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Oconomowoc -- Tatterdemalion

Former owner:
Cran, C. R.  Search this
Sherry, Avery  Search this
Beverung, William  Search this
Landscape architect:
Griggs, Judson  Search this
Consultant:
Sproule, Michael  Search this
Gardener:
Johnson, Kyle  Search this
Johnson, Trevor  Search this
Collection Creator:
Garden Club of America  Search this
Type:
Archival materials
Place:
Tatterdemalion (Oconomowoc, Wisconsin)
United States of America -- Wisconsin -- Waukesha County -- Oconomowoc
Scope and Contents:
The folder includes a worksheet and narrative description, a copy of the garden plan, and a plant list. The garden is noted for its Edwardian strolling garden, boxwood plantings, and roses, all complementing the arts and crafts style lakeside cottage.
General:
The gardens of Tatterdemalion, situated on a two-acre site, are designed to complement this 1907 arts and crafts style lakeside cottage. The wrap-around porch is surrounded by a stone terrace edged with tea roses and a lavender hedge. Steps to the west lead across the drive to an Edwardian strolling garden, bordered by an antique 1850 wrought iron fence, acquired in Madison, Indiana. Gently curving paths radiate from a circular path which encloses a weeping crabapple tree surrounded by lamb's ears. A low box hedge curves around in a flowing line to define the lawn. A semi-circle of purple lilacs and white Blanc Double de Coubert roses frame a bronze statue of Mercury.
Hemlocks and viburnums screen the adjoining property and form the backround for antique rose bushes, the mainstay of the garden. Flowering continues throughout the summer with the addition of pastel old-fashioned flowers. A dooryard fern garden on the north side of the house faces a small orchard. To the east is a Victorian reflecting pool centered in a semi-circular enclosure of shrubs. A wisteria and rose-covered arbor frames the view into the garden.
Persons associated with the property include: C. R. Cran (former owner, 1907-1939); Avery Sherry (former owner, 1939-1957); William Beverung (former owner, 1957-1986); Judson Griggs (landscape architect, 1987-1998); Michael Sproule (consultant, 1995-1997); Kyle Johnson (hardscape gardener, 1998); and Trevor Johnson (hardscape gardener, 1998).
Related Materials:
Tatterdemalion related holdings consist of 1 folder (29 35 mm. slides)
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 -- Wisconsin -- Oconomowoc  Search this
Collection Citation:
Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.
Identifier:
AAG.GCA, File WI025
See more items in:
The Garden Club of America collection
The Garden Club of America collection / Series 1: United States Garden Images / Wisconsin
Archival Repository:
Archives of American Gardens
GUID:
https://n2t.net/ark:/65665/kb6032e5722-d790-4b94-940f-e5e9adb91e5f
EDAN-URL:
ead_component:sova-aag-gca-ref11680

Indianapolis -- Jipson Place

Former owner:
Lilly, Josiah K., Jr.  Search this
Lilly, Ruth  Search this
Eastman family  Search this
Hanley family  Search this
Muller, Paul F., Dr.  Search this
Muller, Ruth L.  Search this
Kramer, Michael D.  Search this
Kramer, Mona  Search this
Elliott, William C.  Search this
Elliott, Elizabeth  Search this
Owner:
Butler, Richard  Search this
Street, Jamie, Dr.  Search this
Hardscape designer:
Swift, Kyle  Search this
Landscaper:
Heath Outdoors Landscape  Search this
Sculptor:
Lulu's Petals  Search this
GRT Glass Design  Search this
Custom Made Palm Tree Co.  Search this
Creator:
Star Tile Works  Search this
Provenance:
Indianapolis Garden Club  Search this
Collection Creator:
Garden Club of America  Search this
Type:
Archival materials
Place:
Jipson Place Garden (Indianapolis, Indiana)
United States of America -- Indiana -- Marion County -- Indianapolis
Scope and Contents:
22 digital images (2016-2017) and 1 file folder.
General:
The gardens at Jipson Place are primarily deep borders of hosta arranged into rooms according to the names of the varieties, augmented with statuary and other features. The one-and-one-half acre property has an historic house built in Victorian style in 1896-1897, used as a summer house with wraparound porches on a wooded 40 acre lot. Remodeled to Colonial Revival style by the second owners circa 1920 the property lost more than ten mature trees to a tornado in 1992, leaving open spaces that sparked the current owners' interest in developing gardens. Brick and stone paths lead into the perimeter patios and garden rooms that have poured concrete edging. More than 1,400 varieties of hosta have been planted with heuchera, ferns, acanthus, blue fescue, and ageratum; more than 45 varieties of Japanese maple, conifers and old oaks. Large urns and other containers are planted with annuals or left empty as focal points, particularly a collection of bright red pots. Statuary includes two Chinese armed warriors and other antique pieces that were rescued from the site of the Three Gorges Dam, a contemporary Rose sculpture comprised of four free standing glass panels and roses, metal palm trees, several Greek figures, and a Purdue University basketball player commemorating the owners' alma mater. A turn of the 20th century trolley waiting station used as a children's playhouse now serves as a bar for weddings and other events, in view of a large hippopotamus fountain with "the works" concealed by large rocks.
Some of the hosta varieties are rare and four have been registered by the owners: "Jipson Place Summer Solstice", "Jipson Place City Shadows", "Jipson Place Meteor Crater" and "Jipson Place Tree Top Lover". The property is situated in an historic district that was listed on the National Register of Historic Places in 2008.
Dr. and Mrs. Joseph A. Eastman (former owners, 1897- ); Josiah K. Lilly, Jr. and Ruth Lilly (former owners, 1919- ); Mr. and Mrs. William A. Hanley, Sr. (former owners, 1940- ); Dr. Paul F. and Ruth L. Muller (former owners, 1956- ); Michael D. and Mona Kramer (former owners, 1971- ); Richard Butler and Dr. Jamie Street (owners, 1983- )William C. and Elizabeth Elliott (former owners, 1975- ); Kyle Swift (hardscape designer, 1992- ); Heath Outdoors Landscape (landscape design, 1992- ); GRT Glass Design/Lulu's Petals (sculpture); Custom Made Palm Tree Co. (sculpture); Star Tile Works (Chinese red dragon chimney pot).
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 -- Indiana -- Indianapolis  Search this
Collection Citation:
Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.
Identifier:
AAG.GCA, File IN069
See more items in:
The Garden Club of America collection
The Garden Club of America collection / Series 1: United States Garden Images / Indiana
Archival Repository:
Archives of American Gardens
GUID:
https://n2t.net/ark:/65665/kb6ecc035ff-75cb-4c0d-8265-5540b4dc8faf
EDAN-URL:
ead_component:sova-aag-gca-ref32757

Elizabeth Gordon Papers

Creator:
Gordon, Elizabeth, 1906-2000  Search this
Names:
Claiborne, Craig  Search this
Gordon, Elizabeth, 1906-2000  Search this
Leach, Bernard, 1887-1979  Search this
Extent:
3 Linear feet
Type:
Collection descriptions
Archival materials
Periodicals
Photographs
Correspondence
Personal papers
Place:
Japan
Date:
1958-1987
Summary:
Papers, 1959-1987, of Elizabeth Gordon, editor of the periodical, House Beautiful from 1941-1964, mostly related to her research for the August and September 1960 issues of House Beautiful regarding the Japanese aesthetic concept of "shibui", and the subsequent travelling "shibui exhibition" from 1961-1964. Included are correspondence, some photocopies, 1959-1963; notes; drafts for articles and lectures; printed material including magazine and newspaper clippings, 1959-1987; 2 books, and exhibition announcements; drawings of paper and foil art; a photo album containing photos of exhibition installations; and photographs, slides, color transparencies, and lantern slides depicting people, sites, and objects reflecting the "shibui" aesthetic.
Scope and Contents:
The Elizabeth Gordon Papers measure 4.5 linear feet and span the years 1959-1987. The collection mainly documents Ms. Gordon's research for the August and September 1960 issues of House Beautiful regarding the Japanese aesthetic concept of "shibui", and the subsequent travelling "shibui exhibition" from 1961-1964. Included are correspondence, some photocopies, 1959-1963; research notes and materials; articles; lectures; printed material including magazine and newspaper clippings, 1959-1987; 2 books, and exhibition announcements; article materials; a photo album containing photos of exhibition installations; and photographs, slides, color transparencies, and lantern slides depicting people, sites, and objects reflecting the "shibui" aesthetic.
Arrangement note:
This collection is organized into eight series. 1. Biographical data, 2. Shibui research, 3. Shibui issues of, House Beautiful, 4. Correspondence, 5. Shibui promotion, 6. Exhibition files, 7. Printed materials, and 8. Photographs.
Biographical Information:
Born in Logansport, Indiana in 1906, Elizabeth Gordon served as editor of House Beautiful magazine 1941 to 1964. Ms. Gordon first became interested in Japanese aesthetics during the mid-1950s. As a result she began to read and study Japanese art, history and culture. In 1959, Gordon travelled to Japan with three staff people from, House Beautiful. In Kyoto she met Eiko Yuasa, a young woman then employed by the City of Kyoto to handle foreign V.I.P.s, who was assigned to assist Gordon during her stay there. It was Ms. Yuasa who, in the course of discussions of Japanese aesthetics, introduced the term "shibui." Around that term and its related concepts ("iki", "jimi", "hade") the theme for the issue began to crystallize. In August and September, 1960, House Beautiful, under the editorial control of Ms. Gordon, published two extremely popular issues devoted to the subject of "shibui". Due to the popularity of the issues, museum exhibits devoted to the concept of "shibui" travelled around the United States. Ms. Gordon died in Adamstown, Maryland in 2000.

Biographical Overview

1906 -- Born in Logansport, Indiana

1920s -- Attended the University of Chicago

1930s -- Moved to New York to work as a promotional copywriter for several newspapers

1930s -- Syndicated columnist on home maintenance for The New York Herald Tribune

1930s -- Editor at Good Housekeeping (here for 8 years)

1937 -- More House for your Money by Elizabeth Gordon and Dorothy Ducas published by W. Morrow and Company: New York.

