Scattered biographical materials include a membership card, a resume, and receipts for supplies. Early correspondence is with museums and institutions regarding Shibley's participation in exhibitions and the Works Progress Administration. Also found is a letter from Hans Hofmann confirming Shibley's attendance at the Hans Hofmann School of Fine Arts. The bulk of Shibley's correspondence is with friends and includes many handmade holiday and greeting cards from Eugene Arcieri, Judith Shah and Alan Dugan, Allen Leepa, Beatrice Mandelman, Joe and Margaret Meert, Lia Nickson, Frank and Gert Russel, Val Telberg, and Florence Weinstein.
Photographs depict Gertrude Shibley, her husband Allen, and friends and family. Also found are photographs of works of art and slides. Printed materials include clippings and exhibition announcements and catalogs focusing on Shibley's career. Also found are two sketchbooks with pen sketches of flowers, buildings, and landscapes, some of which are dated and signed; and painted abstract sketches.
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:
Gertrude Shibley papers, 1941-1975. Archives of American Art, Smithsonian Institution.
Sponsor:
Processing of this collection received support from the Smithsonian American Women's History Initiative.
The papers of painter, printmaker, and curator Jacob Kainen measure 33.3 linear feet and date from 1905 to 2009, with the bulk of the material from 1940-2001. The bulk of the collection consists of correspondence/subject files including personal correspondence to and from friends and family members and professional correspondence and records concerning Kainen's activities as an artist, curator, teacher, and art collector. The collection also contains biographical material, writings, diaries, calendars, inventories, interview transcripts, printed material, photographs, works of art by other artists, and nine scrapbooks.
Scope and Content Note:
The papers of painter, printmaker, and curator Jacob Kainen measure 33.3 linear feet and date from 1905 to 2009, with the bulk of the material from 1940-2001. The bulk of the collection consists of correspondence/subject files including personal correspondence to and from friends and family members and professional correspondence and records concerning Kainen's activities as an artist, curator, teacher, and art collector. The collection also contains biographical material, writings, diary and journal entries, calendars, inventories, interview and "dialog" transcripts, printed material, photographs, works of art by other artists, and nine scrapbooks.
Biographical materials include items concerning Kainen's career as a curator and artist, in addition to a useful bibliography, detailed biographical outline, and a copy of an FBI report compiled on him. Also included are five videocassette recordings of Kainen.
Alphabetical correspondence/subject files comprise the bulk of the collection and include both Jacob's and Ruth's correspondence with family, friends, colleagues, artists, art critics, curators, museums, arts organizations, galleries, and many others. There is a significant amount of correspondence with David Acton, the Addison Gallery of Art and Jock Reynolds, William Agee, Australian National Gallery, Baltimore Museum of Art, Avis Berman, the British Museum, Brooklyn Museum, Elizabeth Broun and the Smithsonian American Art Museum, Bryce Butler, Pheobe Cole, the Corcoran Gallery and School of Art, Richard Field, Ruth Fine, Fort Wayne Museum of Art, Newton Frohlich, Gordon Gilkey and the Pacific Northwest College of Art, Arshile Gorky, Piri Halesz, Carol Harrison, Donald Holden, Wilhelmina Holladay, John Baptist Jackson, Jim Jordon, Lou Kantor, Harry Lunn Jr., Middendorf Gallery, National Gallery of Art, Peter Morse, Gerald Nordland, Francis O'Connor, Jerome Pollack, Richard Powell, Ann Purcell, Harry Rand, Martin Ries, Joseph Solman, Leo Steinberg, Prentiss Taylor, Victorino Tejera, Valerie Thornton, Joanne Weber, and numerous family members.
Writings are by and about Jacob Kainen. Kainen's writings include articles, lectures, exhibition catalog essays, notes, travel notebooks, short stories, poems, and written statements about his artistic motivations and justifications. There are writings about Kainen by Avis Berman, Ruth Cole Kainen, and others. The bulk of the numerous diary entries are from Ruth Cole Kainen's diaries, many of which concern Jacob and their family. There are also annotated and revised diary entries. There is one folder of diary entries and one folder of journal entries by Jacob Kainen and two dismantled journal-like notebooks. The papers include daily calendars and travel itineraries from 1972 through 2001.
The papers include transcripts of formal interviews and informal conversations with Jacob Kainen. Transcripts are of informal dinner, telephone, and general conversations between friends, colleagues, artists, and Ruth Cole Kainen. Included are conversations with Avis Berman, Walter Hopps, Harry Rand, Joshua Taylor, and several others. Many of these transcripts were also annnotated by Jacob and Ruth Kainen. Also found are numerous transcripts of more formal interviews with Kainen by art historians, art critics, and students.
There are inventories, appraisals, and lists of sold and not sold paintings, as well as color photographs of some of Kainen's works of art. Also found are inventories of the Kainens' art collection. Printed materials include Kainen's exhibition catalogs and announcements, clippings of articles by and about Jacob Kainen, and an exhibition guestbook.
Photographs are of Kainen with his family and friends, at exhibition openings, and working in his studios. Works of art by others includes handmade greeting cards, limited edition prints, and portfolios given to Jacob Kainen. Nine scrapbooks containing news clippings and exhibition publications document the entirety of Kainen's career as an artist.
Arrangement:
The Jacob Kainen papers are arranged into 11 series.
Missing Title
Series 1: Biographical Material, 1938-2001 (Boxes 1, 32; 0.8 linear feet)
Series 2: Correspondence/Subject Files, 1936-2003 (Boxes 1-12, 32-33; 11.8 linear feet)
Series 3: Writings, circa 1920s-2002 (Boxes 12-13, 33; 1.6 linear feet)
Series 4: Diaries, circa 1952-2002 (Boxes 13-18, 33-38; 10.0 linear feet)
Series 5: Calendars, 1953-2008 (Boxes 18-20, 38; 1.7 linear feet)
Series 6: Transcripts, circa 1975-1994 (Boxes 20-21, 38; 1.4 linear feet)
Series 7: Inventories, 1927-2001 (Boxes 21-22; 1.0 linear feet)
Series 8: Printed Material, 1938-2003 (Box 22, 38, OV 31; 0.6 linear feet)
Series 9: Photographs, 1905-2000 (Boxes 22-25, 38, OV 31; 3.3 linear feet)
Series 10: Works of Art by Others, 1942-2000 (Boxes 25-26, OV 31; 1.2 linear foot)
Series 11: Scrapbooks, 1936-1998 (Boxes 27-30, 38; 1.3 linear feet)
Biographical Note:
Jacob Kainen (1909-2001) was a painter, printmaker, and curator who worked primarily in Washington, D.C.
Born on December 7, 1909 in Waterbury, Connecticut, Jacob Kainen moved with his family to New York City in 1918. Kainen studied at the Pratt Institute in Brooklyn from 1927 until 1930, and at the Art Student's League. In the early 1930s, Kainen became involved in social causes and formed close friendships with the early abstractionists, including John Graham, Arshile Gorky, and Stuart Davis. He joined the Artists' Union and a contributor to its journal, Art Front, along with Stuart Davis and Harold Rosenberg. Jacob's participation in the Artists' Union was later investigated by the FBI.
From 1935 until 1942, Kainen worked for the Graphic Arts Division of the Works Progress Administration in New York City and began exhibiting with the New York School. It was during this period that he married Bertha Friedman. Jacob and Bertha had two sons together, Dan and Paul, and divorced in 1968.
In 1942, Kainen made a life-changing decision to leave New York City and move to Washington, D.C. to accept what he thought would be a temporary position as a scientific aide in the Division of Graphic Arts at the Smithsonian Institution. Kainen quickly became Assistant Curator and Curator in 1946. He served as Curator for twenty years, completely reshaping the department and building the graphic arts collection. His print exhibitions brought the work of S.W. Hayter, Josef Albers, Adja Yunkers, Louis Lozowick, Karl Schrag, José Guerrero, Louis Schanker, Werner Drewes, and Boris Margo to Washington audiences - graphic work that might not have been shown that early in the area.
1947 marked the opening of the Washington Workshop Center for the Arts, where Kainen served as a teacher and guide to several important artists, helping to make the workshop a magnet for new talent and instrumental in furthering the careers of several artists. Although Kainen taught Gene Davis and Alma Thomas and introduced Morris Louis to Leon Berkowitz, he never considered himself a member of the "Washington Color School."
In 1949, the Corcoran Gallery of Art held a retrospective of Kainen's prints and three years later Kenneth Noland organized Kainen's first painting retrospective at Catholic University. Kainen's paintings from the 1940s illustrated a shift away from social realism toward abstract expressionism. In 1956, Jacob Kainen received a grant from the American Philosophical society to conduct research in Europe for his monograph on the English woodcut artist, John Baptist Jackson. He traveled to Europe again in 1962 to study paintings and prints from the Mannerist Period.
From 1966 until 1970, Kainen worked as the Curator of prints and drawings at the National Collection of Fine Arts (now the Smithsonian American Art Museum). He married Ruth Cole in February of 1969. Kainen retired from the Smithsonian a year later to devote himself full-time to his art, but continued to serve as a special consultant to the Smithsonian American Art Museum for nineteen years. In 1971 and 1972, Kainen taught painting and the history of printmaking at the University of Maryland. A retrospective of Kainen's paintings was held in 1993 at the National Museum of American Art (SAAM).
Throughout his artistic career, Kainen experimented with different mediums and explored different styles, yet he identified himself as a painter. Jacob Kainen participated in at least twenty-five one man shows and several group exhibitions. His works are in collections across the United States and abroad, including the National Gallery of Art, the Metropolitan Museum of Art, the Art Institute of Chicago, and the British Museum. He worked in his studio up until the time of his death on March 19, 2001 at his home in Chevy Chase, Maryland.
Related Material:
Found among the holdings of the Archives of American Art is an oral history interview of Jacob Kainen conducted by Avis Berman in 1982 for the Archives' "Mark Rothko and His Times" oral history project. Also found are microfilm copies of Bertha Kainen's correspondence with Avis Berman regarding Berman's essay about Jacob Kainen.
Separated Material:
The Archives of American Art also holds microfilm of material lent for microfilming (reels 565, 2147-2149, and 2200) including correspondence, writings by Kainen, and papers relating to the Smithsonian Institution Loyalty Board's investigation of Jacob Kainen from 1942-1954. Most, but not all, of the loaned materials were included in later gifts. Loaned materials not donated at a later date remain with the lender and are not described in the container listing of this finding aid.
Provenance:
Jacob and Ruth Kainen first lent the Archives of American Art material for microfilming from 1973-1981, the bulk of which was included in the later gifts. Papers were then donated in multiple accretions between 1981-2007 by Jacob and Ruth Kainen, and in 2009 from the estate of Ruth Kainen via executor Teresa Covacevich Grana. Also in 2003, eight photographs of Jacob and Ruth Kainen were transferred from the National Portrait Gallery to the Archives of American Art.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. 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.
The papers of African American abstract expressionist painter Ed Clark measure 8.9 linear feet and date from 1923 to 2017. The collection documents Clark's work as a professional artist through biographical material; correspondence with family, galleries, and friends, most notably Cinque Gallery, Herbert Gentry, Bill Hutson, and Ted Joans; writings, including documentation for the book Edward Clark: For the Sake of the Search; personal business records, including consignment and sales records; and material related to professional activities, including files on significant exhibitions and projects, gallery files, and teaching records. Also in the collection are exhibition announcements, catalogs, news clippings, and other printed material documenting Clark's work; photographic material depicting Ed Clark, his artwork, and other individuals; and a small amount of original artwork by Clark and others.
Scope and Contents:
The papers of African American abstract expressionist painter Ed Clark measure 8.9 linear feet and date from 1923 to 2017. The collection documents Clark's work as a professional artist through biographical material; correspondence with family, galleries, and friends, most notably Cinque Gallery, Herbert Gentry, Bill Hutson, and Ted Joans; writings, including documentation for the book Edward Clark: For the Sake of the Search; personal business records, including consignment and sales records; and material related to professional activities, including files on significant exhibitions and projects, gallery files, and teaching records. Also in the collection are exhibition announcements, catalogs, news clippings, and other printed material documenting Clark's work; photographic material depicting Ed Clark, his artwork, and other individuals; and a small amount of original artwork by Clark and others.
Arrangement:
The collection is arranged as eight series.
Series 1: Biographical Material, 1943-2016 (Boxes 1, 10; 0.5 linear feet)
Series 2: Correspondence, 1926, circa 1943-2016 (Boxes 1-3; 2.1 linear feet)
Series 3: Writings, 1955, 1980-2006, 2015, undated (Boxes 3-4, 10; 0.7 linear feet)
Series 4: Personal Business Records, 1953, 1966-2015 (Boxes 4, 10; 0.9 linear feet)
Series 5: Professional Activities, circa 1954-2016 (Boxes 4-5, 10; 0.7 linear feet)
Series 6: Printed Material, 1923-1926, 1950-2017, undated (Boxes 5-8, 10, OV 11-14; 3.3 linear feet)
Series 7: Photographic Material, 1928, 1952-2014, undated (Boxes 8-9, 10; 0.6 linear feet)
Series 8: Artwork, 1977-1997, undated (Boxes 9-10, OV 14; 0.1 linear feet)
Biographical / Historical:
Ed Clark (1926- ) is an abstract expressionist painter who worked in Paris, France and New York. Clark was born in New Orleans, Louisiana in 1926. He studied at the Art Institute of Chicago from 1946 to 1951 and enrolled at the Académie de la Grande Chaumièré in Paris after his arrival there in 1952. After his return to the United States, Clark became a charter member of the Brata Gallery. In 1957 he premiered his shaped canvas at the Brata Gallery Christmas group show. This shaped canvas is generally considered to be the first of its kind. In 1958, he began using a push broom to apply broad strokes of color to canvases on his studio floor.
Ed Clark has received multiple awards and honors including the National Endowment for the Arts' Master Award (1972), the United States Congressional Achievement Award (1994), and the Art Institute of Chicago's Legends and Legacy Award (2013). He has exhibited widely and his work is held in many collections including the Art Institute of Chicago, the California Afro-American Museum, the Centro de Arté Moderno in Guadalajara, Mexico, the Detroit Institute of the Arts, Louisiana State University, the Smithsonian National Museum of African American History and Culture, and the New York Public Library Schomburg Center.
Related Materials:
A 30-minute documentary recording, Ed Clark: a brush with success (2007) produced by Mark Hammond and Charles Martin is available at the Anacostia Community Museum Library.
Provenance:
The Ed Clark papers were donated to the Archives of American Art by Melanca Clark, Ed Clark's daughter.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Use of archival audiovisual recordings and born-digital records with no duplicate copies requires advance notice.
Occupation:
Painters -- New York (State) -- New York Search this
Charline von Heyl and Dodie Kazanjian. Interviews about self-portraits with Charline von Heyl and Dana Schutz, 2003 August 13-October 5. Dodie Kazanjian papers, 1949-2017. Archives of American Art, Smithsonian Institution.
Biographical material; correspondence; a diary; writings; art work; subject files; photographs; printed material; and two scrapbooks.
Biographical accounts; a passport; a list of paintings in collections; a grant application; personal correspondence, including letters from Abraham Rattner from Paris describing the Parisian art scene; professional correspondence regarding the controversy ove Ney's mural for the New London, Ohio post office and letters from Hilla Rebay of the Solomon R. Guggenheim Museum, N.Y.C.; a diary, 1918, chronicling Ney's army experience in France; a subject file containing preliminary drawings, clippings, and photographs of the New London mural; a sketchbook of mural studies; photographs of Ney's art works, portraits of Ney, and exhibition installations; clippings; exhibition catalogs and announcements; unpublished manuscripts; two typescripts by Hilla Rebay and James W. Riley; two scrapbooks containing photographs, printed material, and letters relating to Ney's studies at the Pennsylvania Academy of Fine Arts; a drawing, "The Declaration of France," by Joseph Mielziner; miscellaneous printed material.
Biographical / Historical:
Lloyd Raymond Ney (1893-1964 or 5) was a Non-objective painter from New Hope, Pennsylvania and New York, N.Y. Known also as Bill Ney. Born in Friedenburg, Pennsylvania and studied at the Pennsylvania Museum School of Industrial Art and at the Pennsylvania Academy of the Fine Arts. Won a Cresson travelling scholarship in 1917 and upon completing his WWI tour in Europe, travelled to France with Abraham Rattner. Ney was commissioned to paint the post office in New London, Ohio by the Section of Fine Arts of the Department of Treasury which became a controversial issue. He was one of Hilla Rebay's favored non-objective painters.
Provenance:
Donated by Gretchen Ney Laugier, Ney's daughter. Microfilmed in 1989 as part of AAA's Philadelphia Arts Documentation Project.
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.
Drafts of letters and a few letters received; business records; legal documents; writings; printed material; and photographs primarily regarding Bauer's work as a non-objective painter, and his relationship with the Solomon R. Guggenheim Foundation and its first director Hilla Rebay.
Included are typescripts of two lengthy, rambling letters (24 p. and 45 p. single spaced) from Bauer to Rebay and two to Frank Lloyd Wright (11 p. and 40 p. single spaced) concerning his relationship with the Guggenheim Foundation and its design; a file on the Foundation, 1938-1945, containing internal reports of activities, memorandum, letters, and documents, some concerning the controversy surrounding efforts to remove Rebay as director; writings and notes by Bauer on his philosophies about contemporary art and museums; writings and lectures by Rebay on non-objective painting, 1941-1942; printed material, 1918-1969, including clippings, exhibition announcements, catalog entries, and reproductions of Bauer's work;
photographs of Bauer, his family, friends, home, car, works of art and exhibition installations; scattered business records, including shipping lists for paintings, and tax and immigration documents; a file on Bauer's antique Duesenberg Phaeton car; and a few letters to Bauer's widow, Louise Parry, including 2 from Otto Nebel, one enclosing a woodblock print, and one from Rebay's biographer, Joan Lukach, 1983.
Included in the Guggenheim Foundation file are a letter from Solomon Guggenheim to the U.S. Attorney, 1942, requesting that Bauer be allowed to visit New York without the required permit due to the frequency of Guggenheim's requests for Bauer's advice, and a letter from Frank Crowninshield, editor of Vogue, 1938, to the Foundation, requesting information on Bauer's arrival in the U.S.
Biographical / Historical:
Abstract painter, New York, N.Y. Born in Germany, Bauer's work in non-objective painting was promoted by Solomon R. Guggenheim's art advisor, and later museum director, curator Hilla Rebay, and Bauer became a paid advisor to Solomon R. Guggenheim and Rebay in the formation of the Solomon R. Guggenheim Foundation (1937), later the Museum of Non-Objective Painting (1939), and then after Guggenheim's death, the Solomon R. Guggenheim Museum (1949). Guggenheim and Rebay later dropped him due to Bauer's intense criticism of the Foundation and Rebay.
Provenance:
Gift of the Estate of Louise Bauer Parry (widow of artist), 1985; arranged by Franklin Riehlman of Phillips auctioneers.
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.
Occupation:
Painters -- New York (State) -- New York Search this
The papers of painter Richard W. Dempsey measure 2.9 linear feet and date from 1929 to 1989, with the bulk of the papers dating from the 1960s to the 1980s. The papers contain biographcial material, correspondence, writings, project and exhibition files, printed material, photographs, and artwork and notes related to planning artwork.
Scope and Contents:
The papers of painter Richard W. Dempsey measure 2.9 linear feet and date from 1929 to 1989, with the bulk of the papers dating from the 1960s to the 1980s. The papers contain biographical material, correspondence, writings, project and exhibition files, printed material, photographs, and artwork and notes related to planning artwork.
Biographical material consists of employment records; resumes, chronologies, and biographies; and compiled personal papers that may have once been part of scrapbooks. These materials are not bound, but have remained together and in the order in which they were received. This series also includes a folder of material related to Dempsey's wife, Vonja Kirkland Brooks.
Correspondence includes letters both sent, and received by the artist, primarily concerning the exhibition of Dempsey's paintings at the Franz Bader Gallery, the Atlanta University Gallery, Howard University, the Corcoran Gallery of Art, the U.S. Embassies in Colombia and Jamaica, and with the Art in Embassies Program. Notable correspondents include Jack Perlmutter, Ethel Waters, and Jacob Lawrence. Personal and professional correspondence are intermingled throughout.
Writings include notes and drafts of lectures and other course materials, as well as excerpts and quotes from reviews of exhibitions of Dempsey's work. These excerpts, usually titled "comments," are frequently copied out by hand. Also included in this series are two folders of poetry.
Project and exhibition files include photographs; correspondence; lists; sketches and other plans; and printed material including clippings and exhibition announcements. Materials related to his Rosenwald Fellowship, his participation in the Art in Embassies program, his many exhibitions at Franz Bader Gallery, and his international exhibitions in Colombia and Jamaica are featured. Some files in this series may only include photographs or sketches.
Photographs are primarily of Dempsey's work and of exhibitions. There are some of the artist and of his Takoma Park, MD home and studio (designed by Harry Ormston of McLean, VA and occasionally featured in architecture articles).
Artwork is primarily composed of sketches, often with detailed planning notes for the completion of paintings.
Arrangement:
The collection is arranged as seven series.
Series 1: Biographical Material, 1930-1987 (Box 1; 0.2 linear feet)
Series 2: Correspondence, 1938-1985, undated (Box 1; 0.2 linear feet)
Series 3: Writings, 1981, undated (Box 1; 3 folders)
Series 4: Project and Exhibition Files, 1929-1986 (Boxes 1-2; 1.2 linear feet)
Series 5: Printed Material, 1930s-1989, undated (Boxes 2-3; 0.4 linear feet, OV 5)
Series 6: Photographic Material, 1932-1981, undated (Boxes 3-4; 0.5 linear feet)
Series 7: Artwork, 1965-1981, undated, (Box 4; 5 folders, OV 5)
Biographical / Historical:
Richard W. Dempsey (1909-1987) was a painter known primarily for his abstract works and his portraits of prominent African American individuals including Ethel Waters, Duke Ellington, Thurgood Marshall, and Adam Clayton Powell. He was born in Ogden, Utah, but spent the majority of his youth in Oakland, California. He studied art at Sacramento Junior College, the California School of Arts and Crafts, and the Student Arts Center. Dempsey had four exhibitions in California before moving to Washington, D.C. to begin work as an engineering draftsman with the Federal Power Commission in 1941. He later transferred to a position as an illustrator with the General Services Administration (GSA), where he would spend the rest of his nearly 30-year government career.
In addition to his work with the GSA, Dempsey participated in the Art in Embassies program for decades, and his work was chosen by Congressman Adam Clayton Powell to hang in the Education Labor Committee rooms.
Dempsey was awarded a Julius Rosenwald Fellowship in 1946 to paint 100 portriats of "Outstanding American Negros." He taught art courses at the Corcoran School of Art and at Glen Echo and received invitations to exhibit around the world in places like Haiti, Colombia, and Jamaica. He exhibited frequently in the U.S., most often with Franz Bader Gallery in Washington, D.C.
Separated Materials:
The Archives of American Art also holds microfilm of material lent for microfilming (reel 4368) including a photograph album chronicling Dempsey's 1951 trip to Haiti and other photographic material. Loaned materials were returned to the lender and are not described in the collection container inventory.
Provenance:
The Richard Dempsey papers were initially lent for microfilming in 1990 by Vonja Kirkland Dempsey, Richard Dempsey's widow. After the collection was microfilmed, Vonja Kirkland Dempsey donated the bulk of the collection, excluding some photographic material, in 1990.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
