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Daniel Varney Thompson papers

Creator:
Thompson, Daniel V. (Daniel Varney), 1902-1980  Search this
Names:
Courtauld Institute of Art -- Faculty  Search this
Berenson, Bernard, 1865-1959  Search this
Greene, Belle da Costa, 1883-1950  Search this
McKean, Mary Sargeant  Search this
Thompson, Randall, 1899-1984  Search this
Winslow, Henry, b. 1874  Search this
Extent:
10.1 Linear feet
Type:
Collection descriptions
Archival materials
Notebooks
Diaries
Sketchbooks
Drawings
Watercolors
Photographs
Poetry
Musical scores
Prints
Oil paintings
Manuscripts
Date:
1848-1979
bulk 1923-1979
Summary:
The papers of art conservator and historian, engineer, and professor Daniel Varney Thompson (1902-1980) are dated 1848-1979, with the bulk of the material dated 1923-1979. The collection measures 10.1 linear feet and consists of biographical material, correspondence, subject files, writings, artwork, printed material, and photographs.
Scope and Content Note:
The papers of art conservator and historian, professor, engineer, and writer Daniel Varney Thompson (1902-1980) are dated 1848-1979, with the bulk of the material dated 1923-1979. The collection measures 10.1 linear feet and consists of biographical material, correspondence, subject files, writings, artwork, printed material, and photographs.

Biographical information includes certificates and diplomas, passports, and wills. Correspondence documents Daniel Varney Thompson's personal and professional life. Personal correspondence centers heavily on family members including his brother, the composer Randall Thompson. Professional correspondence concerns Thompson's academic career, research, writing, and work as a technical consultant and engineer. Among the correspondents are colleagues from Harvard, Yale, the Courtauld Institute, publishers, and academic and technical journals, in addition to corporate clients.

Subject files are comprised of varying correspondence, printed matter, photographs, notes and writings relating to Thompson's areas of interest. Personal and professional subject files include many relating to his research interests and engineering consulting projects. Of particular interest are numerous letters from Bernard Berenson. There is also correspondence with Belle da Costa Greene, as well as files concerning the Kermes beetle (a source of crimson dyes in the middle ages). Food and gardening subject files reflect Thompson's career as a writer and columnist on these subjects.

Writings consist mainly of manuscripts, drafts, research and miscellaneous notes; also included are diaries, poems, miscellaneous items, and a music score. Daniel Varney Thompson's personal and professional writings include two diaries, poems, and student writings. Most of his extant writings are on art-related topics, science and technology. Among the notes is an index to medieval manuscripts on craftsmanship in major European libraries was compiled by Thompson in 1935. His work on the subject remains unpublished and his notes are extremely valuable since some of the materials noted were lost in World War II. Scientific and technical notebooks, along with various wirings and reports, document projects undertaken as a technical consultant and engineer. The food and gardening writings are extensive and consist of manuscripts and notes for articles and columns, and for a book-length compilation of these writings. Among the writings by other authors are diaries of his mother and wife, and a music score by his brother, Randall Thompson.

Artwork by Daniel Varney Thompson, Mary Sargent McKean, and Henry Winslow consists of drawings, prints, watercolors, a sketchbook, and an oil painting. Printed material includes articles and book reviews by Daniel Varney Thompson, and items about or mentioning him and his family. Also found are articles and books about art, history, medieval studies, science and technology, and food and gardening topics.

Photographs are of artwork, people, places and miscellaneous subjects. Images of people are mainly Thompson and family members.
Arrangement:
The collection is arranged as 7 series.

Series 1: Biographical Information, 1848-1970s (Box 1, OV 11-12; 0.3 linear ft.)

Series 2: Correspondence, 1914-1979 (Boxes 1-3; 2.0 linear ft.)

Series 3: Subject Files, 1925-1979 (Boxes 3-6; 3.0 linear ft.)

Series 4: Writings, 1907-1970s (Boxes 6-9; 2.85 linear ft.)

Series 5: Artwork, 1923-1934 (Box 9, OV 13; 5 folders)

Series 6: Printed Material, 1917-1979 (Box 9; 0.75 linear ft.)

Series 7: Photographs, circa 1900-1972 (Box 10; 0.4 linear ft.)
Biographical Note:
Daniel Varney Thompson (1902-1980) was an art conservator and historian, professor, engineer, and writer. A noted authority on medieval painting, Varney lived and worked primarily in the Boston area and London.

Daniel Varney Thompson was born in New Jersey in 1902. He was the son of Grace Randall Thompson and Daniel Varney Thompson, Sr., a classics teacher at the Lawrenceville School and later headmaster of Boston Latin School. American composer Randall Thompson was his older brother. Following family tradition, Thompson attended Harvard, earning the A.B. in 1922 and A.M. in 1926, focusing his attention on fine arts, physical chemistry, and literature. Daniel V. Thompson stopped using the designation Jr. after his father's death in 1932.

Between 1922 and 1925 Thompson was employed in the Fogg Museum's laboratory devoted to analyzing art materials for the purposes of detecting forgeries, preserving works of art, and devising methods to aid working artists. During this period, Thompson went to Italy as a Sheldon Fellow in Fine Arts, to learn medieval fresco painting techniques from Edward W. Forbes, Director of the Fogg Museum. He also had an opportunity to study medieval and Renaissance painting techniques with Inicio Federico Joni, and while in Italy began life-long friendships with the Forbes family and Bernard Berenson. Thompson served as a technical advisor to the 1924-1925 Second Harvard China Expedition; he traveled to China by way of India, where he studied wall paintings in caves at Ajanta and Elura and researched newly discovered scrolls.

Daniel Varney Thompson was on the faculty of Yale from 1926-1933, where he taught art history, and tempera painting courses, and laid the foundation for the Department of Fine Arts when Yale became a university in 1932. During his time at Yale, Thompson married Cecile [Cecily] de Luze Simonds.

