Search Results

Maker:

Zeiss, Carl  Search this

Measurements:

case: 6 15/16 in x 9 1/4 in x 7 1/2 in; 17.62125 cm x 23.495 cm x 19.05 cm

microscope: 5 1/4 in x 7 1/2 in x 6 1/4 in; 13.335 cm x 19.05 cm x 15.875 cm

Object Name:

microscope

stereoscope

Place made:

Germany: Thuringia, Jena

Date made:

ca 1920

Subject:

Science & Scientific Instruments  Search this

Credit Line:

National Academy of Sciences

ID Number:

1978.2382.01

Catalog number:

1978.2382.01

Accession number:

1978.2382

See more items in:

Medicine and Science: Medicine

Microscopes

Science & Mathematics

Data Source:

National Museum of American History

GUID:

http://n2t.net/ark:/65665/ng49ca746ac-aba0-704b-e053-15f76fa0b4fa

EDAN-URL:

edanmdm:nmah_1348590

Measurements:

case: 3 3/4 in x 1 1/4 in; x 9.525 cm x 3.175 cm

slide: 3 in x 1 in; x 7.62 cm x 2.54 cm

Object Name:

Slide, Microscope

Other Terms:

Slide, Microscope; Diagnostic Medicine

Credit Line:

Oscar W. Richards

ID Number:

1978.2420.04

Accession number:

1978.2420

Catalog number:

1978.2420.04

See more items in:

Medicine and Science: Medicine

Data Source:

National Museum of American History

GUID:

http://n2t.net/ark:/65665/ng49ca746a5-70b0-704b-e053-15f76fa0b4fa

EDAN-URL:

edanmdm:nmah_723359

Creator:

Garden Club of America  Search this

Names:

New York Flower Show  Search this

Extent:

37000 Slides (photographs) (35mm slides)

33 Linear feet ((garden files))

3,000 Lantern slides

Type:

Collection descriptions

Archival materials

Slides (photographs)

Lantern slides

Plans (drawings)

Brochures

Articles

Correspondence

Clippings

Date:

circa 1920-present

Summary:

This collection contains over 37,000 35mm slides, 3,000 glass lantern slides and garden files that may include descriptive information, photocopied articles (from journals, newspapers, or books), planting lists, correspondence, brochures, landscape plans and drawings. Garden files were compiled by Garden Club of America (GCA) members for most of the gardens included in the collection. Some gardens have been photographed over the course of several decades; others only have images from a single point in time. In addition to images of American gardens, there are glass lantern slides of the New York Flower Show (1941-1951) and trips that GCA members took to other countries, including Mexico (1937), Italy, Spain, Japan (1935), France (1936), England (1929), and Scotland.

A number of the slides are copies of historic images from outside repositories including horticultural and historical societies or from horticultural books and publications. The GCA made a concerted effort in the mid-1980s to acquire these images in order to increase its documentation of American garden history. Because of copyright considerations, use of these particular images may be restricted.

Biographical/Historical note:

The Garden Club of America was established in 1913 in Philadelphia, Pennsylvania, when the Garden Club of Philadelphia and eleven other garden clubs met to create a national garden club. Its purpose is to foster the knowledge and love of gardening and to restore and protect the quality of the environment through educational programs and gardening and conservation efforts. The GCA was incorporated in Delaware in 1923, with its headquarters established in New York City. Today, local clubs are organized under twelve regional zones. The GCA continues its tradition of hosting flower shows and publishing material related to gardening in the United States.

The GCA's glass lantern slides were used by The GCA for presentations and lectures about notable gardens throughout the United States dating back to colonial times. An effort was made in the late 1980s, in preparation of the 75th anniversary of the Garden Club of America's founding, to collect the disbursed slides. These slides were to eventually form the Slide Library of Notable American Parks and Gardens. The informational value of this collection is extensive since a number of images of the more than 4,500 gardens represented show garden designs that have changed over time or no longer exist. While the majority of images document a range of designed upper and upper-middle class gardens throughout the U.S., the scope of the collection is expanding as volunteers photograph and document contemporary gardens including community and vernacular gardens.

The gardens illustrate the design work of dozens of landscape architects including Marian Coffin, Beatrix Farrand, Lawrence Halprin, Hare & Hare, Umberto Innocenti, Gertrude Jekyll, Jens Jensen, Warren Manning, the Olmsted Brothers, Charles Platt, Ellen Biddle Shipman, and Fletcher Steele. Because of their proximity to the gardens, works of notable architects and sculptors may also be featured in the images.

Restrictions:

Access to original archival materials by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.

Rights:

Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.

Topic:

Gardens -- France  Search this

Gardens -- Italy  Search this

Gardens -- Japan  Search this

Gardens -- Mexico  Search this

Flower shows  Search this

Gardening -- United States -- societies, etc  Search this

Gardens -- England  Search this

Landscape architecture  Search this

Gardens -- United States  Search this

Gardens -- Spain  Search this

Gardens -- Scotland  Search this

Genre/Form:

Plans (drawings)

Brochures

Articles

Correspondence

Clippings

Lantern slides

Slides (photographs)

Citation:

Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.

Sponsor:

A project to describe images in this finding aid received Federal support from the Smithsonian Collections Care Initiative, administered by the National Collections Program.

Identifier:

AAG.GCA

See more items in:

The Garden Club of America collection

Archival Repository:

Archives of American Gardens

GUID:

https://n2t.net/ark:/65665/kb617385372-1028-4cb7-b07d-04fea2e51c47

EDAN-URL:

ead_collection:sova-aag-gca

Provenance:

North Shore Garden Club of Massachusetts  Search this

Former owner:

Phillips, John Charles  Search this

Phillips, Anna Tucker  Search this

The Trustees of Reservations  Search this

Owner:

Project Adventure  Search this

Landscape architect:

Olmsted Brothers  Search this

Farrand, Beatrix, 1872-1959  Search this

Kirkwood, Grace  Search this

Wirth, Thomas  Search this

Gibson, Laura  Search this

Photographer:

Gibson, Lolly  Search this

Mason:

Watson, John H.  Search this

Collection Creator:

Garden Club of America  Search this

Type:

Archival materials

Place:

United States of America -- Massachusetts -- Essex -- Beverly

Scope and Contents:

This file contains 2 folders, 2 35mm slides (1987), 11 digital images and 3 photographic prints (2020).

General:

The Tea House Garden is a small sunken flower garden that occupies 1/4 acre on the 175 acre Moraine Farm. The tea house itself is an octagonal shape with fluted columns and a shingled dome on top of a fieldstone grotto. It features a vast lawn that extends south from the house and terrace, as well as a circular pool. The east and west walls of the lawn are constructed of trees, shrubs, and dragon tooth. The property overlooks a panoramic view of Wenham Lake from a terrace that spans the length of the house.

Frederick Law Olmsted was involved in the development of the property between 1879 and 1880 when John C. Phillips acquired several small farms to renovate, including this one. Olmsted worked with the architectural firm Peabody and Stearns to determine the position of the house, as well as its visual and physical connection with the naturalistic landscape adjacent to the house and along the road. Though the first owner desired a vibrant flower garden, Olmsted discouraged his client from clashing the brilliance of a colorful garden with the native shrubs and trees. He ultimately decided to place the flower garden within the rock-bound framework of the residential landscape, and out of sight of the house.

John W. Watson of Lawrence Watson and Son built a stone wall and terrace on the property in 1880.

The original owner continued to take interest in the Tea House Garden after her husband's death in 1885. In 1907, she commissioned Beatrix Jones [Farrand] to design a water garden. While Jones' original plans depicted a horseshoe shaped pond amongst perennials, photographs taken that year prove that the water garden created did not reflect Jones' plan. The idea for a shrubbery bed was replaced by a circular lily pond and fountain. After the original owner's death in 1925, her children sold the property to George and Katherine Batchelder Jr. In 1928, the new owners removed the grape arbor, kept the circular pond, and designed a new trap rock path system that reflected the horseshoe shape of the dragon tooth wall. In 2017, the Moraine Farm Landscape Committee asked member Lolly Gibson to simplify the garden to reduce maintenance requirements and make upkeep more sustainable. Her alterations are reflected in the current documentation of the garden, such as the added mulched maintenance paths in the large beds.

