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Photographs of Mark Tobey

Creator:
Gardner, Robert, 1925-2014  Search this
Names:
Fulton, Robert, 1939-2002  Search this
Gardner, Robert, 1925-2014  Search this
Tobey, Mark  Search this
Extent:
0.2 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1971-1972
Scope and Contents:
Slides and photographs made from slides of Mark Tobey, Robert G. Gardner, and others, and works of art by Tobey taken by Robert Fulton and Robert G. Gardner on the occasion of Gardner filming Tobey in Basel, Switzerland, for his documentary "Mark Tobey Abroad," 1973.
Included are twenty-four 2x3 color photographs and thirty-three 35mm slides of Tobey and others taken by Fulton; ten slides of Tobey taken by Robert G. Gardner; and fourteen 5x7 color photographs of Tobey and others.
Biographical / Historical:
Robert G. Gardner (1925- 2014) was a documentary filmmaker in Cambridge, Massachusetts.
Provenance:
Donated 2017 by Adele Pressman, Robert G. Gardner's widow.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
Occupation:
Painters -- Washington (State) -- Seattle  Search this
Identifier:
AAA.gardrobe
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw96817903d-7d71-4663-a66e-69d93d5d937b
EDAN-URL:
ead_collection:sova-aaa-gardrobe

Richard E. Filipowski papers

Creator:
Filipowski, Richard, 1923-2008  Search this
Names:
Bauhaus  Search this
Boston Arts Festival  Search this
Harvard University -- Faculty  Search this
Institute of Design (Chicago, Ill.)  Search this
Massachusetts Institute of Technology -- Faculty  Search this
Agoos, Herbert M., 1915-1992  Search this
Anderson, Lawrence B. (Lawrence Bernhart)  Search this
Belluschi, Pietro, 1899-1994  Search this
Davis, Stuart, 1892-1964  Search this
Eckbo, Garrett  Search this
Gropius, Walter, 1883-1969  Search this
Kepes, Gyorgy, 1906-2001  Search this
Kepes, Gyorgy, 1906-2001  Search this
Moholy-Nagy, László, 1895-1946  Search this
Extent:
4.1 Linear feet
Type:
Collection descriptions
Archival materials
Christmas cards
Photographs
Sketchbooks
Sketches
Slides (photographs)
Sound recordings
Date:
circa 1940-1998
Summary:
The papers of Massachusetts-based designer, sculptor, painter, filmmaker, and educator Richard E. Filipowski measure 4.1 linear feet and date from circa 1940 to 1998. The papers document his career through biographical material, correspondence, writings, teaching files, project files, printed material, photographic material, artwork, and a sound recording.
Scope and Contents:
The papers of Massachusetts-based designer, sculptor, painter, filmmaker, and educator Richard E. Filipowski measure 4.1 linear feet and date from circa 1940 to 1998. The papers document his career through biographical material, correspondence, writings, teaching files, project files, printed material, photographic material, artwork, and a sound recording.

Biographical material consists of a Bauhaus questionnaire, marriage license, various identification documents, Canadian selective service documents, resumes, and other miscellaneous material.

Correspondence mostly relates to Filipowski's teaching and sculpture, including letters from Herbert M. Agoos, Lawrence B. Anderson, Pietro Belluschi, Stuart Davis, Garrett Eckbo, Walter Gropius, Gyorgy Kepes, Laszlo Moholy-Nagy, and others.

Writings consist of Filipowski's lectures on art, notes, and other material. There is also one sound recording of a lecture.

Teaching files are mostly from the Institute of Design, Harvard University, and Massachusetts Institute of Technology. The series includes syllabi, faculty meeting minutes, notes and drafts for lectures, school catalogs and schedules, and files on student exhibitions and projects, including two films, Do Not Disturb and Hearts and Arrows.

Project files contain correspondence, business records, printed material, sketches and photographs on commissions in architecture, sculpture and furniture design. There are also files on programs which Filipowski assisted in planning and organizing, including the Boston Art Festival and a few exhibitions.

Printed material consists of exhibition catalogs, announcements, and clippings mostly about Filipowski.

Photographs, slides, and negatives are of Filipowski and others, sculpture, furniture designs, and works of art by his students from Harvard and MIT.

Art work includes sketches, sketchbooks, cardboard studies for sculptures, and Christmas card designs.
Arrangement:
This collection is arranged as eight series.

Series 1: Biographical Material, 1941-1974 (Box 1; 7 folders)

Series 2: Correspondence, 1941-1998 (Box 1, OV 6; 0.6 linear feet)

Series 3: Writings, 1951-1969 (Box 1; 0.4 linear feet)

Series 4: Teaching Files, 1943-1970 (Box 2, OV 6; 0.7 linear feet)

Series 5: Project Files, 1944-1976 (Boxes 2-3, OV 6-7; 0.6 linear feet)

Series 6: Printed Material, 1941-1989 (Box 3, OV 7; 0.4 linear feet)

Series 7: Photographic Material, circa 1940-1989 (Boxes 3-4, OV 8; 0.7 linear feet)

Series 8: Artwork, circa 1940-circa 1985 (Boxes 4-5, OV 6, 8; 0.7 linear feet)
Biographical / Historical:
Richard E. Filipowski (1923-2008) was a designer, sculptor, painter, filmmaker and educator mostly based in Massachusetts. Richard Filipowski was born in Poland in 1923 and he and his family moved to Ontario, Canada in 1927. He studied under Laszlo Moholy-Nagy at the Institute of Design (formerly known as the New Bauhaus) from 1942 to 1946 and taught there after graduating, 1946-1950. Filipowski was invited by Walter Gropius to organize and teach Design Fundamentals at Harvard University's Graduate School of Design where he stayed until 1952. He then taught as an Associate Professor of Visual Design in the Department of Architecture at the Massachusetts Institute of Technology, 1953-1989.

Filipowski also took on numerous commissions for sculptures and artwork. One especially noteworthy commission was a sculpture for an Ark created for the Temple B'Rith Kodesh in Rochester, New York. The sculpture was intricately wrought and welded from bronze and silver alloys and it remained a source of inspiration for other later sculptures and commissions which had a similar style of metal-working. Many of his works were also marked by his Bauhaus training. Filipowski passed away in 2008.
Related Materials:
Also found in the Archives of American Art is an oral history interview with Richard E. Filipowski conducted by Roger Brown on September 25, 1989 through March 14, 1990.
Provenance:
The papers were donated to the Archives of American Art by Richard E. Filipowski in multiple installments from 1989 to 1998.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
Occupation:
Art teachers -- Massachusetts  Search this
Design -- Study and teaching  Search this
Designers -- Massachusetts  Search this
Filmmakers -- Massachusetts  Search this
Painters -- Massachusetts  Search this
Sculptors -- Massachusetts  Search this
Topic:
Art -- Study and teaching  Search this
Art and industry  Search this
Industrial design  Search this
Educators -- Massachusetts  Search this
Industrial designers  Search this
Painting, Modern -- 20th century  Search this
Function:
Art commissions
Art festivals
Genre/Form:
Christmas cards
Photographs
Sketchbooks
Sketches
Slides (photographs)
Sound recordings
Citation:
Richard E. Filipowski papers, circa 1940-1998. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.filirich
See more items in:
Richard E. Filipowski papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw922b24e6d-1307-4fb9-b848-aff2ef2acc1b
EDAN-URL:
ead_collection:sova-aaa-filirich

Pond Bureau photograph collection relating to Oceania

Collector:
Pond Bureau  Search this
Names:
Baumann, Cyril von  Search this
Salisbury, Edward A.  Search this
Stirling, Matthew Williams, 1896-1975  Search this
Photographer:
Johnson, Irving  Search this
Extent:
14 Prints (silver gelatin)
37 Copy prints
Culture:
Kumas (New Guinean people)  Search this
Mbowamb (New Guinean people)  Search this
Micronesians  Search this
Gururumba (New Guinean people)  Search this
Type:
Collection descriptions
Archival materials
Prints
Copy prints
Photographs
Place:
New Guinea
Micronesia
Oceania
Date:
circa 1920-1950
Scope and Contents note:
Photographs mostly made on Matthew Williams Stirlingʹs New Guinea expedition, Edward A. Salisburyʹs expedition to Micronesia, as well as trips made by Irving Johnson, Ray Jewell, and Cyril von Baumann. They include images of expedition members, scenic views, and indigenous peoples of New Guinea, Micronesia, and other Oceanic islands.
Biographical/Historical note:
The Pond Bureau was a lecture bureau in New York City which probably collected these photographs from its lecturers. Irving Johnson was a Massachusetts-based professional sailor, author, lecturer, and adventurer who mostly traveled around the South Pacific, Southeast Asia, and the Cape of Good Hope. Matthew Williams Stirling was a Smithsonian ethnologist and archeologist who spent the early part of his career conducting research in New Guinea and Ecuador. Edward A. Salisbury was a wealthy filmmaker who sailed around the South Pacific for documentary footage in the 1920s. And Cyril von Baumann was an explorer, naturalist, and archeologist.
Local Call Number(s):
NAA Photo Lot 82-12
Reproduction Note:
Copy prints made by Smithsonian Institution, circa 1985.
Copy negatives probably made by Pacific Prints, a dealer in Waliuku, Hawaii, circa 1981.
Location of Other Archival Materials:
Additional photographs by Stirling can be found in the National Anthropological Archives in Photo Lot 24 and the Matthew Williams Stirling papers.
Mystic Seaport: The Museum of America and the Sea holds the Irving and Electa Johnson Collection.
Restrictions:
The collection is open for research.

Access to the collection requires an appointment.
Rights:
Copy prints and negatives in this collection have been obtained for reference purposes only. Contact the repository for terms of use and access.
Genre/Form:
Photographs
Citation:
Photo lot 82-11, Pond Bureau photograph collection relating to Oceania, National Anthropological Archives, Smithsonian Institution
Identifier:
NAA.PhotoLot.82-12
Archival Repository:
National Anthropological Archives
GUID:
https://n2t.net/ark:/65665/nw3d51f4a0b-4d42-4463-89b8-b593f64f97aa
EDAN-URL:
ead_collection:sova-naa-photolot-82-12

Judith Wechsler papers

Creator:
Wechsler, Judith  Search this
Names:
Museum at Large Ltd.  Search this
Universal Limited Art Editions (Firm)  Search this
Adams, Ansel, 1902-1984  Search this
Albers, Josef  Search this
Cage, John, 1912-1992  Search this
Callahan, Harry M.  Search this
Cohen, John, 1932-2019  Search this
Falkenberg, Paul  Search this
Hockney, David  Search this
Hopps, Walter  Search this
Johns, Jasper, 1930-  Search this
Menil, Dominique de  Search this
Meyerowitz, Joel, 1938-  Search this
Namuth, Hans  Search this
Pearlstein, Philip, 1924-  Search this
Siskind, Aaron  Search this
Steichen, Edward, 1879-1973  Search this
Stella, Frank  Search this
Stieglitz, Alfred, 1864-1946  Search this
Extent:
17.4 Linear feet
Type:
Collection descriptions
Archival materials
Interviews
Motion pictures (visual works)
Sound recordings
Date:
circa 1940-2003
bulk 1971-1994
Summary:
The papers of filmmaker and art historian Judith Wechsler measure 17.4 linear feet and consist of film production material from several of Wechsler's documentary films released between 1989 and 1994. Most of the collection consists of sound recordings and motion picture film. Notable content includes interviews with Jasper Johns, Frank Stella, David Hockney, Philip Pearlstein, Joel Meyerowitz, Jo Spence, Yolanda Sonnabend, Dominique de Menil, Walter Hopps, Aaron Siskind, and Harry Callahan, as well as footage of artists working in their studios. Production elements found include original sound recordings, original camera negative outtakes, work print picture and soundtrack, trims, various pre-print master material, and video copies of completed works.
Scope and Contents:
The papers of filmmaker and art historian Judith Wechsler measure 17.4 linear feet and consist of film production material from several of Wechsler's documentary films released between 1989 and 1994. Most of the collection consists of sound recordings and motion picture film. Notable content includes interviews with Jasper Johns, Frank Stella, David Hockney, Philip Pearlstein, Joel Meyerowitz, Jo Spence, Yolanda Sonnabend, Dominique de Menil, Walter Hopps, Aaron Siskind, and Harry Callahan, as well as footage of artists working in their studios. Production elements found include original sound recordings, original camera negative outtakes, work print picture and soundtrack, trims, various pre-print master material, and video copies of completed works.

Documentaries with production material in the collection include Jasper Johns: Take An Object, produced with Hans Namuth, Harry Callahan (1994), Aaron Siskind: Making Pictures (1991), and five episodes of The Painter's World: Changing Constants of Art from the Renaissance to the Present (1989), a six-part television series produced by WGBH in Boston. Episodes of the series for which records are found include "The Training of Painters," "The Arrested Moment," "Portraits," "Abstraction," and "Painting and the Public". Also found are two reels of soundtrack labeled "Two Photographers," a title for which no other documentation is found.

The Painter's World episodes "Abstraction," "The Arrested Moment," and "Portraits" address the evolution of painting style and traditions, and the "Painting and the Public" episode addresses the role of patronage and the evolution of art museums. Footage found for "The Training of Painters" consists of footage of Josef Albers teaching at Yale University shot around 1955, likely shot by John Cohen.

Jasper Johns: Take An Object was a collaborative project between Wechsler, Hans Namuth, and Paul Falkenberg, who worked together under the corporate name of Museum at Large. Footage consists of multiple interviews with Johns, a 1971 session of Johns working in his Houston Street studio, and a 1989 session of Johns working at Universal Limited Art Editions, as well as additional material of John Cage and others speaking about Johns' work.

In Harry Callahan, Callahan discusses the inspiration behind his work and recollects about his time with Ansel Adams, Alfred Stieglitz, Edward Steichen, and Aaron Siskind. For Aaron Siskind: Making Pictures, Siskind covers the beginning of his career, and the inspiration and methods behind his work. The "Two Photographers" content and relationship to the collection is unknown.
Arrangement:
The collection is arranged as 5 series.

Missing Title

Series 1: -- The Painters World: Changing Constants of Art from the Renaissance to the Present -- Production Records, 1985-1989 (5.5 linear feet; Boxes 1, 3-6, 15, 20)

Series 2: -- Jasper Johns: Take an Object -- Production Records, 1971-1972, 1989-1990 (5.9 linear feet, Boxes 2, 7-11, 20-24)

Series 3: -- Aaron Siskind: Making Pictures -- Production Records, 1990-2003 (2.5 linear feet; Boxes 2, 11-12, 16-18, 21)

Series 4: -- Harry Callahan -- Production Records, 1992-1994 (3.3 linear feet; Boxes 2, 12-14, 18-19, 21)

Series 5: Unidentified Program Material, circa 1940-1994 (0.3 linear feet; Boxes 2, 14, FC 147)
Biographical / Historical:
Judith Wechsler is an art historian, professor, and filmmaker. Wechsler studied at Brandeis University, Columbia University, and earned her Ph.D. at Univeristy of California, Los Angeles in 1972. She published On Aesthetics in Science in 1978 and A Human Comedy: Physiognomy and Human Caricature in 19th Century Paris, focusing on the work of Honoré Daumier, in 1982. She edited the memoirs of her father, literary scholar Nahum N. Glatzer, published in 1998, and has published dozens of articles, reviews, and catalog essays for American and European institutions and publications.

She has taught at Brown University, Harvard University, Massachusetts Institute of Technology, Hebrew University, and Rhode Island School of Design and joined the faculty at Tufts University in 1989, where she remained until her retirement in 2011.

Wechsler first worked on films with designer Charles Eames, co-directing films on her early scholarly subjects, Daumier and Cézanne. In the mid-1980s, she wrote and directed a series of art documentaries for television with the series title The Painter's World: Changing Constants of Art from the Renaissance to the Present. Since that time, Wechsler has directed dozens of films, primarily on artists and photographers, and in recent years has focused on the history of ideas in early twentieth century Europe, with films on Nahum Glatzer, Walter Benjamin, Aby Warburg, and Svetlana Boym.

Wechsler received a Chevalier dans l'Ordre des Arts et des Lettres from the French government in 2007, and became professor emerita at Tufts in 2011. She lives and works in Massachusetts.
Related Materials:
Release prints of each of the titles represented in the collection are held by the Harvard Film Archive. Digital video copies of edited films are available on Judith Wechsler's website (http://www.judithwechsler.com/films, accessed 2017).
Provenance:
Donated 2008, 2017, and 2019 by Judith Wechsler.
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 copy requires advance notice.
Rights:
The Painter's World: Copyright retained by Judith Wechsler.
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 -- Massachusetts -- Boston  Search this
Topic:
Art patronage  Search this
Art museums  Search this
Filmmakers--Massachusetts--Boston  Search this
Women art historians  Search this
Women filmmakers  Search this
Women educators  Search this
Genre/Form:
Interviews
Motion pictures (visual works)
Sound recordings
Citation:
Judith Wechsler papers, 1940-2003, bulk 1971-1994. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.wechjudi
See more items in:
Judith Wechsler papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9fc8cc499-eb07-4514-a5ce-77f018cb7e0d
EDAN-URL:
ead_collection:sova-aaa-wechjudi

Historical Records of the DeWolf Family

Creator:
DeWolf, James, 1764-1837  Search this
Names:
Bellin, J.H.  Search this
DeWolf, George  Search this
Elfelt, Peter  Search this
Oliver, Louis  Search this
Extent:
1.8 Cubic feet
Type:
Collection descriptions
Archival materials
Correspondence
Place:
Cuba
Caribbean
Rhode Island
West Indies
Date:
1757-1947
Scope and Contents:
The Papers of the DeWolf Family shed light on one of the wealthiest New England families in the 18th-19th centuries who made their fortune by engaging in each part of the transatlantic slave trade. This collection is comprised of photographs, correspondence, publications, and business records including daily logs and ship manifests. Included in the collection are ship business records and documents from multiple countries including Cuba, the Netherlands, China, and India.
Arrangement:
The materials in this collection have been kept at the folder level and separated into five series. The materials have been ordered and organized based on the content.
Biographical / Historical:
Rhode Island dominated the North American transatlantic slave trade, led by the DeWolf family of Bristol. They financed their wealthy lifestyle by engaging in each part of the triangular trade, which involved the shipping of natural resources from the Caribbean to America and Europe for manufacturing, then using them to fund the purchase of enslaved persons. The DeWolf family owned numerous sugar and coffee plantations in Cuba. Sugar from the Cuba plantations was made into molasses, transported to Rhode Island in DeWolf vessels, and transformed into rum in DeWolf-owned distilleries. The rum was then taken to Africa and used as payment for enslaved captives, who were eventually sold in Cuba and other southern ports for tremendous profit. Between 1769 and 1820, it is believed the DeWolf-owned vessels carried more than 12,000 enslaved Africans across the Middle Passage. The profit generated from these trade endeavors allowed the family to start a bank and insurance company.

The first patriarch of the DeWolf family was Mark Anthony DeWolf (1726-1792). Mark emigrated from Guadeloupe Island in the West Indies after serving as a deckhand on a slave trading ship owned by privateer Simeon Potter. Mark married Potter's sister Abigail and they had 15 children. Their son James DeWolf, born on March 18, 1764 in Bristol, was most apt to take over the family business. James, like his father, worked as a slave trader, privateer, and a politician, including time as an U. S. Senator for Rhode Island. During the Revolutionary War, DeWolf served as a sailor on a private armed vessel that was twice captured by the British. By his early twenties, his past experiences saw him promoted to the rank of captain of a ship. James married Nancy Ann Bradford, daughter of the Massachusetts governor William Bradford, in 1790. Together they had 11 children.

In 1791, DeWolf was indicted for murdering an enslaved woman on his ship. The enslaved woman may have had smallpox and DeWolf claimed that she threatened the lives of all the enslaved persons and crew members on board. DeWolf and two crew members agreed to throw the woman overboard to her death. Judge John Jay discovered the story and reported it to President George Washington who gave orders for DeWolf's immediate arrest, citing violation of the Federal Slave Trade Law of 1790. DeWolf fled to the West Indies and by 1795 the charges were dropped. The judge declared that "this act of James De Wolfe was morally evil, but at the same time physically good and beneficial to a number of beings." Further, it was the "least" of the "two evils," and the accusations against DeWolf were "groundless."

Buoyed by the acquittal, DeWolf's family continued their criminal activity within the slave trading business. In 1794, Congress outlawed Americans carrying slaves between foreign countries or into countries that had statutes against the trade. In order to circumvent these laws, DeWolf called in a favor with Thomas Jefferson to appoint his brother-in-law, Charles Collins, a customs inspector. Collins ignored many of the slave ships moving in and out of the harbor that in turn allowed the DeWolf family to continue profiting from human suffering. DeWolf funneled his slave trading efforts through Cuba, the only open Caribbean trade port with American access. DeWolf continually shipped men, women, and children from American soil to Cuba.

In 1808, Congress banned the importation of enslaved into the United States and DeWolf turned to new ventures to keep his wealth, including privateering. During the War of 1812, his ship Yankee was the most successful privateer of the war, capturing prizes worth over three million dollars. In order to continue to profit off slavery, DeWolf founded the Arkwright Mill in Coventry, Rhode Island, which became a pioneer in the processing and manufacturing of cotton harvested by enslaved people. The family also maintained plantations in Cuba, and James' nephew, George DeWolf, continued trading enslaved persons at least until 1820 when it became punishable by death. From 1817-1821, DeWolf served as a member of the Rhode Island State House of Representatives; he was promoted to Speaker of the House from 1819-1821. In 1821, he was elected a U.S Senator for Rhode Island and served five years of his six-year term. He resigned and returned to the State House of Representatives from 1829 until his death in 1837. James DeWolf died in New York City on December 21, 1837. It was reported at his death that he was the second wealthiest man in America.

Historical Timeline

1726 -- Mark Anthony DeWolf was born

1764 -- James DeWolf was born in Bristol, Rhode Island, son of Mark Anthony and Abigail DeWolf

1775-83 -- James DeWolf served as a sailor in the Revolutionary War

1790 -- James DeWolf married Nancy Bradford, daughter of Massachusetts Governor William Bradford

1791 -- James DeWolf was indicted for murdering an enslaved woman on his slaving ship

1792 -- Mark Anthony DeWolf died leaving the business to his son, James

1795 -- All charges against James in the death of an enslaved woman on-board his ship in 1791 were dismissed

1808 -- Congress abolishes the African slave trade

1812 -- James DeWolf built the Arkwright Mills in Coventry, Rhode Island. He also served a privateer in the War of 1812

1817 -- James DeWolf began serving as a representative in the Rhode Island House of Representatives

1819 -- DeWolf began serving as the Speaker of the House in Rhode Island State General Assembly

1821-25 -- James DeWolf served as U.S. Senator for Rhode Island

1829 -- James DeWolf returned as a member of the State House of Representatives

1837 -- James DeWolf died in New York City, New York
Provenance:
Acquired through a purchase by the Smithsonian National Museum of African American History and Culture.
Restrictions:
Portions of this collection are restricted from use as means to further preserve the collection. Digital surrogates are available for portions of this collection.
Rights:
The NMAAHC Archives can provide reproductions of some materials for research and educational use. Copyright and right to publicity restrictions may apply and limit reproduction for other purposes.
Topic:
Slavery  Search this
Domestic Slave Trade  Search this
Middle Passage  Search this
Sugar  Search this
Transatlantic Slave Trade  Search this
Coffee  Search this
Rum  Search this
United States -- History -- Revolution, 1775-1783  Search this
United States -- History -- Colonial period -- Societies  Search this
Photography  Search this
Shipping  Search this
United States -- History -- 1815-1861  Search this
United States -- History -- 1783-1815  Search this
United States -- History -- 1865-1921  Search this
Genre/Form:
Correspondence
Citation:
Historical Records of the DeWolf Family, National Museum of African American History and Culture, Smithsonian Institution.
Identifier:
NMAAHC.A2018.17.2
See more items in:
Historical Records of the DeWolf Family
Archival Repository:
National Museum of African American History and Culture
GUID:
https://n2t.net/ark:/65665/io3fc558353-14d8-4cec-ac12-ddf21cf9a8d4
EDAN-URL:
ead_collection:sova-nmaahc-a2018-17-2
Online Media:

Hector Acebes photographs of African and South American peoples

Creator:
Acebes, Hector  Search this
Extent:
2 Copy prints
153 Prints (silver gelatin)
Culture:
Shuar  Search this
Ika (Ica/Arhuaco)  Search this
Akawaio (Acawai)  Search this
Yanomamö (Yanomamo)  Search this
Yukpa (Macoa/Macoita/Yupa)  Search this
Bassari (Senegalese and Guinean people)  Search this
Fulbe (African people)  Search this
Mangbetu (African people)  Search this
Kikuyu (African people)  Search this
Maasai (African people)  Search this
Type:
Collection descriptions
Archival materials
Copy prints
Prints
Photographs
Place:
Ngorongoro Crater (Tanzania)
Uaupés River (Colombia and Brazil)
Orinoco River (Venezuela and Colombia)
Mali
Guinea
Togo
Benin
Cameroon
Congo (Democratic Republic)
Rwanda
Africa
Tanzania
Kenya
Date:
1949-1960
Scope and Contents note:
Photographs made on Hector Acebes's expeditions in Africa and South America, mostly during the 1950s. Many of the images document people and markets in Africa (1949 and 1953), including Kikuyu, Masai, Mangbetu, Fulani, and Bassari peoples. There are also photographs made in the French Sudan, Guinea, Togo, Dahomey, Cameroon, the Congo Republic, Ruanda, Kenya, and Tanganyika. These prints were made for an exhibit.

Other sets include images of Jivaro, January, 1950; the Vaupés River and nearby tribes, September, 1950; a journey up the Orinoco to the Guaica, February, 1951; Arhuaco peoples, 1958; and Yuco peoples, 1960. Many photographs depict scenery and dwellings or are portraits (some show body and face paint). There are also images of fishing and hunting (Guaica); musical pipes (Guaica), a bridge, weaving, and bows and arrows (Arhuaco). Some photographs depict expedition members, including Acebes. The collection also includes photographs of the cover of Acebes' Orinoco Adventure, 1954, and coverage of his expeditions in Look, April 8, 1952, and Time (Latin American edition), December 24, 1951.
Biographical/Historical note:
Hector Acebes was born in 1921 in New York City and raised in Madrid and Bogota. While in college at the Massachusetts Insitute of Technology, he operated his own photo studio. After graduating from MIT in 1947 with a degree in mechanical engineering, he moved back to Bogota. Throughout the late 1940s and the 1950s, Acebes undertook expeditions in Africa and South America and started to work as a professional filmmaker and lecturer. Acebes wrote, filmed, directed, and edited each of the forty-three films his production company, Acebes Productions, released.
Local Call Number(s):
NAA Photo Lot 94-28
Location of Other Archival Materials:
Uaica photographs collected by Acebes held in the National Anthropological Archives in MS 4389.
Restrictions:
The collection is open for research.

Access to the collection requires an appointment.
Rights:
Contact the repository for terms of use.
Genre/Form:
Photographs
Citation:
Photo lot 94-28, Hector Acebes photographs of African and South American peoples, National Anthropological Archives, Smithsonian Institution
Identifier:
NAA.PhotoLot.94-28
Archival Repository:
National Anthropological Archives
GUID:
https://n2t.net/ark:/65665/nw3c1d672d7-a85f-4cf8-845e-f1d6d758345e
EDAN-URL:
ead_collection:sova-naa-photolot-94-28

Paul Cadmus

Collection Creator:
Taylor, Prentiss, 1907-1991  Search this
Container:
Box 6
Reel 5917, Frame 592-598
Type:
Archival materials
Date:
1942-1984
Collection Restrictions:
The collection has been digitized and is available online via AAA's website.
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:
Prentiss Taylor papers, 1885-1991. Archives of American Art, Smithsonian Institution.
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Prentiss Taylor papers
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Correspondence

Collection Creator:
Breuer, Marcel, 1902-  Search this
Extent:
5.3 Linear feet (Boxes 1-6, OV 47; Reels 5708-5717)
Type:
Archival materials
Date:
1923-1986
Scope and Contents note:
Correspondents in this series include a wide range of international architects, designers, and artists who interacted with Breuer. The letters discuss his training and the execution of his hundreds of architectural projects and designs for furnishings. Researchers will find the letters between Breuer and his Bauhaus colleagues, including Josef Albers, Herbert Bayer, Walter Gropius, and László Moholy-Nagy, of particular interest.

Appendix A: List of Notable Correspondents from Series 2: Correspondence
Arrangement note:
The files are arranged chronologically, with the undated letters arranged alphabetically according to the correspondents' surnames.
Appendix A: List of Notable Correspondents from Series 2: Correspondence:
Missing Title

Aalto, Alvar, 1964 (1 invitation): to reception honoring Aalto

Abercrombie, Stan (architect), 1964-1977 (8 letters)

Abramovitz, Max (Harrison & Abramovitz, Architects), 1947 (3 letters) and 1963 invitation from Brandeis University in honor of Abramovitz

Harry N. Abrams, Inc., 1975 (2 letters): from Breuer's office Académie d'Architecture, 1976-1979 (4 letters)

Acme Laboratory Equipment Company, 1950 (1 letter): from Breuer's office ács, Gábor and Anikó, 1956 (1 letter)

Adelaide Festival of Arts, 1959 (1 letter)

Adler, Bruno, 1937 (1 letter) ágasvári, Vilmos, 1957-1958 (2 letters)

Agel, Jerome B. (Agel & Friend), 1959 (1 letter): includes press release

Agostini, Edward (Becker and Becker Associates), 1969 (1 letter): from Breuer's office

Airflow Refrigeration, 1954: (1 letter): from Breuer's office

Alabama Polytechnic Institute, 1947 (1 letter)

Albers, Josef ("Juppy") and Anni (Black Mountain College), 1933-1958 (11 letters): a 1956 letter includes miscellaneous typescripts by Albers and clippings; a 1965 letter to the Phoenix Art Museum from William A. Leonard of the Contemporary Arts Center concerns an Albers exhibition and includes a list of works; a 1967 letter from Breuer to National Institute of Arts and Letters includes a typescript concerning Albers

Albert, Edouard (architect), 1956-1958 (2 letters)

Albright Art Gallery, 1959 (3 letters)

Alexander, H. J. W. (Architectural Association), 1957-1958 (4 letters)

Alpern, Robert, 1964 (letter from Breuer)

B. Altman & Company, 1951 (1 letter)

Aluminum Company of America (ALCOA), 1946-1964 (2 letters)

Aluminum Import Corporation, 1946 (2 letters)

Alvarez, Raúl J., 1968 (1 letter)

American Academy in Rome, 1947-1961 (4 letters): request recommendations for Frederic S. Coolidge, Arthur Myhrum, and Thomas B. Simmons

American Academy of Arts and Letters, 1965-1978 (10 letters): a letter 1967 is a nomination by Walter Gropius for Sigfried Giedion's honorary membership in American Academy of Arts and Letters and National Institute of Arts and Letters; see National Institute of Arts and Letters

American Academy of Arts and Sciences, 1977 (1 letter)

American Academy of Political and Social Science, 1946 (1 letter)

American Arbitration Association, 1960-1968 (52 letters)

American Church in Paris, 1966 (1 letter): from Robert F. Gatje

American Council for Emigres in the Professions, Inc., undated: letter introduces Viola Kondor

American Craftsmen's Council (Mrs. Vanderbilt Webb), 1967 (1 letter)

American Designer's Institute, 1947 (convention schedule)

American Export and Isbrandtsen Lines, 1963 (1 letter)

American Federation of Arts, 1958-1967 (8 letters)

American Field Service, 1956 (1 ): letter from Breuer on behalf of Danielle Eyquem

American Fork & Hoe Company, 1944 (1 letter)

American Hungarian Studies Foundation (August J. Molnár), 1964-1968 (10 letters): a 1967 invitation is to George Washington Awards Dinner in honor of Breuer, Watson Kirkconnel, and Hans Selye

American Institute of Architects, 1946-1976 (45 letters): membership applications for Edward Larrabee Barnes, Landis Gores, John MacL. Johansen, George Sherman Lewis, A. McVoy McIntyre, Robert Hays Rosenberg, Bernard Rudofsky); a 1963 letter from Breuer's office concerns a Skyscraper Architecture survey team from Japan; a 1968 letter concerns the Comité Organizador de Los Juegos de la XIX Olimpiada

American Institute of Architects, College of Fellows, 1976 (1 letter): from Breuer's office

American Institute of Architects, Jury of Fellows, 1960 (3 letters): from Breuer

American Institute of Architects, Library Buildings Award Program, 1967 (1 letter): from Breuer's office

American Institute of Architects, New York Chapter, 1945-1963 (16 letters)

American Institute of Decorators (Richard F. Bach), 1956 (1 letter)

American Institute of Interior Design in Switzerland (Charles D. Gandy and Susan Zimmermann), 1977-1978 (2 letters)

American-Jewish Congress: see Commission on Community Interrelations (CCI)

American Library Association, 1951-1968 (2 letters)

American Planning and Civic Association, undated: membership notice

American Press Institute, 1974-1975 (5 letters): from Breuer

American Radiator and Standard Sanitary Corporation, 1947 (1 letter): from Breuer

American Shakespeare Festival, 1954 (1 letter): from Breuer's office

American Society for Church Architecture, 1965-1966 (4 letters)

American Society for Friendship with Switzerland, 1969 (1 letter)

American Society of Interior Decorators, 1976 (1 letter): from Breuer's office

American Society of Planners and Architects (ASPA), 1945-1947 (12 letters)

Anderson, Lawrence B., 1945-1965 (2 letters): see American Society of Planners and Architects (ASPA)

András, Ivánka, 1957 (1 letter)

Andrews, Robert, 1956 (1 letter)

Aoyagi, Nobuo, 1964 (1 letter)

Aoyagi, Tetsu, 1965 (1 letter)

Arbelaez, Carlos, 1952 (1 letter): from Breuer)

Architects & Engineers Institute, 1959 (1 letter)

Architects' Collaborative, 1946-1959 (3 letters): see McMillan, Louis and Peggy

Architectural Association, London, 1965-1969 (7 letters): see project file for UNESCO for correspondence with Edward J. Carter Architectural Design, 1960 (1 letter): from Ernesto Fuenmayor and Manuel Sayago of Centro Profesional del Este)

Architectural Forum, 1960 (1 letter): from Leonard J. Currie

Architectural Group, (W. D. Wilson), 1947 (1 letter)

Architectural League of New York, 1947-1975: (26 letters and minutes from 6 meetings): see Ketchum, Morris

Architectural Record, 1946-1959 (9 letters)

Architectural Students Association, 1958 (1 letter)

Architecture Formes Fonctions, 1971 (3 letters): includes a typescript "Design Research in Concrete" for July 1971 magazine

Architektur + Wohnwelt, 1975 (3 letters)

Argan, Giulio Carlo, 1955-1957 (6 letters)

Arizona, University of, 1974 (1 letter): from Breuer's office

Arnold, Randolph, undated: illustrated Christmas card

Arp, Hans Jean, 1954-1959 (5 letters): a 1959 letter on Arp's behalf from Marguerite Hagenbach; a 1959 wedding announcement for

Arp and Hagenbach

Arseniev, Milko, 1975 (1 letter)

Art Circus: see Long Beach Art Association, Inc.

Art Directors Club, Inc., 1975 (5 letters)

Artek-Pascoe (Clifford Pascoe), 1941-1946 (2 letters)

Artigas, Josep Llorens (ceramist colleague of Joan Miró), undated and 1960-1963 (5 letters)

Arts Council of Great Britain, 1962 (4 letters): concern an

Alexander Calder sculpture

Art Squad, Inc. (Ernest Costa), 1952 (1 letter): from Breuer's office

Asfia, H. E. Dr. Safi (Iranian deputy prime minister), 1974 (1 telegram): from Breuer

Ashihara, Yoshinobu ("Yosh"), undated and 1954-1970 (26 letters): a 1955 letter encloses a photograph of Ashihara and a model of his project

Association of Hungarian Students in North America, undated and 1958 (4 letters)

Atelier International, Ltd., 1968 (2 phone messages)

Atkin, William Wilson (Silvermine Publishers), 1965 (1 letter)

Atlanta Central Library, 1975 (1 letter): from Breuer

Atlantic Refining Company, Inc., 1956 (1 letter)

Atlas Tile & Marble Company, 1955 (1 letter): from Breuer's office

Auchincloss, Lily and Douglas, undated and 1963 (5 letters)

Auckland University College, 1945 (2 letters): 1 letter from Walter Gropius

Aufricht, Gustave and Maria, 1955-1970 (4 letters)

Aujame, Roger and Edith (and María Feuyo McVitty), undated (1 letter)

Australian National Gallery, Canberra, 1975 (3 letters): from Breuer

Austrian Consulate General, 1951 (2 letters)

Austrian Institute and Mrs. Schlag, 1964 (invitation to reception)

Auzelle, Robert (architect), 1956 (1 letter): see Académie d'Architecture

Babarovic, Gretchen and John, undated and 1963 (2 letters)

Bacal, Jacob, 1967 (1 letter)

Bachem, Hans Peter (architect), 1950 (1 letter)

Baer, David C. (AIA), 1956 (1 letter): from Breuer

Bak, Joseph, 1950 (1 letter)

Baker, James (Tower Development), 1981 (1 letter): from Breuer's office

Baldes, Jeannette, 1948 (1 letter)

Baldwin, Benjamin, undated (2 letters)

Ballard, Robert F. R., 1975 (1 letter): from Breuer's office

Bard Civic Award Trust Fund: see City Club of New York, Albert S. Bard Civic Award Trust Fund

Bárdos, Tamés, 1947 (1 letter): from Breuer

Barnes, Belva Jane ("B. J."), undated and 1956-1957 (4 letters)

Barnes, Edward Larrabee (architect), 1945-1955 (5 letters)

Barnett, Steven G., 1966 (1 letter)

Barroso, Nicolás Mariscal (VIII Congreso Panamericano de Arquitectos, México), 1952 (2 letters)

Barry, Gerald, 1951 (1 invitation): mentions Barry

Bartholdy & Klein, 1933 (1 letter)

Bartlett, Allan J., 1950 (1 letter): from Robert W. Gumbel

Bartolozzi, Goffredo (Vetro Italiano di Sicurezza, Milan [VIS]), 1959 (1 letter)

Bassetti, Fred (Bassetti & Morse, Architects), 1951 (2 letters)

Bauen + Wohnen, 1974-1975 (5 letters): from Breuer

Baughman, George F. (New York University), 1959 (1 letter)

Bauhaus-Archiv, Bibliothek und Schausammlung, 1972 (1 letter): to Knoll International

Bauhaus Archiv E. V., 1960 (1 letter)

Bayer, Herbert and Joella, undated and 1933-1966 (87 letters)

Beaux Arts Club, 1968 (1 letter)

Beaux-Arts Institute of Design, 1946-1947 (3 letters)

B.E.B. Consultants, 1982 (1 letter): from Robert F. Gatje

Bechtol, Ron (Lance Larcade & Bechtol), 1968-1976 (3 letters)

Beck, Martin (New York University), 1962-1964 (2 letters): from Hamilton Smith

Beckhard, Herbert and Ellie and Susan, undated and 1954-1980 (45 letters)

Bee, Anton, 1957 (1 letter)

Beekman, Rev. Gerardus, 1955 (1 letter): from Breuer

Begrow, Harold J., 1954 (3 letters)

Behar, Esther, 1968 (1 letter): from Breuer

Belgiojoso, Lodovico (Lodovico B. Belgiojoso, Enrico Peressutti, Ernesto N. Rogers, architects), 1950 (1 letter)

Belluschi, Pietro (MIT School of Architecture and Planning), 1954-1968 (3 letters)

Bemis, Frances, 1954 (1 letter)

Bemo Shipping Company, 1954-1956 (2 letters)

Bender, Richard (Harvard University), 1952 (2 letters)

Benesch, Edward M. (Gomprecht & Benesch), 1955 (1 letter)

Benglia, Christine (architect; married architect Alistair Bevington), 1964 (1 letter)

Bennett, Richard M. (Loebl, Schlossman & Bennett), 1958 (1 letter)

Benton & Bowles, Inc., Advertising, 1955 (1 letter)

Beothy, E., undated (1 letter)

Bergen County Cut Stone Company, 1967 (1 letter): from Breuer's office

Bergen, Emiel, 1956 (1 letter)

Berger, Donald (North Dakota Agricultural College), 1953 (1 letter)

Berger, George, 1950 (1 letter)

Berger, Otti, undated and 1934-1937 (7 letters)

Berger, Sanford and Helen (architects), 1945 (1 letter): from

Breuer to László Moholy-Nagy and Ludwig Mies Van der Rohe introducing the Bergers

Berger, Stephen E., 1959 (1 letter)

Berizzi, Sergio, 1959 (4 letters): letters of introduction

Berko, Franz, 1946-1947 (5 letters): including one from László Moholy-Nagy

Berlin Interbau, (International Building Exhibition), 1957 (1 letter): from mayor of Berlin

Berndt, Marianne, 1933 (1 letter)

Berti, Vincent, 1974 (1 letter): from Breuer's office

Better-Philadelphia Exhibition (Richard A. Protheroe, Harry

B. Nason, Hugh B. Sutherland), 1947 (1 letter)

Bevington, Alistair M., 1959 (1 letter): includes résumé

Bevington, Mariette (stained-glass designer), 1967 (1 letter): to Herbert Beckhart

Bharadwaj, Ajaya, 1955 (2 letters)

Biasini, E. J. (French prime minister), 1972 (1 letter)

Biddle, Mrs. Francis, 1962-1968 (3 letters): includes a funeral announcement for her husband)

Biddle, George, 1965 (4 letters): 3 from Breuer

Bier, Justus (University of Louisville), 1938 (3 letters)

Bigeleisen, Jacob (University of Rochester), 1970 (1 letter) Ronald S. Biggins and Associates, 1958 (1 letter)

Bijenkorfbeheer N.V., Amsterdam, 1967-1974 (2 letters): from Breuer

Bill, Alexander H., Jr., undated (1 calling card)

Blake, Peter (architect), undated and 1950-1976 (41 letters): a 1958 letter from Breuer is illustrated with a hand-drawn map by

Blake of Easthampton property

Blanton, John A., 1951 (1 letter)

Blaustein, Morton K., 1963-1965 (2 letters)

Bliss, Douglas P. (Glasgow School of Art), 1947 (1 letter): from Breuer

Bloeme, Sidney, 1963 (1 memorandum): from James S. Plaut

Blum, Kurt (photographer), 1974 (1 letter): from Breuer's office

Bode, Paul (architect), 1956 (1 letter)

Bodri, Ferenc, 1967-1975 (3 letters): 2 1975 letters from Breuer

Boehringer Ingelheim, Ltd., 1975 (1 letter): from Breuer

Bogner, Walter, 1938-1960 (4 letters): see Project File for UNESCO

Boissonnas, Eric and Sylvie, undated and 1960-1978 (20 letters)

Bollingen Foundation, 1964 (1 invitation): to reception in honor of Sigfried Giedion

Bonaparte, Mrs. Robert L., 1955 (1 letter)

Bonomi, Maria, undated and 1958 (2 letters)

Bookman, Mrs. John, 1964 (1 letter)

Borbíró, Virgil (Hungarian architect), 1945-1956 (2 letters): includes Borbíró's obituary

Borglum, Paul, 1950 (1 letter): see Project File for UNESCO

Born, Karl, 1968 (1 letter): from Breuer

Borsódy, István ("Stephen"; historian; Hungarian Legation) and Zsóka, 1946-1965 (5 letters): 1951 letter includes a biographical sketch of Borsódy by Aladár Szegedy-Maszák

Bortfeldt, Hermann (Büro Willy Brandt), 1963 (1 letter)

Bosch, Robert, 1934 (2 letters)

Bosserman, Joseph Norwood, 1963-1967 (2 letters)

Bosshard, J., 1956 (1 letter)

Boston Architectural Center, 1968 (1 letter)

Boston Redevelopment Authority, 1970 (1 letter)

Boston Society of Architects, 1946 (1 letter): from Breuer to John R. Abbott

Botond, Stephen G. ("Pista"; architect), 1958-1960 (2 letters): includes wedding announcement for Botond and Patricia Potter Luce

Bouchet, Maxime, 1953 (5 letters)

Bourget, Inc., 1955 (2 letters): from Breuer's office

Bower, John, 1954 (1 letter)

Bozzola, Vittorio, 1964 (2 letters)

Bradford, Carol (Mrs. Amory H. Bradford), 1951 (1 letter): from Breuer

Brandon-Jones, John, 1958 (1 letter)

Brandstätter, Elsbeth, 1936-1937 (2 letters)

Brassaï, Gyula Halász (Romanian photographer), undated (1 calling card): no signature

Peter Bratti Associates, 1974-1975 (2 letters): from Breuer

Bratti, Peter (A. Tozzini Tile Works, Inc.), 1958 (1 letter)

Braun, Wolfgang, 1968 (1 letter): from Breuer

Braziller, George, 1966 (1 letter)

Bremer, Paul and Nina, 1975 (2 letters)

Breuer, Constance (née Leighton), 1947-1982 (22 letters): from Breuer and Breuer's office; a 1967 letter, 1967, from French filmmaker Gerard Calisti is routed from Robert Osborn; an invitation from M. Knoedler and Company concerns reception for Lina Kandinsky

Breuer, Francesca, undated and 1966-1973 (3 letters): includes a letter of recommendation from Tician Papachristou

Breuer, Hermina, 1950 (1 telegram): from Breuer

Brewer-Cantelmo Company, Inc., 1966 (3 letters): from Breuer's office

Brewer, Joseph, 1965 (1 letter)

Brewster, George W. W., Jr., undated and 1946 (2 letters)

Brey, David M. (architect), 1950 (1 letter)

Breydert, Katherine, 1946 (1 letter)

Brickel/Eppinger, Inc., 1963 (3 letters)

Brigham, Richard C., 1954 (1 letter)

Brion, Maud (secretary to Eric Cercler), 1966-1972 (10 letters)

Brissenden, Norine (Mrs. P. R. Brissenden), 1947 (1 letter)

British Chair Company, 1954 (1 letter): from Breuer's office

Brodovitch, Alexey (Harper's Bazaar), 1954-1961 (16): 13 letters from Breuer's office

Broner, Gisela (wife of Erwin Broner, architect), undated (1 letter)

Brooklyn College Library, 1958 (1 letter)

Brooklyn Museum, 1944 (1 letter)

Brooks, J. H. (Putnam & Company), 1954 (1 letter): from Breuer

Brooks, Kenneth, 1968 (2 letters)

Brown, Elliott, 1951 (4 letters)

Brown, Graham, 1954 (1 letter)

Brown, Helen M., 1958 (1 letter): from Breuer's office

Brown, Jane M. (Mrs. Elliott Brown), 1975 (1 letter): letter is illustrated with drawing of Alexander Calder mobile

Brown, Joseph, 1955 (1 letter): includes transcript of

Brown's lecture at Princeton University

Browne, Robert Bradford (architect), 1968 (1 letter)

Brumwell, Marcus, 1944 (1 letter)

Brun, Jacques D. (architect), 1958 (1 letter)

Bryn Mawr School for Girls, 1981 (1 letter): from Betsy Prioleau

Bryson, Clayton J., 1950 (1 letter)

Budapest Muszaki Egyetem (István Benke), 1970 (1 letter)

W. S. Budworth and Son, Inc., 1963 (1 letter): from Charles H. Sawyer

Builders Publishing Company, 1954 (1 letter): to Rufus Stillman

Building Progress, 1974 (1 letter): from Breuer's office

Bujdosó, Ferenc, 1963 (2 letters)

Bulova, Arthur, 1950 (1 letter): from Breuer's office

Burchard, Charles (architect), 1945-1960 (10 letters)

Burchard, John E., 1967-1971 (2 letters): see American Society of Planners and Architects (ASPA)

Burkland, Howard (Shere Naven Corporation), 1951 (1 letter): from Stamo Papadaki

Burton, Véra, undated (1 letter)

Buyoucos, James V., 1952 (1 letter): from Breuer

Byrd, Dale, 1950-1968 (5 letters)

Cabinet Norbert Guerle, 1953-1954 (10 letters)

Caesar, Harry I. (Leslie Stillman's father, married to sculptor Doris Caesar), 1954-1955 (4 letters): 3 from Breuer's office

Calder, Alexander, 1938-1975 (12 letters): a 1947 letter is illustrated with a map; a 1975 letter contains a typescript about

Calder

Calico Museum of Textiles, India, 1974 (1 letter): from Breuer's office

California Council, AIA, 1960 (5 letters)

California, University of, Berkeley, 1957-1964 (3 letters)

Calisti, Gerard (French filmmaker): see Breuer, Constance

Canaday, John (New York Times), 1959 (1 letter): from Rufus Stillman

Canadian Architect, 1974 (1 letter): from Breuer's office

Canavesi, Schifra, undated and 1935-1957 (8 letters)

Candela, Felix (Cubiertas ALA S.A.) and Dorothy, undated and 1956 (3 letters)

Caplan, Frank (Creative Playthings), 1950 (1 letter)

Cardinal Stritch College, Milwaukee, Wisconsin, 1970 (1 letter)

Cardot, Vera (photographer), 1975 (1 letter): from Breuer's office

Carmel, Moty, 1968 (1 letter): from Breuer

Carpanelli, Franco, 1951 (1 letter)

Carpentier, Jacques H., 1960 (1 letter)

Carré, Louis, 1964 (1 letter and 1 picture postcard): postcard shows map to Maison Carré and house designed by Alvar Aalto

Carreras, Guillermo and Margarita, 1968 (1 letter): from Breuer

Carson, Alice Morgan (Museum of Modern Art), undated and 1943 (3 letters)

Carstensen, William (Carstensen, Inc.), 1954 (1 letter): from Breuer's office

Carter, Edward J. ("Bobby"; librarian, UNESCO): see, Architectural Association, London; see Project File for UNESCO

Carter, Stephen Newhall, 1976 (1 letter)

Cassinello, F. (Instituto Tecnico de la Construcción y de Cemento), 1960 (1 letter)

Catalano, Eduardo Fernando, 1945-1968 (8 letters)

Catan-Rose Institute of Art, 1965 (invitation): to reception at Gracie Mansion

Cavazzuti, Ugo, 1969-1970 (2 letters)

Central Mortgage and Housing Corporation, 1975-1976 (3 letters): from Breuer's office

Central School of Arts and Crafts, London, 1947-1950 (2 letters): includes an invitation to the school's presentation of diplomas by Sir Kenneth Clark

Central State AIA Conference, Omaha, 1976 (1 letter): from Breuer's office

Century Association, 1976 (1 letter)

Century Club, 1974-1976 (3 letters): 2 letters from Breuer's office

Century Lighting Company, 1956 (1 letter): from Breuer's office concerning Torrington, Connecticut factory

Cepero, Carlos Celis (architect), 1965 (1 letter)

Cercle d'études Architecturales, 1953 (1 letter)

Cercler, Eric: see Brion, Maud

Chase Manhattan Bank, 1955-1965 (5 letters): from Breuer's office

Chatfield, Ayla K. (architect), 1975 (2 letters)

Checkman, Louis (photographer), 1955 (1 letter)

Cheever, John, 1967 (1 letter)

Chelsea Association for Planning and Action, 1941 (1 letter)

Cheng, Tzu-tsai, 1968 (1 letter): from Breuer

Chermayeff and Cutting, Architects and Industrial Designers, 1956 (2 letters)

Chermayeff, Ivan, 1957-1975 (2 letters): from Breuer's office; a 1957 letter concerns a 70th birthday greeting for Le Corbusier

Chermayeff, Serge (Erich Mendelsohn & Serge Chermayeff, Architects), 1936-1978 (10 letters)

Cherry, Ned, 1968 (1 letter): from Breuer

Chiang, Helen and Arthur, 1950 (envelope only) and 1970 (1 letter)

Chicago Housing Authority, 1946 (2 letters)

Chien, Alan Shue Shih, 1969 (2 letters)

Children's Recreation Foundation, Inc., 1967 (1 letter): from Breuer's office

Chinoy, Rustam, 1954 (1 letter): from Breuer's office

Churchill, Henry S. (Churchill-Fulmer Associates), 1947 (1 letter): from Breuer

Ciampi, Mario J. (architect), 1968 (1 letter)

Cidor, Ruth, 1971 (1 letter)

Citizens Committee for a Nuclear Test Ban Treaty, 1963 (1 letter): see also Van Doren, Mark

City Club of New York, 1963-1964 (3 letters)

City Club of New York, Albert S. Bard Civic Award Trust Fund, 1968 (6 letters)

Ciudad Universitaria de México, 1952 (1 invitation): to VIII Congreso Panamericano de Arquitectos

Clark, Donald and Dallas (Associated Seed Growers), 1954 (1 letter): see Project File for UNESCO

Clarke, Arundell, 1950 (1 letter)

Clergue, Lucien (photographer), 1966-1967 (5 letters)

Cleveland Museum of Art, 1967 (1 letter): from Breuer's office

Cleveland Trust Company, 1970 (1 letter)

Clyne, Harry, 1947 (1 letter): from Breuer

Cochran, Alexander S. (architect), 1950-1967 (4 letters)

Coderch, J. A. (architect), 1961 (1 greeting card): includes photograph of exhibition

C. Coggeshall Design, 1944 (3 letters)

Cohen, Ken, 1968 (1 letter): from Breuer

Cold Spring Granite Company, 1960-1965 (11 letters): a 1964 letter has a design for a candle holder

Cole, Howard I. (Rutgers University), 1957 (1 letter): from Breuer

Coleman, Albert, 1945 (1 letter)

Colen, Eszter and Bruce, 1963 (2 letters)

Colorado, University of, Boulder, Student Chapter of AIA, 1958 (1 letter)

Columbia Broadcasting System (CBS), 1975 (1 letter): from Breuer's office

Columbia University, 1964-1977 (6 letters): see Project File for UNESCO

Comité Français de l'American Field Service, 1956 (1 letter)

Comité Organizador de Los Juegos de la XIX Olimpiada, 1968 (4 letters)

Commission on Community Interrelations (CCI) of the American-Jewish Congress, 1945 (8 letters)

Compagnie Française de Transports Internationaux, 1954 (1 letter)

Compton, W. Danforth, 1950 (1 letter)

Concha, Gonzales, 1952 (1 letter): from Breuer

Concrete Industry Board, Inc., 1969 (2 letters)

Condé Nast Publications, Inc., 1955 (1 letter)

Congrès Internationaux d'Architecture Moderne (CIAM),

Chapter for Relief and Post-War Planning, 1944-1956 (27 letters)

Congrès Internationaux d'Architecture Moderne, Mars Group (British branch of CIAM), 1946-1947 (5 letters)

Conklin, George W. (architect), 1956 (2 letters)

Connecticut Chapter of AIA, 1963 (2 letters)

Connecticut Public School Building Commission, 1951 (1 letter): from Breuer

Connecticut Society of Architects (Norman L. Raymond), 1963 (1 letter)

Contemporary Arts Association, 1952 (2 letters)

Contemporary Arts Center, 1965 (3 letters): concerning Josef Albers exhibition

Contemporary Authors, 1963 (1 letter)

Contini, Paolo and Jeanne, 1968 (1 letter)

Contreras, Carlos (XVI Congreso Internacional de Planificacion y de la Habitación, México), 1938 (2 letters)

Conway, Harvi, 1968 (1 letter): from Breuer

Cooke, Maymay (Mrs. Francis Cooke), 1947 (1 letter)

Coolidge, Frederic S. and Anne, 1947 (1 letter)

Cooper-Hewitt Museum of Design, 1975 (2 letters): from Breuer

Cooper Union, 1958 (2 letters)

Cooper, Wyatt Emory, undated (1 letter): mentions Eugene J. McCarthy

Corcoran, Kostelanetz, Gladstone & Lowell, 1959 (1 letter)

Cordos, Stephan, undated (1 letter)

Corkran, D. C. (Charles F. Orvis Company), 1944 (5 letters)

Cornigliano S.p.A. ("Società per Azioni"; limited company which installs exhibitions), 1958 (3 letters)

Corson, Richard A., 1950 (1 letter)

Coulson, Anthony J., 1975 (1 letter): from Breuer

County Roofing Company, 1957 (1 letter)

Crampton, Nancy (photographer), 1975 (1 letter)

Creighton, Thomas H., 1950 (1 letter): written with Katherine Morrow Ford

Crohn, Norma and Richard, 1968 (1 letter)

Croll, Jean, 1939 (1 letter)

Cromley, Don, 1968 (1 letter): from Breuer

Crotin, 1934-1935 (5 letters)

Crowther, J. G. (author) and Fransiska, 1936 (2 letters)

Csernyei, Zsuszi, 1939 (1 letter)

Cuevas de Vera, Adela ("Tota"), 1933-1934 (7 letters)

Cunningham, Allen, 1957 (1 letter)

Currie, Leonard (architect), undated and 1944-1978 (29 letters): see Architectural Forum

F. B. Curry Company (Frank B. Curry), 1945 (3 letters)

Cushing, Tom, 1937 (3 letters)

Cutler Farm (Lily C. Johanson), 1951 (1 letter)

Cutler, Robert W., 1968 (1 letter)

Czike, Dr. Gyuláné, 1957 (3 letters)

Dach, Joseph, 1944 (1 letter)

Daidone, Anthony J., 1958 (1 letter)

Damora, Robert (photographer), 1955-1967 (3 letters)

D'Andrea Brothers, Inc., 1957 (1 letter)

Bernard Danenberg Galleries, 1974-1975 (3 letters): from Breuer

Danielsson, Lars (Swedish architect), 1956 (3 letters)

D'Arcy, Frank (architect), 1957 (1 letter)

Dauber, Deanna L., 1975 (2 letters)

Daurel, Paul (architect), 1970 (1 letter)

Davenport, Keith H., 1946 (1 letter)

Daves, L. Joan, 1951 (1 letter)

Davis, Arthur, 1946 (1 letter): from Breuer

Davis, Brody, Chermayeff, Geismar, deHarak, Associates, 1969 (2 letters)

Davis, Columbus, 1946 (1 letter)

Davis, Paul (photographer), 1955 (1 letter): from Breuer

de Bever, Leo J., 1958-1960 (2 letters)

de Bodard, Connie, 1956 (1 letter)

De Carli, Carlo (Politecnico Milano), 1968 (1 letter)

Decima Triennale di Milano, 1954 (1 letter)

Decker, H. Carlton (architect), 1968 (1 letter): concerns Interama

DeCoene, Pierre, 1966-1968 (2 letters)

Dedet, Dr. Jacques (and Mme. Georges Cexier, Mme. Pierre

Dedet, Mme. André Laurenti), undated (1 letter)

De Hausner, Mrs. Djin Lilli S., undated and 1935-1936 (11 letters)

Deimel, Klöckner, Koebel, 1959 (1 letter)

Del Buttero Enzo (Vetro Italiano di Sicurezza [VIS], Milan), 1959 (1 letter)

De Leu Dulles, Mrs. J., undated (1 letter)

Delft Student Debating Society "Vrije Studie," 1957-1958 (6 letters)

DeMars, Vernon (DeMars and Wells), 1967 (1 letter)

Democratic National Committee, 1960 (1 letter)

De Rivera, José, 1946 (1 letter)

Derome, Leon, 1953 (1 letter)

Deschamps, Julio, 1950 (1 letter): includes 4 photographs of a house under construction

design magazine, 1975 (1 letter): from Breuer's office

Design Quarterly, 1976 (1 letter): from Breuer's office

Design Research, 1965 (2 letters)

de Spirlet, André (Cie. Belge de Chemins de Fer et d'Enterprises), 1963 (1 letter)

Dévényi, Iván, undated (1 letter)

De Vries & Company, 1953 (1 letter)

de Waldner, C. (IBM, France), 1970 (1 letter)

Dewey [Thomas E. Dewey], Ballantine, Bushby, Palmer & Wood, 1955-1969 (5 letters)

de Zwart, J., 1957 (1 letter): from Breuer

d'Harnoncourt, René, 1950-1951 (3 letters): see Project File for UNESCO

Diamant-Berger, Renée, 1954 (2 letters): from Evelyn Rocourt

Dicke, Hendrik Adolph (civil engineer), 1976 (1 death announcement)

Dickey, Thomas A., 1954 (1 letter)

Eugene Dietzgen Company, 1956 (1 letter): from Breuer's office

Dodd, Betty, undated (1 letter)

Dodd, Mead & Company (Edward Dodd), 1949-1960 (33 letters)

Doerr, Harold J. (interior decorating), 1975 (1 letter)

Doherty, Neil (photographer), 1974 (1 letter): from Breuer's office

Domela, Cesar (Dutch artist who worked at the Bauhaus), 1961 (2 letters)

Dominick & Dominick, 1936 (1 letter)

Domus magazine, 1947 (1 letter)

Dorner, Alexander (Brown University), 1947 (1 letter)

Drabkin, Murray (Kaler, Worsley, Daniel & Hollman), 1970-1978 (10 letters)

Dreier, Theodore and Barbara, 1956 (1 letter)

Drew, Jane B. (Fry, Drew, Drake & Lasdun), 1958 (1 letter)

Dreyer-Dufer, B., 1953 (1 letter)

Duane, Duane & Cahill, Architects (Franklin J. Duane), 1969 (1 letter)

Fred S. Dubin Associates, 1954-1958 (12 letters): 9 letters from Breuer's office

Dubsky, Caroline (Svoboda & Company), 1968 (1 letter)

Dufau, Pierre, 1963 (2 letters): from Breuer

Duhart, Emile and Raquel, undated (1 illustrated Christmas card)

Dunkel, E., 1934 (1 letter)

Dunn, Frederick, 1955 (1 letter): from Marvin Halverson concerning Commission on Architecture meeting

Dunning, James O., 1969 (1 letter)

DuPont, Henry B., 1958 (1 letter): from Rufus Stillman

Eastern Schokbeton Corporation, 1969 (1 letter)

Edwards, David J. (Georgia Institute of Technology), 1951-1968 (2 letters): see Project File for UNESCO

Egender, Karl, 1947 (1 letter)

Eggington, Geoff, 1968 (1 letter): from Breuer

Eken, Andrew J. (Starrett Brothers and Eken, Inc.), 1952 (1 letter): from Sherley W. Morgan, Princeton University; see Project File for UNESCO

Eldredge, Joseph L., 1948 (1 letter)

Electric Arts Intermix, Inc., 1974 (1 letter): from Breuer's office

Elkington, Robert (architect), 1968 (1 letter)

Elliott, Edward Proctor, 1945 (calling card)

Ellis, W. A., 1936 (1 letter)

Ellwood, Craig, 1966 (1 letter)

Elsbree, E., 1947 (1 letter)

Elsner, Werner, 1968 (1 letter)

Elte, Hans (School of Architecture, University of Toronto), 1950 (2 letters)

Elzas, A. (architect) and Hermine, 1956-1978 (18 letters)

Embru-Werken, 1950 (2 letters)

Emery, P., 1947 (1 letter)

Emslie, Murray Sims, 1954-1964 (20 letters): see Project File for UNESCO

Encyclopaedia Britannica, 1951-1964 (3 letters)

Engel de Janosi, Karl, 1950 (1 letter)

English-Speaking Union, 1951 (1 invitation): to reception in honor of Gerald Barry

Entenza, John D. (Graham Foundation for Advanced Studies in the Fine Arts), 1968 (1 letter)

Epler, Robert E., 1966 (1 letter)

Escoffier, Pierre, 1963 (1 letter)

Escrito Trading Post, New Mexico, 1950 (1 letter): from Breuer's office

European Investment Bank, Luxembourg, 1974-1978 (5 letters): 3 letters from Breuer

Evans, T. Randall (Yorke Rosenberg Mardall, Architects), undated and 1947-1965 (3 letters)

Eyquem, Danielle, 1956 (3 letters)

Fairweather, W. Ross, 1958 (1 letter)

Farkas, Nicholas (Farkas & Barron, consulting engineers), 1955-1969 (3 letters)

Farnsworth, S. W. (Torrington Manufacturing Company), 1956 (1 letter)

Farris, Mary E. (Breuer's secretary), 1964-1968 (13 letters)

Faudon, M. J. (European Investment Bank, Luxembourg), 1974-1975 (4 letters): from Breuer

Fédération Internationale du Film d'Art (FIFA), 1956 (1 letter)

Fehér, Nicolaus, 1966-1967 (4 letters)

Fejér, George (Selection Engineering Company, Ltd.), 1946-1947 (2 letters)

Ferguson, E. S., 1946 (1 letter)

Ferry, W. Hawkins, 1963 (1 letter)

Ficks Reed Furniture Company, 1951 (1 letter)

Fifth Avenue Association, Inc., 1968 (2 letters)

Finger, Sally L. (Mrs. W. L. Finger), 1950 (2 letters)

Finn, Herman L. (Abbe & Finn), 1960 (1 letter): from Breuer

Finn, Michael (from Breuer's office), 1972 (3 letters)

Finsler, Hans (photographer), 1936-1937 (3 letters)

Fintel, Nat, 1976 (1 letter)

Fiocchi, Annibale (architect), 1955 (1 letter)

Firma l.u.c. arnold, 1934 (1 letter)

Firmage, Margaret ("Peg"; Mrs. Charles Firmage; Breuer's secretary), 1947-1964 (48 letters)

First Hanover Corporation, 1967 (1 letter)

Fischer, Edward L., 1943 (1 letter)

Fischer, Eta, 1956 (1 letter): from Breuer

Fischer, John, 1956-1957 (2 letters): from Breuer's office

Fischer, Joseph (Hungarian architect), undated and 1923-1966 (17 letters)

Fischer, Margrit (Mrs. Edward L.; sculptor at Bauhaus), undated and 1934-1950 (5 letters)

Fitzgibbons, Frank, 1968 (1 letter): from Breuer

Fitzhugh, Greene, 1946 (1 letter)

Fjödl, Fjeinrich, 1964 (1 letter)

Flansburgh, Earl F. (Earl F. Flansburgh and Associates), 1976 (1 letter): from Robert F. Gatje

Fletcher, Jean Bodman (architect), 1947 (1 letter)

Flick, Miriam Hilliard (formerly Miriam Flick White), 1950 (1 letter)

Flos, Merano, 1963 (1 letter)

Földes, Dr. István ("Pista"), 1933-1934 (7 letters)

Foote, Elliott and Caroline, 1960-1967 (4 letters)

Forbàt, Alfréd ("Fred"; Hungarian architect), 1938 (2 letters): see Congrès, Les Congrès Internationaux d'Architecture Moderne (CIAM)

Forberg, Kurt, 1975 (1 letter)

Forbes, E. W., undated (1 letter)

Forbes, Marla, 1939 (1 letter)

Forbes, R. E. and Pauline, undated (1 letter)

Ford, Katherine Morrow (Mrs. James Ford), 1950-1951 (2 letters): 1950 letter written with Thomas H. Creighton

Fornells-Pla, Francisco, 1969 (1 letter)

Forrest, Robert E. (Princeton University), 1952 (2 letters)

Forum of Contemporary Arts, 1958 (1 letter)

Foundation for the Arts and Humanities, 1967 (1 letter)

Foundation for the Arts, Religion and Culture, 1963-1965 (4 letters)

