Search Results

Creator:

National Postal Museum  Search this

Type:

YouTube Videos

Uploaded:

2022-12-06T15:26:55.000Z

YouTube Category:

Education  Search this

Topic:

Postal service;Letter mail handling;Stamp collecting  Search this

See more by:

SmithsonianNPM

Data Source:

National Postal Museum

YouTube Channel:

SmithsonianNPM

EDAN-URL:

edanmdm:yt_tpjoeqk9fvA

Creator:

Buehr family  Search this

Names:

Buehr, George Frederick, 1905-1983  Search this

Buehr, Karl Albert, 1866-1952  Search this

Buehr, Mary Guion Hess, 1871-1962  Search this

Granger, Kathleen Buehr  Search this

Hess, William, 1838-1964  Search this

Extent:

0.7 Linear feet

Type:

Collection descriptions

Archival materials

Drawings

Photographs

Date:

1880-1984

Summary:

The Buehr family papers date from 1880-1984 and measure 0.7 linear feet. The collection documents the lives and careers of a prominent Chicago family of artists, which included Karl Albert Buehr, his wife Mary Hess Buehr, their children Kathleen Buehr Granger and George F. Buehr, and Karl Buehr's brother-in-law, Will Hess. Found among the papers are biographical accounts, family histories, Karl Buehr's personal and professional correspondence, love letters between Karl and Mary Hess, writing by various family members, printed materials, artwork in the form of drawings by Kathleen Buehr Granger, and family and travel photographs, including two photo albums.

Scope and Content Note:

The Buehr family papers date from 1880-1984 and measure 0.7 linear feet. The collection documents the lives and careers of a prominent Chicago family of artists, which included Karl Albert Buehr, his wife Mary Hess Buehr, their children Kathleen Buehr Granger and George F. Buehr, and Karl Buehr's brother-in-law, Will Hess. Found among the papers are biographical accounts, family histories, Karl Buehr's personal and professional correspondence, love letters between Karl and Mary Hess, writing by various family members, printed materials, artwork in the form of drawings by Kathleen Buehr Granger, and family and travel photographs, including two photo albums.

Arrangement:

The collection is arranged as six series.

Missing Title

Series 1: Biographical Material, 1880-1976 (5 folders; Box 1)

Series 2: Correspondence, 1898-1980 (8 folders; Box 1)

Series 3: Writings, circa 1915-1970 (4 folders; Box 1)

Series 4: Printed Material, circa 1899-1984 (12 folders; Box 1-2, OV 3)

Series 5: Artwork, circa 1940-circa 1975 (6 folders; Box 2)

Series 6: Photographs, circa 1886-1947 (0.2 linear feet; Box 2)

Biographical Note:

The Buehr family was a prominent Chicago family of artists, which included Karl Albert Buehr, his wife Mary Hess Buehr, their children Kathleen Buehr Granger and George F. Buehr, and Karl Buehr's brother-in-law, Will Hess.

Born in 1866 in Germany, Karl Albert Buehr was a painter of genre scenes, portraits, and Impressionist landscapes. He studied at the Art Institute of Chicago, the Julian Academy in France and the London School of Art. From 1899 to 1902 he lived in Holland, and then spent the first decade of the twentieth century at Giverny, France. A member of the Giverny artists, Buehr exhibited widely in Europe. Buehr became a U.S. citizen and served in the U.S. Cavalry during the Spanish-American War. In Chicago he became a highly respected teacher at the School of the Art Institute of Chicago and one of the city's most popular painters. Buehr died in Chicago in 1952.

Karl's wife, Mary Hess Buehr, was born in Chicago in 1871. She was a painter who studied in Holland and France, and held three exhibitions at the Paris Salon. Mary specialized in miniatures and decorative paintings. She was also a lithographer, lecturer, and teacher active in Chicago. She died in Orwell, Vermont, in 1962.

Their children, Kathleen and George F. Buehr, were both artists as well. George, known for his watercolors and collages, was director of museum education and a lecturer at the Art Institute of Chicago. He died in Chicago in 1983 at age 78. Kathleen was born in Chicago in 1902. A graduate of the Art Institute of Chicago, Kathleen was painter and author. Several of her articles are found in the papers, including "My Most Unforgettable Character," published in 1969 in The Reader's Digest.

Provenance:

George Buehr's wife, Margo Hoff, donated the family papers in April, 1986, as part of the Archives' Chicago survey project. George Granger, son of Kathleen Buehr Granger, donated the remaining material in June, 1986.

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:

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:

Landscape painters  Search this

Art teachers  Search this

Portrait painters  Search this

Topic:

Expatriate painters -- France -- Giverny  Search this

Impressionism (Art)  Search this

Art, American -- French influences  Search this

Painters -- Illinois -- Chicago  Search this

Miniature painters  Search this

Watercolorists  Search this

Genre/Form:

Drawings

Photographs

Citation:

Buehr family papers, 1880-1984. 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

Identifier:

AAA.buehfami

See more items in:

Buehr family papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw958156af3-c250-45a3-8902-d7498792122b

EDAN-URL:

ead_collection:sova-aaa-buehfami

Collection Creator:

Knoll, Florence, 1917-2019  Search this

Container:

Box 4, Folder 3

Type:

Archival materials

Date:

1953-1959

Collection Restrictions:

The collection is open for research. Use requires an appointment.

Collection Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Collection Citation:

Florence Knoll Bassett papers, 1932-2000. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the digitization of this collection was provided by the Terra Foundation for American Art.

See more items in:

Florence Knoll Bassett papers

Florence Knoll Bassett papers / Series 6: Letters

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw912c1bd25-19f9-4ea0-8f9f-9c5bf3671f43

EDAN-URL:

ead_component:sova-aaa-knolflor-ref58

Measurements:

overall: 7 1/4 in x 10 5/8 in x 1 in; 18.415 cm x 26.9875 cm x 2.54 cm

Object Name:

Book

Credit Line:

Douglas D. and Lloyd Morgan

ID Number:

1982.0187.01047

Accession number:

1982.0187

Catalog number:

1982.0187.01047

See more items in:

Work and Industry: Graphic Arts

Data Source:

National Museum of American History

GUID:

http://n2t.net/ark:/65665/ng49ca746a6-4ea0-704b-e053-15f76fa0b4fa

EDAN-URL:

edanmdm:nmah_824884

Creator:

Beal, Gifford, 1879-1956  Search this

Names:

Federal Art Project  Search this

Beal, Maud Ramsdell  Search this

Bruce, Edward, 1879-1943  Search this

Cox, Edward  Search this

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

Hancock, Walker Kirtland, 1901-1998  Search this

Kent, Rockwell, 1882-1971  Search this

Pennell, Joseph, 1857-1926  Search this

Rowan, Edward Beatty, 1898-1946  Search this

Watson, Forbes, 1880-1960  Search this

Wortman, Denys, 1887-1958  Search this

Extent:

7.7 Linear feet

Type:

Collection descriptions

Archival materials

Scrapbooks

Sketchbooks

Sketches

Travel diaries

Love letters

Drawings

Prints

Diaries

Paintings

Photographs

Date:

1889-2001

bulk 1900-1954

Summary:

The papers of painter and muralist Gifford Beal measure 7.7 linear feet and date from 1889 to 2001. The bulk of the collection consists of artwork, in addition to correspondence, writings, printed matter, including one scrapbook, pictorial subject files, photographs, and two scrapbooks of photographs of works of art. Artwork is primarily in the form of sketches and seventy-eight sketchbooks in a wide variety of media. Among the loose sketches are twenty-eight oil paintings on wood board or panel, and fourteen large pastel drawings on canvas depicting dancing figures in a romantic style. Artwork by other artists in the collection include prints by Arthur B. Davies, Rockwell Kent, and Denys Wortman.

Scope and Content Note:

The papers of painter and muralist Gifford Beal measure 7.7 linear feet and date from 1889 to 2001. The bulk of the collection consists of artwork, in addition to correspondence, writings, printed matter, including one scrapbook, pictorial subject files, photographs, and two scrapbooks of photographs of works of art. Artwork is primarily in the form of sketches and seventy-eight sketchbooks in a wide variety of media. Among the loose sketches are twenty-eight oil paintings on wood board or panel, and fourteen large pastel drawings on canvas depicting dancing figures in a romantic style. Artwork by other artists in the collection include prints by Arthur B. Davies, Rockwell Kent, and Denys Wortman.

Biographical materials include membership certificates, a marriage certificate, and a travel journal kept by Beal's wife, Maud Ramsdell Beal, on their honeymoon. Personal correspondence consists primarily of love letters between Beal and Maud Ramsdell Beal. Three folders of professional correspondence contain letters from Joseph Pennell (1925); Federal Art Project staff from the Treasury Department including Ed Rowan, Edward Bruce, and Forbes Watson (1938); Walker Hancock (1951); and a series of letters signed "Hyde," from Crow Island, Massachusetts, which may have been written by Edward Hyde Cox (1953-1954).

