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National Portrait Gallery  Search this

Type:

YouTube Videos

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2011-04-08T15:13:44.000Z

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Education  Search this

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Portraits  Search this

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National Portrait Gallery

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NatlPortraitGallery

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edanmdm:yt_TTjgx3tkLsw

Creator:

National Portrait Gallery  Search this

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YouTube Videos

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2020-08-13T15:00:23.000Z

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Education  Search this

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Portraits  Search this

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National Portrait Gallery

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NatlPortraitGallery

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Smithsonian American Art Museum  Search this

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YouTube Videos

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2020-12-03T21:16:14.000Z

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Education  Search this

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Art, American  Search this

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americanartmuseum

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Smithsonian American Art Museum

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americanartmuseum

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edanmdm:yt_C5jrdWUbDT0

Creator:

Smithsonian American Art Museum  Search this

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YouTube Videos

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2012-08-01T23:55:46.000Z

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Education  Search this

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Art, American  Search this

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Smithsonian American Art Museum

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americanartmuseum

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edanmdm:yt_EIbU3LyY5c4

Creator:

Smithsonian American Art Museum  Search this

Type:

YouTube Videos

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2014-03-08T08:50:15.000Z

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Education  Search this

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Art, American  Search this

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Smithsonian American Art Museum

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americanartmuseum

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edanmdm:yt_tzWd3W7dv5g

Creator:

Smithsonian American Art Museum  Search this

Type:

Conversations and talks

YouTube Videos

Uploaded:

2014-11-26T15:30:25.000Z

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Education  Search this

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Art, American  Search this

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Smithsonian American Art Museum

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edanmdm:yt_zULrV4B0Bxo

Creator:

Bishop, Carl Whiting, 1881-1942  Search this

Names:

Bishop, Carl Whiting, 1881-1942  Search this

Tung, Kuang-zung.  Search this

Warner, Langdon (1881-1955)  Search this

Wenley, A. G. (Archibald Gibson), 1898-1962  Search this

Collection Creator:

Bishop, Carl Whiting, 1881-1942  Search this

Type:

Archival materials

Photographic prints

Manuscripts

Place:

China

Date:

1915-1933

Scope and Contents:

This series contains Bishop's unpublished typed manuscript entitled Archaeological Research in China 1923-1934—Washington, D.C.: Freer Gallery of Art, [n.d.] 2v. : some ill.; 27cm., a field report that chronicled the two Gallery-sponsored expeditions; various drafts and research notes in Box 2, which are organized according to their original order from their envelopes and notecards based on subject.

The papers concern Bishop's Gallery-sponsored travels to China, 1923 to 1927 and from 1929-1934, while acting as Associate Curator at the Freer Gallery of Art. The collection includes a large collection of still prints and maps.The earliest still photographic prints in the Bishop Papers date from his employ at the University of Pennsylvania Museum, where he conducted archaeological reconnaissance from 1915 to 1918 in China, Korea, and Japan. All subsequent images were created or collected by Bishop and his assistant Kwang-zung Tung during the Freer Gallery-sponsored expeditions of 1923-1934. This selection of digitized prints showcase prints which are not reflected in the Bishop manuscript or the photograph books. These selected images include place views of various excavations that featured prominently in the Bishop manuscript as well as the writings of A.G. Wenley and Dr Li Chi, who accompanied Bishop during his archaeological excavations in China. These include place views of Shansi, Shensi, Hsi-yin-Ts'un, Yu Ho Chen, Yun Kang and Peitaiho. In addition, images from Bishop's photographs of Mongolia, Manchuria and Nanjing, which are focused less on the excavation activities and depict more of the social and physical landscape of the areas Bishop visited, were chosen to reflect the comprehensive nature of Bishop's still print collection.

This series contains Bishop's unpublished typed manuscript entitled Archaeological Research in China 1923-1934. it is a field report that chronicled the two Freer Sackler Gallery sponsored expeditions. There are various drafts and research notes in box two.

Carl Whiting Bishop, Series 1: Manuscript and Research Material

Biographical / Historical:

Carl Whiting Bishop was an Associate Curator and Associate in Archaeology at the Freer Gallery of Art from 1922 to 1942.

Local Numbers:

FSA A.02 1

Collection Restrictions:

Collection is open for research.

Collection Rights:

Permission to reproduce and publish an item from the Archives is coordinated through the Freer Gallery of Art and Arthur M. Sackler Gallery's Rights and Reproductions department. Please contact the Archives in order to initiate this process.

Topic:

Archaeology  Search this

Archaeological expeditions  Search this

Genre/Form:

Photographic prints

Manuscripts

Collection Citation:

The Carl Whiting Bishop Collection. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Smithsonian Institution, Washington, D.C.

Identifier:

FSA.A.02, Series 1

See more items in:

Carl Whiting Bishop Collection

Archival Repository:

Freer Gallery of Art and Arthur M. Sackler Gallery Archives

EDAN-URL:

ead_component:sova-fsa-a-02-ref11

Creator:

Fenollosa, Ernest Francisco, 1853-1908  Search this

Collection Creator:

Freer, Charles Lang, 1856-1919  Search this

Extent:

196 Pages (19.5 x 13 cm.)

Container:

Box 56, Folder 2

Type:

Archival materials

Pages

Notebooks

Place:

USA -- Michigan -- Detroit

Date:

November 4-11, 1907

Scope and Contents:

One journal-style volume, quarter-bound black pebble-grained cloth with brown marbled paper boards. Approximately 200 pages, mostly filled with handwritten notes. Paper onlay on the front cover bears the handwritten inscription "Notes taken before Mr. Freer's collection in Detroit -- some amount is [?] -- mostly [?] lantern slides." Inside front cover has the bookplate of Ernest K. Fenollosa; the bookplate also bears the ink signature "Mary McNeil Fenollosa (Sidney McCall)" and the ink stamp of the Freer Gallery of Art, Washington D.C. Loosely inserted at the beginning of the journal is an undated receipt for the purchase of several items from the Walpole Galleries in New York City.

The first part of the journal, dated November 1907, contains approximately 104 pages of notes, presumably written in Fenollosa's hand. On the back cover, another paper slip bears the inscription "This end of the note book to be used for a list of Illustrations from Stokes' prints to be sent Mr. Heinemann -- begun March 16th 1911." From this point, a new set of notes begins, written after Fenollosa's death and consisting of approximately 34 pages.

Notes taken before Mr. Freer's collection in Detroit

Arrangement:

Organized in one flat box.

Biographical / Historical:

Ernest Francisco Fenollosa (1853-1908) was a poet and student of Asian art. Born in Salem, Massachusetts, Fenollosa studied at Harvard, Cambridge University and the art school at the Boston Museum of Fine Arts before traveling to Japan to teach political economy and philosophy at the Imperial University at Tokyo. In 1988, he helped establish the Tokyo Fine Arts Academy and the Imperial Museum, serving as its director. For his many efforts to preserve temples and shrines and their art work, the Emperor of Japan decorated him with the orders of the Rising Sun and the Sacred Mirror. In 1890 Fenollosa returned to the Boston Museum of Fine Arts to take the position of curator of the department of Oriental arts. However, his public divorce and immediate remarriage in 1895 to the writer Mary McNeill Scott (1865-1954) led to his dismissal from the Museum in 1896 and he returned to Japan to teach English literature at the Tokyo Higher Normal School. He returned to the United States in 1900 to write and lecture on Asia. His works include East and West: The Discovery of America and Other Poems (1893); Epochs of Chinese and Japanese Art (2d ed. 1912), compiled by his widow, Mary McNeil Fenollosa; and two works on Japanese drama (ed. by Ezra Pound, 1916).

Local Numbers:

FSA A.01 04.02

Collection Restrictions:

Collection is open for research.

Collection Rights:

Permission to publish, quote, or reproduce must be secured from the repository.

Topic:

Art, Asian  Search this

Art -- Private collections  Search this

Genre/Form:

Notebooks

Collection Citation:

Charles Lang Freer Papers. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Smithsonian Institution, Washington, D.C. Gift of the estate of Charles Lang Freer.

Identifier:

FSA.A.01, Item FSA A.01 04.02

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Charles Lang Freer Papers

Charles Lang Freer Papers / Series 4: Freer Colleague Materials / 4.1: Ernest Fenollosa Materials

Archival Repository:

Freer Gallery of Art and Arthur M. Sackler Gallery Archives

EDAN-URL:

ead_component:sova-fsa-a-01-ref2477

Collection Collector:

Cultural History, Division of (NMAH, SI).  Search this

Cooper-Hewitt Museum.  Search this

Zim, Larry (Larry Zimmerman), 1931-1987  Search this

Container:

Map-folder 45

Type:

Archival materials

Date:

1893

Scope and Contents:

25 x 30 1/2 in.; 63.5 x 77.47 cm

Collection Restrictions:

Collection is open for research but two oversize folders are 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.

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:

Larry Zim World's Fair Collection, 1841-1988, Archives Center, National Museum of American History.

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Larry Zim World's Fair Collection

Larry Zim World's Fair Collection / Series 4: Oversize Materials

Archival Repository:

Archives Center, National Museum of American History

EDAN-URL:

ead_component:sova-nmah-ac-0519-ref1091

Collection Collector:

Cultural History, Division of (NMAH, SI).  Search this

Cooper-Hewitt Museum.  Search this

Zim, Larry (Larry Zimmerman), 1931-1987  Search this

Container:

Map-folder 45

Type:

Archival materials

Date:

1893

Scope and Contents:

25 x 30 1/2 in.; 63.5 x 77.47 cm

Collection Restrictions:

Collection is open for research but two oversize folders are 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.

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:

Larry Zim World's Fair Collection, 1841-1988, Archives Center, National Museum of American History.

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Larry Zim World's Fair Collection

Larry Zim World's Fair Collection / Series 4: Oversize Materials

Archival Repository:

Archives Center, National Museum of American History

EDAN-URL:

ead_component:sova-nmah-ac-0519-ref1616

Collection Creator:

Ribicoff, Belle Krasne, 1924-  Search this

Extent:

(Boxes 1, 3; 1.0 linear feet)

Type:

Archival materials

Scope and Contents note:

Correspondence spans over sixty years, with the bulk dating from 1949-2007. Belle Krasne Ribicoff's correspondence, mostly incoming letters, consists of letters, drafts, postcards, and copies of e-mails. Some letters are illustrated; a few contain original artwork. Many letters have attachments, such as invoices, price lists, notes, sketches, printed material, clippings, exhibition catalogues, invitations, and photographs.

Ribicoff was friends with many artists. Their letters to her concern daily activities, work, and the art world. Among the correspondents were Charles Burchfield, Oscar and Eleanor Chelminsky, Joseph Cornell, Piero and Virginia Dorazio, John and Rae Ferren, Helen Frankenthaler, Alberto Giacometti, John Graham, Russell Lynes, Frank Modell, George L.K. Morris, Philip Pearlstein, David Smith, John Von Wicht, Adja Yunkers, among others. There are individual artists' files for Ben Benn, Sidney Geist, Leon Hartley, Arnold Newman, Ralph Rosenborg, and Theodore Roszak. Two items of interest: Carl Holty's letter to J.B. Neumann discusses the use of realism in his work and an artist's statement by Adolph Gottlieb. Marcel Duchamp correspondence consists of two black and white photographs of the artist: a print by Victor Obsatz inscribed to Belle Krasne Ribicoff and a print by Naomi Savage, and a reproduction of an artwork.

Ribicoff's friends and colleagues included writers, actors, and other well-known individuals associated with theatre and film, such as Edward Albee, Claire Bloom, Horton Foote, Elia Kazan, Peter De Vries, Mark Lamos, Estelle Parsons, Cornelia Otis Skinner, and P.T. Travers. Also found are letters from art historians, museum directors, gallery dealers, such as Dore Ashton, S. Lane Faison, Balcomb Greene, Rene d'Harnoncourt, Pierre Matisse, Andrew C. Ritchie, Harry Salpeter, Curt Valentin and others. Files also contain letters to Belle Krasne Ribicoff from friends and colleagues relating to her departure from Art Digest; letters between Ribicoff and representatives of the Storm King Art Center Museum pertaining to her donation of unpublished letters by David Smith to the museum; and correspondence with the Wadsworth Atheneum. Included is a small file of unidentified correspondents.

Arrangement note:

Correspondence, including files with individuals where there is substantive correspondence is arranged alphabetically; letters within the folders are filled in chronological order.

Collection Restrictions:

Use of original material requires an appointment.

Letters from Jean Bazaine to Belle Krasne Ribicoff and sketches of Sarai Ribicoff by William Bailey are access restricted. Their use requires written permission.

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:

Belle Krasne Ribicoff papers, 1942-circa 2010 bulk 1945-2004. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.krasbell2, Series 2

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Belle Krasne Ribicoff papers

Archival Repository:

Archives of American Art

EDAN-URL:

ead_component:sova-aaa-krasbell2-ref17

Creator:

Whistler, James McNeill, 1834-1903  Search this

Names:

Company of the Butterfly  Search this

Royal Academy of Arts (Great Britain)  Search this

Salon (Exhibition : Paris, France)  Search this

Salon des refusés  Search this

World's Columbian Exposition (1893 : Chicago, Ill.)  Search this

Anderson, Christine  Search this

Beck, J. W.  Search this

Boehm, Joseph Edgar, Sir, 1834-1890  Search this

Bronson, Katharine de Kay, 1834-1901  Search this

Burnett, Frances Hodgson, 1849-1924  Search this

Burnett, Swan M. (Swan Moses), 1847-1906  Search this

Ford, Sheridan, d. 1922  Search this

Lee, George Washington Custis, 1832-1913  Search this

Lee, Robert E. (Robert Edward), 1807-1870  Search this

Leighton of Stretton, Frederic Leighton, Baron, 1830-1896  Search this

Lucas, George A., 1824-1909  Search this

Pollitt, Herbert Charles Jerome, 1871-1942  Search this

Wilde, Oscar, 1854-1900  Search this

Extent:

0.2 Linear feet

Type:

Collection descriptions

Archival materials

Postcards

Pamphlets

Date:

1863-1906, circa 1940

Summary:

The collection measures 0.2 linear feet and provides scattered documentation of the career of American-born British-based painter and etcher James McNeill Whistler (1834-1903) through 39 items from Whistler to various recipients, including 25 letters, 9 telegraphs, 3 invitations, one thank you card and a postcard. The collection also contains 4 letters from others, 7 catalogs of Whistler exhibitions, a note from the back of Whistler's painting The Beach at Selsey Bill, and a 1906 copy of Wilde v. Whistler: being an acromonious correspondence on art between Oscar Wilde and James A. McNeill Whistler, a pamphlet containing letters originally published in London newspapers between 1885 and 1890.

Scope and Content Note:

The collection measures 0.2 linear feet and provides scattered documentation of the career of American-born British-based painter and etcher James McNeill Whistler (1834-1903) through 39 items from Whistler to various recipients, including 25 letters, 9 telegraphs, 3 invitations, one thank you card and a postcard. The collection also contains 4 letters from others, 7 catalogs of Whistler exhibitions, a note from the back of Whistler's painting The Beach at Selsey Bill, and a 1906 copy of Wilde v. Whistler: being an acromonious correspondence on art between Oscar Wilde and James A. McNeill Whistler, a pamphlet containing letters originally published in London newspapers between 1885 and 1890.

The Whistler letters found here touch on some important events in Whistler's career. One letter to George Lucas, an American art dealer in Paris, discusses his plans to send Symphony in White, No. 1: The White Girl to the Paris Salon of 1863. Rejected by the Royal Academy of Arts in London in 1862, the painting was also refused by the Paris Salon but shown ultimately in the landmark exhibition at the Salon des Refusés.

Also found are a circa 1879 letter to the eldest son of Robert E. Lee, General George Washington Custis Lee, with whom Whistler had been a cadet at West Point, recommending sculptor Joseph Boehm for an equestrian statue for memorializing Lee and expressing Whistler's veneration for the Confederate general; a circa 1880 letter from Whistler, written during his 14 months in Venice, to Katharine de Kay Bronson, who presided over the expatriate community there; 2 circa 1892-1893 letters documenting Whistler's determination to pursue Sheridan Ford through the courts in response to Ford's publication of a contraband version of Whistler's book The Gentle Art of Making Enemies; and a circa 1897 letter to J. W. Beck, sent in response to Beck's request on behalf of the Royal Academy that he exhibit with the British contingent at the 1893 World's Columbian Exposition in Chicago. In the letter Whistler insults Sir Frederic Leighton, the Royal Academy's president, retaliating against previous slights including having his paintings hung well above eye-level, or "skied".

Although few, if any, records survive about the creation of The Company of the Butterfly, a syndicate established in 1897 for selling Whistler's work, the collection contains one letter from Christine Anderson, the secretary of the Company, to one of it's first clients, Herbert Charles Pollitt.

The collection also contains an 1883 invitation from Whistler to Dr. Swan Burnett and his wife, children's author Frances Hodgson Burnett, to view etchings and drypoints and a note written by Whistler and signed with the butterfly, taken from the back of the painting Beach at Selsey Bill (1865).

Seven catalogs dating from 1892-1910 and circa 1940 document Whistler exhibitions in London and the United States.

Seven of the Whistler items are signed with his butterfly signature and all letters sent after his wife's death in May 1896 are on mourning stationary.

Arrangement:

The collection is arranged as 1 series:

Series 1: James McNeill Whistler Collection, 1863-1906, circa 1940 (Box 1; 0.2 linear ft.)

Biographical Note:

London-based painter and etcher, James McNeill Whistler (1834-1903) was born in Lowell, Massachusetts and lived in St. Petersburg and London as a child before returning to the United States on the death of his father in 1849. After a failed attempt at a military career at West Point from 1851-1853, he worked as a draftsman for the Coast Survey from 1854-1855 where he received technical instruction in etching. Whistler then left for Paris and remained an expatriot for the rest of his life, living alternately in Paris and London. He studied briefly in Paris at the Ecole Impériale, but was influenced more heavily by his own studies of the great masters and his contemporaries, including Henri Fantin-Latour, Charles Baudelaire, Gustave Courbet, and Edouard Manet.

Whistler's reputation as an etcher was firmly established with the 1858 publication of his group of "French Set" etchings. Shortly thereafter he settled in London and began work on his first major painting At the Piano (1859). His paintings, such as Symphony in White No. 1 The White Girl, (1862; National Gallery of Art, Washington, D.C.) and later portraits such as Arrangement in Black and Grey No. 1: The Artist's Mother (1871; Musée d'Orsay, Paris), won him international acclaim. His style was not easily defined although he was influenced by Realism and Impressionism and by Japanese art styles, which can be seen in his "Nocturne" landscapes, exhibited in 1877 at the Grovesnor Gallery in London, and influenced the development of his "butterfly signature" in the 1860s.

When art critic John Ruskin wrote a scathing review of the "Nocturnes" exhibition, Whistler sued for libel and won, although the resulting legal fees drove him into bankruptcy. He spent 14 months in Venice on a commission for the Fine Art Society and produced a succession of etchings and pastels that were subsequently exhibited in 1883 and helped to stabilize his financial situation.

In 1885 Whistler, famous for his witty and flamboyant personality, published his Ten O'Clock Lecture which espoused his belief in "art for arts sake," and asserted his refusal to ascribe narratives or morality to his art. Whistler's "Ten O'Clock" drew a response from Oscar Wilde and a public discourse between the two men followed in the London newspapers. It was later published in the pamphlet Wilde v. Whistler: being an acrimonious correspondence on art between Oscar Wilde and James A. McNeill Whistler.

In 1890 Whistler published The Gentle Art of Making Enemies, a collection of his best letters and witticisms. The book had originally been the idea of American journalist Sheridan Ford, to whom Whistler had advanced money which he then withdrew with the intent of completing the project alone. When Ford retaliated with a contraband edition of the book, Whistler pursued him through the courts and Ford was tried in Belgium in 1891.

Toward the end of his life Whistler focused increasingly on etching, drypoint and lithography, in addition to interior decoration such as the Peacock Room for Frederick Leyland's London residence begun in 1876. A happy marriage to Beatrix Godwin in 1888 ended in her death in May 1896. By the time of his death in London in 1903, Whistler was regarded as major artist of international renown.

Related Material:

The Archives holds several collections relating to James McNeill Whistler including the Katherine Prince collection relating to James McNeill Whistler, 1835- 1892; Edward Guthrie Kennedy papers concerning James McNeill Whistler in the New York Public Library, 1850-1902 and Selected papers concerning James McNeill Whistler in the New York Public Library, 1830-1950 (available on microfilm only, reel N25; originals reside at the New York Public Library); and James McNeill Whistler collection in the University of Glasgow, Special Collections, circa 1830-1963 (available on microfilm only, reels 4600-4611 and 4683-4699; originals reside in the Glasgow University Library, Dept. of Special Collections).

Provenance:

The collection was compiled from a series of accessions donated between 1959 and 2003. Most of the items in the collection were given to the Archives of American Art by Charles Feinberg in 1959. The pamphlet Wilde v. Whistler was donated by Mrs. Lois Field in 1964 and an invitation to Dr. and Mrs. Burnett was donated by Martha Fleischman in 2003.

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:

Art dealers -- France -- Paris  Search this

Painters  Search this

Topic:

Painting, American  Search this

Etchers  Search this

Genre/Form:

Postcards

Pamphlets

Citation:

James McNeill Whistler collection, 1863-1906, circa 1940. Archives of American Art, Smithsonian Institution.

Sponsor:

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

Identifier:

AAA.whisjame2

See more items in:

James McNeill Whistler collection

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-whisjame2

Collection Creator:

Cahill, James, 1926-2014  Search this

Container:

Box 2, Folder 26

Type:

Archival materials

Date:

1983

Collection Restrictions:

Collection is open for research. Due to cold storage requirements, digital surrogates are prefered for access. One week's notice is required prior to access originals.

Collection Rights:

Permission to reproduce and publish an item from the Archives is coordinated through the Freer Gallery of Art and Arthur M. Sackler Gallery's Rights and Reproductions department. Please contact the Archives in order to initiate this process.

Collection Citation:

James Cahill papers, 1945-1996. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Smithsonian Institution, Washington, D.C. Gift of James Cahill, December 12th, 2001.

See more items in:

James Cahill Papers

James Cahill Papers / Series 1: Project Files

Archival Repository:

Freer Gallery of Art and Arthur M. Sackler Gallery Archives

EDAN-URL:

ead_component:sova-fsa-a2001-11-ref79

Collection Creator:

Linda Farris Gallery  Search this

Farris, Linda  Search this

Container:

Box 7, Folder 20

Type:

Archival materials

Date:

1976

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.

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:

Linda Farris Gallery records, 1969-1995. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Smithsonian Institution Collections Care Pool Fund.

See more items in:

Linda Farris Gallery records

Linda Farris Gallery records / Series 3: Artists and Exhibition files / 3.2: Exhibition files

Archival Repository:

Archives of American Art

EDAN-URL:

ead_component:sova-aaa-lindfarr-ref197

Collection Creator:

Nochlin, Linda  Search this

Type:

Archival materials

Date:

circa 1876

1959-2010

Scope and Contents:

Included in this subseries are drafts and notes for Nochlin's dissertation, "Gustave Courbet: A Study of Style and Society," published in 1976 which was the genesis of Nochlin's lifelong study of Courbet and his relation to realism. The subseries includes drafts, correspondence, lectures, outlines, typescripts, contracts, and research material that includes an original letter written by Courbet, circa 1876. Additional material on Courbet can be found within the teaching files in series 6, subseries 6.1.

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 born-digital records or 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:

Linda Nochlin papers, circa 1876, 1937-2017. Archives of American Art, Smithsonian Institution.

Sponsor:

The processing of this collection received Federal support from the Collections Care Initiative Fund, administered by the Smithsonian American Women's History Initiative and the National Collections Program.

Identifier:

AAA.nochlind, Subseries 4.1

See more items in:

Linda Nochlin papers

Linda Nochlin papers / Series 4: Writing Project Files

Archival Repository:

Archives of American Art

EDAN-URL:

ead_component:sova-aaa-nochlind-ref10

Collection Creator:

Nochlin, Linda  Search this

Container:

Oversize 36

Type:

Archival materials

Date:

1983

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 born-digital records or 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:

Linda Nochlin papers, circa 1876, 1937-2017. Archives of American Art, Smithsonian Institution.

Sponsor:

The processing of this collection received Federal support from the Collections Care Initiative Fund, administered by the Smithsonian American Women's History Initiative and the National Collections Program.

See more items in:

Linda Nochlin papers

Linda Nochlin papers / Series 4: Writing Project Files / 4.1: Files on Gustave Courbet and Realism

Archival Repository:

Archives of American Art

EDAN-URL:

ead_component:sova-aaa-nochlind-ref1031

Collection Creator:

Nochlin, Linda  Search this

Container:

Oversize 36

Type:

Archival materials

Date:

1967-1976

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 born-digital records or 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:

Linda Nochlin papers, circa 1876, 1937-2017. Archives of American Art, Smithsonian Institution.

Sponsor:

The processing of this collection received Federal support from the Collections Care Initiative Fund, administered by the Smithsonian American Women's History Initiative and the National Collections Program.

See more items in:

Linda Nochlin papers

Linda Nochlin papers / Series 4: Writing Project Files / 4.1: Files on Gustave Courbet and Realism

Archival Repository:

Archives of American Art

EDAN-URL:

ead_component:sova-aaa-nochlind-ref1036

Collection Creator:

Nochlin, Linda  Search this

Container:

Box 11, Folder 9

Type:

Archival materials

Date:

1970

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 born-digital records or 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:

Linda Nochlin papers, circa 1876, 1937-2017. Archives of American Art, Smithsonian Institution.

Sponsor:

The processing of this collection received Federal support from the Collections Care Initiative Fund, administered by the Smithsonian American Women's History Initiative and the National Collections Program.

See more items in:

Linda Nochlin papers

Linda Nochlin papers / Series 4: Writing Project Files / 4.1: Files on Gustave Courbet and Realism

Archival Repository:

Archives of American Art

EDAN-URL:

ead_component:sova-aaa-nochlind-ref1046

Collection Creator:

Nochlin, Linda  Search this

Extent:

0.001 Gigabytes (2 computer files)

Container:

Folder ER012

Type:

Archival materials

Computer Disks

Gigabytes

Date:

1995

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 born-digital records or 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:

Linda Nochlin papers, circa 1876, 1937-2017. Archives of American Art, Smithsonian Institution.

Sponsor:

The processing of this collection received Federal support from the Collections Care Initiative Fund, administered by the Smithsonian American Women's History Initiative and the National Collections Program.

See more items in:

Linda Nochlin papers

Linda Nochlin papers / Series 4: Writing Project Files / 4.1: Files on Gustave Courbet and Realism

Archival Repository:

Archives of American Art

EDAN-URL:

ead_component:sova-aaa-nochlind-ref1059

Collection Creator:

Nochlin, Linda  Search this

Extent:

0.163 Gigabytes (4 computer files)

Container:

Folder ER013

Type:

Archival materials

Computer Disks

Gigabytes

Date:

2009

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 born-digital records or 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:

Linda Nochlin papers, circa 1876, 1937-2017. Archives of American Art, Smithsonian Institution.

Sponsor:

The processing of this collection received Federal support from the Collections Care Initiative Fund, administered by the Smithsonian American Women's History Initiative and the National Collections Program.

See more items in:

Linda Nochlin papers

Linda Nochlin papers / Series 4: Writing Project Files / 4.1: Files on Gustave Courbet and Realism

Archival Repository:

Archives of American Art

EDAN-URL:

ead_component:sova-aaa-nochlind-ref1060