Papers, 1959-1987, of Elizabeth Gordon, editor of the periodical, House Beautiful from 1941-1964, mostly related to her research for the August and September 1960 issues of House Beautiful regarding the Japanese aesthetic concept of "shibui", and the subsequent travelling "shibui exhibition" from 1961-1964. Included are correspondence, some photocopies, 1959-1963; notes; drafts for articles and lectures; printed material including magazine and newspaper clippings, 1959-1987; 2 books, and exhibition announcements; drawings of paper and foil art; a photo album containing photos of exhibition installations; and photographs, slides, color transparencies, and lantern slides depicting people, sites, and objects reflecting the "shibui" aesthetic.
Scope and Contents:
The Elizabeth Gordon Papers measure 4.5 linear feet and span the years 1959-1987. The collection mainly documents Ms. Gordon's research for the August and September 1960 issues of House Beautiful regarding the Japanese aesthetic concept of "shibui", and the subsequent travelling "shibui exhibition" from 1961-1964. Included are correspondence, some photocopies, 1959-1963; research notes and materials; articles; lectures; printed material including magazine and newspaper clippings, 1959-1987; 2 books, and exhibition announcements; article materials; a photo album containing photos of exhibition installations; and photographs, slides, color transparencies, and lantern slides depicting people, sites, and objects reflecting the "shibui" aesthetic.
Arrangement note:
This collection is organized into eight series. 1. Biographical data, 2. Shibui research, 3. Shibui issues of, House Beautiful, 4. Correspondence, 5. Shibui promotion, 6. Exhibition files, 7. Printed materials, and 8. Photographs.
Biographical Information:
Born in Logansport, Indiana in 1906, Elizabeth Gordon served as editor of House Beautiful magazine 1941 to 1964. Ms. Gordon first became interested in Japanese aesthetics during the mid-1950s. As a result she began to read and study Japanese art, history and culture. In 1959, Gordon travelled to Japan with three staff people from, House Beautiful. In Kyoto she met Eiko Yuasa, a young woman then employed by the City of Kyoto to handle foreign V.I.P.s, who was assigned to assist Gordon during her stay there. It was Ms. Yuasa who, in the course of discussions of Japanese aesthetics, introduced the term "shibui." Around that term and its related concepts ("iki", "jimi", "hade") the theme for the issue began to crystallize. In August and September, 1960, House Beautiful, under the editorial control of Ms. Gordon, published two extremely popular issues devoted to the subject of "shibui". Due to the popularity of the issues, museum exhibits devoted to the concept of "shibui" travelled around the United States. Ms. Gordon died in Adamstown, Maryland in 2000.
Biographical Overview
1906 -- Born in Logansport, Indiana
1920s -- Attended the University of Chicago
1930s -- Moved to New York to work as a promotional copywriter for several newspapers
1930s -- Syndicated columnist on home maintenance for The New York Herald Tribune
1930s -- Editor at Good Housekeeping (here for 8 years)
1937 -- More House for your Money by Elizabeth Gordon and Dorothy Ducas published by W. Morrow and Company: New York.
1937 -- Married Carl Hafey Norcross
1939 -- Appointed editor of House Beautiful
1964 -- Left the magazine world
1972 -- Published a special issue on Scandinavian design and awarded the insignia of a knight, first class, in the Finnish Order of the Lion
1987 -- American Institute of Architects made her an honorary member
1988 -- Carl Hafey Norcross died
September 3, 2000 -- Died in Adamstown, MD
(The following biography of Elizabeth Gordon comes courtesy of curator Louise Cort. Written in consultation with Elizabeth Gordon, October 23, 1987)
The research papers, memoranda, magazines, books, photographs and color transparencies and other materials in this archives are related to the publication by Elizabeth Gordon (Mrs. Carl Norcross), editor of House Beautiful from 1941 to 1964 and creator of the August, 1960 issue of the magazine on the special theme of the Japanese aesthetic concept of "shibui". The "shibui issue" was followed by the September, 1960, issue of the same publication on the theme, "How to be shibui with American things." As a by-product of the issues, a "Shibui Exhibition" travelled to eleven museums in the United States during 1961-1964. Each exhibition was opened with a slide lecture by Elizabeth Gordon.
