Use of original papers requires an appointment and is limited to the Washington, D.C. Research Center. Use of archival audiovisual recordings with no duplicate copies requires advance notice.
Collection 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.
Collection Citation:
Peter Howard Selz papers, 1929-2018, bulk 1950-2005. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the 2014 processing of this collection was provided by the Frederick Hammersley Foundation. Funding for the processing of the 2018 addition was provided by Gerald and Bente Buck.
The papers of California conceptual artist and sculptor David Ireland measure 24.8 linear feet and 8.39 GB and date from circa 1910s to circa 2009, with the bulk of the material dating from 1960 to 2005. The papers include biographical material, correspondence, notes and notebooks, installation projects and exhibition files, teaching files, travel files, personal business records, printed and digital material and commercial recordings, photographic materials, artwork, and video and sound recordings.
Scope and Contents:
The papers of California conceptual artist and sculptor David Ireland measure 24.8 linear feet and 8.39 GB and date from circa 1910s to circa 2009, with the bulk of the material dating from 1960 to 2005. The papers include biographical material, correspondence, notes and notebooks, installation projects and exhibition files, teaching files, travel files, personal business records, printed and digital material and commercial sound recordings, photographic materials, artwork, and video and sound recordings.
Biographical material includes awards and certificates, address books and appointment books, artist's statements, resumes, chronologies, student university materials, passports, and sound and video recordings of interviews with Ireland. Correspondence is with friends, peers, universities, galleries, and museums, including Jeffrey Grobart, Eleanor Coppola, Margie Lee, Marie-Louise Lienhard, Paul Marion, and Alta Tingle, among others. Notes and notebooks contain incoming phone messages, notes to self, regarding projects and ideas, as well as various other notes and plans.
Installation projects and exhibition files constitute the bulk of the collection and document David Ireland's extensive projects and exhibitions around the world. Files are found for his Capp Street house project and Pacific Enterprises project in San Francisco; Boott Mills project in Lowell, Massachusetts; IKEA Emeryville Public Art Project in Emeryville, California; and several Washington State Arts Commission and Western Washington University projects. Other exhibition and installation locations found within the files include the American Academy in Rome; Yerba Buena Arts Center in California; Perth Institute of Contemporary Art in Australia; Helmhaus in Zurich, Switzerland; Arts Club of Chicago; SFMOMA; New Museum of Contemporary Art in New York; Walker Art Center in Minneapolis, Minnesota; and the Mattress Factory in Pittsburgh, among many others. The files contain a wide variety of materials, including sound and video recordings in various formats.
Teaching files document David Ireland's many roles as visiting artist, artist-in-residence, instructor, and conference and symposium panelist at the California College of Arts and Crafts, San Francisco Art Institute, Skowhegan School of Painting and Sculpture, and Stanford University Department of Art, among others. Travel files document Ireland's trips abroad, both independent of and as a result of installation and project obligations.
Personal business records are comprised of financial materials and documentation relating to Ireland's two early South African import and safari businesses as well grants and project proposals, various loan agreements, representation through Gallery Paule Anglim, property sales and tax documentation, inventory materials, and various other business materials. Also found within the collection are printed material and four commercial sound recordings. Photographs are of the artist, friends and family, Ireland's Oakland studio, and works of art. There is artwork by Ireland, including sketches, drawings, and prints, and a few pieces of artwork by other artists. In addition to sound and video recordings arranged in other series, there is one video recording and six sound cassettes that are either unidentified or have no additional context within the collection.
Arrangement:
This collection is arranged as 11 series.
Missing Title
Series 1: Biographical Material, circa 1950-circa 2009 (1.5 linear feet; Boxes 1-2)
Series 2: Correspondence, circa 1937-circa 2008 (4 linear feet; Boxes 2-6)
Series 3: Notes and Notebooks, circa 1965-circa 2008 (0.7 linear feet; Boxes 6-7)
Series 4: Installation Projects and Exhibition Files, circa 1960s-circa 2009 (11.6 linear feet; Boxes 7-18, OV26, OV27, 7.84 GB; ER01-ER15)
Series 5: Teaching Files, 1977-1998 (1.2 linear feet; Boxes 18-19)
Series 6: Travel Files, circa 1950s-circa 1994 (0.6 linear feet; Boxes 19-20)
Series 7: Personal Business Records, circa 1965-circa 2008 (1.1 linear feet; Boxes 20-21)
Series 8: Printed Material and Commercial Recordings, 1932-circa 2009 (2.3 linear feet; Boxes 21-23, 0.553 GB; ER16)
Series 9: Photographic Materials, circa 1910s-circa 2005 (1 linear foot; Boxes 23-24)
Series 10: Artwork, circa 1965-circa 2003 (0.2 linear feet; Box 24)
Series 11: Video and Sound Recordings, circa 1965-circa 1990s (0.4 linear feet; Box 25)
Biographical / Historical:
David Ireland (1930-2009) was a conceptual artist and sculptor who worked in San Francisco, California.
Ireland was born in Bellingham, Washington and attended Western Washington University. In 1953, he received a degree in industrial design and printmaking from the California College of Arts and Crafts (now California College of the Arts) in Oakland. He then served two years in the U. S. Army in Missouri, returning to live and work in Bellingham. For several years, Bellingham served as his launch point for extensive travels in Europe and Africa.
In the late 1950s, Ireland founded Hunter Africa, an artifacts import business. He moved the business to San Francisco in 1965 and also began a second business leading safaris in Africa. He married Bellingham native Joanne Westford and had two children, Ian Ireland and Shaughn Niland; they divorced in 1970.
Ireland attended the San Francisco Art Institute and received a graduate degree in 1974. There, he met other Bay Area artists involved in the conceptual movement there, including Tom Marioni, Paul Kos, Howard Fried, and Terry Fox.
Much of Ireland's artwork of the 1980s and 1990s centered on the transformation of his home at 500 Capp Street in San Francisco, where he dramatically physically and conceptually transformed the interior and exterior structure into a mix of architectural sculpture and environmental art piece. He bought a second home in 1979 to transform, and, in the 1980s, completed a renovation of the main building at the Headlands Center for Arts in Sausalito with artist Mark Thompson.
David Ireland's work has been presented in more than forty solo exhibitions at venues that included the Walker Art Center, Minneapolis; Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D. C.; The Museum of Modern Art and the New Museum of Contemporary Art, New York. He created major public projects and private commissions in Los Angeles, San Francisco, Philadelphia, Washington, D. C., and other cities. His work is included in the permanent collections of The Museum of Modern Art and the Whitney Museum of American Art in New York, San Francisco Museum of Modern Art, Los Angeles County Museum of Art, Oakland Museum of California, and University of California, Berkeley Art Museum and Pacific Film Archive, among others.
Provenance:
The David Ireland papers were donated in 2010 by the David Ireland Estate through Jock Reynolds, Special Trustee, The David Ireland Revocable Trust.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Sculptors -- California -- San Francisco Search this
Conceptual artists -- California -- San Francisco Search this
Research material including interviews, writings, photographs of works of art and printed material regarding conceptual artist David Ireland for the book "Touching Time and Space: A Portrait of David Ireland" by Klausner. Interviews are with Ireland as well as Paule Anglim, Robert Atkins, Bill Berkson, Frances Hill Barlow, Agnes Bourne, Damon Brandt, Douglas Dunn, Gary Garrels, Jay Gorney, Ann Hatch, Barbara Ireland, Judy Ireland, Marsha Ireland, Shaugn Ireland, P. Koss, Leah Levy, Connie Lewallen, Phil Linhares, James Melchert, Jeannie Myers, Richard Pinegar, Jane Reed, Jock Reynolds, Robert Storr, Marcia Tanner, Mark Thompson, Alta Tingle, and Karen Tsujimoto. Most, but not all, are transcribed. Writings include drafts and notebooks. Printed material includes exhibition catalogs and newspaper clippings.
Biographical / Historical:
Betty Klausner: Art historian, San Francisco, Calif. David Ireland: Conceptual and installation artist, San Francisco, Calif. b. 1930
Provenance:
Donated 2007 by Betty Klausner.
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.
Occupation:
Art historians -- California -- San Francisco Search this
Bender, William H., 1894- -- Art collections Search this
Extent:
6 Linear feet
Type:
Collection descriptions
Archival materials
Date:
[ca. 1940]- 1972
Scope and Contents:
Correspondence, photographs, clippings, catalogues, business records, and files on his collection of works of art. These files include clippings, photographs, biographical information about the artists, research summaries on the subjects of the works of art, and correspondence with relatives, agents, or the artists themselves, about the works of art.
Artists' files include: Edwin A. Abbey, Harold Altman, Thomas Anshutz, George Ault, Mordechi Avniel, John Avery, Milton Avery, Peggy Bacon, Charles Bargue, John Noble Barlow, Paul W. Bartlett, Gifford Beal, George Bellows, Ben Benn, Thomas H. Benton, Saul Berman, James H. Beard, Albert Bierstadt, Sarah Bernhardt (contains a photograph of Bernhardt taken by Napoleon Sarony, 1891), Ralph Blakelock, Oscar Bluemner, Frank M. Boggs, Louis Bouché, Charles Burchfield, Arthur B. Carles, Guiseppe Castiglione, Thomas Chambers, J. Wells Champney, Christine (Brush) Chaplin, William M. Chase, Alson Clark, Samuel Clarkson, Timothy Cole, Thomas Cole, Vincent Colyer, Bruce Crane, Jasper Cropsey, Charles C. Curran, J. Frank Currier,
Elliot Daingerfield, F.O.C. Darley, Randall Davey, Andrew Dasburg, Arthur B. Davies, Charles Deas, Carl de'Albert, Charles Demuth, Edwin Deming, Thomas Dewing, N. Diaz, Edwin Dickinson, Preston Dickinson, Francis Dixon, Thomas Doughty, Arthur G. Dove, Guy Pène du Bois, Frank Duveneck, "The Eight," Louis M. Eilshemius, Albert Looking Elk (Albert Martinez), William Etty, Abel Faivre, John M. Falconer, Lyonel Feininger, Alvan Fisher, Gilbert Gaul, Samuel W. Gaylor, Wood Gaylor, Q. T. Galwey, Lillian Genth, William Glackens, Arthur C. Goodwin, Florence Wolf Gotthold, Samuel Halpert, James Hamilton,
William Harnett, George W. Harris, George O. Hart, James & William Hart, Marsden Hartley, Childe Hassam, Charles Hawthorne, Martin J. Heade, Robert Henri, E. L. Henry, Eugene Higgins, Winslow Homer, Peter Hopkins, Edward Hopper, William M. Hunt, William F. Hulk, George Inness, LeRoy Ireland, David Johnson, Eastman Johnson, Bernard Karfiol, John Kensett, Walt Kuhn, F. S. Kurz, Harry Lachman, John La Farge, Ernest Lawson, Hayley Lever, Ossip Linde,Louis Lozowick, George Luks, Elmer MacRae, Norwood MacGilvary, Dodge Macknight, John Marin, Reginald Marsh, Homer D. Martin, Jan Matulka, A. H. Maurer,Henry Lee McFee, Richard Emil Miller, William R. Miller, Thomas Moran, Louis Moeller, Gabriel Morcillo, James H. Moser, William S. Mount, J. Francis Murphy,
Jerome Myers, Robert L. Newman, John Noble, George Of, Georgia O'Keeffe, Majorie Organ, Jules Pascin, Louis M. Potter, Edward Potthast, Charles Prendergast, Maurice Prendergast, Levi W. Prentice, James Preston, F. Newlin Price, William Prior, Henry W. Ranger, Odilon Redon, T. Addison Richards, Theo Robinson, Orlando Rouland, A. P. Ryder, John S. Sargent, Charles Sarka, Charles Sheeler, Everett Shinn (includes a typescript of a play by Shinn), Florence S. Shinn, Walter Shirlaw, John Sloan, Edith Smith (Hertz), William L. Sonntag, Raphael Soyer, Eugene Speicher, Niles Spencer, Carl Sprinchorn, John Wells Stancliff, Joseph Stella, Maurice Sterne, Thomas Stevens, Thomas Sully,
Arthur F. Tait, John H. Twachtman, Allen Tucker, Alfred W. Thompson, Henry O. Tanner, Wilhelm Trubner, Elihu Vedder, Antoine Vollon, Horatio Walker, William Aiken Walker, Abraham Walkowitz, Max Weber, J. Alden Weir, Robert Weir, Benjamin West, Irving R. Wiles, James M. Whistler, Stanford White, Worthington Whittredge, Charles S. Woodbury, Robert S. Woodward, Carl Wuermer, Alexander H. Wyant, Mahonri Young, Marguerite Zorach, and William Zorach.
Biographical / Historical:
William H. Bender, Jr. was an insurance businessman and American art collector; New York, N.Y. Among his early interests were "The Eight" group of painters: Robert Henri, George Luks, Everett Shinn, Arthur B. Davies, Ernest Lawson, John Sloan, William Glackens, and Maurice Prendergast. He later became an avid collector of Lillian Genth, and was designated her executor.
Provenance:
Donated 1976 by Mrs. William H. Bender, widow of Bender.
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.
Topic:
Art, American -- Collectors and collecting Search this
Smithsonian Institution. Center for Folklife and Cultural Heritage Search this
Type:
Archival materials
Introduction:
The Northern Ireland at the Smithsonian program took place at a seminal moment in Northern Irish history, following a ten-year period of relative peace and stability and the restoration of Northern Ireland's political institutions. More than 160 participants from throughout Northern Ireland - the region's finest performers, artists, craftspeople, cooks, athletic coaches, and occupational experts - came to the National Mall to explain, demonstrate, and celebrate contemporary life in their beautiful, dynamic homeland.
The Festival program may have come as a surprise to some visitors. Like so much else about contemporary Northern Ireland, day-to-day reality transcends assumptions and challenges stereotypes. Northern Ireland is changing rapidly: in 2007, it was a sophisticated, forward-looking society with a booming post-industrial economy and a renewed sense of confidence in the future. Traditional culture, which in the past sometimes divided communities, now contributed to a shared future and fostered inter-community relationships.
Northern Ireland's greatest strengths have always been the warmth, hospitality, and humor of its people. It has a population of approximately 1.7 million and five cities - each with its own unique character - and Belfast as its capital. It also has a large rural community that consists of a network of market towns and villages. Part of the United Kingdom, it shares a verdant island with the Republic of Ireland and comprises six of the nine counties of the ancient province of Ulster: Antrim, Armagh, Down, Fermanagh, Londonderry, and Tyrone. Few regions of the world have contributed more to the formation of modern American culture than Northern Ireland. Since the seventeenth century, a succession of immigrants from the region has had a profound impact on the development of the United States, heavily influencing culture, politics, education, science, religion, agriculture, and industry. At least seventeen U.S. presidents are claimed by Northern Ireland as her descendants.
Music in Northern Ireland takes place in myriad settings - kitchens, parlors, and pubs, as well as schools, festivals, and concert halls. Not infrequently, traditional forms of instrumental music - jigs, reels, marches, and polkas - attract dancers who happily spend evenings weaving the complex patterns of ancient Irish dances onto modern dance floors. Even as beloved old tunes are performed and sung for today's listeners, tomorrow's music continues to be created. Modern technology - recordings, radio, iPods, and cell phones - often helps spread the latest traditional-style compositions. Irish music, like other Celtic music, enjoys a worldwide popularity that few would have predicted only a few years before.
Although textile arts are particularly strong, numerous other crafts and art industries flourish in Northern Ireland. Specialized crafts are practiced in ateliers and workshops throughout Northern Ireland, where many artisans produce work such as jewelry, ceramics, glass, and clothing on a commercial or semi-commercial basis. Some craftspeople specialize in making musical instruments, including uniquely Irish bodhrans, Lambeg drums, and uilleann bagpipes.
Another highlight of the Festival was Northern Ireland's unmistakable alimentary dialect - rich in diversity, fiercely independent, and supportive of local produce. Although much of the cuisine is heavily inspired by English and, to some extent, European fare, a flair for culinary innovation and exceptional resourcefulness have allowed the province to develop an entirely unique food culture. Other Festival presentations featured language, local history and heritage, and sports - all contributing to provide Festival visitors with an introduction to the fabled past, vibrant present, and exciting future of this beautiful place.
Nancy Groce was Curator and Jason Morris was Program Coordinator. A Curatorial Group included: Valerie Adams, Frances Bailey, Hazel Campbell, Heather Carr, Mick Cory, Anthony Cranney, Paul Flynn, Olga Gallagher, John Gilmour, Helen Gormley, John Gray, Linda Greenwood, Philip Hammond, Nick Harkness, Cathy Hurst, Aubrey Irwin, Colin Jack, Joe Kelly, Brian Lambkin, Fiona Lavery, Shan McAnena, Katherine McCloskey, Aideen McGinley, Colm McGivern, Declan McGovern, Jim McGreevy, Cathie McKimm, Lisa McMurray, Pat Murphy, Yvonne Murphy, Colette Norwood, Peadar O'Cuinneagain, Alice O'Rawe, George Patton, John Speers, Pat Wilson, and Vanessa Wilson.
The program was produced in partnership with the Department of Culture, Arts and Leisure of Northern Ireland and with the cooperation of the Arts Council of Northern Ireland and Rediscover Northern Ireland. Major donors to the Rediscover Northern Ireland program were Titanic Quarter Ltd. and RES. Other donors and supporters were BT, Diageo, Glen Dimplex Group, Grafton ESP, Norbrook, Resource, Bank of Ireland, BDO Stoy Hayward, Delta Print and Packaging, First Trust Bank, Henderson Foodservice, McCabes, McAleer & Rushe Group, McLaughlin & Harvey, Northern Bank, Seagate, Ulster Carpets, Belleek, FireIMC, Harrison Photography, and Northbrook Technology.
Researchers and fieldworkers:
Linda Ballard, Maurice Bradley, Anne Burke, John Edmund, Paul Flynn, Sarah McDowell, Dympna McElhinney, Colum Sands
Participants:
TRADITIONAL CRAFTS
Bob Johnston, 1969-, basket maker, Bangor, County Down, Northern Ireland
Maureen Paterson, 1946-, hat maker, milliner, Islandmagee, County Antrim, Northern Ireland
VISUAL ARTS
The Bogside Artists -- The Bogside ArtistsKevin Hasson, 1958-, muralist, Derry, County Londonderry, Northern IrelandTom Kelly, 1959-, muralist, Derry, County Londonderry, Northern IrelandWill Kelly, 1948-, muralist, Derry, County Londonderry, Northern Ireland
East Belfast Muralists -- East Belfast MuralistsDavid "Dee" Craig, 1971-, muralist, Belfast, County Antrim, Northern IrelandRachel Sinnamon, 1984-, muralist, Belfast, County Antrim, Northern Ireland
William Magowan, 1970-, banner painter, Garvagh, County Londonderry, Northern Ireland
Tomás Ó Maonaigh, 1963-, claymation and animation, The Nerve Centre, Derry, County Londonderry, Northern Ireland
Gary Rosborough, 1962-, claymation and animation, The Nerve Centre, Derry, County Londonderry, Northern Ireland
FOODWAYS
Norah Brown, 1938-, foodways, Dungannon, County Tyrone, Northern Ireland
Hugh Browne, 1949-, foodways, Warrenspoint, County Down, Northern Ireland
Reverend Robert James Mattison, 1948-, foodways, Poyntz Pass, Newry, County Down, Northern Ireland
Liz Moore, 1972-, foodways, Belle Isle, County Fermanagh, Northern Ireland
TRADITIONAL MUSIC AND DANCE/PERFORMING ARTS
Mary Fox and the All Set Ensemble -- Mary Fox and the All Set EnsembleSheila Boylan, 1971-, Belfast, County Antrim, Northern IrelandIan Carmichael, 1962-, Portadown, County Armagh, Northern IrelandCaroline Fegan, 1965-, Newry, County Down, Northern IrelandMary Fox, 1960-, Portadown, County Armagh, Northern IrelandPadraig Mac Cionnaith, 1952-, Coulommiers, France
Armagh Pipers Club/Vallely Family -- Armagh Pipers Club/Vallely FamilyEithne Vallely, 1945-, Armagh, County Armagh, Northern IrelandCaoimhin Vallely, 1977-, Armagh, County Armagh, Northern IrelandCillian Vallely, 1977-, Armagh, County Armagh, Northern Ireland and Woodside, New YorkNiall Vallely, Armagh, County Armagh, Northern Ireland
Armagh Rhymers -- Armagh RhymersBrendan Bailey, 1943-, Portadown, County Armagh, Northern IrelandAnne Hart, 1955-, Armagh, County Armagh, Northern IrelandPeter J. Shortall, 1945-, Keady, County Armagh, Northern IrelandDara Vallely, 1946-, Armagh, County Armagh, Northern Ireland
Aughakillymaude Community Mummers -- Aughakillymaude Community MummersLeanne Drumm, 1986-, Enniskillen, County Fermanagh, Northern IrelandCarina Ferguson, 1987-, Belcoo, County Fermanagh, Northern IrelandJim Ledwith, 1957-, Enniskillen, County Fermanagh, Northern IrelandMichael McBarron, 1946-, Derrylin, County Fermanagh, Northern IrelandAdrian McBrien, 1982-, Derrylin, County Fermanagh, Northern IrelandDonard McClean, 1944-, Bangor, County Down, Northern IrelandDessie Reilly, 1943-, Irvinestown, County Fermanagh, Northern Ireland
Craobh Rua -- Craobh RuaMichael Cassidy, 1966-, Dundrum, County Antrim, Northern IrelandBrian Connolly, 1961-, Belfast, County Antrim, Northern IrelandConor Lamb, 1986-, Crumlin, County Antrim, Northern IrelandJames Rainey, 1974-, Belfast, County Antrim, Northern Ireland
Lucy Mulholland and Cuckoo's Nest -- Lucy Mulholland and Cuckoo's NestLucy Mulholland, 1948-, Carryduff, County Down, Northern IrelandLyn Rankin, 1950-, Carryduff, County Down, Northern IrelandJames McElheran, 1942-, Cushendun, County Antrim, Northern IrelandDominic McNabb, 1932-, Ballycastle, County Antrim, Northern IrelandPatsy Downey, 1937-, Belfast, County Down, Northern Ireland
Four Men and a Dog -- Four Men and a DogKevin Doherty, 1967-, Armagh, County Armagh, Northern IrelandCathal Hayden, 1963-, Pomeroy, County Tyrone, Northern IrelandGino Lupari, 1958-, Magherafelt, County Londonderry, Northern IrelandDonal Murphy, Armagh, County Armagh, Northern IrelandGerry O'Connor, 1960-, Armagh, County Armagh, Northern Ireland
Len Graham, 1944-, singer, Mullaghbawn, Newry, County Armagh, Northern Ireland
Hidden Fermanagh -- Hidden FermanaghGabriel McArdle, 1949-, singer, Enniskillen, County Fermanagh, Northern IrelandCathal McConnell, flutist, singer, County Fermanagh, Northern Ireland and Edinburgh, ScotlandJim McGrath, 1956-, accordionist, Monea, County Fermanagh, Northern IrelandPat McManus, 1958-, fiddler, Teemore, County Fermanagh, Northern Ireland
George Holmes, 1946-, banjo, dulcimer, flute, Lambeg drum, -- bodhran -- , Donaghadee, County Down, Northern Ireland
John Kennedy, 1928-, ballad singer, fife and whistle, Cullybackey, County Antrim, Northern Ireland
The Low Country Boys -- The Low Country BoysIvan McFerran, 1959-, Glastry, Ballyhalbert, County Down, Northern IrelandMark Thompson, 1972-, Newtownards, County Down, Northern IrelandGraeme Thompson, 1974-, Newtownards, County Down, Northern IrelandGibson Young, 1962-, Greyabbey, County Down, Northern Ireland
Jack Lynch, 1952-, storyteller, County Armagh, Northern Ireland and Dublin, Republic of Ireland
Micil Ned Quinn, 1926-, singer, raconteur, Newry, County Down, Northern Ireland
Colum Sands, 1951-, singer-songwriter, Rostrevor, County Down, Northern Ireland
Tommy Sands, singer-songwriter, Rostrevor, County Down, Northern Ireland
Session Band -- Session BandMaurice Bradley, 1962-, Draperstown, County Londonderry, Northern IrelandCatherine Sands, 1971-, Ballycastle, County Antrim, Northern IrelandMichael Sands, 1971-, Ballycastle, County Antrim, Northern Ireland
Nisha Tandon, 1957-, dancer, Belfast, County Antrim, Northern Ireland
Robert Watt, 1978-, bagpiper, Maghera, County Londonderry, Northern Ireland
Roisin White, 1950-, singer, Cavanacaw, County Armagh, Northern Ireland
Mark Wilson, 1971-, percussionist, Craigavon, County Armagh, Northern Ireland
Lee Lawson, percussionist, Campbelltown, Argyll, Scotland
HISTORY AND HERITAGE
Colin Breen, 1969-, marine archaeologist, University of Ulster, Coleraine, County Londonderry, Northern Ireland
Wes Forsythe, 1971-, marine archaeologist, University of Ulster, Coleraine, County Londonderry, Northern Ireland
Rosemary McConkey, marine archaeologist, University of Ulster, Coleraine, County Londonderry, Northern Ireland
Maybelline Gormley, archaeologist, Belfast, County Antrim, Northern Ireland
Declan Hurl, 1956-, archaeologist, Belfast, County Antrim, Northern Ireland
Kenneth Shilliday, mason, restorer, Craigavon, County Armagh, Northern Ireland
Valerie Adams, 1948-, genealogist, Public Records Office of Northern Ireland (PRONI), Belfast, County Antrim, Northern Ireland
Philip McDermott, 1980-, oral historian, University of Ulster/Magee Campus, Londonderry, Northern Ireland
Christine McIvor, 1952-, genealogist, Centre for Migration Studies/Ulster American Folk Park, Omagh, County Tyrone, Northern Ireland
Harland and Wolff Heavy Industries -- Harland and Wolff Heavy IndustriesDavid McVeigh, 1970-, Belfast, County Antrim, Northern IrelandIan Ritchie, 1959-, mechanical fitter, Newtownabby, County Antrim, Northern IrelandJohn Robinson, 1955-, draftsman, Belfast, County Antrim, Northern Ireland
Thomas Fergusons Irish Linen -- Thomas Fergusons Irish LinenNigel Spiers, 1961-, weaver, Gilford, Craigavon, County Armagh, Northern IrelandJonathan Neilly, 1987-, weaver, Banbridge, County Down, Northern Ireland
Eel Fishing in Lough Neagh -- Eel Fishing in Lough NeaghJohn Quinn, 1973-, eel fisher, Coalisland, County Tyrone, Northern IrelandTommy John Quinn, 1923-, eel fisher, Coalisland, County Tyrone, Northern IrelandDanny Donnelly, 1938-, eel fisher, Dungannon, County Tyrone, Northern Ireland
Louise Lilburn, 1984-, cattle breeder, Dromore, County Down, Northern Ireland
Mary McCormack, 1954-, farmer, Omagh, County Tyrone, Northern Ireland
Joe McDonald, 1972-, farmer, Belfast, County Antrim, Northern Ireland
John Rankin, 1942-, dairy farmer, Newtownards, County Down, Northern Ireland
John Gilliland, 1965-, farmer, Rural Generation Ltd./Brook Hall Estate, Londonderry, County Londonderry, Northern Ireland
Alistair McCracken, 1951-, food scientist, mycologist, Agri-Food and Biosciences Institute, Belfast, County Antrim, Northern Ireland
Mark McGuigan, 1972-, project manager, technical supervisor, Omagh College of Further Education, Omagh, County Tyrone, Northern Ireland
Tim Volk, forester, State University of New York, Syracuse, New York
SPORTS AND GAMES
Margaret Deevy, 1973-, children's sports, PlayBoard, Belfast, County Antrim, Northern Ireland
Trevor Erskine, 1955-, Irish Football Association, County Tyrone, Northern Ireland
David McVeigh, Irish Football Association, Belfast, County Antrim, Northern Ireland
Brian Gardiner, 1963-, motorcycle racer, Ballyclare, County Antrim, Northern Ireland
Niall McShea, 1974-, rally driver, Markethill, County Fermanagh, Northern Ireland
Michael Black, 1974-, Irish Rugby Football Union Ulster Branch (Ulster Rugby), Kilfennan, County Londonderry, Northern Ireland
Barry Willis, 1981-, Irish Rugby Football Union Ulster Branch (Ulster Rugby), Larne, County Antrim, Northern Ireland
Collection Restrictions:
Access to the Ralph Rinzler Folklife Archives and Collections is by appointment only. Visit our website for more information on scheduling a visit or making a digitization request. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Collection Citation:
Smithsonian Folklife Festival records: 2007 Smithsonian Folklife Festival, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Correspondence includes letters, holiday cards, and thank you notes from friends, peers, artists, and galleries. Correspondents include Jeffrey Grobart, Margie Lee, Paul Marion, and Alta Tingle, among others. Also found is a photocopy of a letter to Ireland's father, David Kenneth Ireland, Sr., from the Department of Physical Education for Women.
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Collection 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.
Collection Citation:
David Ireland papers, circa 1910s-circa 2009, bulk 1960-2005. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by The David Ireland Revocable Trust.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Collection 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.
Collection Citation:
David Ireland papers, circa 1910s-circa 2009, bulk 1960-2005. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by The David Ireland Revocable Trust.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Collection 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.
Collection Citation:
David Ireland papers, circa 1910s-circa 2009, bulk 1960-2005. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by The David Ireland Revocable Trust.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Collection 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.
Collection Citation:
David Ireland papers, circa 1910s-circa 2009, bulk 1960-2005. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by The David Ireland Revocable Trust.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Collection 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.
Collection Citation:
David Ireland papers, circa 1910s-circa 2009, bulk 1960-2005. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by The David Ireland Revocable Trust.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Collection 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.
Collection Citation:
David Ireland papers, circa 1910s-circa 2009, bulk 1960-2005. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by The David Ireland Revocable Trust.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Collection 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.
Collection Citation:
David Ireland papers, circa 1910s-circa 2009, bulk 1960-2005. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by The David Ireland Revocable Trust.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Collection 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.
Collection Citation:
David Ireland papers, circa 1910s-circa 2009, bulk 1960-2005. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by The David Ireland Revocable Trust.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Collection 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.
Collection Citation:
David Ireland papers, circa 1910s-circa 2009, bulk 1960-2005. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by The David Ireland Revocable Trust.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Collection 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.
Collection Citation:
David Ireland papers, circa 1910s-circa 2009, bulk 1960-2005. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by The David Ireland Revocable Trust.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Collection 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.
Collection Citation:
David Ireland papers, circa 1910s-circa 2009, bulk 1960-2005. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by The David Ireland Revocable Trust.
Found here are five general notebooks containing notes to self and project ideas, ten phone message notebooks, and various other notes and plans.
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Collection 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.
Collection Citation:
David Ireland papers, circa 1910s-circa 2009, bulk 1960-2005. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by The David Ireland Revocable Trust.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Collection 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.
Collection Citation:
David Ireland papers, circa 1910s-circa 2009, bulk 1960-2005. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by The David Ireland Revocable Trust.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Collection 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.
Collection Citation:
David Ireland papers, circa 1910s-circa 2009, bulk 1960-2005. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by The David Ireland Revocable Trust.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Collection 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.
Collection Citation:
David Ireland papers, circa 1910s-circa 2009, bulk 1960-2005. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by The David Ireland Revocable Trust.
