Search Results

Container:

Box 6 of 7

Type:

Archival materials

Collection Citation:

Smithsonian Institution Archives, Accession 15-217, Joseph Henry Papers Project, Depository Files

See more items in:

Depository Files

Depository Files / Box 6

Archival Repository:

Smithsonian Institution Archives

EDAN-URL:

ead_component:sova-sia-fa15-217-refidd1e1800

Interviewee:

Ceruti, Mary  Search this

Interviewer:

Gillespie, Benjamin, 1988-  Search this

Names:

Pandemic Oral History Project  Search this

Walker Art Center  Search this

Extent:

1 Item ((22 min.), digital, mp4 )

Type:

Collection descriptions

Archival materials

Interviews

Video recordings

Date:

2020 July 1

Scope and Contents:

An interview with Mary Ceruti conducted 2020 July 1, by Benjamin Gillespie, for the Archives of American Art's Pandemic Oral History Project at Ceruti's office in the Walker Art Center, Minneapolis, Minnesota.

Biographical / Historical:

Mary Ceruti is the Executive Director of the Walker Art Center in Minneapolis, Minnesota. Ceruti was previously the director and chief curator of SculptureCenter in Long Island City, New York.

Provenance:

This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.

Restrictions:

This interview is open for research.

Rights:

The Archives of American Art makes its Oral History Program interviews available for non-commercial, educational and personal use unless restricted by donor restrictions, including but not limited to access and publication restrictions. Quotation, reproduction and publication of the audio is governed by restrictions. If an interview has been transcribed, researchers must quote from the transcript. If an interview has not been transcribed, researchers must quote from the audio recording. Please refer to the Smithsonian's Terms of Use for additional information.

Occupation:

Art museum directors -- Minnesota -- Minneapolis  Search this

Curators -- New York (State)  Search this

Topic:

Women museum curators  Search this

Pandemics  Search this

COVID-19 (Disease)  Search this

Genre/Form:

Interviews

Video recordings

Identifier:

AAA.ceruti20

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9da74ea5c-6582-41bf-a01f-10ae0158690d

EDAN-URL:

ead_collection:sova-aaa-ceruti20

Extent:

b 20 cu. ft. (20 record storage boxes)

Type:

Collection descriptions

Archival materials

Motion pictures (visual works)

Field notes

Black-and-white photographs

Manuscripts

Black-and-white negatives

Serials (publications)

Clippings

Diaries

Place:

Barro Colorado Island (Panama)

Date:

1960-1982, with related materials to 1984

Descriptive Entry:

The papers of Robert E. Silberglied provide comprehensive documentation of his professional career. They include materials relating to his initial interest in entomology; his academic training; his teaching career at Harvard University; his duties as a staff member of the Smithsonian Tropical Research Institute (STRI); his efforts as a conservationist; and his research on Lepidoptera. Also included, to a lesser extent, are records documenting his personal affairs.

All aspects of Silberglied's professional life are documented in a large file of correspondence carried on between 1964 and 1982. Particularly well represented are his dual careers at Harvard University and STRI; the development of his research interests; participation in professional activities; and the preparation and publication of scientific manuscripts. The correspondence also includes many letters exchanged with his parents, family members, and friends.

Silberglied's academic career at Cornell University and Harvard University receives extensive coverage in the collection. Included are class notes; personal diaries and daily calendars which document class schedules, student activities, and travel; registration and admission records; and copies of his M.A. thesis and Ph.D. dissertation. Also included are research papers, notes, collecting records, and related materials illustrating Silberglied's interest in entomology as a high school student.

Silberglied's teaching and administrative activities at Harvard University and his work as a staff member at STRI are documented by a wide variety of materials. Records concerning his Harvard appointment include lecture notes, examinations, and evaluations from several courses he taught; files relating to his curatorial duties at the Museum of Comparative Zoology--especially work on the Scanning Electron Microscope Laboratory; and materials relating to committees, student advising, grants and financial matters, and job negotiations and promotions. His six-year association with STRI is documented by correspondence, memoranda, and related materials concerning various administrative and research activities--particularly the management of the Barro Colorado Island research station.

The collection is extremely valuable in documenting Silberglied's diverse research interests and his participation in professional activities. His efforts in the fields of entomology, evolutionary theory, ultraviolet photography, and conservation are illustrated by drafts of research papers, research proposals, notes, and various forms of scientific data.

Also included are photographs and films, mostly of or relating to butterflies; reprints of his publications; and copies of speeches and lectures presented at professional meetings and to popular audiences. Field notes document extensive research in the Galapagos Islands, Lignum vitae Key (Florida), and various regions of the United States and Central America. Also, Silberglied's correspondence contains a continuous exchange of ideas and information with colleagues throughout the entomological community.

In addition to correspondence with family and friends, Silberglied's personal affairs are documented in a group of collected materials including diaries and daily calendars; health records; his professional dossier; records concerning income taxes, selective service status, and personal property; and similar materials. A small group of photographs of Silberglied, family members, and friends is also found in the collection.

Historical Note:

Robert E. Silberglied (1946-1982) was born and raised in Brooklyn, New York. While in high school, he developed an interest in entomology and wrote his first research paper, on Drosophila melanogaster, in 1961. In 1963 he enrolled in the School of Agriculture at Cornell University, where he received the Bachelor of Science degree in 1967 and a Master's degree in 1968. During his years at Cornell, Silberglied's developing interest in evolutionary biology led him to research in insect communication, particularly among butterflies. An early association with Dr. Thomas Eisner and a variety of field work experiences in Mexico, Florida, and Arizona led him to the study of ultraviolet reflection among butterflies, specifically the evolution of reflective patterns and their significance in the process of communication.

Silberglied's research in the field continued when he entered Harvard University to begin his doctoral work in the fall of 1968. At Cambridge, his interests grew as he encountered a number of new work experiences and associations. Field work at the Charles Darwin Research Station in the Galapagos Islands in 1970 began what would be a long-term commitment to research in neotropical entomology. His initial interest was to study mechanisms of insect pollination of flowers, which led to a broad and valuable survey of the islands' insect fauna. During his work in the Galapagos, he made an extensive collection of specimens and, in the process, acquired a valuable working knowledge of the islands and their literature which would frequently be called upon in future collaborative efforts.

While at Harvard, Silberglied continued his field work in Florida at the Archbold Biological Station, as well as in Arizona, Colorado, Kansas, eastern Canada, and Latin America. During this time, his association with Orley R. Taylor, Jr., led Silberglied to a more extensive study of ultraviolet patterns of butterflies through the development of new methods for the visualization and recording of ultraviolet reflection. His work in photographic techniques provided him with a proficiency in optical microscopy that was to be widely recognized alongside his more primary areas of research. Through his work with Taylor, Silberglied was able experimentally to determine how ultraviolet patterns are used as a communications device in some species of the Colias butterfly, for which he was awarded the Ph.D. in 1973.

During his graduate studies at Harvard, Silberglied worked as a teaching fellow from 1968 to 1973. He maintained an active membership in the Cambridge Entomological Society and was elected Vice President in 1969 and President in 1970. This period also saw the first in a long series of scientific publications representing his broadening interests in areas such as mimetic communities, the role of vision in insect behavior, the physiology of vision, ultraviolet patterns of flowers, and the terrestrial invertebrates of the Galapagos Islands. His experience at Harvard also fostered what would be long-term associations with Edward O. Wilson and Frank M. Carpenter, staff members at the Museum of Comparative Zoology (MCZ).

Following the completion of his formal training in 1973, Silberglied simultaneously held a number of positions over the next eight years. From 1973 to 1978 he served as an Assistant Professor of Biology at Harvard, teaching courses in various aspects of arthropod biology, ecology, evolutionary biology, and behavior. During this same period he worked as Assistant Curator of Lepidoptera in the MCZ Department of Entomology. His primary goals at the MCZ were reorganization of the collections, improved curation methods, and wider utilization of the collections in teaching and research. He was also instrumental in setting up the MCZ Scanning Electron Microscope facility, a project that occupied his energies until 1980.

