The papers of community organizer and affordable housing developer Marie Satenik Nahikian measure 3.46 linear feet and date from 1971 to 1998. The collection contains correspondence; certificates; photographs; newsletters; campaign ephemera; editions of various Washington, DC community newspapers; as well as recordings of Nahikian's speeches. The bulk of the collection contains documents pertaining to Nahikian's work with the Adams Morgan Organization.
The papers of community organizer and affordable housing developer Marie Satenik Nahikian measure 3.46 linear feet and date from 1971 to 1998. The collection includes copies of the Rock Creek Monitor, the newspaper of Dupont Circle, Adams Morgan and Mt. Pleasant communities of Washington, DC. Present in the collection are also proclamations, newspaper clippings, writings by Nahikian and materials related to her role for Advisory Neighborhood Commissioner for ANC-1C (in Adams Morgan) and unsuccessful campaign for D.C. City Council.
Biographical / Historical:
Marie Satenik Nahikian was a co-founder and the first Executive Director of the Adams
Morgan Organization (AMO, founded in 1972). Before Washington, DC had Home Rule,
AMO put into practice a local, elected self-governance structure that advocated for
issues of concern to residents of the Adams Morgan neighborhood. AMO served as the
main model for the Advisory Neighborhood Commissions that were created when Home
Rule was implemented in Washington, DC. Marie S. Nahikian, particularly through her
work with AMO, was a staunch advocate and partial architect of three landmark pieces
of tenant rights and anti-displacement legislation in DC: the 1975 Rental
Accommodations Act, the 1978 Residential Real Property Transfer Excise Tax, and the
1980 Rental Housing Conversion and Sale Act.
Nahikian was elected Advisory Neighborhood Commissioner for ANC-1C (in Adams
Morgan) and twice ran for D.C.City Council (unsuccessfully). She was appointed by
Mayor Walter Washington (1915-2003) to serve two terms as a Tenant Commissioner
on the D.C. Rental Accommodations Commission. She later served under Mayor
Marion Barry (1936-2014) as head of the Tenant Purchase Program that enabled
largely low- and moderate-income tenants to purchase and become cooperative owners
of their buildings.
After leaving Washington, DC, she went on to work for Mayors in Philadelphia and New
York City. Nahikian also worked in the U.S. Department of Housing and Urban
Development under President Barack Obama.
In 2023, Marie Satenik Nahikian hosts the Usable Past podcast, where activists share
their stories of past and present organizing to create better lives for as many people as
possible.
Restrictions:
Use of the materials requires an appointment. Please contact the archivist at acmarchives@si.edu.
Rights:
The Marie Satenik Nahikian papers are the physical property of the Anacostia Community Museum. Literary and copyright belong to the author/creator or their legal heirs and assigns. For further information, and to obtain permission to publish or reproduce, contact the Museum Archives.
The papers of Anne Valk— a specialist in oral history, public history, and the social history of the 20th-century United States measure 3.75 linear feet and date from 1964 to 1997. The collection contains oral history interviews and documents acquired or created by Dr. Valk during her extensive research of key figures in D.C. community activism for her book, Radical Sisters: Second-Wave Feminism and Black Liberation in Washington D.C. (University of Illinois Press, 2010).
Research files and ephemera from the following people, organizations, and publications are represented in the collection: Josephine Butler (DC Statehood Party; Adams Morgan Organization), Etta Horn (Southeast Neighborhood House's Band of Angels; National Welfare Rights Organization), Dorothy Burlage (Southeast Neighborhood House), Betty Garman (Student Nonviolent Coordinating Committee), Judy Richardson (Student Nonviolent Coordinating Committee), Bernice Reagon (Student Nonviolent Coordinating Committee), Marcia Sprinkle (Student Nonviolent Coordinating Committee), Juanita Weaver (Quest), LaValleJones (Rape Crisis Center), Loretta Ross (Rape Crisis Center, National Black United Front, National Organization of Women), Peggy Cleveland (The Bridge), Joan Biren (DC Women's Liberation Movement), Cathy Wilkerson (SDS, Weather Underground), Tina Smith (SNCC), Off Our Backs newspaper, and Congress Of Racial Equality (CORE),
among others.
Biographical / Historical:
Anne Valk (1964- ) is a specialist in oral history, public history, and the social history of the 20th-century United States. Dr. Valk received a M.A. from Mount Holyoke College and a PhD in history from Duke University in 1996. Professor Valk has written extensively in the areas of women's history, history of feminism, and oral history. She teaches public history at the Graduate Center at City University of New York (CUNY) and is the director of the Center for Media and Learning/American Social History Project.
Restrictions:
Use of the materials requires an appointment. Please contact the archivist at acmarchives@si.edu.
Rights:
The Anne Valk papers are the physical property of the Anacostia Community Museum. Literary and copyright belong to the author/creator or their legal heirs and assigns. For further information, and to obtain permission to publish or reproduce, contact the Museum Archives.
Field notes, manuscripts, photographs, booking contracts, correspondence, personal papers, newspaper clippings, magazine articles, interviews, and other research materials primarily relating to the history of American blues music. Collection documents the lives of significant blues musicians Robert Johnson, Blind Lemon Jefferson, Lightnin' Hopkins, and Mance Lipscomb; insight into the life, writings, and research practices of Robert "Mack" McCormick; and the business side of recording and selling the blues.
Scope and Contents:
The collection documents the life, writings, research practices, and business activities of blues scholar Robert "Mack" Burton McCormick who came to serve as a leading authority on the genre. Personal papers include diaries, curriculum vitae, biographical sketches, school papers, employment documents, correspondence, financial records, and an interview transcript. McCormick's writings consist of published magazine and journal articles, plays, essays, television scripts, short stories, and album liner notes. There are complete unpublished manuscripts, drafts with notes and research materials, and ideas for future work. McCormick's research practices and subjects of interest are documented in correspondence, field notes, annotated maps, newspaper clippings, magazine articles, city directories, interviews, photographic prints, negatives, slides, and contact sheets. American blues, Texas blues, and the music of significant blues artists, who McCormick served as an agent and manager for, dominated his extensive research efforts. In addition, the collection documents the recording, distribution and sale, and identification of consumer markets for American music in correspondence, contracts, agreements, music journals, publicity and promotional materials, music manuscripts, and interviews.
Throughout the collection preservation measures were performed to ensure long term use of the materials. Newspaper clippings were photocopied, and the originals were discarded. Audio cassette tapes have been reformatted and the digital copies will soon be available for research use.
Arrangement:
Collection is arranged into fifteen series.
Series 1: Photographic Negatives, Photographs and Slides, 1959-1998, undated
Subseries 1.1: Photographic Negatives and Contact Sheets, 1967-1977, undated
Subseries 1.2: Photographs, 1959-1998, undated
Subseries 1.3: Photographs, Texas Blues (TB), 1961-1964, undated
Subseries 2.11: Business Records, 1941-2006, undated
Series 3: Project Files, 1960-2003, undated
Subseries 3.1: Library of Congress, 1960-1964
Subseries 3.2: Newport Folk Festival, 1965-1969
Subseries 3.3: Hemisfair, 1968
Subseries 3.4: Smithsonian Institution, Festival of American Folklife 1966-1980, undated
Subseries 3.5: Other Blues Project, 2001-2003, undated
Series 4: Manuscripts and Writings, 1952-2015, undated
Subseries 4.1: Almost A Savage Joy, 1959-1980
Subseries 4.2: Another Fine Mess, 1981-1987, undated
Subseries 4.3: Blues: A New Look, 1965-1984, undated
Subseries 4.4: Blues Odyssey, 1971, undated
Subseries 4.5: Death and Tragedy, 1975-1980, undated
Subseries 4.6: Down in Texas Blues, undated
Subseries 4.7: Folk Songs of Men, 1952-1977, undated
Subseries 4.8: Hang Down Your Head Tom Dooley, 1958-1976, undated
Subseries 4.9: Henry Thomas, 1975-2002, undated
Subseries 4.10: Ira, George, Edward, and Lee, 1994, undated
Subseries 4.11: The Magic Room, 1961-1962, undated
Subseries 4.12: Origin of Blues, 1991-2004, undated
Subseries 4.13: Snake in the Belly, 1956-1957, undated
Subseries 4.14: Wiley, 1957-1984, undated
Subseries 4.15: Articles, Ideas and Drafts, 1961-2004, undated
Series 5: Artist Files, 1880-2010, undated
Series 6: Texas Blues Research, 1858-2011, undated
Subseries 6.1: Texas Blues Research, 1910-2010, undated
Subseries 6.2: Lead Files, 1962-1980, undated
Subseries 6.3: Trip Notes, 1960-1989, undated
Subseries 6.4: Song Histories, 1920-1982, undated
Subseries 6.5: Music, 1928-2011, undated
Subseries 6.6: Record Catalogs, 1963-2006, undated
Subseries 6.7: Maps, 1958-1989, undated
Series 7: Robert Johnson, 1910-2015, undated
Subseries 7.1: Research Materials, 1910-2015, undated
Subseries 7.2: Who Killed Robert Johnson Manuscript, 1955-2015, undated
Series 8: Office Files, 1938-2000, undated
Series 9: Correspondence, 1959-2015, undated
Series 10: Organizations, Groups and Buffs, 1961-2003, undated
Series 11: Festivals and Living Museums, 1960-2003, undated
Series 12: Music Journals, 1971-2006, undated
Series 13: Subject Files, 1896-2015, undated
Series 14: People Files, 1928-2014, undated
Series 15: Audio Cassette Tapes and Digital Files, 1941-2007, undated
Biographical / Historical:
Robert Burton "Mack" McCormick (August 3, 1930-November 18, 2015) was a self-taught folklorist who spent a lifetime researching, collecting, and writing about vernacular music in the United States. Most of his work focused on the blues and other musical traditions of Black, brown, and white communities living throughout Texas, Arkansas, Louisiana, Mississippi, and Alabama. After experiencing a difficult, transient childhood and eventually dropping out of high school, McCormick settled in Houston, Texas and began to work a series of odd jobs while relentlessly pursuing his goal of becoming a successful writer. Although researching and writing about music came to occupy most of his time, he also pursued passions as a screenwriter and novelist. The volume of historical research and personal interviews he conducted from the 1950s through the early 1970s is remarkable, and his published writings during this period about music and the musicians he doggedly studied were lauded by his peers as among the best in the field. Along the way he worked for a time as a manager for the careers of the Texas songsters Sam "Lightnin'" Hopkins and Mance Lipscomb, and briefly ran his own record label. He made hundreds of hours of field recordings with musicians living throughout the South. He collaborated with colleagues such as Chris Strachwitz, founder of Arhoolie Records, and Paul Oliver, with whom McCormick spent over a decade researching and writing a manuscript on the history of Texas Blues. Beginning in the late 1960s, he was contracted by the Smithsonian Institution as a field worker for its annual Festival of American Folklife, and around the same time began researching the life of blues legend Robert Johnson for a manuscript that McCormick wrote and re-wrote but failed to publish in his lifetime.
McCormick's research, along with his personal archive, became the stuff of legend among fellow blues researchers and enthusiasts, particularly after his publishing output dwindled in the 1970s. He lived with a bipolar disorder that drew him into bouts of depression and paranoia. He came to distrust many of those colleagues working most closely with him, and sometimes shared untrue information to throw them off the trail of his research discoveries. He also "borrowed" heirloom photographs from the family members and descendants of blues artists and, in several cases documented in this collection, he refused to return them. Overcome with challenges that lay both within and without his control, he came to describe the massive archive in his Houston, Texas home as "the monster," and spent his final decades attempting with little success to publish his writings.
Related Materials:
National Museum of American History, Smithsonian Institution
W. C. Handy Collection, NMAH.AC.0132
Sam DeVincent Collection of Illustrated American Sheet Music, Series 3, African American Music, NMAH.AC.0300
Sam DeVincent Collection of Illustrated American Sheet Music, Series 16: Country, Western, and Folk Music, NMAH.AC.0300
Duke Ellington Collection, NMAH.AC.0301
Frank Driggs Collection of Duke Ellington Photographic Reference Prints, NMAH.AC.0389
Program in African American Culture Collection, NMAH.AC.0408
Ruth Ellington Collection of Duke Ellington Materials, NMAH.AC.0415
Alan Strauber Photoprints, 1990-1994, 1999, NMAH.AC.0517
Jonas Bernholm Rhythm and Blues Collection, NMAH.AC.0551
Ray McKinley Music and Ephemera, NMAH.AC.0635
Bluestime Power Hour Videotapes, NMAH.AC.0657
Edward and Gaye Collection of Duke Ellington Materials, NMAH.AC.0704
Bill Holman Collection, NMAH.AC.0733
Andrew Homzy Collection of Duke Ellington Stock Arrangements, NMAH.AC.0740
Harry Warren Papers, NMAH.AC.0750
Benny Carter Collection, NMAH.AC.0757
W. Royal Stokes Collection of Music Photoprints and Interviews, NMAH.AC.0766
Fletcher and Horace Henderson Collection, NMAH.AC.0797
Smithsonian Jazz Oral History Program Collection, NMAH.AC.0808
William Russo Music and Personal Papers, NMAH.AC.0845
Milt Gabler Papers, NMAH.AC.0849
Leonard and Mary Gaskin Papers, NMAH.AC.0900
Bobby Tucker Papers, NMAH.AC.1141
Floyd Levin Jazz Reference Collection, NMAH.AC1222
Duncan Schiedt Jazz Collection, NMAH.AC1323
Maceo Jefferson Papers, NMAH.AC1370
Jazz and Big Band Collection, 1927-1966, NMAH.AC.1388
Nick Reynolds Kingston Trio Papers, NMAH.AC.1472
McIntire Family Hawaiian Entertainers Collection, NMAH.AC.1511
Native Peoples Musicians and Music Collection, NMAH.AC.1512
Ralph Rinzler Folklife Archives and Collections, Smithsonian Center for Folklife and Cultural Heritage
Arhoolie Business Records and Audio Recordings, 1960-2016, CFCH.ARHO
Moses and Frances Asch Collection, 1926-1986, CFCH.ASCH
National Museum of American History's Division of Culture and the Arts
Artifacts acquired as part of the collection include:
Washburn style G guitar, serial number 46472, Accession number 2019.0234.01.
Set of quills (or panpipes) made and played by blues artist Joe Patterson. Accession number 2019.0234.02.
Smithsonian Center for Folklife and Cultural Heritage, Ralph Rinzler Folklife Archives and Collections
Audio recordings acquired as part of the collection are listed in The Guide to the Mack McCormick Audio Tapes Collection prepared by Jeff Place, 2020-2022.
Provenance:
Collection donated by Susannah Nix to the Archives Center in 2019.
Restrictions:
Collection is open for research. Access to original materials in boxes 76-80 is prohibited. Researchers must use digital copies.
Additional materials have been removed from public access pending investigation under the Smithsonian Institution's Ethical Returns and Shared Stewardship Policy.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
The collection captures Duke Ellington's thoughts on music, performing, composing, and his personal history in his own voice in approximately 20 hours of interviews conducted in 1956 and 1964.
Scope and Contents:
The collection consists of ten interviews (approximately twenty hours) Carter Harman conducted with Duke Ellington, in 1956 and in 1964. The conversations were wide ranging with Ellington discussing his early years, performing and composing life, his thoughts about music and jazz, orchestra members and colleagues, and race in America. The interviews were recorded in hotel rooms and cars. Billy Strayhorn can also be heard on some of the tapes. Supplemental materials includes an essay by Carter Harman describing his relationship with Duke Ellington and the creation of the tapes as well as a tape summary for each tape.
Arrangement:
This collection is organized in four series,
Series 1: Original Audio Tapes, 1956, 1964
Series 2: Master Audio Tapes, 1956, 1964
Series 3: Reference Audio Cassettes, 1956, 1964
Series 4: Supplemental Information, 1991
Biographical / Historical:
Carter Harman, born in 1918, was a music critic, reporter, editor, and producer who was first exposed to Duke Ellington and his music as a young child listening to radio broadcasts during the 1920s. His interest in and passion for Ellington grew and was cemented the first time he saw a live performance. He continued to attend as many Ellington performances as possible, even going to a dance Ellington played in Brunswick, New Jersey in 1943 immediately before he left to serve as a helicopter pilot in World War II. Harman didn't have many opportunities to listen to Ellington while at war, although from time to time he was able to hear the music on Armed Forces Radio and V-discs.
