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Consumer's Rest Armchair

Designer:
Stiletto Studios  Search this
Frank Schreiner, German, founded 1959  Search this
Manufacturer:
Gebrüder Siegel  Search this
Medium:
zinc-plated steel wire, plastic
Dimensions:
H x W x D: 103.3 x 72 x 75 cm (40 11/16 x 28 3/8 x 29 1/2 in.)
Type:
furniture
Decorative Arts
chair
Object Name:
chair
Designed in:
Berlin, Germany
Manufactured in:
Leipheim, Germany
Date:
Designed 1983, this example produced 1991
Credit Line:
Museum purchase from Eleanor G. Hewitt Fund
Accession Number:
1992-112-1
Restrictions & Rights:
Usage conditions apply
See more items in:
Cooper Hewitt, Smithsonian Design Museum Collection
Product Design and Decorative Arts Department
Data Source:
Cooper Hewitt, Smithsonian Design Museum
GUID:
http://n2t.net/ark:/65665/kq4cb88dcf8-0a2b-460a-b609-e54d59521f28
EDAN-URL:
edanmdm:chndm_1992-112-1
Online Media:

Kodansu (small cabinet)

Medium:
Lacquer, gold, shell on wood with gilt metal fittings
Dimensions:
H x W x D: 28 x 21.3 x 33.4 cm (11 x 8 3/8 x 13 1/8 in)
Type:
Furniture and Furnishing
Origin:
Japan
Date:
early 17th century
Period:
Momoyama or Edo period
Topic:
Momoyama period (1573 - 1615)  Search this
Edo period (1615 - 1868)  Search this
Japan  Search this
Japanese Art  Search this
Credit Line:
Purchase — Charles Lang Freer Endowment
Accession Number:
F1944.20a-j
Restrictions & Rights:
Usage conditions apply
Related Online Resources:
Google Cultural Institute
See more items in:
Freer Gallery of Art and Arthur M. Sackler Gallery Collection
Data Source:
Freer Gallery of Art and Arthur M. Sackler Gallery
GUID:
http://n2t.net/ark:/65665/ye38f45e8e2-8fe8-4a79-8c09-6ff31189cf49
EDAN-URL:
edanmdm:fsg_F1944.20a-j
Online Media:

Cup with stand (youring)

Medium:
Silver with gilding
Dimensions:
H x Diam: 20.7 × 16.5 cm (8 1/8 × 6 1/2 in)
Type:
Vessel
Origin:
Lhasa, Central Tibet
Date:
19th century
Topic:
Buddhism  Search this
Tibet  Search this
South Asian and Himalayan Art  Search this
Alice S. Kandell Collection  Search this
Credit Line:
The Alice S. Kandell Collection
Accession Number:
S2013.27a-b
Restrictions & Rights:
Usage conditions apply
Related Online Resources:
Google Cultural Institute
See more items in:
Freer Gallery of Art and Arthur M. Sackler Gallery Collection
On View:
Sackler Gallery 26a: The Tibetan Buddhist Shrine Room
Data Source:
Freer Gallery of Art and Arthur M. Sackler Gallery
GUID:
http://n2t.net/ark:/65665/ye3ec9c317f-6f1e-469f-99a8-f61e312f9181
EDAN-URL:
edanmdm:fsg_S2013.27a-b

Untitled (boy next to stove)

Artist:
Sid Grossman, born New York City 1913-died New York City 1955  Search this
Medium:
gelatin silver print
Dimensions:
7 1/2 x 7 1/2 in.
Type:
Photography
Date:
1940s, printed ca. 1940s
Topic:
Occupation\farm  Search this
Figure male\child  Search this
Object\furniture\stove  Search this
Architecture Interior\domestic\house  Search this
Credit Line:
Smithsonian American Art Museum, Gift of Howard Greenberg
Object number:
2020.67.14
Restrictions & Rights:
Usage conditions apply
See more items in:
Smithsonian American Art Museum Collection
Department:
Graphic Arts
Data Source:
Smithsonian American Art Museum
GUID:
http://n2t.net/ark:/65665/vk734acd068-1c8c-4149-9d6b-3f089802e540
EDAN-URL:
edanmdm:saam_2020.67.14

Untitled scrapbook

Collection Creator:
Archives Center, National Museum of American History  Search this
Container:
Box 10
Type:
Archival materials
Date:
1881
Scope and Contents:
Colorful trade cards representing many businesses in Washington, DC. Merchants and manufacturers dealing in thread, patent medicines, tobacco, furniture, clothing, and various services including undertaking. The cards feature flowers and plants, animals, people, and cartoons.
Collection Restrictions:
Collection is open for research.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Archives Center Scrapbook Collection, Archives Center, National Museum of American History.
See more items in:
Archives Center Scrapbook Collection
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep85817da03-9c20-4e17-95a2-77e797b52739
EDAN-URL:
ead_component:sova-nmah-ac-0468-ref530

