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(AT HOME) IN AND AROUND AMERICA: ARTIST TALK WITH CATHERINE OPIE

Creator:
Hirshhorn Museum and Sculpture Garden  Search this
Type:
YouTube Videos
Uploaded:
2021-04-01T01:20:43.000Z
YouTube Category:
Entertainment  Search this
Topic:
Art, modern  Search this
See more by:
hirshhornmuseum
Data Source:
Hirshhorn Museum and Sculpture Garden
YouTube Channel:
hirshhornmuseum
EDAN-URL:
edanmdm:yt_O0rBm9tN-T8

An American Immigration Story: A Raft Used by Cuban Balseros

Creator:
Smithsonian Education  Search this
Type:
YouTube Videos
Uploaded:
2020-04-02T11:57:47.000Z
YouTube Category:
Education  Search this
Topic:
Education  Search this
See more by:
SmithsonianEducation
Data Source:
Smithsonian Education
YouTube Channel:
SmithsonianEducation
EDAN-URL:
edanmdm:yt_rjHVvde8wUw

Where International Becomes Local: Immigration in the DC Metro Area

Creator:
Anacostia Community Museums Collections and Research  Search this
Type:
Conversations and talks
YouTube Videos
Uploaded:
2015-11-20T01:53:42.000Z
YouTube Category:
Education  Search this
Topic:
African Americans  Search this
See more by:
Anacostia_Community_Museums
Data Source:
Anacostia Community Museums Collections and Research
YouTube Channel:
Anacostia_Community_Museums
EDAN-URL:
edanmdm:yt_6HqzGLLNLP8

Exiles in America: Cuban Pedro Pans and Balseros

Names:
Castro, Fidel, 1926-2016  Search this
Extent:
6.4 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Oral histories (document genres)
Place:
Cuba
Date:
2014-2015
Summary:
Exiles in America: Cuban Pedro Pans and Balseros was an oral history project designed to research and document the journeys and experiences of two distinct immigration/migration experiences of the Cuban diaspora. Steve Valesquez of the National Museum of American History Division of Home and Community Life conducted twelve oral history interviews 2014-2015. The project was funded by the Consortium for the American Experience.
Scope and Contents:
Exiles in America: Cuban Pedro Pans and Balseros consists of eleven born digital oral history interviews about the journeys and experiences of Cubans who came to the United States as unaccompanied children via Operation Pedro Pan in the early 1960s, and of those who fled the island as balseros—rafters—beginning in the mid-1990s. There is also supporting documentation in the form of interview transcripts and summaries.
Arrangement:
The collection is arranged in two series.

Series 1: Oral History Interviews, 2014-2015

Series 2: Supporting Documentation, 2014
Biographical / Historical:
Exiles in America: Memory and the Lived Experiences of Cuban Pedro Pans and Balseros was a collecting initiative that looks at the journeys and experiences of Cubans who came to the United States as unaccompanied children via Operation Pedro Pan in the early 1960s, and of those who fled the island as balseros—rafters—beginning in the mid-1990s. Building on relationships already established with former Pedro Pan children, universities, archives, and museums in Miami, the project conducted research, recorded oral histories, and acquired collections to document the legacy of Cuban migration to the United States. This project was funded by the Consortium for the American Experience in 2014 and was part of the Smithsonian-wide Immigration Initiative and the National Museum of American History exhibit project, Many Voices, One Nation.

Following the Cuban Revolution of 1959, many Cubans became wary of their country's new leader, Fidel Castro, and his Communist regime. Those who opposed the revolution sought ways to keep their family together and "save" their children from Communist indoctrination. This growing sentiment prompted underground forces in Cuba and the Catholic Church in Miami—with later assistance from the State Department—to establish Operation Pedro Pan, an underground exodus of approximately 14,000 unaccompanied Cuban children to the United States, beginning in 1960 and ending in 1962. By 1961, the U.S. government waived all visa requirements for Cuban children and set aside federal money for their care. Under the auspices of Catholic Charities and the Catholic Welfare Bureau, the Miami diocese processed the Cuban children and placed them in shelters (foster care, orphanages, or with family) in forty-seven dioceses in thirty states. In 1962, the Missile Crisis severed all ties between the U.S. and Cuba, halting Operation Pedro Pan; some children waited years to reunite with their parents, others never saw their parents again.

In addition to the State Department's endorsement of Operation Pedro Pan, the federal government enacted policies such as the Cuban Adjustment Act of 1966 that provided federal aid and resources to help Cubans resettle in the United States and become permanent residents. Many scholars, such as Lillian Guerra, argue that these anti-Communist/Cold War policies ultimately influenced Cubans to embrace "Cuban exceptionality" as fundamental to their identities in the U.S.

In the summer of 2014 the project set out to collect stories and objects, via "collecting days" in collaboration with HistoryMiami. The project invited the community members to participate, record their stories, and collect objects (material culture) related to Operation Pedro Pan and balseros, respectively.

The goal was to research and document the journeys and experiences of Pedro Pans and balseros to understand how two distinct immigration/migration experiences of the Cuban diaspora have shaped the larger American and U.S. Latino experiences, affected the identity-formation of Cuban Americans, and how Latinos have shaped the nation.

Three interviews were collected prior to the collecting days (see Family of Voices (AC1365)) in Miami. Three were recorded in Miami. Four were collected in Washington D.C. and two over the phone. Collected by Steve Velasquez, Division of Home and Community Life.

Steve Velasquez
Separated Materials:
The Division of Home and Community Life (now Division of Cultural and Community Life) National Museum of American History, Smithsonian Institution holds artifacts related to this collection.
Provenance:
Made by Steve Velasquez, curator, for the National Museum of American History, Smithsonian Institution in 2014-2015.
Restrictions:
Collection is open for research. Interviews and supporting documentation available only in the Smithsonian Institution Digital Asset Management System (DAMS).
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:
Anti-communist movements  Search this
Children  Search this
Catholic Charities USA  Search this
Cuban Americans  Search this
Latinos in American society and culture  Search this
Emigration and immigration  Search this
Operation Pedro Pan  Search this
boat people  Search this
Genre/Form:
Oral histories (document genres)
Citation:
Exiles in America: Cuban Pedro Pans and Balseros, Archives Center, National Museum of American History, Smithsonian Institution.
Identifier:
NMAH.AC.1377
See more items in:
Exiles in America: Cuban Pedro Pans and Balseros
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-1377

Robert L. Sardino Movie Theater Collection

Source:
Sardino, Robert C.  Search this
Former owner:
Sardino, Robert C.  Search this
Extent:
2.1 Cubic feet (7 boxes)
Type:
Collection descriptions
Archival materials
Advertisements
Certificates
Lantern slides
Posters
Publicity photographs
Schedules
Motion picture stills
Date:
1914-1981, undated
Summary:
The collection consists of motion picture exhibition ephemera (lantern slides, publicity photographs, and paper) saved by Robert L. Sardino during his years working in motion picture theaters in Syracuse, New York.
Content Description:
The collection consists of archival materials saved by Robert L. Sardino during the years he was employed in motion picture theaters in Syracuse, New York. This collection also contains objects Sardino salvaged when the Paramount Theater in Syracuse, New York was demolished in 1967. He spent the bulk of his career at the Paramount Theater. Included are theater schedules; blank payroll documents; photographs of employees, theater interiors, and marquees, as well as publicity stills of actors and for motion pictures; certificates; motion picture advertising and press releases. There is a large number of glass lantern slides relating to a variety of topics such as current news events, sports, scenic views, and "coming attractions."
Arrangement:
The collection is arranged into four series.

