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Henry A. "Buddy" Graf and George Cahill Vaudeville and Burlesque Collections

Donor:
Cahill, George N. , b. 1959  Search this
Actor:
Graf, Carol A, 1945-2013  Search this
Graf, Henry "Buddy", 1929-2000  Search this
Extent:
32.2 Cubic feet (98 boxes)
Type:
Collection descriptions
Archival materials
Date:
1844-2000
bulk 1921-2000, undated
Summary:
Collection consists of vaudeville and burlesque materials including original scripts for comedic bits, blackouts, scenes, skits and sketches, joke files, promotional materials, photographs, business records, and press clippings dating from the 19th century to the late 20th century.
Scope and Contents:
Collection provides a comprehensive overview of vaudeville and burlesque performance material rather than documenting individual acts or performers. The materials were collected by Henry "Buddy" Arnold Graf Jr. and primarily include original scripts for comedic skits and sketches not only written by Graf but by other performers and writers.

The collection documents the career of Henry "Buddy" Graf, an actor, producer, director, and business manager. Graf wrote a sizeable amount of his own material but also pulled from the collected scripts of other vaudeville and burlesque comics. Graf and his company performed mostly in Florida and the mid-west and had a long term performing relationship with Bearcreek Farms in Indiana. Graf's material is a window into the non-professional world of theater (non-union) in the late 20th century.

The scripts in this collection collected by Graf and George Cahill were created and performed by early vaudeville and burlesque actors, writers, and booking agents including Gus Flaig, Billy Foster, Leo Stevens, and Izzy Hirst, and others. The scripts date from 1844 with the bulk of scripts being written and performed from the 1910s through the 1940s. The material was performed in venues across the United States.

Graf also collected a sizeable amount of scripts by vaudeville actor and booking agent Jess Mack dating from the 1940s-1980s. Many of the scripts were written on whatever material was available, such as hotel stationery, scraps of paper, or in notebooks, documenting the creative and constantly changing nature of the life of a travelling vaudevillian and changes in performance from venue to venue, year to year.

Each foldered script may include plot synopses, written dialogue, cues for movement, alternate versions, lists of props, copies of song sheets, and musical scores. Many are bound in hand-stitched volumes. The format of the volumes varies because they were the personal copies of different actors and agents. Some volumes are indexed by title while others are indexed by topic.

Additional material includes joke files, promotional materials, photographs, and press clippings. The collection is arranged into thirty-two series; each series is keyed to the collector of the scripts and materials in that series. These collectors may have also been the writers, actors, or producers of the scripts in their series.

"This is a collection of approximately twenty-four (24) cubic feet of vaudeville materials. About 90% of it consists of original scripts for a wide variety of comedic skits and sketches. Additional material includes joke files, promotional materials, photographs, and press clippings. The scripts were created by early (1910s-1940s) vaudeville actors and booking agents such as Gus Flaig, Billy Foster, Leo Stevens, and Izzy Hirst; additional scripts were added by vaudeville actor and booking agent Jess Mack (1940s-1980s). Like more "respectable" plays -- and despite their relatively short length -- vaudeville skits and sketches had titles, like "The Presentation Scene," which were very familiar to performers and theatergoers alike. Most of the scripts in this collection have been bound into hand-made volumes. These are rare, ephemeral items, reflecting the creative and constantly-changing nature of the performances – many scripts were written on whatever material was available, such as hotel stationery, and some volumes are hand-stitched together. Each script includes all of its elements -- plot synopses, written dialogue, cues for movement, alternate versions, lists of props, copies of song sheets and musical scores, and so on. The format of the volumes varies because these were the personal copies of a number of different actors and agents. Some volumes are indexed by title, for example, and some are indexed by topic, such as "animals," "flirtation," "golf," and so on. Non-script material includes joke books, "A Complete List of Scenes and Black-outs," and an unknown amount of photos, clippings, and promotional materials.
Arrangement:
Collection is arranged into thirty-two series:

Series 1: Henry "Buddy" Graf, 1844-2000, undated

Series 2: Arliss, Jules, undated

Series 3: Berry, Bert, undated

Series 4: Binder, F.F. (Fred "Falls"), undated

Series 5: Bronson, Milt, undated

Series 6: Brown, Ernie (Toby), undated

Series 7: Burke, Herbie, undated

Series 8: Clas, Irvin V., undated

Series 9: Clexx, Harry (Henry Thomas), undated

Series 10: Cook, Johnny (John S.) and Bohn, Charles ("Peanuts"), 1936-07

Series 11: Dew, I., undated

Series 12: Flaig, Gus and Beall, Howard, undated

Series 13: Flaig, Gus, 1921-1954, undated

Series 14: Foster, Billy, 1929, undated

Series 15: Hagen, Billy, undated

Series 16: Hayes, Jack, undated

Series 17: Hill, G.B., undated

Series 18: Hill, Joe, undated

Series 19: Hirst, Isadore, 1927-1928, undated

Series 20: Kane, Johnny, undated

Series 21: Kaplan, Eddie, undated

Series 22: Leason, Jess, undated

Series 23: Lewis, Freddie, undated

Series 24: Mack, Jess, 1937-1969, undated

Series 25: Plant, Vic, 1921-1925, undated

Series 26: Romig, Jack, undated

Series 27: Sherman, Robert, undated

Series 28: Stanley, Joe B., undated

Series 29: Taylor, Bob, undated

Series 30: Van, Earl, undated

Series 31: Wilton, Joe, 1920, undated

Series 32: Unattributed, 1945-1952, undated
Biographical / Historical:
Henry Arnold "Buddy" Graf was born 1929 August 30 in Chicago, Illinois at the Norwegian-American Hospital to Henry A. Graf and Evelyn Warner. His father was an electrician at the time of Graf's birth but Graf claimed he grew up in the theatre. As a child in vaudeville he played with the children of some of the vaudeville families such as Donald O'Connor and Sammy David, Jr. He received formal schooling up to the tenth grade.

Graf served in the United States Air Force from January 1949 to October 1952. He was stationed at Sheppard AFB, Texas and then later at Chanute AFB, Illinois. He served as a "Basic Airman" with a mechanic and engineering specialty, and recived a Good Conduct Medal. The most significant assignment during his enlistment was with the 9th Periodic Maintenance Squadron. He was discharged at Travis AFB, California in 1952.

In later life he became a comic, writer, and producer, his style being primarily burlesque with a touch of vaudeville.

Graf met his wife, Carol, in St. Louis, Missouri. A program biography from the 1980s states, "Buddy started his career in show business when he was seven years old. His father put his name on the callboard and he was in business running errands for the acts that appeared at the Stratford Theatre in Chicago, Illinois. Buddy's father was the stage manager, Bob Hope was the Master of Ceremonies. His playmates were Donald O'Conner and Sammy David, Jr. They became friends while they and their families were playing at the Stratford. As time went on Buddy gained experience from the management side of show business as well as the technical and artistic side, the latter as a scene comic. Buddy soon became involved with the rebirth of vaudeville with his own creation, "Giggles Galore". The show ran for five years and did over 2000 performances. He was with Will B. Able's 'Baggy Pants and Company', and performed with 'The Best of Burlesque'. In 1990, he completed a six year run at the Goodtimes Theatre at Bearcreek Farms in Indiana, where he starred in 22 new productions and over 2500 performances. Buddy's wife Carol is the buisness manager for Monkey Biz Productions, and she is the technical director for the show. Buddy and Carol invite you to let your hair down, forget your problems, and let's have some fun the old fashioned way . . . with 'Monkey Business'.

Graf suffered a heart attack on stage but survived after being fitted with a pacemaker, leading him to dub himself the "Bionic Comic." Graf died on 2000 August 20 and was buried in Valhalla Cemetery, St. Louis County, Missouri. Carol died 2013 May 20 and is buried beside her husband in Valhalla. Their shared gravemarker reads, "And in my final moment, may I hear You whisper: 'When you made My people smile, you made Me smile.'"
Related Materials:
Materials at the Archives Center, National Museum of American History

George E. "Mello" and Neva Satterlee McNally Vaudeville Collection, NMAH.AC.0760

Boudini Brothers Vaudeville Collection, NMAH.AC.1426

Falcon Trio Vaudeville Collection, NMAH.AC.0160

Billings-Merriam Family Vaudeville Scrapbooks, NMAH.AC.0079

Ed Hayes and His Banjo Girls Records, NMAH.AC.1333

Thomas Currier Vaudeville Collection, NMAH.AC.1120

W. Oscar Sullivan Papers, NMAH.AC.0072

Sam DeVincent Collection of Illustrated American Sheet Music, Series 4, NMAH.AC.0300

Groucho Marx Collection, NMAH.AC.0260

Donald J. Stubblebine Collection of Theater and Motion Picture Music and Ephemera, NMAH.AC.1211

Bobby Short Papers, NMAH.AC.0946

Warshaw Collection of Business Americana Subject Categories: James Madison, NMAH.AC.0060

Duncan P. Schiedt Photograph Collection, NMAH.AC.1323

Enoch Steen Collection, NMAH.AC.0206

Warshaw Collection of Business Americana Subject Categories: Theater, NMAH.AC.0060

Harpo Marx Papers, NMAH.AC.1290

St. Felix Sisters' Scrapbook, NMAH.AC.0294

Materials at Other Repositories

University of Nevada, Las Vegas, Special Collections and Archives, Gaming Studies, collection focusing primarily on gambling and casinos and includes material related to entertainment and vaudeville

University of Arizona Libraries, Special Collections, American Vaudeville Museum Collection

University of California, Santa Barbara Library, Milt Larsen Variety Theater Collection

University of Pittsburgh, Hillman Library, Curtis Theatre Collection includes about hundred skits and bits from comics, including Billy Foster, some of whose scripts are in the Graf collection.
Provenance:
The collection was donated by George N. Cahill to the Archives Center, National Museum of American History, Smithsonian Institution in 2019.
Restrictions:
Collection is open for research.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Burlesque (Theater)  Search this
Vaudeville  Search this
Citation:
Henry "Buddy" Graf and George Cahill Vaudeville and Burlesque Collections, Archives Center, National Museum of American History, Smithsonian Institution.
Identifier:
NMAH.AC.1484
See more items in:
Henry A. "Buddy" Graf and George Cahill Vaudeville and Burlesque Collections
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep8e1c8cfb3-3fac-4f6d-a987-71562c7a0b66
EDAN-URL:
ead_collection:sova-nmah-ac-1484

Color Cards

Collection Creator:
McFarland, J. Horace (John Horace), 1859-1948  Search this
American Rose Society  Search this
Type:
Archival materials
Abbreviations and Informational Sources:
Compiled September 2010 by AAG Volunteer, Marca Woodhams

Abbreviation Key for McFarland Color Cards

AAS: -- All-America Selections. Source: AAS.

Amling: -- A. F. Amling Co., Maywood, Illinois. Later Amlings Flowers, Chicago, Illinois. Source: FL '31

Armstrong: -- Armstrong Nurseries, Ontario, California, est. 1889. Roses and fruit trees. Source: FL '31, JSA, ARM

Arnold Arb: -- Arnold Arboretum, Harvard University, Jamaica Plain, Massachusetts. Source: FL '31, AA

B&A: -- Bobbink & Atkins, East Rutherford, New Jersey. Roses. Source: FL '31

Babcock: -- Babcock Peony Gardens, Jamestown, New York. George B. Babcock. Peonies. Source: FL '31, WEIN

Bailey: -- Mrs. Charles D. Bailey, Clerksville [Clarksville], Tennessee. Peonies. Source: FL '31

B.H.: -- Breeze Hill, Harrisburg, Pennsylvania. Home of J. Horace McFarland.

Bobbink & Atkins: -- Bobbink & Atkins, East Rutherford, New Jersey. Roses. Source: FL '31, TB p.219

Bodger Seeds: -- John Bodger and Sons, Inc., El Monte, California. Founded in 1890. Wholesale flower seed business. Heirloom standards-Gleam Nasturtium, Crackerjack Marigolds, Zinnia Envy, etc. Source: BOD, LOMPOC

Bosley: -- Bosley Nursery, Mentor, Ohio. Specialized in roses. Source: FL '31, MENT

Breck: -- Joseph Breck & Co., Boston, Massachusetts. Founded in 1818. Source: FL '32

Breeze Hill: -- Breeze Hill, Harrisburg, Pennsylvania. Home of J. Horace McFarland. Source: TB

Bristol: -- Bristol Nurseries, Bristol, Connecticut. Forest trees, fruit trees, evergreens. Source: BRIS

Burpee: -- W. Atlee Burpee & Co., Doylestown, Pennsylvania. Founded in 1876. Seed company. Source: BURP, VSC

Camp Hill: -- Camp Hill, Pennsylvania. 2 miles southwest of Harrisburg, Pennsylvania.

Carroll Gardens: -- Carroll Gardens, Westminster, Maryland. Source: CARR

Clint McDade: -- Founder of Rivermont Orchids, Signal Mountain, Tennessee. Also Clint McDade & Sons and Semmes Nursery [specialized in camellias and azaleas]. Orchid hybridizer. Source: AOS, AZO, PF

Conard & Jones: -- Conard & Jones Co., West Grove, Pennsylvania. Established in 1897. Roses and flowering plants. Source: FL '31

Conard-Pyle: -- Conard-Pyle, West Grove, Pennsylvania. After 1907 when Pyle purchased Conard & Jones Co. Roses. Source: FL '31

CP: -- Conard-Pyle, West Grove, Pennsylvania. Source: FL '31

C.P.: -- Conard-Pyle, West Grove, Pennsylvania. Source: FL '31

CP Co.: -- Conard-Pyle, West Grove, Pennsylvania. Source: FL '31

Dreer: -- Henry A. Dreer, Inc., Philadelphia, Pennsylvania. Founded 1838. Seed and florist. Source: FL '31, TB p. 219

Eichelberger

Farr: -- Bertrand H. Farr Wyomissing Nursery Co., Wyomissing, Pennsylvania. Founded 1908. Nursery. Later called Farr Nursery and Landscape Company. Source: FL '31, FARR

Gl. St. Mary: -- Glen St. Mary Nursery Company , Glen St. Mary, Florida. Founded in 1882. Citrus plants, the weaver dogwood, magnolia St. Mary, and the George L. Taber azalea. Source: FL '31, , TB, MYFL

Glen St. Mary Nursery: -- Glen St. Mary Nursery Company , Glen St. Mary, Florida. Founded in 1882. Citrus plants, the weaver dogwood, magnolia St. Mary, and the George L. Taber azalea. Source: FL '31, TB, MYFL

Greenbriar: -- Greenbrier Farms, Chesapeake, Viriginia. Started by Robert Earl Thrasher. Fruit trees.

G.S.M.: -- Glen St. Mary Nursery Company , Glen St. Mary, Florida. Founded in 1882. Citrus plants, the weaver dogwood, magnolia St. Mary, and the George L. Taber azalea. Source: FL '31, TB, MYFL

Gulf Stream Nursery: -- Gulf Stream Nursery, Wachapreague, Virginia. Source: GEL

Hastings: -- H. G. Hastings Seed Co., Atlanta, Georgia. Founded 1889. Source: ART, VSC

Herbst Brothers, 92 Warren Street, New York, NY: -- Herbst Brothers, Seedsmen, Inc., New York, New York. Seedsmen. Source: OSU

Hicks: -- Hicks Nurseries, Inc., Westbury, New York. Founded 1853. Trees. Source: FL '30, HICKS

Hume: -- H. Harold Hume [Hardrada Harold Hume], botanist and dean of the College of Agriculture, University of Florida. Azaleas of the Glenn Dale type named after him. Source: PA

IK

Indian Spring Farms: -- Indian Spring Farms, Inc., Baldwinsville, New York. Asters and peonies. Source: SHACK

J&P: -- Jackson & Perkins, Newark, New York. Founded in 1872. Roses. Source: FL '31

Jackson & Perkins: -- Jackson & Perkins, Newark, New York. Founded in 1872. Roses. Source: FL '31

J. H. Hill: -- Joseph H. Hill Co., Richmond, Indiana. Son of Edward Gurney Hill who started a business in 1881 called Hill & Co., later E. G. Hill Co., Richmond, Indiana. Later with his brothers-in-law, Fred Lemon and Earl Mann, he formed a distribution company called Hill Floral Products Co. The company closed in 2007. Roses. Source: FL '31, HR, AARS

Kelway: -- James Kelway. Kelways Plants, Ltd., Langport, Somerset Levels, England. Founded in 1851. Peonies. Source: CB

Lemoine: -- Victor Lemoine, Nancy, France. 1852 first mention of work in Revue Horticole. Hybridist of lilacs. Also Portulaca grandiflora, Begonias, Peony, Pelargoniums. Son Emile and Grandson Henri Lemoine carried on the business until 1960. Source: CB, TAY

Lindley Nurs.: -- J. Van Lindley Nursery Co., Pomona, North Carolina and Lindley Nursery, Greensboro, North Carolina. Formerly Pomona Nursery est. in 1877. Peach trees. Source: FL '30, '31, GHM

Livingston: -- Livingston Seed Co., Columbus, Ohio. Founded in 1850. Tomatoes, etc. Source: VSC

Lohrman Seed Co.: -- Lohrman Seed Co., 404 Macomb, Detroit, Michigan. Est. 1893. Source: OSU

Market

Masonic Home "E" town: -- Masonic Home, Elizabethtown, Pennsylvania. Est. 1910. Now called Masonic Village.

McGinness: -- C. R. McGinnis, Reading, Pennsylvania. Rose hips. Source: FL '32

Miche

Miss Trump: -- Bess E. Trump, Harrisburg, Pennsylvania. Source: TRUMP, ARA

Mrs. Bailey: -- Mrs. Charles D. Bailey, Clerksville [Clarksville], Tennessee. Peonies. Source: FL '31

Mrs. Deeter: -- Mrs. Sarah Deeter, Harrisburg, Pennsylvania. Pentstemon. Source: FL '31

Mrs. Gleim

Murrell: -- Edwin Murrell est. Portland Nurseries, Shrewsbury, Shropshire, England. Rose nursery and seed shop. Sons Owen and Edwin Foley Murrell ran shop starting in 1928. Hilda Murrell, daughter of Owen ran Edwin Murrell Ltd. during its golden years, 1949-1970. Roses. Source: GAR

N.C.

Oberlin Peony Gardens: -- Oberlin Peony Gardens, Sinking Spring, Pennsylvania. Tritomas and tree peony propagation. Source: OSU

Overlook Nurseries (I.S. Imura, Prop., Crichton, Ala.): -- Overlook Nurseries, Mobile, Alabama. Est. 1918. Camellias. Source: ACY

Pitzonka: -- Pitzonka Pansy Farm, Bristol, Pennsylvania. Gustav Pitzonka, prop. Pansies. Source: OSU

Prof. Connor, N.J. Exp.

Reutin (Rentin?)