Also found among the papers are printed materials such as exhibition catalogs, clippings, and reproductions of artwork, both loose and in a scrapbook from the 1920s; subject files containing clippings, photographs, and other pictorial references to common subjects of Beal's artwork; a few personal photographs; and photographs of works of art. Notes and writings are found among Beal's sketchbooks, including one long autobiographical essay which may have been for a lecture, a few diary entries from 1942, and extensive notes on the color, form, and lighting of his sketching subjects. In addition to a scrapbook relating to Beal exhibitions, there are also two scrapbooks containing photographs of works of art.

Arrangement:

The collection is arranged as 7 series:

Missing Title

Series 1: Biographical Materials, 1900-1909, 1942, 1953 (0.2 linear feet; Boxes 1 and 5, OV 10)

Series 2: Correspondence, 1906-1954 (0.4 linear feet; Box 1)

Series 3: Printed Materials, 1900-2001 (0.4 linear feet; Boxes 1, 5, OVs 11, 16)

Series 4: Subject Files, 1889-1953 (0.4 linear feet; Boxes 1-2, OV 10-12)

Series 5: Photographs, 1908-1950 (0.2 linear feet; Box 2, OV 10)

Series 6: Artwork, 1900-1951 (3.3 linear feet; Boxes 2-9; OV 10, 13-20 and rolled documents 21 and 22)

Series 7: Scrapbook, circa 1919-circa 1951 (1.1 linear ft; Boxes 7, 23)

Biographical Note:

Painter and muralist Gifford Beal was born in New York City in 1879, the youngest of six children. Beal began his art training at 13, when he accompanied his older brother, Reynolds Beal, to the Shinnecock School of Art for classes with William Merritt Chase. Gifford Beal continued to study with Chase for ten years at Shinnecock, the Tenth Street Studio building in New York City, and the New York School of Art. Beal attended college at Princeton University from 1896 to 1900, and from 1901 to 1903 he also took classes at the Art Students League with George Bridgman and Frank Vincent DuMond. In 1908, Beal married Maud Ramsdell of Newburgh, New York, where the Beal family also had an estate. They had two sons, William (b. 1914) and Gifford, Jr. (b. 1917).

Beal received all of his training in the United States at a time when European art training was the norm among his peers. Beal's earliest subject matter was taken from the familiar worlds of New York City and the Hudson River Valley, where he frequently spent his summers. Later work would depict other summer homes, including Provincetown, Rockport, and Gloucester, Massachusetts. Throughout his career he explored a variety of styles in his approach to these and other representational subjects such as garden parties, the circus, Central Park scenes, and coastal scenes in the Northeast and the Caribbean.

Beal exhibited at the National Academy of Design's annual exhibition almost continuously from 1901 to 1956, was a member of the Academy from 1914, and won at least seven awards given by the Academy over the course of his career. He won his first award in 1903 from the Worcester Art Museum. He exhibited regularly in major annual exhibitions and world expositions, including the Panama Pacific Exposition of 1915, where he won a gold medal.

Gifford and Reynolds Beal exhibited in a two-man show in 1907 at Clausen Galleries, and the two brothers were both eventually represented by Kraushaar Galleries, where Gifford Beal had his first one-man show in 1920. Beal served as president of the Art Students League from 1916 until 1930, the longest term of any president, and taught there in 1931 and 1932.

Beal was commissioned by the Section on Painting and Sculpture of the Works Progress Administration to paint ten murals for the Allentown, Pennsylvania post office in the late 1930s. The Allentown murals depicted American revolutionaries hiding the liberty bell at Allentown. In 1941, he completed two murals in the Department of the Interior building in Washington, DC: North Country, and Tropical Country, and he painted seven panels at Princeton University in 1943 depicting the life of the nineteenth-century engineer Joseph Henry. He was awarded an honorary Masters degree by Princeton in 1947.

Retrospective exhibitions were held at the Century Club, San Francisco Museum, Des Moines Art Center, and Butler Institute in the early 1950s. Upon his death in 1956, a memorial exhibition was held at the American Academy of Arts and Letters, where Beal became a member in 1943.

Provenance:

Papers were donated to the Archives by Gifford Beal's descendants in three separate accessions. Beal's sons, William and Gifford R. Beal, Jr., donated sketches and sketchbooks in 1992 and 1993. Richard and Lewis Goff, Margaret Beal Alexander, and Telka Beal donated additional sketches, sketchbooks, and materials from Beal's studio in 2000 through the Cape Ann Savings Bank, facilitated by Kraushaar Galleries.

Margaret Beal Alexander, Beal's granddaughter, also donated personal papers of her grandparents via Kraushaar Galleries in 2000. Additional sketchbooks and a poster illustrated by Beal were donated by Beal's Estate via Kraushaar Galleries in 2007. Two scrapbooks of photographs of works of art were donated by Beal's Estate via Kraushaar Galleries in 2015.

Restrictions:

The bulk of the collection has been digitized and is available online via AAA's website. Use of material not 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:

Drawing -- Technique  Search this

Mural painting and decoration -- 20th century -- Pennsylvania -- Allentown  Search this

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

Genre/Form:

Scrapbooks

Sketchbooks

Sketches

Travel diaries

Love letters

Drawings

Prints

Diaries

Paintings

Photographs

Citation:

Gifford Beal sketches, sketchbooks, and papers, 1889-2001. 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

Identifier:

AAA.bealgiff

See more items in:

Gifford Beal sketches, sketchbooks, and papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw98a8f006f-eed4-4440-a7f2-661e8073d4f6

EDAN-URL:

ead_collection:sova-aaa-bealgiff

Creator:

Smithsonian Channel  Search this

Type:

YouTube Videos

Uploaded:

2013-02-06T18:17:25.000Z

YouTube Category:

Entertainment  Search this

See more by:

smithsonianchannel

Data Source:

Smithsonian Channel

YouTube Channel:

smithsonianchannel

EDAN-URL:

edanmdm:yt_P9fnrhpmruI

Collection Creator:

Kent, Rockwell, 1882-1971  Search this

Container:

Reel 5741, Frame 44-52

Type:

Archival materials

Date:

1925

Scope and Contents note:

(previously sealed love letter)

Collection 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.

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:

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

See more items in:

Rockwell Kent papers

Rockwell Kent papers / Series 1: Alphabetical Files / Unidentified and Illegible

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9e4db9921-75cf-44a1-b7fd-22cfd2b9d44d

EDAN-URL:

ead_component:sova-aaa-kentrock-ref4351

Collection Creator:

Kent, Rockwell, 1882-1971  Search this

Container:

Reel 5201, Frame 538-1569

Type:

Archival materials

Date:

1907-1971, undated

Scope and Contents note:

(letters of congratulations from relatives and friends on engagement and marriage; correspondence with husband, mainly love letters, with reports of daily activities and news of relatives, some illustrated; marital problems, family news, Kent's painting progress and employment as a draftsman and in advertising; trips to Alaska, Newfoundland, and South America; divorce and finances; see also: Divorce Data)

Collection 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.

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:

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

See more items in:

Rockwell Kent papers

Rockwell Kent papers / Series 1: Alphabetical Files / Kent Family

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw98c8368ca-8660-40f3-afae-a02d2cbc2131

EDAN-URL:

ead_component:sova-aaa-kentrock-ref2093

Collection Creator:

Kent, Rockwell, 1882-1971  Search this

Container:

Reel 5740, Frame 790-1248

Type:

Archival materials

Date:

1941-1967, undated

Scope and Contents note:

(previously sealed correspondence with Rockwell includes love letters, news of business and personal activities)

Collection 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.

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:

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

See more items in:

Rockwell Kent papers

Rockwell Kent papers / Series 1: Alphabetical Files / Kent Family

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw957cb88ee-3488-4d5e-8d6d-a390a7a81d37

EDAN-URL:

ead_component:sova-aaa-kentrock-ref2109

Publisher:

Archives of American Art  Search this

Language:

English

Object type:

Lesson Plan

Date created:

2013-01-01 00:00:00

Topic:

Arts  Search this

Visual Arts  Search this

American History  Search this

Famous People  Search this

Artists - Writers  Search this

Winslow Homer  Search this

Eakins  Search this

Abbott Handerson Thayer  Search this

Calder  Search this

Cornell  Search this

Frederic Church  Search this

Thomas Hart Benton  Search this

John Steuart Curry  Search this

Rockwell Kent  Search this

Wegman  Search this

Manship  Search this

Red Grooms  Search this

Duchamp  Search this

John Sloan  Search this

Typical age range 8-10  Search this

Typical age range 10-12  Search this

Typical age range 12-14  Search this

Typical age range 14-16  Search this

Typical age range 16-18  Search this

Educational alignment:

CCSS.ELA-Literacy.RI.K.1

CCSS.ELA-Literacy.RI.K.2

CCSS.ELA-Literacy.RI.K.4

CCSS.ELA-Literacy.RI.K.8

CCSS.ELA-Literacy.RI.K.10

CCSS.ELA-Literacy.RF.K.4

CCSS.ELA-Literacy.L.K.6

CCSS.ELA-Literacy.RI.1.1

CCSS.ELA-Literacy.RI.1.2

CCSS.ELA-Literacy.RI.1.4

CCSS.ELA-Literacy.RI.1.6

CCSS.ELA-Literacy.RI.1.7

CCSS.ELA-Literacy.RI.1.8

CCSS.ELA-Literacy.RI.1.10

CCSS.ELA-Literacy.RF.1.4a

CCSS.ELA-Literacy.RF.1.4c

CCSS.ELA-Literacy.SL.1.2

CCSS.ELA-Literacy.L.1.4a

CCSS.ELA-Literacy.RI.2.1

CCSS.ELA-Literacy.RI.2.2

CCSS.ELA-Literacy.RI.2.4

CCSS.ELA-Literacy.RI.2.8

CCSS.ELA-Literacy.RI.2.10

CCSS.ELA-Literacy.RF.2.4a

CCSS.ELA-Literacy.RF.2.4c

CCSS.ELA-Literacy.SL.2.1c

CCSS.ELA-Literacy.SL.2.2

CCSS.ELA-Literacy.L.2.4a

CCSS.ELA-Literacy.RI.3.1

CCSS.ELA-Literacy.RI.3.2

CCSS.ELA-Literacy.RI.3.4

CCSS.ELA-Literacy.RI.3.10

CCSS.ELA-Literacy.RF.3.4a

CCSS.ELA-Literacy.RF.3.4c

CCSS.ELA-Literacy.SL.3.2

CCSS.ELA-Literacy.L.3.4a

CCSS.ELA-Literacy.L.3.6

CCSS.ELA-Literacy.RI.4.1

CCSS.ELA-Literacy.RI.4.2

CCSS.ELA-Literacy.RI.4.3

CCSS.ELA-Literacy.RI.4.4

CCSS.ELA-Literacy.RI.4.8

CCSS.ELA-Literacy.RI.4.10

CCSS.ELA-Literacy.RF.4.4a

CCSS.ELA-Literacy.RF.4.4c

CCSS.ELA-Literacy.L.4.4a

CCSS.ELA-Literacy.L.4.6

CCSS.ELA-Literacy.RI.5.2

CCSS.ELA-Literacy.RI.5.4

CCSS.ELA-Literacy.RI.5.8

CCSS.ELA-Literacy.RI.5.10

CCSS.ELA-Literacy.RF.5.4a

CCSS.ELA-Literacy.RF.5.4c

CCSS.ELA-Literacy.L.5.4a

CCSS.ELA-Literacy.L.5.6

CCSS.ELA-Literacy.RI.6.1

CCSS.ELA-Literacy.RI.6.2

CCSS.ELA-Literacy.RI.6.3

CCSS.ELA-Literacy.RI.6.4

CCSS.ELA-Literacy.RI.6.7

CCSS.ELA-Literacy.L.6.4a

CCSS.ELA-Literacy.L.6.4d

CCSS.ELA-Literacy.L.6.6

CCSS.ELA-Literacy.RI.7.1

CCSS.ELA-Literacy.RI.7.2

CCSS.ELA-Literacy.RI.7.3

CCSS.ELA-Literacy.RI.7.4

CCSS.ELA-Literacy.L.7.4a

CCSS.ELA-Literacy.L.7.4d

CCSS.ELA-Literacy.L.7.6

CCSS.ELA-Literacy.RI.8.1

CCSS.ELA-Literacy.RI.8.2

CCSS.ELA-Literacy.RI.8.4

CCSS.ELA-Literacy.RI.8.8

CCSS.ELA-Literacy.L.8.4a

CCSS.ELA-Literacy.L.8.4d

CCSS.ELA-Literacy.L.8.6

CCSS.ELA-Literacy.RI.9-10.1

CCSS.ELA-Literacy.RI.9-10.2

CCSS.ELA-Literacy.RI.9-10.4

CCSS.ELA-Literacy.RI.9-10.5

CCSS.ELA-Literacy.RI.9-10.8

CCSS.ELA-Literacy.RI.9-10.9

CCSS.ELA-Literacy.L.9-10.4a

CCSS.ELA-Literacy.L.9-10.4d

CCSS.ELA-Literacy.L.9-10.6

CCSS.ELA-Literacy.RI.11-12.1

CCSS.ELA-Literacy.RI.11-12.2

CCSS.ELA-Literacy.RI.11-12.4

CCSS.ELA-Literacy.L.11-12.4a

CCSS.ELA-Literacy.L.11-12.4d

CCSS.ELA-Literacy.L.11-12.6

Data source:

SI Center for Learning and Digital Access

EDAN-URL:

edanmdm:SCLDA_1264

Medium:

paper; ink (multicolored) / lithography; self-adhesive

Dimensions:

3 x 2.5 cm (1 3/16 x 1 in.)

Type:

Postage Stamps

Place:

United States of America

Date:

February 14, 2001

Topic:

Contemporary (1990-present)  Search this

Credit line:

Copyright United States Postal Service. All rights reserved.

Object number:

2001.2010.206

See more items in:

National Postal Museum Collection

Data Source:

National Postal Museum

GUID:

http://n2t.net/ark:/65665/hm8303fe701-511e-4fe5-bb04-a56c741ffe5a

EDAN-URL:

edanmdm:npm_2001.2010.206

Artist:

Cornell, Joseph  Search this

Names:

Benton, Elizabeth Cornell  Search this

Cornell, Robert  Search this

Extent:

196.8 Linear feet

186 Nitrate negatives

Type:

Collection descriptions

Archival materials

Nitrate negatives

Photographs

Place:

New York, New York

Date:

1750-1980, bulk 1930-1972

Summary:

The Joseph Cornell Study Center collection measures 196.8 linear feet and dates from 1750 to 1980, with the bulk of the material dating from 1930 to 1972. Documenting the artistic career and personal life of assemblage artist Joseph Cornell (1903-1972), the collection is primarily made up of two- and three-dimensional source material, the contents of the artists' studio, his record album collection, and his book collection and personal library. The collection also includes diaries and notes, financial and estate papers, exhibition materials, collected artifacts and ephemera, photographs, correspondence, and the papers of Robert Cornell (1910-1965) and Helen Storms Cornell (1882-1966), the artist's brother and mother.

Scope and Contents:

The Joseph Cornell Study Center collection measures 196.8 linear feet and dates from 1750 to 1980, with the bulk of the material dating from 1930 to 1972. Documenting the artistic career and personal life of assemblage artist Joseph Cornell (1903-1972), the collection is primarily made up of two- and three-dimensional source material, the contents of the artists' studio, his record album collection, and his book collection and personal library. The collection also includes diaries and notes, financial and estate papers, exhibition materials, collected artifacts and ephemera, photographs, correspondence, and the papers of Robert Cornell (1910-1965) and Helen Storms Cornell (1882-1966), the artist's brother and mother.

Correspondence is with collectors, museums, galleries, artists, friends, family, charity organizations, admirers and those admired by Cornell, and World War II European pen pals. Discussions about the appreciation, donation, sale, purchase, and exhibition of Cornell's works are frequent, with the inclusion of shipping and loan documentation or notices of payment installments. Galleries and museums frequently request that Cornell agree to an exhibition, which he often declines, and fans request free works be mailed or affordable works be sold to them. With friends, artists, and those he admired, Cornell discussed topics that fascinate him, included bits of poetry or philosophical musings, sent clippings or a collaged letter, and occasionally discussed a project or work in process. After World War II, when so many were displaced by the war in Europe, Cornell answered ads for pen pals in the "Christian Science Monitor," often responding to requests for clothing or other goods, and sometimes exchanging many letters over several years. Family correspondence is with his mother, sisters, brother, and others, and often notes activities of the day, foods eaten, and general musings, as well as occasionally mentioning a project or artwork. Correspondents of note include Stan Brakhage, Betty Freeman, Charles Henri Ford, Allegra Kent, Yayoi Kusama, Roberto Matta, Marianne Moore, Octavio Paz, Sonia Sekula, Pavel Tchelitchew, Parker Tyler, Dorothea Tanning, and Betsy von Furstenberg, among others.

Cornell was often preoccupied with his thoughts, feelings, memories, a project or thematic "exploration," and jotted notes on seemingly any surface available. Notes and musings are on napkins, the backs of envelopes, newspaper clippings, and paper bags from record and magazine stores. Frequently, an observation would trigger a lengthy nostalgic moment, or a "feé," fairy-like child or girl, would capture his imagination and lead him to thoughts of 18th-century ballerinas and silent film stars. Cornell wrote longer diary notes, sometimes expanding on an earlier notation or emotion, and often wrote when he experienced trouble sleeping or woke early. Drafted letters to imaginary muses or admired individuals are interspersed among diaries, often revealing Cornell's yearnings to find emotional intimacy and human connection. Over time, Cornell revisited his notes and occasionally made further notations about renewed thoughts on a topic, dating the note with "revisited" or "reviewed." Notes are often written in a stream-of-consciousness style, for example, jumping from the mention of a record album or composer, to a ballerina of the same period, a note about a French poet, the memory of childhood, or an observation made earlier in the day, all in the space of a few lines. Notes about artistic processes or meanings behind works or images do occasionally emerge from the tangled, poetic notations. Notes also often provide insights into Cornell's internal emotional state and give clues about his intentions behind an artwork or a particular thematic fixation.

