The Samuel J. Wagstaff papers, circa 1932-1985 comprise 6.4 linear feet of correspondence, writings, miscellaneous records, printed material, and photographs documenting Wagstaff's professional and personal relationships with artists and photographers, his career as an art curator, and his position as an important collector of paintings and photographs. Correspondence with artists and others such as curators, arts organizations, galleries, and museums, reflects the diversity of contemporary American art and includes individuals associated with the abstract expressionist, Fluxus, pop, earth, conceptual, and minimalist art movements.
Scope and Content Note:
The Samuel J. Wagstaff papers, circa 1932-1985, comprise 6.4 linear feet of correspondence, writings, miscellaneous records, printed material, and photographs documenting Wagstaff's professional and personal relationships with artists and photographers, his career as an art curator, and his position as an important collector of paintings and photographs.
Correspondence with artists and others such as curators, arts organizations, galleries, and museums reflects the diversity of contemporary American art and includes individuals associated with the abstract expressionist, Fluxus, pop, earth, conceptual, and minimalist art movements. Wagstaff's importance as a collector and curator and his generosity to and interest in artists is evident from the large number of invitations to view and critique work, requests for fellowship and grant recommendations, and thank you notes from artists to whom he extended financial or moral support. Among the most prolific correspondents found here are: Dan Basen, George Brecht, James Lee Byars, Walter de Maria, Mark Di Suvero, Albert Fine, Dan Flavin, Ann Halprin, Grace Hartigan, Charles James, Philip Johnson, Ray Johnson, Doreen and Robert Manning, Agnes Martin, Gordon Newton, Claes Oldenburg, Ad Reinhardt, Dieter Rot, Alan Saret, Richard Tuttle, May Wilson, and Andy Warhol.
Writings by Wagstaff consist of "Looking at Modern Art" prepared for the Trinity College Reading Program, and an untitled, undated piece about multiplicity in art. Among the writings by other authors are Bruce Bennard's "The Photographer Rediscovered," "Pop Art" by Henry Geldzahler, and "Collecting Photographs" by Bonnie Barrett Stretch.
Miscellaneous records are drawings by Bruce Kleinsmith, a print by Harold Paris and artists' resumes. Also included is a costume consisting of a stuffed devil's tail and two red silk caps connected by a long sash, all in a matching red silk bag.
Among the printed material are books, exhibition catalogs and prospectuses, periodicals, press releases, reproductions, and a variety of other printed items relating to photography and art.
Photographs consist largely of copy prints and a small number of original prints. Also included are a few images of exhibition installations and other miscellaneous subjects. There are no portraits of Samuel J. Wagstaff among the photographs of people. Identified individuals include: Bella Abzug, Peter Allen, Michael Collins, Angela Davis, Candy Darling, Wendell Ford, Joseph Hirshhorn, W. A. Huffman, David Love, Marc Miller, Bettie Ringma, and Andy Warhol.
Arrangement:
The collection is arranged into 5 series.
Missing Title
Series 1: Correspondence, 1932-1986 (Boxes 1-3, 8, OV 9-10; 2.5 linear ft.)
Series 2: Writings, 1961-1983 (Box 3; 0.2 linear ft.)
Series 3: Miscellaneous Papers and Artifacts, 1970s-1980s (Box 3; 0.2 linear ft.)
Series 4: Printed Material, circa 1914-1988 (Boxes 3-8, OV 11; 3.2 linear ft.)
Series 5: Photographs, 1975-1982 (Boxes 7-8; 0.1 linear ft.)
Biographical Note:
Samuel J. Wagstaff, Jr. (1921-1987), the son of a lawyer from an old New York family and fashion artist Olga Piorkowska, was born in New York City. A graduate of Yale University, he was an ensign in the Navy and took part in the D-day landing at Omaha Beach.
Following World War II, Wagstaff studied Renaissance art at the Institute of Fine Arts, New York University. A David E. Finley art history fellowship took him to the National Gallery of Art, Washington, D. C. in 1959. He served as curator of contemporary art at the Wadsworth Atheneum, Hartford, Conn., from 1961 to 1968, where he coordinated sculptor Tony Smith's first museum show in 1966. In 1971, during Wagstaff's tenure as curator at the Detroit Institute of Arts (1968-1971), he presented Michael Heizer's installation Dragged Mass Geometric on the grounds of the museum.
In addition to his curatorial work, Samuel J. Wagstaff was a noted collector. Originally, he was a fairly influential collector of avant-garde paintings. After seeing the exhibition "The Painterly Photograph" and meeting photographer Robert Mapplethorpe, Wagstaff became convinced that photographs were the most unrecognized and, possibly, the most valuable works of art. He moved to New York and began selling his collection of paintings, using the proceeds to begin his photography collection and concentrating on 19th century American, British, and French examples. Then, influenced by his lover, photographer Mapplethorpe, Wagstaff's taste veered toward the daring, and he began to depart from established names in search of new talent. His collection was soon recognized as one of the finest private holdings in the United States. An exhibition of his photographs was organized by the Corcoran Gallery of Art, Washington, D. C., in 1978, and A Book of Photographs from the Sam Wagstaff Collection was published to accompany the show that toured the country.
The photograph collection was sold to the J. Paul Getty Museum, Malibu, Calif., in 1984, for a reported $5 million. Wagstaff then focused his attention on collecting 19th century American silver, and a selection from that collection was exhibited at the New York Historical Society in 1987.
Samuel J. Wagstaff died in New York City on January 14, 1987, from pneumonia, a complication of HIV infection.
Provenance:
Samuel J. Wagstaff donated his papers between 1976 and 1986.
Restrictions:
The collection has been digitized and is available online via AAA's website.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Topic:
Art dealers -- New York (State) -- New York Search this
Freedmen's Bureau Digital Collection, 1865–1872, is a product of and owned by the National Museum of African American History and Culture, Smithsonian Institution. Copyright for digital images is retained by the donor, FamilySearch International; permission for commercial use of the digital images may be requested from FamilySearch International, Intellectual Property Office, at: cor-intellectualproperty@ldschurch.org.
Collection Citation:
Courtesy of the U. S. National Archives and Records Administration, FamilySearch International, and the Smithsonian National Museum of African American History and Culture.
Freedmen's Bureau Digital Collection, 1865–1872, is a product of and owned by the National Museum of African American History and Culture, Smithsonian Institution. Copyright for digital images is retained by the donor, FamilySearch International; permission for commercial use of the digital images may be requested from FamilySearch International, Intellectual Property Office, at: cor-intellectualproperty@ldschurch.org.
Collection Citation:
Courtesy of the U. S. National Archives and Records Administration, FamilySearch International, and the Smithsonian National Museum of African American History and Culture.
Material is subject to Smithsonian Terms of Use. Should you wish to use NASM material in any medium, please submit an Application for Permission to Reproduce NASM Material, available at Permissions Requests.
Collection Citation:
Benjamin O. Davis, Jr. Collection, Acc. 1992.0023, National Air and Space Museum, Smithsonian Institution.
Material is subject to Smithsonian Terms of Use. Should you wish to use NASM material in any medium, please submit an Application for Permission to Reproduce NASM Material, available at Permissions Requests.
Collection Citation:
Lee Ya-Ching Papers, NASM.2008.0009, National Air and Space Museum, Smithsonian Institution.
Collection is open for research but negatives and audiovisuial materials are stored off-site and special arrangements must be made to work with it. Some papers of living persons are restricted. Access to restricted portions may be arranged by request to the donor. Gloves required for unprotected photographs. Viewing film portions of the collection and listening to LP recording requires special appointment. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Collection Rights:
The Archives Center does not own exclusive rights to these materials. Copyright for all materials is retained by the donor, Franklin A. Robinson, Jr.; permission for commercial use and/or publication may be requested from the donor through the Archives Center. Military Records for Franklin A. Robinson (b. 1932) and correspondence from Richard I. Damalouji (1961-2014) are restricted; written permission is needed to research these files. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
The Robinson and Via Family Papers, Archives Center, National Museum of American History
Sponsor:
Preservation of the 8mm films in this collection was made possible, in part, by a grant from the National Film Preservation Fund.
The Via family papers deal with the Robert M. Via family. The Via papers are a particularly appropriate complement to the Robinson papers because they deal with a farming operation of a smaller size, approximately thirty acres to 115 acres. In contrast to the Robinson operation that utilized many forms of outside labor, the Via farm was operated by one man, Robert, with family and occasional hired help. An additional contrast is that, in the Via family both spouses worked off the farm full-time, until Robert began full-time farming in the mid-1950s. The Via family did not have the familial history in the region and operated from a much different social perspective than the Robinson family. The Via family moved more frequently, the preponderance of material is 20th century.
The Via family papers are especially strong in regard to farming and social history in the latter half of the 20th century. The papers of Robert M. Via are strong in material concerning his employment in public transportation in Washington, D.C., from 1928 to 1956. The papers of Adina Via Robinson are particularly complete in documenting the life of a woman coming of age in the mid-1950s. Her papers and correspondence with her future husband, Franklin A. Robinson, cover personal matters, as well as life on the farm, the surrounding community, and her senior high school life. Especially rich is the correspondence exchanged during the period of Franklin's service in the United States Army, 1955-1956, at Camp Gordon, Georgia and Camp Handford, Washington State. There are transcription discs of recordings done by Robert D. Via as country-western singer, "Bashful Bob."
Collection Restrictions:
Collection is open for research but negatives and audiovisuial materials are stored off-site and special arrangements must be made to work with it. Some papers of living persons are restricted. Access to restricted portions may be arranged by request to the donor. Gloves required for unprotected photographs. Viewing film portions of the collection and listening to LP recording requires special appointment. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Collection Rights:
The Archives Center does not own exclusive rights to these materials. Copyright for all materials is retained by the donor, Franklin A. Robinson, Jr.; permission for commercial use and/or publication may be requested from the donor through the Archives Center. Military Records for Franklin A. Robinson (b. 1932) and correspondence from Richard I. Damalouji (1961-2014) are restricted; written permission is needed to research these files. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
The Robinson and Via Family Papers, Archives Center, National Museum of American History
Sponsor:
Preservation of the 8mm films in this collection was made possible, in part, by a grant from the National Film Preservation Fund.
Recorded in: Washington (D.C.), United States, June 18, 1976.
Restrictions:
Restrictions on access. Some duplication is allowed. Use of materials needs permission of the Smithsonian Institution.
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.
Outdoor portrait of the men Robert H. Clarke (Rappahannock), Dorelix Amaf (Nanticoke), and James Johnson (Rappahannock). They are posed on a wooden plank walkway, and wear feather headdresses, fringed hide shirts, and are wrapped in trade blankets. Photo probably taken during an inter-tribal gathering in Delaware.
Collection Restrictions:
Access to NMAI Archive Center collections is by appointment only, Monday - Friday, 9:30 am - 4:30 pm. Please contact the archives to make an appointment (phone: 301-238-1400, email: nmaiarchives@si.edu).
Collection Rights:
Permission to publish materials from the collection must be requested from National Museum of the American Indian Archive Center. Please submit a written request to nmaiphotos@si.edu. For personal or classroom use, users are invited users to download, print, photocopy, and distribute the images that are available online without prior written permission, provided that the files are not changed, the Smithsonian Institution copyright notice (where applicable) is included, and the source of the image is identified as the National Museum of the American Indian.
Some images restricted: Cultural Sensitivity
Collection Citation:
Identification of specific item; Date (if known); Frederick Johnson photograph collection, Photo Number; National Museum of the American Indian Archive Center, Smithsonian Institution.
Hi ro jerum -- Walkin' and a-talkin -- My old man -- Missy Mouse -- Par un matin -- French partisan song -- Buffalo boy -- Sam Hall -- Far from my darlin' -- Cuckoo.
Track Information:
101 Hi Ro Jerum / Robert De Cormier, Louise De Cormier.
102 Walkin' And A-Talkin' / Robert De Cormier, Louise De Cormier.
103 My Old Man / Robert De Cormier, Louise De Cormier.
104 Missy Mouse / Robert De Cormier, Louise De Cormier.
105 Par Un Matin / Robert De Cormier, Louise De Cormier.
201 French Partisan Song / Robert De Cormier, Louise De Cormier.
202 Buffalo Boy / Robert De Cormier, Louise De Cormier.
203 Sam Hall / Robert De Cormier, Louise De Cormier.
204 Far From My Darlin' / Robert De Cormier, Louise De Cormier.
205 Cuckoo / Robert De Cormier, Louise De Cormier.
Local Numbers:
FW-ASCH-LP-0391
Stinson.68
Publication, Distribution, Etc. (Imprint):
Stinson 195x
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.
