Skip to main content Smithsonian Institution

Search Results

Collections Search Center
264 documents - page 1 of 14

Harwood Foundation art archives, 1920-1980

Creator:
Harwood Foundation  Search this
Subject:
Barela, Patrociño  Search this
Taos Society of Artists  Search this
Place:
Taos (N.M.)
Citation:
Harwood Foundation art archives, 1920-1980. Archives of American Art, Smithsonian Institution.
Topic:
Latino and Latin American artists  Search this
Hispanic American artists  Search this
Theme:
Latino and Latin American  Search this
Art organizations  Search this
Record number:
(DSI-AAA_CollID)5481
(DSI-AAA_SIRISBib)213999
AAA_collcode_harwfoua
Theme:
Latino and Latin American
Art organizations
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_213999

Claire Falkenstein papers

Creator:
Falkenstein, Claire, 1908-1997  Search this
Names:
Coos Art Museum  Search this
Fresno Art Museum  Search this
Galerie Anderson-Mayer  Search this
Galerie Stadler  Search this
Jack Rutberg Fine Arts (Los Angeles, Calif.)  Search this
John Bolles Gallery (San Francisco, Calif.)  Search this
Los Angeles Museum of Art  Search this
Malvina Miller  Search this
Martha Jackson Gallery  Search this
Merging One Gallery  Search this
Mills College -- Faculty  Search this
Pond Farm Workshop  Search this
San Francisco Museum of Art  Search this
University of California, San Francisco. School of Fine Arts -- Faculty  Search this
Green, Ray, 1908-1997  Search this
Guggenheim, Peggy, 1898-1979  Search this
Kuh, Katharine  Search this
O'Donnell, May, 1906-2004  Search this
Sawyer, Kenneth B.  Search this
Still, Clyfford, 1904-  Search this
Still, Patricia  Search this
Tapie, Michel  Search this
Temko, Allan  Search this
Tobey, Mark  Search this
Wildenhain, Frans, 1905-1980  Search this
Extent:
42.8 Linear feet
Type:
Collection descriptions
Archival materials
Sketchbooks
Diaries
Scrapbooks
Interviews
Date:
circa 1914-1997
bulk 1940-1990
Summary:
The papers of sculptor, painter, jewelry designer, and teacher Claire Falkenstein measure 42.8 linear feet and date from 1917 to her death in 1997. There is extensive correspondence with fellow artists, collectors, critics, friends, museums, and galleries. The collection also contains biographical materials, much of it collected and organized by Falkenstein, personal and business records, writings, diaries, exhibition files, commission files, teaching files, photographs, original artwork, scrapbooks, and printed materials. There is a short motion picture film of an interview with Falkenstein featuring the windows she designed for St. Basil's Church in Los Angeles.
Scope and Content Note:
The papers of sculptor, painter, jewelry designer, and teacher Claire Falkenstein measure 42.8 linear feet and date from 1917 to her death in 1997. There is extensive correspondence with fellow artists, collectors, critics, friends, museums, and galleries. The collection also contains biographical materials, much of it collected and organized by Falkenstein, personal and business records, writings, diaries, exhibition files, commission files, teaching files, photographs, original artwork, scrapbooks, and printed materials. There is a short motion picture film of an interview with Falkenstein featuring the windows she designed for St. Basil's Church in Los Angeles.

Biographical material includes appointment calendars, awards and honorary degrees, interview transcripts, passports, resumes, wills, and scrapbooks. Scrapbooks were compiled by Falkenstein and focus primarily on her exhibitions at the Galerie Stadler and Gallery Meyer in 1959 and 1960. Also of interest are the "biography files" created and arranged by Falkenstein. These files contain material that she personally felt was the most important in documenting her activities each year. They include correspondence, exhibition catalogs, printed material, and invitations.

Measuring nine linear feet, correspondence is extensive and comprehensively documents Falkenstein's work, social life, relationships, and other business and personal activities. Correspondence dates from 1941 to 1997 and includes business letters and correspondence with friends and family. Her communications with friends, family, clients, gallery owners, collectors, museums, publishers, foundations, and grant agencies reveal many of her ideas and techniques. Individual correspondents include Ray Green, Peggy Guggenheim, Katharine Kuh, May O'Donnell, Ken Sawyer, Clyfford and Pat Still, Michel Tapie, Allan Temko, Mark Tobey, and Frans Wildenhain. Gallery and museum correspondence is with the San Francisco Museum of Art, Coos Art Museum, Los Angeles Museum of Art, Galerie Stadler (Paris), Gallery Mayer (Paris), Malvina Miller (New York), Martha Jackson Gallery (New York), Jack Rutberg Fine Arts (Los Angeles), Galerie Anderson-Mayer (Paris), and Bolles Gallery. Correspondence is also found in the Commission Files and Exhibition Files.

Personal and business records contain a wide variety of material documenting Falkenstein's business, financial, legal, professional, and personal transactions. Files are found for sales and prices, art inventories, smaller jewelry commissions, her work as a juror, her business with galleries, legal affairs and contracts, expenses, records of arts organizations to which she belonged, conferences, grants and fellowships, studio and house renovations, her Paris studio and Paris expenses, travel, donations, loans and consignments, conservation, art shipping, insurance, and taxes. Oversized visitor's logs contain comments from visitors to Falkenstein's studio in Venice, California.

Falkenstein maintained comprehensive documentation of her exhibitions from her first exhibition in the 1930s to the last one at the Merging One Gallery in 1996. Files include both a chronological record and individual record for nearly all of her exhibitions. Found with the files are correspondence, photographs, loan and shipping records, catalogs, announcements, clippings, articles, and other records. Most of the photographs related to exhibitions are found in the Photographs Series. The files for exhibitions at the Fresno Art Museum, Martha Jackson Gallery and Jack Rutberg Fine Art Gallery are particularly rich.

Commission files document nearly all of Falkenstein's public and private large-scale projects and often contain a visual record of the work, as well as correspondence, design notes, contracts, and expense reports. There is documentation of the St. Basils Church windows in Los Angeles; the Peggy Guggenheim gate in Venice, Italy; and the fountain at the California Savings and Loan, in Los Angeles; and many others. There is also a chronological record of her commissions. The bulk of the photographs of commissions are found in the Photograph series. Also, most of Falkenstein's jewelry design commissions are found in the Personal and Business Records series.

Falkenstein's work as a prolific writer, particularly in the 1940s and 1950s, is well-documented here through her numerous published articles in Arts and Architecture magazine, and the New York Herald-Tribune. Her work for Arts and Architecture was primarily written for the "Art Comments from San Francisco" section. She was living in Paris when she contributed an art news column to the New York Herald-Tribune. Also found here are five diaries and one journal dating from circa 1929-1978. The entries are inconsistent and concern mostly travel. The diaries from 1929 and 1934 are more personal. Falkenstein also maintained extensive notes and notebooks about artwork ideas, observations about art, research, and even drafts of letters. There are also many notes about various topics, including art and class notes. Additional writings are eclectic and cover a wide range of topics, including music, poetry, the script for Falkestein's film entitled Touching the Quick, and drafts of her unpublished book on murals. A handful of writings by others are found, most with annotations by Falkenstein.

Teaching files include Falkenstein's numerous lectures given while teaching at Mills College, Pond Farm Workshops, and California School of Fine Arts, and various symposiums and conferences. Also found are lesson plans, contracts, scattered correspondence, and notes. The files on her tenure at the Pond Farm Workshops are particularly interesting, with notes about her fellow teacher Frans Wildenhain and correspondence with workshop owners, Jane and Gordon Herr.

There are extensive photographs of Falkenstein, her family and friends, colleagues, commissions, exhibitions, and works of art. Included are many images of Falkenstein, of Falkenstien with her art, of Falkentstien working, and of Falkenstein's studio. There are numerous photographs of Falkenstein with friends, family, and colleagues in social or work settings. Also found are photographs of exhibition openings, installation views, and works of art exhibited. Additional photographs document Falkenstein's commissions, including images of her at work. Additional images of commissions may also be found in the Commission Series, but the bulk are filed here. There are numerous photographs of Falkenstein's works of art, including drawings, sculpture, jewelry, murals, lamps, and ceramics.

