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[Sidney Poitier signing autographs : acetate film photonegative,]

Photographer:
Scurlock, Robert S. (Saunders), 1917-1994  Search this
Names:
Poitier, Sidney  Search this
Subseries Creator:
Scurlock, Robert S. (Saunders), 1917-1994  Search this
Custom Craft  Search this
Scurlock, Addison N., 1883-1964  Search this
Scurlock, George H. (Hardison), 1919-2005  Search this
Scurlock Studio (Washington, D.C.)  Search this
Extent:
1 Item
Culture:
African Americans -- Washington (D.C.)  Search this
Type:
Archival materials
Photographs
Date:
2/3/1977
Scope and Contents:
"Ansco Safety Film 5" imprint on edge.
Exhibitions Note:
Reproduction photograph of this image exhibited in "The Scurlock Studio and Black Washington: Picturing the Promise," NMAAHC Gallery, NMAH, January 30 - November 15, 2009; reprinted in exhibit's companion book.
Subseries Restrictions:
Collection is open for research.

Gloves must be worn when handling unprotected photographs and negatives. Special arrangements required to view negatives due to cold storage. Using negatives requires a three hour waiting period. Contact the Archives Center at 202-633-3270.
Subseries Rights:
When the Museum purchased the collection from the Estate of Robert S. Scurlock, it obtained all rights, including copyright. The earliest photographs in the collection are in the public domain because their term of copyright has expired. The Archives Center will control copyright and the use of the collection for reproduction purposes, which will be handled in accordance with its standard reproduction policy guidelines. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Occupation:
Actors  Search this
Topic:
African American actors  Search this
Genre/Form:
Photographs -- 1960-2000 -- Black-and-white negatives -- Acetate film
Subseries Citation:
Scurlock Studio Records, Archives Center, National Museum of American History. Smithsonian Institution
See more items in:
Scurlock Studio Records, Subseries 4.6: Black and white negatives in cold storage arranged by client
Scurlock Studio Records, Subseries 4.6: Black and white negatives in cold storage arranged by client / 4.6.1: Black and white negatives Part 1 / Poitier, Sidney
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-0618-s04-06-ref27328

Cosmos Andrew Sarchiapone papers

Creator:
Sarchiapone, Cosmos Andrew, 1931-2011  Search this
Names:
Parsons School of Design -- Faculty  Search this
Push Pin Studios  Search this
School of Visual Arts (New York, N.Y.) -- Faculty  Search this
Arbus, Diane, 1923-1971  Search this
Cage, John, 1912-1992  Search this
Glaser, Milton  Search this
Hay, Alex  Search this
Huebler, Douglas  Search this
Israel, Marvin  Search this
Johnson, Ray, 1927-  Search this
Kelly, Ellsworth, 1923-  Search this
Scull, Robert C.  Search this
Sonneman, Eve  Search this
Extent:
49.2 Linear feet
0.367 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Drawings
Ephemera
Illustrations
Music
Photocopies
Photographs
Posters
Prints
Sketchbooks
Sound recordings
Video recordings
Place:
New York (State) -- New York City -- Photographs
Date:
circa 1860-2011
bulk 1940-2011
Summary:
The papers of New York City photographer, conceptual artist, and musical composer Cosmos Sarchiapone measure 49.2 linear feet and 0.367 GB and date from circa 1860-2011, with the bulk of the materials dating from 1940-2011. The collection includes biographical material and personal business records; correspondence; extensive writings, including written and recorded music compositions; teaching files; printed material and published sound and video recordings; photographic material; artwork; artifacts; and unpublished sound recordings and born-digital material. Highlights of the collection are more than 40,000 photographic images documenting New York's avant-garde art scene of the 1970s, along with celebrity parties, concerts, exhibition openings and other occasions in the art, music, and theater world. Extensive and somewhat rare printed materials offer users a visual chronical of the downtown art world in the form of posters from the 1970s, including a number of Milton Glaser's, and hundreds of exhibition announcements, theater programs, and playbills.
Scope and Contents:
The papers of New York City photographer, conceptual artist, and musical composer Cosmos Sarchiapone measure 49.2 linear feet and 0.367 GB and date from circa 1860-2011, with the bulk of the materials dating from 1940-2011. The collection includes biographical material and personal business records; correspondence; extensive writings, including written and recorded music compositions; teaching files; printed material and published sound and video recordings; photographic material; artwork; artifacts; and unpublished sound recordings and born-digital material. Highlights of the collection are more than 40,000 photographic images documenting New York's avant-garde art scene of the 1970s, along with celebrity parties, concerts, exhibition openings and other occasions in the art, music, and theater world. Extensive and somewhat rare printed materials offer users a visual chronical of the downtown art world in the form of posters from the 1970s, including a number of Milton Glaser's, and hundreds of exhibition announcements, theater programs, and playbills.

Biographical material and personal business records include address books, calendars, legal paperwork, life documents, resumes, and other material. Correspondence is both personal and professional in nature. Personal correspondence is between Cosmos and friends, family, and pen pals. Professional correspondence is with curators, publishers, and estates and mostly concerns Cosmos's artwork, photographs, or objects he lent for exhibition or publication.

Writings include general writings and notes, including a book layout for a book never realized; fifteen notebooks containing Cosmos's writings about projects, dreams, and miscellany; music compositions in both written form and on sound recordings; and scattered writings by others, including manuscripts and theater scripts.

Teaching files document photography courses taught by Cosmos at the School of Visual Arts in 1974-1976, and the Parsons School of Design in 1980.

Printed materials and commercially published sound and video recordings in the collection are extensive and reflect Cosmos's unique interests and inspirations, and his tendency to save and collect material discarded or rejected by others. There are books and periodicals featuring Cosmos's work, annotated by Cosmos, or of special significance to Cosmos. There is also a list of books in Cosmos's library. Some of the periodicals concern Push Pin Studios and Milton Glaser. There is a large group of ephemera, such as announcements, catalogs, press releases, programs, playbills, posters, and assorted items covering several decades of New York exhibitions, events, concerts, and performances. There are posters for exhibitions, events, performances, film screenings, and concerts. Some of the clippings and other ephemera may have been removed from scrapbooks or other compilations, and some remain collated and mounted on mat board. Some of the printed materials may have been used by Cosmos as source materials.

Photographic material makes up a significant portion of the collection (14.5 linear feet), and illustrates the breadth of Cosmos's documentation of New York City, capturing the avant-garde art and theater worlds, the people and streets, self-portraits, and numerous other subjects. There are images of named people and people at parties, of exhibitions and performances, of New York City streets and buildings, of a more personal and family nature, of artwork, and of miscellaneous subjects. There are also collected photographs, some of which are vintage. There is a large group of unidentified and unsorted negatives, slides, and contact sheets. Where they existed, labeling and descriptive notes have been preserved with the unidentified materials.

Artwork is also quite extensive (10.5 linear feet) and found in a variety of genre, format, and media. There is also a small subseries of artwork by others. One group of artwork consists of titled or named art projects and series, often executed in the form of series that spanned decades. This group includes Cosmos's Reciprocal project that incorporated his photographic work. For this project, he would photograph notable figures, including John Cage, Robert Scull, and others, and ask them to photograph him. There are also several folders of Cosmos's work focusing on photographer Diane Arbus.

A group of artwork identified as "compilations" consist primarily of photocopies of compiled presentations of documents, photographs, fragments, writings, drawings, printed materials and ephemera, and bits and pieces of Cosmos's titled work. These compilations were prepared by Cosmos for individuals in the art world to whom he was close. The original compilations were then photocopied and presented to the intended receiver. The subseries of compilations contains both originals and photocopied versions that do not always correlate with one another. Also found among the artwork are drawings, illustrations, a few paintings, collages, and sketchbooks by Cosmos. Artwork by others includes an artist book, drawings, a sketchbook, and prints by Milton Glaser, Alex Hay, Douglas Huebler, Marvin Israel, Ray Johnson, Ellsworth Kelly, and Eve Sonneman.

Found within the collection are three dimensional artifacts, including eight cameras and other items Cosmos saved and collected to incorporate into his photographs.

There is a large series of unpublished sound recordings and born-digital material, some of which is clearly identified and labeled, and some of which is unidentified. When known, labeling has been incorporated into the folder titles in the container inventory. Users should note that sound recordings that were clearly identified and associated with other projects were arranged in context with those related materials.

Printed material (series 5), photographic material (series 6), and artwork (series 7), include many photocopies. Cosmos used the photocopy process to make copies of his work to share with others, and as a creative form of art in itself, experimenting with tonality, collage, and the degeneration of images from repeated copying. Photocopies were also made of articles, newspapers, and various source material and ephemera that he collected. Many photocopies have descriptive labeling on the back. For some photographs and projects, photocopies are the only form of documentation located in the collection.
Arrangement:
The collection is arranged as nine series

Series 1: Biographical Material and Personal Business Records, circa 1949-2011 (1 linear foot; Box 1, 44, OV 49)

Series 2: Correspondence, 1940s-2011 (.7 linear feet; Box 1-2)

Series 3: Writings, circa 1947-2000s (4.2 linear feet; Box 2-6, 44, OV 50-51)

Series 4: Teaching Files, 1970s-1980s (1.9 linear feet; Box 6-8, 44, OV 52)

Series 5: Printed Material, Published Sound, Video Recordings, 1894-2000s (8.3 linear feet; Box 8-13, 44-45, OV 53-73, RD 105)

Series 6: Photographic Material, circa 1860-2000s, bulk 1970-2010 (14.5 linear feet; Box 14-26, 46-47, OV 74-80)

Series 7: Artwork, 1947-2000s (10.5 linear feet; Box 27-34, 47-48, OV 81-104)

Series 8: Artifacts, 1960s-2000s (1.5 linear feet; Box 34-35)

Series 9: Sound Recordings and Born-Digital Material, 1950s-2000s (6.6 linear feet; Box 36-43, 0.367 GB; ER01-ER02)
Biographical / Historical:
Cosmos Andrew Sarchiapone (1931-2011) was a documentary photographer, musical composer, and conceptual artist who worked in New York City.

Cosmos Andrew Sarchiapone was named Cosime Sarchiapone at birth, and was also known as Cosmos, Cosmos Savage, and Richard Savage. His parents, Lois and Aldo, had seven children, including twins Cosmos and Damian. Born in Manhattan, Cosmos graduated from the La Guardia High School of Music and Art in New York City in 1948 and from Syracuse University in 1958 with a concentration in music composition and studio art. After college, he studied musical composition with John Cage at the New School in 1961, art history with Meyer Schapiro at Columbia University from 1963-1965, illustration with Marvin Israel from 1966-1971, design with Milton Glaser from 1968-1973, and photography with Diane Arbus from 1970-1971. He taught photography at the School of Visual Arts from 1974-1976, and at Parsons School of Design in 1980. In the early 1970s, he led experimental theater workshops at Columbia-Barnard University.

Between 1968-1969, Cosmos worked with Milton Glaser and Seymour Chwast at their Push Pin Studios, a graphic design and illustration studio.

Sometime between the late 1960s and the early 1970s, Cosmos began photographing New York City, capturing the art and theater worlds, the people and streets, self-portraits, and numerous other subjects. As a freelance photographer for New York magazine (founded by Milton Glaser) and other mass-market publications, Cosmos photographed Andy Warhol and his circle, Halloween parties at the Waldorf, the Rev. Sun Myung Moon convention, the Jesus Joy Jubilee at Carnegie Hall, the Beat Poets' reunion and private parties attended by Hollywood actors and directors, often capturing the overlapping worlds of art, movies and music. Cosmos's photographs have been published in numerous books and publications. His work was featured in several exhibitions in the 1970s, including shows at the Jamie Gallery, the Fine Arts Building, and the Baltimore Museum of Art. But he created the bulk of his work for himself and much of it remains unpublished.

Throughout the 1970s, Cosmos documented the avant-garde art scene in New York City. He captured performances at The Kitchen and La Mama, the offices of New York magazine and Push Pin Studios, Tom O'Horgan's Broadway and Off-Broadway productions, and much more. He photographed performances and installations at 112 Greene Street in SoHo, an interdisciplinary art space that nurtured the experiments of a number of now significant American artists, dancers and musicians, including Chris Burden, Vito Acconci, Suzanne Harris and Phillip Glass, all of whom were photographed by Cosmos. He also photographed numerous images of 112 Greene Street's sister space, Matta-Clark's FOOD, an artist-run eatery at the corner of Prince and Wooster Streets where exotic meals were offered up as both performance art and nourishment. Cosmos used his camera as a way to get close to artists he admired, including Diane Arbus, Milton Glaser, and Marvin Israel.

According to Milton Glaser, "Cosmos was a brilliant photographer who was never without a camera….He was always everywhere. In terms of documentation of that period, there was no one like him."

Cosmos often incorporated aspects of his photography into conceptual art pieces, including two serial works that Cosmos made from fragments of Diane Arbus' discarded photographs, transforming her iconic work. Many of Cosmos's conceptual art pieces often took the form of a series, and were continuously revisited. In Reciprocal, Cosmos photographed figures—including those he admired like John Cage, Meyer Schapiro, Robert Scull, and others—then asked each to photograph him. Many of Cosmos's art projects were based in photographic documentation of his "performances", as in Sheet Music, where he is seen tearing a white sheet outside Bloomingdale's during the 'white sale.' Cosmos's convictions about smoking, its hazards, and the nefarious actions of tobacco companies led to several related projects, among them, Photo Arrest, where Cosmos captured on camera people smoking illegally in hospitals, classrooms, grocery stores, and elevators.

Cosmos created scores for plays and dance performances, including Churchyard by the Paul Taylor Dance Company in 1970, and numerous Off-Off Broadway theater productions in the 1960s. He wrote an opera, Vox Humana #3. The opera is about three heroines of history: Antigone, Joan of Arc, and Patty Hearst, and synthesizes a variety of media, including music composition, stage direction, and video (Patty Hearst in Chains), into a four hour performance that was staged at La Mama in 1976 and The Kitchen in 1977.

Cosmos lived at Westbeth Artists' Community from 1970-2011, but had largely withdrawn from the world by the 2000s. Cosmos Sarchiapone died in 2011.
Provenance:
Donated to the Archives of American Art in 2015 by Tom Sarchiapone, Cosmos Sarchiapone's brother, via Catherine Morris, curator and friend of Cosmos.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.

Use of archival audiovisual recordings with no duplicate copy requires advance notice.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Composers -- New York (State) -- New York  Search this
Conceptual artists -- New York (State) -- New York  Search this
Photographers -- New York (State) -- New York  Search this
Topic:
Art -- New York (State) -- New York  Search this
Art -- Study and teaching  Search this
Conceptual art  Search this
Music--New York (State)--New York  Search this
Photographers -- New York (State) -- New York  Search this
Photography -- Study and teaching  Search this
Photography--New York (State)--New York  Search this
Theater--New York (State)--New York  Search this
Genre/Form:
Drawings
Ephemera
Illustrations
Music
Photocopies
Photographs
Posters
Prints
Sketchbooks
Sound recordings
Video recordings
Citation:
Cosmos Andrew Sarchiapone papers, circa 1860-2011, bulk 1940-2011. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.sarccosm
See more items in:
Cosmos Andrew Sarchiapone papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-sarccosm
Online Media:

Professor Leon A. Ransom [acetate film photonegative]

Photographer:
Scurlock, Addison N., 1883-1964  Search this
Creator:
Defender (film manufacturer)  Search this
Subseries Creator:
Scurlock Studio (Washington, D.C.)  Search this
Scurlock, Robert S. (Saunders), 1917-1994  Search this
Custom Craft  Search this
Scurlock, Addison N., 1883-1964  Search this
Scurlock, George H. (Hardison), 1919-2005  Search this
Extent:
1 Item
Container:
Box 42
Type:
Archival materials
Portraits
Photographs
Retouching
Date:
1940-1950
Scope and Contents:
Job Number: 41746
Caption on negative. Face retouched. Defender Safety Base edge imprint.
Subseries Restrictions:
Collection is open for research.

Gloves must be worn when handling unprotected photographs and negatives. Special arrangements required to view negatives due to cold storage. Using negatives requires a three hour waiting period. Contact the Archives Center at 202-633-3270.
Subseries Rights:
When the Museum purchased the collection from the Estate of Robert S. Scurlock, it obtained all rights, including copyright. The earliest photographs in the collection are in the public domain because their term of copyright has expired. The Archives Center will control copyright and the use of the collection for reproduction purposes, which will be handled in accordance with its standard reproduction policy guidelines. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
College teachers  Search this
African American teachers  Search this
Genre/Form:
Portraits -- African American men
Photographs -- 1960-2000 -- Black-and-white negatives -- Acetate film
Retouching -- Pencil
Subseries Citation:
Scurlock Studio Records, Archives Center, National Museum of American History. Smithsonian Institution
See more items in:
Scurlock Studio Records, Subseries 4.1: Black-and-White Silver Gelatin Negatives
Scurlock Studio Records, Subseries 4.1: Black-and-White Silver Gelatin Negatives / 4.1: Black-and-White Silver Gelatin negatives
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-0618-s04-01-ref1044

Howard University College of Dentistry [acetate film photonegative]

Photographer:
Scurlock Studio (Washington, D.C.)  Search this
Creator:
Eastman Kodak Company (film manufacturer)  Search this
Names:
Howard University  Search this
Subseries Creator:
Scurlock Studio (Washington, D.C.)  Search this
Scurlock, Robert S. (Saunders), 1917-1994  Search this
Custom Craft  Search this
Scurlock, Addison N., 1883-1964  Search this
Scurlock, George H. (Hardison), 1919-2005  Search this
Extent:
1 Item
Container:
Box 28
Type:
Archival materials
Composite photographs
Photographs
Date:
[1961?]
Scope and Contents:
Composite of individual portraits, with title, "Class of 1945 / College of Dentistry / Howard University". Film edge imprint: "Kodak -- Safety -- Film 83".
Subseries Restrictions:
Collection is open for research.

Gloves must be worn when handling unprotected photographs and negatives. Special arrangements required to view negatives due to cold storage. Using negatives requires a three hour waiting period. Contact the Archives Center at 202-633-3270.
Subseries Rights:
When the Museum purchased the collection from the Estate of Robert S. Scurlock, it obtained all rights, including copyright. The earliest photographs in the collection are in the public domain because their term of copyright has expired. The Archives Center will control copyright and the use of the collection for reproduction purposes, which will be handled in accordance with its standard reproduction policy guidelines. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
African American dentists  Search this
Dentistry -- 1930-1970  Search this
African American universities and colleges -- 1960-1970  Search this
Portraits, Group -- African Americans -- 1960-1970  Search this
Genre/Form:
Composite photographs
Photographs -- 1960-2000 -- Black-and-white negatives -- Acetate film
Subseries Citation:
Scurlock Studio Records, Archives Center, National Museum of American History. Smithsonian Institution
See more items in:
Scurlock Studio Records, Subseries 4.1: Black-and-White Silver Gelatin Negatives
Scurlock Studio Records, Subseries 4.1: Black-and-White Silver Gelatin Negatives / 4.1: Black-and-White Silver Gelatin negatives
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-0618-s04-01-ref586

Robert Sperry papers

Creator:
Sperry, Robert, 1927-1998  Search this
Names:
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
University of Washington -- Faculty  Search this
Warashina, Patti, 1940-  Search this
Extent:
13.6 Linear feet
0.907 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Motion pictures (visual works)
Transcripts
Interviews
Sketches
Drawings
Photographs
Scrapbooks
Videotapes
Date:
1951-2002
Summary:
The papers of ceramicist Robert Sperry measure 13.6 linear feet and 0.907 GB and date from 1951-2002. The collection documents Sperry's career as an artist, teacher, and filmmaker through biographical information, correspondence, exhibition files, gallery files, material on projects and workshops, writings, a scrapbook, financial files, printed and digital material, photographs, moving image materials, and artwork.
Scope and Content Note:
The papers of ceramicist Robert Sperry measure 13.6 linear feet and 0.907 GB and date from 1951-2002. The collection documents Sperry's career as an artist and teacher through biographical information, correspondence, exhibition files, gallery files, material on projects and workshops, writings, a scrapbook, financial files, printed and digital material, photographs, video recordings, films, and artwork.

Biographical files contain items outlining Sperry's career including resumes, teaching evaluations, awards, and interviews. Correspondence includes general correspondence with family, friends, colleagues, schools, galleries, art organizations, and publications as well as named files for those with whom Sperry exchanged a significant amount of correspondence over a long period of time. The Exhibition Files contain materials on group and solo exhibitions Robert Sperry participated in, while Gallery Files hold material, such as correspondence and contracts, related to the galleries which exhibited Sperry's work primarily after 1979. The Project and Workshop Files in Series 5 contain material related to public commissions he completed and workshops he gave during the 1980s and 1990s.

Writings encompass writings by Sperry and others. Sperry's writings vary greatly and include drafts of articles, a family history, poetry, notes and a screenplay, while writings by others are primarily essays on art. Within this series Sperry's event calendars are also found. Sperry compiled a scrapbook which spans 1955 to 1964 and includes correspondence and printed material about exhibitions and newspaper clippings which feature his artwork. He and his wife, Patti Warashina, also compiled Financial Records primarily of their business and living expenses from 1976 to 1984 and earnings as artists and professors at the University of Washington.

The largest series in this collection, Printed Material, provides information largely on Sperry's career through press clippings, exhibition announcements, catalogs, and publications, and also includes other materials on ceramics in general. The Photographs series contains both photos and negatives from Sperry's trip to Japan to film "Village Potters of Onda" as well as photographs of his artwork and his family. Also found in this collection are a few sketches and drawings by Sperry and one drawing by Patti Warashina. Moving image material includes video recordings and motion picture film with a wide range of content, including documentaries about Sperry, studio footage, and experimental and narrative films created by Sperry in a range of styles and genres, including animation such as the animated film "Henry," hand colored film, live action footage, abstract design, and narrative short films by Sperry. There are digital research copies of some of the films.
Arrangement:
The Robert Sperry papers are arranged as thirteen series, according to type of material. Each series is arranged either in rough chronological or alphabetical order.

Series 1: Biographical Files, 1954-circa 2000, undated (Box 1; 0.3 linear feet)

Series 2: Correspondence Files, 1951-2000, undated (Boxes 1-2; 0.9 linear feet)

Series 3: Exhibition Files, 1963-1999, undated (Boxes 2-3; 1.2 linear feet)

Series 4: Gallery Files, 1960-2000, undated (Boxes 3-4; 0.8 linear feet)

Series 5: Project and Workshop Files, 1967-1996, undated (Box 4; 0.4 linear feet)

Series 6: Writings, 1966-1990, undated (Box 5; 0.5 linear feet)

Series 7: Scrapbook, 1955-1964 (Box 5; 8 folders)

Series 8: Financial Records, 1961-1995, undated (Boxes 5-6; 1.0 linear feet)

Series 9: Miscellaneous Subject Files, 1975-1998, undated (Box 6; 0.2 linear feet)

Series 10: Printed Material, 1955-2002, undated (Boxes 6-10; 3.4 linear feet)

Series 11: Photographs, 1963, undated (Box 10; 0.2 linear feet)

Series 12: Sketches and Drawings, 1984, undated (Box 10; 2 folders)

Series 13: Moving Image Material, circa 1962-1998, undated (Boxes 10-12, FC 13-18; 3.1 linear feet, ER01; 0.907 GB)
Biographical Note:
Robert Sperry was born in Bushnell, Illinois, in 1927. He grew up on his family's farm in Druid, Saskatchewan, Canada, and in 1945 was drafted into the U.S. Army, where he first developed an interest in art. After serving in the military, he returned home and completed his B.A. at the University of Saskatchewan in 1950 and a B.F.A. at the Art Institute of Chicago in 1953. While working on his B.A. he met and married Edyth MacDonald and they had one child, Van, in 1950. Sperry spent one summer as Artist in Residence at the Archie Bray Foundation, in Helena, Montana, and then moved his family to Seattle so that he could complete his M.F.A. at the University of Washington. After graduating in 1955 he stayed at the University and became a professor, teaching ceramics until retiring in 1982. During this time, Sperry widely exhibited his clay vessels in both group and solo exhibitions and was active in the American Craft Council.

When not teaching, Robert Sperry pursued his interest in photography and filmmaking and, in 1963, traveled to Japan to make "Village Potters of Onda," a project that included a documentary film and a collection of black and white photographs. Sperry continued experimenting with film and, in 1967, created a fictional film entitled, "Profiles Cast Long Shadows," which was shown at film festivals throughout the United States. After abandoning another film project in 1970 while going through a divorce, he returned to ceramics as his focus. During the 1970s Sperry developed his techniques, modifying glazes and moving away from the vessel shape. In 1976 Sperry married Patti Warashina, fellow ceramicist and professor at the University of Washington. He began producing murals, which led to several public commissions such as a mural for the IBM Field Engineering Educational Center in Atlanta, created in 1983. Robert Sperry: A Retrospective, was exhibited in 1985-1986 at the Bellevue Art Museum, however, Sperry would continue producing and exhibiting new work, and giving lectures and workshops for thirteen more years, until his death in 1998.
Related Material:
Also found in the Archives of American Art are the Patti Warashina papers, circa 1900-1991. An online finding aid is available.
Provenance:
The Robert Sperry papers were donated by Sperry's wife Patti Warashina in 2003 and 2004.
Restrictions:
The collection is open for research. Use requires an appointment.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Topic:
Works of art  Search this
Filmmakers  Search this
Potters -- Japan  Search this
Ceramicists -- Washington (State)  Search this
Ceramics -- Study and teaching  Search this
Genre/Form:
Motion pictures (visual works)
Transcripts
Interviews
Sketches
Drawings
Photographs
Scrapbooks
Videotapes
Citation:
Robert Sperry papers, 1951-2002. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.sperrobe
See more items in:
Robert Sperry papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-sperrobe

Elaine Ostroff Universal Design Papers

Creator:
Ostroff, Elaine  Search this
Extent:
16 Cubic feet (37 boxes, 1 oversize folder)
Type:
Collection descriptions
Archival materials
Photographs
Grant proposals
Correspondence
Videocassettes
Reports
Audiocassettes
Theater programs
Date:
1965 - 2009
Summary:
Collection documents activist and educator Elaine Ostroff who advocated for improved access for people with disabilities in public places, co-founded the Adaptive Environments Center and who taught universal design in several institutions.
Scope and Contents:
The papers include correspondence, reports, photographs and slides, course-related materials, evaluations, printed publications, lectures and presentations, grant applications, conference materials, audiovisual materials and newspaper clippings documenting the career of Elaine Ostroff, an activist and educator of universal design.
Arrangement:
The collection is arranged into seven series. The arrangement follows Ms. Ostroff's original file order which for the most part has been retained.

Series 1: Personal/Biographical Materials, 1967-2008

Series 2: Subject Files, 1965-2008

Series 3: Universal Design Education Project (UDEP) Files, 1993-2008 (bulk 1993-1998)

Series 4: Adaptive Environments, 1978-2009

Series 5: Japan, 1996-1999

Series 6: Photographs and Slides, 1971-2002

Series 7: Audiovisual Materials, 1974-2004
Biographical Note:
Elaine Phillips Ostroff was born on February 27, 1933 and grew up in Fall River, Massachusetts. She graduated from Durfee High School (1951), received a B.S. from Brandeis University (1955), was awarded a Radcilffe Fellowship (1970) and an Ed.M from Harvard University (1972). In 1978, Ostroff co-founded with Cora Beth Abel the Adaptive Environments Center (now the Institute for Human Centered Design (IHCD) to confront the barriers which prevent persons with disabilities and older people from fully participating in community life. In 1989, with support from the National Endowment for the Arts, she developed the National Universal Design Education Project (UDEP) at Adaptive Environments. A national project, UDEP sought to incorporate universal design in professional curricula. Ostroff coined the term "user/expert" in 1995 to identify individuals whose personal experiences give them unique critical capacity to evaluate environments.

As an educator, Ostroff has been involved with the accessible environments effort on a national and international level since 1971. She was the former director of training for the Massachusetts Department of Mental Health where she developed graduate programs and courses to sustain community based living for people with disabilities. In 1977, she was the United States representative to the United Nations meeting on the Rights of Children.

She convened the national seminar on Design for All People that provided the framework for the UDEP in 1982. In 1986, she developed the "Best of Accessible Boston," an awards program honoring the architects and owners of buildings that exemplified good as well as accessible design. Ostroff is internationally renowned for her role on the team that created the Principles of Universal Design. The Principles are taught to designers including architects, landscape architects, interior and product designers and their students and used in design, constructions and product development. In 2001, she was the senior editor of the "Universal Design Handbook" used as a textbook in educational settings. In 2004, she was the first American, and first woman, to receive the Misha Black Medal from the Royal College of Art. In 2006, the American Institute of Architects awarded her the Honorary AIA designation. Ostroff's experience emphasized creating educational programs for non-designers, facilitating their design advocacy as well as collaboration with design professionals. She has written and produced technical assistance materials on the Americans with Disabilities Act (ADA) that were used in the National Network for ADA Technical Assistance. She married Earl Carlton Ostroff (1931-2006) in 1953. The couple had three children, Rebecca, Joshua, and Sam.
Historical Note:
The Universal Design Movement is an international effort advocating design for disabled persons to enjoy access, independence, and convenience. It also is known as design-for-all, accessible design, inclusive design, and human-centered design. It is applied to buildings, consumer products, packaging, appliances, tools, and devices. It can aid persons with mobility, visual, hearing, cognitive, developmental, neurological, and other disabilities.

The Universal Design movement has its roots in the disability rights movement, in the post-World War II era. Previously and especially before the First World War people with disabilities were members of a small minority and persons with severe handicaps tended to have short lifespans. The world wars caused a huge influx of disabled veterans into the population. Advances in medicine and drugs and better sanitation enabled increased lifespans resulting in a higher population of older and disabled people. Awareness of the problems and limitations experienced by people with disabilities has increased.

The "Barrier-Free" movement in the 1950s was born of the demands by veterans and their advocates to participate equally in educational and employment opportunities enjoyed by the non-disabled population. The Civil Rights Movement of the 1960s influenced the rising Disability Rights Movement. Legislative changes in the 1960s and 1970s prohibited discrimination against persons with disabilities and mandated access to some, though not all, public spaces, public transit, and places of public accommodation.

The progression from the Barrier-Free movement to the Universal Design movement was aided by several pieces of national legislation and activism on the part of numerous organizations. The Architectural Barriers Act of 1968 required buildings designed, built, altered, or leased with federal funds to be made accessible. Section 504 of the Rehabilitation Act of 1973 was the first civil rights law for disabled people. It prohibited discrimination against people with handicapping conditions, but again, only applied to institutions or groups receiving federal funding. The Education for All Handicapped Children Act of 1975 required educational institutions to provide a free education to handicapped children. The Fair Housing Amendments Act of 1988 expanded the requirements of the Civil Rights Act of 1968 to include disabled people. This applied to both public and private properties. The biggest change came in 1990 with the passage of the Americans with Disabilities Act. This broad and sweeping legislation raised public consciousness about disability rights as a civil rights issue. It prohibited discrimination in employment, access to public accommodations, services, programs, public transit, and telecommunications. The law mandated the removal of physical barriers and the development of non-discriminatory policies.

The Universal Design Movement sought to integrate people with disabilities into the mainstream, and to promote inclusion by reducing the physical and social barriers that exist between people with disabilities. As planners, builders and architects struggled to meet the demands of the ADA, they realized that segregated accommodations were costly, unattractive, and unfair. They also realized that improvements in the built environment not only that benefitted people with disabilities, they benefitted all users. According to the Center for Universal Design, "Recognition that many such features could be commonly provided and thus less expensive, unlabeled, attractive, and highly marketable, laid the foundation for the universal design movement."

Against this background, Ostroff's own special interest was improving the environment for people with developmental disabilities. She initially worked with teachers in the Department of Mental Retardation (State of Massachusetts) to help them transform their classrooms into more engaging and supportive environments for young children with disabilities. She was inspired by Gunnar Dybwad (1909-2001), a prominent international international advocate who fought for community living and the de-institutionalization of people with developmental disabilities and Raymond Lifchez (1932-), professor of architecture and city and regional planning at the University of California, Berkeley. She also worked closely with, and learned from, Ron Mace (1941-1998), FAIA, the architect who powered the accessibility movement through his personal experience of disability along with his architectural training and experience.
Related Materials:
The Universal Design News is a quarterly publication that Ostroff edited from 2000-2012 and wrote column on international design education. A full run of the newsletter is available the wesbite for Universal Designers and Consultants, Inc.
Materials at the Archives Center:
Target Stores Collection of Fashion Advertising Using Disabled Models (AC0436)

Accessible Snowboard Collection (AC0747)

Division of Medicine and Science Disability Reference Collection (AC1319)

Safko International, Inc. Records (AC0911)

Harriet Green Kopp Papers (AC1130)
Provenance:
Donated to the Archives Center by Elaine Ostroff in 2015.
Restrictions:
Collection is open for research.

Reference copies for audio and moving images materials do not exist. Use of these materials requires special arrangement. Gloves must be worn when handling unprotected photographs and negatives.

Social Security numbers and other personally identifiable information has been rendered unreadable and redacted. Researchers may use the photocopies in the collection. The remainder of the collection has no restrictions.
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:
Disabilities  Search this
Architectural design  Search this
Playgrounds  Search this
Genre/Form:
Photographs -- 21st century
Photographs -- 1960-2000
Grant Proposals
Correspondence -- 1960-2000
Videocassettes
Reports -- 21st century
Reports -- 1960-2000
Audiocassettes
Correspondence -- 21st century
Theater programs -- 1970-1980
Citation:
Elaine Ostroff Universal Design Papers, 1965-2009, Archives Center, National Museum of American History
Identifier:
NMAH.AC.1356
See more items in:
Elaine Ostroff Universal Design Papers
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-1356
Online Media:

Robert Sperry papers, 1951-2002

Creator:
Sperry, Robert H., 1927-1998  Search this
Subject:
Warashina, Patti  Search this
University of Washington  Search this
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Type:
Motion pictures (visual works)
Transcripts
Interviews
Sketches
Drawings
Photographs
Scrapbooks
Videotapes
Topic:
Works of art  Search this
Filmmakers  Search this
Potters -- Japan  Search this
Ceramicists -- Washington (State)  Search this
Ceramics -- Study and teaching  Search this
Record number:
(DSI-AAA_CollID)11125
(DSI-AAA_SIRISBib)247192
AAA_collcode_sperrobe
Theme:
Craft
Lives of American Artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_247192
Online Media:

Mary Ann Scherr papers, 1941-2013, bulk 1960-2000

Creator:
Scherr, Mary Ann, 1931-2016  Search this
Subject:
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Type:
Photographs
Topic:
Jewelry making  Search this
Women artists  Search this
Record number:
(DSI-AAA_CollID)6026
(DSI-AAA_SIRISBib)236023
AAA_collcode_schemary
Theme:
Women
Lives of American Artists
Craft
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_236023
Online Media:

Jules David Prown research material on artists, 1935-2010, bulk 1958-1975

Creator:
Prown, Jules David, 1930-  Search this
Subject:
West, Benjamin  Search this
Copley, John Singleton  Search this
Type:
Photographs
Topic:
Art -- Study and teaching  Search this
Record number:
(DSI-AAA_CollID)6038
(DSI-AAA_SIRISBib)239353
AAA_collcode_prowjule
Theme:
Art Theory and Historiography
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_239353
Online Media:

Cosmos Andrew Sarchiapone papers, circa 1860-2011, bulk 1940-2011

Creator:
Sarchiapone, Cosmos Andrew, 1931-2011  Search this
Subject:
Arbus, Diane  Search this
Cage, John  Search this
Glaser, Milton  Search this
Hay, Alex  Search this
Huebler, Douglas  Search this
Israel, Marvin  Search this
Johnson, Ray  Search this
Kelly, Ellsworth  Search this
Scull, Robert C.  Search this
Sonneman, Eve  Search this
Parsons School of Design  Search this
School of Visual Arts (New York, N.Y.)  Search this
Push Pin Studios  Search this
Type:
Drawings
Ephemera
Illustrations
Music
Photocopies
Photographs
Posters
Prints
Sketchbooks
Sound recordings
Video recordings
Place:
New York (State) -- New York City -- Photographs
Topic:
Art -- New York (State) -- New York  Search this
Art -- Study and teaching  Search this
Conceptual art  Search this
Music--New York (State)--New York  Search this
Photographers -- New York (State) -- New York  Search this
Photography -- Study and teaching  Search this
Photography--New York (State)--New York  Search this
Theater--New York (State)--New York  Search this
Record number:
(DSI-AAA_CollID)16242
(DSI-AAA_SIRISBib)370445
AAA_collcode_sarccosm
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_370445
Online Media:

Marcia Marcus papers, 1928-2016, bulk 1950-2000

Creator:
Marcus, Marcia, 1928-  Search this
Subject:
Müller, Dody  Search this
Avery, Sally  Search this
Hartigan, Grace  Search this
Stout, Myron  Search this
Benson, Elaine  Search this
Richenburg, Robert  Search this
De Kooning, Elaine  Search this
Barnes, Dorothy Gill  Search this
Type:
Diaries
Sketchbooks
Photographs
Interviews
Topic:
Women painters -- New York (State) -- New York  Search this
Painters -- New York (State) -- New York  Search this
Record number:
(DSI-AAA_CollID)7996
(DSI-AAA_SIRISBib)210165
AAA_collcode_marcmarc
Theme:
Women
Lives of American Artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_210165
Online Media:

Wilde

Collection Creator:
Wilde, John, 1919-2006  Search this
Container:
Box 14, Folder 21-24
Type:
Archival materials
Date:
circa 1960-2000s
Scope and Contents:
Oversized material house in Box 21
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Washington, D.C. Research Center. One box of letters from Walter Hamady is ACCESS RESTRICTED; use requires written permission. The Walter Hamady letters microfilmed on 2539a, 4710a, and 5661 are also ACCESS RESTRICTED.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
John Wilde Papers, 1935-2011. Archives of American Art, Smithsonian Institution.
See more items in:
John Wilde papers
John Wilde papers / Series 10: Photographic Materials
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-wildjohn-ref198

Works of Art, Exhibitions and Special Collections

Collection Creator:
Wilde, John, 1919-2006  Search this
Container:
Box 15, Folder 1-6
Type:
Archival materials
Date:
circa 1960-2000s
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Washington, D.C. Research Center. One box of letters from Walter Hamady is ACCESS RESTRICTED; use requires written permission. The Walter Hamady letters microfilmed on 2539a, 4710a, and 5661 are also ACCESS RESTRICTED.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
John Wilde Papers, 1935-2011. Archives of American Art, Smithsonian Institution.
See more items in:
John Wilde papers
John Wilde papers / Series 10: Photographic Materials
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-wildjohn-ref202

Works of Art, Still Life

Collection Creator:
Wilde, John, 1919-2006  Search this
Container:
Box 15, Folder 7
Type:
Archival materials
Date:
circa 1960-2000s
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Washington, D.C. Research Center. One box of letters from Walter Hamady is ACCESS RESTRICTED; use requires written permission. The Walter Hamady letters microfilmed on 2539a, 4710a, and 5661 are also ACCESS RESTRICTED.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
John Wilde Papers, 1935-2011. Archives of American Art, Smithsonian Institution.
See more items in:
John Wilde papers
John Wilde papers / Series 10: Photographic Materials
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-wildjohn-ref203

Works of Art

Collection Creator:
Wilde, John, 1919-2006  Search this
Container:
Box 16, Folder 3-11
Type:
Archival materials
Date:
circa 1960-2000s
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Washington, D.C. Research Center. One box of letters from Walter Hamady is ACCESS RESTRICTED; use requires written permission. The Walter Hamady letters microfilmed on 2539a, 4710a, and 5661 are also ACCESS RESTRICTED.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
John Wilde Papers, 1935-2011. Archives of American Art, Smithsonian Institution.
See more items in:
John Wilde papers
John Wilde papers / Series 10: Photographic Materials
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-wildjohn-ref204

Works of Art

Collection Creator:
Wilde, John, 1919-2006  Search this
Extent:
20 Lantern slides
Container:
Box 16, Folder 12
Type:
Archival materials
Lantern slides
Date:
circa 1960-2000s
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Washington, D.C. Research Center. One box of letters from Walter Hamady is ACCESS RESTRICTED; use requires written permission. The Walter Hamady letters microfilmed on 2539a, 4710a, and 5661 are also ACCESS RESTRICTED.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
John Wilde Papers, 1935-2011. Archives of American Art, Smithsonian Institution.
See more items in:
John Wilde papers
John Wilde papers / Series 10: Photographic Materials
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-wildjohn-ref205

Works of Art

Collection Creator:
Wilde, John, 1919-2006  Search this
Extent:
Includes born-digital materials, see ER01.
Container:
Box 17, Folder 1-11
Type:
Archival materials
Date:
circa 1960-2000s
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Washington, D.C. Research Center. One box of letters from Walter Hamady is ACCESS RESTRICTED; use requires written permission. The Walter Hamady letters microfilmed on 2539a, 4710a, and 5661 are also ACCESS RESTRICTED.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
John Wilde Papers, 1935-2011. Archives of American Art, Smithsonian Institution.
See more items in:
John Wilde papers
John Wilde papers / Series 10: Photographic Materials
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-wildjohn-ref206

Works of Art, Album, Returned to Studio

Collection Creator:
Wilde, John, 1919-2006  Search this
Container:
Box 15, Folder 8-11
Type:
Archival materials
Date:
circa 1960-2000s
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Washington, D.C. Research Center. One box of letters from Walter Hamady is ACCESS RESTRICTED; use requires written permission. The Walter Hamady letters microfilmed on 2539a, 4710a, and 5661 are also ACCESS RESTRICTED.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
John Wilde Papers, 1935-2011. Archives of American Art, Smithsonian Institution.
See more items in:
John Wilde papers
John Wilde papers / Series 10: Photographic Materials
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-wildjohn-ref287

Works of Art, Album, Sold

Collection Creator:
Wilde, John, 1919-2006  Search this
Container:
Box 15, Folder 12-14
Type:
Archival materials
Date:
circa 1960-2000s
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Washington, D.C. Research Center. One box of letters from Walter Hamady is ACCESS RESTRICTED; use requires written permission. The Walter Hamady letters microfilmed on 2539a, 4710a, and 5661 are also ACCESS RESTRICTED.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
John Wilde Papers, 1935-2011. Archives of American Art, Smithsonian Institution.
See more items in:
John Wilde papers
John Wilde papers / Series 10: Photographic Materials
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-wildjohn-ref290

Works of Art, Untitled Album 1

Collection Creator:
Wilde, John, 1919-2006  Search this
Container:
Box 15, Folder 15-17
Type:
Archival materials
Date:
circa 1960-2000s
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Washington, D.C. Research Center. One box of letters from Walter Hamady is ACCESS RESTRICTED; use requires written permission. The Walter Hamady letters microfilmed on 2539a, 4710a, and 5661 are also ACCESS RESTRICTED.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
John Wilde Papers, 1935-2011. Archives of American Art, Smithsonian Institution.
See more items in:
John Wilde papers
John Wilde papers / Series 10: Photographic Materials
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-wildjohn-ref291

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