Collection primarily documents American folk art collected by Frederick Fried (1908-1994) and his wife Mary McKensie Hill Fried (1914-1988). It includes photographic materials, newspaper clippings, magazine articles, research files, lecture notes, unpublished manuscripts, brochures, drawings, printed advertisements, blueprints, books, patents, correspondence, trade literature, sheet music, auction catalogs, oral history interviews, and commercially recorded music. Of particular interest is the material relating to carousels. There is a substantial amount of material relating to New York architecture, wood carvings, show figures, weathervanes, mechanical and coin operated machines, amusement parks, the circus, tattoos and lesser-known folk arts. The collection is arranged by subject or genre in the order maintained by Frederick and Mary Fried.
Arrangement:
Series 1, Professional Materials, 1930-1995, undated
Subseries 1.1, Lectures, 1968-1989, undated
Subseries 1.2, Research Notes, 1962-1975, undated
Subseries 1.3, Published and Unpublished Materials, 1960-1990, undated
Subseries 1.4, Exhibitions, 1966-1985, undated
Subseries 1.5, Correspondence, 1945-1995, undated
Subseries 1.6, Office Files, 1930-1991, undated
Series 2, Sculptors and Ship Carvers, 1855-1987, undated
Series 3, Ship Carving Reference Files, 1875-1990, undated
Subseries 16.2.1, Lectures and Performances, 1969-1973, undated
Subseries 16.2.2, Interviews, 1940-1976, undated
Subseries 16.2.3, Conferences and Meetings, 1973-1977
Subseries 16.2.4, Music, 1956, undated
Subseries 16.2.5, Other, undated
Subseries 16.3, Videotapes, 1982-1991, undated
Biographical / Historical:
Frederick P. Fried was born December 11, 1908 in Brooklyn, New York. He grew up in the Williamsburg section of Brooklyn where his father owned a clock business across the street from Charles Carmel, a carousel carver. Fried acquired a fine-arts education in the 1930s with an emphasis on sculpture. He served with the Air Force during the Second World War. After a successful military career, Fried worked as art director in several fashion agencies. He met Mary McKenzie Hill, an academically trained artist in one of the studios.
Mary McKenzie Hill was born in 1914 in Baltimore, Maryland. She graduated from the Maryland Institute of Fine Arts. After graduation, she spent a year abroad studying before she returned to the United States to work as a fashion illustrator in Baltimore and New York. During World War Two Hill was a draftsman for a firm of architects.
Fried and Mary Hill married in 1949. The couple had two children Robert Hazen and Rachel. Around 1953 Fried began to collect architectural ornaments in New York. Fried served as the art director for Bonwit Teller in New York City from 1955-1962. He left the fashion world in 1962 to pursue his passion for collecting and writing full time. Fried published his first book, Pictorial History of Carousels in 1964. In 1967, Fred and Mary Fried purchased a forty-acre farm in Bristol, Vermont where the family spent their summers.
In 1968, Fried led a national campaign to preserve the Titanic Memorial Lighthouse (Seamen's Church Institute at South Street). He also became active in politics and served as the campaign manager for a New York State senator. His interest in Indian cigar store figures resulted in his publication Artists in Wood: American Carvers of Cigar Store Indians, Show Figures and Circus published in 1970. The focus of the book was Samuel Anderson Robb a New York wood carver. Fried co-founded the National Carousel Association in 1973. In 1978, Fried wrote America's Forgotten Folk Art with his wife Mary. This publication covered subjects such as carousels, banner painting, scarecrows, beach sand sculpture, tattoos, cast iron toys, amusement park architecture and trade signs.
Fried's collecting goal was to first preserve artifacts and to then make them available through his writings and exhibitions. His most treasured relics were the items he salvaged from the ruins of Coney Island. Fried referred to such artifacts as the uncelebrated arts. He became one of the founders of the Anonymous Arts Recovery Society a group of individuals who saved architectural ornaments from the wreckers' balls. In addition, he was one of the founders of the National Carousel Round Table which was created to preserve hand-carved merry-go-rounds. As a result of his collecting, research and writing Fried became recognized as the authority on carousels, coin-operated machines, and cigar store figures. He served as a consultant to many Museums; in particular as chief consultant on American Folk Art for the Smithsonian Institution.