When The American Council of Learned Societies awarded Thompson a research fellowship for the academic year 1933/34, he returned to Europe and surveyed major libraries for materials concerning the history of technology of the arts. Thompson was then invited to be Professor of the History of Technology at the University of London. He was on the faculty from 1934-1946, and also served as research and technical advisor, developing a laboratory at the Courtauld Institute for analysis of art materials.

During World War II, the Courtauld's laboratory - which had facilities for emission, absorption, and x-ray spectrography - was offered to the Ministry of Aircraft Production. To avoid compromising the University's tax-free status, Thompson formed and served as managing director of Daniel Varney Limited, a private company which leased the premises and equipment. From 1940 to 1945, the company was operated in the name of the Courtauld Institute, employing 200 people in tool making, gauge making, fine mechanisms, and development and production of optics instruments. After the war, Daniel Varney Limited shifted its interests to high vacuum diffusion pumps, gas manipulation, and glassblowing.

Upon returning to the United States in 1947, Thompson settled in the Boston area, becoming a technical consultant. He worked on projects for E-Z Mills, Inc., Sylvania Eloctronics, Comstock & Wescott, Inc., and other corporations. He was chief engineer of Jarrell-Ash Co., 1953-1955, redesigning optical instruments, spectrography, and schlieren systems. Between 1955 and 1957, Thompson served as Vice President of Swett & Sibley, involved with the design and development of optical instruments, scanning spectrometers, and densistometers. He then moved to Avco Corporation, where for the next decade he was a Senior Staff Consultant working on optical design in rocket instrumentation. Thompson retired from his engineering career in 1967.

Daniel V. Thompson wrote and published extensively. Art-related writings include translations and a monograph published by Yale University Press, and numerous articles and reviews. Translations are: Cennino Cennini's Il Libro dell'Arte (3 volumes: Text of Il Libro dell'Arte, 1932; The Craftsman's Handbook, 1933; and The Practice of Tempera Painting, 1936), and An Anonymous Fourteenth Century Treatise ( De arte illuminadi) (with his student George Heard Hamilton), 1936. A monograph, The Materials and Techniques of Medieval Painting (foreword by Bernard Berenson) appeared in 1936.

Most of Thompson's scientific and technical writings are unpublished and relate to projects for which he served as a consulting engineer.

Soon after retiring, Thompson began a new career that he continued for the remainder of his life. A serious cook and long-time gardener, he began writing about these topics, producing weekly columns that were published by newspapers from Maine to Chicago and contributing articles to Gourmet, Horticulture, and similar periodicals. Thompson also lectured to garden clubs and judged garden and flower competitions.

Daniel Varney Thompson died on January 4, 1980, following an automobile accident in Malaga, Spain.
Related Material:
Also found in the Archives of American Art are oral history interviews conducted with Daniel V. Thompson by Robert Brown, September 25, 1974-November 2, 1976. There are also three letters from Thompson to his sister-in-law Edith Simonds Moore.
Provenance:
The Daniel Varney Thompson papers were donated to the Archives of American Art in increments between 1974-1981 by Mr. Thompson and his estate.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Daniel Varney Thompson papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Occupation:
Conservators  Search this
Art historians  Search this
Topic:
Food  Search this
Gardening  Search this
Engineers -- United States  Search this
Authors -- Massachusetts  Search this
Kermes (Insect)  Search this
Genre/Form:
Notebooks
Diaries
Sketchbooks
Drawings
Watercolors
Photographs
Poetry
Musical scores
Prints
Oil paintings
Manuscripts
Citation:
Daniel Varney Thompson papers, 1848-1979, bulk 1923-1979. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.thomdani
See more items in:
Daniel Varney Thompson papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-thomdani
Online Media:

Mail Scams and Schemes: Art Forgeries

Creator:
National Postal Museum  Search this
Type:
YouTube Videos
Uploaded:
2020-07-24T16:51:08.000Z
YouTube Category:
Education  Search this
Topic:
Postal service;Letter mail handling;Stamp collecting  Search this
See more by:
SmithsonianNPM
Data Source:
National Postal Museum
YouTube Channel:
SmithsonianNPM
EDAN-URL:
edanmdm:yt_ltJEV70M3_E

Oral history interview with Mary-Anne Martin, 2009 July 8-22

Interviewee:
Martin, Mary-Anne, 1943-  Search this
Interviewer:
McElhinney, James, 1952-  Search this
Subject:
Widgeon Point Charitable Foundation  Search this
Type:
Sound recordings
Interviews
Topic:
Gallery owners -- New York (State) -- New York -- Interviews  Search this
Record number:
(DSI-AAA_CollID)15831
(DSI-AAA_SIRISBib)292070
AAA_collcode_martin09
Theme:
Women
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_292070

Frank Perls papers and Frank Perls Gallery records, circa 1920-1983, bulk 1949-1975

Creator:
Perls, Frank, 1910-1975  Search this
Perls, Frank  Search this
Subject:
Chuey, Robert  Search this
Brice, William  Search this
Lebrun, Rico  Search this
Lipchitz, Jacques  Search this
Matisse, Henri  Search this
McGarrell, James  Search this
Peake, Channing  Search this
Amato, Sam  Search this
Warsaw, Howard  Search this
Strombotne, James  Search this
Ray, Man  Search this
Picasso, Pablo  Search this
Perls, Klaus  Search this
Curt Valentin Gallery (New York, N.Y.)  Search this
M. Knoedler & Co.  Search this
Type:
Short stories
Scrapbooks
Photographs
Sales records
Gallery records
Topic:
Art -- Economic aspects  Search this
Art -- Collectors and collecting -- California -- Beverly Hills  Search this
World War, 1939-1945  Search this
Curators -- California  Search this
Art -- Forgeries  Search this
Record number:
(DSI-AAA_CollID)9601
(DSI-AAA_SIRISBib)211805
AAA_collcode_perlfran
Theme:
The Art Market
Art Gallery Records
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_211805
Online Media:

