Search Results

Creator:

Shia, Nancy, 1947-  Search this

Names:

Barry, Marion, 1936-2014  Search this

Butler, Josephine "Jo", 1920-1997  Search this

Nahikian, Marie Satenik, 1946-  Search this

Washington, Walter E., 1915-2003  Search this

Extent:

0.75 Linear feet (2 boxes)

Type:

Collection descriptions

Archival materials

Annual reports

Fliers (printed matter)

Correspondence

Photographs

Newspaper clippings

Newsletters

Place:

Adams Morgan (Washington, D.C.)

Date:

1969 - 2001

Scope and Contents:

These records include documents relating to Nancy Shia's service from 1982-1984 as an Advisory Neighborhood Commissioner of the Adams Morgan neighborhood in Washington, DC. Materials include correspondence, meeting agendas and minutes, annual reports, grant proposals, newspaper clippings, and political fliers. Also contained in the collection are several editions of the Rock Creek Monitor, a newspaper of Adams Morgan and surrounding communities, and photographs by Nancy Shia of the annual Adams Morgan Day celebration.

Biographical/Historical Note:

Nancy Shia is a photographer, political artist, neighborhood activist, and longtime Adams Morgan resident. She received her B.A. in Sociology (with a minor in Photography) from City College of New York, her M.A. in Social Work from Columbia University, and came to Washington, DC in 1972 to attend Antioch School of Law (from which she received her J.D. in 1978). She has extensively documented the Adams Morgan neighborhood through photography since the early 1970s. She later worked for the Federal News Service and was elected to serve as Advisory Neighborhood Commissioner from 1982-1984 and again from 2007-2010.

Provenance:

Donated by Nancy Shia in 2017.

Restrictions:

Use of the materials requires an appointment. Please contact the archivist at acmarchives@si.edu.

Rights:

Collection items available for reproduction, but the Archives makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives cost-recovery and use fees may apply when requesting reproductions.

Topic:

Festivals  Search this

Newspapers -- 20th century  Search this

Housing policy  Search this

Genre/Form:

Annual reports -- 20th century

Fliers (printed matter)

Correspondence

Photographs

Newspaper clippings

Newsletters

Citation:

Nancy Shia papers, Anacostia Community Museum Archives, Smithsonian Institution, gift of Nancy Shia.

Identifier:

ACMA.06-099

Archival Repository:

Anacostia Community Museum Archives

GUID:

https://n2t.net/ark:/65665/qa7fc16da40-345d-4641-84da-de49f5afcbe7

EDAN-URL:

ead_collection:sova-acma-06-099

Creator:

Zabriskie Gallery  Search this

Names:

Galerie Zabriskie  Search this

Zabriskie, Virginia M., 1927-1991  Search this

Extent:

110.5 Linear feet

Type:

Collection descriptions

Archival materials

Date:

1905-2011

Summary:

The Zabriskie Gallery records measure 110.5 linear feet and date from 1905 to 2011. The records document the history of the Zabriskie Gallery through leases, permits, floor plans, and other administrative files; guestbooks; appointment books, notebooks, and other desk diaries; correspondence from New York and Paris galleries, museums, clients, and other correspondence; appraisals, inventories, consigments, and other registrar files; artist files consisting of resumes, correspondence, exhibition material, and photographs of artwork; institution files consisting of correspondence, consignments,and artwork inquiries with museums, galleries, and corporations; exhibition files consisting of loan agreements, press releases, and correspondence related to exhibitions shown at the gallery; invoices, price lists, and other financial records; clippings, press packets, newsletters, and other printed material; photographs, slides, and transparencies of exhibitions and artists works; and correspondence, photographs, awards, and other personal records of Virginia Zabriskie.

Scope and Contents:

The Zabriskie Gallery records measure 110.5 linear feet and date from 1905 to 2011. The records document the history of the Zabriskie Gallery through leases, permits, floor plans, and other administrative files; guestbooks; appointment books, notebooks, and other desk diaries; correspondence from New York and Paris galleries, museums, clients, and other correspondence; appraisals, inventories, consigments, and other registrar files; artist files consisting of resumes, correspondence, exhibition material, and photographs of artwork; institution files consisting of correspondence, consignments,and artwork inquiries with museums, galleries, and corporations; exhibition files consisting of loan agreements, press releases, and correspondence related to exhibitions shown at the gallery; invoices, price lists, and other financial records; clippings, press packets, newsletters, and other printed material; photographs, slides, and transparencies of exhibitions and artists works; and correspondence, photographs, awards, and other personal records of Virginia Zabriskie.

Arrangement:

The collection is arranged into twelve series.

Series 1: Administrative Files, 1969-2010 (1.6 linear feet; Boxes 1-2)

Series 2: Guestbooks, 1954-1995 (1.3 linear feet; Boxes 2-3)

Series 3: Desk Diaries, 1968-1997 (3.4 linear feet; Boxes 3-7)

Series 4: Correspondence, 1958-2010 (7.3 linear feet; Boxes 7-14)

Series 5: Registrar Files, 1970-2010 (10.0 linear feet; Boxes 14-22, 110-111, OV 112)

Series 6: Artist Files, 1905-2010 (66.7 linear feet; Boxes 22-87, OV 113-114)

Series 7: Institution Files, 1951-2009 (5.5 linear feet; Boxes 88-93)

Series 8: Exhibition Files, 1955-2009 (6.3 linear feet; Boxes 93-99)

Series 9: Financial Records, 1960-2011 (3.7 linear feet; Boxes 99-103)