Frederick and Mary Hill worked together in many ways to document, collect, preserve and increase the awareness about primarily the folk arts. Mary McKenzie Hill Fried passed away in 1988 at the age of seventy-four. Frederick P. Fried died July 1994 at the age of eighty-six.
Related Materials:
Materials in the Archives Center, National Museum of American History
E. Howard Clock Company Records (NMAH.AC.00776)
M. Francis Misklea Carousel Collection (NMAH.AC.0665)
Archives Center Carousel Collection (NMAH.AC.0675)
Messmore and Damon, Incorporated Company Records (NMAH.AC.0846)
Anthony W. Pendergast Collection (NMAH.AC.0882)
Frank Paulin Photoprints (NMAH.AC.1373)
Wurlitzer Company Records (NMAH.AC.0469)
Industry on Parade (NMAH.AC.0507)
Reel #191, Craftsmen of the Carousel, 1954. Manufacturing merry-go-rounds for amusement reports. Arrow Development Co., Mountain View, California.
Provenance:
Collection a bequest of the Frederick Fried Estate.
Rights:
Reproduction restricted due to copyright or trademark. Fees for commercial reproduction.
Photographs and slides of Gorelick's artwork form the bulk of this series. Also found are photographs of Gorelick including portraits, studio photos, and photos of Gorelick with others at exhibition openings, other events, and a painting class. The series also includes installation images and Gorelick's study photos and slides of her subjects, both people and landscapes, used for her paintings.
Photos and slides of Gorelick's models Libby and Boris Ourlicht, Tess Forrest and Joseph Barnett, Lee and Gunny Benson, and others can also be found in this series. The Bensons were some of Gorelick's oldest friends, and Libby Ourlicht was Gorelick's subject and muse in nude figure paintings, portraits, and paintings in which Ourlicht is pictured with her husband and two adolescent children.
Other individuals depicted in the photos are Leonard Gorelick (including photos by Maurice C. Blum), Ilise Greenstein, and others. One folder of various unlabeled slides includes shots of unidentified people, landscapes, skyscapes, and a few images of Gorelick and others.
In addition to black and white and color slides and photographic prints, photographic media include laser prints, negatives, and contact sheets.
Arrangement:
The bulk of Gorelick's photos and slides came to AAA numbered individually and organized in numbered binder volumes. This arrangement has been retained for that material. Note that while items were numbered sequentially there are gaps in the numbering. Photographs are housed first in the series, followed by slides.
Collection Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Shirley Gorelick papers, 1939-2008, 2016. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by The Shirley Gorelick Foundation
Unrestricted research use on site by appointment. Photographs must be handled with cotton gloves unless protected by sleeves.
Collection 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 Farber collection documents images of celebrated American buildings by photographer Joseph C. Farber.
Scope and Contents note:
The Farber collection is filled with well-crafted and often very beautiful images of celebrated American buildings. Many of the images, which for the most part take the form of 11" x 14" black-and-white photoprints, explore the European Renaissance origins of American architecture. The collection is also very rich in color transparencies. Nearly all the images are directly related to published projects, specifically photo-essays in the shape of articles , many of which appeared in the magazine Antiques or newspapers. Farber probably would have wished for all of his photographs to have been published. Many were shown in exhibitions, as evidenced by the large proportion of the photoprints that are mounted and also the existence of correspondence files relating to such matters. There are also files related to the processes of conceiving, executing, and publishing his photographic work.
The images for the books are nearly all black-and-white, whereas magazine work, especially the commissions from Antiques, generated the most transparencies. In addition to the images in print and transparency form, and the associated proof sheets and negatives, there is also a great quantity of slides related to travel in the collection, which predate Farber's second career as a professional photographer. A tiny sampling of earlier photographs, mostly with artistic or family-and-personal themes, is also included.