Financial materials document Cornell's professional and personal business activities, including the sale of artworks, annual expenses for supplies and household incidentals, payments and schedules for personal assistants, receipts for donations to charities and nonprofits, and tax documents. There is also information about who worked as assistants, or "helpers," in his later years and where Cornell purchased art supplies. Additionally, specific details are documented through receipts and invoices, such as what kind of paint he purchased. Estate records include preparations made for Cornell's artworks after his death, and clippings about other deceased artist's estates show that he thought often about such arrangements in his later years.

Exhibition files highlight several select solo exhibitions for Cornell, as well as preparations and planning for the "Robert Cornell: Memorial Exhibition" in honor of his brother in 1966. Also included are several early exhibition catalogs and announcements, including "Surréalisme" (January 9-29, 1932) and "Exhibition of Objects (Bibloquet) by Joseph Cornell" (December 6-31, 1939) at the Julien Levy Gallery, and "Romantic Museum: Portraits of Women, Constructions and Arrangements by Joseph Cornell" (December 1946) at the Hugo Gallery.

Film projects and collected film materials consist of files related to Cornell's various experimental film projects: "Aviary," "Cappuccino," "Centuries of June," "Fable for Fountains," "Nymphlight," "Serafina's Garden," and unrealized film scenario "Monsieur Phot." Files include film-making notes, correspondence, and photographs. Cornell's interest in film also led him to collect film-related materials, such as film stills, film posters, and screening programs. Scattered correspondence documents the interest other institutions and individuals had in purchasing and viewing his collection. Though most of his collected film stills and movie posters were donated to the Anthology Film Archives, film stills from "Escape Me Never" (1935) and "The Passion of Joan of Arc" (1928) are still within the collection, as well as film-screening programs for Cornell's collection of films.

Writing and design projects document Cornell's work authoring articles and designing issues of specialty dance magazine "Dance Index," and his layouts for popular magazines like "Good Housekeeping," "House and Garden," and "Mademoiselle." Other writing projects include brochures dedicated to opera singers Maria Malibran and Giulia Grisi, "Maria" and "Bel Canto Pet." Materials used for these brochures, such as copper photo engraving plates, are also found. Design work includes a series of Christmas cards created with The Museum of Modern Art as well as traced patterns ("textile tracings") and design clippings from Cornell's time working as a "textile designer" for Traphagen Commercial Textile Studio.

Cornell acquired troves of source material from bookstalls, antique stores, sporting good and department stores, hardware stores, and magazine and record shops. He kept boxes and files of material on admired individuals, such as actresses, artists, dancers, and singers, as well as on art projects or thematic "explorations." Files are on general topics such as American history, scientific phenomena, animals, plants, and humankind, as well as on series of artworks, such as "Castles," "Homage to the Romantic Ballet," and "Medici Slot Machines." Focused "exploration" projects include "Celestial Theatre," "Colombier," "GC 44," and "Switzerland," among others. Materials include photographs, photostats, maps, book fragments, autographed letters, notes, collage clippings and cutouts, collected prints and engravings, box and collage fragments, and scattered artifacts.

Collected ephemera includes large amounts of blank postcards and greeting cards, stamps, collected bus and train tickets, food labels and packaging, decals, and other materials. Artifacts are three-dimensional collected objects and source objects, which include found objects from the streets, dried flowers, and pieces of nature gathered from walks around his neighborhood. Cornell may have gathered materials because they inspired a memory or nostalgic feeling, or because they fit with a bin of other similar objects to select from for an artwork in progress.

Photographs found within the collection are of Cornell at work and as a child with family. Also found are assorted personal and family photographs, photographs of Cornell's attic and garage storage, and photographs of his Utopia Parkway house. Photographs of artwork include few installation photographs, in addition to photographs of Cornell's boxes and collages. Collected photographic materials include vintage photographs, such as tintypes, a cyanotype, stereoscopic glass slides, albumen prints, cabinet cards, and cartes-de-visite. Cornell also collected cased photographs, such as daguerreotypes, ambrotypes, and one opalotype. Negatives and photostats were often produced from various prints and even other photographs and used in Cornell's boxes and collages. Images are of men and women, actors, authors, dancers, performers, well-known men and women, royalty, places, and artwork. Photographs of note include those by Hans Namuth of Willem and Lisa de Kooning and of Edward Hopper's bedroom; photographs by Henri Cartier-Bresson; a photograph by Julia Margaret Cameron; photographs by Brassai; and a photogravure by Alfred Stieglitz from "Camerawork."

Also found in the collection are works of art by others, including a sketch by Pavel Tchelitchew, as well as artwork by Cornell, such as unfinished collages, Rorschach drawings or ink blots, and childhood artwork. Printed material includes assorted bulletins, flyers, exhibition materials for other artists, journals, and sent printed membership and charity materials. Magazines, including "View," are also included, and often have annotations by Cornell or a note to "cut" or "review" with page numbers. A large amount of magazine and newspaper clippings are in the collection, sometimes collected with a group of like material by Cornell, and at other times simply gathered in heaps. Occasional annotations are also found on the clippings.

Cornell's personal library and book collection includes over 2500 titles, ranging from fiction, poetry, and cinema, to history, science, and travel. Notable among the titles are "Baedeker's" travel guides that Cornell often sourced for his "Hotel" box series, as well as an influential publication by Max Ernst, "La Femme 100 têtes," which includes a typed letter and exhibition flyer tucked within. Books often have annotations, some fairly extensive, by Cornell, and assorted collected items, notes, and correspondence tucked between pages. Pages were often cut by Cornell, either to make photostats and use in a box, or to file with other thematic "explorations." A wide range of authors and topics provide insight into Cornell's interests and to ideas behind artwork and diary notes. Cornell's collection of record albums includes over 145 records. These contain inserted notes and clippings and are often referenced in diary notes Cornell made, noting a recent album or song listened to while at work in his studio.

The papers of Cornell's mother, Helen Storms Cornell, and his brother, Robert Cornell, are also included in the collection. Both lived with Cornell his whole life, spending the most time with him at their home at 3708 Utopia Parkway. Financial materials document shared responsibilities for billing, utilities, household fixes and chores, and expenditures, and Helen kept detailed financial records in a series of ledgers. Robert notes when he borrowed money from Cornell, or when he means to pay Cornell back for the purchase of a typewriter. Activities documented in diaries also occasionally cross paths with Cornell, noting his visitors or an exchange of letters continued after introductions through Cornell. Personal activities, such as Robert's interest in his train collection and his drawing projects and cartoon series, are also documented.

Arrangement:

The Joseph Cornell Study Center Collection is arranged into 15 series:

Series 1: Biographical Material, 1917-1972 (Boxes 1, 98, OV118; 0.9 linear feet)

Series 2: Correspondence, 1813, 1934-circa 1973 (Boxes 1-8, 86; 6.5 linear feet)

Series 3: Diaries and Notes, 1940-1976 (Boxes 8-10, 98-99, 135, OV108, OV119; 3.5 linear feet)

Series 4: Personal Business and Estate Records, 1950-1978 (Boxes 10-14; 4.1 linear feet)

Series 5: Exhibition Files, 1932-1973 (Box 14; 0.3 linear feet)

Series 6: Film Projects and Collected Film Materials, circa 1924-1972 (Boxes 14-16, 100, 133; 1.6 linear feet)

Series 7: Writing and Design Projects, circa 1910s, 1936-1962 (Boxes 16-18, 86, 100, 131-132, OV109-OV111, OV120-OV122; 3.6 linear feet)

Series 8: Source Material, 1750-circa 1911, 1926-1972 (Boxes 19-49, 86-92, 96, 100-105, 126-130, 132-137, OV112-OV115, OV125; 42.2 linear feet)

Series 9: Artifacts and Ephemera, 1768, circa 1839-1972 (Boxes 49-52; 3.2 linear feet)

Series 10: Photographic Material, circa 1800s-1972 (Boxes 52-56, 80-86, 93, 106, 128, 133, OV116, OV123-OV124; 7.5 linear feet)

Series 11: Artwork, circa 1810-1972 (Boxes 56-57, 107, OV117; 1.2 linear feet)

Series 12: Printed Material, 1855-1972 (Boxes 57-76, 94-96, 107; 16 linear feet)

Series 13: Book Collection and Personal Library, 1722-1980 (99.8 linear feet)

Series 14: Record Album Collection, circa 1925-1974 (3.2 linear feet)

Series 15: Cornell Family Papers, 1910-1980 (Boxes 77-79, 97, 107; 3.2 linear feet)

Biographical / Historical:

Joseph Cornell (1903-1972) was a self-taught assemblage and collage artist, and filmmaker, active in New York City. He was born in Nyack, New York on December 24, 1903, and died of heart failure at his home in Queens, New York on December 29, 1972. The oldest of four children, he was born Joseph I. Cornell to his mother, Helen Storms Cornell (1882-1966), and his father, Joseph I. Cornell (1875-1917). Cornell had two younger sisters, Elizabeth ("Betty") Cornell Benton (1905-2000) and Helen ("Sissy") Cornell Jagger (1906-2001), as well as one brother, Robert Cornell (1910-1965), who had cerebral palsy.

