Search Results

Medium:

glass

Dimensions:

H x diam.: 21.4 x 12 cm (8 7/16 x 4 3/4 in.)

Type:

glasswares

Decorative Arts

Jar and cover

Possibly made in:

Venice, Italy

Credit Line:

Bequest of Georgiana L. McClellan

Accession Number:

1953-17-148-a,b

Restrictions & Rights:

Usage conditions apply

See more items in:

Cooper Hewitt, Smithsonian Design Museum Collection

Product Design and Decorative Arts Department

Data Source:

Cooper Hewitt, Smithsonian Design Museum

GUID:

http://n2t.net/ark:/65665/kq427b7b597-3f6c-4d20-89e2-327ed72e8d1c

EDAN-URL:

edanmdm:chndm_1953-17-148-a_b

Medium:

Medium: silk, metal-wrapped silk-core yarns Technique: 4/1 satin damask weave with discontinuous supplementary weft patterning (brocade) Label: silk satin damask brocaded with silk and metallic yarns

Dimensions:

H x W: 110.2 × 54 cm (43 3/8 × 21 1/4 in.)

Type:

woven textiles

Fragment

Possibly made in:

France

Venice, Italy

Date:

1700–1705

Credit Line:

Museum Purchase from Au Panier Fleuri and Smithsonian Institution Collections Acquisition Program Funds

Accession Number:

2000-23-1

Restrictions & Rights:

CC0

See more items in:

Cooper Hewitt, Smithsonian Design Museum Collection

Textiles Department

Data Source:

Cooper Hewitt, Smithsonian Design Museum

GUID:

http://n2t.net/ark:/65665/kq4091ba5a5-954d-4ea2-b732-625eb37085cc

EDAN-URL:

edanmdm:chndm_2000-23-1

Culture/People:

La Jolla Band Luiseño  Search this

Artist/Maker:

James Luna, La Jolla Band Luiseño, 1950-2018; audio by Jorge Arévalo Mateus, Non-Indian  Search this

Seller:

James Luna, La Jolla Band Luiseño, 1950-2018  Search this

Jorge Arévalo Mateus (George Arevalo), Non-Indian  Search this

Title:

Chapel for Pablo Tac

Object Name:

Installation work

Media/Materials:

Cotton cloth, canvas, paint, wood, silver, gold, brass, gourd, brass bell/bells, vegetal fiber, feather/feathers, shell/shells, commercially tanned leather, pottery, cardboard, synthetic fabric, glass bottle, iron/steel head, stone

Techniques:

Commercially produced/manufactured, painted, coiled, stitched, fringed, wrapped, written, recorded

Dimensions:

dimensions vary based on installation

Object Type:

Works of Art (Other)

Place:

Venice; Venice Province; Veneto Region; Italy

Date created:

2005

Catalog Number:

26/7735

Barcode:

267735.000

See related items:

La Jolla Band Luiseño

Works of Art (Other)

Data Source:

National Museum of the American Indian

GUID:

http://n2t.net/ark:/65665/ws6d9aa8551-5a02-4abb-a18f-af0f2a3bfcde

EDAN-URL:

edanmdm:NMAI_396955

Creator:

Hadzi, Dimitri, 1921-2006  Search this

Names:

Harvard University -- Faculty  Search this

Foundry, Nicci  Search this

Extent:

37.2 Linear feet

Type:

Collection descriptions

Archival materials

Drawings

Interviews

Sound recordings

Video recordings

Diaries

Motion picture film

Date:

1910s-2007

Summary:

The papers of Greek American sculptor and educator Dimitri Hadzi measure 37.2 linear feet and date from 1910s-2007, with the bulk of records dating 1936-2007. The collection documents Hadzi's career through biographical material such as education records, World War II files, and some interviews; correspondence with family, artists, art historians, architects, and professional organizations; diaries, notebooks, and other writings; exhibition, gallery and museum, teaching, and project files; personal business records; clippings, exhibition ephemera, invitations, and other printed material; photographs of Hadzi, events and exhibitions, installations, foundries, and studios; some artwork; and audio recordings and motion picture films.

Scope and Contents:

The papers of Greek American sculptor and educator Dimitri Hadzi measure 37.2 linear feet and date from 1910s-2007, with the bulk of records dating 1936-2007. The collection documents Hadzi's career through biographical material; correspondence; diaries, notebooks, and other writings; exhibition, gallery and museum, teaching, and project files; personal business records; printed material; photographs, some artwork, audio recordings, and motion picture films.

Biographical material includes files pertaining to Hadzi's education at Cooper Union (1946-1950) and Polytechnion in Athens, Greece (1950-1951) as well as his high school years at Brooklyn Technical High School (1936-1940); years enlisted in the Army Air Force (1942-1946); and his hobbies of music, mineral collecting, and geology. Also found are address books, honors and awards, interviews, and resumes. Hadzi's professional correspondents include artists, art historians, architects, and professional organizations. Also found is personal correspondence with family, friends, and acquaintances, most extensively during his years in the military.

Diaries and notebooks consist of memoranda books, travel logs, and annotated calendars. Writings include drafts, correspondence, and some printed material from Dimitri Hadzi (1996) by Peter Selz. Material gathered for his incomplete memoir, artist statements, and writings about Hadzi are also present.

Exhibition files shed light on various group and solo exhibitions of Hadzi's work. The files mostly consist of shipping records, correspondence, press releases and other printed matter, photographs, and loan documents. Gallery and museum files include loan and sale agreements, price lists, clippings, newsletters, shipping information, and some papers related to exhibitions.

Project files include sketches and blueprints, correspondence, legal documents, shipping information, and some audiovisual material regarding the installation of Hadzi's sculptures. The files also pertain to recasted sculptures, small-scale projects, and unexecuted commissions. Teaching Files include administrative correspondence, clippings, lecture and discussion notes, course descriptions, and correspondence from Hadzi's tenure as Visual and Environmental Studies professor at Harvard University. Papers related to instructor positions, employment opportunities, and lectures outside of Harvard are also present. Personal business records include sales, inventories, and other financial material; correspondence, shipping information, and price lists from foundries and material distributors; studio logs, correspondence, and notes.

Printed materials consist of exhibition invitations, announcements, post cards, and books; news clippings and articles; printed matter from special events, exhibitions of other artists, press releases, and newsletters. Photographs include portraits and snapshots of Hadzi, depicting him working in studios and foundries, at installation sites and events, and with his family. Also included are photographs of other artists, Hadzi's travel in Japan, and his artwork. Artwork found in this collection consists of six sketchbooks, several small drawings, and one woodblock.

Audiovisual material is extensive and includes documentation of the creation, installation, and exhibition of some of Hadzi's work. The majority of the footage centers on the creation and installation of the Thermopylae sculpture in front of the JFK Federal Building in Boston, Massachusetts in 1968.

Arrangement:

The collection is arranged as 13 series.

Series 1: Biographical Material, 1910s, bulk 1936-2004 (Box 1-3, 33; 2.7 linear feet)

Series 2: Correspondence, 1943-2007 (Box 3-6; 3 linear feet)

Series 3: Diaries and Notebooks, 1939-2006 (Box 6-9; 3 linear feet)

Series 4: Writing Files, 1945-2003 (Box 9; 10 folders)

Series 5: Exhibition Files, 1958-2002 (Box 9-10; 1.2 linear feet)

Series 6: Project Files, 1957-2002 (Box 11-15, 33; 4.7 linear feet)

Series 7: Teaching Files, 1955-2000 (Box 15-16; 12 folders)

Series 8: Museum and Gallery Files, 1947-2008 (Box 16-17; 1.8 linear feet)

Series 9: Personal Business Records, 1949-2007 (Box 17-20; 2.5 linear feet)

Series 10: Printed Material, 1949-2007 (Box 20-24, 33; 3.7 linear feet)

Series 11: Photographs, circa 1930s-2006 (Box 24-25, 33; 1.5 linear feet)

Series 12: Artwork, circa 1939-1998 (Box 25; 11 folders)

Series 13: Audiovisual Material (Box 26-40; 11.1 linear feet)

Biographical / Historical:

Dimitri Hadzi (1921-2006) was an Greek American sculptor who lived and worked in Rome from the 1950s to 1975, and then in Cambridge, Massachusetts from 1975 to 2006. Born to Greek immigrants, Hadzi attended Brooklyn Technical High School before enlisting in the Army Air Force in 1942. After the World War II, Hadzi studied painting and sculpture at Cooper Union and graduated with honors in 1950. He was awarded a Fulbright fellowship to study at the Polytechnion, Athens, Greece, and subsequently moved to Rome where he remained until the mid-1970s. Hadzi worked mostly with stone and bronze, from which he created semi-abstract shapes and structures drawn from his Greek heritage. His work was selected for the Venice Biennale in 1956, and and his first solo-exhibition came two years later at the Galeria Schneider, Rome, Italy. Throughout his career, Hadzi held solo exhibitions at the Massachusetts Institute of Technology, The Philips Collection, Athens Gallery in Greece, Rikugie Gallery in Japan, and many others. His group exhibitions include Recent Sculptor USA (1959), Museum of Modern Art, New York; Annual Exhibition, The Whitney Museum (1961); Seven Sculptors at Harvard, Harvard University (1983); and American Academy of Arts & Letters Centennial Portfolio, Pace Prints, New York (1998). Hadzi's public commissions include those at the Massachusetts Institute of Technology (1963), St. Paul's Church, Rome, Italy (1966-1976), Dallas Center, Texas (1980). His artwork is held in permanent collections of the Hirshhorn Museum and Scultpure Garden, Solomon R. Guggenheim Museum, Hakone Museum of Sculpture in Japan, and the Montreal Museum of Art, among others. Hadzi was professor of Visual and Environmental Studies at Harvard University from 1975-1989, and was named Professor Emeritus in 1989.