Miss Gordon first became curious about Japanese aesthetics in the mid-1950s when she began to see Japanese objects being displayed and used in the homes of Americans who had spent time in Japan during the Occupation and Japanese influence began to appear in wholesale showrooms of home furnishings manufacturers. It was clear that the time had come: she HAD to go to Japan!
She read for five years before going to Japan - history, social mores, art history. (Many of the books on Japan that she collected during this time have been presented to the library at the University of Maryland, College Park.)
An important bit of advice came from Alice Spaulding Bowen, owner of Pacifica, the highest quality shop of Asian antiquities in Honolulu, who told her, "Be sure to read, The Tale of Genji - then you'll understand everything."
She made her first trip to Japan in April, 1959, accompanied by three staff people from, House Beautiful. In Kyoto she met Eiko Yuasa, a young woman then employed by the City of Kyoto to handle foreign V.I.P.s, who was assigned to assist Miss Gordon during her stay there. It was Ms. Yuasa who, in the course of discussions of Japanese aesthetics, introduced the term "shibui." Around that term and its related concepts ("iki", "jimi", "hade") the theme for the issue began to crystallize.
Miss Gordon came home, planning to spend the summer researching "shibui" with the aid of the Japan Society. But she found virtually nothing written in English on the concept. So she returned to Japan in December, 1959 together with staff member Marion Gough, to dig deeper and to work out details and get better educated with Eiko Yuasa. One of their devices was to walk through department stores and discuss with sales personnel whether objects for sale were "shibui", or were "jimi" or "hade", and why. Between themselves, they did the same for the costumes of women they saw on the streets.
Lacking printed sources for information on "shibui", Miss Gordon sought out and interviewed experts, including Douglas Overton, head of the Japan Society in New York. In Japan in December, 1959, she met Yanagi Soetsu, founder of Japan's Folk Craft Movement and head of the Craft Museum in Tokyo (with an introduction from Tonomura Kichinosuke, head of the Craft Museum in Kurashiki). She met the chef Tsuji Kaichi, who was commissioned to write an article on "kaiseki" (that could not be used because of an inadequate English translation) and Frances Blakemore. She met several times with Bernard Leach and attended his lecture at Bonnier's while he was in New York in March, 1960. (He would later write a "fan letter" for the issue)
As the concept of "the shibui issue" began to take shape, a third trip in the spring of 1960 focused on photography - to produce the shooting script decided on the preceding December. This was executed by the noted photographer Ezra Stoller of Rye, New York, and John DeKoven Hill, House Beautiful's Editorial Director. (Mr. Hill worked with Frank Lloyd Wright except for the ten years that he was a member of the House Beautiful editorial staff)
Miss Gordon was back in Japan in Mid-August 1960 as the "shibui issue" was causing a sensation. Altogether she spent sixteen months in Japan.
As one of the experiences that influenced her strong interest in Japanese costumes and textiles, Miss Gordon remembers a spectacularly thorough exhibition at the Tokyo National Museum in Ueno on, 1200 Years of Japanese Costume. She saw it on the last day of its exhibition (possibly 1964).
The August 1960 issue sold out quickly. Copies of the magazine, which sold for fifty cents, were sold on the "black market" for ten dollars.
The publication of the August 1960 issue was followed by an unprecedented avalanche of "fan mail". Many department heads in colleges and universities, including the Harvard-Yenching Institute and the Oriental Institute of the University of Chicago (where Miss Gordon had worked as an undergraduate) wrote to comment on the issue. Many people in other fields of endeavor wrote: heads of firms concerned with interior design, landscape architecture, and related areas expressed their interest in the concept of "shibui" Other writers include Bernard Leach, Gertrude Natzler, Laura Gilpin, Mainbocher, the architect Yoshimura Junzo, the textile artist Marianne Strengell, Walter Kerr, Craig Claiborne, and Oliver Statler.
