Search Results

Donor Name:

United States Exploring Expedition  Search this

Length - Feathers:

13 cm

Culture:

Tuamotuan  Search this

Object Type:

Headdress

Place:

Pukarua Atoll, Tuamotu Archipelago, France, Polynesia

Accession Date:

1858

Collection Date:

1838 to 1842

Topic:

Ethnology  Search this

Accession Number:

66A00050

USNM Number:

E3819-0

See more items in:

Anthropology

Data Source:

NMNH - Anthropology Dept.

GUID:

http://n2t.net/ark:/65665/3864bfea5-9bdd-40b7-bfe8-cdbf7dfdd8e6

EDAN-URL:

edanmdm:nmnhanthropology_8417569

Collector:

William Brackenridge  Search this

Donor Name:

United States Exploring Expedition  Search this

Length - Object:

34 cm

Height - Object:

14 cm

Culture:

Tuamotuan  Search this

Object Type:

Trumpet

Place:

Aratika Atoll, Tuamotu Archipelago, France, Polynesia

Accession Date:

1858

Collection Date:

1838 to 1842

Topic:

Ethnology  Search this

Accession Number:

66A00050

USNM Number:

E3825-0

See more items in:

Anthropology

Data Source:

NMNH - Anthropology Dept.

GUID:

http://n2t.net/ark:/65665/38c4a930d-b2f7-4474-a860-71ffed17c9e1

EDAN-URL:

edanmdm:nmnhanthropology_8417898

Collector:

Brig. Gen. James D. Glennan  Search this

Donor Name:

Frances Glennan  Search this

Culture:

Kiowa  Search this

Object Type:

Parfleche

Place:

Not Given, Oklahoma Territory, United States, North America

Accession Date:

14 Nov 1947

Topic:

Ethnology  Search this

Accession Number:

177672

USNM Number:

E385871-0

See more items in:

Anthropology

Data Source:

NMNH - Anthropology Dept.

GUID:

http://n2t.net/ark:/65665/311b63b29-e582-4c56-a85b-4c9d175cdc23

EDAN-URL:

edanmdm:nmnhanthropology_8419854

Collector:

Capt. John H. Aulick  Search this

Donor Name:

John Varden  Search this

Object Type:

Spearhead

Place:

Rurutu Island, Austral Islands, France, Polynesia

Accession Date:

1 Jan 1867

Collection Date:

Ca 1837

Topic:

Ethnology  Search this

Accession Number:

68A00002

USNM Number:

E5345-0

See more items in:

Anthropology

Data Source:

NMNH - Anthropology Dept.

GUID:

http://n2t.net/ark:/65665/370df2ee9-1753-48dc-92b2-6182b3d2d3ef

EDAN-URL:

edanmdm:nmnhanthropology_8468114

Collector:

James G. Swan  Search this

Donor Name:

James G. Swan  Search this

Culture:

Haida  Search this

Object Type:

Bark Peeler

Place:

British Columbia, Canada, North America

Accession Date:

21 Dec 1883

Topic:

Ethnology  Search this

Accession Number:

013804

USNM Number:

E88922-0

See more items in:

Anthropology

Data Source:

NMNH - Anthropology Dept.

GUID:

http://n2t.net/ark:/65665/30ecda3dc-e2e0-4ae7-8236-a463acad9e03

EDAN-URL:

edanmdm:nmnhanthropology_8485225

Donor Name:

Accession Number Unknown  Search this

Culture:

Zuni (A:shiwi)  Search this

Object Type:

Batten

Place:

Zuni, Zuni Reservation / Mckinley County, New Mexico, United States, North America

Topic:

Ethnology  Search this

Accession Number:

000000

USNM Number:

E127685-0

See more items in:

Anthropology

Data Source:

NMNH - Anthropology Dept.

GUID:

http://n2t.net/ark:/65665/33c516bf8-7628-418b-874c-28c805303c90

EDAN-URL:

edanmdm:nmnhanthropology_8334260

Collector:

John J. Wurdack  Search this

Joseph N. Rose  Search this

J. Marnier-Lapostolle  Search this

Ramón A. Ferreyra  Search this

Cleofe E. Calderón  Search this

Preparation:

pen and ink

Collection Date:

1897, 1962, 1931, 1961

Taxonomy:

Plantae Monocotyledonae Poales Bromeliaceae Pitcairnioideae

Published Name:

Pitcairnia billbergioides L.B. Sm.

Pitcairnia roseana L.B. Sm.

Pitcairnia micheliana André

Pitcairnia marnier-lapostollei L.B. Sm.

Pitcairnia calderonii Standl. & L.B. Sm.

Pitcairnia melanopoda L.B. Sm.

Other Numbers:

Botanical Art Plate Link : 2523

See more items in:

Botany

Non-specimen graphic

Botanical Art

Data Source:

NMNH - Botany Dept.

GUID:

http://n2t.net/ark:/65665/3184f08dd-4515-4db0-8469-0e2e74b516ee

EDAN-URL:

edanmdm:nmnhbotany_11118221

Biogeographical Region:

European Terrestrial  Search this

Collector:

Collector unknown  Search this

Type Citation:

Brébisson, L. A. de. 1835. Mem. Soc. Acad. Sci. Arts et Belle Lettres Falaise. 1835: 40, pl. IV (p.p.).

