Search Results

Creator:

Kraushaar Galleries  Search this

Kraushaar Galleries  Search this

Subject:

Wilson, Ralph L.  Search this

Fausett, Dean  Search this

Lasker, Joe  Search this

Murdock, Roland P.  Search this

Phillips, Duncan  Search this

Kuhn, Walt  Search this

Smith, Vernon  Search this

Robinson, Boardman  Search this

Lechay, James  Search this

Laurent, Robert  Search this

Hartell, John  Search this

Cantene, David  Search this

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

Kraushaar, Antoinette M.  Search this

Harrison, Preston  Search this

Heliker, John  Search this

Williams, Esther  Search this

Luks, George Benjamin  Search this

Glackens, Edith  Search this

Navas, Elizabeth S.  Search this

DeLonga, Leonard  Search this

Evett, Kenneth Warnock  Search this

Halberstadt, Ernst  Search this

Prendergast, Maurice Brazil  Search this

Morris, Carl  Search this

Ruellan, Andrée  Search this

Smalley, David  Search this

Flannery, Vaughn  Search this

Cowles, Russell  Search this

Penney, James  Search this

Beal, Gifford  Search this

Bacon, Peggy  Search this

Beal, Reynolds  Search this

Hardy, Thomas  Search this

Glackens, William J.  Search this

Prendergast, Charles  Search this

Demuth, Charles  Search this

Albrizio, Humbert  Search this

Lachaise, Gaston  Search this

Bignou, Etienne  Search this

Kirsch, Frederick D. (Frederick Dwight)  Search this

Sloan, John  Search this

Allard, J.  Search this

Bouché, Louis  Search this

Juley, Peter A.  Search this

Stanley, Alix W.  Search this

Arnest, Bernard  Search this

Brueming, Karen  Search this

Miller, Harriette  Search this

Kraushaar, John F.  Search this

Guillaume, Paul  Search this

Art Institute of Chicago  Search this

Toledo Museum of Art  Search this

Cleveland Museum of Art  Search this

Wichita Art Museum  Search this

Whitney Museum of American Art  Search this

New Britain Institute  Search this

Ernest Brown and Co.  Search this

Carnegie Institute  Search this

University of Nebraska--Lincoln  Search this

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

Type:

Photographs

Sketches

Drawings

Exhibition catalogs

Financial records

Notes

Sketchbooks

Topic:

Works of art  Search this

Art galleries, Commercial -- New York (State) -- New York  Search this

Art, American  Search this

Artists -- United States  Search this

Depressions -- 1929  Search this

Theme:

The Art Market  Search this

Art Gallery Records  Search this

Record number:

(DSI-AAA_CollID)7781

(DSI-AAA_SIRISBib)209946

AAA_collcode_kraugall

Theme:

The Art Market

Art Gallery Records

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_209946

Creator:

Park, Marlene, 1931-  Search this

Markowitz, Gerald E., 1944-  Search this

Park, Marlene, 1931-  Search this

Subject:

Palmer, William  Search this

Magafan, Ethel  Search this

Markowitz, Gerald E.  Search this

Reisman, Philip  Search this

Rothschild, Lincoln  Search this

Burchfield, Charles Ephraim  Search this

Refregier, Anton  Search this

Van Veen, Stuyvesant  Search this

Solman, Joseph  Search this

Sternberg, Harry  Search this

Walton, Marion  Search this

Alston, Charles Henry  Search this

Bolotowsky, Ilya  Search this

Barnet, Will  Search this

Brooks, James  Search this

Cadmus, Paul  Search this

Cronbach, Robt. (Robert M.)  Search this

Citron, Minna Wright  Search this

Gottlieb, Adolph  Search this

Gellert, Hugo  Search this

Bouché, Louis  Search this

King, Roy E.  Search this

Katz, Leo  Search this

Lanning, Edward P.  Search this

Kotin, Albert  Search this

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

United States  Search this

Type:

Sound recordings

Interviews

Transcripts

Photographs

Topic:

Federal aid to the arts  Search this

Theme:

Government Sponsorship of the Arts  Search this

Record number:

(DSI-AAA_CollID)6277

(DSI-AAA_SIRISBib)216622

AAA_collcode_parkmarl

Theme:

Government Sponsorship of the Arts

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_216622

Creator:

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

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

Subject:

Stella, Joseph  Search this

Warren, Whitney  Search this

Mauer, Alfred  Search this

Benson, Frank Weston  Search this

Blashfield, Edwin Howland  Search this

Zorach, William  Search this

Gay, Walter  Search this

Gussow, Bernard  Search this

Bouché, Louis  Search this

Cortissoz, Royal  Search this

Pan-American Exposition  Search this

Société des artistes français  Search this

Exposition d'artistes de l'école Américaine  Search this

American Rights Committee  Search this

American Artists' Committee of One Hundred  Search this

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

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

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

Type:

Scrapbooks

Photographs

Topic:

Harper's Weekly  Search this

New York Post  Search this

Art Exhibitions France Paris  Search this

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

Art, American  Search this

World War, 1914-1918 -- Civilian relief -- France  Search this

Theme:

Lives of American Artists  Search this

Record number:

(DSI-AAA_CollID)7476

(DSI-AAA_SIRISBib)209634

AAA_collcode_coffwill

Theme:

Lives of American Artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_209634

Former owner:

Phillips, Waite  Search this

Architect:

Delk, Edward Beuhler  Search this

Landscape architect:

Hare & Hare  Search this

Owner:

Philbrook Museum of Art  Search this

Collection Collector:

Marchand, Richard  Search this

Extent:

1 Slides (photographs)

Type:

Archival materials

Slides (photographs)

Postcards

Place:

United States of America -- Oklahoma -- Tulsa

Villa Philbrook (Tulsa, Oklahoma)

General:

Philbrook Museum of Art is located in Tulsa, Oklahoma at the former Waite Phillips estate. The museum housed in the Villa Philbrook, an Italianate mansion surrounded by of 25 acres of gardens. The estate was created for the wealthy oilman and philanthropist Waite Phillips (1883-1964) and his wife Genevieve Elliott Phillips (1887-1979) and their two children in 1926-1927. The gardens around the mansion were the result of a collaboration of the owners, the house's architect, and the firm of Hare & Hare, Landscape Architects & City Planners. To complement Delk's architectural designs, the garden design combined French, and English garden iconography with inspiration from Villa Lante, an Italian country estate by Giacomo Barozzi da Vignola in 1566. They followed Renaissance models with features such as formal gardens, cascading water feature, rock garden and pond terminated by a tempietto. The main emphasis was placed on the East Formal Garden, which was designed on axis with the villa's grand hall. The Italian preference for a predominately green palette was achieved with beds of English ivy, low hedges of Chinese privet, clipped spheres of bay or boxwood and tall red cedars chosen to mimic Italian cypress. Beyond the formal garden stretches a pastoral grove. Important to Genevie Philips was a scheme that featured plants native to the area. Specimens were collected from the native woods on the property, and used in along the flagstone walkways, in borders, and on slopes near house. Yuccas, cedars, dogwood, elder, and serviceberry were among the varieties incorporated into the Italianate design. Structures found throughout the gardens include the Tempietto, the Summer House built in 1933, fountains in the East Formal Garden, the grotto, and a fireplace.

