Freer Research Fund [Impey], 1978-1983: Correspondence between Thomas Lawton, Richard Weatherhead, and Oliver Impey of The Ashmolean Museum about Impey's receipt of the Freer Research Fund and whether Impey, as recipient, satisfies the requirements/obl...
Container:
Box 6 of 23
Type:
Archival materials
Collection Citation:
Smithsonian Institution Archives, Accession 03-018, Freer Gallery of Art and Arthur M. Sackler Gallery, Central Files
- Handwritten caption, in pencil (probably by joseph Upton), on front cover reads: "Sasanian Seals."
- In Finding Aid, Joseph Upton's caption for N-21, p. 1 reads, "Ashmolean Museum, Two small bronze animals."
- In Finding Aid, Joseph Upton's caption for N-21, p. 2 reads, "Ashmolean Museum. Terra cotta figurine of goddess."
- In Finding Aid, Joseph Upton's caption for N-21, p. 3 reads, "Ashmolean Museum. Small gold crouching calf; stone (?) goat."
- In Finding Aid, Joseph Upton's caption for N-21, p. 4 reads, "Ashmolean Museum. Four stone weights from Kish."
- In Finding Aid, Joseph Upton's caption for N-21, p. 5 reads, "Ashmolean Museum. (?). Earrings."
- In Finding Aid, Joseph Upton's caption for N-21, p. 6 reads, "Ashmolean Museum. (?). Stone seal, Djamdat Nasr."
- In Finding Aid, Joseph Upton's caption for N-21, p. 7 reads, "British Museum. Lapis cylinder seal (10939) from Ur."
- In Finding Aid, Joseph Upton's caption for N-21, p. 8 reads, "British Museum. Mussel cylinder seal (10530) from Ur."
- In Finding Aid, Joseph Upton's caption for N-21, p. 9 reads, "British Museum. Gold earring from Ur."
- In Finding Aid, Joseph Upton's caption for N-21, p. 10 reads, "British Museum. Lapis amulet (10985) from Ur."
- In Finding Aid, Joseph Upton's caption for N-21, p. 11 reads, "Purchases in Baghdad from Th. Meymarian. Sept.28, 1930."
- In Finding Aid, Joseph Upton's caption for N-21, p. 12 reads, "Four Sasanian seals, one with inscription."
- In Finding Aid, Joseph Upton's caption for N-21, p. 13 reads, "Cylinder seal with cuneiform inscription; Nihavand jar."
- In Finding Aid, Joseph Upton's caption for N-21, p. 14 reads, "Reference to two Luristan bronzes in British Museum."
Arrangement:
In the original arrangement of the Ernst Herzfeld Archive, Notebooks were included in a larger body of diverse material acknowledged by Ernst Herzfeld as his study collection. In the early 1970s, Joseph Upton, for research purpose, rearranged the collection and created a specific series (Ernst Herzfeld Papers, Series 3: Notebooks, 1904-1946, 1957, n.d.) for 131 notebooks, including four ledgers and eight travel journals. Upton has given this notebook an accession number, N-21, related to the series he created for the notebooks, probably following Herzfeld's original organization.
Local Numbers:
Ernst Herzfeld Papers; N-21
FSA A.6 03.021
General:
- Title is provided by Xavier Courouble, FSg Archives cataloger, based on Joseph Upton's Catalogue of the Herzfeld Archive.
Collection Restrictions:
Collection is open for research.
Collection Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
- FSA A.6 03.023, on which Joseph Upton's classification mentions "N-23", provides Roman numbers related to illustration plates to possibly be published by the Oriental Institute of the university of Chicago as well as inventory numbers related to the archaeological site of Tal-i Bakun.
- In Finding Aid, Joseph Upton's caption for N-23 reads, "Arrangement of water-colors prehistoric pottery PPA for publication of Oriental Institute, Chicago. Persepolis."
Ernst Herzfeld Papers, Series 3: Notebooks; List of Publication Plates with Reconstruction of Pottery from Prehistoric Mound of Tal-i Bakun (PPA) (N-23)
Arrangement:
In the original arrangement of the Ernst Herzfeld Archive, Notebooks were included in a larger body of diverse material acknowledged by Ernst Herzfeld as his study collection. In the early 1970s, Joseph Upton, for research purpose, rearranged the collection and created a specific series (Ernst Herzfeld Papers, Series 3: Notebooks, 1904-1946, 1957, n.d.) for 131 notebooks, including four ledgers and eight travel journals. Upton has given this notebook an accession number, N-23, related to the series he created for the notebooks, probably following Herzfeld's original organization.
Local Numbers:
Ernst Herzfeld Papers; N-23
FSA A.6 03.023
General:
- Title is provided by Xavier Courouble, FSg Archives cataloger, based on Joseph Upton's Catalogue of the Herzfeld Archive.
Collection Restrictions:
Collection is open for research.
Collection Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
- In Finding Aid, Joseph Upton's caption for N-25 reads, "[Comparative study?] of certain Sanskrit words with Avestan, Greek and Latin."
