The records of nationally renowned Boston, Massachussetts, stained glass design company, Wilbur H. Burnham Studios, measure 40.3 linear feet and date from circa 1901-1991. The majority of the collection consists of project files for the studio's stained glass window contracts throughout the United States from the 1920s-1980s. In addition to project files, records include biographical material for the owners, correspondence relating to personal and studio business, general business and financial records, writings such as published articles by Wilbur H. Burnham, scrapbooks and other printed material documenting the history of the company, artwork including extensive watercolor design studies for stained glass, and photographic material. There is a 3.4 linear foot unprocessed addition to this collection donated in 2021 that includes sketches, awards, printed material, passports, biographical material, Christmas cards, photographs and negatives of Burnham and works of art, slides and postcards of stained glass windows, posthumous material, a bound ledger, legal papers, invoices and receipts, project files and glass plate negatives. Materials date from circa 1901-1991.
Scope and Content Note:
The records of nationally renowned Boston, Massachussetts, stained glass design company, Wilbur H. Burnham Studios, measure 40.3 linear feet and date from circa 1901-1991. The majority of the collection consists of project files for the studio's stained glass window contracts throughout the United States from the 1920s-1980s. In addition to project files, records include biographical material for the owners, correspondence relating to personal and studio business, general business and financial records, writings such as published articles by Wilbur H. Burnham, scrapbooks and other printed material documenting the history of the company, artwork including extensive watercolor design studies for stained glass, and photographic material. There is a 3.4 linear foot unprocessed addition to this collection donated in 2021 that includes sketches, awards, printed material, passports, biographical material, Christmas cards, photographs and negatives of Burnham and works of art, slides and postcards of stained glass windows, posthumous material, a bound ledger, legal papers, invoices and receipts, project files and glass plate negatives. Materials date from circa 1901-1991.
Biographical material includes resume details and autobiographical notes for Burnham and Burnham, Jr., in addition to membership and fellow certificates.
Correspondence documents general studio business and includes correspondence with current and prospective clients, correspondence related to exhibitions, Burnham, Jr.'s activities on the Executive Committee of the America Arts Exposition, Inc., and the 1940 annual meeting of the Stained Glass Association of America and related business. Also found is some personal correpondence with friends and colleagues. Of note are 4 letters from stained glass artist Charles J. Connick giving his opinions on other stained glass artists, including Burnham, and a letter written by sculptor and designer, Joseph D. Portanova.
General business files include personnel records, records relating to a studio apprenticeship in stained glass design, a 1932 inventory of the studios, and leases and other legal documentation.
Writings include published articles by Burnham, in addition to draft typescripts for a book on stained glass which was never published, and research notes used as background material for stained glass studies. These notes include a number of pencil sketches.
19 diaries and journals consist of travel diaries and date books containing notes on daily appointments, financial notes, and addresses.
Project files form the bulk of the collection and document projects in circa 250 locations throughout the United States and Bellau, France, from the 1920s-1980s through correspondence with clients, architects and builders, contracts, purchase orders, building plans, sketches, scattered photographs and some printed material. Of particular note are extensive files on stained glass for New York's Cathedral of Saint John the Divine, Saint Mary's Cathedral in Peoria, Illinois, Saint Martin's Church in Providence, Rhode Island, and the National Cathedral in Washington D. C. The series also includes a group of contract files for the company Reynolds, Francis & Rohnstock (later Joseph G. Reynolds), a contemporary of Wilbur H. Burnham Studios.
Financial records include payment and receipt journals, expense reports, bills, account books and general ledgers which provide finanical documentation from the 1930s to the 1980s.
Printed material includes news clippings about Burnham studios and stained glass in general, in addition to source material used in subject research.
Additional newsclippings about Burnham Studios can be found in three scrapbooks which also house announcements and invitations, and scattered photographs. One scrapbook contains photographs of windows designed by the studios for the Church of Saint Vincent De Paul in Los Angeles, California.
Artwork and sketchbooks include some artwork by Burnham, Jr., such as pencil and ink sketches, life drawings, and some watercolors. The bulk of the series consists of watercolor design studies on board for many of the studio's projects documented in the project files. Also found are some stained glass design sketches and cartoons, primarily in pencil and charcoal with scattered watercolors, as well as seven folders of material used in creating stained glass patterns and templates.
Photographic material includes photos of Burnham and Burnham, Jr., and of studio work in progress, as well as photographs of artwork, primarily of stained glass created for a significant number of the studio's contracts.
Arrangement:
The collection is arranged as 12 series:
Missing Title
Series 1: Biographical Materials, circa 1930s-circa 1970s (Boxes 1, 27; 4 folders)
Series 2: Correspondence, 1920s-1991 (Box 1; 0.9 linear feet)
Series 3: General Business Files, 1930s-1970 (Box 2; 0.38 linear feet)
Series 4: Writings and Notes, 1920s-1950s (Box 2; 6 folders)
Series 5: Diaries and Journals, circa 1920s-circa 1960s (Box 2; 4 folders)
Series 6: Project Files, 1916-1980s (Boxes 2-12, 42; 10.6 linear feet)
Series 7: Financial Records, 1928-1982 (Boxes 13-14; 1.14 linear feet)
Series 8: Printed Material, circa 1920s-1980s (Boxes 14-15, 27-28; 1.89 linear feet)
Series 9: Scrapbooks, circa 1920s-circa 1970s (Boxes 15-16, 28, OVs 48-49, BV 84; 1.05 linear feet)
Series 10: Artwork and Sketchbooks, circa 1920s-circa 1980s (Boxes 16-23, 29-39, OVs 50-73, 85, RD 83; 13.15 linear feet)
Series 11: Photographic Materials, circa 1904-circa 1980s (Boxes 23-26, 29, 40-41, 43-47, OVs 74-82; 5.8 linear feet)
Series 12: Unprocessed Addition, circa 1901-1991 (Boxes 86-88, 91-93 OVs 89-90, 94; 3.4 linear feet)
Historical Note:
Boston, Massachussets stained glass design firm, Wilbur H. Burnham Studios, was founded by master stained glass craftsman Wilbur H. Burnham, in 1922. Together with Charles J. Connick and Joseph G. Reynolds, Burnham studios became recognized as one of the most prominent stained glass design companies in the United States. Burnham took early commissions from influential American architect Ralph Adams Cram, and believed strongly in the medieval stained glass tradition. In the late 1930s his son, Wilbur H. Burnham, Jr., who had received an informal education on tours of Europe with his family, and a BFA from Yale University, joined the firm.
Some of the studio's most notable commissions included seventeen windows for the Washington National Cathedral in Washington, D. C., all the windows and murals for Saint Mary's Cathedral, Peoria, Illinois, ten windows for the Cathedral of Saint John the Divine in New York City, and five for the Riverside Church, also in New York City.
Both Burnham and Burnham, Jr., served as presidents of the Stained Glass Association of American from 1938-1941 and 1956-1957 respectively. Burnham, Jr., took over the studio in 1968 when his father retired, and sold the studios in 1982.
Provenance:
The Wilbur H. Burnham Studios records were donated in 8 accessions by Wilbur H. Burnham, Jr., from 1977-1981 and by Wilbur C. Burnham, grandson of the founder, in 1990-1991 and 2021. Scott McDaniel, co-owner of the firm, contributed to the 1990 donation.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Stained glass artists -- Massachusetts Search this
The papers of Cambridge sculptor and illustrator, Lilian Swann Saarinen, measure nine linear feet and date from circa 1909 to 1977. The collection documents Saarinen's career through correspondence with artists, architects, publishers, and gallery owners; writings and notes, including manuscripts and illustrations for children's books and publications; project and teaching files; financial records; artwork, including numerous project sketches; and photos of Saarinen and her artwork. Saarinen's personal life is also documented through diaries and correspondence with friends and family members, including Eero Saarinen, to whom she was married from 1939-1953.
