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Physical Description:

bronze (overall material)

Measurements:

overall: .16 cm x 2.74 cm; 1/16 in x 1 3/32 in

Object Name:

coin

Place made:

Turkey: Balıkesir, Cyzicus

Associated Place:

Roman Empire

Date made:

309 - 310

Credit Line:

Abraham A. Rosen

ID Number:

NU.81.53.0743

Catalog number:

81.53.0743

Accession number:

1981.1025

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Work and Industry: National Numismatic Collection

Data Source:

National Museum of American History

GUID:

http://n2t.net/ark:/65665/ng49ce407c6-8cb2-77b4-e053-15f76fa08a1c

EDAN-URL:

edanmdm:nmah_1971541

Manufacturer:

Lockheed Aircraft Corporation  Search this

Materials:

Polished aluminum finish.

Dimensions:

Overall: 11800lb. (5352.4kg)

Other: 11ft 8in. x 37ft 9in. x 38ft 10 1/2in. (3.556m x 11.507m x 11.849m)

Type:

CRAFT-Aircraft

Country of Origin:

United States of America

Date:

1948

Credit Line:

Transferred from the United States Air Force.

Inventory Number:

A19880028000

Restrictions & Rights:

CC0

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National Air and Space Museum Collection

Location:

Steven F. Udvar-Hazy Center in Chantilly, VA

Exhibit Station:

Korea and Vietnam Aviation

Data Source:

National Air and Space Museum

GUID:

http://n2t.net/ark:/65665/nv9bcb1427e-587c-4b67-8ff4-f0a86e5ce84b

EDAN-URL:

edanmdm:nasm_A19880028000

Medium:

Opaque watercolor and gold on paper

Dimensions:

H x W (overall): 28.7 x 18.8 cm (11 5/16 x 7 3/8 in)

Type:

Painting

Origin:

Istanbul, Turkey

Date:

1478-81

Period:

Ottoman period

Topic:

portrait  Search this

Ottoman period (1307 - 1922)  Search this

Turkey  Search this

Arts of the Islamic World  Search this

Credit Line:

Purchase — Charles Lang Freer Endowment

Accession Number:

F1932.28

Restrictions & Rights:

Usage conditions apply

Related Online Resources:

Google Cultural Institute

See more items in:

Freer Gallery of Art and Arthur M. Sackler Gallery Collection

Data Source:

Freer Gallery of Art and Arthur M. Sackler Gallery

GUID:

http://n2t.net/ark:/65665/ye3807995ec-6fd6-4f68-8fcc-8a805f0aed50

EDAN-URL:

edanmdm:fsg_F1932.28

Embroiderer:

Unknown  Search this

Medium:

Medium: silk, copper, cotton Technique: embroidered

Dimensions:

H x W (object): 23.8 × 23.2 cm (9 3/8 × 9 1/8 in.)

H x W (framed): 28.5 × 26.4 × 1.9 cm (11 1/4 × 10 3/8 × 3/4 in.)

Type:

embroidery & stitching

Towel

Made in:

Turkey

Date:

ca. 1850

Credit Line:

Bequest of Marsha Carson

Accession Number:

2022-40-19

Restrictions & Rights:

CC0

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Cooper Hewitt, Smithsonian Design Museum Collection

Textiles Department

Data Source:

Cooper Hewitt, Smithsonian Design Museum

GUID:

http://n2t.net/ark:/65665/kq406d711a0-e54f-4cfc-a721-26c768f926cd

EDAN-URL:

edanmdm:chndm_2022-40-19

Artist:

Unknown  Search this

Extent:

1 Drawings (visual works) (graphite and crayon on cardboard, 12 x 10 inches)

Container:

Box 270078

Culture:

Niuam (Comanche)  Search this

Type:

Collection descriptions

Archival materials

Graphic Materials

Drawings (visual works)

Works of art

Ledger drawings

Drawings

Place:

North America

Date:

undated

Scope and Contents:

The collection consists of one (1) drawing executed on an octagonal piece of cardboard, cut from the cover of a book. The drawing depicts a mounted man wearing a headdress and carrying a lance and a shield pursuing a man on foot. The dismounted man has roached hair and carries a bow. He appears to be wearing red front tab leggings and a turkey beard roach. The drawing is inscribed "50" in the lower right hand corner. A hole has been cut in the top of the piece of cardboard and a red white and blue ribbon has been attached, so that the drawing could be suspended.

