Search Results

Creator:

Jourdan, David W.  Search this

Long, Elgen Marion, 1927-  Search this

Names:

Nauticos Corporation  Search this

Earhart, Amelia, 1897-1937  Search this

Noonan, Frederick  Search this

Extent:

4.5 Cubic feet (5 legal document cases and 13 cassette tape boxes)

Type:

Collection descriptions

Archival materials

Interviews

Sound recordings

Date:

1959-1998

Summary:

This donation consists of 156 separate interviews or sound sources collected by Elgen Long while he was researching and writing his book, Amelia Earhart: The Mystery Solved which promotes the theory that Amelia Earhart's aircraft came to rest at the bottom of the ocean near Howland Island.

This collection is in English.

Scope and Contents:

The donation consists of 156 separate interviews or sound sources, some comprising two or more tape sides. Most of them are interviews conducted by Long, including interviews with: crew members of the Coast Guard Cutter Itasca; Naval and Coast Guard officials; mechanics and engineers involved in the maintenance of Earhart's aircraft; New Guinea and Australia residents and radio operators; friends, family and associates of Earhart and Noonan; and advocates of alternative disappearance theories. There are also radio interviews and a few movie soundtracks and miscellaneous items. The total running time of the collection is 13,209 minutes (220sca hours). This donation also includes a hard drive which holds 387 audio files in .mp3 or .mp4 format (each file is an interview with the possibility of multiple interviews per tape).

Arrangement:

Arrangement by donor.

Biographical / Historical:

Elgen Long collected oral recordings, both interviews and sound sources, while he was researching and writing his book, Amelia Earhart: The Mystery Solved which promotes the theory that Amelia Earhart's aircraft came to rest at the bottom of the ocean near Howland Island. These tapes were also used throughout Long's partnership with David W. Jourdan, founder of the deep-sea exploration company Nauticos, during their three attempts to locate Earhart's aircraft on the ocean floor (2002, 2006, and 2017).

Provenance:

David Jourdan, Gift, 2020, NASM.2020.0025

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.

Topic:

Aeronautics  Search this

Underwater exploration  Search this

Flights around the world  Search this

Genre/Form:

Interviews -- 1950-2000

Sound recordings -- Audiotapes -- Audio cassettes -- Music

Citation:

Amelia Earhart Project Recordings, NASM.2020.0025, National Air and Space Museum, Smithsonian Institution.

Identifier:

NASM.2020.0025

See more items in:

Amelia Earhart Project Recordings

Archival Repository:

National Air and Space Museum Archives

GUID:

https://n2t.net/ark:/65665/pg2e9335b2f-1f78-465d-9314-4c94c3885e5e

EDAN-URL:

ead_collection:sova-nasm-2020-0025

Creator:

Milch Gallery  Search this

Subject:

Barmore, Charles  Search this

Barr, Charles H.  Search this

Ballin, Hugo  Search this

Barlow, Myron  Search this

Baer, Martin  Search this

Ascher, Mary G. (Mary Goldman)  Search this

Azzaretti, Faust  Search this

Biddle, George  Search this

Blackburn, Morris  Search this

Bellows, George  Search this

Benson, Frank Weston  Search this

Baumann, Gustave  Search this

Barr, Norman  Search this

Barrymore, Lionel  Search this

Acheson, Alice  Search this

Aiken, Charles Avery  Search this

Albee, Grace  Search this

Twachtman, John Henry  Search this

Tryon, Dwight William  Search this

Trebilcock, Paul  Search this

Thayer, Abbott Handerson  Search this

Anderson, Karl  Search this

Warneke, Heinz (Heinrich)  Search this

Varian, Dorothy  Search this

Ufer, Walter  Search this

Weir, Julian Alden  Search this

Weir, John F. (John Ferguson)  Search this

Watkins, Franklin Chenault  Search this

Wiles, Irving Ramsay  Search this

Laufman, Sidney  Search this

Wiggins, Carleton  Search this

Appel, Marianne  Search this

Wickey, Harry  Search this

White, Henry Cooke  Search this

Zucker, Jacques  Search this

Woodward, Robert Strong  Search this

Waugh, Frederick Judd  Search this

Gonzalez, Xavier  Search this

Bacon, Peggy  Search this

Arms, John Taylor  Search this

Moffett, Ross  Search this

Milch, Edward  Search this

Moran, Thomas  Search this

Mora, F. Luis (Francis Luis)  Search this

Meyerowitz, William  Search this

Milch, Albert  Search this

Manship, Paul  Search this

Archipenko, Alexander  Search this

MacRae, Emma Fordyce  Search this

Beal, Reynolds  Search this

Metcalf, Willard Leroy  Search this

Melchers, Gari  Search this

Low, Will Hicok  Search this

Linde, Ossip L.  Search this

Lutz, Dan  Search this

Lucioni, Luigi  Search this

Woodward, Stanley Wingate  Search this

Lawson, Ernest  Search this

Lever, Hayley  Search this

Lie, Jonas  Search this

Kingman, Dong  Search this

Kroll, Leon  Search this

Kronberg, Louis  Search this

Wyeth, Andrew  Search this

Kupferman, Lawrence Edward  Search this

Ireland, Leroy  Search this

Judson, Alice  Search this

Kalish, Max  Search this

Katz, A. Raymond (Alexander Raymond)  Search this

Sheets, Millard  Search this

Heinz, Charles  Search this

Hennings, E. Martin  Search this

Henri, Robert  Search this

Hopkinson, Charles  Search this

Tanner, Henry Ossawa  Search this

Sterner, Albert  Search this

Sterne, Maurice  Search this

Speight, Francis  Search this

Speicher, Eugene Edward  Search this

Shuster, Will  Search this

Sharp, Joseph Henry  Search this

Shapiro, David  Search this

Schofield, Walter Elmer  Search this

Sawyer, Wells  Search this

Sample, Paul  Search this

Ryerson, Margery  Search this

Ryder, Chauncey F.  Search this

Rungius, Carl  Search this

Romano, Umberto  Search this

Redfield, Edward Willis  Search this

Ritschel, William  Search this

Pousette-Dart, Nathaniel  Search this

Pugh, Mabel  Search this

Pleissner, Ogden M.  Search this

Pollet, Joseph C.  Search this

Perrine, Van Dearing  Search this

Pittman, Hobson Lafayette  Search this

Parshall, DeWitt  Search this

Pearson, Ralph M.  Search this

Oberteuffer, Karl A. (Karl Amiard)  Search this

Ochtman, Leonard  Search this

Myers, Jerome  Search this

Adams, Charles L.  Search this

Nagler, Edith Kroger  Search this

Adams, Wayman  Search this

Murphy, Hermann Dudley  Search this

Murphy, John Francis  Search this

Curran, Charles C. (Charles Courtney)  Search this

Crane, Bruce  Search this

Davey, Randall  Search this

Daingerfield, Elliott  Search this

DeCamp, Joseph  Search this

De Groot, Adelaide Milton  Search this

Dessar, Louis Paul  Search this

Dehn, Adolf  Search this

Calder, Alexander Stirling  Search this

Butler, Howard Russell  Search this

Chamberlain, Samuel  Search this

Carroll, John  Search this

Christy, Howard Chandler  Search this

Cheffetz, Asa  Search this

Congdon, William  Search this

Cole, Alphaeus Philemon  Search this

Breckenridge, Hugh H. (Hugh Henry)  Search this

Bridgman, Frederick Arthur  Search this

Browne, George Elmer  Search this

Bruce, Edward  Search this

Brush, George de Forest  Search this

Buck, Claude  Search this

Burlin, Paul  Search this

Burr, George Elbert  Search this

Blakelock, Ralph Albert  Search this

Blanch, Arnold  Search this

Blanch, Lucile  Search this

Bluemner, Oscar  Search this

Pène Du Bois, Guy  Search this

Blumenschein, Ernest Leonard  Search this

Bohm, Max  Search this

Bohrod, Aaron  Search this

Bosa, Louis  Search this

Hart, George Overbury  Search this

Halpert, Samuel  Search this

Grosz, George  Search this

Gregory, Waylande  Search this

Heerman, Norbert Leo  Search this

Hassam, Childe  Search this

Haskell, Ernest  Search this

Hartmann, Sadakichi  Search this

Gaspard, Leon  Search this

Ganso, Emil  Search this

Gallagher, Sears  Search this

Fuchs, Emil  Search this

Gregory, John  Search this

Greenwood, Marion  Search this

Genth, Lillian Mathilde  Search this

Feshin, Nikolaĭ Ivanovich  Search this

Fenton, Beatrice  Search this

Etnier, Stephen  Search this

Farnsworth, Jerry  Search this

Fredenthal, David  Search this

French, Daniel Chester  Search this

FitzGerald, James  Search this

Flagg, James Montgomery  Search this

Dike, Phil  Search this

Donoho, Gaines Ruger  Search this

Dewing, Thomas Wilmer  Search this

Diederich, William Hunt  Search this

Eakins, Susan Macdowell  Search this

Duncan, Charles  Search this

Vonnoh, Robert William, 1858-1933  Search this

Milch Galleries  Search this

E. & A. Milch, Inc.  Search this

Type:

Gallery records

Photographs

Citation:

Milch Gallery records, 1911-1995. Archives of American Art, Smithsonian Institution.

Topic:

Gallery owners  Search this

Art -- Collectors and collecting  Search this

Art, American  Search this

Theme:

Art Gallery Records  Search this

Art Market  Search this

Record number:

(DSI-AAA_CollID)8207

(DSI-AAA_SIRISBib)210378

AAA_collcode_milcgall

Theme:

Art Gallery Records

Art Market

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_210378

Creator:

United States. Dept. of State.  Search this

Subject:

Zogbaum, Rufus Fairchild  Search this

Zogbaum, Wilfrid Meynell  Search this

Type:

Legal Documents

Date:

1931

Citation:

United States. Dept. of State. Wilfred and Rufus Zogbaum's passport, 1931. Wilfrid Zogbaum papers, 1924-1966. Archives of American Art, Smithsonian Institution.

Topic:

Children  Search this

Record number:

(DSI-AAA)6344

See more items in:

Wilfrid Zogbaum papers, 1924-1966

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_item_6344

Collection Collector:

Whitehead, Henry Preston, 1917-2002  Search this

Container:

Box 157, Folder 5

Type:

Archival materials

Date:

1971

1949

1942

Collection Restrictions:

Use of the materials requires an appointment. Please contact the archivist to make an appointment: ACMarchives@si.edu.

Collection Rights:

The Henry P. Whitehead collection is the physical property of the Anacostia Community Museum. Literary and copyright belong to the author/creator or their legal heirs and assigns. Rights to work produced during the normal course of Museum business resides with the Anacostia Community Museum. For further information, and to obtain permission to publish or reproduce, contact the Museum Archives.

Collection Citation:

Henry P. Whitehead collection, Anacostia Community Museum Archives, Smithsonian Institution, gift of Michael A. Watkins.

See more items in:

Henry P. Whitehead collection

Henry P. Whitehead collection / Series 3: Tomlinson D. Todd / 3.5: Biographical and Family Material

Archival Repository:

Anacostia Community Museum Archives

GUID:

https://n2t.net/ark:/65665/qa7870f98ab-df09-489e-936e-18ec4c1ce187

EDAN-URL:

ead_component:sova-acma-06-042-ref1034

Creator:

Von Brockdorff, Louise Medbery  Search this

Names:

Charlton, Maryette  Search this

Extent:

0.9 Linear feet

Type:

Collection descriptions

Archival materials

Date:

1905-1975

Summary:

The papers of painter and designer Louise Medbery von Brockdorff measure 0.9 linear feet and date from 1905 to 1975. The collection comments on von Brockdorff's colorful life of different interests and travel. Found are address books, biographical materials, letters from Maryette Charlton, eighteen journals, sketches, and handwritten writings and notes.

Scope and Contents:

The papers of painter and designer Louise Medbery von Brockdorff measure 0.9 linear feet and date from 1905 to 1975. The collection comments on von Brockdorff's colorful life of different interests and travel. Found are address books, biographical materials, letters from Maryette Charlton, eighteen journals, sketches, and handwritten writings and notes.

Arrangement:

Due to the small size of this collection the papers are arranged as one series.

Biographical / Historical:

Louise Medbery von Brockdorff (1887-1975) was a painter and designer based in New York, New York who worked briefly for the Works Progress Administration. She was also an astrologist and a socialite with many friends in the arts including choreographers, dancers, artists, and poets.

Known to friends as Fifi, Louise Medbery was born in Columbus, Ohio and studied at Vassar College. Shortly after graduation, she moved to Europe and studied painting in Munich, Germany. She married Count Hugo von Brockdorff in 1910 and remained in Germany while he fought in World War I. The couple lived in Denmark after the war but Louise ultimately returned to Columbus and the two divorced, after which she completed a secretarial course and worked at an office in Columbus and took other jobs around Ohio.

Von Brockdorff moved often seeking out new interests and professions. In 1924 she moved to New York City to study fashion design and pursued an interest in astrology which ultimately became a career. During the Depression, she supported herself through mail-order star charts and would find clients through word-of-mouth. Briefly, she worked for the Works Progress Administration and continued to move in and out of New York City. Later in life, von Brockdorff took an interest in theater and dance and became close with choreographers, poets, and artists.

