The papers of painter and printmaker Eldzier Cortor measure 3.1 linear feet and date from circa 1930s to 2015, with the bulk of the papers dating from 1972 to 2015. The papers contain biographical material, correspondence, professional files, exhibition and gallery files, writings, printed material, artwork, and photographs.
Scope and Content Note:
The papers of painter and printmaker Eldzier Cortor measure 3.1 linear feet and date from circa 1930s to 2015, with the bulk of the papers dating from 1972 to 2015. The papers contain biographical material, correspondence, professional files, exhibition and gallery files, writings, printed material, artwork, and photographs.
Biographical material consists of awards certificates; Cortor's artist biography; an obituary and prayer cards for his father in law; an address book; and a Christmas list.
Correspondence includes letters from Cortor's family; correspondence with or about individuals or organizations; and general correspondence. Individuals included in the general correspondence are Acklyn Lynch, Leontine Collier, Violetta Harrigan, Halima Taha, David C. Driskell, Carol Anderson, and Betye Saar. Art institutions represented in this series include Sylvan Cole Gallery, Anderson Gallery, and Kenkeleba House.
Professional files include materials related to the Cosby Collection of Fine Arts; publishing; materials related to fake Cortor works; the Public School Mural Project; teaching files; lists of possible titles for paintings; financial documents; materials related to painting and etching plates for storage; and notes of museum and gallery contacts.
Exhibition and gallery files include correspondence; contracts and agreements; exhibition announcements; inventories; other exhibition materials; clippings; press releases; photographs and photocopied images of artwork; and photographs of exhibitions.
Writings consist primarily of essays and articles about Eldzier Cortor. Also included are his answers to a questionnaire about art, a diary, and notes, as well as hand-copied excerpts of reviews.
Printed material includes exhibition announcements, exhibition catalogs, newsletters, clippings, research and source material, and books.
Artwork includes ink and watercolor sketches from Cortor's time as a student at the Art Institute of Chicago. This series also includes additional sketches, sketchbooks, and a collage by K. Carracio.
Photographs depict Cortor, other individuals, his artwork, and exhibitions. There are also photographs from his time in Cuba and Haiti (circa 1950s).
Arrangement:
The Eldzier Cortor papers are organized into 8 series.
Missing Title
Series 1: Biographical Material, 1947-2012 (Box 1; 5 folders)
Series 2: Correspondence, 1970-2015 (Box 1; 8 folders)
Series 3: Professional Files, 1960, 1972-2015 (Box 1; 0.2 linear feet, OV 4)
Series 4: Exhibition and Gallery Files, 1972-2015 (Boxes 1-2; 0.7 linear feet)
Series 5: Writings, circa 1970s-2006 (Box 2; 8 folders)
Series 6: Printed Material, 1940-1976, 1996-2015 (Boxes 2-3; 0.8 linear feet, OV 4)
Series 7: Artwork, circa 1930s, circa 1970s-circa 1990s (Box 3; 0.2 linear feet)
Series 8: Photographs, 1939-2002, 2014 (Box 3; 0.5 linear feet)
Biographical Note:
Eldzier Cortor (1916-2015) spent his professional career as a painter and printmaker in Chicago and New York. He was born in Richmond Virginia to John and Ophelia Cortor. In 1917, the family moved to Chicago along with countless other African Americans as part of the Great Migration.
In 1936, Cortor began taking evening classes at the Art Institute of Chicago prior to enrolling full time. Kathleen Blackshear, an instructor at the Institute, recommended Cortor for employment at the Works Projects Administration in 1940. It was under Blackshear's guidance that Cortor was introduced to African Art. The depiction of African Americans became the defining subject of Cortor's career, specifically the portrayal of the African American woman, which he commonly represented nude in paintings and prints.
In 1941, with funding by the Works Projects Administration, Cortor helped found the South Side Community Arts Center in Chicago. Over the next few years he would receive two Rosenwald Fellowships, which allowed him to travel to the Sea Islands of Georgia. Afterward, Cortor moved to New York, and in 1946 Life magazine published his work Southern Gate. In 1949 he received a Guggenheim fellowship, which provided the opportunity to travel to Cuba, Jamaica, and Haiti. He settled in Port-au-Prince, where he taught for two years.
