Search Results

Creator:

Currie, Sara R. (Sara Rockefeller)  Search this

Names:

Panama-Pacific International Exposition (1915 : San Francisco, Calif.)  Search this

Lenz, Alfred, 1872-1926  Search this

Extent:

0.01 Linear feet

Type:

Collection descriptions

Archival materials

Date:

circa 1899-circa 1926

circa 1950s

Summary:

The Sara R. Currie papers about sculptor Alfred Lenz measure 0.01 linear feet and date from circa 1899-circa 1926, circa 1950s. The papers include scattered documentation about Lenz including a biographical sketch by Currie, printed material, and photographs.

Scope and Contents:

The Sara R. Currie papers about sculptor Alfred Lenz measure 0.01 linear feet and date from circa 1899-circa 1926, circa 1950s. The papers include a biographical sketch of Lenz written by Currie; three postcards of the Panama-Pacific International Exposition held in San Francisco, California in 1915, including an image of a medal designed by Lenz; a printed reproduction of a 1910 bas relief of an Aztec Indian, The Vow, by Lenz; and photographs of Lenz taken from circa 1899-1925.

Arrangement:

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

Biographical / Historical:

Sara R. Currie, a member of the Rockefeller family who settled in Jacksonville Florida, was a close friend and self-described assistant of Wisconsin-born New York sculptor Alfred Lenz. Currie remarked in her biographical notes on Lenz that she also modeled for his sculpture Senorita Hootch (1922). Lenz was born in Fon-du-Lac and moved to San Francisco at the age of 19 before settling in New York City where he spent a short period of time working for Gorham Silversmiths. Lenz became absorbed with sculpting and devoted the rest of his life to developing and perfecting a special lost wax technique of casting metals which was used by the ancient Chinese. He also designed a bas relief medallion for the Panama-Pacific International Exposition of 1915.

Separated Materials:

The Archives of American Art also holds microfilm of material lent for microfilming on Reel D24 including newspaper clippings, correspondence, and an exhibition catalog. Loaned materials were returned to the lender after microfilming and are not described in the collection container inventory.

Provenance:

The collection was donated by Sara R. Currie in 1958.

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:

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

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

Citation:

Sara R. Currie papers about Alfred Lenz, circa 1899-circa 1926, circa 1950s. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.currsara

See more items in:

Sara R. Currie papers about Alfred Lenz

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9933725ea-5f81-466a-ac49-1fb542f55f39

EDAN-URL:

ead_collection:sova-aaa-currsara

Extent:

1 Drawing (watercolor and ink, 8.25 x 12.5 inches)

Container:

Box 3957 / 3984 / 3987, Folder 3957

Culture:

Yokuts  Search this

Type:

Collection descriptions

Archival materials

Graphic Materials

Drawings

Works of art

Petroglyphs

Place:

Tule River Indian Reservation (Calif.)

North America

Date:

undated

Scope and Contents:

The collection consists of a drawing of pictographs on the ceiling of the Painted Rock on the Tule River Indian Reservation, Tulare County, California. The drawing is labelled with the four cardinal directions and: "The Painted Rock-View Overhead. Tulare Agency, California. Reduced to 1/20 of the original." The artist and date are unknown.

Please note that the contents of the collection and the language and terminology used reflect the context and culture of the time of its creation. As an historical document, its contents may be at odds with contemporary views and terminology and considered offensive today. The information within this collection does not reflect the views of the Smithsonian Institution or National Anthropological Archives, but is available in its original form to facilitate research.

Local Numbers:

NAA MS 3957

Variant Title:

The Painted Rock--View Overhead

Provenance:

The provenance of the collection is unknown. There is no accession information available.

Restrictions:

The collection is open for research.

Access to the collection requires an appointment.

Rights:

Contact the repository for terms of use.

Topic:

Archaeology  Search this

Genre/Form:

Works of art

Drawings

Petroglyphs

Citation:

MS 3957 Drawing of ceiling pictographs at Painted Rock, Tulare County, California, National Anthropological Archives, Smithsonian Institution

Identifier:

NAA.MS3957

Archival Repository:

National Anthropological Archives

GUID:

https://n2t.net/ark:/65665/nw3e127c982-85b3-4421-9383-581398fa89a3

EDAN-URL:

ead_collection:sova-naa-ms3957

Creator:

Vidor, King, 1894-1982  Search this

Names:

Associated American Artists  Search this

Big parade (Motion picture)  Search this

Metaphor: King Vidor meets with Andrew Wyeth (motion picture)  Search this

Benton, Thomas Hart, 1889-1975  Search this

Rivera, Diego, 1886-1957  Search this

Sheets, Millard, 1907-1989  Search this

Wood, Grant, 1891-1942  Search this

Wyeth, Andrew, 1917-2009  Search this

Extent:

2.1 Linear feet

Type:

Collection descriptions

Archival materials

Photographs

Motion pictures (visual works)

Video recordings

Typescripts

Date:

1936-1982

Summary:

The papers of King Vidor measure 2.1 linear feet and include correspondence, printed material, and a variety of materials related to the documentary Metaphor: King Vidor Meets Andrew Wyeth (1980) written and directed by Vidor, including production notes, photographs, and motion picture film.

Scope and Contents:

The papers of King Vidor measure 2.1 linear feet and include correspondence, printed material, and a variety of materials related to the documentary Metaphor: King Vidor Meets Andrew Wyeth (1980) written and directed by Vidor, including production notes, photographs, and motion picture film.

Correspondence is mainly between Vidor and multiple galleries and artists whose artworks Vidor collected, and includes single letters from artists Grant Wood, Thomas Hart Benton, and Andrew Wyeth. Lengthy correspondence with Associated American Artists is found among other correspondence with galleries. Loan requests from museums borrowing from Vidor's painting collection, and image requests for reproduction rights for paintings owned by Vidor from various publishers are also found, as well as a few sheets of notes related to valuation of paintings.

Printed material includes exhibition catalogs for Millard Sheets and Diego Rivera, clippings on a variety of subjects, including a long article about his film project Metaphor published in the Los Angeles Herald Examiner, and periodicals with articles about the artist Grant Wood.

Scattered slides are mostly of unidentified artwork.

Material related to Metaphor, Vidor's film project with Andrew Wyeth include photographs of Wyeth and Vidor in Pennsylvania, stills from Vidor's 1925 film The Big Parade, and a still from Metaphor. Production notes include detailed footage and edit notes as well as typescripts of draft narration. Some production notes are arranged as a group, and others are arranged with documentation of the original film containers in which they were found. Motion picture film found in the collection includes a print of the final version of the film, edit master film material (A and B rolls), outtakes, and trims.

Arrangement:

The collection is arranged as 4 series. Digital photographs of original film containers are filed in Series 4.