After the war Harman began a five-year apprenticeship as a music reporter for the New York Times. In 1952 he became the music editor for Time Magazine. He later wrote "my beat was dreamy – covering concerts, operas, the dance, entertainment, and records." Harman's job provided him with the opportunity to meet and interview Ellington. His initial interview was for a short piece for Time that focused on the band's new drummer Sam Woodyard. That story led to the possibility of a longer cover story about Ellington.
Harman began work on the feature by flying to Las Vegas where Ellington was performing at the Flamingo. Following a performance he was able to interview Ellington on tape using Ellington's personal tape recorder. This 1956 recording is the first interview in the Carter Harman Collection. Harman spent several evenings with Ellington during which time conducted an unrecorded interview with Billy Strayhorn. He was able to record Strayhorn's impromptu performance of Lush Life.
The remaining taped interviews took place during 1964 and were intended to be the basis for Ellington's autobiography to be ghost-written by Harman. The interviews were conducted in a variety of venues, most notably during car rides to appearances around the country. Harman acquired a Ficord portable tape recorder for the project which he operated from the back seat of the car while Ellington spoke into the microphone in the front seat. Harman later discovered that battery problems with the Ficord affected the quality of the recordings so that at times Ellington sounded like "Donald Duke."
Ellington considered Harman a friend and would frequently call him just to chat about topics unrelated to the book project. Ultimately Harman's involvement with the autobiography fell apart and the friendship cooled, although Harman continued to follow Ellington's work and attend performances. In 1973 Ellington published his autobiography, Music Is My Mistress, with Stanley Dance assisting with the writing.
Carter Harman moved to San Juan, Puerto Rico in 1957 following his 1956 encounter with Ellington and the subsequent publication of the Time cover story. There he worked for the record label, Sounds of Our Times, which was devoted to recording folk music. Harman travelled from San Juan to the United States to conduct the 1964 interviews. He returned to New York and in 1967 became the executive director and producer of Composers Recordings, Inc. He retired from CRI Records in 1984.
Carter Harman died January 23, 2007.
Citation: Harman, Carter. About the Duke Ellington Tapes, unpublished, 1991.
Provenance:
The collection was donated by Carter Harman in 1991.
Restrictions:
Collection is open for research but the mater tapes are stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection consists of original cassettes, open-reel master, and reference cassette audiotapes of two oral history interviews about the life and career of Duke Ellington. Leonard Feather's oral history interview has a transcript.
In separate interviews jazz critic Leonard Feather and Sam Woodyard discuss their relationships with and knowledge of Ellington and his music.
Scope and Contents:
Audiotape interviews with jazz critic Leonard Feather and drummer Sam Woodyard about their relationships with Duke Ellington and the Ellington Orchestra. John Hasse interviewed Leonard Feather on June 10, 1990. Patricia Willard interviewed Sam Woodyeard on May 30, 1998 and May 31, 1988. The interviews were recorded on audio cassette.
Arrangement:
Collection organized into one series.
Series 1, Jazz Oral History Collection, 1988-1990
Subseries 1.1: Leonard Feather
Subseries 1.2: Sam Woodyard
Biographical / Historical:
The Jazz Oral History Collection comprises two oral history interviews about Duke Ellington and his Orchestra.
One interview is with Leonard Feather (1914-1994), noted jazz critic, record producer, and composer. Born in England, Feather became an ardent fan of jazz by listening to recordings. The first time he saw Ellington perform live was in 1933 at the Palladium in London. Feather made his first trip to the United States in 1935 and through music critic and record producer John Hammond he met many of the leading musicians, producers, and concert promoters active in the American jazz scene. Feather was hired by Ellington in 1942 to do publicity and became part of what Feather referred to as "the Ellington family." Feather worked with Mercer Ellington as well and throughout the years he maintained an active involvement and friendship with Ellington.
A shorter interview with drummer Sam Woodyard (1925-1988) is poorly recorded and consequently it is difficult to hear and understand Woodyard's responses to the questions. Sam Woodyard was a drummer with the Ellington Orchestra from 1955 through 1966.
Provenance:
Made for the National Museum of American History, Smithsonian Institution.
Restrictions:
The collection is open for research.
Rights:
No release forms exist. Collection items are available for reproduction, but the Archives Center makes no guarantees concerning intellectual property rights. Archives Center cost-recovery and use fees may apply.
Gerber Scientific Instrument Company (Hartford, Conn.). Search this
Extent:
75 Cubic feet (182 boxes)
Type:
Collection descriptions
Archival materials
Articles
Marketing records
Photographs
Speeches
Correspondence
Catalogs
Clippings
Patents
Business records
Manuals
Legal documents
Date:
1911 - 1999
Summary:
Records document the Gerber Scientific Instrument Company, Hartford, Connecticut, and its four subsidiaries: Gerber Garment Technology, Inc., Gerber Scientific Products, Inc., Gerber Systems Corp., and Gerber Optical, Inc. Gerber Scientific designs, develops, manufactures, markets and services computer aided design and computer aided CAD/CAM systems. The records include correspondence, memoranda, product literature, trade literature, patent records, instruction manuals, proposals, engineering records, photographs, technical reports, drawings, press releases, and newspaper clippings.
Scope and Contents:
The Gerber Scientific Instrument Company Records document the company's designs, development, manufacture, and marketing of computer-aided design and computer-aided CAD/CAM systems. The records are arranged into twelve series and consist of Personal, Corporate Records, Engineering Department Records, Product Literature, Instruction Manuals/User Guides, Proposals, Photographs, Trade Literature, Press Releases and Newspaper Clippings, Patent Records, Lectra Systèmes Litigation Materials, and Audio Visual Materials.
Series 1, David R. Pearl, 1968-1984, contains three volumes of diaries kept by David R. Pearl, President of Gerber Garment Technology. The diaries were maintained by Pearl from July 21, 1968 to June 6, 1977, to document Pearl's and H. Joseph Gerber's activities concerning the development of the technology and the establishment of a business to market computer-controlled fabric cutting devices. One notebook contains some materials later than 1977. There are diary entries for September 12, 1979, February 1, 1980, and October 29, 1984.
Series 2, Corporate Records, 1968-1999, includes administrative records, an Industrial Projects Eligibility Review, annual reports, shareholders reports, newsletters, New York Stock Exchange (NYSE) materials, Securities and Exchange Commission (SEC) materials, Gerber Museum documents, and empty Gerber Scientific Instrument Company binders. The administrative documents consist of a corporate history, mission statement, organizational chart, company map, time line and biographies of key corporate personnel. There are two organizational charts: one for the Engineering Organization (software, mechanical and electrical divisions) from 1987 and one for the subsidiary Gerber Garment Technology, Inc. (Gerber Garment Technology (GGT)), dated 1985. Additional organizational charts can be found with the 1968 annual report. The Industrial Projects Eligibility Review was submitted to the Connecticut Development Authority by Gerber Scientific Intsrument (GSI) to facilitate financing for future expansion of the company. A copy of the company's articles of incorporation are here. The newsletters included in this series are in-house publications for employees only. The newsletter Communiqué, 1960, is in Series 4, Product Literature. The NYSE materials include press releases, photographs, the listing application to the NYSE and printed material about Gerber Scientific, Inc. joining the NYSE in October 1980. Gerber Scientific is traded on the Stock Exchange as GRB. The Securities and Exchange Commission files contain Form S-3, a registration statement and the Annual Report, and Form 10-K for Gerber Scientific, Inc. The Gerber Museum file includes photographs of artifacts and a 1996 memo and fax discussing the establishment of a museum to honor H. Joseph Gerber.
Series 3, Engineering Department Records, 1966-1990, is the largest series and is arranged alphabetically by the engineer's last name and then alphabetically by subject/topic. The records include the files of: Ed LaGraize, David Logan, Bud Rich, Ron Webster, and Ken Wood. The majority of engineering files belong to David Logan. Logan joined Gerber Scientific Instrument in 1957 as a project engineer. From 1959 to 1961, he was chief engineer and then became Vice President of Engineering from 1961 to 1963. From 1963 to 1980, Logan served as Senior Vice President of Engineering. He holds several patents, primarily in the field of plotting devices and control systems. The engineering files contain technical memoranda, correspondence, drawings, product literature, trade literature, notes, and drawings.
Series 4, Product Literature, 1953-1996, contains informational sheets for a variety of products available from Gerber Scientific, Inc. and its subsidiary companies. Gerber Scientific Instrument (GSI) creates designs, manufactures and promotes data reduction equipment of many types. Data reduction equipment allows complex mathematical problems to be solved quickly and accurately. Both analogue and digital systems are offered. The bulk of the product literature falls into the following categories: instruments, data reader systems, recorders, special scanning tables, oscillogram amplitude tabulators, standard system scanners, and plotters. The series is arranged alphabetically by name of product with a few exceptions.
Series 5, Instruction Manuals/User Guides, 1953-1980, undated, is divided into two subseries, Gerber Scientific Instrument Company manuals and other companies' manuals. This series contains instruction manuals, maintenance manuals, and users' guides for a variety of Gerber Scientific, Inc. products. The Gerber System Model 1434, Ultra Precise Artwork Generator which provides precision photo-plotting on photo-sensitive material is well represented among the manuals. The other companies represented include Bendix Industrial Controls and the KOH-I-NOOR Rapidograph, Inc.
Series 6, Proposals, 1961-1980, consists of bound certified and signed technical and bid proposals completed by Gerber Scientific Instrument Company detailing available and actual estimated costs and pricing data for Gerber products. The proposals were assembled for specific companies such as North American Aviation.
Series 7, Photographs, 1948-1974, undated, is further divided into three subseries: Product and Client Files, 1966-1974, undated; Gerber Scientific Instrument (Gerber Scientific Intsrument (GSI) Corporate, 1948-1970, undated; and Numerical, 1966-1974, undated photographs. The majority of photographs are 8" x 10" black-and-white prints. The product and client file photographs are arranged alphabetically. The Gerber Scientific Instrument (GSI) corporate photographs include photographs of GSI buildings both interior and exterior shots, employees, employee functions such as banquets, annual meetings, tours, stockholder meetings, and trade shows. The numerical photographs are arranged numerically according to the number assigned on the reverse of the photograph. Some of the numerical photographs are identified by product name, but others are labeled unidentified.
Series 8, Trade Literature, 1947-1992, is arranged alphabetically by company name. The trade literature in this series is from competitors or from companies that used Gerber products.
Series 9, Press Releases and Newspaper Clippings, 1943-1996, is divided into two subseries, Press Releases, 1972-1982 and Newspaper Clippings, 1943-1996. The press releases are arranged chronologically. This series contains information on H. Joseph Gerber, his company and its subsidiaries, and the garment and apparel industry. The newspaper clippings are arranged chronologically and include a wide variety of local Connecticut and United States newspapers and industry specific magazines such as Bobbin and Apparel Industry.
Series 10, Patent Records, 1911-1985, contains copies of patents, correspondence with patent attorneys and the United States Patent and Trademark Office, patent search results, and other legal filings associated with the patenting process. The materials are arranged chronologically with the name of the equipment or instruments being patented noted.
Series 11, Lectra Systèmes Litigation Materials, 1968-1990, contains documents that mainly deal with Lectra (France), but there are documents about patent infringement for Lectra (Japan) and Lectra (United Kingdom). The materials consist of depositions by David Pearl, then president of Gerber Garment Technology, and David Siegelman, then Vice President and General Manager for Lectra Systèmes, Inc., in the United States. Confidential progress reports, memoranda, correspondence, competition reports, drawings and sketches, notes, and other documents summarize events in the litigation history.
Lectra Systèmes was formed on November 12, 1973 at Bordeaux-Cestas (France) by two visionary engineers, Jean and Bernard Etcheparre. They developed a computer system, the LECteur-TRAceur 200, which automatically calculated and plotted all sizes of an item of apparel. The Lectra Systèmes litigation materials document Gerber Garment Technology's claim that Lectra infringed upon Gerber's line of cutting machines. The specific patents being infringed are United States patents: 3,955,458; 4,205,835; and 3,765,289. In September 1986, Lectra introduced a new line of cutting machines that cost roughly half as much as Gerber's top-of-the-line competing system. Gerber Garment Technology filed suit in the United States and France as Gerber Garment Technology, Inc. v. Lectra Systems, Inc. Civil Action No. 1:86-cv-2054CAM. In 1992, Lectra Systems, Inc., appealled the judgment of the United States District Court for the Northern District infringement of Gerber's U.S. Patent No. 3,955,458 ('458 patent) and denied Lectra's claim that Gerber's U.S. Patent No., 4,205,835 ('835 patent) is unenforceable.
Series 12, Audio Visual Materials, 1986-1998, includes 3⁄4" U-matic, 1⁄2" VHS, audio cassettes, BetaCam SP, and one Super 8mm color, silent camera original reversal film. The majority the of audio visual materials cover interviews with H. Joseph Gerber, the National Technology of Medal ceremony, and sales and marketing footage for various Gerber products.
Arrangement:
The collection is organized into twelve series.
Series 1: David R. Pearl Materials, 1968-1984
Series 2: Corporate Records, 1968-2002
Subseries 2.1: Administrative, circa 1977-1995
Subseries 2.2: Industrial Projects Eligibility Review, undated (contains articles of incorporation for Gerber Scientific)
Series 9: Press Releases and Newspaper Clippings, 1943-1998
Subseries 9.1: Press Releases, 1972-1998
Subseries 9.2: Newspaper clippings, 1943-1996
Subseries 9.3: Articles, 1969-1991
Series 10: Patent Records, 1911-1985
Series 11: Lectra Systèmes Litigation Materials, 1968-1990
Series 12: Audio Visual Materials, 1986-1998
Biographical / Historical:
Heinz Joseph "Joe" Gerber was born in Vienna, Austria, on April 17, 1924. In 1940, Gerber escaped the Nazis and immigrated to New York City and then to Hartford, Connecticut, with his mother Bertha Gerber, a dressmaker. Gerber's father, Jacob, is presumed to have died in a concentration camp. Gerber attended Weaver High School and graduated in two years (1943). He attended Rensselaer Polytechnic Institute (RPI) in Troy, New York, on a scholarship and earned a bachelor's degree in aeronautical engineering in 1947. As a junior at RPI, Gerber developed the Gerber Variable Scale, his first invention. The earliest version of the variable scale was fashioned from an elastic band removed from a pair of pajamas. Gerber created a rubber rule and scale that could flow with a curve, expand, contract, and turn a corner. The scale allows for direct reading of curves, graphs, and graphical representations, giving direct numerical readings of proportions, spacing and interpolation. The Variable Scale became the building block of what would become Gerber Scientific Instrument Inc.
With financial assistance from Abraham Koppleman, a newspaper and magazine distributor in Hartford, Gerber and Koppleman formed a partnership and incorporated Gerber Scientific Instrument Company in 1948. Gerber served as president, Koppleman as treasurer, and Stanley Levin as secretary. The manufacture of Variable Scale was jobbed out and the distribution was conducted from Hartford. Gerber also worked as a design analytical engineer for Hamilton Standard Propellers of United Aircraft and for Wright Patterson Air Force Base in Dayton, Ohio. Shares of Gerber Scientific Instrument Company were eventually sold to the public in 1961, and in 1978, the company changed its name to Gerber Scientific, Inc. In the 1960s and 1970s, Gerber developed the first series of precision, computer-driven cutting systems for the apparel industry called the Gerber Cutter. The cutters introduced automation to the garment industry. In 1967, Gerber realized that the U.S. garment industry, due to a lack of automation, was faced with increasing overseas competition. Gerber's solution was to engineer the GERBERcutter S-70, a machine that cuts apparel quickly and effectively while using less cloth.
Gerber holds more than 600 United States and foreign patents. Many of his patents relate to the United States apparel industry. In 1994, Gerber was awarded the National Medal of Technology by President Clinton for helping to revolutionize the optical, garment, automotive, and other industries. His pioneering achievements include:
-a generation of data readers (electromechanical devices that converted graphical data directly into computer readable format);
-projection systems that interactively converted information from aerial photographs for use in computers;
-devices that plotted digital output data from computer cards or tape;
-digital numerically-controlled drafting machines which verify the accuracy of the cutting path of numerical machine tools;
-a photoplotter (drafting machine configured with a unique light source to directly draw high accuracy layouts of printed circuit board masters on photographic film or glass with light beams); and
-systems with laser technology to draw at high speeds.1
Subsequent subsidiaries of Gerber Scientific, Inc., were: Gerber Garment Technology, Inc. (GGT); Gerber Scientific Products, Inc. (GSP); Gerber Systems Corp. (GSC), and Gerber Optical, Inc., (GO). GGT makes computer-controlled cutting and design equipment for apparel, automotive, aerospace and other industries. GSP produces systems for sign-making and graphic arts industries. GSC makes production systems for printing, industrial machinery and other industries. GO makes equipment for the optical-lens manufacturing industry.2
In 1954, Gerber married Sonia Kanciper. They had a daughter, Melisa Tina Gerber, and a son, David Jacques Gerber. H. Joseph Gerber died on August 9, 1996, at the age of 72.