Cortor married Sophia Schmidt on August 20, 1951, and they subsequently had four children: Michael, Mercedes, Stephen, and Miriam. His work has been exhibited at the Museum of Fine Arts, Boston, Studio Museum of Harlem, and the National Center of Afro-American Artists in Boston. Notable exhibitions include Three Masters: Eldzier Cortor, Hughie Lee-Smith, and Archibald John Motley, Jr. at Kenkeleba House in 1988; Southern Gate: African American Paintings from the National Museum of American Art, Smithsonian Institution at Duke University Museum of Art, 1999; Eldzier Cortor: Master Printmaker at the Boston Psychoanalytic Society and Institute, 2002; and Black Spirit: Works on Paper by Eldzier Cortor at the Indiana Art Museum, 2006.
Eldzier Cortor died in November of 2015, at the age of 99.
Related Material:
The Archives of American Art also holds microfilm of materials lent for microfilming on reel N70-47, including biographical material, correspondence, printed material, papers related to exhibitions, photographs, and sketchbooks. Except for three photographs that appear in this collection (Box 3, Folder 19), loaned materials were returned to the lender and are not described in the collection container inventory.
Provenance:
Eldzier Cortor loaned materials to the Archives of American Art for microfilming in 1970 and donated papers in 2009. His son, Michael Cortor, gave additional materials in 2016.
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.
Zolnay, George Julian, 1862 or 1863-1949 Search this
Extent:
0.4 Linear feet ((68 items on 3 partial microfilm reels))
Type:
Collection descriptions
Archival materials
Date:
1905
Scope and Contents:
Biographical forms completed by artists and illustrators for the Art League Publishing Company's ARTISTS YEAR BOOK. Each contains details written by the artist concerning parentage, exhibitions and collections containing his work, books illustrated, memberships in clubs, etc.
Included are forms from: Hugo Ballin, Frederick E. Bartlett, James C. Beckwith, William V. Birney, Karl Bitter, Albert D. Blashfield, Carle Joan Blenner, Frederick A. Bridgman, Bolton Brown, Ray Brown, George Elmer Browne, George De Forest Brush, Henry Kirke Bush-Brown, Walter A. Clark, Kenyon Cox, Lockwood De Forest, Harry Fenn, James E. Fraser, Walter Granville-Smith, Jules Guerin, Birge Harrison, Thomas A. Harrison, Ernest Haskell, Albert Herter, George Hitchcock, Lucius Wolcott Hitchcock, Edward Kemeys, William S. Kendall, Alonzo Kimball, Charles MacCord, Thomas R. Manley, Richard F. Maynard, George H. McCord, Thomas Meteyard, Francis D. Millet, John H. Mills, Edward P. Moran, Henry Mosler,
Herman D. Murphy, Leonard Ochtman, Frederick B. Opper, Eric Pape, Ernest Peixotto, Edward Penfield, Louis M. Potter, Edward W. Redfield, Henry Reuterdahl, Louis J. Rhead, Henry Sandham, William Sartain, Claude A. Shepperson, Florence Scovel Shinn, George H. Smillie, James D. Smillie, Frederic D. Steele, Julian Story, Lorado Taft, Henry O. Tanner, Frank W. Taylor, Dwight W. Tryon, Charles Henry Turner, Charles Yardley Turner, Ross S. Turner, Simon H. Vedder, Carleton Wiggins, Irving R. Wiles, Henry Wolf, Charles H. Woodbury, Rufus F. Zogbaum, and George J. Zolnay.
Biographical / Historical:
Art publishing house; Chicago, Ill. Published, THE ARTISTS YEAR BOOK: A HANDY REFERENCE BOOK WHEREIN MAY BE FOUND INTERESTING DATA PERTAINING TO ARTISTS, AND THEIR STUDIO, HOME, AND SUMMER ADDRESSES, FOR 1905-1906. Arthur Hosking was the editor.
Provenance:
Donated 1958.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
The papers of painter, printmaker, educator and administrator Ed Colker are dated 1944-2020 and measure 3.4 linear feet. Colker's painting, printmaking, and Haybarn Press, as well as his career as an art teacher and university administrator, are documented through biographical materials, correspondence, interviews, writings, subject files, printed material, and photographs. There is a 0.2 linear ft. addition to the collection donated in 2020 that includes lists of works of art, exhibition information, letters to Colker, talks and lecutres by Colker, printed material and miscellany.
