This accession consists of records documenting the professional activities and correspondence of Judith K. Zilczer, art historian and curator. Zilczer was employed
by the Hirshhorn Museum and Sculpture Garden (HMSG) in various capacities from 1974-2003, ultimately serving as Curator of Paintings from 1992-2003. Many of the records document
exhibitions for which she served as a consultant, including "Visual Music: 1905-2005" at HMSG, which she continued working on after her official retirement in 2003, and "Advent
of Modernism" at the High Museum of Art. Materials include correspondence, checklists, essays, brochures, notes, lists of artwork, exhibitions proposals, grant applications,
and related materials.
Restricted for 25 years. See Deed of Gift for additional information about restrictions, until Jan-01-2031; Transferring office; 12/1/2003 Deed of Gift; Contact reference staff for details.
These records are the official minutes of the Board. They are compiled at the direction of the Secretary of the Smithsonian, who is also secretary to the Board, after
approval by the Regents' Executive Committee and by the Regents themselves. The minutes are edited, not a verbatim account of proceedings. For reasons unknown, there are no
manuscript minutes for the period from 1857 through 1890; and researchers must rely on printed minutes published in the Annual Report of the Smithsonian Institution instead.
Minutes are transferred regularly from the Secretary's Office to the Archives. Minutes less than 15 years old are closed to researchers. Indexes exist for the period from
1907 to 1946 and can be useful.
The Smithsonian Institution was created by authority of an Act of Congress approved August 10, 1846. The Act entrusted direction of the Smithsonian to a body called
the Establishment, composed of the President; the Vice President; the Chief Justice of the United States; the secretaries of State, War, Navy, Interior, and Agriculture; the
Attorney General; and the Postmaster General. In fact, however, the Establishment last met in 1877, and control of the Smithsonian has always been exercised by its Board of
Regents. The membership of the Regents consists of the Vice President and the Chief Justice of the United States; three members each of the Senate and House of Representatives;
two citizens of the District of Columbia; and seven citizens of the several states, no two from the same state. (Prior to 1970 the category of Citizen Regents not residents
of Washington consisted of four members). By custom the Chief Justice is Chancellor. The office was at first held by the Vice President. However, when Millard Fillmore succeeded
to the presidency on the death of Zachary Taylor in 1851, Chief Justice Roger Brooke Taney was chosen in his stead. The office has always been filled by the Chief Justice
since that time.
The Regents of the Smithsonian have included distinguished Americans from many walks of life. Ex officio members (Vice President) have been: Spiro T. Agnew, Chester A.
Arthur, Allen W. Barkley, John C. Breckenridge, George Bush, Schuyler Colfax, Calvin Coolidge, Charles Curtis, George M. Dallas, Charles G. Dawes, Charles W. Fairbanks, Millard
Fillmore, Gerald R. Ford, John N. Garner, Hannibal Hamlin, Thomas A. Hendricks, Garret A. Hobart, Hubert H. Humphrey, Andrew Johnson, Lyndon B. Johnson, William R. King, Thomas
R. Marshall, Walter F. Mondale, Levi P. Morton, Richard M. Nixon, Nelson A. Rockefeller, Theodore Roosevelt, James S. Sherman, Adlai E. Stevenson, Harry S. Truman, Henry A.
Wallace, William A. Wheeler, Henry Wilson.
Ex officio members (Chief Justice) have been: Roger B. Taney, Salmon P. Chase, Nathan Clifford, Morrison R. Waite, Samuel F. Miller, Melville W. Fuller, Edward D. White,
William Howard Taft, Charles Evans Hughes, Harlan F. Stone, Fred M. Vinson, Earl Warren, Warren E. Burger.
Regents on the part of the Senate have been: Clinton P. Anderson, Newton Booth, Sidney Breese, Lewis Cass, Robert Milledge Charlton, Bennet Champ Clark, Francis M. Cockrell,
Shelby Moore Cullom, Garrett Davis, Jefferson Davis, George Franklin Edmunds, George Evans, Edwin J. Garn, Walter F. George, Barry Goldwater, George Gray, Hannibal Hamlin,
Nathaniel Peter Hill, George Frisbie Hoar, Henry French Hollis, Henry M. Jackson, William Lindsay, Henry Cabot Lodge, Medill McCormick, James Murray Mason, Samuel Bell Maxey,
Robert B. Morgan, Frank E. Moss, Claiborne Pell, George Wharton Pepper, David A. Reed, Leverett Saltonstall, Hugh Scott, Alexander H. Smith, Robert A. Taft, Lyman Trumbull,
Wallace H. White, Jr., Robert Enoch Withers.
