Search Results

Artist:

Noguchi, Isamu 1904-1988  Search this

Editor:

Pellerin, Ananda  Search this

Host institution:

Isamu Noguchi Garden Museum  Search this

Subject:

Noguchi, Isamu 1904-1988  Search this

Physical description:

2 volumes illustrations (some color) 24 cm

Type:

Exhibitions

Place:

United States

Date:

2022

20th century

Topic:

Sculpture, American  Search this

Sculpture, Greek  Search this

Art, Greek--Influence  Search this

Art, Greek  Search this

Art, Modern  Search this

Data Source:

Smithsonian Libraries

EDAN-URL:

edanmdm:siris_sil_1162092

Creator:

Coffin, William A. (William Anderson), 1855-1925  Search this

Subject:

Stella, Joseph  Search this

Warren, Whitney  Search this

Mauer, Alfred  Search this

Benson, Frank Weston  Search this

Blashfield, Edwin Howland  Search this

Zorach, William  Search this

Gay, Walter  Search this

Gussow, Bernard  Search this

Bouché, Louis  Search this

Cortissoz, Royal  Search this

Pan-American Exposition (1901: Buffalo, N.Y.)  Search this

Société des artistes français  Search this

Exposition d'artistes de l'école Américaine (1919 : Paris, France)  Search this

American Rights Committee  Search this

American Artists' Committee of One Hundred  Search this

Lotos Club (New York, N.Y.)  Search this

Musée d'histoire et d'art (Luxembourg)  Search this

Committee for the Exhibition of American Painting and Sculpture (Paris, France)  Search this

Type:

Scrapbooks

Photographs

Citation:

William Anderson Coffin papers, 1886-1924. Archives of American Art, Smithsonian Institution.

Topic:

Harper's Weekly  Search this

New York Post  Search this

Art Exhibitions France Paris  Search this

Landscape painters -- New York (State) -- New York  Search this

Art, American  Search this

World War, 1914-1918  Search this

Theme:

Research and writing about art  Search this

Record number:

(DSI-AAA_CollID)7476

(DSI-AAA_SIRISBib)209634

AAA_collcode_coffwill

Theme:

Research and writing about art

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_209634

Creator:

Deutsch, Boris, 1892-1978  Search this

Subject:

United States. Public Buildings Administration. Section of Fine Arts  Search this

Citation:

Boris Deutsch papers, circa 1912-1979. Archives of American Art, Smithsonian Institution.

Topic:

Mural painting and decoration -- 20th century -- United States  Search this

Theme:

Lives of artists  Search this

Record number:

(DSI-AAA_CollID)7521

(DSI-AAA_SIRISBib)209680

AAA_collcode_deutbori

Theme:

Lives of artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_209680

Creator:

Kraushaar Galleries  Search this

Subject:

Wilson, Ralph L.  Search this

Fausett, Dean  Search this

Lasker, Joe  Search this

Murdock, Roland P.  Search this

Phillips, Duncan  Search this

Kuhn, Walt  Search this

Smith, Vernon  Search this

Robinson, Boardman  Search this

Lechay, James  Search this

Laurent, Robert  Search this

Hartell, John  Search this

Cantene, David  Search this

Schnakenberg, H. E. (Henry Ernest)  Search this

Kraushaar, Antoinette M.  Search this

Harrison, Preston  Search this

Heliker, John  Search this

Williams, Esther  Search this

Luks, George Benjamin  Search this

Glackens, Edith  Search this

Navas, Elizabeth S.  Search this

DeLonga, Leonard  Search this

Evett, Kenneth Warnock  Search this

Halberstadt, Ernst  Search this

Prendergast, Maurice Brazil  Search this

Morris, Carl  Search this

Ruellan, Andrée  Search this

Smalley, David  Search this

Flannery, Vaughn  Search this

Cowles, Russell  Search this

Penney, James  Search this

Beal, Gifford  Search this

Bacon, Peggy  Search this

Beal, Reynolds  Search this

Hardy, Thomas  Search this

Glackens, William J.  Search this

Prendergast, Charles  Search this

Demuth, Charles  Search this

Albrizio, Humbert  Search this

Lachaise, Gaston  Search this

Bignou, Etienne  Search this

Kirsch, Frederick D. (Frederick Dwight)  Search this

Sloan, John  Search this

Allard, J.  Search this

Bouché, Louis  Search this

Juley, Peter A.  Search this

Stanley, Alix W.  Search this

Arnest, Bernard  Search this

Brueming, Karen  Search this

Miller, Harriette  Search this

Kraushaar, John F.  Search this

Guillaume, Paul  Search this

Art Institute of Chicago  Search this

Toledo Museum of Art  Search this

Cleveland Museum of Art  Search this

Wichita Art Museum  Search this

Whitney Museum of American Art  Search this

New Britain Institute. Art Museum  Search this

Ernest Brown and Co.  Search this

Carnegie Institute  Search this

University of Nebraska--Lincoln. Department of Art  Search this

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

Type:

Photographs

Sketches

Drawings

Exhibition catalogs

Financial records

Notes

Sketchbooks

Citation:

Kraushaar Galleries records, 1877-2006. Archives of American Art, Smithsonian Institution.

Topic:

Works of art  Search this

Art, American  Search this

Artists -- United States  Search this

Depressions -- 1929  Search this

Theme:

Art Gallery Records  Search this

Art Market  Search this

Record number:

(DSI-AAA_CollID)7781

(DSI-AAA_SIRISBib)209946

AAA_collcode_kraugall

Theme:

Art Gallery Records

Art Market

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_209946

Creator:

Fasano, Clara, 1900-1990  Search this

Subject:

United States. Works Progress Administration  Search this

Type:

Sketchbooks

Diaries

Citation:

Clara Fasano papers, circa 1920-1979. Archives of American Art, Smithsonian Institution.

Topic:

Sculpture, Modern -- 20th century  Search this

Women artists  Search this

Women sculptors  Search this

Theme:

Diaries  Search this

Sketches & Sketchbooks  Search this

Women  Search this

Lives of artists  Search this

Record number:

(DSI-AAA_CollID)8900

(DSI-AAA_SIRISBib)211085

AAA_collcode_fasaclar

Theme:

Diaries

Sketches & Sketchbooks

Women

Lives of artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_211085

Creator:

Weddige, Emil, 1907-  Search this

Citation:

Emil Weddige papers, circa 1926-1979. Archives of American Art, Smithsonian Institution.

Topic:

Lithography -- United States  Search this

Artists' studios -- Photographs  Search this

Theme:

Lives of artists  Search this

Record number:

(DSI-AAA_CollID)9335

(DSI-AAA_SIRISBib)211531

AAA_collcode_weddemil

Theme:

Lives of artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_211531

Creator:

Caja, Jerome D., 1958-1995  Search this

Type:

Sketchbooks

Moving images

Sound recordings

Video recordings

Citation:

Jerome Caja papers, circa 1920-1995. Archives of American Art, Smithsonian Institution.

Topic:

Gay artists  Search this

Artists (LGBTQ)  Search this

AIDS (Disease)  Search this

Theme:

Lives of artists  Search this

Record number:

(DSI-AAA_CollID)6515

(DSI-AAA_SIRISBib)215774

AAA_collcode_cajajero

Theme:

Lives of artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_215774

Creator:

Park, Marlene, 1931-  Search this

Subject:

Palmer, William  Search this

Magafan, Ethel  Search this

Markowitz, Gerald E.  Search this

Reisman, Philip  Search this

Rothschild, Lincoln  Search this

Burchfield, Charles Ephraim  Search this

Refregier, Anton  Search this

Van Veen, Stuyvesant  Search this

Solman, Joseph  Search this

Sternberg, Harry  Search this

Walton, Marion  Search this

Alston, Charles Henry  Search this

Bolotowsky, Ilya  Search this

Barnet, Will  Search this

Brooks, James  Search this

Cadmus, Paul  Search this

Cronbach, Robt. (Robert M.)  Search this

Citron, Minna Wright  Search this

Gottlieb, Adolph  Search this

Gellert, Hugo  Search this

Bouché, Louis  Search this

King, Roy E.  Search this

Katz, Leo  Search this

Lanning, Edward P.  Search this

Kotin, Albert  Search this

National Personnel Records Center (U.S.)  Search this

United States. Work Projects Administration  Search this

Type:

Sound recordings

Interviews

Transcripts

Photographs

Citation:

Marlene Park and Gerald E. Markowitz research materials on New Deal Art, 1931-1999. Archives of American Art, Smithsonian Institution.