To design their home, the Philips commissioned a Kansas City architect, Edward Buehler Delk (1885–1956), as well as designing Villa Philmonte for their ranch in Cimarron, New Mexico, and the Philtower office building in downtown Tulsa. For Villa Philbrook, Delk interpreted the most fashionable styles of the day in his plans for the 72-room Italian Renaissance villa. It is situated high on the property, overlooking the gardens and to get the breezes in warmer months. The façade of the house is unpretentious with spare use of classical ornament. The house and grounds are linked by the addition of arches and windows, which frame views of the garden, as well as a loggia and terrace that overlooks the most formal of the gardens.

After only eleven years living at Philbrook, the Philips family donated the estate to the community to become Tulsa's first art museum. The house underwent major renovations, and the landscape architecture firm, Hare and Hare, were brought back in to work on the conversion of the gardens from private to public. In 1939 the Philbrook Art Museum (later Philbrook Museum of Art) opened to the public. The gardens were briefly used as a botanical garden concerned with the development, preservation and exhibition of native species to Oklahoma and the Southwest. From 2002-2004, Howell & Vancuren designed another major garden renovation with the support of the Philips family. The Philips also gave Villa Philmonte and the Philmont Ranch to the Boy Scouts of America, and today both institutions continue to serve their communities.

Contributions to the construction of Villa Philbrook were made by multiple craftspeople and artists including George Gibbs, Oscar Bach, Bertram Segar, Cooper & Gentiluomo, Edward F. Caldwell & Co., and Jørgen Dreyer.

Persons associated include: Waite and Genevieve Phillips (former owner), Edward Buehler Delk (architect), S. Herbert Hare of Hare & Hare, Landscape Architects & City Planners (landscape architect), Howell & Vancuren (landscape architects), and Philbrook Museum of Art, Inc. (owner).

Postcard circa 1930-1950.

Varying Form:

Also known as Philbrook Art Museum and Philbrook Museum of Art.

Collection Restrictions:

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

Collection Rights:

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

Topic:

Gardens -- Oklahoma -- Tulsa  Search this

Formal gardens  Search this

Parterres  Search this

Museums  Search this

Terraces  Search this

Groves  Search this

Naturalized plantings  Search this

Genre/Form:

Postcards

Collection Citation:

Smithsonian Institution, Archives of American Gardens, Richard Marchand historical postcard collection.

Sponsor:

The project to catalog postcards in this collection received Federal support from the Smithsonian Collections Care Initiative, administered by the National Collections Program.

Identifier:

AAG.MAR, File OK001

See more items in:

Richard Marchand historical postcard collection (35mm slides)

Richard Marchand historical postcard collection (35mm slides) / Oklahoma

Archival Repository:

Archives of American Gardens

EDAN-URL:

ead_component:sova-aag-mar-ref1703

Interviewee:

Romero, Frank, 1941-  Search this

Romero, Frank, 1941-  Search this

Interviewer:

Rangel, Jeffrey J.  Search this

Subject:

Almaraz, Carlos  Search this

Mugnaini, Joseph A.  Search this

Rocha, Roberto de la  Search this

Sanchez Luján, Gilbert  Search this

Sheets, Millard  Search this

Voulkos, Peter  Search this

Four (Art group)  Search this

Otis Art Institute  Search this

Type:

Sound recordings

Interviews

Topic:

Painters -- California -- Los Angeles -- Interviews  Search this

Mexican American artists  Search this

Latino and Latin American artists  Search this

Mexican American art  Search this

Street art  Search this

Mural painting and decoration -- 20th century -- California -- Los Angeles  Search this

Chicano art movement  Search this

Chicano artists  Search this

Theme:

Latino and Latin American  Search this

Record number:

(DSI-AAA_CollID)13587

(DSI-AAA_SIRISBib)216102

AAA_collcode_romero97

Theme:

Latino and Latin American

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_oh_216102

Interviewee:

Laigo, Val M., 1930-1992  Search this

Laigo, Val M., 1930-1992  Search this

Interviewer:

Nakane, Kazuko  Search this

Subject:

Bennett, Doug  Search this

Callahan, Kenneth  Search this

Chong, Fay  Search this

Dusanne, Zoe  Search this

Horiuchi, Paul  Search this

Jones, Quincy  Search this

Katayama, Mits  Search this

Nordness, Lee  Search this

Okada, Frank S. (Frank Sumio)  Search this

Orozco, José Clemente  Search this

Picasso, Pablo  Search this

Ritchie, Bill  Search this

Rivera, Diego  Search this

Siqueiros, David Alfaro  Search this

Tamayo, Rufino  Search this

Voorhees, Clark G. (Clark Greenwood)  Search this

Washington, James W.  Search this

Charles and Emma Frye Art Museum  Search this

Foster/White Gallery  Search this

Mexico City College  Search this

Seattle University  Search this

University of Washington  Search this

Type:

Sound recordings

Interviews

Topic:

Asian American art  Search this

Asian American artists  Search this

Computer Art  Search this

Filipino American art  Search this

Filipino American artists  Search this

Asian American painters  Search this

Asian American muralists  Search this

Muralists -- Mexico  Search this

Theme:

Asian American  Search this

Record number:

(DSI-AAA_CollID)12747

(DSI-AAA_SIRISBib)224926

AAA_collcode_laigo89

Theme:

Asian American

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_oh_224926

Interviewee:

Kaneko, Jun, 1942-  Search this

Kaneko, Jun, 1942-  Search this

Interviewer:

McInnes, Mary  Search this

Subject:

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

Type:

Sound recordings

Interviews

Topic:

Art -- Economic aspects  Search this

Asian American art  Search this

Asian American artists  Search this

Decorative arts  Search this

Asian American sculptors  Search this

Asian American ceramicists  Search this

Ceramicists -- Nebraska -- Interviews  Search this

Theme:

Asian American  Search this

Craft  Search this

Record number:

(DSI-AAA_CollID)12628

(DSI-AAA_SIRISBib)252375

AAA_collcode_kaneko05

Theme:

Asian American

Craft

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_oh_252375

Creator:

Taylor, Prentiss, 1907-1991  Search this

Taylor, Prentiss, 1907-1991  Search this

Subject:

Van Vechten, Carl  Search this

Landeck, Armin  Search this

O'Neill, Eugene  Search this

Hurston, Zora Neale  Search this

Kahlo, Frida  Search this

Field, Rachel  Search this

Stein, Gertrude  Search this

Toklas, Alice B.  Search this

Hughes, Langston  Search this

Robinson, Bill  Search this

Rivera, Diego  Search this

Robeson, Paul  Search this

Pinckney, Josephine  Search this

Van Doren, Mark  Search this

Golden Stair Press  Search this

American University (Washington, D.C.)  Search this

Society of Washington Printmakers (Washington, D.C.)  Search this

Type:

Photographs

Scrapbooks

Drawings

Writings

Sketchbooks

Prints

Sound recordings

Topic:

Lithography -- 20th century -- Washington (D.C.)  Search this

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

Art therapy  Search this

Harlem Renaissance  Search this

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

Theme:

Lives of American Artists  Search this

Record number:

(DSI-AAA_CollID)9232

(DSI-AAA_SIRISBib)211427

AAA_collcode_taylpren

Theme:

Lives of American Artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_211427

Creator:

Laigo, Val M., 1930-1992  Search this

Laigo, Val M., 1930-1992  Search this

Type:

Video recordings

Topic:

Asian American art  Search this

Asian American artists  Search this

Filipino American art  Search this

Filipino American artists  Search this

Asian American painters  Search this

Asian American muralists  Search this

Mural painting and decoration -- 20th century -- Washington (State) -- Seattle  Search this

