Collection documents the manufacture of both freshwater pearl and plastic buttons in Muscatine, Iowa, including at least 12 different companies from primarily 1925 to the 1960s.
Scope and Contents:
Collection documents the manufacture of both freshwater pearl and plastic buttons in Muscatine, Iowa, including at least 12 different companies. The records, primarily 1925-1960s, with a few items from 1993 production, include corporate financial records, wage and employment statistics, sales and purchase data, photographs, correspondence, catalogs, and publications. Some records document the Barry Manufacturing Company, a machine tool company which specialized in designing and producing the unique machinery needed for this industry; also background material that places the corporate records into the historical context of the button industry in Muscatine.
Arrangement:
The collection is arranged into 14 series.
Series 1: Historical and Background Materials, 1898-1990
Series 2: American Pearl Button Company, undated
Series 3: Automatic Button Company, 1937, 1965
Series 4: Barry Manufacturing Company/The Barry Company, 1890-1980
Series 5: Hawkeye Pearl Button Company, 1914-1968
Series 6: Iowa Pearl Button Company, 1955
Series 7: J & K Button Company, 1993
Series 8: McKee Button Company, 1988
Series 9: Muscatine Pearl Works, 1944-1947
Series 10: Perkins Freshwater Pearl Products, 1944-1966
Series 11: =Rhonda Button Company, 1946-1968
Series 12: Claus Schmarje Button Works, 1914-1941
Series 13: US Button Company, 1915
Series 14: Weber and Sons Button Company, 1900-1976
Biographical / Historical:
Muscatine, Iowa was the primary American manufacturing source for mother-of-pearl buttons made from Mississippi River shellfish, 1890s-1960s. During the industry's peak, there were some 53 small firms making pearl buttons in the area. In the 1930s some of these firms began experimenting with plastics as a substitute for the dwindling supply of shellfish. Several firms successfully converted to plastics and the city remains a center for plastic button manufacture today.
This unique industry drew upon natural resources to provide employment for almost an entire city (Muscatine is still known as the "Pearl City"). The mass production of low-cost buttons was crucial to the success of ready-made clothing and the development of the modern clothing trade. The industry was also involved in early work by American manufacturers to develop synthetic materials to replace increasingly scarce natural resources.
Related Materials:
Materials at the Archives Center, National Museum of American History
Industry on Parade (NMAH.AC.0507)
Reel #215, Procesing shell into button blanks, 1954. B. Schwanda and Sons, Denton, Maryland.
Provenance:
The collection was donated by Mary Alice Sessler, Weber and Sons Button Company, Bernard Hahn.,J & K Button Company (November 19, 1993); and Clarence Schmarje (November 19, 1993).
Restrictions:
Collection is open for research.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
The papers document Victor L. Ochoa, Mexican American inventor of the Ochoaplane, orinthopter (an aircraft that flies by flapping its wings), a windmill, magnetic brakes, a wrench and a reversible motor. The papers include correspondence, photographs, patents, both U.S. and foreign, drawings and typescripts for a short story, "The Making of an American," and a novel The Cycle of Life or Professor Mimo Abas: The Wise Man of the Land of Moctezuma.
Scope and Contents:
The papers document Victor Leaton Ochoa, Mexican American inventor of the Ochoaplane, orinthopter (an aircraft that flies by flapping its wings), a windmill, magnetic brakes, a wrench and a reversible motor. The papers include correspondence, photographs, patents, both United States and foreign, drawings and typescripts for a short story and a novel.
Arrangement:
The collection is arranged into seven series.
Series 1: Correspondence, 1895-1945
Series 2: Financial materials, 1911, 1912, undated
Series 3: Patent Materials, 1901-1925
Subseries 3.1: Patent Papers, 1922; 1925
Subseries 3.2: Drawings, undated
Subseries 3.3: Foreign Patents, 1901-1922
Subseries 3.4: United States Patents, 1903-1922
Series 4: Writings, undated
Series 5: Photographs, 1933, undated
Series 6: Newspaper Clippings, circa 1894-1912
Series 7: Miscellaneous Printing Blocks, undated
Biographical / Historical:
Victor Leaton Ochoa (1850-1945?) was born in Ojinaga, Mexico. Ochoa later moved to Presidio del Norte, Texas, (Presidio is on the Rio Grande River) and became a United States citizen in 1889. Ochoa was the son of Juan Ochoa, a customs collector in Presidio.
Victor Ochoa was a journalist/writer, founding (El Hispano-American andEl Correo del Bravo) ; a politician (running unsuccessfully in El Paso); a union leader founding (La Union Occidental Mexicana to help Mexicans in the United States preserve their language); a revolutionary (opposing the Mexican government of President Porfirio Díaz, the President of Mexico from 1876 to 1880 and from 1884 to 1911); a prisoner, corporate president of the International Airship Company and the Ochoa Tool and Machine Company; miner and inventor. Ochoa was bitterly opposed to the dictatorship of President Porfirio Díaz. He became involved in the fight by Mexican rebels in the early 1890s to overthrow Diaz. Some consider Ochoa to be the originator of the revolt, and Díaz ultimately issued a $50,000 reward for Ochoa, "dead or alive." Ochoa's participation in Mexican revolutionary activities led to his arrest in 1894 for supplying and hiring Mexican dissidents in El Paso, Texas, thus violating United States neutrality laws. As a result of his illegal actions, a federal warrant was issued for Ochoa's arrest. The Texas Rangers as well as the U.S. Marshal Service sought Ochoa. In October of 1894, Pecos County Sheriff A. J. Royal and Texas Ranger James W. Fulgham arrested Victor Ochoa while rounding up suspected horse thieves. Ochoa was put in the Pecos County Jail and promptly escaped. He was eventually found and returned to El Paso. Ochoa was ultimately sentenced to two years in federal prison at Kings County Penitentiary in Brooklyn. Ochoa was stripped of his United States citizenship, but it was ultimately restored by Theodore Roosevelt in 1906.
