11.39 Cubic feet (consisting of 25 boxes, 2 folders, 4 oversize folders, 1 map case folder, plus digital images of some collection material.)
Type:
Collection descriptions
Archival materials
Examinations (documents)
Speeches
Catalogs
Trade catalogs
Reports
Sales records
Trade literature
Print advertising
Business cards
Programs
Training manuals
Invoices
Publications
Business records
Advertising cards
Advertising mail
Certificates
Business ephemera
Manuals
Sales letters
Awards
Dance cards
Business letters
Commercial correspondence
Ephemera
Illustrations
Photographs
Sermons
Letterheads
Advertising
Printed ephemera
Catalogues
Theater programs
Report cards
Receipts
Advertising fliers
Legal documents
Scrapbooks
Correspondence
Lesson books
Periodicals
School records
Date:
1745-1973
bulk 1840-1930
Summary:
A New York bookseller, Warshaw assembled this collection over nearly fifty years. The Warshaw Collection of Business Americana: Accounting and Bookkeeping 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 note:
Most materials present are records and information related to specific schools and institutions and their operations. There are no complete records for any single organization. K-12 public, private schools are represented, as well as colleges, universities, vocational training, plus home study, correspondence courses, Sunday Schools and some religious instruction. HBCUs are not represented, though there may be a general item or two related to one or more of the HBCU schools. There is a sampling of teaching and learning tools such as workbooks, textbooks, and curriculum guides, plus publications for educators. A portion of the material focuses on administration and the profession of education. Student Services and Engagement covers the social aspects of higher education.
Arrangement note:
Schools is arranged in two subseries.
Institutions
By Name
Administration and Records
Genre
Advertisements
Images
Instruction and Learning: Tools and Resources
Post Family Education Records
Serial Publications for Educators and Administrators
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:
Schools 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:
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.
Certificates -- School attendance -- 1930-1940 -- Illinois
Ephemera
Illustrations
Photographs
Sermons
Letterheads
Publications -- Business
Advertising
Printed ephemera
Catalogues
Theater programs
Report cards
Receipts
Advertising fliers
Legal documents
Scrapbooks
Correspondence
Lesson books
Periodicals
School records
Citation:
Warshaw Collection of Business Americana Subject Categories: Schools, 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).
The papers of Cambridge sculptor and illustrator, Lilian Swann Saarinen, measure nine linear feet and date from circa 1909 to 1977. The collection documents Saarinen's career through correspondence with artists, architects, publishers, and gallery owners; writings and notes, including manuscripts and illustrations for children's books and publications; project and teaching files; financial records; artwork, including numerous project sketches; and photos of Saarinen and her artwork. Saarinen's personal life is also documented through diaries and correspondence with friends and family members, including Eero Saarinen, to whom she was married from 1939-1953.
Scope and Contents:
The papers of Cambridge sculptor and illustrator, Lilian Swann Saarinen, measure nine linear feet and date from circa 1909 to 1977. The collection documents Saarinen's career through correspondence with artists, architects, publishers, and gallery owners; writings and notes, including manuscripts and illustrations for children's books and publications; project and teaching files; financial records; artwork, including numerous project sketches; and photos of Saarinen and her artwork. Saarinen's personal life is also documented through diaries and correspondence with friends and family members, including Eero Saarinen, to whom she was married from 1939-1953.
Biographical material consists of resumes and biographical sketches, as well as a 1951 blueprint for the Eero Saarinen and Associates Office Building in Bloomfield Hills, Michigan.
Correspondence documents Saarinen's personal and professional life through letters to and from Eero Saarinen and other family members, including six letters from Loja Saarinen; correspondence with artists and architects, including Merle Armitage, Charles and Ray Eames, Carl Koch, Henry Kreis, Carl Milles, Laszlo and Sibyl Moholy-Nagy, Robert Venturi, and Harry Weese; and friends and colleagues at the Cranbrook Academy of Art and Knoll Associates. Also documented is Saarinen's business relationship with Midtown Galleries and Caresse Crosby, and publishers and publications including Child Life, Interiors, Otava Publishing Company, and Reynal & Hitchcock, Inc.
