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Madeleine Sharrer papers, 1968-1990

Creator:
Sharrer, Madeleine Ellen Sachs  Search this
Subject:
Sharrer, Honoré  Search this
Citation:
Madeleine Sharrer papers, 1968-1990. Archives of American Art, Smithsonian Institution.
Topic:
Portrait painting  Search this
Women artists  Search this
Women painters  Search this
Theme:
Women  Search this
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)8650
(DSI-AAA_SIRISBib)210830
AAA_collcode_sharmade
Theme:
Women
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_210830

Myrna Shiras papers, 1954-1976

Creator:
Shiras, Myrna, 1936-  Search this
Type:
Interviews
Citation:
Myrna Shiras papers, 1954-1976. Archives of American Art, Smithsonian Institution.
Topic:
Women artists  Search this
Theme:
Women  Search this
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)8653
(DSI-AAA_SIRISBib)210833
AAA_collcode_shirmyrn
Theme:
Women
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_210833

Susan Cummins Gallery records

Creator:
Susan Cummins Gallery  Search this
Names:
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Cummins, Susan  Search this
Ebendorf, Robert, 1938-  Search this
Hu, Mary Lee, 1943-  Search this
Metcalf, Bruce, 1949-  Search this
Scott, Joyce J., 1948-  Search this
Extent:
6.4 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1984-2002
Summary:
The Susan Cummins Gallery records measure 6.4 linear feet and date from 1984 to 2002, with the bulk of the records dating from 1990 to 2001. The collection sheds light on the California gallery's artists and operations through administrative records, artists' files, printed materials, photographic materials, audiovisual recordings, correspondence, and more. Also included are two files relating to art panels and lectures given by Susan Cummins.
Scope and Contents:
The Susan Cummins Gallery records measure 6.4 linear feet and date from 1984 to 2002, with the bulk of the records dating from 1990 to 2001. The collection sheds light on the California gallery's artists and operations through administrative records and artists' files. Administrative records include group show exhibition files, gallery exhibition announcements, newspaper and magazine clippings, casette tapes, and papers from panels and lectures given by Cummins. Artists' files mainly consist of correspondence, resumes, exhibition announcements, articles about the artist, show reviews, and photographic materials. Some of the files include exhibition materials such as price lists, correspondence with other galleries and institutions, photos, and some sales records. Artists featured include Joyce Scott, June Schwarcz, Bruce Metcalf, Jamie Bennett, Dominic Di Mare, Thomas Mann, Keith Lewis, Bob Ebendorf, and Sandra Enterline.
Arrangement:
The collection is arranged as two series.

Series 1: Administrative Records, 1984-2001 (Box 1; 0.5 linear feet)

Series 2: Artists' Files, 1984-2002 (Box 2-7; 5.9 linear feet)
Biographical / Historical:
Susan Cummins Gallery was a contemporary art gallery established in 1984 in Mill Valley, California. The gallery was most well-known for its exhibition of American jewelry and other studio craft objects. In the 1990s, the gallery moved into a larger space and began exhibiting paintings and drawings as well. Most exhibitions held at the gallery were solo shows rotated monthly. Over the years, major artists shown at Cummins Gallery include Joyce Scott, June Schwarcz, Bruce Metcalf, Jamie Bennett, Dominic Di Mare, and Bob Ebendorf. The gallery closed in 2002. Group shows include Faceted Glass (1984)--the gallery's first show, Outcasts: Jewelry from Junk (1992), The Weight of Gold: Invitational Group Show (1993), and Jewelry as an Object of Installation (2001).

Susan Cummins was born December 27, 1946, in Minneapolis, Minnesota. Growing up, her family moved around to several states but mostly settled in the west coast. After high school, Cummins went on an American Field Service trip to Europe, and it was during her trip that she decided to study art in college. She attended Scripps College, studied under Arthur Stevens, and wrote her thesis on Rodin's relationship to dance. After college, Cummins moved to Washington, D.C. and struggled to find work in her field. She briefly volunteered at the National Museum of American Art and had worked for the Black Man's Development Center and a government lab before moving back to the west coast. She moved to Mill Valley and began running The Fireworks, a ceramics shop owned by a former college friend, Beth Changstrom. In 1983, Cummins and Changstrom took over the Horizon Gallery's space in Mill Valley and founded Beth Changstrom Ceramics and Susan Cummins Gallery. Throughout her tenure running the gallery, Cummins was close friends with some of her artists, especially Bruce Metcalf, Dominic Di Mare, and Bob Ebendorf. Cummins helped found Art Jewelry Forum in 1997 to promote and educate the collecting public about jewelry. She has served on the boards of the American Craft Council (2018 Honorary Fellow) and the Headlands Center for the Arts; she is the current director of the Rotasa Foundation.
Related Materials:
Also found in the Archives of American Art is an oral history interview with Susan Cummins conducted by Jo Lauria, October 22, 2009
Provenance:
The collection was donated in 2003 by Susan Cummins, gallery founder and owner, as part of the Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America.
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:
Painters -- California  Search this
Topic:
Jewelry -- Collectors and collecting  Search this
American studio craft movement  Search this
Function:
Art galleries, Commercial -- California
Citation:
Susan Cummins Gallery records, 1984-2002. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.susacumg
See more items in:
Susan Cummins Gallery records
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw91bb6e89f-be98-45cd-8323-cf3cb8e2c819
EDAN-URL:
ead_collection:sova-aaa-susacumg

Madeleine Sharrer papers

Creator:
Sharrer, Madeleine  Search this
Names:
Sharrer, Honoré, 1920-2009  Search this
Extent:
0.2 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1968-1990
Summary:
The scattered papers of Madeleine Sharrer measure 0.2 linear feet and date from 1968 to 1990. Found are biographical materials including a biographical sketch by Perez Zagorin, and photographs of Sharrer, her works of art, students and their artworks, and a dismantled photo album of works of art.
Scope and Contents:
The scattered papers of Madeleine Sharrer measure 0.2 linear feet and date from 1968 to 1990. Found are biographical materials including a biographical sketch by Perez Zagorin, and photographs of Sharrer, her works of art, students and their artworks, and a dismantled photo album of works of art.
Arrangement:
Due to the small size of this collection the papers are arranged as one series.
Biographical / Historical:
Madeleine Ellen Sachs Sharrer Poland (1898–1988) was a painter active in New York, California, and Connecticut, and was the mother of painter Honoré Sharrer.

As a young woman Sharrer studied in Paris at the Acadèmie Colarossi and the Acadèmie de la Grande Chaumière and in New York with Charles Hawthorne and George Luks. Madeline Sharrer was her daughter Honoré's first art teacher, and remained a lifelong professional confidante and advisor to her daughter throughout her life.
Provenance:
Donated 1975 by Reginald Poland, Sharrer's husband, and in 2007 by Perez Zagorin.
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.
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 -- Connecticut  Search this
Painters -- New York (State)  Search this
Painters -- California  Search this
Topic:
Portrait painting  Search this
Women artists  Search this
Women painters  Search this
Citation:
Madeleine Sharrer papers, 1968-1990. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.sharmade
See more items in:
Madeleine Sharrer papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9b2b659d6-3120-4f4e-bbbb-ad6c5c70c549
EDAN-URL:
ead_collection:sova-aaa-sharmade

Meet Jaune Quick-To-See Smith

Creator:
Smithsonian American Art Museum  Search this
Type:
Interviews
YouTube Videos
Uploaded:
2012-12-03T20:39:07.000Z
YouTube Category:
Education  Search this
Topic:
Art, American  Search this
See more by:
americanartmuseum
Data Source:
Smithsonian American Art Museum
YouTube Channel:
americanartmuseum
EDAN-URL:
edanmdm:yt_1BtEJqvhosw

“Chiura Obata: American Modern” at the Smithsonian American Art Museum

Creator:
Smithsonian American Art Museum  Search this
Type:
YouTube Videos
Uploaded:
2019-11-21T23:17:21.000Z
YouTube Category:
Education  Search this
Topic:
Art, American  Search this
See more by:
americanartmuseum
Data Source:
Smithsonian American Art Museum
YouTube Channel:
americanartmuseum
EDAN-URL:
edanmdm:yt_7_IbPsRVhAA

"Alexander von Humboldt and the United States: Art, Nature, and Culture" Curator's Video Tour

Creator:
Smithsonian American Art Museum  Search this
Type:
YouTube Videos
Uploaded:
2020-04-20T13:59:25.000Z
YouTube Category:
Education  Search this
Topic:
Art, American  Search this
See more by:
americanartmuseum
Data Source:
Smithsonian American Art Museum
YouTube Channel:
americanartmuseum
EDAN-URL:
edanmdm:yt_D-p96np-Pw4

