Search Results

Creator:

Anacostia Community Museum  Search this

Names:

Anacostia Community Museum  Search this

Anacostia Museum  Search this

Extent:

0.5 Linear feet (1 box)

Type:

Collection descriptions

Archival materials

Exhibition records

Slides (photographs)

Correspondence

Clippings

Place:

Washington (D.C.)

Date:

1990

Summary:

An exhibition designed to encourage museum visitors to examine the role of art in their community. Organized and displayed at the Anacostia Museum from July 15, 1990 to September 16, 1990 the show included murals and sculptures viewed in Washington, DC and also encompassed personal statements such as hairstyles, clothes, and jewelry.

Scope and Contents note:

These records document the planning, organizing, execution, and promotion of the exhibition. Materials include correspondence, research files, release forms, exhibit script, clippings, media clippings, and flyers.

Restrictions:

Use of the materials requires an appointment. Please contact the archivist to make an appointment: ACMarchives@si.edu.

Topic:

Public art  Search this

Museum exhibits  Search this

Art  Search this

Muralists -- Washington (D.C.)  Search this

Genre/Form:

Exhibition records -- 1990-2004

Slides (photographs)

Correspondence

Clippings

Citation:

Whose Art is it, anyway? The Arts in Public Places exhibition records, Anacostia Community Museum Archives, Smithsonian Institution

Identifier:

ACMA.03-086

See more items in:

Whose Art is it, anyway? The Arts in Public Places exhibition records

Archival Repository:

Anacostia Community Museum Archives

GUID:

https://n2t.net/ark:/65665/qa75ef096e7-5a10-4333-a8a1-0300793fbc36

EDAN-URL:

ead_collection:sova-acma-03-086

Creator:

Tai, J.T. (1911-1992)  Search this

Extent:

7.2 Cubic feet (12 document boxes)

Type:

Collection descriptions

Archival materials

Date:

1950-1997

Scope and Contents:

This collection consists mainly of the stock records of J.T. Tai & Co. The majority of stock records are organized by stock number in four series: YT numbers, A numbers, CT numbers, and JT numbers. Stock records for objects sold to buyers who did significant business with J.T. Tai & Co. were often removed to binders dedicated to that purchaser. Series two consists of these binders. Consignment records document objects consigned to J.T. Tai & Co., both sold and returned to owners. Series four through six (Sales Slips, Conservation Records, and Photographs) are small groupings of limited materials. Sales slips document sales by J.T. Tai & Co. in chronological order. Each line-item records date, buyer, brief description, stock number, and price of a sale. Conservation Records document conservation work J.T. Tai commissioned or facilitated, typically through correspondence. The photographs provide visual documentation of stone sculptures.

Arrangement:

Arranged in six series: Series 1: Stock Records, Series 2: Collector & Institution Binders, Series 3: Consignment, Series 4: Sales Slips, Series 5: Conservation Records, and Series 6: Photographs.

Biographical / Historical:

TAI Jun Tsei (Dai Runzhai 戴潤齋 1911–1992; born Dai Fubao), or J.T. Tai as he was known in the West, was an incredibly important dealer in Chinese antiquities who shaped American collections of Chinese art throughout the second half of the twentieth century. Indeed, he ranks second only to C.T. Loo in defining the meaning of Chinese art for Western institutions and scholars alike.

Tai began his career at his uncle's small antique store in Wuxi, China. Between 1945 and 1949, Tai regularly sold antiquities sourced in rural China to Lu Wu Antiques Company, an export company that C.T. Loo operated with Wu Qizhou. Lu Wu Antiques exclusively supplied Loo's western business, C.T. Loo & Company with galleries in Paris and New York. Upon the establishment of the People's Republic of China, the government attempted to arrest J.T. Tai for illegally exporting objects. Coming very close to being captured, he and his wife, Pingying Tai (1915–1998), escaped dramatically to Hong Kong, where they slowly reclaimed Mr. Tai's collection from Shanghai. In early 1950, Tai immigrated to New York City with the help of C.T. Loo and established himself as an independent dealer by the fall of 1950. Tai's business flourished and he played an instrumental role in shaping several American collections of Chinese art, Avery Brundage and Arthur M. Sackler were his most important clients. Upon Tai's death in 1992, J.T. Tai & Company ceased doing business.

Topic:

Art, Asian  Search this

Art -- Collectors and collecting  Search this

Citation:

The J.T. Tai & Co. Papers, FSA.A2023.01. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C.

Identifier:

FSA.A2023.01

See more items in:

The J.T. Tai & Co. Papers

Archival Repository:

Freer Gallery of Art and Arthur M. Sackler Gallery Archives

GUID:

https://n2t.net/ark:/65665/dc3ccb3063b-7013-4cdd-8b1a-9387e5b7ca2d

EDAN-URL:

ead_collection:sova-fsa-a2023-01

Creator:

Louisiana Purchase Exposition (1904: Saint Louis, Mo.)  Search this

Series Creator:

Warshaw, Isadore, 1900-1969  Search this

Extent:

1 Item (Ink on paper, 3-13/16 x 5-9/16 in.)

Container:

Box 11

Type:

Archival materials

Illustrated note cards

Place:

Saint Louis (Mo.) -- 1900-1910

Missouri -- 1900-1910

Date:

1904

Scope and Contents:

Front depicts image on card and verso contains handwritten note: "Please forward all our mail to 4248 [West] Belle Place, St. Louis Mo."

Local Numbers:

AC0060-0001605-1.tif (AC Scan, Front)

AC0060.0001605-2.tif (AC Scan, Back)

Exhibitions Note:

Shown in Archives Center display, "Meet Me in St. Louis"--A Year Late: Remembering the Louisiana Purchase at the 1904 World's Fair," 2003.

Series Restrictions:

Collection is open for research. Some items may be restricted due to fragile condition.

Series 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:

Architecture -- Missouri -- Saint Louis  Search this

Exhibitions  Search this

Art -- Missouri -- Saint Louis -- Exhibitions  Search this

Genre/Form:

Illustrated note cards

Series Citation:

Warshaw Collection of Business Americana Subject Categories: World Expositions, Archives Center, National Museum of American History, Smithsonian Institution

Sponsor:

Funding for partial processing of the collection was supported by a grant from the Smithsonian Institution's Collections Care and Preservation Fund (CCPF).

See more items in:

Warshaw Collection of Business Americana Subject Categories: World Expositions

Warshaw Collection of Business Americana Subject Categories: World Expositions / Images, Keepsakes, Promotional Material, Publications, and Other / ST. LOUIS

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep839c8779b-6f96-4e16-951e-58a4861f8a97

EDAN-URL:

ead_component:sova-nmah-ac-0060-s01-01-world-ref561

Donor:

National Museum of American History (U.S.). Division of Domestic Life  Search this

Extent:

1 Cubic foot (9 boxes)

Type:

Collection descriptions

Archival materials

Lantern slides

Photographs

Place:

Chicago (Ill.)

St. Paul (Minn.)

Washington (D.C.)

Date:

circa 1890-1947

Scope and Contents note:

Miscellaneous glass photonegatives and lantern slides, originally housed in cardboard plate boxes, some containing newspaper clipping separators with dates as late as 1961. Subjects include a flood in 1911, family photographs and portraits, and buildings, with labels indicating locations such as Chicago, St.Paul, and damage from World War II in England, France, Germany, and Greece. The lantern slides depict historical art subjects and may be academic lecture materials.

Arrangement:

The collection is organized into 10 series.

Series 1: England, 1940

Series 2: France, 1939-1943

Series 3: Germany, 1944-1947

Series 4: Greece, circa 1940s

Series 5: Italy, undated

Series 6: [New York?], undated

Series 7: Poland, 1939

Series 8: Rotterdam, undated

Series 9: Miscellaneous, 1899-1912

Series 10: Unidentified, circa 1890-1911

Biographical / Historical:

The lantern slides and glass photographs include miscellaneous family photographs and portraits, photographs of buildings, and historical art subjects.

Provenance:

Immediate source of acquisition unknown.

Restrictions:

Collection is open for research but is stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.

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:

Art -- History -- Lectures  Search this

Floods -- 1910-1920 -- Washington (D.C.)  Search this

Genre/Form:

Lantern slides -- Lectures

Photographs -- Black-and-white negatives -- Glass -- 1900-1920

Citation:

Domestic Life Glass Photograph Collection, Archives Center, National Museum of American History.