Roehrs: -- Julius Roehrs Co., East Rutherford, New Jersey. Est. 1869. Now in Farmingdale, New Jersey. Orchids. Source: ROE, HORT

S&W: -- Stumpp & Walter Co., New York. Seeds. Source: FL '31, TB p.150

Schling: -- Max Schling Seedsmen, Inc., New York, New York. Started as a florist, Max Schling Flowers. Source: NY1, NY2

Schradely

Stark, Calif.: -- Stark Bro's Nurseries & Orchards Co., Louisiana, Missouri. Est. 1816. Fruits. Source: FL '31, TB p.150, STAR

Sutton: -- Sutton's & Sons, Reading, England. Founded in 1806. Later Sutton's Seeds. Flower and vegetable seeds. Source: SUT

Vonnewitz: -- [This may be Lee R. Bonnewitz Peony and Iris Farm, Van Wert, Ohio.] Peonies. Source: DG, BONN, WEIN

Waller & Franklin: -- Waller-Franklin Seed Company, Guadalupe, California. Later, Waller Flower Seed Company. Source: OSU, WALL

Waller Seed Co.: -- Waller-Franklin Seed Company, Guadalupe, California. Later, Waller Flower Seed Company. Source: OSU, WALL

7Carter, Newport, RI (made for Wm. Hunt): -- William H. Hunt Co., New York, New York. Nerine. Source: FL ' 30, '31, '32, OSU

Informational Sources relating to Abbreviations Appearing on McFarland Color Cards

AA: -- "Arnold Arboretum of Harvard University, Our History." -- Arnold Arboretum -- . Web. 8 Apr. 2010. -- http://arboretum.harvard.edu/aboutus/history.html

AOSB: -- "In Memoriam." [Clint McDade]. -- American Orchid Society Bulletin -- , v.55, 1986 p.1245

ARA: -- Trump, Bess E. -- Using America as a rose-test garden -- . The American Rose Annual, v.15, 1921 p.118-124.

ARM: -- "Armstrong's History." -- Armstrong Garden Centers -- . 2007. Web. 10 Jun. 2010. [Armstrong Nurseries, Ontario, CA] -- http://www.armstronggarden.com

ART: -- "F. J. Cooledge and Sons Company - Hastings' Seed Company." -- Marietta Street ARTery Association -- . Web. 22 Apr. 2010. -- http://www.artery.org/Cooledge-HastingsSeedCo.htm

AZO: -- "Did you ever wonder how an orchid hybrid got its name and information about the hybridizer?" -- The Arizona Orchidist -- , v.43 n.6, June 2007 p.4 [Clint McDade and Rivermont Orchids, Signal Mountain, Tennessee; later Semmes Orchids, Alabama]

BOD: -- "About Bodger." -- Bodger Seeds Ltd -- . 2005. Web. 18 Jun. 2010. -- http://www.bodger.com/about.php

BONN: -- "Book of Bonawitz and Bonewitz, part 2, chapter 18, page 1, Feb. 1969." -- Lee R. Bonnewitz -- . 1969. Web. 10 Jun.2010. -- http://bonnewitz.org/Part2/18-01.htm

BRIS: -- A Catalogue of forest trees, evergreen and flowering shrubs, fruit trees, herbaceous, green-house, and hot-house plants, cultivated and sold by John Miller, nurseryman, seedsman, and florist -- . Bristol, CT: Bristol Nursery, 1826.

BURP: -- "The legacy of W. Atlee Burpee." -- W. Atlee Burpee & Co -- . 2010. Web. 17 Jun. 2010. -- http://www.burpee.com/contentarticle.do?itemID=574

CARR: -- "Carroll Gardens is suspending business." -- Carroll Gardens, Inc -- . 2009. Web. 18 Jun. 2010 -- http://www.carrollgardens.com

CB: -- Carsten Burkhardt's Web Project Paeonia List of breeders, growers, nurseries, etc -- . Web. 10 Jun. 2010 [James Kelway and Victor Lemoine] -- http://www.paeo.ed/h1/sau_sil/wister/buch/135_137.html

DAV: -- PlantFiles -- Detailed information on garden epony Paeonia lactiflora 'Walter Faxon.' Web. 2010 -- http://davesgarden.com/guides/pf/go/190366

FARR: -- "History of Farr Nursery and Landscape Company." -- Farr Nursery and Landscape Company -- . 2002. Web. 15 Apr. 2010. -- http://farrnursery.com/history.php

FL: -- Breeze Hill Gardens (Harrisburg, Pa.) -- Finding-list of plants at Breeze Hill Gardens, Harrisburg, Penna., at the residence of J. Horace McFarland. . .: including trial gardens of the J. Horace McFarland Company -- . Harrisburg, PA: s.n., 1930-1932. [These volumes were annotated by Glendon A. Stevens, J. Horace McFarland's gardener.]

GAR1: -- "Non-competitive exhibits," -- The Garden an illustrated weekly journal of horticulture in all its branches -- , v.62 n.1606, August 30, 1902 p.156. [Edward Murrell]

GAR2: -- "Victor Lemoine, plant hybridist, an appreciation." -- The Garden Magazine -- , May 1917 p. 234. Web. 20 Apr. 2010 -- http://www.earthlypursuits.com/GardenMag/GardenMag0517-234.htm

GEL: -- Gelderen, D. M. van, Piet C. Jong, Herman John Oterdoom. -- Maples of the world -- . Portland, OR: Timber Press, 1994. p.309. [Gulf Stream Nursery, Virginia]

GHM: -- "Lindley Nurseries Collection, ca. 1839-1965, MSS. Collection #120." -- Greensboro Historical Museum Archives -- . 2001. Web. 17 Jun. 2010 -- http://www.greensborohistory.org/archives/familypapers/html/MssColl-120--LindleyNurseries.htm

HAR: -- Harper, Raymond L. -- A history of Chesapeake, Virginia -- . Charleston, SC: The History Press, 2008. p.62. [Greenbrier Farms Nursery, Chesapeake, Virginia; later Greenbrier Nursery Products]

HICKS: -- "History of Hicks Nurseries." -- Hicks Nurseries, Inc -- . 2010. Web. 15 Apr. 2010. -- http://www.hicksnurseries.com/page.cfm?ID=102

HORT: -- "The Boston Exhibition." -- Horticulture -- , v.4 n.19, Nov. 10, 1906 p.501. [Julius Roehrs Co., East Rutherford, NJ]

HR: -- "Hill's roses." -- Hill's Floral Products -- . Web. 10 Jun. 2010. -- http://www.mrlinfo.org/history/business/hillfloral.htm

JSA: -- John S. Armstrong Nursery Collection 1889-1984 -- . Ontario, CA: Ontario City Library Model Colony, 2007. [Finding Aid]

LOMPOC: -- Wallace, Glenn, "Bodger Seeds closing Friday," -- Lompoc Record -- , April 8, 2010. Web. 18 Jun. 2010 -- http://www.lompocrecord.com/news/local/article_fcfe2d92-42d0-11df-8c03-001cc4c002e0.html

MENT: -- "History of Mentor Timeline." -- City of Mentor -- . Web. 2010. [Bosley Nursery, Mentor, OH] -- http://cityofmentor.com/wp-content/uploads/History-Timeline.doc

MOB: -- "Clint McDade dies." -- Mobile Register -- , Thursday, October 2, 1986.

MRM: -- McFarland, J. Horace. -- Memoirs of a Rose Man -- . Emmaus, PA: Rodale Press, 1949.

MYFL: -- "The great Floridians 2000 program." -- My Florida.com, Division of Historical Resources -- . Web. 15 Apr. 2010. [official portal of the state of Florida] [Glen St. Mary Nursery Co., FL] -- http://www.flheritage.com/services/sites/floridians/?section=g

NY1: -- The Talk of the Town, "The Flower Man," -- The New Yorker -- , April 7, 1928, p. 17. [Max Schling]

NY2: -- Harriman, Margaret Case, Profiles, "For Any Occasion," -- The New Yorker -- , July 18, 1936, p. 18. [Max Schling]

OSU: -- "Nursery and seed trade catalogues, 1832-1966." -- Oregon State University Libraries, Special Collections -- . 2010.

PA: -- "J. Horace McFarland Papers Container Listings, MG-85 American Civic Association Correspondence, 1908-1924, Box 5." -- Pennsylvania State Archives -- . Web. 15 Apr. 2010. -- http://www.phmc.state.pa.us/Bah/dam/mg/ys/m85ys3.htm

PL: -- "Catalogues, Seed." -- Planting Fields Foundation Archives, Plantings Fields Estate Collection -- . [Finding aid] Web. 2010. [Clint McDade] -- http://www.plantingfields.org/collec/pdf/Estate_Collection.pdf

ROE: -- Fusco, Mary Ann Castronovo. "A family of some cultivation." -- New York Times, New Jersey Weekly Desk -- , March 28, 1999. Web. 18 Jun. 2010 [Julius Roehrs Co., East Rutherford, NJ] -- http://www.juliusroehrs.com/inthenews.html

SHACK: -- "Baldwinsville's premiere flower businesses 1902-1934. The story behind the Museum's Heritage Peony Collection, Indian Spring Farms, Inc. and H. B. Williams Aster specialist." -- Museum at the Shacksboro Schoolhouse -- . 2008. Web. 15 Apr. 2010. -- http://www.shacksboromuseum.com/flower_farms.htm

STAR: -- "Our story." -- Stark Bro's Nurseries & Orchards Co -- . 2010. Web. 21 Apr. 2010. -- http://ww.starkbros.com/About/ourStory.jsp

SUT: -- "History." -- Suttons Seeds -- . Web. 21 Apr. 2010. -- http://www.suttons.co.uk/aboutus.htm

TAY: -- Taylor, Judith. "The legacy of Victor Lemoine: hybridizing on a heroic scale." -- Rare Book Review -- , June 2004 p. 42-43. Web. 20 Apr. 2010 -- http://horthistoria.com/?p=115

TB: -- Morrison, Ernest. -- J. Horace McFarland: A Thorn for Beauty -- . Harrisburg, PA: commissioned by the Commonwealth of Pennsylvania and the Pennsylvania Historical and Museum Commission, 1995.

TRUMP: -- Trump, Bess E. -- Handbook of botanical names of trees, shrubs, flowers, grasses, bulbs, etc -- . Harrisburg, PA: J. Horace McFarland Co., [19 ?]

VSC1: -- "Seed company histories and timelines, including selected seed related organizations." -- Victory Seed Company. 2009 -- . Web. 22 Apr. 2010 -- http://www.saveseeds.org/seedsmen/company_history.html

VSC2: -- "A.W. Livingston & Company, a business timeline." -- Victory Seed Company -- . Web. 22 Apr. 2010. -- http://www.saveseeds.org/biography/livingston/history.html

WALL: -- "Waller Flowerseed Company and Lionel Waller. " Web. 21 Apr. 2010. [website by the grandson of Lionel Waller] -- http://wanderingthewest.com/waller/wallerseed.html

WEIN: -- Weinard, F. F. and Dorner, H. B. -- Peonies: single and Japanese in the Illinois trial garden -- . Urbana, IL: University of Illinois Agricultural Experiment Station, 1938. [Babcock Peony Gardens, Jamestown, NY; Bonnewitz Gardens (Lee R. Bonnewitz), Van Wert, OH]
Collection Restrictions:
Access to original archival materials 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. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Collection Citation:
Smithsonian Institution, Archives of American Gardens, J. Horace McFarland Company Collection.
Identifier:
AAG.MCF, Series 3
See more items in:
J. Horace McFarland Company collection
Archival Repository:
Archives of American Gardens
GUID:
https://n2t.net/ark:/65665/kb6bca0f104-9423-4413-891a-abada97e34b4
EDAN-URL:
ead_component:sova-aag-mcf-ref798

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, 1887-1985  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, 1891-1978  Search this
Dubuffet, Jean, 1901-  Search this
Duchamp, Marcel, 1887-1968  Search this
Elizabeth, Queen of Great Britain, II, 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, 1898-1979  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.

Missing Title

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 Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Authors -- Illinois -- Chicago  Search this
Art historians -- Illinois -- Chicago  Search this
Art dealers -- Illinois -- Chicago  Search this
Art critics -- Illinois -- Chicago  Search this
Curators -- Illinois -- Chicago  Search this
Art consultants -- Illinois -- Chicago  Search this
Topic:
Art, Abstract -- United States  Search this
Art, American  Search this
Art, Modern -- 20th century -- United States  Search this
Women art dealers  Search this
Women art historians  Search this
Women museum curators  Search this
Women authors  Search this
Women art critics  Search this
Function:
Art festivals
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
GUID:
https://n2t.net/ark:/65665/mw987a0763e-de6c-4f9e-b143-4875b3a2244a
EDAN-URL:
ead_collection:sova-aaa-kuhkath
Online Media:

Oral history interview with Ivan Le Lorraine Albright

Interviewee:
Albright, Ivan, 1897-1983  Search this
Interviewer:
Cummings, Paul  Search this
Extent:
86 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1972 February 5
Scope and Contents:
An interview of Ivan Le Lorraine Albright conducted 1972 February 5, by Paul Cummings, for the Archives of American Art. Albright speaks of his family background and early association with art and artists; his interest in architecture; his education including the Chicago Art Institute and the Pennsylvania Academy of the Fine Arts; and his medical drawings for the Army in World War I. He discusses his theories on color, light, motion, form, and illustration in relation to his works, including "Flesh," "Ida," "The Door," "The Window," "The Cornfield," "Room 203," and "Showcase Doll."
Biographical / Historical:
Ivan Le Lorraine Albright (1897-1983) was a painter from New York, New York and Chicago, Illinois.
General:
Originally recorded on 3 sound tape reels. Reformatted in 2010 as 6 digital wav files. Duration is 5 hrs., 43 min.
Provenance:
These interviews are part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and others.
Occupation:
Painters -- United States -- Interviews  Search this
Topic:
Painting, Modern -- 20th century  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.albrig72
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9ad785aa2-b3d1-459f-8099-643a58edce57
EDAN-URL:
ead_collection:sova-aaa-albrig72
Online Media:

Francis Chapin papers

Creator:
Chapin, Francis, 1899-1965  Search this
Names:
Albright, Ivan, 1897-1983  Search this
Chapin, Vivian  Search this
Hopper, Edward, 1882-1967  Search this
Kurtz, Edmund  Search this
Mangravite, Peppino, 1896-  Search this
Pattison, Abbott L. (Abbott Lawrence), 1916-1999  Search this
Wilson, Douglas  Search this
Wines, James, 1932-  Search this
Extent:
0.9 Linear feet
Type:
Collection descriptions
Archival materials
Sketchbooks
Scrapbooks
Date:
1917-1984
Scope and Contents:
Biographical documents; correspondence; art works; scrapbooks; photographs; and printed material.
A passport, 1928; 7 biographical sketches; correspondence, primarily to Chapin's wife and to friend, David McCosh; lists of paintings; a list of guests; 2 illustrated notebooks; price lists; receipts for works of art, 1948-1974; a proof of a lithograph; 2 drawings; 2 sketchbooks, one by Vivian Chapin, 1960; a scrapbook, 1950-1966, containing clippings and an exhibition catalog, 1958; a scrapbook containing clippings, exhibition announcements and catalogs, 4 letters, and photographs; printed materials; and photographs of Chapin, his associates, and his work.
Biographical / Historical:
Painter, lithographer, teacher; Chicago, Illinois. Studied at Art Institute of Chicago 1922-1929, travelled in Europe with David McCosh 1929, returning to study lithography with Bolton Brown. Chapin taught at the Art Institute of Chicago, 1929-1945, Grant Wood's school, 1932, and was director of the Institute's Summer School at Saugatuck, 1932-1940. He was artist-in-residence at University of Georgia, 1952.
Related Materials:
REEL 875: Also in the Archives on microfilm only are papers lent for microfilming in 1974 (reel 875), comprising biographical data; business and personal correspondence, 1930-1964, including one or more letters each from Ivan Albright, Edward Hopper, Edmund Kurtz, Abbott Pattison, Peppino Mangravite, and James Wines; three sketchbooks; loose sketches and two Christmas card designs; writings and talks by Chapin; a scrapbook of clippings, sketches, photographs, and memorabilia, 1917-1921; photos of his family and his works; exhibition catalogs and announcements, 1933-1974; clippings, 1928-1968; bills and receipts; a typescript of a conversation between Vivian Chapin and artist Douglas Wilson, 1956; and miscellany.
Francis Chapin sketchbooks also located at: Art Institute of Chicago, Ryerson Library.
Provenance:
Material on reel 875 lent for microfilming 1974 by Chapin's wife. Chapin's son Todd donated additional material 1986.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm.
Occupation:
Sculptors -- Illinois -- Chicago  Search this
Art teachers -- Illinois -- Chicago  Search this
Lithographers -- Illinois -- Chicago  Search this
Painters -- Illinois -- Chicago  Search this
Topic:
Art, Modern -- 20th century -- History  Search this
Genre/Form:
Sketchbooks
Scrapbooks
Identifier:
AAA.chapfran
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw952035f14-9027-455d-ae86-3cb130931459
EDAN-URL:
ead_collection:sova-aaa-chapfran

Missile, Surface-to-Surface, V-2 (A-4)

Manufacturer:
Mittelwerk GMBH  Search this
Materials:
Steel; graphite jet vanes, some wooden construction elements in fuselage; aluminum tanks not present.
Dimensions:
Overall: 11 ft. 8 3/8 in. wide x 46 ft. 1 3/16 in. deep x 5 ft. 5 in. diameter x 44 ft. 5 3/16 in. long, 8427.9 lb. (356.6 x 1405.1 x 165.1 x 1354.3cm, 3822.9kg)
Type:
CRAFT-Missiles & Rockets
Country of Origin:
Germany
Credit Line:
Transferred from the U.S. Air Force
Inventory Number:
A19600342000
Restrictions & Rights:
Usage conditions apply
See more items in:
National Air and Space Museum Collection
Location:
Steven F. Udvar-Hazy Center in Chantilly, VA
Hangar:
Mary Baker Engen Restoration Hangar
Data Source:
National Air and Space Museum
GUID:
http://n2t.net/ark:/65665/nv9c2816946-e717-42f0-9d3e-1e31b26b8e63
EDAN-URL:
edanmdm:nasm_A19600342000
Online Media:

Newspaper Clippings: Interviews about Jim Thorpe with Gail and Grace

Collection Creator:
Thorpe, Grace F.  Search this
Container:
Box 2, Folder 14
Type:
Archival materials
Date:
1967-1968
Collection Restrictions:
Access to NMAI Archive Center collections is by appointment only, Monday - Friday, 9:30 am - 4:30 pm. Please contact the archives to make an appointment (phone: 301-238-1400, email: nmaiarchives@si.edu).
Collection Rights:
Permission to publish materials from the collection must be requested from National Museum of the American Indian Archive Center. Please submit a written request to nmaiphotos@si.edu. For personal or classroom use, users are invited users to download, print, photocopy, and distribute the images that are available online without prior written permission, provided that the files are not changed, the Smithsonian Institution copyright notice (where applicable) is included, and the source of the image is identified as the National Museum of the American Indian.
Collection Citation:
Identification of specific item; Date (if known); Grace F. Thorpe Collection, Box and Folder Number; National Museum of the American Indian Archive Center, Smithsonian Institution.
See more items in:
Grace F. Thorpe Collection
Grace F. Thorpe Collection / Series 5: Jim Thorpe and His Legacy
Archival Repository:
National Museum of the American Indian
GUID:
https://n2t.net/ark:/65665/sv44a7ace0b-9416-471d-94b0-37825f39d93f
EDAN-URL:
ead_component:sova-nmai-ac-085-ref138
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Giulio V. Blanc papers

Creator:
Blanc, Giulio V.  Search this
Names:
Cuban Museum of Arts and Culture (Miami, Fla.)  Search this
Brito, Maria, 1947-  Search this
Cano, Margarita, 1932-  Search this
Cano, Pablo  Search this
Carreño, Mario  Search this
Carulla, Ramón, 1938-  Search this
Demi, 1955-  Search this
Garcia, Hernan, 1935-  Search this
Gattorno, Antonio  Search this
Gaztelu, A. (Angel)  Search this
Goldman, Shifra M., 1926-2011  Search this
Gómez-Peña, Guillermo  Search this
Lam, Wifredo  Search this
Larraz, Julio  Search this
Libin, Victoria  Search this
Macia, Carlos A., 1951-1994  Search this
Martínez-Cañas, María  Search this
Riverón, Enrique  Search this
Rodríguez, Arturo, 1956-  Search this
Sánchez, Juan, 1954-  Search this
Sí, Juan  Search this
Trasobares, César  Search this
Vater, Regina  Search this
Vázquez Lucio, Oscar E. (Oscar Edgardo), 1932-  Search this
Interviewee:
Cabrera, Lydia  Search this
Gómez Sicre, José  Search this
Extent:
11 Linear feet
0.001 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Sound recordings
Date:
1920-1995
Summary:
The dates for the Giulio V. Blanc papers range from 1920-1995. Measuring a total of eleven linear feet and 0.001 GB, the collection provides documentation of the art exhibitions Blanc curated during his career, including original writings and exhibition catalogs. The extensive artists files in the collection provide information on numerous Latin American and Caribbean artists. The collection also provides historical information on the life and culture of Cuba.
Scope and Content Note:
The Giulio V. Blanc papers measure approximately 11 linear feet and 0.001 GB and date from 1920 to 1995. Compiled by Blanc since the beginning of his curatorial, writing, and research career in the 1980s, the papers consist primarily of artist files on Cuban, Cuban-American, and Latin American artists (1920-1995 and undated). Also found is biographical information (1994-1995), interviews by Blanc (1984-1987, 1994) and miscellaneous letters from artists and friends (1983-1995 and undated).