Philip G. Freelon Architectural Archive

Creator:
Freelon, Philip G., 1953-2019  Search this
Names:
American Institute of Architects  Search this
Freelon Adjaye Bond/SmithGroup  Search this
Freelon Bond Architects  Search this
Freelon Group  Search this
Hampton University (Va.)  Search this
Harvard University  Search this
Massachusetts Institute of Technology  Search this
Massachusetts Institute of Technology. School of Architecture  Search this
National Museum of African American History and Culture  Search this
National Organization of Minority Architects (U.S.)  Search this
North Carolina Board of Architecture  Search this
NorthStar Church of the Arts  Search this
PPG Industries, Inc.  Search this
Perkins & Will  Search this
Adjaye, David, 1966-  Search this
Bond, J. Max, Jr.  Search this
Freelon, Allan Randall, 1895-1960  Search this
Extent:
5.1 Cubic feet
Type:
Collection descriptions
Archival materials
Correspondence
Place:
North Carolina -- United States
United States of America -- North Carolina -- Durham County -- Durham
United States of America -- Massachusetts -- Suffolk County -- Boston
United States of America -- Pennsylvania -- Philadelphia County -- Philadelphia
United States of America -- New York -- New York
Date:
bulk 1939-2017
Scope and Contents:
The Philip G. Freelon Architectural Archival Collection documents the life and career of architect, educator, cultural heritage preservation advocate and artist Philip G. Freelon. The collection highlights his distinguished career from its inception to his role as the "architect of record" for the National Museum of African American History and Culture. Freelon was one of the leading African American architects of his generation and he created a focus designing and constructing buildings that paid reverence to African Americans and other underrepresented communities. This collection is comprised of business records, photographic materials, ephemera, correspondence, architectural drawings, and clippings.
Arrangement:
The materials in this collection have been separated into seven series. The materials have been ordered and organized based on the content and chronology. Within each series and sub-series, the folders are organized as close to the collection's original order as when it was acquired.
Biographical / Historical:
Philip Goodwin Freelon was born March 26, 1953, in Philadelphia, Pennsylvania to Allan Freelon, Jr. and Elizabeth Neal Freelon. Freelon was greatly influenced by his grandfather, Allan Freelon Sr., a notable Harlem Renaissance visual artist, educator, and civil rights activist. His grandfather's values and artistry inspired him to create a career that focused on creating historical and cultural spaces in African American communities. Freelon attended high school at the former predominantly white elite all-boys school, Central High School located in upper North Philadelphia from 1967 to 1971. His attendance at this school during of the Civil Rights Movement afforded him the unique experience that inspired him to attend a historically Black college (HBCU). Freelon selected Hampton Institute (Hampton University) to develop his veneration of the composition and design of the buildings that held cultural and artistic treasures. Located in the Tidewater area of Virginia, Hampton was renowned among HBCUs for its architecture program. His professor and mentor at Hampton, John Spencer, pushed Freelon academically as he moved easily through the school's curriculum. After two years at Hampton, Spencer helped Freelon transition to a more challenging program at North Carolina State University (NCSU) in Raleigh, North Carolina. Freelon graduated in 1975 with a bachelor's in environmental design in architecture.

Later in the fall of 1975, Freelon enrolled at Massachusetts Institute of Technology (MIT) to pursue a master's in architecture. During the summers, Freelon worked with one of former his NC State professors at the architectural firm of John D. Latimer and Associates. After graduating from MIT in 1977, Freelon returned to North Carolina to take his Architecture Registration Examination (ARE), becoming the firm's youngest person to receive licensure. He also began teaching classes at his alma mater, NC State. It was there that Freelon met his future wife, Nnenna Pierce. Pierce, a Massachusetts native was attending Simmons College in Boston at the time. The connection was immediate, and the pair was married in 1979 and welcomed their first son, Deen in 1980. After a brief employment for a large Texas firm 3/D International, Freelon returned to Durham to join O'Brien Atkins Associates. He was the firm's youngest partner, eventually serving as principal and vice president of architecture. Freelon worked on a wide variety of projects throughout the state including learning centers, university buildings, churches, and parking garages. Along with Freelon's budding career, his family was expanding as well. Phil and Nnenna welcomed their daughter Maya in 1982 and their son, Pierce in 1983. During this time, Freelon was being highly recognized for his work. The American of Institute of Architects (AIA) awarded him the Honor Award for his design of Terminal 2 of the Raleigh-Durham International Airport, which has since been rebuilt.

By the end of the decade, Freelon and his wife Nnenna needed a change of pace. Nnenna pursued a professional career in music while Phil took a break from his career to expand his skillset and reinforce his intellectual approach to design. In 1989, Freelon was granted the Loeb Fellowship for one year of independent study at the Harvard University Graduate School of Design. He also pursued a longtime hobby of furniture design, calling the practice "small architecture". He received industry awards like first prize in the PPG Industries, Inc. Furniture Design Competition as well as AIA Honor Award for conference table designs. With a year away from the field to clarify his vision, Freelon opened his own firm, simply titled, the Freelon Group in 1990. Beginning as a one-man operation, the Freelon Group grew to become one of the largest African American owned architectural firms in the country with over 50 employees, forty percent of which were women, and thirty percent were people of color. With freedom within his own firm, Freelon focused on designing learning centers, libraries and museums and vowed to never build anything that did not bring cultural and intellectual value to a community.