Identifier:

NMAH.AC.0292

See more items in:

Domestic Life Glass Photograph Collection

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8d93ff87f-97b5-4051-9752-335781e10f37

EDAN-URL:

ead_collection:sova-nmah-ac-0292

Creator:

Anacostia Community Museum  Search this

Smithsonian Institution. Anacostia Community Museum  Search this

Names:

Anacostia Community Museum  Search this

Anacostia Neighborhood Museum  Search this

Anacostia Neighborhood Museum  Search this

Fralin, Frances  Search this

Gilliam, Sam, 1933-2022  Search this

Livingston, Jane  Search this

Stovall, Di Bagley, 1947-  Search this

Stovall, Di Bagley, 1947-  Search this

Stovall, Lou  Search this

Stovall, Lou  Search this

Extent:

1.42 Linear feet (2 boxes)

Type:

Collection descriptions

Archival materials

Sound recordings

Scripts (documents)

Brochures

Correspondence

Contact sheets

Video recordings

Exhibition records

Photographic prints

Exhibit scripts

Place:

Washington (D.C.)

Washington (D.C.)

Date:

1983-09-18 - 1983-12-18

Summary:

An exhibition featuring the works of artists Lou and Di Stovall organized by the Anacostia Neighborhood Museum and held there from September 18 --December 18, 1983. These records document the planning, organizing, execution, and promotion of the exhibition. Materials include correspondence, research files, exhibit scripts, administrative records, brochures, press coverage, education packets, loan agreements, floor plans, and catalogues.

Related Archival Materials note:

Audiovisual materials created for the exhibition by Anacostia Community Museum.

Restrictions:

Use of the materials requires an appointment. Please contact the archivist to make an appointment: ACMarchives@si.edu.

Occupation:

Artists  Search this

Artists  Search this

Topic:

Printmakers  Search this

Printmakers  Search this

Museum exhibits  Search this

Museum exhibits  Search this

African Americans  Search this

Art -- Exhibitions  Search this

Genre/Form:

Sound recordings

Scripts (documents)

Brochures

Correspondence

Contact sheets

Video recordings

Exhibition records -- 1967-1989

Photographic prints

Exhibit scripts

Citation:

Through their eyes: the art of Lou and Di Stovall exhibition records, Anacostia Community Museum Archives, Smithsonian Institution

Identifier:

ACMA.03-001

See more items in:

Through their eyes: the art of Lou and Di Stovall exhibition records

Archival Repository:

Anacostia Community Museum Archives

GUID:

https://n2t.net/ark:/65665/qa760e6c49c-6263-489a-af87-cc4114ca37e9

EDAN-URL:

ead_collection:sova-acma-03-001

Creator:

Anacostia Neighborhood Museum  Search this

Jones, Brian  Search this

Names:

Anacostia Community Museum  Search this

Anacostia Neighborhood Museum  Search this

Corcoran Gallery of Art  Search this

Corcoran School of Art (Washington, D.C.)  Search this

Howard University  Search this

Stovall Workshop Inc.  Search this

Gilliam, Sam, 1933-2022  Search this

McNeill, Lloyd  Search this

Porter, James A. (James Amos), 1905-1970  Search this

Stovall, Di Bagley, 1947-  Search this

Stovall, Lou  Search this

Collection Creator:

Anacostia Community Museum  Search this

Smithsonian Institution. Anacostia Community Museum  Search this

Extent:

2 Sound recordings (open reel, 1/4 inch)

5 Sound recordings (audio cassette)

Type:

Archival materials

Sound recordings

Narration

Place:

Washington (D.C.)

Georgia

Springfield (Mass.)

United States

Date:

1983

Scope and Contents:

Brian Jones provides the narration for the self guided audio tour for the exhibition, Through Their Eyes: The Art of Lou and Di Stovall. The life history of Lou and Di Stovall and their work with the Stovall Workshop Inc., Lou's relationship with Sam Gilliam and Lloyd McNeill, Lou's work with the Corcoran Gallery, Di's education at the Corcoran School of Art, the meaning of the poster, and Lou's passion for drawing are briefly discussed. Individual works - posters, prints, and fine art - by Lou and Di, including a collaboration piece by Gilliam and Lou, are described.

Audio tour script - unedited audio narration. Part of Through Their Eyes: The Art of Lou and Di Stovall Audiovisual Records. AV003296-3: sound distorted. Dated 19831026, 19831027. AV001367 and AV001377: dated 198310. AV001368 and AV001369: dated 19831020. AV001365: undated.

Biographical / Historical:

Through Their Eyes: The Art of Lou and Di Stovall Self Guided Audio Tour was created for an exhibition featuring the works of Washington, D.C. artists, Lou and Di Stovall, organized by the Anacostia Neighborhood Museum and held there from September 18, 1983 - March 4, 1984. The exhibition, Through Their Eyes: The Art of Lou and Di Stovall, showcased 84 works - silkscreen prints, drawings, and arcylic paintings - illustrating the artists' progression form posterists to master printmaker and miniaturist, respectively. The art was complemented by audiovisual presentations on the technique of silkscreen printing and a biographical essay on the artists.;Lou Stovall was born Luther McKinley Stovall in Athens, Georgia in 1937. When Stovall was four years old, his family moved north to Springfield, Massachusetts to find work. At age of fifteen, he was an apprentice to Al LaPierre in his silkscreen sign shop at the Growers Outlet Super Market. In 1956, Stovall received a grant and scholarship to attend Rhode Island School of Design. After the first semester, his father became ill so Stovall returned home to support his family for about five or six years. When he returned to school, Stovall attended Howard University, where he received a B.F.A. in 1965. James Lesesne Wells introduced to Stovall to silkscreen as a fine art rather than a commercial medium. Stovall also learned about collaboration in printmaking (artist and printer combining ideas and skills to create a work of art) from Wells. In 1968, Stovall received a grant to buy printmaking equipment. However, he made most of the tools and tables himself creating a full scale printmaking, wood making, and metal workshop in Washington, D.C. Under his direction, Workshop Inc. has grown from a small but active studio primarily concerned with community posters into a professional printmaking outfit. Stovall creates his own original silkscreen prints and is the printmaker of choice for other master artists including Elizabeth Catlett, David C. Driskell, and Sam Gilliam. For each work of art, he finds new and unique ways to replicate as closely as possible a painting supplied by the artist. He has the ability to make the medium do just about anything he and the artist(s) want it to do. Stovall's innovative techniques and distinctive style is credited by artists and critics with helping to transform the concept of silkscreen printmaking from a commercial craft to a true art form. In 1971, Stovall married Di Bagley, a painter who specializes in acrylic on paper and incorporates miniature images into many of her works.;Di Stovall, also known as Di Bagley Stovall and Di Bagley, was born in Columbus, Georgia in 1947. As a child, she loved collecting small things, animate and inanimate. Stovall studied with Barbara Pound, a painter known for landscapes, oil, and watercolor, throughout her childhood and teenage years. In the late 1960s, Stovall was educated at Columbus College and Bradley Museum, both in Georgia, before moving to Washington, D.C. to attend Corcoran School of Art. Stovall is a noted master of the miniature, creating representational and abstract images painted in absorbing detail. Although she creates drawings, prints, and watercolors, she prefers to work with acrylic on paper to capture the minute detail she seeks. Stovall's work also includes acrylic paint on glass, hand-crafted jewelry, and wooden cabinetry. Overall, Stovall's work is colorful, whimsical, and sophisticated. Color is extremely important to her. In 1971, she married Lou Stovall, a printmaker.

Local Numbers:

ACMA AV003296-1

ACMA AV003296-2

ACMA AV003296-3

ACMA AV001367

ACMA AV001377

ACMA AV001368

ACMA AV001369

ACMA AV001365

Series Restrictions:

Use of the materials requires an appointment. Some items are not accessible due to obsolete format and playback machinery restrictions. Please contact the archivist at acmarchives@si.edu.

Occupation:

Artists  Search this

Topic:

African Americans  Search this

African American printmakers  Search this

Printmakers  Search this

African American artists  Search this

Art  Search this

Prints  Search this

Screen prints  Search this

Posters  Search this

Landscapes  Search this

Drawing  Search this

Prints -- Technique  Search this

Serigraphy  Search this

Museum exhibits  Search this

Exhibitions  Search this

Genre/Form:

Sound recordings

Narration

Series Citation:

Through Their Eyes: The Art of Lou and Di Stovall audiovisual records, Anacostia Community Museum Archives, Smithsonian Institution

Identifier:

ACMA.03-001, Item ACMA AV003450

See more items in:

Through their eyes: the art of Lou and Di Stovall exhibition records

Through their eyes: the art of Lou and Di Stovall exhibition records / Series ACMA AV03-001: Through Their Eyes: The Art of Lou and Di Stovall audiovisual records

Archival Repository:

Anacostia Community Museum Archives

GUID:

https://n2t.net/ark:/65665/qa731fd1d52-7513-46ba-85bd-f42d01585523

EDAN-URL:

ead_component:sova-acma-03-001-ref68

Creator:

Anacostia Neighborhood Museum  Search this

Names:

Anacostia Community Museum  Search this

Anacostia Neighborhood Museum  Search this

Corcoran Gallery of Art  Search this

Corcoran Gallery--Dupont Center  Search this

Stovall Workshop Inc.  Search this

Bronson, David  Search this

Fralin, Frances  Search this

McNeill, Lloyd  Search this

Stovall, Di Bagley, 1947-  Search this

Stovall, Lou  Search this

Collection Creator:

Anacostia Community Museum  Search this

Smithsonian Institution. Anacostia Community Museum  Search this

Extent:

2 Sound recordings (open reel, 1/4 inch)

Type:

Archival materials

Sound recordings

Narration

Place:

Washington (D.C.)