She died in 1975 in New York City.

Related Materials:

The Archives of American Art also holds the Maryette Charlton papers, circa 1890-2013. Charlton, who served as executor of von Brockdorff's estate, was a close friend. The Charlton papers include letters from von Brockdorff to Charlton, information on the acquisition of the estate, legal documents, and records regarding von Brockdorff's memorial which was organized by Charlton.

Provenance:

Donated 1980 by Lillian Kiesler and Maryette Charlton, friends of von Brockdorff. Additional materials were donated by Maryette Charlton between 1998 and 2013.

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.

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

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

Topic:

Women artists  Search this

Women authors  Search this

Citation:

Louise Medbery von Brockdorff papers, 1905-1975. Archives of American Art, Smithsonian Institution.

Sponsor:

Processing of this collection received support from the Smithsonian American Women's History Initiative.

Identifier:

AAA.vonbroc

See more items in:

Louise Medbery von Brockdorff papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9cebe60f9-6711-42a3-96c2-3bcd9047fe15

EDAN-URL:

ead_collection:sova-aaa-vonbroc

Creator:

Warshaw, Isadore, 1900-1969  Search this

Extent:

5.11 Cubic feet (consisting of 11 boxes, 1 folder, 2 oversize folders, 1 map case folder, 1 flat box (partial.))

Type:

Collection descriptions

Archival materials

Publications

Business ephemera

Manuscripts for publication

Steel plate engravings

Technical reports

Letterheads

Business cards

Advertising mail

Advertising fliers

Sales letters

Printed ephemera

Sales records

Advertising cards

Advertisements

Trade cards

Periodicals

Commercial catalogs

Manufacturers' catalogs

Manuals

Legal documents

Receipts

Invoices

Print advertising

Advertising

Ephemera

Business letters

Sales catalogs

Printed materials

Illustrations

Trade catalogs

Trade literature

Catalogues

Commercial correspondence

Business records

Printed material

Correspondence

Legislation (legal concepts)

Reports

Technical manuals

Date:

1819-1985

Summary:

A New York bookseller, Warshaw assembled this collection over nearly fifty years. The Warshaw Collection of Business Americana: Accounting and Bookkeeping forms part of the Warshaw Collection of Business Americana, Subseries 1.1: Subject Categories. The Subject Categories subseries is divided into 470 subject categories based on those created by Mr. Warshaw. These subject categories include topical subjects, types or forms of material, people, organizations, historical events, and other categories. An overview to the entire Warshaw collection is available here: Warshaw Collection of Business Americana

Scope and Contents:

The subject category Steel largely represents business records and advertisements created by steel manufacturers and distributors of steel-based goods or services. Additional materials include biographical writings about Andrew Carnegie, documentation about the effect of the steel industry on society, and educational material about the steel industry.

No complete set of business records are represented within the collection, however the United States Steel Corporation has notable representation within the business records.

Technical documentation about the production of steel-based products as well as background information about the United States Steel Industry and Andrew Carnegie are strong research strengths of this subject category.

Arrangement:

Steel is arranged in three subseries.

Business Records and Marketing Material

Genre

Subject

Forms Part Of:

Forms part of the Warshaw Collection of Business Americana.

Series 1: Business Ephemera

Series 2: Other Collection Divisions

Series 3: Isadore Warshaw Personal Papers

Series 4: Photographic Reference Material

Provenance:

Steel is a portion of the Business Ephemera Series of the Warshaw Collection of Business Americana, Accession AC0060 purchased from Isadore Warshaw in 1967. Warshaw continued to accumulate similar material until his death, which was donated in 1971 by his widow, Augusta. For a period after acquisition, related materials from other sources (of mixed provenance) were added to the collection so there may be content produced or published after Warshaw's death in 1969. This practice has since ceased.

Restrictions:

Collection is open for research. Some items may be restricted due to fragile condition.

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:

Steel founding  Search this

Steel industry and trade -- 1930-2000  Search this

Stainless steel tableware  Search this

Steel alloys  Search this

Iron and steel bridges  Search this

Iron and steel industry  Search this

Manufacturing  Search this

Iron and steel workers -- 1920-1930 -- New York (State) -- New York  Search this

Steel industry and trade  Search this

Steel, Stainless -- 20th century  Search this

Structural steel workers -- 1920-1930 -- New York (State) -- New York  Search this

Women iron and steel workers  Search this

Manufacturing industries  Search this

Manufacturing processes  Search this

Trade associations  Search this

Genre/Form:

Publications -- Business

Business ephemera

Manuscripts for publication

Steel plate engravings

Technical reports

Letterheads

Business cards

Advertising mail

Advertising fliers

Sales letters

Printed ephemera

Sales records

Advertising cards

Advertisements

Trade cards

Periodicals

Commercial catalogs

Manufacturers' catalogs

Manuals

Legal documents

Receipts

Invoices

Print advertising

Advertising

Ephemera

Business letters

Sales catalogs

Printed materials

Illustrations

Trade catalogs

Trade literature

Catalogues

Commercial correspondence

Business records

Printed material

Correspondence

Legislation (legal concepts)

Reports

Technical manuals -- 20th century

Citation:

Warshaw Collection of Business Americana Subject Categories: Steel, 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).

Identifier:

NMAH.AC.0060.S01.01.Steel

See more items in:

Warshaw Collection of Business Americana Subject Categories: Steel

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8b94698eb-da99-4338-b74e-4b73fc712dc5

EDAN-URL:

ead_collection:sova-nmah-ac-0060-s01-01-steel

Creator:

Warshaw, Isadore, 1900-1969  Search this

Extent:

10.22 Cubic feet (consisting of 20 boxes, 2 folders, 9 oversize folders, 3 map case folders, 3 flat boxes (2 full, 1 partial.))

Type:

Collection descriptions

Archival materials

Menus

Bills

Ships' passenger lists

Patents

Legislative documents

Photographs

Advertisements

Advertising mail

Advertising

Illustrations

Contracts

Trademarks

Inspections

Programs

Advertising cards

Advertising fliers

Print advertising

Legal documents

Travelogs

Souvenir programs

Business cards

Concert programs

Publications

Commercial correspondence

Correspondence

Receipts

Theater programs

Business records

Legal records

Business ephemera

Invoices

Bills of sale

Ships' logs

Technical reports

Reports

Letterheads

Ephemera

Design patents

Travel brochures

Legislation (legal concepts)

Business letters

Timetables

Travel diaries

Printed ephemera

Place:

New York (N.Y.) -- Transportation

Hudson River

Date:

1777-1965

Summary:

A New York bookseller, Warshaw assembled this collection over nearly fifty years. The Warshaw Collection of Business Americana: Accounting and Bookkeeping forms part of the Warshaw Collection of Business Americana, Subseries 1.1: Subject Categories. The Subject Categories subseries is divided into 470 subject categories based on those created by Mr. Warshaw. These subject categories include topical subjects, types or forms of material, people, organizations, historical events, and other categories. An overview to the entire Warshaw collection is available here: Warshaw Collection of Business Americana

Scope and Contents:

Minimally covers the terminus of the wind-powered (sail) era and more fully documents the peak of the engine (steam) era of commercial cargo and passenger vesselsk, including freight and dockage services, maintenance and provisioning, ferry service, navigation (tug and tow) assistance, plus leisure cruising and touring. There is not a significant amount of material on battle or war ships. Includes both short distance routes such as lakes, rivers, and islets, and longer trans-oceanic crossings.

Documents within the collection consist of handbills, broadsides, leaflets, books, business cards, advertisements, insurance forms, wreck reports, passenger lists, baggage tags, freight manifests, rate cards, correspondence on letterhead stationery, booklets, newspaper clippings, postcards, menus, periodicals, manuals, photographs, engravings, woodcuts, sketches, bills of lading, receipts, catalogues, ledgers, journals, purchase orders, broadsides, brochures, custom forms, schedules, shipping and receiving documents, early steam guides, timetables, lithographs, announcements, etc. There are no navigational nautical maps. There is very little in the way of international import/export records. However, domestic and North American freight services are well-covered through invoices, bills of lading, manifests, and receipts for goods and services.

Some materials cover the history and development of steamships, particularly in the latter half of the nineteenth century with the iron screw replacing the wooden paddle steamer in the 1850s. The late 1860s brought the compound engine, which led to the steamship, previously used for the conveyance of mails and passengers, to compete with the sailing vessel in the carriage of cargo for long voyages. The 1870s brought improvements in accommodation for the passenger, with the midship saloon, conveniences in state-rooms, and covered access to smoke rooms and ladies cabins.

Ownership of specific lines and vessels was very fluid throughout shipping history, including the renaming of vessels. Mergers, dissolution, and absorption of fleets were frequent. Thus, researchers should independently seek out a more detailed history for any entity of particular interest.

The general maritime business series focuses on good and services related to maritime operations such as repair, shipbuilding, parts, ticket agents, chandlers, groceries, coal supply, dockage, wharfs/marinas, etc.

Operation records of named vessels contains primarily bills of lading and similar receipts for the movement of material goods or in-water services such as tow and tug assistance.

The largest series covering shipping lines and conglomerates offers a wide assortment of miscellaneous, nonexhaustive operation records for cargo and passenger lines and corporations, typically those with multiple holdings. These documents may include receipts, bills of lading, correspondence, and financial ledgers, plus promotional material for services and routes offered. Passenger sailings and luxury cruise documentation may contain menus, passenger lists, itineraries, shore excursion information, souveniers such as luggage tags, ticket stubs, and postcards. See also the subject category Menus, for additional examples of passenger and cruise ship menus.

When not associated with any of the above, general examples of materials related to the industry have been by arranged by their material type such as images, reports, and serial publications. More formal documentation, especially legal and reports, can be found here.

Narrative type materials related to lore, history, and building and design specifications have been sorted by subject. A scarce amount of material covers ships used for military service. Likewise, there are a few examples of maritime related material from the art world, mostly in the form of catalogues for exhibits or auction of paintings and scale models.

A note on vessel names: those used as contract carriers of mail and when in service, were entitled to unique prefix designations such as Royal Mail Ship (RMS.), otherwise, the ship name may be preceded by the more generic S.S. for single-screw steamer or steamship, SV for sailing vessel, PS for paddle steamer, RV for research vessel or similar type prefix. USS is the standard for the United States Navy commissioned ships while in commission, with HMS used for His/Her Majesty's Ship of the British Royal Navy.

Some of the major lines/companies represented in the collection include: American Line, American Steamship Company, Anchor Line, Compagnie Générale Transatlantique, Cunard-Anchor Line, Cunard Line, Cunard Steam Ship Company, Limited, Cunard White Star Line, Eastern Steamship Lines, Furness, Withy & Company, Hamburg American Line (HAPAG) / Hamburg Amerika Linie, Holland America Line (N.A.S.M. / HAL), Inman Line, International Mercantile Marine Company (IMM), International Navigation Company, North German Lloyd (Norddeutscher Lloyd Bremen), Panama Pacific Line, Peninsular and Oriental, Red Star Line, Royal Mail Steam Packet, U.S. Mail Steamship Company, United States Lines, White Star Line.

Arrangement:

Ships, Boats, and Vessels is arranged in three subseries.

Business Records and Marketing Material

General Maritime Businesses



Operation Records of Named Vessels



Shipping Lines/Conglomerates

Miscellaneous Business Records and Marketing Material

Genre

Keepsakes

Images

Ledger

Legal

News Clippings

Regulatory

Reports

Serial Publications

Stamps/Cigarette Cards

Associations and Societies

Images, Artwork, Racing, Technical Literature

Subject

Battleships, Warships

Destination Guides

Employment and Licensing

Insurance

Maritime History

Maritime Models and Art

Revue Generale Des Sciences

Warshaw Administrative Records

Related Materials:

Several other Warshaw Subject Categories may have closely related material such as Submarines and Transportation. For casual and recreational boating see Boats and Boating Equipment and Yachts. Other subject categories that may have related materials include: Canals, Dredging, Engines, Menus, Railroads (point of common transportation transfer), and Tours. .

Forms Part Of:

Forms part of the Warshaw Collection of Business Americana.

Missing Title

Series 1: Business Ephemera

Series 2: Other Collection Divisions

Series 3: Isadore Warshaw Personal Papers

Series 4: Photographic Reference Material

Provenance:

Steamboats [Ships, Boats, and Vessels] is a portion of the Business Ephemera Series of the Warshaw Collection of Business Americana, Accession AC0060 purchased from Isadore Warshaw in 1967. Warshaw continued to accumulate similar material until his death, which was donated in 1971 by his widow, Augusta. For a period after acquisition, related materials from other sources (of mixed provenance) were added to the collection so there may be content produced or published after Warshaw's death in 1969. This practice has since ceased.

Restrictions:

Collection is open for research. Some items may be restricted due to fragile condition.

