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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
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:

Japanese American Documentary Collection

Creator:
Tanaka, Peter, Dr.  Search this
Tsukamoto, Mary  Search this
McGovern, Melvin  Search this
Nitta, Eugene T.  Search this
Ishimoto, Norman  Search this
Source:
Armed Forces History, Division of (NMAH, SI).  Search this
Former owner:
Armed Forces History, Division of (NMAH, SI).  Search this
Names:
Japanese Americans Citizens League  Search this
Emi, Frank  Search this
Hashimoto, M.  Search this
Kamikawa, Juichi  Search this
Kamikawa, Kazu, Mrs.  Search this
Kawashiri  Search this
Kihari, Shigeya  Search this
Matsumoto  Search this
Miyake, Takashi  Search this
Oliver, Floyd A.  Search this
Ozamoto, T.  Search this
Vogel, Mabel Rose  Search this
Wakabayashi, Ron  Search this
Extent:
1 Cubic foot (3 boxes and 1 oversized folder)
Type:
Collection descriptions
Archival materials
Typescripts
Passports
Albums
Books
Cartoons (humorous images)
Christmas cards
Comic books
Newsletters
Panoramas
Personal papers
Photograph albums
Photographs
Posters
Ration books
Scrapbooks
Telegrams
Place:
Minidoka
Manzanar
Idaho
Amache (Calif.)
California -- 1940-1950
Date:
1900s-1993
Scope and Contents:
The collection is an assortment of souvenirs and memorabilia, which have survived the years since World War II. Many of them, Christmas cards, high school graduation programs, notes to friends, snapshots, and photographic prints in the form of dance programs reflect the interests and concerns of all teenagers. There are camp newsletters and Japanese passports, identification cards, ration books, meal passes, posters; a photograph album contains both family photographs and a record of achievements of members of the Kamikawa family. There is a transcript of a taped interview with Mrs. Kamikawa, who was nearly 90 in February 1982, the time of the interview. A book, Lone Heart Mountain by Estelle Ishigo, portrays in text and sketches life in the relocation centers.

The collection has been filed under the name of each donor rather than by subject such as passports, newsletters, photographs. With very few exceptions the material is in good condition. The historical sketch of the Matsumoto family tree in the photograph album is badly damaged.
Arrangement:
1 series, arranged alphabetically by donor.
Biographical / Historical:
On December 7, 1941, the Japanese bombed Pearl Harbor and the United States went to war. On February 19, 1942, President Franklin Delano Roosevelt issued Executive Order 9066 authorizing the military to exclude "any and all persons" from designated areas of the United States to protect the national defense. Thus, without the imposition of martial law, the military were given authority over the civilian population.

Under this order, nearly 120,000 men, women and children of Japanese ancestry, nearly two thirds of who were United States citizens, were forced out of their homes and into detention camps in isolated areas of the west. Many of them spent the years of the war living under armed guards, and behind barbed wire. Children spent their school days in the camps, young men left to volunteer or be drafted for military service. The War Relocation Authority administered the camps.

