The Vivian E. Garrison papers are open for research.
Certain materials in the collection contain personally identifiable information (PII) and personal health information (PHI). These materials are restricted for 80 years from the date of their creation. Restricted materials are noted in the following finding aid and have been removed to boxes 54-61.
Use of archival audiovisual recordings with no duplicate access copy requires advance notice. Original audiovisual material in the Human Studies Film Archives may not be played. Please contact the archives for information on availability of access copies of audiovisual recordings.
Access to the Vivian E. Garrison papers requires an appointment.
Collection Rights:
Contact repository for terms of use.
Collection Citation:
Vivian E. Garrison papers, National Anthropological Archives, Smithsonian Institution
Sponsor:
Funding for the processing of this collection was provided by the Wenner-Gren Foundation.
Correspondence and sales records, writings, printed material, and photographs of art work document Preusser's artistic and teaching careers.
REEL 1829: Clippings and printed material document Preusser's early associations with his teacher, McNeil Davidson, and critic Ralph Pearson; regional and one-man exhibitions; teaching, lectures, juries and professional activities; his teaching affiliation with MIT, student projects and exhibitions; and lectures and published articles. Also included are a biographical summary, a list of owners of Preusser's paintings, and photographs of his work.
REEL 1830: Forty-eight photographs of art work (1939-1969) and correspondence and sales records (1951-1955) from the Downtown Gallery and Alan Gallery.
REEL 4494: General correspondence, correspondence with art dealer Catherine Long Randolph, exhibition catalogs, announcements, statements by Preusser about his work, and course outlines relate to his career as a painter, designer and educator.
Biographical / Historical:
Painter, educator, designer; Houston, Tex. and Cambridge, Mass. Preusser began his artistic career in Houston, Tex., where he taught at the Museum of Fine Arts, Houston School (1947-1954) and the University of Houston (1951-1954). He moved to Massachusetts in 1954 to teach visual design at the Massachusetts Institute of Technology (MIT). In 1974, he was appointed director of education at MIT's Advanced Center for Visual Studies. He retired in 1985.
Provenance:
Material on reel 1829 donated 1980 by Robert O. Preusser; material on reel 1830 lent for microfilming 1980 by Preusser, material on reel 4494 was lent in 1991.
Microfilmed as part of the Archives of American Art's Texas project.
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:
Designers -- Massachusetts -- Cambridge Search this
Educators -- Massachusetts -- Cambridge Search this
Painters -- Massachusetts -- Cambridge Search this
Topic:
Design -- Study and teaching -- Massachusetts Search this
United States. Work Projects Administration Search this
Davis, Charles H. (Charles Harold), 1856-1933 Search this
Extent:
0.2 Linear feet ((on 11 microfilm reels))
Type:
Collection descriptions
Archival materials
Date:
1930-1972
Scope and Contents:
Correspondence; writings and notes; scrapbooks; business material; biographical data; photographs; inventories; exhibition catalogs; and printed material.
REELS D222-D223: Manuscripts; notebooks entitled "Concepts of Substance" containing notes, essays, quotations, a diary, and reviews; scrapbooks; and publications.
REELS 1296-1302 & 1322(photos): Personal and business correspondence; notes and manuscripts of her many philosophical writings on light, space, and the infinite; poems by Pereira and by others; sales and loan receipts for her paintings; inventories of her paintings; paint formulas and technical data; biographical data; notes for the Design Laboratory of the WPA-Fine Arts Project; statements by her about her art and about the alleged suppression of her art by the Museum of Modern Art; exhibition catalogs; clippings; and photographs of her works and personal photos.
REEL 2395: Course outlines, an activity report, and printed material pertaining to the Design Laboratory school of industrial design in New York City. Also included are outlines, writings, and printed material pertaining to Pereira's lectures at Columbia University, the Brooklyn Museum, Smith College, the Artists League, the University of Michigan, and for the United American Artists.
REEL 3470: A letter to Juliet Gordon, New York City, October 15, 1969, protesting the denigration of women by -"a whole battalion of these American super artists," and condemning the Museum of Modern Art for devoutedly supporting their art. She writes, "Only when a society is expiring do such aberrations and betrayal of the female become the cultural mode."
Biographical / Historical:
Painter, writer, educator; New York, N.Y. Died 1971.
Provenance:
Material on reels D222-D223 lent for microfilming 1965 and material on reel 2395 donated 1965 by Irene Rice Pereira; material on reels 1296-1302, 1322 lent for microfilming, 1977 and reel 3470 donated 1978 by Djelloul Marbrook, nephew of Pereira.
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:
Educators -- New York (State) -- New York Search this
Painters -- New York (State) -- New York Search this
Topic:
Painting, Modern -- 20th century -- New York (State) -- New York Search this
Teaching files contain administrative documents, correspondence, course outlines and notes, committee activities, newsletters, and student assignments and records while teaching at City University of New York's Graduate School, Hunter College, Syracuse University, Yale University, and the University of Chile.