Scope and Contents:
The papers of painter, printmaker, educator and administrator Ed Colker are dated 1944-2020 and measure 3.4 linear feet. Colker's painting, printmaking, and Haybarn Press, as well as his career as an art teacher and university administrator, are documented through biographical materials, correspondence, interviews, writings, subject files, printed material, and photographs. There is a 0.2 linear ft. addition to the collection donated in 2020 that includes lists of works of art, exhibition information, letters to Colker, talks and lecutres by Colker, printed material and miscellany.
Biographical materials include official letters regarding Colker's performance in the Army, caricatures of him, diplomas, resume, awards, and certificates.
Correspondence, mainly professional in nature with a few scattered personal letters, concerns Colker's academic and artistic work, Haybarn Editions, exhibitions, projects, and various interests. Poet correspondents are J. Curtis Johnson, Kathleen Norris, Deborah Pease, and Jeanne Walker; translators include Melvin Konner and others.
Interviews with Ed Colker, conducted between 1982 and 2008 for various purposes, are preserved as 1 sound cassette and published transcripts. Also found are 1 sound cassette, 1 videocassette, and a published transcript of interviews Colker conducted with Will Barnet and Toshiko Takaezu in 1981 and 1994 respectively.
Among Colker's writings are the published versions of several articles and the manuscript of an unpublished one; two proposed books for students of design and typography; lectures delivered to students (3 videocassettes), miscellaneous writings, notes, and 1 videocassete of readings by artists from one of Colker's Haybarn Press poetry portfolios.
Subject files document many of Colker's professional interests, activities, projects, and relationships. Also of note are files about Haybarn Press.
The bulk of the printed material consists of exhibition catalogs, announcements, and school catalogs. Almost all is about or mentions Colker, or features reproductions of his work. Of note is the first and only issue of Re-Art: A Reflection of Current Ideas on the Arts (1954), published by Colker and Gene Feldman.
Photographs are of Colker and his family; Colker at events related to his artistic, academic, and publishing activities; artwork by Colker, and his work as reproduced in Haybarn Editions. Also found are an exterior view of the barn studio and one of printers working at Desjobert Press.
Arrangement:
The collection is arranged as 8 series:
Missing Title
Series 1: Biographical Materials, 1946-circa 2011 (Box 1; 1 folder)
Series 2: Correspondence,1954-2011 (Box 1; 0.3 linear feet)
Series 3: Interviews, 1981-2008 (Box 1; 0.2 linear feet)
Series 4: Writings, 1961-1990s (Box 1; 0.5 linear feet)
Series 5: Subject files, 1952-2013 (Boxes 2-3; 1.3 linear feet)
Series 6: Printed Material,1944-2011 (Box 3; 0.7 linear feet)
Series 7: Photographs, circa 1960s-2010 (Box 4; 0.2 linear feet)
Series 8: Unprocessed Addition, circa 1963-2020 (Box 5; 0.2 linear feet)
Biographical / Historical:
Ed Colker (b. 1927) is a painter, printmaker, educator, and administrator who has worked in Chicago, Philadelphia, and New York City. Colker founded the not-for-profit fine art publisher Haybarn Press. He is married to artist Elaine Galen and resides in Mt. Kisco, NY.
After high school, Colker was awarded a scholarship and began his art education at the Pennsylvania Museum School of Industrial Arts. He interrupted his studies to serve in the U.S. Army (1944-1946). He graduated in 1949, by which time the school had become the Philadelphia Museum School of Art; today it is the University of the Arts. He taught art in the Philadelphia area before moving to New York City in 1956. Later, Colker earned degrees from New York University (B.S. Ed, 1964; M.A., 1985).
Colker taught art and design courses at the University of Pennsylvania, University of Illinois at Chicago Circle, Cornell University, Pratt Institute, and Philadelphia College of Art. By the 1980s, he had become an administrator as well as a professor. Throughout his academic career, Colker published and lectured widely, served as a visiting artist, acted as a consultant, and participated in professional organizations. He occasionally organized exhibitions and served on exhibition juries.
Since 1960, under the imprints Editions du Grenier, Haybarn Editions, and Haybarn Press, Colker has published limited edition books, portfolios, broadsides, individual pages, and folders of poetry. Most are accompanied by Colker's etchings and lithographs inspired by the texts. Haybarn Press, under the Ambor Edition imprint, also produced four portfolios with text and drawings by Elaine Galen, 1996-2008. From its inception, the work of Haybarn Press has been featured in many exhibitions of book arts. Colker also participated in group shows throughout the United States and enjoyed solo exhibitions of his paintings and prints. Haybarn Press productions and Colker's prints and paintings are in the permanent collections of Brown University, Cornell University, Harvard University, Library of Congress, Museum of Modern Art, New York Public Library, University of Arizona Museum of Art, and others.
