Biographical material, financial material, correspondence, notes, writings, art work, photographs, printed material, and project files document the career of sculptor and educator, Heinz Warneke. Also included are some writings, art work, photographs, and printed material related to his wife, Jessie Warneke.
Biographical materials include autobiographical and biographical sketches about Warneke, and certificates, including his membership card to the Kunstler-Bund-Bremen, 1922-1923; personal financial materials, ca. 1931-1937, include household records for his East Haddam, Connecticut home, "The Mowings."
Correspondence, 1930-1987, with his wife, Jessie, friends, colleagues, clients, gallery owners, museum and art school administrators, various art guilds and societies, and foundries. Among the correspondents are Edmund (Ned) Archer, William Hunt Diederich, Walker Hancock, Dick and Julia Helms, Inslee A. Hopper, Rena T. Magee, Jessalee Sickman, Henry Vam Wolf, and Carl Zigrosser. The correspondence discusses exhibitions and sales of Warneke's sculptures, the Corcoran School of Art, and invitations to various White House and Embassy functions in Washington, D.C. Also included are illustrated letters from Henry Kriess and Jessie Warneke.
Notes are by Heinz Warneke, ca. 1928-1979, and others and include 5 address books, 2 notebooks, one regarding the Warneke School of Sculpture, ca. 1935-1937, scattered notes regarding Warneke's sculpture classes at the Corcoran School of Art, ca. 1950-1963, his formulas and processes for sculpting, and price lists for his art works. Notes by ohters include a guest book from the exhibition, "Heinz Warneke Looks Back," 1967 and research notes by Mary Mullen Cunningham, undated. Writings, ca. 1923-1977, by Heinz Warneke and others, include lectures, forewords to exhibition catalogs, and a statement of "Opinion regarding the Philosophy of the Corcoran School of Art and the Direction it should take."
Art works, ca. 1929-1932, include 2 sketchbooks, studies of figures, animals, and plant life, watercolors, several chalk sketches for a work possibly depiction life at "The Mowings," by Warneke, several sketches by Jessie Warneke, an etching, and three engravings by others. Photographs, ca. 1918-1983, are of Heinz, family and friends including Edmund Archer, Inslee Hopper, Roderick Seidenberg, Carl Zigrosser, his pet dogs, his homes and studios in Connecticut, New York, and Washington, D.C., students, travels, art works by Heinz and Jessie, exhibition installations, and source material.
Printed material include exhibition announcements and catalogs and clippings, and other materials for Heinz, Jessie, and others, ca. 1923-1981. There is a file regarding Warneke's participation on the jury for the Thomas Jefferson Memorial Committee, 1939-1940, and circa 136 project files for completed and proposed sculpture works for public and private commissions which include various works for the National Cathedral, Washington, D.C., an African cow elephant and calf for the Philadelphia Zoo, the Nittany Lion for Pennsylvania State University, and several Works Project Authority (WPA), and other federal projects, ca., 1911-1971.
Biographical / Historical:
Heinz Warneke (1895-1983) was a sculptor, animal sculptor and educator in East Haddam, Connecticut. Born and trained in Germany, Warneke worked on sculpture projects for WPA and was the head of the sculpture department at the Corcoran School of Art from the early 1940's to 1970.
Related Materials:
Heinz Warneke papers also at Syracuse University.
Provenance:
Donated 1977 by Warneke, and in 1983-1984, and 1994 by his stepdaughter and executrix of his estate, Priscilla Norton. The 1994 installment had been used by Micky Cunningham in her book, "Heinz Warneke, 1895-1983: A Sculptor First and Last" (University of Delaware Press, 1994). Additional photograph of Warneke by his stepson Edward Hall transferred 2013 from SAAM via George Gurney, Curator. Gurney received the photograph from Priscilla Norton.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
Occupation:
Animal sculptors -- Connecticut -- East Haddam Search this
Sculptors -- Connecticut -- East Haddam Search this
Many facets of Richard Lynch Garner's life and work as an early animal behaviorist observing primates in Africa are represented in these papers. Other than a few notebooks of poems and manuscripts of books Garner had published before he began his study of apes and monkeys, there is little material that reflects his personal life or his work before about 1890. These papers, covering the period of 1891 to 1941, contain a diary, correspondence, articles written for magazines, manuscripts, poetry, notes, data collected on chimpanzees, financial records, legal records, maps, biographical material, artwork, and photographs.
Scope and Contents:
Many facets of Richard Lynch Garner's life and work as an early animal behaviorist observing primates in Africa are represented in these papers. Other than a few notebooks of poems and manuscripts of books Garner had published before he began his study of apes and monkeys, there is little material that reflects his personal life or his work before about 1890. These papers, covering the period of 1891 to 1941, contain a diary, correspondence, articles written for magazines, manuscripts, poetry, notes, data collected on chimpanzees, financial records, legal records, maps, biographical material, artwork, and photographs.
Many of Garner's observations and writings on the study of the languages of apes are included in this collection. Also included in these papers are comments, notes and essays written by Garner on the French administration of the Congo, on missionaries living in Africa and on the natives themselves. Many, but not all of Garner's writings have been published. Abstracts of many of his articles can be found in the folder "Synopses." Garner also created indices to his works, which may be helpful in navigating his writings. Psychoscope, a book of poems by Garner, was published in 1891 and can be found in this collection along with his other poems. His manuscripts and poems are arranged alphabetically.
Of special interest in this collection is the diary Garner kept while in the French Congo. The diary covers the period of January, 1905 to February, 1906. Also in the collection are data that he collected on chimpanzees, records of his financial transactions with the natives (including the purchase of animals), and rough sketch maps of American Point and Cameroun. The folder "Artwork" contains oil, pen, and pencil drawings of animals, likely intended to illustrate Garner's writings. Among the photographs in the collection are images of Garner, African people, and some of the animals Garner worked with, in particular Susie, his chimpanzee.
Harrington's completed biography on Garner as well as his research notes, reference materials, and drafts can also be found in this collection. In addition, the collection contains obituaries for Garner, presumably collected by his son, Henry. Two letters from Henry Garner to Harrington can be found under "Incoming Correspondence." Most of the outgoing correspondence are addressed to Garner's son.
Please note that the contents of the collection and the language and terminology used reflect the context and culture of the time of its creation. As an historical document, its contents may be at odds with contemporary views and terminology and considered offensive today. The information within this collection does not reflect the views of the Smithsonian Institution or National Anthropological Archives, but is available in its original form to facilitate research.
Arrangement:
There is no discernible arrangement to the collection.
Biographical Note:
Garner, an authority on primitive language, took up the study and investigation of the language, life and habits of anthropoid apes after he realized the usefulness of the phonograph for recording primate communication. According to Harrington, Mr. Garner was the discoverer and initiator of the study of the language of apes, and his work was posthumously proven valid by Robert Mearns Yerkes in approximately 1925.
Chronology
February 19, 1848 -- Born in Abingdon, Virginia
1862 -- Joined the Third Tennessee Mounted infantry Educated at the Jefferson Institute, Tennessee
October 15, 1872 -- Married Margaret E. Gross
1876-1890 -- Worked as a school teacher
1884 -- Began recording monkey language with a phonograph Visited the Cincinnati Zoological Garden, his first ever visit to a zoo.
1892 -- Published The Speech of Monkeys Made first of several trips to the French Congo. Sailed from New York to the French Congo to live in a cage among primates at Lake Fernan Vaz
1900 -- Published Apes and Monkeys
1905 -- Had a house built on an island in Lake Fernan Vaz, French Congo
1916 - 1919 -- Under the Smithsonian Institution, made last expedition to the French Congo
January 22, 1920 -- Died in Chattanooga, Tennessee
Selected Bibliography
1892 -- Garner, Richard Lynch. The Speech of Monkeys. New York: C. L. Webster and Company, 1892.
c1900 -- Garner, Richard Lynch. Apes and Monkeys; Their Life and Language. Boston and London: Ginn & Company, c1900. [Includes parts of Gorillas and Chimpanzees]
c1930 -- Garner, Richard Lynch. Autobiography of a Boy; from the Letters of Richard Lynch Garner. An Introduction by Aleš Hrdlička. Washington: Huff Duplicating Co., 1930.
