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Norcross Greeting Card Collection

Collector:
Norcross, Arthur Dickinson, d. 1968  Search this
Extractive Industries, Division of.  Search this
Rust, Fred Winslow, 1877?-1949  Search this
Rust Craft Greeting Card Company (Dedham (Mass.))  Search this
Extractive Industries, Division of.  Search this
Designer:
Tuck, Raphael, fl. 1880s  Search this
Prang, Louis, fl. 1880-1900  Search this
Chase, Ernest Dudley, fl. 1920s  Search this
Manufacturer:
Norcross Greeting Card Company (New York (N.Y.))  Search this
Rust Craft Publishers (Boston, Mass.)  Search this
Extent:
202 Cubic feet (179 boxes, 362 volumes)
Type:
Collection descriptions
Archival materials
Lithographs
Business records
Chromolithographs
Color slides
Greeting cards
Valentines
Trade cards
Postcards
Motion pictures (visual works)
Advertisements
Scrapbooks
Slides (photographs)
Place:
New York (N.Y.) -- 20th century
Boston (Mass.) -- 1910-1950
Date:
1800-1981
bulk 1880-1881
Summary:
Collections consists of the records of both the Norcross Greeting Card Company founded in New York City in the 1920s and The Rust Craft Greeting Card Company, founded in Kansas City, Missouri, 1906. Both the Norcross and Rust Craft companies collected antique greeting cards. Also includes a small number of modern cards by other manufacturers, circa 1930-1980. Collection represents development of the greeting card industry, social trends in the United States and technology of the printing industry from 1924 through 1978.
Scope and Contents:
The Norcross Greeting Card Collection consists of cards and a few records of both the Norcross Greeting Card Company and the Rust Craft Greeting Card Company, circa 1911 1981; antique greeting cards, circa 1800 1930 (bulk 1880 1900) collected by both these companies and their executives; and a small number of modern cards by other manufacturers, circa 1939 1960. According to Norcross Company officials in 1978, this collection represents "not only a history of the development of the greeting card industry but also a history of social trends in the United States" and gives "an indication of the quality and technology of the [printing] industry from 1924 through 1978."
Arrangement:
The collection is divided into six series.

Series 1: Norcross Company Records, 1920-1981

Series 2: Antique Greeting Card Collection, circa 1800-1930 (bulk 1880-1990)

Series 3: Rust Craft Company Records, circa 1920-1980

Series 4: Greeting Cards by Other Manufacturers, 1939-1960

Series 5: Norcross Company Permanent Files, 1911-1981

Series 6: Rust Craft Company Permanent Files, 1927-1981
Biographical / Historical:
Arthur D. Norcross founded the Norcross Greeting Card Company in New York City in the nineteen twenties. From the start Norcross cards had a "look" which contributed to their selling success although, through the years, the company commanded only a small share of the greeting card market. In 1974 the company relocated to West Chester and Exton, Pennsylvania, where in 1981 Norcross and the Rust Craft Greeting Card Company merged to form divisions of a parent company.

At some point, Norcross executives realized the value of collecting and preserving antique greeting cards. The company built a large collection of antique cards, a number of which traveled in shows around the country bringing attention not only to the cards themselves but also to the Norcross Company.

Arthur Norcross died in 1968, and the company had four owners from then until 1982. One of the owners, the Ziff Corporation, a New York publisher, picked up the Norcross Company to augment the floundering Rust Craft Greeting Card Company that it had purchased primarily for its television holdings. Finally the Norcross and Rust Craft combination was acquired by Windsor Communications, Inc., a privately held company. In August 1981 Windsor entered into Chapter 11 proceedings under the Federal bankruptcy law and ceased producing greeting cards. Factors leading to bankruptcy included the expensive consolidation of Norcross and Rust Craft, a doubtful marketing strategy, and unsuccessful efforts to continue producing two distinct lines of greeting cards.

The Rust Craft Greeting Card Company, some of whose records are contained in this collection, was begun as a little bookshop by Fred Rust, (1877? 1949) in Kansas City in 1906. Later that year he created a plain Christmas folder which he called a "letter," perhaps a forerunner of the greeting card. These "letters" proved successful sellers prompting Rust to increase his publications over the years and expand his line to include post cards, greeting cards with envelopes, calendars, and blotters, in addition to lines of cards for New Year's and birthdays. Donald Rust, his brother, soon joined him to take over manufacturing, and in 1908, Fred Rust, seeking to increase distribution, carried his line to Boston while Donald carried his to California. The original bookshop was retained until 1910 when all retailing was discontinued. After building a considerable volume of business, the firm was consolidated in Boston in 1914 and became known as Rust Craft Publishers.

Sales mounted as the company issued cards for various seasons. Many of the sentiments were written by Fred Rust himself. Around 1927 Ernest Dudley Chase joined the firm as an associate in charge of creation and advertising. In the 1950s the company relocated to Dedham, Massachusetts and finally in 1981 merged with the Norcross Company in West Chester and Exton, Pennsylvania.

A popular innovation of the Rust Craft Company was a card bearing the sentiment printed on the card itself with four or five extra sentiments tucked in as part of the message and design. This card was so popular that it was patented with the name Tukkin. The Rust Craft Company also collected some antique greeting cards.
Related Materials:
Materials in the Archives Center

AC0109 Division of Domestic Life Greeting Card Collection, circa 1854-1975

AC0126 Burris and Byrd Family Card Sample Case, circa 1920

AC0263 Susie Paige Afro-American Greeting Card Collection, 1900-1984

AC0376 Olive Leavister 19th Century Handmade Valentine Collection, 1830-1880

AC0404 Archives Center Business Americana Collection, circa 1900-present

AC0530 Beatrice Litzinger Postcard Collection, 1900-1990

AC0468Archives Center Scrapbook Collection, circa 1880-circa 1960

AC0579 Greeting Card Collection, 1920s-1970s

AC0886 Ernest Dudley Chase Papers, 1930s-1940s

AC1198 Beatrice Morgan Steyskal Collection of Greeting Cards, 1958-1970

AC0060 Warshaw Collection of Business Americana

AC1251 L.F. Pease Greeting Card Company Collection, circa 1908-1913

AC 1252 Sandford Greeting Card Company and Family Papers, circa 1840-1990

AC 0062 Hoffmania (or Hoffman Collection

AC0295 Rocky Herosian Collection, 1910-1943

AC0674 Jean Clairmook Radio Scrapbook, 1930-1932

AC0136 Celia K. Erskine Scrapbook of Valentines, Advertising Cards, and Postcards, circa 1882-1884

The Valentine & Expressions of Love [videocassette], 2000 within the Archives Center Miscellaneous Film and Videotape Collection, (AC0358)
Provenance:
Norcross Greeting Card Company, West Chester, Pennsylvania, 1982-1985.
Restrictions:
Collection is open for research. Viewing the film portion of the collection without reference copies requires special appointment, please inquire.
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.
Genre/Form:
Lithographs
Business records -- 20th century
Chromolithographs -- 1880-1900
Color slides
Greeting cards -- ca. 1800-1980
Valentines
Trade cards
Postcards
Motion pictures (visual works) -- 1960-1980
Advertisements
Scrapbooks
Slides (photographs) -- 1950-2000
Citation:
Norcross Greeting Card Collection, Archives Center, National Museum of American History
Identifier:
NMAH.AC.0058
See more items in:
Norcross Greeting Card Collection
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-0058
Online Media:

Charles Rivers Photographs

Creator:
Rivers, Charles, 1904-1993  Search this
Names:
Chrysler Building (New York, N.Y.) -- Pictorial works  Search this
Empire State Building -- Construction--1929-1930  Search this
Pathe News  Search this
Bates, Ruby  Search this
Extent:
0.5 Cubic feet (4 boxes )
Type:
Collection descriptions
Archival materials
Photographs
Scrapbooks
Albums
Place:
New York (N.Y.) -- 1920-1930
Washington (D.C.) -- 1960-1970
Date:
1929-1963
bulk 1929-1930
Scope and Contents:
The collection contains: twenty-nine silver gelatin photoprints mounted on Fome-Core, Masonite, and cardboard, ranging in size from 5-1/2" x 9-1/4" to 10-11/16" x 13-13/16"; three 5" x 7" unmounted silver gelatin photoprints; a scrapbook which originally contained 56 silver gelatin photoprints, ranging in size from 2" x 3" to 7-1/2" x 9-1/2"; and silver gelatin film negatives (presumably acetate) for the prints. The scrapbook includes a New York Daily News clipping about Rivers: "Builds a Bridge to Students" by Anthony Burton (dated May 12, 1970 by Rivers) with a photograph showing him speaking to a crowd, Most of the photographs depict the construction of the Chrysler and Empire State Buildings--iron workers on the job and relaxing during breaks, and pictures of the buildings at various stages of completion. Other subjects are: a demonstration to prevent World War II (1935), a color photoprint of the Civil Rights March and Demonstration in Washington, D.C. (1963), and two magazine clippings from a Soviet publication, New Times, in which Rivers's prize-winning "Self Portrait" (1930) was reproduced.