Sheldon Ross Gallery records, circa 1970-2007, bulk 1976-1995

Creator:
Sheldon Ross  Search this
Subject:
Bearden, Romare  Search this
Grosz, George  Search this
Ross, Sheldon  Search this
Art Students League (New York, N.Y.)  Search this
United States. Federal Bureau of Investigation  Search this
Middle Earth Gallery  Search this
Type:
Sketches
Writings
Photographs
Topic:
Expressionism (Art) -- Germany  Search this
Arts -- Forgeries  Search this
Record number:
(DSI-AAA_CollID)15833
(DSI-AAA_SIRISBib)292101
AAA_collcode_shelrosg
Theme:
Art Gallery Records
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_292101
Online Media:

The Crisis Vol 13. No. 3

Published by:
National Association for the Advancement of Colored People, American, founded 1909  Search this
Edited by:
W.E.B. Du Bois, American, 1868 - 1963  Search this
Medium:
ink on paper
Dimensions:
9 7/8 x 6 7/8 x 1/8 in. (25.1 x 17.5 x 0.3 cm)
Type:
magazines (periodicals)
Place printed:
New York City, New York, United States, North and Central America
Date:
January 1917
Topic:
African American  Search this
Advertising  Search this
Associations and institutions  Search this
Business  Search this
Caricature and cartoons  Search this
Civil Rights  Search this
Education  Search this
Literature  Search this
Mass media  Search this
Poetry  Search this
Politics (Practical)  Search this
Race relations  Search this
Social life and customs  Search this
Social reform  Search this
Credit Line:
Collection of the Smithsonian National Museum of African American History and Culture, Gift of Bobbie Ross in memory of Elizabeth Dillard
Object number:
2012.84.10
Restrictions & Rights:
Public Domain
See more items in:
National Museum of African American History and Culture Collection
Classification:
Documents and Published Materials-Published Works
Data Source:
National Museum of African American History and Culture
GUID:
http://n2t.net/ark:/65665/fd50347ba0e-cdc9-41b7-8139-ddcd306304c5
EDAN-URL:
edanmdm:nmaahc_2012.84.10
1 Page(s) matching your search term, top most relevant are shown: View entire project in transcription center
  • View <I>The Crisis Vol 13. No. 3</I> digital asset number 1

Oral history interview with Mary-Anne Martin

Interviewee:
Martin, Mary-Anne  Search this
Interviewer:
McElhinney, James Lancel, 1952-  Search this
Creator:
Widgeon Point Charitable Foundation  Search this
Names:
Widgeon Point Charitable Foundation  Search this
Extent:
3 Items (wav files (3 hr., 51 min.), digital)
71 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
2009 July 8-22
Scope and Contents:
An interview of Mary-Anne Martin conducted 2009 July 8 and 22, by James McElhinney, for the Archives of American Art, at Mary-Anne Martin/Fine Art, in New York, N.Y. Interview with Mary-Anne Martin, conducted by James McElhinney for the Archives of American Art, at her gallery located at East 73rd Street in Manhattan, New York on July 8th and 22nd, 2009. Martin speaks of switching her major from English to Art history; her time at Sotheby's; creating the first Latin American auctions and department at Sotheby's; the success of these auctions; the creation of her gallery in 1982; the creation of a more accessible and international market for Latin American art with her gallery and influence at Sotheby's; the evolution of Latin American art being recognized with their American or European contemporaries; the newfound celebrity and recognition of Frida Kahlo; the increasing market for forgeries of Latin American art, Martin references the FBI intervention of the Siquieros Chicago show and the Noyola publication Finding Frida Kahlo; the increasing protectionism of Mexican art by becoming labelled "national patrimony"; discovering her childhood neighbors were Spanish rebels and artists associated with Diego Rivera; the increasing marketability and competition for Latin American art; how art is more international; and the cyclical nature of art. Martin also recalls David Nash, Julius Held, Alfred Taubman, Daniel Wildenstein, Barbara Duncan, Edward Sullivan, Eleanore Saidenberg, Mary Boone, Bob Littman, Rachel Adler, Cecila Torres-Garcias, William Sheehy, Bill Lieberman, Jose "Pepe" Escuder, America "Skippy" Escuder, Ella Wolfe, Lucienne Bloch and others.
Biographical / Historical:
Mary-Anne Martin (1943- ) is founder of Mary-Anne Martin/Fine Art, a gallery specializing in Mexican and Latin American art, in New York, N.Y. James McElhinney (1952- ) is an artist, writer, and educator in New York, N.Y.
General:
Originally recorded on 2 sound discs. Reformatted in 2010 as 3 digital wav files. Duration is 3 hr., 51 min.
Provenance:
This interview is 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 administrators.
Restrictions:
This transcript is open for research. Access to the entire recording is restricted. Contact reference Services for more information.
Topic:
Gallery owners -- New York (State) -- New York -- Interviews  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.martin09
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-martin09

Oral history interview with Lloyd Goodrich

Creator:
Goodrich, Lloyd, 1897-1987  Search this
Interviewer:
Phillips, Harlan B. (Harlan Buddington), 1920-  Search this
Names:
Art Students League (New York, N.Y.) -- Students  Search this
National Academy of Design (U.S.)  Search this
Public Works of Art Project  Search this
Whitney Museum of American Art  Search this
Eakins, Thomas, 1844-1916  Search this
Field, Hamilton Easter  Search this
Force, Juliana, 1876-1948  Search this
Marsh, Reginald, 1898-1954  Search this
Miller, Kenneth Hayes, 1876-1952  Search this
Stieglitz, Alfred, 1864-1946  Search this
Watson, Forbes, 1880-1960  Search this
Extent:
225 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Interviews
Date:
1962 June 13-1963 March 25
Scope and Contents:
An interview of Lloyd Goodrich conducted 1962 June 13-1963 March 25, by Harlan Phillips, for the Archives of American Art. Goodrich speaks of his youth in Nutley, New Jersey; his family background; his father's influence; his friendship with Reginald Marsh; studying at the Art Students League under Kenneth Hayes Miller; attending the National Academy of Design; his interest in music and poetry; deciding upon a career in art; working as a writer, editor, and critic for "The Arts"; his travels for "The Arts"; critics he knew; his book on Thomas Eakins; his work with the Public Works of Art Project; political problems with government support of the arts in the 1930s through the 1950s; working as a curator at the Whitney Museum of American Art; the problem of forgeries; the Whitney's relationship with other museums; and politics at the Whitney. He recalls Juliana Force, Forbes Watson, Alfred Stieglitz and Hamilton Easter Field.
Biographical / Historical:
Lloyd Goodrich (1897-1987) was a museum director and art historian living in New York, New York.
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.
Restrictions:
This transcript is open for research. No audio exists. Contact Reference Services for more information.
Occupation:
Art historians -- New York (State) -- New York -- Interviews  Search this
Topic:
Art and state  Search this
Art -- Forgeries  Search this
Museum directors -- New York (State) -- New York -- Interviews  Search this
Function:
Art museums -- New York (State) -- New York
Genre/Form:
Interviews
Identifier:
AAA.goodri62
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-goodri62