Type Status:

Isotype

Place:

France, Europe

Taxonomy:

Plantae Chlorophyta Chlamydomonadales Chlamydomonadaceae

Published Name:

Protococcus magma Bréb. in Bréb. & Godey

Anacystis montana

Barcode:

00164885

USNM Number:

140614

See more items in:

Botany

Algae

Type Register

Collection of Francis Drouet

Data Source:

NMNH - Botany Dept.

GUID:

http://n2t.net/ark:/65665/3d53ec528-99b8-497e-ae1e-740b942b3320

EDAN-URL:

edanmdm:nmnhbotany_2139538

Creator:

Sears, Thomas Warren, 1880-1966  Search this

Sears & Wendell  Search this

Olmsted Brothers  Search this

Harvard University  Search this

American Society of Landscape Architects  Search this

Donor:

Tibbetts, Eleanor Sears  Search this

Extent:

44.5 Cubic feet (4,317 glass negatives. 363 film negatives. 182 glass lantern slides. 12 photograph albums. 56 plans and drawings. 3 monographs. )

Type:

Collection descriptions

Archival materials

Negatives

Blueprints

Albums

Plans (drawings)

Lantern slides

Date:

1899-1964

Summary:

The Thomas Warren Sears Photograph Collection documents examples of the design work of Thomas Warren Sears (1880-1966), a landscape architect and amateur photographer from Brookline, Massachusetts. Sears, who was based for most of his career in Philadelphia, designed a variety of different types of landscapes ranging from private residences, schools, and playgrounds to parks, cemeteries, and urban housing developments located primarily in Pennsylvania, Maryland, and New York. In addition to some of Sears' design work, images in the collection document Sears' domestic and foreign travels, design inspirations, and family. The collection includes over 4,800 black and white negatives and glass lantern slides dated circa 1899 to 1930. While most images show private and public gardens, there are a significant number of unidentified views and views photographed in Europe during two trips he took there in 1906 and 1908. Few images are captioned or dated. In addition, there are over 50 plans and drawings, most notably for Balmuckety in Pikesville, Maryland and Reynolda in Winston-Salem, North Carolina, and 3 monographs by or about Sears.

Scope and Contents note:

The Thomas Warren Sears Photograph Collection documents examples of the design work of Thomas Warren Sears (1880-1966), a landscape architect and amateur photographer from Brookline, Massachusetts. Sears, who was based for most of his career in Philadelphia, designed a variety of different types of landscapes ranging from private residences, schools, and playgrounds to parks, cemeteries, and urban housing developments located primarily in Pennsylvania, Maryland, and New York. In addition to some of Sears' design work, images in the collection document Sears' domestic and foreign travels, design inspirations, and family. The collection includes over 4,800 black and white negatives and glass lantern slides dated circa 1899 to 1930. While most images show private and public gardens, there are a significant number of unidentified views and views photographed in Europe during two trips he took there in 1906 and 1908. Few images are captioned or dated. In addition, there are over 50 plans and drawings, most notably for Balmuckety in Pikesville, Maryland and Reynolda in Winston-Salem, North Carolina, and monographs by or about Sears. Several of the glass lantern slides are duplicates of glass plate negatives in the collection. They apparently were chosen by Sears to illustrate some of his best design work, perhaps for lecture or client purposes.

In addition, there are 56 plans and drawings, most notably for Balmuckety in Pikesville, Maryland and Reynolda in Winston-Salem, North Carolina. They range in date from 1917 to 1937 and from 1955 to 1964. Sears photographed some of his early plans; they are included in with the photographic images. Sears also photographed a handful of design plans by landscape architect Sibley Coslett Smith who practiced in Providence, Rhode Island; Sears and Smith shared the same business address there.

The Thomas Warren Sears Collection does not fully document the extent of Sears' design work. The use of glass plate negatives—which make up the bulk of the Thomas Warren Sears Collection—as a photography medium waned sometime during the first quarter of the twentieth century. As a result, the images in the Sears Collection capture examples of Sears' early to mid-career design work but they do not include jobs designed by Sears during the latter half of his design career.

Arrangement note:

The glass plate negatives were originally housed in numerous cardboard boxes manufactured for the sale of undeveloped glass plate negatives. Sears annotated the outside of the boxes with project or client names and/or locations, but the contents do not always match these labels. In addition, because very few of the glass plate negatives and lantern slides were labeled or captioned, it is not always evident where one job ended and another began if multiple projects were stored in the same carton. As a result, there are many instances in the Sears Collection where images have been inadvertently mislabeled because their identification is not apparent. Misidentified images are subject to correction as their proper identification is discovered. Each project has been assigned its own unique AAG job number based on its geographic origin. Those groups of images that have not been identified as to their location have been assigned a project number starting with 'SRS.' The collection is arranged into 3 series: 1) Photographic images (including glass plate negatives, film negatives, glass lantern slides, and photograph albums) 2) Plans and Drawings 3) Monographs

Biographical/Historical note:

Thomas Warren Sears was born in 1880 in Brookline, Massachusetts. He received a Bachelor of Arts degree from Harvard University in 1903 and Bachelor of Science degree in landscape architecture from the Lawrence Scientific School of Harvard in 1906. Sears was an amateur photographer who won awards for his photography while at Harvard. In 1915 his images were published in the monograph, Parish Churches of England. After graduation he worked for the firm of Olmsted Brothers Landscape Architects for two years and then briefly practiced in Providence, Rhode Island. In 1913, Sears established a landscape design office in Philadelphia, Pennsylvania where he spent the remainder of his professional career. Sears at one point was in a professional partnership; some of his design plans list the firm name of Sears and Wendell. He was made a Fellow of the American Society of Landscape Architects in 1921.