Writings and Notes document Saarinen's work on several children's publications, including Picture Book Zoo (1935) and Who Am I? (1946), through correspondence, notes, manuscript drafts, and extensive sketches. This series also includes Saarinen's ideas for other publications and incorporates some early writings and notes, as well as typescripts of her reminiscences about Eliel Saarinen, the Saarinen family, and the Cranbrook Academy of Art.
Diaries consist of bound diary volumes, loose-leaf journal entries, and heavily annotated engagement calendars, documenting Saarinen's personal life, artistic aspirations, and career development from the 1930s-1970s. This material provides a deeply personal view of the emotional landscape of Saarinen's life, her struggles to balance her identity as a working artist with the roles of wife, mother, and homemaker, and the complex, and often competing, relationships within the renowned architectural family into which she married.
Project files document Saarinen's work on book cover designs, federal and post office commissions in Bloomfield, Indiana, Carlisle, Kentucky, and Evanston, Illinois, reliefs for the Crow Island School in Winnetka, Illinois, and other important commissions including the Harbor National Bank Clock in Boston, Massachusetts, the KLM Airlines installation at JFK Airport, the Fountain of Noah sculpture at the Northland Center in Detroit, Michigan, and the interior of Toffenetti's restaurant in Chicago, Illinois. Also documented is her role in designs for the Gateway Arch in St. Louis, with Eero Saarinen.
Teaching files document Saarinen's "Language of Clay Course" which she taught at Cambridge Art Center and the Massachusetts Institute of Technology.
Financial records document exhibition and sales expenses for two exhibitions, including her show at G Place Gallery in 1944.
Printed material consists of clippings about Saarinen and her family, exhibition announcements and catalogs for herself and others, and reference files from the 1930s-1940s, primarily comprising clippings of animals.
Additional printed material documenting Saarinen's career can be found in one of two scrapbooks found in the collection. An additional scrapbook consists of clippings relating primarily to Saarinen's parents.
Artwork comprises extensive sketches, particularly animal and figure sketches, in graphite, crayon, ink, pastel, and watercolor. The sketches demonstrate in particular Saarinen's developing interest in and skill with animal portraiture from her childhood to the 1960s.
Photographs are primarily of artwork and Saarinen's 1944 exhibition at G Place Gallery. Also found are one negative of Saarinen, probably with Eero Saarinen, and a group photo including Lilian, Eero, and Eliel Saarinen with the model for the Detroit Civic Center, circa 1940s.
Arrangement:
The collection is arranged as 11 series.
Missing Title
Series 1: Biographical Material, circa 1930s-1960s (3 folders; Box 1, OV 12)
Series 2: Correspondence, 1920-1974 (1.9 linear feet; Boxes 1-2, 8, OV 12)
Series 3: Writings and Notes, 1920s-1973 (1.3 linear feet, Boxes 2-3, 8, OVs 13-16)
Series 4: Diaries, 1930-1973 (1.4 linear feet, Boxes 3-5, 8)
Series 5: Project Files, 1931-1966 (1.7 linear feet, Boxes 5-6, 8, OVs 17-19)
Series 6: Teaching Files, 1966-1970 (3 folders, Box 6)
Series 7: Financial Records, 1940s-1970s (2 folders, Box 6)
Series 8: Printed Material, circa 1930s-1970s (0.2 linear feet, Box 6)
Series 9: Scrapbooks, circa 1909-1974 (2 folders; Boxes 6, 9)
Series 10: Artwork, circa 1920s-circa 1960s (1.7 linear feet, Boxes 6-7, 9-10, OVs 20-27)
Series 11: Photographs, circa 1940s, 1977 (0.5 linear feet, Boxes 7, 11, OV 27)
Biographical / Historical:
Cambridge artist and sculptor, Lilian Swann Saarinen (1912-1995), studied at the Art Students League with Alexander Archipenko in 1928, and later with Albert Stewart and Heninz Warneke from 1934-1936, before moving to Michigan where she studied with Carl Milles at the Cranbrook Academy of Art from 1936-1940. Saarinen was an accomplished skier and a member of the 1936 US Olympic ski team.
At Cranbrook, Swann met architect Eero Saarinen, whom she married in 1939. She subsequently worked with Saarinen's design group on a variety of projects, including the Westward Expansion Memorial, which later became known as the "Gateway Arch" in St. Louis. Lilian and Eero had a son, Eric, and a daughter, Susie, before divorcing in 1953.
