Search Results

Creator:

Fine, Ruth, 1941-  Search this

Names:

Crown Point Press (Oakland, Calif.)  Search this

Gemini G.E.L. (Firm)  Search this

National Gallery of Art (U.S.)  Search this

Bearden, Romare, 1911-1988  Search this

Extent:

24.1 Linear feet

22.43 Gigabytes

Type:

Collection descriptions

Archival materials

Gigabytes

Interviews

Sound recordings

Video recordings

Date:

1929-2016

Summary:

The papers of curator and art historian Ruth Fine measure 24.1 linear feet and 22.43 GB and date from 1929 to 2016, with the bulk of the records dating from the 1950s to 2016. Fine's career is documented through correspondence with art historians, museum professionals, and notable figures; files pertaining to writing projects, lectures and speeches, her time at the National Gallery of Art, and research subjects; association and membership records; and printed and digital material. The bulk of the collection is composed of artist and subject files, which include correspondence, printed and digital material, exhibition and writing files, photographs, and some artwork. These records include a significant number of audiovisual recordings, including dozens of interviews with artists and others. Notable within the collection are extensive interviews documenting the works of Romare Bearden, Crown Point Press, and Gemini G.E.L.

Scope and Contents:

The papers of curator and art historian Ruth Fine measure 24.1 linear feet and 22.43 GB and date from 1929 to 2016, with the bulk of the records dating from the 1950s to 2016. Fine's career is documented through correspondence with art historians, museum professionals, and notable figures; files pertaining to writing projects, lectures and speeches, her time at the National Gallery of Art, and research subjects; association and membership records; and printed and digital material. The bulk of the collection is composed of artist and subject files, which include correspondence, printed and digital material, exhibition and writing files, photographs, and some artwork. These records include a significant number of audiovisual recordings, including dozens of interviews with artists and others. Notable within the collection are extensive interviews documenting the works of Romare Bearden, Crown Point Press, and Gemini G.E.L.

Arrangement:

This collection is arranged as 10 series.

Series 1: Biographical Material, 1953-2013 (Box 1, 5 folders)

Series 2: Correspondence, 1958-2014 (Box 1, 0.5 linear feet)

Series 3: Interviews, 1970-2009 (Box 1-2, 0.5 linear feet)

Series 4: Writings, 1979-2013 (Box 2, 0.8 linear feet, ER01-ER04; 5.44 GB)

Series 5: Lectures and Speeches, 1963-2012 (Box 3-4, 1.8 linear feet, ER05-ER08; 0.292 GB)

Series 6: National Gallery of Art Administrative Records, 1971-2011 (Box 4-5, 0.8 linear feet)

Series 7: Artist Files, 1947-2016 (Box 5-18, OV 25, 15 linear feet, ER09-ER26; 14.11 GB)

Series 8: Subject Files, 1929-2014 (Box 19-22, 3.5 linear feet, ER27-ER29; 0.604 GB)

Series 9: Association and Membership Files, 1962-2014 (Box 22-23, 0.5 linear feet, ER30; 1.99 GB)

Series 10: Printed Material, 1936-2015 (Box 23-24, 1 linear foot)

Biographical / Historical:

Ruth Fine (1941-) is a curator and art historian most active in Washington, D.C. and Philadelphia, Pennsylvania. Fine received her B.F.A from the Philadelphia College of Art (now the University of the Arts, 1962), an MFA from the University of Pennsylvania (1964), and was a student at the Skowhegan School of Painting and Sculpture (1961). She was an instructor at the Philadelphia College of Art from 1965 through 1969, and at Beaver College (now Arcadia University) from 1968 to 1972 and 1978 to 1979, and also taught at the University of Vermont (1976, 1977). Fine continued lecturing on a variety of topics throughout her career.

From 1972 to 1980, Fine served as curator, under the auspicies of the National Gallery of Art, for the Lessing J. Rosenwald collection of prints and drawings housed at Rosenwald's Alverthorpe estate in Jenkintown, PA. After his death in 1979, Fine followed a portion of the collection to the National Gallery of Art where she went on to become curator of modern prints and drawings until 2002. Fine organized exhibitions, oversaw catalogue raisonnés, and coordinated special projects on artists including Romare Bearden, Helen Frankenthaler, Jasper Johns, Roy Lichtenstein, John Marin, and Georgia O'Keeffe; printmakers Crown Point Press, Gemini G.E.L., and Graphicstudio; and the collections of Lessing J. Rosenwald and Dorothy and Herbert Vogel. She contributed essays to exhibition catalogs and other printed material on Mel Bochner, Richard Diebenkorn, Robert Rauschenberg, James Rosenquist, James McNeill Whistler, Tyler Graphics, and The Brandywine Print Workshop, among others.

As an artist, Fine's exhibitions include those at the Philadelphia Art Alliance, Beaver College, Ryder University, Bryn Mawr College, Bennington College, and Anna Leonowens Gallery in Halifax, Nova Scotia. She was awarded a grant from the Ingram Merrill Foundation for work in etching (1989), and had studio residencies at The Vermont Studio Center (1992) and the Anni and Josef Albers Foundation (2000).

Provenance:

The collection was donated by Ruth Fine in 2017.

Restrictions:

The collection is open for research. Access to original papers and audio visual material 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:

Art historians -- Washington (D.C.)  Search this

Art museum curators -- Washington (D.C.)  Search this

Topic:

Women art historians  Search this

Women museum curators  Search this

Genre/Form:

Interviews

Sound recordings

Video recordings

Citation:

Ruth Fine Papers, 1929-2016. Archives of American Art, Smithsonian Institution.

Sponsor:

The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.

Identifier:

AAA.fineruth

See more items in:

Ruth Fine papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw92a0924b2-8110-4096-8f90-c8a1182fb3db

EDAN-URL:

ead_collection:sova-aaa-fineruth

Creator:

Jeffers, Grace  Search this

Formica Corporation.  Search this

Names:

Faber, Herbert A.  Search this

Loewy, Raymond  Search this

O'Conor, Daniel J.  Search this

Stevens, Brooks  Search this

Extent:

18 Cubic feet (59 boxes, 11 oversize folders )

Type:

Collection descriptions

Archival materials

Scripts (documents)

Videotapes

Posters

Samples

Advertisements

Brochures

Blueprints

Photographs

Newsletters

Exhibition catalogs

Catalogs

Correspondence

Date:

1913-2003

Summary:

The Formica Collection consists of textual files, photographs, slides, negatives, drawings, blueprints, posters, advertisements, product brochures, newsletters, and informational pamphlets documenting the history of the Formica Corporation and the use of Formica brand plastic laminate.

