To a considerable degree, the James H. Howard papers consist of manuscript copies of articles, book, speeches, and reviews that document his professional work in anthropology, ethnology, ethnohistory, archeology, linguistics, musicology, and folklore between 1950 and 1982. Among these are a few unpublished items. Notes are relatively scant, there being somewhat appreciable materials for the Chippewa, Choctaw, Creek, Dakota, Omaha, Ponca, Seminole, and Shawnee. The chief field materials represented in the collection are sound recordings and photographs, but many of the latter are yet to be unidentified. A series of color photographs of Indian artifacts in folders are mostly identified and represent the extensive American Indian Cultural collection of costumes and artifacts that Howard acquired and created. Other documents include copies of papers and other research materials of colleagues. There is very little original material related to archeological work in the collection and that which is present concerns contract work for the Lone State Steel Company.
Scope and Contents:
The James Henri Howard papers document his research and professional activities from 1949-1982 and primarily deal with his work as an anthropologist, archeologist, and ethnologist, studying Native American languages & cultures. The collection consists of Series 1 correspondence; Series 2 writings and research, which consists of subject files (language and culture research materials), manuscripts, research proposals, Indian claim case materials, Howard's publications, publications of others, and bibliographical materials; Series 3 sound recordings of Native American music and dance; Series 4 photographs; and Series 5 drawings and artwork.
Howard was also a linguist, musicologist, and folklorist, as well as an informed and able practitioner in the fields of dance and handicrafts. His notable books include Choctaw Music and Dance; Oklahoma Seminoles: Medicines, Magic, and Religion; and Shawnee! The Ceremonialism of a Native American Tribe and its Cultural Background.
Some materials are oversize, specifically these three Winter Count items: 1. a Dakota Winter Count made of cloth in 1953 at the request of James H. Howard, 2. a drawing of British Museum Winter Count on 4 sheets of paper, and 3. Photographs of a Winter Count.
Arrangement:
This collection is arranged in 5 series: Series 1. Correspondence, 1960-1982, undated; Series 2. Writings and Research, 1824-1992; Series 3. Sound Recordings, 1960-1979; Series 4. Photographs, 1879-1985; Series 5. Drawings and Artwork, 1928-1982.
Chronology:
1925 -- James Henri Howard was born on September 10 in Redfield, South Dakota.
1949 -- Received his Bachelor of Arts from the University of Nebraska.
1950 -- Received his Master of Arts from the University of Nebraska and began a prolific record of publishing.
1950-1953 -- Began his first professional employment as an archaeologist and preparator at the North Dakota State Historical Museum in Bismarck.
1955-1957 -- Was a museum lecturer at the Kansas City (Missouri) Museum.
1957 -- James H. Howard received his Ph.D. at the University of Michigan. Joined the staff of the Smithsonian's River Basin Surveys in the summer.
1957-1963 -- Taught anthropology at the University of North Dakota.
1962 -- Chief archeologist at the Fortress of Louisberg Archeological Project in Nova Scotia.
1963-1968 -- Taught anthropology at the University of South Dakota; State Archeologist of South Dakota; Director of the W. H. Over Dakota Museum.
1963-1966 -- Director of the Institute of Indian Studies, University of South Dakota.
1968-1982 -- Associate professor of anthropology at Oklahoma State University at Stillwater (became a full professor in 1971).
1979 -- Consulted for exhibitions at the Western Heritage Museum in Omaha, Nebraska.
1982 -- Died October 1 after a brief illness.
Biographical/Historical note:
James H. Howard was trained in anthropology at the University of Nebraska (B.A., 1949; M.A., 1950) and the University of Michigan (Ph.D., 1957). In 1950-1953, he served as archeologist and preparator at the North Dakota State Historical Museum; and, in 1955-1957, he was on the staff of the Kansas City (Missouri) Museum. During the summer of 1957, he joined the staff of the Smithsonian's River Basin Surveys. Between 1957 and 1963, he taught anthropology at the Universtity of North Dakota. Between 1963 and 1968, he served in several capacities with the University of South Dakota including assistant and associate professor, director of the Institute of Indian Studies (1963-1966), and Director of the W.H. Over Museum (1963-1968). In 1968, he joined the Department of Sociology at Oklahoma State University, where he achieved the rank of professor in 1970. In 1979, he was a consultant for exhibitions at the Western Heritage Museum in Omaha, Nebraska.
