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My Name is Pauli Murray | History Film Forum

Creator:
National Museum of American History  Search this
Type:
Conversations and talks
YouTube Videos
Uploaded:
2021-10-01T16:24:41.000Z
YouTube Category:
Film & Animation  Search this
Topic:
American History  Search this
See more by:
SmithsonianAmHistory
Data Source:
National Museum of American History
YouTube Channel:
SmithsonianAmHistory
EDAN-URL:
edanmdm:yt__1LTWUpiBwU

William Thomas Greene Morton

Creator:
National Museum of American History  Search this
Type:
YouTube Videos
Uploaded:
2016-12-12T19:46:29.000Z
YouTube Category:
Education  Search this
Topic:
American History  Search this
See more by:
SmithsonianAmHistory
Data Source:
National Museum of American History
YouTube Channel:
SmithsonianAmHistory
EDAN-URL:
edanmdm:yt_zaOwiS5Wxgk

Nixon and the American Indian: The Movement to Self-Determination

Creator:
National Museum of the American Indian  Search this
Type:
YouTube Videos
Uploaded:
2012-11-15T17:08:32.000Z
YouTube Category:
Education  Search this
Topic:
Native Americans;American Indians  Search this
See more by:
SmithsonianNMAI
Data Source:
National Museum of the American Indian
YouTube Channel:
SmithsonianNMAI
EDAN-URL:
edanmdm:yt_jBUbD6Gb-BA

Safety for Our Sisters: Ending Violence Against Native Women – 3 Mary Kathryn Nagle

Creator:
National Museum of the American Indian  Search this
Type:
Symposia
YouTube Videos
Uploaded:
2019-03-23T17:44:00.000Z
YouTube Category:
Education  Search this
Topic:
Native Americans;American Indians  Search this
See more by:
SmithsonianNMAI
Data Source:
National Museum of the American Indian
YouTube Channel:
SmithsonianNMAI
EDAN-URL:
edanmdm:yt_nNsOyovhhgA

Constance Baker Motley

Artist:
Brian Lanker, 31 Aug 1947 - 13 Mar 2011  Search this
Sitter:
Constance Baker Motley, 14 Sep 1921 - 28 Sep 2005  Search this
Medium:
Gelatin silver print
Dimensions:
Image: 71.3 × 71.3 cm (28 1/16 × 28 1/16")
Sheet/Mount: 81.6 × 75.2 cm (32 1/8 × 29 5/8")
Mat: 88.4 × 87 cm (34 13/16 × 34 1/4")
Type:
Photograph
Date:
1988
Topic:
Interior  Search this
Home Furnishings\Furniture\Seating\Chair  Search this
Home Furnishings\Lighting Devices\Lamp  Search this
Interior\Courthouse  Search this
Constance Baker Motley: Female  Search this
Constance Baker Motley: Politics and Government\State Legislator  Search this
Constance Baker Motley: Law and Law Enforcement\Jurist  Search this
Portrait  Search this
Credit Line:
National Portrait Gallery, Smithsonian Institution; partial gift of Lynda Lanker and a museum purchase made possible with generous support from Robert E. Meyerhoff and Rheda Becker, Agnes Gund, Kate Kelly and George Schweitzer, Lyndon J. Barrois Sr. and Janine Sherman Barrois, and Mark and Cindy Aron
Object number:
NPG.2021.126
Restrictions & Rights:
Usage conditions apply
Copyright:
© Brian Lanker Archive
See more items in:
National Portrait Gallery Collection
Data Source:
National Portrait Gallery
GUID:
http://n2t.net/ark:/65665/sm473f8f959-584e-4ab6-8965-0b453d6cd03f
EDAN-URL:
edanmdm:npg_NPG.2021.126

1849 - John Bachelder's Patent Model of a Sewing Machine

Inventor:
Bachelder, John  Search this
Physical Description:
wood (overall material)
metal (overall material)
leather (overall material)
Measurements:
overall: 13 in x 19 in x 15 in; 33.02 cm x 48.26 cm x 38.1 cm; wt. 50 lbs
Object Name:
sewing machine patent model
Object Type:
Patent Model
Place invented:
United States: Massachusetts, Boston
Model constructed:
before 1849-05-08
Patent date:
1849-05-08
Subject:
Patent Models  Search this
Invention  Search this
Related Publication:
A Nation of Nations
Janssen, Barbara Suit. Patent Models Index
Cooper, Grace Rogers. The Sewing Machine: Its Invention and Development
Related Web Publication:
http://www.sil.si.edu/DigitalCollections/HST/Cooper/CF/view.cfm
ID Number:
TE.T06051
Catalog number:
T06051.000
Patent number:
006439
Accession number:
89797
See more items in:
Home and Community Life: Textiles
Clothing & Accessories
Patent Models, Sewing Machines
Work
Industry & Manufacturing
Sewing Machines
Textiles
Patent Models
Data Source:
National Museum of American History
GUID:
http://n2t.net/ark:/65665/ng49ca746ab-85b7-704b-e053-15f76fa0b4fa
EDAN-URL:
edanmdm:nmah_1071137

