Search Results

Creator:

Hirshhorn Museum and Sculpture Garden  Search this

Type:

Conversations and talks

YouTube Videos

Uploaded:

2021-02-18T01:14:18.000Z

YouTube Category:

Entertainment  Search this

Topic:

Art, modern  Search this

See more by:

hirshhornmuseum

Data Source:

Hirshhorn Museum and Sculpture Garden

YouTube Channel:

hirshhornmuseum

EDAN-URL:

edanmdm:yt_3r51ufHN_1M

Creator:

Nesbitt, Esta  Search this

Names:

Parsons School of Design -- Faculty  Search this

Whitney Museum of American Art  Search this

Xerox Corporation  Search this

Ambert, Anibal  Search this

Beckett, Samuel, 1906-1989  Search this

Einstein, Albert, 1879-1955  Search this

English, Merle  Search this

Ginsberg, Allen, 1926-  Search this

Leder, Alan J.  Search this

Lyle, David  Search this

Wood, R. F.  Search this

Extent:

10.05 Linear feet

Type:

Collection descriptions

Archival materials

Sketches

Transcripts

Diaries

Sound recordings

Photographs

Date:

circa 1942-1981

bulk 1964-1975

Summary:

The papers of illustrator, xerography artist, filmmaker, and educator Esta Nesbitt measure 10.05 linear feet and date from circa 1942-1981. Found within the papers are biographical material, correspondence, writings, xerography research files, project and exhibition files, and printed material. Much of the collection relates to Nesbitt's xerography art work. Additionally, the collection includes motion picture film and sound recordings related to her film and performance work.

Scope and Contents:

The papers of illustrator, xerography artist, filmmaker, and educator Esta Nesbitt measure 10.05 linear feet and date from circa 1942-1981. Found within the papers are biographical material, correspondence, writings, xerography research files, project and exhibition files, and printed material. Much of the collection relates to Nesbitt's xerography art work. Additionally, the collection includes motion picture film and sound recordings related to her film and performance work.

Nesbitt's primary collaborators, correspondents, and subjects of investigation are not concentrated in any one series but rather recur throughout the collection. Nesbitt worked closely with Anibal Ambert, Merle English at Xerox Corporation, and the Whitney Museum of American Art. She read and wrote about the accrual of information, Albert Einstein, Asian religion and philosophy, communication, computer technology, documentation practices, energy, psychology, Samuel Beckett, and states of consciousness. Chinese characters and an image of Allen Ginsberg appear repeatedly in Nesbitt's works. Subjects of study and experimentation include 3M and Kodak technologies, color, film, morphology, participatory and performance art, shadows, sound, street works, xerography, and Xerox machines.

Biographical material revolves mostly around Nesbitt's work as a professor at Parsons School of Design. Records include Nesbitt's resumé, an exhibition history, motion picture film of the inside of her studio, and teaching files.

Correspondence contains personal letters from family members, and professional correspondence with fellow artists and employees of Xerox Corporation. Much of the series is correspondence between Nesbitt and fellow artists Alan Leder, David Lyle, and R.E. Wood, and is philosophical in nature. Correspondence with Xerox Corporation documents her relationship with the corporation between 1970 and 1972, when they underwrote her experiments in xerography.

Writings include illustrated journals, journals, notebooks, loose notes, and transcripts. The content of the writings varies widely throughout the series and includes artwork, sketches, diagrams, annotated clippings, transcripts of conversations, Nesbitt's writings about her dreams and family, details about her daily life, and notes about artists' materials, film, and sound.

Xerography Research Files document Nesbitt's experiments with xerography, which she often refers to in her papers as "Xerox Xplore." Contents include Nesbitt's definitions of xerography terms; Xerox equipment brochures; clippings; xerography studies; notebooks about Nesbitt's plans, work with color, and xerography study details; and slides and transparencies of completed xerography prints.

Project and Exhibition Files consist of a variety of documentation related to Nesbitt's books, exhibitions, films, performance and participatory art, and other projects. This series contains the bulk of the collection's motion picture films and sound recordings. The film and sound performance piece titled "Everyman as Anyman, or Putting On, On, On, On, On," the piece Walk Up --Tape On, the film "Light Times 499," and exhibitions of Nesbitt's xerography work and her series of work called Shadow Paintings are the most prominent subjects of the series.

Printed Material includes books, clippings, magazines, exhibition announcements, catalogs, and press releases about Nesbitt's interests, artwork, exhibitions, and galleries that exhibited her work. Some of the material is annotated.

Arrangement:

The collection is arranged into 6 series:

Missing Title

Biographical Materials, 1964-circa 1981 (0.3 linear feet; Box 1, 11)

Correspondence, 1942, 1964-1976 (0.3 linear feet; Box 1, OV 14)

Writings, 1959-circa 1973 (1.3 linear feet; Box 1-2, 12, OV 15)

Xerography Research Files, circa 1966-1974 (2.5 linear feet; Box 2-4, 11, OV 16)

Project and Exhibition Files, circa 1966-1981 (5.2 linear feet, Box 4-8, 11, 13, OV 17-19, 21, FC 22-23)

Printed Material, 1942-circa 1944, circa 1963-1977 (0.9 linear feet; Box 9-10, OV 20)

Biographical / Historical:

Esta Nesbitt (1918-1975) was an illustrator, xerography artist, filmmaker, and educator who lived and worked in New York City. She was a fashion illustrator for about two decades before becoming a children's book illustrator, performance artist, xerography artist, and filmmaker.

Nesbitt taught at Parsons School of Design from 1964 to 1974. Around 1970, Nesbitt created the piece Walk Up --Tape On with her Parsons students. The piece involved documenting social interaction by taping themselves to each other and then others as they walked through New York City, creating what Nesbitt called a "living organism," before presenting themselves to the Whitney Museum of American Art. The event was documented with film, photography, and audio recordings.

