Search Results

Retailer:

Stall and Dean  Search this

Maker:

Stall & Dean  Search this

Physical Description:

plastic (overall material)

fabric (overall material)

Measurements:

overall: 20.1 cm x 21.5 cm x 1 cm; 7 29/32 in x 8 15/32 in x 13/32 in

Object Name:

mask

mask, ice hockey

Place Made:

United States: Massachusetts, Brockton

Date made:

1960-1972

Subject:

Sports  Search this

Manufacturing  Search this

Ice Hockey  Search this

Credit Line:

Stall & Dean (through Henry N. Jackson)

ID Number:

1998.0324.76

Accession number:

1998.0324

Catalog number:

1998.0324.76

See more items in:

Culture and the Arts: Sport and Leisure

Data Source:

National Museum of American History

GUID:

http://n2t.net/ark:/65665/ng49ca746af-b19e-704b-e053-15f76fa0b4fa

EDAN-URL:

edanmdm:nmah_1345551

Company Name:

Selchow & Righter Co.  Search this

Notes content:

boardgames ; sporting goods ; fireworks ; additional trade catalogs on microfiche shelved in NMAH Library

Includes:

Trade catalog and price lists

Black and white images

Physical description:

2 pieces; 1 box

Language:

English

Type of material:

Trade catalogs

Trade literature

Place:

New York, New York, United States

Date range:

1800s-1900s

Topic (Romaine term):

Explosives and fireworks  Search this

Sporting goods  Search this

Toys and games  Search this

Topic:

Explosives industry  Search this

Fireworks  Search this

Games  Search this

Sporting goods  Search this

Toy making  Search this

Toys  Search this

Record ID:

SILNMAHTL_18457

Location:

Trade Literature at the American History Museum Library

Collection:

Smithsonian Libraries Trade Literature Collections

Data source:

Smithsonian Libraries

EDAN-URL:

edanmdm:SILNMAHTL_18457

Creator:

Weller, Eleanor C.  Search this

Lloyd, Harold, 1893-1971  Search this

Webber, Staunton, & Spaulding A.  Search this

Landscape architect:

Hanson, A. E. (Archibald Elexis)  Search this

Collection Creator:

Garden Club of America  Search this

Extent:

1 Slide (col.)

Type:

Archival materials

Slides

Place:

California -- Beverly Hills

United States of America -- California -- Los Angeles County -- Beverly Hills

Date:

05/01/1990

General:

View of stable and carriage house. French farmstead built c. 1925-29 for Gloria's play yard. Arch leads to aviary and monkey house. Pigeons are kept to the left.

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:

Children's playhouses  Search this

Stables  Search this

Gates -- Iron  Search this

Gatehouses  Search this

Balls (Sporting goods)  Search this

Playgrounds  Search this

Lawns  Search this

Arches  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, Item CA157033

See more items in:

The Garden Club of America collection

The Garden Club of America collection / Series 1: United States Garden Images / California / CA157: Beverly Hills -- Greenacres

Archival Repository:

Archives of American Gardens

GUID:

https://n2t.net/ark:/65665/kb6797843af-4f66-4597-84c0-aa48eb77b4dd

EDAN-URL:

ead_component:sova-aag-gca-ref24585

Manufactured by:

Wilson Sporting Goods Co., American, founded 1914  Search this

Worn by:

Wyomia Tyus, American, born 1945  Search this

Medium:

polyester , cotton (textile) and thread

Dimensions:

H x W: 13 3/16 × 16 1/8 in. (33.5 × 41 cm)

Type:

athletic shorts

sports uniforms

Place used:

Mexico City, Distrito Federal, Mexico, Latin America, North and Central America

Place made:

Chicago, Cook County, Illinois, United States, North and Central America

Date:

1968

Topic:

African American  Search this

Activism  Search this

Athletes  Search this

Black power  Search this

Civil Rights  Search this

Clothing and dress  Search this

Olympics  Search this

Sports  Search this

Track and field  Search this

Credit Line:

Collection of the Smithsonian National Museum of African American History and Culture, Gift of Wyomia Tyus

Object number:

2017.52.4

Restrictions & Rights:

No Known Copyright Restrictions

See more items in:

National Museum of African American History and Culture Collection

Classification:

Clothing-Historical

Exhibition:

Sports: Leveling the Playing Field

On View:

NMAAHC (1400 Constitution Ave NW), National Mall Location, Community/Third Floor, 3 052

Data Source:

National Museum of African American History and Culture

GUID:

http://n2t.net/ark:/65665/fd551db12bd-71f3-46a1-9968-4671dd5c9609

EDAN-URL:

edanmdm:nmaahc_2017.52.4

Artist:

Cornell, Joseph  Search this

Names:

Benton, Elizabeth Cornell  Search this

Cornell, Robert  Search this

Extent:

196.8 Linear feet

186 Nitrate negatives

Type:

Collection descriptions

Archival materials

Nitrate negatives

Photographs

Place:

New York, New York

Date:

1750-1980, bulk 1930-1972

Summary:

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

Scope and Contents:

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

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

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

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

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

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

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

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

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

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

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

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

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

Arrangement:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Biographical / Historical:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Works Cited:

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

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

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

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

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

Separated Materials:

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

Provenance:

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

Restrictions:

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

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

Rights:

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

Occupation:

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

Topic:

Art, Modern -- 20th century -- United States  Search this

Assemblage (Art)  Search this

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

Found objects (Art)  Search this

Works of art  Search this

Celebrities  Search this

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

Genre/Form:

Photographs -- 1900-1950 -- Photoprints -- Silver gelatin

Photographs -- 1860-1870 -- Black-and-white photoprints -- Silver albumen -- Cartes-de-visite

Photographs -- Daguerreotypes -- 1840-1860

Citation:

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

Sponsor:

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

Identifier:

SAAM.JCSC.1

See more items in:

Joseph Cornell Study Center Collection

Archival Repository:

Smithsonian American Art Museum, Research and Scholars Center

GUID:

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

EDAN-URL:

ead_collection:sova-saam-jcsc-1

Artist:

Ralph Barton, 14 Aug 1891 - 19 May 1931  Search this

Sitter:

George Simon Kaufman, 16 Nov 1889 - 2 Jun 1961  Search this

Jean Dixon, 1896 - 1981  Search this

Hugh O'Connell, 1898 - 1943  Search this

Medium:

Ink wash with black crayon on paper

Dimensions:

Sheet: 55.7 x 39.2cm (21 15/16 x 15 7/16")

Type:

Drawing

Date:

c. 1931

Topic:

Costume\Dress Accessory\Eyeglasses  Search this

Caricature  Search this

Costume\Headgear\Hat\Cap\Beret  Search this

Equipment\Sports Equipment\Ball  Search this

Costume\Dress Accessory\Neckwear\Tie\Necktie  Search this

George Simon Kaufman: Male  Search this

George Simon Kaufman: Journalism and Media\Journalist\Columnist  Search this

George Simon Kaufman: Performing Arts\Director\Theater  Search this

George Simon Kaufman: Literature\Writer\Playwright  Search this

George Simon Kaufman: Pulitzer Prize  Search this

Hugh O'Connell: Male  Search this

Hugh O'Connell: Performing Arts\Performer\Actor\Movie  Search this

Jean Dixon: Female  Search this

Jean Dixon: Performing Arts\Performer\Actor\Theater  Search this

Jean Dixon: Performing Arts\Performer\Actor\Movie  Search this

Portrait  Search this

Credit Line:

National Portrait Gallery, Smithsonian Institution

Object number:

NPG.2003.28

Restrictions & Rights:

CC0

See more items in:

National Portrait Gallery Collection

Data Source:

National Portrait Gallery

GUID:

http://n2t.net/ark:/65665/sm4aabe1185-4578-40cf-b2c3-f960266bf46a

EDAN-URL:

edanmdm:npg_NPG.2003.28

Artist:

George Kendall Warren, 1834 - 29 Nov 1884  Search this

Sitter:

Aaron Molyneaux Hewlett, 1820 - 1871  Search this

Medium:

Albumen silver print

Dimensions:

Image/Sheet: 19.8 × 14.5 cm (7 13/16 × 5 11/16")

Mount: 33.6 × 26.1 cm (13 1/4 × 10 1/4")

Type:

Photograph

Place:

United States\Massachusetts\Middlesex\Cambridge

Date:

c. 1867

Topic:

Costume\Jewelry  Search this

Interior  Search this

Home Furnishings\Furniture  Search this

Home Furnishings\Furniture\Seating\Chair  Search this

Home Furnishings\Furniture\Table  Search this

Equipment\Sports Equipment\Boxing glove  Search this

Personal Attribute\Facial Hair\Mustache  Search this

Costume\Jewelry\Chain  Search this

Costume\Dress Accessory\Handkerchief  Search this

Equipment\Sports Equipment  Search this

Costume\Dress Accessory\Neckwear\Tie\Bowtie  Search this

Equipment\Staff  Search this

Equipment\Sports Equipment\Ball  Search this

Aaron Molyneaux Hewlett: Male  Search this

Aaron Molyneaux Hewlett: Education and Scholarship\Educator\Professor\University  Search this

Portrait  Search this

Credit Line:

National Portrait Gallery, Smithsonian Institution

Object number:

NPG.2016.13

Restrictions & Rights:

CC0

See more items in:

National Portrait Gallery Collection

Data Source:

National Portrait Gallery

GUID:

http://n2t.net/ark:/65665/sm4cc1089da-ea2e-487b-b369-39c4374196dc

EDAN-URL:

edanmdm:npg_NPG.2016.13

Artist:

Underwood & Underwood, active 1880 - c. 1950  Search this

Sitter:

William Frederick Hoppe, 11 Oct 1887 - 1 Feb 1959  Search this

Unidentified Man  Search this

Unidentified Man  Search this

Medium:

Gelatin silver print

Dimensions:

Image: 23.8 × 18.5 cm (9 3/8 × 7 5/16")

Sheet: 24.8 × 18.5 cm (9 3/4 × 7 5/16")

Mat: 45.7 × 35.6 cm (18 × 14")

Type:

Photograph

Date:

1940

Topic:

Interior  Search this

Home Furnishings\Furniture\Seating\Chair  Search this

Artwork\Poster  Search this

Equipment\Sports Equipment\Ball  Search this

Costume\Dress Accessory\Neckwear\Tie\Necktie  Search this

Unidentified Man: Male  Search this

William Frederick Hoppe: Male  Search this

William Frederick Hoppe: Literature\Writer  Search this

William Frederick Hoppe: Sports and Recreation\Game player\Billiards player  Search this

Portrait  Search this

Credit Line:

National Portrait Gallery, Smithsonian Institution

Object number:

NPG.80.231

Restrictions & Rights:

CC0

See more items in:

National Portrait Gallery Collection

Data Source:

National Portrait Gallery

GUID:

http://n2t.net/ark:/65665/sm4484e5fa0-50d3-4c7e-addc-4d6cb000ad96

EDAN-URL:

edanmdm:npg_NPG.80.231

Artist:

Man Ray, 27 Aug 1890 - 18 Nov 1976  Search this

Sitter:

Ernest Miller Hemingway, 21 Jul 1899 - 2 Jul 1961  Search this

John Hadley Hemingway, 10 Oct 1923 - 1 Dec 2000  Search this

Medium:

Gelatin silver print

Dimensions:

Image/Sheet: 22.9 × 17.3 cm (9 × 6 13/16")

Mat: 55.9 × 40.6 cm (22 × 16")

Type:

Photograph

Place:

France\Île-de-France\Ville de Paris, Départment de\Paris

Date:

c. 1926

Topic:

Interior  Search this

Personal Attribute\Facial Hair\Mustache  Search this

Costume\Dress Accessory\Neckwear\Tie\Necktie  Search this

Toy\Ball  Search this

John Hadley Hemingway: Male  Search this

John Hadley Hemingway: Literature\Writer  Search this

John Hadley Hemingway: Military and Intelligence\Army  Search this

John Hadley Hemingway: Military and Intelligence\Intelligence agent\OSS  Search this

John Hadley Hemingway: Society and Social Change\Reformer\Conservationist  Search this

John Hadley Hemingway: Sports and Recreation\Angler\Fly fisherman  Search this

Ernest Miller Hemingway: Male  Search this

Ernest Miller Hemingway: Journalism and Media\Journalist\Reporter\Newspaper  Search this

Ernest Miller Hemingway: Literature\Writer\Novelist  Search this

Ernest Miller Hemingway: Sports and Recreation\Outdoorsman  Search this

Ernest Miller Hemingway: Journalism and Media\Journalist\Correspondent  Search this

Ernest Miller Hemingway: Nobel Prize  Search this

Ernest Miller Hemingway: Pulitzer Prize  Search this

Portrait  Search this

Credit Line:

National Portrait Gallery, Smithsonian Institution

Object number:

NPG.81.141

Restrictions & Rights:

Usage conditions apply

Copyright:

© 2000 Man Ray Trust / Artists Rights Society, NY / ADAGP, Paris

See more items in:

National Portrait Gallery Collection

Data Source:

National Portrait Gallery

GUID:

http://n2t.net/ark:/65665/sm4f531b8cb-a63d-4b8d-a40b-23fe313f4acf

EDAN-URL:

edanmdm:npg_NPG.81.141

Artist:

DeVon C. Cunningham, born 21 Feb 1935  Search this

Sitter:

Scott Perry, born 25 Nov 1963  Search this

Kimberly Perry, born c. 1965  Search this

Chelsea Perry, born c. 2000  Search this

Medium:

Oil, acrylic, and ink on canvas

Dimensions:

Stretcher: 91.4 × 121.9 cm (36 × 48")

Type:

Painting

Date:

February 2020

Topic:

Costume\Jewelry\Earring  Search this

Nature & Environment\Clouds  Search this

Nature & Environment\Plant  Search this

Costume\Dress Accessory\Neckwear\Tie  Search this

Costume\Jewelry\Pendant  Search this

Nature & Environment\Animal\Bird\Dove  Search this

Equipment\Sports Equipment\Ball  Search this

Nature & Environment\Moon  Search this

Scott Perry: Male  Search this

Scott Perry: Sports and Recreation\Team manager  Search this

Scott Perry: Sports and Recreation\Coach  Search this

Scott Perry: Sports and Recreation\Athlete\Basketball  Search this

Scott Perry: Sports and Recreation\Sports executive  Search this

Kimberly Perry: Visual Arts\Artist  Search this

Kimberly Perry: Female  Search this

Kimberly Perry: Literature\Writer  Search this

Chelsea Perry: Female  Search this

Chelsea Perry: Literature\Writer  Search this

Chelsea Perry: Visual Arts\Artist\Photographer  Search this

Portrait  Search this

Credit Line:

Owner: Scott Perry

Owner: Kimberly Perry

Owner: Chelsea Perry

Object number:

NY990819

Restrictions & Rights:

Usage conditions apply

See more items in:

Catalog of American Portraits

Data Source:

Catalog of American Portraits

GUID:

http://n2t.net/ark:/65665/sm4e290039e-ca6b-4910-8e0b-98bdbe96028f

EDAN-URL:

edanmdm:npg_NY990819

Collection Producer:

Lodge, Arthur  Search this

Arthur Lodge Productions.  Search this

Collection Creator:

National Association of Manufacturers  Search this

Extent:

1 Motion picture film

Container:

Reel AC0507-OF0099

Type:

Archival materials

Moving Images

Motion picture films

Date:

1952 August 27

Scope and Contents:

Servicing the Sleepers! The Pullman Coach Co., Chicago, IL.

