Search Results

Creator:

Brooks, Romaine, 1874-1970  Search this

Subject:

Van Vechten, Carl  Search this

Gauthier-Villars, Louis  Search this

Breeskin, Adelyn Dohme  Search this

Dreyfus-Barney, Laura  Search this

Castelnou, Jean-Pierre  Search this

Mac'Avoy, Edouard  Search this

Brooks, Romaine  Search this

Lahovary, Janine  Search this

McClelland, Donald  Search this

Acten, Harold  Search this

Mariano, Nicky  Search this

Strozzi, Uberto  Search this

Bizardel, Yvon  Search this

Noailles, Charles, vicomte de  Search this

Barney, Natalie Clifford  Search this

Type:

Poems

Photographs

Scrapbooks

Manuscripts

Sound recordings

Diaries

Notes

Interviews

Citation:

Romaine Brooks papers, 1910-1973. Archives of American Art, Smithsonian Institution.

Topic:

World War, 1939-1945  Search this

Portrait painting  Search this

Women artists  Search this

Women painters  Search this

Artists' studios -- Photographs  Search this

Theme:

Women  Search this

Lives of artists  Search this

Record number:

(DSI-AAA_CollID)6290

(DSI-AAA_SIRISBib)220274

AAA_collcode_brooroma

Theme:

Women

Lives of artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_220274

Creator:

Jaffe, Shirley, 1923-2016  Search this

Subject:

Sugarman, George  Search this

Stone, Sylvia  Search this

Francis, Sam  Search this

Mitchell, Joan  Search this

Kushner, Robert  Search this

Type:

Video recordings

Sketchbooks

Diaries

Interviews

Citation:

Shirley Jaffe papers, circa 1950-2011. Archives of American Art, Smithsonian Institution.

Topic:

Painters -- France -- Paris  Search this

Women artists  Search this

Women painters  Search this

Theme:

Lives of artists  Search this

Record number:

(DSI-AAA_CollID)16207

(DSI-AAA_SIRISBib)368197

AAA_collcode_jaffshir

Theme:

Lives of artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_368197

Creator:

Gysin, Brion, 1916-1986  Search this

Burroughs, William S., 1914-1997  Search this

Subject:

Brady, John  Search this

Grinstein, Elyse  Search this

Grinstein, Stanley  Search this

Bradshaw, David  Search this

Hotel Les Goelands (Saint-Jean-de-Luz, France)  Search this

Type:

Drawings

Photographs

Citation:

William Burroughs and Brion Gysin writings, 1997. Archives of American Art, Smithsonian Institution.

Topic:

Authors  Search this

Experimental fiction  Search this

Theme:

Lives of artists  Search this

Record number:

(DSI-AAA_CollID)17446

(DSI-AAA_SIRISBib)386722

AAA_collcode_burrwill

Theme:

Lives of artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_386722

Photographer?:

Moore, Samuel, Jr. (Philadelphia)  Search this

Extent:

1 Stereograph (black and white)

Container:

Box 3

Type:

Archival materials

Stereographs

Place:

Parc de Saint-Cloud

Date:

circa 1875-1900

General:

Handwritten on back: Samuel Moore, Jr., Philadelphia

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:

Fountains  Search this

Ponds  Search this

Sculptures  Search this

Trees  Search this

Cascades  Search this

Gardens -- France -- Saint-Cloud  Search this

Water gardens  Search this

Garden ornaments and furniture  Search this

Garden walks  Search this

Hand-railing  Search this

Formal gardens  Search this

Genre/Form:

Stereographs

Collection Citation:

Smithsonian Institution, Archives of American Gardens, Historic Gardens Stereograph Collection.

Identifier:

AAG.STR, Item STR032012

See more items in:

Historic gardens Stereograph collection

Historic gardens Stereograph collection / Gardens and Landscapes / Foreign Countries / France / Saint-Cloud -- Parc de Saint-Cloud

Archival Repository:

Archives of American Gardens

GUID:

https://n2t.net/ark:/65665/kb6a33d6cd5-7161-42fc-8c1c-e91ff79afc99

EDAN-URL:

ead_component:sova-aag-str-ref4957

Photographer:

C. G. a Paris [Charles Gaudin, Paris]  Search this

Extent:

1 Stereograph (black and white)

Container:

Box 3

Type:

Archival materials

Stereographs

Place:

France

Parc de Saint-Cloud

Date:

circa 1860-1875

General:

Historic Series title : France au Stereoscope

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:

Urban parks  Search this

Fountains  Search this

Ponds  Search this

Sculpture  Search this

Trees  Search this

Lawns  Search this

Fences  Search this

Water gardens  Search this

Gardens, French  Search this

Genre/Form:

Stereographs

Collection Citation:

Smithsonian Institution, Archives of American Gardens, Historic Gardens Stereograph Collection.

Identifier:

AAG.STR, Item STR032014

See more items in:

Historic gardens Stereograph collection

Historic gardens Stereograph collection / Gardens and Landscapes / Foreign Countries / France / Saint-Cloud -- Parc de Saint-Cloud

Archival Repository:

Archives of American Gardens

GUID:

https://n2t.net/ark:/65665/kb62c79d47f-84d9-44e3-bbff-6641f002ea02

EDAN-URL:

ead_component:sova-aag-str-ref4960

Creator:

Blanc, Giulio V.  Search this

Names:

Cuban Museum of Arts and Culture (Miami, Fla.)  Search this

Brito, María (1947-)  Search this

Cano, Margarita, 1932-  Search this

Cano, Pablo  Search this

Carreño, Mario  Search this

Carulla, Ramón, 1938-  Search this

Demi, 1955-  Search this

Garcia, Hernan, 1935-  Search this

Gattorno, Antonio  Search this

Gaztelu, A. (Angel)  Search this

Goldman, Shifra M., 1926-2011  Search this

Gómez-Peña, Guillermo  Search this

Lam, Wifredo  Search this

Larraz, Julio  Search this

Libin, Victoria  Search this

Macia, Carlos A., 1951-1994  Search this

Martínez-Cañas, María  Search this

Riverón, Enrique  Search this

Rodríguez, Arturo, 1956-  Search this

Sánchez, Juan, 1954-  Search this

Sí, Juan  Search this

Trasobares, César  Search this

Vater, Regina  Search this

Vázquez Lucio, Oscar E. (Oscar Edgardo), 1932-  Search this

Interviewee:

Cabrera, Lydia  Search this

Gómez Sicre, José  Search this

Extent:

11 Linear feet

0.001 Gigabytes

Type:

Collection descriptions

Archival materials

Gigabytes

Sound recordings

Date:

1920-1995

Summary:

The dates for the Giulio V. Blanc papers range from 1920-1995. Measuring a total of eleven linear feet and 0.001 GB, the collection provides documentation of the art exhibitions Blanc curated during his career, including original writings and exhibition catalogs. The extensive artists files in the collection provide information on numerous Latin American and Caribbean artists. The collection also provides historical information on the life and culture of Cuba.

Scope and Content Note:

The Giulio V. Blanc papers measure approximately 11 linear feet and 0.001 GB and date from 1920 to 1995. Compiled by Blanc since the beginning of his curatorial, writing, and research career in the 1980s, the papers consist primarily of artist files on Cuban, Cuban-American, and Latin American artists (1920-1995 and undated). Also found is biographical information (1994-1995), interviews by Blanc (1984-1987, 1994) and miscellaneous letters from artists and friends (1983-1995 and undated).

The first series, Biographical Files, 1994-1995 includes information about Blanc's career. Series 2: Miscellaneous Letters, 1983-1995, undated, consists of letters from artists and friends on various topics. Series 3: Artist Files, 1920-1995, undated, represents the bulk of the collection (approximately 300 artists in all, 6 linear feet), and contain materials either collected by Blanc or received by Blanc from the artists themselves. These consist of biographical material about the artist, usually two or three paragraphs written by Blanc, scattered resumes and copies of fellowship applications. Also found are newspaper clippings, exhibition announcements and catalogs, and letters or correspondence between Blanc and the artists. Of special interest in this series are numerous taped interviews with celebrated Cuban artists and art historians such as José Gómez Sícre, founder and first director of the Art Museum of the Americas, Organization of American States. Gómez-Sícre describes his early career and involvement with acquisitions for the museum's permanent collection as well as his working relationship with Alfred H. Barr, first director of the Museum of Modern Art in New York. Gómez-Sícre's notable book, Pintura Cubana de Hoy, published in Havana in 1944 is included in the files.

Elena Peláez de Medero, another interviewee, discusses her sister, Cuban painter Amelia Peláez (1896-1968). Blanc interviewed Elena Peláez in Miami for his 1988 exhibition Amelia Peláez: A Retrospective. The Peláez file includes Blanc's correspondence with her as well as copies of rare 1930s and 1940s exhibition catalogs from Amelia Peláez's early career. Among the catalogs is a copy of Modern Cuban Painters from the 1944 exhibition held at the Museum of Modern Art in New York. Also found are rare French, German and Spanish newspaper clippings on Peláez dating back to the 1920s. Of interest is a copy of Amado Blanco's 1937 poetry book, Poema desesperado. Published in Havana, the book is dedicated to the memory of Federico García Lorca and includes illustrations by Peláez.

Another prominent artist whom Blanc interviewed was Enrique Riverón (b. 1901) leader of the Cuban vanguardia. He was a member of El Grupo de Montparnasse, a talented group of painters and writers living in the southern district of Paris in the late 1920s, an area noted for its boisterous after-hour activities. The interview was published in the Journal of Decorative and Propaganda Arts in 1997. Also found in the papers are illustrated letters and greeting cards addressed to Blanc and his parents, Baron Lodovico Blanc and María V. Blanc.

Series 4: Exhibition Files, 1977-1995, undated, consists primarily of material Blanc compiled for exhibitions he curated. Found here are letters from museum directors, artists and colleagues, drafts and finished essays for exhibition catalogs, and printed material such as newspaper clippings of art reviews. This series also includes files on exhibitions Blanc did not curate.

Series 5: Subject Files, 1933-1995, undated, are files relating to Cuban art, culture, and society, the Cuban revolution, book projects, Biennials in Havana and São Paulo, the 1988 controversy surrounding the Cuban Museum of Arts and Culture (Miami, FL) and other topics. Found are letters, drafts of writings, notes, printed material such as newspaper clippings and magazine articles, press releases, and exhibition announcements.

Particularly extensive is the documentation about the 1980s conflict at the Cuban Museum of Arts and Culture. In April 1988, a fund-raising auction at the 24-year-old 'little Havana' institution resulted in heated disputes that escalated to violence. The works auctioned were by Cuban artists still living on the island. Many in Miami's Cuban community considered these artists to be supporters of the Communist regime and were outraged. One of the disputed works purchased the night of the auction, a drawing by Manuel Mendive, was taken across the street by its successful bidder and burned. In addition, the museum building was damaged by a pipe bomb shortly after the sale. In the National Public Radio news story (available in Blanc's papers on audio cassette) Helen Kohen, critic for the Miami Herald commented, "We're not talking about paintings. We're talking about `my brother's in jail'. That's what we're talking about." The situation intensified quickly; transcending local politics and involving the Treasury and Justice Departments, the American Civil Liberties Union, the Federal Bureau of Investigation, and Sotheby's and Christie's auction houses. Ramón Cernuda, the museum vice-president who organized the auction also had his personal collection of Cuban art impounded by the FBI. A second bombing took place in 1989 to protest an exhibition of Cuban artists who came to the U. S. during the early 1980s Mariel boatlift.

