The quest for longitude : the proceedings of the Longitude Symposium, Harvard University, Cambridge, Massachusetts, November 4-6, 1993 / edited by William J.H. Andrewes
Author:
Longitude Symposium (1993 : Harvard University) Search this
United States. Work Projects Administration Search this
United States. Works Progress Administration Search this
Extent:
1 Microfilm reel
Type:
Collection descriptions
Archival materials
Microfilm reels
Date:
1937
Scope and Contents:
Correspondence and a catalog regarding an exhibition: Federal Art Project, Works Progress Administration -Index of American Design Exhibition, held January 27-February 10, 1937.
Biographical / Historical:
The Index of American Design was a project of the research division of the Federal Art Project of the Works Progress Administration which produced approximately 20,000 reproductions (photographs and original drawings) and classifications of a wide variety of American art, paintings, sculptures, handicrafts, and folk art.
Provenance:
Lent for microfilming1964 by the Fogg Art Museum of Harvard University.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
0.2 Linear feet (ca. 1000 items (on 4 microfilm reels))
Type:
Collection descriptions
Archival materials
Sketchbooks
Date:
1802-1904
Scope and Contents:
Correspondence; diaries; lists of paintings, bills, and receipts; sketchbook and sketches; clippings; tintype photograph; and printed material.
REEL 266: Pages from a scrapbook containing 14 sketches by Champney, clippings from a Lady's Home Companion, a tintype photograph of Champney and fellow painter Francis Davis Millet, and printed regulations for the 1876 Centennial Exhibition in Philadelphia.
Biographical / Historical:
Painter and illustrator; New York, N.Y. Born in Boston, Mass. Genre painter of rural scences and country home life. Studied with Edouard Frere and at the Antwerp Academy, 1868. Exhibited at the Paris Salon, 1869.
Other Title:
Art Research of Cambridge papers (microfilm title)
Related Materials:
Also in the Archives is microfilm of Champney papers held in other repositories, including correspondence; diaries, 1861, 1865, 1866; lists of paintings, bills, and receipts (reels 121-122); and a sketchbook containing primarily figure studies and portraits in black and blue pencil and pen and ink (reel 3766). Some sketches are notated, several are dated, and one is signed "Champ" - therefore attributing the work to Champney who signed his early work in this manner. [Microfilm title: Art Research of Cambridge papers]
Provenance:
Scrapbook on reel 266 purchased by AAA from the Corcoran Gallery of Art 1959. Reels 121-122 were lent for microfilming 1971 by the Forbes Library, Northhampton, Mass. Sketchbook on reel 3766 lent for microfilming 1986 by Art Research of Cambridge, a firm specializing in consulting and research on 18th and 19th century American painting. The firm's owners, George Haich and Nicholas Kimer, purchased the sketchbook at auction.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
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:
Jaime Davidovich papers, 1949-2014. Archives of American Art, Smithsonian Institution.
Sponsor:
The processing and digitization of this collection received Federal support from the Latino Initiatives Pool, administered by the Smithsonian Latino Center. Additional funding for the digitization of the papers was provided by the Roy Lichtenstein Foundation.
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:
Jaime Davidovich papers, 1949-2014. Archives of American Art, Smithsonian Institution.
Sponsor:
The processing and digitization of this collection received Federal support from the Latino Initiatives Pool, administered by the Smithsonian Latino Center. Additional funding for the digitization of the papers was provided by the Roy Lichtenstein Foundation.
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:
Jaime Davidovich papers, 1949-2014. Archives of American Art, Smithsonian Institution.
Sponsor:
The processing and digitization of this collection received Federal support from the Latino Initiatives Pool, administered by the Smithsonian Latino Center. Additional funding for the digitization of the papers was provided by the Roy Lichtenstein Foundation.
Sketchbooks and sketches, photographs, letters, price lists, a scrapbook, and printed material relating primarily to Lamb's exhibitions.
The ca. 25 letters to Lamb, 1921-1976, are mainly from friends regarding her exhibitions. Also included are letters from Celia Thaxter to Lamb's brother, Horace, 1888-1892. The scrapbook (photocopy) contains newspaper clippings and exhibition announcements, 1931-1981. Printed material, 1931-1991, consists of exhibition catalogs and announcements, and source material for paintings. Artwork, 1914-1938, includes sketchbooks (12 v.), 1914-55, including one from anatomy class at the Museum of Fine Arts, Boston School, ca. 100 sketches, designs for stained glass, and designs and templates for stencils. Ca. 40 photographs are mainly of artwork by Lamb, but also include 2 of Lamb and a portrait of Henry James done by William James.
Biographical / Historical:
Painter; Milton, Mass. Died 1989.
