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A Secret Love Letter From Frida Kahlo's Extramarital Affair

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

A Legacy of Healing, Rebirth and Leadership

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

MS 2435 English-Alabama and Alabama-English dictionary

Creator:
Swanton, John Reed, 1873-1958  Search this
Sylestine, Harden  Search this
Extent:
5,400 Items (cards )
4 Boxes
Culture:
Alibamu  Search this
Coushatta (Koasati)  Search this
Alabama Indians  Search this
Type:
Collection descriptions
Archival materials
Dictionaries
Date:
1906-1913
Scope and Contents:
Alabama-English, 2433 typed cards in 2 boxes; English-Alabama, approximately 3000 typed and autograph A. cards in 2 boxes. Includes terms written in pencil and marked "(K)," which may be terms in Koasati. Informants are Harden Sylestine and others.
Swanton's arrangement of the Alabama-English section is generally alphabetical, with many terms grouped together by stesm. The cards have been stamped with consecutive numbers 1-2433, and Swanton's order has been preserved. Cards that had been clipped together now have a second number, beginning with 1 for the first in a clipped group (e.g., if cards 25-27 were found clipped together, they would now be numbered 25-1, 26-2, 27-3).
The Alabama-English section (with sequentially numbered cards) contains utterances identifiable by a following number in parentheses. If the number does not begin with zero, apparently if refers to Swanton's page numbers in his rough field notes (M 4151 "second set"). Numbers beginning with zero seem to refer to the"first set," MS 4151-- Karen Lupardus, August 18, 1978.
Biographical / Historical:
The note by Swanton preceding Alabama-English section reads? "The material marked (H) was furnished by an Alabama Indian, Harden Sylestine, who translated in his own way. His translation is usually preserved lest a mistake be made in altering; the material is to be corrected later. This includes all of my Alabama material except 12 pages of text by native informants and a vocabulary which for the most part duplicates what has been given."
Local Numbers:
NAA MS 2435
Place:
Texas Polk County
Other Archival Materials:
Related Collection: Manuscript 4151
Related Collection: Manuscript 7360
Related Collection: Manuscript 7361
Topic:
Language and languages -- Documentation  Search this
Indians of North America -- Southern states  Search this
Genre/Form:
Dictionaries
Citation:
Manuscript 2435, National Anthropological Archives, Smithsonian Institution
Identifier:
NAA.MS2435
Archival Repository:
National Anthropological Archives
GUID:
https://n2t.net/ark:/65665/nw3a7cf5734-ebaa-4e0c-82f2-e8a0b15d0fe6
EDAN-URL:
ead_collection:sova-naa-ms2435
1 Page(s) matching your search term, top most relevant are shown: View entire project in transcription center
  • View MS 2435 English-Alabama and Alabama-English dictionary digital asset number 1
Online Media:

In Appreciation of Letters: Their Historic and Personal Value

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

Gifford Beal sketches, sketchbooks, and papers, 1889-2001, bulk 1900-1954

Creator:
Beal, Gifford, 1879-1956  Search this
Subject:
Davies, Arthur B. (Arthur Bowen)  Search this
Kent, Rockwell  Search this
Beal, Maud Ramsdell  Search this
Cox, Edward  Search this
Bruce, Edward  Search this
Watson, Forbes  Search this
Wortman, Denys  Search this
Hancock, Walker Kirtland  Search this
Pennell, Joseph  Search this
Rowan, Edward Beatty  Search this
Federal Art Project  Search this
Type:
Scrapbooks
Sketchbooks
Sketches
Travel diaries
Love letters
Drawings
Prints
Diaries
Paintings
Photographs
Citation:
Gifford Beal sketches, sketchbooks, and papers, 1889-2001, bulk 1900-1954. Archives of American Art, Smithsonian Institution.
Topic:
Drawing -- Technique  Search this
Mural painting and decoration -- 20th century -- Pennsylvania -- Allentown  Search this
Muralists -- New York (State) -- New York  Search this
Theme:
Sketches & Sketchbooks  Search this
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)10981
(DSI-AAA_SIRISBib)214824
AAA_collcode_bealgiff
Theme:
Sketches & Sketchbooks
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_214824
Online Media:

Gifford Beal sketches, sketchbooks, and papers

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.
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
Online Media:

Slow Poetry #1

Artist:
Chawne Kimber, born Frankfort, KY 1971  Search this
Medium:
cotton denim, felt cotton thread, and cotton batt
Dimensions:
47 1/8 × 45 3/8 in. (119.7 × 115.3 cm)
Type:
Decorative Arts-Fiber
Quilt
Crafts
Date:
2018
Topic:
Allegory\passion\love  Search this
Object\letter  Search this
Credit Line:
Smithsonian American Art Museum, Gift of Fleur S. Bresler
Object number:
2023.40.7
Restrictions & Rights:
Usage conditions apply
See more items in:
Smithsonian American Art Museum Collection
Department:
Renwick Gallery
On View:
Renwick Gallery, 2nd Floor, Room 203
Renwick Gallery, 2nd Floor
Data Source:
Smithsonian American Art Museum
GUID:
http://n2t.net/ark:/65665/vk7fb263620-d01e-401a-8d0a-c8b7359d143e
EDAN-URL:
edanmdm:saam_2023.40.7

