Search Results

Creator:

Hall, Lee  Search this

Names:

Betty Parsons Gallery  Search this

Rhode Island School of Design  Search this

Ajay, Abe  Search this

De Kooning, Elaine  Search this

De Kooning, Willem, 1904-1997  Search this

Parsons, Betty  Search this

Extent:

7.4 Linear feet

Type:

Collection descriptions

Archival materials

Interviews

Drawings

Sketchbooks

Diaries

Video recordings

Date:

circa 1870s-2017

bulk 1975-2010

Summary:

The papers of painter, author, and arts administrator Lee Hall measure 7.4 linear feet and date from circa 1870-2017, bulk 1975 to 2010. The papers document Hall's career through biographical material, correspondence, writings, studio records, printed material, photographic material, and artwork. Included is significant documentation on Hall's book projects, including biographies of Betty Parsons, Abe Ajay, and Willem and Elaine de Kooning.

Scope and Contents:

The papers of painter, author, and arts administrator Lee Hall measure 7.4 linear feet and date from circa 1870-2017, bulk 1975 to 2010. The papers document Hall's career through biographical material, correspondence, writings, studio records, printed material, photographic material, and artwork. Included is significant documentation on Hall's book projects, including biographies of Betty Parsons, Abe Ajay, and Willem and Elaine de Kooning.

Biographical material includes business cards, résumé and biographical texts, travel documents, and awards. Correspondence is professional and personal in nature and includes some collected historic correspondence from unknown authors. Correspondence regarding specific writing projects is found in the Writings series. The Writings series includes journals and notebooks focusing primarily on Hall's travels and study of Classics including the Greek language. The Writing Projects subseries includes titles intended for publication as well as college papers, essays, and lectures. Published titles are often accompanied by book proposals, contracts, research material, interviews, and correspondence. Also included are writings by others including reviews regarding Hall's art career. Studio records include artwork inventories, loan paperwork, and the mechanical for an exhibition catalog. Printed material includes exhibition invitations for Lee Hall's art career, exhibition catalogs for Hall's exhibitions and that of Betty Parsons, and general printed material regarding Elaine de Kooning, as well as press clippings on various topics. Photographic materials include images of Lee Hall and her circle of friends including Betty Parsons, images of Hall in her studio, installation images of Hall's exhibitions at the Betty Parsons Gallery, and extensive photographs of Hall's travels to the Mediterranean, primarily to Greece and Turkey. The Artwork series includes sketches, watercolors and other small paintings by Lee, as well as illustrated manuscripts for children's book titles.

Arrangement:

The collection is arranged in seven series:

Series 1: Biographical Material, circa 1970-2010 (0.2 Linear Feet; Boxes 1, 7)

Series 2: Correspondence, circa 1870-2016 (0.3 Linear Feet; Box 1)

Series 3: Writings, circa 1920-2010 (4.0 Linear Feet; Boxes 1-5)

Series 4: Studio Records, circa 1973-2010 (0.2 Linear Feet; Box 5)

Series 5: Printed Material, circa 1914-2016 (0.4 Linear Feet; Boxes 5, 7)

Series 6: Photographic Material, circa 1940-2017 (1.7 Linear Feet; Boxes 5-9)

Series 7: Artwork, circa 1950-2010 (0.6 Linear Feet; Boxes 6-7, Oversize 10)

Biographical / Historical:

Lee Hall (1935-2017) was a painter, author, and arts administrator who served as president of the Rhode Island School of Design from 1975-1983. Born in Lexington, North Carolina and raised in Florida following her parents' divorce, Lee Hall later returned to her birth state to attend the Woman's College of the University of North Carolina. She received her bachelor of fine arts in 1955, studying under the abstract painter John Opper. She eventually earned a masters degree in art education and a PhD in creative arts, both from New York University. Hall's paintings shared an Abstract Expressionist sensibility common with many of her peers at the Betty Parsons Gallery, imparted on the figurative tradition of landscape painting. Hall showed her paintings at the Betty Parsons Gallery from the late seventies until 1982 when the gallery closed following Parsons' death, after which she ceased exhibiting her work almost entirely until the last decade of her life. Hall maintained a studio at her home in South Hadley, Massachusetts throughout her life. A few years before Parson's death Hall had agreed to write Parsons' biography, finally released in 1991, on the condition that she and papers were made available for intensive research. Hall published titles on a wide variety of subjects including a comprehensive survey of American clothing (1992), and perhaps most notably the controversial biography of painters Elaine and Willem de Kooning (1993).

Separated Materials:

Three linear feet of Betty Parsons papers donated as part of the Lee Hall papers were transferred to the collection of Betty Parsons Gallery records and personal papers, also located at the Archives of American Art.

Provenance:

Donated in 2018 by the Lee Hall Estate via Carolyn Crozier and Deborah Jacobson, co-executors.

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.

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 -- Massachusetts  Search this

Authors -- Massachusetts  Search this

Arts administrators -- Rhode Island  Search this

Genre/Form:

Interviews

Drawings

Sketchbooks

Diaries

Video recordings

Citation:

Lee Hall Papers, circa 1870s-2017. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.halllee

See more items in:

Lee Hall papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw91d411a6e-e1cb-42cd-97de-96d9f710d658

EDAN-URL:

ead_collection:sova-aaa-halllee

Creator:

Sears, Thomas Warren, 1880-1966  Search this

Sears & Wendell  Search this

Olmsted Brothers  Search this

Harvard University  Search this

American Society of Landscape Architects  Search this

Donor:

Tibbetts, Eleanor Sears  Search this

Extent:

44.5 Cubic feet (4,317 glass negatives. 363 film negatives. 182 glass lantern slides. 12 photograph albums. 56 plans and drawings. 3 monographs. )

Type:

Collection descriptions

Archival materials

Negatives

Blueprints

Albums

Plans (drawings)

Lantern slides

Date:

1899-1964

Summary:

The Thomas Warren Sears Photograph Collection documents examples of the design work of Thomas Warren Sears (1880-1966), a landscape architect and amateur photographer from Brookline, Massachusetts. Sears, who was based for most of his career in Philadelphia, designed a variety of different types of landscapes ranging from private residences, schools, and playgrounds to parks, cemeteries, and urban housing developments located primarily in Pennsylvania, Maryland, and New York. In addition to some of Sears' design work, images in the collection document Sears' domestic and foreign travels, design inspirations, and family. The collection includes over 4,800 black and white negatives and glass lantern slides dated circa 1899 to 1930. While most images show private and public gardens, there are a significant number of unidentified views and views photographed in Europe during two trips he took there in 1906 and 1908. Few images are captioned or dated. In addition, there are over 50 plans and drawings, most notably for Balmuckety in Pikesville, Maryland and Reynolda in Winston-Salem, North Carolina, and 3 monographs by or about Sears.

Scope and Contents note:

The Thomas Warren Sears Photograph Collection documents examples of the design work of Thomas Warren Sears (1880-1966), a landscape architect and amateur photographer from Brookline, Massachusetts. Sears, who was based for most of his career in Philadelphia, designed a variety of different types of landscapes ranging from private residences, schools, and playgrounds to parks, cemeteries, and urban housing developments located primarily in Pennsylvania, Maryland, and New York. In addition to some of Sears' design work, images in the collection document Sears' domestic and foreign travels, design inspirations, and family. The collection includes over 4,800 black and white negatives and glass lantern slides dated circa 1899 to 1930. While most images show private and public gardens, there are a significant number of unidentified views and views photographed in Europe during two trips he took there in 1906 and 1908. Few images are captioned or dated. In addition, there are over 50 plans and drawings, most notably for Balmuckety in Pikesville, Maryland and Reynolda in Winston-Salem, North Carolina, and monographs by or about Sears. Several of the glass lantern slides are duplicates of glass plate negatives in the collection. They apparently were chosen by Sears to illustrate some of his best design work, perhaps for lecture or client purposes.

In addition, there are 56 plans and drawings, most notably for Balmuckety in Pikesville, Maryland and Reynolda in Winston-Salem, North Carolina. They range in date from 1917 to 1937 and from 1955 to 1964. Sears photographed some of his early plans; they are included in with the photographic images. Sears also photographed a handful of design plans by landscape architect Sibley Coslett Smith who practiced in Providence, Rhode Island; Sears and Smith shared the same business address there.

The Thomas Warren Sears Collection does not fully document the extent of Sears' design work. The use of glass plate negatives—which make up the bulk of the Thomas Warren Sears Collection—as a photography medium waned sometime during the first quarter of the twentieth century. As a result, the images in the Sears Collection capture examples of Sears' early to mid-career design work but they do not include jobs designed by Sears during the latter half of his design career.

Arrangement note:

The glass plate negatives were originally housed in numerous cardboard boxes manufactured for the sale of undeveloped glass plate negatives. Sears annotated the outside of the boxes with project or client names and/or locations, but the contents do not always match these labels. In addition, because very few of the glass plate negatives and lantern slides were labeled or captioned, it is not always evident where one job ended and another began if multiple projects were stored in the same carton. As a result, there are many instances in the Sears Collection where images have been inadvertently mislabeled because their identification is not apparent. Misidentified images are subject to correction as their proper identification is discovered. Each project has been assigned its own unique AAG job number based on its geographic origin. Those groups of images that have not been identified as to their location have been assigned a project number starting with 'SRS.' The collection is arranged into 3 series: 1) Photographic images (including glass plate negatives, film negatives, glass lantern slides, and photograph albums) 2) Plans and Drawings 3) Monographs

Biographical/Historical note:

Thomas Warren Sears was born in 1880 in Brookline, Massachusetts. He received a Bachelor of Arts degree from Harvard University in 1903 and Bachelor of Science degree in landscape architecture from the Lawrence Scientific School of Harvard in 1906. Sears was an amateur photographer who won awards for his photography while at Harvard. In 1915 his images were published in the monograph, Parish Churches of England. After graduation he worked for the firm of Olmsted Brothers Landscape Architects for two years and then briefly practiced in Providence, Rhode Island. In 1913, Sears established a landscape design office in Philadelphia, Pennsylvania where he spent the remainder of his professional career. Sears at one point was in a professional partnership; some of his design plans list the firm name of Sears and Wendell. He was made a Fellow of the American Society of Landscape Architects in 1921.

Sears designed many different types of landscapes ranging from private residences, schools, and playgrounds to parks, cemeteries, and urban housing developments. His designs were primarily located in Pennsylvania, Maryland, and New York. Just a few of his private landscapes include Marengo in Easton, Maryland; Sunnybrook, the Isaac H. Clothier, Jr. estate in Radnor, Pennsylvania; and Balmuckety in Pikesville, Maryland. In 1915, Sears started work on Reynolda, a country estate in Winston-Salem, North Carolina. He generated design plans for the property intermittently over the next two decades. Reynolda's formal gardens, greenhouses, and acres of fields and woodlands subsequently became part of Wake Forest University.

During World War I, Sears designed Army camps in Battle Creek, Michigan and Spartanburg, South Carolina. He also helped lay out Langley Field, at that time an experimental aviation field in Hampton Roads, Virginia. In the 1940s, Sears designed the amphitheater at Swarthmore College in Swarthmore, Pennsylvania for concerts, outdoor performances, and other special events. During that decade he also worked on Colonial Revival gardens at Pennsbury, William Penn's country estate in Bucks County, Pennsylvania located by the Delaware River. Sears retired in 1964 and died in 1966.

Related Archival Materials note:

The Philadelphia Architects and Buildings Project (PAB), administered by The Athenaeum of Philadelphia, includes references to design projects by Sears.

Harvard University's Loeb Library includes a number of images by Sears, some of them documenting gardens that he designed.

Harvard University's Fine Arts Library, Special Collections includes a collection of photographs and negatives of English parish churches by Sears, c. 1908. Some of the images were published in the monograph, Parish Churches of England.

The Reynolda House Museum of American Art in Winston-Salem, North Carolina includes plans by Sears of Reynolda in its Estate Archives.

Provenance:

Gift of Eleanor Sears Tibbetts, Sears' daughter, to the Horticulture Services Division (later Smithsonian Gardens) in 1992.

Restrictions:

Access to original archival materials by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.

Rights:

Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.

Topic:

Photographers  Search this

Landscape architects  Search this

Gardens -- United States  Search this

Gardens -- Switzerland  Search this

Gardens -- Scotland  Search this

Gardens -- Italy  Search this

Gardens -- Germany  Search this

Gardens -- France  Search this

Gardens -- England  Search this

Genre/Form:

Negatives

Blueprints

Albums

Plans (drawings)

Lantern slides

Citation:

Smithsonian Institution, Archives of American Gardens, Thomas Warren Sears photograph collection.