Saarinen, who had developed an affinity for drawing animals in childhood, specialized in animal portraits in a variety of sculptural media. In 1939, she exhibited her sculpture Night, which depicted Bagheera the panther from Rudyard Kipling's Jungle Book, at the World's Fair. The sculpture was placed in the Boston Public Garden in 1986. In the 1930s and 1940s Saarinen was commissioned to work on a variety of architectural projects, including reliefs for post offices in Bloomfield, Indiana, Carlisle, Kentucky, and Evanston, Illinois, and the Crow Island School in Winnetka, Illinois. She also executed commissions for the Harbor National Bank in Boston, KLM (Royal Dutch Airlines) at JFK Airport, the Northland shopping Center in Detroit Michigan, and Toffenetti's Restaurant in Chicago.
Saarinen was a contributing author and illustrator for a variety of publications, including Child Life, Interiors and Portfolio: An Intercontinental Quarterly. In 1935 she illustrated Picture Book Zoo for the Bronx Zoo and in 1946 Reynal & Hitchcock, Inc. published Who Am I?, a children's book which Saarinen wrote and illustrated.
Saarinen taught ceramic sculpture to soldiers for the Red Cross Arts and Skills Unit rehabilitation program in 1945, served on the Visiting Committee to the Museum School at the Museum of Fine Arts, Boston, from 1959-1964, where she taught ceramics, and later taught a course entitled "The Language of Clay" at the Cambridge Art Center and the Massachusetts Institute of Technology. One of Saarinen's private students at Cambridge was her cousin, Edie Sedgwick.
Saarinen died in Cohasset, Massachusetts, in 1995 at the age of 83.
Separated Materials:
The Archives of American Art also holds material lent for microfilming (reels 1152 and 1192) including a scrapbook containing clippings, copies of letters and telegrams received, and reproductions of Saarinen's work. There is a copy of Saarinen's book, "Who Am I?", and three albums containing photographs of Saarinen, photographs and reproductions of her work, a list of exhibitions, quotes about her, and writings by her about sculpture. Lent material was returned to the lender and is not described in the collection container inventory.
Provenance:
Lilian Swann Saarinen donated the collection in 1975. She lent additional materials for microfilming in 1976.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Sculptors -- Massachusetts -- Cambridge Search this
Lilian Swann Saarinen papers, circa 1909-1977. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by The Walton Family Foundation; and John R. & Barbara Robinson and Deborah Schmidt Robinson & Dr. R. Perry Robinson, The Widgeon Point Charitable Foundation.
Ryan, Francis Carroll (elementary school student) Search this
Herosian, Rocky (National Museum of American History guard) Search this
Extent:
0.1 Cubic feet (1 box)
Container:
Box 1
Type:
Collection descriptions
Archival materials
Programs
Report cards
School records
Memorabilia
Picture postcards
Postcards
Certificates
Greeting cards
Health reports
Valentines
Date:
1910-1943
Scope and Contents note:
Includes pictorial greeting cards for Christmas, Valentine's Day, etc., and picture post cards, some with written messages; and grade school report cards, health reports, perfect attendance certificates, a Routt College High School commencement program (1937), and other school documents. Most of the material relates to or is addressed to Francis Carroll Ryan, a schoolboy.
Arrangement:
1 series. In 4 sections by type of material and date.
Biographical/Historical note:
Papers and memorabilia of an Illinois family, especially a boy, (Francis) Carroll Ryan, who attended the Long Point and Little Hope schools, Morgan County, Ill., and graduated from Routt College High School), 1937.
Provenance:
Collection donated by Rocky Herosian, Febuary 1988.
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.
Records of the Pullman Company, manufacturers and operators of railroad sleeping cars. Pullman also manufactured hospital and dining cars at its Chicago facilities. Dating from 1867 to 1982 (bulk 1900-1930s), the collection includes background materials, correspondence, financial, personnel and operating records, drawings and photographs.
Scope and Contents:
The collection consists of materials from 1867-1982 (bulk 1900-1930s), and includes background materials, correspondence, financial records, operating records, personnel records, drawings, and photographs. Of note is the documentation of hospital cars and instructions for porters. The collection is not a complete record of the Pullman Palace Car Company's activities.
