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Subject Files, circa 1868-2014

Creator:: National Zoological Park (U.S.) Public Affairs and Communications Department Search this

Subject:: National Zoological Park (U.S.) Office of Public Affairs Search this

Physical description:: 4.75 cu. ft. processed holdings; 24.02 cu. ft. unprocessed holdings

Type:: Manuscripts; Color photographs; Black-and-white transparencies; Serials (publications); Clippings; Color transparencies; Brochures; Posters; Newsletters; Pamphlets; Books; Compact discs; Maps; Diaries; Picture postcards; Black-and-white photographs; Motion pictures (visual works); Audiotapes; Videotapes; Electronic records; Digital images; Sound recordings

Date:: 1868; 1868-2014; circa 1868-2014

Topic:: Zoos Search this; Publicity Search this; Zoos--Educational aspects Search this; Public relations Search this; Zoo animals Search this; Zoo exhibits Search this

Local number:: SIA RS00964

See more items in:: Subject Files circa 1868-2014 [National Zoological Park (U.S.) Public Affairs and Communications Department]

Data Source:: Smithsonian Institution Archives

EDAN-URL:: edanmdm:siris_arc_226630

Charles Lang Freer Papers

Creator:: Freer, Charles Lang, 1856-1919 Search this

Extent:: 131 Linear feet (29 architectural drawings)

Type:: Collection descriptions; Archival materials; Diaries; Financial records; Correspondence; Photographs

Place:: China; Syria; Egypt; India; London (England); Japan; Boston (Mass.); Detroit (Mich.); Washington (D.C.); Kandy (Sri Lanka); Sri Lanka; Anuradhapura (Sri Lanka)

Date:: 1876-1931

Summary:: The personal papers of Charles Lang Freer, the industrialist and art collector who founded the Freer Gallery of Art. The papers include correspondence, diaries, art inventories, scrapbooks of clippings on James McNeil Whistler and other press clippings, and photographs.

Scope Content:: The personal papers of Charles Lang Freer, the industrialist and art collector who founded the Freer Gallery of Art. The papers include correspondence, diaries, art inventories, scrapbooks of clippings on James McNeil Whistler and other press clippings, financial material, architectural drawings, and photographs.

Correspondence, circa 1860-1921, includes Freer's correspondence, 1876-1920, with artists, dealers, collectors, museums, and public figures; letterpress books contain copies of Freer's outgoing letters, 1892-1910; correspondence collected by Freer of James McNeill Whistler, and his wife Beatrix, 186?-1909, with Lady Colin Campbell, Thomas R. Way, Alexander Reid, Whistler's mother, Mrs. George W. Whistler, and others; correspondence of Whistler collector Richard A. Canfield, 1904-1913, regarding works in Canfield's collection; and correspondence of Freer's assistant, Katharine Nash Rhoades, 1920-1921, soliciting Freer's letters from his associates, and regarding the settlement of his estate.

Also included are twenty-nine pocket diaries, 1889-1890, 1892-1898, 1900-1919, recording daily activities, people and places visited, observations, and comments; a diary kept by Freer's caretaker, Joseph Stephens Warring, recording daily activities at Freer's Detroit home, 1907-1910. Inventories, n.d. and 1901-1921, of American, European, and Asian art in Freer's collection, often including provenance information; vouchers, 1884-1919, documenting his purchases; five volumes of scrapbooks of clippings on James McNeill Whistler, 1888-1931, labeled "Various," "Peacock Room," "Death, etc.," "Paris, etc.," and "Boston...London" ; three volumes of newsclippings, 1900-1930, concerning Freer and the opening of the Freer Gallery of Art.

Correspondence regarding Freer's gift and bequest to the Smithsonian Institution, 1902-1916; and photographs, ca. 1880-1930, of Freer, including portraits by Alvin Langdon Coburn and Edward Steichen, Freer with others, Freer in Cairo, China and Japan, Freer's death mask, and his memorial service, Kyoto, 1930; photographs of artists and others, including Thomas Dewing, Ernest Fenollosa, Katharine Rhoades taken by Alfred Stieglitz, Rosalind B. Philip, Augustus Saint-Gaudens, Abbott H. Thayer, Dwight Tryon, and Whistler; and photographs relating to Whistler, including art works depicting him, grave and memorial monuments, works of art, the Peacock Room, and Whistler's memorial exhibition at the Copley Society.

Organization of the Papers:: This collection is organized into twelve series.

Series 1: Genealogical and Biographical Data

Series 2: Correspondence

Series 3: Diaries

Series 4: Freer Colleague Materials

Series 5: Art Inventories

Series 6: Financial Materials

Series 7: Exhibition Loan Files

Series 8: Biblical Manuscripts and Gold Treasure Files

Series 9: American School of Archaeology in China

Series 10: Printed Material

Series 11: Outsize Material

Series 12: Photographs

Biographical Note:: 1854 February 25 -- Born in Kingston, New York

1873 -- Appointed accountant and paymaster of New York, Kingston and Syracuse Railroad by Frank J. Hecker (1846-1927)

1876 -- Moves to Indiana to work, with Hecker, for the Detroit and Eel River and Illinois Railroad

1880 -- Moves to Detroit, participates in organization of the Peninsular Car Works with Hecker

1883 -- Becomes vice president and secretary of Peninsular Car Company when it succeeds Peninsular Car Works

1883 -- Begins collecting European prints

1884 -- Peninsular Car Company constructs plant on Ferry Avenue

1887 -- Meets Howard Mansfield (1849-1938)

1887 -- Acquires proofs of 26 etchings, Venice, Second Series(1886), by James McNeill Whistler (1834-1903)

1887 -- Purchases a small Japanese fan attributed to Ogata Korin(1658-1715)

1887 -- Buys land on Ferry Avenue

1889 -- Meets Frederick Stuart Church (1826-1900) and Dwight William Tryon (1849-1925) in New York

1890 -- Commissions Wilson Eyre (1858-1944) to design house on Ferry Avenue, Detroit, Michigan

1890 -- On first trip to London, meets James McNeill Whistler(1834-1903)

1892 -- Moves to Ferry Avenue house

1892 -- Tryon and Thomas Wilmer Dewing (1851-1938) undertake decoration of reception rooms

1893 -- Lends American paintings to World's Columbian Exposition in Chicago

1893 -- Purchases first piece of Chinese art, a small painting of white herons by an anonymous Ming dynasty (1368-1644) artist

1894 -- Begins yearlong trip around the world, which includes visit to the Whistlers in Paris and first trip to Asia, stopping in Ceylon (now Sri Lanka), India, China, and Japan

1896 -- Meets Matsuki Bunkyo (1867-1940) in Boston

1899 -- Takes part in consolidation of railroad-car building companies then retires from active business

1900 -- Attends Exposition International Universelle in Paris

1900 -- Buys villa in Capri with Thomas S. Jerome

1901 -- Meets Siegfried Bing (1838-1905) in Paris and Ernest Fenollosa(1853-1908), who visits Freer in Detroit

1902 -- Meets Dikran Kelekian (1868-1951)

1902 -- Spends summer in Britain building Whistler collection

1902 -- Views Whistler's, Harmony in Blue and Gold: The Peacock Room

1904 -- Purchases Whistler's Peacock Room

1904 -- Offers his art collections and funds to build a museum in which to house them to the Smithsonian Institution

1905 -- Smithsonian committee visits Freer in Detroit

1906 -- United States government formally accepts Freer's gift on January 24

1906 -- Freer signs Deed of Gift to Smithsonian Institution on May 5

1907 -- On second tour of Asia, meets Hara Tomitaro 1868-1939) in Yokohama, Japan

1908 -- Takes third trip to Asia, specifically to West Asia to study Rakka ware

1909 -- Tours Europe to study art museums

1909 -- On fourth trip to Asia, attends memorial ceremony for Fenollosa (d.1908 September) at Miidera, Japan, and meets Duanfang (1861-1911) in China

1910 -- On last trip to Asia, visits Longmen Buddhist caves in China

1911 -- Suffers stroke

1912 -- Lends selection of objects for exhibition at Smithsonian Institution

1913 -- Meets Eugene (1875-1957) and Agnes E. (1887-1970) Meyer

1913 -- Commissions Charles Adams Platt (1861-1933) to design museum building in Washington

1914 -- Meets Katharine Nash Rhoades (1885-1965) in Detroit

1915 -- Settles in New York City

1915 -- Site of future Freer Gallery of Art is determined

1916 -- Platt's plans for Freer Gallery are approved by Smithsonian Regents and Commission of Fine Arts and ground is broken in September

1918 -- After falling ill in Detroit, Freer travels to New York for treatment

1918 -- Work on the museum building is delayed by the war

1919 -- Freer appends codicil to will permitting acquisitions of Asian, Egyptian, and Near Eastern (West Asian) art

1919 -- Dies in New York City on 25 September and is buried in Kingston, New York

1919 -- Construction of Freer Gallery completed

1920 -- John Ellerton Lodge (1876-1942) is appointed director of the Freer Gallery

1923 -- Freer Gallery opens to the public on May 9

1930 -- Memorial ceremony for Freer is held at Koetsuji, Kyoto

Charles Lang Freer was an American industrialist who founded the Freer Gallery of Art. He was a well-known collector of Asian art, and strongly supported the synthesis of Eastern art and Western art. One of his most famous acquisitions was James McNeill Whistler's Peacock Room.

Index:: Index to cross-referenced correspondents in the series Charles Lang Freer correspondence

Beal, Junius E. -- See: -- Warring, Joseph Stephens

Black, George M. -- See: -- Saint-Gaudens, Augustus

Board of Education (Kingston, New York) See: Michael, M. J.

Bonner, Campbell See: University of Michigan

Boughton, George H. See: Yardley, F. C.

British Museum See: Binyon, Laurence; Hobson, R. L.

Brown, Harold H. See: Art Association of Indianapolis

Buchner, Evelyn B. See: Knoedler, M., and Company

Buckholder, C. H. See: Art Institute of Chicago

Butler, S. B. See: Unidentified correspondents

Carnegie Institute See: Balken, Edward Duff; Harshe, Robert B.

Carpenter, Newton H. See: Art Institute of Chicago

Caulkins, Horace James See: Pewabic Pottery

Chao, Shih-chin See: Gunn, Chu Su

Chicago & North Western Railway Co. See: Hughett, Marvin

Clark, Charles Upson See: Clark, Arthur B.

Cleveland Museum of Art See: Whiting, Frederic Allen

Columbia University See: Braun, W. A.; Gottheil, Richard; Hirth, Friederich

Commission of Fine Arts See: Moore, Charles

Corcoran Gallery of Art See: Minnigerode, C. Powell

Crocker, Anna B. See: Portland Art Association

Dannenberg, D. E. See: Karlbeck, Orvar

De Menoncal, Beatrice See: Lien, Hui Ch'ing Collection

De Ricci, Seymour See: Ricci, Seymour de

Defnet, William A., Mrs., See: Franke, Ida M.

DeMotte See: Vigouroux, J.

Detroit Institute of Arts See: Detroit Museum of Art

Detroit Publishing Company See: Livingstone, W. A.

Detroit School of Design See: George Hamilton; Stevens, Henry

DeVinne Press See: Peters, Samuel T.; Witherspoon, A. S.

Dyrenforth, P. C. See: Philip, Rosalind Birnie

Eddy, Arthur J. See: Philip, Rosalind Birnie

Eggers, George Williams See: Art Institute of Chicago

Farr, Daniel H. See: Robinson and Farr

Farrand School (Detroit) See: Yendall, Edith

Field Museum of Natural History (Chicago) See: Laufer, Berthold

Flagg, Frederick J. See: Allen, Horace N.

Fogg Art Museum, Harvard University See: Forbes, Edward; Pope, Arthur Upham; Sachs, Paul J.

French, M. R. See: Art Institute of Chicago

Fu, Lan-ya See: Pang, Lai-ch'en

Fujii, Yoshio See: Yoshio, Fujii

Gerrity, Thomas See: Knoedler, M., and Company

Goupil Gallery See: Marchant, William

Gray, William J. See: Barr, Eva

Great Lakes Engineering Works See: Hoyt, H. W.

Grolier Club See: Philip, Rosalind Birnie

Heinemann, W. See: Philip, Rosalind Birnie

Holden, Edward S. See: West Point, U. S. Military Academy

Hudson, J. L. See: Weber, William C.

Hutchins, Harry B. See: University of Michigan

Hutchins, Charles L. See: Art Institute of Chicago

Kelekian, H. G. See: Kelekian, Dikran G.

Kent, H. W. See: Metropolitan Museum of Art

Lee, Kee Son See: Li, Chi-ch'un

Levy, John See: Schneider, A. K.

Library of Congress See: Rice, Richard A.; Wright, Helen

Louvre (Paris, France) See: Midgeon, Gaston

Matsuki, Z. See: Matsuki, Kihachiro

McKim, Mead and White See: White, Stanford

Mills, A. L., Colonel See: Saint-Gaudens, Augustus

Miner, Luella See: Lien, Hui Ch'ing Collection

Minneapolis Institute of Arts See: Breck, Joseph; Van Derlip, John R.

Monif, R. Khan See: Rathbun, Richard

Museum of Fine Arts, Boston See: Lodge, John Ellerton

Naser, Katen & Nahass See: Katen, K.

Nordlinger, Marie, Miss See: Meyer-Riefstahl, Marie

Panama Pacific International Exposition See: Moore, Charles C.; Trask, John E. D.

Peabody Museum See: Morse, Edward Sylvester

Pennsylvania Academy of the Fine Arts See: Trask, John E. D.

Perry, Mary Chase, Miss., See: Pewabic Pottery

Philip, Ronald M. See: Philip, Rosalind Birnie

Pope, G. D. See: Barr, Eva

Reinhart, A. G. See: Gottschalk, E.

