Search Results

Creator:

National Museum of American History  Search this

Type:

YouTube Videos

Uploaded:

2012-05-08T17:38:51.000Z

YouTube Category:

Education  Search this

Topic:

American History  Search this

See more by:

SmithsonianAmHistory

Data Source:

National Museum of American History

YouTube Channel:

SmithsonianAmHistory

EDAN-URL:

edanmdm:yt_IqU9MWBLqVw

Creator:

Levy, Beatrice S., 1892-1974,  Search this

Subject:

Chicago Society of Artists  Search this

Chicago Society of Etchers  Search this

Citation:

Beatrice S. Levy papers, 1890-1974. Archives of American Art, Smithsonian Institution.

Topic:

Women artists  Search this

Women educators  Search this

Art, Modern -- 20th century -- Illinois -- Chicago  Search this

Art, Modern -- 20th century -- California  Search this

Theme:

Women  Search this

Chicago's Art-Related Archival Materials: A Terra Foundation Resource  Search this

Lives of artists  Search this

Record number:

(DSI-AAA_CollID)9632

(DSI-AAA_SIRISBib)211840

AAA_collcode_levybeat

Theme:

Women

Chicago's Art-Related Archival Materials: A Terra Foundation Resource

Lives of artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_211840

Creator:

Macbeth Gallery  Search this

Subject:

Stuart, Gilbert  Search this

Weir, Robert Walter  Search this

Macbeth, William  Search this

McIntyre, Robert G. (Robert George)  Search this

Macbeth, Robert W. (Robert Walker)  Search this

Hartley, Marsden  Search this

Homer, Winslow  Search this

Type:

Daguerreotypes

Photographs

Scrapbooks

Citation:

Macbeth Gallery records, 1947-1948, bulk 1892-1953. Archives of American Art, Smithsonian Institution.

Topic:

Eight (Group of American artists)  Search this

Artists -- United States  Search this

Art -- Collectors and collecting  Search this

Art, American  Search this

Theme:

Art Gallery Records  Search this

Art Market  Search this

Record number:

(DSI-AAA_CollID)9703

(DSI-AAA_SIRISBib)211939

AAA_collcode_macbgall

Theme:

Art Gallery Records

Art Market

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_211939

Creator:

Rosa Esman Gallery  Search this

Subject:

Esman, Rosa  Search this

Rodchenko, Aleksandr  Search this

Darger, Henry  Search this

Warhol, Andy  Search this

Gray, Eileen  Search this

Tanglewood Press  Search this

Citation:

Rosa Esman Gallery and Tanglewood Press Inc. records, circa 1922-2014, bulk 1972-1994. Archives of American Art, Smithsonian Institution.

Topic:

Women art dealers  Search this

Pop art  Search this

Art, Russian -- 20th century  Search this

Outsider art  Search this

Theme:

Women  Search this

Art Gallery Records  Search this

Art Market  Search this

Record number:

(DSI-AAA_CollID)11559

(DSI-AAA_SIRISBib)246842

AAA_collcode_rosaesmg

Theme:

Women

Art Gallery Records

Art Market

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_246842

Creator:

Nahikian, Marie Satenik, 1946-  Search this

Names:

Barry, Marion, 1936-2014  Search this

Clarke, David "Dave", 1943-1997  Search this

Fauntroy, Walter E.  Search this

Hill, Fannie, 1923-1987  Search this

Pierce, Walter C., 1946-1991  Search this

Pinkett, Flaxie Madison, 1918-1995  Search this

Shackleton, Polly , 1910-1997  Search this

Shia, Nancy, 1947-  Search this

Sizemore, Barbara, 1927-2004  Search this

Washington, Walter E., 1915-2003  Search this

Extent:

5.83 Linear feet (5 boxes )

Type:

Collection descriptions

Archival materials

Contact sheets

Photographs

Audio cassettes

Place:

Adams Morgan (Washington, D.C.)

Date:

1971-1998

Scope and Contents:

The papers of community organizer and affordable housing developer Marie Satenik Nahikian measure 3.46 linear feet and date from 1971 to 1998. The collection contains correspondence; certificates; photographs; newsletters; campaign ephemera; editions of various Washington, DC community newspapers; as well as recordings of Nahikian's speeches. The bulk of the collection contains documents pertaining to Nahikian's work with the Adams Morgan Organization.

The papers of community organizer and affordable housing developer Marie Satenik Nahikian measure 3.46 linear feet and date from 1971 to 1998. The collection includes copies of the Rock Creek Monitor, the newspaper of Dupont Circle, Adams Morgan and Mt. Pleasant communities of Washington, DC. Present in the collection are also proclamations, newspaper clippings, writings by Nahikian and materials related to her role for Advisory Neighborhood Commissioner for ANC-1C (in Adams Morgan) and unsuccessful campaign for D.C. City Council.

Biographical / Historical:

Marie Satenik Nahikian was a co-founder and the first Executive Director of the Adams Morgan Organization (AMO, founded in 1972). Before Washington, DC had Home Rule, AMO put into practice a local, elected self-governance structure that advocated for issues of concern to residents of the Adams Morgan neighborhood. AMO served as the main model for the Advisory Neighborhood Commissions that were created when Home Rule was implemented in Washington, DC. Marie S. Nahikian, particularly through her work with AMO, was a staunch advocate and partial architect of three landmark pieces of tenant rights and anti-displacement legislation in DC: the 1975 Rental Accommodations Act, the 1978 Residential Real Property Transfer Excise Tax, and the 1980 Rental Housing Conversion and Sale Act.

Nahikian was elected Advisory Neighborhood Commissioner for ANC-1C (in Adams Morgan) and twice ran for D.C.City Council (unsuccessfully). She was appointed by Mayor Walter Washington (1915-2003) to serve two terms as a Tenant Commissioner on the D.C. Rental Accommodations Commission. She later served under Mayor Marion Barry (1936-2014) as head of the Tenant Purchase Program that enabled largely low- and moderate-income tenants to purchase and become cooperative owners of their buildings.

After leaving Washington, DC, she went on to work for Mayors in Philadelphia and New York City. Nahikian also worked in the U.S. Department of Housing and Urban Development under President Barack Obama.

In 2023, Marie Satenik Nahikian hosts the Usable Past podcast, where activists share their stories of past and present organizing to create better lives for as many people as possible.

Restrictions:

Use of the materials requires an appointment. Please contact the archivist at acmarchives@si.edu.

Rights:

The Marie Satenik Nahikian papers are the physical property of the Anacostia Community Museum. Literary and copyright belong to the author/creator or their legal heirs and assigns. For further information, and to obtain permission to publish or reproduce, contact the Museum Archives.

Topic:

Urban Life  Search this

Community activists  Search this

Community Organizations  Search this

Newspapers -- Washington (D.C.).  Search this

Genre/Form:

Contact sheets

Photographs -- Black-and-white negatives -- 20th century

Audio cassettes -- 20th century

Citation:

Marie Satenik Nahikian papers, Anacostia Community Museum, Smithsonian Institution. Gift of Marie Satenik Nahikian.

Sponsor:

This project received support from the Smithsonian American Women's History Initiative.

Identifier:

ACMA.06-123

See more items in:

Marie Satenik Nahikian papers

Archival Repository:

Anacostia Community Museum Archives

GUID:

https://n2t.net/ark:/65665/qa76d1f22f0-800a-4d07-829f-f92dfb4a81cd

EDAN-URL:

ead_collection:sova-acma-06-123

Creator:

Chicago Society of Etchers  Search this

Names:

Chicago Society of Etchers  Search this

Botke, Cornelius, 1887-1954  Search this

Dalstrom, Gustaf O. (Gustaf Oscar), 1893-1971  Search this

Fabri, Ralph, 1894-1975  Search this

Jensen, John Paul, 1904-  Search this

Kappel, Philip  Search this

Kloss, Gene, 1903-  Search this

Pescheret, Leon Rene, 1892-1961  Search this

Sykes, Maltby  Search this

Extent:

0.6 Linear feet

Type:

Collection descriptions

Archival materials

Date:

1933-1972

bulk 1940-1959

Scope and Contents:

Primarily correspondence and a scrapbook kept by several of the Society's secretaries including F. L. Thompson and James Swann. Correspondence mostly with members concerning activities, sales, and exhibitions. Several letters inquire about the status of the Society and whether it will continue. The scrapbook, 1937-1972 (bulk 1937-1948), contains exhibition catalogs and announcements, letters, annual bulletins, membership lists, handwritten minutes of Board of Directors' meetings which detail expenses, suggestions for exhibition venues, membership and activities. Added to the scrapbook is the 1972 certificate of dissolution of the Society. A few miscellaneous financial records, printed materials, and price lists complete the collection.

Among the correspondents are: Cornelius Botke, Gustav Dalstrom, Gene Kloss, Philip Kappel, Roi Partridge, Leon R. Pescheret, and Maltby Sykes, as well as local Chicago artists.

Arrangement:

Arranged into series by record type: I. Correspondence II. Scrapbook III. Financial material; chronological thereunder.

Biographical / Historical:

Art society; Chicago, Ill., organized 1910; dissolved 1972.

Provenance:

Donated 1996 by Peter Jensen, son of printmaker John Paul Jensen, the last secretary of the Chicago Society of Etchers, who retained the records of the Society after its dissolution.

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.

Occupation:

Etchers -- Illinois -- Chicago  Search this

Printmakers  Search this

Topic:

Etching -- Illinois -- Chicago  Search this

Etching -- 20th century -- United States  Search this

Etching, American  Search this

Function:

Arts organizations -- Illinois

Identifier:

AAA.chicetch

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw98f02fa45-f510-40d8-9440-53e7f2ef6591

EDAN-URL:

ead_collection:sova-aaa-chicetch

Collector:

Sidney, George, 1916-2002  Search this

National Museum of American History (U.S.). Division of Music, Sports and Entertainment  Search this

Names:

Columbia Pictures  Search this

Metro-Goldwyn-Mayer  Search this

Paramount Pictures  Search this

Goodman, Benny (Benjamin David), 1909-1986  Search this

Margret, Ann-, 1941-  Search this

Robinson, Edward G., 1893-1973  Search this

Sidney, George, 1877-1945  Search this

Sidney, Hazel Mooney  Search this

Sidney, Louis K.  Search this

Sullivan, Ed, 1901-1974  Search this

Donor:

Sidney, Corinne Entratter  Search this

Extent:

54 Film reels

96 Cubic feet (288 boxes, 6 oversize folders)

Type:

Collection descriptions

Archival materials

Film reels

Photographs

Place:

Hollywood (Los Angeles, Calif.)

