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Mortar Ffuse

Measurements:
overall: 80 mm x 48 mm; 3 1/8 in x 1 7/8 in
overall: 3 1/4 in x 1 3/4 in; 8.255 cm x 4.445 cm
Object Name:
Fuse for M-52 Trench Mortar
fuse
Mortar Fuse
mortar fuse
Mortar Ffuse
Associated Place:
United States: New Jersey
Date made:
1941-1945
W.W. II
Related event:
World War II  Search this
Credit Line:
Gift of Union Carbide Corporation
ID Number:
1981.0976.32
Catalog number:
1981.0976.32
Accession number:
1981.0976
See more items in:
Medicine and Science: Chemistry
Data Source:
National Museum of American History
GUID:
http://n2t.net/ark:/65665/ng49ca746a0-eaa3-704b-e053-15f76fa0b4fa
EDAN-URL:
edanmdm:nmah_253
Online Media:

Merchant Marine/Navy World War Two Oral History and Memorabilia Collection

Creator:
Porter, John C.  Search this
Collector:
Armed Forces History, Division of (NMAH, SI).  Search this
Navarre, Jack B., 1925- (merchant seaman)  Search this
Armed Forces History, Division of (NMAH, SI).  Search this
Names:
San Mateo Coast Guard Station  Search this
United States. Merchant Marine  Search this
Extent:
0.5 Cubic feet (3 boxes)
Container:
Box 1
Type:
Collection descriptions
Archival materials
Newspapers
Oral history
Scrapbooks
Identity cards
Menus
Correspondence
Military passes
Photographs
Diaries
Passports
Place:
San Mateo (Calif.)
Date:
1943-1946
Summary:
The collection documents individuals who served in the Merchant Marine's and Navy between 1943 and 1946.
Scope and Contents:
This collection consists of primarily of reminscenes of reminiscences with individuals who served n the Merchant Marine and Navy.
Provenance:
Collection donated by Delia Porter, date unknown, and Jack B. Navarre, August 24, 1990.
Restrictions:
Collection is open for research.
Rights:
Some material in collection probably under copyright.
Topic:
World War, 1939-1945 -- Merchant Marine  Search this
Ships -- Manning  Search this
Merchant Marine -- Manning of vessels -- United States  Search this
Merchant Marine -- United States  Search this
Seamen -- 1940-1950  Search this
Merchant seamen  Search this
World War, 1939-1945 -- Naval operations  Search this
World War, 1939-1945 -- Campaigns -- Pacific Ocean  Search this
Marine engineers  Search this
Genre/Form:
Newspapers -- Ships -- 1940-1950
Oral history -- 1940-1950
Scrapbooks -- 1900-1950
Identity cards -- 1940-1950
Menus -- Ships -- 1940-1950
Correspondence -- 1940-1950
Military passes -- Ships -- 1940-1950
Photographs -- Black-and-white photoprints -- Silver gelatin -- 1940-1950
Diaries -- 20th century
Passports
Citation:
Merchant Marine/Navy World War Two Oral History and Memorabilia Collection, 405, Archives Center, National Museum of American History.
Identifier:
NMAH.AC.0405
See more items in:
Merchant Marine/Navy World War Two Oral History and Memorabilia Collection
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-0405

Milking Shorthorn Journal, August 1942 [reproduction photograph on magazine cover]

Creator:
Milking Shorthorn Journal  Search this
Collection Creator:
Claussen, Pete  Search this
Extent:
1 Item (Ink on paper., 11" x 8.5".)
Type:
Archival materials
Photographs
Date:
1942
Scope and Contents:
Magazine cover includes an American flag in color juxtaposed with a reproduction of a black-and-white photograph of a bull with a ring in its nose; photographer unidentified.
Local Numbers:
AC0860-0000003.tif (AC Scan)
General:
In Box 8, Folder 6.
Collection Restrictions:
The collection is open for research use.

Physical Access: Researchers must handle unprotected photographs with gloves.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Reproduction permission from Archives Center: fees for commercial use.
Topic:
World War, 1939-1945 -- United States  Search this
Patriotism  Search this
Milking  Search this
Flags -- United States  Search this
Dairy cattle  Search this
Cattle  Search this
Periodicals  Search this
Genre/Form:
Photographs -- 1940-1950 -- Reproductions
Collection Citation:
Pete Claussen Collection of American Flag Magazine Covers, Archives Center, National Museum of American History
See more items in:
Pete Claussen Collection of American Flag Magazine Covers
Pete Claussen Collection of American Flag Magazine Covers / Series 1: Magazine Covers / Milking Shorthorn Journal, 1942 August
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-0860-ref1169

Pictorial Review of June 28, 1942 [black-and-white reproduction of photograph]

Publisher:
Boston Sunday Advertiser  Search this
Collection Creator:
Claussen, Pete  Search this
Extent:
1 Item (15.25" x 11.5".)
Type:
Archival materials
Periodicals
Date:
1942
Scope and Contents:
Image of soldier saluting the American Flag; photographer unidentified.
Local Numbers:
AC0860-0000013.tif (AC Scan)
General:
In Box 19, Folder 10.
Restrictions:
Unrestricted research use on site by appointment. Photographs must be handled with cotton gloves unless protected by sleeves.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Reproduction permission from Archives Center: fees for commercial use.
Topic:
Flags -- United States  Search this
World War, 1939-1945 -- United States  Search this
Patriotism  Search this
Genre/Form:
Periodicals -- 1940-1950
Collection Citation:
Pete Claussen Collection of American Flag Magazine Covers, Archives Center, National Museum of American History
See more items in:
Pete Claussen Collection of American Flag Magazine Covers
Pete Claussen Collection of American Flag Magazine Covers / Series 1: Magazine Covers / Pictorial Review, 1942 June
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-0860-ref1170

[World War II conscientious objectors in front of their tents near Markleeville, California, July 1943 : black and white photoprint]

Collector:
Torrence, Vernon Keith, 1921-1946  Search this
Collection Creator:
Donnald, Morrill  Search this
Torrence, Vernon Keith, 1921-1946  Search this
Kansas Wesleyan University  Search this
United States. Federal Bureau of Investigation  Search this
Extent:
1 Item (4.3" x 2.5".)
Type:
Archival materials
Photographs
Date:
1943
Scope and Contents:
Vernon Torrence is second from left; photographer unidentified.
Local Numbers:
01071701.tif (AC Scan)
General:
In Box 1, Folder 4.
Restrictions:
Unrestricted research use on site by appointment. Photographs must be handled with cotton gloves unless protected by sleeves.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
World War, 1939-1945 -- Conscientious objectors  Search this
Conscientious objectors -- World War, 1939-1945  Search this
Genre/Form:
Photographs -- 1940-1950 -- Black-and-white photoprints -- Silver gelatin
Collection Citation:
Vernon Torrence Collection, 1930-1957, Archives Center, National Museum of American History.
See more items in:
Vernon Torrence Collection
Vernon Torrence Collection / Photographs
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-0717-ref520

Chaim and Dorothy Koppelman papers

Creator:
Koppelman, Chaim, 1920-2009  Search this
Names:
American Federation of Arts  Search this
Associated American Artists  Search this
Audubon Artists (New York, N.Y.)  Search this
DeCordova and Dana Museum and Park  Search this
Pratt Graphics Center  Search this
Print Council of America  Search this
School of Visual Arts (New York, N.Y.)  Search this
Solomon R. Guggenheim Foundation  Search this
Terrain Gallery  Search this
Anuszkiewicz, Richard  Search this
Dienes, Sari  Search this
Herz, Nat, 1920-1964  Search this
Kandinsky, Wassily, 1866-1944  Search this
Koppelman, Dorothy  Search this
Kranz, Sheldon  Search this
Lichtenstein, Roy, 1923-1997  Search this
Ozenfant, Amédée, 1886-1966  Search this
Picasso, Pablo, 1881-1973  Search this
Pond, Clayton, 1941-  Search this
Rebay, Hilla, 1890-1967  Search this
Siegel, Eli, 1902-  Search this
Stamos, Theodoros, 1922-1997  Search this
Extent:
4 Linear feet
Type:
Collection descriptions
Archival materials
Illustrated letters
Sketchbooks
Photographs
Sound recordings
Scrapbooks
Sketches
Date:
circa 1930s-2006
bulk 1942-2005
Summary:
The papers of Chaim and Dorothy Koppelman measure 4.0 linear feet and date from circa 1930s-2006, bulk 1942-2005. The collection documents the activities of Chaim Koppelman and his wife, Dorothy Koppelman, as artists and educators, and their affiliation with the Terrain Gallery and the Aesthetic Realism Foundation. Materials include biographical material, correspondence, writings and notes, subject files, teaching files, exhibition files, personal business records, scrapbooks, printed material, sketches, sketchbooks, and photographs.
Scope and Content Note:
The papers of Chaim and Dorothy Koppelman measure 4.0 linear feet and date from circa 1930s-2006, bulk 1942-2005. The collection documents the activities of Chaim Koppelman and his wife, Dorothy Koppelman, as artists and educators, and their affiliation with the Terrain Gallery and the Aesthetic Realism Foundation. Materials include biographical material, correspondence, writings and notes, subject files, teaching files, exhibition files, personal business records, scrapbooks, printed material, sketches, sketchbooks, and photographs.