Series 1, Personal Papers and Ephemera, 1942-1981, undated

Series 2, Paramount and Schine Theaters (Syracuse, New York), 1947-1970, undated

Series 3, Motion Pictures, Publicity Stills, Advertisements, and Souvenir Programs 1942-1968, undated

Series 4, Lantern Slides, 1914-1915, undated

Subseries 4.1, American Press Association, undated

Subseries 4.2, Brenkert Light Projection Company (BLPC), undated

Subseries 4.3, Motion Picture Advertisments, 1914-1915, undated

Subseries 4.4, Maurice Workstel, Incorporated, undated

Subseries 4.5, Other, undated
Biographical / Historical:
Robert L. Sardino was born in New York state December 11, 1897, the son of John and Palma Sardino. Both of his parents were born in Italy, and Palma notes in the 1920 census that she had immigrated to the United States from Italy in 1881. His father died at an early age and by the 1920 census Palma was listed as being head of the household. Robert joined the International Association of Theatrical Stage Employees (IATSE), local 376, on January 24, 1915. According to family oral history Robert began work at the age of fourteen, in the 1920 census he is noted as an "operator" in a "picture show." His brothers, Frank and Alphonsa, were both in the motion picture theater business. By 1930 Frank is noted as a "theater proprietor." Alphonsa is noted as a "picture theater" manager as early as 1920. For the greatest part of his life, Robert worked in and around Syracuse, New York. During his working life, he was employed by Paramount-Publix Corporation, later known as Paramount Pictures, Incorporated and also the Schine Corporation theater owners and developers. He worked in Syracuse at the Paramount Theater which was demolished in 1967. Family history maintains Robert worked until he was seventy-five years old.

Robert served in the military during World War I. On his registration card he is described as being of medium height and build, grey eyes, and black hair. He was then working as an auto mechanic in Old Forge, New York. In May 1928, Robert married Florence Owen, daughter of David and Charlotte Bostwick Owen. They had two children, Delores and Roberta. The marriage ended and in the 1940 census Robert was living with his daughters and was noted as being a projectionist in a movie theater. Later that year he married Irene Boniface Simiele, also a divorcee, with a young son, Joseph.

Robert died in Syracuse, New York on February 3, 1981.
Related Materials:
The Division of Culture and the Arts (now Division of Cultural and Community Life) holds these objects associated with this collection: Accession number 1984.0789 includes: Basket; Frame, Exit Sign; Screen, Cinerama; Speaker, Car, Drive-in Movie; Plate, End-Seat Aisle Camp Cover; Holder; Disc, Transcription.
Provenance:
Collection donated by Irene B. Sardino, widow of Robert L. Sardino, to the Division of Social and Cultural History, National Museum of American History, Smithsonian Institution, in 1984.
Restrictions:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection is open for research.
Topic:
Theaters  Search this
Motion pictures, American  Search this
advertising -- Motion pictures  Search this
Genre/Form:
Advertisements
Certificates
Lantern slides
Posters
Publicity photographs
Schedules
Motion picture stills
Citation:
Robert L. Sardino Movie Theater Collection, Archives Center, National Museum of American History, Smithsonian Institution
Identifier:
NMAH.AC.1471
See more items in:
Robert L. Sardino Movie Theater Collection
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-1471

Steinway & Sons Records and Family Papers

Creator:
Steinway, William  Search this
Steinway, Henry Ziegler  Search this
Steinway family  Search this
Steinway & Sons  Search this
Krüsi, Bartholomew, Rev.  Search this
Source:
National Museum of American History (U.S.). Division of Musical History  Search this
Names:
CBS  Search this
German Presbyterian Church (New York, N.Y.)  Search this
Lehman, Lilly  Search this
Steinway, Fred T., 1860-1927  Search this
Steinway, Henry (Heinrich Engelhard Steinweg), 1797-1871  Search this
Steinway, John  Search this
Steinway, Theodore (C.F. Theodore Steinweg), 1825-1889  Search this
Former owner:
National Museum of American History (U.S.). Division of Musical History  Search this
Extent:
6 Cubic feet (12 boxes, including photographs and microfilm)
Type:
Collection descriptions
Archival materials
Business records
Diaries
Catalogs
Correspondence
Microfilms
Photographs
Minute books
Business letters
Love letters
Letters
Letter books
Date:
1857-1919
Summary:
Records of the Steinway & Sons piano company and a daily diary of William Steinway, a key figure in the rise of the company to international prominence in the nineteenth century. The records document overall operations of the company, individual piano serial numbers, and the business and personal life of William Steinway, a prominent figure in New York business, politics, and musical life.
Scope and Contents:
The collection consists of an original diary (and microfilm copies) kept by William Steinway and microfilm copies of nineteenth century business records of Steinway & Sons. There also are business and family photographs and some miscellaneous documents.
Arrangement:
Series 1, William Steinway Diary, 1861-1896

Series 2, Steinway Business Records, 1858-1910

Series 3, Steinway Family Materials, 1877-1882

Series 4, Rev. Bartholomew Krüsi Materials, 1857-1919
Biographical / Historical:
Heinrich Engelhard Steinway (Steinweg) (born 1797, Wolfshagen, Germany; died 1871, New York City) made his first piano in 1836. In 1850 he immigrated to America and settled in New York City with his wife, three daughters, and four of his five sons. He and his sons Charles, Henry, Jr., and William at first worked for various New York piano makers until 1853 when they formed the partnership of Steinway & Sons. One year later Steinway & Sons' square pianos won first prize at the Metropolitan Mechanics Institute Exhibition (held at the Smithsonian Institution in Washington, D.C.) and in 1855 won the Gold medal for the best piano (an over-strung iron-frame square piano) in the American Institute Fair at the Crystal Palace in New York City. In 1859, Henry, Jr. patented (patent no. 26,532, December 20, 1859) a design for a one-piece over-strung iron frame for the grand piano that won praise, a gold medal, and international recognition at the 1867 Paris Exposition.

The firm faced a crisis in 1865 when two of Heinrich's sons died: Henry (born 1831), who was responsible for the first seven patents, and Charles (born 1829). The family prevailed on the eldest son, C. F. Theodor (1825 1889), to sell his partnership as a piano manufacturer in Braunschweig, Germany, and to join his family in New York City. Not eager to sever all his ties in Germany, Theodor spent time in both countries until his death, contributing technical innovations that resulted in forty-one patents. One of these patents was for the duplex scale in 1872. Several of the following generation worked with the firm, including Fred T. Steinway (1860-1927), son of Charles, who served in London, Hamburg, and New York City.

C. F. Theodor Steinway's technical skills were matched by the entrepreneurial skills of his brother William (1835 1896). William was a creative businessman who played the piano, sang tenor, and supported the musical life of New York City. His promotional and marketing techniques, and his cultivation of eminent musicians and association with aristocratic patrons, helped to make Steinway & Sons so successful. William Steinway was prominent in New York City social and political life.

In 1880, Steinway & Sons opened a Hamburg branch. The firm was sold in 1972 to CBS. Subsequent owners include the Birmingham Brothers (Steinway Musical Properties, 1985-1995) and Steinway Musical Instruments, Inc. (1995-).
Related Materials:
Materials at the Archives Center, National Museum of American History

Industry on Parade (NMAH.AC.0507)

Reel # 156, Before the Concert, 1953. Making pianos. Steinway and Sons, Long Island, New York.