Topic:

Federal aid to the arts  Search this

Theme:

Research and writing about art  Search this

Record number:

(DSI-AAA_CollID)6277

(DSI-AAA_SIRISBib)216622

AAA_collcode_parkmarl

Theme:

Research and writing about art

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_216622

Creator:

Ives, Percy L. (Percival L.), 1864-1928  Search this

Names:

Detroit Museum of Art. School  Search this

Extent:

1.4 Linear feet

Type:

Collection descriptions

Archival materials

Glass negatives

Photographs

Sketches

Date:

circa 1890-1994

bulk circa 1890-circa 1930

Summary:

The papers of Detroit portrait painter Percy Ives (1864-1928), measure 1.4 linear feet and date from circa 1890-1994, with the bulk of the material dating from circa 1890-circa 1930. Two hundred and fifty-eight glass plate negatives of sitters, models, and artwork by Ives form the bulk of the collection. Additional papers include two 1923 letters, a folder of notes, news clippings, sketches, and photographs.

Scope and Contents:

The papers of Detroit portrait painter Percy Ives (1864-1928), measure 1.4 linear feet and date from circa 1890-1994, with the bulk of the material dating from circa 1890-circa 1930. Two hundred and fifty-eight glass plate negatives of sitters, models, and artwork by Ives form the bulk of the collection. Additional papers include two 1923 letters, a folder of notes, news clippings, sketches, and photographs.

Letters include one to "The Oil and Colour Man" from "The Dweller in the Cave of Winds," and an IOU from A. W. "Gus" Ives to Percy Ives.

Notes include seven index cards with notes on "nibbles" and sales of paintings; and notes about Ives made in 1936 by James Parker's father. News clippings include four 1940 issues of a newspaper column, "We Old Timers," about Ives and his family.

Artwork consists of fifty-eight pencil sketches which have been mounted on the pages of a photograph album.

Thirty-seven photographs, most of them mounted on paper, include two which appear to be of Ives in his studio. The other photographs are of the interior and exterior of a house, an unidentified woman, farm scenes, and other outdoor scenes. There are also two photographs of paintings by Ives, including a self portrait.

Arrangement:

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

Series 1: Percy Ives Papers, (1.4 linear feet; Boxes 1-4)

Biographical / Historical:

Portrait painter and dean of the Detroit Museum of Art School, Percy Ives (1864-1928), was the son of artist Lewis Thomas Ives; father and son were considered to be among the most notable Detroit artists of the latter part of the nineteenth century.

Ives studied initially with his father, and subsequently attended the Pennsylvania Academy of Fine Arts in the early-1880s, and the Academié Julian and École des Beaux-Arts in Paris from 1884 to 1890. He exhibited at the Paris Salon in 1887 and 1893, and at the World's Columbian Exposition in Chicago in 1893.

After returning to the United States, Ives settled in Detroit where his father had a studio, and painted portraits, often of prominent men of Michigan, as well as a number of people outside the state including Grover Cleveland and Walt Whitman. Notable examples of his portraiture hang in many of the county and state buildings of Michigan.

Ives was a member of several Detroit artist associations, such as the Scarab Club, served as incorporator, trustee, and treasurer of the Detroit Museum of Art before it became the Detroit Institute of Arts, was appointed dean of the museum school in 1896, and designed the seal of the institute.

Ives died suddenly in 1928 at the age of 63.

Separated Materials:

The Archives of American Art also holds microfilm of material lent for microfilming (reel 593) including two diaries, 1885-1887 and 1903-1907, three albums containing photographs of family and friends, a book of illustrations of commercial signs painted by Ives, and fifteen loose sketches. Lent materials were returned to the Burton Historical Collection of the Detroit Public Library in Detroit, Michigan and are not described in the collection container inventory.

Provenance:

The Burton Historical Collection of the Detroit Public Library gave the Archives of American Art Percy Ives' sketches and glass plate negatives in 1956-1957 and lent material for microfilming in 1973. James B. Parker, whose father, Dr. Albert Russell Parker, purchased Ives's desk with the items intact, donated additional material in 1994.

Restrictions:

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

Rights:

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

Occupation:

Art teachers -- Michigan -- Detroit  Search this

Topic:

Art--Study and teaching--Michigan--Detroit  Search this

Artists' studios--Photographs  Search this

Arts administrators--Michigan--Detroit  Search this

Portrait painters--Michigan--Detroit  Search this

Portrait painting--United States  Search this

Genre/Form:

Glass negatives

Photographs

Sketches

Citation:

Percy Ives papers, circa 1890-1994, bulk circa 1890-circa 1930. Archives of American Art, Smithsonian Institution.

Sponsor:

Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee.

Identifier:

AAA.ivesperc

See more items in:

Percy Ives papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw98b271e3c-7eb5-4445-97a2-6e3cff70776c

EDAN-URL:

ead_collection:sova-aaa-ivesperc

Creator:

Cameron, Edgar Spier, 1862-1944  Search this

Names:

Cameron, Marie Gelon, 1872-1953  Search this

Extent:

2.8 Linear feet

Type:

Collection descriptions

Archival materials

Sketchbooks

Scrapbooks

Date:

circa 1868-1968

Summary:

The papers of mural painter and art critic Edgar Spier Cameron measure 2.8 linear feet and date from circa 1868-1968. They detail Cameron's life and career through biographical material, correspondence, personal business records, printed material, photographic material, and artwork.

Scope and Contents:

The Edgar Spier Cameron papers measure 2.8 linear feet and date from circa 1868-1968. Biographical materials include a genealogy report of Cameron's American lineage for The Abridged Compendium of American Genealogy: The Standard Genealogical Encyclopedia of the First Families of America and membership cards for the Chicago Galleries Association for both Edgar and Marie Cameron. Correspondence is between Cameron and his wife Marie Gelon Cameron and with the United States Treasury Department regarding the Paris Exposition of 1900. Personal business records include permission slips for the Century of Progress International Exposition (1933-1934) also known as the Chicago World's Fair, a typescript of Cameron's autobiography The Cusp of Gemini (1940), and copyright records for Cameron's artwork issued by the Library of Congress Copyright Office. Printed material consists of exhibition announcements and catalogs, materials relating to Jean Paul Laurens, a yearbook for the Cliff Dwellers, and various scrapbooks of news clippings. Photographic material contains photographs of Edgar Spier and Marie Gelon Cameron, friends and family, travel, and artwork. Artwork includes sketches, oil sketches, a sketchbook, and various mural panels painted by Cameron.

Arrangement:

This collection consists of six series.

Series 1: Biographical Material, circa 1925-1938 (.1 Linear feet: Box 1)

Series 2: Correspondence, circa 1882-1947 (.9 Linear feet: Box 1)

Series 3: Personal Business Records, circa 1900-1940 (.5 Linear feet: Box 2)

Series 4: Printed Material, circa 1884-1968 (.4 Linear feet: Box 2)

Series 5: Photographic Material, circa 1888-1941 (.4 Linear feet: Boxes 2-4)

Series 6: Artwork, circa 1882-1940 (.5 Linear feet: Boxes 3-4, OV 5)

Biographical / Historical:

Edgar Spier Cameron (1862-1944) was a muralist and art critic who worked primarily in Chicago. He was born in Ottawa, Illinois in 1862 and, while growing up, was heavily encouraged to become an artist by his stepmother. In 1882 he joined the Art Students League in New York where Thomas W. Dewing took him on as a student. Prior to 1890 Cameron became a student of renowned French painters Boulanger, Lefebvre, Laurens, and Benjamin Constant alongside his future wife Marie Gelon in Paris. In 1900 he returned to Paris for the Paris Exposition where he won the silver medal. Before dedicating his time strictly to art, Cameron was also an art critic for the Chicago Tribune. Cameron, among others, was commissioned to work on the cyclorama The Chicago Fire which started his path of painting murals, after which he became one of the most successful muralists in the Midwest.

Many buildings in Chicago as well as throughout the Midwest are decorated with Cameron's murals including an Oklahoma City bank and the Flint, Michigan Courthouse, Cameron's final project. Cameron died in Illinois in 1944.

Provenance:

The Edgar Spier Cameron microfilmed materials on reels 4290-4292 and papers were donated to the Archives of American Art by Arthur B. Carpenter and Marjorie L. Kimberlin, Cameron's nephew and niece, in 1988.

Restrictions:

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

Rights:

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

Occupation:

Muralists -- Illinois -- Chicago  Search this

Painters -- Illinois -- Chicago  Search this

Art critics -- Illinois -- Chicago  Search this

Genre/Form:

Sketchbooks

Scrapbooks

Citation:

Edgar Spier Cameron papers, circa 1868-1968 Archives of American Art, Smithsonian Institution.

