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Marta Adams Papers

Creator:
Adams, Marta  Search this
Names:
Galerie Günther Franke  Search this
Instituto Nacional de Bellas Artes (Mexico)  Search this
Taller de Gráfica Popular (Mexico City, Mexico)  Search this
Galecio, Galo, 1908-1993  Search this
Guerrero, Xavier, 1896-  Search this
Jodorowsky, Raquel  Search this
Kuhn, Charles L. (Charles Louis), 1901-  Search this
Kuhn, Hetty  Search this
Kulmala, Kay  Search this
Méndez, Leopoldo, 1902-1969  Search this
Orozco, José Clemente, 1883-1949  Search this
Posada, José Guadalupe, 1852-1913  Search this
Swetzoff, Seymour  Search this
Toneyama, Kōjin, 1921-  Search this
Zalce, Alfredo, 1908-2003  Search this
Extent:
4.2 Linear feet
Type:
Collection descriptions
Archival materials
Photograph albums
Photographs
Scrapbooks
Sketches
Date:
circa 1914-circa 1991
Summary:
The papers of sculptor, painter, and writer Marta Adams measure 4.2 linear feet, and date from circa 1914 to circa 1991. In 1935, Adams made her first visit to Mexico, and began spending more time there than in the United States. There, she met Diego Rivera who stimulated her interest in oil painting. In 1952 she moved to Mexico permanently. Found within are biographical materials, correspondence, writings and notes, legal and estate papers, printed materials, photographic material, one mixed-media scrapbook, and artwork, including three portfolios of lithographs, 30 Grabados de Galo Galecio,1946, containing 30 engraving prints by Galecio and Estampas de la Revolucion Mexicana, 1947, containing 85 engraving prints by 16 artists of the Taller de Gracia Popular, and Drawings: Seymour Swetzoff, 1949.
Scope and Contents:
The papers of sculptor, painter, and writer Marta Adams measure 4.2 linear feet, and date from circa 1914 to circa 1991. Found within are biographical materials, correspondence, writings and notes, legal and estate papers, printed materials, photographic material, one mixed-media scrapbook, and artwork, including three portfolios of lithographs, 30 Grabados de Galo Galecio,1946, containing 30 engraving prints by Galecio and Estampas de la Revolucion Mexicana, 1947, containing 85 engraving prints by 16 artists of the Taller de Gracia Popular, and Drawings: Seymour Swetzoff, 1949. .

Biographical material includes address books, curriculum vitaes, a passport, awards and certificates, and immigration materials.

Correspondence comprises the bulk of the collection and is primarily personal in nature. Most of the correspondence is between Marta and her daughter Kay Kulmala, though there are several files of a blend of personal and professional correspondence to and from others. Additional correspondents include other family members and friends, as well as the Galerie Günther Franke and Instituto Nacional de Bellas Artes. Notable correspondents include Charles L. and Hetty Kuhn, Raquel Jodorowsky, and Kojin Toneyama, among others.

Writings include drafts and manuscripts by Adams, of poetry and children's stories, as well as notes for an unpublished autobiography. Also found are writings about Adams by others.

After Marta Adam's death, her daughter, Kay Kulmala, dealt with her estate by conducting inventories, discussing exhibitions, and facilitating auctions of Adam's artwork, documented via legal and estate papers found within the collection.

Printed materials include clippings, exhibition announcements and catalogs,

Photographs are of the artist, friends and family, and artwork. Also included are two family photograph albums. One scrapbook contains letters, notes, drawings, and photographs, and appears to have been created by friends and peers for Adams.

Artwork includes Christmas card designs, sketches and illustrations, and mixed media collages by Marta Adams. Also included are works by others including a signed lithograph by Leopoldo Méndez, and prints by Xavier Guerrero, José Clemente Orozco, Jose Guadalupe Posada, and Alfredo Zalce. There are three limited editions of portfolios of lithographs, 30 Grabados de Galo Galecio,1946, containing 30 engraving prints by Galecio, Estampas de la Revolucion Mexicana, 1947, containing 85 engraving prints by 16 artists of the Taller de Grafica Popular, and Drawings: Seymour Swetzoff, 1949.
Arrangement:
This collection is arranged as 8 series.

Series 1: Biographical Material, circa 1918-circa 1980 (0.2 linear feet; Box 1, Box 6)

Series 2: Correpsondence, circa 1929-circa 1978 (1.8 linear feet; Boxes 1-2)

Series 3: Writings and Notes, circa 1914-circa 1978 (0.1 linear feet; Box 3)

Series 4: Legal and Estate Papers, circa 1963-circa 1991 (0.3 linear feet; Box 3)

Series 5: Printed Materials, circa 1940s-circa 1988 (0.7 linear feet; Box 3)

Series 6: Photographic Material, circa 1916-circa 1980s (0.7 linear feet; Boxes 3-6)

Series 7: Scrapbook, circa 1963-circa 1964 (1 folder; Box 5)

Series 8: Artwork, circa 1920s-circa 1978 (0.4 linear feet; Boxes 5-6, OV 7)
Biographical / Historical:
Marta Adams (1891 or 1893-1978) was a painter, sculptor, and writer, active in Boston, Massachusetts and Mexico.