Scope and Contents:
The papers of Cambridge sculptor and illustrator, Lilian Swann Saarinen, measure nine linear feet and date from circa 1909 to 1977. The collection documents Saarinen's career through correspondence with artists, architects, publishers, and gallery owners; writings and notes, including manuscripts and illustrations for children's books and publications; project and teaching files; financial records; artwork, including numerous project sketches; and photos of Saarinen and her artwork. Saarinen's personal life is also documented through diaries and correspondence with friends and family members, including Eero Saarinen, to whom she was married from 1939-1953.
Biographical material consists of resumes and biographical sketches, as well as a 1951 blueprint for the Eero Saarinen and Associates Office Building in Bloomfield Hills, Michigan.
Correspondence documents Saarinen's personal and professional life through letters to and from Eero Saarinen and other family members, including six letters from Loja Saarinen; correspondence with artists and architects, including Merle Armitage, Charles and Ray Eames, Carl Koch, Henry Kreis, Carl Milles, Laszlo and Sibyl Moholy-Nagy, Robert Venturi, and Harry Weese; and friends and colleagues at the Cranbrook Academy of Art and Knoll Associates. Also documented is Saarinen's business relationship with Midtown Galleries and Caresse Crosby, and publishers and publications including Child Life, Interiors, Otava Publishing Company, and Reynal & Hitchcock, Inc.
Writings and Notes document Saarinen's work on several children's publications, including Picture Book Zoo (1935) and Who Am I? (1946), through correspondence, notes, manuscript drafts, and extensive sketches. This series also includes Saarinen's ideas for other publications and incorporates some early writings and notes, as well as typescripts of her reminiscences about Eliel Saarinen, the Saarinen family, and the Cranbrook Academy of Art.
Diaries consist of bound diary volumes, loose-leaf journal entries, and heavily annotated engagement calendars, documenting Saarinen's personal life, artistic aspirations, and career development from the 1930s-1970s. This material provides a deeply personal view of the emotional landscape of Saarinen's life, her struggles to balance her identity as a working artist with the roles of wife, mother, and homemaker, and the complex, and often competing, relationships within the renowned architectural family into which she married.
Project files document Saarinen's work on book cover designs, federal and post office commissions in Bloomfield, Indiana, Carlisle, Kentucky, and Evanston, Illinois, reliefs for the Crow Island School in Winnetka, Illinois, and other important commissions including the Harbor National Bank Clock in Boston, Massachusetts, the KLM Airlines installation at JFK Airport, the Fountain of Noah sculpture at the Northland Center in Detroit, Michigan, and the interior of Toffenetti's restaurant in Chicago, Illinois. Also documented is her role in designs for the Gateway Arch in St. Louis, with Eero Saarinen.
Teaching files document Saarinen's "Language of Clay Course" which she taught at Cambridge Art Center and the Massachusetts Institute of Technology.
Financial records document exhibition and sales expenses for two exhibitions, including her show at G Place Gallery in 1944.
Printed material consists of clippings about Saarinen and her family, exhibition announcements and catalogs for herself and others, and reference files from the 1930s-1940s, primarily comprising clippings of animals.
Additional printed material documenting Saarinen's career can be found in one of two scrapbooks found in the collection. An additional scrapbook consists of clippings relating primarily to Saarinen's parents.
Artwork comprises extensive sketches, particularly animal and figure sketches, in graphite, crayon, ink, pastel, and watercolor. The sketches demonstrate in particular Saarinen's developing interest in and skill with animal portraiture from her childhood to the 1960s.
Photographs are primarily of artwork and Saarinen's 1944 exhibition at G Place Gallery. Also found are one negative of Saarinen, probably with Eero Saarinen, and a group photo including Lilian, Eero, and Eliel Saarinen with the model for the Detroit Civic Center, circa 1940s.
