The papers of art historian, writer, and museum administrator Lloyd Goodrich measure 35.7 linear feet and date from 1884 to 1987 with the bulk of the material dating from 1927 to 1987. Materials include biographical material, extensive correspondence, writings and research files, organization and committee files, exhibition files, printed material, a scrapbook, and photographic material. The collection is particularly rich in research files on Winslow Homer, Thomas Eakins, Albert Pinkham Ryder, and Reginald Marsh, as well as correspondence with additional notable artists and art figures.
Scope and Contents:
The papers of art historian, writer, and museum administrator Lloyd Goodrich measure 35.7 linear feet and date from 1884 to 1987 with the bulk of the material dating from 1927 to 1987. Materials include biographical material, extensive correspondence, writings and research files, organization and committee files, exhibition files, printed material, a scrapbook, and photographic material. The collection is particularly rich in research files on Winslow Homer, Thomas Eakins, Albert Pinkham Ryder, and Reginald Marsh, as well as correspondence with additional notable artists and art figures.
Scattered biographical materials include biographical sketches, an interview transcript, personal business records, documents relating to Goodrich's service on art juries, and awards and honors.
Writings and research files include major writings, such as books and articles, and book reviews, essays, exhibition text, catalog entries, and lectures. In addition to the writings, Goodrich's research files for the writings are arranged here and include research, notes, correspondence, photographs, illustrations, printed materials, and bibliographies. There are also book agreements. There are extensive files for Goodrich's books on Winslow Homer (see also correspondence in Series 2) and Reginald Marsh; articles, catalog entries, and other writings on Winslow Homer, Albert Pinkham Ryder, Kuniyoshi, Reginald Marsh, and American art in general; lectures and talks; research files on other artists, and notes and notebooks.
Organization and committee files document Goodrich's service on boards, commissions, committees, organizations, and associations, such as the American Federation of Arts, the Association of Art Museum Directors, the Carnegie Study in American Art, the National Council on the Arts and Government, American Art Research Council, Artists Equity Association, Artist Tenants Association, the selection committee of the American National Exhibition (1959), and others are found within organization and committee files. Agendas, correspondence, meeting minutes, and printed material are found within the files.
Exhibition files are found only for several Winslow Homer shows. Printed materials include clippings, publicity materials, and printed copies of his writings. Photographic material includes scattered photographs of Goodrich and others, and extensive negatives of works of art, likely by Homer. Also found are x-rays of paintings by Ralph Blakelock.
Arrangement:
The collection is arranged as 8 series.
Missing Title
Series 1: Biographical Materials, 1946-1984 (Boxes 1; 0.4 linear feet)
Series 2: Correspondence, 1920-1987 (Boxes 1-3; 1.8 linear feet)
Series 3: Writings and Research Files, 1884-1987 (Boxes 3-17, 38; 14.5 linear feet)
Series 4: Organization and Committee files, 1933-1982 (Boxes 17-31, 37; 14.5 linear feet)
Series 5: Exhibition Files, 1944-1986 (Boxes 31-32; 0.6 linear feet)
Series 6: Printed Material, circa 1920s-1979 (Boxes 32-33; 0.8 linear feet)
Series 7: Scrapbook, 1952-1959 (Box 33; 2 folders)
Series 8: Photographic Materials, circa 1910-1987 (Boxes 33-37; 3.1 linear feet)
Biographical / Historical:
Lloyd Goodrich (1897-1987) was a prominent and influential art historian, writer, and director of the Whitney Museum of Art in New York City, New York, from 1958-1968.
Lloyd Goodrich was born in Nutley, New Jersey in 1897. He studied under Kenneth Hayes Miller at the Art Students League from 1913-1915 and also took courses at the National Academy of Design. Rather than pursue a career as an artist, however, he decided that his real talent was writing about art. He began his long and prolific writing career in 1923-24 and married Edith Havens in 1924. Inspired by the work and writings of European art scholars and a desire to address the need for a body of scholarship on American Art, Goodrich began to research and write about American artists Kenneth Hayes Miller, Winslow Homer, and Thomas Eakins.