The first series, Biographical Files, 1994-1995 includes information about Blanc's career. Series 2: Miscellaneous Letters, 1983-1995, undated, consists of letters from artists and friends on various topics. Series 3: Artist Files, 1920-1995, undated, represents the bulk of the collection (approximately 300 artists in all, 6 linear feet), and contain materials either collected by Blanc or received by Blanc from the artists themselves. These consist of biographical material about the artist, usually two or three paragraphs written by Blanc, scattered resumes and copies of fellowship applications. Also found are newspaper clippings, exhibition announcements and catalogs, and letters or correspondence between Blanc and the artists. Of special interest in this series are numerous taped interviews with celebrated Cuban artists and art historians such as José Gómez Sícre, founder and first director of the Art Museum of the Americas, Organization of American States. Gómez-Sícre describes his early career and involvement with acquisitions for the museum's permanent collection as well as his working relationship with Alfred H. Barr, first director of the Museum of Modern Art in New York. Gómez-Sícre's notable book, Pintura Cubana de Hoy, published in Havana in 1944 is included in the files.

Elena Peláez de Medero, another interviewee, discusses her sister, Cuban painter Amelia Peláez (1896-1968). Blanc interviewed Elena Peláez in Miami for his 1988 exhibition Amelia Peláez: A Retrospective. The Peláez file includes Blanc's correspondence with her as well as copies of rare 1930s and 1940s exhibition catalogs from Amelia Peláez's early career. Among the catalogs is a copy of Modern Cuban Painters from the 1944 exhibition held at the Museum of Modern Art in New York. Also found are rare French, German and Spanish newspaper clippings on Peláez dating back to the 1920s. Of interest is a copy of Amado Blanco's 1937 poetry book, Poema desesperado. Published in Havana, the book is dedicated to the memory of Federico García Lorca and includes illustrations by Peláez.

Another prominent artist whom Blanc interviewed was Enrique Riverón (b. 1901) leader of the Cuban vanguardia. He was a member of El Grupo de Montparnasse, a talented group of painters and writers living in the southern district of Paris in the late 1920s, an area noted for its boisterous after-hour activities. The interview was published in the Journal of Decorative and Propaganda Arts in 1997. Also found in the papers are illustrated letters and greeting cards addressed to Blanc and his parents, Baron Lodovico Blanc and María V. Blanc.

Series 4: Exhibition Files, 1977-1995, undated, consists primarily of material Blanc compiled for exhibitions he curated. Found here are letters from museum directors, artists and colleagues, drafts and finished essays for exhibition catalogs, and printed material such as newspaper clippings of art reviews. This series also includes files on exhibitions Blanc did not curate.

Series 5: Subject Files, 1933-1995, undated, are files relating to Cuban art, culture, and society, the Cuban revolution, book projects, Biennials in Havana and São Paulo, the 1988 controversy surrounding the Cuban Museum of Arts and Culture (Miami, FL) and other topics. Found are letters, drafts of writings, notes, printed material such as newspaper clippings and magazine articles, press releases, and exhibition announcements.

Particularly extensive is the documentation about the 1980s conflict at the Cuban Museum of Arts and Culture. In April 1988, a fund-raising auction at the 24-year-old 'little Havana' institution resulted in heated disputes that escalated to violence. The works auctioned were by Cuban artists still living on the island. Many in Miami's Cuban community considered these artists to be supporters of the Communist regime and were outraged. One of the disputed works purchased the night of the auction, a drawing by Manuel Mendive, was taken across the street by its successful bidder and burned. In addition, the museum building was damaged by a pipe bomb shortly after the sale. In the National Public Radio news story (available in Blanc's papers on audio cassette) Helen Kohen, critic for the Miami Herald commented, "We're not talking about paintings. We're talking about `my brother's in jail'. That's what we're talking about." The situation intensified quickly; transcending local politics and involving the Treasury and Justice Departments, the American Civil Liberties Union, the Federal Bureau of Investigation, and Sotheby's and Christie's auction houses. Ramón Cernuda, the museum vice-president who organized the auction also had his personal collection of Cuban art impounded by the FBI. A second bombing took place in 1989 to protest an exhibition of Cuban artists who came to the U. S. during the early 1980s Mariel boatlift.

The seriousness of the conflicts in the Miami museum prompted the Museum of Modern Art in New York to withdraw an offer to lend three paintings to the Cuban museum for the 1988 exhibition Amelia Peláez: A Retrospective scheduled to open later that year. Curated by Giulio Blanc, it was the first U.S. retrospective of this important Cuban artist and the exhibition helped situate her work. The Cuban Museum of Art in Daytona Beach, an institution that helped start the Miami museum, also withdrew an offer to lend "Amelias". The result was an exhibition devoid of works owned by the Museum of Modern Art, important paintings created after 1963, the year President Kennedy imposed economic sanctions on Cuba.

To publicize the Peláez exhibition and boost attendance, the museum placed a public invitation in the Spanish section of the Miami Herald. The half page ad, also found in the Blanc papers, lists more than 100 intellectuals and professionals who supported the exhibition. Blanc stated in a letter to the Miami Herald, "It is horrifying to think there are those in Miami who would burn a painting for the sake of politics. This was the same reasoning utilized by Joseph Goebbels when he made bonfires of books and paintings by anti-Nazi and `degenerate' artists and writers in 1930s Germany... One can only pity the ignorance of those who play into the hands of the Castro regime by resorting to uncivilized tactics that can only hurt the image of the Cuban-exile community and of Miami in general."

The files concerning the Cuban Museum of Arts and Culture contain exhibition announcements, copies of court orders, press releases and correspondence between Blanc and the Museum of Modern Art in New York regarding the museum and the Peláez exhibition. Also included are a great number of newspaper articles printed in two of Miami's major newspapers, the Miami Herald and El Nuevo Herald which covered the story until it was resolved in the early 1990s. Offering additional information on the controversy are a number of letters addressed to either Blanc or his parents from artists and friends expressing either discontent with the museum's state of affairs or gratitude for the Blanc's financial support during the museum's reconstruction. These provide remarkable insight into a relatively heterogeneous Cuban community.

Series 6: Sound Recordings, 1992, 1994 consists of two untranscribed audio cassette tapes. One is of the 1992 College Art Association's session: Artistic Voices of Latin America: The Aesthetics of Anti-Colonialism held in Chicago, Illinois in which Giulio V. Blanc was a panelist. The other is a rare 1994 interview conducted by Blanc with poet-priest Monseñor Angel Gaztelu, a friend of many Cuban writers and artists, and who presided over Peláez's funeral service in 1968.

The last series, Series 7: Photographs, 1981-1993, undated, includes black and whiteportraits of artists, group shots of Blanc with "Miami Generation" artists María Brito, Pablo Cano, María Martínez-Cañas, Carlos Macía, Arturo Rodríguez, and César Trasobares, and photos of other artists.
Arrangement:
The Giulio V. Blanc papers are arranged into seven series primarily according to type of material. Within each series, materials are arranged chronologically, except for Artist Files and Subject Files which are arranged alphabetically by either name or subject.

Missing Title

Series 1: Biographical Files, 1994-1995, undated (box 1; 3 folders)

Series 2: Miscellaneous Letters, 1983-1995, undated (box 1; 3 folders)

Series 3: Artist Files, 1920-1995, undated (boxes 1-8, ER01; 6 linear ft., 0.001 GB)

Series 4: Exhibition Files, 1977-1995, undated (box 8; 1 linear foot)

Series 5: Subject Files, 1933-1995, undated (boxes 8-12; 2.5 linear feet)

Series 6: Untranscribed Sound Recordings, 1992-1994 (box 12; 2 folders)

Series 7: Photographs, 1981, 1993, undated (box 12; 2 folders)
Biographical Note:
Cuban born independent curator, critic, art historian and consultant Giulio V. Blanc (1955-1995) specialized in Cuban and Latin American art history and in his lifetime collected a wealth of material on the subject. Through his numerous exhibitions and keen articles appearing in national and international art journals, Blanc became a leading authority on Latin American art and successfully established himself as a link between Cuban and Cuban-American artists and US galleries and museums. The Miami Generation (1983) and Amelia Peláez: A Retrospective (1988) are two significant exhibitions Blanc curated for Miami's Cuban Museum of Arts and Culture in addition to the celebrated Wifredo Lam and His Contemporaries, 1938-1952 (1992) for New York's Studio Museum in Harlem. Giulio V. Blanc was among the key figures that catapulted Latin American art onto the mainstream in the early 1980s.

Giulio V. Blanc was born in Havana in 1955 to Baron Lodovico Blanc and María V. Blanc. The Blanc name hails from Italy and the title of Baron was awarded to Alberto Blanc, Lodovico Blanc's grandfather, while he was Secretary of State in 1873 under Victor Emmanuel II of Italy. As young advocates of Cuban culture, the Blanc's collected a number of paintings by Cuban artists but were forced to leave behind the works of Cuban masters such as Carlos Enríquez, Victor Manuel, René Portocarrero, Fidelio Ponce and others to facilitate an uncomplicated exodus from the country during the revolution. Lodovico and María were in their thirties and Giulio was five years old when the family settled in Miami.

Giulio Blanc completed his undergraduate education at Harvard and proceeded to Brown University and the Institute of Fine Arts in New York for graduate work (1979-1980). During his career, he served as an independent curator and consultant to The Cuban Museum of Arts and Culture (Miami), The Metropolitan Museum (Miami), and The Museum of Contemporary Hispanic Art (New York) among others. He also lectured on Latin American art history at the Art Museum of the Americas, OAS (Organization of American States), Washington, DC, The University of Miami, and El Museo Nacional de Arte in La Paz, Bolivia. In addition, he worked as a consultant in the Latin American Paintings Department at Sotheby's auction house in New York and served on the editorial board of the magazine Art Nexus. Blanc was pursuing a doctoral degree in art history at the City University of New York before his premature death in 1995 at the age of thirty-nine.

Missing Title

1955 -- Born November 1 in Havana, Cuba to Baron Lodovico and Baroness María V. Blanc, young collectors of Cuban art. The title of Baron was awarded to Alberto Blanc, Lodovico Blanc's grandfather, in 1873 while Alberto was Secretary of State under Victor Emmanuel II of Italy.

1960 -- The Blanc family migrates to the United States because of the escalating revolution. Lodovico and Maria V. Blanc are in their thirties when they flee the island. The works of Cuban painters such as Carlos Enríquez, Victor Manuel, René Portocarrero, Fidelio Ponce and others were left behind to facilitate an uncomplicated exodus.

1976 -- Giulio V. Blanc serves as research assistant for one year at the Tozzer Library, Peabody Museum, Harvard University.

1977 -- Graduates cum laude from Harvard College with a B.A. in Archeology.

1979 -- Graduates from Brown University with a M.A. in Archeology. Was a research assistant until 1980 at the Gallery of the Center for Inter-American Relations, New York city.

1980 -- Receives a certificate in Museum Studies from the Graduate School of Arts and Science, New York University. Curates Emilio Sánchez: Lithographs which opens at the Pagoda, Ransom-Everglades School, Coconut Grove, Florida. Co-curates Cuba in the Nineteenth Century for Miami's Miami-Dade Public Library.

1981 -- Joins the Latin American Paintings Department, Sotheby's Auction House, New York and serves for two years.

1982 -- Co-curates Young Hispanics, USA which opens at the Lehigh University Museum, Bethlehem, Pennsylvania and curates Ten Out of Cuba for INTAR Latin American Gallery in New York.

1983 -- Curates Cuban Fantasies at the Kouros Gallery in New York and Pablo Cano en Paris for the 4 Place de Saussaies in Paris, France. Also curates The Miami Generation: Nine Cuban-American Artists for the Cuban Museum of Arts and Culture in Miami and the Meridian House in Washington, DC.

1984 -- Serves as independent curator and consultant to Miami's Metropolitan Museum and Art Center and The Cuban Museum of Arts and Culture; The Museum of Contemporary Hispanic Art in New York and other institutions. Lectures at the Art Museum of the Americas (Organization of American States) in Washington, DC; The University of Miami; The Cuban Museum of Arts and Culture (Miami); The Center for the Fine Arts (Miami); Rockland Center for the Arts (West Nyack, NY); and the National Museum of Art, La Paz, Bolivia. Curates Young Collector's of Latin American Art which opened at Miami's Metropolitan Museum and Art Center.

1985 -- Curates Dancing Faces: An Exhibition of Mexican Masks for the Metropolitan Museum and Art Center in Miami and Nuevas Vistas: Latin American Paintings which opens at the Wistariahurst, Holyoke, Massachusetts. Curates Architecture in Cuban Painting, for the Miami Dade Public Library.

1986 -- Receives and M.A. in Art History at New York University's Institute of Fine Arts. Curates Carlos Enríquez for the Cuban Museum of Arts and Culture, Miami, Florida and Into the Mainstream: Ten Latin American Artists Working in New York for the Jersey City Museum in Jersey City, New Jersey.

1987 -- The exhibition Aurelia Muñoz: Selections, curated by Blanc, opens at the Metropolitan Museum of Art in Miami, Florida. Serves as juror for Expresiones Hispanas: Coors National Hispanic Art Exhibition, Denver, Colorado. Curates Visions of Self: The American Latin Artist for the Miami-Dade Community College gallery.

1988 -- Receives a grant from the NY State Council on the Arts for research on Cuban artist Wifredo Lam for the exhibition at the Studio Museum in Harlem, New York. Enrolls in the art history Ph.D. program at the City University Graduate Center, New York city. First bombing of the Cuban Museum of Arts and Culture in Miami takes place. Blanc's Amelia Peláez: A Retrospective successfully opens at the Cuban Museum of Arts and Culture despite much controversy.

1989 -- Curates Urgent Dream: New Work by Mario Bencomo at the Museum of Contemporary Hispanic Art (MoCHA), New York. Second bombing of the Cuban Museum of Arts and Culture, Miami FL.

1990 -- New York correspondent for Arte en Colombia, Bogota. Serves as adjunct lecturer at Queens College (CUNY) for the Fall semester. Curates the exhibition, The Post-Miami Generation for the Inter-American Gallery in Miami, Florida. Co-curates Figurative Perspectives: Six Artists of Latin American Background for the Rockland Center for the Arts, West Nyack, NY.

1991 -- Visiting scholar at University of Massachusetts at Amherst. Writes a small play, Tía Carmela: A Cuban Tragicomedy, illustrated by Cuban artist and friend Pablo Cano.