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Washington, D.C. Research Center.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Stanton L. Catlin papers, 1911-1998, bulk 1930-1994. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Smithsonian Institution Collections Care and Preservation Fund
Use of original papers requires an appointment and is limited to the Washington, D.C. Research Center.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Stanton L. Catlin papers, 1911-1998, bulk 1930-1994. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Smithsonian Institution Collections Care and Preservation Fund
Use of original papers requires an appointment and is limited to the Washington, D.C. Research Center.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Stanton L. Catlin papers, 1911-1998, bulk 1930-1994. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Smithsonian Institution Collections Care and Preservation Fund
Use of original papers requires an appointment and is limited to the Washington, D.C. Research Center.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Stanton L. Catlin papers, 1911-1998, bulk 1930-1994. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Smithsonian Institution Collections Care and Preservation Fund
The bulk of the teaching files consist of materials from Arthur Monroe's time as a professor of African American studies at San Jose State University and University of California, Berkeley. Teaching material includes course outlines, notes, lectures, exams, syllabi, student rosters, and other material. There are also several folders related to the Breakfast Group, which was an informal association of artists and University of California, Berkeley art professors who would would regularly get together at coffee houses to discuss art and society, broadly speaking. There are memorandums, meeting announcements, and printed materials of articles which were probably the subject of discussion at various meetings. There are also a few detailed meeting minutes which summarized the conversations that were had at the specific meetings.
Collection Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Arthur Monroe papers, circa 1940-2019. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Henry Luce Foundation.
This microfilm collection consists of papers compiled by Milton Morriss James on African American artists Laura Wheeler Waring and Henry Ossawa Tanner, as well as on artist Julius Bloch.
The compiled papers related to Laura Wheeler Waring include correspondence (1923-1946) regarding commissions, exhibitions, honorary positions, and activities related to State Teachers College at Cheyney, as well as a letter from J. O. Tanner offering to sell an H. O. Tanner painting to Waring for Cheyney; teaching materials, including course outlines, exams, and reports for music and art appreciation, handwriting, visual education, and other art classes; a sketchbook; and printed material (1948-1977).
Julius Bloch material (1950-1980) includes correspondence regarding James' effort to purchase a Bloch painting, as well as an article on Bloch.
James' correspondence (1948-1977) relates to efforts to get a Philadelphia public school named after Laura Wheeler Waring and to organize exhibitions of Waring's work. Research correspondence conserns publications on Warring and Henry O. Tanner. Also included is correspondence with Mary Beattie Brady of the Harmon Foundation regarding works of art for Cheyney and the Laura Wheeler Waring Public School.
Biographical / Historical:
Milton Morriss James (1926-) is a teacher and author in Yeadon, Pennsylvania. James taught in the Philadelphia Public School System and publishes books and articles on African American artists. He was acquainted with Laura Wheeler Waring in the 1940s.
Provenance:
Microfilmed in 1990 as part of AAA's Philadelphia Arts Documentation Project. James collected the Waring papers from Dr. Waring after Laura Wheeler Waring's death for his research.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
George Cohen papers, 1943-1980. 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.
Philadelphia College of Art -- Faculty Search this
United States. Works Progress Administration Search this
Extent:
4.8 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1930-1983
Scope and Contents:
Material primarily relating to Hood's work on the Federal Art Project, the Philadelphia College of Art, and the American Color Print Society. Hood's earlier work as a printmaker is not well represented. Included are correspondence, notes, writings, sketches, scrapbooks, printed material and photographs.
Materials on the WPA, 1936-1942, include correspondence regarding exhibitions, appointments of district directors and artists to the project rolls, and the project's day to day operations; minutes of meetings; material on Art Week including correspondence, minutes, reports, and printed matter; artist supply requisitions; field reports on the Pennsylvania Game Commission, the L.A. Visual Aids to Education project, and the Terrace Village Art Center, as well as official reports from various departments, illustrated with photographs of the museum extension project; WPA publicity transcripts of radio interviews; photographs of sculpture, murals, painting, and museum extension exhibitions, views of the Graphic Workshop, and 2 scrapbooks of clippings.
Materials on the Philadelphia College of Art, 1951-1982, include teaching files with course outlines for advertising design, color and design, experimental design, and lettering; handouts; teaching notes; student assignments; slide lists; and faculty and student lists. Project files include memorandums, receipts, certificates, and material relating to the alumni association. Printed matter include school calendars, brochures and catalogues; and materials relating to exhibitions organized at the college.
The American Color Print Society materials, 1954-1983, include correspondence regarding exhibitions, membership, and board meetings; membership files and lists; newspaper clippings, exhibition announcements and catalogs, press releases, and a scrapbook of clippings.