Goodrich's first article on Winslow Homer was published in 1924 by The Arts, a magazine financed by Gertrude Vanderbilt Whitney and edited by Forbes Watson, who soon hired Goodrich as associate editor. By 1929, Goodrich was also working as assistant art critic for the New York Times while continuing work at The Arts as contributing editor. One year later, The Arts commissioned Goodrich to write a book on Kenneth Hayes Miller. And, around the same time Goodrich became interested in Thomas Eakins, and with the encouragement and financial support from his boyhood friend, artist Reginald Marsh, he began work on a monograph about Eakins.
In 1930, Goodrich joined the staff of Gertrude Vanderbilt Whitney's new American art museum in New York City, the Whitney Museum of American Art. The museum provided him with the funds he needed to research and complete his book on Thomas Eakins, which he achieved in 1933. In 1935, he became curator of the museum, and associate director in 1948. He served as director from 1958-1968. The bequest of the Edward Hopper collection to the Whitney was the result of Goodrich's reputation as a scholar of Edward Hopper. After retiring, Goodrich continued his association with the Whitney as advisory director and director emeritus.
Goodrich was instrumental in starting the American Art Research Council in 1942, a group of museums devoted to collecting scholarly records about American art. He sat on the advisory panels for the New York State Council on the Arts and the Fine Arts Advisory Committee to the White House. In 1933, he was in charge of the New York regional office of the Public Works of Art Project. He also served as chairman of the National Council on the Arts and Government from 1948 to 1954 and was a major force in the creation of the National Endowment for the Arts and Humanities. He was a member of the Artists Equity Association, Artist Tenants Association, and numerous other arts organizations and a strong advocate for the promotion and support of American art and artists.
Throughout his long and distinguished career as a writer and museum administrator, Lloyd Goodrich worked to build a body of scholarship related to the history of American art and artists. He published several important monographs, including works on Thomas Eakins, Edward Hopper, Albert Pinkham Ryder, Winslow Homer, and Reginald Marsh, and organized major exhibitions about these and many other artists during his 57-year association with the Whitney Museum of American Art. At the time of his death, Goodrich was considered a preeminent figure in the American art world, and one of the foremost authorities on Eakins, Ryder, and Homer, artists on which he kept extensive research files throughout his life.
Lloyd Goodrich died March 27, 1987.
Related Materials:
Also found in the Archives of American Art is an oral history interview with Lloyd Goodrich, 1962-1963 by Harlan Phillips for the Archives of American Art.
Additional Lloyd Goodrich papers are located at the Whitney Museum of American Art Archives, and the Philadelphia Museum of Art Archives.
Separated Materials:
The Archives of American Art also holds microfilm of material lent for microfilming (reel 4468) including a photocopy of the manuscript "Albert Pinkham Ryder: The Man and His Art," Goodrich's contribution to the book "Albert Pinkham Ryder: Painter of Dreams" co-authored with William I. Homer. Loaned materials were returned to the lender and are not described in the collection container inventory.
Provenance:
The Lloyd Goodrich papers were given to the Archives of American Art in several different acquisitions. Lloyd Goodrich first donated material in 1983. David Goodrich, Lloyd Goodrich's son, gave more material between 1988 and 2007 while additional papers were lent for microfilming by William I. Homer in 1990. Finally, the Whitney Museum of American Art donated papers in 1996, and Polly Thistlethwaite gave further material in 2015.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Art historians -- New York (State) -- New York Search this
Arts administrators -- New York (State) -- New York Search this
Museum curators -- New York (State) -- New York Search this
Museum administrators -- New York (State) -- New York Search this
Topic:
Art -- Collectors and collecting -- New York (State) -- New York Search this
Collection is open for research but the original and master audiovisual materials are stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Copyright restrictions. Consult the Archives Center at archivescenter@si.edu or 202-633-3270.
Paul Ellington, executor, is represented by:
Richard J.J. Scarola, Scarola Ellis LLP, 888 Seventh Avenue, 45th Floor, New York, New York 10106. Telephone (212) 757-0007 x 235; Fax (212) 757-0469; email: rjjs@selaw.com; www.selaw.com; www.ourlawfirm.com.
Collection Citation:
Duke Ellington Collection, Archives Center, National Museum of American History
Sponsor:
Processing and encoding partially funded by a grant from the Council on Library and Information Resources.
Included is a letter from Eudora Welty to John Woodburn, an editor at Harcourt, Brace and Company. The letter concerns Welty's Delta Wedding (1946), for which Alston designed the dust cover.
Collection Restrictions:
Use of original papers requires an appointment.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Charles Henry Alston papers, 1924-1980. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the digitization of this collection was provided by the Terra Foundation for American Art
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Charles W. White papers, 1933-1987. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Henry Luce Foundation. Funding for the digitization was provided by the Roy Lichtenstein Foundation and the Alice L. Walton Foundation.
File consists of three groups of materials related to: "Statement of the National Council on the Arts on Goals and Basic Policy of the National Endowment for the Arts", UNESCO World Conference on Cultural Policies in Mexico City, Committee of Governmental Experts on the Safeguarding of Folklore.
"Statement of the National Council on the Arts on Goals and Basic Policy of the National Endowment for the Arts" (two copies), correspondence with Livingston L. Biddle, Jr. regarding statement.
Telegram regarding Adrienne Kaeppler organizing exhibit of Oceanian culture, final report from the Regional Conference of Ministers of Education and Economic Planning Latin America and the Caribbean, telegram listing Unites States delegates, agendas, draft declaration of Mexico City, correspondence, UNESCO cultural development newsletter 1982, hotel reservation request.
General meeting information, provisional agenda, provisional rules, draft definitions of folklore, proposals, recommendations in English and French, project report in French, correspondence from Rinzler to Ambassador Gerard, reflective report in Spanish on Venezuela's experience in safeguarding folklore, statement on high culture from Dietrich Schiller.
Collection Restrictions:
Access to the Ralph Rinzler Folklife Archives and Collections is by appointment only. Visit our website for more information on scheduling a visit or making a digitization request. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Collection Citation:
Ralph Rinzler papers and audio recordings, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
The correspondence of Rose Slivka is both professional and personal in nature. Professional correspondence reflects her involvement with a variety of organizations and teaching activities. Correspondence concerning her editorial work includes memos and documents produced or received by Patricia Dandignac, Donald Wycoff and other staff of Craft Horizons. Due to considerable overlap between Slivka's professional and private lives, quite a bit of correspondence relates to both spheres. Personal correspondence, mostly from earlier years, concerns her husband, sculptor David Slivka, and their two children. In later years, personal correspondence appears mostly as greeting cards and notes. Most of Slivka's correspondence involves routine matters relating to the business of magazine publishing and the ideal of promoting crafts.
Among the many attachments are: clippings, exhibition catalogs, and other printed items; photographs and slides; legal contracts and documents; resumes; and writings, such as talks, essays and poems by Slivka and others. Writings of note include "A Note on the Politics and Esthetics of a Woman's Show" by Lucy Lippard, "The Need for Museum Art in India" by Ajit Ghose, "Integrated Works" by David Davidson, and papers about various methods of casting sculpture.
Correspondents include numerous organizations devoted to promoting and enlarging the scope of crafts, among them the American Crafts Council and World Crafts Council. Slivka corresponded with universities and schools regarding topics of interest to Craft Horizons and Craft International, showing particular interest in the Cranbrook Academy of Art and the Haystack School. A considerable amount of correspondence documents Slivka's involvement in the planning of or participating in numerous conferences and symposia as a juror, panel participant or moderator in the United States, Japan, Indonesia, Australia, and other venues. There is correspondence relating to ceramic artist Peter Voulkos and Slivka's book about him, Peter Voulkos: A Dialogue in Clay, as well as a large amount of correspondence with Lloyd Herman concerning her work on the "Object as Poet" exhibition (1977) at the Renwick Gallery. Other prominent individuals with whom Slivka corresponded are: Elaine de Kooning, Leo Castellli, Jack Lenor Larsen, Jeff Schlanger, Sam Maloof, and Nancy Hanks of the National Council on the Arts. Lastly, there is correspondence relating to Slivka's work as art critic in the 1990s for The East Hampton Star newspaper including readers' letters.
Use of original materials requires an appointment and is limited to the Archives' Washington D.C. research center. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Rose Slivka papers, circa 1947-2006. Archives of American Art, Smithsonian Institution.
59 cu. ft. (1 record storage box) (116 document boxes)
Type:
Collection descriptions
Archival materials
Manuscripts
Date:
1908-1974
Descriptive Entry:
The records pertain to the administration of David W. Scott, director, 1965-1968, Robert Tyler Davis, interim director, 1969, and Joshua C. Taylor, director, 1970-
. Some records, most noticeably correspondence with Smithsonian Art Commission members, have been pulled up into the files from previous administrations.
Also included are Smithsonian Art Commission and National Collection of Fine Arts (NCFA) Commission reports, and correspondence with Commission members, 1908-1972; NCFA
fiscal material; memoranda between NCFA staff; NCFA policies and procedures; correspondence with Smithsonian administrators; exhibition material; gifts and purchases; renovation
of the old Patent Office Building; correspondence with professional organizations; correspondence with state, local, and private art galleries; correspondence with universities
concerning art programs and exhibits; and correspondence with federal agencies and foreign art museums. Projects and museums supported by NCFA, or responsible to NCFA, and
documented in these records include the Barney Studio House; Bicentennial Inventory of American Painting; Cooper Union Museum; Renwick Gallery; and the White House art program
seminars.
Important correspondents, organizations, and art museums, whose material appears in the records include the American Federation of Art, Archives of American Art, Adelyn
D. Breeskin, Alexander Calder, Edith Halpert (Downtown Gallery), William H. Holmes, Harry Lowe, Stanton MacDonald-Wright, Paul Manship, National Council on the Arts, National
Gallery of Art, George Rickey, and S. Dillon Ripley.
The index card file only partially indexes the records of the Central Files and is arranged alphabetically by name. An asterisk before a folder denotes that the folder
contains art catalogs, pamphlets, or photographs of art work.
Historical Note:
The Central Administrative File was established in order to receive records of the director, assistant director, and copies and original incoming and outgoing correspondence
carried on by museum curators, administrators, technicians, and research assistants. This system was discontinued in 1975.
Printed materials include photocopies, exhibition announcements, magazines, and newspaper clippings regarding museum openings, personal profiles on Gilliam and Dorothy Gilliam, materials related to Gilliam serving on the jury for the National Council on the Arts fellowship, his public art commissions, specific artworks such as Autumn Surf, his appearance at the Venice Biennale, receipt of the Guggenheim and National Endowment for the Arts fellowships, as well as exhibition press for Gilliam and other African-American artists including Lou Stovall.
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
Collection Rights:
Authorization to publish, quote, or reproduce requires written permission from Sam Gilliam. Contact Reference Services for more information.
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Sam Gilliam papers, 1957-1989. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Henry Luce Foundation.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information. Use of archival audiovisual recordings and born-digital records with no duplicate access copies requires advance notice.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Jeff Donaldson papers, 1918-2005, bulk 1960s-2005. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the digitization of the Jeff Donaldson papers was provided by the Walton Family Foundation.
Use of original papers requires an appointment and is limited to the Washington, D.C. Research Center. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Livingston L. Biddle, Jr. papers, circa 1940-2002. 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
Use of original papers requires an appointment and is limited to the Washington, D.C. Research Center. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Livingston L. Biddle, Jr. papers, circa 1940-2002. 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
Writings found here, primarily in the form of transcripts, are on subjects of interest to Shahn many of which were presumably used as source material for his artwork, sparked his interest in a particular commission such as those by John Barlow Martin, or were given to him as possible commissions for illustrations.
See Appendix for a list of writings from Series 5.3.
Arrangement note:
This series is arranged alphabetically by author with details provided in the index. The bulk of this series has been scanned with the exception of the full text of some writings.
Appendix: List of Writings from Series 5.3:
Writings are listed alphabetically by author; writings by unidentifed authors appear at the end of the list. Barr, Alfred: "The United States at the Venice Biennale," 1954
Bernstein, Aline: "Battle Hymn"
Block, Lou: "Ballyhoo vs. Information," circa 1943
Brennan, Francis: "The Picture and the Word," 1956
Brennan, Francis: Account of trip to Russia, 1960
Brennan, Francis: Speech for Conference of Western Association of Art Museums
Dugan, Alan: "Society of the Free and Easy"
Dugan, Alan: "Speech to the N.B.A"
Durr, Clifford J.: "The Trial of Jesus as a Loyalty Hearing"
Dye, Joan: "Juvenile Delinquency," 1956
Endore, Guy: "Address to the School of Library Science, UCLA," 1962
Engel, Monroe: "A Father's Geography," 1956
Ferry, W. H.: "Black Colonies: A Final Solution"
Ferry, W. H.: Address from the Western States Democratic Conference
Ferry, W. H.: "Why the College is Failing," 1963
Ferry, W. H.: "A Proposal from Ralph Helstein, Robert Theobald, and W. H. Ferry," 1963
Ferry, W. H.: "The Triple Revolution: An Appraisal of the Major U. S. Crises and Proposals for Action," 1964
Ferry, W. H.: "The Muddle in Education," 1964
Fielder, Leslie A.: "Nude Croquet"
Fuller, R. Buckminster: Letter to Mr. Higman, Conference on World Affairs, University of Colorado, 1963
Goldburg, Rabbi Robert: Memorial prayer for John F. Kennedy, 1963
Goldin, Judah: Translation of "The Grace After Meals"
Gregory, Horace: "Alphabet for Joanna"
"Vincent Van Gogh's 'Landscapes of the Soul'"
Gusten, Theodore: "Vincent Van Gogh, We and Picasso"
Johnson, Lyndon B.: Excerpts from Address to National Education Association, 1965
Joyce, Robert: "The Working Artist," 1961
Kacmarcik, Frank: "The Bible and Creative Imagination"
Kastner, Frank: "The Bible and Creative Imagination"
Kennedy, John F.: Statements, 1963
Lamont, Corliss: Statement before the Senate Permanent Subcommittee on Investigation, 1953
Langum, John K: "Prospects for the American Economy," 1965
Lemon, Richard: "Campaign Song"
Levinson, Alfred: "Cricket in the Mill"
Lewis, Margery: "The Young American Artist"
Martin, John Bartlow: "The Mecca Building"
Martin, John Bartlow: "The Hickman Story"
Martin, John Bartlow: "A Letter About Upper Michigan"
Martin, John Bartlow: "A Trip to the Lincoln Country"
Piel, Gerard: "Science, Disarmament and Peace," 1958
Pines, David, editor: Statement about book "Frontiers in Physics"
Pollack, Peter: Statement on establishment of the National Arts Foundation and the National Council on the Arts, 1963
Reid, Alistair: "A Spelling for Sleeping"
Reid, Alistair: "A Lesson in Music"
Ritchie, Andrew Carnduff: "Will the Creative Arts Thrive or Degenerate During the Next Fifty Years?"