Sears designed many different types of landscapes ranging from private residences, schools, and playgrounds to parks, cemeteries, and urban housing developments. His designs were primarily located in Pennsylvania, Maryland, and New York. Just a few of his private landscapes include Marengo in Easton, Maryland; Sunnybrook, the Isaac H. Clothier, Jr. estate in Radnor, Pennsylvania; and Balmuckety in Pikesville, Maryland. In 1915, Sears started work on Reynolda, a country estate in Winston-Salem, North Carolina. He generated design plans for the property intermittently over the next two decades. Reynolda's formal gardens, greenhouses, and acres of fields and woodlands subsequently became part of Wake Forest University.

During World War I, Sears designed Army camps in Battle Creek, Michigan and Spartanburg, South Carolina. He also helped lay out Langley Field, at that time an experimental aviation field in Hampton Roads, Virginia. In the 1940s, Sears designed the amphitheater at Swarthmore College in Swarthmore, Pennsylvania for concerts, outdoor performances, and other special events. During that decade he also worked on Colonial Revival gardens at Pennsbury, William Penn's country estate in Bucks County, Pennsylvania located by the Delaware River. Sears retired in 1964 and died in 1966.

Related Archival Materials note:

The Philadelphia Architects and Buildings Project (PAB), administered by The Athenaeum of Philadelphia, includes references to design projects by Sears.

Harvard University's Loeb Library includes a number of images by Sears, some of them documenting gardens that he designed.

Harvard University's Fine Arts Library, Special Collections includes a collection of photographs and negatives of English parish churches by Sears, c. 1908. Some of the images were published in the monograph, Parish Churches of England.

The Reynolda House Museum of American Art in Winston-Salem, North Carolina includes plans by Sears of Reynolda in its Estate Archives.

Provenance:

Gift of Eleanor Sears Tibbetts, Sears' daughter, to the Horticulture Services Division (later Smithsonian Gardens) in 1992.

Restrictions:

Access to original archival materials 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.

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. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.

Topic:

Photographers  Search this

Landscape architects  Search this

Gardens -- United States  Search this

Gardens -- Switzerland  Search this

Gardens -- Scotland  Search this

Gardens -- Italy  Search this

Gardens -- Germany  Search this

Gardens -- France  Search this

Gardens -- England  Search this

Genre/Form:

Negatives

Blueprints

Albums

Plans (drawings)

Lantern slides

Citation:

Smithsonian Institution, Archives of American Gardens, Thomas Warren Sears photograph collection.

Identifier:

AAG.SRS

See more items in:

Thomas Warren Sears photograph collection

Archival Repository:

Archives of American Gardens

GUID:

https://n2t.net/ark:/65665/kb68e184341-59d2-4612-8886-4cc747c92bfe

EDAN-URL:

ead_collection:sova-aag-srs

Creator:

White, Charles (1918-1979)  Search this

Names:

Belafonte Enterprises  Search this

Heritage Gallery  Search this

Otis Art Institute  Search this

Barthé, Richmond, 1901-1989  Search this

Catlett, Elizabeth, 1915-2012  Search this

White, Frances Barrett  Search this

Extent:

12.9 Linear feet

Type:

Collection descriptions

Archival materials

Interviews

Sound recordings

Scrapbooks

Date:

1933-1987

bulk 1960s-1970s

Summary:

The papers of Los Angeles painter, printmaker, and educator, Charles W. White, measure 12.9 linear feet and date from 1933 to 1987, with the bulk of the material dating from the 1960s to the 1970s. The collection contains biographical material, including a sound recording of an interview with White; personal and professional correspondence; writings by White and others about his philosophy of art, his life, and career; professional files documenting White's participation in a variety of boards, committees, juries, symposiums, professional projects, and commissions; teaching files documenting White's tenure at Otis Art Institute; extensive printed material charting White's career from the 1930s until his death; scrapbooks primarily documenting his early career; and a small series of photographs.

Scope and Contents:

The papers of Los Angeles painter, printmaker, and educator, Charles W. White, measure 12.9 linear feet and date from 1933 to 1987, with the bulk of the material dating from the 1960s to the 1970s. The collection contains biographical material including a sound recording of an interview with White; personal and professional correspondence; writings by White and others about his philosophy of art, his life, and career; professional files documenting White's participation in a variety of boards, committees, juries, symposiums, professional projects, and commissions; teaching files documenting White's tenure at Otis Art Institute; extensive printed material charting White's career from the 1930s until his death; scrapbooks primarily documenting his early career; and a small series of photographs.

Biographical material includes documentation of awards received by White, biographical notes, resumes, White's high school report cards, interview transcripts and a sound recording of an interview, and records related to Elizabeth Catlett from the 1940s.