Born in Germany in 1891 or 1893, Marta Arnstem immigrated to Massachusetts around 1915, and married Edward Brinley Adams in 1916 who died in 1922. She apprenticed with sculptor Hans Stangl in Munich during the winter of 1925. Before moving back to Cambridge in 1933, Adams showed drawings and sculpture at the Günther Galerie in Munich, and was part of a social circle that included cartoonist Otto Nückl, writer A. M. Frey, and painter Karl Zerbe, among others. Animals were her favorite subject used in most of her artwork, though she also included flowers, and had a series on open-heart surgery. In 1935, Adams made her first visit to Mexico, and began spending more time there than in the United States. There, she met Diego Rivera who stimulated her interest in oil painting. In 1952 she moved to Mexico permanently. She exhibited with the Boris Mirski Gallery in Boston, and had numerous exhibitions in Mexico.
Provenance:
The bulk of Marta Adams papers were donated to the Archives in 1992 by the estate of Katherine Adams Kulmala (Adams's daughter) via Jonathan Strong, executor. In 1992, a sketch and a section of a watercolor were donated to the Archives by Phyllis Hughes, who purchased the artwork at an auction held at the Concord Art Association in Massachusetts.
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.
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:
Animal sculptors -- Massachusetts  Search this
Animal sculptors -- Mexico  Search this
Painters -- Mexico  Search this
Sculptors -- Mexico  Search this
Authors -- Mexico  Search this
Topic:
Painters -- Massachusetts -- Boston  Search this
Latino and Latin American artists  Search this
Prints, Mexican  Search this
Sculptors -- Massachusetts -- Boston  Search this
Authors -- Massachusetts  Search this
Women artists  Search this
Genre/Form:
Photograph albums
Photographs
Scrapbooks
Sketches
Citation:
Marta Adams papers, circa 1914-circa 1991. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.adammart
See more items in:
Marta Adams Papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-adammart

Fred Werner collection of Lyonel Feininger sketches, 1889-1890

Creator:
Werner, Fred  Search this
Werner, Fred  Search this
Subject:
Feininger, Lyonel  Search this
Topic:
Expressionism (Art)  Search this
Graphic arts -- Germany  Search this
Graphic arts -- United States  Search this
Painting, Modern -- 20th century -- Germany  Search this
Painting, Modern -- 20th century -- United States  Search this
Cartooning -- United States  Search this
Cartooning -- Germany  Search this
Record number:
(DSI-AAA_CollID)13645
(DSI-AAA_SIRISBib)272837
AAA_collcode_wernfred
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_272837

Oral history interview with Fritz Eichenberg, 1964 December 3

Interviewee:
Eichenberg, Fritz, 1901-1990  Search this
Eichenberg, Fritz, 1901-1990  Search this
Interviewer:
Phillips, Harlan B. (Harlan Buddington),, 1920-  Search this
Subject:
Grosz, George  Search this
New Deal and the Arts Oral History Project  Search this
Type:
Sound recordings
Interviews
Topic:
Art and state  Search this
Federal aid to the arts  Search this
Illustrators -- Rhode Island -- Interviews  Search this
Printmakers -- Rhode Island -- Interviews  Search this
Theme:
New Deal  Search this
Record number:
(DSI-AAA_CollID)12479
(DSI-AAA_SIRISBib)213440
AAA_collcode_eichen64
Theme:
New Deal
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_213440

Lyonel Feininger letter, 1939 Apr. 3

Creator:
Feininger, Lyonel, 1871-1956  Search this
Feininger, Lyonel, 1871-1956  Search this
Subject:
Neumeyer, Alfred  Search this
Topic:
Expressionism (Art)  Search this
Painting, Modern -- 20th century -- New York (State) -- New York  Search this
Theme:
American Art and Artists in a Global Context  Search this
Record number:
(DSI-AAA_CollID)10252
(DSI-AAA_SIRISBib)213371
AAA_collcode_feinlyon1
Theme:
American Art and Artists in a Global Context
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_213371

Letters to Beatrice Lippincott (Garvan) from Lyonel and Julia Feininger, 1951-1952

Creator:
Garvan, Beatrice B., 1929-  Search this
Feininger, Julia  Search this
Garvan, Beatrice B., 1929-  Search this
Subject:
Feininger, Lyonel  Search this
Topic:
Painting  Search this
Painting -- Collectors and collecting  Search this
Art -- Collectors and collecting  Search this
Theme:
Women  Search this
Lives of American Artists  Search this
Record number:
(DSI-AAA_CollID)10731
(DSI-AAA_SIRISBib)214340
AAA_collcode_garvbeat
Theme:
Women
Lives of American Artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_214340

H. Francis Kortheuer collection of Lyonel Feininger letters, sketches, and clippings, 1887-1944

Creator:
Kortheuer, H. Francis  Search this
Feininger, Lyonel, 1871-1956  Search this
Kortheuer, H. Francis  Search this
Topic:
Expressionism (Art)  Search this
Graphic arts -- Germany  Search this
Graphic arts -- United States  Search this
Painting, Modern -- 20th century -- Germany  Search this
Painting, Modern -- 20th century -- United States  Search this
Cartooning -- United States  Search this
Cartooning -- Germany  Search this
Record number:
(DSI-AAA_CollID)13644
(DSI-AAA_SIRISBib)272835
AAA_collcode_korth
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_272835

Walt Kuhn Family papers and Armory Show records

Creator:
Kuhn, Walt, 1877-1949  Search this
Names:
Armory Show (1913: New York, N.Y.)  Search this
Association of American Painters and Sculptors (New York, N.Y.)  Search this
International Exhibition of Modern Art  Search this
Kit Kat Club (New York, N.Y.)  Search this
Penguin Club (New York, N.Y.)  Search this
Davies, Arthur B. (Arthur Bowen), 1862-1928  Search this
Kuhn, Brenda, 1911-  Search this
Kuhn, Vera, d. 1961  Search this
Oldfield, Otis, 1890-1969  Search this
Pach, Walter, 1883-1958  Search this
Quinn, John, 1870-1924  Search this
Sheeler, Charles, 1883-1965  Search this
Photographer:
Rainford, Percy  Search this
Weston, Edward, 1886-1958  Search this
Extent:
31 Linear feet
Type:
Collection descriptions
Archival materials
Drawings
Diaries
Scrapbooks
Sound recordings
Date:
1859-1984
bulk 1900-1949
Summary:
The Walt Kuhn Family papers and Armory Show records measure 31 linear feet and date from 1859 to 1984, with the bulk of material dating from 1900 to 1949. Papers contain records of the legendary Armory Show of 1913, also known as the International Exhibition of Modern Art, which introduced modern European painting and sculpture to the American public. Papers also contain records of the Association of American Painters and Sculptors (AAPS), the artist-run organization that mounted the Armory Show; records of the New York artists' clubs the Kit Kat Club (founded 1881) and the Penguin Club (founded 1917); and the personal and family papers of New York artist Walt Kuhn (1877-1949), one of the primary organizers of the Armory Show.
Scope and Contents note:
The Walt Kuhn Family papers and Armory Show records measure 31 linear feet and date from 1859 to 1984, with the bulk of material dating from 1900 to 1949. Papers contain records of the legendary Armory Show of 1913, also known as the International Exhibition of Modern Art, which introduced modern European painting and sculpture to the American public. Papers also contain records of the Association of American Painters and Sculptors (AAPS), the artist-run organization that mounted the Armory Show; records of the New York artists' clubs the Kit Kat Club (founded 1881) and the Penguin Club (founded 1917); and the personal and family papers of New York artist Walt Kuhn (1877-1949), one of the primary organizers of the Armory Show.