Sources
1 National Medal of Technology, 1994.
2 W. Joseph Campbell, "High Tech and Low Key as Gerber Scientific Mounts a Recovery Philosophy that Reflects Innovative Founder," Hartford Courant, May 16, 1994.
Related Materials:
Materials in the Archives Center
Gerber Fabric Cutter Video Documentation, February 1996 (AC0609)
This videohistory documents the inventor, engineers, assembly workers, operators and other technicians who worked with the computer-controlled fabric cutter.
Heinz Joseph Gerber Papers (AC1336)
This collection documents Joseph Gerber's personal life including his highschool and college years, correpondence with family and friends, and speeches given by Gerber throughout his life.
Provenance:
The collection was donated by David Gerber, son of H. Joseph Gerber, on December 23, 2006.
Restrictions:
Collection is open for research but is stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning intellectual property rights. Archives Center cost-recovery and use fees may apply when requesting reproductions.
The records of New York City Kraushaar Galleries measure 106.3 linear feet and 0.181 GB and date from 1877 to 2006. Three-fourths of the collection documents the gallery's handling of contemporary American paintings, drawings, and sculpture through correspondence with artists, private collectors, museums, galleries, and other art institutions, interspersed with scattered exhibition catalogs and other materials. Also included are John F. Kraushaar's estate records; artists' files; financial ledgers documenting sales and gallery transactions; consignment and loan records; photographs of artwork; sketchbooks and drawings by James Penney, Louis Bouché, and others; and two scrapbooks.
Scope and Content Note:
The records of New York City Kraushaar Galleries measure 106.3 linear feet and 0.181 GB and date from 1877 to 2006. Three-fourths of the collection documents the gallery's handling of contemporary American paintings, drawings, and sculpture through correspondence with artists, private collectors, museums, galleries, and other art institutions, interspersed with scattered exhibition catalogs and other materials. Also included are John F. Kraushaar's estate records; artists' files; financial ledgers documenting sales and gallery transactions; consignment and loan records; photographs of artwork; sketchbooks and drawings by James Penney, Louis Bouché, and others; and two scrapbooks.
The collection reflects all activities conducted in the day-to-day administration of the business and relates to the acquisition, consignment, loan, sale, and exhibition of art by twentieth-century American artists and European artists of the nineteenth and early twentieth centuries. The records document specific arrangements for loans and exhibitions, artist-dealer relations, relationships with public and private collectors, interaction with the art dealer community, and routine requests for information.
Much of the artist correspondence relates to practical arrangements for exhibitions of artwork, but in many cases also documents the development of individual artists and the effect of their relationship with the galleries on their ability to produce marketable work. Many of the artists represented in the collection also wrote lengthy letters, particularly to Antoinette Kraushaar, describing their attitudes to their work and providing insight into how that work was shaped by events in their personal lives.
The bulk of the correspondence with museums and institutions concerns practical arrangements for loans of artwork and provides detailed information about market prices and insurance values. It offers insight into the general climate of opinion toward particular artists and styles at any given time. Correspondence with other galleries and dealers also concerns loans and sales of artwork but, due to the typically cordial and cooperative nature of relations between the Kraushaars and their contemporaries, may also provide a more extensive and personal view of relationships and trends in the art dealer community. Similarly, while a portion of the correspondence with private collectors concerns routine requests for information and loans of art on approval, there is also substantive correspondence documenting the development of the artistic vision of collectors such as Preston Harrison, Elizabeth S. Navas, and Duncan Phillips.
From 1917 to the mid-1930s correspondence was handled mainly by John Kraushaar, and the bulk of that relating to European galleries and European art can be found during these years. Although there are only a handful of materials before 1926, records from the 1920s and 1930s document Kraushaar Galleries' growing commitment to American artists and the climate of the market for their work. The financial hardships of the Depression are vividly depicted in the numerous letters written during the 1930s seeking payment on accounts receivable and requesting extensions on accounts payable.
From the mid-1930s to 1968 correspondence was conducted primarily by Antoinette Kraushaar and, to some degree, by her assistants in later years. As the galleries' focus on American art increased, so did the volume of correspondence with artists, and the collection is particularly rich during the 1940s and early 1960s. In later years to 2006, most of the correspondence was conducted by Carol Pesner and gallery assistants.
The exhibition catalogs included in the collection do not represent a complete set. Those found are working copies used by the galleries in preparation for exhibitions and are often annotated with prices or insurance values. Additional exhibition catalogs can be found on the microfilm described in the Administrative Information section of this finding aid.
The majority of Kraushaar Galleries' insurance records can be found in files relating to the company Wm. E. Goodridge & Son, later known as Wm. E. Goodridge, Inc. Shipping and transportation records are generally filed under the names of the companies used for such transactions and can primarily be found under Davies, Turner & Co., Hudson Forwarding & Shipping Co., Railway Express Agency, Inc., and W. S. Budworth & Son, and to a lesser degree under American Railway Express Company, Arthur Lenars & Cie., C. B. Richard & Co., De La Rancheraye & Co., Hayes Storage, Packing & Removal Service, Inc., and Willis, Faber & Co. Ltd.
The 2008-2022 additions include correspondence similar in content and with correspondents as described above, as well as some artists' Christmas cards. However, the bulk of the additional correspondence dates from 1965-1999, with a handful of miscellaneous correspondence from 1877 to the mid-twentieth century. Also found are financial and business records including records from the closing of the John F. Kraushaar estate; over 40 ledgers providing nearly complete documentation of the gallery's sales and transactions from its establishment to 1946; incoming consignment records, including account statements and correspondence with artists, from the 1940s to 2006; and outgoing consignment and loan records from 1899-2006. The gallery's representation of its stable of artists is documented through artists' files containing printed and digital materials, exhibition catalogs and announcements, price lists, and biographical information, as well as containers of photographs and negatives of artwork. Also found is a 1933 sketchbook by James Penney, drawings and sketchbooks by Louis Bouché, and two scrapbooks.
See Appendix for a list of Kraushaar Galleries exhibitions
Arrangement:
Kraushaar Galleries generally filed all types of records together with correspondence in a combination of alphabetical and chronological files. Thus financial records, insurance records, receipts, photographs, and exhibition catalogs can be found interfiled with general correspondence in Series 1-3. A group of photographs of artwork maintained separately by Kraushaar Galleries constitutes Series 4. Series 6 was minimally processed separately from Series 1-5, and the arrangement reflects the original order of the addition for the most part.
Records in Series 1-3 were originally filed alphabetically by name of correspondent and then by month, by a span of several months, or by year. The alphabetical arrangement has been retained, but to facilitate access the collection was rearranged so that correspondence was collated by year. From 1901 to 1944 outgoing letters and incoming letters are filed separately; in 1945 some outgoing letters are filed separately, with the bulk of the material filed together as correspondence; from 1946 to 1968 incoming and outgoing letters are filed together as correspondence.
For Series 1-3 organizations or individuals represented by at least 15 letters are filed in separate file folders. All other correspondents are arranged in general files by letters of the alphabet, with selected correspondents and subjects noted in parentheses after the folder title.
Series 2 and several boxes in Series 3 contain a variety of notes and receipts received and created by Kraushaar Galleries that were originally unfoldered. The notes can be found in folders adjacent to the receipts and include handwritten notes of customer names and addresses, financial notes and calculations, catalogs of exhibitions, invitations and announcements to exhibitions frequently used as note paper, and other miscellany. Although most of the miscellaneous notes are undated, they are filed, with the receipts, at the end of the year to which they appear to relate. For the years 1929 and 1930 Kraushaar Galleries created separate alphabetical files for some of the billing statements received from other businesses. These have been filed adjacent to "Miscellaneous Notes" and "Receipts" in the appropriate years.
Kraushaar Galleries tended to file correspondence with businesses alphabetically according to the letter of the last name: for example, Wm. E. Goodridge & Son would be filed under G rather than W.
Missing Title
Series 1: Outgoing Letters, 1920-1945 (boxes 1-9; 9 linear ft.)
Series 2: Incoming Letters (boxes 10-26; 16.25 linear ft.)
Series 3: Correspondence, 1945-1968 (boxes 26-53; 27.75 linear ft.)
Series 4: Photographs, undated (box 54; 0.5 linear ft.)
Series 5: Artwork, [1926, 1938] (box 53; 2 items)
Series 6: Addition to the Kraushaar Galleries Records, 1877-2006 (boxes 55-99, 101-117, BV100; 52.3 linear feet, ER01-ER02; 0.181 GB)
Historical Note:
Charles W. Kraushaar established Kraushaar Galleries in 1885 as a small store on Broadway near Thirty-first Street in New York City. Initially the store sold artist materials, photogravures, and reproductions. Drawing on his previous experience working with William Schause, a leading dealer in European paintings, Kraushaar soon progressed to selling original watercolors, paintings, and engravings by European artists, primarily landscapes of the Barbizon School.
In 1901 Kraushaar moved the business to 260 Fifth Avenue and with the assistance of his brother, John F. Kraushaar, began adding more modern French and American painters to the inventory. Of particular interest to John Kraushaar was the group of American realists known as "The Eight," who had held a self-selected, self-organized exhibition at the Macbeth Gallery in 1908. The Eight were Arthur B. Davies, William Glackens, Robert Henri, Ernest Lawson, George Luks, Maurice Prendergast, Everett Shinn, and John Sloan. Luks, whom John Kraushaar met around 1902, was probably the first major American artist represented at Kraushaar Galleries. In 1917 John Sloan was invited to hold his first one-person show at the galleries despite accusations that his exhibition at the Whitney Studio the previous year had represented a brutal depiction of life that lacked subtlety and sensitivity.
When Charles Kraushaar died suddenly in 1917, John assumed control of the galleries and soon enlisted the assistance of his daughter, Antoinette Kraushaar. Antoinette had suffered a bout of pneumonia during the influenza epidemic of 1918 that cut short her education; grooming her for a career in the galleries was a logical step. Following the end of the First World War, Kraushaar resumed his buying trips to Europe, often accompanied by Antoinette, and exhibited works by European artists such as André Derain, Henri Matisse, Amedeo Modigliani, Pablo Picasso, Henri de Toulouse-Lautrec, and Vincent Van Gogh. However, it was the increasing commitment to contemporary American artists for which the galleries would become best known. In addition to The Eight, the Kraushaars developed their inventory of American paintings and etchings with exhibitions of work by artists such as Gifford Beal, Charles Demuth, Guy Pène Du Bois, Gaston Lachaise, Jerome Myers, Charles Prendergast, and Henry Schnakenberg.
Returning from a buying trip to Europe in 1929, John Kraushaar wrote to California collector Preston Harrision on July 26 that "the prices over there, especially for modern pictures are astounding." Nevertheless, Kraushaar believed that investing in modern art would yield benefits within the next five years, and he refused to be influenced by museums and critics outside of New York who were reluctant to agree. He exhibited a healthy disrespect for museum directors in general, whom he referred to in his letters to Harrision as "dead heads" who ought to be sent to different art centers of the world in order to "get in touch with what is going on there" (March 11, 1929).
Like most of its contemporaries, Kraushaar Galleries suffered considerably during the Depression of the 1930s and struggled to collect and, in turn, pay accounts due. On October 5, 1931, John Kraushaar confessed to H. S. Southam, "Business is very bad with us, and I know that you will treat it confidentially when I tell you that I have had to sacrifice a good part of my personal holdings to provide cash for my own business." By 1934 the rent on the galleries' current location at 680 Fifth Avenue, where Kraushaar had moved in 1919, was out of all proportion to the amount of business that was being generated. In 1936, a timely move to 730 Fifth Avenue allowed the family to effect substantial economies without a disproportionate loss of business.
During the 1930s, John Kraushaar's health began to fail, and he was frequently absent from the galleries. Consequently, Antoinette Kraushaar took on greater responsibility for the operation of the business with the assistance of her brother Charles. Although Antoinette was one of few women to hold such a prominent position in the art business at that time, there is no evidence in the records to suggest that artists or customers who had been accustomed to dealing with John Kraushaar had any difficulty accepting the transition in management from father to daughter.
Nevertheless, collecting accounts remained difficult, and although business had improved by 1938 it was now stymied by the threat of war in Europe. The warmth of relations between the Kraushaars and the artists they handled, and their colleagues, was crucial to Antoinette during these years. She repeatedly expressed her gratitude for their understanding and assistance in her letters as she struggled to meet financial obligations and operate the business in her father's absence, experimenting with different strategies as she evolved an approach that would sustain the business. In a letter to Gifford Beal dated August 6, 1941, she spoke of "hellish times" and stressed, "I have learned a great many things during the past few years and hope that we are groping our way towards a working solution of our own affairs at least."
While there is no question that Antoinette Kraushaar shared her father's genuine interest in contemporary American artists, the growing commitment to these artists that was forged during these years was driven in large part by necessity. By increasing her stock of American art and adding "younger painters of promise," she was able to sell work in a much broader price range. Consequently she could reach a wider audience and increase the likelihood that the business would remain solvent. This method of business also suited her personality far more than having a very specialized inventory of highly priced work, an approach that she confessed to J. Lionberger Davis on December 3, 1940, "requires a particular kind of temperament, and frankly I neither like it nor believe in it."
Throughout her career Antoinette imbued the business with her personal style. She understood that elitism alienated art buyers of moderate income, who constituted her bread and butter, and believed strongly that the gallery environment should not be intimidating to potential customers. She corresponded at length with old and new clients alike, patiently offering advice when asked and maintaining liberal policies for those who wished to borrow artwork on approval. She also participated in events that promoted efforts to make art available to a wider audience, such as a 1951 exhibition and seminar at the Florida Gulf Coast Art Center that addressed problems of buying and selling art. She was a two-time board member of the Art Dealers Association of America and considered the organization to be an important source of support for the gallery community.
In her dealings with other commercial galleries and art institutions, Antoinette Kraushaar exhibited a strong spirit of cooperation and enthusiasm, consistently lending art to small, locally owned businesses and community organizations as well as to more established galleries and world-class museums. She also developed long and mutually beneficial associations with the art departments of many educational institutions across the country, which proved to be fertile ground for young and upcoming artists.
Antoinette Kraushaar exhibited the same honesty and fairness in dealing with artists as her father had, expressing her opinions of their work in a forthright manner and maintaining a policy of always looking at the work of any artist who came to her. She understood the inherent difficulties of dealing with living artists but relished the excitement of encouraging their work and watching them develop. On November 14, 1947, in reply to a letter from the artist Bernard Arnest, in which Arnest apologized for burdening her with his worries, she reminded him, "One of the functions of a dealer is to act as a safety valve. Didn't you know?"
Although she would not retain artists indefinitely if she felt their work had deteriorated in quality, Antoinette often stressed that she was prepared to accept little or no initial financial return on the work of artists who showed promise or whose work held a particular appeal for her. In a letter of December 30, 1940, she reassured Walt Dehner that the lack of sales from his recent exhibition would not lead her to withdraw his work from the galleries. In typically unassuming style she advised Dehner to "go on painting whatever interests you. We have found that there is no recipe for success, either artistic or material."
In the early 1940s Antoinette Kraushaar implemented two changes to her inventory. Sensing that interest in sculpture was growing, she rearranged the space to give that medium more room and attention. The market for etchings had been declining since the late 1930s, and as she reduced this part of her inventory she also acted on her personal passion for drawings by opening a small gallery devoted to contemporary American drawings that were priced well within the range of most customers.
By the time Kraushaar Galleries moved to 32 East Fifty-seventh Street, late in 1944, American art had become the main focus of the business. While the long-standing interest in The Eight and other artists of that period continued, the galleries also handled contemporaries such as Louis Bouché, Samuel Brecher, John Heliker, Andrée Ruellan, and Karl Schrag. When John Kraushaar died in December 1946, Antoinette and Charles legally assumed control of the business. This partnership continued until 1950, when Antoinette assumed sole ownership of the gallery.