N W Ayer Advertising Agency Records (NMAH.AC.0059)

Contains advertising proof sheets for Steinway & Sons from 1900 through 1963. The Piano series of the Warshaw Collection of Business Americana contains five folders of material on Steinway. The Industry on Parade Film Collection has a short, 1953 film (reel #156) on Steinway's manufacture of pianos in its Long Island plant. The Sohmer & Company Records contain three folders of trade literature from Steinway. These include catalogs, pamphlets, and booklets on the Steinway family genealogy and on the Steinway piano used at the White House. Sohmer, also a New York City piano manufacturer, collected copies of competitors' sales catalogs and other publications.

Materials at Other Organizations

The LaGuardia and Wagner Archives at LaGuardia Community College/CUNY is the largest repository of Steinway materials. It holds extensive business records as well as personal papers and photographs. The Steinway family loaned seventy folders of Steinway family correspondence to the National Museum of American History in October, 1984, and a program of transcription and translation was begun by the Steinway Diary Project. The original correspondence was transferred to the Archives Center in August 1985 and, at the request of Henry Z. Steinway, transferred to the LaGuardia and Wagner Archives in March, 1990. Additional Steinway materials are at the New York Historical Society, the University of Maryland Performing Arts Library, and other repositories. The control file for this collection has further information on the location of Steinway materials.
Separated Materials:
The Division of Culture and the Arts (now Division of Cultural and Community Life) holds several Steinway and Sons pianos.
Provenance:
Henry Z. Steinway donated the William Steinway diary on April 2, 1996.
Restrictions:
The collection is open for research use. Researchers must use positive microfilm copy of diary. Researchers must handle unprotected photographs with gloves.
Rights:
Copyright held by the Smithsonian Institution. Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Reproduction permission from Archives Center: fees for commercial use.
Topic:
Keyboard instruments -- Manufacturing  Search this
Travel  Search this
United States -- History -- Civil War, 1861-1865  Search this
Politics -- New York (N.Y.)  Search this
Church Interiors  Search this
Piano  Search this
Piano makers  Search this
Genre/Form:
Business records
Diaries
Catalogs
Correspondence -- 1930-1950
Microfilms -- Negative
Photographs -- 1850-1900
Minute books
Business letters
Love letters
Letters
Letter books
Photographs -- Black-and-white photoprints -- 1900-1910
Citation:
Steinway and Sons Piano Company Collection, 1857-1919, Archives Center, National Museum of American History.
Identifier:
NMAH.AC.0178
See more items in:
Steinway & Sons Records and Family Papers
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-0178
Online Media:

Representing Diaspora & Diverse Blackness in Museology - Revisiting Our Black Mosaic Symposium

Creator:
Anacostia Community Museums Collections and Research  Search this
Type:
Conversations and talks
YouTube Videos
Uploaded:
2015-11-19T15:24:16.000Z
YouTube Category:
People & Blogs  Search this
Topic:
African Americans  Search this
See more by:
Anacostia_Community_Museums
Data Source:
Anacostia Community Museums Collections and Research
YouTube Channel:
Anacostia_Community_Museums
EDAN-URL:
edanmdm:yt_9hEea23XUEM

Black Mosaic of Wash DC: unpacking multiple “Black” identities

Creator:
Anacostia Community Museums Collections and Research  Search this
Type:
Conversations and talks
YouTube Videos
Uploaded:
2015-11-19T15:23:45.000Z
YouTube Category:
Education  Search this
Topic:
African Americans  Search this
See more by:
Anacostia_Community_Museums
Data Source:
Anacostia Community Museums Collections and Research
YouTube Channel:
Anacostia_Community_Museums
EDAN-URL:
edanmdm:yt_aMCx6T_Fxos

Chocolate City No More: Changing Demographics & Gentrification of Washington, D.C

Creator:
Anacostia Community Museums Collections and Research  Search this
Type:
Conversations and talks
YouTube Videos
Uploaded:
2015-12-08T00:59:58.000Z
YouTube Category:
Education  Search this
Topic:
African Americans  Search this
See more by:
Anacostia_Community_Museums
Data Source:
Anacostia Community Museums Collections and Research
YouTube Channel:
Anacostia_Community_Museums
EDAN-URL:
edanmdm:yt_feGIOEoBaGc

Naúl Ojeda papers

Creator:
Ojeda, Naúl, 1939-2002  Search this
Names:
Bader, Franz, 1903-1994  Search this
Berrutti, Azucena  Search this
Caicedo Garzón, Armando  Search this
Haber, Alicia  Search this
Vila, Ernesto  Search this
Extent:
5.9 Linear feet
Type:
Collection descriptions
Archival materials
Drawings
Scrapbooks
Sketchbooks
Video recordings
Date:
circa 1960-2004
circa 2013
Summary:
The papers of Uruguayan born Washington, D.C. painter and printmaker Naúl Ojeda measure 5.9 linear feet and date from circa 1960-2004, and circa 2013. The papers document Ojeda's personal and professional life through biographical materials, correspondence, exhibition and gallery files, professional files, financial material, printed and broadcast materials, scrapbooks, artwork and sketchbooks, and a small amount of photographic material.
Scope and Contents:
The papers of Uruguayan born Washington, D.C. painter and printmaker Naúl Ojeda measure 5.9 linear feet and date from circa 1960-2004, and circa 2013. The papers document Ojeda's personal and professional life through biographical materials, correspondence, exhibition and gallery files, professional files, financial material, printed and broadcast materials, scrapbooks, artwork and sketchbooks, and a small amount of photographic material.

Biographical material includes immigration records, resumes, and a few certifications and credentials. Correspondence is personal and professional, with correspondents including Ojeda's family, and friends, and some general professional correspondents, including Alicia Haber, Moira Bowers, Ernesto Vila, Eduardo Galeano, Enrique Gomez, Armando Caicedo Garzón, Walter Jesus Gonzalez, Azucena Berrutti, and others.

Exhibition and gallery files document Ojeda's relationship with galleries, museums, and civic and cultural organizations, and include records of specific exhibitions as well as general documentation related to sales and commissions of his artwork. They include records of the exhibition In Honor of Franz Bader (1995), with a related video recording. Professional files document other activities including Ojeda's involvement with community organizations, art contests that he entered, work he was commissioned to do for businesses and organizations, and permissions for use of his work for a variety of publications, events, and media outlets. Financial records include a small but detailed number of records of sales with sales books, price lists and receipts.

Printed and broadcast materials provide a fairly comprehensive overview of Ojeda's career from the 1960s on, with announcements and catalogs for multiple exhibitions, news clippings from foreign and domestic newspapers, and posters, flyers, and other publications with illustrations by Ojeda. Three broadcast video recordings about his work and exhibitions can also be found here. This material is supplemented by two scrapbooks documenting Ojeda's exhibitions and news items about his career, from the 1960s to early 1980s.

The collection contains a substantial amount of artwork, including drawings, sketches, poster mockups, prints including woodcut proofs, and sixteen sketchbooks for various projects.

