Search Results

Creator:

Baltimore and Ohio Railroad Company  Search this

Author:

Garrett, John W. (John Work), 1820-1884  Search this

Latrobe, Benj. H. (Benjamin Henry), 1807-1878  Search this

Collector:

National Museum of American History (U.S.). Division of History of Technology  Search this

National Museum of American History (U.S.). Division of Mechanical and Civil Engineering  Search this

Extent:

33 Cubic feet (76 boxes, 46 map-folders)

Type:

Collection descriptions

Archival materials

Annual reports

Correspondence

Drawings

Glass plate negatives

Negatives (photographic)

Photographs

Tracings

Date:

1827-1987

Summary:

The collection consists of correspondence, invoices, drawings, photographs, and negatives and other printed literature documenting the Baltimore and Ohio Railroad from its inception in 1827 to its merger with the Chesapeake and Ohio Railroad in the 1960s.

Scope and Contents:

The collection consists of correspondence, engineering drawings, notes, photographs, transparencies, negatives, glass plate negatives, printed materials, and newspaper clippings documenting the Baltimore and Ohio railroad from its inception in 1827 to its merger with the Chesapeake and Ohio in the 1960s.

Arrangement:

The records are arranged into ten series.

Series 1, Historical Background, 1827-1987

Series 2, Bridge Histories, 1867-1966

Series 3, President's Office, 1826-1880

Series 4, Correspondence, 1826-1859

Series 5, Business Records, 1894-1914, and undated

Series 6, Agreement, 1870

Series 7, Drawings, 1858-1957, and undated

Subseries 7.1, Indices and Lists, 1924-1943, undated

Subseries 7.2, Bailey's Station, 1887; 1899; 1901

Subseries 7.3, Baltimore Belt Railroad, 1895, undated

Subseries 7.4, Bay View and Canton Bridges, 1884-1885

Subseries 7.5, Big Seneca Creek Viaduct, 1905

Subseries 7.6, Bollman Bridges, undated

Subseries 7.7, Boyds, Maryland Station, 1886; 1927

Subseries 7.8, Bridewell Station, undated

Subseries 7.9, Bridges (general), 1893-1917

Subseries 7.10, Brunswick, Maryland, 1890-1907

Subseries 7.11, Building Materials List, undated

Subseries 7.12, Building Signs, 1911-1912

Subseries 7.13, Camden Station, 1881-1942 (not inclusive)

Subseries 7.14, Camden Station (related), 1881-1915

Subseries 7.15, Centenary Bridge Models, 1927

Subseries 7.16, Central Office Building, undated

Subseries 7.17, Chestnut Street Station, 1925-1952

Subseries 7.18, Coaling facilities, water tanks, turntables, and miscellaneous structures, 1888-1912

Subseries 7.19, Cumberland Station, 1910-1955

Subseries 7.20, Curtis Bay Branch, 1900-1911

Subseries 7.21, Frederick Station, 1908-1915

Subseries 7.22, Hyattsville Station, 1913

Subseries 7.23, Keedysville Station, undated

Subseries 7.24, Laurel Station, undated

Subseries 7.25, Ledger, undated

Subseries 7.26, Lieperville Station, 1889

Subseries 7.27, Locust Point, 1881-1957

Subseries 7.28, Maps, 1862; 1918

Subseries 7.29, Martinsburg, West Virginia, 1913-1927

Subseries 7.30, Miscellaneous Buildings, 1875-1956

Subseries 7.31, Miscellaneous Large Photographs, undated

Subseries 7.32, Miscellaneous Structures, 1890-1916

Subseries 7.33: Mt. Clare (general)

Subseries 7.34, Mt. Clare New Blue Line Stable, 1899; 1905

Subseries 7.35, Mt. Clare New Car Shops, undated

Subseries 7.36, Mt. Royal Station, undated

Subseries 7.37, Newton Falls and Fairpoint, Ohio, 1909

Subseries 7.38, Patapsco River Bridge, 1883

Subseries 7.39, Plans for house no. 1846 (N. Gay Street, Baltimore, Maryland), undated

Subseries 7.40, Point of Rocks Station, 1951

Subseries 7.41, Scales, 1903

Subseries 7.42, Signal towers, 1900-1908

Subseries 7.43, Stations (general), 1866-1907

Subseries 7.44, Sykesville Station, undated

Subseries 7.45, Untitled, undated

Subseries 7.46, Warnings, 1894-1911

Subseries 7.47, Woodstock Station, undated

Subseries 7.48, Miscellaneous (rolled), 1858-1930 (not inclusive)

Series 8, Photographs and Copy Prints, 1872-1980s (not inclusive)

Subseries 8.1, Photographs, 1872-1980s

Subseries 8.2, Copy prints, 1901-1931, undated

Subseries 8.3, Indices and Lists, 1909-1920

Series 9, Negatives, 1850-1983 (bulk 1920s-1930s)

Subseries 9.1, Glass plate negatives (unidentified), undated

Subseries 9.2, Glass plate negatives (numbered), 1850-1957 (bulk 1920s-1930s)

Subseries 9.3, Negatives by number, undated

Subseries 9.4, Negatives by location, 1870; 1978-1983

Subseries 9.5, Negatives by subject, 1922-1930s, undated

Series 10, Stations and Buildings, 1884-1982

Biographical / Historical:

The Baltimore and Ohio Railroad (B&O) was the nation's first extensive steam powered railroad. It was founded by Baltimore merchants in 1827 as a means of promoting trade and making Baltimore competitive with other east coast ports. The original intent of the founders was to provide direct and fast access to the Ohio River, and the markets that the river reached. The railroad, however, went beyond the Ohio River and its lines went as far west as St. Louis and Chicago. The B&O was also known for its use of an electric locomotive in the mid 1890s. It also had a completely air conditioned train, and it was a forerunner in the use of diesel-electric locomotives. Company activities paralleled those of other American railroads and over the course of its life included expansion, near bankruptcy, innovations, regulations, and finally buy out. In February 1963, the Chesapeake and Ohio (C&O) completed its purchase of the B&O. Today, B&O is part of the CSX Transportation (CSX) network.

John Work Garrett president of the Baltimore and Ohio Railroad 1858-1884, was born in Baltimore, Maryland July 31, 1820. He was the second son of Elizabeth Stouffer and Robert Garrett. He married Rachel Ann Harrison, the daughter of Thomas Harrison, a Baltimore merchant. They had one daughter, Mary and two sons Robert and Thomas Harrison Garrett.

After attending Lafayette College (Pennsylvania) for two years John W. Garrett left in 1836 to become associated with his father's commission business in Baltimore. The commission house which dealt in wholesale groceries, produce, forwarding and a commission business expanded to establish direct connections with Latin America, seek outlets in Europe and develop its own banking operations. In time its financial operations overshadowed the commission and shipping business.