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:

Passenger ships  Search this

Marine machinery  Search this

Ships  Search this

Shipbuilding industry  Search this

Ferries  Search this

Transportation -- Japan  Search this

River boats  Search this

Marine engines  Search this

Boats  Search this

Transportation -- Far Eastern  Search this

Ships -- Equipment and supplies  Search this

Merchant Marine -- Manning of vessels -- United States  Search this

Docks  Search this

Health  Search this

Ocean liners  Search this

Merchant Marine -- United States  Search this

Ships -- Far Eastern  Search this

Rivers  Search this

Transportation -- river boat  Search this

World War, 1939-1945 -- Merchant Marine  Search this

Harbors  Search this

Trade associations  Search this

Transportation -- 1900-1910  Search this

Boats and boating  Search this

Water transport -- 18th century  Search this

Boats -- Southeast Asia  Search this

Cargo  Search this

Local transit -- New York (N.Y.)  Search this

Sailboats  Search this

Waterways  Search this

Sailing  Search this

Transportation -- New York (N.Y.)  Search this

Local transit  Search this

Scientific expeditions  Search this

Water transfer  Search this

Transportation -- History  Search this

Wharves  Search this

Steamboats  Search this

Boats -- New York (N.Y.)  Search this

Transportation  Search this

Public health  Search this

Marine engineers  Search this

Ocean travel  Search this

Seamen -- 1910-1920  Search this

Musical performances  Search this

Transportation -- Law and legislation -- United States  Search this

Merchant seamen  Search this

Marine engineering  Search this

Models and modelmaking  Search this

Navigation  Search this

Seamen -- 1940-1950  Search this

Travel  Search this

Importers  Search this

Shipping  Search this

Cruise ships  Search this

Ships -- New York (N.Y.)  Search this

Flags  Search this

Exports -- 19th century  Search this

Genre/Form:

Menus -- Ships -- 1940-1950

Menus

Bills

Ships' passenger lists

Patents

Legislative documents

Photographs

Advertisements

Advertising mail

Advertising

Illustrations

Contracts

Trademarks

Inspections

Programs

Advertising cards

Advertising fliers

Print advertising

Legal documents

Travelogs

Souvenir programs

Business cards

Concert programs

Publications

Commercial correspondence

Correspondence

Receipts

Theater programs

Publications -- Business

Business records

Legal records

Business ephemera

Invoices

Bills of sale

Ships' logs

Technical reports

Reports

Letterheads

Ephemera

Design patents

Travel brochures

Legislation (legal concepts)

Business letters

Timetables

Travel diaries

Printed ephemera

Citation:

Warshaw Collection of Business Americana Subject Categories: Ships, Boats, and Vessels, 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).

Identifier:

NMAH.AC.0060.S01.01.Steamboats

See more items in:

Warshaw Collection of Business Americana Subject Categories: Steamboats [Ships, Boats, and Vessels]

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8cc542278-2f59-4b3b-9008-a8b7679a46b5

EDAN-URL:

ead_collection:sova-nmah-ac-0060-s01-01-steamboats

Creator:

American Red Cross  Search this

Subject:

Caja, Jerome D.  Search this

Type:

Legal Documents

Date:

1978 March 15

Citation:

American Red Cross. American Red Cross certification of Basic Rescue and Water Safety for Jerome Caja, 1978 March 15. Jerome Caja papers, circa 1920-1995. Archives of American Art, Smithsonian Institution.

Record number:

(DSI-AAA)16062

See more items in:

Jerome Caja papers, circa 1920-1995

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_item_16062

Creator:

Gilliam, Sam, 1933-2022  Search this

Names:

Carl Solway Gallery  Search this

Philadelphia Museum of Art  Search this

Studio Museum in Harlem  Search this

Andrews, Benny, 1930-2006  Search this

Driskell, David C.  Search this

Gilliam, Dorothy Butler, 1936-  Search this

Krebs, Rockne, 1938-2011  Search this

Mondale, Walter F., 1928-  Search this

Extent:

7.9 Linear feet

7.9 Linear feet

Type:

Collection descriptions

Archival materials

Interviews

Scrapbooks

Sketches

Sound recordings

Date:

1957-1989

1957-1989

Summary:

The papers of contemporary Color Field painter and educator Sam Gilliam measure 7.9 linear feet and date from 1957 to 1989. The papers include biographical material, correspondence, writings, business records, printed material, subject files, a scrapbook, artwork, and photographic material that document Gilliam's life beginning as a student, through to his teaching, professorial, and artistic career based in Washington D.C. The collection highlights Gilliam's close involvement with the art institutions, racial politics, and artistic innovation from the 1960s through the 1980s, and particularly showcases the planning and creation of Gilliam's large-scale three-dimensional paintings, often associated with the Washington Color School.

Scope and Contents:

The papers of contemporary Color Field painter and educator Sam Gilliam measure 7.9 linear feet and date from 1957 to 1989. The papers include biographical material, correspondence, writings, business records, printed material, subject files, a scrapbook, artwork, and photographic material that document Gilliam's life beginning as a student, through to his teaching, professorial, and artistic career based in Washington D.C. The collection highlights Gilliam's close involvement with the art institutions, racial politics, and artistic innovation from the 1960s through the 1980s, and particularly showcases the planning and creation of Gilliam's large-scale three-dimensional paintings, often associated with the Washington Color School.

Biographical material includes résumés, passports, exhibition lists, artists' statements and essays, interview transcripts and recordings. Also included are audio recordings of conversations between Sam Gilliam and artist Benny Andrews, between Gilliam and artist Rockne Krebs, as well as recordings of a 1968 interview conducted by Dorothy Gilliam.

Correspondence spans over 20 years and includes letters to and from museums and galleries such as the Philadelphia Museum of Art, the Studio Museum in Harlem, Carl Solway Gallery, collectors, artists including David Driskell, friends, family, students, and fans.

Writings include notes, statements, and essays by and about Gilliam, writings by university students of Gilliam, and writings related to Gilliam's artwork and public commissions including measurements for artworks, material research, and information regarding prints created for the private home of Walter Mondale.

Business records primarily include the daily records of activities kept by Sam and Dorothy Gilliam's secretary, Debby, from 1973 to 1978. Also present are resumes for a studio assistant for Gilliam, certificates of originality, legal documents, receipts and invoices, a record of donated paintings, financial records, ledgers, contracts, records and paperwork for the Gilliam's company Enterprise 101, and miscellany.

Printed materials include photocopies, exhibition announcements, magazines, and clippings regarding exhibitions, specific artworks, and commissions, and Gilliam and/or his then-wife, Dorothy Gilliam.

The subject file series contains letters, photographic material, business records, sketches, and printed materials concerning specific galleries, public art commissions, arts organizations, workshops, teaching positions, Gilliam's studio, art suppliers, and other topics.

A disbound scrapbook contains photographs, notes, and printed material related to Gilliam and his studio practice.

The artwork series includes sketches, personal notes, and small preparatory drawings by Gilliam.

Photographic material includes negatives, slides, and transparencies of artworks, Gilliam in his studio, and Gilliam and staff preparing museum and gallery exhibition spaces. Also included are records of student artwork, and photos and slides of artwork sent to Gilliam by students and aspiring artists.

Arrangement:

This collection is arranged as 9 series.

Series 1: Biographical Material, 1958-1988, (Box 1; 0.8 linear feet)

Series 2: Correspondence, 1965-1989, (Boxes 1-2; 0.6 linear feet)

Series 3: Writings, 1962-1988, (Box 2; 0.4 linear feet)

Series 4: Business Records, 1957-1986, (Boxes 2-3; 1.0 linear foot)

Series 5: Printed Material, 1962-1987, (Boxes 3-4; 1.0 linear foot)

Series 6: Subject Files, 1963-1988, (Boxes 4-7; 2.2 linear feet)

Series 7: Scrapbook, 1958-1968, (Box 7; 0.2 linear feet)

Series 8: Artwork, 1970-1980, undated, (Boxes 7-9; 0.4 linear feet)

Series 9: Photographic Material, 1960-1985, (Boxes 8-9; 0.3 linear feet)

Biographical / Historical:

Sam Gilliam (1933-2022) was an African American artist based in Washington, D.C. He was born in Tupelo, Mississippi, and raised in Louisville, Kentucky, where he began painting as a child, eventually attending the University of Louisville where he received his B.A. in Fine Art and M.A. in Painting. He went on to teach art to high school students in the Washington D.C. public school system, and university-level students at the Corcoran School of Art, the Maryland Institute College of Art (MICA), the University of Maryland, and Carnegie Mellon University. His numerous grants and awards include the 1971 Solomon Guggenheim Memorial Foundation Fellowship and multiple Honorary Doctoral degrees.

As an artist, Gilliam is best known for his three-dimensional draped and suspended paintings, covered with large fields of poured paint, pigment, and colorful staining influenced by the movement and colors of Abstract Expressionist painters. He created many public works that incorporated new materials such as custom designed metal forms, quilted canvas, and textiles; his works often included subtle social commentaries through their titling. His suspended paintings cemented Gilliam as an innovative and influential presence in 20th century American art.

Related Materials:

Also found in the Archives of American Art are two oral history interviews with Sam Gilliam, one conducted by Kenneth Young, September 18, 1984, and the other by Ben Forgey, November 4-11, 1989.

Provenance:

The Sam Gilliam papers were donated to the Archives of American Art by Sam Gilliam in 1989.

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:

Authorization to publish, quote, or reproduce requires written permission from Sam Gilliam. Contact Reference Services for more information.

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 -- Washington (D.C.)  Search this

Painters -- Washington (D.C.)  Search this

Topic:

Art -- Study and teaching  Search this

Color-field painting  Search this

Painting, Modern -- 20th century -- Washington (D.C.)  Search this

Washington Color School (Group of artists)  Search this

African American artists  Search this

African American educators  Search this

African American painters  Search this

Genre/Form:

Interviews

Scrapbooks

Sketches

Sound recordings

Citation:

Sam Gilliam papers, 1957-1989. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Henry Luce Foundation.

Identifier:

AAA.gillsam

See more items in:

Sam Gilliam papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw90b5177ef-7a80-48b3-bcdb-3f1f74d21b5c

EDAN-URL:

ead_collection:sova-aaa-gillsam

Collection Creator:

Gilliam, Sam, 1933-2022  Search this

Extent:

1 Linear foot (Boxes 2-3)

Type:

Archival materials

Date:

1957-1986

Scope and Contents:

Business records primarily include daily records of activities kept by Sam and Dorothy Gilliam's secretary, Debby, from 1973 to 1978. In addition to these documents are resumes for a studio assistant for Gilliam, certificates of originality, legal documents, travel itineraries, documents related to Gilliam's service in the US Army, receipts and invoices, a record of paintings donated, in-transit, and on-loan; financial records, ledgers, contracts, and records and paperwork connected to the Gilliam's company Enterprise 101, as well as miscellany.

Collection Restrictions:

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

Collection Rights:

Authorization to publish, quote, or reproduce requires written permission from Sam Gilliam. Contact Reference Services for more information.

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:

Sam Gilliam papers, 1957-1989. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Henry Luce Foundation.

Identifier:

AAA.gillsam, Series 4

See more items in:

Sam Gilliam papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9e751e9de-672d-4bb7-8f50-62ffd2009338

EDAN-URL:

ead_component:sova-aaa-gillsam-ref4

Physical Description:

polyester, cotton (overall material)

Measurements:

overall, flat: 90 cm x 120 cm x 3 cm; 35 7/16 in x 47 1/4 in x 1 3/16 in

overall, mounted: 35 1/2 in x 22 in x 12 in; 90.17 cm x 55.88 cm x 30.48 cm

Object Name:

hoodie

Place used:

United States: California, Santa Maria

Date made:

ca 2007

ID Number:

2018.0256.1

Catalog number:

2018.0256.1

Accession number:

2018.0256

See more items in:

Work and Industry: Agriculture

Data Source:

National Museum of American History

GUID:

http://n2t.net/ark:/65665/ng49ca746b4-7acb-704b-e053-15f76fa0b4fa

EDAN-URL:

edanmdm:nmah_1904639

Creator:

Bunce, Louis, 1907-1983  Search this

Names:

Fountain Gallery of Art  Search this

KOIN-TV (Television station : Portland, Or.)  Search this

Metropolitan Arts Commission (Portland, Or.)  Search this

Oregon Historical Society  Search this

Portland Center for the Visual Arts  Search this

Portland Museum School -- Faculty  Search this

Bunce, Edna  Search this

Bunce, Gloria  Search this

Griffin, Rachael  Search this

Hammack, John  Search this

Judd, Sally  Search this

Pollock, Jackson, 1912-1956  Search this

Russell, Pee Wee  Search this

Weber, Max, 1881-1961  Search this

Wells, Wendy  Search this

Extent:

9.1 Linear feet

Type:

Collection descriptions

Archival materials

Interviews

Sound recordings

Sketches

Photographs

Sketchbooks

Video recordings

Transcripts

Scrapbooks

Date:

1890s-1983

Summary:

The papers of Portland, Oregon painter, printmaker, and educator Louis Bunce (1907-1983) measure 9.1 linear feet and date from the 1890s to 1983. Found are biographical materials, correspondence, writings and notes, interviews and interview transcripts, organizational records, personal business records, printed materials, nine scrapbooks, eighteen sketchbooks, artwork, and photographs. A few audiovisual recordings are scattered throughout series.

Scope and Contents:

The papers of Portland, Oregon painter, printmaker, and educator Louis Bunce (1907-1983) measure 9.1 linear feet and date from the 1890s to 1983. Found are biographical materials, correspondence, writings and notes, interviews and interview transcripts, organizational records, personal business records, printed materials, nine scrapbooks, eighteen sketchbooks, artwork, and photographs. A few audiovisual recordings are scattered throughout series.