Series 1, Historical Background, 1867-1982, contains newspaper clippings and articles about the Pullman Palace Car Company and George Pullman. Also included is a 318-page typescript titledThe History of the Sleeping Car 1923, by Charles S. Sweet; documentation on how Pullman cars were named; and other histories of the Pullman Company including its hospital cars and maquetry design.
Series 2, Correspondence, 1912-1960, consists primarily of documentation about the sale of cars and equipment by Pullman Palace Car Company to specific railroad companies. The correspondence details the cost per car and in some instances, leasing costs, operating costs, and other relevant statistical and financial information about the transactions. There is some consolidated data on cars sold to the railroads as well as summary data on the type of car sold, name of car, selling price, purchasers, and the date the sale was approved. The correspondence is organized chronologically within Pullman Company correspondence wrappers which were used to maintain the correspondence in a uniform manner and in consecutive date order.
Correspondence about hospital cars contains information on the rental of Pullman cars to the United States government as well as letters discussing specifications for building hospital unit cars for the United States Army. There is one folder of miscellaneous correspondence with individuals seeking copies of photographs from the company and/or offering their historical writings about the company.
Series 3, Financial Records, 1875-1930, consists primarily of details of cost documentation created by the Pullman Company's Manufacturing Department. The cost sheets are arranged chronologically and represent an itemized financial breakdown of costs by material, labor, extra equipment, sundries, and recapitulation for a variety of Pullman cars. The cover sheet for work orders notes the lot number, plan number, type of Pullman car (e.g. baggage, parlor, private) being manufactured or serviced/repaired, to whom the order belongs, and associated dates. For example, one private, steel car for Mr. D. J. Reid or general service parlor car for Southern Railway.
Series 4, Operating Records, 1875-1972, consists of records used by the company for daily operations, particularly instructions for porters as well as repair logbooks, volumes detailing car building completion, published supplements noting specific changes to cars, correspondence, reports, newspaper clippings, and lists of cars built by Pullman and cars withdrawn from service. Also included is the Illustrations Accompanying the Report of the Engineer-in-chief, H.C. Mais, on Observations on Railways Made During His Tour in 1883. Henry Coathupe Mais (1827-1916) was an English born civil engineer who spent most of his career in Australia. Mais toured railways and other works in Europe and America. His lengthy report with many detailed illustrations was printed in 1884 as a parliamentary paper. Some report pages were moldy and have been separated. These pages include: the index, pages 1-7; page 58; and pages 98-111.
The reports found in the "general file" include Sleeping, Parlor and Lounge Equipment (1945) and Pullman Passenger Survey A Continuing Study--Part II, (1955). The latter report by McFarland, Aveyard and Company studied attitudes and opinions of Pullman passengers. There is a typescript of a presentation made by George W. Bohannan of the Pullman Company to the American Association of Passenger Traffic Officers (1964).
The records documenting the completion of cars are bound volumes arranged chronologically. The volumes detail lot number, plan numbers, date of order, type of car, account name, date of delivery, destination route, estimate price, cost price, and contract price. In some instances, new information was glued or taped into the volume. The repair books capture the date, name of car, yard, name of porter, and date shipped.
Series 5, Personnel Records, 1873-1979, includes a payroll list for the General Ticket Department, 1876; instructions for passengers with cholera, 1873; reward notices for an 1878 robbery; instructional manuals for Pullman porters; photographs of Pullman Company employees working, and general correspondence, 1896-1979; ancedotes about Pullman porters; an obituary for George Arthur Kelly, an executive vice president for the Pullman Company; articles and newspaper clippings about porters and conductors, particularly the Society for the Prevention of Calling Pullman Car Porters "George." Started in 1916, the Society for the Prevention of Calling Pullman Car Porters "George" was founded by George W. Dulany, Jr., an Iowa lumber merchant. Dulany organized the society for fun after hearing passengers call every porter George. The society became a hobby and there were no meetings, dues, or activities associated with his work. Dulany's campaign was solely to have passengers use a porter's correct name or simply call them "porter."
Series 6, Drawings, 1907-1939 and undated, contains bound volumes arranged chronologically of records of tracings of drawings for Pullman cars. The volumes detail the negative number, date, type of car, job number, and remarks.