The "shibui issue" was followed immediately by the September issue dealing with the use of non-Japanese objects to express the concept of "shibui." (Miss Gordon convinced her advertisers, who had been skeptical about the potential success of the August issue, by promising the September issue dealing with American products.) Four American firms were involved in the production of an integrated line of paints, wallpaper, furniture and carpets expressive of the concept. Products were designed by the firms' designers following the clues offered by objects and fabrics purchased by Miss Gordon in Japan in December 1959 and spring 1960. Miss Gordon has expressed her dissatisfaction with the September issue, although public opinion was positive. She feels that some of the firms failed in the "shibui" project, though some "caught" the message: namely the paint company and the fabric/wallpaper company.
In response to strong public interest, the House Beautiful staff prepared a travelling exhibition to introduce the concept of "shibui" through a series of vignettes, mixing fabrics and objects, colors and textures. The museum installation was designed by John Hill of House Beautiful. Japan Air Lines underwrote shipping costs.
The exhibition began in Philadelphia in late 1961. Ezra Stoller was sent to photograph the installation in considerable detail at the Dallas Museum of Fine Arts in January, 1962, so that his photographs cold serve as guidelines for installations at the other museums, which included the San Francisco Museum of Art (April 1962), the Newark Pubic Library, and the Honolulu Academy of Art. Miss Gordon presented a lecture on "shibui" at each of the museum installations.
In appreciation of her work to introduce Americans to the concept of "shibui", the city of Kyoto presented a bolt of especially "shibui" kimono fabric executed by a Living National Treasure textile artist. Miss Gordon eventually tailored the fabric into a dress and jacket. She received the 1961 Trail Blazer Award from the New York Chapter of the National Home Fashions League, Inc. In June, 1987, Miss Gordon was named an honorary member of the American Institute of Architects, with her introduction of the concept of "shibui" and her promotion of an understanding of other culture cited as her major contributions to American architecture.
Provenance:
Elizabeth Gordon donated her papers to the Freer Gallery of Art and Arthur M. Sackler Gallery Archives in 1988.
Elizabeth Gordon donated her papers to the Freer Gallery of Art and Arthur M. Sackler Gallery Archives in 1988.
The Elizabeth Gordon Papers, FSA.A1988.03. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C. Gift of Elizabeth Gordon, 1988
Rathbun's forensic case files donated in 2013 are restricted until 2088. Two folders containing student grades have been separated and are restricted until 2055. For preservation reasons, his computer disks have been separated and restricted. Please note that the collection contains images of human remains.
Collection Rights:
Contact the repository for terms of use
Collection Citation:
Ted Allan Rathbun papers, National Anthropological Archives, Smithsonian Institution
Rathbun's forensic case files donated in 2013 are restricted until 2088. Two folders containing student grades have been separated and are restricted until 2055. For preservation reasons, his computer disks have been separated and restricted. Please note that the collection contains images of human remains.
Collection Rights:
Contact the repository for terms of use
Collection Citation:
Ted Allan Rathbun papers, National Anthropological Archives, Smithsonian Institution
Collection is open for research. Some items may be restricted due to fragile condition.
Series 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.
Series Citation:
Warshaw Collection of Business Americana Subject Categories: Religion, Archives Center, National Museum of American History, Smithsonian Institution
Sponsor:
Funding for partial processing of the collection was supported by a grant from the Smithsonian Institution's Collections Care and Preservation Fund (CCPF).
Collection is open for research. Some items may be restricted due to fragile condition.
Series 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.
Series Citation:
Warshaw Collection of Business Americana Subject Categories: Religion, Archives Center, National Museum of American History, Smithsonian Institution
Sponsor:
Funding for partial processing of the collection was supported by a grant from the Smithsonian Institution's Collections Care and Preservation Fund (CCPF).
