This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
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:
Diana Fuller Papers and Gallery Records, 1958-2004. Archives of American Art, Smithsonian Institution.
Sponsor:
The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
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:
Diana Fuller Papers and Gallery Records, 1958-2004. Archives of American Art, Smithsonian Institution.
Sponsor:
The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.
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.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
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:
Esphyr Slobodkina papers, circa 1925-1995. Archives of American Art, Smithsonian Institution.
Sponsor:
Processing of this collection was funded by the Terra Foundation for American Art
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
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:
Esphyr Slobodkina papers, circa 1925-1995. Archives of American Art, Smithsonian Institution.
Sponsor:
Processing of this collection was funded by the Terra Foundation for American Art
Liner note proofs and cover proofs rehoused to OS05-18
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:
Moses and Frances Asch Collection, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
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.
The Lisa Chickering and Jeanne Porterfield collection is open for research. Please contact the archives for information on availability of access copies of audiovisual recordings. Original audiovisual material in the National Anthropological Film Collection may not be played.
Collection Rights:
Contact the repository for terms of use.
Collection Citation:
Lisa Chickering and Jeanne Porterfield Collection, National Anthropological Film Collection, Smithsonian Institution
The Lisa Chickering and Jeanne Porterfield collection is open for research. Please contact the archives for information on availability of access copies of audiovisual recordings. Original audiovisual material in the National Anthropological Film Collection may not be played.
Collection Rights:
Contact the repository for terms of use.
Collection Citation:
Lisa Chickering and Jeanne Porterfield Collection, National Anthropological Film Collection, Smithsonian Institution
The Lisa Chickering and Jeanne Porterfield collection is open for research. Please contact the archives for information on availability of access copies of audiovisual recordings. Original audiovisual material in the National Anthropological Film Collection may not be played.
Collection Rights:
Contact the repository for terms of use.
Collection Citation:
Lisa Chickering and Jeanne Porterfield Collection, National Anthropological Film Collection, Smithsonian Institution
The Lisa Chickering and Jeanne Porterfield collection is open for research. Please contact the archives for information on availability of access copies of audiovisual recordings. Original audiovisual material in the National Anthropological Film Collection may not be played.
Collection Rights:
Contact the repository for terms of use.
Collection Citation:
Lisa Chickering and Jeanne Porterfield Collection, National Anthropological Film Collection, Smithsonian Institution
The Lisa Chickering and Jeanne Porterfield collection is open for research. Please contact the archives for information on availability of access copies of audiovisual recordings. Original audiovisual material in the National Anthropological Film Collection may not be played.
Collection Rights:
Contact the repository for terms of use.
Collection Citation:
Lisa Chickering and Jeanne Porterfield Collection, National Anthropological Film Collection, Smithsonian Institution
Use of original papers requires an appointment and is limited to the Washington, D.C. Research Center. 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:
Paul Vanderbilt papers, 1854-1992, bulk 1945-1992. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Smithsonian Institution Collections Care and Preservation Fund
This series is comprised of typescript drafts, correspondence, publishing contracts, research files, image rights and reproduction requests, financial material, and reader feedback, all related to books written or co-authored by Peter Selz. The titles include Art in a Turbulent Era, Art in Our Times, Art of Engagement, Beyond the Mainstream, Theories and Documents, and Theories of Modern Art. There are also monographs on artists such as Eduardo Chillida, Sam Francis, and William Congdon.
Arrangement:
This subseries is arranged alphabetically by title. Some books have folder groupings that are arranged by document type. Most of the book drafts are not numbered and are not in a specific order. The exception is Art of Engagement which had the number of the draft which was labeled "Second Draft," "Sixth Draft," etc.
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Washington, D.C. Research Center. Use of archival audiovisual recordings with no duplicate copies 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:
Peter Howard Selz papers, 1929-2018, bulk 1950-2005. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the 2014 processing of this collection was provided by the Frederick Hammersley Foundation. Funding for the processing of the 2018 addition was provided by Gerald and Bente Buck.