In 1955 the galleries moved uptown to smaller quarters at 1055 Madison Avenue, and Antoinette Kraushaar gave up the greater part of her print business. She was inundated with requests from artists to be allowed a chance to show her their work, and the galleries' exhibition schedule was always full. Contemporary artists she now represented included Bernard Arnest, Peggy Bacon, Russell Cowles, Kenneth Evett, William Dean Fausett, William Kienbusch, Joe Lasker, and George Rickey, and she continued to exhibit artwork by Charles Demuth, William Glackens, George Luks, Maurice Prendergast, Boardman Robinson, and John Sloan.
By the late 1950s the artists of the generation that her father had promoted in the early part of the century had died, but Antoinette Kraushaar had the pleasure of seeing his faith in them come to fruition. In a letter to Ralph Wilson dated October 20, 1958, she stated with satisfaction, "The Boston Museum is taking (at long last) a deep interest in (Maurice) Prendergast, and they will probably do an important show within the next year." Her correspondence with William Glackens's son Ira in the 1960s reveals the extent to which Glackens's popularity had grown since his death in 1938, and the market for John Sloan's work had been increasing steadily since the late 1920s. In 1962 James Penney summed up Kraushaar Galleries' success in the foreword of a catalog for an exhibition of paintings and sculpture the galleries had organized with the Munson-Williams-Proctor Institute at Hamilton College:
Missing Title
1854 -- Charles W. Kraushaar born
1871 -- John F. Kraushaar born
1885 -- Kraushaar Galleries established on Broadway near Thirty-first Street
1901 -- Galleries moved to 260 Fifth Avenue
1902 -- Antoinette Kraushaar born
1917 -- Charles W. Kraushaar died; John Kraushaar assumed control of the business, increasing inventory of modern American and European artists; first John Sloan exhibition
1919 -- Galleries moved to 680 Fifth Avenue
[1920] -- Antoinette Kraushaar began assisting with the business
1924 -- Maurice Prendergast died
1936 -- Galleries moved to the Heckscher Building at 730 Fifth Avenue
1938 -- William J. Glackens died
1944 -- Galleries moved to the Rolls Royce Building at 32 East Fifty-seventh Street; American art now the main focus of the business
1946 -- John Kraushaar died; Antoinette and Charles Kraushaar assumed control of the business
1948 -- Charles Prendergast died
1950 -- Antoinette Kraushaar assumed sole ownership of Kraushaar Galleries
1951 -- John Sloan died
1955 -- Galleries moved to 1055 Madison Avenue
1959 -- Carole Pesner joined Kraushaar Galleries
1964 -- Galleries extended into adjacent building
1981 -- Galleries moved to 724 Fifth Avenue
1986 -- Katherine Kaplan joined Kraushaar Galleries
1988 -- Antoinette Kraushaar retired from day-to-day management of the business
1992 -- Antoinette Kraushaar died
Appendix: List of Kraushaar Galleries Exhibitions:
The Archives of American Art does not hold a complete collection of catalogs from exhibitions held at Kraushaar Galleries; therefore the dates and titles of exhibitions provided in this appendix are inferred from a variety of sources including correspondence, notes, artists' files, and requests for advertising. Italics indicate that the exact title of an exhibition is known.
Missing Title
Jan., 1912 -- Paintings by Gustave Courbet and Henri Fantin-Latour
Apr., 1912 -- Paintings by Frank Brangwyn and Henri Le Sidaner
Jan., 1913 -- Paintings by Ignacio Zuloaga
May, 1913 -- Etchings by Seymour Haden
June, 1913 -- Paintings and Lithographs by Henri Fantin-Latour
Oct., 1913 -- Etchings by Frank Brangwyn
Jan., 1914 -- Ignacio Zuloaga
Mar., 1914 -- Paintings by Alphonse Legros
Apr., 1914 -- George Luks
May, 1914 -- Seven Modern Masterpieces including Gustave Courbet, Henri Fantin-Latour, Alphonse Legros, Matthew Maris, and James McNeill Whistler
undated, 1915 -- Paintings by John Lavery
Jan.-Feb., 1917 -- James McNeill Whistler's White Girl
Feb.-Mar., 1917 -- Paintings by Augustus Vincent Tack
Mar.-Apr., 1917 -- Paintings and Etchings by John Sloan
Summer, 1917 -- Works by French artists including A. L. Bouche, Josef Israels, Gaston La Touche, and Alphonse Legros
Oct., 1917 -- Monoprints by Salvatore Antonio Guarino
Nov., 1917 -- Etchings and Mezzotints by Albany E. Howarth
Jan., 1918 -- Recent Paintings by John Lavery
Jan.-Feb., 1918 -- Paintings and Watercolors by George Luks
Feb.-Mar., 1918 -- Paintings by Augustus Vincent Tack
Mar., 1918 -- Paintings by John Sloan
Apr.-May, 1918 -- Paintings by A. L. Bouche
May, 1918 -- War Paintings by J. Mortimer Block, Charles S. Chapman, Guy Pène Du Bois, H. B. Fuller, George Luks, W. Ritschell, John Sloan, and Augustus Vincent Tack
Oct., 1918 -- Oil Paintings by William Scott Pyle
Nov., 1918 -- Paintings by Gustave Courbet, Henri Fantin-Latour, Alphonse Legros, Edouard Manet, Antoine Vollon, James McNeill Whistler, and Ignacio Zuloaga, and bronzes by Antoine Louis Bayre, Emile Antoine Bourdelle, and Mahonri Young
Apr., 1919 -- Paintings and Monoprints by Salvatore Anthonio Guarino
Jan.-Feb., 1919 -- Decorative Panels and Other Paintings by Augustus Vincent Tack
Mar., 1919 -- Paintings and Drawings by John Sloan
May, 1919 -- Paintings by George Luks, Monticelli, and A. P. Ryder
Sept., 1919 -- Work by Jean Louis Forain
Oct., 1919 -- Etchings and Lithographs by Alphonse Legros
Jan., 1920 -- Recent Paintings by George Luks
Feb., 1920 -- Recent Paintings by John Sloan
Feb., 1920 -- Paintings by William Scott Pyle
Mar., 1920 -- Recent Paintings by Gifford Beal
Apr., 1920 -- Recent Paintings by Augustus Vincent Tack
Apr., 1920 -- Paintings by Henri Le Sidaner
Apr., 1920 -- Paintings and Drawings by Jean Louis Forain
Apr.-May, 1920 -- Paintings and Drawings by Jerome Myers
May, 1920 -- Paintings by Henrietta M. Shore
Jan., 1921 -- Paintings by French and American Artists
Jan.-Feb., 1921 -- Paintings by George Luks
Feb., 1921 -- New Paintings by Augustus Vincent Tack
Apr., 1921 -- John Sloan Retrospective
Summer, 1921 -- French and American Artists
Oct., 1921 -- Paintings of Mountford Coolidge
Oct., 1921 -- Works by Henri Fantin-Latour and Henri Le Sidaner
Nov., 1921 -- Frank Van Vleet Tompkins
Dec., 1921 -- Paintings and Bronzes by Modern Masters of American and European Art
Jan., 1922 -- Exhibition of Recent Paintings and Watercolors by George Luks
Feb., 1922 -- Paintings by Augustus Vincent Tack
Mar., 1922 -- Paintings and Watercolors by Gifford Beal
Apr., 1922 -- Exhibition of Paintings by Guy Pène Du Bois
Summer, 1922 -- Paintings by Modern Masters of American and European Art
Oct., 1922 -- Recent Paintings of the Maine Coast by George Luks
Jan., 1923 -- Exhibition of Paintings by George Luks
Feb., 1923 -- Paintings and Decorative Panels by Augustus Vincent Tack
Mar., 1923 -- Landscapes by Will Shuster
Mar., 1923 -- Paintings by Samuel Halpert
Apr., 1923 -- Marine Figures and Landscapes by Gifford Beal
Apr.-May, 1923 -- Paintings by John Sloan
May, 1923 -- Paintings by Frank Van Vleet Tompkins
June, 1923 -- Etchings by Marius A. J. Bauer
Oct., 1923 -- American Watercolors by Gifford Beal, Reynolds Beal, George Luks, Maurice Prendergast, and William Zorach
Dec., 1923 -- Etchings and Lithographs by Alphonse Legros
Dec., 1923 -- Paintings, Drawings, and Pastels by Charles Adolphe Bischoff
Jan., 1924 -- Paintings by Celebrated American Artists
Mar., 1924 -- Paintings and Drawings by Guy Pène Du Bois
Apr., 1924 -- New Paintings by George Luks
May, 1924 -- Paintings by Marjorie Phillips
Summer, 1924 -- French and American Modern Artists
Oct., 1924 -- Painting, Watercolors, and Sculpture by William Zorach
Nov., 1924 -- Watercolors by Seven Americans
Dec., 1924 -- French Paintings
Jan., 1925 -- Paintings by John Sloan
Jan.-Feb., 1925 -- Maurice Prendergast Memorial Exhibition
Mar., 1925 -- Plans and Photographs of Work in Landscape Architecture by Charles Downing Lay
Apr., 1925 -- Paintings by William J. Glackens
Dec., 1925 -- Watercolors by Gifford Beal, Reynolds Beal, Carl Broemel, Richard Lahey Jerome Myers, Maurice Prendergast, Henry E. Schnakenberg, Abraham Walkowitz, and William Zorach
undated, 1926 -- Lower Broadway by W. Walcot
Feb., 1926 -- Paintings by Paul Burlin
Feb., 1926 -- Portraits of Duncan Phillips, Esq. Charles B. Rogers, Esq. & The Hon. Elihu Root Painted by Augustus Vincent Tack
Mar., 1926 -- Paintings, Watercolors, and Drawings by Gifford Beal
Apr., 1926 -- John Sloan
Sept.-Oct., 1926 -- Exhibition of Etchings by C. R. W. Nevinson
Oct., 1926 -- Drawings, Etchings, and Lithographs by Nineteenth-Century French Artists
Oct., 1926 -- Paintings and Drawings by Mathieu Verdilhan
Dec., 1926 -- Exhibition of Watercolors by Gifford Beal, Reynolds Beal, Carl Broemel, Guy Pène Du Bois, Ernest Fiene, Samuel Halpert, Henry Keller, Louis Kronberg, Richard Lahey, Charles Lay, Jerome Myers, Maurice Prendergast, Henry
Dec., 1926 -- Schnakenberg, A. Walkowitz, Martha Walters, William Zorach
Jan., 1927 -- French Drawings and Prints
Feb., 1927 -- Paintings, Drawings, Etchings, and Lithographs by John Sloan
Mar., 1927 -- Gifford Beal
Mar.-Apr., 1927 -- Decorative Panels and Watercolors by Margarett Sargent
Mar.-Apr., 1927 -- Exhibition of Drawings and Lithographs of New York by Adriaan Lubbers
Apr., 1927 -- Paintings and Etchings by Walter Pach
Apr.-May, 1927 -- Paintings and Watercolors by Leopold Survage
Apr.-May, 1927 -- Etchings and Woodcuts by D. Galanis
May, 1927 -- Paintings by Guy Pène Du Bois
Summer, 1927 -- Paintings by American Artists
Summer, 1927 -- Paintings, Watercolors, and Drawings by Georges Braque, Honoré Daumier, Edgar Degas, André Derain, Henri Fantin-Latour, Jean Louis Forain, Constantin Guys, Henri de Toulouse-Lautrec, Edouard Manet, Henri Matisse, Amedeo Modigliani, Claude Monet, Morissot, Pablo Picasso, Camille Pissarro, Odilon Redon, Segonzac, and Georges Seurat
Oct.-Nov., 1927 -- Exhibition of Etchings in Color by Bernard Boutet de Monvel
Nov., 1927 -- Exhibition of Paintings, Drawings, Lithographs, and Watercolors by Ernest Fiene
Dec., 1927 -- Watercolors by American Artists including Gifford Beal, Reynolds Beal, Carl Broemel, Charles Demuth, Guy Pène Du Bois, Ernest Fiene, Henry G. Keller, Richard Lahey, Charles Downing Lay, Howard Ashman Patterson, [Maurice] Prendergast, Henry E. Schnakenberg, Abraham Walkowitz, Frank Nelson Wilcox, and [William] Zorach
Dec., 1927 -- Paintings by Guy Pène Du Bois
Dec., 1927 -- Paintings, Sculpture, and Decorative Media by George Biddle
Jan.-Feb., 1928 -- Paintings by S. J. Peploe
Feb., 1928 -- Drawings by Henri Fantin-Latour
Feb., 1928 -- Pastels and Drawings by Margarett Sargent
Feb., 1928 -- Drawings for Balzac's Les Contes Drolatiques by Ralph Barton
Feb.-Mar., 1928 -- Sculpture by William Zorach
Mar., 1928 -- Recent Paintings by Marjorie Phillips
Mar.-Apr., 1928 -- Exhibition of Paintings by William Glackens
Apr., 1928 -- Paintings, Drawings and Lithographs by R. H. Sauter of London, England
Oct., 1928 -- Modern French Paintings, Watercolors and Drawings
Oct.-Nov., 1928 -- Paintings, Watercolors, Drawings, Etchings, and Lithographs by Richard Lahey
Nov., 1928 -- Exhibition of Paintings and Sculpture by J. D. Fergusson
Nov.-Dec., 1928 -- Paintings, Drawings and Etchings by Walter Pach
Dec., 1928 -- Paintings and Watercolors by Abraham Walkowitz
Jan., 1929 -- Exhibition of Paintings by Margarett Sargent
Jan., 1929 -- Watercolors by Rodin
Jan.-Feb., 1929 -- Exhibition of Sculpture by Arnold Geissbuhler
Feb., 1929 -- Paintings and Watercolors by Guy Pène Du Bois
Feb.-Mar., 1929 -- Paintings by Gifford Beal
Mar., 1929 -- Exhibition of Paintings by Adriaan Lubbers
Mar.-Apr., 1929 -- Exhibition of Etchings by Gifford Beal, Frank W. Benson, Childe Hassam, Kenneth Hayes Miller, and John Sloan
Apr., 1929 -- Exhibition of Paintings by Arnold Friedman
Apr., 1929 -- Sculpture by Harriette G. Miller
May, 1929 -- Paintings by Howard Ashman Patterson
May, 1929 -- Paintings by William Meyerowitz
Oct., 1929 -- Exhibition of Modern French Paintings, Watercolors and Drawings
Nov., 1929 -- Modern French and American Paintings, Watercolors, Prints, and Sculpture (at Gage Galleries in Cleveland)
Jan., 1930 -- Paintings by Paul Bartlett
Feb., 1930 -- Watercolors by Auguste Rodin
Feb.-Mar., 1930 -- Paintings by Guy Pène Du Bois
Summer, 1930 -- Paintings by American Artists
Oct., 1930 -- Paintings and Watercolors by Maurice Prendergast
Nov., 1930 -- Paintings by Ruth Jonas
Nov., 1930 -- Sculpture by Harriette G. Miller
Jan., 1931 -- Paintings and Watercolors by Richard Lahey
Jan.-Feb., 1931 -- Paintings by Erle Loran Johnson