Fashion for Fisticuffs! Manufacturing boxing equipment. Everlast Sporting Goods, New York, NY.

Speaking for the Sponsor! Production of TV commercials. Alexander Film Co., Colorado Springs, CO.

Business with Pleasure! Southern girls harvesting tobacco in CT.

Collection Restrictions:

Collection is open for research but the films are stored off-site. Special arrangements must be made directly with the Archives Center staff to view episodes for which no reference copy exists. 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 will be charged for reproductions.

Collection Citation:

Industry on Parade Film Collection, 1950-1959, Archives Center, National Museum of American History, Smithsonian Institution.

See more items in:

Industry on Parade Film Collection

Industry on Parade Film Collection / Series 1: Motion Picture Films

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8a72f780f-3f7c-4b69-aabd-504462aa4190

EDAN-URL:

ead_component:sova-nmah-ac-0507-ref198

Collection Producer:

Lodge, Arthur  Search this

Arthur Lodge Productions.  Search this

Collection Creator:

National Association of Manufacturers  Search this

Extent:

1 Motion picture film

Container:

Reel AC0507-OF0322

Box 6, Tape AC0507-MV0322

Type:

Archival materials

Moving Images

Motion picture films

Date:

1956 December 15

Scope and Contents:

New York The New York State Fair offers people the opportunity to display their best. Through research, the Beacon Milling Company developed balanced feed for farm animals. Beacon Milling Co., Cayuga, NY.

Texas Manufacturing steel drums. Rheem Manufacturing Co., Houston, TX.

Illinois Producing and testing golf clubs. Nadco Sporting Goods, Chicago, IL.

California College students learn the building trade by designing and decorating houses. Students learn about appliances. Each class constructs a house. Pasadena City College, Pasadena, CA.

Reference video, Box 12

Collection Restrictions:

Collection is open for research but the films are stored off-site. Special arrangements must be made directly with the Archives Center staff to view episodes for which no reference copy exists. 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 will be charged for reproductions.

Collection Citation:

Industry on Parade Film Collection, 1950-1959, Archives Center, National Museum of American History, Smithsonian Institution.

See more items in:

Industry on Parade Film Collection

Industry on Parade Film Collection / Series 1: Motion Picture Films

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep871a14617-14f4-4bd7-8d78-832b46fd44ed

EDAN-URL:

ead_component:sova-nmah-ac-0507-ref619

Published by:

MelPat Associates, American, 1965 - 1986  Search this

Created by:

C. Melvin Patrick, American, died 1985  Search this

National Association of Market Developers, American, founded 1953  Search this

Subject of:

National Association for Equal Opportunity in Higher Education, American, founded 1969  Search this

National Urban Affairs Council, American, founded 1971  Search this

Interracial Council for Business Opportunity, American, founded 1963  Search this

Prince Hall Freemasonry, founded 1784  Search this

Chi Delta Mu Fraternity, Inc., American, founded 1913  Search this

Top Ladies of Distinction, Inc., American, founded 1964  Search this

Continental Societies, Inc., American, founded 1956  Search this

Rose Morgan, American, 1912 - 2008  Search this

William Otis Walker, American, 1896 - 1981  Search this

National Newspaper Publishers Association, American, founded 1827  Search this

African Methodist Episcopal Church, American, founded 1816  Search this

National Association for the Advancement of Colored People, American, founded 1909  Search this

Lambda Kappa Mu Sorority, Inc., American, founded 1937  Search this

The Links, Incorporated, American, founded 1946  Search this

National Association of Black Accountants, Inc., American, founded 1969  Search this

Carats, Inc., American, founded 1959  Search this

People United to Save Humanity, American, founded 1971  Search this

Alpha Kappa Alpha Sorority, Incorporated, founded 1908  Search this

Chi Eta Phi Sorority, Inc., American, founded 1932  Search this

National United Church Ushers Association of America, Inc., American, founded 1919  Search this

National Pharmaceutical Association, American, founded 1947  Search this

National Medical Association, American, founded 1895  Search this

Sigma Gamma Rho Sorority, Inc., founded 1922  Search this

Zeta Phi Beta Sorority, American, founded 1920  Search this

Alpha Phi Alpha Fraternity, Inc., American, founded 1906  Search this

Eta Phi Beta Sorority, Inc., American, founded 1943  Search this

National Association of Negro Business and Professional Women's Clubs, Inc., American, founded 1935  Search this

National Urban League, American, founded 1910  Search this

National Association of University Women, American, founded 1910  Search this

Omega Psi Phi Fraternity, Inc., American, founded 1911  Search this

Shriners International, American, founded 1870  Search this

Improved Benevolent and Protective Order of the Elks of the World, American, founded 1898  Search this

Iota Phi Lambda Sorority, Inc., American, founded 1929  Search this

Vernon Jordan, American, born 1935  Search this

National Business League, American, founded 1900  Search this

Congressional Black Caucus, American, founded 1971  Search this

Arthur Ashe Jr., American, 1943 - 1993  Search this

National Bankers Association, American, founded 1927  Search this

National Bar Association, American, founded 1925  Search this

369th Veterans Association, American  Search this

Percy Ellis Sutton, American, 1920 - 2009  Search this

Morehouse College, American, founded 1867  Search this

Joe Louis, American, 1914 - 1981  Search this

Clarence D. King, American, 1888 - 1981  Search this

Phi Beta Sigma Fraternity, American, founded 1914  Search this

National Black Veterans Association, American, founded 1974  Search this

Medium:

ink on paper

Dimensions:

H x W x D: 10 13/16 × 8 7/16 × 1/2 in. (27.5 × 21.4 × 1.3 cm)

Type:

magazines (periodicals)

Place made:

Harlem, New York City, New York, United States, North and Central America

Place depicted:

Martha's Vineyard, Oak Bluffs, Dukes County, Massachusetts, United States, North and Central America

Date:

1982

Topic:

African American  Search this

Advertising  Search this

African Methodist Episcopal  Search this

Associations and institutions  Search this

Black Press  Search this

Broadway Theatre  Search this

Business  Search this

Communities  Search this

Film  Search this

Fraternal organizations  Search this

Fraternities  Search this

Government  Search this

HBCUs (Historically Black Colleges and Universities)  Search this

Journalism  Search this

Labor  Search this

Mass media  Search this

Men  Search this

Methodist  Search this

Political organizations  Search this

Politics  Search this

Professional organizations  Search this

Religion  Search this

Social life and customs  Search this

Sororities  Search this

The Black Church  Search this

U.S. History, 1969-2001  Search this

Urban life  Search this

Women  Search this

Women's organizations  Search this

Credit Line:

Collection of the Smithsonian National Museum of African American History and Culture, Gift of Anne B. Patrick and the family of Hilda E. Stokely

Object number:

2012.167.16

Restrictions & Rights:

Public domain

See more items in:

National Museum of African American History and Culture Collection

Classification:

Documents and Published Materials-Published Works

Data Source:

National Museum of African American History and Culture

GUID:

http://n2t.net/ark:/65665/fd595b77a5e-4524-45a5-90d3-81855fc7528c

EDAN-URL:

edanmdm:nmaahc_2012.167.16

Published by:

MelPat Associates, American, 1965 - 1986  Search this

Created by:

C. Melvin Patrick, American, died 1985  Search this

Medium:

ink on paper

Dimensions:

H x W x D: 10 13/16 × 8 7/16 × 9/16 in. (27.5 × 21.4 × 1.5 cm)

Type:

magazines (periodicals)

Place made:

Harlem, New York City, New York, United States, North and Central America

Place depicted:

Houston, Harris County, Texas, United States, North and Central America

San Francisco, California, United States, North and Central America

Oakland, Alameda County, California, United States, North and Central America

Martha's Vineyard, Oak Bluffs, Dukes County, Massachusetts, United States, North and Central America

Date:

1984

Topic:

African American  Search this

Advertising  Search this

Associations and institutions  Search this

Black Press  Search this

Business  Search this

Communities  Search this

Dance  Search this

Fraternal organizations  Search this

Fraternities  Search this

Government  Search this

Hollywood (Film)  Search this

Journalism  Search this

Labor  Search this

Mass media  Search this

Men  Search this

Olympics  Search this

Political organizations  Search this

Politics  Search this

Professional organizations  Search this

Religion  Search this

Social life and customs  Search this

Sororities  Search this

Sports  Search this

U.S. History, 1969-2001  Search this

Urban life  Search this

Women  Search this

Women's organizations  Search this

Credit Line:

Collection of the Smithsonian National Museum of African American History and Culture, Gift of Anne B. Patrick and the family of Hilda E. Stokely

Object number:

2012.167.18

Restrictions & Rights:

Public domain

See more items in:

National Museum of African American History and Culture Collection

Classification:

Documents and Published Materials-Published Works

Data Source:

National Museum of African American History and Culture

GUID:

http://n2t.net/ark:/65665/fd5a99826b2-563a-492a-9d22-e03c2c02f99c

EDAN-URL:

edanmdm:nmaahc_2012.167.18

Published by:

MelPat Associates, American, 1965 - 1986  Search this

Created by:

C. Melvin Patrick, American, died 1985  Search this

Subject of:

National Association for the Advancement of Colored People, American, founded 1909  Search this

National Urban League, American, founded 1910  Search this

Sigma Phi Rho Fraternity, American, founded 1978  Search this

National Association for Equal Opportunity in Higher Education, American, founded 1969  Search this

Association of Black Women Attorneys, American, founded 1976  Search this

National Urban Affairs Council, American, founded 1971  Search this

Raymond A. Jordan Jr., American, born 1943  Search this

National Association of Market Developers, American, founded 1953  Search this

The Links, Incorporated, American, founded 1946  Search this

Northside Center for Child Development, Inc., founded 1946  Search this

National Newspaper Publishers Association, American, founded 1827  Search this

Prince Hall Freemasonry, founded 1784  Search this

Chi Delta Mu Fraternity, Inc., American, founded 1913  Search this

Top Ladies of Distinction, Inc., American, founded 1964  Search this

Lambda Kappa Mu Sorority, Inc., American, founded 1937  Search this

Carats, Inc., American, founded 1959  Search this

Chi Eta Phi Sorority, Inc., American, founded 1932  Search this

National United Church Ushers Association of America, Inc., American, founded 1919  Search this

Iota Phi Lambda Sorority, Inc., American, founded 1929  Search this

National Medical Association, American, founded 1895  Search this

Dr. Leslie L. Alexander, Jamaican American, 1917 - 2002  Search this

Smithsonian Institution, American, founded 1846  Search this

National Sorority of Phi Delta Kappa, Inc., American, founded 1923  Search this

Morehouse College, American, founded 1867  Search this

Delta Sigma Theta Sorority, American, founded 1913  Search this

Shriners International, American, founded 1870  Search this

Dr. Benjamin Elijah Mays, American, 1894 - 1984  Search this

Count Basie, American, 1904 - 1984  Search this

National Coalition of 100 Black Women, American, founded 1981  Search this

National Bankers Association, American, founded 1927  Search this

369th Veterans Association, American  Search this

One Hundred Black Men, Inc., American, founded 1963  Search this

Association for the Study of African American Life and History, American, founded 1915  Search this

Signed by:

Alpha Phi Alpha Fraternity, Inc., American, founded 1906  Search this

Medium:

ink on paper

Dimensions:

H x W x D: 10 13/16 × 8 7/16 × 9/16 in. (27.5 × 21.4 × 1.5 cm)

Type:

magazines (periodicals)

Place made:

Harlem, New York City, New York, United States, North and Central America

Place depicted:

Martha's Vineyard, Oak Bluffs, Dukes County, Massachusetts, United States, North and Central America