Ochoa was as committed to inventing as he was to his revolutionary ideals. He was known to reside in the New York City and the Patterson, New Jersey area in the late 1890s. Ochoa's issued patents list him at New York, New Jersey, and Texas addresses. He also worked with Watson E. Coleman, a solicitor of patents in Washington, D.C. Coleman helped Ochoa file for and obtain patents in other countries such as Czechoslovakia, France, Germany, Great Britain, Japan, Mexico, Netherlands, Poland, and Spain. Ochoa's patents include: a magnetic brake (US Patent No. 867,147); a reversible motor (US Patent No. 718,508); a rail magnetic brake (US Patent No. 873,587); a windmill (US Patent No. 1,319,174); and a wrench (US Patent No. 1,417,196 and 1,454,333).
Ochoa had a strong interest in aviation. He created the "Ochoaplane," circa 1908-1911. He designed it with an automobile in mind, and it included collapsible wings so that it could be housed in a garage or barn. He also incorporated the International Airship Company in Patterson, New Jersey, presumably to manufacture his "airships." Ochoa was imprisoned at the United States Penitentiary in Leavenworth, Kansas on February 18, 1917 and was released on May 1, 1918 upon completion of his sentence. In a September 17, 1917, letter written from Leavenworth, Ochoa asks the Naval Consulting Board to consider the use of metal wings constructed in such a manner that they fold back and over the body of the airship. Ochoa called this his fluttering wing machine. Ochoa's letter is deliberate, and he writes, "There was no desire on my part of abandoning this and three other patents that at this time went to issue. At that time I was taken sick with consumption and my struggle for life then became my sole purpose and then there arose other circumstances, over which I had no control, to prevent my taking them out."
Ochoa married Amanda Cole, granddaughter of Thomas Cole, the American painter, whose most famous painting isThe Last of the Mohicans . They had one son, Stephen Ochoa. Victor Ochoa returned to Sinaloa, Mexico, in 1936, and it is believed he died there in 1945.
Source
Romo, David Dorado. Ringside Seat to a Revolution: An Underground Cultural History of El Paso and Juarez: 1893-1923. El Paso, Texas: Cinco Puntos Press, 2005.
Related Materials:
Record Group 129, Records of the Bureau of Prisons held by the National Archives, Central Plains Division, Kansas City, Missouri (http://www.archives.gov/central-plains/kansas-city/), contains a 54 page file on Victor L. Ochoa's imprisonment.
Provenance:
This collection was donated by Elizabeth Victoria Ochoa on May 17, 1997.
Restrictions:
The collection is open for research use. Researchers must handle unprotected photographs with gloves.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Reproduction permission from Archives Center: reproduction fees may apply.
National Museum of American History (U.S.). Division of Transportation Search this
Extent:
0.5 Cubic feet (1 box)
Type:
Collection descriptions
Archival materials
Patents
Photographs
Correspondence
Clippings
Date:
1898-1957
Summary:
The papers of inventor and engineer George Eli Whitney.
Scope and Contents:
Correspondence includes handwritten letters to John H. Bacon from Whitney. Bacon apparently undertook the task of collecting documentation of Whitney's career in the 1950s. Another 30 letters involve former associates of Whitney's, particularly Nathaniel Henry Cooledge (known as "Oliver") who was associated with Whitney as his trusted foreman and assistant for 50 years and Capt. Ted Middleton. Also included are agreements, contracts and patents concerning Whitney's inventions as well as newsclippings, photoprints, etc. A lengthy questionnaire prepared by John H. Bacon was filled out by Whitney in 1955 giving information on his major inventions and projects as well as his personal life.
Arrangement:
Collection is arranged into one series.
Biographical / Historical:
Whitney (1862-1963) was an engineer and inventor who developed many applications of steam power, including bicycles, cars, and boats from 1890s-1930s. The Locomobile Company, of which Whitney was chief engineer, produced several thousand steam cars around the turn of the century. During WWI, Whitney designed the compound steam engine which powered about 300 U.S. Navy anti submarine ships. Whitney was the recipient of about 150 patents on his inventions, a number of which he sold rights to.
Provenance:
Collection donated by Edward Bacon, October 31, 1992.
Restrictions:
Collection is open for research.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
The papers of art historian and museum director Wilhelm Reinhold Valentiner measure 6.9 linear feet and date from 1853 to 1977. Found within the collection are biographical materials, including information on the Lepsius and Valentiner families; correspondence with family, friends, art collectors, and art historians; seven diaries; additional writings and notes; printed materials; three clippings scrapbooks; artwork in the form of prints and woodcuts; and photographs of Valentiner and his family and friends, including two photograph albums.
