The collection is open for research. Use requires an appointment and is limited to the Washington, D.C. research facility.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Tomás Ybarra-Frausto research material, 1965-2004. Archives of American Art, Smithsonian Institution.
(photocopy of exhibition catalog, The Poster in Puerto Rico 1946-1985, University of Puerto Rico Museum, Rio Piedras Campus)
Collection Restrictions:
The collection is open for research. Use requires an appointment and is limited to the Washington, D.C. research facility.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Tomás Ybarra-Frausto research material, 1965-2004. Archives of American Art, Smithsonian Institution.
Edited film provides a geographical, historical and cultural survey of the United States territories in the Caribbean. Film describes the economic program by which the Commonwealth of Puerto Rico has attained the highest standard of living in Latin America.
Legacy Keywords: Economic development
General:
Local Numbers: HSFA 1994.21.23
Collection Restrictions:
The collection is open for research. Please contact the archives for information on availability of access copies of audiovisual recordings. Original audiovisual material in the Human Studies Film Archives may not be played.
Collection Rights:
Contact the repository for terms of use.
Collection Citation:
REMC 2 educational film collection, Human Studies Film Archives, Smithsonian Institution
United States of America -- Pennsylvania -- Philadelphia County -- Philadelphia
Scope and Contents:
The folders include worksheets, detailed descriptions of the garden and its history and evolution, garden plans, and other information.
General:
This 6,468 square-foot garden was begun on vacant land in the Kensington section of Philadelphia by the Norris Square Neighborhood Project (NSNP), with assistance from the Pennsylvania Horticultural Society in what was a drug-infested neighborhood. The garden's name, Las Parcelas, refers to the unique combination of more than 40 attractive plots, or parcels, each with its own special feature. Wood-trimmed beds contain vegetables, flowers, and herbs. Neighbors built "La Casita" (the little house), a reproduction of housing that existed in Puerto Rico before World War II that with its kitchen is a tool to teach children about traditional ways of living. Market stands enable the sale of produce from the garden, while an "environmental park" includes many trees and shrubs. Brightly painted garden structures (including "La Casita"), furnishings, and murals enliven the scene. Las Parcelas is the result of the determined and cooperative nature of the entire community.
Las Parcelas is only one of many community greening projects in Norris Square Greene Countrie Towne which dramatize the efforts of the entire neighborhood. Neighborhood leadership has formed a group of community garden activists known as Groupo Motivos to help maintain gardens, parks and street trees for the good of the community. All ages are represented in the garden, with the dominant group being in their late 40's and 50's. Heavy youth involvement in the garden comes from close association with the youth programs of NSNP. In addition to Philadelphia Green and NSNP, Las Parcelas has benefitted from the Weed and Seed Program of the Department of Justice, which aids in taking back neighborhoods from drug dealers. NSNP also coordinates programs with Swarthmore College, Pennsylvania State University, and four other state universities that give voluntary support to the garden. All of this activity is directly facilitated by NSNP.
Related Materials:
Las Parcelas related holdings consist of 2 folders (22 35 mm. slides)
Collection Restrictions:
Access to original archival materials by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Collection Rights:
Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Topic:
Gardens -- Pennsylvania -- Philadelphia Search this
Collection Citation:
Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.
Sponsor:
A project to describe images in this finding aid received Federal support from the Smithsonian Collections Care Initiative, administered by the National Collections Program.
[Las Parcelas]: "La Casita," or the little house, depicting life in Puerto Rico before modern conveniences. This structure is completely furnished and is used as a classroom to educate young Latinos in their cultural heritage.
United States of America -- Pennsylvania -- Philadelphia County -- Philadelphia
Date:
1995 Aug.
Collection Restrictions:
Access to original archival materials by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Collection Rights:
Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Topic:
Gardens -- Pennsylvania -- Philadelphia Search this
Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.
Sponsor:
A project to describe images in this finding aid received Federal support from the Smithsonian Collections Care Initiative, administered by the National Collections Program.
The papers of Cuban born cartoonist, caricaturist, graphic designer, illustrator, and art director Abril Lamarque papers date from 1883-2001, with the bulk of the material ranging from 1904-1999, and measure 6.8 linear feet. His papers contain biographical material; correspondence; writings; files on the many seminars and workshop he taught; scattered financial records; files concerning his business Abril Lamarque Creations; subject files; clippings; printed illustrations of his comics, designs, illustrations, and other work; seven scrapbooks; two sketchbooks, sketches and drawings by him, and artwork by others, including his sister, his brother, Paul Hoffmaster, Enrique Riverón, and H. Portell Vilá; and photographs and negatives depicting Lamarque, Lamarque at work, Lamarque's magic shows, examples of advertising, and friends and colleagues.
