  Search this

Stout, George L. (George Leslie)  Search this

Wilke, Ulfert, 1907-1987  Search this

Extent:

34.2 Linear feet

Type:

Collection descriptions

Archival materials

Photographs

Interviews

Illustrations

Sound recordings

Date:

1937-1988

bulk 1950-1988

Summary:

The papers of Chicago art conservator, Louis Pomerantz, measure 34.2 linear feet and date from 1937 to 1988, with the bulk of the material dating from the 1950s-1980s. The papers document two principal aspects of Pomerantz's professional life: his conservation work for institutions and individuals, and the development of his professional expertise as documented through his writings and teachings, his continued conservation training, and his involvement in professional organizations. Files include scattered biographical material, professional correspondence, interviews, writings, project and client files, teaching and reference files, printed material, and photographic material primarily documenting conservation treatments and techniques.

Scope and Contents:

The papers of Chicago art conservator, Louis Pomerantz, measure 34.2 linear feet and date from 1937 to 1988, with the bulk of the material dating from the 1950s-1980s. The papers document two principal aspects of Pomerantz's professional life: his conservation work for institutions and individuals, and the development of his professional expertise as documented through his writings and teachings, his continued conservation training, and his involvement in professional organizations. Files include scattered biographical material, professional correspondence, interviews, writings, project and client files, teaching and reference files, printed material, and photographic material primarily documenting conservation treatments and techniques.

Biographical material includes military and educational records, as well as resumés and references from various art institutions and individuals.

Pomerantz's professional correspondence is with other conservators including Anton J. Konrad, Nathan Stolow, and Jean Volkmer, conservation scientists such as Robert L. Feller, and people who assisted Pomerantz early in his career such as George Stout. Also documented is Pomerantz's relationship with the Smithsonian Institution Traveling Exhibition Service (SITES) which undertook his traveling Know What You See exhibition, his involvement with museums and other art institutions, and companies who developed and manufactured conservation equipment such as Eastman Kodak.

Interviews include circa 9 radio station interviews on sound tape reels and sound cassettes of Pomerantz individually or with others, including a recording of a conversation regarding the Florence flood.

Writings and notes are by Pomerantz and include typescripts, notes and background material for lectures and papers delivered from the 1950s-1980s. Also found is a portfolio of his writings from 1962-1978, and a notebook Pomerantz compiled while working at the Rijksmuseum which includes notes, hand-drawn colored illustrations and photographs of conservation techniques.

Project/client files form the largest series and document Pomerantz's work, both in private practice and as conservator at the Art Institute of Chicago, through conditions reports, recommendations for and records of treatment, related correspondence, financial documentation, and photographic material.

Teaching and reference files comprise material gathered by Pomerantz during participation in professional organizations and events, such as the American Institute for Conservation of Historic and Artistic Works, and the International Institute for Conservation of Historic and Artistic Works. Also found are subject files, consisting of reference material and correspondence, on a wide range of conservation-related subjects.

Personal business records from the 1950s consist of receipts for conservation-related supplies and one folder of business tax records.

Printed material primarily includes news clippings documenting Pomerantz's career up to and including the 1970s, clippings on conservation-related news, blank postcards of artwork, and two exhibition catalogs.

Photographic material includes images demonstrating a wide variety of conservation techniques, including sets of slides used for lectures and presentations, and images of Pomerantz at work. Also found are photos of artists including Ulfert Wilke. Photographic media include black and white and color photos, slides, glass slides, X-rays and corresponding prints, negatives and 5 glass plate negatives.

Arrangement:

The collection is arranged as 9 series. Glass plate negatives are housed separately and closed to researchers.

Missing Title

Series 1: Biographical Material, 1940s-1980s (12 folders; Boxes 1, 33)

Series 2: Correspondence, 1940s-1988 (3.6 linear feet; Boxes 1-4)

Series 3: Interviews, 1961-circa 1970s (8 folders; Box 4)

Series 4: Writings and Notes, 1950s-1980s (2.8 linear feet; Box 7)

Series 5: Project/Client Files, 1950s-1987 (13.8 linear feet; Boxes 7-20)

Series 6: Teaching and Reference Files, 1940s-1980s (3.9 linear feet; Boxes 20-24)

Series 7: Personal Business Records, 1950s (0.6 linear feet; Boxes 24-25)

Series 8: Printed Material, 1937-1970s (0.6 linear feet; Boxes 25, 33)

Series 9: Photographic Material, 1940s-1980s (8.4 linear feet; Boxes 25-36, OV 37, MGP 1)

Biographical / Historical:

Chicago art conservator Louis Pomerantz (1919-1988), established and operated the conservation lab at the Art Institute of Chicago and then maintained a private practice conducting conservation work for individual collectors and various museums and art institutions in the midwest.