Scope and Contents:
The papers of art historian and museum director Wilhelm Reinhold Valentiner measure 6.9 linear feet and date from 1853 to 1977. Found within the collection are biographical materials, including information on the Lepsius and Valentiner families; correspondence with family, friends, art collectors, and art historians; seven diaries; additional writings and notes; printed materials; three clippings scrapbooks; artwork in the form of prints and woodcuts; and photographs of Valentiner and his family and friends, including two photograph albums.
Biographical materials include certificates, membership cards, a curriculum vitae, and genealogical information on the Valentiner and Lepsius families.
Correspondence includes letters in German from Valentiner's parents, siblings, extended family members, and his wife and daughter. General correspondence includes letters and cards in German and English from art historian mentors and peers, including Wilhelm von Bode, Cornelius Hofstede de Groot, Carl Heise, and Herman Colenbrander, as well as art collectors and friends, including John McIlhenny, Andrew Mellon, Edsel Ford, Maria Sarre, and Helen Wills Moody Roark.
Seven diaries dated 1910-1939 were written in German, some of which also contain sketches, photographs, and other enclosures. Additional writings and notes consist of autobiographical writings, numerous essays, lectures, and monographs on Italian and Dutch art and artists, and reports and lectures on exhibitions at the Metropolitan Museum of Art and the Detroit Institute of Arts. Lecture seminar notes appear to have been written while Valentiner was a student in Germany, and materials related to Arbeitsrat für Kunst date from the period after Valentiner's military service when he served as a chairman to the newly formed Working Council for the Arts, prior to his return to America in 1921.
Printed material includes bulletins, exhibition catalogs, clippings, and three clippings scrapbooks, which document Valentiner's professional career in New York and Detroit.
Photographic materials are of Wilhelm Valentiner, his immediate and extended family members, and his friends. Photos of Valentiner are from his youth, military service in Germany, and his personal and professional career in the U.S. Photographs of friends include art scholars, collectors, and family friends, including Maria Sarre, Helen Wills Moody Rorke, and Anne Morgan, the daughter of Pierpoint Morgan. There are also a handful of reproductions of artwork used as scholarly references in his writings. The two photo albums focus on Valentiner's family and friends from his youth in Germany, and Valentiner with family members later in his life.
Artwork in the collection consists of prints from a page in a German book, a bookplate, and two woodcuts by unidentified artists.
Arrangement:
The collection is arranged as 8 series.
Missing Title
Series 1: Biographical Materials, 1853-1976 (8 folders; Box 1)
Series 2: Correspondence, 1860-1974 (3.4 linear feet; Box 1-4)
Series 3: Diaries, 1910-1939 (7 folders; Box 3)
Series 4: Writings and Notes, 1890-1970 (1.7 linear feet; Box 4-6, 9)
Series 5: Printed Material, 1915-1977 (0.2 linear feet; Box 6)
Series 6: Scrapbooks, 1908-1933 (0.4 linear feet; Box 6, 9)
Series 7: Photographic Materials, 1840-1970 (0.8 linear feet; Box 6-8)
Series 8: Artwork, 1890-1960 (3 folders; Box 8)
Biographical / Historical:
Art historian and museum director Wilhelm Reinhold Valentiner (1880-1958) lived in New York City, N.Y., Detroit, Michigan, and Raleigh, North Carolina and was known for his leadership and collection development during his tenure at the Metropolitan Museum of Art and the Detroit Institute of Arts.
Valentiner was born in Karlsruhe, Germany to Karl Wilhelm Valentiner, a professor of astronomy at Heidelberg University, and his wife, Anna Lepsius Valentiner. The youngest of four children, Valentiner attended the University of Leipzig and continued studies in art history at the University of Heidelberg, where he received his doctorate in 1905 under the mentorship of Henry Thode. His relationship with Thode and with fellow students Edwin Redslob and Hermann Voss would eventually lead to lifelong friendships with a network of European scholars and historians, including Wilhelm von Bode and Cornelius Hofstede de Groot.
Upon von Bode's recommendation to J.P. Morgan, then President of the Metropolitan Museum of Art, Valentiner joined the staff of the Metropolitan in 1908 as the curator for Decorative Arts. In 1913, he founded the journal Art in America, where he would remain as editor until 1931. At the onset of World War I, Valentiner returned to Germany to enlist and served until the war's end, at which point he spent a brief period working at the Kaiser Friedrich Museum and participated in the Arbeitsrat für Kunst, a new group that questioned the traditional relationship between artists and established art institutions. Though shortlived, his participation as a chairmen for the Working Council for the Arts introduced him to leading German artists and architects, including Walter Gropius, Karl Schmidt-Rottluff, Käthe Kollwitz, and Lyonel Feininger. At this time, he also met his future wife, Cecelia Odefay, who he married in 1919.
In 1921, Valentiner returned to the U.S. and was asked to serve as a collecting advisor to the Detroit Institute of Arts. In 1924, he was appointed the Institute's director, a position he held until his retirement in 1944. During his tenure, he oversaw the opening of a new wing, the first acquisition of pre-Columbian and African art, the strengthening of Chinese and Islamic art collections, significant acquisitions of European Modernists, and the development of the museum's education and conservation divisions.
In 1937, Valentiner founded the Art Quarterly journal for the College Art Association, which he edited until 1949. After his retirement from the Institute, Valentiner was called from retirement to serve as director for the Los Angeles County Museum and the Getty Museum in California, and the North Carolina Museum of Art in Raleigh. Valentiner died from complications of pneumonia in 1958.
