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Eric Gugler papers

Creator:
Gugler, Eric, 1889-1974  Search this
Names:
Cornell, Katharine, 1893-1974  Search this
Gugler, Frida  Search this
Manship, Paul, 1885-1966  Search this
Roosevelt, Eleanor, 1884-1962  Search this
Extent:
34.4 Linear feet
Type:
Collection descriptions
Archival materials
Sketches
Watercolors
Glass plate negatives
Paintings
Photographs
Blueprints
Date:
1889-1977
Summary:
The papers of architect and painter Eric Gugler measure 34.4 linear feet and date from 1889-1977. Found within the papers are biographical materials, including papers relating to the Gugler family, personal and business correspondence, writings, project files for commercial and residential commissions, personal business records, photographic materials, including 180 glass plate slides, and artwork.
Scope and Contents:
The papers of architect and painter Eric Gugler measure 34.4 linear feet and date from 1889-1977. Found within the papers are biographical materials, including papers relating to the Gugler family, personal and business correspondence, writings, project files for commercial and residential commissions, personal business records, photographic materials, including 180 glass plate slides, and artwork.

Biographical materials include certificates, official documents, curriculum vitae, and histories of the Gugler family. Correspondence consists of professional letters regarding prospective and active projects, and personal correspondence from friends and family, including Eleanor Roosevelt, Katherine Cornell, and Paul Manship. Writings include book proposal drafts, essays, notes, speeches, and writings by others.

Project files consist of correspondence, architectural sketches, blueprints, and photographic and printed materials related to Gugler's work on commercial, residential, governmental, and memorial commissions. Renderings of specific design objects, sculptures, and Gugler's collaborative work on preservation efforts are also included.

Personal business records include correspondence related to Gugler's firm, including office leases, prospective client lists, and service fees. Printed material consists of clippings, exhibition material, postcards, and other miscellaneous items.

Photographic materials are of Eric Gugler and members of the Gugler family. Artwork includes sketches, watercolors, paintings, photographs of artwork, and artwork by Frida Gugler.
Arrangement:
The collection is arranged as 8 series. Glass plate slides are housed separately and closed to researchers, but listed where they fall intellectually within the collection.

Missing Title

Series 1: Biographical Material, 1898-1975 (0.5 linear feet; Box 1, OV 33)

Series 2: Correspondence, 1906-1974 (4 linear feet; Boxes 1-5, 20, OV 33)

Series 3: Writings, 1932-1973 (16 folders; Box 5)

Series 4: Project Files, 1889-1977 (28.2 linear feet; Boxes 5-18, 20-24, 70-72, OV 25-31, OV 33-49, RD 50-51, 53-69)

Series 5: Personal Business Records, 1928-1972 (0.3 linear feet; Box 18)

Series 6: Printed Material, 1923-1977 (0.3 linear feet; Boxes 19, 24)

Series 7: Photographic Materials, 1890-1966 (9 folders; Box 19)

Series 8: Artwork, 1895-1970 (0.4 linear feet; Box 19, OV 32)
Biographical / Historical:
Architect and painter Eric Gugler (1889-1974) lived and worked in New York City, New York. Known for his work on monuments and memorials, Gugler was selected by President Roosevelt to head the redesign and building of the White House's West Wing in 1934.

Born in Milwaukee, Wisconsin to lithographer Julius Gugler and his wife, Bertha Bremer, Gugler attended Columbia University and received a three year scholarship to continue his studies at the American Academy in Rome. In 1919, he opened his architectural firm on Park Avenue in New York City and began accepting residential and commercial commissions. In addition to designing buildings and houses for clients, Gugler also completed smaller design objects for ceiling details, sculptures, murals, and decorative structures. In the late 1920s and early 1930s, his firm won commissions to complete World War I Memorials in New York and Chicago, Illinois, and also received a major commission to design the Educational Building in Harrisburg, Pennsylvania. Around this time, Gugler married Broadway actress and dancer Anne Tonetti and designed a second residence in the artist's community of Sneden's Landing, New York.

Gugler's interest and willingness to work on large scale memorials and institutional buildings aided in his appointment to a number of prominent commissions in the 1930s to the 1950s. These include the design of the White House's West Wing and the Sicily-Rome American Cemetery and Memorial in Italy, new construction and renovations to the Forman School (Conn.) and Wabash College (Ind.), and the building of residential houses for Katherine Cornell, Barry Faukner, and Paul Manship. In the 1960s, he was selected to head memorial designs for the Franklin Delano Roosevelt and Theodore Roosevelt Memorials in Washington, D.C., and also spent considerable time and energy developing the "Hall of Our History" project. Gugler remained active designing and working on projects until his death in 1974.
Related Materials:
The White House Historical Association's Office of the Curator holds additional Eric Gugler Papers related to the expansion and redesign of the West Wing in 1934.
Provenance:
The papers were donated in 1977 by Gugler's wife, Anne Tonetti Gugler. Additional materials were donated between 1979 and 1980 by Gugler's business associate, Ferdinand Eiseman.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Architects as artists -- New York (State) -- New York  Search this
Topic:
Painters -- New York (State) -- New York  Search this
Architecture -- Designs and plans  Search this
Architecture, Modern -- 20th century  Search this
Architects -- New York (State) -- New York  Search this
Genre/Form:
Sketches
Watercolors
Glass plate negatives
Paintings
Photographs
Blueprints
Citation:
Eric Gugler papers, 1889-1977. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.gugleric
See more items in:
Eric Gugler papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9a729ea25-2ca9-4693-95a4-2f15b5651aab
EDAN-URL:
ead_collection:sova-aaa-gugleric
Online Media:

The Historical Records of the Barnett-Aden Gallery

Creator:
Barnett-Aden Gallery  Search this
Names:
Anacostia Community Museum  Search this
Corcoran Gallery of Art  Search this
Howard University  Search this
Howard University. Gallery of Art  Search this
Aden, Alonzo J., 1906-1963  Search this
Asher, Lila Oliver  Search this
Driskell, David C.  Search this
Ealey, Adolphus  Search this
Greene, Carroll  Search this
Herring, James V. (James Vernon)  Search this
Johnson, Robert L., 1946 April 8-  Search this
Lazzari, Pietro, 1898-1979  Search this
Long, Richard, 1945-  Search this
Porter, James A. (James Amos), 1905-1970  Search this
Roosevelt, Eleanor, 1884-1962  Search this
Spellman, Gladys Noon  Search this
Thomas, Alma  Search this
Wells, James Lesesne, 1902-1993  Search this
Extent:
0.5 Cubic feet
Type:
Collection descriptions
Archival materials
Correspondence
Ephemera
Catalogues
Business records
Place:
Washington (D.C.)
South Carolina
Date:
1954-1989
bulk 1961-1977
Summary:
The Historical Records of the Barnett-Aden Gallery showcases one of the first galleries owned and operated by African Americans. The work of the Gallery was invaluable as they opened the exhibition space to established and unknown artists regardless of race or gender.
Scope and Contents:
The Historical Records of Barnett-Aden Gallery collection includes historical background materials on the gallery, its founders James V. Herring and Alonzo Aden as well as Adolphus Ealey, its steward after its closure in 1969. The materials include correspondence, business records, photographs, exhibition catalogues, and clippings.
Arrangement:
The materials in this collection have been kept at the folder level and separated into four series. The materials have been ordered and organized based on the content. Within each series and subseries, the folders are organized as close to the collection's original order as when it was acquired.
Historical Sketch:
The Barnett-Aden Gallery, suggested to be the first African American privately-owned gallery in the U.S, open its doors on October 16, 1943. The gallery was founded by artist and scholar James V. Herring alongside his protegee, curator Alonzo Aden. The gallery was housed in a private home that they shared, located on 127 Randolph Street NW in Washington, DC. These men aimed to create an art gallery that provided a venue for underrepresented artists of all races and genres. It was this partnership that laid the foundation for the shift in African American representation in modern art. Aden stated that the gallery's aims were to help foster new talent while also bringing "art of superior quality" to the community. Throughout its history, the gallery held almost 200 exhibitions and showcased the work of over 400 artists.

James Vernon Herring was born on January 7, 1887 in Clio, South Carolina to an African American mother, Alice Herring (1860-1942), and white father, William Culbreth. As a young man, he moved to Washington, DC for better educational opportunities. Herring was educated at the Howard Academy, a preparatory high school located at nearby Howard University campus. Herring received his undergraduate degree from Syracuse University and completed graduate studies at Columbia and Harvard Universities. Trained in art and classical studies with a focus on French impressionism, Herring was initially brought on Howard University's faculty as architecture instructor in 1920. This experience inspired Herring to create the Department of Art at the university where he convinced former home economics student and future prominent visual artist, Alma Thomas to be the art school's first graduate in 1924. Herring continued to mentor and discover young artists as was the case with Alonzo Aden.

Alonzo Aden was born on May 6, 1906 in Spartanburg, South Carolina to Naomi Barnett (1883-1956) and Ephraim Aden (1859-1917). His working-class parents wanting more for their eldest son, decided to send him to live with relatives in Washington, DC for greater educational opportunities. Aden did well academically and completed some studies at Hampton Institute (now Hampton University) before finally entering Howard University in 1927. The following year, Herring opened the Howard University Gallery of Art and installed Aden as its first curator. Aden initially pursued a career as an educator but became more interested in art history and after his graduation from Howard in 1933, he pursued studies in museum and curatorial work.

Recent scholarship has suggested that Herring and Aden were in a romantic as well as working relationship. Working together in the Howard Gallery of Art, they sought to provide a space for art students, local artists and other relatively unknown artists from around the world. Living together since 1929, Herring supported Aden's post-graduate pursuits including his studies of African arts and crafts in galleries across Europe as well as his curatorial work at the American Negro Exposition in Chicago in 1940. Aden returned to Washington to great acclaim and continued his work with Herring at the Howard Gallery of Art.

The Gallery was housed in a Victorian townhouse located in the then middle-class African American neighborhoods of LeDroit Park and Logan Circle (present-day Bloomingdale). Research notes that the house was purchased during the late 1920s by Herring with some assistance of artist Alma Thomas (or vice versa). Both were listed as owners of the property until 1933 when Aden was listed as the co-owner. In 1943, Aden resigned as head of the Howard Gallery for unknown reasons which led Herring and Aden to open a gallery in their home. The gallery was named after Aden's mother Naomi, who also served as an early benefactor of the gallery giving $1,000 in support. It was the support of various benefactors alongside Herring's salary as a Howard professor and Aden's several "government jobs" that kept the gallery afloat during its time in the home. The first floor of the gallery consisted entirely of exhibition space with the second-floor space interchanged between exhibition, study, and living spaces over the years. Herring's library, also located on the upper floors, was used for research by students and local scholars. Herring and Aden never saw the gallery as a truly profitable venture but instead wanted to offer avenues for the artists to showcase their work. As policy, each artist retained all money earned from sales but were required to donate at least one work of art to the Barnett-Aden collection.

The gallery, the first of its kind in Washington at the time, exhibited works of artists regardless of race; African American artists displayed alongside their more notable white peers. Notable artists featured in the gallery include Henri Matisse, Paul Cezanne, Pablo Picasso, Marc Chagall, and M.C. Escher were exhibited alongside notable African American artists Richmond Barthé, Romare Bearden, Elizabeth Catlett, Charles White, Selma Burke as well as many others. Several Howard professors who went on to have notable art careers also exhibited their work at the gallery including James Porter, Lois Mailou Jones, and James Lesesne Wells. Many of the artists featured in the gallery were also greatly involved in the operations. Alma Thomas served gallery's vice president before she began exhibiting her work there in 1950s. Artist and scholar, David Driskell served as the associate director of the gallery after Aden's death.

The gallery held five to eight exhibitions every year including a special annual anniversary exhibition. In 1944, the gallery opened a show featuring Brazilian modern artist, Candido Portinari, who had previously completed a mural at the Library of Congress, that sparked great interest at the gallery. The exhibition opening brought in visitors from all over Washington including members of the president's cabinet, foreign ambassadors and First Lady Eleanor Roosevelt. This renewed interest created a somewhat hectic pace in keeping up with the work of the gallery. This pace coupled with the full-time jobs and other ventures including a gift shop enabled the gallery to act as a luminary of the African American and local arts community in Washington.

In 1961, while preparing for the annual anniversary exhibition, Alonzo Aden died suddenly. Herring with aid of his friends and students took on the management of the gallery after his partner's death but was unable to keep the pace of Aden's work and the attendance declined. In 1969, Herring died in the home leaving behind a formidable legacy. The home and its contents including the gallery's art collection was sold in order to settle the debts of Herring's estate. The collection was divided amongst three individuals. Artist and former Herring student, Adolphus Ealey inherited the bulk of the collection that featured 250 significant works. Herring's books, graphic drawings, and prints were given to Herring associate and friend, Dr. Felton J. Earls, while the sculptures went to art collectors and friends Dr. and Mrs. Cecil Marquez.

The portion of the collection owned by Ealey was described as the preeminent selection from the gallery's collection. The size and ongoing upkeep of the collection was significant which caused the collection to be moved several times over the years. The collection which out of necessity was originally stored in Ealey's Southwest Washington apartment then moved a to a house in LeDroit Park and then to another space in the Washington neighborhood of Fort Lincoln. Ealey collaborated with colleagues and institutions to have it exhibited in various locations but also bid to find the collection a permanent home. During the 1970s, the collection was featured at the Museum of Afro-American Culture and History in Philadelphia, the Anacostia Neighborhood Museum (now the Smithsonian Anacostia Community Museum) and the Corcoran Gallery of Art.

Unable to find an institutional home for the collection, Ealey was forced to sell the collection in 1989 to the Florida Endowment Fund for Higher Education. Ealey stipulated that collection must remain intact but also that the new owners had to develop educational and outreach programs focused on African Americans in the arts. Failing to find consistent opportunities to exhibit the collection, the owners were forced to sell the collection. In 1998, Robert L. Johnson, then chairman and founder of the television channel, Black Entertainment Television (BET), purchased the collection. The collection went on a national tour then was displayed for some time at the BET headquarters in Washington. In 2015, Johnson donated selections from the gallery collection to the Smithsonian National Museum of African American History and Culture in an effort to preserve the legacy of the Barnett-Aden Gallery and the tireless work of James V. Herring and Alonzo Aden for generations to come.

Historical Timeline

1897 -- James Vernon Herring was born January 7 in Clio, South Carolina.

1906 -- Alonzo James Aden was born May 6 in Spartanburg, South Carolina.

1914-1916 -- While attending Syracuse University, Herring taught summer classes at Wilberforce University in Ohio for two summers.

1917 -- Herring graduated from Syracuse University with a Bachelors of Pedagogy in Art degree.

1917-1920 -- Herring served as YMCA secretary for the YMCA in Muscle Shoals, Alabama, and then Camp Lee, Virginia. Herring also held teaching positions at Straight College in New Orleans and Bennett College in North Carolina

1920 -- Alonzo was sent to Washington, D.C. to live with his uncle, James Aden, and his wife Laura.

1921 -- Herring was initially hired as architectural drawing instructor at Howard University and after negotiations established Department of Art later that same year.

1927 -- Herring organized an exhibition of Howard U. students' artwork that toured the Deep South U.S. Aden enrolled in Howard University in pursuit of an education degree.

1930 -- The Howard University Gallery of Art formally opened on April 7. Aden was hired as gallery assistant.

1933 -- Aden received his Bachelor of Arts in Education; Herring added Aden's name as co-owner of the 127 Randolph Place home.

1934-1939 -- Aden engaged in post-graduate study and museum curatorial work around the U.S. and Europe.

1940 -- Aden served as art curator for the American Negro Exposition (the "Negro's World Fair") in Chicago

1943 -- Aden resigned his position at the Howard University Gallery of Art for undisclosed reasons. The Barnett-Aden Gallery was founded by James V. Herring and Alonzo Aden. The first exhibition, "American Paintings for the Home" featured Elizabeth Catlett, Lois Mailou Jones, Malvin Gray Johnson, James Lesesne Wells, Jacob Lawrence, and many others.

1944 -- First anniversary exhibition featuring artist Candido Portinari, Brazilian artist who was already known in Washington from his mural for the Library of Congress. It was attended by the First Lady, Eleanor Roosevelt. Exhibition, "The Negro in Art" and "American Paintings for the Home" featuring Catlett, James A. Porter, Wells, Jones, Richmond Barthé, Hale Woodruff, Betsy Graves Reyneau and others.

1946 -- Exhibition, "Paintings by Lois Mailou Jones" and featured paintings of Jacob Lawrence for Third Anniversary exhibition.

1947 -- Fourth Anniversary Exhibition, "Recent Paintings by Charles White". Exhibition of Elizabeth Catlett, "Paintings, Sculpture, and Prints of The Negro Woman".

1948 -- Exhibition, "Paintings and Drawings by James A. Porter".

1949 -- Exhibition, "Sylvia Carewe".

1950 -- "Exhibition of Six Washington Artists" featuring Romare Bearden, Samuel Bookatz, Bernice Cross, Robert Gates, Norma Mazo, and James A. Porter. "Exhibition "Paintings and Prints by James Lesesne Wells."

1951 -- Exhibition, "Three Washington Artists" featuring Richard Dempsey, Sam Herman, and Jack Perlmutter Exhibition, "Herman Maril: Paintings in Retrospect, 1931-1951"

1953 -- Tenth Anniversary Exhibition, "Eighteen Washington Artists" featuring Sarah Baker, Samuel Bookatz, William Calfee, Bernice Cross, Robert Franklin Gates, Jacob Kainen, Marjorie Phillips, James Porter, and James Lesesne Wells.

1954 -- Exhibition "Six Washington Painters" featuring Theresa Abbott, Gabriel Cherin, Gloria Besser Green, Alma W. Thomas, and Anita Wertheim.

1955 -- Twelfth anniversary exhibition focused on "Jack Perlmutter".

1957 -- Exhibition, "David C. Driskell: Exhibition of Paintings"

1958 -- Exhibition "Norman Lewis: Paintings"

1959 -- Sixteenth Anniversary Exhibition of "Paintings by Pietro Lazzari, Helen Rennie, Alma Thomas, Andrea De Zerega". Exhibition of "Religious Paintings and Prints by James L. Wells and Sculpture by Selma Burke"

1962 -- Alonzo Aden died suddenly at the age of 56 on October 13 in Washington D.C. Herring solely inherits the Gallery collection.

1969 -- Herring dies at age 84 in Washington, DC. on May 29. Artist Adolphus Ealey inherits the bulk of the gallery collection along with Dr. Felton J. Earls and Dr. and Mrs. Cecil Marquez.

1974 -- Two exhibitions of the collection at the Anacostia Neighborhood Museum and the Corcoran Gallery of Art.

1989 -- Collection sold to Florida Endowment Fund for Higher Education.

1998 -- Robert Johnson, founder and former CEO of Black Entertainment Television (BET) purchased the entire collection and serves as administrators over the collection.
Provenance:
Acquired through a purchase by the Smithsonian National Museum of African American History and Culture.
Restrictions:
Collection is open for research. Access to collection materials requires an appointment.
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.
Topic:
Photographs  Search this
Art  Search this
Business  Search this
LGBTQ+  Search this
Museums  Search this
African American artists  Search this
Painting, American  Search this
Galleries  Search this
Education  Search this
finance  Search this
Local and Regional  Search this
HBCUs (Historically Black Colleges and Universities)  Search this
Genre/Form:
Correspondence
Ephemera
Catalogues
Business records
Citation:
Historical Records of the Barnett-Aden Gallery, Smithsonian National Museum of African American History and Culture.
Identifier:
NMAAHC.A2014.63.32
See more items in:
The Historical Records of the Barnett-Aden Gallery
Archival Repository:
National Museum of African American History and Culture
GUID:
https://n2t.net/ark:/65665/io3ab33c70c-0c97-4ae6-b532-0055f1a78617
EDAN-URL:
ead_collection:sova-nmaahc-a2014-63-32

Sam Brown [videorecording] / [produced by] the National Archives ; interviewer, Shawn Aubitz

Creator:
Brown, Samuel Joseph, 1907-1994  Search this
Names:
Federal Art Project (Pa.)  Search this
United States. Work Projects Administration  Search this
United States. Works Progress Administration  Search this
Roosevelt, Eleanor, 1884-1962  Search this
Thrash, Dox, 1892-1965  Search this
Interviewer:
Aubitz, Shawn  Search this
Extent:
1 Videocassette (videocassette (120 min), sd., col., 1/2 in.)
Type:
Collection descriptions
Archival materials
Videocassettes
Video recordings
Interviews
Date:
1985
Scope and Contents:
An interview with painter Samuel Brown conducted by Shawn Aubitz of the National Archives, for an exhibition on the Work Projects Administration in Philadelphia. Brown discusses his work on the WPA; materials and techniques; some of his paintings, including "The Scrubwoman," and "The Lynching"; sharing a studio with Dox Thrash; and a visit from Eleanor Roosevelt.
Biographical / Historical:
Samuel Joseph Brown (1907-1994) was an African American painter in Philadelphia, Pennsylvania. He is thought to be the first African American artist hired by the Public Works of Art Project (PWAP) and later worked for the Works Projects Administration (WPA) in Philadelphia as both a painter and a printmaker.
Publication, Distribution, Etc. (Imprint):
Philadelphia, Pa. : National Archives - Philadelphia Branch, 1985.
Provenance:
Donated 1990 by Samuel J. Brown, through the National Archives, as part of AAA's Philadelphia Art Documentation Project.
Occupation:
Painters -- Pennsylvania -- Philadelphia  Search this
Topic:
African American artists  Search this
Genre/Form:
Video recordings
Interviews
Identifier:
AAA.browsamu
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw92a31a394-2c23-4e67-839f-cc6fbd429236
EDAN-URL:
ead_collection:sova-aaa-browsamu

[Elder Michaux with Gene Autry and Eleanor Roosevelt : acetate film photonegative]

Photographer:
Scurlock, Addison N., 1883-1964  Search this
Creator:
Agfa (Firm)  Search this
Names:
Melody Ranch (radio program)  Search this
Autry, Gene, 1907-1998  Search this
Michaux, Lightfoot  Search this
Roosevelt, Eleanor, 1884-1962  Search this
Subseries Creator:
Scurlock Studio (Washington, D.C.)  Search this
Scurlock, Robert S. (Saunders), 1917-1994  Search this
Custom Craft  Search this
Scurlock, Addison N., 1883-1964  Search this
Scurlock, George H. (Hardison), 1919-2005  Search this
Extent:
1 Item
Container:
Box 54
Culture:
African Americans  Search this
Type:
Archival materials
Photographs
Date:
[190.]
Scope and Contents:
Autry and Michaux stand at microphones, apparently reading program script, with Michaux's robed choir behind them, while Eleanor Roosevelt sits nearby; members of band in foreground. According to Chris Smith, co-author of the revision of "Blues and Gospel Recordings, 1890-1943," the event is the Melody Ranch Radio Program of January 28,1940, summarizing the program as follows: "Melody Ranch Radio Program - Gene Autry from Washington, DC - Songs and Melody of America. Thank you from ER to Gene and other artists for the campaign to stamp out Infantile Paralysis. Discusses Fort Meyer Horse Show, President's birthday balls on 30th, ER's favorite horse-Dot retired to country, usually rode Tiffany in Washington, mentions son John's horse Palomine. Elder Michaux, Pastor, Church of God, Washington D.C. and his Choir sing Negro Spirituals. From the hills of the Great South West, singer Pappy Chesshire. From New England the "Ambassador of Good Will", singer Billy B. Van. From Washington D.C. the Barber Shop Quartette, Washington Chapter #9 of the Society of the Preservation of the Barber Shop Quartet. From Chicago, Orin Tucker, band leader, and singer Virginia Verel. Washington DC." Also identified by Jay Bruder, 18 May 2016. Negative uncaptioned. Agfa Safety Film edge imprint.
Subseries Restrictions:
Collection is open for research.

Gloves must be worn when handling unprotected photographs and negatives. Special arrangements required to view negatives due to cold storage. Using negatives requires a three hour waiting period. Contact the Archives Center at 202-633-3270.
Subseries Rights:
When the Museum purchased the collection from the Estate of Robert S. Scurlock, it obtained all rights, including copyright. The earliest photographs in the collection are in the public domain because their term of copyright has expired. The Archives Center will control copyright and the use of the collection for reproduction purposes, which will be handled in accordance with its standard reproduction policy guidelines. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Portraits, Group -- 1930-1960.  Search this
Poliomyelitis  Search this
Radio programs  Search this
Genre/Form:
Photographs -- 1940-1950 -- Black-and-white negatives -- Acetate film
Subseries Citation:
Scurlock Studio Records, Archives Center, National Museum of American History. Smithsonian Institution
See more items in:
Scurlock Studio Records, Subseries 4.1: Black-and-White Silver Gelatin Negatives
Scurlock Studio Records, Subseries 4.1: Black-and-White Silver Gelatin Negatives / 4.1: Black-and-White Silver Gelatin negatives
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep86cc0a7ad-285e-45ca-b7b8-5932ac66dbc9
EDAN-URL:
ead_component:sova-nmah-ac-0618-s04-01-ref1679

[Carol Brice at microphone, leading crowd in singing, at Lincoln Memorial, with Pres. Harry Truman and Eleanor Roosevelt standing nearby: black-and-white photonegative,]

Photographer:
Scurlock Studio (Washington, D.C.)  Search this
Creator:
Eastman Kodak Company (film manufacturer)  Search this
Names:
National Association for the Advancement of Colored People  Search this
Brice, Carol, 1916-1985  Search this
Roosevelt, Eleanor, 1884-1962  Search this
Truman, Harry S., 1884-1972  Search this
Subseries Creator:
Scurlock Studio (Washington, D.C.)  Search this
Scurlock, Robert S. (Saunders), 1917-1994  Search this
Custom Craft  Search this
Scurlock, Addison N., 1883-1964  Search this
Scurlock, George H. (Hardison), 1919-2005  Search this
Extent:
1 Item
Container:
Box 54
Culture:
African Americans -- Washington (D.C.)  Search this
Type:
Archival materials
Photographs
Place:
Lincoln Memorial (Washington, D.C.)
Washington (D.C.) -- 1930-1950 -- Photographs
Date:
June, 28, 1947
1947
Scope and Contents:
Subject ident. by Dave Haddock, 2012 (see: http://tinyurl.com/c8nsfvw). Others standing nearby include Walter White and Tom Clark (ident. by Ellen David, Sept. 18, 2008). No caption on negative. Note on original enclosure: "NAACP Mass Meeting (Lincoln Memorial--Harry Truman address, Mrs. Roosevelt--38th annual NAACP Conference; from envelope); item #4 of 4.
Biographical / Historical:
Carol Brice was a leading contralto on the Broadway, concert, and recital stages. She led the crowd in singing "God Be with You 'til We Meet Again" at the closing session.
General:
From NUS carton 82.
Subseries Restrictions:
Collection is open for research.

Gloves must be worn when handling unprotected photographs and negatives. Special arrangements required to view negatives due to cold storage. Using negatives requires a three hour waiting period. Contact the Archives Center at 202-633-3270.
Subseries Rights:
When the Museum purchased the collection from the Estate of Robert S. Scurlock, it obtained all rights, including copyright. The earliest photographs in the collection are in the public domain because their term of copyright has expired. The Archives Center will control copyright and the use of the collection for reproduction purposes, which will be handled in accordance with its standard reproduction policy guidelines. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Memorials -- Washington (D.C.)  Search this
Genre/Form:
Photographs -- 1940-1950 -- Black-and-white negatives -- Acetate film
Subseries Citation:
Scurlock Studio Records, Archives Center, National Museum of American History. Smithsonian Institution
See more items in:
Scurlock Studio Records, Subseries 4.1: Black-and-White Silver Gelatin Negatives
Scurlock Studio Records, Subseries 4.1: Black-and-White Silver Gelatin Negatives / 4.1: Black-and-White Silver Gelatin negatives
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep805849e98-f2b5-4766-af63-69c77993bed0
EDAN-URL:
ead_component:sova-nmah-ac-0618-s04-01-ref1697

Mrs. FDR with Mrs. Emory Smith [cellulose acetate photonegative]

Photographer:
Scurlock Studio (Washington, D.C.)  Search this
Names:
Roosevelt, Eleanor, 1884-1962  Search this
Subseries Creator:
Scurlock Studio (Washington, D.C.)  Search this
Scurlock, Robert S. (Saunders), 1917-1994  Search this
Custom Craft  Search this
Scurlock, Addison N., 1883-1964  Search this
Scurlock, George H. (Hardison), 1919-2005  Search this
Extent:
1 Item
Container:
Box 69
Type:
Archival materials
Photographs
Place:
Washington (D.C.) -- African Americans
Date:
undated
Scope and Contents:
No ink on negative, no Scurlock number. A group of formally dressed men and women, including Eleanor Roosevelt and the wife of Emory Smith, sitting in a hall. "4 AGFA SAFETY FILM" edge imprint.
Subseries Restrictions:
Collection is open for research.

Gloves must be worn when handling unprotected photographs and negatives. Special arrangements required to view negatives due to cold storage. Using negatives requires a three hour waiting period. Contact the Archives Center at 202-633-3270.
Subseries Rights:
When the Museum purchased the collection from the Estate of Robert S. Scurlock, it obtained all rights, including copyright. The earliest photographs in the collection are in the public domain because their term of copyright has expired. The Archives Center will control copyright and the use of the collection for reproduction purposes, which will be handled in accordance with its standard reproduction policy guidelines. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Genre/Form:
Photographs -- Black-and-white negatives -- Acetate film
Subseries Citation:
Scurlock Studio Records, Archives Center, National Museum of American History. Smithsonian Institution
See more items in:
Scurlock Studio Records, Subseries 4.1: Black-and-White Silver Gelatin Negatives
Scurlock Studio Records, Subseries 4.1: Black-and-White Silver Gelatin Negatives / 4.1: Black-and-White Silver Gelatin negatives
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep82fb1c742-b343-4a95-a7f8-85a4327fcf9b
EDAN-URL:
ead_component:sova-nmah-ac-0618-s04-01-ref2184
Online Media:

Secretary Ickes, Secretary [?] McNutt, Mrs. Roosevelt, Dr. T.E. Jones [standing in front of American flag] [black-and-white photonegative]

Photographer:
Scurlock Studio (Washington, D.C.)  Search this
Creator:
Agfa (Firm)  Search this
Names:
Ickes, Harold L. (Harold LeClair), 1874-1952  Search this
McNutt, Paul V., 1891-1955  Search this
Roosevelt, Eleanor, 1884-1962  Search this
Subseries Creator:
Scurlock Studio (Washington, D.C.)  Search this
Scurlock, Robert S. (Saunders), 1917-1994  Search this
Custom Craft  Search this
Scurlock, Addison N., 1883-1964  Search this
Scurlock, George H. (Hardison), 1919-2005  Search this
Extent:
1 Item
Container:
Box 77
Culture:
African Americans -- Washington (D.C.)  Search this
Type:
Archival materials
Photographs
Place:
Washington (D.C.) -- African Americans
Scope and Contents:
No ink on negative. "Agfa Safety Film" edge imprint. Unnumbered.
Biographical / Historical:
Ickes was Secretary of the Interior, 1933-1946. Paul V. McNutt, former governor of Indiana, held positions in the Roosevelt administration.
General:
McNutt, whose name was originally misspelled in this record, was identified by Jane Freundel Levey, 10 Aug. 2015.
Subseries Restrictions:
Collection is open for research.

Gloves must be worn when handling unprotected photographs and negatives. Special arrangements required to view negatives due to cold storage. Using negatives requires a three hour waiting period. Contact the Archives Center at 202-633-3270.
Subseries Rights:
When the Museum purchased the collection from the Estate of Robert S. Scurlock, it obtained all rights, including copyright. The earliest photographs in the collection are in the public domain because their term of copyright has expired. The Archives Center will control copyright and the use of the collection for reproduction purposes, which will be handled in accordance with its standard reproduction policy guidelines. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Flags -- United States  Search this
Genre/Form:
Photographs -- 1930-1940 -- Black-and-white negatives -- Acetate film
Subseries Citation:
Scurlock Studio Records, Archives Center, National Museum of American History. Smithsonian Institution
See more items in:
Scurlock Studio Records, Subseries 4.1: Black-and-White Silver Gelatin Negatives
Scurlock Studio Records, Subseries 4.1: Black-and-White Silver Gelatin Negatives / 4.1: Black-and-White Silver Gelatin negatives
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep844117551-e587-4a7c-9496-28da8583890b
EDAN-URL:
ead_component:sova-nmah-ac-0618-s04-01-ref2622
Online Media:

[Alpha Kappa Alpha Sorority with Mrs. Roosevelt (at Howard University?) acetate film photonegative,]

Photographer:
Scurlock, Addison N., 1883-1964  Search this
Creator:
Agfa (Firm)  Search this
Names:
Howard University  Search this
Roosevelt, Eleanor, 1884-1962  Search this
Subseries Creator:
Scurlock Studio (Washington, D.C.)  Search this
Scurlock, Robert S. (Saunders), 1917-1994  Search this
Custom Craft  Search this
Scurlock, Addison N., 1883-1964  Search this
Scurlock, George H. (Hardison), 1919-2005  Search this
Extent:
1 Item
Container:
Box 27
Type:
Archival materials
Photographs
Date:
1944
Scope and Contents:
Row of women and female students with Mrs. Roosevelt in center. Ink on edge: "K / A.K.A. Sorority with Mrs. Roosevelt 1944". "Agfa Safety Film" edge imprint.
Subseries Restrictions:
Collection is open for research.

Gloves must be worn when handling unprotected photographs and negatives. Special arrangements required to view negatives due to cold storage. Using negatives requires a three hour waiting period. Contact the Archives Center at 202-633-3270.
Subseries Rights:
When the Museum purchased the collection from the Estate of Robert S. Scurlock, it obtained all rights, including copyright. The earliest photographs in the collection are in the public domain because their term of copyright has expired. The Archives Center will control copyright and the use of the collection for reproduction purposes, which will be handled in accordance with its standard reproduction policy guidelines. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Greek letter societies -- Washington (D.C.) -- 1930-1950  Search this
African American college students -- 1940-1950  Search this
Portraits, Group -- 1940-1950  Search this
African American universities and colleges -- 1940-1950  Search this
Genre/Form:
Photographs -- 1940-1950 -- Black-and-white negatives -- Acetate film
Subseries Citation:
Scurlock Studio Records, Archives Center, National Museum of American History. Smithsonian Institution
See more items in:
Scurlock Studio Records, Subseries 4.1: Black-and-White Silver Gelatin Negatives
Scurlock Studio Records, Subseries 4.1: Black-and-White Silver Gelatin Negatives / 4.1: Black-and-White Silver Gelatin negatives
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep837f62457-ea74-483a-b9da-54ad6b486696
EDAN-URL:
ead_component:sova-nmah-ac-0618-s04-01-ref534

[Woman opens gift box of wine bottles addressed to Mrs. Franklin D. Roosevelt, White House : non-stereo photonegative,]

Publisher:
Underwood & Underwood  Search this
Names:
Roosevelt, Eleanor, 1884-1962  Search this
Roosevelt, Franklin D. (Franklin Delano), 1882-1945  Search this
Collection Creator:
Underwood & Underwood  Search this
Extent:
1 Item (4" x 5".)
Type:
Archival materials
Calendars
Portraits
Photographs
Nitrate negatives
Date:
1934
Scope and Contents:
Woman wears hat and suit. November 1934 calendar on wall has portrait of Franklin D. Roosevelt. The wine box is labelled "Redwood Empire Wine / From Italy Industries Corp'n / San Francisco, Calif." Note: Prohibition ended in 1933.
This film may be nitrate.
Local Numbers:
RSN 19113

AC0143-0019113.tif (AC scan number)
General:
Company catalog card included.
Currently stored in box 3.1.73 [220B], moved from [181]. Orig. no. 50X20R.
Collection Restrictions:
Collection is open for research but is stored off-site and special arrangements must be made to work with it. The original glass plate is available for inspection if necessary in the Archives Center. A limited number of fragile glass negatives and positives in the collection can be viewed directly in the Archives Center by prior appointment. 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.
Topic:
Gifts  Search this
Wine and wine making  Search this
Presidents -- United States  Search this
Portraits -- Women  Search this
Genre/Form:
Calendars
Portraits -- Men
Photographs -- 1930-1940 -- Black-and-white negatives -- Nitrate
Nitrate negatives -- 1900-1960
Collection Citation:
Underwood &Underwood Glass Stereograph Collection, Archives Center, National Museum of American History.
See more items in:
Underwood & Underwood Glass Stereograph Collection
Underwood & Underwood Glass Stereograph Collection / Series 3: Underwood & Underwood glass plates / 3.1: Underwood and Underwood Negatives / RSN Numbers 18987-19120
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep86bb6bd7a-079c-4982-9bbc-b5b7901324a3
EDAN-URL:
ead_component:sova-nmah-ac-0143-ref15529

A Christmas Carol

Author:
Dickens, Charles, 1812-1870  Search this
Performer:
Roosevelt, Eleanor, 1884-1962  Search this
Collection Creator:
Asch, Moses  Search this
Distler, Marian, 1919-1964  Search this
Folkways Records  Search this
Extent:
1 Phonograph record (analog, 33 1/3 rpm, 12 in.)
Type:
Archival materials
Phonograph records
Local Numbers:
FW-ASCH-LP-0538

Spoken Word.114
Publication, Distribution, Etc. (Imprint):
Spoken Word
Restrictions:
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
Collection 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:
Christmas music  Search this
Spoken word  Search this
Literature  Search this
Collection Citation:
Moses and Frances Asch Collection, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Identifier:
CFCH.ASCH, Item FW-ASCH-LP-0538
See more items in:
Moses and Frances Asch Collection
Moses and Frances Asch Collection / Series 9: Audio Recordings / LP
Archival Repository:
Ralph Rinzler Folklife Archives and Collections
GUID:
https://n2t.net/ark:/65665/bk5a9b38b14-a43d-44d2-b6b7-9c2ceea21d6b
EDAN-URL:
ead_component:sova-cfch-asch-ref16323

Campaign Fifty-Six

Producer:
Lamar, Howard Roberts  Search this
Blitzer, Charles  Search this
Creator:
Stevenson, Adlai E. (Adlai Ewing), 1900-1965  Search this
Eisenhower, Dwight D. (Dwight David)  Search this
Nixon, Richard M. (Richard Milhous), 1913-1994  Search this
Harriman, W. Averell (William Averell), 1891-1986  Search this
Kefauver, Estes, 1903-1963.  Search this
Stassen, Harold Edward, 1907-2001  Search this
Langlie, Arthur B. (Arthur Bernard), 1900-1966.  Search this
Clement, Frank Goad  Search this
Chandler, Happy, 1898-1991  Search this
Hoover, Herbert, 1874-1964  Search this
Martin, Joseph W. (Joseph William), 1884-1968  Search this
Rayburn, Sam, 1882-1961.  Search this
Roosevelt, Eleanor, 1884-1962  Search this
Truman, Harry S., 1884-1972  Search this
Smith, Joe  Search this
Names:
Eisenhower, Dwight D. (Dwight David), 1890-1969  Search this
Hoover, Herbert, 1874-1964  Search this
Kennedy, John F. (John Fitzgerald), 1917-1963  Search this
Stevenson, Adlai E. (Adlai Ewing), 1900-1965  Search this
Truman, Harry S., 1884-1972  Search this
Collection Creator:
Asch, Moses  Search this
Distler, Marian, 1919-1964  Search this
Folkways Records  Search this
Extent:
1 Phonograph record (analog, 33 1/3 rpm, 12 in.)
Culture:
Americans  Search this
Type:
Archival materials
Phonograph records
Date:
1961
Contents:
The preliminaries (6:39) --The Democratic convention (4:06) --The Democratic platform (4:23) --Nomination and vote for presidential candidate (5:52) - - Nomination and vote for vice presidential candidate (2 :42) --Stevenson's acceptance speech (3:08) --The Republican platform (3:43) --Republican platform & nomination for presidential candidate (5:02) --Nomination & vote for vice presidential candidate (5: 48) --The campaigns (10:38) --The elections (3:19).
Track Information:
101 null / Adlai E. (Adlai Ewing) Stevenson, Dwight D. (Dwight David) Eisenhower, Richard M. (Richard Milhous) Nixon.

101 null / W. Averell (William Averell) Harriman, Estes Kefauver, Harold Edward Stassen.

101 null / Arthur B. (Arthur Bernard) Langlie, Frank Goad Clement, Happy Chandler.

101 null / Herbert Hoover, Joseph W. (Joseph William) Martin, Sam Rayburn.

101 null / Eleanor Roosevelt, Harry S. Truman, Joe Smith.

101 null / John F. (John Fitzgerald) Kennedy.
Publication, Distribution, Etc. (Imprint):
New Haven, CT Yale University 1961
Restrictions:
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
Collection 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:
Speeches, addresses, etc.  Search this
United States -- History  Search this
Elections  Search this
Collection Citation:
Moses and Frances Asch Collection, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
See more items in:
Moses and Frances Asch Collection
Moses and Frances Asch Collection / Series 9: Audio Recordings / LP
Archival Repository:
Ralph Rinzler Folklife Archives and Collections
GUID:
https://n2t.net/ark:/65665/bk576a0dde6-d70c-422b-bcc7-246a9835a8ca
EDAN-URL:
ead_component:sova-cfch-asch-ref17928

Human rights : a documentary on the United Nations Declaration of human rights "Rejects"

Artist:
Roosevelt, Eleanor, 1884-1962  Search this
Collection Creator:
Asch, Moses  Search this
Distler, Marian, 1919-1964  Search this
Folkways Records  Search this
Extent:
1 Sound recording (sound-tape reel, analog, 5 in.)
Type:
Archival materials
Sound recordings
Place:
United States -- History
Contents:
Declaration of Human Rights in Constitutions--Soviet Union
Local Numbers:
FW-ASCH-5RR-6021
General:
Folkways 5524

CDR copy
Restrictions:
Restrictions on access. rrr.
Collection 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:
United States -- History  Search this
Collection Citation:
Moses and Frances Asch Collection, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Identifier:
CFCH.ASCH, Item FW-ASCH-5RR-6021
See more items in:
Moses and Frances Asch Collection
Moses and Frances Asch Collection / Series 9: Audio Recordings / CD / Commercial / Folkways Recordings
Archival Repository:
Ralph Rinzler Folklife Archives and Collections
GUID:
https://n2t.net/ark:/65665/bk570abbb6a-c927-4b20-bcea-ac0a68f9bf81
EDAN-URL:
ead_component:sova-cfch-asch-ref27905

Oral history interview with Herman Maril

Interviewee:
Maril, Herman  Search this
Interviewer:
Seckler, Dorothy Gees, 1910-1994  Search this
Names:
Cummington School of the Arts -- Faculty  Search this
King-Smith Playhouse and School of Theatre Arts (Washington, D.C.) -- Faculty  Search this
Maryland Institute, College of Art -- Students  Search this
Philadelphia Museum of Art -- Faculty  Search this
Washington Workshop Center for the Arts -- Faculty  Search this
Argento, Mino, 1927-  Search this
Cheney, Sheldon, 1886-  Search this
Cézanne, Paul, 1839-1906  Search this
De Kooning, Willem, 1904-1997  Search this
Dows, Olin, 1904-1981  Search this
Giotto, 1266?-1337  Search this
Gross, Chaim, 1904-1991  Search this
Kandinsky, Wassily, 1866-1944  Search this
Kline, Franz, 1910-1962  Search this
Matisse, Henri, 1869-1954  Search this
O'Hara, Eliot, 1890-1969  Search this
Roosevelt, Eleanor, 1884-1962  Search this
Roosevelt, Franklin D. (Franklin Delano), 1882-1945  Search this
Extent:
39 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1965 September 5
Scope and Contents:
An interview of Herman Maril conducted 1965 September 5, by Dorothy Seckler, for the Archives of American Art.
Maril speaks of growing up in Baltimore, Maryland.; attending the Maryland Institute of Fine Arts; visiting museums in the Washington, D.C. area; exhibiting his paintings in Washington, D.C. galleries and New York City galleries; working for the Treasury Art Project; surviving the Great Depression; teaching at the Cummington School of Art in Cummington, Massachusetts; serving in the Army Air Corps during WWII; painting murals with the Public Buildings Administration; teaching at the King-Smith School, the Washington Workshop of the Arts, the Philadelphia Museum of Art, and the University of Maryland; living in Provincetown; painting and his influences; being interviewed for books and a short film. Maril also recalls Roger Frye, Paul Cézanne, Henry Roben, Charles Walther, Franklin Delano Roosevelt, Edward Rowan, Eleanor Roosevelt, Chaim Gross, Henri Matisse, Piero della Francesca, Mino Argento, Olin Dows, Giotto di Bondone, Georges Henri Rouault, Wassily Kandinksy, Charles Walthrop, Franz Kline, Willem de Kooning, Eliot O'Hara, Sheldon Cheney, Florence Watson, Jacques Lipchitz, Mason F. Lord, and others.
Biographical / Historical:
Herman Maril (1908-1986) was a painter and printmaker from Baltimore, Maryland.
General:
Originally recorded on 1 sound tape. Reformatted in 2010 as 2 digital wav files. Duration is 1 hr.
Provenance:
These interviews are 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 others.
Occupation:
Painters -- Maryland -- Baltimore  Search this
Printmakers -- Maryland -- Baltimore  Search this
Topic:
Depressions -- 1929  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.maril65
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9647c5ac2-0507-4014-9bb0-163cd7730a2a
EDAN-URL:
ead_collection:sova-aaa-maril65
Online Media:

Edward Bruce papers

Creator:
Bruce, Edward, 1879-1943  Search this
Names:
Public Works of Art Project  Search this
United States. Dept. of the Treasury. Section of Fine Arts  Search this
Biddle, George, 1885-1973  Search this
Dornbush, Adrian  Search this
Dows, Olin, 1904-1981  Search this
Roosevelt, Eleanor, 1884-1962  Search this
Roosevelt, Franklin D. (Franklin Delano), 1882-1945  Search this
Stein, Leo, 1872-1947  Search this
Sterne, Maurice, 1878-1957  Search this
Extent:
8.9 Linear feet
Type:
Collection descriptions
Archival materials
Diaries
Scrapbooks
Photographs
Place:
United States -- Politics and government -- 1933-1945
United States -- Social conditions -- 1933-1945
Date:
1902-1960
bulk 1932-1942
Summary:
The Edward Bruce papers measure 8.9 linear feet and date from 1902 to 1960, with the bulk of the material dating from 1932 to 1942. The collection documents Bruce's work as an artist, art collector, exhibition juror, and federal government art administrator, particularly his tenure as Director of the U. S. Treasury Department's Section of Fine Arts. Well over one-half of the collection consists of extensive correspondence with artists, art collectors and dealers, arts associations, galleries, and government officials, including President and Mrs. Franklin D. Roosevelt.
Scope and Content Note:
The Edward Bruce papers measure 8.9 linear feet and date from 1902 to 1960, with the bulk of the material dating from 1932 to 1942. The collection documents Bruce's work as an artist, art collector, exhibition juror, and federal government art administrator, particularly his tenure as Director of the U. S. Treasury Department's Section of Fine Arts. Well over one-half of the collection consists of extensive correspondence with many notable artists and government officials. Also found is scattered biographical material, office diaries and speeches, personal financial material, printed material, four scrapbooks, and photographs.

A small amount of biographical material includes birth records and many awards and certificates. Bruce's correspondence files comprise over half of this collection, containing correspondence with family, friends, artists, art organizations, political figures, museums, art galleries, and government agencies. Found within the files is extensive correspondence with friend and art critic Leo Stein and artist friend Maurice Sterne. Additional artists Bruce corresponded with include George Biddle, Adrian Dornbush, and Olin Dows. Also included is correspondence documenting his career as Chief of the Treasury Department's Section of Fine Arts with government colleagues and officials, much of it concerning his role on various federal arts committees, including the Commission of Fine Arts. There is also extensive correspondence with Franklin and Eleanor Roosevelt concerning federal and public art projects.

Writings include office diaries and notebooks containing notes, addresses, lists of Section of Fine Arts projects, and dated work entries. There are copies of numerous written speeches given by Bruce on the importance of art, public art projects, and political issues. Financial material consists of a small number of items documenting Bruce's financial activity such as tax and insurance records, bills, a cash book, and house leases. Printed material documents Edward Bruce's career as an artist and federal arts projects and programs. Found are news clippings and magazine articles, exhibition catalogs, brochures, bulletins from the Section of Fine Arts, published speeches, and miscellaneous publications. Four scrapbooks contain news clippings, letters, photographs, and other printed material highlighting Bruce's career.

Extensive photographs include photographs of Bruce's artwork, portraits of Bruce, the Bruces with family and with friends and at many special events, including an NBC radio broadcast and at an exhibition with Eleanor Roosevelt. There are also photographs taken by Bruce during his travels and while living in Anticoli Carrado, Italy.
Arrangement:
The Edward Bruce collection is arranged into 7 series:

Missing Title

Series 1: Biographical Material, circa 1904-1938 (Box 1, OV 11; 3 folders)

Series 2: Correspondence, circa 1921-1957 (Boxes 1-6; 5.5 linear feet)

Series 3: Writings, circa 1931-1942 (Box 6; 0.3 linear feet)

Series 4: Financial Material, circa 1909-1913, circa 1928-1943(Box 6, 0.3 linear feet)

Series 5: Printed Material, circa 1919, circa 1926-1943, 1960 (Box 7, 0.5 linear feet)

Series 6: Scrapbooks, 1922-1941 (Box 7-8; 0.8 linear feet)

Series 7: Photographs, circa 1902-1943 (Box 7, 9-10; 1.0 linear foot)

Although the collection no longer matches the exact filmed order, large groups of materials have been maintained in film order, particularly the correspondence. Microfilm reel and frame number notations are provided at the folder level when known.
Biographical Note:
Edward Bruce was born in 1879 in Dover Plains, New York. Though he enjoyed painting at a young age, he pursued a career in law and graduated from Columbia Law School in 1904. He practiced law in New York and in Manila, Philippines and was actively involved in international issues. He became president of the Pacific Development Corporation of California, was a lobbyist for the Philippine Independence Bill, and, in 1933, attended the London Economic Conference as a silver expert.

In 1923 Bruce gave up his career in law and business and began to paint, particularly landscapes. He and his wife Peggy spent the next six years in Anticoli Carrado, Italy where he studied painting from his friend and fellow artist Maurice Sterne. Bruce returned to the United States in 1929 and settled in California, exhibiting his artwork to much public and critical praise. In addition, Bruce was an avid collector of Chinese art.

In 1933 Bruce was appointed Chief of the newly established Public Works of Art Project, a federal government New Deal program within the U.S. Treasury Department, that employed artists to decorate numerous public buildings and parks. Though this federal program lasted less than a year, Bruce worked with Secretary of the Treasury Henry Morgenthau, Jr., to establish the Treasury Department's Section of Painting and Sculpture in 1934 - later renamed the Section of Fine Arts in 1938. Bruce was appointed Director of the department and played a primary role in securing federal government support for American artists. In 1940 he was appointed to the Commission of Fine Arts by President Franklin Delano Roosevelt.

Bruce received many honors and awards during his lifetime both for his work as an artist and for his capable and dedicated administration of federal arts programs. Despite poor health, he continued his work for the Section of Fine Arts until shortly before his death in 1943.
Related Material:
Other resources in the Archives relating to Edward Bruce include an oral history interview with Margaret (Peggy) Bruce on October 11, 1963 conducted by Harlan Phillips. Miscellaneous Manuscript Collections include one file of material, 1933-1960, concerning Edward Bruce that was donated by the U.S. General Services Administration in 1986 and microfilmed on reel 3960.

Also available at the Archives are two collections of records loaned by the U.S. National Archives from their Public Buildings Administration records and the records of the Public Works of Art Project for microfilming by the Archives. Microfilm reels DC1-DC 13 and DC116-DC128 contain Edward Bruce's files and correspondence, respectively.
Separated Material:
A book Art in Federal Buildings by Forbes Watson and Edward Bruce was donated to AAA with Bruce's papers and microfilmed with the rest of collection on Microfilm Reel D91-D92, and then transferred to the Smithsonian American Art Museum Library.
Provenance:
The Edward Bruce papers were donated by Margaret (Peggy) Bruce, Edward Bruce's wife, in 1962. Additional printed material, financial records, and photographs of artwork were donated by Mrs. Bruce's niece, Maria Ealand in 1979.
Restrictions:
The collection is open for research. The collection is partially microfilmed. Use of material not microfilmed requires an appointment.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Painters  Search this
Arts administrators  Search this
Topic:
New Deal, 1933-1939  Search this
Federal aid to the arts  Search this
Art, American  Search this
Art and state  Search this
Art, Modern -- 20th century -- United States  Search this
Genre/Form:
Diaries
Scrapbooks
Photographs
Citation:
Edward Bruce papers, 1902-1960 (bulk 1932-1942). Archives of American Art, Smithsonian Institution.
Identifier:
AAA.brucedwa
See more items in:
Edward Bruce papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw974a5ae73-b9a3-4cce-a3ec-77c07cc1ce18
EDAN-URL:
ead_collection:sova-aaa-brucedwa
Online Media:

Holger Cahill papers

Creator:
Cahill, Holger, 1887-1960  Search this
Names:
American Artists' Congress  Search this
American Council of Learned Societies  Search this
American Federation of Arts  Search this
Artists' Union (New York, N.Y.)  Search this
Cartoonists Guild  Search this
Federal Art Project (U.S.)  Search this
Federal Music Project (U.S.)  Search this
Federal Theatre Project (U.S.)  Search this
Index of American Design  Search this
New York World's Fair (1939-1940 : New York, N.Y.)  Search this
Shakers  Search this
The Design Laboratory (New York, N.Y.)  Search this
Treasury Relief Art Project  Search this
United States. Work Projects Administration  Search this
United States. Works Progress Administration  Search this
Abbott, Berenice, 1898-1991  Search this
Brown, Samuel Joseph, 1907-1994  Search this
De Rivera, José Ruiz, 1904-1985  Search this
Halpert, Edith Gregor, 1900-1970  Search this
Hopkins, Harry Lloyd, 1890-1946  Search this
Knaths, Karl, 1891-1971  Search this
Miller, Dorothy Canning, 1904-2003  Search this
Morris, Carl, 1911-1993  Search this
Olds, Elizabeth, 1896-1991  Search this
Roosevelt, Eleanor, 1884-1962  Search this
Rowan, Edward Beatty, 1898-1946  Search this
Scaravaglione, Concetta, 1900-1975  Search this
Segal, George, 1924-2000  Search this
Speck, Walter, 1895-  Search this
Ward, Lynd, 1905-1985  Search this
Weisenborn, Rudolph, b. 1881  Search this
Extent:
15.8 Linear feet
Type:
Collection descriptions
Archival materials
Prints
Government records
Interviews
Scrapbooks
Photographs
Slides (photographs)
Photograph albums
Drawings
Place:
United States -- Economic conditions -- 1918-1945
United States -- Social conditions -- 1933-1945
Date:
1910-1993
bulk 1910-1960
Summary:
The papers of Holger Cahill (1887-1960) date from 1910 to 1993, with the bulk of the material dating from 1910-1960, and measure 15.8 linear feet. The collection offers researchers fairly comprehensive documentation of Cahill's directorship of the Works Progress/Projects Administration's (WPA) Federal Art Project (FAP) in addition to series documenting his work as a writer and art critic. Material includes correspondence, reports, artist files, scrapbooks, printed material, and photographs.
Scope and Content Note:
The papers of Holger Cahill (1887-1960) date from 1910 to 1993, bulk 1910-1960, and measure 15.8 linear feet. The collection offers researchers fairly comprehensive documentation of Cahill's directorship of the FAP in addition to series documenting his work as a writer and art critic. FAP records include national and state administrative reports, records of community art centers, photographic documentation of state activities, artist files, divisional records about teaching, crafts, murals, and poster work, files concerning the Index of American Design, scrapbooks, and printed material.
Arrangement:
The collection is arranged into nine series:

Missing Title

Series 1: Biographical Material and Personal Papers, 1931-1988 (Box 1; 19 folders)

Series 2: Correspondence Files, 1922-1979, 1993 (Boxes 1-2; 1.5 linear ft.)

Series 3: Works Progress Administration Federal Art Project, 1934-1970 (Boxes 2-14, 18, MMs009; 10.75 linear ft.)

Series 4: Writings, Lectures and Speeches, 1916-1960 (Boxes 14-15, 18; 1.0 linear ft.)

Series 5: Minutes of Meetings and Panel Discussions, Non-FAP, 1939-1947 (Box 15; 5 folders)

Series 6: Notes and Research Material, 1935-1970 (Boxes 15-16; 0.25 linear ft.)

Series 7: Artwork, undated (Boxes 16, 18; 2 folders)

Series 8: Printed Material, 1910-1985 (Boxes 16-17; 1.8 linear ft.)

Series 9: Photographs, circa 1917-1960 (Box 17; 6 folders)
Biographical Note:
Holger Cahill was born Sveinn Kristjan Bjarnarson in Iceland in a small valley near the Arctic Circle, on January 13, 1887. His parents, Bjorn Jonson and Vigdis Bjarnadottir, immigrated to the United States from Iceland sometime later in the 1880s. In 1904, his father deserted the family, forcing Sveinn to be separated from his mother and sister to work on a farm in North Dakota. He ran away and wandered from job to job until settling in an orphanage in western Canada, where he attended school and became a voracious reader.

As a young man, he worked at many different jobs and attended night school. While working on a freighter, he visited Hong Kong, beginning his life-long interest in the Orient. Returning to New York City, he eventually became a newspaper reporter, continued his studies at New York University, and changed his name to Edgar Holger Cahill. In 1919 he married Katherine Gridley of Detroit. Their daughter, Jane Ann, was born in 1922, but the couple divorced in 1927.

Cahill met John Sloan circa 1920, and they shared a residence. Cahill also wrote publicity (until 1928) for the Society of Independent Artists, through which he made many friends in the arts. From 1922 to 1931, he worked under John Cotton Dana at the Newark Museum, where he received his basic experience in museum work, organizing the first large exhibitions of folk art.

From 1932 to 1935, he was the director of exhibitions for the Museum of Modern Art. In 1935, Cahill was appointed director of the Works Progress/Projects Administration (WPA) Federal Art Project (FAP), until its end in June 1943. In 1938, Cahill organized a countrywide exhibition "American Art Today" for the New York World's Fair. He also married MoMa curator Dorothy Canning Miller in that year.

Profane Earth, Cahill's first novel, was published in 1927, followed by monographs on Pop Hart and Max Weber, miscellaneous short stories, and a biography of Frederick Townsend Ward, entitled A Yankee Adventurer: The Story of Ward and the Taiping Rebellion. Following the end of the Federal Art Project, Cahill wrote two novels, Look South to the Polar Star (1947) and The Shadow of My Hand (1956).

Holger Cahill died in Stockbridge, Massachusetts in July 1960.
Provenance:
The Holger Cahill papers were donated to the Archives of American Art through a series of gifts by Cahill's widow, Dorothy C. Miller, between 1964 and 1995.
Restrictions:
The microfilm of this collection has been digitized and is available online via the Archives of American Art website.
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:
Arts administrators  Search this
Topic:
Federal aid to the public welfare  Search this
Art and state  Search this
Federal aid to the arts  Search this
New Deal, 1933-1939  Search this
Public officers  Search this
Genre/Form:
Prints
Government records
Interviews
Scrapbooks
Photographs
Slides (photographs)
Photograph albums
Drawings
Citation:
Holger Cahill papers, 1910-1993, bulk 1910-1960. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.cahiholg
See more items in:
Holger Cahill papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw93d4a8dc7-a7be-470b-8216-ae763d3bc9e2
EDAN-URL:
ead_collection:sova-aaa-cahiholg
Online Media:

Oral history interview with Don G. Abel

Interviewee:
Abel, Donald G.  Search this
Interviewer:
Bestor, Dorothy K., 1913-  Search this
Creator:
New Deal and the Arts Oral History Project  Search this
Names:
Federal Art Project (Wash.)  Search this
New Deal and the Arts Oral History Project  Search this
Hinckley, Robert H., 1891-  Search this
Hopkins, Harry Lloyd, 1890-1946  Search this
Inverarity, Robert Bruce, 1909-1999  Search this
Roosevelt, Eleanor, 1884-1962  Search this
Extent:
12 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1965 June 10
Scope and Contents:
An interview of Don G. Abel conducted 1965 June 10, by Dorothy Bestor, for the Archives of American Art. Abel describes his position as state administrator for the WPA in Washington state, the levels of organization within the WPA, and his relationship with Robert Hinckley, Harry Hopkins, and Robert Bruce Inverarity. He also speaks of Eleanor Roosevelt's visits to Seattle Art Projects and her interest in the work of women artists. He also discusses communist opposition to the WPA, federal appropriations, the transition from Federal Art Project to the Washington State Project and the accomplishments of the WPA.
Biographical / Historical:
Don G. Abel was an art adminstrator with the Works Progress Administration, from Washington state.
General:
Originally recorded on 1 sound tape reel. Reformatted in 2010 as 2 digital wav files. Duration is 36 min.
Provenance:
This interview conducted as part of the Archives of American Art's New Deal and the Arts project, which includes over 400 interviews of artists, administrators, historians, and others involved with the federal government's art programs and the activities of the Farm Security Administration in the 1930s and early 1940s.
Restrictions:
Transcript available on the Archives of American Art website.
Occupation:
Arts administrators -- Washington (State) -- Interviews  Search this
Topic:
Art and state  Search this
Federal aid to the arts  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.abel65
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9e0e7ccd1-3122-4c50-b87a-58f704ba0bd3
EDAN-URL:
ead_collection:sova-aaa-abel65
Online Media:

John Pye papers

Creator:
Pye, John  Search this
Names:
Harding, Warren G. (Warren Gamaliel), 1865-1923  Search this
Pye, John  Search this
Roosevelt, Eleanor, 1884-1962  Search this
Roosevelt, Franklin D. (Franklin Delano), 1882-1945  Search this
Truman, Bess Wallace  Search this
Truman, Harry S., 1884-1972  Search this
Wilbur, Curtis Dwight, 1867-1954  Search this
Extent:
1.54 Linear feet (3 boxes)
Type:
Collection descriptions
Archival materials
Correspondence
Photographic prints
Books
Clippings
Invitations
Photographs
Date:
1911-1979
Summary:
The John Pye papers, dating from 1911 to 1979 and measuring .73 linear feet, document the career of White House chauffeur and butler John Pye. The collection is composed of correspondence, clippings, invitations, photographs, and a book.
Scope and Contents:
The John Pye papers, which date from 1911 to 1979, document the personal and professional life of John Pye. The collection contains material related to his employment at the Elks Club in Washington, D.C., as the chauffeur for the Secretary of the Navy, at the United States Post Office, and as a valet, messenger, chauffeur, and butler in the the White House from 1913-1952. Very notable are correspondence and event invitations from the Truman and Roosevelt administrations. The papers include letters, certificates, newspaper clippings, invitations, photographic prints, photographs, and a book on President Harry S. Truman by his daughter Margaret Truman.

The collection is organized into four series: Series 1: Biographical, Series 2: Correspondence, Series 3: Career, Series 4: Miscellaneous, and Series 5: Photographs.

Series 1: Biographical, 1925-1979, undated, consists of newspaper clippings and writings detailing the personal and professional life of John Pye.

Series 2: Correspondence, 1911-1966, undated, consists of letters of recommendation for Pye, invitations, and other correspondence from his employment at the White House.

Series 3: Career, 1944-1952, undated, consists of lists of White House Luncheon attendees, a certificate recognizing Pye's WWII civilian service, and a signed broadsheet commemorating his retirement from the White House.

Series 4: Miscellaneous, 1938-1947, consists of news transcripts and clippings. Some discuss the advancement of African Americans into formerly white-dominated professions.

Series 5: Photographs, circa 1920-circa 1965, undated, consists of photographs from John Pye's work and private life. Some photographs are inscribed portrait photos of Pye's employers, including Presidents Harding, Roosevelt, and Truman.
Arrangement:
The John Pye papers are arranged by material type. Series 1 through 4 are housed in Box 1 and contain correspondence, clippings, and a book. Boxes 2 and 3 contain photographs. Box 2 contains loose photographs and Box 3 contains framed and oversized photographs.
Biographical / Historical:
John Pye, 1888- , moved from Newburg, Maryland, to Washington, DC, in 1900. His first documented employment was with the Elks Club. In 1916 he became a chauffeur for Josephus Daniels, Secretary of the Navy, and in 1920, he worked for the Post Office. He occasionally acted as a chauffeur for Franklin D. Roosevelt, then Assistant Secretary of the Navy. In 1933, upon Roosevelt's ascent to the presidency, Pye was brought on as a White House employee. Pye worked as a valet, messenger, chauffeur, butler, and occasional cook in the White House from 1913 to 1952. After his retirement, he continued to supervise select events at the White House and other elite DC-area institutions.

Pye lived in Northeast DC during his career. In later life he moved to Gainesville, Virginia, with his wife Thelma.
Provenance:
The John Pye papers were donated to the Anacostia Community Museum in 2003 by Ethel L. Pye.
Restrictions:
The John Pye papers are the physical property of the Anacostia Community Museum. Literary and copyright belong to the author/creator or their legal heirs and assigns. For further information, and to obtain permission to publish or reproduce, contact the Museum Archives.
Rights:
Use of the materials requires an appointment. Please contact the archivist to make an appointment: ACMarchives@si.edu.
Topic:
Politicians -- United States  Search this
African American men  Search this
African Americans -- Employment  Search this
African Americans -- Washington (D.C.)  Search this
Genre/Form:
Correspondence
Photographic prints
Books
Clippings
Invitations
Photographs
Citation:
John Pye papers, Anacostia Community Museum Archives, Smithsonian Institution, gift of Ethel L. Pye.
Identifier:
ACMA.06-024
See more items in:
John Pye papers
Archival Repository:
Anacostia Community Museum Archives
GUID:
https://n2t.net/ark:/65665/qa7e759109d-64e8-43b9-b62e-09bc7ac0dd71
EDAN-URL:
ead_collection:sova-acma-06-024
Online Media:

[Eleanor Roosevelt addressing NAACP rally in Washington D.C. : acetate film photonegative]

Photographer:
Scurlock, Addison N., 1883-1964  Search this
Names:
National Association for the Advancement of Colored People  Search this
Morse, Wayne, Senator  Search this
Roosevelt, Eleanor, 1884-1962  Search this
Truman, Harry S., 1884-1972  Search this
White, Walter, 1893-1955 (President, N.A.A.C.P)  Search this
Subseries Creator:
Scurlock Studio (Washington, D.C.)  Search this
Scurlock, Robert S. (Saunders), 1917-1994  Search this
Custom Craft  Search this
Scurlock, Addison N., 1883-1964  Search this
Scurlock, George H. (Hardison), 1919-2005  Search this
Extent:
1 Item
Container:
Box 54
Type:
Archival materials
Photographs
Place:
Lincoln Memorial (Washington, D.C.)
Date:
[June 29, 1947.]
Scope and Contents:
Subject is speaking at lectern outside Lincoln Memorial for the closing session of the 38th annual conference of the organization. "Walter White, President of the NAACP, sits in the first row to the right of the rostrum along with President Harry S. Truman, seated to his right, wearing a light colored suit, and Senator Wayne Morse at the end of the row." (Caption with reproduction in Smithsonian calendar--see below.) "Ansco Safety Film" imprint on edge.
Subseries Restrictions:
Collection is open for research.

Gloves must be worn when handling unprotected photographs and negatives. Special arrangements required to view negatives due to cold storage. Using negatives requires a three hour waiting period. Contact the Archives Center at 202-633-3270.
Subseries Rights:
When the Museum purchased the collection from the Estate of Robert S. Scurlock, it obtained all rights, including copyright. The earliest photographs in the collection are in the public domain because their term of copyright has expired. The Archives Center will control copyright and the use of the collection for reproduction purposes, which will be handled in accordance with its standard reproduction policy guidelines. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Genre/Form:
Photographs -- 1940-1950 -- Black-and-white negatives -- Acetate film
Subseries Citation:
Scurlock Studio Records, Archives Center, National Museum of American History. Smithsonian Institution
See more items in:
Scurlock Studio Records, Subseries 4.1: Black-and-White Silver Gelatin Negatives
Scurlock Studio Records, Subseries 4.1: Black-and-White Silver Gelatin Negatives / 4.1: Black-and-White Silver Gelatin negatives
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep8eb82ab26-ba77-4fb3-a3a4-cfce8d428236
EDAN-URL:
ead_component:sova-nmah-ac-0618-s04-01-ref1657

Pietro Lazzari papers

Creator:
Lazzari, Pietro, 1898-1979  Search this
Names:
Apollo 17 (Spacecraft)  Search this
Onassis, Jacqueline Kennedy, 1929-1994  Search this
Phillips, Duncan, 1886-1966  Search this
Roosevelt, Eleanor, 1884-1962  Search this
Rust, John D.  Search this
Stevenson, Adlai E. (Adlai Ewing), 1900-1965  Search this
Thomas, Norman, 1884-1968  Search this
Extent:
12.84 Linear feet
Type:
Collection descriptions
Archival materials
Prints
Sketchbooks
Photographs
Slides (photographs)
Motion pictures (visual works)
Paintings
Date:
1878-1998
Summary:
The papers of muralist and sculptor, Pietro Lazzari, measure 12.84 linear feet and date from 1878 to 1998. The papers document Lazzari's life and career through biographical material, correspondence, business records, notes, writings, artwork, photographs, and printed material.
Scope and Content Note:
The papers of muralist and sculptor, Pietro Lazzari, measure 12.84 linear feet and date from 1878 to 1998. The collection documents Lazzari's life and career through biographical material, correspondence, business records, notes, writings, artwork, photographs, and printed material.

Biographical material includes biographical sketches and various identification documents. Correspondence comprises letters exchanged between Lazzari, family members, and colleagues and includes about a hundred letters concerning post office murals in several states.

Notebooks contain drawings and annotated diagrams in addition to notes on artwork and designs for inventions. Writings are both by and about Lazzari and include autobiographical material. Artwork includes sketchbooks, loose sketches, prints, and paintings.

Almost a quarter of the collection consists of photographs which include images of Lazzari, his family and colleagues, and gallery installations. Also found are photographs of several notable individuals.
Arrangement:
The collection is arranged as ten series according to material type. For each series, material within folders is arranged chronologically. Glass plate negatives are housed separately and closed to researchers.

Missing Title

Series 1: Biographical Material, 1880-1980 (box 1; 4 folders)

Series 2: Correspondence, 1895-1998, undated (boxes 1-2; 1.7 linear ft.)

Series 3: Personal Business Records, 1925-1993, undated (box 2; 0.4 linear ft.)

Series 4: Notes, 1915-1979, undated (boxes 3, 13, OV 14; 1 linear ft.)

Series 5: Writings, 1910-1979, undated (box 4, 13; 0.4 linear ft.)

Series 6: Artwork, 1918-1979, undated (boxes 4-5, 13, OV 14; 0.9 linear ft.)

Series 7: Printed Material, 1905-1994, undated (boxes 5-8, 13, OV 14; 3.8 linear ft.)

Series 8: Photographs, 1878-1980, undated (boxes 8-13, MGP 1, MGP 4; 3.8 linear ft.)

Series 9: Motion Picture Film, undated (FC 15; 1 film can)

Series 10: Artifact, undated (box 12; 1 folder)
Biographical Note:
Pietro Lazzari was born in Rome, on May 15, 1898. At the age of 15, he was apprenticed to Roman sculptor, Jerace. Four years on the Italian front in World War I interrupted his studies, until he could return to the Ornamental School of Rome, where he received a Master Artist degree in 1922. Lazzari's first solo exhibition was at the Theatre of the Independents in Rome. He was also employed by newspaper Il Messaggero to illustrate articles with athletes' portraits.

Lazzari visited the United States in 1925, exhibiting in a group show at the New Gallery in the New York the following year. He also married American social worker Elizabeth Paine in 1926. After four more trips between the United States and Italy, he permanently settled in New York City in 1929. In addition to participating in major art exhibitions, he was hired by a New York newspaper to make courtroom sketches at the Lindbergh kidnapping trial. Divorcing his first wife in 1932, Lazzari married Evelyn Cohen in 1934, and became a U.S. citizen in 1936. Between 1936 and 1942, he worked on four post office murals for the U.S. Section of Fine Arts and began experimentation that led to his own method of painting in polychrome concrete.

In 1942, Lazzari moved to Washington, D.C. and participated in the war effort. He also taught painting and sculpture at The American University, and from 1948 to 1950, he headed the Art Department at Dumbarton College. In 1950, he received a Fulbright Fellowship for research in techniques of Etruscan Art.

Lazzari is known for his bronze busts of humanitarians, most notably Pope Paul VI, Adlai Stevenson, and Eleanor Roosevelt. Represented by the Betty Parsons Gallery in New York, he was also very active in the Washngton, D.C. art community, where he was represented by the Caresse Crosby Gallery.

Pietro Lazzari died on May 1, 1979 in Bethesda, Maryland.
Related Material:
Also found in the Archives of American Art is one sound tape reel of a transcribed interview with Pietro Lazzari, conducted by Harlan Phillips in 1964.
Provenance:
The Pietro Lazzari papers were donated to the Archives of American Art in 1989 by Evelyn C. Lazzari, widow of Pietro Lazzari, and in 1998 by her estate.
Restrictions:
The collection is open for research. Use requires an appointment.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Topic:
Portrait sculpture, American -- Washington (D.C.)  Search this
Works of art  Search this
Muralists -- Washington (D.C.)  Search this
Sculpture, American -- Washington (D.C.)  Search this
Sculptors -- Washington (D.C.)  Search this
Genre/Form:
Prints
Sketchbooks
Photographs
Slides (photographs)
Motion pictures (visual works)
Paintings
Citation:
Pietro Lazzari papers, 1878-1998. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.lazzpiet
See more items in:
Pietro Lazzari papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9c1076b1d-cfcb-4c35-82b7-058eb79dc787
EDAN-URL:
ead_collection:sova-aaa-lazzpiet
Online Media:

[First Lady Eleanor Roosevelt guided by a man in military uniform through a European city bombed during World War II; "Western Union Cable Photo" : photoprint.]

Collector:
Western Union Telegraph Company  Search this
Names:
Roosevelt, Eleanor, 1884-1962  Search this
Collection Creator:
United Telegraph Workers.  Search this
Western Union Telegraph Company  Search this
Extent:
1 Item (4.6"x7.1".)
Type:
Archival materials
Photographs
Date:
Circa 1944
Arrangement:
In series 23?, box 756?, folder 1-2?
Local Numbers:
AC0205-0000086 (AC Scan)
Restrictions:
Unrestricted research access by appointment. Photographs must be handled with cotton gloves unless protected by sleeves.
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.
Topic:
World War, 1939-1945  Search this
Telegraph, Wireless  Search this
Genre/Form:
Photographs -- 1940-1950 -- Black-and-white photoprints -- Silver gelatin
Collection Citation:
Western Union Telegraph Company Records, Archives Center, National Museum of American History
See more items in:
Western Union Telegraph Company Records
Western Union Telegraph Company Records / Series 23: Photographs / 23.10: Cable Photographs (Facsimiles) / Cable Photographs-Negatives, February 1939-June 1939
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep86a546310-f165-45c6-b80e-536cfce47463
EDAN-URL:
ead_component:sova-nmah-ac-0205-ref11378

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