Identifier:

AAG.SRS

See more items in:

Thomas Warren Sears photograph collection

Archival Repository:

Archives of American Gardens

GUID:

https://n2t.net/ark:/65665/kb68e184341-59d2-4612-8886-4cc747c92bfe

EDAN-URL:

ead_collection:sova-aag-srs

Creator:

Woodward, Stanley Wingate, 1890-1970  Search this

Names:

Salmagundi Sketch Club  Search this

Beal, Gifford, 1879-1956  Search this

Butler, Mary  Search this

Cady, Harrison, 1877-1970  Search this

Carter, Janis, 1921-  Search this

Craine, Jeanne  Search this

Custis, Eleanor Parke, 1897-1983  Search this

Darnell, Linda, 1921-1965  Search this

Davis, Bette, 1908-1989  Search this

Day, Laraine, 1920-2007  Search this

Fabri, Ralph, 1894-1975  Search this

Grant, Gordon, 1875-1962  Search this

Hayworth, Rita, 1918-1987  Search this

Kent, Norman, 1903-1972  Search this

Lee, Madaline  Search this

Lupino, Ida, 1918-1995  Search this

Merrill, Gary  Search this

Nichols, Hobart, 1869-1962  Search this

Oakley, Thornton, 1881-1953  Search this

Powell, Eleanor, 1912-1982  Search this

Ryder, Chauncey F., 1868-1949  Search this

Smith, Alexis, 1921-1993  Search this

Smith, Howard (Howard Everett), 1885-1970  Search this

Tarbell, Edmund Charles, 1862-1938  Search this

Thieme, Anthony, 1888-1954  Search this

Extent:

6.6 Linear feet

Type:

Collection descriptions

Archival materials

Photographs

Diaries

Writings

Drawings

Scrapbooks

Date:

1875-1970

bulk 1905-1970

Summary:

The papers of marine painter, illustrator, writer and art instructor Stanley Woodward date from 1875-1970, bulk 1905-1970, and measure 6.6 linear feet. Found within the papers are biographical materials, family and personal correspondence, seventeen diaries, notes, notebooks and other writings, business records, a scrapbook and printed material including exhibition announcements and catalogs; and photographs of Woodward, members of his family, friends, his studio, and artwork. Files containing letters, clippings, and photographs concern actresses including Janis Carter, Linda Darnell, Bette Davis, and Eleanor Powell. Writings include drafts of Woodward's book Adventure in Marine Painting.

Scope and Content Note:

The papers of marine painter, illustrator, writer and art instructor Stanley Woodward date from 1875-1970, bulk 1905-1970, and measure 6.6 linear feet. Found within the papers are biographical materials, artworks, family and personal correspondence, seventeen diaries, notes, notebooks and other writings, business records, a scrapbook and printed material including exhibition announcements and catalogs; and photographs of Woodward, members of his family, friends, and his studio. Files containing letters, clippings, and photographs concern actresses including Janis Carter, Linda Darnell, Bette Davis, and Eleanor Powell. Writings include drafts of Woodward's book Adventure in Marine Painting.

Biographical material includes miscellaneous accounts of Woodward's life, cards and certificates of membership in various organizations including the Massachusetts Society of the Sons of the American Revolution, the Salmagundi Club, and the Academic Artist Association, military records of his service in both World Wars, and scattered artwork. A file concerning Woodward's portrait of Abraham Lincoln contains letters primarily discussing a reproduction of the portrait in The Boston Globe and the painting's eventual sale, in addition to notes, clippings, an ink drawing, and a photographic negative of the drawing.

Correspondence is between various family members, but also includes letters to Woodward from colleagues including Harrison Cady, Eleanor Parke Custis, Ralph Fabri, Chauncey F. Ryder, and Howard E. Smith. There are also scattered letters from other artists including Gifford Beal, Mary Butler, Gordon Grant, Norman Kent, Hobart Nichols, Thornton Oakley, Edmund Tarbell, and Anthony Thieme. Correspondence primarily concern his painting career, and includes lists of art work and financial material.

Artwork consists of a sketchbook and three sketches.

Files concerning actresses reflect Woodward's life-long friendship with former teenaged neighbor Bette Davis, who later introduced Woodward and his art work to her show business friends. The files contain letters, clippings, and photographs of actresses Janis Carter, Linda Darnell, Bette Davis, Laraine Day, Madaline Lee, Ida Lupino, Eleanor Powell, and Alexis Smith.

Seventeen diaries contain relatively detailed daily entries describing Woodward's art-related activities, experiences during World War II, and various travels, including a trip to Los Angeles to be a house guest of Bette Davis and visit her on the set of the motion picture Elizabeth and Essex. The 1905 diary contains photographs of Woodward's school friends.

Notes, notebooks, and writings include lists of art works, exhibition guest books, and miscellaneous writings by Woodward including drafts of his book Adventure in Marine Painting.

Business records include an auction catalog, account books for the sale of Woodward's book and art work, and miscellaneous receipts. Records of art classes taught by Woodward include lists of participants, accounts of fees paid, and printed advertisements.

A scrapbook containing clippings and exhibition announcements and catalogs illustrates Woodward's early interests and art-related activities.

Additional printed material consists of clippings, copies of the U. S. Air Corps Magazine The Rip Chord for which Woodward did the cover illustrations, prospectuses with annotations of titles and prices of art work, exhibition announcements and catalogs, reproductions of art work, a booklet, and brochures for books and for art schools. Miscellaneous printed material includes reproductions of a photograph of Woodward's father, Frank E. Woodward, and a program for an event honoring Dr. T. Tertius Noble.

Photographs are of Woodward, family members, friends connected with the U. S. Army Air Force including Jack Dempsey, Woodward's studio, and art work. Three albums contain photographs of art classes and Woodward painting outdoors at various locations including Laguna Beach and Palm Springs, California, St. Augustine, Florida, and Rockport, Massachusetts. A third album also contains photographs of notable friends including Janis Carter, Jeanne Craine, Bette Davis, Rita Hayworth, and Gary Merrill.

Arrangement:

The collection is arranged into 10 series. Each series is arranged chronologically.

Missing Title

Series 1: Biographical Material, 1918-1968 (Boxes 1, 8; 15 folders)

Series 2: Artwork, circa 1920s (Boxes 1; 2 folders)

Series 3: Correspondence, 1910-1969 (Boxes 1-3; 2.9 linear feet)

Series 4: Files Concerning Actresses, 1931-1970 (Boxes 4, 8; 0.75 linear feet)

Series 5: Diaries, 1905-1969 (Boxes 4-5; 10 folders)

Series 6: Notes, Notebooks, and Writings, 1915-1969 (Boxes 5, 8; 21 folders)

Series 7: Business Records, 1924-1969 (Boxes 5-6; 15 folders)

Series 8: Scrapbook, 1875-1919 (Box 6; 1 folder)

Series 9: Printed Material, 1916-1970 (Boxes 6-7; 0.75 linear feet)

Series 10: Photographs, 1920-1969 (Boxes 7-8, OV 9; 11 folders)

Biographical Note:

Stanley Wingate Woodward was born on December 11, 1890, in Malden, Massachusetts, son of Alice E. (Colesworthy) and Frank E. Woodward. He was one of eight children and a twin of Sidney, who later became an art dealer and critic.

In 1909, Woodward graduated from Malden High School and the family moved to Wellesley Hills. He studied at the Eric Pape School of Art, the School of the Boston Museum of Fine Arts, and the Pennsylvania Academy of the Fine Arts. He left school to serve in France as a Corporal in the Field Artillery 28th Division during World War I. After the war, he settled in Ogunquit, Maine, and became a free lance illustrator for Collier's and the Christian Science Monitor, where his brother Sidney was art editor.

In 1925, he held his first solo show of marine oils at Casson Galleries, Boston, where his twin brother Sidney was manager. He was encouraged to continue painting the ocean after the entire exhibition sold out.

Woodward married Ruth Brainerd in 1926 and they settled in Newton, Massachusetts, where they were neighbors to a young Bette Davis, who had recently graduated from high school. Woodward maintained contact with the actress for the rest of his life, and through Ms. Davis, he befriended other show business personalities.

During the 1930s, Woodward taught painting at the Woodward Outdoor Painting School of Rockport, Massachusetts, at the University of North Carolina at Chapel Hill, at the Ringling School of Art in Sarasota, Florida, and at the Laguna Beach School in California. In 1937, he established his residence and studio in Rockport, Massachusetts.

Woodward served as an Air Corps captain and director of camouflage training at McChord Field in Tacoma, Washington, during World War II. In 1947, he published a book on painting techniques entitled Adventure in Marine Painting. He was also the author of Marine Paintings in Oil and Water Color.

Woodward was a member of the Chicago Society of Etchers, the Concord Art Association, the Print Makers Society of California, the Boston Society of Water Color Painters, Allied Artists of America, the Guild of Boston Artists, the North Shore Art Association, the American Water Color Society, the Grand Central Galleries Association, and the Rockport Art Association. His work is in the collections of the Boston Museum of Fine Arts, Bowdoin College, Amherst College, Lehigh University, and the Prudential Life Insurance Collection.

Stanley Wingate Woodward died on March 21, 1970 in Gloucester, Massachusetts.

Provenance:

The Stanley Woodward papers were donated in two installments in 1973 by Stanley Woodward's daughter, Patricia Woodward Smith.

Restrictions:

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

Rights:

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

Occupation:

Marine painters -- Massachusetts  Search this

Topic:

Educators -- Massachusetts  Search this

World War, 1914-1918  Search this

Marine painting -- Technique  Search this

Illustrators -- Massachusetts  Search this

Artists' studios  Search this

World War, 1939-1945  Search this

Genre/Form:

Photographs

Diaries

Writings

Drawings

Scrapbooks

Citation:

Stanley Woodward papers, 1875-1970, bulk 1905-1970. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.woodstan

See more items in:

Stanley Woodward papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9816d92be-2c37-4830-86b8-26608c86eaec

EDAN-URL:

ead_collection:sova-aaa-woodstan

Creator:

DC Cowboys Dance Company  Search this

Extent:

7.5 Cubic feet (22 boxes, 3 oversize folders)

Type:

Collection descriptions

Archival materials

Articles

Photographs

Correspondence

Press releases

Business records

Dvds

Financial records

Compact discs

Date:

undated

1994-2012

Summary:

The records of the DC Cowboys Dance Company, an all-male, gay, non-profit dance company based in Washington, DC. that was active from 1994-2012. They peformed nationally and internationally live and on television, "celebrating diversity through dance."

Scope and Contents:

The DC Cowboys Dance Company Records contain the business and financial papers of the company, such as memoranda and correspondence; choreography routines; printed materials such as press releases and articles; fundraising materials; photographs; audiovisual materials; and the pre-recorded music used for their various dance routines. The records are arranged chronologically in three series.

Series 1: Company Files, 1994-2013, undated, is arranged chronologically by year and maintains the original order received from the donor. The files cover the entire life of the company and its peformances within the United States as well as internationally. The files contain correspondence, contracts, dance routines, fundraising initiatives, event information and advertising materials, travel and lodging arrangements, tourist information, and photographs.

Series 2: Financial, 1996-2011, undated, is arranged chronologically. The files contain receipts, money receipt books, financial statements, balance sheets and those materials related to the financial aspect of running the company.

Series 3: Audiovisual, 1994-2012, undated, contains compact discs (189) of pre-recorded music used for the company's various dance routines. The music was prepared for each booking and most often identified with the title of the booking and the date. Much of the music on these discs is under copyright since they are recordings done by original artists or professional covers of songs that were contemporary with the company's performance during any given year. There are also DVDs (five) detailing the production of varous fund raising DC Cowboys calendars and one audio cassette tape.

Arrangement:

This collection is divided into three series.

Series 1: Company Files, 1994-2013, undated

Series 2: Financial, 1996-2011, undated

Series 3: Audiovisual, 1994-2012, undated

Biographical / Historical:

"History of the DC Cowboys Dance Company - Celebrating diversity through dance"

The DC Cowboys Dance Company, an all-male, gay dance company, entertained audiences around the world from 1994 to 2012. Internationally acclaimed, the DC Cowboys specialized in providing exciting, high-energy, jazz-style, dance entertainment which spanned all musical genres, from contemporary country to club dance party, pop, to classic Broadway numbers for all types of occasions. Shows were customized to the venue—both gay-specific and mainstream events—and featured anywhere from one song to multiple sets of three to four songs each. Combining a little traditional country-western with jazz, musical theater and a masculine sex appeal, the DC Cowboys' high-energy choreography made the company one of the most-sought after gay dance groups in the world.

Founder and Artistic Director Kevin Platte started the dance company in August 1994 after seeing a similar gay, country-western dance group in California. Platte recruited 11 dancers—mostly friends—from a Washington, D.C., gay, country-western bar named Remington's. He approached the best dancers based on watching them two-step and line-dance at the bar. The dancers formed the troupe for the sole purpose of performing at the Atlantic States Gay Rodeo Association's (ASGRA) annual rodeo in Washington, D.C., in September 1994.

Platte thought the performance would be a one-time event. But based on an overwhelming reception, the dancers decided to continue the group. This required weekly rehearsals, the creation of a dance "repertoire" and a larger commitment from the dancers. Of the original 12 members, only six were up to the task. These six original members then had to find more dancers and identify other performance venues. Mainstay venues soon included the Capital Pride Festival every June and the Atlantic Stampede Gay Rodeo event every September.

In September 1995, Metro Weekly placed them on the cover of their magazine, giving them greater exposure and more clout. The Cowboys used this coverage as a catalyst to build the brand and identity. All the while, the DC Cowboys remained volunteers and amateurs, performing solely for the love of it. Each dancer maintained a "day job," and the group only rehearsed in the evenings once or twice a week. As the warmer months seemed to be their busiest, the dancers would use the colder months to build up the repertoire and practice. Every year, rehearsals would cease for the months of November and December for the existing dancers. However new recruits that were successful in the annual auditions attended "bootcamp" rehearsals during those months to learn some of the existing repertoire. In January, the existing and new members started rehearsing together as the new season began.

