Skip to main content Smithsonian Institution

Search Results

Collections Search Center
178 documents - page 1 of 9

Bathygobius

Collector:
F. Cleaver  Search this
Expedition:
Pacific Oceanic Fish Investigations  Search this
Ocean/Sea/Gulf:
Pacific  Search this
Vessel:
H.M.S. Cruise 1  Search this
Place:
Hawaii, West Loch, Pearl Harbor Oahu, Honolulu County, Hawaii, United States, Pacific
Collection Date:
8 Dec 1949
Taxonomy:
Animalia, Chordata, Vertebrata, Osteichthyes, Actinopterygii, Neopterygii, Acanthopterygii, Perciformes, Gobioidei, Gobiidae, Gobiinae
Published Name:
Bathygobius
Accession Number:
210576
USNM Number:
175441
See more items in:
Vertebrate Zoology
Fishes
Data Source:
NMNH - Vertebrate Zoology - Fishes Division
GUID:
http://n2t.net/ark:/65665/3d7fdbc6e-9c57-4049-83c9-349b01a8ef28
EDAN-URL:
edanmdm:nmnhvz_5243360

Flyer for a screening of films by John Chamberlain

Creator:
Hunter College  Search this
Subject:
Chamberlain, John Angus  Search this
Mead, Taylor  Search this
Violet, Ultra  Search this
Type:
Printed Materials
Date:
1967 Feb.
Topic:
Film posters  Search this
Record number:
(DSI-AAA)13337
See more items in:
Leo Castelli Gallery records, circa 1880-2000, bulk bulk 1957-1999
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_item_13337

Ultra Violet papers, 1959-1969

Creator:
Ultra Vio, Ultra Violet, 1935-  Search this
Subject:
Chamberlain, John  Search this
Graham, John  Search this
Johnson, Ray  Search this
Record number:
(DSI-AAA_CollID)9237
(DSI-AAA_SIRISBib)211432
AAA_collcode_ultrultr
Theme:
Lives of American Artists
Women
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_211432

John D. Graham papers, 1799-1988, bulk bulk 1890-1961

Creator:
Graham, John D. (John Dabrowsky), ca. 1887-1961  Search this
Subject:
Picasso, Pablo  Search this
Ultra Violet  Search this
Burliuk, David  Search this
Davis, Stuart  Search this
Gilot, Francoise  Search this
Gorchov, Ron  Search this
Gorky, Arshile  Search this
Tobey, Mark  Search this
Kitaj, R. B.  Search this
Mayer, Jack  Search this
Type:
Sketchbooks
Photographs
Topic:
Art -- Collectors and collecting  Search this
Painting, Modern -- 20th century -- New York (State) -- New York  Search this
Artists as authors -- New York (State) -- New York  Search this
World War, 1914-1918  Search this
Authors -- New York (State) -- New York  Search this
Works of art  Search this
Antiques  Search this
Painters -- New York (State) -- New York  Search this
Record number:
(DSI-AAA_CollID)7215
(DSI-AAA_SIRISBib)209352
AAA_collcode_grahjohn
Theme:
Sketches & Sketchbooks
Diaries
Lives of American Artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_209352
Online Media:

Jacques Seligmann & Co. records, 1904-1978, bulk bulk 1913-1974

Creator:
Jacques Seligmann & Co.  Search this
Subject:
Hauke, Cesar M. de (Cesar Mange)  Search this
Glaenzer, Eugene  Search this
Haardt, Georges  Search this
Seligman, Germain  Search this
Seligmann, Arnold  Search this
Parker, Theresa D.  Search this
Waegen, Rolf Hans  Search this
Trevor, Clyfford  Search this
Seligmann, René  Search this
Seligmann, Jacques  Search this
De Hauke & Co., Inc.  Search this
MM. Jacques Seligmann & fils  Search this
Eugene Glaenzer & Co.  Search this
Germain Seligmann & Co.  Search this
Gersel  Search this
Type:
Gallery records
Topic:
Mackay, Clarence Hungerford, 1874-1938 -- Art collections  Search this
Schiff, Mortimer L. -- Art collections  Search this
Arenberg, duc d' -- Art collections  Search this
Liechtenstein, House of -- Art collections  Search this
Art -- Collectors and collecting -- France -- Paris  Search this
Art -- Collectors and collecting  Search this
Art galleries, Commercial -- New York (State) -- New York  Search this
Art dealers -- New York (State) -- New York  Search this
World War, 1939-1945 -- Art and the war  Search this
Art dealers -- France -- Paris  Search this
La Fresnaye, Roger de, 1885-1925  Search this
Art, Renaissance  Search this
Decorative arts  Search this
Art treasures in war  Search this
Art, European  Search this
Art galleries, Commercial -- France -- Paris  Search this
Record number:
(DSI-AAA_CollID)9936
(DSI-AAA_SIRISBib)212486
AAA_collcode_jacqself
Theme:
The Art Market
Art Gallery Records
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_212486
10 Page(s) matching your search term, top most relevant are shown: View entire project in transcription center
  • View Jacques Seligmann & Co. records, 1904-1978, bulk bulk 1913-1974 digital asset number 1
  • View Jacques Seligmann & Co. records, 1904-1978, bulk bulk 1913-1974 digital asset number 2
  • View Jacques Seligmann & Co. records, 1904-1978, bulk bulk 1913-1974 digital asset number 3
  • View Jacques Seligmann & Co. records, 1904-1978, bulk bulk 1913-1974 digital asset number 4
  • View Jacques Seligmann & Co. records, 1904-1978, bulk bulk 1913-1974 digital asset number 5
  • View Jacques Seligmann & Co. records, 1904-1978, bulk bulk 1913-1974 digital asset number 6
  • View Jacques Seligmann & Co. records, 1904-1978, bulk bulk 1913-1974 digital asset number 7
  • View Jacques Seligmann & Co. records, 1904-1978, bulk bulk 1913-1974 digital asset number 8
  • View Jacques Seligmann & Co. records, 1904-1978, bulk bulk 1913-1974 digital asset number 9
  • View Jacques Seligmann & Co. records, 1904-1978, bulk bulk 1913-1974 digital asset number 10
Online Media:

Artists Talk on Art records

Creator:
Artists Talk on Art  Search this
Names:
Barnet, Will, 1911-2012  Search this
Bourgeois, Louise, 1911-2010  Search this
Christo, 1935-  Search this
De Niro, Robert, Sr., 1922-1993  Search this
Denes, Agnes  Search this
Goldberg, Michael, 1924-  Search this
Jeanne-Claude, 1935-2009  Search this
Longo, Robert  Search this
Mendieta, Ana, 1948-1985  Search this
Morris, Robert, 1931-  Search this
Murray, Elizabeth, 1940-  Search this
Neel, Alice, 1900-1984  Search this
Pavia, Philip, 1915-2005  Search this
Sleigh, Sylvia  Search this
Wilke, Hannah  Search this
Wojnarowicz, David  Search this
Extent:
64.4 Linear feet
317.43 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Photographs
Sound recordings
Scrapbooks
Transcripts
Video recordings
Date:
circa 1974-2018
Summary:
The records of Artists Talk on Art (ATOA) measure 64.4 linear feet and 317.43 gigabytes and date from circa 1974-2018. The bulk of the records consist of extensive video and sound recordings of events organized by the group featuring artists, critics, historians, dealers, curators and writers discussing contemporary issues in the American art world in hundreds of panel discussions, open screenings, and dialogues held in New York City. Events began in 1975 and continue to the present; recordings in the collection date from 1977 and 2016. A smaller group of records include administrative files, panel flyers, three scrapbooks, as well as photographs, slides, and negatives of panel discussions and participants.
Scope and Contents:
The records of Artists Talk on Art (ATOA) measure 64.4 linear feet and 317.43 gigabytes and date from circa 1974-2018. The bulk of the records consist of extensive video and sound recordings of events organized by the group featuring artists, critics, historians, dealers, curators and writers discussing contemporary issues in the American art world in hundreds of panel discussions, open screenings, and dialogues held in New York City. Events began in 1975 and continue to the present; recordings in the collection date from 1977 and 2016. A smaller group of records include administrative files, panel flyers, three scrapbooks, as well as photographs, slides, and negatives of panel discussions and participants.

ATOA's recordings chronicle the American art world, covering critical discussions and significant art world issues over five decades. Thousands of artists such as Will Barnet, Louise Bourgeois, Christo and Jeanne-Claude, Robert De Niro, Agnes Denes, Michael Goldberg, Robert Longo, Ana Mendieta, Robert Morris, Elizabeth Murray, Alice Neel, Philip Pavia, Howardena Pindell, Larry Rivers, Sylvia Sleigh, Kahinde Wiley, Hannah Wilke, David Wojnarowicz, and others speak about their work. The original recordings exist in a variety of formats, including U-Matic and VHS videotape, MiniDVs, sound cassettes and sound tape reels. ATOA digitized most of the video and sound recordings prior to donating the collection.

The collection also includes printed histories, board and program committee meeting minutes, financial statements, general correspondence files of the president and chair, attendance statistics, grant files, panel participant release forms, sixteen panel transcripts, a complete set of panel flyers (many are annotated) and other printed materials, three dismantled scrapbooks, as well as photographs, slides, and negatives of panels and panel participants.
Arrangement:
The records are arranged into nine series.

Series 1: Adminstrative Files, 1974-2013 (0.4 linear feet, Box 1)

Series 2: Director's and Chairman's Correspondence, 1977-2006 (0.4 linear feet, Box 1)

Series 3: Grant Files, 1977-2009 (1 linear foot, Boxes 1-2)

Series 4: Panel Release Forms, 1978-2012 (1 linear foot, Boxes 2-3)

Series 5: Panel Transcripts, 1981, 1986, 1988, 2017-2018 (1 folder, Box 3; 0.002 GB, ER01)

Series 6: Printed Materials, 1975-2015 (0.8 linear feet, Boxes 3-4; 0.434 GB, ER02)

Series 7: Scrapbooks, 1975-1989 (0.2 linear feet, Box 4)

Series 8: Photographic Materials, circa 1975-circa 2000 (1 linear foot, Boxes 4-5)

Series 9: Video and Sound Recordings of Events, 1977-2016 (59 linear feet, Boxes 6-65; 317.43 GB, ER03-ER04)
Biographical / Historical:
Established in 1974 and still active in New York, Artists Talk on Art is the art world's longest running and most prolific aesthetic panel discussion series organized by artists for artists. Founded by Lori Antonacci, Douglas I. Sheer, and Robert Wiegand, the forum has presented 6,000 artists in nearly 1,000 documented panels or dialogues. ATOA held its first panel, "Whatever Happened to Public Art," on January 10, 1975 and it drew a "crowd" of 77 people. In the decades that followed, ATOA presented dozens of panels or dialogues a year, tackling such diverse topics as "What is Happening with Conceptual Art," with Louise Lawler and Lawrence Weiner; "Painting and Photography: Defining the Difference," with Sarah Charlesworth, Jack Goldstein, Joseph Kosuth, Barbara Kruger, and Robert Mapplethorpe; "Organizing Arts Activism," with Lucy Lippard; "The Artist and the Epidemic—an information panel about AIDS"; "Cross-generational Views of Feminism"; and hundreds more.
Provenance:
The Artists Talk on Art (ATOA) records, including digital files of the video and sound recordings, were donated to the Archives in 2016 by Douglas Sheer, Chairman of ATOA.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Topic:
Art, American  Search this
Art critics  Search this
Art dealers  Search this
Art historians  Search this
Artists  Search this
Historians  Search this
Genre/Form:
Photographs
Sound recordings
Scrapbooks
Transcripts
Video recordings
Citation:
Artists Talk on Art records, circa 1974-2018. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.artitalk
See more items in:
Artists Talk on Art records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-artitalk
2 Page(s) matching your search term, top most relevant are shown: View entire project in transcription center
  • View Artists Talk on Art records digital asset number 1
  • View Artists Talk on Art records digital asset number 2
Online Media:

Ultra Violet papers

Creator:
Ultra Violet  Search this
Names:
Chamberlain, John, 1927-2011  Search this
Graham, John, 1887-1961  Search this
Johnson, Ray, 1927-1995  Search this
Extent:
1 Reel (ca. 220 items (on partial microfilm reel))
Type:
Collection descriptions
Archival materials
Reels
Date:
1959-1969
Scope and Contents:
Ca. 200 personal letters and notes to Ultra Violet from John Graham, Ray Johnson, and John Chamberlain; a few photographs of Graham and Johnson; a few sketches by each of the three artists; and miscellaneous clippings, magazine articles, and exhibition announcements.
Biographical / Historical:
Actress; New York, N.Y. Born Isabelle Collin DuFresne.
Provenance:
Lent 1970 by Ultra Violet.
Occupation:
Painters -- New York (State) -- New York  Search this
Identifier:
AAA.ultrultr
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-ultrultr

Louis Pomerantz papers

Creator:
Pomerantz, Louis  Search this
Names:
American Institute for Conservation of Historic and Artistic Works  Search this
Art Institute of Chicago  Search this
Eastman Kodak Company  Search this
International Institute for Conservation of Historic and Artistic Works  Search this
Rijksmuseum (Netherlands)  Search this
Smithsonian Institution. Traveling Exhibition Service  Search this
Feller, Robert L.  Search this
Konrad, Anton  Search this
Stolow, Nathan  Search this
Stout, George L. (George Leslie)  Search this
Wilke, Ulfert, 1907-1987  Search this
Extent:
34.2 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Interviews
Illustrations
Sound recordings
Date:
1937-1988
bulk 1950-1988
Summary:
The papers of Chicago art conservator, Louis Pomerantz, measure 34.2 linear feet and date from 1937 to 1988, with the bulk of the material dating from the 1950s-1980s. The papers document two principal aspects of Pomerantz's professional life: his conservation work for institutions and individuals, and the development of his professional expertise as documented through his writings and teachings, his continued conservation training, and his involvement in professional organizations. Files include scattered biographical material, professional correspondence, interviews, writings, project and client files, teaching and reference files, printed material, and photographic material primarily documenting conservation treatments and techniques.
Scope and Contents:
The papers of Chicago art conservator, Louis Pomerantz, measure 34.2 linear feet and date from 1937 to 1988, with the bulk of the material dating from the 1950s-1980s. The papers document two principal aspects of Pomerantz's professional life: his conservation work for institutions and individuals, and the development of his professional expertise as documented through his writings and teachings, his continued conservation training, and his involvement in professional organizations. Files include scattered biographical material, professional correspondence, interviews, writings, project and client files, teaching and reference files, printed material, and photographic material primarily documenting conservation treatments and techniques.

Biographical material includes military and educational records, as well as resumés and references from various art institutions and individuals.

Pomerantz's professional correspondence is with other conservators including Anton J. Konrad, Nathan Stolow, and Jean Volkmer, conservation scientists such as Robert L. Feller, and people who assisted Pomerantz early in his career such as George Stout. Also documented is Pomerantz's relationship with the Smithsonian Institution Traveling Exhibition Service (SITES) which undertook his traveling Know What You See exhibition, his involvement with museums and other art institutions, and companies who developed and manufactured conservation equipment such as Eastman Kodak.

Interviews include circa 9 radio station interviews on sound tape reels and sound cassettes of Pomerantz individually or with others, including a recording of a conversation regarding the Florence flood.

Writings and notes are by Pomerantz and include typescripts, notes and background material for lectures and papers delivered from the 1950s-1980s. Also found is a portfolio of his writings from 1962-1978, and a notebook Pomerantz compiled while working at the Rijksmuseum which includes notes, hand-drawn colored illustrations and photographs of conservation techniques.

Project/client files form the largest series and document Pomerantz's work, both in private practice and as conservator at the Art Institute of Chicago, through conditions reports, recommendations for and records of treatment, related correspondence, financial documentation, and photographic material.

Teaching and reference files comprise material gathered by Pomerantz during participation in professional organizations and events, such as the American Institute for Conservation of Historic and Artistic Works, and the International Institute for Conservation of Historic and Artistic Works. Also found are subject files, consisting of reference material and correspondence, on a wide range of conservation-related subjects.

Personal business records from the 1950s consist of receipts for conservation-related supplies and one folder of business tax records.

Printed material primarily includes news clippings documenting Pomerantz's career up to and including the 1970s, clippings on conservation-related news, blank postcards of artwork, and two exhibition catalogs.

Photographic material includes images demonstrating a wide variety of conservation techniques, including sets of slides used for lectures and presentations, and images of Pomerantz at work. Also found are photos of artists including Ulfert Wilke. Photographic media include black and white and color photos, slides, glass slides, X-rays and corresponding prints, negatives and 5 glass plate negatives.
Arrangement:
The collection is arranged as 9 series. Glass plate negatives are housed separately and closed to researchers.

