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Saint Peter

Artist:: Hans Sebald Beham, German, 1500–1550 Search this

Medium:: Engraving on paper

Type:: figures; Print

Object Name:: Print

Made in:: Germany

Date:: 1545

Credit Line:: Gift of Leo Wallerstein

Accession Number:: 1950-131-80

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_1950-131-80

Ankrum Gallery records

Creator:: Ankrum Gallery Search this

Names:: Art Dealers Association of America Search this; Black Arts Council (Washington, D.C.) Search this; California Arts Council Search this; Hirshhorn Museum and Sculpture Garden Search this; Krannert Art Museum Search this; Laguna Art Museum (Laguna Beach, Calif.) Search this; Paramount Pictures Search this; San Diego Museum of Art Search this; Staempfli Gallery (New York, N.Y.) Search this; Storm King Art Center Search this; Almaraz, Carlos Search this; Andrews, Benny, 1930-2006 Search this; Ankrum, Joan Search this; Bauer, Richard, 1944- Search this; Block, Irving Search this; Broderson, Morris, 1928-2011 Search this; Caryl, Naomi Search this; Casey, Bernie Search this; Duveneck, Frank, 1848-1919 Search this; Feitelson, Lorser, 1898-1978 Search this; Groth, Bruno Search this; Halpert, Edith Gregor, 1900-1970 Search this; Herschler, David Search this; Hirsch, Joseph, 1910-1981 Search this; Hirshhorn, Olga Search this; Homer, Jessie Search this; Jackson, Suzanne, 1944- Search this; Johnson, Buffie Search this; Lundeberg, Helen, 1908-1999 Search this; Mesches, Arnold, 1923- Search this; Miller, Henry, 1891- Search this; Palm Springs Desert Museum Search this; Schuler, Melvin Search this; Secunda, Arthur Search this; Shores, Kenneth, 1928- Search this; Varda, Jean Search this; Zev Search this

Extent:: 41.5 Linear feet

Type:: Collection descriptions; Archival materials; Scrapbooks; Photographs

Date:: circa 1900-circa 1990s; bulk 1960-1990

Summary:: The Ankrum Gallery records measure 41.5 linear feet and date from circa 1900 to circa 1990s, with the bulk of the records dating from 1960 to 1990. The papers include over 395 artists files, general gallery correspondence, project files, administrative records, exhibition files, collector and client files, financial material, printed material, 1 unbound scrapbook, and photographs. Also included are personal papers of gallery founder Joan Ankrum and her nephew, artist Morris Broderson.

Scope and Contents:: The Ankrum Gallery records measure 41.5 linear feet and date from circa 1900 to circa 1990s, with the bulk of the records dating from 1960 to 1990. The papers include over 395 artists files, general gallery correspondence, project files, administrative records, exhibition files, collector and client files, financial material, printed material, 1 unbound scrapbook, and photographs. Also included are personal papers of gallery founder Joan Ankrum and her nephew, artist Morris Broderson.

General correspondence is with artists, museums, collectors, and clients, and generally concerns sales, exhibitions, and consignments. Correspondents include Irving Block, Morris Broderson, Naomi Caryl, Suzanne Jackson, Joseph and Olga Hirshhorn, among many others. Correspondence is also found in the artists files and the collector/client files.

Project files document various events, benefits, and projects undertaken by the gallery, including a UNICEF benefit, "Up Against Hunger," the Exceptional Children's foundation, and the Young Art Patrons.

Administrative files document many activities of the gallery, such as the gallery's and Joan Ankrum's membership in the Black Arts Council, the California Arts Council, and the Art Dealers Association of California of which Joan Ankrum was a primary organizer. Also found are publicity files, a file on the history of the gallery, leases, floor plans, insurance documents, lists of graphics for sale, and other miscellany.

Exhbition files appear to be incomplete, but do include files for Huichol Indian's art, "The Art of African Peoples" (1973), "Five Contemporary Mexican Painters" (1977), Ethiopian Folk Painting (1978), San Diego Museum of Art Artists Guild All Media Exhibition (1982), "25th Anniversary Exhibition" (1985), among several others.

Extensive artists' files include correspondence, price lists, photographs and slides,resumes and biographical material, and sales invoices. Files are found for Benny Andrews, Carlos Almaraz, Richard Bauer, Irving Block, Naomi Caryl, Bernie Casey, Frank Duveneck, Lorser Feitelson, Bruno Groth, David Herschler, Jessie Homer, Suzanne Jackson, Buffie Johnson, Samella Lewis, Helen Lundeberg, Arnold Mesches, Henry Miller, Melvin Schuler, Arthur Secunda, Ken Shores, Jean Varda, and Zev, among many others. The Pat Alexander and Andy Nelson files also contain motion picture film.

Collector and client files document the gallery's relationship with over 115 collectors, museums, and art centers. Files may include correspondence and sales records and are found for Edith Halpert, Olga and Joseph Hirshhorn and the Hirshhorn Museum and Sculpture Garden, the Krannert Art Museum, Laguna Art Museum, Palm Spring Desert Museum, Paramount Pictures, San Diego Museum of Art, Staempfli Gallery, and Storm King Art Center, among many others.

Financial material documents sales through numbered invoices, consignments, loans, and insurance valuations. Printed material consists of exhibition catalogs and announcements, bulletins, periodicals, and newspaper clippings. One unbound scrapbook contains clippings and exhibition materials.

Photographs are of artwork, artists, and gallery openings. Additional photographs are found in the artists' files.

Joan Wheeler Ankrum personal papers document her personal and professional relationship with family, artists, and collectors. They include correspondence, personal writings, personal financial materials, printed material and loose scrapbook materials, family photographs and photographs of her as an actress, and artwork from various artists.

The papers of artist Morris Broderson, nephew of Joan Ankrum, document his professional relationship with the gallery as his primary dealer. Included are biographical materials, correspondence, publicity files, travel files, projects, exhibitions, collector/client files, financial material, printed material, photographs, and artwork.

Arrangement:: This collection is arranged as 12 series.

Series 1: Correspondence, 1961-1994 (0.5 linear feet; Box 1)

Series 2: Project Files, 1965-1987 (0.25 linear feet; Box 1)

Series 3: Administrative Records, 1961- circa 1990s (1 linear foot; Boxes 1-2)

Series 4: Exhibition Files, 1961-1991 (1 linear foot; Boxes 2-3)

Series 5: Artists' Files, 1957-1994 (22.5 linear feet; Boxes 3-25, 41-42, FC 43-45)

Series 6: Collector and Client Files, 1960-1994 (3.2 linear feet; Boxes 25-28)

Series 7: Financial Material, 1962-1990 (1.5 linear feet; Boxes 28-30)

Series 8: Printed Material, 1957-1994 (2 linear feet; Boxes 30-32, 41)

Series 9: Scrapbook, 1960-1988 (3 folders; Box 32)

Series 10: Photographs, circa 1960s-circa 1990s (0.35 linear feet; Boxes 32, 42)

Series 11: Joan Ankrum Personal Papers, circa 1900-1993 (2 linear feet; Boxes 32-34, 41)

Series 12: Morris Broderson Papers, 1941-1989 (7.2 linear feet; Boxes 34-42)

Biographical / Historical:: The Ankrum Gallery was established 1960 in Los Angeles by American film actress Joan Wheeler Ankrum and William Chalee. The gallery closed in 1989.

Joan Wheeler Ankrum and William Challee opened Ankrum Gallery on La Cienega Boulevard in Los Angeles in 1960 with a one-man show of Ankrum's nephew Morris Broderson. With a focus on contemporary California artists, Ankrum Gallery represented over 395 artists during its 30 years in operation, including Benny Andrews, Carlos Almaraz, Richard Bauer, Irving Block, Naomi Caryl, Bernie Casey, Frank Duveneck, Lorser Feitelson, Bruno Groth, David Herschler, Jessie Homer, Suzanne Jackson, Buffie Johnson, Samella Lewis, Helen Lundeberg, Arnold Mesches, Henry Miller, Melvin Schuler, Arthur Secunda, Ken Shores, Jean Varda, and Zev. In addition, the gallery was among the earliest to exhibit the work of black artists. The gallery also held exhibitions of world artists, which included "Art of African Peoples" (1973), "Yarn Paintings of the Huichol Indians" (1973), "Five Contemporary Mexican Painters" (1977), and "Ethiopian Folk Painting" (1978). Ankrum Gallery closed in 1989.

Art dealer and gallery owner, Joan Wheeler Ankrum was an actress before establishing the Ankrum Gallery primarily to showcase the work of her deaf nephew, Morris Broderson. Born in 1913 in Palo Alto, California, she began acting at the Pasadena Playhouse where she met her first husband Morris Ankrum with whom she had two sons, David and Cary Ankrum. She married gallery co-owner and partner William Challee in 1984. She helped organize the Los Angeles Art Dealers Association and the Monday Night Art Walks on La Cienega Boulevard. She was a member of the relatively short-lived Black Arts Council. Joan Wheeler Ankrum died in 2001 at the age of 88.

Morris Broderson (1928-2011) was a deaf painter. His first one-man show was at the Stanford Museum in 1957, followed by the Santa Barbara Museum of Art. By 1959 he'd won two awards from the Los Angeles County Museum, and appeared in the Whitney Museum's "Young America" show in 1960. His travels influenced his work, including the hand gestures of Kabuki art in Japan. His work is in the collections of the Whitney Museum of American Art and the Hirshhorn Museum and Sculpture Garden, among others. Following Joan Ankrum's death in 2001, Broderson was represented by her son David Ankrum.

Related Materials:: Also found in the Archives of American Art are two oral history interviews with Joan Ankrum, one conducted by Betty Hoag, April 28, 1964, and a second by Paul Karlstrom, November 5, 1997-February 4, 1998. Additionally, there is an oral history interview with Morris Broderson conducted by Paul Karlstrom, March 11-13, 1998.

Provenance:: The Ankrum Gallery records were donated to the Archives of American Art by Joan Ankrum in 1995.

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.

Rights:: The Ankrum 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:: Art galleries, Commercial -- California -- Los Angeles Search this; Artists -- California -- Los Angeles Search this

Genre/Form:: Scrapbooks; Photographs

Citation:: Ankrum Gallery records, circa 1900-circa 1990s, bulk 1960-1990. Archives of American Art, Smithsonian Institution.

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

Identifier:: AAA.ankrgall

See more items in:: Ankrum Gallery records

Archival Repository:: Archives of American Art

EDAN-URL:: ead_collection:sova-aaa-ankrgall

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Henry and Nancy Rosin Collection of Early Photography of Japan

Collector:: Rosin, Henry D., Dr. Search this; Rosin, Nancy Search this

Creator:: Lyman, Benjamin Smith, 1835-1920 Search this; Ueno, Hikoma, 1838-1904 Search this; Beato, Felice, b. ca. 1825 Search this; Stillfried, Raimund, Baron von, 1839-1911 Search this; Underwood & Underwood Search this

Names:: Japanese tea ceremony Search this; Meiji, Emperor of Japan, 1852-1912 Search this; Shōken, Empress, consort of Meiji, Emperor of Japan, 1850-1914 Search this

Extent:: 616 Items (approximate count)

Type:: Collection descriptions; Archival materials; Mammoth plates; Photographs; Photograph albums; Stereographs; Cartes-de-visite; Photographic prints

Place:: Japan; Japan -- 1890-1900; Kyoto (Japan); Tokyo (Japan); Yokohama-shi (Japan)

Date:: 1860 - ca. 1900

Scope and Contents:: Assembled by collectors Dr. Henry D. Rosin and Nancy Rosin to document nineteenth-century and early twentieth-century photography of Japan. Includes albumen prints, portions handcolored, some signed and numbered in the negative. Taken by photographers Felice Beato (b. ca. 1825), Baron Raimon von Stillfried (1938-1911), Kusakabe Kimbei (active 1880s), Ueno Hikoma (1838-1904), Ogawa Kazumasa (1860-1929) and unknown photographers to depict architecture, landscapes, formal studio portraits, and daily activities.

Arrangement:: Organized chronologically by the creators.

Biographical / Historical:: Henry and Nancy Rosin were collectors of Japanese photography of the nineteenth and twentieth centuries.

Local Numbers:: FSA A1999.35

Restrictions:: Collection is open for research.

Topic:: Ainu Search this; Photography of women Search this; Streets -- Japan Search this; Temples -- Japan Search this; Samurai Search this; Sumo wrestlers Search this; Religion Search this

Genre/Form:: Mammoth plates; Photographs -- 1850-1900; Photograph albums; Stereographs -- 1860-1900; Cartes-de-visite; Photographic prints

Citation:: Henry and Nancy Rosin Collection of Early Photography of Japan. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Smithsonian Institution, Washington, D.C. Purchase and partial donation.

Identifier:: FSA.A1999.35

See more items in:: Henry and Nancy Rosin Collection of Early Photography of Japan

Archival Repository:: Freer Gallery of Art and Arthur M. Sackler Gallery Archives

EDAN-URL:: ead_collection:sova-fsa-a1999-35

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Anna Coleman Ladd papers

Creator:: Ladd, Anna Coleman, 1878-1939 (sculptor) Search this

Names:: American Red Cross. Studio for Portrait Masks (Paris, France) Search this; Aldrich, William Search this; Fabbricotti, Gabriella Search this; Gardner, Isabella Stewart, 1840-1924 Search this; Hammond, Natalie Hays, 1905- Search this; Southwick, Jessie Eldridge Search this

Extent:: 4.26 Linear feet

Type:: Collection descriptions; Archival materials; Diaries; Drawings; Sketchbooks; Photographs; Sketches; Scrapbooks

Date:: 1881-1950

Summary:: The papers of sculptor Anna Coleman Ladd measure 4.26 linear feet, date from 1881-1950, and document the career of sculptor Anna Coleman Ladd. Found within the papers are biographical material, letters, diaries, financial material, notes and writings, art work, a file concerning the American Red Cross Studio for Portrait-Masks, scrapbooks, printed material, and photographs.

Scope and Contents note:: The papers of sculptor Anna Coleman Ladd measure 4.26 linear feet, date from 1881-1950, and document the career of sculptor Anna Coleman Ladd. Found within the papers are biographical material, letters, diaries, financial material, notes and writings, art work, a file concerning the American Red Cross Studio for Portrait-Masks, scrapbooks, printed material, and photographs.

Biographical materials are scattered and include calling cards, biographical sketches notes, and certificates.

Correspondence includes letters written to Anna Coleman Ladd from various family members, friends, and colleagues. Notable correspodents include William Aldrich, Gabriella Fabbricotti, Isabella Stewart Gardner, Natalie Hays Hammond, and Jessie Eldridge Southwick.

Diaries are daily diaries dating from 1903-1905 and from 1911-1912. Each diary includes short descriptions of Ladd's days.

Financial materials include receipts, stock certificates, travel materials, lists, and an account book for Dr. Maynard Ladd.

Writings and notes consists of notebooks, lists of works of art, inventories, manuscripts by Ladd and by others.

Artworks include two sketchbooks, loose drawings, and a plaster relief by Ladd as well as several sketches by others.

American Red Cross Studio for Portrait-Masks files include correspondence, writings, a scrapbook, printed materials, and photographs. Materials concern portrait masks used to disguise the disfigured faces of World War I veterans.

Scrapbooks consists of three scrapbooks containing photographs, printed materials, and writings.

Printed materials include clippings, exhibition announcements and catalogs for Ladd's works, books and booklets, and posters, some of which are French World War I propaganda.

Photographs include photographs of Anna Coleman Ladd with her works of art and in the studio, Dr. Maynard Ladd, friends, family, colleagues, and works of sculpture.

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

Series 1: Biographical Material, 1910-1950 (Box 1; 4 folders)

Series 2: Correspondence, 1895-1937 (Box 1-2; 1.1 linear feet)

Series 3: Diaries, 1903-1912 (Box 2; 2 folders)

Series 4: Financial Material, 1899-1934 (Box 2; 6 folders)

Series 5: Writings and Notes, 1888-1949 (Box 2, 6, OV 7; 0.6 linear feet)

Series 6: Artwork, 1901-1928 (Box 2, 6, OV 7; 0.2 linear feet)

Series 7: American Red Cross Studio for Portrait-Masks File, 1914-1925 (Box 2-3, 6; 0.4 linear feet)

Series 8: Scrapbooks, 1900-1940 (Box 3; 0.3 linear feet)

Series 9: Printed Material, 1889-1942 (Box 3, 6, OV 7; 0.5 linear feet)

Series 10: Photographs, 1881-1932 (Box 4-6, MGP 1; 0.8 linear feet)

Biographical/Historical note:: Born in 1878 in Philadelphia to John and Mary Watts, Anna Coleman Ladd (née Watts) was educated in private schools and Europe. She also studied in America under Charles Grafly.

She moved to Boston in 1905 and married Boston pediatrician Maynard Ladd with whom she had two daughters, Gabriella May Ladd and Vernon Abbott Ladd . Working in her studio on Clarendon Street, Ladd became one of the city's most prolific sculptors, creating fountain pieces, portrait busts, memorials, and reliefs in addition to authoring two novels, Hieronymus Rides in 1912, and The Candid Adventurer in 1913.

Between 1907 and 1915, Ladd had solo exhibitions at the Gorham Gallery in New York, the Corcoran Gallery in Washington, D.C., and the Pennsylvania Academy in Philadelphia. She was also invited to exhibit her bronzes at the Panama Pacific Exposition in San Francisco. In 1914 she executed a bronze statuette of Eleanora Duse for which the actress posed, and later completed portrait busts of Anna Pavlova and Ethel Barrimore.

In late 1917 in Paris, Ladd founded the American Red Cross Studio for Portrait-Masks to provide cosmetic masks to be worn by men who had been badly disfigured in World War I. Her services earned her the Légion d'Honneur Crois de Chevalier and the Serbian Order of Saint Sava.

For many years, Ladd maintained a summer studio "Arden" at Beverly Farms in Manchester, Massachusetts. In 1923, she received an honorary degree of Master of Arts from Tufts College.

Anna Coleman Ladd died June 3, 1939 in Santa Barbara, California.

Provenance:: The Anna Coleman Ladd papers were donated in 1991 by William Terry on behalf of Robert Edwards, a friend of Anna Coleman Ladd.

Restrictions:: Use of original papers requires an appointment.

Rights:: The Anna Coleman Ladd 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:: Portrait sculpture Search this; Artists' studios -- Photographs Search this; Architectural sculpture Search this; Sculptors -- Massachusetts -- Boston Search this; Women sculptors -- Massachusetts -- Boston Search this; World War, 1914-1918 -- France -- Paris Portrait sculpture Search this; Women authors -- Massachusetts -- Boston Search this; Works of art Search this

Genre/Form:: Diaries; Drawings; Sketchbooks; Photographs; Sketches; Scrapbooks

Citation:: Anna Coleman Ladd papers, 1881-1950. Archives of American Art, Smithsonian Institution.

Sponsor:: Funding for processing in preparation for digitization, and for the digitization of this collection, was provided by the Terra Foundation for American Art. Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee.