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William Anderson Coffin papers, 1886-1924

Creator:
Coffin, William A. (William Anderson), 1855-1925  Search this
Subject:
Stella, Joseph  Search this
Warren, Whitney  Search this
Mauer, Alfred  Search this
Benson, Frank Weston  Search this
Blashfield, Edwin Howland  Search this
Zorach, William  Search this
Gay, Walter  Search this
Gussow, Bernard  Search this
Bouché, Louis  Search this
Cortissoz, Royal  Search this
Pan-American Exposition (1901: Buffalo, N.Y.)  Search this
Société des artistes français  Search this
Exposition d'artistes de l'école Américaine (1919 : Paris, France)  Search this
American Rights Committee  Search this
American Artists' Committee of One Hundred  Search this
Lotos Club (New York, N.Y.)  Search this
Musée d'histoire et d'art (Luxembourg)  Search this
Committee for the Exhibition of American Painting and Sculpture (Paris, France)  Search this
Type:
Scrapbooks
Photographs
Citation:
William Anderson Coffin papers, 1886-1924. Archives of American Art, Smithsonian Institution.
Topic:
Harper's Weekly  Search this
New York Post  Search this
Art Exhibitions France Paris  Search this
Landscape painters -- New York (State) -- New York  Search this
Art, American  Search this
World War, 1914-1918  Search this
Theme:
Research and writing about art  Search this
Record number:
(DSI-AAA_CollID)7476
(DSI-AAA_SIRISBib)209634
AAA_collcode_coffwill
Theme:
Research and writing about art
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_209634
Online Media:

[Miscellaneous Sites in Montpellier, France]: the château d'eau, aqueduct and promenade du Peyrou.

Lantern slide maker:
Williams, Brown & Earle, Inc.  Search this
Collection Creator:
Garden Club of America  Search this
Extent:
1 Lantern slide (col., 3.25 x 4 in.)
Type:
Archival materials
Lantern slides
Place:
France -- Montpellier
France -- Languedoc-Roussillon -- Herault -- Montpellier
Date:
[between 1900 and 1915]
General:
The lantern slide was apparently made by Williams, Brown, & Earle, Inc., of Philadelphia from a color postcard published by A. C. Champagne, 180 Rue de Rivoli, Paris.
Mount reads: "Williams, Brown & Earle, Inc., 918 Chestnut St., Philadelphia, Pa."
Historic plate caption: "Lewis [photographer?]; Aquaduct. Montpelier - France."
Collection Restrictions:
Access to original archival materials by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Collection Rights:
Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Topic:
Aqueducts  Search this
Stairs  Search this
Hand-railing  Search this
Street lighting  Search this
Monuments  Search this
Genre/Form:
Lantern slides
Collection Citation:
Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.
Identifier:
AAG.GCA, Item FR025001
See more items in:
The Garden Club of America collection
The Garden Club of America collection / Series 2: International Garden Images / France / FR025: Montpellier -- Miscellaneous Sites in Montpellier, France
Archival Repository:
Archives of American Gardens
GUID:
https://n2t.net/ark:/65665/kb63ca70346-a540-4afa-bcbf-956a917097a7
EDAN-URL:
ead_component:sova-aag-gca-ref4854

[Miscellaneous Sites in Montpellier, France]: the aqueduct and Promenade du Peyrou.

Lantern slide maker:
Williams, Brown & Earle, Inc.  Search this
Collection Creator:
Garden Club of America  Search this
Extent:
1 Lantern slide (col., 3.25 x 4 in.)
Type:
Archival materials
Lantern slides
Place:
France -- Montpellier
France -- Languedoc-Roussillon -- Herault -- Montpellier
Date:
[between 1900 and 1915]
General:
The lantern slide was apparently made by Williams, Brown, & Earle, Inc., of Philadelphia from a color postcard published by A. C. Champagne, 180 Rue de Rivoli, Paris.
Mount reads: "[postcard created by Neurdein frŠres] Williams, Brown & Earle, Inc., 918 Chestnut St., Philadelphia, Pa."
Historic plate number: "205."
Historic plate caption: "[text on verso label:] Lewis [photographer of postcard? (not of photo pictured in postcard)]; Aquaduct. Montpelier - France. [text printed on postcard image:] Montpellier. - LAqueduc; N.D. Phot."
Collection Restrictions:
Access to original archival materials by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Collection Rights:
Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Topic:
Aqueducts  Search this
Flower beds  Search this
Urns  Search this
Fences  Search this
Roads  Search this
Houses  Search this
Genre/Form:
Lantern slides
Collection Citation:
Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.
Identifier:
AAG.GCA, Item FR025002
See more items in:
The Garden Club of America collection
The Garden Club of America collection / Series 2: International Garden Images / France / FR025: Montpellier -- Miscellaneous Sites in Montpellier, France
Archival Repository:
Archives of American Gardens
GUID:
https://n2t.net/ark:/65665/kb68120cec1-9532-4813-81e1-82ac0cd951b7
EDAN-URL:
ead_component:sova-aag-gca-ref4855

[Luxembourg Gardens]: the Fontaine de l'Observatoire, with sculpture by Jean-Baptiste Carpeaux.

Sculptor:
Carpeaux, Jean-Baptiste  Search this
Lantern slide maker:
Williams, Brown & Earle, Inc.  Search this
Collection Creator:
Garden Club of America  Search this
Extent:
1 Lantern slide (col., 3.25 x 4 in.)
Type:
Archival materials
Lantern slides
Place:
Luxembourg Gardens (Paris, France)
France -- Paris
France -- Ile-de-France -- Paris -- Paris
Date:
[between 1900 and 1915]
General:
The fountain is also known as the Fontaine des Quatre-Parties-du-Monde or the Fontaine Carpeaux. The lantern slide was apparently made by Williams, Brown, & Earle, Inc., of Philadelphia, possibly from a color postcard published by A. C. Champagne, 180 Rue de Rivoli, Paris. See FR025001 and FR025002 for comparable lantern slide derivations from published works
Mount reads: "Williams, Brown & Earle, Inc., 918 Chestnut St., Philadelphia, Pa."
Historic plate number: "5261."
Historic plate caption: "LEWIS [photographer?]; Paris - Luxembourg Garden - La Fontaine Carpeaux."
Collection Restrictions:
Access to original archival materials by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Collection Rights:
Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Topic:
Fountains  Search this
Sculpture  Search this
Ponds  Search this
People  Search this
Gardens -- France -- Paris  Search this
Urban parks  Search this
Genre/Form:
Lantern slides
Collection Citation:
Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.
Identifier:
AAG.GCA, Item FR004001
See more items in:
The Garden Club of America collection
The Garden Club of America collection / Series 2: International Garden Images / France / FR004: Paris -- Luxembourg Gardens
Archival Repository:
Archives of American Gardens
GUID:
https://n2t.net/ark:/65665/kb6d8b76ca5-6ffb-4d96-b165-38d93df3635a
EDAN-URL:
ead_component:sova-aag-gca-ref4865

Molière Fountain: the fountain, at the junction of rue Molière and rue de Richelieu.

Lantern slide maker:
Williams, Brown & Earle, Inc.  Search this
Collection Creator:
Garden Club of America  Search this
Extent:
1 Lantern slide (col., 3.25 x 4 in.)
Type:
Archival materials
Lantern slides
Place:
Molière Fountain (Paris, France)
France -- Paris
France -- Ile-de-France -- Paris -- Paris
Date:
[between 1900 and 1930]
General:
Mount reads: "Williams, Brown & Earle, Inc., 918 Chestnut St., Philadelphia, Pa."
Historic plate caption: "LEWIS [photographer?]; Paris - Moliere Fountain."
Collection Restrictions:
Access to original archival materials by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Collection Rights:
Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Topic:
Fountains  Search this
Sculpture  Search this
Kiosks  Search this
People  Search this
Avenues  Search this
Children  Search this
Row houses  Search this
Genre/Form:
Lantern slides
Collection Citation:
Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.
Identifier:
AAG.GCA, Item FR007001
See more items in:
The Garden Club of America collection
The Garden Club of America collection / Series 2: International Garden Images / France / FR007: Paris -- Molière Fountain
Archival Repository:
Archives of American Gardens
GUID:
https://n2t.net/ark:/65665/kb6cf6b2344-dca5-4279-b45f-982a36ba812d
EDAN-URL:
ead_component:sova-aag-gca-ref4868

[Parc Monceau]: the classical colonnade in the park.

Landscape designer:
Carmontelle, Louis Carrogis, 1717-1806  Search this
Lantern slide maker:
Williams, Brown & Earle, Inc.  Search this
Collection Creator:
Garden Club of America  Search this
Extent:
1 Lantern slide (col., 3.25 x 4 in.)
Type:
Archival materials
Lantern slides
Place:
Parc Monceau (Paris, France)
France -- Paris
France -- Ile-de-France -- Paris -- Paris
Date:
[between 1900 and 1930]
General:
Mount reads: "Williams, Brown & Earle, Inc., 918 Chestnut St., Philadelphia, Pa."
Historic plate caption: "LEWIS [photographer?]; Paris - Parc Monceau."
Collection Restrictions:
Access to original archival materials by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Collection Rights:
Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Topic:
Spring  Search this
Artificial ruins  Search this
Follies (Architecture)  Search this
Ponds  Search this
Colonnades  Search this
Edging (inorganic)  Search this
Fences  Search this
People  Search this
Urban parks  Search this
Genre/Form:
Lantern slides
Collection Citation:
Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.
Identifier:
AAG.GCA, Item FR008001
See more items in:
The Garden Club of America collection
The Garden Club of America collection / Series 2: International Garden Images / France / FR008: Paris -- Parc Monceau
Archival Repository:
Archives of American Gardens
GUID:
https://n2t.net/ark:/65665/kb6b35ad982-0faa-43db-8111-868bb628ce3d
EDAN-URL:
ead_component:sova-aag-gca-ref4869

Ray Charles

Artist:
Michel Salou, active mid 20th century  Search this
Sitter:
Ray Charles, 23 Sep 1930 - 10 Jun 2004  Search this
Medium:
Gelatin silver print
Dimensions:
Image/Sheet: 17.9 x 23.9 cm (7 1/16 x 9 7/16")
Mat: 55.9 x 40.6 cm (22 x 16")
Type:
Photograph
Place:
France\Île-de-France\Ville de Paris, Départment de
Date:
c. 1961
Topic:
Music\Musical instrument\Piano  Search this
Equipment\Sound Devices\Microphone  Search this
Home Furnishings\Furniture\Seating\Bench  Search this
Interior\Performing Arts  Search this
Ray Charles: Male  Search this
Ray Charles: Performing Arts\Performer\Musician\Composer  Search this
Ray Charles: Performing Arts\Performer\Musician\Singer  Search this
Ray Charles: Performing Arts\Performer\Musician\Pianist  Search this
Ray Charles: Society and Social Change\Disability\Blind  Search this
Ray Charles: Grammy  Search this
Portrait  Search this
Credit Line:
National Portrait Gallery, Smithsonian Institution
Object number:
NPG.2000.23
Restrictions & Rights:
Usage conditions apply
See more items in:
National Portrait Gallery Collection
Data Source:
National Portrait Gallery
GUID:
http://n2t.net/ark:/65665/sm4c70ba916-2e63-4a0c-b61b-2b937595a3fe
EDAN-URL:
edanmdm:npg_NPG.2000.23

Irving Petlin papers, 1952-2014, bulk 1970-1990

Creator:
Petlin, Irving, 1934-2018  Search this
Subject:
Golub, Leon  Search this
Kitaj, R. B.  Search this
Selz, Peter Howard  Search this
Type:
Drawings
Sketchbooks
Citation:
Irving Petlin papers, 1952-2014, bulk 1970-1990. Archives of American Art, Smithsonian Institution.
Topic:
Art and war  Search this
Vietnam War, 1961-1975 -- Protest movements -- United States  Search this
Theme:
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)21701
(DSI-AAA_SIRISBib)398508
AAA_collcode_peltirvi
Theme:
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_398508
Online Media:

Martha Smith Collection of Stereographs and Postcards

Creator:
Underwood & Underwood  Search this
Mayor, A. Hyatt (Alpheus Hyatt), 1901-1980  Search this
Underwood & Underwood Studios  Search this
Exposition universelle de 1867 à Paris  Search this
Names:
Meiji, Emperor of Japan, 1852-1912  Search this
Extent:
51 Stereographs (black and white)
2 Postcards (black and white)
Type:
Collection descriptions
Archival materials
Stereographs
Postcards
Place:
Japan -- 1900-1910
Date:
circa 1904
Scope and Contents:
43 stereographs from the early twentieth century were produced by the Underwood & Underwood Studio depicting various scenes and people from Meiji Japan, 3 stereographs from the 1867 Exposition Universelle in Paris, France, and two black and white postcards from Japan. Specific Japanese locations depicted include: Yokohama; Mississippi Bay and the Mikado Cliffs; Tokyo; Mt. Haruna, Ikao; Kyoto; Hiroshima; Lake Chuzenji.
Arrangement:
0.5 linear foot
Biographical / Historical:
The cards were most likely assembled by Ms. Smith's father, A. Hyatt Mayor (1901-1980), art historian, writer, and Metropolitan Museum of Art Curator of Prints from 1946-1966.
Underwood & Underwood was an early photographic studio who produced steroscopic and photographic images from 1881 to the 1940s. Founded in Ottawa, Kansas by brothers Elmer Underwood and Bert Elias Underwood, the studio worked in Ottawa, Baltimore, and New York City. They sold box sets of photographs and set up distribution offices throughout the world. Underwood & Underwood covered major news events like the Boer War and the Great War.
Local Numbers:
FSA A2002.02
Restrictions:
Collection is open for research.
Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
Genre/Form:
Stereographs
Postcards
Citation:
Martha Smith Collection of Stereographs and Postcards. FSA.A2002.02. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C.
Identifier:
FSA.A2002.02
Archival Repository:
Freer Gallery of Art and Arthur M. Sackler Gallery Archives
GUID:
https://n2t.net/ark:/65665/dc36b222a0f-422d-4cb3-86f2-a715a666b4f7
EDAN-URL:
ead_collection:sova-fsa-a2002-02
Online Media:

Ilse Getz papers

Creator:
Getz, Ilse, 1917-  Search this
Extent:
3.4 Linear feet
Type:
Collection descriptions
Archival materials
Diaries
Photographs
Date:
1928-1999
Summary:
The papers of collage artist Ilse Getz measure 3.4 linear feet and date from 1928 through 1999, with the bulk of the papers dating from circa 1947-circa 1990. Her personal life is reflected through biographical material including a genealogy of the Bechhold family; marriage and death certificates; and writings that include journals, artist statement, poems and notes. The collection contains letters from friends, artists, collectors, and museum and art gallery representatives; exhibition files; and printed material relating to Getz's exhibitions. Also found are photographs, slides and transparencies of artwork.
Scope and Contents:
The papers of collage artist Ilse Getz measure 3.4 linear feet and date from 1928 through 1999, with the bulk of the papers dating from circa 1947-circa 1990. Her personal life is reflected through biographical material including a genealogy of the Bechhold family; marriage and death certificates; and writings that include journals, artist statement, poems and notes. The collection contains letters from friends, artists, collectors, and museum and art gallery representatives; exhibition files; and printed material relating to Getz's exhibitions. Also found are photographs, slides and transparencies of artwork.
Arrangement:
This collection is organized into 6 series.

Series 1: Biographical Material, circa 1934-1996 (Box 1, OV 5; 0.2 linear feet)

Series 2: Letters, circa 1950-1999 (Box 1; 0.5 linear feet)

Series 3: Exhibition Files, circa 1944-1990 (Box 1, 2, 4; 1.0 linear feet)

Series 4: Writings, circa 1928-1987 (Box 2, 4; 0.2 linear feet)

Series 5: Printed Material, circa 1956-1990 (Box 2, 3, 4, OV 5; 1.0 linear feet)

Series 6: Photographs, circa 1940-1985 (Box 3; 0.5 linear feet)
Biographical / Historical:
Ilse Getz (1917-1992) was born in Nuremberg, Germany and immigrated to the U.S. in 1933. She studied at the Art Students League with George Grosz and Morris Kantor and at the Ozenfant School. Getz was a collage and construction artist active from the 1950s through the 1980. She exhibited at several galleries in New York City including the Bertha Schaefer Gallery and Rosenberg Gallery.

During her childhood, Ilse Getz (nee Bechhold) had been uprooted both from home and country. She was first displaced in 1929, when she was sent to Hamburg to live with her sister after her father died by suicide. In 1933, Ilse and her sister left Nazi Germany, and traveled to Italy, Spain, Cuba, and Mexico. Ilse joined immediate family in New York. In 1937, Ilse married lawyer David Getz and settled in Allentown, Pennsylvania. Three years later she had a child and became a naturalized citizen of the United States.

In 1942, while visiting her sister in Mexico, Getz created her first oil painting. Upon returning to New York, Ilse continued her artistic exploration and studied with George Grosz and Morris Kantor at the Art Students League. By 1945, Getz had already held her first solo exhibition at the Norlyst Gallery in New York.

Getz traveled extensively throughout her life, incorporating the experiences in her work. During 1947-1948, she traveled and worked in Europe, visiting Switzerland, France, Spain and Portugal among other countries before retiring for four months in Guaruja, Brazil. She destroyed most of the artwork created during that period and returned to New York City.

During the summer of 1956, Getz taught and exhibited at the Positano Art Workshop in Italy along with Piero Dorazio. She repeated the experience two years later. In 1958, Getz married her second husband, artist Manoucher Yektai. The following year, Getz and Yektai went to Yaddo in Saratoga Springs, New York after having received fellowships to the artists' community.

In 1960, Getz was commissioned by Richard Barr to create the set for Eugene Ionesco's play, The Killer. The venue was the Seven Arts Theater in New York City and she completed the set in five days. Getz spent the next two years in Paris where she was represented by the Iris Clert Gallery; she exhibited in France, Germany and England. In 1962, Getz returned to New York City and maintained a studio on the Upper East Side. Getz married for the third time in 1964 to Gibson Danes who was then the Dean of Yale School of Art and Architecture. The couple lived in New York and Connecticut, and eventually settled in Newtown, Connecticut.

Getz participated in national and international exhibitions and in solo and group shows. Her collages and constructions incorporate items such as dolls, toys, birds, eggs, playing cards, and game boards. In 1978, retrospective exhibitions of Getz's work were held at the Neuberger Museum in Purchase, New York and in her native city at the Kunsthalle Nürnberg. Retrospective exhibitions were also held in 1980 at the Goethe House and Alex Rosenberg Gallery.

Later in life, Getz suffered from advanced Alzheimer's disease. In 1992, Gibson Danes, fearful that he would no longer be able to properly care for his wife, took both his life and that of Ilse Getz. They were found dead in their garage from acute carbon monoxide toxicity after breathing the fumes of their idling car.
Provenance:
The papers were donated in 2001 by Patricia Getz-Gentle, the daughter of Ilse Getz.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
Occupation:
Painters -- New York (State) -- New York  Search this
Collagists -- New York (State) -- New York  Search this
Topic:
Women artists  Search this
Women painters  Search this
Genre/Form:
Diaries
Photographs
Citation:
Ilse Getz Papers, 1928-1999. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.getzilse
See more items in:
Ilse Getz papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9eaa347d5-7fa5-4528-9c0e-cfbdfce62a96
EDAN-URL:
ead_collection:sova-aaa-getzilse
Online Media:

Anne Ryan papers

Creator:
Ryan, Anne, 1889-1954  Search this
Names:
McFadden, Elizabeth  Search this
Extent:
3.8 Linear feet
Type:
Collection descriptions
Archival materials
Travel diaries
Diaries
Drawings
Date:
circa 1905-1970
Summary:
The papers of New York-based painter, printmaker, collagist and writer Anne Ryan measure 3.8 linear feet and date from circa 1905 to 1970. The papers document her career as an artist and writer in New York, New Jersey and Spain through biographical material, correspondence, diaries and journals, writings, printed material, photographic material and artwork.
Scope and Contents:
The papers of New York-based painter, printmaker, collagist and writer Anne Ryan measure 3.8 linear feet and date from circa 1905 to 1970. The papers document her career as an artist and writer in New York, New Jersey and Spain through biographical material, correspondence, diaries and journals, writings, printed material, photographic material and artwork.

Biographical material includes a mixture of legal and financial records as well as other personal documents. There are account books, art inventories, biographical statements, estate papers, exhibition lists, price lists, loan and consignments records, bills and receipts, banking and tax records, assorted travel documents, and other miscellaneous items.

Correspondence is with editors, museums, galleries, family and friends. Many of the letters have typed transcriptions that go along with the original handwritten correspondence. There is also correspondence with Anne Ryan's daughter, Elizabeth McFadden.

There are six diaries, journals, and travel diaries. The diaries and journals describe progress on artwork and writing, as well as daily appointments and activities.

Writings consists of notes, notebooks, poetry and manuscripts. The bulk of the series consists of handwritten and typescript drafts of books, short stories and essays. There are a few items written by others.

Printed material includes exhibition announcements, catalogs, clippings and magazines. Most of the periodicals include essays and stories written by Ryan. There are some printed materials such as postcards, travel brochures and clippings from Ryan's time in Spain.

Two family albums and photographs depict Anne Ryan, family, friends, colleagues, artwork, exhibition installations and houses.

Also found are materials Ann Ryan used to make artwork, such as engraved metal plates for prints, engraved woodcuts for woodblock prints, and handmade stencils. Some drawings are also included.
Arrangement:
The collection is arranged as seven series.

Series 1: Biographical Material, circa 1920-circa 1970 (Box 1; 0.2 linear feet)

Series 2: Correspondence, circa 1922-1968 (Box 1; 0.6 linear feet)

Series 3: Diaries and Journals, 1924-1942 (Boxes 1-2; 0.3 linear feet)

Series 4: Writings, circa 1923-circa 1954 (Boxes 2-3; 1.4 linear feet)

Series 5: Printed Material, 1925-1970 (Boxes 3-4; 0.6 linear feet)

Series 6: Photographic Material, circa 1905-circa 1954 (Boxes 4-5; 0.4 linear feet)

Series 7: Artwork, circa 1930-circa 1954 (Box 5; 0.3 linear feet)
Biographical / Historical:
Anne Ryan (1889-1954) was a painter, printmaker, collagist, graphic artist and author who primarily worked in New York City, but also in New Jersey and Spain.

Anne Ryan was born in Hoboken, New Jersey in 1889. She attended St. Elizabeth's Academy and College. She married lawyer William J. McFadden and had three children – William, Elizabeth and Thomas. They lived in Newark, New Jersey and divorced in 1923. Ryan often went to Greenwich Village in New York City and was something of a fixture in the arts and literary community. In 1925 she published a book of poetry, Lost Hills, and her novel Raquel was also published around this time.

Around 1931, Ryan moved to Spain and lived there for roughly four years, mostly in Mallorca and Ibiza, though she traveled to Paris as well. She then returned to New York City and moved into 124 West Fourth Street, which was occupied by many artists and writers. She opened a restaurant called The Hearthstone in the building's basement.

Ryan began painting around 1938. Artist Hans Hofmann lived nearby and visited her studio to provide encouragement, telling her to pursue her own course artistically and not to seek formal instruction. Ryan's first exhibition was in 1941. During this time she joined the printmaking studio Atelier 17 run by British artist William Stanley Hayter who had fled from Paris, France due to World War II. Thanks to the studio, Ryan befriended many European expatriate artists and started making woodblock prints and engravings.

In 1948, Ryan saw an exhibition of collages by Kurt Schwitters that inspired her to begin creating collages herself. During her late career, she made hundreds of collages and had multiple exhibitions at Betty Parsons Gallery in New York City. Ryan was also a prolific writer and many of her short stories and travel essays were published in magazines and periodicals. She died in 1954 in Morristown, New Jersey.
Provenance:
The Anne Ryan papers were donated to the Archives of American Art in 1971 by Elizabeth McFadden, Anne Ryan's daughter.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
Occupation:
Authors -- New York (State) -- New York  Search this
Painters -- New York (State) -- New York  Search this
Painters -- Spain  Search this
Printmakers -- New York (State) -- New York  Search this
Collagists -- New York (State) -- New York  Search this
Collagists -- Spain  Search this
Topic:
Printmakers -- Spain  Search this
Women artists  Search this
Women painters  Search this
Women printmakers  Search this
Women authors  Search this
Genre/Form:
Travel diaries
Diaries
Drawings
Citation:
Anne Ryan papers, circa 1905-1970. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.ryananne
See more items in:
Anne Ryan papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9338d8d6c-21ed-442d-ba7b-52ac24daef94
EDAN-URL:
ead_collection:sova-aaa-ryananne

Romare Bearden papers

Creator:
Bearden, Romare, 1911-1988  Search this
Names:
Alston, Charles Henry, 1907-1977  Search this
Holty, Carl, 1900-1973  Search this
Lawrence, Jacob, 1917-2000  Search this
Middleton, Samuel M., 1927-  Search this
Reinhardt, Ad, 1913-1967  Search this
Extent:
2.1 Linear feet
Type:
Collection descriptions
Archival materials
Drawings
Sketches
Exhibition catalogs
Maps
Photographs
Date:
1937-1982
Summary:
The papers of Romare Bearden measure 2.1 linear feet and date from 1937 to 1982. The collection includes biographical information, correspondence, writings by and about Bearden, miscellaneous legal and financial material, photographs, drawings, and printed material. Found are numerous letters referring to African-American arts movements of the 1960s and 1970s, including exhibitions, publications, associations, and scattered letters of a more personal nature.
Scope and Contents:
The papers of Romare Bearden measure 2.1 linear feet and date from 1937 to 1982. The collection includes biographical information, correspondence, writings by and about Bearden, miscellaneous legal and financial material, photographs, drawings, and printed material.

Correspondence is with family, friends, artists, galleries, museums, publishers, universities, arts associations, and colleagues, primarily concerning gallery space, exhibitions, sales of artwork, publishing, and arts events. Also found are numerous letters referring to African-American art movements of the 1960s and 1970s, including exhibitions, publications, associations, and scattered letters of a more personal nature. Many of the letters are illustrated with Bearden's doodlings and drawings. Although most of the letters are from galleries, museums, publishers, and arts associations, scattered letters from Charles Alston, Jacob Lawrence, Ad Reinhardt, Carl Holty, and Sam Middleton are found. In addition, there are letters from the Black Academy of Arts and Letters, and letters concerning its founding.

Writings by Bearden include lectures, speeches, talks, essays, and prose. Many are handwritten, annotated, and edited in Bearden's hand and several are illustrated with Bearden's doodlings and sketches. Included are a memorial delivered upon artist Carl Holty's death, a tribute to Zell Ingram, autobiographical essays, essays on art, and African-American art, artists, and cultural life. Also found are several handwritten examples of Bearden's prose and poetry. There are also writings by others and one folder of fragments and notes assumed to be by Bearden.

The collection houses two folders of photographs and snapshots of Bearden, family members, other unidentified artists or friends, classes and/or lectures, and works of art. Also found are several undated ink drawings, sketches in pencil and ink, and a hand-drawn and colored map with overlay of Paris. Printed material includes examples of Bearden's commissioned artwork for publications, press releases, exhibition catalogs and announcements, invitations, newspaper and magazine clippings, and miscellaneous printed materials. Although much of the printed material concerns Bearden's work, a fair portion concerns African-American art, artists, and cultural movements.
Arrangement:
The collection is arranged into seven series based on type of materials. Documents within each of the seven series have been arranged in chronological order, except for the writings which have been further subdivided by creator and are undated. Printed materials have been arranged primarily according to form of material and are in rough chronological order.

Missing Title

Series 1: Biographical, 1977, undated (Box 1; 1 folder)

Series 2: Correspondence, 1944-1981, undated (Box 1-2; 0.8 linear feet)

Series 3: Writings By and About Bearden, circa 1950s-1980s (Box 3; 6 folders)

Series 4: Legal and Financial Material, 1970-1977 (Box 3; 3 folders)

Series 5: Photographs, undated (Box 3; 2 folders)

Series 6: Drawings, undated (Box 3, OV 6; 4 folders)

Series 7: Printed Material, 1937-1982 (Box 3-5; 1 linear foot)
Biographical / Historical:
Born in Mecklenburg County, North Carolina, in 1914, Bearden's family relocated to New York City when Bearden was a toddler. Living in Harlem during the Harlem Renaissance of the 1920s, Bearden was exposed to such luminaries as writer Langston Hughes, painter Aaron Douglas, and musician Duke Ellington. While attending New York University, Bearden became interested in cartooning and became the art editor of the NYU Medley in his senior year. He received his B.S. in mathematics in 1935, initially planning to pursue medical school. Realizing that he had little interest in the other sciences however, Bearden began attending classes at the Art Students League in the evenings, studying under George Grosz.

In the mid-1930s Bearden published numerous political cartoons in journals and newspapers, including the Afro-American, but by the end of the decade, he shifted his emphasis to painting. Bearden's first paintings, on large sheets of brown paper, recalled his early memories of the South. After serving in the Army, Bearden began exhibiting more frequently, particularly in Washington, D.C. at the G Street Gallery and in New York with Samuel Kootz.

During a career lasting almost half a century, Bearden produced approximately two thousand works. Although best known for the collages of urban and southern scenes that he first experimented with in the mid-1960s, Bearden also completed paintings, drawings, monotypes, edition prints, public murals, record album jackets, magazine and book illustrations, and costume and set designs for theater and ballet. His work focused on religious subjects, African-American culture, jazz clubs and brothels, and history and literature. Not confining his abilities to the visual arts, Bearden also devoted attention to writing and song writing. Several of his collaborations were published as sheet music, among the most famous of which is "Seabreeze," recorded by Billy Eckstine. In addition, Bearden coauthored three full-length books: The Painter's Mind: A Study of the Relations of Structure and Space in Painting (1969) with painter Carl Holty; Six Black Masters of American Art (1972); and A History of African-American Artists: From 1792 to the Present (posthumously, 1993), the latter two with journalist Harry Henderson.

Bearden was also active in the African-American arts movement of the period, serving as art director of the Harlem Cultural Council, a founding member of the Black Academy of Arts and Letters, and organizer of exhibitions, such as the Metropolitan Museum's "Harlem on My Mind" (1968). Romare Bearden died in 1988.
Related Materials:
Within the Archives holdings are two oral history interviews with Romare Bearden. One was conducted in 1968 by Henri Ghent and another in 1980 by Avis Berman.
Separated Materials:
The Archives of American Art also holds microfilm of material lent for microfilming (reel N68-87) including correspondence, a scrapbook, photographs, catalogs, clippings, and writings. Except for the correspondence, loaned materials were returned to the donor and are not described in the collection container inventory.
Provenance:
Romare Bearden lent material for microfilming to the Archives of American Art in 1968, donating the correspondence. Bearden also gave additional papers between 1977 and 1983.
Restrictions:
The bulk of the collection has been digitized and is available online via AAA's website. Use of material not digitized requires an appointment.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Painters -- New York (State) -- New York  Search this
Collagists -- New York (State) -- New York  Search this
Topic:
African American artists  Search this
Works of art  Search this
Painting  Search this
Genre/Form:
Drawings
Sketches
Exhibition catalogs
Maps -- Paris (France)
Photographs
Citation:
Romare Bearden papers, 1937-1982. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.bearroma
See more items in:
Romare Bearden papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9ed3f5b60-2e93-4f30-af75-dbd95d060a90
EDAN-URL:
ead_collection:sova-aaa-bearroma
Online Media:

Claudia DeMonte and Ed McGowin papers

Creator:
DeMonte, Claudia, 1947-  Search this
McGowin, Ed, 1938-  Search this
Extent:
7.2 Linear feet
Type:
Collection descriptions
Archival materials
Video recordings
Date:
1960-2018
Summary:
The papers of Claudia DeMonte and Ed McGowin measure 7.2 linear feet and date between 1960 and 2018. The papers primarily document Claudia DeMonte's career as a painter, and to a lesser extent her husband's career, through correspondence with family, friends, colleagues, and art institutions; notebooks, poetry, and other writings; scrapbooks; curriculum vitas, awards and certificates, commissions, and other professional activity; exhibition announcements and catalogs, newspaper clippings, magazine articles, and other printed material; sketchbooks and other artwork; personal photographs, portraits, of artwork, and other photographic material.
Scope and Contents:
The papers of Claudia DeMonte and Ed McGowin measure 7.2 linear feet and date between 1960 and 2018. The papers primarily document Claudia DeMonte's career as a painter, and to a lesser extent her husband's career, through correspondence with family, friends, colleagues, and art institutions; notebooks, poetry, and other writings; scrapbooks; curriculum vitas, awards and certificates, commissions, and other professional activity; exhibition announcements and catalogs, newspaper clippings, magazine articles, and other printed material; sketchbooks and other artwork; personal photographs, portraits, of artwork, and other photographic material.

Correspondence includes letters and postcards to and from family, friends, colleagues, and art institutions.

Writings includes a file of poetry written by DeMonte, manuscripts of books written by DeMonte, and a series of notebooks. Some of the notebooks are a combination of notes and sketches.

Scrapbooks consist of eight scrapbooks consisting of mixed material such as notes, photographs, sketches, and printed material.

Professional material consists of awards and certificates, a large number of calendars, commision work including an art project for the University of Northern Iowa completed by both DeMonte and McGowin, and a number of VHS and Betamax cassettes documenting DeMonte's career and interviews in connection with her Women of the World exhibition.

Printed material consists of newspaper clippings, magazine articles, exhibition announcements and catalogs, exhibition posters, and newsletters.

Artwork consists of a file of drawings and some sketchbooks.

Photographic material consists of photographs and slides of DeMonte, her artwork, and some of her exhibitions. There is also a file of photographs of DeMonte and McGowin at the White House with First Lady Laura Bush, and there are personal photographs of DeMonte and McGowin traveling and with family and friends.
Arrangement:
The collection is arranged into seven series.

Series 1: Correspondence, 1967-2013 (1.7 linear feet; Boxes 1-2)

Series 2: Writings, 1975-2013 (0.5 linear feet; Boxes 2-3)

Series 3: Scrapbooks, 1967-2009 (1.0 linear feet; Box 3, 9-10)

Series 4: Professional Activity Files, 1964-2013 (1.7 linear feet; Boxes 3-5, 9)

Series 5: Printed Material, 1960-2018 (1.9 linear feet; Boxes 5-7)

Series 6: Artwork, circa 1973 (0.1 linear feet; Box 7)

Series 7: Photographic Material, circa 1977-2010 (0.3 linear feet; Boxes 7-8)
Biographical / Historical:
Claudia DeMonte (1947- ) was born and raised in Astoria, New York City. She has more than 100 one-person shows and 600 group exhibitions nationally and internationally, including exhibitions at the Corcoran Museum, Modern Art Museum of Fort Worth, Mississippi Museum, Tucson Museum, Flint Institute of Art, Museum of the Southwest, etc.

Her work is in numerous museum permanent collections, including the Brooklyn Museum of Art, Stamford Museum, Boca Raton Museum, and in major corporate collections such as those of Hyatt Regency Hotels, Exxon, Citibank and Siemens. Her public commissions have come from the New York City Department of Cultural Affairs, Brooklyn Library System, Queens Supreme Court, Prudential Life Insurance, the State of New Mexico, and New York City School Construction Authority.

DeMonte is also the curator of "Women of the World: A Global Collection of Art." This traveling exhibition, with accompanying books, includes works of women from 177 countries dealing with the images of women.

DeMonte's work is heavily influenced by her travels to over 80 countries, her interest in the roles of women in contemporary society and Outsider Art, a collection compiled with her husband, artist Ed McGowin.

For 33 years, DeMonte has served on the faculty of the University of Maryland, where she was named Distinguished Scholar Teacher and Professor Emerita. In 2006, She was awarded an Honorary Doctorate from the College of Santa Fe.

DeMonte presently lives with her husband in New York City and Kent, Connecticut.

Ed McGowin (1938- ) was born in 1938 in Hattiesburg, Mississippi and grew up in Mississippi and Alabama, receiving the M.A. from the University of Alabama. He has had one-person exhibitions at the Corcoran Gallery in Washington, D.C.; the Baltimore Museum; and the Museum of Modern Art of the City of Paris, France. Since 1979, McGowin has executed major outdoor commissions for numerous public and private organizations, often collaborating with his wife, Claudia DeMonte.
Related Materials:
Also found in the Archives of American Art is an oral history interview with Claudia DeMonte conducted by Liza Kirwin between February 13 and April 24, 1991; and the Ed McGowin papers, 1962-1998.
Provenance:
The Claudia DeMonte and Ed McGowin papers were donated in 1994 by Claudia DeMonte and in 2020 by Claudia DeMonte and Ed McGowin.
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. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Sculptors -- New York (State) -- New York  Search this
Mixed-media artists -- New York (State) -- New York  Search this
Educators -- Maryland -- College Park  Search this
Painters -- New York (State) -- New York  Search this
Collagists -- New York (State) -- New York  Search this
Topic:
Women artists  Search this
Women sculptors  Search this
Women educators  Search this
Genre/Form:
Video recordings
Citation:
Claudia DeMonte and Ed McGowin papers, 1960-2018. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.democlau
See more items in:
Claudia DeMonte and Ed McGowin papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw98cf90804-0751-4bb3-b276-8f730e83692b
EDAN-URL:
ead_collection:sova-aaa-democlau

Adja Yunkers papers

Creator:
Yunkers, Adja, 1900-1983  Search this
Names:
Alice Simsar Gallery  Search this
Impressions Gallery of Photography  Search this
Smith Andersen Gallery  Search this
Bjornstjerna, Mikael  Search this
Grossman, Morton, 1926-  Search this
Haley, Donna  Search this
Olsen, Cheryl  Search this
Wood, Denis  Search this
Extent:
2.32 Linear feet ((partially microfilmed on 3 reels))
Type:
Collection descriptions
Archival materials
Date:
1939-1983
Scope and Contents:
REEL N70-16: A typescript (42 p.) address delivered at the Corcoran Museum of Art, 1967, by Yunkers describing his student years in Russia, and later years in Germany, France, and Mexico, ca. 1917-1928, and relating political, social, and cultural events to the development of modern art. He describes Russia before and during the Revolution and Germany during the Weimar Republic. Also included are a resume; a critical bibliography of Yunkers work; typescripts of 2 articles; and clippings.
REEL D251: Printed material, 1941-1965, including newspaper clippings, magazine articles, reviews, exhibition catalogs and announcements, and press releases.
REEL 1023: "Prints in the Desert: New Mexico," 1950, a limited edition book of prints and poetry produced by a collaboration of artists under the leadership of Yunkers.
UNMICROFILMED: Biographical material, including naturalization papers and a passport; files of letters from Mikael Bjornstjerna (1977-1983), Cheryl Bowers (1978-1983), Morton and Chris Grossman (1979-1982), Donna Haley (1982-1983), Denis Wood (1978-1983), Yunker's daughters, including Nina (1979-1983); business and personal correspondence, 1960-1983; files on galleries handling Yunkers' work, including Smith Andersen Gallery (Palo Alto, Calif.), Alice Simsar Gallery (Ann Arbor, Mich.), and Impressions Gallery (Boston, Mass.) containing correspondence, price lists and receipts; a few sketches and a collage; 2 portfolios, "Creation" (1941) and "Ars: Tidskrift for Konst Litterature Och Veteskap" (1942) containing original prints and collages by Yunkers; 2 appointment books, 1980-1983; notes and writings; photographs of Yunkers, Yunkers at work, his family, friends, studio, and art work; photograph albums, including 2 of Yunkers' studios in Stockholm, Sweden, New Mexico, and New York City (1942-1980) and one of exhibition installations, undated; photographs by Denis Hare of the making of Octavio Paz's book BLANCO, illustrated by Yunkers, and slides of prints included in BLANCO; and printed material, including exhibition announcements, clippings and miscellany.
Biographical / Historical:
Abstract painter and printmaker, collagist, and art instructor; New York, N.Y. Died 1983. Born in Riga, Latvia. Studied in Leningrad, Paris, Berlin, and London. He moved to the United States in 1947. Faculty member of the New School for Social Research, 1947-1956; Cooper Union, 1956-1967.
Related Materials:
Adja Yunker papers also at Syracuse University.
Provenance:
Materials on reels D251, N70-16, and 1023 donated by Adja Yunkers, 1966-1970, and transferred to NMAA-NPG Library vertical files after microfilming, except "Prints in the Desert: New Mexico" (REEL 1023). Unmicrofilmed material donated 1984 by Marina and Alexandra Yunkers, Yunkers' daughters.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm.
Unmicrofilmed: ACCESS RESTRICTED; written permission required.
Occupation:
Art teachers -- New York (State) -- New York  Search this
Painters -- New York (State) -- New York  Search this
Printmakers -- New York (State) -- New York  Search this
Collagists -- New York (State) -- New York  Search this
Topic:
Abstract expressionism  Search this
Painting, Abstract -- New York (State) -- New York  Search this
Prints, Abstract -- New York (State) -- New York  Search this
Artists' illustrated books  Search this
Prints -- 20th century  Search this
Identifier:
AAA.yunkadja
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9ddbf2fbb-ff0e-4910-8bf2-70c282edc073
EDAN-URL:
ead_collection:sova-aaa-yunkadja

Chickering & Sons Piano Company Collection

Creator:
Chickering, Jonas, 1798-1853  Search this
Names:
Chickering & Sons Piano Company  Search this
Wurlitzer Company  Search this
McKay, John, Captain  Search this
Stewart, James  Search this
Former owner:
National Museum of American History (U.S.). Division of Musical History  Search this
Extent:
16 Cubic feet (37 boxes)
Type:
Collection descriptions
Archival materials
Microfilms
Trade literature
Photographic prints
Papers
Place:
Boston (Mass.)
Date:
1864 - 1985
Scope and Contents:
This collection consists of 51 volumes of Chickering & Sons piano registers, documenting piano production (May 1823-September 1985); correspondence related to the hundredth anniversary of Jonas Chickering's presidency of the Handel and Hayden Society; publications on the history of the Company and sales literature (1854-1984); newspapers articles about the company (1847-1876); photographs (1926-1966); advertising and management forms (1938-1968); and a copy of a letter by Jonas Chickering to his father dated January 27, 1838. There are also ten documents related to the construction, mortgaging and insurance of Chickering Hall in New York City (1876-1886). Chickering Hall opened with great acclaim in 1875 and was an important musical center in New York City in the last quarter of the 19th Century. Some grand pianos from turn of the century onward are not listed in the ledgers. It is thought that Chickering may have had a duplicate set of serial numbers for grand pianos but this collection lacks that volume.
Arrangement:
This collection organized into seven series.

Series 1: Correspondence, 1950

Series 2: Publications, 1854-1884

Series 3: Company history and records, 1838-1940

Series 4: Newspapers, 1847-1876

Series 5: Photographs, 1924-1966

Series 6: Management forms and material, 1938-1968

Series 7: Microfilm of ledger books, 1823-1985
Biographical / Historical:
Chickering & Sons pianos are an old line that came into being in April 1823 in Boston. Jonas Chickering, the founder, was a youthful cabinet maker. He learned piano making from John Osborn, a true master of the trade. The division of labor in Osborn's shop was not very extensive and Chickering was compelled to study every part of the instrument and to make himself acquainted with all the details. This exposure to the full range of tasks would served him well when he became a master in his own right. During his four years with Osborn, he became acquainted with Osborn's partner, James Stewart, who was awarded a patent for a "detached" soundingboard that was incorporated in the partners' pianos.

When Osborn and Stewart severed their business relationship, Stewart and his new partner, Chickering, opened a small shop on Tremont Street near King's Chapel on February 15, 1823. The partnership lasted three years until Stewart withdrew and left for London. At the age of 28, Chickering became the sole owner of the small but prosperous manufactory. The firm's annual output climbed over the next three years and reached 47 instruments in 1829.

In early 1830, Chickering made Captain John McKay, an experienced, aggressive, and successful merchandiser a partner in Chickering & Company. Captain Mackay made frequent trips to South American ports with ships laden with pianos. Returning home, the hold was filled with fragrant rosewood and richly grained mahogany. Chickering's first invention was patented in 1837 the first practical casting of a modern iron frame built to sustain the great tension of the strings of the piano so that it would stay in tune for a considerable period. In 1845, another important patent was secured, representing the first practical method of overstringing for square pianos, and in 1849 he applied the same principle to uprights. These contributions and others have become standard with all piano manufacturers.

The Chickering firm made pianos in a new way, employing production strategies that paralleled developments in other trades undergoing industrialization. "When he first commenced business for himself about 15 instruments a year were turned out while in the later years Mr. Chickering's business finished between fifteen and sixteen hundred instruments a year and at least one grand piano worth about a thousand dollars every week." (Richard G. Parker, A Tribute To The Life and Character of Jonas Chickering "By one who knew him well" (Boston: William P. Tewksbury, 1854.)

He was a long time President of the Handel & Hayden Society of Boston, this Country's oldest oratorio, founded in 1815.

On December 1, 1853, a fire swept through the Washington Street factory. Rather than rebuild on Washington Street, plans were made to erect a new factory on Tremont Street in the South End of Boston. Chickering, however, never saw the new plant in operation as he suffered a stroke and died December 8, 1853. The large Chickering factory built in 1853 was described at that time as the largest building in the United States outside the U.S. Capitol, and as "... the most perfect and extensive pianoforte estblishment in the world."

Chickering's death in 1853 left the business in the hands of his sons. In 1867, Emperor Napoleon III of France bestowed the Imperial Cross of the Legion of Honor on Frank Chickering at the Paris World's Fair that year.

With the passing of C. Frank Chickering in 1891, the company lost headway; and it was purchased by the American Piano Company in 1908 (Chickering Brothers pianos, which were made for several years following 1892 were in no way related to Chickering & Sons, though this family of boys was trained in the Chickering & Sons Boston factory).

From 1905 to 1911, the firm alone among American builders supported the revival of early instruments by hiring the English musician and craftsman Arnold Dolmetsch to build harpsichords, clavichords, and violas.

Chickering & Sons continued manufacturing pianos in Boston until 1927, when the plant and its personnel were relocated to East Rochester, New York. The Chickering was the foremost piano of the time Longfellow had one and there was one on the stage at Ford's Theater in Washington, D.C. the night Lincoln was assassinated. In 1932 the Company became part of the Aeolian American Corporation.

William Knabe of Kreutzburg, Germany, trained as a piano manufacturer, established his business in Baltimore, Maryland in 1837, and controlled the market in the Southern states by 1860. The Civil War and economic pressures may have contributed to the death of Knabe in 1864. The Company was eventually purchased by the American Piano Company in 1908, shortly after Chickering became a part of the organization.

The Wurlitzer Company, a major musical instrument manufacturer, acquired the Chickering firm in 1985 and continued to produce instruments with the Chickering name. The Wurlitzer Company was later purchased by the Baldwin Piano Company; Baldwin was subsequently purchased by Wurltech, Inc., of Houston, Texas.
Provenance:
This collection was donated by the Wurlitzer Company, May 17, 1987.
Restrictions:
The collection is open for research use.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
advertising  Search this
Keyboard instruments  Search this
Business -- History  Search this
Musical instruments -- 1860-1990  Search this
Musical instrument manufacturing  Search this
Piano makers  Search this
Genre/Form:
Microfilms
Trade literature
Photographic prints
Papers
Citation:
Chickering and Sons Piano Company Collection, 1864-1985, Archives Center, National Museum of American History
Identifier:
NMAH.AC.0264
See more items in:
Chickering & Sons Piano Company Collection
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep886f1c94d-ee6e-4c1c-bc11-97884ec73a13
EDAN-URL:
ead_collection:sova-nmah-ac-0264
Online Media:

Receiver, Western Wireless, Type 7, Earhart, 1935 Pacific Flight

Manufacturer:
Western Wireless  Search this
Materials:
Metal, phenolic, and glass
Dimensions:
3-D: 34.5 × 33.5 × 27cm, 10.8kg (13 9/16 × 13 3/16 × 10 5/8 in., 23 13/16lb.)
Type:
AVIONICS-Communication
Country of Origin:
United States of America
Date:
1930-1934
Credit Line:
Gift of American Legion Post 678
Inventory Number:
A19500109000
Restrictions & Rights:
CC0
See more items in:
National Air and Space Museum Collection
Data Source:
National Air and Space Museum
GUID:
http://n2t.net/ark:/65665/nv9a37f241b-75cf-44a4-a5a2-d0e1015db564
EDAN-URL:
edanmdm:nasm_A19500109000
Online Media:

[Tuileries Garden]: the west entrance of the Tuileries Garden, showing the statue of Renommée riding Pegasus, by Antoine Coysevox.

Photographer:
Sears, Thomas Warren, 1880-1966  Search this
Collection Creator:
Sears, Thomas Warren, 1880-1966  Search this
Sears & Wendell  Search this
Olmsted Brothers  Search this
Harvard University  Search this
American Society of Landscape Architects  Search this
Extent:
1 Negatives (photographic) (black-and-white, 3.5 x 6 in.)
Type:
Archival materials
Negatives (photographic)
Negatives
Reproductions
Place:
Tuileries Garden (Paris, France)
France -- Ile-de-France -- Paris -- Paris
Date:
1906 Aug.
General:
Original was a nitrate negative which has been digitized and the nitrate negative destroyed. A duplicate film negative is at Photographic Services, Smithsonian Institution (OIPPS). Negative Number: 94-7138.
Collection Restrictions:
Access to original archival materials by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Collection Rights:
Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Topic:
Fences -- wrought iron  Search this
Sculpture  Search this
People  Search this
Lampposts  Search this
Gardens -- France -- Paris  Search this
Genre/Form:
Negatives
Reproductions
Collection Citation:
Smithsonian Institution, Archives of American Gardens, Thomas Warren Sears photograph collection.
Identifier:
AAG.SRS, Item FR006003
See more items in:
Thomas Warren Sears photograph collection
Thomas Warren Sears photograph collection / Series 1: Photographic Images / International / France / FR006: Paris -- Tuileries Garden
Archival Repository:
Archives of American Gardens
GUID:
https://n2t.net/ark:/65665/kb61712aa65-a493-4fa4-84b5-70bd24c04560
EDAN-URL:
ead_component:sova-aag-srs-ref2562

[Tuileries Garden]: looking from the west entrance to the Tuileries Garden toward the Place de la Concorde and the Obelisk of Luxor.

Photographer:
Sears, Thomas Warren, 1880-1966  Search this
Collection Creator:
Sears, Thomas Warren, 1880-1966  Search this
Sears & Wendell  Search this
Olmsted Brothers  Search this
Harvard University  Search this
American Society of Landscape Architects  Search this
Extent:
1 Negatives (photographic) (black-and-white, 3.5 x 6 in.)
Type:
Archival materials
Negatives (photographic)
Negatives
Reproductions
Place:
Tuileries Garden (Paris, France)
France -- Ile-de-France -- Paris -- Paris
Date:
1906 Aug.
General:
Original was a nitrate negative which has been digitized and the nitrate negative destroyed. A duplicate film negative is at Photographic Services, Smithsonian Institution (OIPPS). Negative Number: 94-7158.
Collection Restrictions:
Access to original archival materials by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Collection Rights:
Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Topic:
Obelisks  Search this
Sculpture  Search this
Fences -- wrought iron  Search this
Sculpture  Search this
Gates -- Iron  Search this
People  Search this
Urban areas  Search this
Gardens -- France -- Paris  Search this
Genre/Form:
Negatives
Reproductions
Collection Citation:
Smithsonian Institution, Archives of American Gardens, Thomas Warren Sears photograph collection.
Identifier:
AAG.SRS, Item FR006004
See more items in:
Thomas Warren Sears photograph collection
Thomas Warren Sears photograph collection / Series 1: Photographic Images / International / France / FR006: Paris -- Tuileries Garden
Archival Repository:
Archives of American Gardens
GUID:
https://n2t.net/ark:/65665/kb66ea9efc3-9673-422a-9925-eb27b410cafb
EDAN-URL:
ead_component:sova-aag-srs-ref2563

[Tuileries Garden]: part of the Tuileries Garden.

Photographer:
Sears, Thomas Warren, 1880-1966  Search this
Collection Creator:
Sears, Thomas Warren, 1880-1966  Search this
Sears & Wendell  Search this
Olmsted Brothers  Search this
Harvard University  Search this
American Society of Landscape Architects  Search this
Extent:
1 Negatives (photographic) (black-and-white, 3.5 x 6 in.)
Type:
Archival materials
Negatives (photographic)
Negatives
Reproductions
Place:
Tuileries Garden (Paris, France)
France -- Ile-de-France -- Paris -- Paris
Date:
1906 Aug.
General:
Original was a nitrate negative which has been digitized and the nitrate negative destroyed. A duplicate film negative is at Photographic Services, Smithsonian Institution (OIPPS). Negative Number: 94-7166.
Collection Restrictions:
Access to original archival materials by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Collection Rights:
Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Topic:
Allées  Search this
Trees  Search this
Chairs  Search this
Lampposts  Search this
Outdoor furniture  Search this
Men  Search this
Gardens -- France -- Paris  Search this
Genre/Form:
Negatives
Reproductions
Collection Citation:
Smithsonian Institution, Archives of American Gardens, Thomas Warren Sears photograph collection.
Identifier:
AAG.SRS, Item FR006005
See more items in:
Thomas Warren Sears photograph collection
Thomas Warren Sears photograph collection / Series 1: Photographic Images / International / France / FR006: Paris -- Tuileries Garden
Archival Repository:
Archives of American Gardens
GUID:
https://n2t.net/ark:/65665/kb6d51837eb-9a4f-441f-a9e0-70450138a677
EDAN-URL:
ead_component:sova-aag-srs-ref2564

[Tuileries Garden]: looking across the Grand Bassin pond in the Tuileries Garden, with the Arc de Triomphe du Carrousel in the far distance.

Photographer:
Sears, Thomas Warren, 1880-1966  Search this
Collection Creator:
Sears, Thomas Warren, 1880-1966  Search this
Sears & Wendell  Search this
Olmsted Brothers  Search this
Harvard University  Search this
American Society of Landscape Architects  Search this
Extent:
1 Negatives (photographic) (black-and-white, 3.5 x 6 in.)
Type:
Archival materials
Negatives (photographic)
Negatives
Reproductions
Place:
Tuileries Garden (Paris, France)
France -- Ile-de-France -- Paris -- Paris
Date:
1906 Aug.
General:
Original was a nitrate negative which has been digitized and the nitrate negative destroyed. A duplicate film negative is at Photographic Services, Smithsonian Institution (OIPPS). Negative Number: 94-7169.
Collection Restrictions:
Access to original archival materials by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Collection Rights:
Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Topic:
Chairs  Search this
Fountains  Search this
Allées  Search this
Urban parks  Search this
Outdoor furniture  Search this
Genre/Form:
Negatives
Reproductions
Collection Citation:
Smithsonian Institution, Archives of American Gardens, Thomas Warren Sears photograph collection.
Identifier:
AAG.SRS, Item FR006006
See more items in:
Thomas Warren Sears photograph collection
Thomas Warren Sears photograph collection / Series 1: Photographic Images / International / France / FR006: Paris -- Tuileries Garden
Archival Repository:
Archives of American Gardens
GUID:
https://n2t.net/ark:/65665/kb61135e76e-72a9-4373-9cb0-7252e48c6651
EDAN-URL:
ead_component:sova-aag-srs-ref2565

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