Rodman, Selden: "Death of the Hero: A Modern Morality"
Rodman, Selden: Reviews
Roosevelt, Franklin Delano: Addresses to Congress, 1942
Rosenblum, William F.: Script of Chanukah pageant and story, 1962
Rosskam, Edwin: "Three Victims," 1960s
Rosten, Lou: "Gandhi," 1964
Roth, Cecil: "Had Gadya," 1965
W.H.S.: "What Price Peace?" 1963
Schlesinger, Jr., Arthur: "Government and the Arts," 1962
Shyre, Paul: "The Child Buyer" Play script adapted from novel by John Hershey
Taylor, Harold: "The First Sex: or Oedipus Unbound," 1953
Terracini, Umberto: Preface for "The Jews of the USSR," 1966
Tyler, Parker: Review of Exhibition by Henri Cartier-Bresson, Walker Evans and M. Alvarez Bravo, 1935
Wilder, Thornton: Playscript, "The Seven Deadly Sins - Number Six: Lust/Someone from Assisi"
Wilder, Thornton: Playscript, "The Seven Ages of Man - Number One: Infancy"
Wilder, Thornton: Playscript, "Childhood"
Yeats, W. B: Playscript: "Calvary" with production notes from Theatre Intime production
"Project by the Brooklyn Museum for a Major Exhibition of Photographs Dealing with Puerto Rico and Puerto Ricans"
"The Use of Earle Browder's Image in a Mural"
Mr. Passow's Proposals Concerning Childhood Talent," 1966
"Problems Connected with Education in the Fine and the Applied Arts"
Possible chapters for a book: "Entertaining Notions" and "In the Name of Art"
"How to...Anything"
"New Forms vs. Reforms"
"The Transformation of the Novel"
"A Proposal to Establish a New and Permanent Opera Group in Boston"
"For Michael's Sake"
"Mino Maccari"
"The Sacco and Vanzetti Case"
"You the Steel Worker"
"Steel Strike in Warren, Ohio"
"Towards a Rural Housing Program"
"First Draft of Resettlement Administration Primer"
"Proposal for a Rural Community Center Program"
"Designing Museum Buildings"
"Food for Thought - A Creative Menu"
"The Dustbowl"
"President's Committee on Farm Tenancy," 1937
"God"
"A Portrait of the Plasma as a Many-Body Problem"
"Story About Kay-Kay"
"The Short Grace After Meals"
Text for a Woman's Pamphlet
"Metropolitan Museum"
Collection Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Ben Shahn papers, 1879-1990, bulk 1933-1970. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art
Collection is open for research but the original and master audiovisual materials are stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Copyright restrictions. Consult the Archives Center at archivescenter@si.edu or 202-633-3270.
Paul Ellington, executor, is represented by:
Richard J.J. Scarola, Scarola Ellis LLP, 888 Seventh Avenue, 45th Floor, New York, New York 10106. Telephone (212) 757-0007 x 235; Fax (212) 757-0469; email: rjjs@selaw.com; www.selaw.com; www.ourlawfirm.com.
Collection Citation:
Duke Ellington Collection, Archives Center, National Museum of American History
Sponsor:
Processing and encoding partially funded by a grant from the Council on Library and Information Resources.
Collection is open for research but the original and master audiovisual materials are stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Copyright restrictions. Consult the Archives Center at archivescenter@si.edu or 202-633-3270.
Paul Ellington, executor, is represented by:
Richard J.J. Scarola, Scarola Ellis LLP, 888 Seventh Avenue, 45th Floor, New York, New York 10106. Telephone (212) 757-0007 x 235; Fax (212) 757-0469; email: rjjs@selaw.com; www.selaw.com; www.ourlawfirm.com.
Collection Citation:
Duke Ellington Collection, Archives Center, National Museum of American History
Sponsor:
Processing and encoding partially funded by a grant from the Council on Library and Information Resources.