Most of these prints were made by Charles Rivers many years after the creation of the original negatives, probably ca.1970s 1980s. The collection is in generally good condition, except that many of the print surfaces are scratched.
Biographical / Historical:
Charles Rivers created a certain amount of confusion about his origins, whether accidentally or intentionally. Born Constantinos Kapornaros[1] (or Kostandinos Kapernaros)[2] in the small town of Vahos in Mani, an isolated area in the southern Peloponnesian region of Greece, on May 20, 1904, he emigrated to the United States as a child of five or six with his parents. His school record showed that he was enrolled in 1911 at the age of seven.[3] The family lived in Maine or New Hampshire, then Massachusetts, and later other locations in New York state. It is believed that his new name was derived from the Charles River in Boston.[4] The change may have been occasioned by a need to conceal his deep involvement in left-wing political and union activities.[5] Mr. Rivers settled in New York City in 1950 and resided there until 1993.[6] He sometimes identified his birthplace as Denver, Colorado,[7] but this may have been a fabrication or simplification, based on the fact that Greek church baptismal records were kept in Denver.[8] His sons James and Ronald believe that he never became an official American citizen. Late in life, in order to visit his birthplace, he was issued a passport, based on his school records, which stated that he was born in Denver. Rivers photographed the construction of the Chrysler Building (1929) and the Empire State Building (1930) in New York City. He was inspired to take up photography by seeing the work of the influential documentary photographer Lewis Hine, whose famous images of working children helped win passage of protective child labor laws. Rivers and Hine both photographed the Empire State Building and the men building it, yet Rivers apparently was unaware until years later that his idol had been present. Employed as an iron worker, Rivers traded his pail of tools for a Zeiss Ikon[9] camera during his lunch hour or when photographic opportunities arose. While the workers depicted in some of the photographs clearly are aware of the photographer's presence, Rivers's project presumably was conducted more or less surreptitiously. It is not known for certain if the paths of Rivers and Hine ever crossed, but his son Ron considers it unlikely: Hine photographed only the Empire State Building in connection with his "Men at Work" project,[10] not the earlier Chrysler Building, and Rivers did not work on the Empire State Building for a very long period. His self-portrait on the Empire State Building, "The Bolter-Up," may have been intended as a memento during one of his last days on that job.[11]

Rivers became unemployed in the Depression and consequently became involved in national efforts to create Social Security, unemployment insurance, and housing programs. These experiences apparently encouraged his active participation in politically leftist activities, as coverage about him in Soviet publications attests. A pacifist, in 1935 he was involved in demonstrations aimed at preventing World War II, and in the 1960s he took part in anti-Vietnam demonstrations and encouraged young people to continue such resistance.

In the 1950s Rivers worked in steel fabrication, in a chemistry lab as a technician, and briefly as a legislative aide for a New York state senator.

In 1986 Rivers submitted his 1930 self-portrait, posed on the Chrysler Building, to the International Year of Peace art contest sponsored by the New Times, published in Moscow: it was awarded a prize and diploma.

Mr. Rivers died in 1993, only two weeks after moving to Arlington, Texas to enter a nursing home near his sons' homes.

1. The page on Rivers in New York University=s Robert F. Wagner Labor Archives web site (http://laborarts.org/collections/item.cfm?itemid=82) --noted 5 June 2002), claims Rivers was born in 1905 and changed his name Ato resemble those of the Mohawk Indians working on the high steel of New York City=s skyscrapers and bridges".

2. This spelling is given in an e-mail from James Rivers to Helen Plummer, Aug. 19, 2002.

3. Ibid.

4. Telephone conversation between Ron Rivers and the author, 6 June 2002. Additional information was provided by Ron Rivers in electronic mail messages, 5 June and 12 June 2002.

5. James Rivers, op. cit.

6. Telephone conversation with Ron Rivers, 6 June 2002.

7. In a biographical statement for the Amon Carter Museum of Western Art (copy supplied by Helen Plummer), Charles Rivers called Denver his birthplace. The George Eastman House photographer database also included this apparently erroneous information, probably derived from the Amon Carter statement (telephone conversation with Helen Plummer, 3 June 2002).

8. Ron Rivers, telephone conversation, 6 June 2002.

9. Identified by Charles Rivers as the camera used in the skyscraper photographs: interview by Carol Sewell, "Photographer looked at U.S. from high view," Fort Worth Star-Telegram, Dec. 27, 1986. Rivers also used a Rolleiflex, according to Ron Rivers (see note above), but the folding Zeiss Ikon camera would have been a more convenient addition to a lunchbox than the bulkier Rolleiflex. The collection negatives are not in the Rolleiflex square format, moreover.

10. See Judith Mara Gutman, Lewis W. Hine and the American social conscience. New York: Walker, 1967.

11. Ron Rivers, telephone conversation, 6 June 2002.
Related Materials:
Materials at the Smithsonian Institution

Hirshhorn Museum and Sculpture Garden

Included Rivers's self-portrait, "The Bolter Up," in its summer 2002 exhibition, "Metropolis in the Machine Age," in the form of a new print made from a digital copy of the Archives Center's original negative. The author discussed the new print from the Rivers negative and other photographs in this exhibition in an invited gallery lecture, "The Skyscraper Photographs of Lewis Hine and Charles Rivers," Hirshhorn Museum and Sculpture Garden, June 6, 2002.

Materials at Other Organizations

Amon Carter Museum, Fort Worth, Texas

See Barbara McCandless and John Rohrbach, Singular moments: photographs from the Amon Carter Museum, with select entries by Helen Plummer. Reproduction of a Rivers photograph, with description and analysis, p. 30. Additional information has been generously supplied by Ms. Plummer, curatorial associate, and Barbara McCandless, curator of photography, Amon Carter Museum of Western Art, Fort Worth Texas.

Robert F. Wagner Labor Archives at New York University

Museum of the City of New York

Some of his photographs were included in the Amon Carter Museum of Western Art exhibition, "Looking at America: Documentary Photographs of the 1930s and 1940s," December 1986.
Provenance:
The collection is a gift from Mr. Charles Rivers, 1989.
Restrictions:
Collection is open for research.
Rights:
Archives Center claims copyright. Rights were conveyed to the Archives Center through a Deed of Gift signed by the donor.
Topic:
Self-portraits, American  Search this
Iron and steel workers -- 1920-1930 -- New York (State) -- New York  Search this
Construction workers -- 1900-1950 -- New York (State) -- New York  Search this
Structural steel workers -- 1920-1930 -- New York (State) -- New York  Search this
Labor unions  Search this
Civil rights demonstrations -- 1960-1970  Search this
Skyscrapers -- 1920-1930 -- New York (State) -- New York  Search this
Civil rights  Search this
Peace movements -- 1960-1970  Search this
Peace movements -- 1930-1940  Search this
Scottsoro boys case  Search this
Fires  Search this
Scottsboro Trial, Scottsboro, Ala., 1931  Search this
Self-portraits  Search this
Genre/Form:
Photographs -- 1900-1950
Scrapbooks -- 20th century
Albums
Photographs -- Black-and-white photoprints -- Silver gelatin -- 1970-1990
Citation:
Charles Rivers Photographs, 1929-1963, Archives Center, National Museum of American History
Identifier:
NMAH.AC.0360
See more items in:
Charles Rivers Photographs
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-0360
Online Media:

Madonna and Child [picture postcard]

