Body skin, primarily aluminum; engines, mainly of stainless steel; though other materials used throughout construction of entire vehicle, including many internal wires with plastic insulation.
Dimensions:
Overall (stages combined): 363 ft. long x 33 ft. diameter (11064.26 x 1005.84cm)
Assembled by collectors Dr. Henry D. Rosin and Nancy Rosin to document nineteenth-century and early twentieth-century photography of Japan. Includes albumen prints, portions handcolored, some signed and numbered in the negative. Taken by photographers Felice Beato (b. ca. 1825), Baron Raimon von Stillfried (1938-1911), Kusakabe Kimbei (active 1880s), Ueno Hikoma (1838-1904), Ogawa Kazumasa (1860-1929) and unknown photographers to depict architecture, landscapes, formal studio portraits, and daily activities.
Arrangement:
Organized chronologically by the creators.
Biographical / Historical:
Henry and Nancy Rosin were collectors of Japanese photography of the nineteenth and twentieth centuries.
Henry and Nancy Rosin Collection of Early Photography of Japan. FSA.A1999.35. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C. Purchase and partial donation.
Printed catalog of the Kimbei Studio in Yokohama, one of the leading commercial studios in Japan in the mid and late Meiji period. The catalog is divided by Costumes (mostly studio portraits and assemblages), and then by scenic regions. The catalog has extensive annotations in pencil and red ink.
Biographical / Historical:
Born to a family of textile merchants in Kofu, Yamanashi Prefecture, Kusakabe Kimbei moved to Yokohama in 1859. Although unclear, Kusakabe apprenticed under either Felice Beato and/or Raimond von Stillfried. Kimbei managed a studio in Yokohama, first at Bentendori until 1881, then later at Honchodori. His photo studio catered primarily to visiting foreigners.
Henry and Nancy Rosin Collection of Early Photography of Japan. FSA.A1999.35. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C. Purchase and partial donation.
"Dear Colleague" letter re: papers, January 23, 1974
Notice from Northeastern Anthropological Association Meeting, April 1975
Three registration forms CSAS March 1973, one form April 1972
Handwritten note n.d.
February 27, 1974 letter with reservation form and ballot, 3 p.
Vitae of Nominees for 1974
1974 Notice of Placement Service at Annual Meeting AAA with interview information, 3 pp
April 9 letter from Jonathan G. Andelson
April 12 letter from Ernest L. Schusky re: symposium suggestions
April 22 estimate from FOCUS/TYPOGRAPHERS
May 13 request concerning joint meeting. CSAS & AES
May 28 letter from AAA concerning printing prices
May 28 letter from Detroit Hilton concerning CSAS Meeting May 1974. 2 pp.
Handwritten note re: phone call from Hilton Hotel about CSAS program requirements, June 17
From Celestine M. Harvey of University National Bank, June 20
Estimate from Braun-Brumfield, Inc. July 1
Handwritten note, July 12, concerning message from Mike Salter
Handwritten note, July 10, concerning John Andelson
Letter from Michael A. Salter, AASP, July 25
Copy of John H. Moore paper: the culture concept as ideology, Printed in American ethnologists, August 1974, 14 pp.
From Judith K. Brown, August 16
Announcement of ASP formation
From Ernie Schusky, September 11
From Helen Codere, September 17
From Gustav G. Carlson, September 23
To Celestine M. Harvey, September 24
2 handwritten notes October 2
From Dr. Alyce Cheska, October 4
From Bernice A. Kaplan, October 13, 2 pp.
From James W. Fernandez, October 15
From Ralph J. Bishop, October 21
Letter concerning April 1975 Meeting, November 4, 1974, 5 pp.
From Gerald Britan, November 8
From Edward J. Lehman, November 8
To Dr. Ernest Schusky from Edward J. Lehman, November 14
From James A. Clifton, November 14
From Barry L. Isaac, November 26
From John H. Moore, November 26 and abstract
From Barbara W. Lex, November 27
From Ralph J. Bishop, Dec. 3
From Sharlotte Neely (Williams), December 12, with abstract and paper: ETHNIC DIVERSITY AMONG THE EASTERN CHEROKEE INDIANS, 18 pp.