Sponsor:

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

Identifier:

AAA.cameedga

See more items in:

Edgar Spier Cameron papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9e218440f-51e4-4b97-bc10-498fef9eb634

EDAN-URL:

ead_collection:sova-aaa-cameedga

Creator:

Buck, Claude, 1890-1974  Search this

Jane Freeman Gallery (La Mesa, Calif.)  Search this

Extent:

3.3 Linear feet

Type:

Collection descriptions

Archival materials

Scrapbooks

Sketchbooks

Date:

circa 1890-1983

Summary:

The Claude Buck papers measure 3.3 linear feet and date from circa 1890-1983. They detail Buck's time as a painter in New York and California. The papers include biographical material, correspondence, writings, personal business records, printed material and scrapbooks, and photographic material and artwork.

Scope and Contents:

The Claude Buck papers measure 3.3 linear feet and date from 1890-1983. Biographical material includes resumes, interview materials, and documents related to Buck's family. Correspondence includes family letters, correspondence regarding business with various organizations including the United States Treasury and Emil Carlsen, and correspondence with other notable figures in Buck's career. Writings include manuscripts, notes, and transcribed dictations by Buck. Personal business records consist of documents related to Buck's portrait commissions and artwork donations and sales, as well as that regarding the Boston Better Business Bureau's investigation into the Harold F. Gilbert Company. Printed material consists of exhibition announcements and catalogs, material pertaining to Estrid Buck's career as a pianist and singer, and news clippings. Scrapbooks, one of which is in braille, include news clippings and personal photographs of Buck and his family. Photographic material includes pictures of Buck's artwork and personal life. Artwork includes sketches, sketchbooks, and an oil painting.

Arrangement:

This collection consists of eight series.

Series 1: Biographical Material, circa 1926-1983 (.2 Linear feet: Box 1)

Series 2: Correspondence, circa 1907-1982 (.8 Linear feet: Box 1)

Series 3: Writings, circa 1920-1972 (.2 Linear feet: Box 2)

Series 4: Personal Business Records, circa 1919-1972 (.2 Linear feet: Box 2)

Series 5: Printed Material, circa 1912-1972 (.4 Linear feet: Boxes 2 and 5)

Series 6: Scrapbooks, circa 1908-1972 (.9 Linear feet: Boxes 2, 4, 5, and 6)

Series 7: Photographic Material, circa 1890-1979 (.2 Linear feet: Box 2)

Series 8: Artwork, circa 1920-1972 (.4 Linear feet: Box 3)

Biographical / Historical:

Claude Buck (1890-1974) was a painter who worked primarily in Chicago and Santa Cruz. He is associated with the symbolist and luministic styles and was born Charles Claude Buck in New York City. At age four Claude began to develop his interest in art after his father, a commercial artist, introduced him to drawing. Buck entered the National Academy of Design at age fourteen taking classes with Emil Carlsen, Frances Jones, and George DeForest Brush. He studied there until he was twenty-two years old, receiving eight prizes in that time.

In 1919 Buck moved to Chicago where he taught at the School of Art Institute and became a leading member of the avant-garde symbolist artists' group known as the Introspectives which he helped to found. Influenced by Edgar Allen Poe and William Blake, Buck often depicted allegorical and literary themes in his artwork. To support himself and his family Buck completed commissions for hyper-realistic portraits. In 1918 Buck married Estrid Terkelsen, a concert singer and pianist, with whom he had twins Robert Byron Buck and Juel Buck Krisvoy-Schiller. In 1930 Buck took on young art student Leslie Binner who he married in 1934 after divorcing Estrid, his wife of 16 years.

In 1949, Claude and Leslie moved to the Santa Cruz Mountains before settling in Santa Barbara in 1959 to be closer to Buck's children and to improve his health. While in Santa Barbara he was a member of the Carmel Art Association and served as president of the Santa Cruz Art League in 1953.

Buck was a member of the Santa Barbara Art Association, and his artwork can be found in the collections of the Santa Cruz Public Library, the Santa Cruz City Museum, the Spencer Museum in Lawrence, Kansas, the Brigham Young University Museum, and the Museum of Elgin in Illinois where he also had a studio in Midlothian. Buck died in Santa Barbara on August 4, 1974.

Related Materials:

The Archives of American Art also hold a manuscript titled "The artist Claude Buck: a biography of two loves...his love for art...his love for Estrid compiled and written by their daughter, Juel, Juel B. K. Schiller" donated by Juel Krisvoy in 1989 to the National Museum of American Art who transferred it to the Archives of American Art.

Provenance:

The Claude Buck papers were donated to the Archives of American Art by Leslie Buck, Claude's widow, in 1982, Juel Buck Krisvoy-Schiller, Claude's daughter, in 1983, and by Diana V. Link, Claude's niece, in 1982 and 1992. Five works of art were transferred to the National Museum of American Art, including a self-portrait.

Restrictions:

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

Rights:

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

Occupation:

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

Painters -- California -- Santa Cruz  Search this

Topic:

Symbolism  Search this

Luminism (Art)  Search this

Genre/Form:

Scrapbooks

Sketchbooks

Citation:

Claude Buck papers, circa 1890-1983 Archives of American Art, Smithsonian Institution.

Sponsor:

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

Identifier:

AAA.buckclau

See more items in:

Claude Buck papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw91eb3ad3d-6b36-436c-b59c-276300b6e667

EDAN-URL:

ead_collection:sova-aaa-buckclau

Creator:

Simon, Sidney, 1917-1997  Search this

Names:

Budd (Firm : New York, N.Y.)  Search this

Century Association (New York, N.Y.)  Search this

Colby College  Search this

Graham Gallery  Search this

Pennsylvania Academy of the Fine Arts  Search this

Skowhegan School of Painting and Sculpture -- Faculty  Search this

United States. Army. Corps of Engineers  Search this

Emmerich, André  Search this

Gonzalez, Xavier, 1898-1993  Search this

Gotfryd, Bernard  Search this

Hélion, Jacqueline  Search this

Jencks, Penelope  Search this

Kelly, Ellsworth, 1923- -- Photographs  Search this

King, William, 1925-2015  Search this

Meredith, Burgess, 1907-1997  Search this

Motherwell, Robert -- Photographs  Search this

Nevelson, Louise, 1899-1988 -- Photographs  Search this

Pousette-Dart, Richard, 1916-1992  Search this

Watson, Forbes, 1880-1960  Search this

Extent:

23.7 Linear feet

2.21 Gigabytes

Type:

Collection descriptions

Archival materials

Gigabytes

Sound recordings

Transcripts

Sketchbooks

Sketches

Interviews

Illustrated letters

Diaries

Date:

circa 1917-2008

bulk 1940-1997

Summary:

The papers of sculptor, painter, and educator Sidney Simon measure 23.7 linear feet and 2.21 GB and date from circa 1917-2002, with the bulk of the papers dating from 1940-1997. The collection documents Simon's career through biographical material, correspondence, writings and notes, subject files, sketches, sketchbooks, printed and digital material, and photographs.

There is a 15.7 linear foot unprocessed addition to this collection donated in 2022 that includes exhibition files; commission files; project files; ledgers; photograph albums, slides, transparencies and glass plate negatives of works of art and installations and photographs of Simon, family and others; inventories of works of art; files relating to World War II including personal and professional photographs, blank postcards, sketches, printed material, and personnel information; unidentified CDs and a cassette with a letter from mother; journals with sketches and notes; biographical information including certificates and awards; printed material including catalogs and announcements and articles about Simon; appraisals; correspondence including posthumous letters of condolence; sketchbooks and drawings, including oversized student drawings and drawings for commissions and competitions; interviews with Simon on Hi8 tapes, mini DV; a scrapbook; and a zinc metal plate. Materials date from circa 1940-1997 and 2008.

Scope and Contents:

The papers of sculptor, painter, and educator Sidney Simon measure 23.7 linear feet and 2.21 GB and date from circa 1917-2002, with the bulk of the papers dating from 1940-1997. The collection documents Simon's career through biographical material, correspondence, writings and notes, subject files, sketches, sketchbooks, printed and digital material, and photographs.

Biographical material chronicles Simon's academic training and professional activities through curriculum vitae, biographical accounts, and awards. Included are letters and memoranda, many from Forbes Watson pertaining to Simon's service as a combat artist in World War II. Also found is a transcript of an interview with Simon recounting his experiences in the Southwest Pacific. Simon's personal correspondence with colleagues, friends, and family includes scattered letters from Jacqueline Helion, Penelope Jencks, William King, Burgess Meredith, among others. Many letters are illustrated by Sidney Simon and others. General correspondence includes letters from artists, galleries, museums, public and religious institutions primarily relating to Simon's exhibitions and commissioned projects. Among the correspondents are Castle Hill, Truro Center for the Arts, Colby College, André Emmerich, Eric Makler Gallery, Xavier Gonzalez, Graham Gallery, and the Pennsylvania Academy of the Fine Arts. Interspersed among the files are letters of a personal nature. Other correspondence relates to Simon's faculty positions and his activities in professional organizations, e.g., Century Association, National Academy of the Fine Arts, and the Skowhegan School of Painting and Sculpture.