Pomerantz had originally intended to be an artist and enrolled at the Art Students League. After serving in World War II, he returned to Europe to study conservation as an apprentice to a private restorer in Paris, followed by a year spent working under the chief restorer at the Rijksmuseum in Amsterdam, and study at the Courtauld Institute and the National Gallery in London. As head of the Art Institute of Chicago's first conservation lab from 1956-1961, Pomerantz employed new and emerging techniques such as powerful binocular microscopes, ultra-violet, infra-red and X-ray machines to study paintings, and a hot table to bond new canvasses to support old ones. Following his resignation from the Art Institute of Chicago to pursue his private practice, Pomerantz organized conservation training programs, and wrote widely on conservation. He served on the American Institute for Conservation of Historic and Artistic Works (AIC) and was a member of the committee which adopted the AIC's first code of ethics for art conservators in May 1967. He became consultant to various art and natural history museums including the Field Museum of Natural History in Chicago, where he formed part of the conservation team that completed an extensive renovation of the museum's Javanese gamelan ensemble composed of 23 brass and wood musical instruments.The gamelan was presented and played for the first time since 1893 in 1978, following the restoration.

Pomerantz also organized several museum exhibitions on conservation, including Know What You See, which was shown at more than 100 museums around the United States, Canada and Mexico, as part of the Smithsonian Institution Traveling Exhibition Service (SITES).

Provenance:

The Louis Pomerantz papers were donated to the Archives of American Art by Else Pomerantz in 1988.

Restrictions:

Use of original papers requires an appointment and is limited to the Washington D.C. research center. Use of 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:

Conservators -- Illinois -- Chicago  Search this

Topic:

Flood damage -- Italy -- Florence  Search this

Museum conservation methods -- Study and teaching  Search this

Art -- Conservation and restoration  Search this

Museum conservation methods -- Technique  Search this

Genre/Form:

Photographs

Interviews

Illustrations

Sound recordings

Citation:

Louis Pomerantz papers, 1937-1988, bulk 1950s-1988. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection is provided by 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.pomeloui

See more items in:

Louis Pomerantz papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9ebc89f63-5341-4a3e-a804-7d813b2c111c

EDAN-URL:

ead_collection:sova-aaa-pomeloui

Creator:

Baer, William J. (William Jacob), 1860-1941  Search this

Extent:

1 Item ((on partial microfilm reel))

Type:

Collection descriptions

Archival materials

Date:

[undated]

Scope and Contents:

A five page manuscript in which Baer discusses the conservation of paintings on ivory.

Biographical / Historical:

Painter; East Orange, N.J.

Provenance:

Donated 1955-1962 by Charles E. Feinberg. Feinberg was a long time friend and active donor to AAA.

Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.

Occupation:

Painters -- New Jersey -- East Orange  Search this

Topic:

Art -- Conservation and restoration  Search this

Miniature painting -- Conservation and restoration  Search this

Identifier:

AAA.baerwill

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9d5efb5d5-1015-4217-b9c0-c5ddc94935f9

EDAN-URL:

ead_collection:sova-aaa-baerwill

Creator:

Bigelow and Wadsworth (Firm)  Search this

Names:

Bigelow, Henry Forbes, 1867-1929  Search this

Bulfinch, Charles, 1763-1844  Search this

Wadsworth, Philip  Search this

Extent:

26 Items

Type:

Collection descriptions

Archival materials

Date:

1912

Scope and Contents:

Architectural blueprints made in the restoration of Fifth Meeting House in Lancaster, Mass. The church was originally designed by Charles Bulfinch.

Biographical / Historical:

Architectural firm (Boston, Mass.)

Provenance:

Acquired through Lee Farnsworth.