To CSAS Board Members from Ernest L. Schusky, December 18
From Ernest L. Schusky, Dec. 19
Letter concerning 1975 meeting of CSAS, December 23
From Ralph J. Bishop, December 24
From David W. Hartman, December 24
From Joseph F. Foster, December 26 with abstract of LEGEND OF THE TALKING BAGPIPE
From Woodrow W. Clark, Jr., December 27 with abstract: Cognitive Politics
From Barry L. Isaac, December 30 with two abstracts; FIRE "USING" VERSUS FIRE-MAKING IN PRIMITIVE SOCIETY and PEASANTRY AS A LOCAL EVOLUTIONARY STAGE
From Ralph J. Bishop, December 31
16 pages names and addresses
Collection Restrictions:
Materials relating to CSAS award applicants and selected correspondence from 1976-77 are restricted until 10 years after the death of the correspondents. Computer disks are restricted due to preservation concerns.
Access to the Central States Anthropological Society records requires an appointment.
From the Wrenne list and the list from the South Dakota Historical Society have been compiled a list for distribution which combines the identifications from the two lists. Mr Anderson used a copy of the Wrenne list, submitted to him by the BAE, and made corrections and added the Agency names from the South Dakota Historical Society photograph. The South Dakota Historical Society list did not contain the Indian names; these are all from the Wrenne list. The tribal identifications and other comments in parentheses are by Harry Anderson. Note: In January 1965 an original print was located in the U. S. National Museum. (Division of Ethnology) collection which has the individuals numbered and a printed list of names attached to the mount. Presumably this is like the one from which Anderson worked at the South Dakota Historical Society. A new typed list was made, January '65, crediting the N. M. print as the source (and correcting some previous mis-readings of Anderson's writing) of the English names.
The English names are taken from an original print in the U. S. National Museum collection which has the individuals numbered and a printed list of names attached to the mount. The Indian names below were supplied in 1937 by Vernon W. Wrenne, Rockford, Illinois, with the help of Indian friends and a missionary to the Indians, Mr Thomas Riggs of Pierre, South Dakota, then aged 90. Tribal designations and other comments in parenthenses were supplied in 1960 by Harry Anderson, Assistant Secretary, South Dakota Historical Society, Pierre, South Dakota.
First Row, Left to Right: 1. G. L. Stevick - Teacher at Rosebud Agency; see BAE Photos Catalog Number 4574:(33). 2. Col. S. F. Tappen - Member of 1867-68 Peace Commission). 3. Col. R. S. Gardner, Inspector (Indian Department). - Possibly same as man at left in BAE Photos Catalog Number 4574:(13 ?) 4. R. V. Belt, Indian Department - Sometime acting Commissioner of Indian Affairs. 5. Hon. John V. Wright, Commissioner - Judge John V. Wright, Tennessee; see BAE Negative Number "Portraits" 13-b. 6. Rev. William J. Cleveland, Commissioner -Missionary at Rosebud Agency. 7. Capt. R. H. Pratt, Commissioner - Head of Carlisle Indian School. 8. Hon. John H. Oberly, Commissioner of Indian Affairs. 9. Gov. L. K. Church of Dakota Territory. 10. Hon. Edmond Rice, Minnesota.
Second Row, Left to Right: Rosebud Agency Delegation (All Brule Sioux) 1. Ugly Wild Horse (Bad Wild Horse) Sung-Wa-To-Gla Si-Ca, 2. Pretty Eagle (Good Eagle) Wan-Bli Wa-Ste, 3. He Dog, Sun-Ka Blo-Ka, 4. Good Voice, Ho Wa-Ste, 5. Quick Bear, Ma-To O-Han-Ke, 6. Black Wolf, Sun-K To-Ke-Ca Wak-Pa-Iya, 7. Swift Bear, Ma-To Luza-Han, 8. Ring Thunder, Wa-Kin-Yan Can Gle-Ska, 9. Two Strike, Nom Kahpa or Nom A Papi, 10. Grey Eagle Tail, Wandli Sinte Hota, 11. Sky Bull, Ta-Tan-Ka Ma-Hpi-Ya, 12. Red Fish, Ho-Gan Luta, 13. Yellow Hair, Hin-Zi, 14. Eagle Horse, Wan-Bli Sun-Ka, 15. Thomas Flood, Interpreter, 16. Col. L. F. Spencer, Agent at Rosebud.