During the early years, the dancers paid for all expenses out of their own pockets, and monthly dues were collected to pay for group expenses. The group would often pay for the opportunity to perform. To supplement these expenses, the group began fundraising through a monthly bar night at different gay nightclubs. Once their reputation grew, venues and events began to pay for the company's entertainment services and patron club members donated funds to support the organization and their mission. These funds allowed the organization to pay for all of their expenses including dancer costuming. In addition, the group sold merchandise which included T-shirts, performance DVDs as well as their sexy DC Cowboys calendars. Three of the more popular calendars featured the dancers without clothes in artistic poses and included the "making of the calendar" DVD.

In 1996, Platte added a charitable element to the organization. He created a mission statement which said the company would provide free entertainment to any HIV/AIDS charitable organization. Over the years, the company also directly raised funds for HIV/AIDS organizations by sharing the profits of their calendar sales. The DC Cowboys raised millions of dollars through performances for national and local non-profit organizations such as: Washington, D.C. AIDS Ride; Washington, D.C. AIDS Walk; Chase Brexton Clinic of Baltimore, Maryland; Northern Virginia AIDS Ministry; Human Rights Campaign; Whitman Walker Clinic of Washington, D.C.; Food and Friends of Washington, D.C.; Mautner Project; Gay Latino Benefits in Metro D.C.; Harford County AIDS/Cancer Benefit, Maryland; NYFD Benefit for the New York City Fire Department.

In 1996, the company received a grant from the D.C. Commission on the Arts and Humanities and the National Endowment for the Arts, honoring the company for its valued contribution to the Washington, D.C. arts community. The company always maintained a tax-deductible status as a 501c3 non-profit organization with a small board of directors.

During their 18-year tenure, the DC Cowboys provided an outlet for gay artists and performers in the Washington, D.C., metropolitan area. The company included 85 dancers, eight choreographers and three stage-managers. The company performed at 458 events in five countries. The DC Cowboys' crowd-pleasing, sexy dance style had been described as "Will Rogers Follies meets Bob Fosse." The group famously described themselves on America's Got Talent in 2008 as "Think Brokeback meets Broadway," which became a popular line echoed around the world. Their growth and popularity were attributed to their unique and high quality entertainment which was often copied in other cities but never equalled. In addition the dancers were talented, good-looking men who were friendly and approachable to their many fans. Their farewell season tour in 2012 visited all of their favorite performance venues and locations around the world and was dedicated to their fans who were instrumental to their success.

Typical performance venues included Pride Festivals in New York City, Washington, D.C., Baltimore, and Charlotte, North Carolina; Headliners on the Gay Rodeo circuit in Washington, D.C., Las Vegas, San Diego, Atlanta, Chicago, Calgary, and Texas; Halloween in New Orleans; Mr. Gay All-American Finals; Gay Men's Chorus of Washington, Washington, D.C., concerts and events; Whitman Walker Volunteer Appreciation at Constitution Hall, Washington, D.C.; PFLAG's Gala Dinner, Washington, D.C.; HRC (Human Rights Campaign) Leadership Dinner cruise aboard the Spirit of Washington, Washington, D.C.; Human Rights Campaign National Dinner, Washington, D.C. - special reception for major donors; Annual Chef's Best Dinner & Auction for Food and Friends, Washington, D.C..

Performance highlights included America's Got Talent television show, season 3, NBC, semifinalists (2008); Closing Ceremonies of the Gay Games VII at Wrigley Field in Chicago (2006); RSVP's Caribbean Fantasy gay cruise (2005); Arts grant recipient from the DC Commission on the Arts and Humanities and the National Endowment for the Arts (1996);The Sziget Festival in Budapest, Hungary (2009--012); Dales' Great Getaway television show, ITV London, England (2012); The Podge and Rodge television show, RTE, Dublin, Ireland (2010)."

Source

This history of the DC Cowboys Dance Company was supplied by its founder, Kevin Platte.

Provenance:

The collection was donated by Kevin P. Platte, founder and Artistic and Executive Director of DC Cowboys Dance Company in 2013.

Restrictions:

This collection is open for research use. Gloves must be worn when handling unprotected photographs, negatives, and slides.

Rights:

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

Topic:

Gays  Search this

Gay business enterprises  Search this

Homosexuality  Search this

Cowboys  Search this

Dance companies  Search this

Dance  Search this

Genre/Form:

Articles -- 1990-2000

Photographs -- 21st century

Correspondence -- 1990-2000

Press releases -- 1990-2000

Business records -- 1990-2000

Articles -- 21st century

DVDs

Photographs -- 1990-2000

Financial records -- 21st century

Financial records -- 1990-2000

Correspondence -- 21st century

Compact discs

Press releases -- 21st century

Business records -- 21st century

Citation:

DC Cowboys Dance Company Records, Archives Center, National Museum of American History.

Identifier:

NMAH.AC.1312

See more items in:

DC Cowboys Dance Company Records

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8fcfb748b-0411-4008-8f12-3a8587b6f82d

EDAN-URL:

ead_collection:sova-nmah-ac-1312

Collection Creator:

Yoshida, Ray  Search this

Container:

Box 1, Folder 1

Type:

Archival materials

Date:

circa 1982-circa 1999

Collection 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. Use of archival audiovisual recordings with no duplicate copy requires advance notice. One box of letters from Jim Nutt are ACCESS RESTRICTED; use requires written permission.

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:

Ray Yoshida papers, circa 1895-2010, bulk 1950-2005. Archives of American Art, Smithsonian Institution.

Sponsor:

The processing and digitization of the Ray Yoshida papers received Federal support from the Asian Pacific American Initiatives Pool, administered by the Smithsonian Asian Pacific American Center.

See more items in:

Ray Yoshida papers

Ray Yoshida papers / Series 1: Biographical Material

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw93e277b7f-ebf5-45cc-b5f6-f6b243d2b7a8

EDAN-URL:

ead_component:sova-aaa-yoshray-ref11

Collection Creator:

Yoshida, Ray  Search this

Container:

Box 4, Folder 29

Type:

Archival materials

Date:

1975

1980-1998

Collection 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. Use of archival audiovisual recordings with no duplicate copy requires advance notice. One box of letters from Jim Nutt are ACCESS RESTRICTED; use requires written permission.

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:

Ray Yoshida papers, circa 1895-2010, bulk 1950-2005. Archives of American Art, Smithsonian Institution.

Sponsor:

The processing and digitization of the Ray Yoshida papers received Federal support from the Asian Pacific American Initiatives Pool, administered by the Smithsonian Asian Pacific American Center.

See more items in:

Ray Yoshida papers

Ray Yoshida papers / Series 6: Personal Business Records

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9f494de54-4734-440a-a657-60204a48e6a6

EDAN-URL:

ead_component:sova-aaa-yoshray-ref72

Creator:

Levi, Julian E. (Julian Edwin), 1900-1982  Search this

Names:

American Artists' Congress  Search this

An American Group (Organization)  Search this

Downtown Gallery (New York, N.Y.)  Search this

New School for Social Research (New York, N.Y.) -- Faculty  Search this

Extent:

6.9 Linear feet

Type:

Collection descriptions

Archival materials

Scrapbooks

Interviews

Sketches

Drawings

Photographs

Illustrated letters

Date:

1846-1981

Summary:

The papers of painter and teacher Julian E. (Edwin) Levi date from 1846 to 1981, and comprise 6.9 linear feet. They include biographical information and extensive correspondence with museums and galleries, as well as letters written to his family, circa 1927, while Levi was living in Paris. Also found within the papers are scattered drawings and sketches by Levi, writings and notes, financial records, two scrapbooks, printed material, miscellaneous records and photographs that document Levi's professional career and personal life.

Scope and Content Note:

The papers of painter and teacher Julian E. Levi date from 1846 to 1981, and comprise 6.9 linear feet. They consist of biographical information, correspondence, artwork, writings and notes, financial records, scrapbooks, printed material, miscellaneous records and photographs that document Levi's professional career and personal life.

Biographical information includes French documents regarding his trips to Paris in 1920 and 1926-1927. Julian E. Levi's Correspondence, 1914-1981, and undated, concerns professional and personal matters and consists primarily of incoming letters from friends and colleagues, arts organizations, museums, schools, and galleries. Also found are approximately sixty letters he wrote to his family circa 1927, while living in Paris. In addition, a small number of Henderson Family letters, 1846-1886, are included with the Julian E. Levi papers; their relationship to Levi is unclear. Found within the correspondence are illustrated letters and original artwork in the form of greeting cards. Additional Artwork consists mainly of pencil drawings and sketches by Levi, including a large number of stage costume designs.

Writings by Levi consist of brief statements concerning his work and other artists, brief reminiscences of friends, a poem, and the text of a speech. Notes contain miscellaneous jottings, lists of paintings, addresses and telephone information, and address books. Among the writings by others are catalog introductions for Levi exhibitions by unknown authors, and by Lewis Mumford and Archibald MacLeish for An American Group, Inc.

Financial Records concern both business and personal transactions and document art sales, commissions, consignments, and gallery expenses. Also included are receipts, a small number of banking and tax records, and scattered documentation of purchases, appraisals, and sales of antiques in his collection.

Scrapbooks (2 disbound volumes) contain clippings, other printed items, and a few photographs documenting Levi's exhibitions. There are a substantial number of exhibition catalogs and announcements. Miscellaneous printed material includes brochures, newsletters and publications, clippings, invitations, announcements of meetings, blank postcards, travel brochures and printed souvenirs. Also found is a copy of his book, Modern Art: An Introduction, and one of the articles he published in the American expatriate periodical Gargoyle.

Items of note among the Miscellaneous Records pertain to the American Artists' Congress, An American Group, Inc., Downtown Gallery, and New York City Council for Art Week. Other items of interest are a blueprint of plans for Levi's studio at his home in Easthampton, New York, and records regarding the New School for Social Research where Levi taught for many years.

Photographs of artwork include a disbound album of Levi's work and exhibition installation views that show paintings by Levi. Pictures of Levi include some taken when he was a young child, along with many views of him in his studio, with students, and others. Many views of places probably were used as reference for paintings. Other places recorded in photographs include Downtown Gallery, Stuart Davis's grave, and studios he occupied while in Paris, circa 1926-1927 and at the American Academy in Rome, 1967-1968. Of particular note are copies of Resettlement Administration and Farm Security Administration photographs.

Arrangement:

The collection is organized into 9 series. Correspondence and Scrapbooks are arranged chronologically. Other series are further categorized by record type or broad topic, with material in each folder arranged chronologically or alphabetically, as noted in the series descriptions.

Missing Title

Series 1: Biographical Information, circa 1906-1980 (Box 1; 14 folders)

Series 2: Correspondence, circa 1846-1981 (Boxes 1-3, OV 9; 2.3 linear ft.)

Series 3: Artwork, circa 1922-1972 (Box 3; 8 folders)

Series 4: Writings and Notes, circa 1938-1978 (Box 3; 11 folders)

Series 5: Financial Records, 1920s-1980 (Box 3; 0.4 linear ft.)

Series 6: Scrapbooks, 1921-1940(Box 4; 2 folders)

Series 7: Printed Material, circa 1922-1981(Boxes 4-6 and OV 10; 2.3 linear ft.)

Series 8: Miscellaneous Records, circa 1940-1974 (Box 6 and OV 9; 0.2 linear ft.)

Series 9: Photographs, circa 1902-1974 (Boxes 6-8 and OV 11; 1.1 linear ft.)

Biographical Note:

Julian Edwin Levi was born in New York in 1900, and his family relocated to Philadelphia six years later. At age 17, Levi enrolled in the Pennsylvania Academy of the Fine Arts where he studied under Henry McCarter and Arthur B. Carles. Upon completing his studies at the Academy in 1919, Levi was awarded one of the Pennsylvania Academy's Cresson Traveling Scholarship which enabled him to travel to Italy during the summer of 1920.

Levi then headed to Paris where he spent the next four years. During this time he became fluent in French, looked at a wide variety of art that influenced him to experiment with abstraction, and had paintings accepted for exhibition the Salon d'Automne of 1921 and 1922. He met many artists in Paris, and developed a close friendship with Jules Pascin. He retuned for a second stay in Paris during 1926 and 1927.

Upon his return to Philadelphia in 1924, Levi and several other modern artists in the city (including his former instructors Carles and McCarter) began exhibiting together under the name "31." The group's work was not well-received. For the remainder of his time in Philadelphia, he continued to paint and on several occasions was able to see Albert Barnes' collection that normally was not open to the public. Levi moved to New York City in 1932 and was attracted to the support and cooperation offered by various artists' organizations. He became a member of An American Group, Inc., in 1933, and was in active in the American Artists' Congress beginning around 1937. Later, Levi was elected to the National Institute of Arts and Letters, an Associate Artist of the National Academy of Design, and a member of the Century Association.

The sea, beaches, dunes, and shores served as inspiration for many of Levi's paintings. He studied his subjects closely, amassing a wide knowledge of boats, fishing, and related equipment; he even learned professional fishing and sailing techniques in order to better understand his subjects. Levi also focused on painting people, and his wife often served as his model. Paintings by Levi are in many museums, among them: Albright-Knox Art Gallery, Art Institute of Chicago, Butler Institute of American Art, Cranbrook Academy of Art, Des Moines Art Center, Detroit Institute of Arts, Guild Hall, Museum of Modern Art, Metropolitan Museum of Art, Newark Museum, Norton Simon Museum, Santa Barbara Museum, Springfield Museum of Art, Toledo Museum, University of Illinois, and the Whitney Museum of American Art.

Many of the paintings Levi produced while employed by the Federal Art Project, 1936-1938, served as the nucleus of his first one-man show held in 1940 at Downtown Gallery. He remained with Downtown Gallery for more than a decade. Later, he was associated with the Alan Gallery, Frank K. M. Rehn Galleries, and Nordness Gallery, each of which staged frequent solo exhibitions of Levi's work. He participated in most of the major national exhibitions and in the Venice Biennale, winning prizes awarded by the Art Institute of Chicago, Carnegie Institute, National Academy of Design, University of Illinois, Guild Hall, and the Pennsylvania Academy of the Fine Arts. A large retrospective exhibition of his work was organized by Boston University in 1962, and a small retrospective was held in 1971 at Wake Forest University, Winston-Salem, North Carolina.

A highly respected and much loved teacher, Levi emphasized the importance of drawing and provided individualized instruction. He considered himself a "coach" and viewed his students as less experienced artists (all were encouraged to call him Julian instead of Mr. Levi). His teaching career, which lasted for more than three decades, began in 1946 with his appointments as a painting instructor at the Art Students League and the New School for Social Research in New York City (later the New School appointed him director of its Art Workshop). In 1964 he began making weekly trips to the Pennsylvania Academy of the Fine Arts in Philadelphia, where he taught painting; at the start of the 1977 academic year, he reduced his schedule to once a month and acted as a general critic. During the 1967-68 academic year, Levi was on sabbatical leave while artist-in-residence at the American Academy in Rome. In addition, he taught summer courses at Columbia University in the early 1950s and occasionally served as a guest instructor at other summer programs over the years.

Julian Levi died in New York City, February 28, 1982, after a brief illness.

Provenance:

The papers were a gift received in several accessions between 1969-1982 from Julian E. Levi and his estate (Herman Englander, executor). Portions of the collection were microfilmed upon receipt.

Restrictions:

The collection is open for research. Use requires an appointment and is limited to the Washington, D.C. office.

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

Topic:

Art -- Economic aspects  Search this

Painting, Modern -- 20th century -- New York (State) -- New York  Search this

Art -- Study and teaching  Search this

Artists' studios  Search this

Works of art  Search this

Genre/Form:

Scrapbooks

Interviews

Sketches

Drawings

Photographs

Illustrated letters -- Local

Citation:

Julian E. Levi papers, 1846-1981. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.levijuli

See more items in:

Julian E. Levi papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw99f1f1716-1635-4a68-b892-235c3bd7be31

EDAN-URL:

ead_collection:sova-aaa-levijuli

Creator:

Thibault/Teabo, André, 1948?  Search this

Names:

Bearden, Nanette  Search this

Bearden, Romare, 1911-1988  Search this

Goings, Russell L.  Search this

Extent:

0.9 Linear feet

Type:

Collection descriptions

Archival materials

Sketchbooks

Drawings

Date:

circa 1930s-2003

bulk 1980-1998

Summary:

The papers of studio assistant Andre Thibault/Teabo regarding African American painter Romare Bearden measure 0.9 linear feet and date from circa 1930s to 2003 with the bulk of the material dating from 1980 to 1998. The papers consist of administrative records such as financial and gallery records. Correspondence includes letters from Romare Bearden, his wife Nanette and Andre Thibault. Of note is correspondence between Thibault and Nanette concerning the signature on a Bearden painting. Printed material includes exhibition catalogs, posters, magazines, art books and source material used by Bearden. Artwork consists of a self-portrait, a sketchbook, collage pieces, and oversize drawings by Bearden. Photographic material is comprised of photographs of Bearden, his art, studio, Andre Thibault/Teabo, Russell Goings and others.

Scope and Contents:

The papers of studio assistant Andre Thibault/Teabo regarding African American painter Romare Bearden measure 0.9 linear feet and date from circa 1930s to 2003 with the bulk of the material dating from 1980 to 1998. The papers consist of administrative records such as financial and gallery records. Correspondence includes letters from Romare Bearden, his wife Nanette and Andre Thibault. Of note is correspondence between Thibault and Nanette concerning the signature on a Bearden painting. Printed material includes exhibition catalogs, posters, magazines, art books and source material used by Bearden. Artwork consists of a self-portrait, a sketchbook, collage pieces, and oversize drawings by Bearden. Photographic material is comprised of photographs of Bearden, his art, studio, Andre Thibault/Teabo, Russell Goings and others.

Arrangement:

This collection is arranged in five series.

Series 1: Administrative Records, 1985-1988 (Box 1; 2 folders)

Series 2: Correspondence, 1987-1996 (Box 1; 3 folders)

Series 3: Printed Material, 1949-1958, 1971-2003 (Box 1-2, OV 3; 0.5 linear feet)

Series 4: Artwork, circa 1930s-1940s, circa 1980-1988 (Box 2, OV 3; 0.2 linear feet)

Series 5: Photographic Material, 1983-1991 (Box 2, OV 3; 0.2 linear feet)

Biographical / Historical:

Andre Thibault/Teabo (1948?- ) is an artist in New York, N.Y. and was Romare Bearden's studio assistant from 1980-1988.

Romare Bearden (1911-1988) was an African American painter who worked in New York, N.Y. Bearden worked in various mediums and is known for his colorful abstract paintings depicting the lives of African American people and for his work in collage. In 1963 he co-founded the African American artistic group named Spiral that endeavored to answer the question "What is Black Art?" and in 1968 was involved in founding the Studio Museum in Harlem, New York. The following year Bearden co-founded the Cinque Gallery which promoted and exhibited the works of African American artists. In 1976 he received a Gold Medal from the Governor of North Carolina for the advancement of the arts and posthumously received the Lifetime Achievement Award from the Studio Museum in Harlem in 1988.

Provenance:

The papers were donated to the Archives of American Art by André Thibault/Teabo in 2017.

Restrictions:

This collection is open for research. Access to originals 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:

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

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

Topic:

African American artists  Search this

Genre/Form:

Sketchbooks

Drawings

Citation:

The André Thibault/Teabo papers regarding Romare Bearden, circa 1930s-2003. Archives of American Art, Smithsonian Institution.

Sponsor:

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

Identifier:

AAA.thibandr

See more items in:

André Thibault/Teabo papers regarding Romare Bearden

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw97882b3be-30ac-4884-b0af-efc2a706c4ae

EDAN-URL:

ead_collection:sova-aaa-thibandr

Creator:

Smithsonian Institution United States National Museum Department of Anthropology Division of Archeology  Search this

Jochelson, Waldemar I.  Search this

Bernheimer, Charles L.  Search this

Colburn, Burnham S.  Search this

Featherstonehaugh, Thomas  Search this

Geist, Otto William  Search this

Hill, A. T.  Search this

Hough, Walter, 1859-1935  Search this

Langford, George Langford  Search this

Montgomery, Henry  Search this

Moore, Clarence B. (Clarence Bloomfield), 1852-1936  Search this

Pittier, Henri F.  Search this

Stebbins, F. B.  Search this

Artex, Charles Artes (archeological collector)  Search this

Beckwith, C. W.  Search this

Branch, C. W.  Search this

Hempstead, F. S.  Search this

Pillars, James  Search this

Price, Governor  Search this

Squier, Ephraim George  Search this

Davis, Edwin Hamilton  Search this

Riaboushinsky Expedition. Ethnological Section  Search this

Collector:

Colburn, Burnham S.  Search this

Photographer:

Hillers, John K., 1843-1925  Search this

Jackson, William Henry, 1843-1942  Search this

Matteson, Sumner W.  Search this

Mearns, Edgar S.  Search this

Mindeleff, Victor, 1860-1948  Search this

O'Sullivan, Timothy H., 1840-1882  Search this

Names:

Wetherill, Richard -- Mancos Canyon, Colorado  Search this

Extent:

1,600 Items

Culture:

Tlingit -- burials  Search this

Cherokee  Search this

Unangan (Aleut)  Search this

Arctic peoples  Search this

Type:

Collection descriptions

Archival materials

Photographic prints

Negatives

Photomechanical prints

Tintypes

Drawings

Clippings

Notes

Letters

Place:

Massachusetts -- Dighton Rock

Alabama -- 1931 -- Moundville

Alabama -- Archeology

Alaska -- Archeology

Arizona -- Archeology

Arkansas -- Archeology

California -- Archeology

Colorado -- Archeology

Connecticut -- Archeology

Delaware -- Archeology

Florida -- Archeology

Georgia -- Archeology

Illinois -- Archeology

Indiana -- Archeology

Iowa -- Archeology

Kansas -- Archeology

Kentucky -- Archeology

Maryland -- Archeology

Maine -- Archeology

Massachusetts -- Archeology

Michigan -- Archeology

Minnesota -- Archeology

Mississippi -- Archeology

Missouri -- Archeology

Nebraska -- Archeology

Nevada -- Archeology

New Jersey -- Archeology

New Mexico -- Archeology

New York (State) -- Archeology

North Carolina -- Archeology

North Dakota -- Archeology

Ohio -- Archeology

Oklahoma -- Archeology

Oregon -- Archeology

Pennsylvania -- Archeology

South Carolina -- Archeology

Tennessee -- Archeology

Texas -- Archeology

Utah -- Archeology

Virginia -- Archeology

Washington -- Archeology

Costa Rica -- Archeology

British Columbia -- Antiquities

Canada -- Archeology

New Zealand -- Archeology

Nova Scotia -- Archeology

Pacific Islanders -- Archeology

West Indies -- Archeology

Date:

1870s-1930s

Scope and Contents:

The material consists mostly of photographic prints. A few negatives, photomechanical prints, tintypes, drawings, newspaper clippings, notes, and letters are also included. Much of the material is annotated. In part, the file was assembled for or relates to many accessions and cataloging units of the division.

The material was received from professionals and amateurs, mostly working in North America. The images are of artifactual and skeletal specimens, fradulent specimens, collections of specimens, sites, excavations, site features, ruins, petroglyphs, and field parties. A few are reproductions of maps and portraits of native people. Some of the specimens are in the Smithsonianʹs collections, but many are not.

Included among the many subjects are photographs of Dighton Rock in Massachusetts; many ruins of the 1931 Moundville, Alabama, excavation; Tlingit burial boxes; excavations, specimens, and Aleut portraits taken by Waldemar I. Jochelsonʹs Ethnological Section of the Riaboushinsky Expedition, 1909-1912; Richard Wetherillʹs party in Mancos Canyon, Colorado, and F. S. Hempsteadʹs Archaeological and Topographic Map of Portsmouth," [Ohio].

Some of the material relates to the work of Charles L. Bernheimer in Utah, Burnham S. Colburn in Georgia and North Carolina, Thomas Featherstonehaugh in Florida, Otto William Geist in Alaska, A. T. Hill in Nebraska, Walter Hough in Arizona (for the Gates-United States National Museum Expedition, 1901), George Langford in Illinois, Henry Montgomery in North Dakota, Clarence B. Moore in Florida, Henri F. Pittier in Costa Rica, and F. B. Stebbins in Tennessee. Collections are those of Charles Artes (filed Indiana), Thomas Beckwith (filed Missouri), C. W. Branch (filed West Indies), Burham S. Colburn Cherokee relics (filed North Carolina), James Pillars (filed Ohio), Governor Price (frauds from New Mexico), Ephraim George Squier and Edwin Hamilton Davis (filed Ohio).

The material is from Alabama, Alaska, Arizona, Arkansas, California, Colorado, Connecticut, Delaware, Florida, Georgia, Illinois, Indiana, Iowa, Kansas, Kentucky, Maryland, Maine, Massachusetts, Michigan, Minnesota, Mississippi, Missouri, Nebraska, Nevada, New Jersey, New Mexico, New York, North Carolina, North Dakota, Ohio, Oklahoma, Oregon, Pennsylvania, South Carolina, Tennessee, Texas Utah, Virginia, Washington, Costa Rica, British Columbia, Canada, New Zealand, Nova Scotia, South Pacific, and West Indies.

The works of many photographers are included. Among them are John K. Hillers, William Henry Jackson, Sumner W. Matteson, Edgar A. Mearns, Victor Mindeleff, and Timothy H. OʹSullivan.

Arrangement:

(1) Frauds; (2) petroglyphs (3) general

Topic:

Archeology -- artifacts -- skeletal specimens -- frauds -- collection -- sites -- Excavations -- Petroglyphs  Search this

Archeology -- frauds -- New Mexico  Search this

Archeology -- Alabama  Search this

Archeology -- Arizona  Search this

Archeology -- Alaska  Search this

Archeology -- Arkansas  Search this

Archeology -- California  Search this

Archeology -- Colorado  Search this

Archeology -- Connecticut  Search this

Archeology -- Delaware  Search this

Archeology -- Florida  Search this

Archeology -- Georgia  Search this

Archeology -- Illinois  Search this

Archeology -- Indiana  Search this

Archeology -- Iowa  Search this

Archeology -- Kansas  Search this

Archeology -- Kentucky  Search this

Archeology -- Maryland  Search this

Archeology -- Maine  Search this

Archeology -- Massachusetts  Search this

Archeology -- Michigan  Search this

Archeology -- Minnesota  Search this

Archeology -- Mississippi  Search this

Archeology -- Missouri  Search this

Archeology -- Nebraska  Search this

Archeology -- Nevada  Search this

Archeology -- New Jersey  Search this

Archeology -- New Mexico  Search this

Archeology -- Archeology  Search this

Archeology -- North Carolina  Search this

Archeology -- North Dakota  Search this

Archeology -- Ohio  Search this

Archeology -- Oklahoma  Search this

Archeology -- Oregon  Search this

Archeology -- Pennsylvania  Search this

Archeology -- South Carolina  Search this

Archeology -- Texas  Search this

Archeology -- Utah  Search this

Archeology -- Virginia  Search this

Archeology -- Washington  Search this

Archeology -- Costa Rica  Search this

Archeology -- British Columbia  Search this

Archeology -- Canada  Search this

Archeology -- New Zealand  Search this

Archeology -- Nova Scotia  Search this

Archeology -- Oceania  Search this

Archeology -- West Indies  Search this

Genre/Form:

Photographic prints

Negatives

Photomechanical prints

Tintypes

Drawings

Clippings

Notes

Letters

Citation:

Photo lot 40, National Anthropological Archives, Smithsonian Institution

Identifier:

NAA.PhotoLot.40

Archival Repository:

National Anthropological Archives

GUID:

https://n2t.net/ark:/65665/nw3413cc2cb-bf9c-41d2-bd29-5e2c850d63d9

EDAN-URL:

ead_collection:sova-naa-photolot-40

Collection Creator:

Davidovich, Jaime, 1936-2016  Search this

Container:

Box 2, Folder 31

Type:

Archival materials

Date:

1972

1984

1988-1989

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.