The papers of painter and art critic Guy Pène Du Bois measure 2.0 linear feet and date from circa 1900 to 1963 with the bulk of the materials dating from 1920 to 1963. Found within the papers are biographical material; personal and professional correspondence, including letters from Royal Cortissoz and Edward Hopper; writings, including essays, journals, short stories, and drafts of the autobiography Artists Say the Silliest Things; personal business records; printed material; and artwork.
Scope and Contents:
The papers of painter and art critic Guy Pène Du Bois measure 2.0 linear feet and date from circa 1900 to 1963 with the bulk of the materials dating from 1920 to 1963. Found within the papers are biographical material; personal and professional correspondence, including letters from Royal Cortissoz and Edward Hopper; writings, including essays, journals, short stories, and drafts of the autobiography Artists Say the Silliest Things; personal business records; printed material; and artwork.
Biographical materials consist of certificates, a curriculum vitae, passport, and a photograph of two unidentified women.
Correspondence is primarily with Pène Du Bois' family, friends, and business associates. The series includes significant correspondence from fellow art critic Royal Cortissoz; artists Raphael Soyer and Edward Hopper; and writers Samuel Duff McCoy, Lincoln Isham, and Newton Booth Tarkington. Other correspondents of note include C.W. Kraushaar Art Galleries and Pène Du Bois' son, the children's book illustrator William Pène Du Bois.
Writings include book drafts of Pène Du Bois' autobiography, Artists Say the Silliest Things, journal entries, 35 essays, 8 short stories, and various writing fragments and notes.
Personal business records consist of account and sales records from C.W. Kraushaar Art Galleries, book and publishing contracts, and receipts for art supply purchases.
Printed material includes a brochure for the Guy Pène Du Bois School of Art, clippings, exhibition announcements and catalogs, and miscellaneous printed material.
Artwork consists of pen and ink sketches by Pène Du Bois and a print by an unknown artist.
Correspondence, 1908-1958 (0.5 linear feet; Box 1)
Writings, circa 1900-1954 (1.1 linear feet; Box 1-4)
Personal business records, circa 1920-1949 (3 folders; Box 3)
Printed material, circa 1920-1963 (0.3 linear feet; Box 3)
Artwork, circa 1920-1954 (2 folders; Box 3)
Biographical / Historical:
Painter and art critic Guy Pène Du Bois (1884-1958) lived and worked in New York City, New York and was known for his realist paintings, essays, and art reviews.
Pène Du Bois was born in Brooklyn, New York to the art critic Henri Pène Du Bois and his wife Laura. After he showed an early interest in art, his' family supported his decision to enroll in William Merritt Chase's New York School of Art at the age of 15. There, Pène Du Bois trained with the realist painters Robert Henri and Kenneth Hayes Miller along with fellow students George Bellows, Edward Hopper, and Rockwell Kent. In 1905, he traveled to Paris and studied briefly with the artist Thèophile Steinlen, but returned to New York the following year after the death of his father. To help support his family, he found work as an illustrator and cartoonist for the New York American, and was promoted to the position of art critic for the newspaper in 1909.
In 1911, Pène Du Bois married his wife, Florence Duncan, and became an assistant writer for the New York Tribune under Royal Cortissoz (1913). Pène Du Bois also wrote art reviews for the New York Post (1916-1918), and was a writer and later editor of Arts and Decoration (1913-1915, 1917-1921). During these years, Pène Du Bois also began to establish a career as a realist painter of note. His work was included in the 1913 Armory Show, after which he signed on as a member of the Kraushaar Gallery stable. Throughout the 1910s, Pène Du Bois exhibited in numerous galleries and museums, and held his first one-man show in 1918 at the Whitney Studio Club.
From 1920 to 1924, Pène Du Bois taught at the Art Students League, and spent the latter part of the 1920s in France with his family. After seven years, he moved his family back to Connecticut and opened the Guy Pène Du Bois School of Art in Stonington, Connecticut. Throughout the 1930s, Pène Du Bois continued painting and received commissions to design federal murals in upstate New York (1937) and Boston (1942). In 1940, Pène Du Bois published his autobiography, Artists Say the Silliest Things. After the death of his wife in 1950, Pène Du Bois lived and traveled with his daughter's family and died in her home in Boston in 1958.
Related Materials:
The Archives also holds the Guy Pène Du Bois and Mary Lightfoot Tarleton correspondence.