Inside the dragon tooth wall are azaleas, andromeda, laurel, white rose of Sharon, Summersweet and Lilacs that form a backdrop for summer blooming Astilbe, Fairy Candles, Hosta, Lysimachus, Sedum, Thalictrum, Thermopsis, and Turk's Cap Lily. European Ginger, Lady Ferns, Maidenhair Ferns, and Trillium lie beneath the shrubs. Roses, lilacs, sweetspire, and anemones frame the grotto of the teahouse. The circular pond is surrounded by roses, catmint, and peonies, and behind it are germander edged perennial beds. One can see azaleas through the tea house windows. Moss continues to cover the stone used as the tea house foundation as it did in Olmsted's day.

Persons associated with the garden include: John Charles and Anna Tucker Phillips (former owners, 1878 – 1885, 1885 – 1925); John Charles Phillips Sr., and William Phillips (former owners, 1925 – 1928); George Lewis Batchelder Jr., and Katherine Tiffany Abbot Batchelder (former owners, 1928 – 1977); George Lewis Batchelder III and Wilhelmina VanLier Batchelder (former owners, 1977 – 1999); Batchelder Trust (former owner, 1991 - present); Project Adventure (74 acres including garden area); (owner, 1999 to present); The Trustees of Reservations (37 acres) (owners, 2010 – present); Frederick Law Olmsted/ Olmsted Bros. (landscape architects, 1879 – 1884/ 1948 – 1968); Beatrix Jones {Farrand} (landscape architect, 1907); Grace Kirkwood (landscape architect, 1960); Thomas Wirth (landscape architect, 1986); Laura Gibson (landscape architect, 2017).

Related Materials:

Related materials include Tea House Garden Ledgers, correspondence, plans: The Trustees of Reservations, Archives and Research Center, Sharon, Massachusetts; Plans: Fairsted, Brookline, Massachusetts, National Park Service; Correspondence: Library of Congress; Frederick Law Olmsted, Designing the American Landscape, Charles E. Beveridge and Paul Rocheleu, Rizzoli; The Papers of Frederick Law Olmsted, Vol. III, page 203.

Collection Restrictions:

Access to original archival materials by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.

Collection Rights:

Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.

Topic:

Gardens -- Massachusetts -- Beverly  Search this

Tea House Garden, Moraine Farm (Beverly, Massachusetts)  Search this

Collection Citation:

Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.

Sponsor:

A project to describe images in this finding aid received Federal support from the Smithsonian Collections Care Initiative, administered by the National Collections Program.

Identifier:

AAG.GCA, File MA169

See more items in:

The Garden Club of America collection

The Garden Club of America collection / Series 1: United States Garden Images / Massachusetts

Archival Repository:

Archives of American Gardens

GUID:

https://n2t.net/ark:/65665/kb612039030-a3fc-458e-aa41-f6cf49a0b8cf

EDAN-URL:

ead_component:sova-aag-gca-ref33239

Creator:

Hobbs, Morris Henry, 1892-1967  Search this

Names:

Bromeliad Society  Search this

Chicago Society of Etchers  Search this

Louisiana Society of Etchers  Search this

New Orleans Art League  Search this

Arms, John Taylor, 1887-1953  Search this

Jacques, Bertha  Search this

Smith, Lyman B.  Search this

Extent:

4.7 Linear feet

Type:

Collection descriptions

Archival materials

Architectural drawings

Prints

Scrapbooks

Diaries

Photographs

Sketchbooks

Sketches

Date:

circa 1901-2014

Summary:

The papers of etcher Morris Henry Hobbs measure 4.7 linear feet and date from circa 1901-2014. His career as an artist in Chicago and New Orleans is documented through biographical material, correspondence, writings, professional files, printed material, photographs, artwork, and four sketchbooks.

Scope and Contents:

The papers of etcher Morris Henry Hobbs measure 4.7 linear feet and date from circa 1901-2014. His career as an artist in Chicago and New Orleans is documented through biographical material, correspondence, writings, professional files, printed material, photographs, artwork, and four sketchbooks.

Biographical material includes chronologies, biographical statements, and documentation on his home and studio. Correspondence includes letters to friends and family regarding art, travel, and botany. Of note are letters from the etchers John Taylor Arms and Bertha Jaques and botanist Lyman Smith. Writings consist of Hobbs' diary kept during World War I while serving in the U.S. Army, journal pages documenting his move to New Orleans, and garden notebooks. Professional files include documents relating to Hobbs' memberships and activities in the Bromeliad Society, Chicago Society of Etchers, Louisiana Society of Etchers, New Orleans Art League, and other organizations. Also included are exhibition records, price lists, and sales records.

Printed material includes clippings and exhibition announcements documenting his career as well as published versions of his etchings. Photographs and slides are of Hobbs, family and friends, trips abroad, and his properties in New Orleans and Mandeville, Louisiana. Artwork includes architectural renderings, sketches of Chicago, France, and New Orleans, and an annotated scrapbook containing original etchings. Four sketchbooks include figure drawings and landscapes in pencil and ink.

Arrangement:

The collection is arranged as 8 series.

Missing Title

Series 1: Biographical Material, 1918-2014 (0.2 linear feet; Box 1)

Series 2: Correspondence, 1921-1993 (0.7 linear feet; Boxes 1 and 5)

Series 3: Writings, 1918-2014 (0.3 linear feet; Boxes 1-2)

Series 4: Professional Files, 1922-2014 (1.0 linear foot; Boxes 2-3)

Series 5: Printed Material, 1929-2014 (0.6 linear feet; Box 3)

Series 6: Photographs, circa 1901-1991 (0.6 linear feet; Boxes 3-4)

Series 7: Artwork, circa 1919-1950s (0.3 linear feet; Boxes 4-5)

Series 8: Sketchbooks, 1930s-1950s (0.2 linear feet; Box 4)

Biographical / Historical:

Morris Henry Hobbs (1892-1967) was an etcher in Chicago and New Orleans. Hobbs was born in Rockford, Illinois, and raised in Chicago. As a teenager he took classes at the Art Institute of Chicago and at the age of 17 was hired as a draftsman at an architectural firm. From 1918-1919, he served in France with the Allied Expeditionary Force. While there he contracted influenza which resulted in the loss of his hearing. After the war he lived in Toledo, Ohio, with his wife and two daughters and worked at an architectural firm. He also learned printmaking techniques from etcher J. Ernest Dean and began exhibiting his work. In 1927, he returned to Chicago with his family and in 1930 became director of the Chicago Society of Etchers. During his career he was active in many arts and printmaking organizations.

In 1938, Hobbs traveled to New Orleans for an extended visit, opened a studio space, and began a ten-year project of etching French Quarter scenes. A year later he moved to New Orleans permanently and became the first president of the Louisiana Society of Etchers. In 1942, he married Alice "Judy" Seddon. In 1948, he was hired as a designer for the architectural firm Favrot, Reed, Mathes and Bergman, and was employed there until his death. Also at this time, he and his wife establish a country home in Mandeville, Louisiana, where he built a greenhouse and cultivated tropical bromeliads. They kept an apartment in the French Quarter as a weekday residence.

In 1960, Hobbs began a series of watercolors depicting bromeliads and in the subsequent years traveled to Costa Rica, Guatemala, and Trinidad to collect specimens for a potential book project. He died in 1967 at the age of 75 and that year the Reinike Gallery held a retrospective of his work. His wife Alice Seddon Hobbs died in 1993 at the age of 95.

Provenance:

Donated in 2014 by Reed Isbell-Hobbs, widow of Morris Henry Hobbs' son William Hobbs.

Restrictions:

Use of original papers requires an appointment.

