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Lyndon Baines Johnson

Artist:
John Miller Baer, 1886 - 1969  Search this
Sitter:
Lyndon Baines Johnson, 27 Aug 1908 - 22 Jan 1973  Search this
Medium:
Ink and pencil on poster board
Dimensions:
38.5cm x 27.5cm (15 3/16" x 10 13/16"), Accurate
Type:
Drawing
Date:
c. 1940-1969
Topic:
Lyndon Baines Johnson: Male  Search this
Lyndon Baines Johnson: Literature\Writer  Search this
Lyndon Baines Johnson: Politics and Government\Vice-President of US  Search this
Lyndon Baines Johnson: Education\Educator\Teacher  Search this
Lyndon Baines Johnson: Politics and Government\President of US  Search this
Lyndon Baines Johnson: Society and Social Change\Philanthropist  Search this
Lyndon Baines Johnson: Politics and Government\US Senator\Texas  Search this
Lyndon Baines Johnson: Politics and Government\US Congressman\Texas  Search this
Lyndon Baines Johnson: Presidential Medal of Freedom  Search this
Portrait  Search this
Credit Line:
Owner: Lyndon Baines Johnson Library and Museum
Object number:
73.1.981
Restrictions & Rights:
Usage conditions apply
See more items in:
Catalog of American Portraits
Data Source:
Catalog of American Portraits
GUID:
http://n2t.net/ark:/65665/sm4669cb016-195c-4740-aae8-90855cf0a5b2
EDAN-URL:
edanmdm:npg_73.1.981

Thinking Twice About Nuclear War

Measurements:
overall: 15 1/2 in x 11 in; 39.37 cm x 27.94 cm
Object Name:
Poster
Place made:
United States: District of Columbia
Made at:
United States: District of Columbia
Subject:
Nuclear War  Search this
Nuclear weapons  Search this
Children  Search this
Related event:
Cold War  Search this
Credit Line:
Edith Mayo
ID Number:
1984.0471.19
Accession number:
1984.0471
Catalog number:
1984.0471.19
See more items in:
Political and Military History: Political History
Princeton Posters
Data Source:
National Museum of American History
GUID:
http://n2t.net/ark:/65665/ng49ca746a3-759b-704b-e053-15f76fa0b4fa
EDAN-URL:
edanmdm:nmah_532846

Europeans Cry NO

Measurements:
overall: 46 in x 33 in; 116.84 cm x 83.82 cm
Object Name:
Poster
Place made:
Germany: Schleswig-Holstein, Berlin
Made at:
Germany: Berlin, Berlin
Associated place:
Soviet Union
Subject:
Nuclear weapons  Search this
Soviet Union  Search this
Related event:
Cold War  Search this
Credit Line:
Anne B. Zill
ID Number:
1986.0231.158
Accession number:
1986.0231
See more items in:
Political and Military History: Political History
Princeton Posters
Data Source:
National Museum of American History
GUID:
http://n2t.net/ark:/65665/ng49ca746a3-813c-704b-e053-15f76fa0b4fa
EDAN-URL:
edanmdm:nmah_535317

poster

Physical Description:
white; red; blue (overall color)
paper (overall material)
paper (overall material)
Measurements:
overall: 11 in x 8 1/2 in; 27.94 cm x 21.59 cm
Object Name:
Poster
Subject:
Civil Defense  Search this
Related event:
Cold War  Search this
ID Number:
2006.0118.11
Accession number:
2006.0118
Catalog number:
2006.0118.11
See more items in:
Political and Military History: Political History, General History Collection
Data Source:
National Museum of American History
GUID:
http://n2t.net/ark:/65665/ng49ca746ab-e8b1-704b-e053-15f76fa0b4fa
EDAN-URL:
edanmdm:nmah_1305919

H.L. Mencken [After Book Cover for "Prejudices: A Selection, by H.L. Mencken"]

Graphic Designer:
Paul Rand, American, 1914–1996  Search this
Medium:
Offset lithograph on cream paper
Dimensions:
91.4 x 61.0 cm (36 x 24 in. )
Type:
graphic design
Poster
Object Name:
Poster
Made in:
USA
Date:
ca. 1958
Credit Line:
Gift of Marion S. Rand
Accession Number:
2002-11-29
Restrictions & Rights:
Usage conditions apply
Copyright Notice:
© Marion S. Rand
See more items in:
Cooper Hewitt, Smithsonian Design Museum Collection
Drawings, Prints, and Graphic Design Department
Data Source:
Cooper Hewitt, Smithsonian Design Museum
GUID:
http://n2t.net/ark:/65665/kq48bd75d5d-a150-4194-a151-fd834d3a9ff4
EDAN-URL:
edanmdm:chndm_2002-11-29
Online Media:

Declaracion Universal de Derechos del Hombre

Designer:
Ladislav Sutnar, American and Czech, b. Pilsen, Bohemia, 1897, d. New York, New York, USA, 1976  Search this
Medium:
Offset lithograph on paper
Dimensions:
76 × 101.6 cm (29 15/16 in. × 40 in.)
Type:
graphic design
Poster
Object Name:
Poster
Place:
USA
Date:
ca. 1950
Credit Line:
Transfer from the Picture Library
Accession Number:
1996-96-3
Restrictions & Rights:
Usage conditions apply
See more items in:
Cooper Hewitt, Smithsonian Design Museum Collection
Drawings, Prints, and Graphic Design Department
Data Source:
Cooper Hewitt, Smithsonian Design Museum
GUID:
http://n2t.net/ark:/65665/kq4728955c2-9749-45da-b0e9-bde68f10badf
EDAN-URL:
edanmdm:chndm_1996-96-3
Online Media:

Lux Soap Poster File

Collection Creator:
Leigh, Douglas  Search this
Container:
Box 8, Folder 28
Type:
Archival materials
Date:
ca. 1940s-1960s
Collection Restrictions:
The collection is open for research. Patrons must use microfilm copy. Original scrapbooks are closed to researchers because of their fragile condition.
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:
Douglas Leigh Papers, 1903-1999. Archives of American Art, Smithsonian Institution.
See more items in:
Douglas Leigh Papers
Douglas Leigh Papers / Series 11: Poster Project Files
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9d5536525-a1e5-4ecf-9144-27274f22b21e
EDAN-URL:
ead_component:sova-aaa-leigdoug-ref264

U. S. Navy (WAVES) Poster File

Collection Creator:
Leigh, Douglas  Search this
Container:
Box 8, Folder 34
Type:
Archival materials
Date:
ca. 1940s-1960s
Collection Restrictions:
The collection is open for research. Patrons must use microfilm copy. Original scrapbooks are closed to researchers because of their fragile condition.
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:
Douglas Leigh Papers, 1903-1999. Archives of American Art, Smithsonian Institution.
See more items in:
Douglas Leigh Papers
Douglas Leigh Papers / Series 11: Poster Project Files
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw956465a4d-8ead-4a3b-9d59-d85f7fe66f7b
EDAN-URL:
ead_component:sova-aaa-leigdoug-ref270

David Parrish papers

Creator:
Parrish, David, 1939-  Search this
Names:
French & Company (New York, N.Y.)  Search this
George C. Marshall Space Flight Center -- Officials and employees  Search this
Nancy Hoffman Gallery  Search this
University of Alabama -- Students  Search this
Eddy, Don, 1944-  Search this
Hoffman, Nancy  Search this
Janis, Sidney, 1896-1989  Search this
Meisel, Louis K.  Search this
Interviewer:
Williams, Bob  Search this
Extent:
3.1 Linear feet
Type:
Collection descriptions
Archival materials
Resumes
Essays
Interviews
Sketchbooks
Drawings
Photographs
Video recordings
Date:
1940-2009
bulk 1964-1998
Summary:
The papers of Alabama photorealist painter David Parrish measure 3.1 linear feet and date from 1940 to 2009, with the bulk of the material from 1964 to 1998. Parrish's career is documented through scattered biographical material; correspondence with galleries, publishers, art organizations, and friends; photographs of Parrish, his studio, and artwork; original artwork by Parrish and others; and printed material.
Scope and Content Note:
The papers of Alabama photorealist painter David Parrish measure 3.1 linear feet and date from 1940 to 2009, with the bulk of the material from 1964 to 1998. Parrish's career is documented through scattered biographical material; correspondence with galleries, publishers, art organizations, and friends; photographs of Parrish, his studio, and artwork; original artwork by Parrish and others; and printed material.

Biographical material consists of resumes, one folder of financial records, brief artist statements written by David Parrish, and two essays about Parrish's works written by others. Also included is a VHS video recording of an interview with Parrish conducted by Bob Williams in 1997 in conjunction with an exhibition.

Correspondence is primarily of a professional nature and pertains to Parrish's relationships with various galleries, publishers, and arts organizations. Of note is correspondence with galleries that represented Parrish's work including French & Company, Sidney Janis, Nancy Hoffman, and Louis K. Meisel, and correspondence with fellow artist Don Eddy. Also included is a small amount of personal correspondence with friends and family.

Photographs of David Parrish include one baby photo, official portraits, photographs of him in his studio, with family and friends, and at exhibition openings. Also found are photographs and slides of his artwork, including gallery installations and early photographs of the interior of Nancy Hoffman Gallery.

Artwork includes a sketchbook kept by Parrish while a student at the University of Alabama, several ink drawings produced during his employment as a technical illustrator at NASA's Marshall Space Flight Center, and a few sketches by others. Printed material includes exhibition catalogs, announcements, and posters, newspaper clippings, press packets, and other gallery publications documenting Parrish's career as an artist.

Much of the material in the collection includes recent annotations by Parrish describing his involvement with the projects and exhibitions, and identifying friends and colleagues.
Arrangement:
The collection is arranged as 5 series:

Missing Title

Series 1: Biographical Material, circa 1970-2000 (Box 1; 8 folders)

Series 2: Correspondence, 1964-2008 (Box 1, 5; 0.9 linear feet)

Series 3: Photographs, 1940, 1960s-2009 (Boxes 1-2, 5; 0.4 linear feet)

Series 4: Artwork, circa 1961-2002 (Boxes 2, 5; 5 folders)

Series 5: Printed Material, 1962-2009 (Boxes 2-4; 1.5 linear feet)
Biographical Note:
David Parrish (1939-) is a Photorealist painter living in Huntsville, Alabama.

Parrish was born in Birmingham, Alabama, and received his B.F.A. from the University of Alabama in 1961. He briefly moved to New York with plans to become a magazine illustrator, but was unable to find a permanent job. He moved to Huntsville, Alabama in 1962 and became a technical illustrator for Hayes International Corporation. Parrish continued painting at his home studio, moving away from the painting style he learned in school, and instead working on paintings derived from photographs. He left his job as a technical illustrator in 1971 and became a full-time painter. That same year he joined French & Company in New York as a gallery artist and had his first one-man show at Brooks Memorial Art Gallery in Memphis, Tennessee.

During the 1970s Parrish saw success as a first generation photorealist. He was represented from 1973 to 1976 by Sidney Janis Gallery, and then moved to Nancy Hoffman Gallery. In 1987 he joined Louis K. Meisel Gallery, and is still represented by them today. Parrish's motorcycle paintings became his early trademark, and during the late 1980s into the 1990s he painted complex, intricate porcelain still lifes of Marilyn Monroe, Elvis, and other pop culture icons. Parrish has shown his work in numerous group and solo shows, including many international shows, and is in the permanent collection of many museums.
Provenance:
The collection was donated by David Parrish in 2009.
Restrictions:
Use of original papers requires an appointment. Use of video recording 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:
Painters -- Alabama  Search this
Topic:
Artists' studios -- Photographs  Search this
Photo-realism  Search this
Genre/Form:
Resumes
Essays
Interviews
Sketchbooks
Drawings
Photographs
Video recordings
Citation:
David Parrish papers, 1940-2009, bulk 1964-1998. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.parrdavi
See more items in:
David Parrish papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw97448e908-1331-4aa6-90a9-42a943a668e0
EDAN-URL:
ead_collection:sova-aaa-parrdavi

Lorser Feitelson and Helen Lundeberg papers

Creator:
Feitelson, Lorser, 1898-1978  Search this
Names:
Federal Art Project (Calif.)  Search this
Benjamin, Karl  Search this
Butterfield, Jan  Search this
Hammersley, Frederick, 1919-2009  Search this
Kadish, Reuben, 1913-1992  Search this
Langsner, Jules, 1911-1967  Search this
Longstreet, Stephen, 1907-  Search this
Lundeberg, Helen, 1908-1999  Search this
McCoy, Esther  Search this
McLaughlin, John, 1898-  Search this
Miller, Dorothy Canning, 1904-2003  Search this
Moran, Diane De Gasis  Search this
Rattner, Abraham  Search this
Seldis, Henry  Search this
Sheets, Millard, 1907-1989  Search this
Extent:
15.6 Linear feet
Type:
Collection descriptions
Archival materials
Sketches
Poetry
Writings
Drawings
Sound recordings
Photographs
Date:
circa 1890s-2002
Summary:
The papers of Los Angeles painters and art instructors Lorser Feitelson and Helen Lundeberg measure 15.6 linear feet and date from circa 1890s to 2002. The papers document the careers of the two artists, including their establishment of the Post-surrealism movement in southern California, their work for federal arts programs, and their later abstract artwork. Found are biographical materials, correspondence, personal business records, exhibition files, printed materials, photographs, and one sound recording.
Scope and Content Note:
The papers of Los Angeles painters and art instructors Lorser Feitelson and Helen Lundeberg measure 15.6 linear feet and date from circa 1890s to 2002. The papers document the careers of the two artists, including their establishment of the Post-surrealism movement in southern California, their work for federal arts programs, and their later abstract artwork. Found are biographical materials, correspondence, personal business records, exhibition files, printed materials, photographs, and one sound recording.

Biographical documentation is found for both artists. Lundeberg's early life is documented by school notebooks, yearbooks, diplomas, calendars, awards, and a "memory book." Feitelson's biographical materials include family certificates and documents compiled by Lundeberg regarding Feitelson's funeral. Also found are curriculum vitae and biographical sketches for both artists.

Correspondence is extensive and includes both personal and professional correspondence for both Feitelson and Lundeberg. Materials consist of letters with critics, museums, artists, and friends, including Karl Benjamin, Frederick Hammersley, Reuben Kadish, John McLauglin, Diane Moran, and Abraham Rattner. Of special interest is Feitelson and Lundeberg's correspondence with Museum of Modern Art curator Dorothy Canning Miller.

A small amount of exhibition materials, mostly loan agreements and checklists, are found in the papers documenting exhibitions and loans of their artwork to exhibitions. Personal business records concern the management of their artwork and personal collections. Found here are lists of artwork, price lists, appraisal reports, sales invoices, purchase receipts, tax documents, and a set of index cards for their artwork. There are a few scattered legal documents as well. In addition to personal business records, there is a series of records of the Lorser Feitelson and Helen Lundeberg Foundation, established by Lundeberg in 1978.

Scattered research and teaching files are mostly Feitelson's. They document his personal research, teaching activities, and television programs, particularly the program Feitelson on Art. Writings, however, are found for both artists and include artist statements, writings about art and art styles and movements, writings about each artist, and writings about the Federal Arts Program in southern California. Of interest are numerous writings by other contemporary writers and critics, including Jan Butterfield, Jules Langsner, Stephen Longstreet, Esther McCoy, Diane Moran, Henry Seldis, and Millard Sheets.

A small amount of artwork is found within the collection by Feitelson and Lundeberg, mostly sketches and drawings. There is one print by Hans Burkhardt.

Printed materials include newsclippings, exhibition announcements and catalogs, lecture announcements, posters, press releases, and printed reproductions of Feitelson's and Lundeberg's artwork. There are also pamphlets produced by the Works Progress Administration Federal Arts Program and Lundeberg's poetry.

Photographs are extensive and include many of Lorser Feitelson and Helen Lundeberg, as well as of family, friends, and students. There are four photo albums and numerous photographs of Feitelson's and Lundeberg's artwork, including some exhibition installations.

There is one circa 1957 reel-to-reel sound recording of an episode of Feitelson on Art, focusing on Paul Gauguin.

An addition of 0.2 linear feet received in 2014 includes Feitelson's art history and teaching notes, writings by Feitelson, and photographs and contact sheets of Feitelson and works of art.
Arrangement:
The collection is arranged into 11 series:

Missing Title

Series 1: Biographical Materials, 1922-1995 (Boxes 1-2, 19; 1.5 linear feet)

Series 2: Correspondence, 1932-1998 (Boxes 2-4; 2.5 linear feet)

Series 3: Exhibition Records, 1936-1989 (Boxes 4-5; 0.25 linear feet)

Series 4: Personal Business Records, 1943-1998 (Boxes 5-6; 1.0 linear feet)

Series 5: Feitelson and Lundeberg Foundation Records, 1978-1997 (Boxes 6-7, 19; 1.5 linear feet)

Series 6: Research and Teaching Materials, 1940s-1960s (Boxes 7-8; 0.75 linear feet)

Series 7: Writings, 1930-1989 (Boxes 8-9; 1.0 linear feet)

Series 8: Artwork, 1920s-1991 (Boxes 9, 19; 9 folders)

Series 9: Printed Materials, 1923-2002 (Boxes 9-11, 20; 2.0 linear feet)

Series 10: Photographs, circa 1890s-1993 (Boxes 11-14, 16-19, and OV 21-22; 4.3 linear feet)

Series 11: Audio Recording, circa 1957 (Box 15; 1 item)

Series 12: Unprocessed Addition, circa 1919-1978 (Box 23; 0.2 linear feet)
Biographical Note:
Art instructor and painter Lorser Feitelson (1898-1978) lived and worked in Los Angeles with his wife Helen Lundeberg (1908-1999), also one of southern California's leading painters. Together, Feitelson and Lundeberg founded the movement known as Subjective Classicism, or Post-surrealism. Their work had a great influence on southern California art and they formed many relationships with artists and critics of the area.

Lorser Feitelson was born in Savannah, Georgia on February 11, 1898, and grew up in New York City. By the age of twelve, he was painting in oils, and three years later he began to paint in earnest after attending the Armory Show. At the age of eighteen, Feitelson had his own studio in New York City. Over the next few years, he met other artists, including Arthur Davies, Walter Pach, and John Sloan. From 1919 to 1926, Feitelson lived in Paris and traveled to New York to exhibit; he also spent some time in Italy. In 1927, Feitelson moved to Los Angeles, the city that would remain his home for the rest of his life. There he met his wife and artist, Helen Lundeberg, and married in 1933.

Feitelson taught at the Chouinard Art Institute and the Stickney Memorial School of Art, became involved in the operations of the Centaur Gallery, and helped to found the Stanley Rose Gallery and the Hollywood Gallery of Modern Art. Beginning with the first Post-surrealist exhibition 1934, Feitelson and Lundeberg's work was exhibited at the San Francisco Museum of Art, the Brooklyn Museum, and was included in the Museum of Modern Art's Fantastic Art, Dada and Surrealism exhibition of 1937. Feitelson continued to create Post-surrealist paintings until 1942. During this same time, Feitelson also served as the Supervisor of Murals, Painting, and Sculpture for the Southern California Works Progress Administration Federal Arts Project.

In 1944, Feitelson began to paint abstract shapes that he referred to as "magical forms." Feitelson continued working in an abstract manner throughout the fifties, and in 1959 was included by Jules Langsner in the exhibition Four Abstract Classicists along with Karl Benjamin, Frederick Hammersley, and John McLaughlin. From this exhibition emerged the term "hard edge" painting, which referred to the presence of geometric shapes and flat pictorial space in the work of these artists. During the final two decades of his life, Feitelson continued to work regularly, and continued to explore abstraction.

Feitelson taught for many years at the Art Center School and was a visiting professor at the University of Illinois, Urbana. He also hosted the television program Feitelson on Art from 1956-1963, as well as serving as a frequent guest on the program Cavalcade of Books to discuss art publications. Lorser Feitelson died in 1978.

Helen Lundeberg was born in Chicago, Illinois on June 24, 1908. At the age of four, her family moved to Pasadena, where she attended Pasadena High School and Junior College. In the spring of 1930, a family friend sponsored Lundeberg's tuition to attend classes at the Stickney Memorial School of Art. That summer Lundeberg met Lorser Feitelson, who had recently taken over the teaching of her construction and composition class. The following year, Lundeberg's work was included in an exhibition for the first time. By 1933, Lundeberg had a solo exhibition at the Stanley Rose Gallery. Throughout the 1930s, Lundeberg painted in a Post-surrealist manner and created some of her best known works including "Double Portrait of the Artist in Time" (1935). She also began working for the California Works Progress Administration Federal Art Project in 1936. Over the next six years, she designed murals for libraries, high schools, and parks. She and Feitelson married in 1933.

During the next five decades, Lundeberg created a distinctive and diverse body of work that included surreal images of floating mountains and falling skies, austere landscapes and architectural forms, and abstract works with brilliant colors. She remained from the 1930s to the time of her death in 1999 one of the leading and most respected figures in southern California art. Her work has been exhibited in the San Francisco Museum of Modern Art and the Los Angeles County Museum of Art, and acquired by the Smithsonian American Art Museum, the Hirshhorn Museum and Sculpture Garden, and the Whitney Museum of American Art.
Related Material:
Found in the Archives of American Art are oral history interviews with Lorser Feitelson conducted by Betty Lochrie Hoag, May 12, 1964; with Lorser Feitelson and Helen Lundeberg conducted by Betty Lochrie Hoag, March 17, 1965; and with Helen Lundeberg conducted by Jan Butterfield, July 19 and August 29, 1980. Also found are Lorser Feitelson lectures recorded by Bonnie Trotter, 1973-1974.
Separated Material:
The Archives of American Art also holds microfilm of material lent for microfilming (reel LA 1) including a scrapbook of clippings primarily concerning Lorser Feitelson's activities with the federal Works Progress Administration. Lent materials were returned to the lender and are not described in the collection container inventory.
Provenance:
In 1964, Feitelson loaned for microfilming a scrapbook of clippings primarily concerning his activities with the federal Works Progress Administration. The scrapbook was microfilmed on Reel LA1 and returned to Feitelson. It is not included in the container inventory in this finding aid.
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.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Painters -- California -- Los Angeles  Search this
Topic:
Art -- Study and teaching  Search this
Genre/Form:
Sketches
Poetry
Writings
Drawings
Sound recordings
Photographs
Citation:
Lorser Feitelson and Helen Lundeberg papers, circa 1890s-2002. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.feitlors
See more items in:
Lorser Feitelson and Helen Lundeberg papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9b512ba00-6fa2-476e-a0d1-2012bb1179cd
EDAN-URL:
ead_collection:sova-aaa-feitlors
Online Media:

Ethel Edwards papers

Creator:
Edwards, Ethel, 1914-1999  Search this
Names:
Art Students League (New York, N.Y.)  Search this
United States. Bureau of Reclamation  Search this
Wellfeet Art Gallery  Search this
Backus, Franklin T., 1813-1870  Search this
Croce, Elaine  Search this
Gonzalez, Xavier, 1898-1993  Search this
Reynolds, Sally K.  Search this
Rockefeller, Nelson A. (Nelson Aldrich), 1908-1979  Search this
Storrs, Immi  Search this
Truro Center for Arts -- Faculty  Search this
Extent:
11.2 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Travel diaries
Scrapbooks
Transcripts
Sketchbooks
Date:
circa 1929-1999
Summary:
The papers of painter, illustrator, and educator Ethel Edwards (1914-1999) measure 11.2 linear feet and date from circa 1929 to 1999. The papers are comprised of biographical materials, correspondence, writings and notes, business records for the Wellfeet Art Gallery that she operated with her husband Xavier Gonzalez along with records for Edwards' personal business activities, printed materials, three scrapbooks, photographic materials, artwork, and 32 sketchbooks.
Scope and Contents:
The papers of painter, illustrator, and educator Ethel Edwards (1914-1999) measure 11.2 linear feet and date from circa 1929 to 1999. The papers are comprised of biographical materials, correspondence, writings and notes, business records for the Wellfeet Art Gallery that she operated with her husband Xavier Gonzalez along with records for Edwards' personal business activities, printed materials, three scrapbooks, photographic materials, artwork, and 32 sketchbooks.

Biographical materials consist of address, awards, membership documents, obituaries, resumes, and scattered teaching files for the Art Students League and the Truro Center for the Arts. Correspondence is with Xavier Gonzalez, galleries, and friends and colleagues including Franklin Backus, Sally Knudson Reynolds, Hall Groat, and Immi Storrs.

Writings and notes include a travel journal; various writings, essays, and notes about art by Edwards; a few writings about Edwards by others; and a speech transcript by Nelson A. Rockefeller. Business records consist of files for Wellfleet Art Gallery and Studio; documents concerning painting commissions for the Department of Interior Bureau of Reclamation; records of sales, inventory, and artwork donations; scattered exhibition files; and funding applications.

Printed materials include printed reproductions of artwork, brochures and clippings, exhibition catalogs and announcements, magazines and journals, posters, and press releases. There are three scrapbooks containing exhibition announcements, clippings, and photographs of artwork.

Photographs are of Edwards, her studio, family and friends, students, works of art, photographer Elaine Croce, and travel in Asia. Artwork includes sketches by Edwards, Ulrich Erben, and unidentified artists, as well as 32 sketchbooks by Edwards.
Arrangement:
The collection is arranged as 9 series.

Missing Title

Series 1: Biographical Materials, 1936-1999 (0.5 linear feet; Box 1)

Series 2: Correspondence, 1940s-1990s (2.0 linear feet; Box 1-3)

Series 3: Writings and Notes, 1937-1980s (0.5 linear feet; Box 3)

Series 4: Business Records, 1949-1994 (0.5 linear feet; Box 3-4)

Series 5: Printed Materials, circa 1940s-1990s (2.0 linear feet; Box 4-6, 13)

Series 6: Scrapbooks, 1940s-1960s (0.2 linear feet; Box 6, 13)

Series 7: Photographic Materials, 1937-circa 1992 (3.0 linear feet; Box 6-9, 13)

Series 8: Artwork, circa 1929-1980s (0.2 linear feet; Box 9)

Series 9: Sketchbooks, circa 1936-circa 1994 (2.3 linear feet; Box 9-12, 14)
Biographical / Historical:
Ethel Edwards (1914-1999) was a painter, illustrator, and educator active in New Orleans, LA, New York City, Provincetown, RI, and Wellfleet, MA.

Ethel Edwards was born in New Orleans in 1914 and attended Newcomb College in 1933 on scholarship. Her instructor for life drawing, watercolor, and portrait drawing was painter Xavier Gonzalez, whom she married in 1936 in Texas, where Gonzalez ran a summer school. She studied in Paris from 1937 to 1938. She returned to Alpine, Texas where, in 1939, she won a national mural competition to paint a mural in the U.S. Post Office in Lampasas, Texas. In 1942 she completed a second post office in Lake Providence, Louisiana.

In 1942, Edwards and Gonzalez moved to New York City, where Edwards continued to paint, working with powdered color and egg-oil emulsion and experimenting with line in various media and surfaces. She also worked as a fashion illustrator for Town and Country and Fortune magazines in 1944 and 1945. In 1946, her illustrations for Oscar Wilde's The Happy Prince were shown at the Museum of Modern Art. She regularly exhibited in New York City, Provincetown, and Wellfleet, Massachusetts on Cape Cod, where she and Gonzalez also operated the Wellfleet Art Gallery which served as a gallery, studio, and art school. For many years, she taught at the Art Students League and Truro Center for the Arts.

Edwards died in New York in 1999.
Related Materials:
Also found at the Archives of American Art are the papers of Ethel Edwards' husband, Xavier Gonzalez.
Provenance:
The collection was donated in 1999 by the estate of Ethel Edwards Gonzalez.
Restrictions:
Use of original papers requires an appointment and is limited to the 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.
Occupation:
Painters -- Louisiana -- New Orleans  Search this
Muralists -- Louisiana -- New Orleans  Search this
Educators -- Louisiana -- New Orleans  Search this
Illustrators -- Louisiana -- New Orleans  Search this
Topic:
Art -- Study and teaching  Search this
Women artists  Search this
Women painters  Search this
Women educators  Search this
Painting, Modern  Search this
Artists' studios -- Photographs  Search this
Women muralists  Search this
Genre/Form:
Photographs
Travel diaries
Scrapbooks
Transcripts
Sketchbooks
Citation:
Ethel Edwards papers, circa 1929-1999. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.edwaethe
See more items in:
Ethel Edwards papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9f4149c98-e280-4c2a-987b-d1c12f384a98
EDAN-URL:
ead_collection:sova-aaa-edwaethe

Advertisement card for the Golden Echoes singing group

Printed by:
Unidentified  Search this
Subject of:
Golden Echoes Female Quartette, American  Search this
Medium:
ink on paper
Dimensions:
H x W: 10 3/8 × 6 15/16 in. (26.4 × 17.6 cm)
Type:
advertising cards
Place depicted:
Evansville, Vanderburgh County, Indiana, United States, North and Central America
Date:
mid 20th century
Topic:
African American  Search this
Advertising  Search this
Gospel (Music)  Search this
Religion  Search this
Singers (Musicians)  Search this
Credit Line:
Collection of the Smithsonian National Museum of African American History and Culture
Object number:
2014.63.102.1
Restrictions & Rights:
Unknown - Restrictions Possible
See more items in:
National Museum of African American History and Culture Collection
Classification:
Memorabilia and Ephemera-Advertisements
Data Source:
National Museum of African American History and Culture
GUID:
http://n2t.net/ark:/65665/fd518d337e3-847b-4220-b96a-723dcfe93080
EDAN-URL:
edanmdm:nmaahc_2014.63.102.1
Online Media:

Advertisement card for the Down Home Quartette

Printed by:
Unidentified  Search this
Subject of:
Down Home Quartette, American  Search this
Medium:
ink on paper
Dimensions:
H x W: 6 7/8 × 8 11/16 in. (17.4 × 22.1 cm)
Type:
advertising cards
Place depicted:
Mexico, Audrain County, Missouri, United States, North and Central America
Date:
mid 20th century
Topic:
African American  Search this
Advertising  Search this
Gospel (Music)  Search this
Religion  Search this
Singers (Musicians)  Search this
Credit Line:
Collection of the Smithsonian National Museum of African American History and Culture
Object number:
2014.63.102.2
Restrictions & Rights:
Unknown - Restrictions Possible
See more items in:
National Museum of African American History and Culture Collection
Classification:
Memorabilia and Ephemera-Advertisements
Data Source:
National Museum of African American History and Culture
GUID:
http://n2t.net/ark:/65665/fd58eb82b12-50e1-46ee-a7d0-bee4d408d9d7
EDAN-URL:
edanmdm:nmaahc_2014.63.102.2
Online Media:

Poster for Ebony Parade

Distributed by:
Astor Pictures, American, 1930 - 1963  Search this
Subject of:
Cab Calloway, American, 1907 - 1994  Search this
Dorothy Dandridge, American, 1922 - 1965  Search this
Count Basie, American, 1904 - 1984  Search this
The Mills Brothers, American, 1928 - 1982  Search this
Mantan Moreland, American, 1902 - 1973  Search this
Francine Everett, American, 1915 - 1999  Search this
Vanita Smythe, American, 1925 - 1994  Search this
Ruby Hill, American, born 1922  Search this
Pat Flowers, American, 1917 - 2000  Search this
Day, Dawn, and Dusk, American, 1940 - 1960  Search this
The Jubalaires, American, c. 1940-1950  Search this
Mable Lee, American, 1921 - 2019  Search this
Medium:
ink on paper (fiber product)
Dimensions:
H x W (Image): 36 5/8 × 20 7/8 in. (93 × 53 cm)
H x W (Sheet): 41 1/4 × 26 15/16 in. (104.7 × 68.5 cm)
Type:
posters
Place used:
United States, North and Central America
Date:
1947
Topic:
African American  Search this
Actors  Search this
Comedy  Search this
Conductors (Musicians)  Search this
Dance  Search this
Entertainers  Search this
Instrumentalists (Musicians)  Search this
Jazz (Music)  Search this
Musical films  Search this
Musicians  Search this
Race films  Search this
Singers (Musicians)  Search this
Credit Line:
Collection of the Smithsonian National Museum of African American History and Culture
Object number:
2013.118.31
Restrictions & Rights:
Public domain
See more items in:
National Museum of African American History and Culture Collection
Classification:
Memorabilia and Ephemera-Advertisements
Data Source:
National Museum of African American History and Culture
GUID:
http://n2t.net/ark:/65665/fd57b15d522-36ed-464f-9f9b-82dd6b9bcc91
EDAN-URL:
edanmdm:nmaahc_2013.118.31
Online Media:

KAPEX 74 poster with KAPEX 1974 Albany Penny Postman cancellation

Medium:
paper; ink
Dimensions:
Height x Width: 11 3/4 x 8 3/4 in. (29.85 x 22.23 cm)
Type:
Covers & Associated Letters
Place:
United States of America
Date:
c. 1970
Topic:
The Cold War (1945-1990)  Search this
Covers & Letters  Search this
Object number:
2010.2023.28
See more items in:
National Postal Museum Collection
Data Source:
National Postal Museum
GUID:
http://n2t.net/ark:/65665/hm8e305fe74-a6e8-4724-a059-36fb8d62a504
EDAN-URL:
edanmdm:npm_2010.2023.28

KAPEX 74 poster with KAPEX 1974 Albany Penny Postman cancellations

Medium:
paper; ink
Dimensions:
Height x Width: 11 3/4 x 8 3/4 in. (29.85 x 22.23 cm)
Type:
Covers & Associated Letters
Place:
United States of America
Date:
c. 1970
Topic:
The Cold War (1945-1990)  Search this
Covers & Letters  Search this
Object number:
2010.2023.29
See more items in:
National Postal Museum Collection
Data Source:
National Postal Museum
GUID:
http://n2t.net/ark:/65665/hm838e6efe2-5359-43df-9253-623a33e8fcd8
EDAN-URL:
edanmdm:npm_2010.2023.29

KAPEX 74 poster with KAPEX 1974 Albany Penny Postman cancellations

Medium:
paper; ink
Dimensions:
Height x Width: 11 3/4 x 8 3/4 in. (29.85 x 22.23 cm)
Type:
Covers & Associated Letters
Place:
United States of America
Date:
c. 1970
Topic:
The Cold War (1945-1990)  Search this
Covers & Letters  Search this
Object number:
2010.2023.30
See more items in:
National Postal Museum Collection
Data Source:
National Postal Museum
GUID:
http://n2t.net/ark:/65665/hm8c697d235-a36c-433d-83de-933218a2f8ed
EDAN-URL:
edanmdm:npm_2010.2023.30

Wanted poster for Guiseppe Baldanucci

Associated Person:
Guiseppe Baldanucci  Search this
Medium:
paper; ink
Dimensions:
Height x Width: 8 x 8 in. (20.32 x 20.32 cm)
Type:
Archival Material
Place:
New York
Date:
1981
Topic:
The Cold War (1945-1990)  Search this
Postal Administration  Search this
Object number:
1992.2031.3
See more items in:
National Postal Museum Collection
Data Source:
National Postal Museum
GUID:
http://n2t.net/ark:/65665/hm8177eb6c7-bd87-43d5-b829-3d0e71b64e12
EDAN-URL:
edanmdm:npm_1992.2031.3
Online Media:

ZIP code poster

Medium:
paper; ink (red, blue, black)
Dimensions:
27.9 x 53.3 cm (11 x 21 in.)
Type:
Archival Material
Place:
United States of America
Date:
1966
Topic:
The Cold War (1945-1990)  Search this
Postal Administration  Search this
Object number:
2002.2001.1
See more items in:
National Postal Museum Collection
Data Source:
National Postal Museum
GUID:
http://n2t.net/ark:/65665/hm88c76ea45-17e5-4a0f-b113-940ae7d2e49d
EDAN-URL:
edanmdm:npm_2002.2001.1

ZIP code poster

Medium:
paper; ink
Dimensions:
43.2 x 27.9 cm (17 x 11 in.)
Type:
Archival Material
Place:
United States of America
Date:
1963-1970
Topic:
The Cold War (1945-1990)  Search this
Postal Administration  Search this
Object number:
2002.2001.2
See more items in:
National Postal Museum Collection
Data Source:
National Postal Museum
GUID:
http://n2t.net/ark:/65665/hm805fc781e-167f-4600-a56e-b6eb8fd3ae8e
EDAN-URL:
edanmdm:npm_2002.2001.2

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