Over the next twenty years, Freelon would assert himself as a force in designing notable cultural institutions and community-driven projects in and around the country including the Sonja Haynes Stone Center at University of North Carolina Chapel Hill (Chapel Hill, NC), Reginald F. Lewis Museum of Maryland African American History & Culture (Baltimore, MD), Museum of African Diaspora (San Francisco, CA), Harvey B. Gantt for African American Arts and Culture (Charlotte, NC), the Anacostia and Tenley-Friendship branches of the District of Columbia Public Library , National Center for Civil Rights and Human Rights (Atlanta, GA), Mississippi Civil Rights Museum (Jackson, MS) and Emancipation Park (Houston, TX). Alongside his architectural career, Freelon served as a lecturer and adjunct professor at several colleges and universities including North Carolina State University, Harvard University, Massachusetts Institute of Technology (MIT), University of Maryland College Park, New Jersey Institute of Technology, Syracuse University, and the Florence, Italy program at Kent State University. Freelon was awarded a full-time appointment as professor of Professional Practice at MIT in 2008. The Professional Practice (4.222) course was a requirement for the master's in architecture and he used examples from his extensive career and personal experience to illustrate legal, ethical, and management concepts. Nnenna's music career was also thriving. She would go on to record twelve albums and be nominated for six Grammys. This fusion of education, the arts, and music inspired another generation of Freelons: their son, Pierce Freelon is a hip-hop artist, educator, and political activist; daughter Maya Freelon is a visual artist; and son Deen Freelon is a professor.

In 2001, George W. Bush established a commission to create a new museum on the National Mall. Freelon wanted to enter his firm to participate in the international design competition. Freelon would partner with famed African American New York City architect, J. Max Bond, Jr. and by 2006 the two officially formed the Freelon Bond Architects.The Freelon Bond group submitted their proposal and soon after were elected to create programming and pre-design work for the museum. When the official design competition for the museum was announced in 2008, UK-based architect David Adjaye joined the team as the lead designer, and along with the partnering firm SmithGroup, the new architectural team became Freelon Adjaye Bond/SmithGroup. The three black architects combined a variety of distinctive elements from Africa and the Americas to create the building's unique, historically significant design. The Freelon Group served as the "architect of record" and were responsible for ensuring that key design ideas were upheld. Freelon and key firm members such as Zena Howard were active as on-site project managers during the museum's construction process to certify that the building would be developed according to plan. Freelon, Adjaye, and Bond were tasked with taking the collective history of the African American experience-- generations of pain, triumph, and perseverance-- and forming it into a structure. The team looked to African sources, such as Yoruban architecture, for inspiration. They sought to connect the building's design to the geographic and cultural roots of African Americans. Their design choices also reference the contributions of enslaved and free black metalworkers made to the landscape of the American South. Their goal was to make the museum an extension of its contents, and an expression of the stories told inside. By the groundbreaking for NMAAHC in 2012, Freelon had been appointed to the U.S. Commission of the Fine Arts by President Barack Obama. In an effort to broaden his resources and expand his firm, The Freelon Group merged with Perkins & Will, a firm originating in Chicago that grew to have offices across the United States. Freelon was appointed the managing director and later lead design director at the firm's North Carolina offices in Charlotte and Durham in 2014. By the next year, Freelon understood that his work in architecture and education was a necessary voice to preserve, which he did through donation of the bulk of his personal papers to his alma mater, NC State University. The year 2016 proved to be a year of triumph for Freelon as NMAAHC opened its doors on September 24th to much jubilation and celebration. That same year, Freelon's legacy was further cemented as the Phil Freelon Fellowship Fund was established at Harvard University Graduate School of Design, a fellowship designed to broaden opportunities for African Americans and other underrepresented communities in architecture and design.

Unfortunately, this triumphant year was met with difficulty as Freelon was diagnosed with amyotrophic lateral sclerosis (ALS), a progressive disease that affects the nervous system. He would continue to work and lecture for the next two years until it became too challenging. One of those projects was the renovation and opening of The NorthStar Church of the Arts in early 2019. A passion project with his wife and son, Pierce, a former church was renovated and repurposed as an arts and cultural space for all. This space was created in an effort to support the Durham cultural community as it began to feel the effects of gentrification. When Freelon lost his battle with ALS on July 9, 2019, in his home in Durham, North Carolina, the family requested that in lieu of flowers that donations be sent to the NorthStar Church to continue the center's mission and Phil's dream to give back to the Durham community.

Historical Timeline

1953 -- Philip Goodwin Freelon was born in Philadelphia, Pennsylvania to Allan Freelon Jr. and Elizabeth Neal Freelon.

1971 -- Freelon graduated from Central High School in Philadelphia, Pennsylvania and entered School of Architecture, Hampton University in Hampton, Virginia as a design student.

1973 -- Freelon transferred to College of Design at the North Carolina State University in Raleigh.

1975 -- Graduated with a Bachelor's in Environmental Design in Architecture from NC State University. He received the American Institute of Architects (AIA) Book Award for Outstanding Work in Architectural Design. In the fall, he began his master's program in architecture at MIT.

1976 -- Began working as aide for architectural firm, John D. Latimer and Associates.

1977 -- Graduated with a Master's in Architecture and Design from Massachusetts Institute of Technology (MIT.)

1978 -- Freelon became youngest architect to pass the North Carolina Architecture Registration Exam. Freelon started teaching at North Carolina State University.

1979 -- Married Chinyere "Nnenna" Pierce. Freelon began working for, 3/D International in Houston, Texas.

1980 -- Son Deen Freelon was born.

1981 -- Freelon returned to Durham, NC to join O'Brien Atkins Associates as the firm's youngest partner.

1982 -- Daughter Maya Freelon was born.

1983 -- Son Pierce Freelon was born.

1989-1990 -- Received Loeb Fellowship for independent study at Harvard University. Freelon received AIA Honor Award for American Airlines Terminal 2 at Raleigh-Durham Airport, NC (RDU).

1990 -- Freelon left O'Brien Atkins Associates to open his own firm The Freelon Group.

1991 -- Won first prize in the PPG Furniture Design Competition.

1992 -- Won the AIA Honor Award for Conference Table Designs.

2001 -- Won the AIA Firm Award for The Freelon Group and the AIA Design Award for Parking Structure, RDU Airport. Began attending meetings of President George W. Bush's commission on new National Mall museum dedicated to African American history and culture.

2003 -- Freelon merged his firm with New York architect Max Bond to create Freelon Bond Architects.

2004 -- Sonja Haynes Stone Center at University of North Carolina Chapel Hill (Chapel Hill, NC) was completed.

2005 -- Reginald F. Lewis Museum of Maryland African American History & Culture (Baltimore, MD) and Museum of African Diaspora (San Francisco, CA) were both completed.

2008 -- UK-based architect David Adjaye and Washington, DC based architecture firm, Smithgroup joined the team, creating the Freelon Adjaye Bond Group/SmithGroup Freelon began teaching at MIT's school of Architecture and Design.

2009 -- Freelon Adjaye Bond/Smithgroup won the official design for the Smithsonian National Museum of African American History and Culture (NMAAHC). Harvey B. Gantt for African American Arts and Culture (Charlotte, NC) was completed.

2010 -- Anacostia branch of the District of Columbia Public Library (Washington, DC) was completed.

2011 -- Tenley-Friendship branch of the District of Columbia Public Library (Washington, DC) was completed.

2012 -- Construction began on NMAAHC.

2014 -- The Freelon Group merged with Perkins & Will, a much larger architectural firm. Freelon became managing director and lead design director of the North Carolina branches in Durham and Charlotte. National Center for Civil Rights and Human Rights (Atlanta, GA) was completed.

2016 -- Freelon was diagnosed with amyotrophic lateral sclerosis (ALS).

2017 -- Mississippi Civil Rights Museum (Jackson, MS) and Emancipation Park (Houston, TX) were completed.

2019 -- Freelon died in his home in Durham, North Carolina at age 66 on July 9.
Related Materials:
Phil Freelon Papers, 1975-2019 at North Carolina State University Libraries.
Provenance:
Collection of the Smithsonian National Museum of African American History and Culture, Gift of Philip G. Freelon.
Restrictions:
Collection is open for research. Access to collection materials requires an appointment.
Rights:
The NMAAHC Archives can provide reproductions of some materials for research and educational use. Copyright and right to publicity restrictions apply and limit reproduction for other purposes.
Topic:
Architecture  Search this
Business  Search this
Construction  Search this
Entrepreneurship  Search this
Local and Regional  Search this
Design  Search this
Education  Search this
Photographs  Search this
Museums  Search this
Genre/Form:
Correspondence
Citation:
Philip G. Freelon Archival Collection, 1939-2017. National Museum of African American History and Culture, Smithsonian Institution.
Identifier:
NMAAHC.A2017.51
See more items in:
Philip G. Freelon Architectural Archive
Archival Repository:
National Museum of African American History and Culture
GUID:
https://n2t.net/ark:/65665/io3ba3ca2a2-5495-45cf-801c-f3d66a7002fd
EDAN-URL:
ead_collection:sova-nmaahc-a2017-51

Crate and Barrel, modern furniture, housewares, and decor retailer

Collection Creator:
Archives Center, National Museum of American History  Search this
Container:
Box 7, Folder 4
Type:
Archival materials
Collection Restrictions:
Collection open for research.
Collection Rights:
Fees for commercial reproduction. However, there are copyright and trademark restrictions.
Collection Citation:
Archives Center Shopping Bag Collection, Archives Center, National Museum of American History.
See more items in:
Archives Center Shopping Bag Collection
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep85258c8f3-3297-4a09-b3be-8a28f0c65d4d
EDAN-URL:
ead_component:sova-nmah-ac-0570-ref814

IKEA, ready to assemble furniture and home furnishings retailer

Collection Creator:
Archives Center, National Museum of American History  Search this
Container:
Box 8, Folder 2
Type:
Archival materials
Collection Restrictions:
Collection open for research.
Collection Rights:
Fees for commercial reproduction. However, there are copyright and trademark restrictions.
Collection Citation:
Archives Center Shopping Bag Collection, Archives Center, National Museum of American History.
See more items in:
Archives Center Shopping Bag Collection
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep881548f07-a198-44a0-ae55-960db39aaf8d
EDAN-URL:
ead_component:sova-nmah-ac-0570-ref864

Wolff Office Furniture, office furniture retailer, New York, New York

Collection Creator:
Archives Center, National Museum of American History  Search this
Container:
Box 9, Folder 3
Type:
Archival materials
Collection Restrictions:
Collection open for research.
Collection Rights:
Fees for commercial reproduction. However, there are copyright and trademark restrictions.
Collection Citation:
Archives Center Shopping Bag Collection, Archives Center, National Museum of American History.
See more items in:
Archives Center Shopping Bag Collection
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep8c11218b6-40cb-49fc-8f2a-14ada3bb6b6c
EDAN-URL:
ead_component:sova-nmah-ac-0570-ref977

Charles Sheeler papers

Creator:
Sheeler, Charles, 1883-1965  Search this
Names:
Archives of American Art  Search this
Downtown Gallery (New York, N.Y.)  Search this
Adams, Ansel, 1902-1984  Search this
Arensberg, Louise S. (Louise Stevenson), 1879-1953  Search this
Arensberg, Walter, 1878-1954  Search this
Bacon, Peggy, 1895-1987  Search this
Eidlitz, Dorothy  Search this
Halpert, Edith Gregor, 1900-1970  Search this
Lane, William H.  Search this
Newhall, Beaumont, 1908-1993  Search this
Newhall, Nancy Wynne.  Search this
Rourke, Constance, 1885-1941  Search this
Sheeler, Musya, 1908-1981  Search this
Waters, George  Search this
Weston, Edward, 1886-1958  Search this
Williams, William Carlos, 1883-1963  Search this
Photographer:
Sheeler, Musya, 1908-1981  Search this
White, Minor  Search this
Extent:
4.9 Linear feet
Type:
Collection descriptions
Archival materials
Artifacts
Awards
Photographs
Journals (accounts)
Scrapbooks
Writings
Date:
circa 1840s-1966
bulk 1923-1965
Summary:
The papers of painter, photographer, lithographer and industrial designer Charles Sheeler measure 4.9 linear feet and date from circa 1840s to 1966, with the bulk of the material dating from 1923-1965. The collection documents Sheeler's family, personal life and career through financial and medical records, awards, correspondence, writings, an autobiography, journal and notebooks, scrapbooks, exhibition catalogs and announcements, printed materials, photographs, funeral records and artwork by Sheeler and others. The collection is particularly rich in Sheeler's writings, and also includes Sheeler's industrial designs and manufactured artwork. Notable photographs include Sheeler with Edward Weston, Edward Steichen, and John Marin.
Scope and Content Note:
The papers of painter, photographer, lithographer and industrial designer Charles Sheeler measure 4.9 linear feet and date from circa 1840s to 1966, with the bulk of the material dating from 1923-1965. The collection documents Sheeler's family, personal life and career through financial and medical records, awards, correspondence, writings, an autobiography, journal and notebooks, scrapbooks, exhibition catalogs and announcements, printed materials, photographs, funeral records and artwork by Sheeler and others. The collection is particularly rich in Sheeler's writings, and also includes Sheeler's industrial designs and manufactured artwork. There are photographs of Sheeler with Edward Weston, Edward Steichen, and John Marin.

Biographical materials date from 1875, and 1928-1965, and include funeral records, medical records, insurance, tax, and scattered financial records. There is one folder of records relating to artwork and exhibitions, as well as Sheeler's numerous certificates, prizes and awards, and the condolence book used at his funeral.

Correspondence consists of Sheeler's personal and professional correspondence dating from 1937-1966 with friends, artists, dealers, collectors, photographers, and curators. Notable correspondents include Ansel Adams, Walter and Louise Arensberg, William Lane, Beaumont and Nancy Newhall, George Waters, William Carlos Williams, and Edward Weston. The series also includes correspondence with the Archives of American Art, Sheeler's biographer Constance Rourke, and with publishers, editors, children, and the general public. Lastly, there are condolence letters written to Musya Sheeler following Sheeler's death in May 1965.

Writings include Sheeler's journal dating from the 1950s-1963 and two notebooks containing notes, addresses, recipes, etc. Also found are Sheeler's writings on artists, drafts for articles, and a manuscript and notes for an autobiography that Sheeler wrote for Harcourt Brace. The autobiography became the basis for Constance Rourke's biography Charles Sheeler: Artist in the American Tradition published in 1938. The writing series also includes a short story by Musya Sheeler, and an illustrated short story by friend Dorothy Eidlitz.

The scrapbook series contains two oversize scrapbooks dating from 1930s-1960s that include newspaper and magazine clippings about Sheeler and his artwork, exhibition announcements and brochures, a poem, and a thank you letter from Abby Aldrich Rockefeller.

