Search Results

Creator:

Cooper Hewitt, Smithsonian Design Museum  Search this

Type:

Interviews

YouTube Videos

Uploaded:

2020-07-06T21:42:26.000Z

YouTube Category:

Education  Search this

Topic:

Design  Search this

See more by:

cooperhewitt

Data Source:

Cooper Hewitt, Smithsonian Design Museum

YouTube Channel:

cooperhewitt

EDAN-URL:

edanmdm:yt_2GLsle60XaE

Creator:

Cooper Hewitt, Smithsonian Design Museum  Search this

Type:

YouTube Videos

Uploaded:

2010-11-16T15:23:12.000Z

YouTube Category:

Education  Search this

Topic:

Design  Search this

See more by:

cooperhewitt

Data Source:

Cooper Hewitt, Smithsonian Design Museum

YouTube Channel:

cooperhewitt

EDAN-URL:

edanmdm:yt_Vkys9g59Nb4

Creator:

Cooper Hewitt, Smithsonian Design Museum  Search this

Type:

Interviews

YouTube Videos

Uploaded:

2020-07-02T11:30:49.000Z

YouTube Category:

Education  Search this

Topic:

Design  Search this

See more by:

cooperhewitt

Data Source:

Cooper Hewitt, Smithsonian Design Museum

YouTube Channel:

cooperhewitt

EDAN-URL:

edanmdm:yt_j_X3FksavsQ

Creator:

Cooper Hewitt, Smithsonian Design Museum  Search this

Type:

YouTube Videos

Uploaded:

2010-03-18T13:07:44.000Z

YouTube Category:

Nonprofits & Activism  Search this

Topic:

Design  Search this

See more by:

cooperhewitt

Data Source:

Cooper Hewitt, Smithsonian Design Museum

YouTube Channel:

cooperhewitt

EDAN-URL:

edanmdm:yt_ohz_4LNvr-o

Creator:

Smithsonian Astrophysical Observatory  Search this

Type:

YouTube Videos

Uploaded:

2020-05-13T14:09:29.000Z

YouTube Category:

Science & Technology  Search this

Topic:

Astronomy  Search this

See more by:

cxcpub

Data Source:

Smithsonian Astrophysical Observatory

YouTube Channel:

cxcpub

EDAN-URL:

edanmdm:yt_TXb-ugb8kX4

Creator:

Smithsonian Astrophysical Observatory  Search this

Type:

Conversations and talks

YouTube Videos

Uploaded:

2020-05-13T13:23:50.000Z

YouTube Category:

Science & Technology  Search this

Topic:

Astronomy  Search this

See more by:

cxcpub

Data Source:

Smithsonian Astrophysical Observatory

YouTube Channel:

cxcpub

EDAN-URL:

edanmdm:yt_VJfRlbTuKRM

Creator:

Smithsonian Astrophysical Observatory  Search this

Type:

YouTube Videos

Uploaded:

2020-05-13T13:42:33.000Z

YouTube Category:

Science & Technology  Search this

Topic:

Astronomy  Search this

See more by:

cxcpub

Data Source:

Smithsonian Astrophysical Observatory

YouTube Channel:

cxcpub

EDAN-URL:

edanmdm:yt_kJS4SM3ZbeY

Medium:

paper; ink

Dimensions:

Height x Width: 10 3/8 x 8 3/4 in. (26.4 x 22.2 cm)

Type:

Covers & Associated Letters

Place:

Peru (republic)

Date:

1858

Object number:

0.233750.3.9

See more items in:

National Postal Museum Collection

On View:

Currently on exhibit at the National Postal Museum

Data Source:

National Postal Museum

GUID:

http://n2t.net/ark:/65665/hm8bd869e5d-75ec-4be8-be38-8c3bc86e86d6

EDAN-URL:

edanmdm:npm_0.233750.3.9

Medium:

paper; ink

Dimensions:

Height x Width (album page): 10 3/8 x 8 3/4 in. (26.4 x 22.2 cm)

Type:

Covers & Associated Letters

Place:

Peru (republic)

Date:

1860

Object number:

0.233750.5.11

See more items in:

National Postal Museum Collection

On View:

Currently on exhibit at the National Postal Museum

Data Source:

National Postal Museum

GUID:

http://n2t.net/ark:/65665/hm826ffb4e3-1fb2-4c2d-a07d-90626ac32d5b

EDAN-URL:

edanmdm:npm_0.233750.5.11

Medium:

paper; ink

Dimensions:

Height x Width (album page): 10 3/8 x 8 3/4 in. (26.4 x 22.2 cm)

Type:

Covers & Associated Letters

Place:

Peru (republic)

Date:

1860

Object number:

0.233750.5.15

See more items in:

National Postal Museum Collection

On View:

Currently on exhibit at the National Postal Museum

Data Source:

National Postal Museum

GUID:

http://n2t.net/ark:/65665/hm87baf5835-f06c-4eea-88bd-ec3b456cd349

EDAN-URL:

edanmdm:npm_0.233750.5.15

Medium:

paper; ink

Dimensions:

Height x Width (album page): 10 3/8 x 8 3/4 in. (26.4 x 22.2 cm)

Type:

Covers & Associated Letters

Place:

Peru (republic)

Date:

1860

Object number:

0.233750.5.6

See more items in:

National Postal Museum Collection

On View:

Currently on exhibit at the National Postal Museum

Data Source:

