Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
Use archival audiovisual recordings with no duplicate access copy requires advance notice.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Nan Rosenthal papers, circa 1940-2013. Archives of American Art, Smithsonian Institution.
The papers of African American sculptor, jewelry maker, quilter, and performance artist Joyce Scott measure 9.1 linear feet and date from 1948 to 2019, with the bulk of the material dating from the 1970s to the 2000s, and individual materials from 1914 to 1915, and from 1932. The collection consists of biographical material; correspondence; writings; professional files, including exhibition and project files, born-digital materials, and gallery records; printed material; photographic material, including photo albums; artwork; and audiovisual material, including recordings of performances and lectures.
Scope and Contents:
The papers of African American sculptor, jewelry maker, quilter, and performance artist Joyce Scott measure 9.1 linear feet and date from 1948 to 2019, with the bulk of the material dating from the 1970s to the 2000s and individual materials from 1914 to 1915, and from 1932. The collection consists of biographical material; correspondence; writings; professional files, including exhibition and project files, born-digital materials, and gallery records; printed material; photographic material, including photo albums; artwork; and audiovisual material, including recordings of performances and lectures.
Arrangement:
This collection is arranged as eight series.
Series 1: Biographical Material, 1948-1977, 1989-2015 (Box 1; 0.4 linear feet)
Series 2: Correspondence, 1972-2014 (Box 1; 0.5 linear feet)
Series 3: Writings, circa 1970-circa 2000s, undated (Box 1-2; 0.3 linear feet)
Series 4: Professional Files, 1970s-circa 2013 (Box 2, OV 10; 0.9 linear feet)
Series 5: Printed Material, 1914-1915, 1932, 1953-2018 (Box 3-5, OV 10; 2.5 linear feet)
Series 6: Photographic Material, 1971-2019 (Box 5; 0.2 linear feet)
Series 7: Artwork, 1987-1989, 1998-2006, undated (Box 5; 0.1 linear feet)
Series 8: Audiovisual Material, 1983-2006, undated (Boxes 5-9; 4.2 linear feet)
Biographical / Historical:
Joyce Scott (1948- ) is an African American sculptor, jewelry maker, quilter, and performance artist in Baltimore, Maryland. She is best known for her use of off-loom bead weaving techniques to depict the complexities of race, gender, and class. Born in 1948, Scott is the daughter of quilter and folk artist Elizabeth Talford Scott, from whom she learned quilting. She earned a Bachelor of Fine Art from the Maryland Institute College of Art, and Master of Fine Art from the Instituto Allende in San Miguel de Allende in Mexico. In 2016, Scott was named a MacArthur Fellow, and she was named the Smithsonian Visionary Artist in 2019. Her work is held in permanent collections across the country, including at the Baltimore Museum of Art, the Spencer Museum of Art at the University of Kansas, the Museum of Fine Arts in Boston, and the Smithsonian American Art Museum.
Related Materials:
Also found at the Archives of American Art is an oral history interview with Joyce J. Scott, 2009 July 22 conducted by Robert Silberman.
Provenance:
The papers were donated to the Archives of American Art in 2019 by Joyce Scott as part of the Archives' African American Collecting Initiative funded by the Henry Luce Foundation.
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 born-digital records or audiovisual recordings in this collection must use access copies. 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.
The bulk of this subseries is mixed incoming and outgoing correspondence dating from 1965-1991, with the bulk dating from 1965-1989. The earliest correspondence in this collection is also located here, and is comprised primarily of incoming letters from the late 1880s to 1920s. Generally, correspondence is between the gallery and its clients, artists, institutions, and museums, regarding consignments, loans, sales, exhibitions, and other gallery operations. Found is an 1877 letter from William Schaus to Charles Kraushaar. Also found are two folders of Christmas cards with original artwork from artists Humbert Albrizio, Gifford Reynolds Beal, Werner Drewes, Walter Feldman, Edward Hopper, Andrée Ruellan, Karl Schrag, Linda Sokolowski, and Marguerite Zorach, among others. Additional correspondents found in this subseries include artists Louis Bouché, Leonard DeLonga, Kenneth Evett, Tom Hardy, John Heliker, Robert Laurent, and James Lechay. Researchers should note additional correspondence with artists, especially those represented in the 1970s-2000s, is found in Artists' Files and Consignments and Loans.