Scattered biographical material includes resumes, artist's statements, copies of entries in Who's Who directories, and miscellaneous items.

Correspondence includes personal correspondence and general correspondence. Personal correspondence mostly consists of Chaim Koppelman's letters written to Dorothy while he was serving in the U.S. Army during World War II. He describes his daily activities, observations on army life, and his travels while stationed in England, France, and Germany. Of interest is Chaim Koppelman's letter to Dorothy describing his meeting Picasso and visiting the artist's studio. Personal correspondence also includes Chaim and Dorothy Koppelman's letters with family and friends. Notable correspondents include Sari Dienes, Nat Herz, Sheldon Kranz, Amédée Ozenfant, Hilla Rebay, and Theodoros Stamos. Hilla Rebay's letters to Chaim Koppelman discuss museum-related activities at the Solomon R. Guggenheim Foundation, including the Guggenheim's memorial exhibition for Wassily Kandinsky. There is also a file of letters from Eli Siegel to Chaim Koppelman. General correspondence includes mostly incoming letters to Chaim Koppelman from collectors, colleagues, students, and arts institutions. Frequent correspondents include: Associated American Artists, American Federation of the Arts, Audubon Artists, DeCordova and Dana Museum and Park, Pratt Graphics Center and Print Council of America.

Writings and notes contain annotated typescripts and handwritten drafts by Chaim and Dorothy Koppelman. Chaim Koppelman's writings include essays and talks on art, artists, and printmaking based on Aesthetic Realism; also found are some poems. Dorothy Koppelman's writings consist of artist's statements and essay-length pieces that were prepared for Aesthetic Realism talks on the work and lives of artists, held at the Terrain Gallery of the Aesthetic Realism Foundation and other venues. Also found is a sound recording of Chaim Koppelman's 1968 conversation with Richard Anuszkiewicz, Roy Lichtenstein, and Clayton Pond; the artists discuss the influence of the Siegel Theory of Opposites on their work.

Subject files document the activities, projects, and professional affiliations of Chaim and Dorothy Koppelman. Included are materials on exhibitions, applications for fellowships and grants, awards, drafts of writings, donations and acquisitions of artwork by museums. Teaching files provide an overview of the faculty positions held by Chaim and Dorothy Koppelman over the course of their careers. Found are extensive files on Chaim Koppelman's tenure at the School of Visual Arts. Exhibition files chronicle the Koppelmans' solo and group shows at the Terrain and other venues; substantive files contain Chaim Koppelman's correspondence with museums and arts institutions and sales information.

Two scrapbooks contain exhibition-related materials, such as artists' statements, press releases, awards, printed material, and photographs of artwork. Artwork includes sketches and illustrated letters by Chaim Koppelman. There are twenty annotated sketchbooks by Chaim Koppelman and a sketchbook by Dorothy Koppelman. Photographs and snapshots are of Chaim and Dorothy Koppelman; many of the snapshots of Chaim Koppelman and others document his army service while stationed in the United States and Europe. Four photograph albums include black and white photographs of Chaim and Dorothy Koppelman in their studio; included are snapshots of the Koppelmans with family and friends at exhibition openings, gatherings, and on their travels. There are photographs of Regina Dienes, Gerson Lieber, Bernard Olshan, Joseph Solman, and Theodoros Stamos.
Arrangement:
The collection is arranged as 12 series:

Series 1: Biographical Material, 1940-2001 (Box 1; 0.1 linear feet)

Series 2: Correspondence, 1942-2003 (Box 1; 0.6 linear feet)

Series 3: Writings and Notes, 1930s-1989, 2005 (Box 1; 0.2 linear feet)

Series 4: Subject Files, 1942-2004 (Boxes 1-2; 0.8 linear feet)

Series 5: Teaching Files, 1940s-2006 (Box 2; 0.4 linear feet)

Series 6: Exhibition Files, 1940s-2005 (Boxes 2-3; 0.6 linear feet)

Series 7: Personal Business Records, 1944-1969 (Box 3; 3 folders)

Series 8: Scrapbooks, 1942-2003 (Box 3; 2 folders)

Series 9: Printed Material, 1937-1971, 2004 (Box 3; 0.25 linear feet)

Series 10: Artwork, 1933-1949, 1980-2000 (Box 3; 3 folders)

Series 11: Sketchbooks, 1944-2005 (Boxes 3-4; 0.8 linear feet)

Series 12: Photographs, 1930-circa 2004 (Box 4; 0.25 linear feet)
Biographical Note:
Chaim Koppelman (1920-2009) lived and worked in New York as a printmaker, educator, and Aesthetic Realism consultant. Painter, gallery director, Aesthetic Realism consultant, and educator Dorothy Koppelman (1920-) resides and works in New York City.

Chaim Koppelman was born in Brooklyn in 1920. Koppelman studied at the American Artists School with Carl Holty and at the Art Students League with Jose De Creeft and Will Barnet. Simultaneously, he began to study in classes taught by Eli Siegel, critic, poet, and founder of the philosophy Aesthetic Realism. In 1942, Koppelman was drafted in the U.S. Army. Before going overseas in 1943, he married Dorothy Myers. In the army, Koppelman continued his studies in painting and sculpture, where he attended the Art College in Western England, Bristol, and the Beaux Arts School in Reims, France. Chaim Koppelman took part in the Normandy invasion and was awarded the Bronze Star for his service.

After Koppelman returned to New York in 1944, he studied at the Amédée Ozenfant School, where he eventually became Ozenfant's assistant. Around this time, Koppelman turned from painting and sculpture to printmaking. In 1955, Chaim Koppelman, his wife, Dorothy, and other artists and poets studying Aesthetic Realism established the Terrain Gallery. For many years, Koppelman was the head of the gallery's Print Division and then later became an advisory director.

Chaim Koppelman held a number of teaching positions in universities and arts institutions. He lectured at Brooklyn College, the Art Education Department from 1950-1960. In 1959, Koppelman founded the Printmaking Division at the School of Visual Arts, where he served on the school's faculty until 2007. At the Aesthetic Realism Foundation, he taught artists how to relate their artwork and their everyday lives. He wrote: "After having tested his aesthetic concepts in literally thousands of works of different periods, in different styles, in different media, I say that Eli Siegel's Theory of Opposites is the key to what is good or beautiful in art….When Eli Siegel showed that what makes a work of art beautiful—the oneness of opposites—is the same as what every individual wants, it was one of the mightiest and kindest achievements of man's mind."

Among the awards Chaim Koppelman received were: two Tiffany Grants, 1956, 1959; New York Artists Equity Annual Awards Honoring Will Barnet, Robert Blackburn, Chaim Koppelman, 1992; and the Purchase Prize, Art Students League in 2005. Koppelman was a member of the National Academy and a member of the Society of American Graphic Artists (SAGA). In 2004, SAGA presented him with the Lifetime Achievement Award. In addition to his solo and group exhibitions at the Terrain Gallery, Chaim Koppelman's work was featured at the Beatrice Conde Gallery, International Print Center (New York), Library of Congress, and Minneapolis Institute of Arts. His prints are in the collections of the Guggenheim Museum, Museum of Modern Art (New York), Metropolitan Museum of Art, Victoria and Albert Museum in London, and the National Gallery.

In December 2009, Koppelman died at age 89 in New York City.

Born in 1920, Dorothy Koppelman attended Brooklyn College, the Art Students League, and American Artists School where she trained under Joseph Solman. During this time, she began to study poetry, and the relation of art and the self in classes with Eli Siegel, the founder of Aesthetic Realism.

Dorothy Koppelman has had a number of solo and group exhibitions at the Terrain Gallery. She has also shown her paintings at the Atlantic Gallery, Art Gallery of Binghamton, New York, Beatrice Conde Gallery, the Broome Street Gallery, and at MoMA, Brooklyn Museum, Newark Museum, the Whitney Biennial 2006 Peace Tower, the National Academy, and the Butler Art Institute.

Dorothy Koppelman has served on the faculty at several arts institutions: the National Academy, Brooklyn College School of Education, and the School of Visual Arts. She has given presentations on Aesthetic Realism at the Fondazione Piero della Francesa in Italy, and with Carrie Wilson at the 31st World Congress of the International Society for Education through Art (InSEA). On August 16, 2002, in a talk given on Eli Siegel Day in Baltimore, she said, "Eli Siegel explained the true meaning of art for our lives. No one—no scholar, no artist, no person—in all the centuries ever saw this before: that we can learn about ourselves from the very technique of art!...He showed that far from being in a separate world, art has the answer to the trouble in this one."

She is a member of several professional organizations including the American Society of Contemporary Artists and New York Artists Equity. She has received an Honorable Mention from the Brooklyn Society of Artists, 1957; a Tiffany Grant for painting, 1965; and awards from the American Society of Contemporary Artists, 1996, 1999. Dorothy Koppelman's work has been included in the collections of Hampton University, Virginia; Rosenzweig Museum, Durham, North Carolina; New-York Historical Society; Yale University; the National Museum of Women in the Arts, as well as other institutions.