Provenance:
Donated 1993 by Edward Stone, executor of the Aimée Lamb estate. Stone' wife, Cassandra, is Lamb's cousin. Additons are expected.
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.
Correspondence, notes, art works, clippings, and photographs document the sculptural projects, primarily for churches, undertaken by Andrew Dreselly and his colleagues.
Correspondence (1927-1972), primarily letters exchanged with sculptors, architects, and other colleagues, concerning sculpture projects; two pages of writings, and 2 drawings (one annotated) concerning the ornamentation of the Governor's Palace in Williamsburg, Va.; eight pencil outlines for crucifixion figures will related reproductions; an outline and 2 rubbings depicting a memorial stone for Katherine Sullivan (1938); and several clippings (1929-1933).
Photographs include one, taken by his son David, of Dreselly (ca. 1981) and prints and ca. 1000 unprinted negatives (1900-ca. 1960) of Dreselly's work and that of his colleagues, including John Angel, Arcangelo Cascieri, Edgar Keen, Johann Kirchmayer, and Ernest Pellegrini. Among the projects are the Cathedral Church of St. John the Divine, St. James Cathedral, and the Riverside Baptist Church in New York City; the Governor's Palace in Williamsburg, Va.; the Washington Cathedral in Washington, D.C.; and the East Liberty Presbyterian Church in Pittsburgh, Pa.
Biographical / Historical:
Sculptor, wood carver; Cambridge, Mass. Born in Cambridge to Bavarian immigrant parents. In 1907, he was apprenticed to Johann Kirchmayer at W. F. Ross Company, becoming foreman of the woodcarving and modeling shop upon Kirchmayer's retirement in 1921. During the 1920s and 1930s, Dreselly worked, through the Ross Company, on many large church projects in New York, Washington, D.C., Pittsburgh, and Boston. Ancangelo Cascieri was Dreselly's apprentice. In 1943, Dreselly moved to the Schwamb Company and from 1948 until his retirement in 1967, he was head of carving and modeling at Irving & Casson.
Provenance:
Donated 1981 by Andrew Dreselly; a photograph of Dreselly was donated 1985 by his son, David Dreselly.
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.
Paperback book containing cartoons, jokes, anecdotes, and humorous poetry. 73 pages plus advertising material in the back. Cover image, a lithograph printed in color, shows a man with a moustache and top hat, apparently telling a joke to another man, who is laughing uproariously. Lithograph credited to "Johns & Co. Lith. Cleveland, O." (lower right). Note: although the title suggests that the jokes in the book are suitable for traveling salesmen to tell each other, the jokes are not necessarily about salesmen. Line cartoons are scattered throughout the text.
Local Numbers:
AC0060-0000904.tif (AC Scan No.)
Publication:
New York, N.Y., Excelsior Publishing House,, 1886
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.
Correspondence, files, notes, writings, photographs, slides, art work, and printed material.
Included are personal and professional correspondence; files of correspondence, arranged alphabetically; subject files; teaching files, containing notes on a variety of topics, including English painting and design; photographs of Feild and others, and of students in classroom activities; lecture notes for "The Disney Talk," 1938; miscellaneous writings; sketchbooks; drawings of shells; a student's report, with photographs, based on the study of the conch shell; typed annual reports of Newcomb College; a report on the Feild coat of arms; and printed material, including catalogs, clippings, a book by Feild, The Art of Walt Disney, and a copy photograph of Feild with Walt Disney and Leopold Stokowski; and 2 v. of Industrial Arts Magazine, 1936.
Biographical / Historical:
Art historian, painter, educator; New Orleans, La. and Cambridge, Mass. Known as Robin Feild. Born in England of American parents. Taught at Harvard, ca. 1934-1941, where Arthur Pope was his principal mentor, and Edward Warburg was a pupil. Pioneered in the teaching of film. Went to Hollywood in 1949; wrote THE ART OF WALT DISNEY. Involved in trying to form a teachers' union at Harvard, ca. 1940, which cost Feild, Meyer Shapiro, and other faculty members their jobs. Dean, Sophie Newcomb Art School at Tulane University, ca. 1942-1950; removed from the deanship by Logan Wilson, a conservative president, but Feild refused to resign and stayed until his retirement. Returned to Cambridge, Mass. where W.G. Constable and Fritz Pappenheim became his good friends.
Provenance:
Donated in 1993 by Barry O'Connell, a friend of Feild. Feild designated him his intellectual heir before his death. At Feild's death O'Connell stored his papers, memorabilia, and works of art, and Mrs. Feild retained formal ownership of the material. After the death of Mrs. Feild, O'Connell received the material. The photograph of Feild with Disney and Stokowski donated 1994 by Kristin O'Connell, wife of Barry O'Connell.
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.
