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Creator:

Carnegie Institute, Museum of Art  Search this

Names:

Art Institute of Chicago  Search this

Buffalo Fine Arts Academy  Search this

Corcoran Gallery of Art  Search this

Gallery of William Macbeth  Search this

M. Knoedler & Co.  Search this

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

Alexander, John White, 1856-1915  Search this

Beatty, John W. (John Wesley), 1851-1924  Search this

Beaux, Cecilia, 1855-1942  Search this

Brush, George de Forest, 1855-1941  Search this

Chase, William Merritt, 1849-1916  Search this

Church, Samuel Harden  Search this

East, Alfred, Sir, 1849-1913  Search this

Hassam, Childe, 1859-1935  Search this

Homer, Winslow, 1836-1910  Search this

Saint-Gaudens, Homer, b. 1880  Search this

Thayer, Abbott Handerson, 1849-1921  Search this

Extent:

265.8 Linear feet

Type:

Collection descriptions

Archival materials

Photographs

Letterpress books

Museum records

Place:

Spain -- History -- Civil War, 1936-1939

Date:

1883-1962

bulk 1885-1962

Summary:

The records of the Carnegie Institute, Museum of Art measure 265.8 linear feet and date from 1883-1962, with the bulk of the material dating from 1885-1940. The collection includes extensive correspondence between the museum's founding director, John Beatty, and his successor, Homer Saint-Gaudens, with artists, dealers, galleries, collectors, museum directors, representatives abroad, shipping and insurance agents, and museum trustees. The collection also includes Department of Fine Arts interoffice memoranda and reports; loan exhibition files; Carnegie International planning, jury, shipping, and sale records; Department of Fine Arts letterpress copy books, and a copy of the original card catalog index to these records.

Scope and Contents:

The records of the Carnegie Institute, Museum of Art measure 265.8 linear feet and date from 1883-1962, with the bulk of the material dating from 1885-1940. The collection includes extensive correspondence between the museum's founding director, John Beatty, and his successor, Homer Saint-Gaudens, with artists, dealers, galleries, collectors, museum directors, representatives abroad, shipping and insurance agents, and museum trustees. The collection also includes Department of Fine Arts interoffice memoranda and reports; loan exhibition files; Carnegie International planning, jury, shipping, and sale records; Department of Fine Arts letterpress copy books, and a copy of the original card catalog index to these records.

This collection is a complete record of the museum's work, starting with the planning of the first loan exhibition in 1885 and ending with the cancellation of the International at the start of World War II in 1940. The museum's day-to-day relationships with all aspects of the contemporary art world are documented within the historical context of artists' reactions to World War I; the economic repercussions of the Great Depression on art sales and museum budgets; the ramifications of fascism on German, Italian, and European art; the impact of civil war on Spanish art; and the tensions introduced by the rise of 'radical' modernist art in Europe.

Correspondence (Series 1) is the largest series in the collection (152.5 linear feet) and is comprised of extensive correspondence between the Museum of Art and over 8700 correspondents, with over 3600 correspondents specifically related to art and artists.

Correspondents related to the art world include museum staff, artists, collectors, museums, galleries, dealers, shippers, insurance agencies, art directors, associations, societies, clubs, critics, press, and governments. These exchanges include general requests for information; requests related to the museum's exhibitions, including the International; letters regarding the museum's involvement in the events of other art organizations; loan, sales, and provenance information for specific works of art; and information regarding the events of other art organizations.

The correspondence of the museum's staff provides the greatest insight into understanding the museum's evolution into an international cultural institution. Both directors' correspondence touch on their personal opinions on art, their rationale behind policy decisions, and their understanding of the extent to which the museum's work was dependent on the good relations they maintained in the art world. Additionally, the extensive, opinionated correspondence between Saint-Gaudens' European agents and museum staff during the 1920s and 1930s provide a unique perspective on emerging art trends and the skill, growth, and personalities of individual artists.

The most prolific of the museum staff correspondents include museum directors John Beatty and Homer Saint-Gaudens, Board of Trustees president Samuel Harden Church, assistant director Edward Balken, and European agents Guillaume Lerolle , Ilario Neri, Arnold Palmer, Margaret Palmer, and Charlotte Weidler. Additional prominent staff members include Helen Beatty, Robert Harshe, Caroline Lapsley, Henry Jack Nash, John O'Connor, Charles Ramsey, George Shaw, George Sheers, August Zeller, and Fine Arts Committee members John Caldwell, William Frew, William Hyett, and John Porter.

The most prolific artist correspondents include John White Alexander, George Grey Barnard, Cecilia Beaux, Frank Benson, George de Forest Brush, William Merritt Chase, William Coffin, Bruce Crane, Andre Dauchez, Charles H. Davis, Alfred East, Ben Foster, Daniel Garber, Charles P. Gruppe, John Johansen, Johanna Hailman, John McLure Hamilton, Birge Harrison, Childe Hassam, Winslow Homer, Laura Knight, John la Farge, Gaston la Touche, John Lavery, Henri le Sidaner, Jonas Lie, Hermon A. MacNeil, Antonio Mancini, Gari Melchers, Emile Menard, Henry R. Poore, Edward Redfield, W. Elmer Schofield, Leopold Seyffert, Lucien Simon, Eugene Speicher, Abbott Handerson Thayer, Robert Vonnoh, J. Alden Weir, Irving R. Wiles, and Ignacio Zuloaga. Other artists of note include: Edwin Austen Abbey, George Bellows, Edwin Blashfield, Frank Brangwyn, Mary Cassatt, Kenyon Cox, Thomas Wilmer Dewing, Thomas Eakins, William Glackens, Robert Henri, Eastman Johnson, Rockwell Kent, Paul Manship, Henry Ranger, John Singer Sargent, Edward Steichen, Alfred Stieglitz, Edmund Tarbell, James McNeil Whistler, N.C. Wyeth, and Charles Morris Young.

Frequent museum collaborators include the Art Institute of Chicago, Boston Museum of Fine Arts, Brooklyn Museum, Buffalo Fine Arts Academy, Cleveland Museum of Art, Corcoran Gallery of Art, Detroit Institute of Art, Metropolitan Museum of Art, Museum of Modern Art, Saint Louis Museum of Fine Arts, Toledo Museum of Art, and Worcester Art Museum.

Other prolific correspondents include collectors Chauncey Blair, Andrew Carnegie, Charles Lang Freer, George Hearn, Alexander Humphreys, Roy Hunt, Mrs. B.F. Jones, Burton Mansfield, Frank Nicola, Duncan Phillips, John Stevenson, and William Stimmel; dealers and galleries M. Knoedler, William Macbeth, Central Art Gallery, Charles A. Walker, C.W. Kraushaar Art Galleries, Downtown Gallery, Durand-Ruel and Sons, Ehrich Galleries, Ferargil Galleries, Frank Rehn, Frederick Keppel, Haseltine Art Gallery, R.C. Vose Galleries, and W. Scott Thurber Fine Arts; insurance agent Macomber Co.; and shippers Dicksee and Co., J.W. Hampton, P. Navel/R. Lerondelle, Stedman and Wilder, and W.S. Budworth and Son.

Correspondents not specifically related to the contemporary art world include businesses, educational institutions, libraries, and the general public. These exchanges detail the daily work of the museum, including the estimates and work orders of office suppliers, contractors, printers, and etc.; programming and research inquiries of k-12 and college/university institutions; acknowledgements of the receipt of Museum of Art publications; and general public inquiries regarding museum policies, exhibitions, and the permanent collection. Companies and institutions who worked particularly closely with the museum include Alden and Harlow (architects), Detroit Publishing Co., and Tiffany and Co.

Department of Fine Arts (Series 2) consists of art and artist lists, correspondence, memoranda, notes, and reports. These files were begun under John Beatty's tenure and streamlined under Homer Saint-Gaudens' directorship to track activities directly related to the museum's interoffice affairs. File headings continued under Saint-Gaudens focus on art considered and purchased for the permanent collection, employee records, exhibition proposals and loans, Fine Arts Committee minutes, museum programming, museum publications, press releases, requests for images, and requests for general information.

Under Saint-Gaudens, the Fine Arts Committee files contain voluminous impressions of contemporary European artists, which he composed during his annual studio tours of the continent in the early 1920s and late 1930s. These informal reports provide insight into the shaping of the International and include a running commentary on historical events of the time. The Fine Arts Committee files also document the artistic and budgetary compromises that were struck, particularly during the Great Depression and early run-up to World War II.

Exhibitions (Series 3) includes correspondence with collectors, museums, galleries, dealers, shippers, and many of the artists themselves. Additional documents include catalogs, lists, planning notes, and telegrams related to 185 traveling and loan exhibitions held at the Museum of Art from 1901 to 1940. Of these, over 100 are one-artist shows and 82 are group, survey, regional, or topical shows. The one-artist exhibitions tend to showcase contemporary artists of the time. Regional shows focused on American and European art, with two shows featuring the art of Canada and Mexico. Survey themes focused on animals, children, cities, gardens, landscapes, Old Masters, and portraitures. Many of the genre shows venture into art not typically collected by the Museum of Art, including architecture, crafts, engravings, figure studies, graphic arts, illustrations, miniatures, mural decorations, oriental rugs, prints, printed books, sculpture, small reliefs, stained glass, theater models, watercolors, and wood engravings.

The most important shows organized and curated by Museum of Art staff include the Panama-Pacific International Exposition (1915), American Sculpture Show (1915, 1920), Applied Arts Show (1917), Original Illustrations Show (1921), Mexican Art Show (1929), Garden Club Show (1922), Industrial Art Show (1924), Pittsburgh Artists Show (1935), French Survey Show (1936), English Painting Survey Show (1937), American Paintings, Royal Academy Show (1938), and Survey of American Painting Show (1940).

Important one-artist shows include Abbot Handerson Thayer (1919), George de Forest Brush (1922), Frank W. Benson (1923), Rockwell Kent (1923, 1939), Anders Zorn (1924), John Lavery (1925), Paul Manship (1925), Mary Cassatt (1925), Laura Knight (1925), Edouard Manet (1932), Edward Hopper (1936), Winslow Homer (1922, 1936), Paul Cezanne (1936), Charles Burchfield (1937), and William Glackens (1938).

International (Series 4) is comprised of catalogs, correspondence, art and artist lists, itineraries, jury selection ballots, minutes, notes, and reports related to the planning, logistics, and promotion of the International Exhibition from 1895 to 1940. These documents were originally grouped and filed separately under John Beatty and were more rigorously streamlined under Homer Saint-Gaudens. The folder headings continued under Saint-Gaudens focus on art purchases, artists' invitations, artists' request for information, general exhibition planning, Foreign Advisory Committees, foreign governments, jury reception planning, loan requests, and touring logistics.

Letterpress books (Series 5) consist of 75 volumes that chronologically collect all of the Museum of Art's outgoing correspondence from 1896 to 1917. Volumes 1-8 contain the only copy of outgoing correspondence from 1896 to 1900. Duplicate copies of all outgoing correspondence dating from 1901 to 1917 were filed in Correspondence (Series 1) by museum staff.

Card catalogs (Series 6) also include three sets of catalogs created by the Museum of Art to track the outgoing and incoming correspondence contained in this collection. Set 1 (1895-1906) consists of the original cards. Set 2 (1907-1917) and Set 3 (1918-1940) consists of photocopies of the original cards that were merged together into one contiguous set.

Arrangement:

The collection is arranged into six series:

Series 1: Correspondence, 1883-1962, (Boxes 1-153, OV 267; 152.5 linear feet)

Series 2: Department of Fine Arts, 1896-1940, (Boxes 153-184, OV 268; 31.6 linear feet)

Series 3: Exhibitions, 1901-1940, (Boxes 184-204; 20 linear feet)

Series 4: International, 1895-1940, (Boxes 204-234, 265-266; 30.2 linear feet)

Series 5: Letterpress Books, 1900-1917, (Boxes 235-251; 17 linear feet)

Series 6: Card Catalogs, 1895-1940, (Box 252-264; 11 linear feet)

Biographical / Historical:

The Carnegie Institute Museum of Art was established in 1895 by industrialist and philanthropist Andrew Carnegie. One of the first modern contemporary art museums in the United States, its flagship exhibition, the Carnegie International, is recognized as the longest running contemporary exhibition of international art in North America and is the second oldest in the world.

Andrew Carnegie (1835-1919) was born in Dumfermline, Scotland and migrated to America with his family in 1848. Often regarded as the second-richest man in history behind John D. Rockerfeller, Carnegie built his industrialist fortunes in the steel industry and spent the remainder of his life in support of major philanthropic projects. By the age of 33, he had developed his personal philosophy of philanthropy, which saw it as the responsibility of the wealthy to foster educational opportunities and disseminate the ideals of high culture among all levels of society. In addition to establishing over 2500 free public libraries, in 1895, he provided the funds to build the Carnegie Institute, located in the Oakland neighborhood of Pittsburgh, Pennsylvania. The Carnegie Institute originally maintained three separate departments under the auspices of the Carnegie Library of Pittsburgh, the Carnegie Museum of Natural History, and the Carnegie Museum of Art.

The Carnegie Institute was administered by a Board of Trustees selected by Carnegie, all prominent professional men of Pittsburgh. Within this group, eight men were selected to serve on the Museum of Art's Fine Arts Committee, which was initially granted the final say on gallery affairs. The first Fine Arts Committee was composed of two artists, Alfred Bryan Wall and Joseph Ryan Woodwell, and six businessmen. Among the latter group, John Caldwell, Henry Clay Frick, William Nimick Frew, and David Thompson Watson were also knowledgeable art patrons and collectors. Over time, the Fine Arts Committee's sway over gallery affairs would be measured by the dedication of its various members and tempered by the vision and authority of the Museum's directors, John Beatty and Homer Saint-Gaudens, and the Carnegie Institute Board of Trustees president, Samuel Harden Church.

From 1896 to 1921, John Wesley Beatty (1851-1924) served as the first director of the Museum of Art. A native Pittsburgher and an accomplished silver engraver, illustrator, and painter, Beatty attended the Royal Bavarian Academy in Munich and upon his return to America, made a living as an artist. He also taught at the Pittsburgh School of Design for Women and co-founded a small school of art with fellow local artist George Hetzel. In 1890, while serving as the secretary of the Pittsburgh Art Society, he became the primary organizer of a loan exhibition to be displayed at the opening of the Carnegie Free Library in Allegheny, Pennsylvania. In 1895, when the Carnegie Institute trustees began discussing the possibility of a similar loan exhibition for the opening of their new institution, Beatty was contacted and eventually enlisted to take on the task. Upon the success of that exhibition, he was invited to direct the gallery's affairs and served as the Museum of Art's director until his retirement.

Beatty was an enthusiastic supporter of Impressionism, Realism, Tonalism, Symbolism, and the critically acclaimed contemporary art of the 1890s. He also shared Carnegie's vision for the Museum of Art and believed in the educational and uplifting role aesthetic beauty could provide to the general public. Pursuant to the stated goals of Andrew Carnegie, under Beatty's direction the museum began to purchase important contemporary works to add to its chronological collection of "Old Masters of tomorrow" and almost immediately began planning the first of its Internationals.

The Internationals were viewed as the primary means of showcasing the Museum of Art's selection of the best in contemporary American and European painting, thereby elevating its role as an influential cultural institution on a national and international level. Juried monetary prizes would be awarded to the two best works by American artists, additional awards would be offered to artists of all nationalities, and the Museum of Art's purchases for the year would be selected from the exhibition. Certain artists and collectors were tapped to serve as unofficial representatives of the Museum of Art at home and abroad, among them John White Alexander, William Coffin, I.M. Gaugengigl, Walter Shirlaw, and Edmund Tarbell. Many of the most prominent Pittsburgh art collectors were also asked to lend works to the exhibition. While details of the jury and artist selection process, number of representatives, exhibition show dates, and amount and total number of prizes would change over the years, the planning template was set and would remain the same for future Internationals.

Beatty continued to rely on a stable of close friends and confidantes to help smooth over relations with artists, dealers, shipping agents, and galleries alike, relying heavily on John White Alexander and W. Elmer Schofield, in addition to artists Thomas Shields Clarke, Walter Gay, Robert Henri, Frank D. Millet, and critic Charles M. Kurtz. Over time, many of the artists who served on International juries or Foreign Advisory Committees also became reliable friends and advocates of the International, including Edwin Austen Abbey, Edmond Aman-Jean, Edwin Howland Blashfield, William Merritt Chase, Charles Cottet, Kenyon Cox, Charles Harold Davis, Alfred East, Ben Foster, Charles Hopkinson, John la Farge, Gari Melchers, Leonard Ochtman, Irving R. Wiles, and Robert W. Vonnoh.

From 1896 to 1921, the Museum of Art held twenty-one Internationals, with the only exceptions coming in 1906 (construction of the Hall of Architecture, Hall of Sculpture, and Bruce Galleries), 1915 (deference to the San Francisco Panama-Pacific International), and 1916-1919 (World War I). During these years, the scope and administration of the International slowly expanded, though not without growing pains. At the turn of the century, new modernist styles of art that were appearing in galleries across Europe had not yet entered major American museums and the Carnegie Museum of Art maintained this trend. The museum's generally conservative selection policies, combined with criticism regarding the timing of the exhibition and the jury selection process, led to increasingly tense relations with artists, and were only partially resolved by changes made to the format of the International. In spite of these challenges, the Carnegie International retained its reputation as a preeminent venue for contemporary art and awarded top prizes to John White Alexander, Cecilia Beaux, George W. Bellows, Frank W. Benson, Andre Dauchez, Thomas Wilmer Dewing, Thomas Eakins, Childe Hassam, Winslow Homer, John Lavery, Henri le Sidaner, Edward W. Redfield, W. Elmer Schofield, Edmund C. Tarbell, Abbot Handerson Thayer, Dwight W. Tryon, and J. Alden Weir.

In addition to the International, Carnegie's mission of bringing cultural and educational opportunities to Pittsburgh was a central priority of the museum's daily operations. Beatty cultivated relationships with fellow museum directors, which allowed for the easy co-ordination and planning of traveling exhibitions benefiting the city. The museum developed educational programs for children and adults, including lectures, gallery talks, Saturday morning classes, fine art extension classes, guided tours, and outreach to local schools. As popular Pittsburgh art societies and clubs formed, the museum also provided meeting and exhibition spaces for groups such as the Associated Artists of Pittsburgh, the Art Society of Pittsburgh, the Art Students League, the Garden Club of Allegheny County, and the Junior League.

After more than 25 years of service, Beatty made the decision to retire and put out an informal call for candidates. Being the right man at the right time, in 1921, Homer Schiff Saint-Gaudens (1880-1958) became the Museum of Art's second director.

The only child of American sculptor Augustus Saint-Gaudens and his wife and artist, Augusta Fisher Homer, Saint-Gaudens frequently traveled abroad and grew up in the company of his parents' wide circle of friends, many of them artists, poets, writers, and performers who frequented the Cornish Artists' Colony. More intimate friends of the family included former students, assistants, and colleagues, the architect Stanford White, and successful artist-couples who resided near the family's Cornish, New Hampshire home, among them Louise and Kenyon Cox, Maria and Thomas Dewing, Florence and Everett Shinn, and Emma and Abbott Thayer.

Homer Saint-Gaudens attended the preparatory school Lawrenceville, graduated from Harvard in 1903, married the artist and suffragist Carlota Dolley (1884-1927) in 1905, and remarried to Mary Louise McBride (n.d.-1974) in 1929. He began his professional career as a journalist and worked as assistant editor of The Critic (1903) and managing editor of Metropolitan Magazine (1905). During those years, he was introduced to a number of the Ash Can school artists, wrote articles on contemporary art, and honed his abilities as a writer. In 1907, Saint-Gaudens took a break from professional editing and began a second career as the stage manager for Maude Adams, the most highly paid and successful stage actress of her day, with a yearly income of over one million dollars at the peak of her popularity. Working in theater and as Adams' manager for over ten years, Saint-Gaudens learned the ins and outs of event promotion and logistics, media coverage, and maintaining diplomatic relations through compromise, ideal skills he would later use in organizing the Carnegie Internationals.

With the United States' entry into World War I, Saint-Gaudens served as the chief of the U.S. Army's first camouflage unit and was awarded the Bronze Star. After his discharge, he managed Adams' 1918 final season and simultaneously helped his mother organize a major retrospective of his father's sculptures. While organizing a section of his father's work for the 1921 International, he was invited to step into the position of assistant director of the Carnegie Museum of Art, and was promoted to the directorship upon John Beatty's retirement.

Throughout his tenure, Saint-Gaudens was able to call upon long-standing family friendships with artists and art patrons to the museum's benefit. His connections to the art world can clearly be seen in his first major stand-alone exhibition, the Garden Club Show (1922). In this, he enlisted the aid of Elizabeth Alexander, wife of John White Alexander, and Johanna Hailman, artist and wife of John Hailman, who reached out to their circle of artists and art collecting friends in search of works appropriate for the show. Their efforts, combined with the relationships Beatty had established with museum directors, galleries, and dealers, as well as Saint-Gaudens' own friendships with Kenyon Cox, Thomas Dewing, Barry Faulkner, and Gari Melchers, resulted in an assemblage of 150 paintings of note. Coming immediately upon the heels of the 1922 International, the show was a resounding success. The exhibition's opening attracted over 300 delegates of the Garden Club of America and the entirety of Pittsburgh high society, settling any concerns regarding his leadership abilities.

As director of the Museum of Art, Saint-Gaudens instituted measures intended to streamline the Internationals and improve diplomatic relations with artists. Though the basic format of the juried exhibition remained the same, his solutions to the complaints many artists raised with the artist invitation, art selection, and jury systems reformed the International's reputation at a critical time. Though he was naturally inclined to appreciate the art and artists he had grown up with, Saint-Gaudens understood the immediate necessity of introducing modernist contemporary art into the museum's exhibitions and galleries. He circumvented the conservative Fine Arts Committee's resistance to the accolades of European modernists by choosing the tamest of the new 'radical' works. Eventually, he balanced the Internationals with a mix of conservative, moderate, and advanced works that appealed to a large range of audiences and increased the status and diversity of the Internationals.

To aid in his reformation of the International, Saint-Gaudens formalized a team of European agents who worked year round to scout artists' studios, recommend suitable art and artists, navigate local politics, arrange local transportation and logistics, and maintain cordial relations with artists abroad. In the spring, Saint-Gaudens would travel to Europe to meet with his agents in person, tour the most promising studios, and meet with artists personally. His team was headed by Guillaume Lerolle, who shared Saint-Gaudens' distinction of being the son of a well regarded national artist, Henry Lerolle. Like Saint-Gaudens, Lerolle was able and willing to call upon longstanding family friendships and networks on behalf of the Museum of Art. The other core members of the team were Ilario Neri (Italy), Arnold Palmer (England), Margaret Palmer (Spain), and Charlotte Weidler (Germany).

From 1922 to 1940, the Museum of Art held seventeen Internationals, with the exceptions coming in 1932 (Great Depression) and 1940 (World War II). After a brief period of change, growth, and experimentation in the early 1920s, the museum eventually settled on a routine of planning the Internationals, arranging for traveling exhibitions, and expanding upon the most popular of their educational programs. In addition to those programs put into place under Beatty's tenure, Saint-Gaudens paved the way for a revamped lecture series featuring visiting critics and traveled as a visiting lecturer himself.

During the 1930s, financial difficulties and increasing political tensions in Europe presented ample challenges to the diplomatic skills of Saint-Gaudens and his agents, and they found themselves increasingly forced to navigate through political minefields presented by the fascist ideologies of Germany and Italy, the chaos of the Spanish civil war, and the eventual outbreak of World War II in Europe. In spite of these challenges, under Saint-Gaudens' direction, the museum remained true to Andrew Carnegie's vision. The International was expanded to accept on average over sixty additional works of art, and at its peak, included art from twenty-one countries. Beginning in 1927, top prizes and recognition were awarded to Georges Braque, Marc Chagall, Salvador Dali, Andre Derain, Raoul Dufy, Karl Hofer, Rockwell Kent, Yasuo Kuniyoshi, Henri Matisse, Pablo Picasso, and Edouard Vuillard.

Works by Arthur B. Davies, Charles Hawthorne, Edward Hopper, Augustus John, Oskar Kokoschka, Leon Kroll, Ernest Lawson, and William Orpen were added to the museum's permanent collection. And, as under Beatty's tenure, many of the artists selected to serve on the Jury of Award became advocates and friends of the museum, including Emil Carlsen, Anto Carte, Bruce Crane, Charles C. Curran, Daniel Garber, Charles Hopkinson, Laura Knight, Jonas Lie, Julius Olsson, Leopold Seyffert, Lucien Simon, Eugene Speicher, Maurice Sterne, Gardner Symons, Horatio Walker, and Charles H. Woodbury.

The monumental task of establishing the Carnegie Institute Museum of Art and the Carnegie International has left an archival record that is unique and unparalleled in documenting its relations with every aspect of the contemporary art world from the turn of the century through the first forty years of the twentieth century.

Provenance:

The Carnegie Institute, Museum of Art records were loaned for microfilming in 1966 and later donated to the Archives of American Art in 1972. A small addition of corrrespondence was donated in 2017 by Elizabeth Tufts Brown.

Restrictions:

Use of original papers requires an appointment.

Rights:

The Carnegie Institute Museum of Art records are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.

Topic:

Art -- Economic aspects  Search this

World War, 1914-1918  Search this

Art museums -- Pennsylvania -- Pittsburgh  Search this

Depressions -- 1929  Search this

Art, Modern -- Exhibitions  Search this

Fascism  Search this

World War, 1939-1945  Search this

Museum directors  Search this

Genre/Form:

Photographs

Letterpress books

Museum records

Citation:

Carnegie Institute, Museum of Art records, 1883-1962, bulk 1885-1940. Archives of American Art, Smithsonian Institution.

Sponsor:

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

Identifier:

AAA.carninst

See more items in:

Carnegie Institute, Museum of Art records

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-carninst

Creator:

Sears, Thomas Warren, 1880-1966  Search this

Sears & Wendell  Search this

Olmsted Brothers  Search this

Harvard University  Search this

American Society of Landscape Architects  Search this

Donor:

Tibbetts, Eleanor Sears  Search this

Tibbetts, Eleanor Sears  Search this

Extent:

44.5 Cubic feet (4,317 glass negatives. 363 film negatives. 182 glass lantern slides. 12 photograph albums. 56 plans and drawings. 3 monographs. )

Type:

Collection descriptions

Archival materials

Negatives

Blueprints

Albums

Plans (drawings)

Lantern slides

Date:

1899-1964

Summary:

The Thomas Warren Sears Photograph Collection documents examples of the design work of Thomas Warren Sears (1880-1966), a landscape architect and amateur photographer from Brookline, Massachusetts. Sears, who was based for most of his career in Philadelphia, designed a variety of different types of landscapes ranging from private residences, schools, and playgrounds to parks, cemeteries, and urban housing developments located primarily in Pennsylvania, Maryland, and New York. In addition to some of Sears' design work, images in the collection document Sears' domestic and foreign travels, design inspirations, and family. The collection includes over 4,800 black and white negatives and glass lantern slides dated circa 1899 to 1930. While most images show private and public gardens, there are a significant number of unidentified views and views photographed in Europe during two trips he took there in 1906 and 1908. Few images are captioned or dated. In addition, there are over 50 plans and drawings, most notably for Balmuckety in Pikesville, Maryland and Reynolda in Winston-Salem, North Carolina, and 3 monographs by or about Sears.

Scope and Contents note:

The Thomas Warren Sears Photograph Collection documents examples of the design work of Thomas Warren Sears (1880-1966), a landscape architect and amateur photographer from Brookline, Massachusetts. Sears, who was based for most of his career in Philadelphia, designed a variety of different types of landscapes ranging from private residences, schools, and playgrounds to parks, cemeteries, and urban housing developments located primarily in Pennsylvania, Maryland, and New York. In addition to some of Sears' design work, images in the collection document Sears' domestic and foreign travels, design inspirations, and family. The collection includes over 4,800 black and white negatives and glass lantern slides dated circa 1899 to 1930. While most images show private and public gardens, there are a significant number of unidentified views and views photographed in Europe during two trips he took there in 1906 and 1908. Few images are captioned or dated. In addition, there are over 50 plans and drawings, most notably for Balmuckety in Pikesville, Maryland and Reynolda in Winston-Salem, North Carolina, and monographs by or about Sears. Several of the glass lantern slides are duplicates of glass plate negatives in the collection. They apparently were chosen by Sears to illustrate some of his best design work, perhaps for lecture or client purposes.

In addition, there are 56 plans and drawings, most notably for Balmuckety in Pikesville, Maryland and Reynolda in Winston-Salem, North Carolina. They range in date from 1917 to 1937 and from 1955 to 1964. Sears photographed some of his early plans; they are included in with the photographic images. Sears also photographed a handful of design plans by landscape architect Sibley Coslett Smith who practiced in Providence, Rhode Island; Sears and Smith shared the same business address there.

The Thomas Warren Sears Collection does not fully document the extent of Sears' design work. The use of glass plate negatives—which make up the bulk of the Thomas Warren Sears Collection—as a photography medium waned sometime during the first quarter of the twentieth century. As a result, the images in the Sears Collection capture examples of Sears' early to mid-career design work but they do not include jobs designed by Sears during the latter half of his design career.

Arrangement note:

The glass plate negatives were originally housed in numerous cardboard boxes manufactured for the sale of undeveloped glass plate negatives. Sears annotated the outside of the boxes with project or client names and/or locations, but the contents do not always match these labels. In addition, because very few of the glass plate negatives and lantern slides were labeled or captioned, it is not always evident where one job ended and another began if multiple projects were stored in the same carton. As a result, there are many instances in the Sears Collection where images have been inadvertently mislabeled because their identification is not apparent. Misidentified images are subject to correction as their proper identification is discovered. Each project has been assigned its own unique AAG job number based on its geographic origin. Those groups of images that have not been identified as to their location have been assigned a project number starting with 'SRS.' The collection is arranged into 3 series: 1) Photographic images (including glass plate negatives, film negatives, glass lantern slides, and photograph albums) 2) Plans and Drawings 3) Monographs

Biographical/Historical note:

Thomas Warren Sears was born in 1880 in Brookline, Massachusetts. He received a Bachelor of Arts degree from Harvard University in 1903 and Bachelor of Science degree in landscape architecture from the Lawrence Scientific School of Harvard in 1906. Sears was an amateur photographer who won awards for his photography while at Harvard. In 1915 his images were published in the monograph, Parish Churches of England. After graduation he worked for the firm of Olmsted Brothers Landscape Architects for two years and then briefly practiced in Providence, Rhode Island. In 1913, Sears established a landscape design office in Philadelphia, Pennsylvania where he spent the remainder of his professional career. Sears at one point was in a professional partnership; some of his design plans list the firm name of Sears and Wendell. He was made a Fellow of the American Society of Landscape Architects in 1921.

Sears designed many different types of landscapes ranging from private residences, schools, and playgrounds to parks, cemeteries, and urban housing developments. His designs were primarily located in Pennsylvania, Maryland, and New York. Just a few of his private landscapes include Marengo in Easton, Maryland; Sunnybrook, the Isaac H. Clothier, Jr. estate in Radnor, Pennsylvania; and Balmuckety in Pikesville, Maryland. In 1915, Sears started work on Reynolda, a country estate in Winston-Salem, North Carolina. He generated design plans for the property intermittently over the next two decades. Reynolda's formal gardens, greenhouses, and acres of fields and woodlands subsequently became part of Wake Forest University.

During World War I, Sears designed Army camps in Battle Creek, Michigan and Spartanburg, South Carolina. He also helped lay out Langley Field, at that time an experimental aviation field in Hampton Roads, Virginia. In the 1940s, Sears designed the amphitheater at Swarthmore College in Swarthmore, Pennsylvania for concerts, outdoor performances, and other special events. During that decade he also worked on Colonial Revival gardens at Pennsbury, William Penn's country estate in Bucks County, Pennsylvania located by the Delaware River. Sears retired in 1964 and died in 1966.

Related Archival Materials note:

The Philadelphia Architects and Buildings Project (PAB), administered by The Athenaeum of Philadelphia, includes references to design projects by Sears.

Harvard University's Loeb Library includes a number of images by Sears, some of them documenting gardens that he designed.

Harvard University's Fine Arts Library, Special Collections includes a collection of photographs and negatives of English parish churches by Sears, c. 1908. Some of the images were published in the monograph, Parish Churches of England.

The Reynolda House Museum of American Art in Winston-Salem, North Carolina includes plans by Sears of Reynolda in its Estate Archives.

Provenance:

Gift of Eleanor Sears Tibbetts, Sears' daughter, to the Horticulture Services Division (later Smithsonian Gardens) in 1992.

Restrictions:

Access to original images 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.

Rights:

For information or study purposes only. 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.

Topic:

Photographers  Search this

Landscape architects  Search this

Gardens -- United States  Search this

Gardens -- Switzerland  Search this

Gardens -- Scotland  Search this

Gardens -- Italy  Search this

Gardens -- Germany  Search this

Gardens -- France  Search this

Gardens -- England  Search this

Genre/Form:

Negatives

Blueprints

Albums

Plans (drawings)

Lantern slides

Citation:

Smithsonian Institution, Archives of American Gardens, Thomas Warren Sears photograph collection.

Identifier:

AAG.SRS

See more items in:

Thomas Warren Sears photograph collection

Archival Repository:

Archives of American Gardens

EDAN-URL:

ead_collection:sova-aag-srs

Collector:

Sultner-Welles, Donald H. (Sultner, Donald Harvey), 1914-1981  Search this

Printer:

Janus, Allan  Search this

Interviewee:

Hanfstaengl, Erna  Search this

Names:

Baltimore Symphony Orchestra  Search this

Chautauqua Institute  Search this

Colonial Williamsburg Foundation  Search this

Holland-America Cruises  Search this

Hitler, Adolf, 1889-1945  Search this

Extent:

87.6 Cubic feet (318 boxes)

Type:

Collection descriptions

Archival materials

Passports

Photographs

Travelogs

Receipts

Ephemera

Files

Filmstrips

Lecture notes

Personal papers

Silver-dye bleach process

Contracts

Notebooks

Prints

Press releases

Ships' passenger lists

Project files

Magnetic tapes

Posters

Postcards

Vertical files

Dye destruction process

Travel diaries

Letters (correspondence)

Professional papers

Bank statements

Correspondence

Audiotapes

Series 12.

Clippings

Card files

Concert programs

Dye destruction photoprints

Biography files

Awards

Business records

Birthday cards

Date:

circa 1790-1981

bulk 1945-1980

Scope and Contents:

This collection is primarily the work of one individual, Donald Harvey Sultner, known professionally as Donald Sultner-Welles (1914-1981). The collection forms a written and visual record of Sultner's family, life, and career from 1913-1980. Its major strength is Sultner's photographic documentation of the world during his travels, ca. 1950-1980. Work by other photographers and artists, correspondence, greeting cards, and contemporary memorabilia and ephemera are included, along with fewer than fifty examples of earlier materials, ca. 1790-1900, collected by Sultner.

The entire collection reflects Sultner's lifework and interests. Housed in @ boxes (.W cubic feet), the collection is organized into eleven series: Personal Papers; Professional Papers; Lecture Materials; Biographical Materials; Transparencies; Photoprints; Photonegatives; Prints, Drawings, Mixed Media; Audio Tapes; Miscellaneous; and Restricted Materials. The arrangement within each series is based as closely as possi-ble on Sultner's own organization of the materials. However, in several instances similar materials were found separated and have been placed together. In addition, obvious filing mistakes and spelling errors have been corrected. The spelling of geographic place names is based on Offi-cial Standard Names prepared by the U.S. Board on Geographic Names, Of-fice of Geography, U.S. Department of the Interior. Not all names given by Sultner were found in the gazetteers, so there may be errors.

The bulk of the collection consists of 2-1/4-inch by 2-1/4-inch color transparencies (Series 5). However, the manuscript materials (Series 1-4) provide a detailed complement to the transparencies. For example, from the mid-1950s until the late 1970s, Sultner kept a travel diary (Se-ries 1). Written on the backs of postcards, this stream-of-consciousness journal reflects not only his daily trips, but his impressions of the countries and thoughts on his photography. A juxtaposition of cards with images is especially useful in understanding what Sultner photographed as well as why and how he photographed it. Sultner's professional corre-spondence (Series 2) documents the various types of groups before which he performed and equipment manufacturers dealt with for cameras, projectors, and so on. Notes, drafts, and final lectures (Series 3) present the performance side of Sultner. This material, when viewed with tapes of concerts and slides, begins to recreate the photo-concert as Sultner presented it. Scrapbooks (Series 4), kept by Sultner from the 1940s to the 1980s, present Sultner's life and career in chronological fashion.

The transparency portion of the collection (Series 5), containing over 87,000 images, is especially rich because of its documentation of the countries of the world. People are seen at their daily tasks, such as washing clothes, marketing, shopping, and eating. Cities are documented as they changed over the years. Two areas in particular will be of spe-cial interest to European and Asian researchers. The first is Sultner's USIS Asian tour in 1959. He visited Japan, Java, India, Korea, the Phil-ippines, Laos, Cambodia and Vietnam. The serene, prewar cities and coun-tryside of Laos, Cambodia, and Vietnam evince nothing of the devastation to come in the 1960a and 70s.

The second area of interest is Sultner's passion for documenting archi-tecture. As a guest of the German government in 1954, Sultner documented the devastation of World War II and photographed both the reconstruction of bombed buildings and the construction of buildings reflecting "new" postwar architectural styles. In addition to photographing post-WW II styles, throughout his career Sultner documented Palladian, baroque and Rococo architecture. This interest manifested itself in several of his lectures.

A third subject area of interest to Sultner was gardens. Among his first lectures following his USIS tour was "Gardens of the World." Sultner de-veloped this theme into an ongoing commitment to ecology, culminating in a filmstrip, "The Time is Now" (Series 10), prepared for the Hudson River Conservation Society in the 1960s. Carl Carmer, a noted author, wrote the text for the filmstrip. Sultner's taped interviews, lectures, and program music (Series 9) complement the transparencies. During his USIS-sponsored Asian tour in 1959, Sultner recorded impressions of his trip on tape. Interviews with people living in the countries he visited, radio interviews, and his own personal reflections are included. Of particular interest are his "No Harm Asking" interviews in Manila (tape #2), his interview of two French hotel managers in Saigon discussing post-French control conditions (tape #9), and--perhaps the most unusual--his discussion with Erna Hanfstaengl about her personal relationship with Adolf Hitler (tape #107). Scripts for lectures (Series 3) round out the documentation of Sultner's profes-sional work.

Because of the arrangement of the transparencies, it is necessary to check several areas for the same subject. For example, Vietnam images are in the "World" section alphabetically under Vietnam (box 81). Sult-ner also lectured on Vietnam, so there are Vietnamese images in the "framed subjects" (Boxes 137-138). Another example, perhaps more compli-cated, but more common to Sultner, was his distinguishing between images of unidentified "People" and identified "Portraits." Transparency stud ies of human beings will be found under the subseries "People." "Subjects --Portraits," various countries in the subseries "World," and "Lectures." There are also individuals in the black-and-white photoprints (Series 6), and photonegatives (Series 8). The painter and print-maker Charles Shee-ler appears in a number of locations, as does tenor Roland Hayes. Another area of complexity with regard to people concerns the transparencies and negatives. Sultner interfiled his transparencies and negatives of iden-tified individuals. For appropriate storage, these two different formats have been arranged in separate series. Therefore, instead of container lists for the two series, there is a combined alphabetical index to both (pp. 166-206).

Of tangential interest are the photoprints (Series 6), etchings, wood-cuts, and other prints (Series 8) collected by Sultner. One particular subseries of interest contains photographs presented to Sultner by Asian photographers during his 1959 tour. Over 45 images were given to Sultner and represent the standards of camera-club photography in the 1950s. Thesecond subseries consists of over 25 prints by the Italian-American art-ist Luigi Lucioni (1900- ). For further information on this artist,see The Etchings of Luigi Lucioni, -A Catalogue Raisonne', by Stuart P.Embury (Washington, 1984). Lucioni also painted Sultner's portrait in1952 and the "People" section of the transparencies contains a number of images of Lucioni at work. Another significant category is the Japanese prints, including two by a major nineteenth-century artist, Ando Hiro-shige (1797-1858).

Series 11 contains restricted letters to Sultner from friends. These materials will become available to the public in the year 2031. Twenty-three document boxes of clippings and magazine articles found in standard magazines and newspapers (e.g., Time, Life, Look, Modern Ma-turity, etc.) were destroyed. These materials represented general arti--cles being published on a number of topics during Sultner's lifetime. A list of subject file headings Sultner used is with the manuscript mate-rials.

A second grouping of materials destroyed were nine filing cabinet drawers of travel material--maps, guide books, and other tourist pamphlets used by Sultner on his travels. This material, as with the first group of ma-terial, was of the common variety easily found. Any books or pamphlets found with the clippings were sorted out and sent to Smithsonian Institu-tion Libraries. Other library material that came in with the estate was sent immediately to the library and disposed of through their channels. Any office equipment, such as filing cabinets and supplies, etc., has been put to use in the National Museum of American History.

Arrangement:

Series 1: Personal Papers, 1923-1981

Series 2: Professional Papers, 1954-1980

Series 3: Lecture Materials, 1952-1980

Series 4: Biographical Materials, 1954-1980

Series 5: Transparencies, 1947-1980

Series 6: Photoprints, 1913-ca. 1980

Series 7: Photonegatives, 1929-1981

Series 8: Prints, Drawings, Mixed Media, ca. 1790-1979

Series 9: Audio Tapes, 1947-1980

Series 10: Miscellaneous, 1947-1980

Biographical / Historical:

Donald Harvey Sultner was bom in York, Pennsylvania, on April 13, 1914, the son of Lillian May Arnold Sultner and Harvey A. Sultner. In 1923 Sultner attended the Lewis Institute in Detroit, Michigan, to overcome a speech impediment. He entered the Wharton School of the University of Pennsylvania in 1932 and graduated in 1936. Sultner studied merchandising and sang in the glee club, then under the direction of composer Harl MacDonald. Sultner, a baritone, continued his interest in music and studied voice with Reinald Werrenrath and with Florence Benedict and Bruce Benjamin in New York City. In the late 1940s and early 1950s he appeared in concert with accompanists at schools, clubs, and resort hotels along the East Coast. It appears that photography was always an important part of Sultner's life. Using a small format (120) camera, he recorded his vacation travels around the United States and Canada, parties, and his family. While living in New York, Sultner continued photographing friends and family and began photographing the famous people he encountered on his concert tours. In the early 1950s he began taking 2-1/4-inch by 2-1/4-inch color transparencies (slides) of landscapes and architecture as he traveled giving concerts.

Sultner, who had taken the stage name of "Sultner-Welles," began what was to be his lifework as a professional "photo-lecturer" in 1952. He illustrated his talks on nature, art, architecture, and the environment with his color slides. In 1954 Sultner toured West Germany as a guest of the Bonn government, and in 1959 he lectured in Asia under the auspices of the U.S. State Department. He was dubbed the "camera ambassador." Constantly adding new material to his collection of slides, Sultner traveled extensively throughout the United States, speaking before garden clubs, cultural organi-zations, and schools. He also appeared aboard various ships of the Holland-America line during a number of cruises abroad.

Sultner had established his performance style by the early 1960s. He expanded his lectures to include a combination of art, words, and music. The expanded presentation resulted in the "photo-concert," a unique synthesis of light and sound that Sultner frequently per-formed with a symphony orchestra. The Baltimore Symphony Orchestra commissioned "Concertino for Camera and Orchestra" by Eric Knight with Sultner in mind. The world premiere was in Baltimore in March 1979. While he spoke on many art, garden, and architectural topics, Sultner specialized in subjects relating to the baroque and rococo periods and Palladian architecture.

Sultner died of cancer in York, Pennsylvania, on March 25, 1981, at the age of 67.

1914 -- April 13, born York, Pennsylvania.

1929 -- In Detroit at Lewis Institute to overcome a speech impediment.

1932 -- To University of Pennsylvania.

1935 -- Summer trip to Roanoke (VA), Picketts, Hershey (PA); fall trip to New England for fraternity (AXP) convention.

1936 -- Spring glee club trip; graduated from the Wharton School of the University of Pennsylvania; summer trips to Newport News (VA), northern trip to Canada, Picketts (PA).

1937 -- Fall trip to Williamsburg (VA), Duke University (NC); Sultner family begins building "Glen Hill" (Dover, PA).

1938 -- Summer at home, and Picketts (PA), Camp Pratt.

1939 -- Spring trip to Washington, D.C.; September trip to The Homestead (WV), Hot Springs (WV), Virginia; Lake Mohonk (NY).

1940 -- Summer trip to New Orleans, Blowing Rock (NC); winter trip to Skytop Club (NY); fall trip to Atlantic City (NJ), Philadelphia (PA), Annapolis (MD).

1941 -- Winter 1941-42 appearance in "Hit the Deck." Lake Mohonk (NY) with Ted Walstrum (Sept. 22-23); Skytop Club (NY) (February); summer trip to Canada, Lake Chazy (NY) (Aug. 17-23).

1942 -- Spring in Atlantic City (NJ); summer to Buck Hill Falls, Lakes Chazy and Mohonk.

1943 -- Summer trip to Mohonk (NY).

1944 -- Summer: To Toronto (Ontario), Muskoka Lake, Bigwin Island, Montreal (Quebec), Mohonk (NY).

1945 -- Summer: To Winnepesauke (ME), Woodstock (NY), Ogunquit (ME), Bridgeport (CT).

1946 -- To Mohonk (NY), Ogunquit (ME), Old Saybrook (CT), Nantucket (RI).

1947 -- Singing tour of Canada and New England; winter-spring tour to Georgia and Florida.

1948 -- To Florida and Nassau, Feb.-Mar., Vermont, July-Aug.; Nassau-Havana-Miami-Bermuda, October.

1949 -- Singing tour of North and South Carolina.

1950 -- Summer trip to South.

1951 -- To District of Columbia, Massachusetts, New Hampshire, [New Jersey?], New York, Vermont.

1952 -- January 9: first public photo-concert, Pennsylvania Academy of the Arts, Philadelphia; trips to Connecticut, Florida, Massachusetts, New Hampshire, New Jersey, New York, Rhode Island, South Carolina, Vermont.

1953 -- To Connecticut, Florida, Georgia, Massachusetts, New Hampshire, New Jersey, New York, Pennsylvania, South Carolina, Vermont.

1954 -- Guest of German government for a study tour in the fall. To District of Columbia, Florida, Georgia, Massachusetts, New Hampshire, New Jersey, New York, North Carolina, Pennsylvania, South Carolina, Virginia.

1955 -- To Holland; Connecticut, District of Columbia, Florida, Massachusetts, New Hampshire, New York, North Carolina, Pennsylvania, South Carolina, Vermont, Virginia.

1956 -- To California, District of Columbia, Florida, Georgia, Illinois, Indiana, Massachusetts, New Jersey, New York, North Carolina, Ohio, Pennsylvania, South Carolina, Tennessee, Virginia.

1957 -- Holland-America Cruise to Germany, Austria, Italy. To Connecticut, Illinois, Massachusetts, New Hampshire, New Jersey, New York, North Carolina, Ohio, Pennsylvania, Vermont, Virginia.

1958 -- Holland-America Cruises to Germany, Austria, Holland, Italy, Switzerland. To Connecticut, Florida, Georgia, Illinois, Massachusetts, Minnesota., Missouri, New Hampshire, New York, Pennsylvania, Rhode Island, South Carolina, Tennessee, Vermont, Wisconsin.

1959 -- United States Information Service (USIS)-sponsored tour of Asia: Burma, Cambodia, Hong Kong, India, Indonesia, Japan, Korea, Laos, Malaya, Philippines, Singapore, Taiwan, Thailand, Turkey, Vietnam. Also visited Austria, Czechoslovakia, Germany, Greece, Iran, Italy, Spain; Alaska, California, Massachusetts, New York, Pennsylvania.

1960 -- Holland-America Cruise to Austria, Belgium, Caribbean, France, Germany, Holland, Italy, Morocco. To Arizona, California, Florida, Indiana, Massachusetts, Minnesota, Nevada, New Hampshire, New Mexico, New York, Texas, Utah, Virginia, Washington, Wisconsin.

1961 -- To Canada, France, Germany, Switzerland; Alabama, California, Colorado, Connecticut, Florida, Georgia, Idaho, Illinois, Louisiana, Mississippi, Missouri, Montana, New Hampshire, New Jersey, New York, North Carolina, Ohio, Oregon, Pennsylvania, Rhode.Island, South Dakota, Tennessee, Utah, Vermont, Virginia, Washington, Wisconsin.

1962 -- Portfolio, "Autumn in Vermont," with introduction by Carl Carmer, published in Autumn issue of Vermont Life. Holland-America Cruise to Denmark, England, France, Germany, Holland, Italy, Sweden. To Connecticut, District of Columbia, Florida, Illinois, Iowa, Massachusetts, Michigan, New York, North Carolina, Pennsylvania, South Carolina, Vermont, Virginia.

1963 -- Holland-America Cruise to Caribbean, Canada, Sweden, Thailand. To Alabama, California, District of Columbia, Florida, Georgia, Illinois, Louisiana, Massachusetts, Minnesota Mississippi, Missouri, New Hampshire, New Jersey, N;w York, Ohio, Pennsylvania, Texas, Vermont, Virginia, Washington.

1964 -- Holland-America Cruise to Germany, Canada, England, Holland, Wales. To Delaware, District of Columbia, Indiana, Kentucky, Massachusetts, New Hampshire, New York, Ohio, Pennsylvania, Texas, Virginia.

1965 -- Holland-America Cruise to Austria, Czechoslovakia, France, Germany, Holland, Portugal, Wales. To Arkansas, Connecticut, District of Columbia, Indiana, Kentucky, New Hampshire, New York, Pennsylvania, Vermont, Virginia.

1966 -- Holland-America Cruise to Caribbean, Germany, France, Holland, Italy, Portugal, Switzerland. To New Jersey, North Carolina, Pennsylvania, South Carolina, Tennessee, Virginia.

1967 -- Holland-America Cruise to Caribbean, Austria, Denmark, England, Germany, Holland, Italy, Portugal, Sweden, Wales. To Massachusetts, New Jersey, New York, Rhode Island, Vermont, Virginia.

1968 -- To Germany; Massachusetts, New Hampshire, New Jersey, New York, Ohio, Pennsylvania, Vermont, Virginia.

1969 -- To England, France, Germany, Holland, Switzerland; Ohio, Pennsylvania, Virginia.

1970 -- Holland-America Cruise to Caribbean, Denmark, Iceland, Sweden. To Alabama, District of Columbia, Florida, Georgia, Massachusetts, New Hampshire, New York, Pennsylvania, South Carolina, Vermont, Virginia.

1971 -- Holland-America Cruise to Caribbean, Canada, Denmark, Italy, Portugal, Sweden. To Alabama, Georgia, Massachusetts, Nebraska, New Hampshire, New York, North Carolina, Pennsylvania.

1972 -- Holland-America Cruise to Asia, Pacific, Caribbean, Africa, Austria, Italy, Japan, Thailand, Turkey. To California, New Jersey, New York, Pennsylvania, Rhode Island, Virginia.

1973 -- Holland-America Cruise to Austria, Denmark, Germany, Holland, Iceland, Sweden. To California, Connecticut, District of Columbia, Massachusetts, New York, Ohio, Pennsylvania, Vermont.

1974 -- To Germany, Switzerland; California, Illinois, Massachusetts, New Jersey, New York, Ohio, Pennsylvania, Virginia.

1975 -- To Austria; California, Connecticut, District of Columbia, Massachusetts, New Jersey, New York, North Carolina, Pennsylvania, Virginia.

1976 -- To Canada; Connecticut, District of Columbia, Illinois, Iowa, Massachusetts, Missouri, Nebraska, New Mexico, New York, Ohio, Pennsylvania, Utah.

1977 -- To Canada, Germany; New York, Pennsylvania, Vermont, Virginia.

1978 -- To Scotland; Connecticut, Florida, Georgia, Kentucky, Massachusetts, New York, Pennsylvania, Rhode Island, South Carolina.

1979 -- To England; Florida.

1980 -- To Florida.

1981 -- March 25: Sultner dies of cancer, York, Pennsylania.

Introduction:

The Donald H. Sultner-Welles Collection, ca. 1790-1981, came to the National Museum of American History in 1982 from the estate of Mr. Sultner. The collection was created by Sultner over his adult life and represents one of the most extensive collections of color transparencies created by one individual and held in a public repository. Sultner's emphasis was on world culture. He took the majority of his photographs in the eastern United States, western Europe, and Asia. Gardens, architecture, and people are the three major subject areas represented in the collection. Of additional interest are Sultner's taped impressions of his 1959 United States Information Service (USIS)-sponsored Asian tour. The collection occupies 309 boxes and covers more than 83 cubic feet.

The Donald H. Sultner-Welles Collection is open to researchers in the Archives Center, third floor east, of the National Museum of American History, between 12th and 14th Streets, on Constitution Avenue, N.W., Washington, D.C. 20560. The Archives Center is open Monday through Friday from 10:00 a.m. to 5:00 p.m. Written and telephone (202/357-3270) inquiries are welcome and researchers are encouraged to contact the Archives Center before their arrival. The FAX number is 202/786-2453.

This is the eleventh in a series of occasional guides to collections in the Archives Center. Finding aids to other collections are available. The Guide to Manuscript Collections in the National Museum of History and Technology (1978) and an updated compilation contain brief descriptions of all archival holdings in the Museum. All current Archives Center holdings are available for search on the Smithsonian Institution Bibliographic Information System (SIBIS), an online database.

General:

References in notebook to tapes not located:

5/1960 Laddsl--Pasadena, CA (Thornton Ladd, Helen Peabody, me, Mrs. Ladd

5/11/1968 Glen Foerd, dinner party--F. Tonner, T[onner] tribute

List of Illustrations:

Frontispiece: Portrait of Donald Harvey Sultner-Welles by Ludwig Harren, Nuremberg, Germany, May, 1957. Series 6: Photo¬prints, box 6; Series 7: Photonegatives, 700.1.

vii Donald Sultner-Welles inspecting slides at his 2101 E. Market Street apartment. Photograph by Gretchen H. Goughnour, York, Pennsylvania, December 1958. Series 6: Photoprints, box 6, folder 5; Series 7: Photonegatives, Box 11, 696.1.

 Sultner-Welles with Rollei, Kobe, Japan, April 1959. Press photograph, photographer unknown. Series 7: Photonegatives, 687.1.

10 Americana by the Roadside" (boy with soda, Beech Creek, North Carolina). Series 5, Subseries 5: Subjects, Box 102: 6.3.

20 "Americana in Europe" (sign: "To the Elephant Kraal," South Africa). Series 5, Subseries 5: Subjects, Box 102: 6.33.

39 North Miami Beach Motel, Florida, February 1960. Series 5, Subseries 1: United States, Box 8: 9.11. SI Neg. 87-326, Videodisc Frame 2942.

40 Beech Creek, North Carolina (portrait of elderly woman), June 1956. Series 5, Subseries 1: United States, Box 28: 12.10. SI Neg. 87-327, Videodisc Frame 10156.

97 Brookgreen Sculpture Garden, South Carolina, ca. 1963. Series 5, Subseries 1: United States, Box 35.35.11. SI Neg. 87-328; Videodisc Frame 12747.

98 "Six Irrigation Paddlers Outside Hue," South Vietnam, 1959. Series 5, Subseries 2: World, Box 81: 35.11; also Series 7: Photonegatives, 658.1 (copy neg.). Videodisc Frame 27960.

151 Alkmaar Cheese Market, The Netherlands, September 1969. Series 5, Subseries 2: World, Box 70: 17.9. SI Neg. 87-329; not shown on videodisc.

152 African Cruise: Victoria Falls, Rhodesia, February 1972. Series 5, Subseries 3: Cruises, Box 83: 9.12. SI Neg. 87-330, Videodisc Frame 28344.

166 Il Galero, Italy, July 1966. Series 5, Subseries 4: European Architectural Styles, Box 99: 48.4. SI neg. 87-331.

179 "Baroque--Germany: Alterding," July 1965. Series 5, Subseries 4: European Architectural Styles, Box 94: 1.8. SI Neg. 87-332, Videodisc Frame 31310.

180 Design Elements, Hotel Fontainebleau, New Orleans,, Louisiana, April, 1961. Series 5, Subseries 5: Subjects, Box 106: 23.2. SI Neg. 87-333, Videodisc Frame 34912.

192 Charles Sheeler, ca. 1957-1965. Series 5, Subseries 9: Lectures, Box 169: 49.2. SI Neg. 87-334. Videodisc Frame 52713.

238 "Ba-Rococo," Detail, Ottobeuren Church, Bavaria. Series 5, Subseries 7: Framed Subjects, Box 141: 47.7, Videodisc Frame 45665.

276 Villa Barbaro, Maser, Treviso, Italy. Series 7. Photonegatives, 715.1. SI Neg. 87-335.

281 "Water--Economics," Storm-Damaged Beach House. Series 5, Subseries 8: Notecard Transparencies, Box 155: 22.12. SI Neg. 87-336.

282 Market in Madeira. Series 5, Subseries 9: Lectures, Box 161: 48.12. SI Neg. 87-337, Videodisc Frame 48435.

298 Children (South Carolina?). Series 5, Subseries 9: Lectures, Box 104: 17.2. SI Neg. 87-338.

311 Goethe Statue, Chicago, Illinois. Series 7: Photonegatives, 678.1.

316 Feeding Gulls, Florida. Series 7. Photonegatives, 684.1.

331 Montage for Sultner's concerts. Series 8: Prints, Drawings, Mixed Media, filing case. Series 7: Photonegatives, 740.1.

332 Sultner Showing Slides to Garden Club, Caterpillar Tractor Co. Auditorium, Dec. 1958. Photograph by Gretchen H. Goughnour, York, Penn. Series 7: Photonegatives, 690.1.

340 Montage for Sultner's concerts. Series 8: Prints, Drawings, Mixed Media, filing case. Series 7: Photonegatives, 742.1.

341 Children, Ohio (boy in box in wagon) Series 5, Subseries 9: Lectures, Box 165: 13.2; Series 7: Photonegatives, 667.4 (copy neg.)

352 Publicity/brochure photograph. Drinking cup and water, Longwood Gardens, Pennsylvania. Series 7: Photonegatives, 651.1.

353 Publicity/brochure photograph, Milles Gardens, Stockholm, Sweden. Series 7: Photonegatives, 659.1.

Restrictions:

Collection is open for research.

A small number of letters and photographs are restricted until the year 2031. Identification list in box.

Rights:

Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Topic:

Portraits -- 20th century  Search this

Lecturers  Search this

Photographers  Search this

Gardens -- Photographs -- 1300-1980  Search this

Architecture -- Photographs -- 1300-1980  Search this

Travel photography -- 1950-2000  Search this

Genre/Form:

Passports

Photographs -- Black-and-white negatives -- Acetate film

Travelogs

Receipts -- 20th century

Ephemera

Files

Filmstrips

Lecture notes

Personal papers -- 20th century

Silver-dye bleach process

Contracts

Notebooks

Prints

Press releases

Ships' passenger lists

Project files

Magnetic tapes

Posters

Postcards

Vertical files

Dye destruction process

Travel diaries

Letters (correspondence) -- 20th century.

Professional papers

Bank statements

Correspondence -- 1930-1950

Photographs -- Phototransparencies -- 20th century

Audiotapes -- 1940-1980

Series 12. -- Cibachrome (TM)

Photographs -- 20th century

Clippings

Card files

Concert programs

Dye destruction photoprints

Biography files

Awards

Business records

Birthday cards

Identifier:

NMAH.AC.0145

See more items in:

Donald H. Sultner-Welles Collection

Archival Repository:

Archives Center, National Museum of American History

EDAN-URL:

ead_collection:sova-nmah-ac-0145

Creator:

Weems, Katharine Lane, 1899-  Search this

Names:

Brookgreen Gardens  Search this

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

Cornell, Katharine, 1893-1974  Search this

Cresson, Margaret French, 1889-1973  Search this

Gildersleeve, Basil L. (Basil Lanneau), 1831-1924  Search this

Grafly, Charles, 1862-1929  Search this

Hancock, Walker Kirtland, 1901-1998  Search this

Huntington, Anna Hyatt, 1876-1973  Search this

Kroll, Leon, 1884-1974  Search this

Lane, Gardiner M., 1859-1914  Search this

Lane, Katharine Ward, 1862-1893  Search this

Manship, Paul, 1885-1966  Search this

Marans, Moissaye, 1902-1977  Search this

Monjo, Enric, 1895-1976  Search this

Putnam, Brenda, 1890-1975  Search this

Weinman, Adolph A. (Adolph Alexander), 1870-1952  Search this

Wong, Anna May, 1905-1961  Search this

Extent:

14.8 Linear feet

3 Items (rolled docs)

Type:

Collection descriptions

Archival materials

Sketchbooks

Video recordings

Place:

Saranac Lake N.Y. -- Photographs

Date:

1865-1989

Scope and Contents:

Biographical material, extensive diaries, correspondence, notes, writings, business records, sketchbooks and drawings, project files, scrapbooks, printed materials, photographs and slides, motion picture film, and videotape relating to Weem's education and career as a sculptor. Also included are ca. 1 foot of papers of Weems' aunt, watercolorist Katharine Ward Lane (1862-1893), including letters, diaries, sketchbooks and photographs.

REEL 724: Biographical sketch, 1974; letters from Frederic Bartlett, George Demetrios, Walker Hancock, Leon Kroll, Lee Lawrie, Moissaye Marans, Adolph Alexander Weinman, and others; four sketchbooks, 1954-1965, containing pencil drawings of animals; a scrapbook of clippings, 1924-1941; and printed material.

UNMICROFILMED: Biographical material includes sketches and documents, and biographical information on Weems grandfather, Basil Lanneau Gildersleeve, and father, Gardiner Lane. Diaries (74 v.), 1906-1983, contain entries relating to art studies and her development as a sculptor; some include clippings and photographs. Correspondence, 1898-1989, includes letters from Gifford Beal, Margaret French Cresson, Charles Grafly, John Gregory, Walker Hancock, Malvina Hoffman, Anna Hyatt-Huntington, Paul Manship, Brenda Putnam, Gurdon Tarbox, and Adolph Weinman, discussing Weems' work and participation in various sculpture organizations. There are four notebooks on art history; recipes for clay and plaster; notes on patinas for bronze; lecture notes; lists of Weems' works and exhibitions; an exhibition guest book, 1931-1957; poems, 1933-1981; invoices and receipts, 1919-1981; copyright records, 1928-1978; and art work, including 15 v. of sketchbooks, 1913-1964, drawings and tracings of animal figures. and a copper printing plate mounted on a wood block.

Fourteen project files contain letters, drawings, photographs, and printed material on: an enlarging machine, the Saltus Medal for Merit, the frieze and Rhinoceros sculpture for the Biological Laboratories at Harvard, 1930-1942, including 7 reels of 16mm motion picture film (with script transferred to VHS), the Lotta Fountain, 1939-1974, Legion of Merit Medal, 1949-1952, War Department project, 1946, Goodwin Medal, 1949-1952, Wallace Goodrich Plaque, 1954, Hospital Teaching Clinic, 1955, Boston Museum of Science, 1964-1965, "Dolphins by the Sea" for the New England Aquarium, 1969-1979, Heredities Limited, 1971-1974, and the Museum School, 1977.

Included are two scrapbooks, one of clippings about the work of other artists and one containing poems, clippings of landscapes, animals, works by others, and autographed photographs of actresses Katharine Cornell and Anna May Wong and sculptor Brenda Putnam. Printed material includes clippings, 1911-1989; exhibition announcements and catalogs, 1922-1981; bulletins, programs, brochures on artists, organizations, Brookgreen Gardens, and supplies; reproductions of art works, and the books, Odds Were Against Me (1985, Weems autobiography, and Enrique Monjo (1955), inscribed by Mongo.

Photographs and slides, 1902-1988, are of Weems, family members, artists Charles Grafly, Walker Hancock, and Anna Hyatt-Huntington, Weems' house "The Chimneys," her studio, gardens, animals, works of art by Weems and others, exhibit installations, and views of New York City, Washington, D.C., Monticello, the University of Virginia, and Brookgreen Gardens. Nine albums, 1920-1980, contain photographs of an art class, Weems in her studio, her home, her friends, scenic views, and works of art. Videos and film include a videotape (5 min., U-matic) of an interview of Weems; a film, "From Clay to Bronze," showing the creation of Weems' sculpture "Dark Warrier" (transferred to VHS); motion picture film of the making of the sculpture "Rhinoceros" (transferred to digital betacam, VHS and DVD), and a home movie of a day at the beach, circa 1935.

The papers' of Weems' aunt, Katharine "Kitty" Ward Lane (d. 1893), include Lane's letters, 1898-1893, to her brother (Weems' father) and to other family members; a travel diary from Germany, 1886; notes; financial records, 1891-1892; 10 sketchbooks; printed material; and photographs, 1865-1893, of Lane, early views of Saranac Lake, and 9 views of the Columbia Exposition, 1893.

Biographical / Historical:

Sculptor; Boston, Mass. Died 1989. Specialized in animal sculpture. Studied at the School of the Museum of Fine Arts, Boston under Charles Grafly, Anna Hyatt-Huntington, George Demetrios, and Brenda Putnam. She married F. Carrington Weems in 1947. Named after her aunt, watercolor painter Katharine Ward Lane, who died in 1893.

Provenance:

Material on reel 724 lent for microfilming by Weems, 1974. The four sketchbooks on reel 724 were subsequently donated in 1989. Unmicrofilmed papers were donated 1975 and 1982 by Weems, and in 1989 by her estate. Eighteen diaries (1961-1965, 1967-1976 [1969 not included], 1978, and 1981-1983) and an apppointment book for 1966 donated by the Schlesinger Library, Radcliffe College, 1991.

Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.

Occupation:

Animal sculptors -- Massachusetts -- Boston  Search this

Sculptors -- Massachusetts -- Boston  Search this

Watercolorists -- Massachusetts -- Boston  Search this

Topic:

Women sculptors -- Massachusetts -- Boston  Search this

Animal sculpture -- United States  Search this

Art -- Study and teaching -- Massachusetts -- Boston  Search this

Artists' studios -- Photographs  Search this

Genre/Form:

Sketchbooks

Video recordings

Sponsor:

Funding for the preservation and transfer of motion picture film provided by the Smithsonian Women's Committee.

Identifier:

AAA.weemkath

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-weemkath

Creator:

National Portrait Gallery  Search this

Type:

YouTube Videos

Uploaded:

2011-04-07T22:24:55.000Z

YouTube Category:

Education  Search this

Topic:

Portraits  Search this

See more by:

NatlPortraitGallery

Data Source:

National Portrait Gallery

YouTube Channel:

NatlPortraitGallery

EDAN-URL:

edanmdm:yt_jtwvOMnf2rY

Creator:

Hirshhorn Museum and Sculpture Garden  Search this

Type:

YouTube Videos

Uploaded:

2020-06-25T13:00:05.000Z

YouTube Category:

Education  Search this

Topic:

Art, modern  Search this

See more by:

hirshhornmuseum

Data Source:

Hirshhorn Museum and Sculpture Garden

YouTube Channel:

hirshhornmuseum

EDAN-URL:

edanmdm:yt_7wzXHZhVJK0

Creator:

Hirshhorn Museum and Sculpture Garden  Search this

Type:

YouTube Videos

Uploaded:

2018-09-07T19:06:17.000Z

YouTube Category:

Education  Search this

Topic:

Art, modern  Search this

See more by:

hirshhornmuseum

Data Source:

Hirshhorn Museum and Sculpture Garden

YouTube Channel:

hirshhornmuseum

EDAN-URL:

edanmdm:yt_UkAp5jzSlhI

Creator:

Hirshhorn Museum and Sculpture Garden  Search this

Type:

YouTube Videos

Uploaded:

2020-05-23T14:15:00.000Z

YouTube Category:

Education  Search this

Topic:

Art, modern  Search this

See more by:

hirshhornmuseum

Data Source:

Hirshhorn Museum and Sculpture Garden

YouTube Channel:

hirshhornmuseum

EDAN-URL:

edanmdm:yt_mkM0bBv-tIg

Creator:

Hirshhorn Museum and Sculpture Garden  Search this

Type:

YouTube Videos

Uploaded:

2020-05-13T19:54:22.000Z

YouTube Category:

Education  Search this

Topic:

Art, modern  Search this

See more by:

hirshhornmuseum

Data Source:

Hirshhorn Museum and Sculpture Garden

YouTube Channel:

hirshhornmuseum

EDAN-URL:

edanmdm:yt_uEzy5JBHlfo

Creator:

Smithsonian Magazine  Search this

Type:

YouTube Videos

Uploaded:

2011-09-23T14:58:44.000Z

YouTube Category:

Travel & Events  Search this

See more by:

SmithsonianMagazine

Data Source:

Smithsonian Magazine

YouTube Channel:

SmithsonianMagazine

EDAN-URL:

edanmdm:yt_SxCll6n5m4s

Interviewee:

Jaudon, Valerie, 1945-  Search this

Interviewer:

Berman, Avis, 1949-  Search this

Subject:

United States  Search this

Type:

Sound recordings

Interviews

Topic:

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

Record number:

(DSI-AAA_CollID)15761

(DSI-AAA_SIRISBib)287404

AAA_collcode_jaudon09

Theme:

Women

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_oh_287404

Physical Description:

paper (overall material)

Measurements:

overall: 6.4 cm x 9.1 cm x .01 cm; 2 17/32 in x 3 19/32 in x in

Object Name:

note

notgeld

Place made:

Germany: Brandenburg, Forst

Date made:

1921

Date on object:

1921-07-01

Crowdsourcing:

Transcribed by Smithsonian digital volunteers

Subject:

NNC German Notgeld  Search this

Credit Line:

Morton M. Stack

ID Number:

NU.NU59831.419

Catalog number:

NU59831.419

Accession number:

220791

See more items in:

Work and Industry: National Numismatic Collection

NNC Transcription Center German Notgeld 06

Data Source:

National Museum of American History

GUID:

http://n2t.net/ark:/65665/ng49ca746b4-c169-704b-e053-15f76fa0b4fa

EDAN-URL:

edanmdm:nmah_1912489

Published by:

Show-Down Publishing Company, American, founded 1935  Search this

Edited by:

Sally J. Cathrell Jr., American, 1913 - 1981  Search this

Written by:

Neil Lawrence  Search this

Subject of:

Ethel Waters, American, 1896 - 1977  Search this

Medium:

ink on paper with metal

Dimensions:

H x W x D (Closed): 11 1/4 × 8 13/16 × 1/16 in. (28.6 × 22.4 × 0.2 cm)

H x W x D (Open): 11 1/4 × 17 1/2 × 3/16 in. (28.6 × 44.4 × 0.4 cm)