Atlanta (Ga.)

United States

Date:

1983

Scope and Contents:

Stovall Workshop Inc. Slide Show focuses on the formation of Workshop by Lou Stovall and Lloyd McNeill from its origins at the Corcoran Gallery of Art to its current location in northwest Washington, D.C. Stovall's and McNeill's poster work, the development of Stovall's silkscreen process, landscape designs, and use of color are also described. In interview clips, Francis Fralin and David Bronson provide memories about Stovall, McNeill, and Workshop. M. Murray provides the narration.

Music, narration, and interview clips edited for slide show. Part of Through Their Eyes: The Art of Lou and Di Stovall Audiovisual Records. AV003444-1 and AV003509-2: music, narration, and interview clips. AV003444-2: narration and interview clips only. AV003509-1: constant beeps over music, narration, and interview clips. AV003444 labeled final mix. Dated 19830902 [AV003444]. Undated [AV003509].

Biographical / Historical:

Stovall Workshop Inc. Slide Show is related to an exhibition featuring the works of Washington, D.C. artists, Lou and Di Stovall, organized by the Anacostia Neighborhood Museum and held there from September 18, 1983 - March 4, 1984. The exhibition, Through Their Eyes: The Art of Lou and Di Stovall, showcased 84 works - silkscreen prints, drawings, and arcylic paintings - illustrating the artists' progression form posterists to master printmaker and miniaturist, respectively. The art was complemented by audiovisual presentations on the technique of silkscreen printing and a biographical essay on the artists.;Lou Stovall was born Luther McKinley Stovall in Athens, Georgia in 1937. When Stovall was four years old, his family moved north to Springfield, Massachusetts to find work. At age of fifteen, he was an apprentice to Al LaPierre in his silkscreen sign shop at the Growers Outlet Super Market. In 1956, Stovall received a grant and scholarship to attend Rhode Island School of Design. After the first semester, his father became ill so Stovall returned home to support his family for about five or six years. When he returned to school, Stovall attended Howard University, where he received a B.F.A. in 1965. James Lesesne Wells introduced to Stovall to silkscreen as a fine art rather than a commercial medium. Stovall also learned about collaboration in printmaking (artist and printer combining ideas and skills to create a work of art) from Wells. In 1968, Stovall received a grant to buy printmaking equipment. However, he made most of the tools and tables himself creating a full scale printmaking, wood making, and metal workshop in Washington, D.C. Under his direction, Workshop Inc. has grown from a small but active studio primarily concerned with community posters into a professional printmaking outfit. Stovall creates his own original silkscreen prints and is the printmaker of choice for other master artists including Elizabeth Catlett, David C. Driskell, and Sam Gilliam. For each work of art, he finds new and unique ways to replicate as closely as possible a painting supplied by the artist. He has the ability to make the medium do just about anything he and the artist(s) want it to do. Stovall's innovative techniques and distinctive style is credited by artists and critics with helping to transform the concept of silkscreen printmaking from a commercial craft to a true art form. In 1971, Stovall married Di Bagley, a painter who specializes in acrylic on paper and incorporates miniature images into many of her works.;Stovall Workshop Inc. was formed as a result of a poster collaboration between printmaker Lou Stovall and designer Lloyd McNeill in 1966. Printmaking, sculpture, photography, and furniture making were directed by Stovall in Workshop, first located at the Concoran Gallery of Art [Corcoran Gallery Dupont Circle]. By 1973, Stovall moved Workshop to northwest DC.

Local Numbers:

ACMA AV003444-2

ACMA AV003509-1

ACMA AV003509-2

Series Restrictions:

Use of the materials requires an appointment. Some items are not accessible due to obsolete format and playback machinery restrictions. Please contact the archivist at acmarchives@si.edu.

Occupation:

Artists  Search this

Topic:

African Americans  Search this

African American printmakers  Search this

Printmakers  Search this

African American artists  Search this

Art  Search this

Prints  Search this

Screen prints  Search this

Posters  Search this

Landscapes  Search this

Prints -- Technique  Search this

Serigraphy  Search this

Color in art  Search this

Museum exhibits  Search this

Exhibitions  Search this

Genre/Form:

Sound recordings

Narration

Citation:

Stovall Workshop Inc. Slide Show, Exhibition Records AV03-001, Anacostia Community Museum Archives, Smithsonian Institution.

Identifier:

ACMA.03-001, Item ACMA AV003444-1

See more items in:

Through their eyes: the art of Lou and Di Stovall exhibition records

Through their eyes: the art of Lou and Di Stovall exhibition records / Series ACMA AV03-001: Through Their Eyes: The Art of Lou and Di Stovall audiovisual records

Archival Repository:

Anacostia Community Museum Archives

GUID:

https://n2t.net/ark:/65665/qa7e17c3361-7603-4634-98bb-4502a75a18ef

EDAN-URL:

ead_component:sova-acma-03-001-ref69

Creator:

Anacostia Neighborhood Museum  Search this

Names:

Anacostia Community Museum  Search this

Anacostia Neighborhood Museum  Search this

Corcoran Gallery of Art  Search this

Corcoran Gallery--Dupont Center  Search this

Stovall Workshop Inc.  Search this

Bronson, David  Search this

Cook, Dana  Search this

Davis, Gene, 1920-1985  Search this

Fralin, Frances  Search this

Gilliam, Sam, 1933-2022  Search this

Hopps, Walter  Search this

McGowin, Ed, 1938-  Search this

McNeill, Lloyd  Search this

Stovall, Di Bagley, 1947-  Search this

Stovall, Lou  Search this

Collection Creator:

Anacostia Community Museum  Search this

Smithsonian Institution. Anacostia Community Museum  Search this

Extent:

2 Sound recordings (open reel, 1/4 inch)

Type:

Archival materials

Sound recordings

Interviews

Place:

Washington (D.C.)

Atlanta (Ga.)

United States

Date:

1983

Scope and Contents:

Interviews with Dana Cook, Francis Fralin, and David Bronson for Stovall Workshop Inc. Slide Show, which focused on the formation of Workshop by Lou Stovall and Lloyd McNeill from its origins at the Corcoran Gallery of Art to its current location in northwest Washington, D.C. Cook, an illustrator and printmaker, discusses her experience working with and learning from Stovall at Workshop. Fralin speaks of Walter Hopps' outreach program idea leading to a relationship between Stovall and the Corcoran Gallery of Art, development of the Workshop at the Corcoran Gallery Dupont Circle, Stovall's and McNeill's poster collaboration, Stovall's silkscreening and drawing, Di Stovall's art and imagination, and other Workshop and Corcoran artists, including Sam Gilliam, David Bronson and Gene Davis. Bronson, a technician and craftsman, discusses his role at Workshop: helping to set up Workshop at Corcoran, learning silk screen process, working in woodshop, and creating prints for artists, including Ed McGowin for Name Change exhibition at Baltimore Museum of Art. All speak of Stovall's personality as a person, teacher and leader, particularly his perfectionist nature and high standards.

Interviews for slide show about Stovall Workshop Inc. Part of Through Their Eyes: The Art of Lou and Di Stovall Audiovisual Records. Dana Cook interview dated 19830801: AV003309-1. Frances Fralin interview dated 19830809: AV003309-1 and AV003309-2. David Bronson interview dated 19830810: AV003314. All recordings have some distortions or skips in sound recording.