Nixon and the American Indian: The Movement to Self-Determination

Creator:
National Museum of the American Indian  Search this
Type:
YouTube Videos
Uploaded:
2012-11-28T17:22:38.000Z
YouTube Category:
Education  Search this
Topic:
Native Americans;American Indians  Search this
See more by:
SmithsonianNMAI
Data Source:
National Museum of the American Indian
YouTube Channel:
SmithsonianNMAI
EDAN-URL:
edanmdm:yt_Jk02XLzljOY

Weavers, scribes, and kings a new history of the ancient Near East Amanda H. Podany

Title:
New history of the ancient Near East
Author:
Podany, Amanda H  Search this
Physical description:
viii, 662 pages illustrations, maps, plans 25 cm
Type:
Books
Place:
Middle East
Date:
2022
To 622
Topic:
Civilization  Search this
History  Search this
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_1158669

Gertrude Vanderbilt Whitney papers

Creator:
Whitney, Gertrude Vanderbilt, 1875-1942  Search this
Names:
American Ambulance Field Hospital (Juilly, France)  Search this
Greenwich House (New York, N.Y.)  Search this
Whitney Museum of American Art  Search this
Whitney Studio Club  Search this
Cushing, Howard Gardiner, 1869-1916  Search this
De Meyer, Adolf, Baron, 1868-1949  Search this
Miller, Flora Whitney  Search this
Strelecki, Jean de, count  Search this
Watson, Forbes, 1880-1960  Search this
Whitney, Harry Payne, 1872-1930  Search this
Extent:
36.1 Linear feet
Type:
Collection descriptions
Archival materials
Lithographs
Photographs
Interviews
Sketchbooks
Diaries
Scrapbooks
Blueprints
Sketches
Date:
1851-1975
bulk 1888-1942
Summary:
The Gertrude Vanderbilt Whitney papers measure approximately 36.1 linear feet and date from 1851 to 1975, with the bulk of the material dating from 1888 to 1942. The collection documents the life and work of the art patron and sculptor, especially her promotion of American art and artists, her philanthropy and war relief work, her commissions for memorial sculpture, and her creative writing. Papers include correspondence, journals, writings, project files, scrapbooks, photographs, artwork, printed material, two sound recordings, and miscellaneous personal papers.
Scope and Content Note:
The Gertrude Vanderbilt Whitney papers measure approximately 36.1 linear feet and date from 1851 to 1975, with the bulk of the material dating from 1888 to 1942. The collection documents the life and work of the art patron and sculptor, especially her promotion of American art and artists, her philanthropy and war relief work, her commissions for memorial sculpture, and her creative writing. Papers include correspondence, journals, writings, project files, scrapbooks, photographs, artwork, printed material, two sound recordings, and miscellaneous personal papers.

Material relating to more personal aspects of Whitney's life include school papers, a paper doll book dating from her childhood, financial material, interviews, awards and honorary degrees, address and telephone books, committee files, and other items. Correspondence consists of incoming and outgoing letters concerning both personal and professional matters, including her patronage of the arts and sponsorship of artists, her sculpture commissions and exhibitions, and her war relief work and other philantrophic activities. Also found are family correspondence and correspondence received by the Flora Whitney Miller and the Whitney Museum of American Art after Whitney's death. Journals include personal ones that she kept periodically from the time she was a child to near the end of her life, in which she recorded her travels, her impressions of people, her experiences with friends, and her thoughts on art, among other topics; and social ones, in which she recorded dinners and dances attended, and people invited to different social gatherings, and in which she collected invitations received and accepted.

Scattered files can be found that relate to the Whitney Studio Club and the Whitney Museum of American Art, consisting of notebooks, catalogs, a financial report, and other material. Files relating to Whitney's own sculpture projects are more extensive and consist of correspondence, contracts, printed material, notes, financial material for proposed and completed commissions for fountains, memorials, and monuments. The Whitney Museum of American Art, rather than Whitney herself, seems to have kept these files. Files relating to Whitney's philanthropic activities span from the time just before to just after the First World War and consist of correspondence, minutes, reports, and printed material stemming from her contributions to charities and war relief organizations, her sponsorship of the war hospital in Juilly, France, and her support of the Greenwich House Social Settlement.