Series 1: Correspondence, 1941-1982 (Box 1, 1 folder)

Series 2: Printed Material, 1936-1980 (Box 1, 3 folders)

Series 3: Slides, 1964 (1 folder; Box 1)

Series 4: -- Metaphor: King Vidor Meets Andrew Wyeth -- (1980), 1976-1980 (1.9 linear feet; Box 1, FC 1-17)

Biographical / Historical:

King Vidor was an American film director whose prolific career began in 1913, during the silent era, and continued through 1959 when he stopped directing large scale film projects. In addition to his prolific film career, Vidor was an avid collector of American Art who owned works by Thomas Hart Benton and Grant Wood, among others.

Vidor's final film, Metaphor: King Vidor Meets Andrew Wyeth (1980), is a documentary in which he and Wyeth discuss the impact of Vidor's most celebrated film of the silent era, The Big Parade, on Wyeth's painting. The project began when Wyeth wrote a lengthy letter to Vidor crediting his film, which Wyeth claimed to have watched over a hundred times, with having had a direct impact on the compositions of his paintings, which he only noticed after the fact when his wife, Betsy, pointed it out to him.

When Wyeth contacted Vidor for permission to use clips from The Big Parade in a documentary project by the Metropolitan Museum of Art to accompany a 1976 exhibition of these works, Two Worlds of Andrew Wyeth: Kuerners and Olsons, instead of lending his film to that effort, Vidor went to Chadds Ford, Pennsylvania to film Wyeth himself. Together, the two set out to make a documentary telling the story of the aesthetic relationship between their work, with Vidor directing. The film was completed in 1980 but was never commercially released.

Vidor died in 1982.

Related Materials:

There is an oral history interview with King Vidor held by Columbia University.

Provenance:

Donated 1985 by the King Vidor Trust.

Restrictions:

Use of original papers 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. Contact Reference Services for more information.

Rights:

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

Occupation:

Painters -- Pennsylvania  Search this

Topic:

Filmmakers -- California -- Los Angeles  Search this

Art, American -- Collectors and collecting  Search this

Art -- Collectors and collecting -- California -- Los Angeles  Search this

Genre/Form:

Photographs

Motion pictures (visual works)

Video recordings

Typescripts

Citation:

King W. Vidor papers, 1936-1982. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.vidoking

See more items in:

King W. Vidor papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9b3a1f770-e016-4f3e-995d-081b5eac2c55

EDAN-URL:

ead_collection:sova-aaa-vidoking

Creator:

Beach, Chester, 1881-1956  Search this

Names:

American Academy in Rome  Search this

Architectural League of New York  Search this

Cleveland Museum of Art  Search this

Ecole nationale supérieure des beaux-arts (France)  Search this

Frontier Art Colony  Search this

Mark Hopkins Institute of Art  Search this

National Academy of Design (U.S.)  Search this

National Sculpture Society (U.S.)  Search this

Panama-Pacific International Exposition (1915 : San Francisco, Calif.)  Search this

Salmagundi Club  Search this

Salon d'automne  Search this

Allen, Mary Jester  Search this

Beach, Eleanor Murdock  Search this

Blumenschein, Ernest Leonard, 1874-1960  Search this

Carrington, Fitz Roy, 1869-1954  Search this

Couper, William, 1853-1942  Search this

Fitchen, Eleanor Beach  Search this

French, Daniel Chester, 1850-1931  Search this

Greacen, Edmund W., 1876-1949  Search this

Hancock, Walker Kirtland, 1901-1998  Search this

Jackson, Hazel Brill  Search this

Jennewein, Carl Paul, 1890-  Search this

Kuhn, Brenda, 1911-  Search this

Kuhn, Walt, 1877-1949  Search this

Käsebier, Gertrude, 1852-1934  Search this

Leibig, Bonnie  Search this

MacMonnies, Frederick William, 1863-1937  Search this

Mora, F. Luis (Francis Luis), 1874-1940  Search this

Nelson, Laurence, 1887-1978  Search this

Nisbet, Robert H., 1879-1961  Search this

Olmsted, Frederick Law, 1822-1903  Search this

Piexotto, Jessica B.  Search this

Winter, Ezra, 1886-1949  Search this

Extent:

7.32 Linear feet

Type:

Collection descriptions

Archival materials

Scrapbooks

Sketches

Christmas cards

Drawings

Photographs

Prints

Sketchbooks

Date:

1846-1999

bulk 1895-1999

Summary:

The Chester Beach papers measure 7.32 linear feet and date from 1846 to 1999, with the bulk ot the material dating from circa 1900 to 1999. The work and professional activities of Beaux Arts sculptor Chester Beach (1881-1956) and his family's efforts to exhibit and sell work from the estate are documented by project files, business records, correspondence, scrapbooks, printed material, and photographs. The papers also include many artist-designed Christmas cards sent and received by the Beach family, and artwork by Chester Beach and others.

Scope and Contents:

The Chester Beach papers measure 7.32 linear feet and date from 1846 to 1999, with the bulk ot the material dating from circa 1900 to 1999. The work and professional activities of Beaux Arts sculptor Chester Beach (1881-1956) and his family's efforts to exhibit and sell work from the estate are documented by project files, business records, correspondence, scrapbooks, printed material, and photographs. The papers also include many artist-designed Christmas cards sent and received by the Beach family, and artwork by Chester Beach and others.

Biographical material consists of biographical notes, identification cards, and a membership certificate.

Project files contain correspondence, financial records, notes, drawings and plans, research materials, printed matter, and photographs that document commissions for sculpture, medals and coins, monuments, and Beach's own projects. Among the most thoroughly documented projects are a fountain sculpture for the grounds of the Cleveland Museum of Art (Sun, Earth, Fountain of the Waters, and Zodiac) and the Edward W. Bok Memorial in Mountain Lake, Florida; both commissions were executed in conjunction with the firm of Frederick Law Olmsted.

Business records include Chester Beach's general business correspondence and correspondence concerning consignments. An address book records names, addresses, and occasionally indicates prices of services and supplies used by the sculptor. Other record books detail expenses and income of the studio building Beach owned, with a list of the effects of the former owner, sculptor William Couper; bronzes cast; sales, with titles, prices, and buyers; names and addresses of clients, dealers, and suppliers; and instructions for cleaning and bronzing plaster.

Family correspondence consists mainly of letters, many mentioning Chester Beach, and addressed to Mrs. Chester Beach and daughter Eleanor Beach Fitchen. Estate correspondence and related documents concern efforts to exhibit, sell, and research Beach's remaining work. These records, for the most part, were created by Mrs. Fitchen who acted as sales agent, ran the Chester Beach Memorial Studio, and maintained the Beach archive. Of particular interest is a series of letters from Brenda Kuhn that relate what she learned from handling the estate of her father, Walt Kuhn; in addition, she offered ideas and advice about exhibitions, the Memorial Studio, and the Beach Centennial.

Beach designed his family's annual Christmas cards, most of which incorporate images of their three daughters. A complete set, preserved in an album, includes a few later cards that reproduce artwork by his widow. Many of the cards received - some with original artwork - are from artist friends, among them: Ernest Blumenschein, Edward W. Greacen, Hazel Brill Jackson, Paul Jennewein, Bonnie Leibig, F. Luis Mora, Robert Nisbet, and Ezra Winter. Also of note are a card from Walker Hancock bearing a photograph of his studio; a painting of Beach's Sylvan at Brookgreen Gardens, reproduced on Anna Hyatt Huntington's card; and a card from Beach patron Mary Jester Allen containing a brief note about the Frontier Art Colony she had established near Cody, Wyoming.