Scope and Contents:

The Formica Collection, 1913-2003, consists of textual files, photographs, photo slides, drawings, blueprints, posters, advertisements, product brochures, informational pamphlets, and research notes documenting the history of the Formica Corporation and the use of Formica brand plastic laminate.

Arrangement:

The collection is arranged into ten series.

Series 1: Corporate Records, 1920-1992, 2003

Subseries 1.1: Annual reports, 1949, 1966, 1988

Subseries 1.2: Correspondence and company identity, 1920-1988

Subseries 1.3: Corporation histories and timelines, 1949-1991, undated

Subseries 1.4: Newspaper clippings and articles, 1934-2003

Subseries 1.5: Awards, 1940s-1987

Subseries 1.6: Patent information, 1925-1994

Subseries 1.7: Photographs, 1927-1966

Series 2: Personnel Records, 1943-1992

Series 3: Newsletters, Magazines, and Press Releases, 1942-1990

Subseries 3.1: Newsletters, 1942-1988

Subseries 3.2: Press releases, 1973-1990

Series 4: Product Information, 1948-1994

Series 5: Advertising and sales materials, 1913-2000

Subseries 5.1: Advertising materials, 1913-2000

Subseries 5.2: Sales materials, 1922-1993

Series 6: Subject Files, circa 1945, 1955-1991, 2002

Series 7: Exhibits, 1981-1994

Series 8: Grace Jeffers Research Materials, 1987-1997

Series 9: Audio Visual Materials, 1982-1995, undated

Series 10: Martin A. Jeffers Materials, 1963-1999

Subseries 10.1: Background Materials, 1965-1999

Subseries 10.2: Employee Benefits, 1963-1998

Subseries 10.3: Product Information, [1959?]-1997

Subseries 10.4: Advertising and Sales Records, 1987-1999

Biographical / Historical:

Since its founding in 1913, the history of the Formica Company has been marked by a spirit of innovation and entrepreneurship. The history begins with the discovery of Formica by two men who envisioned the plastic laminate as breakthrough insulation for motors. Later, Formica became a ubiquitous surfacing material used by artists and architects of post-modern design. The various applications of the plastic laminate during the twentieth century give it a prominent role in the history of plastics, American consumerism, and American popular culture.

The Formica Company was the brainchild of Herbert A. Faber and Daniel J. O'Conor, who met in 1907 while both were working at Westinghouse in East Pittsburgh, Pennsylvania. O'Conor, head of the process section in the Research Engineering Department, had been experimenting with resins, cloth, paper, and a wide array of solvents in an effort to perfect a process for making rigid laminate sheets from Kraft paper and liquid Bakelite. O'Conor produced the first laminate sheet at Westinghouse by winding and coating paper on a mandrel, slitting the resulting tube, and flattening it on a press. The finished product was a laminated sheet with the chemical and electrical properties of Bakelite that were cut into various shapes and sizes. O'Conor applied for a patent on February 1, 1913, but it was not issued until November 12, 1918 (US Patent 1,284,432). Since the research was done on behalf of Westinghouse, the company was assigned the patent, and O'Conor was given one dollar, the customary amount that Westinghouse paid for the rights to employees' inventions.

Herbert Faber, Technical Sales Manager of insulating materials, was excited about O'Conor's discovery. Faber saw limitless possibilities for the new material. However, he quickly became frustrated by Westinghouse's policy limiting the sale of the laminate to its licensed distributors. After failing to persuade Westinghouse to form a division to manufacture and market the new material, Faber and O'Conor created their own company. On May 2, 1913, the first Formica plant opened in Cincinnati, Ohio. On October 15, 1913, the business incorporated as the Formica Insulation Company with Faber as president and treasurer and O'Conor as vice-president and secretary. The company began producing insulation parts used in place of or "for mica," the costly mineral that had been used in electrical insulation.

Like most new companies, Formica had modest beginnings. Faber and O'Conor faced the challenge of looking for investors who would let them maintain control over the company. Finally, they met J. G. Tomluin, a lawyer and banker from Walton, Kentucky, who invested $7,500 for a one-third share in the Formica Company. Renting a small space in downtown Cincinnati, Faber and O'Conor began work. The company's equipment list consisted of a 35-horsepower boiler, a small gas stove, and a variety of homemade hand screw presses. By September 1913, Tomluin had brought in two more partners, David Wallace and John L. Vest. With the added capital, O'Conor, Faber, and Formica's eighteen employees began producing automobile insulation parts for Bell Electric Motor, Allis Chalmers, and Northwest Electric.

Initially, the Formica Company only made insulation rings and tubes for motors. However, by July 4, 1914, the company obtained its first press and began to produce flat laminate sheets made from Redmenol resin. Business gradually grew, and by 1917 sales totaled $75,000. Fueled by World War I, Formica's business expanded to making radio parts, aircraft pulleys, and timing gears for the burgeoning motor industry. In the years that followed, Formica products were in high demand as laminate plastics replaced older materials in washers, vacuum cleaners, and refrigerators. By 1919, the Formica Company required larger facilities and purchased a factory in Cincinnati.

During this time, patent battles and legal suits emerged to challenge Formica's success. On June 11, 1919, Westinghouse sued Formica for patent infringement on its laminated gears; Formica won. Later that year, Westinghouse brought two new lawsuits against Formica. The first was for a patent infringement on the production of tubes, rods, and molded parts; the second was over an infringement based on a 1913 patent assigned to Westinghouse through O'Conor. Formica prevailed in both suits.

Legal battles did not deter the company. Having to defend itself against a giant corporation gave Formica a reputation as a scrappy contender. Finally, Faber and O'Conor made a quantum leap in 1927, when the company was granted a U.S. patent for a phenolic laminate utilizing lithographed wood grains of light color, forming an opaque barrier sheet which blocks out the dark interior of the laminate. In 1931, the company received two more patents for the preparation of the first all paper based laminate and for the addition of a layer of aluminum foil between the core and the surface, making the laminate cigarette-proof. These patents would allow Formica to move from a company dealing primarily with industrial material to the highly visible arena of consumer goods.