1995 -- Dies at the age of forty of AIDS related complications.
Related Materials:
Papers of Giulio V. Blanc, 1930-1982, are also located at the University of Miami Archival Collections.
Provenance:
Margherite Blanc, sister of Giulio V. Blanc, donated her brother's papers in 1998 to the Archives of American Art, Smithsonian Institution. This collection, along with numerous other Latino collections, was acquired through the 1996 Latino Art Documentation Project in South Florida. Initiated to chronicle the thriving art scene so apparent in the city's galleries, museums, and private collections, the project resulted in numerous acquisitions described in the revised edition of the Papers of Latino and Latin American Artists. Both the project and the publication were made possible, in part, with funding provided by the Smithsonian Institution's Center for Latino Initiatives.
Restrictions:
The collection is open for research. Use requires an appointment and is limited to the Washington, D.C. research facility.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Art historians -- Florida -- Miami  Search this
Topic:
Cuban American art  Search this
Art, Latin American  Search this
Artists -- Cuba  Search this
Cuban American artists  Search this
Latino and Latin American artists  Search this
Genre/Form:
Sound recordings
Citation:
Giulio V. Blanc papers, 1920-1995. Smithsonian Institution. Archives of American Art.
Identifier:
AAA.blangiul
See more items in:
Giulio V. Blanc papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9d3c414b1-dc78-4f66-889d-963690fe0282
EDAN-URL:
ead_collection:sova-aaa-blangiul
Online Media:

James Brooks and Charlotte Park papers

Creator:
Brooks, James, 1906-1992  Search this
Names:
Kootz Gallery (N.Y.)  Search this
New York University -- Students  Search this
Southern Methodist University -- Students  Search this
United States. Army  Search this
Bolotowsky, Ilya, 1907-1981  Search this
Gottlieb, Adolph, 1903-1974  Search this
Guston, Philip, 1913-1980  Search this
King, William, 1925-2015  Search this
Park, Charlotte  Search this
Extent:
20.1 Linear feet
Type:
Collection descriptions
Archival materials
Sketchbooks
Sound recordings
Transcripts
Interviews
Drawings
Photographs
Diaries
Date:
1909-2010
bulk 1930-2010
Summary:
The papers of Abstract Expressionist painters James Brooks and Charlotte Park measure 18.7 linear feet and are dated 1909-2010, bulk 1930-2010. Correspondence, subject files, personal business records, printed material, and a sound recording document his painting career, interests, professional and personal activities. Also found are biographical materials, interviews, writings, and art work. The collection also includes papers of his wife, Abstract Expressionist painter Charlotte Park, regarding her painting career, personal life, activities as executor of James Brooks' estate, and some material concerning the James Brooks and Charlotte Park Brooks Foundation. There is a 1.4 linear foot addition to this collection donated in 2017 that includes 58 "week-at-a-glance" appointment books, three journals and one address/ telephone book of Charlotte Park; a hand written chronology with significant dates and notes; postcards and exhibition announcements sent to Charlotte and James; doodles; and a sketch, possibly by Don Kingman.
Scope and Contents:
The papers of Abstract Expressionist painters James Brooks and Charlotte Park measure 18.7 linear feet and are dated 1909-2010, bulk 1930-2010. Correspondence, subject files, personal business records, printed material, and a sound recording document his painting career, interests, professional and personal activities. Also found are biographical materials, interviews, writings, and art work. The collection also includes papers of his wife, Abstract Expressionist painter Charlotte Park, regarding her painting career, personal life, activities as executor of James Brooks' estate, and some material concerning the James Brooks and Charlotte Park Brooks Foundation. There is a 1.4 linear foot addition to this collection donated in 2017 that includes 58 "week-at-a-glance" appointment books, three journals and one address/ telephone book of Charlotte Park; a hand written chronology with significant dates and notes; postcards and exhibition announcements sent to Charlotte and James; doodles; and a sketch, possibly by Don Kingman.

Biographical materials include biographical notes and documents such as copies of birth and death certificates, curricula vitae, family history. Educational records are from Southern Methodist University and documentation of flight training courses at New York University. Brooks' military service in World War II is well documented by United States Army records with related correspondence. Also found is extensive documentation of his death and funeral.

Professional and personal correspondence is addressed to Brooks, the couple, and to Charlotte Park during the later years of Brooks' life when she managed his affairs. A significant amount of correspondence is categorized as art, autograph requests, personal, and teaching; also include is general correspondence that overlaps all categories. Art correspondence with museums, galleries, collectors, artists, and friends concerns exhibitions, Brooks' work, and invitations to exhibit, speak, or serve as a juror. Of note is the correspondence with Samuel M. Kootz Gallery. The personal correspondence is mainly social, and teaching correspondence consists largely of requests that he teach in summer programs, serve as a visiting artist/critic.

Six interviews with James Brooks are in the form of published and unpublished transcripts; a seventh is a sound recording with no known transcript. Charlotte Park participates in one interview.

Writings by Brooks are statements about his work and a tribute to Ilya Bolotowsky. Among the writings by others about Brooks are a catalog essay, academic papers, and lecture; also found are a few short pieces on miscellaneous topics. Three diaries include brief entries regarding his work, exhibitions, and activities.

Subject files maintained by Brooks concerning organizations, exhibitions, mural projects, a commission and teaching document his professional activities, relationships and interests. Personal business records concern appraisals, conservation, gifts, insurance, loans, sales, shipping, and storage of artwork. Gallery records include agreements, consignments, lists, and receipts. Also, there are accounts for lettering work and personal income tax returns.

Printed material is mostly exhibition announcements, invitations, catalogs, and checklists, as well as articles and reviews. The majority are about/mention Brooks or include reproductions of his work; some concern artist friends, former students, and others.

Artwork by Brooks consists of pencil and ink drawings, two sketchbooks, and "telephone doodles." Other artists include Adolph Gottlieb (ink drawing of sculpture), Philip Guston (three pencil drawings of Brooks), and William King (two silhouettes of Brooks).

Photographic materials (photographs, digital prints, negatives, slides, and color transparencies) provide extensive documentation of Brooks' artwork and, to a lesser extent, exhibitions.There are pictures of Brooks as a very young boy, though the most views of him date from the 1930s through 1980s, and with friends. Places include Brooks' homes and studios in Montauk, New York and the Springs, East Hampton, New York; travel to Maine, Oregon and California. Views of the Middle East from World War II show Brooks with colleagues, local people engaged in daily activities, and scenery. Also of note are a copy print of "The Irascibles" by Nina Leen, and attendees at the dedication of Flight dining in view of Brook's LaGuardia Ariport mural.

Charlotte Park papers document the professional career and personal life of the Abstract Expressionist painter, art teacher, and wife of James Brooks through correspondence, personal business records, exhibition records, printed material, and photographs. In addition, this series documents artwork in the estate of James Brooks and posthumous exhibitions. Twelve years younger than her husband, Park began handling business matters for him as he aged and developed Alzheimer's disease. She also served as his executor. In the 1990s, a curator assumed management of the artwork and loans for exhibitions. After the James Brooks and Charlotte Park Brooks Foundation was established in 2000, its director handled most business activities. Some copies of Foundation minutes and correspondence are found among Park's papers.
Arrangement:
The collection is arranged in 11 series:

Missing Title

Series 1: Biographical Materials, 1924-1995 (Box 1, OV 19; 0.6 linear feet)

Series 2: Correspondence, 1928-1995 (Boxes 1-3; 1.7 linear feet)

Series 3: Interviews, 1965-1990 (Box 3; 0.2 linear feet)

Series 4: Writings, 1952-1999 (Box 3; 0.4 linear feet)

Series 5: Diaries, 1975-1984 (Box 3; 0.1 linear feet)

Series 6: Subject Files, 1926-2001 (Boxes 3-5, OV 20; 2.0 linear feet)

Series 7: Personal Business Records, 1932-1992 (Boxes 5-6; 1.0 linear feet)

Series 8: Printed Material, 1928-1992 (Boxes 6-11, OV 21-OV 22; 4.8 linear feet)

Series 9: Artwork, 1930s-1992 (Box 11; 0.2 linear feet)

Series 10: Photographic Materials, 1909-2000s (Boxes 11-15; 4.1 linear feet)

Series 11: Charlotte Park papers, 1930s-2010 (Boxes 15-18, OV 23; 3.6 linear feet)

Series 12: Unprocessed Additition, circa 1930-2010 (Boxes 25-26; 1.4 linear feet)
Biographical / Historical:
James Brooks (1906-1992) and Charlotte Park (1919-2010) were Abstract Expressionist painters in East Hampton, N.Y. A native of St. Louis, Missouri, Brooks spent his childhood in Colorado, Oklahoma, Illinois, and Texas. He begn drawing as a young boy, finding inspiration in magazine illustrations and comic strips. Before moving to New York City in 1926, he studied at Southern Methodist University (1923-1924) and at the Dallas Art Institute.

In New York, Brooks studied illustration at the Grand Central Art School. After exposure to museums led him to differentiate between illustration and fine art, Brooks enrolled at Art Students League. During this period he supported himself by doing lettering for magazine advertisements. From 1936-1942 he participated in the WPA Federal Art Project, executing murals at Woodside Library, Queens, New York (destroyed); the Post Office, Little Falls, New Jersey; and his famous Flight at LaGuardia Airport's Marine Air Terminal (painted over in the 1950s and restored in 1980).

During World War II Brooks served in the United States Army as an art correspondent in Cairo. When at the Office of Special Services, Washington, DC, he met Charlotte Park who worked there as a graphic artist and later became his wife. The couple moved to New York City in 1945 and married in 1947. Brooks resumed friendships with artists he knew from the WPA including Philip Guston, Bradley Walker Tomlin, and Jackson Pollock. Brooks and Park were especially close with Pollock and Lee Krasner; after they moved to Long Island, Brooks and Park, soon followed, first to Montauk and later to the Springs, East Hampton, New York.

By the late 1940s, Brooks had turned away from figural painting in the social realist style and moved toward abstraction. In the early 1950s, he was experimenting with enamel, gouache, and diluted oil paints, staining various grounds in ways that produced interesting shapes, adding spontaneous splashes of color over which he painted more deliberately. In the 1960s he switched to acrylics, leading to wider use of color and broader strokes.

Peridot Gallery presented Brooks' first solo exhibition in 1949. He helped organize and participated in the famous Ninth Street Show of 1951, earning critical acclaim. This assured him a place in two of the Museum of Modern Art's most important exhibitions of the period, Twelve Americans (1956) and New American Painting (1958). He showed at the Stable Gallery, Kootz Gallery, Martha Jackson Gallery and others. During his lifetime Brooks enjoyed five traveling retrospective exhibitions.

Prizes and awards included Carnegie Institute's Pittsburgh International Exhibition 5th prize for painting (1952), The Art Institue of Chicago's 62nd American Exhibition Logan Medal and Prize for Painting (1957) and 64th American Exhibition Harris Prize (1961), The National Arts Club Medal (1985), and a citation of appreciation for Flight from The North Beach Club Marine Air Terminal, LaGuardia Airport (1986).

Brooks taught for nearly three decades: drawing at Columbia University (1947-1948) and lettering at Pratt Institute (1948-1955); was a visiting critic, Yale University (1955-1960), University of Pennsylvania (1971-1972), and Cooper Union (1975); and served on the Queens College faculty (1966-1969). In addition, he was an artist-in-residence at The American Academy in Rome (1963), the recipient of a Guggenheim Fellowship (1969), and a National Endowment for the Humanities Grant (1973).

Brooks developed Alzheimer's disease around 1985 and died in East Hampton, New York in 1992.

Charlotte Park graduated from the Yale School of Fine Art (1939) and during World War II, when working in Washington, D.C., she met James Brooks. They moved to New York City in 1945, where she studied with Australian artist Wallace Harrison. Park taught children's art classes at several private schools in the early 1950s and at the Museum of Modern Art, 1955-1967.

Park's approach to Abstract Expressionism featured curved or linear shapes with vibrant colors and dynamic brushstrokes. Tanager Gallery presented her first solo show in 1957 and her work was included in numerous group exhibitions from the 1950s through 2000s, mainly in New York City and Long Island. After Park's second solo exhibition, held in 1973 at Elaine Benson Gallery, Bridgehampton, New York, interest in her work revived; other one-person shows followed at Guild Hall (1979), Ingber Gallery (1980), and paired with James Brooks at Louise Himelfarb Gallery. The National Institute of Arts and Letters honored Park with its Art Award in 1974. Her work is in the permanent collections of the Parrish Art Museum, Guild Hall Museum, Telfair Museum of Art, and in many private collections.

Charlotte Park died in 2010.
Related Materials:
Also among the Archives of American Art's holdings are letters from James Brooks and Sean Scully, 1980-1989 addressed to Theodora ["Teddy"] S. Greenbaum, and an oral history interview with James Brooks conducted by Dorothy Seckler, 1965 June 10 and June 12.
Separated Materials:
Correspondence, interview transcripts, photographs, and printed material were loaned by James Brooks for microfilming in 1969 (reel N69-132). With the exception of an address book, a scrapbook, and a few photographs, Brooks donated almost all of the loan in 1979.
Provenance:
The majority of the collection was donated in 2013 by the James Brooks and Charlotte Brooks Foundation and an additional 1.4 linear feet donated 2017 by the Foundation. In 1979 James Brooks donated most of the material lent for microfilming in 1969.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.

Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
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:
World War, 1939-1945  Search this
Painters -- New York (State) -- New York  Search this
Abstract expressionism  Search this
Genre/Form:
Sketchbooks
Sound recordings
Transcripts
Interviews
Drawings
Photographs
Diaries
Citation:
James Brooks and Charlotte Park papers, 1909-2010, bulk 1930-2010. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.broojame
See more items in:
James Brooks and Charlotte Park papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw948fd3af3-1ae9-4a9a-af05-4ef35e505b4a
EDAN-URL:
ead_collection:sova-aaa-broojame

N W Ayer Advertising Agency Records

Creator:
Ayer (N W) Incorporated.  Search this
Names:
American Telephone and Telegraph Company -- Advertisements  Search this
Cunningham & Walsh.  Search this
Hixson & Jorgenson  Search this
United Air Lines, Inc. -- Advertisements  Search this
Ayer, Francis Wayland  Search this
De Kooning, Willem, 1904-1997  Search this
O'Keeffe, Georgia, 1887-1986  Search this
Extent:
270 Cubic feet (1463 boxes, 33 map-folders, 7 films)
Type:
Collection descriptions
Archival materials
Business records
Interviews
Oral history
Print advertising
Proof sheets
Proofs (printed matter)
Scrapbooks
Trade literature
Tear sheets
Advertisements
Date:
1817-1851
1869-2006
Summary:
Collection consists of records documenting one of the oldest advertising agencies created in Philadelphia. The company then moves to New York and expanses to international markets. During its history NW Ayer & Sons acquires a number of other advertising agencies and is eventually purchased. The largest portion of the collection is print advertisements but also includes radio and television. NW Ayer is known for some of the slogans created for major American companies.
Scope and Contents:
The collection consists primarily of proof sheets of advertisements created by NW Ayer & Son, Incorporated for their clients. These materials are in series one through thirteen and consist primarily of print advertisements. There are also billboards, radio and television commercials. The advertisements range from consumer to corporate and industrial products. The majority of the advertisements were created for Ayer's New York, Chicago, Los Angeles and international offices. Printed advertisements created by Cunningham & Walsh, Hixson & Jorgensen and Newell-Emmett are also included among these materials. Researchers who are interested in records created by Ayer in the course of operating an advertising agency will find these materials in Series fourteen-nineteen.

Series fourteen consists of advertisements created by NW Ayer & Son to promote their services to potential clients.

Series fifteen are scrapbooks of some of the earliest advertisements created by the company. Series sixteen are publications. Some of the publications were created by Ayer while others were about Ayer or the advertising industry in general. Provides good background materials and puts the company in perspective. Series eighteen are the legal records. Materials relating to employees including photographs, oral histories etc. are found in series nineteen.

Series twenty is one of the smallest amounts of materials and includes information relating to the history of NW Ayer & Son.

The container lists for series one-thirteen are part of a database and are searchable. The list has been printed for the convenience of the researcher and is included in this finding aid. Series fourteen-twenty container lists are also a part of the finding aid but are not in a searchable format.

Series 1, Scrapbooks of Client Advertisements, circa 1870-1920, is arranged into three boxes by chronological date. There are two bound scrapbooks and one box of folders containing loose scrapbook pages. NW Ayer & Son compiled an assortment of their earliest ads and placed them into scrapbooks. Besides the earliest advertisements, the scrapbooks contain requests to run advertisements, reading notices and listings of papers Ayer advertised in. The early advertisements themselves range from medical remedies to jewelry to machines to clothing to education and more. Most of the advertisements in the bound scrapbooks are dated.

Series 2, Proofsheets, circa 1870-1930, NW Ayer was fond of creating scrapbooks containing proofsheets. The series contains proofsheets created between 1892 and 1930, organized into 526 boxes. For convenience of storage, access and arrangement, the scrapbooks were disassembled and the pages placed in original order in flat archival storage boxes. The proofsheets are arranged by book number rather than client name. Usually the boxes contain a listing of the clients and sometimes the dates of the advertisements to be found within the box.

Series 3, Proofsheets, circa 1920-1975, is organized into 532 oversize boxes, and contain proofsheets and tearsheets created between 1920 and 1972. Within this series, materials are arranged alphabetically by company name (occasionally subdivided by brand or product), and thereunder chronologically by date of production. Many major, national advertisers are represented, including American Telephone & Telegraph, Armour Company, Canada Dry, Cannon Mills, Carrier Corporation, Domino Sugar, Caterpillar tractor company, Ford Motor Company, General Electric, Goodyear, Hills Bros. Coffee, Ladies Home Journal, National Dairy, Plymouth (Chrysler Corporation), Steinway, TV Guide, United Airlines and the United States Army. Also contained in this series are three scrapbooks of client advertisements including Canada Dry, Ford Motor, and Victor Talking Machine.

Series 4, 2001 Addendum, circa 1976-2001, is organized into ninety three oversized boxes,one folder and contains proofsheets for select Ayer clients, created between 1975 and 2001. Within this series, materials are arranged alphabetically by client name and there under chronologically by date of production. Major national advertisers represented include American Telephone & Telegraph, Avon, the United States Army, DeBeers Consolidated Diamond Mines, Dupont, TV Guide, Sealtest, Kraft Foods, Gillette, General Motors, Cannon Mills.

Series 5, Billboards, circa 1952-1956, consists of mounted and un-mounted original art/mock-ups. Twenty-two pieces of original art created as mock-ups for Texaco billboards.

Series 6, Film and Video Commercials, 1967-1970,

Series 7, Radio and Television Materials, 1933-1993, undated, is arranged into eight boxes and includes radio scripts, television scripts, and story boards for commercials.

Subseries 7.1, Scripts and storyboards for Radio and Television Commercials, dates Scripts for radio and television commercials includes title, date, length of commercial, advertising agency, client information

NW Ayer's radio and television materials mainly focus on the American Telegraph and Telephone account. Some of Ayer's materials relate to Bell Telephone Hours.

Storyboards are used in television and film to assist the director in working with crew to tell the story. To show the viewer through the use of figures, visual effects and camera angles. When directors first start thinking about their storyboard they create a story in their mind. They think of all the camera angles, visual effects and how the figures will interact in their mind. They try to create an extraordinary story in their head to attract the viewer (YOU) In order for the storyboard to be entirely effective it can't be a passive document. When done properly, a storyboard serves as a central design, meeting the needs of many team members including graphics artists, video personnel and programmers.

Another function of a storyboard is to help the team communicate during the training development process. This communication is very important in working with a large team as in the movie King, produced in 1996. Figures help the director explain to the crew how they are going to record the film and how to present it to the audience. Sometimes the director wants special effects to be added to the film, but his budget might not be that big so the director will have to change the story to fit their budget.

The Visual Effects are an important part in the storyboards it adds a special touch of creativity to your film. Camera angles are an important expects in your film because the camera angles determine where the viewing audience will look. If you want your audience to look at a certain object you must turn their attention to it by focusing on that object and maybe you might try blocking something out. Then you will have your audience's attention and you may do whatever else you have to, it could be scaring them are just surprising them or whatever you do.

Also included is talent information and log sheets relating to the storage of the commercials.

Bell Telephone Hour Program, 1942-[19??], The Bell Telephone Hour, also known as The Telephone Hour, was a five minute musical program which began April 29, 1940 on National Broadcasting Company Radio and was heard on NBC until June 30, 1958. Sponsored by Bell Telephone showcased the best in classical and Broadway music, reaching eight to nine million listeners each week. It continued on television from 1959 to 1968.