Chiura Obata's America

Creator:
Smithsonian American Art Museum  Search this
Type:
YouTube Videos
Uploaded:
2019-12-06T00:04:36.000Z
YouTube Category:
Education  Search this
Topic:
Art, American  Search this
See more by:
americanartmuseum
Data Source:
Smithsonian American Art Museum
YouTube Channel:
americanartmuseum
EDAN-URL:
edanmdm:yt_wO3TDdlkn0Y

John C. Fremont

Attribution:
Mathew Brady Studio, active 1844 - 1894  Search this
Sitter:
John Charles Frémont, 21 Jan 1813 - 13 Jul 1890  Search this
Medium:
Glass plate collodion negative
Dimensions:
Plate: 8.8 × 5.9 × 0.2 cm (3 7/16 × 2 5/16 × 1/16")
Type:
Photographic Negative
Place:
United States\New York\Kings\New York
Date:
1861
Topic:
Interior  Search this
Weapon\Sword  Search this
Personal Attribute\Facial Hair\Mustache  Search this
Personal Attribute\Facial Hair\Beard  Search this
Architecture\Column  Search this
Costume\Dress Accessory\Button\Brass  Search this
John Charles Frémont: Male  Search this
John Charles Frémont: Politics and Government\Presidential candidate  Search this
John Charles Frémont: Natural Resource Occupations\Explorer  Search this
John Charles Frémont: Military and Intelligence\Army\Officer\Civil War army officer\Union army officer  Search this
John Charles Frémont: Politics and Government\US Senator\California  Search this
John Charles Frémont: Politics and Government\Governor\California  Search this
John Charles Frémont: Military and Intelligence\Army\Officer\Major General  Search this
Portrait  Search this
Credit Line:
National Portrait Gallery, Smithsonian Institution; Frederick Hill Meserve Collection
Object number:
NPG.81.M93
Restrictions & Rights:
CC0
See more items in:
National Portrait Gallery Collection
Data Source:
National Portrait Gallery
GUID:
http://n2t.net/ark:/65665/sm463356795-4221-4280-a83d-010adb049859
EDAN-URL:
edanmdm:npg_NPG.81.M93

Perls Galleries records

Creator:
Perls Galleries  Search this
Names:
Art Institute of Chicago  Search this
Fujikawa Gallery  Search this
Galerie Maeght  Search this
James Corcoran Gallery  Search this
Museum of Modern Art (New York, N.Y.)  Search this
National Gallery of Art (U.S.)  Search this
Pierre Matisse Gallery (New York, N.Y.)  Search this
Whitney Museum of American Art  Search this
Austin, Darrel, 1907-  Search this
Cafritz, Gwendolyn  Search this
Cafritz, Morris, 1886?-1964  Search this
Calder, Alexander, 1898-1976  Search this
Canaday, John, 1907-1985  Search this
De Menil, Adelaide  Search this
Dudensing, F. Valentine, 1892-1967  Search this
Ford, Henry, 1917-1987  Search this
Garbo, Greta, 1905-1990  Search this
Hitchcock, Alfred, 1899-  Search this
Luce, Claire  Search this
Luce, Henry, III, 1925-2005  Search this
Miró, Joan, 1893-  Search this
Perls, Klaus  Search this
Picasso, Pablo, 1881-1973  Search this
Priebe, Karl J., 1914-1976  Search this
Streisand, Barbra  Search this
Extent:
79.6 Linear feet
Type:
Collection descriptions
Archival materials
Illustrated letters
Drawings
Photographs
Date:
1937-1997
Summary:
The records of the Perls Galleries measure 79.6 linear feet and date from 1937 to 1997. Founded by Klaus Perls in 1937 and operating until 1997, the gallery dealt primarily in modern French art and the artwork of Alexander Calder. Found within the records are extensive correspondence (circa 44 linear feet) with artists, dealers, galleries, museums, and collectors; photographs and negatives of inventory and other artwork; exhibition files, scattered financial records; and exhibition catalogs and clippings.
Scope and Content Note:
The records of the Perls Galleries measure 79.6 linear feet and date from 1937 to 1997. Founded by Klaus Perls in 1937 and operating until 1997, the gallery dealt primarily in modern French art and the artwork of Alexander Calder. Found within the records are extensive correspondence (circa 44 linear feet) with artists, dealers, galleries, museums, and collectors; photographs and negatives of inventory and other artwork; exhibition files, scattered financial records; and exhibition catalogs and clippings.

Correspondence primarily discusses sales (and includes invoices), loans, and exhibitions, as well as more routine activities such as gallery maintenance, the printing of exhibition catalogs and letterhead, and the shipment, framing, or restoration of artwork. Many letters enclose photographs, negatives, or slides of artwork, and clippings. A few letters contain oversize architectural or engineering drawings, and a small handful of letters are illustrated.

Correspondents include artists such as Darrell Austin, Joan Mir, Pablo Picasso, and Karl Priebe; galleries such as the Corcoran Gallery, Fujikawa Galleries, Galerie Maeght, and the Pierre Matisse Gallery; museums such as the Art Institute of Chicago, the Museum of Modern Art, the National Gallery of Art, and the Whitney Museum of Modern Art; collectors such as Morris and Gwendolyn Cafritz, Adelaide de Mnil, Valentine Dudensing, and Henry Ford, II; and celebrity clients such as Greta Garbo, Alfred Hitchcock, Henry and Clare Booth Luce, and Barbra Streisand.

The records contain nearly thirty-two linear feet of photographs and negatives. Photographs are of artists and the inventory of the gallery's artwork. Additional photographs represent artwork either by artists not represented by the gallery or not included in the gallery's inventory. Most of the photographs are black and white. Over fifteen linear feet of negatives are of gallery stock. Photographs are also found in the exhibition files.

There is a relatively small amount of records relating to exhibitions, loans, and sales. Found are exhibition lists, schedules, invitations and announcements, photographs of exhibition installations, press releases, and records of loans to other institutions and galleries. Sales records include artist lists, inventory lists, invoices, pick up and delivery receipts, and price lists.

Printed materials include a large number of clippings and an incomplete run of catalogs from Perls Galleries exhibitions between 1939 and 1980.

The collection also includes ten original pencil drawings from John Canaday's series entitled My Beautiful Girls and a reproduction of eight drawings from the same series
Arrangement:
The collection is arranged as 7 series:

Missing Title

Series 1: Correspondence, 1937-1995 (Boxes 1-44, OV 81-83; 43.6 linear feet)

Series 2: Negatives, circa 1937-1995 (Boxes 44-59; 15.7 linear feet)

Series 3: Photographs, circa 1937-1995 (Boxes 60-75, OV 84; 16.1 linear feet)

Series 4: Exhibition, Loan, and Sales Records, 1937-1995 (Boxes 76-78; 2.1 linear feet)

Series 5: Clippings Files, 1943-1989 (Box 78; 0.5 linear feet)

Series 6: Exhibition Catalogs, 1939-1980 (Boxes 78-79; 1.4 linear feet)

Series 7: Drawings by John Canaday, circa 1967-1972 (Box 80; 0.3 linear feet)
Historical Note:
Klaus Perls (b. 1912, d. 2008) formally opened Perls Galleries in New York in 1937, and ran it with his wife Amelia until its closing in 1997. The gallery dealt in contemporary French artists of the School of Paris, such as Georges Braque and Pablo Picasso, but also acted as the primary representative of Alexander Calder beginning in 1954. In the 1970s Mr. Perls developed an interest in art from Benin and built an important collection of African sculpture, some of which was later donated to the Metropolitan Museum of Art. Amelia Perls died in 2002, and Klaus Perls died in 2008.

Klaus Perls was born in 1912 in Berlin in a house Mies van der Rohe designed for his parents, who owned an art gallery specializing in Impressionists, post-Impressionists, Old Master paintings, Pablo Picasso, Georges Braque, and African sculpture. Perls studied Art History in Hamburg and Munich but completed his PhD in Basel, Switzerland in 1933 after the Nazi government stopped awarding degrees to Jews. His dissertation covered the complete works of 15th-century French painter Jean Fouquet.

Before moving to New York in 1935, Perls worked for his mother, Kaethe Perls, in her Paris gallery that she opened in 1932 after splitting up with Klaus' father Hugo. He spent his first two years in New York selling paintings through other art dealers, primarily paintings shipped or recommended to him by his mother from Paris that were not selling well in the Depression-era French art market. These were primarily the work of Maurice Utrillo, Marie Laurencin, Raoul Dufy and Maurice de Vlaminck. In 1937 he formally established his own gallery, the Perls Galleries, on East 58th Street and continued to specialize in French and European contemporary art. Around the same time, his older brother Frank opened a gallery in Beverly Hills, California.