In 1937, Faber had a severe heart attack which limited his activity within the company. O'Conor continued as president, encouraging new product lines, including Realwood, as a laminate with genuine wood veneer mounted on a paper lamination with a heat-reactive binder. With the introduction of Realwood and its derivatives, manufacturers started using Formica laminate for tabletops, desks, and dinette sets. By the early forties, sales of Formica laminate were over 15 million dollars. The final recipe for decorative laminate was perfected in 1938, when melamine resins were introduced. Melamine was clear, extremely hard, and resistant to stains, heat, light, less expensive than phenolic resins. It also made possible laminates of colored papers and patterns.

Due to World War II, Formica postponed the manufacturing of decorative laminate sheets. Instead, the company made a variety of war-time products ranging from airplane propellers to bomb buster tubes.

The post-World War II building boom fueled the decorative laminate market and ushered in what would come to be known as the golden age for Formica. The company, anticipating the demand for laminate, acquired a giant press capable of producing sheets measuring thirty by ninety-six inches for kitchen countertops. Between 1947 and 1950, more than 2 million new homes were designed with Formica brand laminate for kitchens and bathrooms.

Formica's advertising campaigns, initially aimed at industry, were transformed to speak to the new decorative needs of consumer society, in particular the American housewife. Formica hired design consultants, Brooks Stevens, and, later, Raymond Loewy who launched extensive advertising campaigns. Advertising themes of durability, cleanliness, efficiency, and beauty abound in promotional material of this time. Advertisers promised that the plastic laminate, known as "the wipe clean wonder," was resistant to dirt, juices, jams, alcohol stains, and cigarette burns. Atomic patterns and space-age colors, including Moonglo, Skylark, and Sequina, were introduced in homes, schools, offices, hospitals, diners, and restaurants across America.

The post-war period was also marked by expansion, specifically with the establishment of Formica's first international markets. In 1947, Formica signed a licensing agreement with the British firm the De La Rue Company of London for the exclusive manufacture and marketing of decorative laminates outside North America, and in South America and the Pacific Basin. In 1948, Formica changed its name from the Formica Insulation Company to the Formica Company. In 1951, Formica responded to growing consumer demand by opening a million square foot plant in Evendale, Ohio, devoted to the exclusive production of decorative sheet material. In 1956, the Formica Company became the Formica Corporation, a subsidiary of American Cyanamid Company. A year later, the international subsidiaries that Formica formed with De La Rue Company of London were replaced by a joint company called Formica International Limited.

The plastic laminate was not merely confined to tabletops and dinette sets. Formica laminate was used for skis, globes, and murals. Moreover, well-known artists and architects used the decorative laminate for modernist furniture and Art Deco interiors. In 1960, Formica's Research and Development Design Center was established, adjacent to the Evendale plant, to develop uses for existing laminate products. In 1966, the company opened the Sierra Plant near Sacramento, California. Such corporate expansion enabled Formica to market its laminates beyond the traditional role as a countertop surface material.

In 1974, Formica established its Design Advisory Board (DAB), a group of leading designers and architects. DAB introduced new colors and patterns of laminate that gained popularity among artists and interior designers in the 1980s. In 1981, DAB introduced the Color Grid, a systematic organization of Formica laminate arranged by neutrals and chromatics. The Color Grid was described as the first and only logically arranged collection of color in the laminate industry. DAB also developed the Design Concepts Collection of premium solid and patterned laminates to serve the needs of contemporary interior designers.

In the 1980s and 1990s, the corporation continued to produce laminates for interior designers, artists, and architects. In 1982, Formica introduced COLORCORE, the first solid-color laminate. Due to its relatively seamless appearance, COLORCORE was adopted by artists for use in furniture, jewelry, and interior design. The introduction of COLORCORE also marked the emergence of a wide variety of design exhibitions and competitions sponsored by the Formica Corporation. In 1985, Formica Corporation became independent and privately held. Formica continues to be one of the leading laminate producers in the world with factories in the United States, England, France, Spain, Canada, and Taiwan.

For additional information on the history of the Formica Corporation, see:

DiNoto, Andrea. Art Plastic: Designed for Living. New York: Abbeville Press, 1985.

Fenichell, Stephen. Plastic: The Making of a Synthetic Century. New York: Harper/Collins, 1996.

Jeffers Grace. 1998. Machine Made Natural: The Decorative Products of the Formica Corporation, 1947-1962. Master's thesis. Bard Graduate Center for Studies in the Decorative Arts.

Lewin, Susan Grant, ed. Formica & Design: From Counter Top to High Art. New York: Rizzoli, 1991.

Related Materials:

Materials at the Archives Center

Leo Baekeland Papers, 1881-1968 (NMAH.AC.0005)

DuPont Nylon Collection, 1939-1977 (NMAH.AC.0007)

J. Harry DuBois Collection on the History of Plastics, circa 1900-1975 (NMAH.AC.0008)

Earl Tupper Papers, circa 1914-1982 (NMAH.AC.0470)

The Division of Medicine and Science holds artifacts related to this collection. See accession # 1997.0319 and #1997.3133.

Provenance:

This collection was assembled by Grace Jeffers, historian of material culture, primarily from materials given to her by Susan Lewin, Head of Formica's New York design and publicity office when the office closed in 1995. The collection was donated to the Archives Center by Grace Jeffers in September 1996.

Restrictions:

Collection is open for research but is stored off-site and special arrangements must be made to work with it. Researchers must use reference copies of audio-visual materials. When no reference copy exists, the Archives Center staff will produce reference copies on an "as needed" basis, as resources allow. 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:

Plastics industry and trade  Search this

Plastics -- 1920-2000  Search this

Plastics as art material -- 1920-2000  Search this

Plastics in interior design -- 1920-2000  Search this

advertising -- plastic industry -- 1920-2000  Search this

Plastic jewelry -- 1920-2000  Search this

Laminated plastics -- 1920-2000  Search this

Exhibitions -- 20th century -- United States  Search this

House furnishings -- 1920-2000 -- United States  Search this

Housewives as consumers -- 1920-2000  Search this

Electronic insulators and insulation -- Plastics -- 1920-2000  Search this

Inventions -- 1920-2000 -- United States  Search this

Women in advertising  Search this

Women in popular culture -- 1920-2000  Search this

Genre/Form:

Scripts (documents)

Videotapes

Posters -- 20th century

Samples -- 1920-2000

Advertisements

Brochures

Blueprints -- 20th century

Photographs -- 20th century

Newsletters -- 20th century

Exhibition catalogs

Catalogs

Catalogs -- 1920-2000

Correspondence -- 20th century

Citation:

Formica Collection, Archives Center, National Museum of American History

Identifier:

NMAH.AC.0565

See more items in:

Formica Collection

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8859e644e-2a2b-427b-ae69-3dfadd400aa4

EDAN-URL:

ead_collection:sova-nmah-ac-0565

Physical Description:

glass (overall material)

Measurements:

overall: 5.1 cm x 4.7 cm x 13.3 cm; 2 in x 1 7/8 in x 5 1/4 in

overall: 5 3/8 in x 2 1/4 in x 2 in; 13.6525 cm x 5.715 cm x 5.08 cm

Object Name:

Graduated Cylinder

Credit Line:

June W. Leonard

ID Number:

1991.0691.35

Catalog number:

1991.0691.35

Accession number:

1991.0691

See more items in:

Medicine and Science: Chemistry

Data Source:

National Museum of American History

GUID:

http://n2t.net/ark:/65665/ng49ca746b4-0084-704b-e053-15f76fa0b4fa

EDAN-URL:

edanmdm:nmah_332508

Creator:

Bechtle, Robert Alan, 1932-2020  Search this

Type:

Scrapbooks

Sketchbooks

Drawings

Diaries

Video recordings

Citation:

Robert Bechtle papers, circa 1930s-2020. Archives of American Art, Smithsonian Institution.

Topic:

Photo-realism  Search this

Artists -- California -- Interviews  Search this

Theme:

Lives of artists  Search this

Record number:

(DSI-AAA_CollID)22120

AAA_collcode_bechrobe

Theme:

Lives of artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_22120

Owner; user:

Murray, Anne Wood  Search this

Maker:

Pairpoint Corporation  Search this

Physical Description:

pewter (overall material)

Measurements:

overall: 6 in x 5 5/8 in; 15.24 cm x 14.2875 cm

Object Name:

stand, serving

Place made:

United States: Massachusetts, New Bedford

Place used:

United States: District of Columbia, Washington

Date made:

ca 1928

Subject:

Food Culture  Search this

Credit Line:

Gift of Mrs. John H. Murray

ID Number:

1983.0566.08

Accession number:

1983.0566

Catalog number:

1983.0566.08

See more items in:

Home and Community Life: Domestic Life

Domestic Furnishings

Data Source:

National Museum of American History

GUID:

http://n2t.net/ark:/65665/ng49ca746b3-a35d-704b-e053-15f76fa0b4fa

EDAN-URL:

edanmdm:nmah_322866

Owner; user:

Murray, Anne Wood  Search this

Physical Description:

pewter (overall material)

Measurements:

overall: 3 1/2 in x 13 in x 9 1/8 in; 8.89 cm x 33.02 cm x 23.1775 cm

rim diameter: 9 1/8 in; 23.1775 cm

base diameter: 4 in; 10.16 cm

Object Name:

bowl

Place made:

United States: Massachusetts, Boston

Place used:

United States: District of Columbia, Washington

Date made:

ca 1928

Subject:

Colonial Revival  Search this

Credit Line:

Gift of Mrs. John H. Murray

ID Number:

1983.0566.01

Accession number:

1983.0566

Catalog number:

1983.0566.01

See more items in:

Home and Community Life: Domestic Life

Domestic Furnishings

Data Source:

National Museum of American History

GUID:

http://n2t.net/ark:/65665/ng49ca746b3-a35f-704b-e053-15f76fa0b4fa

EDAN-URL:

edanmdm:nmah_322946

Owner; user:

Murray, Anne Wood  Search this

Physical Description:

pewter (overall material)

wood (handle material)

Measurements:

overall: 6 in x 7 5/8 in x 4 in; 15.24 cm x 19.3675 cm x 10.16 cm

Object Name:

teapot

Place made:

United States: Massachusetts, Boston

Place used:

United States: District of Columbia, Washington

Date made:

ca 1928

Subject:

Colonial Revival  Search this

Beverages  Search this

Tea Drinking  Search this

Credit Line:

Gift of Mrs. John H. Murray

ID Number:

1983.0566.02

Accession number:

1983.0566

Catalog number:

1983.0566.02

See more items in:

Home and Community Life: Domestic Life

Domestic Furnishings

Data Source:

National Museum of American History

GUID:

http://n2t.net/ark:/65665/ng49ca746a1-2659-704b-e053-15f76fa0b4fa

EDAN-URL:

edanmdm:nmah_322947

Owner; user:

Murray, Anne Wood  Search this

Manufacturer:

Friedman Silver Company  Search this

Physical Description:

pewter (overall material)

Measurements:

overall: 3/4 in x 10 1/4 in; 1.905 cm x 26.035 cm

Object Name:

tray

Place made:

United States: New York, Brooklyn

Place used:

United States: District of Columbia, Washington

Date made:

ca 1928

Subject:

Food Culture  Search this

Credit Line:

Gift of Mrs. John H. Murray

ID Number:

1983.0566.05

Accession number:

1983.0566

Catalog number:

1983.0566.05

See more items in:

Home and Community Life: Domestic Life

Domestic Furnishings

Data Source:

National Museum of American History

GUID:

http://n2t.net/ark:/65665/ng49ca746a5-4246-704b-e053-15f76fa0b4fa

EDAN-URL:

edanmdm:nmah_322950

Owner; user:

Murray, Anne Wood  Search this

Physical Description:

pewter (overall material)

Measurements:

overall: 1/2 in x 7 in; 1.27 cm x 17.78 cm

Object Name:

plate

Object Type:

plate

Place made:

United Kingdom: England, London

Place used:

United States: District of Columbia, Washington

Date made:

20th century

Subject:

Food Culture  Search this

Colonial Revival  Search this

Credit Line:

Gift of Mrs. John H. Murray

ID Number:

1983.0566.06

Accession number:

1983.0566

Catalog number:

1983.0566.06

See more items in:

Home and Community Life: Domestic Life

Domestic Furnishings

Data Source:

National Museum of American History

GUID:

http://n2t.net/ark:/65665/ng49ca746af-9b8d-704b-e053-15f76fa0b4fa

EDAN-URL:

edanmdm:nmah_322951

User:

Schultz, Mike  Search this

Designer:

Schultz, Mike  Search this

Physical Description:

aluminum; steel; brass (overall material)

plastic; vulcanized rubber; fiberglas (overall material)

Measurements:

overall: 134.5 cm x 20.5 cm x 63.5 cm; 52 15/16 in x 8 1/16 in x 25 in

overall (lower portion): 21 in x 3 3/4 in x 9 3/4 in; 53.34 cm x 9.525 cm x 24.765 cm

Object Name:

prosthetic leg

prosthetic leg, adaptive sports, motocross

prosthetic, adaptive sports

prosthetic leg, adaptive sports

Web subject:

Sports  Search this

Adaptive Sports  Search this

Disabilities  Search this

Name of sport:

Adaptive MotoCross  Search this

Level of sport:

Professional  Search this

Adaptive XGames  Search this

ID Number:

2016.0060.02

Accession number:

2016.0060

Catalog number:

2016.0060.02

See more items in:

Culture and the Arts: Sport and Leisure

Sports & Leisure

Exhibition:

Change Your Game

Exhibition Location:

National Museum of American History

Data Source:

National Museum of American History

GUID:

http://n2t.net/ark:/65665/ng49ca746b2-5a59-704b-e053-15f76fa0b4fa

EDAN-URL:

edanmdm:nmah_1803972

Maker:

Ossur North America  Search this

Physical Description:

fiberglass; ink; aluminum; rubber (overall material)

carbon fiber (overall material)

plastic (overall material)

metal (overall material)

Measurements:

overall: 54 cm x 11.1 cm x 23.9 cm; 21 1/4 in x 4 3/8 in x 9 7/16 in

overall, as stored: 4 7/8 in x 9 1/2 in x 21 3/8 in; 12.3825 cm x 24.13 cm x 54.2925 cm

Object Name:

foot, prosthetic

Flex-Foot

foot, artificial

prosthesis

Place made:

United States: California, Aliso Viejo

Date made:

ca 2003

Subject:

Disabilities  Search this

Prosthesis  Search this

Credit Line:

Gift from Ossur North America

ID Number:

2003.0315.11

Accession number:

2003.0315

Catalog number:

2003.0315.11

See more items in:

Medicine and Science: Medicine

Health & Medicine

Disabilities

Exhibition:

Change Your Game

Exhibition Location:

National Museum of American History

Data Source:

National Museum of American History

GUID:

http://n2t.net/ark:/65665/ng49ca746ab-0e64-704b-e053-15f76fa0b4fa

EDAN-URL:

edanmdm:nmah_1246882

Creator:

Camblin, Bob Bilyeu, 1928-2010  Search this

Subject:

Staley, Earl  Search this

Tate, Joe  Search this

Type:

Sketchbooks

Drawings

Moving images

Citation:

Bob Bilyeu Camblin papers, 1951-1985. Archives of American Art, Smithsonian Institution.

Theme:

Lives of artists  Search this

Record number:

(DSI-AAA_CollID)9268

(DSI-AAA_SIRISBib)211463

AAA_collcode_cambbob

Theme:

Lives of artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_211463

Maker:

Merck Sharp and Dohme  Search this

Physical Description:

white (overall color)

blue (overall color)

Measurements:

average spatial: 5.2 cm x 11.2 cm; 2 1/16 in x 4 7/16 in

overall: 2 in x 4 3/8 in x 4 7/8 in; 5.08 cm x 11.1125 cm x 12.3825 cm

Object Name:

Ashtray

advertising device, ashtray

Other Terms:

Ashtray; Advertising Material

Credit Line:

Mrs. Robert M. Leonard in memory of Dr. Robert M. Leonard

ID Number:

1991.0675.24

Catalog number:

1991.0675.24

Accession number:

1991.0675

See more items in:

Medicine and Science: Pharmacy

Data Source:

National Museum of American History

GUID:

http://n2t.net/ark:/65665/ng49ca746a9-9af8-704b-e053-15f76fa0b4fa

EDAN-URL:

edanmdm:nmah_1121820

Creator:

Camblin, Bob Bilyeu, 1928-2010  Search this

Names:

Staley, Earl, 1938-  Search this

Tate, Joe  Search this

Extent:

3.1 Linear feet

Type:

Collection descriptions

Archival materials

Sketchbooks

Drawings

Moving images

Date:

1951-1985

Summary:

The Bob Bilyeu Camblin papers measure 3.1 linear feet and date from 1951 to 1985. The papers provide a snapshot of Camblin's career as an artist and educator through personal papers, printed material, artwork, photographs, and motion picture film and video recordings.

Scope and Contents:

The Bob Bilyeu Camblin papers measure 3.1 linear feet and date from 1951 to 1985. The papers provide a snapshot of Camblin's career as an artist and educator through personal papers, printed material, artwork, photographs, and motion picture film and video recordings.

Personal papers include resumes and printed material such as exhibition catalogs and announcements and clippings. Camblin's artwork includes sketches, expressive writings, drawings, and prints. Photographic material includes images of artwork, friends, family, trips, and miscellany; and moving images include home videos of art, art techniques, leisure activities, and autobiographical films.

Arrangement:

This collection is arranged as 4 series.

Series 1: Personal Papers, 1951-1985 (5 folders; Box 1)

Series 2: Artwork, 1951-1985 (8 folders; Box 1)

Series 3: Photographs, 1951-1980 (1 linear foot; Box 1, 2)

Series 4: Moving Images, circa 1970-1976 (1.8 linear feet; Box 2; FCs 3-19)

Biographical / Historical:

Bob Bilyeu Camblin (1928-2010) was a modernist painter and educator active in Houston, Texas. Camblin experimented with a wide variety of media and is known for collaborative projects with many artists, including a collective known as The Holding Firm with Earl Staley and Joe Tate in Houston.

Born in Ponca City, Oklahoma, Camblin served in the United State Army (1948-1949) and Air Force (1950-1951) before receiving his bachelor of fine arts in 1954, and his master of fine arts degree in 1955. He worked as a map make from 1955-1958 before holding teaching posts at multiple institutions including the Kansas City Art Institute, the Ringling School of Art, Sarasota Florida, the University of Illinois, the University of Detroit, the University of Utah, and Rice University in Houston.

While living in Houston Camblin collaborated with artists Earl Staley and Joe Tate, as the B. E. and J. Holding Firm, or The Holding Firm. The collective worked on multiple projects including paintings, drawings, art excursions, and exhibitions.