Lilian Swann Saarinen papers

Creator:
Saarinen, Lilian Swann, 1912-1995  Search this
Names:
Cambridge Art Center  Search this
Cranbrook Academy of Art -- Faculty  Search this
G Place Gallery (Washington, D.C.)  Search this
Knoll Associates, inc.  Search this
Massachusetts Institute of Technology -- Faculty  Search this
Midtown Galleries (New York, N.Y.)  Search this
Otava Publishing Company  Search this
Reynal & Hitchcock  Search this
Armitage, Merle, 1893-1975  Search this
Crosby, Caresse, 1892-  Search this
Eames, Charles  Search this
Eames, Ray  Search this
Koch, Carl  Search this
Kreis, Henry, 1899-1963  Search this
Milles, Carl, 1875-1955  Search this
Moholy-Nagy, László, 1895-1946  Search this
Moholy-Nagy, Sibyl, 1905-  Search this
Saarinen, Eero, 1910-1961  Search this
Saarinen, Eliel, 1873-1950  Search this
Saarinen, Loja  Search this
Venturi, Robert  Search this
Weese, Harry, 1915-1998  Search this
Extent:
9 Linear feet
Type:
Collection descriptions
Archival materials
Blueprints
Diaries
Illustrations
Sketches
Photographs
Scrapbooks
Date:
circa 1909-1977
Summary:
The papers of Cambridge sculptor and illustrator, Lilian Swann Saarinen, measure nine linear feet and date from circa 1909 to 1977. The collection documents Saarinen's career through correspondence with artists, architects, publishers, and gallery owners; writings and notes, including manuscripts and illustrations for children's books and publications; project and teaching files; financial records; artwork, including numerous project sketches; and photos of Saarinen and her artwork. Saarinen's personal life is also documented through diaries and correspondence with friends and family members, including Eero Saarinen, to whom she was married from 1939-1953.
Scope and Contents:
The papers of Cambridge sculptor and illustrator, Lilian Swann Saarinen, measure nine linear feet and date from circa 1909 to 1977. The collection documents Saarinen's career through correspondence with artists, architects, publishers, and gallery owners; writings and notes, including manuscripts and illustrations for children's books and publications; project and teaching files; financial records; artwork, including numerous project sketches; and photos of Saarinen and her artwork. Saarinen's personal life is also documented through diaries and correspondence with friends and family members, including Eero Saarinen, to whom she was married from 1939-1953.

Biographical material consists of resumes and biographical sketches, as well as a 1951 blueprint for the Eero Saarinen and Associates Office Building in Bloomfield Hills, Michigan.

Correspondence documents Saarinen's personal and professional life through letters to and from Eero Saarinen and other family members, including six letters from Loja Saarinen; correspondence with artists and architects, including Merle Armitage, Charles and Ray Eames, Carl Koch, Henry Kreis, Carl Milles, Laszlo and Sibyl Moholy-Nagy, Robert Venturi, and Harry Weese; and friends and colleagues at the Cranbrook Academy of Art and Knoll Associates. Also documented is Saarinen's business relationship with Midtown Galleries and Caresse Crosby, and publishers and publications including Child Life, Interiors, Otava Publishing Company, and Reynal & Hitchcock, Inc.

Writings and Notes document Saarinen's work on several children's publications, including Picture Book Zoo (1935) and Who Am I? (1946), through correspondence, notes, manuscript drafts, and extensive sketches. This series also includes Saarinen's ideas for other publications and incorporates some early writings and notes, as well as typescripts of her reminiscences about Eliel Saarinen, the Saarinen family, and the Cranbrook Academy of Art.

Diaries consist of bound diary volumes, loose-leaf journal entries, and heavily annotated engagement calendars, documenting Saarinen's personal life, artistic aspirations, and career development from the 1930s-1970s. This material provides a deeply personal view of the emotional landscape of Saarinen's life, her struggles to balance her identity as a working artist with the roles of wife, mother, and homemaker, and the complex, and often competing, relationships within the renowned architectural family into which she married.

Project files document Saarinen's work on book cover designs, federal and post office commissions in Bloomfield, Indiana, Carlisle, Kentucky, and Evanston, Illinois, reliefs for the Crow Island School in Winnetka, Illinois, and other important commissions including the Harbor National Bank Clock in Boston, Massachusetts, the KLM Airlines installation at JFK Airport, the Fountain of Noah sculpture at the Northland Center in Detroit, Michigan, and the interior of Toffenetti's restaurant in Chicago, Illinois. Also documented is her role in designs for the Gateway Arch in St. Louis, with Eero Saarinen.

Teaching files document Saarinen's "Language of Clay Course" which she taught at Cambridge Art Center and the Massachusetts Institute of Technology.

Financial records document exhibition and sales expenses for two exhibitions, including her show at G Place Gallery in 1944.

Printed material consists of clippings about Saarinen and her family, exhibition announcements and catalogs for herself and others, and reference files from the 1930s-1940s, primarily comprising clippings of animals.

Additional printed material documenting Saarinen's career can be found in one of two scrapbooks found in the collection. An additional scrapbook consists of clippings relating primarily to Saarinen's parents.

Artwork comprises extensive sketches, particularly animal and figure sketches, in graphite, crayon, ink, pastel, and watercolor. The sketches demonstrate in particular Saarinen's developing interest in and skill with animal portraiture from her childhood to the 1960s.

Photographs are primarily of artwork and Saarinen's 1944 exhibition at G Place Gallery. Also found are one negative of Saarinen, probably with Eero Saarinen, and a group photo including Lilian, Eero, and Eliel Saarinen with the model for the Detroit Civic Center, circa 1940s.
Arrangement:
The collection is arranged as 11 series.

Missing Title

Series 1: Biographical Material, circa 1930s-1960s (3 folders; Box 1, OV 12)

Series 2: Correspondence, 1920-1974 (1.9 linear feet; Boxes 1-2, 8, OV 12)

Series 3: Writings and Notes, 1920s-1973 (1.3 linear feet, Boxes 2-3, 8, OVs 13-16)

Series 4: Diaries, 1930-1973 (1.4 linear feet, Boxes 3-5, 8)

Series 5: Project Files, 1931-1966 (1.7 linear feet, Boxes 5-6, 8, OVs 17-19)

Series 6: Teaching Files, 1966-1970 (3 folders, Box 6)

Series 7: Financial Records, 1940s-1970s (2 folders, Box 6)

Series 8: Printed Material, circa 1930s-1970s (0.2 linear feet, Box 6)

Series 9: Scrapbooks, circa 1909-1974 (2 folders; Boxes 6, 9)

Series 10: Artwork, circa 1920s-circa 1960s (1.7 linear feet, Boxes 6-7, 9-10, OVs 20-27)

Series 11: Photographs, circa 1940s, 1977 (0.5 linear feet, Boxes 7, 11, OV 27)
Biographical / Historical:
Cambridge artist and sculptor, Lilian Swann Saarinen (1912-1995), studied at the Art Students League with Alexander Archipenko in 1928, and later with Albert Stewart and Heninz Warneke from 1934-1936, before moving to Michigan where she studied with Carl Milles at the Cranbrook Academy of Art from 1936-1940. Saarinen was an accomplished skier and a member of the 1936 US Olympic ski team.

At Cranbrook, Swann met architect Eero Saarinen, whom she married in 1939. She subsequently worked with Saarinen's design group on a variety of projects, including the Westward Expansion Memorial, which later became known as the "Gateway Arch" in St. Louis. Lilian and Eero had a son, Eric, and a daughter, Susie, before divorcing in 1953.

Saarinen, who had developed an affinity for drawing animals in childhood, specialized in animal portraits in a variety of sculptural media. In 1939, she exhibited her sculpture Night, which depicted Bagheera the panther from Rudyard Kipling's Jungle Book, at the World's Fair. The sculpture was placed in the Boston Public Garden in 1986. In the 1930s and 1940s Saarinen was commissioned to work on a variety of architectural projects, including reliefs for post offices in Bloomfield, Indiana, Carlisle, Kentucky, and Evanston, Illinois, and the Crow Island School in Winnetka, Illinois. She also executed commissions for the Harbor National Bank in Boston, KLM (Royal Dutch Airlines) at JFK Airport, the Northland shopping Center in Detroit Michigan, and Toffenetti's Restaurant in Chicago.

Saarinen was a contributing author and illustrator for a variety of publications, including Child Life, Interiors and Portfolio: An Intercontinental Quarterly. In 1935 she illustrated Picture Book Zoo for the Bronx Zoo and in 1946 Reynal & Hitchcock, Inc. published Who Am I?, a children's book which Saarinen wrote and illustrated.

Saarinen taught ceramic sculpture to soldiers for the Red Cross Arts and Skills Unit rehabilitation program in 1945, served on the Visiting Committee to the Museum School at the Museum of Fine Arts, Boston, from 1959-1964, where she taught ceramics, and later taught a course entitled "The Language of Clay" at the Cambridge Art Center and the Massachusetts Institute of Technology. One of Saarinen's private students at Cambridge was her cousin, Edie Sedgwick.

Saarinen died in Cohasset, Massachusetts, in 1995 at the age of 83.
Separated Materials:
The Archives of American Art also holds material lent for microfilming (reels 1152 and 1192) including a scrapbook containing clippings, copies of letters and telegrams received, and reproductions of Saarinen's work. There is a copy of Saarinen's book, "Who Am I?", and three albums containing photographs of Saarinen, photographs and reproductions of her work, a list of exhibitions, quotes about her, and writings by her about sculpture. Lent material was returned to the lender and is not described in the collection container inventory.
Provenance:
Lilian Swann Saarinen donated the collection in 1975. She lent additional materials for microfilming in 1976.
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:
Sculptors -- Massachusetts -- Cambridge  Search this
Topic:
Women artists  Search this
Art -- Study and teaching  Search this
Illustrated books, Children's  Search this
Gateway Arch (Saint Louis, Mo.)  Search this
Sculpture, Modern -- 20th century -- United States  Search this
Illustrators -- Massachusetts  Search this
Art, Municipal  Search this
Women sculptors  Search this
Women illustrators  Search this
Function:
Art commissions
Genre/Form:
Blueprints
Diaries
Illustrations
Sketches
Photographs
Scrapbooks
Citation:
Lilian Swann Saarinen papers, circa 1909-1977. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.saarlili
See more items in:
Lilian Swann Saarinen papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw97f1e4305-3886-479a-9db7-48c98fd8d2dd
EDAN-URL:
ead_collection:sova-aaa-saarlili
3 Page(s) matching your search term, top most relevant are shown: View entire project in transcription center
  • View Lilian Swann Saarinen papers digital asset number 1
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Online Media:

Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974

Creator:
Jacques Seligmann & Co.  Search this
Subject:
Hauke, Cesar M. de (Cesar Mange)  Search this
Glaenzer, Eugene  Search this
Haardt, Georges  Search this
Seligman, Germain  Search this
Seligmann, Arnold  Search this
Parker, Theresa D.  Search this
Waegen, Rolf Hans  Search this
Trevor, Clyfford  Search this
Seligmann, René  Search this
Seligmann, Jacques  Search this
De Hauke & Co., Inc.  Search this
Jacques Seligmann & Co  Search this
Eugene Glaenzer & Co.  Search this
Germain Seligmann & Co.  Search this
Gersel  Search this
Type:
Gallery records
Citation:
Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974. Archives of American Art, Smithsonian Institution.
Topic:
Mackay, Clarence Hungerford, 1874-1938 -- Art collections  Search this
Schiff, Mortimer L. -- Art collections  Search this
Arenberg, duc d' -- Art collections  Search this
Liechtenstein, House of -- Art collections  Search this
Art -- Collectors and collecting -- France -- Paris  Search this
Art -- Collectors and collecting  Search this
World War, 1939-1945 -- Art and the war  Search this
La Fresnaye, Roger de, 1885-1925  Search this
Art, Renaissance  Search this
Decorative arts  Search this
Art treasures in war  Search this
Art, European  Search this
Theme:
Art Gallery Records  Search this
Art Market  Search this
Record number:
(DSI-AAA_CollID)9936
(DSI-AAA_SIRISBib)212486
AAA_collcode_jacqself
Theme:
Art Gallery Records
Art Market
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_212486
7 Page(s) matching your search term, top most relevant are shown: View entire project in transcription center
  • View Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974 digital asset number 1
  • View Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974 digital asset number 2
  • View Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974 digital asset number 3
  • View Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974 digital asset number 4
  • View Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974 digital asset number 5
  • View Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974 digital asset number 6
  • View Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974 digital asset number 7
Online Media:

George Leslie Stout letter to Margaret Hayes Stout

Creator:
Stout, George L. (George Leslie)  Search this
Stout, Margaret Hayes  Search this
Subject:
Stout, George L. (George Leslie)  Search this
Stout, Margaret Hayes  Search this
Type:
Correspondence
Date:
1943 June 11
Citation:
George L. (George Leslie) Stout. George Leslie Stout letter to Margaret Hayes Stout, 1943 June 11. George Leslie Stout papers, 1855, 1897-1978. Archives of American Art, Smithsonian Institution.
Topic:
Love letters  Search this
Record number:
(DSI-AAA)15080
See more items in:
George Leslie Stout papers, 1855, 1897-1978
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_item_15080

This is My Beloved and I (BOTTOM: Love Letters in the Sand VERSO: Night of my Nightsand He's in Love)

Collection Creator:
Henderson, Horace, 1904-1988  Search this
Lewis, Barbara  Search this
Lewis, Barry  Search this
Henderson, Fletcher, 1897-1952  Search this
Container:
Box 50, Folder 11*
Type:
Archival materials
Collection Restrictions:
Collection is open for research.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Fletcher and Horace Henderson Music and Photographs, 1930s-1980s, Archives Center, National Museum of American History
See more items in:
Fletcher and Horace Henderson Music and Photographs
Fletcher and Horace Henderson Music and Photographs / Series 1: Horace and Fletcher Henderson Music / 1.2: Horace and Fletcher Henderson's Loose Music
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep83c50e2f3-9af9-44e1-93d8-758bacf64e27
EDAN-URL:
ead_component:sova-nmah-ac-0797-ref5134

John Storrs Correspondence

Collection Creator:
Storrs, John Henry Bradley, 1885-1956  Search this
Type:
Archival materials
Date:
1900-1956
Scope and Contents:
John Storrs' extensive correspondence spans over fifty years and documents his personal and professional life. There are extensive letters to his wife Marguerite Storrs, including love letters written before they were married and letters written to her during his visits to the United States. Letters written by Marguerite to John are located series 2.2. John Storrs' love letters to other women, including Yolande de Manziarly, are found within his general correspondence.

General correspondence primarily consists of Storrs' correspondence with friends, colleagues, art critics and historians, patrons, art organizations, and galleries. Where they exist, Storrs' drafts of outgoing letters are interfiled with letters he received in a chronological arrangement. Storrs was friends with many artists, architects, performers, and writers in both the US and Europe. Among the artists he corresponded with are Berenice Abbott, Hendrick Andersen, George Biddle, Jerome Blum, Arthur Bock, Louis Bouche, Georges Braque, Alexander Calder, Walter Cole, Arthur Davies, Jessica Dismorr, Katherine Dreier, Marcel Duchamp, Leo Friedlander, Marsden Hartley, Jean Helion, Gertrude Lambert, Fernand Leger, Jacques Lipchitz, Man Ray, Richard Recchia, Edwin Scott, Charles Sheeler, Joseph Stella, Maurice Sterne, Alfred Stieglitz, Leopold Survage, Jacques Villon, and William and Marguerite Zorach. Other notable correspondents include architects Edward Bennett, Paul Phillippe Cret, R. Buckminster Fuller, and Alfonso Iannelli; writers and publishers Sherwood Anderson, Louise Bryant, William Bullitt, Max Eastman, Jane Heap, Paul Scott Mowrer, and Gertrude Stein; art critics Phyllis Ackerman, Frank Crowninshield, and Maurice Raynal; art patrons Arthur Aldis, Mildred Bliss, and Charles Worcester; friend and curator Alice Roullier; and dancer Maud Allan. A portion of the general correspondence is in French.

A small amount of correspondence with galleries, museums, and curators concerns exhibitions and sales of Storrs' artwork. Also found is correspondence concerning his participation in art organizations. Researchers should note a portion of Storrs' business correspondence, especially regarding his major sculpture commissions and his dealings with Downtown Gallery, are found in Series 3: Personal Business Records.

See Appendix for a list of correspondents from Series 2.1.
Appendix: Correspondents from Series 2.1:
Abbott, Berenice, 1921, 1922, undated

Ackerman, Phyllis, 1924, 1925, 1926, 1927, 1928, undated

Adams, Cyrus H., 1944

Adler, Alfred, 1926

Adler, David, 1939, 1945

Adrien, Rouet, 1924

Alby, Leony, undated

Aldis, Arthur T., 1922, 1923, 1924, 1925, 1926, undated

Aldis, Graham, 1934

Allan, Maud, 1907, 1913, 1925, 1928, undated

American Art Association, 1926, undated

American Art Bronze Foundry, 1935, 1936

American Designers Gallery, Inc., 1928

American Express Company, 1907, 1933

American Hospital of Paris, 1913

American Library in Paris, 1945, 1946, 1947

American Red Cross, 1918

American Union of Decorative Artists and Craftsmen, 1928, 1929

American University Union in Europe, 1923

American Women's Club of Paris, inc., 1932, undated

Andersen, Mrs. A. O., 1928

Andersen, Hendrick, 1912, 1913, 1914, 1918

Anderson, Margaret, 1924

Anderson, Sherwood, 1917, 1925, undated

Antheil, George, 1924, 1926, 1927

A.O. Smith Coporation, 1934

Apex Smelting Co., 1930

Arden, Elizabeth, 1935, 1936, undated

Arens, Egmont, 1919, 1920, 1921

Arnhem, Edward, 1925

Art Institute of Chicago, 1920, 1921, 1922, 1925, 1927, 1929, 1930, 1931, 1933, 1934, 1935, 1939, 1940, 1945

Artists and Writers Dinner Club, 1934

Arts Club of Chicago, 1920, 1922, 1927, 1928, 1932, 1934, 1937

Artwork, 1924

Ateliers D'Art du Clos De Joye, 1955

B., Simone, 1924, 1926, 1928, undated

Babcock, Ella, 1912, undated

Babcock, James L., 1904, 1905, 1906, 1907, 1908, 1909, 1910, undated

Bailey, C. Foster, 1928

Ballard, George S., 1935

Barbarin, Georges, 1942

Barbier, H., 1925

Barbusse, Leevri, 1919

Barrett, Ida C., 1939

Bartholomew, Marshall, 1937

Bartlett, Paul W., 1914

Beach, John & Lucy, 1909, 1911, 1912, 1913, 1914, 1916, 1918, 1919, 1923, 1925, 1926, 1945, undated