Cornell attended the Phillips Academy, a preparatory boarding school in Andover, Massachusetts, beginning shortly after his father's death in 1917. He attended for four years but did not receive a diploma, and soon began work as a textile salesman for the William Whitman Company in Manhattan. His work took him, by foot, through the city, visiting secondhand bookshops on Fourth Avenue, browsing music stores and magazine shops, and catching early shows at the Metropolitan Opera House. He would occasionally wait outside the stage doors for favorite singers and dancers to emerge, requesting signatures on photographs or bits of costumes.

Around 1926, Cornell joined the Christian Science Church, joined by his brother Robert shortly thereafter, and both continued to be lifelong members. Cornell kept a number of books in his personal library on Christian Science teachings and regularly subscribed to "The Christian Science Monitor."

After living in several rental houses in Bayside, New York, Cornell's mother purchased a house for the family in 1929 in Flushing, Queens. Cornell, along with his mother and brother, would live at 3708 Utopia Parkway, for the rest of their lives. His two sisters soon married and moved away, eventually settling in Westhampton, Long Island and in the poultry-farming business.

With no formal art training to speak of, Cornell's first work was a Max Ernst-inspired collage, "Untitled (Schooner)," created in 1931. He was especially inspired by Ernst's collage novel, "La Femme 100 têtes," published in 1929. French artist Odilon Redon was also among the few artists Cornell named as an influence on his art. His first sculptural works were small, cardboard pill boxes with bits of ephemera, costume adornments, and nature hidden inside. Cornell also created a series of glass bell jar works, placing small trinkets and Victorian-era-like compositions within. It was these early collages and bell jar works that were included in Cornell's debut exhibition, "Surréalisme" (January 9-29, 1932), a group show at the Julien Levy Gallery. Cornell designed the announcement for the show and exhibited alongside Max Ernst, Man Ray, Pierre Roy, Pablo Picasso, Marcel Duchamp, Eugène Atget, George Platt Lynes, Jean Cocteau, and Salvador Dalí. Months later, Cornell was invited to have his first solo show, "Objects by Joseph Cornell: Minutiae, Glass Bells, Shadow Boxes, Coups d'Oeil, Jouets Surréalistes" (November 26-December 30, 1932), also at the Julien Levy Gallery.

In 1932, after eleven years of work, Cornell was laid off from the William Whitman Company due to the Great Depression. Soon after, he took on more responsibility in the church, working part-time as an attendant in the Christian Science Reading Room in Great Neck, New York. Beginning in 1933, he taught Sunday school classes for three years and in 1935, became the Sunday school librarian. However, his religious activities and artistic ventures continued to remain separate.

In the early 1930s, Cornell progressed from movie lover to filmmaker. When Julien Levy began his New York Film Society in 1933, holding screenings of various experimental films in the gallery, Cornell began buying and collecting films and film stills in earnest. He set up a 16-millimeter projector in his home to screen favorites, such as those by Georges Méliès, D.W. Griffith, and Louis Feuillade. His collection quickly grew to over 2,500 film stills and several hundred films, and included silent era films, such as nature documentaries, goofy newsreels, travelogues, early cartoons, and slapstick comedies, as well as several feature films. In 1933, Cornell wrote a screenplay, or "scenario," entitled "Monsieur Phot." Between 1935 and 1937, Cornell also occasionally created publicity photomontages for Universal and Columbia studios. Of the nearly thirty films Cornell created, periods of activity can generally be separated into two areas: collage films of the late 1930s, consisting of combined elements from films in his own collection, and films he directed in the 1950s, which were collaborations with other filmmakers set in New York City. "Rose Hobart," Cornell's most celebrated collage film, was created and shown in the Julien Levy Gallery in 1936 and includes clipped footage from "East of Borneo." Later films were directed and filmed with cinematographers Stan Brakhage, Rudy Burckhardt, and Larry Jordan.

In 1934, Cornell began a job at the Traphagen Commercial Textile Studio as a "textile designer," a job he held for six years. Continuing to work at his kitchen table in the evenings, Cornell completed his first assemblage box construction, "Untitled (Soap Bubble Set)," in 1936. It was first exhibited at The Museum of Modern Art's show, "Fantastic Art, Dada and Surrealism" (December 9, 1936-January 17, 1937). This work was also the first to be acquired by a museum, purchased for $60.00 by the Wadsworth Atheneum in Massachusetts in 1938. Cornell's European debut was also in 1938, as one of three Americans represented in the "Exposition Internationale du Surréalisme" (January 17-Febuary 24, 1938) at the Galerie Beaux-Arts in Paris, alongside Man Ray and Anne Clark.

At the end of 1939, Cornell began corresponding with poet Charles Henri Ford, founder of avant-garde magazine "View," Pavel Tchelitchew, and Parker Tyler. After his "Soap Bubble Sets," this period saw the development of Cornell's homages to singers and actresses, including "Untitled (Fortune-Telling Parrot for Carmen Miranda)," the destroyed "Garbo (Greta Garbo in the Legendary Film 'The Crystal Mask,' c. 1845)," and "Dressing Room for Gilles." He also began using photostats of art reproduction prints, as with the print of Jean Antoine-Watteau's painting, "Pierrot" (circa 1719), used in his "Gilles" box.

In the 1940s, the Romantic ballet emerged as Cornell's new topic of interest. Through his friend Pavel Tchelitchew, Cornell was introduced to the School of American Ballet and New York City Ballet founders, Lincoln Kirstein and George Balanchine. Cornell collected dance memorabilia and had a great love of the Romantic ballet. His favorite dancers were primarily ballerinas of the nineteenth century, including Fanny Cerrito, Marie Taglioni, Fanny Elssler, Lucille Grahn, and Carlotta Grisi. Cornell's "Homage to the Romantic Ballet" works largely took the shape of jewel-box style wooden boxes with glass overlays and included bits of velvet, tulle, sequins, crystals, and chiffon, occasionally collected from dancers themselves. His most well-known work of this series is "Taglioni's Jewel Casket" (1940). Cornell also admired several living ballet dancers, including Tamara Toumanova, Zizi Jeanmaire, and Allegra Kent, who would all make their way into Cornell's box works and/or collages. Collecting for the "exploration," "Portrait of Ondine," Cornell's cased portfolio dedication to Fanny Cerrito and her role in the ballet "Ondine," began in the 1940s, though not completed until around 1960.

In late 1940, Cornell quit his job at Traphagen to concentrate on freelance commercial magazine design and editorial work during the day and his artwork at night. That same year, Charles Henri Ford started "View" magazine to promote Surrealists and Neo-Romantics in New York City and often asked Cornell to contribute. Published in the December 1941-January 1942 issue, one of his early contributions was a collage dedication to stage actress Hedy Lamarr: "Enchanted Wanderer: Excerpt from a Journey Album for Hedy Lamarr" (1941). Along with writing the accompanying text, he created a photomontage of Lamarr with her face overlaying the painted portrait of a Renaissance boy by Italian painter Giorgione. Peggy Guggenheim, at the advice of Marcel Duchamp, purchased multiple Cornell works prior to opening her new gallery, Art of This Century. Cornell also befriended Roberto Matta Echaurren, another Surrealist living in exile, who introduced him to Robert Motherwell.

After deciding to fully dedicate his time to his art in early 1940, he set up a studio in his basement. Complete with floor-to-ceiling wooden shelving, he kept his large collection of boxed source material stacked with handwritten labels in cardboard boxes. Themed folders of materials such as "Stamps" or "Maps" were kept in stacks and works in progress and finished works were stored in the basement, garage, and attic. Entering a renewed period of productivity, Cornell embarked on many new and important box projects in 1942. One of the first boxes created in his new basement studio, and the first of the "Penny Arcade" or "Medici Slot Machine" series, was "Medici Slot Machine" (1942), which includes a photostat of "Portrait of Marquess Massimiliano Stampa" (1557) by Sofonisba Anguissola. Another work from this time is the first of his "Castle" or "Palace" series, "Setting for a Fairy Tale" (1942), which uses a photostat of a French building from Jacques Androuet du Cerceau's book, "Les Plus excellents bastiments de France" (1576). "Untitled (Pharmacy)" (circa 1942) was the first of his "Pharmacy" series and included twenty-two apothecary jars. Cornell tended to work in series and created thirteen "Palace" boxes between 1942 and 1951, and ultimately created six "Pharmacy" works.

In 1943, Cornell began working at an electronics company, the Allied Control Company, Inc., to do his part to contribute to the defense effort during the war. He also sent correspondence and care packages to displaced Europeans, who listed their needs in "The Christian Science Monitor." Influenced by World War II, one of his strongest works to emerge in 1943 was "Habitat Group for a Shooting Gallery." Another notable work to come out of this period, "The Crystal Cage (Portrait of Berenice)," was an excerpt from one of his album "explorations" that was published in the January 1943 issue of "View."