Related Materials:
Other materials at the National Anthropological Archives that relate to Garner can be found in the correspondence of John P. Harrington and Aleš Hrdlička and in the USNM Division of Ethnology Manuscript and Pamphlet File. Garner's lantern slides can be found in Photo Lot 81-58A and Photo Lot 92-46.
Provenance:
The papers of Richard Lynch Garner, early animal behaviorist and expedition leader on occasion for the Smithsonian Institution, were given to Dr. John P. Harrington by Garner's son, Henry. Harrington completed a biography of Garner in 1941. Garner's papers originally entered the National Anthropological Archives as a part of the papers of Harrington, and have since been separated to form their own collection.
Restrictions:
The Richard Lynch Garner papers are open for research.
Rights:
Contact repository for terms of use.
Topic:
Language and languages -- Documentation Search this
The papers of conservator and museum director George Leslie Stout measure 6.4 linear feet and date from 1855, 1897-1978. Stout was head of the conservation department at Harvard University's Fogg Art Museum, director of the Worcester Art Museum and Isabella Stewart Gardner Museum in Massachusetts, and a member of the Monuments, Fine Art and Archives (MFAA) Section of the U.S. Army during World War II. The bulk of the collection consists of correspondence with family, friends, colleagues and professional associations. There are letters from fellow Monuments Men who served in the MFAA section such as Thomas Carr Howe, Ardelia Hall, Lamont Moore, Theodore Sizer, Langdon Warner and several other prominent arts administrators. The papers also contain biographical materials, writings, sketches and one sketchbook, military records, printed materials, and photographs.
There is a 0.2 linear foot addition to this collection acquired in 2020 that includes four diaries, 1944-1946, kept by George Stout as a member of the Monuments, Fine Arts and Archives Section (MFAA) of the U.S. Army (known as the Monuments Men). The diaries describe Stout's experiences surveying war-caused damages in France, Germany, and Japan, and the recovery of Nazi impounded art works. Also included is a hand-made booklet that includes a "Glossary of Cha-no-yu Terms," which consists of quotes about Japanese art and tea drinking.
Scope and Contents:
The papers of conservator and museum director George Leslie Stout measure 6.4 linear feet and date from 1855, 1897-1978. Stout was head of the conservation department at Harvard University's Fogg Art Museum, director of the Worcester Art Museum and Isabella Stewart Gardner Museum in Massachusetts, and a member of the Monuments, Fine Art and Archives (MFAA) Section of the U.S. Army during World War II. The bulk of the collection consists of correspondence with family, friends, colleagues and professional associations. There are letters from fellow Monuments Men who served in the MFAA section such as Thomas Carr Howe, Ardelia Hall, Lamont Moore, Theodore Sizer, Langdon Warner and several other prominent arts administrators. The papers also contain biographical materials, writings, sketches and one sketchbook, military records, printed materials, and photographs.
There is a 0.2 linear foot addition to this collection acquired in 2020 that includes four diaries, 1944-1946, kept by George Stout as a member of the Monuments, Fine Arts and Archives Section (MFAA) of the U.S. Army (known as the Monuments Men). The diaries describe Stout's experiences surveying war-caused damages in France, Germany, and Japan, and the recovery of Nazi impounded art works. Also included is a hand-made booklet that includes a "Glossary of Cha-no-yu Terms," which consists of quotes about Japanese art and tea drinking.
Biographical materials include college and graduate school transcripts, various certificates, four small appointment books and passports.