National Postal Museum

GUID:

http://n2t.net/ark:/65665/hm8888506da-60a9-4776-b4ca-752c7ff36756

EDAN-URL:

edanmdm:npm_0.233750.5.6

Artist:

Christian Schussele, 16 Apr 1824 - 1879  Search this

Sitter:

William Thomas Green Morton, 9 Aug 1819 - 15 Jul 1868  Search this

James Bogardus, 14 Mar 1800 - 13 Apr 1874  Search this

Samuel Colt, 19 Jul 1814 - 10 Jan 1862  Search this

Cyrus Hall McCormick, 15 Feb 1809 - 13 May 1884  Search this

Joseph Saxton, 22 Mar 1799 - 26 Oct 1873  Search this

Charles Goodyear, 29 Dec 1800 - 1 Jul 1860  Search this

Peter Cooper, 12 Feb 1791 - 4 Apr 1883  Search this

Jordan Lawrence Mott, 12 Oct 1799 - 1866  Search this

Joseph Henry, 17 Dec 1797 - 13 May 1878  Search this

Eliphalet Nott, 25 Jun 1773 - 29 Jan 1866  Search this

John Ericsson, 31 Jul 1803 - 8 Mar 1889  Search this

Frederick Ellsworth Sickels, 20 Sep 1819 - 8 Mar 1895  Search this

Samuel Finley Breese Morse, 27 Apr 1791 - 2 Apr 1872  Search this

Henry Burden, 22 Apr 1791 - 19 Jan 1871  Search this

Richard March Hoe, 12 Sep 1812 - 7 Jun 1886  Search this

Erastus Brigham Bigelow, 2 Apr 1814 - 6 Dec 1879  Search this

Isaiah Jennings, 1792 - 1862  Search this

Thomas Blanchard, 24 Jun 1788 - 16 Apr 1864  Search this

Elias Howe, 9 Jul 1819 - 3 Oct 1867  Search this

Medium:

Oil on canvas

Dimensions:

Stretcher: 128.3 x 190.5 x 5.1cm (50 1/2 x 75 x 2")

Frame: 162.6 x 225.7 x 12.7cm (64 x 88 7/8 x 5")

Type:

Painting

Place:

United States\Pennsylvania\Philadelphia\Philadelphia

Date:

1862

Topic:

Interior  Search this

Home Furnishings\Furniture\Seating\Chair  Search this

Costume\Dress Accessory\Eyeglasses  Search this

Home Furnishings\Furniture\Table  Search this

Equipment\Walking stick\Cane  Search this

Costume\Dress Accessory\Eyeglasses\Pince-nez  Search this

Architecture\Column  Search this

Artwork\Portrait  Search this

Weapon\Gun\Pistol  Search this

Artist's Effects\Architectural drawing  Search this

Equipment\Patent model  Search this

Isaiah Jennings: Male  Search this

Isaiah Jennings: Medicine and Health\Dentist  Search this

Isaiah Jennings: Science and Technology\Inventor\Dental  Search this

Isaiah Jennings: Science and Technology\Inventor\Firearms  Search this

Joseph Henry: Male  Search this

Joseph Henry: Education and Scholarship\Educator\Professor  Search this

Joseph Henry: Science and Technology\Scientist\Physicist  Search this

Joseph Henry: Education and Scholarship\Administrator\Smithsonian Institution\Secretary  Search this

Elias Howe: Male  Search this

Elias Howe: Science and Technology\Inventor\Sewing machine  Search this

Elias Howe: Crafts and Trades\Machinist  Search this

William Thomas Green Morton: Male  Search this

William Thomas Green Morton: Literature\Writer\Medical  Search this

William Thomas Green Morton: Science and Technology\Inventor\Medical  Search this

William Thomas Green Morton: Medicine and Health\Dentist  Search this

William Thomas Green Morton: Medicine and Health\Physician\Anaesthetist  Search this

Charles Goodyear: Male  Search this

Charles Goodyear: Science and Technology\Inventor  Search this

Charles Goodyear: Business and Finance\Businessperson\Industrialist\Manufacturer\Rubber  Search this

Charles Goodyear: Business and Finance\Businessperson\Merchant\Retailer  Search this

James Bogardus: Male  Search this

James Bogardus: Visual Arts\Artist\Medalist  Search this

James Bogardus: Science and Technology\Inventor  Search this

James Bogardus: Science and Technology\Engineer\Structural engineer  Search this

Joseph Saxton: Male  Search this

Joseph Saxton: Science and Technology\Inventor  Search this

Joseph Saxton: Crafts and Trades\Clockmaker  Search this

Jordan Lawrence Mott: Male  Search this

Jordan Lawrence Mott: Society and Social Change\Philanthropist\Patron of the arts  Search this

Jordan Lawrence Mott: Business and Finance\Businessperson\Merchant  Search this

Jordan Lawrence Mott: Business and Finance\Businessperson\Industrialist\Manufacturer\Iron  Search this

Cyrus Hall McCormick: Male  Search this

Cyrus Hall McCormick: Business and Finance\Businessperson\Industrialist\Manufacturer  Search this

Cyrus Hall McCormick: Society and Social Change\Philanthropist  Search this

Cyrus Hall McCormick: Science and Technology\Inventor  Search this

Cyrus Hall McCormick: Society and Social Change\Administrator\Historical society administrator\President  Search this

Henry Burden: Male  Search this

Henry Burden: Business and Finance\Businessperson\Entrepreneur  Search this

Henry Burden: Science and Technology\Inventor  Search this

Henry Burden: Business and Finance\Businessperson\Industrialist\Manufacturer\Iron  Search this