Now retired from university administration and teaching, Colker continues to operate Haybarn Press and occasionally serves as an exhibition juror and visiting artist.
Provenance:
Donated by Ed Colker in 1991, 2013 and 2020.
Restrictions:
Use of original material requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Use of archival 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.
The bulk of this collection documents the professional life of Ruth Leah Bunzel from the 1940s to 1970s. The collection contains correspondence, manuscripts, notes, research files, teaching materials, card files, artwork, and sound recordings.
Scope and Contents:
The bulk of this collection documents the professional life of Ruth Leah Bunzel from the 1940s to 1970s. The collection contains correspondence, manuscripts, notes, research files, teaching materials, card files, artwork, and sound recordings. A large portion of the collection is comprised of work from the Chinese project that Bunzel led as part of Columbia University Research in Contemporary Cultures [RCC]. The collection also contains her paper for the Bureau of Applied Social Research, "Interviewing in National Character Research" (in which she analyzes the methods used in RCC), as well as materials from two spin-offs of RCC--Studies in Soviet Culture and Studies in Contemporary Cultures. Bunzel's relationship with Columbia University is also represented in the collection through her notes as lecturer and adjunct professor at Columbia University, correspondence with her students, and her students' papers. Among her students was Ethel Cutler Freeman, whose letters and assignments can be found in the collection. There are also memos and other materials documenting the activities of the anthropology department and university, as well as their responses to the 1968 student uprising at Columbia. In addition, the collection contains notes from courses Bunzel took with Franz Boas and Ruth Benedict as a graduate student at Columbia.
Other items of significance are the drawings of Hopi and Zuni kachinas that Bunzel collected while in the field in the Southwest and a map of a Tewa village sketched in pencil. The collection does not contain any of her field notes from her work in the Southwest nor from her work in Guatemala or Mexico.
Although Bunzel's writings are not well represented in the collection, there are items of interest such as typescript copies of "Tentative Questionnaire for Handbook of Psychological Leads for Ethnological Field Workers: Economics," her handwritten reminiscence of Boas, and drafts of papers she presented at conferences. Also of interest are notes on her memories of the Abram Kardiner psychocultural seminars (in which she was an early participant), notes from various seminars, and two 1963 sound recordings from an Anthropology and World Affairs regional conference.
Among her notable correspondents in the collection are David F. Aberle, Franziska Boas, Steve Boggs, Paul Bohannan, Joseph Casagrande, Vincent Crapanzano, Harold Driver, Abe Edel, Raymond Fogelson,Morton H. Fried, Ethel Cutler Freeman, Alexander Lesser, Oscar Lewis, George Marcus, Catharine McClellan, Margaret Mead, Lita Fejos Osmundson, George Spindler, Leslie White, Helene Boas Yampolsky, and Mark Zborowski.
Arrangement:
Arranged into 9 series: (1) Correspondence, 1957-1977; (2) Research in Contemporary Cultures, 1947-1954; (3) Columbia University, 1925-1941 & 1956-1969; (4) Writings and Projects, 1929-1968 [Bulk 1960-1968]; (5) Associations, Conferences, & Seminars, 1940-1973; (6) Writings by Others, 1921-1979; (7) Card Files; (8) Artwork; (9) Sound Recordings, 1963
Biographical Note:
Ruth Leah Bunzel was born on April 18, 1898 in New York City. Known as "Bunny" by her friends, she attended Barnard College where she received her B.A. in European History in 1918. With no thought of continuing her education, she acquired a job in 1922 as secretary and editorial assistant to Franz Boas at Columbia University. Esther Goldfrank, who had resigned as Boas's secretary to study anthropology at Columbia, was a friend of one of Bunzel's sisters.
By 1924 Bunzel, herself, was considering a career in anthropology and wanted to observe an anthropologist at work in the field. Since Boas traveled to Europe every summer, Bunzel decided to spend her vacation that year in Zuni Pueblo, New Mexico as a secretary to Ruth Benedict, who would be collecting Zuni mythology. When she informed Boas of her plan, Boas encouraged her to work on her own research rather than spending her time on secretarial work. He suggested that she study art, specifically potters and their pottery. Elsie Clews Parsons objected to Bunzel (who lacked formal training) conducting her own research in Zuni and threatened to withdraw her financial support of Benedict's mythology project. With Boas's firm backing, Parsons eventually relented and Bunzel was allowed to go to Zuni.
That summer, Bunzel arrived in Zuni with papier maché pots she had made for her informants to paint designs on. She observed the potters at work and also made pottery alongside them. After five weeks she felt she had gathered enough information on the Zuni and moved on to study Hopi, San Ildefonso, and Acoma potters. The results of her research would later produce her dissertation, The Pueblo Potter, A Study of Creative Imagination in Primitive Art, published in 1929.
When she returned to New York, she began work on a draft of The Pueblo Potter and in 1925 resigned as Boas's secretary to become his student at Columbia University. Although she completed her doctoral work and dissertation in 1927, she was not awarded her PhD until 1929 when the The Pueblo Potter was published. (At the time, the university did not confer doctorates until a student's dissertation had been published.) The Pueblo Potter, a landmark work, was the first anthropological study of art and the individual in culture.
From 1924 to 1929 Bunzel spent several summers and winters in Zuni. Parsons, who had initially opposed her first trip, sponsored Bunzel's second trip, this time to study ceremonialism, and other trips and projects. Bunzel's papers on Zuni ceremonialism as well as creation myths, kachinas, and poetry were published in the 47th Annual Report of the Bureau of American Ethnology (1932). Flora Zuni and her family, with whom Bunzel lived when she was in the field, formally adopted her and initiated her into their clan, the Beaver clan. They gave her the Zuni name Maiatitsa, which means "blue bird," a reference to the blue smock that Bunzel often wore while making pottery. Bunzel's second Zuni name, Tsatitsa, was given to her by her primary informant and former governor of the pueblo, Nick Tumaka. After a decade long absence, Bunzel returned to Zuni for her last time in 1939 to study child development.
Having studied the Southwest, Bunzel felt it was natural to also study Mexico. During her interview for a Guggenheim Fellowship, however, the chairman of the foundation persuaded her to study Guatemala, instead, as no American anthropologist had done much work in the area. As a result, from 1930 to 1932 she studied the Highland Mayan village of Santo Tomas Chichicastenango. Her work there resulted in Chichicastenango, A Guatemalan Village, published in 1952. From 1936 to 1937 she also did fieldwork in the village of Chamula in Chiapas, Mexico. Her 1940 article "The Role of Alcoholism in Two Central American Communities" was a comparative study of Chichicastenango and Chamula.
During World War II, Bunzel worked in England for the U.S. Government Office of War Information from 1942 to 1945. Having spent some time in Spain during the late 1930s improving her Spanish, she translated broadcasts for Spain as well as incoming broadcasts.
When she returned to New York after the war, she became involved in the Columbia University Research in Contemporary Cultures project [RCC]. Directed by Ruth Benedict and funded by the Office of Naval Research, RCC was composed of research groups, each studying a different culture. From 1947 to 1951, Bunzel led the group studying China, which involved interviewing Chinese immigrants in New York City. The project produced several papers, including her unpublished manuscripts, Explorations in Chinese Culture and An Anthropological Approach to Chinese Communism, which she co-authored with John Hast Weakland.
Early in her career, Bunzel was a lecturer at Barnard College (1929-1930) and at Columbia University (1933-1935, 1937-1940). It was not until 1953 that she was hired as an Adjunct Professor at Columbia. Although the university's official appointment card lists Bunzel as having retired in 1966, she continued to teach at Columbia University after her retirement.
On January 14, 1990, Bunzel passed away at the age of 91.
Sources Consulted
Babcock, Barbara A. and Nancy Parezo. "Ruth Bunzel." Daughters of the Desert. University of New Mexico. 1988.
Fawcett, David M. and Teri McLuhan. "Ruth Leah Bunzel." Women Anthropologists: Selected Biographies. Ed. Ute Gacs, et al. Urbana and Chicago: University of Illinois Press, 1989.