Howard's abiding interest were the people of North America, whom he studied both as an ethnologist and archeologist. Between 1949 and 1982, he worked with the Ponca, Omaha, Yankton and Yaktonai Dakota, Yamasee, Plains Ojibwa (or Bungi), Delaware, Seneca-Cayuga, Prairie Potatwatomi of Kansas, Mississipi and Oklahoma Choctaw, Oklahoma Seminole, and Pawnee. His interest in these people varied from group to group. With some he carried out general culture studies; with other, special studies of such phenomena as ceremonies, art, dance, and music. For some, he was interest in environmental adaptation and land use, the latter particularly for the Pawnee, Yankton Dakota, Plains Ojibwa, Turtle Mountain Chippewa, and Ponca, for which he served as consultant and expert witness in suits brought before the United Stated Indian Claims Commisssion. A long-time museum man, Howard was also interested in items of Indian dress, articles associated with ceremonies, and other artifacts. He was "a thoroughgoing participant-observer and was a member of the Ponca Hethuska Society, a sharer in ceremonial activities of many Plains tribes, and a first-rate 'powwow man'." (American Anthropologist 1986, 88:692).
As an archeologist, Howard worked at Like-a-Fishhook Village in North Dakota, Spawn Mound and other sites in South Dakota, Gavin Point in Nebraska and South Dakota, Weston and Hogshooter sites in Oklahoma, and the Fortess of Louisbourg in Nova Scotia. He also conducted surveys for the Lone Star Steel Company in Haskall, Latimer, Le Flore and Pittsburg counties in Oklahoma.
Related Materials:
Howard's American Indian Cultural Collection of Costumes and Artifacts, that he acquired and created during his lifetime, is currently located at the Milwaukee Public Museum. In Boxes 19-21 of the James Henri Howard Papers, there are photographs with accompanying captions and descriptions in binders of his American Indian Cultural Collection of Costumes and Artifacts that his widow, Elfriede Heinze Howard, created in order to sell the collection to a museum.
Provenance:
These papers were donated to the National Anthropological Archives by James Henri Howard's wife,
Elfriede Heinz Howard, in 1988-1990, 1992, & 1994.
Restrictions:
The James Henri Howard papers are open for research.
Access to the James Henri Howard papers requires an appointment.
The Bob Bilyeu Camblin papers measure 3.1 linear feet and date from 1951 to 1985. The papers provide a snapshot of Camblin's career as an artist and educator through personal papers, printed material, artwork, photographs, and motion picture film and video recordings.
Scope and Contents:
The Bob Bilyeu Camblin papers measure 3.1 linear feet and date from 1951 to 1985. The papers provide a snapshot of Camblin's career as an artist and educator through personal papers, printed material, artwork, photographs, and motion picture film and video recordings.
Personal papers include resumes and printed material such as exhibition catalogs and announcements and clippings. Camblin's artwork includes sketches, expressive writings, drawings, and prints. Photographic material includes images of artwork, friends, family, trips, and miscellany; and moving images include home videos of art, art techniques, leisure activities, and autobiographical films.
Arrangement:
This collection is arranged as 4 series.
Series 1: Personal Papers, 1951-1985 (5 folders; Box 1)
Series 2: Artwork, 1951-1985 (8 folders; Box 1)
Series 3: Photographs, 1951-1980 (1 linear foot; Box 1, 2)
Series 4: Moving Images, circa 1970-1976 (1.8 linear feet; Box 2; FCs 3-19)
Biographical / Historical:
Bob Bilyeu Camblin (1928-2010) was a modernist painter and educator active in Houston, Texas. Camblin experimented with a wide variety of media and is known for collaborative projects with many artists, including a collective known as The Holding Firm with Earl Staley and Joe Tate in Houston.