Collector:
Blenkle, Victor A., Dr., 1900-1978 (physician)  Search this
Artist:
Verrocchio, Andrea del, 1435?-1488.  Search this
Creator:
Metropolitan Museum of Art (New York, N.Y.)  Search this
Collection Creator:
National Philatelic Collection, Smithsonian Institution.  Search this
Blenkle, Victor A., Dr., 1900-1978 (physician)  Search this
Collection Source:
Extractive Industries, Division of.  Search this
Extent:
1 Item (Ink on paper., 3.5" x 5.5".)
Type:
Archival materials
Greeting cards
Postcards
Picture postcards
Place:
Mary,
Date:
undated
Scope and Contents:
Image of art work by Andrea Del Verrocchio from the colletion of the Metropolitan Museum of Art.
Arrangement:
In series ?, box 26, grouping Greeting Cards - Holidays
Local Numbers:
AC0200-0000035 (AC Scan)
Collection Restrictions:
The collection is open for research use.
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.
Topic:
Christmas  Search this
Holidays  Search this
Genre/Form:
Greeting cards
Postcards -- 1930-1940
Picture postcards -- 1930-1940
Collection Citation:
Victor A. Blenkle Postcard Collection, c. 1880-c. 1970, Archives Center, National Museum of American History, Smithsonian Institution,
See more items in:
Victor A. Blenkle Postcard Collection
Victor A. Blenkle Postcard Collection / Series 3: Subjects / Greeting Cards - Holidays, Christmas
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-0200-ref2319

A Merry Christmas [picture postcard]

Collector:
Blenkle, Victor A., Dr., 1900-1978 (physician)  Search this
Artist:
Verrocchio, Andrea del, 1435?-1488.  Search this
Creator:
Metropolitan Museum of Art (New York, N.Y.)  Search this
Collection Creator:
National Philatelic Collection, Smithsonian Institution.  Search this
Blenkle, Victor A., Dr., 1900-1978 (physician)  Search this
Collection Source:
Extractive Industries, Division of.  Search this
Extent:
1 Item (Ink on paper., 3.5" x 5.5".)
Type:
Archival materials
Greeting cards
Postcards
Picture postcards
Place:
Mary,
Date:
1910
Scope and Contents:
With a holly and berry border.
Arrangement:
In series ?, box 26, grouping Greeting Cards - Holidays
Local Numbers:
AC0200-0000036 (AC Scan)
Collection Restrictions:
The collection is open for research use.
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.
Topic:
Christmas  Search this
Holidays  Search this
Genre/Form:
Greeting cards
Postcards -- 1930-1940
Picture postcards -- 1930-1940
Collection Citation:
Victor A. Blenkle Postcard Collection, c. 1880-c. 1970, Archives Center, National Museum of American History, Smithsonian Institution,
See more items in:
Victor A. Blenkle Postcard Collection
Victor A. Blenkle Postcard Collection / Series 3: Subjects / Greeting Cards - Holidays, Christmas
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-0200-ref2320

Lilian Swann Saarinen papers

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Saarinen died in Cohasset, Massachusetts, in 1995 at the age of 83.
Separated Materials:
The Archives of American Art also holds material lent for microfilming (reels 1152 and 1192) including a scrapbook containing clippings, copies of letters and telegrams received, and reproductions of Saarinen's work. There is a copy of Saarinen's book, "Who Am I?", and three albums containing photographs of Saarinen, photographs and reproductions of her work, a list of exhibitions, quotes about her, and writings by her about sculpture. Lent material was returned to the lender and is not described in the collection container inventory.
Provenance:
Lilian Swann Saarinen donated the collection in 1975. She lent additional materials for microfilming in 1976.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Sculptors -- Massachusetts -- Cambridge  Search this
Topic:
Women artists -- Massachusetts  Search this
Art -- Study and teaching  Search this
Illustrated books, Children's  Search this
Gateway Arch (Saint Louis, Mo.)  Search this
Sculpture, Modern -- 20th century -- United States  Search this
Illustrators -- Massachusetts  Search this
Art commissions  Search this
Art, Municipal  Search this
Genre/Form:
Blueprints
Diaries
Illustrations
Sketches
Photographs
Scrapbooks
Citation:
Lilian Swann Saarinen papers, circa 1909-1977. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.saarlili
See more items in:
Lilian Swann Saarinen papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-saarlili
Online Media:

Leon Polk Smith papers, 1921-1997

Creator:
Smith, Leon Polk, 1906-1996  Search this
Subject:
Johnson, Ray  Search this
Humblet, Claudine  Search this
Jamieson, Robert  Search this
Galloway, David D.  Search this
Gego  Search this
Buck, Robert T.  Search this
Danto, Arthur Coleman  Search this
Meyers/Bloom Gallery  Search this
Wilhelm-Hack-Museum  Search this
Brooklyn Museum  Search this
Washburn Gallery (New York, N.Y.)  Search this
East Central Oklahoma State University  Search this
Galerie Denise René  Search this
Butler Institute of American Art  Search this
Type:
Photographs
Transcripts
Video recordings
Scrapbooks
Essays
Interviews
Topic:
Painters -- New York (State) -- New York  Search this
Painting, Abstract -- United States  Search this
Art galleries, Commercial  Search this
Record number:
(DSI-AAA_CollID)6162
(DSI-AAA_SIRISBib)216395
AAA_collcode_smitleon
Theme:
Lives of American Artists
Native American
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_216395
Online Media:

Installations

Collection Creator:
Valentine Gallery (New York, N.Y.)  Search this
Container:
Box 1, Folder 38
Type:
Archival materials
Date:
circa 1932
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:
Valentine Gallery records, circa 1890-1960. Archives of American Art, Smithsonian Institution.
See more items in:
Valentine Gallery records
Valentine Gallery records / Series 1: Artists Files / 1.1: Louis Eilshemius / Photographs
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-valegall-ref55

André Thibault/Teabo papers regarding Romare Bearden

Creator:
Thibault/Teabo, André, 1948?  Search this
Names:
Bearden, Nanette  Search this
Bearden, Romare, 1911-1988  Search this
Goings, Russell L.  Search this
Extent:
0.9 Linear feet
Type:
Collection descriptions
Archival materials
Sketchbooks
Drawings
Date:
circa 1930s-2003
bulk 1980-1998
Summary:
The papers of studio assistant Andre Thibault/Teabo regarding African American painter Romare Bearden measure 0.9 linear feet and date from circa 1930s to 2003 with the bulk of the material dating from 1980 to 1998. The papers consist of administrative records such as financial and gallery records. Correspondence includes letters from Romare Bearden, his wife Nanette and Andre Thibault. Of note is correspondence between Thibault and Nanette concerning the signature on a Bearden painting. Printed material includes exhibition catalogs, posters, magazines, art books and source material used by Bearden. Artwork consists of a self-portrait, a sketchbook, collage pieces, and oversize drawings by Bearden. Photographic material is comprised of photographs of Bearden, his art, studio, Andre Thibault/Teabo, Russell Goings and others.
Scope and Contents:
The papers of studio assistant Andre Thibault/Teabo regarding African American painter Romare Bearden measure 0.9 linear feet and date from circa 1930s to 2003 with the bulk of the material dating from 1980 to 1998. The papers consist of administrative records such as financial and gallery records. Correspondence includes letters from Romare Bearden, his wife Nanette and Andre Thibault. Of note is correspondence between Thibault and Nanette concerning the signature on a Bearden painting. Printed material includes exhibition catalogs, posters, magazines, art books and source material used by Bearden. Artwork consists of a self-portrait, a sketchbook, collage pieces, and oversize drawings by Bearden. Photographic material is comprised of photographs of Bearden, his art, studio, Andre Thibault/Teabo, Russell Goings and others.
Arrangement:
This collection is arranged in five series.

Series 1: Administrative Records, 1985-1988 (Box 1; 2 folders)

Series 2: Correspondence, 1987-1996 (Box 1; 3 folders)

Series 3: Printed Material, 1949-1958, 1971-2003 (Box 1-2, OV 3; 0.5 linear feet)

Series 4: Artwork, circa 1930s-1940s, circa 1980-1988 (Box 2, OV 3; 0.2 linear feet)

Series 5: Photographic Material, 1983-1991 (Box 2, OV 3; 0.2 linear feet)
Biographical / Historical:
Andre Thibault/Teabo (1948?- ) is an artist in New York, N.Y. and was Romare Bearden's studio assistant from 1980-1988.