Series 7, Photographs, 1932-1950s and undated, consists primarily of black-and-white copy prints (8" x 10") documenting employees, especially porters, passengers, and hospital cars. Many of the hospital cars depict both the exterior and interior, but none with patients. The passenger photographs are almost exclusively interior images of persons dining, sleeping, playing cards, and in general seating areas. The Southern Pacific dining car photographs are original prints and bear the Pullman Car Company embossed stamp and unique number. This range of photographs is (Pullman photograph #32867 to #32873) and the images depict exterior and interior views of the dining cars. There is one album of ninety-nine photographs taken by Ricardo Villalba (active 1860-1880) in Peru. The album was made for W.W. Evans, Esquire in 1875. The images depict landscapes, bridges, train tracks, railroad cars, railroad engines, and buildings, such as the Pano Cathedral.
Arrangement:
The collection is divided into seven series:
Series 1, Historical Background, 1867-1982
Series 2, Correspondence, 1912-1960
Series 3, Financial Records, 1875-1930
Series 4, Operating Records, 1875-1972
Series 5, Personnel Records, 1873-1979
Series 6, Drawings, 1907-1939 and undated
Series 7, Photographs, 1932-1950s and undated
Biographical / Historical:
George M. Pullman (1831-1897) developed the railroad passenger sleeping car service into a major 19th century industry. He created the Pullman Palace Car Company in 1867. George Pullman was succeeded as president of the company by Robert Todd Lincoln, President Abraham Lincoln's son, who served until 1911. In 1900, after buying competing companies, the firm was reorganized as the Pullman Company.
The idea for specially designed sleeping cars came to Pullman while traveling from Buffalo to Westfield, New York in 1854. He altered existing railroad cars in September, 1858, for service on the Chicago and Alton Railroad. They first sleeping car built to Pullman's specifications was the "pioneer," which carried part of the Lincoln funeral party from Chicago to Springfield, Illinois in 1865. In 1867 "hotel cars" were introduced. These sleeping cars, equipped with kitchen and dining facilities, eliminating the need for trains to stop at stations for passengers to buy food. In 1868, Pullman built the "Delmonica," devoted to restaurant purposes. The Pullman firm also built streetcars and trolleys.
In 1880 George Pullman built the town of Pullman, just south of the city of Chicago along the Illinois Central Railroad line, as the site for his manufacturing plant. Intended as a model manufacturing town, it had 12,000 residents in 1893. It suffered from the usual company town problems and was annexed to Chicago in 1889.
In the wake of the depression of 1893 Pullman reduced wages for its workers by 25% or more. The American Railway Union, lead by Eugene V. Debs, sought to bring wage issues to arbitration but Pullman refused. In June, 1894 some 4,000 employees struck the company gaining support from thousands of railroad workers who refused to handle trains with Pullman cars. President Grover Cleveland sent federal troops to Chicago in July and after a period of sporadic violence the strike was over by the end of the summer.
In later years the Pullman company introduced several innovations. It built lighter, articulated cars of alloy steel beginning in 1936. The following year, it introduced the roomette car with eighteen enclosed private rooms. In 1956 Pullman introduced the dome sleeper car with an upper deck observation level.
The United States anti-trust suit against Pullman Manufacturing and Operating Company resulted in a 1944 decision requiring a separation of car building and car operation activities. Pullman sold its sleeping car service, transferring its operating unit to a group of fifty-nine railway firms in 1947.
George Pullman introduced two notable practices. First, rather than operating railroads, his firm leased sleeping cars to the railroads and provided the complete services on them, including supplying porters, conductors, dining staff, and food and linens. Second, Pullman named each of his sleeping and dining cars rather than assigning them numbers. This was intended to enhance the company's image by creating a personality for the car. Different categories of names signified different categories of cars and geographical names also helped to promote travel to the areas in which they operated.
Arthur Detmers Dubin assembled these Pullman Company materials. Dubin was born in 1923 in Chicago, Illinois. He began his architectural education at the University of Michigan in 1941 but was interrupted by World War II, and he served with distinction in the United States Army until 1946. After completing his studies in 1949, Dubin joined his father's and uncle's architectural firm, Dubin and Dubin, as a second--eneration architect. The leadership of the firm soon passed to Arthur and his brother, Martin David, and in 1965 they were joined by John Black and in 1966 by John Moutoussamy. Arthur's life--ong interest in trains and transportation and their implications for architecture is evident in transit stations commissions and service on transportation--elated advisory boards (Dubin was a member of the Illinois Railroad Commission), as well as in his writings and personal collections. Dubin was an avid train enthusiast and collector.