Date:

1885-2002

bulk 1940-1967

Summary:

George Sidney (1916-2002) was a film director during the Golden Age of Hollywood filmmaking (1927-1954). He spent the longest period of his career at Metro-Goldwyn-Mayer (MGM) until the 1950s. He later produced and directed films for Columbia Pictures and Paramount Pictures. He was a president of the Directors Guild of America and an avid photographer. He was the recipient of three awards from the Academy of Motion Picture Arts and Sciences (Oscar). The collection consists of photographs, photographic negatives, personal and business materials, and film. The collection also contains material created by George Sidney's uncle, George Sidney, vaudevillian and motion picture actor.

Scope and Contents:

The George Sidney Collection consists of approximately eighty-eight cubic feet of photographs and materials from the Hollywood director George Sidney, most dealing with his career in motion pictures. Sidney was an avid photographer and collector of photographs documenting extremely well the Hollywood film community during the Studio Era (1927-1954) of filmmaking. The bulk of the collection is from Sidney's most productive years, circa 1937-1968.

MGM's motto was "More Stars than there are in Heaven" and the researcher would be advised that the extent of this collection is such that it is impossible to list and identify all of the celebrities and personalities photographed, both behind and in front of the camera. There are stills from Sidney's many productions as well as his on-set personal photographs. There are photographs from dinner parties, and many studio and film community functions. Productions are dated to their generally accepted first theatrical release date (Los Angeles and New York) and in the case of a Broadway show to their opening date.

Arrangement:

The collection is arranged into six series.

Series 1: Photographs, Photographic Negatives, and Slides, 1914-1996, undated.

Subseries 1.1: The Camera Eye of George Sidney, undated.

Subseries 1.2: Productions (Motion Picture, Stage, and Radio), 1921-1968. Subseries 1.3: Personalities and People, 1932-1996, undated.

Subseries 1.4: Personal and Family, 1914-1992, undated.

Subseries 1.5: Family Photograph Albums and Scrapbooks, 1918-1950, undated.

Subseries 1.6: Travel and Locations, 1940-1981, undated.

Subseries 1.7: Studio, Entertainment, and Public Events, 1949-1995, undated.

Subseries 1.8: Tests, 1938-1967, undated.

Subseries 1.9: Photographic Negatives, 1937-1979, undated

Series 2: Production Ephemera, Posters, Scripts, 1930-1991, undated.

Subseries 2.1: Production Posters, 1943-1964, undated

Subseries 2.2: Production Ephemera and Scripts, 1930-1991, undated

Series 3: Office Files and Personal Material, 1903-2002, undated

Subseries 3.1: Personal Material, 1944-2002, undated

Subseries 3.2: Correspondence, Random Files, Indices, and Inventories, 1903-2002, undated

Series 4: Music Manuscripts, Sheet Music, and Music Related Material, 1885-1992, undated

Subseries 4.1: Music Manuscripts, 1937-1960, undated

Subseries 4.2: Sheet Music, 1885-1990

Subseries 4.3: Music Related Material, 1971-1992, undated

Series 5: Audiovisual, 1933-2001, undated

Subseries 5.1: Film, 1940-1960, undated

Subseries 5.2: Audio, 1933-2001, undated

Subseries 5.3: Video, 1989-2001, undated

Series 6: George Sidney (1877-1945), 1909-1945, undated

Biographical / Historical:

George E. Sidney was born in New York, New York on October 4th, 1916 into a show business family. His father Louis K. Sidney (birth surname Kronowith) (1891-1958) was a Broadway producer, actor-manager, and one of the vice-presidents of Loew's Incorporated. Sidney's mother, Hazael Mooney (?-1969), was a vaudeville performer, part of a sister act known as The Mooney Sisters. She was a native New Yorker, daughter of prominent New York City attorney Henry Mooney. She and Louis were married at her home, 12 West 109th Street, New York. Another residence was 179 West 63rd Street.

Louis K. Sidney began working for Loew's Incorporated in 1923. He managed theatres in Denver, Pittsburgh, Toledo, Dayton, and New York. Later he was in charge of stage productions for the theatre circuit. He was in charge of MGM's East Coast film production facility in New York. He and Hazael followed son George to Los Angeles in 1937. Louis produced two motion pictures at MGM, The Big Store with the Marx Brothers and Hullabaloo. After February 1951, he was a member of the four man executive committee in charge of MGM. At his retirement in 1955, Louis K. had risen to the position of vice-president of Loew's, Incorporated. He served as vice-president and director of the Motion Picture Producers Association, as a director of the Motion Picture Relief Fund, and the Hollywood Coordinating Committee.

George Sidney had two uncles in show business, Jack Sidney, known as "Jack of Spades" a black-face comedian, and Sidney's half-uncle, George Sidney (1877-1945) (real name Samuel Greenfield), a vaudeville comic. George had a successful Broadway and screen career, most notably as the bum, Busy Izzy, a character that lasted on the vaudeville circuit from 1901-1915. His initial Broadway success was in a show entitled Welcome Stranger that ran for 309 performances. Welcome Stranger had an extensive touring schedule across the United States. In conjunction with Charlie Murray, he developed a comedy act known as Cohen and Kelly that was not only a vaudeville success but easily made the transition to motion pictures. The Cohens and Kellys films became a motion picture franchise for Universal Studios in 1924. He was married to Carrie Weber (?-1940). George was a member of the Friars Club and an avid sports fan. He owned a racehorse named Kibbitzer.

George Sidney made his on-screen debut in The Littlest Cowboy (1921) starring Tom Mix. He moved to Los Angeles in 1930. Sidney went to work as a messenger at MGM. Louis B. Mayer's nickname for Sidney was "boy". Sidney flourished at the studio and by the time he was twenty he was directing screen tests and one-reel shorts. He directed installments in the Our Gang and Little Rascals series, as well as the Pete Smith and the Crime Does Not Pay series. He won back-to-back Oscars for two of his shorts, Quicker'n a Wink (1940) and Of Pups and Puzzles (1941). His feature film directing debut was Free and Easy (1941) starring Robert Cummings. His first major film musical was the all-star, war time musical, Thousands Cheer (1943), starring Kathryn Grayson and Gene Kelly. Sidney always indicated he viewed films as entertainment and seems to have rejected the auteur theory of directing embraced by some of his well known colleagues such as John Ford and Vincent Minnelli. His film, The Three Musketeers (1948), starring Gene Kelly and Lana Turner, was one of MGM's highest grossing films in the post World War Two period. He won his third Oscar for the short, Overture to 'The Merry Wives of Windsor, in 1954. Jupiter's Darling (1955) with Esther Williams was Sidney's last film for MGM. He was loaned to Columbia Pictures to direct The Eddy Duchin Story (1956), after which his contract at MGM ended.

Sidney went on to become an independent producer and director at Columbia Pictures where he directed such films as Pal Joey (1957), starring Frank Sinatra, and Bye Bye Birdie (1963) starring Ann-Margret. He returned to MGM in the 1960s to make A Ticklish Affair (1963), starring Shirley Jones and Viva Las Vegas (1964), starring Ann-Margret and Elvis Presley. His last film was the musical Half a Sixpence (1967) starring Tommy Steele for Paramount Pictures. Sidney also directed and produced for television most notably Who Has Seen the Wind (1964). He financed and founded Hanna-Barbera Productions in 1944. He was a two-term president, 1951-1959 and 1961-1967, of the Directors Guild of America (DGA), earlier known as the Screen Directors Guild (SDG).

In his personal life, Sidney was married in 1942 to legendary MGM drama coach, Lillian "Burnsie" Burns Salzer (1903-1998). He was eight years her junior. They lived at the Sidney home (1140 Tower Road) in Beverly Hills. They divorced in the mid 1970s. For a brief time Sidney maintained a penthouse apartment for George Sidney Productions at 144 South Beverly Drive, Beverly Hills. He maintained a suite (301) in the Palm Wilshire Building, 9201 Wilshire Boulevard in the 1970s. He married his second wife, Jane Adler Robinson (?-1991), second wife and widow of actor Edward G. Robinson (1893-1974), around 1978. The house at 1140 Tower Road was sold and Sidney moved to the Robinson home at 910 Rexford Drive in Beverly Hills. Sidney married his third wife, Corinne Kegley Entratter (1937-?), widow of showman and Las Vegas entrepreneur John Entratter, in 1991. Sidney was a prolific photographer. He collected art and was apparently an avid gardener. He was a member of the Royal Horticultural Society. He died in Las Vegas, Nevada in May 2002.

Related Materials:

The Harry Warren Collection, AC0750

The Groucho Marx Collection, AC0269

Sidney related artifacts from Sidney's films are housed in the Division of Culture and the Arts, National Museum of American History, Smithsonian. There are scrapbooks donated by the Sidney Estate in the collection of the Cinema-Television Library, Doheny Library, University of Southern California, consisting of eleven volumes containing photographs, correspondence, publicity documents, and other materials, circa 1933-1963.

Provenance:

This collection was donated to the Archives Center in 2005 by Corinne Entratter Sidney, widow of George Sidney.

Restrictions:

Collection is open for research but is stored off-site. Researchers must handle unprotected photographs with cotton gloves. Researchers may use reference copies of audio-visual materials. When no reference copy exists, the Archives Center staff will produce reference copies on an "as needed" basis and as resources allow.

Viewing film portions of the collection requires special appointment, please inquire; listening to LP recordings is only possible by special arrangement.

Special arrangements required to view materials in cold storage. Using cold room materials requires a three hour waiting period.

Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.

