This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Millard Sheets papers, circa 1907-2000. Archives of American Art, Smithsonian Institution.
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Millard Sheets papers, circa 1907-2000. Archives of American Art, Smithsonian Institution.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Ankrum Gallery records, circa 1900-circa 1990s, bulk 1960-1990. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Smithsonian Institution Collections Care and Preservation Fund
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Sponsor:
Funding for the processing of this collection was provided by The Walton Family Foundation.
History of the Ultracentrifuge Videohistory Collection
Extent:
1 cu. ft. (1 record storage box)
Type:
Collection descriptions
Archival materials
Video recordings
Transcripts
Place:
Fullerton (Calif.)
Palo Alto (Calif.)
Date:
2007
Introduction:
The Smithsonian Videohistory Program, funded by the Alfred P. Sloan Foundation from 1986 until 1992, used video in historical research. Additional collections have
been added since the grant project ended. Videohistory uses the video camera as a historical research tool to record moving visual information. Video works best in historical
research when recording people at work in environments, explaining artifacts, demonstrating process, or in group discussion. The experimental program recorded projects that
reflected the Institution's concern with the conduct of contemporary science and technology.
Smithsonian historians participated in the program to document visual aspects of their on-going historical research. Projects covered topics in the physical and biological
sciences as well as in technological design and manufacture. To capture site, process, and interaction most effectively, projects were taped in offices, factories, quarries,
laboratories, observatories, and museums. Resulting footage was duplicated, transcribed, and deposited in the Smithsonian Institution Archives for scholarship, education,
and exhibition. The collection is open to qualified researchers.
Descriptive Entry:
Ramunas Kondratas, National Museum of American History, conducted videotaped interviews at Spinco to document the history of ultracentrifuge technology. Interviewees
included Phyllis, M. Browning, Michael Cahn, Robert Stanley Carey, Robert E. Cunningham, Noli L. de la Cruz, James D. Duty, Giancarlo Ernoli, Jack Finney, Robert C. Franklin,
Robert Frederito, Scott Gammon, Brian George, Dean Hanquist, Robert Indig, Kenneth C. Johnson, Eva T. Juhos, Benson Kwan, C. Richard McEwen, Frank Meze, Patrick O. Moore,
James C. Osborne, Mehmet Pamukco, Fred J. Pisturino, Frank Richards, Ron Ridgeway, Louis T. Rosso, Howard K. Schachman, Karen F. Shore, Robert Slocum, Carol Smith, Paul Voelker,
Eugene B. West, and James Woodall, at Beckman Coulter, Spinco Division, in Palo Alto and Fullerton, California. Participants discussed the history and development of ultracentrifuge
technology, research and development, the commercial manufacture of the equipment, drive and heat-sink assembly, optics assembly, business and marketing. Visual documentation
included tours of research and manufacturing facilities.
This collection is comprised of 24 interview sessions, totaling approximately 14 hours of recording and 247 pages of transcript.
Historical Note:
The Ultracentrifuge has played an important role in modern biotechnology. The ultracentrifuge is a centrifuge optimized for spinning a rotor at very high speeds, capable
of generating acceleration as high as 2,000,000 G (approx 19,600 km/s2). There are two kinds of ultracentrifuges, the preparative and the analytical ultracentrifuge. Both
classes of instruments find important uses in molecular biology, biochemistry, and polymer science. The analytical ultracentrifuge was invented in 1925 by Theodor Svedberg,
who was awarded the Nobel Prize in Chemistry for his research on colloids and proteins using the ultracentrifuge.
Edward Greydon Pickles developed the vacuum ultracentrifuge which allowed a reduction in friction generated at high speeds and enabled the maintenance of constant temperature.
In 1946, Pickles cofounded Spinco (Specialized Instruments Corporation) and marketed a vacuum ultracentrifuge. The original machine design was complicated to operate, so he
developed a more user-friendly version, but initial use of the technology remained low. Spinco almost went bankrupt, but Pickles persisted, and in 1947 Spinco was the first
to commercially manufacture ultracentrifuges. In 1949, Spinco introduced the Model L, the first preparative ultracentrifuge to reach a maximum speed of 40,000 rpm. In 1954,
Beckman Instruments (now Beckman Coulter) purchased the company, forming the basis of its Spinco centrifuge division, which has developed both preparative and analytical centrifuges.
Rights:
Restricted. Contact SIHistory@si.edu to request permission.
Material is subject to Smithsonian Terms of Use. Should you wish to use NASM material in any medium, please submit an Application for Permission to Reproduce NASM Material, available at Permissions Requests.
"Science Finds Silver Mines in Movie Studios" February 26, 1932
"Beware the Motor Oil GYPS" May 13, 1932
"The Switch Engine of the Air"
"Practical Exposure and Development"
Miscellaneous Notes
Collection Restrictions:
No restrictions on access
Collection Rights:
Material is subject to Smithsonian Terms of Use. Should you wish to use NASM material in any medium, please submit an Application for Permission to Reproduce NASM Material, available at http://airandspace.si.edu/permissions
Collection Citation:
Joseph D. Mountain Collection, Acc. 1991-0079, National Air and Space Museum, Smithsonian Institution.
Arnold, Florence M. (Florence Millner), 1900-1994 Search this
Extent:
3 Linear feet
Type:
Collection descriptions
Archival materials
Sketchbooks
Video recordings
Interviews
Date:
1900-1994
Scope and Contents:
Biographical documents, correspondence, notes, scattered business records, art work, photographs, video interviews, and printed material.
REELS 3979-3980: Four resumes; award certificates; correspondence; notes, 1954-1975; receipts and certificates of authenticity for Arnold's silkscreens; miscellaneous business records; 45 preliminary drawings for paintings and prints in ink, pencil, crayon & watercolor on paper, mostly signed (28 x 21.6 cm. or smaller), 1960-1970; two spiral sketchbooks (17.4 x 12.3 cm.), 1947-1950, with charcoal, ink & pencil sketches of landscapes and still lifes, signed; newsletters; clippings, 1923-1980; press releases; exhibition announcements and catalogs, 1954-1980; programs; miscellaneous printed material; photographs and slides, undated and 1948-1980, of Arnold, her works of art, an exhibition in Rome, 1962, and two photographs of awards. Also included are two transcripts, and one videotape of interviews of Arnold conducted by D. M. Hackbarth and Dona Berkhimer, 1970, and by Anne Riley, 1974, and a videotaped interview with Lyn Gamwell, gallery director, Fullerton College, California, 1975.
ADDITION: Correspondence, photographs, exhibition announcements and catalogs, and clippings.
Biographical / Historical:
Serigrapher, painter; Fullerton, Calif. Died 1994. Arnold turned to painting and printmaking after 3 decades of teaching music. Her work is in the Hard-Edge tradition, and has been exhibited in the U.S., and in Madrid, Copenhagen, Florence, Rome, Milan and Venice. She is a charter member of the Los Angeles Museum of Art, and was involved in the Orange County (Calif.) Art Association.
Provenance:
Videos and material on reels 3979-80 donated 1975-1980 by Florence Arnold. Unmicrofilmed material donated 1994 by Arnold's daughter, Adrienne Chakerian.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
Minutes of a communist cell on art : anonymous, but believed unquestionably authentic by competent authorities reveals the party's tactics re: "modern art"
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Contact Reference Services for more information.
The photographic, two points of view : February 4 through March 5, 1989, Main Art Gallery, Visual Arts Center, California State University, Fullerton / Eileen Cowin, Darryl Curran ; catalogue essay, Judi Freeman