Regents on the part of the House of Representatives have included: Edward P. Boland, Frank T. Bow, William Campbell Breckenridge, Overton Brooks, Benjamin Butterworth,
Clarence Cannon, Lucius Cartrell, Hiester Clymer, William Colcock, William P. Cole, Jr., Maurice Connolly, Silvio O. Conte, Edward E. Cox, Edward H. Crump, John Dalzell, Nathaniel
Deering, Hugh A. Dinsmore, William English, John Farnsworth, Scott Ferris, Graham Fitch, James Garfield, Charles L. Gifford, T. Alan Goldsborough, Frank L. Greene, Gerry Hazleton,
Benjamin Hill, Henry Hilliard, Ebenezer Hoar, William Hough, William M. Howard, Albert Johnson, Leroy Johnson, Joseph Johnston, Michael Kirwan, James T. Lloyd, Robert Luce,
Robert McClelland, Samuel K. McConnell, Jr., George H. Mahon, George McCrary, Edward McPherson, James R. Mann, George Perkins Marsh, Norman Y. Mineta, A. J. Monteague, R.
Walton Moore, Walter H. Newton, Robert Dale Owen, James Patterson, William Phelps, Luke Poland, John Van Schaick Lansing Pruyn, B. Carroll Reece, Ernest W. Roberts, Otho Robards
Singleton, Frank Thompson, Jr., John M. Vorys, Hiram Warner, Joseph Wheeler.
Citizen Regents have been: David C. Acheson, Louis Agassiz, James B. Angell, Anne L. Armstrong, William Backhouse Astor, J. Paul Austin, Alexander Dallas Bache, George
Edmund Badger, George Bancroft, Alexander Graham Bell, James Gabriel Berrett, John McPherson Berrien, Robert W. Bingham, Sayles Jenks Bowen, William G. Bowen, Robert S. Brookings,
John Nicholas Brown, William A. M. Burden, Vannevar Bush, Charles F. Choate, Jr., Rufus Choate, Arthur H. Compton, Henry David Cooke, Henry Coppee, Samuel Sullivan Cox, Edward
H. Crump, James Dwight Dana, Harvey N. Davis, William Lewis Dayton, Everette Lee Degolyer, Richard Delafield, Frederic A. Delano, Charles Devens, Matthew Gault Emery, Cornelius
Conway Felton, Robert V. Fleming, Murray Gell-Mann, Robert F. Goheen, Asa Gray, George Gray, Crawford Hallock Greenwalt, Nancy Hanks, Caryl Parker Haskins, Gideon Hawley,
John B. Henderson, John B. Henderson, Jr., A. Leon Higginbotham, Jr., Gardner Greene Hubbard, Charles Evans Hughes, Carlisle H. Humelsine, Jerome C. Hunsaker, William Preston
Johnston, Irwin B. Laughlin, Walter Lenox, Augustus P. Loring, John Maclean, William Beans Magruder, John Walker Maury, Montgomery Cunningham Meigs, John C. Merriam, R. Walton
Moore, Roland S. Morris, Dwight W. Morrow, Richard Olney, Peter Parker, Noah Porter, William Campbell Preston, Owen Josephus Roberts, Richard Rush, William Winston Seaton,
Alexander Roby Shepherd, William Tecumseh Sherman, Otho Robards Singleton, Joseph Gilbert Totten, John Thomas Towers, Frederic C. Walcott, Richard Wallach, Thomas J. Watson,
Jr., James E. Webb, James Clarke Welling, Andrew Dickson White, Henry White, Theodore Dwight Woolsey.
National Portrait Gallery. Office of the Deputy Director Search this
5 cu. ft. (5 record storage boxes)
This accession consists of records that document the exhibition research, planning, and execution activities of the Deputy Director of the National Portrait Gallery
(NPG). Records also document the Deputy Director's interaction within and among the offices under her direction, as well as outside contacts and dealings. These records were
created and maintained by Carolyn Kinder Carr, Deputy Director, 1991- . Among other duties, the Deputy Director serves as the Gallery's chief art historian. It is in this
capacity that she curates exhibitions.