Biographical / Historical:

Stovall Workshop Inc. Slide Show is related to an exhibition featuring the works of Washington, D.C. artists, Lou and Di Stovall, organized by the Anacostia Neighborhood Museum and held there from September 18, 1983 - March 4, 1984. The exhibition, Through Their Eyes: The Art of Lou and Di Stovall, showcased 84 works - silkscreen prints, drawings, and arcylic paintings - illustrating the artists' progression from posterists to master printmaker and miniaturist, respectively. The art was complemented by audiovisual presentations on the technique of silkscreen printing and a biographical essay on the artists.;Lou Stovall was born Luther McKinley Stovall in Athens, Georgia in 1937. When Stovall was four years old, his family moved north to Springfield, Massachusetts to find work. At age of fifteen, he was an apprentice to Al LaPierre in his silkscreen sign shop at the Growers Outlet Super Market. In 1956, Stovall received a grant and scholarship to attend Rhode Island School of Design. After the first semester, his father became ill so Stovall returned home to support his family for about five or six years. When he returned to school, Stovall attended Howard University, where he received a B.F.A. in 1965. James Lesesne Wells introduced to Stovall to silkscreen as a fine art rather than a commercial medium. Stovall also learned about collaboration in printmaking (artist and printer combining ideas and skills to create a work of art) from Wells. In 1968, Stovall received a grant to buy printmaking equipment. However, he made most of the tools and tables himself creating a full scale printmaking, wood making, and metal workshop in Washington, D.C. Under his direction, Workshop Inc. has grown from a small but active studio primarily concerned with community posters into a professional printmaking outfit. Stovall creates his own original silkscreen prints and is the printmaker of choice for other master artists including Elizabeth Catlett, David C. Driskell, and Sam Gilliam. For each work of art, he finds new and unique ways to replicate as closely as possible a painting supplied by the artist. He has the ability to make the medium do just about anything he and the artist(s) want it to do. Stovall's innovative techniques and distinctive style is credited by artists and critics with helping to transform the concept of silkscreen printmaking from a commercial craft to a true art form. In 1971, Stovall married Di Bagley, a painter who specializes in acrylic on paper and incorporates miniature images into many of her works.;Stovall Workshop Inc. was formed as a result of a poster collaboration between printmaker Lou Stovall and designer Lloyd McNeill in 1966. Printmaking, sculpture, photography, and furniture making were directed by Stovall in Workshop, first located at the Concoran Gallery of Art [Corcoran Gallery Dupont Circle]. By 1973, Stovall moved Workshop to northwest DC.

Local Numbers:

ACMA AV003309-2

ACMA AV003314

Series Restrictions:

Use of the materials requires an appointment. Some items are not accessible due to obsolete format and playback machinery restrictions. Please contact the archivist at acmarchives@si.edu.

Occupation:

Artists  Search this

Topic:

African Americans  Search this

African American printmakers  Search this

Printmakers  Search this

African American artists  Search this

Art  Search this

Prints  Search this

Screen prints  Search this

Posters  Search this

Landscapes  Search this

Prints -- Technique  Search this

Serigraphy  Search this

Color in art  Search this

Museum exhibits  Search this

Exhibitions  Search this

Genre/Form:

Sound recordings

Interviews

Citation:

Stovall Workshop Inc. Slide Show Interviews, Exhibition Records AV03-001, Anacostia Community Museum Archives, Smithsonian Institution.

Identifier:

ACMA.03-001, Item ACMA AV003309-1

See more items in:

Through their eyes: the art of Lou and Di Stovall exhibition records

Through their eyes: the art of Lou and Di Stovall exhibition records / Series ACMA AV03-001: Through Their Eyes: The Art of Lou and Di Stovall audiovisual records

Archival Repository:

Anacostia Community Museum Archives

GUID:

https://n2t.net/ark:/65665/qa7e787faf3-2445-469d-92c0-fc3ed72efc9e

EDAN-URL:

ead_component:sova-acma-03-001-ref70

Creator:

Anacostia Neighborhood Museum  Search this

Reinckens, Sharon A.  Search this

Capilongo, Christopher  Search this

Names:

Anacostia Community Museum  Search this

Anacostia Neighborhood Museum  Search this

Stovall Workshop Inc.  Search this

Stovall, Lou  Search this

Collection Creator:

Anacostia Community Museum  Search this

Smithsonian Institution. Anacostia Community Museum  Search this

Extent:

1 Sound recording (open reel, 1/4 inch)

Type:

Archival materials

Sound recordings

Documentary films

Place:

Washington (D.C.)

United States

Date:

1983

Scope and Contents:

Artist Lou Stovall demonstrates and speaks about his silk screen printing process and use of color in detail. He also discusses his ability and passion for drawing.

Short documentary. Audio only [most likely there is related 16mm film which has not been digitized yet]. Part of Through Their Eyes: The Art of Lou and Di Stovall Audiovisual Records. Dated 19940329.

Biographical / Historical:

Lou Stovall is related to an exhibition featuring the works of Washington, D.C. artists, Lou and Di Stovall, organized by the Anacostia Neighborhood Museum and held there from September 18, 1983 - March 4, 1984. The exhibition, Through Their Eyes: The Art of Lou and Di Stovall, showcased 84 works - silkscreen prints, drawings, and arcylic paintings - illustrating the artists' progression form posterists to master printmaker and miniaturist, respectively. The art was complemented by audiovisual presentations on the technique of silkscreen printing and a biographical essay on the artists.;Lou Stovall was born Luther McKinley Stovall in Athens, Georgia in 1937. When Stovall was four years old, his family moved north to Springfield, Massachusetts to find work. At age of fifteen, he was an apprentice to Al LaPierre in his silkscreen sign shop at the Growers Outlet Super Market. In 1956, Stovall received a grant and scholarship to attend Rhode Island School of Design. After the first semester, his father became ill so Stovall returned home to support his family for about five or six years. When he returned to school, Stovall attended Howard University, where he received a B.F.A. in 1965. James Lesesne Wells introduced to Stovall to silkscreen as a fine art rather than a commercial medium. Stovall also learned about collaboration in printmaking (artist and printer combining ideas and skills to create a work of art) from Wells. In 1968, Stovall received a grant to buy printmaking equipment. However, he made most of the tools and tables himself creating a full scale printmaking, wood making, and metal workshop in Washington, D.C. Under his direction, Workshop Inc. has grown from a small but active studio primarily concerned with community posters into a professional printmaking outfit. Stovall creates his own original silkscreen prints and is the printmaker of choice for other master artists including Elizabeth Catlett, David C. Driskell, and Sam Gilliam. For each work of art, he finds new and unique ways to replicate as closely as possible a painting supplied by the artist. He has the ability to make the medium do just about anything he and the artist(s) want it to do. Stovall's innovative techniques and distinctive style is credited by artists and critics with helping to transform the concept of silkscreen printmaking from a commercial craft to a true art form. In 1971, Stovall married Di Bagley, a painter who specializes in acrylic on paper and incorporates miniature images into many of her works.

General:

Title transcribed from physical asset.

Series Restrictions:

Use of the materials requires an appointment. Some items are not accessible due to obsolete format and playback machinery restrictions. Please contact the archivist at acmarchives@si.edu.

Occupation:

Artists  Search this

Topic:

African Americans  Search this

African American printmakers  Search this

Printmakers  Search this

African American artists  Search this

Art  Search this

Prints  Search this

Screen prints  Search this

Landscapes  Search this

Drawing  Search this

Prints -- Technique  Search this

Serigraphy  Search this

Color in art  Search this

Genre/Form:

Sound recordings

Documentary films

Citation:

Lou Stovall, Exhibition Records AV03-001, Anacostia Community Museum Archives, Smithsonian Institution.

Identifier:

ACMA.03-001, Item ACMA AV000957

See more items in:

Through their eyes: the art of Lou and Di Stovall exhibition records

Through their eyes: the art of Lou and Di Stovall exhibition records / Series ACMA AV03-001: Through Their Eyes: The Art of Lou and Di Stovall audiovisual records

Archival Repository:

Anacostia Community Museum Archives

GUID:

https://n2t.net/ark:/65665/qa7ac2fe4b6-8d8d-41a6-b786-70862f5739f2

EDAN-URL:

ead_component:sova-acma-03-001-ref80

Creator:

Anacostia Neighborhood Museum  Search this

Reinckens, Sharon A.  Search this

Capilongo, Christopher  Search this

Names:

Anacostia Community Museum  Search this

Anacostia Neighborhood Museum  Search this

Stovall Workshop Inc.  Search this

Gilliam, Sam, 1933-2022  Search this

Stovall, Di Bagley, 1947-  Search this

Stovall, Lou  Search this

Collection Creator:

Anacostia Community Museum  Search this

Smithsonian Institution. Anacostia Community Museum  Search this

Extent:

2 Sound recordings (open reel, 1/4 inch)

Type:

Archival materials

Sound recordings

Documentary films

Interviews

Place:

Washington (D.C.)

United States

Date:

1983

Scope and Contents:

Interview with Lou Stovall for documentary in which Stovall demonstrates and speaks about his silk screen printing process and use of color in detail. During the interview, Stovall discusses his ability and passion for drawing, hiding the human figure in landscape compositions, working with stencils and proofing strips, details of the reductive printing process, integration of color in his work, silk screen printing as a technical medium, art intelligence, aesthetics in his work and other artists, where he gets his inspiration, and Sam Gilliam's work and abstract art.

Interview for short documentary titled Lou Stovall. Audio only. Part of Through Their Eyes: The Art of Lou and Di Stovall Audiovisual Records. AV003305: audio skips and minimal distortions. Dated 19830627.

