Search Results

Collection Creator:

Donaldson, Jeff, 1932-2004  Search this

Container:

Box 8, Folder 10

Type:

Archival materials

Date:

1976-1977

Collection Restrictions:

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

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:

Jeff Donaldson papers, 1918-2005, bulk 1960s-2005. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the digitization of the Jeff Donaldson papers was provided by the Walton Family Foundation.

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Jeff Donaldson papers

Jeff Donaldson papers / Series 7: Professional Files / 7.3: FESTAC

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9d94cdac5-2c10-4f50-9eb5-81d10a6e0515

EDAN-URL:

ead_component:sova-aaa-donajeff-ref269

Container:

Box 3 of 33

Type:

Archival materials

Collection Citation:

Smithsonian Institution Archives, Accession 90-068, Science Service, Records

See more items in:

Records

Records / Box 3

Archival Repository:

Smithsonian Institution Archives

EDAN-URL:

ead_component:sova-sia-fa90-068-refidd1e1291

Container:

Box 1 of 3

Type:

Archival materials

Collection Citation:

Smithsonian Institution Archives, Accession 16-148, Smithsonian Institution. Office of Interdisciplinary Studies, Symposia and Seminars Records

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Symposia and Seminars Records

Symposia and Seminars Records / Box 1

Archival Repository:

Smithsonian Institution Archives

EDAN-URL:

ead_component:sova-sia-fa16-148-refidd1e330

Collection Creator:

Chernow, Burt  Search this

Container:

Box 21, Folder 6

Type:

Archival materials

Date:

1970-1971

Collection Restrictions:

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

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:

Burt Chernow papers, 1930-2002. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Andrew W. Mellon Foundation, administered through the Council on Library and Information Resources' Hidden Collections grant program.

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Burt Chernow papers

Burt Chernow papers / Series 4: Printed Material / Books by Don Celender

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw98f661e30-27c6-446d-9eed-b089f46b0474

EDAN-URL:

ead_component:sova-aaa-cherburt-ref1089

Manufacturer:

Aladdin Industries Incorporated  Search this

Artist:

Robert O. Burton  Search this

Materials:

Metal

Dimensions:

3-D: 21.6 x 8.9 x 19.1cm (8 1/2 x 3 1/2 x 7 1/2 in.)

Type:

MEMORABILIA-Popular Culture

Country of Origin:

United States of America

Date:

1952-1953

Credit Line:

Gift of Aladdin Industries, L.L.C.

Inventory Number:

A20070086000

Restrictions & Rights:

Usage conditions apply

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National Air and Space Museum Collection

Data Source:

National Air and Space Museum

GUID:

http://n2t.net/ark:/65665/nv91d40c215-b631-4d99-ae26-df230be28816

EDAN-URL:

edanmdm:nasm_A20070086000

Artist:

Rhoda Sherbell, born 1938  Search this

Sitter:

Aaron Copland, 14 Nov 1900 - 2 Dec 1990  Search this

Medium:

Bronze

Dimensions:

With Base: 52.7 x 25.4 x 28.9cm (20 3/4 x 10 x 11 3/8")

Without Base: 37.5 x 25.4 x 28.9cm (14 3/4 x 10 x 11 3/8")

Base: 15.2 x 15.2cm (6 x 6")

Type:

Sculpture

Place:

United States\New York\Kings\New York

Date:

1977

Topic:

Aaron Copland: Male  Search this

Aaron Copland: Performing Arts\Performer\Musician\Composer  Search this

Aaron Copland: Performing Arts\Performer\Musician\Conductor  Search this

Aaron Copland: Pulitzer Prize  Search this

Aaron Copland: Oscar  Search this

Aaron Copland: Presidential Medal of Freedom  Search this

Aaron Copland: Congressional Gold Medal  Search this

Portrait  Search this

Credit Line:

National Portrait Gallery, Smithsonian Institution

Object number:

NPG.94.30

Restrictions & Rights:

Usage conditions apply

Copyright:

© Rhoda Sherbell

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National Portrait Gallery Collection

Exhibition:

Bravo!

On View:

NPG, South Gallery 310 Mezzanine

Data Source:

National Portrait Gallery

GUID:

http://n2t.net/ark:/65665/sm4face3d66-060b-4922-8019-d9ab928dd3ed

EDAN-URL:

edanmdm:npg_NPG.94.30

Artist:

Colin Davidson, born 1968  Search this

Sitter:

Brad Pitt, born 1963  Search this

Medium:

Oil on canvas

Dimensions:

Stretcher: 127 × 116.8 cm (50 × 46")

Type:

Painting

Place:

British Isles\Ireland

Éire\Leinster\Dublin

Date:

2013

Topic:

Brad Pitt: Male  Search this

Brad Pitt: Performing Arts\Performer\Actor\Movie  Search this

Portrait  Search this

Credit Line:

National Portrait Gallery, Smithsonian Institution; gift of The Lowry Wallace Collection (Ireland)

Object number:

NPG.2014.101

Restrictions & Rights:

Usage conditions apply

Copyright:

© 2013 Colin Davidson

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National Portrait Gallery Collection

Data Source:

National Portrait Gallery

GUID:

http://n2t.net/ark:/65665/sm42d6d1680-8c11-46e7-88fc-9296e943eff2

EDAN-URL:

edanmdm:npg_NPG.2014.101

Artist:

Unidentified Artist  Search this

Sitter:

Franklin Delano Roosevelt, 30 Jan 1882 - 12 Apr 1945  Search this

Medium:

Gelatin silver print

Dimensions:

Image: 16 × 21.2 cm (6 5/16 × 8 3/8")

Sheet: 18.2 × 23 cm (7 3/16 × 9 1/16")

Mat: 45.7 × 35.6 cm (18 × 14")

Type:

Photograph

Place:

United States\District of Columbia\Washington

Date:

c. 1940

Topic:

Interior  Search this

Equipment\Sound Devices\Microphone  Search this

Costume\Dress Accessory\Eyeglasses\Pince-nez  Search this

Artwork\Portrait  Search this

Equipment\Smoking Implements\Ashtray  Search this

Home Furnishings\Curtain  Search this

Costume\Dress Accessory\Tie\Bowtie  Search this

Personal Attribute\Teeth  Search this

Franklin Delano Roosevelt: Male  Search this

Franklin Delano Roosevelt: Law and Law Enforcement\Lawyer  Search this

Franklin Delano Roosevelt: Politics and Government\Governor\New York  Search this

Franklin Delano Roosevelt: Politics and Government\President of US  Search this

Franklin Delano Roosevelt: Politics and Government\State Senator\New York  Search this

Franklin Delano Roosevelt: Politics and Government\Vice-Presidential Candidate  Search this

Portrait  Search this

Credit Line:

National Portrait Gallery, Smithsonian Institution

Object number:

S/NPG.78.158

Restrictions & Rights:

Usage conditions apply

See more items in:

National Portrait Gallery Collection

Data Source:

National Portrait Gallery

GUID:

http://n2t.net/ark:/65665/sm4a069ced9-9427-4a2e-ad4c-1ec87f550402

EDAN-URL:

edanmdm:npg_S_NPG.78.158

Collection Creator:

Harris, Marvin, 1927-2001  Search this

Extent:

[1 of 2]

Container:

Box 73

Type:

Archival materials

Text

Date:

1967-1968

Scope and Contents:

Anti-Vietnam; includes materials relating to Vietnam Facts, name later changed to Mass Media for Peace

Collection Restrictions:

Access to student records (consisting of graded materials and student recommendation letters), grant proposals sent to Harris for review by grant agencies, and part of his faculty recruitment files are restricted until 2081. Series 10. Computer Files are also restricted due to preservation concerns.

Collection Rights:

Contact the repository for terms of use.

Collection Citation:

Marvin Harris papers, National Anthropological Archives, Smithsonian Institution.

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Marvin Harris papers

Marvin Harris papers / Series 6: University / 6.1: Columbia University

Archival Repository:

National Anthropological Archives

GUID:

https://n2t.net/ark:/65665/nw31b0d8988-dbc6-4bdf-9cf7-06203aae336b

EDAN-URL:

ead_component:sova-naa-2009-27-ref3005

Collection Creator:

Harris, Marvin, 1927-2001  Search this

Extent:

3.17 Linear feet

Type:

Archival materials

Date:

1947-1999

Scope and Contents:

This series contains Harris' administrative and teaching files as professor at Columbia University and University of Florida. Harris taught at Columbia University from 1953 to 1980 and was at University of Florida from 1980 until his retirement in 2000. His students' graded assignments and letters of references are restricted as well as some of his University of Florida faculty recruitment files. For more of his students' files, see Series 5. Name Subject Files.

Harris' activism in the 1960s at Columbia University is also documented in this series. Harris was one of the organizers of the Ad Hoc Teaching Committee on Vietnam and served as vice-chairman of Vietnam Facts, which later changed its name to Mass Media for Peace. Harris was involved in the student protests of 1968 at Columbia University. In April of that year, students occupied five campus buildings to protest the university's involvement in government wartime research and its controversial plans to build a gymnasium at Morningside Park. Harris was a member of the Ad Hoc Faculty Group, which was formed to act as mediators between the striking students and the administration. Violence erupted when the administration called in the police, which resulted in several people being injured and over 700 people arrested. Harris was one of the professors from the Ad Hoc Faculty Group standing between students and police in front of Fayerweather Hall, one of the occupied buildings. In his article, "Big Busts on Morningside Heights" (1968), Harris recounted the events of the protests and criticized the actions of the university administrators. He was one of the few faculty members that openly sided with the students. Materials from that time period include university memos, pamphlets, Harris' oral history, and notes on Seymour Melman's oral history. See Series 9. Photographs for photos from the protests.

Arrangement:

This series is arranged in 2 sub-series: (6.1) Columbia University, 1947-1980; (6.2) University of Florida, 1981-1999

Collection Restrictions:

Access to student records (consisting of graded materials and student recommendation letters), grant proposals sent to Harris for review by grant agencies, and part of his faculty recruitment files are restricted until 2081. Series 10. Computer Files are also restricted due to preservation concerns.

Collection Rights:

Contact the repository for terms of use.

