Search Results

Creator:

Ferargil Galleries  Search this

Names:

Arkell, Bartlett  Search this

Benton, Thomas Hart, 1889-1975  Search this

Bliss, Lizzie P. (Lizzie Plummer), 1864-1931  Search this

Carlsen, Emil, 1853-1932  Search this

Dabo, Leon, 1868-1960  Search this

Davey, Randall, 1887-1964  Search this

Davies, Arthur B. (Arthur Bowen), 1862-1928  Search this

Diedrich, Hunt  Search this

Lawson, Ernest, 1873-1939  Search this

Lowrie, Agnes Potter  Search this

Lucioni, Luigi, 1900-1988  Search this

Miller, Barse, 1904-1973  Search this

Parrish, Maxfield, 1870-1966  Search this

Parsons, Lloyd  Search this

Pike, John, 1911-1979  Search this

Platt, Dan Fellows, 1873-1938  Search this

Price, F. Newlin (Frederic Newlin)  Search this

Sample, Paul, 1896-1974  Search this

Sawyer, Wells, 1863-1960  Search this

Van Soelen, Theodore  Search this

Van Vleck, Natalie, 1901-1974  Search this

Willams, Lois  Search this

Photographer:

Käsebier, Gertrude, 1852-1934  Search this

Extent:

18.7 Linear feet

Type:

Collection descriptions

Archival materials

Photographs

Prints

Drafts (documents)

Gallery records

Scrapbooks

Sketches

Date:

circa 1900-1963

Summary:

The Ferargil Galleries records date from circa 1900-1963 and document the activities of this New York gallery that dealt primarily in American contemporary art from shortly after its 1915 founding by Frederic Newlin Price (1884-1963) to it's closure in 1955. 18.7 linear feet of records include incoming and outgoing correspondence with artists, dealers, schools and colleges, and museums and other art institutions; artist files; estate and legal records including papers relating to the Arthur B. Davies estate; gallery business and financial records; printed material; scrapbooks; scattered personal papers of Price; artwork; and photographs of artists, exhibitions and artwork.

Scope and Content Note:

The Ferargil Galleries records date from circa 1900-1963 and document the activities of this New York gallery that dealt primarily in American contemporary art from shortly after its 1915 founding by Frederic Newlin Price (1884-1963) to it's closure in 1955. 18.7 linear feet of records include incoming and outgoing correspondence with artists, dealers, schools and colleges, and museums and other art institutions; artist files; estate and legal records including papers relating to the Arthur B. Davies estate; gallery business and financial records; printed material; scrapbooks; scattered personal papers of Price; artwork; and photographs of artists, exhibitions and artwork.

Correspondence is both incoming and outgoing and documents the day-to-day activities of the galleries, primarily from the 1920s to the 1950s. Significant correspondence with, or relating to, many of the artists represented by Ferargil Galleries can be found here including correspondence with Bartlett Arkell, Thomas Hart Benton, Randall Davey, Hunt Diedrich, Ernest Lawson, Agnes Potter Lowrie, Luigi Lucioni, Barse Miller, Maxfield Parrish, John Pike, Paul Sample, Wells M. Sawyer, Theodore van Soelen and many others.

Artist files consist primarily of material compiled about artists represented by Ferargil Galleries, including biographical information, press releases for exhibitions, and scattered price lists and information about individual works of art.

Estate and legal records include estate inventories for the estates of Lizzie P. Bliss, Arthur B. Davies, and Dan Fellows Platt, and document several legal actions involving Ferargil Galleries. Of particular significance are the records documenting Price's involvement with the estate of Arthur B. Davies, including correspondence with Davies's wife, Virginia, and sales and inventory records for Davies's artwork at Ferargil Galleries and elsewhere.

Business and financial records date primarily from the 1920s and document inventories, sales, insurance, shipping, and taxes for the bulk of the gallery's operating years.

Printed material contains Ferargail Galleries exhibition catalogs and announcements from 1918 to the 1950s in addition to scattered printed material from other galleries and one folder relating to Arthur B. Davies.

Scrapbooks provide a more comprehensive and detailed history of the gallery's exhibitions, through multiple news clippings of press coverage, in addition to catalogs, announcements, and photographs. Of particular note is a circa 1908 photograph of Arthur B. Davies taken by Gertrude Kasëbier.

Scattered personal records of Frederic Newlin Price document Price's work with the Benjamin West Society at Swarthmore College and further reveal Price's interests through an inventory of his art collection and drafts and copies of his writings on artists such as Arthur B. Davies, and on changing trends and tastes in the art world.

A small series of artwork includes 6 pencil sketches, a print, 3 plans, and an Arthur B. Davies exhibition catalog mock-up with pencil sketches, all by unidentified artists.

Gallery photograph files include some photos of artists such as Emil Carlsen, Leon Dabo, Lloyd Parsons, Natalie Van Vleck and Lois Williams, in addition to 13 folders of photos relating to collections and exhibitions, and photographs of artwork.

Arrangement:

The collection is arranged as 9 series:

Missing Title

Series 1: Correspondence, 1920s-1963 (Boxes 1-15; 6.0 linear ft.)

Series 2: Artist Files, circa 1920s-1950s (Boxes 16-17; 0.7 linear ft.)

Series 3: Estate and Legal Records, circa 1925-circa 1939 (Boxes 17-18; 0.3 linear ft.)

Series 4: Business and Financial Records, 1919-1956 (Boxes 18-21; 1.2 linear ft.)

Series 5: Printed Material, circa 1900-1956 (Boxes 21-22; 0.7 linear ft.)

Series 6: Scrapbooks, circa 1920s-1950s (Boxes 23-34, 40, OV 41; 5.4 linear ft.)

Series 7: Frederic Newlin Price Records, 1920s-1950s (Box 34; 6 folders)

Series 8: Artwork, circa 1920s-circa 1950s (Box 34, OV 41; 2 folders)

Series 9: Photographs, circa 1920-1950s (Boxes 35-39, OV 40; 4.4. linear ft.)

Historical Note:

Frederic Newlin Price (1884-1963) opened Ferargil Galleries in 1915 at 24 East 49th Street and 607 Fifth Avenue in New York City. Art critic W. Frank Purdy (1865-1943)was the President of the Art Alliance of America in 1918 and director of the School of American Sculpture worked at the galleries as director of sculpture.

Named from a combination of "fer" (ferrous-iron) and "argil" (clay), Ferargil Galleries dealt in wrought iron, sculpture, paintings and prints, and focused on exhibitions of work by American artists such as George Bellows, Thomas Hart Benton, Emil Carlsen, John Steuart Curry, Arthur B. Davies, W. Hunt Diederich, Thomas Eakins, Edward Hicks, Ernest Lawson, Albert P. Ryder and Grant Wood. Ferargil was also known for its representation of a group of contemporary watercolorists including Charles Dickinson, Phil Dike, Hardie Gramatky, Barse Miller, and Paul Sample.

