Search Results

Collection Creator:

Sanford, Marion  Search this

Container:

Box 2, Folder 3

Type:

Archival materials

Date:

1937-1965

Collection 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.

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:

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.

See more items in:

Marion Sanford and Cornelia Chapin papers

Marion Sanford and Cornelia Chapin papers / Series 2: Printed Material

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9fdb4d607-91b1-4699-b9d6-7170029e71ce

EDAN-URL:

ead_component:sova-aaa-sanfmari-ref27

Collection Creator:

Sanford, Marion  Search this

Container:

Box 3, Folder 8

Type:

Archival materials

Date:

1932-1939

Scope and Contents:

Oversized material housed in Box 5.

Collection 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.

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:

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.

See more items in:

Marion Sanford and Cornelia Chapin papers

Marion Sanford and Cornelia Chapin papers / Series 4: Scrapbooks

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9a9794a3d-db3e-4c9e-b70b-1816b29b3f0b

EDAN-URL:

ead_component:sova-aaa-sanfmari-ref46

Creator:

Poor, Henry Varnum, 1887-1970  Search this

Names:

Montross Gallery  Search this

Skowhegan School of Painting and Sculpture  Search this

Benton, William, 1900-1973  Search this

Biddle, George, 1885-1973  Search this

Billing, Jules  Search this

Burchfield, Charles Ephraim, 1893-1967  Search this

Caniff, Milton Arthur, 1907-1988  Search this

Ciardi, John, 1916-  Search this

Czebotar, Theodore  Search this

Deming, MacDonald  Search this

Dickson, Harold E., 1900-  Search this

Dorn, Marion, 1896-1964  Search this

Duchamp, Marcel, 1887-1968  Search this

Esherick, Wharton  Search this

Evergood, Philip, 1901-1973  Search this

Garrett, Alice Warder  Search this

Houseman, John, 1902-1988  Search this

Marston, Muktuk  Search this

Meredith, Burgess, 1907-1997  Search this

Mumford, Lewis, 1895-1990  Search this

Padro, Isabel  Search this

Poor, Anne, 1918-  Search this

Poor, Bessie Breuer  Search this

Poor, Eva  Search this

Poor, Josephine Graham  Search this

Poor, Josephine Lydia  Search this

Poor, Peter  Search this

Sargent, Elizabeth S.  Search this

Smith, David, 1906-1965  Search this

Steinbeck, John, 1902-1968  Search this

Watson, Ernest William, 1884-1969  Search this

Extent:

12.9 Linear feet

Type:

Collection descriptions

Archival materials

Motion pictures (visual works)

Diaries

Drawings

Sketchbooks

Date:

1873-2001

bulk 1904-1970

Summary:

The papers of Henry Varnum Poor measure 12.9 linear feet and date from 1873-2001, with the bulk from the period 1904-1970. Correspondence, writings, artwork, printed material and photographs document Poor's work as a painter, muralist, ceramic artist and potter, architect, designer, writer, war artist, educator and a co-founder of the Skowhegan School of Painting and Sculpture. Also found is extensive information about the design and construction of Crow House, his home in New City, New York, commissions for other architectural projects, and his personal life.

Scope and Content Note:

The papers of Henry Varnum Poor measure 12.9 linear feet and date from 1873-2001, with the bulk from the period 1904-1970. Correspondence, writings, artwork, printed material and photographs document Poor's work as a painter, muralist, ceramic artist and potter, architect, designer, writer, war artist, educator and a co-founder of the Skowhegan School of Painting and Sculpture. Also found is extensive information about the design and construction of Crow House, his home in New City, New York, commissions for other architectural projects, and his personal life.

Henry Varnum Poor's correspondence documents his personal, family, and professional life. Correspondents include family and friends, among them George Biddle, Charles Burchfield, John Ciardi, Marion V. Dorn (who became his second wife), Philip Evergood, Lewis Mumford, John Steinbeck, David Smith, and Mrs. John Work (Alice) Garrett. Among other correspondents are galleries, museums, schools, organizations, fans, former students, and acquaintances from his military service and travels. Family correspondence consists of Henry's letters to his parents, letters to his parents written by his wife, and letters among other family members.

Among the writings by Henry Varnum Poor are manuscripts of his two published books, An Artist Sees Alaska and A Book of Pottery: From Mud to Immortality. as well as the text of "Painting is Being Talked to Death," published in the first issue of Reality: A Journal of Artists' Opinions, April 1953, and manuscripts of other articles. There are also film scripts, two journals, notes and notebooks, lists, speeches, and writings by others, including M. R. ("Muktuk") Marston's account of Poor rescuing an Eskimo, and Bessie Breuer Poor's recollections of The Montross Gallery.

Subject files include those on the Advisory Committee on Art, American Designers' Gallery, Inc., William Benton, Harold Dickson, Reality: A Journal of Artists' Opinions Sales, and War Posters. There are numerous administrative files for the Skowhegan School of Painting and Sculpture.

Artwork by Henry Varnum Poor consists mainly of loose drawings and sketches and 45 sketchbooks of studies for paintings, murals, and pottery. There is work done in France, 1918-1919, and while working as a war correspondent in Alaska in 1943. There are commissioned illustrations and some intended for his monograph, A Book of Pottery: From Mud to Immortality. Also found are a small number of watercolors and prints. Work by other artists consist of Anne Poor's drawings of her father's hands used for the Lincoln figure in The Land Grant Frescoes and interior views of Crow House by Ernest Watson.

Documentation of Poor's architectural projects consists of drawings and prints relating to houses designed and built for Jules Billing, MacDonald Deming, John Houseman, Burgess Meredith, Isabel Padro, and Elizabeth S. Sargent. Also found is similar material for the new studio Poor built in 1957 on the grounds of Crow House.

Miscellaneous records include family memorabilia and two motion picture films, Painting a True Fresco, and The Land Grant Murals at Pennsylvania State College.

Printed material includes articles about or mentioning Poor, some of his pottery reference books, family history, a catalog of kilns, and the program of a 1949 Pennsylvania State College theater production titled Poor Mr. Varnum. Exhibition catalogs and announcements survive for some of Poor's shows; catalogs of other artists' shows include one for Theodore Czebotar containing an introductory statement by Henry Varnum Poor. Also found is a copy of The Army at War: A Graphic Record by American Artists, for which Poor served as an advisor. There are reproductions of illustrations for An Artist Sees Alaska and Ethan Frome, and two Associated American Artists greeting cards reproducing work by Poor.

Photographs are of Henry Varnum Poor's architectural work, artwork, people, places, and miscellaneous subjects. This series also contains negatives, slides, and transparencies. Images of architectural work include exterior and interior views of many projects; Poor's home, Crow House, predominates. Photographs of artwork by Poor are of drawings, fresco and ceramic tile murals, paintings, pottery and ceramic art. People appearing in photographs include Henry Varnum Poor, family members, friends, clients, juries, students, and various groups. Among the individuals portrayed are Milton Caniff, Marcel Duchamp, Wharton Esherick, M. R. ("Muktuk") Marston, and Burgess Meredith. Among the family members are Bessie Breuer Poor, Marion Dorn Poor, Anne Poor, Eva Poor, Josephine Graham Poor, Josephine Lydia Poor, Peter Poor, and unidentified relatives. Photographs of places include many illustrating village life in Alaska that were taken by Poor during World War II. Other places recorded are French and California landscapes, and family homes in Kansas. Miscellaneous subjects are exhibition installation views, scenes of Kentucky farms, and a photograph of Poor's notes on glazes.

Arrangement:

The collection is arranged as 9 series:

Missing Title

Series 1: Biographical Materials, 1919-1987 (0.2 linear feet; Box 1, OV 18)

Series 2: Correspondence, 1873-1985 (1.5 linear feet; Boxes 1-2)

Series 3: Writings and Notes, circa 1944-1974 (0.6 linear feet; Boxes 2-3)

Series 4: Subject Files, 1928-1975 (0.8 linear feet; Box 3, OV 23)

Series 5: Artwork, circa 1890s-circa 1961 (3.5 linear feet; Boxes 4-6, 9-10, OV 19-22)

Series 6: Architectural Projects, circa 1940-1966 (0.7 linear feet; Box 6, OV 24-26, RD 14-17)

Series 7: Miscellaneous Records, 1882-1967 (Boxes 6, 11, FC 30-31; 0.5 linear ft.)

Series 8: Printed Material, 1881-2001 (1.2 linear feet; Boxes 6-7, 11, OV 27-29)

Series 9: Photographs, 1893-1984 (2.3 linear feet; Boxes 7-8, 12-13)

Biographical Note:

Henry Varnum Poor (1888-1970), best known as a potter, ceramic artist, and a co-founder of the Skowhegan School of Painting and Sculpture, was also an architect, painter, muralist, designer, educator, and writer who lived and worked in New City, New York.

A native of Chapman, Kansas, Henry Varnum Poor moved with his family to Kansas City when his grain merchant father became a member of the Kansas Board of Trade. From a young age he showed artistic talent and spent as much time as possible - including school hours - drawing. When a school supervisor suggested that Henry leave school to study at the Art Institute of Chicago, the family disagreed. Instead, he enrolled in the Kansas City Manual Training High School where he delighted in learning skills such as carpentry, forge work, and mechanical drawing. In 1905, he moved with his older brother and sister to Palo Alto, California and completed high school there. Because Poor was expected to join the family business, he enrolled at Stanford University as an economics major, but much to his father's disappointment and displeasure, soon left the economics department and became an art major.

Immediately after graduation in 1910, Poor and his major professor at Stanford, Arthur B. Clark, took a summer bicycling tour to look at art in London, France, Italy, and Holland. As Poor had saved enough money to remain in London after the summer was over, he enrolled in the Slade School of Art and also studied under Walter Sickert at the London County Council Night School. After seeing an exhibition of Post-Impressionism at the Grafton Galleries in London, Poor was so impressed that he went to Paris and enrolled in the Académie Julian. While in Paris, Poor met Clifford Addams, a former apprentice of Whistler; soon he was working in Addams' studio learning Whistler's palette and techniques.

In the fall of 1911, Poor returned to Stanford University's art department on a one-year teaching assignment. During that academic year, his first one-man show was held at the university's Old Studio gallery. He married Lena Wiltz and moved back to Kansas to manage the family farm and prepare for another exhibition. Their daughter, Josephine Lydia Poor, was born the following year. Poor returned to Stanford in September 1913 as assistant professor of graphic arts, remaining until the department closed three years later. During this period, Poor began to exhibit more frequently in group shows in other areas of the country, and had his first solo exhibition at a commercial gallery (Helgesen Gallery, San Francisco). In 1916, Poor joined the faculty of the San Francisco Art Association. He and his wife separated in 1917 and were divorced the following year. Poor began sharing his San Francisco studio with Marion Dorn.

During World War I, Poor was drafted into the U. S. Army, and in 1918 went to France with the 115th Regiment of Engineers. He spent his spare time drawing; soon officers were commissioning portraits, and Poor was appointed the regimental artist. He also served as an interpreter for his company. Discharged from the Army in early 1919, Poor spent the spring painting in Paris. He then returned to San Francisco and married Marion Dorn.

Once Poor realized that earning a living as a painter would be extremely difficult in California, he and his new wife moved to New York in the autumn of 1919. They were looking for a place to live when influential book and art dealer Mary Mowbray-Clarke of the Sunwise Turn Bookshop in Manhattan suggested New City in Rockland County, New York as good place for artists. In January of 1920, the Poors purchased property on South Mountain Road in New City. The skills he acquired at the Kansas City Manual Training High School were of immediate use as Poor designed and constructed "Crow House" with the assistance of a local teenager. Influenced by the farmhouses he had seen in France, it was made of local sandstone and featured steep gables, rough plaster, chestnut beams and floors, and incorporated many hand-crafted details. Poor designed and built most of their furniture, too. Before the end of the year, he and Marion were able to move into the house, though it remained a work in progress for many years. Additions were constructed. Over time, gardens were designed and planted, and outbuildings - a kiln and pottery, work room, garage, and new studio - appeared on the property.

In 1925, two years after his divorce from Marion Dorn, Poor married Bessie Freedman Breuer (1893-1975), an editor, short story writer, and novelist. Soon after, he adopted her young daughter, Anne (1918-2002), an artist who served as his assistant on many important mural commissions. Their son, Peter (b. 1926) became a television producer. Crow House remained in the family until its sale in 2006. In order to prevent its demolition, Crow House was then purchased by the neighboring town of Ramapo, New York in 2007.

Between 1935 and 1966 Poor designed and oversaw construction of a number of houses, several of them situated not far from Crow House on South Mountain Road. Poor's designs, noted for their simplicity, featured modern materials and incorporated his ceramic tiles. Among his important commissions were houses for Maxwell Anderson, Jules Billig, Milton Caniff, MacDonald Deming, and John Houseman.

Poor's first exhibition of paintings in New York City was at Kevorkian Galleries in 1920, and sales were so disappointing that he turned his attention to ceramics. His first pottery show, held at Bel Maison Gallery in Wanamaker's department store in 1921, was very successful. He quickly developed a wide reputation, participated in shows throughout the country, and won awards. He was a founder of the short-lived American Designers' Gallery, and the tile bathroom he showed at the group's first exposition was critically acclaimed. Poor was represented by Montross Gallery as both a painter and potter. When Montross Gallery closed upon its owner's death in 1932, Poor moved to the Frank K. M. Rehn Gallery.

Even though Poor's pottery and ceramic work was in the forefront, he continued to paint. His work was acquired by a number of museums, and the Limited Editions Club commissioned him to illustrate their republications of Ethan Frome, The Scarlet Letter, and The Call of the Wild.

Poor's first work in true fresco was shown in a 1932 mural exhibition at the Museum of Modern Art. Between 1935 and 1949 he was commissioned to produce several murals in fresco for Section of Fine Arts projects at the Department of Justice and the Department of the Interior, The Land Grant Frescoes at Pennsylvania State College, and a mural for the Louisville Courier-Journal. Ceramic tile mural commissions included: the Klingenstein Pavilion, Mt. Sinai Hospital, New York City; Travelers Insurance Co., Boston; the Fresno Post Office, California; and Hillson Memorial Gallery, Deerfield Academy, Deerfield, Mass.

As a member of the War Artists' Unit, Poor was a "war correspondent" with the rank of major in World War II, and for several months in 1943 was stationed in Alaska. An Artist Sees Alaska, drawing on Poor's observations and experiences, was published in 1945. A Book of Pottery: From Mud to Immortality, his second book, was published in 1958. It remains a standard text on the subject. While on the faculty of Columbia University in the 1950s, Poor and other artists opposed to the growing influence of Abstract Expressionism formed the Reality Group with Poor the head of its editorial committee. Their magazine, Reality: A Journal of Artists' Opinions, first appeared in 1953 featuring "Painting is Being Talked to Death" by Poor as its lead article. Two more issues were published in 1954 and 1955.

Along with Willard Cummings, Sidney Simon, and Charles Cuttler, in 1946 Henry Varnum Poor helped to establish the Skowhegan School of Painting and Sculpture in Skowhegan, Maine. He served as its first president. Poor and his daughter, Anne, were active members of the Board of Trustees and were instructors for many years. The summer of 1961 was Henry Varnum Poor's last as a full-time teacher, though he continued to spend summers at Skowhegan.

Henry Varnum Poor exhibited widely and received many awards, among them prizes at the Carnegie Institute, Syracuse Museum of Fine Arts, Virginia Museum of Fine Arts, Pennsylvania Academy of the Fine Arts, and the Architectural League of New York. Poor was appointed to the United States Commission of Fine Arts by President Roosevelt in 1941 and served a five year term. He was elected a member of the National Institute of Arts and Letters in 1943. The National Academy of Design named him an Associate Artist in 1954 and an Academician in 1963. He became a trustee of the American Craftsman's Council in 1956. The work of Henry Vernum Poor is represented in the permanent collections of many American museums including the Cleveland Museum of Art, Metropolitan Museum of Art, Brooklyn Museum, Addison Gallery of American Art, and Syracuse Museum of Fine Arts.

Henry Varnum Poor died at home in New City, New York, December 8, 1970.

Related Material:

An oral history interview with Henry Varnum Poor was conducted by Harlan Phillips for the Archives of American Art in 1964.

Provenance:

Gift of Henry Varnum Poor's son, Peter V. Poor, in 2007. A smaller portion was loaned to the Archives in 1973 by Anne Poor for microfilming and returned to the lender; this material was included in the 2007 gift.

Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information. Use of audiovisual recordings with no duplicate access copy requires advance notice.

Rights:

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

Occupation:

War artists  Search this

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

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

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

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

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

Topic:

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

World War, 1914-1918  Search this

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

Genre/Form:

Motion pictures (visual works)

Diaries

Drawings

Sketchbooks

Citation:

Henry Varnum Poor papers, 1873-2001, bulk 1904-1970. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the digitization of this collection was provided by the Terra Foundation for American Art

Identifier:

AAA.poorhenr

See more items in:

Henry Varnum Poor papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw96265d653-098f-4ccc-abed-0bc649c50516

EDAN-URL:

ead_collection:sova-aaa-poorhenr

Creator:

Kasuba, Aleksandra, 1923-2019  Search this

Names:

Columbia University  Search this

Institute for Architecture and Urban Studies  Search this

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

Berlind, Jerilyn  Search this

Freudenheim, Nina  Search this

Whitridge, Thomas  Search this

Extent:

12.4 Linear feet

42.7 Gigabytes

Type:

Collection descriptions

Archival materials

Gigabytes

Drawings

Sound recordings

Scrapbooks

Interviews

Video recordings

Date:

circa 1900-2019

bulk 1960-2010

Summary:

The papers of sculptor and environmental artist Aleksandra Kasuba measure 12.4 linear feet and date from circa 1900-2019, with the bulk of the material from 1960-2010. The collection documents Kasuba's career through biographical material, correspondence, interviews, lectures and writings, extensive project files, printed material, a scrapbook, artwork, and photographs.

Scope and Contents:

The papers of sculptor and environmental artist Aleksandra Kasuba measure 12.4 linear feet and date from circa 1900-2019, with the bulk of the material from 1960-2010. The collection documents Kasuba's career through biographical material, correspondence, interviews, lectures and writings, extensive project files, printed material, a scrapbook, artwork, and photographs.

Biographical material includes artist's statements and letters of recommendation. Biographical data consists of curriculum vitae, bibliographies, checklists of commissioned work and biographical entries; also found are drafts of biographical accounts used for press releases. Included is a citation to Kasuba from the Women's Architectural Auxiliary, New York Chapter of the American Institute of Architects in honor of her participation in a West Side urban renewal project. Digital biographical materials include a CV and preserved copies of Kasuba's various websites.

General correspondence mostly consists of invitations to lecture at academic institutions and professional associations. There are letters between Kasuba and interior design firms, publishers, museums, and academic institutions. Included are letters from Columbia University, Museum of Modern Art, and the Institute for Architecture and Urban Studies. Correpondence relates to commissioned projects, proposed exhibitions, and the scheduling of workshops and speaking engagements. Also found is correspondence with Thomas Whitridge about the publication of a monograph by Kasuba, extenisve family correspondence in Lithuanian, and correspondence with Algirdas Julien Greimas later organized for a publication.

Writings include various manuscripts and complementary visual schematics that Kasuba worked on throughout her career. Also included are Aleksandra Kasuba's lectures on the effects of alternative living environments on human behavior presented at academic forums and corporations. Writings include an essay by Kasuba and a typescript of an article on Kasuba that was published in Woman's Art Journal (Fall 1988/Winter 1984). Also included is a subseries of journals kept by Kasuba since the 1940s, before her successful emigration to the United States. Many of the earlier journals throughout the 1960s are of mixed Language content, much of them being written in Lithuanian.

Project Files document Kasuba's installations, exhibitions, tensile-fabric dwellings, shell dwellings, and live-in environments. Included are correspondence, artist's statements, project notes, plans, sketches and diagrams, business-related materials including agreements and cost estimates, printed material, clippings, and exhibition installation photographs and slides of artwork. There are files on Aleksandra Kasuba's professional activities, including teaching positions, speaking engagements, and publishing projects. Digital Project Records related to many of Kasuba's projects including digital video recordings are found in this series, as well as one super 8 mm film reel and two 8 mm motion picture film reels.

Printed material includes exhibition catalogs, announcements, and brochures; news and magazine clippings document various projects, including Kasuba's wall mosaics, shell dwellings, and alternative living environments. Many of the later tiles in this series are self-published. A scrapbook consists mainly of news clippings and reviews on Kasuba's work.

Artwork consists of sketches and drawings used as preliminary designs for Kasuba's projects. Also included are prints and elements used in the creation of the Jetty print series. Photographs are of Kasuba's wall mosaics, reliefs, space shelters, and live-in environments. Also found are slides and three slide binders of wall installations, shell dwellings, and environments made of tensile fabrics; included are slides used for lectures. Also included are photographs of Kasuba's New York City and New Mexico homes and studios, many in digital format.

Arrangement:

The collection is arranged in 9 series.

Missing Title

Series 1: Biographical Material, circa 1900-2017 (Boxes 1, 11: 0.5 linear ft.; 0.037 Gigabytes: ER001-ER005)

Series 2: Correspondence, circa 1941-2015 (Boxes 1, 11: 0.5 linear ft.)

Series 3: Interviews, 1976-1983 (Box 1: 0.2 linear ft.)

Series 4: Lectures and Writings, circa 1938-2019 (Boxes 1, 11-14, 16 3.8 linear ft.; 5.81 Gigabytes: ER006-ER0024)

Series 5: Project Files, 1960-2018 (Boxes 1-4, 15, Film cans FC 8-10: 4.6 linear ft.; 33.44 Gigabytes: ER025-ER057)

Series 6: Printed Material, 1950-2016 (0.5 Linear feet: Boxes 5, 15)

Series 7: Scrapbook, 1971-2010 (Box 6; 1 folder)

Series 8: Artwork, circa 1938-2017 (0.8 Linear feet: Boxes 5-6, 15, 17)

Series 9: Photographs, circa 1920-2017 (0.9 Linear feet: Boxes 5,7, 16-17; 3.35 Gigabytes: ER058-ER072)

Biographical / Historical:

Aleksandra Kasuba (1923-2019) was a Lithuanian-born sculptor, best known for her innovative architectural environments, who lived in New York and New Mexico. She attended the Kaunas Art Institute and the Academy of Fine Arts in Vilnius, Lithuania from 1941-1943. She studied with the sculptor, Vytautus Kasuba, whom she married in 1944. In response to the Soviet Army's occupation of their country, Aleksandra Kasuba and her husband emigrated to the United States in 1947. By 1963, Aleksandra Kasuba, her husband, and two children had moved to the Upper West Side in New York City. At the start of her career, Kasuba received commissions to make ceramic tiles for use in furniture. About the same time, she was also collaborating with architects in designing mosaic wall installations for public works. Aleksandra Kasuba's commissioned projects have included a plaza on Pennsylvania Avenue, Washington, D.C., and wall mosaics for the Container Corporation in Chicago, and 560 Lexington Avenue in New York City. Some of Kasuba's mosaic compositions were made as individual pieces to be included in museum and gallery exhibitions.

Aleksandra Kasuba has also devoted her career to designing alternative living environments. In the late 1960s, Kasuba built dwellings that she referred to as Space Shelters, which were made from a fabric of her own design. In 1970, the American Craft Museum featured Kasuba's tensile-fabric structure in an exhibition "Contemplative Environments." She has also used nylon fabric to build her alternative or live-in environments. In addition, Kasuba has held several faculty positions. She taught at the School of Visual Arts in New York City from 1971-1972 and was an artist-in-residence at Cranbrook Academy of Art in 1976 and the Philadelphia College of Textiles & Science in 1977. Kasuba has received awards from the American Institute of Architects in 1971 and 1972; in 1983, she was granted a Fellowship from the National Endowment for the Arts. Aleksandra Kasuba has written several books, including a memoir published in 2001. Kasuba's husband, Vytautus died in 1997. From 2001 on, Aleksandra Kasuba had been living in Albuquerque, New Mexico, where she purchased a tract of land in the desert to continue her work on experimental housing. She died in 2019.

Provenance:

The collection was donated in 2013 by Aleksandra Kasuba. Additions were donated in 2018 by Aleksandra Kasuba and in 2019 by Guoda M. Burr, Kasuba's daughter.

Restrictions:

Subseries 4.2 (Journals) is access restricted; written permission is required.

This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies. Contact References Services for more information.

Rights:

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

Occupation:

Sculptors -- New Mexico  Search this

Environmental artists -- New Mexico  Search this

Environmental artists -- New York (State) -- New York  Search this

Sculptors -- New Mexico  Search this

Topic:

Women artists  Search this

Genre/Form:

Drawings

Sound recordings

Scrapbooks

Interviews

Video recordings

Citation:

Aleksandra Kasuba papers, circa 1900-2019. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.kasualek

See more items in:

Aleksandra Kasuba papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9378418f6-5e0a-4239-a5b4-cd8faffe3d0d

EDAN-URL:

ead_collection:sova-aaa-kasualek

Creator:

Frueh, Alfred Joseph, 1880-1968  Search this

Extent:

7.7 Linear feet

3.18 Gigabytes

Type:

Collection descriptions

Archival materials

Gigabytes

Drawings

Christmas cards

Sketches

Illustrated letters

Photographs

Date:

circa 1880-2010

Summary:

The papers of caricaturist and illustrator Alfred J. Frueh measure 7.7 linear feet and 3.18 GB and date from circa 1880-2010. These papers consist of biographical information, including a sound recording of reminiscences about Frueh by his children; correspondence that includes many illustrated letters and greeting cards; notes and writings; numerous caricature sketches, cartoons, and 25 sketchbooks by Frueh; printed and digital material; and photographs of Frueh and his artwork. There is a 2.3 linear foot unprocessed addition to this collection donated 2020 that includes bound and unbound scrapbooks and loose newspaper and magazine clippings of caricatures by Frueh from the New Yorker and other publications, circa 1920-1940.

Scope and Contents note:

The papers of caricaturist and illustrator Alfred J. Frueh measure 7.7 linear feet and 3.18 GB and date from circa 1880-2010. These papers consist of biographical information, including a sound recording of reminiscences about Frueh by his children; correspondence that includes many illustrated letters and greeting cards; notes and writings; numerous caricature sketches, cartoons, and 25 sketchbooks by Frueh; printed and digital material; and photographs of Frueh and his artwork.There is a 2.3 linear foot unprocessed addition to this collection donated 2020 that includes bound and unbound scrapbooks and loose newspaper and magazine clippings of caricatures by Frueh from the New Yorker and other publications, circa 1920-1940.

Biographical materials include birth, marriage, and death certificates, biographical notes, employment contracts, obituaries, and legal papers concerning patents and license agreements for toy animals and sheet material sculpture. Also included is a 1993 sound recording of Frueh's children reminiscing about their father.

Correspondence consists mainly of incoming letters with a small number of interfiled replies drafted by Frueh. Most of Frueh's surviving outgoing letters are addressed to Giuliette Fanciulli (whom he married in 1913), her parents, and his sister Minnie Frueh. Many of the letters to Giuliette and other family members are illustrated. Also included are a large number of greeting cards (mainly Christmas cards) containing original artwork, from friends, artists, writers, and colleagues. The correspondence concerns both personal and career matters. Notable correspondents are: George Gershwin, Robert Henri, Mr. and Mrs. Elie Nadelman, Eugene O'Neil, Walter and Magda Pach, New Yorker editor Harold Ross, and Alfred Stieglitz. Other letters document Frueh's interest in nut and fruit trees.

Among the notes and writings by Frueh are notes of ideas for art work, lists of caricature sketches, lists of plays and their casts, and 8 address books kept by Alfred and Giuliette Frueh and by Giuliette and her mother. Also included are 6 notebooks of miscellaneous jottings. Notes and writings by other authors consist of lists of caricature sketches, a poem by an unknown writer, and 13 short stories by "Joe" with 6 illustrations by Frueh.

Artwork by Frueh comprises the largest series. It consists mainly of caricature sketches, mostly theatrical, but some political, with a few of himself, his wife Giuliette, and their personal friends. In addition, there are various sketches, drawings, designs, prints, watercolors, cartoons, book covers, greeting cards, paper sculptures, pop-ups, and cut-outs. Also included are patterns for greeting cards, lamp bases and a shade, magic squares, paper sculptures, sheet material sculptures, toy animals, and wallpaper. There are also 25 sketchbooks, a digital slideshow presentation of 1600 images from the sketchbooks, and 3 caricatures of Frueh drawn by other artists.

Among the printed material are articles by and about Frueh; book covers and book jackets, magazine covers, invitations, announcements, and a program cover designed by Frueh; caricatures, cartoons, and illustrations by Frueh; exhibition catalogs and announcements of Frueh's solo and group shows; and miscellaneous printed material.

Photographs consist of a studio portrait and informal snapshots of Alfred Frueh and a photograph of his daughter Barbara as a young child. Photographs of art work by Frueh include images of his caricatures, lamp bases, paper sculptures, and toy animals.

Arrangement note:

The collection is arranged into seven series:

Missing Title

Series 1: Biographical Materials, 1909-1993 (Box 1; 8 folders)

Series 2: Correspondence, circa 1909-1968 (Boxes 1-2, 12, OV 7; 1.3 linear feet)

Series 3: Notes and Writings, circa 1912-1963 (Box 2; 10 folders)

Series 4: Artwork, circa 1906-2010 (Boxes 2-4, 6, 12, OV 8-9; 1.8 linear feet, ER01; 3.18 GB)

Series 5: Printed Material, 1904-1986 (Boxes 4-5, 6, OV 10-11; 0.8 linear feet)

Series 6: Photographs, circa 1880-1967 (Boxes 5, 12; 12 folders)

Series 7: Unprocessed Addition circa 1920-1940 (Boxes 13-17; 2.3 linear feet)

Biographical/Historical note:

Alfred J. Frueh (1880-1968) worked primarily in New York and was best known for his caricatures of theater personalities that appeared in The New Yorker from 1925 through 1962. In addition, he was a cartoonist, illustrator, painter, and designer of children's furniture, toys, pop-ups, and cut-outs.

Upon graduation from the Lima Business College in his native Lima, Ohio, Al Frueh (pronounced "free") began farming and working in his father's brewery. He moved to St. Louis to live with relatives, and from 1904-1908 worked in the art department of the St. Louis Post-Dispatch. Frueh's 1907 cartoon of Fritzi Scheff, published in the St. Louis Post Dispatch, so outraged the music-hall star that her St. Louis performance was cancelled and the attendant publicity made Frueh a celebrity.

Frueh traveled to Paris, London, Rome, Munich, Berlin, and Madrid in 1908 and 1909. During this period, he studied at various art schools in Paris, receiving instruction from Theophile Steinlen, Lucien Simon, Naudin, and Henri Matisse. Upon his return to the United States, Frueh settled in New York City. His tenure at The World was interrupted by a return trip to Europe lasting from late 1912 until late 1914. While abroad, he married Giuliette Fanciulli, whom he had met in New York. He remained with The World for another ten years, also producing other work for publication and exhibition. With a young family, Frueh wanted a less hectic life and decided to switch from a daily publication to a weekly one. Thus began his affiliation with a newly established periodical, The New Yorker. Frueh's work appeared in its 1925 debut issue until his retirement in 1962. Mostly he contributed caricatures for the theater section, but he also produced cover designs, illustrations, and on occasion wrote brief pieces for the "Talk of the Town" and "Notes and Comments" sections. In 1926, Frueh moved his family to a farm in Sharon, Connecticut, where he seriously pursued a longstanding hobby of growing fruit and nut trees.

Alfred J. Frueh died in Sharon, Connecticut, in 1968, after a long illness.

Provenance:

The Alfred J. Frueh papers were the gift of his children, Barbara Frueh Bornemann, Alfred J. Frueh, Jr., and Robert Frueh, in 1993 and 1997. An addition of 25 sketchbooks, scrapbooks, and other materials were given by his grandson Stephen Bornemann in 2011, 2018, and 2020.

Restrictions:

Use of original papers 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.

Occupation:

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

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

Topic:

Greeting cards  Search this

Caricatures and cartoons  Search this

Magazine illustration  Search this

Works of art  Search this

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

Genre/Form:

Drawings

Christmas cards

Sketches

Illustrated letters

Photographs

Citation:

Alfred J. Frueh papers, 1904-2010. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the digitization of this collection was provided by the Terra Foundation for American Art.

Identifier:

AAA.fruealfr

See more items in:

Alfred J. Frueh papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9741aade3-72be-43c4-ae9e-94e1d2a434fa

EDAN-URL:

ead_collection:sova-aaa-fruealfr

Artist:

Christopher, William R, 1924-1973  Search this

Names:

Selma to Montgomery Rights March (1965 : Selma, Ala.)  Search this

Archer, Osceola  Search this

Crapo, Henry H.  Search this

French, Margaret  Search this

Howard, Charles, 1899-1978  Search this

King, Martin Luther, Jr., 1929-1968  Search this

Perlin, Bernard, 1918-  Search this

Tooker, George, 1920-2011  Search this

Von Mohrenschildt, Dimitri Sergius, 1902-2002  Search this

Extent:

8.2 Linear feet

Type:

Collection descriptions

Archival materials

Drawings

Diaries

Motion pictures (visual works)

Sketches

Sketchbooks

Photographs

Date:

circa 1920s-circa 1973

Summary:

The William Christopher papers measure 8.2 linear feet and date from circa 1920s to circa 1973. Materials include biographical materials, correspondence, writings and notes, five diaries, subject/project files, printed materials, photographs, numerous sketches and eleven sketchbooks, and five short film reels containing amateur footage of New York City. The subject/project files include correspondence, printed materials, and two additional diaries about Dr. Martin Luther King, Jr. and the 1965 civil rights march from Selma to Montgomery, Alabama.

Scope and Contents:

The William Christopher papers measure 8.2 linear feet and date from circa 1920s to circa 1973. Materials include biographical materials, correspondence, writings and notes, five diaries, subject/project files, printed materials, photographs, numerous sketches and eleven sketchbooks, and five reels of motion picture films, consisting of amateur footage of New York City. The subject/project files include correspondence, printed materials, and two additional diaries about Dr. Martin Luther King, Jr. and the 1965 civil rights march from Selma to Montgomery, Alabama.

Biographical materials include address books, annotated memorabilia, awards and certificates, curriculum vitae and resume materials, and identification materials. Correspondence is with friends and fellow artists, including actress Osceola Archer and Henry Crapo, galleries, and others. Writings and notes include eleven notebooks, miscellaneous undated notes and papers, annotated drafts and writings by William Christopher, and writings by others. There are five diaries written by William Christopher from the 1940s to the 1960s.

Subject files document miscellaneous projects in which Christopher was involved and/or interested, and include several about Dr. Martin Luther King, Jr. containing correspondence, printed material, and two diaries written by Christopher during his attendance of the Civil Rights march from Selma to Montgomery.

Scattered personal business papers concern artwork sold and loaned and personal finances. Printed materials include clippings, exhibition catalogs and materials, magazines and programs, and posters. Photographs are of William Christopher, Henry Crapo, Margaret French, Charles Howard, Bernard Perlin, George Tooker, male models and figures, furniture, landscapes, buildings, and artwork.

Christopher's papers include over one hundred sketches and watercolors, eleven sketchbooks, an artwork by Dimitri Von Mohrenshildt, and one sketch by George Tooker. Also found among the papers are five film reels made by Christopher for an unfinished project, containing footage of New York City cityscapes and street scenes.

Arrangement:

This collection is arranged as 10 series:

Missing Title

Series 1: Biographical Material, circa 1940s-circa 1973 (0.5 linear feet; Box 1)

Series 2: Correspondence, 1947-circa 1973 (1.9 linear feet; Boxes 1-3)

Series 3: Writings and Notes, circa 1947-1970 (0.4 linear feet; Box 3)

Series 4: Diaries, circa 1940s-circa 1960s (0.2 linear feet; Boxes 3-4)

Series 5: Subject Files, 1943-1972 (0.7 linear feet; Boxes 4, 9)

Series 6: Personal Business Records, circa 1950-circa 1972 (0.3 linear feet; Box 4)

Series 7: Printed Material, circa 1950s-circa 1972 (1.4 linear feet; Boxes 4-5, 9, OV12)

Series 8: Photographs, circa 1920s-circa 1970s (0.7 linear feet; Boxes 6, 8, MGP 4)

Series 9: Artwork and Sketchbooks, circa 1940s-circa 1970s (1.6 linear feet; Boxes 6-8, OV10-11, 13-18)

Series 10: Unidentified Project, Motion Picture Films, 1961 (0.5 linear feet; FC 19-23)

Biographical / Historical:

William Christopher was a painter, art instructor, and Civil Rights activist living and working in New York, New Hampshire, and Vermont. He was born in Columbus, Georgia on March 4, 1924, and served in the U. S. Navy from 1941 to 1943.

Aided by grants and scholarships, Christopher studied in France at the Sorbonne, Academie Julian, and the Ecoles d'Art Americaines between 1946-1948. While there, he also studied with Ossip Zadkine. He returned to New York and studied with Amedee Ozenfant and Hans Hofmann between 1948 and 1950.

Christopher's painting was greatly influenced by his time spent in Paris and New York, and his later involvement with the Civil Rights movement, Dr. Martin Luther King, Jr., and the march in Selma in 1965. His first U. S. solo exhibition was in 1952 at the Roko Gallery in New York, and he exhibited widely in New York, Boston, Washington, D.C. at the Nexus Gallery, the Boston Arts Festival, the Corcoran Gallery of Art, Joan Peterson Gallery, Galeria Juana Mordo, and the Whitney Museum of American Art, among others. In 1964, Christopher was invited to present his paintings to Dr. Martin Luther King, Jr. during the presentation of Dr. King's papers to Boston University. This is where Christopher met King.

Christopher moved to Hartland, Vermont in 1960, with his partner painter George Tooker. He remained there for the rest of his life. Christopher died in 1973.

Provenance:

William Christopher donated his papers to the Archives of American Art in 1972.

Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information. Use of archival audiovisual recordings with no duplicate access copy requires advance notice. Glass plate negatives are housed separately and not served to researchers.

Rights:

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

Occupation:

Painters  Search this

Topic:

Civil rights demonstrations -- Alabama -- Selma  Search this

Civil rights -- United States  Search this

Genre/Form:

Drawings

Diaries

Motion pictures (visual works)

Sketches

Sketchbooks

Photographs

Citation:

William Christopher papers, circa 1920s-circa 1973. 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.

Identifier:

AAA.chriwill

See more items in:

William Christopher papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9c6db2fe7-e817-4205-9c2b-b8aee5f67755

EDAN-URL:

ead_collection:sova-aaa-chriwill

Photograph by:

The Blanch Randle Studio, American, active 1920s  Search this

Subject of:

Samuel M. Jackson Jr., American, 1925 - 1928  Search this

Medium:

photographic gelatin and silver on photographic paper, ink on cardboard

Dimensions:

H x W (photograph): 4 15/16 × 7 1/16 in. (12.5 × 18 cm)

H x W (photograph and mount): 7 7/8 × 10 1/16 in. (20 × 25.5 cm)

Type:

photographs

portraits

Place depicted:

Tulsa, Tulsa County, Oklahoma, United States, North and Central America

Date:

September 1928

Topic:

African American  Search this

American South  Search this

American West  Search this

Children  Search this

Communities  Search this

Families  Search this

Funeral customs and rites  Search this

Credit Line:

Collection of the Smithsonian National Museum of African American History and Culture, Gift of Princetta R. Newman

Object number:

2014.75.41

Restrictions & Rights:

Public domain

Proper usage is the responsibility of the user.

See more items in:

National Museum of African American History and Culture Collection

Collection title:

The Princetta R. Newman Collection of Family Photographs, Tulsa, Oklahoma

Classification:

Media Arts-Photography

Data Source:

National Museum of African American History and Culture

GUID:

http://n2t.net/ark:/65665/fd517155558-87d5-4415-bda3-a9fb14e1524d

EDAN-URL:

edanmdm:nmaahc_2014.75.41

Variant company name:

Est. 1840  Search this

Company Name:

Henry Disston & Sons, Inc.  Search this

Related companies:

Keystone Saw, Tool, Steel and File Works ; Disston Co. (Danville, VA)  Search this

Notes content:

Files and rifflers. Rasps ; saws ; tools ; knives ; steel and file works ; hand tools ; power tool accessories ; lawn and garden tools ; firewood and forestry tools ; chain saws ; tool boxes ; "The Saw in History" ; "The File in History" ; Disston Co. 150th Anniversary catalog...this comprises the uncataloged portion.

Includes:

Trade catalog, price lists, manual and histories

Black and white images

Color images

Physical description:

56 pieces; 5 boxes

Language:

English

Type of material:

Trade catalogs

Trade literature

Place:

Philadelphia, Pennsylvania, United States

Date:

1800s

Topic (Romaine term):

Garden and lawn equipment and supplies  Search this

Hardware and hand tools  Search this

Iron and steel products (castings; sheet steel; steel wire; wire rope; pig iron and structural steel products )  Search this

Lumber; logging; timber and forestry  Search this

Machine tools and metalworking equipment  Search this

Woodworking machinery and wood crafts  Search this

Topic:

Forests and forestry  Search this

Garden ornaments and furniture  Search this

Garden tools  Search this

Hardware  Search this

Iron industry and trade  Search this

Lumber  Search this

Machine-tools  Search this

Metal-working machinery  Search this

Steel industry and trade  Search this

Timber  Search this

Tools  Search this

Wood-carving  Search this

Woodworking industries  Search this

Woodworking machinery  Search this

Woodworking tools  Search this

Record ID:

SILNMAHTL_12835

Location:

Trade Literature at the American History Museum Library

Collection:

Smithsonian Libraries Trade Literature Collections

Data source:

Smithsonian Libraries

EDAN-URL:

edanmdm:SILNMAHTL_12835

Variant company name:

Est. 1826  Search this

Company Name:

C.S. Osborne & Co. Inc.  Search this

Notes content:

"Osborne" tools for leatherworkers, upholsterers, carpet layers, boat builders and canvas goods manufacturer ; tools for masons, plumbers and tinsmiths ; garden tools ; rawhide hammers ; punch and chisel sets ; drag hooks ; hog ring pliers ; hog rings ; grommets ; plain washers ; spur washers ; 150th Anniversary Catalog No. 76

Includes:

Trade catalog and price lists

Black and white images

Physical description:

20 pieces; 2 boxes

Language:

English

Type of material:

Trade catalogs

Trade literature

Place:

Harrison, New Jersey, United States

Date range:

1800s-1900s

Topic (Romaine term):

Boats and ships (including marine hardware and supplies)  Search this

Garden and lawn equipment and supplies  Search this

Hardware and hand tools  Search this

Leather products; tanning and equestrian supplies  Search this

Plumbing supplies and fixtures  Search this

Topic:

Boats and boating  Search this

Garden ornaments and furniture  Search this

Garden tools  Search this

Hardware  Search this

Leather industry and trade  Search this

Marine machinery  Search this

Plumbing equipment industry  Search this

Plumbing fixtures  Search this

Ships  Search this

Tanning  Search this

Tools  Search this

Record ID:

SILNMAHTL_30516

Location:

Trade Literature at the American History Museum Library

Collection:

Smithsonian Libraries Trade Literature Collections

Data source:

Smithsonian Libraries

EDAN-URL:

edanmdm:SILNMAHTL_30516

Company Name:

Franklin Metal & Rubber Co.  Search this

Notes content:

home plumbing aids ; kitchen, bathroom, and laundry accessories ; floor and protective hardware ; water and energy savers

Includes:

Trade catalog and price lists

Black and white images

Color images

Physical description:

1 piece; 1 box

Language:

English

Type of material:

Trade catalogs

Trade literature

Place:

Fort Washington, Pennsylvania, United States

Date:

1900s

Topic (Romaine term):

Furniture and furnishings  Search this

Hardware and hand tools  Search this

Plumbing supplies and fixtures  Search this

Topic:

Furniture industry and trade  Search this

Hardware  Search this

House furnishings  Search this

Interior decoration  Search this

Plumbing equipment industry  Search this

Plumbing fixtures  Search this

Tools  Search this

Record ID:

SILNMAHTL_45316

Collection:

Smithsonian Libraries Trade Literature Collections

Data source:

Smithsonian Libraries

EDAN-URL:

edanmdm:SILNMAHTL_45316

Company Name:

Atlas Power Equipment Co.  Search this

Notes content:

snow throwers

Includes:

Trade catalog

Color images

Physical description:

1 piece; 1 box

Language:

English

Type of material:

Trade catalogs

Trade literature

Place:

Harvard, Illinois, United States

Date:

1900s

Topic (Romaine term):

Garden and lawn equipment and supplies  Search this

Waste Management (including water treatment; recycling; refuse collection; industrial waste; etc.)  Search this

Topic:

"Recycling (Waste, etc.)"  Search this

Garden ornaments and furniture  Search this

Garden tools  Search this

Refuse and refuse disposal  Search this

Refuse disposal industry  Search this

Water -- Purification  Search this

Record ID:

SILNMAHTL_45330

Collection:

Smithsonian Libraries Trade Literature Collections

Data source:

Smithsonian Libraries

EDAN-URL:

edanmdm:SILNMAHTL_45330

Company Name:

Amerock Corp.  Search this

Related companies:

Anchor Hocking Co.  Search this

Notes content:

household security hardware ; locks ; latches ; door bolts ; window security hardware ; door security hardware ; padlocks and combination locks ; security hardware merchandisers ; household hardware ; gate latches ; window hardware ; entry door accessories ; house numbers ; furniture fittings ; nameplates and holders ; pulls ; knobs ; hinges ; catches ; drawer stops ; shelf supports ; garment hooks ; household hardware merchandisers ; self merchandisers

Includes:

Trade catalog and price lists

Black and white images

Color images

Physical description:

1 piece; 1 box

Language:

English

Type of material:

Trade catalogs

Trade literature

Place:

Rockford, Illinois, United States

Date:

1900s

Topic (Romaine term):

Hardware and hand tools  Search this

Locks and safes (including alarm and security systems)  Search this

Retailers equipment and supplies  Search this

Topic:

Hardware  Search this

Locks and keys  Search this

Retail trade equipment industry  Search this

Safes  Search this

Security systems  Search this

Tools  Search this

Record ID:

SILNMAHTL_45333

Collection:

Smithsonian Libraries Trade Literature Collections

Data source:

Smithsonian Libraries

EDAN-URL:

edanmdm:SILNMAHTL_45333

Company Name:

Allegheny International Hardware Group  Search this

Related companies:

True Temper ; Jackson ; Cyclone ; Wilkinson Sword  Search this

Notes content:

lawn and garden tools ; cultivators ; cutters ; edgers ; floral tools ; forks ; fruit pickers ; hand tools ; hoes ; hooks ; hose hangers ; mattocks ; post hole diggers ; rakes ; repair handles ; scrapers ; scoops and shovels ; shears ; spades ; sod lifters ; trimmers ; striking tools ; axes ; camping kit ; sports axes ; hammers ; hatchets ; snow tools ; ice tools ; snow pushers ; snow shovels ; carts ; hand trucks ; lawn rollers ; wheelbarrows ; mixing boxes ; mortar pans ; spreaders ; merchandisers

Includes:

Trade catalog

Black and white images

Color images

Physical description:

1 piece; 1 box

Language:

English

Type of material:

Trade catalogs

Trade literature

Place:

Shiremanstown, Pennsylvania, United States

Date:

1900s

Topic (Romaine term):

Camping equipment  Search this

Garden and lawn equipment and supplies  Search this

Hardware and hand tools  Search this

Materials handling equipment (includes barrels; bottling and filling; casters; chains; etc.)  Search this

Retailers equipment and supplies  Search this

Sporting goods  Search this

Waste Management (including water treatment; recycling; refuse collection; industrial waste; etc.)  Search this

Topic:

"Recycling (Waste, etc.)"  Search this

Barrels  Search this

Bottling  Search this

Camping equipment industry  Search this

Garden ornaments and furniture  Search this

Garden tools  Search this

Hardware  Search this

Industrial equipment  Search this

Outdoor recreation  Search this

Refuse and refuse disposal  Search this

Refuse disposal industry  Search this

Retail trade equipment industry  Search this

Sporting goods  Search this

Tools  Search this

Water -- Purification  Search this

Record ID:

SILNMAHTL_45335

Collection:

Smithsonian Libraries Trade Literature Collections

Data source:

Smithsonian Libraries

EDAN-URL:

edanmdm:SILNMAHTL_45335

Variant company name:

Shelved under T  Search this

Company Name:

21st Century, Inc.  Search this

Notes content:

kerosene heaters ; kerosene heater wicks ; replacement parts and accessories for fuel related products ; forced air heater replacement parts ; stove and fireplace maintenance products ; oil and kerosene lamp wicks and parts ; gas lamp mantles and parts ; propane appliance parts and accessories ; barbecue grill replacement parts ; lawnmower parts

Includes:

Trade catalog and price lists

Black and white images

Physical description:

1 piece; 1 box

Language:

English

Type of material:

Trade catalogs

Trade literature

Place:

Perkasie, Pennsylvania, United States

Date:

1900s

Topic (Romaine term):

Appliances (household)  Search this

Garden and lawn equipment and supplies  Search this

Heating; ventilation and air conditioning  Search this

Lighting (electric; gas; candle; oil; etc.)  Search this

Topic:

Air conditioning  Search this

Candles  Search this

Garden ornaments and furniture  Search this

Garden tools  Search this

Heating  Search this

Heating and ventilation industry  Search this

Household appliances  Search this

Lamps  Search this

Lighting  Search this

Ventilation  Search this

Record ID:

SILNMAHTL_45338

Collection:

Smithsonian Libraries Trade Literature Collections

Data source:

Smithsonian Libraries

EDAN-URL:

edanmdm:SILNMAHTL_45338

Creator:

Wiseman, Frederick J., 1875-1961  Search this

Names:

Early Birds of Aviation (Organization).  Search this

Wiseman-Peters (Fred Wiseman and J. W. Peters) (Aircraft manufacturer)  Search this

Extent:

0.59 Cubic feet (1 flatbox)

Type:

Collection descriptions

Archival materials

Photographs

Tickets

Correspondence

Clippings

Date:

1909-1968

bulk [ca. 1910s, 1950s]

Summary:

Fred Wiseman, along with J. W. Peters and D.C. Prentiss, built a biplane named the Wiseman-Peters. During July 1910, both Peters and Wiseman flew the Wiseman-Peters and the following year Wiseman entered the 1911 Aviation Meet at Selfridge Field, Michigan. On February 17, 1911, Wiseman made the first airplane-carried mail flight officially sanctioned by any local U.S. post office and made available to the public when he carried mail, a bundle of newspapers and a sack of groceries from Petaluma, CA, to Santa Rosa, CA. After the 1911 season, Wiseman gave up flying.

This collection consists of a large scrapbook. Inside the scrapbook are newspaper clippings, correspondence, 1st Day Covers, race tickets, and photographs chronicling both Wiseman's automobile and aviation careers.

Scope and Contents:

This collection consists of a large scrapbook. Inside the scrapbook are newspaper clippings, correspondence, 1st Day Covers, race tickets, and photographs chronicling both Wiseman's automobile and aviation careers.

Note: The digital images in this finding aid were repurposed from scans made by an outside contractor for a commercial product and may show irregular cropping and orientation in addition to color variations resulting from damage to and deterioration of the original objects.

Arrangement:

Materials are in the order the donor attached them to the scrapbook. Correspondence is often located within the envelope that is attached to the scrapbook. Some materials are loose and have been left in the arrangement in which they were found, unless a portion of a newspaper article could be matched to its other parts.

Biographical / Historical:

Fred Wiseman (1875-1961) was born in Santa Rosa, California, and after attending local schools he engaged in both the bicycle and automotive businesses. Wiseman won considerable fame racing Stoddard-Dayton cars on the West Coast as well as in the Chicago area. He became interested in aviation after attending the Wright brothers' homecoming celebration in 1909 and the first Los Angeles aviation meet at Dominguez Field in 1910.

After these two events, Wiseman was convinced he wanted to learn to fly and so he returned to his home in Santa Rosa and persuaded Ben Noonan to put up $10,000 to build a plane. Wiseman, along with J. W. Peters and D.C. Prentiss, built a biplane named the Wiseman-Peters. During July 1910, both Peters and Wiseman flew the Wiseman-Peters and the following year Wiseman entered the 1911 Aviation Meet at Selfridge Field, Michigan.

On February 17, 1911, Wiseman made the first airplane-carried mail flight officially sanctioned by any local U.S. post office and made available to the public when he carried mail, a bundle of newspapers and a sack of groceries from Petaluma, CA, to Santa Rosa, CA. (The first air mail flight sanctioned by the U.S. Post Office in Washington, D.C., took place on September 23, 1911, when Earle Ovington carried mail from Garden City, Long Island, to Mineola; and the first continuously scheduled U.S. air mail service began on May 15, 1918, with routes between Washington, Philadelphia, and New York.)

During 1911, Wiseman had an active season of exhibition work, including flying for one week at the California State Fair. However, after this season Wiseman gave up flying because he thought there was no future in it. He sold his plane and returned to the automobile business. He later worked for Standard Oil Company of California. Wiseman was a member of the Early Birds of Aviation, an organization of pilots who flew solo in an aircraft prior to December 17, 1916.

Weldon Cooke, another pioneer aviator from California, bought and modified the Wiseman-Peters aircraft, renaming it the Wiseman-Cooke. Cooke flew the Wiseman-Cooke for exhibition and air mail flights. The Wiseman-Cooke aircraft is currently part of the Smithsonian Institution's collections.

Provenance:

No donor information, Gift?, unknown, XXXX-0618, unknown

Restrictions:

No restrictions on access

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 Permissions Requests

Topic:

Automobile racing  Search this

Air mail service  Search this

Aeronautics, Commercial  Search this

Aeronautics -- Exhibitions  Search this

Airplane racing  Search this

Aeronautics -- Competitions  Search this

Aeronautics -- 1903-1916  Search this

Aeronautics  Search this

Air pilots  Search this

Wiseman-Peters #2 Biplane (1910)  Search this

Genre/Form:

Photographs

Tickets

Correspondence

Clippings

Citation:

Fred Wiseman Scrapbook, Acc. NASM.XXXX.0618, National Air and Space Museum, Smithsonian Institution.

Identifier:

NASM.XXXX.0618

Archival Repository:

National Air and Space Museum Archives

GUID:

https://n2t.net/ark:/65665/pg2b1a6ef9c-06ed-414f-adc3-98f31de066e0

EDAN-URL:

ead_collection:sova-nasm-xxxx-0618

Physical Description:

wood (overall material)

metal, brass (overall material)

metal, iron (overall material)

Measurements:

overall: 38 cm x 183 cm x 84 cm; 14 15/16 in x 72 1/16 in x 33 1/16 in

Object Name:

Bed

Place made:

United States: New Jersey, Newark

Date made:

1880 - 1885

Subject:

Monasticism  Search this

Roman Catholicism  Search this

ID Number:

CL.314563.03

Accession number:

314563

Catalog number:

314563.03

See more items in:

Home and Community Life: Religion

Religion

Data Source:

National Museum of American History

GUID:

http://n2t.net/ark:/65665/ng49ca746aa-5f49-704b-e053-15f76fa0b4fa

EDAN-URL:

edanmdm:nmah_1190335

Physical Description:

wood (overall material)

ceramic, porcelain (overall material)

metal, iron (overall material)

Measurements:

overall: 73 cm x 370.5 cm x 61 cm; 28 3/4 in x 145 7/8 in x 24 in

Object Name:

Table

Place made:

United States: New Jersey, Newark

Date made:

1880 - 1885

Subject:

Monasticism  Search this

Roman Catholicism  Search this

ID Number:

CL.314563.04

Accession number:

314563

Catalog number:

314563.04

See more items in:

Home and Community Life: Religion

Religion

Data Source:

National Museum of American History

GUID:

http://n2t.net/ark:/65665/ng49ca746aa-46c4-704b-e053-15f76fa0b4fa

EDAN-URL:

edanmdm:nmah_1190336

Daughter of co-founder of Croom School:

Henry, Myrtle Catherine  Search this

Physical Description:

wood (overall wood)

metal (screw metal)

Measurements:

overall: 33 1/4 in x 16 1/4 in x 17 1/2 in; 84.455 cm x 41.275 cm x 44.45 cm

Object Name:

chair

Place made:

United States: New Mexico, United States

Used:

United States: Maryland, Prince Georges

Date used:

1903-1952

Subject:

Education, elementary  Search this

Institutional Furnishings  Search this

Furniture  Search this

Vocational Training  Search this

African American  Search this

Credit Line:

Gift of Franklin A. Robinson

ID Number:

2015.0217.01

Accession number:

2015.0217

Catalog number:

2015.0217.01

See more items in:

Home and Community Life: Education

Data Source:

National Museum of American History

GUID:

http://n2t.net/ark:/65665/ng49ca746b2-4665-704b-e053-15f76fa0b4fa

EDAN-URL:

edanmdm:nmah_1804940

Measurements:

overall: 33 1/2 in x 19 in x 23 1/2 in; 85.09 cm x 48.26 cm x 59.69 cm

Object Name:

Chair, Salon

chair, salon

Place made:

United States

Place used:

United States: Illinois, Chicago

Date made:

ca 1920

Dates used:

1920s - 1970s

Subject:

Blacks  Search this

Business  Search this

Commercial Furnishings  Search this

Furniture  Search this

Hairstyling  Search this

Women  Search this

African American  Search this

ID Number:

1997.0068.15

Accession number:

1997.0068

Catalog number:

1997.0068.15

See more items in:

Home and Community Life: Occupations

Data Source:

National Museum of American History

GUID:

http://n2t.net/ark:/65665/ng49ca746aa-6683-704b-e053-15f76fa0b4fa

EDAN-URL:

edanmdm:nmah_1195129

Measurements:

overall: 37 1/2 in x 19 in x 23 in; 95.25 cm x 48.26 cm x 58.42 cm

Object Name:

Chair, Salon

chair, salon

Place made:

United States

Place used:

United States: Illinois, Chicago

Date made:

ca 1920

Dates used:

1920s - 1970s

Subject:

Blacks  Search this

Business  Search this

Commercial Furnishings  Search this

Furniture  Search this

Hairstyling  Search this

Women  Search this

African American  Search this

ID Number:

1997.0068.16

Accession number:

1997.0068

Catalog number:

1997.0068.16

See more items in:

Home and Community Life: Occupations

Data Source:

National Museum of American History

GUID:

http://n2t.net/ark:/65665/ng49ca746aa-63ce-704b-e053-15f76fa0b4fa

EDAN-URL:

edanmdm:nmah_1195130