Additional printed materials date from 1923-1966 and document Sheeler's numerous exhibitions, notably his partnership with Edith Halpert and the Downtown Gallery. Found here are clippings, copies of magazines, exhibition announcements and catalogs, museum bulletings, books, and miscellaneous items.

Photographs date from circa 1840s-1963 and include photographs of Sheeler's family, of Sheeler, and of Sheeler with friends and colleagues. There is one daguerreotype, two ambrotypes, and two tintypes of Sheeler's family and of Sheeler as a child. There are copyprints of these originals. Additional photographs are of Sheeler's mother and father (or possibly Sheeler's grandparent), of Sheeler, of Sheeler with his wife Musya, Sheeler with William Lane, Sheeler with Edward Weston, and Sheeler with Edward Steichen and John Marin. The series also includes photographs of Sheeler's collection of Shaker furniture, and photographs of exhibitions.

Artwork by Sheeler dates from circa 1930s-1960s and includes artifacts of manufactured pieces based on his industrial designs. Found are a glass tumbler, salt and pepper shakers, a tea spoon, fabrics designed by Sheeler, and sketches. The series also includes a drawing by Peggy Bacon and a photograph by Minor White.
Arrangement:
The collection is arranged into seven series. Materials are arranged by material type and chronologically or alphabetically thereafter:

Missing Title

Series 1: Biographical Materials, 1875, 1928-1965 (Boxes 1, 5, OV10; 0.6 linear feet)

Series 2: Correspondence, 1937-1966 (Box 1; 0.5 linear feet)

Series 3: Writings, circa 1930s-1965 (Boxes 1-2 ; 0.4 linear feet)

Series 4: Scrapbooks, 1930s-1960s (Boxes 2, 6; 0.4 linear feet)

Series 5: Printed Material, 1923-1966 (Boxes 2-4, 7; 1.5 linear feet)

Series 6: Photographs, circa 1840s-1963 (Box 4, OV11; 0.4 linear feet)

Series 7: Artwork, circa 1930s-1960s (Boxes 4-5, 8-9, OV12-OV14; 1.1 linear feet)
Biographical Note:
Painter, photographer, lithographer and designer, Charles Rettew Sheeler Jr. was born on July 16, 1883 to Mary Cunningham Sheeler and Charles Rettew Sheeler in Philadelphia. He attended the School of Industrial Art in Philadelphia from 1900-1903 and the Pennsylvania Academy of the Fine Arts, where he studied under William Merritt Chase. He found early success as a painter and exhibited at the Macbeth Gallery in 1908.

Around 1910 Sheeler took up photography, and by 1912 financially supported himself photographing buildings for local Philadelphia architects. The following year, Sheeler exhibited six paintings at the 1913 Armory Show in New York. In the mid 1910s, Sheeler began to collect American antiques, and by the 1920s was actively acquiring Shaker crafts and furniture.

In 1916, Sheeler was hired by Marius de Zayas of the Modern Gallery in New York to photograph objects and artwork. From 1917-1924, he worked as the staff photographer for the Modern Gallery and moved to New York in 1918. In 1920, Sheeler was hired as a still photographer for The Arts Magazine.

In 1926, Sheeler was hired by Edward Steichen to work as a fashion and celebrity photographer for Conde Nast Publications. His photographs were regularly featured in Vogue and Vanity Fair, but Sheeler also worked as a still life photographer for numerous advertising agencies. The following year, he was commissioned by the advertising firm N.W. Ayer and Son to photograph Ford Motor Company's new plant at River Rouge.

While working as a photographer, Sheeler continued to paint and used the subjects and composition of his photographs as a basis for his painting. His paintings Skyscrapers, 1922; Upper Deck, 1929; and American Landscape, 1930 are examples of Sheeler's technique of merging photographic imagery with painting and his overall precisionist style.

In 1931, upon the advice and guidance of Edith Halpert of the Downtown Gallery, Sheeler began to paint more often and to photograph less. Halpert became Sheeler's primarily dealer, and from 1931-1966 regularly exhibited his paintings and drawings. With Halpert's support, Sheeler produced Classic Landscape, 1931; American Interior, 1934; Silo, 1938; Amoskeag Canal, 1948; and Convolutions, 1952. In addition to Sheeler's partnership with Halpert, his work was exhibited by other galleries and museums throughout the United States and abroad.

In 1939, Sheeler married his second wife, Musya Metas Sokolova (1908-1981) and, in 1942, the couple moved to Irvington-on-Hudson, New York. Sheeler continued to paint and photograph until he suffered a debilitating stroke in 1959. After 1959, Sheeler remained active exhibiting his artwork until his death on May 7, 1965 in Dobbs Ferry, New York.
Related Material:
The Archives of American Art holds several collections that are related to Charles Sheeler.

There are two oral history interviews with Sheeler conducted by Mary Bartlett Cowdrey in December 1958, and by Martin Friedman in June 1959. The Archives also has the records of the Macbeth Gallery, which include a substantial amount of correspondence with Sheeler from 1907-1921, and the Downtown Gallery records, which also include correspondence with Sheeler, photographs of Sheeler and his artwork, exhibition publications, clippings, press releases, and audio visual materials dating from 1904-1972.

Also found in the the Archives is a loan of Charles Sheeler letters filmed on reel NY/59-5 containing letters written by Sheeler to his psychologist and art collector, Dr. Helen Boigon, art student George Craven, and friend William Carlos Williams, all dating from 1939-1958. There is a collection of six letters of Sheeler letters addressed to Doris Royce, possibly an art critic, dating from 1949-1957. Miscellaneous manuscript collections include one letter written by Sheeler to E.P. Richardson in 1958, and another letter written to Frank Crowninshield in September, 1939.
Separated Material:
Portions of Sheeler's papers that were originally loaned for microfilming were not included in the later gifts and are available only on microfilm reel NSH-1. A watercolor study microfilmed on reel 1811 was later transferred to the Smithsonian American Art Museum. These materials are not described in the container list of this finding aid.
Provenance:
Charles Sheeler's wife Musya initially loaned the papers to the Archives of American Art for microfilming in 1958, 1965, and 1966. In June, 1966, she donated most of the earlier loaned materials. In 1964, Sheeler's friend Howard Lipman donated three photographs of Sheeler with Edward Steichen and John Marin. The third accrual was transferred to the Archives by the Smithsonian American Art Museum and National Portrait Gallery Library in June 1979.
Restrictions:
The collection is open for research. Use requires an appointment.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Topic:
Works of art  Search this
Painters -- New York (State) -- New York  Search this
Lithographers -- New York (State) -- New York  Search this
Photographers -- New York (State) -- New York  Search this
Industrial designers -- New York (State) -- New York  Search this
Genre/Form:
Artifacts
Awards
Photographs
Journals (accounts)
Scrapbooks
Writings
Citation:
Charles Sheeler papers, circa 1840s-1966, bulk 1923-1965. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.sheechar
See more items in:
Charles Sheeler papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw97080c38f-51c0-443b-808a-a0c408c8352d
EDAN-URL:
ead_collection:sova-aaa-sheechar
Online Media:

Unidentified Garden: flower beds and stone path adjacent to house

Collection Donor:
Hiller, John  Search this
Extent:
1 Autochromes (photographs) (lantern slide.)
Container:
Box 2
Type:
Archival materials
Slides
Autochromes (photographs)
Lantern slides
Place:
Unidentified Garden (Unknown location).
Date:
circa 1910-1920
General:
This is definitely the same garden shown in HLR177 and probably that shown in HLR070 and HLR071.
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:
Houses  Search this
Paths  Search this
Steps  Search this
Shrubs  Search this
Benches, stone  Search this
Outdoor furniture  Search this
Hedges  Search this
Flower beds  Search this
Genre/Form:
Autochromes (photographs)
Lantern slides
Collection Citation:
Smithsonian Institution, Archives of American Gardens, John Hiller lantern slide collection.
Identifier:
AAG.HLR, Item HLR073
See more items in:
John Hiller lantern slide collection
John Hiller lantern slide collection / Series 1: Gardens and Sites / Unidentified Locations / Unidentified Gardens and Landscapes
Archival Repository:
Archives of American Gardens
GUID:
https://n2t.net/ark:/65665/kb61892e04e-55c7-44f0-8a92-bc66b1bf633b
EDAN-URL:
ead_component:sova-aag-hlr-ref1006

Unidentified Garden: lawn in shade by house with semicircular porch, columns, chairs, and irises

Collection Donor:
Hiller, John  Search this
Extent:
1 Autochromes (photographs) (lantern slide.)
Container:
Box 2
Type:
Archival materials
Slides
Autochromes (photographs)
Lantern slides
Place:
Unidentified Garden (Unknown location).
Date:
circa 1910-1920
General:
Historic image number: 33.
Historic caption: House & Garden.
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:
Flowers  Search this
Lawns  Search this
Irises (Plants)  Search this
Outdoor furniture  Search this
Trees  Search this
Houses  Search this
Porches  Search this
Columns  Search this
Genre/Form:
Autochromes (photographs)
Lantern slides
Collection Citation:
Smithsonian Institution, Archives of American Gardens, John Hiller lantern slide collection.
Identifier:
AAG.HLR, Item HLR085
See more items in:
John Hiller lantern slide collection
John Hiller lantern slide collection / Series 1: Gardens and Sites / Unidentified Locations / Unidentified Gardens and Landscapes
Archival Repository:
Archives of American Gardens
GUID:
https://n2t.net/ark:/65665/kb653b75299-fb2f-4fd8-9134-f292a37eb5e8
EDAN-URL:
ead_component:sova-aag-hlr-ref1010

Lucerne, Switzerland -- hotel garden

Collection Donor:
Hiller, John  Search this
Extent:
1 Autochromes (photographs)
Container:
Box 3
Type:
Archival materials
Slides
Autochromes (photographs)
Date:
circa 1910-1920
General:
The hotel has not been identified.
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:
Shade trees  Search this
Outdoor furniture  Search this
Umbrellas (garden)  Search this
Lawns  Search this
Chairs  Search this
Climbing plants  Search this
Palms  Search this
Collection Citation:
Smithsonian Institution, Archives of American Gardens, John Hiller lantern slide collection.
Identifier:
AAG.HLR, Item HLR156
See more items in:
John Hiller lantern slide collection
John Hiller lantern slide collection / Series 1: Gardens and Sites / Switzerland
Archival Repository:
Archives of American Gardens
GUID:
https://n2t.net/ark:/65665/kb6b57224ac-13be-438e-82eb-f603449267a2
EDAN-URL:
ead_component:sova-aag-hlr-ref604

Unidentified Interior View: interior with woman seated in chair

Collection Donor:
Hiller, John  Search this
Extent:
1 Autochromes (photographs)
Container:
Box 3
Type:
Archival materials
Slides
Autochromes (photographs)
Date:
circa 1910-1920
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:
Furniture  Search this
Electric lamps  Search this
Bookcases  Search this
curtains (window hangings)  Search this
draperies (curtains)  Search this
Portraits -- Women  Search this
Collection Citation:
Smithsonian Institution, Archives of American Gardens, John Hiller lantern slide collection.
Identifier:
AAG.HLR, Item HLR142
See more items in:
John Hiller lantern slide collection
John Hiller lantern slide collection / Series 1: Gardens and Sites / Unidentified Locations / Unidentified Interior Views
Archival Repository:
Archives of American Gardens
GUID:
https://n2t.net/ark:/65665/kb6762f718e-43f8-4efa-85d6-1624f29c3286
EDAN-URL:
ead_component:sova-aag-hlr-ref717

Unidentified Interior View: interior with man seated in chair

Collection Donor:
Hiller, John  Search this
Extent:
1 Autochromes (photographs)
Container:
Box 3
Type:
Archival materials
Slides
Autochromes (photographs)
Portraits
Date:
circa 1910-1920
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:
Electric lamps  Search this
draperies (curtains)  Search this
Clocks and watches  Search this
Storage  Search this
Furniture  Search this
Genre/Form:
Portraits -- Men
Collection Citation:
Smithsonian Institution, Archives of American Gardens, John Hiller lantern slide collection.
Identifier:
AAG.HLR, Item HLR143
See more items in:
John Hiller lantern slide collection
John Hiller lantern slide collection / Series 1: Gardens and Sites / Unidentified Locations / Unidentified Interior Views
Archival Repository:
Archives of American Gardens
GUID:
https://n2t.net/ark:/65665/kb6e31efc36-bc87-49f4-99ca-8b6d67d0ad32
EDAN-URL:
ead_component:sova-aag-hlr-ref718

The Tibetan Buddhist Shrine Room

Creator:
Freer Gallery of Art and Arthur M. Sackler Gallery  Search this
Type:
YouTube Videos
Uploaded:
2022-06-13T20:31:55.000Z
YouTube Category:
Education  Search this
Topic:
Art, Asian  Search this
See more by:
FreerSackler
Data Source:
Freer Gallery of Art and Arthur M. Sackler Gallery
YouTube Channel:
FreerSackler
EDAN-URL:
edanmdm:yt_cK0ArRyKhDk

Conversations with Smithsonian Craft Artists: Michael Puryear

Creator:
Smithsonian Institution  Search this
Type:
Conversations and talks
YouTube Videos
Uploaded:
2016-01-19T19:18:13.000Z
YouTube Category:
Education  Search this
See more by:
SmithsonianVideos
Data Source:
Smithsonian Institution
YouTube Channel:
SmithsonianVideos
EDAN-URL:
edanmdm:yt_EBFSIBnFN6A

Design Talks | Ymer&Malta: The New Savoir-Faire

Creator:
Cooper Hewitt, Smithsonian Design Museum  Search this
Type:
Conversations and talks
YouTube Videos
Uploaded:
2016-05-11T23:55:25.000Z
YouTube Category:
Education  Search this
Topic:
Design  Search this
See more by:
cooperhewitt
Data Source:
Cooper Hewitt, Smithsonian Design Museum
YouTube Channel:
cooperhewitt
EDAN-URL:
edanmdm:yt_3M5-d6nIbns

Cooper-Hewitt: Gilbert Rohde and Design Now - pt.1 of 3

Creator:
Cooper Hewitt, Smithsonian Design Museum  Search this
Type:
YouTube Videos
Uploaded:
2009-04-22T16:21:56.000Z
YouTube Category:
Nonprofits & Activism  Search this
Topic:
Design  Search this
See more by:
cooperhewitt
Data Source:
Cooper Hewitt, Smithsonian Design Museum
YouTube Channel:
cooperhewitt
EDAN-URL:
edanmdm:yt_5Hfp79keGGA

Gilbert Rohde and Design Now - pt.2 of 3

Creator:
Cooper Hewitt, Smithsonian Design Museum  Search this
Type:
YouTube Videos
Uploaded:
2009-04-22T17:15:28.000Z
YouTube Category:
Nonprofits & Activism  Search this
Topic:
Design  Search this
See more by:
cooperhewitt
Data Source:
Cooper Hewitt, Smithsonian Design Museum
YouTube Channel:
cooperhewitt
EDAN-URL:
edanmdm:yt_F72VCbMS74I

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