Biographical / Historical:

Lou Stovall Interview - Silk Screen Process is related to an exhibition featuring the works of Washington, D.C. artists, Lou and Di Stovall, organized by the Anacostia Neighborhood Museum and held there from September 18, 1983 - March 4, 1984. The exhibition, Through Their Eyes: The Art of Lou and Di Stovall, showcased 84 works - silkscreen prints, drawings, and arcylic paintings - illustrating the artists' progression form posterists to master printmaker and miniaturist, respectively. The art was complemented by audiovisual presentations on the technique of silkscreen printing and a biographical essay on the artists.;Lou Stovall was born Luther McKinley Stovall in Athens, Georgia in 1937. When Stovall was four years old, his family moved north to Springfield, Massachusetts to find work. At age of fifteen, he was an apprentice to Al LaPierre in his silkscreen sign shop at the Growers Outlet Super Market. In 1956, Stovall received a grant and scholarship to attend Rhode Island School of Design. After the first semester, his father became ill so Stovall returned home to support his family for about five or six years. When he returned to school, Stovall attended Howard University, where he received a B.F.A. in 1965. James Lesesne Wells introduced to Stovall to silkscreen as a fine art rather than a commercial medium. Stovall also learned about collaboration in printmaking (artist and printer combining ideas and skills to create a work of art) from Wells. In 1968, Stovall received a grant to buy printmaking equipment. However, he made most of the tools and tables himself creating a full scale printmaking, wood making, and metal workshop in Washington, D.C. Under his direction, Workshop Inc. has grown from a small but active studio primarily concerned with community posters into a professional printmaking outfit. Stovall creates his own original silkscreen prints and is the printmaker of choice for other master artists including Elizabeth Catlett, David C. Driskell, and Sam Gilliam. For each work of art, he finds new and unique ways to replicate as closely as possible a painting supplied by the artist. He has the ability to make the medium do just about anything he and the artist(s) want it to do. Stovall's innovative techniques and distinctive style is credited by artists and critics with helping to transform the concept of silkscreen printmaking from a commercial craft to a true art form. In 1971, Stovall married Di Bagley, a painter who specializes in acrylic on paper and incorporates miniature images into many of her works.

Local Numbers:

ACMA AV003305-2

ACMA AV003281

General:

Title transcribed from physical asset.

Series Restrictions:

Use of the materials requires an appointment. Some items are not accessible due to obsolete format and playback machinery restrictions. Please contact the archivist at acmarchives@si.edu.

Occupation:

Artists  Search this

Topic:

African Americans  Search this

African American printmakers  Search this

Printmakers  Search this

African American artists  Search this

Art  Search this

Prints  Search this

Screen prints  Search this

Landscapes  Search this

Drawing  Search this

Prints -- Technique  Search this

Serigraphy  Search this

Color in art  Search this

Genre/Form:

Sound recordings

Documentary films

Interviews

Citation:

Lou Stovall Interview - Silk Screen Process, Exhibition Records AV03-001, Anacostia Community Museum Archives, Smithsonian Institution.

Identifier:

ACMA.03-001, Item ACMA AV003305-1

See more items in:

Through their eyes: the art of Lou and Di Stovall exhibition records

Through their eyes: the art of Lou and Di Stovall exhibition records / Series ACMA AV03-001: Through Their Eyes: The Art of Lou and Di Stovall audiovisual records

Archival Repository:

Anacostia Community Museum Archives

GUID:

https://n2t.net/ark:/65665/qa7bb229130-69d9-455f-8f72-b9ba1e565722

EDAN-URL:

ead_component:sova-acma-03-001-ref81

Creator:

Anacostia Neighborhood Museum  Search this

Reinckens, Sharon A.  Search this

Capilongo, Christopher  Search this

Names:

Anacostia Community Museum  Search this

Anacostia Neighborhood Museum  Search this

Stovall Workshop Inc.  Search this

Stovall, Lou  Search this

Collection Creator:

Anacostia Community Museum  Search this

Smithsonian Institution. Anacostia Community Museum  Search this

Extent:

10 Sound recordings (open reel, 1/4 inch)

Type:

Archival materials

Sound recordings

Documentary films

Interviews

Outtakes

Ambient sounds

Sound effects recordings

Place:

Washington (D.C.)

United States

Date:

1983

Scope and Contents:

Sound rolls for short documentary titled Lou Stovall in which Stovall demonstrates and speaks about his silk screen printing process and use of color in detail. Interviews, narration, ambient sounds, foley sound effects, and demonstration of screen printing process contained on sound rolls. During the interview segments, Stovall discusses his ability and passion for drawing, working with stencils and proofing strips, details of the reductive printing process, mixing and integrating of color in his work, and silk screen printing as a technical medium. Some of the footage, particularly AV003285, AV003287 and AV003288, consists of almost exclusively demonstration [sounds of the screen printing process].

Sound rolls and narration for short documentary titled Lou Stovall. Part of Through Their Eyes: The Art of Lou and Di Stovall Audiovisual Records. Audio only. Most likely there is film which syncs with sound rolls, except AV003276 [no camera/image according to statement at beginning of sound roll]. AV003506: Sound Roll 1. AV003288: Sound Roll 2. AV003285: Sound Roll 3. AV003276: Sound Roll 4. AV003313: Sound Roll 5. AV003498: Sound Roll 6. AV003287: Sound Roll 7. AV003303: Sound Roll 8. AV003289: Sound Roll 9. AV003447: Lou Stovall Narration [distortion at beginning of recording]. Dated 19830803 [AV003506], 19830804 [AV003276, AV003285, AV003288, AV003498], 19830805 [AV003287, AV003303], 19830824 [AV003289]. Undated [AV003313, AV003447].

Biographical / Historical:

Lou Stovall Sound Rolls and Narration is related to an exhibition featuring the works of Washington, D.C. artists, Lou and Di Stovall, organized by the Anacostia Neighborhood Museum and held there from September 18, 1983 - March 4, 1984. The exhibition, Through Their Eyes: The Art of Lou and Di Stovall, showcased 84 works - silkscreen prints, drawings, and arcylic paintings - illustrating the artists' progression form posterists to master printmaker and miniaturist, respectively. The art was complemented by audiovisual presentations on the technique of silkscreen printing and a biographical essay on the artists.;Lou Stovall was born Luther McKinley Stovall in Athens, Georgia in 1937. When Stovall was four years old, his family moved north to Springfield, Massachusetts to find work. At age of fifteen, he was an apprentice to Al LaPierre in his silkscreen sign shop at the Growers Outlet Super Market. In 1956, Stovall received a grant and scholarship to attend Rhode Island School of Design. After the first semester, his father became ill so Stovall returned home to support his family for about five or six years. When he returned to school, Stovall attended Howard University, where he received a B.F.A. in 1965. James Lesesne Wells introduced to Stovall to silkscreen as a fine art rather than a commercial medium. Stovall also learned about collaboration in printmaking (artist and printer combining ideas and skills to create a work of art) from Wells. In 1968, Stovall received a grant to buy printmaking equipment. However, he made most of the tools and tables himself creating a full scale printmaking, wood making, and metal workshop in Washington, D.C. Under his direction, Workshop Inc. has grown from a small but active studio primarily concerned with community posters into a professional printmaking outfit. Stovall creates his own original silkscreen prints and is the printmaker of choice for other master artists including Elizabeth Catlett, David C. Driskell, and Sam Gilliam. For each work of art, he finds new and unique ways to replicate as closely as possible a painting supplied by the artist. He has the ability to make the medium do just about anything he and the artist(s) want it to do. Stovall's innovative techniques and distinctive style is credited by artists and critics with helping to transform the concept of silkscreen printmaking from a commercial craft to a true art form. In 1971, Stovall married Di Bagley, a painter who specializes in acrylic on paper and incorporates miniature images into many of her works.

Local Numbers:

ACMA AV003285

ACMA AV003287

ACMA AV003288

ACMA AV003289

ACMA AV003303

ACMA AV003313

ACMA AV003447

ACMA AV003498

ACMA AV003506

Series Restrictions:

Use of the materials requires an appointment. Some items are not accessible due to obsolete format and playback machinery restrictions. Please contact the archivist at acmarchives@si.edu.

Occupation:

Artists  Search this

Topic:

African Americans  Search this

African American printmakers  Search this

Printmakers  Search this

African American artists  Search this

Art  Search this

Prints  Search this

Screen prints  Search this

Landscapes  Search this

Drawing  Search this

Prints -- Technique  Search this

Serigraphy  Search this

Color in art  Search this

Genre/Form:

Sound recordings

Documentary films

Interviews

Outtakes

Ambient sounds

Sound effects recordings

Citation:

Lou Stovall Sound Rolls and Narration, Exhibition Records AV03-001, Anacostia Community Museum Archives, Smithsonian Institution.