References
Art Institute of Chicago, Chicago Area Architects Oral History Project
Related Materials:
Materials in the Archives Center
Pullman Palace Car Company Photographs (NMAH.AC.1175), contains photographs of Pullman cars: freight, passenger, private and street railway/rapid transit cars. The bulk of the collection contains approximately 13,500 original glass plate negatives, film negatives, and copy prints.
Industry on Parade (NMAH.AC.0507) contains Reel #99, Servicing Sleepers, 1952. The Pullman Coach Company, Chicago, Illinois.
Materials In Other Organizations
Art Institute of Chicago
Bombardier Corporation
California State Railroad Museum
Chicago Historical Society
Arthur Dubin Collection at Lakeforest College
Illinois Railway Museum
Newberry Library, Pullman Company Archives
The Pullman Company archives consists of 2,500 cubic feet of records from the Pullman Company and Pullman heirs. The collection is comprised of business archives of the Pullman Palace Car Company from 1867 and include records of the entire firm up to the 1924 split into operating (sleeping car operation, service, and repair) and manufacturiung companies. From 1924 to 1981 the records chronicle the activities of the operating company only.
Pennsylvania State Archives
Pullman State Historic Site
Pullman Technology (Harvey, Illinois)
Smithsonian Institution Archives, Arthur D. Dubin Papers (83-015; 83-076; 83-101)
South Suburban Genealogical & Historical Society (South Holland, illinois)
Provenance:
Collection materials were donated by Arthur D. Dubin in 1980 and on January 30, 1986. Additional materials were donated by Lorrain Douglass, Kiara S. Winans and Kristin Peterson on April 3, 2012.
Restrictions:
The collection is open for research use.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
This series consists of the business and personal correspondence of Edith Gregor Halpert and the Downtown Gallery. For the most part, this series is general business correspondence concerning routine activities of the Downtown Gallery, including the American Folk Art Gallery and the Daylight Gallery, both operated by the Downtown Gallery on the same premises. Included are correspondence with clients, employees, other galleries, and colleagues concerning sales, loans, purchases, appraisals, and so forth; arrangements for shipping, framing, photography, reproduction permissions, and insurance; and gallery housekeeping and improvements, ordering of supplies, and other administrative concerns.
Also included is personal correspondence of Edith Gregor Halpert. There are letters and greeting cards from nieces, nephews, and other relatives; correspondence with longtime friends, including some who were art collectors, museum curators, or museum directors; and correspondence concerning upkeep and improvement of her Newtown, Connecticut, country home and entertaining there.
See Appendix A for a list of selected correspondents from Series 1
Arrangement note:
Letters (with enclosures) are arranged chronologically, with those of the same date alphabetized by name of correspondent; undated material is arranged alphabetically, followed by unidentified correspondents and letters bearing illegible signatures.
Box numbers provided in the Container Listing are approximate.
Appendix A: List of Selected Correspondents in Series 1:
Names and titles indicated in this list are those that appear on the letters. Where appropriate, terms have been standardized and cross-referencing provided. Because filing is not always consistent, researchers are advised to check both the name of an individual and the institution that he or she represented.