Fox, John P. (Murray Hill Assn., Inc.), 1949-1957 (2 letters)

Foyle, Christina, 1947 (1 letter)

France: French Embassy, Washington, D.C. (François De Laboulaye, ambassador), 1978 (1 invitation): to presentation of Médaille d'Or to Breuer

Frank, Oswald, 1947 (1 letter)

Frank, Mrs. Robert J., 1940 (1 letter)

Frantz, Al (Edward Gottlieb & Associates), 1958 (2 letters)

Franzen, Ulrich ("Rickey"; architect), 1956-1968 (2 letters)

Fratelli Salvadori, 1964 (1 letter)

Frazer, Peter M., 1950 (1 letter)

Freck, Byron, 1945 (1 letter)

Freeman, Elizabeth E. (Wellfleet Real Estate), 1947 (1 letter)

Freeth, Evelyn (Royal West of England Academy), 1958 (2 letters)

Frey, Emil (Motorfahrzeuge), 1956 (1 letter): from Breuer

Friedman, B. H. (Bob), 1970 (1 letter)

Friedrich, Clara, 1935 (1 letter)

Frost, Frederick G. (Frederick G. Frost Jr. & Associates, Architects), 1960 (1 letter)

Frost, Henry A. (Harvard University), 1947 (2 letters)

Fry, Louis Edwin (architect), 1945-1946 (3 letters)

Fry, Lynn W. (University of Michigan, Ann Arbor), 1951 (1 letter): see Project File for UNESCO

Fry, Maxwell, 1950 (1 letter): from Breuer

Fuenmayor, Ernesto (Centro Profesional del Este), 1960 (3 letters)

Fulde, Philip, 1965 (1 telegram): from Breuer

Fürbeth, Albrecht, 1974 (1 letter)

Gabetti, Gianluigi, 1969 (1 letter): from Breuer

Gabo, Naum, 1938 (2 letters)

Gábor, László ("Laci"; graphic designer for Kaufmann), undated and 1938 (3 letters)

Gagarin, Andrew (Torrington Manufacturing Company) and Jamie, 1953-1975 (15 letters)

Galhidy, László, undated and 1960-1963 (4 letters)

Gambaro, E. James (architect), 1968 (1 letter)

Gane, Crofton Endres, undated and 1945-1967 (25 letters)

Gantschi, Edith, 1934 (1 letter)

Gardella, Ignazio, 1950 (1 letter): from Breuer

Gardner-Medwin, R. J. (Liverpool School of Architecture), 1957-1959 (5 letters): see also Selwood, Christopher

Gargas, Klára, 1970 (3 letters)

Gastón, Miguel (Gastón y Dominguez, S.A.), 1950-1967 (6 letters): 1951 letter contains 2 floor plans and 7 photographs of Gastón's house

Gatje Papachristou & Smith, 1984-1985 (3 letters)

Gatje, Robert Frederick, undated and 1954-1982 (45 letters): see Project File for UNESCO

Gautschi, Dr. Georg, 1936 (1 letter)

Gavina, Dino (furniture manufacturer), 1962-1976 (111 letters)

Geberta, Victor F., undated (1 letter)

Geisler, Howard, 1968 (1 letter): from Breuer

Gelb, Mr., 1963 (1 letter): from Breuer's office

Gelland, Carolyn (Breuer's secretary), 1972-1974 (8 letters)

Geller, Bert and Phyllis, 1963-1968 (2 letters)

General Electric Appliances, Inc., 1947 (1 letter)

General Electric Company, 1943-1950 (6 letters)

General Fireproofing Company, 1943-1946 (4 letters)

Georges, Alexandre (photographer), 1974-1976 (2 letters): from Breuer's office

Geraghty, Margaret, 1960 (1 letter): from Breuer's office

Gerbman, Joyce, 1968 (1 letter): from Breuer

Giedion-Welcker, Sigfried and Carola, undated and 1932-1976 (62 letters): see Congrès Internationaux d'Architecture Moderne (CIAM; Chapter for Relief and Post-War Planning)

Girsberger, H., 1976 (1 letter): from Breuer

Glazier, Helen, 1946 (1 letter)

Gogolák, Ludwig, 1958 (1 letter)

Goldinger, Harry, 1946 (1 letter)

Goldings, Morris M. (Mahoney, McGrath, Atwood, Piper & Goldings), 1970 (1 letter)

Goldman, Paul (Plymold Corporation), 1945 (2 letters): from Breuer

Goldman Sokolow Copeland, 1984-1985 (3 letters)

Gömöri, Herman Iván, 1956-1957 (2 letters)

Goodman, Mrs. Alvin Malcolm, 1967 (1 letter): from Breuer

Goodman, Charles, 1946 (1 letter): from Breuer

Goodman, Percival, 1968 (1 letter)

B. F. Goodrich Company, 1965 (1 letter)

Goodwin, Philip L. (architect), 1947-1955 (3 letters): see Project File for UNESCO

Gores, Landis, 1947-1951 (2 letters): from Breuer

Gorlich Editore, 1957 (1 letter): from Breuer's office

Gorn, Samuel G. (Gorn Brothers, Inc.), 1956 (1 letter)

Gottscho-Schleisner (photographer), 1955-1956 (2 letters): from Breuer

Goudsmit, Alfred and Gertie, 1963-1970 (2 letters)

Gould, Eleanor J. (Mrs. J. Howard Gould), 1966 (1 letter)

Graber, Rudolf (Wohnbedarf furniture store), undated and 1938-1969 (21 letters): see Project File for UNESCO

Gramling, Hdikó, 1975 (1 letter)

Grand Coulee Dam Project, 1974-1975 (2 letters): from Breuer; see United States Department of the Interior, Bureau of Reclamation

Grant, Barbara, 1968 (1 letter): from Breuer

Grayboff, Ira, 1955 (2 letters)

Green, Lynda, 1968 (1 letter): from Breuer

Grefe, Richard (McDonald & Smart, Inc.), 1976 (1 letter): from Breuer

Grieco, Vito (Grieco Bros., Inc.), 1958-1959 (3 letters)

Griffis, Nixon (Hemphill, Noyes & Company), 1946 (1 letter)

Griffith, J. Neal, undated (1 letter)

Grimball, Henry G. (Harvard University), 1950 (1 letter)

Gropius, Walter ("Pius") and Ise ("Pia"), undated and 1933-1969 (120 letters): see Harvard University, Graduate School of Design; Project File for UNESCO

Grosse Pointe Public Library, 1960 (1 letter)

Grossi, Olindo (Architectural League of New York), 1957 (4 letters): see Pratt Institute; see Project File for UNESCO

Grosswirth, M. (New York University, College of Engineering), 1958 (1 letter)

Gröte, Dr. Andreas and Laura, 1961-1967 (3 letters)

Gröte, Ludwig and Gertrud Maud, 1956-1967 (5 letters)

Groupe Espace, 1952-1954 (5 letters)

Gruber, Gerd, 1965-1967 (2 letters)

Gruber, Richard D. (Independent Oil Company of Connecticut, Inc.), 1970 (1 letter)

Gruzen, Barney Sumner, 1956 (1 letter): from Breuer

Gstrein, Kassian, 1936 (1 letter)

Guenther, Carl Frederic, 1958 (1 letter)

Guerrero, Pedro E. (photographer), 1955 (1 letter): from Breuer

Solomon R. Guggenheim Museum, 1964 (1 letter): concerns the loan from Breuer of an Alexander Calder work

Guilford Leather Company, 1950 (1 letter): from Breuer

Gumbel, Robert W., 1950 (1 letter)

Gutheim, Polly (Mrs. Frederick A. Gutheim), 1946 (1 letter)

Haas, Robert (Ram Press), 1954-1957 (8 letters): from Breuer's office

Hächler, W. (architect), 1956 (1 letter): from Breuer

Hack, Lynda, 1968 (1 letter): from Breuer

Hackett, Gabriel D. (photographer), 1963 (1 letter)

Hackley Art Museum, 1977 (3 letters)

Hagenbach, Marguerite: see Arp, Hans Jean

Hagerty, Francis (Hagerty Company), 1945 (2 letters)

Hagerty, John, 1958 (1 letter)

Haggerty, Brian (Sacred Heart Seminary), 1964 (1 letter)

Hagmann, John S. (and Robert A. M. Stern), undated (1 letter)

Hagood, M. Lindsey (Virginia Polytechnic Institute, Architectural Speakers Committee), 1952 (3 letters)

Hahn, Alexander, 1957-1958 (2 letters)

Halász, Dezso (International Union of Local Authorities), 1957-1959 (3 letters)

Halász, Ferenc, 1959 (2 letters)

Halborg, Rev. John E. (Evangelical Lutheran Church of the Advent), 1968 (1 letter)

Hall, John Hughes (Nardin & Radoczy), 1956-1957 (2 letters)

Halprin, Lawrence, 1966-1970 (2 letters)

Halverson, Marvin (National Council of the Churches of Christ in the USA), 1955-1956 (4 letters)

Halvorson, Roy E., 1956-1971 (4 letters)

Hambuechen, Dr. Eva-Dorothee, 1937 (1 letter)

Hamer, R. D. (Aluminium Laboratories Ltd.), 1946 (1 letter)

Hammett, Ralph W., 1975 (1 letter): from Breuer's office

Hancy, L., 1975 (1 letter): from Breuer's office

Hansen, Thomas L. (University of Colorado, Boulder), 1956 (1 letter)

Hanson, B. (Mrs. John Hanson), 1955-1967 (3 letters)

Haraszty, Eszter, undated and 1956 (2 letters)

Harbert, Guido, 1950 (1 letter)

Hardoy, Jorge Ferrari (architect), 1965 (1 letter)

Hardy, Holzmann, Pfeiffer (Christine Donovan), 1974 (1 letter): from Breuer's office

Harkness, Elaine, 1960 (2 letters)

Harnischmacher, Paul and Marianne, undated and 1933-1964 (41 letters)

Harper's Bazaar, 1954-1955 (4 letters)

Harris, James L., 1946 (1 letter)

Harris, S. I. (Keasbey & Mattison Company), 1956 (1 letter)

Harrison, Wallace K. (architect) and Ellen, 1937-1956 (3 letters)

Hars, Anthony, 1964 (1 letter)

Hartgen, Vincent A. (University of Maine, Orono), 1956-1957 (4 letters)

Hartung, Herrn Dipl. Eng. (Staatshochbauamt Dusseldorf), 1976 (1 letter): from Breuer

Harvard Club of New Canaan, Connecticut, 1951 (1 letter)

Harvard Club of New York City, 1946-1950 (6 letters)

Harvard University, Carpenter Center for the Visual Arts, 1966-1970 (10 letters)

Harvard University, Graduate School of Design, 1938-1953 (49 letters)

Harvard University Society of Fellows, 1967-1970 (5 letters)

Harvard-Yenching Library, 1954 (1 letter)

Haskell, Douglas (architect; Architectural Forum), 1958 (1 letter)

Hassenpflug, Gustav (architect), undated and 1933-1955 (20 letters)

Hatje, Gerd (Verlag Gerd Hatje GMBH), 1955-1964 (111 letters): see Kaspar, Karl

Hauf, Harold D. (Edwards Street Laboratory, Yale University) and Dorothy, 1951-1954 (3 letters): see Project File for UNESCO

Haughwout, John L., 1950 (1 letter)

Havinden, Ashley, 1969 (2 letters)

Hayes, Mrs. Alfred Hayes, undated (2 letters)

Hayes, Bartlett H. (Addison Gallery of American Art), 1955 (2 letters)

Hayes, Peggy, 1963 (1 letter)

Hayes, Thom, 1968 (1 letter): from Breuer

Hayoz, Marcel, 1957 (2 letters)

Headquarters First Service Command, 1945 (1 letter)

Healy, Estelle, undated (1 letter)

Hebert, Elmer T., 1951-1974 (3 letters): from Breuer

Heckscher, August, undated and 1962-1970

Hedrich, E. (Hedrich-Blessing Photographers), 1967-1975 (2 letters)

Heinz, H. J. and Drue Maher, undated and 1954 (3 letters)

Heiser, Bruce, 1950 (1 invitation): for luncheon honoring Heiser

Helsel, Marjorie (M. Helsel Interiors), 1966 (1 letter)

Helseth, Glenn, undated (1 letter)

Henderson, Priscilla A. B., 1954 (1 letter)

Hendry, Charles E. ("Chick"; University of Tornoto), 1950 (2 letters): see Commission on Community Interrelations (CCI) of the American Jewish Congress

Henin, Mme. S., 1956 (2 letters)

Henze, Wilfried, 1964 (1 letter)

Herbe, Paul (architect), 1963 (1 letter)

Herford, Julius G., 1945 (1 letter)

Herman, Harold M., undated (1 letter)

Hermanson, Ray T. (Trynor & Hermanson, Architects), 1957 (1 letter)

Herrera, Alberto Rodriguez (El Recreo, Centro Profesional del Este), 1960 (1 letter): from Breuer's office

Herrey, Hermann (architect), 1946-1947 (3 letters)

Herter, Susan and Chris, undated (1 letter)

Hertner, W. (architect), 1939 (1 letter)

Hertzell, Tage (Meningsblad for Unge Arkitekter), 1956 (1 letter)

Hervé, Lucien, 1960 (4 letters): see Project File for UNESCO

Herz, Alexandra, 1965-1967 (2 letters)

Hess, Orvan W., 1976 (1 letter)

Hester, James M. (New York University, Washington Square), 1963-1970 (2 letters)

Hetényi, George, 1954 (1 letter)

Heyer, Paul O., 1965-1970 (11 letters)

Heyman, Marla, undated (1 letter)

Heywood-Wakefield Company (Mr. Greenwood, Mr. Paul Posser), 1944 (6 letters)

Higgins, Ambrose S. (architect), 1947 (1 letter)

Hill, Albert Henry, 1950-1951 (2 letters)

Hill and Knowlton, Inc., 1974 (1 letter): from Breuer's office

Hill, Henry and Heather, 1950-1964 (7 letters): see Project File for UNESCO

Hirschfeld, Ludwig, undated and 1935-1963 (18 letters)

Hirshhorn Museum and Sculpture Garden, 1975 (2 letters): from Breuer

Hitchcock, Henry-Russell, Jr., 1937-1938 (4 letters)

Hobart Manufacturing Company (KitchenAid Home Dishwasher Division), 1950 (1 letter): from Breuer's office

Hockaday Associates, Inc., 1954 (2 letters)

Hödl, Heinrich, 1964 (1 letter)

Hoffman, Mildred, 1966 (1 letter)

Hoffman, Tom, 1968 (1 letter): from Breuer

Hoffmann, Alfred, 1938 (1 letter)

Hofmann, Hans (from Weimar), 1947 (1 letter)

Julius Hoffmann Verlag Stuttgart, 1955-1961 (2 letters): see Project File for UNESCO

Hoffmeyer, Ted (Marcel Breuer and Associates field office), 1963-1970 (3 letters)

Hogan, P. A., 1975 (1 letter): from Breuer's office

Holden, Thomas S. (F. W. Dodge Corporation), 1954-1958 (3 letters)

Holland Shade Company, 1950 (1 letter): from Breuer's office

Holzmann, Philipp, 1975-1977 (2 letters)

Hooper, Edith Ferry, undated and 1963 (2 letters)

Hooper, Elizabeth, 1969 (1 letter)

Hooykaas, J. A. (Nederlandse Natuursteen Importeurs), 1957 (1 letter)

Hopfe, Charles T. (Hop-Mac, Inc.), 1974 (1 letter): from Breuer's office

Horizon, 1970 (1 letter)

Hosei University, 1954 (1 letter)

House & Garden -- , 1970 (1 letter)

House and Home magazine, 1954 (1 letter)

Housing and Urban Development (HUD), Department of, 1968 (1 invitation): to dedication

Houston, University of, Architectural Society, 1953-1955 (4 letters)

Edward F. Howard Company, 1956 (1 letter)

Howard, Herbert Seymour, 1946 (1 letter)

Howe, George (Yale University), 1951 (1 letter): from Breuer

Howland, Mrs. John, 1957 (1 letter): from Breuer's office

Hsin-Yieh Architects & Associates, undated (1 letter)

Hu, Kuang-Yu, 1947 (1 letter): from Breuer

Huber, Karl, 1950 (1 letter): from Breuer

Hudnut, Joseph ("Vi"; Harvard University) and Claire, undated and 1946-1947 (3 letters): see American Society of Planners and Architects (ASPA); Congrès Internationaux d'Architecture Moderne (CIAM), Chapter for Relief and Post-War Planning; Harvard University, Graduate School of Design

Hug, Hattula Moholy-Nagy (daughter of László Moholy-Nagy), 1976 (1 letter)

Hughes, Ella C., 1937 (1 letter)

Hughes, Jennifer, 1964 (2 letters)

Hughes, K. E., undated (1 letter)

Hultberg, Hilary (Rudi Blesh's daughter ?), 1957 (3 letters)

Hungarian Alumni Association, undated (1 letter): includes a hand-drawn map, 8 photographs of Hungarian cityscapes, 4 photographs of city views, and a drawing of the facade of a building

Hunter, Louise, 1947 (1 letter)

Hurley, Jane C., 1947 (1 letter): from Breuer

Hurwitz, Joe, 1968 (1 letter): from Breuer

Hutchhausen, Walther, 1937 (1 letter)

Hutchins, John Jay (Law Offices of S. G. Archibald), 1963-1969 (14 letters): see Project File for UNESCO

Hutton: E. F. Hutton Company, 1946-1951 (7 letters)

Huygens, W., 1957 (1 letter)

Ichban [?], Hans ("Zero"), undated and 1939 (2 letters)

Ikuta, Tsutomu, 1951 (1 letter)

Illinois, University of, Chapter of AIA, 1959 (2 letters)

Illinois, University of, Urbana, 1957-1964 (4 letters)

Ilmanen, J. William, 1955-1956 (2 letters)

Immanuel, M., 1946 (2 letters)

India, ambassador from, 1965 (1 invitation): to Nehru

N.V. Induventa, 1935 (1 letter)

Ingrand, Max, undated (2 letters)

Institute der Schwestern, Baldegg, Switzerland, 1970-1975 (5 letters): 4 from Breuer

Institute for Advanced Study, Princeton University, 1970 (1 letter)

Institute of Contemporary Art, 1954-1956 (3 letters): see Project File for UNESCO

Institute of Contemporary Art, Department of Design in Industry, 1951 (3 notices of meetings)

Institute of Design, Illinois Institute of Technology, 1953-1959 (6 letters)

Institute of International Education, 1960-1961 (4 letters)

Instituto Internazionale di Arte Liturgica, 1970 (1 letter)

Interiors Incorporated, 1975 (1 letter): from Breuer

Interiors International, 1963 (4 letters)

Interiors magazine, 1950 (1 letter)

International Bank for Reconstruction and Development, 1975 (1 letter): from Breuer

International Business Machines Corporation (IBM), 1963-1974 (4 letters): 2 from Breuer

International Business Machines (IBM) Deutschland, 1970 (1 letter)

International Congress for Engineering Education, 1947 (2 letters)

International Congress for Modern Architecture: see Congrès Internationaux d'Architecture Moderne (CIAM)

International Contract Furnishings, Inc., 1975 (1 letter): from Breuer

International Design Conference, Aspen, Colorado, 1953-1955 (4 letters)

International Lighting Review, 1961 (1 letter)

International Rescue Committee, Inc., undated (1 letter)

Iowa State College, 1960 (1 letter): see Myers, John S.

Iran, empress of, 1975 (1 letter): from Breuer

Irving & Casson/A. H. Davenport Company, 1945 (1 letter): see Commission on Community Interrelations (CCI)

Irving, Michael H. (Irving and Jacob), undated and 1968-1971 (4 letters)

Isokon (Lawn Road) Limited, 1936-1966 (2 letters)

Istituto Italiano di Cultura, 1967 (1 letter)

Jackson, Huson (Plan-Tech Associates), 1945-1958 (3 letters)

Jacobs, Robert Allan (Kahn & Jacobs), 1958 (2 letters)

Jacobson, Egbert (Container Corporation of America), 1950 (1 letter)

Janis Gallery (Sidney Janis), 1955-1970 (2 letters): concerning Josef Albers exhibition

Japan Architect Company, Ltd., 1977 (2 letters)

Japan House Gallery, 1975 (1 letter): from Breuer

Japan Society, Inc., 1964-1975 (3 letters)

Jaredat, Nizar and Ellen, 1946-1958 (4 letters)

Jaritz, András, 1934 (1 letter)

Jarrell, Katherine O., 1960 (2 letters)

Jefferson Foundation Medal in Architecture, 1968 (1 letter)

G. A. Jellicoe & Partners, Architects, undated (1 letter)

Georg Jensen, Inc., 1946-1947 (4 letters)

Jewish Community Center of Cleveland, 1965 (3 letters)

Jobco Incorporated, 1980 (1 letter): from Herbert Beckhard

Johansen, John MacL.("Jo") and Mary Ellen, undated and 1947-1970 (7 letters)

Johns Hopkins University, 1981 (2 letters)

Johnson, Dan Rhodes, 1965 (1 letter)

Johnson, Frances, 1950-1951 (2 letters): from Breuer

Johnson, Lyndon Baines, 1965 (1 invitation): to presidential inauguration

Johnson, Marian Willard: see Willard, Marian G.

Johnson, Philip (architect), 1945-1948 (10 letters): 4 letters from Breuer: see Project File for UNESCO

Johnson, Reid B., 1964 (1 letter)

Johnstone, William (Colorado Springs Fine Arts Center), 1949 (1 letter)

Joly, Pierre (photographer), 1975 (1 letter): from Breuer's office

Jomain, Pierre, 1960 (1 letter)

Jones, Adolph (U.S. Embassy, The Hague), 1956 (1 letter): from Breuer

Jones, Cranston and Jean, 1958-1966 (10 letters)

Jones, Cyrus C., 1945 (1 letter): from Breuer

Jones, Douglas (University of Bristol, U.K.), 1967 (1 letter)

Jones, Noel W. (district engineer, OCS), 1968 (1 letter)

Jones, Paul K. (mayor of Shaker Heights, Ohio), 1970 (1 letter)

Jones, Theodore S. (Institute of Contemporary Art), 1950-1951 (2 letters)

Joraschek, Josef (architect), 1965 (1 letter)

Jordi, Beat, 1970-1976 (13 letters): 12 from Breuer

Jordy, William H. (Yale University), 1951 (2 letters)

Jossa, Mario, 1966-1976 (37 letters): 28 from Breuer

Joyce, Nora, 1934 (1 letter)

Junyer, Joan [?]1961 (1 letter)

Kacmarcik, Frank, 1968 (1 letter): from Breuer

Kaffka, Péter (C. E. Pratt & Péter Kaffka, Architects), 1950 (1 letter)

Kahlen, Wolfgang, 1965 (1 letter)

Kahn, Hugo, 1968 (1 letter)

Kahn, Louis I. (Oscar Stonorov and Louis I. Kahn Associated Architects), 1945-1966 (5 letters): see American Society of Planners and Architects (ASPA)

Kalmai, K., 1924 (1 letter)

Kálmán, Timon, 1967 (2 letters)

Kalnay, Ferenc, 1938 (1 letter)

Kamer, Henri A. (Kamer, Inc.), 1964-1966 (2 letters)

Kamphoefner, Henry L. (School of Design, North Carolina State College), 1951-1954 (6 letters)

Kandinsky, Lina, 1969-1976 (mentioned in 2 letters from Constance Breuer)

Kane, Ervin (Viewtone Television), 1946 (2 letters)

Kaneko, Masanori (Kagawa Prefectural Government, Japan), 1970 (1 letter)

Kann, Henry Robert, 1951 (1 letter)

Karajabey, Ayla, 1966 (telegram from Breuer)

Karlock, Michael (Benton & Bowles), 1946 (1 letter): from Breuer

Karsten, Thomas and Marilyn (American Trading Company), 1963-1975 (8 letters)

Kaspar, Karl (Verlag Gerd Hatje GMBH), 1955 (2 letters)

Kass, Gertrud [?], 1939 (1 letter)

Katsuyama, S., undated (1 letter)

Kaufman, Stanley Lloyd, 1950 (1 letter): see Project File for UNESCO

Kaufmann, Edgar J. (Kaufmann Department Store), 1954-1963 (2 letters)

Kazi, Abdul-Rassak, 1966 (2 letters)

Kazin, Alfred, 1971 (1 letter)

W. R. Keating & Company, 1962 (1 letter): concerns shipment of Alexander Calder sculpture

Keller, Dieter, 1965 (2 letters)

Kelly, John Terence (architect), 1964 (1 letter)

Kelly, Virginia Whitmore, 1949 (1 letter)

Kennedy, Edith (Robert Woods Kennedy's mother), 1939 (1 letter)

Kennedy, John Fitzgerald, 1961-1963 (3 letters): from the White House

Kennedy, Robert Woods (first architect in Gropius-Breuer office, Cambridge, Massachusetts), undated and 1950 (3 letters): see American Society of Planners and Architects (ASPA)

Kennerly, Albert (Kennerly Construction Company, Inc.), 1947 (1 letter)

Keogh, Eugene J. (Halpin, Keogh & St. John), 1970 (1 letter)

Kepes, György (architect) and Juliet, undated and 1924-1978 (29 letters)

Kertész, André, 1968 (1 letter): from Breuer

Kertész, Gyula, 1938 (1 letter)

Kessler-Gallacher & Burton, Seagram-Distillers Corporation, 1954-1963 (5 letters)

Ketchum, Morris (Ketchum, Gina & Sharp, Architects), 1957-1963 (25 letters)

Ketchum, Phillips (Ketchum Building Corporation), 1967 (4 letters)

Keyser, William, 1964 (1 letter): from Breuer's office

Kida, Miho, 1975 (2 letters)

Kiley, Dan, 1955 (1 letter)

Kilham, Walter H. (R. B. O'Connor and W. H. Kilham, Architects), 1951-1960 (2 letters)

Kimura, Akira, 1965 (1 letter): includes photograph of family E. & F. King & Company, 1946 (2 letters)

King, Helen (William Morrow & Company, Inc., Publishers), 1951 (1 letter)

Kipnis, Leonid (Leonid Kipnis Gallery), 1954 (1 letter)

Kirkconnell, Watson, 1967 (1 invitation): to George Washington Awards Dinner in honor of Breuer, Kirkconnell, and Hans Selye

Kistler, Daniel, undated and 1964 (2 letters)

Kivett & Myers & McCallum (Architects - Engineers), undated (1 letter)

Kleyer, Bertel and Erwin Kleyer, 1946-1954 (10 letters)

Klöckner (Deimel, Klöckner, Koebel), 1959 (1 letter)

Kniffin, Ogden ("Nif"; inventor of Colorforms) and Kitty, 1950-1960 (5 letters): 3 from Breuer

Knoll, Hans G. and Florence (H. G. Knoll Associates, Inc.), undated and 1945-1961 (12 letters); see Project File for UNESCO

Knoll International, Inc., 1971-1977 (7 letters): see Vidal, Yves

Knox, Sanka (New York Times), 1960 (1 letter): from Breuer's office

Kobler, John (Saturday Evening Post), 1959 (1 letter)

Koch, Alexander, 1948-1961 (2 letters)

Koerfer, Jacques and Christina, undated and 1964-1977 (18 letters)

Kolozsváry-Kiss, árpád, 1957 (2 letters)

Kondor, E. ("Pista"), 1937 (1 letter)

König, Dr. Heinrich, 1954-1959 (3 letters)

Konwiser, Inc., 1954 (1 letter): from Breuer's office

Kootz, Samuel B. (Kootz Art Gallery), 1954-1956 (2 letters)

Koran, Spencer, 1974-1975 (4 letters): from Breuer's office

Korn, Arthur (Architectural Association School of Architecture), 1947-1956 (2 letters)

Kornfeld, Albert, 1956 (1 letter)

Kortan, Enis (Turkish architect), 1956-1960 (3 letters)

Koudela, E. Hugi (Deeter Ritchey Sippel), 1968 (1 letter)

Koyama, Shin (photographer), 1974 (1 letter): from Breuer's office

Kósa, Zoltán, 1962 (1 letter)

Kozlowski, Jean Paul and Shirley, 1960-1972 (2 letters)

Kraemer, Friedrich Wilhelm (architect), 1955 (1 letter)

Kramer, Edwin R., 1950 (1 letter): from Breuer

Krausz, László, 1957-1968 (2 letters)

Krivátsky-Szüts, ádám (Hungarian architect), 1960 (1 letter)

Kri anac, Dr. Matko, 1974 (1 letter)

Ku, Danna Morison, 1968 (1 letter): from Breuer

Kuenzle, Creed (Swiss architect), 1959 (1 letter)

Kuh, Katharine (Art Institute of Chicago), undated and 1951 (2 letters)

Kulkarni, Ashok, 1968 (1 letter): from Breuer

Keith R. Kunhardt Associates, Inc., 1966 (1 letter)

Kunst Kabinett Klihm, Munich, 1956 (1 letter)

Kuwayama, A. (Kuwayama & Company, Inc.), 1945 (1 letter)

Laaff, George, 1960 (1 letter): from Breuer's office

Laboratoires Sarget, 1970 (1 letter)

Lacey, Joseph (Eero Saarinen Associates), 1957 (2 letters)

Ladd, Fred, 1965 (1 letter)

LaFarge, Bancel: see American Institute of Architects

La Joie Par Les Livres, 1964 (1 letter)

Lalonde, Gisele and Jean-Louis, undated and 1955 (2 letters)

Laminated Veneers, Inc., 1948 (2 letters)

Lamson, Jarvis (Functional Furniture, Inc.), 1947-1948 (9 letters): see Noyes, Eliot

Landram, Fred, 1947 (1 letter)

M. Landsberg Stationery Company, 1960 (1 letter): from Breuer's office

Landsberg, William W., 1953-1959 (5 letters)

Lang, George E. (Restaurant & Waldorf Associates, Inc.), 1967-1968 (2 letters)

Lányi, George, 1939-1946 (2 letters)

L'Architecture d'Aujourd'hui, 1954 (3 letters)

La Rinascente Compasso d'Oro, 1955-1965 (43 letters)

Larson, Else M. (Mrs. Arthur W. Larson), 1963 (2 letters)

Laseau, Paul, 1968 (1 letter): from Breuer

László, Carl, 1964 (1 letter)

Lauck, Peter (Morton Sundour Company, Inc.), 1950 (1 letter)

Lauper, Peter (Fraser's), 1955 (1 letter)

Laurenti, André, 1959-1968 (8 letters)

Lautman, Robert C. (photographer), 1973 (1 letter): from Herbert Beckhard

La Verne Originals, 1947 (1 letter): from Breuer

Lavigueur, Gilles (architect), 1967 (1 letter): includes 2 photographs of a chair

Lawrence, John W. (Tulane University), 1953 (1 letter)

Le Corbusier, 1957 (1 letter): from Walter Gropius to friends concerning Le Corbusier's 70th birthday; see also Project File for UNESCO

Lee, Duk, 1968 (1 letter): from Breuer

Lee, Richard C. (mayor of New Haven), 1964 (1 letter): from Breuer

Al Paul Lefton Company, Inc., Advertising, 1949-1950 (2 letters)

Lehigh Furniture Corporation, 1951 (1 letter)

Leibowitz, Matthew, 1946 (1 letter)

Leight, Lillian, 1972 (1 letter)

Leighton, O. S., 1946-1951 (11 letters)

Lemm, H. J. , undated (1 letter)

Lennon, Jacques E., 1975 (1 letter)

Leontieff, Wassily, 1947 (1 letter)

Lercaro, His Eminence Jacques Cardinal, 1969-1970 (2 letters)

Lescaze, William (architect), 1954 (1 letter)

Lever, Lance, 1966 (1 letter)

Levin, Arnold B., 1954 (1 letter)

Levine, Leon, 1971 (1 letter)

Lévy, Vilmos (Hungarian sculptor), undated and 1938 (2 letters)

Lewin, Kurt and G., 1944-1947 (4 letters)

Lewis, George Sherman (architect), 1946-1954 (4 letters): see Project File for UNESCO

Li, Ying, 1947 (1 letter)

Liberman, Tatiana and Alexander, 1969 (1 invitation): for cocktails with Helen Frankenthaler Librairie d'Art Ancien et Moderne, 1962-1963 (2 letters)

Librairie Ernest Flammarion, 1975 (1 letter): from Breuer's office

Lili, S. Braun, 1936-1939 (8 letters)

Lilinthal, Benjamin, 1956 (1 letter)

Limbach, Scott (Limbach Company), 1976 (1 letter): from Breuer's office

Lincoln Warehouse Corporation, 1951 (1 letter)

Lindsay, John V. (mayor of New York) and Mary, 1967-1969 (5 letters)

L'Industria Italiana del Cemento, 1975 (2 letters)

Linke, Siegfried, 1968 (1 letter): from Breuer

Lionni, Leonardo and Nora, 1962 (1 letter): see also International Design Conference, Aspen

Littke, George, 1950 (1 letter)

Liverant, Mrs. M. J., 1960 (1 letter)

Lloyd, Eleanor B. (Mrs. H. Gates Lloyd), 1959 (1 letter)

Lloyd, Miss M. E., 1939 (1 letter)

Lobell, Mimi, 1968 (1 letter): from Breuer

L'Oeil, 1974-1975 (2 letters): from Breuer

Lohse, Richard P. (editor, Bauen + Wohnen), 1950 (1 letter)

Lombard, M. A. (M. A. Lombard & Son, Company, General Contractors), 1966 (1 letter)

Long Beach Art Association, Inc., 1954 (1 letter)

Longmans, Green & Company, Ltd., 1958 (1 letter)