Carr came from the Akron Art Institute to the National Portrait Gallery in 1984 as the Assistant Director for Collections. When the Assistant Director for History and Public
Programs left the Gallery (c. 1991), reorganization of the Gallery's upper administration took place. At that time, Carr was named Deputy Director and absorbed two programmatic
responsibilities of the former Assistant Director for History and Public Programs. The service responsibilities (publications and the library) of the, now defunct, office
were absorbed by the Assistant Director for Administration, later renamed the Associate Director for Administration (c. 1992).
In her capacity as Deputy Director, Carr has direct responsibility for all the Curatorial Departments (Painting and Sculpture, Prints and Drawings, and Photographs); the
Department of History; Office of the Registrar; the Center for Electronic Research and Outreach; the Conservation Department; and the Department of Education.
Materials include correspondence, memoranda, slides, photographs, reports, research reference files, obituaries, press packets, typescripts of catalogs, scripts, and related
Four exhibition subjects mentioned in the files are noted as "canceled" and not listed in the official list of NPG exhibitions, they are: the Daguillard Collection, Oak
Hill Cemetery, Uriah Levy, and Court Portraiture in the Reign of Phillip II. There is also a large group of files devoted to a proposed exhibition that was never produced,
it was: Four Muses of Movement: Martha Graham.
The Smithsonian Institution Archives began its Oral History Program in 1973. The purpose of the program is to supplement the written documentation of the Archives'
record and manuscript collections with an Oral History Collection, focusing on the history of the Institution, research by its scholars, and contributions of its staff. Program
staff conduct interviews with current and retired Smithsonian staff and others who have made significant contributions to the Institution. There are also interviews conducted
by researchers or students on topics related to the history of the Smithsonian or the holdings of the Smithsonian Institution Archives.
This collection is comprised of one hundred and sixty interview sessions, totaling approximately 68.5 hours of recordings, and 289 pages of transcript. There are two,
three or four generations of recordings for each session: original tapes, re-mastered tapes and reference tapes, and digital audio .mp3 file. files. In total, this collection
is comprised of 160 original audiocassette tapes, 45 re-mastered 7" and 7" low torque tapes, 22 re-mastered 10" tapes, and 15reference copy audio cassette tapes. Thirteen
of the interview sessions have been transcribed, while the remainder of interview sessions have been described in short summaries.
Interviewees were Smithsonian staff, retirees, volunteers, and visitors, including:
Lorie Aceto - 033
Paul Allen - 044
Leslie Atkins - 034
Preston Atkins - 034
Betty Belanus - 123
Louise D. Belcher - 027
Stephen Belcher - 027
Dick Bell - 140
Cordelia Benedict - 141
Francine Berkowitz - 026
Maggie Bertin - 132
Carvester Booth - 050
David Bosserman - 133
Steven Bostwick - 137
Anita Buffaloe - 105
Josephine Burman - 057
Olivia Cadaval - 040
Richard Callwood - 139
Nathaniel Carleton - 071
Judy Chelnick - 099
Barbara Coffee - 091
Sheila E. Cogan - 095
Ronald Colaprete - 081
Judie Cooper - 058
Patricia Cox - 038
William E. Cox - 077
Myron Curtis - 009
Melissa Darden - 135
Herb Davis - 056
James Deutsch - 055
David DeVorkin - 006
Kathleen Dorman - 029
Doc Dougherty - 157
James Early - 062
Douglas Evelyn - 068
Edgar Farley - 101
Edward Fisher III - 153
Jody Fitterer - 008
Lou Fleming - 088
John Franklin - 085
William Gagham - 124
Jim Galvin - 096
Helen Gaul - 102
Mark Geiger - 083
John Gibson - 011
Jane Glaser - 041
Lee Galssco - 122
Andrew Goffrey - 042
Carol Gover - 036
Elease Hall - 092
Sara Harkavy - 080
Marguerite Harding - 021
Robert Harding - 078
Rebecca Hartman - 080
William Hartung - 017
Martha Hayes - 052
Leonard Hirsch - 125
Alice Hirschfeld - 002
Elaine Hodges - 134
Cynthia Hoover - 024