Klaus Perls was familiar with other New York dealers specializing in modern European art such as Valentine Dudensing and Pierre Matisse, but he tried to distinguish himself by catering to young collectors. When the war restricted the international art trade and his mother was forced to flee France during the Occupation, Perls began dealing in contemporary American artists such as Darrel Austin and Karl Priebe.

Perls married Amelia Blumenthal, fondly known as "Dolly," in 1940, and she became his business partner.

After the war, the international art market exploded, and the Perls made frequent buying trips to Europe. The Perls Galleries continued to sell primarily contemporary French art and gained an early reputation as a staunch defender of modern art by European artists such as Picasso, Modigliani, Braque, Lger, Soutine and Pascin. Perls prepared catalogues raisonns on Soutine and Pascin.

Klaus Perls was one of the founding members of the Art Dealer's Association, whose initial mission was to clean up the reputation of the art market following a series scandals involving fake antiquities that flourished in the 1960's. Perls was the Association's second president, after Pierre Matisse.

In 1954 Perls Galleries moved to 1016 Madison Avenue, a building that served as both gallery and home for the Perls. The same year Perls became Alexander Calder's dealer after the death of Calder's previous dealer, Curt Valentin. Perls explained his inclusion of Calder, a rare American among his stable of European artists, by saying that Calder's roots lay in France and that Calder bridged Europe and America the way Perls felt he did himself. In 1970, Calder designed the terrazzo sidewalk in front of the gallery and often resided in the Perls' home during long visits to New York City. Perls Galleries later handled Calder's estate and functioned as a quasi-archives of Calder's works, holding more than 7,000 negatives depicting Calder's art and preparing a Calder catalogue raisonn.

Klaus was named as a third-party defendant in the 1969 World War II looted art case Menzel v. List. When Erna Menzel sued Albert List for ownership of a Chagall painting confiscated from Menzel by the Nazis, List in turn sued Perls, who had sold him the painting in 1955, having purchased it himself from a Paris art dealer. The court awarded the Chagall painting to Menzel and ordered Perls to pay List the appreciated value of the painting.

Perls began building an important collection of African artwork and fell in love with art from Benin in the 1970's. In 1991 he donated more than 150 pieces of royal art from Benin to the Metropolitan Museum of Art.

The Perls closed their gallery in 1997; Amelia Perls died in 2002, and Klaus Perls died in 2008.
Related Material:
Among the resources relating to the Perls Galleries in the Archives of American Art is an oral history interview with Klaus Perls done by Mona Hadler on January 19, 1993.
Provenance:
The records were donated in 1997 by Douglas Mayhew, associate and legal representive of Klaus G. and Amelia B. Perls.
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:
Art, Modern  Search this
Function:
Art galleries, Commercial -- New York (State)
Genre/Form:
Illustrated letters
Drawings
Photographs
Citation:
Perls Galleries records, 1937-1997. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.perlgall
See more items in:
Perls Galleries records
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9adaab16b-4838-4b64-9ff6-0cf04fa2f3fa
EDAN-URL:
ead_collection:sova-aaa-perlgall
Online Media:

Eugenie Gershoy papers

Creator:
Gershoy, Eugenie, 1901?-1983 or 6  Search this
Names:
Art Students League (New York, N.Y.)  Search this
Federal Art Project (N.Y.)  Search this
Woodstock Artists Association (Woodstock, N.Y.)  Search this
Yaddo (Artist's colony)  Search this
Baker, Mildred, 1905-  Search this
Blanch, Arnold, 1896-1968  Search this
Blanch, Lucile, 1895-1981  Search this
Breeskin, Adelyn Dohme, 1896-1986  Search this
Calder, Alexander Stirling, 1870-1945  Search this
Dehn, Virginia  Search this
Force, Juliana, 1876-1948  Search this
Fruhauf, Aline, 1909-1978  Search this
Gottlieb, Harry, 1895-  Search this
Hart, Agnes, 1912-1979  Search this
Knight, Frederic C., 1898-1979  Search this
Marantz, Irving, 1912-1972  Search this
Millay, Edna St. Vincent, 1892-1950  Search this
Nakian, Reuben, 1897-1986  Search this
Picken, George, 1898-  Search this
Pollet, Joseph C., 1897-1979  Search this
Presser, Josef, 1906-1967  Search this
Refregier, Anton, 1905-  Search this
Scaravaglione, Concetta, 1900-1975  Search this
Soyer, Moses, 1899-1974  Search this
Soyer, Raphael, 1899-1987  Search this
Thomson, Virgil, 1896-  Search this
Varda, Jean  Search this
Extent:
7.2 Linear feet
Type:
Collection descriptions
Archival materials
Prints
Christmas cards
Sketchbooks
Sketches
Photographs
Place:
Woodstock (N.Y.)
Date:
1914-1983
Summary:
The papers of sculptor and art instructor, Eugenie Gershoy, measure 7.2 linear feet and date from 1914 to 1983. The collection documents Gershoy's career through biographical material, correspondence, business records, notes, writings, artwork, printed material, and photographs.
Scope and Content Note:
The Eugenie Gershoy papers date from 1914 to 1983, measure 7.2 linear feet, and reflect Gershoy's career as a sculptor and teacher. The collection contains biographical material, correspondence, business records, notes, writings, artwork of Gershoy and others, printed material including exhibition catalogs, and photographs with subjects including Gershoy, her friends and colleagues, her studio, and her artwork.

Correspondence forms the bulk of the collection and includes correspondence between Gershoy and her siblings and their families regarding her activities, as well as with colleagues, many of whom were associated with the Woodstock Artist Association, and many of whom were museum colleagues.
Arrangement:
The collection is arranged into eight series according to material type. The contents of each series have been arranged chronologically.

Missing Title

Series 1: Biographical Material, 1939-1971 (boxes 1, 8-9; 3 folders)

Series 2: Correspondence, 1914-1983, undated (boxes 1-6, 8-9; 5.8 linear ft.)

Series 3: Business Records, 1952-1978 (box 6; 5 folders)

Series 4: Notes, 1967-1970, undated (box 6; 3 folders)

Series 5: Writings, 1970, undated (box 6; 2 folders)

Series 6: Artwork, 1932-1978, undated (boxes 6, 8-9, OV 10, 26 folders)

Series 7: Printed Material, 1932-1983, undated (boxes 7, 9; 19 folders)

Series 8: Photographs, 1916-1983, undated (boxes 7, 9; 12 folders)
Biographical Note:
Born in Krivoi Rog, Russia on January 1, 1901, Eugenie was the youngest of the Gershoy children. The family immigrated to New York City in 1903. She later became a U.S. citizen.

With the aid of two scholarships, she attended the Art Students League and studied under A. Stirling Calder, Leo Lentelli, Kenneth Hayes Miller, Boardman Robinson, and Carl Walters. During the late 1920s and early 1930s, she maintained a studio with Harry Gottlieb in Woodstock, New York. From 1936 to 1939, under the WPA Federal Art Project, she worked in conjunction with Max Spivak on murals for the children's recreation room in the Astoria branch of the Queens Borough Public Library, New York.

Gershoy's first solo show was at the Robinson Gallery in New York in 1940. Following a year of teaching at the New Orleans Art School, she moved to San Francisco in 1942. In 1946 she taught ceramics at the California School of Fine Arts, and in May 1950, she studied at Yaddo.

In addition to visits to England and France in the early 1930s, Gershoy travelled to Mexico and Guatemala in 1947, 1948, and 1961. She worked in Paris in 1951 and toured Africa, India, and the Orient in 1955.