Black-and-white negatives, black-and-white prints, and color transparencies, mostly created for specific book projects, articles in Antiques magazine, etc. Generally, color was used for magazine articles, while black-and-white images were intended for books. Collection also includes photographs of personal or family significance, and some early artistic efforts. Non-pictorial portion consists primarily of material related to Farber's publications: correspondence, galley proofs, reviews, etc.
Photographs include projects related to Thomas Jefferson (e.g., Monticello), classical architecture, Essex, Connecticut, etc. Buildings photographed include Raleigh's Tavern, Williamsburg, Va.; Independence Hall, Philadelphia; Maison Carree, Nimes, France; St. Paul's Chapel, Boston, Mass.; White House, Washington; New York City landmarks; sites in Springfield and New Salem, Ill., associated with Abraham Lincoln; historic buildings in Boston and Cambridge,Mass.; Hannibal, Mo.; Deerfield, Mass.; New England churches and meetinghouses; and buildings and objects from ancient Greece, which were published with excerpts from Herodotus' History of the Pelopponesian Wars (Farber called this group of images "Herodotus"); and Italian villas designed by Andrea Palladio, such as the Villa Rotunda. Some pictures relating to themes of democracy were inspired by the U.S. Bicentennial celebration.
According to his daughter, Dr. Joan Farber, her father purchased a large format Linhof field camera during a 1958 visit with his son Thomas in Germany. The Linhof camera front can be shifted to provide corrections for architectural photography which are not possible with smaller cameras. After Joan headed to college the Farbers had time for increased travel. They were accompanied by their daughter on a trip to Greece in summer 1960 which included photographs of herself, an attractive, sophisticated college coed, stylishly dressed and coifed for the occasion, posed on the steps of the Parthenon. A trip to Spain the following year resulted in many dozens of 35mm color images, part of a large group of travel slides.
This was also the period in Farber's life that a whirlwind round-the-world trip was undertaken, with visits to Thailand, Japan, Hong Kong, Hawaii, and California. By the end of the next year, the Farbers were renting as a vacation home a converted button factory in Essex, Connecticut, a former shipbuilding town on the Connecticut River, as a vacation home. Within months Farber had retired from his design and executive responsibilities at the Campus Sweater and Sportswear Company in Manhattan to live for a year in Essex. There were also trips more abroad, particularly to Greece and Egypt, while the Farbers continued to maintain an apartment in New York. Climbing a mountain in Greece in summer 1967, Farber suffered a heart attack, from which he fully recovered.
In 1969 his new career was launched by the publication of Portrait of Essex by Barre Publishers. Local historian Marie Moore supplied the text to accompany Farber's evocative photographs of the ships, shops, shores, streets, and historic structures of this seafaring town. His brother-in-law Carl Feiss, F.A.I.A., furnished the Introduction.
In 1971, Farber and Wendell Garrett published his first Jefferson book, The Worlds of Thomas Jefferson followed by their second, Thomas Jefferson Redivivus Garrett, who edited the Adams Papers wrote the text, with the help of excerpts from the writings of Jefferson himself. The following summer one of Farber's Monticello views was featured on the cover of Antiques. In 1973 Farber was credited with three covers and a frontispiece for the magazine, as well as three photographic essays. The subjects ranged from Sculpture at the Boston Atheneum to The Villas of Andrea Palladio to The Architecture of Lavius Fillmore Garrett introduced Farber to Lincoln scholar Harold Holzer who hired Farber as photographer to help illustrate his Prints of Abraham Lincoln, which appeared in the annual presidents' birthday number of Antiques the next year, February 1974. Some Contemporary Paintings of Abraham Lincoln appeared twelve months later. Three more Lincoln-themed articles appeared in February issues of Antiques in 1978, 1979, and 1980: Sculptures of Abraham Lincoln From Life, George Washington and Abraham Lincoln, and Here Lincoln Lived: New Salem and Springfield, Illinois.