Dorothy Koppelman lives in New York City. She is a consultant on the faculty of the Aesthetic Realism Foundation, where she also teaches the Critical Inquiry, a workshop for artists. She serves on the Board of Directors of the Aesthetic Realism Foundation, and is President of the Eli Siegel/Martha Baird Foundation. She continues her study in classes with Ellen Reiss, Aesthetic Realism Chairman of Education.
Related Materials:
The Archives of American Art also holds the Terrain Gallery records of which Dorothy Koppelman is the director.
Provenance:
The collection was donated by Chaim and Dorothy Koppelman in 2006.
Restrictions:
Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
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:
Artists' studios  Search this
Gallery owners -- New York (State) -- New York  Search this
World War, 1939-1945  Search this
Art -- Study and teaching  Search this
Prints -- Technique  Search this
Printmakers -- New York (State) -- New York  Search this
Genre/Form:
Illustrated letters
Sketchbooks
Photographs
Sound recordings
Scrapbooks
Sketches
Citation:
Chaim and Dorothy Koppelman papers, circa 1930s-2006, bulk 1942-2005. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.koppchai
See more items in:
Chaim and Dorothy Koppelman papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-koppchai

Oral history interview with Ilya Bolotowsky

Interviewee:
Bolotowsky, Ilya, 1907-1981  Search this
Interviewer:
Cummings, Paul  Search this
Creator:
Diller, Burgoyne, 1906-1965  Search this
Names:
American Abstract Artists  Search this
American Artists' Congress  Search this
Art Students League (New York, N.Y.)  Search this
Black Mountain College (Black Mountain, N.C.)  Search this
Federation of Modern Painters and Sculptors  Search this
G.R.D. Studio (New York, N.Y.)  Search this
National Academy of Design (U.S.)  Search this
Public Works of Art Project  Search this
United States. Works Progress Administration  Search this
Yaddo (Artist's colony)  Search this
Albers, Josef  Search this
Browne, Byron, 1907-1961  Search this
Dlugoszewski, Lucia, 1931-2000  Search this
Drewes, Werner, 1899-1985  Search this
Gorky, Arshile, 1904-1948  Search this
Greenberg, Clement, 1909-1994  Search this
Greene, Balcomb, 1904-1990  Search this
Greene, Gertrude, 1904-1956  Search this
Hawthorne, Charles Webster, 1872-1930  Search this
Holtzman, Harry  Search this
Johnson, William H., 1901-1970  Search this
Léger, Fernand, 1881-1955  Search this
Mondrian, Piet, 1872-1944  Search this
Neilson, Raymond P. R. (Raymond Perry Rodgers), 1881-1964  Search this
Neumann, J. B. (Jsrael Ber)  Search this
Olinsky, Ivan G. (Ivan Gregorewitch), 1878-1962  Search this
Ozenfant, Amédée, 1886-1966  Search this
Spivak, Max, 1906-1981  Search this
Vogel, Joseph, b. 1911  Search this
Extent:
197 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Place:
Wyoming
Date:
1968 March 24-April 7
Scope and Contents:
Interview of Ilya Bolotowsky conducted 1968 March 24-April 7, by Paul Cummings, for the Archives of American Art.
Bolotowsky, a lively raconteur, recalls a host of episodes from his personal and professional life. He speaks of his childhood in Russia and Azerbaijan; the effects of war and communism; the family's flight as refugees into Georgia and then to present-day Istanbul; and his early education with a private tutor and at a Jesuit school in Istanbul. Bolotowsky recalls his family's emigration to the United States by ship in 1923; his first impressions of New York City; and early visits to the city's museums. He relates numerous anecdotes about faculty and fellow students at the National Academy of Design, including Ivan Olinsky, Raymond Neilson, Charles Hawthorne, Amedee Ozenfant, and William Henry Johnson.
He speaks of various early exhibitions of his work, including those with the Art Students League, G.R.D. Studio, and the J.B. Neumann Gallery. He also describes a stay at Yaddo in 1934.
Bolotowsky recounts his participation in the Public Works of Art Project as a teacher of art to delinquent children; later work on the mural project of the Works Progress Administration; the picketing of WPA offices, providing anecdotes about Max Spivak and Joseph Vogel; military service during World War II, first working on a Russian dictionary of technical terms and then as a liason officer with the Soviet Air Force in Nome, Alaska.
Upon his return from the military, Bolotowsky immediately resumed his painting career, and describes his involvement with artists' organizations such as the American Abstract Artists, the American Artists' Congress, the Concretionists, the Federation of Modern Painters and Sculptors, and the Ten; he mentions in these contexts such personalities as Byron Browne, Burgoyne Diller, Werner Drewes, Arshile Gorky, Clement Greenberg, Balcomb and Gertrude Greene, Harry Holtzman, Fernand Leger, Piet Mondrian, and Meyer Schapiro.
Bolotowsky gives an extensive description of his experiences filling in for Joseph Albers for a year at Black Mountain College, and goes on to discuss his subsequent teaching positions at the University of Wyoming (including a discussion of the impact of the Wyoming landscape on his painting), Brooklyn College, Southampton College, and SUNY New Paltz. He devotes great attention to the development of his painting, his understanding of neo-plasticism and abstraction, and his efforts in filmmaking and playwriting.
Biographical / Historical:
Ilya Bolotowsky (1907-1981) was a Russian-American abstract painter in New York, New York.
General:
Originally recorded on 2 sound tape reels. Reformatted in 2010 as 12 digital wav files. Duration is 6 hr., 37 min.
Provenance:
These interviews are 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 others. Funding for the interview was provided by the New York State Council on the Arts.
Restrictions:
ACCESS RESTRICTED; written permission required.
Occupation:
Filmmakers  Search this
Playwrights  Search this
Topic:
Art and state  Search this
Concretionists (Group of artists)  Search this
Emigration and immigration  Search this
Experimental films  Search this
Federal aid to the arts -- United States  Search this
Painting, Abstract -- New York (State) -- New York  Search this
Playwriting  Search this
Philadelphia Ten (Group of artists)  Search this
World War, 1939-1945 -- Anecdotes  Search this
Painters -- New York (State) -- Interviews  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.boloto68
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-boloto68

Fred Becker papers

Creator:
Becker, Fred, 1913-2004  Search this
Names:
Atelier 17  Search this
Mary Ryan Gallery (New York, N.Y.)  Search this
United States. Office of War Information  Search this
Burlin, Paul, 1886-1969  Search this
Hayter, Stanley William, 1901-1988  Search this
Hugo, Ian, 1898-1985  Search this
Nin, Anaïs, 1903-1977  Search this
Singer, Gail  Search this
Todd, Ruthven, 1914-1978  Search this
Van Duyn, Mona  Search this
Extent:
3.4 Linear feet
Type:
Collection descriptions
Archival materials
Interviews
Lectures
Photographs
Prints
Sketchbooks
Sketches
Sound recordings
Video recordings
Transcripts
Date:
1913-2004
bulk 1940-2000
Summary:
The papers of printmaker and educator Fred Becker measure 3.4 linear feet and date from 1913 to 2004, with the bulk from 1940-2000. The collection documents Becker's work as a professional artist and educator through biographical material, personal and professional correspondence, writings, interviews, personal business records, gallery and exhibition files, project files, photographic material, printed material, and artwork.
Scope and Contents:
The papers of printmaker and educator Fred Becker measure 3.4 linear feet and date from 1913 to 2004, with the bulk from 1940 to 2000. The collection documents Becker's work as a professional artist and educator through biographical material, personal and professional correspondence, writings, interviews, personal business records, gallery and exhibition files, project files, photographic material, printed material, and artwork.

Biographical material includes a birth certificate and announcement, résumés and other biographical writings, as well as memorial materials and obituaries. Also included are letters and photographs concerning Becker's WWII appointment with the Office of War Information in China. Correspondence reflects relationships with colleagues and friends including Stanley William Hayter, Gail Singer, and Mona Van Duyn, professional organizations, museums and galleries, as well as family. The Writings series contains essays and artist statements written by Becker, articles and essays written about Becker by others, and writings by poets Ruthven Todd and Mona Van Duyn. Lectures are featured in written form, as well as audio recordings. Interviews include transcripts and audio and video recordings.

Personal business records include various studio artwork inventories and information regarding artwork donation and sale at auction, in addition to documents related to Becker's role as an art instructor. In the gallery and exhibition files are detailed records of gallery and museum exhibitions, as well as correspondence with specific galleries including the Mary Ryan Gallery. Project files include documentation of various residencies and government art programs Becker participated in, a symposium on Atelier 17, as well as significant bodies of work.

Photographic materials document Becker's artwork, including images of works by fellow artists S.W. Hayter and Paul Burlin. Photograph formats include slides, transparencies, negatives, and black and white prints. Printed material includes exhibition catalogs, clippings and invitations. Also found are various artworks including sketchbooks, loose sketches, prints, and a partial letterpress mock-up of Winter of Artifice, printed by author Anaïs Nin, with various etching illustrations by Ian Hugo.
Arrangement:
The collection is arranged in 10 series:

Series 1: Biographical Material, circa 1913-2004 (0.1 linear feet; Box 1)

Series 2: Correspondence, circa 1940s-2001 (0.7 linear feet; Box 1)

Series 3: Writings, circa 1940s-1993 (0.1 linear feet; Box 1)

Series 4: Interviews, circa 1976-2004 (0.2 linear feet; Boxes 1-2)

Series 5: Personal Business Records, circa 1939-1990s (0.1 linear feet; Box 2)

Series 6: Exhibition and Gallery Records, circa 1950-2002 (0.2 linear feet; Box 2)

Series 7: Project Files, circa 1957-1993 (0.1 linear feet; Box 2)

Series 8: Photographic Material, circa 1930s-1999 (0.3 linear feet; Box 2)

Series 9: Printed Material, circa 1930s-2002 (0.8 linear feet; Boxes 2-3)

Series 10: Artwork, circa 1940-1989 (0.6 linear feet; Boxes 3-4)
Biographical / Historical:
Fred Becker (1913-2004) was a printmaker and art educator in Amherst, Massachusetts. Becker was born in 1913 in Oakland, California. He attended New York University beginning in 1933, where he enrolled in architecture coursework before focusing on printmaking and drawing. Becker was employed by the Works Progress Administration from 1935 to 1939. His early work of this period often incorporated nightclub scenes depicting jazz musicians. In 1940, Becker was one of the first students to enroll in classes at the New York iteration of Atelier 17, led by printmaker Stanley William Hayter. There Becker engaged with more abstract forms in his art-making, and arrived at an expressionist style by the 1950s. He served in the China Division of the United States Office of War Information (OWI) from 1945 to 1946.

Becker taught at the Tayler School of Art at Temple University in Philadelphia, from 1946 to 1948; at Washington University in St. Louis, Missouri, from 1948 to 1968; and at the University of Massachusetts in Amherst from 1968 until his retirement in 1986. University of Massachusetts, Amherst's Herter Gallery was the site of his retrospective in 1999. Becker and his wife, painter Jean Morrison (1917-1995), had two children Carla and Anton. Fred Becker exhibited widely in print annuals and solo shows, as well as in the context of his participation in the Works Progress Administration and Atelier 17, New York. His prints are represented in a number of museum collections including the Metropolitan Museum of Art, the Museum of Modern Art, and the Whitney Museum of American Art in New York.
Provenance:
The Fred Becker papers were donated to the Archives of American Art in 2018 by Becker's daughter Carla Becker.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. 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:
Art teachers -- Massachusetts  Search this
Topic:
Artists -- Massachusetts  Search this
Printmakers -- Massachusetts  Search this
World War, 1939-1945 -- China  Search this
Genre/Form:
Interviews
Lectures
Photographs
Prints
Sketchbooks
Sketches
Sound recordings
Video recordings
Transcripts
Citation:
Fred Becker papers, 1913-2004, bulk 1940-2000. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.beckfred
See more items in:
Fred Becker papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-beckfred

Pauline B. and Myron S. Falk, Jr. Papers

Creator:
Falk, Johnny, 1906-1992  Search this
Falk, Pauline  Search this
Names:
American Jewish Joint Distribution Committee  Search this
Asia House Gallery  Search this
Bennington College  Search this
Brooklyn Museum  Search this
Chinese Art Society of America  Search this
Columbia University. Teachers College. Lincoln School  Search this
Federation of Jewish Philanthropies of New York  Search this
Japan Society (New York, N.Y.)  Search this
Jewish Board of Family and Children's Services (New York, N.Y.)  Search this
Metropolitan Museum of Art (New York, N.Y.)  Search this
National Refugee Service (U.S.)  Search this
Pan American World Airways, Inc.  Search this
Baerwald, Paul, 1871-1961  Search this
David, Percival, Sir, 1892-1964  Search this
Lawton, Thomas, 1931-  Search this
Pope, John Alexander, 1906-1982  Search this
Salmony, Alfred, 1890-1958  Search this
Sickman, L. C. S. (Laurence C. S.)  Search this
Stern, Harold P.  Search this
Wenley, A. G. (Archibald Gibson), 1898-1962  Search this
Extent:
24 Linear feet
Type:
Collection descriptions
Archival materials
Correspondence
Photographs
Diaries
Maps
Place:
China -- Description and Travel
China
USA -- New York -- New York
Date:
1904-1998
bulk 1935-1980
Scope and Contents:
Papers of art collectors Pauline Baerwald Falk (1910-2000) and Myron (Johnny) Falk Jr. (1906-1992), 1904-1998. Created and collected by the Falks, this collection includes: biographical data; black-and-white and color prints of art objects and people; photo albums of art objects in the Falk's art collection; symposium papers, scholarly reviews, and newspaper articles on Chinese art; Professor Alfred Salmony's lecture notes, Metropolitan Museum; purchase invoices for Chinese art, Japanese art, and Korean art; photographs, receipts, itineraries, one seal, atlases, and journals relating to the Falk's various trips to Asia and Europe, personal correspondence and correspondence with art dealers; guest books from 17 East 66th Street, New York and 888 Park Ave., New York, signed by guests from 1949-1997; committee papers; exhibition loan forms, Mr. Falk's notes about the collection and sale results from property consigned for sale; and four reels 16mm motion picture film taken during the Falk's 1937 trip to Asia.
Arrangement:
The collection is organized into five series. 1. Correspondence; 2. Personal papers; 3. Professional papers; 4. Travel related materials; 5. Falk art collection related materials.
Biographical / Historical:
Myron S. (Johnny) Falk Jr., and his wife Pauline Baerwald Falk were active philanthropists, prominent Asian art collectors and were both active in the Jewish and Art communities.
The purchase that started their collection happened while on their 1935 honeymoon in the English countryside where they came upon two blue-and-white Ming Dynasty porcelain dishes. Later, taking one of the inaugural Pan Am Clipper flights to China in 1937, their collecting began in earnest. There are home movies in the collection taken by Johnny that document their trip to a largely untouched China. However, because China was closed to the West starting in 1950, they were unable to return until 1979.
As collectors, the Falks made a good team. Due to his engineering background from school, Johnny became an expert on firing techniques and glazes; while Pauline was known as the ''eye.'' Their fervent and long-term involvement in the Asian art community led them to become close friends with the biggest dealers in America and Europe.
Johnny and Pauline collected wares of the Song dynasty, archaic bronzes, jades, stone sculptures, several fine Ming and Qing porcelains, Korean ceramics, and nearly 100 Japanese paintings. After more than fifty years collecting their art work totaled over 700 items.
Johnny and Pauline lent their artworks to museums, advised art institutions in the United States and abroad, and fostered the training of a new generation of curators, scholars and other professionals in the Asian art field.
Johnny was an investment banker, philanthropist and prominent collector of Asian art. He was a longtime trustee of the Asia Society and helped found the Oriental Art Council, Roebling Society of the Brooklyn Museum and Japan Society Gallery. He also served as a director of the New York Foundation and Hebrew Technical Institute, a board member of the Federation of Jewish Philanthropies and chairman of the Bennington College board of trustees.
Pauline was a philanthropist, collector of Asian art, president of the Jewish Board of Family and Children Services, and founder of the New Lincoln School in Manhattan. She worked with displaced Jewish refugees before and during World War II. She was active in the American Jewish Joint Distribution Committee and became a founding member of the National Refugee Service, the Council for Jewish Women and the Jewish Social Service Association.
Together they were strong supporters of the Asia Society, the Chinese Art Society, they helped establish the Friends of Asia House Gallery in 1971, and founded the Friends of the China Institute in America Gallery. They also established the "Archives of Chinese Art" in 1945 an important scholarly journal that is published today by The Asia Society as the "Archives of Asian Art," and are among the founding members of the Friends of the Far Eastern Art at the Metropolitan Museum of Art and the Friends of Asian Art at the Brooklyn Museum.
Local Numbers:
FSA A2002.03
Restrictions:
Collection is open for research.
Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
Topic:
World War, 1939-1945  Search this
Bronzes, Chinese  Search this
Ceramics -- China  Search this
Art, Asian -- Collectors and collecting  Search this
Genre/Form:
Correspondence
Photographs
Diaries -- 20th century
Maps -- 20th century
Identifier:
FSA.A2002.03
See more items in:
Pauline B. and Myron S. Falk, Jr. Papers
Archival Repository:
Freer Gallery of Art and Arthur M. Sackler Gallery Archives
EDAN-URL:
ead_collection:sova-fsa-a2002-03
Online Media:

Oral history interview with Robert Chapman Turner

Interviewee:
Turner, Robert Chapman, 1913-2005  Search this
Interviewer:
Carney, Margaret, 1949-  Search this
Creator:
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
National Council on Education for the Ceramic Arts (U.S.)  Search this
Extent:
48 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
2001 June 11
Scope and Contents:
An interview of Robert Turner conducted 2001 June 11, by Margaret Carney, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, at Smithsonian Productions, in Washington, D.C.
Turner speaks of his childhood in Brooklyn, N.Y.; his father's business, Turner Concrete (now called Turner Construction); drawing classes; attending the George School for a post-graduate year before attending Swarthmore College, where his major was economics; the importance of Quakerism in his life and work; traveling throughout Europe and the Southwestern United States; his marriage to Sue, their trip to Europe during the outbreak of World War II and the difficulty of coming home to America; his involvement in war activities as a conscientious objector; the transition after the war ended into a "different reality"; visiting the different schools of craft, including Penland, Alfred, and Haystack; attending Alfred University, the teachers and students there during his years there; his relationships with other students, such as Ted Randall and Bill Schickel; teaching at Black Mountain College immediately after his graduation from Alfred; his admiration of Marguerite Wildenhain; his involvement in the first Super Mud phenomenon in 1966; how African culture fits into his work; the collaborative effort at Penland; the establishment of the National Council on Education for the Ceramic Arts (NCECA), and his experience as the third president of the group; his "retirement" since 1979; the types of materials he uses; the awards he has received; galleries and exhibitions in which he has exhibited; and recollections of Bill Brown, founder of the Penland School of Crafts. Turner also recalls Josie Adams, Charles Harder, Kurt Ekdahl, Marion Fosdick, Bill Pitney, Jessie Shefrin, and others.
Biographical / Historical:
Robert Turner (1913-2005) was a ceramic artist from Alfred, N.Y. and Sandy Spring, Maryland. Margaret Carney (1949- ) is the director of the Schein-Joseph International Museum of Ceramic Art in Alfred, N.Y.
General:
Originally recorded on 2 digital audio tapes. Reformatted in 2010 as 2 digital wav files. Duration is 3 hr., 23 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.
Topic:
Conscientious objectors -- World War, 1939-1945  Search this
Ceramicists -- New York (State) -- Interviews  Search this
Ceramicists -- Maryland -- Interviews  Search this
Quakers  Search this
Ceramics -- Equipment and supplies  Search this
Decorative arts  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.turner01
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-turner01

Robert Chapman Turner papers

Creator:
Turner, Robert Chapman, 1913-2005  Search this
Names:
Black Mountain College (Black Mountain, N.C.)  Search this
Haystack Mountain School of Crafts  Search this
York State Craftsmen  Search this
Extent:
13.3 Linear feet
Type:
Collection descriptions
Archival materials
Sound recordings
Date:
circa 1917-2005
Summary:
The papers of ceramicist Robert Chapman Turner measure 13.3 linear feet and date from circa 1917 to 2005. The papers document Turner's career as an educator and studio potter through biographical material, correspondence, writings, teaching files, professional files including lectures, subject files, printed material, and photographs.
Scope and Contents:
The papers of ceramicist Robert Chapman Turner measure 13.3 linear feet and date from circa 1917 to 2005. The papers document Turner's career as an educator and studio potter through biographical material, correspondence, writings, teaching files, professional files including lectures, subject files, printed material, and photographs.

The bulk of Turner's papers relate to his role as an educator and a lecturer at various institutions including Alfred University, Anderson Ranch Arts Center, Black Mountain College, Haystack Mountain School of Crafts, and Penland School of Crafts. Records, including two sound cassettes, regarding his time at these institutions may be found among his teaching and professional files as well as among photographs. Turner's professional files document his long affiliations with professional organizations such as the York State Craftsmen, National Council on Education for the Ceramic Arts, and the International Academy of Ceramics. Correspondence is with artists, family, and friends. Notable correspondents include Margaret Carney, Kenneth Ferguson, Alice Parrott, Toshiko Takaezu, and Frans Wildenhain among many others and may be found in both the correspondence series and professional files. Photographs of note are by John Wood and depict the building of the pottery studio at Black Mountain College.
Arrangement:
The collection is arranged as 8 series.

Series 1: Biographical Material, 1930-2002 (0.4 linear feet; Boxes 1, 14)

Series 2: Correspondence, circa 1938-2005 (1.8 linear feet; Boxes 1-3)

Series 3: Writings and Notes, 1950s-2000s (0.6 linear feet; Box 3)

Series 4: Teaching Files, 1957-2005 (0.8 linear feet; Boxes 3-4)

Series 5: Professional Files, 1952-2005 (5.5 linear feet; Boxes 4-9)

Series 6: Subject Files, 1950s-2000 (0.8 linear feet; Boxes 9-10)

Series 7: Printed Material, 1939-2000s (1.5 linear feet; Boxes 10-12, 14)

Series 8: Photographs, circa 1917-2000s (1.9 linear feet; Boxes 12-14)
Biographical / Historical:
Robert Chapman Turner (1913-2006) was a ceramicist who was known for functional and abstract pottery. He was active in Alfred Station, New York where he was a longtime faculty member at Alfred University.

Robert Turner was born in Port Washington, New York in 1913. He attended Swarthmore College and the Pennsylvania Academy of the Fine Arts where he studied economics and painting. With his wife Sue Turner, Robert lived in Europe to study Old Master paintings but returned to the United States after the start of World War II. A Quaker, Turner was a conscientious objector and served at multiple Civilian Public Service (CPS) camps in the United States during the war.

After leaving the CPS camps, Robert Turner enrolled at the New York State College of Ceramics at Alfred University to study ceramics and graduated in 1949. Turner was a faculty member at Black Mountain College (1949-1951) and Alfred University (1958-1979). He conducted numerous ceramics workshops throughout his career at many institutions including Haystack Mountain School of Crafts and Penland School of Crafts. Additionally, he was an active member of the (New) York State Craftsman.

Turner died in 2005 in Sandy Spring, Maryland.
Related Materials:
Also found in the Archives of American Art is an oral history interview of Robert Turner conducted 2001 June 11, by Margaret Carney, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America,
Provenance:
Robert Chapman Turner donated some of his papers in 1982. Additional materials were donated in 2005-2006 by Rosalind Turner Zuses, Turner's daughter.
Restrictions:
The collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.

Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact 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:
Ceramicists -- New York (State) -- Alfred Station  Search this
Topic:
American studio craft movement  Search this
Ceramics -- Study and teaching  Search this
Conscientious objectors -- World War, 1939-1945  Search this
Genre/Form:
Sound recordings
Citation:
Robert Chapman Turner papers, circa 1917-2005. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.turnrobe
See more items in:
Robert Chapman Turner papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-turnrobe

James J. Rorimer papers

Creator:
Rorimer, James J. (James Joseph), 1905-1966  Search this
Names:
Allied Forces. Supreme Headquarters. Monuments, Fine Arts and Archives Section  Search this
Cloisters (Museum)  Search this
Metropolitan Museum of Art (New York, N.Y.). Board of Trustees  Search this
Rorimer, Katherine S.  Search this
Valland, Rose  Search this
Extent:
2.3 Linear feet
Type:
Collection descriptions
Archival materials
Scrapbooks
Photographs
Date:
1921-1982
bulk 1943-1950
Summary:
The papers of curator and museum director James J. Rorimer measure 2.3 linear feet and date from 1921 to 1982, with the bulk from 1943-1950. The papers include documentation of James J. Rorimer's World War II service in the Monuments, Fine Art and Archives Section of the U.S. Army and his activities protecting historic and cultural sites from bombing, and locating and recovering art work and cultural icons stolen by the Nazis. Found within the papers are scattered biographical materials and correspondence, writings include draft versions of Rorimer's book Safe-Keeping or Survival: The Salvage and Protection of Art in War, financial records, photographic materials including a photo album containing photographs of European art work and cultural sites where Rorimer worked, newsclippings and additional printed materials, and one scrapbook of clippings dating from World War II.
Scope and Contents note:
The papers of curator and museum director James J. Rorimer measure 2.3 linear feet and date from 1921 to 1982, with the bulk from 1943-1950. The papers include documentation of James J. Rorimer's World War II service in the Monuments, Fine Art and Archives Section of the U.S. Army and his activities protecting historic and cultural sites from bombing, and locating and recovering art work and cultural icons stolen by the Nazis. Found within the papers are scattered biographical materials and correspondence, writings include draft versions of Rorimer's book Safe-Keeping or Survival: The Salvage and Protection of Art in War, financial records, photographic materials including a photo album containing photographs of European art work and cultural sites where Rorimer worked, newsclippings and additional printed materials, and one scrapbook of clippings dating from World War II.

Scattered biographical materials include a college transcript and various certificates. Much of the correspondence is comprised of army directives but also includes some personal letters from Rorimer's wife Katherine.

Writings by Rorimer include several handwritten manuscripts and drafts of his book Survival: The Salvage and Protection of Art in War, which was originally titled Safe-Keeping. There is one folder of miscellaneous financial records, mostly dating from Rorimer's time in the army. There is also one folder of minutes of the Metropolitan Museum of Art Board of Trustees meetings.