Born in Ponca City, Oklahoma, Camblin served in the United State Army (1948-1949) and Air Force (1950-1951) before receiving his bachelor of fine arts in 1954, and his master of fine arts degree in 1955. He worked as a map make from 1955-1958 before holding teaching posts at multiple institutions including the Kansas City Art Institute, the Ringling School of Art, Sarasota Florida, the University of Illinois, the University of Detroit, the University of Utah, and Rice University in Houston.
While living in Houston Camblin collaborated with artists Earl Staley and Joe Tate, as the B. E. and J. Holding Firm, or The Holding Firm. The collective worked on multiple projects including paintings, drawings, art excursions, and exhibitions.
Camblin's first one-man show was held in 1955 at the Kansas City Art Institute and his work has been exhibited in other solo exhibitions including at Oklahoma State University (1961), Plumtree Gallery, Salt Lake City, Utah (1965-1966), Windsor College, Canada (1965), David Gallery, Houston (1969-1970), and the Graham Gallery in Houston (1989). Camblin participated in many group exhibitions including ART:USA 58 (1958), Fulbright Artists Exhibition, Nelson Gallery of Art, Kansas City (1958), Childe Hassam Purchase Fund Show, American Academy of Arts and Letters (1958), and Printmaking in Texas: The 1980s Modern Art Museum, Fort Worth (1990).
Separated Materials:
The Archives of American Art also holds microfilm of material lent for microfilming by Mrs. Eldon Jensen on Reel 2248, including six sketchbooks, 1979-1980, containing sketches, writings, and a few letters. Loaned materials were returned to the lender and are not described in the collection container inventory.
Some of the material from reels 3461 and 3462 including correspondence, clippings, files on the Document Show, the Barter Show, B. E. and J. Holding Firm and the Venice Venture are available for use only at the Museum of Fine Arts, Houston and through interlibrary loan, and are not described in the collection container inventory.
Provenance:
This collection was donated by Sandra Curtis Levy in a series of accessions between 1979-1986.
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.
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.
Bob Bilyeu Camblin papers, 1951-1985. Archives of American Art, Smithsonian Institution.
Sponsor:
The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.
The papers of Cuban born cartoonist, caricaturist, graphic designer, illustrator, and art director Abril Lamarque papers date from 1883-2001, with the bulk of the material ranging from 1904-1999, and measure 6.8 linear feet. His papers contain biographical material; correspondence; writings; files on the many seminars and workshop he taught; scattered financial records; files concerning his business Abril Lamarque Creations; subject files; clippings; printed illustrations of his comics, designs, illustrations, and other work; seven scrapbooks; two sketchbooks, sketches and drawings by him, and artwork by others, including his sister, his brother, Paul Hoffmaster, Enrique Riverón, and H. Portell Vilá; and photographs and negatives depicting Lamarque, Lamarque at work, Lamarque's magic shows, examples of advertising, and friends and colleagues.
Scope and Content Note:
The papers of Cuban born cartoonist, caricaturist, graphic designer, illustrator, and art director Abril Lamarque papers date from 1883-2001, with the bulk of the material ranging from 1904-1999, and measure 6.8 linear feet. His papers contain biographical material; correspondence; writings; files on the many seminars and workshops he taught; scattered financial records; files concerning his business Abril Lamarque Creations; subject files; clippings; printed illustrations of his comics, designs, illustrations, and other work; seven scrapbooks; two sketchbooks, sketches and drawings by him, and others, including his sister, his brother, Paul Hoffmaster, Enrique Riverón, and H. Portell Vilá; and photographs and negatives depicting Lamarque, Lamarque at work, Lamarque's magic shows, examples of advertising, and friends and colleagues.
Biographical materials include of materials related to Abril Lamarque's many professional and personal associations, including the Art Directors Club, the International Brotherhood of Magicians, the National Press Club, the New York University Club, the Society of American Magicians, and the Society of Illustrators. Material types include membership cards, documents, event posters, and yearbooks. Also included are some personal documents, information on Abril Lamarque and his family, Lamarque's collection of humorous business cards, and eulogies written about Lamarque.
