This series consists of contracts and incoming and outgoing corre¬spondence, 1951-1980, relating to lecture engagements, notes for giving lectures, and lecture information files. A copy of outgoing correspondence is often typed on the reverse side of related incom¬ing correspondence. The "Lectures Completed," 1952-1975, subseries includes correspondence, business itineraries and contracts, and is arranged chronologically (boxes 1-7). Correspondence from previous years relating to the lecture is filed with the year the lecture was completed. "Lectures/Clients," 1954-1979, includes correspondence and contracts with institutions for whom Sultner performed, and is arranged alphabetically by institution (boxes 8-11). The "Lectures" subseries is made up of notes for lectures and is arranged by sub¬ject (boxes 12-19). The Information Note Cards contain material relating to lecture subjects, slides, clients, and contacts for lec¬tures. Some loose slides were originally interfiled with these note cards. The Notebooks include contact and subject files, travel dia¬ry notes and printed lecture programs. They are arranged alphabet¬ically by Sultner's headings. The Catalogue notebooks consist of maps and clippings about American states and foreign countries. Project notebooks include some of Sultner's notes and maps, etc. Travel notebooks include diary notes about Sultner's life and work. Related materials are included in the Postcard Diaries, Personal Papers (Series 1). Contained in the Printed Materials box are subject files of clippings related to Sultner's lecture topics. The Miscellaneous materials contain subject and slide file dividers, filing system notes, photographic label dittos and project outlines.
Restrictions:
Some of Sultner's personal correspondence and photographs, placed in this series, are restricted until the year 2031.
Collection 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.
Brown, Richard F. (Richard Fargo), 1916-1979 Search this
Extent:
3 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1949-1959
Scope and Contents:
Undated correspondence; an untitled manuscript on Impressionism; notes for lectures, and lectures, given by Brown at the Frick Collection (one, on Camille Pissaro, includes photographs); exhibition catalogs and invitations; and newspaper clippings. Unmicrofilmed material includes school drawings; and university and other class notes, and clippings.
Biographical / Historical:
Richard F. Brown (1916-1979) was a museum director and art historian in Fort Worth, Texas.
Provenance:
Microfilmed as part of the Archives of American Art's Texas project.
Donated 1984 by Mrs. Brown, widow of Richard Brown.
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.
The papers of New York painter and art instructor, William Merritt Chase, measure 0.3 linear feet and date from circa 1890 to 1964. Papers include a resolution of the Art Club of Philadelphia on Chase's death, letters, writings by Chase consisting of typescripts of lectures and lecture notes, blank postcards primarily depicting reproductions of artwork, a scrapbook, and photographs of Chase, his family, homes, and studios, and photographs of works of art.
Scope and Contents:
The papers of New York painter and art instructor, William Merritt Chase, measure 0.3 linear feet and date from circa 1890 to 1964. Papers include a resolution of the Art Club of Philadelphia on Chase's death, letters, writings by Chase consisting of typescripts of lectures and lecture notes, blank postcards primarily depicting reproductions of artwork, a scrapbook, and photographs of Chase, his family, homes, and studios, and photographs of works of art.
Letters include a photocopy of a 1901 letter signed by 28 students of the Shinnecock Summer School thanking Chase for a painting; a 1903 postcard to Mr. Harold R. Shiffer from his aunt; a 1912 letter to Chase signed by 32 pupils of the Art Students League thanking him for his efforts on their behalf and acknowledging his "qualities of sympathy, interest, and an understanding of our individual needs;" a 1915 note from an unidentified writer; a 1920 letter to Chase's wife Alice, from Gertrude Abbey, wife of Edwin Austin Abbey, referencing a tile possibly created by Edwin Abbey that Mrs. Chase owns; a 1935 postcard to Chase's daughter Helen from an unidentified writer; and a 1964 letter to Helen Storm from Ala Story in which Story describes a Chase exhibition that he is organizing and apologizes for having given a sketchbook of drawings owned by Helen to the Morgan Library.
Writings include 4 sets of lecture notes (one labeled as being notes for a lecture at Shinnecock), which are a combination of annotated typescripts and handwritten pages, and a typescript of a 1906 "Talk on the Old Masters by Mr. Chase" for the New York School of Art. Also found is a notebook with handwritten notes on a talk Chase gave to students in Philadelphia, presumably at the Pennsylvania Academy of Fine Arts.
Writings by others consist of a six-page typescript entitled "Reminiscences of a Student," by F. Usher De Voll, describing his experiences of Chase as a teacher.
Postcards (blank) include 3 reproductions of works of art by Chase, 8 reproductions of works of art by other artists, and 2 scenic views.
A Chase family scrapbook consists of mounted prints, primarily cyanotypes, that document Chase's travels to Rome, Milan, Gibraltar and the Loire Valley, and visits to major monuments, and also includes images of Chase and his family at leisure during their travels, as well as five family portraits.
Photographs of the Chase family include one of Chase with his son, Dana, and one of Chase with his wife, Alice, both undated. Other family members and friends are generally unidentified but do include Virginia Gerson and possibly Alice Gerson. Also found are four portraits of Chase, four photographs of Chase in his studio, a copy print of students at the Shinnecock Art School in circa 1895, and a copy print of an 1880 Tile Club trip up the Hudson River. In addition to circa 1960 copy prints, photographs include a variety of vintage prints such as albumen cabinet cards, silver gelatin prints, and a tintype.
Arrangement:
Due to the small size of the collection, the papers are arranged as 1 series.
Series 1: William Merritt Chase Papers, circa 1890-1964 (0.3 linear feet.; Box 1, OV 2)
Biographical / Historical:
William Merritt Chase (1849-1916) was one of America's most prominent painters and art instructors in New York, New York and Shinnecock, Long Island, during the late 19th century. One of the first Impressionist landscape painters in the U. S, Chase was also a highly accomplished portrait and still life painter.
Born in Indiana, Chase lived in New York and St. Louis, Missouri, before traveling to Europe and studying at the Royal Academy in Munich. After returning to New York in 1878, he taught at the Art Students League until 1896. His studio in the Tenth Street Studio building became an important gathering place for artists, students and patrons. Chase was also a member of the Tile Club whose members shared an interest in the decorative arts and sought to have their designs translated into ceramic tiles, from 1877-1887.
Chase became one of the most important teachers of American artists around the turn of the century. He opened the Shinnecock Hills Summer Art School in 1891 and taught there until 1902, living in a house at Shinnecock designed by Stanford White. In 1896 he opened the Chase School of Art and also taught at the Brooklyn Art Association in 1887, and 1891-1896, and the Pennsylvania Academy of Fine Arts from 1896-1909.
Chase was a member of the National Academy of Design, and was president of the Society of American Artists from 1885 to 1895.
Separated Materials:
The Archives of American Art also holds microfilm of material lent for microfilming. Reel N69-115 includes an additional family scrapbook, undated, containing photographs of Chase, his wife and children, a notice of sale of the Chase house in Shinnecock Hills, N.Y. designed by Stanford White, and photographs of the house. Found on reel N69-119 are circa two hundred photographs of Chase at work, his wife, his studios in Philadelphia and on 5th Avenue and 10th Street New York City, and numerous snapshots of characters in a tableau vivant that include his family, friends, Mary S. Moore Cross, and others. Reel N69-137 contains letters from Chase to his wife during his travels abroad, one note from John Singer Sargent requesting the use of Chase's studio for the famous party Sargent gave for Isabella Stewart Gardner in 1890, and a six-page typescript, "Reminiscences of a Student," by F. Usher De Voll, and photographs of Chase's studio. Loaned materials were returned to the lenders and are not described in the collection container inventory.
Provenance:
The papers were received in a series of accessions between 1969 and 2010. A portion was loaned for microfilming by Robert S. Chase and Chapellier Galleries in 1969. Roger Storm, the widower of Chase's daughter Helen, donated lectures and speeches, a 1912 letter, and photocopies of a dinner menu and photos of artwork in 1969. Art collector Fred D. Bentley gave photographic copy prints of Chase's summer home, studio and art school. D. Frederick Baker, the author of the Chase catalogue raisonné, gave two letters, two postcards, the Chase family scrapbook, vintage photographs, and blank postcards in 2010. Baker received the material from Chase's estate via Chase's grandson, Jackson Case Storm.
Restrictions:
Use of original papers requires an appointment.
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 teachers -- New York (State) -- New York Search this
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 References Services for more information.
