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Pixar - The Incredibles Set Design

Creator:
Cooper Hewitt, Smithsonian Design Museum  Search this
Type:
YouTube Videos
Uploaded:
2015-10-08T16:38:43.000Z
YouTube Category:
Education  Search this
Topic:
Design  Search this
See more by:
cooperhewitt
Data Source:
Cooper Hewitt, Smithsonian Design Museum
YouTube Channel:
cooperhewitt
EDAN-URL:
edanmdm:yt_P_Fk1gRBX-I

AE Floor Plans

Container:
Box 15 of 27
Type:
Archival materials
Collection Citation:
Smithsonian Institution Archives, Accession 00-002, National Museum of American History, Exhibition Records
See more items in:
Exhibition Records
Exhibition Records / Box 15
Archival Repository:
Smithsonian Institution Archives
EDAN-URL:
ead_component:sova-sia-fa00-002-refidd1e4637

Louisa County -- Woodberry Forest

Former owner:
Walker, Joseph, Mrs  Search this
Madison, William  Search this
Walker, John Scott  Search this
Walker, Robert Stringfellow  Search this
Walker, Joseph G.  Search this
Architect:
Jefferson, Thomas, 1743-1826  Search this
Provenance:
Dolley Madison Garden Club  Search this
Collection Creator:
Garden Club of America  Search this
Type:
Archival materials
Place:
Woodberry Forest (Louisa County, Virginia)
United States of America -- Virginia -- Louisa County
Scope and Contents:
The folder includes a copy of a chapter on Woodberry Forest from "Homes and Gardens in Old Virginia," edited by Frances Archer Christian and Susanne Williams Massie and a copy of the National Park Service's "Journey Through Hallowed Ground" online description of The Residence.
General:
Woodberry Forest in Louisa County, Virginia was built in ca.1793. It was originally the estate of William Madison, member of the Virginia House of Delegates for seven consecutive terms and brother of President James Madison. In 1793 James Madison asked Thomas Jefferson to supply plans for a house for his brother. Jefferson, a close friend of the president, suggested a floor plan for a seven-room house in a geometric configuration that is a hallmark of Jefferson's residential design. James Madison later wrote to Jefferson saying that William had adopted the plans. No Jefferson drawings have been positively identified as the Madison design, but the correspondence authenticates the Jefferson connection. The original, unacademic two-column portico suggests, however, that Jefferson was not involved in the execution.
In 1870 the property was purchased by Robert Stringfellow Walker, who remodeled the house in 1884. It was here that Walker founded Woodberry Forest School in 1889, naming it after the Madison plantation. The house was renamed the Residence and became the headmaster's house.
Related Materials:
Woodberry Forest related holdings consist of 2 folder (3 glass lantern slides)
See others in:
Woodberry Forest, ca. 1930.
Collection Restrictions:
Access to original archival materials by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Collection Rights:
Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Topic:
Gardens -- Virginia -- Louisa County  Search this
Collection Citation:
Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.
Identifier:
AAG.GCA, File VA099
See more items in:
The Garden Club of America collection
The Garden Club of America collection / Series 1: United States Garden Images / Virginia
Archival Repository:
Archives of American Gardens
GUID:
https://n2t.net/ark:/65665/kb68be785a3-3a2f-404b-9668-be8cf73c60f1
EDAN-URL:
ead_component:sova-aag-gca-ref18957

Winfield

Architect:
Gilbert, C. P. H.  Search this
Engineer:
Greenleaf, James L., 1857-1933  Search this
Landscape architect:
Greenleaf, James L., 1857-1933  Search this
Creator:
Woolworth, F. W.  Search this
Reynolds, Richard S.  Search this
Provenance:
King, Robert  Search this
Collection Creator:
Garden Club of America  Search this
Extent:
1 Slides (photographs) (black-and-white, 35mm.)
Type:
Archival materials
Slides (photographs)
Place:
New York (State) -- Glen Cove
United States of America -- New York -- Nassau County -- Glen Cove
Date:
06/13/1913
General:
1st floor plan.
Collection Restrictions:
Access to original archival materials by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Collection Rights:
Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Topic:
Plan views  Search this
Collection Citation:
Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.
Identifier:
AAG.GCA, Item NY174003
See more items in:
The Garden Club of America collection
The Garden Club of America collection / Series 1: United States Garden Images / New York / NY174: Glen Cove -- Winfield
Archival Repository:
Archives of American Gardens
GUID:
https://n2t.net/ark:/65665/kb6da67b31b-2500-45c2-a174-9242fe2bbc22
EDAN-URL:
ead_component:sova-aag-gca-ref27636

Curatorial Records, 1933-2017

Creator:
National Museum of American History (U.S.) Division of Culture and the Arts  Search this
Subject:
Fesperman, John T  Search this
Hoover, Cynthia A (Cynthia Adams)  Search this
Sturm, Gary  Search this
Wedderburn, Alexander J  Search this
Ostroff, Eugene  Search this
Griffith, Fuller  Search this
Olmsted, Arthur J  Search this
Kainen, Jacob  Search this
Delaney, Michelle Anne  Search this
Grassick, Mary K  Search this
Perich, Shannon Thomas  Search this
Haberstich, David  Search this
Hasse, John Edward 1948-  Search this
National Museum of American History (U.S.) Division of Music, Sports, and Entertainment  Search this
National Museum of American History (U.S.) Division of Musical History  Search this
National Museum of American History (U.S.) Division of Musical Instruments  Search this
National Museum of History and Technology Division of Musical Instruments  Search this
National Museum of American History (U.S.) Division of Cultural History  Search this
Physical description:
11 cu. ft. processed holdings
23.08 cu. ft. unprocessed holdings
Type:
Manuscripts
Audiotapes
Color photographs
Black-and-white photographs
Color transparencies
Black-and-white transparencies
Brochures
Clippings
Floor plans
Phonograph records
Video recordings
Electronic records
Digital images
Color negatives
Black-and-white negatives
Compact discs
Digital versatile discs
Electronic mail
Date:
1933
1933-2017
Topic:
Musical instruments  Search this
Music--History  Search this
Budget  Search this
Museum curators  Search this
Museums--Collection management  Search this
Photography--History  Search this
Professional associations  Search this
Congresses and conventions  Search this
Speeches, addresses, etc  Search this
Museums--Public relations  Search this
Committees  Search this
Gifts  Search this
Local number:
SIA RS00540
Restrictions & Rights:
Materials less than 15 years old Restricted. Records may contain personally identifiable information (PII) that is permanently restricted. Contact reference staff for details
See more items in:
Curatorial Records 1933-2017 [National Museum of American History (U.S.) Division of Culture and the Arts]
Data Source:
Smithsonian Institution Archives
EDAN-URL:
edanmdm:siris_arc_220023

Records

Topic:
Tower Concert (Concert series)
Flentrop in America
Organs in Mexico
Extent:
64.08 cu. ft. (49 record storage boxes) (26 tall document boxes)
Type:
Collection descriptions
Archival materials
Audiotapes
Floor plans
Black-and-white negatives
Black-and-white photographs
Black-and-white transparencies
Manuscripts
Brochures
Clippings
Newsletters
Posters
Videotapes
Date:
circa 1954-1994
Descriptive Entry:
This record unit consists of curatorial and staff correspondence and memoranda pertaining to the Tower Concert series, exhibitions at the Hall of Musical Instruments, staff research and publications, organ building, acquisition of musical instruments, and funding for seminars and musical performance recordings. Also included are inquiries from private collectors, musicians, universities, and instrument manufacturers; minutes of meetings; floor plans for the Hall of Musical Instruments; recital announcements; audiotapes of Fesperman's organ performances; contracts with publishing companies; Fesperman's research material for the publications Flentrop in America and Organs in Mexico; exhibition proposals, scripts, loan agreements, and brochures from Contemporary Musical Instrument Makers; funding information, progress reports, photographs, and program booklets from Music at the Smithsonian, as well as the Tower Concert series; audiotapes and cassette recordings of concert performances, interviews with musicians, and music used for exhibitions; administrative records; photographs and slides of American and European chamber organs; correspondence between Fesperman and organ builder F. A. Flentrop; and staff research notes.
Topic:
Museum exhibits  Search this
Museum curators  Search this
Music -- History  Search this
Musical instruments  Search this
Genre/Form:
Audiotapes
Floor plans
Black-and-white negatives
Black-and-white photographs
Black-and-white transparencies
Manuscripts
Brochures
Clippings
Newsletters
Floor plans
Posters
Videotapes
Citation:
Smithsonian Institution Archives, Record Unit 485, National Museum of American History. Division of Musical History, Records
Identifier:
Record Unit 485
See more items in:
Records
Archival Repository:
Smithsonian Institution Archives
EDAN-URL:
ead_collection:sova-sia-faru0485

Richard D. Marshall papers

Creator:
Marshall, Richard, 1947-2014  Search this
Names:
Lever House (New York, N.Y.)  Search this
Museum of Contemporary Art, San Diego  Search this
Whitney Museum of American Art  Search this
Basquiat, Jean-Michel, 1960-1988  Search this
Bourgeois, Louise, 1911-2010  Search this
Calder, Alexander, 1898-1976  Search this
Mapplethorpe, Robert  Search this
Mitchell, Joan, 1926-1992  Search this
O'Keeffe, Georgia, 1887-1986  Search this
Pierson, Jack, 1960-  Search this
Ruscha, Edward  Search this
Extent:
15.8 Linear feet
26.07 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Interviews
Sound recordings
Photographs
Video recordings
Date:
1969-2014
Summary:
The papers of New York-based curator and art consultant Richard D. Marshall measure 15.8 linear feet and 26.07 GB and date from 1969-2014. The interviews, exhibitions and research files, client files, other professional files, printed material, photographic material of artwork, and born-digital material primarily reflect Marshall's work outside his role at the Whitney Museum. The exhibition and research files make up the bulk of the collection and document his independent curatorial and writing projects on artists Jean-Michel Basquiat, Alexander Calder, Robert Mapplethorpe, Jack Pierson, and Ed Ruscha, as well as his role in building the Lever House Art Collection. Sound and video recordings are also found in the collection, primarily with interviews and exhibition and research material.
Scope and Contents:
The papers of New York-based curator and art consultant Richard D. Marshall measure 15.8 linear feet and 26.07 GB and date from 1969-2014. The interviews, exhibitions and research files, client files, other professional files, printed material, photographic material of artwork, and digital material predominantly reflect Marshall's work outside his role at the Whitney Museum. Sound and video recordings are also found in the collection, primarily with interviews and exhibition and research material.

Thirteen interviews with artists are in the form of transcripts and sound recordings. Interviews are with many artists that Marshall had organized exhibitions for, including Louise Bourgeois, Robert Mapplethorpe, Ed Ruscha, and many featured in the exhibition New Image Painting at the Whitney in 1978.

Exhibition and research files may contain correspondence with artists, galleries, and museums; writings and notes; printed and research material; press packages; photographic material; and administrative documentation related to exhibition logistics, such as floors plans, items lists, consignment records, and shipping receipts. The most robust files and groups of files relate to the artists that Marshall worked with repeatedly over the course of his career, including Jean-Michel Basquiat, Alexander Calder, Robert Mapplethorpe, Joan Mitchell, Georgia O'Keeffe, Jack Pierson, and Ed Ruscha. Files relating to the Lever House Art Collection are also found here. The series contains sound and video recordings, as well as digital records containing broadcasts, documentaries, exhibition related material, writings, photographic material, and promotional material about artists from galleries.

Client files include correspondence, invoices, photographic material, floor plans, digital records, and other documentation related to Marshall's business as an independent art consultant.

Other professional files consists of business cards, Museum of Contemporary Art San Diego (MCASD) Board of Trustee's files, and photographic material Marshall accumulated as art editor of the Paris Review.

Printed and digital material consists of books, exhibition announcements, catalogs, press packages, posters, and other material. Material relates to artists and movements Marshall was interested in.

Photographic material is of artworks and is largely unsorted and not identified with any specific project. Formats include black and white photographs, slides, digital photographs, and transparencies.
Arrangement:
The collection is arranged as seven series

Missing Title

Series 1: Interviews, 1972-2009 (0.4 linear feet; Box 1, 0.173 GB; ER01)

Series 2: Exhibition and Research Files, circa 1970-2014 (11.5 linear feet; Box 1-12, OV 17-19, 23.40 GB; ER02-ER49)

Series 3: Client Files, 1998-2014 (1.5 linear feet; Box 12-14, 0.077 GB; ER50-ER51)

Series 4: Other Professional Files, circa 1980-2014 (0.9 linear feet; Box 14)

Series 5: Printed Material, 1969-2014 (0.5 linear feet; Box 15, OV 20, 2.27 GB; ER52)

Series 6: Photographic Material, 1990s-2000s (0.9 linear feet; Box 15-16, 0.145 GB; ER53)

Series 7: Unidentified Electronic Records, circa 2005 (1 folder; 1 folder)
Biographical / Historical:
Richard D. Marshall (1947-2014) was a New York-based curator and art consultant. Born in Los Angeles, Marshall attended the University of California, Irvine, and in 1973 moved to New York to attend the Independent Study Program at the Whitney Museum. He then became a curator at the Whitney from 1974-1993, organizing many biennials and solo exhibitions. While at the Whitney, Marshall also worked as art editor of the Paris Review (1975-1990), and organized exhibitions at other institutions of artists including Louise Bourgeois, Alexander Calder, and Robert Mapplethorpe. In 2003, he became curator of The Lever House Art Collection in New York, and worked with collectors Aby Rosen and Alberto Mugrabi to commission works for the lobby of the building by Tom Sachs, Urs Fischer, Liza Lou, Paula Hayes, and others. Marshall has also published monographs on Ed Ruscha, Jack Pierson, Alex Katz, Georgie O'Keeffe, Joan Mitchell, and Kenny Scharf.
Provenance:
Donated in 2015 by the Richard D. Marshall Estate, via William T. Georgis, executor.
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.

Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Art consultants -- New York -- New York  Search this
Topic:
Transcripts  Search this
Curators -- New York (State) -- New York  Search this
Genre/Form:
Interviews
Sound recordings
Photographs
Video recordings
Citation:
Richard D. Marshall papers, 1969-2014. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.marsrich
See more items in:
Richard D. Marshall papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9643ff989-b36c-4012-b44c-5f5de1c4aafa
EDAN-URL:
ead_collection:sova-aaa-marsrich
Online Media:

Exhibition Area Layout, First Floor Plan whiteprint from Chicago World's Fair

Medium:
paper
Dimensions:
Height x Width: 11 1/4 × 34 1/4 in. (28.58 × 87 cm)
Type:
Archival Material
Place:
Illinois
Date:
c. 1933
Object number:
0.052985.513.12
See more items in:
National Postal Museum Collection
Data Source:
National Postal Museum
GUID:
http://n2t.net/ark:/65665/hm8f062c075-0e5b-419f-9c50-fd77644bf8a9
EDAN-URL:
edanmdm:npm_0.052985.513.12

Exhibition Area Layout, Second Floor Plan whiteprint from Chicago World's Fair

Medium:
paper
Dimensions:
Height x Width: 11 1/4 × 34 1/4 in. (28.58 × 87 cm)
Type:
Archival Material
Place:
Illinois
Date:
c. 1933
Object number:
0.052985.513.13
See more items in:
National Postal Museum Collection
Data Source:
National Postal Museum
GUID:
http://n2t.net/ark:/65665/hm81f7d517b-5c1e-4b39-bbae-d0ccd2869f32
EDAN-URL:
edanmdm:npm_0.052985.513.13

First Floor Plan blueprint from the Chicago World's Fair

Medium:
paper
Dimensions:
Height x Width: 22 3/4 × 38 3/4 in. (57.79 × 98.43 cm)
Type:
Archival Material
Place:
Illinois
Date:
c. 1933
Object number:
0.052985.513.29
See more items in:
National Postal Museum Collection
Data Source:
National Postal Museum
GUID:
http://n2t.net/ark:/65665/hm8caa15e4a-5c9b-48f6-a348-09a7ae754ebb
EDAN-URL:
edanmdm:npm_0.052985.513.29

First Floor Plan blueprint from the Chicago World's Fair

Medium:
paper
Dimensions:
Height x Width: 22 3/4 × 38 3/4 in. (57.79 × 98.43 cm)
Type:
Archival Material
Place:
Illinois
Date:
c. 1933
Object number:
0.052985.513.30
See more items in:
National Postal Museum Collection
Data Source:
National Postal Museum
GUID:
http://n2t.net/ark:/65665/hm865ea6848-3a16-4d64-9773-c7bf5d841945
EDAN-URL:
edanmdm:npm_0.052985.513.30

First Floor Plan blueprint from the Chicago World's Fair

Medium:
paper
Dimensions:
Height x Width: 22 3/4 × 38 3/4 in. (57.79 × 98.43 cm)
Type:
Archival Material
Place:
Illinois
Date:
c. 1933
Object number:
0.052985.513.31
See more items in:
National Postal Museum Collection
Data Source:
National Postal Museum
GUID:
http://n2t.net/ark:/65665/hm87b8e5936-c69d-4b9b-a7f7-b76a25456719
EDAN-URL:
edanmdm:npm_0.052985.513.31

First Floor Plan blueprint from the Chicago World's Fair

Medium:
paper
Dimensions:
Height x Width: 22 3/4 × 38 3/4 in. (57.79 × 98.43 cm)
Type:
Archival Material
Place:
Illinois
Date:
c. 1933
Object number:
0.052985.513.32
See more items in:
National Postal Museum Collection
Data Source:
National Postal Museum
GUID:
http://n2t.net/ark:/65665/hm82a3c8919-8177-4108-a3af-acbe038e7fe5
EDAN-URL:
edanmdm:npm_0.052985.513.32

Photographs of Martinez's hut at National Zoo; and sketch of hut floor plans

Collection Collector:
National Museum of American History (U.S.). Division of Community Life  Search this
Collection Interviewer:
Ahlborn, Richard E., 1933-2015  Search this
Martin, Juana  Search this
Collection Author:
Martinez, Emiliano  Search this
Container:
Box 1, Folder 2
Type:
Archival materials
Collection Restrictions:
Collection is open for research.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Emiliano Martinez Collection, 1984, Archives Center, National Museum of American History.
See more items in:
Emiliano Martinez Collection
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep80d3edcd8-46a1-400c-9129-f01dab14dad3
EDAN-URL:
ead_component:sova-nmah-ac-0176-ref14

Zabriskie Gallery records

Creator:
Zabriskie Gallery  Search this
Names:
Galerie Zabriskie  Search this
Zabriskie, Virginia M., 1927-1991  Search this
Extent:
110.5 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1905-2011
Summary:
The Zabriskie Gallery records measure 110.5 linear feet and date from 1905 to 2011. The records document the history of the Zabriskie Gallery through leases, permits, floor plans, and other administrative files; guestbooks; appointment books, notebooks, and other desk diaries; correspondence from New York and Paris galleries, museums, clients, and other correspondence; appraisals, inventories, consigments, and other registrar files; artist files consisting of resumes, correspondence, exhibition material, and photographs of artwork; institution files consisting of correspondence, consignments,and artwork inquiries with museums, galleries, and corporations; exhibition files consisting of loan agreements, press releases, and correspondence related to exhibitions shown at the gallery; invoices, price lists, and other financial records; clippings, press packets, newsletters, and other printed material; photographs, slides, and transparencies of exhibitions and artists works; and correspondence, photographs, awards, and other personal records of Virginia Zabriskie.
Scope and Contents:
The Zabriskie Gallery records measure 110.5 linear feet and date from 1905 to 2011. The records document the history of the Zabriskie Gallery through leases, permits, floor plans, and other administrative files; guestbooks; appointment books, notebooks, and other desk diaries; correspondence from New York and Paris galleries, museums, clients, and other correspondence; appraisals, inventories, consigments, and other registrar files; artist files consisting of resumes, correspondence, exhibition material, and photographs of artwork; institution files consisting of correspondence, consignments,and artwork inquiries with museums, galleries, and corporations; exhibition files consisting of loan agreements, press releases, and correspondence related to exhibitions shown at the gallery; invoices, price lists, and other financial records; clippings, press packets, newsletters, and other printed material; photographs, slides, and transparencies of exhibitions and artists works; and correspondence, photographs, awards, and other personal records of Virginia Zabriskie.
Arrangement:
The collection is arranged into twelve series.

