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Gathering Autumn Leaves

Artist:
Winslow Homer, American, 1836–1910  Search this
Medium:
Brush and oil paint on wood panel
Type:
figures
Painting
Object Name:
Painting
Made in:
USA
Date:
ca. 1877
Credit Line:
Gift of Charles Savage Homer, Jr.
Accession Number:
1917-14-3
See more items in:
Cooper Hewitt, Smithsonian Design Museum Collection
Drawings, Prints, and Graphic Design Department
Data Source:
Cooper Hewitt, Smithsonian Design Museum
EDAN-URL:
edanmdm:chndm_1917-14-3

Miracle of the Book that Would Not Burn

Medium:
Pen and ink, brush and sepia, gray wash, white heightening on cream paper
Type:
figures
Drawing
Object Name:
Drawing
Made in:
Italy
Date:
1700–1750
Credit Line:
Gift of Hugh Cassel
Accession Number:
1958-143-45
See more items in:
Cooper Hewitt, Smithsonian Design Museum Collection
Drawings, Prints, and Graphic Design Department
Data Source:
Cooper Hewitt, Smithsonian Design Museum
EDAN-URL:
edanmdm:chndm_1958-143-45

Whiteley Harvester Patent Model

Inventor:
Whiteley, William N.  Search this
Object Name:
patent model, harvester
Object Type:
Patent Model
Associated place:
United States: Ohio, Springfield
Patent date:
1877-11-13
ID Number:
AG.197192
Accession number:
89797
Catalog number:
197192
Patent number:
197,192
See more items in:
Work and Industry: Agriculture
Industry & Manufacturing
Agriculture
American Enterprise
Exhibition:
American Enterprise
Exhibition Location:
National Museum of American History
Data Source:
National Museum of American History
GUID:
http://n2t.net/ark:/65665/ng49ca746a9-c22a-704b-e053-15f76fa0b4fa
EDAN-URL:
edanmdm:nmah_1148311
Online Media:

The Negro Worker Vol. 1 No. 10-11

Published by:
The Negro Worker, 1928 - 1937  Search this
Edited by:
George Padmore, Trinidadian, 1903 - 1959  Search this
Subject of:
Communist International, 1919 - 1943  Search this
Medium:
ink on paper
Dimensions:
H x W: 8 5/8 x 5 7/8 in. (21.9 x 15 cm)
Type:
pamphlets
Place depicted:
Liberia, West Africa, Africa
Cuba, Caribbean, Latin America, North and Central America
Democratic Republic of the Congo, Central Africa, Africa
Russia, Europe
Belgium, Europe
Date:
1931
Topic:
African American  Search this
International affairs  Search this
Labor  Search this
Mass media  Search this
Political organizations  Search this
Politics (Practical)  Search this
Race discrimination  Search this
United States--History--1919-1933  Search this
Violence  Search this
Credit Line:
Collection of the Smithsonian National Museum of African American History and Culture, Gift of the family of Dr. Maurice Jackson and Laura Ginsburg
Object number:
2010.55.38
Restrictions & Rights:
No Known Copyright Restrictions
See more items in:
National Museum of African American History and Culture Collection
Classification:
Documents and Published Materials-Published Works
Memorabilia and Ephemera-Political and Activist Ephemera
Data Source:
National Museum of African American History and Culture
GUID:
http://n2t.net/ark:/65665/fd53043c35d-3a95-4798-b47f-ff5637765af5
EDAN-URL:
edanmdm:nmaahc_2010.55.38
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The Negro Worker Vol. 2 No. 6

Published by:
The Negro Worker, 1928 - 1937  Search this
Edited by:
George Padmore, Trinidadian, 1903 - 1959  Search this
Subject of:
Communist International, 1919 - 1943  Search this
Medium:
ink on paper
Dimensions:
H x W: 8 7/8 x 6 5/16 in. (22.5 x 16 cm)
Type:
pamphlets
Place depicted:
South Africa, Africa
Guyana, Caribbean, South America
Trinidad and Tobago, Caribbean, South America
Jamaica, Caribbean, North and Central America
Liberia, West Africa, Africa
Kenya, Africa
Place made:
Hamburg, Germany, Europe
Date:
1932
Topic:
African American  Search this
International affairs  Search this
Labor  Search this
Mass media  Search this
Photography  Search this
Political organizations  Search this
Politics (Practical)  Search this
United States--History--1919-1933  Search this
Credit Line:
Collection of the Smithsonian National Museum of African American History and Culture, Gift of the family of Dr. Maurice Jackson and Laura Ginsburg
Object number:
2010.55.6
Restrictions & Rights:
Unknown - Restrictions Possible
See more items in:
National Museum of African American History and Culture Collection
Classification:
Documents and Published Materials-Published Works
Memorabilia and Ephemera-Political and Activist Ephemera
Data Source:
National Museum of African American History and Culture
GUID:
http://n2t.net/ark:/65665/fd5dfd877c2-c600-4962-995e-594a795e9f8c
EDAN-URL:
edanmdm:nmaahc_2010.55.6
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Letter to the parents of David Hoyt from James F. Legate

Created by:
James F. Legate, American, 1829 - 1902  Search this
Subject of:
David Hoyt, American, 1821 - 1856  Search this
Medium:
ink on paper
Dimensions:
H x W: 7 7/8 x 5 1/8 in. (20 x 13 cm)
Type:
letters (correspondence)
Place depicted:
Douglas County, Kansas, United States, North and Central America
Place made:
Leominster, Worcester County, Massachusetts, United States, North and Central America
Date:
September 11, 1856
Topic:
African American  Search this
American West  Search this
Antislavery  Search this
Correspondence  Search this
Slavery  Search this
United States--History--1815-1861  Search this
Violence  Search this
Credit Line:
Collection of the Smithsonian National Museum of African American History and Culture
Object number:
2011.23.2
Restrictions & Rights:
Public domain
See more items in:
National Museum of African American History and Culture Collection
Classification:
Documents and Published Materials
Slavery and Freedom Objects
Data Source:
National Museum of African American History and Culture
GUID:
http://n2t.net/ark:/65665/fd55529fc2b-0c24-46eb-a217-16fdf7138a2a
EDAN-URL:
edanmdm:nmaahc_2011.23.2
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Online Media:

An Agricultural Commissioner, from The Travels of Marco Polo

Designer:
Witold Gordon, American (b. Poland), 1885–1968  Search this
Medium:
Lithograph on paper
Type:
albums (bound) & books
Print
Object Name:
Print
Made in:
USA
Date:
1930
Credit Line:
Gift of Allen P. Golden
Accession Number:
1992-174-1-17
Restrictions & Rights:
Usage conditions apply
See more items in:
Cooper Hewitt, Smithsonian Design Museum Collection
Drawings, Prints, and Graphic Design Department
Data Source:
Cooper Hewitt, Smithsonian Design Museum
GUID:
http://n2t.net/ark:/65665/kq481e59a91-5f75-458f-927f-6b62033169cc
EDAN-URL:
edanmdm:chndm_1992-174-1-17

Photographs

Collection Creator:
Garland, Ed  Search this
Armstrong, Louis, 1901-1971  Search this
Morton, Jelly Roll, d. 1941  Search this
Darensbourg, Joe, 1906-1985  Search this
Davison, Bill  Search this
Blake, Eubie (James Herbert), 1883-1983  Search this
Wilson, Buster  Search this
Ellington, Duke, 1899-1974  Search this
Collection Collector:
Levin, Floyd, 1922-2007  Search this
Collection Donor:
Levin, Lucille  Search this
Type:
Archival materials
Date:
undated
1939 - 2001
Scope and Content Note:
Consists of photographic materials including black and white and color prints and negatives taken by Floyd and Lucille Levin at social gatherings with jazz musicians, jazz festivals and concerts, and other events held by jazz organizations of which the Levins were active members. While many remain unidentified, those that are identified document jazz festivals primarily in Los Angeles and New Orleans, including the Southern California Hot Jazz Society and the New Orleans Jazz Festival as well as the opening of exhibitions related to jazz musicians such as "Duke" (Edward Kennedy) Ellington. Also included among the materials are photographs taken at artists' birthday parties, including those of Milt Hinton, "Flip Phillips" (Joseph Edward Filipelli), Abe Lincoln, "Rosy" (James) McHargue, "Spud" (Lyle) Murphy, and Ruby Braff. These photographs and negatives, along with many of the materials found within Series 5, Artists Files, 1880-2010, undated, demonstrate the extent of the Levins's personal relationships and social activities. The materials in this series are arranged in chronological order.
Collection Restrictions:
The collection is open for research. Only reference copies of audiovisual materials may be used.
Collection Rights:
Reproduction restricted due to copyright or trademark. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Floyd Levin Jazz Reference Collection, 1880-2010, Archives Center, National Museum of American History
Identifier:
NMAH.AC.1222, Series 9
See more items in:
Floyd Levin Jazz Reference Collection
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-1222-ref15

Robert Goddard [Lehman] Collection

Topic:
The High Man
Creator:
Lehman, Milton  Search this
Names:
Goddard, Robert Hutchings, 1882-1945  Search this
Guggenheim, Harry Frank, 1890-1971  Search this
Haley, Andrew Gallagher, 1944-1966  Search this
Hawley, Charles T.  Search this
Lehman, Milton  Search this
Lindbergh, Charles A. (Charles Augustus), 1902-1974  Search this
Oberth, Hermann, 1894-1989  Search this
Extent:
1.35 Cubic feet ((3 legal document boxes))
Type:
Collection descriptions
Archival materials
Manuscripts
Publications
Correspondence
Date:
1889-[ca. 1960s]
Scope and Contents:
This collection consists of copies of material gathered or written by Milton Lehman for his authorized biography of Robert H. Goddard, This High Man, 1963. The collection contains the following: a typed transcript of Goddard's diary, 1898-1930; a typed transcript of Goddard's "Red Idea Notebooks" (1-10) covering the years 1924-1942; Goddard's patents and patent correspondence between Goddard and Charles T. Hawley, 1926-1945; and typed interview notes with Goddard's contemporaries, including: Hermann Oberth, Hugo Gernsback, G.R. Gladding, L.A. Gore, Charles T. Hawley, Andrew G. Haley, George Bode, Rear Admiral Calvin C. Bolster, Homer A. Boushey, Col. Henry Breckenridge, Dr. William Cole, Richard B. Dow, Rear Admiral Delmer Fahrney, Harry Guggenheim, Al Campbell, Clarence Hickman, Charles Lindbergh, Edward Pendry, and Inez Powers.
General:
NASMrev
Provenance:
Mildred Lehman, gift, 1997, 1997-0040, unknown
Restrictions:
No restrictions on access
Rights:
Material is subject to Smithsonian Terms of Use. Should you wish to use NASM material in any medium, please submit an Application for Permission to Reproduce NASM Material, available at Permissions Requests
Topic:
Astronautics  Search this
Rockets (Aeronautics)  Search this
Rocketry  Search this
Genre/Form:
Manuscripts
Publications
Correspondence
Identifier:
NASM.1997.0040
Archival Repository:
National Air and Space Museum Archives
EDAN-URL:
ead_collection:sova-nasm-1997-0040

Robert H. Goddard Collection [Stimson]

Creator:
Stimson, Harold F.  Search this
Names:
Goddard, Esther C.  Search this
Goddard, Robert Hutchings, 1882-1945  Search this
Extent:
0.23 Cubic feet ((1 box))
Type:
Collection descriptions
Archival materials
Articles
Brochures
Photographs
Reports
Date:
bulk 1950-1982
Scope and Contents:
Dr. Harold F. Stimson, described as a long-time friend of Goddard's, corresponded with Esther Goddard and collected a number of press clippings and other mentions of Dr. Goddard in various publications. This collection consists of the materials he gathered including a copy of the article "The Early History of Rocket Research" by Joseph W. Siry (reprinted from the November/December 1950 issue of The Scientific Monthly) signed by Esther Goddard; a program from the dedication of the Goddard Power Plant in Indian Head, Maryland dated June 25, 1957; eight issues of Report from Clark University (ranging in date from October 1965 to May 1969) with articles about the Robert Hutchings Goddard Library or the University's collection of Goddard's papers; correspondence relating to the establishment of a memorial to Goddard on Clark University's campus; a program for the groundbreaking ceremony for the Robert Hutchings Goddard Library dated June 4, 1966; a brochure for the library and a bookslip from one of their publications; three issues of the library's newsletters (ranging in date from March 1966 to spring 1971); Clark University's Report of the President 1964-1965 which includes an update on the Goddard Library program; the program from Clark University's Robert Hutchings Goddard Commemorative Convocation on October 12, 1966; a Clark University fundraising report from 1971-1972 listing Mrs. Robert H. Goddard as a donor; a typewritten report on the Goddard Rocket Research Exhibit at Clark's Department of Physics; the winter 1971 issue of Clark Now: The Magazine of Clark University which contains mentions of the Goddard Library; five typewritten pages of biographical data on Dr. Goddard; a Christmas card and signed photo of Esther Goddard inscribed to the Stimsons; and 17 clippings from various newspapers that mention either Robert or Esther Goddard (ranging in date from 1959-1982).
Biographical / Historical:
Robert Hutchings Goddard (1882-1945), rocket propulsion pioneer, graduated from Worcester Polytechnic Institute in 1908 and received his doctorate while a professor of physics at Clark University. He served a research fellowship with Princeton University from 1912 to 1914 and there began to develop his theories of rocket action. Returning to Clark, he conducted experiments that culminated in a 1916 report to the Smithsonian Institution, published as A Method of Reaching Extreme Altitudes. With the advent of World War I, Goddard began work at the Mount Wilson Observatory of the Carnegie Institution of Washington, developing various innovations such as reloading mechanisms for artillery and a forerunner of the bazooka. By 1920, Goddard had turned his attention to liquid fueled rockets and by 1926 had accomplished the world's first flight of a liquid fuel rocket. In 1930, Goddard moved to Mescalero Ranch near Roswell, New Mexico, continuing with his rocket experiments until 1932. After a return to Clark and laboratory testing, Goddard came back to Roswell and in 1936 published Liquid Propellant Rocket Development. In 1940 he was made Chief of Navy Research on jet-propelled planes.
Provenance:
Julia Appel, Gift, Unknown
Restrictions:
No restrictions on access.
Rights:
Material is subject to Smithsonian Terms of Use. Should you wish to use NASM material in any medium, please submit an Application for Permission to Reproduce NASM Material, available at Permissions Requests
Topic:
Astronautics  Search this
Rocketry  Search this
Rockets (Aeronautics)  Search this
Genre/Form:
Articles
Brochures
Photographs
Reports
Citation:
Robert H. Goddard Collection [Stimson], Accession XXXX-0855, National Air and Space Museum, Smithsonian Institution.
Identifier:
NASM.XXXX.0855
Archival Repository:
National Air and Space Museum Archives
EDAN-URL:
ead_collection:sova-nasm-xxxx-0855

Milt Gabler with others

Collection Creator:
Armstrong, Lucille  Search this
Bechet, Sidney, 1897-1959  Search this
Armstrong, Louis, 1901-1971  Search this
Condon, Eddie, 1905-1973  Search this
Calloway, Cab, 1907-  Search this
Commodore Records.  Search this
Feather, Leonard  Search this
Gabler, Milt  Search this
Davis, Sammy, 1925-  Search this
Decca (recording company).  Search this
Granz, Norman  Search this
Hawkins, Coleman  Search this
Kaempfert, Bert, 1923-1980  Search this
Ives, Burl, 1909-  Search this
Holiday, Billie, 1915-1959  Search this
Norvo, Red, 1908-1999  Search this
Mills Brothers.  Search this
Krupa, Gene, 1909-1973  Search this
Kelly, Peck, 1898-  Search this
Williams, Cootie  Search this
United Hot Clubs of America.  Search this
Stewart, Rex (William), Jr., 1907-1967 (cornetist)  Search this
Jordan, Louis, 1908-1975  Search this
Goodman, Benny (Benjamin David), 1909-1986  Search this
Type:
Archival materials
Date:
1930's-1996, undated
Scope and Contents:
Milt Gabler & Gabler with Musicians, Business Associates, Friends, Family at Various Events/Gatherings (1930's-1996) consists exclusively of candid photos, which are arranged alphabetically by the name of the individual pictured with Gabler.
Collection Restrictions:
The collection is open for research use. Some materials restricted; but most are available for unrestricted research access on site by appointment.

Several items of personal correspondence contained private medical information about living individuals. The originals were removed and will remain sealed until 2030. Copies with the sensitive information redacted are available for research use in the collection.

Access to audio recordings for which no reference copy exists requires special arrangements with Archives Center staff. Please ask the reference archivist for additional information.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Milt Gabler Papers, 1927-2001, Archives Center, National Museum of American History.
Identifier:
NMAH.AC.0849, Subseries 26.1
See more items in:
Milt Gabler Papers
Milt Gabler Papers / 26: Photographs
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-0849-ref1058

Unidentified Others/Miscellaneous Events and Gatherings

Collection Creator:
Armstrong, Lucille  Search this
Bechet, Sidney, 1897-1959  Search this
Armstrong, Louis, 1901-1971  Search this
Condon, Eddie, 1905-1973  Search this
Calloway, Cab, 1907-  Search this
Commodore Records.  Search this
Feather, Leonard  Search this
Gabler, Milt  Search this
Davis, Sammy, 1925-  Search this
Decca (recording company).  Search this
Granz, Norman  Search this
Hawkins, Coleman  Search this
Kaempfert, Bert, 1923-1980  Search this
Ives, Burl, 1909-  Search this
Holiday, Billie, 1915-1959  Search this
Norvo, Red, 1908-1999  Search this
Mills Brothers.  Search this
Krupa, Gene, 1909-1973  Search this
Kelly, Peck, 1898-  Search this
Williams, Cootie  Search this
United Hot Clubs of America.  Search this
Stewart, Rex (William), Jr., 1907-1967 (cornetist)  Search this
Jordan, Louis, 1908-1975  Search this
Goodman, Benny (Benjamin David), 1909-1986  Search this
Container:
Box 72, Folder 24
Type:
Archival materials
Collection Restrictions:
The collection is open for research use. Some materials restricted; but most are available for unrestricted research access on site by appointment.

Several items of personal correspondence contained private medical information about living individuals. The originals were removed and will remain sealed until 2030. Copies with the sensitive information redacted are available for research use in the collection.

Access to audio recordings for which no reference copy exists requires special arrangements with Archives Center staff. Please ask the reference archivist for additional information.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Milt Gabler Papers, 1927-2001, Archives Center, National Museum of American History.
See more items in:
Milt Gabler Papers
Milt Gabler Papers / 26: Photographs / 26.1: Milt Gabler with others
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-0849-ref1086

Ales Hrdlicka photograph collection of American Indians for the Panama-California Exposition

Collector:
Hrdlička, Aleš, 1869-1943  Search this
Photographer:
Fiske, Frank Bennett, 1883-1952  Search this
Gill, De Lancey, 1859-1940  Search this
Micka, Frank  Search this
Extent:
1 copy negative
135 Prints (circa, silver gelatin and albumen)
2 copy prints
Culture:
Indians of North America -- Great Plains  Search this
Teton Indians  Search this
Dakota Indians  Search this
Indians of North America -- Southwest, New  Search this
Jicarilla Indians  Search this
Kiowa Indians  Search this
Osage Indians  Search this
Omaha Indians  Search this
Yankton Indians  Search this
Type:
Collection descriptions
Archival materials
Copy negatives
Prints
Copy prints
Date:
1912
Scope and Contents note:
Front and profile images of Apache, Kiowa, Omaha, Osage, Teton, and Yankton Indians made for Ales Hrdlicka's use in preparing busts and physical anthropological exhibits for the Panama-California Exposition in 1915. Accompanying the photographs are notes produced under the supervision of Lucile Eleanor St. Hoyme; these include the tribe, age, sex, name(s), photographer, and number of corresponding bust. Photographers represented in the collection are Frank Micka, a sculptor hired by the exposition to make busts, as well as photographers Frank Bennett Fiske, De Lancey W. Gill, and others.
Biographical/Historical note:
Ales Hrdlicka (1869-1943) was born in Czechoslovakia and came to the United States at the age of thirteen. Originally trained in medicine, he developed an interest in physical anthropology while working with the New York State hospitals and researching with the Department of Anthropology in the Pathological Institute of the New York State Hospitals. Hrdlicka joined the Hyde Expeditions to the American Southwest and made his own expeditions to study physical characteristics of Southwest tribes. In 1903, he was appointed head of the United States National Museum's newly-formed Division of Physical Anthropology.

In 1912, Hrdlicka planned and directed seven expeditions, gathering information that helped him prepare physical anthropology exhibits for the Panama-California Exposition at San Diego, California (1915). During this process, he hired sculptor Frank Micka to make busts of people from around the world. While in the field making casts, Micka also took front and profile photographs of subjects. Hrdlicka made his own trip to photograph the people in Urga, Mongolia, making 360 images of Mongolians and some Tibetans for use in the exposition.
Local Call Number(s):
NAA Photo Lot 9, USNM ACC 61302
Location of Other Archival Materials:
The National Anthropological Archives holds original negatives for many of these photographs (Photo Lot 73-26B) and images of resulting busts (Photo Lot 88-25).
The National Anthropological Archives also holds the Ales Hrdlicka Papers ca. 1887-1943.
Material from Hrdlicka, mostly correspondence, is held in the National Anthropological Archives in the papers and records of William Louis Abbott, Henry Bascom Collins, Herbert William Krieger, Frank Spencer, the American Anthropological Association, Bureau of American Ethnology, Department of Anthropology of the United States National Museum (National Museum of Natural History), Science Service, Anthropological Society of Washington, and the United States Army Medical Museum (anatomical section, records relating to specimens transferred to the Smithsonian Institution).
Hrdlicka photographs held in National Anthropological Archives Photo Lot 8, Photo Lot 24, Photo Lot 70, Photo Lot 78, Photo Lot 97, Photo Lot 73-26B, Photo Lot 73-26G, Photo Lot 83-41, and Photo Lot 92-46.
Restrictions:
The collection is open for research.

Access to the collection requires an appointment.
Rights:
Contact the repository for terms of use.
Citation:
Photo lot 9, Aleš Hrdlička photograph collection of American Indians for the Panama-California Exposition, National Anthropological Archives, Smithsonian Institution
Identifier:
NAA.PhotoLot.9
Archival Repository:
National Anthropological Archives
EDAN-URL:
ead_collection:sova-naa-photolot-9

Architectural League of New York records

Creator:
Architectural League of New York  Search this
Names:
American Institute of Architects  Search this
National Sculpture Society (U.S.)  Search this
Gilbert, Cass, 1859-1934  Search this
Extent:
114.9 Linear feet
Type:
Collection descriptions
Archival materials
Scrapbooks
Annual reports
Photographs
Minutes
Lantern slides
Date:
1880s-1974
Summary:
The records of the Architectural League of New York measure 114.9 linear feet and date from 1880s-1974 (bulk 1927-1968). The League's mission "to advance the art of architecture" is documented through administrative and business records, committee records and officers' files, exhibition files, records of functions and events, correspondence, publicity files, photographs, lantern slides, and 16 scrapbooks.
Scope and Content Note:
The records of the Architectural League of New York measure 114.9 linear feet and date from 1880s-1974 (bulk 1927-1968). The League's mission "to advance the art of architecture" is documented through administrative and business records, committee records and officers' files, exhibition files, records of functions and events, correspondence, publicity files, photographs, lantern slides, and scrapbooks.

League records prior to 1927 are limited in the collection and are mostly found among Administrative Files. The administrative files include a nearly complete collection of annual reports from 1889-1932 and various meetings minutes from 1889 through the mid-20th century. Also found is a history of the League written by founding member Cass Gilbert, documentation of the changes of the League Constitution and By-Laws during the first half of the 20th century, and other administrative records.

Over a third of the collection are records from committees, including voluminous records of the Executive Committee, Current Work Committee, House Committee, Finance Committee, Membership Committee, and Scholarships and Special Awards Committee. In addition, there are scattered records for minor committees. Materials include correspondence, meeting minutes, election ballots, financial records, membership records, documents related to awarding scholarships and awards, and other administrative and organizational committee records. Found is the original 1889 agreement between the Architectural League, the Art Students League, and the Society of American Artists to build the American Fine Arts Society building. Throughout the collection, but especially in the Membership Committee subseries, the records provide a glimpse into the struggles the League faced during the Depression through World War II to maintain dues-paying members.

Officers' Files includes collated records of the League Executive Secretary and Secretary, as well as correspondence of the League President and Treasurer. Materials found here are not comprehensive; similar materials can be found throughout the collection.

Financial records such as bank statements, correspondence, and ledgers; insurance correspondence and policies; and legal correspondence, are found in the Business Records series. This series does not include records prior to 1926.

Exhibition files provide detailed documentation of the exhibitions sponsored by, or held at, the League primarily from the 1930s to the early 1970s. Records related to the League Annual Exhibition, the National Gold Medal Exhibitions, and the 1939 World's Fair in New York are found here, as well as exhibition files arranged chronologically by exhibition date and miscellaneous administrative files. Materials include administrative files, applications, correspondence, printed materials, publicity files, and other records related to organizing and managing exhibitions. The files of the Exhibition Committee are also found here.

Other series which document activities held by, or held at, the League include Functions and Events series and Publicity Files series. Found is correspondence, printed materials, press releases, schedules, and other administrative documents created in organizing events such as dinners, lectures, receptions, balls, and outings. The Records of Other Organizations includes records relating to organizations that had business with the League, often regarding events, meetings, and exhibitions held at the League. Represented here are some records of the American Institute of Architects (A.I.A.) and the National Sculpture Society (N.S.S.).

Correspondence includes miscellaneous correspondence arranged alphabetically by subject or name, and collated correspondence arranged chronologically. Most of the chronological correspondence appears to be Secretaries' files. The materials in the Miscellaneous series seem to have been separated from their original files, or were never filed properly. Therefore, materials and contents are similar to those found in other series, such as correspondence, administrative records, some financial records, and handwritten notes.

Black and white photographs, a handful of colored photographs, nearly 350 lantern slides, and negatives of exhibitions, buildings, events, and portraits are found in the Photographic Materials series.

Sixteen scrapbooks include eight scrapbooks of clippings from 1880s-1960s, and seven scrapbooks of notices and printed materials from 1925-1930. Also found is a scrapbook of signatures of event attendees, a clippings scrapbook compiled by Hamilton M. Wright, and a scrapbook of the Archeological Institute of America.
Arrangement:
The collection is arranged as 12 series:

Series 1: Administrative Files, 1889-1969 (Boxes 1-10, OV 116; 9.7 linear feet)

Series 2: Committee Records, 1887-1974 (Boxes 10-54, 110, 114, OV 116; 44.7 linear feet)

Series 3: Officers' Files, 1900, 1923-1970 (Boxes 54-58; 3.9 linear feet)

Series 4: Business Records, circa 1926-1972 (Boxes 58-62, BVs 129-144; 7.35 linear feet)

Series 5: Exhibitions, 1887-1972, bulk 1930s-1960s (Boxes 62-83, 111, OVs 117-119; 21.85 linear feet)

Series 6: Functions and Events, 1909, 1931-1973 (Boxes 84-93, OV 120; 9.35 linear feet)

Series 7: Publicity Files, 1922-1972 (Boxes 93-95, 111; 2.5 linear feet)

Series 8: Records Relating to Organizations, 1908-1968, bulk 1930s-1960s (Boxes 95-101; 6.1 linear feet)

Series 9: Correspondence, 1929-1970 (Boxes 101-103, OV 120; 1.85 linear feet)

Series 10: Miscellaneous, circa 1936-1968 (Boxes 103-104; 1.3 linear feet)

Series 11: Photographic Materials, 1896-1960s (Boxes 105-108, 112, OVs 121-128; 4.3 linear feet)

Series 12: Scrapbooks, 1880s-1960s (Boxes 108-109, 113-115, BVs 145-148; 2.2 linear feet)

There are frequently similar and related materials in multiple series, as is indicated in the series' descriptions. The records may originally have been arranged by file owner (committees, secretary, etc.), then by League season (roughly May - April). Most series include a handful of folders in which the original folder title indicates the file owner and League season (i.e. Secretary 1938-1939).
Historical Note:
Modeling the organization's name after the Art Students League of New York, the Architectural League of New York was founded in New York City in 1881 by a group of architects who wished to gather and discuss architecture and its relationship to the arts. The group elected D.W. Willard as the first President of the League and they began gathering regularly to discuss and critique each other's sketches and hold competitions. The organization grew quickly and soon the League rented a room in a building on 14th Street between University Place and Fifth Avenue.

However, by the mid-1880s the founders and more active League members left New York, and membership began to falter. The League was reorganized in 1886, expanding membership beyond professional architects, and incorporated in 1888 with 166 members. In 1889, the League joined with the Art Students League of New York and the Society of American Artists to form the American Fine Arts Society. Thus, in 1892 the three organizations were able to erect a building at 215 West 57th Street where the League remained until 1927 when it moved to 115 East 40th Street.

The League was run by the Executive Committee and its officers, elected every two years. The beginning of each League season kicked off with an annual dinner in the spring. The League also formed numerous committees to organize activities and manage administrative tasks. Noteworthy committees include the Current Work Committee, House Committee, Finance Committee, Exhibition Committee, Membership Committee, and Scholarships and Special Awards Committee.

The League's interdisciplinary approach to architecture and the arts was expressed through sponsored forums and discussions with architects and artists. From the League's beginning, the Current Work Committee was established to organize educational forums for members. Recognition of achievement was awarded by an Annual Exhibition from the late 1880s until 1938. In 1950, the League began awarding the annual National Gold Medal Exhibition in various fields, including landscape architecture, engineering, and sculpture. Additionally, the League awarded numerous other scholarships each year. Architects, artists, and arts-related organizations could also rent space in the League building to hold meetings, discussions, and exhibitions.

The League admitted its first female member in 1934. Notable members of the League included Arnold W. Brunner (President, 1903-1905), Cass Gilbert (President, 1913-1915), Philip Johnson, Robert A.M. Stern, and Russell Sturgis (President, 1889-1893).

The Architectural League of New York continues to provide educational opportunities and scholarships to students and professionals.

Background information was gathered from a written history of the League by Cass Gilbert found in this collection and the Architectural League of New York website (http://archleague.org/category/archive/history-archive/).
Related Material:
Among the holdings of the Archives of American Art are several collections that contain Architectural League of New York records. The American Federation of Arts records, 1895-1993, include a significant amount of League records related to national awards programs and lantern slides from the "New Horizons in America" lecture series.
Provenance:
The Architectural League of New York records were donated in several installments from 1967-1980 by the Architectural League of New York.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Architectural League of New York 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:
Architecture  Search this
Associations, institutions, etc.  Search this
Genre/Form:
Scrapbooks
Annual reports
Photographs
Minutes
Lantern slides
Citation:
Architectural League of New York records, 1880s-1974, bulk 1927-1968. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.archleag
See more items in:
Architectural League of New York records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-archleag
Online Media:

Ruth Post research material on Virgil Macey Williams

Creator:
Post, Ruth Nicholson, 1909-1998  Search this
Names:
Williams, Virgil Macey, 1830-1886  Search this
Extent:
2 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1970-1980
Scope and Contents:
Research material gathered by Ruth Post (ca. 1970-1980) regarding painter Virgil Macey Williams (1830-1886) including correspondence with art historians, heirs, reference librarians, archivists, and others; printed material, notes and writings.
Biographical / Historical:
Post, a writer from Silver Spring, Md., researched painter Virgil Macey Williams (1830-1886) for more than a decade.
Provenance:
Donated 1998 by William E. Carnahan, attorney for Ruth Post.
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.
Topic:
Artists -- United States -- Biography  Search this
Identifier:
AAA.postruth
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-postruth

Stable Gallery records

Creator:
Stable Gallery  Search this
Names:
New York School of poets and painters  Search this
Groh, Alan, 1923-1996  Search this
Scull, Robert, 1917-1986 -- Art collections  Search this
Ward, Eleanor, 1912-1984  Search this
Extent:
2.9 Linear feet
Type:
Collection descriptions
Archival materials
Drawings
Video recordings
Sketchbooks
Sound recordings
Photographs
Date:
1916-1999
bulk 1953-1970
Summary:
The Stable Gallery records measure 2.9 linear feet and are dated 1916-1999 (bulk 1953-1970). The gallery was known for its representation of the New York School. Records consist mainly of artist files containing biographical notes, correspondence, price lists, sales and payment information, printed matter, and photographs. A small number of gallery administrative and financial records are included, along with printed matter, photographs, and personal papers and estate records of gallery founder and owner Eleanor Ward. There are also reminiscences by gallery owner Eleanor Ward and her assistant Alan Groh, a sound cassette recording of Eleanor Ward, and a videoreel (1/2 inch) documentary of a 1973 Sotheby auction of works from the Robert C. Scull collection.
Scope and Content Note:
The Stable Gallery records measure 2.9 linear feet and are dated 1916-1999 (bulk 1953-1970). The gallery was known for its representation of the New York School. Records consist mainly of artist files containing biographical notes, correspondence, price lists, sales and payment information, printed matter, and photographs. A small number of gallery administrative and financial records are included, along with printed matter, photographs, personal papers, and estate records of gallery founder and owner Eleanor Ward. There are also reminiscences by gallery owner Eleanor Ward and her assistant Alan Groh, a sound cassette recording of Eleanor Ward, and a videoreel (1/2 inch) documentary of a 1973 Sotheby auction of works from the Robert C. Scull collection.

The Stable Gallery's administrative records includes both general correspondence and copious letters from Eleanor Ward to Alan Groh, her assitant regarding gallery business, lists, floor plans, financial records, printed matter, and photographs of unidentified artwork and exhibition installations. There are also reminiscences by gallery owner Eleanor Ward and Alan Groh, a cassette recording of Eleanor Ward, and a film recording of a 1973 Sotheby auction of works from the Robert C. Scull collection. Additional Stable Gallery administrative and financial information, as well as related printed matter is included with the artist files.

Artist files contain biographical notes, correspondence, price lists, printed matter, and photographs of artists and artwork. The correspondence includes memoranda regarding payments to artists and sales information. Among the printed matter is documentation of the Stable Gallery and other exhibitions, reviews, and miscellaneous articles. Unfortunately, no records about the famous Stable Annuals held between 1953 and 1957 survive.

Artwork consists of 4 sketchbooks and loose sheets with charcoal drawings by unidentified artist(s).

The Eleanor Ward papers include miscellaneous personal papers and records concerning her estate. Photographs in the series are of Eleanor Ward, friends and family, parties, and the interior and exterior of Ward's Connecticut house.
Arrangement:
The collection is arranged as four series:

Series 1: Administrative Records, 1955-1986 (0.5 linear feet; Boxes 1, 4, 5)

Series 2: Artist Files, 1952-1997 (1.6 linear feet; Boxes 1-2)

Series 3: Artwork, circa 1955-1970 (3 folders; Box 4)

Series 4: Eleanor Ward Papers, 1916-1999 (0.5 linear feet; Boxes 2-4, 5)
Historical Note:
Established in 1953 by Eleanor Ward (1911-1984), the Stable Gallery derived its name from its first home, a former livery stable on Seventh Avenue at West 58th Street, New York City. Long interested in art and recognized for her "good taste" and "flair," Mrs. Ward had vaguely considered the idea of opening her own gallery for some time and received encouragement from Christian Dior, with whom she had worked in Paris. In 1952, opportunity arose to lease a suitable building that would later become a gallery. At first, Ward and a friend sold mannequins and made the large, empty space available for fashion photography; in December, she operated a Christmas boutique for a few weeks.

The Stable Gallery opened in 1953 with an exhibition of work by Ward's friend Mike Mishke, a commercial artist. She then arranged for the Stable Gallery to host a sequel to the 1951 Ninth Street Show (the initial show, organized by the Club with financial assistance from Leo Castelli, was held in an empty store on Ninth Street). The New York Artists Annual, better known as the Stable Annual, was selected by the artists themselves; this well-attended, widely-reviewed, and influential exhibition continued until 1957. Participating artists included Philip Guston, Franz Kline, Willem deKooning, Robert Motherwell, Jackson Pollock, Robert Rauschenberg, Ad Reinhardt, Richard Stankiewicz, and Jack Tworkov.

The Stable Gallery soon became a gathering place for artists, including some not in Stable's "stable." Over the years, the Stable Gallery presented the first one-man shows of Robert Indiana, Cy Twombly, and Andy Warhol. Among the artists closely associated with the gallery were: Joseph Cornell, Edward Dugmore, John Ferren, Alex Katz, Conrad Marca-Relli, Marisol, Joan Mitchell, Isamu Noguchi, Richard Stankiewicz, Cy Twombly, Jack Tworkov, and Wilfred Zogbaum. The gallery was known for dramatic, somewhat theatrical installations, and occasionally presented exhibitions beyond its usual focus (photographs by Hans Namuth and pre-Columbian sculpture, which personally interested Ward).

When the block where the Stable Gallery stood was razed in 1960 to make way for a high rise apartment building, Mrs. Ward moved her gallery to 33 East 74th Street, where she was able to maintain an apartment for herself upstairs. Quite abruptly, Ward closed the Stable Gallery in 1970, noting changes in the art scene, growing commercialization, and a loss of enthusiasm that made the gallery merely a business for her. Alan Groh (1923-1996), who started as Eleanor Ward's assistant in 1956 and was eventually named gallery director, became director of A. M. Sachs Gallery. Mrs. Ward traveled widely and acted as an art consultant to selected clients.
Related Materials:
Also found in the Archives of American Art is an oral history interview with Eleanor Ward conducted by Paul Cummings, February 8, 1972.
Provenance:
The Stable Gallery records were the gift of the Estate of Eleanor Ward. In 1984, artist files were received from Alan Groh, executor of Ward's estate and her assistant at the Stable Gallery. Additional records were donated in 1997 by Buzz Miller on behalf of the Estate of Eleanor Ward; Mr. Miller was Alan Groh's partner and executor of his estate. Another addition was received in 1999 from Paul Gardner, executor of the Estate of Buzz Miller. A final addition of 0.2 liner feet was donated in 2019 by Nancy Berner, Alan Groh's niece.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
The Stable Gallery 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:
New York school of art  Search this
Art, Modern -- 20th century -- Exhibitions  Search this
Art, Modern -- 20th century -- New York (State) -- New York  Search this
Art galleries, Commercial -- New York (State) -- New York  Search this
Genre/Form:
Drawings
Video recordings
Sketchbooks
Sound recordings
Photographs
Citation:
Stable Gallery records, 1916-1999, bulk 1953-1970. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.stabgall
See more items in:
Stable Gallery records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-stabgall
Online Media:

Katharine Kuh papers

Creator:
Kuh, Katharine  Search this
Names:
Albright-Knox Art Gallery  Search this
Art Institute of Chicago -- Faculty  Search this
Biennale di Venezia  Search this
Katharine Kuh Gallery (Chicago, Ill.)  Search this
Adams, Ansel, 1902-1984  Search this
Albers, Josef  Search this
Albright, Ivan, 1897-1983  Search this
Archipenko, Alexander, 1887-1964  Search this
Arensberg, Louise S. (Louise Stevenson), 1879-1953  Search this
Arensberg, Walter, 1878-1954  Search this
Arp, Jean, 1887-1966  Search this
Barnet, Will, 1911-  Search this
Barr, Alfred H., Jr., 1902-1981  Search this
Biddle, George, 1885-1973  Search this
Breuer, Marcel, 1902-  Search this
Calder, Alexander, 1898-1976  Search this
Campoli, Cosmo  Search this
Chagall, Marc, 1887-  Search this
Chavez Morado, José, 1909-2002  Search this
Chermayeff, Serge, 1900-  Search this
Cornell, Joseph  Search this
Cox, Richard  Search this
Davis, Stuart, 1892-1964  Search this
Day, Worden, 1916-1986  Search this
De Kooning, Willem, 1904-1997  Search this
Dickinson, Edwin Walter, 1891-  Search this
Dubuffet, Jean, 1901-  Search this
Duchamp, Marcel, 1887-1968  Search this
Elizabeth II, Queen of Great Britain, 1926-  Search this
Ernst, Jimmy, 1920-1984  Search this
Falkenstein, Claire, 1908-1997  Search this
Feitelson, Lorser, 1898-1978  Search this
Friendly, Fred W.  Search this
Giacometti, Alberto, 1901-1966  Search this
Golub, Leon, 1922-2004  Search this
Goto, Joseph, 1920-  Search this
Grabe, Klaus  Search this
Graves, Robert, 1895-1985  Search this
Guggenheim, Peggy, 1898-  Search this
Guston, Philip, 1913-1980  Search this
Hare, David, 1917-  Search this
Hare, Denise Browne  Search this
Hayter, Stanley William, 1901-1988  Search this
Hirshhorn, Joseph  Search this
Hofmann, Hans, 1880-1966  Search this
Hélion, Jean, 1904-1987  Search this
Inverarity, Robert Bruce, 1909-1999  Search this
Johns, Jasper, 1930-  Search this
Johnson, Philip, 1906-2005  Search this
Johnson, Ray, 1927-  Search this
Kandinsky, Wassily, 1866-1944  Search this
Kepes, Gyorgy, 1906-2001  Search this
Kepes, Juliet  Search this
Klee, Paul, 1879-1940  Search this
Kline, Franz, 1910-1962  Search this
Knox, Seymour H., 1898-1990  Search this
Le Corbusier, 1887-1965  Search this
Lundeberg, Helen, 1908-1999  Search this
Lye, Len, 1901-1980  Search this
Léger, Fernand, 1881-1955  Search this
Mies van der Rohe, Ludwig, 1886-1969  Search this
Millier, Arthur, 1893-  Search this
Moholy-Nagy, László, 1895-1946  Search this
Motherwell, Robert  Search this
Mérida, Carlos, 1891-1984  Search this
Nutting, Muriel Leone Tyler, b. 1892  Search this
Nutting, Myron Chester, 1890-1972  Search this
O'Higgins, Pablo, 1904-  Search this
Orozco, José Clemente, 1883-1949  Search this
Ozbekhan, Hasan, 1921-2007  Search this
Perkins, Frances  Search this
Picasso, Pablo, 1881-1973  Search this
Putnam, Wallace, 1899-1989  Search this
Ray, Man, 1890-1976  Search this
Rich, Daniel Catton, 1904-1976  Search this
Rothko, Mark, 1903-1970  Search this
Sandberg, Carl  Search this
Seligmann, Kurt, 1900-1962  Search this
Shackelford, Shelby  Search this
Shahn, Ben, 1898-1969  Search this
Spaeth, Otto, d. 1966  Search this
Sterne, Hedda, 1916-  Search this
Stevenson, Adlai E. (Adlai Ewing), 1900-1965  Search this
Still, Clyfford, 1904-  Search this
Tanning, Dorothea, 1910-2012  Search this
Tobey, Mark  Search this
Winston, Harry Lewis  Search this
Woolf, Olga  Search this
Young, Victor  Search this
Photographer:
Pollack, Peter, 1909-1978  Search this
Extent:
12 Linear feet
Type:
Collection descriptions
Archival materials
Illustrated letters
Resumes
Travel diaries
Minutes
Calendars
Visitors' books
Photographs
Paintings
Awards
Drawings
Sound recordings
Collages
Scrapbooks
Lithographs
Prints
Wills
Watercolors
Poetry
Lecture notes
Lectures
Sales records
Date:
1875-1994
bulk 1930-1994
Summary:
The papers of art historian, dealer, critic, and curator Katharine Kuh measure 12 linear feet and date from 1875-1994, with the bulk of the material dating from 1930-1994. The collection documents Kuh's career as a pioneer modernist art historian and as the first woman curator of European Art and Sculpture at the Art Institute of Chicago. Found within the papers are biographical material; correspondence with family, friends and colleagues; personal business records; artwork by various artists; a travel journal; writings by Kuh and others; scrapbooks; printed material; photographs of Kuh and others; and audio recordings of Kuh's lectures and of Daniel Catton Rich reading poetry.
Scope and Content Note:
The papers of art historian, dealer, critic, and curator Katharine Kuh measure 12 linear feet and date from 1875-1994, with the bulk of the material dating from 1930-1994. Found within the papers are biographical material; correspondence with family, friends and colleagues; personal business records; artwork by various artists; a travel journal; writings by Kuh and others; scrapbooks; printed material; photographs of Kuh and others; and audio recordings of Kuh's lectures and of Daniel Catton Rich reading poetry.

