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SONEX '72 : American Philatelic Society fall convention, September 14-17, 1972, New Haven, Connecticut

Title:
American Philatelic Society fall convention
Southern New England Stamp Exhibition
Author:
American Philatelic Society Convention (86th : 1972 : New Haven, Conn.)  Search this
New Haven Philatelic Society  Search this
Cheshire Philatelic Society  Search this
SONEX (1972 : New Haven, Conn.)  Search this
Physical description:
[44] p. : ill. ; 23 cm
Type:
Congresses
Place:
United States
Date:
1972
[1972]
Topic:
Postage stamps  Search this
Stamp collecting  Search this
Call number:
HE6189 .A512 1972
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_507231

Diary

Collection Collector:
Robinson, Franklin A., Jr., 1959- (actor)  Search this
Container:
Box 3, Folder 2
Type:
Archival materials
Date:
1926
Collection Restrictions:
Collection is open for research but negatives and audiovisuial materials are stored off-site and special arrangements must be made to work with it. Some papers of living persons are restricted. Access to restricted portions may be arranged by request to the donor. Gloves required for unprotected photographs. Viewing film portions of the collection and listening to LP recording requires special appointment. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Collection Rights:
The Archives Center does not own exclusive rights to these materials. Copyright for all materials is retained by the donor, Franklin A. Robinson, Jr.; permission for commercial use and/or publication may be requested from the donor through the Archives Center. Military Records for Franklin A. Robinson (b. 1932) and correspondence from Richard I. Damalouji (1961-2014) are restricted; written permission is needed to research these files. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
The Robinson and Via Family Papers, Archives Center, National Museum of American History
See more items in:
Robinson and Via Family Papers
Robinson and Via Family Papers / Series 2: Robinson Family / 2.3: Robinson, Frank A.
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep84cfeef02-beb2-4607-aa01-532ed0d558f2
EDAN-URL:
ead_component:sova-nmah-ac-0475-ref99
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Joseph Cornell Study Center Collection

Artist:
Cornell, Joseph  Search this
Names:
Benton, Elizabeth Cornell  Search this
Cornell, Robert  Search this
Extent:
196.8 Linear feet
186 Nitrate negatives
Type:
Collection descriptions
Archival materials
Nitrate negatives
Photographs
Place:
New York, New York
Date:
1750-1980, bulk 1930-1972
Summary:
The Joseph Cornell Study Center collection measures 196.8 linear feet and dates from 1750 to 1980, with the bulk of the material dating from 1930 to 1972. Documenting the artistic career and personal life of assemblage artist Joseph Cornell (1903-1972), the collection is primarily made up of two- and three-dimensional source material, the contents of the artists' studio, his record album collection, and his book collection and personal library. The collection also includes diaries and notes, financial and estate papers, exhibition materials, collected artifacts and ephemera, photographs, correspondence, and the papers of Robert Cornell (1910-1965) and Helen Storms Cornell (1882-1966), the artist's brother and mother.
Scope and Contents:
The Joseph Cornell Study Center collection measures 196.8 linear feet and dates from 1750 to 1980, with the bulk of the material dating from 1930 to 1972. Documenting the artistic career and personal life of assemblage artist Joseph Cornell (1903-1972), the collection is primarily made up of two- and three-dimensional source material, the contents of the artists' studio, his record album collection, and his book collection and personal library. The collection also includes diaries and notes, financial and estate papers, exhibition materials, collected artifacts and ephemera, photographs, correspondence, and the papers of Robert Cornell (1910-1965) and Helen Storms Cornell (1882-1966), the artist's brother and mother.

Correspondence is with collectors, museums, galleries, artists, friends, family, charity organizations, admirers and those admired by Cornell, and World War II European pen pals. Discussions about the appreciation, donation, sale, purchase, and exhibition of Cornell's works are frequent, with the inclusion of shipping and loan documentation or notices of payment installments. Galleries and museums frequently request that Cornell agree to an exhibition, which he often declines, and fans request free works be mailed or affordable works be sold to them. With friends, artists, and those he admired, Cornell discussed topics that fascinate him, included bits of poetry or philosophical musings, sent clippings or a collaged letter, and occasionally discussed a project or work in process. After World War II, when so many were displaced by the war in Europe, Cornell answered ads for pen pals in the "Christian Science Monitor," often responding to requests for clothing or other goods, and sometimes exchanging many letters over several years. Family correspondence is with his mother, sisters, brother, and others, and often notes activities of the day, foods eaten, and general musings, as well as occasionally mentioning a project or artwork. Correspondents of note include Stan Brakhage, Betty Freeman, Charles Henri Ford, Allegra Kent, Yayoi Kusama, Roberto Matta, Marianne Moore, Octavio Paz, Sonia Sekula, Pavel Tchelitchew, Parker Tyler, Dorothea Tanning, and Betsy von Furstenberg, among others.

Cornell was often preoccupied with his thoughts, feelings, memories, a project or thematic "exploration," and jotted notes on seemingly any surface available. Notes and musings are on napkins, the backs of envelopes, newspaper clippings, and paper bags from record and magazine stores. Frequently, an observation would trigger a lengthy nostalgic moment, or a "feé," fairy-like child or girl, would capture his imagination and lead him to thoughts of 18th-century ballerinas and silent film stars. Cornell wrote longer diary notes, sometimes expanding on an earlier notation or emotion, and often wrote when he experienced trouble sleeping or woke early. Drafted letters to imaginary muses or admired individuals are interspersed among diaries, often revealing Cornell's yearnings to find emotional intimacy and human connection. Over time, Cornell revisited his notes and occasionally made further notations about renewed thoughts on a topic, dating the note with "revisited" or "reviewed." Notes are often written in a stream-of-consciousness style, for example, jumping from the mention of a record album or composer, to a ballerina of the same period, a note about a French poet, the memory of childhood, or an observation made earlier in the day, all in the space of a few lines. Notes about artistic processes or meanings behind works or images do occasionally emerge from the tangled, poetic notations. Notes also often provide insights into Cornell's internal emotional state and give clues about his intentions behind an artwork or a particular thematic fixation.

Financial materials document Cornell's professional and personal business activities, including the sale of artworks, annual expenses for supplies and household incidentals, payments and schedules for personal assistants, receipts for donations to charities and nonprofits, and tax documents. There is also information about who worked as assistants, or "helpers," in his later years and where Cornell purchased art supplies. Additionally, specific details are documented through receipts and invoices, such as what kind of paint he purchased. Estate records include preparations made for Cornell's artworks after his death, and clippings about other deceased artist's estates show that he thought often about such arrangements in his later years.

Exhibition files highlight several select solo exhibitions for Cornell, as well as preparations and planning for the "Robert Cornell: Memorial Exhibition" in honor of his brother in 1966. Also included are several early exhibition catalogs and announcements, including "Surréalisme" (January 9-29, 1932) and "Exhibition of Objects (Bibloquet) by Joseph Cornell" (December 6-31, 1939) at the Julien Levy Gallery, and "Romantic Museum: Portraits of Women, Constructions and Arrangements by Joseph Cornell" (December 1946) at the Hugo Gallery.

Film projects and collected film materials consist of files related to Cornell's various experimental film projects: "Aviary," "Cappuccino," "Centuries of June," "Fable for Fountains," "Nymphlight," "Serafina's Garden," and unrealized film scenario "Monsieur Phot." Files include film-making notes, correspondence, and photographs. Cornell's interest in film also led him to collect film-related materials, such as film stills, film posters, and screening programs. Scattered correspondence documents the interest other institutions and individuals had in purchasing and viewing his collection. Though most of his collected film stills and movie posters were donated to the Anthology Film Archives, film stills from "Escape Me Never" (1935) and "The Passion of Joan of Arc" (1928) are still within the collection, as well as film-screening programs for Cornell's collection of films.

Writing and design projects document Cornell's work authoring articles and designing issues of specialty dance magazine "Dance Index," and his layouts for popular magazines like "Good Housekeeping," "House and Garden," and "Mademoiselle." Other writing projects include brochures dedicated to opera singers Maria Malibran and Giulia Grisi, "Maria" and "Bel Canto Pet." Materials used for these brochures, such as copper photo engraving plates, are also found. Design work includes a series of Christmas cards created with The Museum of Modern Art as well as traced patterns ("textile tracings") and design clippings from Cornell's time working as a "textile designer" for Traphagen Commercial Textile Studio.

Cornell acquired troves of source material from bookstalls, antique stores, sporting good and department stores, hardware stores, and magazine and record shops. He kept boxes and files of material on admired individuals, such as actresses, artists, dancers, and singers, as well as on art projects or thematic "explorations." Files are on general topics such as American history, scientific phenomena, animals, plants, and humankind, as well as on series of artworks, such as "Castles," "Homage to the Romantic Ballet," and "Medici Slot Machines." Focused "exploration" projects include "Celestial Theatre," "Colombier," "GC 44," and "Switzerland," among others. Materials include photographs, photostats, maps, book fragments, autographed letters, notes, collage clippings and cutouts, collected prints and engravings, box and collage fragments, and scattered artifacts.