Bernard Howard - 136
David Howery - 131
Karin Hoyes - 001
Regina H. Ingrim - 160
Reuben Jackson - 111
David Jickling - 117
Myron Johnson - 047
Larry Jones - 042
Mitchell Jones - 149
Steve Jones - 042
Ken Jordan - 042
Martin Kaufna - 066
Walter Kelly - 144
Dana Kent - 065
David Kessler - 070
Kethshara Khlok - 147
Donald E. Kloster - 015
Ramunas Kondratas - 106
Amy Kotkin - 145
Kamille Kreger - 051
Michael Kreger - 051
Manjula Kumar - 010
Katharine Landfield - 114
Peggy Langrall - 086
Dorothy Laoang - 037
Felix Lapinski - 022
Jeffrey LaRiche - 152
Elyse Lattner - 159
Tom Lauderbaugh - 076
Myron Lecar - 059
Rose Lee - 061
Martin Levine - 107
Steven Lubar - 110
Marian Hope Lund - 003
Ian MacTavish - 073
Joseph Madeira - 014
Peter Magoon - 148
Barbara Manioc - 096
Sally Maran - 087
Kenneth Mason - 143
B. C. May - 004
Virginia McCawley - 121
Mary McCutcheon - 104
David McFadden - 025
Joseph H. McGuiness - 082
Adriana McMurray - 097
Jimmy Melendez - 044
Felicia Messina-D'Haiti - 084
Per Midboe - 073
Harry Miller - 138
Barbara Moore - 103
David Moore - 064
Marvin Nakashima - 005
Diana N'Diaye - 035
Norman Novack - 155
Jen Page - 146
Geoffrey Parker - 150
Joan Paull - 060
Marvette Perez - 109
Catherine Perge - 032
Don Phillips - 042
Jeff Place - 154
Nancy Pope - 119
Jean Porter - 007
Fred Price - 053
Louis R. Purnell - 089
Larry Randall - 054
Jahari Rashad - 158
Sharon Reinckens - 019
Sharon Rohnback - 093
Anne Roocker - 069
Rex Roocker - 069
Ingrid Roper - 031
Cordelia Rose - 115
Deborah Rothberg - 130
Lucile Rowe - 018
Margaret Santiago - 113
Lori Schlemmer - 098
Volkor K. Schmeissner - 127
Eric Scott - 046
Mina Smith Segal - 043
Ruth Selig - 108
Arnold Sperling - 048
David Squire - 156
John Stine - 030
Sally Sweetland - 023
Nancy Sweezey - 151
Charles Tamosa - 142
Kenneth Thomas - 045
L. Susan Tolbert - 112
Billy Turner - 020
Raineldo Urriola - 094
Vincent VanAllen - 128
Tom Vennum - 028
Jane Walsh - 012
Rita Wanpeha - 120
Mark H. Warmaling - 072
Deborah Watkins - 075
Mick Weltman - 067
David West - 079
Dennis Whigham - 074
Janice Whigham - 192
William White - 049
Amy Wilson - 063
Jennie Witthoff - 039
Douglas Wonderlic - 118
Mary Wood - 016
Chuck Woolf - 126
Steptoe Wrenn - 013
Holly Wright - 116
Agnes Yore - 090
Elizabeth Zimmer - 100
Amanda Zocchi - 038
Interviewers were Smithsonian staff and volunteers, including Francine Berkowitz, Maggie Bertin, Dorothy Blink, David Bosserman, Emily Botein, Olivia Cadaval, Tim Carr,
Vivien Chen, Martin Collins, Eduardo Contreras, Odette Diaz, John Franklin, Shenandoah Gale, Joanne Gernstein-London, Margy Gibson, Terrica M. Gibson, John McKiernan Gonzalez,
Pamela M. Henson, Paula Johnson, Katherine Kirlin, Felix Lapinski, Tom Lawrence, Brian LeMay, Magdelena Mieri, Pilar Somma Montalvo, Jen Page, Marvette Perez, Catherine Perge,
Sarita Rodriguez, and Polly Stewart.
A section of the 1996 Festival of American Folklife was devoted to capturing the history and memories of Smithsonian for the Smithsonian Institution's celebration of
its Sesquicentennial in 1996. Staff and volunteers of the Institutional History Division and the Center for Folklife Programs conducted interviews with Smithsonian staff,
volunteers, and visitors about their memories of the Smithsonian. Between June 26 and July 7, 1996, some 173 individuals were interviewed alone and in groups. Interviewees
included a wide array of Smithsonian staff from many museums and organizations, several Smithsonian volunteers, and a number of visitors to the Festival. Staff interviewees
ranged from guards in a K-9 unit, to administrators, curators, educators, "skull" crews who move large objects, registrars, administrative staff, and horticultural staff,
among others. Interviews of visitors focused on their reminiscences of visits to the Smithsonian museums and previous Folklife Festivals. Additional interviews of collected
Smithsonian staff can be found in Record Unit 9508, Senate of Scientists Interviews; Record Unit 9522, Association of Curators Reminiscences; Record Unit 9595, Smithsonian's
150thBirthday Interviews; and Record Unit 9622, National Museum of Natural History Centennial Interviews.