As Secretary for the AAPS, Kuhn retained the bulk of existing records of that organization and of the Armory Show. Minutes and correspondence make up most of the AAPS records (Series 2), as well as documents related to John Quinn's legal brief against a tariff on imported works of living artists. Armory Show Records (Series 1) include personal letters, voluminous business correspondence, a record book, miscellaneous notes, inventories and shipping records, two large scrapbooks, printed materials, a small number of photographs, and retrospective accounts of the show. The printed materials and photographs in Kit Kat Club and Penguin Club Records reflect Kuhn's deep involvement in those clubs.

The Walt Kuhn Family Papers (Series 4) contain records of his artwork, career, travels, personal and professional associations, family members, and work in vaudeville, film, and interior design. Notable among the family papers are illustrated letters and other cartoons; sketches, drawings, watercolors, and prints; candid letters from Walt to Vera Kuhn discussing art scene politics and personalities in New York, Paris, Chicago, Los Angeles, San Francisco, Florida, and the Midwest; general correspondence with artists, dealers, collectors, journalists, writers, models, and fans; notes in index card files containing biographical anecdotes of the Kuhns' many contacts; provenance files that document the origin and fate of Kuhn's paintings, sculptures, and prints; papers relating to Kuhn's exhibitions and his relationships with the Marie Harriman Gallery and Durand-Ruel Gallery; and photographs and drawings depicting Kuhn's early years in Munich, Germany and Fort Lee, New Jersey; trips to Nova Scotia, New England, the Western United States, and Europe; New York and summer studios, among other subjects.
Arrangement:
This collection has been arranged into 4 series, with multiple subseries in Series 1 and 4.

Series 1: Armory Show Records, 1912-1963 (Boxes 1-2, 27-31, 56, OV 36; 3.6 linear feet)

Series 2: Association of American Painters and Sculptors (AAPS) Records, 1911-1914, undated (Box 3; 0.2 linear feet)

Series 3: Kit Kat Club and Penguin Club Records, 1909-1923, undated (Box 3, 32, 56, OVs 37-38; 0.5 linear feet)

Series 4: Walt Kuhn Family Papers, 1859-1984, undated (Box 3-26, 32-35, 56-57, OVs 39-55, 58; 26.7 linear feet)

In general, documents are arranged chronologically, alphabetically, or by type of material. Copy negatives and copy prints made from documents in this collection have been filed separately from originals, in a folder marked "copy." Duplicates of original records made or obtained by the Kuhns have been filed separately as well.

Existing envelopes are filed in front of correspondence and enclosures directly after. Correspondence in the Armory Show Records and AAPS Records is arranged alphabetically, and correspondents are listed in the box inventory following series descriptions below.
Biographical/Historical note:
Walt Kuhn (1877-1949) was an etcher, lithographer, and watercolorist, as well as being a teacher, an advisor to art collectors, an organizer, and a promoter of modern art. He played a key role in the art scene of New York City in the early 20th century, and was among the small group that organized the infamous Armory Show of 1913, officially known as the International Exhibition of Modern Art, held at the 69th Regiment Armory building in New York City. After the Armory Show, Kuhn went on to a distinguished career as a painter. He was best known for his sober oil portraits of show people, clowns, acrobats, and circus performers, but was equally prolific in landscapes, still lifes, and figure and genre drawings.

Walt Kuhn was born in Brooklyn, NY in 1877. After a brief career as a bicycle shop owner in downtown Brooklyn, Kuhn traveled West in 1899 to San Francisco, CA and earned his living as a cartoonist for newspapers such as Wasp. After two years in California, he moved back East and then on to Europe to pursue further art training. He briefly attended the Académie Colarossi studio in Paris, but quickly moved to Munich where he joined the class of Heinrich von Zügel in the Royal Academy.

Kuhn returned to New York City in 1904 and took up an active role in the art scene there, participating in the Salmagundi Club and the Kit Kat Club, teaching at the New York School of Art, and cartooning for Life, Judge, Puck, and other publications. In 1910, he participated in an exhibition of Independent Artists on 35th St. with Robert Henri and met artist Arthur B. Davies.

In 1911, when the National Academy of Design opened their annual exhibition, Kuhn, Henry Fitch Taylor, Elmer MacRae, and Jerome Myers were exhibiting at Clara Potter Davidge's Madison Gallery. To these four young artists, the Academy exhibition was typically lackluster, and the attention it received was unwarranted. Sensing that they were not alone in their attitude, they decided to organize. They invited a dozen other artists to join them, thus forming the Association of American Painters and Sculptors (AAPS). The group elected Kuhn Secretary and Arthur B. Davies President, and with the help of attorney and art collector John Quinn, they incorporated and began raising funds for an independent exhibition the following year.

In September of 1912, at Davies' suggestion, Kuhn traveled to Cologne, Germany to view the Sonderbund Internationale Kunst-Austellung. There he saw presented, in overwhelming volume, the work of his European contemporaries and their modern antecedents, the post-impressionists. He immediately began selecting and securing artwork for the upcoming AAPS exhibition. Kuhn traveled through Germany, Holland, France, and England, visiting private collectors, dealers, and artists. In Paris, Kuhn was joined by Davies and American artist and art agent Walter Pach. Kuhn and Davies sailed for New York in November, leaving the details of European arrangements to Pach.