Series 1: Administrative Files, 1969-2010 (1.6 linear feet; Boxes 1-2)

Series 2: Guestbooks, 1954-1995 (1.3 linear feet; Boxes 2-3)

Series 3: Desk Diaries, 1968-1997 (3.4 linear feet; Boxes 3-7)

Series 4: Correspondence, 1958-2010 (7.3 linear feet; Boxes 7-14)

Series 5: Registrar Files, 1970-2010 (10.0 linear feet; Boxes 14-22, 110-111, OV 112)

Series 6: Artist Files, 1905-2010 (66.7 linear feet; Boxes 22-87, OV 113-114)

Series 7: Institution Files, 1951-2009 (5.5 linear feet; Boxes 88-93)

Series 8: Exhibition Files, 1955-2009 (6.3 linear feet; Boxes 93-99)

Series 9: Financial Records, 1960-2011 (3.7 linear feet; Boxes 99-103)

Series 10: Printed Material, 1948-2010 (1.0 linear feet; Boxes 103-104)

Series 11: Photographic Material, 1950-2006 (5.6 linear feet; Boxes 103-108, OV 112)

Series 12: Virginia Zabriskie Personal Records, 1943-2008 (0.3 linear feet; Boxes 108-109)
Biographical / Historical:
Zabriskie Gallery was founded by Virignia Zabriskie in 1954 when she purchased the Korman Gallery from Marvin Korman. The gallery featured works from artists such as Robert De Niro Sr., Lester Johnson, Mary Frank, and Pat Adams. Some of the more notable exhibitions included "Surrealism 1936 — Objects, Photographs, Collages and Documents" (1986), "Surrealism and the Book" (1991), and "André Masson in America" (1996). In 1977, Zabriskie opened Galerie Zabriskie in Paris to primarily show photography as there was only one gallery at the time doing so in Paris. Zabriskie closed the Galerie Zabriskie in 1998, but continued to operate the Zabriskie Gallery in New York unitl it closed in 2010.

Virginia Zabriskie (1927-2019) was an American art dealer who worked primarily in New York City and Paris. Zabriskie completed her studies in art history at New York University's Institute of Fine Art. Zabriskie became one of the youngest art dealers in New York in 1954 when she purchased the Korman Gallery. Zabriskie was also a founding member of the Art Dealers Association of America.
Related Materials:
Also included in the Archives of American Art is an oral history interview with Virginia Zabriskie conducted by Paul Cummings, May 28-June 6, 1975.
Provenance:
The Zabriskie Gallery records were donated to the Archives of American Art in seven installments by Virginia Zabriskie between 1992-2011.
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. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Topic:
Art, Modern -- 20th century  Search this
Function:
Art galleries, Commercial -- France
Art galleries, Commercial -- New York (State)
Citation:
Zabriskie Gallery Records, 1905-2011. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.zabrgall
See more items in:
Zabriskie Gallery records
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9a1494de5-aa0b-4dfb-ade0-49ac762190b2
EDAN-URL:
ead_collection:sova-aaa-zabrgall
Online Media:

Design for First Floor Mezzanine and First Floor, International Casino, 1530 Broadway, New York, NY

Office of:
Donald Deskey, (American, 1894–1989)  Search this
Architect:
Thomas W. Lamb, 1871 – 1942  Search this
Nicholas H. Weiss  Search this
Client:
Louis Brecker  Search this
International Casino  Search this
Draftsman:
W G W  Search this
Medium:
Graphite on tracing paper, ruled border in graphite
Dimensions:
H x W: 85.7 x 142.2 cm (33 3/4 x 56 in.)
Type:
interiors
Drawing
Object Name:
Drawing
Place:
USA
Made in:
New York, NY, USA
Date:
October 20, 1936
Credit Line:
Gift of Donald Deskey
Accession Number:
1975-11-264
Restrictions & Rights:
Usage conditions apply
See more items in:
Cooper Hewitt, Smithsonian Design Museum Collection
Drawings, Prints, and Graphic Design Department
Data Source:
Cooper Hewitt, Smithsonian Design Museum
GUID:
http://n2t.net/ark:/65665/kq44a94994e-5670-4a65-b502-20f3ade34949
EDAN-URL:
edanmdm:chndm_1975-11-264

Ankrum Gallery records

Creator:
Ankrum Gallery  Search this
Names:
Art Dealers Association of America  Search this
Black Arts Council (Washington, D.C.)  Search this
California Arts Council  Search this
Hirshhorn Museum and Sculpture Garden  Search this
Krannert Art Museum  Search this
Laguna Art Museum (Laguna Beach, Calif.)  Search this
Paramount Pictures  Search this
San Diego Museum of Art  Search this
Staempfli Gallery (New York, N.Y.)  Search this
Storm King Art Center  Search this
Almaraz, Carlos  Search this
Andrews, Benny, 1930-2006  Search this
Ankrum, Joan  Search this
Bauer, Richard, 1944-  Search this
Block, Irving  Search this
Broderson, Morris, 1928-2011  Search this
Caryl, Naomi  Search this
Casey, Bernie  Search this
Duveneck, Frank, 1848-1919  Search this
Feitelson, Lorser, 1898-1978  Search this
Groth, Bruno  Search this
Halpert, Edith Gregor, 1900-1970  Search this
Herschler, David  Search this
Hirsch, Joseph, 1910-1981  Search this
Hirshhorn, Olga  Search this
Homer, Jessie  Search this
Jackson, Suzanne, 1944-  Search this
Johnson, Buffie  Search this
Lundeberg, Helen, 1908-1999  Search this
Mesches, Arnold, 1923-  Search this
Miller, Henry, 1891-  Search this
Palm Springs Desert Museum  Search this
Schuler, Melvin  Search this
Secunda, Arthur  Search this
Shores, Kenneth, 1928-  Search this
Varda, Jean  Search this
Zev  Search this
Extent:
41.5 Linear feet
Type:
Collection descriptions
Archival materials
Scrapbooks
Photographs
Date:
circa 1900-circa 1990s
bulk 1960-1990
Summary:
The Ankrum Gallery records measure 41.5 linear feet and date from circa 1900 to circa 1990s, with the bulk of the records dating from 1960 to 1990. The papers include over 395 artists files, general gallery correspondence, project files, administrative records, exhibition files, collector and client files, financial material, printed material, 1 unbound scrapbook, and photographs. Also included are personal papers of gallery founder Joan Ankrum and her nephew, artist Morris Broderson.
Scope and Contents:
The Ankrum Gallery records measure 41.5 linear feet and date from circa 1900 to circa 1990s, with the bulk of the records dating from 1960 to 1990. The papers include over 395 artists files, general gallery correspondence, project files, administrative records, exhibition files, collector and client files, financial material, printed material, 1 unbound scrapbook, and photographs. Also included are personal papers of gallery founder Joan Ankrum and her nephew, artist Morris Broderson.