Silberglied's interest in conservation led him to join the Lignum vitae Key University Council in 1973. Lignum vitae Key in Florida is the only preserve of West Indian lowland hardwood forest remaining in the United States; and for the next eight years Silberglied devoted much of his time and energy to its preservation and management. Silberglied was also involved in a study of the Costa Rican National Park System, and he co-authored (with Thomas Simkin of the Smithsonian's National Museum of Natural History) a computerized bibliography of the Galapagos Islands.

Silberglied also served as a consultant to the Biological Laboratories at Harvard, as a member of the editorial board of Psyche, and as a member of the governing board of the Organization for Tropical Studies. In addition, he served as a contributing reviewer for several non-scientific journals and was an active member of the Entomological Society of America.

In 1976, a new dimension was added to Silberglied's career with his appointment as a biologist at the Smithsonian Tropical Research Institute (STRI) in Panama. This position divided his research, teaching, and administrative responsibilities between Cambridge and Panama, as he began spending approximately half of each year in the American tropics. In 1977, Silberglied became a permanent member of the scientific staff at STRI as a Research Entomologist. In the same year, he also received promotions at Harvard becoming an Associate Professor of Biology and the Associate Curator of Lepidoptera at MCZ--positions he would hold until his departure from Cambridge in 1981.

While serving as a staff member at STRI, Silberglied's research interests were expanded. In concert with Dr. Annette Aiello, he conducted experimental work involving a number of behavioral, ecological, and evolutionary problems among many species of tropical insects, especially Lepidoptera. Among other projects, they studied the origin and evolution of reproductive isolating mechanisms and the way in which color and pattern influenced predator-prey relationships and intra- and intersexual communication. The work was greatly enhanced by Silberglied's expertise in ultraviolet photography. Their efforts resulted in several important findings and led to a number of joint publications.

In addition to his research at STRI, Silberglied served on the Smithsonian Fellowship Selection Committee in Tropical Biology and as an advisor to individual students studying at the facility. He was also involved in a variety of administrative responsibilities as Scientist-in-Charge at the Barro Colorado Island research station. While in residence he devoted a considerable portion of his time to drawing up plans for the administration and management of the biological preserve.

Despite a rather full schedule of research, teaching, and administrative activities, Silberglied managed to maintain active membership in a variety of conservation organizations and professional societies. His expertise as an entomologist led to many speaking engagements, and his pioneering efforts in the field of photography led to frequent work as a consultant to cinematographers doing natural history documentary work. Silberglied maintained these diverse interests and enthusiasms until his untimely death in the Air Florida accident in Washington, D.C., on January 13, 1982.

Chronology:

1946 -- Born in Brooklyn, New York, June 19

1963 -- Received New York State Regents Scholarship

1963 -- Entered College of Agriculture, Cornell University

1964 -- Appointed part-time Assistant to Curator, Insect Collections, Cornell University

1964 -- Member of New York (Brooklyn) Entomological Society

1965 -- Member of Cornell University Mexico Field Research Party (with Dr. W. L. Brown, Jr.)

1965-1968 -- Ford Three-Year Scholar's Program

1966 -- Appointed Field Research Assistant to Dr. Thomas Eisner at Archbold Biological Station in Florida and at Cave Creek Ranch, Portal, Arizona

1966-1968 -- Part-time Assistant to Librarian, Entomology Library, Cornell University

1967 -- Appointed Field Research Assistant (with D. Simberloff for Dr. E. O. Wilson) in Florida Keys and Arizona

1967 -- Received B.S., Cornell University

1967 -- Entered Cornell University, Department of Biology as graduate student

1968 -- Received M.S., Cornell University

1968 -- Entered Harvard University as post-graduate

1968-1973 -- Teaching fellowship, Department of Biology, Harvard University

1968-1982 -- Member of Cambridge Entomological Society

1969 -- Field work at Archbold Biological Station in Florida

1969 -- Elected Vice President, Cambridge Entomological Society

1969-1973 -- Richmond Fellowship, Harvard University

1970 -- Member of Graduate Student Council, Department of Biology, Harvard University

1970 -- Elected President, Cambridge Entomological Society

1970 -- Field work at Charles Darwin Research Station in the Galapagos Islands

1970 -- Field work at the E. N. Huyck Preserve, Albany County, New York

1971 -- Field work in Florida, Arizona, and Colorado

1972 -- Participated in Organization for Tropical Studies trip to Costa Rica

1972 -- Field work in Nova Scotia, Kansas, Colorado, and Arizona

1973 -- Received Ph.D., Harvard University

1973 -- Field work in Costa Rica, Guatemala, and Ecuador

1973 -- Published "Ultraviolet Differences Between Sulphur Butterflies"

1973-1974 -- Member of Executive Committee, Cambridge Entomological Society

1973-1977 -- Member of Library Committee, Museum of Comparative Zoology, Harvard University

1973-1978 -- Assistant Professor of Biology, Harvard University

1973-1978 -- Assistant Curator of Lepidoptera, Museum of Comparative Zoology, Harvard University

1973-1982 -- Consultant to the Biological Laboratories Insectary Facility, Harvard University

1973-1982 -- Member of Lignum vitae Key (Florida) University Council

1973-1982 -- Member of Editorial Board, Psyche

1974 -- Field work at Archbold Biological Station in Florida

1974-1975 -- Section Vice Chairman, Section A (Systematics, Morphology and Evolution), Entomological Society of America

1974-1975 -- Member of Scanning Electron Microscope Committee, Museum of Comparative Zoology, Harvard University

1974-1980 -- Member of Scanning Electron Microscope Facility Committee, Department of Biology, Harvard University 1974-1981 member of Entomological Society of America

1974-1980 -- Member of Governing Board, Organization for Tropical Studies (representing Harvard University)

1975 -- Field work in Panama

1975 -- Participated in a safari to Ethiopia, Kenya, and Tanzania

1975 -- Served on Program Evaluation Committee, Section A (Systematics, Morphology and Evolution), Entomological Society of America

1975-1976 -- Section Chairman, Section A (Systematics, Morphology and Evolution), Entomological Society of America

1975-1980 -- Contributing reviewer for American Reference Book Annual

1976 -- Appointed Biologist, Smithsonian Tropical Research Institute (STRI)

1976 -- Member of Nominating Committee and Special Constitution and By-laws Revision Committee, Section A (Systematics, Morphology and Evolution), Entomological Society of America

1976-1977 -- Organized and administered Natural History Seminar series of Department of Biology, Harvard University

1976-1980 -- Member of Education Committee, Organization for Tropical Studies

1977 -- Field work in Panama, Ecuador, and Colombia

1977 -- Published "Communication in the Lepidoptera"

1977 -- Member of Committee on Meeting Dates, Section A (Systematics, Morphology and Evolution), Entomological Society of America

1977-1980 -- Member of Executive Committee, Organization for Tropical Studies

1977-1981 -- Contributing reviewer forLibrary Journal

1977-1982 -- Staff Scientist (Research Entomologist), STRI

1978 -- Field work in the Dominican Republic published "Ultraviolet Reflection and its Behavioral Role in the Courtship of the Sulfur Butterflies Colias eurytheme and C. philodice"

1978 -- Contributing reviewer for Reprint Bulletin, Book Reviews

1978-1981 -- Associate Professor of Biology, Harvard University

1978-1981 -- Hessel Associate Curator of Lepidoptera, Museum of Comparative Zoology, Harvard University

1978-1981 -- Scientist-in-Charge, Barro Colorado Island research station, STRI

1979 -- Published "Communications in the Ultraviolet"

1980 -- Field work in Colombia

1981 -- Guest speaker at the Royal Entomological Society International Symposium on the Biology of Butterflies, Reading, England

1981-1982 -- Member of Executive Council, Lepidopterists' Society

1982 -- Died in Washington, D.C., January 13

1984 -- Posthumously published "Visual Communication and Sexual Selection Among Butterflies"

Topic:

Entomology  Search this

Tropical biology  Search this

Entomologists  Search this

Biologists  Search this

Genre/Form:

Motion pictures (visual works)

Field notes

Black-and-white photographs

Manuscripts

Black-and-white negatives

Serials (publications)

Clippings

Diaries

Citation:

Smithsonian Institution Archives, Record Unit 7316, Robert Elliot Silberglied Papers

Identifier:

Record Unit 7316

See more items in:

Robert Elliot Silberglied Papers

Archival Repository:

Smithsonian Institution Archives

EDAN-URL:

ead_collection:sova-sia-faru7316

Collection Creator:

Studenski, Paul, 1887-1961  Search this

Container:

Box 1, Folder 14

Type:

Archival materials

Text

Date:

1915-1961

Collection Restrictions:

No restrictions on access

Collection Rights:

Permissions Requests

Collection Citation:

Paul Studenski Collection, Acc. 1989-0012, National Air and Space Museum, Smithsonian Institution.