Rights:

The Archives Center does not own exclusive rights to these materials. All requests for permission to use these materials for non-museum purposes must be addressed directly to the Archives Center, and the Archives Center will forward the request to the copyright holder. Collection items are available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Reproduction permission from Archives Center: fees for commercial use.

Topic:

Motion picture production and direction  Search this

Motion picture producers and directors  Search this

Motion pictures  Search this

Vaudeville  Search this

Musicals  Search this

Genre/Form:

Photographs -- Black-and-white photoprints -- Silver gelatin -- 19th-20th century

Citation:

George Sidney Collection, Archives Center, National Museum of American History, gift of Corinne Entratter Sidney

Identifier:

NMAH.AC.0867

See more items in:

George Sidney Collection

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep878cc8f7c-849a-43d0-8ca9-4149e7f39a74

EDAN-URL:

ead_collection:sova-nmah-ac-0867

Creator:

Schneider-Gabriel Galleries (New York, N.Y.)  Search this

Names:

Gluckmann, Grigory, 1898-1973  Search this

Pach, Walter, 1883-1958  Search this

Stuart, Gilbert, 1755-1828  Search this

Extent:

0.9 Linear feet

Type:

Collection descriptions

Archival materials

Date:

1918-1953

Summary:

The Schneider-Gabriel Galleries records measure 0.9 linear feet and date from 1918 to 1953. The collection is comprised mostly of photographs of paintings that span the European and American continent, dating from the 13th century to the mid-20th century. The collection also includes correspondence relating to the sale, conservation, and legitimacy of the New York gallery's artwork; a folder of papers concerning the immigration of artist Grigory Gluckmann and his wife, Anna, to the United States in 1941; financial records comprised of scant bills, checks, and statements; the catalog draft from a Walter Pach exhibition; and correspondence, printed material, and provenance records concerning portraits of George Washington by Gilbert Stuart.

Scope and Contents:

The Schneider-Gabriel Galleries records measure 0.9 linear feet and date from 1918 to 1953. The collection is comprised mostly of photographs of paintings that span the European and American continent, dating from the 13th century to the mid-20th century. The collection also includes correspondence relating to the sale, conservation, and legitimacy of the New York gallery's artwork; a folder of papers concerning the immigration of artist Grigory Gluckmann and his wife, Anna, to the United States in 1941; financial records comprised of scant bills, checks, and statements; the catalog draft from a Walter Pach exhibition; and correspondence, printed material, and provenance records concerning portraits of George Washington by Gilbert Stuart.

Arrangement:

Due to the small size of this collection the papers are arranged as one series.

Biographical / Historical:

Schneider-Gabriel Galleries was an art gallery in New York, New York, started circa 1938 by art dealers Albert Schneider and Gilbert Gabriel. Before starting their own business, Schneider and Gabriel worked with John Levy of John Levy Galleries in New York in the 1920s. Schneider-Gabriel exhibited and dealt paintings, mostly portraits and landscapes, by well-known European artists from the 13th to 20th centuries as well as a number of American artists from the 19th and 20th centuries. Artists whose work was sold and exhibited by Schneider-Gabriel include Walter Pach, Winslow Homer, Alexander Canedo, Gilbert Stuart, Jean-Baptiste-Camille Corot, and among many others.

Provenance:

The collection was donated circa 1958 by the widow of Albert Schneider.

Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.

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.

Function:

Art galleries, Commercial -- New York (State)

Citation:

Schneider-Gabriel Galleries records, 1918-1953. 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.

Identifier:

AAA.schngall

See more items in:

Schneider-Gabriel Galleries records

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9326ea1d8-3ec3-4aa0-9fc5-a43e952572d9

EDAN-URL:

ead_collection:sova-aaa-schngall

Collection Creator:

Schneider-Gabriel Galleries (New York, N.Y.)  Search this

Extent:

0.9 Linear feet (Box 1-2, OV 3)

Type:

Archival materials

Date:

1918-1953

Scope and Contents:

Photographs of paintings that span the European and American continent, dating from the 13th century to the mid-20th century; correspondence relating to the sale, conservation, and legitimacy of the gallery's artwork; a folder of papers concerning the immigration of artist Grigory Gluckmann and his wife, Anna, to the United States in 1941; financial records comprised of scant bills, checks, and statements; the catalog draft from a Walter Pach exhibition; and correspondence, printed material, and provenance records concerning portraits of George Washington by Gilbert Stuart.

Collection Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.

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:

Schneider-Gabriel Galleries records, 1918-1953. 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.

Identifier:

AAA.schngall, Series 1

See more items in:

Schneider-Gabriel Galleries records

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw98e155612-fd0e-422c-83ec-5b218dacec7e

EDAN-URL:

ead_component:sova-aaa-schngall-ref7

Creator:

Macbeth Gallery  Search this

Names:

Hartley, Marsden, 1877-1943  Search this

Homer, Winslow, 1836-1910  Search this

Macbeth, Robert W. (Robert Walker), 1884-1940  Search this

Macbeth, William, 1851-1917  Search this

McIntyre, Robert G. (Robert George), b. 1885  Search this

Stuart, Gilbert, 1755-1828  Search this

Weir, Robert Walter, 1803-1889  Search this

Extent:

131.6 Linear feet

Type:

Collection descriptions

Archival materials

Daguerreotypes

Photographs

Scrapbooks

Date:

1947-1948

1838-1968

bulk 1892-1953

Summary:

The Macbeth Gallery records provide almost complete coverage of the gallery's operations from its inception in 1892 to its closing in 1953. Through extensive correspondence files, financial and inventory records, printed material, scrapbooks, reference and research material, and photographs of artists and works of art, the records document all aspects of the gallery's activities, charting William Macbeth's initial intention to lease his store "for the permanent exhibition and sale of American pictures" through over sixty years of success as a major New York firm devoted to American art. The collection measures 131.6 linear feet and dates from 1838 to 1968 with the bulk of the material dating from 1892 to 1953.

Scope and Content Note:

The Macbeth Gallery records provide almost complete coverage of the gallery's operations from its inception in 1892 to its closing in 1953. The records document all aspects of the gallery's activities, charting William Macbeth's initial intention to lease his store "for the permanent exhibition and sale of American pictures" through over sixty years of success as a major New York firm devoted to American art. The collection measures 131.6 linear feet and dates from 1838 to 1968 with the bulk of the material dating from 1892 to 1953.

The gallery's correspondence files form the core of the collection and illuminate most aspects of American art history: the creation and sale of works of art, the development of reputations, the rise of museums and art societies, change and resistance to change in the art market, and the evolution of taste. Ninety-five feet of correspondence house substantial and informative letters from dozens of important American painters and sculptors, including older artists and younger contemporaries of the gallery in its later years. There are also letters from collectors, curators, other galleries, and critics.

The financial files found in the collection offer insight into the changing economic climate in which the gallery operated. They include information ranging from the details of individual sales and the market for individual artists, to consignment activities and artist commissions, to overviews of annual sales. This information is augmented by the firm's inventory records and the photographs of artwork with their accompanying records of paintings sold. The inventory records provide details of all works of art handled by the gallery, both sold and unsold, and the buyers who purchased them; the photographs of artwork include images of artwork sold with accompanying sales information.

The highlight of the gallery's printed material is the publication Art Notes. Although published only until 1930, Art Notes provides an excellent and detailed view of the gallery's exhibition schedule and the relationship of the gallery owners with many of the artists whose work they handled. It was a house organ that also provided a running commentary on events in the art world. The gallery's 19 fragile scrapbooks, maintained throughout the firm's history, provide further coverage of activities through exhibition catalogs and related news clippings. Printed material from other sources provides a frame of reference for activities in the art world from the mid-19th to the mid-20th-centuries and includes an almost complete run of the rare and important pre-Civil War art publication The Crayon.

Reference files record the interest which the gallery owners took in the work of early portrait painters and in later artists such as George Inness and Winslow Homer. Together with the immense volume of correspondence with buyers and sellers of paintings by the great portraitists and the Hudson River School found in the gallery's correspondence files, these records are still useful sources of information today and underscore the deep interest that the Macbeths and Robert McIntyre took in 18th and 19th-century American art.

The photographs of artists found here are a treasure trove of images of some of the major figures of the 19th and 20th-centuries. There are photographs of artists such as Chester Beach, Emil Carlsen, Charles Melville Dewey, Frederick Carl Frieseke, Childe Hassam, Winslow Homer, George Inness, Maurice Prendergast, and Julian Alden Weir, many of them original prints and the majority of them autographed.

With the exception of the "The Eight" and a few of their contemporaries, an important aspect of art history, the modernist movement, is generally represented in the Macbeth Gallery records only in a negative form as the three successive proprietors of the gallery showed very little interest in this area. Nevertheless, the collection is a highly significant source of information on many of the major and minor figures in American art in the period after 1890.

Arrangement:

The collection is arranged into eight series:

Missing Title

Series 1: Correspondence, 1838-1968 (Box 1-95, 163-164, OV 165; 96.2 linear feet)

Series 2: Financial and Shipping Records, 1892-1956 (Box 96-110; 11.8 linear feet)

Series 3: Inventory Records, 1892-circa 1957 (Box 111-113; 3.0 linear feet)

Series 4: Printed Material, 1838-1963 (Box 114-119, 162; 5.0 linear feet)

Series 5: Scrapbooks, 1892-1952 (Box 120-130; 3.3 linear feet)

Series 6: Reference Files, 1839-1959 (Box 131-132; 0.6 linear feet)

Series 7: Miscellaneous Files, 1912-1956 (Box 133-134; 0.8 linear feet)

Series 8: Photographs, circa 1880-circa 1968 (Box 135-161; 12.1 linear feet)

Historical Note:

The Macbeth Gallery was established in 1892 by William Macbeth, a Scotch-Irish immigrant who had spent ten years with the print dealer Frederick Keppel before he opened his doors to the art-buying public at 237 Fifth Avenue in New York. Despite the prevailing interest in foreign art at that time, particularly in that of the Barbizon and Dutch schools, Macbeth was determined to dedicate his gallery to "the permanent exhibition and sale of American pictures, both in oil and water colors."

