Henri-Marie Coanda (1885-1972) was born and died in Bucharest, Romania. He spent his early childhood in Paris (1886-1891), before being educated in a Romanian military school (graduated 1903). Coanda continued his studies in Berlin and Paris -- at Auguste Rodin's atelier, with Gustaf Eiffel, and as a member of the first class of L'Ecole Superieure d'Aeronautique. He made his aeronautical debut in 1910, in the world's first jet aircraft. This was followed in 1932 with the discovery of the Coanda effect in which jet streams are used to create vacuums by following curves. His other projects included prefabricated housing developments, water conversion and conservation, energy conservation and agricultural equipment. In his lifetime he contributed some 250 inventions to these diverse fields.
Scope and Contents:
The Henri Coanda Collection (acc. #XXXX-0170), located at the National Air and Space Museum Archives, consists of approximately one cubic foot of materials relating to Henri Coanda's experimental work. The inclusive dates are 1908-1961 with the bulk of the material covering the years 1953- 1961. The collection should prove valuable to researchers interested in Coanda's non- aviation, accomplishments, especially his hydrogenerator project. Topics included in the collection are the aforementioned water conversion project, his soil improvement project, the Société Multicellulaires pre-fabricated housing company, his work with concrete holding tanks, and unidentified experiments. The collection consists mostly of correspondence, technical reports, and photos, many of which are uncaptioned. There are also expense records, newspaper and magazine articles, books, glass plate negatives, and a watercolor painting. Those in search of information regarding Coanda's aviation achievements might find more information in Coanda's biographical file at the National Air and Space Museum Archives located on the Mall.
Biographical / Historical:
Henri-Marie Coanda (1886-1972), a Rumanian scientist and inventor, broke ground in a wide range of areas. He produced significant innovations in early aircraft design and claimed to have flown the first jet. He also identified the fluidics principle called the Coanda Effect and subsequently applied it in many of his inventions. Further, he pioneered concepts in such diverse areas as fuel storage, pre-fabricated housing, soil regeneration, and saline water purification.
Henri Coanda was born June 7, 1886, in Bucharest, Romania. His family soon moved to France after his father, Constantin Coanda, a professor and president of the Council of Romania, became attache to the Rumanian embassy in Paris. Coanda returned to Romania in 1896 to attend military school (1896-1903). He continued his education at Technische Hochsehule in Charlottenburg-Berlin (1903-1907), the University of Liége (1907-1908), and the Electrotechnical Institute of Montefiore in Turin (1908-1909). At L'Ecole Supirieure d'Aeronautique in Paris he completed his engineering degree, graduating first in his class (1910).
During his school days Coanda became interested in aviation. While studying in Berlin he followed Otto Lilienthal's glider experiments in nearby Spandau and also built a miniature airplane powered by two rocket engines (1903). In 1906 he even went as far as Nice to meet Captain Ferdinand Ferber, who also flew a glider. When Coanda proposed the idea of a jet engine, Ferber recommended that he present the idea to Ernest Archdeacon, Gustav Eiffel, and Paul Painleve in Paris. They in turn directed him to Louis Bleriot, who helped him build model of a pyrotechnic rocket Powered airplane which he displayed in Short Hall, 8erlin in 1907. At Liege one year later Coanda constructed a Joachim glider with his roommate, Giannini Caproni, who later established Aeroplani Caproni.
Still, Coanda wished to produce a jet-powered airplane and by 1910 had perfected his craft. The plane featured a single turbine engine, fully cantilevered wings with thick airfoil sections, an integral fuel tank, retractable landing gear, a cruciform tail, and molded plywood construction. Although highly innovative, the strange-looking model made only a small stir at the Second International Salon of Aeronautics in Paris in November 1910.
One month later the plane left the ground for its first and only time. On December 10, 1910, Coanda had planned to run basic engine tests for his plane at Issy les Moulineaux near Paris, but as events progressed, Coanda found himself and his plane barreling towards the walls of Paris. He had no choice but to launch the plane up and over the barrier. Unfortunately, Coanda did not know how to fly the plane and so immediately crashed on the other side. Luckily, he was thrown clear of the wreck, for the gas exhaust had ignited the plywood plane, and it went up in flames instantly. The unfortunate loss bankrupted Coanda, and he was forced to terminate the project. Though the years scholars have disputed over Coanda's claims to the first jet flight. Those who argue against him site that he did not step forward immediately, the press did not record the event, the flight only a short distance, and the engine design differed from that of other jets.