Henry Burden: Crafts and Trades\Metalworker\Ironmaster  Search this

Henry Burden: Business and Finance\Transportation\Shipbuilder  Search this

Erastus Brigham Bigelow: Male  Search this

Erastus Brigham Bigelow: Science and Technology\Inventor\Loom  Search this

Erastus Brigham Bigelow: Education and Scholarship\Founder\Technical institute  Search this

Samuel Colt: Male  Search this

Samuel Colt: Science and Technology\Inventor  Search this

Samuel Colt: Business and Finance\Businessperson\Industrialist\Manufacturer\Firearms  Search this

Thomas Blanchard: Male  Search this

Thomas Blanchard: Science and Technology\Inventor  Search this

Richard March Hoe: Male  Search this

Richard March Hoe: Science and Technology\Inventor\Press  Search this

Frederick Ellsworth Sickels: Male  Search this

Frederick Ellsworth Sickels: Science and Technology\Inventor  Search this

Frederick Ellsworth Sickels: Science and Technology\Engineer\Structural engineer  Search this

Frederick Ellsworth Sickels: Science and Technology\Engineer\Civil engineer\Bridge builder  Search this

Eliphalet Nott: Male  Search this

Eliphalet Nott: Education and Scholarship\Administrator\College administrator\President  Search this

Eliphalet Nott: Science and Technology\Inventor  Search this

Eliphalet Nott: Religion and Spirituality\Clergy\Minister  Search this

Peter Cooper: Male  Search this

Peter Cooper: Business and Finance\Businessperson  Search this

Peter Cooper: Education and Scholarship\Founder\School  Search this

Peter Cooper: Business and Finance\Businessperson\Industrialist\Manufacturer  Search this

Peter Cooper: Society and Social Change\Philanthropist  Search this

Peter Cooper: Science and Technology\Inventor  Search this

Peter Cooper: Business and Finance\Businessperson\Industrialist\Manufacturer\Iron  Search this

John Ericsson: Male  Search this

John Ericsson: Science and Technology\Inventor  Search this

John Ericsson: Science and Technology\Engineer\Military engineer  Search this

John Ericsson: Science and Technology\Engineer\Marine engineer  Search this

John Ericsson: Business and Finance\Transportation\Shipbuilder  Search this

Samuel Finley Breese Morse: Male  Search this

Samuel Finley Breese Morse: Visual Arts\Artist\Painter  Search this

Samuel Finley Breese Morse: Visual Arts\Artist\Portraitist  Search this

Samuel Finley Breese Morse: Journalism and Media\Journalist  Search this

Samuel Finley Breese Morse: Visual Arts\Art instructor  Search this

Samuel Finley Breese Morse: Education and Scholarship\Founder\College  Search this

Samuel Finley Breese Morse: Science and Technology\Inventor  Search this

Samuel Finley Breese Morse: Science and Technology\Inventor\Telegraph  Search this

Portrait  Search this

Credit Line:

National Portrait Gallery, Smithsonian Institution; transfer from the National Gallery of Art; gift of the A.W. Mellon Educational and Charitable Trust, 1942

Object number:

NPG.65.60

Restrictions & Rights:

CC0

See more items in:

National Portrait Gallery Collection

Exhibition:

2022 Rehang of Out of Many: Portraits from 1600 to 1900

On View:

NPG, East Gallery 120

Data Source:

National Portrait Gallery

GUID:

http://n2t.net/ark:/65665/sm42807e116-7c29-4206-a45d-dcdfde3b437f

EDAN-URL:

edanmdm:npg_NPG.65.60

Author:

Army War College (U.S.)  Search this

Subject:

United States Army Signal Corps  Search this

United States Army Air Service  Search this

Physical description:

viii, 128 pages. illustrations 23 cm

Type:

Books

Place:

United States

Date:

1922

Topic:

World War, 1914-1918  Search this

Call number:

UG573 .U51

UG573.U51

Data Source:

Smithsonian Libraries

EDAN-URL:

edanmdm:siris_sil_121273

Creator:

Whitney, Gertrude Vanderbilt, 1875-1942  Search this

Names:

American Ambulance Field Hospital (Juilly, France)  Search this

Greenwich House (New York, N.Y.)  Search this

Whitney Museum of American Art  Search this

Whitney Studio Club  Search this

Cushing, Howard Gardiner, 1869-1916  Search this

De Meyer, Adolf, Baron, 1868-1949  Search this

Miller, Flora Whitney  Search this

Strelecki, Jean de, count  Search this

Watson, Forbes, 1880-1960  Search this

Whitney, Harry Payne, 1872-1930  Search this

Extent:

36.1 Linear feet

Type:

Collection descriptions

Archival materials

Lithographs

Photographs

Interviews

Sketchbooks

Diaries

Scrapbooks

Blueprints

Sketches

Date:

1851-1975

bulk 1888-1942

Summary:

The Gertrude Vanderbilt Whitney papers measure approximately 36.1 linear feet and date from 1851 to 1975, with the bulk of the material dating from 1888 to 1942. The collection documents the life and work of the art patron and sculptor, especially her promotion of American art and artists, her philanthropy and war relief work, her commissions for memorial sculpture, and her creative writing. Papers include correspondence, journals, writings, project files, scrapbooks, photographs, artwork, printed material, two sound recordings, and miscellaneous personal papers.