1937 -- Married Carl Hafey Norcross

1939 -- Appointed editor of House Beautiful

1964 -- Left the magazine world

1972 -- Published a special issue on Scandinavian design and awarded the insignia of a knight, first class, in the Finnish Order of the Lion

1987 -- American Institute of Architects made her an honorary member

1988 -- Carl Hafey Norcross died

September 3, 2000 -- Died in Adamstown, MD

(The following biography of Elizabeth Gordon comes courtesy of curator Louise Cort. Written in consultation with Elizabeth Gordon, October 23, 1987)

The research papers, memoranda, magazines, books, photographs and color transparencies and other materials in this archives are related to the publication by Elizabeth Gordon (Mrs. Carl Norcross), editor of House Beautiful from 1941 to 1964 and creator of the August, 1960 issue of the magazine on the special theme of the Japanese aesthetic concept of "shibui". The "shibui issue" was followed by the September, 1960, issue of the same publication on the theme, "How to be shibui with American things." As a by-product of the issues, a "Shibui Exhibition" travelled to eleven museums in the United States during 1961-1964. Each exhibition was opened with a slide lecture by Elizabeth Gordon.

Miss Gordon first became curious about Japanese aesthetics in the mid-1950s when she began to see Japanese objects being displayed and used in the homes of Americans who had spent time in Japan during the Occupation and Japanese influence began to appear in wholesale showrooms of home furnishings manufacturers. It was clear that the time had come: she HAD to go to Japan!

She read for five years before going to Japan - history, social mores, art history. (Many of the books on Japan that she collected during this time have been presented to the library at the University of Maryland, College Park.)

An important bit of advice came from Alice Spaulding Bowen, owner of Pacifica, the highest quality shop of Asian antiquities in Honolulu, who told her, "Be sure to read, The Tale of Genji - then you'll understand everything."

She made her first trip to Japan in April, 1959, accompanied by three staff people from, House Beautiful. In Kyoto she met Eiko Yuasa, a young woman then employed by the City of Kyoto to handle foreign V.I.P.s, who was assigned to assist Miss Gordon during her stay there. It was Ms. Yuasa who, in the course of discussions of Japanese aesthetics, introduced the term "shibui." Around that term and its related concepts ("iki", "jimi", "hade") the theme for the issue began to crystallize.

Miss Gordon came home, planning to spend the summer researching "shibui" with the aid of the Japan Society. But she found virtually nothing written in English on the concept. So she returned to Japan in December, 1959 together with staff member Marion Gough, to dig deeper and to work out details and get better educated with Eiko Yuasa. One of their devices was to walk through department stores and discuss with sales personnel whether objects for sale were "shibui", or were "jimi" or "hade", and why. Between themselves, they did the same for the costumes of women they saw on the streets.

Lacking printed sources for information on "shibui", Miss Gordon sought out and interviewed experts, including Douglas Overton, head of the Japan Society in New York. In Japan in December, 1959, she met Yanagi Soetsu, founder of Japan's Folk Craft Movement and head of the Craft Museum in Tokyo (with an introduction from Tonomura Kichinosuke, head of the Craft Museum in Kurashiki). She met the chef Tsuji Kaichi, who was commissioned to write an article on "kaiseki" (that could not be used because of an inadequate English translation) and Frances Blakemore. She met several times with Bernard Leach and attended his lecture at Bonnier's while he was in New York in March, 1960. (He would later write a "fan letter" for the issue)

As the concept of "the shibui issue" began to take shape, a third trip in the spring of 1960 focused on photography - to produce the shooting script decided on the preceding December. This was executed by the noted photographer Ezra Stoller of Rye, New York, and John DeKoven Hill, House Beautiful's Editorial Director. (Mr. Hill worked with Frank Lloyd Wright except for the ten years that he was a member of the House Beautiful editorial staff)

Miss Gordon was back in Japan in Mid-August 1960 as the "shibui issue" was causing a sensation. Altogether she spent sixteen months in Japan.

As one of the experiences that influenced her strong interest in Japanese costumes and textiles, Miss Gordon remembers a spectacularly thorough exhibition at the Tokyo National Museum in Ueno on, 1200 Years of Japanese Costume. She saw it on the last day of its exhibition (possibly 1964).

The August 1960 issue sold out quickly. Copies of the magazine, which sold for fifty cents, were sold on the "black market" for ten dollars.

The publication of the August 1960 issue was followed by an unprecedented avalanche of "fan mail". Many department heads in colleges and universities, including the Harvard-Yenching Institute and the Oriental Institute of the University of Chicago (where Miss Gordon had worked as an undergraduate) wrote to comment on the issue. Many people in other fields of endeavor wrote: heads of firms concerned with interior design, landscape architecture, and related areas expressed their interest in the concept of "shibui" Other writers include Bernard Leach, Gertrude Natzler, Laura Gilpin, Mainbocher, the architect Yoshimura Junzo, the textile artist Marianne Strengell, Walter Kerr, Craig Claiborne, and Oliver Statler.

The "shibui issue" was followed immediately by the September issue dealing with the use of non-Japanese objects to express the concept of "shibui." (Miss Gordon convinced her advertisers, who had been skeptical about the potential success of the August issue, by promising the September issue dealing with American products.) Four American firms were involved in the production of an integrated line of paints, wallpaper, furniture and carpets expressive of the concept. Products were designed by the firms' designers following the clues offered by objects and fabrics purchased by Miss Gordon in Japan in December 1959 and spring 1960. Miss Gordon has expressed her dissatisfaction with the September issue, although public opinion was positive. She feels that some of the firms failed in the "shibui" project, though some "caught" the message: namely the paint company and the fabric/wallpaper company.

In response to strong public interest, the House Beautiful staff prepared a travelling exhibition to introduce the concept of "shibui" through a series of vignettes, mixing fabrics and objects, colors and textures. The museum installation was designed by John Hill of House Beautiful. Japan Air Lines underwrote shipping costs.

The exhibition began in Philadelphia in late 1961. Ezra Stoller was sent to photograph the installation in considerable detail at the Dallas Museum of Fine Arts in January, 1962, so that his photographs cold serve as guidelines for installations at the other museums, which included the San Francisco Museum of Art (April 1962), the Newark Pubic Library, and the Honolulu Academy of Art. Miss Gordon presented a lecture on "shibui" at each of the museum installations.

In appreciation of her work to introduce Americans to the concept of "shibui", the city of Kyoto presented a bolt of especially "shibui" kimono fabric executed by a Living National Treasure textile artist. Miss Gordon eventually tailored the fabric into a dress and jacket. She received the 1961 Trail Blazer Award from the New York Chapter of the National Home Fashions League, Inc. In June, 1987, Miss Gordon was named an honorary member of the American Institute of Architects, with her introduction of the concept of "shibui" and her promotion of an understanding of other culture cited as her major contributions to American architecture.
Provenance:
Elizabeth Gordon donated her papers to the Freer Gallery of Art and Arthur M. Sackler Gallery Archives in 1988.
Elizabeth Gordon donated her papers to the Freer Gallery of Art and Arthur M. Sackler Gallery Archives in 1988.
Restrictions:
Collection is open for research.
Rights:
No restrictions on use.
Topic:
Interior decoration -- Periodicals  Search this
Landscape gardening  Search this
Art, Japanese  Search this
Aesthetics, Japanese  Search this
House funishings  Search this
Interior decoration  Search this
Museum exhibits  Search this
Interior decorators  Search this
Gardens -- Japan  Search this
Genre/Form:
Periodicals -- 1940-1970
Photographs
Correspondence
Personal papers -- 1950-2000
Citation:
The Elizabeth Gordon Papers. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Smithsonian Institution, Washington, D.C. Gift of Elizabeth Gordon, 1988
Identifier:
FSA.A1988.03
See more items in:
Elizabeth Gordon Papers
Archival Repository:
Freer Gallery of Art and Arthur M. Sackler Gallery Archives
GUID:
https://n2t.net/ark:/65665/dc3bd5683e5-f956-4a04-9d0c-4565a6b761b7
EDAN-URL:
ead_collection:sova-fsa-a1988-03
Online Media:

Joseph Cornell Study Center Collection

Artist:
Cornell, Joseph  Search this
Names:
Benton, Elizabeth Cornell  Search this
Cornell, Robert  Search this
Extent:
196.8 Linear feet
186 Nitrate negatives
Type:
Collection descriptions
Archival materials
Nitrate negatives
Photographs
Place:
New York, New York
Date:
1750-1980, bulk 1930-1972
Summary:
The Joseph Cornell Study Center collection measures 196.8 linear feet and dates from 1750 to 1980, with the bulk of the material dating from 1930 to 1972. Documenting the artistic career and personal life of assemblage artist Joseph Cornell (1903-1972), the collection is primarily made up of two- and three-dimensional source material, the contents of the artists' studio, his record album collection, and his book collection and personal library. The collection also includes diaries and notes, financial and estate papers, exhibition materials, collected artifacts and ephemera, photographs, correspondence, and the papers of Robert Cornell (1910-1965) and Helen Storms Cornell (1882-1966), the artist's brother and mother.
Scope and Contents:
The Joseph Cornell Study Center collection measures 196.8 linear feet and dates from 1750 to 1980, with the bulk of the material dating from 1930 to 1972. Documenting the artistic career and personal life of assemblage artist Joseph Cornell (1903-1972), the collection is primarily made up of two- and three-dimensional source material, the contents of the artists' studio, his record album collection, and his book collection and personal library. The collection also includes diaries and notes, financial and estate papers, exhibition materials, collected artifacts and ephemera, photographs, correspondence, and the papers of Robert Cornell (1910-1965) and Helen Storms Cornell (1882-1966), the artist's brother and mother.