Identifier:

ACMA.03-001, Item ACMA AV003276

See more items in:

Through their eyes: the art of Lou and Di Stovall exhibition records

Through their eyes: the art of Lou and Di Stovall exhibition records / Series ACMA AV03-001: Through Their Eyes: The Art of Lou and Di Stovall audiovisual records

Archival Repository:

Anacostia Community Museum Archives

GUID:

https://n2t.net/ark:/65665/qa73ab81cb4-e843-4d1e-a8d1-87f13e796058

EDAN-URL:

ead_component:sova-acma-03-001-ref82

Creator:

Jerome and Dorothy Lemelson Center for the Study of Invention and Innovation.  Search this

Names:

Golden Artist Colors, Inc.  Search this

Presenter:

Golden, Mark  Search this

Olitski, Jules, 1922-2007  Search this

Moderator:

Rand, Harry Z. (NMAH curator)  Search this

Extent:

0.25 Cubic feet

5 Sound tape reels (7")

2 Cassette tapes

Type:

Collection descriptions

Archival materials

Sound tape reels

Cassette tapes

Audiotapes

Lectures

Date:

1997

Scope and Contents:

Tapes document Jules Olitski and Mark Golden delivering a lecture entitled "The Artist's View: Color, Technology, and Style in Postwar Art" as part of the Color Symposium held in the Museum November 11-November 16, 1997, in the Lemelson Center's New Perspectives series. Harry Rand served as moderator.

This lecture and discussion offers an unusal look at how the invention of new pigments, often at the urging of artists, together with new methods of application, advance the vocabulary and depth of painting.

Arrangement:

Divided into 3 series.

Series 1: Original Tape Cassettes, 1997 ] ]Series 2: Master Tapes, 1997

Series 3: Reference Tape Cassettes, 1997

Biographical / Historical:

Jules Olitski is a major figure in American painting and Mark Golden is a paint manufacturer and president of Golden Artist Colors, Inc.

Provenance:

Created by the Jerome and Dorothy Lemelson Center for the Study of Invention and Innovation, National Museum of American History, 1997.

Restrictions:

Collection is open for research.

Rights:

Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Occupation:

Painters -- 1940-2000  Search this

Topic:

Art -- 1940-2000  Search this

Artists -- 1940-2000  Search this

Color  Search this

Paint -- 1940-2000  Search this

Paint industry and trade -- 1940-2000  Search this

Painting, American -- 1940-2000  Search this

Pigments -- 1940-2000  Search this

Technology -- 1940-2000  Search this

Genre/Form:

Audiotapes -- 1990-2000

Audiotapes -- Open reel

Lectures -- 1990-2000

Citation:

Jules Olitski and Mark Golden Lecture, 1997, Archives Center, National Museum of American History.

Identifier:

NMAH.AC.0632

See more items in:

Jules Olitski and Mark Golden Lecture [audio tapes]

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8119bdc40-6bcd-470a-817f-7ebf1d169be3

EDAN-URL:

ead_collection:sova-nmah-ac-0632

Names:

German/American Provenance Research Exchange Program  Search this

Type:

Collection descriptions

Archival materials

Electronic records

Web sites

Date:

2019

Descriptive Entry:

This accession consists of a subsection of the Smithsonian Institution website dedicated to the German/American Provenance Research Exchange Program as it existed on December 20, 2019. The exchange program, which occurred between 2017 and 2019, intends to accelerate research on World War II era art loss by creating connections between museum experts and available sources of information. The subsection includes information about the exchange program and associated events. Materials are in electronic format.

Topic:

Museums -- Public relations  Search this

Web sites  Search this

Cultural property  Search this

Museums -- Collection management  Search this

World War, 1939-1945  Search this

Art -- Provenance  Search this

Genre/Form:

Electronic records

Web sites

Citation:

Smithsonian Institution Archives, Accession 22-049, Smithsonian Institution, Website Records

Identifier:

Accession 22-049

See more items in:

Website Records

Archival Repository:

Smithsonian Institution Archives

EDAN-URL:

ead_collection:sova-sia-fa22-049

Extent:

6.15 Cubic feet (consisting of 14 boxes and 1 flat box.)

Type:

Collection descriptions

Archival materials

Slides

Notes

Photographs

Place:

Shanghai (China)

Singapore

Date:

1928-2008

bulk 1945-1982

Summary:

The Helen D. Ling Papers, dating from 1928-2008 with the bulk of material dating from 1945-1982, measure 6.15 cubic feet and include biographical material, research, writings, correspondence, printed material, and audiovisual material related to Ling's life and work as a collector and dealer of Asian art.

Scope and Contents:

The papers of Helen Ling measure 6.15 cubic feet and date from 1928 to 2008, with the bulk of material dating between 1945-1982. The papers largely relate to Ling's personal life, research, and collections of Chinese objects. The papers include biographical material, research, writings, correspondence, printed material, and audio recordings.

Arrangement:

The Helen D. Ling papers are organized into six series: Series 1: Biographical Material; Series 2: Diaries; Series 3: Research Files; Series 4: Writings and Notes; Series 5: Correspondence; Series 6: Printed Material; Series 7: Audiovisual Material; Series 8: Lectures; Series 9: Sales Records

Biographical Note:

Helen Dalling Ling was born Helen Dalling on July 28, 1901 in Uhrichsville, Ohio, and grew up in Everett, Pennsylvania. Ling was an American collector, dealer, and connoisseur of Asian art and antiques.

In 1925, Ling attended an American Baptist Foreign Mission picnic where she met Tien-Gi (Ti-Gi) Ling, a Chinese research chemist who was studying for his master's and subsquent doctorate in industrial chemistry from Brown University and Cornell University, respectively. Ling traveled to Shanghai by herself in 1928 to see if she could live in China, as marrying Ti-Gi would strip her of her American citizenship. Content in Shanghai, she and Ti-Gi married several months after her arrival in the spring of 1928.

The pair lived throughout South China, Hong Kong, and Singapore where she held various positions including as an English teacher and secretary. The couple had one son, James G. Ling, in 1930. Ling became interested in antiques prior to moving abroad, and eventually opened an antique shop in Shanghai in 1938 called the Green Dragon. When the Lings moved to Singapore in 1951 after escaping the Communists in Shanghai, Helen Ling opened another shop under her own name which she operated until her death on May 15th, 1982. Ling was very active in the field of Southeast Asian art, regularly giving lectures and was regularly featured in publications on her expertise in Asian art. She co-founded and served as the first president of the Southeast Asian Ceramic Society, Singapore in 1971. Ling was thrust onto the global stage when her friend, Jim Thompson, co-founder of Thai Silk Company Limited disappeared while visiting her and Ti-Gi at there home, Moonlight in 1967. Thirty-four Freer Gallery of Art and Arthur M. Sackler Gallery collection items were once part of Ling's personal collection, and were either sold or donated to the museum after her death by her family.

Provenance:

Gift of Ann S. Ling.

Restrictions:

Collection is open for research.

Rights:

Permission to reproduce and publish an item from the Archives is coordinated through the Freer Gallery of Art and Arthur M. Sackler Gallery's Rights and Reproductions department. Please contact the Archives in order to initiate this process.

Topic:

Art, Asian  Search this

Pottery - Asia  Search this

Art, Chinese  Search this

Art -- Collectors and collecting  Search this

Genre/Form:

Slides

Notes

Photographs

Citation:

Helen D. Ling Papers, FSA.A2019.04. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C. Gift of Ann S. Ling.

Sponsor:

Funding for partial processing of the collection in 2017 was supported by a grant from the Smithsonian Institution's Collections Care and Preservation Fund (CCPF). Processing of an accretion in 2022 was supported by a grant from the Smithsonian Institution's American Women's History Initiative (AWHI).

Identifier:

FSA.A2019.04

See more items in:

Helen D. Ling Papers

Archival Repository:

Freer Gallery of Art and Arthur M. Sackler Gallery Archives

GUID:

https://n2t.net/ark:/65665/dc3f8effad5-812f-44f3-857c-14b6e6702eef

EDAN-URL:

ead_collection:sova-fsa-a2019-04

Extent:

4 Linear feet (consisting of 8 legal document boxes)

Type:

Collection descriptions

Archival materials

Photographs

Notes

Correspondence

Place:

Metropolitan Museum of Art

Date:

1979-2015

Summary:

The Shirley Z. Johnson Papers, dating from 1979-2015, measure 4 linear feet and include an inventory, correspondence, and research files related to Johnson's collection of Chinese textiles.

Scope and Contents:

The papers of Shirley Z. Johnson measure 4 linear feet and date from 1979-2015. The papers largely relate to Johnson's collection of textiles. The papers include inventories, object files, correspondence, and research files.

The inventories and object files document Johnson's textile collecting and include book lists, images, documentation, and research organized by individual object.

The correspondence files include letters, notes, emails, news clippings, interview notes, museum object lists, press releases, and notes related to the holdings of museums, art dealers. They also contain information related to imperial robes and the individual Yan Yong, a scholar and Deputy Director of the Court History Department and the Head of the Division of Textiles at the Palace Museum in Beijing, China.

Research files comprise printed material, articles and speech drafts, and notes related to Chinese textile research. Topics represented in the records include sumptuary laws, symbolism in religious traditions in China, rank badges in various Chinese military branches, and instructions for dating textiles.

The original container numbers established by the creator are documented with their corresponding files.