Correspondence is between George Leslie Stout and family, friends, colleagues, professional associations and fellow Monuments Men. Family correspondence is with Stout's immediate and extended family, the bulk of which is from Stout to his wife Margaret and his son Thomas. Correspondents in the Monuments Men correspondence include Thomas Carr Howe, Ardelia Hall, Lamont Moore, Theodore Sizer, Langdon Warner, and many others. There is also substantial correspondence with friends and professional colleagues in the museum and art world, such as Walter Beck, Richard D. Buck, William George Constable, Earl of Crawford, George Peabody Gardner, Jr., William Ivins, Jr., Henri Marceau, and Paul Sachs, among many others.
Writings by Stout consist of typescript drafts and published articles, speeches, and miscellaneous notes. Most of the writings concern art conservation and the speeches are memorials for two of Stout's colleagues. Notes consists of drafts for the texts of holiday cards Stout designed, biographical notes, and images and captions for The Care of Pictures. There are also three conference papers on art conservation written by other people.
Subject files document Stout's conservation projects as a consultant for museums, universities, galleries and other organizations. Also found in this series are documents relating to Stout's work after retiring from the Isabella Gardner Museum and his membership or participation in various arts programs and organizations.
A separate series contains files relating to Stout's World War II service in the Monuments, Fine Arts & Archives (MFAA) Section. Found here are official military records, publications by Monuments Men, and a few scattered photographs. Military records include directives, reports, certificates and a bronze star medal. There are articles and books written by various Monuments Men such as Langdon Warner, Lincoln Kirstein and Theodore Sizer. There are also scattered photographs, only two of which depict tout (including one group photograph with Lamont Moore, Walker Hancock and other Monuments Men.) There are also 12 negatives with 4 prints depicting La Gleize Church and the town of Ambleve, Belgium in 1945. There are also four diaries documenting Stout's experiences in the MFAA Section in Europe and Japan from 1944-1946.
Personal business records include assorted legal and estate papers as well as financial papers such as receipts, travel expenses and donations.
Printed materials consists of news clippings, bulletins, brochures, press releases, conference papers, and magazine and journal articles, most of it related to art conservation.
Artwork includes pencil and ink drawings and sketches, mostly of travel scenes, people, and animals. There is one sketchbook of the human figure. Many sketches were loosely grouped together by Stout with titles such as "Pool Doodles" or "Park and Zoo." The is also one caricature of Eric Brown by Murray Pease.
The papers include photographs and negatives, mostly personal photographs of friends, family, relatives and colleagues. There are also photographs of art conservation conferences and travel photographs. Additional scattered photographs are located in the series containing the Monuments Men files.
Arrangement:
This collection is arranged as 9 series.
Missing Title
Series 1: Biographical Materials, circa 1919-1977 (0.1 linear feet; Box 1)
Series 2: Correspondence, 1922-1978 (2.5 linear feet; Box 1-3, OV 8)
Series 3: Writings, 1927-1978 (0.5 linear feet; Box 3-4)
Series 4: Subject Files, 1918, 1943-1978 (1 linear feet; Box 4, OV 8-9)
Series 5: Monuments, Fine Arts & Archives Section Files, 1918, 1942-1955, 1972-1975 (0.5 linear feet; Box 5, 10)
Series 6: Personal Business Records, 1938-1978 (0.1 linear feet; Box 5)
Series 7: Printed Materials, 1926-1977 (0.8 linear feet; Box 5-6, OV 9)
Series 8: Sketchbooks, circa 1924-circa 1938, 1970-1977 (0.1 linear feet; Box 6)
Series 9: Photographic Materials, circa 1855, 1897-1978 (0.2 linear feet; Box 6-7)
Biographical / Historical:
George Leslie Stout (1897-1978) was a museum director and prominent art conservator in Massachusetts. Stout was head of the conservation department at Harvard University's Fogg Art Museum, and director of the Worcester Art Museum and Isabella Stewart Gardner Museum, Massachusetts. During World War II, Stout served in the U.S. Army Monuments, Fine Art and Archives (MFAA) and played a leading role in the protection, location, and recovery of art work stolen by the Nazis.