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:

Jaime Davidovich papers, 1949-2014. Archives of American Art, Smithsonian Institution.

Sponsor:

The processing and digitization of this collection received Federal support from the Latino Initiatives Pool, administered by the Smithsonian Latino Center. Additional funding for the digitization of the papers was provided by the Roy Lichtenstein Foundation.

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Jaime Davidovich papers

Jaime Davidovich papers / Series 7: Printed Materials

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw94bacb3da-f951-4afa-a7a1-333c1ac1e75e

EDAN-URL:

ead_component:sova-aaa-davijaim-ref68

Collection Creator:

Davidovich, Jaime, 1936-2016  Search this

Container:

Box OV 4, Folder 1

Type:

Archival materials

Date:

circa 1971

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.

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:

Jaime Davidovich papers, 1949-2014. Archives of American Art, Smithsonian Institution.

Sponsor:

The processing and digitization of this collection received Federal support from the Latino Initiatives Pool, administered by the Smithsonian Latino Center. Additional funding for the digitization of the papers was provided by the Roy Lichtenstein Foundation.

See more items in:

Jaime Davidovich papers

Jaime Davidovich papers / Series 6: Scrapbooks

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9bfe68ec5-754d-4f57-b56f-a36751b1997b

EDAN-URL:

ead_component:sova-aaa-davijaim-ref69

Collection Creator:

Davidovich, Jaime, 1936-2016  Search this

Container:

Box 2, Folder 35

Type:

Archival materials

Date:

circa 1990

2007-2009

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.

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:

Jaime Davidovich papers, 1949-2014. Archives of American Art, Smithsonian Institution.

Sponsor:

The processing and digitization of this collection received Federal support from the Latino Initiatives Pool, administered by the Smithsonian Latino Center. Additional funding for the digitization of the papers was provided by the Roy Lichtenstein Foundation.

See more items in:

Jaime Davidovich papers

Jaime Davidovich papers / Series 7: Printed Materials

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9d69f29b9-130c-4c93-8d01-15d4038c351e

EDAN-URL:

ead_component:sova-aaa-davijaim-ref7

Collection Creator:

Davidovich, Jaime, 1936-2016  Search this

Container:

Box 2, Folder 18

Type:

Archival materials

Date:

1978

Collection Restrictions:

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

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:

Jaime Davidovich papers, 1949-2014. Archives of American Art, Smithsonian Institution.

Sponsor:

The processing and digitization of this collection received Federal support from the Latino Initiatives Pool, administered by the Smithsonian Latino Center. Additional funding for the digitization of the papers was provided by the Roy Lichtenstein Foundation.

See more items in:

Jaime Davidovich papers

Jaime Davidovich papers / Series 5: Project and Source Files

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9f2c98aa8-ebb4-431e-a774-373a1f48069a

EDAN-URL:

ead_component:sova-aaa-davijaim-ref95

Creator:

Plagens, Peter  Search this

Extent:

4.9 Linear feet

Type:

Collection descriptions

Archival materials

Interviews

Drawings

Date:

1941-1985

Scope and Contents:

The papers of art critic and painter Peter Plagens measure 4.9 linear feet and date from 1941-1985. Included are personal and professional correspondence; diaries; an interview of Plagens conducted by Mike Lloyd, 1977 (80 p.); photographs of Plagens, his family, studio, and art work; files on lectures, grants, fellowships, exhibitions, and a petition against the Los Angeles County Museum of Art; drafts of writings; files on Plagen's book, Sunshine Muse: Contemporary Art on the West Coast (1974); and 20 ink drawings and several drawings by Plagen's young son, Paul.

Biographical / Historical:

Peter Plagens (1941-) is an art critic, painter, and writer living in New York City. Plagens studied studied painting at the University of Southern California and did graduate work at Syracuse University. In 1965, he returned to Southern California, where he worked as a curator and became a regular contributor to Artforum. His paintings were exhibited in such landmark exhibitions as the Los Angeles County Museum of Art's "24 Young Los Angeles Arts," in 1971, and the following year, the Whitney Biennial. He is best known for his first book, "Sunshine Muse: Modern Art on the West Coast, 1945-1970," published in 1974. In the mid 1970s, Plagens served as chair of the board of the fledgling Los Angeles Institute of Contemporary Art. In the late 1980s, Plagens moved to New York, where he continued to paint and where he contributed art criticism to Newsweek. He has taught at numerous universities, including California State University, Northridge, University of Southern California, and University of North Carolina.

Provenance:

The collection was donated in 1985 by Peter Plagens.

Restrictions:

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

Occupation:

Art critics -- California  Search this

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

Topic:

Art, Modern -- California  Search this

Art criticism  Search this

Genre/Form:

Interviews

Drawings

Identifier:

AAA.plagpete

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw99962500e-13da-4f00-b25e-ff89073fabe4

EDAN-URL:

ead_collection:sova-aaa-plagpete

Creator:

Lee, Sherman E.  Search this

Names:

Case Western Reserve University -- Faculty  Search this

Cleveland Museum of Art  Search this

Harvard University -- Faculty  Search this

Rockefeller, John D., 1906-  Search this

Extent:

10.3 Linear feet

Type:

Collection descriptions

Archival materials

Drawings

Travel diaries

Photographs

Date:

1947-1997

Summary:

The papers of Cleveland museum director and art historian Sherman E. Lee measure 10.3 linear feet and date from 1947-1997. The records document Lee's extensive career as an art historian, curator and expert on Asian art, director of the Cleveland Museum of Art, writer, educator, and consultant. His papers include scattered biographical materials, correspondence, writings, travel files, committees and organizations files, consulting files, teaching files, personal business records, printed material, photographs, and one pencil drawing.

Scope and Contents:

The papers of Cleveland museum director and art historian Sherman E. Lee measure 10.3 linear feet and date from 1947-1997. The records document Lee's extensive career as an art historian, curator and expert on Asian art, director of the Cleveland Museum of Art, writer, educator, and consultant. His papers include scattered biographical materials, correspondence, writings, travel files, committees and organizations files, consulting files, teaching files, personal business records, printed material, photographs, and one pencil drawing.

Correspondence is with friends, scholars, editors, collectors, dealers, art societies and organizations, and other museums. Writings consist of articles, lectures, book reviews by Lee and scattered writings by others. Writing project files contain correspondence with publishers, contracts, and printed material relating to the publication of Lee's writings. Travel files document numerous trips to Asian and European countries and include travel diaries, photographs, and lists of works of art viewed. There are files concerning Lee's membership and involvement with various committees, museums, and arts organizations. Consulting files mostly focus on Lee's work advising John D. Rockefeller III on the purchase of art, and with the Permanent Public Areas Advisory Committee of Cleveland, Ohio. Teaching files document classes he taught at Case Western Reserve and Harvard. Personal business records mostly concern Lee's personal art collection. Also found among the papers are general clippings, photographs of Lee and of artwork, and one pencil drawing.

Arrangement:

The collection is arranged as 12 series.

Missing Title

Series 1: Biographical Material, 1947-circa 1983 (0.4 linear feet; Box 1, 11)

Series 2: Correspondence, 1953-1996 (1.5 linear feet; Box 1-2)

Series 3: Writings and Notes, 1962-1983 (1.7 linear feet; Box 2-4)

Series 4: Writing Project Files, 1958-1997 (1.0 linear feet; Box 4-5)

Series 5: Travel Files, 1959-1994 (1.8 linear feet; Box 5-7)

Series 6: Committees and Organization Files, 1971-1997 (1.8 linear feet; Box 7-8)

Series 7: Consulting Files, 1960-1993 (1.1 linear feet; Box 8-9)

Series 8: Teaching Files, 1963-1977 (0.1 linear feet; Box 9)

Series 9: Personal Business Records, 1958-1995 (0.3 linear feet; Box 9)

Series 10: Printed Material, 1962-1987 (0.9 linear feet; Box 10-11)

Series 11: Photographs, circa 1952-1993 (0.2 linear feet; Box 10-11)

Series 12: Artwork, circa 1960s (1 folder; Box 10)

Biographical / Historical:

Sherman Emery Lee (1918-2008) was an recognized expert on Asian art and director of the Cleveland Museum of Art from 1958-1983.

Born in Seattle, Washington in 1918, Sherman E. Lee grew up in New York and received degrees from American University and a Ph.D. from Case Western Reserve University in Cleveland, Ohio. Lee began his art career as a curator at the Detroit Institute of Art and Seattle Art Museum. During World War II, he served with the U. S. Navy and was transferred to the Monuments, Fine Arts and Archives Section in Japan. After the war he continued working as a civilian advisor on the preservation of Japanese artworks.

Sherman Lee accepted a position as curator of Oriental art at the Cleveland Museum of Art in 1952 and became director in 1958, where he remained until 1983. During his long tenure there, he built one of this country's most remarkable collections of Asian art, transforming the museum from a regional presence to one of national significance. In 1973 Lee was chosen as Chairman of the Art and Archeology Delegation to the People's Republic of China, jointly sponsored by the Committee on Scholarly Communication of the People's Republic of China and the Scientific and Technical Association of the People's Republic of China.

Lee wrote or co-wrote a number of books including A History of Far Eastern Art (1964) and numerous articles for journals, magazines, and newspapers. He was the recipient of many honorary degrees, awards, and honors including the Order of the Sacred Treasure from Japan and Chevalier of the Legion d'Honneur. He taught art history courses at the Case Western Reserve University and Harvard and was consultant to John D. Rockefeller III and the Cleveland Permanent Public Advisory Committee. He retired to North Carolina where he taught at the University of North Carolina and was advisor to the University's Ackland Art Museum.

Lee was married to his wife Ruth for sixty-nine years. The two met in college and had three daughters and one son. Lee died July 9, 2008 at Chapel Hill, North Carolina.

Provenance:

Sherman E. Lee donated his papers to the Archives of American Art in 1997.

Restrictions:

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

Occupation:

Art historians -- Ohio -- Cleveland  Search this

Art museum curators -- Ohio -- Cleveland  Search this

Museum directors -- Ohio -- Cleveland  Search this

Educators -- Ohio -- Cleveland  Search this

Topic:

Art, Chinese  Search this

Art, East Asian  Search this

Art, Asian  Search this

Painting, Chinese  Search this

Art, Japanese  Search this

Art -- Study and teaching  Search this

Genre/Form:

Drawings

Travel diaries

Photographs

Citation:

Sherman E. Lee papers, 1947-1997. Archives of American Art, Smithsonian Institution.

Sponsor:

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

Identifier:

AAA.leeshere

See more items in:

Sherman E. Lee papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw94751114f-3ab9-47c5-9451-d6502f6c199b

EDAN-URL:

ead_collection:sova-aaa-leeshere

Creator:

Langley, S. P. (Samuel Pierpont), 1834-1906  Search this

Names:

Chanute, Octave, 1832-1910  Search this

Herring, Augustus Moore, 1867-1926  Search this

Huffaker, Edward C., 1856-1937  Search this

Langley, S. P. (Samuel Pierpont), 1834-1906  Search this

Manly, Charles Matthews, 1876-1927  Search this

Watkins, J. Elfreth (John Elfreth), 1852-1903  Search this

Extent:

24.28 Cubic feet (64 boxes)

Type:

Collection descriptions

Archival materials

Correspondence

Drawings

Manuscripts

Photographs

Publications

Date:

1891-1914

bulk 1891-1900

Summary:

This collection includes information about Samuel P. Langley and his colleagues, as well as documentation of Langley's work. The collection includes biographies of Langley and his assistant Charles Manly, newspaper clippings, correspondence, manuscripts regarding Langley's aircraft, photographs and drawings, work requisitions for the Aerodromes, a sketchbook, specifications and measurements for Langley's experiments, the Langley Memoirs on Mechanical Flight and the Langley "Waste Books."

Scope and Contents:

This collection includes information about Langley and his colleagues, as well as documentation of Langley's work. The collection includes the Aerodrome project waste books, biographies of Langley and his assistant Charles Manly, newspaper clippings, correspondence), manuscripts regarding Langley's aircraft, photographs and drawings, work requisitions for staff labor on the project, a sketchbook, specifications and measurements for Langley's experiments, and manuscript material from the Langley Memoir on Mechanical Flight.

