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The Return of Rip Van Winkle, (painting)

Title:
Rip Van Winkle's Return from the Mountains, (sculpture)
Painter:
Matteson, Tompkins Harrison 1813-1884  Search this
Medium:
Oil on canvas
Type:
Paintings
Owner/Location:
Maryland Center for History and Culture 610 Park Avenue Baltimore Maryland 21201
Allentown Art Museum Fifth & Court Streets, P.O. Box 117 Allentown Pennsylvania 18105
Date:
Ca. 1845
Topic:
Literature--Character--Rip Van Winkle  Search this
Literature--Irving--Rip Van Winkle  Search this
Control number:
IAP 80046600
Data Source:
Art Inventories Catalog, Smithsonian American Art Museums
EDAN-URL:
edanmdm:siris_ari_360386

National Academy of Design records

Creator:
National Academy of Design (U.S.)  Search this
Names:
American Federation of Arts  Search this
Abbey, Edwin Austin, 1852-1911  Search this
Durand, Asher Brown, 1796-1886  Search this
Lanyon, Ellen  Search this
Ranger, Henry Ward, 1858-1916  Search this
Extent:
92.7 Linear feet
Type:
Collection descriptions
Archival materials
Drawings
Scrapbooks
Interviews
Date:
1817-2012
Summary:
The records of New York City's National Academy of Design measure 92.7 linear feet and date from 1817-2012. The records pertain to all three constituents of the tripartite organization consisting of the Academy, a membership body of artists founded in 1825; the school, founded at the same time to promote arts education; and the exhibition program, inaugurated in 1826. Extensive administrative records include minutes, committee files, director files, annual reports, constitutions, and correspondence and subject files of council officers. Exhibition records, also substantive, date to the Academy's first annual exhibition and include gallery and special exhibitions, as well as exhibitions at the Academy's museum, established in 1979. The collection also includes gifts and funding files, especially relating to endowments and prizes; membership records; National Academy Association records; Ranger Fund assignments; extensive files pertaining to the school's administration, courses of instruction, registrations, and attendance; twenty scrapbooks containing clippings and ephemera; Society of American Artists records; correspondence and ephemera from other organizations; transcripts from oral histories with Academy members; extensive photographic material documenting artists, members, the school, exhibitions, buildings, and artwork created by Academy members; artist files containing correspondence, writings, and sketches from those associated with the Academy; and assorted printed material and ephemera.
Scope and Contents:
The records of New York City's National Academy of Design measure 92.7 linear feet and date from 1817-2012. The records pertain to all three constituents of the tripartite organization consisting of the Academy, a membership body of artists founded in 1825; the school, founded at the same time to promote arts education; and the exhibition program, inaugurated in 1826. Extensive administrative records include minutes, committee files, director files, annual reports, constitutions, and correspondence and subject files of council officers. Exhibition records, also substantive, date to the Academy's first annual exhibition and include gallery and special exhibitions, as well as exhibitions at the Academy's museum, established in 1979. The collection also includes gifts and funding files, especially relating to endowments and prizes; membership records; National Academy Association records; Ranger Fund assignments; extensive files pertaining to the school's administration, courses of instruction, registrations, and attendance; twenty scrapbooks containing clippings and ephemera; Society of American Artists records; correspondence and ephemera from other organizations; transcripts from oral histories with Academy members; extensive photographic material documenting artists, members, the school, exhibitions, buildings, and artwork created by Academy members; artist files containing correspondence, writings, and sketches from those associated with the Academy; and assorted printed material and ephemera.

The Academy minutes and committee files consist of official, original, and transcribed proceedings for the council, annual, business, and some committee meetings, as well as related correspondence, reports, financial documents, notes, drafts, and ballots pertaining to the Academy's administration and activities from its 1825 founding until 2006. As an organization actively engaged in the development of art and art education in the United States, the Academy minutes and committee files are a valuable resource on subjects and topics in the Academy's history; in particular, its founding, administration, school, and exhibition program.

Director files date from 1942-1990 and document the activities of four of the Academy's chief administrators, including Vernon Porter (1950-1966), Earl Tyler (1966-1967), Alice Melrose (1967-1977), and John H. Dobkin (1978-1990). Items include correspondence, memoranda, minutes, and printed material.

Annual reports, dating from 1828-2003, summarize the activities of the Academy over the course of a year, and may include presidents' reports, treasurers' reports, audits of financial operations by public accountants, and printed annual reports containing summaries from multiple council officers. Information pertains to the year's activities including finances, exhibitions, membership, the school, committee activities, awards, and other business.

Academy constitutions date from 1826-2012 and include the printed constitutions and by-laws as well as constitutional proposals. Constitutions and by-laws name the current council officials, professors, academicians, associates, and honorary members, and state the mission and guidelines for operation in regards to membership, officers, annual meetings, elections, school, exhibitions, and how the constitution can be amended or altered. Constitutional proposals contain amendment drafts, alterations, and related correspondence.

Council officer files, dating from 1848-1980, contain the correspondence and subjects files of Academy officers—presidents, vice presidents, corresponding secretaries, and treasurers—concerning all matters of Academy business and operations including membership, gifts and funds, the federal charter, exhibitions, juries, the school, scholarships, committee affairs, anniversaries, publicity, administrative matters, resignations, and relationships with other organizations.

General administrative files date from 1825-1982 and include ledgers, certificates, correspondence, and legal documents pertaining to the Academy's founding, building, financial accounts, art collection, and other administrative matters.

Exhibition files, dating from 1826-2003, document the Academy's long exhibition history and includes annual, gallery, special, and museum exhibitions. Files may include exhibition catalogs, photographs, press clippings, sales records, and correspondence related to jury selection, awards and prizes, and logistical planning. Files pertaining to the Academy's annual exhibitions comprise a bulk of the series. Held since 1826, the Annuals were organized and curated by Academy members, and considered to be an important and sweeping survey of contemporary American art.

Gifts and funding files date from 1860-2009 and include financial documents, ledgers, legal material, and correspondence concerning the bequests, endowments, donations, and other gifts that financed the operations of the Academy and school. A significant number of records pertain to the Abbey Trust Fund and the Archer M. Hunting Fund.

Membership files, 1826-2012, document Academy members, honorary members, fellows, and the nominations and elections whereby members were voted into the Academy. Materials include registers, certificates, nomination ledgers and proposals, candidate biographies, and ballots.

The National Academy Association files date from 1911-1959 and contain a constitution, plan, and agreement, as well as correspondence, meeting minutes, and reports for the Association, incorporated in 1912 with the aim to erect a building shared by several New York art societies. At the time of incorporation, the Association consisted of members from the National Academy of Design, American Water Color Society, American Institute of Architects, Architectural League of New York, New York Water Color Club, National Sculpture Society, Municipal Art Society, Society of Beaux-Arts Architects, Mural Painters, Society of Illustrators, and a number of city representatives and citizens.

The Ranger Fund assignment files, 1919-2008, document the distribution of artworks by living American artists to institutions throughout the United States, in accordance with the will of Henry Ward Ranger. The Ranger Fund was initiated to stimulate public interest in the work of contemporary American painters in 1919, when the Academy received a bequest from Henry Ward Ranger, totaling $400,000. Ranger stated in his will that the capital should be invested and the income used as a purchase fund to facilitate gifts of paintings by living American artists to arts institutions throughout the United States. Files document the assignment of particular works of art to institutions through the official agreement, related correspondence, and in some instances, photographs of the artwork.

Extensive school records, dating from 1826-2008, contain administrative files, enrollment records, course files, student affairs files, and printed material documenting all aspects of the school's activities aligned with the Academy's mission to educate aspiring professional artists. A bulk of this series consists of student course registrations, documented in registers, then on index cards beginning in the 1930s. While information collected varied over the decades, registrations document student names and the year, and may additionally include course name, instructor, and cost.

Twenty Academy scrapbooks document the organization's activities from 1828-1939 and include clippings and ephemera. Three of the scrapbooks are devoted to specific topics, including one for the Society of American Artists, one for both the Society of American Artists and the Society of American Fakirs, and one for the Academy's centennial exhibition.

The Society of American Artists files, 1878-1906, document the formation of the Society as a departure from the Academy in 1877, its independent operations and activities, and its eventual consolidation with the Academy in 1906. The Society's members have included Edwin Abbey, James Carroll Beckwith, Mary Cassatt, William Merritt Chase, Thomas Eakins, George Inness Jr., John La Farge, Albert Pinkham Ryder, among many others.

Files from other organizations date from 1817-1997 and may include correspondence, ledgers, and printed material. Many of these organizations had business with the Academy, and records pertain to events, meetings, and exhibitions. Notable organizations include the American Academy of Fine Arts, American Federation of Arts, American Watercolor Society, Art Students League, Fine Arts Federation of New York, Metropolitan Museum of Art, New York Etching Club, Pennsylvania Academy of Fine Arts, and Salmagundi Club.

Oral history transcripts date from 2002-2007. Eight comprehensive interviews, conducted by Avis Berman for the Academy, are with Academy members and cover all aspects of the artists' lives, including family, early life, beginning career, mentors, contemporaries, influences, patrons, awards, residencies, as well as the artists' relationship with the Academy. The interview transcripts provide first-hand accounts of the organization, particularly from circa 1940 up to the time of the interview. Artists interviewed include Will Barnet, Hyman Bloom, Richard Haas, Ellen Lanyon, Jules Olitski, Bernard Olshan, Paul Resika, and Dorothea Rockburne.

Photographic material, dating from 1845-2010, includes a wide variety of formats and processes including 19th and 20th photographic prints, glass plate negatives, copy prints, contact sheets, slides, and 35mm negatives. Subjects include artists and others associated with the Academy, the school, exhibitions and events, Academy buildings, artwork, and reference photographs. Many 19th century photographs contain descriptive annotations. Supplementary inventories and guides prepared by Academy archivists are scattered throughout the series.

Artist files date from 1826-2004 and include the correspondence, writings, manuscripts, diaries, exhibition catalogs, and clippings of many notable artists involved with the Academy, including Asher B. Durand and Rembrandt Peale. Of particular note are two notebooks Durand gifted to the Academy, both containing notes and sketches from anatomy lectures.

While printed material is scattered throughout, the final series collects a small number of additional announcements, brochures, clippings, illustrations, and other ephemera not filed in other series.
Arrangement:
The collection is arranged as nineteen series.

Series 1: Minutes and Committee Files, 1825-2006 (11.5 linear feet; Boxes 1-11, BV 100-106)

Series 2: Director Files, 1942-1990 (0.5 linear feet; Box 11)

Series 3: Annual Reports, 1828-2003, circa 2010 (2.1 linear feet; Boxes 11-13, OV 139-142)

Series 4: Constitutions, 1826-2012 (1.1 linear feet; Boxes 13-14)

Series 5: Council Officers, 1848-1980 (4 linear feet; Boxes 14-18)

Series 6: General Administration, 1825-1982 (0.6 linear feet; Boxes 18, 126)

Series 7: Exhibitions, 1826-2003, 2008 (14.4 linear feet; Boxes 18-33)

Series 8: Gifts and Funding, 1860-2009 (4.1 linear feet; Boxes 33-37)

Series 9: Membership, 1826-2012 (3.4 linear feet; Boxes 37-39, 127-131)

Series 10: National Academy Association, 1911-1959 (0.4 linear feet; Box 39)

Series 11: Ranger Fund Assignments, 1919-2008 (4.3 linear feet; Boxes 39-44)

Series 12: School, 1826-2008 (28.5 linear feet; Boxes 44-56, 68-99)

Series 13: Scrapbooks, 1828-1939 (4 linear feet; Box 56, BV 107-125)

Series 14: Society of American Artists, 1878-1906 (0.8 linear feet; Boxes 56-57)

Series 15: Other Organizations, 1817-1997 (1.8 linear feet; Boxes 57-59, 131)

Series 16: Oral History Transcripts, 2002-2007 (0.7 linear feet; Box 59)

Series 17: Photographic Material, 1845-2010 (6.1 linear feet; Boxes 60-63, 131-138, OV 143-144)

Series 18: Artist Files, 1826-2004 (3.5 linear feet; Boxes 63-66)

Series 19: Printed Material, 1839-1954 (0.4 linear feet; Boxes 67, 131, OV 145)
Biographical / Historical:
The National Academy of Design (1825- ) based in New York City, is a tripartite organization consisting of a membership body of artists, a school, and an exhibition program. The Academy was founded in 1825 by a group of professional artists with the mission to promote the fine arts in America through exhibition and education. Originally named the New York Drawing Association, the Academy was the first organization in the United States established and managed by professional artists. Samuel F.B. Morse, the Academy's first president, was influenced by the organization of the Royal Academy in London, which was comprised of professional artist members and elected government council, an art school, and a venue for exhibitions. After unsuccessful negotiations to unite with the American Academy of Fine Arts, the New York Drawing Association reformed as the National Academy of The Arts of Design on January 19, 1826. Among the founders were mostly young artists who became prominent figures in American art, including Frederick S. Agate, Thomas Cole, Thomas S. Cummings, Asher B. Durand, John Frazee, Charles C. Ingham, Henry Inman, Gerlando Marsiglia, Samuel F. B. Morse, Samuel L. Waldo, and Charles Cushing Wright.

The first Academy members were elected in January 1826, and levels of membership were established shortly thereafter. Originally there were four levels of Academy membership: associates, academicians, artists, and honorary corresponding members. The category of artists was eliminated in 1829, and the honorary member category, established to recognize American artists living outside New York, distinguished foreign artists, and patrons and friends of the Academy, was eliminated in 1862 (the constitution was not amended with this change until 1896). Since 1869, the residency requirement for election to active membership was eliminated and membership was opened to all American artists. In 1920, the classification of honorary corresponding member was re-introduced to recognize representatives of other national academies. With the 1997 constitution, the honorary corresponding member classification was again eliminated, and in 1994 the associate category was eliminated.

Artists are proposed for membership by academicians through the membership committee and are elected for life by a sixty percent majority, based on recognized excellence and significant contributions to the field. Procedures and rules for nominating and choosing new academicians changed over the years, as detailed in the constitutions. Associates were at one time required to present a portrait of themselves upon election and academicians were required to provide an additional representative work upon election. With the elimination of the category of associate in 1994, only one representative work is currently required. These works of art become part of the Academy's permanent collection.

The original classes of professional artists were painting, sculpture, architecture, and engraving. These professional classes were modified over the years. In 1936 the engraving class was made more comprehensive, including all of the graphic arts. Watercolor was added as a class in 1943 and was codified in the 1945 constitution. However, the division into five distinct classes started to create difficulties in how specific works of art were to be categorized. In 1981 the council eased the rules regarding separate media classification so that members could submit a work in any medium to the annual exhibitions regardless of the class to which they had been elected. The constitution of 1994 restated four professional classes—painting, sculpture, graphics, and architecture—which were further reduced in the 2011 constitution to two: visual arts and architecture.

Until 2009, the governing body of the Academy was the council. The seven officers of the council were president, vice-president, treasurer, assistant treasurer, corresponding secretary, assistant corresponding secretary and recording secretary, all of whom were required to be academicians. In 2009, a new constitution provided for a board of governors, replacing the council. The five officers of the board of governors are chair, vice-chair, president, vice-president, and treasurer. Only the offices of president and vice-president are required to be held by academicians.

Central to the Academy's mission, the school began with an anatomy lecture for the New York Drawing Association, delivered by Dr. Frederick G. King in November 1825. The first drawing session took place in November 1826 in the Old Alms House at City Hall Park with two academicians and twenty students. In the school's early years, professional artists met with students to draw from plaster casts of antique sculpture in the academic tradition. Both lectures and studio training were central the school's early curricula. Life classes, the practice of drawing from live models, were introduced in 1837, but only to advanced male students. A life class for women was not instituted until 1857, even though women were allowed membership to the Academy since its beginning. Due to financial difficulties at the Academy, the school was forced to move locations and shut down its operations for extended periods. Mounting dissatisfaction and frustration led several students and Lemuel E. Wilmarth, one of the school's leaders and first full-time professional instructor, to leave the Academy in 1875 and form a new school, the Art Students League. While charging tuition was unpopular, the Academy realized that it was necessary to ensure the school's sustainability, and implemented fee structures with varying success over the second half of the 19th century and first half of the 20th. Eventually, tuition was established by 1951, when the school was reopened at a new location, 5th Avenue and 89th Street.

Exhibitions have always been an important activity for the Academy, even prior to the opening of the National Academy Museum in 1979. Since 1826, the Academy has held annual exhibitions intended to reflect contemporary art currents in America. Any American artist was eligible to submit work to be reviewed by a jury of selection, comprised of academicians. Throughout the 19th century, the annual exhibitions at the Academy were one of the most significant and influential in the country. The selection process for these exhibitions was a critical topic, at times actively discussed in the press, and continually undergoing modification and change. In addition to the Annuals, the galleries of the Academy were often rented or loaned to outside organizations such as the American Watercolor Society, Audubon Artists, and the National Association of Women Artists. The galleries also mounted special exhibitions curated by its members and hosted a certain number of travelling exhibitions organized by other museums or art organizations. The museum, opened in 1979, hosted and presented major exhibitions, many focusing on historic European subjects.

Official Names of the Academy 1825-2017

1825 -- The New York Drawing Association

1826 -- The National Academy of The Arts of Design

1828 -- The National Academy of Design

1997 -- The National Academy Museum and School of Fine Art

2017 -- The National Academy of Design

National Academy of Design Meeting, Exhibition, and School Locations

1826 -- Old Alms House at City Hall Park in lower Manhattan

1827-1830 -- Chambers Street over the Arcade Baths

1831-1840 -- Corner of Nassau and Beckman Streets, the Mercantile Library on the third floor of Clinton Hall

1841 to 1849 -- 346 Broadway (at Leonard Street), the third and fourth floors of the New York Society Library

1850-1854 -- 663 Broadway, where the Academy erected a suite of six galleries

1855-1856 -- 548 Broadway (over Dr. Chapin's Church)

1857 -- 663 Broadway

1858-1861 -- 10th Street and 4th Avenue, the upper floor of a building

1861-1863 -- 625 Broadway, the Institute of Art

1865-1899 -- 23rd Street and Fourth Avenue (now Park Avenue South)

1899-1940 -- 109th Street and Amsterdam Avenue; exhibition galleries at 215 West 57th Street

1940-2017 -- 1083 Fifth Avenue at East 89th Street
Provenance:
The bulk of the collection was donated by the National Academy of Design in 2018. The trustees' ledger book in series 6 was donated in 1979 by Warder Cadbury of the Adirondack Museum; it is unclear how Cadbury acquired the ledger. Microfilm reels 798-799 containing transcriptions of minutes were given to the Archives by Lois Fink in 1974.
Restrictions:
This bulk of this collection is open for research. Boxes 63-66 are temporarily closed to researchers due to archival processing and digitization. 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.
Function:
Art Schools -- New York (State) -- New York
Arts organizations -- New York (State) -- New York
Genre/Form:
Drawings
Scrapbooks
Interviews
Citation:
National Academy of Design records, 1817-2012. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.natiacad
See more items in:
National Academy of Design records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-natiacad
Online Media:

The Liberator, Vol. XXVII, No. 22

Created by:
The Liberator, American, 1831 - 1865  Search this
Edited by:
William Lloyd Garrison, American, 1805 - 1879  Search this
Published by:
Isaac Knapp, American, 1808 - 1858  Search this
Printed by:
J.B. Yerrington & Son, American  Search this
Medium:
ink on paper
Dimensions:
H x W (closed): 24 3/4 × 18 in. (62.9 × 45.7 cm)
Type:
newspapers
Place printed:
Boston, Suffolk County, Massachusetts, United States, North and Central America
Date:
May 29, 1857
Topic:
African American  Search this
Activism  Search this
Antislavery  Search this
Journalism  Search this
Mass media  Search this
Resistance  Search this
Slavery  Search this
Social reform  Search this
Societies  Search this
United States--History--1815-1861  Search this
Credit Line:
Collection of the Smithsonian National Museum of African American History and Culture, Gift from the Liljenquist Family Collection
Object number:
2016.166.41.12
Restrictions & Rights:
No Known Copyright Restrictions
See more items in:
National Museum of African American History and Culture Collection
Collection title:
Liljenquist Family Collection
Classification:
Slavery and Freedom Objects
Documents and Published Materials-Published Works
Movement:
Abolitionist movement
Data Source:
National Museum of African American History and Culture
GUID:
http://n2t.net/ark:/65665/fd554c31021-cfa8-4d19-8eae-dd1230233e93
EDAN-URL:
edanmdm:nmaahc_2016.166.41.12
1 Page(s) matching your search term, top most relevant are shown: View entire project in transcription center
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Online Media:

The Liberator, Vol. XXIV, No. 7

Created by:
The Liberator, American, 1831 - 1865  Search this
Edited by:
William Lloyd Garrison, American, 1805 - 1879  Search this
Published by:
Isaac Knapp, American, 1808 - 1858  Search this
Printed by:
J.B. Yerrington & Son, American  Search this
Medium:
ink on paper
Dimensions:
H x W (closed): 24 15/16 × 17 7/8 in. (63.3 × 45.4 cm)
Type:
newspapers
Place printed:
Boston, Suffolk County, Massachusetts, United States, North and Central America
Date:
February 17, 1854
Topic:
African American  Search this
Activism  Search this
Antislavery  Search this
Journalism  Search this
Mass media  Search this
Resistance  Search this
Slavery  Search this
Social reform  Search this
Societies  Search this
United States--History--1815-1861  Search this
Credit Line:
Collection of the Smithsonian National Museum of African American History and Culture, Gift from the Liljenquist Family Collection
Object number:
2016.166.41.2
Restrictions & Rights:
No Known Copyright Restrictions
See more items in:
National Museum of African American History and Culture Collection
Collection title:
Liljenquist Family Collection
Classification:
Slavery and Freedom Objects
Documents and Published Materials-Published Works
Movement:
Abolitionist movement
Data Source:
National Museum of African American History and Culture
GUID:
http://n2t.net/ark:/65665/fd52e7e015c-d926-4b10-a968-09af4bed2678
EDAN-URL:
edanmdm:nmaahc_2016.166.41.2
1 Page(s) matching your search term, top most relevant are shown: View entire project in transcription center
  • View <I>The Liberator, Vol. XXIV, No. 7</I> digital asset number 1
Online Media:

The ancient Greek world : the Rodney S. Young Gallery / [Donald White, Curator]

Author:
Rodney S. Young Gallery  Search this
White, Donald 1935-  Search this
University of Pennsylvania Museum of Archaeology and Anthropology  Search this
Physical description:
A3-A40 p. : ill. (some col.), map ; 28 cm
Type:
Exhibitions
Place:
Greece
Date:
1995
C1995
Topic:
Art, Greek  Search this
Antiquities  Search this
Call number:
N5635.R63 R63 1995
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_483784

Photograph collection relating to archeology, burial mounds, and the Southwest

Photographer:
Collins, Henry B. (Henry Bascom), 1899-1987  Search this
Hillers, John K., 1843-1925  Search this
Milner, James W.  Search this
Mindeleff, Cosmos, 1863-  Search this
Mindeleff, Victor, 1860-1948  Search this
Rennick, L. C. (Leverett C.), 1887-1953  Search this
Artist:
Rogers, W. A. (William Allen), 1854-1931  Search this
Extent:
1 Engraving
1 Print (platinum)
18 Prints (silver gelatin)
38 Prints (albumen)
Culture:
Zuni Indians  Search this
Indians of North America -- Great Plains  Search this
Indians of North America -- Southwest, New  Search this
Hopi Indians  Search this
Tohono O'Odham Indians  Search this
Dakota Indians  Search this
Type:
Collection descriptions
Archival materials
Engravings
Prints
Place:
Pennsylvania -- Antiquities
West Virginia -- Antiquities
Louisiana -- Antiquities
Alabama -- Antiquities
Chelly, Canyon de (Ariz.)
Zuni Indian Reservation (N.M.)
Wyoming -- Antiquities
Date:
circa 1880s-1920s
Scope and Contents note:
Photographs relating to archeology, most of which were made by Bureau of American Ethnology photographers and ethnologists. Much of the collection consists of photographs by Cosmos and Victor Mindeleff of Southwest Indians, pueblos and remains. Images depict mounds and excavations (including Grant Mound in Pennsylvania and additional mounds in West Virginia, Alabama, Louisiana, and elsewhere); Hopi Sipaulovi village; petroglyphs in Wind River, Wyoming; ancient artifacts; Standing Rock; Tohono O'odham Indians; Canyon de Chelly; and Clear Creek. Photographers represented include John K. Hillers; C. H. Bryan of Mt. Sterling, Kentucky; the Mindeleff brothers; Henry Bascom Collins; L. C. Rennick; J. W. Milner; Hattons Studio in Lansing, Michigan; and a drawing by W. A. Rogers.
Local Call Number(s):
NAA Photo Lot 28
Location of Other Archival Materials:
William Dinwiddie photographs documenting Papago Indians, previously filed in Photo Lot 28, have been relocated to National Anthropological Archives Photo Lot 89.
Additional Mindeleff photographs can be found in the National Anthropological Archives in Photo Lot 4362, Photo Lot 14, Photo Lot 24, Photo Lot 40, Photo Lot 78, and the BAE historical negatives.
Additional Hillers photographs can be found in the National Anthropological Archives in Photo Lot 14, Photo Lot 24, Photo Lot 40, Photo Lot 143, Photo Lot 83-18, Photo Lot 87-2N, Photo Lot 90-1, Photo Lot 92-46, and the BAE historical negatives.
Additional Collins photographs can be found in the National Anthropological Archives in Photo Lot 24, Photo Lot 82-23, Photo Lot 86-42, Photo Lot 86-43, and Photo Lot 86-59.
See others in:
Photograph collection relating to archeology, burial mounds, and the Southwest, 1880s-1920s
Restrictions:
The collection is open for research.

Access to the collection requires an appointment.
Rights:
Contact the repository for terms of use.
Topic:
Mounds  Search this
Pueblos  Search this
Petroglyphs  Search this
Citation:
Photo Lot 28, Bureau of American Ethnology photograph collection relating to archeology and burial mounds, National Anthropological Archives, Smithsonian Institution
Identifier:
NAA.PhotoLot.28
Archival Repository:
National Anthropological Archives
EDAN-URL:
ead_collection:sova-naa-photolot-28

Raven's journey : the world of Alaska's native people / Susan A. Kaplan and Kristin J. Barsness ; with contributions by Adria H. Katz ... [et al.] ; with photographs by Harmer Frederick Schoch

Author:
Kaplan, Susan A. 1951-  Search this
Barsness, Kristin J. 1959-  Search this
Katz, Adria H  Search this
Schoch, Harmer Frederick  Search this
University of Pennsylvania University Museum  Search this
Subject:
University of Pennsylvania University Museum  Search this
Physical description:
108 p. : ill. (some col.), maps (part col.) ; 30 cm
Type:
Exhibitions
Place:
Alaska
Date:
1986
Topic:
Antiquities  Search this
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_312131

Richard E. Stearns photographs of archeological sites and artifacts

Creator:
Stearns, Richard E. (Archaeologist)  Search this
Extent:
26 Color prints
22 Sketches
600 Prints (circa, silver gelatin and contact prints (including stereographic images))
325 Negatives (circa)
3 Maps
Type:
Collection descriptions
Archival materials
Color prints
Sketches
Prints
Negatives
Maps
Drawings
Photographs
Place:
Horry County (S.C.) -- Antiquities
Virginia -- Antiquities
Maryland -- Antiquities
Glynn County (Ga.) -- Antiquities
Florida -- Antiquities
Washington (D.C.) -- Antiquities
Sussex County (Del.) -- Antiquities
Date:
circa 1930-1960
Scope and Contents note:
The collection includes photographs of excavations and artifacts relating to Stearns' archeological work in Delaware, the District of Columbia, Florida, Georgia, Maryland, Pennsylvania, South Carolina, and Virginia. There are also some sketches of artifacts and excavation sites, as well as notes on pictured artifacts. One photo album relates to Stearns' work in Florida, while the other contains photographs of various sites in Maryland, including Conowingo.

The collection relates to work in Sussex County in Delaware; the District of Columbia; Bay, Collier, Flagler, Franklin, St. Johnʹs, St. Lucie, and Volusia counties in Florida, Glynn County in Georgia; Anne Arundel, Baltimore, Calvert, Cecil, Charles, Frederick, Harford, Howard, Kent, Montgomery, Prince Georges, Queen Anneʹs, and St. Maryʹs counties in Maryland; Horry County in South Carolina; and Loudon and Page counties in Virginia.
Biographical/Historical note:
Richard E. Stearns (1902-1969) was a commercial photographer and amateur archeologist of Maryland's prehistory. He was known for his photographic documentation, particularly of sites and specimens, most notably at Conowingo, a large village site on the Susquehanna River. In the 1930s, he became a curator for the Department of Archeology of the Natural History Society of Maryland, a position he held for over thirty years. In the 1940s, Stearns published Nicholas Yinger's investigations of the Hughes site, as well as his own investigations of sites in Maryland.
Local Call Number(s):
USNM ACC 160002, USNM ACC 187165, USNM ACC 188274, USNM ACC 191329, USNM ACC 247561, USNM ACC 308221, NAA Photo Lot 73-40
Location of Other Archival Materials:
The Smithsonian Institution Department of Anthropology holds artifacts donated by Stearns, in accessions 163264, 176236, 182055, 183968, 186144, 188274, 200211, 202602, 247561, and 308221.
Additional photos by Stearns can be found in the National Anthropological Archives in MS 4524.
Restrictions:
The collection is open for research.

Access to the collection requires an appointment.
Rights:
Contact the repository for terms of use.
Topic:
Excavations (Archaeology)  Search this
Genre/Form:
Maps
Drawings
Photographs
Citation:
Photo Lot 73-40, Richard E. Stearns photographs of archeological sites and artifacts, National Anthropological Archives, Smithsonian Institution
Identifier:
NAA.PhotoLot.73-40
Archival Repository:
National Anthropological Archives
EDAN-URL:
ead_collection:sova-naa-photolot-73-40

New Mexico. Otherwise, the voiage of Anthony of Espeio, who in the yeare 1583. with his company, discouered a lande of 15. prouinces, replenished with townes and villages, with houses of 4. or 5. stories height, it lieth northward, and some suppose that the same way men may by places inhabited go to the lande tearmed De Labrador. Translated out of the Spanish copie printed first at Madreel, 1586. and afterward at Paris, in the same yeare. Imprinted at London for Thomas Cadman. [1587]

Author:
Espejo, Antonio de  Search this
Physical description:
37, [1] p. 21 cm
Type:
Books
Sources
Place:
New Mexico
Date:
1928
1928]
Topic:
Description and travel  Search this
Antiquities  Search this
History  Search this
Call number:
F799.E773X
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_260459

Record of Charles Lang Freer's purchase of two Chinese paintings from Isaac Taylor Headland

Creator:
Freer, Charles Lang, 1856-1919  Search this
Names:
Smithsonian Institution  Search this
Collection Creator:
Freer, Charles Lang, 1856-1919  Search this
Extent:
3 Sheets
Type:
Archival materials
Sheets
Vouchers
Place:
China
Date:
October, 1908
Scope and Contents:
Charles Freer purchased the two paintings in Detroit from missionary, educator and writer, Isaac Taylor Headland (185-1942). In addition to payment for the two paintings, there is an additional voucher for travel from Pennsylvania to Detroit.
Freer collection numbers: F1908.170; F1908.171.
Arrangement:
Freer's purchase vouchers are generally organized by date of purchase.
Biographical / Historical:
Isaac Taylor Headland was born on in Freedom, PA. In 1888 he graduated with an A.B. from Mount Union College He arrived in Beijing in 1890 as a Methodist missionary. Later he worked as professor of science at Peking University. His wife, Marian Sinclair, was a doctor who served as physician to aristocratic women in Beijing, including the Empress Dowager Cixi. Headland wrote extensively on Chinese history and culture.
According to Freer's diary, Headland arrived in Detroit on September 28th and left on October 1st. Likely, Headland brought the paint
Local Numbers:
FSA A.01 06.5.2.1908.08.08
Collection Restrictions:
Collection is open for research.
Collection Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
Topic:
Art, Chinese  Search this
Antiquities  Search this
Painting  Search this
Genre/Form:
Vouchers
Collection Citation:
Charles Lang Freer Papers. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Smithsonian Institution, Washington, D.C. Gift of the estate of Charles Lang Freer.
Identifier:
FSA.A.01, Item FSA A.01 06.5.2.1908.08.08
See more items in:
Charles Lang Freer Papers
Charles Lang Freer Papers / Series 6: Financial Materials / 6.5: Vouchers / 6.5.2: Financial materials - Vouchers - Art vouchers / Invoices after 1883
Archival Repository:
Freer Gallery of Art and Arthur M. Sackler Gallery Archives
EDAN-URL:
ead_component:sova-fsa-a-01-ref3320
Online Media:

Inventory of Charles Lang Freer's library

Creator:
Freer, Charles Lang, 1856-1919  Search this
Names:
Freer Gallery of Art  Search this
Freer, Charles Lang, 1856-1919  Search this
Collection Creator:
Freer, Charles Lang, 1856-1919  Search this
Extent:
1 Item (typed, with handwritten edits)
Type:
Archival materials
Inventories
Date:
undated
Scope and Contents:
Comprehensive index of Charles Lang Freer's library, mostly relating to art and Asian culture. Headings include authors, countries, and topical subjects. Sections include locations in Freer's original Detroit home; an index of all books transferred to the Smithsonian; a list of collections and collectors catalogues of American and Near and Far Eastern art; sales catalogues, and books in Chinese language.
Arrangement:
Organized in the original manner by the creator.
Local Numbers:
FSA A.01 05.22
Collection Restrictions:
Collection is open for research.
Collection Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
Topic:
Art, Asian -- Collectors and collecting  Search this
Art, American -- Collectors and collecting  Search this
Art -- Collectors and collecting  Search this
Book collecting  Search this
Function:
Libraries
Genre/Form:
Inventories
Collection Citation:
Charles Lang Freer Papers. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Smithsonian Institution, Washington, D.C. Gift of the estate of Charles Lang Freer.
Identifier:
FSA.A.01, Item FSA A.01 05.22
See more items in:
Charles Lang Freer Papers
Charles Lang Freer Papers / Series 5: Art Inventories / 5.22: Printed Books [Library]
Archival Repository:
Freer Gallery of Art and Arthur M. Sackler Gallery Archives
EDAN-URL:
ead_component:sova-fsa-a-01-ref3332
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Charles Sheeler papers

Creator:
Sheeler, Charles, 1883-1965  Search this
Names:
Archives of American Art  Search this
Downtown Gallery (New York, N.Y.)  Search this
Adams, Ansel, 1902-1984  Search this
Arensberg, Louise S. (Louise Stevenson), 1879-1953  Search this
Arensberg, Walter, 1878-1954  Search this
Bacon, Peggy, 1895-1987  Search this
Eidlitz, Dorothy  Search this
Halpert, Edith Gregor, 1900-1970  Search this
Lane, William H.  Search this
Newhall, Beaumont, 1908-1993  Search this
Newhall, Nancy Wynne.  Search this
Rourke, Constance, 1885-1941  Search this
Sheeler, Musya, 1908-1981  Search this
Waters, George  Search this
Weston, Edward, 1886-1958  Search this
Williams, William Carlos, 1883-1963  Search this
Photographer:
Sheeler, Musya  Search this
White, Minor  Search this
Extent:
4.9 Linear feet
Type:
Collection descriptions
Archival materials
Artifacts
Awards
Photographs
Journals (accounts)
Scrapbooks
Writings
Date:
circa 1840s-1966
bulk 1923-1965
Summary:
The papers of painter, photographer, lithographer and industrial designer Charles Sheeler measure 4.9 linear feet and date from circa 1840s to 1966, with the bulk of the material dating from 1923-1965. The collection documents Sheeler's family, personal life and career through financial and medical records, awards, correspondence, writings, an autobiography, journal and notebooks, scrapbooks, exhibition catalogs and announcements, printed materials, photographs, funeral records and artwork by Sheeler and others. The collection is particularly rich in Sheeler's writings, and also includes Sheeler's industrial designs and manufactured artwork. Notable photographs include Sheeler with Edward Weston, Edward Steichen, and John Marin.
Scope and Content Note:
The papers of painter, photographer, lithographer and industrial designer Charles Sheeler measure 4.9 linear feet and date from circa 1840s to 1966, with the bulk of the material dating from 1923-1965. The collection documents Sheeler's family, personal life and career through financial and medical records, awards, correspondence, writings, an autobiography, journal and notebooks, scrapbooks, exhibition catalogs and announcements, printed materials, photographs, funeral records and artwork by Sheeler and others. The collection is particularly rich in Sheeler's writings, and also includes Sheeler's industrial designs and manufactured artwork. There are photographs of Sheeler with Edward Weston, Edward Steichen, and John Marin.

Biographical materials date from 1875, and 1928-1965, and include funeral records, medical records, insurance, tax, and scattered financial records. There is one folder of records relating to artwork and exhibitions, as well as Sheeler's numerous certificates, prizes and awards, and the condolence book used at his funeral.

Correspondence consists of Sheeler's personal and professional correspondence dating from 1937-1966 with friends, artists, dealers, collectors, photographers, and curators. Notable correspondents include Ansel Adams, Walter and Louise Arensberg, William Lane, Beaumont and Nancy Newhall, George Waters, William Carlos Williams, and Edward Weston. The series also includes correspondence with the Archives of American Art, Sheeler's biographer Constance Rourke, and with publishers, editors, children, and the general public. Lastly, there are condolence letters written to Musya Sheeler following Sheeler's death in May 1965.

Writings include Sheeler's journal dating from the 1950s-1963 and two notebooks containing notes, addresses, recipes, etc. Also found are Sheeler's writings on artists, drafts for articles, and a manuscript and notes for an autobiography that Sheeler wrote for Harcourt Brace. The autobiography became the basis for Constance Rourke's biography Charles Sheeler: Artist in the American Tradition published in 1938. The writing series also includes a short story by Musya Sheeler, and an illustrated short story by friend Dorothy Eidlitz.

The scrapbook series contains two oversize scrapbooks dating from 1930s-1960s that include newspaper and magazine clippings about Sheeler and his artwork, exhibition announcements and brochures, a poem, and a thank you letter from Abby Aldrich Rockefeller.

Additional printed materials date from 1923-1966 and document Sheeler's numerous exhibitions, notably his partnership with Edith Halpert and the Downtown Gallery. Found here are clippings, copies of magazines, exhibition announcements and catalogs, museum bulletings, books, and miscellaneous items.

Photographs date from circa 1840s-1963 and include photographs of Sheeler's family, of Sheeler, and of Sheeler with friends and colleagues. There is one daguerreotype, two ambrotypes, and two tintypes of Sheeler's family and of Sheeler as a child. There are copyprints of these originals. Additional photographs are of Sheeler's mother and father (or possibly Sheeler's grandparent), of Sheeler, of Sheeler with his wife Musya, Sheeler with William Lane, Sheeler with Edward Weston, and Sheeler with Edward Steichen and John Marin. The series also includes photographs of Sheeler's collection of Shaker furniture, and photographs of exhibitions.

Artwork by Sheeler dates from circa 1930s-1960s and includes artifacts of manufactured pieces based on his industrial designs. Found are a glass tumbler, salt and pepper shakers, a tea spoon, fabrics designed by Sheeler, and sketches. The series also includes a drawing by Peggy Bacon and a photograph by Minor White.
Arrangement:
The collection is arranged into seven series. Materials are arranged by material type and chronologically or alphabetically thereafter:

Series 1: Biographical Materials, 1875, 1928-1965 (Boxes 1, 5, OV10; 0.6 linear feet)

Series 2: Correspondence, 1937-1966 (Box 1; 0.5 linear feet)

Series 3: Writings, circa 1930s-1965 (Boxes 1-2 ; 0.4 linear feet)

Series 4: Scrapbooks, 1930s-1960s (Boxes 2, 6; 0.4 linear feet)

Series 5: Printed Material, 1923-1966 (Boxes 2-4, 7; 1.5 linear feet)

Series 6: Photographs, circa 1840s-1963 (Box 4, OV11; 0.4 linear feet)

Series 7: Artwork, circa 1930s-1960s (Boxes 4-5, 8-9, OV12-OV14; 1.1 linear feet)
Biographical Note:
Painter, photographer, lithographer and designer, Charles Rettew Sheeler Jr. was born on July 16, 1883 to Mary Cunningham Sheeler and Charles Rettew Sheeler in Philadelphia. He attended the School of Industrial Art in Philadelphia from 1900-1903 and the Pennsylvania Academy of the Fine Arts, where he studied under William Merritt Chase. He found early success as a painter and exhibited at the Macbeth Gallery in 1908.

Around 1910 Sheeler took up photography, and by 1912 financially supported himself photographing buildings for local Philadelphia architects. The following year, Sheeler exhibited six paintings at the 1913 Armory Show in New York. In the mid 1910s, Sheeler began to collect American antiques, and by the 1920s was actively acquiring Shaker crafts and furniture.

In 1916, Sheeler was hired by Marius de Zayas of the Modern Gallery in New York to photograph objects and artwork. From 1917-1924, he worked as the staff photographer for the Modern Gallery and moved to New York in 1918. In 1920, Sheeler was hired as a still photographer for The Arts Magazine.

In 1926, Sheeler was hired by Edward Steichen to work as a fashion and celebrity photographer for Conde Nast Publications. His photographs were regularly featured in Vogue and Vanity Fair, but Sheeler also worked as a still life photographer for numerous advertising agencies. The following year, he was commissioned by the advertising firm N.W. Ayer and Son to photograph Ford Motor Company's new plant at River Rouge.

While working as a photographer, Sheeler continued to paint and used the subjects and composition of his photographs as a basis for his painting. His paintings Skyscrapers, 1922; Upper Deck, 1929; and American Landscape, 1930 are examples of Sheeler's technique of merging photographic imagery with painting and his overall precisionist style.

In 1931, upon the advice and guidance of Edith Halpert of the Downtown Gallery, Sheeler began to paint more often and to photograph less. Halpert became Sheeler's primarily dealer, and from 1931-1966 regularly exhibited his paintings and drawings. With Halpert's support, Sheeler produced Classic Landscape, 1931; American Interior, 1934; Silo, 1938; Amoskeag Canal, 1948; and Convolutions, 1952. In addition to Sheeler's partnership with Halpert, his work was exhibited by other galleries and museums throughout the United States and abroad.

In 1939, Sheeler married his second wife, Musya Metas Sokolova (1908-1981) and, in 1942, the couple moved to Irvington-on-Hudson, New York. Sheeler continued to paint and photograph until he suffered a debilitating stroke in 1959. After 1959, Sheeler remained active exhibiting his artwork until his death on May 7, 1965 in Dobbs Ferry, New York.
Related Material:
The Archives of American Art holds several collections that are related to Charles Sheeler.

There are two oral history interviews with Sheeler conducted by Mary Bartlett Cowdrey in December 1958, and by Martin Friedman in June 1959. The Archives also has the records of the Macbeth Gallery, which include a substantial amount of correspondence with Sheeler from 1907-1921, and the Downtown Gallery records, which also include correspondence with Sheeler, photographs of Sheeler and his artwork, exhibition publications, clippings, press releases, and audio visual materials dating from 1904-1972.

Also found in the the Archives is a loan of Charles Sheeler letters filmed on reel NY/59-5 containing letters written by Sheeler to his psychologist and art collector, Dr. Helen Boigon, art student George Craven, and friend William Carlos Williams, all dating from 1939-1958. There is a collection of six letters of Sheeler letters addressed to Doris Royce, possibly an art critic, dating from 1949-1957. Miscellaneous manuscript collections include one letter written by Sheeler to E.P. Richardson in 1958, and another letter written to Frank Crowninshield in September, 1939.
Separated Material:
Portions of Sheeler's papers that were originally loaned for microfilming were not included in the later gifts and are available only on microfilm reel NSH-1. A watercolor study microfilmed on reel 1811 was later transferred to the Smithsonian American Art Museum. These materials are not described in the container list of this finding aid.
Provenance:
Charles Sheeler's wife Musya initially loaned the papers to the Archives of American Art for microfilming in 1958, 1965, and 1966. In June, 1966, she donated most of the earlier loaned materials. In 1964, Sheeler's friend Howard Lipman donated three photographs of Sheeler with Edward Steichen and John Marin. The third accrual was transferred to the Archives by the Smithsonian American Art Museum and National Portrait Gallery Library in June 1979.
Restrictions:
The collection is open for research. Use requires an appointment.
Rights:
The Charles Sheeler papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to copyright laws.
Topic:
Works of art  Search this
Painters -- New York (State) -- New York  Search this
Lithographers -- New York (State) -- New York  Search this
Photographers -- New York (State) -- New York  Search this
Industrial designers -- New York (State) -- New York  Search this
Genre/Form:
Artifacts
Awards
Photographs
Journals (accounts)
Scrapbooks
Writings
Citation:
Charles Sheeler papers, circa 1840s-1966, bulk 1923-1965. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.sheechar
See more items in:
Charles Sheeler papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-sheechar
Online Media:

for colored girls who have considered suicide / when the rainbow is enuf

Published by:
Playbill, American, founded 1884  Search this
Subject of:
Dr. Ntozake Shange, American, 1948 - 2018  Search this
Used by:
Booth Theatre, American, founded 1913  Search this
Medium:
ink on paper, metal
Dimensions:
9 x 5 5/8 x 1/8 in. (22.9 x 14.3 x 0.3 cm)
Type:
magazines (periodicals)
playbills
Place used:
New York City, New York, United States, North and Central America
Date:
November 1977
Topic:
African American  Search this
Drama (Theatre)  Search this
Feminism  Search this
Gender  Search this
Identity  Search this
Sexuality  Search this
Women  Search this
Credit Line:
Collection of the Smithsonian National Museum of African American History and Culture, Gift of Dow B. Ellis
Object number:
2012.152.1213
Restrictions & Rights:
Playbill used by permission. All rights reserved, Playbill Inc.
See more items in:
National Museum of African American History and Culture Collection
Classification:
Documents and Published Materials-Published Works
Memorabilia and Ephemera
Exhibition:
A Changing America: 1968 and Beyond
On View:
NMAAHC (1400 Constitution Ave NW), National Mall Location, Concourse 1, C1 053
Data Source:
National Museum of African American History and Culture
GUID:
http://n2t.net/ark:/65665/fd51ab3730e-e1bf-4147-a63e-74b05c4b3209
EDAN-URL:
edanmdm:nmaahc_2012.152.1213
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Online Media:

Flash Weekly Newspicture Magazine, May 3, 1938

Published by:
Flash, American  Search this
Owned by:
Charles "Teenie" Harris, American, 1908 - 1998  Search this
Medium:
ink on paper
Dimensions:
H x W: 11 7/8 × 8 7/8 in. (30.2 × 22.5 cm)
Type:
magazines (periodicals)
Place made:
Washington, District of Columbia, United States, North and Central America
Date:
May 3, 1938
Topic:
African American  Search this
Children  Search this
Mass media  Search this
Photography  Search this
Credit Line:
Collection of the Smithsonian National Museum of African American History and Culture, Gift from Charles A. Harris and Beatrice Harris in memory of Charles "Teenie" Harris
Object number:
2014.302.4
Restrictions & Rights:
Unknown - Restrictions Possible
See more items in:
National Museum of African American History and Culture Collection
Classification:
Documents and Published Materials
Media Arts-Photography
Data Source:
National Museum of African American History and Culture
GUID:
http://n2t.net/ark:/65665/fd58cd86058-279d-4ff8-997b-5b5732cbed77
EDAN-URL:
edanmdm:nmaahc_2014.302.4
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Hats off to Mae! event announcement

Printed by:
Unidentified  Search this
Subject of:
Mae Reeves, American, 1912 - 2016  Search this
National Museum of African American History and Culture, American, founded 2003  Search this
African American Museum in Philadelphia, American, founded 1976  Search this
Medium:
ink on paper, adhesive, Fome-Cor (TM)
Dimensions:
H x W x D: 36 1/16 x 17 15/16 x 1/4 in. (91.6 x 45.6 x 0.6 cm)
Type:
advertisements
Place used:
Philadelphia, Pennsylvania, United States, North and Central America
Date:
2010
Topic:
African American  Search this
Business  Search this
Fashion  Search this
Women  Search this
Credit Line:
Collection of the Smithsonian National Museum of African American History and Culture, Gift of Donna Limerick
Object number:
2016.48.45
Restrictions & Rights:
Unknown - Restrictions Possible
See more items in:
National Museum of African American History and Culture Collection
Collection title:
Mae's Millinery Shop Collection
Classification:
Memorabilia and Ephemera
Data Source:
National Museum of African American History and Culture
GUID:
http://n2t.net/ark:/65665/fd58fa5db96-481c-4d58-8ebe-3f50518ff780
EDAN-URL:
edanmdm:nmaahc_2016.48.45

[St. Andrews]: antique stone columns and layered planting surround the lawn.

Photographer:
Farley, Alice Hamilton  Search this
Collection Creator:
Garden Club of America  Search this
Extent:
1 Photograph (digital) (col.)
Type:
Archival materials
Photograph (digital)
Digital images
Place:
St. Andrews (Philadelphia, Pennsylvania)
St. Andrews (Philadelphia, Pennsylvania)
United States of America -- Pennsylvania -- Allegheny County -- Pittsburgh
Date:
2009 Jul.
Collection Restrictions:
Access to original images 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.
Topic:
Woodland  Search this
Stepping stones  Search this
Gravel  Search this
Ferns  Search this
Genre/Form:
Digital images
Collection Citation:
Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.
Identifier:
AAG.GCA, Item PA683008
See more items in:
The Garden Club of America collection
The Garden Club of America collection / Series 1: United States Garden Images / Pennsylvania / PA683: Philadelphia -- St. Andrews
Archival Repository:
Archives of American Gardens
EDAN-URL:
ead_component:sova-aag-gca-ref17212

[Poplar Hill]: An antique wellhead and lion statue are framed by the yew hedge.

Photographer:
Lenhardt, Alisa Bowe  Search this
Collection Creator:
Garden Club of America  Search this
Extent:
1 Photograph (digital) (col., JPEG.)
Type:
Archival materials
Photograph (digital)
Digital images
Place:
Poplar Hill (Sewickley, Pennsylvania)
United States of America -- Pennsylvania -- Allegheny County -- Sewickley
Date:
2009 Oct.
Collection Restrictions:
Access to original images 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.
Topic:
Lawns  Search this
Trees  Search this
Hedges  Search this
Yew  Search this
Conifers  Search this
Wellheads  Search this
Container gardening  Search this
Genre/Form:
Digital images
Collection Citation:
Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.
Identifier:
AAG.GCA, Item PA446012
See more items in:
The Garden Club of America collection
The Garden Club of America collection / Series 1: United States Garden Images / Pennsylvania / PA446: Sewickley -- Poplar Hill
Archival Repository:
Archives of American Gardens
EDAN-URL:
ead_component:sova-aag-gca-ref17507

[The Andorra Garden of Mr. and Mrs. George Q. Nichols]: an antique arch was installed over the door in the garden wall.

Photographer:
Reed, Ann L.  Search this
Collection Creator:
Garden Club of America  Search this
Extent:
1 Slides (photographs) (col., 35 mm.)
Type:
Archival materials
Slides (photographs)
Place:
The Andorra Garden of Mr. and Mrs. George Q. Nichols (Lafayette Hill, Pennsylvania)
United States of America -- Pennsylvania -- Montgomery County -- Lafayette Hill
Date:
2008.
Collection Restrictions:
Access to original images 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.
Topic:
Gardens -- Pennsylvania -- Lafayette Hill  Search this
Roses  Search this
Trees  Search this
Houses  Search this
Climbing plants  Search this
Arches  Search this
Honeysuckles  Search this
Trellises  Search this
Climbing plants  Search this
Ferns  Search this
Doors  Search this
Walls  Search this
Genre/Form:
Slides (photographs)
Collection Citation:
Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.
Identifier:
AAG.GCA, Item PA665004
See more items in:
The Garden Club of America collection
The Garden Club of America collection / Series 1: United States Garden Images / Pennsylvania / PA665: Lafayette Hill -- The Andorra Garden of Mr. and Mrs. George Q. Nichols
Archival Repository:
Archives of American Gardens
EDAN-URL:
ead_component:sova-aag-gca-ref30212

Miami -- Vizcaya

Former owner:
Deering, James, 1859-1925)  Search this
Architect:
Hoffman, Francis Burrell, 1882-1980)  Search this
Landscape architect:
Suarez, Diego, 1888-1974  Search this
Sculptor:
Calder, Alexander Stirling, 1870-1945  Search this
Collection Collector:
Marchand, Richard  Search this
Extent:
5 Slides (photographs)
Type:
Archival materials
Slides (photographs)
Postcards
Place:
Vizcaya estate (Florida)
United States of America -- Florida -- Miami-Dade County -- Miami
General:
The Vizcaya gardens span over ten acres surrounding the former winter home of the wealthy industrialist and patron of the arts, James Deering (1859-1925). The Vizcaya estate, located in the Coconut Grove area of Miami, was conceived of by Deering and artist and designer Paul Chalfin (1874-1959). Together they traveled extensively through Europe, particularly Italy, to inspire the design for Deering's South Florida retreat. Vizcaya which means "an elevated place" in Basque, was built in the years 1914 to 1916, and transformed a jungle tract of land into one of the most celebrated houses on the Eastern Seaboard. Diego Suarez (1888-1974), a Columbia-born landscape architect trained in Florence, Italy, was commissioned to create a modern, subtropical interpretation of classical, European Renaissance and Baroque landscape design suited to Miami's climate and terrain. Suarez' extensive knowledge of Italian gardens was combined with a consciousness of architectural design to create a setting for the house.

The garden scheme was divided into various terraces and areas, including a completely walled secret garden, a maze garden, theater garden, pergola garden, and the fountain garden, which features a fountain from the town square of Sutri, Italy. Plants were chosen for their ability to withstand south Florida's climate and pests and combined with native soil and plant materials in designs inspired by gardens seen by Deering and Chalfin on their tours of Italy and France. Varieties of bougainvillea, roses, water lilies, and jasmine were among the flowers found throughout the gardens, along with potted pines and podocarpus, some carefully trimmed in the art of topiary. The gardens were trimmed with hedges and trees and feature decorative walls, balustrades, urns, and sculpture. The areas were supplied with water through designed elements meant to compliment the garden such as pools, cascades, a frescoed grotto pool, fountains, and a system of canals, which invokes scenes on the waterways of Venice.

Unique among country estates, the gardens of Vizcaya integrated statues, busts, vases and urns that ranged from antiquity to the Renaissance and Baroque periods, as well as modern art from Deering's time into the lush vegetation. As the artistic advisor of the property, Paul Chalfin, acquired artifacts as decoration rather than to create a collection. Garden artworks ranged from antique elements to new sculptural decorations by contemporary artists. The gardens also featured several structures including a Baroque casino (garden house), decorative bridges, a large boathouse with a rooftop garden, and a domed garden house called the Casba. The most celebrated outdoor feature was the Barge by artist Alexander Stirling Calder (1870–1945), located in the water in front of the house. In addition to the house and gardens, the grounds also housed a swimming pool and tennis courts. Over two-thirds of the estate, originally 180 acres of subtropical forest along the shores of Biscayne Bay, remains in its natural state. The untouched hammock, shoreline, and pineland serves as a background for the more formal main gardens and along the drive up to the house. The Vizcaya property was surrounded by a wall with decorative paintings on stone and wrought-iron grills.

The house was designed to take advantage of its location on west shore of Biscayne Bay and each side of the house had a unique relationship with the surrounding grounds with loggias, terraces, arcades, and a partially enclosed swimming pool and, from some rooms, views of the gardens and bay. Architect F. Burrell Hoffman Jr. (1884-1980) was commissioned to design the house in the manner of an Italian Renaissance-style villa. Hoffman adapted traditional Mediterranean architectural elements to the subtropical climate in the palatial 70-room mansion. The beautifully planned interior was designed around an airy garden courtyard with a peripheral gallery, originally open to the sky, that was the heart and primary living space of the home. The house embraced modern conveniences and employed the latest technology of the period with an automated telephone switch board, a central vacuum-cleaning system, central heating, several elevators, generators and a water filtration system. The house also included a billiard room, bowling alley, and smoking room. The interiors were designed by the artistic advisor Paul Chalfin around objects acquired on Deering's travels in period rooms ranging in style from the Renaissance through the Neoclassical. The villa housed entire ceilings, mural paintings, chimney pieces, carved paneling, and doorways removed from foreign palaces along with rare rugs, tapestries, and antique furnishings. A working farm called the "Village" with eleven outbuildings was also located on the estate. These buildings were designed to look like an Italian village by Hoffman to compliment the architecture of the house. The Village included barns, stables, chicken houses, mechanical shops, housing for the staff, and the gate lodge making it nearly self-sufficient. A pumphouse provided water for the flower and vegetable gardens, groves for citrus, pineapple, and other fruits, greenhouses, and a large shade house for delicate plants grown at the Village to supply the mansion.

The estate, mansion, and its interiors were celebrated in magazines of the time. Deering occupied the house for four months each winter season beginning at Christmas in 1916.The whole complex was created for entertaining and recreation and Deering frequently invited family, visitors, and houseguests to the enjoy his estate. After Deering's death in 1925, the estate passed to his brother's children. Some of the acreage was sold off, and in 1952 Dade County purchased the remaining land and house. With donations of art and furniture from the family, the Vizcaya estate, became a decorative arts museum operated by Dade County Park and Recreation Department. The property, including the house, gardens, hammock forest, and Vizcaya Village, was designated a National Historic Landmark in 1994.

Other notable artists who contributed to the house and grounds were: Alexander Stirling Calder (1870-1945), Gaston Lachaise (1882-1935), Robert Chanler (1872-1930), Charles Gary Rumsey (1879-1922), Ettore Pellagatta (1881-1966), Paul Thevenez (1891-1921), and Samuel Yellin (1885-1940).

Persons associated include: James Deering (former owner), F. Burrall Hoffman, Jr. (architect), Paul Chalfin (architect of interiors), Diego Suarez (landscape architect), and Alexander Stirling Calder (sculptor), and Metro Dade County Park & Recreation Department (owner).

National Register of Historic Places, Vizcaya, Miami, Dade County, Florida, National Register #70000181.
Postcards circa 1915-1930.
Varying Form:
Also known as Villa Vizcaya, Vizcaya Palace, Vizcaya Museum and Gardens, and the James Deering Estate.
Collection Restrictions:
Access to original images 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.
Topic:
Gardens -- Florida -- Miami  Search this
Seaside gardening  Search this
Formal gardens  Search this
Mansions  Search this
Genre/Form:
Postcards
Collection Citation:
Smithsonian Institution, Archives of American Gardens, Richard Marchand historical postcard collection.
Identifier:
AAG.MAR, File FL083
See more items in:
Richard Marchand historical postcard collection (35mm slides)
Richard Marchand historical postcard collection (35mm slides) / Florida
Archival Repository:
Archives of American Gardens
EDAN-URL:
ead_component:sova-aag-mar-ref1329

Carlen Galleries, Inc., records

Creator:
Carlen Galleries  Search this
Names:
Peale family  Search this
Davies, Albert Webster, 1889-1967  Search this
Feuillate, Raymond, 1901-1971  Search this
Gainsborough, Lee  Search this
Hicks, Edward, 1780-1849  Search this
Kollwitz, Käthe, 1867-1945  Search this
Pippin, Horace, 1888-1946  Search this
Prendergast, Maurice Brazil, 1858-1924  Search this
Extent:
10.4 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Scrapbooks
Date:
1775-1997
bulk 1940-1986
Summary:
The Carlen Galleries, Inc., records measure 10.4 linear feet (gift portions) and date from 1775 to 1997 (bulk 1940-1986). Correspondence, business records, subject files, a scrapbook, printed matter, and photographs document the operation and activities of Carlen Galleries, Inc., and its founder Robert Carlen.
Scope and Content Note:
The Carlen Galleries, Inc., records measure 10.4 linear feet (gift portions, Parts 1 and 3) and date from 1775-1998 (bulk 1940-1986). Correspondence, business records, subject files, a scrapbook, printed matter, and photographs document the operation and activities of Carlen Galleries, Inc., and its founder Robert Carlen.

Part 1: Received in 1986 as a gift from Robert Carlen, these records document the activities of Carlen Galleries and its founder, 1937-1986. Correspondence mainly concerns the sale and purchase of works of art. Also included are artist files containing correspondence, receipts, and printed matter regarding Albert Davies, Edward Hicks, Käthe Kollwitz, Horace Pippin, and Maurice Prendergast. Subject files concern African American artists, Raphael Peale, Raymond Feuillate, and the French Moderns. Business records consist of loan forms, documentation of exhibitions at Carlen Galleries, inventories, a scrapbook and clippings concerning the gallery, conservation reports, appraisals (not microfilmed), and financial records.

Part 2: Additional records documenting the activities of Carlen Galleries and its founder, 1937-1986, were loaned by Robert Carlen for microfilming in 1988. Included are letters about Horace Pippin and rare letters from the artist. Other correspondence concerns Carlen's search for paintings by Edward Hicks, and there is also a small selection of letters regarding more routine gallery business. Among the business records are and account book and receipts. Printed matter consists of exhibition catalogs, announcements, and clippings; a scrapbook contains printed matter about Horace Pippin. Photographs are of Allan Freelon and works of art.

Part 3: Received in 2002 as a gift from Robert Carlen's daughter Nancy Carlen, this portion of the Carlen Galleries, Inc., Records consists of two letters, business records, photographs, and selections from the galleries' library. Letters are from Joan Baez, circa 1960 and Charles M. Mount, 1968. Previously sealed letters from Charles M. Mount, undated, and 1962-1975, relating to John Singer Sargent have been integrated into this portion.

Part 4: Additional records borrowed for microfilming from Nancy Carlen in 2002 include documents dated 1775-1997 (bulk 1940s-1990). Correspondence concerns gallery business, but a small amount of personal correspondence is also included. Business records consist of appraisal reports, receipts for sales and purchases, and the contract and program for the 1964 University [of Pennsylvania] Hospital Antiques Show in which Carlen Galleries exhibited. Subject files document Edward Hicks, Anatol Jal, the Captain James Lawrence Goblet, Horace Pippin, and Antoine Roux. Five notebooks, containing material similar to that in the subject files, are about Horace Pippin (vols. 1-3), Edward Hicks (vol. 4), and chronicle the career of Robert Carlen (vol. 5).

Printed matter consists of clippings and other items concerning art and antiques, Robert Carlen and Carlen Galleries, Inc., and the Diplomatic Reception Rooms of the State Department where two Hicks paintings owned by Carlen were on extended loan. Among the miscellaneous records are biographical documents, personal financial records, business and research notes (including original documents and photocopies of archival materials), and four prints. Photographs are mostly of antiques and art work; also included are a few pictures of people, places, and miscellaneous subjects.
Arrangement:
The collection is arranged into four parts, representing gift and loan accessions received and microfilmed at various times. The two loans for microfilming (Parts 2 and 4) overlap and partially duplicate one another-particularly records relating to Horace Pippin and Edward Hicks-but are far from identical. Some of the Pippin and Hicks material was significantly rearranged in the interim between the first loan (1988) and the second (2002).

Part 1: Gift (1986), 1906-1986 (Boxes 1-7; 7.0 linear feet; Reels 4166-4175)

Part 2: Loan (1988), 1937-1986 (Reel 4175)

Part 3: Gift (2002), 1835-1992 (Boxes 8-12; 3.4 linear feet; Reel 5745)

Part 4: Loan (2002), 1775-1997 (Reels 5746-5748)
Historical Note:
Robert Carlen (1906-1990) worked as a secretary and attended evening classes at the Graphic Sketch Club in Philadelphia right after graduating from high school. He studied painting full-time at the Pennsylvania Academy of the Fine Arts during the academic year 1928/29, and from 1929-1936 he continued to study painting in the evenings while employed at a brokerage firm.

Since he wanted to be associated with the art world and needed to earn a living, Carlen decided to establish an art gallery that would show the works of young artists. In 1937, he opened in Carlen Galleries in his home at 323 South 16th Street, Philadelphia; the galleries operated in the same location for the remainder of Carlen's life. In its earliest years, Carlen Galleries housed exhibitions of the Associated American Artists' Group and featured prints by Wanda Gag, Käthe Kollwitz, Louis Lozowick, Lynd Ward, and other print makers.

In 1941, paintings by Horace Pippin were exhibited at Carlen Galleries. Carlen soon befriended the artist and began providing him with art supplies. He remained Pippin's agent for many years following the artist's death in 1946, and was a sought-after authority on the artist's work and life.

By the mid-1940s, Carlen had discovered a painting by Edward Hicks in Bucks County, Pa. He began researching the then-obscure Quaker artist. Through contacting descendants of Hicks's patrons, Carlen was able to acquire many of Hicks's paintings and Carlen Galleries became known for handling important early American folk paintings and antiques. Among his clients were Edward W. and Bernice Chrysler Garbisch, Winterthur Museum, Winterthur, Del., Abby Aldrich Rockefeller Folk Art Museum, Williamsburg, Va., and the Shelburne Museum, Shelburne, Vt.

During the course of his long career, Robert Carlen served as an advisor to many Philadelphia collectors and developed an extensive knowledge of the genealogies and heirlooms of the city's prominent families. Because of his extensive experience and expertise, Carlen's opinion was widely valued and his services as an appraiser of art and antiques were in great demand.
Separated Materials:
The Archives of American Art also holds microfilm of material lent for microfilming (reels 4175 and 5746-5748) including material relating to Horace Pippin. Loaned material was returned to the lender and is described in the collection container inventory.
Provenance:
The collection was acquired in various accessions of gifts and loans. Part 1: gift of Robert Carlen, 1986; Part 2: loaned by Robert Carlen for microfilming, 1988; Part 3: gift of Nancy Carlen, 2002 (previously sealed letters and appraisals received with Part 1 are housed with Part 3 and integrated for microfilming); Part 4: loaned by Nancy Carlen for microfilming, 2002.
Restrictions:
Patrons must use microfilm copy.
Rights:
Parts 1 and 3 of the Carlen Galleries, Inc. records are owned by the Archives of American Art. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. Parts 2 and 4 were loaned for microfilming and the originals returned to the donor. The collection is subject to all copyright laws.
Occupation:
Painters  Search this
Topic:
Decorative arts -- United States  Search this
African American artists  Search this
Folk art -- United States  Search this
Art appraisers  Search this
Art -- Collectors and collecting  Search this
Art dealers  Search this
Art galleries, Commercial -- Pennsylvania -- Philadelphia  Search this
Art -- Exhibitions  Search this
Genre/Form:
Photographs
Scrapbooks
Citation:
Carlen Galleries, Inc., records, 1775-1997, bulk 1940-1986. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.carlgall
See more items in:
Carlen Galleries, Inc., records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-carlgall
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