Collection is open for research. Access to collection materials requires an appointment.
Collection Rights:
The NMAAHC Archives can provide reproductions of some materials for research and educational use. Copyright and right to publicity restrictions apply and limit reproduction for other purposes.
Collection Citation:
Norma Merrick Sklarek Archival Collection, 1944-2008. National Museum of African American History and Culture, Smithsonian Institution.
National Museum of American History (U.S.). Division of Medical Sciences Search this
National Museum of American History (U.S.). Division of Medical Sciences Search this
Container:
Item RF8 222.16
Type:
Archival materials
Scope and Contents:
Produced by Eli Lilly and Company. [197-?]. 1 reel (ca. 20 min.) : sd., col. ; 16mm. positive. Credits: Technical Advising Panel: Robert T. Koda, PhD., University of Southern California; James L. Olsen, PhD., University of North Carolina; Garnet E. Peck, PhD., Purdue University; Gerald E. Schumacher, PhD., Northeastern University; Ralph F. Shangraw, PhD, University of Maryland. Summary: In this lecture to pharmacy students, the film discusses quality controls in pharmaceutical factories. Testing is done on the absorption rate, potency, purity, uniformity, and stability of the drugs. Variables which affect the manufacture of drugs are mixing granulations, drying and sizing of granules, blending, and compression. And, finally, samples are sent to quality control laboratories for thorough testing and numbered identification by lots.
Collection Restrictions:
Collection is open for research.
Collection 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.
Collection Citation:
Medical Sciences Film Collection, circa 1930s-1960s, Archives Center, National Museum of American History
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.
Collection Citation:
Sally K. Ride Papers, Acc. 2014-0025, National Air and Space Museum, Smithsonian Institution.
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.
Collection Citation:
Sally K. Ride Papers, Acc. 2014-0025, National Air and Space Museum, Smithsonian Institution.
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.
Collection Citation:
Sally K. Ride Papers, Acc. 2014-0025, National Air and Space Museum, Smithsonian Institution.
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.
The papers of New York painter and educator Marcia Marcus measure 8.42 linear feet and .389 gigabytes (1 computer file), and date from 1928-2016, with the bulk of the materials dating from 1950-2000. The papers include biographical material, correspondence, interviews, writings (including two diaries), project files, personal business records, printed material, photographic material, eight sketchbooks, and artwork. Extensive personal and professional correspondence is with her husband and close friends, galleries, museums, and other arts organizations. Notable correspondents include Sally Avery, Dody Müller, and Robert (Bob) Richenburg, and, to a lesser extent, Dorothy Gill Barnes, Elaine Benson, Elaine de Kooning, Grace Hartigan, and Myron Stout. Photographic material includes photographs of Marcus at all stages of her life and photographs and slides documenting her paintings.
Scope and Contents:
The papers of New York painter and educator Marcia Marcus measure 8.42 linear feet and .389 gigabytes (1 computer file), and date from 1928-2016, with the bulk of the materials dating from 1950-2000. The papers include biographical material, correspondence, interviews, writings (including two diaries), project files, personal business records, printed material, photographic material, eight sketchbooks, and artwork.
Biographical material includes address books, diplomas, certificates, identification documents, resumes, and other material.
Extensive personal and professional correspondence is with Marcia Marcus's husband and close friends, galleries, museums, and other arts organizations. Notable correspondents include Sally Avery, Dody Müller, and Robert (Bob) Richenburg, and, to a lesser extent, Dorothy Gill Barnes, Elaine Benson, Elaine de Kooning, Grace Hartigan, and Myron Stout.
Interviews include 2 sound cassettes and a few transcripts. Writings by Marcia Marcus consist of diaries, artist statements, notebooks, notes, lists and poems. There are also a few writings by others about Marcus. Project files mostly consist of grant applications, a mail art project, information on exhibitions curated by Marcus, and other material.
Personal business records include receipts, ledgers, prices lists, leases, and other documentation. Photographic material includes photographs of Marcus at all stages of her life and photographs and slides documenting her paintings. There are eight sketchbooks and artwork, mostly in the form of small sketches and watercolors.
Arrangement:
The collection is arranged as ten series
Missing Title
Series 1: Biographical Material, 1928-2000s (0.7 linear feet; Box 1, OV 9)
Series 2: Correspondence, 1948-2016 (4.0 linear feet; Box 1-5)
Series 3: Interviews, 1970s-1980 (3 folders; Box 5)
Series 4: Writings, 1970s-2014 (0.3 linear feet; Box 5)
Series 5: Project Files, 1962-circa 2000 (0.2 linear feet; Box 5-6)
Series 6: Personal Business Records, 1960s-2000s (0.3 linear feet; Box 6)
Series 7: Printed Material, 1950s-1990s (0.8 linear feet; Box 6-7, OV 10-11)
Series 8: Photographic Material, 1950s-1990s (1.3 linear feet; Box 7-8)
Series 9: Sketchbooks, circa 1954-2000 (0.3 linear feet; Box 8)
Series 10: Artwork, 1950s-1990s (0.4 linear feet; Box 8, OV 12)
Biographical / Historical:
Marcia Marcus (1928- ) is a figurative painter working in New York, New York.
Born in New York City, Marcus earned her bachelor's degree in fine arts from New York University in 1949, studied at the Cooper Union from 1950-1952, and studied at the Art Students League with Edwin Dickinson in 1954. In 1951, Marcus exhibited her first painting in a group exhibition at Roko Gallery in New York City. Since then, she has been the subject of over a dozen solo shows and participated in many group exhibitions.
Marcus had an exhibition of self-portraits (1960) at the Delancey Street Museum, where the artist Red Grooms, one of her many friends in the art world, was one of the founders. She also directed and performed a "Happening" there. In 1961, Marcus studied Byzantine and fresco painting in Florence, Italy. She then traveled to France from 1962-1963 on a Fulbright fellowship, and was the recipient of many other grants throughout her career including a Esther and Adolph Gottlieb grant and a National Endowment for the Arts grant. Marcus has taught as a visiting artist at a number of colleges and universities, including Vassar College, New York University, and Purdue University.
Marcus married Terrence (Terry) Barrell in 1959 and they have two children, Kate and Jane.
Related Materials:
Also found in the Archives of American Art is an oral history interview with Marcia Marcus conducted by Paul Cummings in 1975.
Provenance:
Marcia Marcus donated her papers in multiple increments between 1974-1984. Her daughter Kate Prendergast donated additional papers in 2016.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Use of archival audiovisual recordings and born-digital records with no duplicate copy requires advance notice.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Art teachers -- New York (State) -- New York Search this
Topic:
Painters -- New York (State) -- New York Search this
Marcia Marcus papers, 1928-2016, bulk 1950-2000. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by the family of Marcia Marcus, and the Lily and Earle M. Pilgrim Art Foundation.
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.
Collection Citation:
Thomas DeWitt Milling Collection, NASM.XXXX.0133, National Air and Space Museum, Smithsonian Institution.
Massachusetts Institute of Technology, vol. 32, no. 8, July 1930; vol. 63, no. 7, May 1961; and vol. 64, no. 1, November 1961.
Collection Restrictions:
No restrictions on access
Collection 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.
Collection Citation:
Arthur Raymond Brooks Collection, NASM.1989.0104, National Air and Space Museum, Smithsonian Institution.
An interview of Mark Peiser conducted 2004 February 26, by Henry Halem, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, in Penland, North Carolina.
Peiser speaks of growing up in Chicago; his relationship with his parents; developing an early interest in music and engineering; attending Perdue University and transferring to the Institute of Design, Illinois Institute of Technology; working for a design firm in Chicago; becoming interested in glass after seeing an exhibit at the Art Institute of Chicago; attending a workshop at Penland School of Crafts; becoming Penland's first Artist-in-Residence in glass and developing a technique on his own; working with Fritz Dreisbach to set up the first Glass Art Society conference; making improvements to the Penland glass studio; teaching at Penland; making a living as an artist; making opal glass for the first time; choosing certain imagery and color in his work; experimenting with technique including glass casting; making his Innerspace series; his relationship with collectors; finding challenges with his latest body of work; and the influence of Zen on his art. Peiser also recalls Harvey Littleton, Bill Brown, Billy Bernstein, and others.
Biographical / Historical:
Mark Peiser (1938- ) is a glass artist from Penland, North Carolina. Henry Halem (1938- ) is a glass artist from Kent, Ohio.
General:
Originally recorded on 3 sound discs. Reformatted in 2010 as 6 digital wav files. Duration is 3 hr., 55 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Restrictions:
Transcript available on the Archives of American Art website.