A small amount of photographic material includes three photos of a 1968 exhibition in Uruguay, photocopies of photos of a family group, and negatives including images of Ojeda in the studio.
Arrangement:
The bulk of Ojeda's papers initially combined Ojeda's records of his professional activities, including records of exhibitions and gallery transactions, and financial records in a single alphabetical file. To facilitate access this arrangement has been refined further into three smaller series (Series 3-5).

Series 1: Biographical Materials, 1963-1997 (Box 1; 0.2 linear feet)

Series 2: Correspondence, 1960s-2002 (Box 1, OV 9; 0.8 linear feet)

Series 3: Exhibition and Gallery Files, 1966-2004 (Boxes 1-2, 6; 0.9 linear feet)

Series 4: Professional Files, 1979-2002 (Boxes 2-3, 6; 0.65 linear feet)

Series 5: Financial Records, circa 1970-2004, circa 2013 (Box 3; 0.25 linear feet)

Series 6: Printed and Broadcast Materials, 1962-2003 (Boxes 3-4, 6-7, OV 10; 1.1 linear feet)

Series 7: Scrapbooks, 1961-1981 (Box 7; 0.2 linear feet)

Series 8: Artwork, circa 1960-circa 2000 (Boxes 4, 8, OVs 9, 11-14; 1.0 linear feet)

Series 9: Sketchbooks, circa 1967-2001 (Boxes 4-5, 8; 0.5 linear feet)

Series 10: Photographic Material, 1968-circa 2000 (Box 5; 0.3 linear feet)
Biographical / Historical:
Naúl Ojeda (1939-2002) was a painter and printmaker in Washington, D.C.

Ojeda was born in Uruguay and studied fine arts at the University of Uruguay. The political climate of Uruguay in the 1970s led Ojeda to leave the country. He traveled to France, Chile, and Mexico before settling in Washington, D.C. While in Chile, Ojeda covered the presidency of Salvador Allende as a photojournalist. He selected fifty of the photographs of that period for his exhibition Homage to the People of Chile at the Galeria Inti Centro de Arte in Washington, D.C.

Ojeda was best known for his woodblock prints and linocuts, which he printed by hand in small editions, usually of no more than twenty-five prints. He also had some success with decorated furniture, both pieces he designed and painted, and pieces he decorated. Although his images appear whimsical, they often express themes of separation from his homeland and family. His work has been shown in numerous exhibitions throughout the United States as well as in Europe and South America including Immigrant Artists/American Experience (1985-1987) and an exhibition in 1995 honoring Franz Bader, the owner of the Franz Bader Gallery in Washington, D.C. Bader and Ojeda bonded over their shared immigrant experiences. Bader represented Ojeda for nearly 20 years and frequently held exhibitions of Ojeda's work at his gallery.

Ojeda's work is represented in private collections as well as the collections of the Smithsonian American Art Museum and the Art Museum of the Americas, in Washington, D.C., the Museum of Modern Art in New York, and the National Hispanic Cultural Center in Albuquerque, New Mexico. Ojeda also produced illustrations for The Washington Post Book World, Washington Review, Curbstone Press, and the Institute for Policy Studies among others.

During his career Ojeda received several awards, including the 2001 Distinguished Immigrant Award from the American Immigration Law Foundation. He was also the recipient of several grants from the D.C. Commission of the Arts and Humanities, including grants to illustrate the poems of Pablo Neruda and Federico Garcia Lorca.

Ojeda died in 2002 in Washington, D.C.
Provenance:
The Naúl Ojeda papers were donated in 2016 by Philomena "Pennie" Ojeda.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.

Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.
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 -- Washington (D.C.)  Search this
Printmakers -- Washington (D.C.)  Search this
Topic:
Latino and Latin American artists  Search this
Genre/Form:
Drawings
Scrapbooks
Sketchbooks
Video recordings
Citation:
Naúl Ojeda papers, circa 1960-2004, circa 2013. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.ojednaul
See more items in:
Naúl Ojeda papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-ojednaul
Online Media:

Ilse Getz papers

Creator:
Getz, Ilse, 1917-  Search this
Extent:
3.4 Linear feet
Type:
Collection descriptions
Archival materials
Diaries
Photographs
Date:
1928-1999
Summary:
The papers of collage artist Ilse Getz measure 3.4 linear feet and date from 1928 through 1999, with the bulk of the papers dating from circa 1947-circa 1990. Her personal life is reflected through biographical material including a genealogy of the Bechhold family; marriage and death certificates; and writings that include journals, artist statement, poems and notes. The collection contains letters from friends, artists, collectors, and museum and art gallery representatives; exhibition files; and printed material relating to Getz's exhibitions. Also found are photographs, slides and transparencies of artwork.
Scope and Contents:
The papers of collage artist Ilse Getz measure 3.4 linear feet and date from 1928 through 1999, with the bulk of the papers dating from circa 1947-circa 1990. Her personal life is reflected through biographical material including a genealogy of the Bechhold family; marriage and death certificates; and writings that include journals, artist statement, poems and notes. The collection contains letters from friends, artists, collectors, and museum and art gallery representatives; exhibition files; and printed material relating to Getz's exhibitions. Also found are photographs, slides and transparencies of artwork.
Arrangement:
This collection is organized into 6 series.

Series 1: Biographical Material, circa 1934-1996 (Box 1, OV 5; 0.2 linear feet)

Series 2: Letters, circa 1950-1999 (Box 1; 0.5 linear feet)

Series 3: Exhibition Files, circa 1944-1990 (Box 1, 2, 4; 1.0 linear feet)

Series 4: Writings, circa 1928-1987 (Box 2, 4; 0.2 linear feet)

Series 5: Printed Material, circa 1956-1990 (Box 2, 3, 4, OV 5; 1.0 linear feet)

Series 6: Photographs, circa 1940-1985 (Box 3; 0.5 linear feet)
Biographical / Historical:
Ilse Getz (1917-1992) was born in Nuremberg, Germany and immigrated to the U.S. in 1933. She studied at the Art Students League with George Grosz and Morris Kantor and at the Ozenfant School. Getz was a collage and construction artist active from the 1950s through the 1980. She exhibited at several galleries in New York City including the Bertha Schaefer Gallery and Rosenberg Gallery.

During her childhood, Ilse Getz (nee Bechhold) had been uprooted both from home and country. She was first displaced in 1929, when she was sent to Hamburg to live with her sister after her father committed suicide. In 1933, Ilse and her sister left Nazi Germany, and traveled to Italy, Spain, Cuba, and Mexico. Ilse joined immediate family in New York. In 1937, Ilse married lawyer David Getz and settled in Allentown, Pennsylvania. Three years later she had a child and became a naturalized citizen of the United States.

In 1942, while visiting her sister in Mexico, Getz created her first oil painting. Upon returning to New York, Ilse continued her artistic exploration and studied with George Grosz and Morris Kantor at the Art Students League. By 1945, Getz had already held her first solo exhibition at the Norlyst Gallery in New York.

Getz traveled extensively throughout her life, incorporating the experiences in her work. During 1947-1948, she traveled and worked in Europe, visiting Switzerland, France, Spain and Portugal among other countries before retiring for four months in Guaruja, Brazil. She destroyed most of the artwork created during that period and returned to New York City.

During the summer of 1956, Getz taught and exhibited at the Positano Art Workshop in Italy along with Piero Dorazio. She repeated the experience two years later. In 1958, Getz married her second husband, artist Manoucher Yektai. The following year, Getz and Yektai went to Yaddo in Saratoga Springs, New York after having received fellowships to the artists' community.