56 cu. ft. (56 record storage boxes) (1 oversize folder)
This finding aid was digitized with funds generously provided by the Smithsonian Institution Women's Committee.
These records document the administration of the Cooper-Hewitt Museum from its establishment until its reopening in 1976 in the Carnegie Mansion. Although there is
some material concerning the activities of Eleanor Garnier Hewitt and Sarah Cooper Hewitt, the majority of the records deal with the management of the Museum following Sarah
Cooper Hewitt's death in 1930. Records of Mary S. M. Gibson, curator, 1904-1945; Calvin S. Hathaway, curator, 1946-1951, and director, 1951-1963; H. Christian Rohlfing, acting
administrator, 1963-1968; Richard P. Wunder, director, 1968-1969; and Lisa Taylor, director, 1969- , are included.
The records include correspondence, memoranda, reports, publications, notes, photographs, and forms concerning the administrative operation of the Museum, including financial,
personnel, buildings and equipment, and fund-raising activities; the acquisition, care, and use of the Museum's collections; exhibits, programs, and activities sponsored by
the Museum; research activities of the staff and outside researchers; and Museum publications. Correspondents include staff of the parent organizations, the Cooper Union and
the Smithsonian Institution; museums; art historians; donors; contributors; and the general public. A small amount of material documents the activities and history of the
Cooper and Hewitt families, and of the Cooper Union. Some materials date to when the Museum was part of the Cooper Union for the Advancement of Science and Art.
The Cooper-Hewitt Museum of Decorative Arts and Design was established in 1896 as the Cooper Union Museum for the Arts of Decoration. Its parent organization, the Cooper
Union for the Advancement of Science and Art, was founded in 1859 by Peter Cooper as a free school for the working classes of New York City. In his original plans for Cooper
Union, Peter Cooper made provisions for a museum, but these plans were not immediately carried out.
In 1895, Peter Cooper's granddaughters, Eleanor Garnier Hewitt, Sarah Cooper Hewitt, and Amy Hewitt Green, asked the trustees of the Cooper Union for room in which to install
a Museum for Arts of Decoration, modeled after the Musee des Arts Decoratifs of Paris. The purpose of the museum was to provide the art students of Cooper Union, students
of design, and working designers with study collections of the decorative arts. The trustees assigned the fourth floor of the Cooper Union's Foundation Building to the sisters,
and the Museum was opened to the public in 1897.
Until the death of Sarah Cooper Hewitt, the management of the Museum was essentially in the hands of the Hewitt sisters as directors. Following Sarah's death in 1930, the
trustees of the Cooper Union appointed a board of four directors, with Constance P. Hare as chairman, to administer the Museum. When Edwin S. Burdell became director of the
Cooper Union in 1938, the Museum was made part of his administrative responsibility, the Board of Directors was abolished, and an Advisory Council on the Museum, responsible
for matters relating to the Museum's collections, was set up. Curators and custodians of the Museum included Mary A. Peoli, 1898-1904; Mary S. M. Gibson, 1904-1945; and Calvin
S. Hathaway, 1946-1963 (curator, 1946-1951, and director, 1951-1963).
In 1963, the Cooper Union began consideration of plans to discontinue the Museum because of the financial demands of the other divisions of the Union and the absence of
a close relationship between the programs of the Museum and the Art School. The announcement of the plans led to a considerable public outcry, and a Committee to Save the
Cooper Union Museum, headed by Henry F. duPont, was established. Negotiations among the Committee, the Cooper Union, and the Smithsonian Institution led to the Museum's transfer
to the Smithsonian on July 1, 1968. The Museum was renamed the Cooper-Hewitt Museum of Design and in 1969 acquired its present name. In 1970, the Museum moved into its present
home, the Carnegie Mansion, which was renovated and reopened to the public in 1976. Heads of the Museum since 1963 have been H. Christian Rohlfing, acting administrator, 1963-1968;
Richard P. Wunder, director 1968-1969; and Lisa Taylor, director, 1969- .