Scope and Content Note:

The Gertrude Vanderbilt Whitney papers measure approximately 36.1 linear feet and date from 1851 to 1975, with the bulk of the material dating from 1888 to 1942. The collection documents the life and work of the art patron and sculptor, especially her promotion of American art and artists, her philanthropy and war relief work, her commissions for memorial sculpture, and her creative writing. Papers include correspondence, journals, writings, project files, scrapbooks, photographs, artwork, printed material, two sound recordings, and miscellaneous personal papers.

Material relating to more personal aspects of Whitney's life include school papers, a paper doll book dating from her childhood, financial material, interviews, awards and honorary degrees, address and telephone books, committee files, and other items. Correspondence consists of incoming and outgoing letters concerning both personal and professional matters, including her patronage of the arts and sponsorship of artists, her sculpture commissions and exhibitions, and her war relief work and other philantrophic activities. Also found are family correspondence and correspondence received by the Flora Whitney Miller and the Whitney Museum of American Art after Whitney's death. Journals include personal ones that she kept periodically from the time she was a child to near the end of her life, in which she recorded her travels, her impressions of people, her experiences with friends, and her thoughts on art, among other topics; and social ones, in which she recorded dinners and dances attended, and people invited to different social gatherings, and in which she collected invitations received and accepted.

Scattered files can be found that relate to the Whitney Studio Club and the Whitney Museum of American Art, consisting of notebooks, catalogs, a financial report, and other material. Files relating to Whitney's own sculpture projects are more extensive and consist of correspondence, contracts, printed material, notes, financial material for proposed and completed commissions for fountains, memorials, and monuments. The Whitney Museum of American Art, rather than Whitney herself, seems to have kept these files. Files relating to Whitney's philanthropic activities span from the time just before to just after the First World War and consist of correspondence, minutes, reports, and printed material stemming from her contributions to charities and war relief organizations, her sponsorship of the war hospital in Juilly, France, and her support of the Greenwich House Social Settlement.

Whitney's writings include extensive drafts, and handwritten and typed manuscripts and copies of novels, plays, and stories, as well as some autobiographical and early writings, notes and writings on art, and clippings of published writings, documenting her principle means of creative expression towards the end of her life. Also found are some writings by others. Scrapbooks consist of clippings, photographs, letters and other material, compiled by Whitney, Flora Whitney Miller, and possibly others, documenting Whitney's public life, her sculpture commissions and exhibitions, exhibitions at the Whitney Studio, the war hospital in Juilly, France, the death of Harry Payne Whitney in 1930, and the sickness and death of Whitney in 1942.

Photographs include ones of the Whitney and Vanderbilt families, ones of Gertrude Vanderbilt Whitney (including portraits taken by Baron Adolf de Meyer and Count Jean de Strelecki), ones of various Vanderbilt and Whitney residences and of Whitney's studios, ones of Whitney's sculpture exhibitions as well as exhibitions at her studio, and ones of her sculptures, as well as some miscellaneous and unidentified ones. Artwork consists of sketchbooks and sketches by Whitney (including sketches for sculptures) and artwork by others (including a sketchbook of Howard Cushing's containing a sketch of her and albums of World War I lithographs) collected by Whitney. Also found amongst the collection are printed material (clippings, exhibition catalogs, programs, and publications) and blueprints (including drawings for Whitney's studio on MacDougal Alley and various of her sculptures).

Arrangement:

The Gertrude Vanderbilt Whitney papers are arranged into twelve series:

Missing Title

Series 1: Miscellaneous Personal Papers, 1888-1947, 1975 (Boxes 1-3, 33-34, OV 42; 2.5 linear feet)

Series 2: Correspondence, 1889-1949, 1959 (Boxes 3-9; 6 linear feet)

Series 3: Journals, circa 1886-1939 (Boxes 9-12, 33; 2.5 linear feet)

Series 4: Whitney Studio Club and Whitney Museum of American Art Files, 1921-1943 (Box 12; 0.2 linear feet)

Series 5: Sculpture Files, 1900-1960 (bulk 1909-1942) (Boxes 12-15; 3 linear feet)

Series 6: Philanthropy Files, 1902-1923 (bulk 1915-1920) (Boxes 15-17; 2 linear feet)

Series 7: Writings, 1889-1942, 1974 (Boxes 17-26; 10 linear feet)

Series 8: Scrapbooks, 1893-1942 (Boxes 26-27, 33, 35; 1.5 linear feet)

Series 9: Printed Material, 1859-1942 (Boxes 27-28, 36; 0.8 linear feet)

Series 10: Photographs, 1862-1942 (Boxes 28-32, 36-41, OV 43-51; 6.4 linear feet)

Series 11: Artwork, 1871-1930s (Boxes 32, 41, OV 52-54; 0.8 linear feet)

Series 12: Blueprints, 1913-1945 (OV 55; 0.1 linear feet)

Biographical/Historical note:

New York art patron and sculptor, Gertrude Vanderbilt Whitney (1875-1942), was the eldest daughter of Cornelius Vanderbilt II and Alice Gwynne Vanderbilt, and founder of the Whitney Museum of American Art.

Whitney was born January 9, 1875 in New York City, the. She was educated by private tutors and attended Brearley School in New York. From the time she was a young girl, she kept journals of her travels and impressions of the people she met, and engaged in creative pursuits such as sketching and writing stories. In 1896, she was married to Harry Payne Whitney. They had three children, Flora, Cornelius, and Barbara.