Writings and notes include Simon's 1943 diary entries recording his activities in the Army Corps of Engineers, draft versions of writings and lectures, and notes. Included are digital audio recordings of Simon's lectures at the Skowhegan School of Painting and Sculpture. Subject files provide documentation on Simon's commissioned projects, select exhibitions and competitions, as well as his faculty positions and memberships in several arts organizations. Printed material consists of clippings, invitations, announcements, newsletters, and programs. Exhibition catalogs are of Simon's solo and group shows at galleries, museums, and art organizations from 1959-1966. Photographs are of Simon by Budd Brothers, Richard Pousette-Dart, and Bernard Gotfryd. There are a number of photographs of the artist in his studio and outdoors as well as of Simon's family and friends, including group photographs with Ellsworth Kelly, André Emmerich, Robert Motherwell, and Louise Nevelson. Also found are three personal and family albums and twenty-one photograph albums of Simon's paintings and sculptures.

There is a 15.7 linear foot unprocessed addition to this collection donated in 2022 that includes exhibition files; commission files; project files; ledgers; photograph albums, slides, transparencies and glass plate negatives of works of art and installations and photographs of Simon, family and others; inventories of works of art; files relating to World War II including personal and professional photographs, blank postcards, sketches, printed material, and personnel information; unidentified CDs and a cassette with a letter from mother; journals with sketches and notes; biographical information including certificates and awards; printed material including catalogs and announcements and articles about Simon; appraisals; correspondence including posthumous letters of condolence; sketchbooks and drawings, including oversized student drawings and for commissions and competitions; interviews with Simon on Hi8 tapes, mini DV; a scrapbook; and a zinc metal plate. Materials date from circa 1940-1997 and 2008.

Arrangement:

The collection is arranged as 10 series.

Missing Title

Series 1: Biographical Material, 1940-1998 (Boxes 1, 9; 0.7 linear feet)

Series 2: Correspondence, 1936-2002 (Boxes 1-2; 1.2 linear feet)

Series 3: Writings and Notes, 1943, circa 1960-1997 (Box 2; 0.4 linear feet, ER01-ER03; 2.21 GB)

Series 4: Subject Files, 1940-1941, 1951-1997 (Boxes 2-4, 9; 1.8 linear feet)

Series 5: Sketches, 1937-1942 (Box 4; 1 folder)

Series 6: Sketchbooks, 1939-1995 (Boxes 4-5, 9; 0.5 linear feet)

Series 7: Printed Material, circa 1933, 1942-1998 (Box 5; 0.3 linear feet)

Series 8: Scrapbooks, 1978-1995 (Box 5; 0.1 linear feet)

Series 9: Photographs, circa 1917-1997 (Boxes 5-10; 3.0 linear feet)

Series 10: Unprocessed Addition, circa 1940-1997, 2008 (Boxes 11-27, OV 28-43; 15.7 linear feet)

Biographical / Historical:

Sidney Simon (1917-1997) was a sculptor, painter, and educator who worked primarily in New York City and Truro, Massachusetts. Simon was born in Pittsburgh, Pennsylvania. At the age of 14, he won a place as a special student at the Carnegie Institute of Technology. He received a Bachelor of Fine Arts degree from the University of Pennsylvania in 1934 and from the Pennsylvania Academy of the Fine Arts in 1936. Simon also studied at the Barnes Foundation from 1937-1940. Simon received professional recognition early in his career; he was awarded the Prix de Rome Collaborative Prize in 1939 and the Edwin Austin Abbey Fellowship in mural painting in 1945.

In 1941, Simon enlisted in the U.S. Army and served in the Army Corps of Engineers. Assigned to MacArthur's headquarters as an official war artist for the Southwest Pacific Theater, Simon was chosen to paint the signing of the peace treaty between the U.S. and Japan aboard the U.S.S. Missouri. He was discharged from the army with a Bronze Star and five presidential citations. In 1945, along with Bill Cummings and Henry Varnum Poor, Simon co-founded the Skowhegan School of Painting and Sculpture, where he later served as a director and a member of the Board of Governors. By the mid-1950s, Simon's interest shifted from painting to sculpture, creating works in wood, clay, and other media. Over the years, Simon collaborated with architects on a number of public and private commissions, including the doorway for the Downstate Medical Center, the Jewish Chapel at West Point, a playground sculpture for Prospect Park, and the totemic column for the Temple Beth Abraham. In addition to serving on the faculty at Skowhegan School of Painting and Sculpture, Simon also taught at the Art Students League, Brooklyn Museum, and Parsons School of Design. An active champion of artists' rights, Simon established the New York Artists Equity Association. He participated in solo and group shows at the Graham Gallery, Provincetown Art Association and Museum, and the Sculptors Guild, among other venues.

In 1997, Sidney Simon died at the age of 80 in Truro, Massachusetts. Simon was divorced from Joan Crowell in 1964. He is survived by his wife, Renee Adriance Simon and five children from his first and second marriages.

Related Materials:

The Archives has two oral history interviews with Sidney Simon conducted by Paul Cummings in October 17-November 8, 1973 and the Karl E. Fortress taped interviews with artists, [1963-1985].

Separated Materials:

The Archives of American Art also holds materials lent for microfilming (reel D210) including biographical material, correspondence, sketchbooks, scrapbooks, and photographs of Sidney Simon. Lent materials were returned to the lender and are not described in the collection container inventory.

Provenance:

Sidney Simon lent the Archives of American Art material for microfilming in 1965. Rene Simon, Simon's widow, donated the Sidney Simon papers in 2009. Additional material donated in 2022 by the Renee A. Simon Revocable Trust via trustees Barbara Sussman, Alexa Elam and Susanne Howard.

Restrictions:

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

Researchers interested in accessing audiovisual recordings and born-digital records 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:

War artists  Search this

Topic:

Art -- Study and teaching  Search this

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

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

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

Function:

Artists' studios -- New York (State)

Genre/Form:

Sound recordings

Transcripts

Sketchbooks

Sketches

Interviews

Illustrated letters

Diaries

Citation:

Sidney Simon papers, circa 1917-2002, bulk 1940-1997. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.simosidn

See more items in:

Sidney Simon papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw973588e01-af09-4ddf-ae4c-721c446d46c3

EDAN-URL:

ead_collection:sova-aaa-simosidn

Creator:

Schnabel, Day N., 1905-1991  Search this

Extent:

3 Linear feet

Type:

Collection descriptions

Archival materials

Sketchbooks

Date:

circa 1910-1991

Summary:

The papers of Day N. Schnabel measure 3 linear feet and date from circa 1910-1991. The papers depict Schnabel's career as both a sculptor and painter in Paris, France, and the United States during the Great Depression and beyond. The papers include biographical materials, correspondence, writings, personal business records, printed and photographic material, and artwork.

Scope and Contents:

The Day N. Schnabel papers measure 3 linear feet and date from circa 1910-1991. Biographical materials include Schnabel's resume, a certificate for Who's Who in the World, and documents relating to her husband's death. Correspondence is in German, French, and English and includes letters and holiday cards. Writings consist of articles, notebooks, and journals by Schnabel and materials by Schnabel's family. Personal business records include materials relating to various exhibitions Schnabel took part in as well as projects she completed for various institutions including UNESCO, the Smithsonian Institution, and correspondence with Schuler Verlagsgesellschaft, MBH a publishing company in Germany. Printed material includes exhibition announcements and catalogs, news clippings, art publications featuring Schnabel's work, and notated advertising catalogs and instruction manuals for sculpture tools. Photographic materials consist of photographs of Schnabel and her family and friends, a photograph album, and photos of Schnabel's artwork. Artwork includes sketches and a gifted painting by Jose Guerrero, as well as a sketchbook.

Arrangement:

This collection consists of seven series.