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:

Architects -- Massachusetts  Search this

Topic:

Church architecture -- Conservation and restoration -- Massachusetts -- Lancaster  Search this

Church buildings -- Conservation and resotoration -- Massachusetts -- Lancaster  Search this

Architecture -- Conservation and restoration -- Massachusetts -- Lancaster  Search this

Architecture -- Designs and plans -- Massachusetts -- Lancaster  Search this

Architectural partnership -- Massachusetts -- Boston  Search this

Architecture, American -- Massachusetts -- Lancaster  Search this

Church architecture -- Designs and plans -- Massachusetts -- Lancaster  Search this

Function:

Architectural firms -- Massachusetts -- Boston

Identifier:

AAA.bigeand

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9c66e42fa-6103-4a6d-87ff-560a6c6e5e1a

EDAN-URL:

ead_collection:sova-aaa-bigeand

Creator:

Hines, Felrath, 1913-1993  Search this

Extent:

1.2 Linear feet

Type:

Collection descriptions

Archival materials

Date:

1954-2002

Summary:

The papers of abstract artist and art conservator Felrath Hines measure 1.3 linear feet and date from 1954 to 2002. The bulk of the papers include project files concerning his work as a conservator. These files may include correspondence; condition and treatment reports; financial records, photographic materials, and printed material. Also found is scattered biographical material, general correspondence, and photographs of conserved works--many of which are unlabeled.

Scope and Contents:

The papers of abstract artist and art conservator Felrath Hines measure 1.3 linear feet and date from 1954 to 2002. The bulk of the papers include project files concerning his work as a conservator. These files may include correspondence, condition and treatment reports, financial records, photographic materials, and printed material. Also found is scattered biographical material, general correspondence, and photographs of conserved works--many of which are unlabeled.

Arrangement:

Due to the small size of this collection the papers are arranged as one series.

Biographical / Historical:

Felrath Hines (1913-1993) was an African American painter and painting conservator in Washington, DC.

Felrath Hines was born in 1913 in Indianapolis, Indiana. He worked for the Civilian Conservation Corps in the early-1930s and subscribed to art correspondence courses. He did not begin formal art education until 1945 when he enrolled at the Art Institute of Chicago. Hines created abstract landscapes influenced by Cubism, and in the 1960s he was a member of Spiral, a group of Black artists concerned with the role of African American artists in politics and the civil rights movement.

In addition to his personal art career, Hines was a skilled conservator and served as chief conservator at the National Portrait Gallery and the Hirshhorn Museum and Sculpture Garden in Washington, D.C. His clients included the Aluminum Company of America (Alcoa Collection), Fisk University, Museum of Modern Art, Waddell Gallery, and many other institutions and individuals.

Felrath Hines died in 1993 in Silver Spring, Maryland.

Provenance:

Dorothy Fisher donated her late husband's papers to the Archives of American Art in 2002.

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:

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

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

Topic:

Art -- Conservation and restoration  Search this

Painting -- Conservation and restoration  Search this

African American artists  Search this

Citation:

Felrath Hines papers, 1954-2002. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Henry Luce Foundation.

Identifier:

AAA.hinefelr

See more items in:

Felrath Hines papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9f281e656-b893-48c5-8479-fda7e6c1bedc

EDAN-URL:

ead_collection:sova-aaa-hinefelr

Creator:

Constable, W. G. (William George), 1887-1976  Search this

Correspondent:

Allied Forces. Supreme Headquarters. Monuments, Fine Arts and Archives Section  Search this

Art Gallery of Toronto  Search this

Germany (Territory under Allied occupation, 1945-1955 : U.S. Zone). Office of Military Government  Search this

National Gallery of Canada  Search this

Watts Gallery  Search this

Brandt, Mortimer  Search this

Frick, Helen Clay, 1888-1984  Search this

Gluck, Helen  Search this

Hencken, Hugh O'Neill  Search this

Ivins, William Mills, 1881-1961  Search this

Links, J. G.  Search this

Perry, Ralph  Search this

Phillips, Duncan, 1886-1966  Search this

Sachs, Paul J. (Paul Joseph), 1878-1965  Search this

Stout, George L. (George Leslie)  Search this

Vasalle, Rudolph  Search this

Names:

American Commission for the Protection and Salvage of Artistic and Historic Monuments in War Areas  Search this

Christie, Manson & Woods International Inc.  Search this

Fogg Art Museum  Search this

Museum of Fine Arts, Boston  Search this

United States. Internal Revenue Service  Search this

Canaletto, 1697-1768  Search this

Extent:

25.7 Linear feet

Type:

Collection descriptions

Archival materials

Place:

Germany (Territory under Allied occupation, 1945-1955)

Date:

1905-1983

bulk 1920-1976

Summary:

The papers of art historian and museum curator W.G. (William George) Constable measure 25.7 linear feet and date from 1905 to 1981, with the bulk of the material from 1920 to 1976. The papers include biographical material; professional and personal correspondence; extensive lectures, writings, and notes; exhibition and book research files; printed materials; and photographs, glass plate negatives, and slides. There is substantive correspondence related to Constable's participation in the American Defense Harvard Group and about the formation of the Roberts Commission, including correspondence with Ralph Perry, Hugh Hencken, Paul Sachs and George L. Stout. There are numerous official reports prepared by Constable after World War II for the U. S. Office of Military Government for Germany.

Scope and Contents:

The papers of art historian and museum curator W.G. (William George) Constable measure 25.7 linear feet and date from 1905 to 1981, with the bulk of the material from 1920 to 1976. The papers include biographical material; professional and personal correspondence; extensive lectures, writings, and notes; exhibition and book research files; printed materials; and photographs, glass plate negatives, and slides. There is substantive correspondence related to Constable's participation in the American Defense Harvard Group and about the formation of the Roberts Commission, including correspondence with Ralph Perry, Hugh Hencken, Paul Sachs and George L. Stout. There are numerous official reports prepared by Constable after World War II for the U. S. Office of Military Government for Germany.

Biographical material includes W.G. Constable's curriculum vitae; club memberships; personal, educational, and military records; three memorial essays and obituaries; five address books; appointment books dating from 1930-1968; and financial records related to personal business travels.

Correspondence is mostly professional and arranged into General, Committee, Condolences, and J.G. Links. General correspondence is with friends, business associates, auction houses, galleries, and museums. The letters cover a wide variety of professional work, such as research projects, letters of inquiry and recommendation, and work done for Christie's and the Internal Revenue Service. Correspondents include Mortimer Brandt, Helen Frick, Helen Gluck, William Ivins, Duncan Phillips, Paul Sachs, and Rudolph Vasalle, among many others.

Committee related correspondence includes letters, memoranda, and reports related to ongoing committee objectives, projects, and routine activities. There is correspondence related to Constable's advisory work with the Art Gallery of Toronto, the National Gallery of Canada, and the Watts Gallery, among other projects. Condolences consists of letters and cards received by Constable's wife, Olivia, after Constable's death. Correspondence with J.G. Links is primarily about the second edition revision of Constable's book Canaletto.

There are over 170 drafts of Constable's notes and outlines for lectures. Topics range from 13th-20th century European and American art to museum conservation, ethics, art education, and art collecting. The series also includes lecture notes from organized touring trips to Canada, Northern Europe, Scandanavia, and Poland.

Writings consist of Constable's published and unpublished articles, articles submitted for the Encyclopedia of World Art, essays, notes, exhibition catalogs, translations, and drafts and research material related to Art Collecting in the United States, Art History and Connoisseurship, and The Painter's Workshop.

Files specifically documenting Constable's advisory role in the World War II American Defense Harvard Group drafting and organizing lists of men with curatorial, museum conservation, or library/archives backgrounds to aid in the protection European most valued cultural artifacts, artwork, and architecture. There are letters documenting the formation of the Harvard Group and its goals and objections. The files also include many of the original lists that were forwarded to the Commission for the Protection and Salvage of Artistic and Historic Monuments in Europe, also known as the Roberts Commission, eventually leading to the formation of the U.S. Army's Monuments, Fine Arts, and Archives division. The series also includes the Harvard Group's manual Safeguarding and Conserving Cultural Materials in the Field, committee minutes, and clippings related to their work. Correspondents include Ralph Perry, Paul Sachs, George L. Stout, and Hugh Hencken.

Constable's work after the war for the U.S. Office of Military Government for Germany is documented through numerous reports, memoranda, letters, and other official documents from the U. S. Army to Constable about surveying the state of German and Italian art institutions after World War II. The series also includes Constable's notebook "Visits in Germany" (1949), and a copy of his report Art and Reorientation: Status and Future of Museums and the Teaching of Art in Western Germany.