Earlier shows featured James Melton and Francia White as soloists. Producer Wallace Magill restructured the format on April 27, 1942 into the "Great Artists Series" of concert and opera performers, beginning with Jascha Heifetz. Records indicate that the list of talents on the program included Marian Anderson, Helen Traubel, Oscar Levant, Lily Pons, Nelson Eddy, Bing Crosby, Margaret Daum, Benny Goodman, José Iturbi, Gladys Swarthout and .The series returned to radio in 1968-1969 as Bell Telephone Hour Encores, also known as Encores from the Bell Telephone Hour, featuring highlights and interviews from the original series.

National Broadcasting television specials sponsored by the Bell System, 1957-1987includes information relating to Science series, Bell system Theshold Series, Bell telephone hour and commercial and public sponsored programs

Series 8, Chicago Office Print Advertisements, 1954-1989, is arranged alphabetically by the name of the client in ninety boxes and six oversize folders. Clients include Illinois Bell Telephone (1955-1989), Microswitch (1969-1989), Teletype (1975-1984), John Deere (1974-1989) and Caterpillar (1966-1972) are particularly well represented. Other clients of interest include Dr. Scholl's shoes (circa 1968-1972), the Girl Scouts (1976-1980), Sunbeam Personal Products Company (1973-1981), Bell and Howell (1974-1983) and Alberto Culver shampoos (1967-1971), Honeywell, Incorporated, Blue Cross and Blue Shield Associations, Kraft, Incorporated, Sears, Roebuck and Company, and YMCA.

Series 9, Los Angeles Office Materials, 1950s-1987, include printed advertisements created by this office and information relating to the employees.

Subseries 9.1, Print Advertisements, 1977-1987, printed advertisements arranged in one box alphabetically by client. There is a sparse sampling of clients from this particular Ayer branch office. The majority of the advertisements contained within this series are from Pizza Hut (1986-1987). Also included are Computer Automation (1977-1978), State of the Art, Incorporated (1982) and Toshiba (1986).

Subseries 9.2, Personnel Files, 1950s-1970s, includes cards of employees who worked in the Los Angeles office. Information on the cards includes name, address, telephone number, birthday, date hired, departure date and why (retired, terminated, resigned, etc) and position. Not all cards have all information. There is also a photograph of the employees on the cards.

Series 10, Foreign Print Advertisements, 1977-1991, undated, NW Ayer maintained partnerships with international companies such as Sloanas Ayer in Argentina, Connaghan & May Paton Ayer in Australia, Moussault Ayer in Belgium, NW Ayer, LTD. in Canada, GMC Ayer in France, Co-Partner Ayer in Germany, Wong Lam Wang in Hong Kong, MacHarman Ayer in New Zealand, Grupo de Diseno Ayer in Spain, Nedeby Ayer in Sweden, and Ayer Barker in United Kingdom. This group of material is a small sampling of advertisements created from these International offices. It is arranged alphabetically by client. There are quite a few automobile advertisements (i.e. Audi, Fiat, General Motors, Mercedes-Benz, and Volkswagen). In addition there are numerous advertisements for various personal items from MacLean's toothpaste to Quick athletic shoes to Labello lip balm, etc. Most of the advertisements have the creator's name printed on the advertisements.

Series 11, Cunningham & Walsh, Incorporated Materials, 1915-1987, undated contains 98 boxes 11 folders materials from the New York advertising agency acquired by NW Ayer in the 1960s. The company began with Newel-Emmett, an agency of nine men which broke up in 1949. Two of the men Fred Walsh and Jack Cunningham formed this agency in bearing their names in 1950. The agency created "let your fingers for the walking campaign for American Telephone & Telegraph, Mother Nature for Chiffon, and Mrs. Olson for Folgers's coffee and let the good times roll for Kawasaki motorcycle. In 1986, NW Ayer Incorporated purchased Cunningham & Walsh Incorporated.

Subseries 11.1, Print Advertisements, 1915-1987, are contained in ninety eight boxes of primarily print advertisements arranged alphabetically by client name. Clients that are particularly well represented are Graybar (electrical implements, circa1926-1937), Johns-Manulle (circa1915-1971), Smith and Corono typewriters (circa 1934-1960), Sunshine Biscuit Company (circa 1925-1961), Texaco Company (circa 1936-1961), Western Electric (circa 1920- 1971) and Yellow Pages (circa 1936-1971). Cunningham and Walsh also represented several travel and tourism industry clients, including Cook Travel Services (circa 1951-1962), Italian Line (circa 1953-1961), Narragansett and Croft (circa 1956-1960) and Northwest Airlines (circa 1946-1955). There are photographs of Texaco advertisements dating from 1913-1962. There is also a scrapbook of advertisements from the Western Electric Company dating from 1920-1922.

Subseries 11.2, Radio and Television Advertisements, 1963-1967, consist of materials created for Western Electric. Materials are arranged in chronological order.

Subseries 11.3, Company Related Materials, 1962-1986, undated include client lists, information relating to NW Ayer purchase and annual report 1962.

Series 12, Hixson & Jorgensen Materials, 1953-1971, a Los Angeles advertising company, merged with Ayer in 1969. This series is housed in one box. Within the box are four scrapbooks and folders with a hodgepodge of materials relating to advertising. Of most interest are the scrapbooks. Two scrapbooks deal with Hixson and Jorgensen's self promotion ad campaign "the right appeal gets action" (1953-1957). The other two scrapbooks contain news clippings about the company and its activities (1959-1971).

Series 13, Newell-Emmet, 1942-1957, founded in 1919 and governed in the 1940s by a partnership of nine men. The partnership broke up in 1949 when the men went their separate ways. The materials consist of print advertisements for one of client, Permutit Company, a water conditioning company. The materials are arranged in one box in chronological order.

Series 14, House Print Advertisements, 1870-1991, 16 boxes consists of advertisements or self-promotion advertisements to campaign for new clients. The series is arranged chronologically by date into fifteen boxes. Within the series are two scrapbooks containing self promotion ads from 1888-1919 and 1892-1895. Numerous house ads relate to Ayer's "Human Contact" campaign. In addition to the self promotion ads, Ayer ran advertisements expounding about particular concepts or themes for example, one month the concept would "understand" while another month would be "teamwork" and yet another would be on "imagination". Some of the self promotion ads target specific groups like Philadelphia businessmen. Other advertisements incorporate the fine arts.

Series 15, Scrapbooks, 1872-1959, relates to company events, records and news clippings about Ayer's history. The six boxes are arranged by chronological date. Two of the boxes focus solely on the death of founder F.W. Ayer (1923). Another box houses a scrapbook that showcases Ayer's annual Typography Exhibition (1931-1959). One box contains a scrapbook that specifically deals with correspondences relating to Ayer's advertising. Yet another box's contents are folders of loose pages from scrapbooks that have newspaper clippings, order forms, correspondences and other company records. In one box, a bound scrapbook houses a variety of materials relating to Ayer and advertising (i.e. newspaper clippings, competitor's advertisements, NW Ayer's advertisements, correspondences for advertisements, clippings regarding the "theory of advertising."

Series 16, Publications, 1849-2006, are housed in thirty four boxes and are arranged into three main categories.

Subseries 16.1, House Publications, 1876-1994, covers diverse topics; some proscriptive works about the Ayer method in advertising, some commemorating people, anniversaries or events in the life of the agency. Materials consist of scattered issues of the employee newsletter The Next Step 1920-1921. The materials are arranged in chronological order by date of publication. Ayer in the News, The Show Windows of an Advertising Agency, 1915, book form of advertisements published on the cover of Printer's Ink, highlighting Ayer's relations with advertisers. The Story of the States, 1916, Reprint in book form of a series of articles published in Printer's Ink for the purpose of adding some pertinent fact, progressive thought and prophetic vision to the Nationalism of Advertising highlights major businesses, manufacturer, natural resources and other qualities or attractions of each state. The Book of the Golden Celebration, 1919, includes welcome address and closing remarks by founder F. Wayland Ayer, The Next Step, 1920 employee newsletter with photographs, employee profiles, in-house jokes, etc., Advertising Advertising: A Series of Fifty-two Advertisements scheduled one time a week. Twenty-seven, thirty and forty inches, a day of the week optional with publisher, 1924

Subseries 16.2, Publications about NW Ayer, 1949-2006, includes a book first published in 1939. Includes articles, documenting events and is arranged chronologically by date of publication.

Subseries 16.3, General Publications about Advertising, 1922-1974, are arranged chronologically by date of publication and relate primarily to the history of advertising.

Subseries 16.4, Publications about Other Subjects, 1948-1964, include four books about the tobacco industry primarily the history of the American Tobacco Company and Lorillard Company from the Cunningham and Walsh library.

Series 17, Business Records, circa 1885-1990s

Subseries 17.1, Contracts, 1885-1908, undated, are arranged alphabetically and span from 1885-1908. The majority of the contracts are with newspaper and magazine publishers from around the country.

Subseries 17.2, General client information, 1911-1999, undated, including active and cancelled lists with dates, client gains, historical client list, (should move this to series 20) Ayer Plan User Guide Strategic Planning for Human Contact, undated

Subseries 17.3, Individual Client Account Information, 1950s-1990s, undated, contain information used by Ayer to create advertisements for some of its clients. American Telephone &Telegraph Corporate Case History, American Telephone &Telegraph Corporate advertisement memo, commissioned artists for DeBeers advertisements, DeBeers information relating to the creative process and photography credits, a case history for DeBeers Consolidated Mines, Ltd., The Diamond Engagement Ring, Managing Communication at all levels, DuPont publications, JC Penny Marketing Communication Plan Recommendation, Leaf, Incorporated, Saturn presentation, and USAREC oral presentation.

Subseries 17.4, Potential Clients, 1993, includes grouping has a questionnaire sent to Ayer by a potential client. Questionnaire response for Prudential Securities, 1993 Prudential Securities advertising account review, 1993.

Subseries 17.5, Financial Records, 1929-1938, includes balance sheet, 1929 May 1 Balance sheet and adjustments Consolidated statement of assets and liabilities, Expenses 191936-37 Business review and expenses, 1937 and 1938 Business review and expenses comparative statement, 1937 and 1938.

Series 18, Legal Records, circa 1911-1982, Ayer's legal records are arranged by twelve subject groupings within four boxes. The twelve groupings are advertising service agreements (circa 1918-1982), bylaws, copyright claims, correspondences, international correspondences, dissolution of trusts, stock information, agreements between partners, incorporation materials, reduction of capital, property information and miscellaneous materials. The bulk of the materials are the advertising service agreements. These agreements are between Ayer and their clients and state the services Ayer will offer and at what cost. The bylaws are Ayer's company bylaws from 1969 and 1972. The copyright claims are certificates stating Ayer's ownership over certain published materials (i.e. "Policy", Media Equalizer Model, and Don Newman's Washington Square Experiment). The correspondences relate to either the voting trust and receipts for agreement or the New York Corporation. The international correspondences are from either Ayer's Canadian office or London office. The dissolutions of trusts contains materials about the dividend trust of Wilfred F. Fry, the investment trust of Winfred W. Fry, the voting trust, and the New York corporation. The stock information has stock certificates and capital stock information. The agreements between partners (1911-1916) specify the terms between F.W. Ayer and his partners. The incorporation materials (circa 1929-1977) deal with Ayer advertising agency becoming incorporated in the state of Delaware. The reduction of capital grouping is a notification that shares of stock have been retired. The property information grouping contains property deeds and insurance policy (circa 1921-1939), a property appraisal (1934), and a bill of sale (1948). The miscellaneous grouping contains a house memo regarding a set of board meeting minutes and a registry of foreign companies in Commonwealth of Pennsylvania (1929-1954).

Subseries 18.1, Advertising Service Agreements, 1918-1982

Subseries 18.2, Bylaw Materials, 1969-1972

Subseries 18.3, Copyright Claims, 1962-1969

Subseries 18.4, Correspondence, 1928-1933

Subseries 18.5, International Office Correspondence, 1947-1948

Subseries 18.6, Dissolution of Trusts, 1934-1937

Subseries 18.7, Stock Information, 1934-1974

Subseries 18.8, Agreements between Partners, 1911-1916

Subseries 18.9, Incorporation Materials, 1929-1977

Subseries 18.10, Certificates of Reduction of Capital, 1937; 1975

Subseries 18.11, Property Information, 1921-1948

Subseries 18.12, Miscellaneous Materials, 1929-1977

Series 19, Personnel Records, circa 1889-2001, are arranged into eight groupings within eight boxes. The groupings are employee card files, photographs, Ayer alumni, biographies, speeches, recollections, oral histories, and miscellaneous. Typed manuscript of book A Copy Writer Speaks by George Cecil, NW Ayer, Incorporated copy head 1920s-1950s

Subseries 19.1, Employee card files, circa 1892-1915; 1929-1963, consists of index cards with the name, age, job title, date and wage increases, date of hire/fire, as well as remarks about the employee's service and/or reasons for seeking or leaving the job. Materials are arranged alphabetically by the last name of the employee within three boxes.

Subseries 19.2, Photographs, circa 1924-1984, undated, are housed in two boxes. The photographs grouped together by subjects i.e. personnel, company events, Ayer buildings, and miscellaneous. This grouping primarily consists of personnel photographs. Includes a glass plate negative dated 1924 of NW Ayer.

Subseries 19.3, Ayer Alumni, circa 1989-98, include employees who have left Ayer. There is a listing of Ayer "graduates" and their current job. Emeritus, Ayer's alumni newsletter 1989-1996, makes up the majority of materials in this grouping. The newsletter keeps the alumni up to date with the happenings of Ayer and what has become of former Ayer employees. Emeritus is a quarterly newsletter devoted to the activities, thoughts and feelings of Ayer alumni a body of people who consists of retirees and former employees.

Subseries 19.4, Biographical Information, circa 1889-1994, undated, prominent members of Ayer's operations had biographical sketches completed of them. This was true for the bio sketches of Robert Ervin, Louis T. Hagopian, and George A. Rink. There is a substantial file on Dorothy Dignam ("Mis Dig"), a leading woman in the advertising world from the 1930s to the 1950s. Also of interest is a video ("The Siano Man") compiled by Ayer employees to commemorate Jerry Siano's retirement from Ayer in 1994. The series is arranged alphabetically by last name.

Subseries 19.5, Speeches, circa 1919-1931; 1975, contains speeches made by Wilfred W. Fry and Neal W. O'Connor. Wilfred W. Fry had various speaking engagements connected with Ayer. Contained in this group is a sampling of his speeches from 1919 to 1931. Neal O'Connor's speech "Advertising: Who Says It's a Young People's Business" was given at the Central Region Convention for the American Association of Advertising Agencies in Chicago on November 6, 1975. The speeches are arranged alphabetically by the speaker's last name.

Subseries 19.6, Recollections, 1954-1984, undated, are arranged alphabetically by last name. These are recollections from Ayer employees about the company and its advertisements. Some recollections are specifically about certain types of advertisements, like farm equipment while others reflect on F. W. Ayer and the company.

Subseries 19.7, Oral History Interview Transcripts, 1983-1985; 1989-1991, include interviews with key NW Ayer personnel, conducted by Ayer alumnae Howard Davis, Brad Lynch and Don Sholl (Vice President creative) for the Oral History Program. The materials are arranged alphabetically by the last name of the interviewee.

Subseries 19.8, Oral History Interview Audio Tapes, 1985-1990, include interviews on audiotape the materials are arranged alphabetically by the last name of the interviewee.

Subseries 19.9, Internal Communications, 1993-1999, includes information sent to employees relating to retirements, management changes, awards won by the company, promotions, potential new accounts, free items, grand opening of Ayer Café, donation events, sponsorship programs, holiday schedules, discounts for employees from clients, Ayer joins MacManus Group.

Subseries 19.10, General Materials, 1940; 1970, includes agency directory entry including a list of the employees, 1970s, annual banquet program for the Curfew Club May 22, 1940 a group formed by the Philadelphia employee in 1938. It sponsored numerous sports, social and educational activities. Groups were formed in public speaking, music appreciation and a series of talks on Monday evenings title the modern woman. The front page was a series of talks for general interest. A list of officers, 1991, Twenty five year club membership, 1973 December 1, List of NW Ayer graduates, 1970, List of Officers, 1991 May 31, Obituary for Leo Lionni, 1999 October 17, List of photographers of advertisements, 2001

Series 20, Background and History Information, 1817-1999, undated includes a chronology, 1817-1990, quick reference timeline, 1848-1923, loose pages from a scrapbook containing examples of correspondence, envelopes, advertisements dating from 1875-1878; slogans coined by NW Ayer & Sons, Incorporated, 1899-1990, history of management, 1909-1923, articles and photographs about the building and art galleries, 1926-1976, publications about the Philadelphia building, 1929, pamphlet relating to memories of NW Ayer & Sons, Incorporated, 1930s-1950s, television history, 1940-1948, Article about the history of the company, 1950 January, pocket guide, 1982, AdWeek reports about standings for advertising agencies, information relating to Human Contact which is NW Ayer's Information relating to Human Contact, undated which is their philosophy on advertising.

Series 21, Materials Created by other Advertising Agencies, 1945-1978, undated, consists of print advertisements collected by Ayer from other major advertising companies. The companies include Doyle Dane Bernback, Incorporated, Leo Burnett Company, Grey Advertising Agency, D'Arcy Ad Agency, Scali, McCabe, Sloves, Incorporated and Erwin Wasey Company. The materials are arranged in alphabetical order by client and include products from Ralston Purina and Van Camp (Chicken of the Sea), Kellogg, American Export Lines and No Nonsense Fashions.

Series 22, 2010 Addendum of Print Advertisements, circa 1879s-1999, undated, includes material given to the Archives Center in 2010. It is organized into seventy one oversized boxes and contains proofsheets of print advertisements for select Ayer clients. These are arranged alphabetically by client name and include substantial quantities of materials from American Telephone &Telegraph (1945-1996), Bahamas Ministry of Tourism (1967-1987), Carrier (1971-1981), Citibank (1973-1991), DeBeers (1940s-1960s and1990s), Electric Companies Advertising Program [ECAP] (1942-1970s), General Motors (1989-1998), J.C. Penney (1983-1986), Newsweek (1966-1975), and Proctor and Gamble (1980s-1890s). There are also numerous other clients represented by smaller quantities of materials.

Subseries 22.1, Print Advertisements, 1930-1990, undated

Subseries 22.2, Print Advertisements on Glass Plate Negatives, 1879-1881, undated, include Cannon towels, Cheny Brothers silks, Cornish & Company organs and pianos, Enterprise Manufacturing Company, 1879 sad iron, an ad from Harper's Weekly 1881 for ladies clothing, Ostermoor & Company mattresses, Pear's soap, Porter's cough balsam, Steinway pianos.