The resulting Armory Show exhibition opened in New York in February 1913, and a selection of the foreign works traveled to Chicago and Boston in March and April. It included approximately 1300 American and European works of art, arranged in the exhibition space to advance the notion that the roots of modernism could be seen in the works of the old masters, from which the dramatically new art of living artists had evolved. Savvy and sensational publicity, combined with strategic word-of-mouth, resulted in attendance figures over 200,000 and over $44 thousand in sales. The Armory Show had demonstrated that modern art had a place in the public taste, that there was a market for it and legitimate critical support as well.

During the first World War, Kuhn stayed in NY and was active in the Kit Kat Club, an artists' club founded in 1881, which provided its members with collective studio space, live models, exhibitions, and an annual costume ball. In 1917, Kuhn founded another group called the Penguin Club, which had similar objectives to the Kit Kat Club, but with Kuhn himself as the gatekeeper. In addition to exhibitions and costume balls, the Penguin Club held summer outings and stag dinners, and maintained collective studio and exhibition space on East 15th Street in Manhattan. Its members included Americans and European artists displaced by the war in Europe. In the 1920s, Kuhn expanded a few sketches he had written for Penguin Balls into full-blown vaudeville productions, some of which were incorporated into larger musical revues such as The Merry Go Round and The 49ers and traveled around the country. Kuhn's theater work continued until 1928, and his fascination with show business continued to influence him throughout his life.

In the 1920s and 1930s, Kuhn gradually achieved recognition for his artwork, with sales to private collectors and dealers including Edith Halpert, Merritt Cutler, Lillie Bliss, John Quinn, and Marie Harriman. Kuhn also promoted other young painters whose work he liked, including Otis Oldfield, Lily Emmet Cushing, John Laurent, Frank di Gioia, and the self-taught Vermont artist Patsy Santo. Sometimes artists would contact him by mail, asking for lessons or advice. His lengthy letters to students offer coaching in technique and subject matter, as well as in the overall problem of success in art.

In 1929, Kuhn moved into the 18th St. studio that he would keep until the end of his life. He kept a rack of costumes in the studio, mostly made by Vera Kuhn, and his models, many of them stage and circus performers, would come and sit for Kuhn's portraits. The same year his painting The White Clown was exhibited at the newly established Museum of Modern Art in New York, bringing intense publicity and sales interest. Around this time, Kuhn began to receive the support of collector Duncan Phillips and curator Juliana Force of the Whitney Museum of American Art, both of whom made purchases and consistently exhibited his work.

Marie Norton Whitney Harriman, second wife of railroad magnate and diplomat W. Averell Harriman, shared a professional liaison with Kuhn that would take many forms and last until his death. Soon after the success of The White Clown, Kuhn established a relationship with the Marie Harriman Gallery, where he participated in group and solo shows during the height of his career. Kuhn also traveled with the Harrimans to Europe in 1931, where the three visited important private collections and acquired many valuable modern paintings for the Harrimans. Their collection, so heavily influenced by Kuhn's ideas about art, would eventually go to the National Gallery of Art.

Kuhn was an artist who understood the art business and never shied away from it. For Kuhn, promoting the ideas and practitioners of a certain brand of modernism was an expression of both aesthetic ideology and pragmatic self-interest. His contribution to the public discourse on modernism situated his own work at the heart of art history and the marketplace. Regardless of his motivations, he was indisputably a key player at a pivotal time in American art, when academic art was riotoulsy overturned to make way for modernism. His paintings are now held in major museum collections around the country, where most of them arrived with bequests from the collectors Kuhn had cultivated so carefully in his lifetime.

Sources consulted for this biography include The Story of the Armory Show (1988) by Milton W. Brown, Walt Kuhn, Painter: His Life and Work (1978) by Philip Rhys Adams, and "Walt Kuhn" by Frank Getlein, in the 1967 catalog of the Kennedy Galleries, Inc.
Related Archival Materials note:
The Archives of American Art holds the papers of Walter Pach, the European representative of the Armory Show.
Provenance:
The Walt Kuhn Family papers and Armory Show records were loaned for microfilming and later donated to the Archives of American Art by Walt Kuhn's daughter Brenda Kuhn in several installments between 1962 and 1979. An additional accession of letters, photographs, and an artifact was purchased by the Archives in 2000. Another addition was donated by Terry DeLapp, Kuhn's dealer, in 2015.
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.
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:
Etchers -- New York (State) -- New York  Search this
Watercolorists -- New York (State) -- New York  Search this
Lithographers -- New York (State) -- New York  Search this
Topic:
Art -- Societies, etc. -- New York (State) -- New York  Search this
New York school of art  Search this
Modernism (Art)  Search this
Genre/Form:
Drawings
Diaries
Scrapbooks
Sound recordings
Citation:
Walt Kuhn Family papers and Armory Show records, 1859-1984. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.kuhnwalt
See more items in:
Walt Kuhn Family papers and Armory Show records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-kuhnwalt
Online Media:

Lyonel Feininger letter

Creator:
Feininger, Lyonel, 1871-1956  Search this
Names:
Neumeyer, Alfred, 1901-1973  Search this
Extent:
1 Item ((on 1 microfilm reel))
Type:
Collection descriptions
Archival materials
Date:
1939 Apr. 3
Scope and Contents:
Letter to Alfred Neumeyer informing him that he (Feininger) has received a commission to paint a mural for the New York World's Fair; that his son, Lux Feininger, has received a mural commission for a Long Island hotel; and asking Neumeyer if he has received the watercolors sent to him. He also mentions that "my MILL IN SPRING is now hanging."
Biographical / Historical:
Painter, printmaker, cartoonist; New York, N.Y. and Berlin, Germany. Was active in the movement known as German Expressionism. Born in the United States and moved to Germany. Was known as one of the masters of the Bauhaus.
Provenance:
Provenance unknown.
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.
Occupation:
Painters -- Austria  Search this
Painters -- France  Search this
Painters -- United States  Search this
Topic:
Expressionism (Art)  Search this
Painting, Modern -- 20th century -- New York (State) -- New York  Search this
Identifier:
AAA.feinlyon1
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-feinlyon1