Although some of the gallery's earliest exhibitions were of work by European artists, the business soon became the only gallery in continuous operation that kept American art permanently on display. In the January 1917 issue of Art Notes, Macbeth recounts those early days remembering that "The opening of my gallery......was a rash venture under the existing conditions, and disaster was freely predicted." Nevertheless, he struggled through the financial crisis of 1893 and persisted with his devotion to American art; slowly the market for his pictures grew more amenable.

Macbeth moved to more spacious quarters at 450 Fifth Avenue in 1906 and two years later undertook what was to become the major event in the gallery's early history: the 1908 exhibition of "The Eight," featuring work by Arthur B. Davies, Willam J. Glackens, Robert Henri, Ernest Lawson, George Luks, Maurice Prendergast, Everett Shinn, and John Sloan. "The Eight" were an unlikely combination of social realists, visionaries and impressionists eager to challenge the dominating influence of the National Academy. The exhibition received an immense amount of publicity and instantly entered into art history as a successful assault on tradition.

Despite the splash that the exhibition made and its implications for the future of American art, nothing that the gallery did subsequently indicated that Macbeth intended to capitalize on its significance. It is true that Macbeth supported many artists later considered leaders in American art when the public would pay no attention to them because of their modernist tendencies; Arthur B. Davies, Paul Dougherty, Maurice Prendergast, Theodore Robinson, and F. Ballard Williams all held their first exhibitions at his gallery. Nevertheless, neither Macbeth nor the gallery's two successive proprietors, Robert G. McIntyre (William's nephew) and Robert Macbeth (William's son), who joined the gallery in 1903 and 1906 respectively, ever developed a true interest in modern art. The November 1930 issue of Art Notes summarizes their collective disdain for modernism, stating: "We believe that, by and large, modern art is amusing. We are heretical enough to believe that much of it was started for the amusement of its creators and that no one was more surprised than they when it was taken seriously by a certain audience to whom the bizarre and the unintelligible always makes an appeal." So while the Macbeths and McIntyre cetainly championed American artists and insisted they deserved as much recognition as the Europeans, their deepest and most abiding interest was undoubtedly the established artists of the 18th and 19th-centuries and those of the early 20th-century who continued in a more conservative style. Artists such as Emil Carlsen, Charles Harold Davis, Frederick C. Frieseke, Robert Henri, Winslow Homer, Chauncey F. Ryder, Abbot Handerson Thayer, J. Francis Murphy, A. H. Wyant were the gallery's bread and butter.

When William Macbeth died in 1917 Robert Macbeth took up the reins with the assistance of Robert G. McIntyre . Although they incorporated the business as William Macbeth, Inc., in 1918 the gallery continued to be known, as it always would be, simply as Macbeth Gallery. Macbeth and McIntyre continued to show work in the same vein as the elder Macbeth. They concentrated primarily on oil paintings at this time, having found by the 1920s that "oils are all that our gallery owners will buy," though they also exhibited an occasional group of watercolors and pastels in addition to bronzes and other sculpture by contemporary American artists such as Chester Beach and Janet Scudder.

Of the early American painters the Macbeths and McIntyre were particularly interested in colonial portraits and miniatures, especially those painted by prominent artists in the latter part of the eighteenth century such as John Singleton Copley, Gilbert Stuart, Thomas Sully and John Trumbull. In its early years the gallery also handled the work of a few prominent American etchers including Frank W. Benson, Emil Fuchs, Daniel Garber, Childe Hassam and Chauncey F. Ryder. The print department was generally discontinued, however, in the late 1930s although the gallery continued to show prints by contemporaries such as Stow Wengenroth.

In 1924 relative prosperity allowed the gallery to move uptown to 15 East Fifty-seventh Street. When the 1930s brought new financial hardship for the gallery Macbeth and McIntyre took a variety of approaches to boosting sales. In 1930 they decided to hold only group exhibitions throughout the season to the exclusion of one-man shows, and also held some special exhibitions of paintings priced at a hundred dollars each in the hope that they could tempt those "willing to take advantage of a rare chance to secure representative examples of good art at a most attractive price." A move to smaller quarters at 15 East Fifty-seventh Street in 1935 was made with the intention of concentrating their efforts on the work of fewer contemporary artists, while continuing to handle the work of the older Americans they had long supported.

When Macbeth died suddenly and unexpectedly in August 1940 following an operation for appendicitis, McIntyre continued to run the gallery with the assistance of Hazel Lewis. During the 1940s McIntyre and Lewis showed primarily contemporary art in a wide range of media including oil, watercolor, pastel, drawing and sculpture, while continuing, as always, to show the occasional group of 19th-century Americans. The great success of the gallery's later years was undeniably Andrew Wyeth whose first exhibition, held at Macbeth Gallery in 1937, resulted in the sale of all twenty-two paintings cataloged.

Although subsequent Wyeth exhibitions were also successful, McIntyre struggled financially throughout the 1940s and periodically considered liquidating the company. Although "vitally interested" in contemporary art by people such as Robert Brackman, Jay Connaway, Carl Gaertner, James Lechay, Herbert Meyer and Ogden M. Pleissner he found that, for the most part, it did not pay. McIntyre continued operations until 1953 when he decided that doing so for profit was not only a financial burden but also ran contrary to his desire to spend more time devoted to his first love, early American art. When the lease expired on 11 East Fifty-seventh Street in April 1953 McIntyre did not renew it. After closing the gallery's doors he sold art from his New York apartment and from his home in Dorset, Vermont. He officially dissolved William Macbeth, Inc., in 1957.

The history of the Macbeth Gallery is a long and distinguished one with each successive proprietor making a significant contribution to art in America. William Macbeth helped establish an audience and a market for American art when few were willing to give it serious consideration. Robert Macbeth continued to cement the gallery's reputation as one of the leading firms in New York and was instrumental in organizing the American Art Dealers Association. Robert G. McIntyre claimed in a letter to Lloyd Goodrich, dated 22 June 1945, that the thing of which he was most proud was "the share I have had in the formation of the collection of the Addison Gallery of American Art, at Andover, Massacusetts." McIntyre was widely respected in the art community as a dealer, as an adviser to curators, and as a scholar whose research and book on Martin Johnson Heade helped "rediscover" an important American artist. One of his most significant and lasting contributions to the history of art in America, however, was undoubtedly his gift of the gallery's historical records to the Archives of American Art.

Related Material:

Among the holdings of the Archives of American are a small collection of scattered Robert McIntyre's papers and 9 items of William Macbeth's papers. Macbeth Gallery exhibition catalogs are also available in the American Art Exhibition Catalog collection and the Brooklyn Museum Records, both loaned and microfilmed collections.

An extensive collection of Macbeth Gallery exhibition catalogs are also held by the Frick Art Reference Library and the Watson Library of the Metropolitan Museum of Art.

Provenance:

The bulk of the Macbeth Gallery records were donated and microfilmed in several installments between 1955 and 1966 by Robert G. McIntyre and Estate. Additional Macbeth Gallery printed material was donated by Phoebe C. and William Macbeth II, grandchildren of William Macbeth, in 1974.

Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.

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.

Topic:

Eight (Group of American artists)  Search this

Artists -- United States  Search this

Art -- Collectors and collecting  Search this

Art, American  Search this

Function:

Art galleries, Commercial -- New York (State)

Genre/Form:

Daguerreotypes

Photographs

Scrapbooks

Citation:

Macbeth Gallery records, 1838-1968, bulk 1892 to 1953. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Getty Grant Program. Digitization of the scrapbooks was supported by a grant from the Smithsonian Institution Women's Committee. Correspondence, financial and shipping records, inventory records, and printed material were digitized with funding provided by the Mr. and Mrs. Raymond J. Horowitz Foundation for the Arts, the Terra Foundation for American Art and The Walton Family Foundation.

Identifier:

AAA.macbgall

See more items in:

Macbeth Gallery records

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9755cec30-3318-4f15-a7b7-031c448a7a46

EDAN-URL:

ead_collection:sova-aaa-macbgall

Creator:

Stella, Joseph, 1877-1946  Search this

Names:

United States. Works Progress Administration  Search this

Extent:

2.8 Linear feet

Type:

Collection descriptions

Archival materials

Date:

circa 1900-1970

Summary:

The papers of artist Joseph Stella measure 2.8 linear feet and date from circa 1900 to 1970. The papers shed light on his life and career through biographical materials, mixed personal and professional corresponence, writings by Stella and others, printed materials, and photographic materials.

Scope and Contents:

The papers of artist Joseph Stella measure 2.8 linear feet and date from circa 1900 to 1970. The papers shed light on his life and career through biographical materials, personal and professional corresponence, writings by Stella and others, printed materials, and photographic materials.

Biographical materials include address books and loose addresses for contacts in the U.S. and abroad, calling cards, business cards, inventories of Stella's artwork, financial papers, drawings and artwork by children and others, several oversized sketches by Stella, papers from the Federation of Modern Painters and Sculptors Inc., a ration book from World War II, one contract from the Cooperative Gallery, and other miscellaneous personal papers. Correspondence includes mostly letters received by Stella from art organizations, museums, dealers, family members, and colleagues including the Museum of Modern Art, Artists for Victory, ACA Gallery, M. Knoedler & Co., the Whitney Museum, Andrew Bondi, Marie Dumoulard, Katherine Dreier, August Mosca, and Charmion von Wiegand. An invitation to a lecture on Joseph Stella by Phyllis Ackerman is also present. Writings in Italian and English include an autobiography by Stella, essays about his life and work, poems, loose notes about his paintings and materials, and three notebooks. Writings about Stella by others, drafts of letters (especially in Italian), and some sketches are also present. Printed materials consist of newspaper clippings mostly concerning Stella's career, exhibition invitations and catalogs, printed reproductions of Stella's artwork, reference material, and more. Photographic materials include portraits of Stella, photos from his studio and travels, and the artist with friends and family; images of his artwork; and several photos from exhibitions.

Arrangement:

The collection is arranged as five series.

