Search Results

Artist:

Howard Chandler Christy, 10 Jan. 1872 - 3 Mar. 1952  Search this

Howard Chandler Christy, 10 Jan. 1872 - 3 Mar. 1952  Search this

Sitter:

Abraham Baldwin, 22 Nov 1754 - 4 Mar 1807  Search this

Richard Bassett, 2 Apr 1745 - 16 Aug 1815  Search this

Gunning Bedford, Jr., 1747 - 1812  Search this

John Blair Jr., 1732 - 1800  Search this

William Blount, 1749 - 1800  Search this

David Brearly, 1745 - 1790  Search this

Jacob Broom, 1752 - 1810  Search this

Pierce Butler, 1744 - 1822  Search this

Daniel Carroll, 1730 - 1796  Search this

George Clymer, 16 Mar 1739 - 25 Jan 1813  Search this

Jonathan Dayton, 1760 - 1824  Search this

John Dickinson, 8 Nov 1732 - 14 Feb 1808  Search this

William Few, 1748 - 1828  Search this

Thomas Fitzsimons, 1741 - 1811  Search this

Benjamin Franklin, 17 Jan 1706 - 17 Apr 1790  Search this

Nicholas Gilman, 1755 - 1814  Search this

Nathaniel Gorham, 1738 - 1796  Search this

Alexander Hamilton, 11 Jan 1757 - 11 Jul 1804  Search this

Jared Ingersoll, 1749 - 1822  Search this

William Jackson, 1759 - 1828  Search this

Daniel of St. Thomas Jenifer, 1723 - 16 Nov 1790  Search this

William Samuel Johnson, 7 Oct 1727 - 14 Nov 1819  Search this

Rufus King, 24 Mar 1755 - 29 Apr 1827  Search this

Howard Chandler Christy, 10 Jan. 1872 - 3 Mar. 1952  Search this

John Langdon, 1741 - 1819  Search this

William Livingston, 1723 - 1790  Search this

James Madison, 16 Mar 1751 - 28 Jun 1836  Search this

James McHenry, 1753 - 1816  Search this

Thomas Mifflin, 1744 - 1800  Search this

Gouverneur Morris, 31 Jan 1752 - 6 Nov 1816  Search this

Robert Morris, 31 Jan 1734 - 8 May 1806  Search this

William Paterson, 1745 - 1806  Search this

Charles Cotesworth Pinckney, 25 Feb 1746 - 25 Aug 1825  Search this

George Read, 18 Sep 1733 - 21 Sep 1798  Search this

John Rutledge, 1739 - 18 Jul 1800  Search this

Roger Sherman, c. 19 Apr 1721 - 23 Jul 1793  Search this

Richard Dobbs Spaight, 1758 - 1802  Search this

George Washington, 22 Feb 1732 - 14 Dec 1799  Search this

Hugh Williamson, 5 Dec 1735 - 22 May 1819  Search this

James Wilson, 14 Sep 1742 - 21 Aug 1798  Search this

Medium:

Oil on canvas

Dimensions:

600cm x 900cm (236 1/4" x 354 5/16"), Sight

Type:

Painting

Date:

1940

Topic:

William Jackson: Male  Search this

William Jackson: Military and Intelligence\Army\Officer\Revolutionary War Army officer  Search this

William Jackson: Politics and Government\Public official\Secretary  Search this

Thomas Mifflin: Male  Search this

Thomas Mifflin: Business and Finance\Businessperson  Search this

Thomas Mifflin: Politics and Government\Statesman\Signer of Constitution  Search this

Thomas Mifflin: Politics and Government\Governor\Pennsylvania  Search this

Jared Ingersoll: Male  Search this

Jared Ingersoll: Law and Law Enforcement\Lawyer  Search this

Jared Ingersoll: Politics and Government\US Attorney  Search this

Jared Ingersoll: Politics and Government\Statesman\Signer of Constitution  Search this

Jared Ingersoll: Politics and Government\State Attorney General\Pennsylvania  Search this

George Washington: Male  Search this

George Washington: Military and Intelligence\Army\Officer\Revolutionary War Army officer  Search this

George Washington: Politics and Government\Statesman\Colonial statesman  Search this

George Washington: Natural Resource Occupations\Agriculturist\Farmer  Search this

George Washington: Military and Intelligence\Army\Officer\General  Search this

George Washington: Politics and Government\President of US  Search this

George Washington: Science and Technology\Surveyor  Search this

George Washington: Congressional Gold Medal  Search this

Charles Cotesworth Pinckney: Male  Search this

Charles Cotesworth Pinckney: Law and Law Enforcement\Lawyer  Search this

Charles Cotesworth Pinckney: Politics and Government\Presidential candidate  Search this

Charles Cotesworth Pinckney: Military and Intelligence\Army\Officer\Revolutionary War Army officer  Search this

Charles Cotesworth Pinckney: Politics and Government\Diplomat  Search this

Charles Cotesworth Pinckney: Military and Intelligence\Army\Officer\General  Search this

Charles Cotesworth Pinckney: Politics and Government\Diplomat\Minister  Search this

Charles Cotesworth Pinckney: Politics and Government\US Congressman\South Carolina  Search this

Charles Cotesworth Pinckney: Politics and Government\Governor\South Carolina  Search this

Charles Cotesworth Pinckney: Politics and Government\Statesman\Signer of Constitution  Search this

Charles Cotesworth Pinckney: Politics and Government\State Senator\South Carolina  Search this

Charles Cotesworth Pinckney: Military and Intelligence\Prisoner of War  Search this

James Madison: Male  Search this

James Madison: Law and Law Enforcement\Lawyer  Search this

James Madison: Politics and Government\State Legislator\Virginia  Search this

James Madison: Politics and Government\Congressman\Continental congressman  Search this

James Madison: Politics and Government\President of US  Search this

James Madison: Politics and Government\Cabinet member\Secretary of State  Search this

James Madison: Literature\Writer\Essayist  Search this

James Madison: Politics and Government\US Congressman\Virginia  Search this

James Madison: Politics and Government\Statesman\Signer of Constitution  Search this

Robert Morris: Male  Search this

Robert Morris: Politics and Government\Congressman\Continental congressman  Search this

Robert Morris: Politics and Government\Statesman\Colonial statesman\Signer of Declaration  Search this

Robert Morris: Business and Finance\Financier  Search this

Robert Morris: Business and Finance\Businessperson\Merchant\Shipping  Search this

Robert Morris: Politics and Government\State Legislator\Pennsylvania  Search this

Robert Morris: Politics and Government\Statesman\Signer of Constitution  Search this

William Livingston: Male  Search this

William Livingston: Law and Law Enforcement\Lawyer  Search this

William Livingston: Politics and Government\Governor\New Jersey  Search this

William Livingston: Politics and Government\Statesman\Signer of Constitution  Search this

William Livingston: Natural Resource Occupations\Agriculturist\Farmer\Gentleman  Search this

Rufus King: Male  Search this

Rufus King: Politics and Government\State Legislator\New York  Search this

Rufus King: Politics and Government\US Senator\New York  Search this

Rufus King: Law and Law Enforcement\Lawyer  Search this

Rufus King: Politics and Government\Diplomat\Minister  Search this

Rufus King: Politics and Government\Statesman\Signer of Constitution  Search this

Rufus King: Politics and Government\Vice-Presidential Candidate  Search this

Nicholas Gilman: Male  Search this

Nicholas Gilman: Politics and Government\Congressman\Continental congressman  Search this

Nicholas Gilman: Politics and Government\US Senator\New Hampshire  Search this

Nicholas Gilman: Politics and Government\Statesman\Signer of Constitution  Search this

Nicholas Gilman: Politics and Government\US Congressman\New Hampshire  Search this

Nicholas Gilman: Politics and Government\Public official\Treasurer  Search this

John Langdon: Male  Search this

John Langdon: Politics and Government\Congressman\Continental congressman  Search this

John Langdon: Politics and Government\Governor\New Hampshire  Search this

John Langdon: Politics and Government\US Senator\New Hampshire  Search this

John Langdon: Politics and Government\Statesman\Signer of Constitution  Search this

George Clymer: Male  Search this

George Clymer: Politics and Government\Congressman\Continental congressman  Search this

George Clymer: Politics and Government\Statesman\Colonial statesman\Signer of Declaration  Search this

George Clymer: Politics and Government\US Congressman\Pennsylvania  Search this

George Clymer: Business and Finance\Banker  Search this

George Clymer: Business and Finance\Businessperson\Merchant  Search this

George Clymer: Politics and Government\Statesman\Signer of Constitution  Search this

John Rutledge: Male  Search this

John Rutledge: Politics and Government\Statesman\Signer of Constitution  Search this

John Rutledge: Law and Law Enforcement\Judge\Justice\US Supreme Court Justice\Chief Justice of US  Search this

David Brearly: Male  Search this

David Brearly: Politics and Government\Statesman\Signer of Constitution  Search this

Jacob Broom: Male  Search this

Jacob Broom: Business and Finance\Businessperson\Real estate agent  Search this

Jacob Broom: Law and Law Enforcement\Justice of the Peace  Search this

Jacob Broom: Politics and Government\Statesman\Signer of Constitution  Search this

Jacob Broom: Politics and Government\State Legislator\Maryland  Search this

Jacob Broom: Business and Finance\Businessperson\Shipping  Search this

Jacob Broom: Politics and Government\Government official\Postmaster  Search this

Thomas Fitzsimons: Male  Search this

John Blair Jr.: Male  Search this

John Blair Jr.: Law and Law Enforcement\Judge\Justice\US Supreme Court Justice  Search this

John Blair Jr.: Law and Law Enforcement\Jurist  Search this

John Blair Jr.: Politics and Government\Statesman\Signer of Constitution  Search this

William Blount: Male  Search this

William Blount: Politics and Government\US Senator\Tennessee  Search this

William Blount: Natural Resource Occupations\Agriculturist\Planter  Search this

William Blount: Politics and Government\Statesman\Signer of Constitution  Search this

William Blount: Business and Finance\Land speculator  Search this

Abraham Baldwin: Male  Search this

Abraham Baldwin: Politics and Government\US Congressman\Georgia  Search this

Abraham Baldwin: Politics and Government\US Senator\Georgia  Search this

Abraham Baldwin: Politics and Government\Statesman\Signer of Constitution  Search this

Abraham Baldwin: Education and Scholarship\Founder\University  Search this

Richard Bassett: Male  Search this

Richard Bassett: Law and Law Enforcement\Judge  Search this

Richard Bassett: Politics and Government\Governor\Delaware  Search this

Hugh Williamson: Male  Search this

Hugh Williamson: Military and Intelligence\Army\Officer\Revolutionary War Army officer  Search this

Hugh Williamson: Politics and Government\Congressman\Continental congressman  Search this

Hugh Williamson: Medicine and Health\Physician  Search this

Hugh Williamson: Politics and Government\Statesman\Signer of Constitution  Search this

Hugh Williamson: Politics and Government\Patriot  Search this

Hugh Williamson: Medicine and Health\Medical Scientist  Search this

Hugh Williamson: Politics and Government\US Congressman\North Carolina  Search this

Pierce Butler: Male  Search this

Pierce Butler: Natural Resource Occupations\Agriculturist\Planter  Search this

Pierce Butler: Politics and Government\Statesman\Signer of Constitution  Search this

Pierce Butler: Politics and Government\US Senator\South Carolina  Search this

James McHenry: Male  Search this

James McHenry: Politics and Government\Statesman\Signer of Constitution  Search this

James McHenry: Politics and Government\State Senator\Maryland  Search this

James McHenry: Medicine and Health\Physician\Army\Surgeon  Search this

Benjamin Franklin: Male  Search this

Benjamin Franklin: Literature\Writer  Search this

Benjamin Franklin: Politics and Government\Statesman\Colonial statesman  Search this

Benjamin Franklin: Politics and Government\Congressman\Continental congressman  Search this

Benjamin Franklin: Politics and Government\Statesman\Colonial statesman\Signer of Declaration  Search this

Benjamin Franklin: Science and Technology\Scientist  Search this

Benjamin Franklin: Politics and Government\Diplomat  Search this

Benjamin Franklin: Society and Social Change\Philanthropist  Search this

Benjamin Franklin: Science and Technology\Inventor  Search this

Benjamin Franklin: Crafts and Trades\Printer  Search this

Benjamin Franklin: Politics and Government\Government official\Postmaster  Search this

William Few: Male  Search this

William Few: Politics and Government\State Legislator\New York  Search this

William Few: Military and Intelligence\Soldier\Revolution  Search this

William Few: Law and Law Enforcement\Judge  Search this

William Few: Society and Social Change\Philanthropist  Search this

William Few: Politics and Government\Statesman\Signer of Constitution  Search this

William Few: Politics and Government\State Senator\Georgia  Search this

William Few: Business and Finance\Businessperson\Business executive\Banking  Search this

Nathaniel Gorham: Male  Search this

Nathaniel Gorham: Business and Finance\Businessperson  Search this

Nathaniel Gorham: Politics and Government\Congressman\Continental congressman  Search this

Nathaniel Gorham: Politics and Government\Statesman\Signer of Constitution  Search this

Nathaniel Gorham: Business and Finance\Land speculator  Search this

Gunning Bedford, Jr.: Male  Search this

Gunning Bedford, Jr.: Politics and Government\Congressman\Continental congressman  Search this