Lortz, R., 1946 (1 letter): from Breuer

Louisiana State University, Department of Architecture, 1964 (1 letter)

Lubroth, I. (Lubroth y Henriquez, Estudio de Arquitectura), 1975 (1 letter)

Ludolf, H. G., 1933-1934 (2 letters)

Lundy, Victor A., 1950-1951 (3 letters)

Lunning, Just, 1956 (1 letter)

Lurie, H. Lee, 1946-1947 (4 letters): see Project File for UNESCO

Lutz, Pierre, 1961-1968 (2 letters): from Breuer Lydakis, George (Precision Metal Model Corporation), 1950-1955 (2 letters)

Lydon, Ken, 1972 (1 letter)

Lyles, Bissett, Carlisle & Wolff, 1955 (2 letters)

Lyman, Bill, 1946 (3 letters)

Lyn, Robert J., 1951 (2 letters)

Lyndon, Maynard (architect), 1965 (1 letter)

Maas, Carl ("Happy"/"Hap"; editor, House Beautiful), 1937-1946 (6 letters)

Maas, Walter, 1947 (1 letter): from Breuer

Macomber, George A. (Cambridge Trust Company), 1947 (2 letters)

Madison, Bob, 1951 (1 letter)

I. Magnin, San Francisco, 1961 (1 letter): from Breuer's office

Magyar Album, 1956 (1 letter)

Magyar épitomuvészek Szövetsége magazine, 1956-1977 (4 letters)

Maki, Fumihiko (Harvard University), 1963 (1 letter) George E. Mallison Importing Company, 1950-1955 (2 letters)

Manders, Dave, 1968 (1 letter): from Breuer

Mandl, Zoltán, 1939 (1 letter)

Manfred, Ernest F., 1966 (1 letter)

Mang, Karl (architect), 1967 (1 letter)

Manitoba, University of, Students' Architectural Society, 1953 (1 letter)

Mantel, H. J., 1951 (1 letter)

Manton, Mr. and Mrs. John, 1967 (1 letter): from Breuer's office

Marbleloid, Inc., 1946 (1 letter)

Marine-Air-Research Corporation, 1946 (1 letter): from Breuer

Maroy, Jean-Paul, 1981 (1 letter): from Robert F. Gatje William L. Marshall, Ltd., 1944-1947 (8 letters)

Marson, Bernard A. (architect), 1968 (1 letter)

Marston, Natalie (Institute of Contemporary Art), 1951 (1 letter)

Martens, Michel (Hedendaagse Kerkelijke Kunst), 1956-1957 (2 letters)

Martignetti, Antonio, 1956 (1 letter)

Martin, J. L. (architect), 1938 (1 letter)

Martin, Leslie and Sadie, undated and 1954 (3 letters)

Mary College and the Annunciation Priory, 1963-1976 (6 letters)

Massachusetts Institute of Technology, Art Committee, 1968 (1 letter)

Massachusetts Institute of Technology, Office of the President, 1961-1965 (2 letters)

Massachusetts Institute of Technology Press, 1975 (1 letter): from Breuer's office

Massachusetts Institute of Technology, School of Architecture and Planning, 1958-1960 (4 letters)

Massachusetts, University of, Amherst, 1968 (1 letter)

Massenot, J. P. (éditions Techniques), 1974 (1 letter): from Breuer's office Master, Dipak C. (Master Sathe and Kothari, Architects), 1968 (1 letter): from Breuer

Mathews, Joseph F., 1956 (1 letter)

Maucher, Helmut, 1976 (1 letter): from Breuer's office

Maurer, Laurie, undated (3 letters)

Mauser Kommandit-Gesellschaft, 1966 (1 letter)

Mayekawa, Kunio, 1963 (1 letter)

McClean-Smith, Betty, 1940 (1 letter)

McComb, Peter K. and Karen, 1954-1956 (4 letters)

McGarry, Ann M., 1947 (1 letter)

McGill University, Montreal, 1967 (1 letter)

McGlynn Associates, Inc., 1956 (1 letter)

McGrath, Raymond (Office of Public Works, Dublin, Ireland), 1937-1969 (9 letters)

McGraw-Hill Publications, 1967 (1 letter)

McGuinness, William J. (Pratt Institute), 1951 (1 letter)

McIntyre, A. McVoy, 1950-1951 (2 letters)

McLaughlin, Peter, 1959 (1 letter)

McMillan, Louis and Peggy (Architects' Collaborative), 1945-1946 (2 letters)

McVitty, John D., 1946 (1 letter)

John O. Meadows Associates, Ltd., 1984-1985 (2 letters)

Medical Economics, 1960 (1 letter)

Meier, Richard Alan, undated and 1957-1967 (5 letters)

Meldrum, Andrew, 1956 (1 letter): from Breuer

Meller, Herbert, 1969-1970 (4 letters)

Mellon, Mary, 1938 (1 letter)

Meng, John J. (Hunter College), 1963 (1 letter)

Menken, Julian (Julian Menken and Associates), 1964 (1 letter)

Merit Studios, Inc., 1965 (1 letter): from Breuer's office

Merle, André (André Merle Associates, Architectural Engineers), 1946 (1 letter)

Merrill and Holmbren, Architects, 1954 (1 letter): concerns Campbell Building Company

Merrill, Ruth P., 1950-1964 (2 letters)

Metropolitan Milwaukee War Memorial, Inc., 1945 (4 letters): 1 to Walter Gropius

Metropolitan Museum of Art, 1944-1975 (8 letters)

Metropolitan Structures, Inc., 1974 (2 letters): from Breuer's office

Metropolitan Washington Board of Trade, 1969 (2 letters)

Meunier, John, 1957 (1 letter)

México, Consulado Honorario de, 1938 (2 letters)

Meyer-Bohe, Walter, 1975 (1 letter): from Breuer's office

Michaëlis, Lorenz S. (Swiss doctor), undated (1 letter)

Michaelis-Lenolt, Ilse, 1937 (1 letter)

Michaud, Marcel (Stylclair), 1950-1951 (3 letters)

Michel, John (General American Transportation Corporation), 1947-1948 (2 letters)

Michelson, Val (architect), 1970 (1 letter)

Michigan, University of, Ann Arbor, 1957-1963 (19 letters)

Middelhauve, Dr. F. G., 1963 (1 letter)

Mies Van der Rohe, Ludwig, 1945 (1 letter): from Breuer introducing Sanford L. and Helen Berger, architects

Mihályfy, Károlyné, 1966 (1 letter)

Millar, L. R., 1935 (1 letter)

Millard, Charles W., 1957 (1 letter)

Miller Company, 1945-1947 (2 letters)

Miller, Flora W. (Mrs. G. MacCulloch Miller), undated (1 letter)

Miller, H. Wisner, 1968-1969 (2 letters)

Herman Miller Furniture Company, 1951-1954 (4 letters): from Breuer

Miller, Rev. John (St. Charles Seminary), 1975 (1 letter): from Breuer

Miller, Richard J., 1955 (1 letter)

Miller, Steve, 1968 (1 letter): from Breuer

Milliken, W. H. (Binney & Smith Company), 1951 (1 letter)

Mills, Mrs. Edward E., 1954 (1 letter): from William W. Landsberg

Mills, Willis N. (Sherwood, Mills and Smith, Architects), 1960-1969 (2 letters)

Ministre d'état Chargé des Affaires Culturelles, 1963 (1 letter): from Breuer

Minnesota Society of Architects, 1958 (1 letter)

Minnesota, State of, Board of Registration, 1954 (2 letters)

Minnesota, University of, 1953 (1 letter)

Miró, Joan, 1959-1963 (2 letters): 1 from Breuer

Mitchell and Ritchey, 1947 (2 letters)

Mitchell, Mary, 1954 (1 letter): from Breuer's office

Miya & Company, 1956 (1 letter): from Breuer's office

Modern Industry, 1947 (1 letter)

Modern Master Tapestries, Inc., 1974-1975 (4 letters): from Breuer's office

Moffett, Toby, 1974 (1 letter)

Moholy, Lucia, 1957-1958 (5 letters)

Moholy-Nagy, László ("Lakci") and Sibyl, 1934-1955 (40 letters): includes a 1946 exhibition catalog for a Walter Gropius exhibition at the School of Design, Chicago; see also Hug, Hattula Moholy-Nagy

Moldcast Products, Inc., 1950 (1 letter): from Breuer's office

Molitor, Joseph W. (photographer), 1955-1975 (5 letters): 4 from Breuer

Molnár, Farkas (Hungarian architect), undated and 1933-1940 (25 letters)

Mongan, Agnes, 1938 (1 letter)

Montague, Harvey, 1968 (1 letter): from Breuer

Montgomery, Elizabeth (Mrs. Wilmot), 1950 (1 letter)

Moore, Henry, 1946-1962 (13 letters): 6 from Breuer

Moore, Joe A., 1945 (2 letters)

Moore, Paul S. (architect), 1966-1967 (3 letters)

Morassutti, Mangiarotti, 1961 (1 letter)

Moretti, Bruno, 1936 (1 letter)

Morgan, Alice, 1939 (1 letter)

Morgan, Sherley W. (Princeton University), 1952 (3 letters)

Móricz, Miklós, 1947 (1 letter)

Morrell, Mrs. Ben, 1965 (1 letter): from Breuer's office

Sydney Morrell & Company, Inc., 1973-1976 (4 letters)

Morris, Walter (Fuller & Smith & Ross, Inc.), 1950 (1 letter)

Morrow, Margot, 1950 (1 letter): from Breuer's office

Mory, Bob, 1968 (1 letter): from Breuer

Moschette, Angela, 1950 (1 letter)

Motherwell, Robert, 1968 (1 letter)

Muguruza Otaño, José María (architect), 1935-1967 (3 letters)

Mulford, Edwin H., 1966 (1 letter): from Breuer's office

Müller-Rehm, Klaus (architect), 1951 (1 letter)

Mundipharma GmbH, Frankfurt, 1975-1976 (4 letters)

Eduard Munz & Company, 1954-1959 (3 letters)

Murray, J. A. (University of Toronto School of Architecture), 1947-1956 (3 letters)

Murrow, Mrs. Edward R., 1961 (1 letter)

Musée des Arts Décoratifs, 1969 (2 letters)

Museu de Arte Moderna do Rio de Janeiro, 1954 (1 letter)

Museu de Arte Moderna do São Paulo, 1956 (1 letter concerning IV Bienal de S. Paulo)

Museum of Contemporary Crafts, 1967 (7 letters)

Museum of Modern Art, New York, 1941-1976 (49 letters)

Museum of Science and Industry, Chicago, 1967 (3 letters)

Museum of the City of New York, 1959 (2 letters)

Muskat, Irving E., 1968 (2 letters)

Mutsu, Masako, 1964-1965 (2 letters): from Breuer

Myers, John S. and Shirlee, 1955-1959 (4 letters)

Myers, Ralph E., 1958 (2 letters)

Myers, Robert L., 1950 (1 letter)

Nadeau, Eleanor Saxe, 1950 (1 letter)

Nader, Fouzieh, 1972 (2 letters)

Nagare, Masayuki, 1963-1965 (6 letters): 5 letters from Breuer

Nagel, Chester (architect), 1968 (1 letter)

Nagy Iván, Dr. Vitéz (Ministry Secretary), undated (1 letter)

Najibullah, Yousof, 1968 (1 letter): from Breuer

Napier, Frieda (Mrs. Ian Napier), undated and 1937 (7 letters)

Nathan, Carl H. (Suncraft), 1945 (1 letter)

National Academy of Sciences/National Research Council, undated (1 letter)

National Citizens for Johnson and Humphrey, 1964 (1 letter)

National Committee of Arts, Letters and Sciences for John F. Kennedy for President, 1960 (2 letters)

National Concrete Masonry Association, 1958-1959 (7 letters)

National Council of American Soviet Friendship, Inc., Architects' Committee, 1944-1945 (13 letters)

National Council of American Soviet Friendship, Inc., Building Industry Committee, 1946 (6 letters)

National Council of Architectural Registration Boards, 1946-1959 (5 letters): request recommendations for Jean Bodman Fletcher, I. M. Pei, and Richard G. Stein

National Council of Churches, 1955 (1 letter)

National Council on Schoolhouse Construction, 1951 (1 letter)

National Institute of Arts and Letters, 1965-1968 (47 letters): 1967 letter from Breuer includes typescripts concerning Josef Albers and Constantino Nivola; 1968 encloses a letter from Philip Johnson; see American Academy of Arts and Letters National Society of Interior Designers, Inc., 1958 (1 letter) National Terrazzo & Mosaic Association, 1955 (1 letter from Murray S. Emslie)

National Trust for Historic Preservation, 1975 (2 letters): from Breuer's office

Nedberg, Björn, 1951 (1 letter)

Nederlandsch-Amerikaansche Fundatie, 1957-1958 (2 letters)

Neighbour, Keith, 1955 (1 letter)

Neiman Marcus, Dallas, Texas, 1961 (1 letter)

Nelson, George (architect), undated and 1958 (2 letters)

Nemeny, George (architect), 1945 (2 letters): from Breuer

Nervi, Mario (son of Pier Luigi Nervi), 1975 (1 letter): from Breuer

Nervi, Pier Luigi, undated and 1960-1978 (5 letters): see Project File for UNESCO

Neski, Joe and Barbara, 1957 (1 letter)

Neski, Julian (architect), 1967-1970 (2 letters)

Neufert, Ernst, 1946 (1 letter)

Neumann, J. B., 1950 (1 card): sent jointly with Elsa Schmid

Neumann, Lena, 1951 (1 letter): from Breuer's office

Neumann, Vera (Scarves by Vera), 1970 (1 letter)

Nevendorff, Peter (construction supervisor for Ludwig Mies van der Rohe's Museum of the 20th Century), 1967 (1 office message)

Newark Museum, 1954-1955 (5 letters)

New Canaan Advertiser, 1974 (1 letter)

New Canaan Committee for Shakespearean Festival, undated (1 invitation): from Francis A. Sunderland to meet Sir Cedric and Lady Hardwicke

New Canaan Community Nursery School, Inc., 1955 (1 letter)

New Canaan Country School, 1957 (1 letter): from Breuer

New Haven Festival of Arts, Inc., 1959 (4 letters)

New Hungarian Quarterly, 1967 (1 letter)

Newman, Robert B. (Bolt Beranek and Newman), 1951 (1 letter)

Newport, Charles W. (R. S. Noonan, Inc.), 1945 (2 letters)

Newsome, Carroll V. (Prentice-Hall, Inc.), 1962 (1 letter)

Newsweek, 1955 (1 letter)

New York Association of Consulting Engineers, Inc., 1970 (1 letter)

New York Division of Housing and Community Renewal, 1964 (1 letter)

New Yorker, 1967-1975 (3 letters)

New York Institute of Technology AIA Chapter, 1976 (1 letter)

New York, New Haven & Hartford Railroad Company, 1951-1963 (6 letters)

New York Public Library, 1966 (1 letter)

New York State Council on Architecture, 1975 (1 letter)

New York World's Fair 1964-1965, 1964 (1 invitation): for cocktails at Pavilion of Spain

Nicholson, Christopher (architect), 1946 (2 letters)

Nicholson's Sports Apparel, 1945 (1 letter)

Nivola, Constantine, 1966 (1 letter): from Breuer

Noever, Peter (Svoboda and Company), 1958-1968 (4 letters)

Noirot, Genevieve, 1975 (1 letter): from Breuer's office

Nolen, James A., 1970 (1 letter)

Nolen-Swinburne and Associates, 1970 (1 letter): from Herbert Beckhard concerning Department of Housing and Urban Development

Nordmann, Christian, 1934 (1 letter)

North Dakota Agriculture College, AIA, 1959 (1 letter)

North Dakota State College, 1960 (2 letters)

Northey, Ned H., 1956 (1 letter)

Norton, Clifford, undated (1 letter)

Norton, Noël E. ("Peter"; Lady Clifford Norton), undated and 1933-1965 (36 letters)

Norweb, Emery May (Mrs. R. Henry Norweb), 1970 (1 letter)

Noyes, Eliot Fette (architect), undated and 1946-1974 (13 letters)

N.V. Ingenieurs - Bureau Voor Bouwnijverheid, 1960 (2 letters)

Ochs, Fritz, 1950 (1 letter)

O'Connor, Vincent A. G., 1963 (5 letters)

Oehler, Erma L. (Fuller & Smith & Ross, Inc., Advertising), 1947 (3 letters)

Oestreicher, W. L., 1947 (1 letter)

Ohye, Hiroshi, 1954 (1 letter): of introduction from Hyoe Ouchi

Oklahoma Agricultural and Mechanical College, 1950 (1 letter)

Oklahoma, University of, School of Architecture, 1966 (2 letters)

Okudaira, Kozo, 1954-1955 (6 letters)

Olgyay, Aladár (Hungarian architect; twin brother Viktor Olgyay) and Elizabeth, undated and 1939-1960 (12 letters)

Olivetti, Adriano, 1956 (1 letter)

Olivetti, Dino, 1963 (1 letter)

Olivetti, Roberto, 1970 (1 letter)

Olsen, Don and Helen, 1947 (1 letter)

Olsen, Ralph, 1968 (1 letter): from Breuer

Omega Marble, 1965 (1 letter)

O'Neill, John C. R., and Marvin H. Segner (consulting engineers), undated (1 letter)

On Site, 1975 (2 letters): from Breuer's office

Oppenheim, Dennis, 1968 (1 letter)

Ordre des Architectes, Paris, 1964 (1 letter from Robert F. Gatje)

Originators, The, 1977 (1 letter)

Ortega, Alvaro (Colombian architect, student of Breuer), 1960-1972 (3 letters): 1972 letter from Leonard Currie concerns a recommendation for Ortega

Osborn, Elodie and Robert, undated and 1946-1971 (18 letters)

Osborne, Stafford, 1963 (1 memorandum): from James S. Plaut

Otto, Marguerite, 1946 (1 letter)

Oud, J. J. P. (architect), undated (1 calling card)

Owens-Corning Fiberglas Corporation, 1959 (2 letters)

Owurowa, Saji, 1968 (1 letter): from Breuer

Oxford University Press, Inc., 1954 (1 letter)

Pabst, Robert E. (Mabaco Marine), 1956 (1 letter)

Pach Brothers, 1965 (1 letter): from Breuer

Pack, Isabelle (Breuer's secretary), 1958 (3 letters)

Pack, Nancy (Mrs. Howard Meade Pack), undated and 1953 (2 letters)

Paine Furniture Company, 1946 (1 letter)

Pajor, Zoltán, 1938-1947 (7 letters)

Palestrant, Stephen, 1963 (1 letter)

Palmer Physical Laboratory, Princeton, New Jersey, 1945 (1 letter)

Papachristou, Tician and Judy, undated and 1967-1974 (6 letters)

Papadaki, Stamo, 1945-1951 (14 letters): see Commission on Community Interrelations (CCI) of the American-Jewish Congress; Congrès Internationaux d'Architecture Moderne (CIAM), Chapter for Relief and Post-War Planning

Papadakis, Stanis (architect), 1935-1936 (2 letters)

Papock, Herbert (Wylie F. L. Tuttle Company), 1970 (1 letter)

Papp, Leslie G., 1957 (1 letter)

Paquin, G., 1938 (1 letter)

Parkin, John B., 1950 (1 letter)

Parkinson (Cobb), Eliza, undated (2 letters)

Parkinson, Elizabeth, 1969 (1 letter)

Parsons School of Design, 1956 (1 letter)

Passonneau, Joseph R. (Washington University, St. Louis), 1956-1958 (3 letters)

Paterson State Teachers College, undated and 1954 (7 letters)

Payer, Ernst, undated (1 letter)

Pázmándi, Margó (Hungarian architect), 1974 (1 letter)

Pearman, Charles, 1964 (2 letters)

I. M. Pei & Associates, undated and 1959 (6 letters): 1959 letter is letter of recommendation by Breuer for Pei

Pella Rolscreen Company, 1966 (1 letter)

Pennsylvania State University, 1958 (5 letters)

Pennsylvania, University of, 1958-1959 (2 letters)

Pepper, Eleanor (and Alta Grant Samuels), undated (1 letter)

Peressutti, Enrico (Banfi Belgiojoso Peressutti Rogers, architects), 1949-1959 (4 letters)

Perkins, G. Holmes (Harvard University), 1940-1947 (6 letters): see American Society of Planners and Architects (ASPA)

Perrin, Luis (architect), 1957 (1 letter)

Peter, J. A., 1945 (1 letter)

Peter, John, 1951 (1 letter): from Breuer's office

Peterson, Cynthia, undated (1 letter)

Peterson, G. H., 1975 (1 letter): from Breuer

Philco Corporation, 1950 (1 letter)

Phoenix Art Museum, 1965 (1 letter): concerns a Josef Albers exhibition

Pichler, Albrecht, 1968 (1 letter): from Breuer

Picker, Fred, 1974 (4 letters): from Breuer's office

John B. Pierce Foundation, 1945 (1 letter)

Pignot, Gilbert (architect), 1971 (1 letter)

Pilchik, Ely E. (Congregation B'nai Jeshurun), 1962 (1 letter)

Pilzer, Leopold (Thonet Brothers, Inc.), 1943-1954 (9 letters): see also Project File for UNESCO

Pinkus, Dr. Felix, 1933-1934 (3 letters)

Pinter, Anthony S. (Study Abroad, Inc.), 1950-1951 (2 letters)

Pinter, Margit, 1946 (1 letter)

Pintori, Giovanni (Pubblicità Olivetti), 1956 (1 letter): from Breuer

Pisenti, Oreste, 1956 (1 letter): from Breuer

Pittsburgh Plate Glass Company, 1947 (1 letter): from Breuer

Plaut, James S. (Institute of Contemporary Art) and Mary, 1947-1963 (5 letters)

Polak, Jean and André, 1969-1970 (3 letters)

Polányi, Cecil, 1935 (1 letter)

Polieri, Jacques, 1957-1958 (2 letters)

Pomerance, Ralph, 1968 (1 letter)

Centre Georges Pompidou (P. Hussen), 1976 (1 letter): from Breuer

Ponti, Gio (architect), 1963-1967 (2 letters)

Poon, Sze-chiu, 1958 (3 letters): includes a photograph of Poon

Pope and Evans (consulting engineers), 1956 (1 letter)

Porter, Bernice, 1954 (1 letter): from Breuer's office

Porter, Lucy (Mrs. A. Kingsley Porter), 1950 (1 letter)

Porter, Tom, 1974-1976 (3 letters): from Breuer

Portland Cement Association, 1959 (1 letter): from Breuer

Pospischil, Ernest, 1968 (1 letter): from Breuer

Posse, Ricardo Muratorio, 1956 (1 letter)

Postman, Art, 1968 (1 letter): from Breuer

Potter, Arnold and Selma, undated (1 letter)

Potts, Del G. (Fred H. Towery Equipment Company), 1947 (1 letter)

Pouget, Cl. (Cie. IBM, France), 1961-1970 (2 letters)

Pradelle, T. and D., undated (1 letter)

Praeger, Frederick A. (Frederick A. Praeger, Inc.), 1959-1969 (19 letters): includes a 1959 transcript of Praeger's conversation with Breuer concerning the publication of a book on Breuer's life work

Pratt Institute, 1953-1969 (11 letters)

Présentè, G. M., 1954 (1 letter): see Project File for UNESCO

Prestressed Concrete Institute, 1970 (1 letter)

Price, Thomas M., 1946 (1 letter)

Prichard, Theodore J. (University of Idaho), 1946-1950 (3 letters)

Princeton University, 1954-1959 (12 letters)

Princeton University, Graduate Council, 1954 (1 letter)

Princeton University School of Architecture, 1955-1963 (3 letters)

Pritchard, J. C. ("Jack"; producer of Isokon furniture) and Molly, 1944-1977 (56 letters)

Producers' Council, Inc., 1958-1967 (6 letters)

Progressive Architecture, 1974 (1 letter): from Breuer's office

Pullman Company, 1945-1946 (2 letters)

Pusztai, György, 1963 (2 letters)

Quale, Marcia, 1974 (1 letter): from Breuer's office

Quigley, T. T. (Wallace and Tiernan Company), 1946 (1 letter): from Breuer

Quinn, Robert H. (Attorney General of Massachusetts), 1970 (1 letter)

Raab, Martin D. (MIT School of Architecture), 1954 (2 letters)

Raabe, Sally (Harvard University, School of Design), 1947-1960 (4 letters): from Breuer

Rachlin, Abraham H. (Union Building Company), 1944 (2 letters)

Radcliffe Club of Long Island, 1954 (1 letter)

Radich, Stephen J. (Stephen Radich Gallery), 1967 (1 letter)

Rado, Ladislav L. ("Laco"; architect), 1943-1945 (6 letters)

Radwany, Emery L. and Helen, 1951-1954 (2 letters)

Rafferty, James B. (RCA Communications, Inc.), 1954 (1 letter)

Raffo, Nestor, 1968 (1 letter): from Breuer

Rakatansky, Ira (architect), 1954-1959 (7 letters)

Ram Press, Inc., 1954 (1 letter): from Robert F. Gatje

Rand, Ann, 1951 (1 letter)

Randinsky, Nina, 1963 (1 letter)

Rapson, Ralph (University of Minnesota, School of Architecture), 1954-1959 (5 letters)

Rather, Lillian Townsend (Mrs. James Rather), 1966 (1 letter)

Rauschenback, Esther, 1951 (1 letter)

Read, Sir Herbert, 1955 (3 letters)

Réalitiés, 1964 (1 letter)

Rebay, Baroness, 1936 (1 letter)

Rédèr, J. M., 1956 (1 letter)

Reed & Barton, Silversmiths, 1963-1964 (7 letters)

Reed, Joe, 1958 (1 letter): from Breuer concerning the first tubular steel chair

Reese, Ilse Meissner, 1974 (1 letter): from Breuer's office

Reidy, Affonso Eduardo, 1963 (1 letter)

Reilly, Ambassador (of Great Britain) and Lady, 1965 (1 invitation): to reception for the Fourth Biennale de Paris

Reinwald, Karl, 1969 (1 letter)

Rendy, Lili, undated (1 letter)

Rensselaer Polytechnic Institute, 1950 (1 letter)

Renz, Wilhelm (Wilhelm Renz K G, Moebelfabrik), 1966 (1 letter)

Republic, The, 1975 (1 letter): from Breuer

Residence Lighting Forum (Illuminating Engineering Society), 1953 (1 letter)

Rettaliata, John (Illinois Institute of Technology), 1955 (1 letter)

Rév, Lajos, 1974 (1 letter): from Breuer

Reynolds Metals Company, undated and 1946-1956 (9 letters)

Rhode Island Chapter of AIA, 1959 (1 letter)

Rhode Island School of Design, 1956-1959 (4 letters)

Richards, Jim M. and Peggy, undated and 1936-1939 (5 letters)

Richards, Steve, 1966 (1 letter)

Richlan, Frank, 1968 (1 letter): from Breuer

Richman, Robert (Institute of Contemporary Art), 1952 (2 letters): from Breuer

Richmond, C. R., 1941 (1 letter)

Richmond Radiator Company (A. A. Marks), 1944 (2 letters): from Breuer

Rietkerk, William, 1956 (1 letter)

John and Mable Ringling Museum of Art, 1956 (1 letter)

Ritchey, Dahlen K. (Deeter Ritchey Sippel, Architects), 1968 (1 letter)

Rivers, Shavaun, 1950 (1 letter)

Roberts, Russell (opera singer who bought Breuer's first New Canaan house), 1951-1955 (7 letters): 6 letters from Breuer

Robinson, Frank S., 1969 (2 letters)

Robinson, Mrs. Preston, 1946-1960 (2 letters)

Roche, Mme. Yolande, 1966-1967 (4 letters)

Rockefeller, Blanchette (Mrs. John D. Rockefeller III), 1962 (1 letter)

Rockefeller, John Davison, IV, 1967 (1 wedding announcement): for Rockefeller and Sharon Lee Percy

Rockefeller, Nelson A., undated and 1967 (2 printed invitations)

Rocourt, Evelyn, 1954-1955 (4 letters)

Rodgers, Paul C. (Burton-Rodgers, Inc.), 1946 (13 letters)

Roffman, Edward A. Roffman Associates, 1951 (1 letter): from Breuer's office mentioning György Kepes

Rogers, Ernesto N. (Banfi Belgiojoso Peressutti Rogers, architects), undated and 1938-1950 (6 letters): see Project File for UNESCO

Rombro, Louise, 1950 (1 letter)

Root, Ballantine, Harlan, Bushby & Palmer, 1952 (1 letter)

Rosenberg, E., 1956 (1 letter)

Rosenthal, Julius, 1950 (2 letters)

Rosenthal, Richard Laurence, 1969 (1 letter)

Ross, Janet (Vassar College), 1950 (1 letter)

Rossi, Irving, 1944 (2 letters)

Rossum, Cheryl (photographer), 1974 (1 letter): from Breuer's office

Roth, Alfred (architect), 1933-1963 (9 letters)

Roth, Gordon (builder), 1946-1947 (3 letters)

Roth, Joan, 1968 (1 letter): from Breuer

Rothschild, Sigmund, 1974 (1 letter): from Breuer

Roux, Alina (Photograph Department, UNESCO), 1960 (2 letters): see Project File for UNESCO

Rowe, James (Corcoran, Foley, Youngman & Rowe), 1970 (1 letter)

Royal Society of Arts, 1969 (4 letters)

Rudert, Anton, 1976 (1 letter): from Breuer

Rudofsky, Bernard, 1946-1950 (2 letters)

Russell, Gordon, 1936-1947 (3 letters)

Russell, Véra, 1969 (1 letter)

Rutherford, Eric, 1964-1967 (6 letters)

Rutledge, Dick, 1951 (2 letters): from Breuer's office

Saarinen, Eero, undated and 1946-1954 (5 letters): see Project File for UNESCO

Eero Saarinen & Associates, 1955 (1 letter)

Sackler, Raymond R., 1972 (1 letter)

Ed Sacks Company, 1950 (1 letter)

Saidenberg, Eleanore (Mrs. Daniel Saidenberg), undated (1 letter)

Sailer, John, 1968 (1 letter)

St. Francis de Sales Church, 1965-1966 (2 letters)

St. James Press, Ltd., 1977 (2 letters)

St. John's Abbey, 1953-1978 (9 letters)

Sakakura, Junzo, 1968 (1 letter)

Sakakura, Miho, 1968 (1 letter): from Breuer

Salzano, Baron de Ferraris (Italian Consulate General), 1956 (2 letters): from Breuer

Salzman, Stanley (architect), 1947-1971 (2 letters)

Sampson, Thérèse (Mrs. Richard Sampson), 1954 (1 letter)

Samuely, Felix J. (consulting engineer), 1954 (3 letters)

Sanchez, Sergio, 1968 (1 letter): from Breuer

Sanders & Malsin, Architects, 1949 (1 letter)

Krausz J. Sándor és Jeno, 1933 (1 letter)

San Francisco Redevelopment Agency, 1961 (1 letter): from Breuer's office

Sarabhai, Gera, 1946 (1 letter): from Breuer

Sarah Lawrence College, 1961-1976 (4 letters): 3 from Breuer

Sarton, May, undated (1 letter)

Sato, Chikafusa, 1968 (1 letter): from Breuer

Satterlee, Nicholas, 1965 (1 letter)

Saturday Home Magazine, 1947 (1 letter)

Saxl, Erwin J. (Saxl Instrument Company), 1945 (1 letter)

Sayago, Manuel (Centro Profesional del Este), 1960 (2 letters)

Saybolt, Cleland & Alexander, Inc., 1945-1946 (2 letters)

Schaaf, Miv (Architectural Panel), 1958 (1 letter)

Scharff, Stephen L., 1950 (1 letter): from Breuer

Schawinsky, Xanti and Irene, undated and 1934-1964 (14 letters)

Schecter, Jack H. (architect), 1950 (1 letter)

Schendell, Hal, 1947 (2 letters): to Eliot Noyes

Schickel, William J., 1964 (1 letter)

Schillinger, Emilio F., 1964 (1 letter)

Schleifer, Fritz, 1934 (1 letter)

Schlemmer, Tut (Mrs. Oscar Schlemmer), 1960-1965 (3 letters)

Schlesinger, Alajos, undated (1 letter)

Schmalenbach, Werner (Kunstsammlung Nordrhein-Westfalen), 1976 (2 letters)

Schmid, Elsa, 1950 (1 card): sent jointly with J. B. Neumann

Schmidt, Benno C. (J. H. Whitney & Company), 1970 (1 letter)

Schmidt-Gellerau, Karl, 1934 (3 letters)

Schmieg & Kotzian, 1945 (1 letter)

Architekturbüro Joachim Schmitz, 1974 (1 letter): from Breuer's office

Schnall, Ben (photographer), undated (2 letters) vSchneck, Adolf G. (architect), 1947-1950 (2 letters)

Schneider-Manzell, Toni (Biennale Christlicher Kunst der Gegenwart Salzburg), 1964 (2 letters)

Robert Schoelkopf Gallery, undated (1 invitation): to meet Walker Evans

Schoendorff, Ellen G., 1937 (1 letter)

Schömer, Ervin (architect), 1974-1975 (6 letters)

Schorer, Mark, 1960 (1 letter): from Breuer

Schultz, Lili, 1964 (1 letter)

F. Schumacher & Company, 1954-1964 (2 letters): from Breuer's office

Schuster, Mathias and Gerda (Schuster & Geiger), 1950-1964 (3 letters)

Schweighofer, Dr. Fritz, 1960 (1 letter)

Science Illustrated, 1955 (1 letter): from Breuer

Scitorszky, Hanna, 1966 (1 letter)

Scott, Stuart N. (Dewey, Gallantine, Bushby, Palmer & Wood), 1958 (1 letter)

Seagram-Distillers Corporation: see Kessler-Gallacher & Burton

Sears, Roebuck and Company (Arthur M. Wood), 1974 (1 letter): from Breuer concerning luncheon for Alexander Calder

Segal, Georgette, 1954 (1 letter): from Breuer's office

Seghers, Pierre, 1963 (1 letter)

Segner, Marvin H., and John C. R. O'Neill (consulting engineers), undated (1 letter)

Segre, Mr., 1959 (2 letters): from Breuer

Seidel, Bert (architect), 1955 (2 letters)

Seidler, Harry (architect, Black Mountain College), 1946-1978 (24 letters)

Sekey, Sue, 1968 (1 letter): from Breuer

Selinger, Hans, 1956 (1 letter)

Selwood, Christopher, 1958-1959 (2 letters): see also Gardner-Medwin, R. J.