Provenance:

Donated 1989 and 1998 by Dimitri Hadzi and in 2008 and 2011 by Cynthia Hadzi, Dimitri Hadzi's widow.

Restrictions:

The collection is open for research. Archival audiovisual recordings must be digitized for research access. Researchers may access digitized audiovisual materials in the Archives' Washington, D.C. or New York, N.Y. Research Centers by appointment. Contact Reference Services for more information.

Rights:

The Archives of American Art makes its archival collections available for non-commercial educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Occupation:

Educators -- Massachusetts -- Cambridge  Search this

Sculptors -- Italy -- Rome  Search this

Sculptors -- Massachusetts -- Cambridge  Search this

Topic:

Sculpture, Modern -- 20th century  Search this

World War, 1939-1945  Search this

Genre/Form:

Drawings

Interviews

Sound recordings

Video recordings

Diaries

Motion picture film

Citation:

Dimitri Hadzi papers, 1910s-2003. Archives of American Art, Smithsonian Institution.

Sponsor:

The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.

Identifier:

AAA.hadzdimi

See more items in:

Dimitri Hadzi papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9cee20746-bba7-4f55-9b4d-68aa26f19cc0

EDAN-URL:

ead_collection:sova-aaa-hadzdimi

Creator:

Baldwin, James, 1924-1987  Search this

Names:

Baldwin, Daniel  Search this

Baldwin, David  Search this

Dandridge, Frank  Search this

Evers, Charles  Search this

King, Martin Luther, Jr., 1929-1968  Search this

Whaley, Paula Baldwin  Search this

Extent:

4.29 Linear feet

Type:

Collection descriptions

Archival materials

Correspondence

Place:

Harlem (New York, N.Y.)

France

Turkey

Venice (Italy)

Date:

1935-1988

Summary:

James Baldwin was a writer and an activist and is one of the most prominent voices from his generation to bring light to issues of racial and sexual discrimination. This collection contains correspondence, photographs, manuscripts, and awards. The collection provides insight into his family, writing process, and travels during his lifetime.

Scope and Contents:

The James Baldwin Collection provides insight into Baldwin's life as a writer and activist. The collection contains correspondence, photographs, manuscripts, and awards. A significant portion of the collection are photographs by photojournalist Frank Dandridge. The collection focuses on Baldwin's grade school educational career, his writing process, as well as his thoughts about social equality and civil rights.

Arrangement:

The materials in this collection have been kept at the folder level and separated into six series. The materials have been ordered and organized based on the content. Series 6 has been broken down into a smaller subseries dedicated to the Frank Dandridge photographic prints. Series 8: Oversize Materials acts as an extension of the first five series, with materials that could not be housed with their corresponding materials due to size constraints. Within each series and subseries, the folders are organized as close to the collection's original order as when it was acquired.

Biographical Sketch:

James Arthur Baldwin (1924–1987) was born in Harlem, New York, on August 2, 1924, to Emma Berdis Jones, originally from Princess Anne, Maryland. He was reared by his mother and stepfather David Baldwin, whom Baldwin referred to as his father and whom he describes as extremely strict. He did not know his biological father. As the oldest of nine children, Baldwin took seriously the responsibility of being a big brother and his mother's right hand. He cared for and protected his three younger brothers and five sisters in a household governed by the rigid rules of their father, a Baptist preacher, originally from New Orleans, Louisiana.

Between the ages of fourteen and sixteen, Baldwin, himself, became a preacher at the Fireside Pentecostal Assembly, where he developed a celebrated preaching style. Baldwin's brief experience in the church would have a sustained impact on his rhetorical style and on the themes, symbols, and biblical allusions in his writings. Baldwin's Pentecostal experience is, in fact, essential to understanding his complex views on Christianity, which he espoused in his speeches and publications. His experience would also serve in part as the underpinnings of his stance on religion. In The Fire Next Time, Baldwin proclaims, "If the concept of God has any validity or any use, it can only be to make us larger, freer, and more loving. If God cannot do this, it is time we got rid of Him." During his early teen years, Baldwin attended Frederick Douglass Junior High School, where he met his French teacher and mentor Countee Cullen, who achieved prominence as a poet of the Harlem Renaissance. Baldwin went on to DeWitt Clinton High School, where he edited the school newspaper The Magpie and participated in the literary club, just as Cullen had done when he was a student there. By high school graduation, he had met his close friends at DeWitt Clinton—Richard Avedon, Emile Capouya, and Sol Stein.

The 1940s marked several turning points in Baldwin's life. In 1942, he graduated from high school, and a year later he witnessed the New York Race Riots and experienced the death of his father. After this emotional loss, Baldwin felt more than ever it was important to play father figure to his siblings. He worked at menial jobs during the day, and at night he played guitar in Greenwich Village cafes and wrote long hours, trying to fulfill his dream of becoming a writer.

In 1944, Baldwin met Richard Wright, whose written work spoke to his heart and who would also become a mentor. Baldwin appreciated Wright's strong opinions about race in America, and he greatly valued their intellectual exchange. Wright helped Baldwin to obtain a fellowship to write his first novel, which enabled him to leave for Paris in 1948, where the older writer had relocated a few years earlier. However, the two were often at odds about the ways in which they approached race in their work. Baldwin wrote three essays explicating his critique of Wright's "protest art." This conflict eventually led to the demise of their friendship.

In 1948, at age twenty-four, Baldwin left the United States to live in Paris, France, as he could not tolerate the racial and sexual discrimination he experienced on a daily basis. Professor Kendall Thomas of Columbia Law School explains that Baldwin left his country because of racism and Harlem because of homophobia--two aspects of his identity that made him a frequent target of beatings by local youth and the police. Years later, when asked about his departure, Baldwin explained in a Paris Review interview: "My luck was running out. I was going to go to jail, I was going to kill somebody or be killed" (1984). In Paris, Baldwin began to interact with other writers. He reconnected with Richard Wright, and for the first time, he met Maya Angelou, with whom he maintained a close relationship.

Baldwin would spend the next forty years abroad, where he wrote and published most of his works. Between 1960 and 1970, Baldwin lived regularly in Istanbul, Turkey. Still, the violence and assassinations in the United States during the politically turbulent 1960s took an emotional toll on Baldwin. After the assassination of his three friends—Medgar Evers in 1963, Malcolm X in 1965, and Martin Luther King, Jr. in 1968—Baldwin suffered an emotional breakdown and eventually moved to the South of France to recuperate. In 1970, he settled in a house in the village of St. Paul de Vence, where he would live the rest of his life.

During his years abroad, Baldwin returned to the United States frequently and considered himself a "transatlantic commuter." In 1955, he signed a lease for an apartment at 63 West 97th Street in New York, and from the mid 1960s on, he maintained a home at 137 West 71st Street in Manhattan. When Martin Luther King, Jr. was assassinated in 1968, Baldwin was actually living in California. Many of Baldwin's extended visits were to spend time with his large and beloved family and to participate in Civil Rights Movement events. He attended the March on Washington in 1963 and the Selma to Montgomery March in 1965. Baldwin also participated in literary events, such as the 1965 conference titled "The Negro Writer's Vision of America" sponsored by the New School of Social Research in New York. During his presentation, Baldwin addressed the conference theme, stating, "I know a story which America denies. And it denies it for the very good reason that my story, once told, confronts it with the truth about itself. In fact, my story, once told, will liberate America. The possibility of liberation—the necessity of becoming responsible for one's own life—is what most people most profoundly fear."

Baldwin passed away on November 30, 1987, in his house in St. Paul de Vence after a short battle with stomach cancer. A week later, he was laid to rest at the Cathedral of St. John the Divine in New York City and buried at the Ferncliff Cemetery in New York. Family members and friends participated in a large service during which Toni Morrison, Amiri Baraka, and Maya Angelou delivered touching remarks about their friend and brother. Angelou stated that Baldwin's love "opened the unusual door for me, and I am blessed that James Baldwin was my brother."