Collection Rights:
All works of art and images of works of art: The donor retains all intellectual property rights, including copyright, that they may own.
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:
Miriam Beerman papers, circa 1930-2006. Archives of American Art, Smithsonian Institution.
Sponsor:
Processing of this collection received federal support from the Collections Care Initiative Fund, administered by the Smithsonian American Women's History Initiative and the National Collections Program
1 Item (Silver gelatin on cellulose acetate film sheet., [4" x 5"].)
Container:
Box 52
Culture:
African Americans -- Washington (D.C.) Search this
Type:
Archival materials
Photographs
Place:
Washington (D.C.) -- African Americans
Washington (D.C.) -- 1960-1970 -- Photographs
Date:
1960 April
Scope and Contents:
Subject/Sitter: Maloney (Doctor) lecture
Group of seven men standing around an artist's easel. On the easel is the portrait of a man, presumably A. H. Maloney. Sign on the easel reads, "Second Annual A. H. Maloney Graduate Lecture in Pharmacology. Speaker: Dr. Fred Shideman, Professor of Pharmacology, University of Wisconsin. Sympathetic Tranmission in the Heart. Thursday, March 31, 1960 - 4:00 P.M. Pre Clinical Building Room 1008". No ink on negative. Ink on envelope: caption. "KODAK - SAFETY -- FILM" edge imprint.
Biographical / Historical:
"From 1931 until 1953, Maloney worked in the department of pharmacology at Howard University School of Medicine in Washington, D.C. He began as an associate professor of pharmacology, becoming a full professor, and then head of the department. During these years, he also worked as a consultant in pharmacology for Freedmen's Hospital". [taken from http://www.faqs.org/health/bios/48/Arnold-Hamilton-Maloney.html].
Subseries Restrictions:
Collection is open for research.
Gloves must be worn when handling unprotected photographs and negatives. Special arrangements required to view negatives due to cold storage. Using negatives requires a three hour waiting period. Contact the Archives Center at 202-633-3270.
Subseries Rights:
When the Museum purchased the collection from the Estate of Robert S. Scurlock, it obtained all rights, including copyright. The earliest photographs in the collection are in the public domain because their term of copyright has expired. The Archives Center will control copyright and the use of the collection for reproduction purposes, which will be handled in accordance with its standard reproduction policy guidelines. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Photographs -- 1960-1970 -- Black-and-white negatives -- Acetate film
Subseries Citation:
Scurlock Studio Records, Archives Center, National Museum of American History. Smithsonian Institution
Sponsor:
The collection was acquired with assistance from the Eugene Meyer Foundation. Elihu and Susan Rose and the Save America's Treasures program, provided funds to stabilize, organize, store, and create digital surrogates of some of the negatives. Processing and encoding funded by a grant from the Council on Library and Information Resources.
1 Item (Silver gelatin on cellulose acetate film sheet., 4" x 5".)
Container:
Box 56
Culture:
African Americans -- Washington (D.C.) Search this
Type:
Archival materials
Photographs
Place:
Washington (D.C.) -- African Americans
Washington (D.C.) -- 1960-1970 -- Photographs
Date:
1963 January
Scope and Contents:
Subject/Sitter: Hillman Lecture-Boas (Doctor), Dorsey (Doctor) and Spencer (Doctor)
Posed group of three men standing in front of a set of organ pipes. No ink on negative. Ink on envelope: caption and "6 glossy". "KODAK - SAFETY -- FILM" edge imprint.
Subseries Restrictions:
Collection is open for research.
Gloves must be worn when handling unprotected photographs and negatives. Special arrangements required to view negatives due to cold storage. Using negatives requires a three hour waiting period. Contact the Archives Center at 202-633-3270.
Subseries Rights:
When the Museum purchased the collection from the Estate of Robert S. Scurlock, it obtained all rights, including copyright. The earliest photographs in the collection are in the public domain because their term of copyright has expired. The Archives Center will control copyright and the use of the collection for reproduction purposes, which will be handled in accordance with its standard reproduction policy guidelines. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Photographs -- 1960-1970 -- Black-and-white negatives -- Acetate film
Subseries Citation:
Scurlock Studio Records, Archives Center, National Museum of American History. Smithsonian Institution
Sponsor:
The collection was acquired with assistance from the Eugene Meyer Foundation. Elihu and Susan Rose and the Save America's Treasures program, provided funds to stabilize, organize, store, and create digital surrogates of some of the negatives. Processing and encoding funded by a grant from the Council on Library and Information Resources.