Romare Bearden (1911-1988) was an African American painter who worked in New York, N.Y. Bearden worked in various mediums and is known for his colorful abstract paintings depicting the lives of African American people and for his work in collage. In 1963 he co-founded the African American artistic group named Spiral that endeavored to answer the question "What is Black Art?" and in 1968 was involved in founding the Studio Museum in Harlem, New York. The following year Bearden co-founded the Cinque Gallery which promoted and exhibited the works of African American artists. In 1976 he received a Gold Medal from the Governor of North Carolina for the advancement of the arts and posthumously received the Lifetime Achievement Award from the Studio Museum in Harlem in 1988.
Provenance:
The papers were donated to the Archives of American Art by André Thibault/Teabo in 2017.
Restrictions:
This collection is open for research. Access to originals papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
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:
Artists -- New York (State) -- New York  Search this
Collagists -- New York (State) -- New York  Search this
Topic:
African American artists  Search this
Genre/Form:
Sketchbooks
Drawings
Citation:
The André Thibault/Teabo papers regarding Romare Bearden, circa 1930s-2003. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.thibandr
See more items in:
André Thibault/Teabo papers regarding Romare Bearden
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-thibandr

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

Creator:
Jacques Seligmann & Co.  Search this
Subject:
Hauke, Cesar M. de (Cesar Mange)  Search this
Glaenzer, Eugene  Search this
Haardt, Georges  Search this
Seligman, Germain  Search this
Seligmann, Arnold  Search this
Parker, Theresa D.  Search this
Waegen, Rolf Hans  Search this
Trevor, Clyfford  Search this
Seligmann, René  Search this
Seligmann, Jacques  Search this
De Hauke & Co., Inc.  Search this
Jacques Seligmann & Co  Search this
Eugene Glaenzer & Co.  Search this
Germain Seligmann & Co.  Search this
Gersel  Search this
Type:
Gallery records
Topic:
Mackay, Clarence Hungerford, 1874-1938 -- Art collections  Search this
Schiff, Mortimer L. -- Art collections  Search this
Arenberg, duc d' -- Art collections  Search this
Liechtenstein, House of -- Art collections  Search this
Art -- Collectors and collecting -- France -- Paris  Search this
Art -- Collectors and collecting  Search this
Art galleries, Commercial -- New York (State) -- New York  Search this
Art dealers -- New York (State) -- New York  Search this
World War, 1939-1945 -- Art and the war  Search this
La Fresnaye, Roger de, 1885-1925  Search this
Art, Renaissance  Search this
Decorative arts  Search this
Art treasures in war  Search this
Art, European  Search this
Art galleries, Commercial -- France -- Paris  Search this
Record number:
(DSI-AAA_CollID)9936
(DSI-AAA_SIRISBib)212486
AAA_collcode_jacqself
Theme:
The Art Market
Art Gallery Records
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_212486
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Online Media:

Leon Polk Smith papers

Creator:
Smith, Leon Polk, 1906-1996  Search this
Names:
Brooklyn Museum  Search this
Butler Institute of American Art  Search this
East Central Oklahoma State University  Search this
Galerie Denise René  Search this
Meyers/Bloom Gallery  Search this
Washburn Gallery (New York, N.Y.)  Search this
Wilhelm-Hack-Museum  Search this
Buck, Robert T.  Search this
Danto, Arthur Coleman, 1924-  Search this
Galloway, David D.  Search this
Gego  Search this
Humblet, Claudine, 1946-  Search this
Jamieson, Robert  Search this
Johnson, Ray, 1927-  Search this
Extent:
7.2 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Transcripts
Video recordings
Scrapbooks
Essays
Interviews
Date:
1921-1997
Summary:
The papers of New York abstract painter Leon Polk Smith measure 7.2 linear feet and date from 1921 to 1997. The papers consist of biographical material, business and personal correspondence, interview transcripts and an interview video recording, writings, financial records for the corporate entity Leon Polk Smith, Inc., printed material, photographic material, and a scrapbook of newspaper clippings.
Scope and Contents note:
The papers of New York abstract painter Leon Polk Smith measure 7.2 linear feet and date from 1921 to 1997. The papers consist of biographical material, business and personal correspondence, interview transcripts and an interview video recording, writings, financial records for the corporate entity Leon Polk Smith, Inc., printed material, photographic material, and a scrapbook of newspaper clippings.

Biographical material includes official affidavits, certificates, passports, expense receipts, and a travel expense notebook. A curriculum vitae, family history, and medical records are also included in the series.

Correspondence, both business and personal, comprises the bulk of the collection. This includes correspondence between Smith and his life companion, Robert Jamieson; art critics Arthur C. Danto, Claudine Humblet, and David Galloway; and artists Gego (Gertrude Goldschmidt) and Ray Johnson. Business correspondence relates to Smith's various gallery and museum exhibitions, loans, and sales. There is extensive correspondence between Smith and the Brooklyn Museum, Butler Institute of American Art, Di Laurenti Gallery, Edition and Galerie Hoffmann, Galerie Denise Rene, Meyers/Bloom Gallery, Washburn Gallery, and the Wilhelm-Hack Museum. The business subseries also includes correspondence between Smith and his alma mater, East Central University, formerly known as Oklahoma State University.

Interviews consist of six typewritten transcripts of interviews conducted with Smith over the course of his professional career from 1950 to 1993, a 1995 video interview of museum director Robert T. Buck discussing the Brooklyn Museum's exhibition of Leon Polk Smith for the television program National Arts, and a 1965 interview transcript with gallery owner Lucile Horsley.

Writings include sixteen published and unpublished scholarly essays on Smith and his work. The series also includes notes and a brief artist's statement by Smith regarding the pros and cons of modern art galleries.

Financial records are 1978-1989 federal income tax filings and routine tax preparation and payment receipts for the corporate entity Leon Polk Smith, Inc. Smith's personal filing records from 1987-1989 are also included in this series.

Printed material consists of two books, including the Brooklyn Museum's monograph Leon Polk Smith: American Painter, newspaper clippings reviewing Smith's work, and exhibition announcements and catalogs of Smith's museum and gallery shows from 1941 to 1997.

A scrapbook contains newspaper clippings documenting Smith's years as an educator and artist in Oklahoma in the 1930s and 1940s.

Photographs are of Smith and his acquaintances circa 1920-1960, and a representative selection of photographs and color slides of Smith's artwork from 1939 to 1960.
Arrangement note:
The collection is arranged as 8 series:

Series 1: Biographical Material, 1938-1994 (Box 1, OV 10; 11 folders)

Series 2: Correspondence, 1939-1997 (Boxes 1-5, 9, OV 10; 5 linear feet)

Series 3: Interviews, 1950-1995 (Boxes 5-6; 8 folders)

Series 4: Writings, 1963-1996 (Box 6; 13 folders)

Series 5: Financial Records, 1979-1990 (Box 6; 15 folders)

Series 6: Printed Material, 1941-1997 (Boxes 6-7, 9; .5 linear feet)

Series 7: Scrapbook, 1930-1940 (Box 8; 1 folder)

Series 8: Photographic Material, 1920-1990 (Box 8; 8 folders)
Biographical/Historical note:
Leon Polk Smith (1906-1996) worked primarily in New York City as a painter, educator, and lecturer. He is considered one of the founders of the hard edge style of minimalist abstract art.

Smith was born in Chickasha, Indian Territory one year before its formal incorporation into the Oklahoma Territory. Both of his parents were of Cherokee ancestry and he was raised in a small farming community that included Cherokee and Choctaw Indians. After receiving his teaching degree in 1934, Smith worked as an educator in rural Oklahoma communities and, at the same time, took the opportunity to introduce arts programs to local schools. In 1936, he enrolled in Columbia University's Teachers College to pursue a graduate degree in arts education and began painting full time. That summer, he visited the Albert E. Gallatin Gallery of Living Art at New York University, where he was first introduced to the work of the European modernists Constantin Brancusi, Jean Arp, and most importantly, Piet Mondrian.

In the late 1940s and early 1950s, Smith accepted university teaching positions at Rollins College in Florida, and New York University and Mills College of Education in New York. During this time, Smith moved beyond his early explorations of neo-plasticism and began to paint in a more hard edge style, typified by geometric lines, curving shapes of color, and the use of tondo (disk shaped) canvases. In 1958, Betty Parson's Section Eleven Gallery showcased his new work in two one-man exhibitions, which introduced him to a wider audience of museum curators and art collectors. In the 1960s, Smith's work was included in two of his most important group exhibitions, The Responsive Eye at the Museum of Modern Art (1965) and Systemic Painting at the Solomon R. Guggenheim Museum (1966). In 1995, the Brooklyn Museum curated Leon Polk Smith: American Painter, a retrospective exhibition of Smith's career.