Cornell left his job at Allied Control in 1944, but soon began working at the Garden Centre in Flushing, owned by a fellow Christian Scientist. Cornell was often nostalgic for this time in his life, devoting an entire "exploration" of material fondly remembered as "GC 44." He rode a bicycle to work and enjoyed collecting trips gathering dried grasses, driftwood, shells, and other relics of nature on the same bicycle as he rode through the streets of Queens. During this time, he continued to tend to his projects for "Dance Index," a magazine founded in 1942 by Lincoln Kirstein, but taken over by Donald Windham in 1944. Cornell designed several covers for the magazine and was given control of the entire summer 1944 issue, which he devoted to the Romantic ballet. He also devoted a special 1945 issue to Hans Christian Andersen, making great use of the New York Public Library Picture Collection.

Throughout the 1940s, Cornell continued to support himself with commercial design work for magazines like "Vogue," "Good Housekeeping," "Harper's Bazaar," "Town & Country," and "Mademoiselle." In 1946, after thirteen years at the Julien Levy Gallery, he joined the Hugo Gallery. In December 1946, Cornell's solo exhibition, "Romantic Museum at the Hugo Gallery: Portraits of Women by Joseph Cornell," celebrated his favorite movie stars, singers, and ballet dancers, and included his work created for the show, "Untitled (Penny Arcade Portrait of Lauren Bacall)." Cornell's "Greta Garbo" box, as well as "Souvenir for Singleton," an homage to Jennifer Jones and her role in the film "Love Letters," were also included in the show. In late 1948, his West Coast debut was in the exhibition, "Objects by Joseph Cornell," held at the Copley Gallery. The end of the 1940s saw the final issue of "View" magazine in 1947, the closure of the Julien Levy Gallery in April 1949, and Cornell's departure from the Hugo Gallery after his last show in November 1949.

In late 1949, Cornell joined the Charles Egan Gallery, known primarily for showing Abstract Expressionists. At this time, Cornell was working on a new series of boxes known as his "Aviary" works, most of which include a white-painted box with cutouts of birds mounted on wood. Though he had worked on bird-related boxes before, including an "Owl" series in the mid-1940s, his "Fortune Telling Parrot" (1939), and "Object 1941" (1941), these newer works were stripped of French elements and left "clean and abstract" by design. His first show at the Egan Gallery, "Aviary by Joseph Cornell" (December 7, 1949-January 7, 1950), included twenty-six "Aviary" works, nearly all created in 1949. Donald Windham agreed to write the foreword for the exhibition catalog, a single folded sheet, and Cornell gave him one of the boxes in the show, "Cockatoo: Keepsake Parakeet," in appreciation. Through the Egan Gallery, Cornell became friends with a new group of artists, including Franz Kline, Jack Tworkov, and Willem de Kooning. Cornell also held two screenings of a selection of his collected films at Subjects of the Artist, an art school founded by Robert Motherwell, Mark Rothko, David Hare, and William Baziotes.

In 1950, Cornell's second show at the Egan Gallery, "Night Songs and Other New Work" (December 1, 1950-January 13, 1951), introduced his new "Observatory" series. These works are largely defined by stark, whitewashed spaces with astronomical charts and constellations replacing colorful birds. The Museum of Modern Art purchased its first Cornell work from this show in early 1951, "Central Park Carrousel, in Memoriam" (1950).

For three months in 1951, Cornell was beset by various ailments and had trouble finding the energy to create new work. He worried more for his aging mother and the health of his brother. After a monthlong vacation with his sisters in Westhampton, he returned with renewed interest in Emily Dickinson's poetry. His whitewashed boxes took on a new form in his newest "Dovecote" series, using grids and circular cutouts. The works then transformed into homages to Dickinson, notably "Toward the Blue Peninsula: For Emily Dickinson" (circa 1953), and then to his "Hotel" series. Cornell's "Hotel" boxes include photostats of vintage European ads for hotels collected from vintage travel guides, especially "Baedeker's," adhered to the back walls of the boxes. Another new series of work, his "Juan Gris" series, was dedicated to Cubist artist Juan Gris. Between 1953 and the mid-1960s, Cornell created at least fifteen "Juan Gris" boxes, which often include a cutout of a white cockatoo in a Cubist-collage habitat. Cornell's third and last show at Egan Gallery, "Night Voyage" (February 10-March 28, 1953), included some of these newest works. After leaving Egan Gallery, his work was introduced to Chicago collectors in a solo show at the Frumkin Gallery, "Joseph Cornell: 10 Years of His Art" (April 10-May 7, 1953), which included nearly thirty pieces. Cornell's first museum retrospective was this same show held at the Walker Art Center in Minneapolis (July 12-August 30, 1953).

As New York City continued to change, Cornell grew more nostalgic for the city he had explored since the 1920s. The impending closure of the Third Avenue El train prompted him to dream up a film project to capture its last days, resulting in "Gnir Rednow," a reworking of Stan Brakhage's 1955, "Wonder Ring." During this time, Cornell joined the Stable Gallery, run by Eleanor Ward, interacting often with Robert Rauschenberg, Cy Twombly, and Joan Mitchell, remaining there until the end of the 1950s. His astronomy-themed exhibition, "Winter Night Skies" (December 12, 1955-January 13, 1956), included his "Night Skies" series of work with celestial chart fragments, Greek mythological figures, and paint-splattered "windows" representative of star-filled night skies. In 1956, he became aware of ballerina Allegra Kent, and began a series of work devoted to her, the first of which was "Via Parmigianino (Villa Allegra)" (1956), which included a photostat of a painting by Parmigianino, "The Madonna of the Long Neck" (circa 1540). In late 1957, after two years, Cornell had his last show at Stable Gallery, "Joseph Cornell: Selected Works" (December 2-31, 1957), consisting of a series of "Sand Fountain" boxes and "Space Object" or "Celestial Navigation" works. The "Sand Fountain" boxes included different colors of sand meant to flow within, often from the tops into cordial glasses. His "Celestial Navigations" included galaxy-like compositions set within the boxes, with rolling, painted cork balls, metal rings, and constellation charts, sometimes hovering over cordial glasses or clay pipes. This last Stable Gallery show earned him his first published profile, written by Howard Griffin for the December 1957 issue of "Art News." Also in 1957, he won the Kohnstamm Prize for Construction at the Art Institute of Chicago's 62rd Annual Exhibition of Paintings and Sculpture.

Towards the end of the 1950s, Cornell spent less time creating new bodies of work, and focused more on revisiting previous series and reviewing piles of collected source material. In 1959, Cornell returned to making collages, frequently sourcing popular magazines. In December 1959, Cornell was awarded $1,500 for his "Orion" collage, entered in the Art Institute of Chicago's "63rd American Exhibition of Painting and Sculpture." Also in December, he was offered a show at Bennington College in Vermont, which he titled, "Bonitas Solstitialis: Selected Works by Joseph Cornell and an exploration of the Colombier" (November 20-December 15, 1959). The show included one of his newest "explorations" of collected material related to "colombier," or pigeon houses.

By 1962, Cornell was working diligently on new collages, using Masonite boards and colorful magazine clippings. He also began creating collages using nude images interspersed with constellation clippings or hazy blue dyes. As in previous decades and art movements, Cornell became acquainted with new artists, spending less time in the city and more time hosting visitors at his Utopia Parkway home. Visitors included artists Walter De Maria, Robert Whitman, Andy Warhol, James Rosenquist, and Robert Indiana. Tony Curtis also became a frequent visitor and friend, introduced by Richard Feigen in 1964. The early 1960s was also the first time Cornell put out an advertisement for assistants in the "Long Island Star-Journal," employing a number of young men and women who helped organize clippings and run errands. Cornell also met Joyce Hunter, a young runaway waitress at a city coffee shop, who would occupy his thoughts and diary notes for the next several years. When she was murdered at the end of 1964, Cornell paid for her funeral. He went on to make several "Penny Arcade" collages in memoriam to her, including, "Penny Arcade (re-autumnal)" (1964).

In 1964, Cornell began friendships with several women including artist Carolee Schneeman, who was his first assistant in the early 1960s. He also met artist Yayoi Kusama through art dealer Gertrude Stein. After becoming friends, she visited him often and they exchanged letters and notes. As he did with other artist friends, Cornell supported her by purchasing several of her early watercolor paintings, and they stayed connected until his death in 1972.

Cornell's life greatly changed in 1965 with the death of his brother, Robert. By this time, his mother lived with his sister in Long Island, and Cornell was alone in the Utopia Parkway house for the first time. He exchanged frequent letters and phone calls with his mother and devoted much time to thinking about Robert and Joyce, often aligning them in his diary notations. Cornell also created a series of collages dedicated to his brother's memory, incorporating photostats of Robert's hundreds of drawings into Cornell's work, as with the later collage, "The Heart on the Sleeve" (1972). Cornell's "Time Transfixed" series of collages were also dedications to Robert's memory, referencing Magritte and Robert's love of trains. He mounted an exhibition, "Robert Cornell: Memorial Exhibition" (January 4-29, 1966), at the Robert Schoelkopf Gallery, where he showed Robert's artwork alongside his newly created collage dedications.