In 1960, Getz was commissioned by Richard Barr to create the set for Eugene Ionesco's play, The Killer. The venue was the Seven Arts Theater in New York City and she completed the set in five days. Getz spent the next two years in Paris where she was represented by the Iris Clert Gallery; she exhibited in France, Germany and England. In 1962, Getz returned to New York City and maintained a studio on the Upper East Side. Getz married for the third time in 1964 to Gibson Danes who was then the Dean of Yale School of Art and Architecture. The couple lived in New York and Connecticut, and eventually settled in Newtown, Connecticut.

Getz participated in national and international exhibitions and in solo and group shows. Her collages and constructions incorporate items such as dolls, toys, birds, eggs, playing cards, and game boards. In 1978, retrospective exhibitions of Getz's work were held at the Neuberger Museum in Purchase, New York and in her native city at the Kunsthalle Nürnberg. Retrospective exhibitions were also held in 1980 at the Goethe House and Alex Rosenberg Gallery.

Later in life, Getz suffered from advanced Alzheimer's disease. In 1992, Gibson Danes, fearful that he would no longer be able to properly care for his wife, took both his life and that of Ilse Getz. They were found dead in their garage from acute carbon monoxide toxicity after breathing the fumes of their idling car.
Provenance:
The papers were donated in 2001 by Patricia Getz-Gentle, the daughter of Ilse Getz.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
Occupation:
Collagists -- New York (State) -- New York  Search this
Topic:
Women painters -- New York (State) -- New York  Search this
Genre/Form:
Diaries
Photographs
Citation:
Ilse Getz Papers, 1928-1999. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.getzilse
See more items in:
Ilse Getz papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-getzilse

Lockheed Vega 5B, Amelia Earhart

Pilot:
Amelia Earhart  Search this
Manufacturer:
Lockheed Aircraft Company  Search this
Materials:
Fuselage: wooden monocoque
Wings: wooden cantilever
Dimensions:
Wingspan: 12.49 m (41ft.)
Length: 8.38 m (27ft. 6in.)
Height: 2.49 m (8ft. 2in.)
Weight: Empty 748kg. (1,650lbs.)
Gross: 1,315-1,450kg. (2,900-3,200lbs.)
Type:
CRAFT-Aircraft
Country of Origin:
United States of America
Date:
1927-1929
Credit Line:
Gift of the Franklin Institute
Inventory Number:
A19670093000
Restrictions & Rights:
CC0
See more items in:
National Air and Space Museum Collection
Location:
Steven F. Udvar-Hazy Center in Chantilly, VA
Hangar:
Mary Baker Engen Restoration Hangar
Data Source:
National Air and Space Museum
GUID:
http://n2t.net/ark:/65665/nv908b322a7-9925-4071-b2b2-26a162dc0fce
EDAN-URL:
edanmdm:nasm_A19670093000

Jane Wade papers regarding Curt Valentin

Creator:
Wade, Jane, 1925-  Search this
Names:
Buchholz Gallery (New York, N.Y.)  Search this
Curt Valentin Gallery (New York, N.Y.)  Search this
Fine Arts Associates  Search this
Universität Hamburg  Search this
Barr, Alfred H., Jr., 1902-1981  Search this
Ben-Zion  Search this
Butler, Reg, 1913-1981  Search this
Calder, Alexander, 1898-1976  Search this
Cox, Jan, 1919-1980  Search this
Feininger, Lyonel, 1871-1956  Search this
Flannagan, John Bernard, 1895?-1942  Search this
Gerson, Otto  Search this
Hepworth, Barbara, Dame, 1903-1975  Search this
Kahnweiler, Daniel Henry, 1884-  Search this
Knaths, Karl, 1891-1971  Search this
Kolbe, Georg, 1877-1947  Search this
Lipchitz, Jacques, 1891-1973  Search this
Marcks, Gerhard  Search this
Marini, Marino, 1901-1980  Search this
Masson, André, 1896-1987  Search this
Moore, Henry, 1898-1986  Search this
Odets, Clifford, 1906-1963  Search this
Osborn, Robert Chesley, 1904-1994  Search this
Picasso, Pablo, 1881-1973  Search this
Pickens, Alton  Search this
Pickhardt, Carl E.  Search this
Piper, John, 1903-  Search this
Roesch, Kurt, 1905-  Search this
Smith, David, 1906-1965  Search this
Sutherland, Graham Vivian, 1903-  Search this
Valentin, Curt, 1902-1954  Search this
Extent:
0.6 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Prints
Sketches
Date:
1903-1971
Summary:
The Jane Wade papers regarding art dealer and New York gallery owner Curt Valentin, measure 0.6 linear feet and date from 1903-1971. This small collection consists of papers donated by former Curt Valentin Gallery employee Jane Wade, which provide scattered documentation of Valentin's life and exhibitions at the Buchholz Gallery (renamed Curt Valentin Gallery in 1951) including biographical material, correspondence from artists Valentin represented, writings and notes, lists documenting clients, exhibitions held, and artwork by Picasso sold by the gallery, clippings of obituaries for Valentin, and a complete set of Buchholz Gallery exhibition catalogs from 1937-1948.
Scope and Contents:
The Jane Wade papers regarding art dealer and New York gallery owner Curt Valentin, measure 0.6 linear feet and date from 1903-1971. This small collection consists of papers donated by former Curt Valentin Gallery employee Jane Wade, which provide scattered documentation of Valentin's life and exhibitions at the Buchholz Gallery (renamed Curt Valentin Gallery in 1951) including biographical material, correspondence from artists Valentin represented, writings and notes, lists documenting clients, exhibitions held, and artwork by Picasso sold by the gallery, clippings of obituaries for Valentin, and a complete set of Buchholz Gallery exhibition catalogs from 1937-1948.

Valentin's biographical material is in German and includes his baptismal certificate, a report book from Hamburg University, a letter of recommendation from Commetersche Kunsthandlung, a 1937 permit authorizing Valentin to buy and sell the work of German artists outside Germany, and his 1950 passport.

Valentin's correspondence is primarily with artists and includes letters from Ben-Zion, Reg Butler, Alexander Calder, Jan Cox, Lyonel Feininger, John Flannagan, Barbara Hepworth, Karl Knaths, Gerhard Marcks, André Masson, Henry Moore, Clifford Odets, Carl Pickhardt, Alton Pickens, John Piper, Kurt Roesch, and Graham Sutherland. There are also photocopies of three letters in German from Georg Kolbe. Many of the letters are substantial and provide details about the artists and their work. Also found are a letter vouching for Valentin's loyalty to the United States from Alfred Barr, and two 1942 letters from France from art dealer Henry Kahnweiler, containing news of European artists including Picasso and André Masson.

Jane Wade's correspondence extends to her time working for Otto Gerson at Fine Arts Associates, and includes letters from some of the artists whose work was handled by Curt Valentin, including Alexander Calder, Lois Dailey, and Henry Moore. There are also thirteen letters and telegrams from David Smith, with some responses from Jane Wade and Otto Gerson, which document exhibitions and details of his artist-dealer relationship with Gerson and include sketches of his sculpture with information about prices. Also found in Wade's correspondence are letters from Gertrude Lennart and Marino Marini. Lennart describes the last days of Valentin's life as she accompanied him on a visit to Marini in Italy in August 1954.

There are three folders of condolence letters written upon Valentin's death, from artists, museum and gallery professionals, and other colleagues and friends.