Born in Winterset, Iowa in 1897, George Leslie Stout was the oldest of six children and attended Winterset High School and served in the U.S. army during World War I. Following the war, Stout studied at the State University of Iowa, received his B.A. in 1921, worked for a few years, and married Margaret Hayes in 1924 with whom he had two sons, Robert and Thomas. He attended Harvard graduate school in 1926 and graduated with a Master of Art in 1929. Stout began working as a lecturer and conservator at Harvard's Fogg Art Museum, later becoming the head of the conservation department in 1933, a position he held until 1947.
During World War II, Stout re-enlisted in the U.S. Navy, having served in the reserves since World War I. Stout was one of the first members of the Monuments, Fine Arts & Archives (MFAA) Section of the U.S. army. He was appointed to the MFAA Section for the Twelfth Army Group in 1944 and was one of the first Monuments Men to arrive at Normandy, France. He was later appointed Lieutenant Commander of the MFAA Section. Many of the Monuments Men's stolen art recovery achievements were directed by George Leslie Stout. Stout supervised the inventory and removal of looted art hidden by the Nazis in the salt mines of Merkers and Ransbach in Thuringia, Germany. Stout oversaw the organization, packing, and shipping of several thousand objects including paintings by Rubens and Goya, along with precious antiquities. At the Altaussee salt mines in Austria, he was in charge of the unit that recovered a large cache of stolen artwork that included Michelangelo's Madonna and Child and the Ghent Altarpiece or The Adoration of the Mystic Lamb by Hubert and Jan van Eyck. There, he also worked very closely with fellow Monuments Men Thomas Carr Howe. Stout went on to locate and recover looted artwork in other repositories in Germany, France, and the Netherlands. He maintained a relationship with many of his fellow Monuments Men after the war.
Stout left Europe in the latter half of 1945, then went to Japan where he served as the Chief of the Arts and Monuments Division at Headquarters of the Supreme Commander for the Allied Powers, Tokyo until the middle of 1946. After the war Stout received the Bronze Star and the Army Commendation Medal for his army service and work as a Monuments Man in Europe.
Stout resumed his position as the head of the conservation department at the Fogg Art Museum when he returned to America. In 1947 he became the director of the Worcester Art Museum in Massachusetts where he stayed until 1955, when he became the director of the Isabella Stewart Gardner Museum in Boston where he worked until his retirement in 1970. Stout wrote numerous articles about art conservation and wrote two books: Painting Materials, A Short Encyclopaedia (1942), co-authored with Harvard colleage R. J. Gettens, and Care of Pictures (1948). Stout died in Menlo Park, California in 1978 and was widely recognized as a distinguished art conservator.
Related Materials:
Also found in the Archives of American Art is an oral history interview with George Stout conducted by Paul Karlstrom in 1978.
Provenance:
George Leslie Stout donated his papers to the Archives of American Art in 1978. In that same year, Robert Stout, son of George Leslie Stout, loaned four diaries to the Archives of American Art for microfilming. The four diaries were acquired at auction by the Archives in 2020 with generous donations from Paul Neely, David Copperfield in memory of Kelly Asbury, Deborah Lehr and John Rogers, Ambassador Nicholas F. Taubman, The Whitney and Elizabeth MacMillan Foundation, Jeffrey P. Cunard and Mariko Ikehara; The Elbrun and Peter Kimmelman Family Foundation, Inc.; Peter and Paula Lunder; William and Christine Ragland in memory of William McKenzie Ragland Lt. JG, U.S. Navy, Pacific Theater, WWII; The Kurin Family in honor of WWII Veteran Saul Kurin, Paul and Corine Wegener, and Judy and Bob Huret.
Restrictions:
This collection is temporarily closed to researchers due to archival processing and digitization. For more information, please contact Reference Services.
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.
The records of the National Zoological Park, Office of Public Affairs were for the most part created and maintained by Sybil E. Hamlet, Public Information Officer at
NZP for over twenty years. Also included are some general correspondence and memoranda created by Hamlet's predecessor, Marion McCrane.