After the tragedy at Issy, Coanda turned his creativity towards more traditional yet still inventive aircraft. In 1911 he designed and flew the first twin engine plane at Riems, France, and in 1912 he conceived the first delta wing airplane. From 1911 to 1914 he worked for Bristol Aeroplane Company in Great Britain and became their chief technical engineer. There he designed the successful Bristol-Coanda airplane. With the onset of World War I Coanda returned to France to fight in the 22nd Artillery Regiment, but the French recognized his talent in aircraft design and consequently sent him to the Delaunay-Belleville Factory at St. Denis to build airplanes. At Delaunay Coanda designed a bomber with a range of 1100 miles and also created a small, fast observation plane.
Even as late as the l930s Coanda intermittently designed aircraft. In 1933 he conceived a vertical take-off craft popularly known as the "flying saucer." Coanda saw it as the wave of the future because of its speed and its use of jet stream dynamics. Two years later Coanda tried his hand at designing a jet for a second time, but the twin-boomed model was never built.
Although Coanda never constructed a workable jet, his experiences with jet properties did
help him to identify the Coanda Effect in 1932. Basically, the principle states that a fluid stream will tend to follow a curved surface' because of the vacuum it creates with that surface. Coanda first encountered the effect when the exhaust traveled down the fuselage of his 1910 plane and ignited it. Coanda later applied the principle to inventions such as his flying saucer, an automobile emissions reducer, mining safety features, and a jet sprayer.
Over the years Coanda's interests pulled him into many careers. As previously mentioned, he designed airplanes both in Great Britain and France. In 1929 he and Louis Blériot entered on a venture to build pre-fabricated houses. After World War II he tried his hand running businesses in Romania, and in the 1950s he formed SFERI-COANDA to market his inventions and experiments which included a solar-powered hydrogenerator and ideas for soil improvements. For the last thirty years of his life Coanda consulted for companies in both Europe and the United States. Through advising the Huyck Corporation, which was working on a hydrogenerator and water Propulsion during the 1960's, Coanda became acquainted with G. Harry Stine, the donor of this collection.
Even into the last years of his life Coanda remained active. In 1970 he returned to Romania where the government named him president of the National Institute for Scientific and Technical Creation. The following year the Academy of Aeronautics of London awarded him with an honorary membership. On November 25, 1972, Henri-Marie Coanda passed away in Bucharest, Romania.
1908 -- Photographed bullet in flight, first to do so
1908-1909 -- Attended Institute of Montefiore, Turin
1909-1910 -- Attended L'Ecole Supérieure d'Aeronautique, Paris
1910 -- Published "Wings Regarded as Jet Engines" in La Technique Aeronautique, July
1910 -- Displayed jet airplane at the Second International Salon of Aeronautics, Paris, November
1910 -- Claimed to have flown jet airplane, Issy les Moulineaux, 10 December
1911 -- Built first turbine-powered automobile
1911 -- Designed and flew first twin-engined airplane, Riems, France
1912-1914 -- Designed airplanes for Bristol Aeroplane Company, Filton
1912 -- Conceived first delta wing airplane
1914-1918 -- Designed French military airplanes at the Delaunay-Belleville Factory
1914 -- Studied electric charge on aircraft
1914 -- Discovered electric charge of plants
1914 -- Joined the French 22nd Artillery Regiment
1916 -- Designed strategic bomber with range of 1100 miles
1918 -- Constructed first airborne rocket cannon, Le Havre, France
1918 -- Manufactured first concrete petroleum storage tanks
1923 -- Originated the idea of prefabricated concrete buildings, Paris
1929 -- Established Societe Multicellulaires with Louis Blériot, Paris
Provenance:
G. Harry Stine, gift, XXXX-0170, Unknown
Restrictions:
No restrictions on access
Rights:
Material is subject to Smithsonian Terms of Use. Should you wish to use NASM material in any medium, please submit an Application for Permission to Reproduce NASM Material, available at Permissions Requests
Photographs of sketches made by Charles Alexandre Lesueur in 1816-1837 documenting archeological sites in Indiana and Kentucky, Choctaw Indians of the Mississippi River in Tennessee and Louisiana, and Plains Indian artifacts, probably seen and sketched at St. Louis, Missouri.
Biographical/Historical note:
Charles Alexandre Lesueur (1778-1846) was born the son of a French naval officer in Le Havre, France. He trained in draughtsmanship at the School of Hydrography and joined an expedition to Australia and Tasmania in 1800. With the support of the expedition's zoologist, Francois Peron, Lesueur learned taxidermy and completed numerous sketches of animals, landscapes, and indigenous Australians. When the expedition ended in 1804, Lesueur made watercolors from his sketches, some of which were exhibited at the Muséum d'Histrorie Naturelle in Paris. He also illustrated Peron's report of the expedition, Voyage de Découvertes aux Terres Australes, with support from Emperor Napoleon Bonaparte. Starting in 1817, Lesueur left France to tour America with geologist William Maclure. When their tour finished in 1828, Lesueur stayed in the United States, joining Maclure in Philadelphia and becoming a founding member of the Academy of Natural Sciences there. In 1825, Lesueur again joined Maclure at New Harmony, Indiana, where he taught, sketched, and participated in archeological excavations until 1837. After the utopian community at New Harmony ended, Lesueur returned to France. He became curator at the Muséum d'Histoire Naturelle du Havre (Museum of Natural History at Le Havre, France), which was built to house his drawings and paintings. He remained there until his death in 1846.
Local Call Number(s):
NAA Photo Lot R4534
Location of Other Archival Materials:
The Museum of Natural History at Le Havre holds the majority of Lesueur's artwork.
The Purdue University Archives and Special Collections holds a collection of Charles Alexandre Lesueur works of art on paper.
Contained in:
Numbered manuscripts 1850s-1980s (some earlier)
Restrictions:
The collection is open for research.
Access to the collection requires an appointment.
Rights:
This collection is for reference only. Additional prints should be secured from Victor Genetier, and permission to publish should be secured from the Havre Museum.
Topic:
Indians of North America -- Southern states Search this
Genre/Form:
Photographs
Citation:
Photo Lot R4534, Photographs of Charles Alexandre Lesueur sketches relating to American Indians, National Anthropological Archives, Smithsonian Institution
Pan-American Exposition (1901: Buffalo, N.Y.) Search this
Panama-California Exposition (1915 : San Diego, Calif.) Search this
Panama-Pacific International Exposition (1915 : San Francisco, Calif.) Search this
Scottish National Exposition (Edinburgh, Scotland: 1908) Search this
Sesqui-Centennial International Exposition (1926 : Philadelphia, Pa.) Search this
Sydney International Exhibition (Sydney, Australia: 1879) Search this
Texas Centennial Central Exposition (Dallas, Texas: 1936) Search this
Universal Exhibition (1873 : Vienna, Austria) Search this
Western Pennsylvania Exposition (1915 : Pittsburgh, Pennsylvania) Search this
World's Columbian Exposition (1893 : Chicago, Ill.) Search this
World's Industrial and Cotton Centennial Exposition (1884-1885 : New Orleans, La.) Search this
Extent:
46 Cubic feet (123 boxes and 150 map-folders)
Type:
Collection descriptions
Archival materials
Motion pictures (visual works)
Postcards
Greeting cards
Stationery
Panoramas
Sheet music
Posters
Shopping bags
Photographs
Stereographs
Menus
Place:
Disneyland (California)
Date:
1841-1988
Scope and Contents:
Memorabilia of fairs and World's Fairs throughout history, both in the United States and abroad, including photographs, stereographs, panoramas and slides; printed materials; postcards; sheet music; philatelic material; stationery and greeting cards; menus and food service items; posters; shopping bags; motion picture films; and other items.
Arrangement:
The collection is divided into three series.
Series 1: World's Fair Materials, 1841-1988
Series 2: Reference and Miscellaneous Materials
Series 3: Larry Zim Materials
Series 4: Oversize Materials, 1909-1968
Biographical / Historical:
Larry Zim, whose actual name was Larry Zimmerman, was an industrial designer, a historian of World's Fairs who wrote extensively on the subject, and a collector of World's Fair memorabilia.
Provenance:
Collection by bequest of Larry Zim.
Restrictions:
Collection is open for research but two oversize folders are stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Crystal Palace -- (New York, New York) Search this
The papers of Parisian jeweler and art collector Henri Vever (1854-1942) include six diaries; a ledger of his art acquisitions; original oil paintings by Vever; and photographs. The materials document Vever's circle of friends, patrons, and other art collectors in turn-of-the-century Paris.
Scope and Content Note:
The Henri Vever Papers measure 2.5 linear feet (35 items) and span the years 1875 --1932. The collection contains six diaries, an account ledger, 20 photographs, one guest list, one ceremonial pommel, and six original oil paintings by Henri Vever.
Arrangement note:
This collection is organized into five series:
Series 1: Diaries, 1878-1901
Series 2: Account Ledger, 1894, 1907-1917
Series 3: Photographs, 1867-1932, n.d
— Subseries 3.1: Henri Vever and Family
— Subseries 3.2: Vever Family Estate in Noyers, France
Series 4: Art Works, 1914-1915
— Subseries 4.1: Pommel
— Subseries 4.2: Le Havre, France
— Subseries 4.3: Château de Noyers
Biographical Information:
Henri Vever Chronology
1854 -- Vever born in Metz, France.
1870 -- Following the German annexation of Metz during the Franco-Prussian War, the Vever family leaves Metz for Luxembourg.
1871 -- Jean-Jacques Ernest Vever (father of Henri) buys a jewelry studio in Paris. Vever begins apprenticeship at Loguet and at Hallet and attends night classes at the Ecole des Art Décoratif in Paris.
1873 -- Vever enters the Ecole des Beaux-Arts and the studios of M.A. Millet and J.L. Gérôme.
1881 -- Jean-Jacques Ernest Vever retires and Vever and his brother Paul assume control of the jewelry shop (Maison Vever). Henri Vever marries Jeanne Monthiers.
1882 -- Jeanne Vever gives birth to Marguerite Vever, the couple's only child.
1885 -- Vever buys first painting.
1891 -- Vever travels to Russia where the Maison Vever takes part in a jewelry exhibition in Moscow.
1892 -- Vever becomes a regular participant of the dîners japonisants organized by art dealer Siegfried Bing.
1893 -- Vever appointed commissioner for jewelry to the World's Columbian Exposition, in Chicago. Maison Vever exhibits jewelry at the Exposition.
1894 -- Vever donates forty Japanese prints to the Louvre.
1900 -- Vever joins the Société Franco-Japonasie and is elected the mayor of Noyers, France.
1906-1908 -- Vever publishes, Bijouterie Française au XIXe Siècle.
1913 -- With Georges Marteau, Vever authors, Miniatures Persanesa catalogue of the 1912 Exposition des Arts Musulmans.
1915 -- Paul Vever dies.
1919 -- Maison Vever commissioned to make sword of honor offered to Marshall Ferdinand Foch by the city of Paris to celebrate the end of World War I.
1921 -- Vever retires.
1939 -- Marguerite Vever dies.
1942 -- Henri Vever dies.
1982 -- Maison Vever closes.
Jeweler, art collector, and author Henri Vever was born in Metz, France in 1854. Together with his older brother Paul, Henri Vever managed the family jewelry firm, Maison Vever, from 1881 until Paul's death in 1915 and Henri's retirement in 1921. As an art collector, Vever amassed a large collection of European, Asian, and Islamic art. Through his work as a jeweler, art collector, and author, Henri Vever played an important role in the twentieth-century art world.
To equip him with the proper skills to run Maison Vever, Henri Vever apprenticed in the studios of Louguet and of Hallet and attended the Ecole des Arts Décoratifs in 1871. Two years later, the Ecole des Beaux-Arts accepted Henri and he entered the studios of artists M.A. Millet and J.L. Gérôme. Jean-Jacque Ernest Vever retired from Maison Vever in 1881 and his two sons, Henri and Paul, assumed control.
The youngest son of Jean-Jacques Ernest Vever, Henri Vever was born into a family of jewelers. His grandfather, Pierre-Paul Vever, launched a successful jewelry shop in Metz in 1854. Upon retirement, Pierre-Paul Vever's son, Henri's father, assumed control of the shop. With the German annexation of Metz during the Franco-Prussian War in 1870, Jean-Jacque Ernest Vever took his family to Luxembourg and one year later acquired a jewelry shop at 19 Rue de la Paix in Paris and named the new shop Maison Vever.
That same year Henri married Jeanne Monthiers and she gave birth to the couple's only child, Margeurite, in 1882. Henri, Jeanne, and Margeurite Vever lived at 19 Rue de la Paix in the same building that housed Maison Vever. In 1892 Jeanne Vever inherited her family's estate in Noyers, France.
The Vever brothers ran a very successful jewelry studio. Not only did Maison Vever's clientele base expand during their tenure, but its designs were often prizewinners at various expositions around the world. The 1900 Exposition Universalle in Paris offers an example. The Maison Vever submission won a Grand Prix at this exposition in which the art movement Art Nouveau played a major role.
Henri Vever was a proponent of the Art Nouveau movement, a turn-of-the-century art movement whose adherents sought to forge a new, modern style, one that would, "reunite art and craft." According to curator Glenn Lowry, Vever's interest in Art Nouveau affected the Maison Vever's designs. "…during the 1880s many of the Maison Vever's designs were highly traditional, by the beginning of the 1890s the firm was at the vanguard of the art nouveau movement.
In addition to his work at Maison Vever, Vever amassed an enormous and influential collection of European, Asian, and Islamic art. Initially a collector of European art, by the late 1880s Vever's collecting interests expanded to include Asian and then Islamic art works. According to Lowry, Vever's interest in Islamic art was sparked in 1891 when he traveled to Moscow to participate in a jewelry exhibition. In approximately 1892 Vever joined Les Amis de l'Art Japonais, a group whose members met for dinners at which they discussed Japanese art. Claude Monet was also a member of this group.
From 1906 to 1908, Vever published a three-volume series, Bijouterie Française au XIXe Siècle . This set became the, "standard text on nineteenth-century jewelry". Through his art collections, writings, and profession, Henri Vever played an important role in the twentieth-century art world. He acquired a large art collection and often loaned pieces out for exhibition to various galleries and museums throughout the world. Henri Vever retired from Maison Vever in 1921 and the sons of Paul Vever, André and Pierre, took over the reigns. Henri Vever died in 1942 at the country estate in Noyers. Maison Vever continued operation until 1982 when it permanently shut its doors.
General note:
For a more detailed look at the life of Henri Vever, please see the following publication from which much of this biographical information originates: Lowry, G.D. with Nemazee, S. (1988). -- A jeweler's eye: Islamic arts of the book from the Vever Collection -- . Washington D.C.: Arthur M. Sackler Gallery, Smithsonian Insitution with Seattle: University of Washington Press.
Biographical Overview
1854 -- Vever born in Metz, France.
1870 -- Following the German annexation of Metz during the Franco-Prussian War, the Vever family leaves Metz for Luxembourg.
1871 -- Jean-Jacques Ernest Vever (father of Henri) buys a jewelry studio in Paris. Vever begins apprenticeship at Loguet and at Hallet and attends night classes at the Ecole des Art Décoratif in Paris.
1873 -- Vever enters the Ecole des Beaux-Arts and the studios of M.A. Millet and J.L. Gérôme.
1881 -- Jean-Jacques Ernest Vever retires and Vever and his brother Paul assume control of the jewelry shop (Maison Vever). Henri Vever marries Jeanne Monthiers.
1882 -- Jeanne Vever gives birth to Marguerite Vever, the couple's only child.
1885 -- Vever buys first painting.
1891 -- Vever travels to Russia where the Maison Vever takes part in a jewelry exhibition in Moscow.
1892 -- Vever becomes a regular participant of the dîners japonisants organized by art dealer Siegfried Bing.