Reitz, Sigisbert ChrÃ©tien Bosch See: Bosch-Reitz, Sigisbert ChrÃ©tien

Rutgers College See: Van Dyke, John C.

Saint-Gaudens, Augusta H. See: Saint-Gaudens, Augustus

Saint-Gaudens, Homer See: Saint-Gaudens, Augustus

Samurai Shokai See: Nomura, Yozo

San Francisco Art Association See: Laurvik, J. Nilsen

Scribner's, Charles, Sons See: Van Dyke, John C.

Shaw, Wilfred B. See: University of Michigan

Shirae, S. Z. See: Yamanaka and Company

Smith College See: Clark, Arthur B.

Smithsonian Institution See: Holmes, William Henry; Rathbun, Richard; Ravenel, Walcott, Charles D.

Society of Arts and Crafts (Detroit) See: Plumb, Helen

Societe des Beaux-Arts See: Reid, Alexander

Stevens, George W. See: Toledo Museum of Art

Stratton, Mary Chase Perry See: Pewabic Pottery

Tanaka, Kichijiro See: Yamanaka and Company

Tuttle, William F. See: Art Institute of Chicago

Union Trust Company (Detroit) See: Philip, Rosalind Birnie

United States Military Academy See: West Point, U. S. Military Academy

University of Chicago See: Zug, George Breed

University of Pennsylvania, Univ. Mus. See: Gordon, George Bryon

Ushikubo, D. J. R. See: Yamanaka and Company

Wallis & Son See: Barr, Eva; Thompson, C. Croal Ward, Clarence See: Oberlin College

Warren, Edward K. See: Philip, Rosalind Birnie

Warring, Stephen See: Warring, Joseph Stephens

Watkin, Williams R. T. See: Philip, Rosalind Birnie

Watson, Margaret, Miss See: Parker, Margaret Watson

Whistler, Anna See: Stanton, Anna Whistler

Whiting, Almon C. See: Toledo Museum of Art

Williams College See: Rice, Richard A

Wright, F. G. See: Orbach and Company

Yatsuhashi, H. See: Yamanaka and Company; Index to cross-referenced correspondence in the series Whistler correspondence

Bell, William See: Unidentified correspondents

Brown, Ernest See: Painter Etchers' Society, Committee

Cowen, John T. See subseries: Charles Lang Freer Correspondence

Ford, Sheridan See: Reid, Alexander

Haden, Francis Seymour See: Painter Etchers' Society, Committee

Haden, Francis Seymour, Lady See: Haden, Deborah Whistler

Leighton, Frederick, Baron See: Campbell, Lady Colin

Moore, Albert See: Reid, Alexander

Morley, Charles See: Pall Mall Gazette

Morris, Harrison S. See: Reid, Alexander

Pennell, Joseph See: Miscellaneous typescripts

Pennsylvania Academy of the Fine Arts See: Reid, Alexander

Prange, F. G. See: Reid, Alexander

Societe des Beaux-Arts See: Reid, Alexander

Society of Portrait Painters See: Reid, Alexander

Stevens Fine Art See: Reid, Alexander

Studd, Arthur See: Miscellaneous typescripts

[Vanderbilt?], George, Mrs. See: George, Mrs.

Whistler, William McNeill, Mrs. See: Whistler, Nellie

Whistler Memorial Committee See: Miscellaneous typescripts

Related Material:: The Archives of American Art microfilmed portions of the Freer papers in 1992. The microfilm is available at the Archives of American Art's Washington D.C. office, the Freer Gallery of Art Library, and through interlibrary loan.

Provenance:: Gift of the Estate of Charles Lang Freer.

Restrictions:: Collection is open for research.

Rights:: Permission to publish, quote, or reproduce must be secured from the repository.

Topic:: Art, American -- Collectors and collecting Search this; Art, Asian -- Collectors and collecting Search this; Art -- Collectors and collecting Search this; Architecture -- Asia Search this

Genre/Form:: Diaries; Financial records; Correspondence; Photographs

Citation:: Charles Lang Freer Papers. FSA A.01. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C. Gift of the estate of Charles Lang Freer.

Identifier:: FSA.A.01

See more items in:: Charles Lang Freer Papers

Archival Repository:: Freer Gallery of Art and Arthur M. Sackler Gallery Archives

GUID:: https://n2t.net/ark:/65665/dc3f1a0e3e0-630c-48d4-ba28-485946b1d615

EDAN-URL:: ead_collection:sova-fsa-a-01

Online Media:

Jan Stussy papers, 1924-2018

Creator:: Stussy, Jan, 1921-1990 Search this

Subject:: Macdonald-Wright, Stanton Search this; Stussy, Maxine Kim Search this

Type:: Sound recordings; Video recordings; Diaries

Citation:: Jan Stussy papers, 1924-2018. Archives of American Art, Smithsonian Institution.

Topic:: Art -- Study and teaching -- California -- Los Angeles Search this; Synchromism (Art) Search this

Theme:: Lives of artists Search this

Record number:: (DSI-AAA_CollID)7338; (DSI-AAA_SIRISBib)209491; AAA_collcode_stusjan

Theme:: Lives of artists

Data Source:: Archives of American Art

EDAN-URL:: edanmdm:AAADCD_coll_209491

Jan Stussy papers

Creator:: Stussy, Jan, 1921-1990 Search this

Names:: Macdonald-Wright, Stanton, 1890-1973 Search this; Stussy, Maxine Kim, 1923-2020 Search this

Extent:: 8.1 Linear feet

Type:: Collection descriptions; Archival materials; Sound recordings; Video recordings; Diaries

Date:: 1924-2018

Summary:: The papers of Jan Stussy measure 8.1 linear feet and date from 1924 to 2018. The papers document the career of painter and educator Jan Stussy through correspondence; a resume and other professional documentation; clippings and exhibition announcements; and photographs and slides of Stussy and his artwork. The papers also document the life of artist Stanton MacDonald-Wright through correspondence with Stussy; manuscripts and other writings; lectures and discussions with Stussy; clippings, exhibition announcements and catalogs, and other printed material; and photographs of MacDonald-Wright, Stussy, and Stussy's artwork.

Scope and Contents:: The papers of Jan Stussy measure 8.1 linear feet and date from 1924-2018. The papers document the career of painter and educator Jan Stussy through correspondence; a resume and other professional documentation; clippings and exhibition announcements; and photographs and slides of Stussy and his artwork. The papers also document the life of artist Stanton MacDonald-Wright through correspondence with Stussy; manuscripts and other writings; lectures and discussions with Stussy; clippings, exhibition announcements and catalogs, and other printed material; and photographs of MacDonald-Wright.

Biographical material consists of Stussy family history, material on Fred Stussy, Stussy's Boy Scout scrapbook, and an obituary.

Correspondence consists of letters from Stussy to his wife, Maxine Kim Stussy, with various museums and institutions such as the United States Embassy in Turkey, and a collection of postcards. Also included are correspondence between Stussy and Stanton MacDonald-Wright.

Writings consist of a biography and general notes on Stanton MacDonald-Wright, articles on art, manuscripts for screenplays written by Stussy, poetry, and miscellaneous notes. Also included are some of Stussy's diaries from the 1940s and 1980s.

Personal business records consist of mainly inventory and price lists, some general account records, general invoices and related correspondence, and invoices from the Esther Robles Gallery.

Professional activity material consists of resumes, academic evaluations and promotions from his time as a professor at UCLA, awards, screenplay material, and some exhibition files. Also included are a series of audio cassette interviews between Stussy and Stanton MacDonald-Wright, an audio cassette lecture by MacDonald-Wright, and a video cassette on "The Ideals of Occidental Composition."

Printed material consists of clippings, exhibition announcements and catalogs, published articles by Stussy, a book on Stussy's art, and a book featuring some of Stussy's illustrations.

Artwork consists of sketches done by students for some of Stussy's courses in 1948, sketches by Stussy, and collages.

Photographic material consists of photographs of Stussy, Stanton MacDonald-Wright, and of Stussy's artwork. There is a large collection of slides of Stussy's artwork and of tattoo art. Also included are four 8mm film reels of photographs of primarily tattoo art.

Catalog of artwork is a catalog put together by the Jan Stussy Foundation. The catalog contains a listing of Stussy's works consisting of a general list of works, photographs of artwork on index cards, and catalog worksheets with titles and other pertinent information related to each piece.

Arrangement:: The collection is arranged into nine series.

Series 1: Biographical Material, 1924-1990 (0.1 linear feet; Box 1)

Series 2: Correspondence, 1940-1991 (0.5 linear feet; Box 1)

Series 3: Writings, 1943-1992 (0.8 linear feet; Boxes 1-2)

Series 4: Personal Business Records, 1943-1988, 2018 (0.1 linear feet; Box 2)

Series 5: Professional Activity Files, 1950-1990 (0.6 linear feet; Boxes 2-3)

Series 6: Printed Material, 1940-2016 (1.0 linear feet; Boxes 3, 9-10)

Series 7: Artwork, circa 1948 (0.2 linear feet; Boxes 3)

Series 8: Photographic and Motion Picture Film Material, 1950-1989 (3.3 linear feet; Boxes 3-5, 7, OV 8, FC 09-12)

Series 9: Catalog of Artwork, circa 1995 (1.5 linear feet; Boxes 5-6)

Biographical / Historical:: Jan Stussy (1921-1990) was a painter and educator primarily in Los Angeles, California. Stussy was born in 1921 in Benton County, Missouri, and he taught at UCLA. Stussy studied with Stanton MacDonald-Wright and remained life-long friends with him. Stussy was married to artist Maxine Kim Stussy.

Stanton MacDonald-Wright (1890-1973) was a modern American artist and co-founder of Syncromism, an early abstract, color-based mode of painting, which was the first American avant-garde art movement to receive international attention. MacDonald-Wright was born in Charlotteville, Virginia in 1890. He moved to Los Angeles in 1918 where he would serve as director of the Southern California division of the Works Project Administration Federal Art Project from 1935 to 1943. He also taught art at UCLA.

Provenance:: The Jan Stussy papers were donated to the archives between 1976-1985 by Jan Stussy and in 2022 by Belinda Franekl, Maxine Stussy's stepdaughter.

Restrictions:: This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.

Rights:: The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Occupation:: Painters -- California -- Los Angeles Search this; Educators -- California -- Los Angeles Search this

Topic:: Art -- Study and teaching -- California -- Los Angeles Search this; Synchromism (Art) Search this

Genre/Form:: Sound recordings; Video recordings; Diaries

Citation:: Jan Stussy papers, 1924-2018. Archives of American Art, Smithsonian Institution.

Sponsor:: The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.

Identifier:: AAA.stusjan

See more items in:: Jan Stussy papers

Archival Repository:: Archives of American Art

GUID:: https://n2t.net/ark:/65665/mw9c844e8fe-3a50-4cc9-af95-52220980bd34

EDAN-URL:: ead_collection:sova-aaa-stusjan

Filipino Agricultural Workers Collection

Donor:: Little Manila Foundation Search this

Extent:: 4.33 Cubic feet (13 boxes)

Culture:: Filipino Americans Search this

Type:: Collection descriptions; Archival materials; Correspondence; Diaries; Photographs; Receipts

Date:: circa 1874-1980, undated

Summary:: Collection documents the lives of Filipino migrants in Stockton, California dating primarily from the 1920s to the 1970s and includes correspondence, photographic prints, military documents, financial records, books, wallets, and other ephemera.

Scope and Contents:: Collection consists of the archival materials from one steamer trunk and a plastic bin documenting the lives of Filipino migrants in Stockton, California dating primarily from the 1920s-1970s. These materials include correspondence, individual photographic prints and in albums from the Philippines and the United States, military documents, financial records, medical information, educational materials, books, wallets, Legionarios del Trabajo "Daguhoy" Lodge membership materials, greeting cards, and other forms of ephemera. Most of the correspondence is written in Visayan, the language spoken within the southernmost islands of Luzon in the Philippines. Some of these letters have been translated. A few of the photographs are identified but most have no information relating to the person(s) identity, location of where the image was taken or date.

The materials are arranged into twenty-three series. The first twenty-two series represent one person's story that was found in the contents of the containers. The last series relates to the Legionarios del Trabajo organization.

The collection is important for the study of early Filipino American agricultural workers. In addition to using these materials researchers should consult the three-dimensional objects that were also collected. These artifacts are stored onsite in the Museum's Division of Work and Industry and are part of the Asian Pacific American and agricultural collections. A steamer trunk, which was too large to house at NMAH, is currently stored off-site.

Arrangement:: Collection is arranged into twenty-three series.

Series 1: Enrique Andales, 1917-1937, undated

Series 2: Julian S. Arofo, 1950-1953

Series 3: A.T. Bastion, undated

Series 4: Julian Felicita Bernido, 1971

Series 5: Andres Salle Casinas, 1912-1980, undated

Series 6: Cesario Hotora Comparativo, 1925-1945, undated

Series 7: Hilario Samson Cuevas, 1925-1930, undated

Series 8: Vinancio Timosa Fellisarta, 1971

Series 9: Jose Madridejo Galinato, 1926-1949, undated

Series 10: Eufricino Janier, 1920-1929, undated

Series 11: Felimon Laga, 1922-1923, undated

Series 12: Seven Madrias, 1936-1938, undated

Series 13: Eusebio Maglente, 1920-1923, undated

Series 14: Epimaco Fariola Mansueto, 1874-1947, undated

Series 15: Sixto Olaco, 1921-1954, undated

Series 16: Anastacio Atig Omandam, 1924-1937

Series 17: Juan Campoco Pascual, 1936, 1948, undated Series 18: Julian Rogas, 1929-1936, undated

Series 19: Arcadio Simangca, 1961-1971

Series 20: Julio Saranza, 1971

Series 21: Pablo Mendoza Solomon, 1921-1971, undated

Series 22: Victoriano Yano, 1971

Series 23: Legionarios del Trabajo: Daguhoy Masonic Lodge, 1928-1935, undated

Historical:: The Filipino Agricultural Workers Collection documents the history of Filipinos and Filipinas in Stockton, California, from the 1910s to the 1980s. The materials were part of a trove of material discovered in 2005 in the Daguhoy Lodge—a Filipino fraternal society—by Antonio Somera, a former member of the Daguhoy Lodge. Somera discovered twenty-six suitcases, toolboxes, and wardrobe steamer trunks in the basement of the lodge. These containers held materials such as clothing, tools, and correspondence and other personal items; the containers were labeled with the names of Filipino individuals. Presumably, each container belonged to a single person who used the suitcase or steamer trunk to travel and store their materials. When the owners passed away, surviving members of the fraternal lodge packed the deceased's personal belongings into the steamer trunk or suitcase and it was put into long-term storage. No descendants of these individuals have been identified, nor have any descendants come forward to claim the objects.