Rights:

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

Occupation:

Etchers -- Illinois -- Chicago  Search this

Etchers -- Louisiana -- New Orleans  Search this

Topic:

Gardening  Search this

World War, 1914-1918  Search this

Genre/Form:

Architectural drawings

Prints

Scrapbooks

Diaries

Photographs

Sketchbooks

Sketches

Citation:

Morris Henry Hobbs papers, circa 1901-2014. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.hobbmorr

See more items in:

Morris Henry Hobbs papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9de90464b-25e1-4b52-880a-48b63a3caf5a

EDAN-URL:

ead_collection:sova-aaa-hobbmorr

Collection Creator:

Hobbs, Morris Henry, 1892-1967  Search this

Extent:

0.6 Linear feet (Boxes 3-4)

Type:

Archival materials

Date:

circa 1901-1991

Scope and Contents:

Photographs and slides are of Hobbs, his family, trips abroad, his properties in New Orleans and Mandeville, Louisiana, and artwork.

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:

Morris Henry Hobbs papers, circa 1901-2014. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.hobbmorr, Series 6

See more items in:

Morris Henry Hobbs papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw916ebb74b-7128-4ace-801b-1976b0cf6a6f

EDAN-URL:

ead_component:sova-aaa-hobbmorr-ref77

Collection Creator:

Hobbs, Morris Henry, 1892-1967  Search this

Container:

Box 3, Folder 30

Type:

Archival materials

Date:

circa 1950s

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:

Morris Henry Hobbs papers, circa 1901-2014. Archives of American Art, Smithsonian Institution.

See more items in:

Morris Henry Hobbs papers

Morris Henry Hobbs papers / Series 6: Photographs

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw970fbdee2-2bfc-49c9-91ec-d148d2a1a674

EDAN-URL:

ead_component:sova-aaa-hobbmorr-ref84

Collection Creator:

Hobbs, Morris Henry, 1892-1967  Search this

Container:

Box 3, Folder 31

Type:

Archival materials

Date:

circa 1950s

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:

Morris Henry Hobbs papers, circa 1901-2014. Archives of American Art, Smithsonian Institution.

See more items in:

Morris Henry Hobbs papers

Morris Henry Hobbs papers / Series 6: Photographs

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9eae9d2b9-cbe4-4a84-9274-e40b31764f26

EDAN-URL:

ead_component:sova-aaa-hobbmorr-ref85

Collection Creator:

Hobbs, Morris Henry, 1892-1967  Search this

Container:

Box 3, Folder 32

Type:

Archival materials

Date:

1956

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:

Morris Henry Hobbs papers, circa 1901-2014. Archives of American Art, Smithsonian Institution.

See more items in:

Morris Henry Hobbs papers

Morris Henry Hobbs papers / Series 6: Photographs

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw949e7a25f-3c39-4ab2-9631-932c231f8d10

EDAN-URL:

ead_component:sova-aaa-hobbmorr-ref86

Collection Creator:

Hobbs, Morris Henry, 1892-1967  Search this

Container:

Box 3, Folder 33

Type:

Archival materials

Date:

1962

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:

Morris Henry Hobbs papers, circa 1901-2014. Archives of American Art, Smithsonian Institution.

See more items in:

Morris Henry Hobbs papers

Morris Henry Hobbs papers / Series 6: Photographs

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw94491aed6-73ee-4b45-94e7-a9ed1f6a27b8

EDAN-URL:

ead_component:sova-aaa-hobbmorr-ref87

Collection Creator:

Hobbs, Morris Henry, 1892-1967  Search this

Container:

Box 4, Folder 1-5

Type:

Archival materials

Date:

1963-1966

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:

Morris Henry Hobbs papers, circa 1901-2014. Archives of American Art, Smithsonian Institution.

See more items in:

Morris Henry Hobbs papers

Morris Henry Hobbs papers / Series 6: Photographs

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9c1aed71f-1e4a-41d5-aad6-cf37b8cc2f2d

EDAN-URL:

ead_component:sova-aaa-hobbmorr-ref88

Collector:

Sidney, George, 1916-2002  Search this

National Museum of American History (U.S.). Division of Music, Sports and Entertainment  Search this

Names:

Columbia Pictures  Search this

Metro-Goldwyn-Mayer  Search this

Paramount Pictures  Search this

Goodman, Benny (Benjamin David), 1909-1986  Search this

Margret, Ann-, 1941-  Search this

Robinson, Edward G., 1893-1973  Search this

Sidney, George, 1877-1945  Search this

Sidney, Hazel Mooney  Search this

Sidney, Louis K.  Search this

Sullivan, Ed, 1901-1974  Search this

Donor:

Sidney, Corinne Entratter  Search this

Extent:

54 Film reels

96 Cubic feet (288 boxes, 6 oversize folders)

Type:

Collection descriptions

Archival materials

Film reels

Photographs

Place:

Hollywood (Los Angeles, Calif.)

Date:

1885-2002

bulk 1940-1967

Summary:

George Sidney (1916-2002) was a film director during the Golden Age of Hollywood filmmaking (1927-1954). He spent the longest period of his career at Metro-Goldwyn-Mayer (MGM) until the 1950s. He later produced and directed films for Columbia Pictures and Paramount Pictures. He was a president of the Directors Guild of America and an avid photographer. He was the recipient of three awards from the Academy of Motion Picture Arts and Sciences (Oscar). The collection consists of photographs, photographic negatives, personal and business materials, and film. The collection also contains material created by George Sidney's uncle, George Sidney, vaudevillian and motion picture actor.

Scope and Contents:

The George Sidney Collection consists of approximately eighty-eight cubic feet of photographs and materials from the Hollywood director George Sidney, most dealing with his career in motion pictures. Sidney was an avid photographer and collector of photographs documenting extremely well the Hollywood film community during the Studio Era (1927-1954) of filmmaking. The bulk of the collection is from Sidney's most productive years, circa 1937-1968.

MGM's motto was "More Stars than there are in Heaven" and the researcher would be advised that the extent of this collection is such that it is impossible to list and identify all of the celebrities and personalities photographed, both behind and in front of the camera. There are stills from Sidney's many productions as well as his on-set personal photographs. There are photographs from dinner parties, and many studio and film community functions. Productions are dated to their generally accepted first theatrical release date (Los Angeles and New York) and in the case of a Broadway show to their opening date.

Arrangement:

The collection is arranged into six series.

Series 1: Photographs, Photographic Negatives, and Slides, 1914-1996, undated.

Subseries 1.1: The Camera Eye of George Sidney, undated.

Subseries 1.2: Productions (Motion Picture, Stage, and Radio), 1921-1968. Subseries 1.3: Personalities and People, 1932-1996, undated.

Subseries 1.4: Personal and Family, 1914-1992, undated.

Subseries 1.5: Family Photograph Albums and Scrapbooks, 1918-1950, undated.

Subseries 1.6: Travel and Locations, 1940-1981, undated.

Subseries 1.7: Studio, Entertainment, and Public Events, 1949-1995, undated.

Subseries 1.8: Tests, 1938-1967, undated.

Subseries 1.9: Photographic Negatives, 1937-1979, undated

Series 2: Production Ephemera, Posters, Scripts, 1930-1991, undated.

Subseries 2.1: Production Posters, 1943-1964, undated

Subseries 2.2: Production Ephemera and Scripts, 1930-1991, undated

Series 3: Office Files and Personal Material, 1903-2002, undated

Subseries 3.1: Personal Material, 1944-2002, undated

Subseries 3.2: Correspondence, Random Files, Indices, and Inventories, 1903-2002, undated

Series 4: Music Manuscripts, Sheet Music, and Music Related Material, 1885-1992, undated

Subseries 4.1: Music Manuscripts, 1937-1960, undated

Subseries 4.2: Sheet Music, 1885-1990

Subseries 4.3: Music Related Material, 1971-1992, undated

Series 5: Audiovisual, 1933-2001, undated

Subseries 5.1: Film, 1940-1960, undated

Subseries 5.2: Audio, 1933-2001, undated

Subseries 5.3: Video, 1989-2001, undated

Series 6: George Sidney (1877-1945), 1909-1945, undated

Biographical / Historical:

George E. Sidney was born in New York, New York on October 4th, 1916 into a show business family. His father Louis K. Sidney (birth surname Kronowith) (1891-1958) was a Broadway producer, actor-manager, and one of the vice-presidents of Loew's Incorporated. Sidney's mother, Hazael Mooney (?-1969), was a vaudeville performer, part of a sister act known as The Mooney Sisters. She was a native New Yorker, daughter of prominent New York City attorney Henry Mooney. She and Louis were married at her home, 12 West 109th Street, New York. Another residence was 179 West 63rd Street.

Louis K. Sidney began working for Loew's Incorporated in 1923. He managed theatres in Denver, Pittsburgh, Toledo, Dayton, and New York. Later he was in charge of stage productions for the theatre circuit. He was in charge of MGM's East Coast film production facility in New York. He and Hazael followed son George to Los Angeles in 1937. Louis produced two motion pictures at MGM, The Big Store with the Marx Brothers and Hullabaloo. After February 1951, he was a member of the four man executive committee in charge of MGM. At his retirement in 1955, Louis K. had risen to the position of vice-president of Loew's, Incorporated. He served as vice-president and director of the Motion Picture Producers Association, as a director of the Motion Picture Relief Fund, and the Hollywood Coordinating Committee.

George Sidney had two uncles in show business, Jack Sidney, known as "Jack of Spades" a black-face comedian, and Sidney's half-uncle, George Sidney (1877-1945) (real name Samuel Greenfield), a vaudeville comic. George had a successful Broadway and screen career, most notably as the bum, Busy Izzy, a character that lasted on the vaudeville circuit from 1901-1915. His initial Broadway success was in a show entitled Welcome Stranger that ran for 309 performances. Welcome Stranger had an extensive touring schedule across the United States. In conjunction with Charlie Murray, he developed a comedy act known as Cohen and Kelly that was not only a vaudeville success but easily made the transition to motion pictures. The Cohens and Kellys films became a motion picture franchise for Universal Studios in 1924. He was married to Carrie Weber (?-1940). George was a member of the Friars Club and an avid sports fan. He owned a racehorse named Kibbitzer.

George Sidney made his on-screen debut in The Littlest Cowboy (1921) starring Tom Mix. He moved to Los Angeles in 1930. Sidney went to work as a messenger at MGM. Louis B. Mayer's nickname for Sidney was "boy". Sidney flourished at the studio and by the time he was twenty he was directing screen tests and one-reel shorts. He directed installments in the Our Gang and Little Rascals series, as well as the Pete Smith and the Crime Does Not Pay series. He won back-to-back Oscars for two of his shorts, Quicker'n a Wink (1940) and Of Pups and Puzzles (1941). His feature film directing debut was Free and Easy (1941) starring Robert Cummings. His first major film musical was the all-star, war time musical, Thousands Cheer (1943), starring Kathryn Grayson and Gene Kelly. Sidney always indicated he viewed films as entertainment and seems to have rejected the auteur theory of directing embraced by some of his well known colleagues such as John Ford and Vincent Minnelli. His film, The Three Musketeers (1948), starring Gene Kelly and Lana Turner, was one of MGM's highest grossing films in the post World War Two period. He won his third Oscar for the short, Overture to 'The Merry Wives of Windsor, in 1954. Jupiter's Darling (1955) with Esther Williams was Sidney's last film for MGM. He was loaned to Columbia Pictures to direct The Eddy Duchin Story (1956), after which his contract at MGM ended.

Sidney went on to become an independent producer and director at Columbia Pictures where he directed such films as Pal Joey (1957), starring Frank Sinatra, and Bye Bye Birdie (1963) starring Ann-Margret. He returned to MGM in the 1960s to make A Ticklish Affair (1963), starring Shirley Jones and Viva Las Vegas (1964), starring Ann-Margret and Elvis Presley. His last film was the musical Half a Sixpence (1967) starring Tommy Steele for Paramount Pictures. Sidney also directed and produced for television most notably Who Has Seen the Wind (1964). He financed and founded Hanna-Barbera Productions in 1944. He was a two-term president, 1951-1959 and 1961-1967, of the Directors Guild of America (DGA), earlier known as the Screen Directors Guild (SDG).

In his personal life, Sidney was married in 1942 to legendary MGM drama coach, Lillian "Burnsie" Burns Salzer (1903-1998). He was eight years her junior. They lived at the Sidney home (1140 Tower Road) in Beverly Hills. They divorced in the mid 1970s. For a brief time Sidney maintained a penthouse apartment for George Sidney Productions at 144 South Beverly Drive, Beverly Hills. He maintained a suite (301) in the Palm Wilshire Building, 9201 Wilshire Boulevard in the 1970s. He married his second wife, Jane Adler Robinson (?-1991), second wife and widow of actor Edward G. Robinson (1893-1974), around 1978. The house at 1140 Tower Road was sold and Sidney moved to the Robinson home at 910 Rexford Drive in Beverly Hills. Sidney married his third wife, Corinne Kegley Entratter (1937-?), widow of showman and Las Vegas entrepreneur John Entratter, in 1991. Sidney was a prolific photographer. He collected art and was apparently an avid gardener. He was a member of the Royal Horticultural Society. He died in Las Vegas, Nevada in May 2002.

Related Materials:

The Harry Warren Collection, AC0750

The Groucho Marx Collection, AC0269

Sidney related artifacts from Sidney's films are housed in the Division of Culture and the Arts, National Museum of American History, Smithsonian. There are scrapbooks donated by the Sidney Estate in the collection of the Cinema-Television Library, Doheny Library, University of Southern California, consisting of eleven volumes containing photographs, correspondence, publicity documents, and other materials, circa 1933-1963.

Provenance:

This collection was donated to the Archives Center in 2005 by Corinne Entratter Sidney, widow of George Sidney.

Restrictions:

Collection is open for research but is stored off-site. Researchers must handle unprotected photographs with cotton gloves. Researchers may 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 and as resources allow.

Viewing film portions of the collection requires special appointment, please inquire; listening to LP recordings is only possible by special arrangement.

Special arrangements required to view materials in cold storage. Using cold room materials requires a three hour waiting period.

Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.

Rights:

The Archives Center does not own exclusive rights to these materials. All requests for permission to use these materials for non-museum purposes must be addressed directly to the Archives Center, and the Archives Center will forward the request to the copyright holder. Collection items are available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Reproduction permission from Archives Center: fees for commercial use.

Topic:

Motion picture production and direction  Search this

Motion picture producers and directors  Search this

Motion pictures  Search this

Vaudeville  Search this

Musicals  Search this

Genre/Form:

Photographs -- Black-and-white photoprints -- Silver gelatin -- 19th-20th century

Citation:

George Sidney Collection, Archives Center, National Museum of American History, gift of Corinne Entratter Sidney

Identifier:

NMAH.AC.0867

See more items in:

George Sidney Collection

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep878cc8f7c-849a-43d0-8ca9-4149e7f39a74

EDAN-URL:

ead_collection:sova-nmah-ac-0867

Creator:

Bisttram, Emil, 1895-1976  Search this

Names:

Public Works of Art Project  Search this

Treasury Relief Art Project  Search this

Extent:

2.4 Linear feet

Type:

Collection descriptions

Archival materials

Date:

circa 1902-1983

Summary:

The papers of Emil J. Bisttram measure 2.4 linear feet and date from 1902-1983. The papers document Bisttram's life and career through biographical material, business and personal correspondence, writings, professional files, printed material, photographic materials and original artwork.

Scope and Contents:

The papers of Emil J. Bisttram measure 2.4 linear feet and date from 1902-1983. The papers document Bisttram's life and career through biographical material, business and personal correspondence, writings, professional files, printed material, photographic materials and original artwork. Biographical material includes resumes, baptismal and naturalization records along with several awards and certificates. Also included are business and personal letters to and from Bisttram, including a letter from Lily and Eero Saarinen, and letters from Raymond Jonson; and correspondence with Public Works of Art Project administrators and others involved in the Treasury Relief Art Project, with galleries, museums, art organizations, and students. Writings consist of book drafts by Bisttram for a book on dynamic symmetry and a book on Bisttram's life and career. Also found is information for a course Bisttram taught as well as overview information on the Bisttram School of Fine Art. Other writings include essays and writings on art and Taos, New Mexico by Emil and Mayrion Bisttram, and writings related to government art programs. The professional files contain correspondence, contracts, reports and receipts related to Bisttram's Treasury Relief Art Program work, exhibitions and the establishment of the Taos school of art including legal and property records; invoices, artwork lists, shipping records and materials related to Bisttram's Guggenheim fellowship application. Also found are printed material related to a selection of Bisttram's exhibitions and the art scene in Taos, N.M. Photographs, slides and negatives depict Bisttram, his artwork and select exhibitions. Original artwork includes approximately 175 drawings and sketches of bodies, animals, many of which use dynamic symmetry shapes and figure proportions.