Biographical materials include address and appointment books, awards, life documents, resumes, and Bunce family genealogical records. There is a video recording of Bunce's retirement party from the Portland Museum School and of Bunce hanging his artwork for a show at the Fountain Gallery.

Bunce's correspondence is with his wives, Eda and Gloria, family, friends, fellow artists, and galleries and institutions. Notable correspondents include Jackson Pollock, Pee Wee Russell, and Max Weber. Writings and notes by Bunce include a notebook containing sales information, lists of works of art, sketches, and artist's statements. There are also autobiographical sketches and a video recording of a 1961 television show hosted by Bunce entitled "The Jazz Arts" depicting Bunce painting while jazz musicians perform. There are a few writings about Bunce by others.

There are two recorded interviews and three transcripts of interviews with Bunce conducted by Rachel Griffin, Wendy Wells of the Fountain Gallery, the Oregon Historical Society, KOIN TV, and an art student.

Organizational records document Louis Bunce's association with the Portland Center for the Visual Arts and the Portland Building Public Art Selection Committee of the Metropolitan Arts Commission. Personal business records include agreements and contracts, including an agreement with Sally Judd to form a gallery, consignment records, income and sales records, price lists and inventories (see also series 3 for a notebook containing lists of artwork and sales information), and personal legal documents. Printed materials consist of bulletins, clippings, and exhibition catalogs and announcements. There is also a video recording of a broadcast of KGW-TV depicting Bunce painting an outdoor mural.

Nine mixed media scrapbooks contain sketches, notes, printed material, photographs, correspondence, project proposals, writings, notes, addresses, receipts and sales records. Many of the scrapbooks contain artwork drawn directly onto the paper while some have artwork pasted into the pages. Eighteen sketchbooks of Bunce depict abstract drawings, figures, portraits, landscapes, and street scenes in pencil, pen and watercolor. Also found is a Valentine's Day-themed flipbook by Bunce and unidentified sketches likely by John Hammack and others.

Photographs are of Bunce, Bunce's family, Bunce at events, Bunce with his art, and Bunce at work in his studio. Also found are photographs of travel, stills of footage used on KOIN-TV, works of art, and exhibitions.

Arrangement:

The collection is arranged as 11 series.

Missing Title

Series 1: Biographical Material, 1902-1983 (Box 1, 13; 0.7 linear feet)

Series 2: Correspondence, circa 1916-1983 (Box 1-3; 1.7 linear feet)

Series 3: Writings and Notes, 1940-1970s (Box 3; 0.2 linear feet)

Series 4: Interviews and Interview Transcripts, 1955-1982 (Box 3; 0.2 linear feet)

Series 5: Organizational Records, 1970s-1983 (Box 3; 0.1 linear feet)

Series 6: Personal Business Records, 1948-1983 (Box 3-4; 0.8 linear feet)

Series 7: Printed Material, 1930s-1980s (Box 4-6, 13; 1.7 linear feet)

Series 8: Scrapbooks, 1941-1982 (Box 6, 9-10; 1.0 linear feet)

Series 9: Sketchbooks, 1940-1960s (Box 6-7, 11; 1.2 linear feet)

Series 10: Artwork, circa 1944-1979 (Box 7, 13-15; 0.6 linear feet)

Series 11: Photographs, 1890s-1981 (Box 7-8, 12; 0.9 linear feet)

Biographical / Historical:

Louis Bunce (1907-1983) was a painter, printmaker, and educator active in Portland, Oregon. His modernist style influenced many artists in the Pacific Northwest.

Born in Wyoming in 1907, Bunce began his art education at the Museum Art School in Portland Oregon in 1925. After two years, he moved to New York City to study at the Art Students League. During the great Depression, Bunce returned to Oregon and worked for the federal WPA Section of Painting and Sculpture. He painted murals for post offices in Portland (St. Johns neighborhood), and Grants Pass. Bunce moved back to New York in 1940, where he continued working as a WPA mural and easel painter, and befriended fellow artists Jackson Pollock, Willem de Kooning, Robert Motherwell, Franz Kline, and other American modernists.

A prominent member of the arts scene of Portland, Bunce taught at the Museum Art School (now the Pacific Northwest College of Art) from 1946 until 1972. In 1949, he and his wife Gloria opened the Kharouba Gallery, the first art gallery in Portland to show modernist, avant-garde, and experimental art. In 1958, Bunce's abstract mural for the Portland International Airport created some controversy over its modernist style. The mural can still be seen in the airport.

Bunce married twice, to Eda Hult and Gloria Scott. With Eda, he had a son, Jon Bunce. Louis Bunce died in Portland, Oregon in 1983 from an aneurysm.

Related Materials:

Also in the Archives of American Art are two oral history interviews with Bunce, one conducted on October 29, 1965 by Dorothy Bestor and a second conducted on December 3-13, 1982 by Rachel Rosenfield, for the Archives of American Art's Northwest Oral History Project

Provenance:

The Louis Bunce papers were donated by the artist's son, Jon Bunce in 1984.

Restrictions:

Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advanced notice.

Rights:

The Jazz Arts video: Authorization to publish, quote or reproduce requires written permission from KGW-TV, Portland Oregon. Interview of Wendy Wells of the Fountain Gallery: Authorization to publish, quote or reproduce requires written permission from Rogers Cablesystems of Portland, Oregon. Contact Reference Services for more information.

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 -- Oregon -- Portland  Search this

Printmakers -- Oregon  Search this

Educators -- Oregon  Search this

Topic:

Artists' studios -- Photographs  Search this

Genre/Form:

Interviews

Sound recordings

Sketches

Photographs

Sketchbooks

Video recordings

Transcripts

Scrapbooks

Citation:

Louis Bunce papers, 1890s-1983. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Smithsonian Institution Collections Care and Preservation Fund

Identifier:

AAA.buncloui

See more items in:

Louis Bunce papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9af8707ae-cab7-4026-9c4f-25855d848b77

EDAN-URL:

ead_collection:sova-aaa-buncloui

Creator:

Kadish, Reuben, 1913-1992  Search this

Names:

Ashton, Dore  Search this

Cherry, Herman  Search this

Conant, Howard  Search this

De Kooning, Willem, 1904-1997  Search this

Guston, Philip, 1913-1980  Search this

Hiler, Hilaire, 1898-1966  Search this

Langsner, Jules, 1911-1967  Search this

Neininger, Urban  Search this

O'Keeffe, Georgia, 1887-1986  Search this

Pollock, Charles C.  Search this

Pollock, Jackson, 1912-1956  Search this

Siqueiros, David Alfaro  Search this

Tully, Judd  Search this

Extent:

7.9 Linear feet

Type:

Collection descriptions

Archival materials

Drawings

Photographs

Date:

1851-1995

bulk 1913-1995

Summary:

This collection, which measures 7.9 linear feet and dates from 1851 to 1995 (bulk 1913-1995), documents the life and career of muralist, sculptor, and educator Reuben Kadish. The papers contain biographical material, letters, personal business records, an exhibition file, notes, writings, artwork, printed material, photographs, and artifacts.

Scope and Content Note:

The Reuben Kadish papers measure 7.9 linear feet and date from 1851 to 1995 with the bulk of the material dating from 1913 to 1995. The collection documents the life and career of muralist, sculptor, and educator Reuben Kadish and contains biographical material, letters, personal business records, an exhibition file, notes, writings, artwork, printed material, photographs, and artifacts.

Biographical material, 1938-1992, includes résumés and personal identification items. Letters are from friends and colleagues including Herman Cherry, Philip Guston, Hilaire Hiler, Jules Langsner, Urban Neininger, Charles Pollock, and Jackson Pollock. One letter from the Leonard Stark family contains a small photograph of Georgia O'Keeffe.

Personal business records, 1952-1995, consist of legal documents, including estate papers for Ida and Reuben Kadish, and financial records. The only specific exhibition file documents the 1990 exhibition Reuben Kadish: Works from 1930 to the Present at the New Jersey State Museum in 1990.

Notes include unbound notes on mural painting, printmaking, sculpture, and other art-related topics, and handwritten translations by William H. Thomson of thirty classic texts by Homer, Horace, and Demosthenes. Writings, 1975-1992, consist of an autobiographical manuscript by Kadish, and typescripts concerning Kadish and other art-related topics by other authors including Dore Ashton, Herman Cherry, Howard Conant, and Judd Tully.

Artwork, undated and 1981-1992, includes a hundred sketches and seventeen watercolors by Kadish, and a drawing for DIG (Archeology) by Barbara Kadish. Printed material relates primarily to exhibitions for Kadish and others but also includes a baseball program autographed by Darryl Strawberry. Photographs include prints of Kadish and other artists working on murals, and photographs picturing family and friends.

Arrangement:

The collection is arranged into ten series, based on type of material. Although acquired as a gift before the rest of the collection was loaned to the Archives of American Art in 1998, eight photographs are described in Series 9: Photographs, with those included in the 1998 loan.

Each series is arranged chronologically, except Series 2: Letters and Series 6: Writings, which are arranged alphabetically according to the surname of the writer.

Missing Title

Series 1: Biographical Material, 1938-1992 (box 1, 3 folders)

Series 2: Letters, 1934-1995, undated (boxes 1-3, 2.5 linear ft.)

Series 3: Personal Business Records, 1952-1995 (boxes 3-4, 37 folders)

Series 4: Exhibition File, 1989-1991 (box 4, 1 folder)

Series 5: Notes, 1851-1853, 1937-1992, undated (boxes 4-5, 35 folders)

Series 6: Writings, 1963-1992, undated (box 5, 14 folders)

Series 7: Artwork, 1981-1992, undated (boxes 5, 10, 8 folders)

Series 8: Printed Material, 1934-1993, undated (boxes 5-7, 76 folders)

Series 9: Photographs, 1913-1992, undated (boxes 7-9, sol 10, 2.0 linear ft.)

Series 10: Artifacts, undated (box 9, 1 folder)

Biographical Note:

Reuben Kadish was born in Chicago on January 29, 1913. His father and mother were from Latvia and the Ukraine respectively.

In 1921, the family moved to East Los Angeles, California, where Kadish studied painting under Lorser Feitelson. During this time, he befriended Jackson Pollock and Philip Guston, who attended the Manual Arts High School.

During a trip to New York City in 1930, Kadish was impressed with the modern art, especially the work of the Surrealists, which he saw there. Upon his return to Los Angeles the following year, Kadish attended the Otis Art School, the Stickney School of Art in Pasadena, and Los Angeles City College. He also shared a studio with Philip Guston.

In 1933, Kadish, Guston and Jules Langsner were apprenticed to Mexican muralist, David Alfaro Siqueiros. Their most notable work being the mural "Triumph of Good Over Evil", at the University of Morelia in Mexico. During the next three years, the three young artists collaborated on painting murals in California and Mexico. After another visit to New York, Kadish was invited to San Francisco by Bill Gaskin to head the art division of the WPA project there, a position he occupied until 1940.

From 1940, Kadish worked as a coppersmith and welder at the Bethlehem Steel Works in San Francisco until 1942, when he joined the Army as a member of the War Artist Unit, serving in India and Southeast Asia during World War II. In 1944, he rejoined his wife Barbara in the Bay Area, but they soon returned to New York City, where Kadish worked for Stanley William Hayter at Atelier 17. In the summer of 1945, the Kadish painted with Jackson Pollock and Lee Krasner in a shared Long Island house on Slow's Point in Amagansett.

In 1946, the Kadishes moved to a dairy farm in Vernon, New Jersey, where they supported themselves by farming until 1957. A catastrophic fire in the studio destroyed most of Kadish's paintings in 1947, causing him to turn his interest to creating sculpture.

After teaching art and design at the Newark School of Fine and Industrial Art in 1957, Kadish taught sculpture at the Brooklyn Museum Art School from 1958-1959. In 1960, he began his thirty-year teaching career at Cooper Union, which ended only a few months before his death on September 20, 1992 in Manhattan.

Related Material:

Other resources relating to Reuben Kadish in the Archives of American Art include an oral history interview with Kadish, April 15, 1992.

Provenance:

The eight photographs on Reel 5660 were donated to the Archives of American Art in 1984 by Reuben Kadish. The other material on Reels 5655-5660 was lent for filming in 1998 by Morris and Ruth Kadish, brother and sister-in-law of Reuben Kadish, and executors of his estate, and subsequently donated to the Archives of American Art in 2002.

Restrictions:

The collection is open for research. Use requires an appointment. Microfilmed portion must be consulted on microfilm.

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.