After Robert's death, Cornell relied more heavily on assistants, going through many part-time "helpers." In October 1966, Cornell's mother died, adding her to his constant thoughts and diaries. Though he was still grieving, he was given two major retrospectives in 1967. The first was at the Pasadena Art Museum, put on by James Demetrion and Walter Hopps, "An Exhibiton of Works by Joseph Cornell" (January 9-February 11, 1967). The second retrospective was at the Guggenheim Museum just three months later, "Joseph Cornell" (May 4-June 35, 1967), organized by Diane Waldman. After these shows, he was highlighted in the December 15, 1967 issue of "Life" in the article, "The Enigmatic Bachelor of Utopia Parkway."

In 1968, Cornell was given an "award of merit," which included a medal and $1,000, by the American Academy and Institute of Arts and Letters. He was also given a medal and $1,000 by the Brandeis University Creative Arts Awards in the painting category, along with an exhibition. Days later, "The New York Times" announced Cornell the winner, along with Donald Judd, of India's first Triennale of Contemporary World Art. The Brandeis exhibition, "Boxes and Collages by Joseph Cornell" (May 20-June 23, 1968), was organized by William Seitz and concentrated on Cornell's more recent 1960s collages. Cornell was also included in the Metropolitan Museum of Art's hundredth anniversary show, "New York Painting and Sculpture: 1940 to 1970" (October 18, 1969-February 1, 1970), where twenty-two of Cornell's boxes were shown in their own gallery. At the end of 1970, Cornell was given a solo show at the Metropolitan, "Collages by Joseph Cornell" (December 10, 1970-January 24, 1971), which included forty-five of his newest collages.

Now preferring to stay closer to his home in Flushing, Cornell was more interested in sharing his art with young adults and children, than an adult audience. He hosted a group of high school students, sponsored by the Metropolitan Museum of Art's education department, at his home in conjunction with his collage show (1970-1971). He also showed his work in the art department of Queens College of the City University of New York. Cornell still hosted visitors on occasion, having Yoko Ono and John Lennon at his home at least once. Leila Hadley, Betsy von Furstenberg, and Anne Jackson also made frequent visits. With his deteriorating health, Cornell worried about what would happen to his work after his death and hired lawyer Harry Torczyner to help him plan his estate and get his affairs in order.

In 1972, Cornell had a show at the Cooper Union, a college in New York, specifically for children. He displayed his boxes and collages at child-height and had cherry soda and brownies at the opening reception on February 10. He then held a show at the Albright-Knox Art Gallery in Buffalo, also for children: "Children's Preview of the Exhibition of Joseph Cornell – Collages and Boxes (April 18-June 17, 1972). In the winter of 1972, at the request of the Phoenix House drug treatment and prevention program, Cornell contributed to a charity project compiling limited-edition lithographic prints for a portfolio, which included artists like David Hockney, James Rosenquist, and Ellsworth Kelly.

On December 29, 1972, a week after turning sixty-nine, Cornell died of heart failure at his home. He was cremated and interred near the graves of his mother, father, and brother, overlooking the Hudson River in Nyack, New York.

Works Cited:

1. Hartigan, Lynda Roscoe. "Joseph Cornell: Navigating the Imagination." New Haven, Connecticut and London: Yale University Press, 2007. Exhibition Catalog.

2. McShine, Kynaston. "Joseph Cornell." New York: Museum of Modern Art, 1980.

3. San Francisco Cinematheque and The San Francisco Museum of Modern Art. "Joseph Cornell: Films." 2007. Exhibition Program. (Presented in conjunction with SFMOMA's exhibition of "Joseph Cornell: Navigating the Imagination").

4. Schaffner, Ingrid and Lisa Jacobs. "Julien Levy: Portrait of an Art Gallery." Cambridge, Massachusetts and London: The MIT Press, 1998.

5. Solomon, Deborah. "Utopia Parkway: The Life and Work of Joseph Cornell." New York: Farrar, Straus and Giroux, 1997.

Separated Materials:

The Smithsonian Archives of American Art houses the Joseph Cornell papers, 1804-1986, bulk 1939-1972.

Provenance:

The Joseph Cornell Study Center collection was donated to the Smithsonian American Art Museum by Joseph Cornell's sister and brother-in-law, Elizabeth Cornell Benton and John A. Benton, in 1978, which prompted the creation of the Joseph Cornell Study Center. Additional materials were donated in installments by the artist's estate, the Joseph and Robert Cornell Memorial Foundation, from 1985 to 1997. Elizabeth and John A. Benton originally donated 66 linear feet of three-dimensional and non-textual source material and 50 linear feet of books to the Smithsonian Archives of American Art, which were subsequently transferred to the Smithsonian American Art Museum's Joseph Cornell Study Center in 1994 and 1995.

Restrictions:

Access to the collection requires an advanced appointment. Contact collection staff at least two weeks prior to preferred date, at AmericanArtCornellStudy@si.edu.

Series 9: Artifacts and Ephemera, Series 13: Personal Library and Book Collection, and Series 14: Record Album Collection, are still undergoing processing and preservation and may not be available for research use. Record albums are unavailable for playback. Contact collection staff for full lists of publications and record albums.

Rights:

Unpublished materials are protected by copyright. Permission to publish, quote, or reproduce must be secured from the repository and the copyright holder.

Occupation:

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

Topic:

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

Assemblage (Art)  Search this

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

Found objects (Art)  Search this

Works of art  Search this

Celebrities  Search this

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

Genre/Form:

Photographs -- 1900-1950 -- Photoprints -- Silver gelatin

Photographs -- 1860-1870 -- Black-and-white photoprints -- Silver albumen -- Cartes-de-visite

Photographs -- Daguerreotypes -- 1840-1860

Citation:

Joseph Cornell Study Center collection, 1750-1980, bulk 1930-1972. Joseph Cornell Study Center, Smithsonian American Art Museum.

Sponsor:

Funding for the processing of this collection was generously provided by the Joseph and Robert Cornell Memorial Foundation.

Identifier:

SAAM.JCSC.1

See more items in:

Joseph Cornell Study Center Collection

Archival Repository:

Smithsonian American Art Museum, Research and Scholars Center

GUID:

https://n2t.net/ark:/65665/ih7d97fc249-474d-41bf-953d-5305df1e4c06

EDAN-URL:

ead_collection:sova-saam-jcsc-1

Creator:

Smithsonian Affiliates  Search this

Type:

YouTube Videos

Uploaded:

2020-11-23T14:46:29.000Z

YouTube Category:

Education  Search this

See more by:

SmithsonianNeighbor

Data Source:

Smithsonian Affiliates

YouTube Channel:

SmithsonianNeighbor

EDAN-URL:

edanmdm:yt_655wb1r0d3Y

Interviewee:

Vicuña, Cecilia  Search this

Curator:

Bryan-Wilson, Julia  Search this

Andersson, Andrea  Search this

Writer of supplementary textual content:

Lippard, Lucy R  Search this

Gómez-Barris, Macarena 1970-  Search this

Issuing body:

Contemporary Arts Center (New Orleans, La.)  Search this

Siglio Press  Search this

Host institution:

Berkeley Art Museum and Pacific Film Archive  Search this

University of Pennsylvania Institute of Contemporary Art  Search this

Henry Art Gallery  Search this

Institute of Contemporary Art, Miami  Search this

Subject:

Vicuña, Cecilia  Search this

Vicuña, Cecilia Interviews  Search this

Physical description:

149 pages (some folded) illustrations (chiefly color) 20 cm

Type:

Exhibitions

Expositions

Interview

Exhibition catalogs

Interviews

Catalogues d'exposition

Place:

Chile

Chili

Date:

2019

2017

21st century

21e siècle

Topic:

Conceptual art  Search this

Art, Chilean  Search this

Climatic changes in art  Search this

Art conceptuel  Search this

Art chilien  Search this

Climat--Changements, dans l'art  Search this

Data Source:

Smithsonian Libraries

EDAN-URL:

edanmdm:siris_sil_1157579

Artist:

Kajita Hanko 梶田半古 (1870-1917)  Search this

Publisher:

Hakubunkan 博文館  Search this

Medium:

Ink and color on paper

Dimensions:

H x W: 18.7 x 25.6 cm (7 3/8 x 10 1/16 in)

Type:

Print

Origin:

Japan

Date:

1906

Period:

Meiji era

Topic:

Meiji era (1868 - 1912)  Search this

woman  Search this

reading  Search this

Japan  Search this

kuchi-e  Search this

Japanese Art  Search this

Robert O. Muller collection  Search this

Credit Line:

Robert O. Muller Collection

Accession Number:

S2003.8.431

Restrictions & Rights:

Usage conditions apply

Related Online Resources:

Google Cultural Institute

See more items in:

Freer Gallery of Art and Arthur M. Sackler Gallery Collection

Data Source:

Freer Gallery of Art and Arthur M. Sackler Gallery

GUID:

http://n2t.net/ark:/65665/ye3ee868437-2d1e-4631-bf94-066ee57b2ea0

EDAN-URL:

edanmdm:fsg_S2003.8.431

Performer:

Northrop, Pat  Search this

Burrello, Tony, 1921-1992  Search this

Collection Creator:

Asch, Moses  Search this

Distler, Marian, 1919-1964  Search this

Folkways Records  Search this

Extent:

1 Phonograph record (analog, 33 1/3 rpm, 12 in.)

Type:

Archival materials

Phonograph records

Date:

195x

Contents:

New York, New York --Manhattan --There's a boat that's leaving soon for New York --Autumn in New York --I happen to like New York --Lullaby of Broadway --Penthouse serenade --Broadway rhythm --Love letter to Manhattan -- 42nd Street.