Correspondence is generally scattered, but includes letters to and from illustrators and artists including Ernesto Garcia Cabral, Paul Hoffmaster, Conrado Massaguer, and Lamarque's brother, Juan Abril Lamarque. Some letters are illustrated. Also included is business correspondence, subjects and correspondents including the Dell Publishing Company, the New York Times, and correspondence related to workshops and lectures, including his work at Iowa State University and Oklahoma State University.
Writings chiefly document Lamarque's career in graphic and publication design, and consist of articles, an unpublished draft on publication design, manuals, and book reviews. Also included are scripts for magic shows performed by Lamarque. Writings by others are present, and include limericks written about Lamarque by friends and an autobiography of Lamarque's wife, Milagros Abril Lamarque.
The Workshops series consists of advertisements, press releases, handbooks, publication design layout examples, and other materials related to Lamarque's career in teaching publication design workshops and seminars. Also present within the collection are various financial materials. Abril Lamarque Creations materials document Lamarque's design firm, active 1940-1941, which focused on the design and manufacture of modern decorative accessories for the home, such as serving trays, cigarette holders and jewelry. Photographs, drawings, and advertisements in this series document the product design and sales.
The collection includes several subject files concerning the Bacardi Company, the Dell Publishing Company, and Cuban caricaturist and publisher Conrado Massaguer. Files on Massaguer include illustrations, posters, magazines, clippings, and articles. The Subject Files also include materials collected about Mexican caricaturist Ernesto García, self-taught Polish painter Karol Kozlowski, and several other illustrators and political figures of interest to Lamarque.
Printed materials make up the bulk of the collection. Found are numerous examples of his design work for the New York World-Telegram and Evening Mail, the New York Daily News, the New York Times, US News-World Report, Dell Publishing Company, and others; as well as cartoons, caricatures, and illustrations by Lamarque. Clippings of the comic strip Monguito and editions of the Havana newspaper Lunes de Diario de Cuba are present. Printed material also includes posters, including Lamarque's designs for the "Aluminum for Britain" project, which he was asked to discontinue by the U.S. State Department. Also found in this collection are graphic design and illustration clippings collected by Lamarque.
Also found within the collection are seven scrapbooks containing clippings and articles, illustrations, scattered letters, photographs, invitations, artwork, and other materials detailing Lamarque's extensive artistic career and his amateur magic performances.
Original artwork includes drawings, sketches, prints, and design by-products by Abril Lamarque. Artwork by Lamarque includes silkscreens of dictators; drawings and printing plates for Monguito comics; page banners for Film Fun and other publications; and design paste-ups. Artwork created by others found within the series includes caricatures of Lamarque, sketches by Juan Abril Lamarque, and prints by Paul Hoffmaster.
Photographs included in the collection document Abril Lamarque's life and career, and show Lamarque with friends and colleagues, and performing as an amateur magician for both children and adult audiences.
Arrangement:
The collection is arranged as eleven series.
Missing Title
Series 1: Biographical Material, 1917-2001 (0.5 linear feet; Box 1, OV 12)
Series 2: Correspondence, 1922-1990 (0.5 linear feet; Box 1, OV 12)
Series 3: Writings, 1925-1981 (0.3 linear feet; Box 2, OV 13)
Series 4: Workshops, circa 1940-circa 1985 (0.4 linear feet; Box 2, OV 13)
Series 5: Financial Records, 1924-1989 (4 folders; Box 2)
Series 6: Abril Lamarque Creations, circa 1940-circa 1945 (6 folders; Box 2, OV 13)
Series 7: Subject Files, 1905-1996 (0.5 linear feet; Box 4, OV 14)
Series 8: Printed Material, 1883-1989 (1.5 linear feet; Box 3, 4, 6, and 11, OV 15-17)
Series 9: Scrapbooks, 1920-1959 (1 linear foot; Boxes 7-9, OV 10)
Series 10: Original Artwork, circa 1914-1988 (0.5 linear feet; Box 4, OV 18)
Series 11: Photographic Material, circa 1920-circa 1985 (0.5 linear feet; Box 5, OV 19)
Biographical Note:
Eduardo Abril Lamarque (1904-1999) was a Cuban born cartoonist, caricaturist, graphic designer, illustrator, and art director who worked primarily in New York City.