Two more books of Farber's photographs were published in 1975. Democracy's First Struggle was an account of the Peloponnesian Wars in the words of Herodotus, as edited from the Aubrey de Selincourt with translation by Farber. The photographic images dated back to the family trips to Greece in the early 1960s. Native Americans: 500 Years After was published by Thomas J. Crowell in 1975 with text by Michael Dorris. Following Native Americans came a series of exhibitions of photographs from the book including shows at the National Museum of Natural History (Smithsonian Institution), Dartmouth College, and the Cleveland Museum of Natural History .
Also in the mid -1970s a cover story in Antiques entitled "The Architectural Heritage of New York City" led to an exhibition at the Abigail Adams Smith House. In the late '70s two more exhibitions were staged, featuring scenes of local color at the dedication of the East Haddam (Connecticut) Historical Society in the summer of 1979 and showing buildings by Palladio at the Cooper-Hewitt Museum (New York City.)
In 1980 Farber's interior view of a basilica, Palladio's Redentore church in Venice, was featured on the cover of Antiques. The photographs became the subject of a book, Palladio's Architecture and Its Influence authored by architectural historian, Henry Hope Reed.
Harold Holzer organized many joint photographic trips revolving around Holzer's career in the public relations department of Channel 13, New York's public television station. Each summer for four years in succession they set off to diverse spots to make publicity shoots for upcoming special programming. First was Missouri to photograph Mark Twain sites for a dramatization of "Life Along the Mississippi". The next summer they headed to the Berkshires to document The Mount, the home of Edith Wharton in Lenox, Massachusetts, around whose life and work a mini-series in three parts was planned. The summer trip of 1982 was a return visit to Massachusetts to photograph The Street, Deerfield's historic thoroughfare, combined with a side trip across the border to the Robert Todd Lincoln home, Hildene, in Manchester, Vermont.
In 1982 Farber was commissioned by Architectural Digest magazine to photograph the Mark Twain residence in Hartford. Farber and Holzer succeeded in the early to mid-1980s in getting Farber's out-takes from their Channel 13 trips published together with his carefully worded scripts in such periodicals as American History Illustrated and in Antiques & The Arts Weekly. Many of Farber's pictures were printed in articles in Antique Trader, to which Holzer was a regular contributor. In 1983, when Farber turned 80, his color images of the interior spaces of the Metropolitan Club of New York were published in a book by the same name, written by Paul Porzelt. In his travels in the last decade of his life he was often accompanied by family friend Ethel Phillips, including a tour of Great Britain in the summer of 1987. With Mrs. Phillips he at one time had contemplated publishing a book on the historic mansions of the Hudson River. Two other unrealized projects, upon his death in 1994 at the age of 91, were books on the classical architecture of New York City and on the history and daily lives of Hispanic Americans in the United States.
Biographical Time Line:
Biographical Time Line for Joseph C. Farber
Biographical Time Line
1903 -- Born Cleveland, Ohio
1910s -- At New York Military Academy
1920s -- At Columbia College, studying chemistry, art composition; studies photography with Edward Steichen in Camera Club; teaches photography as camp counselor
1923 -- Participates in Fifth Annual Exhibition of Work by Cleveland Artists and Craftsmen at Cleveland Museum of Art (May 1-June 3)
1926 -- Takes job as "salesman and experimental worker" at Friedman Blau Farber, Mfg. Knitted Outerwear," Cleveland; Marriage to Caroline Feiss, Cleveland native and watercolor artist
1933 -- Son Thomas Feiss born at Cleveland
1936 -- Daughter Joan born
1930s -- Family moves to New York
1958 -- Visit to son in Germany; purchase of Linhof camera; daughter off to college
1960 -- Trip to Greece, daughter along
1961 -- To Spain
1963 -- Death of son in mountaineering accident; to Thailand, Japan, Hong Kong, Hawaii, California
1964 -- Rents former button factory in Essex, Connecticut as vacation home
1965 -- Retirement from Campus Sweater & Sportswear Company; Living in Essex
1966 -- To Greece
1967 -- To Egypt and Greece; heart attack ; Essex (summer?)