Scurlock, George H. (Hardison), 1919-2005 Search this
Extent:
1 Item (Silver gelatin on cellulose acetate film sheet., [4" x 5"].)
Container:
Box 109
Culture:
African Americans -- Washington (D.C.) Search this
Type:
Archival materials
Photographs
Place:
Washington (D.C.) -- African Americans
Washington (D.C.) -- 1960-1970 -- Photographs
Date:
March 1963
Scope and Contents:
Unidenitified man standing at a lecturn in a lecture hall speaking into a microphone. There is a blackboard and a desk with a sink to the left and a door with an exit sign above it to the right. No ink on negative. Ink on envelope: caption and "c/o Dr. Booker 2 of ea glossy". "KODAK - SAFETY -- FILM" edge imprint.
Biographical / Historical:
"From 1931 until 1953, Maloney worked in the department of pharmacology at Howard University School of Medicine in Washington, D.C. He began as an associate professor of pharmacology, becoming a full professor, and then head of the department. During these years, he also worked as a consultant in pharmacology for Freedmen's Hospital". [taken from http://www.faqs.org/health/bios/48/Arnold-Hamilton-Maloney.html].
Subseries Restrictions:
Collection is open for research.
Gloves must be worn when handling unprotected photographs and negatives. Special arrangements required to view negatives due to cold storage. Using negatives requires a three hour waiting period. Contact the Archives Center at 202-633-3270.
Subseries Rights:
When the Museum purchased the collection from the Estate of Robert S. Scurlock, it obtained all rights, including copyright. The earliest photographs in the collection are in the public domain because their term of copyright has expired. The Archives Center will control copyright and the use of the collection for reproduction purposes, which will be handled in accordance with its standard reproduction policy guidelines. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Photographs -- 1960-1970 -- Black-and-white negatives -- Acetate film
Subseries Citation:
Scurlock Studio Records, Archives Center, National Museum of American History. Smithsonian Institution
Sponsor:
The collection was acquired with assistance from the Eugene Meyer Foundation. Elihu and Susan Rose and the Save America's Treasures program, provided funds to stabilize, organize, store, and create digital surrogates of some of the negatives. Processing and encoding funded by a grant from the Council on Library and Information Resources.
Scurlock, George H. (Hardison), 1919-2005 Search this
Extent:
1 Item (Silver gelatin on cellulose acetate film sheet., 4" x 5".)
Container:
Box 109
Culture:
African Americans -- Washington (D.C.) Search this
Type:
Archival materials
Photographs
Place:
Washington (D.C.) -- African Americans
Washington (D.C.) -- 1960-1970 -- Photographs
Date:
April 1963
Scope and Contents:
Unidentified man standing at a lectern speaking into a microphone, with medical drawings on a chalkboards behind him, probably in a lecture hall at Howard University. No ink on negative. Ink on envelope: caption and "2 of ea glossy". "KODAK-SAFETY--FILM" edge imprint. No Scurlock number.
Biographical / Historical:
Dr. Booker taught at Howard University from 1943 and was the chairman of Howard's Department of Pharmacology from 1954 to 1973.
Subseries Restrictions:
Collection is open for research.
Gloves must be worn when handling unprotected photographs and negatives. Special arrangements required to view negatives due to cold storage. Using negatives requires a three hour waiting period. Contact the Archives Center at 202-633-3270.
Subseries Rights:
When the Museum purchased the collection from the Estate of Robert S. Scurlock, it obtained all rights, including copyright. The earliest photographs in the collection are in the public domain because their term of copyright has expired. The Archives Center will control copyright and the use of the collection for reproduction purposes, which will be handled in accordance with its standard reproduction policy guidelines. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Photographs -- 1960-1970 -- Black-and-white negatives -- Acetate film
Subseries Citation:
Scurlock Studio Records, Archives Center, National Museum of American History. Smithsonian Institution
Sponsor:
The collection was acquired with assistance from the Eugene Meyer Foundation. Elihu and Susan Rose and the Save America's Treasures program, provided funds to stabilize, organize, store, and create digital surrogates of some of the negatives. Processing and encoding funded by a grant from the Council on Library and Information Resources.