Please note that the contents of the collection and the language and terminology used reflect the context and culture of the time of its creation. As an historical document, its contents may be at odds with contemporary views and terminology and considered offensive today. The information within this collection does not reflect the views of the Smithsonian Institution or National Anthropological Archives, but is available in its original form to facilitate research.

Local Numbers:

NAA MS 270078

NAA INV 08601000

OPPS NEG 91-2260

OPPS SLIDE 91-2260

USNM Accession 52933

Restrictions:

The collection is open for research.

Access to the collection requires an appointment.

Rights:

Contact the repository for terms of use.

Genre/Form:

Works of art

Ledger drawings

Drawings

Citation:

Comanche drawing of a mounted man pursuing a man on foot (MS 270078), National Anthropological Archives, Smithsonian Institution

Identifier:

NAA.MS270078

Archival Repository:

National Anthropological Archives

GUID:

https://n2t.net/ark:/65665/nw3b15c45e3-72eb-4a15-8b44-2a2d106a0afc

EDAN-URL:

ead_collection:sova-naa-ms270078

Creator:

DeVincent, Sam, 1918-1997  Search this

Extent:

79 Boxes

Type:

Collection descriptions

Archival materials

Date:

circa 1828-1980

Summary:

Sam DeVincent loved music and art and began collecting sheet music with lithographs at an early age.

Series 3: African-American Music, contains circa 7,800 pieces of sheet music and folios dating from the 1820s to the 1980s; most of the material dates from after 1890.

An overview to the entire DeVincent collection is available here: Sam DeVincent Collection of Illustrated American Sheet Music.

Scope and Contents note:

The African-American series contains circa 7,800 pieces of sheet music and folios dating from the 1820s to the 1980s; most of the material dates from after 1890. Many of the pieces were composed or performed by Afro-American musicians; other pieces were created by white musicians using black musical styles (for example Joseph Lamb's classic ragtime compositions). A large part of the series consists of songs about African-Americans (minstrel show songs), often written in dialect and usually filled with negative stereotypes. Most, but not all, of the composers of this material were white. Subseries 3.1-3.7 are organized by musical genre and arranged by the chronological first appearance of the genre in American popular culture. The last subseries, 3.8, is a composer/performer aggregation including many musical genres but only African-American musicians.

The DeVincent Collection holds a wealth of ragtime material which forms an important part of series 3. There are approximately 530 items of vocal ragtime and approximately 2,800 instrumental ragtime items. The principle composers of ragtime have separate folders and are indexed by name (however, some of their material may be in the general ragtime folders). One of the strengths of the DeVincent ragtime file is its diversity and inclusion of lesser-known figures. Sam DeVincent built the ragtime section with a broad conception of the genre, a conception in keeping with the thinking of the time. Characteristic two-steps, syncopated marches, and some dances from the ragtime dance craze (turkey trots, a few tangos, etc.) are included in the general file indicating the widespread infusion of ragtime rhythms into American popular music during the early 20th century.

A large part of series 3 is organized and indexed by composer or performer; subseries 3.8 is solely organized this way. African-American composers who wrote only ragtime music, such as Scott Joplin, have been kept in subseries 3.6, "ragtime composers and publishers," which includes both black and white musicians.

The jazz holdings in subseries 3.7, "blues and jazz music," are quite small; most of the items are about jazz rather than the creations of jazz musicians. DeVincent organized most of his jazz materials by composer and performer. African-American jazz musicians have been incorporated into subseries 3.8. White jazz musicians are not in series 3. For help in locating jazz material in the DeVincent Collection, see the appendix "Finding Aid to Jazz Sheet Music and Ephemera."

There are four indexes in this register. The first two are for series 3: a Topical Index and a Select Name and Title Index . Following are the two composite indexes which combine the indexes of series 1, 2, and 3. These composite indexes are an important cross-reference tool.

For example, someone doing research on James Reese Europe would naturally start reading the register for series 3. The index to series 3 lists folder 3.8 BB under the heading for Europe. In the composite index, we learn that folder 2.4 XX also has a composition by Europe. Sam DeVincent placed in the Armed Forces file a piece by Europe that he wrote while serving in the Army as director of the 369th Hellfighters Band.