Eugenie Gershoy died in 1986.
Related Material:
Related material in the Archives of American Art includes a transcribed oral history interview with Eugenie Gershoy conducted by Mary McChesney for the Archives of American Art's New Deal and the Arts Oral History Program, October 15, 1964. A link to the transcript is provided from the online catalog.
Provenance:
The Eugenie Gershoy papers were donated to the Archives of American Art between 1975 and 1983 by the artist.
Restrictions:
The collection is open for research. Patrons must use microfilm copy.
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
Sculptors -- New York (State) -- New York  Search this
Draftsmen (artists) -- New York (State) -- New York  Search this
Ceramicists -- New York (State) -- New York  Search this
Topic:
New Deal, 1933-1939  Search this
Federal aid to the arts  Search this
Sculpture, Modern -- 20th century -- New York (State) -- New York  Search this
Women artists  Search this
Women painters  Search this
Women ceramicists  Search this
Women sculptors  Search this
Function:
Artists' studios -- New York (State)
Genre/Form:
Prints
Christmas cards
Sketchbooks
Sketches
Photographs
Citation:
Eugenie Gershoy papers, 1914-1983. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.gerseuge
See more items in:
Eugenie Gershoy papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9140504d0-90c4-45af-91c8-9c39b74aa139
EDAN-URL:
ead_collection:sova-aaa-gerseuge

Oral history interview with Jennifer Bartlett

Interviewee:
Bartlett, Jennifer, 1941-  Search this
Interviewer:
Berman, Avis  Search this
Names:
Mills College -- Students  Search this
Yale University. School of Fine Arts -- Students  Search this
Murray, Elizabeth, 1940-  Search this
Serra, Richard, 1938-  Search this
Tworkov, Jack  Search this
Extent:
4 Cassettes (Sound recording: (5 hrs. 20 min.), analog.)
67 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Cassettes
Pages
Sound recordings
Interviews
Date:
1987 June 18-September 28
Scope and Contents:
An interview of Jennifer Bartlett conducted 1987 June 18-September 28, by Avis Berman, for the Archives of American Art.
Bartlett discusses her family background and the dynamics within the family; her childhood interest in art; growing up in suburban Long Beach, California; attending Mills College and Yale School of Fine Arts; and her teachers and co-students there. She remembers in particular Elizabeth Murray, Jack Tworkov, and Richard Serra. She speaks about themes and intentions in her work, especially "Rhapsody" and various commissions including works created for ISI, Saatchi, Volvo, and Battery Park. Bartlett speaks about her writings "Cleopatra" and "History of the Universe" and their relationship to her painting. She concludes the interview with philosophical musings about art and taste.
Biographical / Historical:
Jennifer Bartlett (1941-2022) was a painter, writer, and art instructor in New York, New York.
General:
Originally recorded on 4 sound cassettes. Reformatted in 2010 as 8 digital wav files. Duration is 5 hr., 15 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Restrictions:
This interview is open for research. Contact Reference Services for more information.
Occupation:
Painters -- New York (State) -- New York  Search this
Authors -- New York (State) -- New York  Search this
Educators -- New York (State) -- New York  Search this
Conceptual artists -- New York (State) -- New York  Search this
Topic:
Women artists  Search this
Women painters  Search this
Women authors  Search this
Women educators  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.bartle87
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw90758e593-0844-45c5-bbbc-c8bd16d2bc9b
EDAN-URL:
ead_collection:sova-aaa-bartle87
Online Media:

Honoré Sharrer papers

Creator:
Sharrer, Honoré, 1920-2009  Search this
Names:
American Academy of Arts and Letters  Search this
Forum Gallery (New York, N.Y.)  Search this
Handmacher-Vogel, Inc.  Search this
Terry Dintenfass, Inc.  Search this
Women's Caucus for Art  Search this
Blume, Peter, 1906-1992  Search this
Bridaham, Lester Burbank  Search this
Caiserman-Roth, Ghitta, 1923-  Search this
Calderwood, Kathy, 1945-  Search this
Carpenter, Mary  Search this
Crutchfield, Mary  Search this
Goodwin, Betty  Search this
Kirstein, Lincoln, 1907-  Search this
Miller, Dorothy Canning, 1904-2003  Search this
Oda, Mayumi, 1941-  Search this
Poland, Reginald  Search this
Sachs, Honoré  Search this
Sharrer, Madeleine  Search this
Tooker, George, 1920-2011  Search this
Zagorin, Adam  Search this
Zagorin, Perez  Search this
Extent:
9.45 Linear feet
1.12 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Sketchbooks
Photographs
Date:
circa 1920-2007
Summary:
The papers of realist painter, Honoré Sharrer, measure 9.45 linear feet and 1.12 GB and date from circa 1920-2007. The collection documents Sharrer's career through biographical material, personal and professional correspondence, writings and notes, research and source files, printed and digital material, artwork, sketchbooks, and photographs of Sharrer, her family, friends, colleagues, and artwork.
Scope and Contents:
The papers of realist painter, Honoré Sharrer, measure 9.45 linear feet and 1.12 GB and date from circa 1920-2007. The collection documents Sharrer's career through biographical material, personal and professional correspondence, writings and notes, research and source files, printed and digital material, artwork, sketchbooks, and photographs of Sharrer, her family, friends, colleagues, and artwork.

Biographical material includes biographical notes and resumés, awards, paintbrushes used by Sharrer, and sales records, as well as comprehensive documentation, compiled 2004-2007 by her husband, Perez Zagorin, and her son, Adam Zagorin, of Sharrer's artwork in their possession. Included are digital images of Sharrer's artwork.

Correspondence is with family members including Sharrer's mother, Madeleine Sharrer, and her second husband, Reginald Poland; husband Perez Zagorin; son Adam Zagorin; and daughter-in-law, Mary Carpenter Also found is correspondence with artists including Peter Blume, Lester Burbank Bridaham, Gitta Caiserman-Roth, Kathy Calderwood, Mary Crutchfield, Betty Goodwin, Lincoln Kirstein, Mayumi Oda, and George Tooker. Other professional correspondents include galleries, museums, and other art institutions such as American Academy of Arts and Letters, Terry Dintenfass, Forum Gallery, Handmacher-Vogel, Inc., M. Knoedler & Co., Dorothy Miller relating to the 1946 Fourteen Americans exhibition at the Museum of Modern Art, and the Women's Caucus for Art.

Writings and notes comprise drafts of several essays on art by Sharrer, preliminary notes for Tribute to the American Working People, and a mock-up for an unpublished book, "One White Christmas," written by Sharrer's grandmother, Honoré Sachs, and illustrated by Sharrer.

Research and source files consist of source material used throughout the course of Sharrer's career, including printed and photographic material used in the creation of Tribute to the American Working People, and later work dating up to, and including, the last decade of her life.

Printed material comprises announcements and catalogs for exhibitions and events featuring Sharrer, including a catalog for Fourteen Americans, as well as clippings about her and others, such as the Life Magazine cover story "Nineteen Young Americans."

Artwork and sketchbooks include studies for paintings and illustrations, and other preliminary sketches, as well as 14 sketchbooks of pencil and ink sketches dating from circa 1960s t0 2003.

Photographic material consists of photos of Sharrer, her family, friends, colleagues, exhibition installations, and houses. Also found are photos, negatives, and transparencies of Sharrer's artwork, as well as photos of artwork by Madeleine Sharrer and Lester Burbank Bridaham.
Arrangement:
The collection is arranged as 8 series.

Missing Title

Series 1: Biographical Material, 1941-2007 (0.44 linear feet; Boxes 1, 10, 1.12 GB; ER01-ER10)

Series 2: Correspondence, 1938-2006 (1.84 linear feet; Boxes 1-3, 10)

Series 3: Writings and Notes, circa 1940s-circa 1990s (5 folders; Boxes 3, 10)

Series 4: Research and Source Files, circa 1920s-2005 (3.43 linear feet; Boxes 3-6, 10-11)

Series 5: Printed Material, circa 1930s-2005 (0.85 linear feet; Boxes 6-7, 11, OV 13, OV 17)

Series 6: Artwork, 1941-circa 1990s (0.8 linear feet; Boxes 7, 11-12, OV 13

Series 7: Sketchbooks, 1960s-2003 (0.55 linear feet; Boxes 7, 12)

Series 8: Photographic Material, circa 1930s-circa 2000 (1.83 linear feet; Boxes 8-9, 12, OVs 13-16)
Biographical / Historical:
Realist painter Honoré Sharrer (1920-2009) lived and worked in New York, Massachusetts, London, Montreal and Charlottesville, Virginia. She was best known for her five-panel painting, Tribute to the American Working People, completed in 1951 and first shown at M. Knoedler & Co. in New York to wide critical acclaim.

Sharrer was born in 1920 in West Point, New York, where her father was an Army officer, and grew up in the United States, the Philippines, Paris, and La Jolla, California. She studied at the Yale University School of Art and the San Francisco Art Institute, and worked as a welder in shipyards in California and New Jersey during World War II. She moved to New York in the 1940s and lived subsequently in Amherst, Massachusetts, London, and Montreal.

Sharrer's Workers and Paintings (1943) was included in the landmark Museum of Modern Art exhibition, Fourteen Americans, in 1946, and her painting, Man at Fountain, was featured in the 1950 Life Magazine cover story, "Nineteen Young American Artists." Tribute to the American Working People, which depicted a factory worker surrounded by smaller scenes of ordinary life, was considered her masterwork, but in the years that followed it's unveiling at M. Knoedler & Co., Sharrer was noticeably absent from the art scene; between 1951 and 1969 she did not have a single solo exhibition. While many of her contemporaries immersed themselves in Abstract Expressionism, Sharrer continued to paint, in meticulous detail, the daily experiences of ordinary working people, and her later work often dealt with female perspectives and was imbued with humor and elements of magical realism.