Writings and notes include two appreciations of Valentin written after his death by André Masson and Henry Moore, and a sheet of notes written by John Flannagan with an accompanying note entitled "Some of Johns' thoughts...."

Printed material is comprised of news clippings of obituaries and reviews of a memorial exhibition for Valentin, in addition to a complete set of bound exhibition catalogs for Buchholz Gallery from 1937-1948. Also found is a bound collection of 1929 exhibition catalogs for Galerie Alfred Flechtheim.

Artwork includes a Christmas card from Valentin designed by an artist whose name is illegible; a print by Gerhard Marcks; and a colored pencil sketch of "127 Evil Eye II" on Curt Valentin letter head, with an address on the Rue de Seine written beside it.

Photographs include two of Valentin in his gallery and two of an unidentified woman, possibly Jane Wade, in the gallery; a folder of photographs of Valentin's apartment showing his art collection; a photo of a Robert Osborn cartoon about Valentin; and a photo of "Portrait of Curt Valentin" by Jacques Lipchitz.
Arrangement:
The collection is arranged as a single series.

Series 1: Jane Wade Papers Regarding Curt Valentin, 1903-1971 (0.6 linear feet; Boxes 1-2)
Biographical / Historical:
Born in Germany in 1902, modern art dealer Curt Valentin immigrated to the United States in 1937 where he opened the Buchholz Gallery on West Forty-sixth Street in New York city. After two years he moved the gallery to West Fifty-seventh Street and in 1951 it was renamed the Curt Valentin Gallery.

Valentin's first job was with Alfred Flechtheim, the leading dealer in modern art in Berlin at that time. In 1934 he began working with Karl Buchholz in Hamburg, selling modern art classified as degenerate by the Nazi government from the rear of Buchholz's bookstore. In 1937 Valentin was granted a permit from the Reichskammer der bildenden Kunste in Berlin to purchase and sell German artwork outside of Germany. He left Germany that same year with a number of pictures and came to the United States.

Valentin was a widely respected dealer who specialized in modern paintings, sculpture, and prints, and handled the work of major artists including Alexander Calder, John Flannagan, Gerhard Marcks, Marino Marini, and Henry Moore.

Valentin died suddenly of a heart attack at the age of 52, while visiting Mario Marini in Italy in 1954.

Jane Wade was employed as Valentin's assistant and continued to help run the Curt Valentin Gallery after his death, until it closed in 1955. She then worked for Otto Gerson at Fine Arts Associates, where she helped to handle the works of some of the artists previously represented by Valentin.
Related Materials:
The bulk of Curt Valentin's papers are held by the Museum of Modern Art Archives.
Provenance:
The Jane Wade papers were donated by Jane Wade in 1976. The catalogs of exhibitions organized by Curt Valentin were donated in 1977 by Jane Wade. In 2018 the two collections were merged and named the Jane Wade papers regarding Curt Valentin.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Gallery owners -- New York (State) -- New York  Search this
Art dealers -- New York (State) -- New York  Search this
Topic:
Art, Modern -- 20th century  Search this
Genre/Form:
Photographs
Prints
Sketches
Citation:
Jane Wade papers regarding Curt Valentin, 1903-1971. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.wadejane
See more items in:
Jane Wade papers regarding Curt Valentin
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-wadejane
Online Media:

Stephan Bourgeois papers

Creator:
Bourgeois, Stephan, 1881-1964  Search this
Names:
Bourgeois Galleries (New York, N.Y.)  Search this
Greco, 1541?-1614  Search this
Extent:
4.2 Linear feet
Type:
Collection descriptions
Archival materials
Business records
Photographs
Date:
1908-circa 1964
Summary:
The papers of New York art dealer and consultant Stephan Bourgeois measure 4.2 linear feet and date from 1908 to circa 1964. The papers include biographical material, correspondence, writings, personal business records and printed material.
Scope and Contents:
The papers of New York art dealer and consultant Stephan Bourgeois measure 4.2 linear feet and date from 1908 to circa 1964. The papers include biographical material, correspondence, writings, personal business records and printed material.

Biographical material includes an address book, biographical statement, passport, a few photographs and some miscellaneous artifacts.

Correspondence consists of Stephan Bourgeois's letters to and from museums, clients and other art dealers. There is business correspondence with lawyers and art dealers in Cologne, Germany. Alphabetical correspondence mostly dates from Stephan Bourgeois's time in New York City on the subject of art and exhibitions. There is also correspondence regarding specific paintings.

Writings consists of notebooks on artists, writings about various art subjects, research and writings on El Greco, notes on places and sociology, and finally miscellaneous notes.

Personal business records include income tax records, bills and receipts, material related to requesting compensation from the German government, and miscellaneous financial records.

The bulk of the printed material consists of exhibition catalogs from Bourgeois Galleries. There are a few articles about Stephan Bourgeois, catalogs from other galleries, and assorted clippings.
Arrangement:
The collection is arranged as five series.

Series 1: Biographical Material, 1908-circa 1964 (7 folders; Box 1)

Series 2: Correspondence, 1928-1962 (0.6 linear feet; Box 1)

Series 3: Writings, circa 1910-circa 1964 (2.9 linear feet; Boxes 1-4)

Series 4: Personal Business Records, circa 1910-circa 1964 (0.3 linear feet; Box 4)

Series 5: Printed Material, 1915-1961 (0.4 linear feet; Boxes 4-5)
Biographical / Historical:
Stephan Bourgeois (1881-1964) was an art dealer, historian, writer and gallery owner based in New York City.

Stephan Bourgeois was born in 1881 in Cologne, Germany. He came from a long line of prominent art dealers and collectors. Bourgeois studied law at the University of Geneva, Switzerland and later studied art history at the University of Strasbourg in France as well as the universities of Bonn and Berlin in Germany. After his studies, he traveled extensively and then settled in Paris, France. In 1906, he began his career as an art dealer and consultant for museums and private collections.

Bourgeois immigrated to the United States in 1910 and lived in New York City. From 1911 to 1933, he was the founding director of Bourgeois Galleries. Bourgeois Galleries specialized in Old Master paintings as well as modern art, and featured artists such as Degas, Delacroix, Corot, Cezanne, Renoir, Gauguin, Van Gogh, Toulouse Lautrec, Albert Gleizes, Joseph Stella, Oscar Bluemner, Mario Toppi, and others.