General correspondence is with artists, museums, collectors, and clients, and generally concerns sales, exhibitions, and consignments. Correspondents include Irving Block, Morris Broderson, Naomi Caryl, Suzanne Jackson, Joseph and Olga Hirshhorn, among many others. Correspondence is also found in the artists files and the collector/client files.

Project files document various events, benefits, and projects undertaken by the gallery, including a UNICEF benefit, "Up Against Hunger," the Exceptional Children's foundation, and the Young Art Patrons.

Administrative files document many activities of the gallery, such as the gallery's and Joan Ankrum's membership in the Black Arts Council, the California Arts Council, and the Art Dealers Association of California of which Joan Ankrum was a primary organizer. Also found are publicity files, a file on the history of the gallery, leases, floor plans, insurance documents, lists of graphics for sale, and other miscellany.

Exhbition files appear to be incomplete, but do include files for Huichol Indian's art, "The Art of African Peoples" (1973), "Five Contemporary Mexican Painters" (1977), Ethiopian Folk Painting (1978), San Diego Museum of Art Artists Guild All Media Exhibition (1982), "25th Anniversary Exhibition" (1985), among several others.

Extensive artists' files include correspondence, price lists, photographs and slides,resumes and biographical material, and sales invoices. Files are found for Benny Andrews, Carlos Almaraz, Richard Bauer, Irving Block, Naomi Caryl, Bernie Casey, Frank Duveneck, Lorser Feitelson, Bruno Groth, David Herschler, Jessie Homer, Suzanne Jackson, Buffie Johnson, Samella Lewis, Helen Lundeberg, Arnold Mesches, Henry Miller, Melvin Schuler, Arthur Secunda, Ken Shores, Jean Varda, and Zev, among many others. The Pat Alexander and Andy Nelson files also contain motion picture film.

Collector and client files document the gallery's relationship with over 115 collectors, museums, and art centers. Files may include correspondence and sales records and are found for Edith Halpert, Olga and Joseph Hirshhorn and the Hirshhorn Museum and Sculpture Garden, the Krannert Art Museum, Laguna Art Museum, Palm Spring Desert Museum, Paramount Pictures, San Diego Museum of Art, Staempfli Gallery, and Storm King Art Center, among many others.

Financial material documents sales through numbered invoices, consignments, loans, and insurance valuations. Printed material consists of exhibition catalogs and announcements, bulletins, periodicals, and newspaper clippings. One unbound scrapbook contains clippings and exhibition materials.

Photographs are of artwork, artists, and gallery openings. Additional photographs are found in the artists' files.

Joan Wheeler Ankrum personal papers document her personal and professional relationship with family, artists, and collectors. They include correspondence, personal writings, personal financial materials, printed material and loose scrapbook materials, family photographs and photographs of her as an actress, and artwork from various artists.

The papers of artist Morris Broderson, nephew of Joan Ankrum, document his professional relationship with the gallery as his primary dealer. Included are biographical materials, correspondence, publicity files, travel files, projects, exhibitions, collector/client files, financial material, printed material, photographs, and artwork.
Arrangement:
This collection is arranged as 12 series.

Missing Title

Series 1: Correspondence, 1961-1994 (0.5 linear feet; Box 1)

Series 2: Project Files, 1965-1987 (0.25 linear feet; Box 1)

Series 3: Administrative Records, 1961- circa 1990s (1 linear foot; Boxes 1-2)

Series 4: Exhibition Files, 1961-1991 (1 linear foot; Boxes 2-3)

Series 5: Artists' Files, 1957-1994 (22.5 linear feet; Boxes 3-25, 41-42, FC 43-45)

Series 6: Collector and Client Files, 1960-1994 (3.2 linear feet; Boxes 25-28)

Series 7: Financial Material, 1962-1990 (1.5 linear feet; Boxes 28-30)

Series 8: Printed Material, 1957-1994 (2 linear feet; Boxes 30-32, 41)

Series 9: Scrapbook, 1960-1988 (3 folders; Box 32)

Series 10: Photographs, circa 1960s-circa 1990s (0.35 linear feet; Boxes 32, 42)

Series 11: Joan Ankrum Personal Papers, circa 1900-1993 (2 linear feet; Boxes 32-34, 41)

Series 12: Morris Broderson Papers, 1941-1989 (7.2 linear feet; Boxes 34-42)
Biographical / Historical:
The Ankrum Gallery was established 1960 in Los Angeles by American film actress Joan Wheeler Ankrum and William Chalee. The gallery closed in 1989.

Joan Wheeler Ankrum and William Challee opened Ankrum Gallery on La Cienega Boulevard in Los Angeles in 1960 with a one-man show of Ankrum's nephew Morris Broderson. With a focus on contemporary California artists, Ankrum Gallery represented over 395 artists during its 30 years in operation, including Benny Andrews, Carlos Almaraz, Richard Bauer, Irving Block, Naomi Caryl, Bernie Casey, Frank Duveneck, Lorser Feitelson, Bruno Groth, David Herschler, Jessie Homer, Suzanne Jackson, Buffie Johnson, Samella Lewis, Helen Lundeberg, Arnold Mesches, Henry Miller, Melvin Schuler, Arthur Secunda, Ken Shores, Jean Varda, and Zev. In addition, the gallery was among the earliest to exhibit the work of black artists. The gallery also held exhibitions of world artists, which included "Art of African Peoples" (1973), "Yarn Paintings of the Huichol Indians" (1973), "Five Contemporary Mexican Painters" (1977), and "Ethiopian Folk Painting" (1978). Ankrum Gallery closed in 1989.

Art dealer and gallery owner, Joan Wheeler Ankrum was an actress before establishing the Ankrum Gallery primarily to showcase the work of her deaf nephew, Morris Broderson. Born in 1913 in Palo Alto, California, she began acting at the Pasadena Playhouse where she met her first husband Morris Ankrum with whom she had two sons, David and Cary Ankrum. She married gallery co-owner and partner William Challee in 1984. She helped organize the Los Angeles Art Dealers Association and the Monday Night Art Walks on La Cienega Boulevard. She was a member of the relatively short-lived Black Arts Council. Joan Wheeler Ankrum died in 2001 at the age of 88.