In 2007 the Smithsonian American Art Museum held an exhibition titled Anatomy of a Painting: Honoré Sharrer's 'Tribute to the American Working People,' which was devoted exclusively to her most famous work, now in the Smithsonian's permanent collection, and the source material she used when painting it. Sharrer's works can also be found in the Metroplitan Museum of Art, the Museum of Modern Art, and the Pennsylvania Academy of Fine Arts.

Sharrer settled in Charlottesville, Virginia, in the early 1990s. She was married to her second husband, historian Perez Zagorin, for 61 years, before her death in 2009. Her mother, Madeleine Sharrer, was also a painter who married Reginald Poland, Director of the Fine Arts Gallery, San Diego, following the death of Sharrer's father, Robert Allen Sharrer.
Related Materials:
Also found in the Archives of American Art is an oral history interview with Perez Zagorin, 2007, January 17-18, and the Madeleine Sharrer papers, 1954-1988.
Provenance:
The Honoré Sharrer papers were donated in 2006 and 2007 by Perez Zagorin, Sharrer's husband. A small addition was donated by Adam Zagorin, Sharrer's son, in 2018.
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:
Painters -- Virginia  Search this
Painters -- New York (State)  Search this
Topic:
Painting -- Equipment and supplies  Search this
Realism  Search this
Women artists  Search this
Women painters  Search this
Genre/Form:
Sketchbooks
Photographs
Citation:
Honoré Sharrer papers, circa 1920-2007. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.sharhono
See more items in:
Honoré Sharrer papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw99c06a9fc-29d0-42ee-9a3a-d6d2558dfc77
EDAN-URL:
ead_collection:sova-aaa-sharhono

Green Night

Artist:
William Baziotes, American, b. Pittsburgh, Pennsylvania, 1912–1963  Search this
Medium:
Oil on canvas
Dimensions:
36 1/8 X 48 1/8 IN. (91.7 X 122.2 CM.)
Type:
Painting
Date:
1957
Credit Line:
Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC, Gift of the Joseph H. Hirshhorn Foundation, 1966
Accession Number:
66.406
See more items in:
Hirshhorn Museum and Sculpture Garden Collection
School:
Abstract Expressionism (First Generation)
Data Source:
Hirshhorn Museum and Sculpture Garden
GUID:
http://n2t.net/ark:/65665/py2a2bf9428-d436-44d7-b9da-2218fb7bed04
EDAN-URL:
edanmdm:hmsg_66.406

Ed Clark papers

Creator:
Clark, Edward, 1926-2019  Search this
Names:
Cinque Gallery  Search this
Gentry, Herbert, 1919-2003  Search this
Hutson, Bill, 1936-  Search this
Joans, Ted  Search this
Extent:
8.9 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1923-2017
Summary:
The papers of African American abstract expressionist painter Ed Clark measure 8.9 linear feet and date from 1923 to 2017. The collection documents Clark's work as a professional artist through biographical material; correspondence with family, galleries, and friends, most notably Cinque Gallery, Herbert Gentry, Bill Hutson, and Ted Joans; writings, including documentation for the book Edward Clark: For the Sake of the Search; personal business records, including consignment and sales records; and material related to professional activities, including files on significant exhibitions and projects, gallery files, and teaching records. Also in the collection are exhibition announcements, catalogs, news clippings, and other printed material documenting Clark's work; photographic material depicting Ed Clark, his artwork, and other individuals; and a small amount of original artwork by Clark and others.
Scope and Contents:
The papers of African American abstract expressionist painter Ed Clark measure 8.9 linear feet and date from 1923 to 2017. The collection documents Clark's work as a professional artist through biographical material; correspondence with family, galleries, and friends, most notably Cinque Gallery, Herbert Gentry, Bill Hutson, and Ted Joans; writings, including documentation for the book Edward Clark: For the Sake of the Search; personal business records, including consignment and sales records; and material related to professional activities, including files on significant exhibitions and projects, gallery files, and teaching records. Also in the collection are exhibition announcements, catalogs, news clippings, and other printed material documenting Clark's work; photographic material depicting Ed Clark, his artwork, and other individuals; and a small amount of original artwork by Clark and others.
Arrangement:
The collection is arranged as eight series.

Series 1: Biographical Material, 1943-2016 (Boxes 1, 10; 0.5 linear feet)

Series 2: Correspondence, 1926, circa 1943-2016 (Boxes 1-3; 2.1 linear feet)

Series 3: Writings, 1955, 1980-2006, 2015, undated (Boxes 3-4, 10; 0.7 linear feet)

Series 4: Personal Business Records, 1953, 1966-2015 (Boxes 4, 10; 0.9 linear feet)

Series 5: Professional Activities, circa 1954-2016 (Boxes 4-5, 10; 0.7 linear feet)

Series 6: Printed Material, 1923-1926, 1950-2017, undated (Boxes 5-8, 10, OV 11-14; 3.3 linear feet)

Series 7: Photographic Material, 1928, 1952-2014, undated (Boxes 8-9, 10; 0.6 linear feet)

Series 8: Artwork, 1977-1997, undated (Boxes 9-10, OV 14; 0.1 linear feet)
Biographical / Historical:
Ed Clark (1926- ) is an abstract expressionist painter who worked in Paris, France and New York. Clark was born in New Orleans, Louisiana in 1926. He studied at the Art Institute of Chicago from 1946 to 1951 and enrolled at the Académie de la Grande Chaumièré in Paris after his arrival there in 1952. After his return to the United States, Clark became a charter member of the Brata Gallery. In 1957 he premiered his shaped canvas at the Brata Gallery Christmas group show. This shaped canvas is generally considered to be the first of its kind. In 1958, he began using a push broom to apply broad strokes of color to canvases on his studio floor.

Ed Clark has received multiple awards and honors including the National Endowment for the Arts' Master Award (1972), the United States Congressional Achievement Award (1994), and the Art Institute of Chicago's Legends and Legacy Award (2013). He has exhibited widely and his work is held in many collections including the Art Institute of Chicago, the California Afro-American Museum, the Centro de Arté Moderno in Guadalajara, Mexico, the Detroit Institute of the Arts, Louisiana State University, the Smithsonian National Museum of African American History and Culture, and the New York Public Library Schomburg Center.
Related Materials:
A 30-minute documentary recording, Ed Clark: a brush with success (2007) produced by Mark Hammond and Charles Martin is available at the Anacostia Community Museum Library.
Provenance:
The Ed Clark papers were donated to the Archives of American Art by Melanca Clark, Ed Clark's daughter.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Use of archival audiovisual recordings and born-digital records with no duplicate copies requires advance notice.
Occupation:
Painters -- New York (State) -- New York  Search this
Painters -- France -- Paris  Search this
Topic:
African American artists  Search this
Abstract expressionism  Search this
Painting, Abstract  Search this
Shaped canvas  Search this
Citation:
Ed Clark papers, 1923-2017. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.clarked
See more items in:
Ed Clark papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9591c8e79-7501-4649-aca7-b2703a3f44ce
EDAN-URL:
ead_collection:sova-aaa-clarked
Online Media:

Man in a Mask (Rabbit Ears) (Self-Portrait)

Artist:
Carlos Almaraz, 5 Oct 1941 - 11 Dec 1989  Search this
Sitter:
Carlos Almaraz, 5 Oct 1941 - 11 Dec 1989  Search this
Medium:
Acrylic paint on paper
Dimensions:
Frame: 76.2 × 66 cm (30 × 26")
Image/Sheet: 54.6 × 43.2 cm (21 1/2 × 17")
Type:
Painting
Place:
United States\California\Los Angeles\Los Angeles
Date:
c. 1974
Topic:
Painting  Search this
Costume\Dress Accessory\Mask  Search this
Decorative  Search this
Carlos Almaraz: Male  Search this
Carlos Almaraz: Visual Arts\Artist\Painter  Search this
Carlos Almaraz: Visual Arts\Artist\Painter\Muralist  Search this
Portrait  Search this
Credit Line:
National Portrait Gallery, Smithsonian Institution; Gift of Monroe Price and Aimée Brown Price in memory of their dear friend Carlos Almaraz
Object number:
NPG.2022.15
Restrictions & Rights:
Usage conditions apply
Copyright:
© Carlos Almaraz
See more items in:
National Portrait Gallery Collection
Data Source:
National Portrait Gallery
GUID:
http://n2t.net/ark:/65665/sm4aa1c4517-da8d-4815-9533-2be804072fcd
EDAN-URL:
edanmdm:npg_NPG.2022.15

Frank C. and Clara G. Churchill collection

Creator:
Churchill, Frank C. (Frank Carroll), 1850-1912  Search this
Churchill, Clara G.  Search this
Names:
United States. Bureau of Indian Affairs  Search this
United States. Department of the Interior  Search this
Extent:
3,710 Photographic prints (29 photograph albums)
3 Linear feet
1430 Negatives (photographic) (acetate)
325 Lantern slides (colored)
Culture:
Oklahoma Cherokee  Search this
Oklahoma Muskogee (Creek)  Search this
Osage  Search this
A:shiwi (Zuni)  Search this
Indians of North America  Search this
Sioux [Crow Creek]  Search this
Ponca  Search this
Chaticks Si Chaticks (Pawnee)  Search this
Oklahoma Seminole  Search this
Quapaw  Search this
Miami [Oklahoma]  Search this
Wyandotte [Oklahoma]  Search this
Tsitsistas/Suhtai (Cheyenne)  Search this
Ho-Chunk (Winnebago)  Search this
Eastern Shawnee [Quapaw Agency, Oklahoma]  Search this
Chaticks Si Chaticks (Pawnee)  Search this
Oto  Search this
Sioux [Crow Creek]  Search this
Chickasaw  Search this
Modoc  Search this
Kiowa  Search this
Kaw (Kansa)  Search this
Diné (Navajo)  Search this
Acoma Pueblo  Search this
Akimel O'odham (Pima)  Search this
Cahuilla  Search this
Chemehuevi  Search this
Cochiti Pueblo  Search this
Hopi Pueblo  Search this
Isleta Pueblo  Search this
K'apovi (Santa Clara Pueblo)  Search this
Kumeyaay (Diegueño)  Search this
Laguna Pueblo  Search this
Payómkawichum (Luiseño)  Search this
Mescalero Apache  Search this
Mojave (Mohave)  Search this
Ohkay Owingeh (San Juan Pueblo)  Search this
Picuris Pueblo  Search this
Piipaash (Maricopa)  Search this
Puye Pueblo  Search this
Quechan (Yuma/Cuchan)  Search this
San Carlos Apache  Search this
Taos Pueblo  Search this
Tohono O'odham (Papago)  Search this
Minnesota Chippewa  Search this
Lake Superior Chippewa  Search this
Potawatomi  Search this
Menominee (Menomini)  Search this
Pechanga Band Luiseño  Search this
Rincon Band Luiseño  Search this
Santa Ysabel (Santa Isabela) Diegueño  Search this
Pala Band Luiseño (Agua Caliente)  Search this
Yuit (Siberian Yup'ik)  Search this
Inupiaq (Alaskan Inupiat Eskimo)  Search this
Bering Strait Inupiaq  Search this
Alutiiq (Pacific Eskimo)  Search this
Tlingit  Search this
Eastern Band of Cherokee  Search this
Pikuni Blackfeet (Piegan)  Search this
Wahpetonwan Dakota (Wahpeton Sioux)  Search this
Seminole  Search this
Type:
Collection descriptions
Archival materials
Photographic prints
Negatives (photographic)
Lantern slides
Photographs
Photograph albums
Place:
Utah
Alaska
Oklahoma
Washington
Florida
Montana
Arizona
Arkansas
Missouri
North Carolina
Minnesota
New Mexico
California
Date:
1880-1928
bulk 1899-1909
Summary:
The Frank C. and Clara G. Churchill collection includes photographic negatives, photo albums, lantern slides, journals, scrapbooks and other documents created and compiled by the Churchills over the course of Frank's career as a special agent and Indian Inspector for the Department of the Interior between 1899 and 1909. Initially assigned as a revenue collector to the Cherokee Nation and later as an Indian Inspector reviewing boarding schools, Frank's assignments took him all over the United States including Indian Territory (present day Oklahoma), Missouri, Texas, Nebraska, Kansas, South Dakota, Minnesota, Wisconsin, New Mexico, Arizona, Utah, California, Florida, North Carolina and Alaska. During this time the Churchills visited over 80 different Native communities shooting photographs and taking notes.
Scope and Contents:
The Frank C. and Clara G. Churchill collection includes 1430 photographic negatives, 29 photo albums containing 3710 photographic prints, 325 lantern slides, and 3 linear feet of journals, scrapbooks, and other documents created and compiled by the Churchills over the course of Frank's career as a special agent and Indian Inspector for the Department of the Interior between 1899 and 1909.

Series 1: Photographs in Indian Territory (Oklahoma): Muskogee, Tahlequah, Sulphur Springs and Other Assignments, 1899-1903, includes 11 photo albums and 357 negatives from Frank Churchill's original assignment as revenue collector to the Cherokee Nation. Locations include Indian Territory (Oklahoma) [bulk], Kansas, Nebraska, Iowa, South Dakota, Arkansas, and Missouri. The Native communities visited and photographed in this series include— Oklahoma Cherokee, Oklahoma Muskogee (Creek), Quapaw, Osage, Miami, Wyandotte [Oklahoma], Tsitsistas/Suhtai (Cheyenne), Winnebago [Nebraska], Eastern Shawnee [Quapaw Agency, Oklahoma], Ponca, Chaticks Si Chaticks (Pawnee), Oto, Sioux [Crow Creek], Kaw (Kansa), Chickasaw, Modoc, Kiowa, Choctaw.

Series 2: Photographs in the Southwest and Midwest: Arizona, New Mexico, Califonia, Minnesota and Wisconsin, 1903-1907, includes 9 photo albums and 832 negatives from Frank Churchill's assignment as an Indian Inspector. Because the Churchills visited some of the same locations on multiple occasions, it has been hard to date some of the negatives. For that reason, all the negatives made in the Southwest have been included in this series, though there are two photo albums with Southwest photographs included in Series 4. Locations in this series includes Arizona, New Mexico, California, Minnesota and Wisconsin. The Native Communities visited and photographed in this series include—A:shiwi (Zuni), Diné (Navajo), Acoma Pueblo, Akimel O'odham (Pima), Cahuilla, Chemehuevi, Cochiti Pueblo, Hopi Pueblo, Isleta Pueblo, K'apovi (Santa Clara Pueblo), Kumeyaay (Diegueño), Laguna Pueblo, Luiseño (Luiseno), Mescalero Apache, Mojave (Mohave), Ohkay Owingeh (San Juan Pueblo), Picuris Pueblo, Piipaash (Maricopa), Puye Pueblo, Quechan (Yuma/Cuchan), San Carlos Apache, Taos Pueblo, Tohono O'odham (Papago).

Series 3: Photographs in Alaska and Oregon, 1905-1910 (bulk 1905), includes four photograph albums and 71 negatives from Frank Churchill's appointment as special agent, by President Roosevelt, to investigate the condition of the school & reindeer service and other affairs in Alaska in the summer and fall of 1905. Two of the albums were not made by the Churchills. The first of these (Box 20) includes photographs by William Hamilton and the second (Box 21) includes photographs by W. T. Lopp. Locations in Alaska include St. Lawrence Island, Nuwukmiut/Point Barrow, Teller, Diomedes Islands, Nome, Kotzebue, Wrangell, Port Clarence Bay, Unalaska Island and Baranof Island. There are a number of photographs aboard the U.S. Cutter "Bear" and aboard the mailboat "Georgia." Native communities photographed include—Yuit (Siberian Yup'ik), Inupiaq (Alaskan Inupiat Eskimo), Bering Strait Inupiaq [Diomedes], Alutiiq (Pacific Eskimo), Tlingit.

Series 4: Photographs in Arizona, Utah, North Carolina, Montana, North Dakota, Florida and Miscellaneous, 1907-1909, includes five photograph albums and 163 negatives from Frank Churchill's assignment at Indian Inspector. Because the Churchills visited some of the same locations in the Southwest (Arizona and Utah) on multiple occasions, it has been hard to date some of the negatives. For that reason, all the negatives made in the Southwest have been included in Series 3. Locations include Arizona, Utah, North Carolina, Montana, North Dakota and Florida. Native communities visited and photographed include-Diné (Navajo), Hopi Pueblo, Kaibab Paiute, Quechan (Yuma/Cuchan), Eastern Band of Cherokee, Pikuni Blackfeet (Piegan), Wahpetonwan Dakota [Sisseton-Wahpeton Sioux Tribe], Turtle Mountain Chippewa, Seminole. There is restricted material in Box 23 (Album P23380).

Series 5: Non-Native Photographs: Colorado Vacation, Lebanon, New Hampshire, and other Materials, 1898-1913, includes four photograph albums from vacations and other visits made by the Churchills unrelated to Frank's activities as Indian Inspector.

Series 6: Manuscripts: Journals, Documents and Scrapbooks, 1880-1928 (bulk 1899-1909), includes three linear feet of materials arranged in three subseries. Subseries 6.1, Clara Churchill, includes 16 journals, 12 scrapbooks and various other manuscript materials written and accumulated by Clara Churchill during their travels. Many of the journals include personal writings as well as several photographs that are duplicated in the photograph albums. The journals and scrapbooks encompass the full range of the Churchills' travels and include notes from Indian Territory, Southwest, Midwest, Southeast, Plains and Alaska. Subseries 6.2, Colonel Frank C. Churchill, includes official documents around Churchill's assignments as well as the reports Frank submitted back to the Secretary of the Interior (Box 41 and 42). Subseries 6.3, Churchill Museum and Miscellaneous, includes catalogs and other notes related to the large collection of Native American objects amassed by Frank and Clara. Clara also collected other items such as shells, minerals, and sand.

Series 7: Lantern Slides for Lectures, 1899-1909, includes 325 hand colored glass lantern slides. These were made by the Churchills from existing negatives and used for lectures. Lantern slides #1-#121 include views photographed in Alaska in 1905. Sldes #122-#325 include an assortment of views from Oklahoma (Indian Territory), Nebraska, Montana, Minnesota, California, Arizona and New Mexico photographed between 1900 and 1909.
Arrangement:
The Frank C. and Clara G. Churchill collection has been arranged in seven series by material type and then chronologically. The first five series are then divided into subseries by "Photo Albums" and "Negatives." These include--Series 1: Photographs in Indian Territory (Oklahoma): Muskogee, Tahlequah, Sulphur Springs and Other Assignments, 1899-1903; Series 2: Photographs in the Southwest and Midwest: Arizona, New Mexico, California, Minnesota and Wisconsin, 1907-1907; Series 3: Photographs in Alaska and Oregon, 1905-1910 (bulk 1905-1905); Series 4: Photographs in Arizona, Utah, North Carolina, Montana, North Dakota, Florida and Miscellaneous, 1907-1909; Series 5: Non-Native Photographs: Colorado Vaction, Lebanon, New Hampshire, and other Materials.

Series 6: Manuscripts: Journals, Documents and Scrapbooks, 1880-1928, is arranged in three subseries. Subseries 6.1: Clara G. Churchill, Subseries 6.2: Frank C. Churchill, and Subseries 6.3: Churchill Museum and Miscellaneous. Series 7: Lantern Slides for Lectures, 1899-1909, is arranged in orginal number order from the Hood Museum at Dartmouth College.
Biographical / Historical:
Frank Carroll Churchill was born August 2, 1850 to Benjamin P. Churchill and Susanna Thompson in West Fairlee, Vermont. Frank was educated at Thetford Academy in Thetford, VT and worked as a clerk for D.C. Churchill & Co. in Lyme, NH between 1869-1870. Between 1870 and 1877, Churchill was employed by H.W. Carter as a wholesale merchant in Lebanon, New Hampshire. During this time, Churchill met Clara Corser Turner and they were married on June 11, 1874.

Clara G. (Turner) Churchill was born December 16, 1851, to Colonel Francis H. Corser and Sarah Hook (Perkins) Corser. Colonel Corser and his wife died young, and Clara was adopted by George and Abby H. Turner of Concord, New Hampshire. In 1877, in association with William S. Carter, Frank Churchill opened the business "Carter & Churchill" which was in this business for 21 years. Churchill held various political offices from 1879-91. He served as chairman of the Republican town committee of Lebanon and of the Republican State committee in 1890 and 1891. He served on the staff of Governor Natt Head in 1879 and 1880, with the rank of Colonel. He was chairman of the New Hampshire delegation at the Republican National Convention which nominated President Harrison and represented the Fourth District in the Executive Council in 1889-1890 during the administration of Governor David. H. Goodell.

In 1899 Frank was appointed revenue inspector for the Cherokee Nation in Indian Territory and was later appointed a special agent for the Interior Department to formulate a system of public schools in Indian Territory (Oklahoma) and across the Southwest. In 1905, he was appointed special agent, by President Roosevelt, to investigate the condition of the school & reindeer service and other affairs in Alaska and was reappointed Indian Inspector between 1905-1909. In 1909, Churchill resigned due to failing health and died November 5, 1912. Clara accompanied Frank on all his travels between 1899 and 1909 (see below chronology for full details) maintaining journals and writing articles for publication in "WHAT." Clara was also a painter, producing watercolors and hand-painting many of the photographs she and Frank made on their travels. Following Frank's death, Clara maintained their collection of Native artifacts and photographs in their home in Lebanon, New Hampshire. Clara died April 16, 1945, bequeathing the full collection to Dartmouth College.
Frank Churchill's assignments as Special agent and Indian Inspector from 1899-1909 took him all over the United States including Indian Territory (present day Oklahoma), Missouri, Texas, Nebraska, Kansas, South Dakota, Minnesota, Wisconsin, New Mexico, Arizona, Utah, California, Florida, North Carolina and Alaska. During this time the Churchills visited over 80 different Native communities. For more details, see the chronology below.

Travels in Indian Territory (Oklahoma) and other assignments, 1899-1903

1899, June 29 -- Churchills arrive in Muskogee, Indian Territory (Oklahoma).

1899, July-October -- Visit to Fort Gibson, Tahlequah, Sallisaw, and Vinita (Indian Territory/Oklahoma). Visit to Noel and South west City, Missouri. Visit to Chelsea and Coffeyville, Kansas. Visit to Fort Smith, Arkansas.

1899, November -- Visit Tahlequah while the Cherokee Nation legislature was in session.

1899, December -- Travel in Colorado.

1900, March -- Return to Muskogee and Fort Gibson.

1900, Sept 17-Oct 5 -- Dawes Commission in Vinita.

1901, Mar-Apr 3 -- Visit to the Quapaw Agency, Wyandotte Reservation and school, Modoc reservation and the town of Miami.

1901, April -- Visit to Denison, Texas. Visit to Checotah, Eufaula, South McAlester (Choctaw nation).

1901, Summer -- Visit to Pawhuska, Osage Nation.

1901, October -- Visit to Tishomingo, seat of government of the Chickasaws.

1902, January -- Trip to the Chickasaw Nation Visit to Anadarko, Indian Agency of the Kiowa, Comanche and Apache, Fort Sill, Wichita Mountains, and Lawton.

1902, May -- Frank is dispatched to Sioux City, Iowa.

1902, May-June -- Visit to Winnebago Agency, Omaha Agency, Santee Agency.

1902, July -- Visit to St. Paul, Minnesota and Eau Claire, Wisconsin, (Chippewa Falls). Frank is sent to Sulphur Springs, Texas, to author a report.

1902, August -- Churchills return to Muskogee, IT.

1902, September-October -- Trip to White Eagle, Ponca Agency for a month. Visit to Otoe school, Pawnee School, Shawnee, Sac and Fox reservations.

1902, November-December -- Visit to Crow Creek Agency.

1903, January -- Return to Sulpher Springs, Texas.

1903, March -- Visit to Pawhuska, Osage Nation.

1903, April -- Visit to Colorado.

1903, May-October -- Visit to 23 towns in Oklahoma (IT) with the Secretary of the Interior.

Travels in New Mexico, Arizona and California, 1903-1905

1903, November -- Frank receives orders to proceed to Zuni Pueblo, New Mexico.

1903, December 9 -- Visit to Zuni, followed by Canyon de Chelly, Hubbell's Ranch, Keams Canyon.

1903, December 21 -- Visit to Hopi Pueblo. Walpi, Polacca Day School, Oraibi, Shumopavi (Shungopavi/Songoopavi), Shipaulovi (Supawlavi) and Mishongnovi (Musungnuvi).

1903, December 28 -- Visit to Fort Defiance.

1904, January -- Travel in New Mexico. Visit to Gallup, Laguna Pueblo, Acomita, Paraje, Acoma, Albuquerque, Isleta Pueblo, Santa Fe, Ohkay Owingeh (San Juan Pueblo), K'apovi (Santa Clara Pueblo).

1904, February -- Visit to Sacaton, Akimel O'odham (Pima) Reservation and Casa Grande ruins in Arizona.

1904, March -- Visit to Lehi Day School, Salt River Day School, Phoenix Indian School, Gila River Crossing Day School and Maricopa Day School, Arizona.

1904, March 10-26 -- Visit to Fort Mojave and Chemehuevi.

1904, March 30-April -- Visit to Riverside, California, Sherman Institute and Perris School. Side trip to Yuma, Arizona.

1905, January-February -- Visit to Sulphur, IT.

1905, March -- Visit to Mescalero Apache Agency, San Carlos Apache Agency, Geronimo Settlement, Rice Station School at Talkalai.