Among the drawings and sketches by Chester Beach are student work, designs for some of his Christmas cards, and a sketchbook containing drawings of sculpture. Work by other artists consists of prints, including one by Ezra Winter.

Three scrapbooks, largely comprised of newspaper clippings and other printed material, contain a variety of other items, including: letters from the American Academy in Rome, Architectural League of New York, Ecole des Beaux Arts, Daniel Chester French, Hazel Brill Jackson, Frederick MacMonnies, National Academy of Design, National Sculpture Society, Jessica B. Piexotto, and Salon d'Autome. There are also awards and certificates from the National Academy of Design, Panama-Pacific International Exposition; bookplates and a place card Beach etched for Mr. and Mrs. George Davison; and an unfinished poem by FitzRoy Carrington. Photographs within the scrapbooks are of a night school class Beach attended at the Mark Hopkins Art Institute in San Francisco, Beach at work in his studio, and a portrait of him painted by G. Laurance Nelson.

Printed material includes Panama-Pacific International Exposition guide books, brochures about the Chester Beach Memorial Studio in Brewster, New York, and catalogs for solo and group exhibitions.

Photographs and glass plate negatives of artwork are mainly of Chester Beach's sculpture and include views of work in progress. Also found are photographs of drawings and sculpture from his student years in California and Paris. Pictures of work by other artists are portraits of Chester Beach painted by G. Laurance Nelson and by his daughter, Natalie Beach McLaury. Among the photographs of Chester Beach are several by Gertrude Kasebier, circa 1910. Other pictures show Beach in his studio, Beach with family and friends, and a "Dinner tendered to Edmund W. Greacen by Samuel T. Shaw, Salmagundi Club, March 2, 1922." Places documented are Beach's boyhood home in San Francisco, the interiors of his studios, and Brookgreen Gardens. Miscellaneous subjects are nude models.

Arrangement:

The collection is arranged as 10 series. Glass plate negatives are housed separately and closed to researchers.

Missing Title

Series 1: Biographical Material, 1910-1947 (4 folders; Box 1)

Series 2: Project Files, 1846-1999 (1.6 linear feet; Boxes 1-2, 11, OV 12-13)

Series 3: Business Records, circa 1900-1958 (0.4 linear feet; Boxes 2-3)

Series 4: Writings, 1913-1935 (2 folders; Box 3)

Series 5: Correspondence, 1875, 1933-1996 (0.5 linear feet; Box 3)

Series 6: Christmas Cards, 1909-1961 (0.7 linear feet; Boxes 3-4)

Series 7: Artwork, circa 1900-1955 (0.3 linear feet; Boxes 4, 11)

Series 8: Scrapbooks, 1903-1972 (0.3 linear feet; Box 10)

Series 9: Printed Material, 1910-1997 (0.4 linear feet; Box 4)

Series 10: Photographs, circa 1885-circa 1960s (3.1 linear feet; Boxes 4-9, 11, 14)

Biographical / Historical:

Sculptor Chester Beach (1881-1956) was known for portrait busts, allegorical and mythological figures, coins and medallic art in the Beaux-Arts tradition. He lived and worked in New York City and Brewster, New York.

Chester Beach, son of Chilion Beach and Elizabeth Ferris Beach, was born in San Francisco on May 23, 1881. Beach initially studied at the California School of Mechanical Arts in 1899. He remained in San Francisco and between 1900 and 1902 continued his art training at the Mark Hopkins Institute of Art while working as a jewelry designer. To further his career and exposure to artistic trends, Beach moved to New York City in 1903. The following year, he went to Paris, enrolled at the Ecole des Beaux-Arts, and also studied with Raoul Verlet at the Académie Julian.

Upon his return to New York in 1907, Beach established a studio on Tenth Street. He won the National Academy of Design's Barnett Prize for sculpture in 1907 and the Academy elected him an Associate Artist the following year. His increased stature resulted in numerous portrait commissions and eventually led to commissions for monuments and architectural sculpture. In 1910, Chester Beach married Eleanor Hollis Murdock, a painter he met when both were art students in Paris. The couple spent the next two years in Rome; for several years after returning, Beach continued to spend time in Italy and maintained a studio in Rome.

Solo exhibitions of Beach's work were presented at Macbeth Gallery (1912), Pratt Institute (1913), Cincinnati Art Museum (1916), John Herron Art Institute (1916), and Memorial Art Gallery, Rochester (1917). In addition to frequent participation in annual exhibitions at the National Academy of Design and the Pennsylvania Academy of the Fine Arts, Beach was represented in the Panama-Pacific International Exposition (1915), and in group shows at venues including: Art Institute of Chicago, Boston Art Club, California Palace of the Legion of Honor, and National Arts Club.

The gold medal presented by Académie Julian (1905), Beach's first award, was followed by many other prizes, among them: American Numismatic Society prize for a medal commemorating the Peace of Versailles (1919) and its Saltus Medal for distinguished medallic art (1946); Architectural League of New York gold medal (1924); National Academy of Design Barnett Prize (1907) and Watrous gold medal (1926); National Arts Club medal and prizes (1923, 1926, 1932); and the Panama-Pacific International Exposition silver medal (1915).

Beach was an Academician of the National Academy of Design, a member of the American Numismatic Society, Architectural League of New York, National Arts Club, National Institute of Arts and Letters, and the National Sculpture Society (President, 1927-1928).

For more than 40 years, Beach lived and worked at 207 East 17th Street. The brownstone, purchased in 1913, was large enough for the family's home, his studio, and additional studios that were rented to other artists. Through barter, Beach acquired land in Brewster, New York, and in 1917 hired Italian stonemasons to build a studio. Later, they erected a summer house for the family. Many old stone walls on the site provided material for both buildings and Beach named the property Oldwalls.

After a long illness, Chester Beach died at Oldwalls on August 6, 1956. The funeral service was held at his Brewster, New York, studio and he is buried in Cold Spring Cemetery, Cold Spring, New York.

Separated Materials:

Also in the Archives of American Art is microfilm of papers lent for microfilming (reels N727-N729 and N68-11) including passports, genealogical materials, photograph albums, travel sketches, travel diaries of Mrs. Beach, and business and family correspondence. While the obituary letters on reel N68-11 are referenced in a scrapbook in Series 8, all other loaned materials were returned to the lender and are not described in the collection container inventory.

Provenance:

Chester Beach's daughter, Eleanor Beach Fitchen, lent materials for microfilming in 1967 and 1967. Subsequent papers were donated in 2009 by the estate of Eleanor Beach Fitchen, through her grandson and executor, John Fitchen.

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. Glass plate negatives are housed separately and not served to researchers.

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.