Theme:

Asian American  Search this

Lives of American Artists  Search this

Record number:

(DSI-AAA_CollID)10455

(DSI-AAA_SIRISBib)213863

AAA_collcode_laigval

Theme:

Asian American

Lives of American Artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_213863

Creator:

Kanemitsu, Matsumi, 1922-1992  Search this

Kanemitsu, Matsumi, 1922-1992  Search this

Topic:

Abstract expressionism  Search this

Asian American art  Search this

Asian American artists  Search this

Japanese American art  Search this

Japanese American artists  Search this

Asian American painters  Search this

Artists -- California -- Los Angeles  Search this

Theme:

Asian American  Search this

Lives of American Artists  Search this

Record number:

(DSI-AAA_CollID)6482

(DSI-AAA_SIRISBib)215669

AAA_collcode_kanemats

Theme:

Asian American

Lives of American Artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_215669

Creator:

Henrion, Marilyn, 1932-  Search this

Henrion, Marilyn, 1932-  Search this

Topic:

Women artists  Search this

Decorative arts  Search this

Theme:

Craft  Search this

Women  Search this

Lives of American Artists  Search this

Record number:

(DSI-AAA_CollID)11099

(DSI-AAA_SIRISBib)243960

AAA_collcode_henrmari

Theme:

Craft

Women

Lives of American Artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_243960

Artist:

Nathan Benn, born 1950  Search this

Sitter:

George Nakashima, 24 May 1905 - 15 Jun 1990  Search this

Medium:

Inkjet print

Dimensions:

Image: 42.9 × 30.4 cm (16 7/8 × 11 15/16")

Sheet: 53.6 × 42.7 cm (21 1/8 × 16 13/16")

Type:

Photograph

Place:

United States\Pennsylvania\Bucks\New Hope

Date:

1977 (printed 2015)

Topic:

Interior  Search this

Costume\Jewelry\Bracelet  Search this

Costume\Dress Accessory\Belt  Search this

George Nakashima: Male  Search this

George Nakashima: Crafts and Trades\Craftsman\Furniture maker  Search this

Portrait  Search this

Credit Line:

National Portrait Gallery, Smithsonian Institution; gift of Nathan Benn

Object number:

NPG.2015.130

Restrictions & Rights:

Usage conditions apply

Copyright:

© 2015 Nathan Benn

See more items in:

National Portrait Gallery Collection

Data Source:

National Portrait Gallery

GUID:

http://n2t.net/ark:/65665/sm46a201b2a-4b48-4dee-bd9f-ce35ea84cb1e

EDAN-URL:

edanmdm:npg_NPG.2015.130

Artist:

Raymond Elman, born 1945  Search this

Sitter:

Jhumpa Lahiri, born 11 Jul 1967  Search this

Medium:

Photograph enhanced with oil pigment on paper adhered to canvas

Dimensions:

Stretcher: 101.6 × 152.4cm (40 × 60")

Type:

Mixed Media

Place:

United States\Massachusetts\Barnstable\Wellfleet

Date:

2012

Topic:

Costume\Jewelry\Necklace  Search this

Exterior\Waterscape\Seascape  Search this

Costume\Jewelry\Bracelet  Search this

Costume\Jewelry\Watch\Wrist watch  Search this

Jhumpa Lahiri: Female  Search this

Jhumpa Lahiri: Literature\Writer  Search this

Jhumpa Lahiri: Pulitzer Prize  Search this

Portrait  Search this

Credit Line:

National Portrait Gallery, Smithsonian Institution; gift of the artist

Object number:

NPG.2012.85

Restrictions & Rights:

Usage conditions apply

Copyright:

© Raymond Elman

See more items in:

National Portrait Gallery Collection

Data Source:

National Portrait Gallery

GUID:

http://n2t.net/ark:/65665/sm4cd80cfc0-cc8d-4a65-8bf8-a9078494d97d

EDAN-URL:

edanmdm:npg_NPG.2012.85

Artist:

Edward Jean Steichen, 27 Mar 1879 - 25 Mar 1973  Search this

Sitter:

Paul Robeson, 9 Apr 1898 - 23 Jan 1976  Search this

Medium:

Gelatin silver print

Dimensions:

Image/Sheet: 25.3 × 20.3 cm (9 15/16 × 8")

Mat: 55.9 × 40.7 cm (22 × 16")

Type:

Photograph

Date:

1933

Topic:

Interior  Search this

Home Furnishings\Furniture\Seating\Chair  Search this

Costume\Dress Accessory\Epaulet  Search this

Paul Robeson: Male  Search this

Paul Robeson: Performing Arts\Performer\Actor\Theater  Search this

Paul Robeson: Performing Arts\Performer\Musician\Singer  Search this

Paul Robeson: Society and Social Change\Reformer\Activist\Civil rights activist  Search this

Paul Robeson: Performing Arts\Performer\Actor\Movie  Search this

Portrait  Search this

Credit Line:

National Portrait Gallery, Smithsonian Institution

Object number:

NPG.85.17

Restrictions & Rights:

Usage conditions apply

Copyright:

© The Estate of Edward Steichen / Artists Rights Society (ARS), New York, NY

See more items in:

National Portrait Gallery Collection

Data Source:

National Portrait Gallery

GUID:

http://n2t.net/ark:/65665/sm43c9b9720-46f2-4c58-bc63-c27df157cf82

EDAN-URL:

edanmdm:npg_NPG.85.17

Artist:

Edward Biberman, 23 Oct 1904 - 27 Jan 1986  Search this

Sitter:

Lena Calhoun Horne, 30 Jun 1917 - 9 May 2010  Search this

Medium:

Oil on canvas

Dimensions:

Stretcher: 129.5 x 78.7 x 2.5cm (51 x 31 x 1")

Frame: 146.1 x 95.3 x 5.1cm (57 1/2 x 37 1/2 x 2")

Type:

Painting

Place:

United States\California\Los Angeles\Los Angeles

Date:

1947

Topic:

Costume\Jewelry\Necklace  Search this

Costume\Jewelry\Earring  Search this

Music\Musical instrument\Piano  Search this

Costume\Dress Accessory\Flower\Corsage  Search this

Lena Calhoun Horne: Female  Search this

Lena Calhoun Horne: Performing Arts\Performer\Actor\Theater  Search this

Lena Calhoun Horne: Society and Social Change\Reformer\Activist\Civil rights activist  Search this

Lena Calhoun Horne: Performing Arts\Performer\Actor\Movie  Search this

Lena Calhoun Horne: Performing Arts\Performer\Musician\Singer\Popular  Search this

Lena Calhoun Horne: Performing Arts\Performer\Actor\Television  Search this

Portrait  Search this

Credit Line:

National Portrait Gallery, Smithsonian Institution

Object number:

NPG.85.2

Restrictions & Rights:

Usage conditions apply

Copyright:

© 1947 Edward Biberman

See more items in:

National Portrait Gallery Collection

Exhibition:

Bravo!