Third Row, Left to Right: Standing Rock Agency Delegation. 1. Sitting Bull (Hunkpapa Sioux) Ta-Tan-Ka-Iyo-Tan-Ke, 2. Stephen Two Bears (Lower Yanktonai) Ma-To Non-Pa, 3. Bear's Rib (Hunkpapa Sioux), Ma-To Cu-Wi, 4. Thunder Hawk (Hunkpapa Sioux), Ce-Tan Wa-Kin-Yan, 5. High Eagle (Hunkpapa Sioux), Wan-Bli Wan-Kan-Tuya, 6. Big Head (Upper Yanktonai), Na-Su-La Tan-Ka or Pa Tan-Ka, 7. Mad Bear (Lower Yanktonai) (Brave Bear), Ma-To O-Hi-Ti-Ka, 8. Grey Eagle (Hunkpapa), Wan-Bli Ho Ta, 9. Hairy Chin (Hunkpapa) I-Ku Hin-La, 10. Walking Eagle (Upper Yanktonai), Wan-Bli Ma-Ni, called "Black Prairie Dog" in Lewis Crawford's Rekindling Campfires, Bismark, 1926, plate facing page 270 (showing Standing Rock delegation only), 11. High Bear (Upper Yanktonai), Ma-To Wan-Kan-Tu-Ya, 12. Fire Heart (Blackfoot Sioux), Can-Te Pe-Ta, 13. John Grass (Blackfoot Sioux) Pe-Ji (Si-Yo Wi-Ki, nickname), 14. Gall (Hunkpapa), Pi-Zi, 15. Louis Primeau, Interpreter, 16. Major James McLaughlin, Agent at Standing Rock.
Fourth Row, Left to Right: Pine Ridge Delegation (All Oglala except two, as indicated) 1. Dog Back, Sun-Ka Tapetu, 2. Standing Soldier, 1st Lieut., Agency Police. 3. Yellow Bear, 4. Little Hawk, Ce-Tan Ci-Ka-La, 5. Little Wound, Ta-Opi Ci-Ka-La, 6. Little Chief, Cheyenne, 7. Pretty Lance (Good Lance), Wa-Kin-Kpe Wa-Ste, 8. Standing Elk, Cheyenne, 9. Fast Thunder, Wa-Kin-Yan Lu-Za-Han, 10. No Flesh, Co-Ni-Ca Wa-Ni-Ca, 11. American Horse, Wa-Si-Cun Ta-Shum-Ke, 12. Capt. George Sword (Indian Police), 13. Plenty Bears, Ma-To O-Ta, 14. Benjamin Rowland, Interpreter (for Cheyennes), 15. Philip Wells, Interpreter, 16. Col. H. D. Gallagher, Agent at Pine Ridge. (There were a number of Northern Cheyenne still living on Pine Ridge in 1888; Little Chief and Standing Elk were their head men. --H. H. A.)
Fifth Row, Left to Right: Cheyenne River, Crow Creek, and Lower Brule Delegations. 1. White Ghost (Lower Yanktonai from Crow Creek), 2. Drifting Goose (Lower Yanktonai from Crow Creek), 3. Bowed Head (Yanktonai from Crow Creek), 4. Little Bear (Cheyenne River), Mato Cikala, 5. Spotted Elk (Cheyenne River; this Spotted Elk is the "Big Foot" of the Wounded Knee incident), 6. Crow Eagle (Cheyenne River), Kan-Gi Wan-Bli, 7. White Swan (Cheyenne River), Ma-Ga-Ska, 8. Charger (Cheyenne River), Wa-A-Na-Tan, 9. Spotted Eagle (Cheyenne River), Wan-Bli- Gle-Ska, 10. Swift Bird (Cheyenne River), Zi-Tka-La Lu-Za-Han, 11. Little No Heart (Cheyenne River), Can-Te Wa-Ni-Ca Ci-Ka-La, 12. Narcisse Narcelle (Interpreter, Crow Creek Agency), 13. Wm. Larabee (Also spelled Larvie), Interpreter (Crow Creek Agency), 14. Dr C. E. Mc Chesney, Agent at Cheyenne River Agency.
Sixth Row, Left to Right: 1. Mark Wells, Interpreter (Crow Creek), 2. Wm. Carpenter, Capt. of Police Force (Crow Creek), 3. Fire Thunder, Capt. of Police Force (Lower Brule), 4. Medicine Bull (Lower Brule), 5. Bull Head (Lower Brule), 6. Wizi (Lower Yanktonai from Crow Creek). Seventh Row, Left to Right: 1. Major W. W. Anderson, Agent at Crow Creek and Lower Brule, 2. Alec Recontre, Interpreter (Lower Brule Agency), 3. Joe Campbell, Interpreter [Identification by Wrenne, not identified on original].
Local Numbers:
NAA INV.10000522
OPPS NEG.3351 C
Local Note:
Black and white copy film negative
Place:
D C -- Washington
Topic:
Language and languages -- Documentation Search this
From the Wrenne list and the list from the South Dakota Historical Society have been compiled a list for distribution which combines the identifications from the two lists. Mr Anderson used a copy of the Wrenne list, submitted to him by the BAE, and made corrections and added the Agency names from the South Dakota Historical Society photograph. The South Dakota Historical Society list did not contain the Indian names; these are all from the Wrenne list. The tribal identifications and other comments in parentheses are by Harry Anderson. Note: In January 1965 an original print was located in the U. S. National Museum. (Division of Ethnology) collection which has the individuals numbered and a printed list of names attached to the mount. Presumably this is like the one from which Anderson worked at the South Dakota Historical Society. A new typed list was made, January '65, crediting the N. M. print as the source (and correcting some previous mis-readings of Anderson's writing) of the English names.