Eduardo Abril Lamarque was born in Cuba on August 28, 1904. His parents sent him to the United States in 1916 when he was twelve to study English and business administration. He lived with an American family in Brooklyn. At age 15, Lamarque's first cartoon was published in the Boy Scout section of the New York World-Telegram and Evening Mail. Four years later he created Bla-Bla, a comic strip that appeared regularly in the New York Daily News. He is credited with creating, in the early 1920s, the first Spanish language comic strip that was not translated from English. The title cartoon character, Monguito, was a hapless soul, fully dressed in business suit and hat, who kept getting into sticky situations. Lamarque produced hundreds of these strips which were picked up by the New York based United Feature Syndicate and published daily in Spanish language newspapers throughout Latin America and the United States.
When he was twenty, Lamarque returned to Cuba to work as the artistic director for the Havana newspaper Lunes de Diario de Cuba. He also published a booklet designed to teach the elements of caricature drawing. Lamarque returned to New York and was hired by the New York World Telegram and Evening Mail as a caricaturist. He produced political cartoons and caricatures for the paper, introducing his "radiocatures", which involved providing instructions on the radio for filling in a grid in the newspaper to produce a caricature of well-known figure in the news.
In 1927, at the age of 23, he became the first art director of Dell Publishing Company - a magazine empire that included Film Fun, I Confess, War Stories, Modern Screen, Popular Song, Spotlight, Radio Stars, Theatrical Page, Ballyhoo, and Modern Romances. He continued working there for 14 years.
In 1940-1941, Lamarque established Abril Lamarque Creations, a design firm that specialized in elegant and functional household objects and jewelry in a modernist tradition. His signature piece was the Pallettray, a serving tray modeled after an artist's palette and hand-finished in exotic woods.
Between 1941 and 1946, Lamarque became the first art director for the Sunday edition of the New York Times and redesigned the New York Times Magazine and the New York Times Book Review. Throughout his career, Lamarque designed and redesigned countless magazines and journals, including American Weekly, New York News, Metropolitan Life, Popular Science, This Week, US News-World Report, and others.
In 1948, Lamarque established a successful graphic design studio in New York that provided a full spectrum of design services, including annual reports, posters, product labeling, corporate publications, advertising, logos, package designs, and brochures. His clients included Barcardi Company, Con Edison, Ericcson Telephone, General Cable, Berlitz School, Lipton, Monsanto, and numerous magazines. In 1958, he was given the National Award for Graphic Design in packaging. His design for the annual American Red Cross poster was selected for the 1948 national Red Cross campaign.
His success and high demand as a publication art director, consultant, and designer was attributed to innovative design principles he based on the German Bauhaus School and its philosophy that promoted functional design principles. Lamarque reduced these principles to a set of guidelines suitable for page design and applied them successfully to a wide variety of publication and print layouts.
Lamarque's teaching experience began in the early 1940s with seminars and workshops he conducted for the publishing industry. He joined the faculty of New York University School of Continuing Education in 1958, where he taught until 1963, and later joined the Crowell Collier Institute and taught publication design workshops across the United States and Canada. He also gave workshops and courses at Oklahoma State School of Journalism.
Lamarque was a long-time member of the Society of Illustrators, Society of Art Directors, the Dutch Treat Club, National Press Club, and New York University Club. He was also an amateur magician and member of the Society of American Magicians. He performed magic acts for the annual Christmas party of the Society of Illustrators. Abril Lamarque died in 1999 at the age of 94.
Provenance:
Martha Lamarque Sarno and Lita M. Elvers assembled and donated their father's papers to the Archives of American Art, Smithsonian Institution, in 2001.