On View:

NPG, South Gallery 321 Mezzanine

Data Source:

National Portrait Gallery

GUID:

http://n2t.net/ark:/65665/sm4bf670ac9-c8e1-4699-b0b9-abab2378fc88

EDAN-URL:

edanmdm:npg_NPG.85.2

Creator:

Hanbury, Una, 1904-1990  Search this

Names:

Royal Academy of Arts (Great Britain)  Search this

Saunders Sculpture International  Search this

Carson, Rachel, 1907-1964  Search this

Fuller, R. Buckminster (Richard Buckminster), 1895-  Search this

Gilpin, Laura  Search this

O'Keeffe, Georgia , 1887-1986  Search this

Oppenheimer, J. Robert, 1904-1967  Search this

Ripley, Sidney Dillon, 1913-2001  Search this

Segovia, Andrés, 1893-  Search this

Extent:

5.3 Linear feet

Type:

Collection descriptions

Archival materials

Photographs

Date:

1910-1994

Summary:

The papers of Una Hanbury measure 5.3 linear feet and date from 1910 to 1994, with the bulk of the material from 1966 to 1990. The collection documents the sculptor's career and the dispersal of her estate through business records, project files, subject files, printed material, and photographs. There is also a small amount of material relating to her personal life including correspondence with friends and family and photographs from various stages of her life.

Scope and Contents:

The papers of Una Hanbury measure 5.3 linear feet and date from 1910 to 1994, with the bulk of the material from 1966 to 1990. The collection documents the sculptor's career and the dispersal of her estate through business records, project files, subject files, printed material, and photographs. There is also a small amount of material relating to her personal life including correspondence with friends and family and photographs from various stages of her life.

Arrangement:

The collection is arranged into seven series.

Series 1: Personal Papers, 1926-1983 (Box 1; 4 folders)

Series 2: Business Records, 1965-1991 (Boxes 1-2; 1.2 linear feet)

Series 3: Project Files, 1961-1992 (Boxes 2-3; 1.8 linear feet)

Series 4: Subject Files, circa 1924-1985 (Box 4, OV 7; 1.0 linear feet)

Series 5: Estate of Una Hanbury, 1990-1994 (Boxes 4-5; 0.6 linear feet)

Series 6: Printed Material, 1926-1990 (Box 5; 0.4 linear feet)

Series 7: Photographs, 1910-1991 (Boxes 5-6, 0.3 linear feet)

Biographical / Historical:

Una Hanbury (1904-1990) was a sculptor in Washington, D.C. and Santa Fe, New Mexico. Hanbury was born in Middlesex, England, in 1904; the incorrect birth date of 1909 that she submitted to Who's Who and other biographical reference sources is cited in numerous published articles. Hanbury [née Rawnsley] exhibited artistic talent as a young child and received instruction from animal artist Frank Calderon. After graduation from London's Polytechnic School of Art, she studied for three years at the Royal Academy. Jacob Epstein was her most influential teacher.

Soon after completing her formal education, Una Rawnsley became Una Hanbury and devoted herself full-time to being a wife and mother. During World War II she left England for Bermuda and brought her family to the United States once the war was over. Hanbury settled in Washington, D.C., where she resumed her sculpting career, completing many large scale commissions for public buildings such as the Medical Examiners Building, Baltimore, and St. Mark's Lutheran Church, Springfield, Virginia, among others. She developed a fine reputation as a portrait sculptor, and commissions included busts of Rachel Carson, Enrico Fermi, Buckminster Fuller, Laura Gilpin, Richard Neutra, Georgia O'Keeffe, Robert Oppenheimer, S. Dillon Ripley, and Andrés Segovia. In addition, animals--particularly horses--were a favorite subject since childhood; sculptures were commissioned by several zoos, and horse portraits often were commissioned by owners.

In 1970, Una Hanbury relocated to Santa Fe, New Mexico, where she continued working well into old age and became a significant force in the art life of that region.

Provenance:

The Una Hanbury papers were donated to the Archives of American Art by the artist's daughter, Jillian Poole, in 1999 and 2006.

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.

Topic:

Portrait sculpture -- 20th century -- United States  Search this

Portrait sculpture, American  Search this

Women sculptors -- New Mexico  Search this

Animal sculptors -- Washington (D.C.)  Search this

Animal sculptors -- New Mexico  Search this

Animal sculpture  Search this

Sculptors  Search this

Women sculptors -- Washington (D.C.)  Search this

Genre/Form:

Photographs

Citation:

Una Hanbury papers, 1910-1994, bulk 1966-1990. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.hanbuna

See more items in:

Una Hanbury papers

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-hanbuna

Creator:

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

Names:

American Federation of Arts  Search this

Abbey, Edwin Austin, 1852-1911  Search this

Durand, Asher Brown, 1796-1886  Search this

Lanyon, Ellen  Search this

Ranger, Henry Ward, 1858-1916  Search this

Extent:

92.7 Linear feet

Type:

Collection descriptions

Archival materials

Drawings

Scrapbooks

Interviews

Date:

1817-2012

Summary:

The records of New York City's National Academy of Design measure 92.7 linear feet and date from 1817-2012. The records pertain to all three constituents of the tripartite organization consisting of the Academy, a membership body of artists founded in 1825; the school, founded at the same time to promote arts education; and the exhibition program, inaugurated in 1826. Extensive administrative records include minutes, committee files, director files, annual reports, constitutions, and correspondence and subject files of council officers. Exhibition records, also substantive, date to the Academy's first annual exhibition and include gallery and special exhibitions, as well as exhibitions at the Academy's museum, established in 1979. The collection also includes gifts and funding files, especially relating to endowments and prizes; membership records; National Academy Association records; Ranger Fund assignments; extensive files pertaining to the school's administration, courses of instruction, registrations, and attendance; twenty scrapbooks containing clippings and ephemera; Society of American Artists records; correspondence and ephemera from other organizations; transcripts from oral histories with Academy members; extensive photographic material documenting artists, members, the school, exhibitions, buildings, and artwork created by Academy members; artist files containing correspondence, writings, and sketches from those associated with the Academy; and assorted printed material and ephemera.

Scope and Contents:

The records of New York City's National Academy of Design measure 92.7 linear feet and date from 1817-2012. The records pertain to all three constituents of the tripartite organization consisting of the Academy, a membership body of artists founded in 1825; the school, founded at the same time to promote arts education; and the exhibition program, inaugurated in 1826. Extensive administrative records include minutes, committee files, director files, annual reports, constitutions, and correspondence and subject files of council officers. Exhibition records, also substantive, date to the Academy's first annual exhibition and include gallery and special exhibitions, as well as exhibitions at the Academy's museum, established in 1979. The collection also includes gifts and funding files, especially relating to endowments and prizes; membership records; National Academy Association records; Ranger Fund assignments; extensive files pertaining to the school's administration, courses of instruction, registrations, and attendance; twenty scrapbooks containing clippings and ephemera; Society of American Artists records; correspondence and ephemera from other organizations; transcripts from oral histories with Academy members; extensive photographic material documenting artists, members, the school, exhibitions, buildings, and artwork created by Academy members; artist files containing correspondence, writings, and sketches from those associated with the Academy; and assorted printed material and ephemera.

The Academy minutes and committee files consist of official, original, and transcribed proceedings for the council, annual, business, and some committee meetings, as well as related correspondence, reports, financial documents, notes, drafts, and ballots pertaining to the Academy's administration and activities from its 1825 founding until 2006. As an organization actively engaged in the development of art and art education in the United States, the Academy minutes and committee files are a valuable resource on subjects and topics in the Academy's history; in particular, its founding, administration, school, and exhibition program.

Director files date from 1942-1990 and document the activities of four of the Academy's chief administrators, including Vernon Porter (1950-1966), Earl Tyler (1966-1967), Alice Melrose (1967-1977), and John H. Dobkin (1978-1990). Items include correspondence, memoranda, minutes, and printed material.