There is a 0.4 linear foot unprocessed addition to this collection donated in 2023 that includes biographical information, condolence letters, sketches, printed material regarding Lamarque, teaching material, printed material regarding Karol Kozlowski, photographs of Lamarque, and misc. Materials date from circa 1883-2001.
Scope and Content Note:
The papers of Cuban born cartoonist, caricaturist, graphic designer, illustrator, and art director Abril Lamarque papers date from 1883-2001, with the bulk of the material ranging from 1904-1999, and measure 6.8 linear feet. His papers contain biographical material; correspondence; writings; files on the many seminars and workshops he taught; scattered financial records; files concerning his business Abril Lamarque Creations; subject files; clippings; printed illustrations of his comics, designs, illustrations, and other work; seven scrapbooks; two sketchbooks, sketches and drawings by him, and others, including his sister, his brother, Paul Hoffmaster, Enrique Riverón, and H. Portell Vilá; and photographs and negatives depicting Lamarque, Lamarque at work, Lamarque's magic shows, examples of advertising, and friends and colleagues.
Biographical materials include of materials related to Abril Lamarque's many professional and personal associations, including the Art Directors Club, the International Brotherhood of Magicians, the National Press Club, the New York University Club, the Society of American Magicians, and the Society of Illustrators. Material types include membership cards, documents, event posters, and yearbooks. Also included are some personal documents, information on Abril Lamarque and his family, Lamarque's collection of humorous business cards, and eulogies written about Lamarque.
Correspondence is generally scattered, but includes letters to and from illustrators and artists including Ernesto Garcia Cabral, Paul Hoffmaster, Conrado Massaguer, and Lamarque's brother, Juan Abril Lamarque. Some letters are illustrated. Also included is business correspondence, subjects and correspondents including the Dell Publishing Company, the New York Times, and correspondence related to workshops and lectures, including his work at Iowa State University and Oklahoma State University.
Writings chiefly document Lamarque's career in graphic and publication design, and consist of articles, an unpublished draft on publication design, manuals, and book reviews. Also included are scripts for magic shows performed by Lamarque. Writings by others are present, and include limericks written about Lamarque by friends and an autobiography of Lamarque's wife, Milagros Abril Lamarque.
The Workshops series consists of advertisements, press releases, handbooks, publication design layout examples, and other materials related to Lamarque's career in teaching publication design workshops and seminars. Also present within the collection are various financial materials. Abril Lamarque Creations materials document Lamarque's design firm, active 1940-1941, which focused on the design and manufacture of modern decorative accessories for the home, such as serving trays, cigarette holders and jewelry. Photographs, drawings, and advertisements in this series document the product design and sales.
The collection includes several subject files concerning the Bacardi Company, the Dell Publishing Company, and Cuban caricaturist and publisher Conrado Massaguer. Files on Massaguer include illustrations, posters, magazines, clippings, and articles. The Subject Files also include materials collected about Mexican caricaturist Ernesto García, self-taught Polish painter Karol Kozlowski, and several other illustrators and political figures of interest to Lamarque.
Printed materials make up the bulk of the collection. Found are numerous examples of his design work for the New York World-Telegram and Evening Mail, the New York Daily News, the New York Times, US News-World Report, Dell Publishing Company, and others; as well as cartoons, caricatures, and illustrations by Lamarque. Clippings of the comic strip Monguito and editions of the Havana newspaper Lunes de Diario de Cuba are present. Printed material also includes posters, including Lamarque's designs for the "Aluminum for Britain" project, which he was asked to discontinue by the U.S. State Department. Also found in this collection are graphic design and illustration clippings collected by Lamarque.
Also found within the collection are seven scrapbooks containing clippings and articles, illustrations, scattered letters, photographs, invitations, artwork, and other materials detailing Lamarque's extensive artistic career and his amateur magic performances.