Whitney's writings include extensive drafts, and handwritten and typed manuscripts and copies of novels, plays, and stories, as well as some autobiographical and early writings, notes and writings on art, and clippings of published writings, documenting her principle means of creative expression towards the end of her life. Also found are some writings by others. Scrapbooks consist of clippings, photographs, letters and other material, compiled by Whitney, Flora Whitney Miller, and possibly others, documenting Whitney's public life, her sculpture commissions and exhibitions, exhibitions at the Whitney Studio, the war hospital in Juilly, France, the death of Harry Payne Whitney in 1930, and the sickness and death of Whitney in 1942.

Photographs include ones of the Whitney and Vanderbilt families, ones of Gertrude Vanderbilt Whitney (including portraits taken by Baron Adolf de Meyer and Count Jean de Strelecki), ones of various Vanderbilt and Whitney residences and of Whitney's studios, ones of Whitney's sculpture exhibitions as well as exhibitions at her studio, and ones of her sculptures, as well as some miscellaneous and unidentified ones. Artwork consists of sketchbooks and sketches by Whitney (including sketches for sculptures) and artwork by others (including a sketchbook of Howard Cushing's containing a sketch of her and albums of World War I lithographs) collected by Whitney. Also found amongst the collection are printed material (clippings, exhibition catalogs, programs, and publications) and blueprints (including drawings for Whitney's studio on MacDougal Alley and various of her sculptures).
Arrangement:
The Gertrude Vanderbilt Whitney papers are arranged into twelve series:

Missing Title

Series 1: Miscellaneous Personal Papers, 1888-1947, 1975 (Boxes 1-3, 33-34, OV 42; 2.5 linear feet)

Series 2: Correspondence, 1889-1949, 1959 (Boxes 3-9; 6 linear feet)

Series 3: Journals, circa 1886-1939 (Boxes 9-12, 33; 2.5 linear feet)

Series 4: Whitney Studio Club and Whitney Museum of American Art Files, 1921-1943 (Box 12; 0.2 linear feet)

Series 5: Sculpture Files, 1900-1960 (bulk 1909-1942) (Boxes 12-15; 3 linear feet)

Series 6: Philanthropy Files, 1902-1923 (bulk 1915-1920) (Boxes 15-17; 2 linear feet)

Series 7: Writings, 1889-1942, 1974 (Boxes 17-26; 10 linear feet)

Series 8: Scrapbooks, 1893-1942 (Boxes 26-27, 33, 35; 1.5 linear feet)

Series 9: Printed Material, 1859-1942 (Boxes 27-28, 36; 0.8 linear feet)

Series 10: Photographs, 1862-1942 (Boxes 28-32, 36-41, OV 43-51; 6.4 linear feet)

Series 11: Artwork, 1871-1930s (Boxes 32, 41, OV 52-54; 0.8 linear feet)

Series 12: Blueprints, 1913-1945 (OV 55; 0.1 linear feet)
Biographical/Historical note:
New York art patron and sculptor, Gertrude Vanderbilt Whitney (1875-1942), was the eldest daughter of Cornelius Vanderbilt II and Alice Gwynne Vanderbilt, and founder of the Whitney Museum of American Art.

Whitney was born January 9, 1875 in New York City, the. She was educated by private tutors and attended Brearley School in New York. From the time she was a young girl, she kept journals of her travels and impressions of the people she met, and engaged in creative pursuits such as sketching and writing stories. In 1896, she was married to Harry Payne Whitney. They had three children, Flora, Cornelius, and Barbara.

In 1900, Whitney began to study sculpture under Hendrik Christian Anderson, and then under James Fraser. Later, she studied with Andrew O'Connor in Paris. From the time she started studying sculpture, her interest in art grew, as did her particular concern for American art and artists. In 1907, she organized an art exhibition at the Colony Club, which included several contemporary American paintings. She also opened a studio on MacDougal Alley, which became known as the Whitney Studio and was a place where shows and prize competitions were held. (She also had other studios in Westbury, Long Island and Paris, France.) Over the years, her patronage of art included buying work, commissioning it, sponsoring it, exhibiting it, and financially supporting artists in America and abroad. From 1911 on, she was aided in her work by Juliana Force, who started out as Whitney's secretary, was responsible for art exhibitions at the Whitney Studio, and became the first director of the Whitney Museum of American Art.