Gunning Bedford, Jr.: Law and Law Enforcement\Judge  Search this

Gunning Bedford, Jr.: Law and Law Enforcement\Jurist  Search this

Gunning Bedford, Jr.: Politics and Government\Statesman\Signer of Constitution  Search this

Gunning Bedford, Jr.: Politics and Government\State Attorney General\Delaware  Search this

Richard Dobbs Spaight: Male  Search this

Richard Dobbs Spaight: Politics and Government\Statesman\Signer of Constitution  Search this

Roger Sherman: Male  Search this

Roger Sherman: Law and Law Enforcement\Lawyer  Search this

Roger Sherman: Politics and Government\Congressman\Continental congressman  Search this

Roger Sherman: Politics and Government\Statesman\Colonial statesman\Signer of Declaration  Search this

Roger Sherman: Business and Finance\Businessperson\Merchant  Search this

Roger Sherman: Law and Law Enforcement\Justice of the Peace  Search this

Roger Sherman: Politics and Government\Statesman\Signer of Constitution  Search this

Roger Sherman: Society and Social Change\Reformer\Revolutionary  Search this

Roger Sherman: Crafts and Trades\Cobbler  Search this

Roger Sherman: Politics and Government\Public official\Mayor\New Haven, CT  Search this

John Dickinson: Male  Search this

John Dickinson: Law and Law Enforcement\Lawyer  Search this

John Dickinson: Literature\Writer  Search this

John Dickinson: Politics and Government\Congressman\Continental congressman  Search this

John Dickinson: Politics and Government\State Legislator\Pennsylvania  Search this

John Dickinson: Politics and Government\Statesman\Signer of Constitution  Search this

John Dickinson: Politics and Government\State Legislator\Delaware  Search this

John Dickinson: Politics and Government\US Congressman\Delaware  Search this

Alexander Hamilton: Male  Search this

Alexander Hamilton: Law and Law Enforcement\Lawyer  Search this

Alexander Hamilton: Literature\Writer  Search this

Alexander Hamilton: Military and Intelligence\Army\Officer\Revolutionary War Army officer  Search this

Alexander Hamilton: Politics and Government\Cabinet member\Secretary of Treasury  Search this

Alexander Hamilton: Politics and Government\Congressman\Continental congressman  Search this

Jonathan Dayton: Male  Search this

Jonathan Dayton: Law and Law Enforcement\Lawyer  Search this

Jonathan Dayton: Politics and Government\US Congressman\New Jersey  Search this

Jonathan Dayton: Politics and Government\US Senator\New Jersey  Search this

Jonathan Dayton: Politics and Government\Statesman\Signer of Constitution  Search this

Jonathan Dayton: Business and Finance\Land speculator  Search this

Gouverneur Morris: Male  Search this

Gouverneur Morris: Politics and Government\US Senator\New York  Search this

Gouverneur Morris: Law and Law Enforcement\Lawyer  Search this

Gouverneur Morris: Politics and Government\Congressman\Continental congressman  Search this

Gouverneur Morris: Politics and Government\Diplomat\Minister  Search this

Howard Chandler Christy: Visual Arts\Artist  Search this

Howard Chandler Christy: Male  Search this

Howard Chandler Christy: Visual Arts\Artist\Painter  Search this

Howard Chandler Christy: Visual Arts\Artist\Illustrator  Search this

Howard Chandler Christy: Visual Arts\Artist\Painter\Muralist  Search this

Daniel Carroll: Male  Search this

Daniel Carroll: Politics and Government\Congressman\Continental congressman  Search this

Daniel Carroll: Natural Resource Occupations\Agriculturist\Planter  Search this

Daniel Carroll: Politics and Government\Statesman\Signer of Constitution  Search this

Daniel Carroll: Politics and Government\US Senator\Maryland  Search this

William Samuel Johnson: Male  Search this

William Samuel Johnson: Law and Law Enforcement\Lawyer  Search this

William Samuel Johnson: Politics and Government\Congressman\Continental congressman  Search this

William Samuel Johnson: Law and Law Enforcement\Judge  Search this

William Samuel Johnson: Politics and Government\US Senator\Connecticut  Search this

William Samuel Johnson: Education and Scholarship\Administrator\College administrator\President  Search this

William Samuel Johnson: Politics and Government\Statesman\Signer of Constitution  Search this

James Wilson: Male  Search this

James Wilson: Law and Law Enforcement\Lawyer  Search this

James Wilson: Politics and Government\Statesman\Colonial statesman\Signer of Declaration  Search this

James Wilson: Law and Law Enforcement\Judge\Justice\US Supreme Court Justice  Search this

James Wilson: Law and Law Enforcement\Jurist  Search this

James Wilson: Politics and Government\Statesman\Signer of Constitution  Search this

William Paterson: Male  Search this

William Paterson: Law and Law Enforcement\Judge\Justice\US Supreme Court Justice  Search this

William Paterson: Politics and Government\Governor\New Jersey  Search this

William Paterson: Politics and Government\Statesman\Signer of Constitution  Search this

William Paterson: Politics and Government\State Senator\New Jersey  Search this

Daniel of St. Thomas Jenifer: Male  Search this

Daniel of St. Thomas Jenifer: Politics and Government\Congressman\Continental congressman  Search this

Daniel of St. Thomas Jenifer: Politics and Government\US Congressman\Maryland  Search this

Daniel of St. Thomas Jenifer: Politics and Government\Statesman\Signer of Constitution  Search this

Daniel of St. Thomas Jenifer: Society and Social Change\Reformer\Revolutionary  Search this

George Read: Male  Search this

George Read: Law and Law Enforcement\Lawyer  Search this

George Read: Politics and Government\Congressman\Continental congressman  Search this

George Read: Politics and Government\Statesman\Colonial statesman\Signer of Declaration  Search this

George Read: Law and Law Enforcement\Judge\Justice\State Supreme Court Justice\Delaware  Search this

George Read: Politics and Government\Statesman\Signer of Constitution  Search this

George Read: Politics and Government\State Senator\Delaware  Search this

Portrait  Search this

Credit Line:

Owner: U.S. Capitol

Object number:

DC230429

Restrictions & Rights:

Usage conditions apply

See more items in:

Catalog of American Portraits

Data Source:

Catalog of American Portraits

GUID:

http://n2t.net/ark:/65665/sm4ca7267d3-6e6b-4e3a-ae05-e605afc5e83d

EDAN-URL:

edanmdm:npg_DC230429

Artist:

Louis Prang Lithography Company, active 1856 - 1899  Search this

Sitter:

George Brinton McClellan, 3 Dec 1826 - 29 Oct 1885  Search this

Medium:

Lithograph on paper

Dimensions:

Sheet: 13.4 x 8.3 cm (5 1/4 x 3 1/4")

Type:

Print

Date:

c. 1862

Topic:

Personal Attribute\Facial Hair\Mustache  Search this

Symbols & Motifs\Flag\National\United States  Search this

Nature & Environment\Animal\Bird\Eagle  Search this

Book  Search this

Illustration  Search this

George Brinton McClellan: Male  Search this

George Brinton McClellan: Politics and Government\Presidential candidate  Search this

George Brinton McClellan: Military and Intelligence\Army\Officer\General  Search this

George Brinton McClellan: Politics and Government\Governor\New Jersey  Search this

George Brinton McClellan: Military and Intelligence\Army\Officer\Major General  Search this

Portrait  Search this

Credit Line:

National Portrait Gallery, Smithsonian Institution

Object number:

NPG.80.119.n

Restrictions & Rights:

CC0

See more items in:

National Portrait Gallery Collection

Data Source:

National Portrait Gallery

GUID:

http://n2t.net/ark:/65665/sm466822932-19f1-4a1e-9d82-73099e0c36d0

EDAN-URL:

edanmdm:npg_NPG.80.119.n

Creator:

Goodrich, Lloyd, 1897-1987  Search this

Names:

American Art Research Council  Search this

American Federation of Arts  Search this

Artist Tenants Association (New York, N.Y.)  Search this

Artists Equity Association  Search this

Association of Art Museum Directors  Search this

National Council on the Arts and Government  Search this

Whitney Museum of American Art  Search this

Dows, Olin, 1904-1981  Search this

Eakins, Thomas, 1844-1916  Search this

Evergood, Philip, 1901-1973  Search this

Homer, Winslow, 1836-1910  Search this

Kuniyoshi, Yasuo, 1889-1953  Search this

Marsh, Reginald, 1898-1954  Search this

Miller, Kenneth Hayes, 1876-1952  Search this

Newman, Elias, 1903-  Search this

Rich, Daniel Catton, 1904-1976  Search this

Ryder, Albert Pinkham, 1847-1917  Search this

Soyer, Raphael, 1899-1987  Search this

Extent:

35.7 Linear feet

Type:

Collection descriptions

Archival materials

Photographs

Transcripts

Interviews

Scrapbooks

Date:

1884-1987

bulk 1927-1987

Summary:

The papers of art historian, writer, and museum administrator Lloyd Goodrich measure 35.7 linear feet and date from 1884 to 1987 with the bulk of the material dating from 1927 to 1987. Materials include biographical material, extensive correspondence, writings and research files, organization and committee files, exhibition files, printed material, a scrapbook, and photographic material. The collection is particularly rich in research files on Winslow Homer, Thomas Eakins, Albert Pinkham Ryder, and Reginald Marsh, as well as correspondence with additional notable artists and art figures.

Scope and Contents:

The papers of art historian, writer, and museum administrator Lloyd Goodrich measure 35.7 linear feet and date from 1884 to 1987 with the bulk of the material dating from 1927 to 1987. Materials include biographical material, extensive correspondence, writings and research files, organization and committee files, exhibition files, printed material, a scrapbook, and photographic material. The collection is particularly rich in research files on Winslow Homer, Thomas Eakins, Albert Pinkham Ryder, and Reginald Marsh, as well as correspondence with additional notable artists and art figures.

Scattered biographical materials include biographical sketches, an interview transcript, personal business records, documents relating to Goodrich's service on art juries, and awards and honors.

Correspondence is with friends, family, artists, museums, collectors, galleries, and arts organizations. Correspondents include The Arts Magazine, Whitney Museum of Art, Olin Dows, Philip Evergood, Yasuo Kuniyoshi, Reginald Marsh, Kenneth Hayes Miller, Elias Newman, Daniel Catton Rich, and Raphael Soyer among many others. Research related correspondence arranged here concerns work on a catalogue raisonné of Winslow Homer. This material was originally arranged in the correspondence files by Goodrich prior to the later donation that included additional research files on Homer found in Series 3. There are also condolence letters from notable figures in American art.

Writings and research files include major writings, such as books and articles, and book reviews, essays, exhibition text, catalog entries, and lectures. In addition to the writings, Goodrich's research files for the writings are arranged here and include research, notes, correspondence, photographs, illustrations, printed materials, and bibliographies. There are also book agreements. There are extensive files for Goodrich's books on Winslow Homer (see also correspondence in Series 2) and Reginald Marsh; articles, catalog entries, and other writings on Winslow Homer, Albert Pinkham Ryder, Kuniyoshi, Reginald Marsh, and American art in general; lectures and talks; research files on other artists, and notes and notebooks.

Organization and committee files document Goodrich's service on boards, commissions, committees, organizations, and associations, such as the American Federation of Arts, the Association of Art Museum Directors, the Carnegie Study in American Art, the National Council on the Arts and Government, American Art Research Council, Artists Equity Association, Artist Tenants Association, the selection committee of the American National Exhibition (1959), and others are found within organization and committee files. Agendas, correspondence, meeting minutes, and printed material are found within the files.

Exhibition files are found only for several Winslow Homer shows. Printed materials include clippings, publicity materials, and printed copies of his writings. Photographic material includes scattered photographs of Goodrich and others, and extensive negatives of works of art, likely by Homer. Also found are x-rays of paintings by Ralph Blakelock.

Arrangement:

The collection is arranged as 8 series.

Missing Title

Series 1: Biographical Materials, 1946-1984 (Boxes 1; 0.4 linear feet)

Series 2: Correspondence, 1920-1987 (Boxes 1-3; 1.8 linear feet)

Series 3: Writings and Research Files, 1884-1987 (Boxes 3-17, 38; 14.5 linear feet)

Series 4: Organization and Committee files, 1933-1982 (Boxes 17-31, 37; 14.5 linear feet)

Series 5: Exhibition Files, 1944-1986 (Boxes 31-32; 0.6 linear feet)

Series 6: Printed Material, circa 1920s-1979 (Boxes 32-33; 0.8 linear feet)

Series 7: Scrapbook, 1952-1959 (Box 33; 2 folders)

Series 8: Photographic Materials, circa 1910-1987 (Boxes 33-37; 3.1 linear feet)

Biographical / Historical:

Lloyd Goodrich (1897-1987) was a prominent and influential art historian, writer, and director of the Whitney Museum of Art in New York City, New York, from 1958-1968.

Lloyd Goodrich was born in Nutley, New Jersey in 1897. He studied under Kenneth Hayes Miller at the Art Students League from 1913-1915 and also took courses at the National Academy of Design. Rather than pursue a career as an artist, however, he decided that his real talent was writing about art. He began his long and prolific writing career in 1923-24 and married Edith Havens in 1924. Inspired by the work and writings of European art scholars and a desire to address the need for a body of scholarship on American Art, Goodrich began to research and write about American artists Kenneth Hayes Miller, Winslow Homer, and Thomas Eakins.