Collection is open for research. Some items may be restricted due to fragile condition.
Series 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.
Series Citation:
Warshaw Collection of Business Americana Subject Categories: Religion, Archives Center, National Museum of American History, Smithsonian Institution
Sponsor:
Funding for partial processing of the collection was supported by a grant from the Smithsonian Institution's Collections Care and Preservation Fund (CCPF).
Collection is open for research. Some items may be restricted due to fragile condition.
Series 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.
Series Citation:
Warshaw Collection of Business Americana Subject Categories: Religion, Archives Center, National Museum of American History, Smithsonian Institution
Sponsor:
Funding for partial processing of the collection was supported by a grant from the Smithsonian Institution's Collections Care and Preservation Fund (CCPF).
Collection is open for research. Some items may be restricted due to fragile condition.
Series 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.
Series Citation:
Warshaw Collection of Business Americana Subject Categories: Religion, Archives Center, National Museum of American History, Smithsonian Institution
Sponsor:
Funding for partial processing of the collection was supported by a grant from the Smithsonian Institution's Collections Care and Preservation Fund (CCPF).
Collection is open for research. Some items may be restricted due to fragile condition.
Series 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.
Series Citation:
Warshaw Collection of Business Americana Subject Categories: Religion, Archives Center, National Museum of American History, Smithsonian Institution
Sponsor:
Funding for partial processing of the collection was supported by a grant from the Smithsonian Institution's Collections Care and Preservation Fund (CCPF).
Collection is open for research. Some items may be restricted due to fragile condition.
Series 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.
Series Citation:
Warshaw Collection of Business Americana Subject Categories: Religion, Archives Center, National Museum of American History, Smithsonian Institution
Sponsor:
Funding for partial processing of the collection was supported by a grant from the Smithsonian Institution's Collections Care and Preservation Fund (CCPF).
Estelle Ellis is a pioneer in publishing, advertising, and marketing. She was among the first to focus on the American female demographic, especially teens and working-class women. Condé Nast Publications, Incorporated, Carter Hawley Hale-owned department stores, Phillips-Van Heusen, Dow Chemical, and the Kimberly-Clark Corporation were among her clients. The Papers include business correspondence and proposals, marketing materials, advertisements, and oral history interviews with Ellis.
Scope and Contents:
The Estelle Ellis Papers include material dating from the 1940s to 2004, with the majority of materials dating from the 1960s to the 1980s. Client files (including correspondence, presentations, proposals, and marketing materials) comprise the bulk of the collection. Photographic negatives, slides, and photographs from advertising campaigns and interviews with Ellis on audio and VHS cassette are also present. Ellis's personal research files on advertising and marketing, including magazine and newspaper tear sheets, are included.
The collection documents Ellis's career in publishing and as owner of Business Image, Inc. Ellis's innovative marketing and design sense is evident throughout these materials. Clients include: Carter Hawley Hale and its subsidiaries The Broadway, John Wanamaker, and Weinstock's; Condé Nast Publications and its subsidiaries Vogue, House & Garden, Charm, Glamour, and Bride's; the Kimberly-Clark Corporation; and East/West Network, Incorporated.
Of note to researchers with interest in teen magazines will be Ellis's early work on Design for Living, a short-lived publication and precursor to Seventeen, produced by Popular Science Publishing Corporation.
Among the distinctive materials in the collection are promotional items developed for Seventeen and Charm magazines. Designed to be informative and eye-catching, these materials used creative techniques to highlight the uniquely female qualities and concerns of the magazines' readers. In one instance, price guides were "handwritten" in the form of a shopping list on a paper bag. In another example, press releases were tied in ribbons like a bundle of love letters. For students of marketing and design, as well as for historians interested in women's history and consumer culture, materials such as these will be a valuable resource.
The Estelle Ellis Papers are arranged in three series: Client Files, 1941-1994, Business Materials, 1953-2004, undated and Research Files, 1950s-2004. The original order of the materials has been retained where possible, although some reorganization has been conducted within aggregates to facilitate research.