Series 1: Biographical Materials, circa 1915-1970 (Boxes 1, 4, OV 5; .3 linear feet)

Series 2: Correspondence, circa 1921-1960 (Box 1; .8 linear feet)

Series 3: Writings, circa 1920s-1940s (Box 2; .5 linear feet)

Series 4: Printed Materials, 1896, 1912-1963 (Boxes 2-4, OV 5)

Series 5: Photographic Materials, circa 1900-1960 (Boxes 3-4, OV 5; .5 linear feet)

Biographical / Historical:

Joseph Stella (1877-1946) was a New York City Painter and draughtsman who immigrated from Muro Lucano Italy in 1896. He received a traditional education while in Italy. At the suggestion of his brother, a medical doctor, Stella studied medicine for two years before leaving that path for his art. His primary subjects to draw and paint during this time were immigrants, laborers, and others he saw in the streets of New York City. Giotto, Masaccio, and Andrea Mantegna were his primary influences at the time. In circa 1899, Stella began taking classes at the Art Students League of New York, studying under William Merritt Chase. He received a scholarship for a year's tuition and began exhibiting his artwork shortly after. In 1902, Stella was sent to Pittsburgh by the periodical The Survey to paint scenes of that city. Illustrating for periodicals became his primary source of income during this period. In 1909, Stella moved to Italy to study glazing, and in 1911, he moved to Paris, where he encountered Fauvism, Cubism, and Futurism for the first time. During these few years in Europe, he befriended Marcel Gromaire, Jules Pascin, Umberto Boccioni, Gino Severini, and Amedeo Modigliani. Stella returned from Europe in 1912 and had three paintings exhibited in the 1913 Armory Show. Several years later, his subject matter shifted towards New York architecture, and he created some of his most well-known works including Brooklyn Bridge (1919-20) and New York Interpreted (1922). Bourgeois Gallery exhibited Stella's work from the late teens until the artist went to Dudensing Galleries in 1925. The following year, he moved to Naples and returned to the U.S. in 1934. In 1936, Stella had a solo exhibition at Cooperative Gallery in Newark, New Jersey; and the gallery exhibited his work for the rest of his life. There was a retrospective of Stella's work at The Newark Museum in 1936 and solo shows at Associated American Artists (1941) and Knoedler Galleries (1942). Other galleries who exhibited Stella's work include Valentine Gallery, New York, Galerie Sloden, Paris, Galerie Jeune Peinture, Paris, and Zabriskie Gallery, New York. From 1935 to 1937, he worked for the Works Progress Administration in the easel division. Stella served on the exhibition committee of Societe Anonyme, was a director of the Salons of America, and a member of the Federation of Painters and Sculptors Inc. He died of heart failure in 1946.

Separated Materials:

The Archives of American Art also holds microfilm of material lent for microfilming on reel 5137 (frames 1-63) including 29 loose sketches and a 16-page sketchbook by Joseph Stella. The materials were returned to Alan Pensler after microfilming, and are not described in the collection container inventory.

Provenance:

The Joseph Stella papers were donated in three installments. Stella's nephew, Sergio Stella, donated records in 1971 and 1986. Alan Pensler, a Washington, D.C. art dealer who acquired the papers from a woman who purchased the home and its contents of Dr. Giovanni Stella, Stella's brother, donated records in 1996.

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.

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:

Draftsmen (artists) -- New York (State) -- New York  Search this

Painters -- New York (State) -- New York  Search this

Topic:

Painting, American  Search this

Art, Modern -- 20th century -- United States  Search this

Italian American artists  Search this

Citation:

Joseph Stella papers, circa 1900-1970. 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.

Identifier:

AAA.steljose

See more items in:

Joseph Stella papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9d19f6f14-d66b-42eb-b54a-4ffabe80fc62

EDAN-URL:

ead_collection:sova-aaa-steljose

Creator:

Laurel Gallery  Search this

Names:

Avery, Milton, 1885-1965  Search this

Bentley, Claude Ronald, 1915-1990  Search this

Brandt, Grace Borgenicht, 1915-2001  Search this

Constant, George  Search this

Ernst, Jimmy, 1920-1984  Search this

Lassaw, Ibram, 1913-2003  Search this

Lenson, Michael, 1903-1971  Search this

Pach, Walter, 1883-1958  Search this

Peterdi, Gabor  Search this

Pytlak, L. (Leonard), 1910-1998  Search this

Ritter, Chris  Search this

Tourtelot, Madeline  Search this

Extent:

0.6 Linear feet

Type:

Collection descriptions

Archival materials

Date:

1944-1951

Summary:

The Laurel Gallery records measure 0.6 linear feet and date from 1944 to 1951. The collection sheds light on the gallery's operations through scant correspondence, photographs, printed material, an exhibition inventory, and financial records.

Scope and Contents:

The Laurel Gallery records measure 0.6 linear feet and date from 1944 to 1951. This small collection sheds light on the gallery's operations through scant correspondence, photographs, printed material, an exhibition inventory, and financial records.

The collection includes letters from artists and museums to gallery director Chris Ritter, and some to the gallery's co-director, Grace Borgenicht; writings on artists Milton Avery, Gabor Peterdi, and Leonard Pytlak. Financial records consist of tax records, notes, bills, price lists, artist agreements, an account book, and a sales book. Also present is an inventory from the exhibition, The New York Society of Women Artists (1947); a scrapbook and loose newspaper clippings; photographs of artists and works of art; a plan for the gallery's marketing, pricing, and financials by Chris Ritter; and photographs, notes, and drafts related to the gallery's quarterly, Laurels.

Arrangement:

Due to the small size of this collection the papers are arranged as one series.

Biographical / Historical:

The Laurel Gallery was founded in New York City in 1946 by painter, printmaker, and educator, Chris Ritter. The gallery, located at 108 East 57th Street, was an active supporter of contemporary American art. Ritter occasionally exhibited his own work in the Laurel Gallery, but mostly exhibited the work of other avant-garde artists, including Jimmy Ernst, Grace Borgenicht (Laurel Gallery's co-director), Claude Bentley, George Constant, Ibram Lassaw, and others. In addition to exhbitions, the gallery published four portfolios of artists' prints and a quarterly magazine. Ritter closed the gallery in 1952, around the same time Borgenicht opened the Grace Borgenicht Gallery.

Provenance:

The collection was donated by gallery founder Chris Ritter in 1974.

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.

Topic:

Art, Modern -- 20th century -- History  Search this

Function:

Art galleries, Commercial -- New York (State) -- New York

Citation:

Laurel Gallery records, 1944-1951. 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.

Identifier:

AAA.laurgall

See more items in:

Laurel Gallery records

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9d03e273b-5447-443f-a3f3-0fcfd64c6077

EDAN-URL:

ead_collection:sova-aaa-laurgall

Creator:

Rosa Esman Gallery  Search this

Names:

Tanglewood Press  Search this

Darger, Henry, 1892-1972  Search this

Esman, Rosa  Search this

Gray, Eileen, 1878-1976  Search this

Rodchenko, Aleksandr, 1891-1956  Search this

Warhol, Andy, 1928-1987  Search this

Extent:

16 Linear feet

Type:

Collection descriptions

Archival materials

Date:

circa 1922-2014

bulk 1972-1994

Summary:

The Rosa Esman Gallery and Tanglewood Press Inc. records measure 16.0 linear feet and date from circa 1922 to 2014, with the bulk of the records dating from 1972 to 1994. The records shed light on two businesses operated by Rosa Esman through administrative files, artist files, exhibition and event files, sales and financial records, printed material, photographic materials, and several objects.

Scope and Contents:

The Rosa Esman Gallery and Tanglewood Press Inc. records measure 16.0 linear feet and date from circa 1922 to 2014, with the bulk of the records dating from 1972 to 1994. The records shed light on two businesses operated by Rosa Esman through administrative files, artist files, exhibition and event files, sales and financial records, printed material, photographic materials, and several objects.

Administrative files contain correspondence files, printed material, and inventories; photos of the gallery, Rosa Esman, and others; a few gallery blueprints; and pins and magnets from a collaboration between the Esman Gallery and artists Roy Lichtenstein, Gustav Klutsis, Lazar "El" Lissitzky, and Sol LeWitt. Artist files consist of resumes and biographical summaries, correspondence, pricelists, exhibition material, press packets, photographic materials depicting artwork and artists, and more. Artists include Eileen Gray, Lev Nussberg, Pascal Verbena, Helen Frankenthaler, Alexander Rodchenko, Sol LeWitt, Peter Boynton, and Jan Muller. Exhibition and event files contain price lists, loan agreements, correspondence, printed materials, and photographic materials. Included in this series is one file for an exhibition held at Knoedler Gallery that was in collaboration with Rosa Esman after she had closed her gallery. Financial records consist of sales books, consignment records, receipts and invoices, ledgers, and some appraisals. Tanglewood Press Inc. files contain correspondence files, financial records, order forms and receipts, photographic materials, press packets, mailers, a certificate, and some exhibition materials. Printed material consists of some miscellaneous postcards, exhibition announcements and catalogs including a binder of exhibition announcements. Photographic material consists of photographs, slides, and negatives of artwork displayed at the gallery. There are also a number of CDs containing digital photographs.

Arrangement:

This collection is arranged as seven series.

Series 1: Administrative Files, 1973-2014 (Box 1-2, 16; 1.8 linear feet)

Series 2: Artist Files, 1920s, 1953-2011 (Box 2-8, 16; 5.7 linear feet)

Series 3: Exhibition and Event Files, 1971-2014 (Box 8-12, 16; 4.8 linear feet)

Series 4: Financial Records, 1965, 1977-2013 (Box 12-13, 16-17; 1.9 linear feet)

Series 5: Tanglewood Press Inc. Records, 1964-2003 (Box 13-15, 17; 1.0 linear feet)

Series 6: Printed Material, circa 1972-1994 (Box 2, 12, 17; 0.2 linear feet)

Series 7: Photographic Material, circa 1970s-2013 (Box 2, 7, 8, 12, 18; 0.4 linear feet)

Biographical / Historical:

Rosa Esman Gallery was established in 1972 in New York, New York by Rosa Esman. The gallery exhibited mostly twentieth-century American and European art in various mediums and styles, including pop art, European outsider art, Dada, constructivism, architecture, interior design, and Russian artists from the early twentieth century. Tanglewood Press Inc. was an art publishing company founded by Esman, and published thirteen limited-edition portfolios by a number of artists from 1965 to 1991.