Goodrich's first article on Winslow Homer was published in 1924 by The Arts, a magazine financed by Gertrude Vanderbilt Whitney and edited by Forbes Watson, who soon hired Goodrich as associate editor. By 1929, Goodrich was also working as assistant art critic for the New York Times while continuing work at The Arts as contributing editor. One year later, The Arts commissioned Goodrich to write a book on Kenneth Hayes Miller. And, around the same time Goodrich became interested in Thomas Eakins, and with the encouragement and financial support from his boyhood friend, artist Reginald Marsh, he began work on a monograph about Eakins.

In 1930, Goodrich joined the staff of Gertrude Vanderbilt Whitney's new American art museum in New York City, the Whitney Museum of American Art. The museum provided him with the funds he needed to research and complete his book on Thomas Eakins, which he achieved in 1933. In 1935, he became curator of the museum, and associate director in 1948. He served as director from 1958-1968. The bequest of the Edward Hopper collection to the Whitney was the result of Goodrich's reputation as a scholar of Edward Hopper. After retiring, Goodrich continued his association with the Whitney as advisory director and director emeritus.

Goodrich was instrumental in starting the American Art Research Council in 1942, a group of museums devoted to collecting scholarly records about American art. He sat on the advisory panels for the New York State Council on the Arts and the Fine Arts Advisory Committee to the White House. In 1933, he was in charge of the New York regional office of the Public Works of Art Project. He also served as chairman of the National Council on the Arts and Government from 1948 to 1954 and was a major force in the creation of the National Endowment for the Arts and Humanities. He was a member of the Artists Equity Association, Artist Tenants Association, and numerous other arts organizations and a strong advocate for the promotion and support of American art and artists.

Throughout his long and distinguished career as a writer and museum administrator, Lloyd Goodrich worked to build a body of scholarship related to the history of American art and artists. He published several important monographs, including works on Thomas Eakins, Edward Hopper, Albert Pinkham Ryder, Winslow Homer, and Reginald Marsh, and organized major exhibitions about these and many other artists during his 57-year association with the Whitney Museum of American Art. At the time of his death, Goodrich was considered a preeminent figure in the American art world, and one of the foremost authorities on Eakins, Ryder, and Homer, artists on which he kept extensive research files throughout his life.

Lloyd Goodrich died March 27, 1987.

Related Materials:

Also found in the Archives of American Art is an oral history interview with Lloyd Goodrich, 1962-1963 by Harlan Phillips for the Archives of American Art.

Additional Lloyd Goodrich papers are located at the Whitney Museum of American Art Archives, and the Philadelphia Museum of Art Archives.

Separated Materials:

The Archives of American Art also holds microfilm of material lent for microfilming (reel 4468) including a photocopy of the manuscript "Albert Pinkham Ryder: The Man and His Art," Goodrich's contribution to the book "Albert Pinkham Ryder: Painter of Dreams" co-authored with William I. Homer. Loaned materials were returned to the lender and are not described in the collection container inventory.

Provenance:

The Lloyd Goodrich papers were given to the Archives of American Art in several different acquisitions. Lloyd Goodrich first donated material in 1983. David Goodrich, Lloyd Goodrich's son, gave more material between 1988 and 2007 while additional papers were lent for microfilming by William I. Homer in 1990. Finally, the Whitney Museum of American Art donated papers in 1996, and Polly Thistlethwaite gave further material in 2015.

Restrictions:

Use of original papers requires an appointment.

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

Arts administrators -- New York (State) -- New York  Search this

Museum curators -- New York (State) -- New York  Search this

Museum administrators -- New York (State) -- New York  Search this

Topic:

Art -- Collectors and collecting -- New York (State) -- New York  Search this

Art, American  Search this

Museum directors -- New York (State) -- New York  Search this

Function:

Art museums -- New York (State)

Genre/Form:

Photographs

Transcripts

Interviews

Scrapbooks

Citation:

Lloyd Goodrich papers, 1884-1987, bulk 1927-1987. Archives of American Art, Smithsonian Institution.

Sponsor:

Smithsonian Institution Collections Care and Preservation Fund

Identifier:

AAA.goodlloy

See more items in:

Lloyd Goodrich papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9ada7dc76-ac75-437a-b234-9f02adf2d57c

EDAN-URL:

ead_collection:sova-aaa-goodlloy

Creator:

Sharrer, Honoré, 1920-2009  Search this

Names:

American Academy of Arts and Letters  Search this

Forum Gallery (New York, N.Y.)  Search this

Handmacher-Vogel, Inc.  Search this

Terry Dintenfass, Inc.  Search this

Women's Caucus for Art  Search this

Blume, Peter, 1906-1992  Search this

Bridaham, Lester Burbank  Search this

Caiserman-Roth, Ghitta, 1923-  Search this

Calderwood, Kathy, 1945-  Search this

Carpenter, Mary  Search this

Crutchfield, Mary  Search this

Goodwin, Betty  Search this

Kirstein, Lincoln, 1907-  Search this

Miller, Dorothy Canning, 1904-2003  Search this

Oda, Mayumi, 1941-  Search this

Poland, Reginald  Search this

Sachs, Honoré  Search this

Sharrer, Madeleine  Search this

Tooker, George, 1920-2011  Search this

Zagorin, Adam  Search this

Zagorin, Perez  Search this

Extent:

9.45 Linear feet

1.12 Gigabytes

Type:

Collection descriptions

Archival materials

Gigabytes

Sketchbooks

Photographs

Date:

circa 1920-2007

Summary:

The papers of realist painter, Honoré Sharrer, measure 9.45 linear feet and 1.12 GB and date from circa 1920-2007. The collection documents Sharrer's career through biographical material, personal and professional correspondence, writings and notes, research and source files, printed and digital material, artwork, sketchbooks, and photographs of Sharrer, her family, friends, colleagues, and artwork.

Scope and Contents:

The papers of realist painter, Honoré Sharrer, measure 9.45 linear feet and 1.12 GB and date from circa 1920-2007. The collection documents Sharrer's career through biographical material, personal and professional correspondence, writings and notes, research and source files, printed and digital material, artwork, sketchbooks, and photographs of Sharrer, her family, friends, colleagues, and artwork.

Biographical material includes biographical notes and resumés, awards, paintbrushes used by Sharrer, and sales records, as well as comprehensive documentation, compiled 2004-2007 by her husband, Perez Zagorin, and her son, Adam Zagorin, of Sharrer's artwork in their possession. Included are digital images of Sharrer's artwork.

Correspondence is with family members including Sharrer's mother, Madeleine Sharrer, and her second husband, Reginald Poland; husband Perez Zagorin; son Adam Zagorin; and daughter-in-law, Mary Carpenter Also found is correspondence with artists including Peter Blume, Lester Burbank Bridaham, Gitta Caiserman-Roth, Kathy Calderwood, Mary Crutchfield, Betty Goodwin, Lincoln Kirstein, Mayumi Oda, and George Tooker. Other professional correspondents include galleries, museums, and other art institutions such as American Academy of Arts and Letters, Terry Dintenfass, Forum Gallery, Handmacher-Vogel, Inc., M. Knoedler & Co., Dorothy Miller relating to the 1946 Fourteen Americans exhibition at the Museum of Modern Art, and the Women's Caucus for Art.

Writings and notes comprise drafts of several essays on art by Sharrer, preliminary notes for Tribute to the American Working People, and a mock-up for an unpublished book, "One White Christmas," written by Sharrer's grandmother, Honoré Sachs, and illustrated by Sharrer.

Research and source files consist of source material used throughout the course of Sharrer's career, including printed and photographic material used in the creation of Tribute to the American Working People, and later work dating up to, and including, the last decade of her life.

Printed material comprises announcements and catalogs for exhibitions and events featuring Sharrer, including a catalog for Fourteen Americans, as well as clippings about her and others, such as the Life Magazine cover story "Nineteen Young Americans."

Artwork and sketchbooks include studies for paintings and illustrations, and other preliminary sketches, as well as 14 sketchbooks of pencil and ink sketches dating from circa 1960s t0 2003.

Photographic material consists of photos of Sharrer, her family, friends, colleagues, exhibition installations, and houses. Also found are photos, negatives, and transparencies of Sharrer's artwork, as well as photos of artwork by Madeleine Sharrer and Lester Burbank Bridaham.

Arrangement:

The collection is arranged as 8 series.

Missing Title

Series 1: Biographical Material, 1941-2007 (0.44 linear feet; Boxes 1, 10, 1.12 GB; ER01-ER10)

Series 2: Correspondence, 1938-2006 (1.84 linear feet; Boxes 1-3, 10)

Series 3: Writings and Notes, circa 1940s-circa 1990s (5 folders; Boxes 3, 10)

Series 4: Research and Source Files, circa 1920s-2005 (3.43 linear feet; Boxes 3-6, 10-11)

Series 5: Printed Material, circa 1930s-2005 (0.85 linear feet; Boxes 6-7, 11, OV 13, OV 17)

Series 6: Artwork, 1941-circa 1990s (0.8 linear feet; Boxes 7, 11-12, OV 13

Series 7: Sketchbooks, 1960s-2003 (0.55 linear feet; Boxes 7, 12)

Series 8: Photographic Material, circa 1930s-circa 2000 (1.83 linear feet; Boxes 8-9, 12, OVs 13-16)

Biographical / Historical:

Realist painter Honoré Sharrer (1920-2009) lived and worked in New York, Massachusetts, London, Montreal and Charlottesville, Virginia. She was best known for her five-panel painting, Tribute to the American Working People, completed in 1951 and first shown at M. Knoedler & Co. in New York to wide critical acclaim.

Sharrer was born in 1920 in West Point, New York, where her father was an Army officer, and grew up in the United States, the Philippines, Paris, and La Jolla, California. She studied at the Yale University School of Art and the San Francisco Art Institute, and worked as a welder in shipyards in California and New Jersey during World War II. She moved to New York in the 1940s and lived subsequently in Amherst, Massachusetts, London, and Montreal.

Sharrer's Workers and Paintings (1943) was included in the landmark Museum of Modern Art exhibition, Fourteen Americans, in 1946, and her painting, Man at Fountain, was featured in the 1950 Life Magazine cover story, "Nineteen Young American Artists." Tribute to the American Working People, which depicted a factory worker surrounded by smaller scenes of ordinary life, was considered her masterwork, but in the years that followed it's unveiling at M. Knoedler & Co., Sharrer was noticeably absent from the art scene; between 1951 and 1969 she did not have a single solo exhibition. While many of her contemporaries immersed themselves in Abstract Expressionism, Sharrer continued to paint, in meticulous detail, the daily experiences of ordinary working people, and her later work often dealt with female perspectives and was imbued with humor and elements of magical realism.

In 2007 the Smithsonian American Art Museum held an exhibition titled Anatomy of a Painting: Honoré Sharrer's 'Tribute to the American Working People,' which was devoted exclusively to her most famous work, now in the Smithsonian's permanent collection, and the source material she used when painting it. Sharrer's works can also be found in the Metroplitan Museum of Art, the Museum of Modern Art, and the Pennsylvania Academy of Fine Arts.

Sharrer settled in Charlottesville, Virginia, in the early 1990s. She was married to her second husband, historian Perez Zagorin, for 61 years, before her death in 2009. Her mother, Madeleine Sharrer, was also a painter who married Reginald Poland, Director of the Fine Arts Gallery, San Diego, following the death of Sharrer's father, Robert Allen Sharrer.

Related Materials:

Also found in the Archives of American Art is an oral history interview with Perez Zagorin, 2007, January 17-18, and the Madeleine Sharrer papers, 1954-1988.

Provenance:

The Honoré Sharrer papers were donated in 2006 and 2007 by Perez Zagorin, Sharrer's husband. A small addition was donated by Adam Zagorin, Sharrer's son, in 2018.

Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D. C. Research Center. Contact Reference Services for more information.

Rights:

The 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 -- Virginia  Search this

Painters -- New York (State)  Search this

Topic:

Painting -- Equipment and supplies  Search this

Realism  Search this

Women artists  Search this

Women painters  Search this

Genre/Form:

Sketchbooks

Photographs

Citation:

Honoré Sharrer papers, circa 1920-2007. Archives of American Art, Smithsonian Institution.

Sponsor:

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

Identifier:

AAA.sharhono

See more items in:

Honoré Sharrer papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw99c06a9fc-29d0-42ee-9a3a-d6d2558dfc77

EDAN-URL:

ead_collection:sova-aaa-sharhono

Creator:

Warshaw, Isadore, 1900-1969  Search this

Extent:

60.54 Cubic feet (consisting of 131 boxes, 13 folders, 17 oversize folders, 20 map case folders, 2 flat boxes (1 full, 1 partial), plus digital images of some collection material.)