A few years after discovering the containers and displaying them in the lodge's basement in a makeshift exhibition, Somera brought the trunks to the attention of Professor Dawn Bohulano Mabalon and filmmaker Dillon Delvo. At the time, Mabalon was a history professor at San Francisco State University. In 2013, she published Little Manila is in the Heart: The Making of the Filipina/o American Community in Stockton, California (2013), considered the authoritative account on Filipino Americans in Stockton. During this time, Delvo was working as a filmmaker in the Bay Area and earning his master's degree in Asian American Studies at San Francisco State University. Born and raised in south Stockton in Filipino families, Delvo and Mabalon had embarked on a long-term project to preserve the history of Filipinos and to organize communities in Stockton which is why Somera approached them regarding the trunks.

In 2000, Mabalon and Delvo created Little Manila Rising (LMR), a non-profit organization that aims to preserve the history of Filipino American history in Stockton. LMR was founded in response to the gradual destruction of historic buildings and sites that had housed one of the earliest and largest Filipino communities outside of the Philippines. LMR eventually purchased a building called Little Manila Center at 2154 South San Joaquin Street in Stockton, which serves as a multi-purpose community center for a variety of community-based projects. Delvo became the Executive Director of LMR in 2012 and continues to serve in this capacity in 2024. In 2018, Mabalon unexpectedly passed away due to an asthma attack.

As part of their vision of preserving the history of Filipino Americans in Stockton and the greater San Joaquin Delta region, both Mabalon and Delvo championed the preservation of the containers found in the Daguhoy Lodge's basement, particularly the steamer trunks which they recognized possessed important historical value. In 2019, Sam Vong, Curator of Asian Pacific American History in the National Museum of American History (NMAH) Division of Work and Industry, met with Delvo to explore the potential donation of the containers and their associated contents to the museum.

In the aftermath of their discovery, only one steamer trunk was opened and the contents cataloged, with the assistance of the Oakland Museum of California. The remainder were temporarily stored and displayed in the Little Manila Community Center on Hazelton Street. When Vong arrived in 2019 to meet Delvo and to evaluate the materials, the trunks were still locked; a locksmith was needed to avoid destroying the locks and to maintain the integrity of the objects. The locksmith was able to open all but three of the trunks. While most of the containers were in good condition, a few of the steamer trunks had suffered water damage due to flooding in the lodge's basement, resulting in mildew and mold.

After the trunks were opened, Vong created a preliminary inventory list. He identified each of the trunks with the name of an individual which were found in the trunk's contents. Because of the large volume of materials, Vong made additional trips to Stockton to complete the cataloging of objects and to make final selections of which containers to collect. The onset of the Covid-19 pandemic in early 2020 delayed the collecting process, and the project was put on hold until Covid-lockdown restrictions were eased in 2022. At that point, Vong returned to Stockon to reevaluate the objects for acquisition.

Although LMR had hoped to donate all of the steamer trunks and containers to the Smithsonian, space constraints at NMAH precluded that. Ultimately, Vong collected one steamer trunk and all its contents. Those objects are housed in the NMAH Division of Work & Industry. Both Delvo and Vong recognized that the personal papers, photographs, and other archival materials contained in each container presented an opportunity to document the work and lives of the individuals who had left these containers behind. After consulting with NMAH Archives Center staff, it was decided that the NMAH Archives Center would collect the archival materials found in each of the containers. Taken as a whole, the individual groups of documents form the Filipino Agricultural Workers Collection.

Each series in the collection represents a single person's story that was found in the contents of the containers. Each name in the series, however, does not necessarily correspond to a single steamer trunk or suitcase. For example, the archival materials in the Pablo Mendoza Solomon series (Series 21) were found in two suitcases and two steamer trunks. Vong surmises that two things may have happened when Solomon passed away: surviving lodge brothers may have salvaged all Solomon's personal belongings and placed them in various suitcases, or Solomon's materials may have been haphazardly thrown into various containers when the trunks were recovered from the flooding in the lodge's basement. Other series, such as Julian Felicita Bernido (Series 4), contain only a couple of documents nested within another person's belongings.

The former owners of the suitcases and steamer trunks in this collection were young men who emigrated from different parts of the Philippines to work as sakadas, or contract workers in Hawai'i. After completing their contracts, some Filipinos left Hawai'i for California in search of adventure and better economic opportunities. Many of these Filipinos migrated up and down the western coast of the United States such as California, Oregon, Washington, and Alaska, finding work as seasonal workers on farms, salmon canneries, and other agricultural sectors. Filipinos and Filipinas were indispensable to growers in the San Joaquin Delta region, considered one of the most fertile regions in the country, and where the city of Stockton is located.

Filipinos and Filipinas gravitated toward Stockton, where they established one of the largest Filipino American communities outside of the Philippines. The community included businesses, recreational halls, hotels, and homes, as well places of worship and fraternal lodges, such as the Daguhoy Lodge. This lodge was one among a handful of lodges in Stockton that was established by some of the earliest Filipino residents in Stockton.

The Daguhoy Lodge catered primarily to men, although some of the archival documents in this collection suggest that Filipinas had a visible and important presence in lodge activities. The lodge provided a space for members to hold social gatherings, community meetings, and a place for worship. The lodge also provided short-term and long-term lodging for its members and for migrant Filipino workers who came in and out of Stockton as they followed the path of seasonal agricultural work. As a result, Filipinos used the lodge to temporarily store their personal belongings such as suitcases and steamer trunks.

Related Materials:: Materials in the Archives Center, National Museum of American History

Warshaw Collection of Business Americana Subject Categories: World Expositions, NMAH.AC.0060

Underwood & Underwood Glass Stereograph Collection, NMAH.AC.0143

Alexander Alland, Sr., Photoprints, NMAH.AC.0204

Sam DeVincent Collection of Illustrated American Sheet Music, Series 8: Geography, NMAH.AC.0300

Duncan Family Yo-Yo Collection, NMAH.AC.807

Catherine Hann Papers, NMAH.AC.0921

Kamikawa, Omata and Matsumoto Families Papers, NMAH.AC.0924

Juanita Tamayo Lott Filipino American Photographs and Papers, NMAH.AC.0925

Bishop Mitsumyo Tottori Memorial Notebooks, NMAH.AC.0926

Division of Cultural History Lantern Slides and Stereographs, NMAH.AC.0945

Materials at Other Organizations

Sacramento Public Library, Sacramento Room Photograph Collection holdings include one photograph of the Legionarios Del Trabajo.

Separated Materials:: National Museum of American History, Divison of Work and Industry

The Asian Pacific American and the Agricultural collections contain one steamer trunk and its complete contents, along with agricultural implements and other materials found in the other containers from the basement of the Daguhoy Lodge. Associated accession numbers include 2021.0137 and 2022.0058.01.

Accession number 2021.0137.1, asparagus knife

Accession number 2021.0137.2, hair waver

Accession number 2021.0137.3, hook field knife

Accession number 2021.0137.6, pair of pruning shears

Accession number 2021.0137.7, vegetable knife

Accession number 2022.0058.01.01, steamer trunk

Accession number 2022.0058.01.1,1 brace

Accession number 2022.0058.02.1, band uniform jacket

Accession number 2022.0058.02.2, band uniform trousers

Accession number 2022.0058.03.2, band uniform trousers

Accession number 2022.0058.03.3, band uniform shirt

Accession number 2022.0058.03.4, band uniform cummerbund

Accession number 2022.0058.06.1, army jacket

Accession number 2022.0058.13, sleepwear

Accession number 2022.0058.14, thermal shirt

Accession number 2022.0058.15, sweater

Accession number 2022.0058.16, shirt

Accession number 2022.0058.22, collar

Accession number 2022.0058.26.1, fez

Accession number 2022.0058.28ab, pair of dress shoes

Accession number 2022.0058.29ab, pair of shin protectors

Accession number 2022.0058.30ab, pair of gloves

Accession number 2022.0058.31, flashlight

Accession number 2022.0058.33, lock

Accession number 2022.0058.34, ring

Accession number 2022.0058.35, cap

Accession number 2022.0058.36, straw hat

Accession number 2022.0058.37, Stetson hat

Accession number 2022.0058.38, bow tie

Accession number 2022.0058.43, thermos

Accession number 2022.0058.44, harmonica

Accession number 2022.0058.45, pillowcase

Accession number 2022.0058.46, pillowcase

Accession number 2022.0058.47, necktie

Accession number 2022.0058.61, tablecloth

Accession number 2022.0058.62, framed portrait

Accession number 2022.0058.63, certificate

Accession number 2022.0058.64, wallet

Accession number 2022.0058.65ab, pair of boots

San Joaquin County Historical Museum (SJCHM) has the steamer trunks that were not aquired by the National Museum of American History.

Provenance:: Collection donated by the Little Manila Foundation through Dillon Delvo, Executive Director, 2021.

Restrictions:: Collection is open for research.

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

Topic:: Agriculture -- California Search this; Migrant workers Search this; Tagalog language Search this

Genre/Form:: Correspondence -- 20th century; Diaries; Photographs -- 20th century; Receipts -- 20th century

Citation:: Filipino Agricultural Workers Collection, Archives Center, National Museum of American History

Sponsor:: Processing and encoding funded by a grant from the FY23 Asian Pacific American Initiatives Pool.

Identifier:: NMAH.AC.1515

See more items in:: Filipino Agricultural Workers Collection

Archival Repository:: Archives Center, National Museum of American History

GUID:: https://n2t.net/ark:/65665/ep865b08d8d-170d-410c-9794-1f0f1f0b1388

EDAN-URL:: ead_collection:sova-nmah-ac-1515

Maren Hassinger papers

Creator:: Hassinger, Maren Search this

Names:: Maryland Institute, College of Art Search this; Nengudi, Senga, 1943- Search this

Extent:: 11.3 Linear feet; 4.55 Gigabytes

Type:: Collection descriptions; Archival materials; Gigabytes; Sound recordings; Video recordings; Diaries

Date:: 1955-2018

Summary:: The papers of African American artist and educator Maren Hassinger measure 11.3 linear feet and 4.55 gigabytes, dating from 1955 to 2018. The collection contains biographical material; personal and professional correspondence; and writings; as well as project and exhibition files; material related to Hassinger's tenure at the Rinehart School of Graduate Sculpture at the Maryland Institute College of Art (MICA); material related to other professional activities, including teaching files; photographic material; and artwork and artifacts.

Scope and Contents:: The papers of African American artist and educator Maren Hassinger measure 11.3 linear feet and 4.55 gigabytes, dating from 1955 to 2018. The collection contains biographical material including appointment and address books, education records, family and other home movie recordings, interview transcripts, and resumes; personal and professional correspondence; and writings including diaries, notebooks, notes, and writings by others. Also included are project and exhibition files, including accompanying audiovisual material and performance recordings; material related to Hassinger's tenure at the Rinehart School of Graduate Sculpture at the Maryland Institute College of Art (MICA); material related to other professional activities, including other teaching files, panels, and grants; printed material; photographic material depicting Maren Hassinger, other individuals, and works of art, including student work; and artwork and artifacts.

Arrangement:: This collection is arranged as nine series.

Series 1: Biographical Material, 1959-2001, 2013-circa 2015 (Box 1; 0.5 linear feet, ER01; 0.001 GB)

Series 2: Correspondence, 1961-2018 (Boxes 1-2; 1 linear foot, ER02; 3.01 GB)

Series 3: Writings, 1955-2017 (Boxes 2-3; 0.7 linear feet)

Series 4: Project and Exhibition Files, 1966, 1982-2015 (Boxes 3-4, OV 12; 1.5 linear feet, ER03-ER04; 1.31 GB)

Series 5: Rinehart School of Graduate Sculpture/MICA Files, circa 1960s-2018 (Boxes 4-5; 1.4 linear feet)

Series 6: Professional Activities, circa 1969-2017 (Boxes 5-6; 0.8 linear feet, ER05; 0.006 GB)

Series 7: Printed Material, 1960-2018 (Boxes 6-9, OVs 12-15; 2.9 linear feet)

Series 8: Photographic Material, 1969-2010s (Boxes 9-10, OV 12, Box 16; 2.2 linear feet, ER06; 0.224 GB)

Series 9: Artwork and Artifacts, circa 1960s-2010s (Box 11; 0.3 linear feet)

Biographical / Historical:: Maren Hassinger (1947- ) is an African American artist in New York known for sculpture, performance, and public art in which she uses natural and industrial materials. She was also an educator and is the director emeritus of the Rinehart School of Graduate Sculpture at the Maryland Institute College of Art in Baltimore, MD.

Born Maren Jenkins in Los Angeles, California in 1947, Hassinger studied dance and sculpture at Bennington College, earning a Bachelor of Arts in sculpture in 1969. In 1973 she completed a Master of Fine Arts in fiber structure at UCLA.

During her time in Los Angeles, Hassinger began to collaborate with Senga Nengudi — a collaborative relationship that has continued throughout their careers. She also participated in the Studio Z collective with Nengudi, Ulysses Jenkins, David Hammons, and Houston Conwill.

Hassinger taught at the State University of New York, Stony Brook from 1992 to 1997 and was the director of the Rinehart School of Graduate Sculpture at the Maryland Institute College of Art from 1997 to 2018. Throughout her career, she has been awarded numerous residencies, awards, and grants. Her work is held in many collections including the Baltimore Museum of Art, the California African American Museum, the Hammer Museum, and the Studio Museum in Harlem.

Provenance:: The Maren Hassinger papers were donated to the Archives of American Art in 2018 by Maren Hassinger.

Restrictions:: This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.

Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies. Contact Reference Services for more information.

Rights:: The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Occupation:: Performance artists -- New York (State) -- New York Search this; Sculptors -- New York (State) -- New York Search this; Educators -- Maryland -- Baltimore Search this

Topic:: African American artists Search this; Women artists Search this; Women sculptors Search this; Women educators Search this; African American art -- African influences Search this; African American educators Search this; African American sculptors Search this

Genre/Form:: Sound recordings; Video recordings; Diaries

Citation:: Maren Hassinger papers, 1955-2018. Archives of American Art, Smithsonian Institution.

Sponsor:: Funding for the processing of this collection was provided by the Henry Luce Foundation.

Identifier:: AAA.hassmare

See more items in:: Maren Hassinger papers

Archival Repository:: Archives of American Art

GUID:: https://n2t.net/ark:/65665/mw9cd224705-e329-48a4-bf88-db31ad8ebd4e

EDAN-URL:: ead_collection:sova-aaa-hassmare

Online Media:

Rudolf Arnheim papers

Creator:: Arnheim, Rudolf Search this

Names:: Harvard University Search this; Museum of Modern Art (New York, N.Y.) Search this; New School for Social Research (New York, N.Y.) Search this; Sarah Lawrence College Search this; University of Michigan Search this; Albers, Josef Search this; Kepes, Gyorgy, 1906-2001 Search this; Sheldon, Alice Bradley, 1915-1987 Search this

Extent:: 9.6 Linear feet

Type:: Collection descriptions; Archival materials; Sound recordings; Interviews; Diaries

Date:: 1919-1998

Summary:: The papers of art historian, educator, writer and psychologist Rudolf Arnheim measure 9.6 linear feet and date from 1919 to 1998. The papers document his career in New York, Michigan, and abroad through biographical material, correspondence, writings, lectures, diaries, printed material, and sound recordings.

Scope and Contents:: The papers of art historian, educator, writer and psychologist Rudolf Arnheim measure 9.6 linear feet and date from 1919 to 1998. The papers documents his career in New York, Michigan, and abroad through biographical material, correspondence, writings, lectures, diaries, printed material, and sound recordings.

Biographical material includes a bibliography, biographical sketches, contracts and agreements, sound cassettes of interviews, and other miscellaneous material.

Correspondence is with colleagues, editors, publishers, and universities on various subjects. The bulk of the correspondence is arranged by subject such as architects, art historians, dance, and film. There is correspondence with Harvard University, University of Michigan, Museum of Modern Art, and New School of Social Research, as well as various individuals such as Josef Albers, Gyorgy Kepes, and Alice Sheldon.

Writings and lectures include book reviews, articles, lecture drafts and notes, sound recordings of lectures, manuscripts, and copies of published articles.

Arnheim's diaries date from 1919 to 1987 and discuss his early life as a student in Germany and career as an educator and lecturer. Some diaries include draft writings.

Printed material includes lecture announcements, reviews, clippings, programs, brochures, assorted material from Sarah Lawrence College, and two instructional sound cassettes.

Arrangement:: The collection is arranged as 5 series.

Series 1: Biographical Material, 1939-1991 (Box 1; 0.3 linear feet)

Series 2: Correspondence, 1940-1998 (Boxes 1-5; 4.4 linear feet)

Series 3: Writings and Lectures, 1930-1989 (Boxes 5-8; 2.7 linear feet)

Series 4: Diaries, 1919-1987 (Boxes 8-9; 1.0 linear feet)

Series 5: Printed Material, 1928-circa 1990 (Boxes 9-11; 1.2 linear feet)

Biographical / Historical:: Rudolf Arnheim (1904-2007) was a writer, educator, art historian and psychologist who was born in Germany and immigrated to the United States where he primarily worked in New York and Massachusetts.

Rudolf Arnheim was born in Berlin, Germany on July 15, 1904. He received his doctorate in psychology from the University of Berlin in 1928. Arnheim worked as a film critic and editor for several magazines and journals after graduation. During this time, he gathered information which would be compiled in his book Film as Art (1932). When the Nazis came into power in 1933, Arnheim moved to Rome where he worked at the Institute for the Educational Film for six years, then moved to London in 1939 and worked as a translator for the British Broadcasting Company.

Arnheim immigrated to the United States in 1940. In 1943, he became a psychology professor at Sarah Lawrence College where he continued to teach until 1968. He also taught at the New School for Social Research during this time. From 1959 to 1960, he was a Fulbright lecturer at Ochanomizu University in Tokyo, Japan. After Sarah Lawrence College, Arnheim became a Professor of Psychology of Art at Harvard University, where he stayed until 1974 when he moved to Ann Arbor, Michigan with his wife Mary. He was a visiting professor at the University of Michigan from 1974 to roughly 1984.

Among his many publications are Art and Visual Perception, Toward a Psychology of Art, Visual Thinking, Entropy and Art, Picasso's Guernica, and The Power of Center. Arnheim died in Ann Arbor in 2007.

Related Materials:: Also found in the Archives of American Art is an oral history interview with Rudolf Arnheim conducted by Robert F. Brown, May 16, 1972. Additional papers on Rudolf Arnheim related to psychology are available at the Archives of the History of Psychology in Akron, Ohio.

Separated Materials:: The Archives of American Art also holds microfilm of material lent for microfilming (reel 3767) including correspondence with German publishers and editors, 1959-1982; Dumont Buchverlag, 1963-1980; Carl Hanser Varlag, 1974-1981; Helmut Diederich, 1974-1981; Franz Rudolf Knubel, 1971-1981; Werner Korbs, 1976-1982; Jurgen Weber, 1972-1981; and others. The originals were returned to Rudolf Arnheim after microfilming and subsequently donated to the Schiller-Nationalmuseum Deutsches Literaturarchiv, Germany. This material is not described in the collection container inventory or the finding aid.

Provenance:: The Rudolf Arnheim papers were donated to the Archives of American Art in several installments between 1974 to 1998 by Rudolf Arnheim. Arnheim also loaned material for microfilming in 1986.

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 electronic records with no duplicate access copies requires advance notice.

Occupation:: Art historians -- Massachusetts Search this; Art historians -- New York (State) -- New York Search this

Topic:: Art -- Study and teaching -- United States Search this; Art--Study and teaching--Germany Search this; Authors -- Massachusetts Search this; Educators -- Massachusetts Search this; Educators -- New York (State) -- New York Search this

Genre/Form:: Sound recordings; Interviews; Diaries

Citation:: Rudolf Arnheim papers, 1919-1998. Archives of American Art, Smithsonian Institution.

Identifier:: AAA.arnhrudo

See more items in:: Rudolf Arnheim papers

Archival Repository:: Archives of American Art

GUID:: https://n2t.net/ark:/65665/mw956011d71-95ed-495e-9e42-c9ae139b89ac

EDAN-URL:: ead_collection:sova-aaa-arnhrudo

Chiura Obata papers, 1891-2000, bulk 1942-1945

Creator:: Obata, Chiura, 1885-1975 Search this

Subject:: Obata, Gyo Search this; Okubo, Miné Search this; Central Utah Relocation Center Search this; Tanforan Assembly Center (San Bruno, Calif.) Search this

Type:: Diaries; Sketchbooks; Drawings

Citation:: Chiura Obata papers, 1891-2000, bulk 1942-1945. Archives of American Art, Smithsonian Institution.

Topic:: Asian American art Search this; Asian American artists Search this; Japanese American art Search this; Japanese American artists Search this; World War, 1939-1945 -- Japanese Americans Search this; Asian American painters Search this; Asian American educators Search this; Japanese Americans -- Forced removal and internment -- 1942-1945 Search this

Theme:: Asian American Search this; Lives of artists Search this

Record number:: (DSI-AAA_CollID)17607; (DSI-AAA_SIRISBib)397059; AAA_collcode_obatchiu

Theme:: Asian American; Lives of artists

Data Source:: Archives of American Art

EDAN-URL:: edanmdm:AAADCD_coll_397059

Online Media:

Dorothy Liebes papers

Creator:: Liebes, Dorothy Search this

Names:: Bigelow-Sanford Carpet Company Search this; E.I. du Pont de Nemours & Company. Textile Fibers Department Search this; Golden Gate International Exposition (1939-1940 : San Francisco, Calif.) Search this; Morin, Relman, 1907-1973 Search this; Wright, Frank Lloyd, 1867-1959 Search this

Extent:: 24.9 Linear feet

Type:: Collection descriptions; Archival materials; Sound recordings; Scrapbooks; Diaries; Drawings; Interviews

Date:: circa 1850-1973; bulk 1922-1970

Summary:: The papers of weaver, textile designer, and consultant Dorothy Liebes date from circa 1850-1973 (bulk 1922-1970) and comprise 24.9 linear feet. Through biographical material including a sound recording of an interview, family and general correspondence, writings including a draft of Liebes's autobiography, subject files providing detailed records of her influential consulting work, financial and legal files, printed material, scrapbooks, artwork, textile samples, and photographic material picturing a wide variety of career and personal activities, the collection provides rich and extensive documentation of Liebes's career and personal life.

Scope and Content Note:: The papers of weaver, textile designer, and consultant Dorothy Liebes date from circa 1850-1973 (bulk 1922-1970) and comprise 24.9 linear feet. Through biographical material including a sound recording of an interview, family and general correspondence, writings including a draft of Liebes's autobiography, subject files providing detailed records of her influential consulting work, financial and legal files, printed material, scrapbooks, artwork, textile samples, and photographic material picturing a wide variety of career and personal activities, the collection provides rich and extensive documentation of Liebes's career and personal life.

Biographical material consists of awards, biographical notes, membership and identification cards, passports, a will, and a sound recording of a 1945 interview with Liebes.

Correspondence is personal with family and friends, and general with friends and colleagues including artists, and fellow weavers and designers. Notable correspondents include Dorr Bothwell, Daren Pierce, Beatrice Wood, and Frank and Olgivanna Lloyd Wright.

Diaries and calendars record Liebes's busy professional and personal life, with notations on daily activities and, beginning in 1952, detailed notes by staff recording activities at the studio on days when Liebes was absent.

Writings by Dorothy Liebes include notes, drafts, and manuscripts of published and unpublished writings, including an autobiography, speeches, and drafts for an unpublished book on weaving.

Subject files contain correspondence, printed material, photographs, and miscellaneous items in varying combinations, and focus heavily on Liebes's consulting work for businesses in the textile industry, including her work with DuPont, Bigelow-Sanford, Goodall, Dow, and others. The files document the importance of her work as a colorist and show how she successfully adapted craft weaving to machine methods. Furthermore, they record how Liebes used her marketing instincts and broad media appeal to rebrand the image of companies such as DuPont from one of chemistry and utility, to one that represented high style and glamor in durable and practical fabrics that were affordable and desirable in home furnishings. Other subject files document organizations, individuals, and topics of interest to Liebes, including files recording her involvement with arts and crafts organizations, her role as director for the Decorative Arts Display at the Golden Gate Exposition in 1939, her work as director of the Red Cross's Arts and Skills workshop, scattered exhibition records, and files on weavers and weaving. Files on Liebes's extensive promotional work for multiple clients are also included here, as are files documenting Liebes's relationship with Relman Morin, such as correspondence and scattered records of Morin's career as a Pullitzer Prize winning journalist.

Financial and legal records are comprised of accounting records from the 1930s-1940s, financial summaries, investment statements, personal and business inventories, personal and business tax returns, and some legal records.

Printed material includes advertisements, articles, and exhibition announcements and catalogs, recording Liebes's career. This material is supplemented by thirty-three bound scrapbooks of printed publicity material, photographs, and documents recording Liebes's career in substantial depth.

Artwork by Dorothy Liebes consists of designs, feather weavings, a small hooked composition, and tapestry samples. Artwork by others includes prints by Dorr Bothwell, designs by Lawrence J. Colwell, and painted sketches of clothing designs by Daren Pierce. Two linear feet of samples consist primarily of textile swatches primarily designed by Dorothy Liebes Studio, Inc.

Photographic material includes professional portraits of Liebes and others, photos of Liebes at events and parties, with staff and other weavers, at work in her studio, and traveling. Of note are a series of pictures taken at Taliesin West with Frank and Olgivanna Wright, Relman Morin, and others. Photographic material also provides examples of Liebes's design work in homes, hotels, offices, and elsewhere, and shows her work pictured in exhibitions and showrooms. Photographs of other subjects include portraits of unidentified women by Man Ray and Consuela Canaga.

Arrangement:: The collection is arranged as 11 series:

Missing Title

Series 1: Biographical Material, circa 1934-circa 1970 (Box 1, OV 23; 0.28 linear feet)

Series 2: Correspondence, 1922-1973 (Boxes 1-2; 1.5 linear feet)

Series 3: Diaries and Calendars, 1948-1971 (Boxes 2-4; 1.5 linear feet)

Series 4: Writings, 1920-circa 1971 (Boxes 4-5; 1.05 linear feet)

Series 5: Subject Files, circa 1933-1971 (Boxes 5-13, 20, 43, OVs 23, 59; 8.43 linear feet)

Series 6: Financial and Legal Records, circa 1935-1972 (Box 13, 20; 0.6 linear feet)

Series 7: Printed Material, 1897-1971 (Boxes 14, 20-21, OV 38; 1.1 linear feet)

Series 8: Scrapbooks, 1933-1972 (Box 21-22, 24-36; 5 linear feet)

Series 9: Artwork, circa 1920s-circa 1960s (Boxes 14, 22, OVs 23, 39, 42, RD 37; 1.24 linear feet)

Series 10: Samples, circa 1850-1855, circa 1930s-circa 1970 (Boxes 15-16; 2.0 linear feet)

Series 11: Photographic Material, circa 1875, circa 1897-circa 1970 (Boxes 17-19, 36, 43, OVs 38, 40-41; 2.2 linear feet)

Biographical Note:: California and New York weaver, textile designer, and consultant Dorothy Wright Liebes (1899-1972) was known for distinctive textiles featuring bold color combinations and unusual textures achieved through the use of materials such as glass rods, sequins, bamboo, grass, leather, ribbon, wire, and ticker tape. Her work with companies in the synthetic fiber industry to make craft weaving compatible with man-made fabrics and machine looms, produced an innovative and exciting new aesthetic in interior design that was both functional and affordable, and made Liebes a mid-century household name.

Born Dorothy Wright in Santa Rosa, California, Liebes was the daughter of chemistry professor Frederick L. Wright and teacher Bessie Calderwood Wright. She studied art, education, and anthropology at San Jose State Teachers College and the University of California, Berkeley. During her college years, a teacher encouraged her to experiment with weaving and textile design since many of her paintings resembled textiles.

Liebes was a teacher for several years before deciding to pursue a career in textile design. She then studied weaving at Hull House in Chicago and traveled to France, Italy, Guatemala, and Mexico to learn the traditional weaving forms of those cultures. Upon her return to the United States, Liebes opened her first professional studio for weaving and textile design on Powell Street in San Francisco; Dorothy Liebes Design, Inc. was established in 1934, and eventually employed a staff of weavers. Liebes moved her studio to 545 Sutter Street in 1942.

Her first client in the industry was Goodall-Sanford Mills, with whom Liebes worked as a consultant for more than a decade. As her client base expanded, she decided to open a New York studio and maintained both studios until 1948 when she closed her San Francisco operation and relocated to New York City.

Liebes became a color and design consultant to corporations such as DuPont, Dow, and Bigelow-Sanford and tested and promoted newly developed synthetic fibers. She advised textile chemists in the development of fibers that were versatile enough to produce many different textures and worked with engineers and technicians to develop new machines that could reproduce the irregularities of hand-loomed fabrics. Liebes became a sought-after speaker by textile industry and consumer groups, and sometimes taught workshops on color and design.

Liebes's commissions included the United Nations Delegates Dining Room, the Persian Room at the Plaza Hotel and the King of Saudi Arabia's traveling royal throne room. Between 1937 and 1970, Liebes participated in more than thirty solo and group exhibitions at the San Francisco Museum of Art, Museum of Modern Art, de Young Museum, Cranbrook Museum, Detroit Institute of Art, Massachusetts Institute of Technology, Museum of Contemporary Crafts, and other venues. She received prizes and awards from institutions and corporations such as Lord and Taylor, Neiman-Marcus, the Paris Exposition, the American Institute of Decorators, the American Institute of Architects and the Architectural League. She was also awarded the Elsie de Wolfe Award and an honorary degree from Mills College in 1948.

Liebes's other notable activities included her work a director of the Decorative Arts Display for the 1939 San Francisco World's Fair, which she credited with establishing her as an authority in the field, and her work as organizer and director of "Arts and Skills," a Red Cross occupational therapy project that included training in weaving for soldiers injured in World War II. In the 1950s, she worked with the Bureau of Indian Affairs, journeying though the southwest to study Indian schools and weaving techniques.

Liebes was married to businessman Leon Liebes from 1928 until their divorce in 1940 and continued to use the name Liebes for the remainder of her life. In 1948, she married Pulitzer prize winning Associated Press special correspondent Relman "Pat" Morin.

During the last year of her life, Dorothy Liebes was semi-retired due to a heart ailment. She died in New York City on 10 September 1972.

Provenance:: Gift of the Estate of Dorothy Liebes through Relman Morin, 1972, and Ralph Higbee, 1973-1974.

Restrictions:: This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.

Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.

Rights:: The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Occupation:: Textile designers -- California -- San Francisco Search this; Textile designers -- New York (State) -- New York Search this; Weavers -- California -- San Francisco Search this; Weavers -- New York (State) -- New York Search this; Art consultants -- New York (State) -- New York Search this

Topic:: Women artists Search this; Women textile designers Search this

Genre/Form:: Sound recordings; Scrapbooks; Diaries; Drawings; Interviews

Citation:: Dorothy Liebes papers, circa 1850-1973. Archives of American Art, Smithsonian Institution.

Sponsor:: Funding for the processing of the Dorothy Liebes papers was provided by the Terra Foundation for American Art. Funding for the digitization of the collection was provided by the Coby Foundation.

Identifier:: AAA.liebdoro

See more items in:: Dorothy Liebes papers

Archival Repository:: Archives of American Art

GUID:: https://n2t.net/ark:/65665/mw9512b8d71-3c95-4e72-96be-0af0437f2a5f

EDAN-URL:: ead_collection:sova-aaa-liebdoro

Online Media:

George Biddle papers

Creator:: Biddle, George, 1885-1973 Search this

Names:: Federal Art Project Search this; Justice Dept. Building (Washington, D.C.) Search this; National Library Building (Rio de Janerio, Brazil) Search this; Supreme Court Building (Mexico City, Mexico) Search this; United States. Department of the Treasury. Section of Fine Arts Search this; United States. Department of the Treasury. Section of Painting and Sculpture Search this; Berenson, Bernard, 1865-1959 Search this; Brewer, Bessie Marsh, d. 1952 Search this; Brooks, Van Wyck, 1886-1963 Search this; Diederich, William Hunt, 1884-1953 Search this; Kuniyoshi, Yasuo, 1889-1953 Search this; Pascin, Jules, 1885-1930 Search this; Poor, Anne, 1911-2011 Search this; Poor, Henry Varnum, 1887-1970 Search this; Pound, Ezra, 1885-1972 Search this; Roosevelt, Franklin D. (Franklin Delano), 1882-1945 Search this; Shahn, Ben, 1898-1969 Search this; Sterne, Maurice, 1878-1957 Search this

Extent:: 0.76 Linear feet

Type:: Collection descriptions; Archival materials; Diaries

Place:: United States -- Social conditions -- 1933-1945

Date:: circa 1910-1970

Summary:: The papers of New York painter and muralist George Biddle (1885-1973), measure 0.76 linear feet and date from circa 1910-1970. The collection includes a certificate signed by President Harry Truman, transcripts of Biddle's diaries, a manuscript of a memoir about meeting President Franklin Roosevelt, three letters from William Hunt Diederich's daughter, transcripts of letters from Bernard Berenson, sketches and mural studies, and two glass plate negatives.

Scope and Contents:: The papers of New York painter and muralist George Biddle (1885-1973), measure 0.76 linear feet and date from circa 1910-1970. The collection includes a certificate signed by President Harry Truman, transcripts of Biddle's diaries, a manuscript of a memoir about meeting President Franklin Roosevelt, three letters from William Hunt Diederich's daughter, transcripts of letters from Bernard Berenson, sketches and mural studies, and two glass plate negatives.

Arrangement:: The collection is arranged as one series.

Series 1: George Biddle Papers, circa 1910-1970 (0.7 linear feet; Box 1, OVs 2-4, MGP4)

Biographical / Historical:: New York painter and muralist George Biddle (1885-1973) proposed to President Franklin Roosevelt the establishment of a federal relief program for artists during the Depression, and subsequently painted a number of government murals under the auspices of the Federal Art Project, including murals for the Department of Justice in 1935.

Biddle was born to a prominent Philadelphia family and graduated from Harvard College. He studied at the Académie Julian and the Pennsylvania Academy of Fine Arts, and served in the United States Army in World War I, before returning to New York where he had his first series of one-man shows.

In 1933 Biddle wrote to long-time friend President Franklin Roosevelt, to suggest a work relief program that supported mural painters. Although the idea initially met with opposition, Biddle persisted and the resulting art projects of the Works Progress Administration went on to support the production of thousands of paintings in government buildings throughout the country during the Depression.

In 1940 Biddle was invited by the Mexican government to create a mural for the supreme court building in Mexico City. Biddle had visited Mexico in 1928 where he had traveled and sketched with Diego Rivera, and seen firsthand the value of government sponsored art programs.

In addition to his murals, Biddle was also known for his portraits, lithographs, and paintings. His work can be found in the Metropolitan Museum of Art, the National Gallery of Art, the Museum of Modern Art, the Whitney Museum of American Art, the Los Angeles County Museum of Art, and others. His work has been shown throughout the United States, Europe, Mexico, Japan, and India in over a hundred one-man shows and group exhibitions.

Related Materials:: Originals of the edited diary transcripts in this collection are in the Library of Congress, Manuscript Division. The unedited diary has many more entries than the edited version and includes more details about Biddle's daily life and work, versions of articles by Biddle, and lists of his works of art through 1934.

Separated Materials:: The Archives of American Art also holds microfilm of material lent for microfilming, including one of Biddle's original diaries, 1933-1935 (reel D127), records from the Federal Art Project, personal correspondence, articles and talks relating to Artists Equity (reels P17-P18), and a photocopy of Biddle's inventory notebook listing artwork and exhibitions (reel 4909). While the inventory notebook was discarded after microfilming, all other loaned materials were returned to the lender and are not described in the collection container inventory.

Provenance:: The papers on reels P12-P18 were loaned for microfilming in 1954 by the Philadelphia Museum of Art in Philadelphia, PA. George Biddle lent the material on reel D127 in 1963 and donated the rest of the collection to the Archives of American Art between 1966-1970. In 1972, Michael Biddle, George Biddle's son, gifted a photocopy of an inventory notebook that was discarded after microfilming.

Restrictions:: Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.

Rights:: The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Topic:: New Deal, 1933-1939 Search this; Federal aid to the arts Search this; Mural painting and decoration, American Search this; Art and state -- United States Search this; Muralists Search this

Genre/Form:: Diaries

Citation:: George Biddle papers, circa 1910-1970. Archives of American Art, Smithsonian Institution.

Sponsor:: Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee.

Identifier:: AAA.biddgeor

See more items in:: George Biddle papers

Archival Repository:: Archives of American Art

GUID:: https://n2t.net/ark:/65665/mw914a8a397-8d17-42b1-8038-b8b6e3075445

EDAN-URL:: ead_collection:sova-aaa-biddgeor

Online Media:

Girard Estate Records

Creator:: Lehigh Valley Coal Company Search this; Lehigh Valley Railroad Company Search this; Millington, W.P. Search this; Philadelphia and Reading Coal and Iron Company Search this; Wagner, E.C. Search this

Collector:: National Museum of American History (U.S.). Division of Work and Industry Search this

Extent:: 5 Cubic feet (16 boxes, 1 map-folder)

Type:: Collection descriptions; Archival materials; Application forms; Blueprints; Correspondence; Deeds; Journals (accounts); Land titles; Maps; Patents; Photographs; Reports

Place:: Pennsylvania -- Anthracite coal industry

Date:: 1790-1964

Scope and Contents:: Records include voluminous correspondence, much of it to or from W.P. Millington, Secretary of the Estate; with the Lehigh Valley Coal Company and Lehigh Valley Railroad Company; and with the Philadelphia and Reading Coal and Iron Company. Also reports, including annual reports, reports by the Mining Engineer, and reports on visits by trustees; applications for permits; leases, including the lease for the City of Philadelphia as trustee under the will of Stephen Girard to Lehigh Valley Coal Company, 1884-1899; deeds; original agreements regarding the land, 1785 and 1793; licenses to mine coal; photographs, including photographs taken as part of surveys; blueprints; maps; patents; and daily journals for the years 1872, 1873, and 1879, kept by E.C. Wagner, Assistant Superintendent for the Girard Estate, detailing such things as inspections, meetings, etc.

Arrangement:: The collection is divied into six series.

Series 1: Girard Estate General Background Materials, 1794-1955

Series 2: Leases, Agreements and Deeds, 1794-1928

Series 3: Court Cases and Legal Materials, 1790-1928

Series 4: Reports, 1830-1964

Series 5: W. Parkes Millington's Files (Correspondence), 1830-1953

Series 6: Photographs, 1861-1913

Biographical / Historical:: In 1830, Stephen Girard, a merchant, financier, and philanthropist, purchased 67 tracts of land in Pennsylvania that had been held by trustees of the first Bank of the United States. A large portion of the land passed into the Girard Trusts, bequeathed by Girard to the city of Philadelphia. Beginning in 1862, leases for the mining of coal on these lands were granted by the Estate.

Related Materials:: Materials in the Archives Center

Lehigh Coal and Navigation Compamny Records (NMAH.AC.0071)

Lehigh Valley Coal Copmany Record (NMAH.AC.1106)

Philadelphia and Reading Coal and Iron Company Records (NMAH.AC.0282)

Provenance:: Collected for the Museum for the Division of Extractive Industries, now the Division of Work and Industry.

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:: Coal mines and mining Search this; Mining -- Pennsylvania Search this

Genre/Form:: Application forms; Blueprints; Correspondence; Deeds; Journals (accounts); Land titles; Maps; Patents; Photographs -- 1850-1900; Photographs -- 20th century; Reports

Citation:: Girard Estate Records, 1870-1965, Archives Center, National Museum of American History.

Identifier:: NMAH.AC.1011

See more items in:: Girard Estate Records

Archival Repository:: Archives Center, National Museum of American History

GUID:: https://n2t.net/ark:/65665/ep8851aa1a4-4f8c-4d9d-bfe8-510eb81f42bf

EDAN-URL:: ead_collection:sova-nmah-ac-1011

Erasmus D. Leavitt Papers

Creator:: Calumet and Hecla Mining Company. Search this; Leavitt, Erasmus D., 1836-1916 Search this

Former owner:: National Museum of American History (U.S.). Division of Mechanical and Civil Engineering Search this; National Museum of American History (U.S.). Division of Work and Industry Search this

Extent:: 20.4 Cubic feet (4 boxes, 82 folders)

Type:: Collection descriptions; Archival materials; Account books; Blueprints; Diaries; Drawings; Letterpress books; Notebooks; Scrapbooks

Place:: Upper Peninsula (Mich.)