Correspondence includes scattered letters from family and friends but is primarily professional. White's correspondence was often conducted by Benjamin Horowitz and, occasionally, by Frances White, although some scattered original drafts of letters by White can also be found in this series. The series documents many aspects of White's career including: his relationship with Horowitz and Heritage Gallery as his representative; sales, loans, and exhibitions of White's artwork at many museums, galleries, and art institutions; the publication of his work in journals, magazines, and books, and it's use in the film and music industries; and his relationships with others in the arts and the entertainment industry including Richmond Barthé, Margaret Burroughs, Bing Davis, David Driskell, Lorraine Hansberry, and Harry Belafonte's company, Belafonte Enterprises.

Writings by White include two addresses made to the Annual Conference of Negro Artists, statements on his philosophy of art, and an autobiographical essay. Writings by others include drafts of Benjamin Horowitz's book Images of Dignity:The Drawings of Charles White.

White's professional activities are further documented through records related to the many boards, committees, and exhibition and art contest juries he served on, as well as lectures he delivered, and panels and symposiums he participated in. White's professional files also contain records relating to fellowships he received and document projects such as designs for books, films, and magazines.

White's teaching files primarily relate to Otis Art Institute and contain some records related directly to his work there as well as general faculty and board material. The records document, to some extent, White's role as spokesperson for the faculty and students during the transfer of the Otis charter to Parsons School of Design in 1979. Documentation of White's association with Howard University is minimal and includes letters related to his appointment and resignation in 1978-1979.

Gallery and exhibition files document specific solo and group exhibitions and include records on two visits White made to Germany in 1974 and 1978.

Printed material includes announcements, exhibition catalogs, articles in journals, magazines, and news clippings, and publications with artwork by White that provide extensive coverage of White's career from the 1930s to his death. Also found is printed material collected by White on other artists, and on subjects of interest to him.

Three disbound scrapbooks provide compilations of printed material and occasional letters further documenting White's career. A small series of photographs includes holiday card photos of White, Frances White, and their two children, and photos of White and others taken at a workshop in 1969.

Throughout the collection there are folders containing notes written by Frances White, circa 1980-1981, which provide important contextual information about people, organizations and subjects in the collection, and sometimes highlight the racism White encountered, particularly during his early career. The dates of these notes are not included in folder dates.

Arrangement:

The collection is arranged as nine series.

Series 1: Biographical Material, circa 1934-1979 (Box 1; 0.2 linear feet)

Series 2: Correspondence, 1937-1984 (Boxes 1-4, 13; 3.64 linear feet)

Series 3: Writings, 1936-circa 1981 (Boxes 4-5; 0.45 linear feet)

Series 4: Professional Activities, circa 1942-1982 (Boxes 5-6, 13, OV 15; 1.81 linear feet)

Series 5: Teaching Files, 1950-1979 (Boxes 6, 13; 0.72 linear feet)

Series 6: Gallery and Exhibition Files, 1946-1980 (Box 7, Box 14; 0.98 linear feet)

Series 7: Printed Material, 1933-1987 (Boxes 8-14, OVs 15-17; 4.8 linear feet)

Series 8: Scrapbooks, 1936-1970s (Box 12; 0.15 linear feet)

Series 9: Photographic Material, 1940-1976 (Box 12; 0.15 linear feet)

Biographical / Historical:

Painter, printmaker, and educator, Charles W. White (1918-1979), was a prominent figure in the Chicago Black Renaissance and became one of the most celebrated and influential African American artists of the twentieth century. Born and raised in Chicago, Illinois, White lived and worked in California beginning in 1956, and taught at the Otis Art Institute from 1965 until his death.

White began painting at a young age, earning first prize in a nationwide high school art contest. He studied at the School of the Art Institute of Chicago, where he was awarded a full scholarship, from 1937-1938. After graduating from the school, White worked as a muralist for the Illinois Federal Arts Project sponsored by the Works Progress Administration from 1939 to 1940. He then received two fellowships from the Julius Rosenwald Foundation in 1942 and 1943 and created the mural The Contribution of the Negro to American Democracy at the Hampton Institute. From 1943-1945 he taught at the George Washington Carver School in New York City, and was artist-in-residence at Howard University in Washington, D.C., in 1945.

White's first marriage to Elizabeth Catlett ended in divorce and he married Frances Barrett in 1950. The couple relocated to Los Angeles where White was represented by Benjamin Horowitz's Heritage Gallery. White was widely exhibited in Los Angeles, and at the Art Institute of Chicago, the Metropolitan Museum of Art, the Whitney Museum of American Art, the Newark Museum, the Santa Barbara Museum of Art, and elsewhere. Working primarily in black and white or sepia and white drawings, paintings, and lithographs, White's artwork was primarily figurative and depicted African American history, socio-economic struggles, and human relationships.

Charles White received a number of awards and honors and in 1972 he was the third African American artist to be elected a full member of the National Academy of Design.

Related Materials:

The Archives of American Art also holds the Charles W. and Frances White letters and photographs to Melvin and Lorraine Williamson, the Lucinda H. Gedeon research material on Charles W. White, and an oral history interview with Charles W. White conducted by Betty Hoag, March 9, 1965.

Separated Materials:

The Archives of American Art also holds microfilm of loaned materials (reels LA7 and 3099). Reel LA7 includes photographs of White, his work, and a career resume. Reel 3099 contains 31 items consisting of three travel diaries kept by Frances White, photographs and a recording of their trip to Russia in 1950, and 11 record album covers designed by Charles White. Loaned materials were returned to the lenders after microfilming and are not described in the collection container inventory.