Collected ephemera includes large amounts of blank postcards and greeting cards, stamps, collected bus and train tickets, food labels and packaging, decals, and other materials. Artifacts are three-dimensional collected objects and source objects, which include found objects from the streets, dried flowers, and pieces of nature gathered from walks around his neighborhood. Cornell may have gathered materials because they inspired a memory or nostalgic feeling, or because they fit with a bin of other similar objects to select from for an artwork in progress.

Photographs found within the collection are of Cornell at work and as a child with family. Also found are assorted personal and family photographs, photographs of Cornell's attic and garage storage, and photographs of his Utopia Parkway house. Photographs of artwork include few installation photographs, in addition to photographs of Cornell's boxes and collages. Collected photographic materials include vintage photographs, such as tintypes, a cyanotype, stereoscopic glass slides, albumen prints, cabinet cards, and cartes-de-visite. Cornell also collected cased photographs, such as daguerreotypes, ambrotypes, and one opalotype. Negatives and photostats were often produced from various prints and even other photographs and used in Cornell's boxes and collages. Images are of men and women, actors, authors, dancers, performers, well-known men and women, royalty, places, and artwork. Photographs of note include those by Hans Namuth of Willem and Lisa de Kooning and of Edward Hopper's bedroom; photographs by Henri Cartier-Bresson; a photograph by Julia Margaret Cameron; photographs by Brassai; and a photogravure by Alfred Stieglitz from "Camerawork."

Also found in the collection are works of art by others, including a sketch by Pavel Tchelitchew, as well as artwork by Cornell, such as unfinished collages, Rorschach drawings or ink blots, and childhood artwork. Printed material includes assorted bulletins, flyers, exhibition materials for other artists, journals, and sent printed membership and charity materials. Magazines, including "View," are also included, and often have annotations by Cornell or a note to "cut" or "review" with page numbers. A large amount of magazine and newspaper clippings are in the collection, sometimes collected with a group of like material by Cornell, and at other times simply gathered in heaps. Occasional annotations are also found on the clippings.

Cornell's personal library and book collection includes over 2500 titles, ranging from fiction, poetry, and cinema, to history, science, and travel. Notable among the titles are "Baedeker's" travel guides that Cornell often sourced for his "Hotel" box series, as well as an influential publication by Max Ernst, "La Femme 100 têtes," which includes a typed letter and exhibition flyer tucked within. Books often have annotations, some fairly extensive, by Cornell, and assorted collected items, notes, and correspondence tucked between pages. Pages were often cut by Cornell, either to make photostats and use in a box, or to file with other thematic "explorations." A wide range of authors and topics provide insight into Cornell's interests and to ideas behind artwork and diary notes. Cornell's collection of record albums includes over 145 records. These contain inserted notes and clippings and are often referenced in diary notes Cornell made, noting a recent album or song listened to while at work in his studio.

The papers of Cornell's mother, Helen Storms Cornell, and his brother, Robert Cornell, are also included in the collection. Both lived with Cornell his whole life, spending the most time with him at their home at 3708 Utopia Parkway. Financial materials document shared responsibilities for billing, utilities, household fixes and chores, and expenditures, and Helen kept detailed financial records in a series of ledgers. Robert notes when he borrowed money from Cornell, or when he means to pay Cornell back for the purchase of a typewriter. Activities documented in diaries also occasionally cross paths with Cornell, noting his visitors or an exchange of letters continued after introductions through Cornell. Personal activities, such as Robert's interest in his train collection and his drawing projects and cartoon series, are also documented.
Arrangement:
The Joseph Cornell Study Center Collection is arranged into 15 series:

Series 1: Biographical Material, 1917-1972 (Boxes 1, 98, OV118; 0.9 linear feet)

Series 2: Correspondence, 1813, 1934-circa 1973 (Boxes 1-8, 86; 6.5 linear feet)

Series 3: Diaries and Notes, 1940-1976 (Boxes 8-10, 98-99, 135, OV108, OV119; 3.5 linear feet)

Series 4: Personal Business and Estate Records, 1950-1978 (Boxes 10-14; 4.1 linear feet)

Series 5: Exhibition Files, 1932-1973 (Box 14; 0.3 linear feet)

Series 6: Film Projects and Collected Film Materials, circa 1924-1972 (Boxes 14-16, 100, 133; 1.6 linear feet)

Series 7: Writing and Design Projects, circa 1910s, 1936-1962 (Boxes 16-18, 86, 100, 131-132, OV109-OV111, OV120-OV122; 3.6 linear feet)

Series 8: Source Material, 1750-circa 1911, 1926-1972 (Boxes 19-49, 86-92, 96, 100-105, 126-130, 132-137, OV112-OV115, OV125; 42.2 linear feet)

Series 9: Artifacts and Ephemera, 1768, circa 1839-1972 (Boxes 49-52; 3.2 linear feet)

Series 10: Photographic Material, circa 1800s-1972 (Boxes 52-56, 80-86, 93, 106, 128, 133, OV116, OV123-OV124; 7.5 linear feet)

Series 11: Artwork, circa 1810-1972 (Boxes 56-57, 107, OV117; 1.2 linear feet)

Series 12: Printed Material, 1855-1972 (Boxes 57-76, 94-96, 107; 16 linear feet)

Series 13: Book Collection and Personal Library, 1722-1980 (99.8 linear feet)

Series 14: Record Album Collection, circa 1925-1974 (3.2 linear feet)

Series 15: Cornell Family Papers, 1910-1980 (Boxes 77-79, 97, 107; 3.2 linear feet)
Biographical / Historical:
Joseph Cornell (1903-1972) was a self-taught assemblage and collage artist, and filmmaker, active in New York City. He was born in Nyack, New York on December 24, 1903, and died of heart failure at his home in Queens, New York on December 29, 1972. The oldest of four children, he was born Joseph I. Cornell to his mother, Helen Storms Cornell (1882-1966), and his father, Joseph I. Cornell (1875-1917). Cornell had two younger sisters, Elizabeth ("Betty") Cornell Benton (1905-2000) and Helen ("Sissy") Cornell Jagger (1906-2001), as well as one brother, Robert Cornell (1910-1965), who had cerebral palsy.

Cornell attended the Phillips Academy, a preparatory boarding school in Andover, Massachusetts, beginning shortly after his father's death in 1917. He attended for four years but did not receive a diploma, and soon began work as a textile salesman for the William Whitman Company in Manhattan. His work took him, by foot, through the city, visiting secondhand bookshops on Fourth Avenue, browsing music stores and magazine shops, and catching early shows at the Metropolitan Opera House. He would occasionally wait outside the stage doors for favorite singers and dancers to emerge, requesting signatures on photographs or bits of costumes.

Around 1926, Cornell joined the Christian Science Church, joined by his brother Robert shortly thereafter, and both continued to be lifelong members. Cornell kept a number of books in his personal library on Christian Science teachings and regularly subscribed to "The Christian Science Monitor."

After living in several rental houses in Bayside, New York, Cornell's mother purchased a house for the family in 1929 in Flushing, Queens. Cornell, along with his mother and brother, would live at 3708 Utopia Parkway, for the rest of their lives. His two sisters soon married and moved away, eventually settling in Westhampton, Long Island and in the poultry-farming business.

With no formal art training to speak of, Cornell's first work was a Max Ernst-inspired collage, "Untitled (Schooner)," created in 1931. He was especially inspired by Ernst's collage novel, "La Femme 100 têtes," published in 1929. French artist Odilon Redon was also among the few artists Cornell named as an influence on his art. His first sculptural works were small, cardboard pill boxes with bits of ephemera, costume adornments, and nature hidden inside. Cornell also created a series of glass bell jar works, placing small trinkets and Victorian-era-like compositions within. It was these early collages and bell jar works that were included in Cornell's debut exhibition, "Surréalisme" (January 9-29, 1932), a group show at the Julien Levy Gallery. Cornell designed the announcement for the show and exhibited alongside Max Ernst, Man Ray, Pierre Roy, Pablo Picasso, Marcel Duchamp, Eugène Atget, George Platt Lynes, Jean Cocteau, and Salvador Dalí. Months later, Cornell was invited to have his first solo show, "Objects by Joseph Cornell: Minutiae, Glass Bells, Shadow Boxes, Coups d'Oeil, Jouets Surréalistes" (November 26-December 30, 1932), also at the Julien Levy Gallery.

In 1932, after eleven years of work, Cornell was laid off from the William Whitman Company due to the Great Depression. Soon after, he took on more responsibility in the church, working part-time as an attendant in the Christian Science Reading Room in Great Neck, New York. Beginning in 1933, he taught Sunday school classes for three years and in 1935, became the Sunday school librarian. However, his religious activities and artistic ventures continued to remain separate.