The English names are taken from an original print in the U. S. National Museum collection which has the individuals numbered and a printed list of names attached to the mount. The Indian names below were supplied in 1937 by Vernon W. Wrenne, Rockford, Illinois, with the help of Indian friends and a missionary to the Indians, Mr Thomas Riggs of Pierre, South Dakota, then aged 90. Tribal designations and other comments in parenthenses were supplied in 1960 by Harry Anderson, Assistant Secretary, South Dakota Historical Society, Pierre, South Dakota.
First Row, Left to Right: 1. G. L. Stevick - Teacher at Rosebud Agency; see BAE Photos Catalog Number 4574:(33). 2. Col. S. F. Tappen - Member of 1867-68 Peace Commission). 3. Col. R. S. Gardner, Inspector (Indian Department). - Possibly same as man at left in BAE Photos Catalog Number 4574:(13 ?) 4. R. V. Belt, Indian Department - Sometime acting Commissioner of Indian Affairs. 5. Hon. John V. Wright, Commissioner - Judge John V. Wright, Tennessee; see BAE Negative Number "Portraits" 13-b. 6. Rev. William J. Cleveland, Commissioner -Missionary at Rosebud Agency. 7. Capt. R. H. Pratt, Commissioner - Head of Carlisle Indian School. 8. Hon. John H. Oberly, Commissioner of Indian Affairs. 9. Gov. L. K. Church of Dakota Territory. 10. Hon. Edmond Rice, Minnesota.
Second Row, Left to Right: Rosebud Agency Delegation (All Brule Sioux) 1. Ugly Wild Horse (Bad Wild Horse) Sung-Wa-To-Gla Si-Ca, 2. Pretty Eagle (Good Eagle) Wan-Bli Wa-Ste, 3. He Dog, Sun-Ka Blo-Ka, 4. Good Voice, Ho Wa-Ste, 5. Quick Bear, Ma-To O-Han-Ke, 6. Black Wolf, Sun-K To-Ke-Ca Wak-Pa-Iya, 7. Swift Bear, Ma-To Luza-Han, 8. Ring Thunder, Wa-Kin-Yan Can Gle-Ska, 9. Two Strike, Nom Kahpa or Nom A Papi, 10. Grey Eagle Tail, Wandli Sinte Hota, 11. Sky Bull, Ta-Tan-Ka Ma-Hpi-Ya, 12. Red Fish, Ho-Gan Luta, 13. Yellow Hair, Hin-Zi, 14. Eagle Horse, Wan-Bli Sun-Ka, 15. Thomas Flood, Interpreter, 16. Col. L. F. Spencer, Agent at Rosebud.
Third Row, Left to Right: Standing Rock Agency Delegation. 1. Sitting Bull (Hunkpapa Sioux) Ta-Tan-Ka-Iyo-Tan-Ke, 2. Stephen Two Bears (Lower Yanktonai) Ma-To Non-Pa, 3. Bear's Rib (Hunkpapa Sioux), Ma-To Cu-Wi, 4. Thunder Hawk (Hunkpapa Sioux), Ce-Tan Wa-Kin-Yan, 5. High Eagle (Hunkpapa Sioux), Wan-Bli Wan-Kan-Tuya, 6. Big Head (Upper Yanktonai), Na-Su-La Tan-Ka or Pa Tan-Ka, 7. Mad Bear (Lower Yanktonai) (Brave Bear), Ma-To O-Hi-Ti-Ka, 8. Grey Eagle (Hunkpapa), Wan-Bli Ho Ta, 9. Hairy Chin (Hunkpapa) I-Ku Hin-La, 10. Walking Eagle (Upper Yanktonai), Wan-Bli Ma-Ni, called "Black Prairie Dog" in Lewis Crawford's Rekindling Campfires, Bismark, 1926, plate facing page 270 (showing Standing Rock delegation only), 11. High Bear (Upper Yanktonai), Ma-To Wan-Kan-Tu-Ya, 12. Fire Heart (Blackfoot Sioux), Can-Te Pe-Ta, 13. John Grass (Blackfoot Sioux) Pe-Ji (Si-Yo Wi-Ki, nickname), 14. Gall (Hunkpapa), Pi-Zi, 15. Louis Primeau, Interpreter, 16. Major James McLaughlin, Agent at Standing Rock.