In 1900, Whitney began to study sculpture under Hendrik Christian Anderson, and then under James Fraser. Later, she studied with Andrew O'Connor in Paris. From the time she started studying sculpture, her interest in art grew, as did her particular concern for American art and artists. In 1907, she organized an art exhibition at the Colony Club, which included several contemporary American paintings. She also opened a studio on MacDougal Alley, which became known as the Whitney Studio and was a place where shows and prize competitions were held. (She also had other studios in Westbury, Long Island and Paris, France.) Over the years, her patronage of art included buying work, commissioning it, sponsoring it, exhibiting it, and financially supporting artists in America and abroad. From 1911 on, she was aided in her work by Juliana Force, who started out as Whitney's secretary, was responsible for art exhibitions at the Whitney Studio, and became the first director of the Whitney Museum of American Art.

The first recognition Whitney received for her sculpture came in 1908 when a project on which she had collaborated (with Grosvenor Atterbury and Hugo Ballin) won a prize for best design from the Architectural League of New York. The following year she received a commission to do a fountain sculpture for the Pan-American Building in Washington, D. C. She went on to do numerous other commissioned works over the next several decades, including: a fountain for the New Arlington Hotel in Washington D.C. (the design of which was reproduced in various sizes and materials, one cast being submitted to the 1915 Panama-Pacific International Exposition where it won a bronze medal and a later cast being installed on the campus of McGill University, Montreal, Canada in 1930); the Titanic Memorial (designed in 1913 and erected in 1930); the Buffalo Bill Memorial (1924) in Cody, Wyoming; the Columbus Memorial (1929) in Port of Palos, Spain; the Peter Stuyvesant statue in Stuyvesant Square (1939); and The Spirit of Flight (1939) for the New York World's Fair. In 1916, she had her first one-man show at the Whitney Studio, another at the Newport Art Association, and a retrospective at the San Francisco Art Association Palace of Fine Arts. A traveling exhibition in the Midwest followed in 1918.

During the First World War, Whitney was involved with numerous war relief activities, most notably establishing and supporting a hospital in Juilly, France. She made several trips to France during the war, keeping a journal and eventually publishing a piece on the hospital in several newspapers. Her sculpture during this period was largely focused on war themes. In 1919, she exhibited some of these works at the Whitney Studio in a show called "Impressions of War." In the years after the war, she was also commissioned to do several war memorials, including the Washington Heights War Memorial (1922) and the St. Nazaire Memorial (1926) commemmorating the landing of the American Expeditionary Force in France in 1917.

In 1918, Whitney opened the Whitney Studio Club, which served as pioneering organization for American art, putting on exhibition programs and offering social space and recreational amenities to its members (one point numbering over four hundred artists living in New York). She planned an "Overseas Exhibition" of American art, which traveled to Paris and other European cities in 1920-1921, and had her own shows in Paris and London in 1921. In 1928, the Whitney Studio Club was transformed into an art gallery, known as the Whitney Studio Galleries and directed by Juliana Force, which eventually became the Whitney Museum of American Art in 1931.

Whitney pursued creative writing throughout her life, but beginning in the 1930s writing became her principle means of creative expression. Over the years, she produced numerous manuscripts for stories, novels, and play. One novel, Walking the Dusk, was published in 1932 under the pseudonym L. J. Webb. Beginning in 1940, Whitney took a "Professional Writing" course at Columbia University with Helen Hull, which resulted in the production of numerous short stories. In 1941, she collaborated with Ronald Bodley to adapt one of her stories as a play and attempted to get it produced, although unsuccessfully.

In 1934, Whitney was involved in a custody battle for her niece, Gloria Vanderbilt (daughter of her late brother, Reginald Vanderbilt and his wife, Gloria Morgan Vanderbilt). In an agreement reached by the court, custody was awarded to Whitney and visitation rights to Gloria's mother. Litigation continued in the ensuing years.

In 1935, Whitney established the World's Fair Five Organization, with Juliana Force and four architects, to work on preparing a plan for the site of the 1939 New York World's Fair at Flushing Meadow, although the fair's own Board of Design ended up coming up with its own plan.

Whitney continued her work in sculpture, writing, art patronage, and philanthropy throughout the remaining years of her life. She died on April 18, 1942.

Related Archival Materials note:

Related material found in the Archives includes Research Material on Gertrude Vanderbilt Whitney compiled by Flora Miller Irving and the Whitney Museum of American Art artists' files and records, available on microfilm only (originals are located in the Whitney Museum of American Art). Also found in the Archives of American Art's Miscellaneous Exhibition Catalog Collection are a bundle of Whitney Studio Club and Mrs. H. P. Whitney's Studio catalogs and announcements.

Provenance:

The Gertrude Vanderbilt Whitney papers were donated in 1981 and 1991 by Whitney's granddaughter, Flora Miller Irving.

Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Use of archival audiovisual recordings with no duplicate access copy requires advance notice. Contact Reference Services for more information.