Smith produced works exploring shapes and lines, minimalist use of color, and modularity well into the 1990s and exhibited at a number of affiliated galleries, including the Stable Gallery, Galerie Chalette, Galerie Denise Rene, Washburn Gallery, and ACA Galleries. Smith died in 1996 in his home in Manhattan, at the age of 91.
Provenance:
The papers of Leon Polk Smith were donated by the artist's partner, Robert Jamieson, in 1998 and 2002.
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.
Topic:
Painters -- New York (State) -- New York  Search this
Painting, Abstract -- United States  Search this
Art galleries, Commercial  Search this
Genre/Form:
Photographs
Transcripts
Video recordings
Scrapbooks
Essays
Interviews
Citation:
Leon Polk Smith papers, 1921-1997. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.smitleon
See more items in:
Leon Polk Smith papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-smitleon
Online Media:

Bror Julius Olsson (B.J.O.) Nordfeldt papers, 1909-1989

Creator:
Nordfeldt, Bror Julius Olsson, 1878-1955  Search this
Subject:
Ficke, Arthur Davison  Search this
Forsyth, Constance  Search this
Hale, John Douglass  Search this
Hanley, Harriet  Search this
Jonson, Raymond  Search this
Lester, William  Search this
Mayor, A. Hyatt (Alpheus Hyatt)  Search this
Nordfeldt, Emily Abbott  Search this
Passedoit, Georgette  Search this
Saint-Gaudens, Homer  Search this
Walker, Hudson D. (Hudson Dean)  Search this
Albinson, Dewey  Search this
Bidwell, Watson  Search this
Knee, Gina  Search this
Candell, Victor  Search this
Catlin, Stanton L. (Stanton Loomis)  Search this
Cheney, Sheldon  Search this
Coke, Van Deren  Search this
Cook, Howard Norton  Search this
Davison, Edward L.  Search this
Devree, Howard  Search this
Dickerson, William Judson  Search this
Arthur H. Hahlo (Firm)  Search this
Harriet Hanley Gallery (Minneapolis, Minn.)  Search this
Passedoit Gallery (New York, N.Y.)  Search this
Type:
Sketchbooks
Topic:
Expressionism (Art)  Search this
Painting, Modern -- 20th century -- United States  Search this
Record number:
(DSI-AAA_CollID)9089
(DSI-AAA_SIRISBib)211282
AAA_collcode_nordbror
Theme:
Sketches & Sketchbooks
Lives of American Artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_211282

Bror Julius Olsson (B.J.O.) Nordfeldt papers

Creator:
Nordfeldt, Bror Julius Olsson, 1878-1955  Search this
Names:
Arthur H. Hahlo (Firm)  Search this
Harriet Hanley Gallery (Minneapolis, Minn.)  Search this
Passedoit Gallery (New York, N.Y.)  Search this
Albinson, Dewey, 1898-1971  Search this
Bidwell, Watson, 1904-  Search this
Candell, Victor, 1903-1977  Search this
Catlin, Stanton L. (Stanton Loomis)  Search this
Cheney, Sheldon, 1886-  Search this
Coke, Van Deren, 1921-  Search this
Cook, Howard Norton, 1901-1980  Search this
Davison, Edward L.  Search this
Devree, Howard, 1891-1966  Search this
Dickerson, William Judson, 1904-  Search this
Ficke, Arthur Davison, 1883-1945  Search this
Forsyth, Constance, 1903-  Search this
Hale, John Douglass  Search this
Hanley, Harriet  Search this
Jonson, Raymond, 1891-1982  Search this
Knee, Gina, 1898-1982  Search this
Lester, William, 1910-1991  Search this
Mayor, A. Hyatt (Alpheus Hyatt), 1901-1980  Search this
Nordfeldt, Emily Abbott, 1900-  Search this
Passedoit, Georgette  Search this
Saint-Gaudens, Homer, b. 1880  Search this
Walker, Hudson D. (Hudson Dean), 1907-1976  Search this
Extent:
3.6 Linear feet ((partially microfilmed on 2 reels))
Type:
Collection descriptions
Archival materials
Sketchbooks
Date:
1909-1989
Scope and Contents:
Biographical material, correspondence, business records, writings and notes, printed material, scrapbooks, and photographs document Nordfeldt's career as a painter and instructor, and his widow's involvement after his death in exhibitions, biographies, and sales of his work.
REELS D166-D167: Biographical material includes a biographical sketch by Stanton L. Catlin, several letters from Nordfeldt's first wife Margaret to his second wife, Emily, and his nephew, Leonard Olson, in response to requests for biographical information, and biographical documents; correspondence of Emily and B.J.O., 1909-1959, with museum directors, gallery owners, patrons, artists, friends, universities, and others, mainly regarding the sale and exhibitions of his paintings and his teaching positions; artists' statements; exhibition catalogs; photographs of Nordfeldt; an excerpt from The Man on the Hilltop, by Arthur Davison Ficke; 5 sketchbooks; 3 scrapbooks; and an extensive catalog of Nordfeldt's paintings compiled by Emily, containing photographs and descriptive information.
Among the correspondents are Dewey Albinson, Watson Bidwell, Gina Knee Brook, Victor Candell, Howard N. Cook, Edward L. Davison, Howard Devree, William Dickerson, Constance Forsyth, Harriet Hanley of Harriet Hanley Gallery, Raymond Jonson, William Lester, A. Hyatt Mayor, Georgette Passedoit of the Passedoit Gallery, his student Roberta Shelton, Homer Saint-Gaudens, and Hudson D. Walker. Some of the letters are illustrated.
UNMICROFILMED: Resumes; correspondence, undated, 1923-1979, includes excerpts of letters from Nordfeldt to Constance Forsyth, 1942-1943 and Emily Abbott Nordfeldt, 1944; Emily Abbott Nordfeldt's correspondence with art collectors, art dealers, galleries and museums regarding exhibitions, gifts and sales of Nordfeldt's work; with Nordfeldt's biographers F. Van Deren Coke and J. Douglas Hale; and with the University of Minnesota, University Gallery, 1970-1972 regarding a Nordfeldt exhibition and the Nordfeldt Fund established by Emily; receipts and other business records; 1944-1979; writings and notes by Emily, ca.1930-1950, and others including the preface by Sheldon Cheney for Nordfeldt, the Painter by Coke, 1972;
a transcript of an interview with Raymond Jonson by Coke; printed material, including clippings, 1912-1984, exhibition catalogs, posters and announcements, undated, 1915-1991, notably a catalog of Nordfeldt's etchings shown at the Arthur H. Hahlo & Co. with an introduction by Robert W. Bruere, 1915; reproductions of graphic work for The Outlook and Harper's Monthly Magazine, 1910; miscellaneous printed material; a scrapbook of clippings and printed material, 1971-1980; photographs of Nordfeldt, undated 1910-1955, of the Santa Fe Players' production of "Grumpy," 1921; 3 photo albums of works of art, ca. 1930-1940; 10 seconds of motion picture film; and 2 sketches by Nordfeldt.
Biographical / Historical:
Painter, etcher, block printer, engraver, lithographer, watercolorist, teacher; Santa Fe, N.M. and Lambertville, N.J. Born in Tullstorp, Scania, Sweden, and came to the United States in 1891. Taught at the Minneapolis School of Art and the University of Texas. Moved to Lambertville, N.J. in 1937 from Santa Fe, N.M.
Provenance:
Material on reels D166-D167 lent for microfilming 1963 by Emily Abbott Nordfeldt, Bror's widow. In 1991 her estate donated additional material as well as portions of the previously microfilmed material. Material previously lent but NOT subsequently donated includes portions of the biographical material; several letters; artists' statements; a few personal photographs; the 5 sketchbooks; items from the scrapbooks; and the catalog of paintings. (The collection file contains a list of specific reel and frame numbers.)
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
Occupation:
Watercolorists  Search this
Etchers  Search this
Painters -- New Jersey  Search this
Painters -- New Mexico -- Santa Fe  Search this
Topic:
Expressionism (Art)  Search this
Painting, Modern -- 20th century -- United States  Search this
Genre/Form:
Sketchbooks
Identifier:
AAA.nordbror
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-nordbror

Bryson Burroughs photographs

Creator:
Burroughs, Bryson, 1869-1934  Search this
Names:
Metropolitan Museum of Art (New York, N.Y.)  Search this
Extent:
0.6 Linear feet
Type:
Collection descriptions
Archival materials
Date:
circa 1935
circa 1983
Summary:
Bryson Burroughs photographs of artwork measure 0.6 linear feet and date from circa 1935 and circa 1983. The collection consists of glass plate negatives and copy prints of artwork, primarily paintings, by Burroughs.
Scope and Contents:
Bryson Burroughs photographs of artwork measure 0.6 linear feet and date from circa 1935 and circa 1983. The collection consists of glass plate negatives and copy prints of artwork, primarily paintings, by Burroughs. The glass plates were possibly made for the memorial exhibition for Burroughs held at The Metropolitan Museum of Art in 1935.
Arrangement:
The collection is arranged as one series.