Morris Broderson (1928-2011) was a deaf painter. His first one-man show was at the Stanford Museum in 1957, followed by the Santa Barbara Museum of Art. By 1959 he'd won two awards from the Los Angeles County Museum, and appeared in the Whitney Museum's "Young America" show in 1960. His travels influenced his work, including the hand gestures of Kabuki art in Japan. His work is in the collections of the Whitney Museum of American Art and the Hirshhorn Museum and Sculpture Garden, among others. Following Joan Ankrum's death in 2001, Broderson was represented by her son David Ankrum.
Related Materials:
Also found in the Archives of American Art are two oral history interviews with Joan Ankrum, one conducted by Betty Hoag, April 28, 1964, and a second by Paul Karlstrom, November 5, 1997-February 4, 1998. Additionally, there is an oral history interview with Morris Broderson conducted by Paul Karlstrom, March 11-13, 1998.
Provenance:
The Ankrum Gallery records were donated to the Archives of American Art by Joan Ankrum in 1995.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Topic:
Artists -- California -- Los Angeles  Search this
Function:
Art galleries, Commercial -- California
Genre/Form:
Scrapbooks
Photographs
Citation:
Ankrum Gallery records, circa 1900-circa 1990s, bulk 1960-1990. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.ankrgall
See more items in:
Ankrum Gallery records
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9d89bb020-f420-4b01-9a0f-f1d5132866c4
EDAN-URL:
ead_collection:sova-aaa-ankrgall
Online Media:

The Great Inka Road: The Importance of Open Space in Qorikancha

Creator:
National Museum of the American Indian  Search this
Type:
YouTube Videos
Uploaded:
2015-09-21T20:02:51.000Z
YouTube Category:
Education  Search this
Topic:
Native Americans;American Indians  Search this
See more by:
SmithsonianNMAI
Data Source:
National Museum of the American Indian
YouTube Channel:
SmithsonianNMAI
EDAN-URL:
edanmdm:yt_SRnE1ALJ318

Exhibition Records, 2012-2016

Creator:
Smithsonian American Art Museum Curatorial Office  Search this
Subject:
Ramos, E. Carmen  Search this
Tamayo, Rufino 1899-1991  Search this
White House (Washington, D.C.)  Search this
Our America: The Latino Presence in American Art (Exhibition) (2013: Washington, D.C.)  Search this
Tamayo: The New York Years (Exhibition) (2017-2018: Washington, D.C.)  Search this
Physical description:
1 cu. ft. (1 record storage box)
Type:
Clippings
Collection descriptions
Exhibitions
Brochures
Manuscripts
Drawings
Floor plans
Date:
2012
2012-2016
Topic:
Art, Latin American  Search this
Museum exhibits  Search this
Art museum curators  Search this
Local number:
SIA Acc. 22-124
Restrictions & Rights:
Restricted for 15 years, until Jan-01-2032; Transferring office; 01/08/2007 memorandum, Toda to Earle; Contact reference staff for details
See more items in:
Exhibition Records 1938-2016 [Smithsonian American Art Museum Curatorial Office]
Data Source:
Smithsonian Institution Archives
EDAN-URL:
edanmdm:siris_arc_404775

Frank and Lillian Gilbreth Collection

Creator:
Perkins, James Secor  Search this
Gilbreth, Frank Bunker, 1868-1924  Search this
Gilbreth, Lillian Moller, 1878-1972  Search this
Extent:
5 Cubic feet (19 boxes)
5 Cubic feet (19 boxes)
Type:
Collection descriptions
Archival materials
Videotapes
Betacam sp (videotape format)
Motion pictures (visual works)
Date:
1907-2000
bulk 1911-1924
Summary:
The collection consists primarily of glass plate slides (negative and positive), photo prints, and stereographs documenting the work undertaken by Frank and Lillian Gilbreth from 1910 to 1924 in the fields of motion study, shop efficiency, and factory organization. Also included are slides dcoumenting the Gilbreth Family, their travels, residences, and friends. The collection also contains the film "The Original Films of Gilbreth The Quest for the One Best Way," 1968 by James S. Perkins.
Scope and Contents:
The collection consists primarily of glass plate slides (negative and positive), photo prints, and stereographs documenting the work undertaken by Frank and Lillian Gilbreth from 1910 to 1924 in the fields of motion study, shop efficiency, and factory organization. As scientific managers, the Gilbreth's introduced new techniques to analyze work, the workplace, and work practices with the goal of eliminating waste to maximize productivity. The collection illustrates these new techniques and their application to a wide variety of studies. The collection is diverse and provides insight into understanding how Gilbreth approached his studies. Also included are slides documenting the Gilbreth Family, their travels, residences, and friends. The collection also contains the film "The Original Films of Gilbreth The Quest for the One Best Way," 1968 by James S. Perkins.

Series 1, Background Information, 1892-1997, includes biographical materials about Frank B. Gilbreth; copies of some of Frank Gilbreth's patents, 1892-1916; and printed materials, 1907-1997, that contain articles, newspaper and magazine clippings about Frank and Lillian Gilbreth and time and motion study generally. Black-and-white photo prints of Gilbreth or work Gilbreth documented from collections held at Purdue University and Ohio State University are included.

Series 2, Glass plate stereo slides, 1910-1924, consists of approximately 2,250 glass stereo slides photographed by Frank B. Gilbreth and others and intended for viewing through an optical viewing machine. Some are positive black and white, positive color, and negative black and white. The subject matter of the slides covers the work undertaken by Frank Gilbreth from 1910 to 1924 in the fields of motion study, shop efficiency, and factory organization. Many of the images serve as documentation for the studies the couple performed as they were hired by firms in an attempt to provide solutions to the problems of inefficiency. Also included are the Gilbreth Family, their travels, residences, and friends.

The slides are numbered sequentially. For example, a glass plate slide numbered 318949.001 will have a corresponding photoprint 318949.001 in Series 3, Photoprints of glass plate slides. Note: not all glass plate slides have corresponding photoprints. Additionally, there are Office of Photographics Services, Smithsonian Institution negative numbers assigned to many of the photo prints.

Some subject categories include:

Frank B. Gilbreth: working in motion laboratories, on factory inspections, seated in offices, with family and friends, in World War I uniform, watching and monitoring shop operations.

Lillian M. Gilbreth: with family, during university graduation ceremonies, traveling and working with Frank and observing office workers.

Gilbreth Family: family on the road in an automobile, at home seated around the dinner table, in the parlor, in the garden, and with friends and relatives.

Gilbreth ship travel: contains views on steamer voyages to Europe, deck scenes, arrivals, departures, ship officers and crew, and other passengers.

Automobile assembly study: internal and external views of a warehouse/factory, including large piles or rows of metal car frames and other parts.

Benchwork study: images of a male worker standing or sitting in a chair while filing an object secured in a vice at a workbench.

Betterment: images of efforts whcih contributed to industrial betterment (the Gilbreth chair, employee library, and the home reading box).

Bricklaying study: view of men wearing overalls and caps, shoveling, and men laying bicks.

Business and apparatus of motion study: views of lectures, meetings, film showings, demonstrations, charts, drawings, motion models, charts amd some equipment.

Disabled study: views of partially blind World War I veterans, amputees using special tytpewriter, assembling machinery, use of cructhes, and a one armed dentist.

Factory bench work: table-top machines assembly operations, hand tools, orderly arrangement of parts prior to and during assembly and a variety of bench vises.

Factory documentation: various images of the interior and edterior of factories including heavy machinery.