Exhibition files contain correspondence, notes, lists, research material, and reports related to exhibitions that Constable organized prior to his employment by and after his retirement from the Boston Museum of Art.

Research files contain materials relevant to Constable's interests and include notes, lists, correspondence, and printed and photographic reference material. These subject areas cover artists, including extensive files on Canaletto and other vedute painters, museum conservation, museums and galleries, private and public art collections, and schools of art.

Printed materials include clippings, programs, book excerpts and other miscellaneous printed materials.

Photographic materials include prints of Constable with friends and family, as well as prints, glass negatives and slides of artwork. There are also prints of the Fogg Art Museum's interiors and exterior and interior shots of Tennessee Valley Authority dam projects.

Arrangement:

The collection is arranged as 10 series.

Missing Title

Series 1: Biographical Materials, 1905-1983 (1.2 linear feet; Box 1-2, OV 28)

Series 2: Correspondence, 1906-1981 (6.2 linear feet; Box 2-8, OV 28-29)

Series 3: Lectures, 1909-1963 (4.6 linear feet; Box 8-12)

Series 4: Writings and Notes, 1910-1974 (2 linear feet; Box 13-14)

Series 5: American Defense Harvard Group, 1942-1946 (0.6 linear feet; Box 15)

Series 6: Office of Military Government for Germany, 1947-1952 (0.3 linear feet; Box 15)

Series 7: Exhibition Files, 1930-1969 (1 linear foot; Box 15-16, OV 29)

Series 8: Research Files, 1922-1976 (7.5 linear feet; Box 16-24, OV 28-29)

Series 9: Printed Material, 1921-1977 (0.5 linear feet; Box 24)

Series 10: Photographic Materials, circa 1940-1960 (1.4 linear feet; Box 24-27, OV 28-29)

Biographical / Historical:

W. G. (William George) Constable (1887-1976) was a museum curator and art historian who worked in England and Boston.

Born in Derby, England, Constable studied for the bar at Cambridge University, but was encouraged to pursue art over law by the Lord Chancellor who told him that law would be too strenuous after a two year convalescence from gassing during World War I. For three years, he studied at the Slade School and the Bartlett School of Architecture. In 1923, he joined the National Gallery of London where he became the Assistant Director in 1929. In 1930, he accepted the first Director's position at the newly formed Courtauld Institute, where he worked to develop one of the first programs on art history. In 1938, Constable became Curator of Paintings at the Boston Museum of Fine Arts and worked there until his retirement in 1957.

Throughout his career as an arts administrator, Constable remained an accomplished lecturer and held appointments as the Slade Professor of Art at Cambridge (1933-1936), Ryerson Lecturer at Yale University (1940), and the Lowell Lecturer at the Lowell Insitute (1958). As a researcher and art historian, he published a steady stream of essays on European and American art connoisseurship, and authored over ten scholarly books, including The Painter's Workshop (1953), Richard Wilson (1953), and Canaletto (1962), the definitive work on the Venetian master.

Constable was a trusted arts advisor and, in this capacity, worked for the Wadsworth Atheneum from 1943-1945. He also worked closely with Lord Beaverbrook to establish the National Gallery of Canada and later consulted for Sotheby's and the U. S. Internal Revenue Service.

In the years leading to World War II, Constable served as an advisor to the American Defense Harvard Group and was later appointed to the Commission for the Protection of Artistic and Historic Monuments in Europe (the Roberts Commission) by President Roosevelt. The Roberts Commission was responsible for the establishment of the U. S. Army's Monuments, Fine Arts, and Archives section. After the war, Constable served the U.S. government as a member of a commission responsible for the recovery of looted art work and the evaluation of the state of the arts in Germany and Italy.

After his retirement from the Boston Museum, Constable continued to research and write, and also served as president of the International Institute of Conservation (1958-1960) and the Renaissance Society of America (1959-1961). From 1957 to 1966, he worked on behalf of Christie's auction house, where he met with prospective clients and provided preliminary valuations of private art works and collections.

On February 4, 1976, Constable died in Cambridge, Massachusetts from natural causes.

Related Materials:

The Archives also holds additional materials related to W.G. Constable, including an oral history interview with Constable conducted by Robert Brown in 1972-1973, and a photograph and clipping of Constable donated by Eleanor Barton in 1982.