Topic:

Sculptors -- New York (State) -- New York -- Interviews  Search this

Muralists -- California  Search this

Sculptors -- California  Search this

Genre/Form:

Drawings

Photographs

Citation:

Reuben Kadish papers, 1851-1995, bulk 1913-1995. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.kadireub

See more items in:

Reuben Kadish papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw974482335-aae0-4e72-8e41-8c2fb3fe28f8

EDAN-URL:

ead_collection:sova-aaa-kadireub

Creator:

Parsons, Betty  Search this

Names:

Betty Parsons Gallery  Search this

Bess, Forrest, 1911-1977  Search this

Congdon, William, 1912-1998  Search this

Pollock, Jackson, 1912-1956  Search this

Reinhardt, Ad, 1913-1967  Search this

Rothko, Mark, 1903-1970  Search this

Extent:

61.1 Linear feet

Type:

Collection descriptions

Archival materials

Sketchbooks

Interviews

Video recordings

Drawings

Date:

1916-1991

bulk 1946-1983

Summary:

The Betty Parsons Gallery records and personal papers measure 61.1 linear feet and date from 1916 to 1991, with the bulk of the material dating from 1946-1983. Records provide extensive documentation of the gallery's operations from its inception in 1946 to its closing in 1983 and of the activities of Betty Parsons as one the leading art dealers of contemporary American Art in the latter half of the twentieth century, particularly the work of the Abstract Expressionists. Over one third of the of the collection is comprised of artists files containing correspondence, price lists, and printed materials. Additional correspondence is with galleries, dealers, art institutions, private collectors, and the media. Also found are exhibition files, exhibition catalogs and announcements, sales records, stock inventories, personal financial records, and photographs. Betty Parsons's personal papers consist of early curatorial files, pocket diaries, personal correspondence, and evidence of her own artwork, including sketchbooks, and files documenting her personal art collection.

Scope and Content Note:

The Betty Parsons Gallery records and personal papers measure 61.1 linear feet and date from 1916 to 1991, with the bulk of the material dating from 1946-1983. Records provide extensive documentation of the gallery's operations from its inception in 1946 to its closing in 1983 and of the activities of Betty Parsons as one the leading art dealers of contemporary American Art in the latter half of the twentieth century, particularly the work of the Abstract Expressionists. Over one third of the of the collection is comprised of artists files containing correspondence, price lists, and printed materials. Additional correspondence is with galleries, dealers, art institutions, private collectors, and the media. Also found are exhibition files, exhibition catalogs and announcements, sales records, stock inventories, personal financial records, and photographs. Betty Parsons's personal papers consist of early curatorial files, pocket diaries, personal correspondence, and evidence of her own artwork, including sketchbooks, and files documenting her personal art collection. Personal papers also include personal photographs.

Artists files, the largest and most extensive series, consist of a wide variety of documents, including biographical materials, correspondence with or related to the artist, exhibition catalogs and announcements, sales and expense invoices, clippings, price lists, and photographs of the artist, exhibitions, and artwork. The files reflect Parsons's close personal relationships with certain artists, particularly Jackson Pollock, Mark Rothko, Clyfford Still, and Barnett Newman. Extensive documentation is also found for Forrest Bess, William Congdon, Paul Feeley, Thomas George, Alexander Liberman, Seymour Lipton, Richard Pousette-Dart, Jesse Reichek, and Jack Youngerman. Historians and researchers will find these files to be an invaluable resource both in tracing Betty Parsons's role in promoting Abstract Expressionism and researching individual artists.

Exhibition files primarily document the gallery's infrequent group or themed exhibitions. Of particular note are the files on The Ideographic Picture, which was organized by Barnett Newman and included his work, as well as that of Pietro Lazzari, Boris Margo, Ad Reinhardt, Mark Rothko, Theodoros Stamos, and Clyfford Still. Price lists, artist biographies and exhibition schedules are housed in the general exhibition files. Loan exhibition files provide documentation of artwork borrowed by other galleries or institutions for exhibitions, as well as shows outside of the gallery that were organized by Betty Parsons. Also found are gallery exhibition guest books, and announcements and catalogs.

Gallery correspondence is primarily with galleries and dealers, museums, arts organizations, and collectors. Scattered letters from artists are also found, although the bulk of the artists' correspondence is filed in the Artists Files. Also found here are memoranda and letters between Betty Parsons and her staff that contain detailed information concerning Parsons's schedule and gallery activities. Similar correspondence is found amongst the correspondence files within the series Betty Parsons papers.

Appraisal and conservation files include correspondence, appraisal invoices, forms, and appraisal requests and other information from the Art Dealers Association of America, and conservation invoices and reports. The majority of the appraisal records contain information about the specific works of art, including artist, title, date, current owner and the estimated value at the time of the request. Conservation records document conservation treatments undertaken by outside conservators to gallery stock.

Sales, purchases, stock and inventory are well documented in the sales and inventory records. The records provide detailed information about individual sales, prices of individual pieces of artwork, consignments, and loans. Most sales records also include detailed information about the buyer and are a valuable resource for provenance research. Files documenting the general administration, routine business operations, and financial transactions (not individual sales) of the gallery are housed in the general business and financial records. These records include ledgers, receipts, tax records, and banking records. There is some limited information about works of art scattered amongst the receipts and in the "in/out slips" files. Legal records house general legal documents and those concerning specific lawsuits. Of particular note is the file detailing the lawsuit between Betty Parsons and Sidney Janis over the fifth floor of 24 West 57th Street.

The remainder of the collection consists of Betty Parsons's personal papers which document her career prior to opening her own gallery, her work as an artist, and her personal art collection.

Some information about Parsons's work prior to opening her own gallery is found in the early curatorial files she retained from her curatorial and administrative work at the Wakefield Gallery and the Mortimer Brandt Gallery. Clippings, correspondence, announcements, exhibition lists and exhibition files are found. For both positions, she kept only the exhibition files for a small group of exhibitions organized around a specific theme, the most notable being the exhibition of Pre-Columbian Sculpture at the Wakefield Gallery.

Biographical materials include copies of her biography, family genealogies, photographs of Parsons, interviews with Colette Roberts and WYNC radio, memberships, photographs, and ephemera, including a collection of programs and invitations from events that she attended. Throughout her life Parsons gave generously of her time to various cultural and charitable institutions and was awarded for her contributions. There are also a number of files that document her speaking engagements, her participation as a juror in numerous juried exhibitions, charitable work, and awards that she received.

Parsons's personal correspondence files reflect how deeply Parsons's life was intertwined with the gallery. There are letters from museum directors, dealers, artists seeking representation, and personal letters from artists with whom she had close personal relationships, most notably Larry Bigelow, Alexander Calder, William Condon, and Ad Reinhardt. There are also letters from the English artist Adge Baker, with whom Parsons was romantically involved. Correspondence also includes several files of postcards and Christmas cards.

Pocket diaries and engagement calendars, spanning from 1933-1981, record social engagements, meetings, vacations, and telephone numbers. Also found are circa two linear feet of notebooks and sketchbooks, many of which are annotated with addresses, poetry, journal entries, and other observations of people, places, and travels. Writings by others include writings about Betty Parsons or the Betty Parsons Gallery, such as Lawrence Alloway's unpublished typescript titled "An American Gallery" and other topics.

Printed material consists of exhibition announcements and catalogs, art magazines, and newspaper and magazine clippings about Betty Parsons, her family and acquaintances, artists, and other art related topics, coupled with a miscellaneous selection of clippings, and a video recording, on topics that presumably captured Parsons's attention.

Personal art work records document Betty Parsons's career as an artist through inventories, group and solo exhibitions files, price lists, appraisals, sales and consignment invoices. Photographs are primarily reproductions of her works of art, although there are scattered photographs of exhibition installations.

Betty Parsons's private art collection files document her extensive personal collection of art that included works by Jackson Pollock, Agnes Martin, Romare Bearden, Barnett Newman, and Mark Rothko, in addition to Amlash sculpture from ancient Persia and primitive sculpture from New Hebrides. These files include inventories, lists, exhibition records, sales and purchase invoices, and photographs. There are also files for donations and loans from Parsons's personal collection to museums and fund raising auctions for several non-profit institutions.

Finally, the personal financial records provide information about the Parsons's family finances and her personal financial success as an art dealer. In addition to her own investments, Parsons inherited shares in family investments through the estates of her parents, J. Fred Pierson, Jr. and Suzanne Miles Pierson, and younger sister, Emily Rayner. Real estate files include correspondence, utility bills, receipts, area maps, and land plots for houses in Sheepscot, Maine and St. Maartens, Netherlands Antilles. Tax returns, ledger worksheets, receipts, banking statements, deposit slips, and cancelled checks are among the other financial records.

Arrangement:

The collection is arranged as seven series. Many of the series are further divided into subseries.

Missing Title

Series 1: Artists Files, 1935-1983 (19.4 linear feet; Boxes 1-18, 51, 55-56, OVs 53, 65)

Series 2: Exhibition Files, 1941-1983 (2.9 linear feet; Boxes 18-21, 51, 55, OVs 54, 66)

Series 3: Correspondence Files, 1941-1983 (3.9 linear feet; Boxes 21-24, 52, 56)

Series 4: Appraisal Files, 1954-1983 (0.7 linear feet; Box 24)

Series 5: Sales and Inventory Records, 1946-1983 (3.9 linear feet; Boxes 25-28, 51)

Series 6: General Business and Financial Records, 1946-1983 (9.3 linear feet; Boxes 28-38, 51, 56)

Series 7: Betty Parsons Personal Papers, 1916-1991 (21 linear feet; Boxes 38-51, 55-64, OVs 65-67)

Historical Note:

Betty Parsons (1900-1982) was one of the leading art dealers in New York City specializing in modern art, particularly the work of the Abstract Expressionists, and an abstract painter and sculptor in her own right. She opened Betty Parsons Gallery in 1946 at 15 E. 57th St., later moving to 24 W. 57th St.

The history of the Betty Parsons Gallery is inextricably bound to the life and experiences of its founder. Betty Parsons was born Betty Bierne Pierson on January 31, 1900 in New York City. She enjoyed a privileged childhood, which included vacation homes in Newport and Palm Beach. Her only formal education was a five-year stint at the prestigious Chapin School from 1910-1915, where she met many of the women who would become life-long friends and supporters. In the spring of 1920, she married Schuyler Livingston Parsons from one of New York's oldest families. The marriage ended after only three years and the couple traveled to Paris where they could obtain a divorce on the grounds of incompatibility. She retained her married surname and purchased a house on the rue Boulard in Paris, where she remained for ten years, pursuing studies in painting and sculpture.

Financial constraints forced Parsons to return to the United States in 1933. She first traveled west to California, but it was her return to New York in 1935 that marked the start of her career as an art dealer. Her first opportunity to connect with the New York art world came after a successful exhibition of her watercolors at the Midtown Galleries where the owner, Alan Gruskin, noted Parson's faithful and wealthy group of supporters and offered her work installing exhibitions and selling paintings on commission. Her work for the Midtown Galleries led to a second position in the Park Avenue gallery of Mary Sullivan, one of the founders of the Museum of Modern Art. Here, Parsons learned the business of running a gallery. By 1940 Parsons was ready to take on more independent responsibility and agreed to manage a gallery within the Wakefield Bookshop. In this job, she exercised full curatorial control by selecting artists and organizing exhibitions. She championed then unknown contemporary American artists and the gallery's roster soon included Saul Steinberg, Hedda Sterne, Alfonso Ossorio, Joseph Cornell, Walter Murch, and Theodore Stamos. Although the majority of the exhibitions were solo shows, there were a few group shows and themed exhibitions, such as Love in Art (1941) and Ballet in Art (1942). Under Parson's direction, the gallery hosted an important exhibition of Pre-Columbian sculpture, curated by Barnett Newman.

When the owners of the Wakefield Bookshop decided to close the gallery late in 1944, Mortimer Brandt, a dealer who specialized in Old Master paintings and drawings, offered her a position as head of the newly created contemporary section of his gallery. Many of the artists who had shown with Parsons at the Wakefield Gallery followed her to her new gallery, where they were joined by Ad Reinhardt, Boris Mango, and Hans Hofmann. While the exhibitions garnered attention from the press and the interest of contemporary artists, the contemporary section was not a financial success and Brandt opted to close his gallery in 1946.

Using $1000 of her own money and an additional borrowed $4000, Parsons sublet the space that previously housed Mortimer Brandt's contemporary section, on the fifth floor of 15 East 57th Street, and opened the Betty Parsons Gallery.

In many respects the early years of the Betty Parsons Gallery were the most vital, as it was during the period of 1947-1951 that the gallery became linked with the Abstract Expressionists and the history of post-WWII American Art. In an unpublished history of the gallery, noted art critic Lawrence Alloway stated that the significance of the gallery's early exhibitions ranks with Durand-Ruel's Impressionists exhibitions or Kahnweiler's shows of the Cubists. Betty Parsons Gallery quickly became one of the most prestigious galleries in New York City associated with new American Art of all styles. Her close friend Barnett Newman organized the gallery's inaugural exhibition of Northwest Coast Indian Art and he soon began to exhibit his own work at the gallery. When Peggy Guggenheim's Art of This Century Gallery closed, Jackson Pollock, Clyfford Still, and Mark Rothko joined Parsons' growing stable of artists. Although Parsons continued to promote and exhibit many of the artists whom she had previously discovered, these four artists dominated this period. Newman, Pollock, Still, and Rothko worked closely together, holding themselves apart from the other artists somewhat. They were actively involved in the curatorial process and often hung their own shows. For these artists, the exhibition itself was an artistic act of creation.