Series 10: Printed Material, 1948-2010 (1.0 linear feet; Boxes 103-104)

Series 11: Photographic Material, 1950-2006 (5.6 linear feet; Boxes 103-108, OV 112)

Series 12: Virginia Zabriskie Personal Records, 1943-2008 (0.3 linear feet; Boxes 108-109)

Biographical / Historical:

Zabriskie Gallery was founded by Virignia Zabriskie in 1954 when she purchased the Korman Gallery from Marvin Korman. The gallery featured works from artists such as Robert De Niro Sr., Lester Johnson, Mary Frank, and Pat Adams. Some of the more notable exhibitions included "Surrealism 1936 — Objects, Photographs, Collages and Documents" (1986), "Surrealism and the Book" (1991), and "André Masson in America" (1996). In 1977, Zabriskie opened Galerie Zabriskie in Paris to primarily show photography as there was only one gallery at the time doing so in Paris. Zabriskie closed the Galerie Zabriskie in 1998, but continued to operate the Zabriskie Gallery in New York unitl it closed in 2010.

Virginia Zabriskie (1927-2019) was an American art dealer who worked primarily in New York City and Paris. Zabriskie completed her studies in art history at New York University's Institute of Fine Art. Zabriskie became one of the youngest art dealers in New York in 1954 when she purchased the Korman Gallery. Zabriskie was also a founding member of the Art Dealers Association of America.

Related Materials:

Also included in the Archives of American Art is an oral history interview with Virginia Zabriskie conducted by Paul Cummings, May 28-June 6, 1975.

Provenance:

The Zabriskie Gallery records were donated to the Archives of American Art in seven installments by Virginia Zabriskie between 1992-2011.

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.

Topic:

Art, Modern -- 20th century  Search this

Function:

Art galleries, Commercial -- France

Art galleries, Commercial -- New York (State)

Citation:

Zabriskie Gallery Records, 1905-2011. Archives of American Art, Smithsonian Institution.

Sponsor:

The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.

Identifier:

AAA.zabrgall

See more items in:

Zabriskie Gallery records

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9a1494de5-aa0b-4dfb-ade0-49ac762190b2

EDAN-URL:

ead_collection:sova-aaa-zabrgall

Collection Creator:

Zabriskie Gallery  Search this

Container:

Box 97, Folder 15

Type:

Archival materials

Date:

1987, 1991

Collection Restrictions:

This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies. Contact References Services for more information.

Collection Rights:

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

Collection Citation:

Zabriskie Gallery Records, 1905-2011. Archives of American Art, Smithsonian Institution.

Sponsor:

The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.

See more items in:

Zabriskie Gallery records

Zabriskie Gallery records / Series 8: Exhibition Files

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9c316b414-f861-4ada-ac8b-5c551e4d849c

EDAN-URL:

ead_component:sova-aaa-zabrgall-ref3938

Creator:

Scurlock, Robert S. (Saunders), 1917-1994  Search this

Scurlock, Addison N., 1883-1964  Search this

Custom Craft  Search this

Scurlock Studio (Washington, D.C.)  Search this

Scurlock, George H. (Hardison), 1919-2005  Search this

Names:

Howard University -- 20th century  Search this

DuBois, W.E.B. (William Edward Burghardt), 1868-1963  Search this

Washington, Booker T., 1856-1915  Search this

Extent:

106 Boxes

Type:

Collection descriptions

Archival materials

Matrices, color separation

Photographs

Dye transfer process

Color separation negatives

Studio portraits

Place:

Shaw (Washington, D.C.)

Washington (D.C.) -- Small business -- 20th century

Washington (D.C.) -- African Americans

Date:

1888-1993

Summary:

The Scurlock photographic studio was a fixture in the Shaw area of Washington, DC from 1911 to 1994, and encompassed two generations of photographers, Addison N. Scurlock (1883-1964) and his sons George H. (1920- 2005) and Robert S. (1916-1994). Series 1 primarily consists of black and white photographs, but also includes job envelopes, order forms, correspondence, notes, and other photographic materials such as negatives. An overview to the entire Scurlock collection is available here: Scurlock Studio Records.

Scope and Contents note:

Materials are almost entirely black and white photographs, but also include job envelopes, order forms, correspondence, notes, and other photographic material types that were included in the overall order. In addition, not all photographs in this series were taken by the Scurlock Studio; there are photographs by Abdon Daoud Ackad and other studios or photographers that were sent in to make copies. The series is arranged into two subseries: Subseries 1.1: Clients, and Subseries 1.2: Subjects.

Arrangement note:

Arranged in 2 subseries.

1.1: Clients Black and white photographs

1.2: Subjects Black and white photographs

Biographical/Historical note:

The Scurlock photographic studio was a fixture in the Shaw area of Washington, DC. from 1911 to 1994, and encompassed two generations of photographers, Addison N. Scurlock (1883-1964) and his sons George H. (1920- 2005) and Robert S. (1916-1994). More...

Forms Part Of:

This series forms part of the Scurlock Studio Records group.

Scurlock Studio Records

Series 1: Black and White Photographs

Series 2: Color Photographs

Series 3: Framed Prints

Series 4: Black-and-White Silver Gelatin Negatives

Series 5: Color Negatives

Series 6: Color Transparencies, Slides, and Other Formats

Series 7: Black-and-White Color Separation Negatives and Matrices

Series 8: Scurlock Studio Business Records

Series 9: Custom Craft Business Records

Series 10: Capitol School of Photography

Series 11: Washington Stock

Series 12: Background Materials and Publications

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.