Oral history interview with Raymond J. Horowitz

Interviewee:
Horowitz, Raymond J., 1916-2005  Search this
Interviewer:
Berman, Avis  Search this
Names:
Columbia University -- Students  Search this
Metropolitan Museum of Art (New York, N.Y.)  Search this
National Gallery of Art (U.S.)  Search this
Adler, A. M. (Abraham M), 1902-1985  Search this
Canaday, John, 1907-1985  Search this
Cikovsky, Nicolai, 1894-  Search this
Fraad, Daniel  Search this
Fraad, Rita  Search this
Gerdts, William H.  Search this
Hirshhorn, Joseph H.  Search this
Levine, Jack, 1915-2010  Search this
Magriel, Paul David, 1906-  Search this
McGoldrick, Joseph D. (Joseph Daniel), 1901-  Search this
Mellon, Paul  Search this
Mount, Charles Merrill  Search this
Spanierman, Ira  Search this
Spark, Victor D. (Victor David), 1898-1991  Search this
Stebbins, Theodore E.  Search this
Terra, Daniel J., 1911-1996  Search this
Extent:
3 Sound cassettes (Sound recording (4 hrs. 30 min.), analog)
56 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Sound cassettes
Pages
Sound recordings
Interviews
Date:
2004 Oct. 20-Nov. 5
Scope and Contents:
An interview of Raymond Horowitz conducted 2004 Oct.20-Nov. 5, by Avis Berman, for the Archives of American Art, in New York, N.Y.
Horowitz speaks of his privileged childhood in New York; the effects of the Depression on his family's finances; attending Columbia University for Law and the anti-Semitism he faced there; his ingratiation into art appreciation through Meyer Shapiro; employment under then-New York City comptroller Joseph McGoldrick; the formation of his law practice; and his marriage to his wife, Margaret Goldenberg. Horowitz also mentions his involvement in left-wing political movements; how he managed relationships with different dealers; his experiences with misattributed artworks and forgeries, particularly his luck in avoiding them; the hobbies of himself and his wife; how he avoids relationships with the artists of his works; sharing information with other collectors; the economics of donating artworks and the subsequent tax breaks; the importance of credit in art purchasing; how he and Margaret conferred on purchases; their affinity for Chase; his habits on lending to exhibitions; the differences between the management of the Metropolitan Museum and the National Gallery; his summer homes in East Hampton and Provincetown; the problems with contemporary art scholarship; and the importance of dealers in affirming the interest in American art. Horowitz spends most of the interview reflecting upon others in the art world whom he has met. He recalls Ira Spanierman, Dan and Rita Fraad, Charles Merill Mount, Victor Spark, Abraham Adler, Nicolai Cikovsky, Phillipe de Montebello, Theodore Stebbins, Jack Levine, Daniel Terra, Joseph Hirshhorn, Norman Hirschl, John Canaday, Doris and Harry Rubin, Paul Mellon, Bill Gerdts, Paul Magriel, Bernard Meyers, and many others.
Biographical / Historical:
Interviewee Raymond Horowitz (1916-2005) was a collector from New York, N.Y. Avis Berman is an art historian from New York, N.Y.
Provenance:
This interview is 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 administrators.
Restrictions:
Transcript available on the Archives of American Art website.
Occupation:
Lawyers -- New York (State) -- New York -- Interviews  Search this
Art dealers  Search this
Topic:
Art -- Collectors and collecting -- New York (State) -- New York -- Interviews  Search this
Art -- Economic aspects  Search this
Depressions -- 1929  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.horowi04
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-horowi04

Sheldon Ross Gallery records

Creator:
Sheldon Ross  Search this
Names:
Art Students League (New York, N.Y.) -- Faculty  Search this
Middle Earth Gallery  Search this
United States. Federal Bureau of Investigation  Search this
Bearden, Romare, 1911-1988  Search this
Grosz, George, 1893-1959  Search this
Ross, Sheldon, 1925-2000  Search this
Extent:
1.8 Linear feet
Type:
Collection descriptions
Archival materials
Sketches
Writings
Photographs
Date:
circa 1970-2007
bulk 1976-1995
Summary:
The records of the Sheldon Ross Gallery, Birmingham, Michigan, measure 1.8 linear feet and are dated 1970-2007, with the bulk of materials dating from 1976-1995. The majority of the collection consists of artists' files. About half of the materials relate to Romare Bearden's work and his relationship with Sheldon Ross, the gallery owner. Also included are artists' files regarding George Grosz and Michigan artists. The contents of artists' files vary but generally include biographical information, printed materials and photographic images. The collection also contains correspondence, exhibition files, and photographs documenting the gallery's activities.
Scope and Contents note:
The records of the Sheldon Ross Gallery, Birmingham, Michigan, measure 1.8 linear feet and are dated 1970-2007, with the bulk of materials dating from 1976-1995. The majority of the collection consists of artists' files. About half of the materials relate to Romare Bearden's work and his relationship with Sheldon Ross, the gallery owner. Also included are artists' files regarding George Grosz and Michigan artists. The contents of artists' files vary but generally include biographical information, printed materials and photographic images. The collection also contains correspondence, exhibition files, and photographs documenting the gallery's activities.