In 1970, Nesbitt contacted Xerox Corporation about creating experimental art investigations of the Walk Up --Tape On documentation using Xerox machines in their New York City office. During Nesbitt's time at Xerox, she experimented with many different copying machines, materials, and techniques to create what came to be known as xerographic artworks. She invented three xerography techniques: transcapsa, photo-transcapsa, and chromacapsa. A transcapsa work is created by moving a piece of material over the copier's window during the printing cycle. A photo-transcapsa work is created by moving a photographic image over the copier's window during the printing cycle. Chromacapsa is a process of adding color to xerographic works using Xerox copiers. Nesbitt referred to her work at Xerox as "Xerox Xplore," which culminated with the exhibition "Xerography - Extensions in Art" (1971-1972) and the commission of the print All the Lines are Nines.

To demonstrate "the media bombardment surrounding 'everyman' today," Nesbitt created a film and sound performance piece titled "Everyman as Anyman, or Putting On, On, On, On, On" in 1969. The performance consisted of five Super 8 film projectors and a multi-layered soundtrack. Nesbitt further experimented with filmmaking and xerography with the films "Folding/Struck" and "Light Times 499," which was created with Anibal Ambert. Her interest in xerography is further illustrated in the exhibition "Electrostatic Structures: 'New Morphs'" (1972-1973). The exhibition "1000 Empty 49.3 Grams: A participatory environment" was a culmination of her interest in participatory art.

Nesbitt died November 30, 1975 in New York City. Three posthumous exhibitions include "Esta Nesbitt: Xerography Prints" (1976) at The Art Center of Waco, "Memorial Exhibition of Drawing and Illustrations by Esta Nesbitt" (1977) at Parsons School of Design, and "Electroworks" (1979-1981) at the George Eastman House.

Related Materials:

The Esta Nesbitt papers at Center for Creative Photography at University of Arizona contain 3 linear feet related to her xerography artwork and exhibitions, dated 1966-1983.

Papers related to Nesbitt's fashion illustrations are found at the Kellen Design Archives at The New School in New York City. T

he Esta Nesbitt papers at the University of Minnesota Libraries Children's Literature Research Collections are related to Nesbitt's children's book illustrations, dated 1964-1969.

Provenance:

The Esta Nesbitt papers were donated by Saul Nesbitt, her husband, to the Archives of American Art in 1981.

Restrictions:

Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.

Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Occupation:

Educators -- New York (State) -- New York  Search this

Topic:

Motion pictures (visual works)  Search this

Filmmakers -- New York (State) -- New York  Search this

Women artists  Search this

Xerography  Search this

Copy art  Search this

Illustrators -- New York (State) -- New York  Search this

Women filmmakers  Search this

Women illustrators  Search this

Women educators  Search this

Genre/Form:

Sketches

Transcripts

Diaries

Sound recordings

Photographs

Citation:

Esta Nesbitt papers, circa 1942-circa 1981, bulk 1964-1975. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Council on Library and Information Resources' Hidden Collections grant program.

Identifier:

AAA.nesbesta

See more items in:

Esta Nesbitt papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9c57916c9-f891-4116-a32d-d1f4e83c624f

EDAN-URL:

ead_collection:sova-aaa-nesbesta

Creator:

Bishop, Isabel, 1902-1988  Search this

Names:

American Society of Painters, Sculptors and Gravers  Search this

New Society of Artists (New York, N.Y.)  Search this

Arms, John Taylor, 1887-1953  Search this

Bacon, Peggy, 1895-1987  Search this

Blume, Peter, 1906-1992  Search this

Brooks, Van Wyck, 1886-1963  Search this

Canaday, John, 1907-1985  Search this

Chappell, Warren, 1904-  Search this

Ciardi, John, 1916-  Search this

Cunningham, Merce  Search this

Delevante, Sidney, 1894-  Search this

Deutsch, Babette, 1895-1982  Search this

Dickinson, Edwin Walter, 1891-1978  Search this

Evergood, Philip, 1901-1973  Search this

Ferber, Edna, 1887-1968  Search this

Folinsbee, John Fulton, 1892-1972  Search this

Force, Juliana, 1876-1948  Search this

Hoffman, Malvina, 1887-1966  Search this

Hopper, Jo N. (Josephine Nivison), 1883-1968  Search this

Johnson, Una E.  Search this

Kearns, James  Search this

Kitaj, R. B.  Search this

Kroll, Leon, 1884-1974  Search this

Laning, Edward, 1906-1981  Search this

Lattimore, Richmond Alexander, 1906-1984  Search this

Leighton, Clare, 1899-  Search this

Marsh, Reginald, 1898-1954  Search this

Moore, Marianne, 1887-1972  Search this

Mumford, Lewis, 1895-1990  Search this

Neel, Alice, 1900-1984  Search this

Pittman, Hobson Lafayette, 1899 or 1900-1972  Search this

Porter, Fairfield  Search this

Rattner, Abraham  Search this

Schmidt, Katherine, 1898-1978  Search this

Schnakenberg, H. E. (Henry Ernest), 1892-1970  Search this

Soyer, Raphael, 1899-1987  Search this

Tooker, George, 1920-2011  Search this

Van Veen, Stuyvesant  Search this

Vonnegut, Kurt  Search this

Watkins, Franklin Chenault, 1894-1972  Search this

Westcott, Glenway  Search this

Zorach, William, 1887-1966  Search this

Extent:

2.6 Linear feet

Type:

Collection descriptions

Archival materials

Watercolors

Sketches

Photographs

Prints

Sketchbooks

Illustrated letters

Date:

1914-1983

Summary:

The papers of realist painter Isabel Bishop date from 1914 to 1983 and measure 2.6 linear feet. The collection documents Bishop's painting career, her friendship with other artists, and her participation in several arts organizations. There are scattered biographical documents, correspondence with fellow artists such as Peggy Bacon, Warren Chappell, Edward Laning, and R. B. Kitaj, and with writers, curators, museums, galleries, arts organizations, and others. Also found are arts organization files, Bishop's writings about Warren Chappell and friend Reginald Marsh, notes, exhibition catalogs, news clippings, and other printed material, photographs of Bishop and her artwork, and photographs of Reginald and Felicia Marsh. Original artwork includes 8 sketchbooks, loose sketches, prints, and watercolor figure studies.