Fourth Row, Left to Right: Pine Ridge Delegation (All Oglala except two, as indicated) 1. Dog Back, Sun-Ka Tapetu, 2. Standing Soldier, 1st Lieut., Agency Police. 3. Yellow Bear, 4. Little Hawk, Ce-Tan Ci-Ka-La, 5. Little Wound, Ta-Opi Ci-Ka-La, 6. Little Chief, Cheyenne, 7. Pretty Lance (Good Lance), Wa-Kin-Kpe Wa-Ste, 8. Standing Elk, Cheyenne, 9. Fast Thunder, Wa-Kin-Yan Lu-Za-Han, 10. No Flesh, Co-Ni-Ca Wa-Ni-Ca, 11. American Horse, Wa-Si-Cun Ta-Shum-Ke, 12. Capt. George Sword (Indian Police), 13. Plenty Bears, Ma-To O-Ta, 14. Benjamin Rowland, Interpreter (for Cheyennes), 15. Philip Wells, Interpreter, 16. Col. H. D. Gallagher, Agent at Pine Ridge. (There were a number of Northern Cheyenne still living on Pine Ridge in 1888; Little Chief and Standing Elk were their head men. --H. H. A.)
Fifth Row, Left to Right: Cheyenne River, Crow Creek, and Lower Brule Delegations. 1. White Ghost (Lower Yanktonai from Crow Creek), 2. Drifting Goose (Lower Yanktonai from Crow Creek), 3. Bowed Head (Yanktonai from Crow Creek), 4. Little Bear (Cheyenne River), Mato Cikala, 5. Spotted Elk (Cheyenne River; this Spotted Elk is the "Big Foot" of the Wounded Knee incident), 6. Crow Eagle (Cheyenne River), Kan-Gi Wan-Bli, 7. White Swan (Cheyenne River), Ma-Ga-Ska, 8. Charger (Cheyenne River), Wa-A-Na-Tan, 9. Spotted Eagle (Cheyenne River), Wan-Bli- Gle-Ska, 10. Swift Bird (Cheyenne River), Zi-Tka-La Lu-Za-Han, 11. Little No Heart (Cheyenne River), Can-Te Wa-Ni-Ca Ci-Ka-La, 12. Narcisse Narcelle (Interpreter, Crow Creek Agency), 13. Wm. Larabee (Also spelled Larvie), Interpreter (Crow Creek Agency), 14. Dr C. E. Mc Chesney, Agent at Cheyenne River Agency.
Sixth Row, Left to Right: 1. Mark Wells, Interpreter (Crow Creek), 2. Wm. Carpenter, Capt. of Police Force (Crow Creek), 3. Fire Thunder, Capt. of Police Force (Lower Brule), 4. Medicine Bull (Lower Brule), 5. Bull Head (Lower Brule), 6. Wizi (Lower Yanktonai from Crow Creek). Seventh Row, Left to Right: 1. Major W. W. Anderson, Agent at Crow Creek and Lower Brule, 2. Alec Recontre, Interpreter (Lower Brule Agency), 3. Joe Campbell, Interpreter [Identification by Wrenne, not identified on original].
Local Numbers:
NAA INV.10000525
OPPS NEG.43563
Local Note:
Black and white copy film negative
Place:
D C -- Washington
Topic:
Language and languages -- Documentation Search this
The papers of art historian and writer Peter Howard Selz measure 31.5 linear feet and 0.696 GB and date from 1929 to 2018, with the bulk of the materials from 1950 to 2005. The papers document Selz's long career via correspondence, writings, professional files, project files, membership and association records, artists' research files, exhibition files, personal business records, printed and digital materials, and nine scrapbooks.
Scope and Contents:
The papers of art historian and writer Peter Howard Selz measure 31.5 linear feet and 0.696 GB and date from 1929 to 2018, with the bulk of the materials from 1950 to 2005. The papers document Selz's long career via correspondence, writings, professional files, project files, membership and association records, artists' research files, exhibition files, personal business records, printed and digital materials, and scrapbooks.
Correspondence is with colleagues, artists, museums, and galleries concerning a wide variety of topics, including exhibitions and publications. The bulk of the correspondence consists of alphabetical files (two linear feet) that includes correspondence with artists. Notable correspondents include Pol Bury, Alexander Calder, Gordon Onslow Ford, Alberto Giacometti, Morris Graves, Philip Guston, Dimitri Hadzi, Jacques Lipchitz, Georgia O'Keeffe, Ad Reinhardt, Mark Rothko, Jean Tinguely, and others. Eight additional files of chronological correspondence is with curators, arts organizations, and publishers. Additional correspondence is found in the professional files, project files, membership files, artists' research files, and exhibition files.