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:

Politicians -- 20th century  Search this

Portraits -- 20th century  Search this

Commercial photography -- 20th century -- Washington (D.C)  Search this

Photography -- 20th century -- Washington (D.C.)  Search this

Segregation  Search this

African American photographers  Search this

African American entertainers -- 20th century  Search this

African Americans -- History -- 20th century  Search this

Genre/Form:

Matrices, color separation

Photographs -- 20th century

Dye transfer process

Color separation negatives

Studio portraits

Citation:

Scurlock Studio Records, Archives Center, National Museum of American History. Smithsonian Institution

Sponsor:

The collection was acquired with assistance from the Eugene Meyer Foundation. Elihu and Susan Rose and the Save America's Treasures program, provided funds to stabilize, organize, store, and create digital surrogates of some of the negatives. Processing and encoding funded by a grant from the Council on Library and Information Resources.

Identifier:

NMAH.AC.0618.S01

See more items in:

Scurlock Studio Records, Series 1: Black and White Photographs

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8016336ae-23ec-4512-a76c-c1faa872aae0

EDAN-URL:

ead_collection:sova-nmah-ac-0618-s01

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

Names:

Howard University -- 20th century  Search this

DuBois, W.E.B. (William Edward Burghardt), 1868-1963  Search this

Washington, Booker T., 1856-1915  Search this

Extent:

320 Boxes

Type:

Collection descriptions

Archival materials

Photographs

Matrices, color separation

Dye transfer process

Studio portraits

Color separation negatives

Place:

Washington (D.C.) -- Small business -- 20th century

Washington (D.C.) -- African Americans

Shaw (Washington, D.C.)

Date:

undated

Summary:

The Scurlock photographic studio was a fixture in the Shaw area of Washington, DC from 1911 to 1994, and encompassed two generations of photographers, Addison N. Scurlock (1883-1964) and his sons George H. (1920- 2005) and Robert S. (1916-1994). Subseries 4.1 includes black and white silver gelatin negatives. An overview to the entire Scurlock collection is available here: Scurlock Studio Records

Scope and Contents:

Subseries 4.1 includes black and white silver gelatin negatives. The majority of the negatives, not all, have been scanned.

Arrangement note:

The negatives are not arranged in a clear order, and the negatives document clients and subjects. Researchers will need to look in two different box sizes for negatives of different sizes that were originally housed together in freezer boxes but are now housed separately according to size. A number of freezer boxes are missing, this is the reason for box number gaps, and contain varying numbers of negatives. The physical number of boxes was condensed during rehousing but the original freezer box numbers were retained in combination on the new boxes. The beginning and end of a freezer box are indicated inside the new box by blue dividers.

Biographical/Historical note:

The Scurlock photographic studio was a fixture in the Shaw area of Washington, DC. from 1911 to 1994, and encompassed two generations of photographers, Addison N. Scurlock (1883-1964) and his sons George H. (1920- 2005) and Robert S. (1916-1994). More...

Forms Part Of:

Subseries 4.1 forms part of Series 4, within the Scurlock Studio Records group.

Scurlock Studio Records

Series 1: Black and White Photographs

Series 2: Color Photographs

Series 3: Framed Prints

Series 4: Black-and-White Silver Gelatin Negatives

Series 5: Color Negatives

Series 6: Color Transparencies, Slides, and Other Formats

Series 7: Black-and-White Color Separation Negatives and Matrices

Series 8: Scurlock Studio Business Records

Series 9: Custom Craft Business Records

Series 10: Capitol School of Photography

Series 11: Washington Stock

Series 12: Background Materials and Publications

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.

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 Americans -- History -- 20th century  Search this

Commercial photography -- 20th century -- Washington (D.C)  Search this

Segregation  Search this

Photography -- 20th century -- Washington (D.C.)  Search this

Portraits -- 20th century  Search this

Politicians -- 20th century  Search this

African American photographers  Search this

African American entertainers -- 20th century  Search this

Genre/Form:

Photographs -- 20th century

Matrices, color separation

Dye transfer process

Studio portraits

Color separation negatives

Citation:

Scurlock Studio Records, Archives Center, National Museum of American History. Smithsonian Institution

Sponsor:

The collection was acquired with assistance from the Eugene Meyer Foundation. Elihu and Susan Rose and the Save America's Treasures program, provided funds to stabilize, organize, store, and create digital surrogates of some of the negatives. Processing and encoding funded by a grant from the Council on Library and Information Resources.

Identifier:

NMAH.AC.0618.S04.01

See more items in:

Scurlock Studio Records, Subseries 4.1: Black-and-White Silver Gelatin Negatives

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8ec458f4e-274d-4d12-859d-aaea7f7fc0ed

EDAN-URL:

ead_collection:sova-nmah-ac-0618-s04-01

Creator:

Rosa Esman Gallery  Search this

Names:

Tanglewood Press  Search this

Darger, Henry, 1892-1972  Search this

Esman, Rosa  Search this

Gray, Eileen, 1878-1976  Search this

Rodchenko, Aleksandr, 1891-1956  Search this

Warhol, Andy, 1928-1987  Search this

Extent:

13.4 Linear feet

Type:

Collection descriptions

Archival materials

Date:

circa 1922-1998

bulk 1972-1994

Summary:

The Rosa Esman Gallery and Tanglewood Press Inc. records measure 13.4 linear feet and date from circa 1922 to 1998, with the bulk of the records dating from 1972 to 1994. The records shed light on two businesses operated by Rosa Esman through administrative files, artist files, exhibition and event files, sales and financial records, printed material, photographic materials, and several objects.