Feb.-Mar., 1931 -- Paintings, Watercolors and Etchings by Gifford Beal
Mar., 1931 -- Paintings and Watercolors by Walter Pach
Mar.-Apr., 1931 -- Paintings, Drawings, and Etchings by Rudolf H. Sauter
May, 1931 -- Exhibition of Watercolors by John La Farge, Gifford Beal, H. E. Schnakenberg, Maurice Prendergast, Guy Pène Du Bois, Richard Lahey
Fall, 1931 -- Modern French Paintings, Watercolors, and Drawings
Dec., 1931 -- Exhibition of Drawings and Watercolors by D. Y. Cameron, Joseph Gray, Henry Rushbury, Muirhead Bone, Edmund Blampied, Gwen John
Dec., 1931 -- Lithographs and Posters by H. de Toulouse-Lautrec
Jan., 1932 -- Watercolors by Pierre Brissaud
Feb., 1932 -- Paintings and Drawings by A. S. Baylinson
Mar., 1932 -- Watercolors and Pastels by French and American Artists
Apr., 1932 -- Paintings by Nan Watson
May, 1932 -- Sculpture by Behn, Bourdelle, Geissbuhler, Lachaise, Maillol, Miller, Nadelman, Renoir, Young, Zorach; Decorative Panels by Max Kuehne, and Charles Prendergast
June-Aug., 1932 -- Paintings and Watercolors by American Artists
Oct.-Nov., 1932 -- Paintings, Watercolors, and Drawings by Various Artists
Jan., 1933 -- Paintings by Paul Bartlett
Jan.-Feb., 1933 -- Lithographs by Henri Fantin-Latour
Feb., 1933 -- Etchings of Dogs by Bert Cobb
Feb.-Mar., 1933 -- Paintings by American Artists
Feb.-Apr., 1933 -- Paintings by Contemporary Americans
Apr., 1933 -- Paintings by Maurice Prendergast
Oct., 1933 -- Exhibition of French Paintings, Watercolors, and Drawings
Oct.-Nov., 1933 -- Drawings by Emily W. Miles
Oct.-Nov., 1933 -- Exhibition of Etchings and Lithographs
Nov., 1933 -- Paintings and Watercolors by Henry E. Schnakenberg
Dec., 1933 -- Watercolors by Gifford Beal
Jan., 1934 -- Exhibition of Drawings by Denys Wortman for "Metropolitan Movies"
Summer, 1934 -- Paintings by Gifford Beal, Reynolds Beal, Isabel Bishop, Ann Brockman, Preston Dickinson, Guy Pène Du Bois, William J. Glackens, Richard Lahey, Ernest Lawson, George Luks, Harriette Miller, Maurice Prendergast, Henry E. Schnakenberg, and John Sloan
Oct.-Nov., 1934 -- Exhibition of Etchings and Lithographs
Nov.-Dec., 1934 -- Paintings by Gifford Beal
Mar., 1935 -- Complete Collection of Etchings by Mahonri Young
July-Aug., 1935 -- Paintings by American Artists including Gifford Beal, Reynolds Beal, Ann Brockman, Guy Pène Du Bois, William J. Glackens, Max Kuehne, Richard Lahey, Ernest Lawson, George Luks, Harriette G. Miller, Maurice Prendergast, Henry E. Schnakenberg, John Sloan, and Abraham Walkowitz
Oct.-Nov., 1935 -- Decorative Panels by Charles Prendergast
Nov., 1935 -- Exhibition of Paintings by H. E. Schnakenberg
Mar., 1936 -- Paintings by Louis Bouché
Apr., 1936 -- Paintings by Gifford Beal
Oct.-Nov., 1936 -- Loan Collection of French Paintings
Dec., 1936 -- Monotypes in Color by Maurice Prendergast
Jan., 1937 -- Recent Watercolors by H. E. Schnakenberg
Jan., 1937 -- Paintings of Flowers by William J. Glackens
Feb., 1937 -- Etchings by John Sloan
Feb., 1937 -- A Group of American Paintings
Sept., 1937 -- A Group of Paintings by Gifford Beal, Louis Bouché, Guy Pène Du Bois, William J. Glackens, Ernest Lawson, George Luks, Maurice Prendergast, Theodore Robinson, John Sloan, J. Alden Weir
Oct.-Nov., 1937 -- Decorative Panels by Charles Prendergast
Dec., 1937 -- American Watercolors
Jan.-Feb., 1938 -- Paintings by Gifford Beal
Feb.-Mar., 1938 -- Drawings by William Glackens, Guy Pène Du Bois, John Sloan, Denys Wortman
Apr., 1938 -- Paintings by Louis Bouché
May, 1938 -- Paintings and Pastels by Randall Davey
Oct., 1938 -- Selected Paintings by Modern French and American Artists
Nov., 1938 -- Paintings by Guy Pène Du Bois from 1908 to 1938
Nov., 1938 -- Paintings and Sculpture by Harriette G. Miller
Dec., 1938 -- Watercolors by Prendergast, Keller, Demuth, Wilcox and Others
Jan., 1939 -- Paintings by H. H. Newton
Oct., 1939 -- French and American Paintings
Oct.-Nov., 1939 -- Drawings by William Glackens of Spanish-American War Scenes
Nov., 1939 -- Paintings and Watercolors by Russell Cowles
Jan.-Feb., 1940 -- Recent Paintings by Louis Bouché
Feb.-Mar., 1940 -- Paintings by Henry Schnakenberg
Mar.-Apr., 1940 -- Paintings by Maurice Prendergast
Apr.-May, 1940 -- Watercolors by Charles Kaeselau
May-June, 1940 -- A Group of Recent Paintings by Gifford Beal, Russell Cowles, John Koch, Henry Schnakenberg, Esther Williams, Louis Bouché, Guy Pène Du Bois, Harriette G. Miller, John Sloan, Edmund Yaghjian
Oct., 1940 -- Drawings by American Artists
Nov., 1940 -- Walt Dehner
Mar., 1941 -- John Koch
May-June, 1941 -- Watercolors and Small Paintings by Gifford Beal
Oct.-Nov., 1941 -- Recent Paintings by Russell Cowles
Nov.-Dec., 1941 -- Paintings and Watercolors by Henry E. Schnakenberg
Dec., 1941 -- Charles Prendergast
Jan., 1942 -- Paintings by Samuel Brecher
Jan.-Feb., 1942 -- Recent Paintings by Guy Pène Du Bois
Mar.-Apr., 1942 -- Recent Paintings by Louis Bouché
Mar.-Apr., 1942 -- Illustrations by Boardman Robinson Commissioned by the Limited Editions Club for Edgar Lee Masters' "Spoon River Anthology"
Dec., 1942 -- Paintings from the Period of the Last War
Feb., 1943 -- Paintings and Watercolors by William Dean Fausett
Mar., 1943 -- Paintings by John Hartell
May-July, 1943 -- Watercolors by Contemporary American Artists
Feb.-Mar., 1944 -- Samuel Brecher
Feb.-Mar., 1944 -- Paintings, Gouaches, and Drawings by Andrée Ruellan
Mar., 1944 -- Vaughn Flannery
Mar.-Apr., 1944 -- Recent Paintings by Russell Cowles
Apr.-May, 1944 -- Recent Paintings by Louis Bouché
May-June, 1944 -- Retrospective Exhibition of Paintings and Watercolors by Henry G. Keller
Oct., 1944 -- Esther Williams
Nov.-Dec., 1944 -- Paintings and Watercolors of France by Maurice Prendergast
Dec., 1944 -- William J. Glackens Sixth Memorial Exhibition
Dec., 1944 -- Kraushaar Galleries Sixtieth Anniversary Exhibition of Paintings by William J. Glackens, Ernest Lawson, George Luks, Maurice Prendergast, and John Sloan
Jan.-Feb., 1945 -- Paintings by Gifford Beal
Feb.-Mar., 1945 -- Paintings by Andrée Ruellan
Apr.-May, 1945 -- Charles Locke
May-June, 1945 -- William Dean Fausett
Oct., 1945 -- Paintings by John Hartell
Nov.-Dec., 1945 -- Recent Watercolors by Marion Monks Chase
Nov.-Dec., 1945 -- Gouaches by Cecil Bell
Dec., 1945 -- Memorial Exhibition of Paintings and Watercolors by Ann Brockman
undated, 1946 -- Russell Cowles
Jan.-Feb., 1946 -- Richard Lahey
Feb., 1946 -- John Koch
Feb.-Mar., 1946 -- Paintings by Ernst Halberstadt
Mar., 1946 -- Paintings of Mexico and Guatemala by Henry E. Schnakenberg
Mar., 1946 -- Iver Rose
Apr., 1946 -- Louis Bouché
Apr.-May, 1946 -- Russell Cowles
May-June, 1946 -- Paintings by Bernard Arnest, Charles Harsanyi, Irving Katzenstein, Anna Licht, James Penney, Etienne Ret, and Vernon Smith
Sept., 1946 -- Retrospective Exhibition of the Work of Boardman Robinson
Nov., 1946 -- Guy Pène Du Bois
Nov.-Dec., 1946 -- William J. Glackens Eighth Memorial Exhibition
Jan., 1947 -- Karl Schrag
Feb.-Mar., 1947 -- Sculpture by Robert Laurent
Feb.-Mar., 1947 -- Paintings by Iver Rose
Feb.-Mar., 1947 -- Recent Paintings by Vernon Smith
Apr., 1947 -- Charles Prendergast
Apr., 1947 -- Louis Bouché
Apr.-May, 1947 -- Esther Williams
Oct.-Nov., 1947 -- Anna Licht
Nov., 1947 -- William J. Glackens Ninth Memorial Exhibition, with Works by Lenna Glackens
Mar., 1948 -- Russell Cowles
Apr.-May, 1948 -- Bernard Arnest
Aug.-Sept., 1948 -- New York Paintings and Watercolors
Oct.-Nov., 1948 -- Kenneth Evett
Nov.-Dec., 1948 -- Watercolors and Pastels by Harriette G. Miller
Jan.-Feb., 1949 -- John Hartell
Sept.-Oct., 1949 -- Contemporary American Watercolors and Gouaches
Oct., 1949 -- Contemporary Paintings
Jan., 1950 -- Maurice Prendergast Retrospective of Oils and Watercolors
Jan.-Feb., 1950 -- James Penney
Feb.-Mar., 1950 -- Paintings by Karl Schrag
Mar.-Apr., 1950 -- Russell Cowles
Jan.-Feb., 1951 -- William Sommer
Feb., 1951 -- Prints and Drawings by Various Artists
Feb., 1951 -- Paintings by Louis Bouché
Mar., 1951 -- Kenneth Evett
Apr.-May, 1951 -- Paintings by Gallery Artists
May-July, 1951 -- Contemporary American Watercolors
July-Aug., 1951 -- Paintings on the Summer Theme
Sept.-Oct., 1951 -- Vaughn Flannery
Oct.-Nov., 1951 -- Recent Paintings by Gallery Artists
Nov., 1951 -- Paintings by John Koch
Nov.-Dec., 1951 -- Joe Lasker
Dec., 1951 -- Small Prints and Drawings
Jan., 1952 -- Recent Gouaches by William Kienbusch
Jan., 1952 -- John Sloan: Recent Etchings from 1944-1951, and Etchings and Drawings Selected from All Periods of His Career
Feb.-Mar., 1952 -- Andrée Ruellan
Mar.-Apr., 1952 -- Bernard Arnest
Apr.-May, 1952 -- Recent Sculpture by Robert Laurent
May, 1952 -- Recent Paintings by Contemporary American Artists
May-June, 1952 -- Watercolors by Joseph Barber, Edward Christiana, Walt Dehner, Sidney Eaton, Wray Manning, and Woldemar Neufeld
July-Aug., 1952 -- Color Prints (Woodcuts, Etchings, and Lithographs) by Eleanor Coen, Caroline Durieux, Max Kahn, Tom Lias, Woldemar Neufeld, James Penney, George Remaily, Ann Ryan, and Karl Schrag
Nov., 1952 -- Karl Schrag
Dec., 1952-Jan. 1953 -- Eight Oregon Artists
Jan., 1953 -- Charles Prendergast Memorial Exhibition
Jan.-Feb., 1953 -- John Hartell
May, 1953 -- John Heliker
June, 1953 -- Humbert Alberizio, Vaughn Flannery, William Kienbusch, George Rickey, Andrée Ruellan, and Karl Schrag
Sept., 1953 -- Works by Gifford Beal, Kenneth Evett, Tom Hardy, John Koch, and James Lechay
Sept.-Oct., 1953 -- Paintings by Glackens, Lawson, Prendergast, Sloan
Oct.-Nov., 1953 -- Paintings by E. Powis Jones
Oct.-Nov., 1953 -- Recent Works by John Koch
Nov., 1953 -- Kenneth Evett: Drawings from Greek Mythology
Nov.-Dec., 1953 -- Recent Metal Sculptures by Tom Hardy
Nov.-Dec., 1953 -- Pastels, Drawings and Prints by Peggy Bacon
Nov.-Dec., 1953 -- Recent Paintings by Ralph Dubin
Feb.-Mar., 1954 -- Russell Cowles
Mar.-Apr., 1954 -- James Penney
Nov.-Dec., 1954 -- Tom Hardy: Metal Sculptures
Jan., 1955 -- Mobiles, Machines, and Kinetic Sculpture by George Rickey
Jan.-Feb., 1955 -- James Lechay
Feb., 1955 -- Mobiles by George Rickey
Feb.-Mar., 1955 -- Drawings, Etchings, and Lithographs by John Sloan (with a selection of prints by artists whose work influenced him in his early years: Rembrandt, Hogarth, Goya, Rops, Daumier, Rowlandson and others, to mark the publication of John Sloan: A Painter's Life by Van Wyck Brooks)
Mar.-Apr., 1955 -- Jane Wasey
Apr., 1955 -- Recent Work by Joe Lasker
May-June, 1955 -- Sculpture and Drawings by Contemporary American Artists
Jan., 1956 -- Carl Morris
Jan.-Feb., 1956 -- John Laurent
Feb.-Mar., 1956 -- William Kienbusch
Mar., 1956 -- Andrée Ruellan
Mar.-Apr., 1956 -- Karl Schrag
Apr.-May, 1956 -- John Heliker
May, 1956 -- Monotypes by Maurice Prendergast
Oct., 1956 -- The Eight
Jan.-Feb., 1957 -- Paintings by John Hartell
Apr., 1957 -- James Penney
Apr.-May, 1957 -- John Heliker
May-June, 1957 -- Fourteen Painter-Printmakers (American Federation of Arts exhibition)
June-July, 1957 -- 20th Century American Artists
Nov., 1957 -- William Glackens and His Friends (based on the book by Ira Glackens)
Nov., 1957 -- Marguerite Zorach
Jan., 1958 -- Gouches, Drawings and Small Glyphs by Ulfert Wilke
Jan.-Feb., 1958 -- Tom Hardy
Feb.-Mar., 1958 -- John Koch
Feb.-Mar., 1958 -- Still Life Exhibition with Works by William J. Glackens and Maurice Prendergast
Feb.-Mar., 1958 -- Cecil Bell
Mar., 1958 -- Karl Schrag
Mar., 1958 -- Carl Morris
Mar.-Apr., 1958 -- Louis Bouché
Apr., 1958 -- Paintings and Drawings by Joe Lasker
Apr.-May, 1958 -- Paintings and Drawings by Walter Feldman
Apr.-May, 1958 -- Sculpture by Henry Mitchell
May-June, 1958 -- Works in Casein and Gouache by Bernard Arnest, William Kienbusch, Carl Morris, and Karl Schrag
July, 1958 -- Still Life Paintings and Watercolors by American Artists
Oct.-Nov., 1958 -- Kenneth Evett
Nov., 1958 -- Elsie Manville
Nov.-Dec., 1958 -- John Laurent
Jan., 1959 -- Kinetic Sculpture by George Rickey
Jan.-Feb., 1959 -- Bernard Arnest
Mar., 1959 -- Karl Schrag
Mar.-Apr., 1959 -- Paintings by Joe Lasker
Apr.-May, 1959 -- Henry Mitchell
Sept.-Oct., 1959 -- Robert Searle
Oct.-Nov., 1959 -- Russell Cowles
Nov., 1959 -- Caseins and Paintings by William Kienbusch
Dec., 1959 -- Paintings by Vaughn Flannery
Feb., 1960 -- James Lechay
Apr., 1960 -- Landscapes by John Sloan
Apr.-May, 1960 -- John Guerin
May-June, 1960 -- Drawings and Small Sculpture by Gallery Artists
Oct., 1960 -- Ainslie Burke
Oct.-Nov., 1960 -- Leon Goldin
Nov.-Dec., 1960 -- Ulfert Wilke
Jan., 1961 -- Leonard DeLonga
Jan., 1961 -- Kenneth Evett
Jan.-Feb., 1961 -- Walter Feldman