With encouragement from Doris Freedman and Hans Kleinschmidt, Esman established Tanglewood Press Inc. in 1965 as a publisher of artists' portfolios. The first publication, New York Ten (1965), included artwork by Tom Wesselmann, George Segal, Claes Oldenburg, Roy Lichtenstein, Mon Levinson, Robert Kulicke, Nicholas Krushenick, Helen Frankenthaler, Jim Dine, and Richard Anuszkiewicz. Later publications included artwork by Andy Warhol, Mary Bauermeister, Ad Reinhardt, Robert Motherwell, Sol LeWitt, Jim Dine, and many others. The portfolio, "Ten Landscapes-Roy Lichtenstein (1967), was published in collaboration with Abrams Original Editions. Esman was contracted to work at Abrams Original Editions for a short period of time in the late 1970s. Esman and her Tanglewood Press Inc. were featured in the exhibition, The Great American Pop Art Store: Multiples of the sixties (1997-2000), University Art Museum, California State University, Long Beach, California.

Esman held a drawings exhibition of artwork borrowed from the Leo Castelli Gallery in 1972 in a space she rented for Tanglewood Press Inc.; she credited this as the beginning of Rosa Esman Gallery. Esman continued exhibiting in that location for the next several years, including a solo show of folded drawings by Sol LeWitt and Modern Master Drawings: Avery, Stuart Davis, De Kooning, Hoffman, Motherwell (1973). Esman moved her operation in 1975 to a building in midtown near the galleries of Tibor de Nagy and Virginia Zabriskie. Artists and printmakers shown at Esman Gallery during 1970s include Christo, Bill Fares, Tom Noskowski, Ursula Von Rydingsvard, Hannah Tierney, and Eileen Gray. In 1979, Esman began an exhibition series of Russian avant-garde art, The Russian Revolution in Art, 1-5 (1979-1983), featuring artwork by Kasmir Malevich, Alexander Rodchenko, Lyubov Popova, and many others of the Russian avant-garde. Esman moved the gallery to SoHo in 1980. In the 1980s, Esman began showing European outsider artists Pascal Verbena and Henry Darger and held a group exhibition of outsider artists in 1986, Outsiders: Art Beyond the Norm. Other exhibitions in the 1980s included Art by Architects (1980), Architecture by Artists (1981), Curator's Choice: A Tribute to Dorothy Miller (1982). Later exhibitions featured artists Joseph Zito, Sofia Dymshits-Tolstaya, Eric Snell, and Carl Goldhagen; and group shows of Dada art, twentieth-century photography, and constructivism. After closing Rosa Esman Gallery in 1992, Esman entered a partnership at Ubu Gallery with Adam Boxer and Alfred Jarry.

Rosa Mencher Esman was born in New York, New York in 1927. She studied government at Smith College in Northhampton, Massachusetts. She went abroad to Europe her junior year, visiting museums in Geneva, Florence, and Paris. After college, she worked several jobs including a position in the art book department of Harper and Brothers and as an office administrator for Rene d'Harnocourt at the Museum of Modern Art, New York. In 1957, she and a friend opened Tanglewood Gallery in Stockbridge, Massachusettes, showing artwork by artist-friends, utilizing the Museum of Modern Art lending service, and borrowing from the Downtown Gallery. The Tanglewood Gallery exhibited artists Milton Avery, Karl Schrag, Tom Wesselman, Alexander Calder, George Morrison, Robert Indiana, Richard Anuszkiewicz, Mervin Jules, and George L. K. Morris, among others. The gallery operated until circa 1960.

Related Materials:

Also found in the Archives of American Art is an oral history interview with Rosa Esman conducted by James McElhinney, June 9-16, 2009.

Provenance:

The collection was donated by Rosa Esman in 2003 and 2014 and in 2023 by the Esate of Rosa Esman via Abigail Esman, co-executor.

Restrictions:

Two folders comprised of Rosa Esman Gallery legal files, 1989-1991, in Box 15 are access restricted. Contact Reference Services for more information. 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 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.

Topic:

Women art dealers  Search this

Pop art  Search this

Art, Russian -- 20th century  Search this

Outsider art  Search this

Function:

Art galleries, Commercial -- New York (State)

Citation:

Rosa Esman Gallery and Tanglewood Press Inc records, circa 1922-2014. 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.

Identifier:

AAA.rosaesmg

See more items in:

Rosa Esman Gallery and Tanglewood Press Inc. records

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw90b5afc25-4ac5-4700-9d90-a03c3ac29007

EDAN-URL:

ead_collection:sova-aaa-rosaesmg

Creator:

Gasparo, Oronzo, 1903-1969  Search this

Names:

East River Gallery (New York, N.Y)  Search this

Dickinson, Preston, 1889-1930  Search this

O'Connor, Paul Dennis  Search this

Extent:

9 Linear feet ((partially microfilmed on 3 reels))

Type:

Collection descriptions

Archival materials

Sketchbooks

Video recordings

Date:

1909-1975

Scope and Contents:

Correspondence, biographical material, printed material, writings, sketchbooks, artwork, financial records, photographs, and motion picture film and video.

REEL N70-25: Correspondence; biographical data; printed material includes clippings, press releases, newsletters, exhibition catalogs and announcements.

REEL 132: Correspondence and consignment agreements with the East River Gallery; biographical writings and critical notes by Gasparo and others; press releases, exhibition announcements and catalogs.

REEL 960: Typescript of Karen Greiffenberg's thesis "The Colorful World of Oronzo Gasparo: His Life and Art"written for the University of Washington, 1973.

UNMICROFILMED: Biographical documents and writings; correspondence with family, friends, Preston Dickinson, Paul Dennis O'Connor, galleries, museums and Jessica Millmans' correspondence concerning Gasparo; sketches and sketchbooks; clippings, articles, exhibition guest books, catalogs and announcements; photographs of Gasparo, Millman, Dickinson, and slides and negatives of artwork; financial records; notes; 3 reels 16 mm film, including two film prints of "A Night In the Artist's Studio: Gasparo with model Magdelene Egry" (copied to VHS), and an untitled reel of footage of Gasparo and models; 2 palettes; and a printing block.

Biographical / Historical:

Painter; New York, N.Y. Born in Bari, Italy. He came to the United States in 1916. Studied at the National Academy of Design, N.Y.C. and with Preston Dickinson. Served as a WPA artist in New York City.

Provenance:

Material on reel 960 was lent for microfilming by Jessica Millman, a friend of Gasparo's, 1975. The other material was donated by Millman, 1970-1984. The 16mm film was transferred to VHS video Nov. 1991 and is catalogued separately and shelved under Gropius.

Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.

Occupation:

Artists' models  Search this

Painters -- New York (State) -- New York  Search this

Topic:

Painting, Modern -- 20th century -- New York (State) -- New York  Search this

Genre/Form:

Sketchbooks

Video recordings

Identifier:

AAA.gasporon

See more items in:

Oronzo Gasparo papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw98270bffb-58d2-4222-bbb6-5d070615ba55

EDAN-URL:

ead_collection:sova-aaa-gasporon

Creator:

Armin, Emil, 1883-  Search this

Subject:

Levy, Beatrice S. (Beatrice Sophia)  Search this

Type:

Scrapbooks

Sketchbooks

Citation:

Emil Armin papers, 1922-1977. Archives of American Art, Smithsonian Institution.

Topic:

Art, Modern -- 20th century -- Illinois -- Chicago  Search this

Greeting cards  Search this

Theme:

Sketches & Sketchbooks  Search this

Chicago's Art-Related Archival Materials: A Terra Foundation Resource  Search this

Lives of artists  Search this

Record number:

(DSI-AAA_CollID)7027

(DSI-AAA_SIRISBib)209160

AAA_collcode_armiemil

Theme:

Sketches & Sketchbooks

Chicago's Art-Related Archival Materials: A Terra Foundation Resource

Lives of artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_209160

Architect:

Eyre, Wilson, 1858-1944  Search this

Landscape architect:

Eyre, Wilson, 1858-1944  Search this

Creator:

Highlands Historical Society  Search this

Former owner:

Sheaff Family  Search this

Roosevelt, Nicholas Guy, 1883?-1965  Search this

Roosevelt, Emily Wharton Sickler, 1884-1970  Search this

Sinkler, Caroline, 1860-1949  Search this

Collection Creator:

Garden Club of America  Search this

Type:

Archival materials

Place:

The Highlands (Fort Washington, Pennsylvania)

United States of America -- Pennsylvania -- Montgomery County -- Fort Washington

Scope and Contents:

The folder includes a worksheet, narrative history, copies of articles, Garden Club of America correspondence, and copy of "The Highlands Preservation Master Plan" by George E. Patton (December 1977).

General:

The Highlands lies on the old Skippack Pike in the White Marsh Valley. The English-style stone house was built by Anthony Morris in 1796. The Sheaff family developed the garden with two stone walls--one being crenelated. During Caroline S. Sinkler's ownership after 1915, the garden was renovated closely following the original existing features. Along both walls, there used to be lean-to greenhouses. These were removed by Sinkler and used to create a new wall. The plan of the garden had two axes that formed four separate gardens, one of them a parterre with a large sundial. Small pools, Italian sculptures, and garden ornaments were placed in the garden during Sinkler's time. Decay of the garden began after the death of Mrs. Roosevelt; subsequently the property was bequeathed to the Commonwealth of Pennsylvania.

Persons and organizations associated with the garden include: Anthony Morris (former owner, 1796); George Sheaff (former owner); John Sheaff (former owner, ?-1915); Caroline Sinkler (former owner, 1917-1941); Nicholas G. and Emily Roosevelt (former owners, 1941-1957); Archie Coutts (gardener); Wilson A. Eyre (landscape architect, 1917); George Saylor (gardener); Commonwealth of Pennsylvania (owners, 1957-); and the Highlands Historical Society.

Related Materials:

The Highlands related holdings consist of 1 folder (5 glass lantern slides and 7 35 mm. slides)

See others in:

The Highlands, ca. 1930.