Original artwork includes drawings, sketches, prints, and design by-products by Abril Lamarque. Artwork by Lamarque includes silkscreens of dictators; drawings and printing plates for Monguito comics; page banners for Film Fun and other publications; and design paste-ups. Artwork created by others found within the series includes caricatures of Lamarque, sketches by Juan Abril Lamarque, and prints by Paul Hoffmaster.
Photographs included in the collection document Abril Lamarque's life and career, and show Lamarque with friends and colleagues, and performing as an amateur magician for both children and adult audiences.
There is a 0.4 linear foot unprocessed addition to this collection donated in 2023 that includes biographical information, condolence letters, sketches, printed material regarding Lamarque, teaching material, printed material regarding Karol Kozlowski, photographs of Lamarque, and misc. Materials date from circa 1883-2001.
Arrangement:
The collection is arranged as twelve series.
Missing Title
Series 1: Biographical Material, 1917-2001 (0.5 linear feet; Box 1, OV 12)
Series 2: Correspondence, 1922-1990 (0.5 linear feet; Box 1, OV 12)
Series 3: Writings, 1925-1981 (0.3 linear feet; Box 2, OV 13)
Series 4: Workshops, circa 1940-circa 1985 (0.4 linear feet; Box 2, OV 13)
Series 5: Financial Records, 1924-1989 (4 folders; Box 2)
Series 6: Abril Lamarque Creations, circa 1940-circa 1945 (6 folders; Box 2, OV 13)
Series 7: Subject Files, 1905-1996 (0.5 linear feet; Box 4, OV 14)
Series 8: Printed Material, 1883-1989 (1.5 linear feet; Box 3, 4, 6, and 11, OV 15-17)
Series 9: Scrapbooks, 1920-1959 (1 linear foot; Boxes 7-9, OV 10)
Series 10: Original Artwork, circa 1914-1988 (0.5 linear feet; Box 4, OV 18)
Series 11: Photographic Material, circa 1920-circa 1985 (0.5 linear feet; Box 5, OV 19)
Series 12: Unprocessed Addition, circa 1883-2001 (0.4 linear feet; Box 20)
Biographical Note:
Eduardo Abril Lamarque (1904-1999) was a Cuban born cartoonist, caricaturist, graphic designer, illustrator, and art director who worked primarily in New York City.
Eduardo Abril Lamarque was born in Cuba on August 28, 1904. His parents sent him to the United States in 1916 when he was twelve to study English and business administration. He lived with an American family in Brooklyn. At age 15, Lamarque's first cartoon was published in the Boy Scout section of the New York World-Telegram and Evening Mail. Four years later he created Bla-Bla, a comic strip that appeared regularly in the New York Daily News. He is credited with creating, in the early 1920s, the first Spanish language comic strip that was not translated from English. The title cartoon character, Monguito, was a hapless soul, fully dressed in business suit and hat, who kept getting into sticky situations. Lamarque produced hundreds of these strips which were picked up by the New York based United Feature Syndicate and published daily in Spanish language newspapers throughout Latin America and the United States.
When he was twenty, Lamarque returned to Cuba to work as the artistic director for the Havana newspaper Lunes de Diario de Cuba. He also published a booklet designed to teach the elements of caricature drawing. Lamarque returned to New York and was hired by the New York World Telegram and Evening Mail as a caricaturist. He produced political cartoons and caricatures for the paper, introducing his "radiocatures", which involved providing instructions on the radio for filling in a grid in the newspaper to produce a caricature of well-known figure in the news.
In 1927, at the age of 23, he became the first art director of Dell Publishing Company - a magazine empire that included Film Fun, I Confess, War Stories, Modern Screen, Popular Song, Spotlight, Radio Stars, Theatrical Page, Ballyhoo, and Modern Romances. He continued working there for 14 years.
In 1940-1941, Lamarque established Abril Lamarque Creations, a design firm that specialized in elegant and functional household objects and jewelry in a modernist tradition. His signature piece was the Pallettray, a serving tray modeled after an artist's palette and hand-finished in exotic woods.
Between 1941 and 1946, Lamarque became the first art director for the Sunday edition of the New York Times and redesigned the New York Times Magazine and the New York Times Book Review. Throughout his career, Lamarque designed and redesigned countless magazines and journals, including American Weekly, New York News, Metropolitan Life, Popular Science, This Week, US News-World Report, and others.