Type:

Collection descriptions

Archival materials

Business ephemera

Ephemera

Date:

1832-1977

Summary:

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

Scope and Contents:

Railroad materials comprise the largest subject category in the Warshaw Collection. These materials document a major industry and important transportation system that was instrumental in the western expansion of the United States. Railroads opened the way for the development of many other industries including mining, farming and manufacturing. The earliest materials document railroad lines operating on the east coast of the United States in the 1830s. The United States did not have the technical and manufacturing capabilities of some of the European nations. Cheaper land for railroad right of way and a government policy that guaranteed loans and provided grants to railroad companies based on the amount of track laid, however, encouraged rapid growth. Railroad companies in turn would sell land to settlers. Materials in this collection include the advertisements created to lure settlers west by promising this cheap and abundant land. The railroads were instrumental in transporting goods from the farm belt to the east coast and to Europe thus making the country a major trading post. Railroads also expedited the movement of troops during the Civil War which was the first war to employ the rails. Later in the century the growth of the far west is facilitated by passenger trains linking east and west. As the rail network became more efficient and capable of transporting raw materials, the United States became a world leader in coal and pig iron production. Evidence of the transporting of goods is found among these materials. The affluence of the late nineteenth century is reflected in the amount of materials in the collection that promoted luxury travel by rail. The rise of great railroad fortunes such as those of Vanderbilt, Harriman and Gould soon followed industry growth, as did scandal and corruption which in turn was followed by government regulation in the form of the Interstate Commerce Act and railroad legislation during Theodore Roosevelt's administration.

The twentieth century witnessed great efficiencies in locomotive car and track design and large increases in freight ton mileage as is reflected in the materials. There was, however, failure or downsizing of many railroad lines. Total passenger mileage declined over the years due to competition from other forms of transportation, the rise of the labor movement, increasing government control, a reduction in profits and the

The material consists primarily of correspondence, reports, patent records, pass books, resort guides, timetables, maps, periodicals, articles, printed advertisements, tickets, photographs, postcards and images from railroad companies. There is also a substantial amount of material from manufacturers and dealers of railroad equipment and supplies and from railroad organizations. Reference materials including articles and periodicals are also included among the materials. The materials are divided into six series.

Railroad Companies forms the largest amount of material in this category. This series is divided into two subseries. Subseries one is American railroad companies and subseries two is foreign companies.

American Companies document transportation service throughout the United States by the railroad lines including Albany and Susquehanna Railroad Company, Northern Railroad Corporation, Concord and Claremont, Contoocook River Railroad, Illinois Central Railroad, New York Central Railroad Company, Baltimore and Ohio Railroad, Sullivan, Central Vermont, Philadelphia and Reading Rail Road Company, Providence and Worcester Railroad Company, Pennsylvania Rail Road Company, Southern Pacific, Vermont Central Railroad Corporation and Union Pacific Railroad. There is a substantial amount of material from each company. The materials are arranged in alphabetical order by the name of the company or railroad line (s).

Foreign Companies includes companies servicing countries outside of the United States. Countries include Canada, England, France, India, Ireland, Scotland, Mexico and Switzerland. The materials are arranged in alphabetical order by the name of the company or railroad line (s).

Manufacturers and Distributors of Railroad Cars, Equipment and Supplies includes scattered correspondence on letterhead stationery, printed advertisements, patents, catalogues, bills and receipts. Many of the companies produced cars for the railroad companies but also supplied equipment and parts. The materials are arranged in alphabetical order by the name of the company.

Organizations, Associations and Clubs includes material from groups that represented the interests of railroad companies, employees and tradesmen. Organizations include American Association of General Passenger and Ticket Agents, American Association of Passenger Traffic Officers, American Association for Railroad and Locomotive History, American Electric Railway Association, American Electric Railway Manufacturers Association, American Electric Railway Transportation and Traffic Association, American Iron and Steel Association, American Railway Association, American Railway Bureau, American Railway Master Mechanics Association, American Street and Interurban Railway Accountants Association, Association of American Railroads, Association of General Freight Agents of New England, Association of Railway Executives, Brotherhood of Locomotive Firemen- Brotherhood of Locomotive Engineers, Brotherhood Railroad Signalmen of America, Brotherhood of Railroad Trainmen, Convention of Railroad Commissioners, Eastern Railroad Association, International Brotherhood of Locomotive Engineers, Master Car Builders' Association, National Association of General Passenger and Ticket Agents, National Council of Traveling Salesmen's Association of America, New England Association of Railroad Superintendents, New England Association of Superintendents of Steam Railways, New England General Ticket and Passenger Agents Association, New England Railroad Club, New England Railway Car Accounting Association, New England Summer Resort Association, North-Western, Railroadmen, Railroadians of America, Railway Business Association, Railway Car Accountants' Association, Railway Clearing House Association, Railway Club of Pittsburgh, Railway Educational Association, Railway Officials of America, Railway Storekeeping Association, Railway and Supplymen's Mutual Catalog Company, South-Western Passenger Association, South-Western Railway Association, Street Railway Association, Terminal Railroad Association of Saint Louis, Train Central Corporation of America, Transcontinental Association, United American Mechanics, United States Railroad Administration, Western Association of General Passenger and Ticket Agents, Western Land Association of Minnesota, Western Railroad Association, Western Railways' Committee on Public Relations, Western States Passenger Association and the Yard Master's Mutual Benefit Association.

Images includes unidentified photographs, postcards, lithographs and sketches of locomotive cars, bridges, tunnels, accidents, collisions, depot stations, equipment, freight and shipping alternatives, Hancock Junction, horse-drawn railroads, memorials featuring trains, menus, tracks, employees working with trains, trademarks, cartoons, caricatures, illustrations from children's books, West Point and the second locomotive built in the United States. The materials that can be identified to a railroad company or line are found in series one. Most of the material are undated and is arranged in alphabetical order by subject.

General Files includes audit reports, Windsor Vermont Convention, income and expense accounts, mortgage bonds, bond offerings, export and import documents, financial records and stock lists, Florence and Keyport Company charter, Interstate Commerce Commission, legal records from states such as Connecticut, District of Columbia, Maine, Maryland, Massachusetts, New Hampshire, New Hampshire, New Jersey, New York, Ohio, Pennsylvania, United States and Vermont patent records, Philadelphia Company balance sheets, Railroad Administration, Rand's Rating Agency, taxation documents, Thompson and Bachedler track and switch specifications, pass, time sheets, freight documents, maps, destination literature, tours, ticket sales, passenger rate sheets, checks, receipts and invoices, tickets, guides, maps, timetables, transportation of freight documents, pass books, passenger proportions, freight rates, free pass policy of numerous railroad companies, freight rates, freight transportation documents for Empire Line Great Western, Great Central, Bitner's Despatch Line, Merchant's Despatch line, National Despatch line, and various companies, time sheets, transportation of freight documents, maps and destination literature, maps and destination literature, map of Great Britain, Dinsmore, map of the United States and Canada Railways, fares and schedules, official documents, special trip offers, tariffs for passengers, freight and grain, tariffs for livestock and merchandise, passenger rate sheets, Walker's Railway tables, baggage checks, checks, receipts and invoices, ticket sales, Dover, ticket agents, tickets,

Publications includes articles, reports, clippings, histories, fiction, periodicals for the railroad trade and general periodicals. The series is divided into three subseries: Subseries 1, Articles, Reports, Clippings, Histories, and Fiction; Subseries 2, Periodicals for the Railroad Trade; Subseries 3, General Periodicals.

Materials in the Archives Center:

Archives Center Collection of Business Americana (AC0404)

Forms Part Of:

Forms part of the Warshaw Collection of Business Americana.

Missing Title

Series 1: Business Ephemera

Series 2: Other Collection Divisions

Series 3: Isadore Warshaw Personal Papers

Series 4: Photographic Reference Material

Provenance:

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

Restrictions:

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

Rights:

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

Genre/Form:

Business ephemera

Ephemera

Citation:

Warshaw Collection of Business Americana Subject Categories: Railroads, Archives Center, National Museum of American History, Smithsonian Institution

Sponsor:

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

Identifier:

NMAH.AC.0060.S01.01.Railroads

See more items in:

Warshaw Collection of Business Americana Subject Categories: Railroads

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep860f3e0d4-3fed-46ba-9679-02db5f1c18cc

EDAN-URL:

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

Maker:

Whitall Tatum Company  Search this

Measurements:

overall: 6 5/8 in x 2 13/16 in x 3 1/16 in; 16.8275 cm x 7.14375 cm x 7.77875 cm

Object Name:

graduate

Date made:

ca 1931

Subject:

Science & Scientific Instruments  Search this

Credit Line:

Gift of Whitall Tatum Company

ID Number:

MG.M-03012

Accession number:

113583

Catalog number:

M-03012

See more items in:

Medicine and Science: Medicine

Science Under Glass

Science & Mathematics

Data Source:

National Museum of American History

GUID:

http://n2t.net/ark:/65665/ng49ca746ac-cce1-704b-e053-15f76fa0b4fa

EDAN-URL:

edanmdm:nmah_1377156

Maker:

Whitall Tatum Company  Search this

Measurements:

overall: 5 11/16 in x 2 1/8 in x 2 3/8 in; 14.44625 cm x 5.3975 cm x 6.0325 cm

Object Name:

graduate

Date made:

ca 1931

Subject:

Science & Scientific Instruments  Search this

Credit Line:

Gift of Whitall Tatum Company

ID Number:

MG.M-03013

Accession number:

113583

Catalog number:

M-03013

See more items in:

Medicine and Science: Medicine

Science Under Glass

Science & Mathematics

Data Source:

National Museum of American History

GUID:

http://n2t.net/ark:/65665/ng49ca746ac-cdb0-704b-e053-15f76fa0b4fa

EDAN-URL:

edanmdm:nmah_1377158

Creator:

Delaware, Lackawanna and Western Railroad  Search this

Donor:

ConRail  Search this

Collector:

National Museum of American History (U.S.). Division of Mechanical and Civil Engineering  Search this

National Museum of American History (U.S.). Division of Work and Industry  Search this

Names:

Passaic Steel Company (Paterson, N.J.)  Search this

Extent:

22.3 Cubic feet (1 box, 59 map-folders)

Type:

Collection descriptions

Archival materials

Photograph albums

Cyanotypes

Place:

Paterson (N.J.)

Hoboken (N.J.)

Date:

1878-1971

Scope and Contents:

The collection consists of: a 1903 book of photographs entitled "Illustrations Showing the Works of the Passaic Steel Company at Paterson, New Jersey"; photograph albums (including several cyanotype albums) of the port of Hoboken, the terminal and buildings and other structures; a "souvenir" photograph album of the Clarks Summit/Halstead cut-off, 1914, published by the American Society of Civil Engineers; reports from the 1950s and 1960s itemizing the precise costs of the elements of the Hoboken terminal; track maps; and approximately 10,000 oversized drawings, tracings and blueprints of structures built by the railroad.

Arrangement:

Collection divided into two series.

Series 1: Business Records

Series 2: Drawings

Historical:

The Delaware, Lackawanna & Western Railroad Company was incorporated in Pennsylvania on April 7, 1832, as the Liggetts Gap Railroad Company. Its name was changed to the Lackawanna & Western Railroad Company on April 14, 1851, and to the Delaware, Lackawanna & Western (DL&W) Railroad Company on March 11, 1853, at which time it absorbed the Delaware & Cobbs Gap Railroad Company.

The first section of railroad, from Scranton to Great Bend, opened in October, 1851. The Southern Division of the railroad was opened between Scranton and the Delaware River on May 27, 1856, forming a more direct route to New York City in connection with the Warren Railroad and the Central Railroad of New Jersey. The DL&W leased the Morris & Essex Railroad in 1868 and, after upgrading it to permit a heavy coal tonnage, secured its own line to New York Harbor. Other extensions carried the Lackawanna to Utica, Syracuse, Ithaca, and Oswego in central New York State and to Buffalo in the early 1880s. The DL&W had a particular advantage in that it was allowed to directly operate coal mines. The DL&W began mining on its own account in 1851, when a Coal Department was organized. The Lackawanna was exceptionally well placed to supply both New York City and New England via the Southern Division and also upstate New York, the Great Lakes, and Canada via the Northern Division.

The DL&W was still bound by its 1856 traffic contract with the Central of New Jersey, and on March 16, 1872, the two companies agreed to consolidate, being managed by a joint committee of directors from the two companies. However, the two companies were actually now competitors, with roughly parallel lines between Scranton and New York. The consolidation broke up after about a year over arguments as to which company would be the dominant partner. All connection between the two companies was severed in 1875.

During the long presidency of the conservative Samuel Sloan (1867-1899), the road became extremely prosperous as a coal hauler. Financial control was exercised by Moses Taylor and his National City Bank of New York, who had bought into the company at the time of the Panic of 1857. In March 1876 the DL&W converted from 6-foot gauge to standard gauge.

In 1880 Jay Gould acquired an interest in the company and promoted its extension to Buffalo (1882), giving it a significant share of the truck line business for the first time. However, Taylor and his successors refused Gould any further voice in the management. In 1890 William Rockefeller became a director, reflecting the alliance between the Standard Oil group and the National City Bank.

William H. Truesdale replaced Sloan as president and began a massive modernization of both the company's management and the physical plant. The company began issuing full annual reports for the first time since 1857. Two major line relocations were built to the highest engineering standards, across western New Jersey and between Scranton and Binghamton, to improve grades and clearances. They featured massive cuts and fills and huge viaducts, the Tunkhannock Viaduct, 240 feet high, being the largest concrete arch bridge in the world. The DL&W was a pioneer in the adoption of reinforced concrete construction for all types of structures. Under Truesdale's successor, John M. Davis, the principal New Jersey commuter services were electrified in the early 1930s.

After successful government prosecution of the other anthracite railroads for antitrust violations, the DL&W voluntarily divested itself of its Coal Dept., which became the Glen Alden Coal Company in 1921.

After World War II the DL&W hoped to merge with its principal western connection, the Nickle Plate, but was unsuccessful. After continuing losses from commuter service and heavy storm damage to its main lines in 1955, the company began to explore the possibility of consolidation with the roughly parallel Erie Railroad. The merger, forming the Erie Lackawanna Railroad Company, took effect on October 17, 1960.

Source

Delaware, Lackawanna and Western Railroad Company records, Accession 1643, Manuscripts and Archives Department, Hagley Museum and Library

Related Materials:

Materials at Other Organizations

Manuscripts and Archives Department, Hagley Museum and Library

Delaware, Lackawanna and Western Railroad Company records, 1849-1960

Delaware, Lackawanna and Western Railroad Company Coal Department photographs (Accession 1990.267), Audiovisual Collections and Digital Initiatives Department

The Enderlin Collection of Delaware, Lackawanna and Western Railroad Company Records, 1835-1956

The collection consists of material acquired by Enderlin during his career with the Lackawanna, primarily the kind of historical miscellany that flowed into the secretary's office. Two-thirds of the collection consists of newsclippings on labor matters (ca. 1900-1919), and the remainder of agreements, letters of resignation, statistics and rough minutes. John G. Enderlin was born on August 16, 1888. In 1903, he began work as an office boy in the New York City headquarters of the Delaware, Lackawanna and Western Railroad Company, rising through the ranks in the president's and secretary's offices to become secretary-treasurer in 1933. He retired at the end of 1956 and died on September 28, 1981.

Syracuse University Libraries

Lackawanna County Historical Society

The Delaware, Lackawanna & Western Railroad was one of the largest and most prosperous anthracite mining and transporting companies in Pennsylvania.Their records consist of minutes of the DL&W and its two direct predecessors.

Provenance:

The oversized items were donated to the Division of Mechanical and Civil Engineering by Consolidated Rail Corporation (ConRail) through William M. Wehner in 1987. Provenance for the rest of the collection is unknown.

Restrictions:

Collection is open for research. Unprotected photographs must be handled with gloves.

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:

Railroads -- Buildings and structures  Search this

Railroads  Search this

Railroad stations -- United States  Search this

Genre/Form:

Photograph albums -- 20th century

Cyanotypes

Citation:

Delaware, Lackawanna and Western Railroad Records, Archives Center, National Museum of American History.

Identifier:

NMAH.AC.1074

See more items in:

Delaware, Lackawanna and Western Railroad Records

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep82dc280d2-5ac8-418a-a422-7194d28d2b2a

EDAN-URL:

ead_collection:sova-nmah-ac-1074

Author:

Londoño, Johana 1982-  Search this

Physical description:

1 online resource (xxii, 306 pages) illustrations (some color)

Type:

Electronic resources

Electronic books

History

Place:

United States

États-Unis

Date:

2020

Topic:

Hispanic American neighborhoods--History  Search this

Hispanic Americans--Social life and customs  Search this

Hispanic Americans--Ethnic identity  Search this

Urban policy--History  Search this

City planning--Social aspects  Search this

Gentrification--History  Search this

Quartiers hispaniques--Histoire  Search this

Américains d'origine latino-américaine--Mœurs et coutumes  Search this

Politique urbaine--Histoire  Search this

Embourgeoisement (Urbanisme)--Histoire  Search this

SOCIAL SCIENCE--Ethnic Studies--Hispanic American Studies  Search this

Ethnic relations  Search this

Gentrification  Search this

Hispanic American neighborhoods  Search this

Urban policy  Search this

Relations interethniques  Search this

Restrictions & Rights:

Use copy Restrictions unspecified

Data Source:

Smithsonian Libraries

EDAN-URL:

edanmdm:siris_sil_1155917

Issuing body:

Newark Museum  Search this

Author:

Green, Adriana Greci  Search this

Bloom, Tricia Laughlin  Search this

Subject:

Newark Museum  Search this

Physical description:

151 pages : color illustrations ; 31cm

Type:

Exhibitions

Exhibition catalogs

Place:

New Jersey

Newark

Date:

2019

Topic:

Indian art  Search this

Art, American  Search this

Art  Search this

Data Source:

Smithsonian Libraries

EDAN-URL:

edanmdm:siris_sil_1110632

Maker:

Warner-Lambert Company. Warner Chilcott Laboratories Division  Search this

Physical Description:

foil, aluminum (blister pack material)

norethindrone, 1 mg (drug active ingredients)

ethinyl estradiol, 35 mcg (drug active ingredients)

cardboard (blister pack material)

plastic (blister pack material)

cardboard (sleeve material)

Measurements:

overall: .7 cm x 10.2 cm x 7.2 cm; 1/4 in x 4 in x 2 13/16 in

overall: 2 3/4 in x 4 in x 1/4 in; 6.985 cm x 10.16 cm x .635 cm

Object Name:

pharmaceutical, dispenser of

contraceptive, oral

Other Terms:

pharmaceutical, dispenser of; Pharmaceutical; Contraceptive; Oral Contraceptive; Tablet

Place made:

United States: New Jersey, Morris Plains

Date made:

1989

Subject:

Birth Control/Contraception  Search this

Women's Health  Search this

ID Number:

1989.0224.024

Catalog number:

1989.0224.024

Accession number:

1989.0224

See more items in:

Medicine and Science: Medicine

Health & Medicine

Birth Control

Data Source:

National Museum of American History

GUID:

http://n2t.net/ark:/65665/ng49ca746a9-0cce-704b-e053-15f76fa0b4fa

EDAN-URL:

edanmdm:nmah_1068547

Maker:

Warner-Lambert Company. Warner Chilcott Laboratories Division  Search this

Physical Description:

paper (blister pack material)

foil, aluminum (blister pack material)

norethindrone, 0.5 mg (drug active ingredients)

ethinyl estradiol, 35 mcg (drug active ingredients)

cardboard (sleeve material)

plastic (blister pack material)

paper (insert material)

Measurements:

overall: .7 cm x 10.2 cm x 7.2 cm; 1/4 in x 4 in x 2 13/16 in

overall: 2 3/4 in x 4 in x 1/4 in; 6.985 cm x 10.16 cm x .635 cm

Object Name:

pharmaceutical, dispenser of

contraceptive, oral

Other Terms:

pharmaceutical, dispenser of; Pharmaceutical; Contraceptive; Oral Contraceptive; Tablet

Place made:

United States: New Jersey, Morris Plains

Date made:

1989

Subject:

Birth Control/Contraception  Search this

Women's Health  Search this

ID Number:

1989.0224.023

Catalog number:

1989.0224.023

Accession number:

1989.0224

See more items in:

Medicine and Science: Medicine

Health & Medicine

Birth Control

Data Source:

National Museum of American History

GUID:

http://n2t.net/ark:/65665/ng49ca746a9-07ed-704b-e053-15f76fa0b4fa

EDAN-URL:

edanmdm:nmah_1068775

Published by:

John B. Perry, American  Search this

Subject of:

Susan Woby, American, 1806 - 1893  Search this

Aaron McCloe, American, born 1844  Search this

Ann Wobe, American, 1803 - 1880  Search this

Gilbert McCloe, American, born 1847  Search this

John Cortland McCloe, American, born 1853  Search this

Medium:

ink on paper with gold leaf on leather

Dimensions:

H x W x D (bible closed): 11 3/4 × 9 3/4 × 3 3/4 in. (29.8 × 24.8 × 9.5 cm)

H x W (loose page): 11 1/8 × 8 5/8 in. (28.3 × 21.9 cm)

Type:

Bibles

Place made:

Philadelphia, Pennsylvania, United States, North and Central America

Place used:

Bordentown, Burlington County, New Jersey, United States, North and Central America

Date:

1847

Topic:

African American  Search this

Christianity  Search this

Families  Search this

Prayer  Search this

Religion  Search this

Credit Line:

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

Object number:

2018.19.3

Restrictions & Rights:

Public domain

See more items in:

National Museum of African American History and Culture Collection

Classification:

Documents and Published Materials-Published Works

Data Source:

National Museum of African American History and Culture

GUID:

http://n2t.net/ark:/65665/fd5e0bc773d-d6a6-439e-ac4f-4d70a7ec0726

EDAN-URL:

edanmdm:nmaahc_2018.19.3

Creator:

Gray, Cleve  Search this

Names:

Berry-Hill Galleries  Search this

Betty Parsons Gallery  Search this

Connecticut. Commission on Arts, Tourism, Culture, History and Film  Search this

Jacques Seligmann & Co  Search this

Neuberger Museum of Art  Search this

Pratt Institute  Search this

Princeton University  Search this

Rhode Island School of Design  Search this

Barzun, Jacques, 1907-  Search this

Calder, Alexander, 1898-1976  Search this

Davis, Jim, 1901-1974  Search this

Dillenberger, Jane  Search this

Duchamp, Marcel, 1887-1968  Search this

Ernst, Jimmy, 1920-1984  Search this

Gabo, Naum, 1890-1977  Search this

Grace, Louise N.  Search this

Gray, Francine du Plessix  Search this

Lipchitz, Jacques, 1891-1973  Search this

Marin, John, 1870-1953  Search this

Pollock, Jackson, 1912-1956  Search this

Richter, Hans, 1888-1976  Search this

Smith, David, 1906-1965  Search this

Villon, Jacques, 1875-1963  Search this

Weber, Nicholas Fox, 1947-  Search this

Extent:

9.2 Linear feet

Type:

Collection descriptions

Archival materials

Poems

Articles

Photographs

Reviews (documents)

Notes

Illustrations

Notebooks

Sketches

Drafts (documents)

Video recordings

Sound recordings

Interviews

Manuscripts

Paintings

Prints

Watercolors

Drawings

Lectures

Date:

1933-2005

Summary:

The Cleve Gray papers, 1933-2005, measure 9.2 linear feet. Papers include biographical material, alphabetical files, writings, artwork, audio/visual records, artifacts, printed material, and photographs. Extensive alphabetical files contain personal and professional correspondence as well as subject files relating to projects and interests. Especially well-documented are: Gray's involvement with the Vietnam protest movement; and Threnody, his best-known work composed of fourteen large panels lamenting the dead of both sides sides in Vietnam, commissioned by the Neuberger Museum of Art.

Scope and Content Note:

The Cleve Gray papers, 1933-2005, measure 9.2 linear feet. Papers include biographical material, alphabetical files, writings, artwork, audio/visual records, artifacts, printed material, and photographs. Extensive alphabetical files contain personal and professional correspondence as well as subject files relating to projects and interests. Especially well-documented are: Gray's involvement with the Vietnam movement; and Threnody, his best-known work composed of fourteen large panels lamenting the dead of both sides sides in Vietnam, commissioned by the Neuberger Museum of Art.

Among the biographical material are award and membership certificates, biographical notes, and personal documentation.

The alphabetical files contain Cleve Gray's personal and professional correspondence, as well as subject files relating to projects and interests. Correspondence is with friends and family, colleagues, publishers, museum curators and directors, art dealers, collectors, and fans. Among the correspondents of note are: Jacques Barzun, James E. Davis, Naum Gabo, Louise N. Grace, Hans and Fridel Richter, and Jacques and Gaby Villon. Other substantial correspondence includes: Berry-Hill Galleries, Betty Parsons Gallery, Connecticut Commission on the Arts, Jacques Seligmann and Co., Neuberger Museum of Art, Pratt Institute, Princeton University, and Rhode Island School of Design. Subject files mostly consist of correspondence, but include printed material and some photographs. Among the subject files are: Art Collection of Cleve and Francine Gray, Artist-Dealer Consignments and Visual Artists' Rights Act of 1989, Artists' Tax Equity Act of 1979, Promised Gifts to Museums, Threnody, Vestments, and Vietnam Protest. Of particular interest are files relating to the Estate of Hans Richter (Cleve Gray, executor), and Gray's research correspondence and illustrations for his Cosmopolitan article "Women-Leaders of Modern Art."

Writings are manuscripts and drafts, research materials, notes, and miscellaneous writings by Cleve Gray and other authors. Those by Gray include articles and catalog introductions on a wide range of art-related topics, as well as book and exhibition reviews. Also found are a book proposal, texts and notes for lectures and talks, miscellaneous notes, poems, political statements, and student papers. Of particular interest are autobiographical notes in the form of a chronology that his biographer, Nicholas Fox Weber, cited as an "autochronology."

Among the writings by other authors are pieces about Cleve Gray including Nicholas Fox Weber's manuscript Cleve Gray. A significant amount of material relates to three books edited by Gray: David Smith by David Smith: Sculpture and Writings, Hans Richter, and John Marin. Research material survives for an unpublished volume, Naum Gabo. Also included are notes relating to his translation of A l'Infinitif by Marcel Duchamp. Jane Daggett Dillenberger is represented by a lecture, "The Resurrection in Art." The remaining items by other authors are unsigned; of particular interest is a small notebook of reminiscences and notes about Jackson Pollock.

Artwork by Cleve Gray consists mostly drawings and sketches, and a small number of paintings, prints, and watercolors. Works by other artists consist are an unsigned mobile of paper cut-outs, possibly by Alexander Calder, and a pencil drawing signed Dick (probably Richard Avedon).