Letters to Beatrice Lippincott (Garvan) from Lyonel and Julia Feininger

Creator:
Garvan, Beatrice B.  Search this
Feininger, Julia  Search this
Names:
Feininger, Lyonel, 1871-1956  Search this
Feininger, Lyonel, 1871-1956 -- Cathedral  Search this
Extent:
3 Items ((on partial microfilm reel))
Type:
Collection descriptions
Archival materials
Date:
1951-1952
Scope and Contents:
A letter from Julia Feininger, 1951 Sept. 17, and one from Lyonel Feininger, 1952 Apr. 29 (illustrated with a woodcut), discussing the history of the Feininger painting, "The Cathedral," in response to queries from the purchaser, Beatrice Lippincott (later Beatrice Garvan). Enclosed in the 1951 letter is a photograph of the painting, with a short history by Feininger on the back. An additional photograph of the painting is also included.
Biographical / Historical:
Painter, printmaker, cartoonist; New York, N.Y. and Berlin, Germany.
Provenance:
Donated 1991 by Beatrice Lippincott Garvan.
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.
Occupation:
Painters  Search this
Topic:
Painting  Search this
Painting -- Collectors and collecting  Search this
Art -- Collectors and collecting  Search this
Identifier:
AAA.garvbeat
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-garvbeat

Alfred Vance Churchill papers regarding Lyonel Feininger

Creator:
Churchill, Alfred Vance, 1864-1949  Search this
Names:
Feininger, Lyonel, 1871-1956  Search this
Extent:
0.9 Linear feet
Type:
Collection descriptions
Archival materials
Sketches
Photographs
Scrapbooks
Date:
1888-1944
Summary:
This small collection of Alfred Vance Churchill papers regarding Lyonel Feininger measures 0.9 linear feet and dates from 1888 to 1944. Found here are 36 letters from Feininger, a painter and illustrator, to his friend Churchill and a scrapbook compiled by Churchill containing 117 sketches by Feininger, a photograph of Feininger, clippings, and 47 sketches and reproductions by Churchill. There are also additional loose clippings, an exhibition catalog, and three photographs of Feininger.
Scope and Content Note:
This small collection of Alfred Vance Churchill papers regarding Lyonel Feininger measures 0.9 linear feet and dates from 1888 to 1944. Found here are 36 long and detailed letters from Feininger, a painter and illustrator, to his friend Alfred Churchill (many letters from 1890 are illustrated), and a scrapbook compiled by Churchill containing 117 sketches by Feininger, a photograph of Feininger, clippings, and 47 sketches and reproductions by Churchill. There are also additional loose clippings and magazines, an exhibition catalog, three photographs of Feininger and one of his children.
Arrangement:
The collection is arranged into 4 series:

Series 1: Letters to Alfred Churchill, 1890-1920 (Box 1; 5 folders)

Series 2: Printed Material, 1895-1898, 1917-1944 (Box 1; 6 folders)

Series 3: Scrapbook of Artwork, 1888-1913 (Box 1-3; 0.5 linear feet)

Series 4: Photographs, circa 1890, 1911, 1926 (Box 1; 2 folders)
Biographical Note:
Lyonel Feininger (1871-1956), also known as Léonell Feininger, was born in New York City in 1871 to German violinist Karl Feininger and American singer Elizabeth Feininger. He spent his childhood in New York City and became interested in art at a young age. Although born in New York, Lyonel Feininger lived and worked mostly in Germany.

In 1887 Feininger's parents took him to Germany to study violin, but he began taking drawing classes at the Hamburg Kunstgewerbeschule (College of Arts and Crafts) and subsequently moved to Berlin to study art at the Königliche Akademie under Ernst Hancke. During this time he met and befriended a fellow art student, Alfred Vance Churchill, who later became an art historian and curator. They would exchange letters and artwork for many years. For a brief time Feininger studied at the College St. Servais in Liège and with Filippo Colarossi in Paris, but returned to Berlin to study at the Akademie der Kunste with Karl Schlabitz.

Feininger's career as cartoonist started in 1894. He was working for several German, French and American magazines and illustrated two comic strips "The Kin-der-Kids" and "Wee Willie Winkie's World" for the Chicago Tribune. During this period he married Clara Fürst and they had two daughters, Lore and Marianne. He also exhibited drawings at the annual Berlin Secession and the Great Berlin Art Exhibition.

Feininger separated from his wife after starting an affair with Julia Borg. He and Julia traveled to Paris where he became greatly influenced by the French avant-garde. When they returned to Berlin in 1908, he gave up illustration in favor of painting. He and Julia were then married and they had three sons, Andreas, Laurence, and Theodore Lux.

Feininger became a member of the Berlin Secession and exhibited his paintings, primarily landscapes inspired by French cubism. Around 1912, Feininger became affiliated with the German expressionist groups Die Brücke and Der Blaue Reiter, and the Novembergruppe in 1918, where he met Walter Gropius. When Gropius established the Bauhaus in Weimar, Germany in 1919, Feininger became the master artist in charge of the printmaking workshop. He taught there and continued to develop his painting, and in 1925 he formed the Blue Four with Alexei Jawlensky, Paul Klee, and Vasily Kandinsky. When the Bauhaus moved to Dessau in 1926 he became an artist-in-residence and stayed there until it closed in 1933.

After the Nazi's declared Feininger's work "degenerate" in 1937, he moved to California where he taught at Mills College. He settled permanently in New York and had great success exhibiting his work in the United States, which culminated in a joint retrospective in 1944 with Marsden Hartley. Lyonel Feininger died in 1956 at the age of 84.
Related Material:
The Archives of American Art also has several collections related to Lyonel Feininger, including Letters to Beatrice Lippincott (Garvan) from Lyonel and Julia Feininger available on microfilm reel 4909, and a 1939 letter from Feininger to Alfred Neumeyer, available on reel 2804. The archives also has additional collections of loaned papers available only on microfilm: Lyonel Feininger papers loaned for microfilming by Feininger's friend, H. Francis Kortheuer and available on reel D5 and D29, and Sketches by Feininger loaned for microfilming by Fred Werner and available on reel D5.

The most complete Lyonel Feininger Archive, donated by the Feininger family, is located at Harvard University. The Alfred Vance Churchill papers, 1828-1948, are located at Smith College Archives.
Separated Material:
The Alfred Vance Churchill papers regarding Lyonel Feininger included approximately 23 photographs of works of art by Feininger. These items were removed from the collection upon receipt and added to Photographs of Works of Art, Collection One, and microfilmed on reel 468.
Provenance:
The collection was donated in 1956 by Mrs. Alfred (Marie) Churchill.
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 -- Germany  Search this
Cartoonists -- Germany  Search this
Topic:
Graphic arts -- Germany  Search this
Graphic artists -- United States  Search this
Cartooning -- United States  Search this
Graphic arts -- United States  Search this
Cartooning -- Germany  Search this
Expressionism (Art)  Search this
Painting, Modern -- 20th century -- United States  Search this
Painting, Modern -- 20th century -- Germany  Search this
Printmakers -- Germany  Search this
Genre/Form:
Sketches
Photographs
Scrapbooks
Citation:
Alfred Vance Churchill papers regarding Lyonel Feininger, 1888-1944. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.churalfr
See more items in:
Alfred Vance Churchill papers regarding Lyonel Feininger
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-churalfr
Online Media:

Oral history interview with Fritz Eichenberg

Interviewee:
Eichenberg, Fritz, 1901-1990  Search this
Interviewer:
Phillips, Harlan B. (Harlan Buddington), 1920-  Search this
Creator:
New Deal and the Arts Oral History Project  Search this
Names:
New Deal and the Arts Oral History Project  Search this
Grosz, George, 1893-1959  Search this
Extent:
24 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1964 December 3
Scope and Contents:
An interview of Fritz Eichenberg conducted by Harlan Phillips on 1964 December 3 for the Archives of American Art's New Deal and the Arts Oral History Project.
Eichenberg speaks of the development of his interest in the graphic arts; his education at the Academy of Graphic Arts in Leipzig, Germany; working for a magazine as a political cartoonist and drawing anti-Nazi cartoons; coming to the United States; working for the Federal Art Project; the effect of the FAP on his career and life; and political problems with federal support for the arts. He recalls George Grosz.
Biographical / Historical:
Fritz Eichenberg (1901-1990) was an illustrator and printmaker from Rhode Island.
General:
Originally recorded on 1 sound tape reel. Reformatted in 2010 as 1 digital wav file. Duration is 1 hr., 29 min.
Provenance:
This interview conducted as part of the Archives of American Art's New Deal and the Arts project, which includes over 400 interviews of artists, administrators, historians, and others involved with the federal government's art programs and the activities of the Farm Security Administration in the 1930s and early 1940s.
Restrictions:
This transcript is open for research. Access to the entire recording is restricted. Contact Reference Services for more information.
Topic:
Art and state  Search this
Federal aid to the arts  Search this
Illustrators -- Rhode Island -- Interviews  Search this
Printmakers -- Rhode Island -- Interviews  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.eichen64
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-eichen64

Fred Werner collection of Lyonel Feininger sketches

Creator:
Werner, Fred  Search this
Names:
Feininger, Lyonel, 1871-1956  Search this
Extent:
1 Item (partial microfilm reel)
Type:
Collection descriptions
Archival materials
Date:
1889-1890
Scope and Contents:
Eight sketches by Feininger for "A Ship of 49" and "Dante's Inferno." Also filmed is a letter from Werner to Dr. Ernst Scheyer discussing the sketches. This letter and another from Werner to Scheyer are in the Ernst Scheyer papers.
Biographical / Historical:
Feininger: painter, printmaker, cartoonist; New York, N.Y. and Berlin, Germany. Was active in the movement known as German Expressionism. Born in the United States and moved to Germany. Was known as one of the masters of the Bauhaus.
Related Materials:
Lyonel Feininger papers also located at: Busch-Reisinger Museum of Germanic Culture, Harvard Universtiy, Cambridge, Mass.
Provenance:
Lent for microfilming 1959 by Feininger's friend, Fred Werner, via art historian Ernst Scheyer, who used the material in his biography of Feininger.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Occupation:
Cartoonists -- Germany  Search this
Graphic artists -- United States  Search this
Painters -- Germany  Search this
Printmakers -- Germany  Search this
Topic:
Expressionism (Art)  Search this
Graphic arts -- Germany  Search this
Graphic arts -- United States  Search this
Painting, Modern -- 20th century -- Germany  Search this
Painting, Modern -- 20th century -- United States  Search this
Cartooning -- United States  Search this
Cartooning -- Germany  Search this
Identifier:
AAA.wernfred
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-wernfred

H. Francis Kortheuer collection of Lyonel Feininger letters, sketches, and clippings

Creator:
Kortheuer, H. Francis  Search this
Feininger, Lyonel, 1871-1956  Search this
Extent:
1 Item (partial microfilm reel)
Type:
Collection descriptions
Archival materials
Date:
1887-1944
Scope and Contents:
Letters and postcards, many illustrated, from Lyonel Feininger to his good friend H. Francis Kortheuer, and a scrapbook kept by Kortheuer containing Feininger letters, drawings, photographs, and clippings of published cartoons from assorted German publications.
Biographical / Historical:
H. Francis Kortheuer was a longtime friend of Lyonel Feininger (1871-1956), d. 1959. Feininger was a painter, printmaker, cartoonist; New York, N.Y. and Berlin, Germany, born in the United States and moved to Germany. He was known as one of the masters of the Bauhaus.
Related Materials:
Lyonel Feininger papers also located at: Busch-Reisinger Museum of Germanic Culture, Harvard Universtiy, Cambridge, Mass.
Provenance:
Lent for microfilming 1959 by Feininger's friend, H. Francis Kortheuer and his son, Dayrell Kortheuer, via art historians Ernst Scheyer and Hans Hess, both biographers of Feininger.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Occupation:
Cartoonists -- Germany  Search this
Graphic artists -- United States  Search this
Painters -- Germany  Search this
Printmakers -- Germany  Search this
Topic:
Expressionism (Art)  Search this
Graphic arts -- Germany  Search this
Graphic arts -- United States  Search this
Painting, Modern -- 20th century -- Germany  Search this
Painting, Modern -- 20th century -- United States  Search this
Cartooning -- United States  Search this
Cartooning -- Germany  Search this
Identifier:
AAA.korth
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-korth