Parsons provided a supportive environment and allowed her artists enormous freedom in planning and designing their exhibitions. She was not, however, an aggressive salesperson. During this early period the gallery ledgers document sales to an impressive array of museums including the Museum of Modern Art, the Whitney Museum of American Art, and the Art Institute of Chicago, as well as important collectors such as Edward Root and Duncan Phillips. Nevertheless, the art that the gallery promoted was not yet widely accepted. Sales were few, prices were low and the business would not turn a profit for several years. Meanwhile, there was mounting pressure from Pollock, Newman, Still, and Rothko to drop some of the other artists from Parsons' stable and focus all resources on them. They wanted to be promoted to a larger audience and have their work sold at higher prices, but Parsons enjoyed discovering new artists and did not want to be restricted in this endeavor. The year 1951 marks the last time that Pollock's drip paintings or the monumental works of Newman, Rothko or Still were shown at the Betty Parsons Gallery.

In the following years the Betty Parsons Gallery continued to attract a diverse group of talented artists. Ellsworth Kelly, Richard Tuttle, Robert Rauschenberg, and Jack Youngerman had their first New York exhibitions at the Betty Parsons Gallery. Parsons opened Section Eleven in 1958, a short-lived annex to the main gallery, so that she could promote younger, less well-known artists. It closed in 1960 due to the administrative difficulties in running two essentially separate galleries.

In 1962, Sidney Janis, another prominent art dealer, started proceedings to evict Parsons from the floor that they shared on 15 East 57th Street. The Betty Parsons Gallery moved to 24 West 57th Street in 1963, where it remained until it closed in 1983, following Parsons' death the preceding year. Throughout the gallery's history, Parsons continued to promote faithful artists such as Hedda Sterne and Saul Steinberg, who had been with her from the beginning and to seek out new talent, both for her main gallery and for other venues, such as the short-lived Parsons-Truman Gallery, which she opened in 1974 with former Parsons Gallery director Jock Truman to show works on paper by emerging artists.

In addition to being an art dealer, Betty Parsons was a respected artist and collector. With her connoisseur's eye and connections, Parsons amassed an impressive private collection of art. She bought her first piece while an art student in Paris in the 1920s, a small gouache by Zadkine, but did not begin acquiring works in earnest until she was established as an art dealer. Partial inventories of her personal collection show that the majority of her collection contained works by artists associated with the gallery. Mark Rothko, Hans Hofmann, Ad Reinhardt, Agnes Martin, and Kenzo Okada were among the artists represented. Many were gifts from the artists, such as an ink drawing by Jackson Pollock, inscribed "For Betty." Selections from her collection appeared in small museums across the United States, including a traveling exhibition organized by Fitch College, New York, in 1968. In her role as a promoter of contemporary American art, Parsons lent generously from her collection, particularly to the federal Art in the Embassies Program. Throughout her life she also donated works to a variety of museums, most notably, the Whitney Museum of American Art, Museum of Modern Art, New York, and the Louisiana Museum of Modern Art, Denmark.

Parsons frequently claimed that her desire to pursue a career as an artist stemmed from a visit to the Armory Show when she was thirteen. In her late teens, after pressuring her father for art lessons, she studied with the sculptor Gutzon Burglum of Mount Rushmore fame. In Paris, she continued her studies first with Antoine Bourdelle, whose sculptures she had admired at the Armory Show, and later with Ossip Zadkine. The first exhibition of her work, figurative watercolors and sculptures, took place in Paris in 1927. As she matured as an artist, her art became more abstract. Her late works were painted wood sculptures that she pieced together from wood that she found near her studio in Long Island. Parsons's work was exhibited in more than thirty solo exhibitions, including, Betty Parsons; Paintings, Gouaches and Sculpture, 1955-1968, at the Whitechapel Gallery in London. During her lifetime, she would not allow her works to be shown in her own gallery. Shortly after she died of a stroke in 1982, In Memoriam, Betty Parsons: Late Sculptures, opened at the Betty Parsons Gallery.

Related Material:

Also found in the Archives of American Art are oral history interviews with Betty Parsons, June 4-9, 1969, by Paul Cummings, and June 11, 1981 by Gerald Silk.

Separated Material:

Some of the material originally loaned for microfilming in 1968 and 1969 was not included in later donations and can be viewed on microfilm reels N68/62-N68/74 and N69/105-N69/106. Loaned materials are not described in the container listing in this finding aid.

Provenance:

The gallery donated some records in 1974, many of which had been loaned earlier for microfilming. The bulk of the collection was donated in 1984 and 1986 by William Rayner and Christopher Schwabacher, executors of the Estate of Betty Parsons. Additional material was donated by William Rayner in 1998 and Christopher Schwabacher in 2017. Additional material was donated in 2018 by the Lee Hall estate via Carolyn Crozier and Deborah Jacobson, co-executors. Hall was Parsons's biographer and had the material in her possession at the time of Parsons's death. An additional photograph of Parons and Marie Carr Taylor by Henri Cartier-Bresson was donated in 2021 by Mary Carpenter, who inherited the photograph from her mother, Nan Thorton Jones, who received it as a gift from Taylor.

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 audiovisual recordings in this collection must use access copies. Contact References 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:

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

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

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

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

Topic:

Women art dealers  Search this

Women artists  Search this

Abstract expressionist  Search this

Genre/Form:

Sketchbooks

Interviews

Video recordings

Drawings

Citation:

Betty Parsons Gallery records and personal papers, 1916-1991. 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.

Identifier:

AAA.parsbett

See more items in:

Betty Parsons Gallery records and personal papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw956c1036f-b673-4dc1-8c1b-cde0bd641c60

EDAN-URL:

ead_collection:sova-aaa-parsbett

Creator:

Kent, Rockwell, 1882-1971  Search this

Names:

American Artists' Congress  Search this

Artists League of America  Search this

Artists' Union (New York, N.Y.)  Search this

Citizens' Committee for Government Arts Projects  Search this

Farmers Union of the New York Milk Shed  Search this

Federal Art Project  Search this

Federal Writers' Project  Search this

International Workers Order  Search this

Macbeth Gallery  Search this

National Farmers' Union (U.S.)  Search this

National Maritime Union of America  Search this

United American Artists  Search this

United Office and Professional Workers of America  Search this

United Scenic Artists  Search this

Boyesen, Bayard  Search this

Chamberlain, J. E.  Search this

Chase, William Merritt, 1849-1916  Search this

Cleland, T. M. (Thomas Maitland), 1880-1964  Search this

Daniel, Charles, 1878-1971  Search this

Davies, Arthur B. (Arthur Bowen), 1862-1928  Search this

DuBois, W.E.B. (William Edward Burghardt), 1868-1963  Search this

Fitzgerald, James, 1899-1971  Search this

Freuchen, Peter, 1886-1957  Search this

Gellert, Hugo, 1892-1985  Search this

Gottlieb, Harry, 1895-  Search this

Hartley, Marsden, 1877-1943  Search this

Hays, Lee, 1914-1981  Search this

Henri, Robert, 1865-1929  Search this

Jones, Dan Burne  Search this

Keller, Charles, 1914-2006  Search this

Miller, Kenneth Hayes, 1876-1952  Search this

Nearing, Helen  Search this

Nearing, Scott, 1883-1983  Search this

Pach, Walter, 1883-1958  Search this

Phillips, Duncan, 1886-1966  Search this

Rasmussen, Knud, 1879-1933  Search this

Reeves, Ruth, 1892-1966  Search this

Robeson, Paul, 1898-1976  Search this

Roosevelt, Franklin D. (Franklin Delano), 1882-1945  Search this

Ruggles, Carl, 1876-1971  Search this

Seeger, Pete, 1919-2014  Search this

Stefansson, Vilhjalmur, 1879-1962  Search this

Untermeyer, Louis, 1885-1977  Search this

Wildenstein, Felix, 1883-1952  Search this

Zigrosser, Carl, 1891-  Search this

Extent:

88 Linear feet

Type:

Collection descriptions

Archival materials

Poems

Sketches

Business records

Photographs

Drawings

Date:

circa 1840-1993

bulk 1935-1961

Summary:

The Rockwell Kent papers measure 88.0 linear feet and date from circa 1840 to 1993 with the bulk of the collection dating from 1935 to 1961. The collection provides comprehensive coverage of Kent's career as a painter, illustrator, designer, writer, lecturer, traveler, political activist, and dairy farmer.

Scope and Content Note:

The Rockwell Kent papers measure 88 linear feet and date from circa 1840 to 1993 with the bulk of the collection dating from 1935 to 1961. The collection provides comprehensive coverage of Kent's career as a painter, illustrator, designer, writer, lecturer, traveler, political activist, and dairy farmer.

Circumstances surrounding the acquisition of the papers are highlighted in an article by Garnett McCoy ("The Rockwell Kent Papers," in the Archives of American Art Journal, 12, no. 1 [January 1972]: 1-9), recommended reading for researchers interested in the collection. The collection is remarkably complete, for in the mid 1920s Kent began keeping carbon copies of all outgoing letters, eventually employing a secretary (who became his third wife and continued her office duties for the remainder of Kent's life).

Series 1: Alphabetical Files contain Kent's personal and professional correspondence, along with business records of the dairy farm and associated enterprises; also included are printed matter on a wide variety of topics and promotional literature relating to organizations and causes of interest to him. Voluminous correspondence with his three wives, five children, and other relatives, as well as with literally hundreds of friends, both lifelong and of brief duration, illuminates Kent's private life and contributes to understanding of his complex character. Among the many correspondents of note are: his art teachers William Merritt Chase, Robert Henri, and Kenneth Hayes Miller; fellow artists Tom Cleland, Arthur B. Davies, James Fitzgerald, Hugo Gellert, Harry Gottleib, Marsden Hartley, Charles Keller, and Ruth Reeves; collectors Duncan Phillips and Dan Burne Jones; critics J. E. Chamberlain and Walter Pach; and dealers Charles Daniel, Felix Wildenstein, and Macbeth Galleries. Kent corresponded with such diverse people as Arctic explorers Peter Freuchen, Knud Rasmussen, and Vilhjalmar Steffanson; composer Carl Ruggles and songwriters Lee Hays and Pete Seeger; civil rights pioneers Paul Robeson and Dr. W. E. B. Du Bois; writers Bayard Boyesen, Scott and Helen Nearing, and Louis Untermeyer; and art historian and print curator Carl Zigrosser.

Kent's interest and involvement in the labor movement are reflected in correspondence with officials and members of a wide variety and large number of unions and related organizations, among them: the Farmers' Educational and Cooperative Union of America, Farmers' Union of the New York Milk Shed, International Workers Order, National Maritime Union, and United Office and Professional Workers of America. Of special interest is his participation, often in leadership roles, in various attempts to organize artists. Files on the American Artists' Congress, Artists League of America, The Artists Union, United American Artists, and United Scenic Artists contain particularly valuable material on the movement.

A supporter of New Deal efforts to aid artists, Kent was actively interested in the various programs and often was critical of their limitations; he advocated continuing federal aid to artists after the Depression abated. The Kent papers include correspondence with the Federal Arts Project, Federal Fine Arts Project, Federal Writers Project, and the War Department, as well as correspondence with the Citizens' Committee for Government Art Projects and President Franklin D. Roosevelt on the subject.

Kent's professional correspondence documents exhibitions, sales, consignments, and reproduction of prints and paintings. He kept meticulous records of his advertising commissions and illustration work. Detailed correspondence with publishers and printers indicates Kent's involvement in the technical aspects of production and provides a good overview of the publishing industry during the mid-twentieth century.

Business records of Asgaard Farm include records of the dairy and transfer of ownership to its employees, tax and employee information, and documents concerning several related business ventures such as distributor ships for grain, feed, and farm implements.

Series 2: Writings consists of notes, drafts, and completed manuscripts by Rockwell Kent, mainly articles, statements, speeches, poems, introductions, and reviews. The Kent Collection given to Friendship House, Moscow, in 1960, was augmented later by a set of his publications and the illustrated manuscripts of many of his monographs. Also included are a small number of manuscripts by other authors.

Series 3: Artwork consists mainly of drawings and sketches by Kent; also included are works on paper by other artists, many of whom are unidentified, and by children.

Series 4: Printed Matter consists of clippings, exhibition catalogs and announcements, brochures, broadsides, programs, and newsletters. These include items by and about Kent and his family, as well as articles written and/or illustrated by him, and reviews of his books. There is also material on a variety of subjects and causes of interest to him. Additional printed matter is included among the alphabetical files, mainly as attachments to correspondence.

Series 5: Miscellaneous includes biographical material, legal documents, and memorabilia. Artifacts received with papers include textile samples, a silk scarf, dinnerware, ice bucket, and rubber stamp, all featuring designs by Rockwell Kent. Also with this series are a variety of documents including a phrenological analysis of an ancestor, lists of supplies for expeditions, a hand-drawn map of an unidentified place, and technical notes regarding art materials and techniques.

Series 6: Photographs includes photographs of Kent, his family and friends, travel, and art number that over one thousand. Also included here are several albums of family and travel photographs.

Arrangement:

The collection is arranged into six series. Series 1 is arranged alphabetically. The arrangement of the remaining series is explained in each series description. Note that sealed materials that became available in 2000 were microfilmed separately on reels 5740-5741, but have integrated into this finding aid.