Feb.-Mar., 1961 -- Watercolors and Pastels by Early Twentieth-Century American Artists
Mar., 1961 -- Paintings by Ralph Dubin
Mar.-Apr., 1961 -- James Penney
Apr.-May, 1961 -- John Koch
June, 1961 -- Works by Humbert Albrizio, Bernard Arnest, Cecil Bell, Louis Bouché, Ralph Dubin, Kenneth Evett, Walter Feldman, John Hartell, John Heliker, William Kienbusch, John Koch, Robert Laurent, James Lechay, Elsie Manville, Henry Mitchell, James Penney, George Rickey, Andrée Ruellan, Henry E. Schnakenberg, Karl Schrag, Jane Wasey, and Marguerite Zorach
Sept., 1961 -- Works by Contemporary Americans
Oct., 1961 -- George Rickey: Kinetic Sculpture
Oct.-Nov., 1961 -- Carl Morris
Nov.-Dec., 1961 -- Peggy Bacon
Dec., 1961 -- Selected Works by Twentieth-Century Americans
Jan., 1962 -- Polymer Resin and Sumi Ink Paintings by Kenneth Evett
Jan.-Feb., 1962 -- Louis Bouché
Feb.-Mar., 1962 -- Karl Schrag
Mar., 1962 -- Marguerite Zorach
Apr., 1962 -- John Laurent
Apr.-May, 1962 -- Sculpture by Tom Hardy
May-June, 1962 -- Drawings by Contemporary American Artists
July-Aug., 1962 -- Group Exhibitions - Paintings, Drawings and Sculpture by 20th Century American Artists
Oct., 1962 -- Bernard Arnest
Feb., 1963 -- William Kienbusch
Feb.-Mar., 1963 -- John Guerin
Mar., 1963 -- John Hartell
Sept.-Oct., 1963 -- Andrée Ruellan
Oct.-Nov., 1963 -- Ainslie Burke
Nov., 1963 -- Walter Feldman
Dec., 1963 -- Drawings by John Koch
Dec., 1963 -- Paintings by Contemporary Americans
Jan., 1964 -- Leonard DeLonga
Jan.-Feb., 1964 -- Joe Lasker
Feb.-Mar., 1964 -- Leon Goldin
Mar., 1964 -- Paintings by Ralph Dubin
Apr., 1964 -- Carl Morris
Apr.-May, 1964 -- Paintings and Drawings by John Heliker
Oct.-Nov., 1964 -- Louis Bouché
Nov.-Dec., 1964 -- Karl Schrag
Dec., 1964 -- Kenneth Evett
Feb., 1965 -- Russell Cowles
Feb.-Mar., 1965 -- James Lechay
Mar.-Apr., 1965 -- James Penney
Apr.-May, 1965 -- Gifford Beal
Feb., 1966 -- Dennis Leon
Feb.-Mar., 1966 -- Henry Schnakenberg
Mar.-Apr., 1966 -- John Hartell
Apr., 1966 -- Elsie Manville
Oct., 1966 -- Contrasts - Early and Late Works by Selected Contemporaries
Oct.-Nov., 1966 -- Tom Hardy
Nov.-Dec., 1966 -- Francis Chapin
Dec., 1966-Jan., 1967 -- Karl Schrag: Etchings and Lithographs
Jan.-Feb., 1967 -- Leonard DeLonga
Feb.-Mar., 1967 -- Carl Morris
Mar.-Apr., 1967 -- Ainslie Burke
Apr.-May, 1967 -- John Heliker: Paintings, Drawings, and Watercolors
May-June, 1967 -- William Glackens
Oct., 1967 -- Kenneth Callahan
Oct.-Nov., 1967 -- John Laurent
Jan.-Feb., 1968 -- Dennis Leon
Feb.-Mar., 1968 -- Robert La Hotan
Apr., 1968 -- John Guerin
Apr.-May, 1968 -- Leon Goldin
Sept.-Oct., 1968 -- Contemporary Sculpture and Drawings
Oct.-Nov., 1968 -- Karl Schrag
Nov.-Dec., 1968 -- James Lechay: Portraits and Landscapes
Dec., 1968-Jan., 1969 -- Group Exhibition
Jan., 1969 -- Elsie Manville
Mar., 1969 -- Kenneth Evett
Apr.-May, 1969 -- James Penney
Sept.-Oct., 1969 -- New Works by Contemporary Artists
Oct.-Nov., 1969 -- John Hartell: Exhibition
Nov., 1969 -- Peggy Bacon
Dec., 1969 -- Selected Examples by American Artists 1900-1930
Jan., 1970 -- Leonard DeLonga
Feb., 1970 -- Joe Lasker
Mar., 1970 -- Group Exhibition
Mar.-Apr., 1970 -- Dennis Leon
Apr.-May, 1970 -- Jerome Myers
Oct.-Nov., 1970 -- Tom Hardy
Jan.-Feb., 1971 -- Jane Wasey
Mar.-Apr., 1971 -- Kenneth Callahan
Oct., 1971 -- Ainslie Burke
Nov.-Dec., 1971 -- Karl Schrag
Feb.-Mar., 1972 -- John Koch
Mar.-Apr., 1972 -- Robert La Hotan
Apr.-May, 1972 -- Leon Goldin
May-June, 1972 -- Selected Works by 20th Century Americans
Sept.-Oct., 1972 -- Gallery Collection: American Watercolors and Drawings
Oct.-Nov., 1972 -- John Hartell
Nov.-Dec., 1972 -- Peggy Bacon
Dec., 1972 -- 20th Century Americans
Jan., 1973 -- Leonard DeLonga
Feb., 1973 -- Carl Morris
Mar., 1973 -- James Lechay
Mar.-Apr., 1973 -- Russell Cowles: Landscape Paintings
Apr.-May, 1973 -- Jerome Witkin
May-June, 1973 -- Kenneth Evett: Watercolors
Oct.-Nov., 1973 -- Kenneth Callahan
Jan., 1974 -- Joe Lasker
Jan.-Feb., 1974 -- Bernard Arnest
Feb.-Mar., 1974 -- Concetta Scaravaglione
Oct., 1974 -- Ainslie Burke
Oct.-Nov., 1974 -- James Penney
Jan., 1975 -- Tom Hardy
Jan.-Feb., 1975 -- Karl Schrag
Feb.-Mar., 1975 -- Robert La Hotan
Mar.-Apr., 1975 -- William Kienbusch
Apr., 1975 -- Elsie Manville
Apr.-May, 1975 -- Gifford Beal
Oct.-Nov., 1975 -- John Hartell
Nov., 1975 -- Daniel O'Sullivan
Mar., 1976 -- Jerome Witkin
May, 1976 -- Linda Sokolowski
Sept.-Oct., 1976 -- Joe Lasker, Illustrations from Merry Ever After
Oct., 1976 -- Leonard DeLonga
Nov.-Dec., 1976 -- Kenneth Callahan
Jan., 1977 -- James Lechay
Mar., 1977 -- Karl Schrag
Mar.-Apr., 1977 -- David Cantine
Oct.-Nov., 1977 -- John Hartell
Nov.-Dec., 1977 -- Ainslie Burke
Feb., 1978 -- Robert La Hotan
Apr., 1978 -- Elsie Manville
Oct., 1978 -- Tom Hardy
Oct.-Nov., 1978 -- Jerome Witkin
Jan.-Feb., 1979 -- Joe Lasker
Feb., 1979 -- Kenneth Evett
Feb.-Mar., 1979 -- Karl Schrag
Mar.-Apr., 1979 -- Carl Morris
Apr.-May, 1979 -- Linda Sokolowski
Oct.-Nov., 1979 -- Daniel O'Sullivan
Feb.-Mar., 1980 -- Kenneth Callahan
Mar., 1980 -- Ainslie Burke
Oct., 1980 -- John Hartell
Jan., 1981 -- Leonard DeLonga
Feb., 1981 -- James Lechay
Feb.-Mar., 1981 -- Robert La Hotan
Mar.-Apr., 1981 -- Jerry Atkins
Apr.-May, 1981 -- Ben Frank Moss
Jan.-Feb., 1982 -- Jerome Witkin
Feb.-Mar., 1982 -- Elsie Manville
Mar.-Apr., 1982 -- Karl Schrag
Apr.-May, 1982 -- Linda Sokolowski
May-June, 1982 -- David Cantine
Sept.-Oct., 1982 -- Kenneth Callahan
Oct.-Nov., 1982 -- Joe Lasker
Nov.-Dec., 1982 -- Daniel O'Sullivan
Jan.-Feb., 1983 -- William Kienbusch: Memorial Exhibition
Feb.-Mar., 1983 -- Jerry Atkins
Mar.-Apr., 1983 -- John Hartell
Apr.-May, 1983 -- John Heliker
May-June, 1983 -- Kenneth Evett
Oct., 1983 -- Concetta Scaravaglione
Oct.-Nov., 1983 -- Ben Frank Moss
Nov.-Dec., 1983 -- Russell Cowles
Dec., 1983-Jan., 1984 -- 20th Century Americans
Jan.-Feb., 1984 -- Marguerite Zorach: Paintings at Home and Abroad
Feb.-Mar., 1984 -- Robert La Hotan
Mar., 1984 -- David Smalley
Apr., 1984 -- Carl Morris
May, 1984 -- Karl Schrag
July, 1984 -- Drawings by 20th Century Americans
July-Aug., 1984 -- Collages and Drawings by Joseph Heil
Aug.-Sept., 1984 -- Drawings and Prints by Tom Hardy
Sept.-Oct., 1984 -- James Penney: Memorial Exhibition
Oct.-Nov., 1984 -- Paintings and Drawings by Leon Goldin
Nov.-Dec., 1984 -- Isabelle Siegel
Dec., 1984-Jan., 1985 -- Group Exhibition: Contemporary American Paintings and Sculpture
Jan.-Feb., 1985 -- James Lechay
Feb.-Mar., 1985 -- Ainslie Burke
Mar., 1985 -- Karen Breunig
Apr., 1985 -- Kenneth Callahan
Oct., 1985 -- Elsie Manville
Oct.-Nov., 1985 -- William Glackens
Jan.-Feb., 1986 -- Linda Sokolowski
Feb.-Mar., 1986 -- Jerry Atkins
Apr.-May, 1986 -- Jane Wasey
Oct.-Nov., 1986 -- John Hartell
Nov.-Dec., 1986 -- Karl Schrag
Feb.-Mar., 1987 -- Kenneth Evett
Apr.-May, 1987 -- Ben Frank Moss
May-June, 1987 -- David Smalley
Oct.-Nov., 1987 -- Isabelle Siegel
Feb.-Mar., 1988 -- Karen Breunig
Mar.-Apr., 1988 -- Leon Goldin
Sept.-Oct., 1988 -- Elsie Manville
Oct.-Nov., 1988 -- James Lechay
Jan.-Feb., 1989 -- Karl Schrag
Feb.-Mar., 1989 -- Linda Sokolowski
Jan.-Feb., 1990 -- Kenneth Callahan: Works of the Fifties
Jan.-Feb., 1990 -- Gifford Beal: Watercolors
Mar., 1990 -- Robert La Hotan: Recent Paintings
Mar.-Apr., 1990 -- Sonia Gechtoff: New Paintings
May-June, 1990 -- David Smalley: Recent Sculpture
May-June, 1990 -- Andrée Ruellan: Sixty Years of Drawing...
Oct., 1990 -- Isabelle Siegel
Nov., 1990 -- Leon Goldin
Jan.-Feb., 1991 -- Karl Schrag
Feb.-Mar., 1991 -- Joe Lasker
Apr., 1991 -- Ainslie Burke
Nov.-Dec., 1991 -- Linda Sokolowski: Oils, Collages, Monotypes
Dec., 1991-Jan., 1992 -- Elsie Manville: Small Works on Paper
Mar., 1992 -- Tabitha Vevers
May-June, 1992 -- Sonia Gechtoff
Oct.-Nov., 1992 -- James Lechay
Nov.-Dec., 1992 -- Karl Schrag
Mar., 1993 -- Leon Goldin: Works on Paper
Apr.-May, 1993 -- Robert La Hotan
Oct., 1993 -- David Smalley: Sculpture Inside and Out
Oct., 1993 -- Andrée Ruellan: Works on Paper 1920-1980
Mar.-Apr., 1994 -- Kenneth Evett: Travels: Themes and Variations (Watercolors of Italy, Greece, Arizona, Maine and California)
Mar.-Apr., 1994 -- Tabitha Vevers
Oct.-Nov., 1994 -- Linda Sokolowski
Nov.-Dec., 1994 -- Karl Schrag
Jan.-Feb., 1995 -- Langdon Quin
Mar.-Apr., 1995 -- Robert La Hotan
Sept.-Oct., 1995 -- Sonia Gechtoff
Jan.-Feb., 1996 -- Elsie Manville: Paintings and Works on Paper
Oct.-Nov., 1996 -- Karl Schrag: A Self Portrait Retrospective, 1940-1995
Jan.-Feb., 1997 -- Joe Lasker: Paintings and Watercolors
Mar.-Apr., 1997 -- Tabitha Vevers
Oct.-Nov., 1997 -- James Lechay
Feb.-Mar., 1998 -- Linda Sokolowski: Canyon Suite: Works from the Southwest
Mar.-Apr., 1998 -- Leon Goldin: Paintings on Paper
Sept.-Oct., 1998 -- Sonia Gechtoff: Mysteries in the Sphere
Oct.-Nov., 1998 -- Langdon Quin: Recent Paintings
Nov.-Dec., 1998 -- John Gill
Jan.-Feb., 1999 -- Robert La Hotan
Feb.-Mar., 1999 -- Ann Sperry: Where Is Your Heart
Nov.-Dec., 1999 -- Kathryn Wall
Jan.-Feb., 2000 -- Elsie Manville
Sept.-Oct., 2000 -- Joe Lasker
Oct.-Nov., 2000 -- James Lechay
Oct.-Nov., 2000 -- Tabitha Vevers
May-June, 2001 -- Kenneth Callahan: Drawings
Dec., 2001-Jan., 2002 -- Sur La Table: A Selection of Paintings and Works on Paper
Jan.-Feb., 2002 -- Karl Schrag: Theme and Variations II: The Meadow
undated, 2003 -- Ann Sperry
Jan.-Feb., 2003 -- Andrée Ruellan: Works on Paper from the 1920s and 1930s
Oct.-Nov., 2003 -- Joe Lasker: Muses and Amusements
Nov.-Dec., 2003 -- Tabitha Vevers
Mar.-Apr., 2004 -- Leon Goldin: Five Decades of Works on Paper
May-July, 2004 -- Anne Frank: A Private Photo Album
Jan.-Feb., 2005 -- John Gill: Ceramics
Sept.-Oct., 2005 -- Karl Schrag: The Painter of Bright Nights
Related Material:
An untranscribed oral history interview with Antoinette Kraushaar was conducted for the Archives of American Art by Avis Berman in 1982, and is available on five audio cassettes at the Archives' Washington D.C. research facility.
Separated Material:
In addition to the records described in this finding aid, the following materials were lent to the Archives for filming in 1956 and are available on microfilm reels NKR1-NKR3 and for interlibrary loan: a book of clippings from 1907 to 1930, primarily of exhibition reviews; loose clippings and catalogs of exhibitions from 1930 to 1946; and a group of photographs and clippings relating to George Luks and other artists. These materials were returned to Kraushaar Galleries after microfilming.
Provenance:
53.5 linear feet of records were donated to the Archives of American Art by Kraushaar Galleries in three separate accessions in 1959, 1994, and 1996. Katherine Kaplan of Kraushaar Galleries donated an additional 38.4 linear feet in 2008-2009 and an additional 8.4 linear feet in 2012-2017 and 6.0 linear feet in 2022.
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. A fragile original scrapbook is restricted. Contact Reference Services for more information.
Rights:
Authorization to publish, quote or reproduce requires written permission from Katherine Kaplan Degn, Kraushaar Galleries. Contact Reference Services for more information.
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
The Literary Corner: Introduction to African American Poetry with Eugene Redmond—Part I (side A) / Introduction to African American Poetry with Eugene Redmond—Part II (side B)
Title:
Cassette tape with two episodes of the Literary Corner radio program
Collection of the Smithsonian National Museum of African American History and Culture, Contributed in memory of Professor Sarah Webster Fabio (1928-1979), poet, educator, Black Arts Movement icon, and one of the Literary Corner's analysts.
The Emmet Family papers document the lives and careers of two generations of the Emmet family from New Rochelle, New York and Stockbridge, Massachusetts, whose artistic talents flourished during the later 19th through the mid-20th centuries. The collection dates from 1792 to 1989, with the bulk of the material dating from 1851-1989, and measures 9.1 linear feet. Through biographical material, two diaries, correspondence, writings and notes, exhibition files, business records, printed material, two scrapbooks, artwork, and photographs of family, friends, exhibitions, and artwork, the papers provide both a rich overview and detailed insights into the daily lives, relationships, and careers of many members of the family. The collection focuses in particular on sisters Lydia Field Emmet, Jane Erin Emmet de Glehn, and Rosina Emmet Sherwood, their mother, Julia Colt Pierson Emmet, and their cousin Ellen Gertrude "Bay" Emmet, all noted painters and illustrators.
Scope and Content Note:
The Emmet Family papers document the lives and careers of two generations of the Emmet family from New Rochelle, New York and Stockbridge, Massachusetts. The collection dates from 1792 to 1989, with the bulk of the material dating from 1851-1989, and measures 9.1 linear feet. Through biographical material, two diaries, correspondence, writings and notes, exhibition files, business records, printed material, two scrapbooks, artwork, and photographs of family, friends, exhibitions, and artwork, the papers provide both a rich overview and detailed insights into the daily lives, relationships, and careers of many members of the family. The collection focuses in particular on sisters Lydia Field Emmet, Jane Erin Emmet de Glehn, and Rosina Emmet Sherwood, their mother, Julia Colt Pierson Emmet, and their cousin Ellen Gertrude "Bay" Emmet, all noted painters and illustrators, whose artistic talents flourished during the late nineteenth through the mid-twentieth centuries.
Biographical material consists of family trees and family histories; individual biographical accounts, award certificates, and documentation for Julia Colt Pierson Emmet, Rosina Emmet Sherwood, Lydia Field Emmet, Jane Erin Emmet de Glehn, and Wilfrid de Glehn; a diary titled "Sedgemere Diary" containing drawings and entries primarily by Rosina Emmet Sherwood, and a smaller diary which mentions Rosina's son, future playwright Robert Sherwood; a documentary by Nancy B. Doyle on two VHS videocassettes, entitled The Emmets: Portrait of a Family; and artifacts comprising a rear-view optical device and locks of hair from an early nineteenth century generation of the Emmet family.
Correspondence forms the bulk of the collection and illustrates the interaction between members of this large and influential family and their colleagues and friends, offering a wide-ranging view of life in the late nineteenth through the mid-twentieth centuries, and through two World Wars. The series consists of letters between family members, primarily Julia Colt Pierson Emmet and her daughters, as well as cousins Henry James, Ellen "Bay" Emmet Rand, and Rosamond Sherwood, and friends Cecilia Beaux, Louis Bancel LaFarge, Frederick MacMonnies, Lucien Monod, Roger Quilter, Augustus Saint-Gaudens, Emily and John Singer-Sargent, Violet Sargent Ormond, and Stanford White. Topics include experiences of the Emmets while studying art in Paris, Rosina's presentation at Queen Victoria's court, Lydia's work at the Columbia Exposition, Jane's marriage to Wilfrid de Glehn and her friendship with John Singer Sargent, portrait painting activities, the troubles of their friend Susy Metcalfe in her marriage to Pablo Casals, and the activities of Rosina's son, playwright Robert Emmet Sherwood, and friends Alfred Lund and Lynn Fontanne.
Writings and notes consist of scattered manuscripts and poems by family members, two notebooks, one identified as belonging to Jane Erin Emmet de Glehn, and typescripts about Wilfrid de Glehn following his death. Also found is a book, Out of Town, written and illustrated by Rosina Emmet Sherwood, and Edna St Vincent Millay's poem "Autum Daybreak" written in Millay's handwriting.
Exhibition files document an exhibition held at the Berkshire Museum/Danforth Museum in Pittsfield/Farmingham, Massachusetts in 1982 entitled The Emmets: A Family of Women Painters, and include two audio cassettes of recordings from the "Art for Lunch" series at the Berkshire Museum discussing the exhibition.
Business records include account books belonging to Lydia Field Emmet and Rosina Emmet Sherwood, both of which document income from artwork and other sources, and expenses; a contract for the reproduction of Lydia Field Emmet's artwork; and a document concerning ownership of property, possibly of Emmet family ancestors.
Printed Material consists of clippings, exhibition announcements and catalogs, and reproductions of artwork by Emmet family members and others.
Two scrapbooks contain a combination of drawings, primarily by Rosina Emmet Sherwood, reproductions of artwork, and photographs.
Artwork includes drawings and sketchbooks by Julia Colt Pierson Emmet, Rosina Emmet Sherwood, Lydia Field Emmet, Jane Erin Emmet de Glehn Ellen Emmet Rand, and other Emmet relatives, illustrating the early development of their talent.
Photographs are of family members, including Julia Colt Pierson Emmet and William Jenkins Emmet, their daughters Lydia Field Emmet, Jane Erin Emmet de Glehn and husband Wilfrid de Glehn, Rosina Emmet Sherwood and husband Arthur Murray Sherwood, and Robert Emmet Sherwood as a young man. Also found are photos of friends Richard Harding Davis, Frederick MacMonnies, and Augustus Saint-Gaudens; a series of photographs of the installation at Arden Galleries, New York (1936) for the exhibition Paintings, Drawings and Sculptures by Five Generations of the Emmet Family; and photographs of artwork by Emmet family members.
Arrangement:
The Emmet family papers are arranged as nine series.
Missing Title
Series 1: Biographical Material, circa 1855-1988 (0.6 linear feet; Boxes 1, 10, OV 12)
Series 2: Correspondence, 1792-1985 (6.2 linear feet; Boxes 1-7)
Series 3: Writings and Notes, circa 1870s-1981 (11 folders; Box 7)
Series 4: Exhibition Files, 1947-1983 (0.3 linear feet; Boxes 7-8)
Series 5: Business Records, circa 1799-1945 (7 folders; Box 8)
Series 6: Printed Material, 1872-1989 (0.35 linear feet; Boxes 8, 10)
Series 7: Scrapbooks, 1870-1890 (0.2 linear feet; Boxes 8, 10)
Series 8: Artwork, circa 1850-circa 1920 (0.35 linear feet; Boxes 8, 10)
Series 9: Photographs, circa 1870s-circa 1950s (1 linear foot; Boxes 8-9, 11)
Biographical Note:
The Emmet family, descended from patriot Thomas Addis Emmet, brother of Irish martyr Robert Emmet, counts many physicians, lawyers, and writers (including cousin Henry James) among its ranks. Although evidence of artistic talent existed in several previous generations, it flourished during the later 19th through the mid-20th centuries in the professional portraiture of sisters Rosina Emmet Sherwood, Lydia Field Emmet, Jane Erin Emmet de Glehn, and their cousin Ellen "Bay" Emmet Rand.
The eldest daughter of Julia Colt Pierson Emmet (1829-1908), herself a talented illustrator who had studied under Daniel Huntington, Rosina "Posie" Emmet (1854-1948) studied under William Merritt Chase at his Tenth Street Studio in New York and under Robert-Fleury at the Academie Julian in Paris. Before her marriage to Arthur Murray Sherwood in 1887, Rosina established a studio in New York and continued to submit illustrations to various publications. During her marriage, she slowed her creative activities, until financial reverses dictated her return to her career around the turn of the 20th century. Her daughter Rosamond Sherwood (1899-1990) was also a portrait painter. Her son, Robert Emmet Sherwood (1896-1955) became a four-time Pulitzer Prize-winning playwright.
Lydia Field Emmet (1866-1952) studied under Collin, Bouguereau, MacMonnies, and Robert-Fleury at the Academie Julian. Upon her return to New York, Lydia continued her studies under Chase, Kenyon Cox, H. Siddons Mowbray, and Robert Reid at the Art Students League, as well as at Chase's Shinnecock Summer School of Art. She established her portrait studio in New York City and began spending summers at Stockbridge, Massachusetts, where she built her home, "Strawberry Hill," in 1905. Best known for her portraits of children, Lydia's subjects were members of the socially prominent families of New York, Boston, and Philadelphia.
The youngest sister, Jane Erin Emmet (1873-1961), also studied with Chase in New York, and in Paris. In 1904, she married British landscape painter Wilfrid Von Glehn, who had visited the United States with his friend John Singer Sargent. (The Von Glehns' surname was changed to De Glehn, in 1919.) Settling in London, Jane continued her painting, befriended many artists and composers, and accompanied her husband and Sargent on several art-related journeys through Europe.
The Emmet sisters' cousin, Ellen Gertrude "Bay" Emmet (1875-1941), studied in New York at the Art Students League and under Frederick MacMonnies in Paris, becoming a National Academician in 1934. She married William Blanchard Rand in 1911 and settled in Salisbury, Connecticut. After the stock market crash of 1929, Bay's portraits of prominent society figures provided most of her family's income.
Separated Materials:
The Archives of American Art also holds microfilm of material lent for microfilming (reel 4544) including one scrapbook, compiled by Rosina Emmet Sherwood, consisting of portrait sketches, drawings of her dogs, genre scenes, travel views, and photographs of travels, friends, actors, and the ship "Scythia,". Loaned materials were returned to the lender and are not described in the collection container inventory.
Provenance:
In 1988-1991, the bulk of the Emmet family papers were donated by Rosamond Sherwood, daughter of Rosina Emmet Sherwood (via Katharine Emmet Bramwell of New York), by Rosamond Sherwood's estate (via F. Douglas Cochrane, executor, from Boston), and by Rosamond's nieces, Virginia Sherwood and Julia Shipway. Additionally, one scrapbook was lent for microfilming in 1990 and subsequently donated by Mrs. Earl Maize. Douglas Cochrane then loaned another scrapbook for microfilming (reel 4344) in 1991 which was returned to Mrs. Earl Maize.
Restrictions:
Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Biographical material, professional and personal correspondence, subject files, financial records, artwork, printed material and an audio cassette.
Biographical information includes a résumé and award. Business correspondence, 1964-1984, regards the opening of The Hirshhorn Museum and Sculpture Garden and Block's teaching position at California State University, Northridge, and personal correspondence includes 5 illustrated letters by Block to his wife and two printed cards from Fritz Faiss. Subject files regard the WPA, 1938-1983, film animation, 1957-1976, and book illustration, 1978-1984. Financial records relate to Block's association with the Ankrum Gallery, 1936-1981. Photographs are of Block, his friends, family and works of art.
Artwork includes 2 sketches, 1962, and approximately 60 pencil figurative drawings and studies done during weekly life drawing sessions established by Block and Hans Burkhardt at the Studio Club on the MGM lot from the 1950s to mid-1970s (among them is a pastel by Burkhardt of Block drawing the nude model); and 16 drawings and one print and one poster, most of which were executed by Irving Block for Santa Susana Press, California State University, Northridge's 1986 broadside of John Updike's poem, A Pear Like a Potato. Printed material, 1941-1982, includes exhibition catalogs and clippings. An audio cassette contains Block's reminiscences of his friendship with Burkhardt and a recording of Block delivering a lecture to a senior seminar class on Walt Whitman.
Biographical / Historical:
Irving Block (1910-1986) was a painter and educator in Los Angeles, California. Block was born in New York City. He was involved in the Works Projects Administration's Federal Art Project in the 1930s, and worked as a matte shot artist at 20th Century Fox during the 1940s and 50s. He taught for many years at California State University, Northridge (1963-1980). Block co-authored with Alan Adler the original story for the science fiction film Forbidden Planet, for which he designed Robbie the Robot.
Provenance:
Donated 1984 by Block and in 1996 by Jill Block, the widow of Irving Block. Additional drawings, print and poster donated 2015 by Virginia Elwood-Akers, a former librarian at California State University, Northbridge who received the drawings from colleague Dean Norman Tanis, head of the Santa Susana Press.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
Occupation:
Art teachers -- California -- Los Angeles Search this
R. E. G. (Ron) Davies (1921 -2011) was an English airline historian, who worked in airline marketing research before joining the National Air and Space Museum in 1981. He served as a curator until his retirement in 2011. This reference collection was compiled by Davies during his career and consists of historical data and materials—including photographs, timetables, and memorabilia—from the airlines of the world.
Scope and Contents:
This reference collection was compiled by Ron Davies throughout his career both as a market researcher and an academic and curator. Materials consist of 63 loose-leaf binders (called dossiers), each containing historical data on the airlines of a country or region, hand-drawn maps, chronologies, articles and marketing materials; over 5000 aviation prints; over 3500 airline timetables; and miscellaneous airline memorabilia. The collection also contains oral history materials, both transcripts and audio cassettes, and four catalogued videotapes.
Arrangement:
The collection is arranged in six series:
Series 1: Dossiers
Series 2: Photographs
Series 3: Timetables
Series 4: Oral History
Series 5: Personal Materials
Series 6: Motion Picture Materials
Additional title information has been added by the processing archivist in brackets.
Biographical / Historical:
R. E. G. (Ron) Davies (1921-2011) was born in England and educated in Shaftesbury, Dorset. After spending six and a half years in the British Army, Davies joined the newly formed Ministry of Civil Aviation. Davies then spent six years in economic research with British European Airways, before joining British Aeroplane Company in 1957, where he set up a market research department. Davies worked in various manufacturing companies, specializing in market research and traffic analysis.
In 1968, Davies went to work in the United States for Douglas Aircraft, where he remained for 13 years as head of market research. In 1981, Davies was appointed as the Charles Lindbergh Chair of Aerospace History at the National Air and Space Museum, Washington, DC. After his appointment as Lindbergh Chair ended, Davies became a curator in the Aeronautics Division of the Museum. He retired in 2011.
Davies wrote 26 books about airlines, airline personalities and aspects of air transport, including the reference standards: A History of the World Airlines, Airlines of the United States since 1914, Airlines of Latin America since 1919, Airlines of Asia, and Airlines of the Jet Age: A History. He also founded Paladwr Press in 1987, publishing a series of books on various airlines and their aircraft.
Davies was a Fellow of three Royal Societies: Aeronautics, Arts, and Geographical and was an Associate of the Academe National de L'Air et de l'Espace. He was a Fellow National of the Explorers Club and a member of the New York's Wings Club and Washington's Cosmos Club. He received Brazil's Santos Dumont Medal and the Aeronautics Order of Merit.
Provenance:
R. E. G. (Ron) Davies, Gift, 1981, NASM.XXXX.0604.
Restrictions:
No restrictions on access.
Rights:
Material is subject to Smithsonian Terms of Use. Should you wish to use NASM material in any medium, please submit an Application for Permission to Reproduce NASM Material, available at Permissions Requests
The records of the Gertrude Kasle Gallery of Detroit measure 8.1 linear feet and date from 1949-1999, with the bulk of records dating from 1964-1983. The collection documents the establishment and operations of this contemporary American art gallery and consists of artists files, business and administrative files, exhibition files, photographic materials, and interviews and lectures in the form of sound recordings.
Scope and Content Note:
The records of the Gertrude Kasle Gallery of Detroit measure 8.1 linear feet and date from 1949-1999, with the bulk of the records dating from 1964-1983. The collection documents the establishment and operations of this contemporary American art gallery and consists of artists files, business and administrative files, exhibition files, photographic materials, and interviews and lectures in the form of sound recordings.
The bulk of the records consist of Artists' Files that document the professional and personal relationships Kasle fostered with the artists represented by the gallery, including sales and exhibitions. The files contain a wide variety of materials and the amount of documentation for each artist also varies. Typically the files contain personal and business correspondence, sales documentation, exhibition photographs, photographs of works of art, family photographs, photographs of the artist, exhibition announcements and catalogs, other printed materials, greeting cards, and other documents. Some of the artists well-represented in the files include Lee Bontecou, Wilhem De Kooning, Jim Dine, Helen Frankenthaler, Brenda Goodman, Robert Goodnaugh, John Goodyear, Adolph Gottlieb, Philip Guston, Grace Hartigan, Ray Johnson, Robert Motherwell, Robert Natkin, Lowell Nesbitt, Claes Oldenburg, Charles Pollock, Robert Rauschenberg, Julius Schmidt, Babe Shapiro, Michael Todd, and Jack Tworkov. Additional general information about exhibitions is found in Series 3, Exhibition Files and additional photographs are filed in Series 4, Photographic Material.
Gallery and personal business and administrative files house documents relating to the founding and incorporation of the gallery and general operations, as well as some of Gertrude Kasle personal business files. Also found in this series are files related to fine art prints and the gallery's business relationship with Universal Limited Art Editions.
Scattered exhibition files are found for a few of the gallery's exhibitions and also include general exhibition related files, such as clippings, announcements, guest lists, and schedules. Most of the information about the gallery's exhibitions is found in the Artists Files. Photographs and slides are found throughout the collection, particularly in the Artists Files, but Series 4, Photographic Materials houses an extensive collection of slides documenting art work by artists represented by the gallery. There is also an autographed photograph portrait of Lowell Nesbitt.
Sound recordings are of interviews and lectures. Interviews are with Tatyana Grosman, Lowell Nesbitt, Paul Jenkins, and Bill Tall. There are recorded lectures by Paul Jenkins and Jack Tworkov. The sound recordings are on both audio cassette reel to reel tapes. Transcripts are not available.