Ernst Herzfeld Papers, Series 3: Notebooks; Comparative Study of Sanskrit Words with Avestan, Greek and Latin (N-25)
Arrangement:
In the original arrangement of the Ernst Herzfeld Archive, Notebooks were included in a larger body of diverse material acknowledged by Ernst Herzfeld as his study collection. In the early 1970s, Joseph Upton, for research purpose, rearranged the collection and created a specific series (Ernst Herzfeld Papers, Series 3: Notebooks, 1904-1946, 1957, n.d.) for 131 notebooks, including four ledgers and eight travel journals. Upton has given this notebook an accession number, N-25, related to the series he created for the notebooks, probably following Herzfeld's original organization.
Local Numbers:
Ernst Herzfeld Papers; N-25
FSA A.6 03.025
General:
- Title is provided by Xavier Courouble, FSg Archives cataloger, based on Joseph Upton's Catalogue of the Herzfeld Archive.
Collection Restrictions:
Collection is open for research.
Collection Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
"Tea and Commerce: Japanese Merchants in the Sixteenth Century as Collectors and Creators," Paper for Conference - Early Modern Merchants as Collectors, Ashmolean Museum, Oxford, United Kingdom, 2011-2012
Container:
Box 7 of 12
Type:
Archival materials
Collection Rights:
Restricted for 15 years, until Jan-01-2034; Transferring office; 9/13/01 memorandum, Wright to Hennessey; Contact reference staff for details.
Collection Citation:
Smithsonian Institution Archives, Accession 20-143, Freer Gallery of Art and Arthur M. Sackler Gallery, Curatorial - Ceramics, Exhibition Records
Quotes and excerpts must be cited as follows: Oral history interview with Eleanor Sayre, 1993 April 19-1997 January 10. Archives of American Art, Smithsonian Institution.
An interview of Eleanor Sayre conducted 1993 April 19-1997 January 10, by Robert F. Brown, for the Archives of American Art.
Sayre talks about her early childhood in Williamstown and Cambridge, Mass.; her family background; visits to the White House with her maternal grandfather, Woodrow Wilson; living abroad while her father was in government service in Bangkok, then Siam (now Thailand), Paris, and Switzerland, with extensive recollections of her brothers and schooling in Europe.
Attending Winsor School in Boston; her mother's death; her years at Bryn Mawr College, including her switch to art history from political science; Georgianna Goddard King as an influential teacher; an internship under Laura Dudley at the Fogg Art Museum's Print Room and the lasting effect of this experience.
Being a graduate student in fine arts at Harvard and the importance of Edward Forbes and Paul Sachs as teachers; her decision not to pursue a PhD; working with Jakob Rosenberg; helping to get young Jews out of Europe; her position as assistant for exhibitions at Yale University Art Gallery under Theodore Sizer; the trauma of her father's internment by the Japanese in the Philippines, where he was High Commissioner and his rescue; and her decision to turn down a military intelligence job in order to work with German Jewish refugees.
Her brief tenure at Lyman-Allyn Museum, Conn., under Winslow Ames; her years in the education department under Lydia "Ma" Powel at the Museum of Art of the Rhode Island School of Design with Gordon Washburn as director; and working closely with Heinrich Schwartz on prints and drawings.
The liberal tradition of her father's wealthy family; her father; being brought to the Museum of Fine Arts, Boston by its curator of prints, Henry Rossiter and on the charming collector and benefactor, Maxim Karolik; MFA curator of paintings, William George Constable; and George Harold Edgell, MFA director.
The collector, Philip Hofer, who by putting his Goya proofs on loan at the MFA, led to Sayre's life-long study of the artist; her research on Goya in Spain; raising of a large sum from Boston businesses to purchase Hofer's prints for the MFA, and the MFA's eminence by the 1960s in Goya's graphic work; the disgusting repression of dissent in Franco-era Spain; Goya's passionate self-assertion, which is what principally attracted Sayre to his work, and his conceptual process and method of work.
Earlier years at the MFA, Boston, including the accessibility of the print department's study rooms; Edwin J. Hipkiss, curator of American decorative arts; the Christmas poetry and prints exhibitions designed as profound learning experiences for a broad public; and being chosen as successor to Rossiter; and further comments on Maxim Karolik.
W.G. Russell Allen and other collectors who gave their collections to the MFA; her efforts to effectively present art to the broad public; her methods of appealing to the public coalescing at the MFA in 1989 with the "Goya and the Spirit of the Enlightenment" exhibition; and an exhibition of the work of Beatrix Potter.
Spain under the dictator, Francisco Franco; her first study in Spain of Goya's drawings and her urging the Prado Museum to conserve its drawings; the Prado's director, F. Sanchez-Canton; her research on prostitution at the Ministry of Justice; being decorated for her recommending the preservation of Goya's art and the marvelous private collections of Goya in Spain; and her obsession with interpreting the meaning of Goya's work.