1969 -- Portrait of Essex published, text by Marie Moore; into by Carl Feiss, AIA (Barre)
1970 -- Trip to Bermuda
1971 -- Thomas Jefferson Redivus published, text by Wendell Garrett, Editor of The Magazine Antiques (Barre); Farber introduced to "Jefferson circle"; Vacations in Essex and Florida
1972 -- Monticello images published in Antiques
1973 -- Photographs of sculpture at the Boston Atheneum, the Maison Carree at Nimes (France): the villas of Andrea Palladio in Vicenza and environs (Italy) and the architecture of Lavius Fillmore (Connecticut and Vermont) published in Antiques
1974 -- Images of Abraham Lincoln prints published in Antiques: accompanying article is by Lincoln scholar Harold Holzer; beginning of ten-year collaboration
1975 -- Photographs of Lincoln portraits in Antiques, Holzer text Democracy's First Struggle published, based on Herodotus' Histories of Greece (Crown); Native Americans: 500 Years Afterpublished (Thomas Crowell)
1976 -- Exhibitions of photographs of Native Americans at National Museum of Natural History, Dartmouth College, and Cleveland Museum of Natural History; Images of historic New York City buildings in Antiques, text by Elizabeth Donaghty Garrett; Exhibition of photographs of New York City landmarks at Abigail Adams House, New York City.
1978 -- Photographs of Lincoln sculptures, with Holzer, in Antiques
1979 -- Images of Lincoln and George Washington, sculpture of John Rogers, and sculpture of U.S. Capitol published in Antiques, with Holzer; Exhibition of photographs at East Haddam Historical Society; Exhibition of Palladio photographs at Cooper Hewitt Museum, New York City.
1980 -- Palladio's Architecture and Its Influence published, with Henry Hope Reed (Dover) ; Venice image (church interior) published on Antiques cover; Death of wife; "Caroline Fund" established at Cooper Union; Teaches photography in local high school; To Missouri with Holzer to photograph Mark Twain sites for Channel 13
1981 -- Images of Lincoln sites published in black and white in Antiques with Holzer (should have been in color); Summer trip to Berkshires with Holzer to photograph Edith Wharton home
1982 -- Commissioned to photograph Mark Twain house in Hartford for Architectural Digest; Images of The Mount, Edith Wharton's home in Lenox, Mass., published in American History Illustrated with Holzer; Summer trip to Massachusetts and Vermont with Holzer to photograph "The Street," Deerfield (Channel 13) and Hildene, Robert Todd Lincoln home in Manchester
1983 -- Images of Mark Twain sites in Hannibal, Missouri published in American History Illustrated with Holzer; Summer trip to Harpers Ferry, West Virginia with Holzer (Channel 13); Harper's Ferry images published in Antique Trader with Holzer Deerfield, Massachusetts images published in Antiques & The Arts Weekly with Holzer; The Metropolitan Club of New York published, with Paul Porzelt (Rizzoli)
1984 -- Images of Hildene published in Antique Traderwith Holzer
1985 -- Images of Rebecca Nurse Homestead, Old Salem, Massachusetts published in Antique Traderwith Holzer
1987 -- Tour of Great Britain with Ethel Phillips (summer?)
1994 -- Died, New York City, New York
Related Archival Materials:
Other Materials at the Smithsonian Institution
National Anthropological Archives, National Museum of Natural History, Smithsonian Institution
Joseph C. Farber photographs of American Indian life, circa 1970-1975
Photographs made as part of Joseph C. Farber's project to document modern American Indian everyday life. Represented tribes include the Acoma, Apache, Blackfoot, Chehalis, Cherokee, Cheyenne, Chippewa, Cocopa, Dakota, Eskimo, Haida, Kiowa, Kutenai, Lummi, Mohave, Mohawk, Navaho, Northern Athabascan, Onandaga, Pima, Pueblo, Quinalt, Seminole, Taos, Tlingit, and Zuni. Subject coverage is broad and varies from tribe to tribe. Included are portraits, as well as totem poles, carving, weaving, pottery, painitng, landscapes, boats and canoes, ceremonial regalia, camps, classes and vocational training, homes and traditional dwellings, construction projects, rodeos and powwows, dances, industries (including lumber), herding and ranching, agriculture, stores and storefronts, cliff dwellings, parades, crab cleaning, fishing, games, health care, legal processes, music, office work, sewing, vending, and a funeral. There are also photographs of R. C. Gorman (and a letter from Gorman to Farber) and Fritz Shoulder (some in color).