The first recognition Whitney received for her sculpture came in 1908 when a project on which she had collaborated (with Grosvenor Atterbury and Hugo Ballin) won a prize for best design from the Architectural League of New York. The following year she received a commission to do a fountain sculpture for the Pan-American Building in Washington, D. C. She went on to do numerous other commissioned works over the next several decades, including: a fountain for the New Arlington Hotel in Washington D.C. (the design of which was reproduced in various sizes and materials, one cast being submitted to the 1915 Panama-Pacific International Exposition where it won a bronze medal and a later cast being installed on the campus of McGill University, Montreal, Canada in 1930); the Titanic Memorial (designed in 1913 and erected in 1930); the Buffalo Bill Memorial (1924) in Cody, Wyoming; the Columbus Memorial (1929) in Port of Palos, Spain; the Peter Stuyvesant statue in Stuyvesant Square (1939); and The Spirit of Flight (1939) for the New York World's Fair. In 1916, she had her first one-man show at the Whitney Studio, another at the Newport Art Association, and a retrospective at the San Francisco Art Association Palace of Fine Arts. A traveling exhibition in the Midwest followed in 1918.

During the First World War, Whitney was involved with numerous war relief activities, most notably establishing and supporting a hospital in Juilly, France. She made several trips to France during the war, keeping a journal and eventually publishing a piece on the hospital in several newspapers. Her sculpture during this period was largely focused on war themes. In 1919, she exhibited some of these works at the Whitney Studio in a show called "Impressions of War." In the years after the war, she was also commissioned to do several war memorials, including the Washington Heights War Memorial (1922) and the St. Nazaire Memorial (1926) commemmorating the landing of the American Expeditionary Force in France in 1917.

In 1918, Whitney opened the Whitney Studio Club, which served as pioneering organization for American art, putting on exhibition programs and offering social space and recreational amenities to its members (one point numbering over four hundred artists living in New York). She planned an "Overseas Exhibition" of American art, which traveled to Paris and other European cities in 1920-1921, and had her own shows in Paris and London in 1921. In 1928, the Whitney Studio Club was transformed into an art gallery, known as the Whitney Studio Galleries and directed by Juliana Force, which eventually became the Whitney Museum of American Art in 1931.

Whitney pursued creative writing throughout her life, but beginning in the 1930s writing became her principle means of creative expression. Over the years, she produced numerous manuscripts for stories, novels, and play. One novel, Walking the Dusk, was published in 1932 under the pseudonym L. J. Webb. Beginning in 1940, Whitney took a "Professional Writing" course at Columbia University with Helen Hull, which resulted in the production of numerous short stories. In 1941, she collaborated with Ronald Bodley to adapt one of her stories as a play and attempted to get it produced, although unsuccessfully.

In 1934, Whitney was involved in a custody battle for her niece, Gloria Vanderbilt (daughter of her late brother, Reginald Vanderbilt and his wife, Gloria Morgan Vanderbilt). In an agreement reached by the court, custody was awarded to Whitney and visitation rights to Gloria's mother. Litigation continued in the ensuing years.

In 1935, Whitney established the World's Fair Five Organization, with Juliana Force and four architects, to work on preparing a plan for the site of the 1939 New York World's Fair at Flushing Meadow, although the fair's own Board of Design ended up coming up with its own plan.

Whitney continued her work in sculpture, writing, art patronage, and philanthropy throughout the remaining years of her life. She died on April 18, 1942.
Related Archival Materials note:
Related material found in the Archives includes Research Material on Gertrude Vanderbilt Whitney compiled by Flora Miller Irving and the Whitney Museum of American Art artists' files and records, available on microfilm only (originals are located in the Whitney Museum of American Art). Also found in the Archives of American Art's Miscellaneous Exhibition Catalog Collection are a bundle of Whitney Studio Club and Mrs. H. P. Whitney's Studio catalogs and announcements.
Provenance:
The Gertrude Vanderbilt Whitney papers were donated in 1981 and 1991 by Whitney's granddaughter, Flora Miller Irving.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Use of archival audiovisual recordings with no duplicate access copy requires advance notice. 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:
Sculptors -- New York (State) -- New York  Search this
Philanthropists -- New York (State) -- New York  Search this
Topic:
Art patrons -- New York (State) -- New York  Search this
Women artists  Search this
Women sculptors  Search this
World War, 1914-1918  Search this
Genre/Form:
Lithographs
Photographs
Interviews
Sketchbooks
Diaries
Scrapbooks
Blueprints
Sketches
Citation:
Whitney Museum of American Art, Gertrude Vanderbilt Whitney Papers, 1851-1975 (bulk 1888-1942). Archives of American Art, Smithsonian Institution.
Identifier:
AAA.whitgert
See more items in:
Gertrude Vanderbilt Whitney papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9db113d72-cc31-4974-85fe-3e99c53dd62e
EDAN-URL:
ead_collection:sova-aaa-whitgert
Online Media:

NorthStar Horizon Personal Computer

Maker:
Northstar  Search this
Physical Description:
metal (overall material)
plastic (overall material)
Measurements:
average spatial: 19.1 cm x 50.1 cm x 44.5 cm; 7 1/2 in x 19 3/4 in x 17 1/2 in
Object Name:
microcomputer
Place made:
United States: California, Berkeley
Date made:
1977
Credit Line:
Peter McWilliams
ID Number:
1989.0354.01
Catalog number:
1989.0354.01
Accession number:
1989.0354
See more items in:
Medicine and Science: Computers
Family & Social Life
Work
Computers & Business Machines
Data Source:
National Museum of American History
GUID:
http://n2t.net/ark:/65665/ng49ca746ab-e334-704b-e053-15f76fa0b4fa
EDAN-URL:
edanmdm:nmah_1064207

Diary

Collection Collector:
Robinson, Franklin A., Jr., 1959- (actor)  Search this
Container:
Box 10, Folder 4
Type:
Archival materials
Date:
1944
Collection Restrictions:
Collection is open for research but negatives and audiovisuial materials are stored off-site and special arrangements must be made to work with it. Some papers of living persons are restricted. Access to restricted portions may be arranged by request to the donor. Gloves required for unprotected photographs. Viewing film portions of the collection and listening to LP recording requires special appointment. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Collection Rights:
The Archives Center does not own exclusive rights to these materials. Copyright for all materials is retained by the donor, Franklin A. Robinson, Jr.; permission for commercial use and/or publication may be requested from the donor through the Archives Center. Military Records for Franklin A. Robinson (b. 1932) and correspondence from Richard I. Damalouji (1961-2014) are restricted; written permission is needed to research these files. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
The Robinson and Via Family Papers, Archives Center, National Museum of American History
See more items in:
Robinson and Via Family Papers
Robinson and Via Family Papers / Series 2: Robinson Family / 2.6: Robinson, Franklin A.
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep8d451e306-0493-47c5-8e54-5b55390f8ba2
EDAN-URL:
ead_component:sova-nmah-ac-0475-ref166
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Diary

Collection Collector:
Robinson, Franklin A., Jr., 1959- (actor)  Search this
Container:
Box 3, Folder 2
Type:
Archival materials
Date:
1926
Collection Restrictions:
Collection is open for research but negatives and audiovisuial materials are stored off-site and special arrangements must be made to work with it. Some papers of living persons are restricted. Access to restricted portions may be arranged by request to the donor. Gloves required for unprotected photographs. Viewing film portions of the collection and listening to LP recording requires special appointment. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Collection Rights:
The Archives Center does not own exclusive rights to these materials. Copyright for all materials is retained by the donor, Franklin A. Robinson, Jr.; permission for commercial use and/or publication may be requested from the donor through the Archives Center. Military Records for Franklin A. Robinson (b. 1932) and correspondence from Richard I. Damalouji (1961-2014) are restricted; written permission is needed to research these files. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
The Robinson and Via Family Papers, Archives Center, National Museum of American History
See more items in:
Robinson and Via Family Papers
Robinson and Via Family Papers / Series 2: Robinson Family / 2.3: Robinson, Frank A.
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep84cfeef02-beb2-4607-aa01-532ed0d558f2
EDAN-URL:
ead_component:sova-nmah-ac-0475-ref99
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Strong Women/Strong Nations 4: Joy Harjo

Creator:
National Museum of the American Indian  Search this
Type:
Symposia
YouTube Videos
Uploaded:
2016-03-25T16:26:46.000Z
YouTube Category:
Education  Search this
Topic:
Native Americans;American Indians  Search this
See more by:
SmithsonianNMAI
Data Source:
National Museum of the American Indian
YouTube Channel:
SmithsonianNMAI
EDAN-URL:
edanmdm:yt_HKoTzyIeU_A

Zoology in court / edited by Daniel Lunney

Author:
Lunney, Daniel  Search this
Royal Zoological Society of New South Wales  Search this
Physical description:
v, 90 p. : ill. ; 30 cm
Type:
Congresses
Place:
Australia
Date:
1992
Topic:
Environmental law  Search this
Science and law  Search this
Evidence, Expert  Search this
Trials, litigation, etc  Search this
Call number:
K487.S3 Z88 1992
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_452424

In debt to Shays the bicentennial of an agrarian rebellion edited by Robert A. Gross

Editor:
Gross, Robert A. 1945-  Search this
Host institution:
Colonial Society of Massachusetts  Search this
Historic Deerfield, Inc  Search this
Physical description:
xiv, 418 pages illustrations, map 25 cm
Type:
Congresses
Conference papers and proceedings
Date:
1993
Topic:
Shays' Rebellion, 1786-1787  Search this
Shays' Rebellion  Search this
Rebellions--History  Search this
Massachusetts  Search this
Call number:
F69 .I35 1993
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_453139

Paper, performance, and the state social change and political culture in Mughal India Farhat Hasan