Series 1: Biographical Material, 1940s-1980s (12 folders; Boxes 1, 33)

Series 2: Correspondence, 1940s-1988 (3.6 linear feet; Boxes 1-4)

Series 3: Interviews, 1961-circa 1970s (8 folders; Box 4)

Series 4: Writings and Notes, 1950s-1980s (2.8 linear feet; Box 7)

Series 5: Project/Client Files, 1950s-1987 (13.8 linear feet; Boxes 7-20)

Series 6: Teaching and Reference Files, 1940s-1980s (3.9 linear feet; Boxes 20-24)

Series 7: Personal Business Records, 1950s (0.6 linear feet; Boxes 24-25)

Series 8: Printed Material, 1937-1970s (0.6 linear feet; Boxes 25, 33)

Series 9: Photographic Material, 1940s-1980s (8.4 linear feet; Boxes 25-36, OV 37, MGP 1)
Biographical / Historical:
Chicago art conservator Louis Pomerantz (1919-1988), established and operated the conservation lab at the Art Institute of Chicago and then maintained a private practice conducting conservation work for individual collectors and various museums and art institutions in the midwest.

Pomerantz had originally intended to be an artist and enrolled at the Art Students League. After serving in World War II, he returned to Europe to study conservation as an apprentice to a private restorer in Paris, followed by a year spent working under the chief restorer at the Rijksmuseum in Amsterdam, and study at the Courtauld Institute and the National Gallery in London. As head of the Art Institute of Chicago's first conservation lab from 1956-1961, Pomerantz employed new and emerging techniques such as powerful binocular microscopes, ultra-violet, infra-red and X-ray machines to study paintings, and a hot table to bond new canvasses to support old ones. Following his resignation from the Art Institute of Chicago to pursue his private practice, Pomerantz organized conservation training programs, and wrote widely on conservation. He served on the American Institute for Conservation of Historic and Artistic Works (AIC) and was a member of the committee which adopted the AIC's first code of ethics for art conservators in May 1967. He became consultant to various art and natural history museums including the Field Museum of Natural History in Chicago, where he formed part of the conservation team that completed an extensive renovation of the museum's Javanese gamelan ensemble composed of 23 brass and wood musical instruments.The gamelan was presented and played for the first time since 1893 in 1978, following the restoration.

Pomerantz also organized several museum exhibitions on conservation, including Know What You See, which was shown at more than 100 museums around the United States, Canada and Mexico, as part of the Smithsonian Institution Traveling Exhibition Service (SITES).
Provenance:
The Louis Pomerantz papers were donated to the Archives of American Art by Else Pomerantz in 1988.
Restrictions:
Use of original papers requires an appointment and is limited to the Washington D.C. research center. Use of audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
The Louis Pomerantz papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Occupation:
Conservators -- Illinois -- Chicago  Search this
Topic:
Flood damage -- Italy -- Florence  Search this
Museum conservation methods -- Study and teaching  Search this
Art -- Conservation and restoration -- Study and teaching  Search this
Art -- Conservation and restoration -- Technique  Search this
Museum conservation methods -- Technique  Search this
Genre/Form:
Photographs
Interviews
Illustrations
Sound recordings
Citation:
Louis Pomerantz papers, 1937-1988, bulk 1950s-1988. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.pomeloui
See more items in:
Louis Pomerantz papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-pomeloui
Online Media:

John D. Graham papers

Creator:
Graham, John, 1887-1961  Search this
Names:
Burliuk, David, 1882-1967  Search this
Davis, Stuart, 1892-1964  Search this
Gilot, Francoise, 1921-  Search this
Gorchov, Ron  Search this
Gorky, Arshile, 1904-1948 -- Photographs  Search this
Kitaj, R. B.  Search this
Mayer, Jack  Search this
Picasso, Pablo, 1881-1973 -- Photographs  Search this
Tobey, Mark  Search this
Ultra Violet  Search this
Extent:
11.2 Linear feet
Type:
Collection descriptions
Archival materials
Sketchbooks
Photographs
Date:
1799-1988
bulk 1890-1961
Summary:
The papers of painter, collector, and writer John Graham measure 11.2 linear feet and date from 1799 to 1988, with the bulk of materials dating from 1890 to 1961. Papers document the life of John Graham, born Ivan Dombrowsky, through personal documents related to military service and family history, passports, artifacts, correspondence, appointment books, financial records, inventories, wills, extensive writings and notes, books, clippings, exhibition catalogs, photographs of Graham and his family and friends, and artwork created and collected by Graham.
Scope and Contents note:
The papers of painter, collector, and writer John Graham measure 11.2 linear feet and date from 1799 to 1988, with the bulk of materials dating from 1890 to 1961. Papers document the life of John Graham, born Ivan Dombrowsky, through personal documents related to military service and family history, passports, artifacts, correspondence, appointment books, financial records, inventories, wills, extensive writings and notes, books, clippings, exhibition catalogs, photographs of Graham and his family and friends, and artwork created and collected by Graham.

Biographical Materials and Artifacts include passports and other official documents, as well as records related to Graham's family, military service, and medical history. Among the artifacts are paint pots and a palette. Correspondence is with art and antique dealers and collectors, and includes significant correspondence and related documents of Jack Mayer, Graham's agent from the late 1950s. Several artists and famous friends are represented in Graham's correspondence including David Burliuk, Stuart Davis, Ultra Violet, Francoise Gilot, R.B. Kitaj, Marc Tobey, and Ron Gorchov.

Personal Business Records contain appointment books spanning 1931 to 1961 which record appointments but were also used as notebooks and sketchbooks. Other Business Records include inventories of Graham's books and antiques made by Graham, records of antique-related transactions, wills of Graham and his last wife, Marianne Strate, and extensive personal financial records from the last few years of his life.

Graham's writings are found scattered throughout the collection, as is his artwork. The Writings series is dominated by Graham's lengthy book projects, found in multiple drafts. The author's annotated published works are also found, as well as typescripts of several published essays by and about Graham. Lists, notes, and writings on a wide range of subjects are found on loose pages and in notebooks dated from 1931 to 1961. Among the Printed Materials are many annotated books from Graham's library, some of which contain drawings, and clippings and exhibition catalogs related to Graham's career going back to the 1920s. Reference files of printed ephemera and clippings collected by Graham are found on a variety of subjects, some of which contain pictorial subjects used in Graham's paintings.

Photographs depict Graham from childhood through his last years in cabinet card portraits, passport photographs, and snapshots. Photographs are also found of his parents, his five wives and four children, and a number of famous friends including Pablo Picasso, Françoise Gilot, their children, and Arshile Gorky. Artwork includes Graham's sketchbooks of 1934, 1960, and 1961, loose sketches, and a collection of file folders with many symbols and illustrations. Also found among the artwork are antique and contemporary prints and drawings collected by Graham.
Arrangement note:
The collection is arranged into 7 series:

Series 1: Biographical Materials and Artifacts, 1799, 1822, 1891-1961 (Boxes 1, 11-12, 17; 0.9 linear feet)

Series 2: Correspondence, circa 1932-1988 (Box 1; 0.6 linear feet)

Series 3: Personal Business Records, circa 1931-1962 (Boxes 1-3; 1.4 linear feet)

Series 4: Writings, 1839, circa 1923-1986 (Boxes 3-5, OV 13; 2.9 linear feet)

Series 5: Printed Materials, circa 1885-1961 (Boxes 6-9, OV 14; 3.7 linear feet)

Series 6: Photographs, circa 1860-1985 (Box 9-10, 17, OV 15; 0.9 linear feet)

Series 7: Artwork, circa 1852-1961 (Box 10, OV 16; 1 linear foot)
Biographical/Historical note:
The Russian émigré painter and writer John Graham, born Ivan Dombrowsky, was born in Kiev in 1886, 1887, or 1888. All three conflicting dates are found on various legal papers, licences, and passports. His parents were of minor nobility but with little means. He attended law school and served in the Circassian Regiment of the Russian army, earned the Saint George's Cross during World War I, and was imprisoned as a counterrevolutionary by the Bolsheviks after the assassination of Czar Nicholas II and his family in 1918. He fled for a time to his mother's native Poland, and finally in 1920, he emigrated with his second wife Vera and their son Nicholas to the United States. He began calling himself John in the US, and had his name officially changed to John Graham upon becoming a United States citizen in 1927. The name Graham may have been a transliteration of his father's name, Gratian. Graham is often described as a quixotic figure who cultivated a larger-than-life persona in the artistic circles of New York in the first half of the twentieth century through his authoritative philosophical and aesthetic arguments on the one hand, and his often fabulous tales of his early life on the other, including a story he wrote of his origins in which he was dropped as an infant onto a rock in the Caspian Sea by an enormous eagle.

In New York, Graham studied at the Art Students League, taking classes with John Sloan, William von Schlegell, and Allen Tucker. Among his fellow students were Dorothy Dehner and David Smith, Adolph Gottlieb, Alexander Calder, and Elinor Gibson, who married Graham in 1924. The couple lived briefly in Elinor's native Baltimore, Maryland, where he met Etta and Claribel Cone, collectors of modern European paintings. It may have been the Cone sisters who introduced Graham to their circle of avant-garde artists and art collectors in Paris in the late 1920s. Whatever its origin, Graham's early style has been compared to Cezanne, Braque, Derain, and Chirico, and his frequent trips to Europe made him a conduit for current art ideas and trends for the American artists who knew him.

Graham exhibited his paintings steadily in the late 1920s and early 1930s, including shows at the Society of Independent Arists (New York) in 1925, the Modernist Galleries (Baltimore) in 1926, Galerie Zaborowski (Paris) in 1928 and 1929, at Dudensing Galleries (New York) and Phillips Memorial Gallery (Washington) in 1929, the First Biennial at the Whitney Museum in 1932, and at 8th Street Gallery (New York) in 1933. During this period Graham and his wife Elinor lived in Paris, New York City, New Jersey, and upstate New York. He spent a year teaching at Wells College in Aurora, New York, where he also executed a series of wall panels in 1932. Graham's friendships with other artists during this period included Arshile Gorky, Stuart Davis, and Willem de Kooning. De Kooning is said to have called Davis, Gorky, and Graham the "three smartest guys on the scene."

Graham's European travels also enabled him to earn a living by buying primitive sculpture and antiques for collectors and dealers. In the 1930s he bought African Art for Vanity Fair editor and art collector Frank Crowninshield, and in 1936, Graham arranged an exhibition of Crowninshield's collection at Jacques Seligmann gallery. Graham and Elinor Gibson divorced in 1934 and he married Constance Wellman in Paris in 1936. They lived in Brooklyn Heights near Adolph Gottlieb, David Smith, and Dorothy Dehner, and worked for Hilla Rebay in her formation of the Museum of Non-Objective Painting, which became the Guggenheim Museum. Suffering financial hardship in the late years of the Depression, Constance and Graham lived in Mexico for several stretches of time, and Graham published several articles on Mexico and Mexican Art, and an essay entitled "Primitive Art and Picasso" in Magazine of Art.

Graham was a prolific writer, but only a few of his written works found their way into print. Aside from his essays, published works include a small book of poetry, Have It!, published in 1923, and a book which presented Graham's personal theories of art entitled System and Dialectics of Art, published in 1937 by Delphic Studios, an eclectic New York gallery and small press run by Alma Reed. The book was influential for a younger generation of American artists; Jackson Pollock and Lee Krasner in particular both expressed appreciation for Graham's ideas. For decades, Graham worked on several other major written works which were not published, including a highly stylized, symbolist work about his childhood and an encyclopedic collection of short, didactic essays on a wide range Grahamiam themes, a work which Graham usually referred to as Orifizio Mundi.

In 1942, Graham organized the exhibition "French and American Painters" at McMillen Gallery (New York) which showed Modigliani, Picasso, Braque, Rouault, and Matisse, alongside the Americans Jackson Pollock, Willem de Kooning, Lee Krasner, Stuart Davis, David Burliuk, and Walt Kuhn, among others. The show was well-received critically and, as it was Jackson Pollock's first public exhibition and Willem de Kooning's second, and the occasion of Pollock and Lee Krasner's meeting, could be considered a watershed event in contemporary American art.

Graham's own style made a pronounced shift away from abstraction in the 1940s. He began referencing renaissance art in his paintings, incorporating occult symbols, and signing them "Ioannus Magus," or "Ioannus San Germanus." His marriage to Constance ended acrimoniously around this time. He met Marianne Strate, a bookbinder, through her daughter Ileana Sonnabend and son-in-law Leo Castelli. They lived in Southampton, New York, where Graham was close to the Castellis, Paul Brach, Miriam Schapiro, and where he renewed his friendship with Willem de Kooning, who had a studio in Castelli's East Hampton home in the early 1950s. Marianne died in 1955.

Graham exhibited at the Stable Gallery in 1954, and at the newly-opened, uptown Whitney Museum of American Art in 1955. Jack Mayer became Graham's dealer in the late 1950s, held exhibitions at his Madison Avenue gallery, Gallery Mayer, in 1960, and arranged for an exhibition at the Tennessee Fine Arts Center in 1961, shortly before Graham's death. Graham left the United States for the last time in 1959, lived in Paris for two years, and died in June 1961 in a hospital in London. Gallery Mayer held a memorial exhibition at the end of 1961. Retrospective exhibitions of Graham's work have been held at the Art Institute of Chicago (1963), the Museum of Modern Art (1968), the Museum of Fine Arts, Houston (1969), and the Phillips Collection (1987).
Separated Materials note:
The Archives of American Art also holds microfilm of material lent for microfilming (reel 5049) including six volumes of notebooks and several loose sketches. Loaned materials were returned to MoMA and are not described in the collection container inventory.
Provenance:
The papers of John Graham were given to the Archives of American Art in five separate accessions between 1985 and 1988. The bulk of papers were donated by Graham's son, John David Graham, in 1985, with later additions from Patricia Graham, the widow of John David Graham, in 1986, 1987, and 1988, via the Andre Emmerich Gallery, Inc. The Department of Prints and Drawings of the Museum of Modern Art donated more papers and loaned additional materials for microfilming in 1986.
Restrictions:
The collection has been digitized and is available online via the Archives of American Art website.
Rights:
The John Graham papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Art -- Collectors and collecting  Search this
Painting, Modern -- 20th century -- New York (State) -- New York  Search this
Artists as authors -- New York (State) -- New York  Search this
World War, 1914-1918  Search this
Authors -- New York (State) -- New York  Search this
Works of art  Search this
Antiques  Search this
Painters -- New York (State) -- New York  Search this
Genre/Form:
Sketchbooks
Photographs
Citation:
John Graham Papers, 1799-1988. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.grahjohn
See more items in:
John D. Graham papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-grahjohn
Online Media:

Absorption of ultra-violet rays,

Collection Creator:
Boyden, Uriah A. (Uriah Atherton), 1804-1879  Search this
Francis, Joseph Sidney  Search this
Schultze, Bernhard  Search this
Container:
Box 11, Folder 1
Type:
Archival materials
Text
Date:
1879 June 2
Collection Restrictions:
The collection is open for research use.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rules may apply. Reproduction permission from Archives Center: reproduction fees may apply.
Collection Citation:
Uriah A. Boyden Papers, 1806-1879, Archives Center, National Museum of American History
See more items in:
Uriah A. Boyden Papers
Uriah A. Boyden Papers / Series 4: Notes and Papers
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-0982-ref343

"Tantalus" Synchrotron Radiation Source Collection

Creator:
Tantalus Project  Search this
Interviewee:
Rowe, Ednor "Ed"  Search this
Pruett, Charles  Search this
Olson, Cliff  Search this
Otte, Roger  Search this
Brown, Fred  Search this
Names:
Synchrotron Radiation Center  Search this
University of Wisconsin--Madison  Search this
Extent:
3.5 Cubic feet (11 boxes)
Type:
Collection descriptions
Archival materials
Notebooks
Videotapes
Date:
1940-1995
Scope and Contents:
The collection consists primarily of notebooks, manuals, and other data and operational logbooks documenting the creation, building, and maintenance of Tantalus, and the experiments performed on the machine. Tantalus was the first dedicated synchrotron radiation laboratory and source. Series 5 and Series 6 include oral and video histories with Ednor Rowe, Fred Brown, Cliff Olson, Charles Pruett, and Roger Otte.
Arrangement:
The collection is divided into six series.

Series 1, Notebooks and Logbooks, 1940-1986

Series 2, Data and Operational Logbooks, 1965-1995

Series 3, User Beam Schedule Sheets, 1968-1986

Series 4, Storage Ring Blueprints, 1966-1972

Series 5, Video Histories, 1995

Series 6, Oral History Cassettes, 1995
Biographical / Historical:
At the University of Wisconsin during 1965-1967, a team led by particle physicist Ednor Rowe built a machine designed to analyze what goes on inside high-energy particle accelerators. This was the big, exciting technology in physics at the time. But just as the apparatus neared completion, funding was cut off. Its creators, feeling teased by fate and their government backers, dubbed the machine "Tantalus."

Rowe knew, though, that a by-product of Tantalus's operation was intense "synchrotron radiation," a form of ultra violet light that is used to study the structure of matter. He quickly adapted the machine to make this radiation available for use and soon the facility was crowded with experimenters from all over the world. Tantalus not only pioneered the use of synchrotron radiation, but created a research facility where both scientists and graduate students could perform hands-on work.