After the gallery closed its doors in 1933, Bourgeois continued his work as an art historian, art dealer, and consultant. He lectured at numerous art institutions and universities such as the Art Institute of Chicago, Columbia University, and New York University. Bourgeois wrote several books including Evolution of Images in Art and Two Polarities of Modern Art: Henri Rousseau and Pablo Picasso. He was especially interested in the life and art of El Greco and he organized an exhibition about him at Knoedler Gallery in 1941 and later wrote a book about the artist. Bourgeois died in 1964.
Provenance:
The Stephan Bourgeois papers were donated to the Archives of American Art in 1980 by Mrs. Stephan Bourgeois, widow of Bourgeois.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
Occupation:
Art dealers -- New York (State) -- New York  Search this
Gallery owners -- New York (State) -- New York  Search this
Art historians -- New York (State) -- New York  Search this
Genre/Form:
Business records
Photographs
Citation:
Stephan Bourgeois papers, 1908-circa 1964. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.bourstep
See more items in:
Stephan Bourgeois papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-bourstep

Otto and Ilse Gerson papers

Creator:
Gerson, Otto  Search this
Gerson, Ilse, 1901-1980  Search this
Names:
Fine Arts Associates  Search this
Galerie Dina Vierny  Search this
Marlborough-Gerson Gallery  Search this
Otto Gerson Gallery (New York, N.Y.)  Search this
Lipchitz, Jacques, 1891-1973  Search this
Marcks, Gerhard  Search this
Smith, David, 1906-1965  Search this
Turner, J. M. W. (Joseph Mallord William), 1775-1851  Search this
Valentin, Curt, 1902-1954  Search this
Wotruba, Fritz, 1907-1975  Search this
Extent:
3 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Date:
1933-1980
Summary:
The papers of New York art dealers and gallery owners Otto and Ilse Gerson measure 3 linear feet and date from 1933 to 1980. This collection includes biographical materials, correspondence, exhibition files, artists' files, collectors' files, business records, inventory and stock records, printed materials, and photographs.
Scope and Contents:
The papers of New York art dealers and gallery owners Otto and Ilse Gerson measure 3 linear feet and date from 1933 to 1980. This collection includes biographical materials, correspondence, exhibition files, artists' files, collectors' files, business records, inventory and stock records, printed materials, and photographs.

Biographical material consists of Otto and Ilse Gerson's naturalization certificates and Ilse Gerson's will.

Correspondence includes a mixture of personal and professional letters. There are a few scattered letters between Otto and Ilse Gerson as well as correspondence with clients, museums, dealers, and artists. Notable correspondents include art dealer Curt Valentin and the artist Gerhard Marcks. There is also correspondence with the Dina Vierny Gallery in Paris, France.

There is a small number of files on the Joseph Mallord William Turner exhibition at Gerson Gallery in 1960 which include correspondence, loan forms, and printed material.

Artists' files contain correspondence, estimates, inventories, sales records, and printed material for art work by five different artists such as Jacques Lipchitz, David Smith, and Fritz Wotruba.

Collectors' files include correspondence, invoices, photographs, and other material related to purchases by various art collectors.

Business records consist of purchase and sales records, audit reports, balance sheets, certificates of authenticity, a sales ledger, and legal documents regarding the business conducted by Fine Arts Associates and Otto Gerson Gallery, and legal agreements and contracts related to the Marlborough-Gerson Gallery merger.

Inventory and stock records include assorted art inventories, a stock book, and stock cards for artists.

Printed material includes a few Gerson Gallery exhibition catalogs and clippings of exhibition reviews.

Photographs consists of a few snapshots of Otto and Ilse Gerson and images of gallery installations.
Arrangement:
The collection is arranged as 9 series.

Series 1: Biographical Material, 1933-1973 (0.1 linear feet; Box 1)

Series 2: Correspondence, 1937-1980 (0.5 linear feet; Box 1)

Series 3: Turner Exhibition Files, 1960-1961 (0.1 linear feet; Box 1)

Series 4: Artists' Files, 1950-1966 (0.3 linear feet; Boxes 1-2)

Series 5: Collectors' Files, 1956-1966 (0.3 linear feet; Box 2)

Series 6: Business Records, circa 1945-1964 (0.3 linear feet; Box 2)

Series 7: Inventory and Stock Records, 1946-1965 (1.3 linear feet; Boxes 2-3)

Series 8: Printed Material, 1951-1962 (0.1 linear feet; Box 3)

Series 9: Photographs, circa 1945-circa 1960 (2 folders; Box 3)
Biographical / Historical:
Otto Gerson was born in Germany and immigrated to the United States, where he met and married Ilse Goehler in 1939. They both became U.S. citizens and together they rose to prominence as art dealers in New York City, circa 1940-1962, bringing works by noted post-war European (and some American) artists to the American market.

The Gersons also owned and operated galleries in New York, including Fine Arts Associates and Gerson Gallery. The Gerson Gallery was located at 41 East 57th Street in New York City and later merged with another gallery to form the Marlborough-Gerson Gallery around 1963, shortly after Otto Gerson's death.
Provenance:
The Otto and Ilse Gerson papers were donated to the Archives of American Art in 1984 by Indian Head Bank North on behalf of Otto and Ilse Gerson.
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:
Art dealers -- New York (State) -- New York  Search this
Gallery owners -- New York (State) -- New York  Search this
Topic:
Art -- Collectors and collecting  Search this
Art, Modern -- 20th century  Search this
Genre/Form:
Photographs
Citation:
Otto and Ilse Gerson papers, 1933-1980. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.gersotto
See more items in:
Otto and Ilse Gerson papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-gersotto
Online Media:

J. B. Neumann papers

Creator:
Neumann, J. B. (Jsrael Ber)  Search this
Names:
Artlover  Search this
Gehenna Press  Search this
New Art Circle (New York, N.Y.)  Search this
Albers, Josef  Search this
Baskin, Leonard, 1922-2000  Search this
Beckmann, Max, 1884-1950  Search this
Kandinsky, Wassily, 1866-1944  Search this
Morrison, Helen Balfour, 1901-1984  Search this
Namuth, Hans  Search this
Rattner, Abraham  Search this
Schmid, Elsa, 1897-  Search this
Photographer:
White, Clarence H., 1871-1925  Search this
Extent:
2.1 Linear feet (4 boxes)
Type:
Collection descriptions
Archival materials
Drawings
Photographs
Scrapbooks
Etchings
Date:
1905-1967
Summary:
The papers of gallery director, art dealer and publisher Jsrael Ber Neumann (1887-1961) measure 2.1 linear feet and date from 1905 to 1967. The papers document Neumann's career as the director of galleries in Berlin and Munich, Germany (1910-1924) as well as the New Art Circle gallery in New York City (1924-1952). Neumann was a respected art dealer, publisher of Artlover periodical, founder of Gehenna Press, and frequent lecturer. Found within his papers are correspondence with artists and museums, writings, printed materials mostly comprised of exhibition catalogues, artwork, and photographic materials.
Scope and Contents:
The papers of gallery director, art dealer and publisher Jsrael Ber Neumann (1887-1961) measure 2.1 linear feet and date from 1905 to 1967. The papers document Neumann's career as the director of galleries in Berlin and Munich, Germany (1910-1924) as well as the New Art Circle gallery in New York City (1924-1952). Neumann was a respected art dealer, publisher of Artlover periodical, founder of Gehenna Press, and frequent lecturer. Found within his papers are correspondence with artists and museums, writings, printed materials mostly comprised of exhibition catalogues, artwork, and photographic materials.

Correspondence is between Neumann and friends, colleagues, and museums. There is also correspondence with notable artists, including Josef Albers, Leonard Baskin, Max Beckmann, Wassily Kandinsky, and Abraham Rattner, among others. There are also condolence letters from friends and colleagues to Elsa Schmid, Neumann's wife.

Scattered writings consist of typescript drafts of Neumann's speeches and one article on expressionism. There is also one speech written by curator Richard Klein.

Printed materials comprise the bulk of the collection and include a bound gallery guest register, a disbound scrapbook, exhibition catalogs and announcements, brochures, magazines, posters, and news clippings. There are many exhibition catalogs from Neumann's galleries in Berlin and Munich as well as from the New Art Circle gallery in New York. Artwork consists of two etchings and one drawing by an unknown artist or artists.