In the early 1930s, Cornell progressed from movie lover to filmmaker. When Julien Levy began his New York Film Society in 1933, holding screenings of various experimental films in the gallery, Cornell began buying and collecting films and film stills in earnest. He set up a 16-millimeter projector in his home to screen favorites, such as those by Georges Méliès, D.W. Griffith, and Louis Feuillade. His collection quickly grew to over 2,500 film stills and several hundred films, and included silent era films, such as nature documentaries, goofy newsreels, travelogues, early cartoons, and slapstick comedies, as well as several feature films. In 1933, Cornell wrote a screenplay, or "scenario," entitled "Monsieur Phot." Between 1935 and 1937, Cornell also occasionally created publicity photomontages for Universal and Columbia studios. Of the nearly thirty films Cornell created, periods of activity can generally be separated into two areas: collage films of the late 1930s, consisting of combined elements from films in his own collection, and films he directed in the 1950s, which were collaborations with other filmmakers set in New York City. "Rose Hobart," Cornell's most celebrated collage film, was created and shown in the Julien Levy Gallery in 1936 and includes clipped footage from "East of Borneo." Later films were directed and filmed with cinematographers Stan Brakhage, Rudy Burckhardt, and Larry Jordan.

In 1934, Cornell began a job at the Traphagen Commercial Textile Studio as a "textile designer," a job he held for six years. Continuing to work at his kitchen table in the evenings, Cornell completed his first assemblage box construction, "Untitled (Soap Bubble Set)," in 1936. It was first exhibited at The Museum of Modern Art's show, "Fantastic Art, Dada and Surrealism" (December 9, 1936-January 17, 1937). This work was also the first to be acquired by a museum, purchased for $60.00 by the Wadsworth Atheneum in Massachusetts in 1938. Cornell's European debut was also in 1938, as one of three Americans represented in the "Exposition Internationale du Surréalisme" (January 17-Febuary 24, 1938) at the Galerie Beaux-Arts in Paris, alongside Man Ray and Anne Clark.

At the end of 1939, Cornell began corresponding with poet Charles Henri Ford, founder of avant-garde magazine "View," Pavel Tchelitchew, and Parker Tyler. After his "Soap Bubble Sets," this period saw the development of Cornell's homages to singers and actresses, including "Untitled (Fortune-Telling Parrot for Carmen Miranda)," the destroyed "Garbo (Greta Garbo in the Legendary Film 'The Crystal Mask,' c. 1845)," and "Dressing Room for Gilles." He also began using photostats of art reproduction prints, as with the print of Jean Antoine-Watteau's painting, "Pierrot" (circa 1719), used in his "Gilles" box.

In the 1940s, the Romantic ballet emerged as Cornell's new topic of interest. Through his friend Pavel Tchelitchew, Cornell was introduced to the School of American Ballet and New York City Ballet founders, Lincoln Kirstein and George Balanchine. Cornell collected dance memorabilia and had a great love of the Romantic ballet. His favorite dancers were primarily ballerinas of the nineteenth century, including Fanny Cerrito, Marie Taglioni, Fanny Elssler, Lucille Grahn, and Carlotta Grisi. Cornell's "Homage to the Romantic Ballet" works largely took the shape of jewel-box style wooden boxes with glass overlays and included bits of velvet, tulle, sequins, crystals, and chiffon, occasionally collected from dancers themselves. His most well-known work of this series is "Taglioni's Jewel Casket" (1940). Cornell also admired several living ballet dancers, including Tamara Toumanova, Zizi Jeanmaire, and Allegra Kent, who would all make their way into Cornell's box works and/or collages. Collecting for the "exploration," "Portrait of Ondine," Cornell's cased portfolio dedication to Fanny Cerrito and her role in the ballet "Ondine," began in the 1940s, though not completed until around 1960.

In late 1940, Cornell quit his job at Traphagen to concentrate on freelance commercial magazine design and editorial work during the day and his artwork at night. That same year, Charles Henri Ford started "View" magazine to promote Surrealists and Neo-Romantics in New York City and often asked Cornell to contribute. Published in the December 1941-January 1942 issue, one of his early contributions was a collage dedication to stage actress Hedy Lamarr: "Enchanted Wanderer: Excerpt from a Journey Album for Hedy Lamarr" (1941). Along with writing the accompanying text, he created a photomontage of Lamarr with her face overlaying the painted portrait of a Renaissance boy by Italian painter Giorgione. Peggy Guggenheim, at the advice of Marcel Duchamp, purchased multiple Cornell works prior to opening her new gallery, Art of This Century. Cornell also befriended Roberto Matta Echaurren, another Surrealist living in exile, who introduced him to Robert Motherwell.

After deciding to fully dedicate his time to his art in early 1940, he set up a studio in his basement. Complete with floor-to-ceiling wooden shelving, he kept his large collection of boxed source material stacked with handwritten labels in cardboard boxes. Themed folders of materials such as "Stamps" or "Maps" were kept in stacks and works in progress and finished works were stored in the basement, garage, and attic. Entering a renewed period of productivity, Cornell embarked on many new and important box projects in 1942. One of the first boxes created in his new basement studio, and the first of the "Penny Arcade" or "Medici Slot Machine" series, was "Medici Slot Machine" (1942), which includes a photostat of "Portrait of Marquess Massimiliano Stampa" (1557) by Sofonisba Anguissola. Another work from this time is the first of his "Castle" or "Palace" series, "Setting for a Fairy Tale" (1942), which uses a photostat of a French building from Jacques Androuet du Cerceau's book, "Les Plus excellents bastiments de France" (1576). "Untitled (Pharmacy)" (circa 1942) was the first of his "Pharmacy" series and included twenty-two apothecary jars. Cornell tended to work in series and created thirteen "Palace" boxes between 1942 and 1951, and ultimately created six "Pharmacy" works.

In 1943, Cornell began working at an electronics company, the Allied Control Company, Inc., to do his part to contribute to the defense effort during the war. He also sent correspondence and care packages to displaced Europeans, who listed their needs in "The Christian Science Monitor." Influenced by World War II, one of his strongest works to emerge in 1943 was "Habitat Group for a Shooting Gallery." Another notable work to come out of this period, "The Crystal Cage (Portrait of Berenice)," was an excerpt from one of his album "explorations" that was published in the January 1943 issue of "View."

Cornell left his job at Allied Control in 1944, but soon began working at the Garden Centre in Flushing, owned by a fellow Christian Scientist. Cornell was often nostalgic for this time in his life, devoting an entire "exploration" of material fondly remembered as "GC 44." He rode a bicycle to work and enjoyed collecting trips gathering dried grasses, driftwood, shells, and other relics of nature on the same bicycle as he rode through the streets of Queens. During this time, he continued to tend to his projects for "Dance Index," a magazine founded in 1942 by Lincoln Kirstein, but taken over by Donald Windham in 1944. Cornell designed several covers for the magazine and was given control of the entire summer 1944 issue, which he devoted to the Romantic ballet. He also devoted a special 1945 issue to Hans Christian Andersen, making great use of the New York Public Library Picture Collection.

Throughout the 1940s, Cornell continued to support himself with commercial design work for magazines like "Vogue," "Good Housekeeping," "Harper's Bazaar," "Town & Country," and "Mademoiselle." In 1946, after thirteen years at the Julien Levy Gallery, he joined the Hugo Gallery. In December 1946, Cornell's solo exhibition, "Romantic Museum at the Hugo Gallery: Portraits of Women by Joseph Cornell," celebrated his favorite movie stars, singers, and ballet dancers, and included his work created for the show, "Untitled (Penny Arcade Portrait of Lauren Bacall)." Cornell's "Greta Garbo" box, as well as "Souvenir for Singleton," an homage to Jennifer Jones and her role in the film "Love Letters," were also included in the show. In late 1948, his West Coast debut was in the exhibition, "Objects by Joseph Cornell," held at the Copley Gallery. The end of the 1940s saw the final issue of "View" magazine in 1947, the closure of the Julien Levy Gallery in April 1949, and Cornell's departure from the Hugo Gallery after his last show in November 1949.

In late 1949, Cornell joined the Charles Egan Gallery, known primarily for showing Abstract Expressionists. At this time, Cornell was working on a new series of boxes known as his "Aviary" works, most of which include a white-painted box with cutouts of birds mounted on wood. Though he had worked on bird-related boxes before, including an "Owl" series in the mid-1940s, his "Fortune Telling Parrot" (1939), and "Object 1941" (1941), these newer works were stripped of French elements and left "clean and abstract" by design. His first show at the Egan Gallery, "Aviary by Joseph Cornell" (December 7, 1949-January 7, 1950), included twenty-six "Aviary" works, nearly all created in 1949. Donald Windham agreed to write the foreword for the exhibition catalog, a single folded sheet, and Cornell gave him one of the boxes in the show, "Cockatoo: Keepsake Parakeet," in appreciation. Through the Egan Gallery, Cornell became friends with a new group of artists, including Franz Kline, Jack Tworkov, and Willem de Kooning. Cornell also held two screenings of a selection of his collected films at Subjects of the Artist, an art school founded by Robert Motherwell, Mark Rothko, David Hare, and William Baziotes.

In 1950, Cornell's second show at the Egan Gallery, "Night Songs and Other New Work" (December 1, 1950-January 13, 1951), introduced his new "Observatory" series. These works are largely defined by stark, whitewashed spaces with astronomical charts and constellations replacing colorful birds. The Museum of Modern Art purchased its first Cornell work from this show in early 1951, "Central Park Carrousel, in Memoriam" (1950).