Benard, Maddy, undated

Benington, Walter, 1918

Benjamin, Elizabeth, undated

Bennett, Edward H., 1934, 1935, 1937, 1938, 1940, 1944, 1945, 1948, 1951

Berger, Paul, 1920

Berlin Photographic Company, 1915

Biddle, George, 1923, 1924, 1925, 1946, undated

Biddle, Katherine Garrison, 1928

Jane Biddle, 1925, 1926

Birdsall, Lucy Storrs, 1950, undated

Birnbaum, Martin, 1916

Blanquet-Pernot, Mrs., 1928

Bliss, Mildred, 1929, 1948, undated

Blinstrub, Ben, 1937, 1945

Blum, Frank, 1929

Blum, Jerome, 1907, undated

Bock, Arthur, 1906

Bon, Jacques, 1923

Booz, Helen, 1946, 1947, undated

Bonney, M. Therese, 1926

Bosley, Frederick A., 1907, 1909, undated

Bouche, G. Louis (Folsom Galleries), 1920, 1921, undated

Boulenger, Jacques, 1942

Boyce, Sydney, 1911

Boyd, Jim, 1906

Bragdon, Marston S., 1914

Brandt, Edgar, 1926

Braque, G., 1939, 1955

Breck, George W., 1907

Bretano's, 1913

Brewster, Kate Lancaster, 1929, undated

Brewster, Walter, 1928

Brooklyn Museums, 1930, 1934

Brorby, Melvin, 1924

Brown, A. Spenser, 1907, 1912, 1913, 1914, undated

Brown, Slater, 1921

Brummer, Joseph, 1928, 1929, 1930

Bryant, Louise, 1917, 1918, 1920, 1922, 1923, 1924, 1925, 1929, 1930, undated

Bucher, Jeanne, 1937, undated

Bulliet, C. J., 1949

Bullitt, Orville H., undated

Bullitt, William C., 1937, 1939, 1940, undated

Butcher, Fanny, 1931

Byrne, Barry, 1928, 1930

Caffery, Jefferson, 1944, 1945

Cahiers de L'Etoile, 1929

Calder, Alexander (Illustrated Letter), 1932, 1935

California Museum of Art, Palace of the Legion of Honor, 1923, 1924, 1933

Calton, Constance, 1948

Campbell, Elisa, undated

Carnegie Institute, 1938

Caro-Delvaille, Aline, 1923

Carpenter, Genevieve, 1928, 1929

Carpenter, Rue, 1927

Cartarin, A., 1924

Carter, Helen B., 1921, 1922

Cecile, Paul, 1929

Centre Immobilier et Forestier, 1923

Chambers, Christine, undated

Chandler, George M., 1921

Chapman, C., 1912, undated

Charles Fiore Nurseries, 1930

Charpentier, Jean, 1926

Chase Bank, 1946

Cheney, Sheldon (Theatre Arts Magazine), 1921

Chicago Academy of Fine Arts, 1933, 1934, 1935

Chicago Daily News, 1918

Chicago Sculptors Association, 1935, 1936

Chicago Society of Etchers, 1916, 1918

Child, Paul Cushing & Julia, 1929, 1950

Childs, Newell, 1940, 1945, undated

Christy, Bill, 1946

Chrysler, Walter P., 1939

Civil Affairs Office, Orleans, France, 1944

Clarke, Dora, undated

Cliff Dwellers, 1928

Cline, Jared, 1927, 1928

Clow, Isabelle, 1927, 1928

Cohalan, Daniel, 1930

Colbert, F. Overton, 1933

Cole, Timothy, 1917

Cole, Walter, 1907, 1908, 1909, 1910, 1911, 1912, 1919, undated

Coleville, Ruth, 1912

College of St. Scholastica, 1939

Combes Favard, Berthe des, 1921, undated

Compagnie Generale Transatlantique, 1916, 1923, 1927

Commission de la Renaissance d'Orleans, 1945

Consulate-General of the United States of America, 1914

Corcoran Gallery of Art, 1935

Coules, Edith V., 1926, undated

Cowles, Genevieve, 1927

Crane, Jacob, 1933

Creative Art, 1928

Cret, Paul Philippe & Marguerite, 1925, 1926, 1930, 1945, undated

Cross, Louise, 1932

Crowninshield, Frank, 1929

Cummings, Nathan, 1955, 1956

Cummings, Walter, undated

Cunningham, John, 1933, 1938, 1955

Cuttoli, Marie, undated

Dallies, Jeanne, 1917

Dashiell, Juliet A., 1905, 1906, 1907

Davies, Arthur, 1923

Davis, Garry, 1949

Dell, Floyd (The Liberator), undated

Department du Loiret, Republique Francaise, 1944

Deregnancourt, Alphonse, 1914, 1915, 1918

Devambez, 1918, 1919

Deville-Chabrol, Emma, undated

Diaz, Luis, 1936

Diaz de Recchia, Ana, 1911, 1913

Dismorr, Jessica, 1918

Doubleday Page & Company, 1920

Dougherty, Paul, 1925

Dreier, Ethel E., 1923, 1926

Dreier, Katherine (Societe Anonyme Inc.), 1921, 1922, 1923, 1924, 1926, 1928, undated

Drury, Holden, 1953

Dubowsky, Henry, 1945

Duchamp, Marcel, 1927, undated

Dudensing Galleries, Inc., 1929

Duval, Jack H., 1907, 1918, undated

Duval, L. & L. Janier, 1916

Eastman, Max (The Liberator), 1918, 1919

Eckridge, Bob, undated

Eddy, Arthur J., 1916,undated

Editions Savoir Vivre, 1919

Eggimann, L. H., 1918

Elliott, Lucretia M., 1906

Embassy of the United States of America, Paris, 1940, 1945, 1946, 1947

Emmett, Beulah, 1937, undated

Enterprises Morlon & Fils, 1923

Espy, John, 1915

Ewing, Mary H., 1909

Ewing, Mary James, 1930

Ewing, W. A., 1916

Eyskens, A. Mary, 1909

Eyskens, Felix, 1912

Fagotat, G., 1922

Fairmount Park Art Association, 1933, 1948

Farre, William, 1922, 1923, 1925

Faucauld, Isabelle de Comtess, undated

Fauche, E., 1927

Fenton, P., 1943

Fio Rito, Madelyn, 1954, 1955

Fournier, F., 1932

Franks, Sara, 1909

Freelander, Ronald, 1945, 1946

Freneuse, Marie Louise Landry de, 1944, 1945, 1946, 1947, 1948

Freres, Brunschwig, 1925, 1927, 1928

Friedlander, Leo, 1936

Fry, Edith M., 1917, 1918

Fry, William E., 1909, 1921, 1923, undated

Fuller, R. Buckminster, 1929, 1930, 1932, undated

Galerie Briant-Robert, 1924

Galerie des feuillets d'art, 1919, 1920, undated

Galerie "L'Effort Moderne" (Leonce Rosenberg), 1919, 1924, 1926, 1928, 1930, 1931