Missing Title

Series 1: Alphabetical Files, circa 1900-1971, undated (Reels 5153-5249, 5256, 5740-5741)

Series 2: Writings, 1906-1978, undated (Reels 5249-5252, 5741)

Series 3: Art Work, 1910-1972, undated (Reels 5252, 5741)

Series 4: Printed Matter, 1905-1993, undated (Reels 5252-5254)

Series 5: Miscellaneous, 1859-1969, undated (Reels 5254, 5741)

Series 6: Photographs, circa 1840-1970, undated (Reels 5254-5255, 5741)

Biographical Note:

Rockwell Kent (1882-1971), an energetic and multitalented man, pursued many interests and careers during his very long and active life. At various times he was an architect, draftsman, carpenter, unskilled laborer, painter, illustrator, printmaker, commercial artist, designer, traveler/explorer, writer, professional lecturer, dairy farmer, and political activist.

While studying architecture at Columbia University, Kent enrolled in William Merritt Chase's summer school at Shinnecock Hills, Long Island. He then redirected his career ambitions toward painting and continued to study with Chase in New York. Kent spent a summer working and living with Abbott H. Thayer in Dublin, New Hampshire, and attended the New York School of Art, where Robert Henri and Kenneth Hayes Miller were his teachers.

Critically and financially, Kent was a successful artist. He was very well known for his illustration work--particularly limited editions of the classics, bookplates, and Christmas cards. He was a prolific printmaker, and his prints and paintings were acquired by many major museums and private collectors. During the post-World War II era, Kent's political sympathies resulted in the loss of commissions, and his adherence to artistic conservatism and outspoken opposition to modern art led to disfavor within art circles. After many years of declining reputation in this country and unsuccessful attempts to find a home for the Kent Collection, Kent gave his unsold paintings--the majority of his oeuvre--to the Soviet Union, where he continued to be immensely popular.

An avid traveler, Kent was especially fascinated by remote, Arctic lands and often stayed for extended periods of time to paint, write, and become acquainted with the local inhabitants. Between 1918 and 1935, he wrote and illustrated several popular books about his experiences in Alaska, Tierra del Fuego, and Greenland. In the 1930s and 1940s, Kent was much in demand as a lecturer, making several nationwide tours under the management of a professional lecture bureau; he spoke mainly about his travels, but among his standard lectures were some on "art for the people."

In 1927, Kent purchased Asgaard Farm at AuSable Forks, New York, in the Adirondacks, where he lived for the remainder of his life, operating a modern dairy farm on a modest scale for many years.

As a young man, Kent met Rufus Weeks, became committed to social justice, and joined the Socialist Party. Throughout his life, he supported left-wing causes and was a member or officer of many organizations promoting world peace and harmonious relations with the Soviet Union, civil rights, civil liberties, antifascism, and organized labor. Kent was frequently featured as a celebrity sponsor or speaker at fund-raising events for these causes. In 1948, he ran unsuccessfully as the American Labor Party's candidate for Congress. Kent's unpopular political views eventually led to the dissolution of his dairy business, resulted in a summons to appear before the House Un-American Activities Committee, and prompted the U.S. State Department to deny him a passport, an action that subsequently was overturned by the U.S. Supreme Court.

Kent wrote two autobiographies, This Is My Own (1940) and It's Me, O Lord (1955). In 1969, he was the subject of an oral history interview conducted by Paul Cummings for the Archives of American Art.

Provenance:

In 1969, Rockwell Kent donated his papers to the Archives of American Art; textile samples were received in 1979, and his widow gave additional papers in 1971 and 1996. Letters to Rockwell Kent from wives Frances and Sally, sealed during Sally Kent Gorton's lifetime, became available for research after her death in 2000, and further material was donated to the Archives of American Art in 2001 by the Estate of Sally Kent [Shirley Johnstone] Gorton.

Restrictions:

The microfilm of this collection has been digitized and is available online via AAA's website. Use of material not microfilmed or digitized 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:

Painters -- New York (State)  Search this

Topic:

Designers -- New York (State)  Search this

Mural painting and decoration  Search this

Politics and culture  Search this

Authors -- New York  Search this

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

Dairy farms  Search this

Federal aid to the arts  Search this

Illustrators -- New York (State)  Search this

Illustration of books  Search this

Works of art  Search this

Art and war  Search this

Commercial art  Search this

World War, 1939-1945 -- Art and the war  Search this

Function:

Labor unions

Genre/Form:

Poems

Sketches

Business records

Photographs

Drawings

Citation:

Rockwell Kent papers, circa 1840-1993, bulk 1935-1961. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.kentrock

See more items in:

Rockwell Kent papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw97edd9940-eb61-4562-9583-def2da778b6a

EDAN-URL:

ead_collection:sova-aaa-kentrock

Creator:

Smothers Brothers  Search this

Names:

Paulsen, Pat  Search this

Seeger, Pete, 1919-2014  Search this

Extent:

7 Cubic feet (21 boxes, 1 map-folder)

Type:

Collection descriptions

Archival materials

Biography files

Clippings

Color slides

Contact sheets

Contracts

Itineraries

Legal records

Letters (correspondence)

Photograph albums

Photographs

Color prints (photographs)

Programs

Press releases

Scrapbooks

Scripts (documents)

Date:

1959-2008, undated

Summary:

The collection documents the lives and careers of the Smothers Brothers, with emphasis on their 1960s television variety show, The Smothers Brothers Comedy Hour.

Scope and Contents:

Collection documents the private lives and professional careers of Tom and Dick Smothers, with emphasis on their television variety show, The Smothers Brothers Comedy Hour. The largest portion of the collection contains photographic materials. Publicity materials including press releases, programs, newspaper clippings, and magazine articles; correspondence containing fan mail (some from famous persons such as Lucille Ball, Jack Paar, and others), letters from viewers both complimentary and critical of shows, and letters from members of Congress; business records including contracts, tour itineraries, talent agency materials, scripts, and scrapbooks; and legal documents relating to the lawsuit against Columbia Broadcasting System (CBS) are also found in the collection. Collection is arranged into three series: Series 1, Photographs, 1961-2007, undated; Series 2, Business Records, 1959-2002, undated; and Series 3, Personal Papers, 1966-2008, undated.

Arrangement:

Collection is arranged into three series:

Series 1: Photographic Materials, 1961-2007, undated

Subseries 1.1: Television Shows, 1966-1989, undated

Subseries 1.2: Specials, Tours, and Public Appearances, 1964-1988, undated

Subseries 1.3: Motion Picture Films and Theatre, 1969-1982

Subseries 1.4: General, 1961-2007, undated

Subseries 1.5: Promotional, 1961-2003, undated

Series 2: Business Records, 1959-2002, undated

Subseries 2.1: Press, 1960-2002, undated

Subseries 2.2: Employee Files, 1959-1999, undated

Subseries 2.3: Smothers Brothers v. Columbia Broadcasting System, Incorporated (CBS), 1966-1972, undated

Subseries 2.4: Correspondence, 1960-1996

Subseries 2.5: Performance Materials, 1962-1993, undated

Subseries 2.6: Fan Club, 1990-1992, undated

Series 3: Personal Papers, 1966-2008, undated

Related Materials:

Materials in the Archives Center, National Museum of American History

Duncan Family Yo-Yo Collection NMAH.AC.0807

Colonna, Farrell Wine Label Collection NMAH.AC.0626

Sam DeVincent Collection of Illustrated American Sheet Music, Series 16: Country, Western and Folk Music NMAH.AC.0300

Bob Rule Papers, NMAH.AC.0855

Restrictions:

Collection is open for research.

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:

Comedy  Search this

Folk singers  Search this

Television personalities  Search this

Television  Search this

Variety shows (Television programs) -- Production and direction  Search this

Genre/Form:

Biography files

Clippings -- 20th century

Color slides -- 20th century

Contact sheets

Contracts

Itineraries

Legal records

Letters (correspondence) -- 20th century.

Photograph albums

Photographs -- 20th century

Color prints (photographs) -- 20th century

Photographs -- Black-and-white photoprints -- 20th century

Photographs -- Black-and-white negatives -- 20th century

Photographs -- Black-and-white negatives -- Acetate film

Programs

Press releases

Scrapbooks

Scripts (documents)

Citation:

Smothers Brothers Collection, Archives Center, National Museum of American History.

Identifier:

NMAH.AC.1437

See more items in:

Smothers Brothers Collection

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep83ece83d3-a6c8-44b1-8d02-c25507efbd68

EDAN-URL:

ead_collection:sova-nmah-ac-1437

Creator:

Cushing, Lily Emmet, 1909-1969  Search this

Names:

Maynard Walker Gallery  Search this

Zhonghua fu nü fan gong kang E lian he hui  Search this

Bernstein, Henri  Search this

Chiang, May-ling Soong, 1897-2003  Search this

Frankfurter, Alfred M.  Search this

Graham, Katharine, 1917-  Search this

Kefauver, Nancy, 1912-1967  Search this

Kuhn, Walt, 1877-1949  Search this

Onassis, Jacqueline Kennedy, 1929-1994  Search this

Extent:

4 Linear feet

Type:

Collection descriptions

Archival materials

Postcards

Notebooks

Photographs

Typescripts

Paintings

Date:

1929-1972

Summary:

The papers of painter Lily Emmet Cushing date from 1929 to 1972 and measure 4.0 linear feet. Found within the papers are biographical material; letters from friends including Henri Bernstein, Alfred M. Frankfurter, Katharine Graham, Nancy Kefauver, and Walt Kuhn; personal business records including financial material concerning the Maynard Walker Gallery; notes and writings; art work; printed material; and photographs.

Scope and Content Note:

The papers of painter Lily Emmet Cushing date from 1929 to 1972 and measure 4.0 linear feet. Found within the papers are biographical material; letters from friends including Henri Bernstein, Alfred M. Frankfurter, Katharine Graham, Nancy Kefauver, and Walt Kuhn; personal business records including financial material concerning the Maynard Walker Gallery; notes and writings; art work; printed material; and photographs.

Biographical material consists primarily of address books and lists of addresses, but also includes miscellaneous resumés and a certificate of participation in the Art in the Embassies program. signed by Nancy Kefauver.

Scattered letters received by Cushing are primarily from friends including Henri Bernstein, Alfred M. Frankfurter, Katharine Graham, Nancy Kefauver, and Walt Kuhn. There are also letters concerning the Chinese Women's Anti-Aggression League that benefited the charitable and social welfare organizations of the Chinese Navy.

Personal business records include lists of art work and purchasers, price lists, financial and legal documents, and various receipts, including some for art supplies. Papers concerning the Maynard Walker Gallery include letters discussing sales, invoices, and a ledger listing sales of art work by various artists including Lily Cushing Emmet.

Notes and Writings consist of notebooks containing annotations on miscellaneous topics including household items, painting, plants, and recipes. Miscellaneous notes concern art work, fabric, and furnishings. Typescripts by others concern the genealogy of the Clark family.

Art work consists of a schematic drawing, small oil paintings on masonite, and a commercial printing block of a design by Walt Kuhn.

Printed material consists of clippings, exhibition announcements and catalogs, programs, miscellaneous brochures, picture postcards of scenes in the United States, Europe, and Mexico and of Native Americans.

Photographs are of Cushing, her daughters, her third husband Capt. Alston Boyd, friends and colleagues including Mme. Chiang Kai-Shek, various houses, travel scenes, miscellaneous plants, and of art work. There is also a photograph of Jacqueline Kennedy Onassis.

Arrangement:

The collection is arranged as 7 series:

Missing Title

Series 1: Biographical Material, 1953-1967 (Box 1; 14 folders)

Series 2: Letters, 1929-1972 (Box 1-2, OV 7; 1.4 linear feet)

Series 3: Personal Business Records, 1934-1969 (Box 2-3, 6; 0.8 linear feet)

Series 4: Notes and Writings, 1955-1969 (Box 3; 23 folders)

Series 5: Art Work, circa 1940 (Box 3, 6; 3 folders)

Series 6: Printed Material, 1930-1968 (Box 3, 6; 30 folders)

Series 7: Photographs, 1940-1968 (Box 3-6; 0.8 linear feet)

Biographical Note:

Lily Cushing (1909-1969) of New York City was primarily known as a painter of landscapes and still lifes of flowers.

Lily Cushing was born on January 13, 1909 in New York City, the third child of Ethel Cochrane and artist Howard Gardiner Cushing. She studied painting in the studio of Alexandre Jacovleff in Paris from 1926-1927, and with Walt Kuhn in New York City in 1929. Cushing's first solo exhibition was at the Arden Gallery in New York in 1930.

In 1929, Cushing married George Crawford Clark Jr. in Newport, Rhode Island. Following her divorce from Clark, she married William Temple Emmet, Jr. in 1932. They had two daughters, Alexandra and Lily. Cushing's second marriage also ended in divorce. In 1953, she married naval officer Alston M. Boyd in New York.

Cushing's work is in the collections of the Metropolitan Museum of Art, the Museum of Modern Art, the Whitney Museum of American Art, and in the private collections of Paul Mellon, John Hay Whitney, and Joseph P. Kennedy, among others.

Lily Cushing died on September 21, 1969, in Fishers Island, New York.

Separated Material:

An unrecorded number of exhibition catalogs were removed from the collection and given to the Smithsonian American Art Museum/National Portrait Gallery Art Library in 1977.

Provenance:

The Lily Emmet Cushing papers were donated in 1972 by the artist's daughters Alexandra Emmet Schlesinger and Lily Emmet West.