For three months in 1951, Cornell was beset by various ailments and had trouble finding the energy to create new work. He worried more for his aging mother and the health of his brother. After a monthlong vacation with his sisters in Westhampton, he returned with renewed interest in Emily Dickinson's poetry. His whitewashed boxes took on a new form in his newest "Dovecote" series, using grids and circular cutouts. The works then transformed into homages to Dickinson, notably "Toward the Blue Peninsula: For Emily Dickinson" (circa 1953), and then to his "Hotel" series. Cornell's "Hotel" boxes include photostats of vintage European ads for hotels collected from vintage travel guides, especially "Baedeker's," adhered to the back walls of the boxes. Another new series of work, his "Juan Gris" series, was dedicated to Cubist artist Juan Gris. Between 1953 and the mid-1960s, Cornell created at least fifteen "Juan Gris" boxes, which often include a cutout of a white cockatoo in a Cubist-collage habitat. Cornell's third and last show at Egan Gallery, "Night Voyage" (February 10-March 28, 1953), included some of these newest works. After leaving Egan Gallery, his work was introduced to Chicago collectors in a solo show at the Frumkin Gallery, "Joseph Cornell: 10 Years of His Art" (April 10-May 7, 1953), which included nearly thirty pieces. Cornell's first museum retrospective was this same show held at the Walker Art Center in Minneapolis (July 12-August 30, 1953).

As New York City continued to change, Cornell grew more nostalgic for the city he had explored since the 1920s. The impending closure of the Third Avenue El train prompted him to dream up a film project to capture its last days, resulting in "Gnir Rednow," a reworking of Stan Brakhage's 1955, "Wonder Ring." During this time, Cornell joined the Stable Gallery, run by Eleanor Ward, interacting often with Robert Rauschenberg, Cy Twombly, and Joan Mitchell, remaining there until the end of the 1950s. His astronomy-themed exhibition, "Winter Night Skies" (December 12, 1955-January 13, 1956), included his "Night Skies" series of work with celestial chart fragments, Greek mythological figures, and paint-splattered "windows" representative of star-filled night skies. In 1956, he became aware of ballerina Allegra Kent, and began a series of work devoted to her, the first of which was "Via Parmigianino (Villa Allegra)" (1956), which included a photostat of a painting by Parmigianino, "The Madonna of the Long Neck" (circa 1540). In late 1957, after two years, Cornell had his last show at Stable Gallery, "Joseph Cornell: Selected Works" (December 2-31, 1957), consisting of a series of "Sand Fountain" boxes and "Space Object" or "Celestial Navigation" works. The "Sand Fountain" boxes included different colors of sand meant to flow within, often from the tops into cordial glasses. His "Celestial Navigations" included galaxy-like compositions set within the boxes, with rolling, painted cork balls, metal rings, and constellation charts, sometimes hovering over cordial glasses or clay pipes. This last Stable Gallery show earned him his first published profile, written by Howard Griffin for the December 1957 issue of "Art News." Also in 1957, he won the Kohnstamm Prize for Construction at the Art Institute of Chicago's 62rd Annual Exhibition of Paintings and Sculpture.

Towards the end of the 1950s, Cornell spent less time creating new bodies of work, and focused more on revisiting previous series and reviewing piles of collected source material. In 1959, Cornell returned to making collages, frequently sourcing popular magazines. In December 1959, Cornell was awarded $1,500 for his "Orion" collage, entered in the Art Institute of Chicago's "63rd American Exhibition of Painting and Sculpture." Also in December, he was offered a show at Bennington College in Vermont, which he titled, "Bonitas Solstitialis: Selected Works by Joseph Cornell and an exploration of the Colombier" (November 20-December 15, 1959). The show included one of his newest "explorations" of collected material related to "colombier," or pigeon houses.

By 1962, Cornell was working diligently on new collages, using Masonite boards and colorful magazine clippings. He also began creating collages using nude images interspersed with constellation clippings or hazy blue dyes. As in previous decades and art movements, Cornell became acquainted with new artists, spending less time in the city and more time hosting visitors at his Utopia Parkway home. Visitors included artists Walter De Maria, Robert Whitman, Andy Warhol, James Rosenquist, and Robert Indiana. Tony Curtis also became a frequent visitor and friend, introduced by Richard Feigen in 1964. The early 1960s was also the first time Cornell put out an advertisement for assistants in the "Long Island Star-Journal," employing a number of young men and women who helped organize clippings and run errands. Cornell also met Joyce Hunter, a young runaway waitress at a city coffee shop, who would occupy his thoughts and diary notes for the next several years. When she was murdered at the end of 1964, Cornell paid for her funeral. He went on to make several "Penny Arcade" collages in memoriam to her, including, "Penny Arcade (re-autumnal)" (1964).

In 1964, Cornell began friendships with several women including artist Carolee Schneeman, who was his first assistant in the early 1960s. He also met artist Yayoi Kusama through art dealer Gertrude Stein. After becoming friends, she visited him often and they exchanged letters and notes. As he did with other artist friends, Cornell supported her by purchasing several of her early watercolor paintings, and they stayed connected until his death in 1972.

Cornell's life greatly changed in 1965 with the death of his brother, Robert. By this time, his mother lived with his sister in Long Island, and Cornell was alone in the Utopia Parkway house for the first time. He exchanged frequent letters and phone calls with his mother and devoted much time to thinking about Robert and Joyce, often aligning them in his diary notations. Cornell also created a series of collages dedicated to his brother's memory, incorporating photostats of Robert's hundreds of drawings into Cornell's work, as with the later collage, "The Heart on the Sleeve" (1972). Cornell's "Time Transfixed" series of collages were also dedications to Robert's memory, referencing Magritte and Robert's love of trains. He mounted an exhibition, "Robert Cornell: Memorial Exhibition" (January 4-29, 1966), at the Robert Schoelkopf Gallery, where he showed Robert's artwork alongside his newly created collage dedications.

After Robert's death, Cornell relied more heavily on assistants, going through many part-time "helpers." In October 1966, Cornell's mother died, adding her to his constant thoughts and diaries. Though he was still grieving, he was given two major retrospectives in 1967. The first was at the Pasadena Art Museum, put on by James Demetrion and Walter Hopps, "An Exhibiton of Works by Joseph Cornell" (January 9-February 11, 1967). The second retrospective was at the Guggenheim Museum just three months later, "Joseph Cornell" (May 4-June 35, 1967), organized by Diane Waldman. After these shows, he was highlighted in the December 15, 1967 issue of "Life" in the article, "The Enigmatic Bachelor of Utopia Parkway."

In 1968, Cornell was given an "award of merit," which included a medal and $1,000, by the American Academy and Institute of Arts and Letters. He was also given a medal and $1,000 by the Brandeis University Creative Arts Awards in the painting category, along with an exhibition. Days later, "The New York Times" announced Cornell the winner, along with Donald Judd, of India's first Triennale of Contemporary World Art. The Brandeis exhibition, "Boxes and Collages by Joseph Cornell" (May 20-June 23, 1968), was organized by William Seitz and concentrated on Cornell's more recent 1960s collages. Cornell was also included in the Metropolitan Museum of Art's hundredth anniversary show, "New York Painting and Sculpture: 1940 to 1970" (October 18, 1969-February 1, 1970), where twenty-two of Cornell's boxes were shown in their own gallery. At the end of 1970, Cornell was given a solo show at the Metropolitan, "Collages by Joseph Cornell" (December 10, 1970-January 24, 1971), which included forty-five of his newest collages.

Now preferring to stay closer to his home in Flushing, Cornell was more interested in sharing his art with young adults and children, than an adult audience. He hosted a group of high school students, sponsored by the Metropolitan Museum of Art's education department, at his home in conjunction with his collage show (1970-1971). He also showed his work in the art department of Queens College of the City University of New York. Cornell still hosted visitors on occasion, having Yoko Ono and John Lennon at his home at least once. Leila Hadley, Betsy von Furstenberg, and Anne Jackson also made frequent visits. With his deteriorating health, Cornell worried about what would happen to his work after his death and hired lawyer Harry Torczyner to help him plan his estate and get his affairs in order.

In 1972, Cornell had a show at the Cooper Union, a college in New York, specifically for children. He displayed his boxes and collages at child-height and had cherry soda and brownies at the opening reception on February 10. He then held a show at the Albright-Knox Art Gallery in Buffalo, also for children: "Children's Preview of the Exhibition of Joseph Cornell – Collages and Boxes (April 18-June 17, 1972). In the winter of 1972, at the request of the Phoenix House drug treatment and prevention program, Cornell contributed to a charity project compiling limited-edition lithographic prints for a portfolio, which included artists like David Hockney, James Rosenquist, and Ellsworth Kelly.

On December 29, 1972, a week after turning sixty-nine, Cornell died of heart failure at his home. He was cremated and interred near the graves of his mother, father, and brother, overlooking the Hudson River in Nyack, New York.

Works Cited:

1. Hartigan, Lynda Roscoe. "Joseph Cornell: Navigating the Imagination." New Haven, Connecticut and London: Yale University Press, 2007. Exhibition Catalog.

2. McShine, Kynaston. "Joseph Cornell." New York: Museum of Modern Art, 1980.

3. San Francisco Cinematheque and The San Francisco Museum of Modern Art. "Joseph Cornell: Films." 2007. Exhibition Program. (Presented in conjunction with SFMOMA's exhibition of "Joseph Cornell: Navigating the Imagination").