As Public Information Officer, Hamlet was responsible for gathering and disseminating information about NZP's events, collections, and programs to the media and the general
public. She garnered a great deal of information about animal births, deaths, breeding, and acquisitions from the daily and weekly animal reports written by the keepers, which
are included in these records as series 1. Other data that Hamlet collected about animals at NZP and other zoos, including clippings, photographs, and manuscripts, can be
found in the animal information files. This series (4) is an especially rich source of information on the arrival of and the public reaction to the two giant pandas, "Ling-Ling"
and "Hsing Hsing."
A large portion of Hamlet's job was answering requests for information about animals and zoos from both the public at large and from other members of the zoo profession.
Samples of incoming correspondence and the replies of Hamlet, her predecessor Marion McCrane, and other staff in the Public Affairs Office, can be found in series 5 and 6.
Series 5 contains requests for information solely about animals, while series 6 is concerned with requests for photographs, guidebooks, maps, and more general information
about NZP and zoo careers.
The general subject files (series 3) document the research and activities of the Office of Public Affairs not directly related to the animal collections at NZP. Other aspects
of Hamlet's work as Public Information Officer can be seen in the memoranda and correspondence in this series concerning the planning and execution of special events at the
zoo. Writing signs and labels for the zoo was another duty of the Office of Public Affairs until the Office of Graphics and Exhibits was created in 1974; series 2 contains
drafts of text for those signs, including maps showing the geographic range of the animals described.
The more administrative side of the Office of Public Affairs is documented in series 7, which contains internal memoranda concerning such things as chain of command during
leaves of absence, personnel issues, and commendations for exceptional performance by Public Affairs staff and other NZP staff assisting with Public Affairs activities.
In 1978, Sybil Hamlet was delegated a two-year assignment of researching and writing the history of the National Zoological Park. Series 8 contains all the notes, articles,
correspondence, manuscripts, and clippings she used in order to create her manuscript, "The National Zoological Park from Its Beginnings to 1973." Three drafts of the manuscript
are included, along with an index to one of the drafts. The manuscript was never published.
Another fine source for information about past events and animals at NZP is the large number of scrapbooks that make up series 12. Clippings about NZP people, animals,
collection expeditions, and events were saved from 1924 to 1978, along with original photographs (black and white and color) in some albums. Twelve of these scrapbooks are
devoted to the giant pandas, and four solely to obituaries for "Smokey Bear." A small collection of glass lantern slides and photographs can be found in series 9. The lantern
slides were probably taken in the London Zoological Gardens at the turn of the century, and the photographs (both black and white and color) are images of NZP and its animals.
Original artwork, primarily of "Smokey Bear" and of the giant pandas, make up series 10; series 11 contains architectural drawings and maps of NZP grounds and buildings.
Historical Note:
The Office of Public Affairs did not exist as an administrative entity at the National Zoological Park (NZP) until 1978. Prior to the early 1960s, dissemination of
information about NZP programs, activities, and animals to the public and the media was carried out by the staff of the Office of the Director. In 1962, zoologist Marion McCrane
was hired to head the Information and Education Division at NZP. In addition to handling public affairs, the division also created signs and labels for NZP exhibits. When
McCrane resigned in December 1968, Sybil E. Hamlet was named acting head and later head of the office.
In 1972, Information and Education was reorganized and became the Division of Interpretation, with Saul W. Schiffman as chief of the division. The new division's duties
were expanded to include exhibit production. In 1974, information and education work was again separated from exhibits production by the creation of the Office of Education
and Information and the Office of Graphics and Exhibits. Judith White was named chief of the Office of Education and Information in 1975. This office was renamed the Office
of Education in 1978, when information duties were transferred to the newly established Office of Public Affairs.
The Office of Public Affairs was headed by Patricia Hurley in 1978, and Robert J. Hoage became chief of the office in 1979. With the assistance of Sybil Hamlet and Michael
Morgan, the Office of Public Affairs continued to provide general information about NZP programs and activities to the public and the media, as well as organizing and coordinating
special events at NZP.