Collection Citation:

Marvin Harris papers, National Anthropological Archives, Smithsonian Institution.

Identifier:

NAA.2009-27, Series 6

See more items in:

Marvin Harris papers

Archival Repository:

National Anthropological Archives

GUID:

https://n2t.net/ark:/65665/nw35d1b1102-934b-43d6-99dd-636ef00947f0

EDAN-URL:

ead_component:sova-naa-2009-27-ref2948

Creator:

Nevelson, Louise, 1899-1988  Search this

Extent:

30.5 Linear feet

40.5 Megabytes

Type:

Collection descriptions

Archival materials

Megabytes

Photographs

Interviews

Sketches

Scrapbooks

Date:

circa 1903-1982

Summary:

The papers of Louise Nevelson measure 30.5 linear feet and 40.5 MB and date from circa 1903 to 2019. The collection documents aspects of the life and work of the sculptor, focusing especially on her later career. Papers include correspondence, personal business records, writings, scrapbooks, early art work, photographs, interviews, awards and honorary degrees, books, and an extensive amount of printed material.

Scope and Content Note:

The papers of Louise Nevelson measure 30.5 linear feet and date from circa 1903 to 1988. The collection documents aspects of the life and work of the sculptor, focusing especially on her later career. Papers include correspondence, personal business records, writings, scrapbooks, some of Nevelson's early art work, photographs, interviews, awards and honorary degrees, books, and an extensive amount of printed material.

Interviews, awards, and honorary degrees comprise a series of biographical material, along with scattered personal papers such as a graduation program, wedding announcement, teaching certificate, invitations, miscellaneous notes, and material relating to Nevelson's family. Correspondence consists of letters and enclosures from a wide range of professional contacts, including museums and art centers, universities, art associations, women's and charitable organizations, artists, and philanthropists, among others, concerning the exhibition, sale, and donation of Nevelson's art work, and her various arts-related activities, as well as some letters from friends and family. Correspondence can also be found amongst the subject files, which also include clippings, notes, printed and other material organized according to subject and relating to certain exhibitions, and various artistic and professional activities. Whether this organization originates with Nevelson, one of her assistants, or Archives staff is unknown.

Found amongst Nevelson's business records are consignment receipts, statements, correspondence, inventories, disposition cards, notebooks, and lists, stemming from her business dealings with the Martha Jackson Gallery and related matters, usually carried out by her assistant at the time. Business records relate in particular to the large and complex project of inventorying Nevelson's art work undertaken sometime in the early-1960s. Nevelson's writings consist of poems and poem fragments, a short-lived dream journal, scattered writings on art, and drafts from Dawns and Dusks: Taped Conversations with Diana MacKown by Louise Nevelson and Diana MacKown. Also found are a large number of scrapbooks and an extensive amount of printed material, which likely stem in large part from Nevelson's concern to document and keep a record of her accomplishments. Scrapbooks contain clippings, exhibition announcements and catalogs, and other material documenting Nevelson's early career from roughly the mid-1930s to the mid-1950s. Also included are loose items comprising a scrapbook of sorts on son Mike Nevelson and various scrapbooks compiled by others as mementos of particular events. Printed material includes an extensive amount of clippings and publications, exhibition catalogs and announcements, and a variety of other printed material relating or referring to Nevelson or merely featuring her name in print. Also included are several books, some of which are about or feature segments on Nevelson. This material documents both her critical and commercial success, and her role as personality and minor celebrity in the mass media later in her career, especially during the 1960s and 1970s.

Art work consists of early drawings and watercolors made by Nevelson as a child and adolescent and while studying art in high school and New York, which document her artistic tendencies as youth and her early development as an artist and which provide an interesting contrast to her later work in sculpture. Photographs include ones of the Berliawsky family and Nevelson as a child, adolescent, and young woman in the 1920s and 1930s before she became known as an artist; ones of Nevelson from the mid-1950s to the 1980s, once she had become known, and began to be honored, as an artist; and ones of Nevelson's art work, as well as of various exibitions and installations of her work. Also included are a number of slides of the artist and her art work, including photographs taken by Dorothy Dehner in the mid-1950s at Louise Nevelson's house on Thirtieth Street.

There is a 40.5 MB unprocessed addition to this collection donated in 2022 that includes digital photographs of a plaque commemoration installed in Louise Nevelson's birth town of Pereyaslav, Ukraine in 2019. Organizers of the event include Julie Gard, Associate Professor of Writing and Associate Director of the Writing Center at the University of Wisconsin-Superior; Yuri Avramenko, Memorial Organizer in Pereyaslav-Ukraine and Maria Nevelson, Founder and Executive Director and Chair of the Board for the Louise Nevelson Foundation. Materials date from 2019.

Arrangement:

The Louise Nevelson papers are arranged into ten series:

Missing Title

Series 1: Biographical Material, 1918-1985 (Boxes 1, 17, OV 21, 30, 31, Sol 42; 2.3 linear feet)

Series 2: Correspondence, 1931-1984 (Boxes 1-2, 31-35, Sol 42; 6 linear feet)

Series 3: Subject Files, 1955-1988 (Box 3, 35-36; 1.7 linear feet)

Series 4: Business Records, 1946-1981 (Boxes 3-5, 36-38, Sol 42; 3.8 linear feet)

Series 5: Writings, 1936-1980 (Box 5, 38, Sol 42; 0.5 linear feet)

Series 6: Scrapbooks, 1935-1983 (Boxes 5, 18-19, OV 22-27, 38, Sol 42; 1.5 linear feet)

Series 7:Books and Printed Material, 1904-1985 (Boxes 6-13, 19, OV 28, 38-40, Sol 43; 9.5 linear feet)

Series 8: Art Work, 1905-1982 (Boxes 13, 20, 40, Sol 43; 0.5 linear feet)

Series 9: Photographs, circa 1903-1980s (Boxes 14-15, 20, OV 29, 40-41, Sol 43; 3.5 linear feet)

Series 10: Unprocessed Addition, 2019 (40.5 MB)

Biographical Note:

Louise Nevelson was born in 1899 in Kiev, Russia. Her parents, Isaac and Minna Berliawsky, and their children emigrated to America in 1905 and settled in Rockland, Maine, where the young Louise grew up as a bit of an outsider in local society. She decided upon a career in art at an early age and took some drawing classes in high school, before graduating in 1918. Two years later, she married Charles Nevelson, a wealthy businessman, and moved to New York. She proceeded to study painting, drawing, singing, acting, and eventually dancing. In 1922, Nevelson gave birth to a son, Myron (later called Mike). She eventually separated from her husband in the winter of 1932-1933; and they divorced officially in 1941.

Beginning in 1929, Nevelson began to study art full-time at the Art Students League, where she took classes with Kenneth Hayes Miller and Kimon Nicolaides. In 1931, she went to Europe and studied with Hans Hofmann in Munich before traveling to Italy and France. She returned to New York in 1932 and again studied for a time with Hofmann, who was by now a guest instructor at the Art Students League. In 1933, she met Diego Rivera while he was in New York working on his mural for Rockefeller Center and casually worked as his assistant for a short period. Shortly thereafter, she began to work in sculpture and joined a sculpture class taught by Chaim Gross at the Educational Alliance. She continued to draw and paint, and even took up etching, lithography, and other techniques at different points in her career, but from this time on, she concentrated on sculpture. Her early sculptures were primarily in plaster, clay, and tattistone.

During the thirties, Nevelson exhibited in a number of group shows (both non-juried and competitive ones), garnering some recognition for her work. In 1935, she taught mural painting at the Flatbush Boys Club in Brooklyn, as part of the Works Progress Administration (WPA), then went on to work in the fine-arts division as an easel painter and sculptor until 1939. In 1941, Nevelson had her first solo exhibition at the Nierendorf Gallery, run by Karl Nierendorf who represented her until his death in 1947. Both this and a one-woman show the following year received favorable reviews. It was around this time that she discovered the decorated shoeshine box of Joe Milone, a local tradesman, and arranged to have it exhibited at the Museum of Modern Art, an occasion which received much notice in the press.

In the 1940s, Nevelson produced a great many works in stone, bronze, terra cotta, and wood, most of them being cubist studies of the figure. In 1943, she had a show titled "The Clown as the Center of his World" at the Norlyst Gallery, which featured works on a circus theme constructed from discarded pieces of wood and other material. This new work was not very well received at the time, and it wasn't until the mid-1950s that she began to work with discarded and found objects on a regular basis.

During the early-1950s, Nevelson attempted to exhibit her work as often as possible, eventually receiving various prizes and notices for her work in the press. She continued to struggle financially though and began to teach sculpture classes in the adult education program of the Great Neck, Long Island public schools in order to make ends meet. In 1955, she joined he Grand Central Moderns Gallery, which was run by Colette Roberts, and had several one-woman shows there. These included: "Ancient Games and Ancient Places" in 1955, featuring Bride of the Black Moon, "The Forest" in 1957, featuring First Personage, and "Moon Garden + One" in 1958, featuring her first wall, Sky Cathedral. During this period, she was painting her wood black and putting together entirely black exhibits; she went on to create works in white and gold in the early-1960s. Around this time, she also began to enclose her small sculptures within wooden boxes.

Nevelson joined the Martha Jackson Gallery in 1958, where she received a guaranteed income and finally achieved a certain degree of financial security. Her first show at the gallery, "Sky Columns Presence," took place in the fall of 1959. In 1960, she had her first one-woman exhibition in Europe at the Galerie Daniel Cordier in Paris. Later that year, her work, grouped together as "Dawn's Wedding Feast," was included in the group show, "Sixteen Americans," at the Museum of Modern Art, alongside the work of Jasper Johns, Robert Rauschenburg, and other younger artists. She made her first museum sale in 1962 when the Whitney Museum of American Art purchased the black wall, Young Shadows. That same year, Nevelson's work was selected for the thirty-first Biennale in Venice.

Over the years, Nevelson took on several assistants, including Teddy Haseltine, Tom Kendall, and Diana Mackown, to help in the studio and with daily affairs. She also participated in various artists' groups, and served as President of the New York Chapter of Artists' Equity from 1957 to 1958, and as President of the national organization from 1962 to 1964. She left the Martha Jackson Gallery in 1962, and after a brief, unhappy stint with the Sidney Janis Gallery, she joined the Pace Gallery, which was run by Arnold Glimcher, in the fall of 1963. She proceeded to have shows of new work there about every two years for the remainder of her career. She had her first museum retrospective at the Whitney Museum in 1967, which featured over a hundred of her works from her drawings from the 1930s to her latest constructions. And in 1968, she was elected to the National Institute of Arts and Letters. By this time, Nevelson had achieved both critical and commercial success as an artist.

Nevelson always experimented with new materials; she continued to construct her black wood walls, but also went on make constructions from aluminium, plastic, and metal. In the fall of 1969, she was commissioned by Princeton University to do a monumental outdoor sculpture in Cor-ten steel (her first), and went on to do commissioned works for the Philadelphia Federal Courthouse, and Chase Manhattan Bank in New York, among others. In 1973, the Walker Art Center organized a major exhibition of Nevelson work which traveled around the country over the next two years. In 1975, she designed the chapel for St. Peter's Lutheran Church in midtown Manhattan.

Nevelson was widely honored for her work during her lifetime. Over the years, she received honorary degrees from Rutgers University and Harvard University, among other schools, as well as numerous awards, including the Brandeis University Creative Arts Award in Sculpture and the Skowhegan Medal for Sculpture in 1971, the gold medal for sculpture from the American Academy of Arts and Letters in 1983, and the National Medal of the Arts in 1985. By the time of her death on April 17, 1988, Nevelson was considered by and large one of the most important American sculptors of the twentieth century.

Sources consulted for this biographical note include Louise Nevelson: A Passionate Life by Laurie Lisle and Louise Nevelson by Arnold Glimcher.

Related Material:

Other resources relating to Louise Nevelson in the Archives include oral history interviews with Nevelson conducted by Dorothy Seckler, June 1964-January 14, 1964, and Arnold Glimcher, January 30, 1972. Also related are a 4 part untranscribed audio recording of an interview with Nevelson by Barbaralee Diamonstein, an audio recording of an interview with Nevelson conducted by Barbara Braun in 1983, and a video recording of Nevelson's 1958 exhibition installation at Grand Central Moderns gallery.

Provenance:

Donated 1966-1979 by Louise Nevelson,and in 2018 by the Farnsworth Art Museum in Rockland, Maine via Michael Komanecky, Chief Curator. The Farnsworth Art Museum received the materials from Louise Nevelson, her son Mike Nevelson, brother Nathan Berliawksy, and others that were close to the artist. Additional material donated in 2022 by Maria Nevelson, Louise Nevelson's granddaughter.

Restrictions:

The bulk of this collection has been digitized and is available online via AAA's website, with the exception of the 2017 and 2022 addition. 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:

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

Topic:

Works of art  Search this

Sculpture -- Exhibitions  Search this

Sculpture, Modern -- 20th century -- New York (State) -- New York  Search this

Women artists  Search this

Women sculptors  Search this

Genre/Form:

Photographs

Interviews

Sketches

Scrapbooks

Citation:

Louise Nevelson papers, circa 1903-1982. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for a portion of the processing and digitization of this collection was provided by the Terra Foundation for American Art. Additional processing received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.

Identifier:

AAA.neveloui

See more items in:

Louise Nevelson papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw99c8dde75-538a-43a6-a68e-fa1db8e7d535

EDAN-URL:

ead_collection:sova-aaa-neveloui

Collection Creator:

Smithsonian Institution. Center for Folklife and Cultural Heritage  Search this

Type:

Archival materials

Collection Restrictions:

Access by appointment only. Where a listening copy or viewing copy has been created, this is indicated in the respective inventory; additional materials may be accessible with sufficient advance notice and, in some cases, payment of a processing fee. Older papers are housed at a remote location and may require a minimum of three weeks' advance notice and payment of a retrieval fee. Certain formats such as multi-track audio recordings and EIAJ-1 videoreels (1/2 inch) may not be accessible. Contact the Ralph Rinzler Folklife Archives and Collections at 202-633-7322 or rinzlerarchives@si.edu for additional information.

Collection Rights:

Copyright and other restrictions may apply. Generally, materials created during a Festival are covered by a release signed by each participant permitting their use for personal and educational purposes; materials created as part of the fieldwork leading to a Festival may be more restricted. We permit and encourage such personal and educational use of those materials provided digitally here, without special permissions. Use of any materials for publication, commercial use, or distribution requires a license from the Archives. Licensing fees may apply in addition to any processing fees.

Collection Citation:

Smithsonian Folklife Festival records: 1988 Festival of American Folklife, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.

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Smithsonian Folklife Festival records: 1988 Festival of American Folklife

Smithsonian Folklife Festival records: 1988 Festival of American Folklife / Series 2: American Folklore Society Centennial / Audio

Archival Repository:

Ralph Rinzler Folklife Archives and Collections

GUID:

https://n2t.net/ark:/65665/bk5603c05dc-94c1-46e0-9b6d-2ef2cafc6f3a

EDAN-URL:

ead_component:sova-cfch-sff-1988-ref2018

Collection Creator:

Ojeda, Naúl, 1939-2002  Search this

Container:

Box 3, Folder 16

Type:

Archival materials

Date:

1974-1983

Scope and Contents:

Includes records of fees for Ojeda's photographs used for book projects.

Collection Restrictions:

This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.

Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.

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:

Naúl Ojeda papers, circa 1960-2004, circa 2013. Archives of American Art, Smithsonian Institution.

Sponsor:

The processing and digitization of this collection received Federal support from the Latino Initiatives Pool, administered by the Smithsonian Latino Center. Additional funding for the digitization of the papers was provided by the Roy Lichtenstein Foundation.

See more items in:

Naúl Ojeda papers

Naúl Ojeda papers / Series 4: Professional Files

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9714e5ac0-b7ed-4e7c-b3bf-a632e8aa878b

EDAN-URL:

ead_component:sova-aaa-ojednaul-ref103

Creator:

Korda, Ronald S., -1996  Search this

Korda, Catherine  Search this

Extent:

57 Cubic feet (259 boxes, 1 oversized folder)

Type:

Collection descriptions

Archival materials

Albums

Baseball cards

Collecting cards

Posters

Programs

Stickers

Date:

1952-1996

Summary:

Sports and trading cards, 1952-1996, amassed by card collector Ronald S. Korda. The sports cards are subdivided by sport. Baseball cards, (1952-1996), comprise the vast majority of the sports cards, while football (1968-1996) and hockey (1968-1996) are the two next largest subseries. There are lesser quantities of cards for basketball, and only a few each for all other sports, such as racing, skiing, etc. Non-sports cards cover a large variety of popular culture topics, including motion pictures, television programs, popular music, toys, games, cars and trucks, comics, fantasy art, and many other subjects. Some ephemeral items are also included in the collection, such as sticker albums, posters and programs

Scope and Contents:

This collection is divided into two main series, Series 1, Sports; and Series 2, Non-Sports.

Series 1, Sports, comprises more than 90% of the collection. Within Series 1, the collection is divided into seven subseries:

Subseries 1.1: Baseball;

Subseries 1.2: Football;

Subseries 1.3: Hockey;

Subseries 1.4: Basketball;

Subseries 1.5: Other Sports;

Subseries 1.6: Sports programs, schedules and other paper ephemera; toys, souvenirs and novelty items;

Subseries 1.7: Sports card packaging.

Subseries 1.1 is the largest, with baseball cards making up approximately 70% of the entire Korda collection. Within the first three subseries, the cards are further subdivided into cards in sets, which are sleeved, and cards in packs, which are stored in card-sized boxes. Subseries D and E are in packs only. Both cards in sets and in packs have been arranged alphabetically by manufacturer, and thereunder, chronologically. Within sets, cards are arranged in numerical order by card number. In cases where, for baseball cards, titles of sets were unclear or ambiguous, the reference book Sports Collector's Digest's Standard Catalog of Baseball Cards (which in this finding aid will be referred to as Standard Catalog) was used to determine how card sets should be titled. Likewise, in the rare cases in which cards were not numbered within sets, the order used was that given in Standard Catalog. In the case of football and hockey, Beckett's Football Card Monthly and Beckett's Hockey Card Monthly were used as reference guides.

Series 2: Non-Sports, is arranged into twenty three subseries:

Subseries 2.1: Mass Media and Entertainment

Subseries 2.2: Education

Subseries 2.3: Comic Books and Strips

Subseries 2.4: Toys and action figures

Subseries 2.5: Literature

Subseries 2.6: Automotive Themes

Subseries 2.7: Crime and Law Enforcement

Subseries H: Military Topics

Subseries 2.8: Biography

Subseries 2.9: Fine Arts

Subseries 2.10: Adult Themes

Subseries 2.11: Beauty Contests

Subseries 2.12: Video Games

Subseries 2.13: Parodies

Subseries 2.14: Product Advertising

Subseries 2.15: Fantasy Art

Subseries 2.16: Monsters

Subseries 2.17: Card Games

Subseries 2.18: Stickers, patches and tattoos

Subseries 2.19: Toys, games, puzzles, post cards and posters

Subseries 2.20: Pogs, caps and gum wrappers

Subseries 2.21: Oversize of above topics

Subseries 2.22: Non-card items, relating to above topics

Subseries 2.1, Mass media and entertainment, is the largest of the non-sports categories, comprising movies, television and music. Other subseries are similarly subdivided. Unlike the majority of the sports cards, the non-sports cards are stored in small, card-sized cartons, which have been assigned the letters A through DD, and are stored in 4 Paige boxes and 1 document box. They are listed here according to titles of packs.

Arrangement:

The collection is divided into two series.