The bulk of the writings series is comprised of files related to Selz's books and includes typescript drafts and galleys, printed and digital material, correspondence, and publishing contracts. Files are found for Art in Our Times, Art of Engagement, Beyond the Mainstream, and Theories of Modern Art. Other writings consist of drafts of articles, essays, notes, and lectures by Selz. Also included are writings by others, including materials related to Paul Karlstrom's biography of Selz.
Professional files document curatorial and teaching positions at the Chicago Institute of Design, Pomona College, University of California, Berkeley, and the Museum of Modern Art. The series includes contracts, recommendations, syllabi, and correspondence.
Project files document Selz's professional work on specific art projects, panels, and symposiums. There is extensive documentation of Selz's work as project director of Christo's Running Fence, as well as other environmental art work projects by Christo, the Berkeley Art Project, Disney Art Project, "Funk Art" symposium, and the "Art and Politics in the 20th Century" symposium. Project files contain a wide variety of materials, such as correspondence, printed material, financial records, reports, photographs, and other documents. There are 2 tape reels, 1 VHS, and 1 sound cassette.
Membership and association records document Selz's involvement with or membership in various art councils, trustee boards, such as the College Art Association, Art in Chicago Advisory Committee, Bay Area Rapid Transit (B.A.R.T.) Art Council, and the San Francisco Crafts and Folk Art Museum Advisory Board, among others. Materials include meeting minutes, bulletins, correspondence, and memoranda.
Artists' Research Files consist of a wide variety of research materials Selz compiled about artists for lectures, writings, projects, exhibitions, etc. Files vary and may include original and photocopied correspondence, photographic material, resumes, printed and digital material, and writings. There is also 1 sound cassette. Files are found for Bedri Baykam, Max Beckmann, Fletcher Benton, Ciel Bergman, Barbara Chase-Riboud, Bruce Conner, Jean Dubuffet, Lyonel Feininger, Leon Golub, Dimitri Hadzi, Rico Lebrun, Harold Paris, Irving Petlin, among many others.
Exhibition files include catalogs, reviews, clippings, writings, correspondence, and other material documenting exhibitions organized by Selz. Limited materials are found for the MOMA Art Nouveau exhibition. More extensive documentation is found for Seven Decades of Modern Art, 1895-1965, The Joint Show (1967), The American Presidency in Political Cartoons (1976), American Modern Art Between the Two World Wars (1979), German Realism in the Twenties: Artist As Social Critic (1980), Twelve Artists from the German Democratic Republic (1989), a Richard Lindner Retrospective (1996), Spaces of Nature (1999), Color and Fire: Defining Moments in Studio Ceramics, 1950-2000 (2000), and a Nathan Oliviera Retrospective (2002), among others. Some of the materials are in digital format.
Personal business records are related to the Mark Rothko estate and Kate Rothko's legal case against Marlborough Gallery, Inc. Also included in this series are Peter Selz's school transcripts, bequests, royalty statements, house designs, and other material.
Printed materials include clippings, prints of articles written by Peter Selz, exhibition announcements and invitations, and photocopies of artwork images.
There are nine disbound scrapbooks dating from the 1940s up through 2012 containing clippings, exhibition announcements, and photographs of art events, Selz, and artists. This series also includes materials from the 2018 addition that may have previously been compiled in binders.
Arrangement:
This collection is arranged as 10 series. When possible the original order of Peter Selz was maintained. However, multiple accessions were merged and integrated.
Missing Title
Series 1: Correspondence, 1942-2013 (2.3 linear feet; Box 1-3, Box 37)
Series 2: Writings, 1942- circa 2014 (8.3 linear feet; Box 3-10, OV 32, Box 37, 0.035 GB; ER01, ER12)
Series 3: Professional Files, 1949-2012 (1 linear feet; Box 11, Box 37)
Series 4: Project Files, 1962-2015 (2.8 linear feet; Box 12-14, OV 33, Box 37)
Series 5: Membership and Association Records, 1958-2014 (1.1 linear feet; Box 14-15, Box 37)
Series 6: Artists' Research Files, 1955-2014 (7.9 linear feet; Box 15-22, OV 34-35, 0.520 GB; ER02-ER08)
Series 7: Exhibition Files, 1959-2014 (5.2 linear feet; Box 23-27, Box 38, 0.093 GB; ER09-ER11)
Series 8: Personal Business Records, 1929-2014 (1.2 linear feet; Box 28-29, OV 36, Box 38)
Series 9: Printed Material, 1957-2014 (0.3 linear feet; Box 29, Box 38)
Series 10: Scrapbooks, 1947-2018 (1.4 linear feet, Box 29-31, Box 38)
Biographical / Historical:
Peter Howard Selz (1919-2019) was a pioneering historian of modern art, professor, and writer who taught at the University of California, Berkeley, from 1965-1988 and founded and directed the Berkeley Art Museum from 1965-1973.