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.
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:
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:
Abril Lamarque papers, 1883-2001, bulk 1904-1999. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by The Walton Family Foundation and the Terra Foundation for American Art.
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:
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:
Abril Lamarque papers, 1883-2001, bulk 1904-1999. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by The Walton Family Foundation and the Terra Foundation for American Art.
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:
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:
Abril Lamarque papers, 1883-2001, bulk 1904-1999. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by The Walton Family Foundation and the Terra Foundation for American Art.
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:
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:
Abril Lamarque papers, 1883-2001, bulk 1904-1999. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by The Walton Family Foundation and the Terra Foundation for American Art.
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:
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:
Abril Lamarque papers, 1883-2001, bulk 1904-1999. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by The Walton Family Foundation and the Terra Foundation for American Art.
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:
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:
Abril Lamarque papers, 1883-2001, bulk 1904-1999. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by The Walton Family Foundation and the Terra Foundation for American Art.
Collection of the Smithsonian National Museum of African American History and Culture, Gift of the Families of Anita Williams Christopher and David Owen Williams
Object number:
2013.79.27
Restrictions & Rights:
Unknown - Restrictions Possible
Rights assessment and proper usage is the responsibility of the user.
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
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:
Diana Fuller Papers and Gallery Records, 1958-2004. Archives of American Art, Smithsonian Institution.
Sponsor:
The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.
Material is subject to Smithsonian Terms of Use. Should you wish to use NASM material in any medium, please submit an Application for Permission to Reproduce NASM Material, available at Permissions Requests.
This record unit consists of files documenting the operation of the Smithsonian Office of Ecology (SOE), 1965-1970, and its successor, the Ecology Program of the Office
of Environmental Sciences (OES), 1970-1973. The records were created primarily by administrators Buechner, 1965-1968; Wallen, 1969; and Jenkins, 1970-1973. They include organizational
files, 1965-1973; administrative records, 1965-1973, including material concerning the development of the Chesapeake Bay Center for Field Biology (after 1970, the Chesapeake
Bay Center for Environmental Studies) and the Smithsonian-Peace Corps Environmental Program; project files, 1965-1973, including records documenting projects conducted as
part of the International Program in Ecology; and files of Lee Merriam Talbot, 1965-1971.
Historical Note:
The history of the Ecology Program of the Office of Environmental Sciences can be traced to July 1, 1965, when the Smithsonian Office of Ecology (SOE) was created to
assist in expanding the research opportunities of Smithsonian scientists and to aid in the coordination of ecological activities with other government agencies. From its creation
until 1966, the SOE was an administrative unit of the National Museum of Natural History. In 1966, administrative responsibility for the SOE was transferred to the Assistant
Secretary for Science. The Smithsonian's environmental sciences programs were reorganized under the Office of Environmental Sciences (OES) in 1970. At that time, the SOE became
the Ecology Program of the newly created OES. In 1973, OES was merged with the Office of International Activities to form the Office of International and Environmental Programs
(OIEP). The Ecology Program came under the administrative control of OIEP. The Ecology Program was abolished in 1974.
Administrators of the Ecology Program of OES and its predecessor the SOE included Helmut K. Buechner, assistant director for ecology, 1965-1966, head, 1966-1968 (he also
served as senior scientist, 1968-1971); Irvin Eugene Wallen, acting head, 1969; and Dale W. Jenkins, director, 1970-1973. Other staff included Lee Merriam Talbot, research
biologist, 1965-1966, field representative, Ecology and Conservation, 1966-1967, deputy head and international field representative, 1968, resident ecologist, 1969-1971, and
deputy director, 1972-1973; and Francis Raymond Fosberg, special assistant for tropical biology, 1965-1966.
Programs and bureaus under the administration of the Ecology Program of OES and its predecessor the SOE included the Chesapeake Bay Center for Field Biology (after 1970
the Chesapeake Bay Center for Environmental Studies), 1965-1969; the Center for Natural Areas, 1972-1974; and the Peace Corps Environmental Program, 1972-1974.