Series 1: Sports

Series 2: Non-sports

Biographical note:

Ronald Korda, an employee of NBC television and a man of modest, middle class means, began assembling his card collection in childhood after receiving a pack of cards as a party favor. After that initial inspiration, he began his collecting hobby which was his passion until his death in March, 1996. In the early years of his hobby, he collected baseball cards, later expanding to other sports as well as cards on diverse popular culture topics. Among these topics are films, television, popular music, science and nature, comics and magazines, toys and action figures, games, and products, and in addition to cards, there are stickers, sticker albums, tattoos, gum wrappers, puzzles, games and other novelty items. Numerous foreign issues are included. He amassed his collection by attending cards and collectibles shows and seeking out reputable dealers, and by purchasing factory sets when they became available. He was selective and careful, and in the case of the sports cards, succeeded in acquiring complete sets of virtually every series which he collected. (With the non-sports cards, he tended to collect samples rather than entire sets.) This thoroughness is what makes this collection rare and possibly unique among any card collections in public or private hands. With few exceptions, there are no cards missing, and virtually all are in mint or near mint condition. The Kordas could have sold their collection for a fortune, but felt it important that the collection stay together as a unit. Mr. Korda, in an emotional article entitled "Collections Should Live Forever" written for Baseball Hobby News, referred to his collection as "my card family" and expressed the fear that the family would be split up after he died. He approached the Smithsonian late in 1995. Just days before the Archives Center was to acquire the collection, Mr. Korda died. Finalization of his gift was completed by his wife.

History:

Although baseball and other trading cards date back to the nineteenth century, with some of the earliest accompanying packages of tobacco, they gained great popularity during the Depression with the advent of the bubble gum card. In the post-World War II years, and especially during the prosperous decade of the 1950s, they began to enjoy tremendous popularity, as the technology for producing them improved. The market rapidly expanded, and cards for other sports and other topics became popular, just as competition among manufacturers was heating up. The earliest trading cards accompanied packs of tobacco, but were eventually used to advertise gum, cookies, soft drinks, baked goods, hot dogs, and numerous other products. Card manufacturers, such as Topps, changed card formats with each new set, varying the presentation of statistics, vertical and horizontal orientation, use of action shots, candid shots and portraits, and inclusion of puzzles, games, fold-outs, and other novelties. They also added new features, such as trivia questions, cartoons, and holograms. As the hobby has changed, so have trading cards. Today's glossy, high-tech trading cards bear little resemblance to the tobacco cards of the 19th century or even to the cards produced during the "golden age" of cards in the 1950s. This collection represents a very diverse sampling of the card hobby from the 1950s to the 1990s.

Separated Materials:

Some card packaging was transferred to the Museum's Division of Cultural History (now Division of Cultural and Community Life).

Provenance:

The entire collection was donated to the Archives Center in April, 1996 by Mr. Korda's widow, Catherine Korda. Some of the card packaging was transferred by the Archives Center to the Division of Cultural History.

Restrictions:

Collection is open for research but is 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

Use of this collection by researchers requires compliance with security procedures more stringent than those required for other collections in the Archives Center. This is due to the high value and rarity of some of the items in this collection. Autographed items, and cards valued at higher than $300 by Standard Catalog and Beckett's are stored separately, and may be seen only with special permission from the Reference Archivist, and then only in cases (such as photography or scanning) where it is deemed a necessity.

Color photocopies have been placed in sleeves where these items would normally be stored. When using card boxes, only six at a time may be requested from the Reference Archivist, and unlike other collections, may not be reserved in advance (i.e., on each separate research visit, a researcher must request boxes only for that visit.)

Card sleeves may be taken out of the binders for photocopying only with the permission and the supervision of the Archives Center staff. Cards may not be taken from sleeves, except with the permission and supervision of Archives Center staff. This may involve making advance arrangements with the Archives Center staff. These procedures are necessary for the preservation of this exceptional collection in perpetuity.

Rights:

Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Topic:

Baseball  Search this

Baseball players  Search this

Basketball  Search this

Basketball cards  Search this

Cards  Search this

Collectibles  Search this

Collectors and collecting  Search this

Football  Search this

Football cards  Search this

Football players  Search this

Hockey  Search this

Hockey players  Search this

Motion pictures  Search this

Popular music  Search this

Popular culture  Search this

Sports -- Collectibles  Search this

Sports -- 1950-2000  Search this

Sports cards  Search this

Television programs  Search this

Television personalities  Search this

Genre/Form:

Albums

Baseball cards

Baseball cards -- 1950-2000

Collecting cards

Posters -- 20th century

Programs -- Sports

Stickers

Citation:

Ronald S. Korda Collection of Sports and Trading Cards, 1952-1996, Archives Center, National Museum of American History. Gift of Catherine Korda.

Sponsor:

The enormous task of rehousing and processing this collection was enabled by a generous grant from the Smithsonian Research Resources Program in 1997, which made possible the purchase of large quantities of extremely specialized supplies.

Identifier:

NMAH.AC.0545

See more items in:

Ronald S. Korda Collection of Sports and Trading Cards

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep85596ae8e-88e6-464a-9c5b-b7eae233d7d1

EDAN-URL:

ead_collection:sova-nmah-ac-0545

Collection Creator:

Korda, Ronald S., -1996  Search this

Korda, Catherine  Search this

Container:

Box 256, Folder G

Type:

Archival materials

Date:

1966

Collection Restrictions:

Collection is open for research but is 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

Use of this collection by researchers requires compliance with security procedures more stringent than those required for other collections in the Archives Center. This is due to the high value and rarity of some of the items in this collection. Autographed items, and cards valued at higher than $300 by Standard Catalog and Beckett's are stored separately, and may be seen only with special permission from the Reference Archivist, and then only in cases (such as photography or scanning) where it is deemed a necessity.