Series 1, Client Files, 1941-1994, are arranged alphabetically by business name. Subsidiaries are listed separately from their owner. For instance, work completed for The Broadway, a Carter Hawley Hale-owned department store, is listed separately from its parent company. Where needed, sub-groups have been created and are organized by type of material or project. Materials are further organized by date. Some of the client materials were originally organized by Ellis and her late husband into seventeen oversized scrapbooks. These have been disassembled for ease of organization and access. A photocopy of each scrapbook was made to preserve a record of the original arrangement of the materials and for ready reference.
Series 2, Business Materials, 1953-2004, undated, is divided into five sub-series: Business Image, Incorporated Slides; Speeches and Articles; Greeting Cards; Awards; and Audio-Visual Materials. The slides were kept in their original order when transferred from the slide boxes to the sleeves. Of note are slides of Helmut Newton's photographs for the Yves Saint Laurent Rive Gauche advertising campaign. (The work of prominent photographers Robert Frank and Duane Michals are represented in the materials for American Girl and Sportempos.) Speeches and articles written by Estelle Ellis span 1953 to 1994. Materials are included in this subseries based upon the original order of the collection, scope of the project, or content of the speech. Time topical greeting cards that were sent by Business Image, Inc., to clients comprise subseries 2.3. A single award from 1962 comprises Subseries 2.4. Audiovisual materials, including recorded interviews and research material, is the final subseries and is arranged by format and then date. The 1994 oral history interview by Tom Wiener on behalf of the Archives Center deals primarily with Ellis's early publishing career. The 2007 interview by historian Lu Ann Jones covers that period and later developments, including Ellis's family life. Jones's transcript of that interview is appended to this finding aid.
Series 3, Research Files, 1950s-2004, include Ellis's compilation of newspaper and magazine articles, advertisements, and marketing publications. Sub-groups exist for Absolut vodka advertisements, Condé Nast Publications, and The New Yorker magazine. Of special note within this series is a short autobiographical note written by Ellis for her alma mater Hunter College.
Arrangement:
The collection is arranged into three series.
Series 1: Client Files, 1942-1994
Series 2: Business materials, 1953-1994
Series 3: Research Files
Series 4: Audiovisual, 1979-2004
Biographical / Historical:
For more than fifty years, Estelle Ellis has advised American businesses about the changing face of American society: its demographics, its social structures, its values. She has helped these institutions understand social change and address the needs and interests of their diverse customers, audiences, and constituencies. Her work has spanned a period of significant social and economic change affecting women's lives and expectations. These shifts are apparent in her pioneering work for Seventeen, Charm, Glamour, and House & Garden magazines and with corporate clients including the Kimberley-Clark Corporation, Evan-Picone, and the Carter Hawley Hale group of department stores.
Ellis was born in Brooklyn, New York, on November 12, 1919. She graduated from Hunter College in 1940, with a Bachelor of Arts degree in Political Science and a minor in Journalism. Her publishing career began at Popular Science magazine, which published three issues of Design for Living in 1942, before abandoning the new venture due to war-time paper shortages. Design for Living was aimed at "high school girls and the home economics teacher," and signaled the direction of Ellis' future career. Ellis also worked for Walter Annenberg's Click magazine (Triangle Publications), assembling an impressive portfolio of articles.
In 1943, Editor-in-Chief Helen Valentine hired Ellis to help launch a new publication that she had conceived. Seventeen was the first magazine to identify young girls as an economically viable market. Ellis combined her strong sense of design and advertising with emerging techniques in marketing to awaken her advertisers to this viable consumer demographic. To personalize the research data, she created "Teena," a fictional character who spoke for her age group and symbolized the typical Seventeenreader.