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:

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

Topic:

Landscape painting  Search this

Women artists  Search this

Women painters  Search this

Genre/Form:

Postcards

Notebooks

Photographs

Typescripts

Paintings

Citation:

Lily Emmet Cushing papers, 1929-1972. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.cushlily

See more items in:

Lily Emmet Cushing papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw96c1d34f2-db7f-4657-8a5b-46b489f7c54e

EDAN-URL:

ead_collection:sova-aaa-cushlily

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:

Cotton Museum at the Memphis Cotton Exchange  Search this

National Cotton Council  Search this

Extent:

38 Cubic feet (91 boxes)

Type:

Collection descriptions

Archival materials

Videocassettes

Slides (photographs)

Scrapbooks

Reports

Programs

Photographs

Photograph albums

Audiotapes

Place:

Memphis (Tenn.)

Date:

1939-1994, undated

Summary:

The Maid of Cotton (MOC) beauty pageant was sponsored by the National Cotton Council, Memphis Cotton Carnival, and the Cotton Exchanges of Memphis, New York, and New Orleans from 1939-1993. The contest was held annually in Memphis, Tennessee until the National Cotton Council and Cotton Council International moved to Dallas, Texas. Beginning with the 1985 pageant (held December 1984) the competition was held in Dallas. The pageant was discontinued in 1993 due to lack of funds, a sponsor, and changes in marketing strategies. The records include files on contestants, photographs, and scrapbooks.

Scope and Contents:

The collection contains the records for the Maid of Cotton pageant (1939-1993) sponsored by the National Cotton Council (NCC), Memphis Cotton Carnival, and the Cotton Exchanges of Memphis, New York, and New Orleans. The collection consists of approximately 38 cubic feet of records created by the NCC in the course of operating the Maid of Cotton contest from 1939 to 1993. The records form the complete archive of this fifty-four year program. The records include administrative files, scrapbooks, photographs, slides, and videotapes.

"One of the main values of the Maid of Cotton collection is its completeness. These are all of the official records of the program, documenting all of its activities throughout its entire existence from 1939 to 1993. As such, it represents a truly unique documentary record and opportunity for research.

Beauty contests have been the subject of serious scholarly study for many years. A search of WorldCat reveals over fifty books on the topic. Scholars have found the subject to be a fruitful springboard from which to study a wide variety of topics, primarily centered around issues of beauty, femininity, culture values, national identity, racism, and feminism.

Beauty pageants serve as symbols that reflect the values of American culture. For example, pageant winners have symbolized the advances made by formerly disenfranchised groups. Vanessa Williams, the first African American to win the Miss America crown (1983), rewrote the definition of beauty in America, and Heather Whitestone, the first deaf Miss America (1995), proved that physical handicaps need not hold anyone back from their dreams. Pageants can provide a focus for the re-examination of our society and culture. The tragic murder of six-year-old Jonbenet Ramsey in 1996 provided a window into what author Susan Anderson calls "the extravagant world of child beauty pageants," that led to public debate about issues of motherhood and adolescence.

In addition, beauty pageants can be viewed in advertising terms: they are the ultimate expression of the tried and true adage that sex sells. All pageants have sponsors and all sponsors want their products to be seen in a positive light. Some sponsors are content to contribute goods and services to the contestants --a new car, a trip to the Caribbean, a fur coat, etc. --so that their generosity can be noted in the publicity surrounding the contest. Others prefer to sponsor the entire program. The Miss Universe contest, for example, was created in 1952 by the Jantzen Company specifically to enable the company to showcase pretty girls wearing its swimsuits. Jantzen abruptly withdrew its previous support of the Miss America pageant when Yolande Betbeze refused to wear a bathing suit during her reign as Miss America 1951. The Maid of Cotton pageant is a highly organized, year-long, very visible public relations program that allows the National Cotton Council to showcase the wonders of cotton through the wonders of young beauty queens. Attractive young women are the perfect vehicle for promoting fashionable fabrics made from cotton.

Cotton --the product at the heart of the Maid of Cotton program --has been central to American economic and political history. NMAH's collecting and research interests reflect this. The Division of Work & Industry contains numerous cotton-related objects and much documentation on the subject. The Archives Center holds several cotton-related collections, including the Peter Paul Haring Papers, 1897-1935, documenting Haring's development of cotton picking machinery; the Lockwood Greene collection of thousands of engineering drawings, many of which were for textile mills; the Robert L. Shurr Script and Scrapbook for a 1939 biographical motion picture on Dr. George Washington Carver; and the Southern Agriculture Oral History Project Records, 1985-1992, which documents modern cotton farming through photography and oral history interviews. In addition, all aspects of cotton production, from farm to factory to finished goods, are documented in several hundred photos in the Underwood & Underwood Agricultural Photonegative Collection, the Underwood & Underwood Glass Stereograph Collection, the Division of Work & Industry Lantern Slide Collection, and the Donald Sultner-Welles Photograph Collection. Cultural aspects of cotton can be discovered in both the Warshaw Collection of Business Americana and in the DeVincent Collection of Illustrated American Sheet Music." (Orr, Craig. "NMAH Collections Committee", memorandum, 2009)

Series 1, Organizational and Pageant Files, 1939-1993, undated., is arranged chronologically by year. Files may contain correspondence, photographs, news clippings, radio commercial scripts, tear sheets, itineraries, trip reports, sheet music, legal documents, waivers, and permissions, and other material related to the Maid of Cotton pageant for that year. Files may also contain subsequent personal information on the Maid of Cotton for that year, for example change of address, news clippings, and the like. This series contains finalist files, trip files and tour report files.

Series 2, Photographs, Slides, and Transparencies, 1939-1994, undated., is arranged chronologically by year. This series contains photographs, slides, and transparencies related to the Maid of Cotton and her travels throughout the United States and overseas. It also contains photographs of the fashions worn by each Maid.

Series 3, Scrapbooks, 1951-1988, contains the scrapbooks created by the National Cotton Council office as well as scrapbooks created by the Maids themselves or others for her. Scrapbooks most often contain news clippings, ephemera, and sometimes correspondence.

Series 4, Audio-Visual, 1991-1993. This series contains video and audio related to the Maid of Cotton. It is currently unprocessed.

Arrangement:

This collection is arranged into four series.

Series 1: Organizational and Pageant Files, 1939-1993, undated

Subseries 1.1: Maid of Cotton files, 1939-1993

Subseries 1.2: Little Miss Cotton, 1956-1963, undated

Series 2: Photographs, Slides, and Transparencies, 1939-1994, undated

Subseries 2.1: Photographic Negatives and Transparencies, 1939-1993, undated

Subseries 2.2: Slides, 1939-1993, undated

Series 3: Scrapbooks, 1951-1988

Series 4: Audio-Visual, 1991-1993, undated

Biographical / Historical:

The Maid of Cotton pageant began in 1939. The annual pageant was sponsored by the National Cotton Council (NCC), Memphis Cotton Carnival, and the Cotton Exchanges of Memphis, New York, and New Orleans. The pageant was held in Memphis, Tennessee, in conjunction with the Carnival until the 1980s.

In mid-December every year the NCC released a list of contestants. Contestants were required to have been born in one of the cotton-producing states: Alabama, Arizona, Arkansas, California, Florida, Georgia, Kentucky, Louisiana, Mississippi, Missouri, New Mexico, North and South Carolina, Oklahoma, Tennessee, Texas or Virginia. They might have also been born in the cotton-producing counties of Alexander, Jefferson, Massac, Pulaski, Williamson or Madison, Illinois or in Clark or Nye counties of Nevada. There were usually twenty contestants each year.

Contestants were judged on personality, good manners, intelligence, and family background as well as beauty and an ability to model. A Top Ten were chosen and then a Top Five, and finally second and first runners up and a winner. Winners served as goodwill and fashion ambassadors of the cotton industry in a five-month, all-expense tour of American cities. In the mid-1950s the tour expanded globally. In the late 1950s a Little Miss Cotton pageant was begun but lasted only until 1963 before being discontinued. In the mid-1980s Dallas,Texas took over the pageant, in conjunction with the NCC and its overseas division, Cotton Council International. In 1986, to bolster interest and participation, the NCC eliminated the rule requiring contestants to be born in a cotton-producing state. The pageant was discontinued in 1993, one of the reasons being that Cotton Inc. stopped contributing scholarship money as well as waning public interest and changing marketing strategies. (pageantopolis.com website accessed April 2012.)

"The National Cotton Council is the official trade association of the cotton industry. The NCC was founded in 1939 to promote the interests of cotton farmers, ginners, brokers, and manufacturers from the Southern, cotton-growing states. Its mission evolved over the years as new uses for cotton and its byproducts have been found; as competition from synthetic fibers developed; as fashion tastes changed; as government regulation increased; and in response to foreign competition in both farming and manufacturing . The NCC website states that its modern-day mission is "to ensure the ability of all U.S. cotton industry segments to compete effectively and profitably in the raw cotton, oilseed and U.S.-manufactured product markets at home and abroad." Throughout its existence, the NCC has been the contact point for issues affecting its members, legislators in Congress, allied agribusiness, and consumers.

One of the first NCC programs undertaken by to promote the versatility and value of cotton to consumers was the Maid of Cotton program, begun in 1939. This consisted of a beauty pageant open to young women born in one of the seventeen southern cotton growing states. The contestants were evaluated on the basis of beauty, personality, poise, good manners, and intelligence; a family background in cotton production was especially helpful. The girls had to apply for selection to compete in the program. At first this was done directly to the Memphis-based program but eventually a system of state Maid of Cotton programs were established, whose winners went on to compete in the national Maid of Cotton contest. The Maid of Cotton received numerous prizes, whose value and variety tended to increase over the years. In the late 1940s, the program added a scholarship prize, probably in emulation of the Miss America contest. The Maid of Cotton pageant was held each December in Memphis as part of that city's Cotton Carnival festivities. The winner was featured prominently on her own float in the Cotton Carnival parade, was feted at prestigious Carnival events, and was treated as royalty wherever she went. Selection as the Maid of Cotton carried a high degree of status and mature ladies in the South to this day proudly identify themselves as such.

The Maid of Cotton's main function, once crowned, was to serve as a goodwill and fashion ambassador for cotton; any publicity she gained was automatically positive publicity for the cotton industry. Accompanied by an NCC-appointed manager, the Maids embarked on an all-expenses-paid tour. The Maids appeared in full regalia at public events such as county fairs, parades, and holiday events; starred in fashion shows featuring all-cotton outfits; gave speeches to local chambers of commerce and other groups; and in general were the attractive personification of the cotton industry wherever they went. At first, the tours concentrated on the cotton states but they were later extended to major cities outside the cotton belt and came to include visits to legislators on Capitol Hill. Beginning in the mid-1950s, the Maids began touring internationally and in the 1970s and 1980s they frequently headed up fashion shows in Asia.

Over time, however, the publicity value of an industry-anointed beauty queen lost its attraction both to the public and --more importantly --to the press. In addition, the role of cotton in the South, particularly in Memphis, declined. In 1986 the contest was moved from Memphis to Dallas. Eventually the cotton industry withdrew its support for the program's scholarships; the 1993 Maid of Cotton was the last to be crowned." (Orr, Craig. "NMAH Collections Committee", memorandum, 2009)

Related Materials:

Materials in the Archives Center

National Cotton Council Records, circa 1960s-1980s (AC1177)

Southern Agriculture Oral History Project Records, 1986-1991 (AC0773)

Provenance:

This collection was donated by the Cotton Museum at the Memphis Cotton Exchange on October 14, 2009.

Restrictions:

Collection is open for research but the negatives 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:

Beauty contestants  Search this

Cotton textile industry  Search this

Cotton industry  Search this

Beauty contests -- United States  Search this

Genre/Form:

Videocassettes

Slides (photographs)

Scrapbooks -- 20th century

Reports

Programs -- 20th century

Photographs -- 20th century

Photograph albums -- 20th century

Audiotapes

Citation:

Maid of Cotton Records, 1939-1993, undated, Archives Center, National Museum of American History, Smithsonian Institution

Sponsor:

This collection was processed with a generous donation from Mr. and Mrs. Steven L. and Michelle Pitcher Trulaske, 2010.

Identifier:

NMAH.AC.1176

See more items in:

Maid of Cotton Records

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8f53d73b9-ea20-46d7-a006-fb4122e3ad71

EDAN-URL:

ead_collection:sova-nmah-ac-1176

Collection Creator:

Cowin, Eileen  Search this

Extent:

0.8 Linear feet (Boxes 1, 24)

0.016 Gigabytes (ER01)

Type:

Archival materials

Gigabytes

Date:

1927-2015

Scope and Contents:

This series consists of diplomas from undergraduate and graduate school, passports, dismantled rolodexes, and faculty identification cards. Also included are legal documents, interview transcripts, and miscellaneous documents in hard copy and digital formats.

Arrangement:

The material in this series are grouped by document type, then arranged chronologically within each grouping. Digital documents are organized in folders within one electronic record (ER).

Collection Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.

One box of correspondence with Michael Dorris and Louise Erdrich and one box of correspondence with Robert Fichter are ACCESS RESTRICTED; use requires written permission.

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:

Eileen Cowin papers, circa 1900-2020. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.cowieile, Series 1

See more items in:

Eileen Cowin papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9ebc8523c-7825-481b-9121-f013df155128

EDAN-URL:

ead_component:sova-aaa-cowieile-ref12