Charles White's "Black Experience Archive," originally received with the papers, was donated to Howard University's Moorland-Springarn Research Center in 1985 at the request of Frances White.

Provenance:

Photographs on reel LA7 and material on reel 3099 were lent to the Archives of American Art for microfilming in 1965 and 1982, by Benjamin Horowitz, White's dealer, and by Frances White. Material on reel 2041 was donated by the George Arents Research Library, Syracuse University, 1976, who had originally received it from Horowitz. The remainder of the papers were donated by Charles White, 1975-1978, and after his death by Frances White and Benjamin Horowitz, 1981-1989.

Restrictions:

This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing audiovisual recordings 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:

Painters -- California -- Los Angeles  Search this

Printmakers -- California -- Los Angeles  Search this

Educators -- California -- Los Angeles  Search this

Topic:

African American artists  Search this

African American educators  Search this

African American painters  Search this

African American printmakers  Search this

Genre/Form:

Interviews

Sound recordings

Scrapbooks

Citation:

Charles W. White papers, 1933-1987. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Henry Luce Foundation. Funding for the digitization was provided by the Roy Lichtenstein Foundation and the Alice L. Walton Foundation.

Identifier:

AAA.whitchar

See more items in:

Charles W. White papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9280ca62a-d068-4695-872f-041df8333648

EDAN-URL:

ead_collection:sova-aaa-whitchar

Creator:

White, Charles, 1918-1979  Search this

Subject:

White, Frances Barrett  Search this

Catlett, Elizabeth  Search this

Barthé, Richmond  Search this

Heritage Gallery  Search this

Otis Art Institute  Search this

Belafonte Enterprises  Search this

Type:

Interviews

Sound recordings

Scrapbooks

Citation:

Charles W. White papers, 1933-1987, bulk 1960s-1970s. Archives of American Art, Smithsonian Institution.

Topic:

African American artists  Search this

African American educators  Search this

African American painters  Search this

African American printmakers  Search this

Theme:

Diaries  Search this

African American  Search this

Lives of artists  Search this

Record number:

(DSI-AAA_CollID)9350

(DSI-AAA_SIRISBib)211546

AAA_collcode_whitchar

Theme:

Diaries

African American

Lives of artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_211546

Interviewee:

Lanyon, Ellen, 1926-2013  Search this

Interviewer:

Crawford, James, 1944-  Search this

Subject:

Berdich, Vera  Search this

Blackshear, Kathleen  Search this

Buehr, George Frederick  Search this

Carleback, Julius  Search this

Ginzel, Roland  Search this

Grooms, Red  Search this

Hirsch, Joseph  Search this

Hoff, Margo  Search this

Lasansky, Mauricio  Search this

Rupprecht, Edgar A.  Search this

Schniewind, Carl Oscar  Search this

Watson, Dudley Crafts  Search this

Abercrombie, Gertrude  Search this

Golub, Leon  Search this

Ox-Bow Summer School of Painting  Search this

Art Institute of Chicago. School  Search this

Type:

Sound recordings

Interviews

Citation:

Quotes and excerpts must be cited as follows: Oral history interview with Ellen Lanyon, 1975 Dec. 5-1976 Jan. 18. Archives of American Art, Smithsonian Institution.

Topic:

Mural painting and decoration  Search this

Women artists  Search this

Women painters  Search this

Women printmakers  Search this

Women educators  Search this

Women muralists  Search this

Feminism and art  Search this

Theme:

Women  Search this

Chicago's Art-Related Archival Materials: A Terra Foundation Resource  Search this

Record number:

(DSI-AAA_CollID)11523

(DSI-AAA_SIRISBib)214174

AAA_collcode_lanyon75

Theme:

Women

Chicago's Art-Related Archival Materials: A Terra Foundation Resource

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_oh_214174

Culture/People:

probably Zapotec (archaeological culture) (attributed)  Search this

Collector:

Consul Martin, Non-Indian  Search this

Previous owner:

Eugene Boban, Non-Indian, 1834-1908  Search this

Eugene Goupil (Charles Eugène Espidon Goupil), Non-Indian, 1831-1896  Search this

Previous seller:

Eugene Boban, Non-Indian, 1834-1908  Search this

Eugene Goupil (Charles Eugène Espidon Goupil), Non-Indian, 1831-1896  Search this

Seller:

Galerie Charles Ratton  Search this

Seller agent:

Charles Ratton (Charles A. Ratton), Non-Indian, 1895-1986  Search this

MAI agent:

George Gustav Heye (GGH), Non-Indian, 1874-1957  Search this

Object Name:

Funerary urn

Media/Materials:

Pottery, paint

Techniques:

Modeled, appliquéd, perforated, painted

Dimensions:

28.5 x 33 x 71 cm

Object Type:

Ceremonial/Ritual items

Place:

Near Mitla; Mitla; San Pablo Villa de Mitla Municipality, Tlacolula District, Valles Centrales Region; Oaxaca State; Mexico

Geographical Areas:

Valley of Oaxaca

Date created:

AD 500-800 (Classic period)

Catalog Number:

19/5806

Barcode:

195806.000

See related items:

Zapotec (archaeological culture)

Ceremonial/Ritual items

Data Source:

National Museum of the American Indian

GUID:

http://n2t.net/ark:/65665/ws60b743083-e539-4287-aeae-17caa6caa464

EDAN-URL:

edanmdm:NMAI_209307

Culture/People:

Yanktonnai Nakota  Search this

Artist/Maker:

Oscar Howe (Mazuha Hokshina), Yanktonnai Nakota, 1915-1983  Search this

Seller:

Yolande Jacobson Sheppard (Mrs. J. Craig Sheppard), Non-Indian, 1921-1998  Search this

Previous owner:

Dr. Oscar Brousse Jacobson, Non-Indian, 1882-1966  Search this

Commissioner:

Dr. Oscar Brousse Jacobson, Non-Indian, 1882-1966  Search this

Title:

A Seminole chief, 1810

Object Name:

Painting

Media/Materials:

Paper, watercolor, ink

Techniques:

Painted

Dimensions:

30.5 x 40 cm

Object Type:

Painting/Drawing/Print

Place:

South Dakota; USA

Date created:

1948-1952

Catalog Number:

24/9014

Barcode:

249014.000

See related items:

Yanktonnai Nakota

Painting/Drawing/Print

Data Source:

National Museum of the American Indian

GUID:

http://n2t.net/ark:/65665/ws66d47d519-1c04-48d4-be24-40ac30bf6591

EDAN-URL:

edanmdm:NMAI_264940

Culture/People:

Yanktonnai Nakota  Search this

Artist/Maker:

Oscar Howe (Mazuha Hokshina), Yanktonnai Nakota, 1915-1983  Search this

Seller:

Yolande Jacobson Sheppard (Mrs. J. Craig Sheppard), Non-Indian, 1921-1998  Search this

Previous owner:

Dr. Oscar Brousse Jacobson, Non-Indian, 1882-1966  Search this

Commissioner:

Dr. Oscar Brousse Jacobson, Non-Indian, 1882-1966  Search this

Title:

A Hopi Bride, 1880

Object Name:

Painting

Media/Materials:

Paper, watercolor, ink

Techniques:

Painted

Dimensions:

30.1 x 43.5 cm

Object Type:

Painting/Drawing/Print

Place:

South Dakota; USA

Date created:

1948-1952

Catalog Number:

24/9029

Barcode:

249029.000

See related items:

Yanktonnai Nakota

Painting/Drawing/Print

Data Source:

National Museum of the American Indian

GUID:

http://n2t.net/ark:/65665/ws64bcd9373-84e2-477c-92f3-f5a077451dad

EDAN-URL:

edanmdm:NMAI_264955

Culture/People:

Yanktonnai Nakota  Search this

Artist/Maker:

Oscar Howe (Mazuha Hokshina), Yanktonnai Nakota, 1915-1983  Search this

Seller:

Yolande Jacobson Sheppard (Mrs. J. Craig Sheppard), Non-Indian, 1921-1998  Search this

Previous owner:

Dr. Oscar Brousse Jacobson, Non-Indian, 1882-1966  Search this

Commissioner:

Dr. Oscar Brousse Jacobson, Non-Indian, 1882-1966  Search this

Title:

A Dakota Woman, 1880

Object Name:

Painting

Media/Materials:

Paper, watercolor, ink

Techniques:

Painted

Dimensions:

30.1 x 43.7 cm

Object Type:

Painting/Drawing/Print

Place:

South Dakota; USA

Date created:

1948-1952

Catalog Number:

24/9030

Barcode:

249030.000

See related items:

Yanktonnai Nakota

Painting/Drawing/Print

Data Source:

National Museum of the American Indian

GUID:

http://n2t.net/ark:/65665/ws68ecce6ce-6fb4-41f5-9ea2-5d6834b5cf55

EDAN-URL:

edanmdm:NMAI_264956

Culture/People:

Yanktonnai Nakota  Search this

Artist/Maker:

Oscar Howe (Mazuha Hokshina), Yanktonnai Nakota, 1915-1983  Search this

Seller:

Yolande Jacobson Sheppard (Mrs. J. Craig Sheppard), Non-Indian, 1921-1998  Search this

Previous owner:

Dr. Oscar Brousse Jacobson, Non-Indian, 1882-1966  Search this

Commissioner:

Dr. Oscar Brousse Jacobson, Non-Indian, 1882-1966  Search this

Title:

Apache School Girl, 1948

Object Name:

Painting

Media/Materials:

Paper, watercolor, ink

Techniques:

Painted

Dimensions:

30.3 x 43.7 cm

Object Type:

Painting/Drawing/Print

Place:

South Dakota; USA

Date created:

1948-1952

Catalog Number:

24/9047

Barcode:

249047.000

See related items:

Yanktonnai Nakota

Painting/Drawing/Print

Data Source:

National Museum of the American Indian

GUID:

http://n2t.net/ark:/65665/ws6ca03718b-9382-4284-9a12-ef1a6d6c13f4

EDAN-URL:

edanmdm:NMAI_264973

Culture/People:

Yanktonnai Nakota  Search this

Artist/Maker:

Oscar Howe (Mazuha Hokshina), Yanktonnai Nakota, 1915-1983  Search this

Seller:

Yolande Jacobson Sheppard (Mrs. J. Craig Sheppard), Non-Indian, 1921-1998  Search this

Previous owner:

Dr. Oscar Brousse Jacobson, Non-Indian, 1882-1966  Search this

Commissioner:

Dr. Oscar Brousse Jacobson, Non-Indian, 1882-1966  Search this

Title:

Young Indian, 1950

Object Name:

Painting

Media/Materials:

Paper, watercolor, ink

Techniques:

Painted

Dimensions:

30.1 x 45.2 cm

Object Type:

Painting/Drawing/Print

Place:

South Dakota; USA

Date created:

1948-1952

Catalog Number:

24/9048

Barcode:

249048.000

See related items:

Yanktonnai Nakota

Painting/Drawing/Print

Data Source:

National Museum of the American Indian

GUID:

http://n2t.net/ark:/65665/ws6453317d6-c0a4-4637-9fca-f97f9ee11b43

EDAN-URL:

edanmdm:NMAI_264974

Creator:

Asch, Moses  Search this

Distler, Marian, 1919-1964  Search this

Folkways Records  Search this

Names:

Courlander, Harold, 1908-1996  Search this

Guthrie, Woody, 1912-1967  Search this

Jenkins, Ella  Search this

Leadbelly, 1885-1949  Search this

Ramsey, Frederic, 1915-1995  Search this

Seeger, Pete, 1919-2014  Search this

Extent:

841 Cubic feet

Type:

Collection descriptions

Archival materials

Business records

Correspondence

Phonograph records

Photographic prints

Audiotapes

Date:

1926-1986

bulk 1948-1986

Summary:

This collection, which dates from 1926-1986, documents the output of Moses Asch through the various record labels he founded and co-founded, and includes some of his personal papers. The Asch collection includes published recordings, master tapes, outtakes, business records, correspondence, photographs, and film.

Scope and Contents:

The Moses and Frances Asch Collection measures 841 cubic feet and dates from 1926-1987, with some contemporary, relevant correspondence, clippings, and ephemera added after 1987.

Most of the collection consists of audio recordings (commercial 78 rpm and long-playing records, open reel tapes, acetate discs, and test pressings), correspondence with recording artists and producers, artwork, photographs, ephemera, clippings, record production materials, writings, and business papers relating to Folkways Records. Materials relating to Folkways Records can be found primarily in the Correspondence, Folkways Production, Business Records, Photographs, Artwork, Sound Recordings, and Film series.

The collection also contains some biographical materials and personal correspondence, including materials related to Asch's first business, Radio Laboratories, located in the Biographical Materials series. Correspondence, ephemera, photographs, record production materials, business papers, and recordings relating to Asch's record labels before Folkways Records (Asch Recordings, Disc Company of America, Cub Records) are located in the Early Label Materials series as well as the Audio Recordings and Photographs series.

Arrangement note:

The collection is arranged in 10 series:

Series 1: Correspondence, 1942-1987

Series 2: Folkways Production, 1946-1987

Series 3: Business Records, 1940-1987

Series 4: Woody Guthrie papers, 1927-1985

Series 5: Early Label Materials, 1940-1949

Series 6: Biographical Materials, 1926-1987

Series 7: Photographs

Series 8: Artwork

Series 9: Audio Recordings

Series 10: Film

At this time, the collection is partially processed. Please contact rinzlerarchives@si.edu for more information.

Biographical/Historical note:

The son of Yiddish writer Sholem Asch, Moses Asch was born in Poland in 1905. His childhood was spent in Poland, France, Germany, and New York. While young, Asch developed an interest in radio electronics, which ultimately lead him to his life's work, recording the music and sounds of the world. He established several record labels in succession, sometimes partnering with other record companies. Two of his fist record companies, Asch Recordings and DISC Co. of America, went bankrupt. They were followed by his best-known label, Folkways Records, which was founded in 1948 with Marian Distler (1919-1964). He was still working on Folkways recordings when he died in 1986.

Folkways Records sought to document the entire world of sound. The 2,168 titles Asch released on Folkways include traditional and contemporary music from around the world, spoken word in many languages, and documentary recordings of individuals, communities, and current events. Asch's business practices revolved around the commitment to keep every recording issued by Folkways in print, despite low sales. Asch stayed afloat by cutting costs where he could (such as color printing) and offering a high-quality product, meticulously recorded and accompanied by extensive liner notes. In doing this, he could charge a slightly higher price than other commercial outfits. Despite a tenuous relationship with financial solvency, Folkways grew to be not only one of the most important independent record companies in the United States in the 20th century, but also one of the largest and most influential record companies in the world.

Moses Asch's record labels featured famous and lesser known American writers, poets, documentarians, ethnographers, and grass roots musicians on commercial recordings. American folk icon Woody Guthrie recorded on the Asch, Disc, and Folkways labels, and the Asch Collection includes some of his correspondence, lyrics, drawings, and writings. The collection also includes correspondence with other notable musicians and artists such as John Cage, Langston Hughes, Margaret Walker, Huddie "Lead Belly" Ledbetter, Pete Seeger, Peggy Seeger, Ewan MacColl, Alan Lomax, Henry Cowell, and Kenneth Patchen. Also in the collection are ethnographic field notes and photographs by as well as correspondence with Béla Barók, Sidney Robertson Cowell, Harold Courlander, Helen Creighton, Laura Boulton, and Samuel Charters. Asch hired various prominent artists and graphic designers including David Stone Martin, Ben Shahn, John Carlis, and Ronald Clyne to create album cover art for his recordings. Much of the original art and designs for these covers can be found in the Asch Collection.