Golfing study: various cyclegraphs of a man swinging a golf club.

Grid boards: back drops used by Gikbreth to isolate and measure worker motions. This includes walls, floors, desktops, and drop cloths divided into grids of various densities and scales.

Handwriting and cyclegraphs: finger lights moving in patterns of script.

Ladders: include step ladders and painters' ladders shown in use near shelving.

Light assembly study: wide variety of images ranging from cyclegraphs of women working, to the factory floor as well as tools and machinery.

Materials handling study: different angles of an empty cart, a cart oiled high with boxes, and a man pushing a cart illustrating different body positions.

Military study: illustrate work on the Army foot meausring machine, gun parts, men holding a rifle.

Motion models: images of simple wire motionmodels.

Needle trade study: views of textile machinery and workers.

Office study: various shots inside of an office with tables, desks, drawers, files, and typewriters. Some of the images are cyclegraphs of femal and male workers performing tasks, such as writing, both tin the context of an office as well as in front of a grdidded background. There are several close-ups of an organizer containing penciles, paperclips, pins and rubberbands.

Packing: methods of placing and arranging goods in boxes, such as soap packing.

Panama-Pacific Exposition 1915: contains views of statuary, fountains, and architecture of the exposition held in San Francisco.

Pure light cyclegraphs: no workers or grids visible only finger lights in motion.

Rubber stamping study: hand movements and access to ink pads and stamps.

Scenic views: views of buildings, landscapes, street scenes, and fountains from around the world documenting Gilbreth's travels.

Shoe making study: laboratory studies of shoe assembly operations with an emphasis on workers access to component pieces.

Shop machinery: various shots of machines and workers working with machines.

Signage: include organizational flow charts, shop floor plans, route maps, office layouts, numbering systems, exhibit display boards illustrating Frank Gilbreth's efficiency studies and techniques.

Stacking: views of the art and science of stacking boxes, clothing, equipment, containers, and vertical storage without shelves.

Stock bins: consists of storage pips, paper, other raw materials, shelves, and corridoe shots.

Storage: images illustrate contrast between old techniques and new.

Surgical and dental studies: thester views of surgeons, assistants, nurses, hand motions in grasping, placing surgical instruments, dental work and self inspection of teeth.

Tool cribs: storage of hand tools in shops with an emphasis on easy access and easy inventorying.

Typing study: various views of femaile s under observation using Remington typewriters.

Series 3, Photoprints of glass plate slides, 1910-1924, consist of black and white photoprints of the glass plate slides depicting the fields of motion study, shop efficiency, and factory organization. Also included are the Gilbreth Family, their travels, residences, and friends.

Series 5, Stereographs,1911-1914,

Series 6, Audio Visual Materials, 1968, 2000, and undated, is divided into three subseries: Subseries 1, Audio visual documentation, 1968 and undated; Subseries 2, Moving Images, 1968 and undated; and Subseries 3, Audio Recordings, 1980, 1990,. 2000 and undated. The series contains several formats: 7" open reel-to-reel audio tape, 1/2" VHS, Beta Cam SP, DVD, audio cassette, one inch audio tape, and 16 mm film.

Subseries 1, Audio visual documentation, 1967-1968 and undated, consists of supplemental documentation for the film, "The Original Films of Gilbreth The Quest for the One Best Way." Specifically, there are brochures and other printed materials detailing what the film is about and how copies may be obtained. This subseries also contains a copy of the book Cheaper by the Dozen, 1948. The book was written by Frank Bunker Gilbreth, Jr. and Ernestine Gilbreth Carey and tells the biographical story of Frank Bunker Gilbreth and Lillian Moller Gilbreth, and their twelve children. The book was adapted to film by Twentieth Century Fox in 1950.

Subseries 2, Moving Images, 1967, consists of one title, "The Original Films of Gilbreth The Quest for the One Best Way." The film materials consist of the film's production elements: 16 mm black and white negative A-roll; 16mm black-and-white negative B-roll; and the optical track negative. Each is 800 feet in length.

The film presents a summary of work analysis films which were taken by Frank B. Gilbreth between 1919 and 1924 showing a number of industrial operations from which the motion study was developed. Demonstrates motion and fatigue study, skill study, plant layout and material handling, inventory control, production control, business procedures, safety methods, developing occupations for the handicapped, athletic training and skills, military training, and surgical operations as researched and developed by Gilbreth. Points out that Gilbreth created entirely new techniques on how to improve industrial efficiency, while at the same time significantly improving conditions for the workers. The film was produced by James S. Perkins in collaboration with Dr. Ralph M. Barnes and with commentary by Liilian M. Gilbreth and James S. Perkins. The film was presented on December 3, 1968 at the American Society of Mechanical Engineers Annual Meeting in New York. The formats for this title include: 16 mm, Beta Cam SP, and DVD. Additionally, there is a one inch audio tape recording for the film.

Subseries 3, Audio Recordings, 1980, 1990, 2000 and undated consist of a Smithsonian radio program titled "Inside the Smithsonian, Cheaper by The Dozen," from 1980 and an recording of Ernestine Gilbreth Casey discussing Gilbreth Family photographs from 2000. Hosted by [Ann Carroll?], "Inside the Smithsonian, Cheaper by The Dozen," featured Fred and Bill Gilbreth discussing their parents Frank and Lillian, Gilbreth, and the book Cheaper by the Dozen. The radio program coincided with the 100th Anniversary of the American Society of Mechancial Engineers (founded 1880)of which Lillian Gilbreth was the Society's first female member and showcased a single case exhibition at the Museum of History and Technology (now the National Museum of American History) titled "Frank and Lillian Gilbreth: Motion Engineers." Inside Smithosnian Radio was a weekly program produced by the Office of Telecommunications. The recording of Ernestine Gilbreth Carey was recorded on July 9, 2000 and documents Ms. Carey's identification and discussion of Gilbreth Family photographs. David Ferguson assisted in the discussion. A hard copy index to the photographs Ms. Carey discusses is available.
Arrangement:
The collection is arranged into six series.

Series 1: Background Materials, 1892-1997

Subseries 1.1: Frank B. Gilbreth, undated

Subseries 1.2: Frank B. Gilbreth patents, 1892-1916

Subseries 1.3: Printed Materials, 1907-1997

Series 2: Glass Stereo Slides (Positive), 1910-1924 and undated

Series 3: Photo prints of glass stereo slides, 1910-1924 and undated

Subseries 3.1: Photo Print Books, 1-9, undated

Subseries 3.2: Photo prints (duplicates), undated

Series 4: Stereo Autochromes, undated

Series 5: Stereograph Cards, 1911-1914

Series 6: Audio Visual Materials, 1968, 1990, 2000 and undated

Subseries 6.1, Audio visual documentation, 1968 and undated

Subseries 6.2: Moving images, 1968 and undated

Subseries 6.3: Audio recordings, 1980, 1990, 2000, and undated
Biographical / Historical:
Frank Gilbreth is best known for his work on the efficiency of motion. Working with his wife and professional partner Lillian Moller Gilbreth, he applied modern psychology to his work with management. His innovative motion studies were used on factory workers, typists and the disabled. Gilbreth established the link between psychology and education to be succesful management.