The gallery records document its exhibition history, exhibition reviews, sales of artwork, and Ross' significant projects. Also included are photographs and slides documenting much of the artwork exhibited. Materials relating to Romare Bearden include writings by and about Bearden and his artwork and correspondence between Bearden and Ross during the years 1976-1989. There are many catalogs of Bearden's solo exhibitions at galleries, museums, and institutions, as well as exhibition reviews from newspapers and magazines, and images of Bearden's works.

The gallery exhibited other well-known artists including 20th century American artists and German Expressionists, notably George Grosz, who instructed Bearden at the Art Students League in New York. Found in the records are exhibition catalogues, price lists, inventory cards and artists' background materials. Also found is correspondence with museums, artists and clients, and slides and other photographic material of artwork offered by the gallery. Of note is correspondence between Sheldon Ross and the FBI concerning Ross' participation as an expert witness in a prosecution of individuals who were involved in Romare Bearden forgeries.

There are drawings of Sheldon Ross and The Sheldon Ross Galley by his son, Robert Ross. Photographs are of Sheldon Ross and Romare Bearden, Sheldon Ross with family and friends, and the predecessor gallery, Middle Earth Gallery.
Arrangement note:
The collection is arranged in 7 Series. Materials are generally arranged by record type and chronologically thereafter.

Series 1: Gallery History, 1976-2000 (Box 1, OV 4; 0.2 linear feet)

Series 2: Correspondence, 1982-1999 (Box 1; 0.1 linear feet)

Series 3: Exhibition Files, 1976-1988 (Box 1; 0.1 linear feet)

Series 4: Artists' Files, 1968-2007 (Boxes 1-2; 0.9 linear feet)

Series 5: Printed Material, 1976-2000 (Box 2; 2 folders; OV 4; 0.2 linear feet)

Series 6: Drawings by Robert Ross, after 1975, (OV 5; 0.1 linear feet)

Series 7: Photographic Materials, circa 1970-2000 (Boxes 2-3, OV 5; 0.2 linear feet)
Biographical/Historical note:
The Sheldon Ross Gallery (1975-1993), Birmingham, Michigan, and later Sheldon Ross Fine Arts and Sheldon Ross Fine Arts LLC (1993-2000) were operated by Sheldon Ross until his death in 2000. The Sheldon Ross Gallery was the only gallery in the Detroit area to consistently show German Expressionist art, emphasizing graphics. However, the gallery and Ross are best known for their early and continued support of Romare Bearden's work. The exhibition history shows a balance between an interest in local artists and an effort to offer diverse artwork from broad based sources.
Provenance:
The records were donated to the Archives of American Art in 2010 by Phyllis Ross, widow of Sheldon Ross.
Restrictions:
Use of original materials requires an appointment. Use of archival audiovisual recordings with no duplicate access requires advance notice.
Rights:
The Sheldon Ross Gallery records are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Expressionism (Art) -- Germany  Search this
Arts -- Forgeries  Search this
Function:
Art galleries, Commercial -- Michigan
Genre/Form:
Sketches
Writings
Photographs
Citation:
Sheldon Ross Gallery records, circa 1970-2007, bulk 1976-1995. Archives of American Art, Smithsonian Institution. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.shelrosg
See more items in:
Sheldon Ross Gallery records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-shelrosg

Frank Perls papers and Frank Perls Gallery records

Creator:
Perls, Frank  Search this
Names:
Curt Valentin Gallery (New York, N.Y.)  Search this
M. Knoedler & Co.  Search this
Amato, Sam, 1924-  Search this
Brice, William, 1921-  Search this
Chuey, Robert  Search this
Lebrun, Rico, 1900-1964  Search this
Lipchitz, Jacques, 1891-1973  Search this
Matisse, Henri, 1869-1954  Search this
McGarrell, James, 1930-  Search this
Peake, Channing, 1910-  Search this
Perls, Klaus  Search this
Picasso, Pablo, 1881-1973  Search this
Ray, Man, 1890-1976  Search this
Strombotne, James  Search this
Warsaw, Howard  Search this
Extent:
23.8 Linear feet
Type:
Collection descriptions
Archival materials
Short stories
Scrapbooks
Photographs
Sales records
Gallery records
Date:
circa 1920-1983
bulk 1949-1975
Summary:
The Frank Perls papers and Frank Perls Gallery records measure 23.8 linear feet and date from 1920-1983, with the bulk dating from 1949-1975. Personal papers include writings, military records, appointment calendars, and photographs. Gallery records date from its opening in 1939 until its closure in 1981 and consist of financial, sales, and legal records; exhibition files; exhibition catalogs and announcements; subject files that contain a variety of correspondence with artists, dealers, galleries, museums, and friends and family, as well as reference materials and photographs; and scrapbooks.
Scope and Content Note:
The Frank Perls papers and Frank Perls Gallery records measure 23.8 linear feet and date from 1920-1983, with the bulk dating from 1949-1975. Personal papers include writings, military records, appointment calendars, and photographs. Gallery records date from its opening in 1939 until its closure in 1981 and consist of financial, sales, and legal records; exhibition files; exhibition catalogs and announcements; subject files that contain a variety of correspondence with artists, dealers, galleries, museums, and friends and family, as well as reference materials and photographs; and scrapbooks.

Personal papers contain biographical materials, including military records from Perls' service in the army during World War II, personal photographs, documentation on his estate settlement, and numerous short stories. Of particular interest are Perl's stories about his interactions with Pablo Picasso and his work to uncover fraud, fakes, and corruption in the art world. There are also many photographs of Picasso, photographs of family, the war, and Perls, including two original photographs of Perls by Man Ray.