Correspondence is with collectors, museums, galleries, artists, friends, family, charity organizations, admirers and those admired by Cornell, and World War II European pen pals. Discussions about the appreciation, donation, sale, purchase, and exhibition of Cornell's works are frequent, with the inclusion of shipping and loan documentation or notices of payment installments. Galleries and museums frequently request that Cornell agree to an exhibition, which he often declines, and fans request free works be mailed or affordable works be sold to them. With friends, artists, and those he admired, Cornell discussed topics that fascinate him, included bits of poetry or philosophical musings, sent clippings or a collaged letter, and occasionally discussed a project or work in process. After World War II, when so many were displaced by the war in Europe, Cornell answered ads for pen pals in the "Christian Science Monitor," often responding to requests for clothing or other goods, and sometimes exchanging many letters over several years. Family correspondence is with his mother, sisters, brother, and others, and often notes activities of the day, foods eaten, and general musings, as well as occasionally mentioning a project or artwork. Correspondents of note include Stan Brakhage, Betty Freeman, Charles Henri Ford, Allegra Kent, Yayoi Kusama, Roberto Matta, Marianne Moore, Octavio Paz, Sonia Sekula, Pavel Tchelitchew, Parker Tyler, Dorothea Tanning, and Betsy von Furstenberg, among others.

Cornell was often preoccupied with his thoughts, feelings, memories, a project or thematic "exploration," and jotted notes on seemingly any surface available. Notes and musings are on napkins, the backs of envelopes, newspaper clippings, and paper bags from record and magazine stores. Frequently, an observation would trigger a lengthy nostalgic moment, or a "feé," fairy-like child or girl, would capture his imagination and lead him to thoughts of 18th-century ballerinas and silent film stars. Cornell wrote longer diary notes, sometimes expanding on an earlier notation or emotion, and often wrote when he experienced trouble sleeping or woke early. Drafted letters to imaginary muses or admired individuals are interspersed among diaries, often revealing Cornell's yearnings to find emotional intimacy and human connection. Over time, Cornell revisited his notes and occasionally made further notations about renewed thoughts on a topic, dating the note with "revisited" or "reviewed." Notes are often written in a stream-of-consciousness style, for example, jumping from the mention of a record album or composer, to a ballerina of the same period, a note about a French poet, the memory of childhood, or an observation made earlier in the day, all in the space of a few lines. Notes about artistic processes or meanings behind works or images do occasionally emerge from the tangled, poetic notations. Notes also often provide insights into Cornell's internal emotional state and give clues about his intentions behind an artwork or a particular thematic fixation.

Financial materials document Cornell's professional and personal business activities, including the sale of artworks, annual expenses for supplies and household incidentals, payments and schedules for personal assistants, receipts for donations to charities and nonprofits, and tax documents. There is also information about who worked as assistants, or "helpers," in his later years and where Cornell purchased art supplies. Additionally, specific details are documented through receipts and invoices, such as what kind of paint he purchased. Estate records include preparations made for Cornell's artworks after his death, and clippings about other deceased artist's estates show that he thought often about such arrangements in his later years.

Exhibition files highlight several select solo exhibitions for Cornell, as well as preparations and planning for the "Robert Cornell: Memorial Exhibition" in honor of his brother in 1966. Also included are several early exhibition catalogs and announcements, including "Surréalisme" (January 9-29, 1932) and "Exhibition of Objects (Bibloquet) by Joseph Cornell" (December 6-31, 1939) at the Julien Levy Gallery, and "Romantic Museum: Portraits of Women, Constructions and Arrangements by Joseph Cornell" (December 1946) at the Hugo Gallery.

Film projects and collected film materials consist of files related to Cornell's various experimental film projects: "Aviary," "Cappuccino," "Centuries of June," "Fable for Fountains," "Nymphlight," "Serafina's Garden," and unrealized film scenario "Monsieur Phot." Files include film-making notes, correspondence, and photographs. Cornell's interest in film also led him to collect film-related materials, such as film stills, film posters, and screening programs. Scattered correspondence documents the interest other institutions and individuals had in purchasing and viewing his collection. Though most of his collected film stills and movie posters were donated to the Anthology Film Archives, film stills from "Escape Me Never" (1935) and "The Passion of Joan of Arc" (1928) are still within the collection, as well as film-screening programs for Cornell's collection of films.

Writing and design projects document Cornell's work authoring articles and designing issues of specialty dance magazine "Dance Index," and his layouts for popular magazines like "Good Housekeeping," "House and Garden," and "Mademoiselle." Other writing projects include brochures dedicated to opera singers Maria Malibran and Giulia Grisi, "Maria" and "Bel Canto Pet." Materials used for these brochures, such as copper photo engraving plates, are also found. Design work includes a series of Christmas cards created with The Museum of Modern Art as well as traced patterns ("textile tracings") and design clippings from Cornell's time working as a "textile designer" for Traphagen Commercial Textile Studio.

Cornell acquired troves of source material from bookstalls, antique stores, sporting good and department stores, hardware stores, and magazine and record shops. He kept boxes and files of material on admired individuals, such as actresses, artists, dancers, and singers, as well as on art projects or thematic "explorations." Files are on general topics such as American history, scientific phenomena, animals, plants, and humankind, as well as on series of artworks, such as "Castles," "Homage to the Romantic Ballet," and "Medici Slot Machines." Focused "exploration" projects include "Celestial Theatre," "Colombier," "GC 44," and "Switzerland," among others. Materials include photographs, photostats, maps, book fragments, autographed letters, notes, collage clippings and cutouts, collected prints and engravings, box and collage fragments, and scattered artifacts.

Collected ephemera includes large amounts of blank postcards and greeting cards, stamps, collected bus and train tickets, food labels and packaging, decals, and other materials. Artifacts are three-dimensional collected objects and source objects, which include found objects from the streets, dried flowers, and pieces of nature gathered from walks around his neighborhood. Cornell may have gathered materials because they inspired a memory or nostalgic feeling, or because they fit with a bin of other similar objects to select from for an artwork in progress.

Photographs found within the collection are of Cornell at work and as a child with family. Also found are assorted personal and family photographs, photographs of Cornell's attic and garage storage, and photographs of his Utopia Parkway house. Photographs of artwork include few installation photographs, in addition to photographs of Cornell's boxes and collages. Collected photographic materials include vintage photographs, such as tintypes, a cyanotype, stereoscopic glass slides, albumen prints, cabinet cards, and cartes-de-visite. Cornell also collected cased photographs, such as daguerreotypes, ambrotypes, and one opalotype. Negatives and photostats were often produced from various prints and even other photographs and used in Cornell's boxes and collages. Images are of men and women, actors, authors, dancers, performers, well-known men and women, royalty, places, and artwork. Photographs of note include those by Hans Namuth of Willem and Lisa de Kooning and of Edward Hopper's bedroom; photographs by Henri Cartier-Bresson; a photograph by Julia Margaret Cameron; photographs by Brassai; and a photogravure by Alfred Stieglitz from "Camerawork."

Also found in the collection are works of art by others, including a sketch by Pavel Tchelitchew, as well as artwork by Cornell, such as unfinished collages, Rorschach drawings or ink blots, and childhood artwork. Printed material includes assorted bulletins, flyers, exhibition materials for other artists, journals, and sent printed membership and charity materials. Magazines, including "View," are also included, and often have annotations by Cornell or a note to "cut" or "review" with page numbers. A large amount of magazine and newspaper clippings are in the collection, sometimes collected with a group of like material by Cornell, and at other times simply gathered in heaps. Occasional annotations are also found on the clippings.

Cornell's personal library and book collection includes over 2500 titles, ranging from fiction, poetry, and cinema, to history, science, and travel. Notable among the titles are "Baedeker's" travel guides that Cornell often sourced for his "Hotel" box series, as well as an influential publication by Max Ernst, "La Femme 100 têtes," which includes a typed letter and exhibition flyer tucked within. Books often have annotations, some fairly extensive, by Cornell, and assorted collected items, notes, and correspondence tucked between pages. Pages were often cut by Cornell, either to make photostats and use in a box, or to file with other thematic "explorations." A wide range of authors and topics provide insight into Cornell's interests and to ideas behind artwork and diary notes. Cornell's collection of record albums includes over 145 records. These contain inserted notes and clippings and are often referenced in diary notes Cornell made, noting a recent album or song listened to while at work in his studio.

The papers of Cornell's mother, Helen Storms Cornell, and his brother, Robert Cornell, are also included in the collection. Both lived with Cornell his whole life, spending the most time with him at their home at 3708 Utopia Parkway. Financial materials document shared responsibilities for billing, utilities, household fixes and chores, and expenditures, and Helen kept detailed financial records in a series of ledgers. Robert notes when he borrowed money from Cornell, or when he means to pay Cornell back for the purchase of a typewriter. Activities documented in diaries also occasionally cross paths with Cornell, noting his visitors or an exchange of letters continued after introductions through Cornell. Personal activities, such as Robert's interest in his train collection and his drawing projects and cartoon series, are also documented.
Arrangement:
The Joseph Cornell Study Center Collection is arranged into 15 series:

Series 1: Biographical Material, 1917-1972 (Boxes 1, 98, OV118; 0.9 linear feet)

Series 2: Correspondence, 1813, 1934-circa 1973 (Boxes 1-8, 86; 6.5 linear feet)

Series 3: Diaries and Notes, 1940-1976 (Boxes 8-10, 98-99, 135, OV108, OV119; 3.5 linear feet)

Series 4: Personal Business and Estate Records, 1950-1978 (Boxes 10-14; 4.1 linear feet)

Series 5: Exhibition Files, 1932-1973 (Box 14; 0.3 linear feet)

Series 6: Film Projects and Collected Film Materials, circa 1924-1972 (Boxes 14-16, 100, 133; 1.6 linear feet)

Series 7: Writing and Design Projects, circa 1910s, 1936-1962 (Boxes 16-18, 86, 100, 131-132, OV109-OV111, OV120-OV122; 3.6 linear feet)

Series 8: Source Material, 1750-circa 1911, 1926-1972 (Boxes 19-49, 86-92, 96, 100-105, 126-130, 132-137, OV112-OV115, OV125; 42.2 linear feet)

Series 9: Artifacts and Ephemera, 1768, circa 1839-1972 (Boxes 49-52; 3.2 linear feet)

Series 10: Photographic Material, circa 1800s-1972 (Boxes 52-56, 80-86, 93, 106, 128, 133, OV116, OV123-OV124; 7.5 linear feet)

Series 11: Artwork, circa 1810-1972 (Boxes 56-57, 107, OV117; 1.2 linear feet)

Series 12: Printed Material, 1855-1972 (Boxes 57-76, 94-96, 107; 16 linear feet)

Series 13: Book Collection and Personal Library, 1722-1980 (99.8 linear feet)

Series 14: Record Album Collection, circa 1925-1974 (3.2 linear feet)

Series 15: Cornell Family Papers, 1910-1980 (Boxes 77-79, 97, 107; 3.2 linear feet)
Biographical / Historical:
Joseph Cornell (1903-1972) was a self-taught assemblage and collage artist, and filmmaker, active in New York City. He was born in Nyack, New York on December 24, 1903, and died of heart failure at his home in Queens, New York on December 29, 1972. The oldest of four children, he was born Joseph I. Cornell to his mother, Helen Storms Cornell (1882-1966), and his father, Joseph I. Cornell (1875-1917). Cornell had two younger sisters, Elizabeth ("Betty") Cornell Benton (1905-2000) and Helen ("Sissy") Cornell Jagger (1906-2001), as well as one brother, Robert Cornell (1910-1965), who had cerebral palsy.

Cornell attended the Phillips Academy, a preparatory boarding school in Andover, Massachusetts, beginning shortly after his father's death in 1917. He attended for four years but did not receive a diploma, and soon began work as a textile salesman for the William Whitman Company in Manhattan. His work took him, by foot, through the city, visiting secondhand bookshops on Fourth Avenue, browsing music stores and magazine shops, and catching early shows at the Metropolitan Opera House. He would occasionally wait outside the stage doors for favorite singers and dancers to emerge, requesting signatures on photographs or bits of costumes.

Around 1926, Cornell joined the Christian Science Church, joined by his brother Robert shortly thereafter, and both continued to be lifelong members. Cornell kept a number of books in his personal library on Christian Science teachings and regularly subscribed to "The Christian Science Monitor."

After living in several rental houses in Bayside, New York, Cornell's mother purchased a house for the family in 1929 in Flushing, Queens. Cornell, along with his mother and brother, would live at 3708 Utopia Parkway, for the rest of their lives. His two sisters soon married and moved away, eventually settling in Westhampton, Long Island and in the poultry-farming business.

With no formal art training to speak of, Cornell's first work was a Max Ernst-inspired collage, "Untitled (Schooner)," created in 1931. He was especially inspired by Ernst's collage novel, "La Femme 100 têtes," published in 1929. French artist Odilon Redon was also among the few artists Cornell named as an influence on his art. His first sculptural works were small, cardboard pill boxes with bits of ephemera, costume adornments, and nature hidden inside. Cornell also created a series of glass bell jar works, placing small trinkets and Victorian-era-like compositions within. It was these early collages and bell jar works that were included in Cornell's debut exhibition, "Surréalisme" (January 9-29, 1932), a group show at the Julien Levy Gallery. Cornell designed the announcement for the show and exhibited alongside Max Ernst, Man Ray, Pierre Roy, Pablo Picasso, Marcel Duchamp, Eugène Atget, George Platt Lynes, Jean Cocteau, and Salvador Dalí. Months later, Cornell was invited to have his first solo show, "Objects by Joseph Cornell: Minutiae, Glass Bells, Shadow Boxes, Coups d'Oeil, Jouets Surréalistes" (November 26-December 30, 1932), also at the Julien Levy Gallery.

In 1932, after eleven years of work, Cornell was laid off from the William Whitman Company due to the Great Depression. Soon after, he took on more responsibility in the church, working part-time as an attendant in the Christian Science Reading Room in Great Neck, New York. Beginning in 1933, he taught Sunday school classes for three years and in 1935, became the Sunday school librarian. However, his religious activities and artistic ventures continued to remain separate.

In the early 1930s, Cornell progressed from movie lover to filmmaker. When Julien Levy began his New York Film Society in 1933, holding screenings of various experimental films in the gallery, Cornell began buying and collecting films and film stills in earnest. He set up a 16-millimeter projector in his home to screen favorites, such as those by Georges Méliès, D.W. Griffith, and Louis Feuillade. His collection quickly grew to over 2,500 film stills and several hundred films, and included silent era films, such as nature documentaries, goofy newsreels, travelogues, early cartoons, and slapstick comedies, as well as several feature films. In 1933, Cornell wrote a screenplay, or "scenario," entitled "Monsieur Phot." Between 1935 and 1937, Cornell also occasionally created publicity photomontages for Universal and Columbia studios. Of the nearly thirty films Cornell created, periods of activity can generally be separated into two areas: collage films of the late 1930s, consisting of combined elements from films in his own collection, and films he directed in the 1950s, which were collaborations with other filmmakers set in New York City. "Rose Hobart," Cornell's most celebrated collage film, was created and shown in the Julien Levy Gallery in 1936 and includes clipped footage from "East of Borneo." Later films were directed and filmed with cinematographers Stan Brakhage, Rudy Burckhardt, and Larry Jordan.

In 1934, Cornell began a job at the Traphagen Commercial Textile Studio as a "textile designer," a job he held for six years. Continuing to work at his kitchen table in the evenings, Cornell completed his first assemblage box construction, "Untitled (Soap Bubble Set)," in 1936. It was first exhibited at The Museum of Modern Art's show, "Fantastic Art, Dada and Surrealism" (December 9, 1936-January 17, 1937). This work was also the first to be acquired by a museum, purchased for $60.00 by the Wadsworth Atheneum in Massachusetts in 1938. Cornell's European debut was also in 1938, as one of three Americans represented in the "Exposition Internationale du Surréalisme" (January 17-Febuary 24, 1938) at the Galerie Beaux-Arts in Paris, alongside Man Ray and Anne Clark.

At the end of 1939, Cornell began corresponding with poet Charles Henri Ford, founder of avant-garde magazine "View," Pavel Tchelitchew, and Parker Tyler. After his "Soap Bubble Sets," this period saw the development of Cornell's homages to singers and actresses, including "Untitled (Fortune-Telling Parrot for Carmen Miranda)," the destroyed "Garbo (Greta Garbo in the Legendary Film 'The Crystal Mask,' c. 1845)," and "Dressing Room for Gilles." He also began using photostats of art reproduction prints, as with the print of Jean Antoine-Watteau's painting, "Pierrot" (circa 1719), used in his "Gilles" box.

In the 1940s, the Romantic ballet emerged as Cornell's new topic of interest. Through his friend Pavel Tchelitchew, Cornell was introduced to the School of American Ballet and New York City Ballet founders, Lincoln Kirstein and George Balanchine. Cornell collected dance memorabilia and had a great love of the Romantic ballet. His favorite dancers were primarily ballerinas of the nineteenth century, including Fanny Cerrito, Marie Taglioni, Fanny Elssler, Lucille Grahn, and Carlotta Grisi. Cornell's "Homage to the Romantic Ballet" works largely took the shape of jewel-box style wooden boxes with glass overlays and included bits of velvet, tulle, sequins, crystals, and chiffon, occasionally collected from dancers themselves. His most well-known work of this series is "Taglioni's Jewel Casket" (1940). Cornell also admired several living ballet dancers, including Tamara Toumanova, Zizi Jeanmaire, and Allegra Kent, who would all make their way into Cornell's box works and/or collages. Collecting for the "exploration," "Portrait of Ondine," Cornell's cased portfolio dedication to Fanny Cerrito and her role in the ballet "Ondine," began in the 1940s, though not completed until around 1960.

In late 1940, Cornell quit his job at Traphagen to concentrate on freelance commercial magazine design and editorial work during the day and his artwork at night. That same year, Charles Henri Ford started "View" magazine to promote Surrealists and Neo-Romantics in New York City and often asked Cornell to contribute. Published in the December 1941-January 1942 issue, one of his early contributions was a collage dedication to stage actress Hedy Lamarr: "Enchanted Wanderer: Excerpt from a Journey Album for Hedy Lamarr" (1941). Along with writing the accompanying text, he created a photomontage of Lamarr with her face overlaying the painted portrait of a Renaissance boy by Italian painter Giorgione. Peggy Guggenheim, at the advice of Marcel Duchamp, purchased multiple Cornell works prior to opening her new gallery, Art of This Century. Cornell also befriended Roberto Matta Echaurren, another Surrealist living in exile, who introduced him to Robert Motherwell.

After deciding to fully dedicate his time to his art in early 1940, he set up a studio in his basement. Complete with floor-to-ceiling wooden shelving, he kept his large collection of boxed source material stacked with handwritten labels in cardboard boxes. Themed folders of materials such as "Stamps" or "Maps" were kept in stacks and works in progress and finished works were stored in the basement, garage, and attic. Entering a renewed period of productivity, Cornell embarked on many new and important box projects in 1942. One of the first boxes created in his new basement studio, and the first of the "Penny Arcade" or "Medici Slot Machine" series, was "Medici Slot Machine" (1942), which includes a photostat of "Portrait of Marquess Massimiliano Stampa" (1557) by Sofonisba Anguissola. Another work from this time is the first of his "Castle" or "Palace" series, "Setting for a Fairy Tale" (1942), which uses a photostat of a French building from Jacques Androuet du Cerceau's book, "Les Plus excellents bastiments de France" (1576). "Untitled (Pharmacy)" (circa 1942) was the first of his "Pharmacy" series and included twenty-two apothecary jars. Cornell tended to work in series and created thirteen "Palace" boxes between 1942 and 1951, and ultimately created six "Pharmacy" works.

In 1943, Cornell began working at an electronics company, the Allied Control Company, Inc., to do his part to contribute to the defense effort during the war. He also sent correspondence and care packages to displaced Europeans, who listed their needs in "The Christian Science Monitor." Influenced by World War II, one of his strongest works to emerge in 1943 was "Habitat Group for a Shooting Gallery." Another notable work to come out of this period, "The Crystal Cage (Portrait of Berenice)," was an excerpt from one of his album "explorations" that was published in the January 1943 issue of "View."

Cornell left his job at Allied Control in 1944, but soon began working at the Garden Centre in Flushing, owned by a fellow Christian Scientist. Cornell was often nostalgic for this time in his life, devoting an entire "exploration" of material fondly remembered as "GC 44." He rode a bicycle to work and enjoyed collecting trips gathering dried grasses, driftwood, shells, and other relics of nature on the same bicycle as he rode through the streets of Queens. During this time, he continued to tend to his projects for "Dance Index," a magazine founded in 1942 by Lincoln Kirstein, but taken over by Donald Windham in 1944. Cornell designed several covers for the magazine and was given control of the entire summer 1944 issue, which he devoted to the Romantic ballet. He also devoted a special 1945 issue to Hans Christian Andersen, making great use of the New York Public Library Picture Collection.

Throughout the 1940s, Cornell continued to support himself with commercial design work for magazines like "Vogue," "Good Housekeeping," "Harper's Bazaar," "Town & Country," and "Mademoiselle." In 1946, after thirteen years at the Julien Levy Gallery, he joined the Hugo Gallery. In December 1946, Cornell's solo exhibition, "Romantic Museum at the Hugo Gallery: Portraits of Women by Joseph Cornell," celebrated his favorite movie stars, singers, and ballet dancers, and included his work created for the show, "Untitled (Penny Arcade Portrait of Lauren Bacall)." Cornell's "Greta Garbo" box, as well as "Souvenir for Singleton," an homage to Jennifer Jones and her role in the film "Love Letters," were also included in the show. In late 1948, his West Coast debut was in the exhibition, "Objects by Joseph Cornell," held at the Copley Gallery. The end of the 1940s saw the final issue of "View" magazine in 1947, the closure of the Julien Levy Gallery in April 1949, and Cornell's departure from the Hugo Gallery after his last show in November 1949.

In late 1949, Cornell joined the Charles Egan Gallery, known primarily for showing Abstract Expressionists. At this time, Cornell was working on a new series of boxes known as his "Aviary" works, most of which include a white-painted box with cutouts of birds mounted on wood. Though he had worked on bird-related boxes before, including an "Owl" series in the mid-1940s, his "Fortune Telling Parrot" (1939), and "Object 1941" (1941), these newer works were stripped of French elements and left "clean and abstract" by design. His first show at the Egan Gallery, "Aviary by Joseph Cornell" (December 7, 1949-January 7, 1950), included twenty-six "Aviary" works, nearly all created in 1949. Donald Windham agreed to write the foreword for the exhibition catalog, a single folded sheet, and Cornell gave him one of the boxes in the show, "Cockatoo: Keepsake Parakeet," in appreciation. Through the Egan Gallery, Cornell became friends with a new group of artists, including Franz Kline, Jack Tworkov, and Willem de Kooning. Cornell also held two screenings of a selection of his collected films at Subjects of the Artist, an art school founded by Robert Motherwell, Mark Rothko, David Hare, and William Baziotes.

In 1950, Cornell's second show at the Egan Gallery, "Night Songs and Other New Work" (December 1, 1950-January 13, 1951), introduced his new "Observatory" series. These works are largely defined by stark, whitewashed spaces with astronomical charts and constellations replacing colorful birds. The Museum of Modern Art purchased its first Cornell work from this show in early 1951, "Central Park Carrousel, in Memoriam" (1950).

For three months in 1951, Cornell was beset by various ailments and had trouble finding the energy to create new work. He worried more for his aging mother and the health of his brother. After a monthlong vacation with his sisters in Westhampton, he returned with renewed interest in Emily Dickinson's poetry. His whitewashed boxes took on a new form in his newest "Dovecote" series, using grids and circular cutouts. The works then transformed into homages to Dickinson, notably "Toward the Blue Peninsula: For Emily Dickinson" (circa 1953), and then to his "Hotel" series. Cornell's "Hotel" boxes include photostats of vintage European ads for hotels collected from vintage travel guides, especially "Baedeker's," adhered to the back walls of the boxes. Another new series of work, his "Juan Gris" series, was dedicated to Cubist artist Juan Gris. Between 1953 and the mid-1960s, Cornell created at least fifteen "Juan Gris" boxes, which often include a cutout of a white cockatoo in a Cubist-collage habitat. Cornell's third and last show at Egan Gallery, "Night Voyage" (February 10-March 28, 1953), included some of these newest works. After leaving Egan Gallery, his work was introduced to Chicago collectors in a solo show at the Frumkin Gallery, "Joseph Cornell: 10 Years of His Art" (April 10-May 7, 1953), which included nearly thirty pieces. Cornell's first museum retrospective was this same show held at the Walker Art Center in Minneapolis (July 12-August 30, 1953).

As New York City continued to change, Cornell grew more nostalgic for the city he had explored since the 1920s. The impending closure of the Third Avenue El train prompted him to dream up a film project to capture its last days, resulting in "Gnir Rednow," a reworking of Stan Brakhage's 1955, "Wonder Ring." During this time, Cornell joined the Stable Gallery, run by Eleanor Ward, interacting often with Robert Rauschenberg, Cy Twombly, and Joan Mitchell, remaining there until the end of the 1950s. His astronomy-themed exhibition, "Winter Night Skies" (December 12, 1955-January 13, 1956), included his "Night Skies" series of work with celestial chart fragments, Greek mythological figures, and paint-splattered "windows" representative of star-filled night skies. In 1956, he became aware of ballerina Allegra Kent, and began a series of work devoted to her, the first of which was "Via Parmigianino (Villa Allegra)" (1956), which included a photostat of a painting by Parmigianino, "The Madonna of the Long Neck" (circa 1540). In late 1957, after two years, Cornell had his last show at Stable Gallery, "Joseph Cornell: Selected Works" (December 2-31, 1957), consisting of a series of "Sand Fountain" boxes and "Space Object" or "Celestial Navigation" works. The "Sand Fountain" boxes included different colors of sand meant to flow within, often from the tops into cordial glasses. His "Celestial Navigations" included galaxy-like compositions set within the boxes, with rolling, painted cork balls, metal rings, and constellation charts, sometimes hovering over cordial glasses or clay pipes. This last Stable Gallery show earned him his first published profile, written by Howard Griffin for the December 1957 issue of "Art News." Also in 1957, he won the Kohnstamm Prize for Construction at the Art Institute of Chicago's 62rd Annual Exhibition of Paintings and Sculpture.

Towards the end of the 1950s, Cornell spent less time creating new bodies of work, and focused more on revisiting previous series and reviewing piles of collected source material. In 1959, Cornell returned to making collages, frequently sourcing popular magazines. In December 1959, Cornell was awarded $1,500 for his "Orion" collage, entered in the Art Institute of Chicago's "63rd American Exhibition of Painting and Sculpture." Also in December, he was offered a show at Bennington College in Vermont, which he titled, "Bonitas Solstitialis: Selected Works by Joseph Cornell and an exploration of the Colombier" (November 20-December 15, 1959). The show included one of his newest "explorations" of collected material related to "colombier," or pigeon houses.

By 1962, Cornell was working diligently on new collages, using Masonite boards and colorful magazine clippings. He also began creating collages using nude images interspersed with constellation clippings or hazy blue dyes. As in previous decades and art movements, Cornell became acquainted with new artists, spending less time in the city and more time hosting visitors at his Utopia Parkway home. Visitors included artists Walter De Maria, Robert Whitman, Andy Warhol, James Rosenquist, and Robert Indiana. Tony Curtis also became a frequent visitor and friend, introduced by Richard Feigen in 1964. The early 1960s was also the first time Cornell put out an advertisement for assistants in the "Long Island Star-Journal," employing a number of young men and women who helped organize clippings and run errands. Cornell also met Joyce Hunter, a young runaway waitress at a city coffee shop, who would occupy his thoughts and diary notes for the next several years. When she was murdered at the end of 1964, Cornell paid for her funeral. He went on to make several "Penny Arcade" collages in memoriam to her, including, "Penny Arcade (re-autumnal)" (1964).

In 1964, Cornell began friendships with several women including artist Carolee Schneeman, who was his first assistant in the early 1960s. He also met artist Yayoi Kusama through art dealer Gertrude Stein. After becoming friends, she visited him often and they exchanged letters and notes. As he did with other artist friends, Cornell supported her by purchasing several of her early watercolor paintings, and they stayed connected until his death in 1972.

Cornell's life greatly changed in 1965 with the death of his brother, Robert. By this time, his mother lived with his sister in Long Island, and Cornell was alone in the Utopia Parkway house for the first time. He exchanged frequent letters and phone calls with his mother and devoted much time to thinking about Robert and Joyce, often aligning them in his diary notations. Cornell also created a series of collages dedicated to his brother's memory, incorporating photostats of Robert's hundreds of drawings into Cornell's work, as with the later collage, "The Heart on the Sleeve" (1972). Cornell's "Time Transfixed" series of collages were also dedications to Robert's memory, referencing Magritte and Robert's love of trains. He mounted an exhibition, "Robert Cornell: Memorial Exhibition" (January 4-29, 1966), at the Robert Schoelkopf Gallery, where he showed Robert's artwork alongside his newly created collage dedications.

