12.77 Cubic feet (consisting of 26.5 boxes, 1 folder, 7 oversize folders, 2 map case folders, 1 flat box (partial), plus digital images of some collection material.)
Type:
Collection descriptions
Archival materials
Print advertising
Periodicals
Publications
Advertising cards
Advertising mail
Printed ephemera
Patterns
Catalogues
Designs (textile)
Sales catalogs
Business cards
Legal records
Contracts
Textiles
Trade catalogs
Exhibition catalogs
Advertising
Advertisements
Mail order catalogs
Business records
Designs
Printed material
Labels
Instructional materials
Trademarks
Legal documents
Trade cards
Legislation (legal concepts)
Ephemera
Samples
Manuals
Sample books
Design patents
Advertising fliers
Illustrations
Catalogs
Sales letters
Business letters
Correspondence
Manufacturers' catalogs
Commercial correspondence
Letterheads
Invoices
Photographs
Sales records
Printed materials
Fabrics
Trade literature
Business ephemera
Receipts
Commercial catalogs
Date:
1784-1970
Summary:
A New York bookseller, Warshaw assembled this collection over nearly fifty years. The Warshaw Collection of Business Americana: Accounting and Bookkeeping forms part of the Warshaw Collection of Business Americana, Subseries 1.1: Subject Categories. The Subject Categories subseries is divided into 470 subject categories based on those created by Mr. Warshaw. These subject categories include topical subjects, types or forms of material, people, organizations, historical events, and other categories. An overview to the entire Warshaw collection is available here: Warshaw Collection of Business Americana
Scope and Contents:
This material is concentrated on the 19th century United States textile manufacture and trade, and the sale of textiles in the form of bale, bolt, roll, and fabric to commercial vendors or consumers as source material to make other goods. The first series contains day-to-day records of dealers and vendors, plus advertising and marketing material. Artisan and home production of goods are virtually not covered but are a couple of incidental publications related to arts, crafts (rugs, weaving, looms), and more refined work such as tapestry. The import/export of textiles is well represented with a large volume of records, which may also provide some insight into the shipping industry.
There is not much on the infrastructure of the industry in the way of directories, trade journals, trade associations, along with manufacturing and plants, though there are a few examples of each. There are virtually no catalogues, except for a few thin ones that were filed by company name. While not extensive, the sample books and swatches offer a glimpse into product lines. Material types offers limited, specific information on certain varieties such as cotton, wool, linen, rayon, etc. Thread might be incidentally present but is not specifically included since there is already a dedicated subject category for it.
There is a healthy sampling of product labels. A handful of intellectual property related documents cover protections of designs, plus patents and trademarks. There is a small bulk of publications related to tariffs and the wool industry.
Clothing patterns, home economics, sewing and seamstresses, household use of textiles (furniture covering, as a cleaning tool, bedding/pillows, etc.) are not covered within this category. Researchers should also look at any of a number of other Warshaw categories, particularly those related to clothing, hosiery, dry goods, furniture, curtains, etc. for period popularity of certain materials and patterns.
Arrangement:
Textiles is arranged in three subseries.
Business Records and Marketing Material
Genre
Subject
Forms Part Of:
Forms part of the Warshaw Collection of Business Americana.
Missing Title
Series 1: Business Ephemera
Series 2: Other Collection Divisions
Series 3: Isadore Warshaw Personal Papers
Series 4: Photographic Reference Material
Provenance:
Textiles is a portion of the Business Ephemera Series of the Warshaw Collection of Business Americana, Accession AC0060 purchased from Isadore Warshaw in 1967. Warshaw continued to accumulate similar material until his death, which was donated in 1971 by his widow, Augusta. For a period after acquisition, related materials from other sources (of mixed provenance) were added to the collection so there may be content produced or published after Warshaw's death in 1969. This practice has since ceased.
Restrictions:
Collection is open for research. Some items may be restricted due to fragile condition.
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.
Warshaw Collection of Business Americana Subject Categories: Textiles, 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).
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America Search this
Names:
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America Search this
Extent:
80 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
2002 June 3 and July 10
Scope and Contents:
An interview of Peggie Hartwell conducted 2002 June 3-July 10, by Patricia Malarcher, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, in the artist's apartment, on Central Park West, New York, N.Y.
Hartwell speaks of growing up on a farm with her extended family in Springfield, S.C.; female quiltmakers and male storytellers in her family; drawing in sand as a child; her mother's move to Brooklyn; joining her mother and father in New York; growing up in Brooklyn; her awareness of the many cultures in New York and being surrounded by art, including her mother's crocheting and her father's a cappella group; taking tap dancing lessons; experimenting with art in public school; working at various factory jobs after high school until "reconnecting" with art; studying with dancer Syvilla Fort at the Katherine Dunham School of Dance in New York; Fort encouraging her to draw on the studio walls and sew costumes; touring internationally with the theater group Harlem Rhythm USA from 1965 to 1972; her return to the U.S. and receiving a theater degree at Queens College; working at an insurance company to support her art; exhibiting her black and white, pen-and-ink drawings; the narratives and "oral histories" in her quilts; the meaning of various fabrics and colors; participating in "quilting communities" such as the Women of Color Quilters Network, Empire Quilters, and the American Quilter's Society; her lectures, workshops, and residencies; working with children;narratives inspired by childhood memories; her move back to South Carolina; themes in her quilts and "quilting styles" (improvisational, traditional, contemporary, and African American); serving on the board of the New York Chapter of the Women of Color Quilters Network; and planning the exhibition "Threads of Faith" for the New York Bible Association. She also comments on John Cage, Cuesta Benberry, Asadata Dafora, Francelise Dawkins, Carolyn Mazloomi, Edjohnetta Miller, Arthur Mitchell, Harriet Powers, Faith Ringgold, Marie Wilson, and others.
Biographical / Historical:
Peggie L. Hartwell (1939- ) is an African American quiltmaker of Summerville, S.C. Patricia Malarcher is a fiber artist.
General:
Originally recorded on 4 sound cassettes. Reformatted in 2010 as 8 digital wav files. Duration is 3 hr., 50 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Restrictions:
Transcript available on the Archives of American Art website.
1 Item (photographic print, b&w, 16.2 cm. x 11.9 cm.)
Container:
Item Print 133
Type:
Archival materials
Photographs
Gelatin silver prints
Photographic prints
Place:
Asia
Iran
Iṣfahān (Iran)
Date:
1880s-1930
Scope and Contents:
Additional information from Finding Aid reads, "Subseries 4.24: Photo File 24, Image No. 133: Isfahan. Manufacture of printed cotton cloth (kalam kar)."
Isfahan (Iran): Manufacture of Printed Cotton Cloth [graphic]
Arrangement:
The Archive contains Herzfeld's glass negatives which he arranged by general categories into 16 separate Photo files, irrespective of the number on the negative. He also collected photographic prints from many sources for study purposes. So far as possible, Joseph Upton has identified and placed these prints in the appropriate Photo file.
Biographical / Historical:
Antoin Sevruguin (1830s-1933) was an official photographer of the Imperial Court of Iran whose commercial photography studio was one of the most successful in Tehran from the late 1870s to about 1934. The astonishing range of Antoin Sevruguin's photographs, and the prolific output of the studio, provides today's viewer with an important resource for examining the cultural histories and hierarchical elements of Iranian society. They assist the scholar in studying architectural sites that may have been damaged or destroyed, or are unavailable for first-hand investigation. Increasingly, the prints are valued for their artistic elements that may sometimes overshadow their documentary value. Most significantly, Sevruguin's images form part of an ongoing history that links a distant past and place to the present.
Local Numbers:
Box 12, File 24, Folder 14, Image 133
FSA A.6 04.PF.24.133
General:
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
Collection Restrictions:
Collection is open for research.
Collection Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
1 Item (photographic print, b&w, 15 cm. x 10.4 cm.)
Container:
Item Print 134
Type:
Archival materials
Photographs
Gelatin silver prints
Photographic prints
Place:
Asia
Iran
Iṣfahān (Iran)
Date:
1880s-1930
Scope and Contents:
Additional information from Finding Aid reads, "Subseries 4.24: Photo File 24, Image No. 134: Isfahan. Carpet knotting."
Isfahan (Iran): Girls Weaving a Carpet [graphic]
Arrangement:
The Archive contains Herzfeld's glass negatives which he arranged by general categories into 16 separate Photo files, irrespective of the number on the negative. He also collected photographic prints from many sources for study purposes. So far as possible, Joseph Upton has identified and placed these prints in the appropriate Photo file.
Biographical / Historical:
Antoin Sevruguin (1830s-1933) was an official photographer of the Imperial Court of Iran whose commercial photography studio was one of the most successful in Tehran from the late 1870s to about 1934. The astonishing range of Antoin Sevruguin's photographs, and the prolific output of the studio, provides today's viewer with an important resource for examining the cultural histories and hierarchical elements of Iranian society. They assist the scholar in studying architectural sites that may have been damaged or destroyed, or are unavailable for first-hand investigation. Increasingly, the prints are valued for their artistic elements that may sometimes overshadow their documentary value. Most significantly, Sevruguin's images form part of an ongoing history that links a distant past and place to the present.
Local Numbers:
Box 12, File 24, Folder 14, Image 134
FSA A.6 04.PF.24.134
General:
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
Collection Restrictions:
Collection is open for research.
Collection Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
Four women demonstrating textile crafts under tent.