Photographic materials include black and white photographs and negatives, including notable portraits of Neumann by photographers Helen Balfour Morrison, Clarence White, and Hans Namuth.
Arrangement:
This collection is arranged as 5 series.

Series 1: Correspondence, 1925-1961 (0.2 linear feet; Box 1)

Series 2: Writings, 1919, 1954-circa 1960 (5 folders; Box 1)

Series 3: Printed Materials, 1910-1967 (1.7 linear feet; Box 1-4)

Series 4: Artwork, 1919-circa 1960 (3 folders; Box 3-4)

Series 5: Photographic Materials, 1905-circa 1950 (0.2 linear feet; Box 3-4)
Biographical / Historical:
J. B. (Jsrael Ber) Neumann (1887-1961) was a gallery director, art dealer and publisher. After immigrating to the U.S., Neumann founded the New Art Circle Gallery in New York City. Before then, he had art galleries in Berlin, Munich, Dusseldorf and Bremen, Germany.

J. B. Neumann was born in Austria in 1887. His father was an oil and lumber dealer. Neumann initially studied business but later apprenticed to a book and picture dealer when he was nineteen. While working as a clerk in a large bookstore in London, Neumann had the opportunity to work at the rare book dealer's table in the British Museum. The job allowed him to assess and handle fine and rare books, starting a lifelong passion, and Neumann went on to amass a substantial personal library.

In 1910, Neumann returned to Berlin, Germany and in 1911 opened a book and art shop where he exhibited the work of Edvard Munch and others. Neumann had many friends who were artists and in 1915-1916 he was secretary to the Berlin Secession, a prominent German artist association. By 1922 Neumann had branch offices in Bremen, Dusseldorf and Munich.

Neumann immigrated to America in 1923 and left the Berlin gallery to the directorship of Karl Nierendorf and the Munich gallery to Günther Franke. Neumann settled in New York City and one year later he opened a 57th Street gallery and bookshop, first called J.B. Neumann's Print Room and later the New Art Circle gallery. He supported numerous artists, including Wassily Kandinsky, Max Beckmann, Paul Klee, and Georges Rouault. Elsa Schmid, Neumann's wife, was an artist who worked in mosaics.

Neumann also worked as a publisher. He created the printing company Gehenna Press and published a series of periodicals including Bilderhefte (Berlin, 1920-1922) and Artlover (New York, 1926-1945, 1959). The New Art Circle gallery closed circa 1952 and, after working as its director for nearly three decades, Neumann became a consultant for museums and collectors. He was also a lecturer and he frequently spoke about art at universities, museums and galleries.

Neumann died in Rye, New York on April 28, 1961. He is survived by his widow, Elsa Schmid (d. 1970); two sons, Peter and Albrecht; and a daughter, Mrs. Johanna Lam.
Related Materials:
The Archives of American Art also holds a collection of Josef Albers letters to J. B. Neumann, 1934-1947 on microfilm reel 911.

Additional J.B. Neumann papers are also located at the Museum of Modern Art in New York. The museum microfilmed a portion of these papers and donated a copy of that film to the Archives. This material may be viewed on reel NJBN5 at Archives of American Art offices, affliate centers, and via interlibrary loan.
Separated Materials:
Also available at the Archives of American Art are materials lent for microfilming (reels NJBN-1- NJBN-5) including correspondence with numerous artists, art critics, museum directors and others. The materials on reel NJBN-1- NJBN-4 were returned to Neumann's wife, Elsa Schmid and the original material on reel NJBN-5 is located at The Museum of Modern Art in New York, NY. Loaned material is not described in the collection container inventory.
Provenance:
Neuman's wife, Elsa Schmid and The Museum of Modern Art lent the Archives of American Art material for microfilming in 1966-1967. The rest of the J.B. Neumann papers were donated in several installments between 1973-2007 by Eva Lee (family friend), Joy Weber, Max Weber's daughter, Neil Richmond, and Hellie Neumann, J.B. Neumann's granddaughter.
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:
Gallery directors -- New York (State) -- New York  Search this
Art directors -- New York (State) -- New York  Search this
Publishers -- New York (State) -- New York  Search this
Topic:
Art, Modern -- 20th century -- United States -- History  Search this
Art -- Periodicals  Search this
Genre/Form:
Drawings
Photographs
Scrapbooks
Etchings
Citation:
J. B. Neumann papers, 1905-1967. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.neumjsra
See more items in:
J. B. Neumann papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-neumjsra

Black-Brown Coalition Building - Revisiting Our Black Mosaic Symposium

Creator:
Anacostia Community Museums Collections and Research  Search this
Type:
Conversations and talks
YouTube Videos
Uploaded:
2015-11-23T22:37:36.000Z
YouTube Category:
Education  Search this
Topic:
African Americans  Search this
See more by:
Anacostia_Community_Museums
Data Source:
Anacostia Community Museums Collections and Research
YouTube Channel:
Anacostia_Community_Museums
EDAN-URL:
edanmdm:yt_0YpDizbH_gY

Educating the Diaspora: Turning Diverse Realities into Pedagogy

Creator:
Anacostia Community Museums Collections and Research  Search this
Type:
Conversations and talks
YouTube Videos
Uploaded:
2015-12-03T23:17:38.000Z
YouTube Category:
Education  Search this
Topic:
African Americans  Search this
See more by:
Anacostia_Community_Museums
Data Source:
Anacostia Community Museums Collections and Research
YouTube Channel:
Anacostia_Community_Museums
EDAN-URL:
edanmdm:yt_q_rCpCdJASc

German Ornamental Stove Plate, c. Mid-sixteenth Century

Physical Description:
metal, iron (overall material)
cast (overall production method/technique)
Measurements:
overall: 40 in x 38 in x 29 in; 101.6 cm x 96.52 cm x 73.66 cm
Object Name:
Stove, Plate
Place made:
United States: Pennsylvania
Location where used:
United States: Pennsylvania
Associated date:
1748
Credit Line:
Gift of Union Fork and Hoe Company
ID Number:
CL.59.0027
Catalog number:
59.27
59.0027
59.27
Accession number:
220793
See more items in:
Cultural and Community Life: Community Life
Many Voices, One Nation
Exhibition:
Many Voices, One Nation
Exhibition Location:
National Museum of American History
Data Source:
National Museum of American History
GUID:
http://n2t.net/ark:/65665/ng49ca746a4-c4f4-704b-e053-15f76fa0b4fa
EDAN-URL:
edanmdm:nmah_659514

Subject – BRYANT, ALYS McKEY

Collection Creator:
Oakes, Claudia M.  Search this
Container:
Box 2, Folder 3
Type:
Archival materials
Scope and Contents:
Materials – The Early Birds' application for membership, biography, newspaper clippings, and articles.
Collection Restrictions:
No restrictions on access.
Collection Rights:
Material is subject to Smithsonian Terms of Use. Should you wish to use NASM material in any medium, please submit an Application for Permission to Reproduce NASM Material, available at Permissions Requests.
Collection Citation:
United States Women In Aviation Through World War I Collection, Acc. XXXX-0424, National Air and Space Museum, Smithsonian Institution.
See more items in:
United States Women in Aviation through World War I
United States Women in Aviation through World War I / Series 3: Subject Files
Archival Repository:
National Air and Space Museum Archives
EDAN-URL:
ead_component:sova-nasm-xxxx-0424-ref137
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  • View Subject – BRYANT, ALYS McKEY digital asset number 1

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