Falkenstein's papers include a large amount of sketches, sketchbooks, and drawings. Many of the sketches and drawings relate to her ideas about commissions and large sculpture, jewelry designs, and general sketches. Sketches are also found in the Commission Files. Also included are drawings by Mark Tobey and Michel Tapie, and others.

Finally, printed materials include general exhibition catalogs, newspapers clippings, and clippings of articles by and about Falkenstein. Also included are books that have been inscribed and signed by the author.
Arrangement:
The collection is arranged into 9 series:

Missing Title

Series 1: Biographical Materials, 1934-1997 (Box 1-4, 41; 4.3 linear feet)

Series 2: Correspondence, 1931-1997 (Box 5-13; 9 linear feet)

Series 3: Personal and Business Records, 1936-1997 (Box 14-17, 41, 46-49; 4.2 linear feet)

Series 4: Exhibitions, 1930-1996 (Box 18-21, 42, OV 50; 3.3 linear feet)

Series 5. Commissions, 1930-1992 (Box 21-22, OV 50-54 ; 2.0 linear feet)

Series 6: Writings, circa 1929-1993 (Box 22-26, 42, 55; 4.6 linear feet)

Series 7: Teaching Files, 1929-1995 (Box 26; .8 linear feet)

Series 8: Photographs, circa 1917-1997 (Box 27-35, 43, 55-56; 9.5 linear feet)

Series 9: Artwork, circa 1937-1995 (Box 36-37, 44, 57; 2.0 linear feet)

Series 10: Printed Materials, circa 1914-1990 (Box 37-40, 45, 58; 3.9 linear feet)
Biographical Note:
Claire Falkenstein (1908-1997) spent the majority of her life working as an artist, sculptor, jewelry designer, teacher, and writer in California.

Claire Falkenstein was born in 1908 and grew up in Coos Bay, Oregon. In 1920, Falkenstein and her family moved to Berkeley, California, where she attended high school and then college at the University of California at Berkeley, studying philosophy, anthropology, and art. She graduated in 1930. Falkenstein had her first solo show at the East-West Gallery in San Francisco in 1930, the only member of her class to have an exhibition before graduation.

During the early 1930s, Falkenstein studied at Mills College with modernist sculptor Alexander Archipenko. There she also met Bauhaus artists Laszlo Moholy-Nagy and Gyorgy Kepes. Falkenstein married her high school sweetheart, Richard McCarthy in 1936.

In 1944, Falkenstein had her first New York exhibition at the Bonestall Gallery. At that time, Falkenstein's primary mediums were stone and wood. However, she became increasingly experimental with new materials that included sheet aluminum, Cor-Ten steel, glass, plastics, and welded wire rods while maintaining a connection to organic and natural forms. Her work in jewelry design was an outlet for exploring these new materials, forms, and techniques on a small scale. As her work grew physically larger, so did her recognition and it was her work in sculpture that won her a faculty appointment at the California School of Fine Arts from 1947-1949. It was here that she met Patricia and Clyfford Still, Hassel Smith, and Richard Diebenkorn.

In 1948, Falkenstein was invited to exhibit at the Salon des Realites Nouvelle in Paris, her first European show. She eventually moved to Europe in 1950 and had studios in Paris, Venice, and Rome. While in Europe, Falkenstein executed a number of large scale commissions, including the stair screen for Galerie Stadler (1955), grotto gates for Princess Pignatelli's villa in Rome (1957), and the bronze, steel, and the glass gate at the Peggy Guggenheim Museum in Venice (1961). While in Paris, she became acquainted with noted art critic Michel Tapie, with whom she maintained a life-long friendship.

During the 1940s and 1950s Falkenstein was a regular contributor to Arts and Architecture magazine, most often writing the "Art Comments from San Francisco" section. While in Paris, she also wrote a column on art news for the New York Herald Tribune.

Falkenstein returned to the United States in 1962, eventually renovating a studio space in Venice, California. It was here that she conceived her largest commissions. In 1965, Falkenstein received a commission from the California Savings and Loan to create a sculpture for a large fountain at the front of the bank in downtown Los Angeles. The copper tube fountain, entitled "Structure and Flow #2," was the first of many large scale public art commissions that Falkenstein completed during her years in California. Her most important commission in the United States, completed in 1969, was for the doors, rectory gates and grills and stained-glass windows for St. Basil's Church on Wilshire Boulevard in Los Angeles. The eight doors and fifteen rectory screens, including 80 foot high windows in the nave, were an expansion of the "never ending screen" concept that Falkenstein executed with the Pignatelli commission in Rome. She continued to use this motif in her work throughout her career.

Claire Falkenstein worked as an arts instructor, visiting artist, and guest lecturer at many colleges, workshops, and schools in California. Her first position was at Mills College from 1946-1947. Shortly thereafter, she was appointed to the faculty at the California School of Fine Arts and later taught in the Extension Divisions of the University of California, Berkeley. She taught classes at California State Polytechnic University, California State University at Davis, and the Anna Head School. Falkenstein also taught art at the Pond Farm Workshops in California, and lectured at numerous colleges and museums. She served on many juried art shows in Southern California.

Falkenstein was acquainted with many artists, writers, instructors, collectors, gallery owners, and critics. Close friends included Esther and Bob Robles, Clyfford and Patricia Still, Michel Tapie, Allan Temko, Mark Tobey, Frans Wildenhain, and other notable figures in the art world.

Falkenstein continued to complete large scale private and public commissioned sculptures during the 1960s through the 1980s, including work for the University of Southern California, Hyland Biological Laboratory, California State University at Dominquez Hills and the California State Department of Motor Vehicles. Throughout her career, Falkenstein's work was featured in numerous exhibitions across the country. Her sculpture and other artwork can be found in the permanent collections of the Museum of Modern Art, Solomon R. Guggenheim Museum, Smithsonian American Art Museum, Coos Art Museum, Harvard University Art Museum, University of Southern California Fisher Museum of Art, Los Angeles County Museum of Art, and the Tate Gallery.

Falkenstein died in 1997 at the age of 89.
Related Material:
The Archives of American Art also holds two oral history interviews with Claire Falkenstein. The interview on April 13, 1965 was conducted by Betty Hoag and the one on March 2 and 21, 1995 was conducted by Paul Karlstrom.
Provenance:
The Claire Falkenstein papers were donated in 1997 by Steffan Wacholtz and Nancy Kendall, trustees for the Claire Falkenstein Trust.
Restrictions:
Use of original papers 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.
Occupation:
Sculptors -- California  Search this
Painters -- California  Search this
Jewelers -- California  Search this
Educators -- California  Search this
Authors -- California  Search this
Topic:
Art patronage  Search this
Artists' studios  Search this
Women artists  Search this
Women painters  Search this
Women designers  Search this
Women educators  Search this
Women authors  Search this
Genre/Form:
Sketchbooks
Diaries
Scrapbooks
Interviews
Citation:
Claire Falkenstein papers, circa 1914-1997, bulk 1940-1990. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.falkclai
See more items in:
Claire Falkenstein papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9911c74ff-413b-4b54-9280-89c8b0480495
EDAN-URL:
ead_collection:sova-aaa-falkclai
Online Media:

Rinzler Memorial Concert - Smithsonian Folklife Festival 2000 1

Collection Creator:
Rinzler, Ralph  Search this
Container:
Box 6 (Series 1)
Type:
Archival materials
Date:
undated
2000
Scope and Contents note:
File consists of correspondence with Sonya Cohen and Peggy Seeger, production schedule, contracts, budgets, participant list, Seeger performance proposal, Seeger brochure, performer biographies. File includes autobiographical article by Peggy Seeger. File also includes original file folder with annotations.
Arrangement note:
Materials kept in original order.
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:
Ralph Rinzler papers and audio recordings, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Identifier:
CFCH.RINZ, File RINZ_01_006_030
See more items in:
Ralph Rinzler papers and audio recordings
Ralph Rinzler papers and audio recordings / Series 1: Biographical / 1.6: Posthumous
Archival Repository:
Ralph Rinzler Folklife Archives and Collections
GUID:
https://n2t.net/ark:/65665/bk531f642ce-e634-40cd-9b43-588e2976f98e
EDAN-URL:
ead_component:sova-cfch-rinz-ref424