Related Materials:
Also found in the Archives of American Art are the Mary E. Adams letters from Wilhelm Valentiner and an oral history interview with Mary and Clinton Adams conducted by Paul Karlstrom, April 24, 1998. The North Carolina Museum of Art also holds papers of Wilhelm Valentiner, most of which are also available at the Archives on microfilm reels D31 and 2140-2144.
Separated Materials:
In 1981 and earlier, the Archives microfilmed the William R. Valentiner papers that were on deposit from the North Carolina Museum of Art onto reels D31 and 2140-2144. The papers were returned to the North Carolina Museum of Art, but the microfilm is still available for use at the Archives research centers and for interlibrary loan.
Reel D31 includes diary entries, 1914-1957, describing Valentiner's service in the German army, 1914-1918, with the War Information Office in Berlin, the overthrow of the monarchy and German politics, relations between Germany and Russia and communist activity in Germany, the administration of Berlin museums and radical artists' activities, his work with the L.A. County Museum, Detroit Institute of Fine Arts, the North Carolina Museum of Art, and private collectors, impressions of friends, including Henry Ford, Carl Hamilton, the Hohenzollerns, Franz Marc, Rainer Maria Rilke, Walter Rathenau, Helen Wills, Benjamin Altman, J. Pierpont Morgan, and recollections of women art collectors, including Mrs. August Belmont, Rita Lydig, and Mrs. Leonard Thomas. A very small portion of the filmed materials may be found among the Valentiner papers at the Archives, but most of the materials were returned to the North Carolina Museum of Art.
Loaned materials on reels 2140-2144 consist of 26 diaries, 1904-1958; autobiographical writings; manuscripts and lectures by Valentiner; correspondence with family, friends, authors, museums, galleries, and dealers, including Harry Bertoia, Charles Culver, Lyonel and Julia Feininger, Walter Gropius, Paul and Mary Weschler, and Morris Graves; and a scrapbook containing clippings, drafts of speeches, and invitations.
Provenance:
From 1972 to 1977, Valentiner's papers were gathered from various sources by historian Margaret Sterne who was researching and writing a biography of Valentiner. Sterne died just prior to publication and the papers were sorted by Archives' staff and returned to the lender when known. After publication of the biography, the bulk of the papers were returned to their respective lenders (primarily the University of North Carolina) and the remaining papers were sorted and accessioned by the Archives. Donors are listed as unknown or anonymous.
Restrictions:
Use of original papers requires an appointment and is limited to the Archvies' 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:
Art historians -- New York (State) -- New York Search this
The records of the New York City based Valentine Gallery measure 1.8 linear feet and date from circa 1890 to 1960. The bulk of the material documents the gallery's dealings with artists Louis Eilshemius, John Kane, Henri Matisse, and C.S. Price. Additionally, there is one scrapbook which contains printed materials regarding Valentine Gallery exhibitions from 1925-1936.
Scope and Contents:
The records of the New York City based Valentine Gallery measure 1.8 linear feet and date from circa 1890 to 1960. The bulk of the material documents the gallery's dealings with artists Louis Eilshemius, John Kane, Henri Matisse, and C.S. Price. Additionally, there is one scrapbook which contains printed materials regarding Valentine Gallery exhibitions from 1925-1936.
The artist's file for Eilshemius contains biographical information; correspondence between Valentine Dudensing and the artist, as well scattered letters from Carl Van Vecten, Alfred H. Barr, and museums and institutions; writings and notes; price lists and other financial and legal documents; printed material from Eilshemius's varied career and from his affiliation with the Valentine Gallery; photographs including portraits of the artist, and photos of installations and of works of art; and a scrapbook containing clippings and scattered other printed materials covering Eilshemius's shows at the Valentine Gallery.
Artists' files for John Kane, Henri Matisse, and C.S. Price contain scattered documentation. The file for John Kane includes correspondence between Valentine Dudensing and Kane's estate managers as well as museums and institutions, price lists, legal records, and printed materials. There are two letters from Henri Matisse to Valentine Dudensing regarding travel plans and a thank you message. The C.S. Price file consists of letters from Price regarding specific works of art, and scattered financial records.
A scrapbook dates from 1925-1936 and includes newspaper and magazine clippings about exhibitions and artists represented by the Valentine Gallery. Artists and exhibitions mentioned in the clippings include Alexander Brook, Giorgio de Chirico, Stuart Davis, Jean Lucrat, Carlos Merida, and Joseph Stella. Also, there is a poster created by Valentine Dudensing to fundraise for ambulances for France.
Arrangement:
This collection is arranged as 2 series.
Missing Title
Series 1: Artists Files, circa 1890-1960 (Box 1, 3; 1.3 linear feet)
Series 2: Scrapbook, 1925-1936 (Box 2, 4; 0.5 linear feet)
Biographical / Historical:
The Valentine Gallery was founded by F. Valentine Dudensing in 1926 and operated in New York City until 1947. The gallery hosted many exhibitions of Modern European art and specialized in School of Paris paintings.
F. Valentine Dudensing was born in 1892 in New York City. His father, Richard Dudensing was a well known art publisher and gallerist who owned Dudensing Galleries. Valentine served in World War I in the United States Aviation Corps and in 1920, married Margaret van der Gros. During a trip to Europe in the early 1920s, Dudensing became acquainted with the son of artist Henri Matisse, Pierre. Together, they conceived a gallery managed by Dudensing in New York while Matisse organized and curated art from Europe.