Literary and Civil Rights Timeline

1924 -- Born August 2nd

1938 -- Graduates from Frederick Douglass Junior High School, where his early ambitions in writing were encouraged by his teacher Countee Cullen, the Harlem Renaissance poet

1942 -- Graduates from DeWitt Clinton High School, where he was a member of the literary club and edited the school newspaper The Magpie

1944 -- Meets writer Richard Wright, who refers Baldwin's first draft of Go Tell It On The Mountain to Harper and Brothers publishing house

1945 -- Receives a $500.00 Saxton Fellowship from Harper and Brothers; the first draft of Go Tell It On The Mountain is rejected by Harper and Doubleday; Baldwin begins writing reviews for The Nation and The New Leader

1947 -- Publishes essay "History as Nightmare" in The New Leader

1948 -- Publishes essay "The Harlem Ghetto" and short story "Previous Condition" in Commentary; Baldwin moves to Paris

1949 -- Publishes "Everybody's Protest Novel," in which he critics Harriet Beecher Stowe's Uncle Tom's Cabin and Richard Wright's Native Son; jailed in Paris for eight days for theft (falsely accused of stealing hotel bed sheets)

1951 -- Publishes "Many Thousands Gone" in the Partisan Review; attack on Richard Wright leads to breakup; Baldwin completes Go Tell It On the Mountain in Switzerland, where he stayed three months with Swiss friend and lover Lucien Happersberger

1953 -- Publishes "Stranger in the Village" in Harper's Magazine; the essay is based on his stay in Switzerland

1954 -- Wins Guggenheim Fellowship; attends MacDowell Colony in Peterborough, New Hampshire

1955 -- Attends Yadao, an artists' community in Sarasota Springs, New York; revises Amen Corner during Howard University rehearsals and publishes it the same year; also publishes the collection of essays Notes of a Native Son and an autobiographical narrative "Equal in Paris," about being jailed in Paris in 1949, originally published in Commentary magazine

1956 -- Publishes Giovanni's Room with Dial Press; accepts National Institute of Arts and Letters Award and a Partisan Review fellowship; covers First Conference of Negro and African Writers and Artists at the Sorbonne, sponsored by Presence Africanize

1957 -- Publishes "Sonny's Blues" in the Partisan Review; Travels to the South on assignment for the Partisan Review, where he interviews student protests and meets with Martin Luther King, Jr.

1959 -- Awarded a two-year Ford Foundation grand to complete Another Country; Interviews film director Ingmar Bergman in Sweden; publishes essay "A Letter From the South: Nobody Knows My Name" in the Partisan Review ; apprentice on Elia Kazan's productions of Sweet Bird of Youth and J.B.

1960 -- Covers sit-ins in Tallahassee, Florida; interviews student at Florida A & M; published "They Can't Turn Back" in Mademoiselle Magazine; Richard Wright dies suddenly

1961 -- Publishes second collection of essays Nobody Knows My Name, Dial Press; publishes the essay "Alas, Poor Richard," another scathing critic of Richard Wright's work; appears on radio and television to promote Nobody Knows My Name and to speak about civil rights; meets Elijah Muhammad and Malcolm X; completes Another Country; Swiss television produces "Stranger in the Village"; publishes the "Black Boy Looks at the White Boy"; makes first visit to Turkey at the invitation of Turkish actor Engin Cezzar

1962 -- Publishes Another Country, Dial Press, and it becomes a national best seller; Baldwin travels to West Africa; "Letter from a Region in My Mind" published in The New Yorker, later printed in The Fire Next Time as "Down at the Cross"

1963 -- Publishes The Fire Next Time to national acclaim; appears on the cover of May 17th issue of Time magazine; NAACP Field Secretary and friend Medgar Evers is assassinated on June 12 outside his home in Jackson, Mississippi; starts lecture tour for CORE in the South and the North; registers voters in Alabama for SNCC; wins Polk Memorial Award for outstanding magazine journalism; participates in March on Washington; travels to Nairobi, Kenya, with Harry Belafonte and Sidney Poitier to celebrate Kenya's independence

1964 -- Elected to the National Institute of Arts and Letters; publishes the play Blues for Mr. Charlie, Dial Press, and theater production of Blues for Mr. Charlie appears at the historic American National Theater and Academy (ANTA) in New York; publishes Nothing Personal with photographer and high school friend Richard Avedon, Atheneum Books

1965 -- Debates William F. Buckley at Cambridge and receives standing ovation for his response to "Is the American Dream at the Expense of the American Negro?"; Malcolm X is assassinated in the Audubon Ballroom in Harlem while addressing his Organization of Afro-American Unity; Baldwin attends Selma to Montgomery March; publishes Going to Meet the Man, Dial Press; The play The Amen Corner is performed in New York, Israel, and Europe

1968 -- Publishes the novel Tell Me How Long the Train's Been Gone, Dial Press; Dr. Martin Luther King, Jr. is assassinated at the Lorraine Motel in Memphis, Tennessee; Baldwin speaks at the World Council of Churches in Sweden against apartheid in South Africa; testifies at a Congressional hearing in support of a commission to establish a national museum of African American history and culture; receives personal attacks from Soul on Ice author Eldridge Cleaver

1969 -- Publishes New York Times article "The Price May Be Too High" about black writers in a white publishing industry; directs John Herbert's "Fortune and Men's Eyes" in Istanbul, Turkey

1970 -- Becomes the subject of photographs and a short film From Another Place , both by Sedat Pakay in Istanbul; holds conversations with anthropologist Margaret Mead titled "A Rap On Race"

1971 -- Baldwin and anthropologist Margaret Mead publish the transcript of conversations held in New York in 1970 in a co-authored book titled A Rap On Race; publishes "An Open Letter to My Sister Angela Davis" in New York Times Review of Books; moves to a house in St. Paul de Vence in the South of France

1972 -- Publishes No Name In The Street, Dial Press; publishes the screenplay One Day When I Was Lost, based on Alex Haley's bestselling classic The Autobiography of Malcolm X .

1973 -- Harvard professor Henry Louis Gates secures rare interview with James Baldwin and Josephine Baker together in James Baldwin's house in St. Paul de Vence, France; Baldwin appears with television host and poet Nikki Giovanni on "Soul," and the transcript is published as a dialogue

1974 -- Publishes If Beale Street Could Talk, Dial Press; becomes the third recipient (after writer Tennessee Williams and dancer Martha Graham) of the prestigious Centennial Medal awarded to "The Artist As Prophet" by the Cathedral of St. John the Divine in New York

1976 -- Publishes what would be his only children's book Little Man, Little Man: A Story of Childhood, with illustrations by Yoran Cazac, Dial Press; publishes the book-length essay The Devil Finds Work

1978 -- Teaches a spring course in contemporary literature at Bowling Green State University in Ohio (returns in the fall of 1979 and 1981); awarded the Martin Luther King, Jr. Memorial Medal

1979 -- Publishes Just Above My Head, his sixth and last novel, Dial Press; goes into seclusion after friend and mentor Beauford Delaney dies in March; teaches at UC Berkeley in the spring and speaks in Los Angeles, San Diego, and Santa Barbara; begins writing and lecturing on black English; publishes "Open Letter to the Born Again" in The Nation; meets Chinua Achebe at the University of Florida, African Literature Association; travels throughout the South

1982 -- Film makers Dick Fontaine and Pat Harley release television documentary of Baldwin' trip through the South "I Heard It Through The Grapevine"

1983 -- Publishes selected poems in Jimmy's Blues, St. Martin's Press; teaches Afro American Studies at University of Amherst in the fall

1984 -- Hospitalized for exhaustion; works on the play The Welcome Table

1985 -- Publishes "Freaks and the American Ideal of Manhood" in Playboy; American Playhouse dramatizes Go Tell It On The Mountain; publishes The Evidence of Things Not Seen, Holt, Rinehart & Winston Publishing; publishes The Price of the Ticket: Collected Non-Fiction, 1948–1985, St. Martin's Press

1986 -- Receives France's highest civilian recognition, the Legion of Honor; travels to the Soviet Union for an international conference and to London for a production of Amen Corner ; suffers fatigue and becomes ill

1987 -- Returns to St. Paul de Vence and is diagnosed with cancer of the esophagus, which spreads to the stomach; grants his last interview to poet and journalist Quincy Troop in mid-November in bed at his home; dies November 30 and his friend and assistant publicly announces his death December 1; memorials are held in St. Paul de Vence and Harlem; is eulogized by Maya Angelou, Toni Morrison, and Amiri Baraka at the Cathedral of St. John the Divine in New York; body buried at Ferncliff Cemetery, Hartsdale, New York

Provenance:

Acquired as a purchase from Baldwin's sister, Paula Baldwin Whaley in 2017.

Restrictions:

Collection is open for research. Access to collection materials requires an appointment.

Rights:

The NMAAHC Archives can provide reproductions of some materials for research and educational use. Copyright and right to publicity restrictions apply and limit reproduction for other purposes.