See more items in:

Paul Studenski Collection

Paul Studenski Collection / Series 3: Scrapbooks

Archival Repository:

National Air and Space Museum Archives

GUID:

https://n2t.net/ark:/65665/pg2ff5341e0-7958-42b8-9f8e-3fa823a13de8

EDAN-URL:

ead_component:sova-nasm-1989-0012-ref29

Collection Creator:

Studenski, Paul, 1887-1961  Search this

Container:

Box OS, Item 1

Type:

Archival materials

Text

Collection Restrictions:

No restrictions on access

Collection Rights:

Permissions Requests

Collection Citation:

Paul Studenski Collection, Acc. 1989-0012, National Air and Space Museum, Smithsonian Institution.

See more items in:

Paul Studenski Collection

Paul Studenski Collection / Series 4: Oversized Materials

Archival Repository:

National Air and Space Museum Archives

GUID:

https://n2t.net/ark:/65665/pg2b09dbaf1-4854-4c36-be00-ef9cea390271

EDAN-URL:

ead_component:sova-nasm-1989-0012-ref30

Interviewee:

Jones, Kim, 1944-  Search this

Interviewer:

Ho, Melissa  Search this

Names:

Pandemic Oral History Project  Search this

Extent:

1 Item ((27 min.), digital, mp4)

Type:

Collection descriptions

Archival materials

Interviews

Video recordings

Date:

2020 August 15

Scope and Contents:

An interview with Kim Jones conducted 2020 August 15, by Melissa Ho, for the Archives of American Art's Pandemic Oral History Project at Jones' home in New York, New York.

Biographical / Historical:

Kim Jones (1944- ) is a multimedia and performance artist in New York, NY. Jones' alter-ego is Mudman.

Provenance:

This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.

Restrictions:

This interview is open for research.

Rights:

The Archives of American Art makes its Oral History Program interviews available for non-commercial, educational and personal use unless restricted by donor restrictions, including but not limited to access and publication restrictions. Quotation, reproduction and publication of the audio is governed by restrictions. If an interview has been transcribed, researchers must quote from the transcript. If an interview has not been transcribed, researchers must quote from the audio recording. Please refer to the Smithsonian's Terms of Use for additional information.

Occupation:

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

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

Topic:

Pandemics  Search this

COVID-19 (Disease)  Search this

Black Lives Matter movement  Search this

COVID-19 (Disease) and the arts  Search this

COVID-19 (Disease) -- Social aspects  Search this

Genre/Form:

Interviews

Video recordings

Identifier:

AAA.jones20

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9e6aa51bf-5cb1-40b6-aced-47f0e6849634

EDAN-URL:

ead_collection:sova-aaa-jones20

Creator:

Facci, Domenico, 1916-1994  Search this

Names:

American Society of Contemporary Artists (New York, N.Y.)  Search this

Artists Equity Association  Search this

Audubon Artists (New York, N.Y.)  Search this

National Sculpture Society (U.S.)  Search this

Olympic Games (24th : 1988 : Seoul, Korea)  Search this

United States. Department of the Treasury  Search this

Extent:

1.2 Linear feet

Type:

Collection descriptions

Archival materials

Photographs

Blueprints

Sketchbooks

Awards

Place:

Brooklyn Bridge (New York, N.Y.)

BuschGardens (Williamsburg, Va.)

Date:

1914-1995

Summary:

The Domenico Facci papers are dated 1914 to 1995, with the bulk falling between the years 1950 and 1984. They measure 1.2 linear feet and consist of biographical material, correspondence, artwork relating to sculpture projects, printed material, and photographs. Among the well-documented aspects of Facci's professional career are: his leadership roles in several arts organizations based in New York City, including Audubon Artists, National Sculpture Society, and Artists Equity Association; his work on the United States Treasury's 1988 Olympic Games commemorative coin competition, Brooklyn Bridge 100th Anniversary reliefs, Endangered Species Medal, and Neptune Fountain at Busch Gardens in Williamsburg, VA.

Scope and Content Note:

The Domenico Facci papers are dated 1914 to 1995, with the bulk falling between the years 1950 and 1984. They measure 1.2 linear feet and consist of biographical material, correspondence, artwork relating to sculpture projects, printed material, and photographs. Among the well-documented aspects of Facci's professional career are: his leadership rolses in several arts organizations based in New York City, including Audubon Artists, National Sculpture Society, and Artists Equity Association; his work on the United States Treasury's 1988 Olympic Games commemorative coin competition, Brooklyn Bridge 100th Anniversary reliefs, Endangered Species Medal, and Neptune Fountain at Busch Gardens in Williamsburg, VA.

Biographical material consists of artist's statements; marriage, academic, and military service records; awards; and membership cards and certificates. Correspondence consists mainly of incoming letters related to Facci's activities with arts organizations, among them Audubon Artists, American Society of Contemporary Artists, the Village Art Center, Artists Equity Association, the National Sculpture Society, and Nippon Museum.

Artwork includes two sketchbooks - one for the 1988 Olympic Games commemorative coin competition, and another concerning the Endangered Species Medal. Also found are anatomical study drawings, blueprint plans for the Neptune Fountain project, and miscellaneous sketches.

Printed materials are newspaper clippings, newsletters, exhibition catalogs, programs, press releases, announcements, and brochures. The bulk of this series is comprised of exhibition catalogs from the Audubon Artists, Painters and Sculptors Society of New Jersey, National Arts Club, and National Sculpture Society.

Photographs are of Facci and his work, including completed pieces, the artist at work in his studio and presenting sculpture demonstrations.

Arrangement:

The collection is arranged as 6 series:

Missing Title

Series 1: Biographical Material, 1914-1998 (Box 1; 0.1 linear ft.)

Series 2. Correspondence, 1954-1988 (Box 1; 0.3 linear ft.)

Series 3. Artwork, circa 1930-1985 (Box 1; OV 2-3; 0.3 linear ft.)

Series 4. Printed Material, 1933-1988 (Box 1; 0.3 linear ft.)

Series 5. Scrapbook, circa 1940-1985 (Box 1; 1 folder)

Series 6. Photographs, circa 1940-1985 (Box 1; 0.2 linear ft.)

Biographical Note:

Domenico Facci (1914-1994) worked in New York City and was known primarily for commissioned portraits and public sculpture, and for holding leadership positions in several arts organizations based in New York City.

Domenico (Aurelio) Facci was born to Antonio and Grace Facci in Hooversville, Pennsylvana. on February 2, 1916, where his father, Antonio, was a coal miner. His mother was Grace Facci. When he was 10, the family relocated to Brooklyn, New York.

Facci won a scholarship to Roerich Academy (Master Institute of United Arts) where he studied under Pietro Montana and Louis Slobodkin and graduated in 1936. In 1937 he opened his first studio on Fifth Avenue at 15th Street and was immediately commissioned to do several large pieces for the 1939 World's Fair.