Missing Title
Festival Program: Baltic Nations: Estonia, Latvia, and Lithuania
Signed: yes
Collection Restrictions:
Access to the Ralph Rinzler Folklife Archives and Collections is by appointment only. Visit our website for more information on scheduling a visit or making a digitization request. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Collection Citation:
Lily Spandorf drawings, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America Search this
Type:
Sound recordings
Interviews
Citation:
Quotes and excerpts must be cited as follows: Oral history interview with James Bassler, 2002 February 11-June 6. Archives of American Art, Smithsonian Institution.
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America Search this
Type:
Interviews
Citation:
Quotes and excerpts must be cited as follows: Oral history interview with Katherine Westphal, 2002 September 3-7. Archives of American Art, Smithsonian Institution.
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America Search this
Type:
Sound recordings
Interviews
Citation:
Quotes and excerpts must be cited as follows: Oral history interview with Ruth Adler Schnee, 2002 November 24-30. Archives of American Art, Smithsonian Institution.
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America Search this
Type:
Sound recordings
Interviews
Citation:
Quotes and excerpts must be cited as follows: Oral history interview with Michael James, 2003 January 4-5. Archives of American Art, Smithsonian Institution.
Topic:
Fiber artists -- Nebraska -- Interviews Search this
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America Search this
Type:
Sound recordings
Interviews
Citation:
Quotes and excerpts must be cited as follows: Oral history interview with Sheila Hicks, 2004 March 18. Archives of American Art, Smithsonian Institution.
California -- Los Angeles -- Description and travel
Michigan -- Description and travel
Citation:
Quotes and excerpts must be cited as follows: Oral history interview with Gerhardt Knodel, 2004 August 3. Archives of American Art, Smithsonian Institution.
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America Search this
Extent:
91 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
2003 January 4-5
Scope and Contents:
An interview of Michael James conducted 2003 January 4-5, by Patricia Harris and David Lyon, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, in Lincoln, Nebraska.
James speaks of his childhood in New Bedford, Massachusetts, in a large Catholic French-Canadian family; his parochial school experience; the early influence of French language and textiles; his undergraduate studies at Southeastern Massachusetts University and graduate studies at Rochester Institute of Technology in painting and printmaking; his first exposure to the craft world; transitioning from painting to quilts while starting a family; his first teaching jobs and shift to self employment; he discusses his books Quiltmaker's Handbook I and II; being male in the women's world of quiltmaking; he comments on the importance of fiber as a means of expression; his artistic influences; his 1990 residency in Switzerland; creating fabrics by hand-painting and digital printing; representational imagery in his work and themes; commissions; the impact of religion, spirituality, mortality, politics and social issues on his quilts; his working environment in Somerset, Massachusetts, and Lincoln, Nebraska; teaching at the University of Nebraska, and the International Quilt Study Center there; his wife Judy and her art; quiltmakers inside and outside academia; the value of quilts as "art"; crafts schools; his involvement in national and regional craft organizations; his early exhibitions; his relationships with dealers; the state of the art market; the lack of critical reception in the quiltmaking field; his own writings; how American fiber arts rank on an international scale; and new uses of technology in his work. He also recalls Jon Gnagy, Donald Krueger, Susan Russo, Faith Ringgold, Mickey Lawler, Ulysses Dietz, Robert and Ardis James, Florence Dionne, Lois Martin, Diane Itter, Hilda Raz, and others.
Biographical / Historical:
Michael James (1949- ) is a fiber artist from Lincoln, Nebraska. Patricia Harris and David Lyon are art critics from Cambridge, Massachusetts.
General:
Originally recorded on 6 sound discs. Reformatted in 2010 as 9 digital wav files. Duration is 6 hr., 35 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Restrictions:
Transcript available on the Archives of American Art website.
REELS 2906-2907: Papers, 1979-1981, compiled by Vander Lee, symposium coordinator of "Fiber in the 80's: Current and future issues in the textile arts," held October 3-4, 1980, at the Alfred J. Glassell, Jr. School of Art and the Museum of Fine Arts, Houston, Tex. Included are correspondence with participating panelists and grants organizations; artists' resumes; contracts; income and expenditure lists; mailing lists; meeting minutes of the Contemporary Handweavers of Houston, a sponsor of the symposium; and 3 clippings.
REEL 3362A: Material regarding the exhibition, "American Fiber: A New Aesthetic," including resumes and printed biographical information on the participants; correspondence; checklists; loan agreements; writings including Vander Lee's notes regarding the planning of the exhibition, and her draft for the text of the catalog; printed material; and photographs of the installation.
Biographical / Historical:
Museum curator; Houston, Tex.
Provenance:
Lent for microfilming 1981 & 1984 by Jana Vander Lee.
Microfilmed as part of the Archives of American Art's Texas project.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