Artists' Christmas cards and miscellaneous correspondence is filed first, followed by correspondence arranged chronologically. Chronological correspondence from 1965 to 1978 is filed according to original order upon accession - grouped chronologically in spans of a year and a half (i.e. January 1965 - September 1966), then arranged alphabetically. Correspondence from 1978 to 1989 is arranged alphabetically. There is occasionally some slight overlap between years, generally as a result of interfiled letters from earlier years in order to maintain context.
Collection Restrictions:
Use of originals requires an appointment. A fragile original scrapbook is restricted. Contact Reference Services for more information.
Collection Rights:
Authorization to publish, quote or reproduce requires written permission from Katherine Kaplan Degn, Kraushaar Galleries. Contact Reference Services for more information.
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:
Kraushaar Galleries records, 1877-2006. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Getty Foundation and the Smithsonian Institution Collections Care Fund.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Use of archival audiovisual recordings with no duplicate access copy requires advance notice. 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:
Lucy R. Lippard papers, 1930s-2007, bulk 1960s-1990s. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Terra Foundation for American Art
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Use of archival audiovisual recordings with no duplicate access copy requires advance notice. 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:
Lucy R. Lippard papers, 1930s-2007, bulk 1960s-1990s. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Terra Foundation for American Art
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Use of archival audiovisual recordings with no duplicate access copy requires advance notice. 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:
Lucy R. Lippard papers, 1930s-2007, bulk 1960s-1990s. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Terra Foundation for American Art
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Use of archival audiovisual recordings with no duplicate access copy requires advance notice. 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:
Lucy R. Lippard papers, 1930s-2007, bulk 1960s-1990s. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Terra Foundation for American Art
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Use of archival audiovisual recordings with no duplicate access copy requires advance notice. 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:
Lucy R. Lippard papers, 1930s-2007, bulk 1960s-1990s. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Terra Foundation for American Art
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Use of archival audiovisual recordings with no duplicate access copy requires advance notice. 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:
Lucy R. Lippard papers, 1930s-2007, bulk 1960s-1990s. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Terra Foundation for American Art
The papers of John Evans, 1957-2012, bulk 1970s-2000, measure 7.1 linear feet and 1.00 GB and document the collage artist's involvement with mail art. The vast majority of letters are from mail artists, often with embellished envelopes and include and a digital version of Collected Essays by John Held, Jr. Writings include a thesis about mail art by Marya Trianfellos. Subject files concern art stamps, mail art shows and events, Ray Johnson's death and memorial tributes to him. The most thoroughly documented mail art project, "John Evans Fake Collages," is of unknown origin. In addition, there are a few items relating to projects conceived by Evans and more substantial documentation of projects initiated by Christina Behmenburg, Leslie Caldera, Ryosuke Cohen, Peter W. Kaufmann, Angela and Peter Netmail.
Scope and Contents:
The papers of John Evans, 1957-2012, bulk 1970s-2000, measure 7.1 linear feet and 1.00 GB and document the collage artist's involvement with mail art. The vast majority of letters - many with embelllished envelopes - are from mail artists. There is also a digital version of Collected Essays by John Held, Jr. Writings include a thesis about mail art by Marya Trianfellos. Subject files concern art stamps, Ray Johnson's death and subsequent memorial tributes, mail art shows and other events. The most thoroughly documented mail art project, "John Evans Fake Collages," is of unknown origin. In addition, there are a few items relating to projects conceived by Evans, and more substantial documentation of projects initiated by Christina Behmenburg, Leslie Caldera, Ryosuke Cohen, Peter W. Kaufmann, Angela and Peter Netmail.