Topic:

Literature  Search this

Architecture  Search this

Civil rights  Search this

Theater  Search this

LGBTQ+  Search this

Activism  Search this

Awards  Search this

Education  Search this

Communication  Search this

Families  Search this

finance  Search this

Funeral rites and ceremonies  Search this

Journalism  Search this

Justice  Search this

Mass media  Search this

Photography  Search this

Politics  Search this

Poverty  Search this

Race discrimination  Search this

Sexuality  Search this

Travel  Search this

Identity  Search this

Genre/Form:

Correspondence

Citation:

James Baldwin Collection, National Museum of African American History and Culture

Identifier:

NMAAHC.A2017.47

See more items in:

James A. Baldwin Collection

Archival Repository:

National Museum of African American History and Culture

GUID:

https://n2t.net/ark:/65665/io3721df784-2906-46b1-9424-8cf154ce1eb8

EDAN-URL:

ead_collection:sova-nmaahc-a2017-47

Creator:

Hirshhorn Museum and Sculpture Garden  Search this

Type:

YouTube Videos

Uploaded:

2019-07-24T18:37:07.000Z

YouTube Category:

Education  Search this

Topic:

Art, modern  Search this

See more by:

hirshhornmuseum

Data Source:

Hirshhorn Museum and Sculpture Garden

YouTube Channel:

hirshhornmuseum

EDAN-URL:

edanmdm:yt_d80lchBTpkE

Designer:

Umberto Bellotto, Italian, 1882–1940  Search this

Manufacturer:

Pauly & C. - Compagnia Venezia e Murano, Murano, Venice,Italian, founded 1919  Search this

Medium:

blown glass

Dimensions:

H: 28.6 cm (11 1/4 in.)

Type:

glasswares

Decorative Arts

Vase

Object Name:

Vase

Made in:

Murano, Italy

Date:

ca. 1927

Credit Line:

Gift of Neil and Donna Weisman

Accession Number:

2015-48-1

Restrictions & Rights:

Usage conditions apply

See more items in:

Cooper Hewitt, Smithsonian Design Museum Collection

Product Design and Decorative Arts Department

Data Source:

Cooper Hewitt, Smithsonian Design Museum

GUID:

http://n2t.net/ark:/65665/kq43994ea0b-92f7-4bb4-baa7-d3512220027e

EDAN-URL:

edanmdm:chndm_2015-48-1

Designer:

Umberto Bellotto, Italian, 1882–1940  Search this

Manufacturer:

Pauly & C. - Compagnia Venezia e Murano, Murano, Venice,Italian, founded 1919  Search this

Medium:

blown glass

Dimensions:

H.: 30.5 cm (12 in.)

Type:

glasswares

Decorative Arts

Goblet

Object Name:

Goblet

Made in:

Murano, Italy

Date:

ca. 1927

Credit Line:

Gift of Neil and Donna Weisman

Accession Number:

2015-48-2

Restrictions & Rights:

Usage conditions apply

See more items in:

Cooper Hewitt, Smithsonian Design Museum Collection

Product Design and Decorative Arts Department

Data Source:

Cooper Hewitt, Smithsonian Design Museum

GUID:

http://n2t.net/ark:/65665/kq41ed72d5f-3914-4605-8d12-cce182a25047

EDAN-URL:

edanmdm:chndm_2015-48-2

Designer:

Umberto Bellotto, Italian, 1882–1940  Search this

Manufacturer:

Pauly & C. - Compagnia Venezia e Murano, Murano, Venice,Italian, founded 1919  Search this

Medium:

blown glass

Dimensions:

H: 25.4 cm (10 in.)

Type:

glasswares

Decorative Arts

vessel

Object Name:

vessel

Made in:

Murano, Italy

Date:

ca. 1927

Credit Line:

Gift of Neil and Donna Weisman

Accession Number:

2015-48-3

Restrictions & Rights:

Usage conditions apply

See more items in:

Cooper Hewitt, Smithsonian Design Museum Collection

Product Design and Decorative Arts Department

Data Source:

Cooper Hewitt, Smithsonian Design Museum

GUID:

http://n2t.net/ark:/65665/kq4ccd22a46-6616-455f-80a2-87e3f1f6e01a

EDAN-URL:

edanmdm:chndm_2015-48-3

Collection Creator:

Lipofsky, Marvin, 1938-2016  Search this

Container:

Box 44, Folder 44

Type:

Archival materials

Date:

1972

Collection Restrictions:

This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.

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:

Marvin Lipofsky papers, 1954-2018. Archives of American Art, Smithsonian Institution.

See more items in:

Marvin Lipofsky papers

Marvin Lipofsky papers / Series 13: Sketchbooks

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw93d610493-7e0f-4c1c-9d50-880b3e6bb957

EDAN-URL:

ead_component:sova-aaa-lipomarv-ref520

Maker:

Petrocelli, Joseph  Search this

Physical Description:

paper (overall material)

Measurements:

overall: 28 cm x 35.6 cm; 11 1/32 in x 14 1/32 in

Object Name:

bromoil print

photograph

Place made:

Italy: Venetan, Venice

Date made:

1920-1926

ID Number:

PG.006024.16

Accession number:

224379

Catalog number:

6024.16

See more items in:

Work and Industry: Photographic History

Photography

Data Source:

National Museum of American History

GUID:

http://n2t.net/ark:/65665/ng4a64b6780-a783-496d-b8d0-adc4f6941dbd

EDAN-URL:

edanmdm:nmah_2003099

Creator:

Levi, Julian E. (Julian Edwin), 1900-1982  Search this

Names:

American Artists' Congress  Search this

An American Group (Organization)  Search this

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

New School for Social Research (New York, N.Y.) -- Faculty  Search this

Extent:

6.9 Linear feet

Type:

Collection descriptions

Archival materials

Scrapbooks

Interviews

Sketches

Drawings

Photographs

Illustrated letters

Date:

1846-1981

Summary:

The papers of painter and teacher Julian E. (Edwin) Levi date from 1846 to 1981, and comprise 6.9 linear feet. They include biographical information and extensive correspondence with museums and galleries, as well as letters written to his family, circa 1927, while Levi was living in Paris. Also found within the papers are scattered drawings and sketches by Levi, writings and notes, financial records, two scrapbooks, printed material, miscellaneous records and photographs that document Levi's professional career and personal life.

Scope and Content Note:

The papers of painter and teacher Julian E. Levi date from 1846 to 1981, and comprise 6.9 linear feet. They consist of biographical information, correspondence, artwork, writings and notes, financial records, scrapbooks, printed material, miscellaneous records and photographs that document Levi's professional career and personal life.

Biographical information includes French documents regarding his trips to Paris in 1920 and 1926-1927. Julian E. Levi's Correspondence, 1914-1981, and undated, concerns professional and personal matters and consists primarily of incoming letters from friends and colleagues, arts organizations, museums, schools, and galleries. Also found are approximately sixty letters he wrote to his family circa 1927, while living in Paris. In addition, a small number of Henderson Family letters, 1846-1886, are included with the Julian E. Levi papers; their relationship to Levi is unclear. Found within the correspondence are illustrated letters and original artwork in the form of greeting cards. Additional Artwork consists mainly of pencil drawings and sketches by Levi, including a large number of stage costume designs.

Writings by Levi consist of brief statements concerning his work and other artists, brief reminiscences of friends, a poem, and the text of a speech. Notes contain miscellaneous jottings, lists of paintings, addresses and telephone information, and address books. Among the writings by others are catalog introductions for Levi exhibitions by unknown authors, and by Lewis Mumford and Archibald MacLeish for An American Group, Inc.

Financial Records concern both business and personal transactions and document art sales, commissions, consignments, and gallery expenses. Also included are receipts, a small number of banking and tax records, and scattered documentation of purchases, appraisals, and sales of antiques in his collection.

Scrapbooks (2 disbound volumes) contain clippings, other printed items, and a few photographs documenting Levi's exhibitions. There are a substantial number of exhibition catalogs and announcements. Miscellaneous printed material includes brochures, newsletters and publications, clippings, invitations, announcements of meetings, blank postcards, travel brochures and printed souvenirs. Also found is a copy of his book, Modern Art: An Introduction, and one of the articles he published in the American expatriate periodical Gargoyle.

Items of note among the Miscellaneous Records pertain to the American Artists' Congress, An American Group, Inc., Downtown Gallery, and New York City Council for Art Week. Other items of interest are a blueprint of plans for Levi's studio at his home in Easthampton, New York, and records regarding the New School for Social Research where Levi taught for many years.

Photographs of artwork include a disbound album of Levi's work and exhibition installation views that show paintings by Levi. Pictures of Levi include some taken when he was a young child, along with many views of him in his studio, with students, and others. Many views of places probably were used as reference for paintings. Other places recorded in photographs include Downtown Gallery, Stuart Davis's grave, and studios he occupied while in Paris, circa 1926-1927 and at the American Academy in Rome, 1967-1968. Of particular note are copies of Resettlement Administration and Farm Security Administration photographs.

Arrangement:

The collection is organized into 9 series. Correspondence and Scrapbooks are arranged chronologically. Other series are further categorized by record type or broad topic, with material in each folder arranged chronologically or alphabetically, as noted in the series descriptions.

Missing Title

Series 1: Biographical Information, circa 1906-1980 (Box 1; 14 folders)

Series 2: Correspondence, circa 1846-1981 (Boxes 1-3, OV 9; 2.3 linear ft.)

Series 3: Artwork, circa 1922-1972 (Box 3; 8 folders)

Series 4: Writings and Notes, circa 1938-1978 (Box 3; 11 folders)

Series 5: Financial Records, 1920s-1980 (Box 3; 0.4 linear ft.)

Series 6: Scrapbooks, 1921-1940(Box 4; 2 folders)

Series 7: Printed Material, circa 1922-1981(Boxes 4-6 and OV 10; 2.3 linear ft.)

Series 8: Miscellaneous Records, circa 1940-1974 (Box 6 and OV 9; 0.2 linear ft.)

Series 9: Photographs, circa 1902-1974 (Boxes 6-8 and OV 11; 1.1 linear ft.)

Biographical Note:

Julian Edwin Levi was born in New York in 1900, and his family relocated to Philadelphia six years later. At age 17, Levi enrolled in the Pennsylvania Academy of the Fine Arts where he studied under Henry McCarter and Arthur B. Carles. Upon completing his studies at the Academy in 1919, Levi was awarded one of the Pennsylvania Academy's Cresson Traveling Scholarship which enabled him to travel to Italy during the summer of 1920.

Levi then headed to Paris where he spent the next four years. During this time he became fluent in French, looked at a wide variety of art that influenced him to experiment with abstraction, and had paintings accepted for exhibition the Salon d'Automne of 1921 and 1922. He met many artists in Paris, and developed a close friendship with Jules Pascin. He retuned for a second stay in Paris during 1926 and 1927.

Upon his return to Philadelphia in 1924, Levi and several other modern artists in the city (including his former instructors Carles and McCarter) began exhibiting together under the name "31." The group's work was not well-received. For the remainder of his time in Philadelphia, he continued to paint and on several occasions was able to see Albert Barnes' collection that normally was not open to the public. Levi moved to New York City in 1932 and was attracted to the support and cooperation offered by various artists' organizations. He became a member of An American Group, Inc., in 1933, and was in active in the American Artists' Congress beginning around 1937. Later, Levi was elected to the National Institute of Arts and Letters, an Associate Artist of the National Academy of Design, and a member of the Century Association.

The sea, beaches, dunes, and shores served as inspiration for many of Levi's paintings. He studied his subjects closely, amassing a wide knowledge of boats, fishing, and related equipment; he even learned professional fishing and sailing techniques in order to better understand his subjects. Levi also focused on painting people, and his wife often served as his model. Paintings by Levi are in many museums, among them: Albright-Knox Art Gallery, Art Institute of Chicago, Butler Institute of American Art, Cranbrook Academy of Art, Des Moines Art Center, Detroit Institute of Arts, Guild Hall, Museum of Modern Art, Metropolitan Museum of Art, Newark Museum, Norton Simon Museum, Santa Barbara Museum, Springfield Museum of Art, Toledo Museum, University of Illinois, and the Whitney Museum of American Art.

Many of the paintings Levi produced while employed by the Federal Art Project, 1936-1938, served as the nucleus of his first one-man show held in 1940 at Downtown Gallery. He remained with Downtown Gallery for more than a decade. Later, he was associated with the Alan Gallery, Frank K. M. Rehn Galleries, and Nordness Gallery, each of which staged frequent solo exhibitions of Levi's work. He participated in most of the major national exhibitions and in the Venice Biennale, winning prizes awarded by the Art Institute of Chicago, Carnegie Institute, National Academy of Design, University of Illinois, Guild Hall, and the Pennsylvania Academy of the Fine Arts. A large retrospective exhibition of his work was organized by Boston University in 1962, and a small retrospective was held in 1971 at Wake Forest University, Winston-Salem, North Carolina.

A highly respected and much loved teacher, Levi emphasized the importance of drawing and provided individualized instruction. He considered himself a "coach" and viewed his students as less experienced artists (all were encouraged to call him Julian instead of Mr. Levi). His teaching career, which lasted for more than three decades, began in 1946 with his appointments as a painting instructor at the Art Students League and the New School for Social Research in New York City (later the New School appointed him director of its Art Workshop). In 1964 he began making weekly trips to the Pennsylvania Academy of the Fine Arts in Philadelphia, where he taught painting; at the start of the 1977 academic year, he reduced his schedule to once a month and acted as a general critic. During the 1967-68 academic year, Levi was on sabbatical leave while artist-in-residence at the American Academy in Rome. In addition, he taught summer courses at Columbia University in the early 1950s and occasionally served as a guest instructor at other summer programs over the years.

Julian Levi died in New York City, February 28, 1982, after a brief illness.

Provenance:

The papers were a gift received in several accessions between 1969-1982 from Julian E. Levi and his estate (Herman Englander, executor). Portions of the collection were microfilmed upon receipt.

Restrictions:

The collection is open for research. Use requires an appointment and is limited to the Washington, D.C. office.

Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Occupation:

Painters  Search this

Topic:

Art -- Economic aspects  Search this

Painting, Modern -- 20th century -- New York (State) -- New York  Search this

Art -- Study and teaching  Search this

Artists' studios  Search this

Works of art  Search this

Genre/Form:

Scrapbooks

Interviews

Sketches

Drawings

Photographs

Illustrated letters -- Local

Citation:

Julian E. Levi papers, 1846-1981. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.levijuli

See more items in:

Julian E. Levi papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw99f1f1716-1635-4a68-b892-235c3bd7be31

EDAN-URL:

ead_collection:sova-aaa-levijuli

Collection Creator:

Davidovich, Jaime, 1936-2016  Search this

Container:

Box OV 3, Folder 4

Type:

Archival materials

Date:

1977-1984

Collection Restrictions:

This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.

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:

Jaime Davidovich papers, 1949-2014. Archives of American Art, Smithsonian Institution.

Sponsor:

The processing and digitization of this collection received Federal support from the Latino Initiatives Pool, administered by the Smithsonian Latino Center. Additional funding for the digitization of the papers was provided by the Roy Lichtenstein Foundation.

See more items in:

Jaime Davidovich papers

Jaime Davidovich papers / Series 7: Printed Materials

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9f24eb51e-04c3-4c15-b2da-0d920e3a6489

EDAN-URL:

ead_component:sova-aaa-davijaim-ref102

Creator:

Walinska, Anna  Search this

Names:

Guild Art Gallery  Search this

Avery, Milton, 1885-1965  Search this

Beata, Welsing  Search this

Hacohen, Bracha  Search this

Littlefield, William Horace, 1902-1969  Search this

Nevelson, Louise, 1899-1988  Search this

Walinsky, Louis Joseph, 1908-2001  Search this

Extent:

2.1 Linear feet

Type:

Collection descriptions

Archival materials

Drawings

Interviews

Photographs

Scrapbooks

Sketchbooks

Sketches

Transcripts

Travel diaries

Place:

Europe -- description and travel

Israel -- Description and Travel

Date:

1927-2002

bulk 1935-1980

Summary:

The papers of New York-based painter, teacher and art director Anna Walinska measure 2.1 linear feet and date from 1927 to 2002, with the bulk of material from 1935 to 1980. The papers include biographical material, correspondence, writings, travel diaries, printed material, scrapbooks, artwork, sketchbooks, and photographs.

Scope and Contents:

The papers of New York-based painter, teacher and art director Anna Walinska measure 2.1 linear feet and date from 1927 to 2002, with the bulk of material from 1935 to 1980. The papers include biographical material, correspondence, writings, travel diaries, printed material, scrapbooks, artwork, sketchbooks, and photographs.

Biographical material consists of awards, certificates, curriculum vitae, biographical outlines, exhibition lists, passports and other material. There is a partial transcript from a radio interview of Anna Walinska. Also included are limited financial records.

Correspondence includes Anna Walinska's letters to her family from her 1954-1955 trip abroad to multiple countries in Asia, the Middle East, and Europe. There is personal and professional correspondence with friends, artists and art institutions. Notable correspondents include Milton Avery, Louise Nevelson, Beata Welsing, Bracha Hacohen, William Littlefield, and Walinska's brother Louis Walinsky.

Writings consist of Walinska's notes, notebooks, lectures, essays, and a handwritten prospectus for Guild Art Gallery. There is one folder of writings by others about Walinska at the end of the series. There are four travel diaries that describe Walinska's trip around the world from 1954-1955, during which she traveled to many countries, and later trips to locations such as Israel and Trinidad.

Printed Material include clippings about Anna Walinska, group and solo exhibition catalogs, announcements, event invitations, and course catalogs for the Master Institute of United Art in New York City, where Walinska taught painting and drawing classes.

There are three scrapbooks: one scrapbook is about Guild Art Gallery, the second scrapbook is about the Holocaust exhibition, the third oversized scrapbook documents Walinska's career and activities overall.

Artwork consists of two bound sketchbooks as well as drawings and sketches in a variety of mediums from pencil and ink to watercolors and oils.

Photographs are of Walinska, friends, family, artists, artwork, exhibition installations, and other subjects. One album includes photos of Anna Walinska and her travels, along with images of friends and colleagues. The second album includes photographs of Walinska's solo exhibition at Sunken Meadow Gallery (1959). There is also one folder of photocopies of photos of assorted artwork by Walinska.

Arrangement:

The collection is arranged as 8 series.

Series 1: Biographical Material, 1927-2002 (Box 1; 11 folders)

Series 2: Correspondence, 1949-1995 (Box 1; 0.4 linear feet)

Series 3: Writings, circa 1935-circa 1983 (Box 1; 8 folders)

Series 4: Travel Diaries, 1954-1973 (Box 1; 0.2 linear feet)

Series 5: Printed Material, 1942-2002 (Boxes 1-2; 0.4 linear feet)

Series 6: Scrapbooks, circa 1929-1980 (Boxes 2, 4; 0.5 linear feet)

Series 7: Artwork, circa 1929-1963 (Box 3; 5 folders)

Series 8: Photographs, circa 1932-1980 (Box 3; 0.3 linear feet)

Biographical / Historical:

Anna Walinska (1906-1997) was a New York artist, teacher and gallery director who traveled widely and is most well known for her paintings related to the subject of the Holocaust.

Anna Walinska was born in London, England in 1906 to labor organization leader Ossip Walinsky and poet Rosa Newman Walinska. She had two siblings, Emily and Louis. The family immigrated to New York City in 1914, and Anna Walinska began studying at the Art Students League in 1918. In 1926, she travelled to Paris and studied art at the Academie de Grande Chaumier with Andre L'Hote. France was her primary residence until 1930.

In 1935, Walinska and artist Margaret Lefranc co-founded the Guild Art Gallery at West 57th Street in New York and gave Arshile Gorky his first solo exhibition in the city. The gallery closed its doors in 1937. In 1939, Walinska was the Assistant Creative Director of the Contemporary Art Pavilion at the New York World's Fair. During this time, Walinska also pursued her own art and exhibited work in numerous group shows.

From 1954 to 1955, Walinska traveled around the world, visiting the capitals and major cities of many countries in Asia, the Middle East and Europe. Places she went included Japan, Burma (now known as Myanmar), Pakistan, Greece, Italy, France and Spain. During her four month stay in Burma, she painted a portrait of Prime Minister U Nu and she later became a highly respected portrait artist who painted numerous illustrious subjects such as First Lady Eleanor Roosevelt, artists Louise Nevelson and Mark Rothko, and many others.

In 1957, Walinska became the artist-in-residence at the Riverside Museum where she also taught and exhibited with other artists. That same year, she had her first retrospective at the Jewish Museum in New York City.

Walinska exhibited widely and often. Holocaust: Paintings and Drawings, 1953-1978, which opened at the Museum of Religious Art at the Cathedral of St. John the Divine in New York City, is probably the most well-known of her exhibitions and it traveled across the country to several other sites such as the War Memorial Building in Baltimore and Mercy College of Detroit. Works from this exhibition were acquired by multiple museums to become part of their permanent collections.

Walinkska died on December 19, 1997 at the age of 91 in New York City. In 1999, there was a retrospective of her work titled Echoes of the Holocaust: Paintings, Drawings, and Collage, 1940-1989 held at Clark University's Center for Holocaust Studies. The Onisaburo Gallery at New York's Interfaith Center also held a solo exhibition titled Portraits of Faith (2000). Her art is part of the collections at the Denver Art Museum, National Portrait Gallery, National Museum of Women in the Arts, the Rose Art Museum, and other museums.

Related Materials:

The Archives of American Art also has the Guild Art Gallery records, which consists of material related to the gallery that was co-founded by Anna Walinska.

Provenance:

The papers were donated by Anna Walinska in two installations in 1976 and 1981. Rosina Rubin, Anna Walinska's niece, made a third donation of material in 2017.

Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., research center.

Occupation:

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

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

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

Topic:

Drawing--Study and teaching  Search this

Holocaust, Jewish (1939-1945), in art  Search this

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

Asia--Description and travel  Search this

Middle East--Description and travel  Search this

Trinidad and Tobago--Description and travel  Search this

Women painters  Search this

Women artists  Search this

Women educators  Search this

Genre/Form:

Drawings

Interviews

Photographs

Scrapbooks

Sketchbooks

Sketches

Transcripts

Travel diaries

Citation:

Anna Walinska papers, 1927-2002, bulk 1935-1980. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing and digitization of this collection was provided by Rosina Rubin.

Identifier:

AAA.walianna

See more items in:

Anna Walinska papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9995d1f6a-668f-4e1e-8abe-bb24edfb016b

EDAN-URL:

ead_collection:sova-aaa-walianna

Creator:

Solomon, Alan R., 1920-1970  Search this

Names:

Albright-Knox Art Gallery  Search this

Amsterdam (Netherlands). Stedelijk Museum  Search this

Art Gallery of Ontario  Search this

Artforum  Search this

Biennale di Venezia  Search this

Centro de Artes Visuales (Asunción, Paraguay)  Search this

Cornell University -- Faculty  Search this

Expo 67 (Montréal, Québec)  Search this

Harvard University -- Students  Search this

Institute of Contemporary Art (Boston, Mass.)  Search this

Jewish Museum (New York, N.Y.)  Search this

Leo Castelli Gallery  Search this

Los Once (Artists' group)  Search this

Pasadena Art Museum  Search this

San Francisco Art Institute  Search this

University of California (System)  Search this

Velvet Underground (Musical group)  Search this

Bontecou, Lee, 1931-  Search this

Castelli, Leo  Search this

Chamberlain, John, 1927-2011  Search this

Childs, Lucinda  Search this

Dine, Jim, 1935-  Search this

Duchamp, Marcel, 1887-1968  Search this

Dunn, Judith  Search this

Fahlström, Öyvind, 1928-1976  Search this

Finkelstein, Nat  Search this

Frankenthaler, Helen, 1928-2011  Search this

Greenberg, Clement, 1909-1994  Search this

Greenberg, Jeanine  Search this

Grisi, Laura  Search this

Hay, Alex  Search this

Hay, Deborah  Search this

Johns, Jasper, 1930-  Search this

Kron, Joan  Search this

Lichtenstein, Roy, 1923-1997  Search this

Louis, Morris, 1912-1962  Search this

MacElroy, Robert R.  Search this

Moore, Peter  Search this

Morris, Robert  Search this

Mulas, Ugo  Search this

Namuth, Hans  Search this

Newman, Barnett, 1905-1970  Search this

Noland, Kenneth, 1924-2010  Search this

Novick, Elizabeth  Search this

Oldenburg, Claes, 1929-  Search this

Oldenburg, Patty  Search this

Paxton, Steve  Search this

Picasso, Pablo, 1881-1973  Search this

Poons, Larry  Search this

Provinciali, Michele  Search this

Rainier, Yvonne  Search this

Rauschenberg, Robert, 1925-2008  Search this

Redon, Odilon, 1840-1916  Search this

Reed, Lou  Search this

Rosenquist, James, 1933-  Search this

Sabol, Audrey, 1922-  Search this

Schute, Terry  Search this

Scull, Ethel  Search this

Scull, Robert C.  Search this

Segal, George, 1924-2000  Search this

Sisler, Mary  Search this

Sonnabend, Ileana  Search this

Stella, Frank  Search this

Warhol, Andy, 1928-  Search this

Whitman, Robert  Search this

Extent:

9.9 Linear feet

Type:

Collection descriptions

Archival materials

Drawings

Transcripts

Photographs

Interviews

Lithographs

Place:

Italy -- Venice

Date:

1907-1970

bulk 1944-1970

Summary:

The papers of New York art historian, museum director, curator, writer, and educator, Alan R. Solomon, measure 9.9 linear feet and date from 1907-1970, with the bulk of the material dating from 1944-1970. Through biographical material, correspondence, interview transcripts, writings and notes, teaching and study files, subject files, exhibition files, business records, printed material, and photographs, the collection documents Solomon's education, his early teaching appointments at Cornell University, and his subsequent direction of many diverse curatorial and research projects relating to contemporary American art, particularly the transition from Abstract Expressionism to later modern movements, and the thriving New York City art scene.

Scope and Contents:

The papers of New York art historian, museum director, curator, writer, and educator, Alan R. Solomon, measure 9.9 linear feet and date from 1907-1970, with the bulk of the material dating from 1944-1970. Through biographical material, correspondence, interview transcripts, writings and notes, teaching and study files, subject files, exhibition files, business records, printed material, and photographs, the collection documents Solomon's education, his early teaching appointments at Cornell University, and his subsequent direction of many diverse curatorial and research projects relating to contemporary American art, particularly the transition from Abstract Expressionism to later modern movements, and the thriving New York City art scene.

Biographical material includes résumés, an engagement book, and a monthly planning book from 1965, identification cards, and educational transcripts.

Correspondence documents Solomon's education at Harvard College and Harvard University, and his teaching appointments at Cornell University. Correspondence also provides some documentation of his involvement with museums and arts organizations, including the Jewish Museum, Stedlijk Museum, the San Francisco Art Institute, the University of California, and Centro de Artes Visuales; his submission of writings for publications including Artforum, Art International, and Konstrevy; and his relationships with artists and colleagues including Jim Dine, Joan Kron, Audrey Sabol, and Ileana Sonnabend. Also found is correspondence related to Solomon's work for Mary Sisler, who employed Solomon to sell her collection of artwork by Marcel Duchamp in the late 1960s.

One series comprises transcripts of interviews with many of the artists who were central to the transition from Abstract Expressionism to later modern movements that occurred in the 1950s and 1960s, such as Neo-Dada and Pop art. Artists represented in the interviews include Jim Dine, Helen Frankenthaler, Jasper Johns, Barnett Newman, Kenneth Noland, Claes Oldenburg, Robert Rauschenberg, Frank Stella, and Andy Warhol.

Solomon's writings include many of his essays for exhibition catalogs, magazines, and journals, and are in a combination of annotated manuscript and published formats. There are writings on Jim Dine, Barnett Newman, Robert Rauschenberg, and Jasper Johns, and on the new movements in theater and performance art of the 1960s. His writings also document the art history education which informed all of his later work, with the inclusion of papers written as a student and teacher, his honors thesis on Odilon Redon, and his dissertation on Pablo Picasso. This material is supplemented by notes, and teaching and study files, documenting courses taken and taught at Harvard and Cornell universities. Also found is the manuscript of the text for New York: The New Art Scene, accompanied by a partial published copy of the book and photographs by Ugo Mulas.

Solomon's subject files augment several of the other series, comprising material on various art related subjects and individual painters and sculptors, arranged alphabetically. Material found here includes printed matter documenting exhibitions and other events, scattered letters from artists, related writings, and photographs.

One series documents Solomon's involvement with the First New York Theater Rally, which he co-produced with Steve Paxton in 1965. This material includes a drawing each by Jim Dine and Alex Hay, pieces of a combine by Robert Rauschenberg, and photographs of the group including Dine, Hay, and Rauschenberg, as well as Lucinda Childs, Judith Dunn, Deborah Hay, Robert Morris, Claes Oldenburg, the Once Group, Steve Paxton, Yvonne Rainier, Alan Solomon, and Robert Whitman. The series includes multiple contact sheets of photos of First New York Theater Rally events, by Peter Moore, Elizabeth Novick, and Terry Schute.

Exhibition files document Solomon's role as an organizer and curator for some of his most well-known exhibitions, including American Painting Now (1967) for Expo '67 in Montreal; Andy Warhol (1966) at the Institute of Contemporary Art in Boston; Dine-Oldenburg-Segal (1967) at the Art Gallery of Ontario and Albright-Knox Gallery; the American exhibition at the 1964 Venice Biennale; Young Italians (1968) at the Institute of Contemporary Art; and Painting in New York 1944-1969, a major retrospective installed for the opening of the new Pasadena Art Museum in fall, 1969. Records include correspondence, lists and notes, financial records, printed material, and photographs of artists and installations, including a series by Ugo Mulas taken at the Venice Biennale.

Solomon's business records include lists, notes, contracts, expense forms, vouchers, purchase orders, and receipts. They provide scattered documentation of exhibition-related expenses and purchases of artwork, as well as Solomon's income from teaching appointments, lectures, honorariums, and writings. Amongst Solomon's general business records is an American Federation of Musicians agreement between the Institute of Contemporary Art and "Louis Reed," with booking agent Andy Warhol, for a performance by the Velvet Underground and Nico, performing as The Exploding Plastic Inevitable on October 29, 1966. This seemingly mundane item documents an event that accompanied Solomon's landmark Warhol exhibition of nearly forty iconic works, and the accompanying show by The Exploding Plastic Inevitable was hailed by the Boston Phoenix newspaper as one of the greatest concerts in Boston history.

Printed material includes announcements, catalogs, and posters for exhibitions and art related events, including two Jasper Johns lithographs for a 1960 exhibition at Galerie Rive Droite, and a 1963 exhibition at Leo Castelli Gallery. Also found are news clippings, press releases, and other publications.

Photographs are of Solomon, artists, friends and colleagues, exhibitions and other events, and artwork. They include snapshots of Solomon, and a series of photographs of him at various events and parties, many taken by Ugo Mulas, as well as a photo taken by Robert Rauschenberg of Ugo Mulas, Michele Provinciali, and Solomon. Additional photos by Ugo Mulas include some which were probably taken for New York: The New Art Scene, and a series of photos of Robert Rauschenberg and others at the Venice Biennale. Photos of artists include Lee Bontecou, John Chamberlain, Jim Dine, Marcel Duchamp, Öyvind Fahlström, Laura Grisi, Jasper Johns, Roy Lichtenstein, Morris Louis, Barnett Newman, Kenneth Noland, Claes and Patty Oldenburg, Larry Poons, James Rosenquist, George Segal, Frank Stella, and Andy Warhol and The Factory. Photos of others include Leo Castelli, Clement and Jeanine Greenberg, and Ethel and Robert Scull. Also found are photos of the exhibition Toward a New Abstraction (1963), at The Jewish Museum, photos of Venice, and photos of artwork by many of the above named, and other, artists. In addition to Ugo Mulas, photographers represented in this series include Nat Finkelstein, Robert R. McElroy, and Hans Namuth.

Arrangement:

The collection is arranged as eleven series.

Missing Title

Series 1: Biographical Material, 1938-1968 (5 folders; Box 1)

Series 2: Correspondence, 1930-1970 (0.66 linear feet; Box 1)

Series 3: Interviews, 1965-1969 (0.25 linear feet; Box 1)

Series 4: Writings and Notes, 1945-1969 (1.35 linear feet; Boxes 1-3, 11)

Series 5: Teaching and Study Files, 1944-1958 (0.25 linear feet; Box 3)

Series 6: Subject Files, 1907-1969 (2.92 linear feet; Boxes 3-6, 1, OV 12)

Series 7: First New York Theater Rally, 1963-1965 (0.15 linear feet; Boxes 6, 11)

Series 8: Exhibition Files, 1954-1969 (1.42 linear feet; Boxes 6-7, 11, OV 12)

Series 9: Business Records, 1945-1970 (0.3 linear feet; Boxes 7-8)

Series 10: Printed Material, 1914-1970 (0.8 linear feet; Boxes 8-9, OV 12)

Series 11: Photographs, circa 1951-circa 1970 (1.7 linear feet; Boxes 9-11, OV 13)

Biographical / Historical:

New York art historian, museum director, art consultant, educator, writer, and curator, Alan R. Solomon (1920-1970), organized over two hundred exhibitions in the course of his career. He was known for his skill in exhibition design, and for bringing the perception and understanding of an art historian to the field of contemporary art.

Solomon was born in Quincy, Massachusetts, and educated at Harvard College and Harvard Graduate School. In 1953, during his 1952-1962 tenure with the Cornell University department of art history, he established the Andrew Dickson White Museum of art. Solomon served as the museum's first director until 1961, whilst simultaneously pursuing his doctorate, which he received from Harvard University in 1962.

In 1962 Solomon was hired by the Jewish Museum in New York, New York, and immediately began to take the institution in a more contemporary direction, mounting Robert Rauschenberg's first retrospective in 1963, and a major Jasper Johns retrospective in 1964. Also, in 1963, Solomon was appointed the United States Commissioner for the 1964 Venice Biennale. He was determined to show "the major new indigenous tendencies, the peculiarly America spirt of the art" in works by two consecutive generations of artists, including Jasper Johns, Morris Louis, Kenneth Noland, and Robert Rauschenberg. With this in mind, and given the inadequacy of the existing space to house the installation he envisaged, Solomon secured a verbal agreement from Biennale officials to approve additional space for the American exhibition in an annex at the former American Consulate. The agreement was never formalized, however, and a series of administrative problems and controversies over the eligibility of the American submissions threatened to undermine Solomon's efforts. Nevertheless, Robert Rauschenberg became the first American to take the Grand Prize for foreign artist, and the attention garnered by the American exhibition monopolized press coverage of the Biennale. In response, Solomon stated publicly that "it is acknowledged on every hand that New York has replaced Paris as the world art capital."

Solomon subsequently left the Jewish Museum, having engendered resistance to leading the museum in a more experimental direction, away from the traditional Jewish educational aspects of its mission. In the mid-sixties he worked as a consultant and writer for a National Educational Television series entitled "U. S. A. Artists," which drew on artist interviews, many conducted by Solomon. He also wrote the text for Ugo Mulas's classic photographic study, New York: The New Art Scene (1967: Holt Rinehart and Winston).

In 1966 Solomon was hired by the United States Information Agency to organize the United States contribution to the Canadian World Exhibition in Montreal, known as Expo '67. His stunning American Painting Now installation placed large scale paintings by twenty-three artists, including Jim Dine, Ellsworth Kelly, Roy Lichtenstein, Barnett Newman, Claes Oldenburg, Robert Rauschenberg, and James Rosenquist, inside Buckminster Fuller's twenty-story Biosphere of Montreal.

Other important exhibitions organized by Solomon included Andy Warhol (1966) at the Institute of Contemporary Art, Boston, which was only the second of two exhibitions dedicated to the artist; Dine-Oldenburg-Segal (1967) at the Art Gallery of Ontario and the Albright-Knox Art Gallery; and Young Italians (1968) at the Institute of Contemporary Art.

Solomon was also interested in contemporary theater and organized the First New York Theater Rally with Steve Paxton in 1965, a series of performances which combined new dance and a revival of the Happenings of the early 1960s, in which Claes Oldenburg, Jim Dine and others were involved.

Following a six-week appointment as a senior lecturer at the University of California, Irvine, in spring 1968, Solomon became chairman of the University's art department and director of the art gallery. His last exhibition, Painting in New York, 1944-1969 (1969-1970), was held at the Pasadena Art Museum and closed in January 1970, just a few weeks before Solomon's sudden death at the age of forty-nine.

Provenance:

The Leo Castelli Gallery served as executor of Solomon's estate, and donated his papers to the Archives of American Art in 1974 and 2007.

Restrictions:

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

Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Occupation:

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

Painters  Search this

Topic:

Abstract expressionism  Search this

Art -- Study and teaching  Search this

Art -- Economic aspects  Search this

Art -- History -- Study and teaching  Search this

Performance art  Search this

Art, Abstract -- United States  Search this

Art -- Exhibitions  Search this

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

Sculptors  Search this

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

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

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

Theater  Search this

Pop art  Search this

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

Genre/Form:

Drawings

Transcripts

Photographs

Interviews

Lithographs

Citation:

Alan R. Solomon papers, 1907-1970, bulk 1944-1970. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing and digitization of the Alan R. Solomon papers is provided by the Lichtenstein Foundation.

Identifier:

AAA.soloalan

See more items in:

Alan R. Solomon papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw943b0f6a7-bfde-4a32-8bcc-4c9a200251d4

EDAN-URL:

ead_collection:sova-aaa-soloalan

Collection Creator:

Sears, Thomas Warren, 1880-1966  Search this

Sears & Wendell  Search this

Olmsted Brothers  Search this

Harvard University  Search this

American Society of Landscape Architects  Search this

Type:

Archival materials

Collection Restrictions:

Access to original archival materials by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.

Collection Rights:

Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.

Collection Citation:

Smithsonian Institution, Archives of American Gardens, Thomas Warren Sears photograph collection.

Identifier:

AAG.SRS, File IT027

See more items in:

Thomas Warren Sears photograph collection

Thomas Warren Sears photograph collection / Series 1: Photographic Images / International / Italy

Archival Repository:

Archives of American Gardens

GUID:

https://n2t.net/ark:/65665/kb6555be086-8543-4194-9c4c-b3b5e11d13f7

EDAN-URL:

ead_component:sova-aag-srs-ref2512

Photographer:

Sears, Thomas Warren, 1880-1966  Search this

Collection Creator:

Sears, Thomas Warren, 1880-1966  Search this

Sears & Wendell  Search this

Olmsted Brothers  Search this

Harvard University  Search this

American Society of Landscape Architects  Search this

Extent:

1 Glass negative (black-and-white, 5 x 7 in.)

Type:

Archival materials

Glass negatives

Place:

Italy -- Venice

Italy -- Veneto Region -- Venice

Date:

1906 Sep.

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:

Boats  Search this

Houses  Search this

Canals  Search this

Workshops  Search this

Gondolas  Search this

Genre/Form:

Glass negatives

Collection Citation:

Smithsonian Institution, Archives of American Gardens, Thomas Warren Sears photograph collection.

Identifier:

AAG.SRS, Item IT027001

See more items in:

Thomas Warren Sears photograph collection

Thomas Warren Sears photograph collection / Series 1: Photographic Images / International / Italy / IT027: Venice -- Miscellaneous Sites

Archival Repository:

Archives of American Gardens

GUID:

https://n2t.net/ark:/65665/kb668d0bb82-10b7-4951-b7b7-49ed3f87caa5

EDAN-URL:

ead_component:sova-aag-srs-ref2788

Photographer:

Sears, Thomas Warren, 1880-1966  Search this

Collection Creator:

Sears, Thomas Warren, 1880-1966  Search this

Sears & Wendell  Search this

Olmsted Brothers  Search this

Harvard University  Search this

American Society of Landscape Architects  Search this

Extent:

1 Glass negative (black-and-white, 5 x 7 in.)

Type:

Archival materials

Glass negatives

Place:

Italy -- Venice

Italy -- Veneto Region -- Venice

Date:

1906 Sep.

General:

IT027008 is a similar view.

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:

Gondolas  Search this

Boats  Search this

Bridges  Search this

People  Search this

Facades  Search this

Canals  Search this

Urban areas  Search this

Genre/Form:

Glass negatives

Collection Citation:

Smithsonian Institution, Archives of American Gardens, Thomas Warren Sears photograph collection.

Identifier:

AAG.SRS, Item IT027002

See more items in:

Thomas Warren Sears photograph collection

Thomas Warren Sears photograph collection / Series 1: Photographic Images / International / Italy / IT027: Venice -- Miscellaneous Sites

Archival Repository:

Archives of American Gardens

GUID:

https://n2t.net/ark:/65665/kb6e4655a9f-7d06-4b06-8658-30367758928a

EDAN-URL:

ead_component:sova-aag-srs-ref2789

Photographer:

Sears, Thomas Warren, 1880-1966  Search this

Collection Creator:

Sears, Thomas Warren, 1880-1966  Search this

Sears & Wendell  Search this

Olmsted Brothers  Search this

Harvard University  Search this

American Society of Landscape Architects  Search this

Extent:

1 Glass negative (black-and-white, 5 x 7 in.)

Type:

Archival materials

Glass negatives

Place:

Italy -- Venice

Italy -- Veneto Region -- Venice

Date:

1906 Sep.

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:

Bridges  Search this

Canals  Search this

People  Search this

Urban areas  Search this

Facades  Search this

Church buildings  Search this

Genre/Form:

Glass negatives

Collection Citation:

Smithsonian Institution, Archives of American Gardens, Thomas Warren Sears photograph collection.

Identifier:

AAG.SRS, Item IT027003

See more items in:

Thomas Warren Sears photograph collection

Thomas Warren Sears photograph collection / Series 1: Photographic Images / International / Italy / IT027: Venice -- Miscellaneous Sites

Archival Repository:

Archives of American Gardens

GUID:

https://n2t.net/ark:/65665/kb679c65120-9dd0-47d1-85f7-d2b414d837f4

EDAN-URL:

ead_component:sova-aag-srs-ref2790

Photographer:

Sears, Thomas Warren, 1880-1966  Search this

Collection Creator:

Sears, Thomas Warren, 1880-1966  Search this

Sears & Wendell  Search this

Olmsted Brothers  Search this

Harvard University  Search this

American Society of Landscape Architects  Search this

Extent:

1 Glass negative (black-and-white, 5 x 7 in.)

Type:

Archival materials

Glass negatives

Place:

Italy -- Venice

Italy -- Veneto Region -- Venice

Date:

1906 Sep.

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:

Bridges  Search this

Canals  Search this

People  Search this

Urban areas  Search this

Facades  Search this

Boats  Search this

Gondolas  Search this

Genre/Form:

Glass negatives

Collection Citation:

Smithsonian Institution, Archives of American Gardens, Thomas Warren Sears photograph collection.

Identifier:

AAG.SRS, Item IT027004

See more items in:

Thomas Warren Sears photograph collection

Thomas Warren Sears photograph collection / Series 1: Photographic Images / International / Italy / IT027: Venice -- Miscellaneous Sites

Archival Repository:

Archives of American Gardens

GUID:

https://n2t.net/ark:/65665/kb6892a83a5-4bb5-4f8c-8330-4c356227ba44

EDAN-URL:

ead_component:sova-aag-srs-ref2791