Series 1: Biographical Material, circa 1966-1979 (.1 Linear feet: Box 1)

Series 2: Correspondence, circa 1941-1978 (.2 Linear feet: Box 1)

Series 3: Writings, circa 1932-1991 (.7 Linear feet: Box 1)

Series 4: Personal Business Records, circa 1950-1972 (.1 Linear feet: Box 2)

Series 5: Printed Material, circa 1910-1978 (1.6 Linear feet: Boxes 2-3)

Series 6: Photographic Material, circa 1910-1971 (.2 Linear feet: Box 3)

Series 7: Artwork, circa 1920-1972 (.1 Linear feet: Box 3)

Biographical / Historical:

Day N. Schnabel (1905-1991) was a sculptor and painter who worked primarily in both New York and Paris. She was born Daisy Nora Thalberg in Vienna, Austria. Her education consisted of studying sculpture and painting at the Academy of Fine Arts Vienna from 1915-1918. She continued these studies later in both Berlin and Florence. Schnabel also spent time studying architecture and sculpture under Barend Jordens in Holland. During World War Two, Schnabel was located in New York where she became an Irascible and worked on projects funded by the New Deal. She was also an associate of Ibram Lassaw, Jacques Lipchitz, and Jackson Pollock. After the war Schnabel relocated to Paris where she worked in the studios of Marcel Gimons, Charles Alexandre Malfray, and Ossip Zadkine. She was also associated with Constantin Brancusi, Emile Gilioli, and other prominent artists who influenced her work and style.

Schnabel's chosen mediums included welded steel, bronze, brass, marble, limestone, granite, cast stone, relief mural, found objects, gouache, ink, and other materials. She had many featured solo and group exhibitions while in New York and her artwork is now in the collections of the Brooklyn Museum, The Blanton Museum of Art, Musée des Beaux-Arts des Nantes, the Walker Art center, and the Whitney Museum of American art.

Schnabel died in 1991 in Paris, France.

Provenance:

The Day N. Schnabel papers were donated to the Archives of American Art by Day N. Schnabel in 1984.

Restrictions:

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

Rights:

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

Occupation:

Sculptors -- France -- Paris  Search this

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

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

Function:

Artists' studios -- France -- Paris

Genre/Form:

Sketchbooks

Citation:

Day N. Schnabel papers, circa 1910-1991 Archives of American Art, Smithsonian Institution.

Sponsor:

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

Identifier:

AAA.schnday

See more items in:

Day N. Schnabel papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw98885f75f-e412-495c-8b06-04f2540a9c74

EDAN-URL:

ead_collection:sova-aaa-schnday

Creator:

Deutsch, Boris, 1892 or 5-1978  Search this

Names:

United States. Public Buildings Administration. Section of Fine Arts  Search this

Extent:

3.1 Linear feet

Type:

Collection descriptions

Archival materials

Date:

circa 1912-1979

Summary:

The papers of Boris Deutsch measure 3.1 linear feet and date from circa 1912-1979. Deutsch's career as a modernist painter is documented through biographical materials, correspondence, writings, personal business records, printed and photographic material, and artwork.

Scope and Contents:

The Boris Deutsch papers measure 3.1 linear feet and date from circa 1912-1979. Biographical materials include a resume, identification documents, an interview transcript, and documentation of milestone dates. Correspondence with Deutsch is both personal and professional. Writings includes both autobiographical and biographical writings as well as various speeches and notes. Personal business records consists of business documents, inventories of artwork, and stock market documents created by Deutsch. Printed materials includes various materials relating to the political climate of the 1940s and Deutsch's personal interests, as well as auction and exhibition catalogs, and exhibition announcements. Also included are scans of photographs and scrapbook pages. Photographic material consists of photographs of Deutsch and his wife, family and friends, his artwork, and various installations of exhibits. Artwork includes one sketchbook.

Arrangement:

This collection consists of seven series.

Series 1: Biographical Material, circa 1924-1949 (.1 Linear feet: Box 1)

Series 2: Correspondence, circa 1924-1979 (.2 Linear feet: Box 1)

Series 3: Writings, circa 1940-1972 (.2 Linear feet: Box 1)

Series 4: Personal Business Records , circa 1926-1975 (.3 Linear feet: Box 1)

Series 5: Printed Material, circa 1921-1976 (1 Linear foot: Boxes 1 and 2)

Series 6: Photographic Material, circa 1912-1972 (1.2 Linear feet: Boxes 2-5)

Series 7: Artwork, circa 1930 (.1 Linear feet: Box 4)

Biographical / Historical:

Boris Deutsch (1892–1978) was a muralist and painter who worked primarily in Los Angeles, California. He was born to a Jewish family in Krasnogorka shtetl, then part of the Russian Empire. Deutsch is known for his work in modernist paintings which were heavily influenced by German expressionalism, portraits, and printmaking with a focus on monotypes and lithography.

Deutsch obtained his education at the Bloom Academy of Fine Arts in Riga and completed post graduate work in Berlin, Germany. At the start of World War One, he was drafted into the Russian army and his mother helped him falsify identification documents and desert. After deserting the Russian Army, Deutsch went first to Harbin in China and then Japan. In 1916 he immigrated to the United States landing in Seattle before relocating to Los Angeles. There he joined the Art Student's League and worked for Paramount Pictures in the special effects department. While in Los Angeles Deutsch also taught at the Otis Art Institute for six years. In the years following 1924 Deutsch organized his first solo exhibitions and became highly regarded as a portraitist alongside his other artworks. In 1929 he decorated the interior of the Floridian Hotel in Miami Beach and during the 1930s he won many of the prizes earned over his career. During the Great Depression Deutsch was employed by the Federal Arts Program designing murals for post offices across California and New Mexico. Among his commissions sponsored by the New Deal project was the Terminal Annex Post Office in Los Angles. In 1946 he won the Pepsi-Cola art competition with his work What Atomic War Will Do to You. Deutsch is also known for his role in directing the fifteen-minute experimental and expressionist film Lullaby starring Michael Visaroff in 1929. Deutsch died on January 16, 1978, in Los Angeles.

Related Materials:

The archives also hold an oral history interview of Boris Deutsch conducted 1964 June 1-5, by Betty Hoag, for the Archives of American Art.

Separated Materials:

The Archives of American Art also holds microfilm of material lent for microfilming (reel LA 2) including: clippings and exhibition catalogs.

Provenance:

Clippings and exhibition catalogs were lent for microfilming in 1964 by Betty Hoag. Papers were donated in 1980 by the estate of Boris Deutsch.

Restrictions:

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

Rights:

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

Occupation:

Painters -- California -- Los Angeles  Search this

Topic:

Mural painting and decoration -- 20th century -- United States  Search this

Function:

Post office buildings -- California -- Los Angeles

Citation:

Boris Deutsch papers, circa 1912-1979 Archives of American Art, Smithsonian Institution.

Sponsor:

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

Identifier:

AAA.deutbori

See more items in:

Boris Deutsch papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw99174fcdc-dbe1-4d35-9f97-e9ed9c035b74

EDAN-URL:

ead_collection:sova-aaa-deutbori

Creator:

Fasano, Clara, 1900-1990  Search this

Names:

United States. Works Progress Administration  Search this

Extent:

2.7 Linear feet

Type:

Collection descriptions

Archival materials

Sketchbooks

Diaries

Date:

circa 1920-1979

Summary:

The Clara Fasano papers are 2.7 linear feet and date from circa 1920-1979. They illustrate Fasano's career as a sculptor in both Cervaro, Italy and New York City through biographical materials, correspondence, writings and exhibition and gallery files, printed and photographic materials, and artwork.

Scope and Contents:

The Clara Fasano papers measure 2.7 linear feet and date from circa 1920-1979. Biographical materials include Fasano's resume, an appointment book for 1971, materials related to Who's Who in America, and various awards and certificates. Correspondence is in English and Italian and is with Fasano's husband Jean De Marco, Leo Cherne, the Archives of American Art, and others. Writings include a diary and lists of institutional gifts to the Archives of American Art and Syracuse University. Exhibition and gallery files consist of exhibition materials including those related to the National Academy of Design, National Academy of Sculpture, and a photo album for the Stituto Italiano di Cultura Traveling Exhibition. Printed material includes membership booklets, exhibition announcements and catalogs, and various publications featuring Fasano's artwork. Photographic material consists of photographs of Fasano and her artwork, as well as her friends. Artwork includes designs for the Federal Art Project, figure drawings, sketches, and a self-portrait.

Arrangement:

This collection is composed of seven series.

Series 1: Biographical Material, circa 1920-1979 (.3 Linear feet: Boxes 1 and 4)

Series 2: Correspondence, circa 1939-1978 (.8 Linear feet: Box 1)

Series 3: Writings, circa 1955-1968 (.1 Linear feet: Box 2)

Series 4: Exhibition and Gallery Files, circa 1941-1978 (.2 Linear feet: Box 2)

Series 5: Printed Material, circa 1933-1976 (.3 Linear feet: Box 2)

Series 6: Photographic Material, circa 1920-1972 (.6 Linear feet: Boxes 2-3)

Series 7: Artwork, circa 1920-1972 (.4 Linear feet: Boxes 3-4)

Biographical / Historical:

Clara Fasano (1900-1990) was a sculptor who worked primarily in New York City. She was born in Castellaneta, Italy to a long line of sculptors and carvers. She specialized in terracotta figures with religious and allegorical themes. Her family immigrated to the United States when Fasano was three years old where her father earned a living as an architectural ornamentor in New York City. In 1936 Fasano married Jean De Marco, a fellow sculptor, and moved to Greenwich Village.