Gallery sales, purchases, consignments, insurance appraisals, loans, provenance research, and general business expenses are well documented in the General Business and Financial Records. Perls jointly owned artwork with several galleries in New York, including the Curt Valentine Gallery and M. Knoedler Gallery, and these consignment and joint sales are documented in the invoices. A complete accounting of the Gallery's income and expense reports from 1950-1971 is also be found in this series. Artists extensively documented through financial transactions are William Brice, James Strombotne, and Howard Warsaw.

Extensive exhibition files document the gallery's exhibitions and Perl's curatorial work. Files contain varied documentation, such as photographs, catalogs, announcements, and publicity for Frank Perls Gallery shows from 1939 through 1971. Artists represented in this series include Sam Amato, Robert Chuey, Jaques Lipchitz, Pablo Picasso, James McGarrell, and James Strombotne. Files are also found for the two major retrospective exhibitions Perls organized and curated, Matisse Retrospective at University of California, Los Angeles and Sixty Years of Picasso Prints at the Los Angeles County Museum of Art, both in 1966. Additional information about these exhibitions is also found in the Subject Files.

Subject Files are extensive and varied in name, content, and topic. They consist mostly of correspondence with friends, family, colleagues, artists, critics, galleries and dealers, clients, arts organizations and associations, publications, and others. There are also reference files and exhibition files for exhibitions held at other galleries and museums in which Perls was interested, guest curated, or loaned artwork. The contents of each file unit varies, but many include correspondence, photographs, appraisal records, sales records, invoices, reports, and membership records. The files highlight his close personal relationship with many artists, including William Brice, Rico Lebrun, James McGarrell, Channing Peake, Pablo Picasso, and James Strombotne. Subject Files also contain abundant correspondence with colleagues and family members, including his brother Klaus, who owned and operated the Perls Gallery in New York. Many of the files concern Perl's work with art documentation and authentication. Subject Files have been arranged according to Frank Perls original order.

Finally, scrapbooks contain newspaper articles, catalogs, and announcements about exhibitions at the Perls Gallery in New York during the late 1930s and the Frank Perls Gallery in Los Angeles during the 1950s.
Arrangement:
The collection is arranged into 5 series:

Series 1: Frank Perls papers, circa 1920-1981 (Box 1-2, 28; 1.1 linear feet)

Series 2: General Financial and Business Records, 1949-1975 (Box 2-4, 23-27; 3.4 linear feet)

Series 3: Exhibition Files, 1937-1975 (Box 5-6; 1.5 linear feet)

Series 4: Subject Files, circa 1939-1983 (Box 6-22; 16.5 linear feet)

Series 5. Scrapbooks, 1937-1957 (Box 28; 0.3 linear feet)
Historical Note:
Frank Perls (1910-1975) was founder and sole owner of the Frank Perls Gallery in Beverly Hills, California.

Frank Perls was born in Germany on October 23, 1910. His parents, Hugo and Kaethe Perls, owned one of the leading art galleries in Berlin, and sold the work of many well-known artists. Artists works included in the gallery inventory were pieces by Edvard Munch, Pablo Picasso, Claude Monet, Vincent van Gogh, and Paul Cézanne, among others. His parents enjoyed a close friendship with Picasso, a relationship Perls maintained until Picasso's death in 1973. After his parents divorce in 1931, his mother left Germany and eventually opened the Galerie Kaethe in Paris.Frank Perls studied art history at the Universities of Munich, Berlin, and Frankfurt and joined his mother at the Galerie Kaethe in 1932.

Frank Perls immigrated to the United States in 1937 and partnered with his brother, Klaus Perls, to open the Perls Galleries in New York. Two years later he moved to California and opened the Frank Perls Gallery on Sunset Boulevard in Hollywood. During those first years, the Gallery hosted exhibitions by Man Ray, Eugene Berman, and John Decker.

Perls closed his gallery in 1942 when he enlisted in the United States Army. Because he was fluent in both French and German, Perls served as an interpreter at the Military Intelligence Service, European Theater of Operations. He landed in Normandy with the 30th Infantry Division and was awarded the Bronze Star in 1944. In 1945, Perls was assigned to the Arts and Monuments Section of Allied Military Government in Germany. He was honorably discharged in September, 1945.

After the war, Perls returned to Los Angeles and managed the recently opened Associated American Artists Gallery in Beverly Hills. The gallery was organized in 1934 and marketed art to the middle classes with the opportunity to purchase prints at affordable prices. Perls made significant contacts during his tenure at the gallery and eventually opened his own Beverly Hills gallery in 1950.

The Frank Perls Gallery on Camden Drive was closely associated with the Pierre Matisse Gallery and the Curt Valentin Gallery in New York, both major sources of exhibition materials for the early years. Perls introduced southern California to artists he believed represented the best modern art of America and Europe - Henri Matisse, Georges Braque, Alexander Calder, Pablo Picasso, Ben Shahn, Georgia O'Keeffe, Marc Chagall, Paul Klee, and Jean Dubuffet. Between 1950 to 1954, Frank Perls Gallery organized the first West coast exhibitions of Joan Miro, Marino Marini, and Alberto Giacometti. Perls also gave exhibitions to newly emerging artists of Southern California artists, including William Brice, Robert Chuey, Rico Lebrun, James McGarrell, Channing Peake, and Howard Warsaw.

Perls moved his gallery to Wilshire Boulevard in 1965 and stopped representing California artists at that time to focus primarily on major exhibitions of Henri Matisse and Picasso. In 1966, he helped organize an extensive traveling Henri Matisse exhibition at UCLA called Matisse Retrospective. Perls worked with Matisse's children, Pierre, Jean, and Marguerite Duthuit, to identify 345 prints and sculptures and attach family inventory numbers to them.

Frank Perls also organized several large Picasso exhibitions, including the Bonne Fete Monsieur Picasso exhibit at UCLA in 1961 and the 45 Selected Picasso Graphics exhibition at Frank Perls Gallery in 1971. For his work in preparing these major exhibitions in California of Matisse and Picasso, Perls was made a life fellow of the Los Angeles County Museum.