This series includes incoming and outgoing correspondence with the museums, donors, contributors, art historians, organizations, periodicals, universities, Cooper
Union, the general public, and others concerning the Museum's collections, activities, policies and procedures, loans for exhibition, research, gifts to the Museum, publications,
and visits to the Museum. Museum staff represented in this series include Mary S. M. Gibson, Calvin S. Hathaway, Rudolf Berliner, E. Maurice Bloch, Christian Rohlfing, Elizabeth
Haynes, Edward L. Kallop, Milton Sonday, Janet Thorpe, Richard P. Wunder, and Alice Baldwin Beer. Also included is correspondence of Directors and Advisory Council members,
Susan Dwight Bliss, Elizabeth C. Booker (Mrs. Statford McClean), Marian Hague, Constance P. Hare, Henry Oothout Milliken, Eleanor Sachs, and Edith Wetmore, as well as scattered
correspondence of Eleanor G. and Sarah C. Hewitt.
The majority of the files concern Museum activities up to 1968.
Smithsonian Institution Archives, Record Unit 267, Cooper-Hewitt Museum, Records
National Portrait Gallery. Historian's Office Search this
2.5 cu. ft. (2 record storage boxes) (1 document box)
This record unit documents the activities of the Office's first three Historians. Most of the records were created during Marc Pachter's tenure. They include much correspondence
between Pachter and art historians, artists, national and international art institutions, and funding organizations. There is also correspondence with Amy E. Henderson, Assistant
Historian, Kenneth Young and J. Michael Carrigan, exhibition designers, and Mona Dearborn, keeper of the Catalog of American Portraits. In addition, the records document symposia
and discussion panels organized by the Office and the production and display of exhibitions.
The Office of the Historian, National Portrait Gallery (NPG), was established in 1966 when Daniel J. Reed was appointed the first Historian. Reed resigned in 1968 and
Virginia Purdy became Acting Historian. Beverly J. Cox was appointed Historian in 1970. A year later, Lillian B. Miller was appointed Historian and Cox became Assistant Historian.
Cox left the Office to become Coordinator of Exhibitions in 1973. Miller continued to serve as Historian until 1974 when she became editor of the Charles Willson Peale Papers.
Marc Pachter was appointed Historian in 1975 and served in that capacity through 1984.
The Historian was appointed to direct the research program of the NPG in American iconography, biography, and history; to explore the art of portraiture in the United States
and the Western world; and to conduct studies of men and women of any nation who made significant contributions to the history, development, and culture of the United States.
From 1966 through 1967, the Historian also supervised the activities of the Catalog of American Portraits at NPG.
The Office also prepared biographical information on individuals whose portraits were offered to the NPG by gift or purchase. It undertook to prepare succinct and informative
labels for portraits in the permanent collections or items on exchange; wrote catalogs; and conducted research on objects represented in portraits, statuary, prints, miniatures,
National Portrait Gallery. Department of Painting and Sculpture Search this
4 cu. ft. (4 record storage boxes)
This accession consists of records that document the career of Robert G. Stewart, Senior Curator in the National Portrait Gallery (NPG), and art historian. After graduating
from the University of Pennsylvania in 1954, Stewart worked for the National Park Service as historical architect. From 1961 to 1964 he was Director of Properties for the
National Trust for Historic Preservation. In November 1964 Stewart became one of the first three staff members of the NPG when he was named Curator in that bureau.
Stewart's work before coming to the Smithsonian is largely undocumented in these records, with the exception of a single article that was probably written in 1960. The
bulk of the records describe Stewart's professional work both within and outside of the Smithsonian. Personal correspondence files dating from 1964 through 1994 consist mostly
of letters concerning topics of professional interest to Stewart, in which he identifies himself as a curator.
Professional correspondence files dating from 1985 through 1994 consist mainly of public inquiries and Stewart's replies. The records document Stewart's participation in
several NPG exhibitions, most notably on the work of Henry Benbridge, which was shown in 1971. Records also contain documentation about Stewart's museum-sponsored travel and
his involvement with Smithsonian committees and other bodies.
These records also document Stewart's activities outside the Smithsonian. They contain files on competitions he adjudicated; articles and essays he contributed to various
publications; guest lectures, speeches, and other presentations; and outside professional organizations in which he was involved. The records include several files on a course
he taught at George Washington University from roughly 1967 to 1972 called "Principles of Museum Work," noted in the files as "ART 146."
Contains Gordon Hendricks's collection of clippings, correspondence, and research notes, and other professional papers related to his books and articles on motion picture history. Includes files on Edison, William Kennedy Laurie Dickson, and other pioneers in motion picture inventions.