This series is arranged in the following subseries: 3:1 Minstrel Show and Blackface Entertainers; 3:2 Uncle Tom's Cabin; 3:3 African-American Folk-song and Spirituals; 3:4 Songs about African-American/Vocal Ragtime; 3:5 Instrumental and Ragtime Music; 3:6 Ragtime Composers and Publishers; 3:7 Blues and Jazz Music; 3:8 Composers and Performers.

Arrangement note:

Arranged in 9 subseries.

3.1: Minstrel Shows and Blackface Entertainers

3.2: Uncle Tom's Cabin

3.3: African-American Folk-songs and Spirituals

3.4: Songs about African-American/Vocal Ragtime

3.5: Instrumental and Ragtime Music

3.6: Ragtime Composers and Publishers

3.7: Blues and Jazz Music

3.8: Composers and Performers

3.9: Ephemera

Materials in Other Organizations:

Sam DeVincent Collection of American Sheet Music, Lilly Library, Indiana University, Bloomington, Indiana

This collection contains duplicates of materials in the Smithsonian collection, as well as materials acquired by Mr. DeVincent after the donation to the Smithsonian. The phonograph records described above were transferred to the University of Missouri at Kansas City.

Materials in the Archives Center, National Museum of American History:

Donald J. Stubblebine Collection of Musical Theater and Motion Picture Sheet Music and Reference Material, 1843-2010 (AC1211)

Forms Part Of:

Series 3: African-American Music forms part of the Sam DeVincent Collection of Illustrated American Sheet Music .

An ongoing, updated list of DeVincent topical series is available via the Smithsonian finding aid portal.

Provenance:

This collection was purchased by the Smithsonian Institution in 1988 from Sam and Nancy Lee DeVincent.

Restrictions:

Collection is open for research.

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.

Citation:

The Sam DeVincent Collection of Illustrated American Sheet Music, Archives Center, National Museum of American History, Smithsonian Institution

Identifier:

NMAH.AC.0300.S03

See more items in:

Sam DeVincent Collection of Illustrated American Sheet Music, Series 3: African American Music

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep890e4c587-014e-4836-8164-82069059301b

EDAN-URL:

ead_collection:sova-nmah-ac-0300-s03

Artist:

Attributed to Shah Quli  Search this

Medium:

Ink, color, and gold on paper

Dimensions:

H x W: 18 x 13.5 cm (7 1/16 x 5 5/16 in)

Type:

Drawing

Origin:

Probably Istanbul, Turkey

Date:

mid-16th century

Period:

Ottoman period

Topic:

Ottoman period (1307 - 1922)  Search this

wine  Search this

angel  Search this

illumination  Search this

Turkey  Search this

Arts of the Islamic World  Search this

Credit Line:

Purchase — Charles Lang Freer Endowment

Accession Number:

F1937.7

Restrictions & Rights:

Usage conditions apply

Related Online Resources:

Google Cultural Institute

See more items in:

Freer Gallery of Art and Arthur M. Sackler Gallery Collection

Data Source:

Freer Gallery of Art and Arthur M. Sackler Gallery

GUID:

http://n2t.net/ark:/65665/ye3615a09c6-16a3-4d51-a636-d6fb7d7fe234

EDAN-URL:

edanmdm:fsg_F1937.7

Creator:

Smithsonian Center for Folklife and Cultural Heritage  Search this

Type:

YouTube Videos

Uploaded:

2010-05-27T19:06:55.000Z

YouTube Category:

Music  Search this

Topic:

Cultural property  Search this

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smithsonianfolkways

Data Source:

Smithsonian Center for Folklife and Cultural Heritage

YouTube Channel:

smithsonianfolkways

EDAN-URL:

edanmdm:yt_UirToqr19X4

Creator:

Smithsonian Center for Folklife and Cultural Heritage  Search this

Type:

YouTube Videos

Uploaded:

2020-03-09T07:00:00.000Z

YouTube Category:

People & Blogs  Search this

Topic:

Cultural property  Search this

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smithsonianfolklife

Data Source:

Smithsonian Center for Folklife and Cultural Heritage

YouTube Channel:

smithsonianfolklife

EDAN-URL:

edanmdm:yt_0SiuLFVVv7E

Creator:

Freer Gallery of Art and Arthur M. Sackler Gallery  Search this

Type:

YouTube Videos

Uploaded:

2021-03-25T12:34:43.000Z

YouTube Category:

Education  Search this

Topic:

Art, Asian  Search this

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FreerSackler

Data Source:

Freer Gallery of Art and Arthur M. Sackler Gallery

YouTube Channel:

FreerSackler

EDAN-URL:

edanmdm:yt_9cx965RdxW0

Creator:

Smithsonian Magazine  Search this

Type:

YouTube Videos

Uploaded:

2010-07-19T15:47:47.000Z

YouTube Category:

Education  Search this

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SmithsonianMagazine

Data Source:

Smithsonian Magazine

YouTube Channel:

SmithsonianMagazine

EDAN-URL:

edanmdm:yt_qtykfyU9CqI

Creator:

Smithsonian Channel  Search this

Type:

YouTube Videos

Uploaded:

2021-04-16T15:30:00.000Z

YouTube Category:

Entertainment  Search this

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smithsonianchannel

Data Source:

Smithsonian Channel

YouTube Channel:

smithsonianchannel

EDAN-URL:

edanmdm:yt_-j4BPlo6rpI

Creator:

Smithsonian Channel  Search this

Type:

YouTube Videos

Uploaded:

2016-01-22T05:00:00.000Z

YouTube Category:

Entertainment  Search this

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smithsonianchannel

Data Source:

Smithsonian Channel

YouTube Channel:

smithsonianchannel

EDAN-URL:

edanmdm:yt_39MU50-CPKY

Creator:

Smithsonian Channel  Search this

Type:

YouTube Videos

Uploaded:

2020-03-13T15:30:00.000Z

YouTube Category:

Entertainment  Search this

See more by:

smithsonianchannel

Data Source:

Smithsonian Channel

YouTube Channel:

smithsonianchannel

EDAN-URL:

edanmdm:yt_PIG-WUzUCe8

Creator:

Smithsonian Channel  Search this

Type:

YouTube Videos

Uploaded:

2019-01-25T16:30:01.000Z

YouTube Category:

Entertainment  Search this

See more by:

smithsonianchannel

Data Source:

Smithsonian Channel

YouTube Channel:

smithsonianchannel

EDAN-URL:

edanmdm:yt_vztBk0bWU5c

Creator:

Smithsonian Channel  Search this

Type:

YouTube Videos

Uploaded:

2017-12-01T19:44:44.000Z

YouTube Category:

Entertainment  Search this

See more by:

smithsonianchannel

Data Source:

Smithsonian Channel

YouTube Channel:

smithsonianchannel

EDAN-URL:

edanmdm:yt_ycZUAn8CZz4

Creator:

Smithsonian Institution  Search this

Type:

YouTube Videos

Uploaded:

2010-06-21T21:33:03.000Z

YouTube Category:

Music  Search this

See more by:

SmithsonianVideos

Data Source:

Smithsonian Institution

YouTube Channel:

SmithsonianVideos

EDAN-URL:

edanmdm:yt_0Lpvu6dAD-U

Creator:

Smithsonian Education  Search this

Type:

YouTube Videos

Uploaded:

2011-07-21T18:16:14.000Z

YouTube Category:

Education  Search this

Topic:

Education  Search this

See more by:

SmithsonianEducation

Data Source:

Smithsonian Education

YouTube Channel:

SmithsonianEducation

EDAN-URL:

edanmdm:yt_VRpIXNFcG9w

Creator:

Whitney, Gertrude Vanderbilt, 1875-1942  Search this

Names:

American Ambulance Field Hospital (Juilly, France)  Search this

Greenwich House (New York, N.Y.)  Search this

Whitney Museum of American Art  Search this

Whitney Studio Club  Search this

Cushing, Howard Gardiner, 1869-1916  Search this

De Meyer, Adolf, Baron, 1868-1949  Search this

Miller, Flora Whitney  Search this

Strelecki, Jean de, count  Search this

Watson, Forbes, 1880-1960  Search this

Whitney, Harry Payne, 1872-1930  Search this

Extent:

36.1 Linear feet

Type:

Collection descriptions

Archival materials

Lithographs

Photographs

Interviews

Sketchbooks

Diaries

Scrapbooks

Blueprints

Sketches

Date:

1851-1975

bulk 1888-1942

Summary:

The Gertrude Vanderbilt Whitney papers measure approximately 36.1 linear feet and date from 1851 to 1975, with the bulk of the material dating from 1888 to 1942. The collection documents the life and work of the art patron and sculptor, especially her promotion of American art and artists, her philanthropy and war relief work, her commissions for memorial sculpture, and her creative writing. Papers include correspondence, journals, writings, project files, scrapbooks, photographs, artwork, printed material, two sound recordings, and miscellaneous personal papers.