Series 23, Microfilm of Print Advertisements, circa 1908-1985, consists of three boxes of printed advertisements for the American Telephone and Telegraph Company. Some of the same advertisements might also be found in series two, three and four.
Arrangement:
The collection is arranged into twenty-three series.

Series 1: Scrapbooks of Client Print Advertisements, circa 1870-1920

Series 2: Proofsheets, circa 1870-1930

Series 3: Proofsheets, circa 1920-1975

Series 4: 2001 Addendum, circa 1976-2001

Series 5: Billboards, circa 1952-1956

Series 6: Audiovisual Materials

Series 7: Radio and Television Materials, 1933-1993, undated

Series 8: Chicago Office Print Advertisements, 1954-1989

Series 9: Los Angeles Office Materials, 1950s-1987

Subseries 9.1: Printed Advertisements, 1977-1987

Subseries 9.2: Personnel Files, 1950s-1970s

Series 10: Foreign Print Advertisements, 1977-1991, undated

Series 11: Cunningham & Walsh Incorporated Materials, 1915-1987, undated

Subseries 11.1: Printed Advertisements, 1915-1987

Subseries 11.2: Radio and Television Advertisements, 1963-1967

Subseries 11.3: Company Related Materials, 1962-1986, undated

Series 12: Hixson & Jorgensen Materials, 1953-1971, undated

Series 13: Newell-Emmet, 1942-1957

Series 14: House Print Advertisements, 1870-1991

Series 15: Scrapbooks, 1872-1959

Series 16: Publications, 1849-2006

Subseries 16.1: House Publications, 1876-1994

Subseries 16.2: Publications about NW Ayer, 1949-1995

Subseries 16.3: General Publications about Advertising, 1922-2006

Subseries 16.4: Publications about other Subjects, 1948-1964

Series 17, Business Records, circa 1885-1990s

Subseries 17.1: Contracts, 1885-1908, undated

Subseries 17.2: General Client Information, 1911-1999, undated

Subseries 17.3: Individual Client Account Information, 1950s-1990s, undated

Subseries 17.4: Potential Clients, 1993

Subseries 17.5: Financial Records, 1929-1938

Series 18: Legal Records, circa 1911-1984

Subseries 18.1: Advertising Service Agreements, 1918-1982

Subseries 18.2: Bylaw Materials, 1969-1972

Subseries 18.3, Copyright Claims, 1962-1969

Subseries 18.4: Correspondence, 1928-1933

Subseries 18.5: International Office Correspondence, 1947-1948

Subseries 18.6: Dissolution of Trusts, 1934-1937

Subseries 18.7: Stock Information, 1934-1974

Subseries 18.8: Agreements between Partners, 1911-1916

Subseries 18.9: Incorporation Materials, 1929-1977

Subseries 18.10: Certificates of Reduction of Capital, 1937; 1975

Subseries 18.11: Property Information

Subseries 18.12: Miscellaneous Materials, 1929-1977

Series 19: Employee Materials, circa 1889-2001

Subseries 19.1: Employee Card files, circa 1892-1915; 1929-1963

Subseries 19.2: Photographs, circa 1924-1984, undated

Subseries 19.3: Alumni Publications, circa 1989-1998

Subseries 19.4: Biographical Information, circa 1889-1994

Subseries 19.5: Speeches, circa 1919-1931; 1975

Subseries 19.6: Recollections, 1954-1984, undated

Subseries 19.7: Oral History Interview Transcripts, 1983-1985; 1989-1991

Subseries 19.8: Oral History Audiotapes, 1985-1990

Subseries 19.9: Internal Communications, 1993-1999

Subseries 19.1: General Materials, 1940-2001

Series 20: History and Background Information about the Company, 1817-1999, undated

Series 21: Materials Created by other Advertising Agencies, 1945-1978, undated

Series 22: 2010 Addendum of Print Advertisements, circa 1879s-1990s, undated

Subseries 22.1: Print Advertisements, 1930-1990, undated

Subseries 22.2: Print Advertisements on Glass Plate Negatives, 1879-1881, undated

Series 23: Microfilm of Print Advertisements, circa 1908-1985
Biographical / Historical:
Founded in Philadelphia in 1869, NW Ayer & Son is one of the oldest and largest advertising agencies in America. For most of its history, it was the undisputed leader and innovator in the field of advertising. In 1876, NW Ayer & Son pioneered the "open contract", a revolutionary change in the method of billing for advertising which became the industry standard for the next hundred years. NW Ayer pioneered the use of fine art in advertising and established the industry's first art department. It was the first agency to use a full-time copywriter and the first to institute a copy department. The agency relocated to New York City in 1974. During its long history, the agency's clients included many "blue-chip" clients, including American Telephone & Telegraph, DeBeers Consolidated Diamond Mines, Ford Motor Company, Nabisco, R. J. Reynolds and United Airlines. However, in later years, the Ayer's inherent conservatism left the agency vulnerable to the creative revolution of the 1960s and 1970s, the advertising industry restructuring of the 1980s and the economic recession of the early 1990s. The agency was bought out by a Korean investor in 1993. In 1996, NW Ayer merged with another struggling top twenty United States advertising agency, Darcy, Masius, Benton & Bowles, under the umbrella of the McManus Group. Ayer continues to operate as a separate, full-service agency.

Through a series of buyouts and mergers, Ayer traces its lineage to the first advertising agency founded in the United States, a Philadelphia agency begun by Volney Palmer in 1841. Palmer began his career in advertising as a newspaper agent, acting as middleman between newspaper publishers and advertisers across the country. By 1849, Palmer had founded his own newspaper, V. B. Palmer's Register and Spirit of the Press, and had developed a complete system of advertising which included securing advertising space and placing ads in scores of commercial, political, religious, scientific and agricultural journals across the country. Palmer went one step further than the "space jobbers" of the day when he began offering "advertisements carefully drawn for those who have not the time to prepare an original copy." Always an enthusiastic promoter of advertising as an incentive to trade and American economic growth, Palmer promised advertisers that "every dollar paid for advertising in country newspapers will pay back twenty-fold" and encouraged skeptical consumers that "he who wishes to buy cheap should buy of those who advertise." When Palmer died in 1863, the agency was bought by his bookkeeper, John Joy, who joined with another Philadelphia advertising agency to form Joy, Coe & Sharpe. That agency was bought out again in 1868 and renamed Coe, Wetherill & Company. In 1877, Coe, Wetherill and Company was bought out by the newly formed NW Ayer & Son.

Francis Wayland Ayer was an ambitious young schoolteacher with an entrepreneurial streak. Having worked for a year soliciting advertisements on a commission basis for the publisher of the National Baptist weekly, Francis Ayer saw the potential to turn a profit as an advertising agent. In 1869, Ayer persuaded his father, Nathan Wheeler Ayer, to join him in business, and with an initial investment of only $250.00, NW Ayer & Son was born. Notwithstanding a smallpox epidemic in Philadelphia in 1871 and the general economic depression of the early 1870s, the agency flourished. The senior Ayer died in 1873, leaving his interest in the agency to his wife, but Francis W. Ayer bought her out, consolidating his interest in the company's management. In 1877, with Coe, Wetherill & Company (the successor to Palmer's 1841 agency) on the verge of bankruptcy and heavily indebted to Ayer for advertising it had placed in Ayer publications, Ayer assumed ownership of that agency. Thus did NW Ayer lay claim to being the oldest advertising agency in the country.

Both Nathan Wheeler and Francis Wayland Ayer began their careers as schoolteachers, and one of their legacies was a commitment to the cause of education: correspondence schools and institutions of higher learning were historically well-represented among Ayer clients. Just after World War I, the agency was heralded as "co-founder of more schools than any citizen of this country" for its conspicuous efforts to advertise private schools. Well into the 1960s, an "Education Department" at Ayer prepared advertisements for over three hundred private schools, camps and colleges, representing almost half the regional and national advertising done for such institutions. In fact, to its clients Ayer presented advertising itself as being akin to a system of education. In 1886, Ayer began promoting the virtues of the Ayer way advertising with the slogan, "Keeping Everlastingly at It Brings Success."

The agency's goals were simple: "to make advertising pay the advertiser, to spend the advertiser's money as though it were our own, to develop, magnify and dignify advertising as a business." Initially, Ayer's fortunes were tied to newspapers, and the agency began to make a name for itself as compiler and publisher of a widely used American Newspaper Annual. During the first years, Ayer's singular goal was "to get business, place it [in newspapers] and get money for it"; after several years as an independent space broker, however, Francis Ayer resolved "not to be an order taker any longer." This decision led NW Ayer and Son to a change in its mode of conducting business which would revolutionize the advertising industry: in 1876, Ayer pioneered the "open contract" with Diggee & Conard, Philadelphia raised growers and agricultural suppliers. Prior to the open contract, NW Ayer & Sons and most agencies operated as "space-jobbers," independent wholesalers of advertising space, in which the opportunities for graft and corrupt practices were virtually unlimited. In contrast, the open contract, wherein the advertiser paid a fixed commission based on the volume of advertising placed, aligned the advertising agent firmly on the side of the advertiser and gave advertisers access to the actual rates charged by newspapers and religious journals. The open contract with a fixed commission has been hailed by advertising pioneer Albert Lasker as one of the "three great landmarks in advertising history." (The other two were Lasker's own development of "reason-why" advertising copy and J. Walter Thompson's pioneering of sex appeal in an advertisement for Woodbury's soap.) Although the transition to the open contract did not happen overnight, by 1884, nearly three-quarters of Ayer's advertising billings were on an open contract basis. Since Ayer was, by the 1890s, the largest agency in America, the switch to direct payment by advertisers had a significant impact on the advertising industry, as other agencies were forced to respond to Ayer's higher standard. Just as important, the open contract helped to establish N W Ayer's long-standing reputation for "clean ethics and fair dealing" -- a reputation the agency has guarded jealously for over a century. The open contract also helped to establish Ayer as a full service advertising agency and to regularize the production of advertising in-house. From that point forward, Ayer routinely offered advice and service beyond the mere placement of advertisements. Ayer set another milestone for the industry in 1888, when Jarvis Wood was hired as the industry's first full-time copywriter. Wood was joined by a second full time copywriter four years later, and the Copy Department was formally established in 1900. The industry's first Art Department grew out of the Copy Department when Ayer hired its first commercial artist to assist with copy preparation in 1898; twelve years later Ayer became the first agency to offer the services of a full time art director, whose sole responsibility was the design and illustration of ads.

Ayer's leadership in the use of fine art in advertising has roots in this period, but achieved its highest expression under the guidance of legendary art director Charles Coiner. Coiner joined Ayer in 1924, after graduating from the Chicago Academy of Fine Arts. Despite early resistance from some clients, Coiner was adamant that "the use of outstanding palette and original art forms bring a greater return in readership, in impact and prestige for the advertiser." To this end, Coiner marshaled the talents of notable painters, illustrators and photographers, including N.C. Wyeth and Rockwell Kent (Steinway), Georgia O'Keefe (Dole), Leo Lionni (DuPont), Edward Steichen (Steinway, Cannon Mills), Charles Sheeler (Ford), and Irving Penn (DeBeers). Coiner believed that there was a practical side to the use of fine art in advertising, and his success (and Ayer's) lay in the marriage of research and copywriting with fine art, an arrangement Coiner termed "art for business sake." Coiner's efforts won both awards and attention for a series completed in the 1950s for the Container Corporation of America. Titled "Great Ideas of Western Man" the campaign featured abstract and modern paintings and sculpture by leading U.S. and foreign artists, linked with Western philosophical writings in an early example of advertising designed primarily to bolster corporate image. In 1994, Charles Coiner was posthumously named to the American Advertising Federation's Hall of Fame, the first full time art director ever chosen for that honor.

Coiner and fellow art director Paul Darrow also created legendary advertising with the "A Diamond Is Forever" campaign for DeBeers; ads featured the work of Pablo Picasso, Salvador Dali and other modernist painters. The "A Diamond is Forever" tagline was written in 1949 by Frances Gerety, a woman copywriter at Ayer from 1943 to 1970. In 1999, Ad Age magazine cited "A Diamond is Forever" as the most memorable advertising slogan of the twentieth century.

Coiner also earned respect for his volunteer government service during World War II; he designed the armbands for civil defense volunteers and logos for the National Recovery Administration and Community Chest. As a founding member of the Advertising Council in 1945, Ayer has had a long-standing commitment to public service advertising. In the mid-1980s, Ayer became a leading force in the Reagan-era "War on Drugs". Lou Hagopian, Ayer's sixth CEO, brokered the establishment of the Partnership for a Drug-Free America, a media coalition which generated as much as a million dollars a day in donated advertising space and time to prevent the use and abuse of illegal drugs. Famous names appear among NW Ayer's clientele from the very earliest days of the agency. Retailer John Wanamaker, Jay Cooke and Company, and Montgomery Ward's mail-order business were among the first Ayer clients. The agency has represented at least twenty automobile manufacturers, including Cadillac, Chrysler, Ford, General Motors, Plymouth, and Rolls-Royce. Other major, long-term clients through the years have included American Telephone & Telegraph, Canada Dry, Cannon Mills, Hills Bros. Coffee Company, Kellogg's, R. J. Reynolds, Steinway and Sons, United Airlines, and the United States Army. By the time of Ayer's hundredth anniversary in 1969, some of these companies had been Ayer clients for decades if not generations, and the longevity of those relationships was for many years a source of Ayer's strength.

But the advertising industry began to change in the late 1960s and 1970s, due in part to a "creative revolution." Small advertising agencies won attention with provocative copywriting and art direction that more closely resembled art than advertising. Advances in market research allowed clients to more narrowly tailor their advertising messages to distinct groups of consumers, and this led to a rise in targeted marketing which could more readily be doled out to specialized small agencies than to larger, established firms like NW Ayer & Son. The civil rights and anti-war movements also contributed to increasing public skepticism with the values of corporate America, and by extension, with some national advertising campaigns. Older, more conservative firms like Ayer were hard pressed to meet these new challenges.

About 1970, in an effort to meet these challenges and to establish a foothold on the West Coast, Ayer bought out two smaller agencies--Hixson & Jorgenson (Los Angeles) and Frederick E. Baker (Seattle). The agency relocated from Philadelphia to New York City in 1974 in an attempt both to consolidate operations (Ayer had operated a New York office since the 1920s) and to be closer to the historic center of the advertising industry. Riding the wave of mergers that characterized the advertising industry in the late 1980s and 1990s, Ayer continued to grow through the acquisition of Cunningham & Walsh in 1986 and Rink Wells in 19xx.

During this transitional period, Ayer received widespread acclaim for its work for the United States Army, which included the widely recognized slogan "Be All You Can Be". Ayer first acquired the Army recruitment account in 1967 and with help from its direct marketing arm, the agency was widely credited with helping the Army reach its recruitment goals despite an unpopular war and plummeting enlistments after the elimination of the draft in 1973. Ayer held the account for two decades, from the Vietnam War through the Cold War, but lost the account in 1986 amid government charges that an Ayer employee assigned to the account accepted kickbacks from a New York film production house. Despite Ayer's position as the country's 18th largest agency (with billings of $880 million in 1985), the loss of the agency's second largest account hit hard.

NW Ayer made up for the loss of the $100 million dollar a year Army account and made headlines for being on the winning end of the largest account switch in advertising history to date, when fast food giant Burger King moved its $200 million dollar advertising account from arch-rival J. Walter Thompson in 1987. Burger King must have had drive-thru service in mind, however, and Ayer made headlines again when it lost the account just eighteen months later in another record-breaking account switch. Another devastating blow to the agency was the loss of its lead position on the American Telegraph and Telephone account. Ayer pioneered telecommunications advertising in 1908, when the agency was selected to craft advertising for the Bell System's universal telephone service. Despite valiant efforts to keep an account the agency had held for most of the twentieth century, and for which they had written such memorable corporate slogans as American Telephone &Telegraph "The Voice with a Smile" and "Reach Out and Touch Someone", the agency lost the account in 1996.

After a wave of mergers and acquisitions in the late 1980s, the economic recession of the early 1990s hit Madison Avenue hard, and Ayer was particularly vulnerable. Despite the agency's long history and roster of "blue-chip" clients, Ayer was not known for cutting-edge creative work. Moreover, though the agency had offices overseas, Ayer had never built a strong multinational presence, and many of the smaller international offices were sold during the financial turmoil of the 1980s. This left a real void in the new climate of global marketplace consolidation. By about 1990, earnings were declining (although Ayer was still among the top twenty United States agencies in billings), and the agency was suffering from client defections, high management turnover, expensive real estate commitments and deferred executive compensation deals, all fallout of the high-flying 1980s. This was the atmosphere in 1993, when W.Y. Choi, a Korean investor who had already assembled a media and marketing empire in his homeland, began looking for an American partner to form an international advertising network. Jerry Siano, the former creative director who had recently been named Ayer's seventh CEO, was in no position to refuse Choi's offer of $35 million to buy the now floundering agency. The infusion of cash was no magic bullet, however. Choi took a wait-and-see approach, allowing his partner Richard Humphreys to make key decisions about Ayer's future, including the purging of senior executives and the installation of two new CEOs in as many years.

The agency's downward trend continued with the loss of another longtime client, the DeBeers diamond cartel in 1995. Adweek reported that Ayer's billings fell from $892 million in 1990 to less than $850 million in 1995. Several top executives defected abruptly, and the agency failed to attract major new accounts. Ayer was facing the loss not merely of revenue and personnel, but the loss of much of the respect it once commanded. Ayer remained among the twenty largest U.S. agencies, but an aura of uncertainty hung over the agency like a cloud. A new CEO was appointed, and Mary Lou Quinlan became the agency's first woman CEO in 1995. A year later, Ayer and another struggling top twenty agency, D'arcy, Masius, Benton & Bowles, combined as part of the McManus Group of companies. In 1998, the McManus Group had worldwide billings of more than $6.5 billion.

Under the McManus Group, Ayer was able to expand its international operations and begin to rebuild a stronger global presence. Several important new clients were won in 1997 and 1998, including Avon, General Motors, Kitchenaid, several Procter & Gamble brands and, most notably, Continental Airlines worldwide accounts. Born in the nineteenth century, Ayer may be one of a very few advertising agencies to successfully weather the economic and cultural transitions of both the twentieth and twentieth first centuries. Ayer was eventually acquired by the Publicis Groupe based in Paris, France which closed down the N.W. Ayer offices in 2002.
Related Materials:
Materials in the Archives Center

Warshaw Collection of Business Americana (AC0060)

Hills Bros. Coffee Incorporated Records (AC0395)
Provenance:
The collection was donated by N W Ayer ABH International, April 15, 1975 and by Ayer & Partners, October 30, 1996.
Restrictions:
The collection is open for research use.

Physical Access: Researchers must use microfilm copy. Researchers must handle unprotected photographs with gloves. Researchers must use reference copies of audiovisual materials. When no reference copy exists, the Archives Center staff will produce reference copies on an "as needed" basis, as resources allow.