In 1927 the business moved to 37 East 57th Street (later 63 East 57th Street) and housed a print room, a sculpture gallery with a fountain, and the main painting galleries.

In 1931 Price became the Director of the newly-formed Benjamin West Society at his alma mater, Swarthmore College. There, he promoted the arts at Swarthmore through annual lectures and exhibitions by contemporary artists and also acquired artwork for the college, primarily by Benjamin West. Price served as President of the American Art Dealers Association in the early 1930s and published a number of books and articles on artists including Arthur B. Davies, Walter Griffin, Eric Hudson, Ernest Lawson, Arthur P. Ryder and Horatio Walker.

Price closed Ferargil Galleries in 1955.

Separated Material:

The Archives of American Art also holds microfilm of material lent for microfilming (reels D321-D322, and N68-14-N68-15) including personal and business correspondence with artists and other records. Lent materials were returned to the lender and are not described in the collection container inventory.

Provenance:

In 1958, Frederic Newlin Price donated circa 70 letters to the Archives of American Art and loaned material for microfilming on reels D321-D322. The remaining records were donated anonymously in 1968.

Restrictions:

Use of original papers requires an appointment.

Rights:

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

Topic:

Art, American -- New York (State) -- New York  Search this

Art -- Collectors and collecting  Search this

Gallery owners  Search this

Function:

Art galleries, Commercial -- New York (State)

Genre/Form:

Photographs

Prints

Drafts (documents)

Gallery records

Scrapbooks

Sketches

Citation:

Ferargil Galleries records, 1900-1963. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Terra Foundation for American Art

Identifier:

AAA.feragall

See more items in:

Ferargil Galleries records

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw93168e3a9-3aa5-43c5-8811-da96c9975228

EDAN-URL:

ead_collection:sova-aaa-feragall

Collection Creator:

Ferargil Galleries  Search this

Extent:

0.7 Linear feet (Boxes 16-17)

(Boxes 16-17; 0.7 linear ft.)

Type:

Archival materials

Date:

circa 1920s-1950s

Scope and Contents note:

Artist files contain material compiled by the gallery about artists including biographical sketches, news releases concerning exhibitions, printed material such as pamphlets about artists and their work, mailing lists of people who were interested in specific artists, lists of artwork including price lists, and notes on individual artwork including documentation related to provenance, authenticity and appraisals. The series also contains several pieces of artwork including an original ink drawing by B. S. Carter, Jr., inscribed to Price; 2 watercolor sketches by Niclaus Koni; an ink sketch by John Pike; an etching of Robert Burns by an unknown artist, possibly William Simmons; and a pencil sketch probably by Albert Stuart.

Arrangement note:

Artist files are arranged alphabetically by name of artist.

Collection Restrictions:

Use of original papers requires an appointment.

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:

Ferargil Galleries records, 1900-1963. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Terra Foundation for American Art

Identifier:

AAA.feragall, Series 2

See more items in:

Ferargil Galleries records

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw918c86db7-1299-4ea9-94f3-16bbf1e11bf0

EDAN-URL:

ead_component:sova-aaa-feragall-ref165

Collection Creator:

Ferargil Galleries  Search this

Extent:

1.2 Linear feet (Boxes 18-21)

Type:

Archival materials

Date:

1919-1956

Scope and Contents note:

Records include inventories, invoices and receipts for artwork sold, presidents reports, statements of accounts, and insurance and tax records. Lists of artwork sold include information on prices and buyers, in addition to exhibition price lists, and lists of artwork received from clients. Notes and memoranda consist primarily of notes and press releases from other art organizations.

Collection Restrictions:

Use of original papers requires an appointment.

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:

Ferargil Galleries records, 1900-1963. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Terra Foundation for American Art

Identifier:

AAA.feragall, Series 4

See more items in:

Ferargil Galleries records

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9cba460c0-5372-44ac-b2c6-26664a9a2202

EDAN-URL:

ead_component:sova-aaa-feragall-ref184

Creator:

Baber, Alice  Search this

Extent:

3.6 Linear feet ((ca. 120 items))

Type:

Collection descriptions

Archival materials

Scrapbooks

Interviews

Photographic slides

Date:

1934-1983

Scope and Contents:

Reels 4030-4032 A passport, 1951; 5 biographical accounts; 2 lists of exhibitions; correspondence, 1958-1983; the will of Dexter Baber; an inventory of possessions; income tax returns; loan applications; price lists, 1966-1981; contracts, 1968-1980; consignment agreements, 1976-1981; miscellaneous business records, 1962-1982; notes on poetry; notebooks from classes on religion and writing; course outlines, 1972; notes on color forum, 1972; notes for "Age of Color" article; essays by Baber on Paul Jenkins, on color, and on organic found form; writings about Baber; reviews of Baber's work, 1963-1975;

a scrapbook of printed material, 1973-1978; clippings, 1957-1983; press releases, 1963-1978; exhibition announcements and catalogues, 1958-1983; reproductions of works of art; articles "Women Artists on Tenth Street," by Nancy Ungar, "Conference of Women in the Visual Arts," 1972, and "Report on the Status of Faculty Women at the University of Colorado at Colorado Springs," 1972; manuscript "Index for Nancy Hanks - Undistinguished Families" by Adin Baber; miscellaneous printed material, 1965-1978;

interview transcripts, "Reminiscences of the Tenth Street Days," with Charles Cajori and Lois Dodd, "American Women and Social Change - Women in Politics" with Mary Lou Burg, Jeane J. Kirkpatrick, and Patricia Lindh, "American Women and the Spirit of '76 - Women and Political Office" with Rita Hauser, and Magda Bleier, and "Women and the Law" with Marguerite Rawalt, Susan Ross, and Ruth Osborn;

photographs of Baber, 1957-1977, her family, Baber with Paul Jenkins, 1965, Baber participating in panel discussions and in the Professional Women Artists Project in Central Park, exhibition openings, installations, and of works of art and quilts;

Unfilmed material: untranscribed audio tape of a 1972 interview with Karl Fortess for the Archives of American Art; audio dub of a 1974 television program "Woman: the Artist," with Barbara Braathen; six video 1/2" video reels from "Funtioning in the Art World," 1977, with Sari Diemes, Isabel Bishop, C. Von Wiegand, Lil Picard, M. Citron, and Alice Neel; 61 slides of works of art; thirteen slides of a demonstration march; and twelve slides of a house.

Biographical / Historical:

Painter and printmaker; b. 1928, d. 1982.

Provenance:

Donated 1979-1985 by Alice Baber and Norbert Nelson.

Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.

Occupation:

Printmakers -- New York (State) -- New York  Search this

Painters -- New York (State) -- New York  Search this

Topic:

Women artists  Search this

Women painters  Search this

Women printmakers  Search this

Genre/Form:

Scrapbooks

Interviews

Photographic slides

Identifier:

AAA.babealic

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw914a6da4e-b925-47c5-b418-51638c1d9bf3

EDAN-URL:

ead_collection:sova-aaa-babealic

Author:

Annex Galleries (Santa Rosa, Calif.)  Search this

Physical description:

[39] p. : ill. ; 22 cm

Type:

Exhibitions

Place:

California

Date:

1997

[1997]

20th century

Topic:

Prints, American  Search this

Prints  Search this

Call number:

NE535.C2 F54 1997Y

Data Source:

Smithsonian Libraries

EDAN-URL:

edanmdm:siris_sil_525655

Collection Creator:

Curtiss-Gould, Leah, 1893-1979  Search this

Extent:

0.2 Linear feet (Box 1)

Type:

Archival materials

Date:

1918-1985

Scope and Contents:

Biographical materials consist of timelines including one of Curtiss-Gould's life and a second of assistants for Arthur Stone. Three letters written to Curtiss-Gould concern silverworks sold, requesting further information. Drawings are by Arthur Stone and his associates for silver serving pieces and Erickson Holloware. Printed materials include clippings about Arthur Stone and an exhibition catalog published by Leah K. Curtiss which includes photographs and a price list. Photographs are of Arthur Stone in his workshop and his pieces of silver including flatware, serving dishes, and holloware.

Collection Restrictions:

This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.

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:

Leah Curtiss-Gould papers, 1918-1985. Archives of American Art, Smithsonian Institution.

Sponsor:

Processing of this collection received support from the Smithsonian American Women's History Initiative.

Identifier:

AAA.curtleah, Series 1

See more items in:

Leah Curtiss-Gould papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9e5dfc86a-cbf3-4cfc-9434-b8b6f801b0c3

EDAN-URL:

ead_component:sova-aaa-curtleah-ref3

Collection Creator:

Spreckels, Alma de Bretteville, 1881-1968  Search this

Extent:

0.6 Linear feet (Boxes 1-2)

Type:

Archival materials

Date:

1920-1978

Scope and Contents:

Spreckels's professional correspondence include letters from Clifford Dolph, Loie Fuller, Walter Heil, Thomas Carr Howe, Malvina Hoffman, Harry Noyes Pratt, Lloyd LaPage Rollins, and Queen Marie of Romania. Financial and legal records contain price lists, insurance valuations, and agreements for Spreckels's donations and loans to museums and other institutions. Also found are records focusing on the formation and running of the California Palace of the Legion of Honor and the Maryhill Museum of Art. Included are meeting minutes and registrarial records which include lists of works of art, valuation records, and donation records. Photographs are of Queen Marie of Romania, her artifacts, and two photos of busts by Malvina Hoffman. Provenance records consist of handwritten and typescripts of Queen Marie's recollections and descriptions of each artifact donated.

Collection Restrictions:

This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.

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:

Alma de Bretteville Spreckels papers, 1920-1978. Archives of American Art, Smithsonian Institution.

Sponsor:

Processing of this collection received support from the Smithsonian American Women's History Initiative.

Identifier:

AAA.sprealma, Series 1

See more items in:

Alma de Bretteville Spreckels papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9b3c7ba11-8e32-4866-802f-ccc0322339a5

EDAN-URL:

ead_component:sova-aaa-sprealma-ref6

Collection Creator:

Smith, Gladys Nelson, 1890-1980  Search this

Extent:

1.2 Linear feet (Boxes 1-2)

Type:

Archival materials

Date:

1891-1989

Scope and Contents:

Biographical materials consist of compiled material and writings by Josephine Nelson on Gladys Nelson Smith and their father, Joseph Kibler Nelson. Material focuses on Smith's early life, health issues, and death and also includes correspondence. Genealogy of the Nelson family focuses on the descendants of Joseph Nelson and Ida May Brown. Also found are Joseph Nelson's recollections of growing up in Cassoday, Kansas, edited by Josephine Nelson.

Scattered personal correspondence is between Gladys Nelson Smith and her sisters Josephine and Lorraine Nelson. Professional correspondence includes letters from Nelson's art dealers, Marie Witwer in Kansas of The What-Not Shop, the Turner Art Galleries, and the Thurber Galleries. A letter from the Art League of Washington includes a membership card.

A diary was kept during a trip to Europe in 1930 to 1931 along with a letter from Smith to her parents describing the trip. An exhibition file consists of clippings, price lists, printed material, and correspondence from group and solo exhibitions held in Kansas and around Washington, D.C.. Personal business records include an agreement with Thurber Galleries, scattered pricelists, and sales records.

Photographs depict Smith, the Nelson family, and friends as well as homes and farms, and works of art. Writings are by Gladys Nelson Smith and includes a notebook with notes about handicrafts such as rugs and frames, poetry, and short stories. Short stories may also include correspondence with publishers and editors and many are based on her experiences as a painter. Also found are stories written by Archer Grantin. It is unclear if this is a pen name or what the relationship is to Nelson or Smith.

Three textbooks used by Smith as a school girl include painted and pencil sketches of landscapes and small portraits.

Collection Restrictions:

This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.

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:

Gladys Nelson Smith papers, 1891-1989. Archives of American Art, Smithsonian Institution.

Sponsor:

Processing of this collection received support from the Smithsonian American Women's History Initiative.

Identifier:

AAA.smitglad, Series 1

See more items in:

Gladys Nelson Smith papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw902f6d8f7-6f2e-4f81-bdce-3d28d561b217

EDAN-URL:

ead_component:sova-aaa-smitglad-ref3

Variant company name:

Est. 1864 ; New York, NY ; one item/envelope shelved with Lovell-Dressel Co., Inc.  Search this

Company Name:

F. H. Lovell & Co.  Search this

Related companies:

Lovell-Dressel Co., Inc. ; Adams & Westlake Co. (Elkhart, IN)  Search this

Notes content:

reprint of July 1895 catalog ; railroad and marine lighting appliances and fixtures ; chimneys ; globes ; shades ; battery jars ; lamps ; lanterns ; burners ; wick ; headlights ; signal lamps

Includes:

Trade catalog and price lists

Black and white images

Physical description:

2 pieces; 2 boxes

Language:

English

Type of material:

Trade catalogs

Trade literature

Place:

Arlington, New Jersey, United States

Date range:

1800s-1900s

Topic (Romaine term):

Boats and ships (including marine hardware and supplies)  Search this

Lighting (electric; gas; candle; oil; etc.)  Search this

Railroad; streetcar; subway and tramway equipment and supplies  Search this

Topic:

Boats and boating  Search this

Candles  Search this

Lamps  Search this

Lighting  Search this

Marine machinery  Search this

Railroad equipment industry  Search this

Ships  Search this

Street-railroads  Search this

Subways  Search this

Record ID:

SILNMAHTL_36810

Collection:

Smithsonian Libraries Trade Literature Collections

Data source:

Smithsonian Libraries

EDAN-URL:

edanmdm:SILNMAHTL_36810

Variant company name:

Buffalo, NY  Search this

Company Name:

Remington Rand  Search this

Related companies:

Remington Standard Typewriter Mfg. Co ; Remington Typewriter Co. Inc. ; Sperry Rand Co. ; E. Remington & Sons (Ilion, NY ; Louisville, KY) ; Wyckoff, Seamans & Benedict ; Powers Accounting Machines (Buffalo, NY) ; Dexigraph Div. ; Remington Rand of India Ltd. (Calcutta, India ; New Delhi, India) ; Remington Sewing Machine Co. ; Safe-Cabinet Div.  Search this

Notes content:

One envelope OVERSIZE ; Some pieces in Hindi ; electric typewriters ; "Travel-riter" portable typewriter ; photos of 1950's women at typewriters ; "Remington Standard" ; Electric portable typewriter ; "Office-riter" ; "Keyboard Margin Control" ("KMC") ; unique illustration of 1873 Remington typewriter with foot-pedal carriage return, and cover engraving of late 1800's parlour with woman at typewriter ; history of the typewriter ; "Manual of Typewriting and Exercises for Practice" (1889) ; "Kardex" visible records for library ; adding machines ; steel filing cabinets ; loose leaf binders ; "Film-A-Record" 35mm all-purpose planetary camera ; "portagraph" for engineering tracing and office copying ; office furniture ; electric razors ; photos of women in the workplace ; heat-resistant filing cases ; "Univac" system data processing and scientific computing ; "Whiz-Kardex" filing systems ; "film-a-record" ; "Remington Notes" publication (vol. 3, no. 2 ; vol. 4, no. 7) ; "Safe-Cabinet" ; safes

Includes:

Trade catalog, price lists, manual, samples and histories

Black and white images

Color images

Types of samples:

filing card ; reinforced folder ;

Physical description:

134 pieces; 9 boxes

Language:

English

Type of material:

Trade catalogs

Trade literature

Place:

New York City, New York, United States

Date range:

1800s-1900s

Topic (Romaine term):

Architectural designs and building materials  Search this

Computers and computer equipment  Search this

Furniture and furnishings  Search this

Library equipment and supplies  Search this

Locks and safes (including alarm and security systems)  Search this

Office equipment and supplies  Search this

Photographic equipment and supplies  Search this

Scientific and optical instruments  Search this

Topic:

"Decoration and ornament, Architectural"  Search this

Architectural design  Search this

Building materials  Search this

Cameras  Search this

Computers  Search this

Furniture industry and trade  Search this

House furnishings  Search this

Interior decoration  Search this

Libraries  Search this

Library fittings and supplies  Search this

Locks and keys  Search this

Office equipment and supplies industry  Search this

Optical equipment  Search this

Optical instruments  Search this

Photographic industry  Search this

Safes  Search this

Scientific apparatus and instruments  Search this

Security systems  Search this

Record ID:

SILNMAHTL_10493

Location:

Trade Literature at the American History Museum Library

Collection:

Smithsonian Libraries Trade Literature Collections

Data source:

Smithsonian Libraries

EDAN-URL:

edanmdm:SILNMAHTL_10493

Creator:

Davis, Gene, 1920-1985  Search this

Names:

White House (Washington, D.C.)  Search this

Baro, Gene  Search this

Colby, Carl  Search this

Davis, Douglas  Search this

Davis, Florence  Search this

Greenberg, Clement, 1909-1994  Search this

McGowin, Ed, 1938-  Search this

Naifeh, Steven, 1952-  Search this

Nordland, Gerald  Search this

North, Percy, 1945-  Search this

Seitz, William C. (William Chapin)  Search this

Thomas, Alma  Search this

Wall, Donald  Search this

Extent:

17.7 Linear feet

Type:

Collection descriptions

Archival materials

Sound recordings

Transcripts

Photographs

Interviews

Video recordings

Date:

1920-2000

bulk 1942-1990

Summary:

The papers of the artist Gene Davis measure 17.7 linear feet and date from 1920-2000, with the bulk of materials dating from 1942-1990. Papers document Davis's personal life and his career as an artist and educator, as well as his career as a journalist in the 1940s and 1950s, through biographical materials, correspondence, interviews, business records, estate records, writings by and about Gene Davis, printed materials concerning Davis's art career, personal and art-related photographs, and artwork by Davis and others.

Scope and Contents:

The papers of the artist Gene Davis measure 17.7 linear feet and date from 1920-2000, with the bulk of materials dating from 1942-1990. Papers document Davis's personal life and his career as an artist and educator, and to a lesser degree his early career as a journalist in the 1940s and 1950s, through biographical materials, correspondence, interviews, business records, estate records, writings by and about Gene Davis, printed materials concerning Davis's art career, personal and art-related photographs, and artwork by Davis and others.

Biographical materials include birth and death certificates, awards, biographical narratives by Gene Davis and others, CVs, résumés, personal documents from Davis's family and childhood, documents related to his work as a White House correspondent, documentation related to his death and memorial service, and papers for the family pets. A video documentary about Davis by Carl Colby is found on one videocassette.

Correspondence is mainly of a professional nature, and correspondents include gallery and museum curators, private art collectors, publishers, fellow artists, art educators, academics, and students. Letters document exhibitions, sales, book projects, teaching jobs, visits to studios, local art community events in the Washington, D.C. area, and other projects. Significant correspondents include Gene Baro, Douglas Davis, Clement Greenberg, Gerald Nordland, William Seitz, Alma Thomas, and Donald Wall. Interviews and lectures include sound recordings and transcripts. Many of the interviews were broadcast or published. Also found is a single lecture by Davis given in 1969 at the National Collection of Fine Arts, Smithsonian Institution, entitled "Contemporary Painting." Sound recordings are found for three of the interviews and for the lecture, on 4 sound reels and 1 sound cassette.

Business records include artwork documentation, price lists, sales records, contracts, financial and legal records, gallery and museum files documenting sales and exhibitions, records related to the construction of Davis's home studio in 1970, and a few teaching records. Estate records mainly reflect Florence Davis's efforts to document the works of her husband, and to manage their exhibition, promotion, and sale after his death in April 1985. Estate records include an inventory of artworks, documentation of gifts to museums, correspondence, legal, and financial records. Writings include notes, drafts of essays, artist statements, and articles by Davis, and many articles by others about Davis. Several of Davis's articles reflect specifically on the Washington, D.C. art scene. Also found are drafts of monographs on Davis including one by Donald Wall (1975) and one by Steven Naifeh (1982). Records of Naifeh's book also include photographs of all black and white and color plates from the published book. Among the writings are also notes and research files of Percy North, who worked on an update to Naifeh's 1982 bibliography after Davis's death.

Printed materials include annual reports of museums, published arts-related calendars, auction catalogs, brochures from organizations with which Davis had some affiliation, exhibition announcements and invitations, exhibition catalogs, magazine articles, newspaper clippings, newsletters, posters, press releases, and other published material. Photographs include personal photographs of Gene and Florence Davis and their families, portraits of Gene Davis, photographs of Gene Davis with artworks and working in the studio, Davis' art classes and students, installations of site-specific works, conceptual and video works, exhibition openings, and photographs of artwork, both installed in exhibitions and individually photographed. Found among the photographs are also four videocassettes documenting the Gene Davis retrospective as installed at the Smithsonian National Museum of American Art in 1987.

Artwork includes photographs, drawings, moving images, and documentation of conceptual art. Works by Davis include documentation of the 1969 "Giveaway" with Douglas Davis and Ed McGowin, "The Artist's Fingerprints Except for One which belongs to someone else," documentation of his "Air Displacement" happening, a short film entitled "Patricia," and a video entitled "Video Puzzle." Other moving images include four reels of film of Davis's stripe paintings, and other experiments with motion picture film and photographs.

Arrangement:

The collection is arranged as 8 series.

Missing Title

Series 1: Biographical Material, 1930-1987 (0.6 linear feet; Boxes 1, 17)

Series 2: Correspondence, 1943-1990 (1.7 linear feet; Boxes 1-3)

Series 3: Interviews and Lectures, 1964-1983 (0.3 linear feet; Box 3)

Series 4: Business and Estate Records, 1942-1990 (1.6 linear feet; Boxes 3-5, 17, OV 20)

Series 5: Writings, 1944-1990 (2 linear feet; Boxes 5-6, 17, OV 19)

Series 6: Printed Material, 1942-1990 (5.5 linear feet; Boxes 7-11, 17-18, OV 20, FC 35-37)

Series 7: Photographs, 1920-2000 (3.8 linear feet; Boxes 11-15, 17, OV 19)

Series 8: Artwork, 1930-1985 (2.2 linear feet; Boxes 15-16, 18, FC 21-34)

Biographical / Historical:

Gene Davis (1920-1985) was a Washington, D.C.-based artist and educator who worked in a variety of media, including painting, drawing, collage, video, light sculpture, and conceptual art. Davis is best known for his vertical stripe paintings and his association with the Washington Color School.

Davis was born in 1920 in Washington, D.C. and began his career as a writer. In his twenties he wrote pulp stories and worked as a journalist, reporting for United Press International and serving as a White House correspondent for Transradio Press Service during the Truman administration. Later, he worked in public relations for the Automobile Association of America. A self-taught artist, Davis began painting while still working full-time as a writer, influenced by the prevailing abstract expressionist artists of the time, his frequent visits to the Corcoran Gallery and Phillips Collection in Washington, D.C., and by his friend and mentor, Jacob Kainen. His first one-man show was held in the lobby of the Dupont Theater in Washington in 1952. He had a drawing accepted in the Corcoran Area Show in 1953, and won several local art prizes in the 1950s. He began showing work regularly in galleries around Washington, such as the Watkins Gallery at American University, the Gres Gallery, and the Henri Gallery, and had solo exhibitions at Jefferson Place Gallery in 1959 and 1961. Many of the painters who made up what became known as the Washington Color School also showed there, including Kenneth Noland, Howard Mehring, and Sam Gilliam. In 1965, the Washington Gallery of Modern Art held a seminal exhibition entitled Washington Color Painters, which included Davis, Noland, Mehring, Morris Louis, Thomas Downing, and Paul Reed.

Davis began showing outside of Washington regularly in the 1960s, including the Poindexter and Fischbach galleries in New York City, and in several important group shows at museums such as the Museum of Modern Art, the Whitney Museum, and the San Francisco Museum of Modern Art. He had three works shown in the 1964 exhibition Post-Painterly Abstraction, organized by the influential art critic Clement Greenberg at the Los Angeles County Museum of Art. In the late 1960s, he began teaching art classes at the Corcoran School, and spent the summer of 1969 as artist in residence at Skidmore College's "Summer in Experiment" program.

Davis experimented with form continuously throughout his career, including a period of conceptual work in the late 1960s. In 1969 he participated in the "Giveaway," organized by Douglas Davis and Ed McGowin, in which multiple copies of a Davis painting were given away to invited guests in a gesture intended to subvert the art market. Davis also began experimenting with scale, creating a series of tiny paintings he called "Micro-paintings," which were exhibited at Fischbach Gallery in 1968. Around this time he also began working with film and video, recruiting models from his art classes to enact tightly choreographed movement pieces that played with rhythm and interval. Convinced by a lawyer that his videos were a liability without having obtained releases from the models, Davis destroyed all but one of his video works. The surviving video, "Video Puzzle," shows a foreshortened view of a model on the floor of a gallery spelling out a statement by Clement Greenberg at predetermined intervals.

Davis made several large-scale site-specific works using the stripe motif in public places. The first of these was created in the Bal Harbour, Florida, Neiman Marcus department store in 1970. Later works included Franklin's Footpath, executed in the road leading to the Philadelphia Museum of Art in 1972, and Niagara (1979) at ArtPark in Lewistown, NY, promoted at the time as the largest painting in the world. Interior large-scale works were created twice at the Corcoran Gallery, with Magic Circle (1975) and Ferris Wheel (1982), both executed in the museum's rotunda. Black Yo-Yo was created for the Cranbrook Academy in 1980, and Sun Sonata (1983), an illuminated wall of colored liquid-filled tubes, was created as an architectural feature of the Muscarelle Museum of Art in Williamsburg, Virginia. Plans for an unexecuted work called "Grass Painting," for a site near the Kennedy Center in Washington, D.C., were exhibited in the 1974 "Art Now" festival.

In the late 1970s and 1980s Davis consistently exhibited his work in several solo gallery shows a year, and also had numerous solo exhibitions in major museums. A major exhibition, Recent Paintings, was organized by the Walker Art Center in 1978, and traveled to the Corcoran Gallery of Art in 1979. A drawing retrospective was held at the Brooklyn Museum of art in 1983, and the same year the Washington Project for the Arts organized an exhibition entitled Child and Man: A Collaboration, featuring drawings Davis made in response to childrens' drawings. Davis died suddenly in April 1985 at the age of 65, and a major retrospective of his work was held at the Smithsonian National Museum of American Art in 1987.

Related Materials:

Also found in the Archives of American Art is an oral history interview with Gene Davis conducted by Estill Curtis Pennington on April 23, 1981. A transcript is available on the Archives of American Art website.

Provenance:

Donated 1981 by Gene Davis and 1986 by his wife, Florence. Additional material donated 1991 and 1993 from Smithsonian American Art Museum via a bequest to them from the Gene and Florence Davis estate. Much of the 1993 addition was assembled by art historian Percy North at the request of Florence Davis. An additional folder of photographs of Davis taken in 1969 but printed in 2000 was later added to the collection.

Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Use of archival audiovisual recordings with no duplicate access copy requires advance notice. 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:

Reporters and reporting -- Washington (D.C.)  Search this

Video artists -- Washington, D.C.  Search this

Conceptual artists -- Washington, D.C  Search this

Painters -- Washington (D.C.)  Search this

Collagists -- Washington (D.C.)  Search this

Topic:

Color-field painting  Search this

Art -- Study and teaching  Search this

Artists' studios -- Photographs  Search this

Genre/Form:

Sound recordings

Transcripts

Photographs

Interviews

Video recordings

Citation:

Gene Davis papers, 1920-2000, bulk 1942-1990. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Andrew W. Mellon Foundation, administered through the Council on Library and Information Resources' Hidden Collections grant program.

Identifier:

AAA.davigene

See more items in:

Gene Davis papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw90a230f67-650f-483a-acdf-50b6ca91fe59

EDAN-URL:

ead_collection:sova-aaa-davigene

Creator:

Ryan, Anne, 1889-1954  Search this

Names:

McFadden, Elizabeth  Search this

Extent:

3.8 Linear feet

Type:

Collection descriptions

Archival materials

Travel diaries

Diaries

Drawings

Date:

circa 1905-1970

Summary:

The papers of New York-based painter, printmaker, collagist and writer Anne Ryan measure 3.8 linear feet and date from circa 1905 to 1970. The papers document her career as an artist and writer in New York, New Jersey and Spain through biographical material, correspondence, diaries and journals, writings, printed material, photographic material and artwork.

Scope and Contents:

The papers of New York-based painter, printmaker, collagist and writer Anne Ryan measure 3.8 linear feet and date from circa 1905 to 1970. The papers document her career as an artist and writer in New York, New Jersey and Spain through biographical material, correspondence, diaries and journals, writings, printed material, photographic material and artwork.

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

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

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

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

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

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

Also found are materials Ann Ryan used to make artwork, such as engraved metal plates for prints, engraved woodcuts for woodblock prints, and handmade stencils. Some drawings are also included.

Arrangement:

The collection is arranged as seven series.

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

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

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

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

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

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

Series 7: Artwork, circa 1930-circa 1954 (Box 5; 0.3 linear feet)

Biographical / Historical:

Anne Ryan (1889-1954) was a painter, printmaker, collagist, graphic artist and author who primarily worked in New York City, but also in New Jersey and Spain.

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

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

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

In 1948, Ryan saw an exhibition of collages by Kurt Schwitters that inspired her to begin creating collages herself. During her late career, she made hundreds of collages and had multiple exhibitions at Betty Parsons Gallery in New York City. Ryan was also a prolific writer and many of her short stories and travel essays were published in magazines and periodicals. She died in 1954 in Morristown, New Jersey.

Provenance:

The Anne Ryan papers were donated to the Archives of American Art in 1971 by Elizabeth McFadden, Anne Ryan's daughter.

Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.

Occupation:

Authors -- New York (State) -- New York  Search this

Painters -- New York (State) -- New York  Search this

Painters -- Spain  Search this

Printmakers -- New York (State) -- New York  Search this

Collagists -- New York (State) -- New York  Search this

Collagists -- Spain  Search this

Topic:

Printmakers -- Spain  Search this

Women artists  Search this

Women painters  Search this

Women printmakers  Search this

Women authors  Search this

Genre/Form:

Travel diaries

Diaries

Drawings

Citation:

Anne Ryan papers, circa 1905-1970. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.ryananne

See more items in:

Anne Ryan papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9338d8d6c-21ed-442d-ba7b-52ac24daef94

EDAN-URL:

ead_collection:sova-aaa-ryananne

Creator:

Yunkers, Adja, 1900-1983  Search this

Names:

Alice Simsar Gallery  Search this

Impressions Gallery of Photography  Search this

Smith Andersen Gallery  Search this

Bjornstjerna, Mikael  Search this

Grossman, Morton, 1926-  Search this

Haley, Donna  Search this

Olsen, Cheryl  Search this

Wood, Denis  Search this

Extent:

2.32 Linear feet ((partially microfilmed on 3 reels))

Type:

Collection descriptions

Archival materials

Date:

1939-1983

Scope and Contents:

REEL N70-16: A typescript (42 p.) address delivered at the Corcoran Museum of Art, 1967, by Yunkers describing his student years in Russia, and later years in Germany, France, and Mexico, ca. 1917-1928, and relating political, social, and cultural events to the development of modern art. He describes Russia before and during the Revolution and Germany during the Weimar Republic. Also included are a resume; a critical bibliography of Yunkers work; typescripts of 2 articles; and clippings.

REEL D251: Printed material, 1941-1965, including newspaper clippings, magazine articles, reviews, exhibition catalogs and announcements, and press releases.

REEL 1023: "Prints in the Desert: New Mexico," 1950, a limited edition book of prints and poetry produced by a collaboration of artists under the leadership of Yunkers.

UNMICROFILMED: Biographical material, including naturalization papers and a passport; files of letters from Mikael Bjornstjerna (1977-1983), Cheryl Bowers (1978-1983), Morton and Chris Grossman (1979-1982), Donna Haley (1982-1983), Denis Wood (1978-1983), Yunker's daughters, including Nina (1979-1983); business and personal correspondence, 1960-1983; files on galleries handling Yunkers' work, including Smith Andersen Gallery (Palo Alto, Calif.), Alice Simsar Gallery (Ann Arbor, Mich.), and Impressions Gallery (Boston, Mass.) containing correspondence, price lists and receipts; a few sketches and a collage; 2 portfolios, "Creation" (1941) and "Ars: Tidskrift for Konst Litterature Och Veteskap" (1942) containing original prints and collages by Yunkers; 2 appointment books, 1980-1983; notes and writings; photographs of Yunkers, Yunkers at work, his family, friends, studio, and art work; photograph albums, including 2 of Yunkers' studios in Stockholm, Sweden, New Mexico, and New York City (1942-1980) and one of exhibition installations, undated; photographs by Denis Hare of the making of Octavio Paz's book BLANCO, illustrated by Yunkers, and slides of prints included in BLANCO; and printed material, including exhibition announcements, clippings and miscellany.

Biographical / Historical:

Abstract painter and printmaker, collagist, and art instructor; New York, N.Y. Died 1983. Born in Riga, Latvia. Studied in Leningrad, Paris, Berlin, and London. He moved to the United States in 1947. Faculty member of the New School for Social Research, 1947-1956; Cooper Union, 1956-1967.

Related Materials:

Adja Yunker papers also at Syracuse University.

Provenance:

Materials on reels D251, N70-16, and 1023 donated by Adja Yunkers, 1966-1970, and transferred to NMAA-NPG Library vertical files after microfilming, except "Prints in the Desert: New Mexico" (REEL 1023). Unmicrofilmed material donated 1984 by Marina and Alexandra Yunkers, Yunkers' daughters.

Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm.

Unmicrofilmed: ACCESS RESTRICTED; written permission required.

Occupation:

Art teachers -- New York (State) -- New York  Search this

Painters -- New York (State) -- New York  Search this

Printmakers -- New York (State) -- New York  Search this

Collagists -- New York (State) -- New York  Search this

Topic:

Abstract expressionism  Search this

Painting, Abstract -- New York (State) -- New York  Search this

Prints, Abstract -- New York (State) -- New York  Search this

Artists' illustrated books  Search this

Prints -- 20th century  Search this

Identifier:

AAA.yunkadja

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9ddbf2fbb-ff0e-4910-8bf2-70c282edc073

EDAN-URL:

ead_collection:sova-aaa-yunkadja

Collection Creator:

Herder, Addie  Search this

Extent:

(Boxes 1-2, 5; 0.8 linear feet)

Type:

Archival materials

Date:

1961-1999

Scope and Contents note:

Exhibition files may contain any or all of the following: correspondence; price lists; printed material including announcements, exhibition catalogs, and clippings; and photographs. Found within the files is an exhibition catalog, Roy R. Neuberger: Patron of the Arts, inscribed by Roy Neuberger.

This series also houses a file on Beauford Delaney including correspondence, exhibition announcements, catalogs, clippings, an introduction for an exhibition catalog written by James Baldwin, and photographs of Herder at a party with Eugène Braun-Munk, Beauford Delaney, Paul Jenkins, and James Jones among others.

Some material is in French. Researchers may also wish to consult the Correspondence series for additional exhibition materials.

Arrangement note:

This series is arranged chronologically.

Collection Restrictions:

The collection is open for research. Use requires an appointment.

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:

Adeline Herder papers, 1942-1999. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.herdadel, Series 3

See more items in:

Adeline Herder papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw987c6bed3-1ce6-447f-b9a5-45392d6ab070

EDAN-URL:

ead_component:sova-aaa-herdadel-ref34

Collection Creator:

Herder, Addie  Search this

Container:

Box 1, Folder 24

Type:

Archival materials

Date:

undated

Collection Restrictions:

The collection is open for research. Use requires an appointment.

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:

Adeline Herder papers, 1942-1999. Archives of American Art, Smithsonian Institution.

See more items in:

Adeline Herder papers

Adeline Herder papers / Series 3: Exhibition Files

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9b6a040c3-df64-4f60-b6f9-99a22761040e

EDAN-URL:

ead_component:sova-aaa-herdadel-ref35

Creator:

Lowry, Janice Ann, 1946-2009  Search this

Names:

Art Center College of Design (Pasadena, Calif.) -- Students  Search this

Extent:

18 Linear feet

Type:

Collection descriptions

Archival materials

Notebooks

Visitors' books

Sketchbooks

Photographs

Paintings

Sketches

Collages

Diaries

Illustrated letters

Date:

1957-2009

Summary:

The papers of collagist and painter Janice Lowry measure 18.0 linear feet and date from 1957 to 2009. Lowry's career as an artist in Arizona and California is documented through biographical material, printed material, teaching files, and photographs. The bulk of the papers consist of six diaries; thirteen morning journals; 126 art journals which include both written text and artwork in the form of sketches, paintings, and collages; hand-made artist books; nine notebooks with sketches; and one sketchbook.

Scope and Content Note:

The papers of collagist and painter Janice Lowry measure 18.0 linear feet and date from 1957 to 2009. Lowry's career as an artist in Arizona and California is documented through biographical material, printed material, teaching files, and photographs. The bulk of the papers consist of six diaries; thirteen morning journals; 126 art journals which include both written text and artwork in the form of sketches, paintings, and collages; hand-made artist books; nine notebooks with sketches; and one sketchbook.

Biographical material includes artist statements, price lists, guest books, scattered correspondence, and exhibition, consignment, and sales records. Six diaries document Lowry's childhood from the age of 11 to 16. Thirteen morning journals date from 1998 to 2008 and are almost entirely stream of consciousness written text. In these journals Lowry records her daily life, thoughts, and dreams.

Janice Lowry's artwork is combined with her personal writings in three different sets of books, named and numbered by her - art journals, artist books, and notebooks. She kept the "art journals" for most of her adult life, averaging about four per year; some contain mainly written text, whereas others are mostly visual. There are 126 art journals found within her papers. They are filled with sketches depicting vacation spots, objects around the house, studies for works, and people. The art journals also include collages of photographs, ephemera such as ticket stubs and receipts, and other common household objects.

Artist books were handmade and titled by Lowry. They include comic book stories about her family, collage booklets, and children's books.

Lowry's notebooks contain many sketches and date primarily from Lowry's days as a student at Art Center College of Design. Three later notebooks also contain autobiographical essays about her life and family. There is one sketchbook from the 2000s.

Printed material includes newspaper clippings, magazines, press releases, posters, and gallery catalogs and guides. There are personal photographs of Janice Lowry as well as slides of her work. Teaching files contain class project, assignments, and syllabi.

Arrangement:

The collection is arranged as 7 series:

Missing Title

Series 1: Biographical Material, circa 1964-2009 (Box 1, 18; 1.4 linear feet)

Series 2: Diaries, 1957-1962 (Box 2; 6 folders)

Series 3: Morning Journals, 1998-2008 (Box 2; 0.6 linear feet)

Series 4: Art Journals, Artist Books, Notebooks and Sketchbooks, circa 1973-2009 (Box 3-15, 17-20, 22; 14.2 linear feet)

Series 5: Printed Material, 1974-2009 (Box 15-16, 20; 0.5 linear feet)

Series 6: Photographs, 1965, circa 1980s-2000s (Box 16, 20; 4 folders)

Series 7: Teaching Files, circa 1989-2008 (Box 20-21; 0.5 linear feet)

Biographical Note:

Janice Lowry (1946-2009) created paintings, collages, and assemblages in Arizona and California. She is known for her box creations of homemade frames filled with found objects that often questioned and commented on life, death, journeys, and rites of passages.

Lowry was born in 1946 in Phoenix, Arizona. She started writing diaries when she was 11, and, with the exception of a decade, continued journaling until 2007. She married Jan Gilbert in 1965 and had two sons, Brandon and Kevin. During this period Lowry also set up a studio and started showing her artwork. In 1973, the family moved to California. Shortly after, she began her long battle with depression, and she divorced Jan in 1976.

Remaining in California, Lowry attended Art Center College of Design where she earned a BFA with honors in 1979 and a MFA in painting in 1980. She married Jon Gothold in 1983, and had another son, Brent. Her work sold well in the 1980's, but after her studio was destroyed in an earthquake in 1987, she took a break from making art.

Janice Lowry's first solo show was at Art Space in 1980, and the gallery continued to showcase and sell her work for many years. She taught at Art Center, Cypress College, and Oakridge Private School. Among other shows, she was part of an exhibition about 9/11 at Legacy Arts Gallery in 2001. In 2007, she was named the region's "Best Visual Artist" by the Orange County Weekly. After several health issues, Janice Lowry died of liver cancer in 2009.

Provenance:

Donated 2007 and 2009 by Janice Lowry and in 2014 by Jon Gothold, Lowry's widower and executor.

Restrictions:

Use of original papers requires an appointment.

Rights:

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

Occupation:

Painters -- California  Search this

Collagists -- California  Search this

Topic:

Women artists  Search this

Art -- Study and teaching  Search this

Artists' books  Search this

Women painters  Search this

Genre/Form:

Notebooks

Visitors' books

Sketchbooks

Photographs

Paintings

Sketches

Collages

Diaries

Illustrated letters

Citation:

Janice Lowry papers, 1957-2009. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.lowrjani

See more items in:

Janice Lowry papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw916bd7bf6-d5b4-444c-80e8-dd5e6c630263

EDAN-URL:

ead_collection:sova-aaa-lowrjani

Collection Creator:

Lowry, Janice Ann, 1946-2009  Search this

Extent:

1.4 Linear feet (Boxes 1, 18)

Type:

Archival materials

Date:

circa 1964-2009

Scope and Contents note:

Biographical material includes numerous artist statements written by Lowry, four guest books from her exhibitions, price lists, art supply receipts, a passport, address book, papers and drawings from her children and grandchildren, and various drafts of her proposal for a journaling book. Also included is one folder of correspondence primarily with art galleries and universities and letters to her first husband Jan Gilbert. Additional documentation on her professional activities includes her business license, promotional graphics, scattered exhibition records, consignment and sales records, and mail order forms for her artwork. Also of note is an "Art Catalog" created by Lowry containing photographs and statements on her artistic process as well as a detailed resume and "professional profile."

Collection Restrictions:

Use of original papers requires an appointment.

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:

Janice Lowry papers, 1957-2009. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.lowrjani, Series 1

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Janice Lowry papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw90ef3abf4-626c-47a2-8bab-86b0d410a892

EDAN-URL:

ead_component:sova-aaa-lowrjani-ref13

Collection Creator:

Lowry, Janice Ann, 1946-2009  Search this

Container:

Box 1, Folder 23

Type:

Archival materials

Date:

undated

Collection Restrictions:

Use of original papers requires an appointment.

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:

Janice Lowry papers, 1957-2009. Archives of American Art, Smithsonian Institution.

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Janice Lowry papers

Janice Lowry papers / Series 1: Biographical Material

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9b0e87f36-916a-49da-ab16-128725357591

EDAN-URL:

ead_component:sova-aaa-lowrjani-ref33

Creator:

Warshaw, Isadore, 1900-1969  Search this

Extent:

4.65 Cubic feet (consisting of 9 boxes, 2 folders, 19 oversize folders, 8 map case folder, plus digital images of some collection material.)

Type:

Collection descriptions

Archival materials

Business ephemera

Ephemera

Date:

1885-1960

Summary:

A New York bookseller, Warshaw assembled this collection over nearly fifty years. The Warshaw Collection of Business Americana: Soap forms part of the Warshaw Collection of Business Americana, Subseries 1.1: Subject Categories. The Subject Categories subseries is divided into 470 subject categories based on those created by Mr. Warshaw. These subject categories include topical subjects, types or forms of material, people, organizations, historical events, and other categories. An overview to the entire Warshaw collection is available here: Warshaw Collection of Business Americana

Scope and Contents:

This material consists primarily of printed advertisements from magazines, bills/receipts, scattered correspondence on letterhead stationery, price lists, business cards, handbills, labels, premiums, advertising cards, leaflets, patents and trademarks from manufacturers and distributors of soap. There is a substantial amount of material from some of the larger soap manufacturers which include Procter & Gamble, Lever Brothers and Colgate. Soap manufacturers tended to distribute products to consumers. There are some businesses that created products for manufacturers and exporters. There are also a number of references to perfumers, chemists and dermatologists.

A large majority of the soap manufacturers also tended to make candles. These businesses sold other products including baking powder, yeast, baking soda, saleratus, blacking, polish, leather preservatives, grease, swine, neats foot oil, hides, scraps, stocks, tallow and wool skins. Products associated with the laundry including starch, bluing, washing powders and washing fluids were also sold. Personal products such as perfumes, creams, and lotions were available.

There is a wide variety of soap consisting of bars, powders, liquids, crystal and granulated types, The soap was manufactured for personal hygiene, commercial laundry, household, chemical and medical purposes.

Images are found predominantly on the advertising cards. Most of these images are of different ethnic groups and tend to be stereotypical in nature. Irish, Native American, German and African American images represent the majority of these images. Women, children and pets, birds and scenic vistas are also visually represented.

Most of the publications are included with company related materials. Many of these publications discuss the history of the company. Other publications include a copy of Consumer Report and a book of photographs of soap bars available prior to 1940 and the wrappers published by the National Soap Sculpture Committee in New York.

Materials are organized alphabetically by name of company. There are a number of materials arranged by type including official documents, patents, trademarks, recipes, photographs and import/export documents.

Materials in the Archives Center:

Archives Center Collection of Business Americana (AC0404)

Forms Part Of:

Forms part of the Warshaw Collection of Business Americana.

Missing Title

Series 1: Business Ephemera

Series 2: Other Collection Divisions

Series 3: Isadore Warshaw Personal Papers

Series 4: Photographic Reference Material

Provenance:

Soap is a portion of the Business Ephemera Series of the Warshaw Collection of Business Americana, Accession AC0060 purchased from Isadore Warshaw in 1967. Warshaw continued to accumulate similar material until his death, which was donated in 1971 by his widow, Augusta. For a period after acquisition, related materials from other sources (of mixed provenance) were added to the collection so there may be content produced or published after Warshaw's death in 1969. This practice has since ceased.

Restrictions:

Collection is open for research. Some items may be restricted due to fragile condition.

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.

Genre/Form:

Business ephemera

Ephemera

Citation:

Warshaw Collection of Business Americana Subject Categories: Soap, Archives Center, National Museum of American History, Smithsonian Institution

Sponsor:

Funding for partial processing of the collection was supported by a grant from the Smithsonian Institution's Collections Care and Preservation Fund (CCPF).

Identifier:

NMAH.AC.0060.S01.01.Soap

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Warshaw Collection of Business Americana Subject Categories: Soap

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep89540a997-64c4-46ce-9c32-4b11ccc2b5b3

EDAN-URL:

ead_collection:sova-nmah-ac-0060-s01-01-soap

Artist:

Goya, Francesco 1746-1838  Search this

Velasquez (copy after)  Search this

Type:

Graphic arts

Exhibition Catalogs

Date:

1876

Topic:

Performing Arts--Circus--Dwarf  Search this

State of Being--Disabled--Dwarf  Search this

Portrait  Search this

Control number:

AECI 05790266

Data Source:

Pre-1877 Art Exhibition Catalogue Index

EDAN-URL:

edanmdm:siris_aeci_105971