Evans's mail art correspondents include: Dr. Al Ackerman (Blaster), Anna Banana (Banana Productions), Roy Arenella, Guy Bleus (The Administration Centre 42.292), buZ blurr, Richard C., Leslie Caldera (Creative Thing), Carl T. Chew, Buster Cleveland, Ryosuke Cohen, Chuck Welch (Cracker Jack Kid), Robin Crozier, Jerome D'Angelo, Irene Dogmatic (Dogmmystique/Dogmatique Misticky), Morris David Dorenfeld, Jerry Dreva, Donald Evans, James Evans, Walt Evans, Fa Ga Ga Ga, A. M. Fine, Bill Gaglione (Picasso Gaglione), John Held, Jr., HICO, E. F. Higgins, III, Rudd Janssen, Dianne Jenkins, Ray Johnson, Tod Jorgenssen, Chester Kasnowski, On Kawara, Gene Laughter, Michael Leigh (A.1. Waste Paper Co., Ltd.), David M. Miller, Minoy, Mohammed, Robert Morilla, Art Nahpro (Paul Jackson), Carlo Pittore, E. M. Plunkett, Steve Random, Robert Rocola, Marilyn K. Rosenberg, Andreas Senser, Skooter, Smegma (Scarlatina Lust, Alex Torrid Zone Igloo, Pardon My Myrth, Alexander Josef Hirka), D. C. spaulding, Lon Spiegelman, John Tostada (Tostdada, Oh Boy Mailart!), Pat Tavenner (Mail Queen), Third Story, Benedict J. Tisa, Sonja Van der Burg (Afzed), Whitson (Peter Whitson Warren), and Robert Warren.
Arrangement:
The collectionis arranged as 4 series:
Missing Title
Series 1: Letters, 1957-2012 (Boxes 1-6, OV 8; 5.3 linear feet, ER01; 0.111 GB)
Series 2: Writings, 1983-1991 (Box 6; 0.2 linear feet)
Series 3: Subject Files, 1970s-2012 (Boxes 6-7; 0.8 linear feet, ER02-ER03; 0.889 GB)
Series 4: Mail Art Projects, 1986-2012 (Box 7, OV 8; 0.8 linear feet)
Biographical / Historical:
John Evans (1932-2012), a collage artist in New York City, was an active participant in mail art.
After attending the Art Institute of Chicago, Evans moved to New York in 1963. He was a member of the Neo-Dada community and interested in Fluxus events. Meeting Ray Johnson and a few other mail artists at a party introduced Evans to mail art and led to many long term friendships.
Between 1964 and 2000, Evans produced a daily collage of found objects collected from the street, pasted onto a sketchbook page, enhanced with watercolor, and stamped with the date. Each collage included the image of a duck's head known as "Ursuline Duck," a reference to his friend Ursule Molinaro (1914-2000). The collages were, in effect, a diary that recorded everyday life and referenced his exhibition activities. John Evans: Collages, a monograph published in 2004, reproduced 364 collages representative of his style over time. His largest mail art project, "Fake John Evans Collages," spanned several years and was in progress at the time of his death.
John Evans died on October 5, 2012 following a heart attack.
Provenance:
Donated by Margaret Evans, widow of John Evans, in 2013.
Restrictions:
Use of original material requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
The papers of artist and educator John Marshall measure 2.1 linear feet and date from the 1960s to early 2000s. The collection sheds light on Marshall's career through professional files, photographs, and artwork. Professional files include resumes, awards and certificates, professional correspondence, some project files, printed material, two scrapbooks, and a film reel. Photographs consist of slides of Marshall's work and his artwork series, some of which depict Marshall working in his studio. Also found are transparencies of his work and exhibition displays; scant candid and portrait snapshots of the artist; and mounted photographs of his work. Artwork found in the collection is mostly design sketches of metalwork projects for jewlery, pots, cups, and silverware done in charcoal and pencil; and two paintings.