Chronology
1898 -- Born April 18 in New York, New York
1918 -- Earns B.A. from Barnard College in European History
1922-1924 -- Secretary and editorial assistant to Franz Boas
1924 -- First trip to Zuni, New Mexico
1925 -- Enrolls in Columbia University's graduate program in anthropology
1925-1929 -- Spends summers and winters conducting fieldwork among the Zuni
1927-1928 -- Studies at University of Chicago
1928-1943 -- Executive Committee Board of AAA
1929 -- Studies at the National University of Mexico Publication of dissertation, The Pueblo Potter, A Study of Creative Imagination in Primitive Art Receives Ph.D. in Anthropology from Columbia University
1929-1930 -- Lecturer at Barnard College
1930-1932 -- Fieldwork in Chichicastenango, Guatemala
1933-1935 -- Lecturer, General Studies and Summer Session, Columbia University
1936-1937 -- Lecturer, General Studies and Summer Session, Columbia University
1939 -- Fieldwork in Zuni studying child development
1942-1945 -- Social Scientist U.S. Government Office of War Information, Propoganda Analysis
1947-1951 -- Director of Chinese Project of Columbia University Research in Contemporary Cultures
1951-1952 -- Works on Bureau of Applied Social Research project on techniques of interviewing
1953 -- Adjunct Professor of Anthropology, Columbia University
1955 -- Research Associate, Institute of Intercultural Studies
1962 -- Teaching-consultant, Columbia University School of Nursing
1969-1987 -- Senior Research Associate, Columbia University
1974-1976 -- Chair, Section H, AAAS
1990 -- Dies January 14 in New York City at the age of 91
Selected Bibliography
1929 -- The Pueblo Potter, A Study of Creative Imagination in Primitive Art. New York: Columbia University Press.
1932 -- "Zuni Ritual Poetry." Ibid. "Introduction to Zuni Ceremonialism." 47th Annual Report, Bureau of American Ethnology, Smithsonian Institution. Washington: Government Printing Office. "Zuni Creation Myths." Ibid. "Zuni Katchinas." Ibid.
1933 -- Zuni Texts. Publications of the American Ethnological Society, Vol. 15. New York: G.E. Stechert and Company.
1938 -- "Zuni Grammar." Handbook of American Indian Languages, Vol. 3. New York: Columbia University Press. "The Economic Organization of Primitive People." Ibid. "Primitive Art." General Anthropology. Boston: D.C. Heath .
1940 -- "The Role of Alcoholism in Two Central American Communities." Psychiatry, Vol 33, pp. 361-387.
1950 -- Explorations in Chinese Culture. Research in Contemporary Cultures, Columbia University. (unpublished report)
1952 -- Chichicastenango, A Guatemalan Village. Publications of the American Ethnological Society, Vol 22. Locust Valley, New York: J. J. Auigustin. with John Weakland. An Anthropological Approach to Chinese Communism. Research in Contemporary Cultures, Columbia University. (unpublished report)
1960 -- edited with Margaret Mead. The Golden Age of American Anthropology. New York: George Braziller.
1966 -- "May Mandelbaum Edel 1909-1964." American Anthropologist, Vol 68, No. 4, pp. 986-989.
1976 -- "Chamula and Chichicastenango: A Reexamination." Cross-Cultural Approaches to the Study of Alcohol. The Hague: Mouton.
Related Materials:
Other materials relating to Ruth Bunzel at the National Anthropological Archives include correspondence with the Bureau of American Ethnology in MS 4846 and the Records of the Bureau of American Ethnology; the Ruth Leah Bunzel photographs of Quiche peoples of Guatemala (Photo Lot 2007-10); and a photograph of Bunzel in Photographic Lot 92-35. The Human Studies Film Archive has a video oral history of Bunzel (HSFA 89.10.8) which was created as part of the "History of Anthropology Series" produced by the University of Florida's Department of Anthropology.
Provenance:
The bulk of these papers were donated to the National Anthropological Archives by Columbia University's Department of Anthropology.
Restrictions:
The collection is open for research.
Access to the collection requires an appointment.
Materials with student grades were separated and have been restricted. Most of the restricted materials are not open for access until 2030.
Rights:
Contact repository for terms of use.
Sponsor:
Processed with the support of a Wenner-Gren Foundation Historical Archives Program grant.
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974. Archives of American Art, Smithsonian Institution.
Sponsor:
Processing of the collection was funded by the Getty Grant Program; digitization of the collection was funded by the Samuel H. Kress Foundation and the Terra Foundation for American Art. Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee.
Collection is open for research. Some items may be restricted due to fragile condition.
Series Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Series Citation:
Warshaw Collection of Business Americana Subject Categories: Art, Archives Center, National Museum of American History, Smithsonian Institution
Sponsor:
Funding for partial processing of the collection was supported by a grant from the Smithsonian Institution's Collections Care and Preservation Fund (CCPF).