Color photocopies have been placed in sleeves where these items would normally be stored. When using card boxes, only six at a time may be requested from the Reference Archivist, and unlike other collections, may not be reserved in advance (i.e., on each separate research visit, a researcher must request boxes only for that visit.)

Card sleeves may be taken out of the binders for photocopying only with the permission and the supervision of the Archives Center staff. Cards may not be taken from sleeves, except with the permission and supervision of Archives Center staff. This may involve making advance arrangements with the Archives Center staff. These procedures are necessary for the preservation of this exceptional collection in perpetuity.

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:

Ronald S. Korda Collection of Sports and Trading Cards, 1952-1996, Archives Center, National Museum of American History. Gift of Catherine Korda.

Sponsor:

The enormous task of rehousing and processing this collection was enabled by a generous grant from the Smithsonian Research Resources Program in 1997, which made possible the purchase of large quantities of extremely specialized supplies.

See more items in:

Ronald S. Korda Collection of Sports and Trading Cards

Ronald S. Korda Collection of Sports and Trading Cards / Series 2: Non-sports / 2.1: Mass media and entertainment / II-A-2: Television shows / II-A-2-a: Live action shows

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8b099d89c-30c3-438c-829e-7cc467a7e163

EDAN-URL:

ead_component:sova-nmah-ac-0545-ref5323

Collection Creator:

Leo Castelli Gallery  Search this

Container:

Box 83, Folder 6

Type:

Archival materials

Date:

1974

Collection Restrictions:

Use of original records requires an appointment.

Collection Rights:

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

Collection Citation:

Leo Castelli Gallery records, circa 1880-2000, bulk 1957-1999. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the partial digitization of this collection was provided by the Roy Lichtenstein Foundation.

See more items in:

Leo Castelli Gallery records

Leo Castelli Gallery records / Series 4: Artists Files / 4.1: Artists Files

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw969178ef4-0ff1-476e-8c62-fb0a442e8e23

EDAN-URL:

ead_component:sova-aaa-leocast-ref11609

Collection Creator:

Leo Castelli Gallery  Search this

Container:

Box 84, Folder 7

Type:

Archival materials

Date:

1984

Collection Restrictions:

Use of original records requires an appointment.

Collection Rights:

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

Collection Citation:

Leo Castelli Gallery records, circa 1880-2000, bulk 1957-1999. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the partial digitization of this collection was provided by the Roy Lichtenstein Foundation.

See more items in:

Leo Castelli Gallery records

Leo Castelli Gallery records / Series 4: Artists Files / 4.1: Artists Files

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw96d680829-80f7-4be2-be08-ddad381245f0

EDAN-URL:

ead_component:sova-aaa-leocast-ref11624

Collection Creator:

Leo Castelli Gallery  Search this

Container:

Box 84, Folder 8

Type:

Archival materials

Date:

1985

Collection Restrictions:

Use of original records requires an appointment.

Collection Rights:

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

Collection Citation:

Leo Castelli Gallery records, circa 1880-2000, bulk 1957-1999. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the partial digitization of this collection was provided by the Roy Lichtenstein Foundation.

See more items in:

Leo Castelli Gallery records

Leo Castelli Gallery records / Series 4: Artists Files / 4.1: Artists Files

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9312c86c1-7e5b-40e4-9028-fa112fbcdcfa

EDAN-URL:

ead_component:sova-aaa-leocast-ref11625

Collection Creator:

Leo Castelli Gallery  Search this

Extent:

(Oversized material from Box 70, Folders 15, 19-21, 23-26; Box 71, Folders 1-3)

Container:

Box 199, Folder 9

Type:

Archival materials

Date:

1965-1983

Collection Restrictions:

Use of original records requires an appointment.

Collection Rights:

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

Collection Citation:

Leo Castelli Gallery records, circa 1880-2000, bulk 1957-1999. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the partial digitization of this collection was provided by the Roy Lichtenstein Foundation.

See more items in:

Leo Castelli Gallery records

Leo Castelli Gallery records / Series 4: Artists Files / 4.1: Artists Files

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9826171c0-83c9-4b7a-b348-37d1e9802f44

EDAN-URL:

ead_component:sova-aaa-leocast-ref11956

Collection Creator:

Leo Castelli Gallery  Search this

Container:

Box 12, Folder 34

Type:

Archival materials

Date:

1958-1967

Collection Restrictions:

Use of original records requires an appointment.

Collection Rights:

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

Collection Citation:

Leo Castelli Gallery records, circa 1880-2000, bulk 1957-1999. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the partial digitization of this collection was provided by the Roy Lichtenstein Foundation.

See more items in:

Leo Castelli Gallery records

Leo Castelli Gallery records / Series 1: Correspondence

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw907bea065-5dab-41cb-a9fe-fa3b62422fb9

EDAN-URL:

ead_component:sova-aaa-leocast-ref8680