Arrangement:
The collection is arranged as 11 series.
Missing Title
Series 1: Biographical Material, circa 1930s-1960s (3 folders; Box 1, OV 12)
Series 2: Correspondence, 1920-1974 (1.9 linear feet; Boxes 1-2, 8, OV 12)
Series 3: Writings and Notes, 1920s-1973 (1.3 linear feet, Boxes 2-3, 8, OVs 13-16)
Series 4: Diaries, 1930-1973 (1.4 linear feet, Boxes 3-5, 8)
Series 5: Project Files, 1931-1966 (1.7 linear feet, Boxes 5-6, 8, OVs 17-19)
Series 6: Teaching Files, 1966-1970 (3 folders, Box 6)
Series 7: Financial Records, 1940s-1970s (2 folders, Box 6)
Series 8: Printed Material, circa 1930s-1970s (0.2 linear feet, Box 6)
Series 9: Scrapbooks, circa 1909-1974 (2 folders; Boxes 6, 9)
Series 10: Artwork, circa 1920s-circa 1960s (1.7 linear feet, Boxes 6-7, 9-10, OVs 20-27)
Series 11: Photographs, circa 1940s, 1977 (0.5 linear feet, Boxes 7, 11, OV 27)
Biographical / Historical:
Cambridge artist and sculptor, Lilian Swann Saarinen (1912-1995), studied at the Art Students League with Alexander Archipenko in 1928, and later with Albert Stewart and Heninz Warneke from 1934-1936, before moving to Michigan where she studied with Carl Milles at the Cranbrook Academy of Art from 1936-1940. Saarinen was an accomplished skier and a member of the 1936 US Olympic ski team.
At Cranbrook, Swann met architect Eero Saarinen, whom she married in 1939. She subsequently worked with Saarinen's design group on a variety of projects, including the Westward Expansion Memorial, which later became known as the "Gateway Arch" in St. Louis. Lilian and Eero had a son, Eric, and a daughter, Susie, before divorcing in 1953.
Saarinen, who had developed an affinity for drawing animals in childhood, specialized in animal portraits in a variety of sculptural media. In 1939, she exhibited her sculpture Night, which depicted Bagheera the panther from Rudyard Kipling's Jungle Book, at the World's Fair. The sculpture was placed in the Boston Public Garden in 1986. In the 1930s and 1940s Saarinen was commissioned to work on a variety of architectural projects, including reliefs for post offices in Bloomfield, Indiana, Carlisle, Kentucky, and Evanston, Illinois, and the Crow Island School in Winnetka, Illinois. She also executed commissions for the Harbor National Bank in Boston, KLM (Royal Dutch Airlines) at JFK Airport, the Northland shopping Center in Detroit Michigan, and Toffenetti's Restaurant in Chicago.
Saarinen was a contributing author and illustrator for a variety of publications, including Child Life, Interiors and Portfolio: An Intercontinental Quarterly. In 1935 she illustrated Picture Book Zoo for the Bronx Zoo and in 1946 Reynal & Hitchcock, Inc. published Who Am I?, a children's book which Saarinen wrote and illustrated.
Saarinen taught ceramic sculpture to soldiers for the Red Cross Arts and Skills Unit rehabilitation program in 1945, served on the Visiting Committee to the Museum School at the Museum of Fine Arts, Boston, from 1959-1964, where she taught ceramics, and later taught a course entitled "The Language of Clay" at the Cambridge Art Center and the Massachusetts Institute of Technology. One of Saarinen's private students at Cambridge was her cousin, Edie Sedgwick.
Saarinen died in Cohasset, Massachusetts, in 1995 at the age of 83.