Camblin's first one-man show was held in 1955 at the Kansas City Art Institute and his work has been exhibited in other solo exhibitions including at Oklahoma State University (1961), Plumtree Gallery, Salt Lake City, Utah (1965-1966), Windsor College, Canada (1965), David Gallery, Houston (1969-1970), and the Graham Gallery in Houston (1989). Camblin participated in many group exhibitions including ART:USA 58 (1958), Fulbright Artists Exhibition, Nelson Gallery of Art, Kansas City (1958), Childe Hassam Purchase Fund Show, American Academy of Arts and Letters (1958), and Printmaking in Texas: The 1980s Modern Art Museum, Fort Worth (1990).

Separated Materials:

The Archives of American Art also holds microfilm of material lent for microfilming by Mrs. Eldon Jensen on Reel 2248, including six sketchbooks, 1979-1980, containing sketches, writings, and a few letters. Loaned materials were returned to the lender and are not described in the collection container inventory.

Some of the material from reels 3461 and 3462 including correspondence, clippings, files on the Document Show, the Barter Show, B. E. and J. Holding Firm and the Venice Venture are available for use only at the Museum of Fine Arts, Houston and through interlibrary loan, and are not described in the collection container inventory.

Provenance:

This collection was donated by Sandra Curtis Levy in a series of accessions between 1979-1986.

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 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.

Occupation:

Painters -- Texas -- Houston  Search this

Educators -- Texas -- Houston  Search this

Genre/Form:

Sketchbooks

Drawings

Moving images

Citation:

Bob Bilyeu Camblin papers, 1951-1985. Archives of American Art, Smithsonian Institution.

Sponsor:

The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.

Identifier:

AAA.cambbob

See more items in:

Bob Bilyeu Camblin papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw97a6fd7c8-6f2e-4062-853a-d77d5375f0ee

EDAN-URL:

ead_collection:sova-aaa-cambbob

Creator:

Cheng, Ching Ho, 1946-1989  Search this

Subject:

Millard, Gregory  Search this

Cohen, Ira  Search this

Cheng-Wilson, Sybao  Search this

Brown, Tally  Search this

Rattray, David  Search this

Myers, Vali  Search this

Seid, Dui  Search this

Type:

Sketches

Drawings

Sketchbooks

Photographs

Scrapbooks

Citation:

Ching Ho Cheng papers, circa 1950-2014, bulk 1970-1989. Archives of American Art, Smithsonian Institution.

Topic:

Asian American art  Search this

Asian American artists  Search this

Chinese American art  Search this

Chinese American artists  Search this

Asian American painters  Search this

Theme:

Asian American  Search this

Lives of artists  Search this

Record number:

(DSI-AAA_CollID)16241

(DSI-AAA_SIRISBib)370439

AAA_collcode_chenchin

Theme:

Asian American

Lives of artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_370439

Biogeographical Region:

78 - Southeastern U.S.A.  Search this

Collector:

Roland M. Harper  Search this

Place:

Geological Survey of Alabama. At foot of small waterfall on sandstone cliffs along Blackwater Creek near South Lowell, Walker Co. Geological formation: Coal Measures., Alabama, United States, North America

Collection Date:

1 Apr 1906

Taxonomy:

Plantae Bryophyta Bryopsida Hypnales Echinodiaceae

Published Name:

Sciaromium lescurii (Sull.) Broth.

Barcode:

04574774

See more items in:

Botany

Bryophytes and Lichens

Data Source:

NMNH - Botany Dept.

GUID:

http://n2t.net/ark:/65665/339fe0d4c-6b25-49b4-b4f2-6991dd4c0f4c

EDAN-URL:

edanmdm:nmnhbotany_16505337

Creator:

Cheng, Ching Ho  Search this

Names:

Brown, Tally  Search this

Cheng-Wilson, Sybao  Search this

Cohen, Ira  Search this

Millard, Gregory  Search this

Myers, Vali, 1930-2003  Search this

Rattray, David  Search this

Seid, Dui  Search this

Extent:

6.8 Linear feet

Type:

Collection descriptions

Archival materials

Sketches

Drawings

Sketchbooks

Photographs

Scrapbooks

Date:

circa 1950-2014

bulk 1970-1989

Summary:

The papers of New York City Asian American artist Ching Ho Cheng measure 6.8 linear feet and date from circa 1950 to 2014, with the bulk of the materials dating from 1970-1989. The collection documents Cheng's art career and life through biographical material, correspondence, personal business and estate records, printed material, a scrapbook, photographic material, artwork, sketchbooks, and artifacts.

Scope and Contents:

The papers of New York City Asian American artist Ching Ho Cheng measure 6.8 linear feet and date from circa 1950 to 2014, with the bulk of the materials dating from 1970-1989. The collection documents Cheng's art career and life through biographical material, correspondence, personal business and estate records, printed material, a scrapbook, photographic material, artwork, sketchbooks, and artifacts.

Biographical material includes artist's statements, biographical writings, lists, life and death documents, a memorial book, naturalization paperwork, and one file of collaborative poetry with David Rattray.

Correspondence includes letters and postcards from Cheng's friends, artists, and family, including Tally Brown, Ira Cohen, Gregory Millard, Vali Myers, David Rattray, and Dui Seid.

Personal business and estate records contain contracts, loan agreements, inventories, and other records documenting income and expenses.

Printed material is comprised of books, clippings, exhibition announcements and catalogs, journals, magazines, newsletters, postcards, press releases, programs, and posters documenting Cheng's career.

One scrapbook contains clippings and reproductions of Cheng's work.

Photographic material includes photographs, negatives, and slides featuring portraits of Cheng, Gregory Millard, Tally Brown, Vali Myers, Sybao Cheng-Wilson, and others.

Artwork and fifteen sketchbooks contain drawings and sketches, mostly quick studies of geometric compositions done in pencil, ink, and colored pencil.

Artifacts include a metal box, various fabric scraps, a paintbrush, and a blue enamel mug, which is the subject of one of Cheng's paintings.

Arrangement:

The collection is arranged as nine series

Missing Title

Series 1: Biographical Material, circa 1970-1990 (0.3 linear foot; Box 1)

Series 2: Correspondence, 1957-2014 (2.2 linear feet; Box 1-3)

Series 3: Personal Business and Estate Records, circa 1970-2010 (0.7 linear foot; Box 3-4)

Series 4: Printed Material, 1954-2011 (1.1 linear feet; Box 4-5, 7, OV 9)

Series 5: Scrapbook, 1982-1983 (1 folder; Box 5)

Series 6: Photographic Material, circa 1950-1990 (0.4 linear feet; Box 5, 7)

Series 7: Artwork, circa 1960-1990 (1linear foot; Box 5, 8, OV 10)

Series 8: Sketchbooks, circa 1970-1990 (0.5 linear feet; Box 6, 8)

Series 9: Artifacts, circa 1970-1990 (0.6 linear feet; Box 6)

Biographical / Historical:

Ching Ho Cheng (1946-1989) was a Chinese American artist based in New York City.