Author:
Hasan, Farhat  Search this
Physical description:
xi, 155 pages 24 cm
Type:
Books
History
Place:
Mogul Empire
India
Inde
Empire moghol
Date:
2021
997-1765
1526-1765
Topic:
State, The  Search this
État  Search this
HISTORY / Asia / India & South Asia  Search this
Politics and government  Search this
History  Search this
Politique et gouvernement  Search this
Histoire  Search this
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_1147612

Professional Files

Collection Creator:
Pincus-Witten, Robert, 1935-2018  Search this
Extent:
1.5 Linear feet (Box 7-8)
Type:
Archival materials
Date:
1959-2009
Scope and Contents:
Professional files document different aspects of Pincus-Witten's career from 1973-2009. The Gagosian Gallery files date from 1989-1993 and include daily logs in memorandum format and addressed to Larry Gagosian, correspondence, lists of catalogs published by the gallery, invoices, facsimiles, transcribed journal entries, clippings, exhibition catalogs, draft essays, press releases, meeting notes, Yves Klein litigation regarding a possible fake, and a faxed photograph of Pincus-Witten and Leon Hecht. Other materials include documentation related to Pincus-Witten's travels to the 11th Annual International Sculpture Conference in 1980; a 2007 Adi Foundation Symposium in Jerusalem; the 1997 Cunard Cruise to Hamburg where Pincus-Witten gave a series of lectures; a 1995 Paris flight itinerary; an International Art Press Group to Israel in 1986; and color photographs of a trip to Washington, D.C. in circa 1990 and photographs from Israel trips taken between 1975 and 1977. There is a folder from Omni Art Co. that includes correspondence, invoices, email printouts, exhibition announcements, invitations, and a photocopied group photo; correspondence related to a post-minimalism exhibition Pincus-Witten wanted to curate at MoMA that includes correspondence between himself and Bill (William) Rubin from 1973, where they politely discuss a disagreement regarding what defines modern art; and a draft MoMA PS1 Deputy Director contract from 2003. Audiovisual materials in this series include audio recordings on sound cassettes of lectures and panel discussions featuring Pincus-Witten, a Marcel Duchamp interview by Richard Hamilton; and two sound reels of panel discussions with Pincus-Witten including "Disintegration of Minimalism" at the High Museum in 1973. Also included are photographs of Iris Clert artwork, Ray Johnson collages, Jeff Koon's "Pink Panther" in a crate, and 12 folders of reference photographs depicting artist artworks and installations including artists such as Albert Ryder, George Segal, Henry O. Tanner, Joshua Neustein, Eva Hesse, Hector Guimard, Rachel Lalique, Giorgio de Chirico, Bruce D. Kurt, Margaret Wharton, and others.
Collection Restrictions:
Robert Picus-Witten's journals are access restricted; written permission is required. Contact Reference Services for more information. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
The donor has retained all intellectual property rights, including copyright, that they may own in the following material: Robert Pincus-Witten's journals.
Collection Citation:
Robert Pincus-Witten papers, 1942-2017. Archives of American Art, Smithsonian Institution
Identifier:
AAA.pincrobe, Series 6
See more items in:
Robert Pincus-Witten papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw96905671d-37e3-4660-8e40-12be94930306
EDAN-URL:
ead_component:sova-aaa-pincrobe-ref20

Gagosian Gallery: Yves Klein Litigation

Collection Creator:
Pincus-Witten, Robert, 1935-2018  Search this
Container:
Box 8, Folder 1
Type:
Archival materials
Date:
1995
Collection Restrictions:
Robert Picus-Witten's journals are access restricted; written permission is required. Contact Reference Services for more information. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
The donor has retained all intellectual property rights, including copyright, that they may own in the following material: Robert Pincus-Witten's journals.
Collection Citation:
Robert Pincus-Witten papers, 1942-2017. Archives of American Art, Smithsonian Institution
See more items in:
Robert Pincus-Witten papers
Robert Pincus-Witten papers / Series 6: Professional Files
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9fd585991-161b-463a-a55a-971787f92827
EDAN-URL:
ead_component:sova-aaa-pincrobe-ref276