Photographic materials include black and white photographs, negatives, contact prints, postcards, and one photo album. The photograph album was given to Rorimer from the headquarters of the Office of Military Government in Baden-Wurttemberg and is titled War Damage in Wurtemmberg: A Selection of Photographs. Many of the photographs document bomb damage to European cultural monuments and historic sites. There are photographs of Nazi stolen art repositories discovered by Rorimer and fellow Monuments Men at Buxheim monastery and Neuschwanstein castle, art recovery and transportation, and restitution work at Wiesbaden Central Collecting Point. Photographs of people, such as Edith Standen, Rose Valland, and Rorimer, are scattered throughout the series.

Printed materials include newspaper and magazine clippings, mostly related to The Cloisters or the activities and achievements of the Monuments Men. Printed materials also includes bulletins, brochures, and press releases. There is also a war-time scrapbook and two handbooks of maps showing historic monuments and sites in France and Germany.
Arrangement note:
The collection is arranged as 7 series:

Series 1: Biographical Materials, 1942-1946 (Box 1, 4; 8 folders)

Series 2: Correspondence, 1927-1982 (Box 1; 0.1 linear feet)

Series 3: Writings, circa 1946-1950 (Box 1; 0.8 linear feet)

Series 4: Financial Records, 1943-1946 (Box 1; 1 folder)

Series 5: Administrative Files, 1940 (Box 1; 1 folder)

Series 6: Photographic Materials, 1921-1966 (Box 1-2, 4; 0.7 linear feet)

Series 7: Printed Materials, 1923-1966 (Box 3-4, OV 5-6; 0.7 linear feet)
Biographical/Historical note:
James J. Rorimer (1905-1966) was a museum director and curator of medieval art working in New York City. Rorimer was the primary force and first director of The Cloisters at the Metropolitan Museum of Art. During World War II, Rorimer served in the U.S. Army Monuments, Fine Art and Archives Section protecting cultural sites and recovering stolen art work.

James J. Rorimer was born in Cleveland, Ohio in 1905 and attended the University School there until he left in 1921 in order to study abroad in Europe. He studied at the Ecole Gory in Paris for two years, then returned to the United States to finish his studies at the University School in Cleveland. In 1927, Rorimer graduated from Harvard University with a B.A. Soon after, he began working at the Metropolitan Museum of Art in New York City where he worked his way up from a position as an assistant to Head Curator of Medieval Art, a position he filled from 1934 to 1955, director of The Cloisters, and eventually director and trustee of the museum.

Rorimer was heavily involved with the planning and development of The Cloisters, working closely with the architect Charles Collens. When The Cloisters opened in 1938, Rorimer worked there as a curator and later became the first director in 1949. During this time, Rorimer developed a professional relationship with John D. Rockefeller, Jr., who donated to New York City a large tract of land, a portion of which was given to the Metropolitan Museum as a location to build The Cloisters. The Cloisters' collections evolved into a world renown collection of medieval art under Rorimer's curatorship and directorship.

As the director of the Metropolitan Museum of Art from 1955-1966, Rorimer nearly doubled membership and attendance, raised a substantial amount of endowment funding, renovated almost half of the galleries, and increased the exhibition space.

Rorimer married Katherine Newton in 1942. They had two children, Anne and Louis.

During World War II, from 1943 to 1946, Rorimer served in the U.S. Army's Monuments, Fine Art and Archives (MFAA) Section. The "Monuments Men" of the U.S. Army were charged with locating and protecting historical sites, monuments, artwork, and buildings from Allied bombing. Towards the end of the war, the section led recovery efforts to locate and retrieve Nazi stolen art works and other cultural heritage items. Rorimer served as a MFAA officer in Normandy and Paris, and, while in Germany, was promoted to chief of the MFAA Section of the 7th Army Western Military District.

While in Paris, Rorimer worked closely with Rose Valland, an employee of the Jeu de Paume Museum in Paris who spied on the Nazis and recorded in detail the movements of artwork stolen by members of the Nazi party, including Hermann Wilhelm Goering and Joseph Goebbels. With Valland's assistance, Rorimer discovered a large cache of stolen and confiscated artwork at the Neuschwanstein Castle in the Bavarian Alps. He and his team also recovered other artwork, European antiquities, and cultural icons that were stored in nearby salt mines. Rorimer and the other Monuments Men arranged the recovery and removal of the cache of stolen goods.

Rorimer received numerous awards for his work during World War II including, the French Cross of War in 1945, Chevalier in 1947, and officer of the French Legion of Honor in 1957. Rorimer wrote about his work as a Monuments Man in his book Survival: The Salvage and Protection of Art in War, published by Abelard Press in 1950. James J. Rorimer died in 1966.
Related Archival Materials note:
Among the holdings of the Archives of American is an oral history interview with Anne Rorimer, James' daughter, conducted in 2010 by the Archives of American Art. The Archives also holds the papers of several members of the World War II Monuments, Fine Arts, and Archives (MFAA) Section of the U.S. Army, including S. Lane Faison, Walker Hancock, Walter Horn, Thomas Carr Howe, George Stout, and Otto Wittman. as well as oral history interviews with some of them.

The official government records for James Rorimer's service during World War II in the MFAA Section of the U.S. Army are maintained by the National Archives and Records Administration.

James J. Rorimer Papers, 1927-1966, are also located at Metropolitan Museum of Art Libraries.
Provenance:
The James J. Rorimer papers were donated to the Archives of American Art by his wife, Katherine Serrell Rorimer, in 2 installments in 1983.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Topic:
Art treasures in war -- France  Search this
Art treasures in war -- Germany  Search this
Museum directors -- New York (State) -- New York  Search this
World War, 1939-1945 -- Confiscations and contributions -- Germany  Search this
Art thefts -- Germany -- History -- 20th century  Search this
Cultural property -- Protection -- Europe -- History -- 20th century  Search this
World War, 1939-1945 -- Destruction and pillage -- Europe  Search this
Curators -- New York (State) -- New York  Search this
World War, 1939-1945 -- Art and the war  Search this
Genre/Form:
Scrapbooks
Photographs
Citation:
James J. Rorimer papers, 1923-1982, bulk 1943-1950. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.rorijame
See more items in:
James J. Rorimer papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-rorijame
Online Media:

Harry Copland Collection

Creator:
Copland, Harry Depew, 1896-1976  Search this
Names:
Curtiss Flying Service, Inc.  Search this
Early Birds of Aviation (Organization).  Search this
United States. Army. Air Corps. Southeast Army Air Corps  Search this
Copland, Harry Depew, 1896-1976  Search this
Extent:
0.78 Cubic feet ((1 legal document box) (3 shoeboxes))
Type:
Collection descriptions
Archival materials
Photographs
Logs (records)
Glass negatives
Date:
1917-1953
Scope and Contents:
This collection consists of three boxes of 4' and 3' glass slides, dating from the early 1930s. The slides are probably from 1919-1932 when Copland was an instructor and lecturer for Curtiss Flying Service, Inc. There are also seven log books chronicling both Copland's civilian and military flights (1917-1942) and numerous private and commerical pilots, mechanic, and medical licenses mostly from the 1920s-1940s. Lastly, there is a small black binder full of aerial photographs and notes, relating to a number of fields that were used for World War II training. All of the fields were part of the Southeast Army Air Corps, which included a number of civilian contract schools. Included in this notebook are lists of the officers for each school. The following fields and schools are included: Riddle Aero Inst., Florida; Lodwick School of Aero, Florida; Hawthorne School of Aeronautics, South Carolina; Tuskegee Institute, Alabama; Darr Aero Tech, Georgia; Graham Aviation Company, Georgia; Embry-Riddle Company, Florida; Lodwich Aviation Military Academy, Florida; Southeastern Air Service, South Carolina; Southern Aviation School, South Carolina; Clarksdale School of Aviation, Mississippi; South Aviation Training School, Alabama; Raymond-Richardson Aviation Co, Georgia; Helena Aero Tech, Arkansas; and Greenville Aviation School, Florida.
Biographical / Historical:
Harry Depew Copland (1896-1976) was an Early Bird, soloing in a glider in 1909 and in an airplane in 1911. His many achievements include: exhibition flights, (1911); British Blockade Runners, radio officer (1915-1916); Canadian Royal Flying Corps 203rd Squadron, 1st Lieutenant and Flight Commander (1917-1919); District Manager of the New England Flying Service in charge of Curtiss Primary School Flying Operations (1929-1932). During World War II he served at Maxwell Field, AL, and as commanding officer of the 19th AAF Basic Flying Detachment at Greenville, S.C. Copland was also involved with Altantic Airways, Inc., United Air Lines, and was the Director of Florida Aviation Department.
General:
Other materials: Two pouches which had held licenses and log books were transferred to NASM Aeronautics Division.
NASMrev
Provenance:
Harry Copland?, unknown, unknown, XXXX-0439, unknown
Restrictions:
No restrictions on access
Rights:
Material is subject to Smithsonian Terms of Use. Should you wish to use NASM material in any medium, please submit an Application for Permission to Reproduce NASM Material, available at Permissions Requests
Topic:
Aeronautics -- 1903-1916  Search this
Flight training  Search this
Aeronautics  Search this
Aeronautics, Military  Search this
World War, 1939-1945  Search this
Aerial photography  Search this
Genre/Form:
Photographs
Logs (records)
Glass negatives
Identifier:
NASM.XXXX.0439
Archival Repository:
National Air and Space Museum Archives
EDAN-URL:
ead_collection:sova-nasm-xxxx-0439
Online Media:

Norman Lewis papers

Creator:
Lewis, Norman, 1909-1979  Search this
Names:
United States. Work Projects Administration (N.Y.)  Search this
Brand, Millen, 1906-1980  Search this
Lewis, Joan  Search this
Yeargans, Jim  Search this
Extent:
5 Microfilm reels (770 items on 5 microfilm reels)
Type:
Collection descriptions
Archival materials
Microfilm reels
Date:
1919-1971
Scope and Contents:
This microfilm collection of the papers of African American painter Norman Lewis consits of correspondence, a scrapbook, sketches, photographs, personal documents, and printed material including exhibition catalogs, exhibition announcements, and clippings.