Dudensing opened his gallery in 1926 at 43 East 57th Street as the F. Valentine Dudensing Gallery. At this time, his father's gallery, the Dudensing Galleries, was located at 45 West 44th Street. Valentine Dudensing changed his gallery's name in 1927 to the Valentine Gallery to distinguish it from his father's gallery. The gallery was one of the first to bring Modern European works to New York City and hosted exhibitions of Giorgio de Chirico, Jean Lurçat, Henri Matisse, Pablo Picasso, and André Dunoyer de Segonzac. Additionally, Valentine Gallery represented American artists including Louis Eilshemius, John Kane, and C.S. Price. Pierre Matisse left the partnership with Valentine Dudensing to open his own gallery in 1931.
In 1947, Valentine Dudensing closed his gallery and moved to France with his wife. He died in 1967.
Separated Materials:
The Archives of American Art also holds material lent for microfilming (reel NY59-5) including gallery index cards. Loaned materials were returned to the lender and are not described in the collection container inventory.
Provenance:
The Valentine Gallery records were donated by gallery founder, Valentine Dudensing in 1958. Dudensing also lent the Archives of American Art gallery index cards for microfilming in 1959. Roy R. Neuberger donated materials regarding Louis Eilshemius in 1959 who received the material from Valentine Dudensing.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
The records of the Doll & Richards gallery of Boston measure 87.5 linear feet and date from 1863 to 1978, with the bulk of the material dating from 1902-1960s. Extensive financial and sales records, inventory records, and correspondence and letter books provide a detailed account of the business operations and sales of the gallery. Also found are notes and research files on artists and paintings, business and legal records, exhibition catalogs, six exhibition scrapbooks, printed materials, and photographs. Significant correspondents include John Chetcuti, Robert Freiman, Lloyd Goodrich, Tod Lindenmuth, Macbeth Galleries, William Meyerowitz, Museum of Fine Arts Boston, Stanley Woodward, and Andrew Wyeth, among many others.
Scope and Content Note:
The records of the Doll & Richards gallery of Boston measure 87.5 linear feet and date from 1863 to 1978, with the bulk of the material dating from 1902-1960s. Extensive financial and sales records, inventory records, and correspondence and letter books provide a detailed account of the business operations and sales of the gallery. Also found are notes and research files on artists and paintings, business and legal records, exhibition catalogs, six exhibition scrapbooks, printed materials, and photographs. The bulk of the collection dates from 1902 when the gallery was incorporated and new books were begun. According to gallery employee Wendell Zoehler, many records from the 19th century were discarded and periodically, especially when the gallery moved, other records were discarded.
Incoming and outgoing correspondence documents sales, consignments, appraisals, exhibitions, and inquiries by artists and others to Doll & Richards for over a century. Significant correspondents include artists John Chetcuti, Robert Freiman, Tod Lindenmuth, William Meyerowitz, Dwight Shepler, Elizabeth O'Neill Verner, Stanley Woodward, Andrew Wyeth, and others. Additional correspondents include Lloyd Goodrich from Whitney Museum of American Art, Azeez Khayat Gallery, Macbeth Galleries, Kleemann Galleries, and the Museum of Fine Arts in Boston. There is one letter from George Inness (1866). Outgoing correspondence is limited to 46 volumes of letterpress copybooks dating from 1930-1967.
Notes and research files primarily consist of compiled information about artists in which Doll & Richards dealt. These include card files related to the provenance of paintings by Winslow Homer and William Stanley Haseltine, and a book about Winslow Homer with notations by Zoehler about the sale of paintings .
Administrative and business records of general daily operations include an address book, meeting minutes, miscellaneous lists and notes, and a large card file of contacts with clients, consignors, artists, and businesses. A detailed description of the gallery's operations by Zoehler is also found here. Legal records include contracts, agreements, certificates of stock, certificates of copyrights, and photocopies of founding documents.
Although there are limited records prior to 1902, the financial records provide comprehensive detail of the gallery's financial transactions from the turn of the century through the early 1970s. Volumes of financial ledgers provide details of artwork bought, sold, and consigned; order forms for sales, framing, restoration, and shipping; gallery expenditures and salaries; records of client purchases; and other affairs. Many of the financial records are indexed and cross-referenced, offering researchers complex but rich documentation. The financial records should be consulted with the numerous inventory records that provide detailed information about the stock of art work held at the gallery. Inventory records also include documentation about the frames held by the gallery from the mid-1880s-1950. The gallery used sometimes complex codes to index and cross reference sales and stock. When known, these codes have been outlined in the more detailed series desciptions below, or filed within the appropriate boxes.
The history of Doll & Richards' exhibitions from the 1880s-1968 are documented in six disassembled bound volumes that contained exhibition catalogs and announcements. There are also additional loose catalogs and announcements. Additional printed materials include newspaper clippings related to exhibitions and the gallery and seven scrapbooks related to Doll & Richards' exhibitions from 1909-1943.
The bulk of the black and white photographs in the collection are of works of art by artists that Doll & Richards exhibited. There are only a handful of photographs of other subject matter, but include images of the gallery spaces at 2 Park Street, 71 Newbury, and 138 Newberry; and of artists.