Joseph W. Keppler, Jr. collection of negatives and photographs

Creator:
Keppler, Udo J., 1872-1956  Search this
Museum of the American Indian, Heye Foundation  Search this
Fly, C. S. (Camillus Sidney), 1849-1901  Search this
Extent:
79 Photographic prints (black and white)
129 Negatives (photographic) (black and white)
Culture:
Seneca  Search this
Cayuga  Search this
Oneida  Search this
Onondaga  Search this
Tuscarora  Search this
Kiowa  Search this
Chiricahua Apache  Search this
Type:
Collection descriptions
Archival materials
Photographic prints
Negatives (photographic)
Black-and-white negatives
Photographs
Place:
Cattaraugus Indian Reservation (N.Y.)
Date:
1870-1947
Summary:
Images depict the Seneca Iroquois Indians on the Cattaraugus Reservation in New York.
Scope and Contents:
The Keppler collection consists primarily of informal portraits of Seneca men and women made in 1900, 1904, 1905, 1908 and 1910. Keppler made most of these photographs on the Cattaraugus Reservation (including a photograph of Edward Cornplanter's Indian and Minstrel show) but also on the Tonawanda, Onondaga, and Allegany Reservations. Aside from the portraits, the photographs depict Seneca dwellings and ceremonials. Also by Keppler is a group of photographs depicting Seneca and Cayuga athletes playing lacrosse and standing for a group portrait. These he made in 1902 at the Crescent Athletic Club in New York City. In New York State, he also photographed Oneida, Onondaga, and Tuscarora individuals. The collection includes several potraits of Keppler and approximately 15 photographs dated ca. 1937 of the interior of Keppler's home. The latter showcase Keppler's American Indian object collection. He also made portraits of Native sitters in his home. There are several photographs in the collection that Keppler did not make. Among them is an 1886 print by Camillus S. Fly entitled "Council between General Crook and Geronimo," and studio portrait made before 1870 of a group of Kiowa sitters, including Lone Wolf and his wife, and full-length studio portrait of a Shoshone or Bannock man dating ca. 1870. Some of the negatives are later copy negatives.
Arrangement note:
Negatives Arranged by negative number (N18567-N18589, N21231-N21314, N21803-N21806, N23071, N23087, N23089, N23091, N23093, N23095-N23096, N23106-N23114, N34852, N36800-N36801, N37887)

Prints Arranged by print number (P00277, P01535-P01536, P01622, P01625, P01652, P01737-P01738, P02640, P10029, P12499-P12518, P13246-P13247, P13252-P13253, P13256, P13258, P13756, P16081, P16084, P16111, P16112, P16114, P25274-P25295, P37581)
Biographical/Historical note:
Udo J. Keppler, who changed his name to Joseph W. Keppler, Jr. in honor of his father, was a political cartoonist for Puck Magazine and an avid collector of Indian artifacts, as well as being an Indian activist. This interest led him to an association with George G. Heye, director of the Museum of the American Indian. Keppler often acted as an intermediary between other collectors and Native artisans, facilitating the expansion of the Iroquois collection of the Museum of the American Indian and others. He was elected honorary chief of the Seneca in 1899 and given the name Gy-ant-wa-ka.
Biographical / Historical:
Born Udo J. Keppler, Joseph W. Keppler (1872-1956), or "Kep," was the son of Joseph Keppler, the great political cartoonist and founder and publisher of the popular and highly influential magazine, Puck. The younger Keppler was born in St. Louis, Missouri and educated in Munich, Germany and New York City. Like his father, he too was a political cartoonist. He became the art director at Puck and, when his father died in 1894, took over as publisher. Joseph W. Keppler ran the magazine until he sold it in 1914. The younger Keppler's two great interests in life were said to be Puck and American Indians. Evidently, Keppler's deep interest in Indians and Indian affairs developed out of his desire to collect Indian objects and his friendship with Mrs. Harriet Maxwell Converse, an early advocate for Native rights. Through Converse, Keppler built friendships with Iroquois living on reservations in New York State and Canada, but especially with Senecas living on the Cattaraugus and Tonawanda reservations in New York. At Converse's funeral in 1903, the 31-year-old Keppler was adopted by the Seneca Nation and made a member of the Wolf Clan. Like Converse, Keppler served as an advocate for Senecas. Most importantly, he worked to help defeat or modify plans to allot Iroquois reservations in New York State. Keppler became a major collector of American Indian objects and his passion to collect led to an association with George G. Heye. In 1901, Heye apparently accompanied Keppler to the Seneca and Cattaraugus Reservations; this trip might have been Heye's first to a Native community. From 1927 to 1942, Keppler served on the Museum of the American Indian, Heye Foundation board of trustrees and for a time was also the Museum's vice president. In 1944, Keppler and his (second) wife Vera left New York and moved to California. Keppler died in La Jolla, California, at the age of 84.
Restrictions:
Access is by appointment only, Monday - Friday, 9:30 am - 4:30 pm. Please contact the archives to make an appointment.
Rights:
Restricted: Cultural Sensitivity
Genre/Form:
Photographic prints
Black-and-white negatives
Photographs
Citation:
Joseph W. Keppler, Jr. collction of negatives and photographs, National Museum of the American Indian Archives, Smithsonian Institution (negative, slide or catalog number).
Identifier:
NMAI.AC.001.016
Archival Repository:
National Museum of the American Indian
EDAN-URL:
ead_collection:sova-nmai-ac-001-016