Arrangement:

The Collection is arranged as seven series. Nitrate negatives are housed separately and closed to researchers.

Series 1: Biographical Material, 1902-1975 (8 Folders: Box 1)

Series 2: Correspondence, circa 1925-1983 (0.5 Linear feet: Box 1)

Series 3: Writings, circa 1921-1975 (0.4 Linear feet: Box 1)

Series 4: Professional Files, circa 1926-1972 (0.4 Linear feet: Box 1-2)

Series 5: Printed Material, 1929-1983 (0.5 Linear feet: Box 2)

Series 6: Photographic Material, circa 1920-1975 (7 Folders: Box 2)

Series 7: Artwork, circa 1921-1934 (0.4 Linear feet: Box 2-3, OV 4)

Biographical / Historical:

Emil J. Bisttram (1895-1976) was a Hungarian American painter and educator living in Taos, New Mexico and New York. Born in Hungary in 1895, Bisttram immigrated to New York City with his family when he was eleven years old. He remained in the city into adulthood studying art at the National Academy of Art and Design, then Cooper Union, Parsons, and The Art Students League developing an early career in commercial art. In 1930 Bisttram visited Taos, N.M. for the first time and fell in love with the area leading him to relocate there after completing a Guggenheim fellowship whereby he studied mural painting with Diego Rivera. Numerous mural commissions would follow throughout his career, including murals for the Department of Justice in Washington D.C., The Taos County Courthouse, New Mexico, and the Federal Courthouse in Roswell, New Mexico. Once settled in Taos, Bisttram became a major figurehead in the Taos art colony and was involved with the local Treasury Relief Art Project, a Works Progress Administration initiative. Additionally, while living in Taos, he opened the Taos School of Art (renamed the Bisttram School of Art in 1943) and co-founded the Transcendental Painting Group in 1938. The school drew students from around the country until its closure in 1965.

Bisttram's work brought him recognition and honors throughout the country including exhibitions at the Whitney, Guggenheim and Corcoran Museums. He was known for his modernist work and use of dynamic symmetry, a painting technique.

Provenance:

The records were donated by Mayrion Bisttram, Emil Bisttram's wife, in three accessions in 1963, 1978 and 1983. Papers microfilmed on reel 581 were lent for microfilming in 1973, and some were subsequently donated with the 1983 gift (and refilmed on reels 2892-2894).

Restrictions:

This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.

Rights:

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

Occupation:

Painters -- New Mexico -- Taos  Search this

Muralists -- New Mexico  Search this

Topic:

Federal aid to the arts -- Arizona  Search this

Federal aid to the arts -- New Mexico  Search this

Painting, Abstract  Search this

Taos School of Art  Search this

Citation:

Emil J. Bisttram Papers, 1902-1983. Archives of American Art, Smithsonian Institution.

Sponsor:

The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.

Identifier:

AAA.bistemil

See more items in:

Emil J. Bisttram papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9d6950a15-4d27-4f39-aac4-cd68fe261f36

EDAN-URL:

ead_collection:sova-aaa-bistemil

Creator:

Stoller, Alexander, 1902-1994  Search this

Names:

Stoller, Brier  Search this

Victor, Donald  Search this

Extent:

1.8 Linear feet

Type:

Collection descriptions

Archival materials

Video recordings

Drawings

Sketchbooks

Date:

1860-1996

bulk 1920s-1996

Summary:

The papers of sculptor Alexander Stoller measure 1.8 linear feet and date from 1860-1996, with the bulk of the records dating from 1920s-1996. The records document Stoller's career through biographical material, professional files, printed material, photographs, artwork, and several VHS video recordings.

Scope and Contents:

The papers of sculptor Alexander Stoller (1902-1994) measure 1.8 linear feet and date from 1860-1996, with the bulk of the records dating from 1920s-1996. The records document Stoller's career through biographical material, professional files, printed material, photographs, artwork, and several VHS video recordings.

Biographical materials include biographical writings and resumes, certificates from various organizations, a guest list from his ninetieth birthday party, and three VHS tapes. The VHS tapes include footage of an interview with Stoller's wife, Brier Stoller (Lily Paget) and of Stoller's artwork. Also found in this series are papers related to Brier Stoller such as newspaper clippings, scripts, certificates, and performance ephemera. Professional files include some papers surrounding exhibitions, galleries, museums and other institutions, project files, financial material, and sales records. Printed material contains articles and newspaper clippings about Stoller, his artwork, and several of his exhibitions; materials from a commune and museum in France, Blerancourt, as well as from other museums, galleries, and organizations.

The photographs series contains snapshots and portraits of Stoller with his artwork (one taken by Man Ray) and of his wife, Brier Stoller, aka Lily Paget, during performances and dedication events; slides (many by Don Victor), snapshots, prints, negatives, and transparencies of Stollers artwork and exhibitions; and two photograph scrapbooks. Artwork consists of 10 sketchbooks and several loose sketches; as well as a newspaper from 1860 and two prints which were uncovered together during processing in a folder originally titled "prints and rubbings."

Arrangement:

This collection is arranged as 5 series.

Series 1: Biographical Materials, 1941-1990s (Box 1; 11 folders)

Series 2: Professional Files, 1920s-1994 (Box 1; 9 folders)

Series 3: Printed Material, 1937-1996 (Box 1; 7 folders)

Series 4: Photographs, circa 1920s-1990s (Box 1-3; 0.5 linear feet)

Series 5: Artwork, 1860-1980s, bulk 1930s-1980s (Box 2-3, OV 4; 0.5 linear feet)

Biographical / Historical:

Alexander Stoller (1902-1994) was a sculptor in Massachusetts. He began his career in New York, outlining photographs for the art department of Dry Goods Economist at 15 years old. By this time he had left school and never graduated. He then worked in the art departments of several other firms including Jay Francis Press, Metro Pictures, and J. Walter Thompson. During this time, 1917-1926, he began taking night classes in painting and drawing. It was not until January 1927 when Stoller was in Italy that he began sculpting for the first time. When he arrived in Italy, Stoller made his way to the commune, Anticoli Corrado, in search of American sculptor Maurice Sterne. Unable to find Sterne and looking to begin sculpting, Stoller enrolled in the British Academy of Art in Rome and learned from Antonio Sciortino for six months.

Within a year after his trip to Italy, Stoller had several patrons and his work was featured in solo and group shows at Salon Panton, Salon Versailles, Rue Seine, and Galerie Zak in Paris. Stoller had developed friendships with Charles Despiau and Joseph Maillol, and spent a majority of his time from the late-1920s to 1930s in France. At this time Stoller was primarily carving and working with clay and plaster to produce representational pieces. Stoller and his wife, Brier Stoller (Lily Paget), came back from Europe to live in New York before World War II. He produced work infrequently until the 1950s, ultimately starting his own gallery along with his wife. In the 1950s the Stollers moved to Massachusetts.

Stoller's public works may be found at the Atkins Museum of Fine Arts, Kansas, Longview Gardens, Louisiana, Saratoga Springs Race Track and Museum, New York, and the Blenrencourt National Museum, France.

Provenance:

The bulk of the collection was donated in 2003 by Linda Wesselman Jackson, manager of collections at the Chesterwood National Trust for Historic Preservation. Members of the Stoller family gave works of art along with these papers to Chesterwood with the understanding that these papers would be forwarded to the Archives of American Art. Stoller lent 29 items in 1976, which were microfilmed on reel 1182; included in the 2003 estate donation are approximately half of the documents previously lent for microfilming.

Restrictions:

This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.

Rights:

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

Occupation:

Sculptors -- Massachusetts  Search this

Genre/Form:

Video recordings

Drawings

Sketchbooks

Citation:

Alexander Stoller papers, 1860-1996. Archives of American Art, Smithsonian Institution.

Sponsor:

The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.