The National Air and Space Museum's Samuel P. Langley Collection was drawn from several sources in the Smithsonian Institution. Parts of the collection were separated at undetermined dates from the institutional records of Langley's time as Secretary (now held by the Smithsonian Institution Archives [SIA], as the Samuel P. Langley Papers, 1867-1906, Record Unit 7003) for several purposes:

Design papers and notes from Langley's aerodrome project were used for restoring the Langley Aerodromes for exhibits beginning in 1917.

Correspondence from the papers was consulted when controversies arose between the Wright brothers and the Smithsonian, and over credit for the design of the motor built by Stephen M. Balzer and extensively modified by Charles Manly, which was used on Aerodrome A.

Technical drawings of the Aerodromes were drawn from the SIA in the 1970s for conservation purposes.

Other material was added to the collection over the years:

Correspondence, memoranda, notes and label scripts from Langley exhibits from 1913 through the 1960s.

Design notes and work records from Langley's workshop were stored with the Aerodromes in the Museum's collections, and were later transferred to the Archives Division.

Biographical material on Langley, and correspondence to the Museum on Langley and the Aerodromes.

Material from the foundation of the Langley Aerodynamic Laboratory (now NASA's Langley Research Center) in 1913.

In addition to Record Unit 7003, researchers may wish to consult these Smithsonian Institution Archives' collections:

Record Unit 31, Office of the Secretary, Correspondence, 1866-1906, with related records to 1927.

Record Unit 34, Office of the Secretary, Correspondence, 1887-1907

Record Unit 7268, J. Elfreth Watkins Collection, 1869, 1881-1903, 1953, 1966 and undated.

The Archives Division of the National Air and Space Museum holds the Charles M. Manly Papers, (Acc. 1999-0004). Manly was Samuel Langley's assistant in the Aerodrome project from 1898 to 1903.

Note: The digital images in this finding aid were repurposed from scans made by an outside contractor for a commercial product and may show irregular cropping and orientation in addition to color variations resulting from damage to and deterioration of the original objects.

Arrangement:

The Samuel P. Langley Collection is arranged in the following series:

Series 1 - Waste Books: Langley and his staff used waste books - bound ledgers - to keep records of their work on the aeronautical projects, which Langley inspected frequently.

Series 2 - Scrapbooks: A collection of 18 scrapbooks containing newspaper and magazine clippings on "Aerial Navigation". Projects by Langley, Maxim, Lilienthal and many obscure aeronautical experimenters are included. Other clippings are included in Series VIII and XI.

Series 3 - Aeronautical Research and the Aerodromes: This series consists of notes, data, drawings and memoranda from Langley's aeronautical research at both the Smithsonian and the Allegheny Observatory. Subseries 2 contains material used in various Smithsonian exhibitions of the Langley Aerodromes. Some additional material is included in Series 11.

Subseries 3.1 - Design and Construction

Subseries 3.2 - Langley Aerodrome Exhibits

Series 4 - Correspondence: Letters and memoranda written by and sent to S. P. Langley and his assistants, C. M. Manly and J. E. Watkins. Additional correspondence is included in Series 11.

Subseries 4.1 - S. P. Langley Correspondence

Subseries 4.2 - S. P. Langley's Assistants' Correspondence

Subseries 3 - Miscellaneous Correspondence

Series 5 - Manuscripts, Papers, Articles: Manuscripts, published articles and papers by Langley and others. See also Series 11.

Subseries 5.1 - Works by S. P. Langley

Subseries 5.2 - Miscellaneous Manuscripts, Articles, and Notes

Series 6 - Photographs: Photographs, mainly of Langley's Aerodromes. Additional photographs are included with Series 11.

Series 7 - Trade Catalogues and Ephemera: Trade catalogues and price lists from various suppliers and dealers found stored with the "Aerodrome A" at the Museum's Paul E. Garber Facility in Suitland, Maryland.

Series 8 - Miscellaneous Files

Series 9 - Flat Boxes and Oversized Material: Ledgers, drawings, test data, publications

Series 10 - Shorthand Diaries: A collection of 37 notebooks containing notes in an unidentified shorthand system, dating from 1898 to 1902, with 8 notebooks bearing partial dates or undated.

Series 11 - Additional Material: After the publication of the Langley Collection finding aid, two additional boxes of correspondence, manuscript material, drawings and photographs were found in the Museum's rare book room, the Ramsey Room. This material has been included as a separate series.

Biographical / Historical:

Samuel Pierpont Langley (1834-1906) was an astronomer, a pioneer of aeronautical research, and Secretary of the Smithsonian Institution (1887-1906). As a young man, Langley studied civil engineering and pursued this as a career until 1864, when his interest in astronomy led him to positions at the Harvard Observatory, the Naval Academy, the Western University of Pennsylvania and the Allegheny Observatory in Pittsburgh. In 1887, Langley was named Secretary of the Smithsonian, and spent the following years in the research, construction and tests of flying machines. On May 6, 1896, his unpiloted Aerodrome No. 5, powered by a 1hp steam engine, flew nearly three quarters of a mile. This flight surpassed by more than ten times the best efforts of any predecessor. In 1898, at the request of the Army's Board of Ordnance and Fortifications, Langley started work on another design - the Great Aerodrome, also known as Aerodrome A. However, two attempts at launching the aircraft in 1903 failed. In addition to his scientific experiments, Langley's writings include Experiments in Aerodynamics and The Internal Work of the Wind, and the Langley Memoir on Mechanical Flight, published posthumously. Samuel P. Langley died in Aiken, South Carolina, on February 27, 1906.

A Timeline of Early Aeronautical Milestones and Samuel P. Langley's Life and Career

August 22, 1834 -- Samuel Pierpont Langley born to Samuel Langley and Mary Sumner Williams Langley in Roxbury Massachusetts.

1843 -- William Henson and John Stringfellow publish their design for the "Aeriel", a steam-powered "Aerial Steam Carriage".

1845 -- Langley begins to attend the Boston Latin School.

1847 -- Henson tests a model of his aircraft.

1848 -- Stringfellow and Henson build and test a steam powered model aircraft. It has a wingspan of 10 feet (3.5 meters), and it flies 131 feet (40 meters) before crashing into a wall.

1849 -- Sir George Cayley tests a towed triplane glider. In one test, it flies several yards with a local boy as a passenger.

1851 -- Langley graduates from the Boston High School; begins work as an apprentice with a Boston architect.

circa 1852-1864 -- Langley works for architectural and engineering firms in St. Louis and Chicago.

1853 -- Cayley's coachman flies a glider across Brompton Dale, Yorkshire. The coachman resigns his position after the flight. Cayley conceives the rubber band–powered model airplane. Michel Loup designs a powered twin propeller monoplane with a wheeled undercarriage.

1853-1854 -- L C. Letur tests his parachute-glider design. Letur is killed in a test flight in 1854.

1855 -- Joseph Pline coins the word "aeroplane" to describe a propeller-driven dirigible.

1857 -- Jean-Marie Le Bris, a sea captain inspired by the flight of the albatross, builds a glider he names the "Albatros Artificiel" and makes two short hops, breaking his leg in the second. Félix du Temple, a French naval officer, flies a clockwork model aircraft - the first sustained powered flights by a heavier-than-air machine.

1862 -- Gabriel de la Landelle coins the word "aviation", and later, "aviateur" - aviator.

1864 -- Langley returns to Roxbury. He begins work, with his younger brother John, on a five foot focal length telescope, which they complete over three years.

1864-1865 -- Samuel and John Langley tour Europe.

circa 1865 -- Langley is hired as observatory assistant at the Harvard University Observatory, Cambridge, Massachusetts.

January 1866 -- The Aeronautical Society of Great Britain (later named the Royal Aeronautical Society) is founded.

circa 1866 -- Langley is hired as assistant professor of mathematics at the U.S. Naval Academy, Annapolis, Maryland. Duties include restoring the Academy's astronomical observatory to operation.

1867 -- Langley is named professor of Astronomy and Physics at the Western University of Pennsylvania, Pittsburgh. Duties include directorship of the Allegheny Observatory. His tenure at Allegheny will begin his work at the popularization of science through lectures and writing newspaper and journal articles.

1868 -- Stringfellow builds a model triplane.

1869 -- Langley proposes a system of standard time distribution via the telegraph to railroads and cities. The Pennsylvania Railroad signs on for the service. Langley joins a U.S. Coast Survey expedition to Oakland, Kentucky, to observe the August 7th solar eclipse. He observes later eclipses in 1870, 1878, and 1900.

1870 -- The Allegheny Observatory begins twice-daily time signals to the Pennsylvania Railroad's offices. Other railroads, businesses, and government offices later subscribe to the service. The income from the system aids the operation of the Allegheny Observatory and Langley's research work. Langley travels to Jerez de la Frontera, Spain, to observe a solar eclipse.

1870 -- Alphonse Pénaud designs his rubber-powered "Hélicoptère".

August 18, 1871 -- Pénaud demonstrates his "Planophore", a rubber-powered model, at the Tuileries, Paris. It flies 40 meters (approximately 131 feet) in 11 seconds.

1871 -- Francis Wenham designs the first wind tunnel; it is built by John Browning.

1873 -- Langley makes a detailed drawing of a sun spot. Famous for its accuracy of detail, the drawing is widely reproduced for many years.

1876 -- Pénaud and Paul Gauchot patent a design for an inherently stable steam-powered full-sized airplane.

1878 -- Bishop Milton Wright presents a toy based on the Pénaud "Hélicoptère" to two of his sons – eleven year old Wilbur and seven year old Orville.

1879-1880 -- Langley designs and builds his bolometer for the measurement of the energy of incident electromagnetic radiation.

1879 -- Victor Tatin designs and flies a compressed air-powered seven foot long model.

1881 -- Langley organizes an expedition to Mount Whitney in California's Sierra Nevada Range for solar observations and other scientific studies.

1883 -- Alexandre Goupil builds a bird-shaped unpowered airplane that briefly lifts off in a tethered test while carrying two men.

1884 -- The U.S. Signal Service publishes Langley's report on the Mount Whitney expedition.

1886 -- Langley's interest in aeronautics is kindled by a paper on bird flight by a Mr. Lancaster at a meeting of the American Association for the Advancement of Science in Buffalo, New York. Lancaster also describes making small flying models which he describes as "floating planes" and "effigies".

1887 -- Langley designs and builds his large whirling table at the Allegheny Observatory for the study of aerodynamics; begins aeronautical experimental work. He coins the term Aerodromics for the art of building flying machines from the Greek aerodromoi.

January 12, 1887 -- Langley is appointed Assistant Secretary of the Smithsonian Institution.

April 1887 -- Langley begins to build small Pénaud type rubber-powered flying models.

November 18, 1887 -- Langley is named Secretary of the Smithsonian Institution on the death of Secretary Spencer F. Baird. He retains the directorship of the Allegheny Observatory, dividing his time between Washington and Allegheny until 1891 when James E. Keeler becomes director of the observatory.

1887 -- Hiram Maxim, an American living in Great Britain and inventor of the Maxim machine gun, begins work on a large powered biplane test rig.

1888 -- Langley publishes The New Astronomy.

1889 -- The National Zoological Park is founded, due to Langley's support. A site in Washington's Rock Creek Park is selected by Langley and Frederick Law Olmstead. The Zoo becomes part of the Smithsonian in 1890, and is opened in 1891.

1890 -- Langley founds the Smithsonian Astrophysical Observatory; its first home is in a wooden building behind the Smithsonian Castle. In 1955, SAO moves to Cambridge, Massachusetts.

1890 -- Clément Ader completes his "Éole', a full-sized airplane. It has a fifty foot wing span, and is equipped with a lightweight 20-horsepower steam engine of Ader's design and a four-bladed propeller. At Armainvilliers on October 9, the Éole lifts off the ground to an altitude of approximately one foot and skims the ground for about 50 meters (165 feet). Ader later claims a second flight of 100 meters in September, 1891; there is no evidence for the second flight.

March 28, 1891 -- First successful flight of one of Langley's rubber-powered models.

1891 -- Work begins on Langley's "Aerodrome No. 0", powered by two small steam engines. Construction is halted before the aircraft is completed.

1891 -- Otto Lilienthal, a German mechanical engineer, begins a program of flight research using piloted hang gliders of his own design. He and his brother Gustav will go on to design and build 18 gliders over the next five years, making approximately 2,000 flights. Langley's Experiments in Aerodynamics is published by the Smithsonian.

1892 -- Langley's "Aerodrome No. 1" designed and built. Not flown.

1892-1893 -- "Aerodrome No. 2" and "Aerodrome No. 3" are designed and built. "No. 3" is powered by compressed air. Neither is flown.

1893 -- A 38 foot scow is converted into a houseboat with a workshop and launch platform for Aerodrome testing. In May, it is towed down the Potomac to a point near Quantico, Virginia, off Chopawamsic Island. In November, "Aerodrome No. 4" is taken to the houseboat for testing.

November 20, 1893 -- Test flight of "Aerodrome No. 4" - it falls in the water.

December 7, 1893 -- Second flight of "Aerodrome No. 4" – it falls in the water.

July 31, 1894 -- Maxim's large test rig rises briefly from its support rails during a test run.

August 1-4, 1894 -- Octave Chanute and Albert Zahm sponsor the Conference on Aerial Navigation in Chicago, bringing together an international assembly of aeronautical researchers.

October 1894 -- Test flight of modified "Aerodrome No. 4", using improved catapult. Aircraft falls in the water. "Aerodrome No. 5", with a one horsepower gasoline burning steam engine, is also tested. It flies 35 feet for three seconds before stalling and falling into the river.

November 12, 1894 -- Lawrence Hargrave, an Australian researcher, links together four of his box kites, adds a simple seat, and flies to an altitude of 16 feet in the device.

1894 -- Chanute publishes his book Progress in Flying Machines.

1895 -- James Means publishes the first of his three >Aeronautical Annuals.

May 6, 1896 -- "Aerodrome No. 6" is launched from the houseboat's catapult; the left wing collapses and the aircraft lands in the water. Aerodrome No. 5 is launched at 3:05 PM and flies about half a mile in a minute and a half at an altitude reaching 100 feet – the first sustained flight of a heavier than air apparatus. In a second flight at 5:10, Aerodrome No. 5 makes three circles, climbs to about 60 feet, and is airborne for one minute and thirty-one seconds. The flight is witnessed and photographed by Alexander Graham Bell (box 45, folder 9).

June 1896 -- Chanute and Augustus Herring establish a camp at the Lake Michigan dunes near Miller, Indiana to conduct flight tests on a number of gliders – several of Chanute's designs, including his multiwing "Katydid", Herring's copy of a Lilienthal design, and a Chanute-Herring triplane collaboration.

August 9, 1896 -- Lilienthal's glider stalls and crashes from an altitude of about 50 feet. Lilienthal dies of his injuries the next morning. His last words are "Opfer müssen gebracht warden" - "Sacrifices must be made".

November 28, 1896 -- "Aerodrome No. 6" is flown from the houseboat – it flies 4800 feet in one minute and forty-five seconds.

July 1897 -- Ader completes his "Avion III", also known as the "Aquilon". It features two 20-horsepower steam engines and twin tractor propellers, and a wingspan of nearly 56 feet. The aircraft weighs approximately 880 pounds. Ader attempts a flight on October 14; "Avion III" is unable to rise off the ground.

March 25, 1898 -- Assistant Secretary of the Navy Theodore Roosevelt suggests the military use of the Langley "Aerodrome" to Navy Secretary John D. Long (box 40, folder 10).

April 6, 1898 -- Langley proposes a scaled-up version of the "Aerodrome" for military use to a joint Army-Navy board meeting at the Smithsonian. He requests $50,000 to build a large, piloted version of his earlier designs. The proposed aircraft is called the "Great Aerodrome", or "Aerodrome A".

June 1898 -- Charles M. Manly, a Cornell University engineering student, is hired as Langley's "assistant in charge of experiments".

October 1898 -- Major work begins on the "Great Aerodrome", also known as "Aerodrome A".

December 12, 1898 -- A contract is signed between Langley and Stephen M. Balzer of New York. Balzer is to design and build a 12 horsepower motor to power the "Aerodrome". On the same date, Langley writes to the U.S. Army Board of Ordnance and Fortifications, agreeing to design and build a flying machine. He estimates a cost of $50,000 to build his machine.

May 1899 -- A new, larger houseboat equipped with a turntable and catapult is delivered in Washington.

May 30, 1899 -- Wilbur Wright sends a letter to Langley at the Smithsonian, requesting material pertaining to aeronautical research. He says in his letter that he wishes "… to begin a systematic study of the subject in preparation for practical work." Assistant Secretary of the Smithsonian Richard Rathbun directs his staff to assemble a package of papers, including Langley's Story of Experiments in Mechanical Flight and Experiments in Aerodynamics. The Wright brothers receive the package three weeks later. They later credit the material they received from the Smithsonian with giving them a "good understanding of the nature of the problem of flying."

June 7 - August 3, 1899 -- Additional flights of "Aerodrome No. 5" and "No. 6" are made from the houseboat at Chopawamsic Island.

July 1899 -- Langley visits Ader's workshop in Paris.

July 1899 -- The Wright Brothers build a five foot biplane kite.

October 2, 1899 -- Percy Pilcher dies of his injury after his Lilienthal-type glider breaks up in flight.

May 1900 -- Langley and the staff of the Smithsonian Astrophysical Observatory observe the May 28 solar eclipse in Wadesboro, North Carolina.

August 1900 -- The Wrights begin to build their first glider, a biplane design with a 17 foot wingspan.

September 1900 -- The Wrights arrive at Kitty Hawk, North Carolina, to test their glider on the dunes. They begin test flights in early October.

July 1901 -- The Wrights return to Kitty Hawk with a new biplane glider.

August 1901 -- Langley creates the Children's Room, with exhibits designed to inspire interest in science, technology and natural history, in the Smithsonian Castle.

Autumn 1901 -- The Wright brothers return to Dayton and begin a program to develop their own fundamental aeronautical data, building a wind tunnel and a test rig mounted on a bicycle.

September 19, 1902 -- The Wrights complete assembly of their new glider and begin flights the same afternoon. They continue the flights through the autumn. After an early crash, continual modifications improve the design. Wilbur writes to his father, "We now believe the flying problem is really nearing its solution." On their return to Dayton, the brothers file a patent on their design.

July 14, 1903 -- The houseboat is towed down the Potomac to a spot opposite Widewater, Virginia, about 40 miles from Washington.

August 8, 1903 -- Langley's "Quarter-Size Aerodrome" makes a successful flight from the houseboat.

September 3, 1903 -- Work is begun on erecting the "Great Aerodrome" on the houseboat catapult.

October 7, 1903 -- The "Great Aerodrome", piloted by Manly, is launched by the houseboat catapult at 12:20 PM. The aircraft is snagged by the catapult launch car, and drops into the river. Langley was in Washington, and does not witness the attempt. The wreckage of the "Aerodrome" is salvaged.

December 8, 1903 -- The refurbished "Great Aerodrome" is readied for flight on the houseboat, now moored below Washington at Arsenal Point at the confluence of the Potomac and Anacostia rivers. At 4:45 PM, the aircraft, with Manly at the controls, is launched. The tail assembly drags along the launch track, and the "Aerodrome's" tail begins to collapse. The "Aerodrome" drops into the river. Manly is briefly trapped by the wreckage, but cuts himself free and is rescued. In the aftermath of the crash, Langley is ridiculed in the press. Though the Army withdraws its support, Langley receives offers of financial support from businessmen to continue his aeronautical work. He politely refuses these offers and ends his aeronautical activities.

December 17, 1903 -- The Wright brothers make four flights at Kitty Hawk, North Carolina. The first flight covered a distance of 120 feet and lasted 12 seconds; in the fourth flight, the "Flyer" traveled 852 feet in 59 seconds.

June 1905 -- The Smithsonian's accountant, W. W. Karr, is accused of embezzling Institutional funds. He is later convicted and imprisoned. Langley holds himself responsible for the loss, and thereafter refuses to accept his salary.

November 1905 -- Langley suffers a stroke.

February 1906 -- Langley moves to Aiken, South Carolina to convalesce.

February 27, 1906 -- After suffering another stroke, Langley dies.

March 3, 1906 -- Samuel Pierpont Langley is buried in Forest Hill Cemetery, Boston.

May-October 1914 -- The "Great Aerodrome" is refurbished and is tested on Lake Keuka, Hammondsport, New York; the tests are conducted by Glenn Curtiss. Using the Manly-Balzer motor and mounted on pontoons instead of using a catapult launch, the "Aerodrome" makes several short flights, the longest lasting about five seconds. Later a Curtiss 80-hp engine is substituted for the Manly-Balzer motor and a flight of about 3,000 feet is made on September 17. The Smithsonian Institution later displays the "Aerodrome" with an exhibit label that reads "The first man-carrying aeroplane in the history of the world capable of sustained free flight." This claim causes a rift between the Institution and Orville Wright (Wilber Wright had died in 1912) that is not fully mended until 1942. The Wright 1903 "Flyer" is presented to the Smithsonian Institution on December 17, 1948. Today, the "Flyer" is on exhibit in the Milestones of Flight Gallery of the National Air and Space Museum's Mall Building; Samuel Langley's "Great Aerodrome" is displayed at the Museum's Steven F. Udvar-Hazy Center in Chantilly, Virginia.

The Smithsonian Aeronautical Staff:

Langley's staff engaged in his aeronautical work as listed in waste books, drawings and correspondence:

The Smithsonian Aeronautical Staff

F. C. Bache -- Laborer with the U.S. Fish Commission, then located at the Smithsonian.

Carl Barus -- Formerly of the U.S. Geological Survey and the Weather Bureau. Hired in 1893 as a physicist; acted as the liaison between Langley and the Aerodrome project staff. Part of the crew on the houseboat.

Louville Eugene Emerson -- Laborer.

George L. Fowler -- An engineer, Fowler was hired by Langley to help design an engine for the Aerodromes.

William Gaertner -- Instrument maker.

Heed, Jr. -- Name found in a shorthand diary dated 1899 - presumably, a Smithsonian secretary or assistant.

Augustus Moore Herring -- An independent aeronautical experimenter and skilled designer and pilot of gliders; hired by Octave Chanute in 1894 and by Langley as chief assistant in 1895. Herring resigned (or was dismissed) in November 1895 and resumed work with Chanute. In 1908, he competed with the Wrights for the Army Flyer contract, but did not complete a finished aircraft.

Edward Chalmers Huffaker -- An engineer and aeronautical experimenter; built gliders based on the observation of bird flight; had delivered a paper at the International Conference on Aerial Navigation in Chicago, 1893. Recommended by Chanute, Huffaker was hired by Langley in December, 1894. He resigned from the Smithsonian in 1898 and went to work for Chanute.

L. C. Maltby -- Machinist, 1891-1899; assisted in motor design and oversaw the fabrications of the metalwork for the Aerodromes. Part of the crew on the houseboat.

Charles Matthews Manly -- Graduate of Cornell University (1896). Hired by Langley and placed in charge of construction of the Great Aerodrome in 1898. Piloted the Great Aerodrome on its two launch attempts, 1903. Manly resigned from the Smithsonian in 1905. He served as a consulting aviation engineer for different government agencies and corporations, including the British War Office, 1915; the Curtiss Aeroplane and Motor Corporation 1915-1919 (from 1919-1920 as the assistant general manger); and as a member of the US Commission to the International Aircraft Conference, London, 1918. Manly also completed and edited Langley's Memoir on Mechanical Flight which was published by the Smithsonian in 1911.

Charles B. Nichols -- Smithsonian cabinet maker (1890-1893), in charge of construction of the small rubber powered models.

R. Luther Reed -- Smithsonian carpenter foreman (1880-1904). In charge of construction of Aerodromes No. 5 and 6 following between Herring's departure and Manly's arrival. Worked on design of the Great Aerodrome and the second houseboat. Part of the crew on the houseboat.

B.L. Rhinehart -- Smithsonian mechanic. Built a small steam motor for Aerodrome No. 0 in 1891. Performed design work on an experimental gasoline motor, c.1896.

William L. Speiden -- Draftsman or designer (1893-1899).

John Elfrith Watkins -- Assistant engineer of construction with the Pennsylvania Railroad. Joined the Smithsonian as an honorary curator in the Steam Transportation section in 1885. Named curator of Transportation in 1887. He rejoined the Pennsylvania Railroad in 1892, and later worked at the Field Columbian Museum as director of Industrial Arts. Watkins returned to the Smithsonian in 1895 as the National Museum's curator of Technological Collections. In 1898, he was named curator of the Division of Technology. Watkins also served the Smithsonian as Engineer of Property, 1888-1889, and Chief of Buildings and Superintendence, 1896-1903. Watkins carried on much of the Aerodrome project's correspondence, and was the project's expert in steam engine design.

George B. Wells -- Smithsonian messenger (1894-1903). Most of the collection's shorthand notebooks (Series X) bear his name; possibly, he acted as Langley's stenographer.

William Crawford Winlock -- Curator, Bureau of International Exchange (1889-1899).

Related Materials:

Parts of the collection were separated at undetermined dates from the institutional records of Samuel Langley's time as Secretary (now held by the Smithsonian Institution Archives [SIA], as the Samuel P. Langley Papers, 1867-1906, Record Unit 7003).

In addition to Record Unit 7003, researchers may wish to consult these Smithsonian Institution Archives' collections:

Record Unit 31, Office of the Secretary, Correspondence, 1866-1906, with related records to 1927.

Record Unit 34, Office of the Secretary, Correspondence, 1887-1907

Record Unit 7268, J. Elfreth Watkins Collection, 1869, 1881-1903, 1953, 1966 and undated.

The Archives Division of the National Air and Space Museum holds the Charles M. Manly Papers, (Acc. 1999-0004). Manly was Samuel Langley's assistant in the Aerodrome project from 1898 to 1903.

Langley Technical Files: The Archives Division's technical files are housed in the Archives-Library reading room of the Museum's Steven F. Udvar-Hazy Center. Material on Langley and his Aerodromes are housed in folders in the technical files Aircraft Series and in the Biographies Series. Because material from the Samuel P. Langley Collection is thought to have been transferred into the Technical Files, these file headings are included here. In the listings, "Images Available" refers to digital image files available through the Archives Division's image database; these images may be viewed in the Museum's reading rooms.