REELS 52-53: Eight sketchbooks, 1935-1957; several pages from the diary of Lewis' wife, Joan, ca. 1948, commenting on their marriage; and an undated postcard from Ad Reinhardt.

REELS 91-92: Correspondence with author Millen Brand and artist Jim Yeargans; unidentified authors and actors; and museums, many arranging exhibits by Black artists and political action organizations. Also includes a scrapbook of catalogs, clippings, photographs, letters, and announcements, 1934-1968, concerning African American art exhibits, the training of African American artists, particularly during the Depression, WPA-New York projects, and Lewis' World War II work as a shipyard employee and poster artist.

REEL N69-47: Personal documents, correspondence, catalogs, announcements, photographs, articles, and clippings.
Biographical / Historical:
Norman Lewis (1909-1979) was an African American painter in New York, New York. He began his career painting mostly figurative work, but is now associated with abstract expressionism as his work became more abstract in the late 1940s. Lewis was a founding member of Spiral, one of the groups of artists and writers who protested the controversial Harlem on My Mind exhibition at the Metropolitan Museum of Art in 1968.
Provenance:
Lent for microfilming 1969-1971 by Norman Lewis.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Occupation:
Painters -- New York (State) -- New York  Search this
Topic:
Painting -- New York (State)  Search this
World War, 1939-1945 -- African Americans -- United States  Search this
Federal aid to the arts  Search this
African American artists  Search this
Identifier:
AAA.lewinorm
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-lewinorm

Ann Wood-Kelly Photographs

Names:
British Air Transport Auxiliary  Search this
Wood-Kelly, Ann  Search this
Extent:
0.01 Cubic feet (1 legal folder.)
Type:
Collection descriptions
Archival materials
Date:
1942 - 1945
Summary:
This collection consists of six black and white prints of Ann Wood-Kelly during her career in the British Air Transport Auxiliary (ATA), 1942 to 1945.
Scope and Contents:
This collection consists of six black and white prints of Ann Wood-Kelly during her career in the British Air Transport Auxiliary (ATA), 1942 to 1945.
Arrangement:
No arrangment.
Biographical / Historical:
Ann Wood-Kelly (1918 - 2006) was educated in Philadelphia, Belgium, and at D'Youville College in Buffalo, New York. She took up flying and attended ground school through the Federal Government's Civilian Pilot Training Program (CPTP). Initially rejected for the all-male Bowdoin College flight training program, Wood-Kelly was accepted when the twelve-person program failed to locate a twelfth male applicant. She received her pilot's license in 1939, and in a short time she became a flight instructor herself in the Bowdoin program. In 1942 Wood-Kelly was recruited by Jacqueline Cochran to become one of the twenty-four American women flyers to serve in the British Air Transport Auxiliary (ATA). From 1942 to 1945, she ferried more than 900 planes of 75 different models to destinations in England and France. In recognition of her wartime service to the United Kingdom, Wood-Kelly was awarded the King's Medal by King George IV. After the war, she served as the First Assistant to America's first Civil Air Attaché, based at the US Embassy in London. Later Wood-Kelly returned to the United States where she held management positions for several airlines including Northeast Airlines, Pan American Airways, and Air New England. In 1964, she was appointed to the Women's Advisory Committee on Aviation by Lyndon B. Johnson. Throughout her aviation career Wood-Kelly was active in a variety of aviation organizations, including the National Aeronautic Association, the Aero Club of New England, and the Aircraft Owners and Pilots Association (AOPA).
Provenance:
Vince Czaplyski, Gift, 2009, NASM.2019.0044
Restrictions:
No restrictions on access
Rights:
Material is subject to Smithsonian Terms of Use. Should you wish to use NASM material in any medium, please submit an Application for Permission to Reproduce NASM Material, available at Permissions Requests.
Topic:
Aeronautics  Search this
World War, 1939-1945  Search this
Citation:
Ann Wood-Kelly Photographs, NASM.2019.0044, National Air and Space Museum, Smithsonian Institution.
Identifier:
NASM.2019.0044
See more items in:
Ann Wood-Kelly Photographs
Archival Repository:
National Air and Space Museum Archives
EDAN-URL:
ead_collection:sova-nasm-2019-0044
Online Media:

Black Aviators Videohistory Collection

Extent:
4 videotapes (Reference copies). 9 digital .wmv files and .rm files (Reference copies).
Type:
Collection descriptions
Archival materials
Videotapes
Transcripts
Date:
1989-1990
Introduction:
The Smithsonian Videohistory Program, funded by the Alfred P. Sloan Foundation from 1986 until 1992, used video in historical research. Additional collections have been added since the grant project ended. Videohistory uses the video camera as a historical research tool to record moving visual information. Video works best in historical research when recording people at work in environments, explaining artifacts, demonstrating process, or in group discussion. The experimental program recorded projects that reflected the Institution's concern with the conduct of contemporary science and technology.

Smithsonian historians participated in the program to document visual aspects of their on-going historical research. Projects covered topics in the physical and biological sciences as well as in technological design and manufacture. To capture site, process, and interaction most effectively, projects were taped in offices, factories, quarries, laboratories, observatories, and museums. Resulting footage was duplicated, transcribed, and deposited in the Smithsonian Institution Archives for scholarship, education, and exhibition. The collection is open to qualified researchers.
Descriptive Entry:
Ted Robinson, an employee of the Federal Aviation Administration, held a two-year appointment at the Smithsonian's National Air and Space Museum as a historian of black aviation. During that time he recorded two video sessions with five black aviators of the 1930s. The interviewees related how they became interested in flying, how they obtained airplanes and training, how they publicized their aviation skills at the local and national levels, and how they contended with the prejudices opposing them. Robinson was especially concerned with visually capturing the survivors of that era since there are few pictorial records of their past.

In Session One, recorded in Washington, D.C., in November 1989, Robinson interviews C. Alfred "Chief" Anderson, Janet Harmon Bragg, and Lewis Jackson on their social and technical experiences in aviation in the upper Midwest and at the Tuskegee Institute in Alabama. They discussed their struggles to become accredited pilots and open the United States Army Air Corps to black fliers.

Session Two was recorded in Chicago, Illinois, in March 1990, where Robinson interviewed Cornelius Coffey and Harold Hurd on their similar efforts in the Chicago metropolitan area and specifically on Coffey's organization of a licensed flight and mechanic's school before and during World War II. During both interviews Robinson used period photographs to stimulate and complement the recollections of the participants.

This collection consists of two interview sessions, totalling approximately 7:00 hours of recordings and 201 pages of transcript.
Historical Note:
Black American men and women struggled throughout the 1930s to gain the opportunity and right to fly airplanes. Organization within African American communities, support by white individuals, and aeronautic feats by blacks working with limited resources all served to challenge the racism and sexism of American society. Despite institutionalized biases and the persisting effects of the Great Depression, the number of licensed black pilots increased about tenfold, to 102, between 1930 and 1941. This development helped move the federal government, though not the private sector, into sanctioning black men to operate the twentieth century technology of powered flight during World War II.

C. Alfred "Chief" Anderson was born in 1906 and had his first airplane ride in 1928. In 1933, he became the first African American to earn a transport, or commercial, pilot's license, and with Dr. Albert E. Forsythe completed a series of long-distance flights in 1933 and 1934 to promote black aviation. In 1940, Anderson instructed students from Howard University for the Civilian Pilots Training Program (CPTP) until he was recruited by Tuskegee Institute in Alabama to act as its chief primary flight instructor. In 1946, he organized Tuskegee Aviation, Inc., to service aircraft until he was forced out of business by the state's attorney general in the late 1950s. He has continued to fly and co-founded Negro Airmen International in 1970 to encourage others to enter the field of aviation.

Janet Harmon Bragg was a registered nurse inspired to fly by the exploits of Bessie Coleman, the first licensed black pilot in the United States. She earned her pilot's license in 1932 at the Aeronautical University, Inc., in Chicago, Illinois, and because she was one of the few black pilots still employed during the Depression, Bragg paid for most of the airplanes used by the Challenger Air Pilots Association during the 1930s. During World War II she was rebuffed by both the Women's Airforce Service Pilots and a license examiner in Alabama from contributing to the war effort as a pilot; the government also refused her services as a nurse. After the war, Bragg married and ran two nursing homes until she retired in Tucson, Arizona.