Donald H. Sultner-Welles Collection

Collector:
Sultner-Welles, Donald H. (Sultner, Donald Harvey), 1914-1981  Search this
Printer:
Janus, Allan  Search this
Interviewee:
Hanfstaengl, Erna  Search this
Names:
Baltimore Symphony Orchestra  Search this
Chautauqua Institute  Search this
Colonial Williamsburg Foundation  Search this
Holland-America Cruises  Search this
Hitler, Adolf, 1889-1945  Search this
Extent:
87.6 Cubic feet (331 boxes, 2 map-folders)
Type:
Collection descriptions
Archival materials
Passports
Photographs
Travelogs
Receipts
Ephemera
Files
Filmstrips
Lecture notes
Personal papers
Silver-dye bleach process
Contracts
Notebooks
Prints
Press releases
Ships' passenger lists
Project files
Magnetic tapes
Posters
Postcards
Vertical files
Dye destruction process
Travel diaries
Letters (correspondence)
Professional papers
Bank statements
Correspondence
Audiotapes
Series 12.
Clippings
Card files
Concert programs
Dye destruction photoprints
Biography files
Awards
Business records
Birthday cards
Date:
circa 1790-1981
bulk 1945-1980
Scope and Contents:
This collection is primarily the work of one individual, Donald Harvey Sultner, known professionally as Donald Sultner-Welles (1914-1981). The collection forms a written and visual record of Sultner's family, life, and career from 1913-1980. Its major strength is Sultner's photographic documentation of the world during his travels, ca. 1950-1980. Work by other photographers and artists, correspondence, greeting cards, and contemporary memorabilia and ephemera are included, along with fewer than fifty examples of earlier materials, ca. 1790-1900, collected by Sultner.

The entire collection reflects Sultner's lifework and interests. Housed in boxes the collection is organized into eleven series: Personal Papers; Professional Papers; Lecture Materials; Biographical Materials; Transparencies; Photoprints; Photonegatives; Prints, Drawings, Mixed Media; Audio Tapes; Miscellaneous; and Steve Eyster Addenda. The arrangement within each series is based as closely as possi-ble on Sultner's own organization of the materials. However, in several instances similar materials were found separated and have been placed together. In addition, obvious filing mistakes and spelling errors have been corrected. The spelling of geographic place names is based on Official Standard Names prepared by the U.S. Board on Geographic Names, Office of Geography, U.S. Department of the Interior. Not all names given by Sultner were found in the gazetteers, so there may be errors.

The bulk of the collection consists of 2-1/4-inch by 2-1/4-inch color transparencies (Series 5). However, the manuscript materials (Series 1-4) provide a detailed complement to the transparencies. For example, from the mid-1950s until the late 1970s, Sultner kept a travel diary (Se-ries 1). Written on the backs of postcards, this stream-of-consciousness journal reflects not only his daily trips, but his impressions of the countries and thoughts on his photography. A juxtaposition of cards with images is especially useful in understanding what Sultner photographed as well as why and how he photographed it. Sultner's professional corre-spondence (Series 2) documents the various types of groups before which he performed and equipment manufacturers dealt with for cameras, projectors, and so on. Notes, drafts, and final lectures (Series 3) present the performance side of Sultner. This material, when viewed with tapes of concerts and slides, begins to recreate the photo-concert as Sultner presented it. Scrapbooks (Series 4), kept by Sultner from the 1940s to the 1980s, present Sultner's life and career in chronological fashion.

The transparency portion of the collection (Series 5), containing over 87,000 images, is especially rich because of its documentation of the countries of the world. People are seen at their daily tasks, such as washing clothes, marketing, shopping, and eating. Cities are documented as they changed over the years. Two areas in particular will be of spe-cial interest to European and Asian researchers. The first is Sultner's USIS Asian tour in 1959. He visited Japan, Java, India, Korea, the Phil-ippines, Laos, Cambodia and Vietnam. The serene, prewar cities and coun-tryside of Laos, Cambodia, and Vietnam evince nothing of the devastation to come in the 1960a and 70s.

The second area of interest is Sultner's passion for documenting archi-tecture. As a guest of the German government in 1954, Sultner documented the devastation of World War II and photographed both the reconstruction of bombed buildings and the construction of buildings reflecting "new" postwar architectural styles. In addition to photographing post-WW II styles, throughout his career Sultner documented Palladian, baroque and Rococo architecture. This interest manifested itself in several of his lectures.

A third subject area of interest to Sultner was gardens. Among his first lectures following his USIS tour was "Gardens of the World." Sultner de-veloped this theme into an ongoing commitment to ecology, culminating in a filmstrip, "The Time is Now" (Series 10), prepared for the Hudson River Conservation Society in the 1960s. Carl Carmer, a noted author, wrote the text for the filmstrip. Sultner's taped interviews, lectures, and program music (Series 9) complement the transparencies. During his USIS-sponsored Asian tour in 1959, Sultner recorded impressions of his trip on tape. Interviews with people living in the countries he visited, radio interviews, and his own personal reflections are included. Of particular interest are his "No Harm Asking" interviews in Manila (tape #2), his interview of two French hotel managers in Saigon discussing post-French control conditions (tape #9), and--perhaps the most unusual--his discussion with Erna Hanfstaengl about her personal relationship with Adolf Hitler (tape #107). Scripts for lectures (Series 3) round out the documentation of Sultner's profes-sional work.

Because of the arrangement of the transparencies, it is necessary to check several areas for the same subject. For example, Vietnam images are in the "World" section alphabetically under Vietnam (box 81). Sult-ner also lectured on Vietnam, so there are Vietnamese images in the "framed subjects" (Boxes 137-138). Another example, perhaps more compli-cated, but more common to Sultner, was his distinguishing between images of unidentified "People" and identified "Portraits." Transparency stud ies of human beings will be found under the subseries "People." "Subjects --Portraits," various countries in the subseries "World," and "Lectures." There are also individuals in the black-and-white photoprints (Series 6), and photonegatives (Series 8). The painter and print-maker Charles Shee-ler appears in a number of locations, as does tenor Roland Hayes. Another area of complexity with regard to people concerns the transparencies and negatives. Sultner interfiled his transparencies and negatives of iden-tified individuals. For appropriate storage, these two different formats have been arranged in separate series. Therefore, instead of container lists for the two series, there is a combined alphabetical index to both (pp. 166-206).

Of tangential interest are the photoprints (Series 6), etchings, wood-cuts, and other prints (Series 8) collected by Sultner. One particular subseries of interest contains photographs presented to Sultner by Asian photographers during his 1959 tour. Over 45 images were given to Sultner and represent the standards of camera-club photography in the 1950s. Thesecond subseries consists of over 25 prints by the Italian-American art-ist Luigi Lucioni (1900- ). For further information on this artist,see The Etchings of Luigi Lucioni, -A Catalogue Raisonne', by Stuart P.Embury (Washington, 1984). Lucioni also painted Sultner's portrait in1952 and the "People" section of the transparencies contains a number of images of Lucioni at work. Another significant category is the Japanese prints, including two by a major nineteenth-century artist, Ando Hiro-shige (1797-1858).
Arrangement:
The collection is arranged into eleven series.