Scope and Contents:
The papers of artist and educator John Marshall measure 2.1 linear feet and date from the 1960s to early 2000s. The collection sheds light on Marshall's career through professional files, photographs, and artwork. Professional files include resumes, awards and certificates, professional correspondence, some project files, printed material, two scrapbooks, and a film reel. Photographs consist of slides of Marshall's work and his artwork series, some of which depict Marshall working in his studio. Also found are transparencies of his work and exhibition displays; scant candid and portrait snapshots of the artist; and mounted photographs of his work. Artwork found in the collection is mostly design sketches of metalwork projects for jewlery, pots, cups, and silverware done in charcoal and pencil; and two paintings.
Arrangement:
The collection is arranged as three series.
Series 1: Professional Files, 1967-2000s (Box 1, FC 9; .5 linear feet)
Series 2: Photographs, 1960s-2000s (Box 1-2, 4, OV 6; .7 linear feet)
Series 3: Artwork, circa 1970s-2000s (Box 5, OV 7-8; .8 linear feet)
Biographical / Historical:
John Marshall (1936- ) is a metalsmith and educator in Edmonds, Washington. Marshall was born in Pittsburgh, Pennsylvania in 1936. His interest in art began at approximately the fifth grade, when both he and his brother received scholarships to Saturday drawing classes at the Carnegie Museum. Marshall then entered into the U.S. Army following high school, for which he served primarily in Germany until 1957. Able to travel around during this time, Marshall became more interested in metalworking and other forms of art. After the military, Marshall returned to Pennsylvania to attend Grove City College and work construction, specifically pipelining. He ultimately transfered to Carnegie Tech (now part of Carnegie Melon University). In 1960 he began school at the Cleveland Institute of Art, learning from Kenneth Bates, John Paul Miller, and John Clague, and alongside Winifred Lutz. He received his B.F.A. from Cleveland in 1965.
Marshall received a teaching position as head of Syracuse University's metals program. Once there, Marshall worked with Laurence Schmeckebier to complete his M.F.A.; Schmeckbier was also instrumental in exhibiting Marshall's artwork at this time. Looking to establish himself as a metalsmith, he became associated with others in his field such as Olaf Skoogfors, Fred Fenster, and Stanley Lechtzin, and became involved with the Soceity of North American Goldsmiths. After his time in Syracuse, Marshall went to the University of Washington in 1970 where he remained for the rest of his teaching career.
Marshall has held one-man shows at the Lowe Art Center, Syracuse University, Henry Art Gallery, University of Washington, and Concepts Gallery in California; and has had his work featured in group shows at the Museum of Concemporary Crafts, Renwick Gallery, and the Laguna Art Museum. He has received many public and private commissions throughout his career to create trophies, cups, bowls, and sculptures, most notably a 16-foot sculpture for the United Methodist Church in Edmonds, Washington.
Provenance:
The collection was donated in 2004 by John Marshall as part of the Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America.
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.
John Marshall papers, 1960s-2000s. Archives of American Art, Smithssonian 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.
Smithsonian American Art Museum. Renwick Gallery Search this
Extent:
11.16 Linear feet (9 boxes)
Type:
Collection descriptions
Archival materials
Date:
1961-2004
bulk 1970-2000
Summary:
The collection, which dates from 1961 to 2004 and measures 11.16 linear feet, documents the career of artist, curator, and museum technician Edith T. Martin. The papers in the collection include education documents, professional correspondence, sketches, promotional material, news clippings, newsletters, catalogues/magazines from exhibits and arts organizations, and exhibit photographs and slides.
Scope and Contents note:
1. Biographical: The series is mostly comprised of curriculum vitae, artist statements, writings, memberships and materials related to her continued education while employed at the Smithsonian American Art Museum Renwick Gallery. Box 2 consists of sketches and photographs.