Additional W.G. Constable papers are located at archival materials are also located at St. Johns College in Cambridge,England; the Warburg Institute in London, England; the National Gallery in London, England; and the Society for the Protection of Science and Learning in London, England. Photographs of works art collected by Constable are found at the British Studies Center at Yale University. Records relating to his tenure at the Museum of Fine Arts, Boston are housed there.

Provenance:

The papers of W.G. Constable were donated in multiple gifts from 1978 to 1979 and in 1987 to 1988 by his son Giles Constable. Additional material regarding Constable's research on Canaletto was donated by researcher J.G. Links in 1985.

Restrictions:

Use of original papers requires an appointment. Glass plate negatives are housed separately and not served to researchers.

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:

Painters  Search this

Art historians -- Massachusetts -- Boston  Search this

Art historians -- England  Search this

Topic:

Art, European  Search this

Art -- Study and teaching  Search this

Museum curators -- Massachusetts -- Boston  Search this

Art -- Collectors and collecting  Search this

Cultural property -- Conservation and restoration -- Germany  Search this

Cultural property -- Conservation and restoration -- Italy  Search this

Art -- Conservation and restoration  Search this

Museum curators -- England  Search this

World War, 1939-1945 -- Art and the war  Search this

Citation:

W.G. Constable papers, 1905-1983, bulk 1920-1976. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Terra Foundation for American Art. Digitization of this collection was funded by the Samuel H. Kress Foundation. Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee.

Identifier:

AAA.conswmgp

See more items in:

W.G. Constable papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw96b4e2709-3019-479e-91bd-891fa500a679

EDAN-URL:

ead_collection:sova-aaa-conswmgp

Creator:

Municipal Art Society of New York  Search this

Extent:

3.2 Linear feet

Type:

Collection descriptions

Archival materials

Date:

1901-1960

Summary:

The records of the Municipal Art Society of New York, based out of New York City and established in 1893, measure 3.2 linear feet and date from 1901 to 1960. The records include minutes from the annual and directors meetings, which incorporate reports, directors' files, committee files, and printed material. Financial reports to the Municipal Art Society Board that detail the organization's Permanent Fund are also present.

Scope and Contents:

The records of the Municipal Art Society of New York measure 3.2 linear feet and date from 1901 to 1960. Minutes from annual and directors meetings, printed materials, and financial reports document the Municipal Art Society of New York's involvement in urban planning, city beautification, funding art for public spaces, and generally improving the quality of life in New York City.

Bound minute books from the annual and directors meetings incorporate annual reports, committee reports, membership lists, and by-laws, as well as some correspondence with business colleagues and fellow arts organizations. Printed materials are also integrated into the minute books and often relate to the content of the adjacent administrative files and include exhibition announcements and catalogs, event invitations, meeting announcements, bulletins, newsletters, magazine and newspaper clippings, and membership solicitation materials.

Financial reports to the Municipal Art Society Board detail the Permanent Fund and the organization's accounts.

Arrangement:

The collection is arranged as 2 series.

Missing Title

Series 1: Annual and Directors Meetings Minutes, 1901-1960 (3.2 linear feet; Box 1-8)

Series 2: Permanent Fund Financial Records, 1913-1949 (1 folder; Box 8)

Biographical / Historical:

The Municipal Art Society of New York is a private organization that was founded in 1893 to beautify New York City streets, parks, and public places in ways both practical and artistic through projects supported by member dues. The society regularly held competitions for artists to create murals and sculptures to decorate public buildings, and exhibited artists' public works. Members of the society spearheaded efforts to preserve, improve, and maintain public buildings, monuments, and parks; create and maintain street signage and fixtures; regulate zoning; plan thoroughfares; and advocate for public housing. Interests of the society also included establishing a housing authority, slum clearance, and post-World War II planning. The Municipal Art Society of New York continues to influence urban planning and historic preservation into the 21st century, and is known for their architectural tours of New York CIty.

Provenance:

Donated 1968 by Municipal Art Society of New York.

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.

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:

Historic buildings -- Conservation and restoration -- New York (State) -- New York  Search this

Public art -- New York (State) -- New York  Search this

Function:

Arts organizations -- New York (State)

Citation:

Municipal Art Society of New York records, 1901-1960. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.muniartn

See more items in:

Municipal Art Society of New York records

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw95a2d9688-c4e1-4256-9148-8b59b430011b

EDAN-URL:

ead_collection:sova-aaa-muniartn