Topic:

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

Eclecticism in architecture  Search this

Sculpture -- Technique  Search this

Sculpture -- Equipment and supplies  Search this

Artists' studios  Search this

Sculpture -- Economic aspects  Search this

Genre/Form:

Scrapbooks

Sketches

Christmas cards

Drawings

Photographs

Prints

Sketchbooks

Citation:

Chester Beach papers, 1846-1999, bulk circa 1900-1999. 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.beacches

See more items in:

Chester Beach papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw93fbc1322-a3ff-4570-b08a-68b84efe296b

EDAN-URL:

ead_collection:sova-aaa-beacches

Collection Creator:

Lark, Sylvia, 1947-1990  Search this

Extent:

0.3 Linear feet (Box 1)

Type:

Archival materials

Date:

1976-1991

Scope and Contents:

Correspondence consist of a mix of letters to and from Lark with galleries, city art departments, Native American organizations, and other artists regarding various exhibitions, conferences and engagements. Notable correspondence include Jim Melchert, Edgar Heap of Birds and Kay WalkingStick. Additional letters include grant notice letters from the National Endowment of the Art's fellowship program as well as letters related to Lark's petition for professorial appointment and eventual tenure promotion at the University of California, Berkeley. The series is arrange alphabetically.

Collection Restrictions:

This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies. Contact Reference Services for more information.

Collection Rights:

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

Collection Citation:

Sylvia Lark Papers, 1971-1994. 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.larksylv, Series 2

See more items in:

Sylvia Lark papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9ba88c342-b473-4bd1-878e-f6623aa30ebe

EDAN-URL:

ead_component:sova-aaa-larksylv-ref6

Creator:

Lark, Sylvia, 1947-1990  Search this

Names:

University of California, Berkeley. Department of Art  Search this

Extent:

1.4 Linear feet

Type:

Collection descriptions

Archival materials

Date:

1971 - 1994

Summary:

The Sylvia Lark papers measure 1.4 linear feet and date from 1971- 1994, documenting Lark's career as an abstract artist and college professor, particularly her tenure at the University of California, Berkeley. Included are biographical materials; correspondence with museums, galleries, universities, colleagues and other artists; writings by and about Lark's work; professional files such as gallery represented sale records, grant applications and inventory lists; exhibition files; teaching files; printed and photographic material.

Scope and Contents:

The Sylvia Lark papers measure 1.4 linear feet and date from 1971-1994, documenting Lark's career as an abstract artist and college professor, particularly her tenure at the University of California, Berkeley. Included are biographic material, such as resumes, an interview transcript and an award certificate from the College Art Association of America; correspondence between Lark and galleries, city art departments, Native American organizations and other artists, and colleagues regarding various exhibitions and teaching employment opportunities. Also found are writings by and about Lark's work, exhibition files which document select solo and group exhibitions that Lark participated in, as well as tribute exhibition. Professional files include materials documenting Lark's involvement serving as a juror for various exhibitions, her membership and participation in professional organizations and financial records related to the selling and loaning of her artwork. Teaching files include student evaluations, course schedules, U.C. Berkley employment documents, correspondence and reports regarding Lark's tenure case, U.C. Berkley personel informational paperwork, Faculty grant and fellowship documents and sabbatical leave applications and awards. Printed material primarily consists of newspaper and magazine clippings reviewing Lark's exhibitions along with exhibition announcements, flyers and catalogs. Photographs are of Lark's artwork as well as her Fulbright travels in Korea and Japan.

Arrangement:

The collection is arranged as eight series.

Series 1: Biographical Material, 1977-1991 (3 Folders: Box 1)

Series 2: Correspondence, 1976-1991 (0.3 Linear feet: Box 1)

Series 3: Writings, 1975-1987 (0.1 Linear feet: Box 1)

Series 4: Exhibition Files, 1978-1994 (0.2 Linear feet: Box 1)

Series 5: Professional Files, 1976-1994 (0.1 Linear feet: Box 1)

Series 6: Teaching Files, 1977-1990 (0.4 Linear feet: Box 1)

Series 7: Printed Material, 1973-1992 (0.3 Linear feet: Box 2)

Series 8: Photographic Material, 1971-1987 (0.1 Linear feet: Box 2)

Biographical / Historical:

Sylvia Lark (1947-1990) was a Seneca abstract expressionist painter, printmaker and educator from Buffalo, New York. Lark received her M.F.A from University of Wisconsin, Madision in 1972 before moving to California where she began teaching printmaking at California State University, Sacramento. In 1977 she received a Fulbright grant to travel and study in Korea and Japan. She also began teaching at the University of California, Berkeley that same year where she remained a professor for the rest of her life. She was awarded the Distinguished Teaching Award for teaching art by the College Art Association posthumously in 1991.

In addition to her professorial career, Lark was a widely exhibited artist who collaborated on a number of Native American exhibitions, and served as a member of a different women in the arts organizations. Her work can be found in numerous collections including that of the Fine Arts Museum of San Francisco, the Metropolitan Museum of Art, the Oakland Museum, and the Museum of Contemporary Art, Chicago.

Provenance:

Donated 1998 by Christine Carter.

Restrictions:

This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies. Contact Reference Services for more information.

Rights:

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

Occupation:

Educators -- California  Search this

Painters -- California  Search this

Printmakers -- California  Search this

Topic:

Women artists  Search this

Women painters  Search this

Women educators  Search this

Women printmakers  Search this

Painting, Abstract  Search this

Native American artists  Search this

Citation:

Sylvia Lark Papers, 1971-1994. 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.larksylv

See more items in:

Sylvia Lark papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9957aa453-c0f7-4dd1-ad6b-0a2f02464fba

EDAN-URL:

ead_collection:sova-aaa-larksylv

Creator:

Montgomery, Evangeline J.  Search this

Names:

Andrews, Benny, 1930-2006  Search this

Jones, Lois Mailou, 1905-1998  Search this

Saar, Betye  Search this

Waddy, Ruth G. (Ruth Gilliam), 1909-2003  Search this

Extent:

26.1 Linear feet

Type:

Collection descriptions

Archival materials

Drawings

Interviews

Scrapbooks

Sketchbooks

Sound recordings

Video recordings

Date:

1928-2018

Summary:

The papers of African American artist, curator, and arts administrator Evangeline "EJ" Montgomery measure 26.1 linear feet and date from 1929-2019. The papers relate to Montgomery's career and involvement in the African American art scene in California and Washington, D.C. The collection includes biographical materials consisting of calendars and appointment books, certificates and awards, records regarding Montgomery's personal art collection, resumes and biographies, and other personal records; correspondence with colleagues and friends such as Benny Andrews, Willis Bing Davis, Edmund Barry Gaither, Eugene Grigsby, Dele Jegede, Samella Lewis, Nzegwu Nkiru, and A.M. Weaver; professional activity files documenting Montgomery's career as a consultant, curator, member, and volunteer for a myriad of organizations including the American Association for State and Local History, National Conference of Artists, and the Oakland Museum; and research files and notes on African and African American arts and history, Black media, Black photographers, the museum profession, and the artists Betye Saar, Lois Mailou Jones, Nike Davies-Okundaye, Romare Bearden, Ruth Waddy, Sam Gilliam, and Sargent Johnson. Also included are files regarding Montgomery's career as an artist containing material on the Brandywine Workshop, interviews with Floyd Coleman and for The Historymakers, sales and consignment records, and other material; printed and documentary material consisting of art reproductions, clippings, exhibition announcements and catalogs, and posters regarding Montgomery and other African American artists; artwork by Montgomery, including student sketchbooks, and others; photographic material of Montgomery, friends and colleagues, events, personal snapshots, and works of art; and unidentified audiovisual material.

Scope and Contents:

The papers of artist, curator, and arts administrator Evangeline "EJ" Montgomery measure 26.1 linear feet and date from 1929-2019. The papers relate to Montgomery's career and involvement in the African American art scene in California and Washington, D.C. The collection includes biographical materials consisting of calendars and appointment books, certificates and awards, records regarding Montgomery's personal art collection, resumes and biographies, and other personal records; correspondence with colleagues and friends such as Benny Andrews, Willis Bing Davis, Edmund Barry Gaither, Eugene Grigsby, Dele Jegede, Samella Lewis, Nzegwu Nkiru, and A.M. Weaver; professional activity files documenting Montgomery's career as a consultant, curator, member, and volunteer for a myriad of organizations including the American Association for State and Local History, National Conference of Artists, and the Oakland Museum; and research files and notes on African and African American arts and history, Black media, Black photographers, the museum profession, and the artists Betye Saar, Lois Mailou Jones, Nike Davies-Okundaye, Romare Bearden, Ruth Waddy, Sam Gilliam, and Sargent Johnson. Also included are files regarding Montgomery's career as an artist containing material on the Brandywine Workshop, interviews with Floyd Coleman and for The Historymakers, sales and consignment records, and other material; printed and documentary material consisting of art reproductions, clippings, exhibition announcements and catalogs, and posters regarding Montgomery and other African American artists; artwork by Montgomery, including student sketchbooks, and others; photographic material of Montgomery, friends and colleagues, events, personal snapshots, and works of art; and unidentified audiovisual material.

Arrangement:

The collection is arranged as 9 series.

Series 1: Biographical Materials, 1967-2015 (1.0 linear feet; Box 1, OV 27)

Series 2: Correspondence, 1963-2014 (2.0 linear feet; Boxes 2-4)

Series 3: Professional Activity Files, 1963-2017 (7.6 linear feet; Boxes 4-11)

Series 4: Research Files and Notes, 1928-2018 (4.0 linear feet; Boxes 11-16)

Series 5: Files Regarding Montgomery's Career as an Artist, 1970-2016 (1.5 linear feet; Boxes 16-17)

Series 6: Printed and Documentary Materials, 1964-2018 (7.2 linear feet; Boxes 17-23, 26, OVs 27-29, 31-34

Series 7: Artwork, circa 1957-2006 (0.2 linear feet; Boxes 23, 26, OV 30)

Series 8: Photographic Materials and Moving Images, circa 1965-2017 (3.0 linear feet; Boxes 23-27, OV 27)

Series 9: Unidentified Audiovisual Materials, circa 1990s (1 folder; Box 25)

Biographical / Historical:

Evangeline "EJ" Montgomery (1930- ) is an African American artist, curator, and arts administrator in California and Washington, D.C.

Montgomery was born in New York and moved to Harlem in New York City after the divorce of her parents, Oliver and Carmelite Thompson. Upon graduating from Seward Park High School in 1951, Montgomery worked painting faces on dolls and statues. In 1955, she married Ulysses "Jim" Montgomery and moved to Los Angeles. In California she began working for jewelry designer Thomas Usher while attending Los Angeles City College. She continued her education at California College of the Arts (California College of Arts and Crafts) where she received her Bachelor of Fine Arts degree in 1969. During the late 1960s, Montgomery began curating exhibitions. From 1971 to 1976, she was curator for Rainbow Sign Gallery in Berkeley. Other roles Montgomery held were as the national exhibits workshop coordinator at the American Association for State and Local History and as program development consultant at the African American Museums Association. From 1976 to 1979, she was art commissioner for the city of San Francisco.

Montgomery moved to Washington, D.C. in 1980 to serve as the community affairs director for Howard University's WHMM-TV station. She then began working for the United States Information Agency (USIA) as a program officer in their Arts America program in the early 1980s. In her role, she worked to promote cross-cultural exchanges through art, specializing in American exhibitions touring abroad. Montgomery retired from the USIA in 2008.

As an artist, Montgomery gained recognition for her work in printmaking and metalworking. She was the recipient of the D.C. Commission on the Arts and Humanities fellowship in 2012 and an Excellence in the Arts Award from the Brandywine Print Workshop in 2004. Due to her diagnosis of Parkinson's disease in the 1990s, Montgomery had to stop working with metal but continued her printmaking work.

Provenance:

The Evangeline J. Montgomery papers were donated in 2019 by Evangeline J. Montgomery, as part of the Archives' African American Collecting Initiative funded by the Henry Luce Foundation.

Restrictions:

This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies. Contact References Services for more information.

Rights:

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

Occupation:

Art museum curators -- Washington (D.C.)  Search this

Art museum curators -- California  Search this

Printmakers -- Washington (D.C.)  Search this

Metal-workers -- Washington (D.C.)  Search this

Metal-workers -- California  Search this

Printmakers -- California  Search this

Topic:

African American artists  Search this

African American art museum curators  Search this

Black Arts movement  Search this

Women artists  Search this

Women museum curators  Search this

Women printmakers  Search this

Women arts administrators  Search this

Genre/Form:

Drawings

Interviews

Scrapbooks

Sketchbooks

Sound recordings

Video recordings

Citation:

Evangeline J. Montgomery papers, 1928-2018. Archives of American Art, Smithsonian Institution.

Sponsor:

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

Identifier:

AAA.montevan

See more items in:

Evangeline J. Montgomery papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9915d0dc7-2f94-41bd-9b8b-d04432f7df32

EDAN-URL:

ead_collection:sova-aaa-montevan

Creator:

Bacerra, Ralph, 1938-2008  Search this

Names:

Chouinard Art Institute (Los Angeles, Calif.)  Search this

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

Otis Art Institute  Search this

Heino, Vivika, 1910-1995  Search this

Moore, Eudorah M.  Search this

Extent:

3.4 Linear feet

Type:

Collection descriptions

Archival materials

Drawings

Diaries

Sketchbooks

Date:

1957-2015

Summary:

The papers of Los Angeles ceramic artist and educator Ralph Bacerra measure 3.4 linear feet and date from 1957 to 2015. The collection documents Bacerra's career through correspondence, professional activity files including teaching files from Chouinard Art Institute and Otis Art Institute, exhibition files, writings and notes including the artist's ceramic formulas and a diary, artwork including sketchbooks and drawings, photographs including images of Bacerra and his work, and printed material relating to Bacerra's career.