Lewis A. Jackson was born in 1912 and started flying in 1930. He gained his transport license in 1935; his barnstorming paid for the B.S. he received from Marion College in Indiana in 1939. Jackson joined Cornelius Coffey in Chicago as flight instructor before leaving for Tuskegee where he became director of training for their CPT Program. In 1948, he earned his M.A. in education from Miami University in Oxford, Ohio, and his Ph.D. from Ohio State University in Columbus in 1950. Jackson served in various teaching and administrative positions, including the presidency, at Central State University. He left in 1972 for an administrative post at Sinclair Community College in Dayton, Ohio. He has maintained an interest in flying, examining applicants for pilot licenses, and designing and building airplanes that could also be used on roads.

Cornelius Coffey was born in 1903 and had his first airplane ride in 1919. He graduated from an automotive engineering school in 1925 and an aviation mechanics school in Chicago, Illinois, in 1931. He co-organized the Challenger Air Pilots Association with John Robinson to promote flying among blacks in the Chicago area, built an airport in Robbins, Illinois, and opened an aeronautics school. In 1937 he earned his transport license and opened the Coffey School of Aeronautics. In 1939 the African-American communities in Chicago and Washington, D.C., successfully lobbied to have Coffey's school included in the CPT Program; Coffey trained black pilots and flight instructors throughout World War II. After the war, Coffey joined the Chicago Board of Education and established an aircraft mechanics training and licensing program in the city's high schools. Coffey retired in 1969 and has since acted as a licensed mechanic examiner and aircraft inspector.

Harold Hurd first saw a black man fly an airplane at an airshow in 1929. Three years later, he was one of the first class of all black graduates from Aeronautical University in Chicago. After graduation Hurd helped organize the Challenger Air Pilots Association and its 1937 successor organization, the National Airmen's Association of America, in efforts to expand black interest in flying. He underwrote his aviation interests by working at the Chicago Defender newspaper. He later worked for several local papers on Chicago's Southside.
Topic:
World War, 1939-1945  Search this
Women -- History  Search this
African Americans -- History  Search this
Science -- History  Search this
Technology -- History  Search this
Military history  Search this
Aeronautics  Search this
African American air pilots  Search this
Interviews  Search this
Oral history  Search this
Genre/Form:
Videotapes
Transcripts
Citation:
Smithsonian Institution Archives, Record Unit 9545, Black Aviators Videohistory Collection
Identifier:
Record Unit 9545
See more items in:
Black Aviators Videohistory Collection
Archival Repository:
Smithsonian Institution Archives
EDAN-URL:
ead_collection:sova-sia-faru9545

Prism Binoculars

Maker:
Bausch & Lomb  Search this
Measurements:
closed: 2 7/16 in x 6 1/2 in x 4 3/32 in; 6.1976 cm x 16.51 cm x 10.3886 cm
overall in case: 5 3/16 in x 7 in x 3 3/16 in; 13.17625 cm x 17.78 cm x 8.09625 cm
Object Name:
binoculars
Place made:
United States: New York, Rochester
Date made:
ca 1940
Subject:
World War II  Search this
Credit Line:
Sally Ann Brown, in memory of Capt. Dale Brown
ID Number:
1980.0879.01
Catalog number:
1980.0879.01
Accession number:
1980.0879
See more items in:
Medicine and Science: Physical Sciences
Science & Mathematics
Optics
Data Source:
National Museum of American History
GUID:
http://n2t.net/ark:/65665/ng49ca746ae-0ee7-704b-e053-15f76fa0b4fa
EDAN-URL:
edanmdm:nmah_1460030
Online Media:

Photograph album belonging to Lewis C. Smith

Compiled by:
Lewis Curtis Smith, American, 1921 - 1997  Search this
Subject of:
Tuskegee Airmen, 1941 - 1946  Search this
Medium:
leather, paper, nylon, adhesive, silver and photographic gelatin on photographic paper, ink
Dimensions:
H x W x D (Closed): 9 1/16 × 12 5/16 × 1 in. (23 × 31.2 × 2.5 cm)
H x W x D (Open): 9 1/16 × 25 1/8 × 1 in. (23 × 63.8 × 2.5 cm)
Type:
gelatin silver prints
photograph albums
Place depicted:
Tuskegee, Macon County, Alabama, United States, North and Central America
Italy, Europe
Date:
1943-1945
Topic:
African American  Search this
Military  Search this
Tuskegee Airmen  Search this
World War II  Search this
Credit Line:
Collection of the Smithsonian National Museum of African American History and Culture, Gift of Victoria L.Thornton and Family
Object number:
2015.272
Restrictions & Rights:
Unknown - Restrictions Possible
See more items in:
National Museum of African American History and Culture Collection
Classification:
Media Arts-Photography
Data Source:
National Museum of African American History and Culture
GUID:
http://n2t.net/ark:/65665/fd5092f6182-af0e-48c8-a8df-c5dad7d560a5
EDAN-URL:
edanmdm:nmaahc_2015.272

Page 18 of album belonging to Lewis C. Smith

Compiled by:
Lewis Curtis Smith, American, 1921 - 1997  Search this
Photograph by:
Unidentified  Search this
Subject of:
Tuskegee Airmen, 1941 - 1946  Search this
Unidentified Man or Men  Search this
Medium:
paper, adhesive, silver and photographic gelatin on photographic paper
Dimensions:
H x W (2015.272.17a image): 9 9/16 × 9 3/4 in. (24.3 × 24.7 cm)
H x W (2015.272.17a sheet): 11 1/4 × 9 13/16 in. (28.6 × 24.9 cm)
H x W (page 17): 8 7/16 × 10 13/16 in. (21.5 × 27.5 cm)
Type:
gelatin silver prints
photograph albums
Place captured:
Macon County, Alabama, United States, North and Central America
Date:
1943
Topic:
African American  Search this
Military  Search this
Tuskegee Airmen  Search this
World War II  Search this
Credit Line:
Collection of the Smithsonian National Museum of African American History and Culture, Gift of Victoria L.Thornton and Family
Object number:
2015.272.18a
Restrictions & Rights:
Unknown - Restrictions Possible
See more items in:
National Museum of African American History and Culture Collection
Classification:
Media Arts-Photography
Data Source:
National Museum of African American History and Culture
GUID:
http://n2t.net/ark:/65665/fd5fe42b142-927d-4cf8-b502-0065409f35bc
EDAN-URL:
edanmdm:nmaahc_2015.272.18a

Page 19 of album belonging to Lewis C. Smith

Compiled by:
Lewis Curtis Smith, American, 1921 - 1997  Search this
Photograph by:
Unidentified  Search this
Subject of:
Tuskegee Airmen, 1941 - 1946  Search this
Heber C. Houston, American, 1919 - 1981  Search this
Lewis Curtis Smith, American, 1921 - 1997  Search this
James E. Brothers, American, born 1914  Search this
Arnold W. Cisco, American, 1920 - 1946  Search this
Paul Adams, American  Search this
William J. Faulkner, American, 1918 - 1944  Search this
Freddie E. Hutchins, American, 1920 - 1991  Search this
Wilson V. Eagleson, American, 1920 - 2006  Search this
Sidney J. Moseley, American, 1918 - 1943  Search this
Ulysses S. Taylor, American, 1919 - 1987  Search this
Harold E. Sawyer, American  Search this
Luke Joseph Weathers, American, 1920 - 2011  Search this
Leonard M. Jackson, American  Search this
Curtis C. Robinson, American, 1917 - 1998  Search this
Vernon V. Haywood, American, 1920 - 2003  Search this
James Carter, American  Search this
Walter T. Foreman, American, born 1919  Search this
Charles P. Bailey, American, 1918 - 2001  Search this
Charles I. Williams, American  Search this
Medium:
paper, adhesive, silver and photographic gelatin on photographic paper
Dimensions:
H x W (2015.272.18a image): 7 1/16 × 8 3/4 in. (17.9 × 22.3 cm)
H x W (2015.272.18a sheet): 7 9/16 × 9 5/16 in. (19.2 × 23.7 cm)
H x W (page 18): 8 7/16 × 10 13/16 in. (21.5 × 27.5 cm)
Type:
gelatin silver prints
portraits
photograph albums
Place depicted:
Tuskegee, Macon County, Alabama, United States, North and Central America
Date:
April 29, 1943
Topic:
African American  Search this
Military  Search this
Tuskegee Airmen  Search this
World War II  Search this
Credit Line:
Collection of the Smithsonian National Museum of African American History and Culture, Gift of Victoria L.Thornton and Family
Object number:
2015.272.19a
Restrictions & Rights:
Unknown - Restrictions Possible
See more items in:
National Museum of African American History and Culture Collection
Classification:
Media Arts-Photography
Data Source:
National Museum of African American History and Culture
GUID:
http://n2t.net/ark:/65665/fd5c4c64ee5-8c24-4350-a1de-6568e59c40a4
EDAN-URL:
edanmdm:nmaahc_2015.272.19a

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