Fasano studied at the Cooper Union Art School, the Art Students League, and Adelphi College in New York City and at the Académie Colarossi and Academie Julian in Paris. She also studied under Arturo Dazzi in Rome. Fasano taught art at the Dalton School in New York City and at Manhattanville College in Purchase, New York. In the 1930s, she began to exhibit her work in New York City.

During the Great Depression Fasano was one of the first sculptors to work on the Public Works of Art Project under the New Deal. She created a plaque in 1934 commemorating Governor Donegan for the Port Richmond Highschool on Staten Island. Fasano also worked on the Federal Art Project under which she created a plaster relief titled "The Family" for the Middleport, Ohio post office.

Fasano was a member of the Sculptors Guild and participated in its 1940 and 1941 exhibitions and was awarded the Daniel Chester French medal in 1965 from the National Academy of Design. She was also awarded the Dessie Greer prize in 1968. Other organizations she was a member of are the National Sculpture Society, the Audubon Artists, and the National Association of Women Artists. Fasano died in 1990.

Related Materials:

Clara Fasano's papers can also be found in Syracuse University's collections.

Provenance:

The Clara Fasano papers were donated to the Archives of American Art by Clara Fasano in 1972 and 1978. Two portraits of Fasano by Joseph Stella received with the papers were transferred to the National Museum of American Art.

Restrictions:

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

Rights:

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

Occupation:

Sculptors -- Italy  Search this

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

Topic:

Sculpture, Modern -- 20th century  Search this

Women artists  Search this

Women sculptors  Search this

Genre/Form:

Sketchbooks

Diaries

Citation:

Clara Fasano papers, circa 1920-1979 Archives of American Art, Smithsonian Institution.

Sponsor:

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

Identifier:

AAA.fasaclar

See more items in:

Clara Fasano papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9c592b0b7-0dd3-413b-a2a1-bbd8519ba717

EDAN-URL:

ead_collection:sova-aaa-fasaclar

Creator:

Weddige, Emil, 1907-2001  Search this

Extent:

3.1 Linear feet

Type:

Collection descriptions

Archival materials

Date:

circa 1926-1979

Summary:

The papers of Emil Weddige measure 3.1 linear feet and date from circa 1926-1979. The papers detail Weddige's time spent as a professor of art at the University of Michigan College of Architecture and Design, and as an artist and lithographer through biographical material, correspondence, writings, personal business records, exhibition files, printed materials, photographs, and artwork.

Scope and Contents:

The Emil Weddige papers measure 3.1 linear feet and date from circa 1926-1979. Included biographical materials consist of a resume, and an interview transcript. Correspondence is composed of letters to and from Weddige regarding his personal and professional life. Writings includes lectures, speeches, various writings, notes, and comments. Exhibition and Gallery Files consists of materials related to various exhibits Weddige took part in. Personal Business Records includes documents and materials related to Weddige's time as an instructor and his activities as a lithographer. Printed Material is composed of exhibition announcements and catalogs, magazine and newspaper clippings, and yearbooks. Photographic material includes photos of Weddige, his artwork, and professional activities. Artwork consists of sketches and drawings, original sketches for color lithographs, and paintings.

Arrangement:

This collection is arranged as eight series. Nitrate negatives are housed separately and closed to researchers.

Series 1: Biographical Material, circa 1940-1969 (.1 Linear feet: Box 1)

Series 2: Correspondence, circa 1930-1973 (.9 Linear feet: Box 1)

Series 3: Writings, circa 1940-1979 (.2 Linear feet: Box 2)

Series 4: Exhibition and Gallery Files, circa 1950-1969 (.1 Linear feet: Box 2)

Series 5: Personal Business Records, circa 1940-1974 (.5 Linear feet: Box 2)

Series 6: Printed Material, circa 1930-1973 (.7 Linear feet: Boxes 2-3)

Series 7: Photographic Material, circa 1926-1970 (.3 Linear feet: Box 3)

Series 8: Artwork, circa 1940-1972 (.3 Linear feet: Box 3 and OV 4)

Biographical / Historical:

Emil Weddige (1907-2001) was a lithographer and teacher who worked primarily in Ann Arbor, Michigan. He was born in Sandwich, Ontario, Canada to American parents of French, German, and Windot background. In 1934 Weddige earned a bachelor's degree from Eastern Michigan University and studied under Morris Kantor at the Art Students League in New York and Emil Ganso in Woodstock, New York. In 1937 he became a teaching fellow at the University of Michigan where he went on to become an instructor in 1957. While acting as a teaching fellow he earned a Master of Design degree. In 1949 Weddige established a second studio in Paris, France to which he travelled intermittently. In 1957 he was appointed Professor Emeritus by Eastern Michigan University and was awarded an honorary degree of Doctor of Fine Arts.

Weddige held more than one hundred one-man shows in both the United States and Europe, received more than twenty-five major art awards, and published a book on his techniques, Lithography, in 1966. Weddige's work is in permanent collections of more than a dozen museums including the National Gallery of Art in Washington, DC, the Smithsonian Institution, the Library of Congress, and The Metropolitan Museum of Art in New York. His lithographs appear in public buildings throughout the United States, Europe, and Japan. Weddige died in 2001 in Ann Arbor, Michigan.

Related Materials:

The archives also hold an interview of Emil Weddige conducted 1977 Dec. 17-1978 Feb. 11 by Stephen Hamp.

Separated Materials:

The Archives of American Art also holds microfilm of material donated for microfilming (reels 950 and 987-990) including: correspondence, sketches, drawings and watercolors, essays, writings and lectures, lists of Weddige's works, exhibition catalogs and announcements, notes, and brochures.

Provenance:

Papers were lent for microfilming in 1973 by Emil Weddige. The bulk of the microfilmed material and additional papers were donated 1973.

Restrictions:

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

Rights:

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

Occupation:

Lithographers -- Michigan -- Ann Arbor  Search this

Art teachers -- Michigan -- Ann Arbor  Search this

Topic:

Lithography -- United States  Search this

Artists' studios -- Photographs  Search this

Citation:

Emil Weddige papers, circa 1926-1979 Archives of American Art, Smithsonian Institution.

Sponsor:

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

Identifier:

AAA.weddemil

See more items in:

Emil Weddige papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9d93d0322-3c12-4e93-b999-44f9801c71f5

EDAN-URL:

ead_collection:sova-aaa-weddemil

Creator:

Poor, Henry Varnum, 1887-1970  Search this

Names:

Montross Gallery  Search this

Skowhegan School of Painting and Sculpture  Search this

Benton, William, 1900-1973  Search this

Biddle, George, 1885-1973  Search this

Billing, Jules  Search this

Burchfield, Charles Ephraim, 1893-1967  Search this

Caniff, Milton Arthur, 1907-1988  Search this

Ciardi, John, 1916-  Search this

Czebotar, Theodore  Search this

Deming, MacDonald  Search this

Dickson, Harold E., 1900-  Search this

Dorn, Marion, 1896-1964  Search this

Duchamp, Marcel, 1887-1968  Search this

Esherick, Wharton  Search this

Evergood, Philip, 1901-1973  Search this

Garrett, Alice Warder  Search this

Houseman, John, 1902-1988  Search this

Marston, Muktuk  Search this

Meredith, Burgess, 1907-1997  Search this

Mumford, Lewis, 1895-1990  Search this

Padro, Isabel  Search this

Poor, Anne, 1918-  Search this

Poor, Bessie Breuer  Search this

Poor, Eva  Search this

Poor, Josephine Graham  Search this

Poor, Josephine Lydia  Search this

Poor, Peter  Search this

Sargent, Elizabeth S.  Search this

Smith, David, 1906-1965  Search this

Steinbeck, John, 1902-1968  Search this

Watson, Ernest William, 1884-1969  Search this

Extent:

12.9 Linear feet

Type:

Collection descriptions

Archival materials

Motion pictures (visual works)

Diaries

Drawings

Sketchbooks

Date:

1873-2001

bulk 1904-1970

Summary:

The papers of Henry Varnum Poor measure 12.9 linear feet and date from 1873-2001, with the bulk from the period 1904-1970. Correspondence, writings, artwork, printed material and photographs document Poor's work as a painter, muralist, ceramic artist and potter, architect, designer, writer, war artist, educator and a co-founder of the Skowhegan School of Painting and Sculpture. Also found is extensive information about the design and construction of Crow House, his home in New City, New York, commissions for other architectural projects, and his personal life.