Biographical material consists of copies of Kuh's birth certificate, resumés, passports, award certificates, honorary diplomas, and address books listing information about several prominent artists and colleagues.

Four linear feet of correspondence offers excellent documentation of Kuh's interest in art history, her travels, her career at the Art Institute of Chicago, her work as a corporate art advisor, and as an author. There are letters from her mother Olga Woolf, friends, and colleagues. There is extensive correspondence with various staff members of the Art Institute of Chicago, the First National Bank of Chicago, and The Saturday Review. Also of interest are letters from artists and collectors, several of whom became life-long friends including Walter and Louise Arensberg, Cosmo Campoli, Serge Chermayeff, Richard Cox, Worden Day, Claire Falkenstein, Fred Friendly, Leon Golub, Joseph Goto, David Hare, Denise Brown Hare, Jean Hélion, Ray Johnson, Gyorgy and Juliet Kepes, Len Lye, Wallace Putnam, Kurt Seligmann, Shelby Shackelford, Hedda Sterne, and Clyfford Still. Many letters are illustrated with original artwork in various media.

There are also scattered letters from various artists and other prominent individuals including Josef Albers, George Biddle, Marcel Breuer, Joseph Cornell, Stuart Davis, Edwin Dickinson, Joseph Hirshhorn, Daniel Catton Rich, and Dorothea Tanning.

Personal business records include a list of artwork, Olga Woolf's will, inventories of Kuh's personal art collection, miscellaneous contracts and deeds of gift, receipts for the sale of artwork, files concerning business-related travel, and miscellaneous receipts.

Artwork in the collection represents a wide range of artist friends and media, such as drawings, watercolors, paintings, collages, and prints. Included are works by various artists including lithographs by David Hare and a watercolor set, Technics and Creativity, designed and autographed by Jasper Johns for the Museum of Modern Art, 1970.

Notes and writings include annotated engagement calendars, travel journals for Germany, a guest book for the Kuh Memorial gathering, and many writings and notes by Kuh for lectures and articles concerning art history topics. Of interest are minutes/notes from meetings for art festivals, conferences, and the "Conversations with Artists Program (1961). Also found are writings by others about Kuh and other art history topics.

Six scrapbooks contain clippings that document the height of Kuh's career as a gallery director and museum curator. Scrapbook 6 contains clippings about Fernand Léger, the subject of a retrospective exhibition at the Art Institute of Chicago in 1953.

Additional printed material includes clippings about Kuh and her interests, a comprehensive collection of clippings of Kuh's articles for The Saturday Review, exhibition announcements and catalogs, calendars of events, programs, brochures, books including Poems by Kuh as a child, and reproductions of artwork. Of particular interest are the early and exhibition catalogs from the Katharine Kuh Gallery, and rare catalogs for artists including Jean Arp, Alexander Calder, Marc Chagall, Jean Dubuffet, Marcel Duchamp, Stanley William Hayter, Hans Hofmann, Wassily Kandinsky, Paul Klee, Franz Kline, Le Corbusier, Ludwig Mies van der Rohe, and Pablo Picasso.

Photographs provide important documentation of the life and career of Katharine Kuh and are of Kuh, family members, friends, colleagues, events, residences, and artwork. Several of the photographs of Kuh were taken by Will Barnet and Marcel Breuer and there is a notable pair of photo booth portraits of Kuh and a young Ansel Adams. There are also group photographs showing Angelica Archipenko with Kuh; designer Klaus Grabe; painters José Chavez Morado and Pablo O'Higgins in San Miguel, Mexico; Kuh at the Venice Biennale with friends and colleagues including Peggy Guggenheim, Frances Perkins, Daniel Catton Rich, and Harry Winston; and "The Pre-Depressionists" including Lorser Feitelson, Robert Inverarity, Helen Lundeberg, Arthur Millier, Myron Chester Nutting, and Muriel Tyler Nutting.

Photographs of exhibition installations and openings include views of the Katharine Kuh Gallery; Fernand Léger, Man Ray, and László Moholy-Nagy at the Art Institute of Chicago; and Philip Guston, Jimmy Ernst, Seymour H. Knox, Franz Kline, Robert Motherwell, and Mark Rothko at the Albright-Knox Art Gallery in Buffalo, New York. There are also photographs depicting three men posing as Léger's "Three Musicians" and the visit of Queen Elizabeth II to the Art Institute of Chicago. There is a photograph by Peter Pollack of an elk skull used as a model by Georgia O'Keeffe.

Additional photographs of friends and colleagues include Ivan Albright, Alfred Barr, Alexander Calder, Marc Chagall, Willem De Kooning, Edwin Dickinson, Marcel Duchamp, Claire Falkenstein, Alberto Giacometti, poet Robert Graves with Len Lye, Philip Johnson, Gyorgy and Juliet Kepes, Carlos Mérida, José Orozco, Hasan Ozbekhan, Pablo Picasso, Carl Sandberg, Ben Shahn, Otto Spaeth, Hedda Sterne, Adlai Stevenson, Clyfford Still, Mark Tobey, and composer Victor Young.

Photographs of artwork include totem poles in Alaska; work by various artists including Claire Falkenstein, Paul Klee, and Hedda Sterne; and work donated to the Guggenheim Museum.

Four audio recordings on cassette are of Katharine Kuh's lectures, including one about assembling corporate collections, and of Daniel Catton Rich reading his own poetry. There is also a recording of the Second Annual Dialogue between Broadcasters and Museum Educators.
Arrangement:
The collection is arranged as 9 series. Undated correspondence, artwork, and photographs of individual artists are arranged alphabetically. Otherwise, each series is arranged chronologically.

Series 1: Biographical Material, 1945-1992 (Box 1; 16 folders)

Series 2: Correspondence, 1908-1994 (Boxes 1-5, 13-14, OV 15; 4.0 linear feet)

Series 3: Personal Business Records, 1941-1989 (Box 5; 19 folders)

Series 4: Artwork, 1931-1986 (Boxes 5, 13-14, OVs 15-23; 1.7 linear feet)

Series 5: Notes and Writings, 1914-1994 (Boxes 5-7; 1.7 linear feet)

Series 6: Scrapbooks, 1935-1953 (Box 7; 8 folders)

Series 7: Printed Material, 1916-1992 (Boxes 7-10, 13, OV 22; 3.0 linear feet)

Series 8: Photographs, 1875-1993 (Boxes 10-13; 1.2 linear feet)

Series 9: Audio Recordings, 1977 (Box 12; 1 folder)
Biographical Note:
Katharine Kuh (1904-1994) worked primarily in the Chicago area as an modern art historian, dealer, critic, curator, writer, and consultant. She operated the Katharine Kuh Gallery from 1935-1943 and was the first woman curator of European and Art and Sculpture at the Art Institute of Chicago.

Katharine Kuh (née Woolf) was born on July 15, 1904 in St. Louis, Missouri, the youngest of the three daughters of Olga Weiner and Morris Woolf, a silk importer. In 1909, the family moved to Chicago, Illinois. While traveling with her family in Europe in 1914, Katharine contracted polio, causing her to spend the next decade in a body brace. During this time of restricted movement, she developed an interest in art history through the collecting of old master prints.

After her recovery, Katharine Woolf attended Vassar College where one of her professors, Alfred Barr, encouraged her to study modern art. She graduated from Vassar in 1925 and received a master's degree in art history from the University of Chicago in 1929. Later that year, she moved to New York to pursue a Ph.D. in Renaissance and medieval art at New York University.

In 1930, Katharine Woolf returned to Chicago and married businessman George Kuh and began to teach art history courses in the suburbs of Chicago. After divorcing George Kuh in 1935, she opened the Katharine Kuh Gallery, the first gallery devoted to avant-garde art in Chicago. It was also the first gallery to exhibit photography and typographical design as art forms, and featured the work of Ansel Adams, Josef Albers, Alexander Calder, Wassily Kandinsky, Fernand Léger, and Man Ray, among others. From 1938 to1940, Kuh was the Visiting Professor of Art at the University School of Fine Arts, San Miguel, Mexico.

After the Katharine Kuh Gallery closed in 1943, Kuh was hired by museum director Daniel Catton Rich to fill a position in public relations at the Art Institute of Chicago. During the following years, Kuh edited the museum's Quarterly publication, took charge of the museum's Gallery of Interpretive Art, and began a long term relationship with Rich. In 1946, Kuh was sent on a special mission for the U. S. Office of Indian Affairs to make a detailed study of Native American totemic carvings in Alaska.

In 1949, Kuh persuaded Mr. and Mrs. Walter Arensberg of Los Angeles to exhibit their collection of modern art, creating the first post-war exhibition of modern art in Chicago. She published her first book Art Has Many Faces in 1951, and in the following year, she began writing art criticism for The Saturday Review. In 1954, Kuh was appointed the first woman curator of European Art and Sculpture at the Art Institute. She assembled the American contribution for the Venice Biennale in 1956 and during these years, Kuh helped acquire many of the works of modern art currently in the museum's collection.

A year following Daniel Catton Rich's 1958 resignation from the Art Institute of Chicago, Kuh also resigned and pursued a career in New York as an art collection advisor, most notably for the First National Bank of Chicago. In 1959, Kuh was made art critic for The Saturday Review, and she continued to publish books, including The Artist's Voice in 1962, Break-Up: The Core of Modern Art in 1965, and The Open Eye: In Pursuit of Art in 1971.

Katharine Kuh died on January 10, 1994 in New York City.
Provenance:
The Katharine Kuh papers were donated in several installments from 1971 to 1989 by Katharine Kuh and in 1994 by her estate. Artwork was donated in 1995 by Kuh's former employer, the Art Institute of Chicago.
Restrictions:
Authorization to quote, publish or reproduce requires written permission until 2019. Contact the Archives of American Art Reference Services department for additional information.
Rights:
The Katharine Kuh papers 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, Abstract -- United States  Search this
Art, American  Search this
Art festivals  Search this
Women museum curators -- Illinois -- Chicago  Search this
Women art critics -- New York (State) -- New York  Search this
Authors -- Illinois -- Chicago  Search this
Art, Modern -- 20th century -- United States  Search this
Art galleries, Commercial -- Illinois -- Chicago  Search this
Women art historians -- Illinois -- Chicago  Search this
Women art dealers -- Illinois -- Chicago  Search this
Women art dealers -- New York (State) -- New York  Search this
Women art critics -- Illinois -- Chicago  Search this
Genre/Form:
Illustrated letters
Resumes
Travel diaries
Minutes
Calendars
Visitors' books
Photographs
Paintings
Awards
Drawings
Sound recordings
Collages
Scrapbooks
Lithographs
Prints
Wills
Watercolors
Poetry
Lecture notes
Lectures
Sales records
Citation:
Katharine Kuh papers, 1875-1994, bulk 1930-1994. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.kuhkath
See more items in:
Katharine Kuh papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-kuhkath

Weaving a Yup’ik Issran/Grass Carrying-Bag (10 of 11): Making the Top Edge

Creator:
Smithsonian Arctic Studies Center Alaska  Search this
Type:
Youtube videos
Uploaded:
2020-08-03T00:56:01Z
Topic:
Arctic Studies;Alaska;Alaska Natives;Native Art;Indigenous Art  Search this
Youtube Category:
Education  Search this
See more by:
Smithsonian Arctic Studies Center Alaska channel
YouTube Channel:
Smithsonian Arctic Studies Center Alaska channel
Data Source:
Smithsonian Arctic Studies Center Alaska
EDAN-URL:
edanmdm:yt_2lrpx5Vbt8s

Weaving a Yup’ik Issran/Grass Carrying-Bag (2 of 11): Talking with Grace Anaver

Creator:
Smithsonian Arctic Studies Center Alaska  Search this
Type:
Youtube videos
Uploaded:
2020-08-03T00:55:55Z
Topic:
Arctic Studies;Alaska;Alaska Natives;Native Art;Indigenous Art  Search this
Youtube Category:
Education  Search this
See more by:
Smithsonian Arctic Studies Center Alaska channel
YouTube Channel:
Smithsonian Arctic Studies Center Alaska channel
Data Source:
Smithsonian Arctic Studies Center Alaska
EDAN-URL:
edanmdm:yt_3NBXQB4L3nA

Weaving a Yup’ik Issran/Grass Carrying-Bag (6 of 11): Dyeing Grass

Creator:
Smithsonian Arctic Studies Center Alaska  Search this
Type:
Youtube videos
Uploaded:
2020-08-03T00:55:48Z
Topic:
Arctic Studies;Alaska;Alaska Natives;Native Art;Indigenous Art  Search this
Youtube Category:
Education  Search this
See more by:
Smithsonian Arctic Studies Center Alaska channel
YouTube Channel:
Smithsonian Arctic Studies Center Alaska channel
Data Source:
Smithsonian Arctic Studies Center Alaska
EDAN-URL:
edanmdm:yt_3u1w7N2WcC0

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