The original talking blues --Tooth pickin' time in False Teeth Valley --Jessie jug polka --Lonesome for mother --Sippin' cider --It goes like this --Sweet violets --Mama don't allow no music --Yodelling guitar --Courtin' in the rain --French harp drag (instrumental) --Grandfather's clock --Fiddlin' trombone -- Meet me by the ice house --Susannah was a funny old man.
Track Information:
101 The Original Talking Blues / Robert Lunn. Guitar.
102 Tooth Pickin' Time in False Teeth Valley / Robert Lunn. Guitar.
103 Jessie Jug Polka / Robert Lunn. Guitar.
104 Lonesome for Mother / Robert Lunn, Gene Martin. Guitar.
105 Sippin' Cider / Robert Lunn. Guitar.
106 It Goes Like This / Robert Lunn. Guitar.
201 Sweet Violets / Robert Lunn. Guitar.
202 Mama Don't Allow No Music (Mama Don't Low) / Robert Lunn. Guitar.
203 Yodeling Guitar / Robert Lunn. Guitar.
204 Courtin' in the Rain / Robert Lunn, Bashful Brother Oswald. Guitar.
205 French Harp Drag / Robert Lunn, Jimmy Riddle. Guitar,Harmonica.
206 Grandfather's Clock / Robert Lunn. Guitar.
207 Fiddlin' Trombone / Robert Lunn, Howdy Forrester. Guitar.
208 Meet Me by the Ice House / Robert Lunn. Guitar.
209 Susannah Was a Funny Old Man / Robert Lunn, Jimmy Riddle. Guitar,Harmonica.
Local Numbers:
FP-RINZ-LP-0481
Starday.228
Publication, Distribution, Etc. (Imprint):
Starday Cincinatti, Ohio 1965
General:
Program notes by Don Pierce on container. Performer(s): Robert Lunn, vocals, guitar ; Bashful Brother Oswald, dobro, banjo, jug and vocals ; Jimmy Riddle, harmonica, washboard, vocals ; Howdy Forrester, fiddle ; Gene Martin, guitar ; Junior Huskey, bass. Production notes: Recorded in Nashville, Tenn.
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.
Taylor, James E., 1839-1901 (artist and collector) Search this
Extent:
1 Photographic print (002 in x 003 in mounted on 014 in x 018 in)
Container:
Volume 1, Page 71
Type:
Archival materials
Photographic prints
Photographs
Date:
undated
Scope and Contents:
Based on a handwritten note from Cora Kennicott to Spencer Baird held at Smithsonian Institution Archives, the photo was likely taken in 1862 or 1863 in "Chicago Studio shortly after Kennicott returned from a Smithsonian sponsored collecting expedition through Canada and into Alaska; [he is] dressed in his exploring outfit." Information provided by Sandra Schlachtmeyer (10/17/2006).
Local Numbers:
NAA INV.01603504
NAA MS.MS 4605
OPPS NEG.56542
Local Note:
Black and white Photoprint on Paper Mount in Album
Collection Restrictions:
The collection is open for research.
Access to the collection requires an appointment.
Collection Rights:
Contact the repository for terms of use.
Genre/Form:
Photographs
Collection Citation:
MS 4605, James E. Taylor scrapbook of the American West, National Anthropological Archives, Smithsonian Institution
Outdoor profile portrait of Catawba man Robert "Bob" Lee Harris, seated in a wooden chair, wearing a suit jacket and shirt, with his arms crossed. Posed with trees in the background on the Catawba Reservation in South Carolina. Originally identified as Jim Harris.
Collection Restrictions:
Access to NMAI Archive Center collections is by appointment only, Monday - Friday, 9:30 am - 4:30 pm. Please contact the archives to make an appointment (phone: 301-238-1400, email: nmaiarchives@si.edu).
Collection Rights:
Permission to publish materials from the collection must be requested from National Museum of the American Indian Archive Center. Please submit a written request to nmaiphotos@si.edu. For personal or classroom use, users are invited to download, print, photocopy, and distribute the images that are available online without prior written permission, provided that the files are not modified in any way, the Smithsonian Institution copyright notice (where applicable) is included, and the source of the image is identified as the National Museum of the American Indian. For more information please see the Smithsonian's Terms of Use and NMAI Archive Center's Digital Image request website.
Collection Citation:
Identification of specific item; Date (if known); Frank Speck photograph collection, Photo Number; National Museum of the American Indian Archive Center, Smithsonian Institution.