Scope and Content Note:

The Gertrude Vanderbilt Whitney papers measure approximately 36.1 linear feet and date from 1851 to 1975, with the bulk of the material dating from 1888 to 1942. The collection documents the life and work of the art patron and sculptor, especially her promotion of American art and artists, her philanthropy and war relief work, her commissions for memorial sculpture, and her creative writing. Papers include correspondence, journals, writings, project files, scrapbooks, photographs, artwork, printed material, two sound recordings, and miscellaneous personal papers.

Material relating to more personal aspects of Whitney's life include school papers, a paper doll book dating from her childhood, financial material, interviews, awards and honorary degrees, address and telephone books, committee files, and other items. Correspondence consists of incoming and outgoing letters concerning both personal and professional matters, including her patronage of the arts and sponsorship of artists, her sculpture commissions and exhibitions, and her war relief work and other philantrophic activities. Also found are family correspondence and correspondence received by the Flora Whitney Miller and the Whitney Museum of American Art after Whitney's death. Journals include personal ones that she kept periodically from the time she was a child to near the end of her life, in which she recorded her travels, her impressions of people, her experiences with friends, and her thoughts on art, among other topics; and social ones, in which she recorded dinners and dances attended, and people invited to different social gatherings, and in which she collected invitations received and accepted.

Scattered files can be found that relate to the Whitney Studio Club and the Whitney Museum of American Art, consisting of notebooks, catalogs, a financial report, and other material. Files relating to Whitney's own sculpture projects are more extensive and consist of correspondence, contracts, printed material, notes, financial material for proposed and completed commissions for fountains, memorials, and monuments. The Whitney Museum of American Art, rather than Whitney herself, seems to have kept these files. Files relating to Whitney's philanthropic activities span from the time just before to just after the First World War and consist of correspondence, minutes, reports, and printed material stemming from her contributions to charities and war relief organizations, her sponsorship of the war hospital in Juilly, France, and her support of the Greenwich House Social Settlement.

Whitney's writings include extensive drafts, and handwritten and typed manuscripts and copies of novels, plays, and stories, as well as some autobiographical and early writings, notes and writings on art, and clippings of published writings, documenting her principle means of creative expression towards the end of her life. Also found are some writings by others. Scrapbooks consist of clippings, photographs, letters and other material, compiled by Whitney, Flora Whitney Miller, and possibly others, documenting Whitney's public life, her sculpture commissions and exhibitions, exhibitions at the Whitney Studio, the war hospital in Juilly, France, the death of Harry Payne Whitney in 1930, and the sickness and death of Whitney in 1942.

Photographs include ones of the Whitney and Vanderbilt families, ones of Gertrude Vanderbilt Whitney (including portraits taken by Baron Adolf de Meyer and Count Jean de Strelecki), ones of various Vanderbilt and Whitney residences and of Whitney's studios, ones of Whitney's sculpture exhibitions as well as exhibitions at her studio, and ones of her sculptures, as well as some miscellaneous and unidentified ones. Artwork consists of sketchbooks and sketches by Whitney (including sketches for sculptures) and artwork by others (including a sketchbook of Howard Cushing's containing a sketch of her and albums of World War I lithographs) collected by Whitney. Also found amongst the collection are printed material (clippings, exhibition catalogs, programs, and publications) and blueprints (including drawings for Whitney's studio on MacDougal Alley and various of her sculptures).