Scope and Contents note:
This large collection contains correspondence, notes, and copies of documents from many repositories, which were used as research materials for Hendricks's publications in this field, as well as black-and-white photographs. Copies of photographs come from the Edison National Historic Site archives, Eastman House, the Smithsonian, and other museums. Gordon Hendricks stored his research material in grey binders, orange manuscript boxes, clay-colored folders, and black binders, hence the grey, orange, clay and black series. It is not certain whether this arrangement represented an identification or coding system related to separate projects or whether it simply reflects the chronology of his work through a succession of filing and boxing systems.
Hendricks's arrangement has been retained generally, and the series arrangement of the collection reflects Hendricks's original groupings. Series 1 consists of Lantern slides, Series 2 of material found in grey binders, Series 3 of material found in orange boxes, Series 4 of material in clay-colored folders, Series 5 of material in black binders and Series 6 is the miscellaneous series. [These groupings have been identified, as David Burgevin conducted an inventory while the collection was in its original containers.]
These papers contain much correspondence and other materials relating to Hendricks's books in the field of motion picture history, such as copies of manuscripts, and galley proofs. Photographs: Graphic materials included in the collection, such as photographs, frequently are not original but are copies of items from repositories in which Hendricks did research. However, there are a few noteworthy original items, such as examples of motion picture flip books (one partly intact, plus loose fragments from this flip book and others).
Hendricks was an art historian who wrote works on painters such as Albert Bierstadt and Thomas Eakins, as well as on early motion picture history, including analyses of inventors of apparatus and technology; in his book THE EDISON MOTION PICTURE MYTH he showed how Edison's assistant, W. K. L. Dickson, and other inventors actually were responsible for the development of cinematic technology for which Edison unfairly took credit. Hendricks apparently was born in 1917 and died in 1980.
Some materials from this collection, primarily photographs of apparatus, are in the National Museum of American HIstory Photographic History collection.
129 black-and-white photographs, many copy prints used as illustrations in Gordon Hendricks books, and other images of early motion picture apparatus are in the Gordon Hendricks Collection in the Photographic History Division. The Collection also includes 240 glass plate negatives, which appear to have been taken in Europe, and a binder of contact prints of the negatives.
Collection donated by Gordon Hendricks, through Guido Castelli, February 13, 1990.
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.
Eight poster-sized pieces of calendar art, reproductions of paintings by artists Jesus de Helguera, Eduardo Catano, and A. Barr. Several show the signature of Helguera in the painting, and the signatures of Catano and Barr are seen in two other items; no signatures can be found in others. Several include the printer or publisher credit, Galas de Mexico. Subjects are beautiful young women and handsome men. Several reference Aztec legends or themes. These reproductions do not contain actual calendars; apparently the calendar portion was trimmed off each item. They were originally framed. The largest item also contains advertising for cigarettes, including Raleigh and other brands, plus the "Villa Hermosa" Super Carniceria.
The collection is arranged into one series.
Biographical / Historical:
The donor, Dr. Tomas Ybarra-Frausto, is a well-known art historian. His books include: Modern Chicano Writers: A Collection of Critical Essays (1979), and Velvet Barrios: Popular Culture and Chicana/O Sexualities (2003).The donor, Dr. Tomas Ybarra-Frausto, is a well-known art historian. His books include: Modern Chicano Writers: A Collection of Critical Essays (1979), and Velvet Barrios: Popular Culture and Chicana/O Sexualities (2003).
Materials at the Smithsonian
Archives of American Art
Tomás Ybarra-Frausto research material on Chicano art, 1965-2004
Dr. Ybarra-Frausto donated these posters to the Archives Center on October 11, 1998.
Collection is open for research but is stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at email@example.com or 202-633-3270.
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.
The papers of African American art historian, curator and art administrator, Lowery Stokes Sims, measure 24.5 linear feet and date from circa 1918-2017. Included are correspondence; photographs of Lowery and others at events; notes and journals;printed material; exhibition records and administrative records from the Metropolitan Museum of Art, The Studio Museum in Harlem, and the Museum of Art and Design and other organizations; VHS videos, DVD and audio cassettes of interviews with Sims regarding artists and exhibitions; and research files on artists.