Audio recordings are a radio broadcast featuring Cleve Gray, several lectures by Gray on John Marin, and a lecture titled "Meaning in the Visual Arts." Other recordings are of Hans Richter and an interview with Jimmy Ernst conducted by Francine du Plessix Gray. Also found is a videocassette of "Glenville School Students at SUNY (Lincoln Center Activity)."

Artifacts are a Chinese scroll representative of those that hung in Cleve Gray's studio, two of his paintbrushes, Aberdeen-Angus Breeders' Association blue ribbon, and Neuberger Museum of Art Lifetime Achievement Award.

The vast majority of printed material - articles, clippings, exhibition catalogs and announcements, reproductions of art work, etc. - are about or by Cleve Gray. Miscellaneous items and publications mentioning Gray consist of annual reports, brochures, calendars, newsletters, programs, etc. Clippings about Vietnam and Vietnam protest memorabilia reflect his passionate involvement in the anti-war movement; a small number of these items mention Gray or were written by him.

Photographs are of artwork, events, people, places, and miscellaneous subjects. Most of the art work appearing in the photographs is by Cleve Gray and includes images of destroyed paintings. Also found is an original print of Photo Abstraction by Gray, circa 1934. Of particular note are photographs of Threnody, among them preparatory drawings and views of the work in progress. Photographs of artwork by other artists include Louise N. Grace, Jacques Lipchitz, John Marin, Hans Richter, and Jacques Villon.

Photographs of people are mainly portraits of Gray, and views of him with his wife and sons. Other individuals appearing in photographs are Hans Richter and some of Richter's descendants. Pictures of places consist of Gray's studio.

Events are an unidentified exhibition opening. Miscellaneous subjects are mostly exhibition installations. Illustrations consist of photographs published in David Smith by David Smith: Sculpture and Writings. Also found are small number of negatives and color transparencies.

Arrangement:

The collection is organized into 8 series:

Missing Title

Series 1: Biographical Material, 1943-circa 2001 (Box 1; 0.1 linear ft.)

Series 2: Alphabetical Files, 1936-2005 (Boxes 1-5, 9; 4.3 linear ft.)

Series 3: Writings, 1935-2000 (Boxes 5-6; 0.85 linear ft.)

Series 4: Artwork, circa 1933-1987 (Boxes 6, 9, OV 12; 0.45 linear ft.)

Series 5: Audio/Visual Records, 1971-1989 (Box 6; 0.25 linear ft.)

Series 6: Artifacts, 1957-1999 (Box 6, RD 11; 0.45 linear ft.)

Series 7: Printed Material, 1933-2005 (Boxes 7-8; 1.25 linear ft.)

Series 8: Photographs, circa 1934-2002 (Boxes 8-10; 1.15 linear ft.)

Biographical Note:

Abstract Expressionist painter, sculptor, and writer Cleve Gray (1918-2004) lived and worked in Connecticut where he was politically active in the Vietnam protest movement and other liberal causes.

Born Cleve Ginsberg in New York City (the family changed its name to Gray in 1936), he attended the Ethical Culture School and at a young age developed a fascination with color and paint. At the urging of friends, Cleve's parents allowed him to accompany a school friend for lessons with George Bellows' student Antonia Nell. She encouraged and inspired the young artist, and a still life he painted in her class was shown at the National Academy of Design's 1932 annual exhibition. Miss Nell also introduced him to Louise N. Grace, an artist who became a good friend and had a lasting influence on him. While a student at Phillips Academy, Cleve studied painting with Bartlett Hayes and aspired to paint in France. Upon his graduation in 1936, he was awarded the Samuel F. B. Morse Prize for most promising art student.

Gray's mother was always supportive of his career choice. His businessman father, who didn't understand his son's desire to be an artist, insisted on a college education. Cleve chose Princeton, where he majored in art and archaeology, and studied painting with James E. Davis. His senior thesis was on Chinese landscape painting; both Eastern philosophy and art were long-term influences on Gray's work and outlook. He graduated summa cum laude in 1940, and then spent several months painting while living at the farm of a family friend in Mendham, New Jersey.

When a doctor suggeted that a dry climate might relieve sinus and asthma problems, Gray moved to Tucson, Arizona. Once settled in the desert, he contacted Louise N. Grace, whom he had met as a young teenager through his art instructor. Miss Grace, an artist and daughter of the founder of W. R. Grace and Co., was a highly cultured and independent woman older than his parents. The summer before Gray entered Phillips Academy, she had hired him to brush ground color onto canvases for murals she was painting for "Eleven Arches," her home in Tuscon then under construction. Miss Grace invited Gray to visit "Eleven Arches" to see the completed murals, and despite the substantial age difference, their friendship deepened; Gray found in her intellectual and spiritual guidance that was lacking in his own family. He remained in Tucson until enlisting in the U. S. Army in 1942, and they corresponded frequently during the the war. When a stroke in 1948 prevented Miss Grace from participating in the extensive tour of Europe she was arranging for a small group of friends, including Gray, she provided sufficient funds and insisted he make the trip on his own. Another stroke, suffered while Gray was traveling, left her in a coma; he was not permitted to see her again. Upon her death in 1954, Gray inherited "Eleven Arches."

Between 1943 and 1946, Gray was stationed in England, France, and Germany, serving in Army Signal Intelligence. Most of his work was performed at night, and he spent his free time drawing. While in London, Gray produced many colored pencil drawings of buildings that had been bombed. In France, a Red Cross volunteered to introduce him to Jacques Villon; although unfamiliar with the artist, Gray knew of Villon's brother, Marcel Duchamp, and accepted the invitation. Jacques and Gaby Villon lived near Gray's billet and he became a frequent visitor. Their friendship was important to his development as an artist. After being discharged from the Army in 1946, Gray remained in France to work with Villon who introduced him to the study of color and the concept of intellectual quality in painting. Gray also studied informally with André Lhote, Villon's former teacher. "American Painters in Paris," an exhibition presented in 1946 at Galerie Durand-Ruel, included work by Cleve Gray.

He returned to New York City in 1946. In the tight post-war rental market Gray managed to find a small room upstairs from a grocery store on East 106th Street for use as a studio. He commenced painting the London Ruins series based on drawings he had made during the war, and began thinking about exhibiting in New York. Gray secured introductions to Pierre Matisse, Curt Valentin, and Dorothy Miller. They encouraged him, but no opportunities came his way until Germain Seligmann, whose gallery was expanding its scope to include contemporary art, followed the advice of Curt Valentin and looked at Gray's work. Gary's first solo exhibition, held at Jacques Seligmann and Co., included selections from the London Ruins series, paintings done in Maine and Arizona, and a few portraits. The New York Times called it "an auspicious first," and one of the London Ruins series was selected by Edward Alden Jewell for the "Critic's Exhibition" at Grand Central Gallery.

Gray found New York City too frenetic. In 1949 he bought a large, old house in Warren, Connecticut, and lived and worked at "Graystones" for the remainder of his life. Half of a 6-car garage was converted to a studio; many years later, his studio moved to a barn, its renovation and design planned by sculptor and architect Tony Smith.

He married Francine du Plessix in 1957. Always interested in literature and philosophy, in the 1960s Francine du Plessix Gray began contributing articles to The New Yorker and is still affiliated with the magazine. Her reviews and articles appeared in prominent publications, and she wrote several award-winning novels and biographies. Their sons, Thaddeus and Luke (now a painter), were born in 1959 and 1961. Francine's mother, Tatiana du Plessix (the hat designer Tatiana of Saks), and step-father, the sculptor Alexander Liberman (also former art director of Vogue and later editorial director of Condé Nast publications) became Cleve Gray's closest friends.

The paintings and drawings of Cleve Gray - first consisting of figures and portraits, and then abstract compositions - were often produced in series. The earliest series, London Ruins, grew from the colored pencil drawings made while stationed in London during World War II. Travels to France, Italy, Greece, Morocco, Hawaii, Spain, Egypt, Japan, and Czechoslovakia, inspired many series, among them: Etruscan, Augury, Ceres, Demeter Landscape, Hera, Morocco, Hawaii, Ramses, Perne, Hatshepsut, Roman Walls, Zen, and Prague. His hometown, the Holocaust, and musicians inspired other series: Warren, Sleepers Awake!, Bela Bartok, and Four Heads of Anton Bruckner. Some series were works on paper, others were collage canvases, and a few series later spawned prints. Gray began using acrylics in the 1940s. Although the medium offered many benefits, he did not always like its appearance and frequently returned to oils. Around 1966 Gray was painting almost exclusively with acrylic, and eventually developed a technique of thinning the paint and applying successive layers of color (sometimes by pouring or with a sponge) on cotton duck rather than traditional canvas.

Gray was attracted to sculpture, too, working in that medium at different points in his career. His first sculpture, in plaster, was completed in 1959. In the early 1960s he visited a commercial sand-casting foundry and became excited about learning to cast in bronze. He made about a dozen sculptures to cast in sand, but due to too much undercutting, their casting became too difficult a problem. Lava flows seen while in Hawaii during 1970 and 1971 inspired a return to sculpture. This time, he used wood, papier maché, and metal. Gray then decided these pieces should be cast in bronze, and he was determined to do it himself. Friends taught him the lost wax process and he began working at the Tallix Foundry in Peekskill, New York where, over the next year, he cast about forty bronzes.

Gray's best known work is Threnody, a lament for the dead of both sides in Vietnam. In 1972, Gray received a commission to fill a very large gallery of the soon-to-open Neuberger Museum of Art (State University of New York, College at Purchase) designed by Philip Johnson. Friends of the Neuberger Museum paid his expenses and Gray, who was enormously excited about the project he considered a once-in-a-lifetime opportunity, donated his time. Developing plans for the execution of Threnody consumed most of his time during 1972 and 1973. Composed of a series of fourteen panels, each approximately twenty feet square, the piece presented a number of technical challenges. It was constructed and painted in situ during the summer and early fall of 1973. Since then, Threnody has been reinstalled at the Neuberger Museum of Art on several occasions.

Gray was commissioned to design liturgical vestments for two Episcopal churches in Connecticut in the 1970s. A chasuble, stoles, and a mitre were commissioned by the Episcopal Diocese of Connecticut in 1984.

He won the "Outdoor Art at the Station Competition," for Union Station, Hartford, Connecticut. His very large porcelain enamel tile mural, Movement in Space, was installed on the façade of the transportation center in 1988.

Gray began writing occasional articles and exhibition reviews in the late 1940s. His concern with rational structure in art led him to question Abstract Expressionism and write "Narcissus in Chaos." This article, published in 1959 by The American Scholar, drew considerable attention. In 1960, Cosmopolitan published "Women - Leaders of Modern Art" that featured Nell Blaine, Joan Brown, Elaine de Kooning, Helen Frankenthaler, Sonia Gretchoff, Grace Hartigan, Ethel Magafan, Louise Nevelson, and Georgia O'Keeffe. Between 1960 and 1970, Gray was a contributing editor of Art In America, producing numerous articles (a few co-authored with Francine) and reviews for the periodical. He edited three books, David Smith by David Smith: Scupture and Writings, Hans Richter, and John Marin, all published by Holt, Rinehart, and Winston, and translated Marcel Duchamp's A l'Infinitif.

During the early 1960s, Gray became intensely focused on the situation in Vietnam. His first artistic response came in 1963 with Reverend Quan Duc, painted to commemorate a Buddhist monk who had immolated himself. Francine, too, felt strongly about the issue and over time the couple became increasingly active in the anti-war movement. They joined a number of organizations and helped to found a local chapter of Clergy and Laymen Concerned about Vietnam. The years 1968 and 1969 were an especially intense and active period for the Grays. They protested, wrote and spoke out against the war, raised funds to support anti-war political candidates, and on a few occasions were arrested and jailed. Writing for Art in America, editing the book series, and anti-war activities left little time for his art. In 1970 Gray refocused his attention on painting.

Beginning in 1947, Gray was always represented by a New York Gallery: Jacques Seligmann and Co. (1947-1959), Staempfli Gallery (1960-1965), Saidenberg Gallery (1965-1968), Betty Parsons Gallery (1968-1983), Armstrong Gallery (1984-1987), and Berry-Hill Galleries (1988-2003). He was represented by galleries in other cities, as well, but not as consistently or for such long periods.

He exhibited extensively in group and solo exhibitions throughout the United States and internationally. In addition to numerous solo exhibitions presented by the dealers who represented Gray, there were retrospective exhibitions at: Albright-Knox Art Gallery, Brooklyn Museum, Columbus Museum of Art, Krannert Art Museum (University of Illinois, Champaign), Princeton University Art Museum, Rhode Island School of Design, and Wadsworth Atheneum.

Many museums' permanent collections include the work of Cleve Gray, among them: Albright-Knox Art Gallery, Butler Institute of American Art, Columbus Museum of Art, Neuberger Museum of Art (SUNY, College at Purchase), the Museum of Modern Art (New York), Newark Museum, Oklahoma City Museum of Art, Phillips Collection, Sheldon Memorial Art Gallery (University of Nebraska, Lincoln), Smithsonian Institution, Solomon R. Guggenheim Museum, Whitney Museum of American Art, and Yale University Art Gallery.