Separated Materials:
The Archives of American Art also holds material lent for microfilming (reels 1152 and 1192) including a scrapbook containing clippings, copies of letters and telegrams received, and reproductions of Saarinen's work. There is a copy of Saarinen's book, "Who Am I?", and three albums containing photographs of Saarinen, photographs and reproductions of her work, a list of exhibitions, quotes about her, and writings by her about sculpture. Lent material was returned to the lender and is not described in the collection container inventory.
Provenance:
Lilian Swann Saarinen donated the collection in 1975. She lent additional materials for microfilming in 1976.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Sculptors -- Massachusetts -- Cambridge Search this
Lilian Swann Saarinen papers, circa 1909-1977. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by The Walton Family Foundation; and John R. & Barbara Robinson and Deborah Schmidt Robinson & Dr. R. Perry Robinson, The Widgeon Point Charitable Foundation.
The Victor D. Spark papers measure 22.2 linear feet and date from circa 1830 to 1983, with the bulk of the material from 1930 to 1970. The papers document Spark's career as a New York City art dealer and appraiser who was most active from World War II through the 1970s, focusing on Old Masters paintings and 19th and early 20th century American art. Found within the papers are biographical materials, artist files, client files, financial records, legal records, printed material, and photographs.
Scope and Contents:
The Victor D. Spark papers measure 22.2 linear feet and date from circa 1830 to 1983, with the bulk of the material from 1930 to 1970. The papers document Spark's career as a New York City art dealer and appraiser who was most active during World War II up through the 1970s with a focus on Old Masters paintings as well as 19th and early 20th century American art. Found within the papers are biographical materials, artist files, client files, financial records, legal records, printed material, and photographs.
Biographical materials contain greeting cards and post cards, annotated appointment calendars, miscellaneous notes and lists, and an apartment lease.
Artists' files include photographs of artwork, artist biographies, printed materials, and some correspondence with and about the artist. Many of the photographs are annotated. Files are found for Old Masters and American artists, including James G. Clonney, Jon Singleton Copley, Jeremiah P. Hardy, Martin Johnson Heade, Rembrandt Peale, Maurice Prendergast, Everett Shinn, Thomas Sully, and many others. There is also a letter written in 1924 by Ruth Moran along with a photograph of a painting by the artist Thomas Moran, signed by him on the verso.
Extensive client files include notes, correspondence, bills, receipts, and clippings regarding sales and appraisals. Spark's clients included museums, collectors, art dealers, most of which are represented in the files. Notable clients and colleagues include Jacob S. Berliner, Charles W. Engelhard, Alfred V. Frankenstein, Hubert L. Grigaut, Charlotte W. Hardy, Robert Lehman, and Leon Medina. There are also files for many universities, businesses, museums, and galleries.
Financial records comprise the largest series in the collection and include ledgers, stock books, consignment records, scattered banking records, bills, tax documents, auction price lists, check stubs, and cancelled checks.
A small amount of legal records document two legal cases: Rauch v. IRS and Kaufman v. Phoenix (Travelers) Insurance Company for which Spark provided testimony.
Printed materials include clippings, exhibition and auction catalogs, newsletters, bulletins, a membership roster for the San Diego Arts Society, and several 19th century printed items.
Two black and white photographs are of a steam locomotive and an unidentified portraitist in his studio.
Arrangement:
This collection is arranged as 7 series.
Missing Title
Series 1: Biographical Materials, 1906, 1948-1981 (1.7 linear feet; Box 1-2)
Series 2: Artist Files, 1905-1983 (4 linear feet; Box 2-6, 22)
Series 3: Client Files, 1904, 1927-1981 (7.1 linear feet; Box 6-13)
Series 4: Financial Records, 1930-1981 (8.7 linear feet; Box 13-20, 22-29)
Series 5: Legal Records, 1970-1972 (0.2 linear feet; Box 20)
Series 6: Printed Materials, circa 1830-1872, 1948-1982 (0.2 linear feet; Box 20-22)
Series 7: Photographs, circa 1898-circa 1940 (0.1 linear feet; Box 21)
Biographical / Historical:
Victor D. Spark (1898-1991) was a prominent New York City appraiser and art dealer who specialized in Old Masters paintings as well as 19th and early 20th century art.