The MFA, Boston, under the directorship of Perry Rathbone, who wanted many more people involved than had his predecessor, George Harold Edgell, who ran it like a Boston Brahmin Club; Rathbone's accomplishments; his downfall and that of his assistant (and curator of European decorative arts and sculpture) Hanns Swarzenski in bringing a so-called Raphael into this country by irregular means, which led to Rathbone and Swarzenski's firing by George Seybolt, the trustee president; Rathbone's reluctance to hire women curators and Sayre's finally becoming curator of prints and drawings in 1967; her philosophy as curator; on Hanns and Brigitte Swarzenski as dear friends; her exchange of positions with the curator of the Ashmolean Museum, Oxford, where she put their valuable but neglected print collection in order.
The exhibition and catalog, "Rembrandt: Experimental Etcher," (1969) in collaboration with the Pierpont Morgan Library; general views on exhibitions; co-authoring the exhibition catalog "Goya and the Spiris of Enlightenment" (1989); her contributions to Goya research; her current research and writing on Goya's Capaprichos print series; and her satisfaction in having spent her career in art museums.
Biographical / Historical:
Eleanor A. Sayre (1916-2001) was a curator and art historian from Boston, Mass.
General:
Originally recorded on 8 sound cassettes. Reformatted in 2010 as 15 digital wav files. Duration is 11 hrs., 21 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.
European museum specimens from British Museum, Ashmolean Museum, Cambridge University Museum of Archaeology and Ethnology, Museum of English Rural Life, Museum für Völkerkunde, Musée de l'Homme, Rijksmuseum voor Volkenkunde, Statens Etnografiska Museum, Skokloster Castle
Collection Restrictions:
Files containing Sturtevant's students' grades have been restricted, as have his students' and colleagues' grant and fellowships applications. Restricted files were separated and placed at the end of their respective series in boxes 87, 264, 322, 389-394, 435-436, 448, 468, and 483. For preservation reasons, his computer files are also restricted. Seminole sound recordings are restricted. Access to the William C. Sturtevant Papers requires an apointment.
Collection Rights:
Contact the repository for terms of use.
Collection Citation:
William C. Sturtevant papers, National Anthropological Archives, Smithsonian Institution
Sponsor:
The papers of William C. Sturtevant were processed with the assistance of a Wenner-Gren Foundation Historical Archives Program grant awarded to Dr. Ives Goddard. Digitization and preparation of these materials for online access has been funded through generous support from the Arcadia Fund.
European museum specimens from British Museum, Ashmolean Museum, Cambridge University Museum of Archaeology and Ethnology, Museum of English Rural Life, Museum für Völkerkunde, Musée de l'Homme, Rijksmuseum voor Volkenkunde, Statens Etnografiska Museum, Skokloster Castle
Collection Restrictions:
Files containing Sturtevant's students' grades have been restricted, as have his students' and colleagues' grant and fellowships applications. Restricted files were separated and placed at the end of their respective series in boxes 87, 264, 322, 389-394, 435-436, 448, 468, and 483. For preservation reasons, his computer files are also restricted. Seminole sound recordings are restricted. Access to the William C. Sturtevant Papers requires an apointment.
Collection Rights:
Contact the repository for terms of use.
Collection Citation:
William C. Sturtevant papers, National Anthropological Archives, Smithsonian Institution
Sponsor:
The papers of William C. Sturtevant were processed with the assistance of a Wenner-Gren Foundation Historical Archives Program grant awarded to Dr. Ives Goddard. Digitization and preparation of these materials for online access has been funded through generous support from the Arcadia Fund.
European museum specimens from British Museum, Ashmolean Museum, Cambridge University Museum of Archaeology and Ethnology, Museum of English Rural Life, Museum für Völkerkunde, Musée de l'Homme, Rijksmuseum voor Volkenkunde, Statens Etnografiska Museum, Skokloster Castle
Collection Restrictions:
Files containing Sturtevant's students' grades have been restricted, as have his students' and colleagues' grant and fellowships applications. Restricted files were separated and placed at the end of their respective series in boxes 87, 264, 322, 389-394, 435-436, 448, 468, and 483. For preservation reasons, his computer files are also restricted. Seminole sound recordings are restricted. Access to the William C. Sturtevant Papers requires an apointment.
Collection Rights:
Contact the repository for terms of use.
Collection Citation:
William C. Sturtevant papers, National Anthropological Archives, Smithsonian Institution
Sponsor:
The papers of William C. Sturtevant were processed with the assistance of a Wenner-Gren Foundation Historical Archives Program grant awarded to Dr. Ives Goddard. Digitization and preparation of these materials for online access has been funded through generous support from the Arcadia Fund.
The collection is open for research. Patrons must use microfilm copy. Use of the unmicrofilmed portion requires an appointment and is limited to the Washington, D.C. research facility.
Collection Rights:
The donor has retained all intellectual property rights, including copyright, that they may own.
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:
Erwin Panofsky papers, 1904-1990 (bulk dates 1920-1968). Archives of American Art, Smithsonian Institution.
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974. Archives of American Art, Smithsonian Institution.
Sponsor:
Processing of the collection was funded by the Getty Grant Program; digitization of the collection was funded by the Samuel H. Kress Foundation and the Terra Foundation for American Art. Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee.
