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Creator:

Smithsonian Magazine  Search this

Type:

Blog posts

Smithsonian staff publications

Blog posts

Published Date:

Wed, 23 Jun 2021 13:00:00 +0000

Topic:

Custom RSS  Search this

See more posts:

Smithsonian Article Database

Data Source:

Smithsonian Magazine

EDAN-URL:

edanmdm:posts_f41a4d025bab82e60d9919b062dd6679

Creator:

Keller, Charles, 1914-  Search this

Keller, Charles, 1914-  Search this

Subject:

Sternberg, Harry  Search this

Kent, Rockwell  Search this

Reinhardt, Ad  Search this

White, Charles  Search this

Artists League of America  Search this

United American Artists  Search this

United States. Public Buildings Administration. Section of Fine Arts  Search this

Workshop of Graphic Art (New York, N.Y.)  Search this

Young American Artists Association  Search this

Type:

Video recordings

Topic:

Graphic arts  Search this

Political cartoons  Search this

Theme:

Lives of American Artists  Search this

Record number:

(DSI-AAA_CollID)5645

(DSI-AAA_SIRISBib)208479

AAA_collcode_kellchar

Theme:

Lives of American Artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_208479

Creator:

Karp, Ivan C., 1926-2012  Search this

O.K. Harris Gallery (New York, N.Y.)  Search this

Names:

Baeder, John  Search this

Butterfield, Deborah, 1949-  Search this

Castanis, Muriel, 1926-2006  Search this

Celender, Don, 1931-2005  Search this

Clarke, John Clem, 1937-  Search this

De Andrea, John, 1941-  Search this

Dufresne, Leonard, 1941-  Search this

Goings, Ralph  Search this

Grinder, Robert  Search this

Hanson, Duane  Search this

Kacere, John C., 1920-1999  Search this

Karp, Marilynn Gelfman  Search this

McLean, Richard Thorpe, 1934-  Search this

Rohm, Robert  Search this

Salt, John, 1937-  Search this

Wesselmann, Tom, 1931-2004  Search this

Extent:

80.3 Linear feet

80.3 Linear feet

Type:

Collection descriptions

Archival materials

Photographs

Prints

Diaries

Date:

1960-2014

1960-2014

Summary:

The Ivan C. Karp papers and OK Harris Works of Art gallery records measure 80.3 linear feet and are dated 1960-2014. The collection documents the operation and activities of the contemporary art gallery founded by Ivan C. Karp in the SoHo area of Manhattan. Exhibition files, artist files, printed material and photographic materials reveal the wide range of artists represented by OK Harris and the gallery's role in introducing Photo-realism to the public. Aso included are administrative files, prints by OK Harris artists, business and personal correspondence, 39 journals by Karp spanning a period of 62 years, and other personal papers. Material pre-dating the 1969 establishment of OK Harris Works of Art consists of printed items and a few letters.

Scope and Contents:

The Ivan C. Karp papers and OK Harris Works of Art gallery records measure 80.3 linear feet and are dated 1960-2014. The collection documents the operation and activities of the contemporary art gallery founded by Ivan C. Karp in the SoHo area of Manhattan. Exhibition files, artists' files, printed material, and photographic materials reveal the wide range of artists represented by OK Harris and the gallery's role in introducing Photo-realism to the public. Also included are administrative files, prints by OK Harris artists, business and personal correspondence, 39 journals by Karp spanning a period of 62 years, and other personal papers. Material pre-dating the 1969 establishment of OK Harris Works of Art consists of printed items and a few letters.

Correspondence, both professional and personal, is with museums, galleries, art dealers, art collectors, and graduate students. Artists John Baeder, Deborah Butterfield, John Clem Clarke, John DeAndrea, Jim Dine, Leonard Dufresne, Robert Ginder, Ralph Goings, Duane Hanson, Richard McLean and Tom Wesselmann are among the correspondents.

Admininstrative files concern the daily operation of OK Harris Works of Art. Included are instructions regarding administrative functions and forms for routine activities to enable employees to conduct business in Ivan Karp's absence. Along with files about other items occasionally sold at the gallery, there are files about projects of interest to the Karps, sample announcements, invitations, and advertisements.

Exhibition files document group shows, collectibles and antique exhibitions, summer invitationals, and special event exhibitions at OK Harris Works of Art. The files include photographs and slides, schedules, lists of titles and prices, artists' resumes, installation layouts, reviews and publicity materials, and other items.

Artist files constitute the largest series in the collection at 34 linear feet, and document the gallery's relationships with artists throughout its 45 year history. Files are comprised of biographical information, correspondence, notes, publicity and other printed material (including a few items pre-dating the gallery). Among the many transactions recorded are arrangements for and documentation of solo exhibitions at OK Harris. There are photographs, slides and color transparencies of individual works, and some views of exhibition installations. John Baeder, Muriel Castanis, Don Celender, Ralph Goings, John Kacere, Richard McLean, Robert Rohm and John Salt are among the most extensively documented artists.

Printed material produced by OK Harris Works of Art includes exhibition catalogs, exhibition announcements, invitations, checklists, price lists posters, and notices of gallery sponsored events and activities. Printed material from other sources consists of exhibition reviews, articles about Ivan and Marilynn Karp, OK Harris Works of Art, and the gallery's artists. These appeared in art and mainstream periodicals, newspapers, exhibition catalogs, and books. Also found are posters, reproductions of artwork, and miscellaneous printed items. Artwork consists of 40 prints by artists affiliated with OK Harris. Most are signed; 2 are black and white prints, the remainder are color lithographs. Included is Radical Realism I, a set of 6 prints issued by Mother Lode Editions, 1972.

Thirty-two linear feet of photographs, negatives, slides, transparencies and digital images are of artwork by OK Harris artists, exhibition installation views, and miscellaneous subjects. Photographs of artwork by 59 OK Harris artists are found in binders called "Artists' Photo Books." Installation views of exhibitions held at OK Harris Works of Art during its 45 year history fill 61 binders. Miscellaneous subjects include OK Harris office space, galleries and staff. Also found are photographs of group shows, art fairs, and gallery artists' exhibitions at other venues.

The Ivan C. Karp personal papers include obituaries from print and internet sources along with other biographical information, published versions of brief interviews conducted for various purposes, writings, a few materials relating to business and academic activities, and some personal photographs. Journals, 1950-2012 (bulk 1991-2012) record travel, daily activities, and reflections.