Arrangement:

The Gertrude Vanderbilt Whitney papers are arranged into twelve series:

Missing Title

Series 1: Miscellaneous Personal Papers, 1888-1947, 1975 (Boxes 1-3, 33-34, OV 42; 2.5 linear feet)

Series 2: Correspondence, 1889-1949, 1959 (Boxes 3-9; 6 linear feet)

Series 3: Journals, circa 1886-1939 (Boxes 9-12, 33; 2.5 linear feet)

Series 4: Whitney Studio Club and Whitney Museum of American Art Files, 1921-1943 (Box 12; 0.2 linear feet)

Series 5: Sculpture Files, 1900-1960 (bulk 1909-1942) (Boxes 12-15; 3 linear feet)

Series 6: Philanthropy Files, 1902-1923 (bulk 1915-1920) (Boxes 15-17; 2 linear feet)

Series 7: Writings, 1889-1942, 1974 (Boxes 17-26; 10 linear feet)

Series 8: Scrapbooks, 1893-1942 (Boxes 26-27, 33, 35; 1.5 linear feet)

Series 9: Printed Material, 1859-1942 (Boxes 27-28, 36; 0.8 linear feet)

Series 10: Photographs, 1862-1942 (Boxes 28-32, 36-41, OV 43-51; 6.4 linear feet)

Series 11: Artwork, 1871-1930s (Boxes 32, 41, OV 52-54; 0.8 linear feet)

Series 12: Blueprints, 1913-1945 (OV 55; 0.1 linear feet)

Biographical/Historical note:

New York art patron and sculptor, Gertrude Vanderbilt Whitney (1875-1942), was the eldest daughter of Cornelius Vanderbilt II and Alice Gwynne Vanderbilt, and founder of the Whitney Museum of American Art.

Whitney was born January 9, 1875 in New York City, the. She was educated by private tutors and attended Brearley School in New York. From the time she was a young girl, she kept journals of her travels and impressions of the people she met, and engaged in creative pursuits such as sketching and writing stories. In 1896, she was married to Harry Payne Whitney. They had three children, Flora, Cornelius, and Barbara.

In 1900, Whitney began to study sculpture under Hendrik Christian Anderson, and then under James Fraser. Later, she studied with Andrew O'Connor in Paris. From the time she started studying sculpture, her interest in art grew, as did her particular concern for American art and artists. In 1907, she organized an art exhibition at the Colony Club, which included several contemporary American paintings. She also opened a studio on MacDougal Alley, which became known as the Whitney Studio and was a place where shows and prize competitions were held. (She also had other studios in Westbury, Long Island and Paris, France.) Over the years, her patronage of art included buying work, commissioning it, sponsoring it, exhibiting it, and financially supporting artists in America and abroad. From 1911 on, she was aided in her work by Juliana Force, who started out as Whitney's secretary, was responsible for art exhibitions at the Whitney Studio, and became the first director of the Whitney Museum of American Art.

The first recognition Whitney received for her sculpture came in 1908 when a project on which she had collaborated (with Grosvenor Atterbury and Hugo Ballin) won a prize for best design from the Architectural League of New York. The following year she received a commission to do a fountain sculpture for the Pan-American Building in Washington, D. C. She went on to do numerous other commissioned works over the next several decades, including: a fountain for the New Arlington Hotel in Washington D.C. (the design of which was reproduced in various sizes and materials, one cast being submitted to the 1915 Panama-Pacific International Exposition where it won a bronze medal and a later cast being installed on the campus of McGill University, Montreal, Canada in 1930); the Titanic Memorial (designed in 1913 and erected in 1930); the Buffalo Bill Memorial (1924) in Cody, Wyoming; the Columbus Memorial (1929) in Port of Palos, Spain; the Peter Stuyvesant statue in Stuyvesant Square (1939); and The Spirit of Flight (1939) for the New York World's Fair. In 1916, she had her first one-man show at the Whitney Studio, another at the Newport Art Association, and a retrospective at the San Francisco Art Association Palace of Fine Arts. A traveling exhibition in the Midwest followed in 1918.

During the First World War, Whitney was involved with numerous war relief activities, most notably establishing and supporting a hospital in Juilly, France. She made several trips to France during the war, keeping a journal and eventually publishing a piece on the hospital in several newspapers. Her sculpture during this period was largely focused on war themes. In 1919, she exhibited some of these works at the Whitney Studio in a show called "Impressions of War." In the years after the war, she was also commissioned to do several war memorials, including the Washington Heights War Memorial (1922) and the St. Nazaire Memorial (1926) commemmorating the landing of the American Expeditionary Force in France in 1917.