Annual reports, dating from 1828-2003, summarize the activities of the Academy over the course of a year, and may include presidents' reports, treasurers' reports, audits of financial operations by public accountants, and printed annual reports containing summaries from multiple council officers. Information pertains to the year's activities including finances, exhibitions, membership, the school, committee activities, awards, and other business.

Academy constitutions date from 1826-2012 and include the printed constitutions and by-laws as well as constitutional proposals. Constitutions and by-laws name the current council officials, professors, academicians, associates, and honorary members, and state the mission and guidelines for operation in regards to membership, officers, annual meetings, elections, school, exhibitions, and how the constitution can be amended or altered. Constitutional proposals contain amendment drafts, alterations, and related correspondence.

Council officer files, dating from 1848-1980, contain the correspondence and subjects files of Academy officers—presidents, vice presidents, corresponding secretaries, and treasurers—concerning all matters of Academy business and operations including membership, gifts and funds, the federal charter, exhibitions, juries, the school, scholarships, committee affairs, anniversaries, publicity, administrative matters, resignations, and relationships with other organizations.

General administrative files date from 1825-1982 and include ledgers, certificates, correspondence, and legal documents pertaining to the Academy's founding, building, financial accounts, art collection, and other administrative matters.

Exhibition files, dating from 1826-2003, document the Academy's long exhibition history and includes annual, gallery, special, and museum exhibitions. Files may include exhibition catalogs, photographs, press clippings, sales records, and correspondence related to jury selection, awards and prizes, and logistical planning. Files pertaining to the Academy's annual exhibitions comprise a bulk of the series. Held since 1826, the Annuals were organized and curated by Academy members, and considered to be an important and sweeping survey of contemporary American art.

Gifts and funding files date from 1860-2009 and include financial documents, ledgers, legal material, and correspondence concerning the bequests, endowments, donations, and other gifts that financed the operations of the Academy and school. A significant number of records pertain to the Abbey Trust Fund and the Archer M. Hunting Fund.

Membership files, 1826-2012, document Academy members, honorary members, fellows, and the nominations and elections whereby members were voted into the Academy. Materials include registers, certificates, nomination ledgers and proposals, candidate biographies, and ballots.

The National Academy Association files date from 1911-1959 and contain a constitution, plan, and agreement, as well as correspondence, meeting minutes, and reports for the Association, incorporated in 1912 with the aim to erect a building shared by several New York art societies. At the time of incorporation, the Association consisted of members from the National Academy of Design, American Water Color Society, American Institute of Architects, Architectural League of New York, New York Water Color Club, National Sculpture Society, Municipal Art Society, Society of Beaux-Arts Architects, Mural Painters, Society of Illustrators, and a number of city representatives and citizens.

The Ranger Fund assignment files, 1919-2008, document the distribution of artworks by living American artists to institutions throughout the United States, in accordance with the will of Henry Ward Ranger. The Ranger Fund was initiated to stimulate public interest in the work of contemporary American painters in 1919, when the Academy received a bequest from Henry Ward Ranger, totaling $400,000. Ranger stated in his will that the capital should be invested and the income used as a purchase fund to facilitate gifts of paintings by living American artists to arts institutions throughout the United States. Files document the assignment of particular works of art to institutions through the official agreement, related correspondence, and in some instances, photographs of the artwork.

Extensive school records, dating from 1826-2008, contain administrative files, enrollment records, course files, student affairs files, and printed material documenting all aspects of the school's activities aligned with the Academy's mission to educate aspiring professional artists. A bulk of this series consists of student course registrations, documented in registers, then on index cards beginning in the 1930s. While information collected varied over the decades, registrations document student names and the year, and may additionally include course name, instructor, and cost.

Twenty Academy scrapbooks document the organization's activities from 1828-1939 and include clippings and ephemera. Three of the scrapbooks are devoted to specific topics, including one for the Society of American Artists, one for both the Society of American Artists and the Society of American Fakirs, and one for the Academy's centennial exhibition.

The Society of American Artists files, 1878-1906, document the formation of the Society as a departure from the Academy in 1877, its independent operations and activities, and its eventual consolidation with the Academy in 1906. The Society's members have included Edwin Abbey, James Carroll Beckwith, Mary Cassatt, William Merritt Chase, Thomas Eakins, George Inness Jr., John La Farge, Albert Pinkham Ryder, among many others.

Files from other organizations date from 1817-1997 and may include correspondence, ledgers, and printed material. Many of these organizations had business with the Academy, and records pertain to events, meetings, and exhibitions. Notable organizations include the American Academy of Fine Arts, American Federation of Arts, American Watercolor Society, Art Students League, Fine Arts Federation of New York, Metropolitan Museum of Art, New York Etching Club, Pennsylvania Academy of Fine Arts, and Salmagundi Club.

Oral history transcripts date from 2002-2007. Eight comprehensive interviews, conducted by Avis Berman for the Academy, are with Academy members and cover all aspects of the artists' lives, including family, early life, beginning career, mentors, contemporaries, influences, patrons, awards, residencies, as well as the artists' relationship with the Academy. The interview transcripts provide first-hand accounts of the organization, particularly from circa 1940 up to the time of the interview. Artists interviewed include Will Barnet, Hyman Bloom, Richard Haas, Ellen Lanyon, Jules Olitski, Bernard Olshan, Paul Resika, and Dorothea Rockburne.

Photographic material, dating from 1845-2010, includes a wide variety of formats and processes including 19th and 20th photographic prints, glass plate negatives, copy prints, contact sheets, slides, and 35mm negatives. Subjects include artists and others associated with the Academy, the school, exhibitions and events, Academy buildings, artwork, and reference photographs. Many 19th century photographs contain descriptive annotations. Supplementary inventories and guides prepared by Academy archivists are scattered throughout the series.

Artist files date from 1826-2004 and include the correspondence, writings, manuscripts, diaries, exhibition catalogs, and clippings of many notable artists involved with the Academy, including Asher B. Durand and Rembrandt Peale. Of particular note are two notebooks Durand gifted to the Academy, both containing notes and sketches from anatomy lectures.

While printed material is scattered throughout, the final series collects a small number of additional announcements, brochures, clippings, illustrations, and other ephemera not filed in other series.

Arrangement:

The collection is arranged as nineteen series.

Series 1: Minutes and Committee Files, 1825-2006 (11.5 linear feet; Boxes 1-11, BV 100-106)

Series 2: Director Files, 1942-1990 (0.5 linear feet; Box 11)

Series 3: Annual Reports, 1828-2003, circa 2010 (2.1 linear feet; Boxes 11-13, OV 139-142)

Series 4: Constitutions, 1826-2012 (1.1 linear feet; Boxes 13-14)

Series 5: Council Officers, 1848-1980 (4 linear feet; Boxes 14-18)

Series 6: General Administration, 1825-1982 (0.6 linear feet; Boxes 18, 126)

Series 7: Exhibitions, 1826-2003, 2008 (14.4 linear feet; Boxes 18-33)

Series 8: Gifts and Funding, 1860-2009 (4.1 linear feet; Boxes 33-37)

Series 9: Membership, 1826-2012 (3.4 linear feet; Boxes 37-39, 127-131)

Series 10: National Academy Association, 1911-1959 (0.4 linear feet; Box 39)

Series 11: Ranger Fund Assignments, 1919-2008 (4.3 linear feet; Boxes 39-44)

