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Collection Collector:

Robinson, Franklin A., Jr., 1959- (actor)  Search this

Container:

Box 39, Folder 11

Type:

Archival materials

Date:

1950

Collection Restrictions:

Collection is open for research but negatives and audiovisuial materials are stored off-site and special arrangements must be made to work with it. Some papers of living persons are restricted. Access to restricted portions may be arranged by request to the donor. Gloves required for unprotected photographs. Viewing film portions of the collection and listening to LP recording requires special appointment. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.

Collection Rights:

The Archives Center does not own exclusive rights to these materials. Copyright for all materials is retained by the donor, Franklin A. Robinson, Jr.; permission for commercial use and/or publication may be requested from the donor through the Archives Center. Military Records for Franklin A. Robinson (b. 1932) and correspondence from Richard I. Damalouji (1961-2014) are restricted; written permission is needed to research these files. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Collection Citation:

The Robinson and Via Family Papers, Archives Center, National Museum of American History

Sponsor:

Preservation of the 8mm films in this collection was made possible, in part, by a grant from the National Film Preservation Fund.

See more items in:

Robinson and Via Family Papers

Robinson and Via Family Papers / Series 2: Robinson Family / 2.6: Robinson, Franklin A. / 2.6.1: Correspondence, diaries, personal ephemera

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8c69fd212-5fa6-426e-8f82-ac71a4266346

EDAN-URL:

ead_component:sova-nmah-ac-0475-ref167

Artist:

Laura Wheeler Waring, 1887 - 1948  Search this

Sitter:

James Weldon Johnson, 17 Jun 1871 - 27 Jun 1938  Search this

Medium:

Oil on canvas

Dimensions:

Stretcher: 92.7 x 76.2cm (36 1/2 x 30")

Frame: 109.2 x 95.3 x 5.1cm (43 x 37 1/2 x 2")

Type:

Painting

Date:

1943

Topic:

Exterior\Landscape  Search this

Personal Attribute\Facial Hair\Mustache  Search this

Imaginary  Search this

James Weldon Johnson: Male  Search this

James Weldon Johnson: Law and Law Enforcement\Lawyer  Search this

James Weldon Johnson: Education and Scholarship\Educator\Lecturer  Search this

James Weldon Johnson: Education and Scholarship\Educator\Professor\University  Search this

James Weldon Johnson: Literature\Writer\Poet  Search this

James Weldon Johnson: Performing Arts\Performer\Musician\Songwriter  Search this

James Weldon Johnson: Literature\Writer\Novelist  Search this

James Weldon Johnson: Society and Social Change\Reformer\Activist\Civil rights activist\Civil rights leader  Search this

James Weldon Johnson: Education and Scholarship\Administrator\School administrator\Principal  Search this

James Weldon Johnson: Politics and Government\Diplomat\Consul\US Consul  Search this

James Weldon Johnson: Education and Scholarship\Scholar\Translator  Search this

Portrait  Search this

Credit Line:

National Portrait Gallery, Smithsonian Institution; gift of the Harmon Foundation

Object number:

NPG.67.40

Restrictions & Rights:

Usage conditions apply

Copyright:

© Estate of Laura Wheeler Waring

See more items in:

National Portrait Gallery Collection

Data Source:

National Portrait Gallery

GUID:

http://n2t.net/ark:/65665/sm4a2a48c69-9552-46ce-81b4-a011cec5dfad

EDAN-URL:

edanmdm:npg_NPG.67.40

Artist:

Robert Gwathmey, American, b. Richmond, Virginia, 1903–1988  Search this

Medium:

Oil on canvas

Dimensions:

41 1/4 × 28 1/4 in. (104.4 × 71.8 cm)

Type:

Painting

Date:

(1945)

Credit Line:

Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC, Gift of the Joseph H. Hirshhorn Foundation, 1966

Accession Number:

66.2303

See more items in:

Hirshhorn Museum and Sculpture Garden Collection

School:

Social Realism

Data Source:

Hirshhorn Museum and Sculpture Garden

GUID:

http://n2t.net/ark:/65665/py20c114ce9-9115-4cf8-8e23-f12b124a60a6

EDAN-URL:

edanmdm:hmsg_66.2303

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

Creator:

Mason, Lauris  Search this

Subject:

Bellows, George  Search this

Albright, Ivan  Search this

Morgan, Charles H. (Charles Hill)  Search this

Ludman, Joan  Search this

Citation:

Lauris Mason research material on George Bellows, 1976-1981. Archives of American Art, Smithsonian Institution.

Topic:

Women art historians  Search this

Theme:

Research and writing about art  Search this

Record number:

(DSI-AAA_CollID)10957

(DSI-AAA_SIRISBib)214739

AAA_collcode_masolaur

Theme:

Research and writing about art

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_214739

Creator:

Mason, Lauris  Search this

Names:

Albright, Ivan, 1897-1983  Search this

Bellows, George, 1882-1925  Search this

Ludman, Joan  Search this

Morgan, Charles H. (Charles Hill), 1902-1984  Search this

Extent:

0.01 Linear feet

Type:

Collection descriptions

Archival materials

Date:

1976-1981

Summary:

The Lauris Mason research material on George Bellows dates from 1976-1981 and measures 0.01 linear feet. Records document research conducted by Mason for her book The Lithographs of George Bellows: A Catalogue Raisonné; Lauris Mason; Joan Ludman; Charles H. Morgan (Millwood, N.Y.: KTO Press, 1977).

Scope and Contents:

The Lauris Mason research material on George Bellows dates from 1976-1981 and measures 0.01 linear feet. Records document research conducted by Mason for her book The Lithographs of George Bellows: A Catalogue Raisonné; Lauris Mason; Joan Ludman; Charles H. Morgan (Millwood, N.Y.: KTO Press, 1977).

Records include correspondence with Charles H. Morgan and others discussing inquiries for information on Bellows and his lithographs, and progress on the catalog. Other documentation includes a draft introduction for the catalog written by Morgan and related correspondence, and letters concerning a dispute with Jean Bellows Booth, daughter of George Bellows, over permissions to access her father's record book and publish his lithographs. Also found is a pamphlet announcing the publication, copies of two reviews of the catalog raisonné, and unrelated 1978 correspondence with Ivan Albright related to Mason's request to purchase prints by Albright.

Biographical / Historical:

Coral Gables, Florida, author, editor, and art historian Lauris Mason authored several anthologies and bibliographies on printmaking. Her publications include a catalog raisonné of the lithographs of New York painter and printmaker George Bellows, which she co-authored with Joan Ludman (1932-2015), an art historian with expertise in prints, and Charles Hill Morgan (1902-1984), an educator and art historian from Amherst, Massachusetts. Mason and her husband Daniel J. Mason are also collectors of pop-up books and related ephemera.

Provenance:

The collection was donated to the Archives of American Art by Lauris Mason in 1989.

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:

Authors -- Florida -- Coral Gables  Search this

Editors -- Florida -- Coral Gables  Search this

Art historians -- Florida -- Coral Gables  Search this

Topic:

Women art historians  Search this

Identifier:

AAA.masolaur

See more items in:

Lauris Mason research material on George Bellows

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9241331a2-2497-4db0-a8f7-5f88576a9933

EDAN-URL:

ead_collection:sova-aaa-masolaur

Creator:

Liberman, Alexander, 1912-1999  Search this

Names:

André Emmerich Gallery  Search this

Bennington College  Search this

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

Solomon R. Guggenheim Museum  Search this

Barr, Alfred H., Jr., 1902-1981  Search this

Beaton, Cecil Walter Hardy, Sir, 1904-  Search this

Cartier-Bresson, Henri, 1908-  Search this

Chernow, Burt  Search this

Dalí, Salvador, 1904-1989  Search this

De Kooning, Willem, 1904-1997  Search this

Dietrich, Marlene  Search this

Emmerich, André  Search this

Frankenthaler, Helen, 1928-2011  Search this

Greenberg, Clement, 1909-1994  Search this

Hopps, Walter  Search this

Klein, William  Search this

Kline, Franz, 1910-1962  Search this

Leibovitz, Annie, 1949-  Search this

Motherwell, Robert  Search this

Mulas, Ugo  Search this

Namuth, Hans  Search this

Newman, Barnett, 1905-1970  Search this

Newton, Helmut, 1920-  Search this

Parks, Gordon, 1912-2006  Search this

Parsons, Betty  Search this

Penn, Irving  Search this

Picasso, Pablo, 1881-1973  Search this

Ritts, Herb  Search this

Snowdon, Antony Armstrong-Jones, Earl of, 1930-  Search this

Steichen, Edward, 1879-1973  Search this

Vogel, Lucien  Search this

Vreeland, Diana  Search this

Extent:

59 Linear feet

Type:

Collection descriptions

Archival materials

Drafts (documents)

Drawings

Scrapbooks

Interviews

Photographs

Sketches

Sound recordings

Transcripts

Video recordings

Date:

circa 1912-2003

Summary:

The papers of sculptor, painter, and publishing executive Alexander Semeonovitch Liberman date from circa 1913-2003 and measure 59 linear feet. Found within the papers are biographical materials; correspondence with family, galleries, museums, and many artists; numerous recorded interviews and transcripts with and by Liberman, including one of Walter Hopps; writings and writing project files; extensive subject files maintained by Liberman; exhibition files; printed materials; scattered drawings; and extensive photographs of Liberman's artwork, exhibitions, Liberman, and of Liberman with notable artists, dealers, collectors, and critics. Many of the photographs were taken by noted photograhers. Also found within the papers are unidentified sound and video recordings. Additional sound and video recordings have been integrated into other series.