Cleve Gray served as artist-in-residence at the Oklahoma City Museum of Art in 1963 and at the Honolulu Academy of Arts in 1970, both sponsored by Ford Foundation programs. In 1980, he was appointed an artist-in-residence at the American Academy in Rome, where Francine concurrently served as a writer-in-residence; they returned for shorter periods during each of the subsequent seven years. Cleve Gray was presented the Connecticut Arts Award in 1987, and the Neuberger Museum of Art Lifetime Achievement Award in 1999. He was awarded an honorary degree by the University of Hartford in 1992, and was elected a member of The American Academy of Arts and Letters in 1998. In addition, he was a trustee of the Neuberger Museum of Art, New York Studio School, Rhode Island School of Design, and Wadsworth Atheneum.

Cleve Gray hit his head and suffered a massive subdural hematoma after falling on ice outside of his home. He died the following day, December 8, 2004.

Separated Material:

Exhibition catalogs and announcements and two scrapbooks donated to the Archives in 1967 and 1968 were microfilmed on reels D314-D315. Items on reel D315, transferred to the Smithsonian American Art Museum Library in 1975, are not described in this finding aid.

Provenance:

The Cleve Gray papers were donated to the Archives of American Art by Mr. Gray in 1967 and 1968. The bulk of the collection was given by his widow, Francine du Plessix Gray, in 2007 and 2008.

Restrictions:

Use of original material requires an appointment. Use of archival audiovisual recordigs 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:

Sculptors -- Connecticut  Search this

Painters -- Connecticut  Search this

Topic:

Art, Modern -- 20th century -- United States  Search this

Vietnam War, 1961-1975 -- Protest Movements -- United States  Search this

Designers  Search this

Women artists  Search this

Women painters  Search this

Women sculptors  Search this

Genre/Form:

Poems

Articles

Photographs

Reviews (documents)

Notes

Illustrations

Notebooks

Sketches

Drafts (documents)

Video recordings

Sound recordings

Interviews

Manuscripts

Paintings

Prints

Watercolors

Drawings

Lectures

Citation:

Cleve Gray papers, 1933-2005. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.grayclev

See more items in:

Cleve Gray papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw92d3d47d0-baa3-4085-80f2-9b5d1730c052

EDAN-URL:

ead_collection:sova-aaa-grayclev

Author:

United New York and New Jersey Sandy Hook Pilots Benevolent Associations  Search this

Allen, Edward L. secretary, Aqueduct Commission  Search this

National Service Bureau  Search this

Physical description:

xxiii, [1], 322 pages, 1 leaf illustrations (including portraits) 24 cm

Type:

Books

Place:

New York (State)

New York

New York Harbor (N.Y. and N.J.)

United States

New York Harbor

Date:

1922

Topic:

Pilots and pilotage  Search this

Shipping  Search this

Call number:

VK1525.N7U5X 1922

Data Source:

Smithsonian Libraries

EDAN-URL:

edanmdm:siris_sil_331250

Creator:

Perkins, James Secor  Search this

Gilbreth, Frank Bunker, 1868-1924  Search this

Gilbreth, Lillian Moller, 1878-1972  Search this

Extent:

5 Cubic feet (19 boxes)

5 Cubic feet (19 boxes)

Type:

Collection descriptions

Archival materials

Videotapes

Betacam sp (videotape format)

Motion pictures (visual works)

Date:

1907-2000

bulk 1911-1924

Summary:

The collection consists primarily of glass plate slides (negative and positive), photo prints, and stereographs documenting the work undertaken by Frank and Lillian Gilbreth from 1910 to 1924 in the fields of motion study, shop efficiency, and factory organization. Also included are slides dcoumenting the Gilbreth Family, their travels, residences, and friends. The collection also contains the film "The Original Films of Gilbreth The Quest for the One Best Way," 1968 by James S. Perkins.

Scope and Contents:

The collection consists primarily of glass plate slides (negative and positive), photo prints, and stereographs documenting the work undertaken by Frank and Lillian Gilbreth from 1910 to 1924 in the fields of motion study, shop efficiency, and factory organization. As scientific managers, the Gilbreth's introduced new techniques to analyze work, the workplace, and work practices with the goal of eliminating waste to maximize productivity. The collection illustrates these new techniques and their application to a wide variety of studies. The collection is diverse and provides insight into understanding how Gilbreth approached his studies. Also included are slides documenting the Gilbreth Family, their travels, residences, and friends. The collection also contains the film "The Original Films of Gilbreth The Quest for the One Best Way," 1968 by James S. Perkins.

Series 1, Background Information, 1892-1997, includes biographical materials about Frank B. Gilbreth; copies of some of Frank Gilbreth's patents, 1892-1916; and printed materials, 1907-1997, that contain articles, newspaper and magazine clippings about Frank and Lillian Gilbreth and time and motion study generally. Black-and-white photo prints of Gilbreth or work Gilbreth documented from collections held at Purdue University and Ohio State University are included.

Series 2, Glass plate stereo slides, 1910-1924, consists of approximately 2,250 glass stereo slides photographed by Frank B. Gilbreth and others and intended for viewing through an optical viewing machine. Some are positive black and white, positive color, and negative black and white. The subject matter of the slides covers the work undertaken by Frank Gilbreth from 1910 to 1924 in the fields of motion study, shop efficiency, and factory organization. Many of the images serve as documentation for the studies the couple performed as they were hired by firms in an attempt to provide solutions to the problems of inefficiency. Also included are the Gilbreth Family, their travels, residences, and friends.

The slides are numbered sequentially. For example, a glass plate slide numbered 318949.001 will have a corresponding photoprint 318949.001 in Series 3, Photoprints of glass plate slides. Note: not all glass plate slides have corresponding photoprints. Additionally, there are Office of Photographics Services, Smithsonian Institution negative numbers assigned to many of the photo prints.

Some subject categories include:

Frank B. Gilbreth: working in motion laboratories, on factory inspections, seated in offices, with family and friends, in World War I uniform, watching and monitoring shop operations.

Lillian M. Gilbreth: with family, during university graduation ceremonies, traveling and working with Frank and observing office workers.

Gilbreth Family: family on the road in an automobile, at home seated around the dinner table, in the parlor, in the garden, and with friends and relatives.

Gilbreth ship travel: contains views on steamer voyages to Europe, deck scenes, arrivals, departures, ship officers and crew, and other passengers.

Automobile assembly study: internal and external views of a warehouse/factory, including large piles or rows of metal car frames and other parts.

Benchwork study: images of a male worker standing or sitting in a chair while filing an object secured in a vice at a workbench.

Betterment: images of efforts whcih contributed to industrial betterment (the Gilbreth chair, employee library, and the home reading box).

Bricklaying study: view of men wearing overalls and caps, shoveling, and men laying bicks.

Business and apparatus of motion study: views of lectures, meetings, film showings, demonstrations, charts, drawings, motion models, charts amd some equipment.

Disabled study: views of partially blind World War I veterans, amputees using special tytpewriter, assembling machinery, use of cructhes, and a one armed dentist.

Factory bench work: table-top machines assembly operations, hand tools, orderly arrangement of parts prior to and during assembly and a variety of bench vises.

Factory documentation: various images of the interior and edterior of factories including heavy machinery.

Golfing study: various cyclegraphs of a man swinging a golf club.

Grid boards: back drops used by Gikbreth to isolate and measure worker motions. This includes walls, floors, desktops, and drop cloths divided into grids of various densities and scales.

Handwriting and cyclegraphs: finger lights moving in patterns of script.

Ladders: include step ladders and painters' ladders shown in use near shelving.

Light assembly study: wide variety of images ranging from cyclegraphs of women working, to the factory floor as well as tools and machinery.

Materials handling study: different angles of an empty cart, a cart oiled high with boxes, and a man pushing a cart illustrating different body positions.

Military study: illustrate work on the Army foot meausring machine, gun parts, men holding a rifle.

Motion models: images of simple wire motionmodels.

Needle trade study: views of textile machinery and workers.

Office study: various shots inside of an office with tables, desks, drawers, files, and typewriters. Some of the images are cyclegraphs of femal and male workers performing tasks, such as writing, both tin the context of an office as well as in front of a grdidded background. There are several close-ups of an organizer containing penciles, paperclips, pins and rubberbands.

Packing: methods of placing and arranging goods in boxes, such as soap packing.

Panama-Pacific Exposition 1915: contains views of statuary, fountains, and architecture of the exposition held in San Francisco.

Pure light cyclegraphs: no workers or grids visible only finger lights in motion.

Rubber stamping study: hand movements and access to ink pads and stamps.

Scenic views: views of buildings, landscapes, street scenes, and fountains from around the world documenting Gilbreth's travels.

Shoe making study: laboratory studies of shoe assembly operations with an emphasis on workers access to component pieces.

Shop machinery: various shots of machines and workers working with machines.

Signage: include organizational flow charts, shop floor plans, route maps, office layouts, numbering systems, exhibit display boards illustrating Frank Gilbreth's efficiency studies and techniques.

Stacking: views of the art and science of stacking boxes, clothing, equipment, containers, and vertical storage without shelves.

Stock bins: consists of storage pips, paper, other raw materials, shelves, and corridoe shots.

Storage: images illustrate contrast between old techniques and new.

Surgical and dental studies: thester views of surgeons, assistants, nurses, hand motions in grasping, placing surgical instruments, dental work and self inspection of teeth.

Tool cribs: storage of hand tools in shops with an emphasis on easy access and easy inventorying.

Typing study: various views of femaile s under observation using Remington typewriters.

Series 3, Photoprints of glass plate slides, 1910-1924, consist of black and white photoprints of the glass plate slides depicting the fields of motion study, shop efficiency, and factory organization. Also included are the Gilbreth Family, their travels, residences, and friends.

Series 5, Stereographs,1911-1914,

Series 6, Audio Visual Materials, 1968, 2000, and undated, is divided into three subseries: Subseries 1, Audio visual documentation, 1968 and undated; Subseries 2, Moving Images, 1968 and undated; and Subseries 3, Audio Recordings, 1980, 1990,. 2000 and undated. The series contains several formats: 7" open reel-to-reel audio tape, 1/2" VHS, Beta Cam SP, DVD, audio cassette, one inch audio tape, and 16 mm film.

Subseries 1, Audio visual documentation, 1967-1968 and undated, consists of supplemental documentation for the film, "The Original Films of Gilbreth The Quest for the One Best Way." Specifically, there are brochures and other printed materials detailing what the film is about and how copies may be obtained. This subseries also contains a copy of the book Cheaper by the Dozen, 1948. The book was written by Frank Bunker Gilbreth, Jr. and Ernestine Gilbreth Carey and tells the biographical story of Frank Bunker Gilbreth and Lillian Moller Gilbreth, and their twelve children. The book was adapted to film by Twentieth Century Fox in 1950.

Subseries 2, Moving Images, 1967, consists of one title, "The Original Films of Gilbreth The Quest for the One Best Way." The film materials consist of the film's production elements: 16 mm black and white negative A-roll; 16mm black-and-white negative B-roll; and the optical track negative. Each is 800 feet in length.

The film presents a summary of work analysis films which were taken by Frank B. Gilbreth between 1919 and 1924 showing a number of industrial operations from which the motion study was developed. Demonstrates motion and fatigue study, skill study, plant layout and material handling, inventory control, production control, business procedures, safety methods, developing occupations for the handicapped, athletic training and skills, military training, and surgical operations as researched and developed by Gilbreth. Points out that Gilbreth created entirely new techniques on how to improve industrial efficiency, while at the same time significantly improving conditions for the workers. The film was produced by James S. Perkins in collaboration with Dr. Ralph M. Barnes and with commentary by Liilian M. Gilbreth and James S. Perkins. The film was presented on December 3, 1968 at the American Society of Mechanical Engineers Annual Meeting in New York. The formats for this title include: 16 mm, Beta Cam SP, and DVD. Additionally, there is a one inch audio tape recording for the film.

Subseries 3, Audio Recordings, 1980, 1990, 2000 and undated consist of a Smithsonian radio program titled "Inside the Smithsonian, Cheaper by The Dozen," from 1980 and an recording of Ernestine Gilbreth Casey discussing Gilbreth Family photographs from 2000. Hosted by [Ann Carroll?], "Inside the Smithsonian, Cheaper by The Dozen," featured Fred and Bill Gilbreth discussing their parents Frank and Lillian, Gilbreth, and the book Cheaper by the Dozen. The radio program coincided with the 100th Anniversary of the American Society of Mechancial Engineers (founded 1880)of which Lillian Gilbreth was the Society's first female member and showcased a single case exhibition at the Museum of History and Technology (now the National Museum of American History) titled "Frank and Lillian Gilbreth: Motion Engineers." Inside Smithosnian Radio was a weekly program produced by the Office of Telecommunications. The recording of Ernestine Gilbreth Carey was recorded on July 9, 2000 and documents Ms. Carey's identification and discussion of Gilbreth Family photographs. David Ferguson assisted in the discussion. A hard copy index to the photographs Ms. Carey discusses is available.

Arrangement:

The collection is arranged into six series.