When John W. Garrett began to invest heavily in Baltimore and Ohio Railroad stock, the road was in competition with the Chesapeake and Ohio Canal and the stock was not popular. Its value rose steadily over the years. Mr. Garrett was elected a director of the railroad in 1855. His report as chairman of a subcommittee on the need for additional funds to complete the line to the Ohio River led to his election to the presidency of the road on November 17, 1858, a position he held for 26 years. New policies with emphasis on economy, personal supervision and gradual expansion were inaugurated and consistently maintained, in spite of a general financial crisis, Mr. Garrett's first year in office showed a net gain in earnings.

Sympathetic to his southern friends during the Civil War, Mr. Garrett nevertheless supported the Union. He recognized the inevitability of Confederate defeat by superior northern resources. Confederate leaders blamed him for their inability to seize Washington and he received warm appreciation for his services to the Union cause from President Lincoln. The railroad stretched along the theater of war and twice crossed Confederate territory. It was, therefore, a main objective for southern attack. Branches were frequently damaged by Confederate raids, but the main line to Washington became important for the transport of troops and supplies. The Baltimore and Ohio carried out the first military rail transport in history and the transfer of 20,000 men from the Potomac to Chattanooga in 1863 was a major triumph for its president.

With the advent of peace Mr. Garrett turned to rebuilding and strengthening the railroad. He replaced equipment and track damaged by the war, then extended the system by securing direct routes to Pittsburgh and Chicago and arranging an independent line into New York. Wharves were built at Locust Point for ocean liners and a system of elevators erected. The B&O. built its own sleeping and dining cars, established hotels in the mountains and created its own express company. By 1880, after battles over rates with other trunk lines, a costly rivalry with the Pennsylvania Railroad over the eastern route and charges of discrimination against local shippers Mr. Garrett was at the height of his success. He cooperated in establishing the B. and 0. Employees Relief Association for accident and life insurance, a hospital system, saving and building funds, and arrangements for improving sanitation in the work place. He was on friendly terms with Johns Hopkins, a trustee of John Hopkins Hospital, and with George Peabody, founder of the Peabody institute of which he was also a trustee. Garrett County, Maryland was named in his honor.

John W. Garrett died on September 26, 1884 within a year of his wife's death in a carriage accident. During his connection with the railroad the stock increased from $57 to $200; at the outbreak of the Civil War the railroad was operating 514 miles of rail, gross earnings were $4,000,097 and net per mile was $4246.1 By 1864 gross earnings were $10,138,876 and net per mile, $7113.2 By the end of his presidency mileage had increased to 1711 miles and net earnings were $4535 per mile.3

References

1 -- National Cyclopedia of American Biography -- Vol. 18:3

2 -- National Cyclopedia of American Biography -- Vol. 18:3

3 -- National Cyclopedia of American Biography -- Vol. 18:3

Related Materials:

Materials at Other Organizations

Maryland Historical Society

Baltimore and Ohio Museum

Provenance:

This collection was donated to the National Museum of American History by the Baltimore and Ohio Railroad in the 1960s.

Restrictions:

Collection is open for research but is stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.

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:

Bridges  Search this

Construction  Search this

Engineering -- 19th century  Search this

Railroads  Search this

Repairing -- Railroads  Search this

Railway engineering -- 1860-1890  Search this

Genre/Form:

Annual reports

Correspondence -- 19th century

Drawings -- 1860-1890

Glass plate negatives

Negatives (photographic)

Photographs

Tracings

Citation:

Baltimore and Ohio Railroad Records, Archives Center, National Museum of American History

Identifier:

NMAH.AC.1086

See more items in:

Baltimore and Ohio Railroad Records

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8e652d903-bb57-46a8-a205-c7cbfe89f444

EDAN-URL:

ead_collection:sova-nmah-ac-1086

Medium:

Jade (nephrite)

Dimensions:

H x W x D: 16.3 x 16.3 x 0.4 cm (6 7/16 x 6 7/16 x 3/16 in)

Type:

Ceremonial Object

Origin:

China

Date:

475-221 BCE

Period:

Eastern Zhou dynasty, Warring States period

Topic:

Eastern Zhou dynasty (770 - 221 BCE)  Search this

Warring States period (475 - 221 BCE)  Search this

China  Search this

Chinese Art  Search this

Credit Line:

Gift of Arthur M. Sackler

Accession Number:

S1987.920

Restrictions & Rights:

Usage conditions apply

Related Online Resources:

Google Cultural Institute

Jades for Life and Death

See more items in:

Freer Gallery of Art and Arthur M. Sackler Gallery Collection

Data Source:

Freer Gallery of Art and Arthur M. Sackler Gallery

GUID:

http://n2t.net/ark:/65665/ye33f13e1f2-310c-432f-b917-f8d6c67318e9

EDAN-URL:

edanmdm:fsg_S1987.920

Editor:

Gilvin, Amanda  Search this

Author:

Tuggar, Fatimah 1967- Works Selections  Search this

Host institution:

Davis Museum and Cultural Center  Search this

Subject:

Tuggar, Fatimah 1967-  Search this

Physical description:

143 pages color illustrations 24 x 29 cm

Type:

Exhibitions

Expositions

Exhibition catalogs

Catalogues d'exposition

Place:

Nigeria

Date:

2019

Topic:

Multimedia (Art)  Search this

Artists  Search this

Œuvres multimédias (Art)  Search this

Artistes  Search this

Data Source:

Smithsonian Libraries

EDAN-URL:

edanmdm:siris_sil_1145934

Artist:

Rosalind Fox Solomon, born 2 Apr 1930  Search this

Sitter:

Rosalynn Smith Carter, 18 Aug 1927 - 19 Nov 2023  Search this

Medium:

Gelatin silver print

Dimensions:

Image: 38.6 × 38.6 cm (15 3/16 × 15 3/16")

Sheet: 50.6 × 40.8 cm (19 15/16 × 16 1/16")

Mat: 61 × 50.8 cm (24 × 20")

Type:

Photograph

Date:

1978

Topic:

Costume\Dress Accessory\Eyeglasses  Search this

Printed Material\Document  Search this

Costume\Dress Accessory\Scarf  Search this

Interior\Vehicle  Search this

Rosalynn Smith Carter: Female  Search this

Rosalynn Smith Carter: Literature\Writer  Search this

Rosalynn Smith Carter: Politics and Government\First Lady\First Lady of US  Search this

Rosalynn Smith Carter: Presidential Medal of Freedom  Search this

Portrait  Search this

Credit Line:

National Portrait Gallery, Smithsonian Institution; gift from the Trustees of the Corcoran Gallery of Art (Gift of Rosalind Fox Solomon) The Corcoran Gallery of Art, one of the country’s first private museums, was established in 1869 to promote art and American genius. In 2014 the Works from the Corcoran Collection were distributed to institutions in Washington, D.C.