This collection of documentary materials relates to the involuntary relocation of Japanese Americans was collected by the Division of Armed Forces History in connection with the exhibit A More Perfect Union: Japanese Americans and the United States Constitution at the National Museum of American History in 1988. The donors either were members of the Japanese American Citizens League or reached through the League. Interesting and revealing information is available about a few of the donors. They were primarily teenagers or young adults at the time of the relocation and the materials in the collection reflect their interests and concerns. Juichi Kamikawa, who had completed a year of college in Fresno, California, graduated from the Corcoran School of Art in Washington, D.C. after the war and became a respected artist. His family record is one of distinction in both Japan and the United States for several generations. Masuichi Kamikawa, his father, received the Order of the Sacred Treasure from the Japanese Emperor for outstanding contributions to the cultural heritage of Japan. Among achievements cited were his work in merchandizing and banking in Fresno, California. Mary Tsukamoto is one of the contributors to the video conversations in the exhibit. She is a retired teacher who was 27 years old in 1942 and a long time resident of Florin, California. Along with her entire family, she was sent to the center at Jerome, Arkansas. Mabel Rose Vogel taught high school at one of the camps, Rowher Center, Arkansas.
Related Materials:
The Division of Armed Forces History will have additional documents collected for the exhibit, A More Perfect Union, described above, that may be useful. Another collection on this topic in the Archives Center is collection #450, the Gerald Lampoley Collection of Japanese American Letters, 1942 1943, a collection of six letters written by Japanese Americans to their former teacher. Researchers may also refer to the records of the War Relocation Authority, Record Group 210, or those of the United States Commands, 1947 , Record Group 338, in the National Archives. Further, the National Headquarters of the Japanese American Citizens League in San Francisco, California, and the Japanese American National Museum in Los Angeles, California, maintain related collections.
Provenance:
Donated by a number of Japanese Americans, many of whom are members of the Japanese American Citizens League, headquartered in San Francisco. This material was acquired for inclusion in the exhibition, A More Perfect Union, described above, but was not placed on display for one reason or another. In certain instances, items in this collection were omitted from the exhibit if they were considered too fragile or too sensitive to prolonged exposure to light. It is possible that related items, currently on display, ultimately will be transferred to the Archives Center; if this occurs, it would be useful to distinguish between the two groups of exhibited and undisplayed materials. Transferred from the Division of Armed Forces History, June 1988.
Restrictions:
The collection is open for research use.

Researchers must handle unprotected photographs with gloves. Researchers must use reference copies of audio-visual materials. When no reference copy exists, the Archives Center staff will produce reference copies on an "as needed" basis, as resources allow. Collection located at off-site storage area.

Viewing film portion of collection requires special appointment, please inquire; listening to LP recordings only possible by special arrangement. Do not use original materials when available on reference video or audio tapes.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Reproduction permission from Archives Center: fees for commercial use. All duplication requests must be reviewed and approved by Archives Center staff.
Topic:
Military history, Modern  Search this
Concentration camps -- 1942-1945 -- United States  Search this
World War, 1939-1945  Search this
Genre/Form:
Typescripts -- 1940-1950
Passports
Albums -- 1940-1950
Books
Cartoons (humorous images) -- 20th century
Christmas cards
Comic books
Newsletters -- 1940-1950
Panoramas
Personal papers -- 1940-1950
Photograph albums -- 1940-1950
Photographs -- Black-and-white photoprints -- Silver gelatin -- 1940-1950
Posters -- 1940-1960
Ration books
Scrapbooks -- 1900-1950
Telegrams -- 1940-1950
Citation:
Japanese American Documentary Collection, dates, Archives Center, National Museum of American History
Identifier:
NMAH.AC.0305
See more items in:
Japanese American Documentary Collection
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-0305
Online Media:

George Sidney Collection

Collector:
Music, Sports and Entertainment, Division of, NMAH, SI  Search this
Sidney, George, 1916-2002  Search this
Music, Sports and Entertainment, Division of, NMAH, SI  Search this
Donor:
Sidney, Corinne Entratter  Search this
Sidney, Corinne Entratter  Search this
Names:
Columbia Pictures  Search this
Metro-Goldwyn-Mayer Pictures  Search this
Paramount Pictures  Search this
Goodman, Benny (Benjamin David), 1909-1986  Search this
Margret, Ann-, 1941-  Search this
Robinson, Edward G., 1893-1973  Search this
Sidney, George, 1877-1945  Search this
Sidney, Hazel Mooney  Search this
Sidney, Louis K.  Search this
Sullivan, Ed, 1901-1974  Search this
Extent:
54 Film reels
96 Cubic feet (288 boxes, 6 oversize folders)
Type:
Collection descriptions
Archival materials
Film reels
Photographs
Place:
Hollywood (Los Angeles, Calif.)
Date:
1885-2002
bulk 1940-1967
Summary:
George Sidney (1916-2002) was a film director during the Golden Age of Hollywood filmmaking (1927-1954). He spent the longest period of his career at Metro-Goldwyn-Mayer (MGM) until the 1950s. He later produced and directed films for Columbia Pictures and Paramount Pictures. He was a president of the Directors Guild of America and an avid photographer. He was the recipient of three awards from the Academy of Motion Picture Arts and Sciences (Oscar). The collection consists of photographs, photographic negatives, personal and business materials, and film. The collection also contains material created by George Sidney's uncle, George Sidney, vaudevillian and motion picture actor.
Scope and Contents:
The George Sidney Collection consists of approximately eighty-eight cubic feet of photographs and materials from the Hollywood director George Sidney, most dealing with his career in motion pictures. Sidney was an avid photographer and collector of photographs documenting extremely well the Hollywood film community during the Studio Era (1927-1954) of filmmaking. The bulk of the collection is from Sidney's most productive years, circa 1937-1968.