Abate Associates, Inc., 1956
Abbot and Land, 1965
Abbot, B. Vincent, 1944
Abbot, Bernice, 1957
Abbot, John E., 1945, 1948
Abbot Laboratories, 1950, 1952
ABC Employment Agency, 1951
Richard Abel and Co., Inc., 1968
Abendroth, Robert W., 1966-1967
Abercrombie and Fitch Co., 1962
Abilene Museum of Fine Arts, undated, 1949, 1954
Abingdon Square Painters, 1965
Abraham and Straus, 1930, 1960, 1965-1966, 1968
Abraham, Mae C., 1965
Abrahamsen, Mrs. David, 1962
Abramowitz, M., 1958
Harry N. Abrams, Inc., 1958-1960, 1965-1966, 1968-1969
"HemisFair '68," 1968 (see also: "International Exposition, HemisFair '68")
Hemmenway, Catherine C., 1961
Hemmingsen, R. V., 1963
Hemmingson, Victoria, 1965
Henderson, Hanford, 1960
Henderson, Priscilla A. B. (Mrs. A. I.), 1934-1955
Henderson, Ray, 1956
Hendrick, Mrs. James Pomeroy, 1961
Heninger, Helen, undated, 1963, 1969
Henquet, Roger, 1948, 1965
Henri, Robert, 1926-1927
Henry, David T., 1964
Henry, Helen (Mrs. Charles), undated, 1949
Henry, James F., 1958
Henry Street Settlement, 1958, 1962-1963
Hentschel, R. A. A., 1951-1954
Hepburn, Katharine, 1952
Herbert, Elmer, 1962
Herbert, James D., 1962
Herider, Ed. L., 1961
Heritage Gallery, 1960, 1964
Herman, Stanley, 1964
Herman, Vic, 1968
Herring, Audrey L., 1964
Herrington, Nell Ray (Mrs. A. W. S.), 1962, 1965
John Herron Art Institute, undated, 1934, 1949, 1951, 1953, 1957-1958, 1962-1964, 1967 (see also: Art Association of Indianapolis; Art School of the John Herron Art Institute)
Hertslet, G. Gordon, 1962, 1966
Hertz, Richard C., 1965
Hertzberg, Stuart E., 1967-1968
Heschel, Mrs. Abraham, 1961
Hess, Elaine Marie, 1965
Hess, Mrs. Thomas B., 1954
Hetzel, Margaret deL. (Mrs. Joseph L.), 1948
Hewitt, Ada M., 1953
Edwin Hewitt Gallery, 1953
Heydenryk, Henry, 1954, 1960, 1964
Heynick, Carla Marian, 1965
Hickok, M., 1958
Hiddens, Mrs. Earl, 1952
Hiersoux, Arne, 1966
Hi Fi/Stereo Review, 1960
High Museum of Art, 1950, 1955, 1961-1962, 1965-1968 (see also: Atlanta Art Association; Atlanta Art Association and High Museum of Art)
Highway Antique Shop, 1954
R. Hill and Son, Ltd., 1960
Hill, Ralph Nading, 1952, 1962
Hille, Elise B., undated
Hille and Curran, 1954
Hilleman, Alex L., 1956
Hiller, Paula, 1962
Hilles, Mrs. Frederick W., 1956
Hillman, Mrs. Joel, II., 1960
Hillside Hospital Clinic, 1949, 1953
Hillstrom, Richard L., 1958, 1962, 1964-1965
Hilltop Theatre, Incorporated, 1952
Hilsenrath, Yakov R., 1965
Hilson, Catherine [Katy] and/or John S., undated, 1958-1959, 1961-1966
Himel, Irving, 1963
Himmelsfarb, Samuel, 1955
Hines, Felrath, 1961
Hinkhouse, Inc., 1960, 1964
Hirsch, B., 1961
Hirsch, E. W., 1954
Hirschberg, J. Cotter, 1956
Hirschl and Adler Galleries, Inc., 1958, 1960, 1963-1965, 1968
Hirschland, Dr. and/or Mrs. F. H., undated, 1959
Hirschland, Paul Michael, 1945
Hirschburg, Mrs. Roy, undated
S. A. Hirsh Manufacturing Co., 1966
Hirshberg, Henrietta, 1961
Hirshhorn, Mrs. Arthur, 1960
Hirshhorn, Joseph H., 1946, 1948, 1951-1954, 1956, 1960, 1963, 1965
Joseph H. Hirshhorn Collection, 1959-1960, 1962-1963, 1965-1966
[incomplete; without signature], undated, 1953, 1961, 1967, 1968
Collection Restrictions:
The microfilm of this collection has been digitized and is available online via the Archives of American Art website.
Collection Rights:
The Downtown Gallery records are owned by the Archives of American Art, Smithsonian Institution. Rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws. Prior to publishing information regarding sales transactions, researchers are responsible for obtaining written permission from both artist and purchaser involved. If it cannot be established after a reasonable search whether an artist or purchaser is living, it can be assumed that the information may be published sixty years after the date of sale.
Collection Citation:
Downtown Gallery records, 1824-1974, bulk 1926-1969. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing, microfilming and digitization of the microfilm of this collection was provided by the Henry Luce Foundation. Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee.