Asch's output of recordings on various labels, including published recordings, open reel master tapes, outtakes, and acetate disks, in addition to his business papers, correspondence, photographs, and other files were acquired by the Smithsonian Institution in 1987. The collection came to the Smithsonian with the understanding that all 2168 titles under the Folkways label would be kept available in perpetuity.

Shared Stewardship of Collections:

The Center for Folklife and Cultural Heritage acknowledges and respects the right of artists, performers, Folklife Festival participants, community-based scholars, and knowledge-keepers to collaboratively steward representations of themselves and their intangible cultural heritage in media produced, curated, and distributed by the Center. Making this collection accessible to the public is an ongoing process grounded in the Center's commitment to connecting living people and cultures to the materials this collection represents. To view the Center's full shared stewardship policy, which defines our protocols for addressing collections-related inquiries and concerns, please visit https://doi.org/10.25573/data.21771155.

Provenance:

Ralph Rinzler arranged the Smithsonian's acquisition of the Moses and Frances Asch Collection in 1987, beginning with Asch before his death in 1986 and continuing with extensive discussions between Rinzler and the Asch family. Since its acquisition, archivist Jeff Place and others have added contemporary, relevant correspondence with Folkways artists and related individuals.

Restrictions:

Access to the Ralph Rinzler Folklife Archives and Collections is by appointment only. Visit our website for more information on scheduling a visit or making a digitization request. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies.

Rights:

Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.

Topic:

Folk music  Search this

Folk dance music  Search this

Electronic music  Search this

Oral interpretation of poetry  Search this

Oral interpretation of fiction  Search this

Music -- 20th century  Search this

Music -- 19th century  Search this

Music -- 18th century  Search this

Jazz  Search this

Folk music -- United States  Search this

World music  Search this

Sounds  Search this

Vocal music  Search this

Popular music -- 20th century -- United States  Search this

Genre/Form:

Business records

Correspondence

Phonograph records

Photographic prints

Audiotapes

Citation:

Moses and Frances Asch Collection, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.

Identifier:

CFCH.ASCH

See more items in:

Moses and Frances Asch Collection

Archival Repository:

Ralph Rinzler Folklife Archives and Collections

GUID:

https://n2t.net/ark:/65665/bk533b8a927-559a-44ac-98d2-f32d871058b4

EDAN-URL:

ead_collection:sova-cfch-asch

Interviewee:

Lanyon, Ellen  Search this

Interviewer:

Crawford, James, 1944-  Search this

Names:

Art Institute of Chicago. School  Search this

Ox-Bow Summer School of Painting  Search this

Abercrombie, Gertrude, 1909-1977  Search this

Berdich, Vera, 1915-2003  Search this

Blackshear, Kathleen, 1897-1988  Search this

Buehr, George Frederick, 1905-1983  Search this

Carleback, Julius  Search this

Ginzel, Roland, 1921-  Search this

Golub, Leon, 1922-2004  Search this

Grooms, Red  Search this

Hirsch, Joseph, 1910-1981  Search this

Hoff, Margo  Search this

Lasansky, Mauricio, 1914-  Search this

Rupprecht, Edgar A.  Search this

Schniewind, Carl Oscar, 1900-1957  Search this

Watson, Dudley Crafts, 1885-  Search this

Extent:

5 Sound tapes (5 in.)

229 Pages (Transcript)

Type:

Collection descriptions

Archival materials

Sound tapes

Pages

Sound recordings

Interviews

Date:

1975 Dec. 5-1976 Jan. 18

Scope and Contents:

Interview of Ellen Lanyon conducted 1975 December 5-1976 January 18 by James Crawford for the Archives of American Art.

Lanyon speaks of family background; interests in art and music and collecting objects and antiques; her early art education; remembrances of 1933 Chicago World's Fair; Art Institute of Chicago; Momentum group; Oxbow Summer School of Painting; her work and techniques; exhibitions; Institute of Design; marriage and move to University of Iowa; Iowa art department, Iowa print group; Fulbright to England; travel in France and Italy; return to Chicago; founding of graphic workshop; Hairy Who group; The Imagists; Seven and Up exhibitions; Red Grooms in Chicago; and commissions. She recalls George Buehr, Margo Hoff, Dudley Crafts Watson, Vera Berdich, Joseph Hirsch, Carl Schneiwind, Kathleen Blackshear, Mauricio Lasansky, Gertrude Abercrombie, Julius Carleback, Roland Ginzel, and Edgar Rupprecht. She also discusses her family; changes in medium and style of her artwork; symbolism, and feminism.

Biographical / Historical:

Ellen Lanyon (1926-2013) was a painter and printmaker from Chicago, Illinois.

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.

Restrictions:

This interview is open for research. Contact Reference Services for more information.

Occupation:

Muralists -- Illinois -- Chicago  Search this

Painters -- Illinois -- Chicago  Search this

Printmakers -- Illinois -- Chicago  Search this

Topic:

Mural painting and decoration  Search this

Women artists  Search this

Women painters  Search this

Women printmakers  Search this

Women educators  Search this

Women muralists  Search this

Feminism and art  Search this

Genre/Form:

Sound recordings

Interviews

Sponsor:

Funding for this interview was provided by Matilda Wilson. This interview received support from the Smithsonian American Women's History Initiative Pool.

Identifier:

AAA.lanyon75

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw97fd52325-f0b9-474d-b6fa-40cd5ed41bdd

EDAN-URL:

ead_collection:sova-aaa-lanyon75