Arrangement:

This collection is arranged in 8 series:

Series 1: Correspondence, 1960-2013 (Boxes 1-2B; 2.4 linear feet)

Series 2: Administrative Files, 1969-2014 (Box 3; 0.7 linear feet)

Series 3: Exhibition Files, 1969-2014 (Boxes 3-4; 1.2 linear feet)

Series 4: Artist Files, 1967-2014 (Boxes 4-38, 80; 34 linear feet)

Series 5: Printed Material, 1963-2014 (Boxes 38-44, 80, OV 88 - OV 90; 5.2 linear feet)

Series 6: Artwork, 1970s-circa 1980 (Box 44, OV 81-OV 87; 0.8 linear feet)

Series 7: Photographic Materials, 1960s-2014, bulk 1969-1999 (Boxes 44-76; 32 linear feet)

Series 8: Ivan C. Karp Personal Papers, 1961-2012 (Boxes 76-79; 4 linear feet)

Historical note:

OK Harris Works of Art specialized in a wide range of contemporary art and was known for its early support of Photo-realism. When it opened in 1969, the gallery was one of the first to operate in the SoHo area of Manhattan and its presence helped shape the neighborhood's development into a vibrant arts district.

Ivan C. Karp (1926-2012), the founder of OK Harris Works of Art, established a reputation in the art world while co-director of Leo Castelli Gallery from 1959-1969. He is credited with launching the careers of Pop artists such as Andy Warhol, Roy Lichtenstein, Robert Rauschenberg, John Chamberlain, Tom Wesselmann, and Claes Oldenburg. Karp wrote, published, and lectured extensively on art and the art business. He was the author of a romantic novel about New York life, Doobie Doo (published in 1965, front cover by Roy Lichtenstein, back cover by Andy Warhol) and his short stories were published in literary reviews. Karp was actively involved in architectural preservation efforts in New York City. As President of the Anonymous Arts Recovery Society, he rescued and stored cornices, capitals, portals, columns and other architectural fragments of historical and aesthetic interest from demolition sites. Many are displayed in his Anonymous Arts Museum, Charlotteville, NY and some became part of a sculpture garden that Karp donated to the Brooklyn Museum of Art.

While Leo Castelli Gallery was closed for summer vacations in 1963 and 1964, Karp ran his own contemporary art gallery in Provincetown. He named it OK Harris, a name he thought suggestive of a colorful, very American character. A few years later, Karp opened OK Harris Works of Art in SoHo where a portrait of a bearded man titled "Oscar Klondike Harris" hung in his office. "Mr. Harris" frequently assumed blame for delays, rejections and other unwelcome news or decisions. OK Harris Works of Art (first at 469 West Broadway and later at 383 West Broadway) was a 10,000 square foot ground-floor space where as many as six concurrent solo exhibitions were presented every six weeks. The goal was "to exhibit the broadest spectrum of the most adventuresome art being offered" and the focus was on emerging artists, many of them unknown. In addition to being at the forefront of the Photo-realist movement in 1969, OK Harris Works of Art was the first gallery to exhibit the work of Duane Hanson, Deborah Butterfield, Manny Farber, Richard Pettibone, Robert Cottingham, Robert Bechtle, Marilyn Levine, Nancy Rubins, Malcolm Morley, Luis Jiminez, Jake Berthot, Jack Goldstein, Porfirio DiDonna, and Al Souza.

An approachable, friendly man who enjoyed sharing his knowledge, Karp usually sat at the gallery's front desk and was available to all. Unlike many dealers, he was willing to look at and discuss artists' slides, offered encouragement, and often followed up with studio visits.

At his request, Marilynn Gelfman Karp became gallery director after her husband's death in 2012. She ran the business with gallery staff including Ivan's oldest son, Ethan. Following Ivan's guidelines, OK Harris Works of Art closed with a gala celebration 2014 for all the gallery's artists, collectors and friends.

Related Materials:

Also found in the Archives of American Art are oral history interviews with Ivan C. Karp conducted by Richard Brown Baker, 1963 October 18; by Paul Cummings, 1969 March 12; and by Ronny Cohen, 1986 April 17-1988 October 18. The Marilynn Gelfman Karp Collection of Ephemera owned by the New-York Historical Society includes OK Harris printed material, prints, and posters.

Provenance:

Marilynn Karp, wife of Ivan C. Karp, donated scattered papers in 2011 and 2013, and the bulk of the collection in 2014.

Restrictions:

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

Rights:

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

Topic:

Photo-realism  Search this

Function:

Art galleries, Commercial -- New York (State)

Genre/Form:

Photographs

Prints

Diaries

Citation:

Ivan C. Karp papers and OK Harris Works of Art gallery records, 1960-2014. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.okharr

See more items in:

Ivan C. Karp papers and OK Harris Works of Art gallery records

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-okharr

Collection Creator:

Fisch, Arline M.  Search this

Extent:

1.4 Linear feet (Boxes 3-4, 11)

Type:

Archival materials

Date:

1956-2010

Scope and Contents:

This series includes project files for an advertising campaign for the Aluminum Company of America, writings and lectures, a cataloging project for Long House Reserve, commercial ventures, curriculum development at Boston University, grants, the installation of Hanging Gardens, the Nanette L. Laitman oral history project, a seminar on traditional Islamic crafts, and workshops for the Crafts Council of Australia and others.

Writing projects include published and unpublished drafts of articles and essays, correspondence and manuscripts for Fisch's book titled Textile Techniques in Metal for Jewelers, Sculptors, and Textile Artists, and her contributions to books for the Penland School of Crafts and the Object: USA book/exhibition project. Fisch received several grants from organizations such as the National Endowment for the Arts and the Fulbright Program to conduct metal workshops, to lecture and teach in Europe and South America, and to develop customs regulations for craft objects. The request to change customs regulations was sent to the Congressional Arts Caucus, but the project was terminated in 1983 with no actions taken.

Collection Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Use of archival audiovisual recordings and born-digital records with no duplicate copies requires advance notice.

Collection Rights:

Arline M. Fisch retains copyright for the manuscript for the 2nd edition of her book Textile Techniques in Metal for Jewelers, Sculptors, and Textile Artists (New York: Van Nostrand Reinhold, c. 1975) and notes for the first edition.

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

Collection Citation:

Arline M. Fisch papers, 1931-2015. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.fiscarli, Series 5

See more items in:

Arline M. Fisch papers

Archival Repository:

Archives of American Art

EDAN-URL:

ead_component:sova-aaa-fiscarli-ref5

Collection Creator:

Fisch, Arline M.  Search this

Container:

Box 3, Folder 30

Type:

Archival materials

Date:

2002-2010

Collection Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Use of archival audiovisual recordings and born-digital records with no duplicate copies requires advance notice.

Collection Rights:

Arline M. Fisch retains copyright for the manuscript for the 2nd edition of her book Textile Techniques in Metal for Jewelers, Sculptors, and Textile Artists (New York: Van Nostrand Reinhold, c. 1975) and notes for the first edition.

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

Collection Citation:

Arline M. Fisch papers, 1931-2015. Archives of American Art, Smithsonian Institution.

See more items in:

Arline M. Fisch papers

Arline M. Fisch papers / Series 5: Project Files

Archival Repository:

Archives of American Art

EDAN-URL:

ead_component:sova-aaa-fiscarli-ref62

Collection Creator:

Biddle, Livingston, 1918-2002  Search this

Container:

Box 15, Folder 23-25

Type:

Archival materials

Date:

circa 1960

Collection Restrictions:

Use of original papers requires an appointment and is limited to the Washington, D.C. Research Center. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.

Collection Rights:

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

Collection Citation:

Livingston L. Biddle, Jr. papers, circa 1940-2002. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Smithsonian Institution Collections Care and Preservation Fund

See more items in:

Livingston L. Biddle, Jr. papers

Livingston L. Biddle, Jr. papers / Series 4: Writings / Short Stories

Archival Repository:

Archives of American Art

EDAN-URL:

ead_component:sova-aaa-biddlivi-ref190

Collection Creator:

Madsen, Loren, 1943-  Search this

Extent:

0.17 Gigabytes (39 computer files)

Container:

Folder ER25

Type:

Archival materials

Gigabytes

Date:

2009-2017

Collection Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Use of electronic records with no duplicate access copies requires advance notice.

Collection Citation:

Loren Madsen papers, 1969-2019. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of the collection was provided by Gerald and Bente Buck.

See more items in:

Loren Madsen papers

Loren Madsen papers / Series 1: Project and Exhibition Files / 1.1: Exhibition Files

Archival Repository:

Archives of American Art

EDAN-URL:

ead_component:sova-aaa-madslore-ref197

Collection Creator:

Madsen, Loren, 1943-  Search this

Container:

Box 1, Folder 22

Type:

Archival materials

Date:

1978-1979

Collection Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Use of electronic records with no duplicate access copies requires advance notice.

Collection Citation:

Loren Madsen papers, 1969-2019. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of the collection was provided by Gerald and Bente Buck.

See more items in:

Loren Madsen papers

Loren Madsen papers / Series 1: Project and Exhibition Files / 1.1: Exhibition Files

Archival Repository:

Archives of American Art

EDAN-URL:

ead_component:sova-aaa-madslore-ref30

Subseries Creator:

Scurlock Studio (Washington, D.C.)  Search this

Scurlock, Robert S. (Saunders), 1917-1994  Search this

Custom Craft  Search this

Scurlock, Addison N., 1883-1964  Search this

Scurlock, George H. (Hardison), 1919-2005  Search this

Container:

Box 75

Type:

Archival materials

Subseries Restrictions:

Collection is open for research.

Gloves must be worn when handling unprotected photographs and negatives. Special arrangements required to view negatives due to cold storage. Using negatives requires a three hour waiting period. Contact the Archives Center at 202-633-3270.

Subseries Rights:

When the Museum purchased the collection from the Estate of Robert S. Scurlock, it obtained all rights, including copyright. The earliest photographs in the collection are in the public domain because their term of copyright has expired. The Archives Center will control copyright and the use of the collection for reproduction purposes, which will be handled in accordance with its standard reproduction policy guidelines. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Subseries Citation:

Scurlock Studio Records, Archives Center, National Museum of American History. Smithsonian Institution

Sponsor:

The collection was acquired with assistance from the Eugene Meyer Foundation. Elihu and Susan Rose and the Save America's Treasures program, provided funds to stabilize, organize, store, and create digital surrogates of some of the negatives. Processing and encoding funded by a grant from the Council on Library and Information Resources.

See more items in:

Scurlock Studio Records, Subseries 4.1: Black-and-White Silver Gelatin Negatives

Scurlock Studio Records, Subseries 4.1: Black-and-White Silver Gelatin Negatives / 4.1: Black-and-White Silver Gelatin negatives

Archival Repository:

Archives Center, National Museum of American History

EDAN-URL:

ead_component:sova-nmah-ac-0618-s04-01-ref2544

Photographer:

Scurlock, Addison N., 1883-1964  Search this

Names:

Miller, Kelly, 1863-1939  Search this

Subseries Creator:

Scurlock Studio (Washington, D.C.)  Search this

Scurlock, Robert S. (Saunders), 1917-1994  Search this

Custom Craft  Search this

Scurlock, Addison N., 1883-1964  Search this

Scurlock, George H. (Hardison), 1919-2005  Search this

Extent:

2 Items

Container:

Box 88

Culture:

African Americans -- Washington (D.C.)  Search this

Type:

Archival materials

Photographs

Place:

Washington (D.C.) -- African Americans

Date:

[ca. 1909]

Scope and Contents:

Additional prints in Box 1.1.A4, one of which has caption, "Prof. Kelly Miller in his garden on Howard Place, N.W."

Biographical / Historical:

Miller was Head, Dept. of Education, College of Liberal Arts, and Dean of the Graduate School, Howard University. His residence was the southeast corner of Third and Bryant St., N.W. (the house existed until ca. 1960). (From Ivary L. Doles, 11/17/05.)

Subseries Restrictions:

Collection is open for research.

Gloves must be worn when handling unprotected photographs and negatives. Special arrangements required to view negatives due to cold storage. Using negatives requires a three hour waiting period. Contact the Archives Center at 202-633-3270.

Subseries Rights:

When the Museum purchased the collection from the Estate of Robert S. Scurlock, it obtained all rights, including copyright. The earliest photographs in the collection are in the public domain because their term of copyright has expired. The Archives Center will control copyright and the use of the collection for reproduction purposes, which will be handled in accordance with its standard reproduction policy guidelines. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Topic:

Gardening -- Washington (D.C.)  Search this

Genre/Form:

Photographs -- 1900-1910 -- Black-and-white negatives -- Acetate film

Subseries Citation:

Scurlock Studio Records, Archives Center, National Museum of American History. Smithsonian Institution

Sponsor:

The collection was acquired with assistance from the Eugene Meyer Foundation. Elihu and Susan Rose and the Save America's Treasures program, provided funds to stabilize, organize, store, and create digital surrogates of some of the negatives. Processing and encoding funded by a grant from the Council on Library and Information Resources.