Morris Louis and Morris Louis Estate papers

Artist:
Louis, Morris, 1912-1962  Search this
Names:
André Emmerich Gallery  Search this
Hirshhorn Museum and Sculpture Garden  Search this
Robert Pierce/Films, Inc.  Search this
Bocour, Leonard, 1910-1993  Search this
Brenner, Marcella, 1912-2007  Search this
Faatz, Anita J. (Anita Josephine)  Search this
Frankenthaler, Helen, 1928-2011  Search this
Greenberg, Clement, 1909-1994  Search this
Noland, Kenneth, 1924-2010  Search this
Truitt, Anne, 1921-2004  Search this
Extent:
17.8 Linear feet
Type:
Collection descriptions
Archival materials
Video recordings
Sound recordings
Interviews
Photographs
Date:
circa 1910s-2007
bulk 1965-2000
Summary:
The Morris Louis and Morris Louis Estate papers measure 17.8 linear feet and date from circa 1912-2007, with the bulk of the material dating from 1965-2000. The collection documents Morris Louis' career as a Color Field painter and founding participant in the Washington Color School, as well as the subsequent administration of his estate by his wife Marcella Brenner. Found within Morris Louis' papers are biographical materials, correspondence, photographs, scattered financial records, notes, writings, printed materials, and a canvas sample. The Morris Louis Estate papers include records of gallery exhibitions, mostly André Emmerich Gallery; artwork inventories; legal records concerning the lawsuit Bernstein v. Brenner; financial records of the sale of Louis' artwork; printed materials; writings about Louis; photographs of exhibition installations and artwork; and project files which include documentation of film projects by Robert Pierce Productions, a catalog raisonne, documentation of PBS documentaries, video recordings of the exhibition "Morris Louis Now", and numerous sound recordings of interviews with artists discussing Morris Louis conducted by Anita Faatz.
Scope and Contents:
The Morris Louis and Morris Louis Estate papers measure 17.8 linear feet and date from circa 1912-2007, with the bulk of the material dating from 1965-2000. The collection documents Morris Louis' career as a Color Field painter and founding participant in the Washington Color School, as well as the subsequent administration of his estate by his wife Marcella Brenner. Found within Morris Louis' papers are biographical materials, correspondence, photographs, scattered financial records, notes, writings, printed materials, and a canvas sample. The Morris Louis Estate papers include records of gallery exhibitions, mostly André Emmerich Gallery; artwork inventories; legal records concerning the lawsuit Bernstein v. Brenner; financial records of the sale of Louis' artwork; printed materials; writings about Louis; photographs of exhibition installations and artwork; and posthumous project files which include documentation of film projects by Robert Pierce Productions, a catalog raisonne, PBS documentaries, video recordings of the exhibition "Morris Louis Now", and numerous sound recordings of interviews with artists, many with transcripts, discussing Morris Louis and conducted by Anita Faatz.

Within the Morris Louis papers (circa 3 linear feet) are scattered biographical materials for Morris Louis and Marcella Brenner. Correspondence is with family friends, artists, and galleries, the bulk of which consists of photocopies. Of note are letters from Helen Frankenthaler, Clement Greenberg, Leonard Bocour, Kenneth Noland, and Anne Truitt. Business records include lists of artwork, receipts for art supplies, and scattered tax records. Six notebooks belonging to Morris Louis contain miscellaneous notes about students, studio rental payments, addresses, travel expenses, and a short list of paintings. There is one notebook of Marcella Brenner's containing notes about expenses and addresses. Also found are printed materials, one canvas sample, and one embossing stamp. Photographs are of Morris Louis, Marcella Brenner, and the Bernstein family.

The majority of the collection (circa 15 linear feet) consists of records created and maintained by Marcella Brenner in the course of managing Louis' estate and posthumous exhibitions and projects. There are numerous gallery exhibition records for many posthumous and retrospective exhibitions between 1965 through 2002, including those held at the Andre Emmerich Gallery, the Hirshhorn Museum, and numerous other U.S. and international galleries and museums. Louis' artwork is documented in highly detailed inventory lists and cards. Legal records document the lawsuit brought by the Bernstein family against Marcella Brenner which began in 1964 and ended in 1970 in favor of Brenner. Financial records document sales.

Printed materials include clippings, exhibition catalogs and announcements, and other miscellaneous materials. Writings include essays about Louis and manuscript copies of the book Trustee for the Human Race: Litigation over the Morris Louis Paintings written by Ruth S. Blau under contract for Marcella Brenner. Photographs are primarily of artwork depicted in exhibition installations. Project files are found for several posthumous documentary film projects and a catalog raisonne, and include a series of audio recordings of interviews of 27 artists conducted by Anita Faatz in 1970-1971. Artists interviewed include Clement Greenberg, Leonard Bocour, Andre Emmerich, Helen Frankenthaler, Kenneth Noland, and many others.
Arrangement:
This collection is arranged as 2 series.

Missing Title

Series 1: Morris Louis Papers, circa 1910s-1998 (2.9 linear feet; Boxes 1-3)

Series 2: Morris Louis Estate Papers, 1947-2007 (14.9 linear feet; Boxes 3-19, OV 20)
Biographical / Historical:
Morris Louis (1912-1962) was one of the earliest American Color Field painters, and, along with other Washington, D.C., painters, formed the movement known as the Washington Color School.

Born in Baltimore, M.D., to Russian immigrants Louis Bernstein and Cecelia Luckman, Morris Louis attended the Maryland Institute of Fine and Applied Arts from 1927-1932 and served as president of the Baltimore Artists' Association in 1935. During the Depression, he worked in New York City on the steering committee of the Easel Division of the Federal Arts Projects of the Works Project Administration (WPA). He exhibited Broken Bridge at the WPA Pavilion of the New York World's Fair in 1939.

In 1947, Louis married Marcella (Siegel) Brenner, and moved to Silver Spring, Maryland, a close suburb of Washington, D.C., where he taught private art classes and continued painting, using his apartment bedroom as a studio. In 1948, Louis participated in the Maryland Artists, 16th Annual Exhibition at the Baltimore Museum of Art, and began using Leonard Bocour's Magna acrylic paint, which he would use exclusively for the rest of his painting career.

In 1952, Morris Louis and Marcella Brenner moved to Washington, D.C. and set up a studio in his home where he would complete his most notable canvases. He began teaching at the Washington Workshop Center for the Arts and met artist Kenneth Noland who was also exploring Color Field painting. Through Noland, Louis met art critic Clement Greenberg in 1953, and they visited artist studios in New York City to study abstract expressionist works, including those by Helen Frankenthaler, Jackson Pollock, and Franz Kline. Louis and Noland were greatly influenced by Frankenthaler's staining technique, and Louis began experimenting with staining methods upon his return to Washington. Clement Greenberg became a life-long advocate for Louis and, in 1954, included Louis in the seminal group exhibition, "Emerging Talent," organized by Greenberg for the Kootz Gallery. In 1960, Andre Emmerich became his dealer in the United States and Lawrence Rubin represented him in Paris.

Using thinned Magna paint and unstretched, unprimed canvases, Louis created his works by rotating the canvas as the paint moved across and soaked in. Between 1958 and 1962 Louis produced three major series of paintings—the Veils, the Unfurleds, and the Stripes. Each series numbered more than one hundred canvases. Louis never documented his exact painting methods and would not allow anyone to watch him work, including his wife. His own worst critic, Louis destroyed many of his paintings that did meet his standards, including a large number of his earliest works and many created between 1954 and 1957. He also designated numerous surviving works for destruction prior to his death.

Louis was diagnosed with lung cancer on July 1, 1962 and died a few months later. The Andre Emmerich Gallery held a previously scheduled exhibition as planned, a month following Louis' death, as a memorial exhibition.
Related Materials:
Also found at the Archives of American Art are the Marcella Brenner journals, 1962-2000. The Maryland Institute College of Art (MICA) also holds papers of Morris Louis and the Morris Louis Estate in their Morris Louis Study Collection.
Provenance:
The Morris Louis and Morris Louis Estate papers were donated by Marcella Brenner in several installments in 1976, 1986, and 1988. Subsequent donations in 2009 and 2012 were donated by Marcella Brenner via Ann M. Garfinkle, Executor. The Anita Faatz interviews were donated in 1976 by Marcella Brenner.
Restrictions:
Use of original papers requires an appointment and is limited to the Washington, D.C. Research Center. Many of the audio recordings and transcripts of interviews with 26 artists conducted by Anita Faatz in 1970-1971 are access restricted and written permission is required from the person interviewed. Please contact reference services for more information. Any use of archival audiovisual recordings with no duplicate access copy requires advance notice.
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 -- United States  Search this
Topic:
Transcripts  Search this
Washington Color School (Group of artists)  Search this
Law and art -- United States  Search this
Color-field painting  Search this
Art -- Study and teaching  Search this
Art, Modern -- 20th century  Search this
Abstract expressionism  Search this
Genre/Form:
Video recordings
Sound recordings
Interviews
Photographs
Citation:
Morris Louis and Morris Louis Estate Papers, circa 1910s-2007, bulk 1965-2000. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.louimorr
See more items in:
Morris Louis and Morris Louis Estate papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9ecc509be-66ed-4df5-9632-537bc9cf40ed
EDAN-URL:
ead_collection:sova-aaa-louimorr
Online Media:

Cacicas the indigenous women leaders of Spanish America, 1492-1825 edited by Margarita R. Ochoa and Sara V. Guengerich

Editor:
Ochoa, Margarita R  Search this
Guengerich, Sara V. 1975-  Search this
Physical description:
1 online resource (ix, 333 pages) illustrations, maps
Type:
Biography
Biographies
Electronic books
History
Place:
Latin America
Amérique latine
Date:
2021
To 1830
Jusqu'à 1830
Topic:
Stateswomen  Search this
Minority women  Search this
Women  Search this
Femmes d'État  Search this
Femmes issues des minorités  Search this
Femmes  Search this
History  Search this
Histoire  Search this
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_1156970

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