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:

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

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

Topic:

Art patrons -- New York (State) -- New York  Search this

Women artists  Search this

Women sculptors  Search this

World War, 1914-1918  Search this

Genre/Form:

Lithographs

Photographs

Interviews

Sketchbooks

Diaries

Scrapbooks

Blueprints

Sketches

Citation:

Whitney Museum of American Art, Gertrude Vanderbilt Whitney Papers, 1851-1975 (bulk 1888-1942). Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art

Identifier:

AAA.whitgert

See more items in:

Gertrude Vanderbilt Whitney papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9db113d72-cc31-4974-85fe-3e99c53dd62e

EDAN-URL:

ead_collection:sova-aaa-whitgert

Creator:

Nesbitt, Esta  Search this

Names:

Parsons School of Design -- Faculty  Search this

Whitney Museum of American Art  Search this

Xerox Corporation  Search this

Ambert, Anibal  Search this

Beckett, Samuel, 1906-1989  Search this

Einstein, Albert, 1879-1955  Search this

English, Merle  Search this

Ginsberg, Allen, 1926-  Search this

Leder, Alan J.  Search this

Lyle, David  Search this

Wood, R. F.  Search this

Extent:

10.05 Linear feet

Type:

Collection descriptions

Archival materials

Sketches

Transcripts

Diaries

Sound recordings

Photographs

Date:

circa 1942-1981

bulk 1964-1975

Summary:

The papers of illustrator, xerography artist, filmmaker, and educator Esta Nesbitt measure 10.05 linear feet and date from circa 1942-1981. Found within the papers are biographical material, correspondence, writings, xerography research files, project and exhibition files, and printed material. Much of the collection relates to Nesbitt's xerography art work. Additionally, the collection includes motion picture film and sound recordings related to her film and performance work.

Scope and Contents:

The papers of illustrator, xerography artist, filmmaker, and educator Esta Nesbitt measure 10.05 linear feet and date from circa 1942-1981. Found within the papers are biographical material, correspondence, writings, xerography research files, project and exhibition files, and printed material. Much of the collection relates to Nesbitt's xerography art work. Additionally, the collection includes motion picture film and sound recordings related to her film and performance work.

Nesbitt's primary collaborators, correspondents, and subjects of investigation are not concentrated in any one series but rather recur throughout the collection. Nesbitt worked closely with Anibal Ambert, Merle English at Xerox Corporation, and the Whitney Museum of American Art. She read and wrote about the accrual of information, Albert Einstein, Asian religion and philosophy, communication, computer technology, documentation practices, energy, psychology, Samuel Beckett, and states of consciousness. Chinese characters and an image of Allen Ginsberg appear repeatedly in Nesbitt's works. Subjects of study and experimentation include 3M and Kodak technologies, color, film, morphology, participatory and performance art, shadows, sound, street works, xerography, and Xerox machines.

Biographical material revolves mostly around Nesbitt's work as a professor at Parsons School of Design. Records include Nesbitt's resumé, an exhibition history, motion picture film of the inside of her studio, and teaching files.

Correspondence contains personal letters from family members, and professional correspondence with fellow artists and employees of Xerox Corporation. Much of the series is correspondence between Nesbitt and fellow artists Alan Leder, David Lyle, and R.E. Wood, and is philosophical in nature. Correspondence with Xerox Corporation documents her relationship with the corporation between 1970 and 1972, when they underwrote her experiments in xerography.

Writings include illustrated journals, journals, notebooks, loose notes, and transcripts. The content of the writings varies widely throughout the series and includes artwork, sketches, diagrams, annotated clippings, transcripts of conversations, Nesbitt's writings about her dreams and family, details about her daily life, and notes about artists' materials, film, and sound.

Xerography Research Files document Nesbitt's experiments with xerography, which she often refers to in her papers as "Xerox Xplore." Contents include Nesbitt's definitions of xerography terms; Xerox equipment brochures; clippings; xerography studies; notebooks about Nesbitt's plans, work with color, and xerography study details; and slides and transparencies of completed xerography prints.

Project and Exhibition Files consist of a variety of documentation related to Nesbitt's books, exhibitions, films, performance and participatory art, and other projects. This series contains the bulk of the collection's motion picture films and sound recordings. The film and sound performance piece titled "Everyman as Anyman, or Putting On, On, On, On, On," the piece Walk Up --Tape On, the film "Light Times 499," and exhibitions of Nesbitt's xerography work and her series of work called Shadow Paintings are the most prominent subjects of the series.

Printed Material includes books, clippings, magazines, exhibition announcements, catalogs, and press releases about Nesbitt's interests, artwork, exhibitions, and galleries that exhibited her work. Some of the material is annotated.

Arrangement:

The collection is arranged into 6 series:

Missing Title

Biographical Materials, 1964-circa 1981 (0.3 linear feet; Box 1, 11)

Correspondence, 1942, 1964-1976 (0.3 linear feet; Box 1, OV 14)

Writings, 1959-circa 1973 (1.3 linear feet; Box 1-2, 12, OV 15)

Xerography Research Files, circa 1966-1974 (2.5 linear feet; Box 2-4, 11, OV 16)

Project and Exhibition Files, circa 1966-1981 (5.2 linear feet, Box 4-8, 11, 13, OV 17-19, 21, FC 22-23)

Printed Material, 1942-circa 1944, circa 1963-1977 (0.9 linear feet; Box 9-10, OV 20)

Biographical / Historical:

Esta Nesbitt (1918-1975) was an illustrator, xerography artist, filmmaker, and educator who lived and worked in New York City. She was a fashion illustrator for about two decades before becoming a children's book illustrator, performance artist, xerography artist, and filmmaker.

Nesbitt taught at Parsons School of Design from 1964 to 1974. Around 1970, Nesbitt created the piece Walk Up --Tape On with her Parsons students. The piece involved documenting social interaction by taping themselves to each other and then others as they walked through New York City, creating what Nesbitt called a "living organism," before presenting themselves to the Whitney Museum of American Art. The event was documented with film, photography, and audio recordings.