Technical Access: Viewing the film portion of the collection without reference copies requires special appointment, please inquire; listening to audio discs requires special arrangement. Do not use original materials when available on reference video or audio tapes.
Rights:
Publication and production quality duplication is restricted due to complex copyright, publicity rights, and right to privacy issues. Potential users must receive written permission from appropriate rights holders prior to obtaining high quality copies. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Advertising agencies  Search this
advertising  Search this
Genre/Form:
Business records -- 1840-2000
Interviews -- 1980-2000
Oral history -- 1980-1990
Print advertising
Proof sheets
Proofs (printed matter)
Scrapbooks -- 1840-1990
Trade literature
Tear sheets
Advertisements
Citation:
NW Ayer & Sons, incorporated Advertising Agency Records, Archives Center, National Museum of American History
Identifier:
NMAH.AC.0059
See more items in:
N W Ayer Advertising Agency Records
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep8920ed035-d211-4a58-9047-b31fa79464bd
EDAN-URL:
ead_collection:sova-nmah-ac-0059
Online Media:

Elise Asher papers

Creator:
Asher, Elise, 1914-  Search this
Names:
Bultman, Fritz, 1919-1985  Search this
De Groot, Nanno, 1913-1964  Search this
Frankenthaler, Helen, 1928-2011  Search this
Guston, Philip, 1913-1980  Search this
Hofmann, Hans, 1880-1966  Search this
Kunitz, Stanley, 1905-2006  Search this
Mailer, Norman  Search this
Motherwell, Robert  Search this
Nevelson, Louise, 1899-1988  Search this
Rothko, Mark, 1903-1970  Search this
Stamos, Theodoros, 1922-1997  Search this
Tworkov, Jack  Search this
Vonnegut, Kurt  Search this
Williams, William Carlos, 1883-1963  Search this
Extent:
1.6 Linear feet
Type:
Collection descriptions
Archival materials
Christmas cards
Illustrated letters
Photographs
Slides (photographs)
Date:
1923-1994
Summary:
The Elise Asher papers measure 1.6 linear feet and date from 1923 to 1994. The collection includes biographical material, letters, writings, works of art, business records, printed material, and photographs reflecting Asher's career as a poet, painter, and sculptor, and her friendships with many prominent artists of the mid-twentieth century.
Scope and Content Note:
The Elise Asher papers, 1923-1994, measure 1.6 linear feet and reflect Asher's career as a poet, painter, and sculptor, and her friendships with many of the more prominent artists of the mid-twentieth century. The collection contains biographical material, letters, writings, works of art, business records, printed material, and photographs.

Notable correspondents found in the collection include Fritz Bultman, Helen Frankenthaler, Philip Guston, Hans Hofmann, Norman Mailer, Robert Motherwell, Louise Nevelson, Mark Rothko, Theodoros Stamos, Jack Tworkov, and Kurt Vonnegut.
Arrangement:
The collection is arranged into seven series according to material type. The contents of each folder have been arranged chronologically.

Missing Title

Series 1: Biographical Material, 1923-1976 (box 1, 1 folder)

Series 2: Letters, 1941-1988, undated (box 1, 2 folders)

Series 3: Business Records, 1955-1988, undated (box 1, 43 folders)

Series 4: Writings, 1973-1979, undated (box 1, 4 folders)

Series 5: Artwork, undated (box 1, 2 folders)

Series 6: Printed Material, 1929-1994, undated (boxes 1-3, 30 folders)

Series 7: Photographs, 1951-1973, undated (box 2, 5 folders)
Biographical Note:
Born in Chicago, Illinois, in 1914, Elise Asher studied at the Art Institute of Chicago, Bradford Junior College, Boston College, and at Simmons College.

She began her career as a poet, culminating in a volume of her poetry entitled The Meandering Absolute. Upon her 1947 arrival in New York City, her attention turned to painting and sculpture. The Tanager Gallery mounted her first solo exhibition in 1953.

Asher was married to painter Nanno de Groot from 1949 to 1957. A year later she married poet Stanley Kunitz, whose work she often illustrated.
Provenance:
The Elise Asher papers were donated in 1975, 1976, 1989, 1990 and 1995 by the artist.
Restrictions:
The collection is open for research. Microfilmed portion must be consulted on microfilm. Use of unmicrofilmed material requires an appointment and is limited to the Washington D.C. research facility.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Painters -- New York (State) -- New York  Search this
Sculptors -- New York (State) -- New York  Search this
Poets -- New York (State) -- New York  Search this
Topic:
Women artists  Search this
Women painters  Search this
Women sculptors  Search this
Works of art  Search this
Genre/Form:
Christmas cards
Illustrated letters
Photographs
Slides (photographs)
Citation:
The Elise Asher papers, 1923-1994. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.asheelis
See more items in:
Elise Asher papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw99a5d878c-4baa-45be-be3d-56ae368dc221
EDAN-URL:
ead_collection:sova-aaa-asheelis
Online Media:

Black Journal: 23; The Nation of Common Sense

Title:
Film clip from Black Journal: Episode 23
Produced by:
St. Clair Bourne, American, 1943 - 2007  Search this
National Educational Television, American, 1954 - 1970  Search this
Subject of:
Elijah Muhammad, American, 1897 - 1975  Search this
Nation of Islam, American, founded 1930  Search this
John Woodford, American  Search this
Eugene Majied  Search this
Beverly X  Search this
Owned by:
Pearl Bowser, American, born 1931  Search this
Medium:
acetate film
Dimensions:
Duration: 24 Minutes
Length (Film): 850 Feet
Type:
sound films
color films (visual works)
16mm (photographic film size)
Place filmed:
Chicago, Cook County, Illinois, United States, North and Central America
Cassopolis, Cass county, Michigan, United States, North and Central America
Date:
1970
Topic:
African American  Search this
Agriculture  Search this
Business  Search this
Education  Search this
Film  Search this
Public television  Search this
Religion  Search this
Religious groups  Search this
Credit Line:
Collection of the Smithsonian National Museum of African American History and Culture, Gift of Pearl Bowser
Object number:
2012.79.1.42.1a
Restrictions & Rights:
© National Educational Television
See more items in:
National Museum of African American History and Culture Collection
Collection title:
Pearl Bowser Collection
Portfolio/Series:
Black Journal
Classification:
Media Arts-Film and Video
Data Source:
National Museum of African American History and Culture
GUID:
http://n2t.net/ark:/65665/fd5095f0d6e-d87d-417a-8838-80d80e80d9fc
EDAN-URL:
edanmdm:nmaahc_2012.79.1.42.1a

Maryette Charlton papers

Creator:
Charlton, Maryette  Search this
Names:
American University of Beirut -- Faculty  Search this
Art Institute of Chicago -- Faculty  Search this
Chicago Public School Art Society  Search this
Container Corporation of America  Search this
University of Iowa, Museum of Art  Search this
Andres, Jo  Search this
Bishop, Elizabeth, 1911-1979  Search this
Cage, Xenia  Search this
Calder, Alexander, 1898-1976  Search this
Court, Paula  Search this
Elliott, Leone  Search this
Elliott, Owen  Search this
Fujitomi, Yasuo, 1928-  Search this
Habachy, Nimet  Search this
Hadzi, Dimitri, 1921-2006  Search this
Haskins, Sylvia Shaw Judson, 1897-  Search this
Hoff, Margo  Search this
Kiesler, Frederick  Search this
Kiesler, Lillian, 1910?-2001  Search this
Lubar, Cindy  Search this
MacIver, Loren, 1909-  Search this
Matisse, Pierre, 1900-1989  Search this
Miller, Dorothy Canning, 1904-2003  Search this
Nevelson, Louise, 1899-1988  Search this
Purdy, James  Search this
Reynal, Jeanne, 1903-  Search this
Smith, Kiki, 1954-  Search this
Takaezu, Toshiko  Search this
Tawney, Lenore  Search this
Von Brockdorff, Louise Medbery  Search this
Extent:
80.6 Linear feet
0.34 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Photographs
Diaries
Sketchbooks
Sketches
Interviews
Scrapbooks
Sound recordings
Scripts (documents)
Drawings
Mail art
Motion pictures (visual works)
Video recordings
Date:
circa 1890-2013
Summary:
The papers of filmmaker, photographer, painter, printmaker, teacher, and arts advocate Maryette Charlton measure 81 linear feet and date from circa 1890 to 2013. This particularly rich collection includes biographical materials, correspondence, writings, 30 diaries, teaching files, professional and project files, major film project files, artist research files, exhibition files, printed material, scrapbooks, artwork, 22 sketchbooks, extensive photographic materials, numerous sound and film recordings, a digitized sound recording, and an unintegrated later addition to the papers containing additional biographical materials, journals, correspondence, subject files, printed materials, and scattered photographs.
Scope and Contents:
The papers of filmmaker, photographer, painter, printmaker, teacher, and arts advocate Maryette Charlton measure 81 linear feet and 0.34 gigabytes and date from circa 1890 to 2013. This particularly rich collection includes biographical materials, correspondence, writings, 30 diaries, teaching files, professional and project files, major film project files, artist research files, exhibition files, printed material, scrapbooks, artwork, 22 sketchbooks, extensive photographic materials, numerous sound and video recordings, motion picture film, a digitized sound recording, and an unintegrated later addition to the papers containing additional biographical materials, journals, correspondence, subject files, printed materials, and scattered photographs.

Biographical materials consist of material on Maryette Charlton and her family. The subseries on Maryette Charlton includes a biographical chronology, passports, records of her marriage to Hall Winslow, information on studio spaces, school transcripts, and other material. Family files include genealogical charts and files of family members containing correspondence, writings, printed material, sound and video recordings, and photographs. The bulk of the family files are for Charlton's parents, Etna and Shannon, and her husband and son, Hall and Kirk Winslow.

Extensive correspondence is with family, friends, artists, and colleagues. Family correspondence is with her husband and son, parents, and extended family. Personal correspondence is with friends and colleagues, many of whom were famous artists. Named correspondence files and chonological correspondence files contain exchanges with Jo Andres, Elizabeth Bishop, Xenia Cage, Paula Court, Yasuo Fujitomi, Dimitri Hadzi, Margo Hoff, Sylvia Shaw Judson, Lillian Kiesler, Cindy Lubar, Loren MacIver, Pierre Matisse, Nimet (Saba Habachy), Henri Seyrig, Robert Wilson, and many others. There is also correspondence with colleges, museums, and universities.

Writings include academic papers and college class notes, titled essays, a notebook with sketches, and miscellaneous notes. Thirty diaries cover the period 1943 - 2001 and document a wide variety of topics, from film projects to travels to the art world in New York City. Some diaries are illustrated, including one illustrated by Alexander Calder at a party with Maryette, Ellsworth Kelly, and actress Delphine Seyrig. Journals from 1978-1979 tell of Charlton's experiences while appearing in films made by avant-garde director Richard Foreman. There is also one diary of Maryette's mother Etna Barr Charlton.

Teaching files document Charlton's career as an instructor at the Art Institute of Chicago and as the founder of and instructor at the American University of Beirut's art department. Files include appointment calendars, schedules, notes, lectures, news releases, printed material, and photographs.

Professional and project files consist of material related to Maryette Charlton's professional work at the University of Iowa Museum of Art, as a lecturer at the Chicago Public School Art Society, color analyst at the Container Corporation of America, executor of the estate of artist Louise Medbery von Brockdorff, fellowships, conferences, organizations, and the filming industry in general. There are files for the screening of Zen in Ryoko-In. The University of Iowa Museum of Art subseries consists of correspondence with fellow co-founders Leone and Owen Elliott, files on art donations, museum administration, annual reports, printed material, photographs, and sound and video recordings.

Artist research files consist of books, articles, and clippings collected by Charlton for research. Notable artists chronicled include Alexander Calder, James Purdy, Louise Nevelson, Kiki Smith, and Toshiko Takaezu.

Major film project files document Maryette Charlton's films about or with artists Frederick Kiesler (Trienniale, The Universal Theater and Kiesler on Kieseler), Lenore Tawney, Dorothy Miller, Loren MacIver, and Jeanne Reynal. The files for Frederick Kiesler also contain materials about his wife Lillian Kiesler, with whom Charlton had a long relationship and collaborated with on film projects. Individual film project files contain a wide variety of research and production documentation, including correspondence, writings, printed material, research files, exhibition catalogs, photographic materials, sound recordings of interviews and lectures, and Charlton's documentation about the creation and producation of each film, such as contracts, scripts, and distribution information. The film project files for Kiesler and Dorothy Miller are particularly rich, containing substantial amounts of primary source materials not found elsewhere. Sound and video recordings are found throughout the series, as well as 4 film reels.

Files documenting Maryette Charlton's group and solo exhibitions include catalogs and announcements, publicity, printed material, mailing lists, art inventory, sales lists, correspondence, and other material.

Printed materials include other exhibition catalogs, books, posters, magazines, and clippings. There are many books on color theory from Maryette Charlton's job as a color analyst and substanial printed material on Frederick Kiesler. Scrapbooks document Maryette Charlton's personal life from high school, college, and summer camp, as well as exhibitions of her own work, and miscellaneous subjects.

Artwork includes sketches and drawings by Maryette Charlton, some drawings by Lillian Kiesler and others, and mail art created by various artists. There are also 22 sketchbooks filled with pencil, ink, and crayon drawings and sketches, with occasional annotations.

Photographic materials include photographs, slides, negatives, and photograph albums. There are photographs of Maryette Charlton, her travels, family, friends, and artists. Photographs are also found throughout other series.

Sound and video recordings which could not be merged with other series were arranged in an audiovisual series. There are recordings of radio programs and performances Maryette Charlton attended or participated in as well as miscellaneous recordings of artists and events.

The 2014 addition to the Maryette Charlton papers consists of biographical materials, journals, correspondence, subject files, printed materials, and a small number of photographs.
Arrangement:
This collection is arranged as 16 series.

Missing Title

Series 1: Biographical Material, 1896-2005 (3.4 linear feet; Boxes 1-4, 80)

Series 2: Correspondence, 1930-2010 (23.3 linear feet; Boxes 4-27, 80)

Series 3: Writings, 1942-1999 (1 linear feet; Boxes 27-28)

Series 4: Diaries, 1943-2001 (2.1 linear feet; Boxes 28-30)

Series 5: Teaching Files, 1946-1997 (3.6 linear feet; Boxes 30-33, 80)

Series 6: Professional and Project Files, 1923-1998 (7.6 linear feet; Boxes 34-41, 81, OV 87)

Series 7: Artist Research Files, 1949-circa 2000 (1.8 linear feet; Boxes 41-43, FCs 88-89)

Series 8: Major Film Projects, 1904-2007 (18.8 linear feet, 0.34 GB; Boxes 43-61, 81-82, OV 87, FC 90-91, ER01)

Series 9: Exhibition Files, 1950-2000 (0.8 linear feet; Boxes 61-62)

Series 10: Printed Material, 1924-2000 (3.2 linear feet; Boxes 62-65, 82, OV 87)

Series 11: Scrapbooks, 1939-2010 (0.8 linear feet; Box 65, 82-83)

Series 12: Artwork, 1950-1998 (0.9 linear feet; Boxes 65-66, 84)

Series 13: Sketchbooks, 1949-1996 (0.5 linear feet; Box 66)

Series 14: Photographic Materials, circa 1890-circa 2010 (7.8 linear feet; Boxes 67-74, 84-86)

Series 15: Sound and Video Recordings, circa 1953-2008 (1.2 linear feet; Boxes 74-75, 86)

Series 16: Addition to Maryette Charlton papers, 1951-2013 (3.7 linear feet; Boxes 75-79, 86)
Biographical / Historical:
Maryette Charlton (1924-2013) was a painter, printmaker, photographer, filmmaker and arts advocate based in Chicago, Illinois, and New York, New York.

Maryette Charlton was born in Manchester, Iowa on May 18, 1924. Her parents were Shannon and Etna Charlton and she had 2 siblings. Charlton pursued her undergraduate studies at Monticello College and Northwestern University in Illinois, Antioch College in Ohio, and the University of Colorado before receiving a B.F.A. from Pratt Institute in Brooklyn, New York in 1947. She continued her studies in Chicago, Illinois with Laszlo Moholy-Nagy and Hugo Weber at the Institute of Design and Art Institute of Chicago. From 1948 to 1952, she was a Department of Education lecturer at the Art Institute of Chicago museum galleries and also gave talks at schools for the Chicago Public School Art Society.

Between 1942-1951, Maryette Charlton worked as a color analyst for the Container Corporation of America. In 1952, Charlton founded the Art Department of the American University of Beirut and taught there as an assistant professor until 1956. While in Beirut, Charlton married photographer Hall Winslow in 1953 and their only child Kirk Winslow was born in 1955. Winslow and Charlton later divorced in 1973.

Charlton moved to New York City in 1955. She began a master's program at Columbia University and graduated with a M.F.A in film and printmaking in 1958.

Charlton made numerous documentary films, mostly about American artists including Alexander Calder, e. e. cummings, Jeanne Reynal, Dorothy Miller, Pierre Matisse, Lenore Tawney, and Loren MacIver. She also worked tirelessly to promote the work of sculptor, architect, and set designer Frederick Kiesler. She was the camera woman for Kiesler's Kiesler's Universal Theater which aired on CBS in 1962. She became close friends with Kiesler's widow, Lillian, and they collaborated on the film Kiesler on Kiesler and numerous other film and art projects, supporting the work of young artists. Charlton also worked on commissioned films, including The Mosaics of Jeanne Reynal and Zen in Ryoko-in. Charlton befriended many artists in the visual, literary, and film worlds, including Elizabeth Bishop, Dimitri Hadzi, Margo Hoff, James Purdy, and Delphine Seyrig.

A performer in her own right, Charlton appeared in the works of Richard Foreman, Jo Andres, and others. She also played the part of Helen Keller in the film Ghostlight (2003).

An Iowa native, Charlton founded the University of Iowa Museum of Art together with Leone and Owen Elliott. She maintained a close relationship with the Iowa Museum over many years as a donor and chronicler.

Charlton died in New York City on November 25, 2013.
Related Materials:
The Houghton Library at Harvard University and the University of Iowa Museum of Art also hold papers and artwork by Maryette Charlton. The Museum of Modern Art, New York, houses the film Kiesler on Kiesler, created by Maryette Charlton.