Langley Technical Files: Aircraft Series Technical Files

Langley (Samuel P.), General -- Photos, Images Available. Folder(s): AL-198600-80

Langley (Samuel P.), General, NASM -- Photos, Photo Dupes. Folder(s): AL-198601-80, AL-198601-99

Langley (Samuel P.) Aerodrome A (Great Aerodrome, Man-Carrying Aerodrome) -- Documents, Photos, Negatives, Photo Dupes, Images Available. Folder(s): AL-198603-01, AL-198603-80, AL-198603-85, AL-198603-99

Langley (Samuel P.) Aerodrome A, Curtiss 1914 Rebuild -- Documents, Photos, Photo Dupes, Photo Dupes, Photo Dupes, Photo Dupes, Images Available. Folder(s): AL-198605-01, AL-198605-80, AL-198605-96, AL-198605-97, AL-198605-98, AL-198605-99

Langley (Samuel P.) Aerodrome A, NASM -- Documents, Photos, Photo Dupes, Images Available. Folder(s): AL-198607-01, AL-198607-80, AL-198607-99

Langley (Samuel P.) Aerodromes, Numbered, General -- Photos, Photo Dupes. Folder(s): AL-198610-80, AL-198610-99

Langley (Samuel P.) Aerodrome No 0 (1891) -- Photo Dupes, Images Available. Folder(s): AL-198612-99

Langley (Samuel P.) Aerodrome No 1 (1891) -- Images Available.

Langley (Samuel P.) Aerodrome No 2 (1892) -- Images Available.

Langley (Samuel P.) Aerodrome No 3 (1892) -- Images Available.

Langley (Samuel P.) Aerodrome No 4 (1895) -- Images Available.

Langley (Samuel P.) Aerodrome No 5 (1895-96) -- Documents, Photos, Transparencies, Photo Dupes, Photo Dupes, Images Available. Folder(s): AL-198622-01, AL-198622-80, AL-198622-90, AL-198622-98, AL-198622-99

Langley (Samuel P.) Aerodrome No 6 (1895-96) -- Documents, Photos, Photo Dupes, Images Available. Folder(s): AL-198624-01, AL-198624-80, AL-198624-99

Langley (Samuel P.) Clockwork Model -- Photos. Folder(s): AL-198628-80

Langley (Samuel P.) Gliding Model Aerodromes (1895) -- Images Available.

Langley (Samuel P.) Ladder Kite (1896) -- Photos, Photo Dupes, Images Available. Folder(s): AL-198635-80, AL-198635-99

Langley (Samuel P.) Model Aerodromes, General -- Documents, Photos, Photo Dupes, Images available. Folder(s): AL-198640-01, AL-198640-80, AL-198640-99

Langley (Samuel P.) Model Aerodrome No 4 (1895) -- Photo Dupes, Images available. Folder(s): AL-198648-99

Langley (Samuel P.) Model Aerodrome No 11 -- Images available.

Langley (Samuel P.) Model Aerodrome No 13 -- Images available.

Langley (Samuel P.) Model Aerodrome No 14 -- Images available.

Langley (Samuel P.) Model Aerodrome No 15 -- Photo Dupes, Images available. Folder(s): AL-198670-99

Langley (Samuel P.) Model Aerodrome No 19 -- Photos, Images available. Folder(s): AL-198678-80

Langley (Samuel P.) Model Aerodrome No 20 -- Images available.

Langley (Samuel P.) Model Aerodrome No 21 -- Images available.

Langley (Samuel P.) Model Aerodrome No 22 -- Photos, Images available. Folder(s): AL-198684-80

Langley (Samuel P.) Model Aerodrome No 23 -- Photos, Images available. Folder(s): AL-198686-80

Langley (Samuel P.) Model Aerodrome No 24 -- Images available.

Langley (Samuel P.) Model Aerodrome No 25 -- Images available.

Langley (Samuel P.) Model Aerodrome No 26 -- Photo Dupes, Images available. Folder(s): AL-198692-99

Langley (Samuel P.) Model Aerodrome No 27 -- Images available.

Langley (Samuel P.) Model Aerodrome No 28 -- Photos, Images available. Folder(s): AL-198696-80

Langley (Samuel P.) Model Aerodrome No 30 -- Images available.

Langley (Samuel P.) Model Aerodrome No 31 -- Images available.

Langley (Samuel P.) Proposed Man-Carrying Aerodrome (1898-99) -- Documents, Photo Dupes, Images available. Folder(s): AL-198710-01, AL-198710-99

Langley (Samuel P.) "Quarter-Size" Aerodrome (1900-01 -- Documents, Photos, Negatives, Photo Dupes, Images available. Folder(s): AL-198720-01, AL-198720-80, AL-198720-85, AL-198720-99

Langley (Samuel P.) "Rubber-Pull" Model Aerodrome (1895-96) -- Photos, Photo Dupes, Images available. Folder(s): AL-198730-80, AL-198730-99

Langley (Samuel P.) Whirling Arm (1888-90) -- Photos, Photo Dupes, Images available. Folder(s): AL-198740-80, AL-198740-99

Langley Technical Files: Biographies Series Technical Files

Langley, Samuel Pierpont, general -- Documents. Folder(s): CL-094000-01

Langley, Samuel Pierpont (articles by) -- Documents. Folder(s): CL-094000-02

Langley, Samuel Pierpont (articles by/Aero) -- Documents. Folder(s): CL-094000-03

Langley, Samuel Pierpont (articles by/Aero) -- Documents. Folder(s): CL-094000-04

Langley, Samuel Pierpont (articles by/Astro) -- Documents. Folder(s): CL-094000-05

Langley, Samuel Pierpont (articles by/Astro) -- Documents. Folder(s): CL-094000-06

Langley, Samuel Pierpont (articles by/Rocket) -- Documents. Folder(s): CL-094000-08

Langley, Samuel Pierpont (articles by/French) -- Documents. Folder(s): CL-094000-09

Langley, Samuel Pierpont (articles on) -- Documents. Folder(s): CL-094000-10

Langley, Samuel Pierpont (articles on) -- Documents. Folder(s): CL-094000-11

Langley, Samuel Pierpont (articles on) -- Documents. Folder(s): CL-094000-12

Langley, Samuel Pierpont (articles on) -- Documents. Folder(s): CL-094000-13

Langley, Samuel Pierpont (articles on) -- Documents. Folder(s): CL-094000-14

Langley, Samuel Pierpont (Awards and Honors) -- Documents. Folder(s): CL-094000-15

Langley, Samuel Pierpont (Wright Controversy) -- Documents. Folder(s): CL-094000-16

Langley, Samuel Pierpont (Obituaries) -- Documents. Folder(s): CL-094000-17

Langley, Samuel Pierpont -- Photo Dupes. Folder(s): CL-094000-40

Langley, Samuel Pierpont -- Photos. Folder(s): CL-094000-80

Langley, Samuel Pierpont -- Negatives. Folder(s): CL-094000-85

Langley, Samuel Pierpont -- Images available.

Provenance:

Smithsonian generated, transfer, unknown.

Restrictions:

No restrictions on access

Rights:

Material is subject to Smithsonian Terms of Use. Should you wish to use NASM material in any medium, please submit an Application for Permission to Reproduce NASM Material, available at Permission Requests.

Topic:

Aeronautics  Search this

Aeronautics -- pre-1903  Search this

Aeronautics -- 1903-1916  Search this

Aeronautics -- Records  Search this

Langley Aerodrome Family  Search this

Langley Aerodrome No 5 (1895-96)  Search this

Periodicals  Search this

Genre/Form:

Correspondence

Drawings

Manuscripts

Photographs

Publications

Citation:

Samuel P. Langley Collection, NASM.XXXX.0494, National Air and Space Museum, Smithsonian Institution.

Identifier:

NASM.XXXX.0494

See more items in:

Samuel P. Langley Collection

Archival Repository:

National Air and Space Museum Archives

GUID:

https://n2t.net/ark:/65665/pg21fa211d9-0818-40b9-a8e7-60709d4400a8

EDAN-URL:

ead_collection:sova-nasm-xxxx-0494

Collection Creator:

Sanford, Marion  Search this

Container:

Box 3, Folder 8

Type:

Archival materials

Date:

1932-1939

Scope and Contents:

Oversized material housed in Box 5.

Collection 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.

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:

Marion Sanford and Cornelia Chapin papers, 1929-1988. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art. Funding for the preservation of the Cornelia Chapin Home Movies was provided by the National Film Preservation Foundation.

See more items in:

Marion Sanford and Cornelia Chapin papers

Marion Sanford and Cornelia Chapin papers / Series 4: Scrapbooks

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9a9794a3d-db3e-4c9e-b70b-1816b29b3f0b

EDAN-URL:

ead_component:sova-aaa-sanfmari-ref46

Collection Creator:

De Forest, Roy, 1930-2007  Search this

Container:

Box 1, Folder 1

Type:

Archival materials

Date:

1972-2005

Collection Restrictions:

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

Collection Citation:

Roy De Forest papers, 1916-2015. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by Gerald and Bente Buck. Funding for the digitization of this collection was provided by Gloria Marchant.

See more items in:

Roy De Forest papers

Roy De Forest papers / Series 1: Biographical Material

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9a74705a6-cd3f-4e99-ba60-fbc9f0831626

EDAN-URL:

ead_component:sova-aaa-deforoy-ref10

Collection Creator:

De Forest, Roy, 1930-2007  Search this

Container:

Box 2, Folder 23

Type:

Archival materials

Date:

1964-1994

Collection Restrictions:

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

Collection Citation:

Roy De Forest papers, 1916-2015. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by Gerald and Bente Buck. Funding for the digitization of this collection was provided by Gloria Marchant.

See more items in:

Roy De Forest papers

Roy De Forest papers / Series 2: Correspondence

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9b922fc3d-bb41-4b9e-bd58-7cf6e7a2f356

EDAN-URL:

ead_component:sova-aaa-deforoy-ref217

Creator:

Guermonprez, Trude, 1910-1976  Search this

Names:

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

Elsesser, John  Search this

Guermonprez, Paul.  Search this

Marcks, Gerhard  Search this

Extent:

1.2 Linear feet

Type:

Collection descriptions

Archival materials

Diaries

Drawings

Photographs

Prints

Sketchbooks

Sketches

Date:

circa 1900-1987

bulk 1932-1976

Summary:

The papers of fiber artist and educator Trude Guermonprez measure 1.2 linear feet and date from circa 1900 to 1987 with the bulk of the material dating from 1932 to 1976. The collection includes biographical material, diaries, correspondence, printed material, artwork, and photographs.

Scope and Contents:

The papers of fiber artist and educator Trude Guermonprez measure 1.2 linear feet and date from circa 1900 to 1987 with the bulk of the material dating from 1932 to 1976. The collection includes biographical material, diaries, correspondence, printed material, artwork, and photographs.

Biographical material includes an address book, awards and certificates, two diaries, and a wedding announcement. Correspondence is with Guermonprez's family, Paul Guermonprez, John Elsesser, Gerhard Marcks, and others. Printed materials include Clippings and periodicals about Guermonprez. Artwork contains doodles, sketches and drawings, etchings, and two sketchbooks by Guermonprez and others. Photographs are of Guermonprez and her family.

Arrangement:

The collection is arranged as five series.

Series 1: Biographical Materials, circa 1950-1975 (0.2 linear feet; Box 1, OV 4)

Series 2: Correspondence, 1930s-1987 (0.4 linear feet; Boxes 1-3)

Series 3: Printed Materials, 1946-1976 (2 folders; Box 2)

Series 4: Artwork, circa 1940-1976 (0.5 linear feet; Boxes 2-3, OV 4)

Series 5: Photographs, circa 1900-circa 1970 (2 folders; Boxes 2-3, OV 4)

Biographical / Historical:

Trude Guermonprez (1910-1976) was a fiber artist and educator in San Francisco, California.

Guermonprez was born in Germany to Dr. Heinrich and Jalena Jalowetz and attended the Municipal School of Arts and Crafts in Halle Saale, Germany where she learned weaving from Bauhaus artist Benita Otte. In 1933, her parents and sister Lisa immigrated to the United States. Her parents began teaching at Black Mountain College in North Carolina. Guermonprez stayed with her husband, photographer Paul Guermonprez, in the Netherlands where he became involved in the Dutch resistance during World War II. Paul was killed fighting with the resistance on D-Day in 1944. After his death, Guermonprez decided to move to the United States to be with her mother and sister. Her father had died a year earlier. Guermonprez temporarily led the weaving program at Black Mountain College when Josef and Anni Albers went on sabbatical, and eventually she became a full time faculty member. When the weaving program ended in 1949, she left North Carolina for California to join her former classmate Marguerite Wildenhain at Pond Farm Workshops. There she met her second husband, craftsman John Elsesser. They moved to San Francisco and Guermonprez began teaching at the California College of Art and Design. She was designated chair of the crafts department in 1960.

Outside of teaching, Guermonprez completed designs for textile companies and commissions while still creating her own works of fiber art. She gained little recognition during her career, winning a couple of awards before her death from cancer in 1976. Her only exhibition, The Tapestries of Trude Guermonprez, was held several years after her death in 1982 at the Oakland Museum of California.

Provenance:

The Trude Guermonprez papers were donated in 2004 by Eric Elsesser, Guermonprez's stepson, as part of the Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America.

Restrictions:

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

Occupation:

Fiber artists -- California -- San Francisco  Search this

Educators -- California -- San Francisco  Search this

Topic:

Decorative arts  Search this

Women artists  Search this

Women textile artists  Search this

Women educators  Search this

Genre/Form:

Diaries

Drawings

Photographs

Prints

Sketchbooks

Sketches

Citation:

Trude Guermonprez papers, circa 1900-1987, bulk 1932-1976. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.guertrud

See more items in:

Trude Guermonprez papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw945bab192-2076-4234-893a-b882c760d629

EDAN-URL:

ead_collection:sova-aaa-guertrud