Many public and private commissions were executed by Facci in the New York City area, among them: carvings on the tower façade of St. Thomas's church, St. Rita sculpture in Long Island City, lobby for American Express building, 100 feet of plaques on the Brooklyn Bridge walkway, and bronze sculptures for PS 147 in the Bronx. Facci was also awarded portrait commissions of eminent public figures including: Winston Churchill, Albert Einstein, Bob Hope, Lowell Thomas, James Kilpatrick, and Lynn Redgrave, some of which were executed on live television and at other events. Some important commissions in other locations were: a cartouche for bronze doors for St Peter's Cathedral, Philadelphia, PA; exterior bronze for the Court of Appeals Building, Annapolis, MD; St. Paul sculpture, Fredericksburg, MD; Eagle War Monument, Rome, NY; and St. John Divine in Sewanee, TN.

Facci was the recipient of numerous important awards, including the Proctor Award from the National Academy of Design, the Richards Award from the Allied Artists, and the Liskin Award from the Knickerbocker Artists. He was also elected a fellow of the National Sculpture Society. Solo exhibitions of Facci's work were presented at the Silvermine Guild of Artists and the Village Art Center. He participated in group shows at the Whitney Museum of American Art and the National Academy of Design, Jersey City. Facci exhibited annually at numerous New York artists organization, including the Village Art Center, Knickerbocker Artists, and at the Silvermine Guild.

Facci's work is included in the permanent collections of the Florida Southern College, in Lakeland, FL, the Norfolk Museum, VA, and the Polk Museum, FL.

As an active member of numerous professional artists organizations, Facci served as the president of the Village Art Center for a decade, president of the Audubon Artists for 11 years, and president of the American Society of Contemporary Artists. In addition, he was an officer in other organizations, including: Knickerbocker Artists, Allied Artists, New Jersey Painters and Sculptors, National Sculpture Society, Silvermine Guild of Artists, New York Artists' Equity Association, Sculptors League, Salmagundi Club, National Academy of Design, and the American Society of Contemporary Artists.

In addition to his work as a sculptor, Facci was also a teacher. Between 1939 and 1972, he served on the faculty of City College of New York, the Academy of Art at Florida Southern College, Ridgewood Village Art School in New Jersey, and the Craft Student League in New York.

Domenico Facci was married to Penelope (Felicia/Penny) Facci and they had a son, Robert. Domenico Facci died on November 6, 1994.

Provenance:

Gift of Debby Friedman, 2010.

Restrictions:

Use of original papers requires an appointment.

Rights:

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

Topic:

Artists' studios  Search this

Art -- Economic aspects  Search this

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

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

Genre/Form:

Photographs

Blueprints

Sketchbooks

Awards

Citation:

Domenico Facci papers, 1914-1995. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.faccdome

See more items in:

Domenico Facci papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9d46020fb-174d-469d-a24f-be153abc24fc

EDAN-URL:

ead_collection:sova-aaa-faccdome

Creator:

Keppler, Udo J., 1872-1956  Search this

Museum of the American Indian, Heye Foundation  Search this

Fly, C. S. (Camillus Sidney), 1849-1901  Search this

Extent:

79 Photographic prints (black and white)

129 Negatives (photographic) (black and white)

Culture:

Seneca  Search this

Cayuga  Search this

Oneida  Search this

Onondaga  Search this

Tuscarora  Search this

Kiowa  Search this

Chiricahua Apache  Search this

Type:

Collection descriptions

Archival materials

Photographic prints

Negatives (photographic)

Black-and-white negatives

Photographs

Place:

Cattaraugus Indian Reservation (N.Y.)

Date:

1870-1947

Summary:

Images depict the Seneca Iroquois Indians on the Cattaraugus Reservation in New York.

Scope and Contents:

The Keppler collection consists primarily of informal portraits of Seneca men and women made in 1900, 1904, 1905, 1908 and 1910. Keppler made most of these photographs on the Cattaraugus Reservation (including a photograph of Edward Cornplanter's Indian and Minstrel show) but also on the Tonawanda, Onondaga, and Allegany Reservations. Aside from the portraits, the photographs depict Seneca dwellings and ceremonials. Also by Keppler is a group of photographs depicting Seneca and Cayuga athletes playing lacrosse and standing for a group portrait. These he made in 1902 at the Crescent Athletic Club in New York City. In New York State, he also photographed Oneida, Onondaga, and Tuscarora individuals. The collection includes several potraits of Keppler and approximately 15 photographs dated ca. 1937 of the interior of Keppler's home. The latter showcase Keppler's American Indian object collection. He also made portraits of Native sitters in his home. There are several photographs in the collection that Keppler did not make. Among them is an 1886 print by Camillus S. Fly entitled "Council between General Crook and Geronimo," and studio portrait made before 1870 of a group of Kiowa sitters, including Lone Wolf and his wife, and full-length studio portrait of a Shoshone or Bannock man dating ca. 1870. Some of the negatives are later copy negatives.

Arrangement note:

Negatives Arranged by negative number (N18567-N18589, N21231-N21314, N21803-N21806, N23071, N23087, N23089, N23091, N23093, N23095-N23096, N23106-N23114, N34852, N36800-N36801, N37887)

Prints Arranged by print number (P00277, P01535-P01536, P01622, P01625, P01652, P01737-P01738, P02640, P10029, P12499-P12518, P13246-P13247, P13252-P13253, P13256, P13258, P13756, P16081, P16084, P16111, P16112, P16114, P25274-P25295, P37581)

Biographical/Historical note:

Udo J. Keppler, who changed his name to Joseph W. Keppler, Jr. in honor of his father, was a political cartoonist for Puck Magazine and an avid collector of Indian artifacts, as well as being an Indian activist. This interest led him to an association with George G. Heye, director of the Museum of the American Indian. Keppler often acted as an intermediary between other collectors and Native artisans, facilitating the expansion of the Iroquois collection of the Museum of the American Indian and others. He was elected honorary chief of the Seneca in 1899 and given the name Gy-ant-wa-ka.

Biographical / Historical:

Born Udo J. Keppler, Joseph W. Keppler (1872-1956), or "Kep," was the son of Joseph Keppler, the great political cartoonist and founder and publisher of the popular and highly influential magazine, Puck. The younger Keppler was born in St. Louis, Missouri and educated in Munich, Germany and New York City. Like his father, he too was a political cartoonist. He became the art director at Puck and, when his father died in 1894, took over as publisher. Joseph W. Keppler ran the magazine until he sold it in 1914. The younger Keppler's two great interests in life were said to be Puck and American Indians. Evidently, Keppler's deep interest in Indians and Indian affairs developed out of his desire to collect Indian objects and his friendship with Mrs. Harriet Maxwell Converse, an early advocate for Native rights. Through Converse, Keppler built friendships with Iroquois living on reservations in New York State and Canada, but especially with Senecas living on the Cattaraugus and Tonawanda reservations in New York. At Converse's funeral in 1903, the 31-year-old Keppler was adopted by the Seneca Nation and made a member of the Wolf Clan. Like Converse, Keppler served as an advocate for Senecas. Most importantly, he worked to help defeat or modify plans to allot Iroquois reservations in New York State. Keppler became a major collector of American Indian objects and his passion to collect led to an association with George G. Heye. In 1901, Heye apparently accompanied Keppler to the Seneca and Cattaraugus Reservations; this trip might have been Heye's first to a Native community. From 1927 to 1942, Keppler served on the Museum of the American Indian, Heye Foundation board of trustrees and for a time was also the Museum's vice president. In 1944, Keppler and his (second) wife Vera left New York and moved to California. Keppler died in La Jolla, California, at the age of 84.

Restrictions:

Access is by appointment only, Monday - Friday, 9:30 am - 4:30 pm. Please contact the archives to make an appointment.