2. Memberships: The series contains materials from several of the organizations Edith T. Martin was a member of from circa 1970s thru 2004.
3. Correspondence: Arranged chronologically by year consisting primarily of correspondence from 1997-2004, either generated by Edith T. Martin or addressed to her relating to exhibitions, memberships, as well as organizations, which promoted the visual arts.
4. Exhibitions: The series consists of art exhibitions and related materials, which Edith T. Martin either participated in and/or organized over the span of her career to include: Association for the Study of American Life and History, National Conference of Artists, District of Columbia Art Association, as well as the Anacostia Neighborhood Museum.
5. Printed Material: Arranged chronologically by year and material type. The series consists primarily of newspapers, newsletters, bulletins, magazines, articles, clippings, as well as miscellaneous materials collected throughout her career in the visual arts.
6. Artist Files: Folders are arranged in alphabetical order from A thru Y consisting primarily of resumes, biographies, and artist statements. Folders include correspondence related to exhibitions, slides and photographs of art.
Arrangement note:
The collection is arranged into six main categories: Biographical, Memberships, Correspondence, Exhibitions, Printed Materials, and Artist Files.
Biographical/Historical note:
Edith T. Martin was born in Caroline County, Virginia. She relocated to Washington D.C. and joined the staff of the Smithsonian American Art Museum, Renwick Gallery were she served as a Museum Technician until her retirement. She attended American University in Washington, D.C. where she received a degree in the Fine Arts and continued her education at Georgetown University in Washington, D.C. Martin was affiliated with a host of organizations during her career, such as the D.C. Art Association, Smithsonian Institution's Women's Council, National Conference of Artists, and the Washington Women's Art Center. As an accomplished artist her work is a part of several permanent collections throughout the nation. She was a participant in, and curator of countless exhibitions over the years, which includes the Anacostia Neighborhood Museum, Smith-Mason Gallery, and American Art League. In an effort to share the talents and creativity of African American artists she partnered with many organizations during the span of her career to promote the strengths and accomplishments of her fellow artists through active community involvement.
Provenance:
The Edith T. Martin papers were donated to the Anacostia Community Museum in 2006 by Edith T. Martin.
Restrictions:
The collection is open for unrestricted research. Use requires an appointment.
Rights:
The Edith T. Martin papers, 1961–2004 are the physical property of the Anacostia Community Museum. Literary and copyright belong to the author/creator or their legal heirs and assigns. Rights to work produced during the normal course of Museum business resides with the Anacostia Community Museum. For further information, and to obtain permission to publish or reproduce, contact the Museum Archives.
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:
Dorothy C. Miller papers, 1853-2013, bulk 1920-1996. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Terra Foundation for American Art
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:
Ankrum Gallery records, circa 1900-circa 1990s, bulk 1960-1990. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Smithsonian Institution Collections Care and Preservation Fund
Collection documents Jonas Bernholm's interest and work promoting African American Music, specifically rhythm and blues.
Scope and Contents note:
Series 1: Correspondence, 1972-1994, undated
This series is divided into four subseries: Subseries 1.1 (Artists), Subseries 1.2 (Collaborators), Subseries 1.3 (Douglas Seroff), and Subseries 1.4 (Record Companies). Subseries 1.1 (1972-1993) consists mostly of correspondence exchanged between Bernholm and recording artists, as well as letters about the artists from their agents, family members, etc. Other types of materials included in this subseries are: copies of newspaper clippings, death certificates, contracts, and receipts. This subseries is, mostly, in alphabetical order by the artist's last name. Subseries 1.2 (1978-1985) is largely a collection of letters between Bernholm and those helping him create his albums. Topics include: photos, financial transactions and technical information about creating an album. Bills and receipts are also found in the subseries. Two folders deal specifically with correspondence Bernholm exchanged between Felix Prochaska and Lou Doggett. Subseries 1.3 (1979-1986) documents the correspondence between Bernholm and independent music scholar, music producer and businessman Douglas Seroff. It includes an exchange of letters regarding the start of a new record label for gospel music and the creation and reissue of gospel LPs. It also includes auction results, bills, postage labels, and information on a 1985 Grammy nomination. Subseries 1.4 (1977-1990) consists of correspondence between Bernholm and such recording companies as Clanka Lanka, Rounder Records, Big J Records, Blues King Records, Bogus Records, J.D. Productions, Fleetville Records, La Val Records and Relic Records. Also included are contracts/agreements, statements, artist promotion, as well as information on taping sessions and royalties.