Perls was a member of the Art Dealers of America, serving for several years on the Board of Directors and as director. He was also dedicated to exposing art fakes and forgeries, earning a reputation for discovering, exposing, and pursuing disreputable art appraisers and dealers. Perls wrote extensively about modern art and artists, as well as his experiences in short stories that often appeared in print.

Frank Perls died on February 8, 1975 from complications following open-heart surgery. The Gallery remained open until 1981 while his executor and family distributed the gallery inventory.
Provenance:
The Frank Perls papers and Frank Perls Gallery records were donated by Joan Hazlitt, one of the executors of the Perls' estate, from 1976-1988.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Frank Perls papers and Frank Perls Gallery records are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Art -- Economic aspects  Search this
Art -- Collectors and collecting -- California -- Beverly Hills  Search this
World War, 1939-1945  Search this
Curators -- California  Search this
Art -- Forgeries  Search this
Function:
Art galleries, Commercial -- California -- Beverly Hills
Genre/Form:
Short stories
Scrapbooks
Photographs
Sales records
Gallery records
Citation:
Frank Perls papers and Frank Perls Gallery records, circa 1920-1983, bulk 1949-1975. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.perlfran
See more items in:
Frank Perls papers and Frank Perls Gallery records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-perlfran
Online Media:

Forgeries, Fraud, and Theft of Art

Collection Creator:
Dickinson, Eleanor, 1931-  Search this
Container:
Box 14, Folder 2
Type:
Archival materials
Date:
1978-1988
Collection Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.

Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Eleanor Dickinson papers, 1947-2014. Archives of American Art, Smithsonian Institution.
See more items in:
Eleanor Dickinson papers
Eleanor Dickinson papers / Series 7: Research and Subject Files
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-dickelea-ref203

Listening to a Waterfall in the Autumn Hills

Artist:
Copy of Fan Qi 樊圻 (1616-ca. 1695)  Search this
Medium:
Ink on paper
Dimensions:
H x W: 135 x 39.5 cm (53 1/8 x 15 9/16 in)
Type:
Painting
Origin:
China
Date:
1668
Period:
Qing dynasty
Topic:
landscape  Search this
Qing dynasty (1644 - 1911)  Search this
waterfall  Search this
forgery  Search this
bridge  Search this
China  Search this
Chinese Art  Search this
WWII-era provenance  Search this
Credit Line:
Transfer from the United States Customs Service, Department of the Treasury
Accession Number:
F1980.145
Restrictions & Rights:
Usage conditions apply
Related Online Resources:
Google Cultural Institute
See more items in:
Freer Gallery of Art and Arthur M. Sackler Gallery Collection
Data Source:
Freer Gallery of Art and Arthur M. Sackler Gallery
GUID:
http://n2t.net/ark:/65665/ye338a7ef01-5d3b-4e83-877c-a8e7897c397c
EDAN-URL:
edanmdm:fsg_F1980.145

Drunken Chung K'uei

Artist:
Forgery of Luo Ping (1733-1799)  Search this
Medium:
Ink and color on silk
Dimensions:
H x W (image): 70.5 x 36.1 cm (27 3/4 x 14 3/16 in)
Type:
Painting
Origin:
China
Date:
1762
Period:
Qing dynasty
Topic:
Qing dynasty (1644 - 1911)  Search this
drinking  Search this
forgery  Search this
Zhong Kui  Search this
China  Search this
Chinese Art  Search this
WWII-era provenance  Search this
Credit Line:
Transfer from the United States Customs Service, Department of the Treasury
Accession Number:
F1980.150
Restrictions & Rights:
Usage conditions apply
Related Online Resources:
Google Cultural Institute
See more items in:
Freer Gallery of Art and Arthur M. Sackler Gallery Collection
Data Source:
Freer Gallery of Art and Arthur M. Sackler Gallery
GUID:
http://n2t.net/ark:/65665/ye3c3aaa561-5f84-4222-990e-06594c71ca63
EDAN-URL:
edanmdm:fsg_F1980.150

Deep and Elegant Streams and Mountains

Artist:
Forgery of Wang Jian (1598-1677)  Search this
Medium:
Ink on paper
Dimensions:
H x W: 118.7 x 49.9 cm (46 3/4 x 19 5/8 in)
Type:
Painting
Origin:
China
Date:
1638
Period:
Ming or Qing dynasty
Topic:
landscape  Search this
Ming dynasty (1368 - 1644)  Search this
water  Search this
fishing  Search this
Qing dynasty (1644 - 1911)  Search this
river  Search this
forgery  Search this
China  Search this
Chinese Art  Search this
WWII-era provenance  Search this
Credit Line:
Transfer from the United States Customs Service, Department of the Treasury
Accession Number:
F1980.154
Restrictions & Rights:
Usage conditions apply
Related Online Resources:
Google Cultural Institute
See more items in:
Freer Gallery of Art and Arthur M. Sackler Gallery Collection
Data Source:
Freer Gallery of Art and Arthur M. Sackler Gallery
GUID:
http://n2t.net/ark:/65665/ye3ad14c02e-5c3f-4e53-8379-542adc1b2953
EDAN-URL:
edanmdm:fsg_F1980.154

"Comments of Fakes and Forgeries in Maritime Art," International Congress of Maritime Museums

Collection Creator:
Fried, Frederick, 1909-1994  Search this
National Carousel Association.  Search this
Fried, Mary Hill  Search this
Container:
Box 1, Folder 18
Type:
Archival materials
Date:
1978
Collection Rights:
Reproduction restricted due to copyright or trademark. Fees for commercial reproduction.
Collection Citation:
Frederick and Mary Hill Fried Folk Art Archives, circa 1662-1999, Archives Center, National Museum of American History
See more items in:
Frederick and Mary Hill Fried Folk Art Archives
Frederick and Mary Hill Fried Folk Art Archives / Series 1: Professional Materials / 1.1: Lectures
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-0528-ref958