Joseph Keppler

Collection Creator:
Museum of the American Indian, Heye Foundation  Search this
Collection Collector:
Johnson, Frederick, 1904-1994  Search this
Churchill, Frank C. (Frank Carroll), 1850-1912  Search this
Davis, Edward H., b. 1862  Search this
Churchill, Clara G.  Search this
Harrington, M. R. (Mark Raymond), 1882-1971  Search this
Harvey, Byron  Search this
Emmons, George Thornton  Search this
Gridley, Marion E. (Marion Eleanor), 1906-1974  Search this
Wildschut, William  Search this
Stiles, William F., 1912-1980  Search this
Verrill, A. Hyatt (Alpheus Hyatt), 1871-1954  Search this
Skinner, Alanson, 1886-1925  Search this
Waterman, T. T. (Thomas Talbot), 1885-1936  Search this
Harvey, Fred  Search this
Keppler, Udo J., 1872-1956  Search this
Lothrop, S. K. (Samuel Kirkland), 1892-1965  Search this
Barrett, S. A. (Samuel Alfred), 1879-1965  Search this
Pepper, George H. (George Hubbard), 1873-1924  Search this
Speck, Frank G. (Frank Gouldsmith), 1881-1950  Search this
Hodge, Frederick Webb, 1864-1956  Search this
Collection Director:
Dockstader, Frederick J.  Search this
Heye, George G. (George Gustav), 1874-1957  Search this
Collection Source:
Force, Roland W.  Search this
Burnett, Edwin K.  Search this
Type:
Archival materials
Biographical / Historical:
April 12, 1872 --July 4, 1956 Joseph W. Keppler (1872-1956) or "Kep," was the son of Joseph Keppler, the great political cartoonist and founder and publisher of the popular and highly influential magazine, Puck. The younger Keppler was born in St. Louis, Missouri and educated in Munich, Germany and New York City. Like his father, he too was a political cartoonist. He became the art director at Puck and, when his father died in 1894, took over as publisher. Joseph W. Keppler ran the magazine until he sold it in 1914. The younger Keppler's two great interests in life were said to be Puck and American Indians. Evidently, Keppler's deep interest in Indians and Indian affairs developed out of his desire to collect Indian relics—and his friendship with Mrs. Harriet Maxwell Converse, an early advocate for native rights. Through Converse, Keppler built friendships with Iroquois living on reservations in New York State and Canada, but especially with Senecas living on the Cattaraugus and Tonawanda reservations in New York. At Converse's funeral in 1903, the 31-year-old Keppler was adopted by the Seneca Nation and made a member of the Wolf Clan. Like Converse, Keppler served as an advocate for Senecas. Most importantly, he worked to help defeat or modify plans to allot Iroquois reservations in New York State.

Overtime, Keppler became a major collector of American Indian objects and his passion to collect led to an association with George G. Heye. Keppler served as a trustee and also vice-president of the Museum of the American Indian—Heye Foundation. He became a trustee in 1927 and resigned from the board in 1942. In 1944 Keppler and his (second) wife Vera left New York and moved to California. Keppler died in La Jolla, California at the age of 84.
Collection 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).
Collection Rights:
Single photocopies may be made for research purposes. Permission to publish or broadcast materials from the collection must be requested from the National Museum of the American Indian Archive Center. Please submit a written request to nmaiarchives@si.edu.
Collection Citation:
Identification of specific item; Date (if known); Museum of the American Indian/Heye Foundation Records, Box and Folder Number; National Museum of the American Indian Archive Center, Smithsonian Institution.
See more items in:
Museum of the American Indian/Heye Foundation records
Museum of the American Indian/Heye Foundation records / Series 6: Collectors
Archival Repository:
National Museum of the American Indian
EDAN-URL:
ead_component:sova-nmai-ac-001-ref15755

Rainier Beer Can

Measurements:
overall: 12.2 cm x 6.5 cm; 4 13/16 in x 2 9/16 in
Object Name:
Beer Can
Credit Line:
Bequest of Walter and Josephine Landor
ID Number:
1993.0393.013
Accession number:
1993.0393
Catalog number:
1993.0393.013
Data Source:
National Museum of American History
GUID:
http://n2t.net/ark:/65665/ng49ca746ab-b5ae-704b-e053-15f76fa0b4fa
EDAN-URL:
edanmdm:nmah_1297496

Rainier Beer Can

Measurements:
overall: 12.2 cm x 6.9 cm; 4 13/16 in x 2 11/16 in
Object Name:
Beer Can
Credit Line:
Bequest of Walter and Josephine Landor
ID Number:
1993.0393.014
Accession number:
1993.0393
Catalog number:
1993.0393.014
Data Source:
National Museum of American History
GUID:
http://n2t.net/ark:/65665/ng49ca746ab-b5af-704b-e053-15f76fa0b4fa
EDAN-URL:
edanmdm:nmah_1297497

Rainier Beer Can

Measurements:
overall: 12.2 cm x 6.9 cm; 4 13/16 in x 2 11/16 in
Object Name:
Beer Can
Credit Line:
Bequest of Walter and Josephine Landor
ID Number:
1993.0393.015
Accession number:
1993.0393
Catalog number:
1993.0393.015
Data Source:
National Museum of American History
GUID:
http://n2t.net/ark:/65665/ng49ca746ab-b5b0-704b-e053-15f76fa0b4fa
EDAN-URL:
edanmdm:nmah_1297498

Rainier Beer Can

Measurements:
overall: 12.2 cm x 6.9 cm; 4 13/16 in x 2 11/16 in
Object Name:
Beer Can
Credit Line:
Bequest of Walter and Josephine Landor
ID Number:
1993.0393.016
Accession number:
1993.0393
Catalog number:
1993.0393.016
Data Source:
National Museum of American History
GUID:
http://n2t.net/ark:/65665/ng49ca746ab-b5b1-704b-e053-15f76fa0b4fa
EDAN-URL:
edanmdm:nmah_1297499

Rainier Beer Can

Measurements:
overall: 12.2 cm x 6.5 cm; 4 13/16 in x 2 9/16 in
Object Name:
Beer Can
Credit Line:
Bequest of Walter and Josephine Landor
ID Number:
1993.0393.017
Accession number:
1993.0393
Catalog number:
1993.0393.017
Data Source:
National Museum of American History
GUID:
http://n2t.net/ark:/65665/ng49ca746ab-b5b2-704b-e053-15f76fa0b4fa
EDAN-URL:
edanmdm:nmah_1297500

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