In 1948, Lamarque established a successful graphic design studio in New York that provided a full spectrum of design services, including annual reports, posters, product labeling, corporate publications, advertising, logos, package designs, and brochures. His clients included Barcardi Company, Con Edison, Ericcson Telephone, General Cable, Berlitz School, Lipton, Monsanto, and numerous magazines. In 1958, he was given the National Award for Graphic Design in packaging. His design for the annual American Red Cross poster was selected for the 1948 national Red Cross campaign.
His success and high demand as a publication art director, consultant, and designer was attributed to innovative design principles he based on the German Bauhaus School and its philosophy that promoted functional design principles. Lamarque reduced these principles to a set of guidelines suitable for page design and applied them successfully to a wide variety of publication and print layouts.
Lamarque's teaching experience began in the early 1940s with seminars and workshops he conducted for the publishing industry. He joined the faculty of New York University School of Continuing Education in 1958, where he taught until 1963, and later joined the Crowell Collier Institute and taught publication design workshops across the United States and Canada. He also gave workshops and courses at Oklahoma State School of Journalism.
Lamarque was a long-time member of the Society of Illustrators, Society of Art Directors, the Dutch Treat Club, National Press Club, and New York University Club. He was also an amateur magician and member of the Society of American Magicians. He performed magic acts for the annual Christmas party of the Society of Illustrators. Abril Lamarque died in 1999 at the age of 94.
Provenance:
Martha Lamarque Sarno and Lita M. Elvers assembled and donated their father's papers to the Archives of American Art, Smithsonian Institution, in 2001. Sarno donated a small addition in 2023.
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.
The papers of New York gallery owner and art dealer David Herbert measure 5.8 linear feet and date from circa 1909-1996, with the bulk of the material dating from 1945-1995. Herbert's papers document his years working for Betty Parsons Gallery, Sidney Janis Gallery, Graham Gallery, and others; the operation of the David Herbert Gallery from 1959-1962; Herbert's partnerships and agreements with Richard Feigen and others; and his activities as an independent dealer. Records include biographical material, correspondence, notebooks, subject files, artist files, exhibition files, business records, printed material, and photographs.
Scope and Contents:
The papers of New York gallery owner and art dealer David Herbert measure 5.8 linear feet and date from circa 1909-1996, with the bulk of the material dating from 1945-1995. Herbert's papers document his years working for Betty Parsons Gallery, Sidney Janis Gallery, Graham Gallery, and others; the operation of the David Herbert Gallery from 1959-1962; Herbert's partnerships and agreements with Richard Feigen and others; and his activities as an independent dealer. Records include biographical material, correspondence, notebooks, subject files, artist files, exhibition files, business records, printed material, and photographs.
Biographical material includes address books and calendars, educational records, records of Herbert's military service in the United States Naval Construction Battalion in Japan, and resume's charting his career.
Correspondence is with Herbert's parents, friends, business colleagues, and artists. It includes documentation of Herbert's partnership with Richard Feigen, and his cooperative work with Irving Blum and Walter Hopps of Ferus Gallery in Los Angeles, and Robert Fraser in London. Also documented are Herbert's relationship with Jaime Andrade and Andrade's family, and a lawsuit Herbert brought against Aaron Berman relating to the ownership of an Ellsworth Kelly drawing. There are scattered letters and postcards from artists and collectors, including Martin Blaszko, Lloyd Cotsen, Martin Hoffman, Ray Johnson, Josephine Merck, Alfonso Ossorio, Paul Sorel, and Clyfford Still.
Notebooks provide brief notes on Herbert's day-to-day business dealings. Subject files, consisting primarily of printed material, document Herbert's interests in several art world figures, subjects such as ancient art, and travel to locations such as Ecuador, Puerto Rico, and Greece.
Exhibition files include installation shots and catalogs for many of the exhibitions held at the David Herbert Gallery between 1959 and 1962.
Artist files document Herbert's interest in individual artists, such as William Draper, Ellsworth Kelly, Franz Kline, Sven Lukin, Edgar Negret, Louise Nevelson, Anthony Padovano, Eduardo Ramirez, and Jeanne Reynal, through printed material, photographs of artwork, scattered artist letters, and sales documentation.
Business records document the financial details and overall goals of Herbert's various business ventures. There is a sales book for Betty Parsons Gallery and Sidney Janis Gallery; Herbert's appraisal, consignment, commission, sales, and loan records; Herbert's business plans and projections; financial statements from the David Herbert Gallery; sales records for Graham Gallery; and records of Herbert's partnership with Douglas McKelvy.