Date:: 1861-1955

Summary:: Papers document prominent nineteenth-century steam engineer Erasmus D. Leavitt.

Scope and Contents note:: The Leavitt Papers include a Civil War diary, personal account books, photographs, drawings, and engineering materials relating to steam engines.

Arrangement:: The collection is arranged into three series.

Series 1: Engineering Materials, 1861-1955

Series 2: Photographs, 1890s, undated

Series 3: Engineering Drawings, 1874-1906

Historical:: The Calumet and Hecla Company, which was formed in about 1866, was one of the largest mining operations in the Lake Superior region of Upper Michigan. Over 3 billion pounds of copper were removed from its extensive mines by the time operations ceased in 1939. To facilitate the work in both the mines and smelting plants, the company installed some the largest steam engines ever built. The aggregate amounted to over 55,000 horsepower.

Noted 19th century steam engineer Erasmus Darwin Leavitt was hired to design the series of huge multi-cylinder engines. Each had sufficient power to support several operations at one time. While an engine drove one of the hoists, it might also power pumping, conveying, and air compressing machinery. At the peak of operations there were at least 50 steam engines of all sizes providing power to Calumet and Hecla. Falling copper prices during the 1920s and the economic depression of the 1930s ultimately forced the mines to close. The engines were of no further use and their countless tons of cast iron and steel ended up in the scrap drives of World War II.

Biographical:: Erasmus Darwin Leavitt was born in Lowell, Massachusetts, in 1836 and died in 1916 in Cambridge, Massachusetts. He was educated in the Lowell public schools, entered the machine shop of the Lowell Manufacturing Company in 1852, and served three years as an apprentice. He spent one year with Corliss and Nightingale and was later assistant foreman of the City Point works in South Boston, where he was in charge of building the engines for the flagship "Hartford." From 1859 to 1861 he was chief draftsman for Thurston, Gardiner & Co., of Providence, Rhode Island, leaving to enter the United States Navy in the summer of 1861.

Leavitt served during the Civil War and he was detailed to the Naval Academy at Annapolis as instructor in steam engineering. Resigning in 1867, he resumed the practice of mechanical engineering, making a specialty of pumping and mining machinery. He was consulting engineer of the Calumet and Hecla Mining compan from 1874 to 1904 during which time he designed the equipment. He was also consulting engineer for Henry R. Worthington, the Dickson Manufacturing Company, City of Boston and City of Cambridge, and designed the pumping engine for the City of Louisville, Kentucky. He was advisory engineer and designed machinery for the Bethlehem Steel Company and for South African mining companies. He was a member of the American Society of Mechanical Engineers and formerly its president; the American Society of Civil Engineers, American Institute of Mining Engineers, Boston Society of Civil Engineers, American Society of Naval Engineers, an honorary member of the British Society for the Advancement of Science, life member of Franklin Institute, and member of Institution of Civil Engineers and of the Institution of Mechanical Engineers of Great Britain. He was also a fellow of American Academy of Arts and Sciences.

In 1884 Mr. Leavitt received the honorary degree of Doctor of Engineering from Stevens Institute of Technology of New Jersey. Leavitt retired from active practice in 1904. He married Annie Elisabeth Pettit in 1867, and had three daughters, Mary, Margaret and Annie.

Source

Cambridge Chronicle, March 18, 1916

Related Materials:: Materials at Other Organizations

Michigan Technological University Archives and Copper Country Historical Collections

Calumet and Hecla Mining Company Collection

Provenance:: Collection materials donated by Calumet and Hecla, Inc. in 1960 and by Thomas E. P. Rice, 1977.

The collection came to the Smithsonian in 1960 from Calumet & Hecla, Inc. In the course of a reorganization in 1952 mining had been dropped from the company name as the emphasis was on chemicals, foundry work, and forest products. Its remaining mining activites in other areas of Michigan were phased out during the 1960s and in 1968 Calumet & Hecla merged with Universal Oil Products, Inc. Late in 1970 Universal Oil Products scrapped what was left of the Calumet & Hecla physical plant and its remaining assests were auctioned off.

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:: Engines Search this; Hoisting and conveying Search this; Mineral industries Search this; Mining Search this; Pumping Search this; Steam-engines Search this; Waterworks Search this

Genre/Form:: Account books; Blueprints; Diaries; Drawings; Letterpress books; Notebooks; Scrapbooks

Citation:: Erasmus D. Leavitt Collection, Archives Center, National Museum of American History.

Identifier:: NMAH.AC.0966

See more items in:: Erasmus D. Leavitt Papers

Archival Repository:: Archives Center, National Museum of American History

GUID:: https://n2t.net/ark:/65665/ep8c5e7ffde-5f5f-415c-ae48-45a3c941509b

EDAN-URL:: ead_collection:sova-nmah-ac-0966

Edward J. Orth Memorial Archives of the New York World's Fair

Collector:: Orth, Edward J. Search this; Exhibition Collectors Historical Organization Search this

Names:: New York World's Fair (1939-1940 : New York, N.Y.) Search this

Extent:: 130 Cubic feet (417 boxes, 25 map-folders)

Type:: Collection descriptions; Archival materials; Souvenirs; Photographs; Pamphlets; Guidebooks; Exhibition posters--1930-1940; Diaries; Ephemera; Film transparencies; Motion picture film; Posters

Place:: Flushing Meadows Park (New York, N.Y.); New York (N.Y.)

Date:: 1835-2000, undated

Summary:: Collection documents the 1939 New York World's Fair in Flushing Meadows, New York. Also includes material relating to other fairs, the Exhibition Collectors Historical Organization (ECHO), New York City tourism and The Walt Disney Company.

Scope and Contents:: Collection primarily documents the conception, planning, construction, management, and operations of the 1939 New York World's Fair located in Flushing Meadows, New York. Materials provide historical context and cultural significance as recorded in publications, artwork, photographs, ephemera, postcards, maps, plans, exhibitor's literature, souvenirs, and motion picture film. Most of the materials were primarily created for people who attended the fair. Some of the materials include scrapbooks created by fair visitors to document their experiences. There is a significant amount of material relating to other fairs, New York tourism, the Exhibition Collectors Historical Organization (ECHO) and the World's Fair Collector's Society. Other forms of entertainment such as festivals, the Olympic games, and Disney World are also found among these materials. There is little information relating to Edward Orth's personal and professional life as a city planner. The collection is arranged into eleven series.

Arrangement:: The collection is arranged into eleven series.

Series 1, Edward J. Orth Personal Papers, 1915-1989, undated

Subseries 1.1, Correspondence, 1939-1989

Subseries 1.2, Other Materials, 1915-1989, undated

Series 2, Exhibition Collectors Historical Organization (ECHO) and World's Fair Collector's Society, Incorporated Records, 1942-1990, undated

Subseries 2.1, General Information, 1960-1988, undated

Subseries 2.2, Correspondence, 1942-1990, undated

Subseries 2.3, Classified and Wanted Advertisements, 1956-1988, undated

Subseries 2.4, Financial Records, 1976-1989

Subseries 2.5, Newsletters, 1969-1988, undated

Subseries 2.6, Membership Materials, 1970s-1989, undated

Series 3, New York World's Fair, Incorporated Records, 1900-1988, undated

Subseries 3.1, Administrative Files, 1900-1977, undated

Subseries 3.2, Amusement Zone, 1937-1940, undated

Subseries 3.3, Communications and Business Systems Zone, 1939-1965, undated

Subseries 3.4, Community Interest Zone, 1939-1949, undated

Subseries 3.5, Food Zone, 1939-1975

Subseries 3.6, Government Zone, 1939-1940

Subseries 3.7, Production and Distribution Zone, 1939-1940

Subseries 3.8, Transportation Zone, 1939-1940

Subseries 3.9, Ephemera, 1938-1988, undated

Series 4, Photographic Materials, 1939-1968, undated

Subseries 4.1, General, 1939-1940, undated

Subseries 4.2, Amusement Area, 1939-1940, undated

Subseries 4.3, Business Systems Zone, 1939-1940, undated

Subseries 4.4, Communications Zone, 1939-1940, undated

Subseries 4.5, Community Interest Zone, 1939-1940, undated

Subseries 4.6, Food Zone, 1939-1940, undated

Subseries 4.7, Government Zone, 1939-1940, undated

Subseries 4.8, Production and Distribution Zone, 1939-1940, undated

Subseries 4.9, Transportation Zone, 1939-1940, undated

Subseries 4.10, Miscellaneous, 1939-1940, undated

Subseries 4.11, Oversize Photographs, 1939-1940, undated

Subseries 4.12, Color Slides, 1939-1940, undated

Subseries 4.13, Color Transparencies, 1940-1942, undated

Subseries 4.14, Edward Orth, 1967-1968

Series 5, Scrapbooks, 1938-1981

Series 6, Postcards, 1906-1985, undated

Subseries 6.1, Amusement Area, 1939-1940, undated

Subseries 6.2, Business Systems Zone, 1939-1940, undated

Subseries 6.3, Communications Zone, 1939-1940, undated

Subseries 6.4, Community Interest Zone, 1939-1940, undated

Subseries 6.5, Food Zone, 1939-1940, undated

Subseries 6.6, Government Zone, International, 1939-1940, undated

Subseries 6.7, Government Zone, Federal and States, 1939-1940, undated

Subseries 6.8, Production and Distribution Zone, 1939-1940, undated

Subseries 6.9, Transportation Zone, 1939-1940, undated

Subseries 6.10, General, 1940, undated

Subseries 6.11, By Type, 1906-1985, undated

Series 7, Publications Related to World's Fairs, 1922-1989, undated

Subseries 7.1, Magazines, 1922-1988, undated

Subseries 7.2, Newspaper Articles, 1935-1989, undated

Subseries 7.3, Other Publications, 1937-1989, undated

Subseries 7.4, Other Subjects, 1962-1989

Series 8, Materials Relating to Other Fairs, 1851-2000, undated

Subseries 8.1, Great Exhibition of the Works of Industry of All Nations or Crystal Palace Exhibition, 1851

Subseries 8.2, Exhibition of the Industry of All Nations, 1853-1853

Subseries 8.3, International Exhibition of Arts, Manufactures, and Products of the Soil and Mine or Centennial International Exhibition, 1876

Subseries 8.4, World's Columbian Exposition or Chicago World's Fair, 1893

Subseries 8.5, Exposition Internationale D'Anvers, Antwerp, Belgium

Subseries 8.6, Tennessee Centennial and International Exposition, 1897

Subseries 8.7, Trans-Mississippi and International Exposition, 1898

Subseries 8.8, Expositions, 1901

Subseries 8.9, Louisiana Purchase Exposition, 1906

Subseries 8.10, Jamestown Tercentennial Exposition, 1907

Subseries 8.11, Alaska, Yukon, Pacific Exposition, 1909

Subseries 8.12, Panama-California Exposition, 1915-1916

Subseries 8.13, Bronx International Exposition of Science, Arts, and Industries, 1918

Subseries 8.14, Sesquicentennial Exposition, 1926

Subseries 8.15, Barcelona International Exposition, 1929

Subseries 8.16, L'Exposition Coloniale, Paris, 1931

Subseries 8.17, Olympics, 1932

Subseries 8.18, A Century of Progress International Exposition, 1933

Subseries 8.19, Expositions, 1933-1935

Subseries 8.20, Expositions, 1936-1937

Subseries 8.21, Exposition Internationale des Arts et Techniques dans la Vie Moderne, 1937

Subseries 8.22, Golden Gate International Exposition, 1939

Subseries 8.23, Festival of Britain, Britain, London, United Kingdom, 1951

Subseries 8.24, Milan Fair, 1955

Subseries 8.25, Exposition Universelle et venti Internationale de Bruxelles, 1958

Subseries 8.26, American National Exhibition, 1959

Subseries 8.27, New York's World Fair, 1961-1977, undated

Subseries 8.28, Century 21 Exhibition, 1961-1962

Subseries 8.29, International and Universal Exposition or Expo 67, 1967

Subseries 8.30, Long Beach, California, 1967-1968

Subseries 8.31, HemisFair 68, 1968

Subseries 8.32, Expo 70 or Japan World Exposition, 1970

Subseries 8.33, Expo 74 or International Exposition on the Environment

Subseries 8.34, Expo 75 or International Ocean Exposition, 1975

Subseries 8.35, American Revolution Bicentennial, 1776-1976, 1976

Subseries 8.36, Queen's Bicentennial Festival, 1975-1976

Subseries 8.37, Plovdiv International Exhibition of 1981 or Expo 81

Subseries 8.38, Kobe Port Island Exposition or Portopia 81, 1981

Subseries 8.39, Knoxville International Energy Exposition or 1982 World's Fair, 1982

Subseries 8.40, Louisiana World Exposition, 1984

Subseries 8.41, Games of the XXIII Olympiad, 1984

Subseries 8.42, The International Exposition, Tsukuba, Japan or The International Science Technology Exposition, 1985

Subseries 8.43, Queen's Festival, 1985

Subseries 8.44, 1986 World Exposition on Transportation and Communication or Expo 86, 1986

Subseries 8.45, World Expo 88, 1988

Subseries 8.46, Universal Exposition of Seville or Expo 92, 1992

Subseries 8.47, Expo 2000, 2000

Subseries 8.48, Other Events and Celebrations, 1886-1989

Subseries 8.49, Combined Fairs, 1968-1994

Subseries 8.50, General information about world's fairs, 1964-1980

Series 9, Ephemera, 1892-1989, undated

Subseries 9.1, New York and New York World's Fair, 1892-1989, undated

Subseries 9.2, Other States and Countries, 1835, 1939, undated

Subseries 9.3, Motion Picture Film and Entertainment, 1937-1981, undated

Series 10, Audio Visual Materials, 1939, 1964-1965, undated

Subseries 10.1, Moving Images, 1939, 1964-1965, undated

Subseries 10.2, Sound Recordings, undated

Series 11, Oversize, 1835-1992, undated

Biographical / Historical:: Biographical / Historical

Edward Joseph Orth grew up with a strong interest in history, particularly the history of the 1939 New York World's Fair. Orth's visit to the fair as a twelve-year-old boy led to a life-long passion of collecting. At the time of his death, he had amassed enough materials to fill two homes in California. Orth also collected materials from several other fairs. In addition, he saved some of the records of the Exhibition Collectors Historical Organization (ECHO) and the World's Fair Collector's Society.