Series 1: Personal Papers, 1923-1981

Series 2: Professional Papers, 1954-1980

Series 3: Lecture Materials, 1952-1980

Series 4: Biographical Materials, 1954-1980

Series 5: Transparencies, 1947-1980

Series 6: Photoprints, 1913-ca. 1980

Series 7: Photonegatives, 1929-1981

Series 8: Prints, Drawings, Mixed Media, ca. 1790-1979

Series 9: Audio Tapes, 1947-1980

Series 10: Miscellaneous, 1947-1980

Series 11: Steve Eyster Addenda, 1937-1980
Biographical / Historical:
Donald Harvey Sultner was bom in York, Pennsylvania, on April 13, 1914, the son of Lillian May Arnold Sultner and Harvey A. Sultner. In 1923 Sultner attended the Lewis Institute in Detroit, Michigan, to overcome a speech impediment. He entered the Wharton School of the University of Pennsylvania in 1932 and graduated in 1936. Sultner studied merchandising and sang in the glee club, then under the direction of composer Harl MacDonald. Sultner, a baritone, continued his interest in music and studied voice with Reinald Werrenrath and with Florence Benedict and Bruce Benjamin in New York City. In the late 1940s and early 1950s he appeared in concert with accompanists at schools, clubs, and resort hotels along the East Coast. It appears that photography was always an important part of Sultner's life. Using a small format (120) camera, he recorded his vacation travels around the United States and Canada, parties, and his family. While living in New York, Sultner continued photographing friends and family and began photographing the famous people he encountered on his concert tours. In the early 1950s he began taking 2-1/4-inch by 2-1/4-inch color transparencies (slides) of landscapes and architecture as he traveled giving concerts.

Sultner, who had taken the stage name of "Sultner-Welles," began what was to be his lifework as a professional "photo-lecturer" in 1952. He illustrated his talks on nature, art, architecture, and the environment with his color slides. In 1954 Sultner toured West Germany as a guest of the Bonn government, and in 1959 he lectured in Asia under the auspices of the U.S. State Department. He was dubbed the "camera ambassador." Constantly adding new material to his collection of slides, Sultner traveled extensively throughout the United States, speaking before garden clubs, cultural organi-zations, and schools. He also appeared aboard various ships of the Holland-America line during a number of cruises abroad.

Sultner had established his performance style by the early 1960s. He expanded his lectures to include a combination of art, words, and music. The expanded presentation resulted in the "photo-concert," a unique synthesis of light and sound that Sultner frequently per-formed with a symphony orchestra. The Baltimore Symphony Orchestra commissioned "Concertino for Camera and Orchestra" by Eric Knight with Sultner in mind. The world premiere was in Baltimore in March 1979. While he spoke on many art, garden, and architectural topics, Sultner specialized in subjects relating to the baroque and rococo periods and Palladian architecture.

Sultner died of cancer in York, Pennsylvania, on March 25, 1981, at the age of 67.

1914 -- April 13, born York, Pennsylvania.

1929 -- In Detroit at Lewis Institute to overcome a speech impediment.

1932 -- To University of Pennsylvania.

1935 -- Summer trip to Roanoke (VA), Picketts, Hershey (PA); fall trip to New England for fraternity (AXP) convention.

1936 -- Spring glee club trip; graduated from the Wharton School of the University of Pennsylvania; summer trips to Newport News (VA), northern trip to Canada, Picketts (PA).

1937 -- Fall trip to Williamsburg (VA), Duke University (NC); Sultner family begins building "Glen Hill" (Dover, PA).

1938 -- Summer at home, and Picketts (PA), Camp Pratt.

1939 -- Spring trip to Washington, D.C.; September trip to The Homestead (WV), Hot Springs (WV), Virginia; Lake Mohonk (NY).

1940 -- Summer trip to New Orleans, Blowing Rock (NC); winter trip to Skytop Club (NY); fall trip to Atlantic City (NJ), Philadelphia (PA), Annapolis (MD).

1941 -- Winter 1941-42 appearance in "Hit the Deck." Lake Mohonk (NY) with Ted Walstrum (Sept. 22-23); Skytop Club (NY) (February); summer trip to Canada, Lake Chazy (NY) (Aug. 17-23).

1942 -- Spring in Atlantic City (NJ); summer to Buck Hill Falls, Lakes Chazy and Mohonk.

1943 -- Summer trip to Mohonk (NY).

1944 -- Summer: To Toronto (Ontario), Muskoka Lake, Bigwin Island, Montreal (Quebec), Mohonk (NY).

1945 -- Summer: To Winnepesauke (ME), Woodstock (NY), Ogunquit (ME), Bridgeport (CT).

1946 -- To Mohonk (NY), Ogunquit (ME), Old Saybrook (CT), Nantucket (RI).

1947 -- Singing tour of Canada and New England; winter-spring tour to Georgia and Florida.

1948 -- To Florida and Nassau, Feb.-Mar., Vermont, July-Aug.; Nassau-Havana-Miami-Bermuda, October.

1949 -- Singing tour of North and South Carolina.

1950 -- Summer trip to South.

1951 -- To District of Columbia, Massachusetts, New Hampshire, [New Jersey?], New York, Vermont.

1952 -- January 9: first public photo-concert, Pennsylvania Academy of the Arts, Philadelphia; trips to Connecticut, Florida, Massachusetts, New Hampshire, New Jersey, New York, Rhode Island, South Carolina, Vermont.

1953 -- To Connecticut, Florida, Georgia, Massachusetts, New Hampshire, New Jersey, New York, Pennsylvania, South Carolina, Vermont.

1954 -- Guest of German government for a study tour in the fall. To District of Columbia, Florida, Georgia, Massachusetts, New Hampshire, New Jersey, New York, North Carolina, Pennsylvania, South Carolina, Virginia.

1955 -- To Holland; Connecticut, District of Columbia, Florida, Massachusetts, New Hampshire, New York, North Carolina, Pennsylvania, South Carolina, Vermont, Virginia.

1956 -- To California, District of Columbia, Florida, Georgia, Illinois, Indiana, Massachusetts, New Jersey, New York, North Carolina, Ohio, Pennsylvania, South Carolina, Tennessee, Virginia.

1957 -- Holland-America Cruise to Germany, Austria, Italy. To Connecticut, Illinois, Massachusetts, New Hampshire, New Jersey, New York, North Carolina, Ohio, Pennsylvania, Vermont, Virginia.

1958 -- Holland-America Cruises to Germany, Austria, Holland, Italy, Switzerland. To Connecticut, Florida, Georgia, Illinois, Massachusetts, Minnesota., Missouri, New Hampshire, New York, Pennsylvania, Rhode Island, South Carolina, Tennessee, Vermont, Wisconsin.

1959 -- United States Information Service (USIS)-sponsored tour of Asia: Burma, Cambodia, Hong Kong, India, Indonesia, Japan, Korea, Laos, Malaya, Philippines, Singapore, Taiwan, Thailand, Turkey, Vietnam. Also visited Austria, Czechoslovakia, Germany, Greece, Iran, Italy, Spain; Alaska, California, Massachusetts, New York, Pennsylvania.

1960 -- Holland-America Cruise to Austria, Belgium, Caribbean, France, Germany, Holland, Italy, Morocco. To Arizona, California, Florida, Indiana, Massachusetts, Minnesota, Nevada, New Hampshire, New Mexico, New York, Texas, Utah, Virginia, Washington, Wisconsin.

1961 -- To Canada, France, Germany, Switzerland; Alabama, California, Colorado, Connecticut, Florida, Georgia, Idaho, Illinois, Louisiana, Mississippi, Missouri, Montana, New Hampshire, New Jersey, New York, North Carolina, Ohio, Oregon, Pennsylvania, Rhode.Island, South Dakota, Tennessee, Utah, Vermont, Virginia, Washington, Wisconsin.

1962 -- Portfolio, "Autumn in Vermont," with introduction by Carl Carmer, published in Autumn issue of Vermont Life. Holland-America Cruise to Denmark, England, France, Germany, Holland, Italy, Sweden. To Connecticut, District of Columbia, Florida, Illinois, Iowa, Massachusetts, Michigan, New York, North Carolina, Pennsylvania, South Carolina, Vermont, Virginia.

1963 -- Holland-America Cruise to Caribbean, Canada, Sweden, Thailand. To Alabama, California, District of Columbia, Florida, Georgia, Illinois, Louisiana, Massachusetts, Minnesota Mississippi, Missouri, New Hampshire, New Jersey, N;w York, Ohio, Pennsylvania, Texas, Vermont, Virginia, Washington.

1964 -- Holland-America Cruise to Germany, Canada, England, Holland, Wales. To Delaware, District of Columbia, Indiana, Kentucky, Massachusetts, New Hampshire, New York, Ohio, Pennsylvania, Texas, Virginia.