Provenance:
Collection donated by Dr. Joan Farber, 1994.
Restrictions:
Collection is open for research.
Rights:
Photographs published in Joseph C. Farber's books are still under copyright. Reproduction permission from the Joseph C. Farber's estate is required. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Letters to Lembark, a receipt, photographs and slides, printed material, and a video.
Letters are to Lembark from sculptors George Rickey (1 letter and 4 cards, 1972-1997), and Duane Hanson (7 letters and 3 postcards, 1988-1997); and a receipt for the purchase of a work by Harry Bertoia. The correspondence relates to work in progress and invitations to exhibitions. Also found are 6 folders about Sam Francis which include his obituaries, printed material (articles and exhibition announcements), reviews and articles of Lembark's book "The Prints of Sam Francis: a Catalogue Raisonne, 1960-1990," book catalogues for the book, price list of Francis' prints, and press releases about the book; 3 rolls of negatives with contact sheets taken in the studios of Francis and Joan Mitchell; printed material and slides on Rickey, Arthur Gibson, and Stephen Antonakos; and a video tape "Eric Orr: Prime Matter."
Biographical / Historical:
Art consultant, author; Nashville, Tenn.
Provenance:
Donated 1998 and 2000 by Connie Lembark.
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.
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Anneberg Gallery records, 1945-1992. Archives of American Art, Smithsonian Institution.
Sponsor:
The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.
The papers of New York City painter and printmaker Dotty Attie measure 2.5 linear feet and date from circa 1950s to 2014. Her papers include scattered biographical material, professional files, notes, personal business records, photographs, artwork, and 12 sketchbooks.
Scope and Contents:
The papers of New York City painter and printmaker Dotty Attie measure 2.5 linear feet and date from circa 1950s to 2014. Her papers include scattered biographical material, professional files, notes, personal business records, photographs, artwork, and 12 sketchbooks.
Scattered biographical materials include identification cards, an address book, artist statements and biographies, a few personal letters, and interviews.
Professional files document exhibitions, residencies, and fellowships. Contents of files vary and may include letters and invitations, letters from colleagues and admirers of her work, inventory lists, interviews, loan agreements, travel itineraries, printed materials, photographs, and miscellany. Notes include pages from a notebook that includes both technical instruction and personal notes. There is written text that Attie wrote to be incorporated into her artwork. One file of personal business records contains loan agreements, shipping receipts, and membership fees.
Photographs are of Attie, artwork, and friends and family. Photographs of artwork include exhibition views, single works, and collages. Photographs of Attie include contact sheets and prints of the artist throughout her life, including some copy prints of Attie as a child. Some images of Attie are self-portraits. Photographs of family and friends include her husband, children, A.I.R. Gallery members, and copy prints of relatives.
Artwork and sketchbooks include artists' books, sketches on tracing paper, and 12 sketchbooks.
Arrangement:
The collection is arranged as 6 series
Missing Title
Series 1: Biographical Material, circa 1974-circa 2006 (0.1 linear foot; Box 1)
Series 2: Professional Files, circa 1970s-2014 (.9 linear feet; Box 1)
Series 3: Notes, circa 1970s-1990s (.2 linear feet; Box 2)
Series 4: Personal Business Records, 1982-2013 (.1 linear foot; Box 2)
Series 5: Photographs, circa 1960s-1990s (.3 linear feet; Box 2-3)
Series 6: Artwork and Sketchbooks, circa 1950s-1970s (.7 linear feet; Box 2-3)
Born in Pennsauken, New Jersey, Attie pursued her interest in art at the Philadelphia College of Art, and received her BFA in 1959. In 1962, she married the photographer David Attie and they had two children. Throughout the 1960s, Attie continued her education through fellowships at the Brooklyn Museum of Art School and the Art Students League.