Arrangement:
The collection is arranged as nine series:
Missing Title
Series 1: Correspondence, 1863-1972, bulk 1930s-1972 (Boxes 1-14; 14 linear feet)
Series 2: Notes and Research Files, 1880s-1978, bulk 1930s-1960s (Boxes 15-16, 78; 1.2 linear feet)
Series 3: Business Records, circa 1866-1978, bulk 1910s-1960s (Boxes 16-18; 1.9 linear feet)
Series 4: Legal Records, 1863-1906, 1941-1962 (Boxes 18, 78; 0.3 linear feet)
Series 5: Financial Records, 1871-1973, bulk 1902-1969 (Boxes 18-69, 79, BV81-112; 55 linear feet)
Series 6: Inventory Records, 1881-1969, bulk 1900s-1940s (Boxes 69-70, BV113-128; 2.3 linear feet)
Series 7: Printed Materials, circa 1880s-1968, bulk 1890s-1960s (Boxes 70-75; 4.9 linear feet)
Series 8: Photographs, circa 1880s-1960s (Boxes 75-78; 2 linear feet)
Series 9: Scrapbooks, 1908-1968, bulk 1908-1943 (Boxes 77, 80; 1.1 linear feet)
The records have been arranged according to the original order maintained by the gallery. Bound volumes containing exhibition catalogs glued to the internal spines have been disbound for preservation and proper housing.
Historical Note:
The Doll & Richards gallery originated in Boston in 1866 as an art gallery and framing shop owned by Charles E. Hendrickson, E. Adam Doll, and Joseph Dudley Richards. The gallery was a well-known Boston establishment for over 100 years that represented William Stanley Haseltine, Winslow Homer, William Morris Hunt, and Andrew Wyeth, among many other notable American painters, sculptors, and printmakers.
In 1870 Hendrickson retired and the gallery became Doll & Richards. After the untimely death of Doll in 1880, Richards purchased Doll's interest in the firm, retaining the gallery's well-known name. Under Richards' direction, the gallery prospered. Richards promoted the works of painter Winslow Homer, developing a market for his watercolors in Boston. He incorporated the gallery in 1902 and served as the treasurer and financier until his death in 1922 at 80 years old. The gallery then reorganized; Arthur McKean, who joined in 1911, became manager, and J.L. (Joe) Richards became treasurer. Fergus Turner, who joined the firm as a salesman in 1885 and became president in 1902, retained his role as president until 1938.
Over the century the gallery showcased contempory American artists, including William Morris Hunt, Dodge McKnight, William Stanley Haseltine, Laura Coombs Hills, Eliot O'Hara, Joseph Lindon Smith, Stanley Woodward, and Andrew Wyeth. The gallery also consigned paintings, prints, and objects from other major art galleries including Azeez Khayat Gallery, Kennedy Galleries, M. Knoedler and Co., Macbeth Gallery, Victor D. Spark, and Victor Waddington Galleries (Dublin, Ireland). According to long-time employee Wendell Zoehler (employed from 1929-1966), Doll & Richards' primary clientele came from the Social Register. In the summer months when wealthy Bostonians typically vacationed outside of the city, Doll & Richards remained open for tourists, many of whom became regular seasonal customers of the gallery.
The gallery experienced financial difficulties in the 1930s, leading to bankruptcy. Doll & Richards was purchased by McKean and incorporated in Maine in 1941. McKean sold Doll & Richards in 1962 to Maurice Goldberg; at this time none of the remaining family or staff were connected with the gallery. In 1973, the gallery was sold to Jeanne and Paul Sylva and closed.
Although the gallery always remained in the vicinity of Boston Common, it relocated numerous times over the years. In 1871 the gallery moved from 28 Summer Street to 145 Tremont Street. In 1878, the gallery remodeled and occupied the entire two-story building at 2 Park Street, renting out the second floor, known as the Hawthorne Room, for lectures. After thirty years on Park Street, Doll & Richards relocated to Newbury Street in 1908, beginning a succession of moves down Newbury Street approximately every twenty years, finally to 172 Newbury Street in 1962.
Related Material:
Among the other resources relating to the Doll & Richards gallery in the Archives of American Art is an oral history interview with Wendell Zoehler conducted by Robert Brown on April 14 and April 27, 1978.
Separated Material:
A daguerroteype of Gaetano Cardinal Bedini received with the records was transferred to the Smithsonian National Portrait Gallery on May 24, 2004.
Provenance:
The Doll & Richards records were donated to the Archives of American Art in numerous accessions between 1973 and 1979 by Jeanne and Paul Sylva, who purchased the gallery in 1973, and by former employee Wendell Zoehler.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
An account of most of the exhibitions held at Doll & Richards from the 1880s-1968 can be created from the abundant exhibition announcements and catalogs. Found are six exhibition announcement and catalog books, disassembled and housed in folders in their original order of reverse chronological; loose exhibition announcements and catalogs; fragile clippings from newspapers; and a book, "William Stanley Haseltine," inscribed to Wendell Zoehler from Helen Haseltine Plowden. Many exhibition catalogs are annotated with notes and prices, and scattered price lists and notes can also be found here. Duplicate copies of announcements and catalogs have not been weeded.
Arrangement note:
Folders are arranged alphabetically by subject, then chronologically by year range.