The seriousness of the conflicts in the Miami museum prompted the Museum of Modern Art in New York to withdraw an offer to lend three paintings to the Cuban museum for the 1988 exhibition Amelia Peláez: A Retrospective scheduled to open later that year. Curated by Giulio Blanc, it was the first U.S. retrospective of this important Cuban artist and the exhibition helped situate her work. The Cuban Museum of Art in Daytona Beach, an institution that helped start the Miami museum, also withdrew an offer to lend "Amelias". The result was an exhibition devoid of works owned by the Museum of Modern Art, important paintings created after 1963, the year President Kennedy imposed economic sanctions on Cuba.

To publicize the Peláez exhibition and boost attendance, the museum placed a public invitation in the Spanish section of the Miami Herald. The half page ad, also found in the Blanc papers, lists more than 100 intellectuals and professionals who supported the exhibition. Blanc stated in a letter to the Miami Herald, "It is horrifying to think there are those in Miami who would burn a painting for the sake of politics. This was the same reasoning utilized by Joseph Goebbels when he made bonfires of books and paintings by anti-Nazi and `degenerate' artists and writers in 1930s Germany... One can only pity the ignorance of those who play into the hands of the Castro regime by resorting to uncivilized tactics that can only hurt the image of the Cuban-exile community and of Miami in general."

The files concerning the Cuban Museum of Arts and Culture contain exhibition announcements, copies of court orders, press releases and correspondence between Blanc and the Museum of Modern Art in New York regarding the museum and the Peláez exhibition. Also included are a great number of newspaper articles printed in two of Miami's major newspapers, the Miami Herald and El Nuevo Herald which covered the story until it was resolved in the early 1990s. Offering additional information on the controversy are a number of letters addressed to either Blanc or his parents from artists and friends expressing either discontent with the museum's state of affairs or gratitude for the Blanc's financial support during the museum's reconstruction. These provide remarkable insight into a relatively heterogeneous Cuban community.

Series 6: Sound Recordings, 1992, 1994 consists of two untranscribed audio cassette tapes. One is of the 1992 College Art Association's session: Artistic Voices of Latin America: The Aesthetics of Anti-Colonialism held in Chicago, Illinois in which Giulio V. Blanc was a panelist. The other is a rare 1994 interview conducted by Blanc with poet-priest Monseñor Angel Gaztelu, a friend of many Cuban writers and artists, and who presided over Peláez's funeral service in 1968.

The last series, Series 7: Photographs, 1981-1993, undated, includes black and whiteportraits of artists, group shots of Blanc with "Miami Generation" artists María Brito, Pablo Cano, María Martínez-Cañas, Carlos Macía, Arturo Rodríguez, and César Trasobares, and photos of other artists.

Arrangement:

The Giulio V. Blanc papers are arranged into seven series primarily according to type of material. Within each series, materials are arranged chronologically, except for Artist Files and Subject Files which are arranged alphabetically by either name or subject.

Missing Title

Series 1: Biographical Files, 1994-1995, undated (box 1; 3 folders)

Series 2: Miscellaneous Letters, 1983-1995, undated (box 1; 3 folders)

Series 3: Artist Files, 1920-1995, undated (boxes 1-8, ER01; 6 linear ft., 0.001 GB)

Series 4: Exhibition Files, 1977-1995, undated (box 8; 1 linear foot)

Series 5: Subject Files, 1933-1995, undated (boxes 8-12; 2.5 linear feet)

Series 6: Untranscribed Sound Recordings, 1992-1994 (box 12; 2 folders)

Series 7: Photographs, 1981, 1993, undated (box 12; 2 folders)

Biographical Note:

Cuban born independent curator, critic, art historian and consultant Giulio V. Blanc (1955-1995) specialized in Cuban and Latin American art history and in his lifetime collected a wealth of material on the subject. Through his numerous exhibitions and keen articles appearing in national and international art journals, Blanc became a leading authority on Latin American art and successfully established himself as a link between Cuban and Cuban-American artists and US galleries and museums. The Miami Generation (1983) and Amelia Peláez: A Retrospective (1988) are two significant exhibitions Blanc curated for Miami's Cuban Museum of Arts and Culture in addition to the celebrated Wifredo Lam and His Contemporaries, 1938-1952 (1992) for New York's Studio Museum in Harlem. Giulio V. Blanc was among the key figures that catapulted Latin American art onto the mainstream in the early 1980s.

Giulio V. Blanc was born in Havana in 1955 to Baron Lodovico Blanc and María V. Blanc. The Blanc name hails from Italy and the title of Baron was awarded to Alberto Blanc, Lodovico Blanc's grandfather, while he was Secretary of State in 1873 under Victor Emmanuel II of Italy. As young advocates of Cuban culture, the Blanc's collected a number of paintings by Cuban artists but were forced to leave behind the works of Cuban masters such as Carlos Enríquez, Victor Manuel, René Portocarrero, Fidelio Ponce and others to facilitate an uncomplicated exodus from the country during the revolution. Lodovico and María were in their thirties and Giulio was five years old when the family settled in Miami.

Giulio Blanc completed his undergraduate education at Harvard and proceeded to Brown University and the Institute of Fine Arts in New York for graduate work (1979-1980). During his career, he served as an independent curator and consultant to The Cuban Museum of Arts and Culture (Miami), The Metropolitan Museum (Miami), and The Museum of Contemporary Hispanic Art (New York) among others. He also lectured on Latin American art history at the Art Museum of the Americas, OAS (Organization of American States), Washington, DC, The University of Miami, and El Museo Nacional de Arte in La Paz, Bolivia. In addition, he worked as a consultant in the Latin American Paintings Department at Sotheby's auction house in New York and served on the editorial board of the magazine Art Nexus. Blanc was pursuing a doctoral degree in art history at the City University of New York before his premature death in 1995 at the age of thirty-nine.

Missing Title

1955 -- Born November 1 in Havana, Cuba to Baron Lodovico and Baroness María V. Blanc, young collectors of Cuban art. The title of Baron was awarded to Alberto Blanc, Lodovico Blanc's grandfather, in 1873 while Alberto was Secretary of State under Victor Emmanuel II of Italy.

1960 -- The Blanc family migrates to the United States because of the escalating revolution. Lodovico and Maria V. Blanc are in their thirties when they flee the island. The works of Cuban painters such as Carlos Enríquez, Victor Manuel, René Portocarrero, Fidelio Ponce and others were left behind to facilitate an uncomplicated exodus.

1976 -- Giulio V. Blanc serves as research assistant for one year at the Tozzer Library, Peabody Museum, Harvard University.

1977 -- Graduates cum laude from Harvard College with a B.A. in Archeology.

1979 -- Graduates from Brown University with a M.A. in Archeology. Was a research assistant until 1980 at the Gallery of the Center for Inter-American Relations, New York city.

1980 -- Receives a certificate in Museum Studies from the Graduate School of Arts and Science, New York University. Curates Emilio Sánchez: Lithographs which opens at the Pagoda, Ransom-Everglades School, Coconut Grove, Florida. Co-curates Cuba in the Nineteenth Century for Miami's Miami-Dade Public Library.

1981 -- Joins the Latin American Paintings Department, Sotheby's Auction House, New York and serves for two years.

1982 -- Co-curates Young Hispanics, USA which opens at the Lehigh University Museum, Bethlehem, Pennsylvania and curates Ten Out of Cuba for INTAR Latin American Gallery in New York.

1983 -- Curates Cuban Fantasies at the Kouros Gallery in New York and Pablo Cano en Paris for the 4 Place de Saussaies in Paris, France. Also curates The Miami Generation: Nine Cuban-American Artists for the Cuban Museum of Arts and Culture in Miami and the Meridian House in Washington, DC.

1984 -- Serves as independent curator and consultant to Miami's Metropolitan Museum and Art Center and The Cuban Museum of Arts and Culture; The Museum of Contemporary Hispanic Art in New York and other institutions. Lectures at the Art Museum of the Americas (Organization of American States) in Washington, DC; The University of Miami; The Cuban Museum of Arts and Culture (Miami); The Center for the Fine Arts (Miami); Rockland Center for the Arts (West Nyack, NY); and the National Museum of Art, La Paz, Bolivia. Curates Young Collector's of Latin American Art which opened at Miami's Metropolitan Museum and Art Center.

1985 -- Curates Dancing Faces: An Exhibition of Mexican Masks for the Metropolitan Museum and Art Center in Miami and Nuevas Vistas: Latin American Paintings which opens at the Wistariahurst, Holyoke, Massachusetts. Curates Architecture in Cuban Painting, for the Miami Dade Public Library.

1986 -- Receives and M.A. in Art History at New York University's Institute of Fine Arts. Curates Carlos Enríquez for the Cuban Museum of Arts and Culture, Miami, Florida and Into the Mainstream: Ten Latin American Artists Working in New York for the Jersey City Museum in Jersey City, New Jersey.

1987 -- The exhibition Aurelia Muñoz: Selections, curated by Blanc, opens at the Metropolitan Museum of Art in Miami, Florida. Serves as juror for Expresiones Hispanas: Coors National Hispanic Art Exhibition, Denver, Colorado. Curates Visions of Self: The American Latin Artist for the Miami-Dade Community College gallery.

1988 -- Receives a grant from the NY State Council on the Arts for research on Cuban artist Wifredo Lam for the exhibition at the Studio Museum in Harlem, New York. Enrolls in the art history Ph.D. program at the City University Graduate Center, New York city. First bombing of the Cuban Museum of Arts and Culture in Miami takes place. Blanc's Amelia Peláez: A Retrospective successfully opens at the Cuban Museum of Arts and Culture despite much controversy.

1989 -- Curates Urgent Dream: New Work by Mario Bencomo at the Museum of Contemporary Hispanic Art (MoCHA), New York. Second bombing of the Cuban Museum of Arts and Culture, Miami FL.

1990 -- New York correspondent for Arte en Colombia, Bogota. Serves as adjunct lecturer at Queens College (CUNY) for the Fall semester. Curates the exhibition, The Post-Miami Generation for the Inter-American Gallery in Miami, Florida. Co-curates Figurative Perspectives: Six Artists of Latin American Background for the Rockland Center for the Arts, West Nyack, NY.

1991 -- Visiting scholar at University of Massachusetts at Amherst. Writes a small play, Tía Carmela: A Cuban Tragicomedy, illustrated by Cuban artist and friend Pablo Cano.

1995 -- Dies at the age of forty of AIDS related complications.

Related Materials:

Papers of Giulio V. Blanc, 1930-1982, are also located at the University of Miami Archival Collections.

Provenance:

Margherite Blanc, sister of Giulio V. Blanc, donated her brother's papers in 1998 to the Archives of American Art, Smithsonian Institution. This collection, along with numerous other Latino collections, was acquired through the 1996 Latino Art Documentation Project in South Florida. Initiated to chronicle the thriving art scene so apparent in the city's galleries, museums, and private collections, the project resulted in numerous acquisitions described in the revised edition of the Papers of Latino and Latin American Artists. Both the project and the publication were made possible, in part, with funding provided by the Smithsonian Institution's Center for Latino Initiatives.

Restrictions:

The collection is open for research. Use requires an appointment and is limited to the Washington, D.C. research facility.

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 -- Florida -- Miami  Search this

Topic:

Cuban American art  Search this

Art, Latin American  Search this

Artists -- Cuba  Search this

Cuban American artists  Search this

Latino and Latin American artists  Search this

Genre/Form:

Sound recordings

Citation:

Giulio V. Blanc papers, 1920-1995. Smithsonian Institution. Archives of American Art.

Identifier:

AAA.blangiul

See more items in:

Giulio V. Blanc papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9d3c414b1-dc78-4f66-889d-963690fe0282

EDAN-URL:

ead_collection:sova-aaa-blangiul

Photographer:

Photographie N. C. a Paris  Search this

Extent:

1 Stereograph (black and white)

Container:

Box 3

Type:

Archival materials

Stereographs

Place:

France -- Ile-de-France -- Paris

Date:

circa 1870-1900

General:

Historic Series title : Paris Nouveau

Handwritten on back: Fontaine Louvois.

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:

Fountains  Search this

Buildings  Search this

Trees  Search this

Lawns  Search this

Water gardens  Search this

Monuments  Search this

Genre/Form:

Stereographs

Collection Citation:

Smithsonian Institution, Archives of American Gardens, Historic Gardens Stereograph Collection.

Identifier:

AAG.STR, Item STR032009

See more items in:

Historic gardens Stereograph collection

Historic gardens Stereograph collection / Gardens and Landscapes / Foreign Countries / France / Paris

Archival Repository:

Archives of American Gardens

GUID:

https://n2t.net/ark:/65665/kb66be9f455-5de4-44dd-b46c-4651ec1142ff

EDAN-URL:

ead_component:sova-aag-str-ref4954

Photographer?:

Photographie N. C. a Paris  Search this

Extent:

1 Stereograph (black and white)

Container:

Box 3

Type:

Archival materials

Stereographs

Place:

France

Date:

circa 1880-1900

General:

Historic Series title : Paris Nouveau

on back: handwritten: Luscembourg

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:

Urban parks  Search this

Urns  Search this

Trees  Search this

Balustrades  Search this

Edging (inorganic)  Search this

Sculptures  Search this

Columns  Search this

Container gardening  Search this

Formal gardens  Search this

Gardens, French  Search this

Garden borders  Search this

Lawns  Search this

Flower beds  Search this

Garden ornaments and furniture  Search this

Flower gardening  Search this

Genre/Form:

Stereographs

Collection Citation:

Smithsonian Institution, Archives of American Gardens, Historic Gardens Stereograph Collection.

Identifier:

AAG.STR, Item STR032010

See more items in:

Historic gardens Stereograph collection

Historic gardens Stereograph collection / Gardens and Landscapes / Foreign Countries / France / FR004: Paris -- Luxembourg Gardens

Archival Repository:

Archives of American Gardens

GUID:

https://n2t.net/ark:/65665/kb6e0b8d9d3-b55e-4535-813f-c9824713e7ed

EDAN-URL:

ead_component:sova-aag-str-ref4962

Publisher:

Strohmeyer & Wyman  Search this

Photographer:

Underwood, Bert, 1862-1943  Search this

Distributor:

Underwood & Underwood  Search this

Extent:

1 Stereograph (black and white)

Container:

Box 3

Type:

Archival materials

Stereographs

Place:

France

France -- Ile-de-France -- Paris

Champs Elysees (Paris, France)

Date:

1894

General:

on back: caption in six languages

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:

Cities and towns  Search this

Streets  Search this

Trees  Search this

Buildings  Search this

Trees in cities  Search this

Avenues  Search this

Carriages and carts  Search this

Sidewalks  Search this

Street lighting  Search this

Aerial views  Search this

Genre/Form:

Stereographs

Collection Citation:

Smithsonian Institution, Archives of American Gardens, Historic Gardens Stereograph Collection.

Identifier:

AAG.STR, Item STR032007

See more items in:

Historic gardens Stereograph collection

Historic gardens Stereograph collection / Gardens and Landscapes / Foreign Countries / France / Paris

Archival Repository:

Archives of American Gardens

GUID:

https://n2t.net/ark:/65665/kb6e4498865-33e1-4cc8-a250-c33df54a1631

EDAN-URL:

ead_component:sova-aag-str-ref4952

Artist:

Alfred-Léon Lemercier  Search this

Copy after:

Minnis & Cowell, active c. 1860 - 1865 (Photographer)  Search this

Sitter:

Robert Edward Lee, 19 Jan 1807 - 12 Oct 1870  Search this

Medium:

Lithograph on paper

Dimensions:

Image: 21.2cm x 17.3cm (8 3/8" x 6 13/16")

Imprint: 29.2cm x 19cm (11 1/2" x 7 1/2")

Sheet: 57cm x 39.9cm (22 7/16" x 15 11/16")

Type:

Print

Place:

France\Île-de-France\Ville de Paris, Départment de\Paris

Date:

1863

Topic:

Personal Attribute\Facial Hair\Mustache  Search this

Personal Attribute\Facial Hair\Beard  Search this

Costume\Dress Accessory\Button\Brass  Search this

Robert Edward Lee: Male  Search this

Robert Edward Lee: Military and Intelligence\Army\Officer\Civil War\Confederate Army  Search this

Robert Edward Lee: Education and Scholarship\Administrator\College administrator\President  Search this

Portrait  Search this

Credit Line:

National Portrait Gallery, Smithsonian Institution

Object number:

NPG.96.189

Restrictions & Rights:

CC0

See more items in:

National Portrait Gallery Collection

Location:

Currently not on view

Data Source:

National Portrait Gallery

GUID:

http://n2t.net/ark:/65665/sm4b5ec8472-5ef7-4c66-b196-ef0f6e216dfc

EDAN-URL:

edanmdm:npg_NPG.96.189

Creator:

Sanford, Marion  Search this

Names:

Chapin, Cornelia, 1893-1972  Search this

Hernández, Mateo, 1884-1949  Search this

Extent:

2.5 Linear feet

Type:

Collection descriptions

Archival materials

Sound recordings

Photographs

Motion pictures (visual works)

Scrapbooks

Video recordings

Interviews

Drawings

Date:

1929-1988

Summary:

The papers of sculptors and close companions Marion Sanford and Cornelia Chapin measure 2.5 linear feet and date from 1929-1988. The papers include scattered materials created by and about both women, including biographical materials, one folder of correspondence for each woman, a few writings and essays, newsclippings, exhibition catalogs, other printed materials, and four scrapbooks (three about Chapin and one about Sanford). Photographs are of Chapin only and of artwork of both women. There is also one phonograph album transferred onto cassette of a radio interview with Chapin and several motion picture films of Chapin's home movies shot in upstate New York and Paris.

Scope and Content Note:

The papers of sculptors Marion Sanford and Cornelia Chapin measure 2.5 linear feet and date from 1929-1988. Sanford and Chapin were close companions and shared a studio in New York City. The papers include scattered materials created by and about both women, including biographical materials, one folder of correspondence for each woman, a few writings and essays, newsclippings, exhibition catalogs, other printed materials, and four scrapbooks (three about Chapin and one about Sanford). Photographs are of Chapin only and of artwork of both women. There is also one sound recording of a radio interview with Chapin and several motion picture films of Chapin's home movies shot in upstate New York and Paris.

Biographical material consists of scattered items documenting the careers of Marion Sanford and Cornelia Chapin. Included are a small amount of correspondence of both women, membership certificates, an index card file of Sanford's artwork, Chapin's written description of her sculpting process, and writings by others about Chapin. The sound recording is a radio interview of Chapin after she sculpted a bear for the National Zoo. Films include several home movies of Chapin from 1932-1936, showing Chapin at a summer home in Harpursville, NY, working in her studio, and working in Paris with teacher Mateo Hernandez.

Printed material includes exhibition announcements and catalogs for many group and solo shows of both women, news clippings about Chapin and Sanford, and a few reproductions of their artwork. Source files consist of postcards and clippings of various images that were most probably used as references or inspiration for their artwork.

The collection includes four scrapbooks compiled by Sanford and Chapin documenting their careers through news clippings, a few exhibition materials, and photographs of their artwork. There are three scrapbooks about Chapin, and one about Sanford. Also found are two additional scrapbooks on the subject of bas-relief and sculpture. Photographs include several of Cornelia Chapin in her studio and with her teacher Mateo Hernandez. There are numerous photographs of artwork by Chapin and Sanford. Artwork includes drawings of animals, architectural elements, coins, and people, by either Sanford or Chapin.

Arrangement:

The collection is arranged into 6 series:

Missing Title

Series 1: Biographical Material, 1930-1986 (Box 1, 6, 8; 0.8 linear feet)

Series 2: Printed Material, 1931-1972 (Box 1-2; 0.5 linear feet)

Series 3: Source Files, 1940s-1960s (Box 2-3; 0.4 linear feet)

Series 4: Scrapbooks, 1932-1949 (Box 3-7; 1.0 linear foot)

Series 5: Photographs, circa 1930-1962 (Box 4, 7; 0.2 linear feet)

Series 6: Artwork, 1929-circa 1960s (Box 4; 5 folders)

Biographical Note:

Marion Sanford was born in 1904 in Ontario, Canada and was raised in Warren, Pennsylvania. She studied painting at the Pratt Institute in New York, and worked for a period of time as a stage and costume designer. She developed an interest in sculpture, and studied the direct-carving method briefly at the Art Students League, but was largely self-taught. In 1937 she had her first exhibition of sculptures depicting women performing household chores and everyday tasks. She later created a series called "Women at Work" and her imagery of women would be the subject for which she would become best known, although she also completed bronze portraits and bas-reliefs. In 1941 and 1943 she worked as a Guggenheim Fellow, and became a member of the National Academy of Design, National Sculpture Society, and the National Association of Women Artists. Sanford won many awards and medals for her works and also created sculptures on commission, including a carved altar panel for the First Methodist Church in Warren, Pennsylvania. Marion Sanford died in 1987.

Cornelia Van Auken Chapin was born in 1893 in Waterford, Connecticut. After exploring other interests, including aeronautics, she decided to become a sculptor in the 1920s. She studied with Gail Corbett and in the early 1930s began exhibiting her sculptures of animals. In 1934 she moved to Paris, France and studied with Mateo Hernandez as his only student. Under Hernandez, she learned the technique of direct-carving from life in stone and wood and won the 2nd grand prize at the Paris Exposition in 1937. In 1936, Chapin was the only foreign and woman sculptor elected to the Societaire Salon d'Automne in Paris. The threat of World War II brought her back to the United States in 1939. Chapin won many awards for her sculptures and became a member of the National Academy of Design in 1945 and the National Sculpture Society. She was also one of the founding members of Artists' for Victory, Inc. and a participant in the women's artist group known as "The Philadelphia Ten," a unique and progressive group of women painters and sculptors who often exhibited together in the Philadelphia area.

In the late 1930s Chapin purchased a studio in New York City which had formally belonged to sculptor Gutzon Borglum. She shared the studio with her fellow sculptor Marion Sanford, and often modeled for Sanford's work. Sanford and Chapin remained close companions until Chapin's death in 1972.

Related Material:

Harvard University Library houses the the bulk of Cornelia Van Auken Chapin's papers, 1877-1959.

Provenance:

A portion of the Marion Sanford and Cornelia Chapin papers were donated by Marion Sanford in 1974. Additional materials were donated by Sanford's caretaker, Brenda Brenwell-Lejeune, in 1999.

Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.

Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Occupation:

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

Topic:

Sculpture, Modern -- 20th century  Search this

Sculpture -- Technique  Search this

Bas-relief  Search this

Sculpture, American -- 20th century  Search this

Artists' studios  Search this

Women artists  Search this

Women sculptors  Search this

Genre/Form:

Sound recordings

Photographs

Motion pictures (visual works)

Scrapbooks

Video recordings

Interviews

Drawings

Citation:

Marion Sanford and Cornelia Chapin papers, 1929-1988. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art. Funding for the preservation of the Cornelia Chapin Home Movies was provided by the National Film Preservation Foundation.

Identifier:

AAA.sanfmari

See more items in:

Marion Sanford and Cornelia Chapin papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw93be7e8e5-5614-4fa3-89a8-bc4648207c0c

EDAN-URL:

ead_collection:sova-aaa-sanfmari

Author:

Meyer, Franz 1919-2007  Search this

Translator:

Allen, Robert  Search this

Subject:

Chagall, Marc 1887-  Search this

Chagall, Marc 1887-1985 Criticism and interpretation  Search this

Physical description:

775 pages illustrations (part mounted color) 31 cm

Type:

Books

Biographies

collective biographies

Place:

France

Date:

1964

20th century

Topic:

Jewish painters  Search this

Painters  Search this

Data Source:

Smithsonian Libraries

EDAN-URL:

edanmdm:siris_sil_9094

Collector:

Warshaw, Isadore, 1900-1969  Search this

Creator:

Kilburn, B. W. (stereograph publisher)  Search this

Centennial Photographic Co.  Search this

Burr & Manley Dry Goods, Groceries and Clothing (stereograph publisher)  Search this

Names:

Centennial Exhibition (1876 : Philadelphia, Pa.)  Search this

Exposition universelle de 1867 à Paris  Search this

Exposition universelle internationale de 1900 (Paris, France)  Search this

Krupp (gun manufacturer)  Search this

Pan-American Exposition (1901: Buffalo, N.Y.)  Search this

Panama-California Exposition (1915 : San Diego, Calif.)  Search this

World's Columbian Exposition (1893 : Chicago, Ill.)  Search this

Series Creator:

Warshaw, Isadore, 1900-1969  Search this

Extent:

41 Items

Container:

Box 7 (Stereographs)

Type:

Archival materials

Photographs

Photographs

Stereographs

Place:

Paris (France) -- Exhibitions -- 1860-1900 -- Stereographs

Philadelphia (Pa.) -- Exhibitions -- 1870-1880 -- Stereographs

San Diego (Calif.) -- Exhibitions

Massachusetts -- Exhibitions -- 1870-1880 -- Stereographs

Buffalo (N.Y.) -- Exhibitions -- 1900-1910 -- Stereographs

Date:

ca. 1867-1915

Scope and Contents:

Includes the Centennial Exhibition (7, incl. 1 of Machinery Hall, pub. by Burr & Manley Dry Goods, Groceries and Clothing, Manchester Depot, Vermont; and 4 by Centennial Photographic Co.); Massachusetts Charitable Mechanic Association Thirteenth Exhibition, 1878 (1); World's Columbian Exposition, 1893 (25); Paris Exposition, 1867 (1); Exposition Universelle, 1900 (1); Pan-American Exposition (1); Panama-California Exposition, 1915 (1); A.Y.P. Exposition (2); 2 unidentified. Other photographers and publishers represented include B.W. Kilburn.

General:

Stereograph in World's Columbian Exposition group shows John Bull locomotive and train and "great Krupp Guns."

Related Materials:

Forms part of photographs division, Warshaw Collection; in stereographs sub-series, box 7.

Restrictions:

Unrestricted research use on site. Photographs must be handled with white cotton gloves, unless protected by plastic sleeves.

Series 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:

Exhibitions -- Stereographs  Search this

Centennial Celebrations -- Stereographs  Search this

World's fairs  Search this

Genre/Form:

Photographs -- Stereographs

Stereographs

Series Citation:

Warshaw Collection of Business Americana, Archives Center, National Museum of American History, Smithsonian Institution

Sponsor:

Funding for partial processing of the collection was supported by a grant from the Smithsonian Institution's Collections Care and Preservation Fund (CCPF).

Digitization of Series 2.2: Stereographs was made possible by Andrew and Anya Shiva.

See more items in:

Warshaw Collection of Business Americana, Series 2: Other Collection Divisions

Warshaw Collection of Business Americana, Series 2: Other Collection Divisions / 2.2: Stereographs / World Expositions

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8f2f4252a-5f0a-4749-a175-e16c74fa3a5d

EDAN-URL:

ead_component:sova-nmah-ac-0060-s02-ref2835

Series Creator:

Warshaw, Isadore, 1900-1969  Search this

Container:

Box 12 (Stereographs)

Type:

Archival materials

Photographs

Date:

undated

Series Restrictions:

Sears, Roebuck & Co. catalogs restricted due to fragile condition. Researchers should consult microfilm in NMAH library for 1880-1983 editions, drawer 692.

Series 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.

Series Citation:

Warshaw Collection of Business Americana, Archives Center, National Museum of American History, Smithsonian Institution

Sponsor:

Funding for partial processing of the collection was supported by a grant from the Smithsonian Institution's Collections Care and Preservation Fund (CCPF).

Digitization of Series 2.2: Stereographs was made possible by Andrew and Anya Shiva.

See more items in:

Warshaw Collection of Business Americana, Series 2: Other Collection Divisions

Warshaw Collection of Business Americana, Series 2: Other Collection Divisions / 2.2: Stereographs

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8e39f70d8-24cd-436c-8eca-ba0225c3c964

EDAN-URL:

ead_component:sova-nmah-ac-0060-s02-ref3156

Series Creator:

Warshaw, Isadore, 1900-1969  Search this

Container:

Box 12 (Stereographs)

Type:

Archival materials

Photographs

Date:

1901

Series Restrictions:

Sears, Roebuck & Co. catalogs restricted due to fragile condition. Researchers should consult microfilm in NMAH library for 1880-1983 editions, drawer 692.

Series 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.

Series Citation:

Warshaw Collection of Business Americana, Archives Center, National Museum of American History, Smithsonian Institution

Sponsor:

Funding for partial processing of the collection was supported by a grant from the Smithsonian Institution's Collections Care and Preservation Fund (CCPF).

Digitization of Series 2.2: Stereographs was made possible by Andrew and Anya Shiva.

See more items in:

Warshaw Collection of Business Americana, Series 2: Other Collection Divisions

Warshaw Collection of Business Americana, Series 2: Other Collection Divisions / 2.2: Stereographs

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8ab2aae84-28b1-476b-bde0-8d4a8e33eb08

EDAN-URL:

ead_component:sova-nmah-ac-0060-s02-ref3158

Creator:

Liebes, Dorothy, 1899-1972  Search this

Subject:

Morin, Relman  Search this

Wright, Frank Lloyd  Search this

Golden Gate International Exposition (1939-1940 : San Francisco, Calif.)  Search this

Bigelow-Sanford Carpet Company  Search this

E.I. du Pont de Nemours & Company. Textile Fibers Department  Search this

Type:

Sound recordings

Scrapbooks

Diaries

Drawings

Interviews

Citation:

Dorothy Liebes papers, circa 1850-1973, bulk 1922-1970. Archives of American Art, Smithsonian Institution.

Topic:

Women artists  Search this

Women textile designers  Search this

Theme:

Women  Search this

Craft  Search this

Lives of artists  Search this

Record number:

(DSI-AAA_CollID)9143

(DSI-AAA_SIRISBib)211337

AAA_collcode_liebdoro

Theme:

Women

Craft

Lives of artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_211337

Maker:

von Martens, Friedrich  Search this

Physical Description:

paper (overall material)

Object Name:

Friederich von Martens Collection

Place made:

France

Date made:

1844-1856

ID Number:

COLL.PHOTOS.000008

Accession number:

302033

Catalog number:

72.76.1 - 72.76.38

See more items in:

Work and Industry: Photographic History

Photography

Data Source:

National Museum of American History

GUID:

http://n2t.net/ark:/65665/ng49ca746ab-f3c3-704b-e053-15f76fa0b4fa

EDAN-URL:

edanmdm:nmah_1316617

Maker:

von Martens, Friedrich  Search this

Physical Description:

paper (overall material)

Measurements:

overall: 34 cm x 57 cm; 13 3/8 in x 22 7/16 in

Object Name:

photograph

Place made:

France: Île-de-France, Paris

Date made:

ca 1844-1856

ID Number:

PG.72.76.01

Accession number:

302033

Catalog number:

72.76.01

See more items in:

Work and Industry: Photographic History

Photo History Collection

Friedrich von Martens Collection

Photography

Data Source:

National Museum of American History

GUID:

http://n2t.net/ark:/65665/ng49ca746a8-d9e0-704b-e053-15f76fa0b4fa

EDAN-URL:

edanmdm:nmah_1029111

Maker:

von Martens, Friedrich  Search this

Physical Description:

paper (overall material)

Measurements:

overall: 36.5 cm x 58 cm; 14 3/8 in x 22 27/32 in

Object Name:

photograph

Place made:

France: Île-de-France, Paris

Date made:

ca 1844-1856

ID Number:

PG.72.76.02

Accession number:

302033

Catalog number:

72.76.02

See more items in:

Work and Industry: Photographic History

Photo History Collection

Friedrich von Martens Collection

Photography

Data Source:

National Museum of American History

GUID:

http://n2t.net/ark:/65665/ng49ca746a8-d9e1-704b-e053-15f76fa0b4fa

EDAN-URL:

edanmdm:nmah_1029114

Maker:

von Martens, Friedrich  Search this

Physical Description:

paper (overall material)

Measurements:

overall: 33.6 cm x 57 cm; 13 7/32 in x 22 7/16 in

Object Name:

photograph

Place made:

France: Île-de-France, Paris

Date made:

ca 1844-1856

ID Number:

PG.72.76.03

Accession number:

302033

Catalog number:

72.76.03

See more items in:

Work and Industry: Photographic History

Photo History Collection

Friedrich von Martens Collection

Photography

Data Source:

National Museum of American History

GUID:

http://n2t.net/ark:/65665/ng49ca746a8-d9e2-704b-e053-15f76fa0b4fa

EDAN-URL:

edanmdm:nmah_1029115