Scurlock, George H. (Hardison), 1919-2005 Search this
Extent:
1 Item (Silver gelatin on cellulose acetate film sheet., 4" x 5".)
Container:
Box 109
Culture:
African Americans -- Washington (D.C.) Search this
Type:
Archival materials
Photographs
Place:
Washington (D.C.) -- African Americans
Washington (D.C.) -- 1960-1970 -- Photographs
Date:
April 1963
Scope and Contents:
Two men shaking hands standing behind a lectern in a lecture, possibly at Howard University. There are medical drawings on a board behind them. No ink on negative. Ink on envelope: caption and "2 of ea glossy". "KODAK-SAFETY--FILM" edge imprint. No Scurlock number.
Biographical / Historical:
Dr. Booker taught at Howard University from 1943 and was the chairman of Howard's Department of Pharmacology from 1954 to 1973.
Subseries Restrictions:
Collection is open for research.
Gloves must be worn when handling unprotected photographs and negatives. Special arrangements required to view negatives due to cold storage. Using negatives requires a three hour waiting period. Contact the Archives Center at 202-633-3270.
Subseries Rights:
When the Museum purchased the collection from the Estate of Robert S. Scurlock, it obtained all rights, including copyright. The earliest photographs in the collection are in the public domain because their term of copyright has expired. The Archives Center will control copyright and the use of the collection for reproduction purposes, which will be handled in accordance with its standard reproduction policy guidelines. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Photographs -- 1960-1970 -- Black-and-white negatives -- Acetate film
Subseries Citation:
Scurlock Studio Records, Archives Center, National Museum of American History. Smithsonian Institution
Sponsor:
The collection was acquired with assistance from the Eugene Meyer Foundation. Elihu and Susan Rose and the Save America's Treasures program, provided funds to stabilize, organize, store, and create digital surrogates of some of the negatives. Processing and encoding funded by a grant from the Council on Library and Information Resources.
Morse, Samuel Finley Breese, 1791-1872 Search this
Extent:
0.6 Linear feet
Type:
Archival materials
Date:
1826-2009
Scope and Contents:
Morse's biographical material records the $1000 gift to the National Academy of Design bequeathed in his will. Morse's correspondence as president of the academy details the conflicts with the American Academy of Fine Arts, and failed attempts to bring about a union of the two organizations. It also documents other academy business such as exhibitions and interactions with other arts institutions, as well as Morse's independent work as an artist receiving commissions. This correspondence is described in two itemized lists compiled by National Academy of Design staff members which are included in this series. Additional correspondence documents negotiations with Morse's son, Edward L. Morse, to secure the gift of the Morse papers that constitute this collection.
Morse's writings and notes on art, primarily in the form of lectures and lecture notes, can also be found here. They include his "Discourse" on the National Academy of Design delivered on the academy's one year anniversary, a criticism of that address, and Morse's response to the criticism. Some of the loose notes were assigned an alphanumeric identification system that does not appear to be explained in the collection, but has been left as is.
Printed material includes eleven articles about Morse, one 1871 edition of the publication Dots and Dashes, by the Morse Telegraph club, Inc., an obituary for Morse's granddaughter, Clara, and a catalog for the exhibition Samuel F. B. Morse: Paintings, Inventions, Documents (1956) at the Syracuse Museum of Art. Also found is a copy of Morse's 1835 book Foreign Conspiracy Against the Liberties of the United States.
Photographs include a copy print of a photo of Morse taken at fifty-nine years of age, shortly after he sent his first successful telegram between Washington and Baltimore on May 24, 1844; three photographs taken at the April 1968 dedication of a plaque by members of the Morse Telegraph Club; a photo of a tablet on Morse's house; and a photograph of a man, probably Morse's son, William Goodrich Morse. Also found is a photo of a charcoal sketch by Morse of his niece, entitled "Lottie," and a photo of a sketch of an unidentified woman, by Kalman Oswald.
Arrangement:
Records are arranged by type.
Collection Restrictions:
Use of 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:
Samuel F. B. Morse papers, 1826-2009, bulk 1826-1871. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art and The Walton Family Foundation