4. Schaffner, Ingrid and Lisa Jacobs. "Julien Levy: Portrait of an Art Gallery." Cambridge, Massachusetts and London: The MIT Press, 1998.

5. Solomon, Deborah. "Utopia Parkway: The Life and Work of Joseph Cornell." New York: Farrar, Straus and Giroux, 1997.
Separated Materials:
The Smithsonian Archives of American Art houses the Joseph Cornell papers, 1804-1986, bulk 1939-1972.
Provenance:
The Joseph Cornell Study Center collection was donated to the Smithsonian American Art Museum by Joseph Cornell's sister and brother-in-law, Elizabeth Cornell Benton and John A. Benton, in 1978, which prompted the creation of the Joseph Cornell Study Center. Additional materials were donated in installments by the artist's estate, the Joseph and Robert Cornell Memorial Foundation, from 1985 to 1997. Elizabeth and John A. Benton originally donated 66 linear feet of three-dimensional and non-textual source material and 50 linear feet of books to the Smithsonian Archives of American Art, which were subsequently transferred to the Smithsonian American Art Museum's Joseph Cornell Study Center in 1994 and 1995.
Restrictions:
Access to the collection requires an advanced appointment. Contact collection staff at least two weeks prior to preferred date, at AmericanArtCornellStudy@si.edu.

Series 9: Artifacts and Ephemera, Series 13: Personal Library and Book Collection, and Series 14: Record Album Collection, are still undergoing processing and preservation and may not be available for research use. Record albums are unavailable for playback. Contact collection staff for full lists of publications and record albums.
Rights:
Unpublished materials are protected by copyright. Permission to publish, quote, or reproduce must be secured from the repository and the copyright holder.
Occupation:
Collagists -- New York (State) -- New York  Search this
Topic:
Art, Modern -- 20th century -- United States  Search this
Assemblage (Art)  Search this
Assemblage artists -- New York (State) -- New York  Search this
Found objects (Art)  Search this
Works of art  Search this
Celebrities  Search this
Filmmakers -- New York (State) -- New York  Search this
Genre/Form:
Photographs -- 1900-1950 -- Photoprints -- Silver gelatin
Photographs -- 1860-1870 -- Black-and-white photoprints -- Silver albumen -- Cartes-de-visite
Photographs -- Daguerreotypes -- 1840-1860
Citation:
Joseph Cornell Study Center collection, 1750-1980, bulk 1930-1972. Joseph Cornell Study Center, Smithsonian American Art Museum.
Identifier:
SAAM.JCSC.1
See more items in:
Joseph Cornell Study Center Collection
Archival Repository:
Smithsonian American Art Museum, Research and Scholars Center
GUID:
https://n2t.net/ark:/65665/ih7d97fc249-474d-41bf-953d-5305df1e4c06
EDAN-URL:
ead_collection:sova-saam-jcsc-1

The North Star, Vol. I No. 37

Created by:
The North Star, American, 1847 - 1859  Search this
Edited by:
Frederick Douglass, American, 1818 - 1895  Search this
Martin Robison Delany, American, 1812 - 1885  Search this
Published by:
John Dick, British  Search this
Medium:
ink on newsprint
Dimensions:
H x W (folded): 13 3/16 × 18 1/2 in. (33.5 × 47 cm)
Type:
newspapers
Place printed:
Rochester, Monroe County, New York, United States, North and Central America
Date:
September 8, 1848
Topic:
African American  Search this
Antislavery  Search this
Black Press  Search this
Communities  Search this
Free communities of color  Search this
Freedom  Search this
Fugitive enslaved  Search this
International affairs  Search this
Mass media  Search this
Self-liberation  Search this
Social reform  Search this
U.S. History, 1815-1861  Search this
Credit Line:
Collection of the Smithsonian National Museum of African American History and Culture
Object number:
2014.151.3
Restrictions & Rights:
No Known Copyright Restrictions
See more items in:
National Museum of African American History and Culture Collection
Classification:
Slavery and Freedom Objects
Documents and Published Materials-Published Works
Movement:
Abolitionist movement
Colonization movement
Data Source:
National Museum of African American History and Culture
GUID:
http://n2t.net/ark:/65665/fd55eac1532-e202-4371-9070-7e1b33a478a7
EDAN-URL:
edanmdm:nmaahc_2014.151.3
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Online Media:

Newspaper clippings

Collection Creator:
Ya-Ching, Lee  Search this
Container:
Box 12, Folder 1
Type:
Archival materials
Text
Date:
1940
Collection Restrictions:
No restrictions on access.
Collection 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.
Collection Citation:
Lee Ya-Ching Papers, NASM.2008.0009, National Air and Space Museum, Smithsonian Institution.
See more items in:
Lee Ya-Ching Papers
Lee Ya-Ching Papers / Series 2: Professional
Archival Repository:
National Air and Space Museum Archives
GUID:
https://n2t.net/ark:/65665/pg2c0f4730c-90e6-4395-8d62-69d61e6813ec
EDAN-URL:
ead_component:sova-nasm-2008-0009-ref115
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Correspondence -- United China Relief Memos

Collection Creator:
Ya-Ching, Lee  Search this
Container:
Box 4, Folder 3
Type:
Archival materials
Text
Date:
1941 - 1943
Collection Restrictions:
No restrictions on access.
Collection 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.
Collection Citation:
Lee Ya-Ching Papers, NASM.2008.0009, National Air and Space Museum, Smithsonian Institution.
See more items in:
Lee Ya-Ching Papers
Lee Ya-Ching Papers / Series 2: Professional
Archival Repository:
National Air and Space Museum Archives
GUID:
https://n2t.net/ark:/65665/pg206406a1b-cbc0-4bb1-83d5-0a054af9a2a8
EDAN-URL:
ead_component:sova-nasm-2008-0009-ref38
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General Correspondence

Collection Creator:
Tanner, Henry Ossawa, 1859-1937  Search this
Container:
Box 1, Folder 35
Type:
Archival materials
Date:
1926-1928
Collection Restrictions:
The collection has been digitized and is available online via AAA's website.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Henry Ossawa Tanner papers, 1860s-1978 (bulk 1890-1937). Archives of American Art, Smithsonian Institution.
See more items in:
Henry Ossawa Tanner papers
Henry Ossawa Tanner papers / Series 2: Correspondence
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9cfd8543d-c65e-44ff-8c26-df113cb78e89
EDAN-URL:
ead_component:sova-aaa-tannhenr-ref639
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Josef Albers papers, 1929-1970

Creator:
Albers, Josef, 1888-1976  Search this
Subject:
Leake, Eugene  Search this
Tyler, Kenneth E.  Search this
Arp, Jean  Search this
Albers, Anni  Search this
Baltimore Museum of Art  Search this
Maryland Institute, College of Art  Search this
Type:
Photographs
Sound recordings
Transcripts
Poems
Interviews
Citation:
Josef Albers papers, 1929-1970. Archives of American Art, Smithsonian Institution.
Topic:
Art -- Study and teaching  Search this
Art -- Philosophy  Search this
Printmakers  Search this
Theme:
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)5803
(DSI-AAA_SIRISBib)208643
AAA_collcode_albejose
Theme:
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_208643
Online Media:

Josef Albers letters to J. B. Neumann, 1934-1947

Creator:
Albers, Josef, 1888-1976  Search this
Subject:
Neumann, J. B. (Jsrael Ber)  Search this
Citation:
Josef Albers letters to J. B. Neumann, 1934-1947. Archives of American Art, Smithsonian Institution.
Theme:
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)5952
(DSI-AAA_SIRISBib)208795
AAA_collcode_albejose2
Theme:
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_208795

Henry McBride papers, 1887-1962

Creator:
McBride, Henry, 1867-1962  Search this
Subject:
Barr, Everett S.  Search this
Wescott, Glenway  Search this
Stein, Gertrude  Search this
Toklas, Alice B.  Search this
Van Vechten, Carl  Search this
Matisse, Henri  Search this
Eakins, Thomas  Search this
Duchamp, Marcel  Search this
Stettheimer, Florine  Search this
Miller, C. Earle  Search this
Eilshemius, Louis M. (Louis Michel)  Search this
Pascin, Jules  Search this
Stieglitz, Alfred  Search this
Citation:
Henry McBride papers, 1887-1962. Archives of American Art, Smithsonian Institution.
Topic:
Art criticism -- United States  Search this
Theme:
Research and writing about art  Search this
Record number:
(DSI-AAA_CollID)7838
(DSI-AAA_SIRISBib)210005
AAA_collcode_mcbrhenr
Theme:
Research and writing about art
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_210005

Skowhegan School of Painting and Sculpture records, 1945-2013

Creator:
Skowhegan School of Painting and Sculpture  Search this
Subject:
Fortess, Karl E. (Karl Eugene)  Search this
Bishop, Isabel  Search this
Gonzalez, Xavier  Search this
Cummings, Willard Warren  Search this
Simon, Sidney  Search this
Type:
Sound recordings
Motion pictures (visual works)
Citation:
Skowhegan School of Painting and Sculpture records, 1945-2013. Archives of American Art, Smithsonian Institution.
Topic:
Art, American -- Study and teaching  Search this
Theme:
Art instruction and services  Search this
Record number:
(DSI-AAA_CollID)9409
(DSI-AAA_SIRISBib)211607
AAA_collcode_skowscho
Theme:
Art instruction and services
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_211607
Online Media:

Charles M. Kurtz papers, 1843-1990, bulk 1884-1909

Creator:
Kurtz, Charles M. (Charles McMeen), 1855-1909  Search this
Subject:
Kurtz, Julia Stephenson  Search this
Albright Art Gallery (Buffalo, N.Y.)  Search this
World's Columbian Exposition (1893 : Chicago, Ill.)  Search this
Louisiana Purchase Exposition (Location of meeting: Saint Louis, Mo.). Date of meeting or treaty signing: (1904 :.)  Search this
National Academy of Design (U.S.)  Search this
Pennsylvania Academy of the Fine Arts  Search this
Southern Exposition (Location of meeting: (Louisville, Ky.).)  Search this
Type:
Diaries
Scrapbooks
Citation:
Charles M. Kurtz papers, 1843-1990, bulk 1884-1909. Archives of American Art, Smithsonian Institution.
Topic:
Glasgow school of painting  Search this
Theme:
Diaries  Search this
Research and writing about art  Search this
Record number:
(DSI-AAA_CollID)9530
(DSI-AAA_SIRISBib)211729
AAA_collcode_kurtchar
Theme:
Diaries
Research and writing about art
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_211729
Online Media:

Bernard Chaet papers, circa 1944-2012

Creator:
Chaet, Bernard, 1924-2012  Search this
Type:
Sketchbooks
Citation:
Bernard Chaet papers, circa 1944-2012. Archives of American Art, Smithsonian Institution.
Topic:
Art -- Technique  Search this
Artists' studios -- Photographs  Search this
Drawing -- Study and teaching  Search this
Theme:
Sketches & Sketchbooks  Search this
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)6571
(DSI-AAA_SIRISBib)215865
AAA_collcode_chaebern
Theme:
Sketches & Sketchbooks
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_215865

Jules David Prown research material on artists, 1935-2010, bulk 1958-1975

Creator:
Prown, Jules David, 1930-  Search this
Subject:
West, Benjamin  Search this
Copley, John Singleton  Search this
Type:
Photographs
Citation:
Jules David Prown research material on artists, 1935-2010, bulk 1958-1975. Archives of American Art, Smithsonian Institution.
Topic:
Art -- Study and teaching  Search this
Theme:
Research and writing about art  Search this
Record number:
(DSI-AAA_CollID)6038
(DSI-AAA_SIRISBib)239353
AAA_collcode_prowjule
Theme:
Research and writing about art
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_239353
Online Media:

Proceedings of the Lockwood Conference on the Suburban Forest and Ecology, March 26, 27, 28, 1962, New Haven, Connecticut / edited by Paul E. Waggoner and J.D. Ovington

Author:
Lockwood Conference on the Suburban Forest and Ecology (1962 : Connecticut Agricultural Experiment Station)  Search this
Waggoner, Paul E  Search this
Ovington, J. D  Search this
Physical description:
102 p. : ill. ; 23 cm
Type:
Congresses
Place:
Connecticut
Date:
1962
Topic:
Forests and forestry  Search this
Forest ecology  Search this
Call number:
SD144.C8L6 1962X
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_431645

Food Culture USA

Collection Creator:
Smithsonian Institution. Center for Folklife and Cultural Heritage  Search this
Type:
Archival materials
Introduction:
The 2005 program celebrated what was characterized as a recent "food revolution". The program looked both backward and forward: backward to long-held community traditions in growing, marketing, cooking, and eating; forward to innovations for making these traditions sustainable and passing them on to future generations. The food revolution depends on nurturing a physical environment that supports diversity; sustaining the knowledge needed to cultivate that biodiversity; and passing on traditions of preparing and eating. Together, these traditions are the foundation of much of our shared human experience and they served as the organizing themes for theFestival program.

America's food by 2005 had become a constantly changing blend of native and foreign ingredients and techniques coupled with the ingredients of all-American ingenuity and energy. The Civil Rights Movement spurred Americans to explore their rich African American and Native American traditions. In 1965 a new Immigration Act lifted the quotas on immigration from many non-European countries, contributing to an increase in immigrants from Latin American, African, and Asian countries. As many others had done for centuries, people from India, Thailand, Afghanistan, and Lebanon brought their culture to the U.S. in the way of food. Presentations at the Festival included farmers and growers, noted chefs and cookbook authors, and suppliers of diverse, largely artisanal, food products - as well as a strong focus on educational programs aimed both at children and their parents.

As of 2005, an expanding group of innovative growers were supplying the creative cooks, urban markets, and rows of ethnic restaurants. Over the previous four decades, for cultural, culinary, environmental, health, and economic reasons many chefs, environmentalists, and growers became advocates for locally grown, seasonal, sustainable, and organic food. Those models of agriculture have entered the mainstream through grocery stores, farmers markets, and restaurants, altering the American food landscape.

Farmers markets and produce stands give consumers direct contact with farmers, allowing them to ask questions and learn about what is in season. Personal relationships help to create a community bond between growers and eaters. There are also opportunities for people to become more directly involved in the growing of their food. Local farms called CSAs (community supported agriculture) that are supported by subscribers who pay money for a portion of the farm's produce and who also work periodically planting, weeding, and harvesting help people learn about the source of their food. Growers and suppliers to restaurants, farmers' markets, and specialty shops shared their knowledge with Festival visitors.

The number of food programs designed for children has swelled in the past decade alone. Probably the best-known program is Alice Waters's The Edible Schoolyard in Berkeley, California. Begun in 1994, the program is designed to bring the community and experiential ethos of the locally grown-sustainable movement to middle school students. Seeing food as central to building individual health, fulfilling social relationships, and community life, The Edible Schoolyard teaches children to plan a garden, prepare soil, plant, grow and harvest crops, cook, serve, and eat - in its phrasing, food "from seed to table." Students collaborate in decision-making on all aspects of the garden. Working closely with the Center for Ecoliteracy, The Edible Schoolyard teachers have been on the forefront of designing a curriculum that can place food at the center of academic subjects such as math, reading, and history in order to "rethink school lunch." Festival visitors could interact with participants from The Edible Schoolyard and other educational programs, and take a guided tour of a schoolyard garden plot.

Joan Nathan was Guest Curator and Stephen Kidd was Co-Curator; Arlene Reiniger was Program Coordinator, Beverly Simons was Program Assistant, and Deborah L. Gaffin was Education Consultant. An Advisory Committee included: Michael Batterberry (Chair), Ariane Batterberry, Warren Belasco, Partice Dionot, John T. Edge, Rayna Green, Tom Head, Ethel Raim, Phyllis Richman, Gus Schumacher, Marsha Wiener, and Ann Yonkers.

The program was made possible through major contributions from Whole Foods Market, the Wallace Genetic Foundation, Silk Soy, and Horizon Organic Dairy. Additional funding came from the United States Department of Agriculture. Contributors included Vanns Spices, Honest Tea, Farm Aid, Guest Services, Inc. , Chipotle Mexican Grill, The Rodale Institute, and the Jean-Louis Palladin Foundation. Major in-kind support came from KitchenAid and Zola/Star Restaurant Group. Collaborative support came from Marriott International, the Washington, DC Convention and Tourism Corporation, and the Culinary Institute of America.
Presenters:
Polly Adema, Betty Belanus, Emily Botein, Charley Camp, John Franklin, Alexandra Greeley, Nancy Groce, Mark Haskell, Kevin Healy, Lucy Long, Steven Prieto, Michael Twitty, Cynthia Vidaurri, Chris Williams
Participants:
Cheese

Melanie Cochran, 1974-, Keswick Creamery, Newburg, Pennsylvania

Allison Hooper, 1959-, Websterville, Vermont

Rob Kaufelt, New York, New York

Mike Koch, FireFly Farms, Bittinger, Maryland

Cesare Marrocchi, Chevy Chase, Maryland

Maria Moreira, 1953-, Lancaster, Massachusetts

Wendy Wiebe, Orange, Virginia

Chocolate

El Ceibo, Río Beni, Bolivia -- El Ceibo, Río Beni, BoliviaBernardo Apaza LluscuEmilio Villca CopaClemente Puna PacoVincente Quelca MixtoMario Choque Quisbert

Coffee

Mshikamano Farmers Association, Mbeya Region, Tanzania -- Mshikamano Farmers Association, Mbeya Region, TanzaniaLinda H. MsangiDavid RobinsonThomas T. Sikapila

Cooking Demonstrations

Ann Amernick, Chevy Chase, Maryland

Douglas Anderson, 1960-, Washington, D.C.

José Andrés, 1969-, Washington, D.C.

Jimmy Andruzzi, 1971-, Staten Island, New York

Dan Barber, Pocantico Hills, New York

Lidia Bastianich, New York, New York

Najmieh Batmanglij, 1947-, Washington, D.C.

Susan Belsinger, Brookeville, Maryland

Tom Bivins, 1962-, Burlington, Vermont

Aulie Bunyarataphan, Washington, D.C.

Mariana Camara, Washington, D.C.