Identifier:

AAA.stolalex

See more items in:

Alexander Stoller papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw981caec9c-b535-4e12-88a5-1e8df2a2b2bc

EDAN-URL:

ead_collection:sova-aaa-stolalex

Creator:

Dilexi Gallery  Search this

Names:

Ferus Gallery (Los Angeles, Calif.)  Search this

Blum, Irving, 1930-  Search this

Hopps, Walter  Search this

Newman, James, 1933-  Search this

Extent:

0.9 Linear feet

Type:

Collection descriptions

Archival materials

Date:

1959-1969

Summary:

The Dilexi Gallery records measure 0.9 linear feet and date from 1959 to 1969. The collection sheds light on the gallery's operations through correspondence with artists, museums, and other galleries; several artist and exhibition files; and some photographs and printed material.

Scope and Contents:

The Dilexi Gallery records measure 0.9 linear feet and date from 1959 to 1969. The collection sheds light on the gallery's operations through correspondence with artists, museums, and other galleries; several artist and exhibition files; and some photographs and printed material.

Artist files consist of price lists, resumes, loan records, financial documents, and some printed material. Two photographs and one slide of Jess Collin's artwork, a photograph of Leslie Kerr, and one unknown subject are also present. Correspondence files shed light on gallery sales, exhibitions, and loans of artwork; the careers and personal lives of artists, including Jess Collins, Roy De Forest, Tony DeLap, Norman Kantor, and Wilfrid Zogbaum; and the gallery's relations with other museums and galleries, in particular, Walter Hopps and Irving Blum of Ferus Gallery. Exhibition files include insurance documents, press releases, price lists, and artist instructions; items related to the exhibition, Second International Exhibition of Pilot Galeries (1966), include catalog drafts, shipping information, memos, press releases, and some printed ephemera. The bulk of correspondence related to the Second International Exhibition of Pilot Galeries and Dilexi Gallery's G. O. P. Show (1964) can be found in the collection's correspondence files. Also included are three oversized Dilexi exhibition posters for artists Richard Shaw, William Dubin, and Fred Martin; and one advertising poster by Ron Nagle.

Arrangement:

Due to the small size of this collection the records are arranged as one series.

Biographical / Historical:

The Dilexi Gallery was founded in San Francisco, California, in 1958 by ethnomusicologist and musician James Newman. The gallery exhibited a wide range of artists in various media, from abstract expressionists to portraitists. From 1962 to 1963, the gallery operated a satellite location in Los Angeles overseen by Rolf Nelson. From its beginning, Dilexi had a loose association with Ferus Gallery in Los Angeles, sharing artists, interests, and exhibitions until Ferus' closing in 1966. Artists frequently shown at Dilexi included Hassel Smith, Charles Ross, Roy De Forest, Tony Delap, Sidney Gordin, Wilfrid Zogbaum, and Deborah Remington. Newman closed his gallery in 1969, at which point he started the Dilexi Foundation to support non-traditional artists' projects, happenings, performances, and films.

Related Materials:

Also in the Archives of American Art is an oral history interview, 1974 May 13, with Dilexi Gallery founder and director James Newman.

Provenance:

The collection was donated in 1974 by James Newman, the founder and director of the Dilexi Gallery.

Restrictions:

This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.

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.

Function:

Art galleries, Commercial -- California

Citation:

Dilexi Gallery Records, 1959-1969. Archives of American Art, Smithsonian Institution.

Sponsor:

The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.

Identifier:

AAA.dilegall

See more items in:

Dilexi Gallery records

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9b7e37a37-4771-4e28-8d3c-a973040dd772

EDAN-URL:

ead_collection:sova-aaa-dilegall

Collection Creator:

Dilexi Gallery  Search this

Extent:

0.9 Linear feet (Box 1-2, OV 3)

Type:

Archival materials

Date:

1959-1969

Scope and Contents:

Artist files consist of price lists, resumes, loan records, financial documents, and some printed material. Two photographs and one slide of Jess Collin's artwork, a photograph of Leslie Kerr, and one unknown subject are also present. Correspondence files shed light on gallery sales, exhibitions, and loans of artwork; the careers and personal lives of artists, including Jess Collins, Roy De Forest, Tony DeLap, Norman Kantor, and Wilfrid Zogbaum; and the gallery's relations with other museums and galleries, in particular, Walter Hopps and Irving Blum of Ferus Gallery. Exhibition files include insurance documents, press releases, price lists, and artist instructions; and items related to the exhibition, Second International Exhibition of Pilot Galeries (1966), consist of catalog drafts, shipping information, memos, press releases, and some printed ephemera. The bulk of correspondence related to the Second International Exhibition of Pilot Galeries and Dilexi Gallery's G. O. P. Show (1964) can be found in the collection's correspondence files. Also included are three oversized Dilexi exhibition posters for artists Richard Shaw, William Dubin, and Fred Martin; and one advertising poster by Ron Nagle.

Collection Restrictions:

This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.

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:

Dilexi Gallery Records, 1959-1969. Archives of American Art, Smithsonian Institution.

Sponsor:

The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.

Identifier:

AAA.dilegall, Series 1

See more items in:

Dilexi Gallery records

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw98d5c245f-eb73-4563-a0d8-1838ff0422b9

EDAN-URL:

ead_component:sova-aaa-dilegall-ref7

Creator:

Braunstein/Quay Gallery  Search this

Names:

32 Main St. Gallery  Search this

Braunstein Gallery (San Francisco, Calif.)  Search this

Quay Ceramics Gallery (San Francisco, Calif.)  Search this

Quay Gallery (San Francisco, Calif.)  Search this

Ruth Braunstein's Quay Gallery (San Francisco, Calif.)  Search this

Braunstein, Ruth, 1923-  Search this

Hardy, Don Ed  Search this

Kienholz, Edward, 1927-  Search this

Reddin-Kienholz, Nancy  Search this

Shaw, Richard  Search this

Voulkos, Peter, 1924-2002  Search this

Extent:

36.9 Linear feet

Type:

Collection descriptions

Archival materials

Date:

1956-2011

Summary:

The Braunstein/Quay Gallery records measure 36.9 linear feet and date from 1956 to 2011. The records consist of administrative records, artist files, exhibition and event files, and financial records that shed light on the gallery's operations through correspondence, price lists, inventories, printed material, born digital material, photographs, and more.

Scope and Contents:

The Braunstein/Quay Gallery records measure 36.9 linear feet and date from 1956 to 2011. The records consist of administrative papers, artist files, exhibition and event files, and financial records that shed light on the gallery's operations through correspondence, price lists, inventories, printed material, born digital material, photographs, and more.

Administrative records consist of property records, advertising files, papers related to professional organizations, non-profits, 139 Spring Street Inc., and scant personal and professional papers from Ruth Braunstein. Correspondence files include letters exchanged between Braunstein and collectors, museums and galleries, artists, conservationists, and printers. Photographs found here depict the gallery's physical space as well as images captured during events, exhibitions, and installations from the 1960s to 1980s.

Artist files mostly include resumes or biographies, correspondence, price lists, newspaper clippings, exhibition announcements, press releases, and catalogs. Folders might also include press packets, a mixture of personal and professional correspondence; CDs, DVDs, photographs, slides, and negatives of artists, artwork, and gallery installations; exhibition material such as loan agreements, announcements and catalogs, reviews, and notices of sale; shipping and transportation papers; and financial records.

Exhibition and event files shed light on group exhibitions held at Braunstein/Quay and events and exhibitions held elsewhere that involved artwork or artists with Braunstein/Quay. Folders might include contracts and agreements, loan and shipping records, correspondence, printed material, photographs, born digital materials, financial papers, and artist resumes. Also found here are press releases, catalogs, announcement cards, and scant clippings from Braunstein/Quay's exhibitions. Financial records consist of artist statements, sales records, and bills for shipping, framing, conservation, and utilities.

Arrangement:

The collection is arranged as four series.