Type:

magazines (periodicals)

Place printed:

Saint Louis, Missouri, United States, North and Central America

Date:

October 1936

Topic:

African American  Search this

Actors  Search this

Caricature and cartoons  Search this

Dance  Search this

Entertainers  Search this

Jazz (Music)  Search this

Latin jazz (Music)  Search this

Literature  Search this

Mass media  Search this

Musicians  Search this

Nightlife  Search this

Photography  Search this

Theatre  Search this

Credit Line:

Collection of the Smithsonian National Museum of African American History and Culture

Object number:

2013.46.25.77

Restrictions & Rights:

Unknown - Restrictions Possible

See more items in:

National Museum of African American History and Culture Collection

Collection title:

The Laura Cathrell Show-Down Magazine Collection

Classification:

Documents and Published Materials

Data Source:

National Museum of African American History and Culture

GUID:

http://n2t.net/ark:/65665/fd5a4bb72a7-cd51-4c59-802b-e82357bb7f8b

EDAN-URL:

edanmdm:nmaahc_2013.46.25.77

Published by:

MelPat Associates, American, 1965 - 1986  Search this

Created by:

C. Melvin Patrick, American, died 1985  Search this

Subject of:

Crispus Attucks, American, 1723 - 1770  Search this

Sojourner Truth, American, 1797 - 1883  Search this

Harriet Tubman, American, 1822 - 1913  Search this

Sarah C. Roberts, American, born 1844  Search this

Susan McKinney Steward, American, 1847 - 1918  Search this

Dred Scott, American, ca 1800 - 1858  Search this

Frederick Douglass, American, 1818 - 1895  Search this

Booker T. Washington, American, 1856 - 1915  Search this

George Washington Carver, American, 1860s - 1943  Search this

W.E.B. Du Bois, American, 1868 - 1963  Search this

Scott Joplin, American, 1867 - 1917  Search this

Marcus Garvey, Jamaican, 1887 - 1940  Search this

James Weldon Johnson, American, 1871 - 1938  Search this

Father Divine, American, ca. 1876 - 1965  Search this

A. Philip Randolph, American, 1889 - 1979  Search this

Adam Clayton Powell Jr., American, 1908 - 1972  Search this

Rosa Parks, American, 1913 - 2005  Search this

Medgar Evers, American, 1925 - 1963  Search this

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

President Lyndon Baines Johnson, American, 1908 - 1973  Search this

Mary McLeod Bethune, American, 1875 - 1955  Search this

National Association of Black Social Workers, American, founded 1968  Search this

Congressional Black Caucus, American, founded 1971  Search this

Prince Hall Freemasonry, founded 1784  Search this

National Newspaper Publishers Association, American, founded 1827  Search this

Chi Delta Mu Fraternity, Inc., American, founded 1913  Search this

National Association for the Advancement of Colored People, American, founded 1909  Search this

Lambda Kappa Mu Sorority, Inc., American, founded 1937  Search this

Shriners International, American, founded 1870  Search this

National Pan-Hellenic Council, American, founded 1930  Search this

National Dental Association, American, founded 1913  Search this

Improved Benevolent and Protective Order of the Elks of the World, American, founded 1898  Search this

Democratic Party, American, founded 1828  Search this

Republican Party, American, founded 1854  Search this

Chi Eta Phi Sorority, Inc., American, founded 1932  Search this

Zeta Phi Beta Sorority, American, founded 1920  Search this

National Association of Negro Business and Professional Women's Clubs, Inc., American, founded 1935  Search this

National United Church Ushers Association of America, Inc., American, founded 1919  Search this

Eta Phi Beta Sorority, Inc., American, founded 1943  Search this

Alpha Phi Alpha Fraternity, Inc., American, founded 1906  Search this

National Urban League, American, founded 1910  Search this

Sigma Gamma Rho Sorority, Inc., founded 1922  Search this

National Medical Association, American, founded 1895  Search this

Kappa Alpha Psi Fraternity, Inc., American, founded 1911  Search this

National Council of Negro Women, founded 1935  Search this

Daughters of Isis, American, founded 1910  Search this

Omega Psi Phi Fraternity, Inc., American, founded 1911  Search this

369th Veterans Association, American  Search this

Phi Beta Sigma Fraternity, American, founded 1914  Search this

Langston Hughes, American, 1902 - 1967  Search this

Paul Robeson, American, 1898 - 1976  Search this

Ezzard Mack Charles, American, 1921 - 1975  Search this

Medium:

ink on paper

Dimensions:

H x W x D: 10 13/16 × 8 7/16 × 3/8 in. (27.5 × 21.4 × 1 cm)

Type:

magazines (periodicals)

Place made:

Harlem, New York City, New York, United States, North and Central America

Date:

1976

Topic:

African American  Search this

Advertising  Search this

Associations and institutions  Search this

Business  Search this

Caricature and cartoons  Search this

Communities  Search this

Fraternal organizations  Search this

Fraternities  Search this

Government  Search this

HBCUs (Historically Black Colleges and Universities)  Search this

Journalism  Search this

Labor  Search this

Mass media  Search this

Men  Search this

Political organizations  Search this

Politics (Practical)  Search this

Professional organizations  Search this

Religious groups  Search this

Social life and customs  Search this

Sororities  Search this

U.S. History, 1969-2001  Search this

U.S. History, Colonial period, 1600-1775  Search this

United States History  Search this

Urban life  Search this

Women  Search this

Credit Line:

Collection of the Smithsonian National Museum of African American History and Culture, Gift of Anne B. Patrick and the family of Hilda E. Stokely

Object number:

2012.167.10

Restrictions & Rights:

Public domain

See more items in:

National Museum of African American History and Culture Collection

Classification:

Documents and Published Materials-Published Works

Data Source:

National Museum of African American History and Culture

GUID:

http://n2t.net/ark:/65665/fd5e57ffdd9-2ab1-46da-b6e7-10757007351f

EDAN-URL:

edanmdm:nmaahc_2012.167.10

Published by:

MelPat Associates, American, 1965 - 1986  Search this

Created by:

C. Melvin Patrick, American, died 1985  Search this

National Association of Market Developers, American, founded 1953  Search this

Subject of:

National Association for Equal Opportunity in Higher Education, American, founded 1969  Search this

National Urban Affairs Council, American, founded 1971  Search this

Interracial Council for Business Opportunity, American, founded 1963  Search this

Prince Hall Freemasonry, founded 1784  Search this

Chi Delta Mu Fraternity, Inc., American, founded 1913  Search this

Top Ladies of Distinction, Inc., American, founded 1964  Search this

Continental Societies, Inc., American, founded 1956  Search this

Rose Morgan, American, 1912 - 2008  Search this

William Otis Walker, American, 1896 - 1981  Search this

National Newspaper Publishers Association, American, founded 1827  Search this

African Methodist Episcopal Church, American, founded 1816  Search this

National Association for the Advancement of Colored People, American, founded 1909  Search this

Lambda Kappa Mu Sorority, Inc., American, founded 1937  Search this

The Links, Incorporated, American, founded 1946  Search this

National Association of Black Accountants, Inc., American, founded 1969  Search this

Carats, Inc., American, founded 1959  Search this

People United to Save Humanity, American, founded 1971  Search this

Alpha Kappa Alpha Sorority, Incorporated, founded 1908  Search this

Chi Eta Phi Sorority, Inc., American, founded 1932  Search this

National United Church Ushers Association of America, Inc., American, founded 1919  Search this

National Pharmaceutical Association, American, founded 1947  Search this

National Medical Association, American, founded 1895  Search this

Sigma Gamma Rho Sorority, Inc., founded 1922  Search this

Zeta Phi Beta Sorority, American, founded 1920  Search this

Alpha Phi Alpha Fraternity, Inc., American, founded 1906  Search this

Eta Phi Beta Sorority, Inc., American, founded 1943  Search this

National Association of Negro Business and Professional Women's Clubs, Inc., American, founded 1935  Search this

National Urban League, American, founded 1910  Search this

National Association of University Women, American, founded 1910  Search this

Omega Psi Phi Fraternity, Inc., American, founded 1911  Search this

Shriners International, American, founded 1870  Search this

Improved Benevolent and Protective Order of the Elks of the World, American, founded 1898  Search this

Iota Phi Lambda Sorority, Inc., American, founded 1929  Search this

Vernon Jordan, American, born 1935  Search this

National Business League, American, founded 1900  Search this

Congressional Black Caucus, American, founded 1971  Search this

Arthur Ashe Jr., American, 1943 - 1993  Search this

National Bankers Association, American, founded 1927  Search this

National Bar Association, American, founded 1925  Search this

369th Veterans Association, American  Search this

Percy Ellis Sutton, American, 1920 - 2009  Search this

Morehouse College, American, founded 1867  Search this

Joe Louis, American, 1914 - 1981  Search this

Clarence D. King, American, 1888 - 1981  Search this

Phi Beta Sigma Fraternity, American, founded 1914  Search this

National Black Veterans Association, American, founded 1974  Search this

Medium:

ink on paper

Dimensions:

H x W x D: 10 13/16 × 8 7/16 × 1/2 in. (27.5 × 21.4 × 1.3 cm)

Type:

magazines (periodicals)

Place made:

Harlem, New York City, New York, United States, North and Central America

Place depicted:

Martha's Vineyard, Oak Bluffs, Dukes County, Massachusetts, United States, North and Central America

Date:

1982

Topic:

African American  Search this

Advertising  Search this

Associations and institutions  Search this

Broadway Theatre  Search this

Business  Search this

Caricature and cartoons  Search this

Communities  Search this

Film  Search this

Fraternal organizations  Search this

Fraternities  Search this

Government  Search this

HBCUs (Historically Black Colleges and Universities)  Search this

Journalism  Search this

Labor  Search this

Mass media  Search this

Men  Search this

Political organizations  Search this

Politics (Practical)  Search this

Professional organizations  Search this

Religious groups  Search this

Social life and customs  Search this

Sororities  Search this

U.S. History, 1969-2001  Search this

Urban life  Search this

Women  Search this

Credit Line:

Collection of the Smithsonian National Museum of African American History and Culture, Gift of Anne B. Patrick and the family of Hilda E. Stokely

Object number:

2012.167.16

Restrictions & Rights:

Public domain

See more items in:

National Museum of African American History and Culture Collection

Classification:

Documents and Published Materials-Published Works

Data Source:

National Museum of African American History and Culture

GUID:

http://n2t.net/ark:/65665/fd595b77a5e-4524-45a5-90d3-81855fc7528c

EDAN-URL:

edanmdm:nmaahc_2012.167.16

Published by:

MelPat Associates, American, 1965 - 1986  Search this

Created by:

C. Melvin Patrick, American, died 1985  Search this

Medium:

ink on paper

Dimensions:

H x W x D: 10 13/16 × 8 7/16 × 9/16 in. (27.5 × 21.4 × 1.5 cm)

Type:

magazines (periodicals)

Place made:

Harlem, New York City, New York, United States, North and Central America

Place depicted:

Houston, Harris County, Texas, United States, North and Central America

San Francisco, California, United States, North and Central America

Oakland, Alameda County, California, United States, North and Central America

Martha's Vineyard, Oak Bluffs, Dukes County, Massachusetts, United States, North and Central America

Date:

1984

Topic:

African American  Search this

Advertising  Search this

Associations and institutions  Search this

Business  Search this

Caricature and cartoons  Search this

Communities  Search this

Dance  Search this

Fraternal organizations  Search this

Fraternities  Search this

Government  Search this

Hollywood (Film)  Search this

Journalism  Search this

Labor  Search this

Mass media  Search this

Men  Search this

Olympics  Search this

Political organizations  Search this

Politics (Practical)  Search this

Professional organizations  Search this

Religious groups  Search this

Social life and customs  Search this

Sororities  Search this

U.S. History, 1969-2001  Search this

Urban life  Search this

Women  Search this

Credit Line:

Collection of the Smithsonian National Museum of African American History and Culture, Gift of Anne B. Patrick and the family of Hilda E. Stokely

Object number:

2012.167.18

Restrictions & Rights:

Public domain

See more items in:

National Museum of African American History and Culture Collection

Classification:

Documents and Published Materials-Published Works

Data Source:

National Museum of African American History and Culture

GUID:

http://n2t.net/ark:/65665/fd5a99826b2-563a-492a-9d22-e03c2c02f99c

EDAN-URL:

edanmdm:nmaahc_2012.167.18

Interviewee:

Jaudon, Valerie, 1945-  Search this

Interviewer:

Berman, Avis  Search this

Creator:

United States. General Services Administration. Design Excellence and the Arts Oral History Project  Search this

Names:

United States. General Services Administration. Design Excellence and the Arts Oral History Project  Search this

Extent:

3 Items (Sound recording, master: 3 WMA files (5 hr., 43 min.), digital, 2 5/8 in.)

95 Pages (Transcript)

Type:

Collection descriptions

Archival materials

Pages

Sound recordings

Interviews

Date:

2009 Oct. 8-Dec. 22

Scope and Contents:

An interview of Valerie Jaudon conducted 2009 Oct. 8-Dec. 22, by Avis Berman, for the Archives of American Art's U.S. General Services Administration, Design Excellence and the Arts oral history project, at Jaudon's studio, in New York, N.Y.

Jaudon speaks of her family and early life in Greenville, MS; her early interactions with visual art; her education at Mississippi University for Women in Columbus and Memphis Academy of Art in Tennessee; her time as an art student at University of the Americas in Mexico City and at St. Martin's School of Art in London; her early career as an artist in New York City and her work for the architecture firm of Romaldo Giurgola; her involvement with the pattern painting and feminist art movements of the mid-1970s; her experience of being represented by dealers Holly Solomon and Sidney Janis; the artistic influences in her paintings and their formal development from the early 1970s to the present; commissioned works and installations for private and public spaces, including "Long Division" (1988), for the 23rd St. and Lexington Ave. subway station in New York City; "Reunion" (1989), for the Police Plaza at the Municipal Building in New York City; "Free Style" (1989), for the Athletic and Swim Club at the Equitable Center in New York City; "Pilot" (1989), for the City Hall in Atlanta, GA; "Eastern Standard" (1991), for the Rudin Building in New York City; "Refraction" (1994), for Staten Island College in New York City; "Blue Pools Courtyard" (1993), for the Birmingham Museum of Art in Alabama; "Solstice" (1996), at Ronald Reagan Washington National Airport; "Measure for Measure" (1999), at the Städel Museum in Frankfurt, Germany; and her two GSA commissions: "Portal South, Portal North" (2002), for the Federal Courthouse in Jacksonville, FL; and "Filippine Garden" (2004), for the Thomas Eagleton Courthouse in St. Louis, MO. Jaudon also recalls the following individuals: Lawrence Alloway, Frank Auerbach, Gillian Ayres, Francis Bacon, Jim Balsley, Edward Larrabee Barnes, Lynda Benglis, Bruno Bischofberger, Scott Burton, Anthony Caro, Leo Castelli, Martin Craig, Louise Deutschman, John Duff, Thomas Francis Eagleton, Edward Louis Filippine, Eric Fischl, Conrad Fisher, James Ingo Freed, Lucian Freud, Jennifer Gibson, Françoise Gilot, Mitchell Giurgola, Paola Giurgola, Barbara Gladstone, Amy Goldin, Eugene Goossens, Frederick Gore, Dan Graham, Marcia Hafif, Lindsay Hannich, Al Held, Eva Hesse, Peter Howard, Carroll Janis, Harriet Janis, Neil Jenney, Jasper Johns, Louis Kahn, Richard Kalina, Allan Kaprow, Ivan Karp, Jane Kaufman, Willem de Kooning, Leon Kossoff, Joyce Kozloff, Cynthia Krauss, Sol Lewitt, Dorothy Lichtenstein, Roy Lichtenstein, Bob Loeb, Morris Louis, Kim MacConnel, Brice Marden, Gabriel Mayer, Ronay Menschel, Stephen Miotto, Mary Miss, Piet Mondrian, Henry Mundy, Betty Parsons, Cesar Pelli, Larry Poons, Tony Robin, Dorothea Rockburne, Randy Rosen, Aldo Rossi, Jonas Salk, Miriam Schapiro, Bernard Schmalenbach, Alfred Schmela, George Segal, Helen Segal, Rena Segal, Richard Serra, Ned Smyth, Horace Solomon, Pari Stave, Frank Stella, Gary Stephan, Margret Stuffmann, Robert Venturi, Joan Ward, Andy Warhol, Tom Wesselmann, Isabel Wilson, Mario Yrisarry, Robert Zakanitch, Barbara Zucker; and others.

Biographical / Historical:

Valerie Jaudon (1945- ) is a feminist artist in New York, N.Y. She is known for her postminimal paintings and public art works.

Provenance:

This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.

Topic:

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

Genre/Form:

Sound recordings

Interviews

Sponsor:

Funding for this interview was provided by the U.S. General Services Administration, Design Excellence and the Arts.

Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service.

Identifier:

AAA.jaudon09

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-jaudon09

Provenance:

Cedar Rapids Garden Club  Search this

Collection Creator:

Garden Club of America  Search this

Type:

Archival materials

Place:

Cottage-in-the-Meadow Gardens (South Amana, Iowa)

United States of America -- Iowa -- Iowa County -- South Amana

Scope and Contents:

The folder includes a work sheet, garden plans, a detailed narrative history and description of the garden, and photo copies of articles.

General:

There are at least ten distinct gardens on this ¾ acre property, originally part of the Amana colonies of Iowa, now owned by descendants of one of the families from the Community of True Inspiration. Members of the religious community emigrated from Germany in the 1800's, bringing with them seeds for some vegetable varieties that are still being grown here. Their brick house was built in 1900 and has a distinctive style of trellises originally used to support grapevines since the community grew only consumable fruits and vegetables, not ornamentals. A cottage on this property built in 1850 was used as a daycare center for the children; now it is a toolshed with a cottage garden enclosed by an authentic reproduction of an earlier picket fence. The property is in a valley with rich, fertile soil, skillfully tended by the owners who maintain a one hundred year old asparagus bed, an ivy garden grown from a cutting in her bridal bouquet, and trees as well as hedges of flowering shrubs grown from cuttings. An enormous vegetable garden produces fresh food, food that is preserved for the rest of the year, and seeds for their heirloom vegetable seed bank. More than 300 different varieties of plants are grown including perennials, bulbs, ornamental grasses, flowering vines, and foliage container plants arranged for texture and color impact. Three scallop-shaped flower beds that feature red salvia and mixed borders are edged with rocks collected on vacations by a previous generation of owners. A small lath outbuilding is nearly smothered in fall by sweet autumn clematis. Another flower garden grows on the site of an earlier chicken house. Among the fruit and nut trees in a small orchard there is an apple tree grown from a culture from a tree planted by Johnny Appleseed.

There is a division of labor in this garden: she grows the vegetables and passes along recipes while he grows ornamentals. He is also a historian who contributes garden-related postings to websites, on topics ranging from how to add a gnome feature, the virtues of growing fritillaries (deer avoid it), and successful groupings of ornamentals with similar horticultural requirements. His book, "Gardening the Amana Way," was published by the University of Iowa Press in 2013.

Related Materials:

Cottage-in-the-Meadow Gardens related holdings consist of 2 folders (9 35 mm. slides; 1 PDF)

See others in:

American Gardens collection, ca. 1920-[ongoing].

Collection Restrictions:

Access to original images 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.

Topic:

Gardens -- Iowa -- South Amana  Search this

Collection Citation:

Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.

Identifier:

AAG.GCA, File IA014

See more items in:

The Garden Club of America collection

The Garden Club of America collection / Series 1: United States Garden Images / Iowa

Archival Repository:

Archives of American Gardens

EDAN-URL:

ead_component:sova-aag-gca-ref6560

Series Creator:

Warshaw, Isadore, 1900-1969  Search this

Container:

Box 12

Type:

Archival materials

Photographs

Date:

undated

Series Restrictions:

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

Series Rights:

Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Series Citation:

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

Sponsor:

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

See more items in:

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

Warshaw Collection of Business Americana, Series 2: Other Collection Divisions / 2.6: Stereographs

Archival Repository:

Archives Center, National Museum of American History

EDAN-URL:

ead_component:sova-nmah-ac-0060-s02-ref3097

Creator:

Warshaw, Isadore, 1900-1969  Search this

Extent:

4.06 Cubic feet (consisting of 7 boxes, 1 folder, 57 oversized folders, 1 flat box (partial).)

Type:

Collection descriptions

Archival materials

Business ephemera

Ephemera

Date:

circa 1841-1976

Summary:

A New York bookseller, Warshaw assembled this collection over nearly fifty years. The Warshaw Collection of Business Americana: Calendars forms part of the Warshaw Collection of Business Americana, Subseries 1.1: Subject Categories. The Subject Categories subseries is divided into 470 subject categories based on those created by Mr. Warshaw. These subject categories include topical subjects, types or forms of material, people, organizations, historical events, and other categories. An overview to the entire Warshaw collection is available here: Warshaw Collection of Business Americana

Scope and Contents:

This material consists primarily of calendars. There are various types including centennial, gorham, perpetual, religious, advertising and art calendars. Calendars were heavily used as an advertising medium for various businesses. Such companies included manufacturers and dealers of pianos, furniture, ladies' and men's furnishings, proprietary medicines, carpets, fertilizers, teas, meats, soaps, threads and stationery. Insurance companies also tended to use calendars as a form of advertising. A number of the calendars were supplements to newspapers and periodicals. A few have been cut off saving just the images. Visual images of society women, women in sports, children, the four seasons, romance, animals and war were often used.

The Swift Company which made a variety of products including soap, meat and oleomargine produced calendars for 1918 and 1919 with images of World War I on the front. The reverse side contained useful information about some aspect of the war. War images include soldiers leaving love ones, sailors, Red Cross nurses and military women. Information on war gardening, preserving food, garments made by red cross workers, U.S.Navy vessels and U. S. airplanes and insignia for army marine and navy men is included on the reverse of these images. Other calendars include useful information on childhood safety (1959), history of the railroads and progress of the nineteenth century (Grand Union Tea Company, 1901).

There are a number of calendars in foreign languages including Spanish, French and German. These calendars also contain useful information. For example, a calendar published in Munich, Germany (1914) included the German coat of arms and each day had either the name of a saint or a holiday.

Other materials include correspondence, bills/receipts, printed advertisements, articles, pamphlets and books. Publications discuss issues such as calendar reform, invention of calendars and comparisons of calendars with chronologies. The bulk of the material is late nineteenth century.

The material in boxes one through six consists of dated calendars and is organized chronologically. Box six also contains perpetual calendars, advertisements for calendars and calendar plates. Box seven includes foreign calendars, religious calendars and publications mostly relating to calendar reform. Check other subject categories for additional calendars.

Materials in the Archives Center:

Archives Center Collection of Business Americana (AC0404)

Forms Part Of:

Forms part of the Warshaw Collection of Business Americana.

Series 1: Business Ephemera

Series 2: Other Collection Divisions

Series 3: Isadore Warshaw Personal Papers

Series 4: Photographic Reference Material

Provenance:

Calendars is a portion of the Business Ephemera Series of the Warshaw Collection of Business Americana, Accession AC0060 purchased from Isadore Warshaw in 1967. Warshaw continued to accumulate similar material until his death, which was donated in 1971 by his widow, Augusta. For a period after acquisition, related materials from other sources (of mixed provenance) were added to the collection so there may be content produced or published after Warshaw's death in 1969. This practice has since ceased.

Restrictions:

Collection is open for research. Some items may be restricted due to fragile condition.

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.

Genre/Form:

Business ephemera

Ephemera

Citation:

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

Sponsor:

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

Identifier:

NMAH.AC.0060.S01.01.Calendars

See more items in:

Warshaw Collection of Business Americana Subject Categories: Calendars

Archival Repository:

Archives Center, National Museum of American History

EDAN-URL:

ead_collection:sova-nmah-ac-0060-s01-01-calendars