Gilroy Chow, 1940-, Clarksdale, Mississippi

Sally Chow, 1947-, Clarksdale, Mississippi

Nongkran Daks, Chantilly, Virginia

Roberto Donna, Washington, D.C.

Mark Federman, New York, New York

Mark Furstenberg, Washington, D.C.

Marla Gooriah, Alexandria, Virginia

Todd Gray, 1964-, Washington, D.C.

Carole Greenwood, Washington, D.C.

Hi Soo Shin Hepinstall, 1936-, Silver Spring, Maryland

Steve Herrell, 1944-, Northampton, Massachusetts

Melissa Kelly, Rockland, Maine

Ris Lacoste, Washington, D.C.

Ed LaDou, 1955-, Studio City, California

Emeril Lagasse, New Orleans, Louisiana

Cesare Lanfranconi, Washington, D.C.

Francis Layrle, Washington, D.C.

Sheila Lukins, New York, New York

Karen MacNeil, 1954-, St. Helena, California

Brenda Rhodes Miller, Silver Spring, Maryland

Nahid Mohamadi, Chevy Chase, Maryland

Frank Morales, Washington, D.C.

Diana My Tran, Washington, D.C.

Patrick O'Connell, 1945-, Washington, Virginia

Kaz Okochi, Washington, D.C.

Morou Ouattara, Washington, D.C.

Charlie Palmer, 1959-, Washington, D.C.

Charles Phan, San Francisco, California

Culinary Institute of America

Nora Pouillon, Washington, D.C.

Paul Prudhomme, New Orleans, Louisiana

Steven Raichlen, 1953-, Miami, Florida

Carol N. Reynolds, 1955-, Greensboro Bend, Vermont

Michel Richard, 1948-2016, Washington, D.C.

Akasha Richmond, Los Angeles, California

Suvir Saran, New York, New York

David Scribner, Washington, D.C.

Sudhir Seth, Bethesda, Maryland

Suad Shallal, Washington, D.C.

Marion Spear, 1944-, Fox, Arkansas

Fabio Trabocchi, McLean, Virginia

Anthony Uglesich, 1969-, New Orleans, Louisiana

John Uglesich, New Orleans, Louisiana

Herman Vargas, New York, New York

Robert Weland, Washington, D.C.

Janos Wilder, 1954-, Tucson, Arizona

Lisa Yockelson, Hoboken, New Jersey

Eric Ziebold, 1972-, Washington, D.C.

Culinary Institute of America -- Culinary Institute of AmericaCraig Carey, Patrick Decker, Jennifer Meyer, Matthew Raiford, Tara Zmuda

Dairy

Horizon Organic, Boulder, Colorado -- Horizon Organic, Boulder, ColoradoJarod Ballentine, Michael Boswell, Fred Ceconi, Bill Eckland, Jeff Grapko, Diane Kistler, Arden Landis, Cindy Masterman, Jason McGowin, David Morton, Peter Slaunwhite, Connie Weaver, Warren Weaver

The Edible Schoolyard

Jessica Benthien, Berkeley, California

Chelsea Chapman, 1975-, Oakland, California

Eliot Coleman, 1938-, Harborside, Maine

Ann Cooper, East Hampton, New York

Barbara Damrosch, Harborside, Maine

Benjamin Goff, Berkeley, California

Marsha Guerrero, Berkeley, California

Jenny Guillaume, Washington, D.C.

Davia Nelson, San Francisco, California

Kimberly Rush, Washington, D.C.

Kelsey Siegel, 1971-, Berkeley, California

Nikki Silva, San Francisco, California

Josh Viertel, 1977-, New Haven, Connecticut

Alice Waters, Berkeley, California

Food Safety and Quality

The United States Department of Agriculture (USDA) -- The United States Department of Agriculture (USDA)Peggy Barrow, Leslie Davis, Lula Mae Gray, Amy Green, Graciela Iguina, Synthia Jenkins, Basil Lindsay, Howard Seltzer, Robin Smith, Shirley Turpin, Juanita Yates

USDA Food and Nutrition Service -- USDA Food and Nutrition ServiceAudrina Lange, Alison Pack

USDA Food Safety and Inspection Service -- USDA Food Safety and Inspection ServiceJanice Adams-King, Tara Balsley, Matt Baun, Kathy Bernard, Autumn Canaday, Susan Conley, Ben Dinsmore, Eileen Dykes, Amanda Eamich, Nathan Fretz, Brenda Halbrook, Melissa Halbrook, Mary Harris, Rita Hodges, Delphine Hyman, Delphine Hyman, Natalie Illum, Bridgette Keefe, Lydia Kleiner, Argyris Magoulas, Barbara Masters, Holly McPeak, Trish Moynihan, Barbara O'Brien, Keith Payne, Laura Reiser, Ashley Short, Crystal Straughn, Diane Van, Jason Waggoner, Anne Withers, Audrey Young

Guest Services, Inc.

National Restaurant Association

Restaurant Association of Metropolitan Washington -- Restaurant Association of Metropolitan WashingtonStephanie Burdette, Christine Gloninger, Daniel Traster, Glenn Walden

District of Columbia Department of Health

Honey

Beehive Beeproducts, New York, New York

Beekeepers -- BeekeepersShirley Ammon, Ken Brown, Toni Burnham, Pat Deely, Michael Fry, Daphne Fuentevilla, Andy Greig, Carl Greig, Len Greig, Patricia Greig, Claire Hoffman, Marc Hoffman, Kameha Kidd, Brenda Kiessling, Betsy Klinger, Marilyn Kray, Gertrud Mergner, Wolfgang Mergner, Bill Miller, Mary Miller, Ed Murtagh, Laszlo Pentek, Janis Ritchie, Michael Ritchie, Barbara Sina, David Sitomer, Nikki Thompson

Narrative Sessions

Bruce Aidell, San Francisco, California

Ariane Batterberry, New York, New York

Michael Batterberry, New York, New York

Ann Brody, Bethesda, Maryland

Steve Demos, Boulder, Colorado

Steve Jenkins, New York, New York

Judith Jones, New York, New York

Erika Lesser, New York, New York

Bill Niman, Marin County, California

Gus Schumacher, Washington, D.C.

Howard Shapiro, San Juan Pueblo, New Mexico

Slow Roast

Mike Mills, 1941-, Hingham, Massachusetts

Amy Mills Tunicliffe, Hingham, Massachusetts

Rosana Gilmore, El Patio, Rockville, Maryland

Jim Tabb, Tryon, North Carolina

Soy

White Wave, Boulder, Colorado -- White Wave, Boulder, ColoradoMike Bandstra, David Cai, Kortney Dockter, Steve Ehli, Ellen Feeney, Dale Hess, Dick Hou, Summer Lee, Stephanie, Eric Sherman

Spices

Vanns Spices, Baltimore, Maryland -- Vanns Spices, Baltimore, MarylandRita Calvert, Sarah Graham, Ellen Honey, Arehan Kuran, Ellen Trusty, Ann Wilder, Rob Wilder

Tea

Honest Tea, Bethesda, Maryland -- Honest Tea, Bethesda, MarylandJennifer Blazejewski, Jonathan Clark, Seth Goldman, Carrie Haverfield, Thammara Liyanage, Mike Patrone, John Rego, Alicia Schnell

Tools of the Trade

Culinary Historians of Washington, D.C. -- Culinary Historians of Washington, D.C.Jane Adams Finn, Chevy Chase, MarylandMarigail BarcomeKari Barrett, Rockville, MarylandFrancine Berkowitz, Silver Spring, MarylandClaire Cassidy, Bethesda, MarylandMeryle Evans, New York, New YorkLeslie ForrestLinda Franklin, Charlottesville, VirginiaBryna Freyer, Arlington, VirginiaBruce Gaber, Bethesda, MarylandCathy Gaber, Bethesda, MarylandLaura Gilliam, Washington, D.C.Larry HepinstallMarty Kaiser, Fairfax, VirginiaDiane King, Vienna, VirginiaZina Musgrove, Washington, D.C.Kay Shaw Nelson, Bethesda, MarylandElizabeth Nosek, Winterthur, DelawareDenise PetersonPat Reber, Ellicott City, MarylandBettye Robertson, Capitol Heights, MarylandKathi Trepper, Alexandria, VirginiaCarter Van Devanter, Poolesville, MarylandWillis Van Devanter, Poolesville, MarylandDebbie Warner, Cheverly, MarylandVera Oye Yaa-Anna, Washington, D.C.