Washington, District of Columbia, United States, North and Central America

Date:

1985

Topic:

African American  Search this

Advertising  Search this

Associations and institutions  Search this

Black Enterprise  Search this

Black Press  Search this

Business  Search this

Communities  Search this

Fraternal organizations  Search this

Fraternities  Search this

Government  Search this

HBCUs (Historically Black Colleges and Universities)  Search this

Journalism  Search this

Labor  Search this

Mass media  Search this

Men  Search this

Political organizations  Search this

Politics  Search this

Professional organizations  Search this

Religion  Search this

Social life and customs  Search this

Sororities  Search this

U.S. History, 1969-2001  Search this

Urban life  Search this

Women  Search this

Women's organizations  Search this

Credit Line:

Collection of the Smithsonian National Museum of African American History and Culture, Gift of Anne B. Patrick and the family of Hilda E. Stokely

Object number:

2012.167.19

Restrictions & Rights:

Public domain

See more items in:

National Museum of African American History and Culture Collection

Classification:

Documents and Published Materials-Published Works

Data Source:

National Museum of African American History and Culture

GUID:

http://n2t.net/ark:/65665/fd5ee110782-b949-43b4-bbec-56a00d4f086e

EDAN-URL:

edanmdm:nmaahc_2012.167.19

Series Creator:

Warshaw, Isadore, 1900-1969  Search this

Container:

Box 1, Folder 4

Type:

Archival materials

Series Restrictions:

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: Pens, 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).

See more items in:

Warshaw Collection of Business Americana Subject Categories: Pens

Warshaw Collection of Business Americana Subject Categories: Pens / 1: Manufacturers and Distributors

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep83a1217bf-4833-4526-909f-f90e839f8ec3

EDAN-URL:

ead_component:sova-nmah-ac-0060-s01-01-pens-ref541

Series Creator:

Warshaw, Isadore, 1900-1969  Search this

Container:

Box 1, Folder 7

Type:

Archival materials

Series Restrictions:

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, 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).

See more items in:

Warshaw Collection of Business Americana Subject Categories: Camping

Warshaw Collection of Business Americana Subject Categories: Camping / 1: Companies

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8de3da743-e460-499d-ba9c-1944104e8676

EDAN-URL:

ead_component:sova-nmah-ac-0060-s01-01-camping-ref528

Series Creator:

Warshaw, Isadore, 1900-1969  Search this

Container:

Map-folder 18

Type:

Archival materials

Series Restrictions:

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: Sports, 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).

See more items in:

Warshaw Collection of Business Americana Subject Categories: Sports

Warshaw Collection of Business Americana Subject Categories: Sports / 1: Manufacturers and Distributors of Sporting Goods

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8923e6e2c-5352-40e4-810c-c0b5dd47f228

EDAN-URL:

ead_component:sova-nmah-ac-0060-s01-01-sports-ref11

Series Creator:

Warshaw, Isadore, 1900-1969  Search this

Container:

Map-folder 11

Map-folder 12

Type:

Archival materials

Series Restrictions:

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: Sports, 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).

See more items in:

Warshaw Collection of Business Americana Subject Categories: Sports

Warshaw Collection of Business Americana Subject Categories: Sports / 1: Manufacturers and Distributors of Sporting Goods

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8a72113a2-13e6-434d-a2c5-22b67824f0e7

EDAN-URL:

ead_component:sova-nmah-ac-0060-s01-01-sports-ref12

Series Creator:

Warshaw, Isadore, 1900-1969  Search this

Container:

Oversize 187, Folder 3-5

Type:

Archival materials

Series Restrictions:

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: Sports, 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).

See more items in:

Warshaw Collection of Business Americana Subject Categories: Sports

Warshaw Collection of Business Americana Subject Categories: Sports / 1: Manufacturers and Distributors of Sporting Goods

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8f2be6d7d-cf4d-462b-891a-9c82e9ca324b

EDAN-URL:

ead_component:sova-nmah-ac-0060-s01-01-sports-ref13