Printed material includes announcements and catalogs from galleries Herbert worked for or collaborated with, including Graham Gallery, Betty Parsons Gallery, Feigen/Herbert Gallery, Stewart Neill Gallery, and Robert Fraser Gallery. Also found are obituaries and other new clippings of interest to Herbert.
Photographs are of Herbert, family members, and friends and colleagues, including his companion, Jaime Andrade, Leonora Carrington, William Draper, Jon Carsman, Hans Namuth, and Leon Polk Smith. Many are color snapshots collected in two photographs albums. Also found are photographs taken in Japan and Iwo Jima in 1945-1946 of street scenes, Naval Construction Battalion facilities, and Herbert's army colleagues and friends.
Arrangement:
The collection is arranged as nine series.
Missing Title
Series 1: Biographical Material, 1920-circa 1995 (0.7 linear feet; Box 1)
Series 2: Correspondence, 1942-1996 (1 linear foot; Boxes 1-2)
Series 3: Notebooks, circa 1950s-circa 1995 (0.3 linear feet; Box 2)
Series 4: Subject Files, 1950s-1992 (0.4 linear feet; Boxes 2-3)
Series 5: Exhibition Files, 1959-1963 (0.25 linear feet; Box 3)
Series 6: Artist Files, 1950s-1993 (0.75 linear feet; Boxes 3-4)
Series 7: Business Records, 1950s-1992 (0.6 linear feet; Box 4)
Series 8: Printed Material, 1949-circa 1995 (1.4 linear feet; Boxes 5-7)
Series 9: Photographs, circa 1909-circa 1990 (0.4 linear feet; Box 7)
Biographical / Historical:
New York gallery owner and art dealer David Herbert (1920-1995, born David Herbert Schmerer), worked for a number of important galleries in New York, had his own eponymous gallery from 1959-1962, operated as a private dealer, and was in partnership with dealer Richard Feigen from 1962-1964.
Herbert served in the United States Naval Construction Battalion from 1943-1946 and was posted to Japan in 1945-1946. After receiving a BA in art history from Syracuse University in 1951, he worked for Betty Parsons Gallery (1951-1953) and Sidney Janis Gallery (1953-1959), selling the work of contemporary American painters and sculptors, handling publicity, and installing exhibitions.
Herbert forged strong connections with artists and collectors alike, and was instrumental in launching the careers of a number of important artists. One such artist was Ellsworth Kelly, whom he recommended to Parsons, triggering Kelly's New York career. He opened the David Herbert Gallery in 1959, with investment from Douglas McKelvy, promoting the works of artists including Willem de Kooning, Franz Kline, Jackson Pollock, and Louise Nevelson, to leading collectors and museums.
Herbert often worked in cooperation with colleagues Irving Blum and Walter Hobbs in Los Angeles, and Robert Fraser in London. After closing his gallery in 1962, Herbert entered a partnership with dealer Richand Feigen, operating the Feigen/Herbert Gallery from 1962-1964. From 1964-1969 he worked as a private dealer specializing in twentieth century works of art and serving as a consultant to collectors, museums, artists, and corporate interests. From 1969-1975 he was Director and Art Salesman of contemporary and 19th Century American Art at Graham Gallery. Herbert subsequently continued as a private dealer from 1975 until his death.
Herbert traveled extensively, visiting museums, collectors, and galleries in England, France, Italy, Greece, Spain, Colombia, Peru, Ecuador, Hawaii, and Japan. Through Edgar Negret, whom Herbert represented, he met Jaime Andrade, who became his assistant at the Feigen/Herbert Gallery in 1963. In turn Andrade shared with Herbert an interest in pre-Columbian art and contemporary Spanish and Latin America art, hosting multiple visits to his native Ecuador by Herbert and others, including artist William Draper.
Andrade served as executor of Herbert's estate, following Herbert's death in 1995.
Provenance:
The David Herbert papers were given to the Archives of American Art by Jaime Andrade, Herbert's companion, in 1999.
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:
Gallery owners -- New York (State) -- New York Search this
Art dealers -- New York (State) -- New York Search this
Topic:
Art, Modern -- 20th century -- New York (State) -- New York Search this
Genre/Form:
Photographs
Citation:
David Herbert papers, circa 1909-1996. Archives of American Art, Smithsonian Institution.