Galerie Zak, 1925, 1934

General Alloys Company, 1935

Geret, Lucien, 1946, 1951

Germain, Mr. & Mrs., 1925

Gibson, Sidney, undated

Golejewski, General, 1945, 1946

Goodale, Hazel, 1906

Grafly, Charles & Martha, 1911

Graphic Institute of Lithography, 1937

Greeley, Martha, undated

Green, Gretchen, 1954

Gros, Gabriel, 1919

Grossman, Edward, undated

Gutheim, Frederick, 1946

H., Edna R., 1921, 1922

H. W. Croxton & Co., 1933

Hadley, Louise, 1937, 1940, undated

Haines, Grace (Mrs. L. Emerson Matter), 1906, 1907, 1908, 1909

Hammond, Madelyn, 1933

Hannen, Jos. H., 1909

Harrington, James (Jimmie), 1900, 1905, 1906, 1907, 1921, 1922, 1937

Hartley, Marsden, 1926, 1927, 1928, 1930, undated

Harvey, Fred, 1918

Heap, Jane, 1923, 1924, 1925, 1927, 1929, undated

Hecht, Zoltan, 1928

Heitkamp, Irving & Eleanor M., 1907, 1909, 1911, 1912, 1913, undated

Helion, Jean, 1937, 1938

Heyman, Katherine, undated

Hoeckner, Carl, 1921

Holabird, John A. (Holabird & Root), 1930

Holley, Bertha, 1913, undated

Holmes, Frederick, 1905, undated

Hoskins, W., 1930

Houfe, Eric, 1954

Houston, William, undated

Hoyt, Henry M. & Anne, 1911, 1912, 1918, 1920, 1921, undated

Hubert, M. de la Montaigne, 1933, 1935, 1936, undated

Hubert, Loyou, 1926

Huddleston, Sisley, 1924, 1927, 1929, 1930, undated

Hugon, Paul D., 1938

Hunt, Dorothy, undated

Iannelli, Alfonso, 1924, 1926, 1927, 1929

Industrial Fireproofing Corp., 1935

Jacques Seligmann & Co., Inc., 1934

Jaines, Louise, 1921

James, R. Howard, 1911, 1912, 1929, undated

Jaques, Bertha, 1917, 1918, 1919, 1920, 1921

Jenkins, Julia, 1905, undated

John H. Vanderpoel Art Association, 1939

Joy, Bill, 1922, 1923, undated

Junior League of Chicago, 1932, 1935

Kahn, Albert, 1934

Kayser, Jos., 1947

Kennedy, Herbert H., 1922, 1923, 1924, 1925

Kramer, Frank, 1905

Kunst Art Foundries, 1931

Lacomme, Risette, 1919, 1920, 1924, 1926, undated

Lafargue, Henry, 1925, 1926, 1927, 1928, 1931

Laing, Alice S., 1921

Lambert, Gertrude, 1911, 1912, 1913, 1914, 1917, 1929, undated

Laurens, E., 1911

La Verite, 1919

Lavolley, I.?, 1926, 1929, undated

Layrault?, 1923, 1924, 1925

Lazari, Paul, 1946

Le Bosse, R., 1938

Lecomte, Mr., 1928

Lecomte du Nouy, Mrs., 1948

Lecornu, G., 1927

Lee, G. Ambrose, 1905

Lee, Henry C., 1927

Lee, Robert M., 1931

Leger, Fernand, 1936, undated

Leight, Mrs. Edward, 1921, undated

Les Muses Francaises, 1920, 1921, 1922

Lewis, Elizabeth, 1935

Lewis, Helen, 1946, 1947, undated

Lipchitz, Jacques & Berthe, undated

Long, Mason, 1953

Loring?, Gustave, 1919

Loyson, 1913

Luntz, Charles, 1946

Lyons, Philip, 1929, 1932, undated

MacBurney, T. N., 1930

Magnin, A. de, 1918

Malye, T., 1927

Mannheimer, Frank, undated

Manziarly, Yolande de, 1923, 1925, 1926, 1927, 1928, 1929

Martre, Charles, 1927

Masclary, Bernard de, 1923, 1924, 1925, 1942, 1955, undated

Masclary, P. de, 1942

Marmet, L. J., 1906

Mazau, F., 1923

McClelland, Nancy, 1937

McCormick, Elsie Rockefeller, 1950

McCormick, Robert H., 1949

McIntyre, Margaret, 1924, 1926

McManus, Blanche, 1918

Medallic Art Company, 1931

Meeker, Arthur, 1930

Metropolitan Museum of Art, 1916

Meunier, Maurice, 1926, 1927

Miller, Edgar, undated

Miller, John O'Fallon & Caroline, 1923, 1926, undated

Miller, Joseph Gilman, 1929

Milman, Ralph & Helen, 1937, 1938, 1955

Monnette, Orra Eugene, 1921

Montellier, J., 1930

Moody, Harriet, 1925

Moore, Grace, 1936

Morgan, Charles, 1933

Morley, R., 1908, 1918

Morse, Howard K., 1927

Morris Book Shop, 1921

Mowrer, Edgar, 1914, undated

Mowrer, Paul Scott & Winifred, 1912, 1913, 1914, 1915, 1916, 1917, 1918, 1922, undated