1965 -- Holland-America Cruise to Austria, Czechoslovakia, France, Germany, Holland, Portugal, Wales. To Arkansas, Connecticut, District of Columbia, Indiana, Kentucky, New Hampshire, New York, Pennsylvania, Vermont, Virginia.

1966 -- Holland-America Cruise to Caribbean, Germany, France, Holland, Italy, Portugal, Switzerland. To New Jersey, North Carolina, Pennsylvania, South Carolina, Tennessee, Virginia.

1967 -- Holland-America Cruise to Caribbean, Austria, Denmark, England, Germany, Holland, Italy, Portugal, Sweden, Wales. To Massachusetts, New Jersey, New York, Rhode Island, Vermont, Virginia.

1968 -- To Germany; Massachusetts, New Hampshire, New Jersey, New York, Ohio, Pennsylvania, Vermont, Virginia.

1969 -- To England, France, Germany, Holland, Switzerland; Ohio, Pennsylvania, Virginia.

1970 -- Holland-America Cruise to Caribbean, Denmark, Iceland, Sweden. To Alabama, District of Columbia, Florida, Georgia, Massachusetts, New Hampshire, New York, Pennsylvania, South Carolina, Vermont, Virginia.

1971 -- Holland-America Cruise to Caribbean, Canada, Denmark, Italy, Portugal, Sweden. To Alabama, Georgia, Massachusetts, Nebraska, New Hampshire, New York, North Carolina, Pennsylvania.

1972 -- Holland-America Cruise to Asia, Pacific, Caribbean, Africa, Austria, Italy, Japan, Thailand, Turkey. To California, New Jersey, New York, Pennsylvania, Rhode Island, Virginia.

1973 -- Holland-America Cruise to Austria, Denmark, Germany, Holland, Iceland, Sweden. To California, Connecticut, District of Columbia, Massachusetts, New York, Ohio, Pennsylvania, Vermont.

1974 -- To Germany, Switzerland; California, Illinois, Massachusetts, New Jersey, New York, Ohio, Pennsylvania, Virginia.

1975 -- To Austria; California, Connecticut, District of Columbia, Massachusetts, New Jersey, New York, North Carolina, Pennsylvania, Virginia.

1976 -- To Canada; Connecticut, District of Columbia, Illinois, Iowa, Massachusetts, Missouri, Nebraska, New Mexico, New York, Ohio, Pennsylvania, Utah.

1977 -- To Canada, Germany; New York, Pennsylvania, Vermont, Virginia.

1978 -- To Scotland; Connecticut, Florida, Georgia, Kentucky, Massachusetts, New York, Pennsylvania, Rhode Island, South Carolina.

1979 -- To England; Florida.

1980 -- To Florida.

1981 -- March 25: Sultner dies of cancer, York, Pennsylania.
Introduction:
The Donald H. Sultner-Welles Collection, ca. 1790-1981, came to the National Museum of American History in 1982 from the estate of Mr. Sultner. The collection was created by Sultner over his adult life and represents one of the most extensive collections of color transparencies created by one individual and held in a public repository. Sultner's emphasis was on world culture. He took the majority of his photographs in the eastern United States, western Europe, and Asia. Gardens, architecture, and people are the three major subject areas represented in the collection. Of additional interest are Sultner's taped impressions of his 1959 United States Information Service (USIS)-sponsored Asian tour. The collection occupies 309 boxes and covers more than 83 cubic feet.

The Donald H. Sultner-Welles Collection is open to researchers in the Archives Center, third floor east, of the National Museum of American History, between 12th and 14th Streets, on Constitution Avenue, N.W., Washington, D.C. 20560. The Archives Center is open Monday through Friday from 10:00 a.m. to 5:00 p.m. Written and telephone (202/357-3270) inquiries are welcome and researchers are encouraged to contact the Archives Center before their arrival. The FAX number is 202/786-2453.

This is the eleventh in a series of occasional guides to collections in the Archives Center. Finding aids to other collections are available. The Guide to Manuscript Collections in the National Museum of History and Technology (1978) and an updated compilation contain brief descriptions of all archival holdings in the Museum. All current Archives Center holdings are available for search on the Smithsonian Institution Bibliographic Information System (SIBIS), an online database.
Restrictions:
Collection is open for research but a portion of the collection 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.

A small number of letters and photographs are restricted until the year 2031. Identification list in box.
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.
Topic:
Portraits -- 20th century  Search this
Lecturers  Search this
Photographers  Search this
Gardens -- Photographs -- 1300-1980  Search this
Architecture -- Photographs -- 1300-1980  Search this
Travel photography -- 1950-2000  Search this
Genre/Form:
Passports
Photographs -- Black-and-white negatives -- Acetate film
Travelogs
Receipts -- 20th century
Ephemera
Files
Filmstrips
Lecture notes
Personal papers -- 20th century
Silver-dye bleach process
Contracts
Notebooks
Prints
Press releases
Ships' passenger lists
Project files
Magnetic tapes
Posters
Postcards
Vertical files
Dye destruction process
Travel diaries
Letters (correspondence) -- 20th century.
Professional papers
Bank statements
Correspondence -- 1930-1950
Photographs -- Phototransparencies -- 20th century
Audiotapes -- 1940-1980
Series 12. -- Cibachrome (TM)
Photographs -- 20th century
Clippings
Card files
Concert programs
Dye destruction photoprints
Biography files
Awards
Business records
Birthday cards
Identifier:
NMAH.AC.0145
See more items in:
Donald H. Sultner-Welles Collection
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep8c00c15e0-d905-4a3c-ab89-6fbd2f9c5f7d
EDAN-URL:
ead_collection:sova-nmah-ac-0145
Online Media:

Smothers Brothers Collection

Creator:
Smothers Brothers  Search this
Names:
Paulsen, Pat  Search this
Seeger, Pete, 1919-2014  Search this
Extent:
7 Cubic feet (21 boxes, 1 map-folder)
Type:
Collection descriptions
Archival materials
Biography files
Clippings
Color slides
Contact sheets
Contracts
Itineraries
Legal records
Letters (correspondence)
Photograph albums
Photographs
Color prints (photographs)
Programs
Press releases
Scrapbooks
Scripts (documents)
Date:
1959-2008, undated
Summary:
The collection documents the lives and careers of the Smothers Brothers, with emphasis on their 1960s television variety show, The Smothers Brothers Comedy Hour.
Scope and Contents:
Collection documents the private lives and professional careers of Tom and Dick Smothers, with emphasis on their television variety show, The Smothers Brothers Comedy Hour. The largest portion of the collection contains photographic materials. Publicity materials including press releases, programs, newspaper clippings, and magazine articles; correspondence containing fan mail (some from famous persons such as Lucille Ball, Jack Paar, and others), letters from viewers both complimentary and critical of shows, and letters from members of Congress; business records including contracts, tour itineraries, talent agency materials, scripts, and scrapbooks; and legal documents relating to the lawsuit against Columbia Broadcasting System (CBS) are also found in the collection. Collection is arranged into three series: Series 1, Photographs, 1961-2007, undated; Series 2, Business Records, 1959-2002, undated; and Series 3, Personal Papers, 1966-2008, undated.
Arrangement:
Collection is arranged into three series:

Series 1: Photographic Materials, 1961-2007, undated

Subseries 1.1: Television Shows, 1966-1989, undated

Subseries 1.2: Specials, Tours, and Public Appearances, 1964-1988, undated

Subseries 1.3: Motion Picture Films and Theatre, 1969-1982

Subseries 1.4: General, 1961-2007, undated

Subseries 1.5: Promotional, 1961-2003, undated

Series 2: Business Records, 1959-2002, undated

Subseries 2.1: Press, 1960-2002, undated

Subseries 2.2: Employee Files, 1959-1999, undated

Subseries 2.3: Smothers Brothers v. Columbia Broadcasting System, Incorporated (CBS), 1966-1972, undated

Subseries 2.4: Correspondence, 1960-1996

Subseries 2.5: Performance Materials, 1962-1993, undated

Subseries 2.6: Fan Club, 1990-1992, undated

Series 3: Personal Papers, 1966-2008, undated
Related Materials:
Materials in the Archives Center, National Museum of American History

