Search Results

Creator:

Weisenborn, Rudolph, b. 1881  Search this

Names:

Chicago No-Jury Society of Artists  Search this

Weisenborn, Fritzi  Search this

Extent:

2.3 Linear feet

Type:

Collection descriptions

Archival materials

Drawings

Sketchbooks

Date:

1919-1977

Scope and Contents:

Biographical material, letters, business records, notes, writings, art works, scrapbooks, printed material, and photographs.

REEL 856: Biographical sketches; eighteen letters from colleagues, 1948-1965; records of expenditures, 1956-57; a travel log from a trip to Arizona; essays "The Freedom of the Artist" and "Diorama on Soil Erosion and Soil Conservation for the Tennessee Valley Administration" by Weisenborn, a poem "Fritzi and Rudolph"; 2 typed drafts of "Weisenborn and the American Vision" by John Thwaites (1946); notes from an exhibition at the Werner's Books Gallery.

16 sketchbooks, undated and 1947, and 15 sketches by Weisenborn; three scrapbooks, 1921-1956, containing clippings and art reviews written by Weisenborn's wife, Fritzi, exhibition announcements and catalogs, letters, and an autographed guest list from a party; clippings, 1937-1965; catalogs from 10 No-Jury Society exhibitions, 1922-1941; lecture announcements 1934, brochures; and photographs of Weisenborn, his studio, art-related events, and his works of art.

UNMICROFILMED: 4 biographical sketches and his marriage certificate; letters, 1919-1977; business and financial records, 1931-1972; 3 address books; essays by and about Weisenborn, including sections of "Weisenborn and the American Vision" by John Thwaites (1946); 2 children's drawings, a caricature sketch, and a print by Weisenborn; scrapbooks and scrapbook pages, containing clippings and reviews by his wife, 1938 and 1945-1946; clippings, 1920-1973; exhibition announcements and catalogs, 1922-1965, and other printed material; photographs and a photo album of Weisenborn, his family, studio, and works of art, including designs for department store windows; and a metal printing plate showing a newspaper photograph of Weisenborn and his wife.

Biographical / Historical:

Painter and art instructor; Chicago, Illinois. Died 1974. Taught at the Chicago Academy of Fine Arts, 1922-1934. Co-founder of Chicago No-Jury Society of Artists. Weisenborn's wife Fritzi, was art critic for Chicago's Sunday Times.

Provenance:

Material on reel 856 was lent for microfilming in 1974 and subsequently donated 1985 by Gordon Weisenborn with additional unmicrofilmed material. (Several items from 2 of the scrapbooks were not returned.)

Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.

Occupation:

Art critics -- Illinois -- Chicago  Search this

Art teachers -- Illinois -- Chicago  Search this

Painters -- Illinois -- Chicago  Search this

Topic:

Art -- Study and teaching -- Illinois -- Chicago  Search this

Painting, Abstract -- Illinois -- Chicago  Search this

Women art critics -- Illinois -- Chicago  Search this

Function:

Artists' studios -- Illinois

Genre/Form:

Drawings

Sketchbooks

Identifier:

AAA.weisrudo

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw919491eb0-0104-405e-ac57-15720dd81f0f

EDAN-URL:

ead_collection:sova-aaa-weisrudo

Creator:

Kelker, Nancy L.  Search this

Names:

Casas, Mel, 1929-2014  Search this

Valdez, Vincent  Search this

Extent:

1.3 Linear feet

0.001 Gigabytes

Type:

Collection descriptions

Archival materials

Gigabytes

Interviews

Lectures

Sound recordings

Video recordings

Date:

1890-circa 2011

bulk 1968-2005

Summary:

The Nancy Kelker research material regarding Mel Casas measures 1.3 linear feet and 0.001 GB dates from 1890 to circa 2011 with the bulk of the collection dating from 1968 to 2005. The material includes sound and video recordings of interviews with Casas by Kelker and Vincent Valdez, and a talk by Casas at Georgia Southwestern University; research files that include Casas' business and legal records, correspondence, exhibition records, photographs, and student papers about Casas; and printed materials consisting of clippings, exhibition announcements and catalogs, journals, newsletters, and posters relating to Casas' activities during his career. One interview transcript is in digital format. The material was compiled by Kelker for the book Mel Casas: Artist as Cultural Adjuster.

Scope and Contents:

The Nancy Kelker research material regarding Mel Casas measures 1.3 linear feet and 0.001 GB and dates from 1890 to circa 2011 with the bulk of the collection dating from 1968 to 2005. The material includes sound and video recordings of interviews with Casas by Kelker and Vincent Valdez, and a talk by Casas at Georgia Southwestern University; research files that include Casas' business and legal records, correspondence, exhibition records, photographs, and student papers about Casas; and printed materials consisting of clippings, exhibition announcements and catalogs, journals, newsletters, and posters relating to Casas' activities during his career. One interview transcript is in digital format. The material was compiled by Kelker for the book Mel Casas: Artist as Cultural Adjuster.

Arrangement:

The collection is arranged as three series.

Series 1: Interviews and Talks, 1999-2005 (Box 1; 4 folders, ER01; 0.001 GB)

Series 2: Research and Project Files, 1978-2001 (Box 1; 0.4 linear feet)

Series 3: Printed Materials, 1890-circa 2000 (Box 1, OVs 2-4; 0.5 linear feet)

Biographical / Historical:

Nancy Kelker (1951- ) is an art historian in Murfreesboro, Tennessee. and the author of Mel Casas: Artist as Cultural Adjuster.

Mel Casas (1929-2014) was a painter and educator in San Antonio, Texas. Casas was a member of Con Safo, an organization that promoted Chicano concepts and the Chicano art movement. Humanscapes, Casas' series of 150 paintings, was produced between 1965 and 1989 and has been exhibited throughout the U.S. and Mexico. Casas died in San Antonio, Texas. in 2014.

Provenance:

The Nancy Kelker research material regarding Mel Casas was donated in 2016 by Nancy Kelker.

Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Use of archival audiovisual recordings and born-digital records with no duplicate copies requires advance notice.

Topic:

Chicano movement  Search this

Mexican American art  Search this

Latino and Latin American artists  Search this

Genre/Form:

Interviews

Lectures

Sound recordings

Video recordings

Citation:

Nancy Kelker research material regarding Mel Casas, 1890-circa 2011, bulk 1968-2005. Archives of American Art, Smithsonian Institution.

Sponsor:

The processing of this collection received Federal support from the Latino Initiatives Pool, administered by the Smithsonian Latino Center.

Identifier:

AAA.kelknanc

See more items in:

Nancy Kelker research material regarding Mel Casas

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw94b5141e8-5635-4d38-852f-4a8d3cacc57d

EDAN-URL:

ead_collection:sova-aaa-kelknanc

Creator:

Lanux, Eyre de  Search this

Names:

Aragon, Louis, 1897-1982  Search this

Barney, Natalie Clifford  Search this

Casagrande, Paolo  Search this

Eyre, Paul  Search this

Eyre, Wilson, 1858-1944  Search this

Fahlman, Betsy  Search this

Ford, Consuelo  Search this

Lanux, Pierre de Combret, 1887-1955  Search this

Lear, Tobias, 1762-1816  Search this

Lee, Ann  Search this

Lenard, Alexander  Search this

Strong, Anne  Search this

Wyld, Evelyn  Search this

Extent:

10.6 Linear feet

Type:

Collection descriptions

Archival materials

Drawings

Photographs

Diaries

Sketches

Sound recordings

Date:

1865-1995

Summary:

The papers of portrait painter, writer, and designer, Eyre de Lanux (1894-1996) measure 10.6 linear feet and date from 1865 to 1995. The papers include biographical materials, personal business records, sixty-four diaries dating from 1922 through 1988, writings and notes, research files, printed materials, artwork, and photographs of Eyre de Lanux, her family, and friends. There is extensive correspondence with her husband Pierre de Lanux and her long-time lover Paolo Casagrande, as well as with other friends and family.

Scope and Content Note:

The papers of portrait painter, writer, and furnishings designer, Eyre de Lanux (1894-1996) measure 10.6 linear feet and date from 1865 to 1995. The papers reflect Eyre's personal life in Paris with her husband, Pierre de Lanux and her travels with longtime lover Paolo Casagrande. The bulk of the collection consists of diaries spanning 1922 to 1988 and correspondence. Also found are de Lanux's sketches and drawings, some of which depict Parisian scenes and portraits of her lovers and friends. Other materials found include biographical information, personal business records, writings and notes including short stories, research files on Tobias Lear and Wilson Eyre, printed materials, and scattered photographs.

Biographical records include various membership certificates, medical records, travel papers and tickets, and a transcript of a psychic reading. Also found is a sound recording concerning Pierre de Lanux.

Personal business records consist of addresses, a personal calendar, consignment and loan agreements concerning the sale of Eyre's art collection, miscellaneous receipts, rental and lodging forms, stocks, and a copy of a will.

Correspondence spans the years 1922 until 1995 and includes an extensive exchange between Eyre and her husband Pierre, her lover Paolo Casagrande, and her daughter Anne Strong (Bikou.) Other notable correspondents include Louis Aragon, Natalie Barney, Betsy Fahlman, Consuelo Ford, Alexander Lenard, and Evelyn Wyld. Much of the correspondence is personal in nature, however a folder of correspondence between Eyre and her literary editors is found at the end of the series.

The papers include sixty-four diaries dating from 1922 through 1988; there are no diaries for the period 1927 to 1947 with the exception of two small notebooks dated 1938 and 1945. The diaries resume in 1948, with Eyre's arrival in Rome, and continue, with multiple volumes for most years, until the late 1980s when her eyes failed. The handwriting is difficult to read, and moves from one language to another within entries, employing English, French, and Italian. Eyre de Lanux used her diaries to record her impressions of the world rather than to enumerate daily activities.

Writings include drafts, copies, and notes for de Lanux's short stories from the 1920s until the 1980s. There are also annotated entries and drafts of her magazine column, "Letters to Elizabeth", poems, a note written to Paris, and notes concerning interior decoration. Writings by others include poems by Ann Lee, travel journals by Paolo Casagrande and Paul Eyre, and a draft of Pierre de Lanux's "Memoires-Jours de Notre Vivre."

Research files consist of Eyre de Lanux's notes, drafts, photographs, published works, and research correspondence relating to her biography on Tobias Lear, the personal secretary of George Washington and a proposal for a work entitled Illusions of Identity. Other materials include copies of Betsy Fahlman's research on architect Wilson Eyre, de Lanux's uncle.

Printed material is scattered and includes periodicals with copies of writings by Pierre and Eyre de Lanux, one exibition announcement, printed reproductions of works of art, blank postcards, and souvenirs gathered from de Lanux's many trips abroad.

Photographs are of Eyre in her studio and of her family and friends including Louis Aragon, Natalie Barney, Paolo Casagrande and family, Alice Delmar, Paul Eyre, Consuelo Ford, Pierre de Lanux, Anne Strong, and Evelyn Wyld. There is a photo of Natalie Barney's 20 Rue Jacob Temple d'Amitie. Other photos are of buildings, travel, interiors, and works of art. Among the photographs of works of art include two portraits, one of Eyre de Lanux by Romaine Brooks and one of Romaine Brooks by Eyre de Lanux.

Artwork include sketches, drawings, prints, and paintings by Eyre de Lanux probably dating from the 1920s to the 1940s. There is a painted sketch of interior decoration from circa 1949. Sketches are of Parisian street scenes, portraits of friends, a design for a perfume advertisement for the fashion house Lucien Lelong, illustrated notes for Consuelo Ford, and miscellaneous subjects.

Arrangement:

The collection is arranged as 9 series:

Missing Title

Series 1: Biographical Information, 1965-1966 (Box 1; 10 folders)

Series 2: Personal Business Records , 1933-1989 (Box 1; 10 folders)

Series 3: Correspondence, 1924-1992 (Boxes 1-4; 3.0 linear feet)

Series 4: Diaries, 1922-1988 (Boxes 4-7; 3.5 linear feet)

Series 5: Writings and Notes, 1917-1995 (Boxes 7-8; 1.3 linear feet)

Series 6: Research Files, circa 1900-1980s (Boxes 8-9; 1.0 linear feet)

Series 7: Printed Material, circa 1910-1987 (Boxes 9, 11; 0.5 linear feet)

Series 8: Photographs, circa 1870-1973 (Box 10, OVs 18-20; 0.5 linear feet)

Series 9: Artwork, circa 1920-circa 1949 (Boxes 10-11, OVs 12-17; 0.8 linear feet)

Biographical Note:

Eyre de Lanux (1894-1996) spent much of her life traveling between Paris, Italy, and New York. In addition to portrait and frescoe painting, de Lanux designed furnishings and was a prolific writer.

Elizabeth Eyre de Lanux was born on March 20, 1894, the eldest daughter of Richard Derby Eyre (1869-1955) and Elizabeth Krieger Eyre (d. 1938). As Elizabeth's mother suffered from depression, the responsibilities of parenthood fell largely to Richard Eyre, a successful patent lawyer.

Elizabeth attended Miss Hazen's School in Pelham Manor, Westchester County, New York and enrolled in classes at the Art Students League in 1912 and during 1914-15. Her teachers were George Bridgman and John C. Johansen. At this time, she resided at 47 Washington Square but soon moved to 15 W. 67th Street. She exhibited two paintings, "L'Arlesienne," and "Allegro," in the first annual exhibition of the Society of Independent Artists in 1917.

In early 1918, while working for the Foreign Press Bureau of the Committee on Public Information, Elizabeth met writer Pierre Combret de Lanux (1887-1955.) They married in New York in a civil ceremony on October 9, 1918. Immediately after the Armistice, they sailed for Paris, settling at Number 19 Rue Jacob. Their daughter, Anne-Françoise, nicknamed "Bikou," was born December 19, 1925.

Possibly from the beginning of their marriage, but certainly from the early 1920s, Eyre and Pierre accorded one another the freedom to take other lovers. From 1923 to 1933, Pierre de Lanux was based mainly in Geneva, where he worked for the League of Nations as director of the Paris Office. The marriage endured until Pierre's death in March 1955.

In Paris, from 1919-20, Elizabeth continued her painting and drawing studies. At this time, she began signing her sketches "Eyre de Lanux." Café society at Le Boeuf sur le Toit was an inexhaustible source for portrait subjects, as were socialite Natalie Clifford Barney's Friday salons. A series of "Outlines of Women," line drawings touched with wash, were exhibited in May 1921 at New York's Kingore Galleries. On view was Eyre's portrait of Barney, identified as "Amazone" in the exhibit leaflet, and those of various high-society figures, including Marion Tiffany, actress Eva Le Gallienne, and tennis champion Julie Lentilhon.

Eyre and Pierre resided in the United States from September 1920 to April 1922, and lived at the Chelsea Hotel during the spring of 1921. While Pierre traveled, Eyre completed work on a pair of oak doors painted in tempera, vermillion, and gold with the 13th century legend of Sainte Marie l'Égyptienne. The doors went on exhibit in March 1922 at Knoedler Galleries and received a favorable review in The Sun. Eyre would not exhibit again in New York until 1943, when her fresco, "Persiennes, Persiennes" was included in "The Art of 31 Women Show" at Art of This Century Gallery.

Eyre began the study of frescoe painting in the late 1920s with Constantin Brancusi. Exhibits of her later frescoes were held in 1952 at Alexander Iolas in New York and in Paris at Le Sillon in 1960.

During her years in Paris, Eyre was associated with members of the Parisian arts and literary circles. Ezra Pound made corrections to her 1923 poem "Rue Montorgueil." Eyre met Surrealist poet Louis Aragon, who may have fell in love with her. Aragon's 1919 poem, "Isabelle," dedicated cryptically to one "Madame I.R." on its 1926 publication, tells of his love for "une herbe blanche." Their one-year liaison began in earnest in March 1925, soon after Eyre's relationship with Natalie Barney had ended. An affair with political writer Pierre Drieu La Rochelle, initiated in early 1923 and carried on intermittently, also ended at this time.

In 1933 Eyre and Pierre purchased a number of works of contemporary art. These included a Picasso watercolor and drawing from his Cubist period, a Braque, a Berman, two Picabia drawings, an Yves Tanguy, a large Mirà, and two paintings by de Chirico. In future years, gallery-owner Betty Parsons 1900-82), whom Eyre doubtless knew in Paris, would assist her in selling paintings from her collection. Many would be sold at a great loss to meet expenses.

From 1927 to 1933, Eyre collaborated with British carpet designer Evelyn Wyld (1882-1973), creating modernist furniture in glass, cowhide, wood, and lacquer for private clients. Eyre met Wyld while interviewing her for her monthly column, "Letters of Elizabeth," which ran for two years in Town and Country magazine. Eyre and Wyld exhibited their interiors in the 1928 and 1929 annual showings of the Artistes-Décorateurs and in 1930 at the first exhibit of the Société Union des Artistes Modernes. In 1932, the two women opened Décor, a furniture gallery in Cannes. The business, hurt by a decline in demand following the 1929 stock market crash, closed in 1933.

Eyre returned to Paris in 1945 There she met a young Italian writer, Paolo Casagrande. Eyre was 54 years old and he roughly half her age. With his encouragement, she rented a studio at 53 Via Margutta and beganworking on large frescoes and fresco portraits. One of her sitters was Tennessee Williams.

The relationship with Casagrande endured until the end of Eyre's life. Although Casagrande married in 1950 and eventually had children, he and Eyre maintained an almost continuous, passionate correspondence. They traveled for long periods in southern Italy, Sicily, Greece, and Morocco. During their Moroccan sojourn in 1951 and 1952, Eyre began making notes for short stories. "La Place de La Destruction" was published in 1955 in La Nouvelle Revue Française, and "The House in the Medina" appeared in Harper's Bazaar in November 1963. Her sketchbooks, watercolors, and frescoes from this period reveal her fascination with the North African landscape.

In March, 1961, possibly in order to pull away from Casagrande, Eyre left Paris and returned to New York permanently, taking a studio apartment at The Picasso on East 58th Street. In a diary entry made shortly before moving day, she wrote, "Write to Paolo every day, and mail it only occasionally." Her last visit to Paris occurred in 1978. Until legal blindness overtook her, Eyre pursued various research and writing projects.

She began work on a biography of Tobias Lear, a secretary to George Washington and a distant maternal ancestor. She also gathered photographs for "Illusions of Identity," a book of associations between the physical and metaphysical worlds with a preface by Ray Bradbury; the book was never published. In 1980, she supplied paintings to illustrate Overheard in a Bubble Chamber (1981), a book of science poems for children written by her close friend Lillian Morrison. The New Yorker magazine published three of her short stories: "Montegufoni" (1966), "Cot Number Eleven" (1968), and "Putu" (1972). Plans to bring together twelve stories in one volume were never realized.

Eyre de Lanux died in August 1996 at the age of 102.

Provenance:

The Eyre de Lanux papers were donated to the Archives of American Art by de Lanux's daughter Anne de Lanux Strong and grandson Paul Eyre in 1996.

Restrictions:

Use of original papers requires an appointment. 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:

Authors -- France -- Paris  Search this

Furniture designers -- New York (State) -- New York  Search this

Topic:

Portrait painters -- New York (State) -- New York  Search this

Portrait painters -- France -- Paris  Search this

Modernism (Art)  Search this

Artists' studios -- Photographs  Search this

Women artists  Search this

Women authors  Search this

Women painters  Search this

Women designers  Search this

Genre/Form:

Drawings

Photographs

Diaries

Sketches

Sound recordings

Citation:

Eyre de Lanux papers, 1865-1995. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for processing of this collection was provided by the Terra Foundation for American Art

Identifier:

AAA.lanueyre

See more items in:

Eyre de Lanux papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw93be3228e-6a54-4aa8-a122-a46448a5815b

EDAN-URL:

ead_collection:sova-aaa-lanueyre

Creator:

Citron, Minna Wright, 1896-1991  Search this

Extent:

1.3 Linear feet

Type:

Collection descriptions

Archival materials

Drawings

Date:

1930-1980

Summary:

The papers of painter, printmaker and muralist Minna Wright Citron measure 1.3 linear feet and date from 1930 to 1980. Found are scattered biographical materials, correspondence, writings for articles and lectures, printed material, photographs, and artwork.

Scope and Contents:

The papers of painter, printmaker and muralist Minna Wright Citron measure 1.3 linear feet and date from 1930 to 1980. Found are scattered biographical materials, correspondence, writings for articles and lectures, printed material, photographs, and artwork.

Arrangement:

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

Biographical / Historical:

Painter and printmaker Minna Wright Citron (1896-1991) was active in New York City, New York. She worked with the Works Progress Administration Federal Art Project as a teacher and completed multiple murals for Tennessee post offices.

Born in Newark, New Jersey, Minna Wright Citron began her study of art at the Brooklyn Institute of Arts and Sciences in 1924. She juggled the work of raising two small sons, a husband, and her art career and had her first solo exhibition in 1930 at New School for Social Research. In 1934, she divorced her husband Henry Citron and moved her children, Casper and Thomas, from Brooklyn to Manhattan.

Citron spent her early career as a painter, muralist, and educator. After World War II, she began to experiment with printmaking techniques and produced woodblock prints, etchings, and lithographs. She exhibited her works around the world, notably in Zagreb, Croatia (formerly Yugoslavia).

Minna Wright Citron died in 1991.

Related Materials:

Syracuse University also holds the Minna Citron papers, 1932-2014.

Provenance:

Minna Wright Citron donated her papers to the Archives of American Art in several installments from 1968 to 1981.

Restrictions:

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

Rights:

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

Occupation:

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

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

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

Topic:

Women artists  Search this

Women painters  Search this

Women printmakers  Search this

Women educators  Search this

Genre/Form:

Drawings

Citation:

Minna Wright Citron papers, 1930-1980. Archives of American Art, Smithsonian Institution.

Sponsor:

Processing of this collection received Federal support from the Collections Care Initiative Fund, administered by the Smithsonian American Women's History Initiative and the National Collections Program.

Identifier:

AAA.citrminn

See more items in:

Minna Wright Citron papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9bd74aec1-c362-40d5-83b3-9a9c122bef92

EDAN-URL:

ead_collection:sova-aaa-citrminn

Creator:

Douglas, Aaron  Search this

Names:

Fisk University. Art Dept  Search this

Extent:

4 Microfilm reels

Type:

Collection descriptions

Archival materials

Microfilm reels

Sketchbooks

Drawings

Date:

1921-1973

Scope and Contents:

This microfilm collection of the papers of African American painter, muralist, and illustrator Aaron Douglas primarily concern Douglas' years at Fisk University, the development of the art department, and the management of the Stieglitz art collection. The collection consists of biographical material; correspondence; artwork including prints, drawings, and sketchbooks; and teaching material including drafts of lectures and teaching notes. Also included are printed material such as exhibition catalogs and clippings; reports and printed material concerning the Sigma Pi Phi fraternity; and photographs of Douglas and his works of art.

Among the correspondents are Charles Alston, Claude Clark, John Cowles, William Dawson, Jeff Donaldson, Cedric Dover, David Driskell, Mary Beattie Brady of the Harmon Foundation, John Davis Hatch, William C. Haygood of the Julius Rosenwald Fund, and Walter Pach.

Arrangement:

Collection was microfilmed in the order as received from Fisk University.

Biographical / Historical:

Aaron Douglas (1899-1979) was an African American painter, muralist, and illustrator in Nashville, Tennessee. He is commonly regarded as a central figure in the Harlem Renaissance. In 1937 Charles S. Johnson, the first African American president of Fisk University, invited Douglas to develop the university's art department. He served as the department head until his retirement in 1966.

Related Materials:

Fisk University Special Collections holds the Aaron Douglas collection, 1921-1973 and the Aaron Douglas Collection Addendum, 1937-1974. The Schomburg Center for Research in Black Culture, The New York Public Library holds the Aaron Douglas papers, 1924-1939.

Provenance:

Lent for microfilming 1991 by Special Collections Department, Fisk University, Nashville, Tennessee.

Restrictions:

The Archives of American art does not own the original papers. Use is limited to the microfilm copy.

Occupation:

Educators -- Tennessee -- Nashville  Search this

Illustrators -- Tennessee -- Nashville  Search this

Muralists -- Tennessee -- Nashville  Search this

Painters -- Tennessee -- Nashville  Search this

Topic:

Art -- Study and teaching -- Tennessee -- Nashville  Search this

Art, American  Search this

African American artists  Search this

HBCUs (Historically Black Colleges and Universities)  Search this

African American educators  Search this

Genre/Form:

Sketchbooks

Drawings

Identifier:

AAA.dougaaro

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9186ead1e-3e0d-49d6-92bd-550d6f37f7d4

EDAN-URL:

ead_collection:sova-aaa-dougaaro

Collection Creator:

Garden Club of America  Search this

Type:

Archival materials

Collection Restrictions:

Access to original archival materials by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.

Collection Rights:

Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.

Collection Citation:

Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.

Sponsor:

A project to describe images in this finding aid received Federal support from the Smithsonian Collections Care Initiative, administered by the National Collections Program.

See more items in:

The Garden Club of America collection

Archival Repository:

Archives of American Gardens

GUID:

https://n2t.net/ark:/65665/kb653f5a4fa-71fe-4259-ab23-a33248a801d5

EDAN-URL:

ead_component:sova-aag-gca-ref32850

Collection Creator:

Sanford, Marion  Search this

Container:

Box 3, Folder 6-7

Type:

Archival materials

Date:

1937-1948

Collection Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.

Collection Rights:

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:

Marion Sanford and Cornelia Chapin papers, 1929-1988. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art. Funding for the preservation of the Cornelia Chapin Home Movies was provided by the National Film Preservation Foundation.

See more items in:

Marion Sanford and Cornelia Chapin papers

Marion Sanford and Cornelia Chapin papers / Series 4: Scrapbooks

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9200e5be4-a56e-4247-afe3-2a6cb7385f14

EDAN-URL:

ead_component:sova-aaa-sanfmari-ref45

Creator:

Parrish, David, 1939-  Search this

Names:

French & Company (New York, N.Y.)  Search this

George C. Marshall Space Flight Center -- Officials and employees  Search this

Nancy Hoffman Gallery  Search this

University of Alabama -- Students  Search this

Eddy, Don, 1944-  Search this

Hoffman, Nancy  Search this

Janis, Sidney, 1896-1989  Search this

Meisel, Louis K.  Search this

Interviewer:

Williams, Bob  Search this

Extent:

3.1 Linear feet

Type:

Collection descriptions

Archival materials

Resumes

Essays

Interviews

Sketchbooks

Drawings

Photographs

Video recordings

Date:

1940-2009

bulk 1964-1998

Summary:

The papers of Alabama photorealist painter David Parrish measure 3.1 linear feet and date from 1940 to 2009, with the bulk of the material from 1964 to 1998. Parrish's career is documented through scattered biographical material; correspondence with galleries, publishers, art organizations, and friends; photographs of Parrish, his studio, and artwork; original artwork by Parrish and others; and printed material.

Scope and Content Note:

The papers of Alabama photorealist painter David Parrish measure 3.1 linear feet and date from 1940 to 2009, with the bulk of the material from 1964 to 1998. Parrish's career is documented through scattered biographical material; correspondence with galleries, publishers, art organizations, and friends; photographs of Parrish, his studio, and artwork; original artwork by Parrish and others; and printed material.

Biographical material consists of resumes, one folder of financial records, brief artist statements written by David Parrish, and two essays about Parrish's works written by others. Also included is a VHS video recording of an interview with Parrish conducted by Bob Williams in 1997 in conjunction with an exhibition.

Correspondence is primarily of a professional nature and pertains to Parrish's relationships with various galleries, publishers, and arts organizations. Of note is correspondence with galleries that represented Parrish's work including French & Company, Sidney Janis, Nancy Hoffman, and Louis K. Meisel, and correspondence with fellow artist Don Eddy. Also included is a small amount of personal correspondence with friends and family.

Photographs of David Parrish include one baby photo, official portraits, photographs of him in his studio, with family and friends, and at exhibition openings. Also found are photographs and slides of his artwork, including gallery installations and early photographs of the interior of Nancy Hoffman Gallery.

Artwork includes a sketchbook kept by Parrish while a student at the University of Alabama, several ink drawings produced during his employment as a technical illustrator at NASA's Marshall Space Flight Center, and a few sketches by others. Printed material includes exhibition catalogs, announcements, and posters, newspaper clippings, press packets, and other gallery publications documenting Parrish's career as an artist.

Much of the material in the collection includes recent annotations by Parrish describing his involvement with the projects and exhibitions, and identifying friends and colleagues.

Arrangement:

The collection is arranged as 5 series:

Missing Title

Series 1: Biographical Material, circa 1970-2000 (Box 1; 8 folders)

Series 2: Correspondence, 1964-2008 (Box 1, 5; 0.9 linear feet)

Series 3: Photographs, 1940, 1960s-2009 (Boxes 1-2, 5; 0.4 linear feet)

Series 4: Artwork, circa 1961-2002 (Boxes 2, 5; 5 folders)

Series 5: Printed Material, 1962-2009 (Boxes 2-4; 1.5 linear feet)

Biographical Note:

David Parrish (1939-) is a Photorealist painter living in Huntsville, Alabama.

Parrish was born in Birmingham, Alabama, and received his B.F.A. from the University of Alabama in 1961. He briefly moved to New York with plans to become a magazine illustrator, but was unable to find a permanent job. He moved to Huntsville, Alabama in 1962 and became a technical illustrator for Hayes International Corporation. Parrish continued painting at his home studio, moving away from the painting style he learned in school, and instead working on paintings derived from photographs. He left his job as a technical illustrator in 1971 and became a full-time painter. That same year he joined French & Company in New York as a gallery artist and had his first one-man show at Brooks Memorial Art Gallery in Memphis, Tennessee.

During the 1970s Parrish saw success as a first generation photorealist. He was represented from 1973 to 1976 by Sidney Janis Gallery, and then moved to Nancy Hoffman Gallery. In 1987 he joined Louis K. Meisel Gallery, and is still represented by them today. Parrish's motorcycle paintings became his early trademark, and during the late 1980s into the 1990s he painted complex, intricate porcelain still lifes of Marilyn Monroe, Elvis, and other pop culture icons. Parrish has shown his work in numerous group and solo shows, including many international shows, and is in the permanent collection of many museums.

Provenance:

The collection was donated by David Parrish in 2009.

Restrictions:

Use of original papers requires an appointment. Use of video recording 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:

Painters -- Alabama  Search this

Topic:

Artists' studios -- Photographs  Search this

Photo-realism  Search this

Genre/Form:

Resumes

Essays

Interviews

Sketchbooks

Drawings

Photographs

Video recordings

Citation:

David Parrish papers, 1940-2009, bulk 1964-1998. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.parrdavi

See more items in:

David Parrish papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw97448e908-1331-4aa6-90a9-42a943a668e0

EDAN-URL:

ead_collection:sova-aaa-parrdavi

Collection Creator:

De Forest, Roy, 1930-2007  Search this

Container:

Box 3, Folder 17

Type:

Archival materials

Date:

1985

Scope and Contents:

Includes born-digital records, see ER04

Collection Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Use of archival audiovisual recordings and born-digital records with no duplicate copies requires advance notice.

Collection Citation:

Roy De Forest papers, 1916-2015. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by Gerald and Bente Buck. Funding for the digitization of this collection was provided by Gloria Marchant.

See more items in:

Roy De Forest papers

Roy De Forest papers / Series 3: Writings

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw997198e68-ed83-46bb-b9aa-1dec70e96fb2

EDAN-URL:

ead_component:sova-aaa-deforoy-ref47

Creator:

Mosler, Henry, 1841-1920  Search this

Names:

Beard, James Henry, 1812-1893  Search this

Dupré, Julien, 1851-1910  Search this

Ferrier, Gabriel, 1847-1914  Search this

Flameng, François, 1856-1923  Search this

Howe, William Henry, 1846-1929  Search this

Hébert, Ernest, 1817-1908  Search this

Partridge, William Ordway, 1861-1930  Search this

Pelouse, L. G., 1838-1891  Search this

Read, Thomas Buchanan, 1822-1872  Search this

Extent:

4.8 Linear feet

Type:

Collection descriptions

Archival materials

Photographs

Diaries

Sketchbooks

Illustrated notebooks

Drawings

Sketches

Place:

United States -- History -- Civil War, 1861-1865 -- Personal narratives

United States -- History -- Civil War, 1861-1865 -- Journalists

Date:

1856-1929

Summary:

The papers of painter Henry Mosler (1841-1920), who began his career in Cincinnati, Ohio, lived in Germany and Paris for at least 2 decades, and finally settled in New York, measure 4.8 linear feet and date from 1856-1929. The collection documents Mosler's life and career through biographical material, personal and professional letters from members of the military, museums, family, friends and colleagues, writings including an 1862 Civil War diary, personal business records, printed material, artwork and sketchbooks, and photographs of Mosler, his family, colleagues and artwork.

Scope and Content Note:

The papers of painter Henry Mosler (1841-1920), who began his career in Cincinnati, Ohio, lived in Germany and Paris for at least 2 decades, and finally settled in New York, measure 4.8 linear feet and date from 1856-1929. The collection documents Mosler's life and career through biographical material, personal and professional letters from members of the military, museums, family, friends and colleagues, writings including an 1862 Civil War diary, personal business records, printed material, artwork and sketchbooks, and photographs of Mosler, his family, colleagues and artwork.

Biographical material includes passports for Mosler's travel during the Civil War and to the American West in 1875-1876, as well as identification cards and awards from Mosler's years in Germany and Paris, including the Ordre National Légion d'Honneur awarded to him in 1892.

Letters record Mosler's service as an aide-de-camp for the Army of Ohio and his activities as an artist correspondent for Harper's Weekly from 1861-1863 in the Western Theater of the Civil War. However, the bulk of the letters document Mosler's career from the 1880s onward. Found are letters from museums, art associations, government agencies including the Minsistere de l'Instruction Publique et des Beaux-Arts, and colleagues in Europe and the United States including artists James Henry Beard, Julien Dupré, Gabrier Ferrier, Ernest Hébert, William Henry Howe, William Ordway Partridge, and Leon Germain Pelouse, among others. There are also scattered letters from Mosler.

Writings and notes include an 1862 Civil War diary and two illustrated notebooks from 1862 and 1863 containing sketches, and travel and financial notes. Also found are two biographical accounts of Mosler's career and poems by various authors, many inspired by Mosler's paintings.

Personal business records include an account book documenting Mosler's income and expenses from 1869-1878 and 1886-1892, and Library of Congress copyright certificates for four of Mosler's pictures.

Printed material documents Mosler's career in the United States and Europe through news clippings, a brochure, and an exhibition catalog for an 1897 exhibition of his paintings at Galleries of Pape Bros.

Artwork and sketchbooks include six sketches and an engraving by Mosler, and two books containing sketches by Mosler and other artists including James Henry Beard. The series also contains one ink drawing each by Leon Germain Pelouse and E. Hillery.

Photographic material includes albums and individual photographs of Mosler in his studio and with others including his immediate and extended family, and students. Also found are photos of artists including Gabriel Ferrier, Ernest Hébert and Thomas Buchanan Read, Brigadier General R. W. Johnson and opera singers Emma Nevada Palmer and Renée Richards. Photographs of artwork are primarily found in 2 oversized albums dedicated by Mosler to his children, Edith Mosler and Gustave Henry Mosler respectively.

Arrangement:

The collection is arranged as 7 series:

Missing Title

Series 1: Biographical Material, 1863-1892, 1921 (Box 1, OV 10; 4 folders)

Series 2: Letters,1861-circa 1920 (Boxes 1-2; 1.3 linear feet)

Series 3: Writings and Notes, circa 1860-circa 1900 (Boxes 2-3, 6; 0.4 linear feet)

Series 4: Personal Business Records, 1869-1905 (Box 3; 4 folders)

Series 5: Printed Material, circa 1860s-1929 (Box 3; 10 folders)

Series 6: Artwork and Sketchbooks, 1856-1917 (Box 4, OVs 10-11; 0.5 linear feet)

Series 7: Photographic Material, 1860-circa 1910 (Boxes 5-9, BV 12; 2.0 linear feet)

Biographical Note:

Henry Mosler (1841-1920) worked primarily in Ohio, New York City, and Europe as a painter of portraits and scenes of rural life in Europe. Mosler served as an artist correspondent for Harper's Weekly during the Civil War.

Born in Silesia (Poland) in 1841, Henry Mosler immigrated to New York City with his family in 1849. In the early 1850s the family moved to Cincinnati, Ohio, where Mosler received art instruction from James Henry Beard, becoming an accomplished portrait painter and an active participant in the Cincinnati art scene.

Following the outbreak of the Civil War in 1861, Mosler became an artist correspondent for Harper's Weekly, documenting the Western Theater in Kentucky and Tennessee. He served as a volunteer aide-de-camp with the army of Ohio from 1861-1863 and was present at the engagement at Green River, and "present and under fire" at the battles of Shiloh and Perryville.

Immediately thereafter, Mosler relocated to Dusseldorf for two years and attended the Royal Academy, followed by six months in Paris where he studied with painter Ernest Hébert. In 1866 Mosler returned to Cincinnatti where his portraits and genre scenes enjoyed growing popularity.

In 1875 Mosler traveled to Munich and two years later settled in Paris from where he enjoyed critical and financial success both in Europe and in the United States. Mosler was known for his genre paintings of peasant life in rural Brittany and he became a regular participant in Salon exhibitions and won honorable mention in the Salon of 1879, when his painting Le Retour, became the first work by an American artist to be purchased by the French government. In 1888 he won the gold medal at the Paris Salon and in 1892 he was made chevalier de la Legion d'Honneur and officier de l'Académie.

Mosler returned to the United States temporarily during this period, including a trip in 1885-1886 to visit the West and collect material for paintings of Native American life.

In 1894 Mosler returned to the United States and settled in New York, where he became a popular teacher and an active participant in the New York art scene. In 1895 he was made an associate member of the National Academy of Design, and in his last decades took up landscape painting during summers in the Catskill mountains, and produced genre paintings depicting scenes from colonial and rural life. Mosler continued to enjoy widespread popularity until his death in 1920.

Provenance:

The bulk of the collection was donated to the Archives of American Art by J. F. McCrindle, a great-grandson of Mosler, in 1976 and 1977, having been previously lent to AAA for microfilming. A photograph album was donated in 1993 by Paul M. Hertzmann, a dealer who acquired it through purchase. Additional materials were donated in 2008 and 2009 by McCrindle via John T. Rowe, president and CEO of the Joseph F. McCrindle Foundation.

Restrictions:

Use of original papers requires an appointment.

Rights:

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

Topic:

Artists' studios -- Photographs  Search this

Expatriate painters -- France -- Paris  Search this

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

Genre/Form:

Photographs

Diaries

Sketchbooks

Illustrated notebooks

Drawings

Sketches

Citation:

Henry Mosler papers, 1856-1929. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing and digitization of this collection was provided by the Joseph F. McCrindle Foundation and the Terra Foundation for American Art.

Identifier:

AAA.moslhenr

See more items in:

Henry Mosler papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw908db6548-40c0-4817-8902-a69bacd65e62

EDAN-URL:

ead_collection:sova-aaa-moslhenr

Creator:

Amos, Emma, 1937-2020  Search this

Names:

Antioch College  Search this

Mason Gross School of the Arts (Rutgers University)  Search this

Spiral (Group of artists)  Search this

Browne, Vivian E., 1929-1993  Search this

Roth, Moira  Search this

hooks, bell, 1952-2021  Search this

Extent:

37.1 Linear feet

Type:

Collection descriptions

Archival materials

Date:

circa 1900-2019

Summary:

The papers of African American painter and printmaker Emma Amos measure 37.1 linear feet and date from circa 1900 to 2019. The collection documents Amos's family history, her professional life, and the intersection of her heritage and artwork. Found in the collection are biographical materials, family and inherited papers, correspondence, writings, project and exhibition files, teaching files, other professional records, personal business records, printed and photographic materials, and artwork.

Scope and Contents:

The papers of African American painter and printmaker Emma Amos measure 37.1 linear feet and date from circa 1900 to 2019. The collection documents Amos's family history, her professional life, and the intersection of her heritage and artwork. Found in the collection are biographical materials, family and inherited papers, correspondence, writings, project and exhibition files, teaching files, other professional records, personal business records, printed and photographic materials, and artwork.

Biographical materials include Amos's student records from Antioch and New York Universities, her personal Bible, resumes, and video recordings of interviews with bell hooks and Moira Roth. The Amos family and inherited papers of close family friends contain photographs, scrapbooks, correspondence, and memorabilia from Fisk University.

Correspondence is with colleagues at galleries, museums, and arts organizations regarding exhibitions, the Spiral artist group, and Amos's other professional activities, as well as her personal letters with friends and family.

Also found in the collection are writings that include drafts, published copies of essays, autobiographical writings, lecture video recordings, mock-ups of book projects, and a few writings by others. Project and exhibition files are for the television show Show of Hands (1977), The Sky's the Limit installation at IS90, Emma Amos: Paintings and Prints 1982-1992 retrospective exhibition, and the Ralph David Abernathy Memorial Project. Teaching files are from Rutgers University where she served as Chair of Visual Arts at the Mason Gross School of the Arts.

Amos's files for her other professional activities document fellowships and residencies, memberships, presentations at conferences and workshops, travel, and exhibitions she curated such as Progressions: A Cultural Legacy (1986), also co-curated by Julia Hotton and Vivian Browne, and Resisting Categories: Finding Common Ground. Personal business records include gallery files, datebooks, donation and loan records, ledgers and sales books, invoices and receipts, and studio supply records.

Printed materials contain clippings, exhibition announcements and catalogs, magazines and journals, and video recordings of the documentary Emma Amos: Action Lines featuring Amos and her artwork. Photographic materials consist of photographic prints, negatives, transparencies, photographic digital prints, slides, photographs albums, and 1 electronic disc of Amos, family and friends, parties and events, art models, snapshots, and works of art. Artwork contains mainly preparatory and source materials created and collected by Amos for use in her work.

Arrangement:

The collection is arranged as 11 series.

Series 1: Biographical Material, 1937-2012 (1.2 linear feet; Boxes 1-2, 37)

Series 2: Family and Inherited Papers, circa 1900-2017 (3.5 linear feet; Boxes 2-4, 38, OV 43)

Series 3: Correspondence, 1952-2019 (3.2 linear feet; Boxes 4-7)

Series 4: Writings, 1948-2010s (1.5 linear feet; Boxes 7-8, 42)

Series 5: Project and Exhibition Files, 1950s-2019 (8.2 linear feet; Boxes 8-16, 37, OV 45)

Series 6: Teaching Files, 1948-2013 (3.5 linear feet; Boxes 16-20, 37, OV 44)

Series 7: Other Professional Activities, circa 1960s-2018 (4.0 linear feet; Boxes 20-24, 46)

Series 8: Personal Business Records, 1960-2019 (2.0 linear feet; Boxes 24-26, OV 43)

Series 9: Printed Materials, 1908-2019 (4.5linear feet; Boxes 26-30, 39, OV 43, OV 45)

Series 10: Photographic Materials, circa 1900-2010s (3.5 linear feet; Boxes 30-33, 40)

Series 11: Artwork, circa 1940s-2010s (2.0 linear feet; Boxes 33-36, 41)

Biographical / Historical:

Emma Amos (1937-2020) was an African American painter and printmaker in New York, N.Y.

Amos was born in Atlanta, Georgia to a prominent family that had connections to Hale Woodruff, Zora Neale Hurston, and W.E.B. DuBois. Her mother, India DeLaine Amos, received a degree in anthropology from Fisk University in Tennessee and her father, Miles Green Amos, was a pharmacist and graduate of Wilberforce University in Ohio. In 1923, Miles Amos, with his uncle Moses Amos, established the Amos Drug Store which became a social and intellectual center of the neighborhood.

Amos graduated from Booker T. Washington High School at 16. She enrolled at Antioch College where she received a Bachelor of Fine Arts in 1958. During her time at Antioch, Amos would spend part of the year attending classes and the rest of the year working in cities like Washington, D.C., New York, and Chicago where she frequented the local galleries and museums. During her fourth year, she traveled to study at the London Central School of Art with Anthony Harrison. After graduating from Antioch, she returned to London to get a degree in etching in 1960. She later received a Master of Art from New York University in 1966.

At the beginning of Amos's career, she went to New York because of the lack of opportunities in Atlanta. In New York, Amos began teaching art at the Dalton School. She started working with printmakers like Robert Blackburn eventually taking a job with designer Dorothy Liebes in 1961 who she worked for until 1969. Later, Amos taught textile design at Newark School of Art. In 1980, she began teaching at the Mason Gross School of Art at Rutgers University eventually becoming Chair of the Visual Arts department. Amos retired in 2008.

Amos was a member of the influential artist collectives Spiral, Heresies, and Guerilla Girls. She was the creator and host of the WGBH television program about crafts, Show of Hands (1977-1978). She has exhibited her work in numerous exhibitions including Emma Amos, Paintings and Prints, 1982–1992 and Soul of a Nation: Art in the Age of Black Power.

Amos died in Bedford, N.H. in 2020.

Related Materials:

Also in the Archives of American Art are: Oral history interview with Emma Amos, 1968 October 3 and Oral history interview of Emma Amos, 2011 November 19-26.

Provenance:

The collection was donated in 2020 by Emma Amos as part of the Archives' African American Collecting Initiative funded by the Henry Luce Foundation.

Restrictions:

Material regarding the Guerilla Girls is access restricted; written permission is required. Contact Reference Services for more information. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies. Contact References Services for more information.

Rights:

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

Occupation:

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

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

Topic:

African American painters  Search this

African American printmakers  Search this

Women painters  Search this

Women printmakers  Search this

African American artists  Search this

Women artists  Search this

Citation:

Emma Amos papers, circa 1900-2019. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.amosemma

See more items in:

Emma Amos papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw961ea519e-31d8-4638-9487-54641641d72a

EDAN-URL:

ead_collection:sova-aaa-amosemma

Creator:

Smithsonian Institution. Center for Folklife and Cultural Heritage  Search this

Names:

Smithsonian Folklife Festival  Search this

Extent:

1 Cubic foot (approximate)

Type:

Collection descriptions

Archival materials

Audiotapes

Contracts

Photographic prints

Audiocassettes

Negatives

Video recordings

Notes

Sound recordings

Plans (drawings)

Business records

Slides (photographs)

Memorandums

Correspondence

Videotapes

Digital images

Date:

July 1-4, 1967

Summary:

The Smithsonian Institution Festival of American Folklife, held annually since 1967 on the National Mall in Washington, D.C., was renamed the Smithsonian Folklife Festival in 1998. The materials collected here document the planning, production, and execution of the annual Festival, produced by the Smithsonian Center for Folklife and Cultural Heritage (1999-present) and its predecessor offices (1967-1999). An overview of the entire Festival records group is available here: Smithsonian Folklife Festival records.

Scope and Contents note:

This collection documents the planning, production, and execution of the 1967 Festival of American Folklife. Materials may include photographs, audio recordings, motion picture film and video recordings, notes, production drawings, contracts, memoranda, correspondence, informational materials, publications, and ephemera. Such materials were created during the Festival on the National Mall in Washington, D.C., as well as in the featured communities, before or after the Festival itself.

Arrangement note:

Arranged in 5 series.

Missing Title

Series 1: Program Books, Festival Publications, and Ephemera

Series 2: Fieldwork

Series 3: Photographs

Series 4: Audio

Series 5: Video

Historical note:

The Festival of American Folklife, held annually since 1967 on the National Mall in Washington, D.C., was renamed the Smithsonian Folklife Festival in 1998.

The 1967 Festival of American Folklife was produced by the Smithsonian Division of Performing Arts.

For more information, see Smithsonian Folklife Festival records.

Introduction:

In 1966, Smithsonian Secretary S. Dillon Ripley engaged James R. Morris to serve as Director of Museum Services, soon to become a new Division of Performing Arts. Ripley charged Morris to develop a full program of performances on the National Mall - sound and light show, readings and concerts, films, live demonstrations, and special exhibitions. Morris, who had previously organized the American Folk Festival in Asheville, North Carolina, in 1963, proposed that the Smithsonian host a folk festival as the centerpiece of the outdoors activities. Through the Asheville festival, Morris had come into contact with key people involved in the Newport Folk Festival, among them Alan Lomax. It was Lomax who suggested that the Smithsonian hire Newport's then-director of field programs, Ralph C. Rinzler, to help plan a Smithsonian festival. The term "folklife", drawn from Scandinavian usage, was chosen over "folk" as the name of the new Festival.

The first Festival of American Folklife was held July 1-4, 1967 in two tents - one for crafts and one for sales - a music stage, and a performance area on the terrace of the Museum of History and Technology (later, the National Museum of American History). Fifty-eight traditional craftspeople and thirty-two musical and dance groups from throughout the United States demonstrated and performed at the first open-air event. Mountain banjo-pickers and ballad singers, Chinese lion dancers, Indian sand painters, basket and rug weavers, New Orleans jazz bands and a Bohemian hammer dulcimer band from east Texas combined with the host of participants from many rural and urban areas of the U.S. The entire event was free to the public, the expense of the production having been borne by the Smithsonian aided by numerous civic and cultural organizations, business enterprises and State Arts Councils.

The 1967 Festival drew a huge crowd - estimated at more than 400,000 - and strong interest from the press, Members of Congress, and Smithsonian leadership. In the Smithsonian's annual report for 1967, Ripley reflected on the success of the Festival:

Within - in the Museum - the tools, the products of craft work, the musical instruments hang suspended in cases, caught in beautifully petrified isolation. Without, for the space of a few hours they came alive in the hands of specialists from all over America.... It was a moving spectacle and one that underscored the principle that a museum, to be a museum in the best sense of the word, must live and breathe both within and without.

The 1967 Festival marked the inception of a fresh attempt at the evaluation, documentation and celebration of a hitherto unrecognized area of vigorous American expression. Concurrent with the first Festival, an American Folklife Conference was organized (with assistance from Henry Glassie) to address topics of American and international folklife studies, the relationship between folklife and history, applied folklife, and folklife in schools, museums, communities, and government agencies.

The Festival was organized by the Division of Performing Arts, under the direction of James R. Morris. Ralph Rinzler was the Applied Folklore Consultant and Festival Artistic Director, and Marian A. Hope was Project Assistant. No program book or schedule was published, but news articles, congressional remarks, letters from the public, and a list of participants were later compiled in lieu of a program book. That document can be viewed in Series 1.

Participants:

Crafts

Harry Belone, 1912-1986, Navajo sand painter, Arizona

Herman Benton, 1914-1994, scoop maker, New York

Mary Bowers, 1922-2002, Seminole patchwork, needlework, Florida

Marie Z. Chino, 1907-1982, Acoma pottery, New Mexico

Mildred Cleghorn, 1910-1997, Indian cloth dolls, Oklahoma

Maisy Coburn, apple face and corncob dolls, Arkansas

Margaret Coochwytewa, 1923-1995, Hopi, coil and yucca leaves basket maker, Arizona

Victor Coochwytewa, 1922-2011, Hopi silversmith, Arizona

Freedom Quilting Bee, Alabama

Taft Greer, 1908-1986, weaver, Tennessee

Joseph Grismayer, 1888-1970, willow basket maker, Pennsylvania

Dewey Harmon, 1900-1972, whittler, North Carolina

Bea Hensley, 1919-2013, blacksmith, North Carolina

Louise Jones, 1910-1973, coil basket making, South Carolina

Robert Keith, chair maker, North Carolina

Mrs. Robert Keith, chair maker, North Carolina

Norman Kennedy, 1934-, carder, spinner, weaver, Massachusetts

Clifford Lucas, Indian dolls, New Mexico

Lila Suzanne Marshall, 1908-1994, corn shuck dolls, North Carolina

Charles Mayac, 1906-1971, ivory carver, Alaska

Leo J. Meyer, scrimshaw carver, Maryland

Alice Merryman, 1906-2007, corn shuck dolls, Arkansas

Norman Miller, 1905-1972, southern pottery, Alabama

Mrs. Norman Miller, southern pottery, Alabama

Hazel Miracle, 1915-2001, apple face, corn shuck dolls, Kentucky

Homer Miracle, 1910-1980, hand-hewn bowls, carver, Kentucky

Ann Mitchell, corn shuck dolls, Maryland

Golda Porter, spinner, North Carolina

Edd Presnell, 1916-1994, dulcimer maker, North Carolina

Ambrose Roanhorse, 1904-1982, Navajo silversmith, Arizona

Garnet Claw Roanhorse, 1911-1999, Navajo rug weaver, Arizona

Georgianne Robinson, 1917-1985, Osage ribbon work, needlework, Oklahoma

Lou Sesher, 1915-1989, model boat builder, Pennsylvania

Genevieve Tomey, Osage ribbon work, needlework, Oklahoma

Elisia Trivett, rug hooker, North Carolina

Ora Watson, 1909-2004, quilting, North Carolina

Willard Watson, 1905-1994, toy maker, North Carolina

Music

The Baca Family Band, Czech-American polka music, Texas

Libba Cotten, Country guitarist, North Carolina, Washington, D.C.

Dejan's Olympia Brass Brand, New Orleans marching band, Louisiana

Jimmie Driftwood, Ozark ballad singer, Arkansas

First Maryland Regiment Fife and Drum Corps, martial music, Maryland

John Jackson, Songster and blues singer, Virginia

Bessie Jones (1902-1984) and the Georgia Sea Island Singers, shouts, jubilees, spirituals, and ring games, Georgia

Norman Kennedy, Scots ballad singer, Massachusetts

Clark Kessinger, 1896-1975, mountain fiddler, West Virginia

Vinice Lejeune (1919-1993) Group, Cajun band, Louisiana

The McGee Brothers with Sid Harkreader, String band, Tennessee

Sam McGee, 1894-1975

Kirk McGee, 1899-1983

Gene Meade, West Virginia

The Moving Star Hall Singers, shouts, jubilees, spirituals, and ring games, South Carolina

Glenn Ohrlin, cowboy singer, Arkansas

Grace Papakee, 1907-1982, Mesquakie Indian music, Iowa

John Papakee, 1895-1981, Mesquakie Indian music, Iowa

Billie Pierce (1907-1974) and De De Pierce (1904-1973) and the Preservation Hall Jazz Band, New Orleans jazz, Louisiana

Almeda Riddle, Ozark ballad singer, Arkansas

Scottish Pipe Band, highland marching music, Washington, D.C.

Wade Ward (1892-1971) and the Buck Mountain Band, mountain string band, Virginia

Yomo Toro Band, Puerto Rican music, New York

Ed Young (1910-1972), G.D. Young and Lonnie Young (1903-1976), African American fife and drum group, Mississippi

Young People's Chorus from the Scripture of Church of Christ, gospel, Virginia

Dance

Blue Ridge Mountain Dancers, cloggers, North Carolina

Chinese Lion Group, Washington, D.C.

Maurice Flowers, square dance caller, Maryland

Los Gallegos d'Espana, Galician dance, New York

Glinka Dancers, Russian dance group, New Jersey

Jochim Koyuk, King Island Eskimo dancer, Alaska

Mrs. Jochim Koyuk, King Island Eskimo dancer, Alaska

McNeff Dancers, Irish dancing with Ceilidh band, New York

Henry Paterick, square dance caller, Virginia

St. Andrews Society Group, Scottish dancing, Washington, D.C.

Shared Stewardship of Collections:

The Center for Folklife and Cultural Heritage acknowledges and respects the right of artists, performers, Folklife Festival participants, community-based scholars, and knowledge-keepers to collaboratively steward representations of themselves and their intangible cultural heritage in media produced, curated, and distributed by the Center. Making this collection accessible to the public is an ongoing process grounded in the Center's commitment to connecting living people and cultures to the materials this collection represents. To view the Center's full shared stewardship policy, which defines our protocols for addressing collections-related inquiries and concerns, please visit https://folklife.si.edu/archives#shared-stewardship.

Forms Part Of:

Smithsonian Folklife Festival records: 1967 Festival of American Folklife forms part of the Smithsonian Folklife Festival records .

Smithsonian Folklife Festival records

Smithsonian Folklife Festival records: Papers

1967 Festival of American Folklife records - [Ongoing]

Related Archival Materials note:

Within the Rinzler Archives, related materials may be found in various collections such as the Ralph Rinzler papers and recordings, the Lily Spandorf drawings, the Diana Davies photographs, the Robert Yellin photographs, and the Curatorial Research, Programs, and Projects collection. Additional relevant materials may also be found in the Smithsonian Institution Archives concerning the Division of Performing Arts (1966-1983), Folklife Program (1977-1980), Office of Folklife Programs (1980-1991), Center for Folklife Programs and Cultural Studies (1991-1999), Center for Folklife and Cultural Heritage (1999-present), and collaborating Smithsonian units, as well as in the administrative papers of key figures such as the Secretary and respective deputies. Users are encouraged to consult relevant finding aids and to contact Archives staff for further information.

Restrictions:

Access to the Ralph Rinzler Folklife Archives and Collections is by appointment only. Visit our website for more information on scheduling a visit or making a digitization request. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies.

Rights:

Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.

Topic:

Folklore  Search this

Folk art  Search this

Folk festivals  Search this

Food habits  Search this

arts and crafts  Search this

Folk music  Search this

World music  Search this

Genre/Form:

Audiotapes

Contracts

Photographic prints

Audiocassettes

Negatives

Video recordings

Notes

Sound recordings

Plans (drawings)

Business records

Slides (photographs)

Memorandums

Correspondence

Videotapes

Digital images

Citation:

Smithsonian Folklife Festival records: 1967 Festival of American Folklife, Ralph Rinzler Folklife Archives and Collections , Smithsonian Institution.

Identifier:

CFCH.SFF.1967

See more items in:

Smithsonian Folklife Festival records: 1967 Festival of American Folklife

Archival Repository:

Ralph Rinzler Folklife Archives and Collections

GUID:

https://n2t.net/ark:/65665/bk529e94ea3-000d-4513-b130-8a8ea3e935bd

EDAN-URL:

ead_collection:sova-cfch-sff-1967

Artist:

Horace Pippin, American, b. West Chester, Pennsylvania, 1888–1946  Search this

Medium:

Oil on canvas

Dimensions:

18 x 33 1/8 in. (45.6 x 84.2 cm)

Type:

Painting

Date:

(c, 1939)

Credit Line:

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

Accession Number:

66.4071

See more items in:

Hirshhorn Museum and Sculpture Garden Collection

School:

Outsider Art

Data Source:

Hirshhorn Museum and Sculpture Garden

GUID:

http://n2t.net/ark:/65665/py203a2af7d-fd7e-4394-bf75-5528cbadde07

EDAN-URL:

edanmdm:hmsg_66.4071

Published by:

Playbill, American, founded 1884  Search this

Subject of:

Billy Daniels, American, 1915 - 1988  Search this

Paula Wayne  Search this

Kenneth Tobey, American, 1917 - 2002  Search this

Ted Beniades, American, born 1922  Search this

Roy E Glenn, American, 1914 - 1971  Search this

Ja'net Dubois, American, born 1945  Search this

Johnny Brown, American, born 1937  Search this

Jaime Rogers  Search this

Louis Gossett Jr., American, born 1936  Search this

Charles Welch, American, 1921 - 2004  Search this

Don Crabtree  Search this

Lola Falana, American, born 1942  Search this

Medium:

ink on paper

Dimensions:

H x W: 9 x 6 in. (22.9 x 15.2 cm)

Type:

theater programs

Place used:

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

Date:

1964

Topic:

African American  Search this

Actors  Search this

Broadway Theatre  Search this

Jazz (Music)  Search this

Musical Theatre  Search this

Credit Line:

Collection of the Smithsonian National Museum of African American History and Culture, Gift of Kayla Deigh Owens

Object number:

2011.45.34

Restrictions & Rights:

Playbill used by permission. All rights reserved, Playbill Inc

Permission required for use. Proper usage is the responsibility of the user.

See more items in:

National Museum of African American History and Culture Collection

Classification:

Memorabilia and Ephemera

Data Source:

National Museum of African American History and Culture

GUID:

http://n2t.net/ark:/65665/fd5ae36f1be-b0cd-46b1-9afa-97b466a2b172

EDAN-URL:

edanmdm:nmaahc_2011.45.34

Published by:

Playbill, American, founded 1884  Search this

Used by:

Lunt-Fontanne Theatre, American, founded 1910  Search this

Subject of:

Titos Vandis, Greek, 1917 - 2003  Search this

Taina Elg, Finnish, born 1930  Search this

Carmen Alvarez, American, born 1934  Search this

Patti Karr, American, born 1932  Search this

Maggie Task, American, 1924 - 2000  Search this

Linda Andrews  Search this

Richard Graham, British, born 1960  Search this

Anita Sheer, American, 1935 - 1996  Search this

Medium:

ink on paper

Dimensions:

H x W: 9 x 6 in. (22.9 x 15.2 cm)

Type:

theater programs

Place used:

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

Date:

1970

Topic:

African American  Search this

Broadway Theatre  Search this

Musical Theatre  Search this

Credit Line:

Collection of the Smithsonian National Museum of African American History and Culture, Gift of Kayla Deigh Owens

Object number:

2011.45.55

Restrictions & Rights:

Playbill used by permission. All rights reserved, Playbill Inc

Permission required for use. Proper usage is the responsibility of the user.

See more items in:

National Museum of African American History and Culture Collection

Classification:

Memorabilia and Ephemera

Data Source:

National Museum of African American History and Culture

GUID:

http://n2t.net/ark:/65665/fd5792ff34d-728f-469c-a203-01776b1c730a

EDAN-URL:

edanmdm:nmaahc_2011.45.55

Published by:

Playbill, American, founded 1884  Search this

Subject of:

Lisa Gay Hamilton, American, born 1964  Search this

Marius Weyers, South African, born 1945  Search this

Medium:

ink on paper

Dimensions:

H x W: 8 1/2 x 5 3/8 in. (21.6 x 13.7 cm)

Type:

theater programs

Place used:

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

Date:

1996

Topic:

African American  Search this

Drama (Theatre)  Search this

Credit Line:

Collection of the Smithsonian National Museum of African American History and Culture, Gift of Kayla Deigh Owens

Object number:

2011.45.97

Restrictions & Rights:

Playbill used by permission. All rights reserved, Playbill Inc

Permission required for use. Proper usage is the responsibility of the user.

See more items in:

National Museum of African American History and Culture Collection

Classification:

Memorabilia and Ephemera

Data Source:

National Museum of African American History and Culture

GUID:

http://n2t.net/ark:/65665/fd5555c9677-1252-416b-a775-e1db7dbd347f

EDAN-URL:

edanmdm:nmaahc_2011.45.97

Subject of:

MelPat Associates, American, 1965 - 1986  Search this

Lou Rawls, American, 1933 - 2006  Search this

United Negro College Fund, American, founded 1944  Search this

President Jimmy Carter, American, born 1924  Search this

Wilma Rudolph, American, 1940 - 1994  Search this

National Urban League, American, founded 1910  Search this

American Association of Blacks in Energy, American, founded 1977  Search this

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

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

Interracial Council for Business Opportunity, American, founded 1963  Search this

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

American Bridge Association, American, founded 1932  Search this

African Methodist Episcopal Zion Church, American, founded 1821  Search this

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

The Girl Friends, Inc., American, founded 1927  Search this

Prince Hall Freemasonry, founded 1784  Search this

Sears, Roebuck & Co., American, founded 1893  Search this

Morehouse College, American, founded 1867  Search this

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

National Newspaper Publishers Association, American, founded 1827  Search this

National Pharmaceutical Association, American, founded 1947  Search this

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

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

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

National Association of Negro Musicians, Inc., founded 1919  Search this

The Links, Incorporated, American, founded 1946  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

Republican Party, American, founded 1854  Search this

Charms, Inc., American, founded 1952  Search this

Alpha Kappa Alpha Sorority, Incorporated, founded 1908  Search this

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

Zeta Phi Beta Sorority, American, founded 1920  Search this

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

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

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

National Pharmaceutical Association, American, founded 1947  Search this

National Medical Association, American, founded 1895  Search this

National Association of Negro Musicians, Inc., founded 1919  Search this

National Association of University Women, American, founded 1910  Search this

Shriners International, American, founded 1870  Search this

Daughters of Isis, American, founded 1910  Search this

American Tennis Association, American, founded 1916  Search this

Democratic Party, American, founded 1828  Search this

CBS Broadcasting, Inc., American, founded 1927  Search this

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

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

Congressional Black Caucus, American, founded 1971  Search this

369th Veterans Association, American  Search this

Benjamin Hooks, American, 1925 - 2010  Search this

National Bankers Association, American, founded 1927  Search this

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

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

Phi Beta Sigma Fraternity, American, founded 1914  Search this

Alliance for Women in Media, American, founded 1951  Search this

Created by:

C. Melvin Patrick, American, died 1985  Search this

Medium:

ink on paper

Dimensions:

H x W x D: 10 13/16 × 8 7/16 × 7/16 in. (27.5 × 21.4 × 1.1 cm)

Type:

magazines (periodicals)

Place made:

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

Date:

1980

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

Television  Search this

The Black Church  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:

2012.167.14

Restrictions & Rights:

Public domain

Proper usage is the responsibility of the user.

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/fd533a4aa5f-52b1-4ee7-8dd0-1df51498bd61

EDAN-URL:

edanmdm:nmaahc_2012.167.14

Published by:

MelPat Associates, American, 1965 - 1986  Search this

Created by:

C. Melvin Patrick, American, died 1985  Search this

Subject of:

WLIB, American, founded 1941  Search this

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

American Bridge Association, American, founded 1932  Search this

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

Interracial Council for Business Opportunity, American, founded 1963  Search this

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

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

Vulcan Society, American, founded 1940  Search this

National Urban League, American, founded 1910  Search this

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

Prince Hall Freemasonry, founded 1784  Search this

National Urban Coalition, American, founded 1967  Search this

National Newspaper Publishers Association, American, founded 1827  Search this

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

The Links, Incorporated, American, founded 1946  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

Carats, Inc., American, founded 1959  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

Vernon Jordan, American, born 1935  Search this

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

Phi Beta Sigma Fraternity, American, founded 1914  Search this

Zeta Phi Beta Sorority, American, founded 1920  Search this

National Dental Association, American, founded 1913  Search this

National Funeral Directors and Morticians Association, Inc., American, founded 1924  Search this

Delta Sigma Theta Sorority, American, founded 1913  Search this

Connectional Lay Council, American, founded 1948  Search this

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

Shriners International, American, founded 1870  Search this

Daughters of Isis, American, founded 1910  Search this

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

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

Congressional Black Caucus, American, founded 1971  Search this

Morehouse Alumni Association, American, founded 1900  Search this

Morris Brown College, American, founded 1881  Search this

Dr. Ralph Bunche, American, 1903 - 1971  Search this

Lionel Hampton, American, 1908 - 2002  Search this

National Urban League Guild, American, founded 1946  Search this

Young Men's Christian Association (YMCA), International, founded 1844  Search this

Alliance for Women in Media, American, founded 1951  Search this

Eleanor Holmes Norton, American, born 1937  Search this

Vernon Jordan, American, born 1935  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:

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

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

Date:

1981

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

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:

2012.167.15

Restrictions & Rights:

Public domain

Proper usage is the responsibility of the user.

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/fd5af48a13c-8c71-4105-9526-479c0bc3bb3e

EDAN-URL:

edanmdm:nmaahc_2012.167.15

Created by:

Abbott's Monthly, American, 1929 - 1933  Search this

Published by:

Robert Sengstacke Abbott, American, 1830 - 1940  Search this

Edited by:

Lucius Clinton Harper, American, 1895 - 1952  Search this

Medium:

ink on paper

Dimensions:

H x W x D: 11 3/8 x 8 9/16 x 1/4 in. (28.9 x 21.7 x 0.6 cm)

Type:

magazines (periodicals)

Place made:

3435 Indiana Avenue, Chicago, Cook County, Illinois, United States, North and Central America

Place depicted:

Uruguay, Latin America, South America

Date:

May 1931

Topic:

African American  Search this

Black Press  Search this

Literature  Search this

Mass media  Search this

Credit Line:

Collection of the Smithsonian National Museum of African American History and Culture, Gift of Bobbie Ross in memory of Elizabeth Dillard

Object number:

2012.84.1

Restrictions & Rights:

Public domain

Proper usage is the responsibility of the user.

See more items in:

National Museum of African American History and Culture Collection

Classification:

Documents and Published Materials-Published Works

Exhibition:

Making a Way Out of No Way

On View:

NMAAHC (1400 Constitution Ave NW), National Mall Location, Community/Third Floor, 3 050

Data Source:

National Museum of African American History and Culture

GUID:

http://n2t.net/ark:/65665/fd58f7ecbd1-e6d0-4323-9d05-7542750216f8

EDAN-URL:

edanmdm:nmaahc_2012.84.1

Published by:

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

Edited by:

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

Medium:

ink on paper

Dimensions:

9 3/4 x 6 3/4 x 1/8 in. (24.8 x 17.1 x 0.3 cm)

Type:

magazines (periodicals)

Place printed:

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

Date:

March 1915

Topic:

African American  Search this

Advertising  Search this

Associations and institutions  Search this

Black Press  Search this

Business  Search this

Civil Rights  Search this

Education  Search this

Literature  Search this

Mass media  Search this

Poetry  Search this

Politics  Search this

Race relations  Search this

Social life and customs  Search this

Social reform  Search this

Credit Line:

Collection of the Smithsonian National Museum of African American History and Culture, Gift of Bobbie Ross in memory of Elizabeth Dillard

Object number:

2012.84.16

Restrictions & Rights:

Public Domain

Proper usage is the responsibility of the user.

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/fd58bc64d58-cb0f-40ab-ba98-6f24d2815ef2

EDAN-URL:

edanmdm:nmaahc_2012.84.16