Cheng was born in Cuba but spent most of life in New York City. After receiving his BFA from the Cooper Union in 1968, Cheng lived in Paris and Amsterdam, where he had his first solo exhibition in 1976. Shortly after, Cheng moved back to New York City. He became associated with the Warhol circle, and took up residence in the Chelsea Hotel, where he lived until his death in 1989.

Working in the pop psychedelic style early in his career, Cheng later developed a technique of creating abstract paintings with stencils and torn paper that he treated and soaked. He was in more than fifteen exhibitions before his death, and his work has been collected posthumously by the Hirshhorn, the Whitney, and many other museums.

Provenance:

The Ching Ho Cheng papers were donated to the Archives of American Art in 2014 and 2016 by Sybao Cheng-Wilson, Cheng's sister and executor of the Ching Ho Cheng estate.

Restrictions:

This collection is temporarily closed to researchers due to archival processing and digitization. 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:

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

Topic:

Asian American art  Search this

Asian American artists  Search this

Chinese American art  Search this

Chinese American artists  Search this

Asian American painters  Search this

Genre/Form:

Sketches

Drawings

Sketchbooks

Photographs

Scrapbooks

Citation:

Ching Ho Cheng papers, circa 1950-2014, bulk 1970-1989. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.chenchin

See more items in:

Ching Ho Cheng papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw91424b382-b141-4533-a128-128db7bf4258

EDAN-URL:

ead_collection:sova-aaa-chenchin

Artist:

Ireland, David, 1930-2009  Search this

Names:

American Academy in Rome  Search this

Arts Club of Chicago  Search this

California College of Arts and Crafts (San Francisco, Calif.)  Search this

Center for the Arts at Yerba Buena Gardens  Search this

Gallery Paule Anglim  Search this

Helmhaus Zürich  Search this

Mattress Factory  Search this

New Museum of Contemporary Art (New York, N.Y.)  Search this

Perth Institute of Contemporary Arts  Search this

San Francisco Art Institute  Search this

San Francisco Museum of Modern Art  Search this

Skowhegan School of Painting and Sculpture  Search this

Stanford University  Search this

Walker Art Center  Search this

Washington State Arts Commission  Search this

Western Washington University  Search this

Coppola, Eleanor  Search this

Grobart, Jeffrey  Search this

Lee, Margie  Search this

Lienhard, Marie-Louise  Search this

Marion, Paul  Search this

Tingle, Alta  Search this

Extent:

24.8 Linear feet

8.39 Gigabytes

Type:

Collection descriptions

Archival materials

Gigabytes

Video recordings

Sketches

Interviews

Prints

Sound recordings

Drawings

Photographs

Date:

circa 1910s-circa 2009

bulk 1960-2005

Summary:

The papers of California conceptual artist and sculptor David Ireland measure 24.8 linear feet and 8.39 GB and date from circa 1910s to circa 2009, with the bulk of the material dating from 1960 to 2005. The papers include biographical material, correspondence, notes and notebooks, installation projects and exhibition files, teaching files, travel files, personal business records, printed and digital material and commercial recordings, photographic materials, artwork, and video and sound recordings.

Scope and Contents:

The papers of California conceptual artist and sculptor David Ireland measure 24.8 linear feet and 8.39 GB and date from circa 1910s to circa 2009, with the bulk of the material dating from 1960 to 2005. The papers include biographical material, correspondence, notes and notebooks, installation projects and exhibition files, teaching files, travel files, personal business records, printed and digital material and commercial sound recordings, photographic materials, artwork, and video and sound recordings.

Biographical material includes awards and certificates, address books and appointment books, artist's statements, resumes, chronologies, student university materials, passports, and sound and video recordings of interviews with Ireland. Correspondence is with friends, peers, universities, galleries, and museums, including Jeffrey Grobart, Eleanor Coppola, Margie Lee, Marie-Louise Lienhard, Paul Marion, and Alta Tingle, among others. Notes and notebooks contain incoming phone messages, notes to self, regarding projects and ideas, as well as various other notes and plans.

Installation projects and exhibition files constitute the bulk of the collection and document David Ireland's extensive projects and exhibitions around the world. Files are found for his Capp Street house project and Pacific Enterprises project in San Francisco; Boott Mills project in Lowell, Massachusetts; IKEA Emeryville Public Art Project in Emeryville, California; and several Washington State Arts Commission and Western Washington University projects. Other exhibition and installation locations found within the files include the American Academy in Rome; Yerba Buena Arts Center in California; Perth Institute of Contemporary Art in Australia; Helmhaus in Zurich, Switzerland; Arts Club of Chicago; SFMOMA; New Museum of Contemporary Art in New York; Walker Art Center in Minneapolis, Minnesota; and the Mattress Factory in Pittsburgh, among many others. The files contain a wide variety of materials, including sound and video recordings in various formats.

Teaching files document David Ireland's many roles as visiting artist, artist-in-residence, instructor, and conference and symposium panelist at the California College of Arts and Crafts, San Francisco Art Institute, Skowhegan School of Painting and Sculpture, and Stanford University Department of Art, among others. Travel files document Ireland's trips abroad, both independent of and as a result of installation and project obligations.

Personal business records are comprised of financial materials and documentation relating to Ireland's two early South African import and safari businesses as well grants and project proposals, various loan agreements, representation through Gallery Paule Anglim, property sales and tax documentation, inventory materials, and various other business materials. Also found within the collection are printed material and four commercial sound recordings. Photographs are of the artist, friends and family, Ireland's Oakland studio, and works of art. There is artwork by Ireland, including sketches, drawings, and prints, and a few pieces of artwork by other artists. In addition to sound and video recordings arranged in other series, there is one video recording and six sound cassettes that are either unidentified or have no additional context within the collection.

Arrangement:

This collection is arranged as 11 series.