Arrangement:
The collection is arranged into 5 series:
Missing Title
Series 1: Artists Files, 1949-1999 (Boxes 1-5, OV 11; 5.1 linear feet)
Series 2: Gallery and Personal Business and Administrative Files, 1961-1995 (Boxes 6-7, OV 12; 1.2 linear feet)
Series 3: Exhibition Files, 1963-1976 (Box 7; 7 folders)
Series 4: Photographic Materials, 1953-1985 (Boxes 7, 10; 18 folders)
Series 5: Sound Recordings, 1966-1971 (Boxes 7-9; 7 folders)
Historical Note:
Gertrude Kasle was born in New York City on December 2, 1917, and began her life-long career in the art world very early, taking art classes in high school and Saturday classes at the Art Students League. She began her formal studies in art education at New York University (NYU) and later transfered to the University of Michigan. Kasle interrupted her studies during World War II to devote herself to family work while her husband served as a military chaplain. The family returned to Detroit in 1947 and she began classes at the Society of Arts and Crafts. After raising her three children, she enrolled in Wayne State University in 1955, completing her degree in 1962.
While a student in Detroit, Kasle was active in the Friends of Modern Art group at the Detroit Institute of Art, and became Vice President. In 1962, she was approached by Detroit businessman Franklin Siden to help him open a gallery where she would have a one-third partnership. During the first year of Siden Gallery's operations, Kasle introduced Detroit to the work of many notable contemporay American artists, such as Larry Rivers, Grace Hartigan, Robert Goodnough, and Robert Natkin.
Her tenure with the Siden Gallery was short-lived and by 1964 she left and began to contemplate her next move. Several of the artists she had represented at Siden Gallery encouraged her to open her own gallery. Local art critic Joy Hakanson Colby who worked for the Detroit News interviewed Kasle and claimed that Kasle was "looking for gallery space". Responding to the article, the Fischer Building offered Kasle a very attractive lease in the "New Center" area of downtown Detroit that would later become known as the city's gallery center, housing several prominent galleries.
With the help of her husband and son, she opened the doors of the Gertrude Kasle Gallery on April 10, 1965. The opening exhibition featured Larry Rivers, Grace Hartigan, Robert Goodnough, Irving Kreisberg, and Manousher Yektai. Kasle's goal was to introduce the city of Detroit to the foremost contemporary artists in the country, some already well-established such as Wilhelm De Kooning, Helen Frankenthaler, Philip Guston, Grace Hartigan, Robert Motherwell, Lowell Nesbitt, Claes Oldenburg, Charles Pollock, Larry Rivers, and Jack Tworkov, as well as others just becoming known, such as Jim Dine. Through group and one-man shows, the Gertrude Kasle Gallery represented contemporary painting, mixed media, and sculpture, focusing primarily on the Abstract Expressionist movement. The gallery also fostered many local Detroit artists, giving them their first shows, including Al Loving and Brenda Goodman.
During her earlier tenure with the Siden Gallery Kasle had worked with Tatyana Grosman of Universal Limited Art Editions which produced original prints of contemporary artists including Jasper Johns, Robert Rauschenberg, and Jim Dine. In her own gallery, Kasle continued her business relationship with Grosman and fine art print publishers, allowing the gallery access to many artists that were previously unattainable.
For eleven years the Gertrude Kasle Gallery operated as a thriving contemporary art gallery, forming the nucleus for the growing Detroit modern and avant garde art scene during the sixties and seventies. Although financially the gallery was not as successful as hoped, it provided a cultural forum for artists and Detroit art enthusiasts to convene, learn, and celebrate. In April, 1976 the gallery closed. When asked why she was closing the gallery, Gertrude Kasle said, "Because the need for a gallery like mine isn't as great as it was in the 1960's. Today the public respects and understands more about creative innovation in contemporary art." (Hakanson Colby, March, 1976) Although the gallery formally closed, Kasle continues to work as a art consultant and live in Detroit.
This historical note relies heavily on the essays written by Gertrude Kasle's son, Stephen available on the Gertrude Kasle Gallery website.
Related Material:
Also available at the Archives of American Art is an oral history interview with Gertrude Kasle conducted by Dennis Barrie on July 24, 1975.
Provenance:
The collection was donated to the Archives of American Art in 1976 and 1982 by Mrs. Gertrude Kasle. A third accession was donated by the Cincinnati Art Museum in 2002.
Restrictions:
The collection is open for research. Use requires an appointment.
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.
Gerard Kitchen O'Neill (1927-1992) was an experimental physicist, educator, inventor, entrepreneur, writer and novelist.
Scope and Contents:
Materials in this collection include notes, business papers, patents, calendar planners, reports, a thesis, correspondence, book drafts, screenplay drafts, university publications, magazines, magazine articles, newspaper articles, glass & 35mm images, photographs, a rolodex.
The researcher should note that the collection also contains VHS tapes and audio cassettes. These items are not included in the container list but a NASM Archives staff person can assist you regarding access.
Arrangement:
Organized into 5 series:
Series 1: Professional Papers
Series 2: Publications & Reports
Series 3: Personal Papers
Series 4: Images
Series 5: Odd & Oversize
Biographical / Historical:
Gerard Kitchen O'Neill (1927-1992) was an experimental physicist, educator, inventor, entrepreneur, writer and novelist.
Gerard K. O'Neill joined the Navy at age 17, served as a radar technician from 1944 to 1946, graduated from Swarthmore College in 1950 with high honors in Physics, and received his Ph.D. in Physics from Cornell University in 1954. He went to Princeton University in that year as an Assistant Professor, becoming a Full Professor of Physics in 1965. In the 1976-77 academic year he received the honor of serving as the Jerome Clarke Hunsaker Professor of Aerospace at the Massachusetts Institute of Technology. He retired from Princeton in 1985 as professor emeritus.
Dr. O'Neill's main research area was high-energy particle physics and he initiated and led large-scale projects in accelerator construction. In 1956 he invented the storage-ring technique for colliding particle beams, a method which is now the basis for nearly every new high-energy particle accelerator. In 1976 he built his first Mass Driver prototype.
Dr. O'Neill was a pioneer in the field of space colonization; his studies on the humanization of space began in 1969 as a result of his undergraduate teaching at Princeton, and one of his four books, The High Frontier, detailed his vision of humanity's movement into Earth-like habitats constructed in space. The High Frontier won the Phi Beta Kappa Award as the best science book of 1977. He also authored 2081: A Hopeful View of the Human Future, The Technology Edge: Opportunities for America in World Competition and co-authored a graduate textbook, Introduction to Elementary Particle Physics.
In 1977 following the success of The High Frontier, Dr. O'Neill founded the non-profit Space Studies Institute. SSI's research included work on mass drivers and the Lunar Polar Probe (renamed Lunar Prospector and flown by NASA.)
In 1967 Dr. O'Neill was a finalist, though ultimately not selected, for NASA's Astronaut Group 6, a group of scientist-astronauts to be given assignments in the Apollo Program. He returned to NASA throughout 1975-1977 to led studies on space habitats and space manufacturing; he testified twice before Congress during that time. In 1985, he was appointed by President Reagan to the National Commission on Space.
In 1983 Dr. O'Neill founded the Geostar Corporation, a satellite based positioning and communication system, based on a patent issued to him.
In 1986, O'Neill founded O'Neill Communications, Inc. which developed LAWN, a local area network device using radio waves and still in use today.
At the time of his death, Dr. O'Neill was working on a form of high-speed ground-based transportation he called "Magnetic Flight" with another company he founded, VSE International.
Dr. O'Neill was an instrument-rated pilot with some 2,500 hours of time in powered aircraft and held the Triple Diamond Badge of the Federation of the Aeronautique Internationale for sail plane flights. He was active in ultralight aircraft aviation and a member of the Experimental Aircraft Association. On most of his travels in connection with research and lectures, he piloted his own small plane.
Dr. O'Neill died from leukemia in 1992; the Clementine Mission of 1994 was dedicated to him.
Provenance:
Tasha O'Neill, Gift, 2013
Restrictions:
No restrictions on access.
Rights:
Material is subject to Smithsonian Terms of Use. Should you wish to use NASM material in any medium, please submit an Application for Permission to Reproduce NASM Material, available at Permissions Requests.
Black and white photographs, photographic negatives, contact sheets, color slides, and ephemera documenting selected New England country fairs, photographed and collected by Phil Primack.
Scope and Contents:
This collection contains original notes, interviews, collected ephemera, black and white photographs, photograpic negatives, contact sheets, and color slides, conducted, gathered, and taken by Phil Primack in support of the writing of his book New England Country Fair!. The material centers on country fairs in the New England states of Connecticut, Maine, Massachusetts, New Hampshire, and Vermont.
Arrangement:
The collection is divided into three series.
Series 1: Notes, Interviews, Publications, and Ephemera, 1978-1983, undated
Series 2: Black and White Photographs, Photographic Negatives, Contact Sheets, and Color Slides, 1978-1980, undated
Series 3: Audio, undated
Biographical / Historical:
The information for this biography was supplied by the donor, Phil Primack, in February 2020.
Philip N. Primack was born in Haverhill, Massachusetts on May 1, 1948 the son of Dr. Joseph E. Primack, DDS and Celia Piltch Primack. While attending high school in Haverhill, he took a sumer job operating midway games at the amusement park in nearby Salisbury Beach, Massachusetts. The park's owner also owned a traveling carnival, Dean & Flynn Fiesta Shows, and Primack worked on its midway at fairs and carnivals across New England while attending Tufts University, from which he graduated with a BA in 1970.
At Tufts, Primack edited the campus newspaper, launching him on a decades-long reporting and writing career. After graduation, he went to work from 1970 to 1973 for The Mountain Eagle, a weekly newspaper in the eastern Kentucky coalfields. He maintained working and other ties to the Eagle for much of the rest of the 1970s, sometimes taking time off to pursue freelance work and other projects. During the 1970s, Primack oaccasionally returned to the midway to support the meager wages of freelance writing.
In 1983, Primack went to work for North Shore: Sunday, a weekly in Massachusetts and, from 1988 to 1996, for The Boston Herald. In addition to his positions as a staff reporter, Primack has written extensively for a wide range of regional and national publications, including The Boston Globe, Commonwealth Magazine, The New York Times, Washington Monthly, The Nation, and Boston Magazine. His photography has been included in some of these publications and other outlets, including articles he has written for in-flight airline magazines.
Primack researched, wrote and took photographs for his book, New England Country Fair (Globe Pequot Press, 1981) with the bulk of the images taken between 1975 and 1980. While the book arose from Primack's midway experiences, it covers the full gamut of the country fair experience from that era, including 4-H goat judging, blue-ribbon produce, sideshows, horse racing, beauty pageants, and additional subjects. Studs Terkel wrote about the book, ". . . captures the fine feeling of small-town Yankee American gently showing off."
Primack has worked as a speech writer and policy aide to elected officials and agencies at the state and federal levels and as a consultant, editor, writer, and researcher for various organizations and non-profits, including the Ford Foundation, The Federal Reserve Bank of Boston, and the Barr Foundation. He has also taught journalism courses at Tufts University, Boston University, Northeastern University, and other institutions. In addition to his BA in political science from Tufts, he earned a Master of Public Administration from the Harvard Kennedy School in 1987.
Primack continues pursuing writing projects and resides in Medford, Massachusetts.
Related Materials:
Materials at Other Organizations
Berea College, Special Collections and Archives
Phil Primack Photographs and Papers, 1964-2000
This collection is comprised of photographs, correspondence, writings, interviews and subject files of Phil Primack.
Provenance:
Collection donated by Philip Primack February 14, 2020.
Restrictions:
Collection is open for research.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Mair, Francis M., 1916-1991 (commercial artist) Search this
Extent:
68 Cubic feet (198 boxes, 4 map folders)
Type:
Collection descriptions
Archival materials
Audiovisual materials
Business letters
Business records
Personal papers
Videotapes
Interviews
Oral history
Date:
circa 1862-2002, undated
Summary:
Collection consists of the business records and original art documenting the work of Walter Landor and his design firm Landor Associates located in San Francisco, California.
Scope and Contents:
Collection documents the career of designer Walter Landor and the significant body of commercial imagery and packaging produced by Landor Associates design firm. Contains corporate and business records of Landor Associates, Landor's personal papers, oral history interviews, films, videotapes, and other audiovisual resources.
Arrangement:
Collection is arranged into seven series.
Series 1: Landor Associates Business Records, 1862-1993, undated
Subseries 1.1: Historical Background and Project Administration Files, 1941-1993, undated
Subseries 5.2: Educational and Training Acquired by Landor Associates, 1944-1975,
undated
Subseries 5.3: Promotional Films Acquired by Landor Associates, 1958-1977, undated
Subseries 5.4: Television Commercials, Advertising and Public Service Announcements,
1964-1975, undated
Subseries 5.5: Miscellaneous Films Acquired by Landor Associates, 1967-1970,
undated
Series 6: Video Cassette Tapes, 1980-1993, undated
Series 7: Audio Cassette Tapes, 1971-1991, undated
Biographical / Historical:
Walter Landor (1913-1995), son of Jewish Bauhaus architect Fritz Landauer, came to the United States in 1938 with the design team for the British Pavilion at the 1939 World's Fair in New York City. He emigrated to the United States in 1941, launching a small design firm in San Francisco. Landor started out doing package design for a largely local and regional clientele (including many West Coast wineries and breweries), although he soon developed a client list that included some of the world's largest and most prestigious corporations. Corporate identity projects were an important specialization. In addition to his own considerable design abilities, Landor had a gift for inspiring and organizing the creativity of a group of associates, and for developing lasting and productive relationships with his clients. The firm developed particular strength in its portfolio of airlines, financial institutions and consumer goods, and prided itself on a network of international clients. From the beginning, Landor linked design to research in consumer behavior, developing increasingly sophisticated methods for evaluating the effectiveness of his designs. This collection documents Walter Landor's remarkable career, the significant body of corporate identity, packaging and other commercial imagery produced by Landor Associates, and the interplay between industrial design and American consumer culture.
German Historical Institute
Walter Landor in the Immigrant Entrepreneurship: German-American Business Biographies, 1720 to the Present.
The collaborative research project Immigrant Entrepreneurship: German-American Business Biographies, 1720 to the Present sheds new light on the entrepreneurial and economic capacity of immigrants by investigating the German-American example in the United States. It traces the lives, careers and business ventures of eminent German-American business people of roughly the last two hundred and ninety years, integrating the history of German-American immigration into the larger narrative of U.S. economic and business history.
Related Materials:
Archives Center, National Museum of American History
Francis M. Mair Papers NMAH.AC.0548
NW Ayer Advertising Agency Records NMAH.AC.0059
Hills Bros. Coffee Company, Incorporated Records NMAH.AC.0395
Emmett McBain Afro American Advertising Poster Collection NMAH.AC.0192
Warshaw Collection of Business Americana NMAH.AC.0060
Marilyn E. Jacklar Memorial Collection of Tobacco Advertisements NMAH.AC.1224
Marlboro Oral History and Documentation Project NMAH.AC.0198
Division of Work and Industry, National Museum of American History
The division holds artifacts related to the Walter Landor and his advertising work. See accession 1993.0393.
Provenance:
Personal papers donated to Archives Center in 1993 by Josephine Landor, widow of Walter Landor; business records donated to Archives Center in 1993 by Landor Associates.
Restrictions:
Collection is open for research.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
The collection documents the recipients of the Julia Child Award which is given to an individual (or team) who has made a profound and significant difference in the way America cooks, eats and drinks.
Arrangement:
The collection is arranged in one series by name of award recipient.
Historical:
Created by The Julia Child Foundation for Gastronomy and the Culinary Arts in 2015, the Julia Child Award is given to an individual (or team!) who has made a profound and significant difference in the way America cooks, eats and drinks.
The Foundation presents the annual award in association with the Smithsonian's National Museum of American History at a gala event held each fall in Washington, D.C.
Each year, the recipient receives a uniquely designed award engraved with his/her name and year of honor. In addition, the Foundation makes a $50,000 grant to the food-related non-profit of the recipient's choosing.
Source
The Julia Child Foundation for Gastronomy and the Culinary Arts (https://juliachildaward.com/award/ last accessed on April 7, 2021)
Provenance:
The collection was donated to the Archives Center in 2015 by Jacques Pépin.
Restrictions:
Collection is open for research.
Social Security numbers are present and have been rendered unreadable and redacted. Researchers may use the photocopies in the collection. The remainder of the collection has no restrictions.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Some materials reproduction restricted due to copyright or trademark. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