Series 12: School, 1826-2008 (28.5 linear feet; Boxes 44-56, 68-99)

Series 13: Scrapbooks, 1828-1939 (4 linear feet; Box 56, BV 107-125)

Series 14: Society of American Artists, 1878-1906 (0.8 linear feet; Boxes 56-57)

Series 15: Other Organizations, 1817-1997 (1.8 linear feet; Boxes 57-59, 131)

Series 16: Oral History Transcripts, 2002-2007 (0.7 linear feet; Box 59)

Series 17: Photographic Material, 1845-2010 (6.1 linear feet; Boxes 60-63, 131-138, OV 143-144)

Series 18: Artist Files, 1826-2004 (3.5 linear feet; Boxes 63-66)

Series 19: Printed Material, 1839-1954 (0.4 linear feet; Boxes 67, 131, OV 145)

Biographical / Historical:

The National Academy of Design (1825- ) based in New York City, is a tripartite organization consisting of a membership body of artists, a school, and an exhibition program. The Academy was founded in 1825 by a group of professional artists with the mission to promote the fine arts in America through exhibition and education. Originally named the New York Drawing Association, the Academy was the first organization in the United States established and managed by professional artists. Samuel F.B. Morse, the Academy's first president, was influenced by the organization of the Royal Academy in London, which was comprised of professional artist members and elected government council, an art school, and a venue for exhibitions. After unsuccessful negotiations to unite with the American Academy of Fine Arts, the New York Drawing Association reformed as the National Academy of The Arts of Design on January 19, 1826. Among the founders were mostly young artists who became prominent figures in American art, including Frederick S. Agate, Thomas Cole, Thomas S. Cummings, Asher B. Durand, John Frazee, Charles C. Ingham, Henry Inman, Gerlando Marsiglia, Samuel F. B. Morse, Samuel L. Waldo, and Charles Cushing Wright.

The first Academy members were elected in January 1826, and levels of membership were established shortly thereafter. Originally there were four levels of Academy membership: associates, academicians, artists, and honorary corresponding members. The category of artists was eliminated in 1829, and the honorary member category, established to recognize American artists living outside New York, distinguished foreign artists, and patrons and friends of the Academy, was eliminated in 1862 (the constitution was not amended with this change until 1896). Since 1869, the residency requirement for election to active membership was eliminated and membership was opened to all American artists. In 1920, the classification of honorary corresponding member was re-introduced to recognize representatives of other national academies. With the 1997 constitution, the honorary corresponding member classification was again eliminated, and in 1994 the associate category was eliminated.

Artists are proposed for membership by academicians through the membership committee and are elected for life by a sixty percent majority, based on recognized excellence and significant contributions to the field. Procedures and rules for nominating and choosing new academicians changed over the years, as detailed in the constitutions. Associates were at one time required to present a portrait of themselves upon election and academicians were required to provide an additional representative work upon election. With the elimination of the category of associate in 1994, only one representative work is currently required. These works of art become part of the Academy's permanent collection.

The original classes of professional artists were painting, sculpture, architecture, and engraving. These professional classes were modified over the years. In 1936 the engraving class was made more comprehensive, including all of the graphic arts. Watercolor was added as a class in 1943 and was codified in the 1945 constitution. However, the division into five distinct classes started to create difficulties in how specific works of art were to be categorized. In 1981 the council eased the rules regarding separate media classification so that members could submit a work in any medium to the annual exhibitions regardless of the class to which they had been elected. The constitution of 1994 restated four professional classes—painting, sculpture, graphics, and architecture—which were further reduced in the 2011 constitution to two: visual arts and architecture.

Until 2009, the governing body of the Academy was the council. The seven officers of the council were president, vice-president, treasurer, assistant treasurer, corresponding secretary, assistant corresponding secretary and recording secretary, all of whom were required to be academicians. In 2009, a new constitution provided for a board of governors, replacing the council. The five officers of the board of governors are chair, vice-chair, president, vice-president, and treasurer. Only the offices of president and vice-president are required to be held by academicians.

Central to the Academy's mission, the school began with an anatomy lecture for the New York Drawing Association, delivered by Dr. Frederick G. King in November 1825. The first drawing session took place in November 1826 in the Old Alms House at City Hall Park with two academicians and twenty students. In the school's early years, professional artists met with students to draw from plaster casts of antique sculpture in the academic tradition. Both lectures and studio training were central the school's early curricula. Life classes, the practice of drawing from live models, were introduced in 1837, but only to advanced male students. A life class for women was not instituted until 1857, even though women were allowed membership to the Academy since its beginning. Due to financial difficulties at the Academy, the school was forced to move locations and shut down its operations for extended periods. Mounting dissatisfaction and frustration led several students and Lemuel E. Wilmarth, one of the school's leaders and first full-time professional instructor, to leave the Academy in 1875 and form a new school, the Art Students League. While charging tuition was unpopular, the Academy realized that it was necessary to ensure the school's sustainability, and implemented fee structures with varying success over the second half of the 19th century and first half of the 20th. Eventually, tuition was established by 1951, when the school was reopened at a new location, 5th Avenue and 89th Street.

Exhibitions have always been an important activity for the Academy, even prior to the opening of the National Academy Museum in 1979. Since 1826, the Academy has held annual exhibitions intended to reflect contemporary art currents in America. Any American artist was eligible to submit work to be reviewed by a jury of selection, comprised of academicians. Throughout the 19th century, the annual exhibitions at the Academy were one of the most significant and influential in the country. The selection process for these exhibitions was a critical topic, at times actively discussed in the press, and continually undergoing modification and change. In addition to the Annuals, the galleries of the Academy were often rented or loaned to outside organizations such as the American Watercolor Society, Audubon Artists, and the National Association of Women Artists. The galleries also mounted special exhibitions curated by its members and hosted a certain number of travelling exhibitions organized by other museums or art organizations. The museum, opened in 1979, hosted and presented major exhibitions, many focusing on historic European subjects.

Official Names of the Academy 1825-2017

1825 -- The New York Drawing Association

1826 -- The National Academy of The Arts of Design

1828 -- The National Academy of Design

1997 -- The National Academy Museum and School of Fine Art

2017 -- The National Academy of Design

National Academy of Design Meeting, Exhibition, and School Locations

1826 -- Old Alms House at City Hall Park in lower Manhattan

1827-1830 -- Chambers Street over the Arcade Baths

1831-1840 -- Corner of Nassau and Beckman Streets, the Mercantile Library on the third floor of Clinton Hall

1841 to 1849 -- 346 Broadway (at Leonard Street), the third and fourth floors of the New York Society Library

1850-1854 -- 663 Broadway, where the Academy erected a suite of six galleries

1855-1856 -- 548 Broadway (over Dr. Chapin's Church)

1857 -- 663 Broadway

1858-1861 -- 10th Street and 4th Avenue, the upper floor of a building

1861-1863 -- 625 Broadway, the Institute of Art

1865-1899 -- 23rd Street and Fourth Avenue (now Park Avenue South)

1899-1940 -- 109th Street and Amsterdam Avenue; exhibition galleries at 215 West 57th Street

1940-2017 -- 1083 Fifth Avenue at East 89th Street

Provenance:

The bulk of the collection was donated by the National Academy of Design in 2018. The trustees' ledger book in series 6 was donated in 1979 by Warder Cadbury of the Adirondack Museum; it is unclear how Cadbury acquired the ledger. Microfilm reels 798-799 containing transcriptions of minutes were given to the Archives by Lois Fink in 1974.