Museum of Fine Arts, Boston, 1923

Museum of Modern Art, 1930, 1933, 1934

"Nadja", 1926

Nagel, Elizabeth, undated

Nashville Art Club, 1909

National Sculpture Society, 1928

National Soap Sculpture Committee, 1931

Navez, P., 1914

Needham, Louis & Brorby, Inc., 1930, 1935, 1936, 1945, 1946, 1948, 1949, undated

Nelson, Paul, undated

Neological Foundation, 1940, 1945

The Neoterics, 1935

Neue Gallerie, 1925

Neumann, A., 1940, 1945

Newark Museum, 1935

New Masses, 1925

The New Orient, 1930

Noel, Georges, 1945

Norton, John, 1929, undated

Oakley, Horace, 1921

Office of War Information, 1945

Olds, Abbie Storrs, 1950

O'Toole, James St. L, 1935, 1936, undated

Paas, Emily Anita, 1928

Packard, Mary Storrs, 1921

Palmer, Pauline, undated

Panama-Pacific International Exposition, 1913, 1916

Paris-Midi, 1925, undated

Paris Post, 1946

Parker, Eleanor Wayne, 1912, 1913

Parker, Kineton, 1922, 1930

Partridge, Charlotte Russell, undated

Pascal, Pietro, 1946

Pasquier, Gustave, 1924

Passani, F., 1930

Pearson, Ralph M., 1928, 1929

Peignin, Marius, 1925

Pelzer, Mildred W., 1936

Pennsylvania Academy of Fine Arts, 1910, 1911, 1933

Perry, Ruth T., 1907

Phillips, S. G., (illustrated) 1911, 1914

Pichon, Leon, 1920

Pierron, M., 1920

Playboy, 1919

Polasek, Albin, 1926

Ponce, J., 1927

Post, Mary, 1906, 1907, undated

Potin, O., 1953

Provincetown Print Gallery, 1921

Putnam, Samuel, undated

Quattrocchi, Edmondo, 1929

Ray, Man, undated

Raynal, Maurice, 1928, 1929, undated

Reboul, Jacques, 1907

Recchia, Richard H., 1912, 1913, 1920, undated

Reed, John, 1917

Rendu, A., undated

Republique Francaise, Mairie D'Orleans, 1945, 1946, 1947, 1948

Rerolle, Gervaise, undated

Richard, E., 1932

Richard, Paul, 1923, 1927, 1928

Ritman, Louis, 1909

Roberts, Webb, 1936, 1938

Roche, Henri Pierre, 1924, 1927

Rockwell, 1920

Roger, Maurice, 1927

Roosevelt, Theodore, 1916

Root, Ellen, undated

Roseman, T., 1922

Rosenberg, Paul, 1939

Rotil, J., 1924

Roullier, Alice, 1920, 1922, 1923, 1924, 1927, 1928, 1931, 1935, 1936, 1937, 1938, 1939, 1940, 1945, 1946, 1947, 1948, 1949, 1950, 1955, undated

Rowdon, J. T., 1905

Royer, Jean, 1945

Ruhlmann & Laurent, 1919, 1920

Russell, Ann, 1904, 1906

Safalgette, L., 1919, 1920, undated

Salmon, Andre, 1921, 1923, undated

Salon du Franc, 1926

Salons of America, 1923, 1924

Saltino, Andy, 1925

Schoenfeld, Flora, undated

School of the Museum of Fine Arts, Boston, 1909

Schulberg, Stuart and Barbara, undated

Schutze, M., 1934, undated

Schwartz, Andrew T., 1910

Scott, Edwin & Josephine, 1907, 1909, 1911, 1912, 1914, undated

Segur, Adrienne, 1927

Senior, John L., 1935, 1936, undated

Seymour, Ruth, 1922

Shanlow?, Alexandra, 1914

Sheeler, Charles, 1923

Shenker, Harry, 1919

Slaiman, M. & Ruth, 1950

Smith, C. Powers, 1923

Smith, Howard E., 1912, 1913, 1914, 1914, 1915, 1916, 1917, 1918, 1920, 1925, 1926, undated

Societe de Saint-Jean, 1917

Sowerby, Leo, 1918

Spaulding, W. B., 1910

Sprague, Albert A., 1921

Stearns, Harold E., 1932

Stein, Gertrude, undated

Stein, Rita, undated

Stella, Joseph, 1929

Stephens, E. A., 1949

Stephens, Lucille Chandler, 1925

Sterne, Maurice, 1925

Sterner, Carl John, undated

Stieglitz, Alfred, 1930

Stinson, Roxie R., 1905, 1906, 1907, 1908, undated

Stora, M. & R., 1926

Storgo Laboratories (David Goldsmith), 1936, 1937

Storrs, Frank Herbert, 1924, 1926

Storrs, John W., 1918

Storrs, Louis, 1939

Storrs, Ronald, 1925, 1927, 1928

Sueur, G., 1926

Survage, Leopold & Germaine, 1930, 1931, 1932, 1937, 1945, undated

Tancrede, Robert, 1945

Tartarin, A., 1930

The Tavern, 1928

Taylor, Catherine, 1911, 1912

Texas Centennial Exposition, 1936

Thanlow, Ch. L. & Ingrid, 1919, undated

The Seven Arts Magazine, 1918

Thomas, Maxime, 1930

Tillson, Rex, 1923

Toledo Museum of Art, 1938

Tooker, Marion F., 1911

Toulouse, Roger, 1949, 1955, undated

The Transatlantic Review, 1924

Truman, Harry S., 1945 (letter to)

Turnbull, Yale, 1925, 1926

Tyson, Russell, 1922, 1927

Vallette, S., 1920

Valsuani, Claude, 1919, 1922, 1933, 1951, 1955

Vestal, Donald B., 1931

Villon, Jacques, undated

Vinton, Warren Jay & Helen Augur, 1924

Voccia, Luigi, 1914

Vogelgesang, Shepard, 1935

Wacker, Fred, 1955

Walpone, Marguerite, 1918

Ware, Mary, undated

Waring, P. A., 1921

Warwick, Katherine Murray, 1916

Webster, H. A., 1920

White, Charles E., 1932, 1933

Whitney Museum of American Art, 1933

Williams, Frederick, 1924

Williams, Walter R., 1909, 1911, 1912, undated

Wilson, A. J., 1935

Wolf, Walter, 1923

Worcester, Charles H., 1928, 1929, 1945, undated

Wright, Alan, 1910

Wright, Katherine, 1921

Zamoyski, August, 1921

Zorach, William & Marguerite, 1922, 1924
Restrictions:
This series contains access-restricted medical records.
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:
John Henry Bradley Storrs papers, 1890-2007, bulk 1900-1956. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.storjohn, Subseries 2.1
See more items in:
John Henry Bradley Storrs papers
John Henry Bradley Storrs papers / Series 2: Correspondence
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw962d3f96b-eb8b-415a-8c58-31b50909e4d5
EDAN-URL:
ead_component:sova-aaa-storjohn-ref45