Separated Materials:
The Archives of American Art also holds material lent for microfilming (reel 28) including sketches and etching proofs. Lent material was returned to the lender and is not described in the collection container inventory.
Provenance:
Sketches and etching proofs were lent to the Archives of American Art in 1970 for microfilming by Pène du Bois' children, Yvonne McKenney and William Pène du Bois. Yvonne McKenney donated papers in 1971. In 1980, two journals dating from 1913 to 1955, were loaned for microfilming by Pène du Bois' daughter-in-law, Willa Kim. These journals were subsequently donated by Martha Fleishman in 2017.
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:
Art critics -- New York (State) -- New York Search this
Painters -- New York (State) -- New York Search this
Topic:
Painting, American -- New York (State) -- New York Search this
Genre/Form:
Photographs
Prints
Sketches
Citation:
Guy Pène Du Bois papers, circa 1900-1963, bulk 1920-1963. Archives of American Art, Smithsonian Institution.
Sponsor:
Processing of this collection was funded by the Terra Foundation for American Art
Writings include book drafts of Pène Du Bois' autobiography, Artists Say the Silliest Things, 2 bound journals dating from 1913-1955, journal entries, 35 essays on various art related topics, 8 short stories, and various writing fragments and notes. The journal entries are primarily writing exercises in essay style and cover diverse topics of fashion, character studies, art history, and current events.
Arrangement:
Materials are arranged by document type.
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:
Guy Pène Du Bois papers, circa 1900-1963, bulk 1920-1963. Archives of American Art, Smithsonian Institution.
Sponsor:
Processing of this collection was funded by the Terra Foundation for American Art
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Use of archival audiovisual recordings with no duplicate access copy requires advance notice. Contact Reference Services for more information.
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:
Emily Genauer papers, circa 1920s-1990s. Archives of American art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Smithsonian Institution Collections Care Pool Fund.
The Thomas Henry Tibbles papers include documents that span Tibbles career as a journalist and lecturer on Indian rights from the 1870s until his death in 1928. Of particular note are the documents related to his work on the Standing Bear vs. George Crook Habeas Corpus trial. This includes articles, essays and talks written by Tibbles as well as copies of a lecture given by Susette LaFlesche Tibbles. Notable correspondents include; Robert Clarkson, Joseph Cook, General George Crook, Robert N. Price and William Jennings Bryan. Examples of materials related to the Ponca land case and Standing Bear trial include reports from the Ponca Relief commitee, a petition from the Ponca people, minutes from the Council Concerning Ponca Land Right and additional documents and writings sent out by Tibbles to gain support from both the church and politicians. Also included in these papers are several drafts of Buckskin and Blanket Days, Tibbles' autobiography that was written in 1905 and published in 1957. There is a significant amount of correspondence between Chester Barris, grandson to Tibbles, and publishing houses between 1939 and 1956 in the search for a willing publisher. There is also correspondence between Barris and his aunt Theadora "Dora" Cogswell who worked on editing the manuscript. Cogswell conducted a large amount of research on the historicity of the events described by Tibbles and her notes are included in the collection. The photographs in this collection include portraits of the Tibbles/LaFlesche family as well as portraits of freinds and aquaintances. These include photographs of Edward Everett Hale, General George Crook, Governor Benjamin Butluer, Wendall Phillips, Thomas Watson, William Jennings Bryan and Harriet Beecher Stowe.
Arrangement:
This collection is arranged into three series. Series 1: Subject Files and Series 2: Buckskin and Blanket Days are both arranged alphabetically. Series 3: Photographs is subdivided into three subseries; Subseries 3A: T.H. Tibbles Portaits, arranged chronologically, Subseries 3B: Family and Friends and Subseries 3C: Presentation Portraits to Bright Eyes, both arranged alphabetically.
Biographical / Historical:
Thomas Henry Tibbles was born May 22, 1840, near Athens, Ohio to parents William and Martha (nee Cooley) Tibbles. In 1856, at the age of 16, Tibbles fought with anti-slavery Free-Staters in the Bleeding Kansas conflicts under James Henry Lane. Lane's troops disbanded the same year and Tibbles went on to study at Mt. Union College in Alliance, Ohio from 1858-1861. During the Civil War Tibbles served as a scout and newspaper correspondent in Missouri and Kansas and continued newspaper work until 1871 when he became a circuit preacher. Between 1874 and 1879, Tibbles worked on the staffs of various newspapers in Omaha, Nebraska eventually reaching the post of assistant editor of the Omaha Daily Herald. It was during his time at the Herald that Tibbles was instrumental in bringing the case of Standing Bear and the Ponca Indian people before the United States District Court at Fort Omaha. Standing Bear, along with thirty other Poncas, had returned to their home in Nebraska after being forcibly removed to Indian Territory 1878. They were being detained at the Omaha Reservation on an order from the Secretary of the Interior and Tibbles began to circulate the story of the plight of the Ponca to major newspapers gathering the support of the public. Eventually Tibbles had attorneys John L. Webster and A.J. Poppleton help Standing Bear petition the court with a writ of habeas corpus. On April 30, 1879 Judge Elmer Dundy declared that an Indian is a person within the law and that the Ponca were being held illegally, setting Standing Bear and the Ponca free. Following the trial, Tibbles continued to report on violations against Native American rights. Tibbles was a witness to the aftermath of the massacre of Native Americans at Wounded Knee in 1891, and reported this tragedy to the world. From 1893-1895, he worked as a newspaper correspondent in Washington D.C. On returning to Nebraska, Tibbles became editor-in-chief of The Independent, a weekly Populist Party newspaper. He was the Populist Party nominee for Vice President of the United States in 1904. Though unsuccessful in this campaign Tibbles continued to write on Populist issues as well as editing The Investigator from 1905-1910 and returning to the Omaha World Herald from 1910 to his retirement.
Tibbles had two children with his first wife, Amelia Owen whom he married in 1861. Eda, born in 1868 in Kansas City, married Herbert Bates in 1894 and May, born in 1870 in Danville Iowa, married Allen Barris in 1891. Amelia died of peritonitis in 1879. On June 29, 1882, Tibbles married Susette "Bright Eyes" LaFlesche (Omaha), daughter of Joseph "Iron Eye" LaFlesche. Susette LaFlesche worked closely alongside Tibbles during the Standing Bear's trial in her role as chief interpreter. Together, LaFlesche, Tibbles and Standing Bear carried out a successful lecture tour in England and Scotland in 1886-1887 speaking on issues of Indian rights. LaFlesche became well known as an eloquent writer and orator. Following her death in 1903 she was eulagized in the US Senate and was later inducted into the Nebraska Hall of Fame. Tibbles remarried for a final time in 1907 to Ida Belle Riddle. She remained by Tibbles side until his own death in 1928.
During his career, Tibbles wrote three books which included Ponca Chiefs (1880), which was written under the pen name "Zylyff", Hidden Power (1881) and The American Peasant (1892). Tibbles had also composed his memoirs titled Buckskin and Blanket Days which were eventually published in 1957 through the efforts of his grandson Chester Barris.
Related Materials note:
The dress of Susette "Bright Eyes" LaFlesche, wife to Tibbles, was also donated by Vivien Barris in 1984 and is a part of NMAI's Ethnology object collection. It has catalog number 25/2192.
Separated Materials:
The photographs have been moved to cool storage.
Provenance:
Thomas Henry Tibbles papers were originally donated to the Museum of the American Indian, Heye Foundation in 1960 by Vivien Barris, wife of Tibbles's grandson Chester Barris.
Restrictions:
Access to NMAI Archive Center collections is by appointment only, Monday - Friday, 9:30 am - 4:30 pm. Please contact the archives to make an appointment (phone: 301-238-1400, email: nmaiarchives@si.edu).
Rights:
Single photocopies may be made for research purposes. Permission to publish or broadbast materials from the collection must be requested from National Museum of the American Indian Archive Center. Please submit a written request to nmaiarchives@si.edu.
Topic:
Habeas corpus -- United States -- Cases Search this
Ponca Indians -- Legal status, laws, etc. Search this
Identification of specific item; Date (if known); Thomas Henry Tibbles papers, Box and Folder Number; National Museum of the American Indian Archive Center, Smithsonian Institution.