Series 1: Bryson Burroughs Photographs, circa 1935, circa 1983 (0.43 linear feet; Box 1, MMs)
Biographical / Historical:
New York painter and museum curator Bryson Burroughs (1869-1934), studied at the Art Students League in New York and at the Académie Julian in Paris. Later, he became an associate, then a full member, of the National Academy of Design in New York. From 1909 to 1934 he was the Curator of Paintings at The Metropolitan Museum of Art in New York. A memorial exhibition for Burroughs was held at the museum in 1935.
Provenance:
The collection was donated to the Archives of America Art in 1983 by the Metropolitan Museum of Art via John K. Howat.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Painters -- New York (State) -- New York  Search this
Art museum curators -- New York (State) -- New York  Search this
Citation:
Bryson Burroughs papers, circa 1935, circa 1983. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.burrbrys
See more items in:
Bryson Burroughs photographs
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-burrbrys
Online Media:

Edward J. Orth Memorial Archives of the World's Fair

Collector:
Orth, Edward J.  Search this
Exhibition Collectors Historical Organization  Search this
Names:
New York World's Fair (1939-1940 : New York, N.Y.)  Search this
Extent:
130 Cubic feet (417 boxes, 23 map-folders)
Type:
Collection descriptions
Archival materials
Souvenirs
Photographs
Pamphlets
Guidebooks
Date:
1835-1992
Summary:
Collection documents the 1939 New York World's Fair in Flushing Meadows, New York. Also includes materials on other world's fairs, the Exhibition Collectors Historical Organization (ECHO), New York City tourism and Disney.
Scope and Contents:
The collection contains the archival materials collected by Edward Orth including postcards, newspaper clippings, exhibitor's literature, photographs, scrapbooks, tickets, pamphlets, brochures, magazines, books, and motion picture film.
Arrangement:
The collection is arranged into ten series.

Series 1, Edward J. Orth Personal Papers, 1939-1989

Subseries 1.1: Correspondence, 1939-1989

Subseries 1.2: Other Materials, 1915-1989

Series 2, Exhibition Collectors Historical Organization Records, 1942-1990

Subseries 2.1, Organizational History, 1960-1988

Subseries 2.2: Correspondence, 1942-1990

Subseries 2.3: Classified Ads, 1956-1988

Subseries 2.4: Financial Records, 1976-1989

Subseries 2.5: Newsletters, 1969-1988

Subseries 2.6: Membership applications, renewal notices and cancellations, 1977-1987

Series 3, New York World's Fair, Inc. Records, 1900-1988

Subseries 3.1: Administrative Files, 1900-1971

Subseries 3.2: Amusement Zone, 1937-1940

Subseries 3.3: Communications and Business Systems Zone, 1939-1965

Subseries 3.4: Community Interest Zone, 1939-1940

Subseries 3.5: Food Zone, 1939-1975

Subseries 3.6: Government Zone, 1939-1940

Subseries 3.7: Production and Distribution Zone, 1939-1940

Subseries 3.8: Transportation Zone, 1939-1940

Subseries 3.9: Ephemera, 1939-1988

Series 4, Photographic Materials, 1876-1969

Subseries 4.1: General

Subseries 4.2: Amusement Zone

Subseries 4.3: Business Systems Zone

Subseries 4.4: Communications Zone

Subseries 4.5: Community Interest Zone

Subseries 4.6: Food Zone

Subseries 4.7: Government Zone

Subseries 4.8: Production and Distribution Zone

Subseries 4.9: Transportation Zone

Subseries 4.20: Miscellaneous

Subseries 4.21: Oversize

Subseries 4.22: Color Slides

Subseries 4.23: Color Transparencies

Series 5, Scrapbooks, 1938-1981

Series 6, Postcards, 1906-1985

Series 7: Publications Related to World's Fairs, 1922-1989

Subseries 7.1: Magazines, 1922-1988

Subseries 7.2: Newspaper Articles, 1935-1989

Subseries 7.3: Other Publications, 1939-1973

Subseries 7.4: Other Subjects, 1962-1989

Series 8: Materials Relating to Other Fairs, 1951-1988

Subseries 8.1: Great Exhibition of the Works of Industry of All Nations/Crystal Palace Exhibition

Subseries 8.2: New York Crystal Palace Exhibition

Subseries 8.3: Centennial Exposition

Subseries 8.4: World's Columbian Exposition

Subseries 8.5: Exposition Internationale D'Anvers (Antwerp, Belgium)

Subseries 8.6: Tennessee Centennial and International Exposition

Subseries 8.7: Trans-Mississippi Exposition

Subseries 8.8: South Carolina Inter-State and West Indian Exposition/Pan-American Exposition

Subseries 8.9: Louisiana Purchase Exposition

Subseries 8.10: Jamestown Tercentennial Exposition

Subseries 8.11: Alaska, Yukon, Pacific Exposition

Subseries 8.12: Panama-California Exposition

Subseries 8.13: Bronx International Exposition of Science, Arts and Industries

Subseries 8.14: Sesquicentennial Exposition

Subseries 8.15: Barcelona International Exposition Subseries 8.16: L'Exposition Coloniale, Paris

Subseries 8.17: Olympics

Subseries 8.18: Century of Progress

Subseries 8.19: California Pacific International Exposition (San Diego)/Brussels International Exposition

Subseries 8.20: Great Lakes Exposition/Texas Centennial Central Exposition

Subseries 8.21: Exposition Internationale des Arts et Techniques dans la Vie Moderne

Subseries 8.22: Golden Gate International Exposition

Subseries 8.23: Festival of Britain

Subseries 8.24: Milan Fair

Subseries 8.25: Exposition Universelle et venti Internationale de Bruxelles

Subseries 8.26: Moscow

Subseries 8.27: Century 21 Exhibition

Subseries 8.28: Expo 67

Subseries 8.29: Long Beach, California (cancelled)

Subseries 8.30: HemisFair 68

Subseries 8.31: Expo 70

Subseries 8.32: Expo 74

Subseries 8.33: Expo 75

Subseries 8.34: American Revolution Bicentennial, 1776-1976

Subseries 8.35: Queens Bicentennial Festival

Subseries 8.36: Expo 81, (cancelled)

Subseries 8.37: Portopia 81

Subseries 8.38: 1982 World's Fair

Subseries 8.39: Louisiana World Exposition

Subseries 8.40: Olympic Games

Subseries 8.41: Expo 85

Subseries 8.42: Queens Festival

Subseries 8.43: Expo 86

Subseries 8.44: World Expo 88

Subseries 8.45: Expo 92

Subseries 8.46: Expo 2000

Subseries 8.47: Combined Fairs

Subseries 8.48: General information about world's fairs

Series 9: Ephemera, 1934-1987

Subseries 9.1: New York (arranged first by subject and then general materials)

Subseries 9.2: Other States and Countries (alphabetical by location)

Subseries 9.3: Disney and Wizard of OZ Materials (chronological order)

Series 10: Audio Visual Materials, 1939, 1964-1965

Subseries 10.1: Moving Images, 1939; 1964-1965

Subseries 10.2: Sound Recordings

Series 11: Oversize, 1835-1992
Biographical / Historical:
Edward J. Orth grew up relishing history, particularly the history of the New York World's Fair. His experience of visiting the fair as a twelve year old boy led to a life long passion of collecting. At the time of his death, he had amassed a collection that filled two houses in California. The collection not only included materials of the 1939 New York World's Fair but also documented events before and after the fair. He also collected materials from a number of other fairs. Edward Orth was also instrumental in creating an organization for people who wanted to collect information and trade artifacts and relating to world's fairs materials.

