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:
Calvert Coggeshall papers, 1920-1999, bulk 1965-1989. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Terra Foundation for American Art
The papers of contemporary and folk art curator, historian, and consultant Dorothy C. Miller measure 34.6 linear feet and date from 1853-2013, with the bulk of the material dating from 1920 to 1996. The papers primarily concern Miller's private art consulting work outside of her curatorial work at the Museum of Modern Art in New York City. Found are scattered biographical materials, extensive correspondence and subject files, and project files for her art consulting work for the Rockefeller family, Rockefeller University, Chase Manhattan Bank, the Port Authority of New York and New Jersey, the World Trade Center, and other miscellaneous corporate and private clients. Miller's work as a trustee and committee member of various public and private boards and commissions is also represented here. Additionally, the papers contain Miller's research files on Edward Hicks and folk art, and a small number of files of her husband Holger Cahill about his work as Director of the Federal Art Project. There is a scattered documentation of Miller's early curatorial work with Holger Cahill on the First Municipal Art Exhibition (1934) held at the RCA Building in Rockefeller Center. Also found is Dorothy Miller's collection of artists' Christmas cards and photographs of Miller and others. An addition to the papers includes biographical material; family papers; correspondence; professional files; art collection and client files; printed material; and photographic material. While a small number professional files are included, the majority of the addition relates to her personal life, including correspondence with her husband Holger Cahill, and files pertaining to her personal art collection.
Scope and Content Note:
The papers of contemporary and folk art curator, historian, and consultant Dorothy C. Miller measure 34.6 linear feet and date from 1853-2013, with the bulk of the material dating from 1920 to 1996. The papers primarily concern Miller's art consulting work outside of her curatorial work at the Museum of Modern Art in New York city. Found are scattered biographical materials, extensive correspondence and subject files, and project files for her art consulting work for the Rockefeller family, Rockefeller University, Chase Manhattan Bank, the Port Authority of New York and New Jersey, and other miscellaneous corporate and private clients. Her work as a trustee and committee member of various public and private boards and commissions is also represented here. Additionally, the papers contain Miller's research files on Edward Hicks and folk art, and a small number of files related to Miller's husband Holger Cahill and his work as Director of the Federal Art Project. There is important documentation of Miller's early curatorial work with Holger Cahill on the First Municipal Art Exhibition (1934) held at the RCA Building in Rockefeller Center. Artwork includes scattered sketches and drawings enclosed with correspondence and original Christmas cards sent to Miller by various artists. Photographs of Miller date from 1926 - circa 1950.
Scattered biographical material mostly concerns Miller's education at Smith College and awards and honorary degrees that she received. Extensive correspondence and subject files document her professional and personal relationships with family, friends, colleagues, museums, art dealers and artists, as well as her research interests. Individual files may contain a mix of correspondence with, as well as about, the person or subject, compiled research documents, printed materials, and scattered photographs. Files are found for Lewin Alcopley, Alfred Barr, Betty Parsons Gallery, Cahill family members, Lee Bontecou, James Byars, Holger Cahill, Alexander Calder, Christo, Chryssa, Calvert Coggeshall, John Canaday, Maryette Charlton, Stuart Davis, Jay DeFeo, Lorser Feitelson, Arshile Gorky, Peggy Guggenheim, Grace Hartigan, Will Horwitt, Jasper Johns, Julien Levy, Pierre Matisse, Louise Nevelson, Barnett Newman, Isamu Nauchi, Georgia O'Keeffe, Pablo Picasso, Robert Rauschenberg, Ad Reinhardt, Kay Sage, Charles Sheeler, Hedda Sterne, travel, Clyfford Still, William Scharf, among many others.
Detailed records of Miller's art consulting and advisory work for the Rockefeller family include correspondence with Nelson A. Rockefeller and David Rockefeller about building their personal collections of contemporary and folk art, meeting notes and minutes, research notes and writings, and printed materials. The largest group of records concerns the writing and publication of The Nelson A. Rockefeller Collection: Masterpieces of Modern Art. Miller's curatorial work for David Rockefeller and the Rockefeller University's Abby Aldrich Rockefeller Hall art collection is documented in Series 4 through curatorial files, correspondence, printed materials, photographs and slides, artists files, and design records.
Series 5 contains files relating to Miller's work as the first art consutant to the Chase Manhattan Bank and the building of the corporation's extensive collection of contemporary art. There is a draft of Miller's text for the bank's published catalog, Art At Work: Chase Manhattan Bank Collection. A smaller set of records is found in Series 6 documenting Miller's work on the Art Committee of the Port Authority of New York and New Jersey, including files about selecting artwork for the World Trade Center during the early 1970s. Files concerning Miller's advisory work with additional public and private clients, boards, and commissions are arranged in Series 7 and 8 and concern the Amstar Corporation, Fidelity International Bank, First National Bank of Tampa, First National City Bank, Inmont Corporation, Pepsico, United Mutual Savings Bank, the Empire State Plaza Art Commission, the Hancock Shaker Village, the Hirshhorn Museum and Sculpture Garden, the Mark Rothko Foundation, the Museum of American Folk Art, and the Smith College Museum of Art.
Miller's papers include a small group of files relating to the WPA Federal Art Project (FAP)created by her husband Holger Cahill when he was director of the FAP, Holger Cahill. A small series is devoted to Miller's work with Eleanore Price Mather researching and writing Edward Hicks: His Peaceable Kingdom and Other Paintings. A series of general research files contain miscellaneous research notes and photographs related to Miller's interests in early American art and folk art. Series 12 contains important documentation of Miller's early curatorial work with Holger Cahill on the First Municipal Art Exhibition (1934) held at the RCA Building in Rockefeller Center.
Works of art are primarily in the form of Christmas cards sent to Miller by various artists including Elise Asher, Lyonel Feininger, Bernard Karpel, and Irene Rice Pereira. A small group of photographs includes photographs of Miller from 1926-circa 1950 and a few photographs of others.
The addition includes biographical material; family papers; correspondence; professional files; art collection and client files; printed material; and photographic material. While a small number of professional files are found here, the majority of material relates to Miller's personal life, including correspondence with her husband Holger Cahill, and files pertaining to her personal art collection. Scattered correspondence, inventories, research, and notes created by curator and donor of the papers, Wendy Jeffers, are found throughout the collection. These materials date from the 1980s-2000s.
Arrangement:
The collection is arranged as 15 series:
Missing Title
Series 1: Biographical Material, 1917-1986 (Box 1; 0.3 linear ft.)
Series 2: Correspondence and Subject Files, circa 1912-1992 (Boxes 1-8, OV 27; 7.2 linear ft.)
Series 3: Rockefeller Family Art Collections, circa 1949-1985 (Boxes 8-12, 25; 3.9 linear ft.)
Series 4: Rockefeller University Collection, 1923-1984 (Boxes 12-13, OV 27; 1.0 linear ft.)
Series 5: Chase Manhattan Bank Collection, 1959-circa 1985 (Boxes 13-14, 26; 1.4 linear ft.)
Series 6: Port Authority of New York and New Jersey Art Committee, circa 1965-1987 (Boxes 14-15, OV 27; 0.8 linear ft.)
Series 7: Other Corporate and Private Clients, 1968-1984 (Boxes 15-16; 1.3 linear ft.)
Series 8: Other Boards, Committees and Commissions, 1925, 1949-1985 (Boxes 16-20; 3.6 linear ft.)
Series 9: Works Project Administration Federal Art Project Files, 1935-1979 (Box 20, OV 27; 0.5 linear ft.)
Series 10: Edward Hicks Catalog, 1934-1984 (Boxes 20-22; 1.5 linear ft.)
Series 11: Research Files, 1930s-1980 (Boxes 22-23; 0.8 linear ft.)
Series 12: Exhibition Files, 1932-1986 (Box 23; 0.6 linear ft.)
Series 13: Works of Art, circa 1924-circa 1982 (Boxes 23-25; 1.5 linear ft.)
Series 14: Photographs, 1926-circa 1970s (Boxes 24-25; 0.3 linear ft.)
Series 15: Addition to the Dorothy C. Miller Papers, 1853-2003, bulk 1920-1996 (Boxes 28-38, OVs 39-41; 9.9 linear ft.)
Biographical Note:
Dorothy Canning Miller (1904-2003) worked in New York City as a highly influential curator of contemporary and folk art at the Museum of Modern Art and as the first curator of the museum. Later, she was the primary art consultant for Nelson A. Rockefeller, the Rockefeller family, Rockefeller University, Chase Manhattan Bank, and the Port Authority of and New Jersey. Dorothy Miller was also married to Holger Cahill, director of the WPA Federal Art Project.
Dorothy C. Miller was born in Hopedale, Massachusetts in 1904 and received her Bachelor of Arts from Smith College in 1925. She was first introduced to modern art through classes at the Newark Museum taught by John Cotton Dana and Holger Cahill. Miller joined the curatorial staff of the Newark Museum in 1926. The museum was one of the first to organize exhibitions of American folk art, American Primitives (1930-1931) and American Folk Sculpture (1931-1932). Miller worked with Cahill and others on the exhibition and developed a life-long interest in folk art.
After four years at the Newark Museum, Miller moved to New York city, hoping to get involved with the newly opened Museum of Modern Art (MoMA), and, likely, to be with Holger Cahill, with whom she lived with on 8th Street prior to their marriage in 1938. Between 1930 and 1932 she took odd jobs and worked with Mrs. Henry Lang cataloging, researching and installing Lang's collection of Native American art Lang donated to the Montclair Art Museum. At the same time, Holger Cahill was serving as Acting Director of the Museum of Modern Art during an absence of Director Alfred H. Barr. In 1932, Cahill asked Miller to assist him with curating the American Painting and Sculpture, 1862-1932 exhibition at MoMA, and together they also curated the First Municipal Art Exhibition, 1934 at the Rockefeller Center.
In 1934, Barr hired Miller as his assistant and one year later appointed her as MoMA's first curator. Miller spent the next 35 years organizing many of this country's most important exhibitions of contemporary art and building personal relationships with new artists and photographers, as well as the collections of MoMA. Miller retired from MOMA in 1969 and focused more on her art consulting work begun in the late 1950s.
Dorothy Miller's most notable client was Nelson A. Rockefeller. She assisted and advised Rockefeller as he acquired a vast personal collection of modern art - some of which was later donated to MoMA. Just prior to her retirement, Miller organized a large exhibition of Rockefeller's collection. The exhibition catalog written by Miller was the basis for the book she worked on with Rockefeller up until and following his death in 1979, ultimately published as The Nelson A. Rockefeller Collection: Masterpieces of Modern Art. In the preface, Rockefeller credited Miller with being one of the four people to whom he was indebted "for the understanding and endless joy I have found in the collecting of modern art in all forms."
Miller also served as the primary art consultant for projects to furnish federal spaces, including Henry Kissinger's State Department office suite, and the official Vice-Presidential residence at the Admiral's House in Washington D.C.
In 1959 Miller was invited to join the art collection committee of the Chase Manhattan Bank and served on the committee until the mid-1980s, contributing her expertise to the development of one of this country's oldest and largest corporate collections of modern and contemporary art.
Miller was also an advisor to other members of the Rockefeller family, including David Rockefeller, and assisted with developing the art collections of Rockefeller Institute/University. From 1960 through the late 1980s Miller was a member of the art committee for the Port Authority of New York and New Jersey (PANJY) and was responsible for selecting much of the artwork for the World Trade Center in the 1970s. She served on numerous boards and commissions, including the Hancock Shaker Village, the Smithsonian Institution's Hirshhorn Museum and Sculpture Garden, the Empire State Plaza in Albany, Smith College Museum of Art, and the Museum of American Folk Art. She also became a member of the Mark Rothko Foundation Board of Directors after the litigation following Rothko's death between Rothko's executors and his daughter.
In the mid-1970s Miller assisted the Whitney Museum of American with planning an exhibition and supporting catalog of the work of folk artist Edward Hicks. Although the exhibition and catalog were only partially realized in 1980, Miller and Eleanore Price Mather compiled and published a book on Hicks, Edward Hicks: His Peaceable Kingdoms and Other Paintings, published in 1983.
In 1982-1983 Miller received the Art Dealers Association Special Award, an honorary degree from Williams College, and the Skowhegan School of Painting and Sculpture governor's award. In 1984 she was named honorary trustee of the Museum of Modern Art. In 1985 the Smith College Museum of Art honored her important contributions to museum connoisseurship with the exhibition Dorothy C. Miller: With An Eye to American Art.
Dorothy Miller died in 2003 at the age of 99 at her home in Greenwich, New York.
Related Material:
The Archives of American Art holds two oral history interviews with Dorothy C. Miller. The first was conducted by Paul Cummings between May 26, 1970 and September 28, 1971, and details Miller's life from childhood up to, and including, her years at the Museum of Modern Art. The second was conducted by Avis Berman on May 14, 1981 and covers Miller's relationships with Mark Rothko and Clyfford Still. Also found among the holdings of the Archives are the papers of Holger Cahill, Dorothy Miller's husband and colleague.
The Museum of Modern Art Achives holds Dorothy Miller's papers related to her curatorial work at the museum.
Provenance:
The collection was donated by Dorothy C. Miller via Wendy Jeffers between 1986 and 1997, and Reid White, Executor of Miller's estate, in 2004. Two subsequent additions were donated by Wendy Jeffers in 2014 and 2015.
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 historians -- New York (State) -- New York Search this
Topic:
Art museum curators -- New York (State) -- New York Search this
United States of America -- New York -- Westchester County -- Mount Kisco
Date:
1920
Collection Restrictions:
Access to original archival materials by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Collection Rights:
Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.
Sponsor:
A project to describe images in this finding aid received Federal support from the Smithsonian Collections Care Initiative, administered by the National Collections Program.
United States of America -- New York -- Westchester County -- Mount Kisco
Date:
1920
Collection Restrictions:
Access to original archival materials by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Collection Rights:
Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.
Sponsor:
A project to describe images in this finding aid received Federal support from the Smithsonian Collections Care Initiative, administered by the National Collections Program.
United States of America -- New York -- Westchester County -- Mount Kisco
Date:
1920
Collection Restrictions:
Access to original archival materials by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Collection Rights:
Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.
Sponsor:
A project to describe images in this finding aid received Federal support from the Smithsonian Collections Care Initiative, administered by the National Collections Program.
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:
Kathryn D. Sullivan Papers, NASM.2019.0007, National Air and Space Museum, Smithsonian Institution.
This collection contains 73 open reel tapes, made by Eric H. Davidson between 1958-1984, featuring the traditional music of Southern Appalachia.
Scope and Contents:
The Eric H. Davidson audio recordings consists of 73 open reel tapes dating from 1958-1984, featuring field recordings made by Davidson and his colleagues (including Caleb Ellicott Finch, Paul Newman, Lyn Davidson, and Jane Rigg) featuring the traditional music of Southern Appalachia. The recordings were collected primarily in Grayson and Carroll counties in Southwestern Virginia, and adjacent counties in North Carolina.
Arrangement:
The Eric H. Davidson audio recordings are arranged in chronological order. Each open reel tape was assigned a unique number by Eric Davidson.
Biographical / Historical:
Eric H. Davidson was born in 1937, in New York City. He was primarily known as a pioneering developmental biologist, who revolutionized the research of and theoretical framework behind "the gene regulatory networks that perform complex biological processes, such as the transformation of a single-celled egg into a complex organism. His work helped to reveal how the DNA sequences inherited in the genome are used to initiate and drive forward the sequence of steps that result in development." (1)
Davidson's work in biology began at the age of 16, when he began conducting research with cell physiologist L. V. Heilbrunn, a family friend, at the Marine Biological Laboratory (MBL) in Woods Hole, Massachusetts. He began as a dish washer at the MBL, but was informed by Heilbrunn that he was also expected to have a research project. This project resulted in a published abstract in the Biological Bulletin on clotting in sand dollars.
Davidson earned his bachelor of arts degree from the University of Pennsylvania in 1958 and his doctorate from Rockefeller University in 1963. After working as a postdoctoral researcher and faculty member at Rockefeller, he moved to Caltech, where he would spend the rest of his career, beginning as a visiting assistant professor. He was named Norman Chandler Professor of Cell Biology in 1982 and remained there until his death.
His interest in old time music arose at nearly the same time as his interest in biology. His father, a well-known abstract painter, and mother were connected to several people who were hired to do research for the Works Progress Administration (WPA) of the late 1930's and 40's. At 14, he began to play the 5-string banjo after being introduced to the instrument through his exposure to recordings of Southern Appalachian music recorded as a part of the WPA, held at the Library of Congress.
In college, he played music in cafes. He also got a hold of the log of WPA recordings that were so influential to him. He began to stick pins in maps wherever the recordings were made, and began to notice that most of the pins were clustered in two counties in Southwestern Virginia--Grayson and Carroll counties--and adjacent counties in North Carolina.
In 1956, he began to take trips down to these areas during breaks from school to record musicians that had learned songs and skills through oral tradition, as opposed to the radio or records. He continued to go every year for many years, until the last person he knew had learned by oral tradition passed away. He formed close relationships with many notable musicians during these trips, including Wade Ward (from whom he learned the clawhammer banjo playing technique), Tommy Jarrell, Paul Joines, Glen Neaves, Vester Jones, Ed Spencer, Glen Smith, Cullen Galyean, and Bobby Harrison. He often recorded with his longtime collaborators Caleb Ellicott Finch, Paul Newman, Lyn Davidson, and Jane Rigg. Many of these recordings were released by Moses Asch as Folkways Records albums, produced by Davidson and his collaborators between 1962-1986.
Davidson was interested in the personal, musical, structural, traditional, and historical aspects of Southern Appalachian music. His fieldwork style was to continue to record a musician until they got tired or he'd run out of tape. Then he'd come back the next day, and the next year, and the year after that, until he had recorded everything that musician knew. This gave his work the characteristic of what he described as, borrowing from his scientific background, a longitudinal study. He was able to observe changes in the musical tradition of the region: the transition of traditional ballad singing from a cappella to string band accompaniment, the incorporation of the guitar into the string band ensemble, and the shift from clawhammer to three-finger banjo picking. In an oral history interview with Davidson conducted by the Ralph Rinzler Folklife and Collections in 2015, Davidson said that in his research, he could see how "ballads combine and recombine like genetic organisms in biology."
Davidson was also an accomplished banjo musician in his own right. He formed the Iron Mountain String Band together with Caleb Finch (fiddle), and Peggy Haine (guitar), releasing an album (FA 2473) on Folkways Records in 1973 consisting of songs and tunes learned from his many recording trips into Grayson and Carroll counties.
Eric Davidson died on September 1, 2015 at the age of 78.
1. "Developmental Biologist Eric H. Davidson Passes Away," Caltech News, September 4, 2015, accessed January 5, 2016, http://www.caltech.edu/news/developmental-biologist-eric-h-davidson-passes-away-47772.
Disclaimer:
Please note that some language in this collection is culturally insensitive or offensive to viewers. It is presented as it exists in the original material for the benefit of research and the historical record. The material reflects the culture and context in which it was created and not the views of the Smithsonian Institution.
Shared Stewardship of Collections:
The Center for Folklife and Cultural Heritage acknowledges and respects the right of artists, performers, Folklife Festival participants, community-based scholars, and knowledge-keepers to collaboratively steward representations of themselves and their intangible cultural heritage in media produced, curated, and distributed by the Center. Making this collection accessible to the public is an ongoing process grounded in the Center's commitment to connecting living people and cultures to the materials this collection represents. To view the Center's full shared stewardship policy, which defines our protocols for addressing collections-related inquiries and concerns, please visit https://doi.org/10.25573/data.21771155.
Related Materials:
An oral history with Eric H. Davidson was conducted by the Ralph Rinzler Folklife Archives and Collections on April 26, 2015. Both the video and transcript is available for researchers. Contact archives staff for information.
Provenance:
Donated by Eric H. Davidson.
Restrictions:
Access to the Ralph Rinzler Folklife Archives and Collections is by appointment only. Visit our website for more information on scheduling a visit or making a digitization request. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies.
Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Topic:
Fiddle tunes -- Appalachian Region, Southern Search this
Folk music -- Appalachian Region, Southern Search this
Banjo music -- Appalachian Region, Southern Search this
This subseries consists of letters concerning mainly the Pergamon Press. The other two publishing houses are the Barrens Educational Series, Inc. (the agreement with Professor Melvin Kranzberg and Dr. John Barden), and the Rockefeller University Press (a letter with reference to a paper by Dr. Kranzberg titled "Historical Perspectives in Energy").
Two manuscripts by Dr. Kranzberg submitted for publication in the early 1940s are included, along with one entitled "A History of Vacuum Tubes," by Gerald F. J. Tyne. "Guide to Authors" and "Recommendations to Authors" by Permagon Press are in folder 19.
Collection 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.
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:
Melvin Kranzberg Papers, 1934-1988, Archives Center, National Museum of American History.
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.
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:
Melvin Kranzberg Papers, 1934-1988, Archives Center, National Museum of American History.
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:
Adolf Dehn papers, 1912-1981. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Terra Foundation for American Art
The collection is open for research. Use requires an appointment.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Florence Knoll Bassett papers, 1932-2000. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the digitization of this collection was provided by the Terra Foundation for American Art.
This series contains 9 notebooks from the 1930s to the 1990s. Included are a research notebook from the 1930s with a pencil sketch on back page of Chicago's skyline along Lake Michigan, 4 notebooks about travels to Europe in the 1930s and 1940s, and anatomy notes from Rockefeller University circa 1930s.
Writings about Schucker include a 44 page unpublished manuscript by Valerie Velasquez Louzonis.
Collection Restrictions:
Use of original papers requires an appointment. 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:
The Charles Schucker Papers, 1934-2001. Archives of American Art, Smithsonian Institution.
Herbert, Don (Donald Jeffry), 1917-2007 Search this
Extent:
1 Motion picture film (Duration: 11:00., Color, preview print, 16mm)
Container:
Box 55, Item 1326.9
Type:
Archival materials
Moving Images
Motion picture films
Date:
1969
Scope and Contents:
Motion pictures made through a phase-contrast microscope by Dr. James Hirsch of Rockefeller University reveal how he discovered the process by which white cells (polymorphonuclear leucocytes) kill microbes in the body. Dr. Zanvil Cohn, Dr. Hirsch's associate, is shown solving the preliminary problem of how to extract granules from the white cell for chemical analysis. Conclusive proof of Dr. Hirsch's theory is furnished by photographs taken by Dr. Dorothea Zucker-Franklin through an electron microscope. The film pictures for the first time how the enzymes in the granules within white cells are released to kill and digest microbes.
Collection Restrictions:
Collection is open for research. Reference copies for audio and moving images materials do not exist. Use of these materials requires special arrangement. Gloves must be worn when handling unprotected photographs and negatives.
Social Security numbers are present and have been rendered unreadable and redacted. Researchers may use the photocopies in the collection. The remainder of the collection has no restrictions.
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:
Mr. Wizard Papers, Archives Center, National Museum of American History.
Herbert, Don (Donald Jeffry), 1917-2007 Search this
Extent:
1 Motion picture film (Duration: 11:00., Black and white, sound. , 16mm)
Container:
Box 55, Item 1326.1
Type:
Archival materials
Moving Images
Motion picture films
Date:
1961 - 1961
Scope and Contents:
Motion pictures made through a phase-contrast microscope by Dr. James Hirsch of Rockefeller University reveal how he discovered the process by which white cells (polymorphonuclear leucocytes) kill microbes in the body. Dr. Zanvil Cohn, Dr. Hirsch's associate, is shown solving the preliminary problem of how to extract granules from the white cell for chemical analysis. Conclusive proof of Dr. Hirsch's theory is furnished by photographs taken by Dr. Dorothea Zucker-Franklin through an electron microscope. The film pictures for the first time how the enzymes in the granules within white cells are released to kill and digest microbes. #314, forms part of "Science Close-Up."
Collection Restrictions:
Collection is open for research. Reference copies for audio and moving images materials do not exist. Use of these materials requires special arrangement. Gloves must be worn when handling unprotected photographs and negatives.
Social Security numbers are present and have been rendered unreadable and redacted. Researchers may use the photocopies in the collection. The remainder of the collection has no restrictions.
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:
Mr. Wizard Papers, Archives Center, National Museum of American History.
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 C. Miller papers, 1853-2013, bulk 1920-1996. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Terra Foundation for American Art
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 C. Miller papers, 1853-2013, bulk 1920-1996. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Terra Foundation for American Art
Miller's consulting work with Blanchette Rockefeller (Mrs. John D. Rockefeller, III) and David and Peggy Rockefeller is documented here. Files relating to Blanchette Rockefeller primarily concern her purchases from the Museum of Modern Art's 1965 exhibition The New Japanese Painting and Sculpture.
Miller's notes and correspondence with David and Peggy Rockefeller are about her suggestions for acquisitions. Of particular interest is Miller's 1976 letter to David Rockefeller in which she recalls her first encounter with Morris Graves and seeing his artwork for the first time. Rockefeller purchased Graves's painting Shore Birds in 1977.
Also found here is correspondence relating to David Rockefeller's acquisitions from the Edith G. Halpert collection sold at auction in 1973 by Parke-Bernet. Additional files document Miller's research into acquisitions of folk art for the Rockefellers and the Abby Aldrich Rockefeller Folk Art Collection. Additional documentation of Miller's work for David Rockefeller in relation to the Rockefeller University Collection is found in the next subseries.
Collection Restrictions:
Use of original papers requires an appointment.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Dorothy C. Miller papers, 1853-2013, bulk 1920-1996. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Terra Foundation for American Art