Object number:

NPG.2019.56

Restrictions & Rights:

Usage conditions apply

Copyright:

© Rosalind Solomon

See more items in:

National Portrait Gallery Collection

Data Source:

National Portrait Gallery

GUID:

http://n2t.net/ark:/65665/sm4bed27201-eb5c-44bc-9d61-dd78af514c6f

EDAN-URL:

edanmdm:npg_NPG.2019.56

Creator:

Leo Castelli Gallery  Search this

Subject:

Nauman, Bruce  Search this

Namuth, Hans  Search this

Johns, Jasper  Search this

Power, Alan  Search this

Parker, Raymond  Search this

Panza, Giuseppe  Search this

Paik, Nam June  Search this

Landsman, Stanley  Search this

Koons, Jeff  Search this

Klapheck, Konrad  Search this

Kiesler, Frederick  Search this

Morris, Robert  Search this

Marisol  Search this

Gorgoni, Gianfranco  Search this

Heller, Ben  Search this

Flavin, Dan  Search this

Judd, Donald  Search this

Daphnis, Nassos  Search this

Epstein, Ethel Steuer  Search this

Darboven, Hanne  Search this

Barry, Robert  Search this

Artschwager, Richard  Search this

Castelli, Leo  Search this

Bloom, Barbara  Search this

Chryssa  Search this

Christo  Search this

Lichtenstein, Roy  Search this

Tworkov, Jack  Search this

Warhol, Andy  Search this

Weiner, Lawrence  Search this

Stella, Frank  Search this

Tremaine, Burton  Search this

Tremaine, Emily Hall  Search this

Twombly, Cy  Search this

Rowan, Carolyn  Search this

Ruscha, Edward  Search this

Rowan, Robert  Search this

Powers, Kimiko  Search this

Powers, John  Search this

Rosenquist, James  Search this

Rauschenberg, Robert  Search this

Starn, Doug  Search this

Starn, Mike  Search this

Scull, Ethel  Search this

Scarpitta, Salvatore  Search this

Serra, Richard  Search this

Scull, Robert C.  Search this

Museum of Modern Art (New York, N.Y.)  Search this

Multiples, Inc.  Search this

Ferus Gallery (Los Angeles, Calif.)  Search this

Ileana Sonnabend (Gallery)  Search this

Jewish Museum (New York, N.Y.)  Search this

Castelli-Sonnabend Tapes and Films, Inc.  Search this

Dwan Gallery (New York, N.Y.)  Search this

Dwan Gallery (Los Angeles, Calif.)  Search this

Castelli Graphics (Firm)  Search this

Whitney Museum of American Art  Search this

Sidney Janis Gallery  Search this

Amsterdam (Netherlands). Stedelijk Museum  Search this

Type:

Interviews

Video recordings

Sketches

Transcripts

Sound recordings

Notes

Visitors' books

Photographs

Notebooks

Awards

Citation:

Leo Castelli Gallery records, circa 1880-2000, bulk 1957-1999. Archives of American Art, Smithsonian Institution.

Topic:

Art, Modern -- 20th century -- History -- New York (State)New York  Search this

Painting, Modern -- 20th century -- History -- New York (State)New York  Search this

Theme:

Art Gallery Records  Search this

Art Market  Search this

Record number:

(DSI-AAA_CollID)7351

(DSI-AAA_SIRISBib)209504

AAA_collcode_leocast

Theme:

Art Gallery Records

Art Market

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_209504

Creator:

Guild Art Gallery  Search this

Subject:

Walinska, Anna  Search this

Ney, Lloyd Raymond  Search this

Lefranc, Margaret  Search this

Gorky, Arshile  Search this

Menkes, Sigmund  Search this

Type:

Scrapbooks

Citation:

Guild Art Gallery records, circa 1933-1937. Archives of American Art, Smithsonian Institution.

Topic:

Women art dealers  Search this

Jewish artists  Search this

Theme:

Art Gallery Records  Search this

Art Market  Search this

Record number:

(DSI-AAA_CollID)8280

(DSI-AAA_SIRISBib)210451

AAA_collcode_guilart

Theme:

Art Gallery Records

Art Market

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_210451

Creator:

Greenberg, Clement, 1909-1994  Search this

Subject:

Smith, David  Search this

Noland, Kenneth  Search this

Olitski, Jules  Search this

Emmerich, André  Search this

Caro, Anthony  Search this

Type:

Interviews

Citation:

Clement Greenberg papers, 1937-1983. Archives of American Art, Smithsonian Institution.

Topic:

Abstract expressionism  Search this

Theme:

Research and writing about art  Search this

Record number:

(DSI-AAA_CollID)11085

(DSI-AAA_SIRISBib)211173

AAA_collcode_greeclep

Theme:

Research and writing about art

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_211173

Creator:

Smithsonian Center for Folklife and Cultural Heritage  Search this

Type:

Blog posts

Smithsonian staff publications

Blog posts

Published Date:

Wed, 09 Aug 2023 06:17:00 GMT

Topic:

Cultural property  Search this

See more posts:

Festival Blog

Data Source:

Smithsonian Center for Folklife and Cultural Heritage

EDAN-URL:

edanmdm:posts_6adee373ca2f650ebfb4bf31c1e83537

Creator:

Smithsonian Center for Folklife and Cultural Heritage  Search this

Type:

Blog posts

Smithsonian staff publications

Blog posts

Published Date:

Fri, 11 Aug 2023 19:24:00 GMT

Topic:

Cultural property  Search this

See more posts:

Festival Blog

Data Source:

Smithsonian Center for Folklife and Cultural Heritage

EDAN-URL:

edanmdm:posts_a0656c2bd5129c1cf2ad97ee4c062f21

Creator:

Cooper-Hewitt, National Design Museum  Search this

Type:

Blog posts

Smithsonian staff publications

Blog posts

Published Date:

Fri, 21 Jul 2023 20:30:45 +0000

Topic:

Design  Search this

See more posts:

Cooper Hewitt, Smithsonian Design Museum

Data Source:

Cooper-Hewitt, National Design Museum

EDAN-URL:

edanmdm:posts_41ccf675d3b576d0fd3b6705f564af04

Creator:

Greenberg, Clement, 1909-1994  Search this

Names:

Caro, Anthony, 1924-  Search this

Emmerich, André  Search this

Noland, Kenneth, 1924-  Search this

Olitski, Jules, 1922-2007  Search this

Smith, David, 1906-1965  Search this

Extent:

8.6 Linear feet

Type:

Collection descriptions

Archival materials

Interviews

Date:

1937-1983

Summary:

The papers of influential New York author and art critic Clement Greenberg measure 8.6 linear feet and date from 1937 to 1983. The bulk of the papers consists of letters from art critics, artists, family, friends, curators, collectors, publishers, galleries, and museums, with scattered letters from Greenberg. Also found are Greenberg's business and financial records along with small amounts of biographical material, printed material, and writings consisting of two reports.

Scope and Content Note:

The papers of influential New York author and art critic Clement Greenberg measure 8.6 linear feet and date from 1937 to 1983. The bulk of the papers consists of letters from art critics, artists, family, friends, curators, collectors, publishers, galleries, and museums, with scattered letters from Greenberg. Also found are Greenberg's business and financial records along with small amounts of biographical material, printed material, and writings consisting of two reports.

Correspondence includes letters to Greenberg, often documenting the lives and careers of many of the correspondents in significant detail, and scattered copies of Greenberg's replies. Much of the correspondence is rich and substantive, and is indicative of Greenberg's influence in the art world. Correspondents include Darby Bannard, Ethel Baziotes, Anthony Caro, Richard Diebenkorn, Piero Dorazio, Andre Emmerich, Paul Feeley, Sam Francis, Helen Frankenthaler, Robert Goodnough, Adolf Gottleib, Hans Hofmann, Philippe Hosiasson, Jacob Kainen, Rosalind Krauss, Robert Motherwell, Ken Moffett, Barnett Newman, Kenneth Noland, Jules Olitski, Beverly Pepper, Ludwig Sander, David Smith, Kimber Smith, Clyfford Still, Anne Truitt, Leslie Waddington and many others.

Biographical material includes notes from an interview with Greenberg conducted by Deborah Solomon in 1983. Greenberg's personal business and financial records include correspondence and other documentation related to Greenberg's appearances, such as for lectures and on television, and documents relating to Greenberg's testimony at the Mark Rothko Trial in 1974.

Artwork consists of one etching by Kurt Wisenski. Although the papers contain very few of Greenberg's writings about art, there are lists of artists and reports written by Greenberg on the state of art in Japan and India in 1967 which are probably related to his membership in the American Committee for Cultural Freedom. Printed material includes scattered clippings concerning art and exhibition announcements.

One series of access restricted papers contains documents relating to Greenberg's role as executor for the David Smith estate.

Arrangement:

The collection is arranged as 7 series:

Missing Title

Series 1: Biographical Information, circa 1968-1983 (Box 1; 2 folders)

Series 2: Business and Financial Records, 1939-1983 (Box 1; 0.4 linear feet)

Series 3: Correspondence, 1937-1983 (Boxes 1-8, 11; 7 linear feet)

Series 4: Artwork, 1973 (Box 8; 1 folder)

Series 5: Writings and Notes, 1967-1983 (Box 8; 3 folders)

Series 6: Printed Material, 1950-1982 (Box 8; 2 folders)

Series 7: David Smith Estate Materials, 1965-1982 (Boxes 9-11; 1.1 linear feet)

Biographical Note:

New York City author Clement Greenberg, was one of the most influential art critics of the twentieth century, primarily from the 1940s-1960s. He was an advocate of modern art, particularly the Abstract Expressionist movement, and was one of the first critics to recognize the significance of Jackson Pollock's work.

Greenberg was born in 1909 to Russian immigrants in Bronx, New York. After graduating from Syracuse University in 1930, he married and had a child, David. He settled in New York City while working at the United States Customs Department as an appraiser.

In the late 1930s, Clement Greenberg attended a meeting of the U.S. Works Progress Administration and heard Hans Hofmann speak of avant-garde art. In 1939, he wrote one of his first important critical pieces "Avant-Garde and Kitsch" for the Partisan Review. Greenberg argued that the avant-garde art movement rose out of the need to defend and maintain high art standards against the decline in taste brought about by America's consumerist and capitalist culture.

In 1940 Greenberg joined Partisan Review as an editor. He became art critic for the Nation in 1942 and was associate editor of Commentary from 1945 until 1957. In December 1950, he joined the CIA-fronted American Committee for Cultural Freedom.

Throughout the 1940s through the 1960s Greenberg continued to write essays and articles in which he promoted the work of the abstract expressionists, among them Jackson Pollock, Willem de Kooning, Hans Hofmann, Barnett Newman, and Clyfford Still. He particularly championed Jackson Pollock. Greenberg wrote several seminal essays that defined his views on art history in the twentieth century, with "Greenberg on Collage" being one of his most important.

Greenberg's views on pop art were mixed. He also became less enamored with the second generation of abstract expressionists over time, while developing an interest in the Color-Field and Hard-Edge painters.

Through the 1960s Greenberg's views informed a younger generation of art critics including Michael Fried and Rosalind E. Krauss. Some writers maintain that Greenberg's views were so well-respected that he held too much of an influence in the art world. In time, Greenberg's antagonism to postmodernist theories and other modern art movements caused him to lose much of his credibility among both artists and art critics.

Greenberg was a long-time champion of sculptor David Smith's work and he became an executor of Smith's estate when the artist died suddenly in 1965. Greenberg resigned as executor in 1979 following controversy over his decision to strip white paint from five of Smith's outdoor sculptures, insisting that Smith had never intended to leave them white.

Greenberg died at the age of eighty-five in 1994. Since his death, letters edited by Greenberg's widow, Janice Van Horne, and a re-evaluation of his writings have helped to restore his reputation in the art world.

Related Material:

The Portland Art Museum holds Clement Greenberg's private art collection as well as a library of exhibition catalogs.

Separated Material:

The Archives of American Art also holds microfilm of material lent for microfilming (reels N69-91, N70-7, and N737). Most, but not all, of these papers were later donated by Greenberg. Loaned materials not donated at a later date are not described in the container listing of this finding aid.

Provenance:

Clement Greenberg initially lent material for microfilming in 1968-1969. He donated most of this material to the Archives of American Art with additional papers in several accretions between 1984 to 1991.

Restrictions:

This collection is open for research. Portions of the collection are access restricted including: documents relating to the estate of David Smith; some correspondence with Peter Fuller, Nuala O'Faolain, the Greenberg family, and other correspondents; and sales records and loan agreements. Written permission is required. Contact Reference Services for more information. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.

Rights:

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

Occupation:

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

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

Topic:

Abstract expressionism  Search this

Genre/Form:

Interviews

Citation:

The Clement Greenberg papers, 1937-1983. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Terra Foundation for American Art. Funding for the digitization of the papers was provided in part by The Walton Family Foundation.

Identifier:

AAA.greeclep

See more items in:

Clement Greenberg papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9583b0d2a-ad31-4fa9-a3b5-eacce3cb0313

EDAN-URL:

ead_collection:sova-aaa-greeclep

Creator:

Dehner, Dorothy, 1901-1994  Search this

Names:

Philadelphia Art Alliance  Search this

Willard Gallery  Search this

Graham, John, 1887-1961  Search this

Matulka, Jan, 1890-1972  Search this

Smith, David, 1906-1965  Search this

Extent:

4 Linear feet

Type:

Collection descriptions

Archival materials

Sound recordings

Interviews

Sketchbooks

Date:

1920-1987

bulk 1951-1987

Summary:

The papers of sculptor Dorothy Dehner measure 4 linear feet and date from 1920 to 1987, with the bulk of the material dating from 1951 to 1987. The collection documents Dehner's life, work, and professional and personal relationships, with particular focus on her mid-to-late career. Papers include extensive correspondence, business and financial papers, sound recordings and transcripts of interviews, writings by Dehner and others, printed material documenting Dehner's career, scattered photographs, two etchings, and scattered personal papers and material relating to David Smith.

Scope and Content Note:

The papers of sculptor Dorothy Dehner measure 4 linear feet and date from 1920 to 1987, with the bulk of the material dating from 1951 to 1987. The collection documents Dehner's life, work, and professional and personal relationships, with particular focus on her mid-to-late career. Papers include extensive correspondence, business and financial papers, sound recordings and transcripts of interviews, writings by Dehner and others, printed material documenting Dehner's career, scattered photographs, two etchings, and scattered personal papers and material relating to David Smith.

Comprising a series of biographical material are personal papers such as notes on Dehner's biography and career, a list of things taken from Bolton Landing, and material relating to David Smith including a copy of his last will and testament, a letter of introduction (dating from their trip to Europe in the mid-1930s), and a chronology of Smith's life.

Correspondence consists of numerous letters and enclosures concerning both professional and personal matters. Correspondents include artists, museums, galleries, art dealers, researchers, curators, friends, and relatives. Correspondence documents Dehner's various personal and professional relationships, the active role she played in promoting and exhibiting her art work, as well as the key role she played in fostering art historical research on David Smith, herself, and other artists of her era, and her many other creative activities, including her various writing efforts.

Interviews include sound recordings of four interviews with Dehner, and a recording of an interview conducted with her for a documentary on David Smith. Also found is a transcription of an interview for which there is no recording.

Writings shed light on other aspects of Dehner's creativity and concerns. Dehner's writings include poems, such as one dated from high school and drafts of poems published in Tracks); and various pieces on John Graham. These include versions of a memoir, which were published as a foreword to the re-issue of System and Dialectics of Art, and as an article in Leonardo). Also found are writings on David Smith, including articles recalling Dehner's first meeting with him, and on Smith's 1940 work "Medals for Dishonor;" lectures and speeches; and various writings on art and other topics. Writings by others include essays on Dehner by Joan Marter and Judith McCandless.

Dehner's business and financial records document transactions with various galleries and art organizations and include records of loans, exhibitions, and sales through files for the Parsons-Dreyfuss Gallery, Philadelphia Art Alliance, Willard Gallery, and others. The series also includes scattered records relating to personal business matters and finances, such as Dehner's lists of artwork loaned, exhibited, and sold, receipts, tax records, and exhibition visitor books.

Printed material includes exhibition catalogs and announcements for Dehner's group and solo shows, and clippings on Dehner and a few other artists including David Smith. Artwork consists of two etchings, and photographs include photographs of Dehner, her second husband Ferdinand Mann, John Graham, and various works of art. Also found is an abstract photograph by David Smith, dating from circa 1934.

Arrangement:

The Dorothy Dehner papers are arranged into 8 series:

Missing Title

Series 1: Biographical Material, 1935-1982 (Box 1; 0.1 linear feet)

Series 2: Correspondence, 1927-1987 (Boxes 1-3; 2.2 linear feet)

Series 3: Interviews and Transcripts, 1963-1981 (Boxes 3-4; 0.5 linear feet)

Series 4: Writings, 1920-1987 (Box 3; 0.25 linear feet)

Series 5: Business and Financial Records, 1940-1987 (Box 3; 0.25 linear feet)

Series 6: Printed Material, 1940-1987 (Boxes 3, 5; OV 6; 0.5 linear feet)

Series 7: Art Work, circa 1930s-circa 1960s (Box 5, OV 6; 0.05 linear feet)

Series 8: Photographs, 1930s-1986 (Box 5; 0.15 linear feet)

Biographical Note:

Dorothy Dehner was an abstract sculptor of the New York school who was also an accomplished painter, printmaker, author, and educator.

Dehner was born in Cleveland, Ohio in 1901. Her father died when she was about ten and the family moved to Pasadena, California in 1915. After the death of her mother and sister, she was raised by her mother's sister, Aunt Florence. Dehner was exposed to art as a child, receiving instruction in drawing and painting. She studied drama for a year at UCLA in 1922-1923 before moving to New York with the intention of pursuing a theatrical career. In 1925, she traveled alone to Europe, where she visited Italy, Switzerland, and France and where she began to draw seriously.

Upon her return to New York, Dehner enrolled in the Art Students League intending to study sculpture, but, uninspired by the work of William Zorach's sculpture class, ended up studying drawing with Kimon Nicolaides instead. In 1926, she met fellow artist David Smith in the rooming house they shared. At her suggestion, he too enrolled in the Art Students League. In 1927, they were married.

At the League, Dehner and Smith studied with the modernist painter, Jan Matulka, and befriended Weber and Thomas Furlong, through whom they met the Russian painter and theoretician, John Graham. Graham introduced them to the avant-garde art world and had a profound influence on Dehner and Smith and their work. Other young artists they befriended at this time included Adolph Gottlieb, Mark Rothko, and Edgar and Lucille Corcos Levy. In 1929, after a visit to the Furlong's summer home in upstate New York, Dehner and Smith bought a farm in Bolton Landing, which became their permanent home in 1940 and was later named Terminal Iron Works. They spent eight months in the Virgin Islands, in 1931-1932, where Dehner painted abstract still lifes of shells and marine life. In the fall of 1935, they traveled to Europe, where they met up with Graham in Paris, spent five months in Greece, and toured the Soviet Union, with other stops along the way.

During her years at Bolton Landing (from 1940 to 1950), Dehner progressed in her work, producing a series of paintings titled Life on the Farm and embarking upon a series of abstract geometric drawings in ink and watercolor. In 1943, she had a joint exhibition with Smith at the Albany Institute of History and Art. Three years later, she participated in the annual exhibition of Audubon Artists and was awarded a first prize for drawing, and in 1948, she had her first one-woman show at Skidmore College.

Dehner left Bolton Landing in 1950 (she was divorced from Smith two years later) and returned to school, earning her degree from Skidmore College in 1952. She moved back to New York City, and supported herself over the next several years by teaching at various schools, including the Barnard School for Girls. She had her first solo exhibition in the city at the Rose Fried Gallery in 1952, and studied engraving at Stanley William Hayter's Atelier 17. At this point, Dehner started making sculpture, first experimenting in wax and then casting her wax sculptures in bronze. In 1955, she began working at the Sculpture Center, and from this point on, focused mainly on sculpture with occasional forays in drawing and printmaking. In addition to works in bronze, she went on to create sculptures in wood (during the 1970s) and steel (during the 1980s).

In 1955, Dehner married the New York publisher, Ferdinand Mann. That same year, she joined the Willard Gallery, run by Marian Willard. She had her first exhibition of drawings there in 1955 (which led to a solo exhibition at the Art Institute of Chicago) and her first sculpture show there in 1957. Dehner continued to show at the Willard Gallery regularly until 1976. Over the next several decades, Dehner's work was frequently exhibited in solo and groups exhibitions at museums and galleries across the country, and was acquired for both public and private collections.

In addition to her art work, Dehner was also a published poet and writer. She wrote the foreword to the 1971 re-issue of John Graham's System and Dialectics of Art, and an essay on David Smith's "Medals for Dishonor," which was published in Art Journal in 1977. Two of her poems, "Past Tense" and "Two Lines," appeared in the journal Tracks in 1977.

Dehner continued to work into her nineties, and passed away in 1994.

Related Material:

Other resources in the Archives relating to Dorothy Dehner include oral history interviews with Dehner, October 1965 and December 1966, and a photograph of Dehner by Dena, 1966.

Separated Material:

The Archives of American Art also holds microfilm of material lent for microfilming on reels D298 (portions), D298A, 1269 (portions) and 1372, including photographs of Dorothy Dehner and David Smith, sketchbooks, correspondence between Dehner and Smith, an inventory, and some printed material. Loaned materials were returned to the lender after filming and are not described in the collection Container Listing.

Provenance:

The Dorothy Dehner papers were donated from 1967-1987 in increments by Dorothy Dehner. Dehner also loaned material for microfilming between 1967 and 1977, some of which was subsequently donated. The art work in the collection most likely belonged to Garnett McCoy originally, and was included in the collection during processing in 2005.

Restrictions:

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

Rights:

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

Occupation:

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

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

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

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

Topic:

Women artists  Search this

Women sculptors  Search this

Women printmakers  Search this

Women authors  Search this

Genre/Form:

Sound recordings

Interviews

Sketchbooks

Citation:

Dorothy Dehner papers, 1920-1987. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Terra Foundation for American Art. Funding for the digitization of this collection was provided in part by The Walton Family Foundation.

Identifier:

AAA.dehndoro

See more items in:

Dorothy Dehner papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw94755f855-b54f-4a52-a95c-a8c0d6e92ba7

EDAN-URL:

ead_collection:sova-aaa-dehndoro

Collection Creator:

Dehner, Dorothy, 1901-1994  Search this

Extent:

2.2 Linear feet

Type:

Archival materials

Date:

1927-1987

Scope and Contents:

Series consists of Dehner's personal and professional correspondence, comprised of mostly incoming letters but also some early drafts or copies of outgoing letters in addition to some enclosures such as loan agreements, shipping receipts, manuscripts, and printed material. Correspondents include museums, galleries, art dealers, curators, scholars, students, artists, writers, friends, and relatives. Correspondence largely documents Dehner's various personal and professional relationships, her efforts to promote and exhibit her artwork and to facilitate art historical research (on David Smith, herself, and other artists), and her various creative activities.

Personal correspondents include David Smith, Smith's sister, Catherine, and his mother, Golda; Smith's second wife, Jean Smith Pond, and his two daughters, Rebecca and Candida; Dehner's second husband, Ferdinand Mann and stepdaughter, Abby (Mann) Thernstrom; friends and fellow artists, Edgar and Lucille Corcos Levy, Herman Cherry, and Louise Nevelson; and her heart surgeon, Elliott Hurwitt, among others. Dehner often established friendships with individuals who started out corresponding on a professional basis (such as curators, dealers, and students), so personal correspondence can often be found interspersed with professional correspondence.

Professional correspondence typically relates to the loan, exhibition, and sale of Dehner's work and the Smith work that Dehner owned. Notable exhibitions documented include the 1950s traveling show of her watercolors and drawings, and group and solo shows including at the Philadelphia Art Alliance, Storm King Art Center, and Zimmerli Art Museum at Rutgers University. Also documented are Dehner's dealings with Mildred Constantine and Marian Willard (of the Willard Gallery), among others. Correspondence with curators, scholars, and students relates to research inquiries primarily about Smith, but also about Dehner herself and other artists of her era, such as John Graham, Irene Rice Pereira, and Louise Nevelson. Professional correspondence also concerns the editing and publication of the foreword she wrote for the re-issue of John Graham's System and Dialectics of Art, and the publication of her poems in the journal Tracks; certain matters pertaining to David Smith's estate, such as the disposition of some items belonging to Dehner and the controversial alteration of the painted surfaces of certain Smith sculptures carried out by executor Clement Greenberg; donations of art works to various institutions, including Dehner's effort to raise funds from Jan Matulka's former students to purchase and donate one of his paintings to the Guggenheim Museum; and the donation of her papers to the Archives of American Art, and subsequent permissions to access and publish from them.

Arrangement:

Correspondence is typically arranged in alphabetical order according to name of correspondent. Some files contain the letters of various individuals and are arranged according to subject (e.g. "Various, Condolence Letters"). Letters from a correspondent with an unknown surname are arranged in a file according to first name, and unidentified letters and fragments are arranged in files at the end of the series. Related material can be found amongst business and financial papers.

Collection Restrictions:

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

Collection Rights:

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

Collection Citation:

Dorothy Dehner papers, 1920-1987. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Terra Foundation for American Art. Funding for the digitization of this collection was provided in part by The Walton Family Foundation.

Identifier:

AAA.dehndoro, Series 2

See more items in:

Dorothy Dehner papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9e627f593-ce26-4e30-ac73-60de282ef20d

EDAN-URL:

ead_component:sova-aaa-dehndoro-ref1280

Creator:

Guild Art Gallery  Search this

Names:

Gorky, Arshile, 1904-1948  Search this

Lefranc, Margaret  Search this

Menkes, Sigmund, 1896-1986  Search this

Ney, Lloyd Raymond, 1893-1964 or 5  Search this

Walinska, Anna  Search this

Extent:

1 Linear foot

Type:

Collection descriptions

Archival materials

Scrapbooks

Date:

circa 1933-1937

Summary:

The records of New York's Guild Art Gallery measure 1.0 linear feet and date from circa 1933-1937. Records document the operation of the gallery for the duration of its existence from August 1935-1937, through correspondence, including some with artists, exhibition files, business and financial records, printed material, a scrapbook, a sketch by Anna Walinska, and photographs of artwork and the gallery.

Scope and Contents:

The records of New York's Guild Art Gallery measure 1.0 linear feet and date from circa 1933-1937. Records document the operation of the gallery for the duration of its existence from August 1935-1937, through correspondence, including some with artists, exhibition files, business and financial records, printed material, a scrapbook, a sketch by Anna Walinska, and photographs of artwork and the gallery.

Correspondence is with artists, business associates, and museums, and in particular records the gallery's efforts to build a client base, establish financial security, and foster the market for modern art. Of note is more detailed documentation of the gallery's representation of painter Lloyd Ney, and records documenting Walinska's attempt to promote the work of Sigmund Menkes which are indicative of the extent to which the gallery was concerned with the development and promotion of art by Jewish artists.

Exhibition files including announcements, catalogs, and price lists, printed material including press clippings, and a dismantled scrapbook of printed material, primarily document the exhibition history of the gallery and provide details of its focus on modern art and the extent of the publicity the gallery received.

Business and financial records provide a variety of ways to examine the gallery's day-to-day operations and accounts. In addition to artist account ledgers and agreements, this series records balances, charges, deposits, and receipts and includes two notebooks with handwritten accounts of activities at the gallery for 1937.

Additionally, there is a pen and ink sketch by Anna Walinska, black and white copy prints of artwork by gallery artists, and a few original photos of the gallery's interior and exhibitions.

Arrangement:

The collection is arranged as 7 series.

Missing Title

Series 1: Correspondence, 1935-1937 (10 folders; Box 1)

Series 2: Exhibition Files, 1935-1937 (5 folders; Box 1)

Series 3: Business and Financial Records, 1935-1937 (13 folders; Box 1)

Series 4: Printed Material, 1935-1937 (7 folders, Box 1)

Series 5: Scrapbook, 1935-1937 (4 folders; Box 1)

Series 6: Sketch and Photographs, circa 1933-1937 (4 folders; Box 1)

Biographical / Historical:

Founded by painter Anna Walinska (1906-1997) and painter and illustrator Margaret Lefranc (1907-1998), the Guild Art Gallery opened in August 1935 at 37 West 57th Street in New York. Walinska and Lefranc were known for their promotion of modern art and their gallery was the venue for Arshile Gorky's first solo exhibition in the city. The gallery was also committed to promoting Jewish artists during a time of growing antisemitism at home and abroad.

In 1935 Walinska and Lefranc were quoted in Art Digest as stating that their plans for the new gallery were to "exhibit, without charge, the work of contemporary artists, whether known or unknown; to develop, through a receptive audience, a better understanding of the creative expression and the problems of creative expression and the problems of contemporary society; and to illustrate the relationship of painting with the other arts." The gallery's opening exhibition featured work by both Walinska and Lefranc, as well as by Boris Aronson, Don Forbes, Henry Major, Rosa Newman, Philip Reisman, Ben-Shmuel, Ary Stillman, and, notably, Arshile Gorky. Gorky's first solo exhibition in New York was subsequently held at the gallery in December 1935.

Walinska's interest in promoting Jewish artists is evidenced in records of a 1936 letter writing campaign to seek prospective Jewish clients for the work of School of Paris painter Sigmund Menkes and, in particular, his painting The Torah. Walinska wrote in her letters "It seems to me in view of the fact that a renewed interest in Jewish culture has been awakened by recent world events, that effort should be made towards a development and conservation of Jewish Art." Jewish artists were represented in three-quarters of the gallery's inaugural exhibition season, and consistently thereafter.

Walinska and Lefranc initially sponsored lectures on modern art to generate income but outgoing 1936 letters indicate the gallery was struggling financially and Walinska and Lefranc sought support from prominent and wealthy figures in the art and business worlds such as Winslow Ames, George Gershwin, Juliana Force, A. Conger Goodyear, William Randolph Hearst, Albert C. Barnes, and Alfred H. Barr.

After almost two years in operation, the Guild Art Gallery closed in 1937.

Related Materials:

Also found among the holdings of the Archives of American Art are the Anna Walinska papers, 1927-2002.

Provenance:

Margaret Lefranc, co-founder of the Guild Art Gallery, donated the records to the Archives of American Art in 1981.

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.

Rights:

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

Topic:

Women art dealers  Search this

Jewish artists  Search this

Function:

Art galleries, Commercial -- New York (State)

Artist-run galleries -- New York (State)

Genre/Form:

Scrapbooks

Citation:

Guild Art Gallery records, circa 1933-1937. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Smithsonian Institution's Collections Care and Preservation Fund. Funding for the digitization of the collection was provided in part by Rosina Rubin.

Identifier:

AAA.guilart

See more items in:

Guild Art Gallery records

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9aa27159d-d543-4e12-867f-754051dc0989

EDAN-URL:

ead_collection:sova-aaa-guilart

Collection Creator:

Guild Art Gallery  Search this

Extent:

10 Folders (Box 1)

Type:

Archival materials

Date:

1935-1937

Scope and Contents:

Correspondence is with business associates, prospective clients, museums, and other art institutions and organizations including Alfred H. Barr, Alfred C. Barnes, Cincinnati Art Museum, Corcoran Gallery of Art, Julianna Force, Museum of Modern Art, the Whitney Museum of American Art, and others. Artists represented in the correspondence include Saul Baizerman, Emlen Etting, Arshile Gorky, Chaim Gross, Jean Liberte, William Littlefield, Gwen Lux, Philip Reisman, Theodore Roszak, Raphael Soyer, Gilbert Wilson, and others.

Of note are three folders of correspondence with artist Lloyd Ney. In addition to writing of his work and arrangements with the gallery to show his paintings, Ney writes of a disagreement with dealer Bruce Lockwood over ownership of his paintings. Related correspondence with Lockwood and lawyer Arthur Eastburn is also included here.

Also of note are two folders of letters and related material documenting the gallery's efforts to promote the work of Sigmund Menkes, in particular his painting The Torah. Records include a signed agreement with the gallery to be sole agents for The Torah, name and address lists of prospective clients, outgoing letters sent to them and some responses, two letters from Menkes, biographical notes about Menkes and the history of the painting, and marked up exhibition catalogs with prices of Menkes's work.

Arrangement:

Undated correspondence is arranged alphabetically by correspondent and dated correspondence is arranged chronologically. Correspondence with Sigmund Menkes and Lloyd Ney is arranged separately in named files.

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:

Guild Art Gallery records, circa 1933-1937. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Smithsonian Institution's Collections Care and Preservation Fund. Funding for the digitization of the collection was provided in part by Rosina Rubin.

Identifier:

AAA.guilart, Series 1

See more items in:

Guild Art Gallery records

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw91fb84ab4-ed2d-460a-8abf-8215df2f772d

EDAN-URL:

ead_component:sova-aaa-guilart-ref6

Collection Creator:

Gugler, Eric, 1889-1974  Search this

Container:

Box 21, Folder 3-4

Type:

Archival materials

Date:

circa 1950-1958

Collection Restrictions:

Use of 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:

Eric Gugler papers, 1889-1977. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Terra Foundation for American Art. Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee.

See more items in:

Eric Gugler papers

Eric Gugler papers / Series 4: Project Files / 4.1: Buildings, Commercial

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9d3357a80-8c53-4cf4-bcfb-9cd1084d17d6

EDAN-URL:

ead_component:sova-aaa-gugleric-ref185

Collection Creator:

Gugler, Eric, 1889-1974  Search this

Container:

Box 22, Folder 3

Type:

Archival materials

Date:

1958-1961

Collection Restrictions:

Use of 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:

Eric Gugler papers, 1889-1977. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Terra Foundation for American Art. Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee.

See more items in:

Eric Gugler papers

Eric Gugler papers / Series 4: Project Files / 4.1: Buildings, Commercial

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw987fd28f9-ea3a-4ec7-910f-6318a5b554df

EDAN-URL:

ead_component:sova-aaa-gugleric-ref194

Creator:

Jourdan, David W.  Search this

Long, Elgen Marion, 1927-  Search this

Names:

Nauticos Corporation  Search this

Earhart, Amelia, 1897-1937  Search this

Noonan, Frederick  Search this

Extent:

4.5 Cubic feet (5 legal document cases and 13 cassette tape boxes)

Type:

Collection descriptions

Archival materials

Interviews

Sound recordings

Date:

1959-1998

Summary:

This donation consists of 156 separate interviews or sound sources collected by Elgen Long while he was researching and writing his book, Amelia Earhart: The Mystery Solved which promotes the theory that Amelia Earhart's aircraft came to rest at the bottom of the ocean near Howland Island.

This collection is in English.

Scope and Contents:

The donation consists of 156 separate interviews or sound sources, some comprising two or more tape sides. Most of them are interviews conducted by Long, including interviews with: crew members of the Coast Guard Cutter Itasca; Naval and Coast Guard officials; mechanics and engineers involved in the maintenance of Earhart's aircraft; New Guinea and Australia residents and radio operators; friends, family and associates of Earhart and Noonan; and advocates of alternative disappearance theories. There are also radio interviews and a few movie soundtracks and miscellaneous items. The total running time of the collection is 13,209 minutes (220sca hours). This donation also includes a hard drive which holds 387 audio files in .mp3 or .mp4 format (each file is an interview with the possibility of multiple interviews per tape).

Arrangement:

Arrangement by donor.

Biographical / Historical:

Elgen Long collected oral recordings, both interviews and sound sources, while he was researching and writing his book, Amelia Earhart: The Mystery Solved which promotes the theory that Amelia Earhart's aircraft came to rest at the bottom of the ocean near Howland Island. These tapes were also used throughout Long's partnership with David W. Jourdan, founder of the deep-sea exploration company Nauticos, during their three attempts to locate Earhart's aircraft on the ocean floor (2002, 2006, and 2017).

Provenance:

David Jourdan, Gift, 2020, NASM.2020.0025

Restrictions:

No restrictions on access

Rights:

Material is subject to Smithsonian Terms of Use. Should you wish to use NASM material in any medium, please submit an Application for Permission to Reproduce NASM Material, available at Permissions Requests.

Topic:

Aeronautics  Search this

Underwater exploration  Search this

Flights around the world  Search this

Genre/Form:

Interviews -- 1950-2000

Sound recordings -- Audiotapes -- Audio cassettes -- Music

Citation:

Amelia Earhart Project Recordings, NASM.2020.0025, National Air and Space Museum, Smithsonian Institution.

Identifier:

NASM.2020.0025

See more items in:

Amelia Earhart Project Recordings

Archival Repository:

National Air and Space Museum Archives

GUID:

https://n2t.net/ark:/65665/pg2e9335b2f-1f78-465d-9314-4c94c3885e5e

EDAN-URL:

ead_collection:sova-nasm-2020-0025

Names:

Thaw, William, 1893 – 1934  Search this

Extent:

.53 Cubic feet (One 20 by 24 inch flat box)

Type:

Collection descriptions

Archival materials

Certificates

Date:

1918-1919

Summary:

This collection consists of three oversized certificates presented to William Thaw, 1918 – 1919.

Scope and Contents:

This collection consists of the following three oversized certificates: Ordre national de la Légion d'honneur, presented to Lieutenant Colonel William Thaw on April 9, 1919; Distinguished Service Cross, presented to Colonel William Thaw on October 16, 1918; and United States Citation to Colonel William Thaw, on April 19, 1919.

Arrangement:

No order, only three certificates.

Biographical / Historical:

William Thaw II (1893 – 1934) was a World War I ace and is believed to be the first American to engage in aerial combat in the war as one of the original nine members of the Lafayette Escadrille. Born into a prominent Pittsburgh family, Thaw attended Yale University but left to learn to fly at the Curtiss School of Aviation at Hammondsport, New York, in 1913.  Soon after he was the first to pilot an aircraft up New York City's East River and fly underneath all four bridges. By the summer of 1914, Thaw was in Paris, along with his personal Curtiss Motel E Hydro, and had received the Aero Club of France F.A.I. Hydro License 2. When war started, Thaw joined the French Foreign Legion and by December he was transferred to the French aviation unit, first as an observer, then as an active pilot. In May of 1916 Thaw was commissioned as first lieutenant and shortly after he was shot in the arm during combat. After his recovery, he resumed active duty and in November he was transferred to the American Air Service and commissioned a major. In January 1918 Thaw was given command of the American Lafayette Escadrille, 103rd Pursuit Squadron and in August he was given command of the 3rd Pursuit Group and was promoted to lieutenant colonel. After the war, he returned stateside and from January to June 1919 he was the commanding officer at Rockwell Field, San Diego, California. He was honorably discharged in July of 1919. During his service he received many honors and decorations. 

Provenance:

Found in Collecton, Transferred from the NASM Aeronautics Department, 2022, NASM.2023.0009

Restrictions:

No restrictions on access

Rights:

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Topic:

Aeronautics  Search this

Aeronautics, Military  Search this

World War, 1914-1918 -- Aerial operations  Search this

Genre/Form:

Certificates -- 20th century

Citation:

William Thaw II World War I Certificates, NASM.2023.0009, National Air and Space Museum, Smithsonian

Identifier:

NASM.2023.0009

Archival Repository:

National Air and Space Museum Archives

GUID:

https://n2t.net/ark:/65665/pg27012ec93-d5db-4c75-bef4-083ae469545f

EDAN-URL:

ead_collection:sova-nasm-2023-0009

Creator:

Smithsonian Center for Folklife and Cultural Heritage  Search this

Type:

YouTube Videos

Uploaded:

2012-06-15T17:59:18.000Z

YouTube Category:

Music  Search this

Topic:

Cultural property  Search this

See more by:

smithsonianfolkways

Data Source:

Smithsonian Center for Folklife and Cultural Heritage

YouTube Channel:

smithsonianfolkways

EDAN-URL:

edanmdm:yt_8xObEoK4yHA