Helen Valentine and Art Director Cipe Pineles became mentors in Ellis's life and work. Following the success of Seventeen, the trio was asked by its publisher, Street and Smith, to revitalize Charm and to gear it towards a new segment of female consumers. This decision re-established the focus of the magazine on the growing working woman market. To persuade advertisers to address this group, Ellis distilled market research into a series of publications titled "Interview." The "Interview" and "Teena" reports commissioned by Ellis were among the first market research studies to establish teenage girls and working women as distinct and economically powerful markets. During the period from 1950 to 1957, Charm increased in circulation and importance to the business and advertising communities. After a business merger with Newhouse Magazines, Charm was incorporated into Glamour magazine, and Ellis resigned to create her own firm, Business Image, Incorporated.
Starting in 1958, Business Image, Incorporated, offered creative marketing solutions to a diverse array of clients. Ellis was among the first to identify the importance of market and product positioning, a key aspect of what today is called "branding." According to Ellis, Business Image, Inc. was dedicated "to helping business understand the impact of social change on business trends." Ellis continued to work with publishing and magazines, and she counted Glamour, House & Garden, and their parent company, Condé Nast Publications, as clients. Ellis worked closely with editors to keep them abreast of "shifting consumer markets, values, and lifestyles." She also advised them on how to convey the relevance of their publications and the consuming power of their readers to magazine advertisers. Ellis took on smaller projects for other Condé Nast publications such as Bride's (late 1960s) and Vogue (early 1970s). Publishing industry clients also included the Girl Scouts of America's American Girl magazine (early 1960s), Better Homes and Gardens (primarily 1980s), Elle (late 1980s), and East West Network (1980s), publishers of airlines magazines.
The list of Ellis's clients outside of publishing is equally long and impressive. Ellis's work for the Kimberly-Clark Corporation in the late 1960s and early 1970s is of particular note. In addition to recommending new products for the firm, she guided the development of its Life Cycle Center, a resource for women of all ages-from menstruation to menopause-headed by a professional education director. Ellis joined the Board of Phillips-Van Heusen and produced its innovative publication, We the People of PVH. Evan-Picone, Yves Saint-Laurent Fragrances, Scoville, AT&T, and the Jos. Schlitz Brewing Company also were Business Image, Inc. clients.
For some thirty years, beginning in the mid-1960s, Ellis provided a wide range of professional services for New York's Fashion Institute of Technology (FIT). She created the successful FIT fundraising campaign/event "One Person Makes a Difference," which raised money for student scholarships. She created programs to build the school's enrollment and its financial support. Ellis's work also promoted awareness of the global fashion influence of New York and FIT.
Beginning in the 1990s Ellis concentrated on writing. She combined her experience in publishing with her personal interests to co-author three books: At Home with Books: How Booklovers Live With and Care for Their Libraries (Southern Books, 1995), At Home with Art: How Art Lovers Live With and Care for Their Treasures (Potter, 1999), and The Booklover's Repair Kit: First Aid for Home Libraries (Alfred A. Knopf, 2000). Most recently, Ellis co-authored Cipe Pineles: Two Remembrances (RIT, Cary Graphic Arts Press, 2005), about her mentor and friend.
Ellis was married for fifty years to Samuel I. Rubenstein, now deceased. Rubenstein was critical in the development of Business Image, Incorporated, and partnered with her in the firm for twenty-five of its forty-five years. She has two children, Ellis Marc Rubenstein, currently President and CEO of the New York Academy of Sciences, and Nora Jane Rubenstein, Ph.D., a writer, ethnographer, and president of her Vermont-based Place/Space Associates. Ellis died on July 12, 2012.
Provenance:
This collection was donated by Estelle Ellis in 1991, 2000, and 2004.
Restrictions:
Collection is open for research but negatives in Box 62 are stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
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.
Genre/Form:
Advertising
Citation:
Estelle Ellis Papers, Archives Center, National Museum of American History
Found here is Sidney C. Woodward's personal and professional correspondence and collected letters pertaining to Woodward's relationships with various artists, galleries, and arts organizations.
Included are many letters sent by Sidney's twin brother, Stanley, while he was serving as a Corporal in Field Artillery during World War I and later as an Air Corps captain during World War II. Correspondence with Stanley primarily concerned his painting career, including some post card representations of his work.