After Robert's death, Cornell relied more heavily on assistants, going through many part-time "helpers." In October 1966, Cornell's mother died, adding her to his constant thoughts and diaries. Though he was still grieving, he was given two major retrospectives in 1967. The first was at the Pasadena Art Museum, put on by James Demetrion and Walter Hopps, "An Exhibiton of Works by Joseph Cornell" (January 9-February 11, 1967). The second retrospective was at the Guggenheim Museum just three months later, "Joseph Cornell" (May 4-June 35, 1967), organized by Diane Waldman. After these shows, he was highlighted in the December 15, 1967 issue of "Life" in the article, "The Enigmatic Bachelor of Utopia Parkway."

In 1968, Cornell was given an "award of merit," which included a medal and $1,000, by the American Academy and Institute of Arts and Letters. He was also given a medal and $1,000 by the Brandeis University Creative Arts Awards in the painting category, along with an exhibition. Days later, "The New York Times" announced Cornell the winner, along with Donald Judd, of India's first Triennale of Contemporary World Art. The Brandeis exhibition, "Boxes and Collages by Joseph Cornell" (May 20-June 23, 1968), was organized by William Seitz and concentrated on Cornell's more recent 1960s collages. Cornell was also included in the Metropolitan Museum of Art's hundredth anniversary show, "New York Painting and Sculpture: 1940 to 1970" (October 18, 1969-February 1, 1970), where twenty-two of Cornell's boxes were shown in their own gallery. At the end of 1970, Cornell was given a solo show at the Metropolitan, "Collages by Joseph Cornell" (December 10, 1970-January 24, 1971), which included forty-five of his newest collages.

Now preferring to stay closer to his home in Flushing, Cornell was more interested in sharing his art with young adults and children, than an adult audience. He hosted a group of high school students, sponsored by the Metropolitan Museum of Art's education department, at his home in conjunction with his collage show (1970-1971). He also showed his work in the art department of Queens College of the City University of New York. Cornell still hosted visitors on occasion, having Yoko Ono and John Lennon at his home at least once. Leila Hadley, Betsy von Furstenberg, and Anne Jackson also made frequent visits. With his deteriorating health, Cornell worried about what would happen to his work after his death and hired lawyer Harry Torczyner to help him plan his estate and get his affairs in order.

In 1972, Cornell had a show at the Cooper Union, a college in New York, specifically for children. He displayed his boxes and collages at child-height and had cherry soda and brownies at the opening reception on February 10. He then held a show at the Albright-Knox Art Gallery in Buffalo, also for children: "Children's Preview of the Exhibition of Joseph Cornell – Collages and Boxes (April 18-June 17, 1972). In the winter of 1972, at the request of the Phoenix House drug treatment and prevention program, Cornell contributed to a charity project compiling limited-edition lithographic prints for a portfolio, which included artists like David Hockney, James Rosenquist, and Ellsworth Kelly.

On December 29, 1972, a week after turning sixty-nine, Cornell died of heart failure at his home. He was cremated and interred near the graves of his mother, father, and brother, overlooking the Hudson River in Nyack, New York.

Works Cited:

1. Hartigan, Lynda Roscoe. "Joseph Cornell: Navigating the Imagination." New Haven, Connecticut and London: Yale University Press, 2007. Exhibition Catalog.

2. McShine, Kynaston. "Joseph Cornell." New York: Museum of Modern Art, 1980.

3. San Francisco Cinematheque and The San Francisco Museum of Modern Art. "Joseph Cornell: Films." 2007. Exhibition Program. (Presented in conjunction with SFMOMA's exhibition of "Joseph Cornell: Navigating the Imagination").

4. Schaffner, Ingrid and Lisa Jacobs. "Julien Levy: Portrait of an Art Gallery." Cambridge, Massachusetts and London: The MIT Press, 1998.

5. Solomon, Deborah. "Utopia Parkway: The Life and Work of Joseph Cornell." New York: Farrar, Straus and Giroux, 1997.
Separated Materials:
The Smithsonian Archives of American Art houses the Joseph Cornell papers, 1804-1986, bulk 1939-1972.
Provenance:
The Joseph Cornell Study Center collection was donated to the Smithsonian American Art Museum by Joseph Cornell's sister and brother-in-law, Elizabeth Cornell Benton and John A. Benton, in 1978, which prompted the creation of the Joseph Cornell Study Center. Additional materials were donated in installments by the artist's estate, the Joseph and Robert Cornell Memorial Foundation, from 1985 to 1997. Elizabeth and John A. Benton originally donated 66 linear feet of three-dimensional and non-textual source material and 50 linear feet of books to the Smithsonian Archives of American Art, which were subsequently transferred to the Smithsonian American Art Museum's Joseph Cornell Study Center in 1994 and 1995.
Restrictions:
Access to the collection requires an advanced appointment. Contact collection staff at least two weeks prior to preferred date, at AmericanArtCornellStudy@si.edu.

Series 9: Artifacts and Ephemera, Series 13: Personal Library and Book Collection, and Series 14: Record Album Collection, are still undergoing processing and preservation and may not be available for research use. Record albums are unavailable for playback. Contact collection staff for full lists of publications and record albums.
Rights:
Unpublished materials are protected by copyright. Permission to publish, quote, or reproduce must be secured from the repository and the copyright holder.
Occupation:
Collagists -- New York (State) -- New York  Search this
Topic:
Art, Modern -- 20th century -- United States  Search this
Assemblage (Art)  Search this
Assemblage artists -- New York (State) -- New York  Search this
Found objects (Art)  Search this
Works of art  Search this
Celebrities  Search this
Filmmakers -- New York (State) -- New York  Search this
Genre/Form:
Photographs -- 1900-1950 -- Photoprints -- Silver gelatin
Photographs -- 1860-1870 -- Black-and-white photoprints -- Silver albumen -- Cartes-de-visite
Photographs -- Daguerreotypes -- 1840-1860
Citation:
Joseph Cornell Study Center collection, 1750-1980, bulk 1930-1972. Joseph Cornell Study Center, Smithsonian American Art Museum.
Identifier:
SAAM.JCSC.1
See more items in:
Joseph Cornell Study Center Collection
Archival Repository:
Smithsonian American Art Museum, Research and Scholars Center
GUID:
https://n2t.net/ark:/65665/ih7d97fc249-474d-41bf-953d-5305df1e4c06
EDAN-URL:
ead_collection:sova-saam-jcsc-1

Phase II Archaeological Survey, Testing and Evaluation Program Patriot Generating Station, Mexico Bottom, Switzerland County, Indiana

Creator:
Michael, Ronald L.  Search this
Extent:
1 Volume (xv + 284 + appendices and maps)
Type:
Archival materials
Volumes
Printed material
Place:
Indiana -- Antiquities
Patriot Generating Station -- Mexico Bottom -- Switzerland County -- Indiana -- Archeology
Date:
July 1978
Restrictions:
Item in off site storage. Contact archives for information on availability.
Collection Rights:
Contact the repository for terms of use.
Genre/Form:
Printed material
Citation:
Cite as for book.
See more items in:
Archaeology reports and related material collection
Archaeology reports and related material collection / Reports and related material
Archival Repository:
National Anthropological Archives
GUID:
https://n2t.net/ark:/65665/nw3500a1442-387f-463a-b673-37299821505f
EDAN-URL:
ead_component:sova-naa-1976-028-ref770

Archaeological Test Excavations of Four Prehistoric Sites in the Rural Indiana Electric Cooperative Power Plant Project Area, Sullivan County, Indiana

Creator:
Wyss, James D.  Search this
Wyss, Sandra K.  Search this
Extent:
1 Volume (iv + 41)
Type:
Archival materials
Volumes
Printed material
Place:
Indiana -- Antiquities
Site Su-127 -- Sullivan County -- Indiana -- Archeology
Site Su-147 -- Sullivan County -- Indiana -- Archeology
Site Su-141 -- Sullivan County -- Indiana -- Archeology
Site Su-138 -- Sullivan County -- Indiana -- Archeology
Date:
October 1976
Restrictions:
Item in off site storage. Contact archives for information on availability.
Collection Rights:
Contact the repository for terms of use.
Genre/Form:
Printed material
Citation:
Cite as for book.
See more items in:
Archaeology reports and related material collection
Archaeology reports and related material collection / Reports and related material
Archival Repository:
National Anthropological Archives
GUID:
https://n2t.net/ark:/65665/nw336719145-d5ac-4381-bd47-a3633ef28270
EDAN-URL:
ead_component:sova-naa-1976-028-ref771

An Archeological Overview and Management Plan for the Jefferson Proving Ground, Jefferson, Jennings, and Ripley Counties, Indiana

Creator:
Stafford, Barbara D.  Search this
Hassen, Harold  Search this
Jelks, Edward  Search this
Barr, Keith L.  Search this
Hajic, Edwin R.  Search this
Asch, Nancy B.  Search this
Asch, David L.  Search this
Extent:
1 Volume (xiii + 8 chapters + appendices)
Type:
Archival materials
Volumes
Printed material
Place:
Indiana -- Antiquities
Jefferson Proving Ground (Indiana) -- Jefferson County -- Archeology
Jefferson Proving Ground (Indiana) -- Jennings County -- Archeology
Jefferson Proving Ground (Indiana) -- Ripley County -- Archeology
Date:
January 7, 1985
Restrictions:
Item in off site storage. Contact archives for information on availability.
Collection Rights:
Contact the repository for terms of use.
Genre/Form:
Printed material
Citation:
Cite as for book.
See more items in:
Archaeology reports and related material collection
Archaeology reports and related material collection / Reports and related material
Archival Repository:
National Anthropological Archives
GUID:
https://n2t.net/ark:/65665/nw3826346c1-634f-4c29-b76f-b0bc1a1db342
EDAN-URL:
ead_component:sova-naa-1976-028-ref772

An Archeological Overview and Management Plan for the Newport Army Ammunition Plant, Vermillion County, Indiana

Creator:
Stafford, Barbara D.  Search this
Hassen, Harold  Search this
Jelks, Edward  Search this
Phillippe, Joseph  Search this
Hajic, Edwin R.  Search this
Asch, Nancy B.  Search this
Asch, David L.  Search this
Extent:
1 Volume (xi + 88)
Type:
Archival materials
Volumes
Printed material
Place:
Indiana -- Antiquities
Newport Army Ammunition Plant -- Vermillion County -- Indiana -- Archeology
Date:
May 21, 1984
Restrictions:
Item in off site storage. Contact archives for information on availability.
Collection Rights:
Contact the repository for terms of use.
Genre/Form:
Printed material
Citation:
Cite as for book.
See more items in:
Archaeology reports and related material collection
Archaeology reports and related material collection / Reports and related material
Archival Repository:
National Anthropological Archives
GUID:
https://n2t.net/ark:/65665/nw3d2c68e8a-a750-4d07-a187-373b73ecd741
EDAN-URL:
ead_component:sova-naa-1976-028-ref773

An Archeological Overview and Management Plan for the Indiana Army Ammunition Plant, Clark County, Indiana

Creator:
Stafford, Barbara D.  Search this
Hassen, Harold  Search this
Jelks, Edward  Search this
Barr, Keith L.  Search this
Hajic, Edwin R.  Search this
Asch, Nancy B.  Search this
Asch, David L.  Search this
Extent:
1 Volume (xiii + 81)
Type:
Archival materials
Volumes
Printed material
Place:
Indiana -- Antiquities
Indiana Army Ammunition Plant (Clark County, Indiana) -- Archeology
Date:
December 3, 1984
Restrictions:
Item in off site storage. Contact archives for information on availability.
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Genre/Form:
Printed material
Citation:
Cite as for book.
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Archaeology reports and related material collection
Archaeology reports and related material collection / Reports and related material
Archival Repository:
National Anthropological Archives
GUID:
https://n2t.net/ark:/65665/nw3b068b437-4eab-4155-8c86-62567ee716a6
EDAN-URL:
ead_component:sova-naa-1976-028-ref774

The Prehistoric Cultural Resources of Lock and Dam 43, Harrison County, Indiana

Creator:
DiBlasi, Philip J.  Search this
Darnley, M. Michelle  Search this
Extent:
1 Volume (iv + 79)
Type:
Archival materials
Volumes
Printed material
Place:
Indiana -- Antiquities
Lock and Dam 43 (Harrison County, Indiana) -- Archeology
Date:
September 12, 1980
Restrictions:
Item in off site storage. Contact archives for information on availability.
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Genre/Form:
Printed material
Citation:
Cite as for book.
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Archaeology reports and related material collection
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Archival Repository:
National Anthropological Archives
GUID:
https://n2t.net/ark:/65665/nw35c708d55-f9a2-4060-9938-1254046f6697
EDAN-URL:
ead_component:sova-naa-1976-028-ref775

Phase I Shoreline Reconnaissance Cecil M. Harden Lake, Parke and Putnam Counties, Indiana

Creator:
Anslinger, C. Michael  Search this
Pace, Robert E.  Search this
Jackson, Misty M.  Search this
Extent:
1 Volume (ix + 279)
Type:
Archival materials
Volumes
Printed material
Place:
Indiana -- Antiquities
Cecil M. Harden Lake (PArke and Putnam Counties, Indiana) -- Archeology
Date:
January 1988
Scope and Contents:
Indiana State University, Anthropology Laboratory Technical Report 2
Restrictions:
Item in off site storage. Contact archives for information on availability.
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Genre/Form:
Printed material
Citation:
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Archival Repository:
National Anthropological Archives
GUID:
https://n2t.net/ark:/65665/nw31cea60ec-7b80-4c1f-92af-035cbc6eccc0
EDAN-URL:
ead_component:sova-naa-1976-028-ref776

A Preliminary Archaeological Reconnaissance of the Lyford Local Protection Study Area, Parke County, Indiana

Creator:
U.S. Army Engineer District, Louisville  Search this
Extent:
1 Volume (iv + 54)
Type:
Archival materials
Volumes
Printed material
Place:
Indiana -- Antiquities
Lyford Local Protection Study Area (Parke County, Indiana) -- Archeology
Date:
February 1985
Restrictions:
Item in off site storage. Contact archives for information on availability.
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Genre/Form:
Printed material
Citation:
Cite as for book.
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Archival Repository:
National Anthropological Archives
GUID:
https://n2t.net/ark:/65665/nw37ef7ef25-350f-4350-9e11-d9c8b695ee83
EDAN-URL:
ead_component:sova-naa-1976-028-ref777

An Archaeological Reconnaissance of a Considered Bank Protection Area on the Wabash River Near New Harmony, Posey County, Indiana

Creator:
U.S. Army Engineer District, Louisville  Search this
Extent:
1 Volume (iii + 13)
Type:
Archival materials
Volumes
Printed material
Place:
Indiana -- Antiquities
Wabash River -- New Harmony -- Posey County -- Indiana -- Archeology
Date:
August 1983
Restrictions:
Item in off site storage. Contact archives for information on availability.
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Genre/Form:
Printed material
Citation:
Cite as for book.
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Archival Repository:
National Anthropological Archives
GUID:
https://n2t.net/ark:/65665/nw35285cb26-e7a7-41a8-88bb-28d8355f37a3
EDAN-URL:
ead_component:sova-naa-1976-028-ref778

A Preliminary Archaeological Reconnaissance of a Local Flood Protection Project at Orleans, Orange County, Indiana

Creator:
U.S. Army Engineer District, Louisville  Search this
Extent:
1 Volume (iii + 12)
Type:
Archival materials
Volumes
Printed material
Place:
Indiana -- Antiquities
Orleans -- Orange County -- Indiana -- Archeology
Date:
February 1985
Restrictions:
Item in off site storage. Contact archives for information on availability.
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Genre/Form:
Printed material
Citation:
Cite as for book.
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Archival Repository:
National Anthropological Archives
GUID:
https://n2t.net/ark:/65665/nw3cddab82a-78e5-41f9-9e06-77dbe6d81855
EDAN-URL:
ead_component:sova-naa-1976-028-ref779

An Archaeological Survey of the Huntington Lake Shoreline

Creator:
Wepler, William R.  Search this
Cochran, Donald R.  Search this
Extent:
1 Volume (xi + 227)
Type:
Archival materials
Volumes
Printed material
Place:
Indiana -- Antiquities
Huntington Lake (Indiana) -- Upper Wabash Drainage -- Indiana -- Archeology
Date:
May 26, 1983
Restrictions:
Item in off site storage. Contact archives for information on availability.
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Genre/Form:
Printed material
Citation:
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Archival Repository:
National Anthropological Archives
GUID:
https://n2t.net/ark:/65665/nw3b48729b6-c527-4361-9834-ee5b29995104
EDAN-URL:
ead_component:sova-naa-1976-028-ref780

Archaeological Data Recovery at the Mary Ann Cole Site

Creator:
Myers, Jeffery A.  Search this
Dorwin, John T.  Search this
Contributor:
Barton, David F.  Search this
Bassett, John L.  Search this
Crouch, Kevin J.  Search this
Justice, Noel D.  Search this
Extent:
1 Volume (219 pages)
Type:
Archival materials
Volumes
Printed material
Place:
Indiana -- Antiquities
Mary Ann Cole Site -- Crawford County -- Indiana -- Archeology
Date:
June 1981
Restrictions:
Item in off site storage. Contact archives for information on availability.
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Genre/Form:
Printed material
Citation:
Cite as for book.
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Archaeology reports and related material collection
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Archival Repository:
National Anthropological Archives
GUID:
https://n2t.net/ark:/65665/nw311260846-5daa-4a93-b1b1-7e142d87d79b
EDAN-URL:
ead_component:sova-naa-1976-028-ref781

Cultural Resources of the Ohio River Valley in Indiana

Creator:
Munson, Cheryl A.  Search this
Limp, William F.  Search this
Barton, David F.  Search this
Extent:
1 Volume (155 pages + appendices)
Type:
Archival materials
Volumes
Printed material
Place:
Indiana -- Antiquities
Ohio River Valley -- Indiana -- Archeology
Date:
July 1977
Restrictions:
Item in off site storage. Contact archives for information on availability.
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Genre/Form:
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Citation:
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Archival Repository:
National Anthropological Archives
GUID:
https://n2t.net/ark:/65665/nw3eaa2f460-92a0-4853-a146-e180599aac69
EDAN-URL:
ead_component:sova-naa-1976-028-ref782

Phase I, Final Report, Cultural Resource Overview and Management Plan, Fort Benjamin Harrison, Indiana

Creator:
Levy, Richard S.  Search this
Ebright, Carol A.  Search this
Myers, Ruth G.  Search this
Extent:
1 Volume (ix + 200)
Type:
Archival materials
Volumes
Printed material
Place:
Indiana -- Antiquities
Fort Benjamin Harrison (Marion County, Indiana) -- Archeology
Date:
January 25, 1986
Restrictions:
Item in off site storage. Contact archives for information on availability.
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Genre/Form:
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Citation:
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Archival Repository:
National Anthropological Archives
GUID:
https://n2t.net/ark:/65665/nw3b82c4902-af4e-4c31-a33f-f60009f27320
EDAN-URL:
ead_component:sova-naa-1976-028-ref783

Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974

Creator:
Jacques Seligmann & Co.  Search this
Subject:
Hauke, Cesar M. de (Cesar Mange)  Search this
Glaenzer, Eugene  Search this
Haardt, Georges  Search this
Seligman, Germain  Search this
Seligmann, Arnold  Search this
Parker, Theresa D.  Search this
Waegen, Rolf Hans  Search this
Trevor, Clyfford  Search this
Seligmann, René  Search this
Seligmann, Jacques  Search this
De Hauke & Co., Inc.  Search this
Jacques Seligmann & Co  Search this
Eugene Glaenzer & Co.  Search this
Germain Seligmann & Co.  Search this
Gersel  Search this
Type:
Gallery records
Citation:
Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974. Archives of American Art, Smithsonian Institution.
Topic:
Mackay, Clarence Hungerford, 1874-1938 -- Art collections  Search this
Schiff, Mortimer L. -- Art collections  Search this
Arenberg, duc d' -- Art collections  Search this
Liechtenstein, House of -- Art collections  Search this
Art -- Collectors and collecting -- France -- Paris  Search this
Art -- Collectors and collecting  Search this
World War, 1939-1945 -- Art and the war  Search this
La Fresnaye, Roger de, 1885-1925  Search this
Art, Renaissance  Search this
Decorative arts  Search this
Art treasures in war  Search this
Art, European  Search this
Theme:
Art Gallery Records  Search this
Art Market  Search this
Record number:
(DSI-AAA_CollID)9936
(DSI-AAA_SIRISBib)212486
AAA_collcode_jacqself
Theme:
Art Gallery Records
Art Market
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_212486
2 Page(s) matching your search term, top most relevant are shown: View entire project in transcription center
  • View Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974 digital asset number 1
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Online Media:

The Carolyn and Donald Grepke Paper Doll Collection

Creator:
Grepke, Donald, 1932-  Search this
Grepke, Carolyn, 1937-1995  Search this
Extent:
70 Cubic feet
Type:
Collection descriptions
Archival materials
Date:
circa 1800s-1998, undated
Summary:
Abstract: Collection consists of over a century of paper dolls documenting their use as advertisements, and depictions of popular culture, fashion trends, family lifestyles, gender roles, ideal communities,and cultural heroes.
Scope and Contents:
Collection consists of paper dolls dating from the 1800s-1998. The bulk of the paper dolls, however, date from the 1900s-1970s. Due to the Grepkes' careful selection, the paper dolls are in excellent condition, most were never used or played with. In addition, most of the sets are complete, with few or no missing pieces. A sustainable amount of the collection remains in original packaging which often included the periodical or comic book in which it was published, the original box, or a folder or booklet. A substantial amount of these paper dolls was commercially produced with examples of hand-made dolls and clothing. Clothing for the dolls is mostly created from paper with examples of cloth, wood, and plastic. Hand colored commercially produced dolls and clothing also exist within the collection. Special features on the dolls could include hair, plastic eyes, photographic faces, and moveable parts.

The artwork aspect of the collection provides potential research use with illustrations by such paper doll artists as Queen Holden, who was renowned for her dolls of the 1930s, and Tom Tierney, who has depicted almost every celebrity of the 20th century in paper doll form. Originals and reproductions of Grace Gebbie Drayton's (1877-1936) Dolly Dingle paper dolls series, which appeared in the Pictorial Review from 1913-1933, are included among the materials. Drayton is well known for her creation and illustration of the "Campbell Kids." She illustrated books and other publications and designed dolls and toys. Frances Tipton Hunter, creator of the "Little Busy Bodies" who appeared in Women's Home Companion in 1922 and 1923, career spanned from the 1920s to her death in 1957. Besides the "Little Busy Bodies" her work also appeared in periodicals including the Saturday Evening Post, The Delineator, Collier's, and Ladies Home Journal.

Not just seen from the perspective of artwork or playthings the serious scholar will be able to focus on a variety of topics related to the dolls. Researchers interested in fashion, popular culture, and images of women, children, or celebrities will find this collection of great value. The collection has a large representation of movie and television stars from the 1930s through the 1950s. In addition, American notions of ideal family sizes, settings, relationships, teenage life, and leisure activities are represented in the collection. Dates of the paper dolls are most often time of publication rather than era they represent.
Arrangement:
The collection is arranged in 14 series.

Series 1, Advertisements, circa 1800-1980, undated

Series 2, Animals, circa 1950-1995, undated

Series 3, Celebrities, circa 1930-1995, undated

Subseries 3.1, Film, circa 1930-1995, undated

Subseries 3.2, Music, circa 1950-1995, undated

Subseries 3.3, Pop Culture, circa 1950-1995, undated

Subseries 3.4, Royalty, circa 1950-1995, undated

Subseries 3.5, Stage and Theater, circa 1930-1950, undated

Subseries 3.6, Television, circa 1950-1995, undated

Series 4, Literature, circa 1920-1995, undated

Series 5, Mass Media, circa 1935-1995, undated

Subseries 5.1, Cartoons, circa 1960-1995, undated

Subseries 5.2, Comic Books, circa 1940-1995, undated

Subseries 5.3, Motion Picture Film, circa 1935-1995, undated

Subseries 5.4, Newspapers, circa 1934-1951, undated

Subseries 5.5, Radio, circa 1940-1955, undated

Subseries 5.6, Television, circa 1950-1995, undated

Series 6, Toys, circa 1890-1990, undated

Subseries 6.1, Paper Dolls, circa 1890-1980, undated

Subseries 6.2, Three Dimensional Dolls as Paper Toys, circa 1910-1990, undated

Series 7, Family, circa 1880-1990, undated

Subseries 7.1, Children, circa 1880-1980, undated

Subseries 7.2, Infants, circa 1920-1970, undated

Subseries 7.3, Family, circa 1930-1950, undated

Subseries 7.4, Teenagers, circa 1910-1990, undated

Series 8, Clothing and Fashion, circa 1890-1995, undated

Subseries 8.1, Bridal, circa 1900-1990, undated

Subseries 8.2, Clothing of the World, circa 1900-1995, undated

Subseries 8.3, Designers, circa 1950-1980, undated

Subseries 8.4, Eras and Historic, circa 1890-1995, undated

Subseries 8.5, Military, circa 1940-1950, undated

Series 9, Historical Figures and Events, circa 1950-1998, undated

Subseries 9.1, African American, circa 1990-1995, undated

Subseries 9.2, Military, circa 1970-1990, undated

Subseries 9.3, Religion, circa 1984-1998, undated

Subseries 9.4, United States Presidents, circa 1970-1995, undated

Subseries 9.5, United States History, circa 1950-1990, undated

Subseries 9.6, Women, circa 1910-1995, undated

Subseries 9.7, World Leaders, circa 1980-1990, undated

Series 10, Holidays and Celebrations, circa 1930-1990, undated

Series 11, Occupations, circa 1900-1995, undated

Series 12, Periodicals, circa 1890-1995

Subseries 12.1, Characters, circa 1900-1995

Subseries 12.2, Periodicals, circa 1890-1995

Series 13, Miscellaneous Materials, circa 1890-1995, undated

Series 14, Publications, 1978-1993

Subseries 14.1, Articles, circa 1980-1990

Subseries 14.2, Books, 1978-1993
Biographical / Historical:
Donald Eugene Grepke (September 18, 1932- April 15, 2005) and Carolyn Joan Moyer Grepke (December 10, 1937- December 19, 1995) began collecting paper dolls in the 1970s in Fort Wayne, Indiana. Donald was born and raised in Fort Wayne where he attended Elmhurst High School, worked at a grocery store filling station, and graduated in 1951. In 1955, he began working at Zollner Corporation, manufacturers of pistons for cars and trucks, and retired on disability in 1989.

Carolyn Joan Moyer was born in Pennville, Indiana. Carolyn's family moved to Fort Wayne when she was four years old and after a few years they moved to Churubusco, Indiana. They returned to Fort Wayne where Carolyn attended North Side High School and graduated in 1956. Carolyn began working at Lincoln National Life Insurance Company after high school and continued to work there until she passed away.

Donald Grepke and Carolyn Moyer married at Trinity United Methodist Church in Fort Wayne, Indiana on March 2, 1957. One child, Randell Lee Grepke, was born to the union on May 5, 1958.

One of Carolyn's favorite toys as a child was paper dolls. One day while reading a publication about antiques, Donald saw an advertisement for an auction which included paper dolls in excellent condition. This began their paper doll collection. Over the next - 20-25 years, while on vacations and weekend drives, they would stop at antique shops, flea markets, and auctions in search of paper dolls. When Carolyn worked on weekends, Don would venture out by himself or with a male friend in search of paper dolls. Their collection grew to over 4,000 paper dolls.

After Carolyn passed in 1995, Don lost interest in collecting paper dolls. He pondered for about three years on what to do with the collection. He decided to donate the collection to the Smithsonian Institution in memory of his wife, where the materials would be available to the public for research and exhibition purposes.
Related Materials:
Archives Center, National Museum of American History

Helen Popenoe Paper Doll Collection (NMAH.AC.1156)

Elinor S. Miller Paper Doll Collection (NMAH.AC.1110)

Ming-Ju Sun Garfinckel's Fashion Drawings (NMAH.AC.0897)

Miss America 1951 Papers (NMAH.AC0888)

Beatrice Litzinger Postcard Collection (NMAH.AC.0530)

Jane and Michael Stern Collection (NMAH.AC.1392)

Sam DeVincent Collection of Illustrated American Sheet Music, Series 9: Domestic and Community Life (NMAH.AC.0300)

Brownie Wise Papers (NMAH.AC.0509)

Edward J. Orth Memorial Archives of the World's Fair (NMAH.AC.0560)

Division of Cultural and Community Life, National Museum of American History

Division holds a collection of paper dolls.
Provenance:
The collection was donated to the Archives Center, National Museum of American History, Smithsonian Institution, by Donald Grepke in memory of his wife Carolyn Grepke in December 2000.
Restrictions:
Collection is open for research.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Paper dolls  Search this
Dolls  Search this
Citation:
The Carolyn and Donald Grepke Paper Doll Collection, 1800s-1998, undated, Archives Center, National Museum of American History.
Identifier:
NMAH.AC.0752
See more items in:
The Carolyn and Donald Grepke Paper Doll Collection
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep86b115168-77de-49bc-a925-9e6679e7ada4
EDAN-URL:
ead_collection:sova-nmah-ac-0752
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