Collection Restrictions:
Use of original papers requires an appointment.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Doll & Richards gallery, 1863-1978, bulk 1902-1960s. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Smithsonian Institution's Collections Care Fund
The collection consists of archival materials assembled by National Museum of American History Curator William Lawrence Bird. The materials were used as background research for the publication of his book Holidays on Display (New York: Princeton Architectural Press, 2007), and as exhibit objects for the exhibit by the same name that opened shortly after the museum's architectural renovation (November 2009-September 2010). The materials include advertising and trade literature, especially for department stores and with emphasis on the display of toys; catalogs; photographs and slides; postcards; parade programs; design drawings; correspondence; stock certificates, and miscellaneous items relating to department stores and their displays, parades and the amusement industry.
Scope and Contents:
The collection consists of archival materials assembled by National Museum of American History Curator William Lawrence (known as Larry) Bird. The materials were used as background research and as exhibit objects for the exhibit "Holidays on Display" (November 2009-September 2010). The materials include advertising and trade literature (especially for department stores and with emphasis on the display of toys); catalogs; photographs and slides; postcards; parade programs; design drawings; correspondence; stock certificates, and miscellaneous items relating to department stores and their displays, parades, and the amusement industry.
Arrangement:
The collection is arranged into fourteen series.
Series 1, Advertisements, 1925, 1954, undated
Series 2, Articles/Newspaper clippings, 1922-2009 and undated
Series 3, Artwork/Drawings, 1952, 1966
Series 4, Buttons/Pins (souvenir), 1901-2009
Series 5, Certificates, 1975-1976
Series 6, Correspondence, 1928
Series 7, Department Stores, 1903-2001
Series 8, Design/Display Companies, 1890-2001
Subseries 8.1, Adler-Jones Company, 1947
Subseries 8.2, American Decorative Flower Company, Inc., undated
The collection consists of archival materials assembled by National Museum of American History Curator William Lawrence Bird. The materials were used as background research for the publication of his book Holidays on Display (New York: Princeton Architectural Press, 2007), and as exhibit objects for the exhibit by the same name that opened shortly after the museum's architectural renovation (November 2009-September 2010).
Related Materials:
Materials held in the Archives Center, National Museum of American History
Messmore & Damon Company Records, 1892-1998 (AC0846)
Landy R. Hales Papers, 1908-1969 (AC0906)
Hudson-Fulton Celebration Photograph Album, 1909 (AC1149)
Provenance:
The collection was assembled and donated by William L. Bird.
Restrictions:
The collection is open for research. Gloves must be worn when handling unprotected photographs, negatives, and slides.
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.
Citation:
William L. Bird Holidays on Display Collection, 1877-2010, undated, Archives Center, National Museum of American History, Smithsonian Institution
The papers contain correspondence, reports, drawings, blueprints, cost estimates, contracts, specifications, regulations, legal documents, photographs, profiles, diagrams, clippings, and publications concerning projects which Forgie worked on, especially the Holland and Lincoln Tunnels, the Midtown Hudson Tunnels in New York City. Also included are publications and patents on subaqueous tunneling, subway stations, and bridges, and material on the Forgie submarine.
Arrangement:
The collection is arranged into four series.
Series 1: Professional Papers, 1892-1945
Series 2: Projects, 1914-1957
Series 3: Publications, 1856-1952
Series 4: Drawings, 1888-1951
Biographical / Historical:
James Forgie (1868-1958) was born in Longside, Aberdeenshire, Scotland. Forgie graduated from Gordon's Technical College, Aberdeen, Scotland (1881-1885) and apprenticed in the office of civil engineer George Gordon Jenkins from 1885-1889. Forgie came to the United States in 1902 to work as a chief assistant engineer to the Pennsylvania Railroad on tunnels in New York City. He joined the private engineering practice with partners Charles M. Jacobs and J.Vipond Davies of Jacobs and Davies, Inc. from 1909-1923. Forgie was awarded the Tedlford Gold Medal from the Institute of Civil Engineering (British) in 1915 in recognition of his paper "The Laxaxalpam Aqueduct Tunnels in Mexico." He authored numerous articles about tunneling and consulted as a an expert witness and arbitrator in many legal cases involving tunneling. Forgie was a member of the American Society of Civil Engineers, Institute of Civil Engineers of Canada, and New York Section of the American Society of Civil Engineers.
Forgie married Martha Maitland Thom (1868-1936) in 1895. They had four children: Martha (b. 1900), Wilhelmina (b. 1902), James (b. 1904), and Christina (b. 1906). Forgie later married Anne McDougall (b. 1872) in 1937.
Related Materials in the Archives Center, National Museum of American History:
Materials at the Archives Center
The Foundation Company Records (AC0974)
Warshaw Collection of Business Americana, Series: Tunnels (AC0060)
Herbert S. Grassman Papers (AC0955)
Penn Station, New York Photographs (AC1048)
Lawrence Talma Smith Papers (AC0988)
Silas H. Woodward Papers (AC1038)
Alfred Maevis Collection (AC0954)
William R. Hutton Papers (AC0987)
Montgomery C. Meigs Papers (AC0984)
Henry Grattan Tyrrell and Mary Maude Knox Tyrrell Papers (AC0948)
Parsons, Brinckerhoff, Quade and Douglas Records Collection (AC0969)
Chicago Surface Lines Drawings (AC0212)
Grand Central Terminal Collection (AC1071)
Modjeski and Masters Company Records (AC0976)
Thomas Norrell Railroad Photographs Collection (AC1174)
Separated Materials:
The Division of Work and Industry holds a model of a Ram for driving tunnel shields (1933). It was used in driving the Union Tunnel for the Pennsylvania Railroad, 1933-1934 by James Forgie. See accession #MC.329243.