Duncan Family Yo-Yo Collection NMAH.AC.0807

Colonna, Farrell Wine Label Collection NMAH.AC.0626

Sam DeVincent Collection of Illustrated American Sheet Music, Series 16: Country, Western and Folk Music NMAH.AC.0300

Bob Rule Papers, NMAH.AC.0855
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.
Topic:
Comedy  Search this
Folk singers  Search this
Television personalities  Search this
Television  Search this
Variety shows (Television programs) -- Production and direction  Search this
Genre/Form:
Biography files
Clippings -- 20th century
Color slides -- 20th century
Contact sheets
Contracts
Itineraries
Legal records
Letters (correspondence) -- 20th century.
Photograph albums
Photographs -- 20th century
Color prints (photographs) -- 20th century
Photographs -- Black-and-white photoprints -- 20th century
Photographs -- Black-and-white negatives -- 20th century
Photographs -- Black-and-white negatives -- Acetate film
Programs
Press releases
Scrapbooks
Scripts (documents)
Photographs -- 20th century -- Color prints
Citation:
Smothers Brothers Collection, Archives Center, National Museum of American History.
Identifier:
NMAH.AC.1437
See more items in:
Smothers Brothers Collection
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep83ece83d3-a6c8-44b1-8d02-c25507efbd68
EDAN-URL:
ead_collection:sova-nmah-ac-1437
Online Media:

CCC Companies 134, 183, 2147, and 2205, 1933 Biography File

Collection Creator:
National Association of Civilian Conservation Corps Alumni  Search this
Ward, C.E.  Search this
Civilian Conservation Corps (U.S.)  Search this
Bidwell, Timothy  Search this
Bires, Andrew, G.  Search this
Container:
Box 299, Folder 8
Type:
Archival materials
Date:
1932-1946
Collection Restrictions:
This collection is open for research use.

Researchers must handle unprotected photographs with cotton gloves. Researchers may use reference copies of audio-visual materials. When no reference copy exists, the Archives Center staff will produce reference copies on an "as needed" basis and as resources allow.

Viewing film portions of the collection requires special appointment, please inquire; listening to LP recordings is only possible by special arrangement.

Gloves must be worn when handling unprotected photographs and negatives. Special arrangements required to view materials in cold storage. Using cold room materials requires a three hour waiting period. Contact the Archives Center at 202-633-3270.
Collection 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 Citation:
Civilian Conservation Corps Collection, Archives Center, National Museum of American History
See more items in:
Civilian Conservation Corps (CCC) Collection
Civilian Conservation Corps (CCC) Collection / Series 6: General Ephemera / 6.1: United States Marine Corps-CCC
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep88d72ea7c-e447-4388-83ca-3da39780a339
EDAN-URL:
ead_component:sova-nmah-ac-0930-ref2141

Biographical Materials

Collection Creator:
Falkenstein, Claire, 1908-1997  Search this
Extent:
(Box 1-4, 41; 4.3 linear ft.)
Type:
Archival materials
Date:
1934-1997
Scope and Contents note:
Biographical files include resumes, interviews, address books, awards, calendars, legal and travel documents, scrapbooks, and additional "biography files" compiled by Falkenstein. While other series provide specific information about Falkenstein's life and career, material in this series offers users a good overview of the highlights of her career as an artist and teacher.
Arrangement note:
Biographical Materials are arranged into three subseries:

1.1: General Biographical Files, 1934-1997

1.2: Scrapbooks, 1943-1982

1.3: "Biography Files," 1943-1982
Collection Restrictions:
Use of original papers requires an appointment.
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:
Claire Falkenstein papers, circa 1914-1997, bulk 1940-1990. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.falkclai, Series 1
See more items in:
Claire Falkenstein papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw95b218d57-ad33-4240-888d-d6a16be497d1
EDAN-URL:
ead_component:sova-aaa-falkclai-ref14

Biography Files

Collection Creator:
Falkenstein, Claire, 1908-1997  Search this
Type:
Archival materials
Date:
1943-1982
Scope and Contents note:
This subseries consists of "biography files" created and arranged by Falkenstein. The files document activities and projects that she felt best reflected her career accomplishments. They highlight exhibitions, commissions, teaching and lectures, writings for art journals, and grant awards. Of particular interest are the press reviews for Falkenstein's public commissions and exhibitions.
Arrangement note:
These files are arranged in chronological order.
Collection Restrictions:
Use of original papers requires an appointment.
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:
Claire Falkenstein papers, circa 1914-1997, bulk 1940-1990. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.falkclai, Subseries 1.3
See more items in:
Claire Falkenstein papers
Claire Falkenstein papers / Series 1: Biographical Materials
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw901c8162f-a829-47e0-b098-e0e558699ebd
EDAN-URL:
ead_component:sova-aaa-falkclai-ref76

Files

Collection Creator:
Falkenstein, Claire, 1908-1997  Search this
Extent:
(15 folders)
Container:
Box 4, Folder 7-21
Type:
Archival materials
Date:
1943-1959
Collection Restrictions:
Use of original papers requires an appointment.
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:
Claire Falkenstein papers, circa 1914-1997, bulk 1940-1990. Archives of American Art, Smithsonian Institution.
See more items in:
Claire Falkenstein papers
Claire Falkenstein papers / Series 1: Biographical Materials / 1.3: Biography Files
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw98393afa7-b29a-481c-a48f-c177659b7f09
EDAN-URL:
ead_component:sova-aaa-falkclai-ref77

Files

Collection Creator:
Falkenstein, Claire, 1908-1997  Search this
Extent:
(5 folders)
Container:
Box 4, Folder 22-26
Type:
Archival materials
Date:
1964-1968
Collection Restrictions:
Use of original papers requires an appointment.
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:
Claire Falkenstein papers, circa 1914-1997, bulk 1940-1990. Archives of American Art, Smithsonian Institution.
See more items in:
Claire Falkenstein papers
Claire Falkenstein papers / Series 1: Biographical Materials / 1.3: Biography Files
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw931714e50-e996-4a8b-9eb5-d8e5622e977a
EDAN-URL:
ead_component:sova-aaa-falkclai-ref78

Files

Collection Creator:
Falkenstein, Claire, 1908-1997  Search this
Extent:
(5 folders)
Container:
Box 4, Folder 27-31
Type:
Archival materials
Date:
1971-1975
Collection Restrictions:
Use of original papers requires an appointment.
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:
Claire Falkenstein papers, circa 1914-1997, bulk 1940-1990. Archives of American Art, Smithsonian Institution.
See more items in:
Claire Falkenstein papers
Claire Falkenstein papers / Series 1: Biographical Materials / 1.3: Biography Files
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9fdd59112-e085-4350-968f-a52a8906c0b9
EDAN-URL:
ead_component:sova-aaa-falkclai-ref79

Files

Collection Creator:
Falkenstein, Claire, 1908-1997  Search this
Extent:
(6 folders)
Container:
Box 4, Folder 32-37
Type:
Archival materials
Date:
1977-1982
Collection Restrictions:
Use of original papers requires an appointment.
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:
Claire Falkenstein papers, circa 1914-1997, bulk 1940-1990. Archives of American Art, Smithsonian Institution.
See more items in:
Claire Falkenstein papers
Claire Falkenstein papers / Series 1: Biographical Materials / 1.3: Biography Files
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw92b29f7ce-9ed0-4388-86f2-6c9787a6f67c
EDAN-URL:
ead_component:sova-aaa-falkclai-ref80

Biography of Sarah Ann Blunt Crozley

Written by:
Unidentified  Search this
Subject of:
Sarah Ann Blunt Crozley, American, born 1820  Search this
Medium:
ink on paper
Dimensions:
H x W: 8 1/16 × 9 15/16 in. (20.5 × 25.2 cm)
Type:
biography files
Date:
December 1884
Topic:
African American  Search this
Emancipation  Search this
Families  Search this
Slavery  Search this
Credit Line:
Collection of the Smithsonian National Museum of African American History and Culture
Object number:
2010.49.4.1
Restrictions & Rights:
Public domain
See more items in:
National Museum of African American History and Culture Collection
Classification:
Documents and Published Materials
Slavery and Freedom Objects
Data Source:
National Museum of African American History and Culture
GUID:
http://n2t.net/ark:/65665/fd560493062-eaf3-4fd4-9afa-e1e8838c5610
EDAN-URL:
edanmdm:nmaahc_2010.49.4.1
Online Media:

Biography of Sarah Ann Blunt Crozley

Written by:
Unidentified  Search this
Subject of:
Sarah Ann Blunt Crozley, American, born 1820  Search this
Medium:
ink on paper
Dimensions:
H x W: 8 x 5 in. (20.3 x 12.7 cm)
Type:
biography files
Date:
December 1884
Topic:
African American  Search this
Emancipation  Search this
Families  Search this
Slavery  Search this
Credit Line:
Collection of the Smithsonian National Museum of African American History and Culture
Object number:
2010.49.4.2
Restrictions & Rights:
Public domain
See more items in:
National Museum of African American History and Culture Collection
Classification:
Documents and Published Materials
Slavery and Freedom Objects
Data Source:
National Museum of African American History and Culture
GUID:
http://n2t.net/ark:/65665/fd5e12323c4-14d8-40dc-8bb7-f4249bc29406
EDAN-URL:
edanmdm:nmaahc_2010.49.4.2
Online Media:

Biography of Sarah Ann Blunt Crozley

Written by:
Unidentified  Search this
Subject of:
Sarah Ann Blunt Crozley, American, born 1820  Search this
Medium:
ink on paper
Dimensions:
H x W: 8 x 5 in. (20.3 x 12.7 cm)
Type:
biography files
Date:
December 1884
Topic:
African American  Search this
Emancipation  Search this
Families  Search this
Slavery  Search this
Credit Line:
Collection of the Smithsonian National Museum of African American History and Culture
Object number:
2010.49.7.2
Restrictions & Rights:
Public domain
See more items in:
National Museum of African American History and Culture Collection
Classification:
Documents and Published Materials
Slavery and Freedom Objects
Data Source:
National Museum of African American History and Culture
GUID:
http://n2t.net/ark:/65665/fd5edbdb2be-2da3-4e7b-8c76-38009b25dd49
EDAN-URL:
edanmdm:nmaahc_2010.49.7.2
Online Media:

Biography of Sarah Ann Blunt Crozley

Written by:
Unidentified  Search this
Subject of:
Sarah Ann Blunt Crozley, American, born 1820  Search this
Medium:
ink on paper
Dimensions:
H x W: 8 x 5 in. (20.3 x 12.7 cm)
Type:
biography files
Date:
January 1885
Topic:
African American  Search this
Emancipation  Search this
Families  Search this
Slavery  Search this
Credit Line:
Collection of the Smithsonian National Museum of African American History and Culture
Object number:
2010.49.7.3
Restrictions & Rights:
Public domain
See more items in:
National Museum of African American History and Culture Collection
Classification:
Documents and Published Materials
Slavery and Freedom Objects
Data Source:
National Museum of African American History and Culture
GUID:
http://n2t.net/ark:/65665/fd515155472-0d6b-4cea-bc41-f86bd9b1c501
EDAN-URL:
edanmdm:nmaahc_2010.49.7.3
Online Media:

Biography of William Scott

Written by:
William Scott, American  Search this
Owned by:
Maxine Sullivan, American, 1911 - 1987  Search this
Medium:
ink on paper
Dimensions:
H x W: 11 × 8 9/16 in. (27.9 × 21.7 cm)
Type:
biography files
Place depicted:
525 Jackson Avenue, New York City, New York, United States, North and Central America
Date:
early 1980s
Topic:
African American  Search this
Ballet  Search this
Modern dance  Search this
Credit Line:
Collection of the Smithsonian National Museum of African American History and Culture
Object number:
2013.46.29.146.2
Restrictions & Rights:
Unknown - Restrictions Possible
See more items in:
National Museum of African American History and Culture Collection
Collection title:
Maxine Sullivan Collection
Classification:
Media Arts-Photography
Data Source:
National Museum of African American History and Culture
GUID:
http://n2t.net/ark:/65665/fd5577b7486-cb83-490f-8dff-854344dfec7f
EDAN-URL:
edanmdm:nmaahc_2013.46.29.146.2
Online Media:

Floyd Levin Jazz Reference Collection

Creator:
Garland, Ed  Search this
Armstrong, Louis, 1901-1971  Search this
Morton, Jelly Roll, 1890-1941  Search this
Darensbourg, Joe, 1906-1985  Search this
Davison, Bill  Search this
Blake, Eubie (James Herbert), 1883-1983  Search this
Wilson, Buster  Search this
Ellington, Duke, 1899-1974  Search this
Collector:
Levin, Floyd, 1922-2007  Search this
Donor:
Levin, Lucille  Search this
Extent:
42.5 Cubic feet (110 boxes, 12 oversize folders)
Type:
Collection descriptions
Archival materials
Newsletters
Posters
Obituaries
Correspondence
Photographs
Advertisements
Ephemera
Concert programs
Clippings
Business cards
Audiocassettes
Signatures (names)
Audiotapes
Interviews
Personal papers
Biography files
Awards
Writings
Date:
1880 - 2010
Summary:
Floyd Levin was a Los Angeles textile manufacturer who turned his passion for jazz into a second career as an influential jazz journalist and historian. The collection consists of research materials including biographical files. In addition, there are numerous photographs that were taken and collected by Levin.
Scope and Contents:
Research materials on jazz, jazz artists, jazz festivals and jazz organizations compiled by Levin over several decades. The richest portion is the series of biographical files on jazz artists, with emphasis on lesser known but influential artists, and includes such things as obituaries, memorial programs, press releases, concert programs, and newsletters. Photographs are also widely found in this series, many of them inscribed to, or taken with Levin and his wife Lucille, as well as posters, recordings, letters and other correspondence, awards and plaques, Levin's writings, business cards, newspaper articles, advertisements, and miscellaneous ephemeral items. Artists who are strongly represented include one-time Ellington Orchestra clarinetist "Barney" (Albany Leon) Bigard, who was a close personal friend of the Levins and whose personal papers are in the collection; Louis Armstrong; "Jelly Roll" (Ferdinand Lemott) Morton; "Wild" Bill Davison; "Duke" (Edward Kennedy) Ellington; Joe Darensbourg; Edward Bertram "Montudie" Garland; "Kid" (Edward) Ory; "Eubie" (James Herbert) Blake; and "Rosy" (James) McHargue.
Arrangement:
The collection is divided into ten series.