Series 1: Administrative Records, 1961-2009 (Box 1-4; 3.5 linear feet)

Series 2: Artist Files, 1956-2011 (Box 4-29, 39; 25.2 linear feet)

Series 3: Exhibition and Event Files, 1961-2010 (Box 29-33; 4.4 linear feet)

Series 4: Financial Records, 1965-1996 (Box 33-39; 3.8 linear feet)

Biographical / Historical:

Braunstein/Quay Gallery was a contemporary art gallery founded in 1961 in San Francisco, California, by Ruth Braunstein. An early proponent of sculptural clay, fiber art, art furniture, glass, and ceramic work as fine art, the gallery dealt with contemporary art in various mediums. Some of Braunstein/Quay's most well-known artists include Peter Voulkos, Richard Shaw, Robert Brady, John Altoon, Bruce Conner, and Mary Snowden.

Ruth Braunstein and Verna Are began renting a gallery space in Tiburon, California, in July 1961 under the name Gallery 32. Verna Are's expertise was in furniture and interior design items, while Braunstein's was contemporary fine art. Later in the summer of 1961, Braunstein changed the name to The Quay Gallery. She credited architect Raphael Soriano as having come up with the name. In the early 60s, Braunstein developed relationships with others in the California art community, namely David Stuart, Jackie Anhalt, Felix Landau, and Rolf Nelson. Early artists at the gallery included Hal Riegger, Doris Aller, Igor Medvedev, Win NG, Jim Melchert, and Elton Bennet.

In May 1965, Braunstein moved the gallery to San Francisco. After fellow gallerist Jim Newman closed his gallery near Braunstein's in 1968, Braunstein began showing several of Newman's artists, including Richard Shaw, Bruce Conner, Jeremy Anderson, and Sidney Gordon. In 1968, the gallery had its first show of Peter Voulkos's work after agreeing to pay him a stipend for one year. Voulkos and Braunstein's relationship continued into the 2000s.

In 1970, Braunstein went into business with collector Rena Bransten to start Quay Ceramics Gallery. Silvia Brown was involved with the business for one year, and later, Bransten's daughter, Trish, became partners with Braunstein after her mother left. Ruth Braunstein still operated her art gallery, then named Braunstein Gallery, which had moved from its original location on Jerome Street to Sutter Street in San Francisco. Quay Ceramics Gallery was located next door. Several administrative changes and name variations occurred over the next few decades, but Braunstein kept its gallery space on Sutter Street until 1999.

In 1975, Ruth Braunstein joined gallerists Phyllis Kind from Chicago, Carl Solway from Cincinnati, and Ed Thorp from Santa Barbara to establish a gallery in New York called 139 Spring Street, Inc. They opened with a show of Peter Voulkos and Sam Tchakalian. Only Voulkos artwork sold; bought by fellow art dealer Grace Borgenicht. The partners dismantled the gallery coop four years later.

Braunstein/Quay promoted the San Francisco art scene and the careers of many artists for 50 years. In addition to the artists mentioned above, other artists influenced by Braunstein/Quay include Dominic DiMare, Gyongy Laky, Myra Block, Elin Elisofon, Robilee Frederick, Bean Finneran, David Anderson, Kimberly Austin, Arthur Okamura, Dennis Oppenheim, and Kyle Reicher. Braunstein/Quay, known to represent Braunstein's perspective on what she connotated as 'fine art,' exhibited works in the 1990s by tattoo artist Don Ed Hardy, and held a group show exhibiting works by tattoo artists, Out of Skin: Work by Tattooers (1996). Other unique shows included a group exhibition dedicated to dog imagery, The Dog Show, A Group Exhibition (1988); a group exhibition of book art, Redefining the Book (1994); and an exhibition of photographs of actress and Andy Warhol associate, Candy Darling, Candy Darling, Always a Lady (1997). In 2010, Cabrillo Gallery held a retrospective of Braunstein's career as a gallerist, Ruth Braunstein and the Braunstein Quay Gallery, 1961-Present.

Ruth Braunstein was born in Minneapolis in 1923. She pursued a career in modern dance, dancing professionally in Washington D.C. and at the Minneapolis Dance Center. She married Theodore Braunstein in 1943. They moved to San Francisco, California, in 1960 and had two children, born two years apart. Aside from her career as a gallerist, Braunstein gave lectures, juried art competitions, participated in workshops, and was involved in various professional art organizations. In the early 1970s, Ruth Braunstein, along with a group that included Michael Wallace, Jim Willis, Buzz Sawyer, and Helen Henninger, founded the San Francisco Art Dealers' Association. The association put on a series of Introductions exhibitions every July for artists who had never shown in San Francisco; these exhibitions ran until 2002. Braunstein was also a committee member for ArtTable and on the board of Fiberworks. She passed away in September, 2016.

Provenance:

The collection was donated in several installments from 1974 to 2011 by gallery director and owner Ruth Braunstein.

Restrictions:

This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies. Contact References Services for more information.

Rights:

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

Occupation:

Art dealers -- California -- San Francisco  Search this

Art dealers -- New York (State)  Search this

Topic:

Women artists  Search this

Women art dealers  Search this

Function:

Art galleries, Commercial -- California

Citation:

Braunstein/Quay Gallery records, 1956-2011. Archives of American Art, Smithsonian Institution.

Sponsor:

The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.

Identifier:

AAA.braugall

See more items in:

Braunstein/Quay Gallery records

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw94f7ea069-6662-4862-aa7b-3e2f82d90858

EDAN-URL:

ead_collection:sova-aaa-braugall

Collection Creator:

Levine, Ken M.  Search this

Extent:

1 Film reel (16 mm)

Container:

Item FC 93

Type:

Archival materials

Moving Images [31027000921995]

Film reels

Scope and Contents:

Inscriptions: SLIDES 1, TRIMS, 16854 KEN LEVINE "SPECIAL".

Collection Restrictions:

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

Collection Rights:

Authorization to publish, quote or reproduce requires written permission from Kenneth and Ivory Levine, Iris Film and Video. Contact Reference Services for more information.

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.

See more items in:

Northwest Visionaries film production records

Northwest Visionaries film production records / Northwest Visionaries, Unnumbered Trims and Outtakes Motion Picture

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw92eee9bb0-a495-4b3a-b434-f6ccdcd34c5a

EDAN-URL:

ead_component:sova-aaa-leviken-ref77

Creator:

Allen, Roberta, 1945-  Search this

Names:

John Weber Gallery  Search this

Extent:

5.3 Linear feet

Type:

Collection descriptions

Archival materials

Drawings

Sketchbooks

Date:

1967-2000

Scope and Contents:

The Roberta Allen papers measure 5.3 linear feet and date from 1967 to 2000, with the bulk from 1967 to 1983. The collection documents Allen's work through biographical material, personal and professional correspondence, writings, personal business records, exhibition and project files, photographic material, printed material, preparatory materials, and artwork.

The writings include personal diaries from throughout the 1970s, as well as artist statements. Correspondence is primarily professional in nature with curators and dealers, most prominently John Weber Gallery in New York and Walter Storms Gallery in Munich, among others. Business records include information regarding donations, trades, and sales of artworks. Project and exhibition files contain detailed plans for various exhibitions in museums and galleries. Photographic formats include slides, transparencies, negatives, black and white prints, and color prints. Printed material includes exhibition catalogues, printed ephemera, and clippings. The collection includes extensive preparatory materials exist for many series of photographic works and unique or limited edition artist books, sketchbooks, loose drawings, and photo collages.

Biographical / Historical:

Roberta Allen (1945- ) is an artist and writer based in New York City.

Provenance:

Donated in 2022 by Roberta Allen.

Restrictions:

Personal diaries are access restricted; written permission is required. Contact Reference Services for more information.

Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.

Rights:

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

Occupation:

Conceptual artists -- New York (State) -- New York  Search this

Authors -- New York (State) -- New York  Search this

Genre/Form:

Drawings

Sketchbooks

Identifier:

AAA.allerobe

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9576b6996-92e8-42c1-98a6-7aad649b841e

EDAN-URL:

ead_collection:sova-aaa-allerobe

Creator:

Rosa Esman Gallery  Search this

Names:

Tanglewood Press  Search this

Darger, Henry, 1892-1972  Search this

Esman, Rosa  Search this

Gray, Eileen, 1878-1976  Search this

Rodchenko, Aleksandr, 1891-1956  Search this

Warhol, Andy, 1928-1987  Search this

Extent:

16 Linear feet

Type:

Collection descriptions

Archival materials

Date:

circa 1922-2014

bulk 1972-1994

Summary:

The Rosa Esman Gallery and Tanglewood Press Inc. records measure 16.0 linear feet and date from circa 1922 to 2014, with the bulk of the records dating from 1972 to 1994. The records shed light on two businesses operated by Rosa Esman through administrative files, artist files, exhibition and event files, sales and financial records, printed material, photographic materials, and several objects.