Scope and Content Note:

The papers of realist painter Isabel Bishop date from 1914 to 1983 and measure 2.6 linear feet. The collection documents Bishop's painting career, her friendship with other artists, and her participation in several arts organizations. Scattered biographical documents include awards and a file on her participation in art juries.

Bishop was friends with many artists and cultural figures and her correspondence includes letters to and from artists such as John Taylor Arms, Peggy Bacon, Peter Blume, Warren Chappell (many letters from Chappell are illustrated), Sidney Delevante, Edwin Dickinson, Philip Evergood, John Folinsbee, Malvina Hoffman, Jo Hopper, James Kearns, Leon Kroll, Clare Leighton, Jack Levine, Alice Neel, Hobson Pittman, Fairfield Porter, Abraham Rattner, Katherine Schmidt, Henry Schnakenberg, Raphael Soyer, George Tooker, Stuyvesant Van Veen, Franklin Watkins, Mahonri Young, and William Zorach. Bishop not only corresponded with artists but also many poets, authors, historians, and dancers, such as Van Wyck Brooks, John Canaday, John Ciardi, Merce Cunningham, Babette Deutsch, Edna Ferber, Richmond Lattimore, Marianne Moore, Lewis Mumford, Kurt Vonnegut, and Glenway Westcott. Also found are letters from many galleries, museums, and schools which exhibited or purchased her work, including curators Juliana Force and Una Johnson.

Bishop kept files from her affiliations with the American Society of Painters, Sculptors, and Gravers and the New Society of Artists, containing mostly membership and financial records, and a file on a UNESCO conference. Unfortunately, files documenting her membership and vice presidency of the National Institute of Arts & Letters are not found here.

A small amount of Bishop's writings and notes include essays about friends and artists Reginald Marsh and Warren Chappell. Printed material consists of exhibition catalogs and announcements, news clippings, magazines, and a design by G. Alan Chidsey for a book about Bishop. Photographs depict Bishop with her husband and in her studio, her artwork, and also include three photographs of her friend, Reginald Marsh.

Original artwork includes eight small sketchbooks, loose pen and ink sketches, intaglio prints, watercolor figure studies, and a drawing of Bishop by Aaron Bohrod.

Arrangement:

The collection is arranged into 7 series:

Missing Title

Series 1: Biographical Material, 1943-1975 (Box 1; 4 folders)

Series 2: Correspondence, 1939-1983 (Box 1; 0.6 linear feet)

Series 3: Organization Files, 1924-1937, 1951-1952 (Box 1; 0.2 linear feet)

Series 4: Writings & Notes, 1937-1960s (Box 1; 4 folders)

Series 5: Printed Material, 1930-1979 (Box 2; 0.6 linear feet)

Series 6: Photographs, 1914, circa 1920s-1975 (Box 2, OV 5; 0.2 linear feet)

Series 7: Artwork, circa 1940s-1970s (Box 2-4, OV 5; 0.4 linear feet)

Biographical Note:

Isabel Bishop (1902-1988) was born in Cincinnati, Ohio to John Remsen Bishop and Anna Bartram Newbold Bishop. Shortly after her birth the family moved to Detroit, Michigan. As a child Bishop took art classes and had a growing interest in drawing. In 1918 at the age of 16 she left home and moved to New York City where she enrolled in the School of Applied Design for Women to be an illustrator. However, her real interest was in painting, not the graphic arts, and she enrolled in the Art Students League in 1920. There she studied with Kenneth Hayes Miller and Guy Pene du Bois and met many young artists, including Reginald Marsh and Edwin Dickinson, both of whom became close friends. She took classes until 1924 and rented a studio and living space on 14th Street in a neighborhood where many artists maintained studios at the time.

Bishop began exhibiting her work and participated in artist groups, including the Whitney Studio Club and the New Society of Artists. During the 1920s and 1930s she developed a realist style of painting, primarily depicting women in their daily routine on the streets of Manhattan. Her work was greatly influenced by Peter Paul Rubens and other Dutch and Flemish painters that she had discovered during trips to Europe. In 1932 Bishop began showing her work frequently at the newly opened Midtown Galleries, where her work would be represented throughout her career.

In 1934 she married Harold Wolff, a neurologist, and moved with him to Riverdale, New York. Bishop kept her studio in Manhattan, moving from 14th Street to Union Square. She remained in her Union Square studio for fifty years (1934-1984). From 1936 to 1937 she taught at the Art Students League and in 1940 her son Remsen was born. In 1941 she was named a member of the National Academy of Design and from 1944 to 1946 she was the Vice President of the National Institute of Arts & Letters, the first woman to hold an executive position with that organization. She wrote articles and joined other artists in speaking out in support of realist painting and against the abstract style that was dominating the New York art scene.

During her long career which lasted into the 1980s, Bishop exhibited in numerous group and solo exhibitions, traveled throughout the U. S. as an exhibition juror, and won many awards for her work, including the award for Outstanding Achievement in the Arts presented by President Jimmy Carter in 1979.

Related Material:

Also found at the Archives of American Art are three oral history interviews with Isabel Bishop, April 15, 1959, May 29, 1959, and November 12-December 11, 1987.

The Whitney Museum of American Art and Midtown Galleries loaned additional Bishop papers to the Archives for microfilming on reels NY59-4 and NY59-5. These items were returned to the lenders after microfilming and are not described in the container listing of this finding aid.

Provenance:

The collection was donated in several installments by Isabel Bishop from 1959 to 1983.