Orth was born April 19, 1927, to Andrew Joseph Orth and Florence Minnie Gordon Orth in Glendale, New York. In the 1930s, the Orth family lived in several locations in New York including Ridgewood, Brooklyn, Glendale, and Queens. The home that made the most impact in young Orth's life came in 1935 when the family moved to St. Albans, Queens seven miles from Flushing Meadow Park, the future site of the 1939 fair. Sadly in 1939 there were several deaths in the family including three grandparents. The severe loss of life limited family social activities but a drive by the future site of the fair provided Orth a glimpse of the Trylon and Perisphere. He would later remark that the sight appeared to be magic. In the summer of 1939, he went to the fair with his classmates from Public School 136. The next summer Orth and his father purchased a 10-admission ticket from an elementary school in Hollis, Queens, New York. He saved every souvenir and any information he could find about the fair. He filled scrapbooks with images from newspapers and postcards from the Curt Teich and Manhattan Postcard companies. When his family moved from an apartment to a house, he acquired a fair bench which was kept in the backyard.

In 1941, Orth attended Newton High School in Elmhurst, and Queens, New York. The high school offered a college preparatory program with heavy emphasis on mathematics, science, mechanical drawing, and workshop courses. Orth's education and training combined with the knowledge he gained from motion picture films viewed at the fair, including Thomas Edison's "The City of Light," Ford Motor Company's "Road of Tomorrow," "Democracy," and General Motors' "Futurama" provided the foundation and inspiration for a career in architecture and landscaping. He ultimately became a city planner for the state of California. By 1943, Orth was exploring used magazine and bookstores in New York City to acquire more fair materials before enlisting in the United States Army in 1945. Upon his discharge he resumed buying and trading fair postcards. From 1948-1953, Orth attended the University of California and the University of Connecticut where he studied architecture and landscape design. During these years he posted advertisements in various publications in his continued pursue for fair materials.

In March 1953, Mr. Orth moved to Los Angeles, California. There he formed lasting friendships with other collectors. By 1967, Orth and several of his closest friends including Peter Warner, Oscar Hengstler, David Oats, Larry Zim, and Ernest Weidhaas conceived the idea of a fair collector's organization. By the summer of 1968, the group had formally created the Exhibition Collectors Historical Organization (ECHO).

As time passed Orth became increasing concerned about the welfare of his collection. He wanted it to go to a museum rather than be sold in parts. In his will he stipulated that the collection would be given to the Smithsonian Institution upon his death. Jon Zackman, former Smithsonian employee, interviewed Orth's brother George and fair collector Peter Warner. Orth and Warner corresponded and traded objects over many years. Mr. Orth primarily covered the west coast area while Peter Warner was his east coast counterpart. Edward Orth died on September 6,1989 in Los Angeles, California at the age of sixty-two.

Related Materials:: Materials in the Archives Center

New York World's Fair Collection, NMAH.AC.0134

Landor Design Collection, NMAH.AC.0500

Warshaw Collection of Business Americana, Subject Category, World Expos, NMAH.AC.0060

Larry Zim World's Fair Collection, NMAH.AC.0519

Alice R. Hillis World's Fair Film, NMAH.AC.0531

Borden Company 1939 New York World's Fair Collection, NMAH.AC.1063

Memories of the New York World's Fair, NMAH.AC.0592

Archives Center World Expositions Collection, NMAH.AC.0825

Daniel H. Meyerson World's Fair Collection, NMAH.AC.0745

Division of Community Life World's Fairs Collection, NMAH.AC.1132

Princeton University Posters Collection, NMAH.AC.0433

Hills Bros. Coffee Company, Incorporated Records, NMAH.AC.0395

Smithsonian Speech Synthesis History Project, NMAH.AC.0417

Messmore and Damon Company Records, NMAH.AC.0846

Thomas Norrell Railroad Collection, NMAH.AC.1174

William L. Bird Holidays on Display Collection, NMAH.AC.1288

Wurlitzer Company Records, NMAH.AC.0469

Victor A. Blenkle Postcard Collection, NMAH.AC.0200

Materials at Other Organizations

New York Public Library The New York World's Fair 1939 and 1940 Incorporated Records, 1935-1945, MssCol 2233.

New York City 1939 World's Fair architectural drawings, circa 1935. Museum of the City of New York. Museum of the City of New York.

New York City 1939 World's Fair Collection, 1939-1940. Museum of the City of New York. New York World's Fair 1939/40 Collection. Queens Museum.

1939 New York World's Fair Postcards, Identifier: 1972-320, Audiovisual Collections Repository, Hagley Museum & Library

Separated Materials:: Materials at the National Museum of American History

Artifacts from the collection include several thousand souvenirs and examples of memorabilia commemorating the fair to include buttons and badges, ceramics, glassware, clothing, costume jewelry, coins and medals, commemorative spoons and flatware, toys and games, and philatelic material which are all part of the Division of Home and Community Life's holdings (now Division of Cultural and Community Life).

Restrictions:: Collection is open for research but is stored off-site and special arrangements must be made to work with it. Researchers must handle unprotected photographs with gloves. Researchers must use reference copies of audio-visual materials. When no reference copy exists, the Archives Center staff will produce reference copies on an "as needed" basis, as resources allow. Viewing film portion of collection requires special appointment, please inquire. Do not use when original materials are available on reference video or audio tapes. 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:: Exhibitions -- 1930-1940 -- New York (State) -- New York Search this; World's fairs Search this; Amusement parks--History Search this; Amusement parks--New York (State)--History Search this; Architecture--Exhibitions Search this; Architecture--New York (State)--New York Search this; Architecture--United States--Designs and plans Search this; Burlesque shows--New York (State)--New York--1930-1940 Search this; Business history Business enterprises--United States--History Search this; Chicago's Century of Progress Search this; Construction and civil engineering Search this; Construction industry--United States--Management--History Search this; Corporate culture--History Search this; Corporate culture--United States Search this; Engineering--History--20th century Search this; Exhibition buildings – New York (State) – New York Search this; Exhibition buildings--1920-1940 Search this; Exhibitions -- Design Search this; Fairs -- New York (State) -- New York -- History Search this; Fashion--History--20th century Search this; Flushing Meadows-Corona Park (New York, N.Y.)--History Search this; Food in popular culture--New York (State)--New York Search this; Graphic arts--United States--History--20th century Search this; International exhibitions Search this; International Exhibitions Bureau Search this; Lighting, Architectural and decorative--History--20th century Search this; Technology -- United States -- History -- 20th century Search this; Transportation--New York Metropolitan Area--Planning Search this; Transportation--New York (State) Search this; United States --Foreign relations --1933-1945 Search this; Urban parks--United States--History Search this; Urban design Search this; World War 1939-1945 -- Economic aspects -- United States Search this; Consumerism Search this; Consumers--History--20th century Search this; General Motors Corporation Search this; Grand Central Parkway extension Search this; Organizational behavior--United States--History Search this; Public relations--History Search this; New York World's Fair Commission Search this; Queens (New York, N.Y.) Buildings, structures, etc. Search this

Genre/Form:: Souvenirs -- 1930-1940; Photographs -- Black-and-white photoprints -- Silver gelatin -- 1930-1940; Pamphlets -- 1930-1940; Guidebooks -- 1930-1940; Exhibition posters--1930-1940; Diaries; Ephemera -- 20th century; Film transparencies; Motion picture film; Posters -- 1930-1940

Citation:: Edward J. Orth Memorial Archives of the New York World's Fair, Archives Center, National Museum of American History

Identifier:: NMAH.AC.0560

See more items in:: Edward J. Orth Memorial Archives of the New York World's Fair

Archival Repository:: Archives Center, National Museum of American History

GUID:: https://n2t.net/ark:/65665/ep808504c62-92bb-48b1-8a76-f9d279516c33

EDAN-URL:: ead_collection:sova-nmah-ac-0560

Online Media:

Robert Bechtle papers, circa 1930s-2020

Creator:: Bechtle, Robert Alan, 1932-2020 Search this

Type:: Scrapbooks; Sketchbooks; Drawings; Diaries; Video recordings

Citation:: Robert Bechtle papers, circa 1930s-2020. Archives of American Art, Smithsonian Institution.

Topic:: Photo-realism Search this; Artists -- California -- Interviews Search this

Theme:: Lives of artists Search this

Record number:: (DSI-AAA_CollID)22120; AAA_collcode_bechrobe

Theme:: Lives of artists

Data Source:: Archives of American Art

EDAN-URL:: edanmdm:AAADCD_coll_22120

Don Raymond David and Andrée Golbin papers, circa 1920-1980

Creator:: David, Don Raymond, 1906-2006 Search this; Golbin, Andrée, 1923-2006 Search this

Type:: Drawings; Sketchbooks; Diaries

Citation:: Don Raymond David and Andrée Golbin papers, circa 1920-1980. Archives of American Art, Smithsonian Institution.

Topic:: Women artists Search this

Theme:: Sketches & Sketchbooks Search this; Lives of artists Search this

Record number:: (DSI-AAA_CollID)7356; (DSI-AAA_SIRISBib)209510; AAA_collcode_davidon

Theme:: Sketches & Sketchbooks; Lives of artists

Data Source:: Archives of American Art

EDAN-URL:: edanmdm:AAADCD_coll_209510

George Miller Dyott Papers

Creator:: Dyott, George Miller Search this

Extent:: 1.17 Cubic feet (1 document case, 1 slim document case, 1 flat box, 1 glass plate box, and 1 map folder)

Type:: Collection descriptions; Archival materials; Manuscripts; Photographs; Correspondence; Diaries

Date:: Circa 1910-1946

Summary:: George Miller Dyott (1883--1972) was an early aviator; veteran of the Royal Naval Air Service; aircraft designer; and explorer. This collection contains approximately 1 cubic foot of material pertaining to Dyott's aviation career including correspondence; photographs; financial records; technical drawings; military records; news clippings; a World War I field diary; calling cards; and an annotated manuscript entitled, "Flying," written by Dyott.

Scope and Contents:: This collection contains approximately 1 cubic foot of material pertaining to George Miller Dyott's aviation career including correspondence; photographs; financial records; technical drawings; military records; news clippings; a World War I field diary; calling cards; and an annotated manuscript entitled, "Flying," written by Dyott. Photographic formats include black and white prints of various sizes (some of which are mounted on cardstock or matted) and 5 by 7 inch glass plates. Many of the photographs, including one entire album, are devoted to Dyott's service with the Royal Naval Air Service (RNAS) during World War I. Aircraft pictured in the photographs include the Dyott Monoplane; Dyott Bomber; Walden IV 1910 Monoplane (identfied here as the Walden-Dyott Monoplane); an unidentfied model of Deperdussin; Nieuport 17; Vickers (UK) E.F.B.5 Gunbus; a Sopwith Baby fitted with Le Prieur Rockets; Royal Aircraft Factory B.E.2; Handley Page O/400; Morane-Saulnier Type L (Mo.S.3); Blériot XI; Farman (Henry) H.F.20 (Type Militaire Biplane); and a later photo of a Bellanca Pacemaker CH-300. There are also photographs of a Royal Navy non-rigid airship and the wreck of the Zeppelin LZ 76 (Navy L 33), as well as early equipment such as searchlights; anti-aircraft guns; an anti-aircraft armored vehicle; and various types of bombs. In addition to Dyott, other well-known people in the photographs include Henry W. Walden; Patrick Hamilton; Francisco Madero (33rd President of Mexico); Arthur W. Bigsworth; and Reginald A. J. Warneford. The collection also contains one photograph of Harriet Quimby. There are also four technical drawings dating to 1914 in the collection ranging in size from approximately 24.25 by 15.5 inches up to 41 x 14 inches. Three of the drawings are on coated cloth and one is on waxed paper. Two are for a small promotional aircraft made from an ale bottle and powered by an 80-hp Gnome engine, one is marked "Worthington Ales" and the other is marked "Little Peter." The third drawing is a three-view of a "Hydro-Aeroplane for Tropical Rivers" powered by two 100-hp Mercedes engines, and the fourth is a side drawing of an unspecified type of biplane (undated). In addition to the drawings, there is a graph on waxed paper (14.5 by 13.25 inches) tracking altitude, time, and speed for an unknown aircraft (undated). The collection also includes records relating to the design and production of the Dyott Monoplane and Dyott Bomber.

Arrangement:: Some of the material in this collection arrived grouped together in folders or envelopes. This material was housed accordingly and original folder titles were kept where applicable. The rest of the collection is organized by type of material. Folder titles created by archivist, or additional information added to original folder titles by archivist, are in brackets. Within folders, material is arranged chronologically.