Scope and Contents:

The papers of Los Angeles ceramic artist and educator Ralph Bacerra measure 3.4 linear feet and date from 1957 to 2015. The collection comprises correspondence with the Decorative Arts Council, Los Angeles County Museum of Art, the Theo Portnoy Gallery, and others; professional activity files including teaching files from Chouinard Art School and Otis College of Art, exhibition files, and a file for his National Council on Education for the Ceramic Arts award. Also found are writings and notes containing ceramic formulas, Bacerra's student notes, and a diary record of his road trip with Vivika Heino in 1959; artwork consisting of sketchbooks and drawings from Chouinard, the Shoji Hamada workshop at the University of Southern California, and other sketches of ceramic designs; photographic materials of Bacerra and his work, personal photographs, Asian art, sculptures, and travel; and printed materials relating to Bacerra's career.

Arrangement:

The collection is arranged as 6 series.

Series 1: Correspondence, 1959-2002 (0.2 linear feet; Box 1)

Series 2: Professional Activity Files, 1959-2013 (0.4 linear feet; Boxes 1, 4, OV 5)

Series 3: Writings and Notes, 1957-circa 1990s (0.4 linear feet; Box 1)

Series 4: Artwork, circa 1959-circa 1970s (0.2 linear feet; Boxes 1, 4)

Series 5: Photographic Material, 1958-2001 (1.8 linear feet; Boxes 2-4)

Series 6: Printed Material, 1958-2015 (0.4 linear feet; Box 4, OV 5)

Biographical / Historical:

Ralph Bacerra (1938-2008) was a ceramic artist and educator in Los Angeles, California.

Born to a Filipino father and mother from Montana, Bacerra grew up on a farm in Garden Grove, California where his parents settled before he was born. Bacerra began studying art in high school and later went onto study commercial art and ceramics with Bill Payne at Orange Coast Junior College. Bacerra planned on continuing his commercial art studies when he enrolled in Chouinard Art Institute, now the California Institute of the Arts, but changed his major to ceramics after taking a class with Vivika Heino, who became his mentor. Heino and her husband Otto were respected figures in the ceramics field. In 1959, on a road trip from Los Angeles to New Hampshire, Heino introduced Bacerra to prominent artists across the country.

After graduating with a Bachelor of Fine Arts, Bacerra joined the Army and served for two years. Upon his return to Los Angeles, he began teaching at Chouinard. Heino, who headed the ceramics department at the time, left the school to teach at the Rhode Island School of Design, leaving the department in the hands of Bacerra and John Fassbinder. A few years later, Bacerra became the department head. In 1971, when Chouinard became the California Institute of Art, the ceramics department was discontinued. Over the next decade, Bacerra focused on studio work and travel to Asia, and the influence of Japanese Imari and celadon can be seen in Bacerra's work. Bacerra also did commercial work for the Induction Stove Corporation and developed an advanced ceramics technique using electromagnetic induction. From 1983 to 1997, Bacerra taught at the Otis Art Institute. After retiring, he devoted his time to studio work.

Bacerra's work is in the permanent collections of the Smithsonian Institution and the Los Angeles County Museum of Art, among others. His work has been exhibited throughout the United States and abroad. In 1998, he was awarded honorary membership by the National Council on Education for the Ceramic Arts.

Bacerra died in Eagle Rock, California in 2008.

Related Materials:

Also in the Archives of American Art is an oral history interview of Ralph Bacerra conducted on April 7-19, 2004 by Frank Lloyd, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, in Los Angeles, California.

Provenance:

The Ralph Bacerra papers were donated in 2003 by Ralph Bacerra, in 2016 by Cindy Bass, Bacerra's niece and executor, and in 2017 by Jo Lauria Fargo on behalf of Bass as part of the Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America.

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:

Ceramicists -- California -- Los Angeles  Search this

Educators -- California -- Los Angeles  Search this

Topic:

Asian American artists  Search this

Filipino American artists  Search this

American studio craft movement  Search this

Genre/Form:

Drawings

Diaries

Sketchbooks

Citation:

Ralph Bacerra papers, 1957-2015. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.baceralp

See more items in:

Ralph Bacerra papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9f35b9309-aa9b-4f11-86b6-c16d70fb2d93

EDAN-URL:

ead_collection:sova-aaa-baceralp

Curator:

Khosronejad, Pedram  Search this

Issuing body:

Oklahoma State University Iranian and Persian Gulf Studies Program  Search this

Host institution:

University of California, Santa Barbara Mosher Alumni House McCune Library  Search this

Physical description:

40 pages illustrations 22 cm

Type:

Portraits

Exhibitions

History

Exhibition catalogs

Place:

Iran

Date:

2018

Qajar dynasty, 1794-1925

1794-1925 (Dynastie des Qādjārs)

Topic:

Prostitutes  Search this

Slaves  Search this

Photography, Erotic  Search this

Prostituées  Search this

Esclaves  Search this

Photographie érotique  Search this

Photography, Artistic  Search this

Qajar Dynasty (Iran)  Search this

Black-and-white photography  Search this

Harems  Search this

History  Search this

Histoire  Search this

Pictorial works  Search this

Data Source:

Smithsonian Libraries

EDAN-URL:

edanmdm:siris_sil_1159655

Creator:

Smithsonian Magazine  Search this

Type:

Sound recordings

Podcast

MIME Type:

audio/mpeg

Uploaded:

Wed, 20 Jan 2010 15:00:00 EST

Topic:

Inventions  Search this

Innovations  Search this

See more episodes:

Smithsonian magazine's Museum Day September 25th 2010

Data Source:

Smithsonian Magazine

EDAN-URL:

edanmdm:podcasts_e96d4c177d8fdb7ed961188518b06d1a

Recording artist:

Firehouse Five Plus Two  Search this

Manufacturer:

Good Time Jazz  Search this

Physical Description:

shellac (overall material)

Measurements:

overall: 10 in; 25.4 cm

Object Name:

sound recording

Place made:

United States: California, Los Angeles

Recording date:

1949

Subject:

Music  Search this

Related Publication:

Jazz Records 1942-1967, Vol. 4a: Ell - Goo

Credit Line:

Gift of Lucy C. Shain in memory of James Lewis Shain

ID Number:

1978.0670.256

Maker number:

6

Accession number:

1978.0670

Catalog number:

1978.0670.256

See more items in:

Culture and the Arts: Entertainment

Music & Musical Instruments

Popular Entertainment

Family & Social Life

Sound Recordings

Data Source:

National Museum of American History

GUID:

http://n2t.net/ark:/65665/ng49ca746aa-4c29-704b-e053-15f76fa0b4fa

EDAN-URL:

edanmdm:nmah_672841

Artist:

Mariana R. Cook, born 9 Feb 1955  Search this

Sitter:

David Harold Blackwell, 24 Apr 1919 - 08 Jul 2010  Search this

Medium:

Gelatin silver print, selenium toned

Dimensions:

Image/Sheet: 31.4 × 26.7 cm (12 3/8 × 10 1/2")

Mat: 50.8 × 40.7 cm (20 × 16")

Type:

Photograph

Place:

United States\California\Alameda\Berkeley

Date:

April 2, 2007

Topic:

Interior  Search this

Artwork\Portrait  Search this

David Harold Blackwell: Male  Search this

David Harold Blackwell: Science and Technology\Scientist\Mathematician  Search this

Portrait  Search this

Credit Line:

National Portrait Gallery, Smithsonian Institution

Object number:

NPG.2022.168

Restrictions & Rights:

Usage conditions apply

See more items in:

National Portrait Gallery Collection

Data Source:

National Portrait Gallery

GUID:

http://n2t.net/ark:/65665/sm41df04c9a-6378-450c-bdcf-73104d0e3db9

EDAN-URL:

edanmdm:npg_NPG.2022.168

Artist:

Draper Hill, 1 Jul 1935 - 13 May 2009  Search this

Sitter:

Richard Milhous Nixon, 9 Jan 1913 - 22 Apr 1994  Search this

Medium:

Ink over graphite with gouache on paper

Dimensions:

Image: 29.6 × 41 cm (11 5/8 × 16 1/8")

Sheet: 29.6 × 44.3 cm (11 5/8 × 17 7/16")

Mount: 30.9 × 44.5 cm (12 3/16 × 17 1/2")

Type:

Drawing

Date:

1973

Topic:

Exterior\Waterscape\Seascape  Search this

Vehicle\Boat  Search this

Cartoon\Political  Search this

Illustration  Search this

Richard Milhous Nixon: Male  Search this

Richard Milhous Nixon: Law and Law Enforcement\Lawyer  Search this

Richard Milhous Nixon: Literature\Writer  Search this

Richard Milhous Nixon: Politics and Government\Vice-President of US  Search this

Richard Milhous Nixon: Military and Intelligence\Navy\Officer  Search this

Richard Milhous Nixon: Politics and Government\President of US  Search this

Richard Milhous Nixon: Politics and Government\US Senator\California  Search this

Richard Milhous Nixon: Politics and Government\US Congressman\California  Search this

Portrait  Search this

Credit Line:

National Portrait Gallery, Smithsonian Institution; gift of John Wilmerding

Object number:

NPG.2006.50

Restrictions & Rights:

Usage conditions apply

See more items in:

National Portrait Gallery Collection

Data Source:

National Portrait Gallery

GUID:

http://n2t.net/ark:/65665/sm419eab37c-c9bc-4aef-82ef-b01694037493

EDAN-URL:

edanmdm:npg_NPG.2006.50

Artist:

Stephen Shames, born 1947  Search this

Sitter:

Bobby Seale, born 1936  Search this

Medium:

Gelatin silver print

Dimensions:

Image/Sheet: 16.1 x 24.5cm (6 5/16 x 9 5/8")

Mat: 35.6 x 45.7cm (14 x 18")

Type:

Photograph

Place:

United States\California\Alameda\Oakland

Date:

1968

Topic:

Exterior  Search this

Equipment\Sound Devices\Microphone  Search this

Equipment\Sound Devices  Search this

Bobby Seale: Male  Search this

Bobby Seale: Society and Social Change\Reformer\Activist\Political activist  Search this

Portrait  Search this

Credit Line:

National Portrait Gallery, Smithsonian Institution

Object number:

NPG.2007.203

Restrictions & Rights:

Usage conditions apply

Copyright:

© Stephen Shames

See more items in:

National Portrait Gallery Collection

Data Source:

National Portrait Gallery

GUID:

http://n2t.net/ark:/65665/sm46d326b66-a191-4a1d-a37d-653e369ad725

EDAN-URL:

edanmdm:npg_NPG.2007.203

Artist:

Nelson Shanks, 23 Dec 1937 - 28 Aug 2015  Search this

Sitter:

Ronald Wilson Reagan, 6 Feb 1911 - 5 Jun 2004  Search this

Medium:

Oil on canvas

Dimensions:

Stretcher: 51.4 x 51.4cm (20 1/4 x 20 1/4")

Frame: 67 × 67.3 × 5.1cm (26 3/8 × 26 1/2 × 2")

Type:

Painting

Date:

1989

Topic:

Ronald Wilson Reagan: Male  Search this

Ronald Wilson Reagan: Literature\Writer  Search this

Ronald Wilson Reagan: Performing Arts\Performer\Actor  Search this

Ronald Wilson Reagan: Politics and Government\President of US  Search this

Ronald Wilson Reagan: Politics and Government\Governor\California  Search this

Ronald Wilson Reagan: Journalism and Media\Broadcast journalist\Sportscaster  Search this

Ronald Wilson Reagan: Presidential Medal of Freedom  Search this

Ronald Wilson Reagan: Congressional Gold Medal  Search this

Portrait  Search this

Credit Line:

National Portrait Gallery, Smithsonian Institution; gift of the James Dicke Family

Object number:

NPG.2007.3

Restrictions & Rights:

Usage conditions apply

Copyright:

© 1989 Nelson Shanks

See more items in:

National Portrait Gallery Collection

Data Source:

National Portrait Gallery

GUID:

http://n2t.net/ark:/65665/sm41b191cb1-2b0b-4e11-924d-19d6fc56f9cf

EDAN-URL:

edanmdm:npg_NPG.2007.3

Artist:

Ernest Lowe  Search this

Sitter:

Cesar Estrada Chavez, 31 Mar 1927 - 23 Apr 1993  Search this

Medium:

Gelatin silver print

Dimensions:

Image/Sheet: 17 x 24.1 cm (6 11/16 x 9 1/2")

Type:

Photograph

Place:

United States\California\Sacramento\Sacramento

Date:

1966

Topic:

Exterior\Cityscape  Search this

Cesar Estrada Chavez: Male  Search this

Cesar Estrada Chavez: Society and Social Change\Reformer\Labor leader  Search this

Cesar Estrada Chavez: Society and Social Change\Reformer\Activist  Search this

Cesar Estrada Chavez: Military and Intelligence\Navy  Search this

Cesar Estrada Chavez: Presidential Medal of Freedom  Search this

Portrait  Search this

Credit Line:

National Portrait Gallery, Smithsonian Institution

Object number:

NPG.2010.10

Restrictions & Rights:

Usage conditions apply

Copyright:

© Ernest Lowe

See more items in:

National Portrait Gallery Collection

Data Source:

National Portrait Gallery

GUID:

http://n2t.net/ark:/65665/sm4699c1008-a823-4e5c-841f-472e2c0dbee9

EDAN-URL:

edanmdm:npg_NPG.2010.10

Artist:

Michael O'Brien, born 27 Jun 1950  Search this

Sitter:

Archie Moore, 13 Dec 1913 - 9 Dec 1998  Search this

Medium:

Inkjet print

Dimensions:

Image: 44.8 x 44.3 cm (17 5/8 x 17 7/16")

Sheet: 61 x 50.7 cm (24 x 19 15/16")

Mat: 71.1 x 55.9 cm (28 x 22")

Type:

Photograph

Place:

United States\California\Los Angeles\Los Angeles

Date:

1989 (printed 2010)

Topic:

Costume\Headgear\Hat  Search this

Archie Moore: Male  Search this

Archie Moore: Performing Arts\Performer\Actor\Movie  Search this

Archie Moore: Sports and Recreation\Athlete\Boxer  Search this

Portrait  Search this

Credit Line:

National Portrait Gallery, Smithsonian Institution; gift of Bill and Sally Wittliff

Object number:

NPG.2010.106

Restrictions & Rights:

Usage conditions apply

Copyright:

© Michael O'Brien

See more items in:

National Portrait Gallery Collection

Data Source:

National Portrait Gallery

GUID:

http://n2t.net/ark:/65665/sm4e3610073-f44c-423c-91d1-bedab5a82c17

EDAN-URL:

edanmdm:npg_NPG.2010.106

Artist:

Everett Raymond Kinstler, 5 Aug 1926 - 26 May 2019  Search this

Sitter:

Norman Yoshio Mineta, 1931 - 2022  Search this

Medium:

Oil on canvas

Dimensions:

Stretcher: 106.7 x 91.4cm (42 x 36")

Frame: 117 x 101.8 x 5.1cm (46 1/16 x 40 1/16 x 2")

Type:

Painting

Date:

2009

Topic:

Artwork\Sculpture\Statuette  Search this

Norman Yoshio Mineta: Male  Search this

Norman Yoshio Mineta: Politics and Government\Cabinet member\Secretary of Commerce  Search this

Norman Yoshio Mineta: Politics and Government\Cabinet member\Secretary of Transportation  Search this

Norman Yoshio Mineta: Politics and Government\US Congressman\California  Search this

Norman Yoshio Mineta: Politics and Government\Public official\Mayor\San Jose, CA  Search this

Portrait  Search this

Credit Line:

National Portrait Gallery, Smithsonian Institution; gift of George and Sakaye Aratani; Hill & Knowlton; Verizon Communications; AT&T; Freddie Mac; Saturn Electronics & Engineering/Wally Tsuha; Ms. Irene Hirano and the Japanese American National Museum; National Japanese American Memorial Foundation; Office of Hawaiian Affairs; The Washington Center for Internships and Academic Seminars; Asian American Government Executives Network; Asian Pacific American Institute for Congressional Studies; Allen Okamoto, Chairman of Asian Real Estate Association of America; Association of Asian/Pacific Community Health Organizations; Col. S. Phil Ishio (ret.) and Connie Ishio; Japanese American Citizens League (National); Japanese American Citizens League (D.C. Chapter); Japanese American Veterans Association; Justice & Security Strategies, Inc.; Leadership Education for Asian Pacifics, Inc.; Robert Nakamoto; National Coalition for Asian Pacific American Community Development; National Association of Realtors®; National Council of Asian Pacific Americans; OCA; State Farm®; and other friends of Norman Mineta

Object number:

NPG.2010.19

Restrictions & Rights:

Usage conditions apply

See more items in:

National Portrait Gallery Collection

Exhibition:

20th Century Americans: 2000 to Present

On View:

NPG, South Gallery 341

Data Source:

National Portrait Gallery

GUID:

http://n2t.net/ark:/65665/sm483fe685c-b4d8-4129-ba52-ce4868c9efbb

EDAN-URL:

edanmdm:npg_NPG.2010.19

Artist:

Martin Schoeller, born 12 Mar 1968  Search this

Sitter:

Tony Hawk, born 12 May 1968  Search this

Medium:

Inkjet print

Dimensions:

Image: 58.5 x 58.6 cm (23 1/16 x 23 1/16")

Sheet: 73.9 x 74.1 cm (29 1/8 x 29 3/16")

Mat: 78.7 x 78.7 cm (31 x 31")

Type:

Photograph

Place:

United States\California\San Diego\Carlsbad

Date:

1999 (printed 2010)

Topic:

Home Furnishings\Furniture\Seating\Chair  Search this

Nature & Environment\Plant\Flower\Flowers  Search this

Costume\Jewelry\Watch  Search this

Home Furnishings\Furniture\Seating\Stool  Search this

Home Furnishings\Dishes  Search this

Equipment\Culinary Equipment\Kitchen utensil  Search this

Interior\Kitchen  Search this

Home Furnishings\Faucet  Search this

Human Figures\Baby  Search this

Tony Hawk: Male  Search this

Tony Hawk: Sports and Recreation\Athlete\Skateboarder  Search this

Portrait  Search this

Credit Line:

National Portrait Gallery, Smithsonian Institution

Object number:

NPG.2010.37

Restrictions & Rights:

Usage conditions apply

Copyright:

© 1999 Martin Schoeller

See more items in:

National Portrait Gallery Collection

Data Source:

National Portrait Gallery

GUID:

http://n2t.net/ark:/65665/sm4c9c647d8-9f63-4cc3-bad2-e92ca1c8b254

EDAN-URL:

edanmdm:npg_NPG.2010.37

Artist:

Unidentified Artist  Search this

Sitter:

Richard Milhous Nixon, 9 Jan 1913 - 22 Apr 1994  Search this

Spiro Theodore Agnew, 9 Nov 1918 - 17 Sep 1996  Search this

Medium:

Color halftone poster on paper

Dimensions:

Sheet: 58.5 x 89cm (23 1/16 x 35 1/16")

Type:

Print

Date:

1970

Topic:

Costume\Headgear\Hat  Search this

Exterior  Search this

Poster  Search this

Vehicle\Motorcycle  Search this

Richard Milhous Nixon: Male  Search this

Richard Milhous Nixon: Law and Law Enforcement\Lawyer  Search this

Richard Milhous Nixon: Literature\Writer  Search this

Richard Milhous Nixon: Politics and Government\Vice-President of US  Search this

Richard Milhous Nixon: Military and Intelligence\Navy\Officer  Search this

Richard Milhous Nixon: Politics and Government\President of US  Search this

Richard Milhous Nixon: Politics and Government\US Senator\California  Search this

Richard Milhous Nixon: Politics and Government\US Congressman\California  Search this

Spiro Theodore Agnew: Male  Search this

Spiro Theodore Agnew: Business and Finance\Businessperson  Search this

Spiro Theodore Agnew: Law and Law Enforcement\Lawyer  Search this

Spiro Theodore Agnew: Politics and Government\Vice-President of US  Search this

Spiro Theodore Agnew: Politics and Government\Government official  Search this

Spiro Theodore Agnew: Literature\Writer\Novelist  Search this

Spiro Theodore Agnew: Politics and Government\Governor\Maryland  Search this

Spiro Theodore Agnew: Military and Intelligence\Army  Search this

Portrait  Search this

Credit Line:

National Portrait Gallery, Smithsonian Institution

Object number:

S/NPG.2006.37

Restrictions & Rights:

Usage conditions apply

Copyright:

© 1970 by Celestial Arts

See more items in:

National Portrait Gallery Collection

Data Source:

National Portrait Gallery

GUID:

http://n2t.net/ark:/65665/sm4cbfcd6f3-cf70-4cb7-832d-493f5f9d08f8

EDAN-URL:

edanmdm:npg_S_NPG.2006.37