1905, April 10-20 -- Return to Sherman Institute in Riverside, California. Visit to San Jacinto, Perris, Saboba, Cahuilla, San Manuella (Band of Mission Indians), Coachella, Torres Reservation, Martinez Reservation Day School, Cabazon Reservation, Protrero Reservation and Day School.

1905, April 22-May -- Visit to Temecula, Pechanga Day School, Pala Mission, Campo Reservation, Mission of San Luis Rey, Rincon Day School, Mesa Grande School, Santa Ysabel (Diegueno), Volcan Mountain Day School.

Travels in Alaska, 1905

1905, June -- Frank receives an assignment in Alaska.

1905, July -- Board the U.S. Revenue Cutter "Bear" in Nome. Visit to Reindeer Station in Teller, Cape Prince of Wales, Kotzebue Sound, Cape Thompson, Point Hope and Point Barrow.

1905, August -- Visit to Wainwright Inlet, return to Nome. Visit to Anvil Creek, Gologin (Golovin) Bay, St. Lawrence Island, Pribilof Islands (Seal Islands), St. George, Dutch Harbor and Unalaska.

1905, September -- Board the "Dora" anchored near Belkofski, Cold Bay, Karluk, Afgonak, and Kodiak. Stop in Homer, Seldovia and Seward. Visit to Sitka.

1905, September 28 -- Board the steamer "Georgia" to Juneau and Skagway via Hoonah.

1905, October -- Return to Lebanon, NH.

Travels in Arizona, New Mexico, Minnesota, Wisconsin, California and Utah, 1906-1907

1906, March-April -- Re-assigned to Southwest and arrive in Tucson, Arizona. Visit to San Xavier Mission, Tohono O'odham (Papago) reservation, Casa Grande, Sacaton, Maricopa, Gila Crossing, Salt River and Phoenix schools.

1906, May -- Return to New Mexico to visit Gallup and Zuni Day School.

1906, June -- Visit to St, Paul, Minnesota and the White Earth (Ojibwe) reservation and Wild Rice River School in Boliere.

1906, July -- Visit to Ashland, Wisconsin, Lac Courte Oreilles, Hayward, and Lac de Flambeau (La Pointe Agency.

1906, July-September -- Return to Lebanon, New Hampshire.

1906, September -- Visit to Fond du Lac (Winnebago Lake), Wabeno, and Carter, Wisconsin.

1906, October -- Visit to Phlox, Wausau, Minocqua, Star Lake, Bark River and Wausaukee, Wisconsin.

1906, November-December -- Visit to Keshena (Green Bay Indian School), Menominee Reservation and Ashland, Wisconsin.

1906, December-January -- Stay in Washington, DC.

1907, February -- Return to Albuquerque, New Mexico.

1907, March -- Visit to Santa Fe and various Pueblos (Cochiti, Tesuque, San Ildefonso, Ohkay Owingeh [San Juan], Toas and Picuris).

1907, April -- Return to Albuquerque, visit to Pueblos (Isleta, Laguna, Mesita, Acomita, Paraje, Acoma, Seama).

1907, April -- Visit to Phoenix, Arizona (Phoenix Indian School), Fort McDowell and Salt River Day School.

1907, May -- Visit to Sacaton, Maricopa, Casa Grande, and Yuma, Arizona.

1907, June -- Visit to Riverside (Sherman Institute), and Pomona, California.

1907, June-July -- Travel to Salt Lake City, Utah. Visit Panguitch, Orton, Kanab, Escalante and Marysvale, Utah.

1907, July-August -- Return to Arizona. Visit Flagstaff, Tuba Indian School, as well as Hopi Pueblo (Walpi, Moencopi, and Oraibi).

1907, September-October -- Return to Lebanon, NH.

Travels in North Carolina, Montana and Florida, 1907-1909

1907, October 22 -- Assigned to Cherokee, North Carolina, to make a new roll of the Eastern Band of Cherokee.

1907, November -- Arrive in Cherokee, North Caolina.

1908, February -- Visit to Robbinsville and Big Cove

1908, April -- Cherokee council meeting regarding Churchill's new roll.

1908, May -- Completes assignment in North Carolina.

1908, June-September -- Return to Washington, DC and Lebanon, New Hampshire.

1908, September-October -- Trip to Montana. Visit to Browning, Blackfeet Reservation, Harlem, Fort Belknap and Fort Peck.

1908, November -- Visit to Spirit Lake (Devil's Lake) and Wahpeton, and Fort Totten, North Dakota.

1908, December -- Visit to Morris, Minnesota.

1909, January -- Trip to Washington, DC for the inauguration of President Taft.

1909, February -- Visit to Carlisle, Pennsylvania.

1909, March-April -- Trip to Florida. Visit to Miami, Fort Lauderdale, Fort Myers, Tampa Bay, St. Petersburg, Gainesville, and St. Augustine.

1909, May -- Visit to Soco Creek and Cherokee, North Carolina.

1909, July -- Return to Lebanon, New Hampshire.

1909, August -- Resignation as Indian Inspector.
Related Materials:
A large collection of Native American cultural objects and archaeology bequeathed by Clara Churchill can still be found at the Hood Museum at Dartmouth College.
Provenance:
Frederick Dockstader, former director of the Museum of the American Indian (MAI), Heye Foundation, illegally removed the majority of the photographs (photo albums, negatives) and manuscript material (journals, reports) from the Hood Museum of Art at Dartmouth College in 1955, before depositing them at the MAI. Those materials were officially gifted to NMAI in 2018 by the Hood Museum. Additional materials from the Churchill collection that remained at the Hood Museum (lantern slides, photographs, scrapbooks, journals) were donated in 2020. These materials have been noted in the finding aid.
Restrictions:
Access to NMAI Archives Center collections is by appointment only, Monday - Friday, 9:30 am - 4:30 pm. Please contact the archives to make an appointment (phone: 301-238-1400, email: nmaiarchives@si.edu).
Rights:
Single photocopies may be made for research purposes. Permission to publish or broadbast materials from the collection must be requested from National Museum of the American Indian Archives Center. Please submit a written request to nmaiarchives@si.edu.
Topic:
Boarding schools  Search this
Genre/Form:
Photographs
Photographic prints
Photograph albums
Negatives (photographic)
Citation:
Identification of specific item; Date (if known); Frank C. and Clara G. Churchill collection, NMAI.AC.058, National Museum of the American Indian Archives Center, Smithsonian Institution.
Identifier:
NMAI.AC.058
See more items in:
Frank C. and Clara G. Churchill collection
Archival Repository:
National Museum of the American Indian
GUID:
https://n2t.net/ark:/65665/sv45e31a2d8-afd7-4320-96c7-1f596f51c142
EDAN-URL:
ead_collection:sova-nmai-ac-058
Online Media:

Meet Consuelo Jimenez Underwood

Creator:
Smithsonian American Art Museum  Search this
Type:
Interviews
YouTube Videos
Uploaded:
2012-12-05T14:06:36.000Z
YouTube Category:
Education  Search this
Topic:
Art, American  Search this
See more by:
americanartmuseum
Data Source:
Smithsonian American Art Museum
YouTube Channel:
americanartmuseum
EDAN-URL:
edanmdm:yt_j25Z8jzqWo0

Physalis sordida Fernald

Biogeographical Region:
79 - Mexican Pacific Is.  Search this
Collector:
Joseph N. Rose  Search this
Joseph H. Painter  Search this
Place:
Near Guadelupe, Valley of Mexico., Baja California Norte, Mexico, North America
Collection Date:
6 Sep 1903
Taxonomy:
Plantae Dicotyledonae Solanales Solanaceae
Published Name:
Physalis sordida Fernald
Barcode:
02825332
USNM Number:
450402
See more items in:
Botany
Flowering plants and ferns
Data Source:
NMNH - Botany Dept.
GUID:
http://n2t.net/ark:/65665/32a4a5053-1730-4824-aa91-c2ceff6bc00e
EDAN-URL:
edanmdm:nmnhbotany_14052822

Stevia ovata Willd.

Biogeographical Region:
79 - Mexican Pacific Is.  Search this
Collector:
Joseph N. Rose  Search this
Joseph H. Painter  Search this
Place:
Near Guadelupe, valley of Mexico., Baja California Norte, Mexico, North America
Collection Date:
23 Sep 1903
Taxonomy:
Plantae Dicotyledonae Asterales Asteraceae Asteroideae
Published Name:
Stevia ovata Willd.
Barcode:
01646937
USNM Number:
450882
See more items in:
Botany
Flowering plants and ferns
Data Source:
NMNH - Botany Dept.
GUID:
http://n2t.net/ark:/65665/3f378cda1-41eb-4bb3-923f-93febc57c4d4
EDAN-URL:
edanmdm:nmnhbotany_12608156

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