See more items in:

Scurlock Studio Records, Subseries 4.1: Black-and-White Silver Gelatin Negatives

Scurlock Studio Records, Subseries 4.1: Black-and-White Silver Gelatin Negatives / 4.1: Black-and-White Silver Gelatin negatives

Archival Repository:

Archives Center, National Museum of American History

EDAN-URL:

ead_component:sova-nmah-ac-0618-s04-01-ref2835

Photographer:

Scurlock Studio (Washington, D.C.)  Search this

Creator:

Ansco (film manufacturer)  Search this

Names:

Howard University -- 1960-1970  Search this

Subseries Creator:

Scurlock Studio (Washington, D.C.)  Search this

Scurlock, Robert S. (Saunders), 1917-1994  Search this

Custom Craft  Search this

Scurlock, Addison N., 1883-1964  Search this

Scurlock, George H. (Hardison), 1919-2005  Search this

Extent:

1 Item (Silver gelatin on cellulose acetate film sheet., 4" x 5".)

Container:

Box 111

Culture:

African Americans -- Washington (D.C.)  Search this

Type:

Archival materials

Photographs

Place:

Washington (D.C.) -- African Americans

Washington (D.C.) -- 1960-1970 -- Photographs

Date:

June 1964

Scope and Contents:

Posed group of men and women standing on a paved area next to some garden furniture. There are buildings behind them, probably Howard University campus. Ink on negative: "2". Ink on envelope: caption. "ANSCO SAFETY FILM 10" edge imprint. No Scurlock number.

Subseries Restrictions:

Collection is open for research.

Gloves must be worn when handling unprotected photographs and negatives. Special arrangements required to view negatives due to cold storage. Using negatives requires a three hour waiting period. Contact the Archives Center at 202-633-3270.

Subseries Rights:

When the Museum purchased the collection from the Estate of Robert S. Scurlock, it obtained all rights, including copyright. The earliest photographs in the collection are in the public domain because their term of copyright has expired. The Archives Center will control copyright and the use of the collection for reproduction purposes, which will be handled in accordance with its standard reproduction policy guidelines. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Topic:

Parties  Search this

Garden ornaments and furniture  Search this

Genre/Form:

Photographs -- 1960-1970 -- Black-and-white negatives -- Acetate film

Subseries Citation:

Scurlock Studio Records, Archives Center, National Museum of American History. Smithsonian Institution

Sponsor:

The collection was acquired with assistance from the Eugene Meyer Foundation. Elihu and Susan Rose and the Save America's Treasures program, provided funds to stabilize, organize, store, and create digital surrogates of some of the negatives. Processing and encoding funded by a grant from the Council on Library and Information Resources.

See more items in:

Scurlock Studio Records, Subseries 4.1: Black-and-White Silver Gelatin Negatives

Scurlock Studio Records, Subseries 4.1: Black-and-White Silver Gelatin Negatives / 4.1: Black-and-White Silver Gelatin negatives

Archival Repository:

Archives Center, National Museum of American History

EDAN-URL:

ead_component:sova-nmah-ac-0618-s04-01-ref3831

Photographer:

Scurlock Studio (Washington, D.C.)  Search this

Creator:

Ansco (film manufacturer)  Search this

Names:

Howard University -- 1960-1970  Search this

Subseries Creator:

Scurlock Studio (Washington, D.C.)  Search this

Scurlock, Robert S. (Saunders), 1917-1994  Search this

Custom Craft  Search this

Scurlock, Addison N., 1883-1964  Search this

Scurlock, George H. (Hardison), 1919-2005  Search this

Extent:

1 Item (Silver gelatin on cellulose acetate film sheet., 4" x 5".)

Container:

Box 111

Culture:

African Americans -- Washington (D.C.)  Search this

Type:

Archival materials

Photographs

Place:

Washington (D.C.) -- African Americans

Washington (D.C.) -- 1960-1970 -- Photographs

Date:

June 1964

Scope and Contents:

Posed group of women standing on a paved area. There are buildings behind them, probably Howard University campus. Ink on negative: "3". Ink on envelope: caption. "ANSCO SAFETY FILM 10" edge imprint. No Scurlock number.

Subseries Restrictions:

Collection is open for research.

Gloves must be worn when handling unprotected photographs and negatives. Special arrangements required to view negatives due to cold storage. Using negatives requires a three hour waiting period. Contact the Archives Center at 202-633-3270.

Subseries Rights:

When the Museum purchased the collection from the Estate of Robert S. Scurlock, it obtained all rights, including copyright. The earliest photographs in the collection are in the public domain because their term of copyright has expired. The Archives Center will control copyright and the use of the collection for reproduction purposes, which will be handled in accordance with its standard reproduction policy guidelines. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Topic:

Parties  Search this

Garden ornaments and furniture  Search this

African American women -- 1960-1970  Search this

Genre/Form:

Photographs -- 1960-1970 -- Black-and-white negatives -- Acetate film

Subseries Citation:

Scurlock Studio Records, Archives Center, National Museum of American History. Smithsonian Institution

Sponsor:

The collection was acquired with assistance from the Eugene Meyer Foundation. Elihu and Susan Rose and the Save America's Treasures program, provided funds to stabilize, organize, store, and create digital surrogates of some of the negatives. Processing and encoding funded by a grant from the Council on Library and Information Resources.

See more items in:

Scurlock Studio Records, Subseries 4.1: Black-and-White Silver Gelatin Negatives

Scurlock Studio Records, Subseries 4.1: Black-and-White Silver Gelatin Negatives / 4.1: Black-and-White Silver Gelatin negatives

Archival Repository:

Archives Center, National Museum of American History

EDAN-URL:

ead_component:sova-nmah-ac-0618-s04-01-ref3833

Photographer:

Scurlock, Addison N., 1883-1964  Search this

Names:

Cooper, Anna J., Dr., 1858-1964  Search this

Subseries Creator:

Scurlock Studio (Washington, D.C.)  Search this

Scurlock, Robert S. (Saunders), 1917-1994  Search this

Custom Craft  Search this

Scurlock, Addison N., 1883-1964  Search this

Scurlock, George H. (Hardison), 1919-2005  Search this

Extent:

1 Item

Container:

Box 27

Culture:

African Americans -- Washington (D.C.)  Search this

Type:

Archival materials

Photographs

Place:

Washington (D.C.) -- African Americans

Date:

[ca. 1930?]

Scope and Contents:

Job Number: 26806

Subject shown wearing hat, holding garden implement (rake?), a bird fountain nearby.

General:

In Freezer Box 49. Originally in Scurlock Box C.

Ink on negative edge, "26806 Dr. Anna J. Cooper 2 - 8 x 10".

Subseries Restrictions:

Collection is open for research.

Gloves must be worn when handling unprotected photographs and negatives. Special arrangements required to view negatives due to cold storage. Using negatives requires a three hour waiting period. Contact the Archives Center at 202-633-3270.

Subseries Rights:

When the Museum purchased the collection from the Estate of Robert S. Scurlock, it obtained all rights, including copyright. The earliest photographs in the collection are in the public domain because their term of copyright has expired. The Archives Center will control copyright and the use of the collection for reproduction purposes, which will be handled in accordance with its standard reproduction policy guidelines. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Topic:

African American women  Search this

Gardening -- Washington (D.C.)  Search this

Portraits -- African American women  Search this

Genre/Form:

Photographs -- 1930-1950 -- Black-and-white negatives -- Acetate film

Subseries Citation:

Scurlock Studio Records, Archives Center, National Museum of American History. Smithsonian Institution

Sponsor:

The collection was acquired with assistance from the Eugene Meyer Foundation. Elihu and Susan Rose and the Save America's Treasures program, provided funds to stabilize, organize, store, and create digital surrogates of some of the negatives. Processing and encoding funded by a grant from the Council on Library and Information Resources.

See more items in:

Scurlock Studio Records, Subseries 4.1: Black-and-White Silver Gelatin Negatives

Scurlock Studio Records, Subseries 4.1: Black-and-White Silver Gelatin Negatives / 4.1: Black-and-White Silver Gelatin negatives

Archival Repository:

Archives Center, National Museum of American History

EDAN-URL:

ead_component:sova-nmah-ac-0618-s04-01-ref517

Photographer:

Scurlock, Addison N., 1883-1964  Search this

Names:

Cooper, Anna J., Dr., 1858-1964  Search this

Subseries Creator:

Scurlock Studio (Washington, D.C.)  Search this

Scurlock, Robert S. (Saunders), 1917-1994  Search this

Custom Craft  Search this

Scurlock, Addison N., 1883-1964  Search this

Scurlock, George H. (Hardison), 1919-2005  Search this

Extent:

1 Item

Container:

Box 27

Type:

Archival materials

Retouching

Photographs

Date:

[ca. 1930]

Scope and Contents:

Job Number: 26806

In this image, Dr. Cooper stands near a balustrade with plants, apparently on her patio. No accompanying contact print.

General:

From negative Box A. No edge marking on film edge. "26806 Dr. Anna J. Cooper / 2 - 8 x 10" in ink on film edge.

Exhibitions Note:

Reproduction print exhibited in "The Scurlock Studio and Black Washington: Picturing the Promise," NMAAHC Gallery, NMAH, January 30 - November 15, 2009; image of print reproduced in exhibit's companion book.

Subseries Restrictions:

Collection is open for research.

Gloves must be worn when handling unprotected photographs and negatives. Special arrangements required to view negatives due to cold storage. Using negatives requires a three hour waiting period. Contact the Archives Center at 202-633-3270.

Subseries Rights:

When the Museum purchased the collection from the Estate of Robert S. Scurlock, it obtained all rights, including copyright. The earliest photographs in the collection are in the public domain because their term of copyright has expired. The Archives Center will control copyright and the use of the collection for reproduction purposes, which will be handled in accordance with its standard reproduction policy guidelines. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Topic:

African American women  Search this

Portraits -- African American women  Search this

Genre/Form:

Retouching -- Pencil

Photographs -- 1930-1940 -- Black-and-white negatives -- Acetate film

Subseries Citation:

Scurlock Studio Records, Archives Center, National Museum of American History. Smithsonian Institution

Sponsor:

The collection was acquired with assistance from the Eugene Meyer Foundation. Elihu and Susan Rose and the Save America's Treasures program, provided funds to stabilize, organize, store, and create digital surrogates of some of the negatives. Processing and encoding funded by a grant from the Council on Library and Information Resources.

See more items in:

Scurlock Studio Records, Subseries 4.1: Black-and-White Silver Gelatin Negatives

Scurlock Studio Records, Subseries 4.1: Black-and-White Silver Gelatin Negatives / 4.1: Black-and-White Silver Gelatin negatives

Archival Repository:

Archives Center, National Museum of American History

EDAN-URL:

ead_component:sova-nmah-ac-0618-s04-01-ref520

Photographer:

Scurlock, Addison N., 1883-1964  Search this

Names:

Frelinghuysen University (Washington, D.C.).  Search this

Cooper, Anna J., Dr., 1858-1964  Search this

Douglass, Frederick, 1817?-1895  Search this

Subseries Creator:

Scurlock Studio (Washington, D.C.)  Search this

Scurlock, Robert S. (Saunders), 1917-1994  Search this

Custom Craft  Search this

Scurlock, Addison N., 1883-1964  Search this

Scurlock, George H. (Hardison), 1919-2005  Search this

Extent:

1 Item

Container:

Box 27

Type:

Archival materials

Retouching

Photographs

Date:

[ca. 1930]

Scope and Contents:

Job Number: 26806

In this image, Dr. Cooper stands near a desk with a phone and what appears to be a bust of Frederick Douglass. No accompanying contact print.

General:

From negative Box A. No edge marking on film edge. "26806 Dr. Anna J. Cooper / 2 8 x 10" in ink on film edge.

Subseries Restrictions:

Collection is open for research.

Gloves must be worn when handling unprotected photographs and negatives. Special arrangements required to view negatives due to cold storage. Using negatives requires a three hour waiting period. Contact the Archives Center at 202-633-3270.

Subseries Rights:

When the Museum purchased the collection from the Estate of Robert S. Scurlock, it obtained all rights, including copyright. The earliest photographs in the collection are in the public domain because their term of copyright has expired. The Archives Center will control copyright and the use of the collection for reproduction purposes, which will be handled in accordance with its standard reproduction policy guidelines. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Topic:

African American women  Search this

Portraits -- African American women  Search this

Education -- Washington, (D.C.)  Search this

Le Droit Park, Washington, D.C.  Search this

Genre/Form:

Retouching -- Pencil

Photographs -- 1930-1940 -- Black-and-white negatives -- Acetate film

Subseries Citation:

Scurlock Studio Records, Archives Center, National Museum of American History. Smithsonian Institution

Sponsor:

The collection was acquired with assistance from the Eugene Meyer Foundation. Elihu and Susan Rose and the Save America's Treasures program, provided funds to stabilize, organize, store, and create digital surrogates of some of the negatives. Processing and encoding funded by a grant from the Council on Library and Information Resources.

See more items in:

Scurlock Studio Records, Subseries 4.1: Black-and-White Silver Gelatin Negatives

Scurlock Studio Records, Subseries 4.1: Black-and-White Silver Gelatin Negatives / 4.1: Black-and-White Silver Gelatin negatives

Archival Repository:

Archives Center, National Museum of American History

EDAN-URL:

ead_component:sova-nmah-ac-0618-s04-01-ref523

Former owner:

Oxnard, Marie Pichon  Search this

Oxnard, H. T. (Henry Thomas), 1860-1922  Search this

Provenance:

Fauquier and Loudoun Garden Club  Search this

Collection Creator:

Garden Club of America  Search this

Type:

Archival materials

Place:

Edgewood (Upperville, Virginia)

United States of America -- Virginia -- Fauquier County -- Upperville

Scope and Contents:

The folder includes worksheets.

General:

Edgewood was the home of Marie Pichon Oxnard and Henry T. Oxnard (1860-1922) who founded the American Beet Sugar Company. Oxnard, California was named after him. Oxnard made his home in Washington, D.C. as he maintained active interests in tariff legislation affecting the sugar industry. He also maintained a farm in Upperville as his country residence. He was well-known as a breeder of horses at Blue Ridge Farm in Upperville which he established in 1908. It is possible that Edgewood was located at or near Blue Ridge Farm, but that remains unclear.

At the time the garden was documented in the 1930s, it included a large swimming pool with a flagstone surround, lawns, hedges, shrubs, mature trees, and stone steps with urns alongside.

Persons associated with the garden include Henry T. Oxnard and Marie Pichon Oxnard (former owners, 1920s).

Related Materials:

Edgewood related holdings consist of 1 folder (4 3x4 in. lantern slides)

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 -- Virginia -- Upperville  Search this

Formal gardens  Search this

Collection Citation:

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

Sponsor:

A project to describe images in this finding aid received Federal support from the Smithsonian Collections Care Initiative, administered by the National Collections Program.

Identifier:

AAG.GCA, File VA017

See more items in:

The Garden Club of America collection

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

Archival Repository:

Archives of American Gardens

EDAN-URL:

ead_component:sova-aag-gca-ref18914

Horticulturist:

Burrell, Cole  Search this

Harris, Leslie  Search this

Architect:

Wells, Marshall S.  Search this

Rinehart, Jack  Search this

Gardener:

Ernest, Donna  Search this

Landscape architect:

Goffinet, Francois  Search this

Stick, Charles J.  Search this

Collection Creator:

Garden Club of America  Search this

Type:

Archival materials

Place:

Periwinkle Cottage (Charlottesville, Virginia)

United States of America -- Virginia -- Albemarle -- Charlottesville

Scope and Contents:

1 folder and 16 digital images. The folder includes worksheets and a copy of an article.

General:

Located on two acres, this property has been owned and gardened by members of the same family since 1940, and consists of a series of all season garden rooms each with it's own unique purpose. At first Scotch broom had to be dug up, the farmland had to be improved, paths were laid, and periwinkle dug from the woods was planted as ground cover. There were few trees - a sweet gum tree was planted for quick shade - and a Victory Garden and fruit orchard were planted during World War II. The house, designed by architect Marshall Swain Wells in 1939, was apttered after a dependeny at the Colonial Williamsburg Palace. In 2005 landscape architect Charles J. Stick designed a formal entry garden paved in brick with four boxwood parterres surrounding white crape myrtles. Belgian landscape architect Francọis Goffinet designed an English style cottage garden that spans the front of the center of the house, filling beds with continuous summer blooms, with arched gateways at either end smothered in roses. Behind the house Stick replaced overgrown boxwood that defined mid-century garden rooms with a flagstone terrace. Goffinet also designed a formal allée of four boxwood-edged beds filled with flowering perennials and shrubs that terminates in a grove of crape myrtle.

The kitchen garden, also formal, has four smaller parterres growing herbs with espaliered apple trees as wall on one side. The chapel walk passes a dog cemetery that has stone benches and markers, leading to a stone chapel modeled on a gazebo at the National Cathedral in Washington, D.C. A meditation garden at one end of the cottage garden has a low stone wall, white sand floor, and a large espaliered camellia. The white garden was redesigned in 2017, pruning back 75-year-old boxwood and adding white peonies and ephemeral bulbs. A log cabin built circa 1830 was relocated to this property, placed so the porch faces west for viewing sunsets over the Blue Ridge Mountains. Paths through the wooded areas lead to the pollinator garden for bees and butterflies, the birch walk inspired by groves seen in England, a secret garden, and a cabin walk and cabin garden. The periwinkle outside the cabin had succumbed to fungal disease so a dry stream, stone wall, and plantings including dwarf Japanese maples, dogwood, hellebores, astilbe, ferns and hosta comprise a newer garden room. More natives including wildflowers have been planted along the original winding paths and in woodlands.

Persons associated with the garden include Birney and Irene Sims (former owners, 1938-1973); Marshall Swain Wells (architect, 1939); M. Jack Rinehart, Jr. (architect, 1991, 2005); Francọis Goffinet (landscape architect, 1993); Charles J. Stick (landscape architect, 2006); C. Colston Burrell (horticulturist, 1991-2017); Leslie Harris (horticulturist, 1991-2017); Donna Ernest (gardener, 1991-2017).

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 -- Virginia -- Charlottesville  Search this

Collection Citation:

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

Sponsor:

A project to describe images in this finding aid received Federal support from the Smithsonian Collections Care Initiative, administered by the National Collections Program.

Identifier:

AAG.GCA, File VA491

See more items in:

The Garden Club of America collection

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

Archival Repository:

Archives of American Gardens

EDAN-URL:

ead_component:sova-aag-gca-ref18969

Collection Creator:

Garden Club of America  Search this

Type:

Archival materials

General:

Labelled "Tregaron / Hillwood, Washington, D.C." but does not appear to relate to either property.

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.

Collection Citation:

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

Sponsor:

A project to describe images in this finding aid received Federal support from the Smithsonian Collections Care Initiative, administered by the National Collections Program.

Identifier:

AAG.GCA, File GCA043

See more items in:

The Garden Club of America collection

The Garden Club of America collection / Unidentified Garden Images / Unidentified Location

Archival Repository:

Archives of American Gardens

EDAN-URL:

ead_component:sova-aag-gca-ref33223

Landscape architect:

Page, Benjamin G. Jr  Search this

Fields, Paul  Search this

Provenance:

Founders Garden Club of Dallas  Search this

Collection Creator:

Garden Club of America  Search this

Type:

Archival materials

Place:

The Mulford Family Garden (Dallas, Texas)

United States of America -- Texas -- Dallas

Scope and Contents:

The folder includes worksheets and plans.

General:

The Mulford Family Garden, located on two acres, was purchased in 1998 by the current owner. At the time, the house was surrounded by giant oak trees and a garden had so completely overgrown that the creek was not visible. The owners envisioned its potential and hired Nashville landscape architect Benjamin G. Page, Jr. (ASLA) to design an extensive garden renovation.The garden is now a special refuge for wildlife and a place of adventure and discovery for their children and their friends. Features include a tree house, forts and secret paths cut behind the hedges. The design incorporated the view of the creek, but rather than make it the focal point of the garden its view is meant to be a surprise. The final landscaping phase was the construction of a bridge to connect the property to the home of the owner's sister across the creek. Each summer, the property serves as a day camp for about fifty young children, organized in different areas of the garden.

Other properties designed by Benjamin Page include the residence of the Vice President of the United States at the Naval Observatory in Washington, D.C., The Dixon Gallery and Gardens in Memphis, Tennessee. The design for the Mulford house was implemented by Paul Fields (ASLA), President and Director of Design for Lambert's Landscape Company of Dallas.

Persons associated with the garden include Benjamin G Page, Jr. (landscape architect, 1998), Paul Fields (landscape architect, 2000),Schoelkopf family (1933), Shelby family (dates unknown) and Perrin family (dates unknown).

Related Materials:

The Mulford Family Garden related holdings consist of 1 folder (27 35 mm. slides (photographs) + 1 photographic print)

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 -- Texas -- Dallas  Search this

Collection Citation:

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

Sponsor:

A project to describe images in this finding aid received Federal support from the Smithsonian Collections Care Initiative, administered by the National Collections Program.

Identifier:

AAG.GCA, File TX095

See more items in:

The Garden Club of America collection

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

Archival Repository:

Archives of American Gardens

EDAN-URL:

ead_component:sova-aag-gca-ref13482

Creator:

Beach, Chester, 1881-1956  Search this

Names:

American Academy in Rome  Search this

Architectural League of New York  Search this

Cleveland Museum of Art  Search this

Ecole nationale supérieure des beaux-arts (France)  Search this

Frontier Art Colony  Search this

Mark Hopkins Institute of Art  Search this

National Academy of Design (U.S.)  Search this

National Sculpture Society (U.S.)  Search this

Panama-Pacific International Exposition (1915: San Francisco, Calif.)  Search this

Salmagundi Club  Search this

Salon d'automne  Search this

Allen, Mary Jester  Search this

Beach, Eleanor Murdock  Search this

Blumenschein, Ernest Leonard, 1874-1960  Search this

Carrington, Fitz Roy, 1869-1954  Search this

Couper, William, 1853-1942  Search this

Fitchen, Eleanor Beach  Search this

French, Daniel Chester, 1850-1931  Search this

Greacen, Edmund W., 1876-1949  Search this

Hancock, Walker Kirtland, 1901-1998  Search this

Jackson, Hazel Brill  Search this

Jennewein, Carl Paul, 1890-  Search this

Kuhn, Brenda, 1911-  Search this

Kuhn, Walt, 1877-1949  Search this

Käsebier, Gertrude, 1852-1934  Search this

Leibig, Bonnie  Search this

MacMonnies, Frederick William, 1863-1937  Search this

Mora, F. Luis (Francis Luis), 1874-1940  Search this

Nelson, Laurence, 1887-1978  Search this

Nisbet, Robert H., 1879-1961  Search this

Olmsted, Frederick Law, 1822-1903  Search this

Piexotto, Jessica B.  Search this

Winter, Ezra, 1886-1949  Search this

Extent:

7.32 Linear feet

Type:

Collection descriptions

Archival materials

Scrapbooks

Sketches

Christmas cards

Drawings

Photographs

Prints

Sketchbooks

Date:

1846-1999

bulk 1895-1999

Summary:

The Chester Beach papers measure 7.32 linear feet and date from 1846 to 1999, with the bulk ot the material dating from circa 1900 to 1999. The work and professional activities of Beaux Arts sculptor Chester Beach (1881-1956) and his family's efforts to exhibit and sell work from the estate are documented by project files, business records, correspondence, scrapbooks, printed material, and photographs. The papers also include many artist-designed Christmas cards sent and received by the Beach family, and artwork by Chester Beach and others.

Scope and Contents:

The Chester Beach papers measure 7.32 linear feet and date from 1846 to 1999, with the bulk ot the material dating from circa 1900 to 1999. The work and professional activities of Beaux Arts sculptor Chester Beach (1881-1956) and his family's efforts to exhibit and sell work from the estate are documented by project files, business records, correspondence, scrapbooks, printed material, and photographs. The papers also include many artist-designed Christmas cards sent and received by the Beach family, and artwork by Chester Beach and others.

Biographical material consists of biographical notes, identification cards, and a membership certificate.

Project files contain correspondence, financial records, notes, drawings and plans, research materials, printed matter, and photographs that document commissions for sculpture, medals and coins, monuments, and Beach's own projects. Among the most thoroughly documented projects are a fountain sculpture for the grounds of the Cleveland Museum of Art (Sun, Earth, Fountain of the Waters, and Zodiac) and the Edward W. Bok Memorial in Mountain Lake, Florida; both commissions were executed in conjunction with the firm of Frederick Law Olmsted.

Business records include Chester Beach's general business correspondence and correspondence concerning consignments. An address book records names, addresses, and occasionally indicates prices of services and supplies used by the sculptor. Other record books detail expenses and income of the studio building Beach owned, with a list of the effects of the former owner, sculptor William Couper; bronzes cast; sales, with titles, prices, and buyers; names and addresses of clients, dealers, and suppliers; and instructions for cleaning and bronzing plaster.

Family correspondence consists mainly of letters, many mentioning Chester Beach, and addressed to Mrs. Chester Beach and daughter Eleanor Beach Fitchen. Estate correspondence and related documents concern efforts to exhibit, sell, and research Beach's remaining work. These records, for the most part, were created by Mrs. Fitchen who acted as sales agent, ran the Chester Beach Memorial Studio, and maintained the Beach archive. Of particular interest is a series of letters from Brenda Kuhn that relate what she learned from handling the estate of her father, Walt Kuhn; in addition, she offered ideas and advice about exhibitions, the Memorial Studio, and the Beach Centennial.

Beach designed his family's annual Christmas cards, most of which incorporate images of their three daughters. A complete set, preserved in an album, includes a few later cards that reproduce artwork by his widow. Many of the cards received - some with original artwork - are from artist friends, among them: Ernest Blumenschein, Edward W. Greacen, Hazel Brill Jackson, Paul Jennewein, Bonnie Leibig, F. Luis Mora, Robert Nisbet, and Ezra Winter. Also of note are a card from Walker Hancock bearing a photograph of his studio; a painting of Beach's Sylvan at Brookgreen Gardens, reproduced on Anna Hyatt Huntington's card; and a card from Beach patron Mary Jester Allen containing a brief note about the Frontier Art Colony she had established near Cody, Wyoming.

Among the drawings and sketches by Chester Beach are student work, designs for some of his Christmas cards, and a sketchbook containing drawings of sculpture. Work by other artists consists of prints, including one by Ezra Winter.

Three scrapbooks, largely comprised of newspaper clippings and other printed material, contain a variety of other items, including: letters from the American Academy in Rome, Architectural League of New York, Ecole des Beaux Arts, Daniel Chester French, Hazel Brill Jackson, Frederick MacMonnies, National Academy of Design, National Sculpture Society, Jessica B. Piexotto, and Salon d'Autome. There are also awards and certificates from the National Academy of Design, Panama-Pacific International Exposition; bookplates and a place card Beach etched for Mr. and Mrs. George Davison; and an unfinished poem by FitzRoy Carrington. Photographs within the scrapbooks are of a night school class Beach attended at the Mark Hopkins Art Institute in San Francisco, Beach at work in his studio, and a portrait of him painted by G. Laurance Nelson.

Printed material includes Panama-Pacific International Exposition guide books, brochures about the Chester Beach Memorial Studio in Brewster, New York, and catalogs for solo and group exhibitions.

Photographs and glass plate negatives of artwork are mainly of Chester Beach's sculpture and include views of work in progress. Also found are photographs of drawings and sculpture from his student years in California and Paris. Pictures of work by other artists are portraits of Chester Beach painted by G. Laurance Nelson and by his daughter, Natalie Beach McLaury. Among the photographs of Chester Beach are several by Gertrude Kasebier, circa 1910. Other pictures show Beach in his studio, Beach with family and friends, and a "Dinner tendered to Edmund W. Greacen by Samuel T. Shaw, Salmagundi Club, March 2, 1922." Places documented are Beach's boyhood home in San Francisco, the interiors of his studios, and Brookgreen Gardens. Miscellaneous subjects are nude models.

Arrangement:

The collection is arranged as 10 series. Glass plate negatives are housed separately and closed to researchers.

Series 1: Biographical Material, 1910-1947 (4 folders; Box 1)

Series 2: Project Files, 1846-1999 (1.6 linear feet; Boxes 1-2, 11, OV 12-13)

Series 3: Business Records, circa 1900-1958 (0.4 linear feet; Boxes 2-3)

Series 4: Writings, 1913-1935 (2 folders; Box 3)

Series 5: Correspondence, 1875, 1933-1996 (0.5 linear feet; Box 3)

Series 6: Christmas Cards, 1909-1961 (0.7 linear feet; Boxes 3-4)

Series 7: Artwork, circa 1900-1955 (0.3 linear feet; Boxes 4, 11)

Series 8: Scrapbooks, 1903-1972 (0.3 linear feet; Box 10)

Series 9: Printed Material, 1910-1997 (0.4 linear feet; Box 4)

Series 10: Photographs, circa 1885-circa 1960s (3.1 linear feet; Boxes 4-9, 11, 14)

Biographical / Historical:

Sculptor Chester Beach (1881-1956) was known for portrait busts, allegorical and mythological figures, coins and medallic art in the Beaux-Arts tradition. He lived and worked in New York City and Brewster, New York.

Chester Beach, son of Chilion Beach and Elizabeth Ferris Beach, was born in San Francisco on May 23, 1881. Beach initially studied at the California School of Mechanical Arts in 1899. He remained in San Francisco and between 1900 and 1902 continued his art training at the Mark Hopkins Institute of Art while working as a jewelry designer. To further his career and exposure to artistic trends, Beach moved to New York City in 1903. The following year, he went to Paris, enrolled at the Ecole des Beaux-Arts, and also studied with Raoul Verlet at the Académie Julian.

Upon his return to New York in 1907, Beach established a studio on Tenth Street. He won the National Academy of Design's Barnett Prize for sculpture in 1907 and the Academy elected him an Associate Artist the following year. His increased stature resulted in numerous portrait commissions and eventually led to commissions for monuments and architectural sculpture. In 1910, Chester Beach married Eleanor Hollis Murdock, a painter he met when both were art students in Paris. The couple spent the next two years in Rome; for several years after returning, Beach continued to spend time in Italy and maintained a studio in Rome.

Solo exhibitions of Beach's work were presented at Macbeth Gallery (1912), Pratt Institute (1913), Cincinnati Art Museum (1916), John Herron Art Institute (1916), and Memorial Art Gallery, Rochester (1917). In addition to frequent participation in annual exhibitions at the National Academy of Design and the Pennsylvania Academy of the Fine Arts, Beach was represented in the Panama-Pacific International Exposition (1915), and in group shows at venues including: Art Institute of Chicago, Boston Art Club, California Palace of the Legion of Honor, and National Arts Club.

The gold medal presented by Académie Julian (1905), Beach's first award, was followed by many other prizes, among them: American Numismatic Society prize for a medal commemorating the Peace of Versailles (1919) and its Saltus Medal for distinguished medallic art (1946); Architectural League of New York gold medal (1924); National Academy of Design Barnett Prize (1907) and Watrous gold medal (1926); National Arts Club medal and prizes (1923, 1926, 1932); and the Panama-Pacific International Exposition silver medal (1915).

Beach was an Academician of the National Academy of Design, a member of the American Numismatic Society, Architectural League of New York, National Arts Club, National Institute of Arts and Letters, and the National Sculpture Society (President, 1927-1928).

For more than 40 years, Beach lived and worked at 207 East 17th Street. The brownstone, purchased in 1913, was large enough for the family's home, his studio, and additional studios that were rented to other artists. Through barter, Beach acquired land in Brewster, New York, and in 1917 hired Italian stonemasons to build a studio. Later, they erected a summer house for the family. Many old stone walls on the site provided material for both buildings and Beach named the property Oldwalls.

After a long illness, Chester Beach died at Oldwalls on August 6, 1956. The funeral service was held at his Brewster, New York, studio and he is buried in Cold Spring Cemetery, Cold Spring, New York.

Separated Materials:

Also in the Archives of American Art is microfilm of papers lent for microfilming (reels N727-N729 and N68-11) including passports, genealogical materials, photograph albums, travel sketches, travel diaries of Mrs. Beach, and business and family correspondence. While the obituary letters on reel N68-11 are referenced in a scrapbook in Series 8, all other loaned materials were returned to the lender and are not described in the collection container inventory.

Provenance:

Chester Beach's daughter, Eleanor Beach Fitchen, lent materials for microfilming in 1967 and 1967. Subsequent papers were donated in 2009 by the estate of Eleanor Beach Fitchen, through her grandson and executor, John Fitchen.

Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information. Glass plate negatives are housed separately and closed to researchers.

Rights:

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

Topic:

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

Eclecticism in architecture  Search this

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

Sculpture -- Technique  Search this

Sculpture -- Equipment and supplies  Search this

Artists' studios  Search this

Sculpture -- Economic aspects  Search this

Genre/Form:

Scrapbooks

Sketches

Christmas cards

Drawings

Photographs

Prints

Sketchbooks

Citation:

Chester Beach papers, 1846-1999, bulk circa 1900-1999. Archives of American Art, Smithsonian Institution.

Sponsor:

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

Identifier:

AAA.beacches

See more items in:

Chester Beach papers

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-beacches