Scope and Contents:

The papers of sculptor, painter, and publishing executive Alexander Semeonovitch Liberman date from circa 1913-2003 and measure 59 linear feet. Found within the papers are biographical materials; correspondence with family, galleries, museums, and many artists; numerous recorded interviews and transcripts with and by Liberman, including one of Walter Hopps; writings and writing project files; extensive subject files maintained by Liberman; exhibition files; printed materials; scattered drawings; and extensive photographs of Liberman's artwork, exhibitions, Liberman, and of Liberman with notable artists, dealers, collectors, and critics. Many of the photographs were taken by noted photograhers. Also found within the papers are unidentified sound and video recordings. Additional sound and video recordings have been integrated into other series.

Biographical materials include awards, biographies and chronologies, family history materials, membership cards, writings by Liberman's mother, and a scrapbook about his father.

Correspondence is extensive and concerns both personal and professional affairs. It is with artists and photographers, art magazines, organizations and museums, art collectors, businesses, and family. Notable correspondents include Cecil Beaton, Henri Cartier-Bresson, Burt Chernow, Salvador Dali, Robert Motherwell, Helen Frankenthaler, Barnett and Annalee Newman, Additional correspondence is found within the subject files compiled and organized by Liberman (series 6).

There are sound and video recordings and transcripts of interviews with and by Liberman, most completed for broadcast television and radio shows. Of particular interest are sound cassettes, a sound tape reel, and a transcript of an interview with Walter Hopps by Liberman.

Writings by Liberman include essays, short stories, and a play entitled 2+1. Writing project files were organized by Liberman for writing projects for which he was the author, collaborator, or subject. There are numerous files concerning Barbara Rose's book about Liberman Alexander Liberman that also include recorded interviews with Liberman and transcripts. Other books for which there are files include The Art and Technique of Color Photography, The Artist in His Studio, Vogue: The First 100 Years, Vogue History of Fashion Photography, and others.

Subject files were organized by Liberman for a wide variety of work projects, activities, topics, and entities of interest. Files cover commissions, the filming and distribution of the 1981 documentary film Alexander Liberman: A Lifetime Burning, Liberman's personal collection of art, gifts of artwork, and his relationship with galleries and dealers, particularly André Emmerich Gallery.

Exhibition files document exhibitions of Liberman's artwork, and include those held at André Emmerich Gallery, Bennington College, the Guggenheim, Museum of Modern Art, among other venues. Files contain correspondence, contracts, photographs, plans and drawings, notes, etc. Also found are inventory records of Liberman's artwork in the form of lists, index cards, bound registers, and notes.

Ten linear feet of printed materials include exhibition announcements and catalogs, books and book flyers, brochures, calendars, clippings, postcards, posters, press releases, and other materials.

There are scattered drawings and sketches found within the papers, some of which are sketches of sculpture pieces.

Nearly one-half of the collection is comprised of photographs of Liberman and his artwork, and of artists and colleagues, many of which were taken by noted photographers, including Cecil Beaton, Henri Cartier-Bresson, William Klein, Henri Lartique, Annie Leibowitz, Inge Morath, Ugo Mulas, Hans Namuth, Helmut Newton, Gordon Parks, Irving Penn, Herb Ritts, and Lord Snowden, among others. Subjects of note found in the photographs include Alfred Barr, Salvador Dali, Marlene Dietrich, Willem de Kooning, Andre Emmerich, Helen Frankenthaler, Clement Greenberg, Franz Kline, Robert Motherwell, Barnett Newman, Betty Parsons, Pablo Piccaso, Edward Steichen, Lucien Vogel, and Diana Vreeland, among many others.

Arrangement:

The collection is arranged into twelve series. Photographs retain Liberman's original numerical and alpha schemas and the corresponding indexes are found in the Inventory Records in Series 8.

Missing Title

Series 1: Biographical Materials, circa 1930s-1999 (1 linear foot; Box 1, 56)

Series 2: Correspondence, 1944-1997 (4 linear feet; Boxes 1-5, 56, OV 65)

Series 3: Interviews, 1946-1996 (1.4 linear feet; Boxes 5-7, 56)

Series 4: Writings, 1948-1995 (0.9 linear feet; Boxes 7-8)

Series 5: Writing Project Files, 1951-1997 (1.8 linear feet; Boxes 8-9, 56)

Series 6: Subject Files, 1946-2000 (6 linear feet; Boxes 9-15, 56, OV 66-67)

Series 7: Exhibition Files, 1954-1991 (0.7 linear feet; Boxes 15-16, 56, OV 68)

Series 8: Inventory Records, 1938-1998 (6 linear feet; Boxes 16-22)

Series 9: Printed Materials, 1932-2003 (10 linear feet; Boxes 22-31, 56-57, OV 69)

Series 10: Artwork, circa 1940s-1990s (0.4 linear feet; Boxes 32, 57, OV 70)

Series 11: Photographic Materials, circa 1912-1999 (26 linear feet; Boxes 32-55, 57-64, OVs 71-77)

Series 12: Unidentified Sound and Video Recordings, circa 1941-1999 (0.8 linear feet; Boxes 55, 64)

Biographical / Historical:

Alexander S. Liberman (1912-1999) was a sculptor, painter, photographer, graphic designer, writer, and publishing executive who worked primarily in New York City. He held senior positions at Condé Nast Publications for 32 years.

Alexander Semeonovitch Liberman was born in 1912 in Kiev Russia. He was educated in London and the École des Beaux Art in Paris. He began his journalistic career in Paris at VU magazine owned by Lucien Vogel and there he befriended photographers Henri Cartier-Bresson, Brassai, Robert Capa, and André Kértesz. He served in the French army for a short time in 1940, but he and his family fled Paris in 1941 to New York City. Condé Nast hired Liberman in 1941 as an assistant to the art director of Vogue magazine. Liberman became art director in 1943 and editorial director of Condé Nast Publications in 1962, a position he held until his retirement in 1994.

Liberman was also a photographer whose subjects included Georges Braque, Alexander Calder, Alberto Giacometti, Henri Matisse, Pablo Picasso, and Marlene Dietrich, among others, many represented in his 1960 book entitled The Artist in his Studio and Marlene: An Intimate Photographic Memoir (1992). He was also the subject of the work of noted photographers Cecil Beaton, Irving Penn, Henri Cartier-Bresson, Gordon Parks, Lord Snowden, Jill Krementz, Henri Lartique, Annie Leibovitz, and Hans Namuth.

Liberman took up painting and sculpting in the 1950s. Although his first exhibition was at the Betty Parsons Gallery, he was primarily associated with the André Emmerich Gallery in New York City. His monumental sculptures were mostly assembled from industrial parts and painted and can be seen in museums and public sites worldwide.

Liberman was briefly married to Hildegarde Sturm. He married his second wife Tatiana Yacovleff du Plessix in 1942. Before their marriage, they fled occupied France together. She was a noted hat designer, working for Henri Bendel and Saks, where she became known as Tatiania of Saks. She died in 1991 and, in 1992, Liberman married Melinda Pechangco, a nurse who had earlier cared for Tatiania. Alexander Liberman died in 1999 in Miami, Florida.

Related Materials:

Related collections found at the Archives of American Art include the Dodie Kazanjian and Calvin Tomkins research materials on Alexander Liberman and numerous collections of gallery records.

Provenance:

The Alexander Liberman papers were donated to the Archives of American Art by Liberman Art Partners in 2010 via Dodie Kazanjian.

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

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:

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

Graphic designers  Search this

Topic:

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

Photography  Search this

Sculptors -- France -- Paris  Search this

Fashion photography  Search this

Painters -- France -- Paris  Search this

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

Photographers -- France -- Paris  Search this

Genre/Form:

Drafts (documents)

Drawings

Scrapbooks

Interviews

Photographs

Sketches

Sound recordings

Transcripts

Video recordings

Citation:

Alexander Liberman Papers, circa 1912-2003. Archives of American Art, Smithsonian Institution.

Sponsor:

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

Identifier:

AAA.libealex

See more items in:

Alexander Liberman papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw942e7024f-773e-4db8-b545-31138550580a

EDAN-URL:

ead_collection:sova-aaa-libealex

Author:

Mathes, Valerie Sherer 1941-  Search this

Physical description:

1 online resource illustrations

Type:

Biography

Biographies

Electronic books

History

Place:

United States

Washington (D.C.)

États-Unis

Date:

2020

19th century

19e siècle

Topic:

History  Search this

Legal status, laws, etc  Search this

Government relations  Search this

Indigenous peoples--Civil rights--History  Search this

Lobbyists  Search this

Indiens d'Amérique--Histoire  Search this

Autochtones--Droits--Histoire  Search this

Lobbyistes  Search this

Employees  Search this

Indians of North America  Search this

Indians of North America--Government relations  Search this

Indians of North America--Legal status, laws, etc  Search this

Indigenous peoples--Civil rights  Search this

Data Source:

Smithsonian Libraries

EDAN-URL:

edanmdm:siris_sil_1156971

Creator:

Blanc, Giulio V.  Search this

Names:

Cuban Museum of Arts and Culture (Miami, Fla.)  Search this

Brito, Maria, 1947-  Search this

Cano, Margarita, 1932-  Search this

Cano, Pablo  Search this

Carreño, Mario  Search this

Carulla, Ramón, 1938-  Search this

Demi, 1955-  Search this

Garcia, Hernan, 1935-  Search this

Gattorno, Antonio  Search this

Gaztelu, A. (Angel)  Search this

Goldman, Shifra M., 1926-2011  Search this

Gómez-Peña, Guillermo  Search this

Lam, Wifredo  Search this

Larraz, Julio  Search this

Libin, Victoria  Search this

Macia, Carlos A., 1951-1994  Search this

Martínez-Cañas, María  Search this

Riverón, Enrique  Search this

Rodríguez, Arturo, 1956-  Search this

Sánchez, Juan, 1954-  Search this

Sí, Juan  Search this

Trasobares, César  Search this

Vater, Regina  Search this

Vázquez Lucio, Oscar E. (Oscar Edgardo), 1932-  Search this

Interviewee:

Cabrera, Lydia  Search this

Gómez Sicre, José  Search this

Extent:

11 Linear feet

0.001 Gigabytes

Type:

Collection descriptions

Archival materials

Gigabytes

Sound recordings

Date:

1920-1995

Summary:

The dates for the Giulio V. Blanc papers range from 1920-1995. Measuring a total of eleven linear feet and 0.001 GB, the collection provides documentation of the art exhibitions Blanc curated during his career, including original writings and exhibition catalogs. The extensive artists files in the collection provide information on numerous Latin American and Caribbean artists. The collection also provides historical information on the life and culture of Cuba.

Scope and Content Note:

The Giulio V. Blanc papers measure approximately 11 linear feet and 0.001 GB and date from 1920 to 1995. Compiled by Blanc since the beginning of his curatorial, writing, and research career in the 1980s, the papers consist primarily of artist files on Cuban, Cuban-American, and Latin American artists (1920-1995 and undated). Also found is biographical information (1994-1995), interviews by Blanc (1984-1987, 1994) and miscellaneous letters from artists and friends (1983-1995 and undated).

The first series, Biographical Files, 1994-1995 includes information about Blanc's career. Series 2: Miscellaneous Letters, 1983-1995, undated, consists of letters from artists and friends on various topics. Series 3: Artist Files, 1920-1995, undated, represents the bulk of the collection (approximately 300 artists in all, 6 linear feet), and contain materials either collected by Blanc or received by Blanc from the artists themselves. These consist of biographical material about the artist, usually two or three paragraphs written by Blanc, scattered resumes and copies of fellowship applications. Also found are newspaper clippings, exhibition announcements and catalogs, and letters or correspondence between Blanc and the artists. Of special interest in this series are numerous taped interviews with celebrated Cuban artists and art historians such as José Gómez Sícre, founder and first director of the Art Museum of the Americas, Organization of American States. Gómez-Sícre describes his early career and involvement with acquisitions for the museum's permanent collection as well as his working relationship with Alfred H. Barr, first director of the Museum of Modern Art in New York. Gómez-Sícre's notable book, Pintura Cubana de Hoy, published in Havana in 1944 is included in the files.

Elena Peláez de Medero, another interviewee, discusses her sister, Cuban painter Amelia Peláez (1896-1968). Blanc interviewed Elena Peláez in Miami for his 1988 exhibition Amelia Peláez: A Retrospective. The Peláez file includes Blanc's correspondence with her as well as copies of rare 1930s and 1940s exhibition catalogs from Amelia Peláez's early career. Among the catalogs is a copy of Modern Cuban Painters from the 1944 exhibition held at the Museum of Modern Art in New York. Also found are rare French, German and Spanish newspaper clippings on Peláez dating back to the 1920s. Of interest is a copy of Amado Blanco's 1937 poetry book, Poema desesperado. Published in Havana, the book is dedicated to the memory of Federico García Lorca and includes illustrations by Peláez.

Another prominent artist whom Blanc interviewed was Enrique Riverón (b. 1901) leader of the Cuban vanguardia. He was a member of El Grupo de Montparnasse, a talented group of painters and writers living in the southern district of Paris in the late 1920s, an area noted for its boisterous after-hour activities. The interview was published in the Journal of Decorative and Propaganda Arts in 1997. Also found in the papers are illustrated letters and greeting cards addressed to Blanc and his parents, Baron Lodovico Blanc and María V. Blanc.

Series 4: Exhibition Files, 1977-1995, undated, consists primarily of material Blanc compiled for exhibitions he curated. Found here are letters from museum directors, artists and colleagues, drafts and finished essays for exhibition catalogs, and printed material such as newspaper clippings of art reviews. This series also includes files on exhibitions Blanc did not curate.

Series 5: Subject Files, 1933-1995, undated, are files relating to Cuban art, culture, and society, the Cuban revolution, book projects, Biennials in Havana and São Paulo, the 1988 controversy surrounding the Cuban Museum of Arts and Culture (Miami, FL) and other topics. Found are letters, drafts of writings, notes, printed material such as newspaper clippings and magazine articles, press releases, and exhibition announcements.

Particularly extensive is the documentation about the 1980s conflict at the Cuban Museum of Arts and Culture. In April 1988, a fund-raising auction at the 24-year-old 'little Havana' institution resulted in heated disputes that escalated to violence. The works auctioned were by Cuban artists still living on the island. Many in Miami's Cuban community considered these artists to be supporters of the Communist regime and were outraged. One of the disputed works purchased the night of the auction, a drawing by Manuel Mendive, was taken across the street by its successful bidder and burned. In addition, the museum building was damaged by a pipe bomb shortly after the sale. In the National Public Radio news story (available in Blanc's papers on audio cassette) Helen Kohen, critic for the Miami Herald commented, "We're not talking about paintings. We're talking about `my brother's in jail'. That's what we're talking about." The situation intensified quickly; transcending local politics and involving the Treasury and Justice Departments, the American Civil Liberties Union, the Federal Bureau of Investigation, and Sotheby's and Christie's auction houses. Ramón Cernuda, the museum vice-president who organized the auction also had his personal collection of Cuban art impounded by the FBI. A second bombing took place in 1989 to protest an exhibition of Cuban artists who came to the U. S. during the early 1980s Mariel boatlift.

The seriousness of the conflicts in the Miami museum prompted the Museum of Modern Art in New York to withdraw an offer to lend three paintings to the Cuban museum for the 1988 exhibition Amelia Peláez: A Retrospective scheduled to open later that year. Curated by Giulio Blanc, it was the first U.S. retrospective of this important Cuban artist and the exhibition helped situate her work. The Cuban Museum of Art in Daytona Beach, an institution that helped start the Miami museum, also withdrew an offer to lend "Amelias". The result was an exhibition devoid of works owned by the Museum of Modern Art, important paintings created after 1963, the year President Kennedy imposed economic sanctions on Cuba.

To publicize the Peláez exhibition and boost attendance, the museum placed a public invitation in the Spanish section of the Miami Herald. The half page ad, also found in the Blanc papers, lists more than 100 intellectuals and professionals who supported the exhibition. Blanc stated in a letter to the Miami Herald, "It is horrifying to think there are those in Miami who would burn a painting for the sake of politics. This was the same reasoning utilized by Joseph Goebbels when he made bonfires of books and paintings by anti-Nazi and `degenerate' artists and writers in 1930s Germany... One can only pity the ignorance of those who play into the hands of the Castro regime by resorting to uncivilized tactics that can only hurt the image of the Cuban-exile community and of Miami in general."

The files concerning the Cuban Museum of Arts and Culture contain exhibition announcements, copies of court orders, press releases and correspondence between Blanc and the Museum of Modern Art in New York regarding the museum and the Peláez exhibition. Also included are a great number of newspaper articles printed in two of Miami's major newspapers, the Miami Herald and El Nuevo Herald which covered the story until it was resolved in the early 1990s. Offering additional information on the controversy are a number of letters addressed to either Blanc or his parents from artists and friends expressing either discontent with the museum's state of affairs or gratitude for the Blanc's financial support during the museum's reconstruction. These provide remarkable insight into a relatively heterogeneous Cuban community.

Series 6: Sound Recordings, 1992, 1994 consists of two untranscribed audio cassette tapes. One is of the 1992 College Art Association's session: Artistic Voices of Latin America: The Aesthetics of Anti-Colonialism held in Chicago, Illinois in which Giulio V. Blanc was a panelist. The other is a rare 1994 interview conducted by Blanc with poet-priest Monseñor Angel Gaztelu, a friend of many Cuban writers and artists, and who presided over Peláez's funeral service in 1968.

The last series, Series 7: Photographs, 1981-1993, undated, includes black and whiteportraits of artists, group shots of Blanc with "Miami Generation" artists María Brito, Pablo Cano, María Martínez-Cañas, Carlos Macía, Arturo Rodríguez, and César Trasobares, and photos of other artists.

Arrangement:

The Giulio V. Blanc papers are arranged into seven series primarily according to type of material. Within each series, materials are arranged chronologically, except for Artist Files and Subject Files which are arranged alphabetically by either name or subject.

Missing Title

Series 1: Biographical Files, 1994-1995, undated (box 1; 3 folders)

Series 2: Miscellaneous Letters, 1983-1995, undated (box 1; 3 folders)

Series 3: Artist Files, 1920-1995, undated (boxes 1-8, ER01; 6 linear ft., 0.001 GB)

Series 4: Exhibition Files, 1977-1995, undated (box 8; 1 linear foot)

Series 5: Subject Files, 1933-1995, undated (boxes 8-12; 2.5 linear feet)

Series 6: Untranscribed Sound Recordings, 1992-1994 (box 12; 2 folders)

Series 7: Photographs, 1981, 1993, undated (box 12; 2 folders)

Biographical Note:

Cuban born independent curator, critic, art historian and consultant Giulio V. Blanc (1955-1995) specialized in Cuban and Latin American art history and in his lifetime collected a wealth of material on the subject. Through his numerous exhibitions and keen articles appearing in national and international art journals, Blanc became a leading authority on Latin American art and successfully established himself as a link between Cuban and Cuban-American artists and US galleries and museums. The Miami Generation (1983) and Amelia Peláez: A Retrospective (1988) are two significant exhibitions Blanc curated for Miami's Cuban Museum of Arts and Culture in addition to the celebrated Wifredo Lam and His Contemporaries, 1938-1952 (1992) for New York's Studio Museum in Harlem. Giulio V. Blanc was among the key figures that catapulted Latin American art onto the mainstream in the early 1980s.

Giulio V. Blanc was born in Havana in 1955 to Baron Lodovico Blanc and María V. Blanc. The Blanc name hails from Italy and the title of Baron was awarded to Alberto Blanc, Lodovico Blanc's grandfather, while he was Secretary of State in 1873 under Victor Emmanuel II of Italy. As young advocates of Cuban culture, the Blanc's collected a number of paintings by Cuban artists but were forced to leave behind the works of Cuban masters such as Carlos Enríquez, Victor Manuel, René Portocarrero, Fidelio Ponce and others to facilitate an uncomplicated exodus from the country during the revolution. Lodovico and María were in their thirties and Giulio was five years old when the family settled in Miami.

Giulio Blanc completed his undergraduate education at Harvard and proceeded to Brown University and the Institute of Fine Arts in New York for graduate work (1979-1980). During his career, he served as an independent curator and consultant to The Cuban Museum of Arts and Culture (Miami), The Metropolitan Museum (Miami), and The Museum of Contemporary Hispanic Art (New York) among others. He also lectured on Latin American art history at the Art Museum of the Americas, OAS (Organization of American States), Washington, DC, The University of Miami, and El Museo Nacional de Arte in La Paz, Bolivia. In addition, he worked as a consultant in the Latin American Paintings Department at Sotheby's auction house in New York and served on the editorial board of the magazine Art Nexus. Blanc was pursuing a doctoral degree in art history at the City University of New York before his premature death in 1995 at the age of thirty-nine.

Missing Title

1955 -- Born November 1 in Havana, Cuba to Baron Lodovico and Baroness María V. Blanc, young collectors of Cuban art. The title of Baron was awarded to Alberto Blanc, Lodovico Blanc's grandfather, in 1873 while Alberto was Secretary of State under Victor Emmanuel II of Italy.

1960 -- The Blanc family migrates to the United States because of the escalating revolution. Lodovico and Maria V. Blanc are in their thirties when they flee the island. The works of Cuban painters such as Carlos Enríquez, Victor Manuel, René Portocarrero, Fidelio Ponce and others were left behind to facilitate an uncomplicated exodus.

1976 -- Giulio V. Blanc serves as research assistant for one year at the Tozzer Library, Peabody Museum, Harvard University.

1977 -- Graduates cum laude from Harvard College with a B.A. in Archeology.

1979 -- Graduates from Brown University with a M.A. in Archeology. Was a research assistant until 1980 at the Gallery of the Center for Inter-American Relations, New York city.

1980 -- Receives a certificate in Museum Studies from the Graduate School of Arts and Science, New York University. Curates Emilio Sánchez: Lithographs which opens at the Pagoda, Ransom-Everglades School, Coconut Grove, Florida. Co-curates Cuba in the Nineteenth Century for Miami's Miami-Dade Public Library.

1981 -- Joins the Latin American Paintings Department, Sotheby's Auction House, New York and serves for two years.

1982 -- Co-curates Young Hispanics, USA which opens at the Lehigh University Museum, Bethlehem, Pennsylvania and curates Ten Out of Cuba for INTAR Latin American Gallery in New York.

1983 -- Curates Cuban Fantasies at the Kouros Gallery in New York and Pablo Cano en Paris for the 4 Place de Saussaies in Paris, France. Also curates The Miami Generation: Nine Cuban-American Artists for the Cuban Museum of Arts and Culture in Miami and the Meridian House in Washington, DC.

1984 -- Serves as independent curator and consultant to Miami's Metropolitan Museum and Art Center and The Cuban Museum of Arts and Culture; The Museum of Contemporary Hispanic Art in New York and other institutions. Lectures at the Art Museum of the Americas (Organization of American States) in Washington, DC; The University of Miami; The Cuban Museum of Arts and Culture (Miami); The Center for the Fine Arts (Miami); Rockland Center for the Arts (West Nyack, NY); and the National Museum of Art, La Paz, Bolivia. Curates Young Collector's of Latin American Art which opened at Miami's Metropolitan Museum and Art Center.

1985 -- Curates Dancing Faces: An Exhibition of Mexican Masks for the Metropolitan Museum and Art Center in Miami and Nuevas Vistas: Latin American Paintings which opens at the Wistariahurst, Holyoke, Massachusetts. Curates Architecture in Cuban Painting, for the Miami Dade Public Library.

1986 -- Receives and M.A. in Art History at New York University's Institute of Fine Arts. Curates Carlos Enríquez for the Cuban Museum of Arts and Culture, Miami, Florida and Into the Mainstream: Ten Latin American Artists Working in New York for the Jersey City Museum in Jersey City, New Jersey.

1987 -- The exhibition Aurelia Muñoz: Selections, curated by Blanc, opens at the Metropolitan Museum of Art in Miami, Florida. Serves as juror for Expresiones Hispanas: Coors National Hispanic Art Exhibition, Denver, Colorado. Curates Visions of Self: The American Latin Artist for the Miami-Dade Community College gallery.

1988 -- Receives a grant from the NY State Council on the Arts for research on Cuban artist Wifredo Lam for the exhibition at the Studio Museum in Harlem, New York. Enrolls in the art history Ph.D. program at the City University Graduate Center, New York city. First bombing of the Cuban Museum of Arts and Culture in Miami takes place. Blanc's Amelia Peláez: A Retrospective successfully opens at the Cuban Museum of Arts and Culture despite much controversy.

1989 -- Curates Urgent Dream: New Work by Mario Bencomo at the Museum of Contemporary Hispanic Art (MoCHA), New York. Second bombing of the Cuban Museum of Arts and Culture, Miami FL.

1990 -- New York correspondent for Arte en Colombia, Bogota. Serves as adjunct lecturer at Queens College (CUNY) for the Fall semester. Curates the exhibition, The Post-Miami Generation for the Inter-American Gallery in Miami, Florida. Co-curates Figurative Perspectives: Six Artists of Latin American Background for the Rockland Center for the Arts, West Nyack, NY.

1991 -- Visiting scholar at University of Massachusetts at Amherst. Writes a small play, Tía Carmela: A Cuban Tragicomedy, illustrated by Cuban artist and friend Pablo Cano.

1995 -- Dies at the age of forty of AIDS related complications.

Related Materials:

Papers of Giulio V. Blanc, 1930-1982, are also located at the University of Miami Archival Collections.

Provenance:

Margherite Blanc, sister of Giulio V. Blanc, donated her brother's papers in 1998 to the Archives of American Art, Smithsonian Institution. This collection, along with numerous other Latino collections, was acquired through the 1996 Latino Art Documentation Project in South Florida. Initiated to chronicle the thriving art scene so apparent in the city's galleries, museums, and private collections, the project resulted in numerous acquisitions described in the revised edition of the Papers of Latino and Latin American Artists. Both the project and the publication were made possible, in part, with funding provided by the Smithsonian Institution's Center for Latino Initiatives.

Restrictions:

The collection is open for research. Use requires an appointment and is limited to the Washington, D.C. research facility.

Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Occupation:

Art historians -- Florida -- Miami  Search this

Topic:

Cuban American art  Search this

Art, Latin American  Search this

Artists -- Cuba  Search this

Cuban American artists  Search this

Latino and Latin American artists  Search this

Genre/Form:

Sound recordings

Citation:

Giulio V. Blanc papers, 1920-1995. Smithsonian Institution. Archives of American Art.

Identifier:

AAA.blangiul

See more items in:

Giulio V. Blanc papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9d3c414b1-dc78-4f66-889d-963690fe0282

EDAN-URL:

ead_collection:sova-aaa-blangiul

Artist:

Harmer, Alexander Francis, 1856-1925  Search this

Names:

Nana, (Apache Chief), approximately 1806-1896  Search this

Extent:

1 Drawing (watercolor, 7 x 10.25 inches)

Container:

Box 342297 / 363200, Folder 2

Culture:

Chiricahua Apache  Search this

Type:

Collection descriptions

Archival materials

Graphic Materials

Drawings

Works of art

Watercolors

Place:

North America

Date:

1883 May

Scope and Contents:

The collection consists of a portrait of Nana by Alexander Francis Harmer. The portrait is inscribed: "From a sketch from life made in the Sierra Madre Mountains on the Gen'l Crooks Campaign [sic], May 1883."

Please note that the contents of the collection and the language and terminology used reflect the context and culture of the time of its creation. As an historical document, its contents may be at odds with contemporary views and terminology and considered offensive today. The information within this collection does not reflect the views of the Smithsonian Institution or National Anthropological Archives, but is available in its original form to facilitate research.

Biographical Note:

Nana, also called Nanay, Na-na, Kas-tziden ("Broken Foot") or Haškɛnadɨltla ("Angry, He is Agitated"), (circa 1806- 1896) was a warrior of the Chihenne band of the Chiricahua Apache. Nana took part in numerous raids on Mexicans and Americans with Chiricahua leaders including Geronimo and Victorio. In 1883 he surrendered to the American general George Crook and returned with his followers to the San Carlos reservation in Arizona. He and Geronimo escaped in 1885, but were recaptured in 1886. After being imprisoned at Fort Marion, Florida, Nana spent the last years of his life on the Chiricahua reservation at Fort Sill, Oklahoma.

Alexander Francis Harmer (1856–1925) was an American painter best known for his work in Southern California. Harmer was born in Newark, New Jersey and began painting at an early age. At 16 he joined the army, and was stationed in California. After a year he requested discharge on grounds of being underage, and worked as a photographic assistant before enrolling at the Pennsylvania Academy of Fine Art in 1874. He again enlisted in the army in 1881, and was assigned to Troop L of the Sixth Cavalry at Fort Apache, Arizona. During his time in the army, his unit pursued Geronimo and the Chiricahua Apache. He later returned to Pennsylvania Academy with his sketches of the Apaches which he developed into oils and watercolors. He contributed illustrations to Harpers Weekly and other magazines, acquiring a reputation as a western artist.

Harmer moved to California in 1891. He married Felicidad Abadie, of a prominent Santa Barbara family, in 1893. The couple settled in the Abadie family residence, the Yorba-Abadie adobe, which became an artists' colony under their patronage. During this period, Harmer began to paint portraits and genre scenes of the old missions of California. He died in 1925 in Santa Barbara.

Local Numbers:

NAA MS 363200

NAA INV 08526500

OPPS NEG 85-6500

USNM Accession Number 117644

Variant Title:

Previously titled "Portrait of Nana Nanei."

Restrictions:

The collection is open for research.

Access to the collection requires an appointment.

Rights:

Contact the repository for terms of use.

Genre/Form:

Works of art

Drawings

Watercolors

Citation:

Portrait of Nana, National Anthropological Archives, Smithsonian Institution

Identifier:

NAA.MS363200

Archival Repository:

National Anthropological Archives

GUID:

https://n2t.net/ark:/65665/nw3d8f3dd9e-4bce-4e18-b92d-3eceda1ce65a

EDAN-URL:

ead_collection:sova-naa-ms363200

Manufactured by:

Gildan Activewear Inc., Canadian, founded 1984  Search this

Subject of:

Andrew Gillum, American, born 1979  Search this

Medium:

cotton (textile)

Dimensions:

H x W (flat): 26 1/2 × 28 11/16 in. (67.3 × 72.8 cm)

Type:

T-shirts

Place depicted:

Florida, United States, North and Central America

Date:

2018

Topic:

African American  Search this

Politics  Search this

U.S. History, 2001-  Search this

Credit Line:

Collection of the Smithsonian National Museum of African American History and Culture, Gift of Aaron Bryant

Object number:

2019.41.5

Restrictions & Rights:

No Known Copyright Restrictions

See more items in:

National Museum of African American History and Culture Collection

Classification:

Clothing-Historical

Memorabilia and Ephemera-Political and Activist Ephemera

Data Source:

National Museum of African American History and Culture

GUID:

http://n2t.net/ark:/65665/fd5e778b143-5548-4cbf-b723-741e14f8f72a

EDAN-URL:

edanmdm:nmaahc_2019.41.5

Creator:

Olitski, Joan C., 1937-  Search this

Olitski, Jules, 1922-2007  Search this

Extent:

0.02 Linear feet

Type:

Collection descriptions

Archival materials

Illustrated letters

Date:

1981-2004

Summary:

The notes of painter and sculptor Jules Olitski to Joan Olitski measure 0.02 linear feet and date from 1981-2004. The collection comprises of ten humorous love notes, some illustrated, written by Jules Olitski to his wife, Joan. Olitski wrote the notes to his wife (also known as Kristina) in the morning when he left his studio after working through the night.

Scope and Contents:

The notes of painter and sculptor Jules Olitski to Joan Olitski measure 0.02 linear feet and date from 1981-2004. The collection comprises of ten humorous love notes, some illustrated, written by Jules Olitski to his wife, Joan. Olitski wrote the notes to his wife (also known as Kristina) in the morning when he left his studio after working through the night.

Arrangement:

The collection is arranged as 1 series.

Series 1: Notes, 1981-2004 (0.1 linear feet; Box 1)

Biographical / Historical:

Painter and sculptor Jules Olitski (1922-2007) lived and worked from New York City; Meredith, New Hampshire; and Islamorada, Florida and was known for his color field abstractions and painted metal sculptures. Born Jevel Demikovsky in Snovsk, Russia (now Shchors, Ukraine), Olitski's father was politically executed months after his birth, and his mother and grandmother moved with him to the United States in 1923. Showing an early propensity for art, Olitski trained at both New York's National Academy of Design and the Beaux-Arts Institute of Design and furthered his art studies in Paris. After returning to New York, Olitski received a master's in art education from NYU in 1954 and subsequently taught at C.W. Post College (1956-1963) and Bennington College (1963-1967).

His first solo show of abstract impastos at the Alexander Iolas Gallery in 1958 caught the attention of art critic Clement Greenberg, who continued to champion him throughout his career. In the 1960s, Olitski came to prominence with color field paintings that used stain and spray methods to emphasize the broad, flat plane of the canvas. By the 1970s, he began producing and painting large scale abstract aluminum sculptures and returned to painting in the more textured style he had used in the 1950s.

Olitski, along with Roy Lichtenstein, Helen Frankenthaler, and Ellsworth Kelly, was selected to represent the United States at the 1966 Venice Biennale and was also the first living artist invited to exhibit a one-person show at the Metropolitan Museum of Art in 1969. A prolific artist, he exhibited in over 150 solo shows and was elected to the National Academy of Design in 1994. Olinski continued painting and exhibiting new abstractions of monochrome landscapes late into his career and died of cancer in New York.

Related Materials:

The Archives of American Art also holds the Jules Olitski papers.

Provenance:

The notes were donated in 2014 by Olitski's wife, Joan Olitski, also known as Kristina.

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.

Topic:

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

Genre/Form:

Illustrated letters

Citation:

Jules Olitski notes to Joan Olitski, 1981-2004. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.olitjoan

See more items in:

Jules Olitski notes to Joan Olitski

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw949c1754d-18c5-4990-b970-7e955a471580

EDAN-URL:

ead_collection:sova-aaa-olitjoan

Published by:

MelPat Associates, American, 1965 - 1986  Search this

Created by:

C. Melvin Patrick, American, died 1985  Search this

Subject of:

Crispus Attucks, American, 1723 - 1770  Search this

Sojourner Truth, American, 1797 - 1883  Search this

Harriet Tubman, American, 1822 - 1913  Search this

Sarah C. Roberts, American, born 1844  Search this

Susan McKinney Steward, American, 1847 - 1918  Search this

Dred Scott, American, ca 1800 - 1858  Search this

Frederick Douglass, American, 1818 - 1895  Search this

Booker T. Washington, American, 1856 - 1915  Search this

George Washington Carver, American, 1860s - 1943  Search this

W.E.B. Du Bois, American, 1868 - 1963  Search this

Scott Joplin, American, 1867 - 1917  Search this

Marcus Garvey, Jamaican, 1887 - 1940  Search this

James Weldon Johnson, American, 1871 - 1938  Search this

Father Divine, American, ca. 1876 - 1965  Search this

A. Philip Randolph, American, 1889 - 1979  Search this

Adam Clayton Powell Jr., American, 1908 - 1972  Search this

Rosa Parks, American, 1913 - 2005  Search this

Medgar Evers, American, 1925 - 1963  Search this

Dr. Martin Luther King Jr., American, 1929 - 1968  Search this

President Lyndon Baines Johnson, American, 1908 - 1973  Search this

Mary McLeod Bethune, American, 1875 - 1955  Search this

National Association of Black Social Workers, American, founded 1968  Search this

Congressional Black Caucus, American, founded 1971  Search this

Prince Hall Freemasonry, founded 1784  Search this

National Newspaper Publishers Association, American, founded 1827  Search this

Chi Delta Mu Fraternity, Inc., American, founded 1913  Search this

National Association for the Advancement of Colored People, American, founded 1909  Search this

Lambda Kappa Mu Sorority, Inc., American, founded 1937  Search this

Shriners International, American, founded 1870  Search this

National Pan-Hellenic Council, American, founded 1930  Search this

National Dental Association, American, founded 1913  Search this

Improved Benevolent and Protective Order of the Elks of the World, American, founded 1898  Search this

Democratic Party, American, founded 1828  Search this

Republican Party, American, founded 1854  Search this

Chi Eta Phi Sorority, Inc., American, founded 1932  Search this

Zeta Phi Beta Sorority, American, founded 1920  Search this

National Association of Negro Business and Professional Women's Clubs, Inc., American, founded 1935  Search this

National United Church Ushers Association of America, Inc., American, founded 1919  Search this

Eta Phi Beta Sorority, Inc., American, founded 1943  Search this

Alpha Phi Alpha Fraternity, Inc., American, founded 1906  Search this

National Urban League, American, founded 1910  Search this

Sigma Gamma Rho Sorority, Inc., founded 1922  Search this

National Medical Association, American, founded 1895  Search this

Kappa Alpha Psi Fraternity, Inc., American, founded 1911  Search this

National Council of Negro Women, founded 1935  Search this

Daughters of Isis, American, founded 1910  Search this

Omega Psi Phi Fraternity, Inc., American, founded 1911  Search this

369th Veterans Association, American  Search this

Phi Beta Sigma Fraternity, American, founded 1914  Search this

Langston Hughes, American, 1902 - 1967  Search this

Paul Robeson, American, 1898 - 1976  Search this

Ezzard Mack Charles, American, 1921 - 1975  Search this

Medium:

ink on paper

Dimensions:

H x W x D: 10 13/16 × 8 7/16 × 3/8 in. (27.5 × 21.4 × 1 cm)

Type:

magazines (periodicals)

Place made:

Harlem, New York City, New York, United States, North and Central America

Date:

1976

Topic:

African American  Search this

Advertising  Search this

Associations and institutions  Search this

Black Press  Search this

Business  Search this

Communities  Search this

Fraternal organizations  Search this

Fraternities  Search this

Government  Search this

HBCUs (Historically Black Colleges and Universities)  Search this

Journalism  Search this

Labor  Search this

Mass media  Search this

Men  Search this

Political organizations  Search this

Politics  Search this

Professional organizations  Search this

Religion  Search this

Social life and customs  Search this

Sororities  Search this

U.S. History, 1969-2001  Search this

U.S. History, Colonial period, 1600-1775  Search this

United States History  Search this

Urban life  Search this

Women  Search this

Women's organizations  Search this

Credit Line:

Collection of the Smithsonian National Museum of African American History and Culture, Gift of Anne B. Patrick and the family of Hilda E. Stokely

Object number:

2012.167.10

Restrictions & Rights:

Public domain

See more items in:

National Museum of African American History and Culture Collection

Classification:

Documents and Published Materials-Published Works

Data Source:

National Museum of African American History and Culture

GUID:

http://n2t.net/ark:/65665/fd5e57ffdd9-2ab1-46da-b6e7-10757007351f

EDAN-URL:

edanmdm:nmaahc_2012.167.10

Published by:

MelPat Associates, American, 1965 - 1986  Search this

Created by:

C. Melvin Patrick, American, died 1985  Search this

Subject of:

United Negro College Fund, American, founded 1944  Search this

Billy Dee Williams, American, born 1937  Search this

National Association for Equal Opportunity in Higher Education, American, founded 1969  Search this

National Urban Affairs Council, American, founded 1971  Search this

National Association of Market Developers, American, founded 1953  Search this

Prince Hall Freemasonry, founded 1784  Search this

Opportunities Industrialization Center of America, Inc., American, founded 1964  Search this

Harold Washington, American, 1922 - 1987  Search this

National Newspaper Publishers Association, American, founded 1827  Search this

Top Ladies of Distinction, Inc., American, founded 1964  Search this

National Association for the Advancement of Colored People, American, founded 1909  Search this

Lambda Kappa Mu Sorority, Inc., American, founded 1937  Search this

Iota Phi Lambda Sorority, Inc., American, founded 1929  Search this

Chi Eta Phi Sorority, Inc., American, founded 1932  Search this

National Medical Association, American, founded 1895  Search this

National United Church Ushers Association of America, Inc., American, founded 1919  Search this

Morehouse College, American, founded 1867  Search this

Alpha Phi Alpha Fraternity, Inc., American, founded 1906  Search this

Carats, Inc., American, founded 1959  Search this

National Bar Association, American, founded 1925  Search this

National Urban League, American, founded 1910  Search this

African Methodist Episcopal Church, American, founded 1816  Search this

National Association of Negro Business and Professional Women's Clubs, Inc., American, founded 1935  Search this

Shriners International, American, founded 1870  Search this

Delta Sigma Theta Sorority, American, founded 1913  Search this

Omega Psi Phi Fraternity, Inc., American, founded 1911  Search this

National Pharmaceutical Association, American, founded 1947  Search this

National Sorority of Phi Delta Kappa, Inc., American, founded 1923  Search this

One Hundred Black Men, Inc., American, founded 1963  Search this

Arthur Ashe Jr., American, 1943 - 1993  Search this

Association for the Study of African American Life and History, American, founded 1915  Search this

People United to Save Humanity, American, founded 1971  Search this

369th Veterans Association, American  Search this

Eubie Blake, American, 1887 - 1983  Search this

Dance Theatre of Harlem, American, founded 1969  Search this

National Coalition of 100 Black Women, American, founded 1981  Search this

Medium:

ink on paper

Dimensions:

H x W x D: 10 13/16 × 8 7/16 × 1/2 in. (27.5 × 21.4 × 1.3 cm)

Type:

magazines (periodicals)

Place made:

Harlem, New York City, New York, United States, North and Central America

Place depicted:

Martha's Vineyard, Oak Bluffs, Dukes County, Massachusetts, United States, North and Central America

Bahamas, Caribbean, North and Central America

Houston, Harris County, Texas, United States, North and Central America

Atlanta, Fulton County, Georgia, United States, North and Central America

Date:

1983

Topic:

African American  Search this

Advertising  Search this

African Methodist Episcopal  Search this

Associations and institutions  Search this

Black Press  Search this

Business  Search this

Communities  Search this

Fraternal organizations  Search this

Fraternities  Search this

Government  Search this

HBCUs (Historically Black Colleges and Universities)  Search this

Journalism  Search this

Labor  Search this

Mass media  Search this

Men  Search this

Methodist  Search this

Political organizations  Search this

Politics  Search this

Professional organizations  Search this

Religion  Search this

Social life and customs  Search this

Sororities  Search this

The Black Church  Search this

Travel  Search this

U.S. History, 1969-2001  Search this

Urban life  Search this

Women  Search this

Women's organizations  Search this

Credit Line:

Collection of the Smithsonian National Museum of African American History and Culture, Gift of Anne B. Patrick and the family of Hilda E. Stokely

Object number:

2012.167.17

Restrictions & Rights:

Public domain

See more items in:

National Museum of African American History and Culture Collection

Classification:

Documents and Published Materials-Published Works

Data Source:

National Museum of African American History and Culture

GUID:

http://n2t.net/ark:/65665/fd516419a20-d7d3-4570-a5c9-78bd4c89cfee

EDAN-URL:

edanmdm:nmaahc_2012.167.17

Collection Creator:

Stable Gallery  Search this

Container:

Box 2, Folder 21

Type:

Archival materials

Date:

1954-1961

Collection Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.

Collection Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Collection Citation:

Stable Gallery records, 1916-1999, bulk 1953-1970. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the digitization of this collection was provided by the Lichtenstein Foundation.

See more items in:

Stable Gallery records

Stable Gallery records / Series 2: Artist Files

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9bbd38752-2cdb-4955-8100-7292de550c63

EDAN-URL:

ead_component:sova-aaa-stabgall-ref57

Creator:

Riverón, Enrique  Search this

Names:

Wichita State University -- Faculty  Search this

Baker, Josephine, 1906-1975  Search this

Bermúdez, Cundo, 1914-2008  Search this

Cantinflas, 1911-1993  Search this

Carreño, Mario  Search this

Carreño, Mario -- Photographs  Search this

Cugat, Xavier, 1900- -- Photographs  Search this

De Diego, Julio, 1900-  Search this

García Lorca, Federico, 1898-1936  Search this

Gattorno, Antonio  Search this

Gómez Sicre, José  Search this

Hughes, Langston, 1902-1967  Search this

Kiki, 1901-1953  Search this

Lozano Castro, Alfredo  Search this

Milland, Ray -- Photographs  Search this

Neruda, Pablo, 1904-1973 -- Photographs  Search this

Orozco, José Clemente, 1883-1949 -- Photographs  Search this

Peláez, Amelia, 1897-1968 -- Photographs  Search this

Picasso, Pablo, 1881-1973  Search this

Pidgeon, Walter, 1897-  Search this

Prohias, Antonio  Search this

Rebajes, Pauline  Search this

Reed, Alma M. -- Photographs  Search this

Russell, Rosalind -- Photographs  Search this

Salinas, Baruj  Search this

Sicre, Juan José -- Photographs  Search this

Siqueiros, David Alfaro -- Photographs  Search this

Tamayo, Rufino, 1899- -- Photographs  Search this

Waguermert, Luis Gomez -- Photographs  Search this

Yunkers, Adja, 1900-1983  Search this

Extent:

3.3 Linear feet

Type:

Collection descriptions

Archival materials

Scrapbooks

Photographs

Date:

1918-1990s

Summary:

The papers of Cuban born painter, sculptor, cartoonist, and illustrator Enrique Riverón measure 3.3 linear feet and date from 1918-1990s. The collection contains correspondence, writings, diary entries, scrapbooks, printed material, and photographs documenting Riverón's career as an illustrator, cartoonist, painter and sculptor in the United States and Cuba and, to a lesser extent, Riverón's teaching career at Wichita University in Kansas.

Scope and Content Note:

The papers of Cuban born painter, sculptor, cartoonist, and illustrator Enrique Riverón measure 3.3 linear feet, date from 1918-1990s and document Riverón's career as an illustrator, cartoonist, painter and sculptor in the United States and Cuba and, to a lesser extent, his teaching career at Wichita University in Kansas. The collection includes correspondence, the majority of which concerns Riverón's exhibitions; writings, primarily Riverón's recollections of his trips to Paris and Madrid and his memories of people he met in Latin America, Europe, and the United States; printed material documenting exhibitions and Riverón's work for magazines such as Cine-Mudial and Bally-Hoo; and photographs.

Arrangement:

The collection is organized into eight series.

Missing Title

Series 1: Biographical Material, circa 1929-1960 (Box 1; 2 folders)

Series 2: Correspondence, 1918-1991 (box 1, 0.6 ft.)

Series 3: Writings, 1923-1980s, undated (box 1, 0.2 ft.)

Series 4: Scrapbooks, 1920s-1990s, undated (boxes 1, 3, and 4, 0.7 ft.)

Series 5: Artwork, 1958-1983, undated (boxes 1 and 5, 0.4 ft.)

Series 6: Printed Material, circa 1930-1992 (boxes 2 and 5, 0.7 ft.)

Series 7: Photographs, 1918-1992, undated (boxes 2, 5 and 6, 0.6 ft.)

Series 8: Miscellany, 1927-1989, undated (box 6, 7 folders)

Biographical Note:

Painter, sculptor, cartoonist, and illustrator Enrique Riverón was born in 1902 in Cienfuegos, Cuba and belonged to the first generation of Cuban modernists, experimenting with Cubism and pursuing abstraction from very early on in his career. During his early twenties Riverón traveled to France, Italy, Belgium, and Spain to study under scholarships and attend the Academia de San Fernando in Madrid. In 1926 Riverón's first major one-man exhibition took place at the Association Paris Amerique Latine where the catalog introduction was written by noted Mexican writer Alfonso Reyes.

In 1927 Riverón returned to Havana and had a one-man show of his European work at the Asociación de Pintores y Escultores, as well as several other shows in Havana and New York. He moved to the United States in 1930 and became a United States citizen in 1943.

In addition to being known for his naturalistic drawings of street life in Paris and Cuba, Riverón began working with collage in the 1930s and was, for a number of years, a cartoonist for newspapers in Havana and other publications such as The New Yorker and Cine Mundial which was published in New York and widely circulated in Latin America. He also worked in Hollywood for a time as an illustrator for Walt Disney Pictures.

From 1940 on, Riverón focused on painting and sculpture. He moved to Miami from Wichita, Kansas, in 1964. Enrique Riverón died in 1998.

Related Material:

The Archives of American Art also has a collection of Enrique Riverón letters to Mario Carreño, 1981-1990, in which Riverón writes of their mutual friends, his memories of Cuba, health issues, politics, pricing paintings, collages, and his longings for Paris and New York.

Provenance:

The Enrique Riverón papers were donated to the Archives of American Art by Patricia Riverón Lee, daughter of Riverón, in 1996.

Restrictions:

The collection is open for research. Use requires an appointment.

Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Occupation:

Cartoonists  Search this

Topic:

Artists -- Florida -- Miami  Search this

Illustrators  Search this

Cuban American art  Search this

Artists -- Cuba  Search this

Expatriate artists -- Florida -- Miami  Search this

Cuban American artists  Search this

Magazine illustration  Search this

Caricatures and cartoons  Search this

Sculptors -- Florida -- Miami  Search this

Latino and Latin American artists  Search this

Genre/Form:

Scrapbooks

Photographs

Citation:

Enrique Riverón papers, 1918-1990s. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.riveenri

See more items in:

Enrique Riverón papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9f97ec4c1-ff24-4264-8862-e6c643037bb5

EDAN-URL:

ead_collection:sova-aaa-riveenri

Names:

Bermúdez, Cundo, 1914-2008  Search this

Extent:

1 Volume

Type:

Collection descriptions

Archival materials

Volumes

Scrapbooks

Date:

1937-1975

Summary:

This one-volume scrapbook contains clippings dating from 1937 to 1975, that document the career of Cuban American painter, Cundo Bermúdez.

Scope and Content Note:

The collection consists of a one-volume scrapbook of clippings from Cuban, American, and Puerto Rican newspapers that date from 1937 to 1975. The scrapbook provides scattered documentation of the career of Cuban American painter, Cundo Bermúdez, and primarily contains exhibition reviews.

Biographical Note:

Born in Havana in 1914, Cuban modernist painter Cundo Bermúdez exhibited his work extensively in Latin America and had his first one-man show in the United States at the Pan American Union in 1948.

Provenance:

The scrapbook was loaned to the Archives of American Art for microfilming in 1996 by Teresa Callava, great-niece of Cundo Bermúdez, and was returned to Callava in 1997.

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 -- Cuba -- Havana  Search this

Painters -- Puerto Rico  Search this

Painters -- Florida -- Miami  Search this

Topic:

Latino and Latin American artists  Search this

Cuban American artists  Search this

Cuban American art  Search this

Genre/Form:

Scrapbooks

Citation:

Cundo Bermúdez scrapbook, 1937-1975. Microfilmed by the Archives of American Art, Smithsonian Institution.

Identifier:

AAA.bermcund

See more items in:

Cundo Bermúdez scrapbook

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9d234cc6c-a29f-4d7e-abe1-2781e0f90531

EDAN-URL:

ead_collection:sova-aaa-bermcund

Interviewee:

Bermúdez, Cundo, 1914-2008  Search this

Interviewer:

Martínez, Juan A.  Search this

Extent:

2 Items (sound cassettes, analog.)

33 Pages (Transcript)

Type:

Collection descriptions

Archival materials

Pages

Sound recordings

Interviews

Date:

1997 December 13

Scope and Contents:

An interview with Cundo Bermúdez conducted 1997 December 13, by Juan A. Martínez, in Bermudez's home/studio, Miami, Florida, for the Archives of American Art.

Biographical / Historical:

Cundo Bermúdez (1914-2008) was a Cuban American painter. Born in Havana, 1914.

General:

Originally recorded 2 sound cassettes. Reformatted in 2010 as 3 digital wav files. Duration is 1 hr., 45 min.

Poor sound quality.

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.

Topic:

Painters -- Florida -- Miami -- Interviews  Search this

Artists -- Florida -- Miami -- Interviews  Search this

Expatriate artists -- Florida -- Miami -- Interviews  Search this

Artists -- Cuba -- Interviews  Search this

Latino and Latin American artists  Search this

Cuban American art  Search this

Cuban American artists  Search this

Art, Modern -- 20th century -- Florida -- Miami  Search this

Genre/Form:

Sound recordings

Interviews

Sponsor:

This interview received Federal support from the Latino Initiatives Pool, administered by the Smithsonian Latino Center. Funding for the digital preservation of this interview received Federal support from the Latino Initiatives Pool, administered by the Smithsonian Latino Center.

Identifier:

AAA.bermud97

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw973b06af3-50fd-4bde-aadb-d8d78ac83cd8

EDAN-URL:

ead_collection:sova-aaa-bermud97

Creator:

Gedeon, Lucinda H.  Search this

Names:

University of California, Los Angeles  Search this

White, Charles, 1918-1979  Search this

Extent:

1.4 Linear feet

Type:

Collection descriptions

Archival materials

Interviews

Date:

1940-1997

bulk 1980-1981

Summary:

The Lucinda H. Gedeon research materials on Charles W. White measure 1.4 linear feet and date from 1940 to 1997, with the bulk of the materials dating from 1980 to 1981. This research material was compiled for a catalogue raisonné at UCLA and includes correspondence with collectors and institutions; a card file catalogue of works by Charles White; photographs and negatives; printed material; transcripts of interviews; bibliographic information; and writings.

Scope and Contents:

The Lucinda H. Gedeon research materials on Charles W. White measure 1.4 linear feet and date from 1940 to 1997, with the bulk of the materials dating from 1980 to 1981. This research material was compiled for a catalogue raisonné at UCLA and includes correspondence with collectors and institutions regarding Charles White works in their collections; a card file catalogue of works by White; photographs and negatives of works by White; printed material including exhibition materials and magazine and newspaper clippings; transcripts of interviews with White and other individuals; bibliographic information; and writings about White.

Arrangement:

Due to the small size of this collection, the papers are arranged in one series.

Series 1: Lucinda H. Gedeon Research Material on Charles W. White, 1940-1997, bulk 1980-1981 (Boxes1-2; 1.4 linear feet)

Biographical / Historical:

Lucinda H. Gedeon is a retired art historian in Vero Beach, Florida. Previously the director of the Neuberger Museum at the State University of New York, Purchase, and later of the Vero Beach Museum of Art, Gedeon earned both a master's degree and a doctorate at UCLA. She completed her master's thesis on the work of Charles White.

Charles W. White (1918-1979) was an African American painter. White was born in Chicago and attended the Art Institute of Chicago. He worked as an artist for the Works Progress Administration and later taught first at Dillard University, then at Otis Art Institute from 1965 until his death in 1979.

White exhibited widely and his work is held at a number of institutions. He was elected to the National Academy of design in 1972.

Related Materials:

Also found in the Archives of American Art are the Charles W. White papers, circa 1930-1982, and an oral history interview with Charles W. White conducted by Betty Hoag, March 9, 1965.

Provenance:

The Lucinda H. Gedeon research materials on Charles W. White were donated to the Archives of American Art by Lucinda H. Gedeon in 2007.

Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.

Occupation:

Art historians -- Florida  Search this

Museum directors -- Florida  Search this

Painters -- California -- Los Angeles  Search this

Muralists -- California -- Los Angeles  Search this

Topic:

Women art historians  Search this

African American artists  Search this

Women muralists  Search this

Genre/Form:

Interviews

Citation:

Lucinda H. Gedeon research material on Charles W. White, 1940-1997, bulk 1980-1981. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Henry Luce Foundation.

Identifier:

AAA.gedeluci

See more items in:

Lucinda H. Gedeon research material on Charles W. White

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9cfef48ad-58ac-4312-8f1f-31bf5ba4f195

EDAN-URL:

ead_collection:sova-aaa-gedeluci

Collection Creator:

Cinque Gallery  Search this

Container:

Box 1, Folder 21

Type:

Archival materials

Date:

1992-circa 2000

Collection Restrictions:

This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.

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:

Cinque Gallery records, 1959-2010. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the digitization of this collection was provided by the Roy Lichtenstein Foundation.

See more items in:

Cinque Gallery records

Cinque Gallery records / Series 2: Artists' Files

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw986e2a27a-9605-436d-b786-e64a280479da

EDAN-URL:

ead_component:sova-aaa-cinqgall2-ref578