Scope and Content Note:

The papers of Henry Varnum Poor measure 12.9 linear feet and date from 1873-2001, with the bulk from the period 1904-1970. Correspondence, writings, artwork, printed material and photographs document Poor's work as a painter, muralist, ceramic artist and potter, architect, designer, writer, war artist, educator and a co-founder of the Skowhegan School of Painting and Sculpture. Also found is extensive information about the design and construction of Crow House, his home in New City, New York, commissions for other architectural projects, and his personal life.

Henry Varnum Poor's correspondence documents his personal, family, and professional life. Correspondents include family and friends, among them George Biddle, Charles Burchfield, John Ciardi, Marion V. Dorn (who became his second wife), Philip Evergood, Lewis Mumford, John Steinbeck, David Smith, and Mrs. John Work (Alice) Garrett. Among other correspondents are galleries, museums, schools, organizations, fans, former students, and acquaintances from his military service and travels. Family correspondence consists of Henry's letters to his parents, letters to his parents written by his wife, and letters among other family members.

Among the writings by Henry Varnum Poor are manuscripts of his two published books, An Artist Sees Alaska and A Book of Pottery: From Mud to Immortality. as well as the text of "Painting is Being Talked to Death," published in the first issue of Reality: A Journal of Artists' Opinions, April 1953, and manuscripts of other articles. There are also film scripts, two journals, notes and notebooks, lists, speeches, and writings by others, including M. R. ("Muktuk") Marston's account of Poor rescuing an Eskimo, and Bessie Breuer Poor's recollections of The Montross Gallery.

Subject files include those on the Advisory Committee on Art, American Designers' Gallery, Inc., William Benton, Harold Dickson, Reality: A Journal of Artists' Opinions Sales, and War Posters. There are numerous administrative files for the Skowhegan School of Painting and Sculpture.

Artwork by Henry Varnum Poor consists mainly of loose drawings and sketches and 45 sketchbooks of studies for paintings, murals, and pottery. There is work done in France, 1918-1919, and while working as a war correspondent in Alaska in 1943. There are commissioned illustrations and some intended for his monograph, A Book of Pottery: From Mud to Immortality. Also found are a small number of watercolors and prints. Work by other artists consist of Anne Poor's drawings of her father's hands used for the Lincoln figure in The Land Grant Frescoes and interior views of Crow House by Ernest Watson.

Documentation of Poor's architectural projects consists of drawings and prints relating to houses designed and built for Jules Billing, MacDonald Deming, John Houseman, Burgess Meredith, Isabel Padro, and Elizabeth S. Sargent. Also found is similar material for the new studio Poor built in 1957 on the grounds of Crow House.

Miscellaneous records include family memorabilia and two motion picture films, Painting a True Fresco, and The Land Grant Murals at Pennsylvania State College.

Printed material includes articles about or mentioning Poor, some of his pottery reference books, family history, a catalog of kilns, and the program of a 1949 Pennsylvania State College theater production titled Poor Mr. Varnum. Exhibition catalogs and announcements survive for some of Poor's shows; catalogs of other artists' shows include one for Theodore Czebotar containing an introductory statement by Henry Varnum Poor. Also found is a copy of The Army at War: A Graphic Record by American Artists, for which Poor served as an advisor. There are reproductions of illustrations for An Artist Sees Alaska and Ethan Frome, and two Associated American Artists greeting cards reproducing work by Poor.

Photographs are of Henry Varnum Poor's architectural work, artwork, people, places, and miscellaneous subjects. This series also contains negatives, slides, and transparencies. Images of architectural work include exterior and interior views of many projects; Poor's home, Crow House, predominates. Photographs of artwork by Poor are of drawings, fresco and ceramic tile murals, paintings, pottery and ceramic art. People appearing in photographs include Henry Varnum Poor, family members, friends, clients, juries, students, and various groups. Among the individuals portrayed are Milton Caniff, Marcel Duchamp, Wharton Esherick, M. R. ("Muktuk") Marston, and Burgess Meredith. Among the family members are Bessie Breuer Poor, Marion Dorn Poor, Anne Poor, Eva Poor, Josephine Graham Poor, Josephine Lydia Poor, Peter Poor, and unidentified relatives. Photographs of places include many illustrating village life in Alaska that were taken by Poor during World War II. Other places recorded are French and California landscapes, and family homes in Kansas. Miscellaneous subjects are exhibition installation views, scenes of Kentucky farms, and a photograph of Poor's notes on glazes.

Arrangement:

The collection is arranged as 9 series:

Missing Title

Series 1: Biographical Materials, 1919-1987 (0.2 linear feet; Box 1, OV 18)

Series 2: Correspondence, 1873-1985 (1.5 linear feet; Boxes 1-2)

Series 3: Writings and Notes, circa 1944-1974 (0.6 linear feet; Boxes 2-3)

Series 4: Subject Files, 1928-1975 (0.8 linear feet; Box 3, OV 23)

Series 5: Artwork, circa 1890s-circa 1961 (3.5 linear feet; Boxes 4-6, 9-10, OV 19-22)

Series 6: Architectural Projects, circa 1940-1966 (0.7 linear feet; Box 6, OV 24-26, RD 14-17)

Series 7: Miscellaneous Records, 1882-1967 (Boxes 6, 11, FC 30-31; 0.5 linear ft.)

Series 8: Printed Material, 1881-2001 (1.2 linear feet; Boxes 6-7, 11, OV 27-29)

Series 9: Photographs, 1893-1984 (2.3 linear feet; Boxes 7-8, 12-13)

Biographical Note:

Henry Varnum Poor (1888-1970), best known as a potter, ceramic artist, and a co-founder of the Skowhegan School of Painting and Sculpture, was also an architect, painter, muralist, designer, educator, and writer who lived and worked in New City, New York.

A native of Chapman, Kansas, Henry Varnum Poor moved with his family to Kansas City when his grain merchant father became a member of the Kansas Board of Trade. From a young age he showed artistic talent and spent as much time as possible - including school hours - drawing. When a school supervisor suggested that Henry leave school to study at the Art Institute of Chicago, the family disagreed. Instead, he enrolled in the Kansas City Manual Training High School where he delighted in learning skills such as carpentry, forge work, and mechanical drawing. In 1905, he moved with his older brother and sister to Palo Alto, California and completed high school there. Because Poor was expected to join the family business, he enrolled at Stanford University as an economics major, but much to his father's disappointment and displeasure, soon left the economics department and became an art major.

Immediately after graduation in 1910, Poor and his major professor at Stanford, Arthur B. Clark, took a summer bicycling tour to look at art in London, France, Italy, and Holland. As Poor had saved enough money to remain in London after the summer was over, he enrolled in the Slade School of Art and also studied under Walter Sickert at the London County Council Night School. After seeing an exhibition of Post-Impressionism at the Grafton Galleries in London, Poor was so impressed that he went to Paris and enrolled in the Académie Julian. While in Paris, Poor met Clifford Addams, a former apprentice of Whistler; soon he was working in Addams' studio learning Whistler's palette and techniques.

In the fall of 1911, Poor returned to Stanford University's art department on a one-year teaching assignment. During that academic year, his first one-man show was held at the university's Old Studio gallery. He married Lena Wiltz and moved back to Kansas to manage the family farm and prepare for another exhibition. Their daughter, Josephine Lydia Poor, was born the following year. Poor returned to Stanford in September 1913 as assistant professor of graphic arts, remaining until the department closed three years later. During this period, Poor began to exhibit more frequently in group shows in other areas of the country, and had his first solo exhibition at a commercial gallery (Helgesen Gallery, San Francisco). In 1916, Poor joined the faculty of the San Francisco Art Association. He and his wife separated in 1917 and were divorced the following year. Poor began sharing his San Francisco studio with Marion Dorn.

During World War I, Poor was drafted into the U. S. Army, and in 1918 went to France with the 115th Regiment of Engineers. He spent his spare time drawing; soon officers were commissioning portraits, and Poor was appointed the regimental artist. He also served as an interpreter for his company. Discharged from the Army in early 1919, Poor spent the spring painting in Paris. He then returned to San Francisco and married Marion Dorn.