Arrangement:

The Shirley Z. Johnson papers are arranged in six series.

Series 1: Inventories

Series 2: Correspondence with Collectors

Series 3: Correspondence with Dealers

Series 4: Correspondence with Museums

Series 5: Correspondence with Curators

Series 6: Research Files

Biographical Note:

Shirley Z. Johnson is a scholarly collector, antitrust attorney, and autism advocate.

Ms. Johnson's first Asian art collection consisted of imperial Chinese textiles about which she wrote an article in Arts of Asia, (1995). Some textiles have been given to the Smithsonian's National Museum of Asian Art, the Freer Gallery of Art and Arthur M. Sackler Gallery (Freer|Sackler), others have been loaned to it and, as of 2019, have been promised as a gift. Her interest in Chinese textiles began in 1979 when she visited China and purchased four pieces: two from Chinese people seated on the ground among the stone animals leading to the Ming tombs and two rank badges from an antique store on Lui Li Chang street in Beijing.

Beginning around 1992, she became interested in Japanese metal work, when she spotted a piece she liked of the Meiji period (1868 – 1912) at Orientations Gallery in New York. Thereafter, she collected metal art of that era until 2006, when she began collecting work of living metal artists. She gave her collection of Meiji metal work to The Walters Art Museum in 2019 (along with Japanese cloisonné and prints) and has promised her collection of contemporary metal art to the Freer|Sackler, along with extensive archives relating to each piece and interviews with about 100 metal artists beginning in 2006.

She served on the Board of The Textile Museum from 1989-2003 and on the Board of the Freer|Sackler from 2004-2012 and from 2017 to 2021.

Ms. Johnson had published several articles on Asian art: "Tomobako: Functional Beauty," Impressions, 42 Part One 2021; "Japanese Metal Art: An Enduring Tradition," Arts of Asia, May-June 2017; "Chinese Ancestor Portraits in the Sackler's Collection," Arts of Asia, July-August 2003; "A Textile Collector's Approach to Collecting," Arts of Asia, July-August 1995.

Her legal specialty was antitrust law. She worked as a trial attorney with the U.S. Department of Justice Antitrust Division, was counsel to the U.S. Senate Judiciary Committee, Antitrust Subcommittee, and entered private practice in 1976 until she retired in 2009.

She graduated from the University of Michigan law school in 1965 with a Juris Doctor degree and was a member of The Order of the Coif. Previously she received a bachelor's degree in Political Science, summa cum laude, and was elected to Phi Beta Kappa.

In 2004, she founded a unique social skills program for children with autism at the West Burlington, Iowa School District involving classroom guidance, luncheon and after-school groups and a summer camp. Each activity involved both autistic and neurotypical children. The program was called the TRI Project, standing for Intense, Inclusive, Individual.

Provenance:

Donated by Shirley Z. Johnson in 2015. Addition donated by Shirley Z. Johnson in 2019.

Restrictions:

Collection is restricted until 2140.

Rights:

Permission to reproduce and publish an item from the Archives is coordinated through the Freer Gallery of Art and Arthur M. Sackler Gallery's Rights and Reproductions department. Please contact the Archives in order to initiate this process.

Topic:

Textile fabrics  Search this

Art -- China  Search this

Art -- Collectors and collecting  Search this

Art, Chinese  Search this

Costume -- Chinese  Search this

Genre/Form:

Photographs

Notes

Correspondence -- 1950-2000

Citation:

Shirley Z. Johnson Papers. FSA.A2016.06. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C. Gift of Shirley Z. Johnson, 2015.

Sponsor:

Funding for partial processing of the collection was supported by a grant from the Smithsonian Institution's Collections Care and Preservation Fund (CCPF).

Identifier:

FSA.A2016.06

See more items in:

Shirley Z. Johnson Papers

Archival Repository:

Freer Gallery of Art and Arthur M. Sackler Gallery Archives

GUID:

https://n2t.net/ark:/65665/dc354d76cb2-4c7d-4444-8437-c0166c86d94b

EDAN-URL:

ead_collection:sova-fsa-a2016-06

Creator:

March, Benjamin, 1899-1934  Search this

Names:

March, Benjamin, 1899-1934  Search this

Rowe, Dorothy, 1898-  Search this

Extent:

15 Linear feet

Type:

Collection descriptions

Archival materials

Photographs

Scrapbooks

Lecture notes

Letters

Place:

China

Japan

China -- Description and Travel

Michigan

Date:

1923-1934

Summary:

Writer, curator, and professor Benjamin Franklin March Jr. (1899-1934) studied, lectured, and wrote in the United States and in China, and through his works gained respect as one of the foremost authorities on Chinese art during the 1920s and 1930s. His papers, dating from 1923 to 1934, document his professional and personal life in the United States and in China and include lecture notes and outlines; research notes; diaries; scrapbooks; and photographs.

Scope and Content Note:

The Benjamin March Papers span the years 1923 to 1934 and measure 15 linear feet. The collection includes: biographical data included in passports, obituaries, and fifty-seven condolence letters; lecture and course outlines; research notes; four diaries; one scrapbook; four illustrations including sketches for the March bookplate; fourteen photograph albums; printed matter; and 100 personal and artistic photographs.

Arrangement note:

The collection is divided into the following series:

Series 1: Biographical Information, 1927-1935

Series 2: Diaries, 1925-1934

Series 3: Writings and Research Materials, 1927-1934, undated

— Subseries 3.1: Lecture Materials

— Subseries 3.2: Research

— Subseries 3.3: Printed Matter

Series 4: Scrapbooks, 1924-1934

Series 5: Graphic Materials, 1925, 1933, undated

— Subseries 5.1: Illustrations

— Subseries 5.2: Photo Albums

— Subseries 5.3: Photographs

Biographical Information:

Biographical Sketch

1899 -- Born, Chicago, IL. Son of Benjamin Franklin and Isabel (née McNeal)

[1917?] -- Attended Lewis Institute and the YMCA College before transferring to the University of Chicago

1918-1919 -- Military service, Sergeant, Field Remount Squadron, No. 305, Army Service Corps

1922 -- Graduated from the University of Chicago (Ph.B)

1922-1923 -- Attended the Union Theological Seminary, New York, NY

1923-1925 -- Teacher of English, Latin, and Bible Studies at Hopei University; the Second Normal School; and the YMCA in Paotingfu, China

1925 June 25 -- Married Dorothy Rowe in Nanking, China

1925-1927 -- English instructor; Librarian; and Lecturer in Chinese Art, Yenching University Peiping, China

1927, summer -- Lecturer on Chinese art Columbia University

1927-1931 -- Curator of Asiatic Art Detroit Institute of Arts

1928 -- Honorary Curator of Oriental Aesthetic Art at the Museum of Anthropology, University of Michigan, Ann Arbor

1928 -- Appointed honorary curator at the Museum of Anthropology, University of Michigan, Ann Arbor

[1929?] -- Daughter (Judith) born

1929 -- China and Japan in Our Museums, published by the American Council, Institute of Pacific Relations

1931 -- Spent six months in China under a special grant from the American Council of Learned Societies to study 13th century painter, Ch'ien Hsuan

1932 -- Curator, Museum of Anthropology, University of Michigan, Ann Arbor

1932 -- Appointed honorary curator at the Detroit Institute of Arts

1933 -- Awarded a Freer Fellowship

1934 -- Standards of Pottery Description, published by the University of Michigan Press

1934, summer -- Organized, directed, and lectured at a summer session of the Institute of Asiatic Studies at the University of California, Berkeley

1934 December -- Died at home in Ann Arbor, Michigan after a five-week illness (heart ailment)

Far Eastern art writer, curator, and lecturer, Benjamin Franklin March Jr., was born in Chicago on July 4, 1899 to Benjamin and Isabel March. He studied, lectured, and wrote in the United States and China and through his works gained respect as one of the foremost authorities on Chinese art during the 1920s and 1930s. Although he lived only thirty-five years, Benjamin March was a respected and influential scholar of Asian art.

After high school, March attended the Lewis Institute and the YMCA College before transferring to the University of Chicago from which he graduated in 1922 (Ph.B). With thoughts of becoming a Methodist minister, March enrolled at the Union Theological Seminary in New York City. At the same time, March enrolled in art classes at the Metropolitan Museum. After one year at the seminary, March was presented with and accepted the opportunity to work in China. From 1923 to 1927, March resided in China where he taught and lectured at colleges. Initially, March taught English, Latin, and Bible Studies at Hopei University, the Second Normal School, and the YMCA. From 1925 to 1927, he worked at Yenching University in Peiping (now Peking) as an instructor in English, a librarian, and lecturer in Chinese art.

While in China, March met Dorothy Rowe, the daughter of a Methodist missionary stationed in Nanking. On June 25, 1925 the two were married. Ms. Rowe, whom March sometimes called Doré, had lived in China since infancy. The author of the children's story, "The Begging Dear," Rowe wrote children's stories with Chinese settings.