Selz was born in 1919 in Munich, Germany to Eugene Selz and Edith Drey Selz. In 1936, the family fled Nazi Germany and immigrated to the United States. Selz attended Columbia University from 1937 to 1938 and became a naturalized citizen in 1942. During World War II, Selz served in the U.S. Army in the Office of Strategic Services. He married writer Thalia Cheronis in 1948 but they later divorced in 1965; he married several times afterwards.
After the war, Selz attended and taught at the University of Chicago where he received a Ph. D. in German Expressionism. He spent a year in Paris, 1949-1950, at the Sorbonne and École du Louvre on a Fulbright grant. He received a second Fulbright grant in 1953 to study at the Royal Museums of Art and History in Belgium. From 1953-1955, Selz also taught at the Chicago Institute of Design.
In 1955 Peter Selz accepted a position to chair the art history department at Pomona College in Claremont and relocated to California for a few years. He also became director of the college's art gallery.
In 1958 Selz moved to New York City to become curator of painting and sculpture at the Museum of Modern Art and was there through the transformative mid-1960s. While at MOMA, he organized several significant exhibitions of modern art, including the 1960 Jean Tinguely "Homage to New York," a sculpture that destroyed itself (and started a fire) in the sculpture garden of the museum; New Images of Man (1959), the Art Nouveau show (1960), and the Art of Assemblage (1961). He also launched important retrospectives, including the first Rodin retrospective in the United States and a comprehensive exhibition of Alberto Giacometti's work in 1965.
In 1965, Peter Selz returned to California to become the founding director of the Berkeley Art Museum at the University of California, Berkeley, a position he held until 1973. He organized exhibitions of Funk, film, and ceramicists like Peter Voulkos and Robert Arneson. Peter Selz later became project director for Christo's "Running Fence", the 24.5-mile long fabric fence over the Marin County hills in 1976. He also served concurrently as a professor of art history at UC until retiring in 1988.
Peter Selz was a member of the College Art Association's board of directors for two terms, 1958-1964 and 1966-1971. Selz is a prolific writer, and the author or co-author of numerous books, exhibition catalogs, and articles. Notable books include German Expressionist Painting (1957), Art in a Turbulent Era (1965), Art in Our Times (1981), and Sam Francis (1975).
In 1988 Peter Selz was named emeritus professor at University of California, Berkeley. In 1993 he was on the acquisitions committee of the Museums of Fine Arts, San Francisco. In 2012, Selz curated The Painted Word exhibition. Selz died in 2019 in Albany, California.
Related Materials:
The Archives of American Art also holds oral history interviews of Peter Selz conducted by Paul J. Karlstrom on July 28, 1982, October 12, 1982, and November 3, 1999.
Provenance:
The Peter Howard Selz papers were donated to the Archives of American Art by Peter Selz in multiple installments from 1976 through 2014. Additional papers were donated in 2018 by Gabrielle Selz, Peter Selz's daughter.
Restrictions:
Use of original papers requires an appointment and is limited to the Washington, D.C. Research Center. Use of archival audiovisual recordings with no duplicate copies 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.
Peter Howard Selz papers, 1929-2018, bulk 1950-2005. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the 2014 processing of this collection was provided by the Frederick Hammersley Foundation. Funding for the processing of the 2018 addition was provided by Gerald and Bente Buck.
1 Film reel (color, color optical soundtrack, print, 16mm, 850 feet)
1 Film reel (color, color optical soundtrack, print, 16mm, 960 feet)
Type:
Archival materials
Film reels
Date:
1973
Scope and Contents:
Documentary of Gordon Hancock's win in a rain-shortened Indianapolis "500" in 1973.
The first copy was in a canister marked "Andy at Indy Film Series #13" and has an "Andy at Indy" title card preceding the film.
Number on original housing of copy 1: AGM 4.1235.
The second copy is not an exact duplicate. It is about 100 feet longer and does not have the "Andy at Indy" introduction, but appears to be a different version of the same film.
Collection Restrictions:
Collection is open for research. Viewing film and audio portion of collection requires special appointment. See repository for details.