1893 -- Vever appointed commissioner for jewelry to the World's Columbian Exposition, in Chicago. Maison Vever exhibits jewelry at the Exposition.
1894 -- Vever donates forty Japanese prints to the Louvre.
1900 -- Vever joins the Société Franco-Japonasie and is elected the mayor of Noyers, France.
1906-1908 -- Vever publishes, Bijouterie Française au XIXe Siècle.
1913 -- With Georges Marteau, Vever authors, Miniatures Persanes a catalogue of the 1912 Exposition des Arts Musulmans.
1915 -- Paul Vever dies.
1919 -- Maison Vever commissioned to make sword of honor offered to Marshall Ferdinand Foch by the city of Paris to celebrate the end of World War I.
1921 -- Vever retires.
1939 -- Marguerite Vever dies.
1942 -- Henri Vever dies.
1982 -- Maison Vever closes.
Related Archival Materials note:
The Arthur M. Sackler Gallery holds the, Vever Collection of Islamic Manuscripts. Additionally, the Archives holds, the Vever Family Photograph Album which contains photographs depicting the Vever family from 1881-1930 and the family estate in Noyers, France.
Provenance:
The Henri Vever Papers were donated to the Archives by the grandson of Henri Vever, François Mautin, in 1988. Additionally, Mr. Mautin donated six original oil paintings by Henri Vever to the Arthur M. Sackler Gallery in 1988. These paintings were transferred to the Archives in 1993.
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.
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:
Yasuo Kuniyoshi papers, 1906-2016, bulk 1920-1990. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by Stephen Diamond, the Roy Lichtenstein Foundation, and the Terra Foundation for American Art. Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee.
De Hauke sold and consigned works to individuals, galleries, and museums, and he also loaned works to galleries and museums such as the Cleveland Museum of Art, Downtown Gallery, Marie Harriman Gallery, Metropolitan Museum of Art, Museum of Modern Art, and Saint Louis Art Museum for special exhibitions. Complex arrangements with shippers, packers, and customs officials were made through frequent correspondence. De Hauke documented sales in many ways, including by the name of the purchaser, as a daily transaction, and as consignments.
Some names of individuals and organizations that occur in many of the records include James St. L. O'Toole, gallery manager and assistant to de Hauke in New York, who wrote much of the correspondence on de Hauke's behalf, some of which is in French; Tom Grady, director of Modern Paintings, Inc., a Jacques Seligmann & Co. entity, the stock of which was partially owned by de Hauke as well; Alexis Delamare, shipping agent based in Le Havre, France; Lérondelle, packer and shipper in Paris; Hirshbach and Smith, customs agents and brokers in New York; and Germain Seligman, owner and director of Jacques Seligmann & Co., Inc. Often de Hauke and Seligman sold on commission works of art owned by Bernheim-Jeune.
Arrangement note:
The bulk of this series has been scanned with the exception of one item in Series 9.7.2.
Collection Restrictions:
Use of original papers requires an appointment.
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:
Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974. Archives of American Art, Smithsonian Institution.
Sponsor:
Processing of the collection was funded by the Getty Grant Program; digitization of the collection was funded by the Samuel H. Kress Foundation and the Terra Foundation for American Art. Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee.
Collection is open for research. Some items may be restricted due to fragile condition.
Series Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Series Citation:
Warshaw Collection of Business Americana Subject Categories: Gloves, Archives Center, National Museum of American History, Smithsonian Institution
Sponsor:
Funding for partial processing of the collection was supported by a grant from the Smithsonian Institution's Collections Care and Preservation Fund (CCPF).
This series comprises six oil paintings by Henri Vever. This series is subdivided into two subseries. Subseries one consists of Vever's depictions of Ste. Adresse in Le Havre, France. The second series comprises Vever's depictions of the Château de Noyers.
Collection Restrictions:
Collection is open for research.
Collection Rights:
No restrictions on use.
Collection Citation:
Henri Vever Papers. FSA.A1988.04. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C. Gift of François Mautin, 1988.
![view Henri Coanda Papers [Stine] digital asset: Finding aid](https://ids.si.edu/ids/deliveryService?max=170&id=https://sirismm.si.edu/siris/findingaid.gif "Finding aid")