Missing Title

Series 1: Biographical Material, circa 1950-circa 2009 (1.5 linear feet; Boxes 1-2)

Series 2: Correspondence, circa 1937-circa 2008 (4 linear feet; Boxes 2-6)

Series 3: Notes and Notebooks, circa 1965-circa 2008 (0.7 linear feet; Boxes 6-7)

Series 4: Installation Projects and Exhibition Files, circa 1960s-circa 2009 (11.6 linear feet; Boxes 7-18, OV26, OV27, 7.84 GB; ER01-ER15)

Series 5: Teaching Files, 1977-1998 (1.2 linear feet; Boxes 18-19)

Series 6: Travel Files, circa 1950s-circa 1994 (0.6 linear feet; Boxes 19-20)

Series 7: Personal Business Records, circa 1965-circa 2008 (1.1 linear feet; Boxes 20-21)

Series 8: Printed Material and Commercial Recordings, 1932-circa 2009 (2.3 linear feet; Boxes 21-23, 0.553 GB; ER16)

Series 9: Photographic Materials, circa 1910s-circa 2005 (1 linear foot; Boxes 23-24)

Series 10: Artwork, circa 1965-circa 2003 (0.2 linear feet; Box 24)

Series 11: Video and Sound Recordings, circa 1965-circa 1990s (0.4 linear feet; Box 25)

Biographical / Historical:

David Ireland (1930-2009) was a conceptual artist and sculptor who worked in San Francisco, California.

Ireland was born in Bellingham, Washington and attended Western Washington University. In 1953, he received a degree in industrial design and printmaking from the California College of Arts and Crafts (now California College of the Arts) in Oakland. He then served two years in the U. S. Army in Missouri, returning to live and work in Bellingham. For several years, Bellingham served as his launch point for extensive travels in Europe and Africa.

In the late 1950s, Ireland founded Hunter Africa, an artifacts import business. He moved the business to San Francisco in 1965 and also began a second business leading safaris in Africa. He married Bellingham native Joanne Westford and had two children, Ian Ireland and Shaughn Niland; they divorced in 1970.

Ireland attended the San Francisco Art Institute and received a graduate degree in 1974. There, he met other Bay Area artists involved in the conceptual movement there, including Tom Marioni, Paul Kos, Howard Fried, and Terry Fox.

Much of Ireland's artwork of the 1980s and 1990s centered on the transformation of his home at 500 Capp Street in San Francisco, where he dramatically physically and conceptually transformed the interior and exterior structure into a mix of architectural sculpture and environmental art piece. He bought a second home in 1979 to transform, and, in the 1980s, completed a renovation of the main building at the Headlands Center for Arts in Sausalito with artist Mark Thompson.

David Ireland's work has been presented in more than forty solo exhibitions at venues that included the Walker Art Center, Minneapolis; Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D. C.; The Museum of Modern Art and the New Museum of Contemporary Art, New York. He created major public projects and private commissions in Los Angeles, San Francisco, Philadelphia, Washington, D. C., and other cities. His work is included in the permanent collections of The Museum of Modern Art and the Whitney Museum of American Art in New York, San Francisco Museum of Modern Art, Los Angeles County Museum of Art, Oakland Museum of California, and University of California, Berkeley Art Museum and Pacific Film Archive, among others.

Provenance:

The David Ireland papers were donated in 2010 by the David Ireland Estate through Jock Reynolds, Special Trustee, The David Ireland Revocable Trust.

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:

Sculptors -- California -- San Francisco  Search this

Conceptual artists -- California -- San Francisco  Search this

Topic:

Artists' studios -- Photographs  Search this

Art -- Study and teaching  Search this

Installations (Art)  Search this

Public art  Search this

Genre/Form:

Video recordings

Sketches

Interviews

Prints

Sound recordings

Drawings

Photographs

Citation:

David Ireland papers, circa 1910s-circa 2009, bulk 1960-2005. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by The David Ireland Revocable Trust.

Identifier:

AAA.ireldavi

See more items in:

David Ireland Papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw927567772-c71f-4f30-a427-adbd535e1009

EDAN-URL:

ead_collection:sova-aaa-ireldavi

User:

Purdy, Amy  Search this

Physical Description:

metal (overall material)

plastic (overall material)

metal (overall material)

paint (overall material)

rubber (overall material)

silicone (overall material)

tape (overall material)

Measurements:

overall: 4 1/4 in x 9 3/4 in x 3 1/4 in; 10.795 cm x 24.765 cm x 8.255 cm

overall: 5 1/2 in x 3 in x 9 1/2 in; 13.97 cm x 7.62 cm x 24.13 cm

Object Name:

prosthetic, adaptive sports

prosthetic, winter paralympics

Web subject:

Sports  Search this

Adaptive Sports  Search this

Women  Search this

Disabilities  Search this

Name of sport:

Snowboard Cross  Search this

Level of sport:

paralympics  Search this

Credit Line:

Amy Purdy

ID Number:

2016.0185.01

Accession number:

2016.0185

Catalog number:

2016.0185.01

See more items in:

Culture and the Arts: Sport and Leisure

Exhibition:

Entertainment Nation

Exhibition Location:

National Museum of American History

Data Source:

National Museum of American History

GUID:

http://n2t.net/ark:/65665/ng49ca746a7-08bc-704b-e053-15f76fa0b4fa

EDAN-URL:

edanmdm:nmah_1814486

User:

Purdy, Amy  Search this

Physical Description:

metal (overall material)

rubber (overall material)

composite (overall material)

paper (overall material)

Measurements:

overall: 4 in x 7 3/4 in x 2 in; 10.16 cm x 19.685 cm x 5.08 cm

overall: 4 3/4 in x 2 1/4 in x 7 in; 12.065 cm x 5.715 cm x 17.78 cm

Object Name:

adaptive sports prosthetic

prosthetic, winter paralympics

Web subject:

Sports  Search this

Adaptive Sports  Search this

Women  Search this

Disabilities  Search this

Name of sport:

Snowboard Cross  Search this

Level of sport:

paralympics  Search this

Credit Line:

Amy Purdy

ID Number:

2016.0185.02

Accession number:

2016.0185

Catalog number:

2016.0185.02

See more items in:

Culture and the Arts: Sport and Leisure

Exhibition:

Entertainment Nation

Exhibition Location:

National Museum of American History

Data Source:

National Museum of American History

GUID:

http://n2t.net/ark:/65665/ng49ca746b2-e1a9-704b-e053-15f76fa0b4fa

EDAN-URL:

edanmdm:nmah_1814487