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.
Collection Citation:
Andy Granatelli Collection, Archives Center, National Museum of American History.
The papers of artist Paulus Berensohn measure 7.7 linear feet and 9.1 GB and date from circa 1950-2017, bulk 1976-2010. The collection documents his career as a poet, ceramic artist, dancer, and educator in Penland, North Carolina, through biographical material, correspondence, writings, teaching files, printed materials, photographs of artwork, and works of art on paper and mail art.
Scope and Contents:
The papers of artist Paulus Berensohn measure 8.6 linear feet and 9.1 GB and date from circa 1950-2017, bulk 1976-2010. The collection documents his career as a poet, ceramic artist, dancer, and educator in Penland, North Carolina, through biographical material, correspondence, writings, teaching files, printed materials, photographs of artwork, and works of art on paper and mail art.
The biographical material series includes digital video and audio interviews as well as a daily planner from the mid-1990s and various awards and resumes.
Correspondence includes letters from notable individuals as well as letters of recommendation. Also found are examples of correspondence art between Berensohn and his artistic community, many the result of workshops on creating envelopes and binding.
Writings include lecture journals Berensohn used to organize his talks, draft manuscripts of books and articles, as well as writings by others including poetry by M.C. Richards. Also included are sound recordings by Berensohn on his tapestry making.
Teaching files include instruction materials and lesson plans for the topics of pottery, movement, journaling, and making envelopes. Also included are materials related to Berensohn's Pebble Ritual, including a sound recording that would have been played during this instruction and ritual.
The printed material series includes various source materials including articles and journals, as well as promotional material for Berensohn's workshops and printed material regarding collaborators and friends.
Photographic material includes printed photographs, snapshots, slides and negatives of the artist, instructional events, nature and artwork. Also included are digital photographs of the same subjects.
Artwork includes works on paper by Berensohn, handmade cards, enveloped and bound booklets, and works by others.
Arrangement:
The collection is arranged in seven series:
Series 1: Biographical Material, circa 1990-2017 (0.2 linear feet; Box 1, 7.21 gigabytes; ER01-ER03)
Series 2: Correspondence, circa 1956-2017 (bulk 1985-2010) (0.8 linear feet; Box 1)
Series 3: Writings, circa 1970-2016 (2.4 linear feet; Boxes 204, 11, 0.072 gigabytes; ER04-ER06)
Series 4: Teaching Files, circa 1970s-2005 (0.3 linear feet; Box 4, 0.152 gigabytes; ER07)
Series 5: Printed Material, circa 1970s-2009 (0.7 linear feet; Boxes 4-5, OV13)
Series 6: Photographic Material, circa 1950-2011 (2.6 linear feet; Boxes 5, 7-12, 1.659 gigabytes; ER08-ER19)
Series 7: Artwork, circa 1980s-2010 (1.7 linear feet; Boxes 5-6, 12, OV14)
Biographical / Historical:
Paulus Berensohn (1933-2017) was a ceramicist, dancer, and arts instructor in Penland, North Carolina.
Berensohn was born Paul Bernsohn in New York City in 1933. Despite being dyslexic as a child, he was accepted into Yale University before dropping out in his first semester to attend Juilliard School, and later Bennington College. While in college, Paulus was finally able to pursue his childhood interest in modern dance and upon returning to New York City studied with Merce Cunningham and performed for Martha Graham.
Berensohn was first inspired to study pottery during a visit to the Land commune, a community of artists near Stony Point, N.Y., where he met the potters Karen Karnes and M.C. Richards. Richards would become a lifelong friend and collaborator. In the late 1960s Berensohn settled at the Penland School of Craft in the Blue Ridge Mountains in North Carolina where he taught workshops in pottery, movement, and journaling. Berensohn purposely avoided becoming a commercial artist, and for years refused to fire his clay works, often returning them to the earth. He became well-known particularly for his pinch pottery technique, and he published the book Finding One's Way with Clay: Pinched Pottery and the Color of Clay in 1972. He travelled extensively throughout the 1990s and early 2000s teaching workshops and lecturing on various topics. Later in his life he lectured frequently on the environmental and ecological philosophical topic of deep ecology, and how it related to his lifelong endeavors in the arts.
Related Materials:
Also found at the Archives of American art is an oral history interview with Paulus Berensohn, 2009 March 20-21, conducted by Mark Shapiro.
Provenance:
Donated in 2017 by Paulus Berensohn Estate via Jon Ellenbogen, executor.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Use of archival audiovisual recordings and born-digital records with no duplicate 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.
Occupation:
Art teachers -- North Carolina -- Penland Search this