Mr. Orth was born April 19, 1927 to Andrew Joseph Orth and Florence Minnie Gordon Orth in New York. The family would later include another son George, some six or seven years younger than Edward. In the 1930's, the Orth family lived in a number of locations in New York including Ridgewood, Brooklyn, Glendale, and Queens. In 1935, the family eventually moved to St. Albans, Queens, New York where Orth lived seven miles from Flushing Meadow Park, future site of the New York World's fair.

The year 1939 was a particularly painful one for the family due to a number of deaths. Edward Orth's paternal grandmother died on April 22nd. His grandfather, Michael Orth, also passed away in April. Three months later his grandmother Gordon died on July 22th. The severe losses to the Orth-Gordon families limited many social activities; however, the family did drive by the grounds of the future site of the world's fair. For the first time Edward Orth glimpsed the Trylon and Perisphere. Later, Orth would remark that the sight appeared to be magic.

In the summer of 1939, Edward Orth went to the fair with his class at Public School 136. The next summer Edward and his father walked over to an elementary school in Hollis, Queens, New York and purchased a 10 admission ticket for elementary school students. Edward Orth saved every souvenir and every bit of information he could find about the fair. He filled scrapbooks with photographs from newspapers and the 1939 Curt Teich and Manhattan PC Company postcards that were on sale at the corner candy store. When his family moved from an apartment to a house he acquired an old world's fair bench which he kept in the backyard.

In 1941, Orth attended Newton High School in Elmhurst, and Queens, New York. The high school offered a special college preparatory technical course which involved heavy emphasis on mathematics, science, mechanical drawing and workshop courses. Such educational pursues coupled with the motion picture films which he saw at the fair, including Thomas Edison's "The City of Light", Ford Motor Company's "Road of Tomorrow", "Democracy" and General Motors' "Futurama" inspired Orth's interest in architecture and landscaping. This inspiration formed the basis of his decision to become a city planner for California.

By 1943, Orth began to explore used magazine and book stores in New York City to continue his collecting of world's fairs materials. Two days after graduation in 1945 he was enlisted in the army. Upon his discharge he resumed buying and trading worlds' fairs' postcards. From 1948-1953, Orth continued his education at the University of California and the University of Connecticut where he studied architecture and landscape design. Between these years he posted advertisements in various postcard collector clubs publications in his continued pursue of world's fairs materials. In March 1953, Mr. Orth moved to Los Angeles, California. It was during his time in Los Angeles that he really began to make contact with other World's fairs buffs and formed lasting friendships based on this common interest. By 1967, Orth and a number of his closest friends including Peter Warner, Oscar Hengstler, David Oats, Larry Zim, and Ernest Weidhaas conceived the idea of a world's fair collector's society. By the summer of 1968 this group had formally created the Exhibition Collectors Historical Organization (ECHO).

Edward Orth was always concerned about the welfare of his collection and did not want the materials to be broken into parts and sold. Instead he wanted it to go to a museum. Mr. Orth stipulated in his will that the collection would be given to the Smithsonian Institution upon his death. In 19??, Jon Zackman, former Smithsonian employee, conducted two interviews on micro cassettes. One interview was conducted with George Orth, brother of the collector. The other interview is with Peter Warner, another world's fairs collector. Orth and Warner had corresponded extensively and had traded objects. Mr. Orth primarily covered the west coast area while Peter Warner was his east coast counterpart.
Related Materials:
Materials in the Archives Center

Warshaw Collection of Business Americana (AC0060)

Larry Zim Collection (AC0519)

Materials at Other Organizations

New York Public Library

The New York World's Fair 1939 and 1940 Incorporated Records, 1935-1945, MssCol 2233
Separated Materials:
Materials at the National Museum of American History

Artifacts from the collection include several thousand souvenirs and examples of memorabilia commemorating the fair to include buttons and badges, ceramics, glassware, clothing, costume jewelry, coins and medals, commemorative spoons and flatware, toys and games, and philatelic material which are all part of the Division of Home and Community Life's holdings.
Restrictions:
Collection is open for research. Researchers must handle unprotected photographs with gloves. Researchers must use reference copies of audio-visual materials. When no reference copy exists, the Archives Center staff will produce reference copies on an "as needed" basis, as resources allow. Viewing film portion of collection requires special appointment, please inquire. Do not use when original materials are available on reference video or audio tapes.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Exhibitions -- 1930-1940 -- New York (State) -- New York  Search this
World's fairs  Search this
Genre/Form:
Souvenirs -- 1930-1940
Photographs -- Black-and-white photoprints -- Silver gelatin -- 1930-1940
Pamphlets -- 1930-1940
Guidebooks -- 1930-1940
Citation:
Edward J. Orth Memorial Archives of the New York World's Fair, Archives Center, National Museum of American History
Identifier:
NMAH.AC.0560
See more items in:
Edward J. Orth Memorial Archives of the World's Fair
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-0560
Online Media:

The California Shop Records

Creator:
California Shop.  Search this
Kemp, Helen Misch, 1894-1948 (store owner/manager)  Search this
Kemp, Barbara  Search this
Extent:
1 Cubic foot (2 boxes)
Type:
Collection descriptions
Archival materials
Scrapbooks
Clippings
Photographs
Place:
California -- Fashion -- 1930-1940
New York (N.Y.) -- Fashion -- 1930-1940
Date:
1938-1942
Scope and Contents note:
Collection consists of a bound volume used as both a log of visitors to the shop and a scrapbook containing newspaper clippings, ephemera, magazine articles, announcements, and invitations to fashion shows. The first few pages of the volume are the guest book. The remaining pages were used as the scrapbook and is in reverse chronological order. There are also loose pages from the volume and its wooden covers, with a portion of a map of the Audencia of Guadalajara used as the cover illustration. Of particular interest are the typewritten manuscripts documenting Kemp's ideas for starting the California Shop. In addition, there are photographs of the shop, possibly in 1941, and Helen Kemp.
Arrangement:
Materials are arranged as a single series.
Biographical / Historical:
Helen Misch Kemp opened the California Shop on November 15, 1938 at 677 Madison Avenue in New York City. Kemp was born April 22, 1894 in New York to Moses and Jennie Misch but had moved to California in 1936 where she worked in the women's clothing trade. Some time later she moved back to New York and noticed a distinction between the clothing and merchandise created in California as opposed to what was being offered in New York. California was also gaining a reputation in the fashion industry for its women designers who were combining chic styles, comfort, and unique colors for the American female market. Armed with a keen eye for fashion and shrewd business sense Kemp opened her shop to provide California craftsmanship to an eastern market. Kemp took annual trips to California to select what she considered was the best for her customers. While the California Shop sold mostly women's clothing it also offered products such as preserves, copper household utensils, cookware, trays, wastebaskets, spice jars, wall pockets, flower containers, pottery, and jewelry. On October 15, 1940, the shop moved to 674 Madison Avenue, where it occupied a larger space. Kemp closed her shop in 1942 due to war time difficulties in getting merchandise from California. Helen Kemp died on February 13, 1948, at the age of fifty-four.
Related Materials:
Archives Center, National Museum of American History

Collections relating to women in business and fashion industry

Estelle Ellis Collection (AC0423)

Brownie Wise Papers (AC0509)

Dorothy Shaver Papers (AC0631)

NW Ayer Advertising Agency Records (AC0059)

Division of Costume Audiovisual Collection (AC0801)

Warshaw Collection of Business Americana (AC0060)

Ming-Ju Sun Garfinckel's Fashion Drawings (AC0897)

Carolyn and Donald Grepke Paper Doll Collection (AC752)

Virginia "Jimmie" Booth Collection (AC0729)

Joseph Magnin Poster Collection (AC0355)
Provenance:
Barbara Kemp
Restrictions:
Collection is open for research.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Reproduction permission from Archives Center: reproduction fees may apply. All duplication requests must be reviewed and approved by Archives Center staff.
Topic:
Women in business -- 1930-1940  Search this
Women -- Employment  Search this
Women -- History -- 1930-1940 -- New York  Search this
advertising -- 1930-1940 -- California  Search this
advertising -- Clothing and dress -- 1930-1940  Search this
advertising -- Clothing trade -- 1930-1940  Search this
advertising -- Fashion -- 1930-1940  Search this
Genre/Form:
Scrapbooks -- 20th century
Clippings -- 1930-1950
Photographs -- Black-and-white photoprints -- Silver gelatin -- 1930-1940
Citation:
The California Shop Records, 1938-1942, Archives Center, National Museum of American History. Gift of Barbara Kemp.
Identifier:
NMAH.AC.0572
See more items in:
The California Shop Records
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-0572
Online Media:

Macy's / Come to Wonderland. [Color mockup of poster design for Macy's Wonderland.]