The Archives of American Art also has the papers of Frederick and Lillian Kiesler, a portion of which was donated by Charlton.
Provenance:
The Maryette Charlton papers were donated in multiple accretions from 1998-2011 by Maryette Charlton, and in 2013-2014 by the Maryette Charlton estate via Jo Andres, executor.
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 Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Filmmakers -- New York (State) -- New York  Search this
Painters -- New York (State) -- New York  Search this
Printmakers -- New York (State) -- New York  Search this
Photographers -- New York (State) -- New York  Search this
Art teachers -- New York (State) -- New York  Search this
Topic:
Museums -- Administration  Search this
Women artists  Search this
Women painters  Search this
Women photographers  Search this
Women printmakers  Search this
Women educators  Search this
Art -- Study and teaching  Search this
Color  Search this
Genre/Form:
Photographs
Diaries
Sketchbooks
Sketches
Interviews
Scrapbooks
Sound recordings
Scripts (documents)
Drawings
Mail art
Motion pictures (visual works)
Video recordings
Citation:
Maryette Charlton papers, circa 1890-2013. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.charmary
See more items in:
Maryette Charlton papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw914a42bb1-d069-466f-8948-94f4bf257230
EDAN-URL:
ead_collection:sova-aaa-charmary
Online Media:

BLK Vol. 3 No. 9

Published by:
Alan Bell, American  Search this
Edited by:
Alan Bell, American  Search this
Interview of:
Patti Labelle, American, born 1944  Search this
Subject of:
Phil Reed, American, 1949 - 2008  Search this
Magic Johnson, American, born 1959  Search this
Clarence Thomas, American, born 1948  Search this
Donna Summer, American, 1948 - 2012  Search this
Dionne Warwick, American, born 1940  Search this
Gladys Knight, American, born 1944  Search this
Arsenio Hall, American, born 1956  Search this
Debbie Allen, American, born 1950  Search this
Diahann Carroll, American, 1935 - 2019  Search this
Anita Hill, American, born 1956  Search this
National Association of Black and White Men Together, American, founded 1980  Search this
Jewel's Catch One, American, founded 1973  Search this
Rue's House, American, 1989 - 1997  Search this
Gay Men of African Descent, American, founded 1986  Search this
Steven Corbin, American, 1953 - 1995  Search this
Salsa Soul Sisters, American, founded 1974  Search this
GMHC, American, founded 1981  Search this
Audre Lorde, American, 1934 - 1992  Search this
Kurt L. Schmoke, American, born 1949  Search this
Ku Klux Klan, 3rd, American, founded 1946  Search this
Dr. Marjorie Hill, American  Search this
National Association for the Advancement of Colored People, American, founded 1909  Search this
Professor Griff, American, born 1960  Search this
Medium:
ink on paper (fiber product)
Dimensions:
H x W x D: 10 13/16 × 8 1/4 × 1/8 in. (27.4 × 20.9 × 0.3 cm)
Type:
magazines (periodicals)
Place made:
Los Angeles, Los Angeles County, California, United States, North and Central America
Place depicted:
Seattle, King County, Washington, United States, North and Central America
Los Angeles, Los Angeles County, California, United States, North and Central America
New York City, New York, United States, North and Central America
San Francisco, San Francisco county, California, United States, North and Central America
Milwaukee, Milwaukee County, Wisconsin, United States, North and Central America
Malibu, Los Angeles County, California, United States, North and Central America
Baltimore, Maryland, United States, North and Central America
Chicago, Cook County, Illinois, United States, North and Central America
Alexandria, Virginia, United States, North and Central America
Washington, District of Columbia, United States, North and Central America
Sacramento, Sacramento County, California, United States, North and Central America
Christiansted, Virgin Islands of the United States, United States, North and Central America
Long Beach, Los Angeles County, California, United States, North and Central America
Lancaster, Lancaster County, Pennsylvania, United States, North and Central America
Miami, Miami-Dade County, Florida, United States, North and Central America
Vacaville, Solano County, California, United States, North and Central America
Tampa, Hillsborough County, Florida, United States, North and Central America
Nashville, Davidson County, Tennessee, United States, North and Central America
Boston, Suffolk County, Massachusetts, United States, North and Central America
West Hollywood, Los Angeles County, California, United States, North and Central America
Detroit, Wayne County, Michigan, United States, North and Central America
Date:
October 1991
Topic:
African American  Search this
Activism  Search this
Black Press  Search this
Communities  Search this
Health  Search this
Identity  Search this
Labor  Search this
Law  Search this
LGBTQ  Search this
Literature  Search this
Mass media  Search this
Police brutality  Search this
Politics  Search this
Race relations  Search this
Sexuality  Search this
Sports  Search this
U.S. History, 1969-2001  Search this
Violence  Search this
Credit Line:
Collection of the Smithsonian National Museum of African American History and Culture, Gift of Alan Bell
Object number:
2018.108.34ab
Restrictions & Rights:
© BLK Publishing Company, Inc.
See more items in:
National Museum of African American History and Culture Collection
Classification:
Documents and Published Materials-Published Works
Movement:
HIV/AIDS Activist Movement
Data Source:
National Museum of African American History and Culture
GUID:
http://n2t.net/ark:/65665/fd5bcad8647-5969-4401-8f5d-1cd333d00f33
EDAN-URL:
edanmdm:nmaahc_2018.108.34ab

TV Week [magazine]

Names:
Gazzara, Ben  Search this
Quinn, Aiden  Search this
Series Donor:
Becker, John M.  Search this
Gay Officers Action League. GOAL  Search this
Heritage of Pride (HOP)  Search this
Rohrbaugh, Richard  Search this
Series Creator:
Hirsch, Leonard  Search this
Guest, Barbara  Search this
Barna, Joseph T.  Search this
Guest, Michael E.  Search this
Extent:
1 Item (Ink on paper., 10.8" x 8.2".)
Type:
Archival materials
Magazines (periodicals)
Television programs
Scope and Contents:
Chicago Tribune newspaper, November, 1985. Cover illustration: photograph of Aidan Quinn and Ben Gazzara.
Local Numbers:
AC1146-0000041.tif (AC Scan No.: cover).
Exhibitions Note:
Displayed in Archives Center exhibition, "Archiving the History of an Epdemic: HIV and AIDS, 1985-2009," June 3, 2011-October 3, 2011. Franklin A. Robinson, Jr., curator.
Series Restrictions:
The collection is open for research use.

Researchers must handle unprotected photographs with gloves. Researchers must use reference copies of audio-visual materials. When no reference copy exists, the Archives Center staff will produce reference copies on an "as needed" basis, as resources allow.

Do not use original materials when available on reference video or audio tapes.
Series Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
HIV and AIDS  Search this
HIV Positive  Search this
Gay rights  Search this
LGBT  Search this
Homosexuality  Search this
Sexuality  Search this
Diseases  Search this
Sexual minorities  Search this
Genre/Form:
Magazines (periodicals) -- 21st century
Television programs
Series Citation:
Archives Center Lesbian, Gay, Bisexual, and Transgender (LGBT) Collection, Archives Center, National Museum of American History, Smithsonian Institution
See more items in:
Archives Center Lesbian, Gay, Bisexual, Transgender (LGBT) Collection
Archives Center Lesbian, Gay, Bisexual, Transgender (LGBT) Collection / Series 4: Advertising, Business, and Publications / 4.3: Television, Theater, and Motion Pictures / TV Week, An Early Frost, (Illinois)
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep8a05e56ba-5c77-4d74-b8f1-5674d9700d83
EDAN-URL:
ead_component:sova-nmah-ac-1146-ref2741

Historical archaeology at Tikal, Guatemala Hattula Moholy-Nagy

Author:
Moholy-Nagy, Hattula  Search this
Physical description:
1 online resource
Type:
Electronic resources
Electronic books
History
Place:
Guatemala
Tikal Site
Tikal (Site archéologique)
Tikal Site (Guatemala)
Tikal (Guatemala : Site archéologique)
Date:
2012
Topic:
Excavations (Archaeology)--History  Search this
Fouilles (Archéologie)--Histoire  Search this
SOCIAL SCIENCE--Archaeology  Search this
Excavations (Archaeology)  Search this
Call number:
F1465.1.T5 M65 2012 (Internet)
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_1158213

General correspondence

Collection Creator:
Junkin, Hattie Meyers, 1896-1985  Search this
Container:
Box 7, Folder 7
Type:
Archival materials
Text
Collection Restrictions:
No restrictions on access
Collection 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.
See more items in:
Hattie Meyers Junkin Papers
Hattie Meyers Junkin Papers / Series 5: George "Buck" Weaver materials
Archival Repository:
National Air and Space Museum Archives
GUID:
https://n2t.net/ark:/65665/pg26f941434-c734-4243-bb97-d5d6d2de32b9
EDAN-URL:
ead_component:sova-nasm-xxxx-0171-ref174
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  • View General correspondence digital asset number 1

BLK Vol. 2 No. 3

Published by:
Alan Bell, American  Search this
Edited by:
Alan Bell, American  Search this
Interview of:
Cleo Manago, American, born 1963  Search this
Subject of:
AIDS Project East Bay, American, founded 1983  Search this
National Association of Black and White Men Together, American, founded 1980  Search this
Black Gay and Lesbian Leadership Forum, American, 1988 - 2003  Search this
African-American Lesbian and Gay Alliance, American, founded 1986  Search this
Larry Saxxon, American  Search this
Rev. Carl Bean, American, 1944 - 2021  Search this
Phill Wilson, American, born 1956  Search this
Minority AIDS Project, American, founded 1985  Search this
Gilberto Gerald, Panamanian American, born 1950  Search this
Rev. Jesse Jackson, American, born 1941  Search this
Louis Farrakhan, American, born 1933  Search this
Dr. Lenora Fulani, American, born 1950  Search this
Dr. Sylvia Rhue, American, born 1947  Search this
Marlon Riggs, American, 1957 - 1994  Search this
Ayofemi Stowe Folayan, American, born 1950  Search this
Lavender Light, American, founded 1985  Search this
Danitra Vance, American, 1954 - 1994  Search this
Keith St. John, American, born 1957  Search this
Barbara Smith, American, born 1946  Search this
Jewel Thais-Williams, American  Search this
National Coalition of Black Lesbians and Gays, American, 1978 - 1990  Search this
Salsa Soul Sisters, American, founded 1974  Search this
Rev. Dr. Renee McCoy, American, born 1951  Search this
Assotto Saint, Haitian American, 1957 - 1994  Search this
David N. Dinkins, American, born 1927  Search this
Essex Hemphill, American, 1957 - 1995  Search this
CBS Broadcasting, Inc., American, founded 1927  Search this
AIDS Project Los Angeles, American, founded 1983  Search this
Jewelle Gomez, American, born 1948  Search this
Ntozake Shange, American, 1948 - 2018  Search this
Lorraine Hansberry, American, 1930 - 1965  Search this
Michael Smith, American, died 1989  Search this
Martin Luther King III, American, born 1957  Search this
Dionne Warwick, American, born 1940  Search this
George Augustus Stallings Jr., American, born 1948  Search this
Medium:
ink on paper (fiber product)
Dimensions:
H x W x D: 10 13/16 × 8 1/4 × 1/8 in. (27.4 × 20.9 × 0.3 cm)
Type:
magazines (periodicals)
Place made:
Los Angeles, Los Angeles County, California, United States, North and Central America
Place depicted:
Oakland, Alameda County, California, United States, North and Central America
Atlanta, Fulton County, Georgia, United States, North and Central America
Washington, District of Columbia, United States, North and Central America
Baltimore, Maryland, United States, North and Central America
New York City, New York, United States, North and Central America
Philadelphia, Pennsylvania, United States, North and Central America
Chicago, Cook County, Illinois, United States, North and Central America
Los Angeles, Los Angeles County, California, United States, North and Central America
Santa Barbara, Santa Barbara County, California, United States, North and Central America
San Francisco, San Francisco county, California, United States, North and Central America
Long Beach, Los Angeles County, California, United States, North and Central America
Pomona, Los Angeles County, California, United States, North and Central America
Date:
March 1990
Topic:
African American  Search this
Activism  Search this
Associations and institutions  Search this
Black Press  Search this
Communities  Search this
Film  Search this
Gender  Search this
Health  Search this
Holidays and festivals  Search this
Identity  Search this
LGBTQ  Search this
Mass media  Search this
Men  Search this
Race discrimination  Search this
Sexuality  Search this
U.S. History, 1969-2001  Search this
Women  Search this
Women's organizations  Search this
Credit Line:
Collection of the Smithsonian National Museum of African American History and Culture, Gift of Alan Bell
Object number:
2018.108.16
Restrictions & Rights:
© BLK Publishing Company, Inc.
See more items in:
National Museum of African American History and Culture Collection
Classification:
Documents and Published Materials-Published Works
Movement:
HIV/AIDS Activist Movement
Data Source:
National Museum of African American History and Culture
GUID:
http://n2t.net/ark:/65665/fd58fb9efbe-8adc-4d67-b908-93d413f31157
EDAN-URL:
edanmdm:nmaahc_2018.108.16

Western Union Telegraph Expedition Collection

Extent:
0.75 cu. ft. (1 document box) (1 half document box)
Type:
Collection descriptions
Archival materials
Field notes
Manuscripts
Place:
Alaska
Date:
1865-1867
Descriptive Entry:
This collection includes correspondence, mostly to Spencer F. Baird, from members of the Scientific Corps of the Western Union Telegraph Expedition, including Kennicott, Dall, Bannister, and Elliott; copies of reports submitted to divisional chiefs from expedition staff members; newspaper clippings concerning the expedition; copies of notes on natural history taken by Robert Kennicott; and a journal containing meteorological data recorded by Henry M. Bannister from March to August, 1866.
Historical Note:
The Western Union Telegraph Expedition, 1865-1867, also known as the Russian-American Telegraph Expedition, was undertaken to study the possibility of setting up a communications system with Europe by way of Alaska, the Bering Straits, and Asia. The expedition was organized in three divisions, working in Canada, Russian-America (Alaska), and Asia. Robert Kennicott, the veteran Alaskan explorer, was placed in charge of the Russian-American division. Under the auspices of the Smithsonian Institution and the Chicago Academy of Sciences, a Scientific Corps was established, with Kennicott in command, to accompany the Russian-American division and make collections in natural history. Naturalists William H. Dall, Henry M. Bannister, and Henry W. Elliott served as members of the Scientific Corps. On the death of Kennicott on May 13, 1866, Dall became chief of the Scientific Corps until the expedition was terminated in July 1867 due to the successful laying of the Atlantic Cable.
Restrictions:
It appears that some of the material in this collection was removed from the official correspondence files of the Smithsonian.
Topic:
Natural history  Search this
Scientific expeditions  Search this
Genre/Form:
Field notes
Manuscripts
Citation:
Smithsonian Institution Archives, Record Unit 7213, Western Union Telegraph Expedition Collection
Identifier:
Record Unit 7213
See more items in:
Western Union Telegraph Expedition Collection
Archival Repository:
Smithsonian Institution Archives
EDAN-URL:
ead_collection:sova-sia-faru7213
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  • View Western Union Telegraph Expedition Collection digital asset number 1

Elmer E. Higley collection

Topic:
Methodist Episcopal Church
Higley, Elmer Ellsworth
Creator:
Higley, Elmer Ellsworth  Search this
Extent:
534 Lantern slides
0.2 Linear feet
Culture:
Pikuni (Piegan) [Blackfeet Nation, Browning, Montana]  Search this
Nooksack  Search this
Tulalip  Search this
Haida  Search this
Tlingit  Search this
Kalispel (Pend d'Oreilles)  Search this
Wasco  Search this
Yakama (Yakima)  Search this
Mohawk  Search this
Niitsitapii (Blackfoot/Blackfeet)  Search this
Diné (Navajo)  Search this
Pueblo  Search this
American Indians  Search this
Type:
Collection descriptions
Archival materials
Lantern slides
Date:
bulk circa 1900-1968
Summary:
This collection consists of 534 glass lantern slides depicting Indigenous groups throughout North America. It also includes a small number of publications written by Elmer E. Higley and others about Native Americans and missionary work during the early twentieth century.
Scope and Contents:
The Elmer E. Higley collection consists of both Lantern Slides and Printed Materials. Series 1: Lantern Slides, 1900-1924, includes 534 glass lantern slides, many hand-colored. The lantern slides were used by Higley in lectures to promote his missionary and reform work with the Joint Committee on Indian Work of the Methodist Episcopal Church, of which he was the Superintendent from 1919 to 1923. While Higley was the photographer of some of the lantern slide images, specifically those taken in Mesa Verde, the majority of the photographs were not taken by Higley, but rather collected by him for use in his lectures as he traveled around the country. Series 2: Printed Materials, 1914-1968, includes a small number of early twentieth-century publications written by Higley and others about Native Americans and missionary work in the United States during this time.
Please note that the language and terminology used in this collection reflects the context and culture of the time of its creation, and may include culturally sensitive information. As an historical document, its contents may be at odds with contemporary views and terminology. The information within this collection does not reflect the views of the Smithsonian Institution, but is available in its original form to facilitate research.
Arrangement:
This collection is arranged into two series. Series 1: Lantern Slides, 1900-1924 and Series 2: Printed Materials, 1914-1968.
Biographical / Historical:
Elmer Ellsworth Higley was born in Ohio in 1867. He attended high school and college in northwestern Pennsylvania before marrying Alice C. Dowler in 1892. Higley later also attended the Drew Theological Seminary and afterwards worked as a pastor in a number of Methodist churches around the country. In approximately 1919 Higley was appointed Superintendent of the Joint Committee on Indian Work of the Methodist Episcopal Church, with his office based in Chicago, Illinois. Employed in this work until 1923, Higley traveled the United States, visiting Native reservations and promoting Christian reform efforts for American Indian education. While traveling, Higley frequently presented illustrated lectures on his missionary work to audiences, using the glass lantern slides now residing in the collections of the National Museum of the American Indian Archives Center. In the years after 1923, Higley continued as a pastor in both Ames, Iowa, and Evanston, Illinois, the latter where he eventually died in 1931.
Provenance:
Gift of Mrs. R. S. Jensen and Family in 2018 and 2019.
Restrictions:
Access to NMAI Archives Center collections is by appointment only, Monday - Friday, 9:30 am - 4:30 pm. Please contact the archives to make an appointment (phone: 301-238-1400, email: nmaiarchives@si.edu).
Rights:
Permission to publish materials from the collection must be requested from National Museum of the American Indian Archives Center. Please submit a written request to nmaiphotos@si.edu. For personal or classroom use, users are invited to download, print, photocopy, and distribute the images that are available online without prior written permission, provided that the files are not modified in any way, the Smithsonian Institution copyright notice (where applicable) is included, and the source of the image is identified as the National Museum of the American Indian. For more information please see the Smithsonian's Terms of Use and NMAI Archive Center's Digital Image request website.
Some photographs in this colletion are restricted due to cultural sensitivity.
Topic:
Missionaries  Search this
cliff dwellings -- Colorado -- Mesa Verde National Park  Search this
Methodist church buildings  Search this
Missions -- Mission School  Search this
Citation:
Identification of specific item; Date (if known); Elmer E. Higley collection, NMAI.AC.228; National Museum of the American Indian Archives Center, Smithsonian Institution.
Identifier:
NMAI.AC.228
See more items in:
Elmer E. Higley collection
Archival Repository:
National Museum of the American Indian
GUID:
https://n2t.net/ark:/65665/sv45ca4b0f8-01c2-4114-b663-3d3cb3d59f0c
EDAN-URL:
ead_collection:sova-nmai-ac-228
Online Media:

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