Artists that Woodward corresponded with and collected letters include Ernest L. Blumenschein, Harrison Cady, Robert Henri, C. Lewis Hind, Rockwell Kent, John La Farge, Hermann Dudley Murphy, Violet Oakley, Water Pach, Elizabeth Robins Pennell, and Chauncey Foster Ryder, among many others. Notable 19th century letters are written by Ivan Konstantinovich Aivazovsky, John White Alexander, Albert Bierstadt, Frederic Edwin Church, Winslow Homer, Francis Davis Millet, Thomas Moran, Augustus Saint-Gaudens, William Trost Richards, John Singer Sargent, and Thomas Sully.
Also found here is correspondence with arts organizations, schools, and news organizations. This includes the Christian Science Publishing Society, the Erskine School, Frost & Reed, Knoedler & Co., and Robert C. Vose Galleries.
Some photographs of artists are also included in folders of correspondence, including a portrait of Johannes Adam S. Oertel.
See the Printed Material series for additional correspondence pasted into two books, Color and Method in Painting and The Etched Work of Franics Seymour Haden, which also include photographs and added annotations.
Correspondence is arranged alphabetically by person or organization name. Names with two or more letters are filed in their own folders, and the remainder of correspondence is filed in miscellaneous alphabetical files. Selected correspondents whose names do not appear in headings are indicated in a note following the folder heading.
Collection Restrictions:
Use of original papers requires an appointment.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Sidney C. Woodward papers, 1823-1963, bulk 1915-1932. Archives of American Art, Smithsonian Institution.
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:
Sidney C. Woodward papers, 1823-1963, bulk 1915-1932. Archives of American Art, Smithsonian Institution.
The collection is open for research use. One film is tored at an off-site facility and special arrangements must be made to work with it. Researchers must handle unprotected photographs with gloves. Researchers must use reference copies of audio-visual materials. When no reference copy exists, the Archives Center staff will produce reference copies on an "as needed" basis, as resources allow. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Lockwood Greene Records, Archives Center, National Museum of American History
Sponsor:
Preservation of this collection was made possible in part by a generous gift from CH2M HILL.
The collection is open for research use. One film is tored at an off-site facility and special arrangements must be made to work with it. Researchers must handle unprotected photographs with gloves. Researchers must use reference copies of audio-visual materials. When no reference copy exists, the Archives Center staff will produce reference copies on an "as needed" basis, as resources allow. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Lockwood Greene Records, Archives Center, National Museum of American History
Sponsor:
Preservation of this collection was made possible in part by a generous gift from CH2M HILL.
The collection is open for research use. One film is tored at an off-site facility and special arrangements must be made to work with it. Researchers must handle unprotected photographs with gloves. Researchers must use reference copies of audio-visual materials. When no reference copy exists, the Archives Center staff will produce reference copies on an "as needed" basis, as resources allow. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Lockwood Greene Records, Archives Center, National Museum of American History
Sponsor:
Preservation of this collection was made possible in part by a generous gift from CH2M HILL.
The collection is open for research use. One film is tored at an off-site facility and special arrangements must be made to work with it. Researchers must handle unprotected photographs with gloves. Researchers must use reference copies of audio-visual materials. When no reference copy exists, the Archives Center staff will produce reference copies on an "as needed" basis, as resources allow. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Lockwood Greene Records, Archives Center, National Museum of American History
Sponsor:
Preservation of this collection was made possible in part by a generous gift from CH2M HILL.
The collection is open for research use. One film is tored at an off-site facility and special arrangements must be made to work with it. Researchers must handle unprotected photographs with gloves. Researchers must use reference copies of audio-visual materials. When no reference copy exists, the Archives Center staff will produce reference copies on an "as needed" basis, as resources allow. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Lockwood Greene Records, Archives Center, National Museum of American History
Sponsor:
Preservation of this collection was made possible in part by a generous gift from CH2M HILL.