Creator:
Hales, Landy R., 1889-1972  Search this
Advertiser:
Macy, R.H., & Co. (New York, N.Y.)  Search this
Names:
Hales, Landy R., 1889-1972  Search this
Collection Creator:
Hales, Landy R., 1889-1972  Search this
Extent:
3 Items (Ink and paint on paper., 13.5 cm x 21.5 cm.)
Container:
Box 13, Folder 8
Type:
Archival materials
Advertising
Posters
Date:
undated
Local Numbers:
AC0906-0000006.tif (AC Scan No.)

AC0906-0000007.tif (AC Scan No.)

AC0906-0000008.tif (AC Scan No.)
Restrictions:
Unrestricted research use on site by appointment. Photographs must be handled with cotton gloves unless protected by sleeves.
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.
Topic:
Christmas -- 1930-1940  Search this
Genre/Form:
Advertising
Posters -- 1930-1940
Collection Citation:
Landy R. Hales Papers, 1908-1969, Archives Center, National Museum of American History.
See more items in:
Landy R. Hales Papers
Landy R. Hales Papers / Series 7: Drawings/Sketches / New York-related
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-0906-ref634
Online Media:

[Tube Center at Western Union's 60 Hudson Street, New York, New York building, with women employees : black-and-white photoprint.]

Collector:
Western Union Telegraph Company  Search this
Collection Creator:
United Telegraph Workers.  Search this
Western Union Telegraph Company  Search this
Extent:
1 Item (Silver gelatin on paper., 7.5" x 9.4")
Container:
Box 711, Folder 4
Type:
Archival materials
Photographs
Photographs
Place:
New York (N.Y.) -- 1930-1940
Date:
Circa 1940
Scope and Contents:
Caption (on negative) : "Tube Center / 60 Hudson St. / New York." Shown are four female employees and three male employees.
Local Numbers:
AC0205-0000019.tif (AC Scan)
Restrictions:
Unrestricted research access by appointment. Photographs must be handled with cotton gloves unless protected by sleeves.
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.
Topic:
Labor  Search this
Women employees  Search this
Telegraph, Wireless  Search this
Genre/Form:
Photographs -- 1900-1950 -- Black-and-white photoprints -- Silver gelatin
Collection Citation:
Western Union Telegraph Company Records, Archives Center, National Museum of American History
See more items in:
Western Union Telegraph Company Records
Western Union Telegraph Company Records / Series 23: Photographs / 23.1: Western Union Buildings and Property / Post 1900
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-0205-ref11315

MS 2004-07 David Efron Gesture Research

Creator:
Efron, David, 1904-  Search this
Van Veen, Stuyvesant  Search this
Extent:
5 Inches
Culture:
Italians -- United States  Search this
Jews, Lithuanian  Search this
Type:
Collection descriptions
Archival materials
Place:
New York (N.Y.)
Date:
bulk circa 1930-1940
Scope and Contents:
This collection contains fieldnotes, drawings and illustrations from Efron's research on gesture language among Sicilian and Lithuanian Jewish immigrants on the lower east side of New York City. The several hundred original captioned illustrations in the collection were created by Stuyvesant Van Veen. The collection also includes a 115-page Bibliography of Gesture and Posture, which Efron apparently never published, and one item on Native American gesture language from 1890.
Biographical / Historical:
A student of Franz Boas, David Efron conducted his gesture study to examine differences in the gestural repertoire of different neighboring immigrant communities, as well as the effect of assimilation on the range of gestures used by their first generation descendants. Efron's demonstration of the cultural basis of gestural style challenged Nazi "scientific" claims that gestural style was racially inherited. The results of his research were published as Gesture and Environment (King's Crown Press, 1941), republished as Gesture, Race and Culture (Mouton, 1972).
Efron collaborated on his gesture research with Stuyvesant Van Veen (1910-1988), a New York City artist who studied at the National Academy of Design and the Art Students league and worked with the muralist Thomas Hart Benton. Van Veen is also known in anthropological circles for the illustrations he produced for Franz Boas' research on Kwakiutl dances.
Efron's was perhaps the first ethnographic research to combine meticulous participant observation and artistic collaboration with the analysis of everyday social behavior recorded on motion picture film.
Local Numbers:
NAA MS 2004-07
Other Archival Materials:
Stuyvesant Van Veen's papers are maintained by the Smithsonian's Archives of American Art, which also has a 1981 interview with Van Veen in which the artist discusses his work with Boas.
Topic:
Gesture  Search this
Anthropological linguistics  Search this
Immigrants  Search this
Language and languages -- Documentation  Search this
Citation:
Manuscript 2004-07 David Efron Gesture Research, National Anthropological Archives, Smithsonian Institution
Identifier:
NAA.MS2004-07
Archival Repository:
National Anthropological Archives
EDAN-URL:
ead_collection:sova-naa-ms2004-07

Oral history interview with Harold Rosenberg, 1970 December 17-1973 January 28

Interviewee:
Rosenberg, Harold, 1906-1978  Search this
Interviewer:
Cummings, Paul, 1933-1997  Search this
Subject:
Motherwell, Robert  Search this
Baumbach, Harold  Search this
Gorky, Arshile  Search this
De Kooning, Willem  Search this
Pollock, Jackson  Search this
Blume, Peter  Search this
Krasner, Lee  Search this
Rothko, Mark  Search this
Inverarity, Robert Bruce  Search this
Matta  Search this
Miró, Joan  Search this
Breton, André  Search this
Léger, Fernand  Search this
Smith, David  Search this
Newman, Barnett  Search this
Tobey, Mark  Search this
Lundeberg, Helen  Search this
Prestopino, Gregorio  Search this
Davis, Stuart  Search this
United States  Search this
Club (New York, N.Y.)  Search this
Office of War Information.  Search this
Type:
Sound recordings
Interviews
Topic:
Art, American  Search this
Educators -- New York (State) -- New York -- Interviews  Search this
Art -- Economic aspects  Search this
Art -- Philosophy  Search this
Art -- Political aspects  Search this
Art and literature  Search this
Art criticism  Search this
Surrealism  Search this
Avant-garde (Aesthetics) -- New York (State) -- New York  Search this
Record number:
(DSI-AAA_CollID)12896
(DSI-AAA_SIRISBib)213056
AAA_collcode_rosenb70
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_213056

I've Gone Goofy over Miniature Golf [sheet music]

Composer:
Diston, Leo  Search this
Perkins, Frank  Search this
Parish, Mitchell  Search this
Artist:
Leff  Search this
Publisher:
Mills Music, Inc.  Search this
Series Creator:
DeVincent, Sam, 1918-1997  Search this
Extent:
1 Item (Ink on paper.)
Type:
Archival materials
Sheet music
Date:
1930
Scope and Contents:
"Lively" song, vocal with accompaniment. Cover illustration, signed "Leff", shows smiling man in bow tie and knickers on miniature golf course. In "Sports" 7.6, folder B.
Local Numbers:
97-9617 (OPPS Neg. No., for cover only)
Publication:
New York, N.Y., Mills Music, Inc., 1930
Series Restrictions:
Collection is open for research.
Rights:
Copy prints available. Reproduction restrictions due to copyright. Cover illustration: order from neg. no. 97-9617.
Topic:
Golf, Miniature -- Sheet music -- 1930-1940  Search this
Genre/Form:
Sheet music -- 1930-1940
Series Citation:
The Sam DeVincent Collection of Illustrated American Sheet Music, Archives Center, National Museum of American History, Smithsonian Institution
See more items in:
Sam DeVincent Collection of Illustrated American Sheet Music, Series 7: Sports
Sam DeVincent Collection of Illustrated American Sheet Music, Series 7: Sports / 7.6: Golf / General Songs, 1909-1930, not related to stage, screen, or other topical categories. / 1930
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-0300-s07-ref843

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