Selye, Hans, 1967 (1 invitation): to George Washington Awards Dinner in honor of Breuer, Selye, and Watson Kirkconnell

Semrad, Peter H., 1957 (1 letter)

Senix Aerial (Don Preuss), 1947 (1 letter)

Sert, José Luis (architect) and Moncha, 1945-1970 (7 letters): see National Council of American Soviet Friendship, Inc., Architects' Committee; Project File for UNESCO

Setzer, H. O. (Spartan Tire & Recapping Company), 1947 (3 letters)

Sevely, Marvin, 1951 (1 letter): from Breuer's office

Seyton, Mrs., 1954 (1 letter)

Shackleton, Edwin, 1951 (1 letter)

Shand, James (Art and Technics, Ltd.), 1950 (1 letter)

Shankland, Graeme, 1939 (1 letter)

Shannon, Edgar Finley (University of Virginia), 1967 (1 invitation): to Founder's Day Exercises

Sharon Forest Service Company, Inc., 1950 (5 letters)

Shattuck, George, 1946 (1 letter): from Breuer

Shelton Roofing Company, Inc., 1956 (1 letter): from Breuer's office

Shepley, Anna L., undated (2 letters)

Shinoda, Toko, 1964 (2 letters)

Shokokusha Publishing Company, 1961-1964 (10 letters)

Shook, Ken, 1968 (1 letter): from Breuer

Shuster, George N. (University of Notre Dame), 1962 (1 letter)

Sichel, Miss Cuy, 1964 (1 letter): from Breuer concerning Eric Rutherford's artwork

Siepman, Charles, 1956 (1 letter)

Siesel, Harold J. (Harold J. Siesel Company, Advertising), 1947 (1 letter)

Simha, O. Robert (Fulbright scholar), 1958 (1 letter)

Simon, Eva, 1934 (1 letter)

Simon, Steph (Ateliers Jean Prouvé), 1953-1956 (7 letters)

Simonson, Lee, 1955 (1 letter)

Simpson, Robert (Chemical Bank), 1975 (1 letter)

Simpson, William (New York University), 1960 (1 letter): from Robert F. Gatje

Sindicato Nacional de la Construcción (Jorge Fernández de Cuevas, architect), 1976 (1 letter): from Breuer

Sive, André (architect), 1947 (1 letter)

Skidmore College, 1954 (1 letter)

Skidmore, Owings & Merrill, 1959-1965 (3 letters)

Skouras, Odyssia A. and Federico Quadrani, 1964 (1 exhibition announcement): for Francesco Somaini

Slayton, William L. (Urban America, Inc.), 1967-1968 (2 letters)

Sloth, Finn (Milieu Company), 1966-1967 (5 letters)

Smith, Christina, 1963 (2 letters)

Smith, Elbert G. (University of Denver), 1946 (1 letter)

Smith, Hamilton and Caroline, 1954-1978 (34 letters): see Gatje Papachristou & Smith; Project File for UNESCO

Smith, Linus Burr, 1956 (1 letter)

Smithsonian Institution: 1981 (4 letters)

Snyder, J. Rowland, 1968 (1 letter)

Sobelsohn, Jacob (CPA), 1945-1946 (3 letters)

Sociedad de Art Moderno, México, 1944 (1 letter)

Società degli Ingegneri e degli Architetti in Torino, 1960 (3 letters)

Society of Student Architects (Polytechnic, London), 1955 (2 letters)

Somaini, Francesco, 1964 (exhibition announcement)

Somerville, City of, Massachusetts, 1950 (1 letter)

Charles W. Sommer & Bro., Inc. (importers), 1946 (2 letters)

Sonnenberg, Benjamin (and John L. Loeb), undated (1 invitation): to birthday for Armond Eiff [?]

Sorensen, Abel (Von der Lancken, Lundquist and Sorensen), 1954 (1 letter)

Soupault, Ré Philippe, 1946-1950 (2 letters)

Southern California, University of, 1947-1958 (2 letters)

Sovik, Mathre and Madson, Architects, 1966 (1 letter)

Speert, Harry A., 1974 (1 letter): from Breuer's office

Spencer, William A. (New York University), 1960 (2 letters): from Robert F. Gatje

Speyer, Darthea (American Legation), 1950 (1 letter)

Spilman, Raymond, 1955 (1 letter)

Spinelli, Pat, 1968 (1 letter): from Breuer

Spring, Bernard Polmer, 1945 (1 letter)

Stadler-Stölzl, G., 1967 (1 letter)

Staehelin, William R. and Marina, 1959-1977 (11 letters)

Staempfli, George, 1965-1966 (2 letters)

Stanpat Company, 1954 (2 letters): from Breuer's office

Starkey, Mrs. Robert James, 1960 (1 letter): from Breuer

Starr, Polly (Mrs. Donald Starr), 1937-1938 (2 letters)

Stattelman, Richard, 1966 (1 letter)

Stein, Richard G. (architect), undated and 1951 (2 letters)

Steinberg, Saul, 1951-1965 (2 letters): from Breuer

Stendig, Charles (Contract Furniture), 1963-1967 (5 letters)

Stern, Alfred (U.S. Department of Commerce, Office of International Trade Fairs), 1957-1958 (4 letters)

Stern, Andor, 1950 (1 letter)

Stern, Max, 1963 (2 letters)

Sternberg, Charles (International Rescue Committee), 1956 (1 letter): of introduction for ádám Krivátsky-Szüts

Stevens, Edmund, 1960 (2 letters)

Stillman, Edgar and Kate [?] ("B + J"), 1953-1965 (2 letters)

Stillman, Jean, 1965 (1 letter)

Stillman, Kathy, 1965 (1 letter)

Stillman, Rufus C. ("Ruf") and Leslie, undated and 1951-1975 (60 letters): 1954 letter from Breuer's office encloses Stillman's outline for a book

Stockton, Sue, undated and 1964 (2 letters)

Stoddard, Whitney S. (Society of Alumni of Williams College), 1951 (1 letter)

Stoller, Ezra (photographer) and Helen, undated and 1945-1967 (8 letters)

Stonorov, Oskar (architect) and Elizabeth, 1944-1946 (4 letters)

Storch, Samuel (Astorloid Manufacturing Company/Astor-Ramel Manufacturing Company), 1945 (6 letters)

Storrow, Helen (Mrs. James Jackson Storrow), undated (4 letters)

Strenger, József, 1963 (2 letters)

Strettell, Marguerita (Rita), undated (1 letter)

Strohbach, Susi, 1968 (1 letter): from Breuer

Strudwick Board of Trade, 1945 (1 letter)

Strunk, Granville B. (Santa Ana City Schools), 1946 (1 letter)

Stubbins, Hugh A. (architect), 1950-1977 (6 letters)

Stylos, Architectural Students Association at Delft, 1954 (1 letter)

Sugár, Stephen, 1947-1951 (2 letters): from Breuer

Sunderland, Mrs. Francis A., 1954 (1 letter): from Breuer's office

Suter-Moser, Claude, 1956: see Project File for UNESCO

Sutnar, Ladislav, 1951-1965 (2 letters): see Project File for UNESCO

Suzuki, Shizuo, 1975 (1 letter including résumé)

Swan, Robert Andrew, 1960-1963 (2 letters)

Swanson & Brey, Architects, 1961 (1 letter)

Swanson, Dean, 1963 (1 letter): to Charles H. Sawyer

Sweeney, James J., 1938 (2 letters): from Breuer

George J. Switzer Company, 1954-1956 (4 letters): see Project File for UNESCO

Syracuse University Library, 1968 (1 letter)

Syracuse University, School of Architecture, 1959 (8 letters)

Syska and Hennessy, Inc., 1975 (1 letter): from Breuer

Szabó, Albert, 1947-1950 (2 letters)

Szabó, Eva Mary (master weaver), 1966 (1 letter)

Szabó, G. (African Hide Trading Corporation), 1964 (1 letter)

Szak, László, 1957 (2 letters)

Szegedy-Maszák, Aladár (minister of Hungary), 1947 (1 letter)

Székely, Sándor, 1957-1959 (5 letters)

Székely, Tamás István (Wohnbedarf furniture store), 1956-1965 (10 letters): see Project File for UNESCO

Szüle, Peter János, 1975 (2 letters)

Tadashi, Iijima, 1963 (1 letter)

Tange, Kenzo and Toshike, 1960-1968 (3 letters)

Tanier, George (George Tanier, Inc.), 1961 (2 letters)

Tapia, Raúl, 1968 (1 letter): from Breuer

Tate, Allen and Helen, 1966-1967 (2 letters)

Tate, Isabella (Bella), 1963 (1 letter)

Taylor, Harold, 1951-1968 (3 letters)

Tech Reps, Inc., 1966 (1 letter)

Teller, Mrs. Walter M., 1945 (1 letter)

Terminal Radio Corporation, 1951 (1 letter): from Breuer's office

Tesla, S., 1961 (1 letter)

Thames and Hudson, Ltd., 1962-1963 (2 letters)

Theband, Polly, 1964-1965 (3 letters)

Thebond [?], Sacha, 1959 (1 letter)

Thole, Henry G. (Seaboard Surety Company), 1947 (1 letter)

J. Walter Thompson Company, 1956 (1 letter)

Thompson, Marion Gordon (Mrs. A. W. Thompson), 1950 (1 letter): see Project File for UNESCO

Thompson, Rolland, 1955-1969 (3 letters)

Thonet Brothers, Inc., 1966-1968 (3 letters): see also Pilzer, Leopold

Thost, Eberhard, undated and 1934-1937 (4 letters)

Throop, Mortimer, 1959 (1 letter): from Breuer's office

Thun, Ole, 1976 (1 letter): from Breuer's office

Thurman, Marie Christophe de Menil, undated (1 letter)

Thürmer, Ludwig and Marie Luise, 1965-1970 (8 letters)

Tibby, Jack, 1954-1956 (4 letters)

Tice & Lynch, Inc., 1953 (1 letter)

Tieger, Robert M.., 1946 (1 letter)

Tildy, Mrs. Zoltán, 1947 (1 invitation): to her honorary dinner

Tillinger, Jerry D. (Ferendino, Grafton, Spillis, Candela), 1974 (1 letter): from Breuer

Time magazine, 1954-1960 (6 letters): see also Jones, Cranston

Tischler, Julie [?], 1934 (1 letter)

Tizzone [?], Joe, 1967 (1 letter)

Todd, Charles I. (Pittsburgh Plate Glass Company), 1958 (1 letter)

Tolnay, Károly ("Carl"), 1959 (1 letter)

Tompkins, Gilbert Calyer, undated and 1941-1968 (7 letters)

Torin Corporation, 1974-1975 (2 letters): from Breuer's office

Torok, László (engineer), 1933 (1 letter)

Toronto, University of, Architectural Society of, 1958-1960 (7 letters)

Touche, A., 1963 (1 letter): from Breuer

Tourneroche, R. (Comptoir Artisanal du Maroc), 1956 (2 letters)

Towers, Mrs. Henry, 1950 (1 letter): from Breuer

Townsend-Chatterton Company, 1974 (1 letter): from Breuer

Tragseil, Karl (Austrian architect), 1950 (1 letter)

Tralau, Walter (Gerhard Marcks/Wera Mayer-Waldeck/Walter Tralau), 1953 (1 letter): includes a printed statement about Walter Gropius

Treseder, Frank C., 1946 (2 letters)

W. F. Tubbs Company, 1944 (1 letter): from Breuer

Tuchman, Barbara (Mrs. Lester Tuchman), 1970 (1 letter)

Turner, Howard (Turner Construction Company), 1968 (1 letter)

Mark Twain Journal (Cyril Clemens), 1969 (1 letter)

Tyroler, József ("José"), 1938-1940 (2 letters)

Uda, William, 1951 (1 letter)

Ugarte, Federico A. (architect), 1963 (1 letter)

Undicesima Triennale di Milano, 1957 (5 letters)

UNESCO Centrum Nederland, 1954 (1 letter)

UNESCO, Paris, 1958-1961 (4 letters)

Union Carbide Building, 1963 (1 letter): from Breuer's office

Union pour le Recouvrement des Cotisations de Sécurité Sociale et d'Allocations Familiales (URSSAF), 1953 (1 letter): from Breuer

United Nations, New York, 1966 (2 letters)

United States Department of the Interior, Bureau of Reclamation, 1974 (1 letter): from Breuer's office concerning Grand Coulee Dam

United States Department of Justice, Immigration and Naturalization, 1938-1959 (4 letters from Breuer)

United States Department of State, 1946-1974 (4 letters)

United States Embassy, London, 1960-1961 (2 letters): from Breuer concerning Jo Yorke and Jane Susannah Yorke

United States General Services Administration (GSA), 1963-1977 (3 letters)

United States Government Printing Office, 1947 (2 letters): from Breuer

United States Information Agency, 1957-1964 (7 letters)

United States National Commission for UNESCO, 1951 (information for a conference)

United States Plywood Corporation, 1946 (1 letter)

United States Postmaster General, 1955 (1 letter): from Breuer's office

United States Selective Service, 1942 (notice of classification)

United States Social Security Administration, 1956 (1 letter): from Breuer's office

Untermeyer, Louis, 1964 (1 letter)

Urbahn, Max O. (architect), 1965-1975 (2 letters)

Ustinov, Nadie, undated (1 letter)

Vachon, Judy and David, undated and 1964 (2 letters)

Valentin, Kurt (Buchholz Gallery), 1944 (1 letter)

Valle, Tommaso and Gilberto, undated (1 letter)

Van Altena, Edward, 1951 (1 letter): from Breuer's office

Van den Broek, Professor J. H. (architect), undated (1 letter)

van der Straeten, Jean (CBR Cimenteries Bruxelles), 1970 (1 letter)

Van der Wal, Dr. G., undated and 1961-1966 (6 letters)

Van Doren, Mark, 1963 (2 letters): see also Citizens Committee for a Nuclear Test Ban Treaty

van Eesteren, C. (architect), 1951 (1 letter)

van Leer, Oscar, 1970 (1 letter)

van Westen, J. H., 1960 (1 letter)

Varèse, Edgard (composer), 1956 (1 letter)

Vargha, László I., 1967 (2 letters)

Vecchione, Robert, 1964-1970 (2 letters)

Véghelyi, Péter (Acta Paediatrica, Hungarian Science Academy), 1963-1972 (5 letters)

Ventris, Dora (and Michael), undated (1 letter)

Vergun, Alexei, 1975 (1 letter): from Breuer

Verlag Girsberger, 1956 (1 letter): from Breuer

Viasz, Andor Safed ("Bendj"), 1962 (1 letter)

Vidal, Yves, 1956-1971 (7 letters)

Vincent, Mr., 1963 (1 letter): from Breuer's office

Violich, Francis, 1955 (1 letter)

Virág, Csaba (Hungarian architect), 1965-1974 (3 letters)

Virginia Polytechnic Institute, 1960 (2 letters)

Virginia, University of, 1967-1970 (18 letters)

Vissière, A. (architect), undated (1 letter)

Visy, Béla, 1957 (1 letter)

Vitrum magazine (Centro Informazioni e Studi per le Applicazioni del Vetro nell'Edilizia e nell'Arredamento; C.I.S.A.V.), 1955 (1 letter)

Vogel, George S. (Temple Israel, Cortlandt), 1951 (1 letter)

Voigt, James D. (Voigt and Fourré, Architects), 1958 (4 letters)

Volante, Julio C., 1955-1963 (2 letters)

von Debschitz, Irene, 1935 (1 letter)

von Erffa, H., 1951-1968 (2 letters)

von Meyerburg, Henrietta [?], undated (1 letter)

von Moltke, Wilhelm Viggo, 1946-1958 (4 letters)

von Segesser, Beat and Francisca, 1968-1975 (1 letter, plus 4 from Breuer)

Wachsmann, Konrad (architect/designer, General Panel Corporation), 1945-1965 (8 letters): see National Council of American Soviet Friendship, Inc., Architects' Committee

Wadsworth, Suzanne G., 1975 (1 letter): from Breuer's office

Wagner, Martin (Harvard University), 1946 (2 letters)

Senator Wagner Memorial Dinner, 1965 (1 invitation): from mayor of New York

Walker and Company, 1966-1967 (2 letters): includes a typescript about Breuer; see also Heyer, Paul O.

Walker Art Center, Center Arts Council, 1959-1962 (12 letters)

Walker, H. E. L. (Universal Moulded Products Company, Ltd.), 1943 (1 letter)

Walker, Ralph (AIA), 1951 (1 letter): from Walter Gropius

Walker, Vicki, 1968 (1 letter): from Breuer

Ward, Ernest and Priscilla (Sprague Electric Company), 1946 (2 letters)

Washington University, St. Louis, Missouri, 1975 (1 letter): from Breuer

Watson, Arthur K. (U.S. Embassy, Paris), 1970-1972 (2 letters)

Watson, Thomas, 1970 (1 letter)

Wattjes, Professor J. G., 1935 (1 letter)

Webb & Knapp (Canada), Ltd., 1963 (3 letters)

Weidler, Charlotte (Bauhaus Ausstellung), 1968 (1 letter)

Weidlinger, Paul, 1946: see Project File for UNESCO

Weidlinger Associates, 1983-1984 (2 letters)

Weiner, Paul L., 1950-1966 (2 letters)

Weinstein, Jerry, 1945 (1 letter)

William H. Weintraub & Company, Inc., 1943-1947 (3 letters)

Weiz [?], Tiberio, 1939 (1 letter)

Weizenblatt, Sprinza, 1946-1963 (20 letters)

Wenzler, William P. (architect), 1965-1968 (4 letters)

Weren, Edward C., 1946 (1 letter)

Werner, Ingrid, 1963 (3 letters)

Wertz, Mr. (Der Finanzminister des Landes Nordrhein-Westfalen), 1974 (1 letter): from Breuer

West China Development Corporation, 1947 (1 letter)

West Coast Stained Shingle Company, 1950 (1 letter): from Breuer

Westcott and Mapes, Inc. (architects and engineers), 1970 (1 letter)

Western Arts Association, 1959 (4 letters)

Western Reserve University, 1958 (5 letters)

Westport Public Library, 1975 (1 letter): from Breuer

Wetter, Barbara, 1980 (1 letter): concerns traveling exhibition

Wheaton, William L. (Pomona College), 1960 (1 letter)

White, George (architect of the Capitol), 1975 (1 letter): from Breuer

White House (Letitia Baldridge), 1963 (1 letter): mentions Jacqueline Kennedy

White, J. G. (Peerless Flooring Company), 1955 (1 letter)

Whitney, Charles E. (Publications, Inc.), 1954-1956 (2 letters): from Breuer's office

Whitney Museum of American Art, 1968-1976 (19 letters): 1 from Jean Lipman; 14 from Breuer and a typescript about Alexander Calder

Who's Who in America, 1947 (2 letters)

Wieland, Albert, 1963 (1 letter)

Wiener, Paul Lester and Ingebord, 1944-1955 (3 letters)

Wiesenfeld, David, 1957 (1 letter): from Breuer's office

Wieser, U. P. (Wohnbedarf furniture store), 1959-1960 (3 letters)

Wigglesworth, Isabella C., 1946 (1 letter)

Wilcox & Company, 1972 (1 letter)

Wilder, Hugo, 1946 (1 letter): from E. S. Ferguson

Wiley, Chuck, 1950 (1 letter)

Wilhelm, Günter, 1949 (1 letter)

Wilinski, Erich, 1935 (2 letters)

Willard, Marian G. ("Viva Villa"; East River Gallery), undated and 1935-1965 (25 letters)

Williams, Amancio (architect), 1955 (1 letter)

Williams, Daniel, 1974 (1 letter): from Breuer's office

Williams, Peter C., 1956 (1 letter)

Williams, Preston, 1958 (2 letters)

Wilson, Dr. and Mrs. Julius Lane, 1965 (1 letter)

Wilson, June P. (Mrs. Kenneth Wilson), 1968 (1 letter)

Wilson, Marjorie (Mrs. Will Wilson), 1956 (1 letter)

Winde, McCormick & Chapin, 1945 (1 letter)

Wingler, Hans, undated and 1966-1980 (23 letters): 14 from Breuer; see also Bauhaus Archiv E.V.

Winkler, Robert, 1955 (1 letter)

Winsten, Steve, 1968 (1 letter): from Breuer

Winston, E., 1950 (1 letter)

Winter, Edward, 1950-1951 (3 letters)

Wisconsin Chapter of AIA, 1960 (1 letter)

Wisconsin, University of, 1960 (2 letters)

Wisdom Encyclopedia, 1966 (1 letter)

Wogner, Charles, 1951 (2 letters)

Wohlstetter, Albert (Atlas Aircraft Products Corporation), 1944-1946 (7 letters)

Wohlstetter, Marjorie, 1946 (1 letter)

Wolf, Albin, 1933 (5 letters)

Wolf, Ferenc, 1963-1965 (4 letters)

Wolfe, James F. (Ketchum, MacLeod & Grove, Inc.), 1960 (2 letters)

Wolff, Robert Jay, 1956-1975 (3 letters): 1 from Breuer

Wolfson, Sidney, 1954-1955 (2 letters): from Breuer's office; 1975 letter is from Nicholas P. Appy, executor of Sidney Wolfson's will

Wollowick, David P., 1947 (1 letter)

Wong, Andy, 1968 (1 letter): from Breuer

Wong, Tommy (UCLA), 1974 (1 letter)

Worcester Art Museum, 1954 (1 letter)

Working, Jane, undated and 1961 (5 letters)

Wright, Irving S. and Lois, 1963-1968 (2 letters)

Wright, Russell (pottery), 1950-1951 (2 letters): from Breuer's office

Wu, King-lui, 1945-1950 (7 letters): 6 from Breuer

Wunderlich, Carlos Asensio, 1946 (1 letter): from Breuer

Wundrich-Meissen, 1934 (1 letter)

Wurster, William W. (architect) and Catherine, 1946-1960 (6 letters): see American Society of Planners and Architects (ASPA)

X Functie, 1953-1957 (3 letters)

Yale University, 1945-1976 (4 letters)

Yamawaki, Iwao, 1954 (2 letters)

Yasko, Karel, 1968 (1 letter)

Yorke, F. R. S. (Francis Reginald Stevens Yorke; architect), 1944-1962 (31 letters)

Yorke, Thelma and Kay, 1938-1939 (2 letters)

Yoshimura, Junzo (architect), undated (1 letter): to Yoshimura from Pella Rolscreen Company

Yoshioka, Yasugoro, undated (1 letter)

Young, Edward L., 1966 (1 letter)

Young, Hamilton, 1938 (1 letter)

Yu, Jane, 1964-1965 (3 letters)

Yurchenco, Basil ("Chenk"; Goldwater & Yurchenco Associates), 1947-1950 (3 letters)

Zahedi, H. E. Ardeshir (ambassador of Iran), 1974-1975 (4 letters): from Breuer

Zanuso, Marco (architect; Olivetti), 1957 (1 letter): from Breuer

Zechlin, Hans Josef, 1950 (1 letter)

Ziegler, Barbara, 1947 (1 letter)

Ziegler, Frank, 1974 (1 letter): from Breuer

Ziegler, Richard, undated (1 letter)

Zwick, Virgil J., 1959 (1 letter)
Collection Restrictions:
The microfilm for this collection has been digitized and is available online via the Archives of American Art website.
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:
Marcel Breuer papers, 1920-1986. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.breumarc, Series 2
See more items in:
Marcel Breuer papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw94269a410-353a-4450-a036-6d5688d6cf20
EDAN-URL:
ead_component:sova-aaa-breumarc-ref54

Hans Namuth photographs and papers

Creator:
Namuth, Hans  Search this
Names:
Exposition universelle et internationale (1958 : Brussels, Belgium)  Search this
Jewish Museum (New York, N.Y.)  Search this
Museum of Modern Art (New York, N.Y.)  Search this
Virginia Museum of Fine Arts  Search this
Yale University. School of Art and Architecture  Search this
Adams, Ansel, 1902-1984  Search this
Boynton, Jack, 1928-2010  Search this
Breuer, Marcel, 1902-  Search this
Cage, John, 1912-1992  Search this
Calder, Alexander, 1898-1976 -- Photographs  Search this
Castelli, Leo  Search this
Copland, Aaron, 1900-1990  Search this
Davis, Stuart, 1892-1964  Search this
De Kooning, Willem, 1904-1997  Search this
Fuller, R. Buckminster (Richard Buckminster), 1895-  Search this
Hartigan, Grace  Search this
Hopper, Edward, 1882-1967  Search this
Johns, Jasper, 1930- -- Photographs  Search this
Karpel, Bernard, 1911-1986  Search this
Koch, Kenneth, 1925-  Search this
Krasner, Lee, 1908-1984 -- Photographs  Search this
Mies van der Rohe, Ludwig, 1886-1969  Search this
Navaretta, Cynthia  Search this
Newman, Arnold, 1918-2006  Search this
Noguchi, Isamu, 1904-1988 -- Photographs  Search this
Norman, Dorothy, 1905-1997  Search this
Picasso, Pablo, 1881-1973  Search this
Pollock, Jackson, 1912-1956 -- Photographs  Search this
Rauschenberg, Robert, 1925-2008 -- Photographs  Search this
Rothko, Mark, 1903-1970 -- Photographs  Search this
Shaw, Elizabeth Roberts, 1921-  Search this
Stieglitz, Alfred, 1864-1946  Search this
Wyeth, Andrew, 1917-2009 -- Photographs  Search this
Extent:
4.5 Linear feet
Type:
Collection descriptions
Archival materials
Interviews
Photographs
Transcripts
Place:
Massachusetts -- Boston
Date:
1945-1985
Summary:
The papers of New York photographer and filmmaker Hans Namuth measure 4.5 linear feet and date from 1945 to 1985. The bulk of the collection consists of photographs taken by Namuth of New York artists. Also included are papers regarding Namuth's film about Alfred Stieglitz and other professional files.
Scope and Contents:
The papers of New York photographer and filmmaker Hans Namuth measure 4.5 linear feet and date from 1945 to 1985. The bulk of the collection consists of photographs taken by Namuth of New York artists. Also included are papers regarding Namuth's film about Alfred Stieglitz and other professional files.

The first series contains materials related to the planning and production of Namuth's film Alfred Stieglitz, Photographer. Documentation includes articles, correspondence, exhibition materials, grant program request sheets, magazines and catalogs, photo requests, photographs and photographic materials, notes and research, shot lists, script drafts and fragments, interview transcripts, and correspondence. Interviewees include Ansel Adams, Arnold Newman, Aaron Copland, Dorothy Norman, and others.

The second series contains various writings and papers relating to Namuth's professional activities, including Namuth's exhibition at the 1958 Brussels World Fair, business and financial records, papers on The Construction of Boston by Kennth Koch, correspondence, a notebook, and various printed materials. Namuth's correspondence is with James Boynton, Bernard Karpel, the Museum of Modern Art, Cynthia Navaretta, Elizabeth Shaw, the Virginia Museum of Fine Arts, and the Yale University School of Art and Architecture.

Photographs taken by Hans Namuth depict prominent American (primarily New York-based) artists, architects, writers, musicians, and art critics. Artists are shown in their studios or homes, either at work or posing for the camera, and include Alexander Calder, Stuart Davis, Willem de Kooning, Grace Hartigan, Edward Hopper, Jasper Johns, Lee Krasner, Isamu Noguchi, Jackson Pollock, Robert Rauschenberg, Mark Rothko, and Andrew Wyeth, among many others. Photographs of other individuals include Marcel Breuer, John Cage, Leo Castelli, Buckminster Fuller, and Ludwig Mies van der Rohe, and others. Also found are photographs of exhibitions, openings, and art-related events from the 1950s and 1960s, such as a traveling Picasso exhibit and a Robert Rauschenberg opening at the Jewish Museum. Most photographs are black and white, but a few color prints are included.
Arrangement:
This collection is arranged as 3 series.

Missing Title

Series 1: Alfred Stieglitz Film Project, 1945-circa 1981 (Box 1, OV 11; 0.8 linear feet)

Series 2: Professional Files, 1953-1985 (Box 1; 0.3 linear feet)

Series 3: Photographs, 1945-1984 (Box 2-10; 3.4 linear feet)
Biographical / Historical:
Hans Namuth (1915-1990) was a German-American photographer and filmmaker who lived and worked in New York. He was primarily known for his work photographing prominent American artists in the 1950s and 1960s.

Namuth was born in Germany but left for France in 1933 after the rise of the Nazi Party. While in France, he struck up a friendship with fellow German Georg Reisner. From 1935 to 1939, Namuth and Reisner worked together as photographers primarily in Paris. His first works to catch the public's attention came from an assignment in Barcelona that accidentally coincided with the beginning of the Spanish Civil War in 1936. Following a short internment in Nazi-occupied France, Namuth left for the United States.

After taking photography classes with Alexey Brodovitch, art director of Harper's Bazaar, Namuth met Jackson Pollock at an exhibition in 1950 and asked to photograph the artist at work. His subsequent photographs of Pollock raised both artists' profiles. Namuth would spend the next three decades photographing major New York artists, architects, and art-related events for commission and for his own studio. He directed a number of films in collaboration with Paul Falkenberg and published several books of photographs. Namuth died in Long Island in 1990.
Related Materials:
Also at the Archives of American Art is an oral history interview with Hans Namuth, Aug. 12-Sept. 8, 1971. Additional Hans Namuth papers are located at the Center for Creative Photography, University of Arizona.
Provenance:
The collection was donated 1972-1985 by Hans Namuth.
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:
All Photographs by Hans Namuth: All requests for image reproductions are to be sent to: Assistant Registrar for Rights & Reproductions; Center for Creative Photography. Contact Reference Services for more information.
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 critics -- New York (State) -- New York  Search this
Musicians -- New York (State) -- New York  Search this
Topic:
Artists -- New York (State) -- New York  Search this
Filmmakers -- New York (State) -- New York  Search this
Photographers -- New York (State) -- New York  Search this
Genre/Form:
Interviews
Photographs
Transcripts
Citation:
Hans Namuth photographs and papers, 1945-1985. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.namuhans
See more items in:
Hans Namuth photographs and papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw98657f618-8639-4278-8569-19240b164357
EDAN-URL:
ead_collection:sova-aaa-namuhans

Joseph Cornell papers

Creator:
Cornell, Joseph  Search this
Names:
Benton, Elizabeth Cornell  Search this
Cornell, Robert  Search this
Extent:
24.9 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Date:
1804-1986
bulk 1939-1972
Summary:
The papers of Joseph Cornell (1903-1972) measure approximately 24.9 linear feet and date from 1804 to 1986 with the bulk of the material dating from 1939-1972. The collection documents the life, work, interests, and creative activities of the self-taught artist, who was best known for his shadow box constructions, assemblages, and collages. Papers include correspondence, diaries, source material, notes, writings, photographs, printed material, two- and three-dimensional ephemera, art works, and books, as well as a limited amount of legal and financial records, and some miscellaneous personal and family papers. The collection also includes the papers of his sister, Betty Cornell Benton, relating to the handling of Cornell's estate and the personal papers of his brother, Robert Cornell.
Scope and Content Note:
The Joseph Cornell papers measure approximately 24.9 linear feet and date from 1804 to 1986, with the bulk of the material dating from 1939-1972. The collection documents the life, work, interests, and creative activities of the self-taught artist, who was best known for his shadow box constructions, assemblages, and collages. Papers include correspondence, diaries, source material, notes, writings, photographs, printed material, two- and three-dimensional ephemera, art works, and books, as well as a limited amount of legal and financial records, and some miscellaneous personal and family papers (which comprise a series of biographical material). The collection also includes the papers of his sister, Betty Cornell Benton, relating to the handling of Cornell's estate and the personal papers of his brother, Robert Cornell.

Cornell's correspondence is typically with family, friends, artists, dealers, collectors, galleries, museums, admirers, individuals whom he admired, "helpers," and various charitable institutions. Correspondence generally concerns the creation, exhibition, sale, and reception of Cornell's art work; his "explorations" and other research and collecting activities; his preoccupations with certain individuals and motifs; his usual practices of giving gifts of art work to those he liked or admired and making donations to charities in aid of those less fortunate; and his relationships and shared interests with family, friends, and colleagues. Also found is correspondence between and amongst various other members of the Cornell family, including, most notably, Robert Cornell's letters to his sisters, Elizabeth (typically addressed as Nell) and Helen.

Dating from 1941 to 1972, Cornell's diaries span almost the entirety of his career as an artist, which began in earnest when he left his job at the Traphagen textile studio in 1940 to pursue art full-time and ended with his death in 1972. The diaries record his day-to-day experiences (usually comprising his thoughts, feelings, impressions, and ideas); and reflect on his various art projects (boxes, films, and collages) and creative activities ("explorations," and various other research, collecting, and publishing ventures). They also explore many of the themes and underlying concerns of his art work; and document his intense preoccupations with certain individuals, his wide-ranging interests, and the interconnectedness of his ideas and activities. Cornell's style of writing in the diaries tends to be stream-of-conscious with entries being composed of phrases, rather than complete sentences and with the progression of passages being more poetic and associative than either logical or narrative. He tended to compose by hand, occasionally typing up his notes into more formal entries, and also to use abbreviations for oft-repeated words and initials for individuals. At times, his handwriting can be difficult to read, and his references can be difficult to decipher. It was also common practice for him to review or revisit previous entries at various points in time, often making revisions or comments on them with dated annotations in the margins or on the reverse side of a page.