Provenance:
Collection donated by Mrs. James Forgie, 1967.
Restrictions:
Collection is open for research but is stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
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.
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:
Valentine Gallery records, circa 1890-1960. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Terra Foundation for American Art
This subseries consists of materials relating to Louis Eilshemius's career, his relationship with Valentine Dudensing, and his affiliation with the Valentine Gallery. Found are biographical sketches, correspondence, writings, contracts, price lists and lists of works of art, clippings, exhibition announcements and catalogs, music written by Eilshemius, published works by Eilshemius, photographs of the artist, installations, and works of art, and a scrapbook. Some of the Eilshemius letters are illustrated. A scrabook contains clippings, exhibition announcements and catalogs.
Collection Restrictions:
Use of original papers requires an appointment.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Valentine Gallery records, circa 1890-1960. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Terra Foundation for American Art
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:
Valentine Gallery records, circa 1890-1960. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Terra Foundation for American Art
Found is a scrapbook containing newspaper clippings, exhibition announcements and catalogs, and scattered photographs of works of art relating to exhibitions held at the Valentine Gallery. Clippings include artists: Peter Amo, Alexander Brook, Giorgio de Chirico, Glenn Colleman, Miguel Covarrubias, Stuard Davis, Andre Derain, Robert Laurent, Jean Lucrat, Henri Matisse, Carlos Mérida, Emile Payot, Andre Dunoyer de Segonzac, and Joseph Stella.
Collection Restrictions:
Use of original papers requires an appointment.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Valentine Gallery records, circa 1890-1960. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Terra Foundation for American Art
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:
Valentine Gallery records, circa 1890-1960. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Terra Foundation for American Art
Access to the collection requires an advanced appointment. Contact collection staff at least two weeks prior to preferred date, at AmericanArtCornellStudy@si.edu.
Series 9: Artifacts and Ephemera, Series 13: Personal Library and Book Collection, and Series 14: Record Album Collection, are still undergoing processing and preservation and may not be available for research use. Record albums are unavailable for playback. Contact collection staff for full lists of publications and record albums.
Collection Rights:
Unpublished materials are protected by copyright. Permission to
publish, quote, or reproduce must be secured from the repository and the copyright holder.
Collection Citation:
Joseph Cornell Study Center collection, 1750-1980, bulk 1930-1972. Joseph Cornell Study Center, Smithsonian American Art Museum.
Sponsor:
Funding for the processing of this collection was generously provided by the Joseph and Robert Cornell Memorial Foundation.
Roebling Construction Co. ; Woven Wire Fabrics Div. ; John A. Roebling's Sons Co. of California (San Francisco, CA ; Los Angeles, CA ; Seattle, WA ; Portland, OR) ; John A. Roebling's Sons Div., Colorado Fuel and Iron Corp. ; Kellems Products Inc. ; John A. Roebling's Sons Co. of New York (New York, NY ; Boston, MA) Search this
Notes content:
wire rope and wire rope fastening ; iron, copper, brass and steel wire ; galvanized telegraph wire ; hard copper telephone wire ; bi-metallic wire, copper wire and cables for electrical purposes ; wire cables for cableways and tramways, bridges, and wire rope haulages ; "Roebling Royal Blue" all-steel wire rope ; "Blue Center" steel wire rope ; "Roeplastic" control cable ; "Blueclad" wire rope clip fittings ; aircord for airplanes ; yacht rigging rope and strand ; flat wire ; wire slings ; wire mesh ; wire lath ; wire netting ; wire cloth ; poultry fencing ; "Jersey" wallboard sealing strips and joint laths ; fireproof building construction ; welding products using electrodes and gas welding sticks ; construction of tramways, ski lifts and aerial wire rope systems ; oil field rope with "Blue Center" steel ; preformed sucker rods and tubing lines for oil industry ; oil drilling lines with fiber cores ; wrie for mining applications ; logging rope ; distribute "Kellems" wire rope grips ; "Outspinning the Spider: the Story of Wire and Wire Rope" ; "Transmission of Power By Wire Ropes" ; "Final Report on the Corrosion-Fatigue Failure of Aircraft Control Cables (N-101)" by National Defense Research Committee, 2-26-1945, declassified ; conceived and designed the Brooklyn Bridge ; 1893-1957 ; for a detailed history of the company see: Spanning the Industrial Age, by Clifford W. Zink (1992)
Includes:
Trade catalog, price lists, manual and histories
Black and white images
Color images
Physical description:
147 pieces; 10 boxes
Language:
English
Type of material:
Trade catalogs
Trade literature
Place:
Trenton, New Jersey, United States
Date range:
1800s-1900s
Topic (Romaine term):
Architectural designs and building materials Search this
Avery Dennison Corp. ; Avery Adhesive Products, Inc. ; Search this
Notes content:
Crepe, tissue paper. Instructions for decorating with crepe and tissue paper for parades, weddings, holidays ; artificial flowers, etc. Place cards, greeting cards, decorations, confetti, napkins, game pieces. Tags, labels, eyelets, punches, boxes, paper clips, card holders, sealing wax sets, adhesives, etc. Party book with games, decorations, etc. ; unique pieces (?)