Spark was born in Brooklyn, N.Y., in 1898. When he was two years old, the Spark family moved to Harlem. His father worked in the hotel business and owned hotels in Brooklyn, Manhattan, and Europe. Spark briefly attended the City College of New York before transferring to New York University, where he studied for half a year, then enlisted in the Marines Corps during World War I and served overseas for 2 years. After his discharge, Spark returned to NYU where he majored in French, an interest he acquired during his military service. After graduation, Spark married Nina and went to Europe to help his father manage a summer hotel. There, he became interested in art.
Spark returned to the U.S., continuing to work for his father until 1929. Spark was involved with decorating and furnishing the hotels and often purchased antiques, artwork, and furniture, furthering his arts interests and knowledge. He began working in a gallery, acquiring works of art and dividing the sales profits with the gallery owners. Spark had no formal art education and his taste and eye for art was gained primarily through his travels in Europe. He also had a good business sense about what might sell for profit in the U.S.
Spark made frequent art buying trips across the United States to cities such as Boston and Philadelphia and returned to New York with paintings that he sold. Spark never owned a gallery, but he occasionally held exhibits, such as one titled "101 American Painters," inside the apartment. Although Spark specialized in 19th to early 20th century American art, he also sold European art work acquired during trips to Europe following World War II.
Spark continued his work selling paintings to museums, collectors, and other art dealers, until the 1970s. He was most active from the 1930s through World War II. As a prominent dealer for over four decades, Spark came to know many luminaries of the New York art scene, such as art dealer and gallery owner Edith Halpert. Spark died in 1991.
Related Materials:
The Archives of American Art also holds an oral history interview of Victor D. Spark conducted August 5, 1975 by Paul Cummings.
The National Gallery of Art maintains 12,000 photographs and negatives of artwork in their Victor D. Spark photograph collection.
Provenance:
The Victor D. Spark papers were acquired between 1954 and 1996. The first accession of 19th century printed materials and a letter by Ruth Moran was donated by Spark in 1954. The bulk of the collection was purchased jointly by the Archives of American Art and the National Gallery of Art at auction in July 1987. Subsequently, photographs of works of art documenting the collections of the National Gallery of Art were separated and retained by the National Gallery of Art. The papers remained at the Archives of American Art; three letters were later transferred to the Archives from the National Gallery of Art in 1996.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Art appraisers -- New York (State) -- New York Search this
Art dealers -- New York (State) -- New York Search this
Spark, Victor D. (Victor David), 1898-1991 Search this
Extent:
8.7 Linear feet (Box 13-20, 22-29)
Type:
Archival materials
Date:
1930-1981
Scope and Contents:
Financial records include ledgers stock books, consignment records, restoration and framing records, banking records, bills, tax documents, auction price lists, check stubs, and cancelled checks.
Arrangement:
This series is arranged as two subseries.
Missing Title
4.1: Ledgers, 1948-1971
4.2: Other Financial Records, 1930-1981
Collection Restrictions:
Use of original papers requires an appointment.
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:
Victor D. Spark papers, circa 1830-1983, bulk 1930-1970. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by the Samuel H. Kress Foundation
Spark, Victor D. (Victor David), 1898-1991 Search this
Type:
Archival materials
Date:
1948-1971
Scope and Contents:
Bound ledgers document sales, cash outlay, named client accounts, general income and expenses, and travel. Loose receipts, notes and other miscellaneous materials are often tucked between the pages. The sales ledgers list sales and appraisals by date, along with the name of the client, stock number, title or description of artwork, and sales price.
Arrangement:
The ledgers are arranged by type and then by year.
Collection Restrictions:
Use of original papers requires an appointment.
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:
Victor D. Spark papers, circa 1830-1983, bulk 1930-1970. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by the Samuel H. Kress Foundation
Spark, Victor D. (Victor David), 1898-1991 Search this
Type:
Archival materials
Date:
1930-1981
Scope and Contents:
Other financial records include stock books, consignment records, restoration and framing records, banking records, bills, tax documents, auction price lists, check stubs, and cancelled checks.
Arrangement:
Materials are arranged by type, then by year.
Collection Restrictions:
Use of original papers requires an appointment.
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:
Victor D. Spark papers, circa 1830-1983, bulk 1930-1970. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by the Samuel H. Kress Foundation
Spark, Victor D. (Victor David), 1898-1991 Search this
Container:
Box 13, Folder 80
Type:
Archival materials
Date:
1949
Collection Restrictions:
Use of original papers requires an appointment.
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:
Victor D. Spark papers, circa 1830-1983, bulk 1930-1970. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by the Samuel H. Kress Foundation
Spark, Victor D. (Victor David), 1898-1991 Search this
Container:
Box 13, Folder 81
Type:
Archival materials
Date:
1956
Collection Restrictions:
Use of original papers requires an appointment.
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:
Victor D. Spark papers, circa 1830-1983, bulk 1930-1970. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by the Samuel H. Kress Foundation
Spark, Victor D. (Victor David), 1898-1991 Search this
Container:
Box 14, Folder 1
Type:
Archival materials
Date:
1957
Collection Restrictions:
Use of original papers requires an appointment.
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:
Victor D. Spark papers, circa 1830-1983, bulk 1930-1970. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by the Samuel H. Kress Foundation
Spark, Victor D. (Victor David), 1898-1991 Search this
Container:
Box 14, Folder 2
Type:
Archival materials
Date:
1958
Collection Restrictions:
Use of original papers requires an appointment.
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:
Victor D. Spark papers, circa 1830-1983, bulk 1930-1970. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by the Samuel H. Kress Foundation
Spark, Victor D. (Victor David), 1898-1991 Search this
Container:
Box 14, Folder 3
Type:
Archival materials
Date:
1959
Collection Restrictions:
Use of original papers requires an appointment.
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:
Victor D. Spark papers, circa 1830-1983, bulk 1930-1970. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by the Samuel H. Kress Foundation
Spark, Victor D. (Victor David), 1898-1991 Search this
Container:
Box 14, Folder 4
Type:
Archival materials
Date:
1960
Collection Restrictions:
Use of original papers requires an appointment.
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:
Victor D. Spark papers, circa 1830-1983, bulk 1930-1970. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by the Samuel H. Kress Foundation
Spark, Victor D. (Victor David), 1898-1991 Search this
Container:
Box 14, Folder 5
Type:
Archival materials
Date:
1961
Collection Restrictions:
Use of original papers requires an appointment.
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:
Victor D. Spark papers, circa 1830-1983, bulk 1930-1970. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by the Samuel H. Kress Foundation
Spark, Victor D. (Victor David), 1898-1991 Search this
Container:
Box 14, Folder 6
Type:
Archival materials
Date:
1962
Collection Restrictions:
Use of original papers requires an appointment.
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:
Victor D. Spark papers, circa 1830-1983, bulk 1930-1970. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by the Samuel H. Kress Foundation
Spark, Victor D. (Victor David), 1898-1991 Search this
Container:
Box 14, Folder 7
Type:
Archival materials
Date:
1963
Collection Restrictions:
Use of original papers requires an appointment.
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:
Victor D. Spark papers, circa 1830-1983, bulk 1930-1970. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by the Samuel H. Kress Foundation
Spark, Victor D. (Victor David), 1898-1991 Search this
Container:
Box 14, Folder 8
Type:
Archival materials
Date:
1964
Collection Restrictions:
Use of original papers requires an appointment.
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:
Victor D. Spark papers, circa 1830-1983, bulk 1930-1970. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by the Samuel H. Kress Foundation