Manuscript and Research Material

Creator:
Bishop, Carl Whiting, 1881-1942  Search this
Names:
Bishop, Carl Whiting, 1881-1942  Search this
Tung, Kuang-zung.  Search this
Warner, Langdon (1881-1955)  Search this
Wenley, A. G. (Archibald Gibson), 1898-1962  Search this
Collection Creator:
Bishop, Carl Whiting, 1881-1942  Search this
Type:
Archival materials
Photographic prints
Manuscripts
Place:
China
Date:
1915-1933
Scope and Contents:
This series contains Bishop's unpublished typed manuscript entitled Archaeological Research in China 1923-1934—Washington, D.C.: Freer Gallery of Art, [n.d.] 2v. : some ill.; 27cm., a field report that chronicled the two Gallery-sponsored expeditions; various drafts and research notes in Box 2, which are organized according to their original order from their envelopes and notecards based on subject.
The papers concern Bishop's Gallery-sponsored travels to China, 1923 to 1927 and from 1929-1934, while acting as Associate Curator at the Freer Gallery of Art. The collection includes a large collection of still prints and maps.The earliest still photographic prints in the Bishop Papers date from his employ at the University of Pennsylvania Museum, where he conducted archaeological reconnaissance from 1915 to 1918 in China, Korea, and Japan. All subsequent images were created or collected by Bishop and his assistant Kwang-zung Tung during the Freer Gallery-sponsored expeditions of 1923-1934. This selection of digitized prints showcase prints which are not reflected in the Bishop manuscript or the photograph books. These selected images include place views of various excavations that featured prominently in the Bishop manuscript as well as the writings of A.G. Wenley and Dr Li Chi, who accompanied Bishop during his archaeological excavations in China. These include place views of Shansi, Shensi, Hsi-yin-Ts'un, Yu Ho Chen, Yun Kang and Peitaiho. In addition, images from Bishop's photographs of Mongolia, Manchuria and Nanjing, which are focused less on the excavation activities and depict more of the social and physical landscape of the areas Bishop visited, were chosen to reflect the comprehensive nature of Bishop's still print collection.
This series contains Bishop's unpublished typed manuscript entitled Archaeological Research in China 1923-1934. it is a field report that chronicled the two Freer Sackler Gallery sponsored expeditions. There are various drafts and research notes in box two.
Carl Whiting Bishop, Series 1: Manuscript and Research Material
Biographical / Historical:
Carl Whiting Bishop was an Associate Curator and Associate in Archaeology at the Freer Gallery of Art from 1922 to 1942.
Local Numbers:
FSA A.02 1
Collection Restrictions:
Collection is open for research.
Collection Rights:
Permission to reproduce and publish an item from the Archives is coordinated through the Freer Gallery of Art and Arthur M. Sackler Gallery's Rights and Reproductions department. Please contact the Archives in order to initiate this process.
Topic:
Archaeology  Search this
Archaeological expeditions  Search this
Genre/Form:
Photographic prints
Manuscripts
Collection Citation:
The Carl Whiting Bishop Collection. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Smithsonian Institution, Washington, D.C.
Identifier:
FSA.A.02, Series 1
See more items in:
Carl Whiting Bishop Collection
Archival Repository:
Freer Gallery of Art and Arthur M. Sackler Gallery Archives
EDAN-URL:
ead_component:sova-fsa-a-02-ref11
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Landscape with hill, trees, and moonrise

Artist:
Komai Genki 駒井源琦 (1747-1797)  Search this
Medium:
Ink wash on paper
Dimensions:
H x W (image): 31.6 × 49 cm (12 7/16 × 19 5/16 in)
Type:
Painting
Origin:
Japan
Date:
1747-1868
Period:
Edo period
Topic:
landscape  Search this
Edo period (1615 - 1868)  Search this
forgery  Search this
Japan  Search this
kakemono  Search this
Japanese Art  Search this
Credit Line:
Gift of Charles Lang Freer
Accession Number:
F1896.40a-c
Restrictions & Rights:
Usage conditions apply
Related Online Resources:
Google Cultural Institute
See more items in:
Freer Gallery of Art and Arthur M. Sackler Gallery Collection
Data Source:
Freer Gallery of Art and Arthur M. Sackler Gallery
GUID:
http://n2t.net/ark:/65665/ye3e8726239-f9e8-4e64-95ca-61bb42f5a7a8
EDAN-URL:
edanmdm:fsg_F1896.40a-c

Figure of a crouching stag with horns (forgery)

Medium:
Earthenware
Dimensions:
H x W x D: 17.2 x 17.5 x 6.3 cm (6 3/4 x 6 7/8 x 2 1/2 in)
Type:
Ceramic
Sculpture
Origin:
China
Date:
1900-1960
Period:
Modern period
Topic:
Modern period (1912 - present)  Search this
forgery  Search this
China  Search this
Chinese Art  Search this
WWII-era provenance  Search this
Credit Line:
Purchase — Charles Lang Freer Endowment
Accession Number:
F1960.13
Restrictions & Rights:
Usage conditions apply
See more items in:
Freer Gallery of Art and Arthur M. Sackler Gallery Collection
Data Source:
Freer Gallery of Art and Arthur M. Sackler Gallery
GUID:
http://n2t.net/ark:/65665/ye3e76da4f3-f236-4b0a-8afb-b61c4b67c62e
EDAN-URL:
edanmdm:fsg_F1960.13

The fantastic African blades of Tilman Hebeisen / by Ethan Rider and Wolf-Dieter Miersch

Author:
Rider, Ethan  Search this
Miersch, Wolf-Dieter  Search this
Smithsonian Libraries African Art Index Project DSI  Search this
Subject:
Hebeisen, Tilman  Search this
Type:
Articles
Place:
Africa, Central
Date:
2018
Topic:
Ironwork--Forgeries  Search this
Throwing knives--Authenticity  Search this
Yakoma throwing knives  Search this
Yakoma throwing knives--Forgeries  Search this
Yakoma weapons--Forgeries  Search this
Kota knives  Search this
Weapons, Kota (Africa)--Forgeries  Search this
Call number:
N5310.7 .W927
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_1094965

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