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Creator:

Carnegie Institute, Museum of Art  Search this

Names:

Art Institute of Chicago  Search this

Buffalo Fine Arts Academy  Search this

Corcoran Gallery of Art  Search this

Gallery of William Macbeth  Search this

M. Knoedler & Co.  Search this

Metropolitan Museum of Art (New York, N.Y.)  Search this

Alexander, John White, 1856-1915  Search this

Beatty, John W. (John Wesley), 1851-1924  Search this

Beaux, Cecilia, 1855-1942  Search this

Brush, George de Forest, 1855-1941  Search this

Chase, William Merritt, 1849-1916  Search this

Church, Samuel Harden  Search this

East, Alfred, Sir, 1849-1913  Search this

Hassam, Childe, 1859-1935  Search this

Homer, Winslow, 1836-1910  Search this

Saint-Gaudens, Homer, b. 1880  Search this

Thayer, Abbott Handerson, 1849-1921  Search this

Extent:

265.8 Linear feet

Type:

Collection descriptions

Archival materials

Photographs

Letterpress books

Museum records

Place:

Spain -- History -- Civil War, 1936-1939

Date:

1883-1962

bulk 1885-1962

Summary:

The records of the Carnegie Institute, Museum of Art measure 265.8 linear feet and date from 1883-1962, with the bulk of the material dating from 1885-1940. The collection includes extensive correspondence between the museum's founding director, John Beatty, and his successor, Homer Saint-Gaudens, with artists, dealers, galleries, collectors, museum directors, representatives abroad, shipping and insurance agents, and museum trustees. The collection also includes Department of Fine Arts interoffice memoranda and reports; loan exhibition files; Carnegie International planning, jury, shipping, and sale records; Department of Fine Arts letterpress copy books, and a copy of the original card catalog index to these records.

Scope and Contents:

The records of the Carnegie Institute, Museum of Art measure 265.8 linear feet and date from 1883-1962, with the bulk of the material dating from 1885-1940. The collection includes extensive correspondence between the museum's founding director, John Beatty, and his successor, Homer Saint-Gaudens, with artists, dealers, galleries, collectors, museum directors, representatives abroad, shipping and insurance agents, and museum trustees. The collection also includes Department of Fine Arts interoffice memoranda and reports; loan exhibition files; Carnegie International planning, jury, shipping, and sale records; Department of Fine Arts letterpress copy books, and a copy of the original card catalog index to these records.

This collection is a complete record of the museum's work, starting with the planning of the first loan exhibition in 1885 and ending with the cancellation of the International at the start of World War II in 1940. The museum's day-to-day relationships with all aspects of the contemporary art world are documented within the historical context of artists' reactions to World War I; the economic repercussions of the Great Depression on art sales and museum budgets; the ramifications of fascism on German, Italian, and European art; the impact of civil war on Spanish art; and the tensions introduced by the rise of 'radical' modernist art in Europe.

Correspondence (Series 1) is the largest series in the collection (152.5 linear feet) and is comprised of extensive correspondence between the Museum of Art and over 8700 correspondents, with over 3600 correspondents specifically related to art and artists.

Correspondents related to the art world include museum staff, artists, collectors, museums, galleries, dealers, shippers, insurance agencies, art directors, associations, societies, clubs, critics, press, and governments. These exchanges include general requests for information; requests related to the museum's exhibitions, including the International; letters regarding the museum's involvement in the events of other art organizations; loan, sales, and provenance information for specific works of art; and information regarding the events of other art organizations.

The correspondence of the museum's staff provides the greatest insight into understanding the museum's evolution into an international cultural institution. Both directors' correspondence touch on their personal opinions on art, their rationale behind policy decisions, and their understanding of the extent to which the museum's work was dependent on the good relations they maintained in the art world. Additionally, the extensive, opinionated correspondence between Saint-Gaudens' European agents and museum staff during the 1920s and 1930s provide a unique perspective on emerging art trends and the skill, growth, and personalities of individual artists.

The most prolific of the museum staff correspondents include museum directors John Beatty and Homer Saint-Gaudens, Board of Trustees president Samuel Harden Church, assistant director Edward Balken, and European agents Guillaume Lerolle , Ilario Neri, Arnold Palmer, Margaret Palmer, and Charlotte Weidler. Additional prominent staff members include Helen Beatty, Robert Harshe, Caroline Lapsley, Henry Jack Nash, John O'Connor, Charles Ramsey, George Shaw, George Sheers, August Zeller, and Fine Arts Committee members John Caldwell, William Frew, William Hyett, and John Porter.

The most prolific artist correspondents include John White Alexander, George Grey Barnard, Cecilia Beaux, Frank Benson, George de Forest Brush, William Merritt Chase, William Coffin, Bruce Crane, Andre Dauchez, Charles H. Davis, Alfred East, Ben Foster, Daniel Garber, Charles P. Gruppe, John Johansen, Johanna Hailman, John McLure Hamilton, Birge Harrison, Childe Hassam, Winslow Homer, Laura Knight, John la Farge, Gaston la Touche, John Lavery, Henri le Sidaner, Jonas Lie, Hermon A. MacNeil, Antonio Mancini, Gari Melchers, Emile Menard, Henry R. Poore, Edward Redfield, W. Elmer Schofield, Leopold Seyffert, Lucien Simon, Eugene Speicher, Abbott Handerson Thayer, Robert Vonnoh, J. Alden Weir, Irving R. Wiles, and Ignacio Zuloaga. Other artists of note include: Edwin Austen Abbey, George Bellows, Edwin Blashfield, Frank Brangwyn, Mary Cassatt, Kenyon Cox, Thomas Wilmer Dewing, Thomas Eakins, William Glackens, Robert Henri, Eastman Johnson, Rockwell Kent, Paul Manship, Henry Ranger, John Singer Sargent, Edward Steichen, Alfred Stieglitz, Edmund Tarbell, James McNeil Whistler, N.C. Wyeth, and Charles Morris Young.

Frequent museum collaborators include the Art Institute of Chicago, Boston Museum of Fine Arts, Brooklyn Museum, Buffalo Fine Arts Academy, Cleveland Museum of Art, Corcoran Gallery of Art, Detroit Institute of Art, Metropolitan Museum of Art, Museum of Modern Art, Saint Louis Museum of Fine Arts, Toledo Museum of Art, and Worcester Art Museum.

Other prolific correspondents include collectors Chauncey Blair, Andrew Carnegie, Charles Lang Freer, George Hearn, Alexander Humphreys, Roy Hunt, Mrs. B.F. Jones, Burton Mansfield, Frank Nicola, Duncan Phillips, John Stevenson, and William Stimmel; dealers and galleries M. Knoedler, William Macbeth, Central Art Gallery, Charles A. Walker, C.W. Kraushaar Art Galleries, Downtown Gallery, Durand-Ruel and Sons, Ehrich Galleries, Ferargil Galleries, Frank Rehn, Frederick Keppel, Haseltine Art Gallery, R.C. Vose Galleries, and W. Scott Thurber Fine Arts; insurance agent Macomber Co.; and shippers Dicksee and Co., J.W. Hampton, P. Navel/R. Lerondelle, Stedman and Wilder, and W.S. Budworth and Son.

Correspondents not specifically related to the contemporary art world include businesses, educational institutions, libraries, and the general public. These exchanges detail the daily work of the museum, including the estimates and work orders of office suppliers, contractors, printers, and etc.; programming and research inquiries of k-12 and college/university institutions; acknowledgements of the receipt of Museum of Art publications; and general public inquiries regarding museum policies, exhibitions, and the permanent collection. Companies and institutions who worked particularly closely with the museum include Alden and Harlow (architects), Detroit Publishing Co., and Tiffany and Co.

Department of Fine Arts (Series 2) consists of art and artist lists, correspondence, memoranda, notes, and reports. These files were begun under John Beatty's tenure and streamlined under Homer Saint-Gaudens' directorship to track activities directly related to the museum's interoffice affairs. File headings continued under Saint-Gaudens focus on art considered and purchased for the permanent collection, employee records, exhibition proposals and loans, Fine Arts Committee minutes, museum programming, museum publications, press releases, requests for images, and requests for general information.

Under Saint-Gaudens, the Fine Arts Committee files contain voluminous impressions of contemporary European artists, which he composed during his annual studio tours of the continent in the early 1920s and late 1930s. These informal reports provide insight into the shaping of the International and include a running commentary on historical events of the time. The Fine Arts Committee files also document the artistic and budgetary compromises that were struck, particularly during the Great Depression and early run-up to World War II.

Exhibitions (Series 3) includes correspondence with collectors, museums, galleries, dealers, shippers, and many of the artists themselves. Additional documents include catalogs, lists, planning notes, and telegrams related to 185 traveling and loan exhibitions held at the Museum of Art from 1901 to 1940. Of these, over 100 are one-artist shows and 82 are group, survey, regional, or topical shows. The one-artist exhibitions tend to showcase contemporary artists of the time. Regional shows focused on American and European art, with two shows featuring the art of Canada and Mexico. Survey themes focused on animals, children, cities, gardens, landscapes, Old Masters, and portraitures. Many of the genre shows venture into art not typically collected by the Museum of Art, including architecture, crafts, engravings, figure studies, graphic arts, illustrations, miniatures, mural decorations, oriental rugs, prints, printed books, sculpture, small reliefs, stained glass, theater models, watercolors, and wood engravings.

The most important shows organized and curated by Museum of Art staff include the Panama-Pacific International Exposition (1915), American Sculpture Show (1915, 1920), Applied Arts Show (1917), Original Illustrations Show (1921), Mexican Art Show (1929), Garden Club Show (1922), Industrial Art Show (1924), Pittsburgh Artists Show (1935), French Survey Show (1936), English Painting Survey Show (1937), American Paintings, Royal Academy Show (1938), and Survey of American Painting Show (1940).

Important one-artist shows include Abbot Handerson Thayer (1919), George de Forest Brush (1922), Frank W. Benson (1923), Rockwell Kent (1923, 1939), Anders Zorn (1924), John Lavery (1925), Paul Manship (1925), Mary Cassatt (1925), Laura Knight (1925), Edouard Manet (1932), Edward Hopper (1936), Winslow Homer (1922, 1936), Paul Cezanne (1936), Charles Burchfield (1937), and William Glackens (1938).

International (Series 4) is comprised of catalogs, correspondence, art and artist lists, itineraries, jury selection ballots, minutes, notes, and reports related to the planning, logistics, and promotion of the International Exhibition from 1895 to 1940. These documents were originally grouped and filed separately under John Beatty and were more rigorously streamlined under Homer Saint-Gaudens. The folder headings continued under Saint-Gaudens focus on art purchases, artists' invitations, artists' request for information, general exhibition planning, Foreign Advisory Committees, foreign governments, jury reception planning, loan requests, and touring logistics.

Letterpress books (Series 5) consist of 75 volumes that chronologically collect all of the Museum of Art's outgoing correspondence from 1896 to 1917. Volumes 1-8 contain the only copy of outgoing correspondence from 1896 to 1900. Duplicate copies of all outgoing correspondence dating from 1901 to 1917 were filed in Correspondence (Series 1) by museum staff.

Card catalogs (Series 6) also include three sets of catalogs created by the Museum of Art to track the outgoing and incoming correspondence contained in this collection. Set 1 (1895-1906) consists of the original cards. Set 2 (1907-1917) and Set 3 (1918-1940) consists of photocopies of the original cards that were merged together into one contiguous set.

Arrangement:

The collection is arranged into six series:

Series 1: Correspondence, 1883-1962, (Boxes 1-153, OV 267; 152.5 linear feet)

Series 2: Department of Fine Arts, 1896-1940, (Boxes 153-184, OV 268; 31.6 linear feet)

Series 3: Exhibitions, 1901-1940, (Boxes 184-204; 20 linear feet)

Series 4: International, 1895-1940, (Boxes 204-234, 265-266; 30.2 linear feet)

Series 5: Letterpress Books, 1900-1917, (Boxes 235-251; 17 linear feet)

Series 6: Card Catalogs, 1895-1940, (Box 252-264; 11 linear feet)

Biographical / Historical:

The Carnegie Institute Museum of Art was established in 1895 by industrialist and philanthropist Andrew Carnegie. One of the first modern contemporary art museums in the United States, its flagship exhibition, the Carnegie International, is recognized as the longest running contemporary exhibition of international art in North America and is the second oldest in the world.

Andrew Carnegie (1835-1919) was born in Dumfermline, Scotland and migrated to America with his family in 1848. Often regarded as the second-richest man in history behind John D. Rockerfeller, Carnegie built his industrialist fortunes in the steel industry and spent the remainder of his life in support of major philanthropic projects. By the age of 33, he had developed his personal philosophy of philanthropy, which saw it as the responsibility of the wealthy to foster educational opportunities and disseminate the ideals of high culture among all levels of society. In addition to establishing over 2500 free public libraries, in 1895, he provided the funds to build the Carnegie Institute, located in the Oakland neighborhood of Pittsburgh, Pennsylvania. The Carnegie Institute originally maintained three separate departments under the auspices of the Carnegie Library of Pittsburgh, the Carnegie Museum of Natural History, and the Carnegie Museum of Art.

The Carnegie Institute was administered by a Board of Trustees selected by Carnegie, all prominent professional men of Pittsburgh. Within this group, eight men were selected to serve on the Museum of Art's Fine Arts Committee, which was initially granted the final say on gallery affairs. The first Fine Arts Committee was composed of two artists, Alfred Bryan Wall and Joseph Ryan Woodwell, and six businessmen. Among the latter group, John Caldwell, Henry Clay Frick, William Nimick Frew, and David Thompson Watson were also knowledgeable art patrons and collectors. Over time, the Fine Arts Committee's sway over gallery affairs would be measured by the dedication of its various members and tempered by the vision and authority of the Museum's directors, John Beatty and Homer Saint-Gaudens, and the Carnegie Institute Board of Trustees president, Samuel Harden Church.

From 1896 to 1921, John Wesley Beatty (1851-1924) served as the first director of the Museum of Art. A native Pittsburgher and an accomplished silver engraver, illustrator, and painter, Beatty attended the Royal Bavarian Academy in Munich and upon his return to America, made a living as an artist. He also taught at the Pittsburgh School of Design for Women and co-founded a small school of art with fellow local artist George Hetzel. In 1890, while serving as the secretary of the Pittsburgh Art Society, he became the primary organizer of a loan exhibition to be displayed at the opening of the Carnegie Free Library in Allegheny, Pennsylvania. In 1895, when the Carnegie Institute trustees began discussing the possibility of a similar loan exhibition for the opening of their new institution, Beatty was contacted and eventually enlisted to take on the task. Upon the success of that exhibition, he was invited to direct the gallery's affairs and served as the Museum of Art's director until his retirement.

Beatty was an enthusiastic supporter of Impressionism, Realism, Tonalism, Symbolism, and the critically acclaimed contemporary art of the 1890s. He also shared Carnegie's vision for the Museum of Art and believed in the educational and uplifting role aesthetic beauty could provide to the general public. Pursuant to the stated goals of Andrew Carnegie, under Beatty's direction the museum began to purchase important contemporary works to add to its chronological collection of "Old Masters of tomorrow" and almost immediately began planning the first of its Internationals.

The Internationals were viewed as the primary means of showcasing the Museum of Art's selection of the best in contemporary American and European painting, thereby elevating its role as an influential cultural institution on a national and international level. Juried monetary prizes would be awarded to the two best works by American artists, additional awards would be offered to artists of all nationalities, and the Museum of Art's purchases for the year would be selected from the exhibition. Certain artists and collectors were tapped to serve as unofficial representatives of the Museum of Art at home and abroad, among them John White Alexander, William Coffin, I.M. Gaugengigl, Walter Shirlaw, and Edmund Tarbell. Many of the most prominent Pittsburgh art collectors were also asked to lend works to the exhibition. While details of the jury and artist selection process, number of representatives, exhibition show dates, and amount and total number of prizes would change over the years, the planning template was set and would remain the same for future Internationals.

Beatty continued to rely on a stable of close friends and confidantes to help smooth over relations with artists, dealers, shipping agents, and galleries alike, relying heavily on John White Alexander and W. Elmer Schofield, in addition to artists Thomas Shields Clarke, Walter Gay, Robert Henri, Frank D. Millet, and critic Charles M. Kurtz. Over time, many of the artists who served on International juries or Foreign Advisory Committees also became reliable friends and advocates of the International, including Edwin Austen Abbey, Edmond Aman-Jean, Edwin Howland Blashfield, William Merritt Chase, Charles Cottet, Kenyon Cox, Charles Harold Davis, Alfred East, Ben Foster, Charles Hopkinson, John la Farge, Gari Melchers, Leonard Ochtman, Irving R. Wiles, and Robert W. Vonnoh.

From 1896 to 1921, the Museum of Art held twenty-one Internationals, with the only exceptions coming in 1906 (construction of the Hall of Architecture, Hall of Sculpture, and Bruce Galleries), 1915 (deference to the San Francisco Panama-Pacific International), and 1916-1919 (World War I). During these years, the scope and administration of the International slowly expanded, though not without growing pains. At the turn of the century, new modernist styles of art that were appearing in galleries across Europe had not yet entered major American museums and the Carnegie Museum of Art maintained this trend. The museum's generally conservative selection policies, combined with criticism regarding the timing of the exhibition and the jury selection process, led to increasingly tense relations with artists, and were only partially resolved by changes made to the format of the International. In spite of these challenges, the Carnegie International retained its reputation as a preeminent venue for contemporary art and awarded top prizes to John White Alexander, Cecilia Beaux, George W. Bellows, Frank W. Benson, Andre Dauchez, Thomas Wilmer Dewing, Thomas Eakins, Childe Hassam, Winslow Homer, John Lavery, Henri le Sidaner, Edward W. Redfield, W. Elmer Schofield, Edmund C. Tarbell, Abbot Handerson Thayer, Dwight W. Tryon, and J. Alden Weir.

In addition to the International, Carnegie's mission of bringing cultural and educational opportunities to Pittsburgh was a central priority of the museum's daily operations. Beatty cultivated relationships with fellow museum directors, which allowed for the easy co-ordination and planning of traveling exhibitions benefiting the city. The museum developed educational programs for children and adults, including lectures, gallery talks, Saturday morning classes, fine art extension classes, guided tours, and outreach to local schools. As popular Pittsburgh art societies and clubs formed, the museum also provided meeting and exhibition spaces for groups such as the Associated Artists of Pittsburgh, the Art Society of Pittsburgh, the Art Students League, the Garden Club of Allegheny County, and the Junior League.

After more than 25 years of service, Beatty made the decision to retire and put out an informal call for candidates. Being the right man at the right time, in 1921, Homer Schiff Saint-Gaudens (1880-1958) became the Museum of Art's second director.

The only child of American sculptor Augustus Saint-Gaudens and his wife and artist, Augusta Fisher Homer, Saint-Gaudens frequently traveled abroad and grew up in the company of his parents' wide circle of friends, many of them artists, poets, writers, and performers who frequented the Cornish Artists' Colony. More intimate friends of the family included former students, assistants, and colleagues, the architect Stanford White, and successful artist-couples who resided near the family's Cornish, New Hampshire home, among them Louise and Kenyon Cox, Maria and Thomas Dewing, Florence and Everett Shinn, and Emma and Abbott Thayer.

Homer Saint-Gaudens attended the preparatory school Lawrenceville, graduated from Harvard in 1903, married the artist and suffragist Carlota Dolley (1884-1927) in 1905, and remarried to Mary Louise McBride (n.d.-1974) in 1929. He began his professional career as a journalist and worked as assistant editor of The Critic (1903) and managing editor of Metropolitan Magazine (1905). During those years, he was introduced to a number of the Ash Can school artists, wrote articles on contemporary art, and honed his abilities as a writer. In 1907, Saint-Gaudens took a break from professional editing and began a second career as the stage manager for Maude Adams, the most highly paid and successful stage actress of her day, with a yearly income of over one million dollars at the peak of her popularity. Working in theater and as Adams' manager for over ten years, Saint-Gaudens learned the ins and outs of event promotion and logistics, media coverage, and maintaining diplomatic relations through compromise, ideal skills he would later use in organizing the Carnegie Internationals.

With the United States' entry into World War I, Saint-Gaudens served as the chief of the U.S. Army's first camouflage unit and was awarded the Bronze Star. After his discharge, he managed Adams' 1918 final season and simultaneously helped his mother organize a major retrospective of his father's sculptures. While organizing a section of his father's work for the 1921 International, he was invited to step into the position of assistant director of the Carnegie Museum of Art, and was promoted to the directorship upon John Beatty's retirement.

Throughout his tenure, Saint-Gaudens was able to call upon long-standing family friendships with artists and art patrons to the museum's benefit. His connections to the art world can clearly be seen in his first major stand-alone exhibition, the Garden Club Show (1922). In this, he enlisted the aid of Elizabeth Alexander, wife of John White Alexander, and Johanna Hailman, artist and wife of John Hailman, who reached out to their circle of artists and art collecting friends in search of works appropriate for the show. Their efforts, combined with the relationships Beatty had established with museum directors, galleries, and dealers, as well as Saint-Gaudens' own friendships with Kenyon Cox, Thomas Dewing, Barry Faulkner, and Gari Melchers, resulted in an assemblage of 150 paintings of note. Coming immediately upon the heels of the 1922 International, the show was a resounding success. The exhibition's opening attracted over 300 delegates of the Garden Club of America and the entirety of Pittsburgh high society, settling any concerns regarding his leadership abilities.

As director of the Museum of Art, Saint-Gaudens instituted measures intended to streamline the Internationals and improve diplomatic relations with artists. Though the basic format of the juried exhibition remained the same, his solutions to the complaints many artists raised with the artist invitation, art selection, and jury systems reformed the International's reputation at a critical time. Though he was naturally inclined to appreciate the art and artists he had grown up with, Saint-Gaudens understood the immediate necessity of introducing modernist contemporary art into the museum's exhibitions and galleries. He circumvented the conservative Fine Arts Committee's resistance to the accolades of European modernists by choosing the tamest of the new 'radical' works. Eventually, he balanced the Internationals with a mix of conservative, moderate, and advanced works that appealed to a large range of audiences and increased the status and diversity of the Internationals.

To aid in his reformation of the International, Saint-Gaudens formalized a team of European agents who worked year round to scout artists' studios, recommend suitable art and artists, navigate local politics, arrange local transportation and logistics, and maintain cordial relations with artists abroad. In the spring, Saint-Gaudens would travel to Europe to meet with his agents in person, tour the most promising studios, and meet with artists personally. His team was headed by Guillaume Lerolle, who shared Saint-Gaudens' distinction of being the son of a well regarded national artist, Henry Lerolle. Like Saint-Gaudens, Lerolle was able and willing to call upon longstanding family friendships and networks on behalf of the Museum of Art. The other core members of the team were Ilario Neri (Italy), Arnold Palmer (England), Margaret Palmer (Spain), and Charlotte Weidler (Germany).

From 1922 to 1940, the Museum of Art held seventeen Internationals, with the exceptions coming in 1932 (Great Depression) and 1940 (World War II). After a brief period of change, growth, and experimentation in the early 1920s, the museum eventually settled on a routine of planning the Internationals, arranging for traveling exhibitions, and expanding upon the most popular of their educational programs. In addition to those programs put into place under Beatty's tenure, Saint-Gaudens paved the way for a revamped lecture series featuring visiting critics and traveled as a visiting lecturer himself.

During the 1930s, financial difficulties and increasing political tensions in Europe presented ample challenges to the diplomatic skills of Saint-Gaudens and his agents, and they found themselves increasingly forced to navigate through political minefields presented by the fascist ideologies of Germany and Italy, the chaos of the Spanish civil war, and the eventual outbreak of World War II in Europe. In spite of these challenges, under Saint-Gaudens' direction, the museum remained true to Andrew Carnegie's vision. The International was expanded to accept on average over sixty additional works of art, and at its peak, included art from twenty-one countries. Beginning in 1927, top prizes and recognition were awarded to Georges Braque, Marc Chagall, Salvador Dali, Andre Derain, Raoul Dufy, Karl Hofer, Rockwell Kent, Yasuo Kuniyoshi, Henri Matisse, Pablo Picasso, and Edouard Vuillard.

Works by Arthur B. Davies, Charles Hawthorne, Edward Hopper, Augustus John, Oskar Kokoschka, Leon Kroll, Ernest Lawson, and William Orpen were added to the museum's permanent collection. And, as under Beatty's tenure, many of the artists selected to serve on the Jury of Award became advocates and friends of the museum, including Emil Carlsen, Anto Carte, Bruce Crane, Charles C. Curran, Daniel Garber, Charles Hopkinson, Laura Knight, Jonas Lie, Julius Olsson, Leopold Seyffert, Lucien Simon, Eugene Speicher, Maurice Sterne, Gardner Symons, Horatio Walker, and Charles H. Woodbury.

The monumental task of establishing the Carnegie Institute Museum of Art and the Carnegie International has left an archival record that is unique and unparalleled in documenting its relations with every aspect of the contemporary art world from the turn of the century through the first forty years of the twentieth century.

Provenance:

The Carnegie Institute, Museum of Art records were loaned for microfilming in 1966 and later donated to the Archives of American Art in 1972. A small addition of corrrespondence was donated in 2017 by Elizabeth Tufts Brown.

Restrictions:

Use of original papers requires an appointment.

Rights:

The Carnegie Institute Museum of Art records are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.

Topic:

Art -- Economic aspects  Search this

World War, 1914-1918  Search this

Art museums -- Pennsylvania -- Pittsburgh  Search this

Depressions -- 1929  Search this

Art, Modern -- Exhibitions  Search this

Fascism  Search this

World War, 1939-1945  Search this

Museum directors  Search this

Genre/Form:

Photographs

Letterpress books

Museum records

Citation:

Carnegie Institute, Museum of Art records, 1883-1962, bulk 1885-1940. Archives of American Art, Smithsonian Institution.

Sponsor:

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

Identifier:

AAA.carninst

See more items in:

Carnegie Institute, Museum of Art records

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-carninst

Creator:

Ankrum Gallery  Search this

Names:

Art Dealers Association of America  Search this

Black Arts Council (Washington, D.C.)  Search this

California Arts Council  Search this

Hirshhorn Museum and Sculpture Garden  Search this

Krannert Art Museum  Search this

Laguna Art Museum (Laguna Beach, Calif.)  Search this

Paramount Pictures  Search this

San Diego Museum of Art  Search this

Staempfli Gallery (New York, N.Y.)  Search this

Storm King Art Center  Search this

Almaraz, Carlos  Search this

Andrews, Benny, 1930-2006  Search this

Ankrum, Joan  Search this

Bauer, Richard, 1944-  Search this

Block, Irving  Search this

Broderson, Morris, 1928-2011  Search this

Caryl, Naomi  Search this

Casey, Bernie  Search this

Duveneck, Frank, 1848-1919  Search this

Feitelson, Lorser, 1898-1978  Search this

Groth, Bruno  Search this

Halpert, Edith Gregor, 1900-1970  Search this

Herschler, David  Search this

Hirsch, Joseph, 1910-1981  Search this

Hirshhorn, Olga  Search this

Homer, Jessie  Search this

Jackson, Suzanne, 1944-  Search this

Johnson, Buffie  Search this

Lundeberg, Helen, 1908-1999  Search this

Mesches, Arnold, 1923-  Search this

Miller, Henry, 1891-  Search this

Palm Springs Desert Museum  Search this

Schuler, Melvin  Search this

Secunda, Arthur  Search this

Shores, Kenneth, 1928-  Search this

Varda, Jean  Search this

Zev  Search this

Extent:

41.5 Linear feet

Type:

Collection descriptions

Archival materials

Scrapbooks

Photographs

Date:

circa 1900-circa 1990s

bulk 1960-1990

Summary:

The Ankrum Gallery records measure 41.5 linear feet and date from circa 1900 to circa 1990s, with the bulk of the records dating from 1960 to 1990. The papers include over 395 artists files, general gallery correspondence, project files, administrative records, exhibition files, collector and client files, financial material, printed material, 1 unbound scrapbook, and photographs. Also included are personal papers of gallery founder Joan Ankrum and her nephew, artist Morris Broderson.

Scope and Contents:

The Ankrum Gallery records measure 41.5 linear feet and date from circa 1900 to circa 1990s, with the bulk of the records dating from 1960 to 1990. The papers include over 395 artists files, general gallery correspondence, project files, administrative records, exhibition files, collector and client files, financial material, printed material, 1 unbound scrapbook, and photographs. Also included are personal papers of gallery founder Joan Ankrum and her nephew, artist Morris Broderson.

General correspondence is with artists, museums, collectors, and clients, and generally concerns sales, exhibitions, and consignments. Correspondents include Irving Block, Morris Broderson, Naomi Caryl, Suzanne Jackson, Joseph and Olga Hirshhorn, among many others. Correspondence is also found in the artists files and the collector/client files.

Project files document various events, benefits, and projects undertaken by the gallery, including a UNICEF benefit, "Up Against Hunger," the Exceptional Children's foundation, and the Young Art Patrons.

Administrative files document many activities of the gallery, such as the gallery's and Joan Ankrum's membership in the Black Arts Council, the California Arts Council, and the Art Dealers Association of California of which Joan Ankrum was a primary organizer. Also found are publicity files, a file on the history of the gallery, leases, floor plans, insurance documents, lists of graphics for sale, and other miscellany.

Exhbition files appear to be incomplete, but do include files for Huichol Indian's art, "The Art of African Peoples" (1973), "Five Contemporary Mexican Painters" (1977), Ethiopian Folk Painting (1978), San Diego Museum of Art Artists Guild All Media Exhibition (1982), "25th Anniversary Exhibition" (1985), among several others.

Extensive artists' files include correspondence, price lists, photographs and slides,resumes and biographical material, and sales invoices. Files are found for Benny Andrews, Carlos Almaraz, Richard Bauer, Irving Block, Naomi Caryl, Bernie Casey, Frank Duveneck, Lorser Feitelson, Bruno Groth, David Herschler, Jessie Homer, Suzanne Jackson, Buffie Johnson, Samella Lewis, Helen Lundeberg, Arnold Mesches, Henry Miller, Melvin Schuler, Arthur Secunda, Ken Shores, Jean Varda, and Zev, among many others. The Pat Alexander and Andy Nelson files also contain motion picture film.

Collector and client files document the gallery's relationship with over 115 collectors, museums, and art centers. Files may include correspondence and sales records and are found for Edith Halpert, Olga and Joseph Hirshhorn and the Hirshhorn Museum and Sculpture Garden, the Krannert Art Museum, Laguna Art Museum, Palm Spring Desert Museum, Paramount Pictures, San Diego Museum of Art, Staempfli Gallery, and Storm King Art Center, among many others.

Financial material documents sales through numbered invoices, consignments, loans, and insurance valuations. Printed material consists of exhibition catalogs and announcements, bulletins, periodicals, and newspaper clippings. One unbound scrapbook contains clippings and exhibition materials.

Photographs are of artwork, artists, and gallery openings. Additional photographs are found in the artists' files.

Joan Wheeler Ankrum personal papers document her personal and professional relationship with family, artists, and collectors. They include correspondence, personal writings, personal financial materials, printed material and loose scrapbook materials, family photographs and photographs of her as an actress, and artwork from various artists.

The papers of artist Morris Broderson, nephew of Joan Ankrum, document his professional relationship with the gallery as his primary dealer. Included are biographical materials, correspondence, publicity files, travel files, projects, exhibitions, collector/client files, financial material, printed material, photographs, and artwork.

Arrangement:

This collection is arranged as 12 series.

Series 1: Correspondence, 1961-1994 (0.5 linear feet; Box 1)

Series 2: Project Files, 1965-1987 (0.25 linear feet; Box 1)

Series 3: Administrative Records, 1961- circa 1990s (1 linear foot; Boxes 1-2)

Series 4: Exhibition Files, 1961-1991 (1 linear foot; Boxes 2-3)

Series 5: Artists' Files, 1957-1994 (22.5 linear feet; Boxes 3-25, 41-42, FC 43-45)

Series 6: Collector and Client Files, 1960-1994 (3.2 linear feet; Boxes 25-28)

Series 7: Financial Material, 1962-1990 (1.5 linear feet; Boxes 28-30)

Series 8: Printed Material, 1957-1994 (2 linear feet; Boxes 30-32, 41)

Series 9: Scrapbook, 1960-1988 (3 folders; Box 32)

Series 10: Photographs, circa 1960s-circa 1990s (0.35 linear feet; Boxes 32, 42)

Series 11: Joan Ankrum Personal Papers, circa 1900-1993 (2 linear feet; Boxes 32-34, 41)

Series 12: Morris Broderson Papers, 1941-1989 (7.2 linear feet; Boxes 34-42)

Biographical / Historical:

The Ankrum Gallery was established 1960 in Los Angeles by American film actress Joan Wheeler Ankrum and William Chalee. The gallery closed in 1989.

Joan Wheeler Ankrum and William Challee opened Ankrum Gallery on La Cienega Boulevard in Los Angeles in 1960 with a one-man show of Ankrum's nephew Morris Broderson. With a focus on contemporary California artists, Ankrum Gallery represented over 395 artists during its 30 years in operation, including Benny Andrews, Carlos Almaraz, Richard Bauer, Irving Block, Naomi Caryl, Bernie Casey, Frank Duveneck, Lorser Feitelson, Bruno Groth, David Herschler, Jessie Homer, Suzanne Jackson, Buffie Johnson, Samella Lewis, Helen Lundeberg, Arnold Mesches, Henry Miller, Melvin Schuler, Arthur Secunda, Ken Shores, Jean Varda, and Zev. In addition, the gallery was among the earliest to exhibit the work of black artists. The gallery also held exhibitions of world artists, which included "Art of African Peoples" (1973), "Yarn Paintings of the Huichol Indians" (1973), "Five Contemporary Mexican Painters" (1977), and "Ethiopian Folk Painting" (1978). Ankrum Gallery closed in 1989.

Art dealer and gallery owner, Joan Wheeler Ankrum was an actress before establishing the Ankrum Gallery primarily to showcase the work of her deaf nephew, Morris Broderson. Born in 1913 in Palo Alto, California, she began acting at the Pasadena Playhouse where she met her first husband Morris Ankrum with whom she had two sons, David and Cary Ankrum. She married gallery co-owner and partner William Challee in 1984. She helped organize the Los Angeles Art Dealers Association and the Monday Night Art Walks on La Cienega Boulevard. She was a member of the relatively short-lived Black Arts Council. Joan Wheeler Ankrum died in 2001 at the age of 88.

Morris Broderson (1928-2011) was a deaf painter. His first one-man show was at the Stanford Museum in 1957, followed by the Santa Barbara Museum of Art. By 1959 he'd won two awards from the Los Angeles County Museum, and appeared in the Whitney Museum's "Young America" show in 1960. His travels influenced his work, including the hand gestures of Kabuki art in Japan. His work is in the collections of the Whitney Museum of American Art and the Hirshhorn Museum and Sculpture Garden, among others. Following Joan Ankrum's death in 2001, Broderson was represented by her son David Ankrum.

Related Materials:

Also found in the Archives of American Art are two oral history interviews with Joan Ankrum, one conducted by Betty Hoag, April 28, 1964, and a second by Paul Karlstrom, November 5, 1997-February 4, 1998. Additionally, there is an oral history interview with Morris Broderson conducted by Paul Karlstrom, March 11-13, 1998.

Provenance:

The Ankrum Gallery records were donated to the Archives of American Art by Joan Ankrum in 1995.

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 Ankrum Gallery records are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.

Topic:

Art galleries, Commercial -- California -- Los Angeles  Search this

Artists -- California -- Los Angeles  Search this

Genre/Form:

Scrapbooks

Photographs

Citation:

Ankrum Gallery records, circa 1900-circa 1990s, bulk 1960-1990. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Smithsonian Institution Collections Care and Preservation Fund

Identifier:

AAA.ankrgall

See more items in:

Ankrum Gallery records

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-ankrgall

Artist:

Unidentified Artist  Search this

Sitter:

John Fulton Reynolds, 20 Sep 1820 - 1 Jul 1863  Search this

Medium:

Sixth-plate daguerreotype

Dimensions:

Image: 7 × 5.8 cm (2 3/4 × 2 5/16")

Case Open: 9.4 × 17.1 × 1.3 cm (3 11/16 × 6 3/4 × 1/2")

Case Closed: 9.4 × 9 × 2.7 cm (3 11/16 × 3 9/16 × 1 1/16")

Type:

Photograph

Place:

United States\Utah\Salt Lake\Salt Lake City

Date:

c. 1858-1859

Topic:

Personal Attribute\Facial Hair\Mustache  Search this

Personal Attribute\Facial Hair\Beard  Search this

Costume\Dress Accessory\Tie\Necktie  Search this

John Fulton Reynolds: Male  Search this

John Fulton Reynolds: Military\Army\Officer\General  Search this

Portrait  Search this

Credit Line:

National Portrait Gallery, Smithsonian Institution

Object number:

NPG.2013.67

Restrictions & Rights:

CC0

See more items in:

National Portrait Gallery Collection

Data Source:

National Portrait Gallery

GUID:

http://n2t.net/ark:/65665/sm4c5686a44-6cda-4823-a07a-e47a9dce789d

EDAN-URL:

edanmdm:npg_NPG.2013.67

Artist:

Rivera, Diego, 1886-1957  Search this

Colorist:

Van Altena, Edward  Search this

Collection Creator:

Garden Club of America  Search this

Extent:

1 Lantern slide (col., 3.25 x 4 in.)

Type:

Archival materials

Lantern slides

Place:

Palacio Nacional (Mexico City, Mexico)

Mexico -- history

Mexico -- Mexico City

Date:

1937 Jan.

General:

Mount reads: "Edward Van Altena, 71-79 W. 45th St., N.Y.C."

Historic plate number: "29."

Collection Restrictions:

Access to original images by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.

Collection Rights:

Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens.

Topic:

Mural painting and decoration  Search this

Genre/Form:

Lantern slides

Collection Citation:

Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.

Identifier:

AAG.GCA, Item MX010001

See more items in:

The Garden Club of America collection

The Garden Club of America collection / Series 2: International Garden Images / Mexico / MX010: Mexico City -- Palacio Nacional

Archival Repository:

Archives of American Gardens

EDAN-URL:

ead_component:sova-aag-gca-ref4368

Interviewee:

Cook, Lia, 1942-  Search this

Interviewer:

Baizerman, Suzanne  Search this

Creator:

Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this

Names:

Allrich Gallery  Search this

American Craft Council  Search this

College Art Association of America  Search this

European Textile Network  Search this

Hadler Galleries  Search this

Handarbetets vanner (Society)  Search this

Haystack Mountain School of Crafts -- Faculty  Search this

Konstfack (Stockholm, Sweden)  Search this

Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this

Perimeter Gallery  Search this

University of California, Berkeley -- Students  Search this

Abakanowicz, Magdalena  Search this

Hicks, Sheila, 1934-  Search this

Jacobi, Peter, 1935-  Search this

Jacobi, Ritzi, 1941-  Search this

Laky, Gyöngy, 1944-  Search this

O'Banion, Nance  Search this

Rappaport, Deborah  Search this

Rossbach, Ed  Search this

Extent:

36 Pages (Transcript)

Type:

Collection descriptions

Archival materials

Pages

Sound recordings

Interviews

Place:

Europe -- description and travel

Japan -- Description and Travel

Date:

2006 August 22-29

Scope and Contents:

An interview of Lia Cook conducted 2006 August 22-29, by Suzanne Baizerman, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, in the artist's studio, in Berkeley, California.

Cook speaks of her childhood in California; studying political science at University of California, Berkeley; being strongly influenced by the textiles of Mexican cultures; studying weaving at Konstfack University College of Arts, Crafts and Design and Handarbetets Vänner in Stockholm, Sweden; attending graduate school at Berkeley under Ed Rossbach; a strong interest in photography; teaching experiences at Haystack Mountain School of Crafts; participating in the Lausanne International Biennial of Tapestry in Switzerland; the impact of the digital Jacquard loom on the development of her work; travels throughout Europe and Japan; commission work; experiences with Allrich Gallery, Hadler/Rodriguez Gallery, and Perimeter Gallery; series Fabric Landscape, Material Pleasure, Point of Touch, Presence/Absence, and Anatomy of a Portrait; her involvement with American Craft Council, European Textile Network, and College Art Association; and the importance of teaching in her life. Cook also recalls Gyongy Laky, Nance O'Banion, Deborah Rappaport, Sheila Hicks, Magdalena Abakanowicz, Peter and Ritzi Jacobi, and others.

Biographical / Historical:

Lia Cook (1942- ) is a textile painter of Berkeley, California. Suzanne Baizerman (1942- ) is an independent curator of Alameda, California.

General:

Originally recorded as 4 sound discs. Reformatted in 2010 as 11 digital wav files. Duration is 2 hr., 23 min.

Provenance:

This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.

Restrictions:

Transcript available on the Archives of American Art website.

Topic:

Art -- Study and teaching  Search this

Decorative arts  Search this

Looms  Search this

Photography  Search this

Political science -- Study and teaching  Search this

Textile fabrics -- Mexico  Search this

Weaving -- Equipment and supplies  Search this

Weaving -- Study and teaching  Search this

Women artists  Search this

Genre/Form:

Sound recordings

Interviews

Sponsor:

Funding for this interview was provided by the Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America.

Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service.

Identifier:

AAA.cook06

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-cook06

Creator:

La Flesche, Francis, 1857-1932  Search this

Fletcher, Alice C. (Alice Cunningham), 1838-1923  Search this

Correspondent:

La Flesche family  Search this

Aldrich, Charles F.  Search this

Alexander, Hartley B.  Search this

Allen, James T.  Search this

Andrews, Gleorge L.  Search this

Armstrong, S.C.  Search this

Ashley, Robert H.  Search this

Atkins, John D.C.  Search this

Boas, Franz, 1858-1942  Search this

Bowditch, Charles P. (Charles Pickering), 1842-1921  Search this

Brinton, Daniel G. (Daniel Garrison), 1837-1899  Search this

Brown, George LeRoy  Search this

Burlin, Natalie Curtis, 1875-1921  Search this

Cadman, Charles Wakefield, 1881-1946  Search this

Copley, John T.  Search this

Dall, William Healey, 1845-1927  Search this

Dawes, E.S.  Search this

Densmore, Frances, 1867-1957  Search this

Dixon, Roland Burrage, 1875-1934  Search this

Dorsey, James Owen, 1848-1895  Search this

Dunbar, John Brown, 1841-1914  Search this

Ellinwood, F.F.  Search this

Farabee, William Curtis, 1865-1925  Search this

Farley, Caryl E.  Search this

Farley, Rosalie La Flesche  Search this

Farwell, Arthur  Search this

Fellowes, R.S.  Search this

Fewkes, Jesse Walter, 1850-1930  Search this

Fillmore, John Comfort, 1843-1898  Search this

Fillmore, L.H.  Search this

Fillmore, Thomas Hill  Search this

Freire-Marreco, Barbara W. (Barbara Whitchurch), 1879-1967  Search this

Gay, E. Jane  Search this

Griffith, Elmer C.  Search this

Guthrie, William Norman  Search this

Hale, Horatio, 1817-1896  Search this

Hall, C.C.  Search this

Hall, Charles Lemon, 1847-1940  Search this

Hearst, Phoebe Apperson, 1842-1919  Search this

Heth, H.  Search this

Hewett, Edgar L. (Edgar Lee), 1865-1946  Search this

Hewitt, J. N. B. (John Napoleon Brinton), 1859-1937  Search this

Hodge, Frederick Webb, 1864-1956  Search this

Holmes, William Henry, 1846-1933  Search this

Hough, Walter, 1859-1935  Search this

Jackson, Sheldon, 1834-1909  Search this

Johnston, Catherine M.  Search this

Kincaid, William  Search this

La Flesche, Joseph  Search this

Lummis, Charles Fletcher, 1859-1928  Search this

MacCurdy, George Grant, 1863-1947  Search this

Mason, Otis T., 1838-1908  Search this

Matthews, Washington, 1843-1905  Search this

McBeth, Kate C., 1832-1915  Search this

McBeth, Sue L., -1893  Search this

McCown, S.M.  Search this

McGee, W J, 1853-1912  Search this

McGuire, Joseph D. (Joseph Deakins), 1842-1916  Search this

Mead, Frances K.  Search this

Merriam, C. Hart (Clinton Hart), 1855-1942  Search this

Merrick, Fannie  Search this

Merrick, Jessie  Search this

Moon, Karl  Search this

Moore, Homer  Search this

Morgan, Caroline S.  Search this

Morgan, John T.  Search this

Murie, James R.  Search this

Myers, John L.  Search this

Nuttal, Maria Magdalena  Search this

Pepper, George H. (George Hubbard), 1873-1924  Search this

Petter, W.H.  Search this

Pettigrew, Frederick W., 1850-1901  Search this

Picotte, Susan La Flesche  Search this

Pratt, Richard Henry, 1840-1924  Search this

Price, Hiram  Search this

Proctor, Edna Dean, 1829-1923  Search this

Putnam, F. W. (Frederic Ward), 1839-1915  Search this

Quinn, Daniel  Search this

Robertson, Alice M.  Search this

Rogers, Emily F.  Search this

Sanborn, F. B. (Franklin Benjamin), 1831-1917  Search this

Seymour, Thomas Day  Search this

Spofford, Ainsworth Rand, 1825-1908  Search this

St. Cyr, Julia  Search this

Starr, Frederick  Search this

Stuart, James  Search this

Talbot, Emily  Search this

Teller, W.J.  Search this

Thaw, William  Search this

Tozzer, Alfred M. (Alfred Marston), 1877-1954  Search this

Wallaschek, Richard  Search this

Westcott, Edith  Search this

Wilkinson, G.W.  Search this

Wilkinson, Hattie M.  Search this

Willoughby, Charles Clark  Search this

Names:

Carr, Lucien, 1829-1915  Search this

Radin, Paul, 1883-1959  Search this

Extent:

19 Linear feet (50 boxes)

Culture:

Inunaina (Arapaho)  Search this

Sioux  Search this

A:shiwi (Zuni)  Search this

Ponca  Search this

Quechua  Search this

Quapaw Indians  Search this

Winnebago Indians  Search this

Mexicans  Search this

Wichita Indians  Search this

Zapotec  Search this

Muskogee (Creek)  Search this

Apache  Search this

Cherokee  Search this

Hopi Pueblo  Search this

Indians of North America -- California  Search this

Hitchiti Seminole  Search this

Indians of North America -- Great Plains  Search this

Indians of North America -- Southeast  Search this

Indians of North America -- Northeast  Search this

Tsitsistas/Suhtai (Cheyenne)  Search this

Caddo  Search this

Biloxi Indians  Search this

Omaha  Search this

Osage  Search this

Oto  Search this

Indians of North America -- Southwest, New  Search this

Ajachemem (San Juan de Capistrano Luiseño)  Search this

Chaticks Si Chaticks (Pawnee)  Search this

Type:

Collection descriptions

Archival materials

Place:

Alaska

Date:

1873-1939

Summary:

These papers reflect the professional lives of Alice Cunningham Fletcher (1838-1923), an ethnologist with the Peabody Museum of Harvard and collaborator with the Bureau of American Ethnology, and Francis La Flesche (1856-1923), an anthropologist with the Bureau of American Ethnology. Due to the close professional and personal relationship of Fletcher and La Flesche, their papers have been arranged jointly. The papers cover the period from 1874 to 1939. Included in the collection is correspondence, personal diaries, lectures, field notes and other ethnographic papers, drafts, musical transcriptions, publications by various authors, maps and photographs.

Scope and Contents:

These papers reflect the professional lives of Alice Cunningham Fletcher (1838-1923), an ethnologist with the Peabody Museum of Harvard University and collaborator with the Bureau of American Ethnology, and Francis La Flesche (1856-1923), an anthropologist with the Bureau of American Ethnology. Due to the close professional and personal relationship of Fletcher and La Flesche, their papers have been arranged jointly. The papers cover the period from 1874 to 1939. Included in the collection is correspondence, personal diaries, lectures, field notes and other ethnographic papers, drafts, musical transcriptions, publications by various authors, maps and photographs.

The papers have been divided into three general categories: the papers of Alice Cunningham Fletcher, the papers of Francis La Flesche, and the ethnographic research of Fletcher and La Flesche. The first two categories represent personal and professional materials of Fletcher and La Flesche. The third section holds the majority of the ethnographic material in the collection.

Of primary concern are Fletcher and La Flesche's ethnological investigations conducted among the Plains Indians, particularly the Omaha and Osage. Fletcher's Pawnee field research and her allotment work for the Bureau of Indian Affairs among the Omaha, Nez Perce, and Winnebago are represented in the collection. A substantial portion of the ethnographic material reflects Fletcher and La Flesche's studies of Native American music. Much of the correspondence in the papers of Fletcher and La Flesche is rich with information about the situation of Omaha peoples in the late nineteenth and early twentieth centuries.

Also included in the collection are documents related to Fletcher's work with the Archaeological Institute of America and the School for American Archaeology. Additionally, substantial amounts of Fletcher's early anthropological and historical research are found among her correspondence, lectures, anthropological notes, and early field diaries. La Flesche's literary efforts are also generously represented.

Arrangement:

The collection is divided into the following 3 series: 1) Alice Cunningham Fletcher papers, 1873-1925; 2) Francis La Flesche papers, 1881-1930; 3) Papers relating to the anthropological research of Alice Fletcher and Francis La Flesche, 1877-1939.

Series 1: Alice Cunningham Fletcher papers is divided into the following 10 subseries: 1.1) Incoming correspondence, 1874-1923 (bulk 1882-1923); 1.2) Outgoing correspondence, 1873-1921; 1.3) Correspondence on specific subjects, 1881-1925; 1.4) Correspondence between Fletcher and La Flesche, 1895-1922; 1.5) Publications, 1882-1920; 1.6) Organizational records, 1904-1921; 1.7) General anthropological notes, undated; 1.8) Lectures, circa 1878-1910; 1.9) Diaries, 1881-1922; 1.10) Biography and memorabilia, 1878-1925.

Series 2: Francis La Flesche papers is divided into the following 6 subseries: 2.11) General correspondence, 1890-1929; 2.12) Correspondence on specific subjects, 1881-1930; 2.13) Publications, 1900-1927; 2.14) Literary efforts, undated; 2.15) Personal diaries, 1883-1924; 2.16) Biography and memorabilia, 1886-1930.

Series 3: Papers relating to the anthropological research of Alice Fletcher and Francis La Flesche is divided into the following 12 subseries: 3.17) Alaska, 1886-1887; 3.18) Earth lodges, 1882, 1898-1899; 3.19) Music, 1888-1918; 3.20) Nez Perce, 1889-1909; 3.21) Omaha, 1882-1922; 3.22) Osage, 1896-1939; 3.23) Pawnee, 1897-1910; 3.24) Pipes, undated; 3.25) Sioux, 1877-1896; 3.26) Other tribes, 1882-1922; 3.27) Publications collected, 1884-1905, undated; 3.28) Photographs, undated.

Biographical / Historical:

Alice Cunningham Fletcher (1838-1923) was an ethnologist with the Peabody Museum of Harvard and collaborator with the Bureau of American Ethnology. Francis La Flesche (1856-1923) was an anthropologist with the Bureau of American Ethnology.

Chronology of the Life of Alice Cunningham Fletcher

1838 March 15 -- Born in Havana, Cuba

1873-1876 -- Secretary, American Association for Advancement of Women

1879 -- Informal student of anthropology, Peabody Museum, Harvard University

1881 -- Field trip to Omaha and Rosebud Agencies

1882 -- Assistant in ethnology, Peabody Museum, Harvard University

1882 -- Helped secure land in severalty to Omaha Indians

1882-1883 -- Begins collaboration with Francis La Flesche on the Peabody Museum's collection of Omaha and Sioux artifacts

1883-1884 -- Special Agent, Bureau of Indian Affairs, Omaha Agency

1886 -- Bureau of Education investigation of Alaskan native education

1887-1888 -- Special Disbursing Agent, Bureau of Indian Affairs, Winnebago Agency

1889-1892 -- Special Agent for allotment, Bureau of Indian Affairs, Nez Perce Agency

1890-1899 -- President, Women's Anthropological Society of America

1891-1923 -- Mary Copley Thaw Fellow, Peabody Museum, Harvard University

1892-1893 -- Department of Interior consultant, World's Columbian Exposition

1896 -- Vice-President, Section H, American Association for the Advancement of Science

1897 -- Collaborator, Bureau of American Ethnology

1899-1916 -- Editorial board, American Anthropologist

1900 -- Published Indian Story and Song from North America

1901-1902 -- Advisory committee, Anthropology Department, University of California at Berkeley

1903 -- President, Anthropological Society of Washington

1904 -- Published The Hako: A Pawnee Ceremony with James Murie

1904 -- Member, ethnology section, Louisiana Purchase Exposition

1905 -- President, American Folk-lore Society

1908-1913 -- Chair, Managing Committee of School of American Archaeology

1911 -- Honorary Vice-President, Section H, British Association for Advancement of Science

1911 -- Published The Omaha Tribe with Francis La Flesche

1913 -- Chair Emeritus, Managing Committee of School of American Archaeology

1915 -- Published Indian Games and Dances with Native Songs Arranged from American Indian Ceremonials and Sports

1923 April 6 -- Died in Washington, D.C.

Chronology of the Life of Francis La Flesche

1857 December 25 -- Born on Omaha Reservation near Macy, Nebraska

1879 -- Lecture tour, Ponca chief Standing Bear

1881 -- Interpreter, Senate Committee on Indian Affairs

1881-1910 -- Clerk, Bureau of Indian Affairs

1891 -- Informally adopted as Fletcher's son

1892 -- LL.B., National University Law School

1893 -- LL.M., National University Law School

1900 -- Published The Middle Five: Indian Boys at School

1906-1908 -- Marriage to Rosa Bourassa

1910-1929 -- Ethnologist, Bureau of American Ethnology

1911 -- Published The Omaha Tribe with Alice Fletcher

1921 -- Published The Osage Tribe, Part One

1922 -- Member, National Academy of Sciences

1922-1923 -- President, Anthropological Society of Washington

1925 -- Published The Osage Tribe, Part Two

1926 -- Honorary Doctor of Letters, University of Nebraska

1928 -- Published The Osage Tribe, Part Three

1932 -- Published Dictionary of the Osage Language

1932 September 5 -- Died in Thurston County, Nebraska

1939 -- Posthumous publication of War Ceremony and Peace Ceremony of the Osage Indians

Related Materials:

Additional material related to the professional work of Fletcher and La Flesche in the National Anthropological Archives may be found among the correspondence of the Bureau of American Ethnology (BAE) and the records of the Anthropological Society of Washington.

Sound recordings made by Fletcher and La Flesche can be found at the Library of Congress. The National Archives Records Administration hold the Records of the Bureau of Indian Affairs (BIA), including those relating to allotments in severalty for the Nez Perce by Alice Fletcher. The Nebraska Historical Society has diaries, letters and clippings regarding the La Flesche family, including correspondence of Francis La Flesche and Fletcher. The Radcliffe College Archives holds a manuscript account of Alice Fletcher's four summers with the Nez Perce (1889-1892). Correspondence between Fletcher and F. W. Putnam is also located at the Peabody Museum Archives of Harvard University.

Separated Materials:

Ethnographic photographs from the collection have been catalogued by tribe in Photo Lot 24.

Glass plate negatives from the collection have been catalogued by tribe in the BAE glass negatives collection (Negative Numbers 4439-4515).

Provenance:

The papers of Alice Cunningham Fletcher and Francis La Flesche have been received from an undocumented number of sources. Portions of Fletcher's ethnographic papers were donated to the archives by Mrs. G. David Pearlman in memory of her husband in 1959.

Restrictions:

The Alice Cunningham Fletcher and Francis La Flesche papers are open for research.

Access to the Alice Cunningham Fletcher and Francis La Flesche papers requires an appointment.

Rights:

Contact the repository for terms of use.

Topic:

Pipes -- American Indian  Search this

Earth houses  Search this

Music -- American Indian  Search this

Citation:

Manuscript 4558 Alice Cunningham Fletcher and Francis La Flesche papers, National Anthropological Archives, Smithsonian Institution

Identifier:

NAA.MS4558

See more items in:

MS 4558 Alice Cunningham Fletcher and Francis La Flesche papers

Archival Repository:

National Anthropological Archives

EDAN-URL:

ead_collection:sova-naa-ms4558

Creator:

Hirsch, Stefan, 1899-1964  Search this

Rogo, Elsa, 1901-1996  Search this

Names:

Bard College -- Faculty  Search this

Bennington College -- Faculty  Search this

Downtown Gallery (New York, N.Y.)  Search this

United States. Office of the Coordinator of Inter-American Affairs  Search this

Albers, Josef  Search this

Anguiano, Raúl, 1915-2006  Search this

Bier, Justus, 1899-1990  Search this

Field, Hamilton Easter  Search this

Halpert, Edith Gregor, 1900-1970  Search this

Mumford, Lewis, 1895-1990  Search this

Mérida, Carlos, 1891-1984  Search this

Shahn, Ben, 1898-1969  Search this

Extent:

19.6 Linear feet

Type:

Collection descriptions

Archival materials

Motion pictures (visual works)

Sound recordings

Etchings

Sketchbooks

Scrapbooks

Glass plate negatives

Transcripts

Place:

Mexico -- Photographs

Date:

1851-1986

bulk 1920-1960

Summary:

The papers of artists and educators Stefan Hirsch and Elsa Rogo measure 19.6 linear feet and date from 1851 to 1986, with the bulk of the material dating from 1920s to the 1960s. Their artistic, teaching, and journalism careers are documented through biographical materials, correspondence, writings and notes, professional files, printed materials, photographs and motion picture films, and sketchbooks and other artwork.

Scope and Contents:

The papers of artists and educators Stefan Hirsch and Elsa Rogo measure 19.6 linear feet and date from 1851 to 1986, with the bulk of the material dating from 1920s to the 1960s. Their artistic, teaching, and journalism careers are documented through biographical materials, correspondence, writings and notes, professional files, printed materials, photographs and motion picture films, and sketchbooks and other artwork.

Biographical materials include address lists, resumes and biographical sketches, identification cards, material relating to Hirsch's military service, and legal documents. Two sound recordings, one personal and another of Rogo on Spanish National Radio, are also found here.

Correspondence is both professional and personal. Professional correspondence concerns commissions, exhibitions, travel, and teaching. Notable correspondents include Josef Albers, Justus Bier, Downtown Gallery (Edith Halpert), Carlos Mérida, Lewis Mumford, Ben Shahn, and many others. Personal correspondence is largely between Hirsch and Rogo. Writings are found for both Hirsch and Rogo and include notebooks, diary fragments and transcripts, lectures, essays on art, articles, and notes. A manuscript by Hamilton Easter Field is also found and a writing by an unknown author. Professional files document teaching positions, projects, commissions, memberships, and other professional activities undertaken by Hirsch and Rogo. They document Hirsch's teaching career at Bard College, Bennington College, and his mural work in South Carolina and Mississippi. Files concerning Rogo's work with the Office of the Coordinator of Inter-American Affairs are found here, as well as files documenting their professional and personal travel. These contain a wide variety of materials, such as correspondence, printed material, meeting minutes, photographs, and writings. Also found are scattered files relating to general areas of interest.

Hirsch's and Rogo's business records include contracts concerning Elsa Rogo's book agreements, records settling the estate of the Hirsch family in Nürnberg (Nuremberg), Germany, insurance records, a lease, price lists, and general receipts and invoices. Also found are personal art collection records including a sales agreement and a list of Latin American art owned by Hirsch and Rogo. Printed materials include books, brochures, clippings, exhibition announcements and catalogs for Stefan Hirsch and others, issues of magazines and other periodicals, copies of published writings by Hirsch and Rogo, and a dismantled printed materials scrapbook.

Photographs are extensive and include personal photos of Stefan Hirsch and Elsa Rogo, their family, friends, and colleagues. Numerous travel photos were taken by Rogo in her role as a journalist in Latin American and the United States. The bulk of the professional travel photos were taken in Mexico in the 1930s to the 1960s and show events, cities, and cultural activities. Also found are glass plate negatives, photographs of works of art, and sixteen reels of motion picture film taken in Mexico, Bard College, and Oqunquit, Maine.

Eighteen sketchbooks are largely unsigned but are likely by Stefan Hirsch. Additional artwork includes sketches and etchings by Hirsch, sketches by Elsa Rogo, and works by others including Raul Anquiano and Efren Villalobos.

Arrangement:

The collection is arranged as 9 series:

Series 1: Biographical Material, 1899-1986 (0.6 linear feet; Box 1)

Series 2: Correspondence, 1920s-1960s (3.2 linear feet; Boxes 1-4)

Series 3: Writings and Notes, circa 1920-1960s (1.2 linear feet: Boxes 4-5)

Series 4: Professional Files, 1912-1966 (2.8 linear feet; Boxes 6-8)

Series 5: Personal Business Records, 1927-1957 (0.5 linear feet; Boxes 8-9)

Series 6: Printed Material, 1851-1964 (2.9 linear feet; Boxes 9-12, 19)

Series 7: Photographs and Motion Picture Film, circa 1870-1960s (6.9 linear feet; Boxes 12-17, 20, FC 21-29)

Series 8: Sketchbooks, circa 1930s-circa 1940s (0.6 linear feet; Box 18)

Series 9: Artwork and Artifacts, 1916-1982 (0.5 linear feet; Boxes 18-19)

Biographical / Historical:

German-born Stefan Hirsch (1899-1964) was a painter and educator. Elsa Rogo (1901-1966) was married to Hirsch and was an artist, educator and journalist. They were active in Annandale-on-Hudson, New York, and Vermont, and traveled extensively throughout Mexico and Latin America where they documented local arts and crafts, village life, and befriended prominent Mexican artists.

Born in Nurnberg, Germany, Stefan Hirsch grew up in Europe and studied art at the University of Zurich. After settling in the United States in 1919, he took summer courses under Hamilton Easter Field in Ogunquit, Maine. Hirsch developed a Precisionist style combined with Social Realism but much of his work was difficult to restrict to one specific style. Hirsch was a founder and exhibitor at the avant-garde Salons of America which served as an alternative to the Society of Independent Artists. During the 1930s and 1940s, Hirsch participated in the U.S. government's Federal Art Project and painted murals in Aiken, South Carolina and Booneville, Mississippi. Hirsch began his teaching career in 1937 at Bennington College in Vermont, and later accepted a position at Bard College where he served as the chairman of the art department until he retired in 1961.

In 1930, Hirsch married Elsa Rogo. Together, they traveled throughout Mexico and Latin America where they became involved in the social and art scenes. They befriended prominent Mexican artists like Diego Rivera and David Siqueiros. As a journalist, Rogo documented Mexican life, events, and art extensively through photographs. Rogo also served in the U.S. Office of the Coordinator of Inter-American Affairs, established in 1940 to promote cultural diplomacy and solidarity primarily in Latin America. In Taxaco, Mexico, she taught art to school children. Her book, Walls and Volcanos: The Creative Impulse of the Mexican People, was published in 1937.

Stefan Hirsch died in 1964. Elsa Rogo died in 1966.

Provenance:

Portions of the Stefan Hirsch and Elsa Rogo papers were donated in 1996 by the Elsa Rogo estate, via Sylvia Siskin, executrix. Additions were donated 2002, 2014, and 2019 by professor James Oles, Art Department, Wellesley College, Wellesley, Massachusetts on behalf of Sylvia Siskin.

Restrictions:

Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice. Original film reels and archival negative copies are stored off-site and are closed to researchers.

Rights:

The Stefan Hirsch and Elsa Rogo papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.

Occupation:

Painters -- New York (State)  Search this

Art teachers  Search this

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

Topic:

Art -- Study and teaching  Search this

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

Art, Latin American  Search this

Mural painting and decoration, Mexican -- Photographs  Search this

Mural painting and decoration -- South Carolina  Search this

Mural painting and decoration -- Mississippi  Search this

Genre/Form:

Motion pictures (visual works)

Sound recordings

Etchings

Sketchbooks

Scrapbooks

Glass plate negatives

Transcripts

Citation:

Stefan Hirsch and Elsa Rogo papers, 1851-1986, bulk 1920s-1960s. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by Smithsonian Institution's Collections Care and Preservation Fund. Funding for the preservation of the Stefan Hirsch and Elsa Rogo home movies shot in Mexico was provided by the National Film Preservation Foundation. Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee.

Identifier:

AAA.hirsstef

See more items in:

Stefan Hirsch and Elsa Rogo papers

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-hirsstef

Creator:

Parsons, Edwin C, 1892-1968  Search this

Names:

France. Armée. Escadrille Lafayette  Search this

Extent:

0.66 Cubic feet (1 flatbox)

Type:

Collection descriptions

Archival materials

Correspondence

Memoirs

Photographs

Certificates

Scrapbooks

Date:

1914-1924

bulk 1915-1820

Summary:

This collection contains three scrapbooks and four certificates relating to Edwin C. Parsons' aviation career.

Scope and Contents:

This collection contains three scrapbooks and four certificates relating to Edwin C. Parsons' aviation career. The three scrapbooks include photos, news clippings, and mementos from Edwin C. Parsons' expatriate years, 1914-1924. Included in the albums are photos of Parsons' service in France with the Lafayette Escadrille and Les Cigognes squadron, his repatriation certificate, French military citations, and his memoir Fighting Men of the Sky, published in 40 installments weekly beginning 24 March 1918. Also included are news clippings of Parsons' exploits during his varied career.

Arrangement:

This collection is arranged by type of material; the scrapbooks are in original order and the loose items are housed at the end of the collection.

Biographical / Historical:

Rear Admiral Edwin C. Parsons (1892-1968) had a varied aviation career, serving in two World Wars. Parsons graduated from Phillips Exeter Academy in 1910 and after attending the University of Pennsylvania, he moved to California where he learned to fly at Dominguez Field. Parsons was commissioned with the Mexican Aviation Corps in 1914 where he trained Pancho Villa's pilots. In 1915, he worked his way to Europe where he joined the Lafayette Escadrille, and was credited with eight kills, making him an ace. From 1920 until 1923, Parsons was a special agent with the Federal Bureau of Investigation (FBI). He then went to Hollywood where he became a script writer and technical advisor, working on such films as Wings, Dawn Patrol, and The Great Adventure. In 1934 he joined the Naval Reserve where he advanced to the rank of Rear Admiral. During World War II Parsons served on an aircraft carrier and took part in amphibious landings in the South Pacific. He retired from the service in 1954.

Provenance:

Adm. Edwin C. Parsons, Gift, unknown, NASM.XXXX.0308

Restrictions:

No restrictions on access.

Rights:

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

Topic:

Aeronautics  Search this

World War, 1914-1918 -- Aerial operations  Search this

Periodicals  Search this

Genre/Form:

Correspondence

Memoirs

Photographs

Certificates

Scrapbooks

Citation:

Edwin C. Parsons Scrapbooks, NASM.XXXX.0308, National Air and Space Museum, Smithsonian Institution.

Identifier:

NASM.XXXX.0308

See more items in:

Edwin C. Parsons Scrapbooks

Archival Repository:

National Air and Space Museum Archives

EDAN-URL:

ead_collection:sova-nasm-xxxx-0308

Creator:

Pach, Walter, 1883-1958  Search this

Names:

Armory Show (1913: New York, N.Y.)  Search this

Association of American Painters and Sculptors (New York, N.Y.)  Search this

Brummer Gallery (New York, N.Y.)  Search this

Laurel Gallery (New York, N.Y.)  Search this

New York School of Art  Search this

Avery, Milton, 1885-1965  Search this

Barye, Antoine-Louis, 1796-1875  Search this

Brooks, Van Wyck, 1886-1963  Search this

Burroughs, Bryson, 1869-1934  Search this

Charlot, Jean, 1898-1979  Search this

Chase, William Merritt, 1849-1916  Search this

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

Duchamp, Marcel, 1887-1968  Search this

Duchamp-Villon, Raymond, 1876-1918  Search this

Faure, Elie, 1873-1937  Search this

Henri, Robert, 1865-1929  Search this

Lipchitz, Jacques, 1891-1973  Search this

Marsh, Reginald, 1898-1954  Search this

Matisse, Henri, 1869-1954  Search this

Miró, Joan, 1893-  Search this

Monet, Claude, 1840-1926  Search this

Of, George F. (George Ferdinand), b. 1876  Search this

Ogihara, Moriye  Search this

Orozco, José Clemente, 1883-1949  Search this

Pach, Magda, 1884-1950  Search this

Pach, Nikifora  Search this

Pach, Raymond  Search this

Picasso, Pablo, 1881-1973  Search this

Prendergast, Maurice Brazil, 1858-1924  Search this

Renoir, Auguste, 1841-1919  Search this

Rivera, Diego, 1886-1957  Search this

Schamberg, Morton L., 1881-1918  Search this

Sloan, John, 1871-1951  Search this

Villon, Jacques, 1875-1963  Search this

Extent:

20.7 Linear feet

Type:

Collection descriptions

Archival materials

Sketchbooks

Scrapbooks

Prints

Drawings

Diaries

Travel diaries

Photographs

Date:

1857-1980

Summary:

The papers of New York artist, critic, historian, writer, art consultant and curator Walter Pach, measure 20.7 linear feet and date from 1857-1980. The collection documents Pach's promotion of modernism through his role in the landmark 1913 Armory Show, his relationships with artists and art-world figures and his extensive writings on art. Records include biographical material, correspondence with family, friends and colleagues including noted artists, handwritten and edited versions of manuscripts by Pach, diaries and journals, business records, printed material, scrapbooks, sketchbooks and artwork by Pach and others, and photographs of Pach and his family, friends, and colleagues. The collection also includes 12 linear feet of selections from Walter Pach's library.

Scope and Contents note:

The papers of New York artist, critic, historian, writer, art consultant and curator Walter Pach, measure 20.7 linear feet and date from 1857-1980. The collection documents Pach's promotion of modernism through his role in the landmark 1913 Armory Show, his relationships with artists and art-world figures and his extensive writings on art. Records include biographical material, correspondence with family, friends and colleagues including noted artists, handwritten and edited versions of manuscripts by Pach, diaries and journals, business records, printed material, scrapbooks, sketchbooks and artwork by Pach and others, and photographs of Pach and his family, friends, and colleagues. The collection also includes 12 linear feet of selections from Walter Pach's library.

Biographical material includes a copy of Pach's birth certificate and two passports for Walter and Magda Pach, in addition to address books, association membership cards and certificates.

Correspondence is both personal and professional. Family correspondence includes letters from Pach's son, Raymond, his first wife Magdalene (Magda), and his second wife Nikifora, whom he married in 1951 following the 1950 death of Magda. General correspondence includes letters from artists including Jean Charlot, Arthur B. Davies, Marcel Duchamp, Raymond Duchamp-Villon, Jacques Lipchitz, Henri Matisse, Claude Monet, Maurice Prendergast, Diego Rivera, Morton Livingston Schamberg, John Sloan, and Jacques Villon; and other art-world figures including writers Van Wyck Brooks and Elie Faure, and Bryson Burroughs, curator of painting at the Metropolitan Museum of Art.

The Writings series represents an extensive collection of hand-written manuscripts, typescripts, annotated drafts and notes for published and unpublished writings by Pach, including lectures, monographs such as Queer Thing, Painting and Ananias, or The False Artist, and journal and newspaper articles such as "Pierre-Auguste Renoir" (1912).

Diaries and journals include one of particular note recording Pach's trip to Europe circa 1903-1904, with William Merritt Chase's class.

Business records include 2 notebooks recording sales at the Armory Show in New York, Boston and Chicago, a record book with handwritten lists of paintings owned and sold by Pach in the early 1930s, and two books, one maintained by Nikifora Pach, recording pictures sold, lectures and publications by Pach from the early 1900s to the early 1960s.

Printed material documents Pach's career through exhibition catalogs of Pach's solo and group exhibitions, news clippings about Pach, including reviews of his writings on art, and an almost comprehensive collection of copies of Pach's published journal and newspaper articles.

Scrapbooks include a book of reviews and original letters pertaining to Pach's book Ananias or the False Artist, and a scrapbook documenting Pach's activities during the 1920s which included his first one-man show at the Brummer Gallery in New York and the publication of his books Masters of Modern Art and Raymond Duchamp-Villon.

Artwork inlcudes a small group of drawings and three sketchbooks by Pach. Also of note are two print portfolios published in 1947 by the Laurel Gallery which include an essay and an etching by Pach, in addition to hand-pulled prints by artists such as Milton Avery, Reginald Marsh and Joan Miro.

Photographs are of Pach from childhood through to the 1950s, in addition to Magda and Raymond Pach and other family members, artists, colleagues and friends. Included are photographs of William Merritt Chase's class and Robert Henri's class at the New York School of Art, circa 1904, and photos of artists including Robert Henri, Moriye Ogihara, and Pablo Picasso. Photographs of artwork by Pach and other artists can also be found here including Mexican mural projects by José Clemente Orozco and Diego Rivera, and works by Antoine-Louise Barye and George Of.

Selections from Pach's library include works written by or translated by Pach, and items central to Pach's interests and work.

Arrangement note:

The Walter Pach papers are arranged as ten series.

Series 1: Biographical Material, 1884-circa 1950s (Box 1, 9; 9 folders)

Series 2: Correspondence, 1883-1980 (Box 1-3, FC 23; 2.1 linear feet)

Series 3: Writings, 1899-circa 1950s (Box 3-5; 2.5 linear feet)

Series 4: Diaries and Journals, 1903-circa 1950s (Box 5; 5 folders)

Series 5: Business Records, circa 1913-circa 1960s (Box 5-6; 0.3 linear feet)

Series 6: Printed Material, circa 1900-1977 (Box 6-7, 9; 1.3 linear feet)

Series 7: Scrapbooks, circa 1890-circa 1940s (Box 7, 9; 0.4 linear feet)

Series 8: Artwork, circa 1860-circa 1950s (Box 7, 10; 0.4 linear feet)

Series 9: Photographs, 1857-1959 (Box 7-8, 10; 1.4 linear feet)

Series 10: Selections from Walter Pach's Library, 1880-1963 (Box 11-22; 12 linear feet)

Biographical/Historical note:

New York artist, critic, writer, art consultant, and curator, Walter Pach (1883-1958) was an influential promoter of modern art and was instrumental in organizing the landmark Armory Show in 1913.

Walter Pach was born in New York City, July 11, 1883. His father, Gotthelf Pach, was a prominent commercial photographer who, along with his family, ran the New York firm of Pach Brothers. The company did the bulk of the photographic work for the Metropolitan Museum of Art, and the young Pach often accompanied his father on museum assignments. In 1903, Pach graduated from the City College of New York with a degree in art. He also studied with Robert Henri at the New York School of Art and went abroad to paint with William Merritt Chase in the summers of 1903 and 1904.

In 1906 Pach presented his first art history lecture at the Westfield State Normal School in Westfield, Massachusetts.

In 1907, Pach went to France and as an artist and critic moved among the Parisian avant-garde and became part of the Gertrude and Leo Stein circle. Gertrude Stein's "Portrait of Walter Pach was painted in 1908. Pach wrote extensively about modern art and through his numerous books, articles, and translations of European art texts, brought an emerging modernist viewpoint to the American public. In 1908 he wrote the first article published in America on Cézanne, and also wrote on such established artists as Claude Monet, whom he interviewed in 1908 for Scribner's Magazine..

Pach organized exhibitions of contemporary art for important New York City galleries of the period, as well as the landmark exhibition of 1913, "The International Exhibition of Modern Art," commonly known as the Armory Show. Along with painters Arthur B. Davies and Walt Kuhn, he brought together leading contemporary European and American artists. Pach served with Kuhn as administrator, publicist and gallery lecturer for the Armory Show Chicago for the run of the exhibition.

Pach helped to form major collections for John Quinn and Walter Arensberg. He was also instrumental in securing individual works of art for museums, such as a portrait for the Louvre Museum by American master Thomas Eakins, and Jacques-Louis David's Death of Socrates for the Metropolitan Museum of Art.

Pach married artist Magdalene Frohberg in February 1914, and their son Raymond was born at the end of that year. The Pachs lived primarily in New York, but spent time abroad from 1928 to 1932. Intermittently, they lived on the West Coast, where Pach taught at the University of California at Berkeley. In the 1920s he taught at the University of Mexico on a Shilling Fund grant, lecturing and writing on Native American art and developing a strong interest in Pre-Columbian art. He took an active interest in organizing exhibitions and raising money for a museum to be dedicated to the indigenous art of the Americas. In addition, he was a friend of José Clemente Orozco and Diego Rivera and helped organize the Mexican chapter of the Society of Independent Artists, the New York-based organization he founded in 1917 with Walter Arensberg and Marcel Duchamp.

While not well known today as a painter, Walter Pach devoted much of his creative effort to painting. He considered himself both an artist and a writer, even though friends like art historian Bernard Berenson urged him to devote all his time to writing. Among his writings are monographs on a wide range of subjects, social commentary on the art world, and a book on museum structures. Among his first publications were a series of brochures produced for the 1913 Armory Show, including Odilon Redon and, in the same year, A Sculptor's Architecture, a book about the work of Raymond Duchamp-Villon, a close friend whom he admired greatly. In 1923, Pach wrote Georges Seurat, a book later cited by art historian John Rewald as an important early text on the artist. Masters of Modern Art and the monograph Raymond Duchamp-Villon were published the following year, and in 1928 Pach's well-known indictment of opportunistic artists and corruption in the art world, Ananias, or The False Artist, created a stir in art circles. Pach considered Vincent Van Gogh to be a seminal figure in the development of modern art and was the first historian to lecture on him in America. In 1936, he published his well-received monograph, Vincent Van Gogh. His recollections of a life spent in art, Queer Thing, Painting appeared in 1938. Ingres was published in 1939, as well as Masterpieces of Art, written for the 1939 New York World's Fair, for which Pach was exhibition director. His Art Museum in America, published in 1948, called into question the relevance, responsibility, and future direction of the American art museum. He long championed the artists of Mexico and published an essay on Diego Rivera in 1951 for the National Museum of Fine Arts, Mexico, for its 50-year retrospective exhibition on the artist. The Classical Tradition in Modern Art, Pach's last book, was published posthumously in 1959.

Pach's fluency in French, German, and Spanish allowed him to understand and interpret new avant-garde ideas developing in Europe and to translate them for an English-speaking audience. His language skills also allowed him to communicate personally with many noted artists in Europe and Mexico and to mediate between gallery dealers and museum curators on their behalf. His correspondence with major figures in 20th-century art are a fascinating and important source of information, not only about the artists themselves but about the art world in general during the first half of this century.

Chronology of Exhibitions and Writings

1908 -- "Cézanne," by Walter Pach, the first American article on the subject, published in December issue of Scribner's.

1911 -- "Albert P. Ryder," by Walter Pach, published in January issue of Scribner's.

1912 -- Met with Arthur B. Davies and Walt Kuhn to begin preparations for the Armory Show. Was responsible for the exhibition's European operations. Completed Portrait of Gigi Cavigli (exhibited at the Armory Show the following year). "Pierre-Auguste Renoir," by Walter Pach, published in May issue of Scribner's.

1913 -- Exhibited 5 paintings and 5 etchings in "The International Exhibition of Modern Art" (Armory Show), which opened in New York City on February 13. Served as administrator, publicist, and gallery lecturer for the Armory Show Chicago with Kuhn for the run of the exhibition. At the close of the show, Matisse, Brancusi, and Pach were hanged in effigy by the students of the School of the Art Institute of Chicago.

1915 -- Publication of The John Quinn Collection, catalog of a collection Pach was instrumental in assembling.

1916 -- Founded Society of Independent Artists in collaboration with Marcel Duchamp, Walter Arensberg, and others. Adviser to collector Walter Arensberg.

1917 -- Designed sets for Wallace Stevens's play, Bowl, Cat and Broomstick, produced at the Neighborhood Playhouse, New York City. Arranged a Gino Severini exhibition at Stieglitz's 219 gallery, New York City.

1918 -- "Universality in Art," by Walter Pach, published in February issue of Modern School. "Jean Le Roy," by Walter Pach, published in October issue of Modern School

1919 -- "The Schamberg Exhibition," by Walter Pach, published in May 17 issue of the Dial. Wrote introduction for Odilon Redon, the catalog for a graphics show at Albert Roulliers Gallery, Chicago.

1920 -- "The Art of the American Indian," by Walter Pach, published in January 20 issue of the Dial. His paintings abandoned the cubist-futurist mode and returned to a more naturalistic style.

1921 -- Publication of History of Art: Ancient Art, volume 1, by Elie Faure, translated by Walter Pach.

1922 -- Lecturer, University of Mexico, where he developed a strong interest in Pre-Columbian art. Lectured at Société Anonyme. Publication of History of Art: Mediaeval Art, volume 2, by Elie Faure, translated by Walter Pach. Contributed a chapter, "Art," to Civilization in the United States: An Inquiry by Thirty Americans, edited by Harold E. Stearns.

1923 -- Publication of Georges Seurat by Walter Pach. Publication of The Art of Cineplastics and History of Art: Renaissance Art, volume 3, by Elie Faure, translated by Walter Pach. "Georges Seurat," by Walter Pach, published in March issue of the Arts.

1924 -- Publication of Masters of Modern Art, by Walter Pach. Publication of Raymond Duchamp-Villon, by Walter Pach. Publication of History of Art: Modern Art, volume 4, by Elie Faure, translated by Walter Pach. "The Greatest American Artist," by Walter Pach, published in January issue of Harper's Magazine.

1926 -- "Graveur Américain," by Léon Rosenthal, an article about Pach's graphics (illustrated with an original etching, New York), published in September issue of Byblis, Miroir des Arts du Livre et de L'Estampe. "Brancusi," by Walter Pach, published in December 1 issue of the Nation. Instructor, New York University. First solo exhibition at Brummer Gallery, New York, New York.

1927 -- "What Passes for Art," by Walter Pach, published in June issue of Harper's Magazine

1928 -- Publication of Ananias, or The False Artist, by Walter Pach. Pach family relocated to Europe.

1929 -- "The Evolution of Diego Rivera," by Walter Pach, published in January issue of Creative Art. "John Ruskin and Walter Pach: Defenders of the Faith," by W.H. Downes, published in August issue of American Museum Art.

1930 -- Publication of An Hour of Art, by Walter Pach. Publication of History of Art: The Spirit of the Forms, volume 5, by Elie Faure, translated by Walter Pach. "Notes sur le classicisme de Delacroix," by Walter Pach, published in June issue of L'Amour de L'Art.

1931 -- Solo exhibition at Kraushaar Gallery, New York City, with review published in March 21 issue of Art News. "Raymond Duchamp-Villon," by Walter Pach, published in May issue of Formes XV.

1932 -- "Le Classicisme de Barye," by Walter Pach, published in November issue of L'Amour de L'Art . Returned to the United States.

1933 -- "Address at the Worcester Opening of International, 1933," by Walter Pach, and "Georges Rouault," by Walter Pach, both published in January issue of Parnassus. "American Art in the Louvre," by Walter Pach, published in May issue of Fine Arts 20. "On Owning Pictures," by Walter Pach, published in August issue of Fine Arts 20. "Rockefeller, Rivera and Art," by Walter Pach, published in September issue of Harper's Magazine.

1934 -- Organized Maurice Prendergast retrospective for Whitney Museum of American Art.

1935 -- Exhibition at Knoedler Gallery, New York City included Walter Pach's Respice, Adspice, and Prospice, a fresco commissioned for the City College of New York by the Class of 1903.

1936 -- Exhibition of watercolors at Kleemann Galleries, New York City. Publication of Vincent Van Gogh, by Walter Pach." The Raphael from Russia," by Walter Pach, published in January issue of Virginia Quarterly Review. "First Portfolio of American Art," by Walter Pach, published in October 3 issue of Art News. Wrote foreword to First Exhibition in America of Géricault, catalog of exhibition at Marie Sterner Gallery, New York City. "The Outlook for Modern Art," by Walter Pach, published in April issue of Parnassus. Article about Pach's City College mural published in February issue of City College Alumnus Magazine.

1937 -- Publication of The Journal of Eugène Delacroix, translated by Walter Pach. Publication of Thomas Eakins, by Walter Pach, catalog of exhibition at Kleemann Gallery, New York City.

1938 -- Publication of Queer Thing, Painting: Forty Years in the World of Art, by Walter Pach. "Delacroix Today," by Walter Pach, published in January issue of Magazine of Art.

1939 -- Publication of Ingres, by Walter Pach. Appointed general director, "Masterpieces of Art" exhibition, New York World's Fair.

1940 -- Publication of Masterpieces of Art, New York World's Fair, 1940, Official Illustrated Catalogue, by Walter Pach.

1941 -- Solo exhibition at Schneider-Gabriel Gallery, New York City.

1942 -- "Newly Discovered Ingres: The Lovers," by Walter Pach, published in October issue of Art in America Exhibition at Whitney Museum of American Art, "Between the Wars: Prints by American Artists, 1914-1941," included Walter Pach's etching Saint-Germain-des-Pres (1911). Lecturer, University of Mexico, Shilling Fund grant.

1943 -- "A Newly Found American Painter: Hermenegildo Bustos," by Walter Pach, published in January issue of Art in America. "Unknown Aspects of Mexican Painting," by Walter Pach, published in October issue of Gazette des Beaux-Arts. Marriage of son, Raymond.

1944 -- "The Eight, Then and Now," by Walter Pach, published in January issue of Art News. "Problemas del arte americano," by Walter Pach, published in December issue of Origenes.

1946 -- "La Barricade in America," by Walter Pach, published in July issue of Art News. "On Art Criticism," by Eugène Delacroix (first published in Revue de Paris, May 1829), translated by Walter Pach for catalog of exhibition at Curt Valentin, New York City.

1947 -- Publication of Picasso, by Juan Larrea, edited by Walter Pach. Publication of "Museums Can Be Living Things," by Walter Pach, in Laurels Number One, Laurel Gallery. Etching, Scopasian Head, by Walter Pach, included in Laurels Number Two, Laurel Gallery.

1948 -- Publication of The Art Museum in America, by Walter Pach. "The Past Lives On," by Walter Pach, parts 1 and 2, published in October and November issues of American Artist.

1949 -- "Thus Is Cubism Cultivated," by Walter Pach, published in May issue of Art News.

1950 -- Contributed a chapter, "The State of the Arts in the Democratic Way of Life: A Postscript," to Perspectives on a Troubled Decade: Science, Philosophy and Religion, 1939-1949, edited by Lyman Bryson, Louis Finkelstein, and R. M. MacIver. Death of wife, Magdalene.

1951 -- "Reaciones entre la cultura nordeamericana y la ombre de Diego Rivera," a major essay by Walter Pach published in Diego Rivera, 50 años de su labor artistica, exposition de normenaje nacional, Museo nacional de artes plasticas, Mexico City. Married Nikifora.

1953 -- "A Modernist Visits Greece," by Walter Pach, reprinted in autumn issue of Archaeology.

1954 -- "John Sloan," by Walter Pach, published in August issue of Atlantic Monthly.

1956 -- "Introducing the Paintings of George Of (1876-1954)," by Walter Pach, published in October issue of Art News.

1958 -- Professor, City College of New York. Died, New York City, following an operation for stomach ulcers.

1959 -- Publication of The Classical Tradition in Modern Art, by Walter Pach.

1986 -- Exhibition, "Walter Pach, A Retrospective," at Asheville Art Museum, Asheville, North Carolina.

1988 -- Exhibition, "The Art of Walter and Magda Pach," at Butler Institute of American Art, Youngstown, Ohio.

1990 -- Exhibition, "Discovering Modernism: Selections from the Walter Pach Papers," at the Archives of American Art, New York City.

1991 -- Exhibition, "The Paintings of Walter Pach," at Forum Gallery, New York City.

Related Materials:

Papers of Walter Pach, 1885-1956, are also located at the Helen Farr Sloan Library & Archives.

Separated Materials note:

When the Archives of American Art acquired the Walter Pach Papers, some portion of his library was also received. The bulk of the library was transferred to the Smithsonian's American Art/Portrait Gallery Library where the items could be properly cataloged, cared for, and used.

Provenance:

The Walter Pach papers were acquired in several installments. After Pach's death his widow, Nikifora Pach, sold Pach's papers to Salander-O'Reilly Galleries. They were purchased by the Archives of American Art in 1988 with a grant from the Brown Foundation, Inc.

Eight family photographs, donated by Raymond Pach, son of Walter Pach, were received in 1990.

In 2012 Francis M. Naumann donated an additional 5.7 linear feet of material to the Archives of American Art.

Restrictions:

Use of original papers requires an appointment.

Use of archival audiovisual recordings with no duplicate access copy requires advance notice.

Rights:

The Walter Pach papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.

Occupation:

Art critics  Search this

Art historians  Search this

Artists  Search this

Topic:

Art schools -- Photographs  Search this

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

Art criticism  Search this

Art -- Study and teaching  Search this

Art -- Expertising  Search this

Mural painting and decoration, Mexican  Search this

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

Modernism (Art)  Search this

Genre/Form:

Sketchbooks

Scrapbooks

Prints

Drawings

Diaries

Travel diaries

Photographs

Citation:

Walter Pach papers, 1857-1980. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the initial digitization of the microfilm of this collection was provided by the Gladys K. Delmas Foundation. Funding for the processing of the addition to the Walter Pach papers and digitization of the fully re-processed collection was provided by the Terra Foundation for American Art.

Identifier:

AAA.pachwalt2

See more items in:

Walter Pach papers

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-pachwalt2

Creator:

Holmes, William Henry, 1846-1933  Search this

Photographer:

Parker  Search this

Doty, Charles Edward, 1862-1921  Search this

Jackson, William Henry, 1843-1942  Search this

Kildare, Edward James  Search this

Matteson, Sumner W., 1867-1920  Search this

Waite, C. B. (Charles Betts), 1861-1927  Search this

Extent:

150 Prints (circa, silver gelatin and albumen)

1 Print (halftone)

Culture:

Mexicans  Search this

Type:

Collection descriptions

Archival materials

Prints

Photographs

Place:

Cuba

Mexico

Guatemala

Chile

Date:

circa 1895-1907

Scope and Contents note:

Photographs documenting Mexican people in their built and natural environments, as well as industries, markets, and agriculture. The photographs were originally contained in envelopes labeled by William Henry Holmes, who may have collected them during his travels to Mexico. The collection also includes some photographs made in Cuba, Guatemala, and Chile, as well as Holmes's notes on Argentina. The bulk of the photographs were made by William Henry Jackson; additional photographs were made by Charles Edward Doty, E. J. Kildare, Sumner W. Matteson, C. B. Waite, and Corral and Parker studios.

Biographical/Historical note:

William Henry Holmes (1846-1933) was an artist, geologist, and archeologist who spent most of his career with the United States Geological Survey of the Territories, United States Geological Survey, Bureau of American Ethnology, and Department of Anthropology of the Smithsonian. From 1894-1897, he was the head of anthropology at the Field Columbian Museum (Field Museum of Natural History) and on the staff of the University of Chicago. During this time, he carried out investigations of ancient ruins in the Yucatan and other areas of Mesoamerica as a member of an expedition of Allison V. Armour. Holmes served as head curator for the US National Museum Department of Anthropology from 1897-1902 and head of the BAE from 1902-1909.

William Henry Jackson was a photographer for the US Geological and Geographical Surveys (1870-1878) before he opened a studio in Denver, Colorado, and began making official photographs for various railroad companies. In 1883, he made his first trip to Mexico under the sponsorship of the Mexican Central Railway. On one of his subsequent trips, he was accompanied by William Henry Holmes, who may have collected Jackson's photographs because of this trip.

Local Call Number(s):

NAA Photo Lot 87-20

Location of Other Archival Materials:

Manuscripts and notes by Holmes can be found throughout the National Anthropological Archives in MS 4698, MS 2125, MS 7112, and MS 7570.

The Smithsonian Institution Archives holds the William Henry Holmes Papers, 1870-1931 (SIA RU007084).

Additional photographs by Jackson can be found in the National Anthropological Archives in Photo Lot 24, Photo Lot 37, Photo Lot 40, Photo Lot 60, Photo Lot 93, Photo Lot 143, Photo Lot 87-2P, Photo Lot 90-1, Photo Lot 92-3, the records of the Department of Anthropology, and the BAE historical negatives.

Restrictions:

The collection is open for research.

Access to the collection requires an appointment.

Rights:

Contact the repository for terms of use.

Topic:

Agriculture  Search this

Markets  Search this

Cities and towns  Search this

Genre/Form:

Photographs

Citation:

Photo Lot 87-20, Photographs of Mexico and Latin America, National Anthropological Archives, Smithsonian Institution.

Identifier:

NAA.PhotoLot.87-20

Archival Repository:

National Anthropological Archives

EDAN-URL:

ead_collection:sova-naa-photolot-87-20

Creator:

National Portrait Gallery  Search this

Type:

YouTube Videos

Uploaded:

2020-10-28T16:06:08.000Z

YouTube Category:

Education  Search this

Topic:

Portraits  Search this

See more by:

NatlPortraitGallery

Data Source:

National Portrait Gallery

YouTube Channel:

NatlPortraitGallery

EDAN-URL:

edanmdm:yt_A0NnBs8gIX4

Creator:

National Portrait Gallery  Search this

Type:

YouTube Videos

Uploaded:

2012-07-16T18:46:52.000Z

YouTube Category:

Education  Search this

Topic:

Portraits  Search this

See more by:

NatlPortraitGallery

Data Source:

National Portrait Gallery

YouTube Channel:

NatlPortraitGallery

EDAN-URL:

edanmdm:yt_Cic8qRfzBJo

Creator:

National Portrait Gallery  Search this

Type:

YouTube Videos

Uploaded:

2014-10-21T17:42:12.000Z

YouTube Category:

Education  Search this

Topic:

Portraits  Search this

See more by:

NatlPortraitGallery

Data Source:

National Portrait Gallery

YouTube Channel:

NatlPortraitGallery

EDAN-URL:

edanmdm:yt_OTSW_8g5XnQ

Creator:

Hirshhorn Museum and Sculpture Garden  Search this

Type:

YouTube Videos

Uploaded:

2020-08-14T15:04:11.000Z

YouTube Category:

Education  Search this

Topic:

Art, modern  Search this

See more by:

hirshhornmuseum

Data Source:

Hirshhorn Museum and Sculpture Garden

YouTube Channel:

hirshhornmuseum

EDAN-URL:

edanmdm:yt_KzyRJGxx2p8

Creator:

Hirshhorn Museum and Sculpture Garden  Search this

Type:

YouTube Videos

Uploaded:

2020-10-19T12:15:02.000Z

YouTube Category:

Education  Search this

Topic:

Art, modern  Search this

See more by:

hirshhornmuseum

Data Source:

Hirshhorn Museum and Sculpture Garden

YouTube Channel:

hirshhornmuseum

EDAN-URL:

edanmdm:yt_RUDfsNFZEOw

Creator:

Hirshhorn Museum and Sculpture Garden  Search this

Type:

Lectures

YouTube Videos

Uploaded:

2018-12-20T21:33:49.000Z

YouTube Category:

Education  Search this

Topic:

Art, modern  Search this

See more by:

hirshhornmuseum

Data Source:

Hirshhorn Museum and Sculpture Garden

YouTube Channel:

hirshhornmuseum

EDAN-URL:

edanmdm:yt_ZYH5BU4v4A8

Creator:

Smithsonian Channel  Search this

Type:

YouTube Videos

Uploaded:

2012-03-19T17:13:07.000Z

YouTube Category:

Entertainment  Search this

See more by:

smithsonianchannel

Data Source:

Smithsonian Channel

YouTube Channel:

smithsonianchannel

EDAN-URL:

edanmdm:yt_94KiluTAEas

Creator:

Smithsonian Channel  Search this

Type:

YouTube Videos

Uploaded:

2018-08-21T15:30:01.000Z

YouTube Category:

Entertainment  Search this

See more by:

smithsonianchannel

Data Source:

Smithsonian Channel

YouTube Channel:

smithsonianchannel

EDAN-URL:

edanmdm:yt_4SNjR2HAJ6A

Creator:

Smithsonian Channel  Search this

Type:

YouTube Videos

Uploaded:

2016-07-15T16:20:29.000Z

YouTube Category:

Entertainment  Search this

See more by:

smithsonianchannel

Data Source:

Smithsonian Channel

YouTube Channel:

smithsonianchannel

EDAN-URL:

edanmdm:yt_nE2U7YBsqPI

Creator:

Smithsonian Channel  Search this

Type:

YouTube Videos

Uploaded:

2019-12-17T16:30:02.000Z

YouTube Category:

Entertainment  Search this

See more by:

smithsonianchannel

Data Source:

Smithsonian Channel

YouTube Channel:

smithsonianchannel

EDAN-URL:

edanmdm:yt_oHTrSnWjlyw