Restrictions:

The collection has been digitized and is available online via AAA's website.

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:

Painters -- New York (State) -- New York  Search this

Sculptors -- New York (State) -- New York  Search this

Book illustrators -- New York (State) -- New York  Search this

Topic:

Women artists  Search this

Women painters  Search this

Women sculptors  Search this

Realism  Search this

Genre/Form:

Watercolors

Sketches

Photographs

Prints

Sketchbooks

Illustrated letters

Citation:

Isabel Bishop papers, 1914-1983. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art.

Identifier:

AAA.bishisab

See more items in:

Isabel Bishop papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9509a0a9a-9a45-4bf3-973e-4699c03f6ed8

EDAN-URL:

ead_collection:sova-aaa-bishisab

Creator:

Cooper Hewitt, Smithsonian Design Museum  Search this

Type:

YouTube Videos

Uploaded:

2008-03-15T02:05:11.000Z

YouTube Category:

Nonprofits & Activism  Search this

Topic:

Design  Search this

See more by:

cooperhewitt

Data Source:

Cooper Hewitt, Smithsonian Design Museum

YouTube Channel:

cooperhewitt

EDAN-URL:

edanmdm:yt_WK2rH3aAbic

Creator:

Freer, Charles Lang, 1856-1919  Search this

Yue, Seaouke  Search this

Names:

Pang Yuanji, 1864-1949  Search this

Collection Creator:

Freer, Charles Lang, 1856-1919  Search this

Extent:

6 Items (folders of correspondence)

Container:

Box 36, Folder 17-22

Type:

Archival materials

Letters (correspondence)

Date:

1917-1919

Scope and Contents:

Letters dated between 1917 and 1919, mostly discussing the offer of Chinese art objects by the Shanghai based dealer Seaouke Yue (You Xiaoxi)

游篠溪

Freer collection numbers: F1904.61

Letters between Charles Lang Freer and Seaouke Yue (You Xiaoxi)

Arrangement:

Organized chronologically under correspondent.

Biographical / Historical:

Charels Lang Freer first met Yue in 1917. Yue had travelled to New York with items from the collection of Pang Yuanji, an important Shanghai collector who met Freer in 1911. Over the next two years, Freer purchased a number of important works of Chinese painting, jades, pottery and bronzes from Yue.

Local Numbers:

FSA A.01 02.1Yue

Collection Restrictions:

Collection is open for research.

Collection Rights:

Permission to publish, quote, or reproduce must be secured from the repository.

Topic:

Art, Chinese  Search this

Genre/Form:

Letters (correspondence)

Collection Citation:

Charles Lang Freer Papers. FSA.A.01. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Gift of the estate of Charles Lang Freer.

See more items in:

Charles Lang Freer Papers

Charles Lang Freer Papers / Series 2: Correspondence / 2.1: Charles Lang Freer Correspondence

Archival Repository:

Freer Gallery of Art and Arthur M. Sackler Gallery Archives

GUID:

https://n2t.net/ark:/65665/dc370218b0f-6618-486a-8bcc-70ab3b06b3c0

EDAN-URL:

ead_component:sova-fsa-a-01-ref634

Author:

Schutt, Bill  Search this

Illustrator:

Wynne, Patricia  Search this

Physical description:

1 online resource (xv, 271 pages) illustrations

Type:

Electronic resources

Electronic books

Illustrated books

Illustrated works

Ouvrages illustrés

Date:

2021

Topic:

Heart  Search this

Heart--Anatomy  Search this

Cœur  Search this

Cœur--Anatomie  Search this

Call number:

QP111.4 .S38 2021 (Internet)

Data Source:

Smithsonian Libraries

EDAN-URL:

edanmdm:siris_sil_1156296

Author:

Evans, Helen C  Search this

Author:

White, Bruce 1962-  Search this

Subject:

Saint Catherine (Monastery : Mount Sinai)  Search this

Saint Catherine (Monastery : Mount Sinai)  Search this

Monastère Sainte-Catherine-du-Sinaï  Search this

Monastère Sainte-Catherine-du-Sinaï - Ouvrages illustrés  Search this

Sinaikloster  Search this

Monastère Sainte-Catherine-du-Sinaï  Search this

Saint Catherine (Monastery : Mount Sinai)  Search this

Saint Catherine (Monastery : Mount Sinai)  Search this

Sinaikloster  Search this

Physical description:

96 pages chiefly color illustrations 32 cm

Type:

Books

Pictorial works

Bildband

Ouvrages illustrés

Viewbooks

Illustrated books

Illustrated works

Date:

2004

Topic:

Sinaï-klooster  Search this

Data Source:

Smithsonian Libraries

EDAN-URL:

edanmdm:siris_sil_1155873

Collection Creator:

Poor, Henry Varnum, 1887-1970  Search this

Extent:

0.2 Linear feet (Box 1, OV 18)

Type:

Archival materials

Date:

1919-1987

Scope and Contents note:

This series includes Poor's desk diary containing sporadic, sparse notes along with addresses and phone numbers; army discharge material; biographical notes on Poor by Bessie Breuer Poor and others; a desk diary; genealogical material; medical documents; and wills of Henry Varnum Poor and Bessie Breuer Poor. Awards and certificates document: Carnegie Institute Third Prize, 1933; Limited Editions Club Fellowship in Book Illustration, 1937; announcement of gold medal award from the Architectural League of New York, 1938; appointment to the U.S. Commission of Fine Arts, 1941; and membership certificate, National Institute of Arts and Letters, 1943. The posthumous item is a proclamation of Henry Varnum Poor Centennial Month, Clarkstown, New York, 1987.

Arrangement:

Materials are arranged by document type.