Dorothea A. Dreier papers, 1881-1941, bulk 1887-1923

Creator:
Dreier, Dorothea A. (Dorothea Adelheid), 1870-1923  Search this
Subject:
Bartlett, Agnes Willard  Search this
Bartlett, Mary F.  Search this
Bartlett, Maud W.  Search this
Davis, Charles H. (Charles Harold)  Search this
Forbes, Rebecca  Search this
Dreier, Mary E. (Mary Elisabeth)  Search this
Dreier, Katherine Sophie  Search this
Dreier, Ethyl Eyre Valentine  Search this
Robins, Margaret Dreier  Search this
Mahan, Ellen Kuhn  Search this
Gogh, Elisabeth du Quesne van  Search this
Shirlaw, Walter  Search this
Schetter, Charlotte  Search this
Robins, Raymond  Search this
Kuhn, Walt  Search this
Cooperative Mural Workshop  Search this
Women's Trade Union League of America  Search this
Type:
Pamphlets
Sketchbooks
Photographs
Broadsides
Citation:
Dorothea A. Dreier papers, 1881-1941, bulk 1887-1923. Archives of American Art, Smithsonian Institution.
Topic:
Women -- Suffrage  Search this
Suffragists  Search this
Women artists  Search this
Women painters  Search this
Theme:
Sketches & Sketchbooks  Search this
Women  Search this
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)7597
(DSI-AAA_SIRISBib)209759
AAA_collcode_dreidoro
Theme:
Sketches & Sketchbooks
Women
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_209759
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Online Media:

Charles Waldo Love papers, 1887-1975

Creator:
Love, C. W. (Charles Waldo), 1881-1967  Search this
Citation:
Charles Waldo Love papers, 1887-1975. Archives of American Art, Smithsonian Institution.
Topic:
Painting, American  Search this
Theme:
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)9169
(DSI-AAA_SIRISBib)211364
AAA_collcode_lovechar
Theme:
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_211364

Buehr family papers, 1880-1984

Creator:
Buehr, family, 1866-1952  Search this
Subject:
Buehr, George Frederick  Search this
Buehr, Mary Guion Hess  Search this
Buehr, Karl Albert  Search this
Granger, Kathleen Buehr  Search this
Hess, William  Search this
Type:
Drawings
Photographs
Citation:
Buehr family papers, 1880-1984. Archives of American Art, Smithsonian Institution.
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
Theme:
Chicago's Art-Related Archival Materials: A Terra Foundation Resource  Search this
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)9564
(DSI-AAA_SIRISBib)211765
AAA_collcode_buehfami
Theme:
Chicago's Art-Related Archival Materials: A Terra Foundation Resource
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_211765
Online Media:

The artist Claude Buck : a biography of two loves...his love for art...his love for Estrid / compiled and written by their daughter, Juel, Juel B. K. Schiller, c1989

Creator:
Krisvoy, Juel  Search this
Subject:
Buck, Claude  Search this
Citation:
The artist Claude Buck : a biography of two loves...his love for art...his love for Estrid / compiled and written by their daughter, Juel, Juel B. K. Schiller, c1989. Archives of American Art, Smithsonian Institution.
Theme:
Research and writing about art  Search this
Record number:
(DSI-AAA_CollID)10583
(DSI-AAA_SIRISBib)214059
AAA_collcode_krisjuel
Theme:
Research and writing about art
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_214059

[Enrique Chagoya posed with paintings] [graphic] Eugenio Castro, photographer, 1999

Creator:
Castro, Eugenio, 1953-  Search this
Subject:
Chagoya, Enrique  Search this
Citation:
[Enrique Chagoya posed with paintings] [graphic] Eugenio Castro, photographer, 1999. Archives of American Art, Smithsonian Institution.
Topic:
Latino and Latin American artists  Search this
Mexican American artists  Search this
Theme:
Latino and Latin American  Search this
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)5574
(DSI-AAA_SIRISBib)229652
AAA_collcode_casteuge
Theme:
Latino and Latin American
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_229652

Shifting time African American artists 2020-2021 edited by Klare Scarborough and Berrisford Boothe

Editor:
Scarborough, Klare  Search this
Boothe, Berrisford  Search this
Author:
Petrucci Family Foundation Collection of African American Art  Search this
Physical description:
ix, 223 pages color illustrations 29 cm
Type:
Books
Date:
2022
21st century
21e siècle
Topic:
African American art  Search this
African American artists  Search this
COVID-19 Pandemic, 2020---In art  Search this
COVID-19 (Disease) and the arts  Search this
COVID-19 Pandemic, 2020-  Search this
Art noir américain  Search this
Artistes noirs américains  Search this
Pandémie de COVID-19, 2020-  Search this
Pandémie de COVID-19, 2020---Dans l'art  Search this
Call number:
N6538.B53 S55 2022
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_1162680

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
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  • View Gertrude Vanderbilt Whitney papers digital asset number 1
Online Media:

Letters, love letters and photos sent to Duke

Collection Creator:
Ellington, Duke, 1899-1974  Search this
Container:
Box 2 (Series 16), Folder 25
Type:
Archival materials
Date:
undated
Collection Restrictions:
Collection is open for research but the original and master audiovisual materials are stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Copyright restrictions. Consult the Archives Center at archivescenter@si.edu or 202-633-3270.

Paul Ellington, executor, is represented by:

Richard J.J. Scarola, Scarola Ellis LLP, 888 Seventh Avenue, 45th Floor, New York, New York 10106. Telephone (212) 757-0007 x 235; Fax (212) 757-0469; email: rjjs@selaw.com; www.selaw.com; www.ourlawfirm.com.
Collection Citation:
Duke Ellington Collection, Archives Center, National Museum of American History
See more items in:
Duke Ellington Collection
Duke Ellington Collection / Series 16: Miscellaneous
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep8f0c6f7ed-31ae-4f72-b877-3f57f5ae1ed9
EDAN-URL:
ead_component:sova-nmah-ac-0301-ref22226

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