During the summer of 1927, the March's moved to the United States when Columbia University offered March an appointment as lecturer of Chinese Art. Later that year March was appointed curator of Asiatic art at the Detroit Institute of Arts. He remained at the Detroit Institute of Arts in this capacity until 1931. In 1928, March was appointed Honorary Curator of Oriental Aesthetic Art by the University of Michigan's Museum of Anthropology. The next year, Dorothy March gave birth to the couple's only child, Judith.

During this period March published extensively, including two publications, China and Japan in Our Museums, in 1929 and, Standards of Pottery Description, in 1934. In the latter, March developed a new technique for the scientific study of the materials and methods of manufacture of ancient Chinese pottery. ( Ann Arbor Daily News. -- "Death Takes Noted Curator". -- December 14, 1934)

In 1931, March received a grant from the American Council of Learned Societies. This grant allowed March the opportunity to travel to China and Europe to study the 13th century painter, Ch'ien Hsuan. In 1932, March was named a curator at the Museum of Anthropology at the University of Michigan. The following year he was named a Freer Fellow. The summer of 1934 found March in Berkeley, California, organizing and directing the Institute of Asiatic Studies at the University of California. During the fall of 1934, March fell ill with a heart ailment. He was ill for five weeks before he died, at the age of 35, in December of 1934. At the time of his death, Benjamin March was survived by his wife Dorothy and their daughter, Judith.

Related Collections:

The Detroit Institute of Arts maintains administrative correspondence and files generated by Benjamin March during his tenure as curator.

The Bentley Historical Library at the University of Michigan houses the Benjamin Franklin March drawings collection, This is a collection of drawings by March for his daughter; includes illustrated poems of Pentwater Beach, Michigan.

Provenance:

Judith March Davis, the daughter of Benjamin March, donated her father's papers to the Freer Gallery of Art and Arthur M. Sackler Gallery Archives in 1995.

Benjamin March's daughter, Judith March Davis, donated her father's papers to the Freer Gallery of Art and Arthur M. Sackler Gallery Archives in 1995.

Restrictions:

Collection is open for research.

Rights:

No restrictions on use.

Topic:

Art, Japanese  Search this

Art, Chinese  Search this

Architecture -- China  Search this

Architecture, Japanese  Search this

Painting, Chinese  Search this

Art, Korean  Search this

Art, Asian  Search this

Painting, Japanese  Search this

Art, Asian -- Research  Search this

Chinese language -- Terms and phrases  Search this

Art -- Terminology  Search this

Genre/Form:

Photographs

Scrapbooks

Lecture notes

Letters

Citation:

Benjamin March Papers, FSA.A.1995.10. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C. Gift of Judith March Davis, 1995

Identifier:

FSA.A1995.10

See more items in:

Benjamin March Papers

Archival Repository:

Freer Gallery of Art and Arthur M. Sackler Gallery Archives

GUID:

https://n2t.net/ark:/65665/dc3ee55f56d-42a6-4612-8585-2aaed10572c1

EDAN-URL:

ead_collection:sova-fsa-a1995-10

Creator:

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

Subject:

Arthur M. Sackler Gallery (Smithsonian Institution)  Search this

Freer Gallery of Art  Search this

National Museum of Asian Art (U.S.)  Search this

Type:

Electronic records

Web sites

Date:

2004

2004-2021

Topic:

Web sites  Search this

Art museums  Search this

Art, Asian  Search this

Museums--Public relations  Search this

Blogs  Search this

Intranets (Computer networks)  Search this

Local number:

SIA RS01258

See more items in:

Website Records 2004-2021 [Freer Gallery of Art and Arthur M. Sackler Gallery]

Data Source:

Smithsonian Institution Archives

EDAN-URL:

edanmdm:siris_arc_254190

Creator:

Hirshhorn Museum and Sculpture Garden Office of the Deputy Director  Search this

Subject:

Viso, Olga M. 1966-  Search this

Hirshhorn Museum and Sculpture Garden Curatorial Department  Search this

Ana Mendieta: Earth Body Sculpture and Performance, 1972-1985 (Exhibition) (2004-2005: Washington, D.C.)  Search this

DIRECTIONS: Beverly Semmes (Exhibition) (1996: Washington, D.C.)  Search this

DIRECTIONS: Cathy de Monchaux (Exhibition) (2000: Washington, D.C.)  Search this

DIRECTIONS: Dan Steinhilber (Exhibition) (2003-2004: Washington, D.C.)  Search this

DIRECTIONS: Ernesto Neto (Exhibition) (2002: Washington, D.C.)  Search this

DIRECTIONS: Juan Munoz (Exhibition) (1997: Washington, D.C.)  Search this

DIRECTIONS: Sam Taylor-Wood (Exhibition) (1999: Washington, D.C.)  Search this

DIRECTIONS: Toba Khedoori (Exhibition) (1997-1998: Washington, D.C.)  Search this

Regarding Beauty: A View of the Late Twentieth Century (Exhibition) (1999-2000: Washington, D.C.)  Search this

Robert Gober: Drawings + Sculptures (Exhibition) (2000: Washington, D.C.)  Search this

Triumph of the Spirit: Carlos Alfonzo, A Survey 1975-1991 (Exhibition) (1998: Washington, D.C.)  Search this

Wolfgang Laib: A Retrospective (Traveling exhibition)  Search this

Type:

Electronic records

Collection descriptions

Date:

1996

1996-2004

c 1996-2004

Topic:

Art museums  Search this

Art, Modern  Search this

Budget  Search this

Exhibitions  Search this

Museums--Administration  Search this

Local number:

SIA Acc. 08-167

Restrictions & Rights:

Restricted for 15 years, until Jan-01-2020; Transferring office; 3/19/2008 memorandum, Wright to James; Contact reference staff for details

See more items in:

Exhibition Records 1974-2004 [Hirshhorn Museum and Sculpture Garden Office of the Deputy Director]

Data Source:

Smithsonian Institution Archives

EDAN-URL:

edanmdm:siris_arc_281439

Creator:

National Museum of Asian Art (U.S.)  Search this

Subject:

Platt, Charles A (Charles Adams) 1861-1933  Search this

Whistler, James McNeill 1834-1903  Search this

Hassam, Childe 1859-1935  Search this

Homer, Winslow 1836-1910  Search this

Thayer, Abbott Handerson 1849-1921  Search this

Dewing, Thomas Wilmer 1851-1938  Search this

Tryon, Dwight William 1849-1925  Search this

Saint-Gaudens, Augustus 1848-1907  Search this

Freer, Charles Lang 1856-1919  Search this

Lodge, John Ellerton 1876-1942  Search this

Sackler, Arthur M  Search this

Beach, Milo Cleveland  Search this

Lawton, Thomas 1931-  Search this

Stern, Harold P  Search this

Raby, Julian  Search this

Dehejia, Vidya  Search this

Wenley, A. G (Archibald Gibson) 1898-1962  Search this

Robinson, Chase F  Search this

Pope, John Alexander 1906-1982  Search this

United States National Park Service  Search this

Freer Gallery of Art and Arthur M. Sackler Gallery Office of the Director  Search this

Museum of Fine Arts, Boston  Search this

Arthur M. Sackler Gallery (Smithsonian Institution)  Search this

Freer Gallery of Art  Search this

Quadrangle Building (Washington, D.C.)  Search this

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

Type:

Mixed archival materials

Place:

Middle East

Date:

1906

1906-

Topic:

Art  Search this

Architecture, Renaissance  Search this

Art, American  Search this

Art museums  Search this

Art, Asian  Search this

Local number:

SIA AH00011

Data Source:

Smithsonian Institution Archives

EDAN-URL:

edanmdm:siris_arc_217772

Creator:

Smithsonian American Art Museum Curatorial Office  Search this

Subject:

Montiel, Anya  Search this

National Museum of the American Indian (U.S.)  Search this

Renwick Gallery  Search this

Smithsonian American Women's History Initiative  Search this

University of California, Davis  Search this

John F. Kennedy University  Search this

Yale University  Search this

Type:

Electronic records

Collection descriptions

Electronic mail

Place:

United States

Date:

2020

2020-2021

Topic:

Art museum curators  Search this

Art museums  Search this

Art, American  Search this

Museums--Acquisitions  Search this

Museum exhibits  Search this

Decorative arts  Search this

Women artists  Search this

Indian art  Search this

Indian artists  Search this

Local number:

SIA Acc. 22-064

Restrictions & Rights:

Restricted for 15 years, until Jan-01-2037. Records may contain personally identifiable information (PII) that is permanently restricted; Transferring office; 12/18/2006 memorandum, Toda to Earle; Contact reference staff for details

See more items in:

Curatorial Records 1930-2020 [Smithsonian American Art Museum Curatorial Office]

Data Source:

Smithsonian Institution Archives

EDAN-URL:

edanmdm:siris_arc_404714