Rights:

Restricted: Cultural Sensitivity

Genre/Form:

Photographic prints

Black-and-white negatives

Photographs

Citation:

Joseph W. Keppler, Jr. collction of negatives and photographs, National Museum of the American Indian Archives, Smithsonian Institution (negative, slide or catalog number).

Identifier:

NMAI.AC.001.016

Archival Repository:

National Museum of the American Indian

GUID:

https://n2t.net/ark:/65665/sv4344ac60a-1a61-46ca-a66f-df79383f6d7f

EDAN-URL:

ead_collection:sova-nmai-ac-001-016

Creator:

Davidson, Nancy, 1943-  Search this

Names:

Marianne Deson Gallery  Search this

Museum of Contemporary Art (Chicago, Ill.)  Search this

N.A.M.E. Gallery  Search this

Walker Art Center  Search this

White Columns (Gallery)  Search this

Halstead, Richard  Search this

Itatani, Michiko  Search this

Kozloff, Joyce  Search this

Lipton, Eunice  Search this

Mayer, Rosemary  Search this

Moore, Sabra  Search this

Spero, Nancy, 1926-2009  Search this

Yoshida, Ray  Search this

Extent:

5 Linear feet

Type:

Collection descriptions

Archival materials

Sketches

Sketchbooks

Photographs

Date:

1970s-2016

Summary:

The papers of New York based interdisciplinary artist Nancy Davidson measure 5 linear feet and date from 1970s-2016. The collection includes biographical material, correspondence, illustrated notebooks and notes, gallery and exhibition files, printed material, photographic material, and two sketchbooks. Nearly one linear foot of correspondence arranged chronologically is both personal and professional. Notable correspondents include Michiko Itatani, Joyce Kozloff, Eunice Lipton, Sabra Moore, and Nancy Spero. Galleries and museums include Marianne Denson Gallery; Museum of Contemporary, Chicago; N.A.M.E. Gallery, of which Davidson was an artist member; the Walker Art Center; and White Columns. Over thirty notebooks capture Davidson's work process, evolution of ideas, related sketches in pen and pencil, reflections from readings and lectures, and notes from critiques with fellow artists Rosemary Mayer, Joyce Kozloff, Ray Yoshida, and Richard Halstead. A large sequence of printed material includes announcements, books, bulletins, newsletters, calendars, clippings, exhibition catalogs, periodicals, press releases, programs, and a few other items of printed matter relating to Davidson's professional career.

Scope and Contents:

The papers of New York based interdisciplinary artist Nancy Davidson measure 5 linear feet and date from 1970s-2016. The collection includes biographical material, correspondence, illustrated notebooks and notes, gallery and exhibition files, printed material, photographic material, and two sketchbooks. Nearly one linear foot of correspondence arranged chronologically is both personal and professional. Notable correspondents include Michiko Itatani, Joyce Kozloff, Eunice Lipton, Sabra Moore, and Nancy Spero. Galleries and museums include Marianne Denson Gallery; Museum of Contemporary Art, Chicago; N.A.M.E. Gallery, of which Davidson was an artist member; the Walker Art Center; and White Columns. Over thirty notebooks capture Davidson's work process, evolution of ideas, related sketches in pen and pencil, reflections from readings and lectures, and notes from critiques with fellow artists Rosemary Mayer, Joyce Kozloff, Ray Yoshida, and Richard Halstead. A large sequence of printed material includes announcements, books, bulletins, newsletters, calendars, clippings, exhibition catalogs, periodicals, press releases, programs, and a few other items of printed matter relating to Davidson's professional career.

Arrangement:

The collection is arranged as seven series.

Missing Title

Series 1: Biographical Material, 1978-2015 (0.9 linear feet; Box 1)

Series 2: Correspondence, 1970s-2000s (0.8 linear feet; Box 1-2)

Series 3: Illustrated Notebooks and Notes, 1970s-2010 (1.6 linear feet; Box 2-4)

Series 4: Gallery and Exhibition Files, 1976-2002 (0.3 linear feet; Box 4)

Series 5: Printed Material, 1970s-2010s (1.3 linear feet; Box 4-5)

Series 6: Photographic Material, 1990s (1 folder; Box 5)

Series 7: Sketchbooks, circa 1980, circa 1990 (2 folders; Box 5)

Biographical / Historical:

Nancy Davidson (1943- ) is an interdisciplinary artist working primarily in sculpture and installation in New York, NY. She grew up in Chicago and received a Bachelor's degree from Northeastern Illinois University, a BFA from the University of Illinois, Chicago, and an MFA from the School of the Art Institute of Chicago. After completing her graduate degree in 1975, Davidson began her professional career in Chicago before moving to New York in 1979. While initially working in painting and drawing, Davison has become most well known for her works in sculpture investigating the feminized body. She has exhibited at the Institute of Contemporary Art in Philadelphia, the Corcoran Gallery in Washington, D.C., and in numerous galleries across the country. Davidson was a professor at Purchase College SUNY from 1984-2008.

Provenance:

Donated to the Archives of American Art in 2016 by Nancy Davidson.

Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.

Rights:

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

Topic:

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

Installations (Art)  Search this

Art -- Study and teaching  Search this

Women artists  Search this

Women sculptors  Search this

Genre/Form:

Sketches

Sketchbooks

Photographs

Citation:

Nancy Davidson papers, 1970s-2016. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.davinanc

See more items in:

Nancy Davidson papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw936c4e0c2-edae-49a5-988e-9edc5bf3465b

EDAN-URL:

ead_collection:sova-aaa-davinanc

Collection Creator:

Law, Ruth  Search this

Container:

Box 1, Folder 1

Type:

Archival materials

Date:

1916-1918

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.

Collection Citation:

Ruth Law Collection, Acc. NASM.XXXX.0387, National Air and Space Museum, Smithsonian Institution.

See more items in:

Ruth Law Collection

Ruth Law Collection / Series 1: Ruth Law Scrapbook

Archival Repository:

National Air and Space Museum Archives

GUID:

https://n2t.net/ark:/65665/pg23c516b67-e52c-4a50-88d4-a1b5e84eba83

EDAN-URL:

ead_component:sova-nasm-xxxx-0387-ref517

Creator:

Cohen, Arthur A. (Arthur Allen), 1928-1986  Search this

Cohen, Elaine Lustig, 1927-  Search this

Ex Libris (Firm)  Search this

Extent:

2 Linear feet

Type:

Collection descriptions

Archival materials

Photographs

Date:

1973-2007

Summary:

The records of Ex Libris measure 2.0 linear feet and date from 1973-2007. Ex Libris was a New York City based antiquarian establishment that dealt in rare 20th century avant-garde books and periodicals, and was founded by Elaine Lustig Cohen and her husband Arthur A. Cohen. The records include professional files, sales records, printed material, and photographic material.

Scope and Contents:

TThe records of Ex Libris measure 2.0 linear feet and date from 1973-2007. Ex Libris was a New York City based antiquarian establishment that dealt in rare 20th century avant-garde books and periodicals, and was founded by Elaine Lustig Cohen and her husband Arthur A. Cohen. The records include professional files, sales records, printed material, and photographic material.

Arrangement:

The collection is arranged as 4 series

Missing Title

Series 1: Professional Files, 1973-2007 (0.9 linear feet; Box 1)

Series 2: Sales Records, 1979-1998 (0.1 linear foot; Box 1)

Series 3: Printed Material, 1973-circa 1991 (0.9 linear feet; Box 2)

Series 4: Photographic Material, circa 1980s (0.1 linear foot; Box 2)

Biographical / Historical:

Ex Libris, a New York City based antiquarian establishment that dealt in rare 20th century avant-garde books, periodicals, and archives, operated from 1973-circa 2000, and was founded by Elaine Lustig Cohen (1927- ) and her husband Arthur A. Cohen (1928-1986). Elaine Lustig Cohen is a graphic designer, previously married to the graphic designer Alvin Lustig (1915-1955), who later married her long-time friend Arthur A. Cohen, a scholar, theologian, and author, in 1956.

The Cohen's began collecting avant-garde books and ephemera from antiquarian bookstores and artists in Europe. Ex Libris began when the couple amassed a surplus of material and Arthur placed an ad in the New York Times that said, "send for my list of Dada, Surrealist, Avant-Garde periodicals and ephemera." The inventory of Ex Libris grew to include other movements of modernism including Bauhaus, Futurism, Cubism, De Stijl, German Expressionism, Constructivism, and Fluxus.

Ex Libris published catalogs of their inventory, designed by Elaine, which were sent to libraries and museums all over the world. The catalogs are now collector's items. Exhibitions were organized at Ex Libris that complemented their inventory, and they often loaned material to be included in exhibitions elsewhere.

Related Materials:

Also found in the Archives of American Art are the Elaine Lustig Cohen papers concerning Alvin Lustig, 1982, available on microfilm reel 2802.

Provenance:

The records were donated in 2015 by Elaine Lustig Cohen, co-founder of Ex Libris.

Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.

Rights:

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

Topic:

Futurism (Art)  Search this

Dadaism  Search this

Surrealism  Search this

Function:

Bookstores -- New York (State)

Genre/Form:

Photographs

Citation:

Ex Libris records, 1973-2007. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.exlibr

See more items in:

Ex Libris records

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw92dbe7b5a-b9d3-4ea8-a06a-89773367e2a4

EDAN-URL:

ead_collection:sova-aaa-exlibr

Creator:

Shuff, Lily, 1906-  Search this

Names:

National Society of Painters in Casein  Search this

New York Society of Women Artists  Search this

Capp, Al, 1909-1979  Search this

Fabri, Ralph, 1894-1975  Search this

Extent:

2.5 Linear feet

Type:

Collection descriptions

Archival materials

Photographs

Scrapbooks

Date:

1941-1975

Summary:

The Lily Shuff papers date from 1941-1975 and measure 2.5 linear feet. Lily Shuff's work as a painter, participation in exhibitions, and contributions to professional arts organizations are documented in scrapbooks, printed material, biographical materials, correspondence, and photographs.

Scope and Contents:

The Lily Shuff papers date from 1941-1975 and measure 2.5 linear feet. Lily Shuff's work as a painter, participation in exhibitions, and contributions to professional arts organizations are documented in scrapbooks, biographical materials, correspondence, and photographs.

Biographical materials include Lily Shuff's awards from the Brooklyn Society of Artists, the American Society of Contemporary Artists, and the National Society of Painters in Casein; as well as biographical statements and resumes.

Letters include those written by Lily Shuff as Publicity Chair of the New York Society of Women Artists and associated mailing lists. Miscellaneous letters to Lily Shuff are found from friends and colleagues. Printed materials include clippings and exhibition files, and more materials of this nature are found within the scrapbooks. The photographs series primarily contains black and white photographs of Lily Shuff's casein and oil paintings.

Lily Shuff's scrapbooks make up the bulk of the collection. The scrapbooks chronologically document her travelling exhibitions and artistic career from 1941 to 1975. In her scrapbooks, she assembled exhibition announcements and catalogs, exhibition indexes, newspaper and magazine clippings, printed material pertaining to professional affiliations, photographs, and letters. Letters within the scrapbooks include letters and telegrams from family and friends in support of her exhibitions and awards, including correspondence with Ralph Fabri, founder and president of the National Society of Painters in Casein; letters from institutions to which she donated or sold her work; and letters from those who admired her work, including comic artist Al Capp. Letters related to her participation in, role on the jury of, or awards for exhibitions are also present. Newspaper and magazine clippings which review her work or exhibitions are predominant. Many exhibitions documented in the scrapbooks were organized by the National Association of Women in the Arts, but Lily Shuff's numerous one man shows and participation with other associations are also included. Photographs within the scrapbooks depict the artist, her work, and exhibitions.

Arrangement:

The collection is arranged as 5 series.

Missing Title

Series 1: Biographical Material, circa 1945-1973 (Box 1; 3 folders)

Series 2: Letters, 1957-1974 (Box 1; 2 folders)

Series 3: Printed materials, 1947-1974 (Box 1; 7 folders)

Series 4: Photographs, 1948-circa 1960 (Box 1; 2 folders)

Series 5: Scrapbooks, 1941-1975 (Box 2-8; 2.1 linear feet)

Biographical / Historical:

Painter Lily Shuff (1906-) lived and worked in New York City. She was educated at Hunter College and Columbia University, and studied at the Art Students League. She exhibited her work internationally and throughout the United States, but was especially active in New York City. Lily Shuff worked primarily in casein, watercolor, and oil, and painted abstract figurative and non-representational work. She had her first solo show at Argent Galleries in New York City in 1947.

Lily Shuff exhibited with and took on leadership roles in many professional associations. She was an active member of the New York Society of Women Artists, the National Society of Painters in Casein (which later became the National Society of Painters in Casein & Acrylic), and the National Association for Women. Lily Shuff also exhibited with the Brooklyn Arts Society and the Audubon Artists.

Provenance:

Lily Shuff donated her papers in 1975.

Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.

Rights:

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

Topic:

Women artists  Search this

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

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

Women painters  Search this

Genre/Form:

Photographs

Scrapbooks

Citation:

Lily Shuff papers, 1941-1975. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.shuflily

See more items in:

Lily Shuff papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9abab9443-4897-466d-8653-b8e139437afb

EDAN-URL:

ead_collection:sova-aaa-shuflily

Creator:

Goldring, N. (Nancy)  Search this

Names:

Alloway, Lawrence, 1926-1990  Search this

Lax, Robert  Search this

Steinberg, Leo  Search this

Extent:

5.1 Linear feet

0.213 Gigabytes

Type:

Collection descriptions

Archival materials

Gigabytes

Photographs

Scrapbooks

Date:

circa 1950-2020

Summary:

The papers of New York artist Nancy Goldring measure 5.1 linear feet and 0.213 GB and date from circa 1950-2020. Her career and personal life are documented through biographical material; personal and professional correspondence; writings; project and exhibition files; printed and digital material; scrapbooks; atwork; and photographic material. Notable correspondents include Lawrence Alloway, Robert Lax, and Leo Steinberg. There is a 0.4 linear foot unprocessed addition to this collection donated in 2020 that includes printed material, artwork, correspondence (emails, handmade cards), poetry, photographs of friends and family, and misc. Materials date from circa 1967-2020.

Scope and Contents:

The papers of New York artist Nancy Goldring measure 5.1 linear feet and 0.213 GB and date from circa 1950-2020. Her career and personal life are documented through biographical material; personal and professional correspondence; writings; project and exhibition files; printed and digital material; scrapbooks; artwork; and photographic material. Notable correspondents include Lawrence Alloway, Robert Lax, and Leo Steinberg.There is a 0.4 linear foot unprocessed addition to this collection donated in 2020 that includes printed material, artwork, correspondence (emails, handmade cards), poetry, photographs of friends and family, and misc. Materials date from circa 1967-2020.

Arrangement:

The collection is arranged as nine series

Missing Title

Series 1: Biographical Material, 1957-2014 (0.2 linear feet; Box 1)

Series 2: Correspondence, 1962-2015 (1.2 linear feet; Box 1-2)

Series 3: Writings, circa 1955-2014 (0.3 linear feet; Box 2)

Series 4: Project and Exhibition Files, 1970-2015 (0.5 linear feet; Box 2-3)

Series 5: Printed Material, circa 1950-2015 (1.6 linear feet; Box 3-4, OV 6, 0.213 GB; ER01)

Series 6: Scrapbooks, 1955-circa 1956 (0.3 linear feet; Box 4)

Series 7: Artwork, circa 2006 (1 folder; OV 7)

Series 8: Photographic Material, circa 1955-2015 (0.5 linear feet; Box 5, OV 8)

Series 9: Unprocessed Addition, circa 1967-2020 (0.4 linear feet; Box 9)

Biographical / Historical:

Nancy Goldring (1945- ) is an American artist working in New York. Raised in St. Louis, Missouri where her father was a professor of cardiology at Washington University, Goldring attended Smith College, receiving a BA in art history in 1967. She spent a year in Italy on a Fulbright fellowship and was later enrolled in the MFA program at New York University. She has been teaching at Montclair State University since the early 1970s. In 1994, Goldring traveled in India and Sri Lanka on another Fulbright fellowship.

In 1969, Goldring co-founded SITE (Sculpture in the Environment) with several other artists interested in developing public art projects. Within a few years, Goldring moved on to explore other forms of artmaking and subsequently developed a technique she calls "foto-projection" which combines photography, drawing, models, and slide projection. She is influenced by travel, location, memory.

Provenance:

Nancy Goldring donated her papers to the Archives of American Art in 2015 and 2021.

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:

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

Topic:

Women artists  Search this

Genre/Form:

Photographs

Scrapbooks

Citation:

Nancy Goldring papers, circa 1950-2020. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.goldnanc

See more items in:

Nancy Goldring papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw92ee22812-8006-4012-a610-52757a78bd2a

EDAN-URL:

ead_collection:sova-aaa-goldnanc

Creator:

Carroll, Eugene A.  Search this

Names:

Gourevitch, Jacqueline  Search this

Marcus, Marcia, 1928-  Search this

Extent:

1.8 Linear feet

Type:

Collection descriptions

Archival materials

Sound recordings

Video recordings

Date:

1955-2015

Summary:

The papers of art history professor and collector Eugene Carroll (1931-2016) measure 1.8 linear feet and date from 1955-2015. The collection documents Carroll's interest in particular artists as a historian, a collector, and in a few instances, a friend. Carrol maintained a decades-long correspondence with artists Jacqueline Gourevitch and Marcia Marcus, and dozens of letters, postcards, and photographs in the artists files document those relationships. The collection contains a few published audiovisual CDs and DVDs and one sound cassette pertaining to the artists. Scant material relates to Carroll's tenure at Vassar College, and no material is found regarding Carroll's chief research interest, Rosso Fiorentino.

Scope and Contents:

The papers of art history teacher and collector Eugene Carroll (1931-2016) measure 1.8 linear feet and date from 1955-2015. The collection documents Carroll's interest in particular artists as a historian, a collector, and in a few instances, a friend. Carrol maintained a decades-long correspondence with artists Jacqueline Gourevitch and Marcia Marcus, and dozens of letters, postcards, and photographs in the artists files document those relationships. The collection contains a few published audiovisual CDs and DVDs and one sound cassette pertaining to the artists. Scant material relates to Carroll's tenure at Vassar College, and no material is found regarding Carroll's chief research interest, Rosso Fiorentino.

Arrangement:

The collection is arranged as two series.

Series 1: Artists Files, 1955-2015 (Boxes 1-3; 1.6 linear feet)

Series 2: Subject Files, 1955-2010 (Box 3; 0.2 linear feet)

Biographical / Historical:

Eugene Carroll (1931-2016) was a collector and an art history professor at Vassar College from 1965-1999. He was a fellow at the American Academy in Rome in 1958 and received a PhD from Harvard University in 1964. In 1987, Carroll curated an exhibition on Rosso Fiorentino at the National Gallery of Art, Washington, D.C.

Provenance:

Donated to the Archives of American Art in 2018 by the Eugene Carroll estate via David R. Stack, executor.

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.

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:

Art historians -- New York (State) -- Poughkeepsie  Search this

Collectors -- New York (State) -- Poughkeepsie  Search this

Genre/Form:

Sound recordings

Video recordings

Citation:

Eugene Carroll papers, 1955-2015. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.carreuge

See more items in:

Eugene Carroll papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw91a25940a-66d2-46e2-ac48-e0060477548a

EDAN-URL:

ead_collection:sova-aaa-carreuge

Container:

Box 43 of 76

Type:

Archival materials

Collection Citation:

Smithsonian Institution Archives, Record Unit 190, United States National Museum. Office of the Director, Records

See more items in:

Records

Records / Series 11: Museum Education, 1964-1971. Arranged chronologically. / Box 43

Archival Repository:

Smithsonian Institution Archives

EDAN-URL:

ead_component:sova-sia-faru0190-refidd1e4782

Creator:

Baylinson, A. S., 1882-1950  Search this

Extent:

0.2 Linear feet

Type:

Collection descriptions

Archival materials

Photographs

Exhibition catalogs

Date:

1929-1955

Summary:

The collection measures 0.2 linear feet, dates from 1929 to 1955, and provides information about the career of modern realist painter A. S. Baylinson. Found are a biographical account, printed material, and photographs of Baylinson and of his works of art.

Scope and Content Note:

The collection measures 0.2 linear feet, dates from 1929 to 1955, and provides information about the career of modern realist painter A. S. Baylinson. Found are a biographical account, printed material, and photographs of Baylinson and of his works of art.

Arrangement:

The collection is arranged as one series.

Biographical Note:

Abraham Solomon Baylinson was born on January 6, 1882 in Moscow, Russia. His family immigrated to the United States in about 1900, and Baylinson eventually became interested in art and studied at the Art Students League, the National Academy of Design, and with Robert Henri and Homer Boss.

Baylinson was long affiliated with the Society of Independent Artists of which he was secretary from 1918-1934. He was also an instructor of painting and drawing at the Art Students League from 1931 to 1933.

Early in 1931, a fire destroyed almost 20 years of Baylinson's art work. When he resumed painting, his style had evolved into a more representational one.

Baylinson's work has been exhibited at the Detroit Institute of Art, the Corcoran Gallery of Art, Pennsylvania Academy of Fine Art, and at the National Gallery of Canada.

A. S. Baylinson died in May 1950 in New York City.

Provenance:

The A. S. Baylinson papers were donated in 1974 by Ada Baylinson, the artist's widow.

Restrictions:

Use requires an appointment.

Rights:

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

Topic:

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

Genre/Form:

Photographs

Exhibition catalogs

Citation:

A. S. Baylinson papers, 1929-1955. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.baylas

See more items in:

A. S. Baylinson papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9ec0c877e-d5ab-4934-9a00-2ccc7877e787

EDAN-URL:

ead_collection:sova-aaa-baylas

Creator:

Kempton, Greta, 1903-1991  Search this

Names:

Truman, Harry S., 1884-1972  Search this

Extent:

1.1 Linear feet

Type:

Collection descriptions

Archival materials

Date:

1942-1975

Summary:

The papers of portrait painter Greta Kempton measure 1.1 linear feet and date from 1942 to 1975. The papers document Kempton's career as an artist and include biographical material, correspondence, an exhibition file, printed material, photographs, and scattered writings.

Scope and Contents:

The papers of portrait painter Greta Kempton measure 1.1 linear feet and date from 1942 to 1975. The papers document Kempton's career as an artist and include biographical material, correspondence, an exhibition file, printed material, photographs, and scattered writings.

Much of Kempton's correspondence is with members of prominent families whose portraits she painted. Photographs of Kempton are with members of the Truman and Johnson Administrations during the presentation of her portraits. Other photos are of her works of art. Writings by Kempton include recollections of her experience painting portraits of the Truman family.

Arrangement:

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

Biographical / Historical:

Greta Kempton (1903-1991) was a portrait painter active in New York City and Ohio. She is noted for her portraits of Harry S. Truman and his family.

Greta Kempton was born in Vienna, Austria in 1903. She came to the United States in the mid-1920s and studied at the National Academy of Design and the Art Students League. Focusing on portraits, Kempton's subjects included political figures in Washington, D.C., most notably Harry S. Truman, his wife Elizabeth (Bess) Truman, and members of President Truman's cabinet.

Kempton and her husband, businessman Ambrose McNamara, retired to Medina, Ohio, where she continued to paint portraits for local and national figures. She died in New York City in 1991.

Related Materials:

The Harry S. Truman Library also holds the Papers of Greta Kempton, 1930-91, bulk dates 1946-1991.

Provenance:

Greta Kempton donated her papers to the Archives of American Art in 1976 and 1977.

Restrictions:

This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.

Rights:

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

Occupation:

Portrait painters -- New York (State) -- New York  Search this

Portrait painters -- Ohio  Search this

Topic:

Women painters  Search this

Women artists  Search this

Portrait painting  Search this

Citation:

Greta Kempton papers, 1942-1975. Archives of American Art, Smithsonian Institution.

Sponsor:

Processing of this collection received federal support from the Collections Care Initiative Fund, administered by the Smithsonian American Women's History Initiative and the National Collections Program

Identifier:

AAA.kempgret

See more items in:

Greta Kempton papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw96e4d8135-87cf-4ee6-99a8-47a1c0615e86

EDAN-URL:

ead_collection:sova-aaa-kempgret

Collection Creator:

Studenski, Paul, 1887-1961  Search this

Container:

Box 1, Folder 10

Type:

Archival materials

Text

Date:

1912-1961

Collection Restrictions:

No restrictions on access

Collection Rights:

Permissions Requests

Collection Citation:

Paul Studenski Collection, Acc. 1989-0012, National Air and Space Museum, Smithsonian Institution.

See more items in:

Paul Studenski Collection

Paul Studenski Collection / Series 2: Aviation Career and Activities

Archival Repository:

National Air and Space Museum Archives

GUID:

https://n2t.net/ark:/65665/pg2e04f95bd-908f-431d-a61b-7ae9e100be15

EDAN-URL:

ead_component:sova-nasm-1989-0012-ref25

Creator:

Turner, Robert Chapman, 1913-2005  Search this

Names:

Black Mountain College (Black Mountain, N.C.)  Search this

Haystack Mountain School of Crafts  Search this

York State Craftsmen  Search this

Extent:

13.3 Linear feet

Type:

Collection descriptions

Archival materials

Sound recordings

Date:

circa 1917-2005

Summary:

The papers of ceramicist Robert Chapman Turner measure 13.3 linear feet and date from circa 1917 to 2005. The papers document Turner's career as an educator and studio potter through biographical material, correspondence, writings, teaching files, professional files including lectures, subject files, printed material, and photographs.

Scope and Contents:

The papers of ceramicist Robert Chapman Turner measure 13.3 linear feet and date from circa 1917 to 2005. The papers document Turner's career as an educator and studio potter through biographical material, correspondence, writings, teaching files, professional files including lectures, subject files, printed material, and photographs.

The bulk of Turner's papers relate to his role as an educator and a lecturer at various institutions including Alfred University, Anderson Ranch Arts Center, Black Mountain College, Haystack Mountain School of Crafts, and Penland School of Crafts. Records, including two sound cassettes, regarding his time at these institutions may be found among his teaching and professional files as well as among photographs. Turner's professional files document his long affiliations with professional organizations such as the York State Craftsmen, National Council on Education for the Ceramic Arts, and the International Academy of Ceramics. Correspondence is with artists, family, and friends. Notable correspondents include Margaret Carney, Kenneth Ferguson, Alice Parrott, Toshiko Takaezu, and Frans Wildenhain among many others and may be found in both the correspondence series and professional files. Photographs of note are by John Wood and depict the building of the pottery studio at Black Mountain College.

Arrangement:

The collection is arranged as 8 series.

Series 1: Biographical Material, 1930-2002 (0.4 linear feet; Boxes 1, 14)

Series 2: Correspondence, circa 1938-2005 (1.8 linear feet; Boxes 1-3)

Series 3: Writings and Notes, 1950s-2000s (0.6 linear feet; Box 3)

Series 4: Teaching Files, 1957-2005 (0.8 linear feet; Boxes 3-4)

Series 5: Professional Files, 1952-2005 (5.5 linear feet; Boxes 4-9)

Series 6: Subject Files, 1950s-2000 (0.8 linear feet; Boxes 9-10)

Series 7: Printed Material, 1939-2000s (1.5 linear feet; Boxes 10-12, 14)

Series 8: Photographs, circa 1917-2000s (1.9 linear feet; Boxes 12-14)

Biographical / Historical:

Robert Chapman Turner (1913-2006) was a ceramicist who was known for functional and abstract pottery. He was active in Alfred Station, New York where he was a longtime faculty member at Alfred University.

Robert Turner was born in Port Washington, New York in 1913. He attended Swarthmore College and the Pennsylvania Academy of the Fine Arts where he studied economics and painting. With his wife Sue Turner, Robert lived in Europe to study Old Master paintings but returned to the United States after the start of World War II. A Quaker, Turner was a conscientious objector and served at multiple Civilian Public Service (CPS) camps in the United States during the war.

After leaving the CPS camps, Robert Turner enrolled at the New York State College of Ceramics at Alfred University to study ceramics and graduated in 1949. Turner was a faculty member at Black Mountain College (1949-1951) and Alfred University (1958-1979). He conducted numerous ceramics workshops throughout his career at many institutions including Haystack Mountain School of Crafts and Penland School of Crafts. Additionally, he was an active member of the (New) York State Craftsman.

Turner died in 2005 in Sandy Spring, Maryland.

Related Materials:

Also found in the Archives of American Art is an oral history interview of Robert Turner conducted 2001 June 11, by Margaret Carney, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America,

Provenance:

Robert Chapman Turner donated some of his papers in 1982. Additional materials were donated in 2005-2006 by Rosalind Turner Zuses, Turner's daughter.

Restrictions:

The 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 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:

Ceramicists -- New York (State) -- Alfred Station  Search this

Topic:

American studio craft movement  Search this

Ceramics -- Study and teaching  Search this

World War, 1939-1945 -- Conscientious objectors  Search this

Genre/Form:

Sound recordings

Citation:

Robert Chapman Turner papers, circa 1917-2005. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.turnrobe

See more items in:

Robert Chapman Turner papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw978919a00-bcf9-411b-8727-58b0f0818612

EDAN-URL:

ead_collection:sova-aaa-turnrobe

Creator:

Huppler, Dudley, 1917-1988  Search this

Names:

Wilde, John, 1919-2006  Search this

Extent:

2.3 Linear feet

Type:

Collection descriptions

Archival materials

Drawings

Date:

1942-1987

Scope and Contents:

The papers of artist and English professor Dudley Huppler (1917-1988) measure 2.3 linear feet and date from 1942-1987. The papers document Huppler's unique practice of pen-an-ink stippling, related business dealings, and his friendships with high-profile mid-twentieth century Americans in the arts. Included is biographical material, photographs of animals, Huppler's stippled drawings of animals, and correspondence with artists Todd Bolander, W.H. Auden, John Wilde, George Platt Lynes and novelist Flannery O'Connor, among others. Additional correspondence documents business negotiations with a card company about reproductions of Huppler's often animal-based work on their products. There is also a book illustrated by Wilde, with an inscription in which Wilde refers to Huppler as "doll baby," a familiar nickname that appears elsewhere in correspondence.

Biographical / Historical:

Dudley Huppler (1917-1988) was an artist active in New York, Chicago, Boulder, and Wisconsin.

Related Materials:

The Archives of American Art also holds the Duddley Huppler drawings, 1945-1956 and undated.

Provenance:

Donated in 2021 by Raffaele Malferrari, widow of Thea Tenenbuam, who was Huppler's niece.

Restrictions:

This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.

Rights:

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

Occupation:

Artists -- Colorado -- Boulder  Search this

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

Artists -- Illinois -- Chicago  Search this

Artists -- Wisconsin -- Madison  Search this

Genre/Form:

Drawings

Identifier:

AAA.huppldud

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9318b17ee-25ff-4cb1-80ce-825a684c9f11

EDAN-URL:

ead_collection:sova-aaa-huppldud