Restrictions:

This bulk of 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.

Function:

Art Schools -- New York (State) -- New York

Arts organizations -- New York (State) -- New York

Genre/Form:

Drawings

Scrapbooks

Interviews

Citation:

National Academy of Design records, 1817-2012. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.natiacad

See more items in:

National Academy of Design records

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-natiacad

Collection Creator:

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

Extent:

11.5 Linear feet (Boxes 1-11, BV 100-106)

Type:

Archival materials

Date:

1825-2006

Scope and Contents:

The National Academy of Design minutes and committee files consist of official, original, and transcribed proceedings for the council, annual, business, and some committee meetings, as well as related correspondence, reports, financial documents, notes, drafts, and ballots pertaining to the Academy's administration and activities from its 1825 founding until 2006.

As an organization actively engaged in the development of art and art education in the United States, the Academy minutes and committee files are a valuable resource on subjects and topics including the Academy's history; the formation, development, contents, and loans of its art collection; art and design education; Academy exhibits and public programs; relationships with other art and educational organizations in the United States and Europe, including Columbia University, New York University, National Arts Club, and many others; interactions with officials of the City of New York; the Academy's role in shaping the architectural and sculptural environment of New York City and Washington, DC; contemporary art movements and schools; the development of American art, and the integral role that Academy members, faculty, and students played in that development; the role of women artists at the Academy; and the Academy's involvement in the standardization of materials for painters and sculptors, such as analysis of colors in oil and pigments.

Official council minutes (subseries 1.1) have been approved by the appropriate governing body and consist of seven bound volumes of handwritten minutes and, after May 1894, unbound typewritten pages housed in folders and boxes. The official minutes were copied from the handwritten notes in bound books, identified as the original council minutes (subseries 1.2). Official minutes contain the proceedings of the council, officers, trustees, and committees, as well as related records inlaid or pasted among the pages. These items include council officers' reports, resolutions, correspondence, occasional drafts and notes, constitutions and by-laws for some of the early years, obituaries of Academy members, and other assorted materials. Gaps in the official minutes may be filled in or appear to be more complete in the original minutes.

Original council minutes (subseries 1.2) are the most original of the minutes and consist of handwritten notes in bound books, supposedly from draft notes taken during meetings. Minutes are comprised of the proceedings of the council, officers, trustees, and committees, and related material including drafts, notes, leaflets, brochures, and correspondence. The distinction between official and original minutes essentially disappeared after 1916. Minutes after 1916 are arranged in subseries 1.4.

The council minutes excerpts (subseries 1.3) are handwritten summaries of the Academy minutes, thought to have been prepared from 1915-1919 by the Academy librarian George W. Maynard. Occasionally, reports, loose notes (some of which might be initial draft notes from meetings), and bookmarks with short annotations presumably created in the late 1970s are included. Box 4, folder 10 contains handwritten committee reports, agreements, and other documents referred to in the council minutes, requested to be transcribed, but ultimately not transcribed. The excerpts for 1863-1878 were typed at some point and are included in this subseries. All excerpts are indexed: indices for the years 1825-1863 are included in their respective folders; an index for the years 1863-1909 is in box 3, folder 13; an index for the years 1909-1916 is in box 4, folder 11; and an index for the years 1916-1919 is in box 4, folder 16. The last folder contains correspondence related to the transcription project.

Minutes and reports (subseries 1.4) include proceedings for the council, annual, business, election, and committee meetings, as well as annual, financial, librarian, and committee reports. Committees include or have included the Abbey Fund, building, exhibition, executive, finance, membership, nominating, school, Ranger Fund, women's, and various ad-hoc committees. Over the years the structure, powers and duties of committees were modified. Occasional correspondence, notes, exhibition catalogues, and handwritten texts (mostly original drafts of minutes) are included. This is especially true for the period 1897-1913, when handwritten drafts and notes of minutes were more or less consistently incorporated with typewritten minutes in chronological order.

Committee files (subseries 1.5) contain the same types of materials found in subseries 1.4, including committee minutes, reports, and related material.

Arrangement:

The series is arranged as five subseries. The original order of the minutes and committee files have undergone several alterations over the years. Subseries 1.4 and 1.5 both contain extensive committee records. Minutes and reports (1.4) are arranged chronologically while committee files (1.5) have been arranged alphabetically.

1.1: Official Council Minutes, 1825-1916

1.2: Original Council Minutes, 1825-1898

1.3: Council Minutes Excerpts, 1902-circa 1919

1.4: Minutes and Reports, 1826-2001

1.5: Committees, 1826-2006

Collection Restrictions:

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

Collection Rights:

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

Collection Citation:

National Academy of Design records, 1817-2012. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.natiacad, Series 1

See more items in:

National Academy of Design records

Archival Repository:

Archives of American Art

EDAN-URL:

ead_component:sova-aaa-natiacad-ref1

Interviewee:

Romero, Frank  Search this

Interviewer:

Rangel, Jeffrey J.  Search this

Names:

Los Four (Art group)  Search this

Otis Art Institute -- Students  Search this

Almaraz, Carlos  Search this

Mugnaini, Joseph A.  Search this

Rocha, Roberto de la  Search this

Sanchez Luján, Gilbert  Search this

Sheets, Millard, 1907-1989  Search this

Voulkos, Peter, 1924-2002  Search this

Extent:

99 Pages (Transcript)

Type:

Collection descriptions

Archival materials

Pages

Sound recordings

Interviews

Date:

1997 January 17-March 2

Scope and Contents:

An interview of Frank Romero conducted 1997 January 17-March 2, by Jeffrey Rangel, for the Archives of American Art, in Romero's studio, in Los Angeles, Calif.

Romero discusses his growing up in East Los Angeles and his large extended family; his earliest art studies in the public schools; attending the Otis Art Institute where he studied with Joe Mugnaini and had contact with Millard Sheets and Peter Voulkos; the "very polyglut culture" of East Los Angeles; the influences of television, western movies, rock-and-roll, and rhythm and blues on his early musical/artistic taste; time spent in New York; returning to Los Angeles in 1969; and his marriage and family.

He describes his move into Carlos Almaraz's house which became the informal meeting place of the artist group Los Four (Almaraz, Romero, Gilbert Sanchez Lujan, and Roberto "Beto" de la Rocha); the Los Four show at the Los Angeles County Museum of Art in 1974; and the stylistic aesthetics of Los Four.

Romero describes the "boys club" nature of Chicano art centers; his contributions to the Chicano art movement; his relationship to the Chicano/Mexican culture and mainstream U.S. culture; murals done by members of Los Four for the Inner City Mural Program; his work for the Metropolitan Transit Authority; the Murals of Aztlan exhibit in 1981 at the Craft and Folk Art Museum; and his shows at the ARCO Center for the Visual Arts. He concludes with his assessment of the Chicano arts movement, the relationship between economic and art cycles, and the role of the more established artists to those of a younger generation.

Biographical / Historical:

Frank Romero (1941- ) is a painter from Los Angeles, Calif.

General:

Originally recorded on 5 sound cassettes. Reformatted in 2010 as 9 digital wav files. Duration is 4 hr., 27 min.

Provenance:

This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators. Funding for the interview provided by the Smithsonian Institution Latino Pool Fund.

Restrictions:

Transcript available on the Archives of American Art website.