Series 2: Promotional/Publicity Materials, 1971-1991, undated
This series is divided into two subseries: Subseries A (Promotion and Collaborator Correspondence) and Subseries 2.2 (Fan Club Materials). Subseries 2.1 (1976-1991) consists mostly of correspondence about artist or album promotion; including published articles, photographs, and information about concerts, tours, and radio stations throughout the US and Europe. Subseries B contains artist biographies, newsletters, promotional material, and information regarding contemporary artist-related events from record companies, talent agencies and official fan clubs.
Series 3: Research Materials, undated
This series is divided into four subseries: Subseries 3.1 (Artists), Subseries 3.2 (Record Company), Subseries 3.3 (Ray Funk), and Subseries 3.4 (Record Labels). Subseries A is composed of album liner notes for individual artists, as well as photocopies of magazine/newspaper articles that detail biography and album information for several artists. Other information includes correspondence about artists, and album song listings. Subseries 3.2 is an alphabetical listing, by record company name, of their discographies. Subseries C includes music related articles and correspondence from and by Alaskan writer, music aficionado and radio host Ray Funk. Copies of artist photos from Norbert Hess are also available. Subseries 3.4 contains listings of songs from specific artists and the labels they can be found on.
Series 4: Production Materials, undated
This series is composed of production notes used in the assembly of albums. This includes artist biographies and discographies, as well as song listings for specific albums. This subseries is organized alphabetically by artist.
Arrangement:
Series 1, Correspondence, 1972-1994, undated
Series 2, Promotional/Publicity Materials, 1965-1991, undated
Series 3, Research Materials, undated
Series 4, Production Materials, undated
Biographical/Historical note:
Jonas Bernholm (1946-) is a music executive, and African-American music aficionado from Sweden. He is best known for reissuing works of jazz, blues, and R&B artists on his own labels; the most well-recognized being Route 66, and Mr. R&B. His passion was ignited by the energy and charisma seen in the likes of Elvis Presley and Little Richard. He began collecting music from abroad and eventually visited the United States during the summer of 1968. During his trip Bernholm realized that many recording artists from the 40s and 50s were out of work and their music was no longer in circulation. Upon his return to Sweden he resolved to reissue the work of many artists on his own labels. His labels included: Route 66, MR R&B, Jukebox Lil, Whiskey Women, Earth Angel , Dr. Horse, Crown Prince, Gospel Jubilee, and Blues Boy.
Related Materials:
The Division of Music, Sports and Entertainment(now Division of Cultural and Community Life) holds artifacts related to this collection including: posters and sound recordings. See Accession #1996.0153.
Provenance:
Collection donated by Jonas Bernholm, 1996.
Restrictions:
Collection is open for research and access on site by appointment. Unprotected photographs must be handled with gloves.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
This collection includes an English patent paper #2126 for improved vulcanizable water-proof gum, 1873, to Benjamin Joseph Barnard Mills; a U.S. patent paper #151,109 for improvement in the art of manufacturing horseshoes, 1874; and an English patent paper #1194 for improvement in street-lighting apparatus.
Provenance:
Collection donated by James Lithgow Ewin, March 13, 1894.
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.