In 1970, Nesbitt contacted Xerox Corporation about creating experimental art investigations of the Walk Up --Tape On documentation using Xerox machines in their New York City office. During Nesbitt's time at Xerox, she experimented with many different copying machines, materials, and techniques to create what came to be known as xerographic artworks. She invented three xerography techniques: transcapsa, photo-transcapsa, and chromacapsa. A transcapsa work is created by moving a piece of material over the copier's window during the printing cycle. A photo-transcapsa work is created by moving a photographic image over the copier's window during the printing cycle. Chromacapsa is a process of adding color to xerographic works using Xerox copiers. Nesbitt referred to her work at Xerox as "Xerox Xplore," which culminated with the exhibition "Xerography - Extensions in Art" (1971-1972) and the commission of the print All the Lines are Nines.

To demonstrate "the media bombardment surrounding 'everyman' today," Nesbitt created a film and sound performance piece titled "Everyman as Anyman, or Putting On, On, On, On, On" in 1969. The performance consisted of five Super 8 film projectors and a multi-layered soundtrack. Nesbitt further experimented with filmmaking and xerography with the films "Folding/Struck" and "Light Times 499," which was created with Anibal Ambert. Her interest in xerography is further illustrated in the exhibition "Electrostatic Structures: 'New Morphs'" (1972-1973). The exhibition "1000 Empty 49.3 Grams: A participatory environment" was a culmination of her interest in participatory art.

Nesbitt died November 30, 1975 in New York City. Three posthumous exhibitions include "Esta Nesbitt: Xerography Prints" (1976) at The Art Center of Waco, "Memorial Exhibition of Drawing and Illustrations by Esta Nesbitt" (1977) at Parsons School of Design, and "Electroworks" (1979-1981) at the George Eastman House.

Related Materials:

The Esta Nesbitt papers at Center for Creative Photography at University of Arizona contain 3 linear feet related to her xerography artwork and exhibitions, dated 1966-1983.

Papers related to Nesbitt's fashion illustrations are found at the Kellen Design Archives at The New School in New York City. T

he Esta Nesbitt papers at the University of Minnesota Libraries Children's Literature Research Collections are related to Nesbitt's children's book illustrations, dated 1964-1969.

Provenance:

The Esta Nesbitt papers were donated by Saul Nesbitt, her husband, to the Archives of American Art in 1981.

Restrictions:

Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.

Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Occupation:

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

Topic:

Motion pictures (visual works)  Search this

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

Women artists  Search this

Xerography  Search this

Copy art  Search this

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

Women filmmakers  Search this

Women illustrators  Search this

Women educators  Search this

Genre/Form:

Sketches

Transcripts

Diaries

Sound recordings

Photographs

Citation:

Esta Nesbitt papers, circa 1942-circa 1981, bulk 1964-1975. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Council on Library and Information Resources' Hidden Collections grant program.

Identifier:

AAA.nesbesta

See more items in:

Esta Nesbitt papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9c57916c9-f891-4116-a32d-d1f4e83c624f

EDAN-URL:

ead_collection:sova-aaa-nesbesta

Creator:

Warshaw, Isadore, 1900-1969  Search this

Extent:

0.72 Cubic feet (consisting of 1.5 boxes, 1 folder, 1 oversize folder.)

Type:

Collection descriptions

Archival materials

Business ephemera

Ephemera

Date:

circa 1891-1959

Summary:

A New York bookseller, Warshaw assembled this collection over nearly fifty years. The Warshaw Collection of Business Americana: Concrete forms part of the Warshaw Collection of Business Americana, Subseries 1.1: Subject Categories. The Subject Categories subseries is divided into 470 subject categories based on those created by Mr. Warshaw. These subject categories include topical subjects, types or forms of material, people, organizations, historical events, and other categories. An overview to the entire Warshaw collection is available here: Warshaw Collection of Business Americana

Scope and Contents:

This material consists primarily of trade catalogs, manuals, reference books, primers, handbooks, pamphlets, printed advertisements, caricatures, scattered correspondence on letterhead stationery, articles, instruction books and bulletins from manufacturers of cement and products made of concrete.

Most of the products produced by these companies are for home, industrial and public use. Concrete home products include garden furniture, porches, terraces, garages, walls, gateways, steps, walkways, driveways, pools and bird baths. Industrial and public concrete products include pipes, roads, highways, bridges, septic tanks, sewers and tennis courts. A number of the companies manufactured other products such as plates for reinforced concrete construction of roofs, floors and siding; collapsible steel forms; culverts; lime and plaster.

There are a number of publications included in the materials. Most of these are organized alphabetically by name of company and are found with the rest of the company related materials. Topics include concrete construction about the home and on the farm, concrete highway construction, design and control of concrete mixtures and concrete building frames. Many of these publications include a variety of photographs, diagrams and building specifications. Literature that is not an official publication of a manufacturing company is found at the end of company related materials.

The bulk of the material dates from the twentieth century. Box one is organized alphabetically by name of company. Materials in box two are also organized by company name. There are four folders arranged by type: related publications including bulletins, periodicals, pamphlets and books. There also is a folder of miscellaneous materials.

Arrangement:

Arranged into 2 subseries:

Subseries 1: Manufacturers and Distributors, circa 1891-1952

Subseries 2: Related Publications, circa 1907-1959

Materials in the Archives Center:

Archives Center Collection of Business Americana (AC0404)

Forms Part Of:

Forms part of the Warshaw Collection of Business Americana.