MGM's motto was "More Stars than there are in Heaven" and the researcher would be advised that the extent of this collection is such that it is impossible to list and identify all of the celebrities and personalities photographed, both behind and in front of the camera. There are stills from Sidney's many productions as well as his on-set personal photographs. There are photographs from dinner parties, and many studio and film community functions. Productions are dated to their generally accepted first theatrical release date (Los Angeles and New York) and in the case of a Broadway show to their opening date.
Arrangement:
The collection is arranged into six series.

Series 1: Photographs, Photographic Negatives, and Slides, 1914-1996, undated.

Subseries 1.1: The Camera Eye of George Sidney, undated.

Subseries 1.2: Productions (Motion Picture, Stage, and Radio), 1921-1968. Subseries 1.3: Personalities and People, 1932-1996, undated.

Subseries 1.4: Personal and Family, 1914-1992, undated.

Subseries 1.5: Family Photograph Albums and Scrapbooks, 1918-1950, undated.

Subseries 1.6: Travel and Locations, 1940-1981, undated.

Subseries 1.7: Studio, Entertainment, and Public Events, 1949-1995, undated.

Subseries 1.8: Tests, 1938-1967, undated.

Subseries 1.9: Photographic Negatives, 1937-1979, undated

Series 2: Production Ephemera, Posters, Scripts, 1930-1991, undated.

Subseries 2.1: Production Posters, 1943-1964, undated

Subseries 2.2: Production Ephemera and Scripts, 1930-1991, undated

Series 3: Office Files and Personal Material, 1903-2002, undated

Subseries 3.1: Personal Material, 1944-2002, undated

Subseries 3.2: Correspondence, Random Files, Indices, and Inventories, 1903-2002, undated

Series 4: Music Manuscripts, Sheet Music, and Music Related Material, 1885-1992, undated

Subseries 4.1: Music Manuscripts, 1937-1960, undated

Subseries 4.2: Sheet Music, 1885-1990

Subseries 4.3: Music Related Material, 1971-1992, undated

Series 5: Audiovisual, 1933-2001, undated

Subseries 5.1: Film, 1940-1960, undated

Subseries 5.2: Audio, 1933-2001, undated

Subseries 5.3: Video, 1989-2001, undated

Series 6: George Sidney (1877-1945), 1909-1945, undated
Biographical / Historical:
George E. Sidney was born in New York, New York on October 4th, 1916 into a show business family. His father Louis K. Sidney (birth surname Kronowith) (1891-1958) was a Broadway producer, actor-manager, and one of the vice-presidents of Loew's Incorporated. Sidney's mother, Hazael Mooney (?-1969), was a vaudeville performer, part of a sister act known as The Mooney Sisters. She was a native New Yorker, daughter of prominent New York City attorney Henry Mooney. She and Louis were married at her home, 12 West 109th Street, New York. Another residence was 179 West 63rd Street.

Louis K. Sidney began working for Loew's Incorporated in 1923. He managed theatres in Denver, Pittsburgh, Toledo, Dayton, and New York. Later he was in charge of stage productions for the theatre circuit. He was in charge of MGM's East Coast film production facility in New York. He and Hazael followed son George to Los Angeles in 1937. Louis produced two motion pictures at MGM, The Big Store with the Marx Brothers and Hullabaloo. After February 1951, he was a member of the four man executive committee in charge of MGM. At his retirement in 1955, Louis K. had risen to the position of vice-president of Loew's, Incorporated. He served as vice-president and director of the Motion Picture Producers Association, as a director of the Motion Picture Relief Fund, and the Hollywood Coordinating Committee.

George Sidney had two uncles in show business, Jack Sidney, known as "Jack of Spades" a black-face comedian, and Sidney's half-uncle, George Sidney (1877-1945) (real name Samuel Greenfield), a vaudeville comic. George had a successful Broadway and screen career, most notably as the bum, Busy Izzy, a character that lasted on the vaudeville circuit from 1901-1915. His initial Broadway success was in a show entitled Welcome Stranger that ran for 309 performances. Welcome Stranger had an extensive touring schedule across the United States. In conjunction with Charlie Murray, he developed a comedy act known as Cohen and Kelly that was not only a vaudeville success but easily made the transition to motion pictures. The Cohens and Kellys films became a motion picture franchise for Universal Studios in 1924. He was married to Carrie Weber (?-1940). George was a member of the Friars Club and an avid sports fan. He owned a racehorse named Kibbitzer.

George Sidney made his on-screen debut in The Littlest Cowboy (1921) starring Tom Mix. He moved to Los Angeles in 1930. Sidney went to work as a messenger at MGM. Louis B. Mayer's nickname for Sidney was "boy". Sidney flourished at the studio and by the time he was twenty he was directing screen tests and one-reel shorts. He directed installments in the Our Gang and Little Rascals series, as well as the Pete Smith and the Crime Does Not Pay series. He won back-to-back Oscars for two of his shorts, Quicker'n a Wink (1940) and Of Pups and Puzzles (1941). His feature film directing debut was Free and Easy (1941) starring Robert Cummings. His first major film musical was the all-star, war time musical, Thousands Cheer (1943), starring Kathryn Grayson and Gene Kelly. Sidney always indicated he viewed films as entertainment and seems to have rejected the auteur theory of directing embraced by some of his well known colleagues such as John Ford and Vincent Minnelli. His film, The Three Musketeers (1948), starring Gene Kelly and Lana Turner, was one of MGM's highest grossing films in the post World War Two period. He won his third Oscar for the short, Overture to 'The Merry Wives of Windsor, in 1954. Jupiter's Darling (1955) with Esther Williams was Sidney's last film for MGM. He was loaned to Columbia Pictures to direct The Eddy Duchin Story (1956), after which his contract at MGM ended.

Sidney went on to become an independent producer and director at Columbia Pictures where he directed such films as Pal Joey (1957), starring Frank Sinatra, and Bye Bye Birdie (1963) starring Ann-Margret. He returned to MGM in the 1960s to make A Ticklish Affair (1963), starring Shirley Jones and Viva Las Vegas (1964), starring Ann-Margret and Elvis Presley. His last film was the musical Half a Sixpence (1967) starring Tommy Steele for Paramount Pictures. Sidney also directed and produced for television most notably Who Has Seen the Wind (1964). He financed and founded Hanna-Barbera Productions in 1944. He was a two-term president, 1951-1959 and 1961-1967, of the Directors Guild of America (DGA), earlier known as the Screen Directors Guild (SDG).

In his personal life, Sidney was married in 1942 to legendary MGM drama coach, Lillian "Burnsie" Burns Salzer (1903-1998). He was eight years her junior. They lived at the Sidney home (1140 Tower Road) in Beverly Hills. They divorced in the mid 1970s. For a brief time Sidney maintained a penthouse apartment for George Sidney Productions at 144 South Beverly Drive, Beverly Hills. He maintained a suite (301) in the Palm Wilshire Building, 9201 Wilshire Boulevard in the 1970s. He married his second wife, Jane Adler Robinson (?-1991), second wife and widow of actor Edward G. Robinson (1893-1974), around 1978. The house at 1140 Tower Road was sold and Sidney moved to the Robinson home at 910 Rexford Drive in Beverly Hills. Sidney married his third wife, Corinne Kegley Entratter (1937-?), widow of showman and Las Vegas entrepreneur John Entratter, in 1991. Sidney was a prolific photographer. He collected art and was apparently an avid gardener. He was a member of the Royal Horticultural Society. He died in Las Vegas, Nevada in May 2002.
Related Materials:
The Harry Warren Collection, AC0750

The Groucho Marx Collection, AC0269

Sidney related artifacts from Sidney's films are housed in the Division of Culture and the Arts, National Museum of American History, Smithsonian. There are scrapbooks donated by the Sidney Estate in the collection of the Cinema-Television Library, Doheny Library, University of Southern California, consisting of eleven volumes containing photographs, correspondence, publicity documents, and other materials, circa 1933-1963.
Provenance:
This collection was donated to the Archives Center in 2005 by Corinne Entratter Sidney, widow of George Sidney.
Restrictions:
This collection is open for research use.

Researchers must handle unprotected photographs with cotton gloves. Researchers may use reference copies of audio-visual materials. When no reference copy exists, the Archives Center staff will produce reference copies on an "as needed" basis and as resources allow.

Viewing film portions of the collection requires special appointment, please inquire; listening to LP recordings is only possible by special arrangement.

Gloves must be worn when handling unprotected photographs and negatives. Special arrangements required to view materials in cold storage. Using cold room materials requires a three hour waiting period. Contact the Archives Center at 202-633-3270.
Rights:
The Archives Center does not own exclusive rights to these materials. All requests for permission to use these materials for non-museum purposes must be addressed directly to the Archives Center, and the Archives Center will forward the request to the copyright holder. Collection items are available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Reproduction permission from Archives Center: fees for commercial use.
Topic:
Motion picture production and direction  Search this
Motion picture producers and directors  Search this
Motion pictures  Search this
Vaudeville  Search this
Musicals  Search this
Genre/Form:
Photographs -- Black-and-white photoprints -- Silver gelatin -- 19th-20th century
Citation:
George Sidney Collection, Archives Center, National Museum of American History, gift of Corinne Entratter Sidney
Identifier:
NMAH.AC.0867
See more items in:
George Sidney Collection
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-0867

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:

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 David Parrish papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Artists' studios -- Photographs  Search this
Painters -- Alabama  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
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:

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 Lorser Feitelson and Helen Lundeberg papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Art -- Study and teaching  Search this
Painters -- California -- Los Angeles  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
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. Department of the Interior. 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.

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 Ethel Edwards papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Occupation:
Muralists -- United States  Search this
Topic:
Art -- Study and teaching  Search this
Painters -- United States  Search this
Artists' studios -- Photographs  Search this
Art teachers -- United States  Search this
Illustrators -- United States  Search this
Women artists  Search this
Painting, Modern -- 20th century -- United States  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
EDAN-URL:
ead_collection:sova-aaa-edwaethe

Irving Berlin Collection

Creator:
Berlin, Irving, 1888-1989  Search this
Extent:
3 Cubic feet (6 boxes and 10 oversize folders)
Type:
Collection descriptions
Archival materials
Photographs
Awards
Paintings
Sheet music
Posters
Date:
1905 - 1987
Summary:
Irving Berlin was a 20th century American composer and songwriter. This collection has sheet music for over 200 songs composed by Irving Berlin, as well as a sheet music by other composers. In addition to sheet music, there is correspondence, awards, photographs, and posters pertaining to Irving Berlin.
Scope and Contents:
The collection consists primarily of sheet music for over 200 songs composed by Irving Berlin, as well as sheet music by others, published before 1925. Additionally, there are awards, photographs, correspondence and posters relating to Irving Berlin.

Series 1, Sheet Music by Irving Berlin, circa 1907-1966,and undated, contains sheet music from musicals and films written by Irving Berlin. These are alphabetized by song title.

Series 2, Miscellaneous Sheet Music, 1905-1925, contains a miscellaneous assortment of sheet music from the early 1900s by various composers and lyricists, including two pieces by Irving Berlin. The series is arranged alphabetical by song title. Key: (L) indicates "Lyrics", (W) indicates "Words" and (M) indicates "Music" after composer's name(s).

Series 3, Awards, 1938-1987 and undated, contains awards to Berlin from schools, cities and professional musicians' associations. The earliest in the collection is August 1938, the Box Office Ribbon Award for the best picture of the month, "Alexander's Ragtime Band." The latest one is an accolade by the United States Senate, duly noted in the Congressional Record of October 30, 1987. Series 4 contains correspondence related to the awards.

Series 4, Correspondence, Photographs, and Posters, 1916-1980s and undated, contains correspondence, photographs, and posters. Also included are many large copy prints of Irving Berlin paintings, almost all of which are portraits or still lifes. Some date from the 1970s and 1980s. Nearly all are either signed or initialed. Photographs include Irving Berlin and one of his pianos. A document folio contains photographs of a number of canceled envelopes and a composition manuscript, "I Am Just a Dreaming Fool." There are several posters relating to Irving Berlin musicals.
Arrangement:
The collection is arranged into four series.

Series 1, Sheet Music by Irving Berlin, circa 1907-1966, and undated

Series 2, Miscellaneous Sheet Music, 1905-1925

Series 3, Awards, 1938-1987, and undated

Series 4, Correspondence, Photographs and Posters, 1916-1980s and undated
Biographical / Historical:
Irving Berlin, composer of about 1,500 popular songs, a number of stage musicals and film scores, was born in Russia on May 11, 1888. Named Israel by his parents, Moses and Leah Baline, he fled to the United States with them in 1893. Upon arrival he adopted his American name, and the family settled on the lower east side of New York City. Irving attended public school there for two years, but dropped out to work and help support his family.

In 1907 while employed as a waiter in New York's Chinatown, Irving Berlin wrote his first song, "Marie from Southern Italy". A year later he was employed as a lyricist by a music publishing house and soon was a partner in the company, Waterson, Berlin and Snyder. In 1910 Irving Berlin wrote "My Wife's Gone to the Country" and "Call Me Up Some Rainy Afternoon". These launched his career as a world famous composer of popular songs and in 1911 "Alexander's Ragtime Band" was a sensational hit. It was this song, along with the others he made at this time, that many consider the advent of Modernism within the musical field.

During World War I, Irving Berlin was stationed at Camp Upton, Long Island, where he wrote patriotic songs, including an all-soldier musical revue and the song "God Bless America" (this was not released until twenty years later). After the war he established his own music publishing company in New York City, Irving Berlin Inc. In 1921 he partnered with Sam Harris and and built the Music Box Theater.

Irving Berlin was married twice. The first marriage in 1912 was to Dorothy Goetz, who died shortly afterward. In 1926 he married Ellin Mackay, the daughter of C. H. Mackay, chairman of the board of Postal Telegraph Cable Company. They had four children: Mary Ellin Barret, Elizabeth Irving Peters, Linda Louise Emmet, and little Irving, who died in infancy.

During World War II, Mr. Berlin toured the United States and the European and Pacific battle zones. Proceeds from these appearances were assigned to the Army Emergency Relief and other service agencies. He was the recipient of the Medal of Merit, the Congressional Gold Medal, and the President's Medal of Freedom and was a member of the Legion of Honor of France.

After the war, Berlin continued to write songs, scores, and musicals. It was during these decades that the score for the movie "White Christmas" and the play "Annie Get Your Gun" were produced. He took up painting as a hobby later in life. He died on September 22, 1989 at the age of 101. He is buried at Woodlawn Cemetary, the Bronx, New York City.
Related Materials:
Material in the Archives Center

Sam DeVincent Illustrated Sheet Music Collection

Groucho Marx Collection

Material in Other Institutions

Library of Congress

University of New Hampshire, Milne Special Collections
Provenance:
Donated to National Museum of American History (formerly the the Museum of History and Technology) by Irving Berlin on March 27, 1975.
Restrictions:
The collection is open for research use.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Popular music -- 20th century -- United States  Search this
Composers -- 20th century  Search this
Portraits -- 1900-1950  Search this
Genre/Form:
Photographs
Awards
Paintings
Sheet music
Posters -- 1940-1960
Citation:
Irving Berlin Collection, 1905-1987, Archives Center, National Museum of American History
Identifier:
NMAH.AC.0257
See more items in:
Irving Berlin Collection
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-0257
Online Media:

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

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

Tomas Ybarra-Frausto Calendar Collection : Posters

Creator:
Ybarra-Frausto, Tomás, 1938-  Search this
Catano, Eduardo  Search this
Barr, A.  Search this
Helguera, Jesus de  Search this
Galas de Mexico.  Search this
Extent:
8 Items (1 box, 1 oversize folder)
Type:
Collection descriptions
Archival materials
Advertising
Calendars
Photomechanical reproductions
Paintings
Posters
Place:
Mexico
Date:
circa 1938-1998
Scope and Contents:
Eight poster-sized pieces of calendar art, reproductions of paintings by artists Jesus de Helguera, Eduardo Catano, and A. Barr. Several show the signature of Helguera in the painting, and the signatures of Catano and Barr are seen in two other items; no signatures can be found in others. Several include the printer or publisher credit, Galas de Mexico. Subjects are beautiful young women and handsome men. Several reference Aztec legends or themes. These reproductions do not contain actual calendars; apparently the calendar portion was trimmed off each item. They were originally framed. The largest item also contains advertising for cigarettes, including Raleigh and other brands, plus the "Villa Hermosa" Super Carniceria.
Arrangement:
The collection is arranged into one series.
Biographical / Historical:
The donor, Dr. Tomas Ybarra-Frausto, is a well-known art historian. His books include: Modern Chicano Writers: A Collection of Critical Essays (1979), and Velvet Barrios: Popular Culture and Chicana/O Sexualities (2003).The donor, Dr. Tomas Ybarra-Frausto, is a well-known art historian. His books include: Modern Chicano Writers: A Collection of Critical Essays (1979), and Velvet Barrios: Popular Culture and Chicana/O Sexualities (2003).
Related Materials:
Materials at the Smithsonian

Archives of American Art

Tomás Ybarra-Frausto research material on Chicano art, 1965-2004
Provenance:
Dr. Ybarra-Frausto donated these posters to the Archives Center on October 11, 1998.
Restrictions:
Collection is open for research.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
advertising -- Cigarettes -- 1940-1950  Search this
Calendar art  Search this
Cigarettes -- 1940-1950  Search this
Genre/Form:
Advertising
Calendars
Photomechanical reproductions
Paintings -- Reproductions
Posters -- 1940-1960
Citation:
Tomas Ybarra-Frausto Calendar Collection, undated, Archives Center, National Museum of American History
Identifier:
NMAH.AC.0660
See more items in:
Tomas Ybarra-Frausto Calendar Collection : Posters
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-0660
Online Media:

Jes Wilhelm Schlaikjer Poster Collection

Artist:
Schlaikjer, Jes Wilhelm  Search this
Donor:
Biegel, Paul E.  Search this
Extent:
20 Items (3 folders)
Type:
Collection descriptions
Archival materials
Posters
Date:
1942-1952.
Scope and Contents:
Twenty posters designed by Schlaikjer during World War II and after.
Arrangement:
1 series.
Biographical / Historical:
Portrait artist, illustrator, designed posters for use in the war effort during World War II.
Provenance:
Donated by Paul E. Biegel in 1996.
Restrictions:
Unrestricted research access on site by appointment.
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:
World War, 1939-1945 -- Art and the war  Search this
Genre/Form:
Posters -- World War, 1939-1945 -- United States
Posters -- 1940-1960
Citation:
Jes Wilhelm Schlaikjer Poster Collection, 1942-1952, Archives Center, National Museum of American History.
Identifier:
NMAH.AC.0546
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-0546
Online Media:

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
Website: www.lbjlibrary.org/
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

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
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:

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

ZIP code poster featuring Dick Tracy

Printer:
Government Printing Office  Search this
Medium:
paper; ink
Dimensions:
Height x Width: 14 × 11 in. (35.56 × 27.94 cm)
Type:
Archival Material
Place:
District of Columbia
Date:
1970
Topic:
The Cold War (1945-1990)  Search this
Object number:
2002.2003.7
See more items in:
National Postal Museum Collection
Data Source:
National Postal Museum
GUID:
http://n2t.net/ark:/65665/hm8f4c53c9b-52c5-49a8-bb64-64401ff69601
EDAN-URL:
edanmdm:npm_2002.2003.7

Mr. ZIP standing cut-out

Medium:
plywood; paper
Dimensions:
Height x Width x Depth: 53 1/2 x 33 x 17 in. (135.89 x 83.82 x 43.18 cm)
Type:
Seals, Symbols & Signage
Place:
United States of America
Date:
c. 1970
Topic:
The Cold War (1945-1990)  Search this
Popular Culture  Search this
Object number:
2004.2007.1
See more items in:
National Postal Museum Collection
Data Source:
National Postal Museum
GUID:
http://n2t.net/ark:/65665/hm8c6025787-b0c3-48b8-a8af-b638ad18cf24
EDAN-URL:
edanmdm:npm_2004.2007.1

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:

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:

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