Track Information:

101 New York, New York / Pat Northrop, Tony Burrello.

102 42nd Street / Pat Northrop, Tony Burrello.

101 Manhattan / Pat Northrop, Tony Burrello.

103 Love Letter to Manhattan / Pat Northrop, Tony Burrello.

104 Penthouse Serenade / Pat Northrop, Tony Burrello.

105 Broadway Rhythm / Pat Northrop, Tony Burrello.

201 I Happen to Like New York / Pat Northrop, Tony Burrello.

202 Autumn in New York / Pat Northrop, Tony Burrello.

203 Lullaby of Broadway / Pat Northrop, Tony Burrello.

204 There's a Boat That's Leavin' Soon for New York / Pat Northrop, Tony Burrello.

204 New York, New York (reprise) / Pat Northrop, Tony Burrello.

Local Numbers:

FW-ASCH-LP-2434

Riverside.8001

Publication, Distribution, Etc. (Imprint):

New York Riverside 195x

General:

Pat Northrop, vocals ; Tony Burrello, piano.

Restrictions:

Restrictions on access. No duplication allowed listening and viewing for research purposes only.

Collection Rights:

Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.

Collection Citation:

Moses and Frances Asch Collection, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.

Identifier:

CFCH.ASCH, Item FW-ASCH-LP-2434

See more items in:

Moses and Frances Asch Collection

Moses and Frances Asch Collection / Series 9: Audio Recordings / LP

Archival Repository:

Ralph Rinzler Folklife Archives and Collections

GUID:

https://n2t.net/ark:/65665/bk51e2b302c-baf3-4a7f-a829-f07358040064

EDAN-URL:

ead_component:sova-cfch-asch-ref17303

Performer:

Roche, Paul, 1916-2007  Search this

Collection Creator:

Asch, Moses  Search this

Distler, Marian, 1919-1964  Search this

Folkways Records  Search this

Extent:

1 Phonograph record (analog, 33 1/3 rpm, 12 in.)

Type:

Archival materials

Phonograph records

Date:

1971

Contents:

Introduction --Ad nauseam ; Death at fun city ; Future shock --On looking at my small son asleep --Commentary -- The Coca-Cola bottle (empty) --Commentary --Letter to a young mother --Commentary --When I opened the door -- The act of love --Commentary --A paradigm of love --Letter to a young girl --Commentary --Deceased or disappeared -- Christ of the apocalypse --Commentary --The risen Christ.

Track Information:

101 Death At Fun City.

102 Introduction.

103 Ad Nauseam or Death At Fun City or Future Shock.

201 Aspects of Love.

202 On Looking at My Small Son Asleep.

203 Commentary.

204 The Coca-Cola Bottle (Empty).

205 Commentary.

206 Letter to a Young Mother.

207 Commentary.

208 When I Opened the Door.

209 The Act of Love.

210 Commentary.

211 A Paradigm of Love.

212 Letter to a Young Girl.

213 Commentary.

204 Deceased or Disappeared.

214 Deceased or Disappeared.

215 Christ of the Apocalypse.

216 Commentary.

217 The Risen Christ.

Local Numbers:

FW-ASCH-LP-3561

Mercury.616

Publication, Distribution, Etc. (Imprint):

Mercury 1971

General:

Poetry read by Paul Roche. Production notes: Recorded at Paragon Recording Studios, Inc., Chicago, Ill.

Restrictions:

Restrictions on access. No duplication allowed listening and viewing for research purposes only.

Collection Rights:

Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.

Topic:

Spoken word  Search this

Poetry  Search this

Collection Citation:

Moses and Frances Asch Collection, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.

Identifier:

CFCH.ASCH, Item FW-ASCH-LP-3561

See more items in:

Moses and Frances Asch Collection

Moses and Frances Asch Collection / Series 9: Audio Recordings / LP

Archival Repository:

Ralph Rinzler Folklife Archives and Collections

GUID:

https://n2t.net/ark:/65665/bk51d851ff7-0acc-4ad5-9f9e-be7e5bcf885b

EDAN-URL:

ead_component:sova-cfch-asch-ref17822

Artist:

Olson, Charles, 1910-1970  Search this

Collection Creator:

Asch, Moses  Search this

Distler, Marian, 1919-1964  Search this

Folkways Records  Search this

Extent:

1 Sound recording (sound-tape reel, analog, 7 in.)

Type:

Archival materials

Sound recordings

Contents:

Do movements in the artistic sphere affect your work--On Captain John Smith, Shakespeare and Keats--On the love letters to the family Brawne (Keats)

Local Numbers:

FW-ASCH-7RR-2173

General:

CDR copy

Restrictions:

Restrictions on access. No duplication allowed listening and viewing for research purposes only.

Collection Rights:

Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.

Topic:

Spoken word  Search this

Poetry  Search this

Collection Citation:

Moses and Frances Asch Collection, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.

Identifier:

CFCH.ASCH, Item FW-ASCH-7RR-2173

See more items in:

Moses and Frances Asch Collection

Moses and Frances Asch Collection / Series 9: Audio Recordings / CD / CDR copy

Archival Repository:

Ralph Rinzler Folklife Archives and Collections

GUID:

https://n2t.net/ark:/65665/bk59e82a1eb-03f6-4c2d-84a3-b9fb6d2bff8e

EDAN-URL:

ead_component:sova-cfch-asch-ref20519

Recorder:

Smith, Harry Everett, 1923-1991  Search this

Artist:

Chesney, Litha, 1888-1974  Search this

Collection Creator:

Asch, Moses  Search this

Distler, Marian, 1919-1964  Search this

Folkways Records  Search this

Extent:

1 Sound recording (sound-tape reel, analog, 7 in.)

Culture:

Indians of North America  Search this

Type:

Archival materials

Sound recordings

Place:

Anadarko (Okla.)

Oklahoma

Contents:

A single life choose--Today I read your old love letters--I wonder if you feel the way I do--Chained to a memory of you--Chickasaw nation--Live and let live--Don't do it, darling--Love gone cold--Careless love--My buddy--Pretty young Annie--Cowboy's Christmas ball (2x)--You can't put that money on my back--I want a good woman

Local Numbers:

FW-ASCH-7RR-2808

General:

CDR copy

FW-ASCH-7RR-2808 is one of the series of at least six tapes of interviews of Kiowa Indians recorded by Harry Smith (See above). Similar to FW-ASCH-7RR-2807, this tape contains more singing of predominantly sentimental country songs sung by Litha Chesney, this time recorded on 4/24/1964. A few folk songs - or possible folk songs - are A Single Life Choose, Chickasaw Nation, Careless Love and The Cowboys' Christmas Ball. (The latter song is in the Lomax collection, "Cowboy Songs".)

Restrictions:

Restrictions on access. No duplication allowed listening and viewing for research purposes only.

Collection Rights:

Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.

Topic:

Rites and ceremonies  Search this

Kiowa Indians  Search this

Peyote  Search this

Collection Citation:

Moses and Frances Asch Collection, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.

Identifier:

CFCH.ASCH, Item FW-ASCH-7RR-2808

See more items in:

Moses and Frances Asch Collection

Moses and Frances Asch Collection / Series 9: Audio Recordings / CD / CDR copy

Archival Repository:

Ralph Rinzler Folklife Archives and Collections

GUID:

https://n2t.net/ark:/65665/bk5ca15bdfb-1217-4507-b98a-e94967f90687

EDAN-URL:

ead_component:sova-cfch-asch-ref21042

Artist:

Dell, Georgia  Search this

Collection Creator:

Asch, Moses  Search this

Distler, Marian, 1919-1964  Search this

Folkways Records  Search this

Extent:

1 Phonograph record (analog, 78 rpm, 10 in.)

Type:

Archival materials

Phonograph records

Local Numbers:

FW-ASCH-78-2514

Bluebird.7914

Publication, Distribution, Etc. (Imprint):

Bluebird

Restrictions:

Restrictions on access. No duplication allowed listening and viewing for research purposes only.

Collection Rights:

Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.

Collection Citation:

Moses and Frances Asch Collection, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.

Identifier:

CFCH.ASCH, Item FW-ASCH-78-2514

See more items in:

Moses and Frances Asch Collection

Moses and Frances Asch Collection / Series 9: Audio Recordings / 78 RPM

Archival Repository:

Ralph Rinzler Folklife Archives and Collections

GUID:

https://n2t.net/ark:/65665/bk51b95d26f-7813-4af2-b221-d5d41430aa03

EDAN-URL:

ead_component:sova-cfch-asch-ref23504