Collection Restrictions:

Access to original archival materials by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.

Collection Rights:

Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.

Topic:

Gardens -- Pennsylvania -- Fort Washington  Search this

Collection Citation:

Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.

Sponsor:

A project to describe images in this finding aid received Federal support from the Smithsonian Collections Care Initiative, administered by the National Collections Program.

Identifier:

AAG.GCA, File PA008

See more items in:

The Garden Club of America collection

The Garden Club of America collection / Series 1: United States Garden Images / Pennsylvania

Archival Repository:

Archives of American Gardens

GUID:

https://n2t.net/ark:/65665/kb691f7754a-ff9c-4dd3-aeb8-58101872598f

EDAN-URL:

ead_component:sova-aag-gca-ref16467

Donor:

Little Manila Foundation  Search this

Extent:

4.33 Cubic feet (13 boxes)

Culture:

Filipino Americans  Search this

Type:

Collection descriptions

Archival materials

Diaries

Correspondence

Photographs

Receipts

Date:

circa 1917-1980, undated

Summary:

Collection of archival materials removed from trunks of personal belongings abandoned at death by Filipino agricultural workers in Stockton, California.

Scope and Contents:

Archival materials containing correspondence, photographs, albums, work receipts, books, and other ephemera documenting the lives of Filipino migrants in Stockton, California dating from 1920s-1970s.

Arrangement:

Collection is arranged into twenty-three series.

Series 1: Enrique Andales, 1917-1937, undated

Series 2: Julian S. Arofo, 1950-1953

Series 3: A.T. Bastion, undated

Series 4: Julian Felicita Bernido, 1971

Series 5: Andres Salle Casinas, 1912-1980, undated

Series 6: Cesario Hotora Comparativo, 1925-1945, undated

Series 7: Hilario Samson Cuevas, 1925-1930, udated

Series 8: Vinancio Felisarta, 1971

Series 9: Jose Madridejo Galinato, 1926-1949, undated

Series 10: Eufricino Janier, 1920-1929, undated

Series 11: Felimon Laga, 1922-1923, undated

Series 12: Seven Madrias, 1936-1938, undated

Series 13: Eusebio Maglente, 1920-1923, undated

Series 14: Epimaco Fariola Mansueto, 1874-1947, undated

Series 15: Sixto Olaco, 1921-1954, undated

Series 16: Anastacio Atig Omandam, 1924-1937

Series 17: Juan Campoco Pascual, 1936, 1948, undated Series 18: Julian Rogas, 1929-1936, undated

Series 19: Arcadio Simangca, 1961-1971

Series 20: Julio Saranza, 1971

Series 21: Pablo Mendoza Solomon, 1921-1971, undated

Series 22: Victor Yano, 1971

Series 23: Legionarios del Trabajo: Daguhoy Masonic Lodge, 1928-1935, undated

Biographical / Historical:

This collection consist of letters, diaries from Filipino Agricultural Workers

Related Materials:

Archives Center, National Museum of American History



Warshaw Collection of Business Americana Subject Categories: World Expositions, NMAH.AC.0060

Underwood & Underwood Glass Stereograph Collection, NMAH.AC.0143

Alexander Alland, Sr., Photoprints, NMAH.AC.0204

Sam DeVincent Collection of Illustrated American Sheet Music, Series 8: Geography, NMAH.AC.0300

Duncan Family Yo-Yo Collection, NMAH.AC.807

Catherine Hann Papers, NMAH.AC.0921

Kamikawa, Omata and Matsumoto Families Papers, NMAH.AC.0924

Juanita Tamayo Lott Filipino American Photographs and Papers, NMAH.AC.0925

Bishop Mitsumyo Tottori Memorial Notebooks, NMAH.AC.0926

Division of Cultural History Lantern Slides and Stereographs, NMAH.AC.0945

Other Respositories

Sacramento Public Library, Sacramento Room Photograph Collection

holdings include photograph of Legionarios Del Trabajo

Separated Materials:

The National Museum of American History's Divison of Work and Industry holds the objects that came with the collection including:

Accession number 2022.0058.

Provenance:

Collection donated by the Little Manila Foundation through Dillon Delvo, Executive Director, 2021.

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.

Topic:

Agriculture -- California  Search this

Migrant workers  Search this

Tagalog language  Search this

Genre/Form:

Diaries

Correspondence -- 20th century

Photographs -- 20th century

Receipts -- 20th century

Citation:

Filipino Agricultural Workers Collection, Archives Center, National Museum of American History

Sponsor:

Processing and encoding funded by a grant from the American Women History Initiative, 2023.

Identifier:

NMAH.AC.1515

See more items in:

Filipino Agricultural Workers Collection

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep865b08d8d-170d-410c-9794-1f0f1f0b1388

EDAN-URL:

ead_collection:sova-nmah-ac-1515

Collector:

Archives Center, National Museum of American History  Search this

Donor:

Becker, John M.  Search this

Gay Officers Action League. GOAL  Search this

Heritage of Pride (HOP)  Search this

Rohrbaugh, Richard  Search this

Atlantic States Gay Rodeo Association (ASGRA)  Search this

American Federation of Teachers  Search this

Department of Defense, Comprehensive Review Working Group  Search this

Gay Officers Action League. GOAL  Search this

Gay, Lesbian, Bisexual and Transgender Community Center of Baltimore and Central Maryland  Search this

ONE National Gay and Lesbian Archives  Search this

San Diego LGBT Pride  Search this

Servicemembers Legal Defense Network  Search this

Smith College  Search this

University of Connecticut  Search this

William Way Community Center  Search this

Biren, Joan E.  Search this

Bushnell, Megan  Search this

Davidson, James, Dr.  Search this

Dietrich, Joe  Search this

Exline, Gregory  Search this

Florence, Laura  Search this

Huebner, David  Search this

Jain, Shawn  Search this

Karazsia, Amy  Search this

Karazsia, William G.  Search this

Lombardi, Angela  Search this

Lynch, Patsy  Search this

Meinke, Mark  Search this

Nitz, Ryan  Search this

Reichard, Bradley  Search this

Robinson, Franklin A., Jr., 1959- (actor)  Search this

Ros, Silvia  Search this

Sabatino, Michael  Search this

Shannon, Michael A.  Search this

Sheets, Justin  Search this

Snodgrass, Adam  Search this

Voorheis, Robert  Search this

Creator:

Hirsch, Leonard  Search this

Guest, Barbara  Search this

Barna, Joseph T.  Search this

Guest, Michael E.  Search this

Cruse, Howard, 1944-2019  Search this

Other:

Larson, Gordon P., 1910-1988 -- 20th century  Search this

Names:

McWaine, Dwayne, Dr.  Search this

Extent:

70.2 Cubic feet (213 boxes, 22 map-folders)

Type:

Collection descriptions

Archival materials

Passports

Postcards

Photographs

Posters

Videocassettes

Advertising

Dvds

Songbooks

Periodicals

Place:

Canada -- Description and Travel

Germany -- description and travel

Amsterdam (Netherlands)

Washington, D.C. -- history

Los Angeles (Calif.)

New York, New York

Date:

1825-2023, undated

bulk 1960-2023

Summary:

This collection contains a variety of periodicals, photographs, correspondence, business and advertising ephemera (corporate and non-profit, personal), organizational records and ephemera, created by, for, and in reaction to the Lesbian, Gay, Bisexual, Transgender (LGBT) community.

Scope and Contents:

The Archives Center Lesbian, Gay, Bisexual, Transgender (LGBT) Collection contains periodicals, ephemera, posters, postcards, advertisements, photographs, organizational records, publications, correspondence, and other materials related to all aspects of the LGBT community and the civil rights issues pertaining thereto. The collection was created by the Archives Center to bring together materials specifically pertaining to the LGBT community. This collection contains material from communities and individuals throughout the United States. The collection is currently strongest in periodicals, newspapers and ephemera and very strong in material from California and New York. The collection continues to add new items and the researcher would be wise to take a broad view in targeting their research topics in the collection.

Arrangement:

The collection is divided into twenty-eight series.

Series 1: Periodicals, 1937-2023

Series 2: Agencies, Associations, and Organizations, 1965-2023, undated

Series 3: Community Life and Subject Files, 1825-2023, undated

Subseries 3.1: Photographs and Slides, 1870-2009, undated

Subseries 3.2: Ephemera and Buttons, 1969-2022, undated

Subseries 3.3: Posters and Prints, 1825-2018, undated

Subseries 3.4: Subject Files, 1958-2023, undated

Subseries 3.5: Pride, 1976-2023, undated

Subseries 3.6: HIV and AIDS, 1987-2020, undated

Subseries 3.7: Gay Games, 1982-2018

Series 4: Advertising, Business, and Publications, 1912-2023, undated

Subseries 4.1: Advertising, 1970-2018, undated

Subseries 4.2: Business, 1986-2021, undated

Subseries 4.3: Television, Theater, and Motion Pictures, 1978-2023, undated

Subseries 4.4: Bar ephemera and advertisement, 1979-2018, undated

Subseries 4.5: Publications, 1912-2023, undated

Series 5: Biren, Joan E. (JEB), 195-2018, undated

Subseries 5.1: Xerographic Copies of Photoprints, 1971-1995, undated.