Scope and Contents:

The Rosa Esman Gallery and Tanglewood Press Inc. records measure 13.4 linear feet and date from circa 1922 to 1998, with the bulk of the records dating from 1972 to 1994. The records shed light on two businesses operated by Rosa Esman through administrative files, artist files, exhibition and event files, sales and financial records, printed material, photographic materials, and several objects.

Administrative files contain correspondence files, printed material, and inventories; photos of the gallery, Rosa Esman, and others; a few gallery blueprints; and pins and magnets from a collaboration between the Esman Gallery and artists Roy Lichtenstein, Gustav Klutsis, Lazar "El" Lissitzky, and Sol LeWitt. Artist files consist of resumes and biographical summaries, correspondence, pricelists, exhibition material, press packets, photographic materials depicting artwork and artists, and more. Artists include Eileen Gray, Lev Nussberg, Pascal Verbena, Helen Frankenthaler, Alexander Rodchenko, Sol LeWitt, Peter Boynton, and Jan Muller. Exhibition and event files contain price lists, loan agreements, correspondence, printed materials, and photographic materials. Included in this series is one file for an exhibition held at Knoedler Gallery that was in collaboration with Rosa Esman after she had closed her gallery. Financial records consist of sales books, consignment records, receipts and invoices, ledgers, and some appraisals. Tanglewood Press Inc. files contain correspondence files, financial records, order forms and receipts, photographic materials, press packets, mailers, a certificate, and some exhibition materials.

Arrangement:

This collection is arranged as five series.

Series 1: Administrative Files, 1973-1997 (Box 1-2; 1.5 linear feet)

Series 2: Artist Files, 1920s, 1953-1998 (Box 2-8; 5.6 linear feet)

Series 3: Exhibition and Event Files, 1971-1994 (Box 8-12; 4.6 linear feet)

Series 4: Financial Records, 1977-1993 (Box 12-13; .8 linear feet)

Series 5: Tanglewood Press Inc. Records, 1964-1997 (Box 13-15; .9 linear feet)

Biographical / Historical:

Rosa Esman Gallery was established in 1972 in New York, New York by Rosa Esman. The gallery exhibited mostly twentieth-century American and European art in various mediums and styles, including pop art, European outsider art, Dada, constructivism, architecture, interior design, and Russian artists from the early twentieth century. Tanglewood Press Inc. was an art publishing company founded by Esman, and published thirteen limited-edition portfolios by a number of artists from 1965 to 1991.

With encouragement from Doris Freedman and Hans Kleinschmidt, Esman established Tanglewood Press Inc. in 1965 as a publisher of artists' portfolios. The first publication, New York Ten (1965), included artwork by Tom Wesselmann, George Segal, Claes Oldenburg, Roy Lichtenstein, Mon Levinson, Robert Kulicke, Nicholas Krushenick, Helen Frankenthaler, Jim Dine, and Richard Anuszkiewicz. Later publications included artwork by Andy Warhol, Mary Bauermeister, Ad Reinhardt, Robert Motherwell, Sol LeWitt, Jim Dine, and many others. The portfolio, "Ten Landscapes-Roy Lichtenstein (1967), was published in collaboration with Abrams Original Editions. Esman was contracted to work at Abrams Original Editions for a short period of time in the late 1970s. Esman and her Tanglewood Press Inc. were featured in the exhibition, The Great American Pop Art Store: Multiples of the sixties (1997-2000), University Art Museum, California State University, Long Beach, California.

Esman held a drawings exhibition of artwork borrowed from the Leo Castelli Gallery in 1972 in a space she rented for Tanglewood Press Inc.; she credited this as the beginning of Rosa Esman Gallery. Esman continued exhibiting in that location for the next several years, including a solo show of folded drawings by Sol LeWitt and Modern Master Drawings: Avery, Stuart Davis, De Kooning, Hoffman, Motherwell (1973). Esman moved her operation in 1975 to a building in midtown near the galleries of Tibor de Nagy and Virginia Zabriskie. Artists and printmakers shown at Esman Gallery during 1970s include Christo, Bill Fares, Tom Noskowski, Ursula Von Rydingsvard, Hannah Tierney, and Eileen Gray. In 1979, Esman began an exhibition series of Russian avant-garde art, The Russian Revolution in Art, 1-5 (1979-1983), featuring artwork by Kasmir Malevich, Alexander Rodchenko, Lyubov Popova, and many others of the Russian avant-garde. Esman moved the gallery to SoHo in 1980. In the 1980s, Esman began showing European outsider artists Pascal Verbena and Henry Darger and held a group exhibition of outsider artists in 1986, Outsiders: Art Beyond the Norm. Other exhibitions in the 1980s included Art by Architects (1980), Architecture by Artists (1981), Curator's Choice: A Tribute to Dorothy Miller (1982). Later exhibitions featured artists Joseph Zito, Sofia Dymshits-Tolstaya, Eric Snell, and Carl Goldhagen; and group shows of Dada art, twentieth-century photography, and constructivism. After closing Rosa Esman Gallery in 1992, Esman entered a partnership at Ubu Gallery with Adam Boxer and Alfred Jarry.

Rosa Mencher Esman was born in New York, New York in 1927. She studied government at Smith College in Northhampton, Massachusetts. She went abroad to Europe her junior year, visiting museums in Geneva, Florence, and Paris. After college, she worked several jobs including a position in the art book department of Harper and Brothers and as an office administrator for Rene d'Harnocourt at the Museum of Modern Art, New York. In 1957, she and a friend opened Tanglewood Gallery in Stockbridge, Massachusettes, showing artwork by artist-friends, utilizing the Museum of Modern Art lending service, and borrowing from the Downtown Gallery. The Tanglewood Gallery exhibited artists Milton Avery, Karl Schrag, Tom Wesselman, Alexander Calder, George Morrison, Robert Indiana, Richard Anuszkiewicz, Mervin Jules, and George L. K. Morris, among others. The gallery operated until circa 1960.

Related Materials:

Also found in the Archives of American Art is an oral history interview with Rosa Esman conducted by James McElhinney, June 9-16, 2009.

Provenance:

The collection was donated by Rosa Esman in 2003 and 2014.

Restrictions:

Two folders comprised of Rosa Esman Gallery legal files, 1989-1991, in Box 15 are access restricted. Contact Reference Services for more information. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.

Rights:

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

Topic:

Women art dealers  Search this

Pop art  Search this

Art, Russian -- 20th century  Search this

Outsider art  Search this

Function:

Art galleries, Commercial -- New York (State)

Citation:

Rosa Esman Gallery and Tanglewood Press Inc records, circa 1922-1998. Archives of American Art, Smithsonian Institution.

Sponsor:

The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.

Identifier:

AAA.rosaesmg

See more items in:

Rosa Esman Gallery and Tanglewood Press Inc. records

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw90b5afc25-4ac5-4700-9d90-a03c3ac29007

EDAN-URL:

ead_collection:sova-aaa-rosaesmg

Creator:

Smith, Myron Bement, 1897-1970  Search this

Names:

Aga-Oglu, Mehmet, 1896-1949  Search this

Ettinghausen, Richard  Search this

Field, Henry  Search this

Herzfeld, Ernst, 1879-1948  Search this

Kuban, Dogan  Search this

Moe, Henry Allen  Search this

Pope, Arthur Upham, 1881-1969  Search this

Former owner:

Blake, Marion Elizabeth  Search this

Extent:

192 Linear feet

Type:

Collection descriptions

Archival materials

Date:

circa 1910-1970

Summary:

The Myron Bement Smith collection consists of two parts, the papers of Myron Bement Smith and his wife Katharine and the Islamic Archives. It contains substantial material about his field research in Italy in the 1920s and his years working on Islamic architecture in Iran in the 1930s. Letters describe the milieu in which he operated in Rochester NY and New York City in the 1920s and early 1930s; the Smiths' life in Iran from 1933 to 1937; and the extensive network of academic and social contacts that Myron and Katharine developed and maintained over his lifetime. The Islamic Archives was a project to which Smith devoted most of his professional life. It includes both original materials, such as his photographs and notes, and items acquired by him from other scholars or experts on Islamic art and architecture. Smith intended the Archives to serve as a resource for scholars interested in the architecture and art of the entire Islamic world although he also included some materials about non-Islamic architecture.

Scope and Contents:

The Myron Bement Smith Collection consists of two parts, the papers of Myron Bement Smith and his wife Katharine and the Islamic Archives. The papers include some biographic material about Myron but little about his wife. Information on his academic and professional experience is sketchy and his diaries and appointment books often contain only sporadic entries. The papers contain substantial material about his field research in Italy in the 1920s and his years working on Islamic architecture in Iran in the 1930s. Correspondence comprises the largest and most potentially useful part of the papers. Letters describe the milieu in which he operated in Rochester, NY and New York City in the 1920s and early 1930s; the Smiths' life in Iran from 1933 to 1937; and the extensive network of academic and social contacts that Myron and Katharine developed and maintained over his lifetime.

The Islamic Archives, formally entitled The Archive for Islamic Culture and Art, was a project to which Smith devoted most of his professional life. It includes both original materials, such as his photographs and notes, and items acquired by him from other scholars or experts on Islamic art and architecture. Most of the latter consists of photographs and slides. Smith intended the Archives to serve as a resource for scholars interested in the architecture and art of the entire Islamic world although he also included some materials about non-Islamic architecture. The core collection of the Archives consists of Smith's original photographs and architectural sketches of Iranian Islamic monuments made during his field research in the 1930s. He meticulously photographed the interior and exterior of monuments, including their decorative detail. Some of the photographic materials subsequently loaned, purchased, or donated to the Archives may enable scholars to document sites over time but in many cases the materials are poorly preserved or reproduced. A notable exception to this is the glassplate negatives and prints of 19th century Iranian photographer Antoin Sevruguin.

Arrangement:

The collection is arranged into 2 major series with further subseries. A third series inventories the outsized and miscellaneous materials.

Series 1: Papers

Subseries 1.1: Biographic Materials

Subseries 1.2: Professional Experience

Subseries 1.3: Notebooks, Journals and Appointment Books

Subseries 1.4: Correspondence

Subseries 1.5: Published and Unpublished Materials

Subseries 1.6: Italy Research 1925, 1927-1928

Subseries 1.7: Iran Research 1933-1937

Subseries 1.8: Katharine Dennis Smith Papers and Correspondence

Series 2: The Islamic Archives

Subseries 2.1: Islamic Archives History, Collection Information

Subseries 2.2: Resource Materials Iran

Subseries 2.3: Resource Materials Other Islamic World and General

Subseries 2.4: Myron Bement Smith Architectural Sketches, Plans and Notes, Iran, 1933-1937

Subseries 2.5: Myron Bement Smith Iran Photographs, Notebooks and Negative Registers

Subseries 2.6: Country Photograph File

Subseries 2.7: Lantern Slide Collection

Subseries 2.8: Myron Bement Smith 35 mm Color Slides

Subseries 2.9: Country 35 mm Color Slide File

Subseries 2.10: Myron Bement Smith Negatives

Subseries 2.11: Country Photograph Negatives

Subseries 2.12: Antoin Sevruguin Photographs

Series 3: Outsize and Miscellaneous Items

Subseries 3.1: Map Case Drawers

Subseries 3.2: Rolled Items

Subseries 3.3 Items in Freezer

Subseries 3.4 Smithsonian Copy Negatives

Biographical Note:

Myron Bement Smith was born in Newark Valley, New York in 1897 and grew up in Rochester, New York. He died in Washington D.C. in 1970. He showed an early interest in drawing, and after graduation from high school, he worked as a draftsman for a Rochester architect. He served in the US Army Medical Corps in France during World War I and on return again worked as an architectural draftsman. He studied at Yale University from 1922 to 1926, earning a Bachelor of Fine Arts degree. During summer vacations, he worked as draftsman or designer for architectural firms in New York City. After graduation, he received a John Simon Guggenheim Memorial Foundation grant and spent two years in Italy doing research on northern Italian brick and stone work. He used photography as an tool for his research and published several well-illustrated articles. On return he joined an architectural firm in Philadelphia and in 1931 became a registered architect in New York. He enrolled in Harvard University graduate school in 1929 pursuing a Master of Fine Arts degree.

In April 1930, Smith was appointed Secretary of the newly created American Institute for Persian Art and Archaeology founded by Arthur Upham Pope and located in New York City. He had no prior academic or work experience in Islamic art or architecture, and his job entailed designing publications, arranging lectures, organizing exhibitions and fund raising. That summer he arranged an independent study course at Harvard University on Persian art and subsequently studied Persian language at Columbia University and attended graduate courses at the Institute of Fine Arts at New York University. His work and academic credentials enabled him to compete successfully for a research fellowship from the American Council of Learned Societies in 1933 to study Iranian Islamic architecture.

Accompanied by his new bride Katharine Dennis, Smith left for Iran in 1933. They suffered a horrendous motor vehicle accident in Iraq en route and required a lengthy recuperation in Lebanon and Cyprus. The Smiths eventually arrived in Isfahan, Iran, where they established their "Expedition House," as Smith called it, in a rented faculty house at Stuart College. Smith's research consisted of meticulous photographic documentation of Islamic monuments and architectural sketches and drawings of many of them. He concentrated on the Isfahan area but also documented monuments elsewhere in Iran. Smith outfitted his station wagon as a combination camper and research vehicle in which he and his staff traveled widely. Katharine sometimes traveled with him but generally she remained in Isfahan managing the household and logistics for the "expedition." The Smiths left Iran in 1937.

Smith published several articles about Iran's Islamic monuments based on his field research and in 1947 completed his PhD thesis for The Johns Hopkins University on the vault in Persian architecture. His professional career from 1938 until his death in 1970 consisted of a series of temporary academic positions, contract work and government or academic sponsored lecture tours and photographic exhibits. He had a long lasting relationship with the Library of Congress where he served as an Honorary Consultant from 1938 to 1940 and again from 1948 to 1970; from 1943 to 1944 he was Chief of the Iranian Section at the Library. Despite his lack of published material, Smith was well-known among academic, government and private citizens who worked, traveled or were otherwise interested Iran and the Islamic world.

Smith developed an extensive network of professional and social contacts that dated from his early student days and increased markedly during his time at the Persian Institute and later in Iran. He kept in touch with them and they touted him to others who were interested in Iran or Islamic art and architecture. This network served him well in realizing his ambition of creating a resource for scholars that relied on photographs to document Islamic architecture. The Islamic Archives began with his own collection of photographs from his Iran research and grew to include all manner of photographic and other materials not only on the Islamic world but also other areas. Creating and managing the Archives became the main focus of Smith's professional life and career. In 1967 he received a grant from the National Endowment for the Humanities to revise his PhD thesis as a publishable manuscript but died before he could complete it.

Related Materials:

The Antoin Sevruguin Photgraphs

Ernst Herzfeld Papers

Lionel B. Bier Drawings

Lionel D. Bier and Carol Bier Photographs

Provenance:

Gift of Katherine Dennis Smith, transfered from National Anthropological Archives.

Restrictions:

Collection is open for research.

Rights:

Permission to publish, quote, or reproduce must be secured from the repository.

Topic:

Islamic architecture  Search this

Islamic Architecture-Turkey  Search this

Iran-description and travel  Search this

Iran-History 20th Century  Search this

Islamic Architecture-Middle East  Search this

Iran-social life and customs  Search this

United States-Social life and customs  Search this

Mosques  Search this

Architecture -- Iran  Search this

Citation:

The Myron Bement Smith Collection. FSA.A.04. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Gift of Katherine Dennis Smith.

Identifier:

FSA.A.04

See more items in:

Myron Bement Smith Collection

Archival Repository:

Freer Gallery of Art and Arthur M. Sackler Gallery Archives

GUID:

https://n2t.net/ark:/65665/dc3c8c950fe-250b-40df-b8c7-bcf788073968

EDAN-URL:

ead_collection:sova-fsa-a-04

Maker:

Fante artist  Search this

Medium:

Wood, pigment, glass beads, hair

Dimensions:

H x W x D: 25.1 x 6 x 4.4 cm (9 7/8 x 2 3/8 x 1 3/4 in.)

Type:

Figure

Geography:

Ghana

Date:

Mid-20th century

Topic:

Fertility  Search this

Female use  Search this

male  Search this

female  Search this

floral  Search this

Credit Line:

Gift of Emil Arnold

Object number:

68-36-333

Restrictions & Rights:

Usage conditions apply

See more items in:

National Museum of African Art Collection

Data Source:

National Museum of African Art

GUID:

http://n2t.net/ark:/65665/ys7db6d2fd0-2fc1-4c96-bf44-9b2fb27ec3da

EDAN-URL:

edanmdm:nmafa_68-36-333

Maker:

Ndebele artist  Search this

Medium:

Glass beads, plant fiber

Dimensions:

H x W x D: 18.6 x 15.2 x 9.3 cm (7 5/16 x 6 x 3 11/16 in.)

Type:

Sculpture

Geography:

South Africa

Date:

Mid-20th century

Topic:

Female use  Search this

male  Search this

Credit Line:

Bequest of Constance Stuart Larrabee

Object number:

2000-27-5

Restrictions & Rights:

Usage conditions apply

See more items in:

National Museum of African Art Collection

On View:

NMAfA, Pavilion Gallery

Data Source:

National Museum of African Art

GUID:

http://n2t.net/ark:/65665/ys734f4115e-c78d-4e3d-b084-742b39afc5f0

EDAN-URL:

edanmdm:nmafa_2000-27-5

Maker:

Tikar artist  Search this

Medium:

Gourd, plant fiber

Dimensions:

H x W x D: 19 x 8.8 x 9.4 cm (7 1/2 x 3 7/16 x 3 11/16 in.)

Type:

Sculpture

Geography:

Bamenda area, Grassfields region, Cameroon

Date:

Late 20th century

Topic:

Household  Search this

male  Search this

Credit Line:

Gift of Mildred A. Morton

Object number:

2000-29-16

Restrictions & Rights:

Usage conditions apply

See more items in:

National Museum of African Art Collection

On View:

NMAfA, Pavilion Gallery

Data Source:

National Museum of African Art

GUID:

http://n2t.net/ark:/65665/ys78fc8228d-403d-43b3-a7a3-40ea4bdbdc5d

EDAN-URL:

edanmdm:nmafa_2000-29-16

Maker:

Asante artist  Search this

Medium:

Wood, pigment, glass beads, fiber, nails

Dimensions:

H x W x D: 56.5 x 15.7 x 24.5 cm (22 1/4 x 6 3/16 x 9 5/8 in.)

Type:

Figure

Geography:

Ashanti Region, Ghana

Date:

Late 19th to-mid 20th century

Topic:

Shrine/Altar  Search this

mother and child  Search this

furniture  Search this

male  Search this

Credit Line:

Gift of Mr. and Mrs. Arnold J. Alderman

Object number:

2001-22-1

Restrictions & Rights:

Usage conditions apply

See more items in:

National Museum of African Art Collection

On View:

NMAfA, Pavilion Gallery

Data Source:

National Museum of African Art

GUID:

http://n2t.net/ark:/65665/ys7e533d7fc-8376-4c2a-9a95-e822b73aa710

EDAN-URL:

edanmdm:nmafa_2001-22-1

Maker:

Baule artist  Search this

Medium:

Wood, gold leaf, glass beads, cloth, fiber

Dimensions:

H x W x D: 27.5 x 6.5 x 7.5 cm (10 13/16 x 2 9/16 x 2 15/16 in.)

Type:

Figure

Geography:

Vallée du Bandama or Lacs District, Côte d'Ivoire

Date:

Late 19th to early 20th century

Topic:

male  Search this

female  Search this

Credit Line:

Museum purchase

Object number:

2001-9-1

Restrictions & Rights:

Usage conditions apply

See more items in:

National Museum of African Art Collection

On View:

NMAfA, Pavilion Gallery

Data Source:

National Museum of African Art

GUID:

http://n2t.net/ark:/65665/ys7700fcbbc-db4a-418c-9e7d-5402ee75d450

EDAN-URL:

edanmdm:nmafa_2001-9-1

Maker:

Luba artist  Search this

Medium:

Copper alloy

Dimensions:

H x W x D: 17.8 × 19.1 × 0.6 cm (7 × 7 1/2 × 1/4 in.)

Type:

Sculpture

Geography:

Upper Lomami Province, Democratic Republic of the Congo

Date:

19th-20th century

Topic:

male  Search this

Trade  Search this

Currency  Search this

Credit Line:

Gift of Tom Joyce and museum purchase with funds donated by Carl Jennings

Object number:

2002-10-31

Restrictions & Rights:

Usage conditions apply

See more items in:

National Museum of African Art Collection

On View:

NMAfA, Pavilion Gallery

Data Source:

National Museum of African Art

GUID:

http://n2t.net/ark:/65665/ys7d2621dd8-dcac-4e07-b23c-aa23a12de5ce

EDAN-URL:

edanmdm:nmafa_2002-10-31

Maker:

Tsogo artist  Search this

Medium:

Wood, paint

Dimensions:

H x W x D: 32 x 21.3 x 8.5 cm (12 5/8 x 8 3/8 x 3 3/8 in.)

Type:

Mask

Geography:

Middle Ogooué, Ngounié, or Ogooué-Lolo Province, Gabon

Date:

Late 19th-early 20th century

Topic:

male  Search this

Credit Line:

Gift of Walt Disney World Co., a subsidiary of The Walt Disney Company

Object number:

2005-6-101

Restrictions & Rights:

Usage conditions apply

See more items in:

National Museum of African Art Collection

On View:

NMAfA, Pavilion Gallery

Data Source:

National Museum of African Art

GUID:

http://n2t.net/ark:/65665/ys7f00a407d-3b4f-4502-8d7f-111ed964e69a

EDAN-URL:

edanmdm:nmafa_2005-6-101

Maker:

Bamana artist  Search this

Medium:

Wood, copper alloy, glass beads, fiber

Dimensions:

H x W x D: 96.2 x 8.9 x 30.5 cm (37 7/8 x 3 1/2 x 12 in.)

Type:

Mask

Geography:

Ségou, Koulikouro, or Sikasso Region, Mali

Date:

Mid-20th century

Topic:

Agricultural  Search this

mother and child  Search this

antelope  Search this

Male use  Search this

male  Search this

Credit Line:

Gift of Walt Disney World Co., a subsidiary of The Walt Disney Company

Object number:

2005-6-234

Restrictions & Rights:

Usage conditions apply

See more items in:

National Museum of African Art Collection

On View:

NMAfA, Pavilion Gallery

Data Source:

National Museum of African Art

GUID:

http://n2t.net/ark:/65665/ys7561680c9-3136-4091-b17a-2f750217abc8

EDAN-URL:

edanmdm:nmafa_2005-6-234

Maker:

Bijogo artist  Search this

Medium:

Wood, cow horns, glass, plant fiber, paint

Dimensions:

H x W x D: 27 x 50 x 30 cm (10 5/8 x 19 11/16 x 11 13/16 in.)

Type:

Mask

Geography:

Bolama Region, Guinea-Bissau

Date:

Late 19th to mid-20th century

Topic:

Male use  Search this

male  Search this

bull  Search this

Credit Line:

Gift of Walt Disney World Co., a subsidiary of The Walt Disney Company

Object number:

2005-6-53

Restrictions & Rights:

Usage conditions apply

See more items in:

National Museum of African Art Collection

On View:

NMAfA, Pavilion Gallery

Data Source:

National Museum of African Art

GUID:

http://n2t.net/ark:/65665/ys7cd131316-df40-4e60-808f-13da1ab36767

EDAN-URL:

edanmdm:nmafa_2005-6-53

Maker:

Yoruba artist  Search this

Medium:

Glass beads, cloth, iron, plant fiber

Dimensions:

H x W x D: 81.3 x 26.7 x 30.5cm (32 x 10 1/2 x 12 in.)

Type:

Textile and Fiber Arts

Geography:

Ikere, Ekiti State, Nigeria

Date:

Early 20th century

Topic:

bird  Search this

Leadership  Search this

chameleon  Search this

geometric motif  Search this

male  Search this

female  Search this

couple  Search this

Credit Line:

Gift of Walt Disney World Co., a subsidiary of The Walt Disney Company

Object number:

2005-6-72

Restrictions & Rights:

Usage conditions apply

See more items in:

National Museum of African Art Collection

On View:

NMAfA, Pavilion Gallery

Data Source:

National Museum of African Art

GUID:

http://n2t.net/ark:/65665/ys7b08e9a75-0e19-4fa8-8630-45593274513b

EDAN-URL:

edanmdm:nmafa_2005-6-72

Maker:

Bullom artist  Search this

Sherbro artist  Search this

Medium:

Wood, iron

Dimensions:

H x W x D: 38.1 × 21.4 × 23 cm (15 × 8 7/16 × 9 1/16 in.)

Type:

Mask

Geography:

Southern Province, Sierra Leone

Date:

Early 20th century

Topic:

Female use  Search this

male  Search this

female  Search this

Credit Line:

Gift of the Estate of William Siegmann

Object number:

2016-4-6

Restrictions & Rights:

Usage conditions apply

See more items in:

National Museum of African Art Collection

On View:

NMAfA, Pavilion Gallery

Data Source:

National Museum of African Art

GUID:

http://n2t.net/ark:/65665/ys71d6b1174-d26f-4072-bbc3-960bad875e4c

EDAN-URL:

edanmdm:nmafa_2016-4-6

Maker:

Shilluk artist  Search this

Medium:

Ceramic, pigment, gourd, reed, leather, bottlecap

Dimensions:

H x W x D (pipe bowl): 15.2 × 6 × 12.1 cm (6 × 2 3/8 × 4 3/4 in.)

Type:

Sculpture

Geography:

Malakal, Upper Nile State, South Sudan

Chad

Date:

Early to mid-20th century

Topic:

hyena  Search this

male  Search this

Credit Line:

Bequest of Eliot Elisofon

Object number:

73-7-735

Restrictions & Rights:

Usage conditions apply

See more items in:

National Museum of African Art Collection

On View:

NMAfA, Pavilion Gallery

Data Source:

National Museum of African Art

GUID:

http://n2t.net/ark:/65665/ys7802d31e1-f122-4987-b65d-fc0f7cac9d28

EDAN-URL:

edanmdm:nmafa_73-7-735

Maker:

Kikuyu artist  Search this

Medium:

Wood, pigment

Dimensions:

H x W x D: 60.8 x 39.3 x 10.6 cm (23 15/16 x 15 1/2 x 4 3/16 in.)

Type:

Sculpture

Geography:

Kenya

Date:

Early 20th century

Topic:

Initiation  Search this

Male use  Search this

male  Search this

Credit Line:

Gift of William Brill

Object number:

76-13-3

Restrictions & Rights:

Usage conditions apply

See more items in:

National Museum of African Art Collection

On View:

NMAfA, Pavilion Gallery

Data Source:

National Museum of African Art

GUID:

http://n2t.net/ark:/65665/ys79fbe3e48-c9af-46b9-8f27-e8029f75b080

EDAN-URL:

edanmdm:nmafa_76-13-3