Series 1, Personal Papers, 1920-2010, undated

Series 2, Correspondence, 1948-2006, undated

Series 3, Research Materials, 1914-2006, undated

Series 4, Writings, 1949-2006, undated

Series 5, Artists Files, 1880-2010, undated

Subseries 5.1, General Materials, 1880-2010, undated

Subseries 5.2, Obituaries, 1941-2004

Subseries 5.3, Interviews, 1969-2001

Series 6, Subject Files, 1916-2004, undated

Series 7, General Materials, 1908-2006, undated

Series 8, Jazz Organizations and Publications, 1943-2010, undated

Series 9, Photographs, 1939-2001, undated

Series 10, Audiovisual Materials, 1964-1997, undated

Subseries 10.1, Audiocassettes, 1970-1997, undated

Subseries 10.2, Compact Discs, 1966-1994, undated

Subseries 10.3, Sound Tape Reels, 1964-1973, undated
Biographical / Historical:
Floyd Levin (1922 - 2007) was a Los Angeles textile manufacturer who turned his passion for jazz into a second, contemporaneous, career as an influential jazz journalist and historian. His numerous reviews, profiles, and articles were published in magazines such as Down Beat, Jazz Journal International, Metronome, and American Rag. He also authored Classic Jazz: A Personal View of the Music and the Musicians (University of California Press, 2000), which –like his articles – chronicled his first-hand encounters with countless jazz musicians. In 1949, he co-founded the Southern California Hot Jazz Society, the second-oldest jazz appreciation club in the country. Levin led the drive to create the Louis Armstrong Park and statue in New Orleans in the 1970s. During his career, he conducted scores of oral history interviews with jazz musicians, which he donated to NMAH and to Tulane University's jazz archive. He received several awards for his work, including the Leonard Feather Communicator Award, given annually by the Los Angeles Jazz Society. Levin died in 2007.
Provenance:
Donated to the Archives Center in 2011 by Floyd Levin's widow, Lucille Levin.
Restrictions:
The collection is open for research. Only reference copies of audiovisual materials may be used.
Rights:
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.
Topic:
Jazz  Search this
Jazz musicians  Search this
Genre/Form:
Newsletters -- 20th century
Posters -- 20th century
Obituaries
Correspondence -- 20th century
Photographs -- 20th century
Advertisements -- 20th century
Ephemera -- 20th century
Concert programs -- 20th century
Clippings
Business cards
Audiocassettes
Signatures (names)
Audiotapes
Interviews
Personal papers -- 20th century
Biography files
Awards
Writings
Citation:
Floyd Levin Jazz Reference Collection, 1880-2010, Archives Center, National Museum of American History
Identifier:
NMAH.AC.1222
See more items in:
Floyd Levin Jazz Reference Collection
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep8cff04d70-8d1e-4159-93fb-10a7bca49f70
EDAN-URL:
ead_collection:sova-nmah-ac-1222
Online Media:

Rudy J. Favretti collection

Creator:
Favretti, Rudy J.  Search this
Extent:
31.5 Cubic feet
Type:
Collection descriptions
Archival materials
Invoices
Research
Contracts
Reports
Pamphlets
Slides (photographs)
Date:
circa 1950-2010
Summary:
The collection contains the project design records of Rudy J. Favretti. , a landscape architect and professor noted for his extensive work in historical restoration of gardens, parks, and landscapes. He donated his collection of garden design files, plans, and images to the Smithsonian's Archives of American Gardens in March 2011.
Scope and Content Note:
The collection contains the records of landscape architect Rudy J. Favretti and includes correspondence, research notes, reports, drawings, plans (some from other engineering or design firms), photographic images, contracts, invoices, newspaper clippings, copies of historic records and other items relating to Professor Favretti's professional design work. His projects range from small private gardens to extensive garden restorations of eighteenth and nineteenth century gardens, parks, and historic sites. Professor Favretti also worked on a number of civic improvement and land use projects like parks and roadways. The majority of projects are located in New England (particularly Connecticut), the mid-Atlantic states and the southeastern United States. The collection also includes Professor Favretti's research files for his biography on landscape architect Jacob Weidenmann as well as numerous brochures and pamphlets he gathered during trips he took to gardens across the United States, and 35mm slides he took of some of these sites.
Arrangement note:
The collection is arranged into 4 series: Series 1: Project Files; Series 2: Administrative Files; Series 3: Jacob Weidenmann Research and Biography Filesand Biography Files; Series 4: Visited Gardens
Biographical Note:
Rudy J. Favretti was born in Mystic, Connecticut in 1932. He obtained degrees from the University of Connecticut, Cornell University, and the University of Massachusetts. Favretti holds Bachelor's degrees in horticulture, landscape design, and landscape architecture, as well as Master's degrees in ornamental horticulture, landscape architecture, and regional planning. Professor Favretti taught landscape architecture at the University of Connecticut from 1955 to 1988. Since 1988 he has been Professor Emeritus at the University of Connecticut specializing in landscape history and preservation. He has also been a visiting professor at the University of Virginia, Columbia University, and a Visiting Faculty Fellow at Yale University. In his professional career, Rudy Favretti worked on over 700 commissioned individual and collaborative design, master planning, and preservation projects. These works include notable sites such as Bartram's Garden in Philadelphia, Monticello and Mount Vernon in Virginia, the Emily Dickinson House in Massachusetts, and the Vanderbilt Estate in New York. Favretti has authored more than 20 books and monographs and over 60 journal and magazine articles on a vast range of topics though most notably on historic landscape restoration and colonial gardens He co-authored For Every House a Garden (1977) and Landscapes and Garden for Historic Buildings (1978) with his wife Joy P. Favretti. His most recent work, Jacob Wiedenmann: Pioneer Landscape Architect (2007), is a biography of the nineteenth century landscape architect.

Professor Favretti is a member of several professional and academic societies including the American Society of Landscape Architects, the National Association for Olmsted Parks, and Phi Kappa Phi. He has been awarded honors in landscape preservation by the National Trust for Historic Preservation and the Garden Club of America. He is currently a member of the National Register Review Board for Connecticut and the Director of the Connecticut Olmsted Alliance. He served as the consulting landscape architect for the Garden Club of Virginia from 1978 to 1998. The Garden Club of Virginia established the Rudy J. Favretti Fellowship in his honor to support the research and documentation of historic Virginia gardens.
Related Materials:
The Rudy Favretti Papers are available at the Thomas J. Dodd Research Center of the University of Connecticut. These include landscape plans dated 1962-1979 for numerous public spaces throughout Connecticut.
Provenance:
The records and files were generated and/or compiled by Rudy J. Favretti in the course of his landscape design, landscape restoration, and academic work.
Restrictions:
Access to original archival materials by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Rights:
Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Topic:
Monuments  Search this
Museums  Search this
Agriculture  Search this
Historic sites  Search this
Horticulture  Search this
Memorials  Search this
Landscape architecture  Search this
Gardens -- United States  Search this
Genre/Form:
Invoices
Research
Contracts
Reports
Pamphlets
Slides (photographs)
Citation:
Smithsonian Institution, Archives of American Gardens, Rudy J. Favretti CollectionPapers.
Identifier:
AAG.FAV
See more items in:
Rudy J. Favretti collection
Archival Repository:
Archives of American Gardens
GUID:
https://n2t.net/ark:/65665/kb6709fc29d-b7b4-425d-83ee-5cf8e4c46c35
EDAN-URL:
ead_collection:sova-aag-fav
Online Media:

Chronological Files

Collection Creator:
Chernow, Burt  Search this
Extent:
2 Linear feet (Boxes 8-9)
Type:
Archival materials
Date:
1986-1997
Scope and Contents:
Chronological files contain mostly photocopies and seem to have been compiled by Chernow to organize information in the process of writing the Christos' biography. Files are named by the year in the life of Christo and Jeanne-Claude that they document, and they typically contain a chronology of events compiled from the Christo's appointment books, partial copies of interview transcripts, excerpts of Chernow's draft typescripts of the biography, and copies of printed material relating to events from that year, both in the lives of Christo and Jeanne-Claude and world events generally. Copies of material pulled from other libraries and repositories is mixed with copies of material found elsewhere within the current collection throughout the series. When materials have been copied from other sources, the sources are often not cited. Certain sources have been copied with portions interspersed throughout this series, such as the PhD dissertation of Carline Bouihlet on Christo, entitled Christo : Dialectical Materialism and Artistic Consumerism, a manuscript with annotations in red pen that is not otherwise identified.

Among the chronological files are files for specific locations where the Christos lived or exhibited, files for the Christos' major art projects, and a single file for an individual, Peter Selz, found with the Running Fence file for 1976. The Peter Selz file is comprised entirely of photocopies made by Chernow from Selz's papers held at the Archives of American Art. Files bearing project names contain press coverage and documentation relating to the projects, such as engineering records, budgets, and travel schedules. These files are found with the date the project was executed. A file for Surrounded Islands (1983) contains the most primary documents of the project-related chronological files. Other notable documents in this series include Italian translations of reviews of Christo's 1963 exhibition in Milan and a photocopy of Christo's 1963 issue of the arts journal KWY.

A complete set of photocopies of this series, made by Ann Chernow for Wolfgang Volz to aid his writing of the biography's epilogue, was discarded during processing.
Collection Restrictions:
Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
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:
Burt Chernow papers, 1930-2002. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.cherburt, Subseries 1.4
See more items in:
Burt Chernow papers
Burt Chernow papers / Series 1: Research Material for Christo and Jeanne-Claude: A Biography
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9f8ae650f-0c37-4878-b41f-0069cd233fd4
EDAN-URL:
ead_component:sova-aaa-cherburt-ref11

Modify Your Search







or


Narrow By