Researchers shared information and the results of their experiments in a collegial environment. There was no "King of the Ring" among these goal-oriented scientists. Those working at the Synchrotron Radiation Center always sought ways to improve upon Tantalus, with the result that Tantalus remained an important research tool until 1987, when it was retired and replaced by a newer machine, "Aladdin."
Related Materials:
The Division of Information, Technology, and Society (now the Division of Medicine and Science) collected part of the Tantalus synchrotron radiation ring. See accession 1997.0078.
Provenance:
The collection was donated by Ednor M. Rowe, Associate Director for Accelerator Development, Synchrotron Radiation Center, University of Wisconsin on November 20, 1995.
Restrictions:
The 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.
Topic:
Physics -- Experiments -- 1940-2000  Search this
Synchrotron radiation  Search this
Physicists -- 1940-2000  Search this
Laboratories -- 1940-2000  Search this
Radiation -- 1960-1990  Search this
Genre/Form:
Notebooks
Videotapes
Citation:
"Tantalus" Synchrotron Radiation Source Collection, 1940-1995, Archives Center, National Museum of American History, Smithsonian Institution.
Identifier:
NMAH.AC.0532
See more items in:
"Tantalus" Synchrotron Radiation Source Collection
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-0532

George Carruthers Innovative Lives Presentation

Creator:
Jerome and Dorothy Lemelson Center for the Study of Invention and Innovation.  Search this
Carruthers, George R.  Search this
Names:
Naval Research Laboratory (U.S.)  Search this
Extent:
0.25 Cubic feet
Type:
Collection descriptions
Archival materials
Lectures
Videotapes
Slides
Date:
1996-02-22
Summary:
This video history consists of original, master and reference videos documenting a children's lecture program by George R. Carruthers, a physicist and inventor. Carruthers invented the Far Ultra-Violet Camera (FUVCAM).
Scope and Contents note:
This collection contains original, master, and reference videos documenting Dr. George Carruthers. Dr. Carruthers discusses his invention, the Far Ultra-Violet Camera (FUVCAM), as well his background, and experience working with the space program.
Arrangement:
Divided into 3 series: 1) Original Videos; 2) Master Videos; 3) Reference Videos.
Biographical / Historical:
Dr. George Carruthers was born in 1939 and grew up in Milford, Ohio and Chicago's South Side. Carruthers received his B.S. in Physics from the University of Illinois in 1961, M.S. Physics in 1962, and his Ph.D in aeronautical and astronomical engineering in 1964. After receiving his Ph.D in 1964, Carruthers joined the Naval Research Laboratory (NRL), Space Science Division where he is now Senior Astrophysicist. Along with William Conway, another scientist, Carruthers developed the lunar surface ultraviolet camera and spectrograph used on the moon by Apollo 16 in 1972. The camera was used to take ultraviolet pictures of the Earth during the Apollo 16 space mission. It was the first camera to take pictures of the upper levels of the earth's atmosphere and to show that hydrogen exists in outer space.
Provenance:
This videohistory was created by the Innovative Lives Program of The Jerome and Dorothy Lemelson Center for the Study of Invention and Innovation on February 22, 1996. The Innovative Lives series brings young people and American inventors together to discuss inventions and the creative process and to experiment and play with hands-on activities related to each inventor's product.
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.
Topic:
Space photography  Search this
Physics -- 20th century  Search this
Inventions -- 20th century  Search this
Inventors -- 20th century  Search this
Cameras -- 20th century  Search this
Engineering -- 20th century  Search this
Astronomy -- 20th century  Search this
Astrophysics -- 20th century  Search this
Astronautics in astronomy -- 20th century  Search this
Astronomical photography -- 20th century  Search this
Aeronautics -- 20th century  Search this
Astronautical instruments -- 20th century  Search this
Ultraviolet spectrometry  Search this
Spectrography -- 20th century  Search this
Photographs  Search this
Genre/Form:
Lectures -- 1990-2000
Videotapes -- 1990-2000
Slides
Citation:
George Carruthers Innovative Lives Presentation, February 22, 1996, Archives Center, National Museum of American History.
Identifier:
NMAH.AC.0597
See more items in:
George Carruthers Innovative Lives Presentation
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-0597

Health-Master Ultra Violet Ray Carbon Arc Lamp

Measurements:
overall: 18 1/4 in x 7 3/16 in x 6 1/2 in; 46.355 cm x 18.288 cm x 16.51 cm
Object Name:
Generator, Electrocarbon
Credit Line:
Mr. Samuel Shapiro
ID Number:
MG.M-14626
Catalog number:
M-14626
Accession number:
298978
See more items in:
Medicine and Science: Medicine
Data Source:
National Museum of American History
GUID:
http://n2t.net/ark:/65665/ng49ca746a5-7680-704b-e053-15f76fa0b4fa
EDAN-URL:
edanmdm:nmah_723436
Online Media:

Objective Lenses (2)

Maker:
Brashear, John A.  Search this
Measurements:
overall: 4 3/4 in x 5 3/4 in x 4 1/4 in; 12.065 cm x 14.605 cm x 10.795 cm
overall in box: 4 7/8 in x 5 5/8 in x 4 1/8 in; 12.3825 cm x 14.2875 cm x 10.4775 cm
Object Name:
two quartz telescope objectives
Place made:
United States: Pennsylvania, Pittsburgh
Date made:
1900
Subject:
Science & Scientific Instruments  Search this
ID Number:
2005.3085.14
Catalog number:
2005.3085.14
Nonaccession number:
2005.3085
See more items in:
Medicine and Science: Physical Sciences
Data Source:
National Museum of American History
GUID:
http://n2t.net/ark:/65665/ng49ca746ab-b446-704b-e053-15f76fa0b4fa
EDAN-URL:
edanmdm:nmah_1293493
Online Media:

Spectrophotometer

Maker:
Beckman Instruments  Search this
Physical Description:
metal (overall material)
Measurements:
overall: 9 1/4 in x 23 1/2 in x 14 1/2 in; 23.495 cm x 59.69 cm x 36.83 cm
overall: 9 3/16 in x 23 3/8 in x 14 3/8 in; 23.33625 cm x 59.3725 cm x 36.5125 cm
Object Name:
grating spectrophotometer
Date made:
1967
ID Number:
2005.0130.01
Accession number:
2005.0130
Catalog number:
2005.0130.01
See more items in:
Medicine and Science: Chemistry
Data Source:
National Museum of American History
GUID:
http://n2t.net/ark:/65665/ng49ca746b2-c4fb-704b-e053-15f76fa0b4fa
EDAN-URL:
edanmdm:nmah_1760828

Phyllis Diller’s Gag File

Manufacturer:
Art Steel Company, Inc.  Search this
Maker:
Diller, Phyllis  Search this
Art Steel Company, Inc.  Search this
Physical Description:
steel (overall material)
paper (overall material)
ink (overall material)
adhesive (overall material)
Measurements:
overall: 48 in x 40 in x 17 1/4 in; 121.92 cm x 101.6 cm x 43.815 cm
Object Name:
file
Place made:
United States: New York, New York City
Date made:
ca 1962 - 1994
Subject:
Humor  Search this
Comedians  Search this
Credit Line:
Gift of Phyllis Diller
ID Number:
2003.0289.01.01
Accession number:
2003.0289
Catalog number:
2003.0289.01.01
See more items in:
Cultural and Community Life: Entertainment
Popular Entertainment
Phyllis Diller
Data Source:
National Museum of American History
GUID:
http://n2t.net/ark:/65665/ng49ca746ab-40b6-704b-e053-15f76fa0b4fa
EDAN-URL:
edanmdm:nmah_1218385
1 Page(s) matching your search term, top most relevant are shown: View entire project in transcription center
  • View Phyllis Diller’s Gag File digital asset number 1

Mercury Vapor Sunlamp

Maker:
General Electric  Search this
Physical Description:
mercury (overall material)
Measurements:
lamp: 7 in x 5 in; 17.78 cm x 12.7 cm
package: 7 1/8 in x 5 1/8 in x 5 1/8 in; 18.0975 cm x 13.0175 cm x 13.0175 cm
Object Name:
discharge lamp
Place made:
United States: Ohio, Cleveland
Date made:
ca 1950
Credit Line:
from the Mt. Vernon Museum of Incandescent Lighting, thru Hugh F. Hicks
ID Number:
1997.0387.24
Accession number:
1997.0387
Catalog number:
1997.0387.24
See more items in:
Work and Industry: Electricity
Electric Lamps
Energy & Power
Data Source:
National Museum of American History
GUID:
http://n2t.net/ark:/65665/ng49ca746a5-a8db-704b-e053-15f76fa0b4fa
EDAN-URL:
edanmdm:nmah_751248
Online Media:

Spectrophotometer

Maker:
National Technical Laboratories  Search this
Measurements:
overall: 22 cm x 81 cm x 28 cm; 8 11/16 in x 31 7/8 in x 11 in
overall: 8 13/16 in x 31 15/16 in x 10 1/4 in; 22.38375 cm x 81.12125 cm x 26.035 cm
Object Name:
Spectrometer
Place made:
United States: California, Pasadena
Date made:
1940s
Credit Line:
Gift of Beckman Instruments
ID Number:
1981.0816.1
Catalog number:
1981.0816.1
Accession number:
1981.0816
See more items in:
Medicine and Science: Chemistry
Data Source:
National Museum of American History
GUID:
http://n2t.net/ark:/65665/ng49ca746a0-edc0-704b-e053-15f76fa0b4fa
EDAN-URL:
edanmdm:nmah_517

Spectrophotometer

Maker:
National Technical Laboratories  Search this
Measurements:
overall: 22 cm x 77 cm x 26 cm; 8 11/16 in x 30 5/16 in x 10 1/4 in
overall: 8 1/2 in x 30 1/4 in x 8 7/8 in; 21.59 cm x 76.835 cm x 22.5425 cm
Object Name:
Spectrophotometer
Place made:
United States: California, Pasadena
Credit Line:
Gift of Willson Products, INCO Division
ID Number:
1981.0420.1
Catalog number:
1981.0420.01
Accession number:
1981.0420
See more items in:
Medicine and Science: Chemistry
Data Source:
National Museum of American History
GUID:
http://n2t.net/ark:/65665/ng49ca746b3-6cd6-704b-e053-15f76fa0b4fa
EDAN-URL:
edanmdm:nmah_378

Beckman DU Spectrophotometer

Physical Description:
steel (overall material)
Measurements:
overall: 22.6 cm x 83 cm x 27.4 cm; 8 7/8 in x 32 11/16 in x 10 13/16 in
overall: 8 7/8 in x 32 in x 9 3/8 in; 22.5425 cm x 81.28 cm x 23.8125 cm
Object Name:
spectrophotometer
Credit Line:
Transfer from NIH
ID Number:
1981.0535.06
Catalog number:
1981.0535.06
Accession number:
1981.0535
Serial number:
42175
See more items in:
Medicine and Science: Chemistry
Science & Mathematics
Data Source:
National Museum of American History
GUID:
http://n2t.net/ark:/65665/ng49ca746a0-ecd9-704b-e053-15f76fa0b4fa
EDAN-URL:
edanmdm:nmah_399
Online Media:

Modify Your Search







or


Narrow By