Subseries 5.2: Posters and Oversize Advertisement, 1973-2018, undated

Series 6: Dietrich, Joseph A., 1992-2010

Series 7: Mattachine Society Records, 1942-1996, undated

Subseries 7.1: Correspondence, 1952-1991, undated

Subseries 7.2: Board of Directors Minutes, 1954-1974, undated

Subseries 7.3: Organizational Information, 1942-1993, undated

Subseries 7.4: Councils, Chapters, and Committees, 1953-1965, undated

Subseries 7.5: Conventions, 1953-1960, undated

Subseries 7.6: Publications, 1944-1996, undated

Series 8: Rainbow History Community Pioneers, 2003-2012, undated

Series 9: Strub, Sean O., addendum, 1987-2011, undated

Series 10: Gay and Lesbian Community Center of Baltimore (GLCCB, 1990-2014, undated

Series 11: Ros, Silvia, 2009-2011

Series 12: Huebner, David, 2009-2014

Series 13: St. George, Philip, 1945-1955, undated

Series 14: Will & Grace, 1995-2006

Series 15: Barna, Joseph T. and Heritage of Pride (HOP), New York, New York, 1910-2014, undated

Subseries 15.1: Photographs, Photographic Negatives, and Slides, 1985-2010, undated

Subseries 15.2: Heritage of Pride (HOP), 1984-2014, undated

Subseries 15.3: Barna, Joseph T., 1910-2013, undated,

Series 16: Becker, John M., 1999-2014, undated

Series 17: Rohrbaugh, Richard, 1972-1986, undated

Series 18: Guest, Michael E., 2001-2009

Series 19: The Fosters, 2013

Series 20: Pride at Work, 1990-2015

Series 21: Sabatino, Michael and Voorheis, Robert, 1980-2016, undated

Subseries 21.1: Archilla, Gustavo A. and Lokkins, Elmer T., 1916-2014, undated

Series 22: Gay Officers Action League (GOAL), 1982-2016, undated

Series 23: Brown, Adele "Del" and Herizon's Bar, 1985-1991, undated

Subseries 1: Changing Herizons, and Herizons Newsletter, 1983-1991

Series 24: Universal Fellowship Metropolitan Community Churches (UFMCC), 1957-2019, undated

Series 25: The Christmas House, Crown Media Family Networks, 2020-2021

Series 26: Cones, Myra L. and Harris, G. Yvonne, 1979-2001, undated

Series 27: Atlantic States Gay Rodeo Association (ASGRA), 1993-2004, undated

Series 28: Hooker, Meryl, 1989-1996, undated

Historical Note:

While the quest for equal rights has been pursued by generations, it is generally acknowledged that the modern day Lesbian, Gay, Bisexual, and Transgender (LGBT) civil rights movement began in New York City in June 1969 with the Stonewall Riots. Prior to this time a number of activists, individuals, and organizations such as The Mattachine Society, Daughters of Bilitis and others, fought to bring recognition of LGBT civil rights to the forefront of American society. While the movement was primarily, and most visably, centered in New York City and San Francisco, periodicals, guide books, and ephemeral material interconnected the larger LGBT community throughout the United States. The increased visibility of the LGBT movement inspired affinity groups at odds with the LGBT community's new found visibility and quest for broader civil rights. The challenge to what was termed "traditional" values encouraged these counter-LGBT groups to define and solidfy their constituency and also become more pro-active. This collection comprises material that is generated by individuals and organizations promoting both points of view.

Related Materials:

Materials in the Archives Center

Michio and Aveline Kushi Macro-Biotics Collection (AC0619)

The Shamrock Bar: Photographs and Interviews (AC0857)

John-Manuel Andriote Victory Deferred Collection (AC1128)

Archives Center Wedding Documentation Collection (AC1131 )

Division of Science, Medicine, and Society HIV/AIDS Reference Collection (AC1134)

John-Manuel Andriote Hot Stuff: A Brief History of Disco Collection (AC1184)

Joan E. Biren (JEB) Queer Film Museum Collection (AC1216)

World AIDS Institute (WAI) Collection (AC1266)

Servicemembers Legal Defense Network (SLDN) Records (AC1282)

Helping Persons with AIDS (HPA) Records (AC1283)

DC Cowboys Dance Company Records (AC1312)

Bil Browning and Jerame Davis Papers (AC1334)

David Hadley Rockwell New York Disco Ephemera Collection (AC1342)

Leonard P. Hirsch Federal Globe Records (AC1357)

Corbett Reynolds Papers (AC1390)

Mark Segal Papers (AC1422)

The Mattachine Society of Washington "Love in Action" Collection (AC1428)

Academy of Washington Records (AC1458)

Matthew Shepard Papers (AC1463)

I'm From Driftwood Records (AC1503)

The Division of Political History holds artifacts related to gay activist Franklin Kameny and a variety of political buttons. They also hold LGBT related artifacts from Joan E. Biren (JEB).

The Division of Medical and Science holds objects donated from Dr. Renee Richards, Sean O. Strub, and Leonard Hirsch.

The Division of Entertainment and the Arts holds objects donated by The Fosters, Will & Grace, and The Christmas House.

Provenance:

This collection was assembled by the Archives Center, National Museum of American History, Smithsonian, beginning in 2004.

Restrictions:

The collection is open for research use.

Researchers must handle unprotected photographs with gloves. Researchers must use reference copies of audio-visual materials. When no reference copy exists, the Archives Center staff will produce reference copies on an "as needed" basis, as resources allow.

Do not use original materials when available on reference video or audio tapes.

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.

Topic:

Women's music  Search this

Transgender people -- Identity  Search this

Sexual orientation  Search this

Political activists  Search this

Lesbianism  Search this

Lesbian and gay experience  Search this

Gay activists  Search this

Homosexuality  Search this

HIV and AIDS  Search this

Feminism  Search this

Bisexuality  Search this

Bars (Drinking establishments)  Search this

Gay Pride  Search this

Genre/Form:

Passports

Postcards

Photographs -- 2000-2010

Posters

Videocassettes

Advertising

DVDs

Photographs -- 20th century

Songbooks

Periodicals

Citation:

Archives Center Lesbian, Gay, Bisexual, and Transgender (LGBT) Collection, Archives Center, National Museum of American History, Smithsonian Institution

Identifier:

NMAH.AC.1146

See more items in:

Archives Center Lesbian, Gay, Bisexual, Transgender (LGBT) Collection

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep80327b53b-2daa-47d1-8c11-89a7b3f4e1bd

EDAN-URL:

ead_collection:sova-nmah-ac-1146

Sponsor:

SALGA [South Asian Lesbian and Gay Association]  Search this

Collector:

Archives Center, National Museum of American History  Search this

Collection Collector:

Archives Center, National Museum of American History  Search this

Collection Donor:

Becker, John M.  Search this

Gay Officers Action League. GOAL  Search this

Heritage of Pride (HOP)  Search this

Rohrbaugh, Richard  Search this

Atlantic States Gay Rodeo Association (ASGRA)  Search this

Collection Creator:

Hirsch, Leonard  Search this

Guest, Barbara  Search this

Barna, Joseph T.  Search this

Guest, Michael E.  Search this

Cruse, Howard, 1944-2019  Search this

Extent:

1 Item (Ink on paper., 8.4" x 10.9".)

Container:

Box 34

Culture:

Asian Americans  Search this

Type:

Archival materials

Fliers (printed matter)

Place:

New York (N.Y.) -- 20th century

Date:

[1997]

Scope and Contents:

This flier announces a "press conference/community education panel" to address the Federation of Indian Associations' refusal to allow SALGA to participate in the 1997 India Day parade. Sheet contains two copies of the flier.

Local Numbers:

AC1146-0000071.tif (AC Scan No.)

Collection Restrictions:

The collection is open for research use.

Researchers must handle unprotected photographs with gloves. Researchers must use reference copies of audio-visual materials. When no reference copy exists, the Archives Center staff will produce reference copies on an "as needed" basis, as resources allow.

Do not use original materials when available on reference video or audio tapes.

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.

Topic:

LGBT  Search this

India Day Parade  Search this

Parades -- New York  Search this

Press conferences  Search this

Genre/Form:

Fliers (printed matter)

Collection Citation:

Archives Center Lesbian, Gay, Bisexual, and Transgender (LGBT) Collection, Archives Center, National Museum of American History, Smithsonian Institution

See more items in:

Archives Center Lesbian, Gay, Bisexual, Transgender (LGBT) Collection

Archives Center Lesbian, Gay, Bisexual, Transgender (LGBT) Collection / Series 2: Agencies, Associations, and Organizations / South Asian Lesbian and Gay Association (SALGA), correspondence, press releases

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep87efd064d-fe77-4a91-a5fd-7d13e5e5d3c8

EDAN-URL:

ead_component:sova-nmah-ac-1146-ref2769

Advertiser:

SALGA [South Asian Lesbian and Gay Association]  Search this

Collector:

Archives Center, National Museum of American History  Search this

Collection Collector:

Archives Center, National Museum of American History  Search this

Collection Donor:

Becker, John M.  Search this

Gay Officers Action League. GOAL  Search this

Heritage of Pride (HOP)  Search this

Rohrbaugh, Richard  Search this

Atlantic States Gay Rodeo Association (ASGRA)  Search this

Collection Creator:

Hirsch, Leonard  Search this

Guest, Barbara  Search this

Barna, Joseph T.  Search this

Guest, Michael E.  Search this

Cruse, Howard, 1944-2019  Search this

Extent:

1 Item (Ink on paper., 10.9" x 8.4".)

Container:

Box 34

Culture:

Asian Americans  Search this

Type:

Archival materials

Posters

Place:

New York (N.Y.) -- 20th century

Date:

1998

Scope and Contents:

Text on yellow paper. Advertises SALGA benefit at the Cooler, with "star studded drag performances."

Local Numbers:

AC1146-0000073.tif (AC Scan No.)

Collection Restrictions:

The collection is open for research use.

Researchers must handle unprotected photographs with gloves. Researchers must use reference copies of audio-visual materials. When no reference copy exists, the Archives Center staff will produce reference copies on an "as needed" basis, as resources allow.

Do not use original materials when available on reference video or audio tapes.

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.

Topic:

Transvestites  Search this

Benefit performances  Search this

Dance parties  Search this

Homosexuality  Search this

LGBT  Search this

Genre/Form:

Posters -- 20th century

Collection Citation:

Archives Center Lesbian, Gay, Bisexual, and Transgender (LGBT) Collection, Archives Center, National Museum of American History, Smithsonian Institution

See more items in:

Archives Center Lesbian, Gay, Bisexual, Transgender (LGBT) Collection

Archives Center Lesbian, Gay, Bisexual, Transgender (LGBT) Collection / Series 2: Agencies, Associations, and Organizations / South Asian Lesbian and Gay Association (SALGA), correspondence, press releases

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8aee912bc-7ad3-4df8-ad41-b96098d56dd3

EDAN-URL:

ead_component:sova-nmah-ac-1146-ref2771