Collection Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information. Use of 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:

Henry Varnum Poor papers, 1873-2001, bulk 1904-1970. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the digitization of this collection was provided by the Terra Foundation for American Art

Identifier:

AAA.poorhenr, Series 1

See more items in:

Henry Varnum Poor papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9a7f13c5b-432b-468e-86d2-d0fe67163200

EDAN-URL:

ead_component:sova-aaa-poorhenr-ref13

Series Creator:

Warshaw, Isadore, 1900-1969  Search this

Container:

Box 10, Folder 7

Type:

Archival materials

Date:

circa 1897-1960

Scope and Contents note:

Trivia, humor, stories, jokes, four Items of Merit booklets. Two small books, illustrated by George Cruikshank titled Gems of Art: The Gin-Shop and Martin's Vagaries: Being a sequel to "A Tale of a Tub".

Series Restrictions:

Collection is open for research. Some items may be restricted due to fragile condition.

Series 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.

Series Citation:

Warshaw Collection of Business Americana Subject Categories: Whiskey, Liquor, and Spirits, Archives Center, National Museum of American History, Smithsonian Institution

Sponsor:

Funding for partial processing of the collection was supported by a grant from the Smithsonian Institution's Collections Care and Preservation Fund (CCPF).

See more items in:

Warshaw Collection of Business Americana Subject Categories: Whiskey, Liquor, and Spirits

Warshaw Collection of Business Americana Subject Categories: Whiskey, Liquor, and Spirits / Subject

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8dba9bb64-8757-42d4-8644-3c34fe6eebcc

EDAN-URL:

ead_component:sova-nmah-ac-0060-s01-01-whiskey-ref92

Series Creator:

Warshaw, Isadore, 1900-1969  Search this

Container:

Box SUPP 23, Folder 7

Type:

Archival materials

Date:

1893

undated

Scope and Contents:

A color print book illustration of a Chelsea pensioner. A memo with form on verso regarding case testimonies from the US Department of the Interior, Bureau of Pensions (1893).

Series Restrictions:

Collection is open for research. Some items may be restricted due to fragile condition.

Series 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.

Series Citation:

Warshaw Collection of Business Americana Subject Categories: Pensions, Archives Center, National Museum of American History, Smithsonian Institution

Sponsor:

Funding for partial processing of the collection was supported by a grant from the Smithsonian Institution's Collections Care and Preservation Fund (CCPF).

See more items in:

Warshaw Collection of Business Americana Subject Categories: Pensions

Warshaw Collection of Business Americana Subject Categories: Pensions / Information and Trade Literature

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8c4e8e71c-9d8f-42cd-870d-2007990602f9

EDAN-URL:

ead_component:sova-nmah-ac-0060-s01-01-pensions-ref11

Series Creator:

Warshaw, Isadore, 1900-1969  Search this

Container:

Box SUPP 36, Folder 7

Type:

Archival materials

Date:

undated

Scope and Contents:

Tickets, trade cards, map, book illustrations, and business correspondence.

Series Restrictions:

Collection is open for research. Some items may be restricted due to fragile condition.

Series 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.

Series Citation:

Warshaw Collection of Business Americana Geographical Categories: France, Archives Center, National Museum of American History, Smithsonian Institution

Sponsor:

Funding for partial processing of the collection was supported by a grant from the Smithsonian Institution's Collections Care and Preservation Fund (CCPF).

See more items in:

Warshaw Collection of Business Americana Geographical Categories: France

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8b21d81b8-6ba8-4814-832d-aeedebdcf70b

EDAN-URL:

ead_component:sova-nmah-ac-0060-s01-02-france-ref16

Artist:

Rethi, Lili, 1894-1969  Search this

Extent:

8 Cubic feet (21 boxes, 8 map folders)

Type:

Collection descriptions

Archival materials

Bookplates

Books

Christmas cards

Drawings

Newspaper clippings

Photographs

Transcripts

Watercolor drawings

Date:

1918-1969

Summary:

Papers document artist and illustrator Lili Réthi who was best known for her drawings of industrial subjects such as bridges, construction scenes and mines.

Scope and Contents:

Drawings, sketches, watercolors, biographical material, photographs, printed material, correspondence and books relating to the career of artist and illustrator Lili Réthi. The bulk of the collection consists of originals and copies of Réthi's drawings and sketches for various projects in Europe and the United States.

Arrangement:

The collection is arranged into five series.

Series 1: Biographical Materials, 1928-1968

Series 2: Projects, 1918-1969

Series 3: Exhibits, 1940-1943, 1965

Series 4: Portraits, 1919-1965

Series 5: Illustrated Books, 1916-1969

Biographical / Historical:

Lilly (Lili) Maria Réthi (1894-1969) was born in Vienna, Austria to Leopold Réthi (1857-1924), a professor of medicine and Marie née Mauther (1863-1955). Réthi had one sister, Elizabeth "Elsie" (1889-1970). Lili attended the Viennese Kunstschule für Frauen und Mädchen (The Art School for Women and Girls), established in 1897. The school existed until 1945, but it closed to Jewish women artists in 1938, when the school was subordinated to the municipality of Vienna and used to inculcate Nazi ideology. (Ben-Eli, 1999). Réthi learned to sketch the human form at the Vienna Anatomical Institute—training, no doubt, that her physician father encouraged. This training, which sharpened her sense of form and function, helped her later when drawing complicated machinery and illustrating Victor Hecht's book, Leitfaden der Physikalisch-Therapeutischen, (Guide to Physical Therapy, 1916). Réthi became fascinated with construction at a young age. "When I was a little girl in Vienna, I used to take walks and watch men building houses. I was fascinated by the men working as well as the excitement of watching the building grow." (Constructor, December 1967, page 25) Her burgeoning interest would grow, and she became one of the best-known illustrators of engineering, construction, and industrial sites. She was named a Royal Society of Art Fellow in 1961.

During the inter-war years (1918-1939) Réthi interrupted her academic studies to work across Europe, illustrating sites in Austria, Belgium, Czechoslovakia, Denmark, France, Germany, the Netherlands, and Switzerland. The bulk of her work captured coal mines, coal yards, factories, chemical plants, blast furnaces, iron foundries, shipyards, steel production, buildings, aircraft, and bridges.

In 1929, Réthi moved to Berlin where she worked recording engineering projects and was an illustrator for the magazine "Der Bücherkreis" (Book Circle). She illustrated many of the "Dortmunder Union" activities during this period. The Union, a vertically integrated mining group (mining and iron and steel production), was founded in 1872 and was located in the Ruhr area of Germany. This work for the Union resulted in an exhibition in Berlin at the Verein Deutscher Ingenieure (1931) and "Wien- Berlin: Das Gesicht zwei Städte" (Vienna and Berlin: The Face of Two Cities") (1932); at the World Power Conference in Stockholm (1933); and the Technical Museum of Vienna (1934). While in the Ruhr, Rethi documented workers, elevating their significance as subjects in their own right. She recorded the working conditions, many of which depicted harsh and dangerous physical labor. Her published work Germinal (1924) highlighted, through seven lithographs, the terrible conditions in French mines. Her work with the Union provided exposure and elevated her growing artistic status, especially with the Third Reich. With war imminent in Europe, the erosion of her personal rights as a Jewish woman, and a commission invitation by Hermann Göring to create propaganda images for the Nazi Regime, she left for England, never to return to her homeland in Austria.

Her portfolio of work is immense and while she primarily focused on engineering, industrial and construction sites, trade publications, industry magazines and newspapers, she branched into other areas. She illustrated the German version of Upton Sinclair´s Letters to Judd, an American Workingman (Briefe an einen Arbeiter, Leipzig- Wien, 1932) and was widely published in Austrian, Danish and German newspapers such as Aften-Avisen, Bergland Wien, Børsen, Der Welt Spiegel, Beitbilder, and VDI Nachrichten. Later projects included books, primarily for children, commissions to sketch churches, portraits of individuals, illustrated book plates, pamphlets, and Christmas cards. Catholic entities such as St. John the Divine and the Capuchin Friars in New York, also sought her services to sketch church interiors and illustrate brochures. And, in 1950, Réthi sketched the interior renovation (1948-1952) of the White House during the Truman Administration.

The Illustrated London News hired Réthi in 1937 to sketch the coronation of King George. While in England, she also created sketches for a booklet issued by the London, North Eastern Railway (L.N.E.R.) posters for the London, Midland and Scottish Railway (L.M.S.) and the General Post Office (GPO): Post Office Motor Transport Depot (1937); the Post Office Underground Mail Train (1935); and LMS Crewe Works, Building Coronation Class Engine (1937). The Illustrated London News sent her to the 1939 New York World's Fair where her introduction and love of New York City was launched. Réthi arrived in the United States on March 23, 1939, and became a citizen in 1944.

In the United States, Réthi continued illustrating engineering and construction activities, many of which were major post war projects. Réthi was attracted to the great industrial scene of 1940s America, and New York City provided a fertile location for most of her projects. The first public showing of her work in the United States was at the Architectural League of New York (1940) and her "American Industry at War" exhibit was held at the Metropolitan Museum of Art (1943). She documented some of the most significant projects in North America such as the New York City Pavilion at the World's Fair (1964), the United Nations Building (1949), the Pan Am Building (1962), Pennsylvania Station (1965), and the World Trade Center (1967-1968).

She had commissions from Surveyer, Nenniger & Chênevert (an engineering and construction firm that used her images on company Christmas cards), Sperry Gyroscope Company, U.S. Tobacco Company, Turner Construction, Walsh Construction, Atlas Steel Plant, Bliss Manufacturing, George A. Fuller Company, Standard Chemicals, and the United States Pipe and Foundry Company, to name a few.

Réthi also worked with several book publishers, especially, McGraw-Hill and Harcourt Brace. She illustrated over 40 books, many for children. Her work also appeared on the covers of many trade publications and magazines such as Pencil Points, Service, Factory, Product Engineering, and the Journal of the American Society of Automotive Engineers. Réthi was one of a few, if not the only female artist who devoted her career to portraying engineering works.

Related Materials:

Materials at the Smithsonian Institution

Archives Center, National Museum of American History

Division of Mechanical and Civil Engineering Bridges Reference Collection, NMAH.AC.1577

Contains negatives and prints of drawings for the Verranzo-Narrows Bridge, New York, New York

Smithsonian Instituton Archives

Records, circa 1948-1988

Contains documentation about a Lili Réthi exhibit, 1964-1965, curated by the then Museum of the History of Technology.

Archives of American Art

Associated American Artists Records, circa 1934-1983

Includes three file folders in the Series: Artists Files about Lili Réthi.

Materials at Other Organizations

Hagley Museum and Library

Sperry Gyroscope Company Division photographs and films (1986-273)

Contains Lili Réthi graphic arts, 1943, consisting of 24 reproductions.

Provenance:

The collection was bequeathed by Lili Réthi to the United States National Museum (now known as the National Museum of American History) through Herbert G. Fenison in 1971.

Restrictions:

Collection is open for research. Unprotected photographs must be handled with gloves.

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.

Occupation:

Artists  Search this

Book illustrators  Search this

Illustrators  Search this

Topic:

Bridges  Search this

Buildings  Search this

Construction  Search this

Construction and civil engineering  Search this

Engineering -- 20th century  Search this

Illustrated books, Children's  Search this

Women artists -- United States  Search this

Genre/Form:

Bookplates

Books -- 20th century

Christmas cards

Drawings -- 20th century

Newspaper clippings

Photographs -- Black-and-white photoprints -- Silver gelatin -- 19th-20th century

Transcripts -- 20th century

Watercolor drawings

Citation:

Lili Réthi Papers, Archives Center, National Museum of American History.

Identifier:

NMAH.AC.0749

See more items in:

Lili Réthi Papers

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep876ee6154-c5e2-4c2f-a217-9c4044b6a002

EDAN-URL:

ead_collection:sova-nmah-ac-0749

Collection Creator:

Cinque Gallery  Search this

Container:

Box 1, Folder 16

Type:

Archival materials

Date:

1986-2007

Collection Restrictions:

This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.

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:

Cinque Gallery records, 1959-2010. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the digitization of this collection was provided by the Roy Lichtenstein Foundation.

See more items in:

Cinque Gallery records

Cinque Gallery records / Series 2: Artists' Files

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw952982fd6-8f98-4329-97d5-f1d2757ce572

EDAN-URL:

ead_component:sova-aaa-cinqgall2-ref572

Collection Creator:

White, Charles, 1918-1979  Search this

Container:

Box 6, Folder 45

Type:

Archival materials

Date:

1963-1964

Scope and Contents:

Relates to illustrations for Freedom Soldiers and Four Took Freedom.

Collection Restrictions:

This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References 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:

Charles W. White papers, 1933-1987. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Henry Luce Foundation. Funding for the digitization was provided by the Roy Lichtenstein Foundation and the Alice L. Walton Foundation.

See more items in:

Charles W. White papers

Charles W. White papers / Series 4: Professional Activities / 4.3: Projects and Commissions

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw93cb0f230-dfe3-494e-bf19-0ce215357631

EDAN-URL:

ead_component:sova-aaa-whitchar-ref261

Collection Creator:

White, Charles, 1918-1979  Search this

Container:

Box 6, Folder 46

Type:

Archival materials

Date:

1964-1967

Collection Restrictions:

This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References 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:

Charles W. White papers, 1933-1987. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Henry Luce Foundation. Funding for the digitization was provided by the Roy Lichtenstein Foundation and the Alice L. Walton Foundation.

See more items in:

Charles W. White papers

Charles W. White papers / Series 4: Professional Activities / 4.3: Projects and Commissions

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9127d77b2-b99f-4a6c-9c6b-b48cb2f0b662

EDAN-URL:

ead_component:sova-aaa-whitchar-ref773

Collection Creator:

Tanner, Henry Ossawa, 1859-1937  Search this

Container:

Box 1, Folder 1

Type:

Archival materials

Date:

circa 1905, 1925, 1937

Collection Restrictions:

The collection has been digitized and is available online via AAA's website.

Collection Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Collection Citation:

Henry Ossawa Tanner papers, 1860s-1978 (bulk 1890-1937). Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art.

See more items in:

Henry Ossawa Tanner papers

Henry Ossawa Tanner papers / Series 1: Biographical Material

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw94a9a6c59-231e-4dc3-b870-56922983022a

EDAN-URL:

ead_component:sova-aaa-tannhenr-ref16

Creator:

Bearden, Romare, 1911-1988  Search this

Names:

Alston, Charles Henry, 1907-1977  Search this

Holty, Carl, 1900-1973  Search this

Lawrence, Jacob, 1917-2000  Search this

Middleton, Samuel M., 1927-  Search this

Reinhardt, Ad, 1913-1967  Search this

Extent:

2.1 Linear feet

Type:

Collection descriptions

Archival materials

Drawings

Sketches

Exhibition catalogs

Maps

Photographs

Date:

1937-1982

Summary:

The papers of Romare Bearden measure 2.1 linear feet and date from 1937 to 1982. The collection includes biographical information, correspondence, writings by and about Bearden, miscellaneous legal and financial material, photographs, drawings, and printed material. Found are numerous letters referring to African-American arts movements of the 1960s and 1970s, including exhibitions, publications, associations, and scattered letters of a more personal nature.

Scope and Contents:

The papers of Romare Bearden measure 2.1 linear feet and date from 1937 to 1982. The collection includes biographical information, correspondence, writings by and about Bearden, miscellaneous legal and financial material, photographs, drawings, and printed material.

Correspondence is with family, friends, artists, galleries, museums, publishers, universities, arts associations, and colleagues, primarily concerning gallery space, exhibitions, sales of artwork, publishing, and arts events. Also found are numerous letters referring to African-American art movements of the 1960s and 1970s, including exhibitions, publications, associations, and scattered letters of a more personal nature. Many of the letters are illustrated with Bearden's doodlings and drawings. Although most of the letters are from galleries, museums, publishers, and arts associations, scattered letters from Charles Alston, Jacob Lawrence, Ad Reinhardt, Carl Holty, and Sam Middleton are found. In addition, there are letters from the Black Academy of Arts and Letters, and letters concerning its founding.

Writings by Bearden include lectures, speeches, talks, essays, and prose. Many are handwritten, annotated, and edited in Bearden's hand and several are illustrated with Bearden's doodlings and sketches. Included are a memorial delivered upon artist Carl Holty's death, a tribute to Zell Ingram, autobiographical essays, essays on art, and African-American art, artists, and cultural life. Also found are several handwritten examples of Bearden's prose and poetry. There are also writings by others and one folder of fragments and notes assumed to be by Bearden.

The collection houses two folders of photographs and snapshots of Bearden, family members, other unidentified artists or friends, classes and/or lectures, and works of art. Also found are several undated ink drawings, sketches in pencil and ink, and a hand-drawn and colored map with overlay of Paris. Printed material includes examples of Bearden's commissioned artwork for publications, press releases, exhibition catalogs and announcements, invitations, newspaper and magazine clippings, and miscellaneous printed materials. Although much of the printed material concerns Bearden's work, a fair portion concerns African-American art, artists, and cultural movements.

Arrangement:

The collection is arranged into seven series based on type of materials. Documents within each of the seven series have been arranged in chronological order, except for the writings which have been further subdivided by creator and are undated. Printed materials have been arranged primarily according to form of material and are in rough chronological order.

Missing Title

Series 1: Biographical, 1977, undated (Box 1; 1 folder)

Series 2: Correspondence, 1944-1981, undated (Box 1-2; 0.8 linear feet)

Series 3: Writings By and About Bearden, circa 1950s-1980s (Box 3; 6 folders)

Series 4: Legal and Financial Material, 1970-1977 (Box 3; 3 folders)

Series 5: Photographs, undated (Box 3; 2 folders)

Series 6: Drawings, undated (Box 3, OV 6; 4 folders)

Series 7: Printed Material, 1937-1982 (Box 3-5; 1 linear foot)

Biographical / Historical:

Born in Mecklenburg County, North Carolina, in 1914, Bearden's family relocated to New York City when Bearden was a toddler. Living in Harlem during the Harlem Renaissance of the 1920s, Bearden was exposed to such luminaries as writer Langston Hughes, painter Aaron Douglas, and musician Duke Ellington. While attending New York University, Bearden became interested in cartooning and became the art editor of the NYU Medley in his senior year. He received his B.S. in mathematics in 1935, initially planning to pursue medical school. Realizing that he had little interest in the other sciences however, Bearden began attending classes at the Art Students League in the evenings, studying under George Grosz.

In the mid-1930s Bearden published numerous political cartoons in journals and newspapers, including the Afro-American, but by the end of the decade, he shifted his emphasis to painting. Bearden's first paintings, on large sheets of brown paper, recalled his early memories of the South. After serving in the Army, Bearden began exhibiting more frequently, particularly in Washington, D.C. at the G Street Gallery and in New York with Samuel Kootz.

During a career lasting almost half a century, Bearden produced approximately two thousand works. Although best known for the collages of urban and southern scenes that he first experimented with in the mid-1960s, Bearden also completed paintings, drawings, monotypes, edition prints, public murals, record album jackets, magazine and book illustrations, and costume and set designs for theater and ballet. His work focused on religious subjects, African-American culture, jazz clubs and brothels, and history and literature. Not confining his abilities to the visual arts, Bearden also devoted attention to writing and song writing. Several of his collaborations were published as sheet music, among the most famous of which is "Seabreeze," recorded by Billy Eckstine. In addition, Bearden coauthored three full-length books: The Painter's Mind: A Study of the Relations of Structure and Space in Painting (1969) with painter Carl Holty; Six Black Masters of American Art (1972); and A History of African-American Artists: From 1792 to the Present (posthumously, 1993), the latter two with journalist Harry Henderson.

Bearden was also active in the African-American arts movement of the period, serving as art director of the Harlem Cultural Council, a founding member of the Black Academy of Arts and Letters, and organizer of exhibitions, such as the Metropolitan Museum's "Harlem on My Mind" (1968). Romare Bearden died in 1988.

Related Materials:

Within the Archives holdings are two oral history interviews with Romare Bearden. One was conducted in 1968 by Henri Ghent and another in 1980 by Avis Berman.

Separated Materials:

The Archives of American Art also holds microfilm of material lent for microfilming (reel N68-87) including correspondence, a scrapbook, photographs, catalogs, clippings, and writings. Except for the correspondence, loaned materials were returned to the donor and are not described in the collection container inventory.

Provenance:

Romare Bearden lent material for microfilming to the Archives of American Art in 1968, donating the correspondence. Bearden also gave additional papers between 1977 and 1983.

Restrictions:

The bulk of the collection has been digitized and is available online via AAA's website. Use of material not digitized 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:

Painters -- New York (State) -- New York  Search this

Collagists -- New York (State) -- New York  Search this

Topic:

African American artists  Search this

Works of art  Search this

Painting  Search this

Genre/Form:

Drawings

Sketches

Exhibition catalogs

Maps -- Paris (France)

Photographs

Citation:

Romare Bearden papers, 1937-1982. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the digitization of this collection was provided by the Terra Foundation for American Art

Identifier:

AAA.bearroma

See more items in:

Romare Bearden papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9ed3f5b60-2e93-4f30-af75-dbd95d060a90

EDAN-URL:

ead_collection:sova-aaa-bearroma

Collection Creator:

Bearden, Romare, 1911-1988  Search this

Container:

Box 1, Folder 3

Type:

Archival materials

Date:

1944-1950

Collection Restrictions:

The bulk of the collection has been digitized and is available online via AAA's website. Use of material not digitized 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:

Romare Bearden papers, 1937-1982. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the digitization of this collection was provided by the Terra Foundation for American Art

See more items in:

Romare Bearden papers

Romare Bearden papers / Series 2: Correspondence

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9d89639f8-98b7-4184-bf98-b5fe06385005

EDAN-URL:

ead_component:sova-aaa-bearroma-ref20

Collection Creator:

Bearden, Romare, 1911-1988  Search this

Container:

Box 3, Folder 1

Type:

Archival materials

Date:

circa 1950s-1980s

Collection Restrictions:

The bulk of the collection has been digitized and is available online via AAA's website. Use of material not digitized 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:

Romare Bearden papers, 1937-1982. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the digitization of this collection was provided by the Terra Foundation for American Art

See more items in:

Romare Bearden papers

Romare Bearden papers / Series 3: Writings By and About Bearden

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw984260456-cf84-4c08-af0d-3d00fcccacd8

EDAN-URL:

ead_component:sova-aaa-bearroma-ref24

Collection Creator:

Bearden, Romare, 1911-1988  Search this

Container:

Box 3, Folder 3

Type:

Archival materials

Date:

circa 1950s-1980s

Collection Restrictions:

The bulk of the collection has been digitized and is available online via AAA's website. Use of material not digitized 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:

Romare Bearden papers, 1937-1982. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the digitization of this collection was provided by the Terra Foundation for American Art

See more items in:

Romare Bearden papers

Romare Bearden papers / Series 3: Writings By and About Bearden

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw95ccc76dc-2aa7-4a82-8368-eedfb5e93ae9

EDAN-URL:

ead_component:sova-aaa-bearroma-ref25