Scope and Contents:

The Rosa Esman Gallery and Tanglewood Press Inc. records measure 16.0 linear feet and date from circa 1922 to 2014, with the bulk of the records dating from 1972 to 1994. The records shed light on two businesses operated by Rosa Esman through administrative files, artist files, exhibition and event files, sales and financial records, printed material, photographic materials, and several objects.

Administrative files contain correspondence files, printed material, and inventories; photos of the gallery, Rosa Esman, and others; a few gallery blueprints; and pins and magnets from a collaboration between the Esman Gallery and artists Roy Lichtenstein, Gustav Klutsis, Lazar "El" Lissitzky, and Sol LeWitt. Artist files consist of resumes and biographical summaries, correspondence, pricelists, exhibition material, press packets, photographic materials depicting artwork and artists, and more. Artists include Eileen Gray, Lev Nussberg, Pascal Verbena, Helen Frankenthaler, Alexander Rodchenko, Sol LeWitt, Peter Boynton, and Jan Muller. Exhibition and event files contain price lists, loan agreements, correspondence, printed materials, and photographic materials. Included in this series is one file for an exhibition held at Knoedler Gallery that was in collaboration with Rosa Esman after she had closed her gallery. Financial records consist of sales books, consignment records, receipts and invoices, ledgers, and some appraisals. Tanglewood Press Inc. files contain correspondence files, financial records, order forms and receipts, photographic materials, press packets, mailers, a certificate, and some exhibition materials. Printed material consists of some miscellaneous postcards, exhibition announcements and catalogs including a binder of exhibition announcements. Photographic material consists of photographs, slides, and negatives of artwork displayed at the gallery. There are also a number of CDs containing digital photographs.

Arrangement:

This collection is arranged as seven series.

Series 1: Administrative Files, 1973-2014 (Box 1-2, 16; 1.8 linear feet)

Series 2: Artist Files, 1920s, 1953-2011 (Box 2-8, 16; 5.7 linear feet)

Series 3: Exhibition and Event Files, 1971-2014 (Box 8-12, 16; 4.8 linear feet)

Series 4: Financial Records, 1965, 1977-2013 (Box 12-13, 16-17; 1.9 linear feet)

Series 5: Tanglewood Press Inc. Records, 1964-2003 (Box 13-15, 17; 1.0 linear feet)

Series 6: Printed Material, circa 1972-1994 (Box 2, 12, 17; 0.2 linear feet)

Series 7: Photographic Material, circa 1970s-2013 (Box 2, 7, 8, 12, 18; 0.4 linear feet)

Biographical / Historical:

Rosa Esman Gallery was established in 1972 in New York, New York by Rosa Esman. The gallery exhibited mostly twentieth-century American and European art in various mediums and styles, including pop art, European outsider art, Dada, constructivism, architecture, interior design, and Russian artists from the early twentieth century. Tanglewood Press Inc. was an art publishing company founded by Esman, and published thirteen limited-edition portfolios by a number of artists from 1965 to 1991.

With encouragement from Doris Freedman and Hans Kleinschmidt, Esman established Tanglewood Press Inc. in 1965 as a publisher of artists' portfolios. The first publication, New York Ten (1965), included artwork by Tom Wesselmann, George Segal, Claes Oldenburg, Roy Lichtenstein, Mon Levinson, Robert Kulicke, Nicholas Krushenick, Helen Frankenthaler, Jim Dine, and Richard Anuszkiewicz. Later publications included artwork by Andy Warhol, Mary Bauermeister, Ad Reinhardt, Robert Motherwell, Sol LeWitt, Jim Dine, and many others. The portfolio, "Ten Landscapes-Roy Lichtenstein (1967), was published in collaboration with Abrams Original Editions. Esman was contracted to work at Abrams Original Editions for a short period of time in the late 1970s. Esman and her Tanglewood Press Inc. were featured in the exhibition, The Great American Pop Art Store: Multiples of the sixties (1997-2000), University Art Museum, California State University, Long Beach, California.

Esman held a drawings exhibition of artwork borrowed from the Leo Castelli Gallery in 1972 in a space she rented for Tanglewood Press Inc.; she credited this as the beginning of Rosa Esman Gallery. Esman continued exhibiting in that location for the next several years, including a solo show of folded drawings by Sol LeWitt and Modern Master Drawings: Avery, Stuart Davis, De Kooning, Hoffman, Motherwell (1973). Esman moved her operation in 1975 to a building in midtown near the galleries of Tibor de Nagy and Virginia Zabriskie. Artists and printmakers shown at Esman Gallery during 1970s include Christo, Bill Fares, Tom Noskowski, Ursula Von Rydingsvard, Hannah Tierney, and Eileen Gray. In 1979, Esman began an exhibition series of Russian avant-garde art, The Russian Revolution in Art, 1-5 (1979-1983), featuring artwork by Kasmir Malevich, Alexander Rodchenko, Lyubov Popova, and many others of the Russian avant-garde. Esman moved the gallery to SoHo in 1980. In the 1980s, Esman began showing European outsider artists Pascal Verbena and Henry Darger and held a group exhibition of outsider artists in 1986, Outsiders: Art Beyond the Norm. Other exhibitions in the 1980s included Art by Architects (1980), Architecture by Artists (1981), Curator's Choice: A Tribute to Dorothy Miller (1982). Later exhibitions featured artists Joseph Zito, Sofia Dymshits-Tolstaya, Eric Snell, and Carl Goldhagen; and group shows of Dada art, twentieth-century photography, and constructivism. After closing Rosa Esman Gallery in 1992, Esman entered a partnership at Ubu Gallery with Adam Boxer and Alfred Jarry.

Rosa Mencher Esman was born in New York, New York in 1927. She studied government at Smith College in Northhampton, Massachusetts. She went abroad to Europe her junior year, visiting museums in Geneva, Florence, and Paris. After college, she worked several jobs including a position in the art book department of Harper and Brothers and as an office administrator for Rene d'Harnocourt at the Museum of Modern Art, New York. In 1957, she and a friend opened Tanglewood Gallery in Stockbridge, Massachusettes, showing artwork by artist-friends, utilizing the Museum of Modern Art lending service, and borrowing from the Downtown Gallery. The Tanglewood Gallery exhibited artists Milton Avery, Karl Schrag, Tom Wesselman, Alexander Calder, George Morrison, Robert Indiana, Richard Anuszkiewicz, Mervin Jules, and George L. K. Morris, among others. The gallery operated until circa 1960.

Related Materials:

Also found in the Archives of American Art is an oral history interview with Rosa Esman conducted by James McElhinney, June 9-16, 2009.

Provenance:

The collection was donated by Rosa Esman in 2003 and 2014 and in 2023 by the Esate of Rosa Esman via Abigail Esman, co-executor.

Restrictions:

Two folders comprised of Rosa Esman Gallery legal files, 1989-1991, in Box 15 are access restricted. Contact Reference Services for more information. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.

Researchers interested in accessing born-digital records in this collection must use access copies. Contact References Services for more information.

Rights:

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

Topic:

Women art dealers  Search this

Pop art  Search this

Art, Russian -- 20th century  Search this

Outsider art  Search this

Function:

Art galleries, Commercial -- New York (State)

Citation:

Rosa Esman Gallery and Tanglewood Press Inc records, circa 1922-2014. Archives of American Art, Smithsonian Institution.

Sponsor:

The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.

Identifier:

AAA.rosaesmg

See more items in:

Rosa Esman Gallery and Tanglewood Press Inc. records

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw90b5afc25-4ac5-4700-9d90-a03c3ac29007

EDAN-URL:

ead_collection:sova-aaa-rosaesmg