Series 1: Background Materials, 1892-1997

Subseries 1.1: Frank B. Gilbreth, undated

Subseries 1.2: Frank B. Gilbreth patents, 1892-1916

Subseries 1.3: Printed Materials, 1907-1997

Series 2: Glass Stereo Slides (Positive), 1910-1924 and undated

Series 3: Photo prints of glass stereo slides, 1910-1924 and undated

Subseries 3.1: Photo Print Books, 1-9, undated

Subseries 3.2: Photo prints (duplicates), undated

Series 4: Stereo Autochromes, undated

Series 5: Stereograph Cards, 1911-1914

Series 6: Audio Visual Materials, 1968, 1990, 2000 and undated

Subseries 6.1, Audio visual documentation, 1968 and undated

Subseries 6.2: Moving images, 1968 and undated

Subseries 6.3: Audio recordings, 1980, 1990, 2000, and undated

Biographical / Historical:

Frank Gilbreth is best known for his work on the efficiency of motion. Working with his wife and professional partner Lillian Moller Gilbreth, he applied modern psychology to his work with management. His innovative motion studies were used on factory workers, typists and the disabled. Gilbreth established the link between psychology and education to be succesful management.

Frank Gilbreth was born in Fairfield, Maine on July 7, 1868. His parents, John and Martha Bunker Gilbreth were New Englanders. John Gilbreth ran a hardware business, but died when Frank was only three. Bearing the responsibilty of raising her children alone, Martha moved the family twice in search of quality education for her children. Ultimately she decided to school the children herself. In 1885, Frank graduated from English High School in Boston. Despite gaining admission into the Massachusetts Institute of Technology, Frank opted to enter the work world immediately as a bricklayer's apprentice with Whidden and Company, building contractors in Boston.

Smart and skilled, Gilbreth worked his way up in the company. He learned the trade quickly and soon was promoted to supervisor, foreman, and finally to the position of superintendent. To further his edcuation, he went to night school to study mechanical drawing.

At the age of 27, Gilbreth embarked upon his first business venture. He started his own contracting firm. His firm developed a fine reputation for quality work at a very rapid pace. He invented tools, scaffolding, and other contraptions to make the job easier. His company goals included the elimination of waste, the conservation of energy, and the reduction of cost. His work included canals, factories, houses, and dams. His clients came from all parts of the United States, and he performed some work in England.

In 1903, Frank Gilbreth met Lillian Moller (1903-1972) and married her on October 19, 1904. Lillian graduated from the University of California, Berkeley with a BA (1900) and MA (1902). She later earned a Ph.D from Brown University (1915), earning a dissertation titled The Psychology of Management. Lillian's academic work, large family and integral role in Frank's consulting business kept her busy. Her contributions to the business led to a greater understanding of an individual's welfare in the work world. This becamme a key idea to increasing productivity through scientific management techniques.

Working together, the couple became leaders in the new field of scientific management. They published books, gave lectures, and raised tweleve children together: Anne, Mary (1906--912), Ernestine, Martha, Frank Jr., William, Lillian, Frederick, Daniel, John, Robert and Jane. Some of Gilbreth's books include Fields System (1908); Concrete System (1908); Bricklaying System (1909; Motion Study (1911); and Primer of Scientific Management (1911). Gilbreth co-authored with Lillian: Time Study (1916); Fatigue Study (1916); Applied Motion Study (1917); and Motion Study for the Handicapped (1919).

It wasn't long before Gilbreth moved away from construction. Together with his wife, they focused on the link between psychology and motion. With her strong psychological background, and his interest in efficiency, the Gilbreth's opened the School of Scientific Management in 1913. The school was in session for four years. Numerous professional attended the school, and soon the Gilbreth's had established a reputation as consultant's to the new field of scientific management.

In 1912, Frank won a contract with the New England Butt Company in Providence, Rhode Island. There he installed his system of scientific management in a factory setting for the first time. Contracts with the Hermann-Aukam handkerchief manufacturing company in New Jersey and the Auergessellschaft Company in Germany followed. Using motion study, Gilbreth studied and reoganized the factories, attempting to find "the one best way" to do work.

Gilbreth traveled to Germany to continue his work was a scientific manager. He visited factories and hospitals, working to improve procedures and eliminate waste. Using micro-motion study and the chronocyclegraph procedure, he analyzed and dissected motion, discovering therblings, the seventeen fundamental units of any motion. World War I slowed Gilbreth's progress abroad, so he focused his consulting business on firms n the United States.

After World War I, Gilbreth's business thrived. in 1920, the American Society of Mechanical Engineers instituted its Management Division, something Gilbreth had been demanding for years. He was now a famous American engineer, gaining financial rewards as as professional honors.

Frank Gilbreth died suddenly of a heart attack on June 14, 1924, still in the middle of three contracts. He was honored after his death in 1944 by the American Society of Engineers and the American Management Association with the Gant Gold Medal. After Frank's death, Lillian moved the family to California where she continued to work on efficiency and health in industry issues. She was a respected buiness woman and was hired by several companies to train employees, study working conditions, and reduce fatigue. She lectured at several universities (Newark College of Engineering and the University of Wisconsin), and joined the faculty at Purdue University in 1935 as the first woman professor in the engineering school.

Frank and Lillian Gilbreth often used their large family (and Frank himself) as guinea pigs in experiments. Their family exploits are lovingly detailed in the 1948 book Cheaper by the Dozen, written by Frank Jr. and Ernestine Gilbreth Carey.

Related Materials:

Material in Other Institutions

Purdue University, Archives and Special Collections

Frank and Lillian Gilbreth papers, 1869-2000

The Gilbreth Papers documents the professional and personal lives of Frank Gilbreth and Lillian Gilbreth. The collection consists of personal papers, letters, correspondence, photographs, and other memorabilia that Lillian Gilbreth collected during her life regarding her youth, marriage, family, and career.

Collection of materials related to Lillian Gilbreth, 1964-2006

One folder of items relating to the life of Lillian Gilbreth, and her family, collected by her granddaughter, Lillian (Jill) Barley and Nancy Weston. Materials include clippings relating to the Lillian Gilbreth postage stamp (1984); obituaries and memorial programs for Peter Barney, Ernestine Carey, Lillian Gilbreth, Anne Gilbreth Barney, Charles Carey, and Frank Gilbreth Jr.; programs and photographs relating to Lillian Gilbreth's visit to Athens in 1964; and biographical information on Lillian Gilbreth.

Cornell University, Kheel Center for Labor-Management Documentation and Archives

Frank Gilbreth Papers on Microfilm, Collection Number: 5424 mf

Selected papers pertaining to industrial engineering. Original materials are held by Purdue University. Microfilm copied purchased from Purdue University in April 1968.

Provenance:

The collection materials were donated by several individuals: New Jersey Institute of Technology (1975); Frank B. Gilbreth, Jr., (1980); Ernestine Gilbreth Carey (1995); Daniel B. Gilbreth (1998); and James Secor Perkins in 2001.

Restrictions:

Collection is open for research but the films are stored off-site and special arrangements must be made to work with it. Series 2: Glass Stereo Slides are restricted. Boxes 3-9 were digitized in 2021. Researchers must use digital copies. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.

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:

Motion study  Search this

Machinery industry  Search this

Machine shops  Search this

Industrial management  Search this

Industrial films  Search this

Industrial engineering  Search this

Genre/Form:

Videotapes

BetaCam SP (videotape format)

Motion pictures (visual works) -- 1930-1950

Citation:

Frank and Lillian Gilbreth Collection, Archives Center, National Museum of American History

Identifier:

NMAH.AC.0803

See more items in:

Frank and Lillian Gilbreth Collection

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8a48e652d-6387-4a23-98c0-299772c454d5

EDAN-URL:

ead_collection:sova-nmah-ac-0803

Manufacturer:

Sikorsky Aircraft Company  Search this

Dimensions:

Rotor diameter 48 feet, height 13 feet, length 57 feet 1 inch.

Type:

CRAFT-Rotary Wing

Country of Origin:

United States of America

Credit Line:

Transferred from the U.S. Air Force

Inventory Number:

A19600308000

Restrictions & Rights:

Usage conditions apply

See more items in:

National Air and Space Museum Collection

Data Source:

National Air and Space Museum

GUID:

http://n2t.net/ark:/65665/nv9e0ea0250-ec7f-4262-bc93-c79ffe1d363f

EDAN-URL:

edanmdm:nasm_A19600308000

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

Artist:

Harmer, Alexander Francis, 1856-1925  Search this

Names:

Nana, (Apache Chief), approximately 1806-1896  Search this

Extent:

1 Drawing (watercolor, 7 x 10.25 inches)

Container:

Box 342297 / 363200, Folder 2

Culture:

Chiricahua Apache  Search this

Type:

Collection descriptions

Archival materials

Graphic Materials

Drawings

Works of art

Watercolors

Place:

North America

Date:

1883 May

Scope and Contents:

The collection consists of a portrait of Nana by Alexander Francis Harmer. The portrait is inscribed: "From a sketch from life made in the Sierra Madre Mountains on the Gen'l Crooks Campaign [sic], May 1883."

Please note that the contents of the collection and the language and terminology used reflect the context and culture of the time of its creation. As an historical document, its contents may be at odds with contemporary views and terminology and considered offensive today. The information within this collection does not reflect the views of the Smithsonian Institution or National Anthropological Archives, but is available in its original form to facilitate research.

Biographical Note:

Nana, also called Nanay, Na-na, Kas-tziden ("Broken Foot") or Haškɛnadɨltla ("Angry, He is Agitated"), (circa 1806- 1896) was a warrior of the Chihenne band of the Chiricahua Apache. Nana took part in numerous raids on Mexicans and Americans with Chiricahua leaders including Geronimo and Victorio. In 1883 he surrendered to the American general George Crook and returned with his followers to the San Carlos reservation in Arizona. He and Geronimo escaped in 1885, but were recaptured in 1886. After being imprisoned at Fort Marion, Florida, Nana spent the last years of his life on the Chiricahua reservation at Fort Sill, Oklahoma.

Alexander Francis Harmer (1856–1925) was an American painter best known for his work in Southern California. Harmer was born in Newark, New Jersey and began painting at an early age. At 16 he joined the army, and was stationed in California. After a year he requested discharge on grounds of being underage, and worked as a photographic assistant before enrolling at the Pennsylvania Academy of Fine Art in 1874. He again enlisted in the army in 1881, and was assigned to Troop L of the Sixth Cavalry at Fort Apache, Arizona. During his time in the army, his unit pursued Geronimo and the Chiricahua Apache. He later returned to Pennsylvania Academy with his sketches of the Apaches which he developed into oils and watercolors. He contributed illustrations to Harpers Weekly and other magazines, acquiring a reputation as a western artist.

Harmer moved to California in 1891. He married Felicidad Abadie, of a prominent Santa Barbara family, in 1893. The couple settled in the Abadie family residence, the Yorba-Abadie adobe, which became an artists' colony under their patronage. During this period, Harmer began to paint portraits and genre scenes of the old missions of California. He died in 1925 in Santa Barbara.

Local Numbers:

NAA MS 363200

NAA INV 08526500

OPPS NEG 85-6500

USNM Accession Number 117644

Variant Title:

Previously titled "Portrait of Nana Nanei."

Restrictions:

The collection is open for research.

Access to the collection requires an appointment.

Rights:

Contact the repository for terms of use.

Genre/Form:

Works of art

Drawings

Watercolors

Citation:

Portrait of Nana, National Anthropological Archives, Smithsonian Institution

Identifier:

NAA.MS363200

Archival Repository:

National Anthropological Archives

GUID:

https://n2t.net/ark:/65665/nw3d8f3dd9e-4bce-4e18-b92d-3eceda1ce65a

EDAN-URL:

ead_collection:sova-naa-ms363200

Landscape architect:

Ireys, Alice Recknagel, 1911-2000  Search this

Former owner:

Low, Donald, Mrs.  Search this

Collection Creator:

Adams, Molly, 1918-2003  Search this

Type:

Archival materials

Place:

Low Garden (Englewood, New Jersey)

United States of America -- New Jersey -- Bergen County -- Englewood

Scope and Contents:

The folder includes worksheets and other information.

General:

Designed by Alice Recknagel Ireys, this was obviously one of her favorite gardens, for it appeared on the front of the dust jacket of her 1967 book. Mrs. Donald Low was the owner of this property, which featured the extensive use of stone in both house and garden walls. Behind the high stone wall separating the garden from the driveway Ireys created a spacious informal setting for a variety of trees and shrubs as well as perennials and a lawn. The dust jacket illustration (reproduced inside the book as well) showed part of the garden in early spring with its bleeding hearts, Virginia bluebells, and primroses under a flowering cherry. Brick and natural surface paths wound through the site; boxwood was used extensively as a border. A stone garden house and statue of St. Francis added decorative touches, while seating near the house and in other locations provided ample opportunity for relaxation and contemplation of this lovely garden.

Related Materials:

Low Garden related holdings consist of 1 folder (24 contact prints; 2 film transparencies)

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.

Topic:

Gardens -- New Jersey -- Englewood  Search this

Collection Citation:

Smithsonian Institution, Archives of American Gardens, Maida Babson Adams American garden collection.

Identifier:

AAG.ADM, File NJ440

See more items in:

Maida Babson Adams American garden collection.

Maida Babson Adams American garden collection. / Series 1: Garden Images / New Jersey

Archival Repository:

Archives of American Gardens

GUID:

https://n2t.net/ark:/65665/kb63b4a4301-48aa-41c8-975c-a69ce9eb6a94

EDAN-URL:

ead_component:sova-aag-adm-ref780