Biographical / Historical:
Lowery Stokes Sims (1949-) is an African American art historian, curator and art administrator. Sims was the first African American Curator at the Metropolitan Museum of Art (1972-1999), then served as Executive Director, President then Adjunct Curator of the Permanent Collection of The Studio Museum in Harlem (2000-2007), and Senior Curator and then Chief Curator of the Museum of Art and Design (2007-2015).
The collection was donated in 2019 by Lowery Stokes Sims as part of the Archives' African American Collecting Initiative funded by the Henry Luce Foundation.
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.
This collection is access restricted; written permission is required. Contact Reference Services for more information.
Access, with permission, to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
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7.4 Linear feet ((partially microfilmed on 2 reels))
Scope and Contents:
Correspondence, writings, art works, scrapbooks, printed material, photographs, and files on Julio De Diego and Kimon Nicolaides and other topics, related to Bridaham's career as an artist and writer.
REEL 8: Printed material, including articles written by Bridaham for periodicals (1950-1957), 15 exhibition catalogs (1928-1968), clippings by and about Bridaham (1930-1959), 6 press releases (1956-1957), a transcript of a radio discussion which included Bridaham (1951), 2 advertisements, a lecture announcement (1957), instructions on using egg tempera for Bridaham's students, a guide book to the Louisiana State Museum (1956), brochures about Strathmont Museum (1958), and resumes.
REEL 3: Material related to Kimon Nicolaides, including a radio address given by him, 1933; publicity for his book THE NATURAL WAY TO DRAW; exhibition catalogs; clippings; press releases; and a photograph of one of his sculptures. [Microfilm title: Kimon Nicolaides papers]
UNMICROFILMED: Correspondence with Kimon Nicolaides and Henry Schnackenberg (1921-1923), Julio De Diego (1941-1952), Ethel Spears (1961), Isabel Bishop (1975), and George and Edith Rickey. Letters to Mamie Harmon concern a Nicolaides exhibition and book (1938-1941). Writings include nine v. of diaries (1946-1954) kept during his tenure at the Art Institute of Chicago, and notes and drafts for an unpublished book (1938-1982).
Subject files concerning Ivan Albright's poetry, the Colonial Craft Survey for Massachusetts (1935), Olof Krans (1939), the reorganization of the Metropolitan Museum's photographic department (1949), Romanesque and Gothic sculpture and the Society for Contemporary American Art. A file (1921-1983) on Julio De Diego contains Bridaham's research materials, sketches and drawings by the artist, a journal kept by De Diego in New York (1932) and photographs of De Diego, his family including third wife Gypsy Rose Lee, friends and art works. Kimon Nicolaides' file (1921-1986) contains his writings and drawings (1928), drawings by Vivian Gordon and Howard Ahrens (1923-1986), photographs and other research materials.
Printed materials consists of clippings (1930-1972), "The Chicago Artist" newsletter (1938), press releases, a book cover, Artists Equity publications (1952-1953), posters, exhibition catalogs and anouncements and membership cards. Photographs show Bridaham, friends, National Art Week activities with Macena Barton, Charles Biesel, Jules Eboli and Richard Florsheim, his studio and drawings (1928-1949). Other materials include over 150 prints and drawings (1927-1977) of Moroccan scenes, Colorado wildflowers and other subjects, resumes, an illustrated notebook of Bridaham's plans for art works (1931-1932) and a list of his works (1974).
ADDITION: Material concerning the latter part of Bridaham's life, including original works of art, photographs, a dream sketchbook (1945), a notebook devoted to Julio de Diego; Bridaham's letters to Jeanette Fowler, 1989-1990 and other correspondence, 1940s-1950s; and printed material.
Biographical / Historical:
Museum director, art historian, painter, and printmaker; d. 1992. Bridaham received a degree in chemical engineering from M.I.T. and studied art history at Harvard's Fogg Museum from 1936-1937. He received a 1931 American Field Service fellowship for study in France and Morocco, and studied studio art at the Art Students League under Kimon Nicolaides and Kenneth Hayes Miller. Between 1938 and 1954, Bridaham was a staff officer at the Art Institute of Chicago. He was also the director of the Louisiana State Museum, New Orleans, and of the Strathmont Museum, Elmira, N.Y. He is the author of Gargoyles, Chimeras and the Grotesque in French Gothic Sculpture.
Lester Bridaham photographs and papers relating to gargoyles, 1895-1987, are located at The Getty Research Institute Special Collections.
Donated 1974-1987 by Lester Burbank and Dorothy Bridaham. In 1996, an additional 0.8 ft. was donated from the Jeanette Fowler estate.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm.