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Playbill for The Piano Lesson

Published by:: Playbill, American, founded 1884 Search this

Subject of:: Charles S. Dutton, American, born 1951 Search this; Rocky Carroll, American, born 1963 Search this; Apryl R. Foster, American Search this; Carl Gordon, American, 1932 - 2010 Search this; Lisa Gay Hamilton, American, born 1964 Search this; Tommy Hollis, American, 1954 - 2001 Search this; S. Epatha Merkerson, American Search this; Lou Myers, American, born 1945 Search this

Medium:: ink on paper

Dimensions:: H x W: 8 3/8 x 5 5/8 in. (21.3 x 14.3 cm)

Type:: theater programs

Place used:: New York City, New York, United States, North and Central America

Date:: 1990

Topic:: African American Search this; Broadway Theatre Search this; Drama (Theatre) Search this

Credit Line:: Collection of the Smithsonian National Museum of African American History and Culture, Gift of Kayla Deigh Owens

Object number:: 2011.45.77

Restrictions & Rights:: Playbill used by permission. All rights reserved, Playbill Inc; Permission required for use. Proper usage is the responsibility of the user.

See more items in:: National Museum of African American History and Culture Collection

Classification:: Memorabilia and Ephemera

Data Source:: National Museum of African American History and Culture

GUID:: http://n2t.net/ark:/65665/fd5617dcbe3-2c46-45f9-8bf0-52d0ca62ee99

EDAN-URL:: edanmdm:nmaahc_2011.45.77

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Joseph Cornell Study Center Collection

Artist:: Cornell, Joseph Search this

Names:: Benton, Elizabeth Cornell Search this; Cornell, Robert Search this

Extent:: 196.8 Linear feet; 186 Nitrate negatives

Type:: Collection descriptions; Archival materials; Nitrate negatives; Photographic photoprints; Photographs

Place:: New York, New York

Date:: 1750-1980, bulk 1930-1972

Summary:: The Joseph Cornell Study Center collection measures 196.8 linear feet and dates from 1750 to 1980, with the bulk of the material dating from 1930 to 1972. Documenting the artistic career and personal life of assemblage artist Joseph Cornell (1903-1972), the collection is primarily made up of two- and three-dimensional source material, the contents of the artists' studio, his record album collection, and his book collection and personal library. The collection also includes diaries and notes, financial and estate papers, exhibition materials, collected artifacts and ephemera, photographs, correspondence, and the papers of Robert Cornell (1910-1965) and Helen Storms Cornell (1882-1966), the artist's brother and mother.

Scope and Contents:: The Joseph Cornell Study Center collection measures 196.8 linear feet and dates from 1750 to 1980, with the bulk of the material dating from 1930 to 1972. Documenting the artistic career and personal life of assemblage artist Joseph Cornell (1903-1972), the collection is primarily made up of two- and three-dimensional source material, the contents of the artists' studio, his record album collection, and his book collection and personal library. The collection also includes diaries and notes, financial and estate papers, exhibition materials, collected artifacts and ephemera, photographs, correspondence, and the papers of Robert Cornell (1910-1965) and Helen Storms Cornell (1882-1966), the artist's brother and mother.

Correspondence is with collectors, museums, galleries, artists, friends, family, charity organizations, admirers and those admired by Cornell, and World War II European pen pals. Discussions about the appreciation, donation, sale, purchase, and exhibition of Cornell's works are frequent, with the inclusion of shipping and loan documentation or notices of payment installments. Galleries and museums frequently request that Cornell agree to an exhibition, which he often declines, and fans request free works be mailed or affordable works be sold to them. With friends, artists, and those he admired, Cornell discussed topics that fascinate him, included bits of poetry or philosophical musings, sent clippings or a collaged letter, and occasionally discussed a project or work in process. After World War II, when so many were displaced by the war in Europe, Cornell answered ads for pen pals in the "Christian Science Monitor," often responding to requests for clothing or other goods, and sometimes exchanging many letters over several years. Family correspondence is with his mother, sisters, brother, and others, and often notes activities of the day, foods eaten, and general musings, as well as occasionally mentioning a project or artwork. Correspondents of note include Stan Brakhage, Betty Freeman, Charles Henri Ford, Allegra Kent, Yayoi Kusama, Roberto Matta, Marianne Moore, Octavio Paz, Sonia Sekula, Pavel Tchelitchew, Parker Tyler, Dorothea Tanning, and Betsy von Furstenberg, among others.

Cornell was often preoccupied with his thoughts, feelings, memories, a project or thematic "exploration," and jotted notes on seemingly any surface available. Notes and musings are on napkins, the backs of envelopes, newspaper clippings, and paper bags from record and magazine stores. Frequently, an observation would trigger a lengthy nostalgic moment, or a "feé," fairy-like child or girl, would capture his imagination and lead him to thoughts of 18th-century ballerinas and silent film stars. Cornell wrote longer diary notes, sometimes expanding on an earlier notation or emotion, and often wrote when he experienced trouble sleeping or woke early. Drafted letters to imaginary muses or admired individuals are interspersed among diaries, often revealing Cornell's yearnings to find emotional intimacy and human connection. Over time, Cornell revisited his notes and occasionally made further notations about renewed thoughts on a topic, dating the note with "revisited" or "reviewed." Notes are often written in a stream-of-consciousness style, for example, jumping from the mention of a record album or composer, to a ballerina of the same period, a note about a French poet, the memory of childhood, or an observation made earlier in the day, all in the space of a few lines. Notes about artistic processes or meanings behind works or images do occasionally emerge from the tangled, poetic notations. Notes also often provide insights into Cornell's internal emotional state and give clues about his intentions behind an artwork or a particular thematic fixation.

Financial materials document Cornell's professional and personal business activities, including the sale of artworks, annual expenses for supplies and household incidentals, payments and schedules for personal assistants, receipts for donations to charities and nonprofits, and tax documents. There is also information about who worked as assistants, or "helpers," in his later years and where Cornell purchased art supplies. Additionally, specific details are documented through receipts and invoices, such as what kind of paint he purchased. Estate records include preparations made for Cornell's artworks after his death, and clippings about other deceased artist's estates show that he thought often about such arrangements in his later years.

Exhibition files highlight several select solo exhibitions for Cornell, as well as preparations and planning for the "Robert Cornell: Memorial Exhibition" in honor of his brother in 1966. Also included are several early exhibition catalogs and announcements, including "Surréalisme" (January 9-29, 1932) and "Exhibition of Objects (Bibloquet) by Joseph Cornell" (December 6-31, 1939) at the Julien Levy Gallery, and "Romantic Museum: Portraits of Women, Constructions and Arrangements by Joseph Cornell" (December 1946) at the Hugo Gallery.

Film projects and collected film materials consist of files related to Cornell's various experimental film projects: "Aviary," "Cappuccino," "Centuries of June," "Fable for Fountains," "Nymphlight," "Serafina's Garden," and unrealized film scenario "Monsieur Phot." Files include film-making notes, correspondence, and photographs. Cornell's interest in film also led him to collect film-related materials, such as film stills, film posters, and screening programs. Scattered correspondence documents the interest other institutions and individuals had in purchasing and viewing his collection. Though most of his collected film stills and movie posters were donated to the Anthology Film Archives, film stills from "Escape Me Never" (1935) and "The Passion of Joan of Arc" (1928) are still within the collection, as well as film-screening programs for Cornell's collection of films.

Writing and design projects document Cornell's work authoring articles and designing issues of specialty dance magazine "Dance Index," and his layouts for popular magazines like "Good Housekeeping," "House and Garden," and "Mademoiselle." Other writing projects include brochures dedicated to opera singers Maria Malibran and Giulia Grisi, "Maria" and "Bel Canto Pet." Materials used for these brochures, such as copper photo engraving plates, are also found. Design work includes a series of Christmas cards created with The Museum of Modern Art as well as traced patterns ("textile tracings") and design clippings from Cornell's time working as a "textile designer" for Traphagen Commercial Textile Studio.

Cornell acquired troves of source material from bookstalls, antique stores, sporting good and department stores, hardware stores, and magazine and record shops. He kept boxes and files of material on admired individuals, such as actresses, artists, dancers, and singers, as well as on art projects or thematic "explorations." Files are on general topics such as American history, scientific phenomena, animals, plants, and humankind, as well as on series of artworks, such as "Castles," "Homage to the Romantic Ballet," and "Medici Slot Machines." Focused "exploration" projects include "Celestial Theatre," "Colombier," "GC 44," and "Switzerland," among others. Materials include photographs, photostats, maps, book fragments, autographed letters, notes, collage clippings and cutouts, collected prints and engravings, box and collage fragments, and scattered artifacts.

Collected ephemera includes large amounts of blank postcards and greeting cards, stamps, collected bus and train tickets, food labels and packaging, decals, and other materials. Artifacts are three-dimensional collected objects and source objects, which include found objects from the streets, dried flowers, and pieces of nature gathered from walks around his neighborhood. Cornell may have gathered materials because they inspired a memory or nostalgic feeling, or because they fit with a bin of other similar objects to select from for an artwork in progress.

Photographs found within the collection are of Cornell at work and as a child with family. Also found are assorted personal and family photographs, photographs of Cornell's attic and garage storage, and photographs of his Utopia Parkway house. Photographs of artwork include few installation photographs, in addition to photographs of Cornell's boxes and collages. Collected photographic materials include vintage photographs, such as tintypes, a cyanotype, stereoscopic glass slides, albumen prints, cabinet cards, and cartes-de-visite. Cornell also collected cased photographs, such as daguerreotypes, ambrotypes, and one opalotype. Negatives and photostats were often produced from various prints and even other photographs and used in Cornell's boxes and collages. Images are of men and women, actors, authors, dancers, performers, well-known men and women, royalty, places, and artwork. Photographs of note include those by Hans Namuth of Willem and Lisa de Kooning and of Edward Hopper's bedroom; photographs by Henri Cartier-Bresson; a photograph by Julia Margaret Cameron; photographs by Brassai; and a photogravure by Alfred Stieglitz from "Camerawork."

Also found in the collection are works of art by others, including a sketch by Pavel Tchelitchew, as well as artwork by Cornell, such as unfinished collages, Rorschach drawings or ink blots, and childhood artwork. Printed material includes assorted bulletins, flyers, exhibition materials for other artists, journals, and sent printed membership and charity materials. Magazines, including "View," are also included, and often have annotations by Cornell or a note to "cut" or "review" with page numbers. A large amount of magazine and newspaper clippings are in the collection, sometimes collected with a group of like material by Cornell, and at other times simply gathered in heaps. Occasional annotations are also found on the clippings.

Cornell's personal library and book collection includes over 2500 titles, ranging from fiction, poetry, and cinema, to history, science, and travel. Notable among the titles are "Baedeker's" travel guides that Cornell often sourced for his "Hotel" box series, as well as an influential publication by Max Ernst, "La Femme 100 têtes," which includes a typed letter and exhibition flyer tucked within. Books often have annotations, some fairly extensive, by Cornell, and assorted collected items, notes, and correspondence tucked between pages. Pages were often cut by Cornell, either to make photostats and use in a box, or to file with other thematic "explorations." A wide range of authors and topics provide insight into Cornell's interests and to ideas behind artwork and diary notes. Cornell's collection of record albums includes over 145 records. These contain inserted notes and clippings and are often referenced in diary notes Cornell made, noting a recent album or song listened to while at work in his studio.

The papers of Cornell's mother, Helen Storms Cornell, and his brother, Robert Cornell, are also included in the collection. Both lived with Cornell his whole life, spending the most time with him at their home at 3708 Utopia Parkway. Financial materials document shared responsibilities for billing, utilities, household fixes and chores, and expenditures, and Helen kept detailed financial records in a series of ledgers. Robert notes when he borrowed money from Cornell, or when he means to pay Cornell back for the purchase of a typewriter. Activities documented in diaries also occasionally cross paths with Cornell, noting his visitors or an exchange of letters continued after introductions through Cornell. Personal activities, such as Robert's interest in his train collection and his drawing projects and cartoon series, are also documented.

Arrangement:: The Joseph Cornell Study Center Collection is arranged into 15 series:

Series 1: Biographical Material, 1917-1972 (Boxes 1, 98, OV118; 0.9 linear feet)

Series 2: Correspondence, 1813, 1934-circa 1973 (Boxes 1-8, 86; 6.5 linear feet)

Series 3: Diaries and Notes, 1940-1976 (Boxes 8-10, 98-99, 135, OV108, OV119; 3.5 linear feet)

Series 4: Personal Business and Estate Records, 1950-1978 (Boxes 10-14; 4.1 linear feet)

Series 5: Exhibition Files, 1932-1973 (Box 14; 0.3 linear feet)

Series 6: Film Projects and Collected Film Materials, circa 1924-1972 (Boxes 14-16, 100, 133; 1.6 linear feet)

Series 7: Writing and Design Projects, circa 1910s, 1936-1962 (Boxes 16-18, 86, 100, 131-132, OV109-OV111, OV120-OV122; 3.6 linear feet)

Series 8: Source Material, 1750-circa 1911, 1926-1972 (Boxes 19-49, 86-92, 96, 100-105, 126-130, 132-137, OV112-OV115, OV125; 42.2 linear feet)

Series 9: Artifacts and Ephemera, 1768, circa 1839-1972 (Boxes 49-52; 3.2 linear feet)

Series 10: Photographic Material, circa 1800s-1972 (Boxes 52-56, 80-86, 93, 106, 128, 133, OV116, OV123-OV124; 7.5 linear feet)

Series 11: Artwork, circa 1810-1972 (Boxes 56-57, 107, OV117; 1.2 linear feet)

Series 12: Printed Material, 1855-1972 (Boxes 57-76, 94-96, 107; 16 linear feet)

Series 13: Book Collection and Personal Library, 1722-1980 (99.8 linear feet)

Series 14: Record Album Collection, circa 1925-1974 (3.2 linear feet)

Series 15: Cornell Family Papers, 1910-1980 (Boxes 77-79, 97, 107; 3.2 linear feet)

Biographical / Historical:: Joseph Cornell (1903-1972) was a self-taught assemblage and collage artist, and filmmaker, active in New York City. He was born in Nyack, New York on December 24, 1903, and died of heart failure at his home in Queens, New York on December 29, 1972. The oldest of four children, he was born Joseph I. Cornell to his mother, Helen Storms Cornell (1882-1966), and his father, Joseph I. Cornell (1875-1917). Cornell had two younger sisters, Elizabeth ("Betty") Cornell Benton (1905-2000) and Helen ("Sissy") Cornell Jagger (1906-2001), as well as one brother, Robert Cornell (1910-1965), who had cerebral palsy.

Cornell attended the Phillips Academy, a preparatory boarding school in Andover, Massachusetts, beginning shortly after his father's death in 1917. He attended for four years but did not receive a diploma, and soon began work as a textile salesman for the William Whitman Company in Manhattan. His work took him, by foot, through the city, visiting secondhand bookshops on Fourth Avenue, browsing music stores and magazine shops, and catching early shows at the Metropolitan Opera House. He would occasionally wait outside the stage doors for favorite singers and dancers to emerge, requesting signatures on photographs or bits of costumes.

Around 1926, Cornell joined the Christian Science Church, joined by his brother Robert shortly thereafter, and both continued to be lifelong members. Cornell kept a number of books in his personal library on Christian Science teachings and regularly subscribed to "The Christian Science Monitor."

After living in several rental houses in Bayside, New York, Cornell's mother purchased a house for the family in 1929 in Flushing, Queens. Cornell, along with his mother and brother, would live at 3708 Utopia Parkway, for the rest of their lives. His two sisters soon married and moved away, eventually settling in Westhampton, Long Island and in the poultry-farming business.

With no formal art training to speak of, Cornell's first work was a Max Ernst-inspired collage, "Untitled (Schooner)," created in 1931. He was especially inspired by Ernst's collage novel, "La Femme 100 têtes," published in 1929. French artist Odilon Redon was also among the few artists Cornell named as an influence on his art. His first sculptural works were small, cardboard pill boxes with bits of ephemera, costume adornments, and nature hidden inside. Cornell also created a series of glass bell jar works, placing small trinkets and Victorian-era-like compositions within. It was these early collages and bell jar works that were included in Cornell's debut exhibition, "Surréalisme" (January 9-29, 1932), a group show at the Julien Levy Gallery. Cornell designed the announcement for the show and exhibited alongside Max Ernst, Man Ray, Pierre Roy, Pablo Picasso, Marcel Duchamp, Eugène Atget, George Platt Lynes, Jean Cocteau, and Salvador Dalí. Months later, Cornell was invited to have his first solo show, "Objects by Joseph Cornell: Minutiae, Glass Bells, Shadow Boxes, Coups d'Oeil, Jouets Surréalistes" (November 26-December 30, 1932), also at the Julien Levy Gallery.

In 1932, after eleven years of work, Cornell was laid off from the William Whitman Company due to the Great Depression. Soon after, he took on more responsibility in the church, working part-time as an attendant in the Christian Science Reading Room in Great Neck, New York. Beginning in 1933, he taught Sunday school classes for three years and in 1935, became the Sunday school librarian. However, his religious activities and artistic ventures continued to remain separate.

In the early 1930s, Cornell progressed from movie lover to filmmaker. When Julien Levy began his New York Film Society in 1933, holding screenings of various experimental films in the gallery, Cornell began buying and collecting films and film stills in earnest. He set up a 16-millimeter projector in his home to screen favorites, such as those by Georges Méliès, D.W. Griffith, and Louis Feuillade. His collection quickly grew to over 2,500 film stills and several hundred films, and included silent era films, such as nature documentaries, goofy newsreels, travelogues, early cartoons, and slapstick comedies, as well as several feature films. In 1933, Cornell wrote a screenplay, or "scenario," entitled "Monsieur Phot." Between 1935 and 1937, Cornell also occasionally created publicity photomontages for Universal and Columbia studios. Of the nearly thirty films Cornell created, periods of activity can generally be separated into two areas: collage films of the late 1930s, consisting of combined elements from films in his own collection, and films he directed in the 1950s, which were collaborations with other filmmakers set in New York City. "Rose Hobart," Cornell's most celebrated collage film, was created and shown in the Julien Levy Gallery in 1936 and includes clipped footage from "East of Borneo." Later films were directed and filmed with cinematographers Stan Brakhage, Rudy Burckhardt, and Larry Jordan.

In 1934, Cornell began a job at the Traphagen Commercial Textile Studio as a "textile designer," a job he held for six years. Continuing to work at his kitchen table in the evenings, Cornell completed his first assemblage box construction, "Untitled (Soap Bubble Set)," in 1936. It was first exhibited at The Museum of Modern Art's show, "Fantastic Art, Dada and Surrealism" (December 9, 1936-January 17, 1937). This work was also the first to be acquired by a museum, purchased for $60.00 by the Wadsworth Atheneum in Massachusetts in 1938. Cornell's European debut was also in 1938, as one of three Americans represented in the "Exposition Internationale du Surréalisme" (January 17-Febuary 24, 1938) at the Galerie Beaux-Arts in Paris, alongside Man Ray and Anne Clark.

At the end of 1939, Cornell began corresponding with poet Charles Henri Ford, founder of avant-garde magazine "View," Pavel Tchelitchew, and Parker Tyler. After his "Soap Bubble Sets," this period saw the development of Cornell's homages to singers and actresses, including "Untitled (Fortune-Telling Parrot for Carmen Miranda)," the destroyed "Garbo (Greta Garbo in the Legendary Film 'The Crystal Mask,' c. 1845)," and "Dressing Room for Gilles." He also began using photostats of art reproduction prints, as with the print of Jean Antoine-Watteau's painting, "Pierrot" (circa 1719), used in his "Gilles" box.

In the 1940s, the Romantic ballet emerged as Cornell's new topic of interest. Through his friend Pavel Tchelitchew, Cornell was introduced to the School of American Ballet and New York City Ballet founders, Lincoln Kirstein and George Balanchine. Cornell collected dance memorabilia and had a great love of the Romantic ballet. His favorite dancers were primarily ballerinas of the nineteenth century, including Fanny Cerrito, Marie Taglioni, Fanny Elssler, Lucille Grahn, and Carlotta Grisi. Cornell's "Homage to the Romantic Ballet" works largely took the shape of jewel-box style wooden boxes with glass overlays and included bits of velvet, tulle, sequins, crystals, and chiffon, occasionally collected from dancers themselves. His most well-known work of this series is "Taglioni's Jewel Casket" (1940). Cornell also admired several living ballet dancers, including Tamara Toumanova, Zizi Jeanmaire, and Allegra Kent, who would all make their way into Cornell's box works and/or collages. Collecting for the "exploration," "Portrait of Ondine," Cornell's cased portfolio dedication to Fanny Cerrito and her role in the ballet "Ondine," began in the 1940s, though not completed until around 1960.

In late 1940, Cornell quit his job at Traphagen to concentrate on freelance commercial magazine design and editorial work during the day and his artwork at night. That same year, Charles Henri Ford started "View" magazine to promote Surrealists and Neo-Romantics in New York City and often asked Cornell to contribute. Published in the December 1941-January 1942 issue, one of his early contributions was a collage dedication to stage actress Hedy Lamarr: "Enchanted Wanderer: Excerpt from a Journey Album for Hedy Lamarr" (1941). Along with writing the accompanying text, he created a photomontage of Lamarr with her face overlaying the painted portrait of a Renaissance boy by Italian painter Giorgione. Peggy Guggenheim, at the advice of Marcel Duchamp, purchased multiple Cornell works prior to opening her new gallery, Art of This Century. Cornell also befriended Roberto Matta Echaurren, another Surrealist living in exile, who introduced him to Robert Motherwell.

After deciding to fully dedicate his time to his art in early 1940, he set up a studio in his basement. Complete with floor-to-ceiling wooden shelving, he kept his large collection of boxed source material stacked with handwritten labels in cardboard boxes. Themed folders of materials such as "Stamps" or "Maps" were kept in stacks and works in progress and finished works were stored in the basement, garage, and attic. Entering a renewed period of productivity, Cornell embarked on many new and important box projects in 1942. One of the first boxes created in his new basement studio, and the first of the "Penny Arcade" or "Medici Slot Machine" series, was "Medici Slot Machine" (1942), which includes a photostat of "Portrait of Marquess Massimiliano Stampa" (1557) by Sofonisba Anguissola. Another work from this time is the first of his "Castle" or "Palace" series, "Setting for a Fairy Tale" (1942), which uses a photostat of a French building from Jacques Androuet du Cerceau's book, "Les Plus excellents bastiments de France" (1576). "Untitled (Pharmacy)" (circa 1942) was the first of his "Pharmacy" series and included twenty-two apothecary jars. Cornell tended to work in series and created thirteen "Palace" boxes between 1942 and 1951, and ultimately created six "Pharmacy" works.

In 1943, Cornell began working at an electronics company, the Allied Control Company, Inc., to do his part to contribute to the defense effort during the war. He also sent correspondence and care packages to displaced Europeans, who listed their needs in "The Christian Science Monitor." Influenced by World War II, one of his strongest works to emerge in 1943 was "Habitat Group for a Shooting Gallery." Another notable work to come out of this period, "The Crystal Cage (Portrait of Berenice)," was an excerpt from one of his album "explorations" that was published in the January 1943 issue of "View."

Cornell left his job at Allied Control in 1944, but soon began working at the Garden Centre in Flushing, owned by a fellow Christian Scientist. Cornell was often nostalgic for this time in his life, devoting an entire "exploration" of material fondly remembered as "GC 44." He rode a bicycle to work and enjoyed collecting trips gathering dried grasses, driftwood, shells, and other relics of nature on the same bicycle as he rode through the streets of Queens. During this time, he continued to tend to his projects for "Dance Index," a magazine founded in 1942 by Lincoln Kirstein, but taken over by Donald Windham in 1944. Cornell designed several covers for the magazine and was given control of the entire summer 1944 issue, which he devoted to the Romantic ballet. He also devoted a special 1945 issue to Hans Christian Andersen, making great use of the New York Public Library Picture Collection.

Throughout the 1940s, Cornell continued to support himself with commercial design work for magazines like "Vogue," "Good Housekeeping," "Harper's Bazaar," "Town & Country," and "Mademoiselle." In 1946, after thirteen years at the Julien Levy Gallery, he joined the Hugo Gallery. In December 1946, Cornell's solo exhibition, "Romantic Museum at the Hugo Gallery: Portraits of Women by Joseph Cornell," celebrated his favorite movie stars, singers, and ballet dancers, and included his work created for the show, "Untitled (Penny Arcade Portrait of Lauren Bacall)." Cornell's "Greta Garbo" box, as well as "Souvenir for Singleton," an homage to Jennifer Jones and her role in the film "Love Letters," were also included in the show. In late 1948, his West Coast debut was in the exhibition, "Objects by Joseph Cornell," held at the Copley Gallery. The end of the 1940s saw the final issue of "View" magazine in 1947, the closure of the Julien Levy Gallery in April 1949, and Cornell's departure from the Hugo Gallery after his last show in November 1949.

In late 1949, Cornell joined the Charles Egan Gallery, known primarily for showing Abstract Expressionists. At this time, Cornell was working on a new series of boxes known as his "Aviary" works, most of which include a white-painted box with cutouts of birds mounted on wood. Though he had worked on bird-related boxes before, including an "Owl" series in the mid-1940s, his "Fortune Telling Parrot" (1939), and "Object 1941" (1941), these newer works were stripped of French elements and left "clean and abstract" by design. His first show at the Egan Gallery, "Aviary by Joseph Cornell" (December 7, 1949-January 7, 1950), included twenty-six "Aviary" works, nearly all created in 1949. Donald Windham agreed to write the foreword for the exhibition catalog, a single folded sheet, and Cornell gave him one of the boxes in the show, "Cockatoo: Keepsake Parakeet," in appreciation. Through the Egan Gallery, Cornell became friends with a new group of artists, including Franz Kline, Jack Tworkov, and Willem de Kooning. Cornell also held two screenings of a selection of his collected films at Subjects of the Artist, an art school founded by Robert Motherwell, Mark Rothko, David Hare, and William Baziotes.

In 1950, Cornell's second show at the Egan Gallery, "Night Songs and Other New Work" (December 1, 1950-January 13, 1951), introduced his new "Observatory" series. These works are largely defined by stark, whitewashed spaces with astronomical charts and constellations replacing colorful birds. The Museum of Modern Art purchased its first Cornell work from this show in early 1951, "Central Park Carrousel, in Memoriam" (1950).

For three months in 1951, Cornell was beset by various ailments and had trouble finding the energy to create new work. He worried more for his aging mother and the health of his brother. After a monthlong vacation with his sisters in Westhampton, he returned with renewed interest in Emily Dickinson's poetry. His whitewashed boxes took on a new form in his newest "Dovecote" series, using grids and circular cutouts. The works then transformed into homages to Dickinson, notably "Toward the Blue Peninsula: For Emily Dickinson" (circa 1953), and then to his "Hotel" series. Cornell's "Hotel" boxes include photostats of vintage European ads for hotels collected from vintage travel guides, especially "Baedeker's," adhered to the back walls of the boxes. Another new series of work, his "Juan Gris" series, was dedicated to Cubist artist Juan Gris. Between 1953 and the mid-1960s, Cornell created at least fifteen "Juan Gris" boxes, which often include a cutout of a white cockatoo in a Cubist-collage habitat. Cornell's third and last show at Egan Gallery, "Night Voyage" (February 10-March 28, 1953), included some of these newest works. After leaving Egan Gallery, his work was introduced to Chicago collectors in a solo show at the Frumkin Gallery, "Joseph Cornell: 10 Years of His Art" (April 10-May 7, 1953), which included nearly thirty pieces. Cornell's first museum retrospective was this same show held at the Walker Art Center in Minneapolis (July 12-August 30, 1953).

As New York City continued to change, Cornell grew more nostalgic for the city he had explored since the 1920s. The impending closure of the Third Avenue El train prompted him to dream up a film project to capture its last days, resulting in "Gnir Rednow," a reworking of Stan Brakhage's 1955, "Wonder Ring." During this time, Cornell joined the Stable Gallery, run by Eleanor Ward, interacting often with Robert Rauschenberg, Cy Twombly, and Joan Mitchell, remaining there until the end of the 1950s. His astronomy-themed exhibition, "Winter Night Skies" (December 12, 1955-January 13, 1956), included his "Night Skies" series of work with celestial chart fragments, Greek mythological figures, and paint-splattered "windows" representative of star-filled night skies. In 1956, he became aware of ballerina Allegra Kent, and began a series of work devoted to her, the first of which was "Via Parmigianino (Villa Allegra)" (1956), which included a photostat of a painting by Parmigianino, "The Madonna of the Long Neck" (circa 1540). In late 1957, after two years, Cornell had his last show at Stable Gallery, "Joseph Cornell: Selected Works" (December 2-31, 1957), consisting of a series of "Sand Fountain" boxes and "Space Object" or "Celestial Navigation" works. The "Sand Fountain" boxes included different colors of sand meant to flow within, often from the tops into cordial glasses. His "Celestial Navigations" included galaxy-like compositions set within the boxes, with rolling, painted cork balls, metal rings, and constellation charts, sometimes hovering over cordial glasses or clay pipes. This last Stable Gallery show earned him his first published profile, written by Howard Griffin for the December 1957 issue of "Art News." Also in 1957, he won the Kohnstamm Prize for Construction at the Art Institute of Chicago's 62rd Annual Exhibition of Paintings and Sculpture.

Towards the end of the 1950s, Cornell spent less time creating new bodies of work, and focused more on revisiting previous series and reviewing piles of collected source material. In 1959, Cornell returned to making collages, frequently sourcing popular magazines. In December 1959, Cornell was awarded $1,500 for his "Orion" collage, entered in the Art Institute of Chicago's "63rd American Exhibition of Painting and Sculpture." Also in December, he was offered a show at Bennington College in Vermont, which he titled, "Bonitas Solstitialis: Selected Works by Joseph Cornell and an exploration of the Colombier" (November 20-December 15, 1959). The show included one of his newest "explorations" of collected material related to "colombier," or pigeon houses.

By 1962, Cornell was working diligently on new collages, using Masonite boards and colorful magazine clippings. He also began creating collages using nude images interspersed with constellation clippings or hazy blue dyes. As in previous decades and art movements, Cornell became acquainted with new artists, spending less time in the city and more time hosting visitors at his Utopia Parkway home. Visitors included artists Walter De Maria, Robert Whitman, Andy Warhol, James Rosenquist, and Robert Indiana. Tony Curtis also became a frequent visitor and friend, introduced by Richard Feigen in 1964. The early 1960s was also the first time Cornell put out an advertisement for assistants in the "Long Island Star-Journal," employing a number of young men and women who helped organize clippings and run errands. Cornell also met Joyce Hunter, a young runaway waitress at a city coffee shop, who would occupy his thoughts and diary notes for the next several years. When she was murdered at the end of 1964, Cornell paid for her funeral. He went on to make several "Penny Arcade" collages in memoriam to her, including, "Penny Arcade (re-autumnal)" (1964).

In 1964, Cornell began friendships with several women including artist Carolee Schneeman, who was his first assistant in the early 1960s. He also met artist Yayoi Kusama through art dealer Gertrude Stein. After becoming friends, she visited him often and they exchanged letters and notes. As he did with other artist friends, Cornell supported her by purchasing several of her early watercolor paintings, and they stayed connected until his death in 1972.

Cornell's life greatly changed in 1965 with the death of his brother, Robert. By this time, his mother lived with his sister in Long Island, and Cornell was alone in the Utopia Parkway house for the first time. He exchanged frequent letters and phone calls with his mother and devoted much time to thinking about Robert and Joyce, often aligning them in his diary notations. Cornell also created a series of collages dedicated to his brother's memory, incorporating photostats of Robert's hundreds of drawings into Cornell's work, as with the later collage, "The Heart on the Sleeve" (1972). Cornell's "Time Transfixed" series of collages were also dedications to Robert's memory, referencing Magritte and Robert's love of trains. He mounted an exhibition, "Robert Cornell: Memorial Exhibition" (January 4-29, 1966), at the Robert Schoelkopf Gallery, where he showed Robert's artwork alongside his newly created collage dedications.

After Robert's death, Cornell relied more heavily on assistants, going through many part-time "helpers." In October 1966, Cornell's mother died, adding her to his constant thoughts and diaries. Though he was still grieving, he was given two major retrospectives in 1967. The first was at the Pasadena Art Museum, put on by James Demetrion and Walter Hopps, "An Exhibiton of Works by Joseph Cornell" (January 9-February 11, 1967). The second retrospective was at the Guggenheim Museum just three months later, "Joseph Cornell" (May 4-June 35, 1967), organized by Diane Waldman. After these shows, he was highlighted in the December 15, 1967 issue of "Life" in the article, "The Enigmatic Bachelor of Utopia Parkway."

In 1968, Cornell was given an "award of merit," which included a medal and $1,000, by the American Academy and Institute of Arts and Letters. He was also given a medal and $1,000 by the Brandeis University Creative Arts Awards in the painting category, along with an exhibition. Days later, "The New York Times" announced Cornell the winner, along with Donald Judd, of India's first Triennale of Contemporary World Art. The Brandeis exhibition, "Boxes and Collages by Joseph Cornell" (May 20-June 23, 1968), was organized by William Seitz and concentrated on Cornell's more recent 1960s collages. Cornell was also included in the Metropolitan Museum of Art's hundredth anniversary show, "New York Painting and Sculpture: 1940 to 1970" (October 18, 1969-February 1, 1970), where twenty-two of Cornell's boxes were shown in their own gallery. At the end of 1970, Cornell was given a solo show at the Metropolitan, "Collages by Joseph Cornell" (December 10, 1970-January 24, 1971), which included forty-five of his newest collages.

Now preferring to stay closer to his home in Flushing, Cornell was more interested in sharing his art with young adults and children, than an adult audience. He hosted a group of high school students, sponsored by the Metropolitan Museum of Art's education department, at his home in conjunction with his collage show (1970-1971). He also showed his work in the art department of Queens College of the City University of New York. Cornell still hosted visitors on occasion, having Yoko Ono and John Lennon at his home at least once. Leila Hadley, Betsy von Furstenberg, and Anne Jackson also made frequent visits. With his deteriorating health, Cornell worried about what would happen to his work after his death and hired lawyer Harry Torczyner to help him plan his estate and get his affairs in order.

In 1972, Cornell had a show at the Cooper Union, a college in New York, specifically for children. He displayed his boxes and collages at child-height and had cherry soda and brownies at the opening reception on February 10. He then held a show at the Albright-Knox Art Gallery in Buffalo, also for children: "Children's Preview of the Exhibition of Joseph Cornell – Collages and Boxes (April 18-June 17, 1972). In the winter of 1972, at the request of the Phoenix House drug treatment and prevention program, Cornell contributed to a charity project compiling limited-edition lithographic prints for a portfolio, which included artists like David Hockney, James Rosenquist, and Ellsworth Kelly.

On December 29, 1972, a week after turning sixty-nine, Cornell died of heart failure at his home. He was cremated and interred near the graves of his mother, father, and brother, overlooking the Hudson River in Nyack, New York.

Works Cited:

1. Hartigan, Lynda Roscoe. "Joseph Cornell: Navigating the Imagination." New Haven, Connecticut and London: Yale University Press, 2007. Exhibition Catalog.

2. McShine, Kynaston. "Joseph Cornell." New York: Museum of Modern Art, 1980.

3. San Francisco Cinematheque and The San Francisco Museum of Modern Art. "Joseph Cornell: Films." 2007. Exhibition Program. (Presented in conjunction with SFMOMA's exhibition of "Joseph Cornell: Navigating the Imagination").

4. Schaffner, Ingrid and Lisa Jacobs. "Julien Levy: Portrait of an Art Gallery." Cambridge, Massachusetts and London: The MIT Press, 1998.

5. Solomon, Deborah. "Utopia Parkway: The Life and Work of Joseph Cornell." New York: Farrar, Straus and Giroux, 1997.

Separated Materials:: The Smithsonian Archives of American Art houses the Joseph Cornell papers, 1804-1986, bulk 1939-1972.

Provenance:: The Joseph Cornell Study Center collection was donated to the Smithsonian American Art Museum by Joseph Cornell's sister and brother-in-law, Elizabeth Cornell Benton and John A. Benton, in 1978, which prompted the creation of the Joseph Cornell Study Center. Additional materials were donated in installments by the artist's estate, the Joseph and Robert Cornell Memorial Foundation, from 1985 to 1997. Elizabeth and John A. Benton originally donated 66 linear feet of three-dimensional and non-textual source material and 50 linear feet of books to the Smithsonian Archives of American Art, which were subsequently transferred to the Smithsonian American Art Museum's Joseph Cornell Study Center in 1994 and 1995.

Restrictions:: Access to the collection requires an advanced appointment. Contact collection staff at least two weeks prior to preferred date, at AmericanArtCornellStudy@si.edu.

Series 9: Artifacts and Ephemera, Series 13: Personal Library and Book Collection, and Series 14: Record Album Collection, are still undergoing processing and preservation and may not be available for research use. Record albums are unavailable for playback. Contact collection staff for full lists of publications and record albums.

Rights:: Unpublished materials are protected by copyright. Permission to publish, quote, or reproduce must be secured from the repository and the copyright holder.

Occupation:: Collagists -- New York (State) -- New York Search this

Topic:: Art, Modern -- 20th century -- United States Search this; Assemblage (Art) Search this; Assemblage artists -- New York (State) -- New York Search this; Found objects (Art) Search this; Works of art Search this; Celebrities Search this; Filmmakers -- New York (State) -- New York Search this

Genre/Form:: Photographic photoprints -- Silver gelatin -- 1900-1950; Photographs -- 1860-1870 -- Black-and-white photoprints -- Silver albumen -- Cartes-de-visite; Photographs -- Daguerreotypes -- 1840-1860

Citation:: Joseph Cornell Study Center collection, 1750-1980, bulk 1930-1972. Joseph Cornell Study Center, Smithsonian American Art Museum.

Sponsor:: Funding for the processing of this collection was generously provided by the Joseph and Robert Cornell Memorial Foundation.

Identifier:: SAAM.JCSC.1

See more items in:: Joseph Cornell Study Center Collection

Archival Repository:: Smithsonian American Art Museum, Research and Scholars Center

GUID:: https://n2t.net/ark:/65665/ih7d97fc249-474d-41bf-953d-5305df1e4c06

EDAN-URL:: ead_collection:sova-saam-jcsc-1

view Death of Capt. Ferrer, the Captain of the Amistad digital asset number 1

Death of Capt. Ferrer, the Captain of the Amistad

Alternate Title:: Cinqué

Artist:: John Warner Barber, 2 Feb 1798 - 22 Jun 1885 Search this

Sitter:: Cinqué, 1817? - 1879? Search this

Medium:: Wood engraving on paper

Dimensions:: Image: 12 × 39 cm (4 3/4 × 15 3/8"); Sheet: 21.9 × 45.7 cm (8 5/8 × 18"); Book closed: 22 × 14.2 × 0.3 cm (8 11/16 × 5 9/16 × 1/8"); Book open: 22 × 59.2 × 0.3 cm (8 11/16 × 23 5/16 × 1/8")

Type:: Print

Date:: 1840

Topic:: Book Search this; Cinqué: Male Search this; Cinqué: Society and Social Change\Enslaved person Search this; Cinqué: Politics and Government\Foreign leader Search this; Cinqué: Society and Social Change\Reformer\Insurrectionist Search this; Cinqué: Law and Crime\Criminal\Mutineer Search this; Portrait Search this

Credit Line:: National Portrait Gallery, Smithsonian Institution

Object number:: S/NPG.2018.83.39

Restrictions & Rights:: CC0

See more items in:: National Portrait Gallery Collection

Data Source:: National Portrait Gallery

GUID:: http://n2t.net/ark:/65665/sm4d175e7d6-aa72-427b-8a80-8c9436789a9a

EDAN-URL:: edanmdm:npg_S_NPG.2018.83.39

No Image Available

Actiniaria

Collector:: John B. Henderson Search this; Paul Bartsch Search this

Expedition:: Tomas Barrera Expedition Search this

Ocean/Sea/Gulf:: North Atlantic Ocean, Gulf of Mexico Search this

Vessel:: Tomas Barrera Schooner Search this

Depth (m):: 5 - 22

Preparation:: Formalin

Place:: Cabanas Harbor, Cuba, North Atlantic Ocean

Collection Date:: May 1914

Other Numbers:: Original Number : 594

USNM Number:: 34663

See more items in:: Invertebrate Zoology; Cnidaria

Data Source:: NMNH - Invertebrate Zoology Dept.

GUID:: http://n2t.net/ark:/65665/3534893f2-0b2f-4473-8a6b-daff866aafa4

EDAN-URL:: edanmdm:nmnhinvertebratezoology_17773

Ranilia constricta

Collector:: John B. Henderson Search this; Paul Bartsch Search this

Expedition:: Tomas Barrera Expedition Search this

Microhabitat Description:: Caught by expert with handline on reef. Search this

Ocean/Sea/Gulf:: North Atlantic Ocean, Gulf of Mexico Search this

Vessel:: Tomas Barrera Schooner Search this

Depth (m):: 2 - 22

Preparation:: Alcohol (Ethanol)

Sex:: female

Place:: Honda Bay, Cuba, North Atlantic Ocean

Collection Date:: May 1914

Published Name:: Ranilia constricta (Milne-Edwards, 1880); Ranilia muricata Milne Edwards, 1837

USNM Number:: 48642

See more items in:: Invertebrate Zoology; Arthropoda

Data Source:: NMNH - Invertebrate Zoology Dept.

GUID:: http://n2t.net/ark:/65665/3a5d68fde-9d17-4a39-afcb-5528c1f3b097

EDAN-URL:: edanmdm:nmnhinvertebratezoology_259659

Laphystiopsis planifrons

Collector:: Capt. W. F. Hodgdon Search this

Expedition:: Gloucester Fisheries Search this

Ocean/Sea/Gulf:: North Atlantic Ocean Search this

Vessel:: Schooner Proctor Brothers Search this

Depth (m):: 640 - 640

Preparation:: Alcohol (Ethanol)

Sex:: female

Place:: Sable Island Bank, Nova Scotia, Canada, North Atlantic Ocean

Collection Date:: 7 Nov 1879

Published Name:: Laphystiopsis planifrons Sars, 1895

USNM Number:: 36124

See more items in:: Invertebrate Zoology; Arthropoda

Data Source:: NMNH - Invertebrate Zoology Dept.

GUID:: http://n2t.net/ark:/65665/362574f7d-4591-48e1-9313-6e660fca825c

EDAN-URL:: edanmdm:nmnhinvertebratezoology_254400

No Image Available

Xanthidae

Collector:: Dr. Waldo L. Schmitt Search this

Expedition:: Smithsonian - Bredin Caribbean Expedition Search this

Ocean/Sea/Gulf:: North Atlantic Ocean, Caribbean Sea Search this

Vessel:: Blue Goose R/V Search this

Depth (m):: 5 - 5

Preparation:: Alcohol (Ethanol)

Place:: Ascension Bay, N End Of Outer Bay, Near Schooner, Quintana Roo, Mexico, North Atlantic Ocean

Collection Date:: 16 Apr 1960

USNM Number:: 1496382

See more items in:: Invertebrate Zoology; Arthropoda

Data Source:: NMNH - Invertebrate Zoology Dept.

GUID:: http://n2t.net/ark:/65665/3eeb9c6e9-2d09-4547-a2e0-771dce4075aa

EDAN-URL:: edanmdm:nmnhinvertebratezoology_14143770

Story knife with bird-shaped handle; used to draw lines in snow or mud to illustrate girls' stories

Culture/People:: Yup'ik (Yupik) Search this

Collector:: Captain Samuel Applegate, Non-Indian, 1854-1926 Search this

Previous owner:: U.S. National Museum (United States National Museum/National Museum of Natural History) Search this

Object Name:: Story knife with bird-shaped handle; used to draw lines in snow or mud to illustrate girls' stories

Media/Materials:: Ivory, pigment/pigments

Techniques:: Carved, incised

Dimensions:: 25.9 x 3.7 x 0.6 cm

Object Type:: Games, Toys, Gambling

Place:: Togiak River; Bristol Bay Native Corporation; Alaska; USA

Date created:: circa 1880

Catalog Number:: 2/419

Barcode:: 020419.000

See related items:: Yup'ik (Yupik); Games, Toys, Gambling

Data Source:: National Museum of the American Indian

GUID:: http://n2t.net/ark:/65665/ws6efe537f6-3008-4f43-913a-5fedaabc4d46

EDAN-URL:: edanmdm:NMAI_21622

Online Media:

Scalpellum sp.

Collector:: Capt. D. C. Murphy Search this; Crew Search this

Ocean/Sea/Gulf:: North Atlantic Ocean Search this

Vessel:: Schooner Alice M. Williams Search this

Depth (m):: 391.3 - 391.3

Preparation:: Dry

Place:: St. Peters Bank, Newfoundland, Canada, North Atlantic Ocean

Collection Date:: 28 Jul 1880

Published Name:: Scalpellum sp.

USNM Number:: 277866

See more items in:: Invertebrate Zoology; Arthropoda

Data Source:: NMNH - Invertebrate Zoology Dept.

GUID:: http://n2t.net/ark:/65665/3de8048d3-fc7a-4e71-ac3d-ea5f320c1e64

EDAN-URL:: edanmdm:nmnhinvertebratezoology_221345

Ornatoscalpellum stroemii

Collector:: Capt. D. Mckinnon Search this; Crew Search this

Ocean/Sea/Gulf:: North Atlantic Ocean Search this

Vessel:: Schooner Mary F. Chisholm Search this

Depth (m):: 457.1 - 640

Preparation:: Alcohol (Ethanol)

Place:: Banquereau Bank, Nova Scotia, Canada, North Atlantic Ocean

Collection Date:: 28 Jul 1880

Published Name:: Ornatoscalpellum stroemii (Sars, 1859); Scalpellum sp.

USNM Number:: 3833

See more items in:: Invertebrate Zoology; Arthropoda

Data Source:: NMNH - Invertebrate Zoology Dept.

GUID:: http://n2t.net/ark:/65665/3fffff7de-de4b-4e3f-8365-7d4146348ee5

EDAN-URL:: edanmdm:nmnhinvertebratezoology_254803

No Image Available

Keratoisis ornata

Collector:: Capt. P. Merchant Search this

Ocean/Sea/Gulf:: North Atlantic Ocean Search this

Vessel:: Schooner Marion Search this

Depth (m):: 457 - 457

Preparation:: Dry

Type Citation:: Verrill. 1878. Am. J. Sci. 25: 212.

Type Status:: Holotype

Place:: Sable Island, Nova Scotia, Canada, North Atlantic Ocean

Published Name:: Keratoisis ornata Verrill, 1878

Other Numbers:: CT scan ID : FEG230307_382

USNM Number:: 34142

See more items in:: Invertebrate Zoology; Cnidaria

Data Source:: NMNH - Invertebrate Zoology Dept.

GUID:: http://n2t.net/ark:/65665/3e6d93712-214e-4695-9bc7-05d74a1617ed

EDAN-URL:: edanmdm:nmnhinvertebratezoology_17747

William Louis Abbott collection

Creator:: Abbott, William Louis, 1860-1936 Search this; Hough, Walter, 1859-1935 Search this; Kloss, Charles Boden Search this; Mason, Otis Tufton, 1838-1908 Search this

Photographer:: Raven, Henry Cushier, 1889-1944 Search this

Extent:: 13 Linear feet

Culture:: Enggano Search this; Jakun (Malaysian people) Search this; Borneo Search this; Indonesians Search this; Dyak Search this

Type:: Collection descriptions; Archival materials

Place:: Trang -- Thailand; Anambas Islands (Indonesia); Mergui Archipelago; Enggano (Malaysia); Sumatra; Malaysia; Mentawai Islands (Indonesia); Nias Island (Indonesia)

Date:: 1888-1919

Summary:: The papers in the Abbott collection appear to have been brought together in the Smithsonian's Department of Anthropology in order to process ethnological specimens from Malaya and Indonesia and to prepare an exhibit and publications. Included are some of Abbott's original letters, notes, maps, and a considerable number of photographs. Most of these materials concern the Enggano, Jakun, and Dyak. Many other documents in the collection consist of copies of or extracts from Abbott's letters, the originals of which are now in the Smithsonian Institution Archives. There are also letters and other materials of Otis Tufton Mason and Walter Hough accumulated as they worked on the collection, many simple lists of accessions compiled in the Department of Anthropology, and a few manuscripts. In addition, there are printed materials that were apparently used by the department's staff for reference purposes. Some of the photographs made in Borneo in 1914 are by Henry Cushier Raven, a field assistant of Abbott and, later, a collector financed by Abbott.

Additional materials of Abbott and Raven are in the Smithsonian Institution Archives, and their material (often duplicate photographs) are included in several collections in the National Anthropological Archives.

Scope and Contents:: William Louis Abbott, although formally trained in medicine, chose instead to devote his time and inherited wealth to worldwide exploration and the collection of natural history specimens and ethnological artifacts. The Abbott papers in the National Anthropological Archives reflect his collecting activities in the East Indies, and the work on his collections from that region by United States National Museum personnel, especially Otis Tufton Mason, curator of ethnology. The collection includes correspondence, maps, illustrations of artifacts, manuscripts, lists of objects in the Abbott collection in the Smithsonian Department of Anthropology, and photographic prints and negatives. In addition, there is a subject file which contains information on a variety of topics relating to Indonesia and Malaysia. The materials date from the 1890s to the early decades of this century.

This archival collection forms a valuable complement to the collection of artifacts housed in the National Museum of Natural History. (Abbott's collections from Indonesia are described by Dr. Paul M. Taylor, curator of Asian ethnology, in the Museum Anthropology Newsletter, April, 1985.) The subject file and lists of objects provide data on certain specific artifacts and their uses and Abbott's correspondence contains his observations of the daily life of the various peoples from whom the objects were collected. These documents are supplemented by a generous photographic record and sketch maps which outline the routes he followed. The papers focus on the Malay Peninsula and Archipelago, the region closest to Abbott's heart and to which he dedicated over a decade before eye disease forced him to leave the tropics.

In addition to Abbott's own materials, there are notes by museum staff, including descriptions of artifacts, and manuscripts of articles mostly by Mason who was particularly interested in basketry. The bulk of the correspondence is between Abbott, Otis Mason, Walter Hough, and Cecil Boden Kloss who accompanied Abbott on several expeditions. Other correspondents include Cyrus Adler, Jesse Walter Fewkes, William H. Furness, Alfred Cort Haddon, Ales Hrdlicka, Mary Lois Kissell, Elmer D. Merrill, William Palmer, Richard Rathbun, and Charles Clark Willoughby. Most of the letters are brief and discuss proposed work on the Abbott collections, bibliographic sources, and basketry.

Additional material in the National Anthropological Archives relating to William Louis Abbott is contained in the papers of Ales Hrdlička and of Herbert W. Krieger, the Manuscript and Pamphlet File of the United States National Museum Department of Anthropology, and the photographic collection of the United States National Museum Division of Ethnology. Because Abbott donated material to a variety of departments in the Smithsonian, his original written material is located in several other Smithsonian departments as well. There are personal letters to his mother and sister as well as Smithsonian personnel in the Smithsonian Institution Archives. Field notebooks including detailed sketch maps of collecting stations are in the libraries of the departments of Mammals and of Birds.

The spelling of place names used here are those of Abbott who frequently wrote them as they sounded to him.

Arrangement:: Collection arranged into 9 series: (1) Correspondence, 1896-1919; (2) Subject file; (3) Register of accessions, 1890-1906; (4) Lists of objects by accession number and location; (5) Lists of objects by type or geographic location; (6) Drafts of unpublished articles with working materials; (7) Printed material; (8) Photographic prints; (9) Photographic negatives.

Biographical Note:: William L. Abbott studied medicine at the University of Pennsylvania and, after receiving an M.D., continued his training in London. Although a highly successful student, he seems never to have been fully committed to medicine. Instead, around 1880, using his own resources, he turned to a life of exploration and the study of natural history.

Abbott's early expeditions were in the United States, but, in time, he went abroad, at ever increasing distances, to the Greater Antilles, East Africa, Kashmir, and Turkestan. In 1896, he began work in Malaya and Indonesia that would largely occupy him until 1915. Using Singapore as a base, he sailed his ship, the Terrapin, to points on both coasts of the Malayan Peninsula, Trang in Thailand, the Anambas Islands, the Mergui Archipelago, the Nicobars and Andamans, both costs of Sumatra and the nearby islands (notably Nias, the Mentawai Islands, and Enggano), the Rhio Archipelago, and Borneo. On many of thes voyages, he collected both biologcial and ethnological specimens and photographs. At times, however, he was accompanied by an Englishman, Cecil Boden Kloss, who handled the ethnological work. Kloss retain his own notes and many of his photographs.

Abbott's later work, between 1916 and 1923, was carried out in Haiti and the Dominican Republic. After this, he retired to a farm on the Elk River in Maryland.

Abbott has been described as one of the great field naturalists of all time simply for the quantity of material he collected. Virtually the only body of work he left, in fact, is his large collection of specimens and notes, letters, and photographs that relate to them. Although he contributed to the collections of several museums, the chief benefactor of his work was the United States National Museum. Its staff and associated produced around forty publications based on his material. Abbott himself published very little.

CHRONOLOGY OF THE LIFE OF WILLIAM LOUIS ABBOTT

1860 February 23 -- Born in Philadelphia, Pennsylvania

1880 -- Collected birds in Iowa and North Dakota

1881 -- Bachelor of Arts, University of Pennsylvania

1883 -- Collected birds in Cuba and Santo Domingo

1884 -- Doctor of Medicine, University of Pennsylvania

1884-1886 -- Postgraduate work in England Licentiate of Royal College of Surgeons and Royal College of Physicians

1886 -- Received inheritance and discontinued formal practice of medicine

1887-1889 -- Exploration of Taveta region near Mt. Kilimanjaro with William Astor Chandler. Collection donated to United States NationalMuseum

1890 -- Exploration and collection in Zanzibar, Seychelles Islands, and Madagascar

1891 -- Ethnological collections in the U.S. National Museum from Kilima-Njaro, East Africa,Annual Report of the U.S. National Museum for 1891, pages 381-398Exploration and collection in India, including Baltistan, Karachi, Kashmir, and Srinagar

1892 -- Exploration and collection in Vale of Kashmir, Baltistan, Aden, Seychelles Islands, and Aldabra Island

1893 -- Exploration and collection in Seychelles Islands; India, including Kashmir and Srinagar; Leh Ladakh; Sinkiang, China; and Eastern Turkistan

1894 -- Continued exploration and collection in region of Eastern Turkistan, Pakistan, India, and Ceylon

1895 -- Exploration and collection in Madagascar and Kashmir

1896 -- Exploration and collection in Malay Peninsula, including:Jan-Feb – PerakFeb-Mar – CantonApr-Nov – Trang Province, Siam, including Pramon, Tyching, and Penang

1897 -- Exploration and collection:Jan -- TrangApr-May -- PenangMay-Dec -- India

1898 -- Volunteered in Spanish-American War with William A. Chambers as Irregular Horse in Florida, and served in CubaTravel in Singapore and China

1899 -- Construction of schooner TerrapinExploration and collection accompanied by Cecil Boden Kloss:Jan-Mar -- TrangMarch -- SingaporeMar-Apr -- JavaJul-Sept -- Lingga and Anamba islandsOct-Nov - Singapore, PenangDec - Junkseylon

1900 -- Exploration and collection accompanied by Kloss:Jan-Mar -- Burma, Mergui ArchipelagoJun-Aug -- Natuna ArchipelagoNov-Dec -- Penang, Burma, Mergui Archipelago

1901 -- Exploration and collection accompanied by Kloss:Jan -- Andaman IslandsJan-Mar -- Nicobar IslandsApr-Nov -- Northern Sumatra, Rhio-Lingga Archipelago, Johore, PenangNov-Jan 02- Simalur

1902 -- Exploration and collection accompanied by Kloss:Jan-Feb -- Banjak Islands, Lasia, BabiFeb-Mar -- Western SumatraMar -- NiasApr-May -- Pahang, Malaya; Singapore and Straits IslandsAug-Sep -- Bintang, Rhio ArchipelagoOct-Nov -- SimalurNov-Jan 03 -- Pagi Islands

1903 -- Exploration and collection:Jan -- Western SumatraFeb -- Pulo TelloApr -- Penang, SingaporeMay-June -- Karimun IslandsJuly-Aug -- Rhio-Lingga ArchipelagoAug-Sep -- Eastern SumatraOct -- PenangNov-Mar 04 -- Burmese coast, including Victoria Point, Mergui Archipelago, and Tenasserim

1904 -- Exploration and collection:Apr -- Penang and Straits of MalaccaMay-Jun -- Banka IslandJul-Aug -- Billiton IslandAug-Sep -- Karimata IslandOct -- Benkulen, SumatraNov-Dec -- Engano

1905 -- Exploration and collection:Dec 04-Feb- Western SumatraFeb-Mar -- NiasJun-Sep -- Western Borneo, including Pontianak and Kapuas riversNov-Jan 06 -- Eastern Sumatra Designated Honorary Associate in Zoology by the U.S. National Museum

1906 -- Visited Hong Kong and Japan (April-May)Exploration and collection accompanied by Kloss:Oct-Feb 07 -- Easter Sumatra, including Bengkalis and Rupat islands and Siak River

1907 -- Exploration and collectionMar -- Rhio ArchipelagoMay -- Islands of South China Sea, including Direction Island, Datu, Temayer, Lamukutan, Panebangan, and PelapisMay-Sep -- Western Borneo, including Kapuas and Simpang riversNov-Dec -- Java Sea, including Bawean Island

1908 -- Exploration and collection:Dec 07-Mar- Southeastern Borneo, including Pulo Laut and Pulo SebukuJun -- Southwestern BorenoNov -- Java Sea

1909 -- Exploration and collection:Dec 08-Apr -- Pulo Laut and eastern Borneo, including Pasir RiverOnset of partial blindness caused by spirochetosis, and treatment in Aachen, Germany. Illness forced Abbott to suspend collecting activities in tropics.

1910-1915 -- Exploration and collection in Kashmir

1912-1915 -- Donated funds to United States National Museum for expedition to Borneo by Henry Cushier Raven

1914 -- Brief visit and collection in Molucca Islands and Celebes, accompanied by his sister

1915-1916 -- Donated funds for expedition by Raven to Dutch East Indies, especially Celebes

1916 -- Exploration and collection in Dominican Republic

1917-1918 -- Exploration and collection in Haiti

1918 -- Interruption of field work by Abbott because of servere illness (dysentary) and by Raven because of the war

1919-1923 -- Exploration and collection in Hispaniola

1920 -- Donated funds to United States National Museum for botanical collection in Haiti by Emery C. Leonard, aid in Division of Plants

1920-1922 -- Donated funds to United States National Museum for expedition to Australia by naturalist Charles M. Hoy

1923-1924 -- Donated funds to United States National Museum for expedition to China by Charles M. Hoy until Hoy's death in the field; workconcluded by Reverend David Crockett Graham

1925-1927 -- Donated funds to United States National Museum for expeditions to Hispaniola

1928 -- Donated funds to United States National Museum for expedition to China

1928 -- Donated funds to United States National Museum for expedition to Hispaniola by Arthur J. Poole, Division of Mammals

1928-1931 -- Donated funds to United States National Museum for archeological expedition to Hispaniola by Herbert William Krieger, curator, Division of Ethnology

1932 -- Donated funds to United States National Museum for archeological expedition to Cuba

1934 -- Purchase and donation of birds of the Himalayas for the United States National Museum

April 2, 1936 -- Death of William Louis Abbott at his farm near North East, Maryland of heart disease after a long illnessBequest to Smithsonian Institution any of books and papers desired (278 volumes accepted) and approximately $100,000 (1/5 of estate) to promote zoological researchers

Provenance:: William Louis Abbott was a self-trained and self-sustaining collector who donated large numbers of ethnological artifacts, zoological specimens, and funds to the United States National Museum of the Smithsonian Institution around the turn of the twentieth century. The Abbott Papers in the National Anthropological Archives were apparently compiled by the staff of the Department of Anthropology, especially Otis Tufton Mason, curator of ethnology, in order to process incoming collections. The correspondence and printed materials relate primarily to Abbott's collecting activities and to Mason's research on Abbott's collections.

Restrictions:: The William Louis Abbott collection is open for research. Access to the William Louis Abbott collection requires an appointment.

Rights:: Contact repository for terms of use.

Citation:: William Louis Abbott collection, National Anthropological Archives, Smithsonian Institution

Identifier:: NAA.XXXX.0228

See more items in:: William Louis Abbott collection

Archival Repository:: National Anthropological Archives

GUID:: https://n2t.net/ark:/65665/nw328cd842b-b0dd-464d-aae1-0b81d6251200

EDAN-URL:: ead_collection:sova-naa-xxxx-0228

1906-1907

Collection Creator:: Freer, Charles Lang, 1856-1919 Search this

Container:: Box 114, Folder 1-14; Box 115, Folder 1

Type:: Archival materials

Date:: 1906-1907

Collection Restrictions:: Collection is open for research.

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

Collection Citation:: Charles Lang Freer Papers. FSA A.01. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C. Gift of the estate of Charles Lang Freer.

See more items in:: Charles Lang Freer Papers; Charles Lang Freer Papers / Series 6: Financial Materials / 6.5: Vouchers / 6.5.2: Financial materials - Vouchers - Art vouchers

Archival Repository:: Freer Gallery of Art and Arthur M. Sackler Gallery Archives

GUID:: https://n2t.net/ark:/65665/dc3a1bb597f-ba93-4bba-886a-9478b347619d

EDAN-URL:: ead_component:sova-fsa-a-01-ref1732

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"Recollection" in The Annual Register, Or a View of the History, Politics, and Literature, For the Year 1772

Edited by:: Unidentified Search this

Written by:: Phillis Wheatley Peters, American, ca. 1753 - 1784 Search this

Published by:: James Dodsley, English, 1724 - 1797 Search this

Medium:: ink on paper with leather and cardboard

Dimensions:: H x W x D: 8 1/4 × 5 1/2 × 1 9/16 in. (21 × 14 × 4 cm)

Type:: hardcover books

Place printed:: London, England, Europe

Date:: 1773

Topic:: African American Search this; Literature Search this; Poetry Search this; Slavery Search this; Women Search this

Credit Line:: Collection of the Smithsonian National Museum of African American History and Culture

Object number:: A2021.113.1.1

Restrictions & Rights:: Public domain; Proper usage is the responsibility of the user.

See more items in:: National Museum of African American History and Culture Collection

Collection title:: Phillis Wheatley Peters Collection

Classification:: Documents and Published Materials-Published Works

Movement:: Anti-slavery movements; Abolitionist movement

Data Source:: National Museum of African American History and Culture

GUID:: http://n2t.net/ark:/65665/fd50425d2f7-b60f-4396-a797-15582ac98789

EDAN-URL:: edanmdm:nmaahc_A2021.113.1.1

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"To A Gentleman of the Navy" in Royal American Magazine

Edited by:: Joseph Greenleaf, American Search this

Written by:: Phillis Wheatley Peters, American, ca. 1753 - 1784 Search this

Published by:: Joseph Greenleaf, American Search this

Medium:: ink on paper with leather

Dimensions:: H x W x D: 8 1/16 × 5 1/8 × 1/8 in. (20.5 × 13 × 0.3 cm)

Type:: magazines (periodicals)

Place printed:: Boston, Suffolk County, Massachusetts, United States, North and Central America

Date:: December 1774

Topic:: African American Search this; Literature Search this; Poetry Search this; Slavery Search this; Women Search this

Credit Line:: Collection of the Smithsonian National Museum of African American History and Culture

Object number:: A2021.113.1.4

Restrictions & Rights:: Public domain; Proper usage is the responsibility of the user.

See more items in:: National Museum of African American History and Culture Collection

Collection title:: Phillis Wheatley Peters Collection

Classification:: Documents and Published Materials-Published Works

Movement:: Anti-slavery movements; Abolitionist movement

Data Source:: National Museum of African American History and Culture

GUID:: http://n2t.net/ark:/65665/fd527190d51-5016-48f9-8b9f-21a1ca9f4bb2

EDAN-URL:: edanmdm:nmaahc_A2021.113.1.4

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digital asset number 1"/>

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[Scrapbook 2]

Collection Creator:: Bell, Alexander Graham, 1847-1922 Search this; Beals, Jessie Tarbox Search this

Container:: Box 1, Binder 2

Type:: Archival materials

Date:: January 1-February 28, 1907

Collection Restrictions:: No restrictions on access

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

Collection Citation:: Early Aeronautical Newsclippings (Alexander Graham Bell) Collection, Acc. NASM.XXXX.0086, National Air and Space Museum, Smithsonian Institution.

See more items in:: Early Aeronautical News Clippings (Alexander Graham Bell) Collection; Early Aeronautical News Clippings (Alexander Graham Bell) Collection / Series 1: Scrapbooks

Archival Repository:: National Air and Space Museum Archives

GUID:: https://n2t.net/ark:/65665/pg21fbb2c2d-8ffe-4a18-aab8-55f47c2aeba5

EDAN-URL:: ead_component:sova-nasm-xxxx-0086-ref508

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"Savvy A Special Report The Savvy 60 The Top U.S. Businesses Run by Women" with an article on Sklarek "Designing Women"

Collection Creator:: Sklarek, Norma Merrick, 1926-2012 Search this

Container:: Box 5

Type:: Archival materials; Text

Date:: 1984

Collection Restrictions:: Collection is open for research. Access to collection materials requires an appointment.

Collection Rights:: The NMAAHC Archives can provide reproductions of some materials for research and educational use. Copyright and right to publicity restrictions apply and limit reproduction for other purposes.

Collection Citation:: Norma Merrick Sklarek Archival Collection, 1944-2008. National Museum of African American History and Culture, Smithsonian Institution.

See more items in:: Norma Merrick Sklarek Archival Collection; Norma Merrick Sklarek Archival Collection / Series 7: Published Materials, 1965-2004 (Bulk: 1980-1993) / 7.1: Books and Periodicals, 1965, 1983-1984

Archival Repository:: National Museum of African American History and Culture

GUID:: https://n2t.net/ark:/65665/io3d09f616e-cf64-47f3-a255-ac40dee0a367

EDAN-URL:: ead_component:sova-nmaahc-a2018-23-ref92

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Manila Davis Talley Scrapbook

Creator:: Talley, Manila Davis. Search this

Names:: Curtiss-Wright Corporation Search this; United States. Civil Air Patrol Search this

Extent:: 0.23 Cubic feet (1 box)

Type:: Collection descriptions; Archival materials; Scrapbooks

Date:: bulk 1917-1967; bulk 1929-1942

Summary:: This collection consists of a scrapbook relating to Manila Davis Talley and her aviation career.

Scope and Contents:: This collection consists of one scrapbook which contains newspaper clippings, membership cards, programs, photographs, and pilot's licenses, mostly relating to Manila Davis Talley and her aviation career. The focus of the collection is on the years 1929-42, and highlights Talley's career as a salesperson for Curtis-Wright, and her association with the 99s and the Betsy Ross Corps. Also included is the scrapbook is information on the Women's National Air Races, the Women's National Air Meets, and Talley's work with the Civil Air Patrol. The scrapbook also includes clippings and other items related to Amelia Earhart, Jimmy Doolittle and General Balbo.

Arrangement:: Single item in original order.

Biographical / Historical:: Manila Davis Talley (1898-1973) soloed in October 1929 and received her pilot's license in April of 1930. She joined Curtis-Wright Corporation as a saleswoman in late 1929 or early 1930. Talley joined the 99s (international association of female pilots) in 1930 and was a founding member of Betsy Ross Corps, a private 1930s female auxiliary/reserve for the Army Air Corps. Talley was the third woman to go through Air Force War College, in December 1966.

Provenance:: Estate of Manila Davis Talley, Gift, Unknown, NASM.XXXX.0041

Restrictions:: No restrictions on access.

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

Topic:: Aeronautics Search this; Women air pilots Search this; Airplane racing Search this

Genre/Form:: Scrapbooks

Citation:: Manila Davis Talley Scrapbook, NASM.XXXX.0041, National Air and Space Museum, Smithsonian Institution.

Identifier:: NASM.XXXX.0041

Archival Repository:: National Air and Space Museum Archives

GUID:: https://n2t.net/ark:/65665/pg2b3cfd97b-f6e7-454c-b17d-1c97c8b7f0e6

EDAN-URL:: ead_collection:sova-nasm-xxxx-0041

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Bound Diary Volume

Collection Creator:: Saarinen, Lilian Swann, 1912-1995 Search this

Container:: Box 3, Folder 34

Type:: Archival materials

Date:: 1930-1931

Collection Restrictions:: Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.

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

Collection Citation:: Lilian Swann Saarinen papers, circa 1909-1977. Archives of American Art, Smithsonian Institution.

Sponsor:: Funding for the processing and digitization of this collection was provided by The Walton Family Foundation; and John R. & Barbara Robinson and Deborah Schmidt Robinson & Dr. R. Perry Robinson, The Widgeon Point Charitable Foundation.

See more items in:: Lilian Swann Saarinen papers; Lilian Swann Saarinen papers / Series 4: Diaries

Archival Repository:: Archives of American Art

GUID:: https://n2t.net/ark:/65665/mw90c873818-1284-49eb-9134-414fe5d480e0

EDAN-URL:: ead_component:sova-aaa-saarlili-ref168

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Prairie Schooner

Collection Author:: Ryder Mobile Homes, Inc. Search this

Container:: Box 35, Folder 6

Type:: Archival materials

Date:: undated

Collection Restrictions:: Collection is open for research.

Collection Rights:: Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Collection Citation:: Ryder Mobile Homes Park Collection, Archives Center, National Museum of American History

See more items in:: Ryder Mobile Homes Park Collection; Ryder Mobile Homes Park Collection / Series 4: Mobile Homes Trade Literature

Archival Repository:: Archives Center, National Museum of American History

GUID:: https://n2t.net/ark:/65665/ep801f94607-22e2-42fc-a329-d18c2419e22d

EDAN-URL:: ead_component:sova-nmah-ac-0777-ref181

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Playbill for The Piano Lesson

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Joseph Cornell Study Center Collection

Death of Capt. Ferrer, the Captain of the Amistad

Actiniaria

Ranilia constricta

Laphystiopsis planifrons

Xanthidae

Story knife with bird-shaped handle; used to draw lines in snow or mud to illustrate girls' stories

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Scalpellum sp.

Ornatoscalpellum stroemii

Keratoisis ornata

William Louis Abbott collection

1906-1907

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"Recollection" in The Annual Register, Or a View of the History, Politics, and Literature, For the Year 1772

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"To A Gentleman of the Navy" in Royal American Magazine

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[Scrapbook 2]

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"Savvy A Special Report The Savvy 60 The Top U.S. Businesses Run by Women" with an article on Sklarek "Designing Women"

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Manila Davis Talley Scrapbook

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Bound Diary Volume

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Prairie Schooner

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