In 1972, Attie and five other women founded A.I.R. Gallery, setting the example of the women's cooperative gallery that would be followed across the country. Attie was a member of A.I.R. Gallery until 1988 and during that time exhibited her own work, curated and co-curated several exhibitions of women artists, organized panels on subjects of interest to women artists, and worked to make the art world more inclusive to women.
Attie gained national and international recognition through her involvement with A.I.R. Gallery and has received numerous fellowships, grants, residencies, as well as exhibitions in galleries and museums nationally and internationally. Attie has also served as faculty at the Cooper Union and Rhode Island School of Design.
Related Materials:
Also found in the Archives of American Art are the Artist in Residence (A.I.R.) Gallery records.
Provenance:
Donated in 2015 by Dotty Attie.
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:
Painters -- New York (State) -- New York Search this
Printmakers -- New York (State) -- New York Search this
Photographs are of Attie, friends and family, and artwork. Photographs of artwork include exhibition views, single works, and collages. Photographs of Attie include contact sheets and prints of the artist throughout her life, including some copy prints of Attie as a child. Some images of Attie are self-portraits. Photographs of family and friends include her husband, children, A.I.R. Gallery members, and copy prints of relatives.
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
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:
Dotty Attie papers, circa 1950s-2014. Archives of American Art, Smithsonian Institution.
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
The donor has retained all intellectual property rights, including copyright, that they may own in the following material: 40 demonstration works of art on papers by Robert Bechtle.
Collection Citation:
Robert Bechtle papers, circa 1950-2015. Archives of American Art, Smithsonian Institution.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Arnold Mesches papers, 1939-2015. Archives of American Art, Smithsonian Institution.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Arnold Mesches papers, 1939-2015. Archives of American Art, Smithsonian Institution.
This collection consists of color slides taken by Don Blair during his coverage of astronaut crew splashdowns and recoveries, 1960s.
Scope and Contents:
This collection consists of 35 mm color slides taken by Don Blair during his coverage of astronaut crew splashdowns and recoveries for the following missions: Gemini 9, June 1966 with USS Wasp (CVS-18); Gemini 10, July 1966 with USS Guadalcanal (LPH-7); Gemini 11, September 1966 with USS Guam; (LPH-9); Apollo 11, July 1969 with the USS Hornet (CVS-12); and Apollo 15, August 1972 with the USS Okinawa (LPH-3). The collection also includes two 35 mm black and white negative strips from Apollo 15, a small contact sheet of 35 mm three negatives from Apollo 11, and a few 35 mm copy slides of official National Aeronautics and Space Administration (NASA) photographs. A set of digital scans of most of the original slides was provided by the donor on a USB flash drive.
Arrangement:
Slides are arranged by space mission recovery event, with black and white negatives appearing at the end of the collection.
Biographical / Historical:
Donald W. Blair (1933-2018) served in the Army from 1953 to 1955, and then attended the Cambridge School of Radio and TV in Manhattan, New York. The first 10 years of his career were spent in local radio before he joined the Mutual Network and from 1966 until 1989 he worked at Mutual, WCBS Radio, ABC Entertainment and NBC. Blair covered astronaut splashdowns and recoveries for the following missions: Gemini 9, June 1966 with USS Wasp (CVS-18); Gemini 10, July 1966 with USS Guadalcanal (LPH-7); Gemini 11, September 1966 with USS Guam; (LPH-9); Apollo 11, July 1969 with the USS Hornet (CVS-12); and Apollo 15, August 1972 with the USS Okinawa (LPH-3). Blair detailed his experience in his book, Splashdown: NASA and the Navy, which was published in 2004.
Provenance:
Robert Fish, Gift, 2019, NASM.2019.0034
Restrictions:
No restrictions on access
Rights:
Material is subject to Smithsonian Terms of Use. Should you wish to use NASM material in any medium, please submit an Application for Permission to Reproduce NASM Material, available at Permissions Requests.