Once Poor realized that earning a living as a painter would be extremely difficult in California, he and his new wife moved to New York in the autumn of 1919. They were looking for a place to live when influential book and art dealer Mary Mowbray-Clarke of the Sunwise Turn Bookshop in Manhattan suggested New City in Rockland County, New York as good place for artists. In January of 1920, the Poors purchased property on South Mountain Road in New City. The skills he acquired at the Kansas City Manual Training High School were of immediate use as Poor designed and constructed "Crow House" with the assistance of a local teenager. Influenced by the farmhouses he had seen in France, it was made of local sandstone and featured steep gables, rough plaster, chestnut beams and floors, and incorporated many hand-crafted details. Poor designed and built most of their furniture, too. Before the end of the year, he and Marion were able to move into the house, though it remained a work in progress for many years. Additions were constructed. Over time, gardens were designed and planted, and outbuildings - a kiln and pottery, work room, garage, and new studio - appeared on the property.

In 1925, two years after his divorce from Marion Dorn, Poor married Bessie Freedman Breuer (1893-1975), an editor, short story writer, and novelist. Soon after, he adopted her young daughter, Anne (1918-2002), an artist who served as his assistant on many important mural commissions. Their son, Peter (b. 1926) became a television producer. Crow House remained in the family until its sale in 2006. In order to prevent its demolition, Crow House was then purchased by the neighboring town of Ramapo, New York in 2007.

Between 1935 and 1966 Poor designed and oversaw construction of a number of houses, several of them situated not far from Crow House on South Mountain Road. Poor's designs, noted for their simplicity, featured modern materials and incorporated his ceramic tiles. Among his important commissions were houses for Maxwell Anderson, Jules Billig, Milton Caniff, MacDonald Deming, and John Houseman.

Poor's first exhibition of paintings in New York City was at Kevorkian Galleries in 1920, and sales were so disappointing that he turned his attention to ceramics. His first pottery show, held at Bel Maison Gallery in Wanamaker's department store in 1921, was very successful. He quickly developed a wide reputation, participated in shows throughout the country, and won awards. He was a founder of the short-lived American Designers' Gallery, and the tile bathroom he showed at the group's first exposition was critically acclaimed. Poor was represented by Montross Gallery as both a painter and potter. When Montross Gallery closed upon its owner's death in 1932, Poor moved to the Frank K. M. Rehn Gallery.

Even though Poor's pottery and ceramic work was in the forefront, he continued to paint. His work was acquired by a number of museums, and the Limited Editions Club commissioned him to illustrate their republications of Ethan Frome, The Scarlet Letter, and The Call of the Wild.

Poor's first work in true fresco was shown in a 1932 mural exhibition at the Museum of Modern Art. Between 1935 and 1949 he was commissioned to produce several murals in fresco for Section of Fine Arts projects at the Department of Justice and the Department of the Interior, The Land Grant Frescoes at Pennsylvania State College, and a mural for the Louisville Courier-Journal. Ceramic tile mural commissions included: the Klingenstein Pavilion, Mt. Sinai Hospital, New York City; Travelers Insurance Co., Boston; the Fresno Post Office, California; and Hillson Memorial Gallery, Deerfield Academy, Deerfield, Mass.

As a member of the War Artists' Unit, Poor was a "war correspondent" with the rank of major in World War II, and for several months in 1943 was stationed in Alaska. An Artist Sees Alaska, drawing on Poor's observations and experiences, was published in 1945. A Book of Pottery: From Mud to Immortality, his second book, was published in 1958. It remains a standard text on the subject. While on the faculty of Columbia University in the 1950s, Poor and other artists opposed to the growing influence of Abstract Expressionism formed the Reality Group with Poor the head of its editorial committee. Their magazine, Reality: A Journal of Artists' Opinions, first appeared in 1953 featuring "Painting is Being Talked to Death" by Poor as its lead article. Two more issues were published in 1954 and 1955.

Along with Willard Cummings, Sidney Simon, and Charles Cuttler, in 1946 Henry Varnum Poor helped to establish the Skowhegan School of Painting and Sculpture in Skowhegan, Maine. He served as its first president. Poor and his daughter, Anne, were active members of the Board of Trustees and were instructors for many years. The summer of 1961 was Henry Varnum Poor's last as a full-time teacher, though he continued to spend summers at Skowhegan.

Henry Varnum Poor exhibited widely and received many awards, among them prizes at the Carnegie Institute, Syracuse Museum of Fine Arts, Virginia Museum of Fine Arts, Pennsylvania Academy of the Fine Arts, and the Architectural League of New York. Poor was appointed to the United States Commission of Fine Arts by President Roosevelt in 1941 and served a five year term. He was elected a member of the National Institute of Arts and Letters in 1943. The National Academy of Design named him an Associate Artist in 1954 and an Academician in 1963. He became a trustee of the American Craftsman's Council in 1956. The work of Henry Vernum Poor is represented in the permanent collections of many American museums including the Cleveland Museum of Art, Metropolitan Museum of Art, Brooklyn Museum, Addison Gallery of American Art, and Syracuse Museum of Fine Arts.

Henry Varnum Poor died at home in New City, New York, December 8, 1970.

Related Material:

An oral history interview with Henry Varnum Poor was conducted by Harlan Phillips for the Archives of American Art in 1964.

Provenance:

Gift of Henry Varnum Poor's son, Peter V. Poor, in 2007. A smaller portion was loaned to the Archives in 1973 by Anne Poor for microfilming and returned to the lender; this material was included in the 2007 gift.

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 audiovisual recordings with no duplicate access copy requires advance notice.

Rights:

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

Occupation:

War artists  Search this

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

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

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

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

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

Topic:

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

World War, 1914-1918  Search this

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

Genre/Form:

Motion pictures (visual works)

Diaries

Drawings

Sketchbooks

Citation:

Henry Varnum Poor papers, 1873-2001, bulk 1904-1970. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the digitization of this collection was provided by the Terra Foundation for American Art

Identifier:

AAA.poorhenr

See more items in:

Henry Varnum Poor papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw96265d653-098f-4ccc-abed-0bc649c50516

EDAN-URL:

ead_collection:sova-aaa-poorhenr

Names:

Frumkin Gallery (on Loan)  Search this

Collection Creator:

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

Extent:

1 Photomechanical print (003 in x 006 in)

Culture:

Bambara (African people)  Search this

Type:

Archival materials

Photomechanical prints

Photographs

Date:

1960

Local Numbers:

NAA INV.06015100

Local Note:

Black and white photomechanical print

Place:

New York -- New York

Genre/Form:

Photographs

Citation:

Photo Lot 97 DOE Africa: Mali/French West Africa: Bambara 06015100, National Anthropological Archives, Smithsonian Institution

See more items in:

Division of Ethnology photograph collection 1

Division of Ethnology photograph collection 1 / Africa / Mali/French West Africa / Bambara

Archival Repository:

National Anthropological Archives

GUID:

https://n2t.net/ark:/65665/nw308e8567b-145e-44a7-beeb-4c1cd71a6dda

EDAN-URL:

ead_component:sova-naa-photolot-97-ref14066

Names:

Chicago Exposition  Search this

Collection Creator:

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

Extent:

1 Photographic print (009 in x 007 in mounted on 012 in x 009 in)

Culture:

Japanese  Search this

Type:

Archival materials

Photographic prints

Photographs

Date:

1893

Local Numbers:

NAA INV.04642000

OPPS NEG.76-14541 ?

Local Note:

Note: Also NM ACC 90351, Gardener Colln

Black and white photoprint on cardboard mount

Place:

Illinois -- Chigago

Genre/Form:

Photographs

Citation:

Photo Lot 97 DOE Asia: Japan: General: NM 46818 04642000, National Anthropological Archives, Smithsonian Institution

See more items in:

Division of Ethnology photograph collection 1

Division of Ethnology photograph collection 1 / Asia / Japan / Gen

Archival Repository:

National Anthropological Archives

GUID:

https://n2t.net/ark:/65665/nw335ecf1cb-8ab7-4691-9b0a-0bbeadae00a7

EDAN-URL:

ead_component:sova-naa-photolot-97-ref6813

Collection Creator:

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

Extent:

1 Photographic print (010 in x 008 in)

Culture:

Koreans  Search this

Type:

Archival materials

Photographic prints

Photographs

Date:

1957

Local Numbers:

NAA INV.04767300

OPPS NEG.5726866 ?

Local Note:

See Photo for Identification of Objects

Black and white photoprint

Place:

District of Columbia -- Washington

Genre/Form:

Photographs

Citation:

Photo Lot 97 DOE Asia: Korea: Exhibit 1954 04767300, National Anthropological Archives, Smithsonian Institution

See more items in:

Division of Ethnology photograph collection 1

Division of Ethnology photograph collection 1 / Asia / Korea / Exhibit 1954

Archival Repository:

National Anthropological Archives

GUID:

https://n2t.net/ark:/65665/nw3de1709ae-17b4-493b-87f8-ef6e8f0e441a

EDAN-URL:

ead_component:sova-naa-photolot-97-ref8345