Missing Title

Series 1: Business Ephemera

Series 2: Other Collection Divisions

Series 3: Isadore Warshaw Personal Papers

Series 4: Photographic Reference Material

Provenance:

Concrete is a portion of the Business Ephemera Series of the Warshaw Collection of Business Americana, Accession AC0060 purchased from Isadore Warshaw in 1967. Warshaw continued to accumulate similar material until his death, which was donated in 1971 by his widow, Augusta. For a period after acquisition, related materials from other sources (of mixed provenance) were added to the collection so there may be content produced or published after Warshaw's death in 1969. This practice has since ceased.

Restrictions:

Collection is open for research. Some items may be restricted due to fragile condition.

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:

Cement  Search this

Building materials  Search this

Concrete  Search this

garden furniture  Search this

Roofing  Search this

Genre/Form:

Business ephemera

Ephemera

Citation:

Warshaw Collection of Business Americana, Archives Center, National Museum of American History, Smithsonian Institution

Sponsor:

Funding for partial processing of the collection was supported by a grant from the Smithsonian Institution's Collections Care and Preservation Fund (CCPF).

Identifier:

NMAH.AC.0060.S01.01.Concrete

See more items in:

Warshaw Collection of Business Americana Subject Categories: Concrete

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8a64bea57-483b-46bc-a470-28593ca54cc3

EDAN-URL:

ead_collection:sova-nmah-ac-0060-s01-01-concrete

Artist:

Imamura Yoshio 今村由男 (born 1948)  Search this

Medium:

Etching

Dimensions:

H x W (Image): 25.7 × 38.1 cm (10 1/8 × 15 in)

Type:

Print

Origin:

Japan

Date:

1990

Period:

Heisei era

Topic:

Heisei era (1989 - 2019)  Search this

Japan  Search this

Japanese Art  Search this

The Kenneth and Kiyo Hitch Collection of Modern and Contemporary Japanese Prints  Search this

Credit Line:

Purchase and partial gift of the Kenneth and Kiyo Hitch Collection from Kiyo Hitch with funds from the Mary Griggs Burke Endowment

Accession Number:

S2019.3.733

Restrictions & Rights:

Usage conditions apply

See more items in:

Freer Gallery of Art and Arthur M. Sackler Gallery Collection

Data Source:

Freer Gallery of Art and Arthur M. Sackler Gallery

GUID:

http://n2t.net/ark:/65665/ye3377309de-7f69-4bdf-a562-36ce8b2a3627

EDAN-URL:

edanmdm:fsg_S2019.3.733

Artist:

Imamura Yoshio 今村由男 (born 1948)  Search this

Medium:

Etching

Dimensions:

H x W (Image): 44.7 × 74.5 cm (17 5/8 × 29 5/16 in)

Type:

Print

Origin:

Japan

Date:

1989

Period:

Showa or Heisei era

Topic:

Heisei era (1989 - 2019)  Search this

Showa era (1926 - 1989)  Search this

Japan  Search this

Japanese Art  Search this

The Kenneth and Kiyo Hitch Collection of Modern and Contemporary Japanese Prints  Search this

Credit Line:

Purchase and partial gift of the Kenneth and Kiyo Hitch Collection from Kiyo Hitch with funds from the Mary Griggs Burke Endowment

Accession Number:

S2019.3.734

Restrictions & Rights:

Usage conditions apply

See more items in:

Freer Gallery of Art and Arthur M. Sackler Gallery Collection

Data Source:

Freer Gallery of Art and Arthur M. Sackler Gallery

GUID:

http://n2t.net/ark:/65665/ye39597f44f-db0f-48c4-9502-995c957262e2

EDAN-URL:

edanmdm:fsg_S2019.3.734

Collection Creator:

Wright-Patterson Air Force Base (Ohio)  Search this

Container:

Box D632, Folder D52.1 Lockheed / 522

Type:

Archival materials

Date:

n.d.

Scope and Contents:

Lockheed Aircraft Corp.; Airplanes - Lockheed T-33A;

Collection Restrictions:

No restrictions on access

Collection Rights:

Material is subject to Smithsonian Terms of Use. Should you wish to use NASM material in any medium, please submit an Application for Permission to Reproduce NASM Material, available at Permissions Requests

See more items in:

Wright Field Technical Documents Library

Wright Field Technical Documents Library / D52.1 - Airplanes (arranged alphabetically) / L / Lockheed

Archival Repository:

National Air and Space Museum Archives

GUID:

https://n2t.net/ark:/65665/pg2121caecf-04b4-462e-ab3f-44cbfe32ff61

EDAN-URL:

ead_component:sova-nasm-xxxx-0428-ref3668

Collection Creator:

Wright-Patterson Air Force Base (Ohio)  Search this

Container:

Box D634, Folder D52.1 LVG / 20

Type:

Archival materials

Date:

Oct. 10, 1918

Scope and Contents:

[Airplanes - LVG Type C. VI]; [Engines - Benz 225 hp]

Collection Restrictions:

No restrictions on access

Collection Rights:

Material is subject to Smithsonian Terms of Use. Should you wish to use NASM material in any medium, please submit an Application for Permission to Reproduce NASM Material, available at Permissions Requests

See more items in:

Wright Field Technical Documents Library

Wright Field Technical Documents Library / D52.1 - Airplanes (arranged alphabetically) / L / LVG

Archival Repository:

National Air and Space Museum Archives

GUID:

https://n2t.net/ark:/65665/pg257c4f071-e617-421c-b6a4-5fff6e6f9456

EDAN-URL:

ead_component:sova-nasm-xxxx-0428-ref3733