Slow Food USA

Tradition and Adaptation

Erika Allen, Growing Power, Chicago, Illinois

Will Allen, Growing Power, Milwaukee, Wisconsin

Elizabeth Beggins, 1962-, Pot Pie Farm, Whitman, Maryland

Ann Yonkers, Pot Pie Farm, Whitman, Maryland

Don Bustos, 1956-, Espanola, New Mexico

Jim Crawford, Hustontown, Pennsylvania

Moie Crawford, Hustontown, Pennsylvania

Leslie Harper, Cass Lake, Minnesota

John Jamison, 1947-, Latrobe, Pennsylvania

Sukey Jamison, Latrobe, Pennsylvania

Nova Kim, Albany, Vermont

Les Hook, Albany, Vermont

Tzaxe Lee, 1956-, Fresno, California

Ying Lee, Fresno, California

Mike Pappas, Lanham, Maryland

Harry Records, 1932-, Exeter, Rhode Island

Joel Salatin, Swoope, Virginia

Teresa M. Showa, 1957-, Window Rock, Arizona

Rodale Institute, Kutztown, Pennsylvania -- Rodale Institute, Kutztown, PennsylvaniaKerry Callahan, Amanda Kimble Evans, Kelly Grube, John Haberern, Paul Hepperly, Chris Hill, April Johnson, Jeff Moyer, Maria Pop, Matthew Ryan, Dan Sullivan, Eileen Weinsteiger

Wine

The wine section of the Food Culture USA program was coordinated by WineAmerica, Association of Maryland Wineries, Pennsylvania Wineries Association, New York Wine and Grape Foundation, Missouri Grape and Wine Program, North Carolina Grape Council, and Virginia Wineries Association.

Dana Alexander, Patty Held, Kim Kelsey, Margo Knight, Bob McRitchie, Ann Miller, David Sloane, Susan Spence, Cara Stauffer, Jim Trezise, Bill Wilson, Brian Wilson, Christine Wilson
Collection Restrictions:
Access to the Ralph Rinzler Folklife Archives and Collections is by appointment only. Visit our website for more information on scheduling a visit or making a digitization request. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Collection Citation:
Smithsonian Folklife Festival records: 2005 Smithsonian Folklife Festival, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Identifier:
CFCH.SFF.2005, Series 2
See more items in:
Smithsonian Folklife Festival records: 2005 Smithsonian Folklife Festival
Archival Repository:
Ralph Rinzler Folklife Archives and Collections
GUID:
https://n2t.net/ark:/65665/bk5e618a15e-64a3-4706-9320-63f606d70e53
EDAN-URL:
ead_component:sova-cfch-sff-2005-ref18

Serving the Muse in Shapley's Wake

Author:
DeVorkin, David H.  Search this
Editor:
Philips, A. G. Davis  Search this
van Altena, William F.  Search this
Koopmann, Rebecca A.  Search this
Object Type:
Smithsonian staff publication
Year:
2006
Citation:
DeVorkin, David H. 2006. "Serving the Muse in Shapley's Wake." In The Hoffleit Centennial: A Year of Celebration: held in New Haven, Connecticut, April 28-29, 2006. Philips, A. G. Davis, van Altena, William F., and Koopmann, Rebecca A., editors. 11–20. Schenectady, NY: L. David Press.
Identifier:
80208
ISBN:
9780933485273
Data source:
Smithsonian Libraries and Archives
EDAN-URL:
edanmdm:slasro_80208

Henry McBride papers

Creator:
McBride, Henry, 1867-1962  Search this
Names:
Barr, Everett S.  Search this
Duchamp, Marcel, 1887-1968  Search this
Eakins, Thomas, 1844-1916  Search this
Eilshemius, Louis M. (Louis Michel), 1864-1941  Search this
Matisse, Henri, 1869-1954  Search this
Miller, C. Earle  Search this
Pascin, Jules, 1885-1930  Search this
Stein, Gertrude, 1874-1946  Search this
Stettheimer, Florine, 1871-1944  Search this
Stieglitz, Alfred, 1864-1946  Search this
Toklas, Alice B.  Search this
Van Vechten, Carl, 1880-1964  Search this
Wescott, Glenway, 1901-  Search this
Extent:
16 Reels (ca. 8000 items (on 16 microfilm reels))
Type:
Collection descriptions
Archival materials
Reels
Date:
1887-1962
Scope and Contents:
Correspondence, manuscript writings, notes, reviews, articles, clippings, letters, photographs, catalogs, and postcard.
Reel NMcB 1 - 13: Correspondence, mostly 1910-1960; manuscript writings; notes; reviews; and articles. Correspondents include the Stettheimer sisters, Charles Aiken, Alexander Archipenko, George Biddle, Edward Bruce, Alexander Calder, Mary Callery, Royal Cortissoz, Chester Dale, Randall Davey, Katherine Dreier, Guy Pène du Bois, Marcel Duchamp, Valentine Dudensing, Albert Duveen, Charles Demuth, Arthur Dove, Thomas Eakins, Louis Eilshemius, Lyonel Feininger, Juliana Force, Edith Halpert, George Hart, Max Kalish, Rockwell Kent, Samuel M. Kootz, Walt Kuhn, Yasuo Kuniyoshi, Gaston Lachaise, Jacques Lipchitz, Robert Macbeth, John Marin, Peppino Mangravite, Georgia O'Keeffe, Amédée Ozenfant, Walter Pach, Jules Pascin, John Quinn, Man Ray, Gertrude Stein, Joseph Stella, Maurice Sterne, Albert Sterner, Alfred Stieglitz, Gustave Verbeek, Malcolm Vaughan, Forbes Watson, Max Weber, Guy Wiggins, and William Zorach.
Reel D105: Notes, letters, clippings, photographs and catalogs relating to Thomas Eakins from the collection of Henry McBride.
Reel NMcB 14: Letters, 1946-1962, to Dr. and Mrs. Everett S. Barr, and letters, 1950-1957, to Mr. and Mrs. C. Earle Miller.
Reel 372: Letters and photographs, ca. 1903-1962. McBride writes in journal-like detail from 1947-1962 to his friends, Alice and Everett Barr, West Chester, Pa., commenting on politics during the Truman and Eisenhower years, theatre and opera in New York, and the social and domestic activities of the social group with which he associates, including members of the Delano, Stettheimer and Wetmore families, as well as literary and art figures including Glenway Wescott, Monroe Wheeler, Claude Rains, and others. Photographs, ca. 1903-1947, include McBride with Gertrude Stein, Alice B. Toklas, Henri Matisse, and others; one postcard from Carl Van Vechten, June 4, 1933, and a photograph of Marianne Moore.
Biographical / Historical:
Art critic and author, New York, N.Y. Wrote for THE NEW YORK SUN (1913-1949) and THE DIAL (1920-1929). Author of MATISSE, SOME FRENCH MODERNS, MARIN, and FLORINE STETTHEIMER. Gave many prominent artists their first critical acclaim, such as Thomas Eakins, Jules Pascin, John Marin, Charles Demuth, Louis Eilshemius.
Provenance:
Lent for microfilming by Maximillian Miltzlaff, executor of McBride's estate.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Occupation:
Art critics -- New York (State) -- New York  Search this
Authors -- New York (State) -- New York  Search this
Topic:
Art criticism -- United States  Search this
Identifier:
AAA.mcbrhenr
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9faad9c4b-d7bf-4890-927c-9833463bac3d
EDAN-URL:
ead_collection:sova-aaa-mcbrhenr

Ridgway Hall research material on Josephine Miles Lewis

Creator:
Hall, Ridgway M., 1914-1982  Search this
Names:
Lewis, Josephine Miles, 1865-1959  Search this
Extent:
0.5 Linear feet
Type:
Collection descriptions
Archival materials
Date:
circa 1880-1981
Summary:
The Ridgway Hall research material on Josephine Miles Lewis measures 0.5 linear feet and dates from circa 1880 to 1981. Found are artworks, biographical material, correspondence, photographs of Lewis and her artwork, printed material, and a survey of Lewis's works. Josephine Miles Lewis letters are photocopies.
Scope and Contents:
The Ridgway Hall research material on Josephine Miles Lewis measures 0.5 linear feet and dates from circa 1880 to 1981. Found are artworks, biographical material, correspondence, photographs of Lewis and her artwork, printed material, and a survey of Lewis's works. Josephine Miles Lewis letters are photocopies.
Biographical / Historical:
Ridgway M. Hall (1914-1982) was an author and distant relative of Josephine Miles Lewis.

Josephine Miles Lewis (1865-1959) was an impressionist painter from New Haven, Connecticut. She was the first graduate to receive a degree in fine arts from Yale University.
Provenance:
The collection was donated in 1980 and 1984 by Ridgway and Lucy W. Hall.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Authors -- New York (State) -- New York  Search this
Topic:
Women artists  Search this
Women painters  Search this
Citation:
Ridgway Hall research material on Josephine Miles Lewis, circa 1880-1981. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.hallridg
See more items in:
Ridgway Hall research material on Josephine Miles Lewis
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw967d62be3-7371-45c0-ab1e-f62a2a677cfa
EDAN-URL:
ead_collection:sova-aaa-hallridg

Oral history interview with Anni Albers, 1968 July 5

Interviewee:
Albers, Anni, 1899-1994  Search this
Interviewer:
Fesci, Sevim  Search this
Subject:
Klee, Paul  Search this
Bauhaus  Search this
Type:
Sound recordings
Interviews
Citation:
Quotes and excerpts must be cited as follows: Oral history interview with Anni Albers, 1968 July 5. Archives of American Art, Smithsonian Institution.
Topic:
Women artists  Search this
Women authors  Search this
Women educators  Search this
Women printmakers  Search this
Women textile artists  Search this
Decorative arts  Search this
Theme:
Women  Search this
Craft  Search this
Record number:
(DSI-AAA_CollID)12134
(DSI-AAA_SIRISBib)211924
AAA_collcode_albersa68
Theme:
Women
Craft
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_211924
Online Media:

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