Cornell's source material is largely comprised of files of newspaper and magazine clippings, cutouts, notes, writings, book excerpts, photostats (or stats), prints, postcards, art reproductions, and other printed material. Some files are devoted to people (ballerinas, actresses, singers, artists, and writers) and topics (astronomy, romantic and modern ballet, birds, films, literature, music, plants, and science, among others). Other files relate to specific art works, "explorations," publishing projects, and exhibitions. Source material documents Cornell's preoccupation with certain individuals (past and present), events, subjects, and motifs; the development of some of his major "explorations" and their influence on his various artistic and commercial projects; and his work on certain box constructions and collages, publishing ventures, and exhibition catalogues. Source material also sheds light on Cornell's efforts to gain access to the past; his interest in the symbolism of images and objects; the linkages he found between seemingly unrelated things; and the connections between his many creative endeavors.

Ephemera and artifacts include various objects, mementos, and items of memorabilia, some of which were accumulated by Cornell (in much the same way that he collected his source material) and some of which are of uncertain origin. For Cornell, items such as these were not merely inanimate objects, but were instead evocative of past worlds and capable of bringing the past into the present (an idea which he often expressed in his diaries as the "metaphysique d'ephemera"). He seems to have used some of these items in a layout he designed for Good Housekeeping. Other items may have been used as source material for some of his box constructions.

The collection also houses photographs of Cornell, his family, art work, other artists, and friends, as well as photographs taken by various individuals and publicity photographs from the New York City Ballet. Also found are scattered works of art, including collage fragments and Rorschachs (or ink blot drawings) by Cornell, collages by Cornell's sister, Betty Cornell Benton, on which he collaborated, and a box by Christine Kaufman, which was a gift to Cornell. The books in the collection most likely comprise the remainder of Cornell's library, which was transferred to the Joseph Cornell Study Center, and include some that seem to have belonged to his sister, Betty. Printed material includes various publications and clippings collected by Cornell apart from that which he collected as source material. Writings about Cornell include an article by the poet, Mina Loy, and copies of various theses, presentations, and articles by graduate students in art history received by Benton (who assisted them in their research).

The Joseph Cornell Estate Papers consist of correspondence relating to Betty Cornell Benton's administration of the part of Cornell's estate for which she was responsible and legal documents relating to her various legal disputes with the executors of the estate, as well as a limited amount of printed material, some of which was originally accumulated by Cornell and subsequently shared with Benton, and miscellaneous papers belonging to Benton and their mother, Helen S. Cornell. Estate Papers provide insight on the exhibition and sale of Cornell art works after his death; the disposition of his belongings (including art work, papers, books, records, and source material); and Benton's efforts to foster and safeguard the memory and legacy of Cornell. The Robert Cornell Papers include correspondence, writings, art works, photographs, printed material, and scattered financial and personal records, documenting the full and creative life Robert led despite being confined to a wheelchair. Their inclusion in the collection suggests the family's effort to foster Robert's memory.
Arrangement:
The collection is arranged into eleven series:

Missing Title

Series 1: Biographical Material, 1918-1972, 1975 (Box 1; 0.8 linear feet)

Series 2: Correspondence, 1909-1982 (Boxes 1-5, OV 31; 4.3 linear feet)

Series 3: Diaries, 1941-1973 (Boxes 6-10; 5 linear feet)

Series 4: Source Material, 1804-1972 (Boxes 11-18, 25-28, OV 29; 8.5 linear feet)

Series 5: Ephemera and Artifacts, 1858-1946 (Boxes 18, 23; 0.8 linear feet)

Series 6: Photographs, circa 1905-1972 (Boxes 18, 28, OV 30; 0.3 linear feet)

Series 7: Art Works, circa 1966-1971 (Boxes 19, 23; 0.2 linear feet)

Series 8: Books and Printed Material, 1806-1968 (Boxes 19, 23; 0.5 linear feet)

Series 9: Writings about Cornell, 1950, circa 1975-1980 (Box 19; 0.3 linear feet)

Series 10: Joseph Cornell Estate Papers, circa 1911, 1944-1986 (Boxes 19-22; 3.5 linear feet)

Series 11: Robert Cornell Papers, 1924-1965 (Boxes 24, 28; 0.4 linear feet)
Biographical Note:
Joseph Cornell, assemblagist, collagist, and filmmaker, was born on December 24, 1903 in Nyack, New York. He was the oldest son of Joseph I. Cornell, a textile salesman and designer, and Helen Storms Cornell, and had two younger sisters, Elizabeth (b. 1905), nicknamed Nell and later Betty, and Helen (b. 1906), and a younger brother, Robert (b. 1910), who suffered from cerebral palsy. Cornell shared close relationships with his siblings, and was especially attached to his brother whom he took care of as an adult. His fondest childhood memories included family Christmas celebrations, outings to Manhattan where he saw vaudeville shows and strolled around Times Square, and trips to Coney Island where he encountered penny arcade machines. These childhood memories, among others, inspired some of the themes later explored in his art work.

After his father's death in 1917, Cornell was sent to study at the Phillips Academy in Andover, Massachusetts. He remained there for four years, but left without receiving a diploma. During this time, the family moved from Nyack to Bayside, Queens, where they lived in a series of rented houses. Cornell rejoined his family in 1921, at which time he went to work as a salesman in the Manhattan office of a textile wholesaler, the William Whitman Company. He joined the Christian Science church in the mid-1920s, and in 1929, the family bought a house at 37-08 Utopia Parkway in Flushing, where he resided for the rest of his life, living there with his mother and brother after both his sisters married and moved away.

During the 1920s, Cornell developed his passion for walking the city streets and taking in their sights, sounds, and impressions; browsing in the secondhand bookshops along Fourth Avenue; and collecting material such as books, prints, postcards, and printed and three-dimensional ephemera. He cultivated his growing interest in culture and the arts by attending opera and ballet performances, seeing plays (the 1922 play Rain, which starred Jeanne Eagels, was among his favorites), visiting galleries and museums, reading, and going to the movies.

In 1931, Cornell began to frequent the Julien Levy Gallery, where he encountered Surrealist art for perhaps the first time. Around this time, he created his first works of art - a series of black-and-white collages composed from cutouts of nineteenth-century engravings - inspired by Max Ernst's collages, in particular his collage-novel, La Femme 100 tetes (1929). Cornell went on to create three-dimensional works of art such as pill boxes and a glass bell series (consisting of objects arranged under a bell jar). His work, including several collages and a glass bell, was first exhibited as part of the groundbreaking "Surrealisme" show at the Levy Gallery in January 1932. He also designed the cover of the show announcement. His first one-man show at the gallery, "The Objects of Joseph Cornell," followed in the fall of 1932. (It was seven years before his next solo show.) By this time, Cornell had been laid off from his job at Whitman's. He was out of work for several years before getting a job as a textile designer at the Traphagen Commercial Textile Studio in 1934. During the next several years, he continued to work on his art at night.

Around this time, Cornell began collecting movies and movie stills, and embarked upon various film-related projects. In 1933, he wrote a scenario for a silent movie, Monsieur Phot. A few years later, he made his first film, Rose Hobart (1936), comprised of re-edited footage from the B-movie, East of Borneo (1931), which starred the actress, Rose Hobart. And he began work on a trilogy of collage-films - The Children's Party, Cotillion, and The Midnight Party (circa 1937). He then took a break from making films until the mid-1950s, but continued to collect film-related material, which he began to incorporate into his other art work.

In 1936, Cornell constructed his first glass-fronted shadow box, Untitled (Soap Bubble Set), which was included that same year in the "Fantastic Art, Dada and Surrealism" exhibition at the Museum of Modern Art, along with a cabinet box and several glass bells. In creating some of his other early boxes, he began the practice of using photo reproductions of images which he located in books and magazines, or in the Picture Collection at the New York Public Library, among other places. In his tribute boxes to actresses (1930s), he made use of publicity shots, and in the box, Dressing Room for Gilles (1939), he employed a photostat (or stat) of a reproduction of Jean-Antoine Watteau's painting, Gilles (1718).

Over the years, Cornell came into contact with various figures of the art, dance, and literary worlds. In the 1930s and 1940s, he met the artists, Max Ernst, Marcel Duchamp, and Salvador Dali, and befriended the artists, Lee Miller and Dorothea Tanning. His formative friendships during 1940s were with the artist, Pavel Tchelitchew, the writers, Charles Henri Ford (founder of the avant-garde periodical, View), Parker Tyler, and Donald Windham, and the balletomane, Lincoln Kirstein (founder of Dance Index). His other friends included the artists, Roberto Matta Echaurren and Robert Motherwell, the dancer and actress, Tilly Losch, and the poets, Mina Loy and Marianne Moore. In the 1950s, he associated with artists from the Abstract Expressionist movement, including Willem de Kooning, Jack Tworkov, and Mark Rothko. Beginning in the mid-1950s, he befriended many young artists, including Lee Bontecou and Carolee Schneeman, and young actresses, including Lois Smith, Gwen Van Dam, and Suzanne Miller, whom he sought to appear in his films. And in the early 1960s, he met the Pop artists, Robert Indiana, James Rosenquist, and Andy Warhol.

Beginning in 1940, Cornell developed a keen interest in dance, particularly ballet. Ballerinas from the Romantic era, such as Marie Taglioni and Fanny Cerrito, especially captured his imagination, inspiring such works as the box, Taglioni's Jewel Casket (1940), and the Portrait of Ondine "exploration," which comprised a portfolio of material relating to Cerrito and her famous role in the ballet, Ondine. Cornell was also fascinated with the modern counterparts of the Romantic ballerinas. In 1940, he befriended the Russian ballet dancer, Tamara Toumanova, and over the years produced many works in homage to her, including swan boxes (inspired by her role in Swan Lake), boxes made with scraps from her costumes, and scrapbooks of clippings, stats, and memorabilia. In 1949, he became enamored of the French dancer, Renee "Zizi" Jeanmarie, after seeing her perform in Carmen and meeting her backstage, and he created several dance-related boxes in her honor. In 1957, he met the ballerina, Allegra Kent. After meeting again in 1964, they became friends, and she served as the subject of several works based on images reproduced from a Parmigianino painting.

In December 1940, Cornell left his job at the Traphagen textile studio to pursue art full-time. He set up a workshop in the basement of the house on Utopia Parkway, which served as a combination studio and storage space. While he spent most days at home, he continued to make regular trips into Manhattan to wander around the city, visit with friends, and hunt for material. Around this time, he began to keep a diary, recording his day-to-day experiences (usually comprising his thoughts, feelings, impressions, ideas) on scraps of paper (including used envelopes, paper bags, napkins, and ticket stubs, among other fragments). He would then type up some of these notes into more formal diary entries, but most of them remained, in his word, "scribblings." Diary keeping eventually became one of his primary activities, along with box construction, collage, research, and collecting.

By this time, his art work was beginning to sell, yet he was not able to live from these sales alone. During the 1940s, he primarily supported himself by doing freelance work for magazines such as Vogue, Harper's Bazaar, and Good Housekeeping, supplying illustrations from his picture collection and designing covers and layouts. He also regularly contributed pieces to View and Dance Index. His notable contributions to View included "Enchanted Wanderer: Excerpt from a Journey Album for Hedy Lamarr" (December 1941), "Story Without a Name - for Max Ernst" (April 1942), and "The Crystal Cage [portrait of Berenice]" (January 1943). His projects for Dance Index included various collage-covers, essays, and thematic issues, such as the Summer 1944 issue, which comprised a 22-page tribute to the Romantic ballerinas, Taglioni, Carlotta Grisi, Cerrito, and Fanny Elssler. To supplement his income, Cornell also held brief positions at an electronics plant, the Allied Control Company, Inc. (in 1943), and at a nursery, the Garden Centre (in 1944).

In 1942, Cornell created one of his more memorable works, Medici Slot Machine, embarking upon a large series of Medici boxes in which he utilized reproductions of portraits by Italian Renaissance artists, such as Sofonisba Anguissola and Pinturicchio. His other boxes from this time period explored themes ranging from ballet, as in A Pantry Ballet (for Jacques Offenbach) (1942), to doomed love, as in Paolo and Francesca (1943-48), to nature, as in the Sand Boxes (1940s) and Sand Fountains (1950s). Cornell often created boxes in series, producing variations on a theme with variants that differed significantly or only slightly. Over the years, series included: Pink Palaces, Pharmacies, Habitats, Aviaries, Dovecotes, Hotels, Observatories, and Night Skies, among others.

In late 1945, Cornell joined the Hugo Gallery, which was run by Alexander Iolas, and a year later mounted the show, "Romantic Museum at the Hugo Gallery: Portraits of Women by Joseph Cornell" (December 1946). He designed the exhibition catalog for this show, which consisted of portraits - box constructions, objects, and "dossiers" - of the opera singers, Giuditta Pasta and Maria Malibran, the ballerinas, Taglioni and Cerrito, and the actresses, Eleanora Duse, Jeanne Eagels, Greta Garbo, and Jennifer Jones, and which also featured one of his most famous boxes, Untitled (Penny Arcade Portrait of Lauren Bacall) (1945-46).

In 1949, Cornell joined the Egan Gallery, which was run by Charles Egan. Around this time, he began creating his series of Aviary boxes, which explored the symbolism of birds and birdcages. He showed twenty-six of these box constructions in his first exhibition at the Egan Gallery, "Aviary by Joseph Cornell" (December 1949-January 1950). He created other series of whitewashed boxes, including the Dovecote series and a small group relating to the poet, Emily Dickinson. He then went on to explore the themes of astronomy and celestial navigation in the Observatory, Night Skies, and Hotel series. Works from these series were featured in his two remaining shows at the Egan Gallery, "Night Songs and Other Work" (December 1950-January 1951) and "Night Voyage" (February-March 1953). In the fall of 1953, sparked by seeing the painting, Figure Seated in a Cafe (1914), Cornell embarked upon a major series of bird constructions dedicated to the Cubist artist, Juan Gris. Notably, these were the only boxes he explicitly dedicated to another artist.

Over the next couple of years, Cornell's work was exhibited across the country. In 1955, he joined the Stable Gallery, which was run by Eleanor Ward. His first one-man show there, in the winter of 1955-56, was "Winter Night Skies," which featured various box constructions based on constellations. During the mid-1950s, he embarked upon a series of Sand Fountains (vertical standing boxes featuring a broken glass and sand that flowed through it when turned upside down), elaborating upon his earlier Sand Boxes (1940s). These boxes along with some of his other latest works, including the Bleriot boxes and the Space Object boxes (which comprised his final box series), were exhibited in his second and last show at the Stable Gallery, "Selected Works" (December 1957).

After leaving the Stable Gallery, Cornell had several dealers handle his work rather than allowing any one to assume too much control. Dealers included Richard Feigen (in Chicago and then in New York) and Irving Blum (in California), among others. Throughout his career, Cornell never liked selling his boxes. He was always reluctant to let his work go and became increasingly uneasy about the growing status of his work as a commodity. He preferred instead to make gifts of his art work to friends and individuals he admired (especially female ones).

In the mid-1950s, Cornell returned to making films. Rather than just splicing together found images as he had in his films of the 1930s, he began to collaborate with others to shoot original footage. He worked with the experimental filmmaker, Stan Brakhage, on two films, one about the Third Ave El which was about to be torn down ( Wonder Ring or Gnir Rednow) and the other about an old house in Cornell's neighborhood that was slated for demolition ( Centuries of June). Cornell then went on to make nine films with the filmmaker, Rudy Burckhardt, including Aviary, A Legend for Fountains, and Nymphlight, among others. In the late 1960s, he enlisted the help of Larry Jordan, who was also a filmmaker, in completing the trilogy of collage-films that he had begun in the 1930s.

Along with creating works of art and making films, Cornell was involved in a host of other creative endeavors throughout his career as an artist. These included: keeping a diary, which was for him another medium for exploring and expressing the themes, ideas, and concerns recurrent in his art work; carrying out "explorations," which typically involved conducting research, collecting material, and compiling files on persons or topics of interest to him; and other projects, such as publishing pamphlets (or brochures) dedicated to the nineteenth-century opera singers, Malibran and Giulia Grisi. Cornell's "explorations" clearly informed his artwork, but they were also works of art in and of themselves. He continually sought to share this work with an audience and twice had the opportunity to do so, when he exhibited versions of his Portrait of Ondine "exploration" at the Museum of Modern Art in 1945 and at the Wittenborn Bookstore in 1956.

Around the mid-1950s, Cornell returned to making collages as independent works of art. Unlike his earlier ones, which were composed from cutouts of black-and-white engravings, his latest collages were made with color images cut out of contemporary magazines and books. In these collages, he explored many of the same themes and preoccupations of his box constructions, including birds, as in Couleur de Peche (1967) and Untitled (Vierge Vivace) (1970), children's games, as in the Penny Arcade series (1960s), and actresses, as in The Sister Shades (1956). Towards the end of his career, collage became his principal medium.

By this time, Cornell was taking fewer trips into Manhattan. Instead, he spent more time at home or traveled only so far as downtown Flushing, where he frequented the public library, hunted for material in stores, such as Woolworth's, and passed time in the coffee-shops on Main Street. From this time on, he kept his diary with increasing regularity, taking down notations with more frequency and creating entries of greater length.

In 1961, fourteen of Cornell's boxes, including Medici Slot Machine, were exhibited as part of the "The Art of Assemblage" show at the Museum of Modern Art. As his biographer notes, Cornell came to view this show "as a turning point in his creative life," marking the "[fall] off in his work" that took place in the sixties (Solomon 271-2). He continued to work on boxes that he had begun long before, but, after this time, rarely if ever constructed new ones. Instead, he focused on making collages and became increasingly concerned with other projects, such as organizing his basement workshop, for which he hired various "helpers" or assistants (mostly young women) over the years. He also became more and more prone to obsessions (or preoccupations, as he called them) with various young women that he encountered both in fantasy (actresses on stage or in films) and in real life (working girls in the city, "teeners" on Main Street, or his female visitors and "helpers" at home). These preoccupations infused his diary writings, and inspired the keeping of "dossiers" on particular individuals and the creation of various collages dedicated to others, including most notably the Penny Arcade series dedicated to Joyce Hunter (or "Tina," as he referred to her in his writings).

After Robert's death in February 1965, Cornell created a series of collages in his memory, many of which incorporated his brother's drawings of animal characters. In January 1966, he exhibited some of these collages, alongside a selection of Robert's drawings, in a show at the Robert Schoelkopf Gallery, "Robert Cornell: Memorial Exhibition." In 1967, there were two retrospective exhibitions of Cornell's work, "An Exhibition of Works by Joseph Cornell" at the Pasadena Art Museum and "Joseph Cornell" at the Guggenheim Museum. By now, Cornell was receiving considerable public recognition for his work. He had received his first profile (by Howard Griffin) in the December 1957 issue of Art News and, ten years later, was treated to a 12-page spread (by David Bourdon) in the December 1967 issue of Life magazine. He was also the recipient of various prizes for his art work, including the M.V Kohnstamm Prize at the Art Institute of Chicago's "62nd American Exhibition of Painting and Sculpture" in 1957 and the winning prize in India's first Triennale of Contemporary World Art in 1968.

In the last years of his life (especially from the time of his mother's death in the fall of 1966), Cornell suffered from severe depression and loneliness, and withdrew even further from the outside world. However, he still maintained relationships with various young friends and artists, who frequently visited Utopia Parkway and/or served as one of his assistants. He became more and more interested in sharing his work with a younger audience and his last two exhibitions in 1972 were expressly for children, "A Joseph Cornell Exhibition for Children" at the Cooper Union School of Art and Architecture and "Joseph Cornell - Collages and Boxes" at the Albright-Knox Art Gallery in Buffalo, New York.

Cornell continued to work until the end of his life, "refurbishing" earlier boxes and creating memorial collages. Following prostate surgery in June 1972, he spent several months recuperating with family in Westhampton before returning to Utopia Parkway in November. He died of heart failure at home on December 29, 1972.

The biographical note draws heavily from Deborah Solomon's biography, Utopia Parkway: The Life and Work of Joseph Cornell (New York: Farrar, Strauss, and Giroux, 1997), and Diane Waldman's book, Joseph Cornell: Master of Dreams (New York: Harry N. Abrams, Inc., 2002).
Related Material:
The Archives holds several collections of different provenance that relate to Joseph Cornell, including the small collections of Allison Delarue (comprised of two letters from Cornell, available on reel 2803), Muriel Streeter Schwartz (comprised of two letters from Cornell, available on reel 4283), Wayne Andrews (comprised of letters from Cornell and printed material), and Marion Netter (comprised of items received from Cornell). In addition, photographs of Cornell can be found amongst the Hans Namuth photographs and papers. Also found within the Archives is a transcribed interview of Cornell's sister, Elizabeth Cornell Benton, conducted on April 21, 1976 as part of the oral history program.
Separated Material:
The bulk of Cornell's source material resides in the Joseph Cornell Study Center, Smithsonian American Art Museum, along with his library and record collection. Cornell's sister, Betty Cornell Benton, donated a portion of this material directly to SAAM (then known as the National Museum of American Art), occasioning the creation of the Study Center circa 1978. The bulk of the source material and library that she donated to AAA, including approximately 66 linear feet of three-dimensional and non-textual source material and 50 linear feet of books, was transferred to the Study Center in 1994 and 1995.

Originals of loaned material returned to the donor after microfilming include: some unidentified and miscellaneous correspondence; significant correspondence between Joseph Cornell and Helen S. Cornell; significant correspondence between Helen S. Cornell, family members and others; and some of Joseph Cornell's family correspondence and general correspondence from the Robert Cornell papers. The loaned material is available on microfilm reels 1055-1058 but is not described further in the Series Descriptions/Container Listing of this finding aid.
Provenance:
The Joseph Cornell papers were donated and microfilmed in several installments from 1974 to 1989 by Joseph Cornell's sister, Betty Cornell Benton. Most, but not all, of the correspondence, which was loaned for microfilming in 1974, was subsequently donated in 1989. Additional material was donated in 2004 by the Joseph and Robert Cornell Memorial Foundation.
Restrictions:
Use of the 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:
Celebrities  Search this
Sculptors -- New York (State) -- New York  Search this
Assemblage (Art)  Search this
Found objects (Art)  Search this
Art, Modern -- 20th century -- United States  Search this
Assemblage artists -- New York (State) -- New York  Search this
Works of art  Search this
Genre/Form:
Photographs
Citation:
Joseph Cornell papers, 1804-1986, bulk 1939-1972. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.cornjose
See more items in:
Joseph Cornell papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9ff67e8a6-6a88-40f0-9df4-537c9826eed7
EDAN-URL:
ead_collection:sova-aaa-cornjose
Online Media:

Jorge Prelorán films

Creator:
Preloran, Jorge, 1933-2009  Search this
Names:
University of California, Los Angeles  Search this
Extent:
50 Film reels (50 completed films and 1 film series; 110,600 feet of original film outtakes (51 hours); 412 hours of audiotape; 31 digital books)
22 Linear feet (Papers and photographs)
Type:
Collection descriptions
Archival materials
Film reels
Place:
Patagonia (Argentina and Chile)
Argentina
Date:
1954-circa 2008
Summary:
Documentary filmmaker Jorge Prelorán was best known for his intimate approach to ethnographic film, a style known as "ethnobiography." The majority of Prelorán's films were shot in rural areas of Argentina, particularly the Andean highlands and the Pampas (plains), often in communities of mixed Indian and Spanish heritage. Prelorán documented a wide range of subjects, including art, folk crafts, agriculture, ranching, markets, religious rituals and festivals, and social and cultural change. This collection contains edited films and videos, film outtakes, audio tapes, photographic prints and transparencies, digital books, correspondence, production files, scripts, project files, and press clippings spanning 1954-2008.
Scope and Contents:
This collection contains edited films and videos, film outtakes, audio tapes, photographic prints and transparencies, digital books, correspondence, production files, scripts, project files, and press clippings spanning 1954-2008.

The majority of Prelorán's films were shot in rural areas of Argentina, particularly the Andean highlands and the Pampas (plains), often in communities of mixed Indian and Spanish heritage. Prelorán documented a wide range of subjects, including art, folk crafts, agriculture, ranching, markets, religious rituals and festivals, and social and cultural change. Several films focus on natural history and science. There are also a number of experimental and fiction films.

Prelorán formed close friendships with many of the subjects of his films and corresponded with them long after the films were completed. This is reflected in the paper records, as is Prelorán's wide circle of colleagues and collaborators, including anthropologists, musicians, animators, historians, painters, writers, photographers, current and former students at UCLA, and fellow filmmakers. The extensive collection of press clippings, screening notices, and festival catalogs documents Prelorán's influence in Argentina, Europe, and the United States.

In the series of digital books, Prelorán presents the personal stories of individuals involved in creative work. Some books feature subjects profiled in the films, updating or expanding on their stories.
Arrangement:
This collection is arranged in 11 series: (1) Completed Films and Videos, 1954-circa 2008; (2) Film Outtakes, 1960s-1980s; (3) Audio, 1969-2008; (4) Correspondence, 1954-2005 (bulk 1967-1992); (5) Production Files, 1961-1998; (6) Project Files, 1967-1995; (7) UCLA, 1968-2005 (bulk 1980s); (8) Press Clippings, 1960-2005; (9) Photographs, 1961-2000; (10) Books, 1994-1998, undated; (11) Electronic Files, circa 2000-circa 2006
Biographical Note:
Documentary filmmaker Jorge Prelorán was best known for his intimate approach to ethnographic film, a style known as "ethnobiography." In films such as Hermógenes Cayo (Imaginero) (1970), Los Hijos de Zerda (Zerda's Children) (1974), and Zulay Frente al Siglo XXI (Zulay Facing the 21st Century) (1989), Prelorán's protagonists tell their personal stories, while also revealing the stories of their communities and cultures. Prelorán worked in Latin America and the United States, but primarily in his native country of Argentina. His career spanned from 1954 to 2008, including nearly twenty years as a film professor at the University of California, Los Angeles (UCLA).

Prelorán was born May 28, 1933 in Buenos Aires, Argentina. His father, an engineer, was Argentine and had studied at the Massachusetts Institute of Technology, where he met his wife, an American. Prelorán grew up speaking both Spanish and English. Initially pursuing a career in architecture, he studied at the Universidad Nacional de Buenos Aires. He made his first film, Venganza, with neighborhood friends in Buenos Aires in 1954. The film won the Beginner's Festival of Cine Club Argentina that same year. Prelorán was accepted as an undergraduate at the University of California, Berkeley, and studied architecture there for one year. In 1956 he withdrew from UC Berkeley and was drafted into the US Army. Prelorán served in West Germany until 1958. Upon his return he changed educational plans and began formal study of filmmaking, receiving a Bachelor of Arts in Motion Pictures from UCLA in 1960.

Shortly before the end of his service in the US Army, Prelorán married Elsa Dondi, a former classmate from Buenos Aires. They lived together in Los Angeles until Elsa returned to Argentina for the birth of their daughter, Adriana, in 1961. The couple separated shortly thereafter.

Prelorán's professional career as a filmmaker began in 1961 with a commission from the Tinker Foundation of New York for a series of films on the Argentine gaucho. In the course of shooting for these films, Prelorán traveled extensively throughout Argentina, visiting many locations in Patagonia and in the northwest where he would later return to make many of his films. From 1963-1969, Prelorán was under contract at the Universidad Nacional de Tucumán to produce educational films; he also produced a series of short films on Argentine folklife with support from Fondo Nacional de las Artes and under the mentorship of folklorist Augusto Raúl Cortazar, Ph.D.

In the late 1960s, Prelorán became involved with UCLA's Ethnographic Film Program and in 1970 he returned to UCLA as a lecturer for two semesters. Later that year he was a fellow at Harvard University's Film Study Center, where he produced the English-language version of Imaginero (Hermógenes Cayo). Prelorán was the recipient of two Guggenheim Fellowships, in 1971 and 1975, and used those opportunities to produce quite a number of films, including Damacio Caitruz (Araucanians of Ruca Choroy).

Prelorán remarried in 1972. His wife, Mabel Freddi, became a collaborator on his films. She wrote the screenplay for Mi Tia Nora (My Aunt Nora) (1983) and co-directed Zulay Frente al Siglo XXI (Zulay Facing the 21st Century) (1989), among other credited and un-credited roles. After the Argentine military coup of March 1976 and the disappearances of fellow filmmaker Raymundo Gleyzer and Mabel's niece, Haydee, the Preloráns became fearful for their own safety. They fled to the United States, a move that would become permanent. Prelorán accepted a position as associate professor at UCLA's School of Theater, Film and Television. He later joined the faculty as a tenured professor.

During his time at UCLA, Prelorán was twice selected as a Fulbright Scholar, in 1987 and 1994. He continued to produce films, including the Academy Award-nominated documentary short Luther Metke at 94 (1980) and the 7-hour natural history television series Patagonia (1992). After retiring in 1994, Prelorán continued to mentor film students as Professor Emeritus; he also began work in a new medium, creating a series of digital books, "Nos = Otros" ("Sages Amongst Us") (unpublished), featuring individuals engaged in creative and educational pursuits.

Prelorán died at his home in Culver City, CA at the age of 75 on March 28, 2009.

Sources Consulted

UCLA, School of Theater, Film and Television. "Jorge Prelorán 1933 - 2009." Obituary. Last modified March 31, 2009. Accessed April 1, 2009. http://tft.ucla.edu/news/obituary

Jorge Prelorán Collection. Human Studies Film Archives, Smithsonian Institution.

Rivera, Fermín. Huellas Y Memoria de Jorge Prelorán. Documentary film. 2010.

Woo, Elaine."Jorge Prelorán dies at 75; Argentine filmmaker and former UCLA professor." Los Angeles Times, April 5, 2009. Web. 29 Apr 2009.

1933 -- Born May 28 in Buenos Aires, Argentina

1952-1954 -- Studies at the College of Architecture, Universidad Nacional de Buenos Aires, Argentina

1954 -- Completes first film, Venganza, a fictional short

1955 -- Studies at the College of Architecture, University of California at Berkeley

1956-1958 -- Drafted into United States Army, stationed in Schwetzingen, West Germany

1959-1960 -- Earns Bachelor of Arts in Motion Pictures from UCLA

1961-1963 -- Produces films on the Argentine gaucho for the Tinker Foundation, New York

1963-1969 -- Produces films at the Universidad Nacional de Tucumán, Argentina

1968 -- Attends the First International Colloquium on Ethnographic Film at UCLA

1969 -- Shoots film for The Warao People in Venezuela, under a grant from the Ford Foundation to the Ethnographic Film Program at UCLA

1970 -- Lecturer at UCLA School of Theater, Film, and Television Fellow at the Film Study Center, Harvard University

1971 -- Receives first Guggenheim Fellowship; completes several film projects in Argentina

1975 -- Receives second Guggenheim Fellowship; continues filming in Argentina

1976 -- Moves to United States Associate professor at UCLA School of Theater, Film, and Television

1978 -- Guest of Honor at the 2nd Margaret Mead Ethnographic Film Festival at the American Museum of Natural History, New York

1980 -- Academy Award nominee for Luther Metke at 94

1985 -- Guest at the White House for a State Dinner in honor of Argentine President Raul Alfonsin

1986 -- Naturalized as a United States citizen

1987 -- First selection as Fulbright Scholar; begins production of the series Patagonia, en Busca de su Remoto Pasado

1994 -- Second selection as Fulbright Scholar; completes pre-production for the narrative feature film "Vairoletto: The Last Gaucho Outlaw" Retires from UCLA as professor emeritus

2009 -- Dies on March 28 in Culver City, California
Related Materials:
The Human Studies Film Archives holds a copy of Fermín Rivera's edited biographical documentary film, Huellas y Memoria de Jorge Prelorán (HSFA 2015.1.27), as well as transcripts of interviews conducted with Jorge and Mabel Prelorán for the film (in Spanish).

The Harry Ransom Center, University of Texas at Austin, holds the original film for four titles Prelorán produced for the Tinker Foundation (New York, NY). These are: The Llanero; The Gaucho of Corrientes; The Gaucho of the Pampas; and The Gaucho of Salta. The Ransom Center has both English and Spanish versions of these titles. These four films were preserved in 2010 and 2011 with funding from the Tinker Foundation. HSFA holds high quality video masters of all four titles. A fifth film produced for the Tinker Foundation, El Gaucho Argentino, Hoy (The Argentine Gaucho, Today), is held at the HSFA in its Spanish version only.

The Arthur Hall Collection at Temple University, Phildadelphia, Pennsylvania and Ile Ife Films in Belfast, Maine hold a copy of The Unvictorious One that differs from the two versions held at the HSFA.
Provenance:
This collection was donated to the Human Studies Film Archives in two accessions. The first accession, 2007-10, contains the edited films, outtakes, audio recordings, papers, and photographs and was donated by Jorge Prelorán. Materials had been stored at Prelorán's home office and home editing suite before they were packed by the processing archivist and sent to the HSFA. The second accession, 2011-07, contains the digital books and some additional photographs. This accession was donated by Mabel Prelorán. These materials had also been stored at Prelorán's home office and were sent to the HSFA by Mabel Prelorán.
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.

Various copyrights and restrictions on commercial use apply to the reproduction or publication of film, video, audio, photographs, and the digital books.

Access to the Jorge Prelorán collection requires an appointment.
Rights:
Contact the repository for terms of use.
Topic:
Ethnology  Search this
Documentary films  Search this
Biography  Search this
Citation:
The Jorge Prelorán films, Human Studies Film Archives, Smithsonian Institution.
Identifier:
HSFA.2007.10
See more items in:
Jorge Prelorán films
Archival Repository:
Human Studies Film Archives
GUID:
https://n2t.net/ark:/65665/pc95d05b888-ed6e-48ee-b368-8629661849e2
EDAN-URL:
ead_collection:sova-hsfa-2007-10
Online Media:

Oral history interview with Richard E. Filipowski

Interviewee:
Filipowski, Richard, 1923-2008  Search this
Interviewer:
Brown, Robert F.  Search this
Names:
Chicago School of Design  Search this
Harvard University. Graduate School of Design  Search this
Massachusetts Institute of Technology  Search this
Extent:
143 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1989 Sept. 25-1990 Mar. 14
Scope and Contents:
An interview of Richard E. Filipowski conducted 1989 Sept. 25-1990 Mar. 14, by Robert Brown for the Archives of American Art. Filipowski discusses his early childhood in Poland; immigration and childhood in Ontario, Canada; attending the Chicago School of Design (formerly New Bauhaus) under Laszlo Moholy-Nagy; freelance work in Chicago; teaching at the School of Design, at the Harvard University Graduate School of Design, and at MIT; his sculpture; and associations with Walter Gropius, Joseph Hudnut, Robert Preusser, Lawrence Anderson, Gyorgy Kepes, and Pietro Belluschi.
Biographical / Historical:
Richard E. Filipowski (1923-2008) was a sculptor, designer, filmmaker, and educator in Massachusetts.
General:
Originally recorded as 6 cassette tapes. Reformatted in 2010 as 11 digital wav files. Duration is 6 hrs., 48 min.
Provenance:
These interviews are 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.
Occupation:
Art teachers -- Massachusetts -- Interviews  Search this
Topic:
Sculptors -- Massachusetts -- Interviews  Search this
Designers -- Massachusetts -- Interviews  Search this
Filmmakers -- Massachusetts -- Interviews  Search this
Sculpture, Modern -- 20th century -- United States  Search this
Design -- Study and teaching  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.filipo89
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw974ef01f4-c628-458d-b473-e8f325ae0f29
EDAN-URL:
ead_collection:sova-aaa-filipo89
Online Media:

David Sutherland motion picture films relating to Paul Cadmus

Creator:
Sutherland, David Russell, 1945-  Search this
Names:
Cadmus, Paul, 1904-1999  Search this
Extent:
10.4 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1980-1984
Scope and Contents:
Approximately 10 hours of 16mm motion picture and soundtrack outtakes for Sutherland's 1986 film PAUL CADMUS: ENFANT TERRIBLE AT 80, including interviews, footage of Cadmus painting and drawing, and footage from a 1981 retrospective exhibition in Oxford, Ohio. Also found in the collection is a black and white photograph of Cadmus taken by either Sutherland or George Petrakes, June 1980, and a publicity file for the released film.
Biographical / Historical:
Filmmaker; Newton, Mass.
Provenance:
Donated 1984 by David Sutherland.
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:
Motion picture film and sound footage: Authorization to quote or reproduce for purposes of publication requires written permission from David Sutherland. Contact Reference Services for more information.
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:
Filmmakers -- Massachusetts -- Newton  Search this
Topic:
Painting, Modern -- 20th century -- New York (State) -- New York  Search this
Figurative painting, American -- New York (State) -- New York  Search this
Identifier:
AAA.suthdavi
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw99945f9a5-58d5-4812-bbcb-1748ba8c0a64
EDAN-URL:
ead_collection:sova-aaa-suthdavi

Promotional material for the premier of Liz White's Othello at Howard University

Created by:
Ben Ashburn Associates, Inc., American  Search this
Subject of:
Elizabeth Shearer White, American, died 1993  Search this
Yaphet Kotto, American, born 1939  Search this
Medium:
ink on paper
Dimensions:
H x W: 11 x 8 1/2 in. (27.9 x 21.6 cm)
Type:
promotional materials
Place used:
Washington, District of Columbia, United States, North and Central America
Date:
1980
Topic:
African American  Search this
Film  Search this
Local and regional  Search this
Theatre companies  Search this
Credit Line:
Collection of the Smithsonian National Museum of African American History and Culture, Gift of Olive Tomlinson in memory of William and Olive Bowles
Object number:
2012.33.3
Restrictions & Rights:
No Known Copyright Restrictions
See more items in:
National Museum of African American History and Culture Collection
Classification:
Memorabilia and Ephemera
Data Source:
National Museum of African American History and Culture
GUID:
http://n2t.net/ark:/65665/fd5b7c1fd58-115c-4d5b-9e6f-4b720e36b2b9
EDAN-URL:
edanmdm:nmaahc_2012.33.3
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Online Media:

Oral history interview with Nancy Holt

Interviewee:
Holt, Nancy, 1938-2014  Search this
Interviewer:
Gutterman, Scott  Search this
Extent:
1 Sound cassette (Sound recording)
25 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Sound cassettes
Pages
Sound recordings
Interviews
Date:
1992 July 6
Scope and Contents:
An interview of Nancy Holt conducted 1992 July 6, by Scott Gutterman, for the Archives of American Art. Interview of Nancy Holt conducted by Scott Gutterman for the Archives of American Art, at Nancy Holt's home or studio on July 6, 1992. Holt speaks of growing up and living in Massachusetts and New Jersey; attending school at Tufts and Jackson; spending time in New York; her early artist training and exposure to museums; the New jersey landscape; Dark Star Park; Sky Land; her first trip out West; Robert Smithson; her family life and relationship with her parents; studying biology; lectures at MIT; moving to New York; Richard Serra; perceptual art; becoming friends with Robert Smithson; peyote; quiet inner-transformation; locator pieces; creating artwork; Hampton Air; Rock Rings; focus on place; feminism; land art; Buried Poems; documenting work; working for Harper's Bazaar; Westbeth; living in New York; video art; Points of View; working in a gallery format; writing; Sky Mound; working with landfills and alternate energy; creating public art; working with space; plumbing systems; learning by doing; working with artisans; Sun Tunnels; resonance; catalogs; Holt also talks a bit about Alan Ginsberg, Fred Mcdarrah, Dan Flavin, Mark di Suvero, Joan Joas, Peter Campas, David Hammond, and Rupert Sheldrake.
Biographical / Historical:
Nancy Holt (1938- ) was a sculptor and filmmaker from N.M.
Provenance:
These interviews are 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. Funding for this interview was provided by the Horace W. Goldsmith Foundation.
Restrictions:
This interview is open for research. Contact Reference Services for more information.
Occupation:
Sculptors -- New York (State) -- New York  Search this
Filmmakers -- New York (State) -- New York  Search this
Topic:
Women artists  Search this
Women sculptors  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.holt92
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw92fce3e26-4c49-4713-9e16-afca9f38fc7b
EDAN-URL:
ead_collection:sova-aaa-holt92
Online Media:

Joseph Cornell Study Center Collection

Artist:
Cornell, Joseph  Search this
Names:
Benton, Elizabeth Cornell  Search this
Cornell, Robert  Search this
Extent:
196.8 Linear feet
186 Nitrate negatives
Type:
Collection descriptions
Archival materials
Nitrate negatives
Photographs
Place:
New York, New York
Date:
1750-1980, bulk 1930-1972
Summary:
The Joseph Cornell Study Center collection measures 196.8 linear feet and dates from 1750 to 1980, with the bulk of the material dating from 1930 to 1972. Documenting the artistic career and personal life of assemblage artist Joseph Cornell (1903-1972), the collection is primarily made up of two- and three-dimensional source material, the contents of the artists' studio, his record album collection, and his book collection and personal library. The collection also includes diaries and notes, financial and estate papers, exhibition materials, collected artifacts and ephemera, photographs, correspondence, and the papers of Robert Cornell (1910-1965) and Helen Storms Cornell (1882-1966), the artist's brother and mother.
Scope and Contents:
The Joseph Cornell Study Center collection measures 196.8 linear feet and dates from 1750 to 1980, with the bulk of the material dating from 1930 to 1972. Documenting the artistic career and personal life of assemblage artist Joseph Cornell (1903-1972), the collection is primarily made up of two- and three-dimensional source material, the contents of the artists' studio, his record album collection, and his book collection and personal library. The collection also includes diaries and notes, financial and estate papers, exhibition materials, collected artifacts and ephemera, photographs, correspondence, and the papers of Robert Cornell (1910-1965) and Helen Storms Cornell (1882-1966), the artist's brother and mother.

Correspondence is with collectors, museums, galleries, artists, friends, family, charity organizations, admirers and those admired by Cornell, and World War II European pen pals. Discussions about the appreciation, donation, sale, purchase, and exhibition of Cornell's works are frequent, with the inclusion of shipping and loan documentation or notices of payment installments. Galleries and museums frequently request that Cornell agree to an exhibition, which he often declines, and fans request free works be mailed or affordable works be sold to them. With friends, artists, and those he admired, Cornell discussed topics that fascinate him, included bits of poetry or philosophical musings, sent clippings or a collaged letter, and occasionally discussed a project or work in process. After World War II, when so many were displaced by the war in Europe, Cornell answered ads for pen pals in the "Christian Science Monitor," often responding to requests for clothing or other goods, and sometimes exchanging many letters over several years. Family correspondence is with his mother, sisters, brother, and others, and often notes activities of the day, foods eaten, and general musings, as well as occasionally mentioning a project or artwork. Correspondents of note include Stan Brakhage, Betty Freeman, Charles Henri Ford, Allegra Kent, Yayoi Kusama, Roberto Matta, Marianne Moore, Octavio Paz, Sonia Sekula, Pavel Tchelitchew, Parker Tyler, Dorothea Tanning, and Betsy von Furstenberg, among others.

Cornell was often preoccupied with his thoughts, feelings, memories, a project or thematic "exploration," and jotted notes on seemingly any surface available. Notes and musings are on napkins, the backs of envelopes, newspaper clippings, and paper bags from record and magazine stores. Frequently, an observation would trigger a lengthy nostalgic moment, or a "feé," fairy-like child or girl, would capture his imagination and lead him to thoughts of 18th-century ballerinas and silent film stars. Cornell wrote longer diary notes, sometimes expanding on an earlier notation or emotion, and often wrote when he experienced trouble sleeping or woke early. Drafted letters to imaginary muses or admired individuals are interspersed among diaries, often revealing Cornell's yearnings to find emotional intimacy and human connection. Over time, Cornell revisited his notes and occasionally made further notations about renewed thoughts on a topic, dating the note with "revisited" or "reviewed." Notes are often written in a stream-of-consciousness style, for example, jumping from the mention of a record album or composer, to a ballerina of the same period, a note about a French poet, the memory of childhood, or an observation made earlier in the day, all in the space of a few lines. Notes about artistic processes or meanings behind works or images do occasionally emerge from the tangled, poetic notations. Notes also often provide insights into Cornell's internal emotional state and give clues about his intentions behind an artwork or a particular thematic fixation.

Financial materials document Cornell's professional and personal business activities, including the sale of artworks, annual expenses for supplies and household incidentals, payments and schedules for personal assistants, receipts for donations to charities and nonprofits, and tax documents. There is also information about who worked as assistants, or "helpers," in his later years and where Cornell purchased art supplies. Additionally, specific details are documented through receipts and invoices, such as what kind of paint he purchased. Estate records include preparations made for Cornell's artworks after his death, and clippings about other deceased artist's estates show that he thought often about such arrangements in his later years.

Exhibition files highlight several select solo exhibitions for Cornell, as well as preparations and planning for the "Robert Cornell: Memorial Exhibition" in honor of his brother in 1966. Also included are several early exhibition catalogs and announcements, including "Surréalisme" (January 9-29, 1932) and "Exhibition of Objects (Bibloquet) by Joseph Cornell" (December 6-31, 1939) at the Julien Levy Gallery, and "Romantic Museum: Portraits of Women, Constructions and Arrangements by Joseph Cornell" (December 1946) at the Hugo Gallery.

Film projects and collected film materials consist of files related to Cornell's various experimental film projects: "Aviary," "Cappuccino," "Centuries of June," "Fable for Fountains," "Nymphlight," "Serafina's Garden," and unrealized film scenario "Monsieur Phot." Files include film-making notes, correspondence, and photographs. Cornell's interest in film also led him to collect film-related materials, such as film stills, film posters, and screening programs. Scattered correspondence documents the interest other institutions and individuals had in purchasing and viewing his collection. Though most of his collected film stills and movie posters were donated to the Anthology Film Archives, film stills from "Escape Me Never" (1935) and "The Passion of Joan of Arc" (1928) are still within the collection, as well as film-screening programs for Cornell's collection of films.

Writing and design projects document Cornell's work authoring articles and designing issues of specialty dance magazine "Dance Index," and his layouts for popular magazines like "Good Housekeeping," "House and Garden," and "Mademoiselle." Other writing projects include brochures dedicated to opera singers Maria Malibran and Giulia Grisi, "Maria" and "Bel Canto Pet." Materials used for these brochures, such as copper photo engraving plates, are also found. Design work includes a series of Christmas cards created with The Museum of Modern Art as well as traced patterns ("textile tracings") and design clippings from Cornell's time working as a "textile designer" for Traphagen Commercial Textile Studio.

Cornell acquired troves of source material from bookstalls, antique stores, sporting good and department stores, hardware stores, and magazine and record shops. He kept boxes and files of material on admired individuals, such as actresses, artists, dancers, and singers, as well as on art projects or thematic "explorations." Files are on general topics such as American history, scientific phenomena, animals, plants, and humankind, as well as on series of artworks, such as "Castles," "Homage to the Romantic Ballet," and "Medici Slot Machines." Focused "exploration" projects include "Celestial Theatre," "Colombier," "GC 44," and "Switzerland," among others. Materials include photographs, photostats, maps, book fragments, autographed letters, notes, collage clippings and cutouts, collected prints and engravings, box and collage fragments, and scattered artifacts.

Collected ephemera includes large amounts of blank postcards and greeting cards, stamps, collected bus and train tickets, food labels and packaging, decals, and other materials. Artifacts are three-dimensional collected objects and source objects, which include found objects from the streets, dried flowers, and pieces of nature gathered from walks around his neighborhood. Cornell may have gathered materials because they inspired a memory or nostalgic feeling, or because they fit with a bin of other similar objects to select from for an artwork in progress.

Photographs found within the collection are of Cornell at work and as a child with family. Also found are assorted personal and family photographs, photographs of Cornell's attic and garage storage, and photographs of his Utopia Parkway house. Photographs of artwork include few installation photographs, in addition to photographs of Cornell's boxes and collages. Collected photographic materials include vintage photographs, such as tintypes, a cyanotype, stereoscopic glass slides, albumen prints, cabinet cards, and cartes-de-visite. Cornell also collected cased photographs, such as daguerreotypes, ambrotypes, and one opalotype. Negatives and photostats were often produced from various prints and even other photographs and used in Cornell's boxes and collages. Images are of men and women, actors, authors, dancers, performers, well-known men and women, royalty, places, and artwork. Photographs of note include those by Hans Namuth of Willem and Lisa de Kooning and of Edward Hopper's bedroom; photographs by Henri Cartier-Bresson; a photograph by Julia Margaret Cameron; photographs by Brassai; and a photogravure by Alfred Stieglitz from "Camerawork."

Also found in the collection are works of art by others, including a sketch by Pavel Tchelitchew, as well as artwork by Cornell, such as unfinished collages, Rorschach drawings or ink blots, and childhood artwork. Printed material includes assorted bulletins, flyers, exhibition materials for other artists, journals, and sent printed membership and charity materials. Magazines, including "View," are also included, and often have annotations by Cornell or a note to "cut" or "review" with page numbers. A large amount of magazine and newspaper clippings are in the collection, sometimes collected with a group of like material by Cornell, and at other times simply gathered in heaps. Occasional annotations are also found on the clippings.

Cornell's personal library and book collection includes over 2500 titles, ranging from fiction, poetry, and cinema, to history, science, and travel. Notable among the titles are "Baedeker's" travel guides that Cornell often sourced for his "Hotel" box series, as well as an influential publication by Max Ernst, "La Femme 100 têtes," which includes a typed letter and exhibition flyer tucked within. Books often have annotations, some fairly extensive, by Cornell, and assorted collected items, notes, and correspondence tucked between pages. Pages were often cut by Cornell, either to make photostats and use in a box, or to file with other thematic "explorations." A wide range of authors and topics provide insight into Cornell's interests and to ideas behind artwork and diary notes. Cornell's collection of record albums includes over 145 records. These contain inserted notes and clippings and are often referenced in diary notes Cornell made, noting a recent album or song listened to while at work in his studio.

The papers of Cornell's mother, Helen Storms Cornell, and his brother, Robert Cornell, are also included in the collection. Both lived with Cornell his whole life, spending the most time with him at their home at 3708 Utopia Parkway. Financial materials document shared responsibilities for billing, utilities, household fixes and chores, and expenditures, and Helen kept detailed financial records in a series of ledgers. Robert notes when he borrowed money from Cornell, or when he means to pay Cornell back for the purchase of a typewriter. Activities documented in diaries also occasionally cross paths with Cornell, noting his visitors or an exchange of letters continued after introductions through Cornell. Personal activities, such as Robert's interest in his train collection and his drawing projects and cartoon series, are also documented.
Arrangement:
The Joseph Cornell Study Center Collection is arranged into 15 series:

Series 1: Biographical Material, 1917-1972 (Boxes 1, 98, OV118; 0.9 linear feet)

Series 2: Correspondence, 1813, 1934-circa 1973 (Boxes 1-8, 86; 6.5 linear feet)

Series 3: Diaries and Notes, 1940-1976 (Boxes 8-10, 98-99, 135, OV108, OV119; 3.5 linear feet)

Series 4: Personal Business and Estate Records, 1950-1978 (Boxes 10-14; 4.1 linear feet)

Series 5: Exhibition Files, 1932-1973 (Box 14; 0.3 linear feet)

Series 6: Film Projects and Collected Film Materials, circa 1924-1972 (Boxes 14-16, 100, 133; 1.6 linear feet)

Series 7: Writing and Design Projects, circa 1910s, 1936-1962 (Boxes 16-18, 86, 100, 131-132, OV109-OV111, OV120-OV122; 3.6 linear feet)

Series 8: Source Material, 1750-circa 1911, 1926-1972 (Boxes 19-49, 86-92, 96, 100-105, 126-130, 132-137, OV112-OV115, OV125; 42.2 linear feet)

Series 9: Artifacts and Ephemera, 1768, circa 1839-1972 (Boxes 49-52; 3.2 linear feet)

Series 10: Photographic Material, circa 1800s-1972 (Boxes 52-56, 80-86, 93, 106, 128, 133, OV116, OV123-OV124; 7.5 linear feet)

Series 11: Artwork, circa 1810-1972 (Boxes 56-57, 107, OV117; 1.2 linear feet)

Series 12: Printed Material, 1855-1972 (Boxes 57-76, 94-96, 107; 16 linear feet)

Series 13: Book Collection and Personal Library, 1722-1980 (99.8 linear feet)

Series 14: Record Album Collection, circa 1925-1974 (3.2 linear feet)

Series 15: Cornell Family Papers, 1910-1980 (Boxes 77-79, 97, 107; 3.2 linear feet)
Biographical / Historical:
Joseph Cornell (1903-1972) was a self-taught assemblage and collage artist, and filmmaker, active in New York City. He was born in Nyack, New York on December 24, 1903, and died of heart failure at his home in Queens, New York on December 29, 1972. The oldest of four children, he was born Joseph I. Cornell to his mother, Helen Storms Cornell (1882-1966), and his father, Joseph I. Cornell (1875-1917). Cornell had two younger sisters, Elizabeth ("Betty") Cornell Benton (1905-2000) and Helen ("Sissy") Cornell Jagger (1906-2001), as well as one brother, Robert Cornell (1910-1965), who had cerebral palsy.

Cornell attended the Phillips Academy, a preparatory boarding school in Andover, Massachusetts, beginning shortly after his father's death in 1917. He attended for four years but did not receive a diploma, and soon began work as a textile salesman for the William Whitman Company in Manhattan. His work took him, by foot, through the city, visiting secondhand bookshops on Fourth Avenue, browsing music stores and magazine shops, and catching early shows at the Metropolitan Opera House. He would occasionally wait outside the stage doors for favorite singers and dancers to emerge, requesting signatures on photographs or bits of costumes.

Around 1926, Cornell joined the Christian Science Church, joined by his brother Robert shortly thereafter, and both continued to be lifelong members. Cornell kept a number of books in his personal library on Christian Science teachings and regularly subscribed to "The Christian Science Monitor."

After living in several rental houses in Bayside, New York, Cornell's mother purchased a house for the family in 1929 in Flushing, Queens. Cornell, along with his mother and brother, would live at 3708 Utopia Parkway, for the rest of their lives. His two sisters soon married and moved away, eventually settling in Westhampton, Long Island and in the poultry-farming business.

With no formal art training to speak of, Cornell's first work was a Max Ernst-inspired collage, "Untitled (Schooner)," created in 1931. He was especially inspired by Ernst's collage novel, "La Femme 100 têtes," published in 1929. French artist Odilon Redon was also among the few artists Cornell named as an influence on his art. His first sculptural works were small, cardboard pill boxes with bits of ephemera, costume adornments, and nature hidden inside. Cornell also created a series of glass bell jar works, placing small trinkets and Victorian-era-like compositions within. It was these early collages and bell jar works that were included in Cornell's debut exhibition, "Surréalisme" (January 9-29, 1932), a group show at the Julien Levy Gallery. Cornell designed the announcement for the show and exhibited alongside Max Ernst, Man Ray, Pierre Roy, Pablo Picasso, Marcel Duchamp, Eugène Atget, George Platt Lynes, Jean Cocteau, and Salvador Dalí. Months later, Cornell was invited to have his first solo show, "Objects by Joseph Cornell: Minutiae, Glass Bells, Shadow Boxes, Coups d'Oeil, Jouets Surréalistes" (November 26-December 30, 1932), also at the Julien Levy Gallery.

In 1932, after eleven years of work, Cornell was laid off from the William Whitman Company due to the Great Depression. Soon after, he took on more responsibility in the church, working part-time as an attendant in the Christian Science Reading Room in Great Neck, New York. Beginning in 1933, he taught Sunday school classes for three years and in 1935, became the Sunday school librarian. However, his religious activities and artistic ventures continued to remain separate.

In the early 1930s, Cornell progressed from movie lover to filmmaker. When Julien Levy began his New York Film Society in 1933, holding screenings of various experimental films in the gallery, Cornell began buying and collecting films and film stills in earnest. He set up a 16-millimeter projector in his home to screen favorites, such as those by Georges Méliès, D.W. Griffith, and Louis Feuillade. His collection quickly grew to over 2,500 film stills and several hundred films, and included silent era films, such as nature documentaries, goofy newsreels, travelogues, early cartoons, and slapstick comedies, as well as several feature films. In 1933, Cornell wrote a screenplay, or "scenario," entitled "Monsieur Phot." Between 1935 and 1937, Cornell also occasionally created publicity photomontages for Universal and Columbia studios. Of the nearly thirty films Cornell created, periods of activity can generally be separated into two areas: collage films of the late 1930s, consisting of combined elements from films in his own collection, and films he directed in the 1950s, which were collaborations with other filmmakers set in New York City. "Rose Hobart," Cornell's most celebrated collage film, was created and shown in the Julien Levy Gallery in 1936 and includes clipped footage from "East of Borneo." Later films were directed and filmed with cinematographers Stan Brakhage, Rudy Burckhardt, and Larry Jordan.

In 1934, Cornell began a job at the Traphagen Commercial Textile Studio as a "textile designer," a job he held for six years. Continuing to work at his kitchen table in the evenings, Cornell completed his first assemblage box construction, "Untitled (Soap Bubble Set)," in 1936. It was first exhibited at The Museum of Modern Art's show, "Fantastic Art, Dada and Surrealism" (December 9, 1936-January 17, 1937). This work was also the first to be acquired by a museum, purchased for $60.00 by the Wadsworth Atheneum in Massachusetts in 1938. Cornell's European debut was also in 1938, as one of three Americans represented in the "Exposition Internationale du Surréalisme" (January 17-Febuary 24, 1938) at the Galerie Beaux-Arts in Paris, alongside Man Ray and Anne Clark.

At the end of 1939, Cornell began corresponding with poet Charles Henri Ford, founder of avant-garde magazine "View," Pavel Tchelitchew, and Parker Tyler. After his "Soap Bubble Sets," this period saw the development of Cornell's homages to singers and actresses, including "Untitled (Fortune-Telling Parrot for Carmen Miranda)," the destroyed "Garbo (Greta Garbo in the Legendary Film 'The Crystal Mask,' c. 1845)," and "Dressing Room for Gilles." He also began using photostats of art reproduction prints, as with the print of Jean Antoine-Watteau's painting, "Pierrot" (circa 1719), used in his "Gilles" box.

In the 1940s, the Romantic ballet emerged as Cornell's new topic of interest. Through his friend Pavel Tchelitchew, Cornell was introduced to the School of American Ballet and New York City Ballet founders, Lincoln Kirstein and George Balanchine. Cornell collected dance memorabilia and had a great love of the Romantic ballet. His favorite dancers were primarily ballerinas of the nineteenth century, including Fanny Cerrito, Marie Taglioni, Fanny Elssler, Lucille Grahn, and Carlotta Grisi. Cornell's "Homage to the Romantic Ballet" works largely took the shape of jewel-box style wooden boxes with glass overlays and included bits of velvet, tulle, sequins, crystals, and chiffon, occasionally collected from dancers themselves. His most well-known work of this series is "Taglioni's Jewel Casket" (1940). Cornell also admired several living ballet dancers, including Tamara Toumanova, Zizi Jeanmaire, and Allegra Kent, who would all make their way into Cornell's box works and/or collages. Collecting for the "exploration," "Portrait of Ondine," Cornell's cased portfolio dedication to Fanny Cerrito and her role in the ballet "Ondine," began in the 1940s, though not completed until around 1960.

In late 1940, Cornell quit his job at Traphagen to concentrate on freelance commercial magazine design and editorial work during the day and his artwork at night. That same year, Charles Henri Ford started "View" magazine to promote Surrealists and Neo-Romantics in New York City and often asked Cornell to contribute. Published in the December 1941-January 1942 issue, one of his early contributions was a collage dedication to stage actress Hedy Lamarr: "Enchanted Wanderer: Excerpt from a Journey Album for Hedy Lamarr" (1941). Along with writing the accompanying text, he created a photomontage of Lamarr with her face overlaying the painted portrait of a Renaissance boy by Italian painter Giorgione. Peggy Guggenheim, at the advice of Marcel Duchamp, purchased multiple Cornell works prior to opening her new gallery, Art of This Century. Cornell also befriended Roberto Matta Echaurren, another Surrealist living in exile, who introduced him to Robert Motherwell.

After deciding to fully dedicate his time to his art in early 1940, he set up a studio in his basement. Complete with floor-to-ceiling wooden shelving, he kept his large collection of boxed source material stacked with handwritten labels in cardboard boxes. Themed folders of materials such as "Stamps" or "Maps" were kept in stacks and works in progress and finished works were stored in the basement, garage, and attic. Entering a renewed period of productivity, Cornell embarked on many new and important box projects in 1942. One of the first boxes created in his new basement studio, and the first of the "Penny Arcade" or "Medici Slot Machine" series, was "Medici Slot Machine" (1942), which includes a photostat of "Portrait of Marquess Massimiliano Stampa" (1557) by Sofonisba Anguissola. Another work from this time is the first of his "Castle" or "Palace" series, "Setting for a Fairy Tale" (1942), which uses a photostat of a French building from Jacques Androuet du Cerceau's book, "Les Plus excellents bastiments de France" (1576). "Untitled (Pharmacy)" (circa 1942) was the first of his "Pharmacy" series and included twenty-two apothecary jars. Cornell tended to work in series and created thirteen "Palace" boxes between 1942 and 1951, and ultimately created six "Pharmacy" works.

In 1943, Cornell began working at an electronics company, the Allied Control Company, Inc., to do his part to contribute to the defense effort during the war. He also sent correspondence and care packages to displaced Europeans, who listed their needs in "The Christian Science Monitor." Influenced by World War II, one of his strongest works to emerge in 1943 was "Habitat Group for a Shooting Gallery." Another notable work to come out of this period, "The Crystal Cage (Portrait of Berenice)," was an excerpt from one of his album "explorations" that was published in the January 1943 issue of "View."

Cornell left his job at Allied Control in 1944, but soon began working at the Garden Centre in Flushing, owned by a fellow Christian Scientist. Cornell was often nostalgic for this time in his life, devoting an entire "exploration" of material fondly remembered as "GC 44." He rode a bicycle to work and enjoyed collecting trips gathering dried grasses, driftwood, shells, and other relics of nature on the same bicycle as he rode through the streets of Queens. During this time, he continued to tend to his projects for "Dance Index," a magazine founded in 1942 by Lincoln Kirstein, but taken over by Donald Windham in 1944. Cornell designed several covers for the magazine and was given control of the entire summer 1944 issue, which he devoted to the Romantic ballet. He also devoted a special 1945 issue to Hans Christian Andersen, making great use of the New York Public Library Picture Collection.

Throughout the 1940s, Cornell continued to support himself with commercial design work for magazines like "Vogue," "Good Housekeeping," "Harper's Bazaar," "Town & Country," and "Mademoiselle." In 1946, after thirteen years at the Julien Levy Gallery, he joined the Hugo Gallery. In December 1946, Cornell's solo exhibition, "Romantic Museum at the Hugo Gallery: Portraits of Women by Joseph Cornell," celebrated his favorite movie stars, singers, and ballet dancers, and included his work created for the show, "Untitled (Penny Arcade Portrait of Lauren Bacall)." Cornell's "Greta Garbo" box, as well as "Souvenir for Singleton," an homage to Jennifer Jones and her role in the film "Love Letters," were also included in the show. In late 1948, his West Coast debut was in the exhibition, "Objects by Joseph Cornell," held at the Copley Gallery. The end of the 1940s saw the final issue of "View" magazine in 1947, the closure of the Julien Levy Gallery in April 1949, and Cornell's departure from the Hugo Gallery after his last show in November 1949.

In late 1949, Cornell joined the Charles Egan Gallery, known primarily for showing Abstract Expressionists. At this time, Cornell was working on a new series of boxes known as his "Aviary" works, most of which include a white-painted box with cutouts of birds mounted on wood. Though he had worked on bird-related boxes before, including an "Owl" series in the mid-1940s, his "Fortune Telling Parrot" (1939), and "Object 1941" (1941), these newer works were stripped of French elements and left "clean and abstract" by design. His first show at the Egan Gallery, "Aviary by Joseph Cornell" (December 7, 1949-January 7, 1950), included twenty-six "Aviary" works, nearly all created in 1949. Donald Windham agreed to write the foreword for the exhibition catalog, a single folded sheet, and Cornell gave him one of the boxes in the show, "Cockatoo: Keepsake Parakeet," in appreciation. Through the Egan Gallery, Cornell became friends with a new group of artists, including Franz Kline, Jack Tworkov, and Willem de Kooning. Cornell also held two screenings of a selection of his collected films at Subjects of the Artist, an art school founded by Robert Motherwell, Mark Rothko, David Hare, and William Baziotes.

In 1950, Cornell's second show at the Egan Gallery, "Night Songs and Other New Work" (December 1, 1950-January 13, 1951), introduced his new "Observatory" series. These works are largely defined by stark, whitewashed spaces with astronomical charts and constellations replacing colorful birds. The Museum of Modern Art purchased its first Cornell work from this show in early 1951, "Central Park Carrousel, in Memoriam" (1950).

For three months in 1951, Cornell was beset by various ailments and had trouble finding the energy to create new work. He worried more for his aging mother and the health of his brother. After a monthlong vacation with his sisters in Westhampton, he returned with renewed interest in Emily Dickinson's poetry. His whitewashed boxes took on a new form in his newest "Dovecote" series, using grids and circular cutouts. The works then transformed into homages to Dickinson, notably "Toward the Blue Peninsula: For Emily Dickinson" (circa 1953), and then to his "Hotel" series. Cornell's "Hotel" boxes include photostats of vintage European ads for hotels collected from vintage travel guides, especially "Baedeker's," adhered to the back walls of the boxes. Another new series of work, his "Juan Gris" series, was dedicated to Cubist artist Juan Gris. Between 1953 and the mid-1960s, Cornell created at least fifteen "Juan Gris" boxes, which often include a cutout of a white cockatoo in a Cubist-collage habitat. Cornell's third and last show at Egan Gallery, "Night Voyage" (February 10-March 28, 1953), included some of these newest works. After leaving Egan Gallery, his work was introduced to Chicago collectors in a solo show at the Frumkin Gallery, "Joseph Cornell: 10 Years of His Art" (April 10-May 7, 1953), which included nearly thirty pieces. Cornell's first museum retrospective was this same show held at the Walker Art Center in Minneapolis (July 12-August 30, 1953).

As New York City continued to change, Cornell grew more nostalgic for the city he had explored since the 1920s. The impending closure of the Third Avenue El train prompted him to dream up a film project to capture its last days, resulting in "Gnir Rednow," a reworking of Stan Brakhage's 1955, "Wonder Ring." During this time, Cornell joined the Stable Gallery, run by Eleanor Ward, interacting often with Robert Rauschenberg, Cy Twombly, and Joan Mitchell, remaining there until the end of the 1950s. His astronomy-themed exhibition, "Winter Night Skies" (December 12, 1955-January 13, 1956), included his "Night Skies" series of work with celestial chart fragments, Greek mythological figures, and paint-splattered "windows" representative of star-filled night skies. In 1956, he became aware of ballerina Allegra Kent, and began a series of work devoted to her, the first of which was "Via Parmigianino (Villa Allegra)" (1956), which included a photostat of a painting by Parmigianino, "The Madonna of the Long Neck" (circa 1540). In late 1957, after two years, Cornell had his last show at Stable Gallery, "Joseph Cornell: Selected Works" (December 2-31, 1957), consisting of a series of "Sand Fountain" boxes and "Space Object" or "Celestial Navigation" works. The "Sand Fountain" boxes included different colors of sand meant to flow within, often from the tops into cordial glasses. His "Celestial Navigations" included galaxy-like compositions set within the boxes, with rolling, painted cork balls, metal rings, and constellation charts, sometimes hovering over cordial glasses or clay pipes. This last Stable Gallery show earned him his first published profile, written by Howard Griffin for the December 1957 issue of "Art News." Also in 1957, he won the Kohnstamm Prize for Construction at the Art Institute of Chicago's 62rd Annual Exhibition of Paintings and Sculpture.

Towards the end of the 1950s, Cornell spent less time creating new bodies of work, and focused more on revisiting previous series and reviewing piles of collected source material. In 1959, Cornell returned to making collages, frequently sourcing popular magazines. In December 1959, Cornell was awarded $1,500 for his "Orion" collage, entered in the Art Institute of Chicago's "63rd American Exhibition of Painting and Sculpture." Also in December, he was offered a show at Bennington College in Vermont, which he titled, "Bonitas Solstitialis: Selected Works by Joseph Cornell and an exploration of the Colombier" (November 20-December 15, 1959). The show included one of his newest "explorations" of collected material related to "colombier," or pigeon houses.

By 1962, Cornell was working diligently on new collages, using Masonite boards and colorful magazine clippings. He also began creating collages using nude images interspersed with constellation clippings or hazy blue dyes. As in previous decades and art movements, Cornell became acquainted with new artists, spending less time in the city and more time hosting visitors at his Utopia Parkway home. Visitors included artists Walter De Maria, Robert Whitman, Andy Warhol, James Rosenquist, and Robert Indiana. Tony Curtis also became a frequent visitor and friend, introduced by Richard Feigen in 1964. The early 1960s was also the first time Cornell put out an advertisement for assistants in the "Long Island Star-Journal," employing a number of young men and women who helped organize clippings and run errands. Cornell also met Joyce Hunter, a young runaway waitress at a city coffee shop, who would occupy his thoughts and diary notes for the next several years. When she was murdered at the end of 1964, Cornell paid for her funeral. He went on to make several "Penny Arcade" collages in memoriam to her, including, "Penny Arcade (re-autumnal)" (1964).

In 1964, Cornell began friendships with several women including artist Carolee Schneeman, who was his first assistant in the early 1960s. He also met artist Yayoi Kusama through art dealer Gertrude Stein. After becoming friends, she visited him often and they exchanged letters and notes. As he did with other artist friends, Cornell supported her by purchasing several of her early watercolor paintings, and they stayed connected until his death in 1972.

Cornell's life greatly changed in 1965 with the death of his brother, Robert. By this time, his mother lived with his sister in Long Island, and Cornell was alone in the Utopia Parkway house for the first time. He exchanged frequent letters and phone calls with his mother and devoted much time to thinking about Robert and Joyce, often aligning them in his diary notations. Cornell also created a series of collages dedicated to his brother's memory, incorporating photostats of Robert's hundreds of drawings into Cornell's work, as with the later collage, "The Heart on the Sleeve" (1972). Cornell's "Time Transfixed" series of collages were also dedications to Robert's memory, referencing Magritte and Robert's love of trains. He mounted an exhibition, "Robert Cornell: Memorial Exhibition" (January 4-29, 1966), at the Robert Schoelkopf Gallery, where he showed Robert's artwork alongside his newly created collage dedications.

After Robert's death, Cornell relied more heavily on assistants, going through many part-time "helpers." In October 1966, Cornell's mother died, adding her to his constant thoughts and diaries. Though he was still grieving, he was given two major retrospectives in 1967. The first was at the Pasadena Art Museum, put on by James Demetrion and Walter Hopps, "An Exhibiton of Works by Joseph Cornell" (January 9-February 11, 1967). The second retrospective was at the Guggenheim Museum just three months later, "Joseph Cornell" (May 4-June 35, 1967), organized by Diane Waldman. After these shows, he was highlighted in the December 15, 1967 issue of "Life" in the article, "The Enigmatic Bachelor of Utopia Parkway."

In 1968, Cornell was given an "award of merit," which included a medal and $1,000, by the American Academy and Institute of Arts and Letters. He was also given a medal and $1,000 by the Brandeis University Creative Arts Awards in the painting category, along with an exhibition. Days later, "The New York Times" announced Cornell the winner, along with Donald Judd, of India's first Triennale of Contemporary World Art. The Brandeis exhibition, "Boxes and Collages by Joseph Cornell" (May 20-June 23, 1968), was organized by William Seitz and concentrated on Cornell's more recent 1960s collages. Cornell was also included in the Metropolitan Museum of Art's hundredth anniversary show, "New York Painting and Sculpture: 1940 to 1970" (October 18, 1969-February 1, 1970), where twenty-two of Cornell's boxes were shown in their own gallery. At the end of 1970, Cornell was given a solo show at the Metropolitan, "Collages by Joseph Cornell" (December 10, 1970-January 24, 1971), which included forty-five of his newest collages.

Now preferring to stay closer to his home in Flushing, Cornell was more interested in sharing his art with young adults and children, than an adult audience. He hosted a group of high school students, sponsored by the Metropolitan Museum of Art's education department, at his home in conjunction with his collage show (1970-1971). He also showed his work in the art department of Queens College of the City University of New York. Cornell still hosted visitors on occasion, having Yoko Ono and John Lennon at his home at least once. Leila Hadley, Betsy von Furstenberg, and Anne Jackson also made frequent visits. With his deteriorating health, Cornell worried about what would happen to his work after his death and hired lawyer Harry Torczyner to help him plan his estate and get his affairs in order.

In 1972, Cornell had a show at the Cooper Union, a college in New York, specifically for children. He displayed his boxes and collages at child-height and had cherry soda and brownies at the opening reception on February 10. He then held a show at the Albright-Knox Art Gallery in Buffalo, also for children: "Children's Preview of the Exhibition of Joseph Cornell – Collages and Boxes (April 18-June 17, 1972). In the winter of 1972, at the request of the Phoenix House drug treatment and prevention program, Cornell contributed to a charity project compiling limited-edition lithographic prints for a portfolio, which included artists like David Hockney, James Rosenquist, and Ellsworth Kelly.

On December 29, 1972, a week after turning sixty-nine, Cornell died of heart failure at his home. He was cremated and interred near the graves of his mother, father, and brother, overlooking the Hudson River in Nyack, New York.

Works Cited:

1. Hartigan, Lynda Roscoe. "Joseph Cornell: Navigating the Imagination." New Haven, Connecticut and London: Yale University Press, 2007. Exhibition Catalog.

2. McShine, Kynaston. "Joseph Cornell." New York: Museum of Modern Art, 1980.

3. San Francisco Cinematheque and The San Francisco Museum of Modern Art. "Joseph Cornell: Films." 2007. Exhibition Program. (Presented in conjunction with SFMOMA's exhibition of "Joseph Cornell: Navigating the Imagination").

4. Schaffner, Ingrid and Lisa Jacobs. "Julien Levy: Portrait of an Art Gallery." Cambridge, Massachusetts and London: The MIT Press, 1998.

5. Solomon, Deborah. "Utopia Parkway: The Life and Work of Joseph Cornell." New York: Farrar, Straus and Giroux, 1997.
Separated Materials:
The Smithsonian Archives of American Art houses the Joseph Cornell papers, 1804-1986, bulk 1939-1972.
Provenance:
The Joseph Cornell Study Center collection was donated to the Smithsonian American Art Museum by Joseph Cornell's sister and brother-in-law, Elizabeth Cornell Benton and John A. Benton, in 1978, which prompted the creation of the Joseph Cornell Study Center. Additional materials were donated in installments by the artist's estate, the Joseph and Robert Cornell Memorial Foundation, from 1985 to 1997. Elizabeth and John A. Benton originally donated 66 linear feet of three-dimensional and non-textual source material and 50 linear feet of books to the Smithsonian Archives of American Art, which were subsequently transferred to the Smithsonian American Art Museum's Joseph Cornell Study Center in 1994 and 1995.
Restrictions:
Access to the collection requires an advanced appointment. Contact collection staff at least two weeks prior to preferred date, at AmericanArtCornellStudy@si.edu.

Series 9: Artifacts and Ephemera, Series 13: Personal Library and Book Collection, and Series 14: Record Album Collection, are still undergoing processing and preservation and may not be available for research use. Record albums are unavailable for playback. Contact collection staff for full lists of publications and record albums.
Rights:
Unpublished materials are protected by copyright. Permission to publish, quote, or reproduce must be secured from the repository and the copyright holder.
Occupation:
Collagists -- New York (State) -- New York  Search this
Topic:
Art, Modern -- 20th century -- United States  Search this
Assemblage (Art)  Search this
Assemblage artists -- New York (State) -- New York  Search this
Found objects (Art)  Search this
Sculptors -- New York (State) -- New York  Search this
Works of art  Search this
Celebrities  Search this
Filmmakers -- New York (State) -- New York  Search this
Genre/Form:
Photographs -- 1900-1950 -- Photoprints -- Silver gelatin
Photographs -- 1860-1870 -- Black-and-white photoprints -- Silver albumen -- Cartes-de-visite
Photographs -- Daguerreotypes -- 1840-1860
Citation:
Joseph Cornell Study Center collection, 1750-1980, bulk 1930-1972. Joseph Cornell Study Center, Smithsonian American Art Museum.
Identifier:
SAAM.JCSC.1
See more items in:
Joseph Cornell Study Center Collection
Archival Repository:
Smithsonian American Art Museum, Research and Scholars Center
GUID:
https://n2t.net/ark:/65665/ih7d97fc249-474d-41bf-953d-5305df1e4c06
EDAN-URL:
ead_collection:sova-saam-jcsc-1

John Marshall Ju/'hoan Bushman film and video collection

Collaborator:
McElwee, Ross  Search this
Blitz, Daniel  Search this
Bishop, John Melville  Search this
Baker, Peter  Search this
Ritchie, Claire  Search this
Young, Robert  Search this
Terry, John  Search this
Galvin, Frank  Search this
Bestall, Clifford  Search this
Gardner, Robert  Search this
Asch, Timothy, 1932-1994  Search this
Marshall, Lorna  Search this
Creator:
Marshall, John, 1932-2005 (ethnographic filmmaker)  Search this
Extent:
2 Boxes (map drawers)
3 Video recordings (published videos or video series)
99 Linear feet (714,405 feet (332 hours) 16mm film, 435 hours video tape, 309 hours audio tape, 21 published film and video titles, 29 unpublished film and video titles, 14 linear feet paper records)
Culture:
San (African people)  Search this
Bushman  Search this
Type:
Collection descriptions
Archival materials
Video recordings
Documentary films
Place:
Namibia
Date:
1950-2000
Summary:
The John Marshall Ju/'hoan Bushman Film and Video Collection contains full film and video projects (outtake material), film production elements and edited films and videos, audio tapes, still photographs, negatives, transparencies, slides, published and unpublished writing by John Marshall and others, study guides for edited films, Nyae Nyae Development Foundation and Advocacy files, maps, and production files that include letters, shot logs, translations, transcriptions, editing logs, treatments, and proposals spanning from 1950-2000. This material comprises Marshall's long-term documentary record of the Ju/'hoansi of the Nyae Nyae region of the Kalahari Desert in northeastern Namibia. A great deal of the film and video footage focuses on one particular extended family, that of Toma Tsamko, whose ancestral home is at /Gautcha, an area with a large salt pan and a permanent waterhole. The life stories of some family members are captured in the footage; appearing as children in the 1950's, middle-aged parents in the 1980's, and pensioners in the final years of visual documentation. The Marshall Collection also documents other Ju/'hoansi living in Nyae Nyae and elsewhere, their relationships with neighboring ethnic groups, and national politics that affected Ju/'hoansi. Marshall also documented the local political body (the Nyae Nyae Farmers' Cooperative, or NNFC), the foundation he started (the Nyae Nyae Development Foundation of Namibia, or NNDFN), and the ways in which both groups worked with and were affected by international development organizations and foreign aid during the 1990's.
Scope and Contents:
The John Marshall Ju/'hoan Bushman Film and Video Collection contains full film and video projects (outtake material), film production elements and edited films and videos, audio tapes, still photographs, negatives, transparencies, slides, published and unpublished writing by John Marshall and others, study guides for edited films, Nyae Nyae Development Foundation and Advocacy files, maps, and production files that include letters, shot logs, translations, transcriptions, editing logs, treatments, and proposals spanning from 1950-2000.

This material comprises Marshall's long-term documentary record of the Ju/'hoansi of the Nyae Nyae region of the Kalahari Desert in northeastern Namibia. A great deal of the film and video footage focuses on one particular extended family, that of Toma Tsamko, whose ancestral home is at /Gautcha, an area with a large salt pan and a permanent waterhole. The life stories of some family members are captured in the footage; appearing as children in the 1950's, middle-aged parents in the 1980's, and pensioners in the final years of visual documentation. Beginning in 1978, Marshall often conducted lengthy and in depth interviews with many family members, in which they reflect on past, present, and future, and often comment on specific film footage from earlier years which was shown to them during the interviews. The collection is not limited to the /Gautcha family, however; it also documents other Ju/'hoansi living in Nyae Nyae and elsewhere, their relationships with neighboring ethnic groups, and national politics that affected Ju/'hoansi. Marshall also documented the local political body (the Nyae Nyae Farmers' Cooperative, or NNFC), the foundation he started (the Nyae Nyae Development Foundation of Namibia, or NNDFN), and the ways in which both groups worked with and were affected by international development organizations and foreign aid during the 1990's. The collection also documents changes to the landscape and wildlife of the Nyae Nyae region.
Arrangement:
This collection is arranged in 13 series: (1) Unedited Film and Video Projects, 1950-1978, 1981-2003; (2) Published Films and Videos, 1952-2002; (3) Unpublished Films and Videos, 1959-1962, circa 1965; (4) Audio, 1950s, 1978-1990; (5) Field Notes, Shot Logs, Translations, 1951-2000; (6) Production Files, 1952-2004; (7) Correspondence, 1968-2003 [bulk 1993-2000]; (8) Nyae Nyae Development Foundation & Advocacy Files, 1975-2003 [bulk 1984-2003]; (9) Published and Unpublished Writing, 1957-1958, 1980-1999, 2007; (10) Study Guides, 1974, 1982; (11) Writings by Others & Press, 1952-1953, 1965-2005; (12) Photographs, 1930s, 1946-2003; (13) Maps, 1872, 1879, 1914, 1933-1989.
Biographical / Historical:
John Marshall, filmmaker and activist, was born on November 12, 1932 in Boston, Massachusetts. He grew up in Cambridge, Massachusetts and on his family's farm in Peterborough, New Hampshire. Marshall first picked up a camera in 1950, at the age of 18, during the first of several expeditions to the Kalahari organized by his father, Laurence Marshall, the founding president of the Raytheon Corporation. The whole Marshall family - including John's mother, Lorna, and sister, Elizabeth Marshall Thomas - became engaged in a multi-disciplinary study of the Ju/'hoansi. Marshall's father assigned him the task of making a documentary film record of Ju/'hoan life and culture. Between 1950 and 1958, he shot over 300,000 feet of 16mm film (157 hours).

Marshall formed a close bond with many of his Ju/'hoan subjects, particularly with Toma "Stumpy" Tsamko, leader of the /Gautcha band. Amongst Ju/'hoansi, Marshall was known as Toma Xhosi, Toma "Longface". Probably because of this close relationship, he was forced to leave South West Africa in 1958 after his visa expired, and was not allowed back for twenty years.

During the 1960's and 1970's, Marshall became well-established as a cinema vérité filmmaker. After leaving the Film Study Center at Harvard, which he had co-directed with Robert Gardner, he worked briefly with Robert Drew and D.A. Pennebaker, and later collaborated with Fredrick Wiseman on Titicut Follies (1967). He forged friendships with leading documentary and ethnographic filmmakers, including Timothy Asch, Ricky Leacock, and Jean Rouch.

Throughout these years, Marshall continued to work with his extensive footage of Ju/'hoansi. He completed 15 short films, as well as the award-winning Bitter Melons. In 1968, Marshall partnered with Tim Asch to found Documentary Educational Resources (DER), to distribute and support the creation of ethnographic and educational film.

In 1978 Marshall was allowed to return to Nyae Nyae to shoot N!ai, the Story of a !Kung Woman. Finding his Ju/'hoan friends beset by illness, poverty, and growing social ills, John turned his attentions to development and advocacy work. Virtually abandoning his filmmaking career, Marshall started a foundation to assist Ju/'hoansi and spent most of the 1980's helping them establish water access, subsistence farming, and a local government. He began using film as an advocacy tool, and released several urgent, issuefocused videos to raise awareness of the Ju/'hoan struggle for self-determination.

Marshall continued his documentary record of Ju/'hoansi, directing his final shoot in 2000. A Kalahari Family (2002), his epic six-hour series, tells the story of the Ju/'hoansi from 1950-2000 and charts Marshall 's evolution from filmmaker to activist. He made his final visit to Nyae Nyae in 2004, and continued his advocacy work right up to his final days. John Marshall died due to complications from lung cancer on April 22, 2005.

John Marshall Chronology

1932 -- Born in Boston, Massachusetts

1950-1958 -- Marshall Family expeditions to study the Ju/'hoansi of Nyae Nyae

1957 -- Awarded B.A. in Anthropology from Harvard University The Hunters released

1958-1960 -- Associate Director (with Robert Gardner) of the Film Study Center, Peabody Museum, Harvard University

1960 -- Awarded G.S.A.S. in Anthropology from Yale University

1960-1963 -- Director, Bushmen Film Unit, Harvard University

1962 -- Sha//ge Curing Ceremony (early version of A Curing Ceremony), A Group of Women and Joking Relationship screened at Flaherty Seminar

1964-1965 -- Cameraman for NBC covering civil war in Cyprus

1966 -- Awarded M.A. in Anthropology from Harvard University

1967 -- Cameraman and Co-Director of Fredrick Wiseman's Titicut Follies

1968 -- Founded Documentary Educational Resources (DER) with Timothy Asch (first known as CDA, Center for Documentary Anthropology)

1968-1969 -- Cameraman and Director of film shoots for the Pittsburgh Police series, produced through the Center for Violence Studies at Brandeis University

1970-1974 -- Edited and released numerous short films, from both Ju/'hoan (!Kung) and Pittsburgh Police series

1972 -- Collaborated with Nicholas England (musicologist) on a film project documenting a family of drummers in Ghana (this film was never completed)

1972-1973 -- Travel to Botswana to film National Geographic's Bushmen of the Kalahari, produced by Wolper Productions

1974 -- If It Fits, documentary on failing shoe industry in Haverhill, MA, released

1976 -- Director and cameraman of film shoots for Smithsonian Festival of American Folklife

1978 -- Film shoot in Nyae Nyae for N!ai, The Story of a !Kung Woman

1980 -- N!ai, The Story of a !Kung Woman released and broadcast on PBS as partof the Odyssey series

1980-1982 -- Conducted genealogical survey in Nyae Nyae with Claire Ritchie

1982 -- Founded the Ju/wa Cattle Fund (later known as the Nyae Nyae Development Foundation of Namibia)

1985 -- Pull Ourselves Up or Die Out, Marshall's first "field report" edited on video, released

1989 -- Returns to Boston after Namibian independence

1991 -- To Hold Our Ground, another "field report" is aired on Namibian television shortly before a national Land Rights Conference

1993 -- The Cinema of John Marshall published

1995 -- Awarded Honorary M.F.A. from Rhode Island School of Design

2000 -- Final video shoot in Nyae Nyae

2002 -- A Kalahari Family premieres at the Margaret Mead Film Festival in New York City; released for general distribution in 2003

2004 -- Makes final visit to Nyae Nyae; presents proposal for water point protections

2005 -- Dies in Boston, Massachusetts
Orthography Note:
Ju/'hoansi are the speakers of the Ju/'hoan language. Various cultural descriptors used over the years include !Kung which is a language group containing three dialect groups, one of which is the Ju/'hoansi; San, which is now regarded by the Ju/'hoansi to have negative connotations; and Bushman, which ironically (given the derogatory history of this term) is now preferred by the Ju/'hoansi as a term of dignity. (Orthography information provided by Dr. Polly Wiessner, University of Utah anthropologist and longtime field worker among and researcher of the Ju/'hoansi.)

The orthography of the Ju/'hoan language has changed many times, though an official orthography was agreed upon and accepted by the Namibian government in 1991. The finding aid, cataloging records, and shot logs for the Marshall collection at Human Studies Film Archives continue to use the orthography used by the Marshall family beginning in 1950. These spellings are usually anglicized versions of the official orthography. For example, the name ≠Oma was usually rendered by the Marshalls as Toma; the place name /Aotcha as /Gautcha or Gautscha.

The majority of the footage was shot in a region of Namibia (formerly South West Africa) known as Nyae Nyae. In the 1960's, a portion of the Nyae Nyae area was officially established as a homeland for Ju/'hoansi by the South West African administration. This area, once called Eastern Bushmanland, is now known as Eastern Otjozondjupa, however it is still referred to as Nyae Nyae by Ju/'hoansi and others. The Nyae Nyae Conservancy, which encompasses a large portion of Eastern Otjozondjupa, was established in 1996.
Filmography:
JU/'HOAN BUSHMAN FILM SERIES

1952 -- First Film [also known as !Kung Bushmen of the Kalahari] (by Lorna Marshall)

1957 -- The Hunters

1959 -- A Curing Ceremony

1961 -- A Group Of Women

1962 -- A Joking Relationship

1966 -- !Kung Bushmen Hunting Equipment (directed by Lorna Marshall)

1969 -- N/um Tchai: The Ceremonial Dance of the !Kung Bushmen

1969 -- An Argument About A Marriage

1970 -- The Lion Game

1970 -- The Melon Tossing Game

1971 -- Bitter Melons

1972 -- Debe's Tantrum

1972 -- Men Bathing

1972 -- Playing With Scorpions

1972 -- A Rite of Passage

1972 -- The Wasp Nest

1974 -- Baobab Play

1974 -- Children Throw Toy Assegais

1974 -- The Meat Fight

1974 -- Tug-Of-War

1980 -- N!ai, the Story of a !Kung Woman

1985 -- Pull Ourselves Up Or Die Out

1990 -- To Hold Our Ground: A Field Report

1991 -- Peabody Museum !Kung San Exhibit Video

2002 -- A Kalahari Family

In addition to Marshall's many published films on the Ju/'hoansi, he was also involved in a variety of other film projects. He shot and co-directed Titicut Follies, a film by Fredrick Wiseman. Working in association with the Lemburg Center for Violence Studies at Brandeis University, he shot and directed a series of short films about a police squad in Pittsburgh, PA, known as the Pittsburgh Police series. He also shot and directed If It Fits, a film about the failing shoe industry in Haverhill, MA. Marshall was also the subject of two television programs: Bushmen of the Kalahari, a National Geographic special which aired in the United States, and a Japanese program called Forty Years in the Kalahari, part of the television series, Our Wonderful World. All of these, as well as Marshall's Ju/'hoan films, are included in this filmography.

PITTSBURGH POLICE SERIES

1970 -- Inside/Outside Station 9

1971 -- Three Domestics

1971 -- Vagrant Woman

1972 -- 901/904

1972 -- Investigation of a Hit and Run

1973 -- After the Game

1973 -- The 4th, 5th, & Exclusionary Rule

1973 -- A Forty Dollar Misunderstanding

1973 -- Henry Is Drunk

1973 -- The Informant

1973 -- A Legal Discussion of a Hit and Run

1973 -- Manifold Controversy

1973 -- Nothing Hurt But My Pride

1973 -- Two Brothers

1973 -- $21 or 21 Days

1973 -- Wrong Kid

1973 -- You Wasn't Loitering

OTHER FILMS

1967 -- Titicut Follies (Co-Director, Cinematographer; film by Fredrick Wiseman)

1972 -- Ghana Drumming (uncompleted; collaboration with Nicholas England)

1974 -- Bushmen of the Kalahari (by Wolper Productions for National Geographic)

1975 -- Vermont Kids (series of short films; released in 2007)

1976 -- Festival of American Folklife (uncompleted; shot for Smithsonian Institution)

1978 -- If It Fits

1988 -- Our Wonderful World: Forty Years in the Kalahari (by Nippon A-V Productions)
Related Materials:
The Human Studies Film Archives holds several related collections, including:

• The Nicholas England Collection, which consists of audio recordings from 1951-1961. This collection contains both originals and duplicates of audio tapes recorded during the Marshall Expeditions. (2005.9) • The Journal of Robert Gesteland, kept during the Marshall !Kung Expedition VI, 1957-58. (2007.17) • Master copies of the full film record of Bushmen of the Kalahari (1974), a television program featuring John Marshall's 1973 visit to the /Gwi San of Botswana, produced by Wolper Productions for National Geographic. (2008.12) • Reference copies of the full video record of Our Wonderful World: Forty Years in the Desert, Nippon A-V's 1988 Japanese television program about John Marshall and the Ju/Wa Bushman Development Foundation. (2009.2.1) • Master copies of the videotape "library" kept by John Marshall for reference and stock footage purposes. Compiled from various sources, the videos include news programs, documentaries, and raw footage of Ju/'hoansi and other San peoples from the 1920's --1990's, as well as interviews with John Marshall and his mother, Lorna Marshall. (2009.2) • Additional audio recordings, including interviews with Ju/'hoansi made by John Marshall and others. (2009.3) • Full film record of [Ghana Drumming, 1972], an uncompleted project undertaken by John Marshall and Nicholas England, which documents a family of musicians. (2008.11)

The Papers of Timothy Asch, held at the National Anthropological Archives, contain information on Asch's work with John Marshall at Harvard University from 1959-1963, their collaboration in founding DER, and details on the use of Marshall's Ju/'hoan footage in the development of MACOS (Man, A Course of Study).

There are also several closely related collections held at the Peabody Museum of Archaeology and Ethnology, Harvard University. These collections relate to the 1950's Marshall Expeditions and include: Expeditionary Notebooks and Journals of Lorna and Laurence Marshall; Journal of Elizabeth Marshall Thomas; the Marshall Family Photograph Collection; and the Records of the South West Africa Expeditions, 1950- 1959. The Harvard Film Archive, Harvard University, holds film prints of several of Marshall's published films on the Ju/'hoansi, including The Hunters.
Provenance:
The John Marshall Ju/'hoan Bushman Film and Video Collection was received over several years of accessioning from different parties.
Restrictions:
The John Marshall Ju/'hoan Bushman Film and Video Collection is open for research. Please contact the Archives for availabilty of access copies of audio visual recordings. Original audiovisual material in the Human Studies Film Archives may not be played. Materials relating to Series 6 Production Files are restricted and not available for research until 2048, 2063, 2072. Kinship diagrams in Series 13 are restricted due to privacy concerns. Various copyrights and restrictions on commercial use apply to the reproduction or publication of film, video, audio, photographs, and maps.
Rights:
Contact the repository for terms of use. Information on reproduction and fees available from repository.
Topic:
Anthropology  Search this
Genre/Form:
Documentary films
Citation:
The John Marshall Ju/'hoan Bushman Film and Video Collection, 1950-2000, Human Studies Film Archives, Smithsonian Institution.
Identifier:
HSFA.1983.11
See more items in:
John Marshall Ju/'hoan Bushman film and video collection
Archival Repository:
Human Studies Film Archives
GUID:
https://n2t.net/ark:/65665/pc9837628c2-5993-4cb8-8a98-9d1139f46452
EDAN-URL:
ead_collection:sova-hsfa-1983-11
Online Media:

[Student Evaluations of Bushman and Yanomamo Films, North Reading, Massachusetts]

Collection Collaborator:
McElwee, Ross  Search this
Blitz, Daniel  Search this
Bishop, John Melville  Search this
Baker, Peter  Search this
Ritchie, Claire  Search this
Young, Robert  Search this
Terry, John  Search this
Galvin, Frank  Search this
Bestall, Clifford  Search this
Gardner, Robert  Search this
Asch, Timothy, 1932-1994  Search this
Marshall, Lorna  Search this
Collection Creator:
Marshall, John, 1932-2005 (ethnographic filmmaker)  Search this
Container:
Box 1
Type:
Archival materials
Text
Date:
circa 1975
Collection Restrictions:
The John Marshall Ju/'hoan Bushman Film and Video Collection is open for research. Please contact the Archives for availabilty of access copies of audio visual recordings. Original audiovisual material in the Human Studies Film Archives may not be played. Materials relating to Series 6 Production Files are restricted and not available for research until 2048, 2063, 2072. Kinship diagrams in Series 13 are restricted due to privacy concerns. Various copyrights and restrictions on commercial use apply to the reproduction or publication of film, video, audio, photographs, and maps.
Collection Rights:
Contact the repository for terms of use. Information on reproduction and fees available from repository.
Collection Citation:
The John Marshall Ju/'hoan Bushman Film and Video Collection, 1950-2000, Human Studies Film Archives, Smithsonian Institution.
See more items in:
John Marshall Ju/'hoan Bushman film and video collection
John Marshall Ju/'hoan Bushman film and video collection / Series 6: Production Files / 6.1: !Kung Projects
Archival Repository:
Human Studies Film Archives
GUID:
https://n2t.net/ark:/65665/pc9251c7e7b-ad54-44c4-b55e-aa488910b907
EDAN-URL:
ead_component:sova-hsfa-1983-11-ref386

[Cambridge, Massachusetts Police Department]

Collection Collaborator:
McElwee, Ross  Search this
Blitz, Daniel  Search this
Bishop, John Melville  Search this
Baker, Peter  Search this
Ritchie, Claire  Search this
Young, Robert  Search this
Terry, John  Search this
Galvin, Frank  Search this
Bestall, Clifford  Search this
Gardner, Robert  Search this
Asch, Timothy, 1932-1994  Search this
Marshall, Lorna  Search this
Collection Creator:
Marshall, John, 1932-2005 (ethnographic filmmaker)  Search this
Container:
Box 10
Type:
Archival materials
Text
Date:
1970 May-July
Collection Restrictions:
The John Marshall Ju/'hoan Bushman Film and Video Collection is open for research. Please contact the Archives for availabilty of access copies of audio visual recordings. Original audiovisual material in the Human Studies Film Archives may not be played. Materials relating to Series 6 Production Files are restricted and not available for research until 2048, 2063, 2072. Kinship diagrams in Series 13 are restricted due to privacy concerns. Various copyrights and restrictions on commercial use apply to the reproduction or publication of film, video, audio, photographs, and maps.
Collection Rights:
Contact the repository for terms of use. Information on reproduction and fees available from repository.
Collection Citation:
The John Marshall Ju/'hoan Bushman Film and Video Collection, 1950-2000, Human Studies Film Archives, Smithsonian Institution.
See more items in:
John Marshall Ju/'hoan Bushman film and video collection
John Marshall Ju/'hoan Bushman film and video collection / Series 6: Production Files / 6.4: Pittsburgh Police
Archival Repository:
Human Studies Film Archives
GUID:
https://n2t.net/ark:/65665/pc9d85b4abf-971a-4881-9fdb-344cf4636133
EDAN-URL:
ead_component:sova-hsfa-1983-11-ref522

Writing by Others & Press

Collection Collaborator:
McElwee, Ross  Search this
Blitz, Daniel  Search this
Bishop, John Melville  Search this
Baker, Peter  Search this
Ritchie, Claire  Search this
Young, Robert  Search this
Terry, John  Search this
Galvin, Frank  Search this
Bestall, Clifford  Search this
Gardner, Robert  Search this
Asch, Timothy, 1932-1994  Search this
Marshall, Lorna  Search this
Collection Creator:
Marshall, John, 1932-2005 (ethnographic filmmaker)  Search this
Extent:
0.6 Linear feet (2 boxes)
Type:
Archival materials
Date:
1952-1953
1965-2005
Scope and Contents:
Includes reviews, scholarly articles, and PhD theses on Marshall's films, as well as press about the Nyae Nyae Development Foundation of Namibia (NNDFN) and the Ju/'hoansi in general. Of particular note is the Ju/'hoan-English Dictionary compiled by Patrick Dickens in the 1980's and an extensive collection of press clippings relating to the Massachusetts state-wide ban on the film, "Titticut Follies".
Collection Restrictions:
The John Marshall Ju/'hoan Bushman Film and Video Collection is open for research. Please contact the Archives for availabilty of access copies of audio visual recordings. Original audiovisual material in the Human Studies Film Archives may not be played. Materials relating to Series 6 Production Files are restricted and not available for research until 2048, 2063, 2072. Kinship diagrams in Series 13 are restricted due to privacy concerns. Various copyrights and restrictions on commercial use apply to the reproduction or publication of film, video, audio, photographs, and maps.
Collection Rights:
Contact the repository for terms of use. Information on reproduction and fees available from repository.
Collection Citation:
The John Marshall Ju/'hoan Bushman Film and Video Collection, 1950-2000, Human Studies Film Archives, Smithsonian Institution.
Identifier:
HSFA.1983.11, Series 11
See more items in:
John Marshall Ju/'hoan Bushman film and video collection
Archival Repository:
Human Studies Film Archives
GUID:
https://n2t.net/ark:/65665/pc9543944db-c443-49ac-b76e-a9b21329299f
EDAN-URL:
ead_component:sova-hsfa-1983-11-ref803

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