In 1918, Whitney opened the Whitney Studio Club, which served as pioneering organization for American art, putting on exhibition programs and offering social space and recreational amenities to its members (one point numbering over four hundred artists living in New York). She planned an "Overseas Exhibition" of American art, which traveled to Paris and other European cities in 1920-1921, and had her own shows in Paris and London in 1921. In 1928, the Whitney Studio Club was transformed into an art gallery, known as the Whitney Studio Galleries and directed by Juliana Force, which eventually became the Whitney Museum of American Art in 1931.

Whitney pursued creative writing throughout her life, but beginning in the 1930s writing became her principle means of creative expression. Over the years, she produced numerous manuscripts for stories, novels, and play. One novel, Walking the Dusk, was published in 1932 under the pseudonym L. J. Webb. Beginning in 1940, Whitney took a "Professional Writing" course at Columbia University with Helen Hull, which resulted in the production of numerous short stories. In 1941, she collaborated with Ronald Bodley to adapt one of her stories as a play and attempted to get it produced, although unsuccessfully.

In 1934, Whitney was involved in a custody battle for her niece, Gloria Vanderbilt (daughter of her late brother, Reginald Vanderbilt and his wife, Gloria Morgan Vanderbilt). In an agreement reached by the court, custody was awarded to Whitney and visitation rights to Gloria's mother. Litigation continued in the ensuing years.

In 1935, Whitney established the World's Fair Five Organization, with Juliana Force and four architects, to work on preparing a plan for the site of the 1939 New York World's Fair at Flushing Meadow, although the fair's own Board of Design ended up coming up with its own plan.

Whitney continued her work in sculpture, writing, art patronage, and philanthropy throughout the remaining years of her life. She died on April 18, 1942.

Related Archival Materials note:

Related material found in the Archives includes Research Material on Gertrude Vanderbilt Whitney compiled by Flora Miller Irving and the Whitney Museum of American Art artists' files and records, available on microfilm only (originals are located in the Whitney Museum of American Art). Also found in the Archives of American Art's Miscellaneous Exhibition Catalog Collection are a bundle of Whitney Studio Club and Mrs. H. P. Whitney's Studio catalogs and announcements.

Provenance:

The Gertrude Vanderbilt Whitney papers were donated in 1981 and 1991 by Whitney's granddaughter, Flora Miller Irving.

Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Use of archival audiovisual recordings with no duplicate access copy requires advance notice. Contact Reference Services for more information.

Rights:

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

Occupation:

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

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

Topic:

Art patrons -- New York (State) -- New York  Search this

Women artists  Search this

Women sculptors  Search this

World War, 1914-1918  Search this

Genre/Form:

Lithographs

Photographs

Interviews

Sketchbooks

Diaries

Scrapbooks

Blueprints

Sketches

Citation:

Whitney Museum of American Art, Gertrude Vanderbilt Whitney Papers, 1851-1975 (bulk 1888-1942). Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art

Identifier:

AAA.whitgert

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Gertrude Vanderbilt Whitney papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9db113d72-cc31-4974-85fe-3e99c53dd62e

EDAN-URL:

ead_collection:sova-aaa-whitgert

Collection Collector:

Fewkes, Jesse Walter, 1850-1930  Search this

Collection Artist:

Homovi (Hopi)  Search this

Kutcahonauu (Hopi)  Search this

Winuta (Hopi)  Search this

Pobitsche (Hopi)  Search this

Extent:

1 Drawings (visual works)

Container:

Box 21, Item 4

Type:

Archival materials

Graphic Materials

Drawings (visual works)

Scope and Contents:

Depicts two views of Citulilu (Rattlesnake), both wearing masks with crests of turkey tail feathers, snouts, tongues, and rattlesnakes painted on the forehead, body paint, kilts, and carrying yucca whips.

Local Numbers:

NAA INV 08547414

Collection Restrictions:

The collection is open for research.

Access to the collection requires an appointment.

Collection Rights:

Contact the repository for terms of use.

Collection Citation:

MS 4731 Drawings of Katsinam by Hopi artists, National Anthropological Archives, Smithsonian Institution

See more items in:

MS 4731 Drawings of Katsinam by Hopi artists

Archival Repository:

National Anthropological Archives

GUID:

https://n2t.net/ark:/65665/nw3f40dde2d-2c1f-4fdf-a185-02bef17d6f8d

EDAN-URL:

ead_component:sova-naa-ms4731-ref125