- Journals, letters, and sketchbooks are arranged roughly in sequential number sequences, housed in document boxes.
- S-30 is organized into 17 subdivisions which include one or several items of original materials.
Local Numbers:
S-30
FSA A.06 07.30.14
General:
- Title is provided by Xavier Courouble, FSg Archives cataloger, based on Joseph Upton's Catalogue of the Herzfeld Archive and Thomas Leisten's publication, Excavation of Samarra, vol 1.
- Series title in Joseph Upton's Catalogue of the Herzfeld Archive reads, "Records of Samarra Expeditions."
Date/Time and Place of an Event Note:
Notes related primarly to the two campaigns of excavation at Sāmarrāʼ (Iraq), carried out by Ernst Herzfeld on behalf of the Kaiser Friedrich Museum in Berlin between the years 1911 and 1913.
Funding note:
Funded by
Collection Restrictions:
Collection is open for research.
Collection Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
Ernst Herzfeld Papers. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Smithsonian Institution, Washington D.C. Gift of Ernst Herzfeld, 1946
Ernst Herzfeld Papers. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Smithsonian Institution, Washington D.C. Gift of Ernst Herzfeld, 1946
Three photographic platinum prints, signed by Steichen in pencil on the image, numbered in an unidentified hand in pencil on the reverse.
Arrangement:
Stored in one box.
Biographical / Historical:
Edward Steichen (1879-1973) was an American painter and photographer born in Bivange, Luxembourg. He became a naturalized citizen in 1900. Steichen began his career as a fine art painter, but he soon took up the pictorialist approach to photography, going on to establish the Little Galleries of the Photo-Secession with Alfred Stieglitz. During World War I, Steichen moved into straight photography, serving as Director of the Naval Photographic Institute during World War II and winning an Academy Award for Best Documentary for his 1945 film "The Fighting Lady". He is perhaps most well-known for his curatorial work for the 1955 photography exhibition "The Family of Man" at the Museum of Modern Art in New York. Steichen selected more than 500 images from professional and amateur photographers in over 68 countries to depict universal themes of the human experience, such as birth, death, war and illness. The exhibition traveled to 38 countries and was viewed by over 9 million people, resulting in an equally successful book of the same name, which included an introduction by Steichen's brother-in-law, the poet Carl Sandburg.
Charles Lang Freer (1854-1919) was an American railroad-car manufacturer from Detroit, Michigan who amassed a large fortune as one of the founders of the Peninsular Car Company, which would go on to become American Car and Foundry. In the latter part of the 19th century, Freer was diagnosed with neurasthenia, the prescribed treatment for which was usually rest and avoidance of stressful activities. Freer began collecting art, starting with American masters and impressionist painters. Early on, Freer met and began collecting the works of James Whistler, who advised him to start collecting Asian art. Freer traveled to China, Japan and Korea, amassing a large private collection. Early in the twentieth century, Freer decided to donate his art to the public; in 1916, construction began on what is now known as the Freer Gallery of Art at the Smithsonian Institution. The building, which was paid for by Freer, cost one million dollars. Completion was delayed by World War I and the gallery was not opened until 1923. Freer died in 1919, leaving the bulk of his art collection to the federal government. This photograph comes originally from the Estate of Clarence P. Freer, nephew of Charles Lang Freer.
Local Numbers:
FSA A.01 12.01.1
Collection Restrictions:
Collection is open for research.
Collection Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
Genre/Form:
Portraits -- Men
Photographs
Platinum Prints
Collection Citation:
Charles Lang Freer Papers. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Smithsonian Institution, Washington, D.C. Gift of the estate of Charles Lang Freer.
Charles Lang Freer Papers. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Smithsonian Institution, Washington, D.C. Gift of the estate of Charles Lang Freer.
The records of Modern Multiples printmaking workshop measure 25.2 linear feet and date from the 1970s to 2017. The collection contains administrative files related to the daily operations of the print workshop, gallery, and other associated businesses owned and operated by Richard Duardo. Also included are correspondence with artists and arts institutions, as well as some personal correspondence; project and artist files; printed material; photographic material, including photograph albums; artwork; and a small amount of material related to Richard Duardo, including biographical statements, a recorded interview, and journals.
Scope and Contents:
The records of Modern Multiples printmaking workshop measure 25.2 linear feet and date from the 1970s to 2017. The collection contains administrative files related to the daily operations of the print workshop, gallery, and other associated businesses owned and operated by Richard Duardo. Also included are correspondence with artists and arts institutions, as well as some scattered personal correspondence; project and artist files; printed material; photographic material, including photograph albums; artwork; and a small amount of material related to Richard Duardo, including biographical statements, a recorded interview, and journals.
Arrangement:
The collection is arranged as seven series.
Series 1: Administrative Files, 1978-2013 (Boxes 1-7, OV 26; 7.1 linear feet)
Series 2: Correspondence, 1982-2014 (Boxes 7-10, OV 26; 2.6 linear feet)
Series 3: Project Files, 1981-2014 (Boxes 10-22; 12.2 linear feet)
Series 4: Printed Material, 1980-2017 (Boxes 22-24, OV 27; 1.9 linear feet)
Series 5: Photographic Material, 1970s-2000s (Boxes 24-25; 1 linear foot)
Series 6: Artwork circa 1980s-2000s (Box 25, OV 26; 0.3)
Series 7: Richard Duardo Papers 1988-2005 (Box 25; 0.1)
Biographical / Historical:
Modern Multiples is a printmaking workshop in Los Angeles founded by Richard Duardo (1952-2014). Richard Duardo, an artist and fine art printer, was prominent in the Chicano art movement in Los Angeles, California. After helping to found the Centro de Arte Publico, Duardo opened Hecho en Aztlán, which became Aztlán Multiples, Multiples Fine Art Printing, and finally Modern Multiples. His sister, Lisa Duardo, took over the organization in 2015. Along with the printing workshop, Duardo also opened Future Perfect Gallery and started Art & Commerce, a business to sell the work of up-and-coming artists. In the early 2000s, Duardo sat on the Los Angeles County Museum of Art's Board of Trustees and chaired the Print Commission for the Prints and Drawings Council.
Modern Multiples and its predecessor studios worked with artists including Carlos Almaraz, Banksy, Chaz Bojorquez, Shepard Fairey, Camille Rose Garcia, John Van Hamersveld, and Bob Zoell.
Provenance:
The Modern Multiples records were donated to the Archives of American Art by Lisa Duardo, Richard Duardo's sister, in 2019.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies. 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.