Occupation:

Muralists -- California -- Los Angeles -- Interviews  Search this

Topic:

Painters -- California -- Los Angeles -- Interviews  Search this

Mexican American artists  Search this

Latino and Latin American artists  Search this

Mexican American art  Search this

Street art  Search this

Mural painting and decoration -- 20th century -- California -- Los Angeles  Search this

Chicano art movement  Search this

Chicano artists  Search this

Genre/Form:

Sound recordings

Interviews

Sponsor:

The digital preservation of this interview received Federal support from the Latino Initiatives Pool, administered by the Smithsonian Latino Center.

Identifier:

AAA.romero97

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-romero97

Creator:

Matsukata, Miye, 1922-1981  Search this

Names:

Art Asia Gallery  Search this

Fitchburg Art Museum  Search this

Haystack Mountain School of Crafts -- Students  Search this

Janiye (Firm)  Search this

Principia College -- Students  Search this

Hickey, Judy  Search this

Hubbard, James C.  Search this

Oka, Takashi, 1924-  Search this

Extent:

13.45 Linear feet

Type:

Collection descriptions

Archival materials

Diaries

Interviews

Photographs

Scrapbooks

Sketchbooks

Sketches

Sound recordings

Date:

circa 1900-1982

bulk 1964-1981

Summary:

The papers of jewelry designer and metalsmith Miye Matsukata measure 13.45 linear feet and date from circa 1900 to 1982, with the bulk of the material dating from 1964 to 1981.The papers include correspondence, interviews, journals, writings and lectures, exhibition files, Janiye business records, printed materials, scrapbooks, artwork, sketchbooks, and photographic materials that document Matsukata's work as a jeweler and owner of Janiye, an atelier located in Boston, Massachusetts.

Scope and Contents:

The papers of jewelry designer and metalsmith Miye Matsukata measure 13.45 linear feet and date from circa 1900 to 1982, with the bulk of the material dating from 1964 to 1981.The papers include correspondence, interviews, journals, writings and lectures, exhibition files, Janiye business records, printed materials, scrapbooks, artwork, sketchbooks, and photographic materials that document Matsukata's work as a jeweler and owner of Janiye, an atelier located in Boston, Massachusetts.

Correspondence is with family, James Hubbard, various customers, galleries, and colleagues. Interviews include recordings of Matsukata and Takashi Oka, Judy Hickey and Miyo, and two interviews from 1968.

Eleven journals contain Matsukata's writings about her work, travel experiences, impressions of Mikimoto, and include some sketches. Writings and lectures consists of five appointment books; biographical statements and resumes; essays; lecture recordings, manuscripts, and slides; twelve memo books; notes; two travel itinerary books; and writings by James Hubbard that include an essay about Matsukata.

Exhibition files consist of correspondence, price and invitations lists, loan forms, and drafts for jewelry shows at the Art Asia Gallery, Fitchburg Art Museum, Haystack Mountain School of Crafts, Principia College, and other galleries. Business files for Janiye include donations, financial and legal material, inventory books, publicity files, and sales records; and client and vendor files containing invoices, correspondence, and special order details for works produced by Matsukata and other jewelers at Janiye.

Printed materials include booklets, clippings, exhibition announcements and catalogs, an invitation, press releases, and Janiye sales catalogs. Two scrapbooks feature clippings and sketches of dinnerware, and early brochures and photographs of Janiye.

Artwork consists of sketches of jewelry, dinnerware, mountains, and landscapes. Additionally, 47 sketchbooks of travel, jewelry, and dinnerware are found in the collection. Photographic materials include photographs, negatives, slides, and several glass slides depicting Matsukata, her family, Janiye, jewelry and dinnerware, and travel.

Arrangement:

The collection is arranged as 11 series.

Series 1: Correspondence, 1957-1981 (0.4 linear feet; Box 1)

Series 2: Interviews, 1968-1978 (0.2 linear feet; Box 1)

Series 3: Journals, 1966-1981 (0.7 linear feet; Boxes 1-2)

Series 4: Writings and Lectures, 1962-1982 (1.0 linear feet; Boxes 2-3)

Series 5: Exhibition Files, 1964-1980 (0.3 linear feet; Box 3)

Series 6: Janiye Business Records, 1948-1982 (7.1 linear feet; Boxes 3-10, 17)

Series 7: Printed Material, circa 1965-1982 (0.2 linear feet; Box 10)

Series 8: Scrapbooks, circa 1945-1980 (0.2 linear feet; Box 15)

Series 9: Artwork, 1946-1981 (0.5 linear feet; Boxes 10, 15)

Series 10: Sketchbooks, circa 1950-1981 (1.0 linear feet; Boxes 10-11, 15)

Series 11: Photographic Material, circa 1900-1982 (2.3 linear feet; Boxes 11-14, 16)

Biographical / Historical:

Miye Matsukata (1922-1981) was a Japanese American jewelry designer and metalsmith based in Boston, Massachusetts. She worked at her jewelry firm Janiye in Boston from 1950 to her death.

Matsukata was born in Japan to Shokuma and Miyo Matsukata and had four sisters named Haru, Naka, Taneko "Tane," and Mari. After coming to the United States in 1940, Matsukata attended Principia College in Elsah, Illinois, graduating in 1944. Afterwards, she attended The Museum School in Boston. In 1950 she established Janiye, a jewelry atelier, with former classmates Naomi Katz Harris and Janice Whipple Williams. The name Janiye is a combination of the three co-owners' names. By 1958, Matsukata became the sole owner of the company with James Hubbard, a stone cutter, serving as business manager and agent. Nancy Michel, Alexandra Watkins, and Yoshiko Yamamoto became the leading team of jewelers to execute Matsukata's designs.

Matsukata traveled extensively to Egypt, Greece, Turkey, Peru, India, western and central Europe, and to Scandinavia after winning a scholarship in 1950. She also spent a substantial amount of time in Japan, especially during her collaboration with the Japanese pearl company Mikimoto. Her work was inspired by the places she visited and she often documented the sources of her inspiration through her writings and sketches.

Matsukata died in 1981 in Boston. Janiye remained open after her death with Michel and Watkins as the new owners.

Related Materials:

The Archives of American Art also holds several collections related to Miye Matsukata, including Photographs of Miye Matsukata, Slides of jewelry designed by Miye Matsukata, Alexandra S. Watkins papers concerning Miye Matsukata, Miye Matsukata note with sketch to Mrs. Bartlett, Jane England Chandler papers regarding Miye Matsukata necklace, and Photographs of Miye Matsukata jewelry.

Provenance:

The Miye Matsukata papers were donated in 1984 by Mrs. Edwin O. Reischauer, Matsukata's sister and in 2008 and 2017 by Ann Hubbard Gaddis, the sister of Matsukata's business partner and heir, James Hubbard.

Restrictions:

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

Occupation:

Jewelers -- Massachusetts -- Boston  Search this

Metal-workers  Search this

Artisans -- Massachusetts  Search this

Topic:

Decorative arts  Search this

Jewelry making  Search this

Jewelry  Search this

Asian American art  Search this

Asian American artists  Search this

Asian American women artists  Search this

Japanese American art  Search this

Japanese American artists  Search this

Japanese American women artists  Search this

Asian American jewelers  Search this

Asian American metal-workers  Search this

Women artists  Search this

Genre/Form:

Diaries

Interviews

Photographs

Scrapbooks

Sketchbooks

Sketches

Sound recordings

Citation:

Miye Matsukata papers, circa 1900-1982, bulk 1964-1981. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.matsmiye

See more items in:

Miye Matsukata papers

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-matsmiye