The collection also contains biographical material; correspondence, 1930-1989, regarding exhibitions, awards and commissions; writings by Hood, including the essay "The Constant and the Variable"; sketches by Hood; printed material; miscellaneous project and subject files on the Army Navy Library, Rittenhouse Square Clothesline Exhibitions, and camouflage; photographs of Hood, artwork, and the Army Navy Medical Library displays; and miscellany.
Arrangement:
I. Biographical materials, 1942-1975. II. Correspondence, 1930-1989. III. Writings and notes, undated. IV. Works of Art, undated. V. WPA files, 1940-1943. VI. American Color Print Society files, 1952-1983. VII. Philadelphia College of Art, 1951-1982. VIII. Misc. Project and subject files, 1941-1974. IX. Artists' biographies, undated. X. Print labels, 1969-1976. XI. Exhibition papers, undated. XII. Printed material, 1930-1982. XIII. Photographs, ca. 1936-1942 and 1958. XIV. Scrapbooks.
Material concerning the WPA, the Philadelphia College of Art, and the American Color Print Society may also be found in the chronological correspondence, printed material, and photographs.
Biographical / Historical:
Arts administrator, art instructor, printmaker; Philadelphia, Pa. Full name Thomas Richard Hood. District Supervisor, 1936-1938, Federal Field Supervisor, 1938-1939, and State Director, 1939-1942, for the Pennsylvania Works Project Administration; instructor and gallery director, Philadelphia College of Art, 1951-1982; and President of the American Color Print Society, 1956-1983.
Provenance:
Donated 1990 by Marianne Vadorsky for the Hood estate. Hood's estate and gave papers on Hood's behalf.
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:
Printmakers -- Pennsylvania -- Philadelphia Search this
Topic:
Prints -- 20th century -- United States -- societies, etc Search this
Includes notes for Anthro 233/333: Ethnohistory of the Andes and a breakdown of the topics covered in the course.
Collection Restrictions:
Audiovisual and digital materials are restricted. Please contact the archives for information on the availability of access copies.
Graded papers are restricted for 80 years from the date of their creation and grant applications are restricted for 30 years from the date of their creation. These restrictions are noted on the folder level.
Access to the Terence Turner papers requires and appointment.
Collection Rights:
Contact the repository for terms of use.
Collection Citation:
Terence Turner papers, National Anthropological Archives, Smithsonian Institution
Sponsor:
Funding for the processing of this collection was provided by the Wenner-Gren Foundation.
Audiovisual and digital materials are restricted. Please contact the archives for information on the availability of access copies.
Graded papers are restricted for 80 years from the date of their creation and grant applications are restricted for 30 years from the date of their creation. These restrictions are noted on the folder level.
Access to the Terence Turner papers requires and appointment.
Collection Rights:
Contact the repository for terms of use.
Collection Citation:
Terence Turner papers, National Anthropological Archives, Smithsonian Institution
Sponsor:
Funding for the processing of this collection was provided by the Wenner-Gren Foundation.
Correspondence; diaries; writings; photographs; and printed material.
REELS 944-949: Correspondence; diaries, 1918-1945 and 1947-1959; articles, lecture manuscripts, book reviews, book notes, various writings; family, chilhood, and professional photos, including portrait shots from silent movies in Berlin in 1924-31; course outlines; Architectural League papers, 1970-71; AIA medal; correspondence files; South American travel diary, 1959; and miscellaneous papers.
REELS 951-952: Correspondence; photographs of Laszlo, his Hungarian family, and of his work; clippings and press notices of his 1969-1970 retrospective.
REELS 1005-1006: Undated writings, notes, and printed material relating to Sibyl Moholy-Nagy's unpublished book, "Pragma."
Biographical / Historical:
Sibyl: architectural historian, critic, educator. Birthdate also cited as 1903. Died 1971. Laszlo: sculptor, designer, painter & photographer; Chicago, Illinois. Sibyl was born Dorothea Maria Pauline Alice Sybille Pietzsche in Dresden, Germany. An actress in Berlin during her twenties, she used the stage name Sibyl Peech. Eventually she shifted to a career in the scenario office of the Tobis [Moving] Picture Syndicate where she met Moholy-Nagy in 1929. They married in 1932. Came to U.S. 1934. Laszlo taught at Walter Gropius's first Bauhaus in Weimar and Dessau, 1920's, and was one of the founders of the Institute of Design, Chicago, 1939.
Provenance:
Lent for microfilming 1971 by Hattula Hug, daughter of Sibyl and Laszlo Moholy-Nagy. [Microfilm reels 1005-1006 erroneously labeled a gift.]
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
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.
Collection Citation:
Archives Center Brewing History Collection, 1968, Archives Center, National Museum of American History.