Frank Gilbreth was born in Fairfield, Maine on July 7, 1868. His parents, John and Martha Bunker Gilbreth were New Englanders. John Gilbreth ran a hardware business, but died when Frank was only three. Bearing the responsibilty of raising her children alone, Martha moved the family twice in search of quality education for her children. Ultimately she decided to school the children herself. In 1885, Frank graduated from English High School in Boston. Despite gaining admission into the Massachusetts Institute of Technology, Frank opted to enter the work world immediately as a bricklayer's apprentice with Whidden and Company, building contractors in Boston.

Smart and skilled, Gilbreth worked his way up in the company. He learned the trade quickly and soon was promoted to supervisor, foreman, and finally to the position of superintendent. To further his edcuation, he went to night school to study mechanical drawing.

At the age of 27, Gilbreth embarked upon his first business venture. He started his own contracting firm. His firm developed a fine reputation for quality work at a very rapid pace. He invented tools, scaffolding, and other contraptions to make the job easier. His company goals included the elimination of waste, the conservation of energy, and the reduction of cost. His work included canals, factories, houses, and dams. His clients came from all parts of the United States, and he performed some work in England.

In 1903, Frank Gilbreth met Lillian Moller (1903-1972) and married her on October 19, 1904. Lillian graduated from the University of California, Berkeley with a BA (1900) and MA (1902). She later earned a Ph.D from Brown University (1915), earning a dissertation titled The Psychology of Management. Lillian's academic work, large family and integral role in Frank's consulting business kept her busy. Her contributions to the business led to a greater understanding of an individual's welfare in the work world. This becamme a key idea to increasing productivity through scientific management techniques.

Working together, the couple became leaders in the new field of scientific management. They published books, gave lectures, and raised tweleve children together: Anne, Mary (1906--912), Ernestine, Martha, Frank Jr., William, Lillian, Frederick, Daniel, John, Robert and Jane. Some of Gilbreth's books include Fields System (1908); Concrete System (1908); Bricklaying System (1909; Motion Study (1911); and Primer of Scientific Management (1911). Gilbreth co-authored with Lillian: Time Study (1916); Fatigue Study (1916); Applied Motion Study (1917); and Motion Study for the Handicapped (1919).

It wasn't long before Gilbreth moved away from construction. Together with his wife, they focused on the link between psychology and motion. With her strong psychological background, and his interest in efficiency, the Gilbreth's opened the School of Scientific Management in 1913. The school was in session for four years. Numerous professional attended the school, and soon the Gilbreth's had established a reputation as consultant's to the new field of scientific management.

In 1912, Frank won a contract with the New England Butt Company in Providence, Rhode Island. There he installed his system of scientific management in a factory setting for the first time. Contracts with the Hermann-Aukam handkerchief manufacturing company in New Jersey and the Auergessellschaft Company in Germany followed. Using motion study, Gilbreth studied and reoganized the factories, attempting to find "the one best way" to do work.

Gilbreth traveled to Germany to continue his work was a scientific manager. He visited factories and hospitals, working to improve procedures and eliminate waste. Using micro-motion study and the chronocyclegraph procedure, he analyzed and dissected motion, discovering therblings, the seventeen fundamental units of any motion. World War I slowed Gilbreth's progress abroad, so he focused his consulting business on firms n the United States.

After World War I, Gilbreth's business thrived. in 1920, the American Society of Mechanical Engineers instituted its Management Division, something Gilbreth had been demanding for years. He was now a famous American engineer, gaining financial rewards as as professional honors.

Frank Gilbreth died suddenly of a heart attack on June 14, 1924, still in the middle of three contracts. He was honored after his death in 1944 by the American Society of Engineers and the American Management Association with the Gant Gold Medal. After Frank's death, Lillian moved the family to California where she continued to work on efficiency and health in industry issues. She was a respected buiness woman and was hired by several companies to train employees, study working conditions, and reduce fatigue. She lectured at several universities (Newark College of Engineering and the University of Wisconsin), and joined the faculty at Purdue University in 1935 as the first woman professor in the engineering school.

Frank and Lillian Gilbreth often used their large family (and Frank himself) as guinea pigs in experiments. Their family exploits are lovingly detailed in the 1948 book Cheaper by the Dozen, written by Frank Jr. and Ernestine Gilbreth Carey.
Related Materials:
Material in Other Institutions

Purdue University, Archives and Special Collections

Frank and Lillian Gilbreth papers, 1869-2000

The Gilbreth Papers documents the professional and personal lives of Frank Gilbreth and Lillian Gilbreth. The collection consists of personal papers, letters, correspondence, photographs, and other memorabilia that Lillian Gilbreth collected during her life regarding her youth, marriage, family, and career.

Collection of materials related to Lillian Gilbreth, 1964-2006

One folder of items relating to the life of Lillian Gilbreth, and her family, collected by her granddaughter, Lillian (Jill) Barley and Nancy Weston. Materials include clippings relating to the Lillian Gilbreth postage stamp (1984); obituaries and memorial programs for Peter Barney, Ernestine Carey, Lillian Gilbreth, Anne Gilbreth Barney, Charles Carey, and Frank Gilbreth Jr.; programs and photographs relating to Lillian Gilbreth's visit to Athens in 1964; and biographical information on Lillian Gilbreth.

Cornell University, Kheel Center for Labor-Management Documentation and Archives

Frank Gilbreth Papers on Microfilm, Collection Number: 5424 mf

Selected papers pertaining to industrial engineering. Original materials are held by Purdue University. Microfilm copied purchased from Purdue University in April 1968.
Provenance:
The collection materials were donated by several individuals: New Jersey Institute of Technology (1975); Frank B. Gilbreth, Jr., (1980); Ernestine Gilbreth Carey (1995); Daniel B. Gilbreth (1998); and James Secor Perkins in 2001.
Restrictions:
Collection is open for research but the films are stored off-site and special arrangements must be made to work with it. Series 2: Glass Stereo Slides are restricted. Boxes 3-9 were digitized in 2021. Researchers must use digital copies. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Motion study  Search this
Machinery industry  Search this
Machine shops  Search this
Industrial management  Search this
Industrial films  Search this
Industrial engineering  Search this
Genre/Form:
Videotapes
BetaCam SP (videotape format)
Motion pictures (visual works) -- 1930-1950
Citation:
Frank and Lillian Gilbreth Collection, Archives Center, National Museum of American History
Identifier:
NMAH.AC.0803
See more items in:
Frank and Lillian Gilbreth Collection
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep8a48e652d-6387-4a23-98c0-299772c454d5
EDAN-URL:
ead_collection:sova-nmah-ac-0803
Online Media:

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