Biographical / Historical:: George Miller Dyott (1883--1972) was an early aviator; veteran of the Royal Naval Air Service; aircraft designer; and explorer. Dyott was born in New York in 1883 to an American mother and a British father. Dyott was educated in the United Kingdom before returning to the United States where he learned to fly at Curtiss Field in New York. Dyott was awarded Royal Aero Club aviator's certificate 114 in August of 1911. Around this time, Dyott partnered with Henry W. Walden designing monoplanes. In the autumn of 1911, Dyott and Patrick Hamilton began making a tour of exhibition flights with two Deperdussin monoplanes (one single and one double seater) which started in New York and included stops in the Bahamas and Mexico, where they carried then-President Francisco Madero as a passenger. Dyott then returned to the United Kingdom where he designed the Dyott Monoplane, manufactured by Hewlett & Blondeau, which he brought to the United States to fly a six month demonstration tour beginning in April 1913. Dyott entered military service in 1914 and served as a squadron commander for the Royal Naval Air Service during World War I. Around this time, Dyott designed a large twin-engine biplane for use in exploring. The Royal Naval Air Service saw a potential in this design for military use so Dyott made some modifications and two prototypes were ordered from Hewlett & Blondeau in 1916. The two Dyott Bomber prototypes were built and flight tested with various engines and armament, with the second being service tested in France, but the model never entered production. After World War I, Dyott became an explorer and joined the Royal Geographical Society. In 1927, Dyott was hired to lead an expedition retracing the steps of the Roosevelt–Rondon Scientific Expedition which confirmed Theodore Roosevelt's claims about the group's discovery and exploration of the Rio Roosevelt ("River of Doubt"). In 1928, Dyott led an expedition into Brazil searching for missing explorer Percy Fawcett. Dyott also founded Dyott & Company, Ltd. in Lima, Peru taking aerial photographs and other scenic views that were sold as post cards. Dyott wrote several books about his adventures (one of which was adapted into a feature film, Manhunt in the Jungle, in 1958), and also starred as himself in two documentary films (Hunting Tigers in India in 1929 and Savage Gold, which he also co-wrote, in 1933). In the mid-1930s, Dyott retired to Ecuador where he lived largely in isolation. He conducted two expeditions searching for Inca treasure in the late 1940s before returning to Ecuador where he stayed until returning to New York to reunite with his wife and children shortly before his death.

Provenance:: Michael Dyott, Gift, 2016, NASM.2016.0019.

Restrictions:: No restrictions on access.

Rights:: Material is subject to Smithsonian Terms of Use. Should you wish to use NASM material in any medium, please submit an Application for Permission to Reproduce NASM Material, available at Permissions Requests

Topic:: Aeronautics Search this; World War, 1914-1918 -- Aerial operations Search this; Dyott Bomber (1916) Search this; Dyott Monoplane (1913) Search this; Aircraft Search this; Walden IV 1910 Monoplane Search this

Genre/Form:: Manuscripts; Photographs; Correspondence; Diaries -- 20th century

Citation:: George Miller Dyott Papers, NASM.2016.0019, National Air and Space Museum, Smithsonian Institution.

Identifier:: NASM.2016.0019

See more items in:: George Miller Dyott Papers

Archival Repository:: National Air and Space Museum Archives

GUID:: https://n2t.net/ark:/65665/pg25a904b57-d4c2-42cf-9c30-5d0a6b3640e7

EDAN-URL:: ead_collection:sova-nasm-2016-0019

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Don Raymond David and Andrée Golbin papers

Creator:: David, Don Raymond, 1906-2006 Search this; Golbin, Andrée, 1923-2006 Search this

Extent:: 3.6 Linear feet

Type:: Collection descriptions; Archival materials; Drawings; Sketchbooks; Diaries

Date:: circa 1920-1980

Summary:: The papers of painters Don Raymond David and Andrée Golbin measure 3.6 linear feet, date from circa 1920-1980, and illustrate their lives and careers through biographical material, correspondence, writings, personal business records, printed and photographic material, and artwork.

Scope and Contents:: The papers of Don Raymond David and Andrée Golbin measure 3.6 linear feet and date from circa 1920-1980. Biographical materials include membership cards to various organizations for both David and Golbin, a graduation certificate for Golbin from the Parsons School of Design, and Andrée Golbin's Who's Who in American Art biographical information. Correspondence is to and from various artists, family members, and organizations and between Golbin and David. Writings consist of various travel diaries, as well as notebooks and lectures for classes taught by David. Personal business records include materials regarding the Creative Artists Public Service Program, dealer contracts, various weekly planners, and price lists for artwork. Printed material consists of exhibition catalogs and announcements, illustrations by Golbin for published works, and prints of sketches. Photographic material includes photographs, slides, and transparencies of Golbin, David, and both artists' artwork. Artwork consists of drawings, sketches, and sketchbooks by both David and Golbin.

Arrangement:: This collection consists of seven series.

Series 1: Biographical Material, circa 1940-1975 (.1 Linear feet: Box 1)

Series 2: Correspondence, circa 1946-1980 (.3 Linear feet: Box 1)

Series 3: Writings, circa 1920-1978 (.7 Linear feet: Boxes 1-2)

Series 4: Personal Business Records, circa 1951-1977 (.7 Linear feet: Box 2)

Series 5: Printed Material, circa 1938-1979 (.2 Linear feet: Box 2)

Series 6: Photographic Material, circa 1920-1980 (.3 Linear feet: Box 3)

Series 7: Artwork, circa 1920-1980 (1.3 Linear feet: Boxes 3-4, OV 5, and OV 6)

Biographical / Historical:: Don Raymond David (1906-2006) and Andrée Golbin (1923-2006) were husband and wife artists based in New York, NY.

Andrée Golbin was a painter, graphic artist, and illustrator and was born in Germany to her parents Owsey Golbin and Elsa Rimathe, before immigrating to the United States when she was sixteen. She graduated from the Parsons School of Design in 1943 and served as director for Mademoiselle magazine in the early 1950s. Golbin created artwork for many different clients, including several dance companies, Henri Bendel, and American Cyanamid. Golbin was based in New York City and was a member of the Artists Equity Association of New York, the American Newspaper Guild, which she withdrew from in 1948, and the Museum of Modern Art in New York. In her later years, Golbin taught at the Parsons School of Design.

Don Raymond David was a painter and instructor and was born in Springbrook, Yamhill County, Oregon. In 1927, David began studying at Fresno State College with Alexandra Bradshaw and by the late 1930s was in Los Angeles where he studied with Barse Miller and attended the Chouinard Art Institute and the Art Center School. In the late 1950s, he relocated to New York where he attended the Hans Hofmann School and had frequent solo shows at the Camino Gallery through the 1960s to early 1970s. David was an instructor at the Newark School of Fine and Industrial Arts in New Jersey and continued as a teacher beside his wife at the New York Parsons School of Design. He was a member of the California Watercolor Society and the National Society of Art Directors.

Golbin and David died in 2006 in Newburg, Yamhill County, Oregon at the ages of eighty-three and ninety-nine.

Provenance:: Papers were donated in 1977 by Don Raymond David and in 1981 by Don Raymond David and Andrée Golbin.

Restrictions:: This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.

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:: Illustrators -- New York (State) -- New York Search this; Painters -- New York (State) -- New York Search this; Educators -- New York (State) -- New York Search this

Topic:: Women artists Search this

Genre/Form:: Drawings; Sketchbooks; Diaries

Citation:: Don Raymond David and Andrée Golbin papers, circa 1920-1980, Archives of American Art, Smithsonian Institution.

Sponsor:: The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.

Identifier:: AAA.davidon

See more items in:: Don Raymond David and Andrée Golbin papers

Archival Repository:: Archives of American Art

GUID:: https://n2t.net/ark:/65665/mw99086f3c9-0410-48d2-9b7a-7a69ee46ad67

EDAN-URL:: ead_collection:sova-aaa-davidon

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The Webbs in Asia the 1911-12 travel diary introduced and edited by George Feaver

Author:: Feaver, George Search this; Webb, Sidney 1859-1947 Search this

Subject:: Webb, Beatrice Potter 1858-1943 Search this; Webb, Beatrice Potter 1858-1943 Travel Search this; Webb, Beatrice 1858-1943 Travel Search this; Webb, Sidney 1859-1947 Search this; Webb, Sidney 1859-1947 Travel Search this

Physical description:: viii, 385 pages illustrations, facsimile, map 25 cm

Type:: Books; Diaries

Place:: Asia; Asie

Date:: 1992

Topic:: Travel Search this; Description and travel Search this; Descriptions et voyages Search this

Call number:: DS7 .W32 1992

Data Source:: Smithsonian Libraries

EDAN-URL:: edanmdm:siris_sil_880088

Tokio Ueyama papers

Creator:: Ueyama, Tokio, 1889-1954 Search this

Extent:: 0.8 Linear feet

Type:: Collection descriptions; Archival materials; Diaries; Sketchbooks

Date:: 1908-circa 1954; bulk 1914-1945

Summary:: The papers of California-based painter Tokio Ueyama (1889-1954) measure 0.8 linear feet and date from 1908-circa 1954, bulk 1914-1945. This small but rich collection includes biographical material in the form of a family tree, travel documents, identification cards, records related to the World War II Japanese American incarceration camp, Amache Relocation Center, and other materials; correspondence with friends and family, most of which is written in Japanese; writings such as a diary and a notebook from his time as a student at the Pennsylvania Academy of Fine Art; printed materials including news clippings and exhibition announcements; a sketchbook; and photographs of friends and family during a trip to Japan. Also included are printouts of an item-level inventory created by Grace Nozaki, Ueyama's niece, and translations of select entries from the diaries produced by Noriko Okada.

Scope and Contents:: The papers of California-based painter Tokio Ueyama (1889-1954) measure 0.8 linear feet and date from 1908-circa 1954, bulk 1914-1945. This small but rich collection includes biographical material in the form of a family tree, travel documents, identification cards, records related to the World War II Japanese American incarceration camp, Amache Relocation Center, and other materials; correspondence with friends and family, most of which is written in Japanese; writings such as a diary and a notebook from his time as a student at the Pennsylvania Academy of Fine Art; printed materials including news clippings and exhibition announcements; a sketchbook; and photographs of friends and family during a trip to Japan. Also included are printouts of an item-level inventory created by Grace Nozaki, Ueyama's niece, and translations of select entries from the diaries produced by Noriko Okada.

Arrangement:: Due to the small size of this collection the papers are arranged as one series.

Series 1: Tokio Ueyama Papers, 1908-circa 1954, bulk 1914-1945 (0.8 linear feet; Boxes 1-2, OVs 3-4)

Biographical / Historical:: Tokio Ueyama (1889-1954) was a painter of still lifes, portraits, and landscapes who was primarily based in Los Angeles and San Francisco, California. Ueyama was born in Wakayama, Japan, in 1889 and immigrated to the United States after high school around 1908. He studied at the San Francisco Institute of Art, University of Southern California (B.A. in 1914), and the Pennsylvania Academy of the Fine Arts in Philadelphia, where he received the Cresson travel scholarship which allowed him to travel to Europe from 1920 to 1922. During his time abroad, Ueyama studied painting in France, Germany, Italy and Spain.

In 1922, Ueyama returned to Los Angeles and founded a painting association with three other Japanese American artists. He exhibited his paintings around Southern California and in Mexico City, where he travelled in 1924 and met and exchanged paintings with Diego Rivera. Sometime around 1928, he met and married a woman named Suye (née Tsukada).

In 1942, Ueyama and wife were forcibly removed from their homes and sent to World War II Japanese American incarceration camps: Santa Anita Assembly Center in California and then the Amache Relocation Center (also referred to as Granada Relocation Center) in Colorado. Ueyama taught art to fellow incarcerees at Amache. In late 1945, the Ueyamas returned to Los Angeles and opened Bunkado, a gift shop selling a variety of Japanese goods that is open to this day. He continued to paint and be active in the art world and remained in Los Angeles until his death in 1954.

Provenance:: The Tokio Ueyama papers were donated to the Archives of American Art in 2023 by Grace Nozaki, Ueyama's niece.

Restrictions:: This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.

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:: Landscape painters -- California -- San Francisco Search this

Topic:: Asian American artists Search this; Japanese American art -- United States Search this; Japanese Americans -- Forced removal and internment -- 1942-1945 Search this; Asian American painters Search this

Genre/Form:: Diaries -- 20th century; Sketchbooks -- 20th century

Citation:: Tokio Ueyama papers, 1908-circa 1954, bulk 1914-1945. Archives of American Art, Smithsonian Institution.

Sponsor:: Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art and the Roy Lichtenstein Foundation.

Identifier:: AAA.ueyatoki

See more items in:: Tokio Ueyama papers

Archival Repository:: Archives of American Art

GUID:: https://n2t.net/ark:/65665/mw951744173-42a8-4c7d-8b24-baa048f26b14

EDAN-URL:: ead_collection:sova-aaa-ueyatoki

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Nancy Holt Estate records, 1835, circa 1900-2014

Creator:: Holt, Nancy, 1938-2014 Search this

Subject:: Smithson, Robert Search this; Lippard, Lucy R. Search this; John Weber Gallery Search this; James Cohan Gallery Search this; Dia Art Foundation Search this

Type:: Interviews; Diaries; Sound recordings; Video recordings; Drawings

Citation:: Nancy Holt Estate records, 1835, circa 1900-2014. Archives of American Art, Smithsonian Institution.

Topic:: Women artists Search this; Women sculptors Search this; Earthworks (Art) Search this; Women photographers Search this; Women filmmakers Search this

Theme:: Women Search this; Lives of artists Search this

Record number:: (DSI-AAA_CollID)22063; AAA_collcode_holtnanc

Theme:: Women; Lives of artists

Data Source:: Archives of American Art

EDAN-URL:: edanmdm:AAADCD_coll_22063

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Edward J. Orth Memorial Archives of the New York World's Fair

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Robert Bechtle papers, circa 1930s-2020

Don Raymond David and Andrée Golbin papers, circa 1920-1980

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Don Raymond David and Andrée Golbin papers

The Webbs in Asia the 1911-12 travel diary introduced and edited by George Feaver

Tokio Ueyama papers

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Nancy Holt Estate records, 1835, circa 1900-2014

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